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 INTEGRATION FOR CALCULUS,
ANALYSIS, AND DIFFERENTIAL
EQUATIONS Techniques, Examples, and Exercises

11035_9789813272033_TP.indd 1 28/6/18 11:36 AM

 b2530   International Strategic Relations and China’s National Security: World at the Crossroads

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b2530_FM.indd 6 01-Sep-16 11:03:06 AM

 INTEGRATION FOR CALCULUS,
ANALYSIS, AND DIFFERENTIAL
EQUATIONS Techniques, Examples, and Exercises

Marat V Markin
California State University, Fresno, USA

World Scientific
NEW JERSEY • LONDON • SINGAPORE • BEIJING • SHANGHAI • HONG KONG • TAIPEI • CHENNAI • TOKYO

11035_9789813272033_TP.indd 2 28/6/18 11:36 AM

 Published by
World Scientific Publishing Co. Pte. Ltd.
5 Toh Tuck Link, Singapore 596224
USA office: 27 Warren Street, Suite 401-402, Hackensack, NJ 07601
UK office: 57 Shelton Street, Covent Garden, London WC2H 9HE

Library of Congress Cataloging-in-Publication Data

Names: Markin, Marat V., author.
Title: Integration for calculus, analysis, and differential equations : techniques, examples,
and exercises / by Marat V. Markin (California State University, Fresno, USA).
Description: New Jersey : World Scientific, 2018. | Includes bibliographical references and index.
Identifiers: LCCN 2018026833 | ISBN 9789813272033 (hardcover : alk. paper) |
ISBN 9789813275157 (pbk : alk. paper)
Subjects: LCSH: Calculus--Textbooks. | Mathematical analysis--Textbooks. |
Differential equations--Textbooks.
Classification: LCC QA303.2 .M368 2018 | DDC 515--dc23
LC record available at https://lccn.loc.gov/2018026833

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

Copyright © 2019 by World Scientific Publishing Co. Pte. Ltd.

All rights reserved. This book, or parts thereof, may not be reproduced in any form or by any means,
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system now known or to be invented, without written permission from the publisher.

For photocopying of material in this volume, please pay a copying fee through the Copyright Clearance
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May 17, 2018 12:7 ws-book9x6 Integration for Calculus, Analysis, and Differential Equations ws-book9x6 page v

To my mother, Svetlana A. Markina, fondly.

v
 b2530   International Strategic Relations and China’s National Security: World at the Crossroads

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June 21, 2018 10:23 ws-book9x6 Integration for Calculus, Analysis, and Differential Equations ws-book9x6 page vii

Preface

The calculus is the story this

world first told itself as it
became the modern world.

David Berlinski

Amply demonstrated by experience, integral calculus covered in Calculus I

and, mostly, in Calculus II appears to represent a serious challenge for
many students. Passing rates in these courses are often considered to be
indicative for the future graduation rates.
The main purpose of this book is to assist calculus students to gain
a better understanding and command of integration and its applications
and, thus, improving their performance in Calculus I and II courses. Its
writing stems out of my extensive experience of teaching calculus or its
equivalent to diverse groups of students at the California State University,
Fresno, Boston University, the University of North Carolina, Asheville, and
the National University of Food Technologies, Kiev, Ukraine.
The usefulness of the book as a concise and, at the same time, rather
comprehensive review of integration reaches beyond the scope of the fore-
going courses to students in more advanced courses such as Multivari-
able Calculus, Differential Equations, and Intermediate Analysis, where the
ability to effectively integrate is essential for their success, and also those,
who prepare for integration competitions such as the Fresno State Integra-
tion Bee.
Keeping the reader constantly focused on the three principal episte-
mological questions: What for? Why? How?, the book is designated as
a supplementary instructional tool treating the three kinds of integral:
indefinite, definite, and improper and covering various aspects of integral

vii
June 21, 2018 15:58 ws-book9x6 Integration for Calculus, Analysis, and Differential Equations ws-book9x6 page viii

viii Integration for Calculus, Analysis, and Differential Equations

calculus from abstract definitions and theorems (with complete proof when-
ever appropriate) through various integration techniques to applications.
It contains 143 Examples, including 112 Problems with complete step-by-
step solutions, the same problem occasionally solved in more than one way
while encouraging the reader to find the most efficient integration path,
6 Exercises, 162 Practice Problems, and 30 Mixed Integration Problems
“for dessert”, where the reader is expected to independently choose and
implement the best possible integration approach. The answers to all the
192 Problems are provided in the Answer Key. Three Appendices furnish a
table of basic integrals, reduction formulas, and basic identities of algebra
and trigonometry.
The book’s writing was supported by a Fresno State College of Science
and Mathematics Scholarly and Creative Activity Award 2015/16, for which
I would like to express my cordial gratitude.
My utmost appreciation goes to Dr. Maria Nogin (Department of Math-
ematics, CSU, Fresno) for her numerous invaluable contributions into im-
proving the manuscript and to Mr. Andres Zumba Quezada (CSU, Fresno),
the winner of the Fresno State Integration Bee 2015 and 2017, for pain-
stakingly reading the manuscript, solving every single problem in it, and
providing helpful suggestions. I am also very grateful to Dr. Przemyslaw
Kajetanowicz (Department of Mathematics, CSU, Fresno) for his kind
assistance with the figures.
My sincere acknowledgments are also due to the following associates
of World Scientific Publishing Co. Pte. Ltd.: Ms. Rochelle Kronzek for
discerning a value in my manuscript and making the authors, in particular
this one, her high priority; Ms. Lai Fun Kwong for her astounding efficiency
and great editorial work, and to Mr. Rajesh Babu for his expert and very
helpful technical assistance.
The book, my first one, is dedicated to my mother, Svetlana A. Markina,
with affection and appreciation inexpressible with any words.

Marat V. Markin
May 17, 2018 12:7 ws-book9x6 Integration for Calculus, Analysis, and Differential Equations ws-book9x6 page ix

Contents

Preface vii

1. Indefinite and Definite Integrals 1

1.1 Antiderivatives and Indefinite Integral . . . . . . . . . . . 1
1.1.1 Definitions and Examples . . . . . . . . . . . . . . 1
1.1.2 Validation of Indefinite Integrals . . . . . . . . . . 4
1.1.3 Which Functions Are Integrable? . . . . . . . . . . 5
1.1.4 Properties of Indefinite Integral (Integration Rules) 5
1.2 Definite Integral . . . . . . . . . . . . . . . . . . . . . . . . 6
1.2.1 Definitions . . . . . . . . . . . . . . . . . . . . . . 6
1.2.2 Which Functions Are Integrable? . . . . . . . . . . 9
1.2.3 Properties of Definite Integral (Integration Rules) 9
1.2.4 Integration by Definition . . . . . . . . . . . . . . 10
1.2.5 Integral Mean Value Theorem . . . . . . . . . . . 11
1.2.6 Fundamental Theorem of Calculus . . . . . . . . . 12
1.2.7 Total Change Theorem . . . . . . . . . . . . . . . 15
1.2.8 Integrals of Even and Odd Functions . . . . . . . 16

2. Direct Integration 17
2.1 Table Integrals and Useful Integration Formula . . . . . . 17
2.2 What Is Direct Integration and How Does It Work? . . . . 20
2.2.1 By Integration Rules Only . . . . . . . . . . . . . 21
2.2.2 Multiplication/Division Before Integration . . . . 21
2.2.3 Applying Minor Adjustments . . . . . . . . . . . . 22
2.2.4 Using Identities . . . . . . . . . . . . . . . . . . . 23
2.2.5 Transforming Products into Sums . . . . . . . . . 26

ix
May 17, 2018 12:7 ws-book9x6 Integration for Calculus, Analysis, and Differential Equations ws-book9x6 page x

x Integration for Calculus, Analysis, and Differential Equations

2.2.6 Using Conjugate Radical Expressions . . . . . . . 27

2.2.7 Square Completion . . . . . . . . . . . . . . . . . 28
2.3 Direct Integration for Definite Integral . . . . . . . . . . . 29
2.4 Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 31
2.5 Practice Problems . . . . . . . . . . . . . . . . . . . . . . 33

3. Method of Substitution 35
3.1 Substitution for Indefinite Integral . . . . . . . . . . . . . 35
3.1.1 What for? Why? How? . . . . . . . . . . . . . . . 35
3.1.2 Perfect Substitution . . . . . . . . . . . . . . . . . 36
3.1.3 Introducing a Missing Constant . . . . . . . . . . 37
3.1.4 Trivial Substitution . . . . . . . . . . . . . . . . . 39
3.1.5 More Than a Missing Constant . . . . . . . . . . . 40
3.1.6 More Than One Way . . . . . . . . . . . . . . . . 42
3.1.7 More Than One Substitution . . . . . . . . . . . . 43
3.2 Substitution for Definite Integral . . . . . . . . . . . . . . 45
3.2.1 What for? Why? How? . . . . . . . . . . . . . . . 45
3.3 Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 48
3.4 Practice Problems . . . . . . . . . . . . . . . . . . . . . . 49

4. Method of Integration by Parts 51

4.1 Partial Integration for Indefinite Integral . . . . . . . . . . 51
4.1.1 What for? Why? How? . . . . . . . . . . . . . . . 51
4.1.2 Three Special Types of Integrals . . . . . . . . . . 52
4.1.3 Beyond Three Special Types . . . . . . . . . . . . 55
4.1.4 Reduction Formulas . . . . . . . . . . . . . . . . . 57
4.2 Partial Integration for Definite Integral . . . . . . . . . . . 59
4.2.1 What for? Why? How? . . . . . . . . . . . . . . . 59
4.3 Combining Substitution and Partial Integration . . . . . . 62
4.4 Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 63
4.5 Practice Problems . . . . . . . . . . . . . . . . . . . . . . 64

5. Trigonometric Integrals 65
5.1 Direct Integration . . . . . . . . . . . . . . . . . . . . . . . 65
5.2 Using Integration Methods . . . . . . . . . . . . . . . . . . 66
5.2.1 Integration via Reduction Z Formulas . . . . . . . . 66
5.2.2 Integrals of the Form sinm x cosn x dx . . . . . . 70
May 17, 2018 12:7 ws-book9x6 Integration for Calculus, Analysis, and Differential Equations ws-book9x6 page xi

Contents xi

Z
5.2.3 Integrals of the Form tanm x secn x dx . . . . . 76
5.3 Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 79
5.4 Practice Problems . . . . . . . . . . . . . . . . . . . . . . 81

6. Trigonometric Substitutions 83
6.1 Reverse Substitutions . . . . . . . . . . . . . . . . . . . . . 83
6.2 Integrals Containing a2 − x2 . . . . . . . . . . . . . . . . . 84
6.3 Integrals Containing x2 + a2 . . . . . . . . . . . . . . . . . 88
6.4 Integrals Containing x2 − a2 . . . . . . . . . . . . . . . . . 92
6.5 Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 96
6.6 Practice Problems . . . . . . . . . . . . . . . . . . . . . . 98

7. Integration of Rational Functions 99

7.1 Rational Functions . . . . . . . . . . . . . . . . . . . . . . 99
7.2 Partial Fractions . . . . . . . . . . . . . . . . . . . . . . . 100
7.2.1 Integration of Type 1/Type 2 Partial Fractions . . 101
7.2.2 Integration of Type 3 Partial Fractions . . . . . . 101
7.2.3 Integration of Type 4 Partial Fractions . . . . . . 103
7.3 Partial Fraction Decomposition . . . . . . . . . . . . . . . 104
7.4 Partial Fraction Method . . . . . . . . . . . . . . . . . . . 107
7.5 Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 112
7.6 Practice Problems . . . . . . . . . . . . . . . . . . . . . . 114

8. Rationalizing Substitutions 115

8.1 Integrals with Radicals . . . . . . . . . . . . . . !. . . . . . 115
Z r
ax + b
8.1.1 Integrals of the Form R x, n dx . . . 115
cx + d
8.1.2 Integrals
Z of the Form
 
R x, xm1 /n1 , . . . , xmk /nk dx . . . . . . . . . . 116
8.2 Integrals with Exponentials . . . . . . . . . . . . . . . . . 117
8.3 Trigonometric Integrals . . . .Z. . . . . . . . . . . . . . . . 118
8.3.1 Integrals of the Form R (tan x) dx . . . . . . . . 118
Z
8.3.2 Integrals of the Form R (sin x, cos x) dx . . . . . 119
8.4 Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 121
8.5 Practice Problems . . . . . . . . . . . . . . . . . . . . . . 124
May 17, 2018 12:7 ws-book9x6 Integration for Calculus, Analysis, and Differential Equations ws-book9x6 page xii

xii Integration for Calculus, Analysis, and Differential Equations

Can We Integrate Them All Now? 125

9. Improper Integrals 127
9.1 Type 1 Improper Integrals (Unbounded Interval) . . . . . 127
9.1.1 Right-Sided Unboundedness . . . . . . . . . . . . 127
9.1.2 Left-Sided Unboundedness . . . . . . . . . . . . . 130
9.1.3 Two-Sided Unboundedness . . . . . . . . . . . . . 132
9.2 Type 2 Improper Integrals (Unbounded Integrand) . . . . 134
9.2.1 Unboundedness at the Left Endpoint . . . . . . . 135
9.2.2 Unboundedness at the Right Endpoint . . . . . . 137
9.2.3 Unboundedness Inside the Interval . . . . . . . . . 138
9.3 Applications . . . . . . . . . . . . . . . . . . . . . . . . . . 141
9.4 Practice Problems . . . . . . . . . . . . . . . . . . . . . . 142

Mixed Integration Problems 145

Answer Key 147

Appendix A Table of Basic Integrals 153

Appendix B Reduction Formulas 155

Appendix C Basic Identities of Algebra and Trigonometry 157

Bibliography 161

Index 163
May 17, 2018 12:7 ws-book9x6 Integration for Calculus, Analysis, and Differential Equations ws-book9x6 page 1

Chapter 1

Indefinite and Definite Integrals

1.1. Antiderivatives and Indefinite Integral

1.1.1. Definitions and Examples

Definition 1.1 (Antiderivative).
Let f be a function defined on an interval I. A function F is called an
antiderivative of f (x) on I if
F 0 (x) = f (x) for all x in I.

Examples 1.1 (Antiderivatives).

1. The function F (x) = 1 is an antiderivative of f (x) = 0 on (−∞, ∞) as
well as any function of the form F (x) = C, where C is an arbitrary real
constant (written henceforth as C ∈ R).
2. The function F (x) = x is an antiderivative of f (x) = 1 on (−∞, ∞) as
well as any function of the form F (x) = x + C, C ∈ R.
x2
3. The function F (x) = is an antiderivative of f (x) = x on (−∞, ∞)
2
x2
as well as any function of the form F (x) = + C, C ∈ R.
2
4. Any function of the form F (x) = ex + C, C ∈ R, is an antiderivative of
f (x) = ex on (−∞, ∞).

All the above examples have one thing in common: if F is an antiderivative

of f on I, then so is any function of the form
F (x) + C, x ∈ I, (1.1)
where C is an arbitrary real constant (C ∈ R).
The natural question is: are there antiderivatives of f on I not included in
this description? The answer is NO.

1
May 17, 2018 12:7 ws-book9x6 Integration for Calculus, Analysis, and Differential Equations ws-book9x6 page 2

2 Integration for Calculus, Analysis, and Differential Equations

As follows from the Mean Value Theorem (see, e.g., [1, 6]), functions with
the same derivative differ by a constant. Thus, if G is an arbitrary anti-
derivative of f on I, there is a C ∈ R such that

G(x) = F (x) + C, x ∈ I,

and hence, expression (1.1) describes all possible antiderivatives of f on I.

Definition 1.2 (Indefinite Integral).
Let a function f defined on an interval I have an antiderivative F on I.
The indefinite integral (or the general antiderivative) of f on I is the ex-
pression
Z
f (x) dx := F (x) + C, x ∈ I,

Z real constant (C ∈ R).

where C is an arbitrary Z
The integral notation f (x) dx, uses the integral symbol and differential
symbol dx. The function f is called the integrand and x the integration
variable.
The process of finding an indefinite integral is called integration (or anti-
differentiation).

Obviously, integration (antidifferentiation) is the process inverse to differ-

entiation, i.e.,
Z Z
d
f 0 (x) dx = f (x) + C and f (x) dx = f (x).
dx
Thus, the following examples are readily obtained by reversing the stan-
dard table of basic derivatives with some natural minor adjustments, when
required, and become a part of our Table of Basic Integrals (Appendix A).
Examples 1.2 (Basic Indefinite Integrals).
Z
1. 0 dx = C on (−∞, ∞).

xn+1
Z
2. xn dx = + C (n 6= −1)
n+1
on interval(s) depending on the exponent n.
x2
Z Z Z
In particular, 1 dx = x0 dx = x + C, x dx = +C
2
on (−∞, ∞),
Other documents randomly have
different content
been my experience—my wife and I were rich in their friendship from very
early days.

I have often thought there is a strong link between our callings. The
feelings of the distinguished counsel when he goes into court, with all the
anxious weight upon his mind, with all his grave responsibility, cannot be
unlike the feelings of the great actor on a "first night," when his fame may
be in peril.

I was once, when a child, taken to the House of Lords by my

grandfather; he pointed out to me the venerable Lord Brougham, who was
sitting in judgment with other Law Lords. I remember that he wore
shepherd's plaid trousers, also his nose, the famous nose which was
immortalised by Dicky Doyle on the mask which is being dragged along the
lower part of the title page of Punch.

Cockburn, L. Lord Chief Justice Cockburn was the first great man we
C. J. knew; our meeting was at dinner, when we were young, at
the house of Henry Fothergill Chorley, a worshipper of
Dickens and a prominent musical critic of those days; two of the guests
were "Mamie" Dickens, the elder daughter of the great novelist, and Arthur
Sullivan, then quite young and a protégé of our host.

I have never forgotten the feeling of awe which came over me when the
butler announced, "The Lord Chief Justice of England." I always thought he
looked less like a lawyer than an admiral, or the skipper of his own beloved
yacht, the Sybil. My wife had the good fortune to be placed next to the Lord
Chief. She had the gift of manners, and was at home in any surroundings.
He took a great fancy to her, and we enjoyed the charm of his friendship for
about ten years, until the end of his career. In those days I thought his was
the most attractive male voice I ever listened to, whether on the Bench or in
a room—even during the lengthy summing-up of the Tichborne trial it
never grew monotonous—although I admit that, nowadays, the voices of
Johnston Forbes-Robertson and Henry Ainley could run it very close.

Let me add that the two most attractive female voices I have listened to
were owned by women widely apart in rank and station: one belonged to
Queen Victoria, the other to my wife, and both voices were preserved unto
old age. It is pleasant to have this opinion confirmed by no less a person
than Ellen Terry, who wrote of my wife "such a very pretty voice—one of
the most silvery voices I have ever heard from any woman except the late
Queen Victoria, whose voice was like a silver stream flowing over golden
stones."

The Lord Chief was a perfect host, well described as having the vivacity
of youth tempered by the wisdom of age.

He also adored music: it was almost certain you would meet its
professors at his house, and I recall memories of Madame Schumann,
Joachim and Piatti. During a short time when my wife was not acting, her
delight was great at being taken by him to the Monday Pops. Among his
other accomplishments was an intimate acquaintance with languages: his
French was as near perfection as a foreigner could get to.

"Justice is On one occasion when we had asked Sir Alexander

blind" Cockburn to dine with us, my wife took George Critchett,
the eminent ophthalmic surgeon and father of our lost
friend, Sir Anderson, to him, saying: "Let me present Mr. Critchett to you,
Lord Chief; as Justice is said to be blind, you may find his services useful."
On another, in reply to a similar invitation, he wrote that he was just starting
for Geneva to preside at the Alabama Conference, and wished that
troublesome vessel had gone to the bottom of the sea the day she was
launched. Soon afterwards, at the close of our annual Swiss holiday, we
passed through Geneva just at the time the Alabama claims were settled
there, and paid our respects to the Lord Chief at the old Hôtel des Bergues,
to the sound of guns firing and the glory of flags flying.

This delightful friendship was broken suddenly. It was in the year we

opened our newly rebuilt Haymarket Theatre, which he greatly admired,
that after presiding over an intricate case in Westminster Hall, the Lord
Chief left the haunts of justice and the "law's delay" for the last time. He
dismissed his smart little brougham and walked home to Hertford Street.
During the night came a fatal attack of angina pectoris.

When I was a struggling country actor in Liverpool, so far back as 1864,

I made the acquaintance of a struggling barrister on the Northern Circuit.
His name was Charles Russell, and he, too, became Lord Chief Justice of
England. I enjoyed his friendship until his death. His personality was both
dominating and downright. You could not be in a room with him and not be
conscious of his presence. No man more firmly said what he meant and
meant what he said, while his Irish tongue was ever ready with the apt
bright answer, as, for instance, when, asked the severest sentence for
bigamy, he answered: "Two mothers-in-law!" He was a relentless cross-
examiner, and though sometimes a sharp antagonist was always a friend.
There was no littleness about him, and he had no use for a fool.

Russell, L. C. When I started my hospital "readings," I made a point of

J. avoiding any suggestion of "creed," and arranged two
recitals on behalf of Jewish and Roman Catholic
institutions: at the former the Chief Rabbi presided, at the latter Cardinal
Vaughan promised to do so, but was prevented by sudden illness: his place
was taken by the Lord Chief Justice. Soon afterwards I was asked to serve a
cause which was pronouncedly Protestant. In talking over who was to be
invited to preside, I found the committee very desirous that Lord Russell
should be approached. I pointed out that he, being a fervent Roman
Catholic, could hardly be expected to comply, adding that he had only quite
recently presided at a "reading" of the same story which I had given for the
benefit of Catholics. The committee, however, said they could but be
refused, and made their request. Lord Russell replied that I had gone out of
my way to help a charity of his Faith, and that he would gladly do the same
for me. The generous speech he made on the occasion was a warm tribute to
the Reverend William Rogers—known widely as "Hang Theology Rogers."
I cherish the remembrance of many acts of kindness shown to me and mine
by Lord Russell of Killowen, but not one of them touched me more than
that I have just related.

He was an ardent playgoer, with an intimate knowledge of Shakespeare,

and rarely missed first nights, or when a play of one of his many friends
was produced. He loved a game—of cards or otherwise—and I have seen
him at Monte Carlo writhe because his exalted position robbed him of the
pleasure of a "flutter" at trente-et-quarante. He was a real sportsman and a
member of the Jockey Club.
 I was greatly struck by a tribute the Lord Chief paid to an old guest, a
host and true friend of mine for many years, the late Sir George Lewis. It
was at the close of the Parnell trial, when he spoke to this effect: "The most
remarkable attribute in George Lewis is not his great knowledge of the law,
not his unrivalled skill in conducting difficult cases, not his wonderful tact,
not his genius for compromise. They are all beaten by his courage."

At a banquet given to Irving on his return from one of his tours in the
United States, I was seated next to Lord Russell, who, half-way through the
dinner, suddenly said to me: "I have to propose Irving's health. What shall I
say?" I replied that no one could answer the question so well as himself.
However, the Chief persisted, with that well-remembered, imperious
manner of his, "Come, come, my friend, you must have done it often: tell
me what I am to say." I recalled an occasion when I had proposed Irving's
health, and said that I spoke of him as possessing "the strength of a man, the
sweetness of a woman, and the simplicity of a child." Lord Russell turned
to me with the question, "How about the wisdom of a serpent? I could not
have left that out."

Alverstone, L. Lord Alverstone, so long known as "Dick" Webster, who

C. J. succeeded Russell, was Attorney-General, Master of the
Rolls, and Lord Chief Justice, all in the same year. It was as
Attorney-General that Webster dined with me, and I paid a pleasant visit in
his company to the Isle of Wight (which he represented in the House of
Commons) to do him a small service.

I have always understood that he was a great worker: one of the gang,
like Francis Jeune and Rufus Isaacs, who could light a fire and brew tea at
any ghastly hour a.m.

Soon after he became Lord Chief, Alverstone presided at the Annual

Dinner of the Actors' Benevolent Fund. He made an eloquent appeal on its
behalf and generously headed the list of subscriptions. This was not the
only instance of the real interest he took in the drama, being of great service
when the old Covent Garden Theatre Fund came to an end.

He was no mean athlete, and fond of all sports; also a capital singer—a
conspicuous figure for many years in the choir of the church in the
Kensington High Street.

I have had the privilege to know, but not to act as their host, all the
eminent lawyers who have held the office of Lord Chief Justice of England
since the Cockburn days: Coleridge, Reading, Trevethin and Hewart.

The late Lord Esher, Master of the Rolls, my wife and I had the pleasure
to know well and to delight in his friendship and hospitality. My
acquaintance began when the Courts were held in Westminster Hall, and I
was foreman of a jury before "Mr. Justice Brett," in an interesting case, but
troublesome to me, as it kept me from important rehearsals.

In a New Year letter to my wife he addressed her as:

"DEAR FRIEND,—You are a very perplexing person to write to. If I

say 'Dear old friend' it won't do in every sense: because, although you are
an old friend, you are in looks and ways a young woman. If I say 'Dear little
friend,' it is a term of endearment—but you are a very great person.
However, I begin by wishing you both a very happy year. If it is as
prosperous as your goodness deserves I can wish you in that respect no
more. I cannot tell you how I chafed under not being able to see you in
Money; but in the mornings I was in Court, and in the evenings did not
venture out! Vile old age!! Lady Esher went to see you, and told me she had
never seen anything more charming than you. With that I stop. My love to
you both. Believe me always a very true admirer and very truly yours."

Of all the judges I have known I think the imposing presence of Lord
Hannen on the Bench was second to none. His dignity appealed to me
enormously when, through the kindness of the Bar, I attended some of the
sittings of the Parnell Commission. I remember my wife saying to him at
our table, when he was President of the Divorce Court, that he seemed to
her to pass too much of his life in separating united couples. His answer
was that he passed much more of it in wondering why the couples had ever
wished to be joined together.
James of I never knew much of Lord James of Hereford, but saw
Hereford a good deal in early days of Mr. Henry James, a successful
self-made barrister who had just taken silk, and was on the
way to the great position he reached.

He was one of a little coterie which included Lord Anglesey, ("P."),

Millais, Merewether, Q.C., Hare, "Willie" Mathews, one or two others, and
myself, who played, with great zest, an old-fashioned card game—four-
handed cribbage.

James was made Attorney-General, refused the Lord Chancellorship,

and became a Peer.

I remember his once saying: "Fame has no Present; Popularity no

Future."

One of our early legal friends was Baron Huddleston. When we first
met he was known as "the buck of the Bar," and always pleaded as Counsel
in black kid gloves. We owed to him and "Lady 'Di'" many happy visits in
delightful company to the Grange at Ascot. He had his vanities, and gloried
in being written and spoken of as "The Last of the Barons."

I was dining with Arnold Morley, at one time Postmaster General, after
Huddleston's funeral, when I "put my foot in it" more painfully than ever in
my life. The little company comprised: John Morley, Herbert Gardner,
afterwards Lord Burghclere, Sir Charles Dilke, George Lewis, Henry
Labouchere, and one other man whose name I forget. During dinner Lewis
said: "Oh! Bancroft, I saw by an evening paper that you were among
Huddleston's friends to-day, tell us about his cremation; what is it really
like?" Without thought I let myself go and replied that when the coffin
disappeared from view Henry James (Lord James of Hereford) asked Sir
Henry Thompson, the pioneer and President of the new movement, if we
could see any more. Accompanied by Lord Falkland, we entered the inner
compartment, so I described what we there saw, it being remembered that
cremation was then in its infancy, adding that I revolted against the idea of
consigning the remains of a loved one to such a fate. As I spoke my eyes
fell upon Sir Charles Dilke, and I was conscious that his late wife had been
so treated. It did not need the leer on Labouchere's face to tell me so.
St. Helier and Lord St. Helier, who became President of the Divorce
Holker Court, was also a kind friend of long standing. My wife and
I first met him as Francis Jeune, when he was just
foreshadowing his successful career, at the house of Lady St. Helier, Mrs.
John Stanley then, and soon afterwards we passed them in a carriage on the
St. Gothard Pass—before the days of its wonderful railway—when they
were on their honeymoon. He was a great authority on ritualistic and
ecclesiastical law generally and always a tremendous worker. He had
charming manners and was never ruffled—not even when he committed a
duchess to gaol. We enjoyed their hospitality in London and at Arlington
Manor. I have only one little objection to offer—I cannot help a feeling of
resentment against a judge, or, in fact, any barrister, having a moustache
and beard. It is not fair to the wig.

A dear friend of far-away days was Lord Justice Holker ("Sleepy Jack").
I knew him first in my old Liverpool apprenticeship when he was leader of
the Northern Circuit and its legal giants. I saw him once at the Assizes there
stop a case for some minutes after whispering to his clerk, who hurriedly
left the court, and returned with Holker's snuff-box, which had been left in
the robing-room.

Later on he had a place in Yorkshire where he had happy shooting-

parties for his friends, but nothing would induce him to fire a gun himself.

Another legal friend and welcome guest was Lord Justice Mathew, who
told us a pretty story of his witty fellow-countryman, Father Healy.

A young Englishwoman, who was his companion at a dinner party,

asked him, as there was no mistletoe in Ireland, what the girls and boys did
at Christmas-time without it. "Ah, if it's kissing you mean," the old priest
answered, "they do it under the rose!"

Mathew had a witty tongue of his own. No doubt, it will be remembered

by his legal friends that at the time Herschell was Lord Chancellor, Arthur
Cohen, a distinguished Q.C., quite looked to be appointed to a puisne
judgeship, which he did not get. When Mathew heard of Cohen's
resentment, he expressed surprise that his learned friend expected anything
else from Herschell but a Passover.
Serjeant I made acquaintance in my early professional days with
Ballantine Serjeant Ballantine, always a pleasant and amusing
companion, with a great love of the theatre. Throughout his
life he was very Bohemian in his tastes and habits. I remember him first at
Evans's, a music-hall of those days, in Covent Garden—it stood where
prize-fights now take place at the National Sporting Club—where there was
a noted choir of boys, and where "Paddy Green," the manager, squeezed hot
potatoes from their jackets with his napkin for favoured guests.

Ballantine devoted himself entirely to criminal cases. He was a great

cross-examiner, but he found his equal in Serjeant Parry, who had masterly
power over a jury. Another of his rivals was the distinguished advocate,
Henry Hawkins, afterwards Lord Brampton, who was known to be as rich
as Ballantine was poor. In a robing-room on one occasion Ballantine asked
Hawkins what he was going to do with all his money, adding that when he
died he could not take it with him, and that even if he could he feared it
would melt.

Ballantine defended the impostor Arthur Orton, the "Claimant," in the

first Tichborne trial and professed belief in the genuineness of that rascal.
Later he was retained for the defence of the Gaekwar of Baroda in India. He
received for his services the largest fee then known, but he lost the bulk of it
at Monte Carlo on his way home.

When I became acquainted with Frank Lockwood he was a young actor

at a seaside theatre. He did not, in the judgment of his comrades, show
much promise and wisely abandoned the stage as a career. I next met him as
a rising barrister at the house of the Kendals, with whom he was on terms of
close friendship, as he soon became with my wife and me.

Lockwood was a brilliant caricaturist. His company was always a

delight. I remember an evening when he sat by me at dinner after he had
fought many a hard battle, and I asked if he were offered a judgeship would
he accept it. In a moment he answered, no; he loved the fight too much.
Soon afterwards, however, he had changed his mind, longed for relief from
the struggle and sighed for peace. It was not to be. His health suddenly
broke down, his strength was failing, and he had to give in.
 Frank Lockwood was a popular leader at the Bar, a genial Member in
the House, a perfect host, a welcome guest, a delightful companion, a
staunch friend.

Montagu The career of Montagu Williams was the most varied of

Williams any man I have known. Both his father and his grandfather
were barristers. After he left Eton, Montagu was for a time a
schoolmaster; then fired, I suppose, by the outbreak of the Crimean War, he
entered the Army. After peace was declared he resigned his commission and
became a member of a theatrical touring company with a well-known
amateur of those days, Captain Disney Roebuck. Next, on the advice, I
believe, of his godfather, Montagu Chambers, he resolved to go to the Bar.
During his studies he wrote for the Press, including Dickens's Household
Words. He also wrote plays, chiefly in collaboration with his old friend and
school companion at Eton, Frank Burnand. The best of them was The Isle of
St. Tropez, a really good drama, in which Alfred Wigan played.

From the time Montagu was called by the Inner Temple there were few
important criminal cases in which he did not take a part—and very quickly
a prominent one. His great knowledge of every side of life and quick grasp
of things resulted in a large practice, and he defended more scoundrels than
any man of his day. Later on, he was grievously afflicted by throat mischief,
which ended in the saving of his life at the cost of his voice, through a
serious operation; he could afterwards only speak in a whisper. He was,
however, appointed a London police magistrate, in which work he again
distinguished himself, and soon became known as "the poor man's beak."

It was during the theatrical episode in his varied career that he came
across, and married, Louise, a daughter of two prominent and respected
early Victorian players, Mr. and Mrs. Keeley, whom I remember seeing act
so long ago as 1851, the year of the Great Exhibition, when Robert Keeley
was the partner of Charles Kean at the old Princess's Theatre.

Louise Williams was gifted with a sweet voice and sang with charm. I
still seem to hear her exquisite rendering of Edgar Allan Poe's words, which
I can trust my memory to recall:
 "And neither the angels in Heaven above,
Nor the demons down under the sea,
Can ever dissever my soul from the soul
Of the beautiful Annabel Lee."

I can recall no man who enjoyed more universal popularity than

Douglas Straight; it began at Harrow and followed him throughout his life.
He never allowed his interests to become cramped: they embraced the law,
politics, journalism, sport, the drama and society. He began as a journalist,
was Conservative M.P. for Shrewsbury, and had a successful career at the
Bar, which ended in a judgeship of the High Court in India.

He had great social gifts, nowhere better proved than by my friend Pett
Ridge, who tells a story of his popularity with the fair sex, that twelve
ladies agreed to give a dinner at a fashionable restaurant, the novelty on the
occasion being that each of them was to be responsible for one male guest.
The whole dozen invited Douglas!

"Willie" I lost a close and affectionate friend in Charles Mathews,

Mathews the Public Prosecutor, whom I first knew in the sixties,
when he was a little chap at Eton and wore a turn-down
collar. My next remembrance of him is as the "baby" member of the Garrick
Club, where, from the date of his election, he was beloved. In those days
"Willie" Mathews was "devil" to Montagu Williams and working hard in
his company and that of Douglas Straight at the criminal bar, the scene of
many triumphs in his successful career. He was persona grata wherever he
went, and in widely different circles, from Balmoral to Bohemia.

Charles Gill was another old friend. We saw more of him at his beloved
Birchington than in London. He was known in his Kentish home as "The
Mayor"—so christened, I think, by his neighbour, that modern Colossus
who seems to be always striding between New York and Leicester Square,
the successful and erratic Frederick Lonsdale.

Gill was closely associated in early days with Straight and Mathews;
later in his brilliant career there was scarcely a sensational criminal trial in
which he did not play a leading part.

A very wise member of his profession only lately said that were any
friend of his in a difficulty that called for unerring judgment and delicacy of
handling his best advice would be: "Consult Charles Gill."

PAINTING: SCULPTURE: MUSIC

"So famous, so excellent in Art."

Painting It is many years since, as my wife and I were leaving the

Savoy Theatre at the close of an afternoon performance of a
Gilbert and Sullivan opera, we were shocked by a newsboy shouting "Death
of Lord Leighton." We made Frederic Leighton's acquaintance in the green-
room of our theatre. Soon afterwards we dined at his beautiful house in
Kensington. In its neighbourhood there was a nest of his comrades in art,
including Val Prinsep, Luke Fildes and Marcus Stone. We were friends for
years: he did me the honour to propose me at the Athenæum, but did not
live to see me elected. He was a remarkable and gifted man—an Admirable
Crichton—painter, sculptor, linguist—as well as an eloquent, if a somewhat
florid, speaker, and an admirable man of affairs, besides, as we actors say,
having a perfect appearance for his part. Was it not Thackeray who told him
once that Millais was the only man with a chance against him for the
Presidency of the Royal Academy?

His beautiful art was best illustrated in his early days, I always thought,
by The Slinger and the sculptured figure of an athlete struggling with a
python. I also remember well his life-like portrait of the famous explorer,
Sir Richard Burton.

Millais In many respects a total contrast to Leighton was the

successor to his great office, John Everett Millais. I was
fortunate in his acquaintance at the Garrick Club when I was elected as a
member fifty-six years ago. Millais loved the club and cared but little for
any other.

Although looked upon as a Jerseyman, he chanced to be born at

Southampton, and I remember being told by a man—who was for many
years prompter under our management—that he had seen Millais, as a very
small boy, sprawling upon the stage of the Southampton theatre and
drawing with a piece of chalk things that had form and shape.

I don't know when he first came into fame and astounded the world by
the wonderful children of his brush and brain. Beautiful things teem
through the memory. I see the little creature, on a church bench, listening to
The First Sermon; a work of infinite pathos called The Blind Girl; Walter
Raleigh on the shingly shore, clutching his knees and absorbing the yarns of
an old sea-dog; the two nuns digging a grave for a comrade in The Vale of
Rest; those well-known masterpieces, The Princes in the Tower, The Black
Brunswicker and The Order of Release. And then the gallery of portraits—
Tennyson, Newman, Gladstone, Bright and the unfinished Disraeli. Others
also crowd upon remembrance: those of my comrades, Henry Irving and
John Hare—not, in my judgment, among his best examples,—of Arthur
Sullivan—one of the very best,—and the great surgeon, Henry Thompson,
which, like the striking portrait of Mr. Wertheimer by Sargent, as you look
at it, seems that it might speak. I see also the beautiful portraits of Mrs.
Langtry and Mrs. Jopling Rowe, but, alas! not one of my wife. I offered
Millais a large sum to paint one of her for me, but he declined, for two
reasons; he said that he could not bring himself to accept money from a
brother artist, and that he should fail, as the face would change while his
eyes turned even for a moment to the palette. One word to recall his
masterly landscapes, Chill October, and, if I remember their attractive titles,
The Fringe of the Moor and The Sound of Many Waters. Never in any man's
work was refinement more closely merged with art. I see a fine photograph
of him daily, if in London, with an autograph in the corner, briefly
accepting an invitation to dinner in these words: "I'm your man." I looked
down upon his handsome features, as he was fading away from life, and
kissed him.

Poynter Edward Poynter succeeded to the President's chair,

which had only been occupied by Millais briefly. It was
during his reign that I had the honour at the Royal Academy Banquet to
respond for the Drama: the toast had only once been proposed before, when
Irving replied. It was a difficult task, and the greatness of the audience
impressed me with my own littleness. Wisely, I am sure, I limited myself to
five minutes only, and venture to give an extract from what I said:

"I was not unmindful that the proposal of this toast at that great banquet
was a mark of respect to the stage which could only make the stage the
more respect itself. I could not speak in that room—surrounded as I was by
the rulers in that fairyland—without some attempt, however faint, to say
that my admiration of the beautiful art, so splendidly illustrated year by year
upon those walls, was as true as my love for the living pictures we players
tried to paint. Our pictures, alas! died early, for the greatest actor's work
must be a passing triumph; it was not cut in marble, nor did it live on
canvas, but could only owe its fame to written records and traditions. Vast
wealth might keep for us, and for the ages yet to come, the undying
splendour of a Reynolds or a Millais, but no sum could buy one single echo
of the voice of Sarah Siddons. The drama was the most winning,
fascinating, alluring thing that ever was conceived for the recreation of
mankind. As England could claim to be the parent of the drama in Europe,
so could she claim to be the mother of the greatest dramatist the world had
owned, whose mighty genius left all art in debt that never could be paid,
and whose works alone would make the stage eternal."

The pictures by Poynter which live clearest in my memory are his

Catapult and Visit to Æsculapius. Concerning the latter work a story "went
the rounds"—possibly as untrue as many another—that two beautiful sisters
were as flattered by the eminent painter's wish to make drawings of their
heads as they were horrified to find them reproduced upon bodies of well-
known models in the nude.

Poynter painted a portrait of himself for the Uffizi Gallery as Millais

did. There is an admirable copy of this portrait in his beloved Garrick.

I was never really intimate with Alma Tadema, although I knew him for
many years, beginning with the time when he lived in Regent's Park. Owing
to an explosion of gunpowder on the canal there, if my memory is accurate,
his house was wrecked and he went to live in the Grove End Road, in a
house formerly occupied by Tissot, a French artist, who had quite a vogue
for a time. Tadema translated the house into "a thing of beauty and a joy for
ever," where he entertained a great artistic company, worthy to be
surrounded by the Roses of Heliogabalus.

I owe the following painful and remarkable story to my friend Aston

Webb, lately President of the Royal Academy; it was told to him and others
by Tadema. A young woman, an American, the daughter of parents of
wealth and position, was the cause of great anxiety to her father and mother,
to her intimate friends, and to her doctor, on the score of health, which
puzzled all concerned, and became a mystery which no one seemed able to
unravel. At last the doctor was driven to advise a year's absence from home
and its surroundings by a trip to Europe, to be spent where and how the girl
might wish, in the companionship of a female friend—she had no sisters,
and the parents could not leave their own country at the time.

Sargent The patient went first to London and enjoyed her stay
there. During it, she conceived a strong wish to be painted
by her eminent fellow-countryman, Sargent, the magician who reveals
unknowingly what have been hidden mysteries. The portrait when finished
was highly thought of and presently despatched to the parents of the sitter,
while she went her way to Switzerland and Italy. The great artist's work
delighted the father and mother. An "at home" was arranged that their many
friends might share their admiration. All of this took place; among the
invited guests being the friendly doctor who had been so puzzled by the
condition of his patient. I will come briefly to the sad sequel. The doctor
gazed at the portrait long and earnestly: he left the house perturbed and
saddened. On the following day he sought an interview with the father, told
him that Sargent had revealed to him, beyond doubt, what he had failed to
discover himself. Put briefly, the poor girl afterwards died in a madhouse.
When Tadema had finished his story, Abbey, who was also present, quietly
remarked: "All too true. I could tell you the names of those concerned."

The painter who ran dear Millais close in my appreciation, and who has
given me, if I bare my heart and tell the naked truth, greater pleasure than
any other painter, was Orchardson; the fact that his work is so dramatic
being, I suppose, the reason. His two phases of the Mariage de Convenance
were gems. I don't know whether Act I surpassed Act II, or if the verdict
was the other way. The glorious Queen of the Swords, The Challenge, Hard
Hit, The Young Duke, Napoleon in the Bellerophon, The First Cloud, with
their exquisite colourings, the secret of which never seems to have been
divulged; and still one other, so delicate in conception, so perfect in its
pathos, Her Mother's Voice. What a story! How simply told!

Edwin Abbey was also a painter who appealed strongly to me; again,
because he was dramatic. His Richard, Duke of Gloucester, and the Lady
Anne, I always looked upon with admiration. The splendour of its colouring
is lost to me, for I see it now only en gravure. Nor can his Hamlet and King
Lear be forgotten, while his decorative work was magnificent and will
preserve his fame. He had great charm as host and guest.

I travel back to the far-off days when W. P. Frith, an old friend, was the
popular Academician of his time; his pictures of the Derby Day and
Ramsgate Sands having to be "railed in" at the Annual Exhibition, which
was then held in the National Gallery, to protect them from the crowd.

Frith, I remember, was struck with the beauty of our production of the
School for Scandal, which he highly praised. In its acting and historical
accuracy he said it was like the last edition of a grand book, the handsomest
and the best. He fell in love with the minuet, and said it took him back to
the days of his great-grandmother. The minuet, which was introduced at
Lady Sneerwell's "rout," was the brilliant idea of my wife: it was danced by
two couples in a crowded room of guests. I have since seen it danced by a
crowd to an otherwise empty stage.
 I look back with interest to pleasant times spent in the company of
Hubert Herkomer, that "jack-of-all-trades and master of many." His
versatility was bewildering. Tools of every kind and shape seemed to be
playthings in his hands; he grasped them with firmness and used them with
skill; painting, engraving, etching, and all sorts of metal work alike came
easily to him; he played the piano and the zither, composed and wrote, and
was, in a way, a pioneer of film work. His shoals of portraits were amazing,
and his fame might rest enduringly upon his painting of The Last Muster.

Briton Rivière was for many years our friend. We met first in the
Engadine. He was, in my opinion, a great artist, and has crowded my
memory with his works. I think often of those speaking dogs in The Vacant
Chair, Sympathy and Charity, as I do of Circe with the amorous pigs, and
the majestic Daniel facing the lions in their den.

I have always understood that Rivière was within an ace of being

elected President when Millais died.

In early Bohemian days, Henry Stacey Marks, long before he had

blossomed into a Royal Academician, was an amusing and pleasant friend.
Years afterwards I bought, at Christie's, the attractive panels of the Seven
Ages of Man which he had painted for Birket Foster. They were well-
beloved companions until a changed life came to me; they now adorn the
walls of the Green Room Club.

Val and Another R.A. and old friend was Val Prinsep, whose
Marcus burly form looms from distant days, which his name recalls.
It is easy to believe that he was the original "Taffy" in
George du Maurier's Trilby. I have a remembrance of him in the sketch he
made for his painting The Minuet, which was inspired by our introduction
of the dance into The School for Scandal, again in its turn reproduced in our
act-drop at the Haymarket Theatre. On his return to England after painting
the Great Durbar, when Queen Victoria was proclaimed Empress of India,
he gave my wife a handsome native bracelet, which, as a souvenir of her, I
passed on a little while ago to Marie Löhr, who married Val's son, Anthony.

"Val" left many dear friends behind him, with happy recollections of his
worth.
 Recently another friend of long standing, Marcus Stone, left us. He once
told me an interesting incident of his childhood, a link with the past, when
he was kissed by a very old and well-known man named Pickersgill, the
engraver, who begged him, impressively, always to remember that he had
been kissed by a man who once was kissed by Dr. Johnson. It is odd to
remember, in these days of petrol, that Johnson said there were few keener
pleasures in life than being whirled along in a post-chaise, in the company
of a pretty lady, at the average speed of ten miles an hour.

Stone owed much to his early, almost boyish, friendship with Dickens,
who engaged him to illustrate the book he was then writing, thereby made
him known to eminent men, and altogether helped his career greatly. He
was a good talker, and he read more books in a week than I do in a year: he
also had what are called good looks and a distinguished bearing. Was it not
written of him:

"Marcus Apollo Belvedere Stone,

Stands there erect, in all his glory shone."

Sculpture In the hope that I have not been tiresome, I will close my
remembrances of Academicians with the names of two
sculptors: one, whom we knew with some intimacy, was Edgar Boehm. He
chanced to be our guest on the evening when his baronetcy was "in his
pocket," to be announced to his large circle of friends on the following
morning.

There was a beautiful work of his on the staircase landing of the house
Millais built for himself in Kensington. His fame rests chiefly, I suppose, on
the statue of Carlyle, near to his Chelsea home; on the tomb of Dean
Stanley; and the statue of Wellington at Hyde Park Corner, which replaced
the old one, now at Aldershot, that I was taken as a child to see when it was
erected—an earlier remembrance than that I retain of the Iron Duke's
funeral.

I always remember an evening as Boehm's guest, when a lady whom I

had taken down to dinner, in answer to an opinion I timidly expressed that it
was just possible she might be on the verge of "spoiling" her two boys, who
chanced to be at Eton with my son, turned upon me with the amazing
question: "Do you think I can ever sufficiently apologise to them for my
share in bringing them into this world?"

Boehm and Boehm's end was distressing. He was a great Court

Onslow Ford favourite, and one afternoon, in his studio, told his man that
he expected a visit from the Princess Louise, and that Her
Royal Highness, with her lady, was to be conducted to the studio at once.
When taken there, on the door being opened, they found Boehm, who had
sunk upon the floor from a sudden heart attack, unconscious and just
breathing; he passed away in a few minutes.

Onslow Ford, another friend of ours, was as well known for his personal
charm as for the refinement of his work. He was beloved by his brother
Academicians, the features of several of whom he has immortalised in
marble, and by a large circle of friends. One of his best achievements is the
seated figure of Henry Irving, now in the Guildhall Picture Gallery; while
the Christopher Marlowe memorial at Canterbury, the Shelley memorial in
University College, Oxford, and the great statue of Gordon, mounted on a
camel, at Chatham, will make his fame secure.

Another sculptor whose friendship we enjoyed was the late Count

Gleichen, who regarded his art as far more than a recreation; and his statue
of King Alfred at Wantage is the work of no mere amateur. We found it an
interesting experience to sit to him for the two portrait busts which are now
in the Garrick Club. The sittings in his studio at St. James's Palace were
often enlivened by visits from well-known people of many kinds, which I
hope did not detract from the merit of the sculptor's work.

I dare not try the patience of my readers by attempting at any length to

write of that rebellious, capricious, tempestuous, and captivating genius
"Jimmy" Whistler.

After welcoming him as our amusing and interesting guest, my wife and
I were bidden to one of his historic luncheons at the White House, which
then stood quite alone in Chelsea by the river. We had excellent company
and ate buckwheat cakes, cooked by himself.
 His despotic value of himself was exalted and could not be excelled:
nothing shook it. The rapier and the bludgeon were alike his weapons of
either attack or defence.

I believe his portrait of Irving as King Philip has varied in different

markets from bids of a few pounds to some thousands.

"Punch" Sir John Tenniel was an old friend and guest. His
remarkable connection with Punch extended over fifty
years. During this marvellous record he contributed between two and three
thousand cartoons to its pages. The most famous of this vast collection was,
perhaps, Dropping the Pilot, which showed Bismarck leaving the Ship of
State, while his new chief, who was to wreck Europe, looked superciliously
down on him.

I was present at a banquet given in his honour upon his retirement. The
company gathered was exceptional and was presided over by Mr. Balfour,
as he then was. When Tenniel rose to return his thanks, the demonstration
was too much for the old man; he was unable to speak, and resumed his seat
in tears. As the chairman said at once, no expression of thanks could have
been more eloquent.

We knew George du Maurier for many years: I wish it had been more
intimately. After his early days in Paris and his familiarity with the Quartier
Latin, his connection with Punch began, ten years later than Tenniel's. Soon
afterwards he succeeded to Leach's prominent position and earned his
world-wide fame, which was not lessened by his novels, Peter Ibbetson and
Trilby.

I should have loved to hear him say at one of the weekly Punch dinners,
as the man who told me did: "Fellows will write to me as de Maurier; I wish
they'd give the devil his du."

Painting One of du Maurier's closest friends was that fascinating

man Canon Ainger, Master of the Temple, with whom I had
only a slight acquaintance. They met constantly, almost daily, in their
beloved Hampstead, and indeed haunted its Heath: du Maurier was at home
in Bohemia; Ainger had never stood upon its soil; while their widely
separated religious views never hurt their friendship. "A strange world, my
masters."

He loved the stage. Would he had lived to see the position of its leader
in England, to-day, achieved by his son Gerald!

"Sammy," as Linley Sambourne was affectionately called by his

intimates, will complete my trio of Punch draughtsmen.

He was an amusing little creature, always very horsey in get up. I have
his gift of the first drawing from his pencil which appeared in Punch, so
long ago as 1867, when he was but twenty-two; it is a droll little sketch of
George Honey as Eccles, John Hare as Sam Gerridge, and myself as
Captain Hawtree in Caste. He told me that it was drawn from memory, after
visits to the pit when Robertson's comedy was at the height of its first
success.

I recall an amusing incident which occurred at a fancy-dress ball,

largely attended by the artistic and "Bohemian" world. "Sammy" appeared,
admirably appointed and dressed, as a little fat Dutchman. He was cheerily
greeted by Gilbert, who ran against him with the words: "One Dutch of
Sambourne makes the whole world grin."

Pellegrini I must write a few lines in memory of the prince of

caricaturists, Carlo Pellegrini. We knew him throughout his
career and always enjoyed his company. On one evening when he gave it to
us, on being announced, he kissed my wife's hand and uttered some
compliment in Italian; she immediately, in a spirit of fun, rapidly recited an
old and rather long "proverb" in his language, which she had learned by
heart, as a child—it being her sole acquaintance with Italian—the little
man's expression of amazement was a study.

She played the same trick, with still greater effect, on the stage of the
Scala Theatre at Milan which we went over with a party of friends, when
Arthur Cecil asked her to address an imaginary audience.

Music I sat to Pellegrini once, when he began to paint portraits

seriously—the idea was soon abandoned.—With regard to