His usual costume was an old dusty brown coat, corduroy pantaloons, and a waistcoat that had once been red, boots that had once been black, and a low crowned rusty hat--which was never off his head, even in the presence of the ladies--and a bandanna cravat. The vulgarity of his habits, and the rudeness of his deportment, all passed off under the title of eccentricity. At the period when he flourished--it was long before the time of Sully--the _beau ideal_ of an artist, at least among the multitude, was an ugly, ill-mannered, dirty fellow, that painted an inch thick in divers gaudy colours, equally irreconcileable to nature and art. And the chief attractions of a drawing master--for Mr. Gummage was nothing more--lay in doing almost everything himself, and producing for his pupils, in their first quarter, pictures (so called) that were pronounced "fit to frame." "Well, madam," said Mr. Gummage, "what do you wish your daughter to learn? figures, flowers, or landscapes?" "Oh! all three," replied Mrs. Atmore. "We have been furnishing our new house, and I told Mr. Atmore that he need not get any pictures for the front parlour, as I would much prefer having them all painted by Marianne. She has been four quarters with Miss Julia,[72] and has worked Friendship and Innocence, which cost, altogether, upwards of a hundred dollars. Do you know the piece, Mr. Gummage? There is a tomb with a weeping willow, and two ladies with long hair, one dressed in pink, the other in blue, holding a wreath between them over the top of the urn. The ladies are Friendship. Then on the right hand of the piece is a cottage, and an oak, and a little girl dressed in yellow, sitting on a green bank, and putting a wreath round the neck of a lamb. Nothing can be more natural than the lamb's wool. It is done entirely in French knots. The child and the lamb are Innocence." [Footnote 72: Miss Julianna Bater, an old Moravian lady, from Bethlehem, Pennsylvania, who was well known in Philadelphia, many years since, as a teacher of embroidery.] "Ay, ay," said Gummage, "I know the piece well enough--I've drawn them by dozens." "Well," continued Mrs. Atmore, "this satin piece hangs over the front parlour mantel. It is much prettier and better done than the one Miss Longstitch worked, of Charlotte at the tomb of Werter, though she _did_ sew silver spangles all over Charlotte's lilac gown, and used chenille, at a fi'-penny-bit a needleful, for all the banks and the large tree. Now, as the mantel-piece is provided for, I wish a landscape for each of the recesses, and a figure-piece to hang on each side of the large looking-glass, with flower-pieces under them, all by Marianne. Can she do all these in one quarter?" "No, that she can't," replied Gummage; "it will take her two quarters' hard work, and may be three, to get through the whole of them."