ably true to his purpose, and he so
carried his hearers with him, that one saw in the grotesque of the
performance only the guarantee of sincerity.

If one wanted more proof of that, there was his face, still
young-looking and beardless; made for expression, and sensitive to every
change of emotion. A long head, with enormous capacity of brain, veiled
by thick wavy hair, not affectedly lengthy but as abundant as ever, and
darkened into a deep brown, without a trace of grey; and short, light
whiskers growing high over his cheeks. A forehead not on the model of
the heroic type, but as if the sculptor had heaped his clay in handfuls
over the eyebrows, and then heaped more. A big nose, aquiline, and broad
at the base, with great thoroughbred nostrils and the "septum" between
them thin and deeply depressed; and there was a turn down at the corners
of the mouth, and a breadth of lower lip, that reminded one of his
Verona griffin, half eagle, half lion; Scotch in original type, and
suggesting a side to his character not all milk and roses. And under
shaggy eyebrows, ever so far behind, the fieriest blue eyes, that
changed with changing expression, from grave to gay, from lively to
severe; that riveted you, magnetised you, seemed to look through you and
read your soul; and indeed, when they lighted on you, you felt you had a
soul of a sort. What they really saw is a mystery. Some who had not
persuaded them to see as others see, maintained that they only saw what
they looked for; others, who had successfully deceived them, that they
saw nothing. No doubt they might be deceived; but I know now that they
often took far shrewder measurements of men--I do not say of women--than
anybody suspected.

For the Inaugural Course, he was, so to speak, on his best behaviour,
guarding against too hasty expression of individuality. He read careful
orations, stating his maturest views on the general theory of art, in
picked language, suited to the academic position. The little volume is
not discursive or entertaining, like "Modern Painters," and contains no
pictures either with pen or pencil; but it is crammed full of thought,
and of the results of thought.

The Slade Professor was also expected to organise and superintend the
teaching of drawing; and his first words in the first lecture expressed
the hope that he would be able to introduce some serious study of Art
into the University, which, he thought, would be a step towards
realising so