to Italy.

Our artist for many years resided at St. John's Wood, and when he took seriously to water-colour painting he at first selected his subjects from the fields about Hampstead and Highgate. He soon, however, wandered farther afield, and was attracted by the picturesque scenery of Surrey. During his wanderings in this delightful county he found himself at Witley, near Godalming, and he resolved to have a residence there.

It cannot be said that Witley was "discovered" by Birket Foster, for other artists were there before him. J. C. Hook, R.A., had already built himself a residence and studio upon an eminence with a beautiful view overlooking the Weald of Surrey. There can, however, be no doubt that the genial disposition and the liberal hospitality of the owner of "The Hill" afterwards attracted many of his fellow-artists to the neighbourhood.

Witley station stands at a spot where the railway emerges from a deep cutting with pine woods on either side, and at this period there were but few houses or even cottages in the vicinity, for the village itself lies a mile and a quarter to the northward; but Birket Foster managed to secure the possession of a picturesque cottage called "Tigbourne," situated by the corner of the road leading to Hambledon at the foot of Wormley Hill, and resided there during the summer months.

Birket Foster eventually became so pleased with the neighbourhood that he determined to take up his permanent abode at Witley. After lengthy negotiations, he secured a beautiful site, between Wormley Hill and the railway station, on which he erected a house which was called "The Hill," and finally quitted St. John's Wood. He was practically his own architect, and residing near by at his cottage, he was enabled personally to superintend the erection of the entire building. In order that its newness should not offend the artistic eye, he purchased as many weather-worn tiles off the old cottages in the neighbourhood as possible, and placed them on the roof of his house. A great amount of care was bestowed on the internal decorations. William Morris was consulted, and Burne-Jones painted seven canvases illustrating the legend of St. George and the Dragon, which formed a frieze round three sides of the dining-room. Burne-Jones was also commissioned to make many other designs for the adornment of "The Hill"; the decorated tiles round the fire-places and stained glass in the windows were all designed by him. He also painted a large screen of eight folds, upon which were sixteen events of the life of St. Frideswide. These scenes were afterwards reproduced in the windows of Christ Church Cathedral at Oxford.

"The Hill" was an open house to all Birket Foster's friends, and particularly to his brother-artists. He was never more pleased than when he was entertaining his guests, and being specially fond of music, many of the social gatherings were enhanced by musical performances.

One of the most frequent visitors was Frederick Walker, A.R.A.: he was a special favourite, at all times welcome, and was one of the few who had an influence on Birket Foster's painting, especially his figures. He was in the habit of going to Witley whenever he felt inclined, without waiting for an invitation, a bedroom known as "Freddy's room" being reserved for him. Walker had an immense love for the place, which he called "Paradise," and greatly regretted that he had not sufficient money to purchase a cottage which J. C. Hook, R.A., had built near his house, the situation of which Walker considered "romantic—such a sweep of glorious country."

Another constant visitor was Charles Keene, the celebrated black and white artist of Punch. After Birket Foster had removed from "Tigbourne Cottage" he still rented it that he might make sure of the presence of an agreeable and congenial occupant, and persuaded Keene