sions. Milton he always abused, though he sometimes betrayed more knowledge of him that he would have been willing to admit; Wordsworth he disliked; he had little admiration for the later works of Browning, once so great a master to him, nor did he care much for anything of Tennyson's after "Maud." Keats he held the first of modern English poets.
Among the great prose authors under whose influence he had fallen at Oxford, Carlyle and Ruskin were the two who continued to hold him most strongly. For the latter, whose influence over him was indeed much the more profound and far-reaching, his admiration was sometimes crossed by that defiance which had been observed in his Oxford days to mingle with his enthusiasm for Tennyson. The earlier volumes of "Modern Painters" had been received by him with an admiration akin to worship; he was heard to describe the fifth volume, when it appeared in 1860, in a phrase characteristic of a swallower of formulas, as "mostly gammon." But this was the caprice of a momentary impatience; and all his serious references to Ruskin showed that he retained towards him the attitude of a scholar to a great teacher and master, not only in matters of art, but throughout the whole sphere of human life.
In a very different spirit he was devoted to George Borrow and read him perpetually; and no less devoted to the more obscured fame of William Cobbett, with whom he had many tastes and prejudices in common, and whose "Rural Rides" he knew almost by heart. Peacock was another of his favourite authors. But volumes which he read perhaps more than any of these, and which he imposed on his friends unflinchingly, were those describing the sayings and doings of the celebrated Mr. Jorrocks. With a feeling that was not,
