His courteous and conciliatory tone towards his reader is remarkable, and it must be partly this quality which revealed his personal sweetness of character to so many who had never seen him. I have always felt it to be a curious fact, that he who had altered the face of Biological Science, and is in this respect the chief of the moderns, should have written and worked in so essentially a non-modern spirit and manner. In reading his books one is reminded of the older naturalists rather than of the modern school of writers. He was a Naturalist in the old sense of the word, that is, a man who works at many branches of the science, not merely a specialist in one. Thus it is, that, though he founded whole new divisions of special subjects--such as the fertilisation of flowers, insectivorous plants, dimorphism, etc.--yet even in treating these very subjects he does not strike the reader as a specialist. The reader feels like a friend who is being talked to by a courteous gentleman, not like a pupil being lectured by a professor. The tone of such a book as the 'Origin' is charming, and almost pathetic; it is the tone of a man who, convinced of the truth of his own views, hardly expects to convince others; it is just the reverse of the style of a fanatic, who wants to force people to believe. The reader is never scorned for any amount of doubt which he may be imagined to feel, and his scepticism is treated with patient respect. A sceptical reader, or perhaps even an unreasonable reader, seems to have been generally present to his thoughts. It was in consequence of this feeling, perhaps, that he took much trouble over points which he imagined would strike the reader, or save him trouble, and so tempt him to read. For the same reason he took much interest in the illustrations of his books, and I think rated rather too highly their value. The illustrations for his earlier books were drawn by professional artists. This was the case in 'Animals and Plants,' the 'Descent of Man,' and the 'Expression of the Emotions.' On the other hand, 'Climbing Plants,' 'Insectivorous Plants,' the 'Movements of Plants,' and 'Forms of Flowers,' were, to a large extent, illustrated by some of his children--my brother George having drawn by far the most. It was delightful to draw for him, as he was enthusiastic in his praise of very moderate performances. I remember well his charming manner of receiving the drawings of one of his daughters-in-law, and how he would finish his words of praise by saying, "Tell A--, Michael Angelo is nothing to it." Though he praised so generously, he always looked closely at the drawing, and easily detected mistakes or carelessness. He had a horror of being lengthy, and seems to have been really much annoyed and distressed when he found how the 'Variations of Animals and Plants' was growing under his hands. I remember his cordially agreeing with 'Tristram Shandy's' words, "Let no man say, 'Come, I'll write a duodecimo.'"