remember Saffi was there, and a brother of Rossetti's. And by-and-bye Rossetti came and I was taken up to him and had my first fearful talk with him. Browning's 'Men and Women' had just been published a few days before, and some one speaking disrespectfully of that book was rent in pieces at once for his pains and was dumb for the rest of the evening, so that I saw my hero could be a tyrant, and I thought it sat finely upon him. Also, another unwary man professed an interest in metaphysics; he also was dealt with firmly; so that our host was impelled to ask if Rossetti would have all men painters, and if there should be no other occupation for mankind. Rossetti said stoutly that it was so. But before I left that night, Rossetti bade me come to his studio next day. It was at the top of the last house by Blackfriars Bridge, at the north-west corner of the bridge, long ago pulled down to make way for the Embankment; and I found him painting at a water-colour of a monk copying a mouse in an illumination. The picture was called 'Fra Pace' afterwards, and belongs now to Mrs. Jekyll. He received me very courteously, and asked much about Morris, one or two of whose poems he knew already, and I think that was our principal subject of talk, for he seemed much interested about him. He showed me many designs for pictures; they tossed about everywhere in the room: the floor at one end was covered with them and with books. No books were on shelves, and I remember long afterwards he once said that books were no use to a painter except to prop up models upon in difficult positions, and that then they might be very useful. No one seemed to be in attendance upon him. I stayed long and watched him at work, not knowing till many a day afterwards that this was a thing he greatly hated, and when, for shame, I
