Gill was closely associated in early days with Straight and Mathews; later in his brilliant career there was scarcely a sensational criminal trial in which he did not play a leading part.
A very wise member of his profession only lately said that were any friend of his in a difficulty that called for unerring judgment and delicacy of handling his best advice would be: "Consult Charles Gill."
V
PAINTING: SCULPTURE: MUSIC
"So famous, so excellent in Art."
Painting
It is many years since, as my wife and I were leaving the Savoy Theatre at the close of an afternoon performance of a Gilbert and Sullivan opera, we were shocked by a newsboy shouting "Death of Lord Leighton." We made Frederic Leighton's acquaintance in the green-room of our theatre. Soon afterwards we dined at his beautiful house in Kensington. In its neighbourhood there was a nest of his comrades in art, including Val Prinsep, Luke Fildes and Marcus Stone. We were friends for years: he did me the honour to propose me at the Athenæum, but did not live to see me elected. He was a remarkable and gifted man—an Admirable Crichton—painter, sculptor, linguist—as well as an eloquent, if a somewhat florid, speaker, and an admirable man of affairs, besides, as we actors say, having a perfect appearance for his part. Was it not Thackeray who told him once that Millais was the only man with a chance against him for the Presidency of the Royal Academy?
His beautiful art was best illustrated in his early days, I always thought, by The Slinger and the sculptured figure of an athlete struggling with a python. I also remember well his life-like portrait of the famous explorer, Sir Richard Burton.
Millais