He delighted in having near him the pictures of his friends, and there were many on the next landing, in the vestibule and the Blue Room to which it led. Mr. Chamberlain, keen-eyed and alert, looked out from Frank Holl's canvas. Fawcett, [Footnote: Now in the National Portrait Gallery, as also Holl's 'Chamberlain,' by Sir Charles's bequest.] painted by Ford Madox Brown in 1871, recalled an earlier friendship, as did the portrait of John Stuart Mill, who, never having sat to any painter, just before his death allowed Watts to paint this for Sir Charles. The picture came home on the day Mill died, and is the original. It was left by will to the Westminster Town Hall. The picture in the National Portrait Gallery is a replica, painted by Sir Charles's leave. By Watts was also a beautiful portrait of Sir Charles himself, the pendant to another which has gone. He and his first wife were painted for each other, but the portrait of her seemed to him so inadequately to render the 'real charm' of the dead woman that he destroyed it. The illustrations of this book contain some reproductions of pictures mentioned here. Reminiscent of earlier family friendships were the Keats relics here and in Sir Charles's own study. Many of these had been bought by old Mr. Dilke from Keats's love, Fanny Brawne, to save them from the indignity of an auction. In the Blue Room also hung some extraordinarily fine pictures by Blake, who was the friend of Sir Charles's grandfather--among them 'The Crucifixion,' 'The Blasphemer,' and 'The Devil,' [Footnote: 'I gave four of my Blakes to the South Kensington Museum in 1884.'] The best loved both by the grandfather and by Sir Charles was the beautiful 'Queen Catherine's Dream.' A precious copy of _The Songs of Innocence_, hand-painted by Blake and his wife, completed the collection. There were several reliefs by Dalou in the house, the finest let in over the mantelpiece of the Blue Room, a copy of Flaxman's Mercury and Pandora. They were executed for Sir Charles when the sculptor was in London in great distress after the Commune, before the amnesty which retrieved his fortunes. Here also were reminiscences of Provence. One side of the wall was largely covered by a picture of Fréjus by Wislin, painted in the days when St. Raphael and Valescure did not exist, and when the old town rose clear from the low ground as Rome rises from the Campagna, the beautiful Roquebrune, a spur of Sir Charles's beloved Mountains of the Moors, behind it. Sèvres china, vases, bronzes, filled the window ledges, presents to the first Baronet from the Emperor of Austria, Napoleon III., the Crown Prince of Prussia (afterwards the Emperor Frederick), and other royal persons and Governments, with whom his Exhibition work brought him into touch.