gratified unless some great and good man stepped in and played the part
of a Mæcenas.

In fact, Joshua wanted to go to London and study with Hudson, the
son-in-law and pupil of Richardson, the eminent author who wrote the
"Theory of Painting." Warmell felt sure that after a few months, with his
help, young Reynolds could get the technique and the color-scheme, and a'
that, and the firm of Warmell and Reynolds could open a studio in
Plymouth or Portsmouth and secure many good orders.

Craunch listened with patience and advised with the boy's parents.

The next week he took the lad up to London and entered him as a pupil
with the great Hudson, who could not paint much of a picture himself, but
for a consideration was willing to show others how.

Rumor has it that Warmell got a certain sum in English gold for all
pupils he sent to Hudson's studio, but I take no stock in such
insinuations.

Warmell here disappears from mortal view, like one of those stage
trapdoor vanishings of Mephisto--only Mephisto usually comes back, but
Warmell never did.

Reynolds was very happy at Hudson's studio. He was only seventeen years
old when he arrived there, fresh from the country. London was a marvel of
delight to Joshua; the shops, theaters, galleries and exhibitions were a
never-ending source of joy. He worked with diligence, and probably got
more for his money than any one of Hudson's fifty pupils. Hudson was
well-to-do, dignified and kind. His place was full of casts and classic