should represent the mayor as issuing from under a Norman archway.
"The painter of the heroic resided a great way off, at the western end of the town. We had some difficulty in obtaining admission to him; a maidservant, who opened the door, eyeing us somewhat suspiciously. It was not until my brother had said that he was a friend of the painter that we were permitted to pass the threshold. At length we were shown into the studio, where we found the painter, with an easel and brush, standing before a huge canvas, on which he had lately commenced painting a heroic picture. The painter might be about thirty-five years old; he had a clever, intelligent countenance, with a sharp grey eye; his hair was dark-brown, and cut à la Raphael, that is, that there was very little before and much behind; he did not wear a neckcloth, but in its stead a black riband, so that his neck, which was rather fine, was somewhat exposed; he had a broad, muscular breast, and I make no doubt that he would have been a fine figure, but unfortunately his legs and thighs were somewhat short.
"My brother gave him a brief account of his commission. At the mention of the hundred pounds I observed the eyes of the painter to glisten. 'Really,' said he, 'it was very kind to think of me. I am not very fond of painting portraits; but a mayor is a mayor, and there is something grand in the idea of the Norman arch. I'll go; moreover, I am just at this moment confoundedly in need of money, and when you knocked at the door I thought it was some dun. I don't know how it is, but in the capital they have no taste for the heroic. They will scarce look at a heroic picture.'
"Thereupon it was arranged between the painter and my brother that they should depart [for Norwich]
