Fred Walker, then one of the visiting artists at the R.A. schools, was a man who possessed great individuality, a highly strung and excessively nervous temperament, and, unfortunately, very bad health. It was the custom of the students, with whom he was very popular, to give an annual dinner, and about this time the toast of the evening was "Fred Walker." When his health was drunk, I remember he got up to reply, and found himself from sheer nervousness quite speechless, whereupon he murmured a scarcely audible "Thank you," and collapsed into his seat again. Du Maurier drew the character of "Little Billee" from this artist. He died young, and after his death his pictures fetched very high prices, especially some delicate and beautiful water colours. "The Haven of Rest," now in the Tate Gallery, is a poem on canvas, and it is also one of his most popular works, which will certainly live. Sir Hubert Herkomer was undoubtedly influenced by him in his earlier days. Marks and Fred Walker were the first two Academicians who lent their names to poster designs, and they were very much "called over the coals" for it. Millais came in for a like share of condemnation when he sold his "Bubbles" to Pears' Soap. In these days of advertisement, when the hoardings are covered with every type of art, and really great artists apply their talent to the demands of commercialism, the censure levelled at Millais, Walker, and Marks appears rather more like fiction than fact. Another novelty of that period was the musical play which Arthur Sullivan pioneered so successfully. My first experience of that delightful form of entertainment was at the Bennett Benefit, given by the staff of _Punch_ to raise funds for the family of one of their then deceased contributors. The musical version of _Box and Cox_ which was produced for the first time, was entitled _Cox and Box_ and attracted a good deal of attention. Sullivan, who had composed the music, conducted it himself; Sir Francis Burnand wrote the libretto, and Sir Henry de Bathe acted the part of the "Bouncer," with George du Maurier and Sir Spencer Ponsonby as the lodgers. Another musical play, _Les Deux Aveugles_, followed, in which Sir Henry de Bathe and Du Maurier acted again with Arthur Cecil. The _Punch_ staff performed in a play by Tom Taylor, entitled _The Wolf in Sheep's Clothing_, and the cast included the author, Mark Lemon, Tenniel, Shirley Brooks, Kate Terry, and Florence Terry (who took the child's part). The production was a most artistic one, and attracted a very distinguished audience: everybody of any consequence in the world of art, literature, and the stage, flocked to see _Punch_ behind the footlights. [Illustration: _From a life-size oil picture_ _painted by Leslie Ward, 1909_. SIR WILLIAM JAFFRAY, BART.] CHAPTER V 'SPY'