In the distance, from the upper windows of the cathedral close, on that side where Arthur lived, you could see the Linktown hills, with their graceful curving lines cut out against the sky; and if you had stood upon the Linktowns you might have seen another range of hills, which shut out Barton Hall from the rude world.
Arthur Phillips, as I have said, lived in this College Green, and his studio was at the top of one of those old houses, which had a glorious landscape before it, with the Linktowns for a background.
It was a curious old room, Arthur’s studio, with mullioned windows in it, and a wonderfully carved fireplace, with grinning heads cut in the mantelpiece. Several lay-figures were carelessly placed at one end of the room, and there were a couple of easels with half-finished pictures upon them. A few sketches in oil and in water-colours were hung about the room, and there was a guitar upon an old carved couch, and a large portfolio beside it. The artist wore a loose blouse, and looked at home in manner and appearance amongst his miscellaneous treasures.
Young Hammerton was a handsome fellow, one of a handsome stock. The Hammertons had been Earls of Verner for a century or more, and there was never known an ill-looking man or woman amongst them since the period when they came into the old island with the Norman Conqueror.
But there must have been much Saxon intermarrying in the family if one might judge from the fair skin and brown curly hair of Lionel Hammerton. And he was of sturdy make withal—a fine specimen of a handsome young Englishman, with a full hazel eye, and white regular teeth.
Lionel and Arthur had known each other for several years, the friendship commencing through a series of drawing lessons which Arthur Phillips had given Mr. Hammerton at Earl Verner’s residence.
The Earl, Lionel’s brother, was a man of great taste in the arts, and he had been Arthur’s first patron.
Arthur had exhibited several pictures unsuccessfully at the great Midland Counties Exhibition, when Earl Verner singled out a landscape with figures in the foreground, by Mr. Phillips, as the best, the most conscientiously painted picture of that year.
This was Arthur’s first start; the Earl purchased the picture, and the papers spoke of it in high terms of praise. The Art Journal, in a brief sketch of the Exhibition, noticed this painting as the work of one of the most promising artists of the day; and next season two works of Arthur’s were hung at the Royal Academy, and Success came unto him, and marked him for her own.
Earl Verner gave him several commissions, and placed Lionel Hammerton under him as a pupil, and this was how their friendship began.