Sir Frederick Wedmore says that it was at Hampstead evening parties that du Maurier found his type of the Adonis up-to-date. Alas, that even by Sir Frederick Wedmore the type should be regarded as salient of du Maurier's pictures. It is further evidence that the artist is only remembered by his later pictures. It is in these the type monotonously appears. But we feel better disposed towards Hampstead when the eminent critic adds that Church Row itself gave du Maurier more than one of the models in whom one recognises his ideal of youthful feminine charm. [Illustration: Manuscript of "Nocturne" "Sun of the Sleepless--Melancholy Star!"--BYRON. Translated into French by George du Maurier. _The English Illustrated Magazine_, September 13, 1886.] Du Maurier's tastes were very quiet. His interests were centred in his home, and he found no companionship more acceptable than that of his own children. He was not at all fond of being alone. He preferred even to work with people round him; writing his novels in the drawing-room standing with the MS. upon the top of the piano, and walking up and down undisturbed by the conversation of his family round him. It caused him no annoyance when members of his family broke into his studio during working hours. His work both as draughtsman and writer was always produced without any of that pathetic travail which for many artists and writers lies between conception and expression. He did not exhibit the most unpleasant of the traits of a talented person--the overstrung condition of nerves which makes a man unpleasant to a household; he preserved the serenity that pertains to greater genius still. His house was always an open one, and the life in it must have been highly typical of that English family life of which he was the pre-eminent poet in his drawings. Du Maurier was elected a member of the Athenæum Club under Rule 2. He showed his appreciation of this Club by not making use of any other, though he was such a highly sociable man. He was early a member of the Arts Club, though using it less frequently after its removal to the Dover Street house, of old-world distinction. At the Athenæum he frequented the billiard-room as a sociable place, though he was not very fond of billiards or card games. He could get on quite well in life upon "conversation" as a recreation, interspersed with music. After the great _Trilby_ boom, and when he was writing _The Martian_--in fact, only a year before his death, the artist moved into town to live in Oxford Square. He was partly influenced in this by the expiration of the twenty-one years' lease upon which he held the Hampstead property.