'Being seated round a table covered with green baize—of course with the exception of my friend whom I accompainied, John Wilson, all to me were strangers—a little square built man came in, to whom all paid respect; the business having begun, he joined in the conversation, and made some weak attempts at wit—at least I thought so, for no one seemed to laugh at his jokes but himself! So I asked who this very facetious little man was, and my astonishment on being told that it was the 'Great Turner' almost, without meaning a pun, turned my head.'
Turner was not the first great man, and he will not be the last little man, at whose jokes no one laughs but himself.
[CHAPTER XXX]
1824: AGED FORTY-NINE
A GLANCE AT SOME OF 'THE RIVERS OF ENGLAND' AND 'HARBOURS OF ENGLAND' WATER-COLOURS
In 1824 the British National Gallery was founded, and it was decided by the Committee, which included Sir Robert Peel and Lord Harding, to buy two of Turner's pictures, for presentation to the Gallery. The works chosen were 'Dido Building Carthage' and' The Decline of the Carthaginian Empire.' Five thousand pounds were to be offered for the two. A memorial was drawn up, and Griffiths, Turner's old friend, was instructed to present it to the painter.
Turner, we are told by Thornbury,
'was deeply moved, even to tears, for he was capable of intense feeling. He expressed his pride and delight at such a noble offer from such men. But his eye caught the word "Carthage" in the memorial, and he exclaimed sternly: "No, no, they shall not have it"; and upon Griffiths turning to go, he called out after him: "Oh, Griffiths! make my compliments to the memorialists, and tell them 'Carthage' may some day become the property of the nation."'