"And in your 'Drawing for Artistic Pleasure,' the great lesson there is, that true artistic pleasure can only be excited in others by the artist that knows what he is about, though he does not express it. Did you ever see a drawing or an etching by Victor Hugo? Hugo is a poet, and affects to be an artist. But his knowledge of what is or should be organic, in every picture, is so lamentably absent, that his poetry (sought to be imparted in that shape) goes for nothing.
"In 'Right and Wrong in Drawing,' which is excellently written, the concluding paragraph is admirable. The chapter on 'Etching and Dry-Point' is charmingly written, easy and refined in diction, and set down con amore."
Then came this letter from Mr. Browning:—
"19 WARWICK CRESCENT, W. March 6, 1882.
"DEAR MR. HAMERTON,—I thought your dedication a great honor to me, and should have counted it such had it simply prefaced a pamphlet. To connect it with this magnificent book is indeed engraving my name on a jewel, instead of stone or even marble.
"Your sumptuous present reached me two days ago—and will be consigned to 'my library,' when the best jewel I boast of is disposed of on my dressing-table among articles proper to the place: no, indeed—it shall be encased as a jewel should, on a desk for all to see how the author has chosen to illustrate the [painting- and] drawing-room of the author's admirer and (dares he add?) friend,
"ROBERT BROWNING."
Mr. Alfred Hunt also wrote: "I can see that the plan of the book is admirable. I often want to know something about art processes which I don't practise myself, and which I might be stimulated into trying if I was only younger."
The sale of the book was rapid, and before six weeks had elapsed so few copies remained that the prices were raised to fifteen guineas for the large edition, and to seven and a half guineas for the small one. But the author had overworked himself, and hurry had brought back the old enemy—insomnia. Mr. Seeley, who had lately suffered from lumbago, wrote:—
"Sleeplessness is a far worse thing than lumbago. You are right in taking it seriously. I have little doubt, however, that by avoiding overwork—and especially hurried work—and getting plenty of exercise, you will overcome the tendency. If you ever do another big book, we must take two or three years for it, and have no sort of hurry. I once thought of the 'Landscape Painters' as a good subject for a big book."