Poor Mark! He had had an inkling of this before; but it had hardly presented itself to him in such certain terms. It was, then, a positive fact, that in punishment for his weakness in having signed that bill he would have to pay, not only four hundred pounds, but four hundred pounds with interest, and expenses of renewal, and commission, and bill stamps. Yes; he had certainly got among the Philistines during that visit of his to the duke. It began to appear to him pretty clearly that it would have been better for him to have relinquished altogether the glories of Chaldicotes and Gatherum Castle. And now, how was he to tell his wife? Sir Joshua and Holbein. Long ago discarded from our National Gallery, with the contempt logically due to national or English pictures,—lost to sight and memory for many a year in the Ogygian seclusions of Marlborough House—there have reappeared at last, in more honourable exile at Kensington, two great pictures by Sir Joshua Reynolds. Two, with others; but these alone worth many an entanglement among the cross-roads of the West, to see for half-an-hour by spring sunshine:—the _Holy Family_, and the _Graces_, side by side now in the principal room. Great, as ever was work wrought by man. In placid strength, and subtlest science, unsurpassed;—in sweet felicity, incomparable. If you truly want to know what good work of painter’s hand is, study those two pictures from side to side, and miss no inch of them (you will hardly, eventually, be inclined to miss one): in some respects there is no execution like it; none so open in the magic. For the work of other great men is hidden in its wonderfulness—you cannot see how it was done. But in Sir Joshua’s there is no mystery: it is all amazement. No question but that the touch was so laid; only that it _could_ have been so laid, is a marvel for ever. So also there is no painting so majestic in sweetness. He is lily-sceptred: his power blossoms, but burdens not. All other men of equal dignity paint more slowly; all others of equal force paint less lightly. Tintoret lays his line like a king marking the boundaries of conquered lands; but Sir Joshua leaves it as a summer wind its trace on a lake; he could have painted on a silken veil, where it fell free, and not bent it.