The interviewer remarked that the readers of the ----"would be very interested in knowing exactly how the thing (interviewing) was done. How did the ideas come? How did they take shape? And what was the method of work? Neither at these nor at any other questions did Mr. Furniss wince. It must not be forgotten that when he was in America last year he was interviewed, on an average, once a day; and a man who has passed through such an experience as that is unlikely to recoil before any ordinary ordeal; although Mr. Furniss was bound to admit that a combination of interviewer, artist, and photographer had never before got him into his grip. The situation would have had its ludicrous side for anybody who had chanced to peep through the skylight. The spectacle of five men (for the presence of the indefatigable secretary was an indispensable part of the proceedings) all solemnly drinking tea, while a deer-hound kept a wistful eye on the sugar-basin, was unusual, and perhaps a little grotesque--to all save the participants. Seated at his easel in the characteristic position represented in our sketch, Mr. Furniss would now and again ask permission to move his arm towards his cup of tea, and would then bend back to the make-belief work at which he was posing." There is a picture of interviewing! Everything so prepared, so studied, so well described to impress the subscribers of the enterprising journal. The photographer with a wide angle lens took in all that was in my studio--to "make-believe," as the camera invariably does, that the apartment was six times larger than it really is. But the artist, who _should_ idealise if the photographer could not, who so sadly interfered with my enjoying my tea, who was sent to make the most of me to raise the enthusiasm of the readers and to increase the subscriptions, succeeded in doing with his pencil what no interviewer has done with his pen,--he made me wince! Here is a reduction of the serious portrait published. I have sat down time after time to answer young correspondents' questions about the "system" to adopt for the production of caricature. I invariably end by drawing imaginary caricatures of my correspondent and fail to reply. When interviewed on the subject of caricature, I discourse on the history of the Pre-Raphaelite movement, and the technique in the work of Burne-Jones, Rossetti, and Holman Hunt, and caricature is therefore driven from our minds. However, the difficulty was solved in a very unexpected manner. One day, whilst smoking my cigar after lunch, I overheard an interview in my studio, which I here reproduce. A Pencil of mine was working away merrily shortly after the opening of the Session, when suddenly my favourite Pen flew off the writing-table, where it had been enjoying a quiet forty winks, and alighted on the easel. [Illustration]