the fullness of time to the highest dignities of the Church. I see already his muscular calves encased in the gaiters episcopal. It was a hazardous, though maybe a gallant thing to do, since it is probable that the legend commonly received has had no small share in the growth of Strickland's reputation; for there are many who have been attracted to his art by the detestation in which they held his character or the compassion with which they regarded his death; and the son's well-meaning efforts threw a singular chill upon the father's admirers. It is due to no accident thatwhen one of his most important works, The Woman of Samaria,[4] was sold at Christie's shortly after the discussion which followed the publication of Mr. Strickland's biography, it fetched POUNDS 235 less than it had done nine months before when it was bought by the distinguished collector whose sudden death had brought it once more under the hammer. Perhaps Charles Strickland's power and originality would scarcely have sufficed to turn the scale if the remarkable mythopoeic faculty of mankind had not brushed aside with impatience a story which disappointed all its craving for the extraordinary. And presently Dr. Weitbrecht-Rotholz produced the work which finally set at rest the misgivings of all lovers of art.
[3] "Strickland: The Man and His Work," by his son, Robert Strickland. Wm. Heinemann, 1913.
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