ark
which the century had set up. I have made Henry looking glad, but this
was not intentional.

Edward I. comes next; LIGHT-BROWN paper, thirty-five squares. (Fig. 13.)

That is an editor. He is trying to think of a word. He props his feet on
a chair, which is the editor's way; then he can think better. I do not
care much for this one; his ears are not alike; still, editor suggests
the sound of Edward, and he will do. I could make him better if I had
a model, but I made this one from memory. But is no particular matter;
they all look alike, anyway. They are conceited and troublesome, and
don't pay enough. Edward was the first really English king that had yet
occupied the throne. The editor in the picture probably looks just as
Edward looked when it was first borne in upon him that this was so. His
whole attitude expressed gratification and pride mixed with stupefaction
and astonishment.

Edward II. now; twenty BLUE squares. (Fig. 14.)

Another editor. That thing behind his ear is his pencil. Whenever he
finds a bright thing in your manuscript he strikes it out with that.
That does him good, and makes him smile and show his teeth, the way he
is doing in the picture. This one has just been striking out a smart
thing, and now he is sitting there with his thumbs in his vest-holes,
gloating. They are full of envy and malice, editors are. This picture
will serve to remind you that Edward II. was the first English king who
was DEPOSED. Upon demand, he signed his deposition himself. He had found
kingship a most aggravating and disagreeable occupation, and you can
see by the look of him that he is glad he resigned. He has put his blue
pencil up for good now. He had struck out many a good thing with it in
his time.

Edward III. next; fifty RED squares. (Fig. 15.)

This editor is a critic. He has pulled out his carving-knife and his
tomahawk and is starting after a book which he is going to have for
breakfast. This one's arms are put on wrong. I did not notice it at
first, but I see it now. Somehow he has got his right arm on his left
shoulder, and his left arm on his right shoulder, and this shows us
the back of his hands in both instances. It makes him left-handed all
around, which is a thing which has never happened before, except perhaps
in a museum. That is the way with art, when it is not acquired but born
to you: you start in to make some simple little thing, not suspecting
that your genius is beginning to work and