There was peace and harmony in the home of the Reverend Taylor. An air of neatness and prosperity was about his four-room adobe house. The mocking-bird that hung in a willow cage against the white wall, by the door, whistled sweet mimicry of the cheep of the little chickens in the back yard, and hopped to and fro and up and down on his perches, pecking at the red chili between the bars. From the corner of his eyes he could peek into the window, and it was bright with potted geraniums, white as the wall, or red as the chili, or pink as the little crumpled palm that patted against the glass to him.
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Somebodys knocking, Dick gasped.[See larger version]Then his attention was fixed and his mind became mystified.Other English artists of this period were John Riley, an excellent and original painter, who died in 1691; Murray, a Scotsman; Charles Jervas, the friend of Pope, a man much overrated by his acquaintance; and Jonathan Richardson, a much superior artist to Jervas, and author of the valuable "Essay on the Art of Criticism, as it relates to Painting." Thomas Hudson, a pupil of Richardson, and his son-in-law, was an admirable painter of heads, and had the honour of being the instructor of Sir Joshua Reynolds. Henry Cook, like Thornhill, was a decorator, and painted the choir of New College Chapel, at Oxford, and the ceiling of a large room at the New River head. Among other artists of repute there may be named Luke Cradock, a flower and fruit painter; John Wootton, an animal painter; Francis Hayman, an historical painter and designer for book-platesthose for "Don Quixote" being his best; and George Lambert, one of the first English landscape painters of any mark.The Reverend Taylor sat in silence for a time, reflecting. Then he broke forth again, a little querulously. "What in thunderation do they dine at such an hour for?" Cairness explained that it was an English custom to call supper dinner, and to have it very late.