How often have I and Gower—that youngest of the three, on the other side, with the moustache—urged him to write a book. But he waits, and, with his fastidiousness, will always wait, I am afraid, till he has practically solved this problem;—given a subject in remote history, for which not ten of your friends care a straw; required such a treatment of it as shall at once be relished by the many and accredited as standard by the few. So, thinking it useless to write what scarcely anyone will read, and despairing of being ever erudite and popular at the same time, he is content to enquire and to accumulate in most happy obscurity. Doubtless the world groans under its many books, yet it misses some good ones that would assuredly be written if able men with the ambition were oftener possessed of the time required, or if able men with the time were oftener possessed of the ambition. You ask me, ‘Who is this Gower?’ An artist. Atherton met with him at Rome, where he was tracing classic sites, and Gower worshipping the old masters. Their pathway chanced on one or two occasions to coincide, and by little and little they grew fast friends. They travelled through Germany together on their way home, and found their friendship robust enough to survive the landing on our British shore. Unquestionably the pictured Vatican, sunny Forum, brown Campagna, garlanded baths of Caracalla, with quaint, ingenious Nuremberg, and haunted Hartz, made common memories for both. But this was not all. Atherton had found the young painter in a sentimental fever. He raved about Shelley; he was full of adoration for the flimsiest abstractions—enamoured of impersonations the most impalpable; he discoursed in high strain on the dedication of life as a Hymn to Intellectual Beauty. The question of questions with him concerned not Truth or Fable, but the Beautiful or the Not-Beautiful. Whatever charmed his taste was from Ormuzd, the Good: whatever revolted it, from Ahriman, the Evil; and so the universe was summarily parted. He fancied he was making art religious, while, in fact, he made religion a mere branch of art,—and that branch, of all others, the most open to individual caprice. From these wanderings Atherton reclaimed him, wisely, and therefore almost insensibly. Gower never forgot the service. In his admiration for Atherton, when fully conscious of it, he little suspected that he, too, had conferred a benefit in his turn. Atherton had looked too much within, as Gower too exclusively without. A certain imaginative, even poetical element, dormant in the mind of the former, was resuscitated by this friendship.