"As for satire, good heavens! that seemed not in him. He was always well dressed, always in high spirits and a good temper, and very demonstrative and caressing; putting his arm round one, and slapping one on the back or lifting one up in the air; a kind of jolty, noisy, boisterous boon-companion—rather uproarious, in fact, and with no disdain for a good bottle of wine or a good bottle of beer. His artistic tastes were very catholic, for he was prostrate in admiration before Millais, Burne-Jones, Fred Walker, and Charles Keene, with the latter of whom he used to sing old English duets. Oddly enough, Charles Keene had for Josselin's little amateur pencillings the most enthusiastic admiration—probably because they were the very antipodes of his own splendid work. I believe he managed to get some little initial letters of Josselin's into Punch and Once a Week; but they weren't signed, and made no mark, and I've forgotten them.
"Josselin didn't really get his foot in the stirrup till a year or two after his marriage.
"And that was by his illustrations to his own Sardonyx, which are almost worthy of the letter-press, I think; though still somewhat lacking in freedom and looseness, and especially in the sense of tone. The feeling for beauty and character in them (especially that of women and children) is so utterly beyond anything else of the kind that has ever been attempted, that technical considerations
"BETWEEN TWO WELL-KNOWN EARLS"
no longer count. I think you will find all of us, in or outside the Academy, agreed upon this point.
"I saw very little of him after he bought Marsfield; but I sometimes meet his sons and daughters, de par le monde.
"And what a pleasure that is to an artist of my particular bent you can readily understand. I would go a good way to see or talk to any daughter of Josselin's; and to hear Mrs. Trevor sing, what miles! I'm told the grandchildren are splendid—chips of the old block too.
"And now, my dear Maurice, I will do my best; you may count upon that, for old-times' sake, and for Josselin's, and for that of 'La belle dame sans merci,' whom I used to admire so enthusiastically. It grieves me deeply to think of them both gone—and all so sudden!