And indeed, what Fensden said was certainly true. Godfrey Henderson, one of the most promising of our younger painters, was as unlike the popular notion of an artist as could well be found. He had rowed stroke in his ’Varsity boat, had won for himself a fair amount of fame as a good all-round athlete, and at the same time had painted at least three of the most beautiful pictures--pictures with a subtle touch of poetry in them--that the public had seen for many years. His height was fully six feet one and a half, his shoulders were broad and muscular; he boasted a pleasant and open countenance, such a one in fact as makes one feel instinctively that its owner is to be trusted. Taken altogether, a casual observer would have declared him to be a young country Squire, and few would have guessed that the greater portion of his life was spent standing before an easel, palette and brush in hand. Victor Fensden, his companion, was of an altogether different stamp. He was at least three inches shorter, was slimly built, and at first glance would appear to possess a highly nervous and delicate constitution. In his dress he also differed from his friend. His taste betrayed a partiality for velvet coats; his ties were usually startling, so far as colour went; he wore his hair longer than is customary, and further adorned his face with a neat little Vandyke beard and mustache. Like Henderson he was also a votary of the brush. His pictures, however, were of the impressionist order--pretty enough in their way, but lacking in form, and a trifle vague as to colouring. On occasions he wrote poetry. There were some who said he was not sincere, that his pictures were milk-and-water affairs, suggestive of the works of greater men, and only intended to advertise himself. If that were so, the success they achieved was comparative. Sad to relate, there were people in London who had not heard the name of Victor Fensden; while the walls of the Academy, which he affected so much to despise, had not so far been honoured by his patronage. “The whole thing,” he would say, adopting the language of our American cousins, “is controlled by a Business Ring; the Hanging Committee and the dealers stand in with each other. If you prefer to do bad work deliberately, or at any rate are content to be commonplace, then you’re safe for admission. But if you prefer to do something which may, or may not, please the multitude, but which will last longer than Burlington House, or the National Gallery itself, then you must be content to remain outside.” After this tirade, regardless of the implied sneer at his work, Godfrey would laugh and turn the matter off by proposing dinner, luncheon, or some other distraction. He knew the value of his own work, and was content to estimate it accordingly.