Charles Dickens

I am no painter myself, but I have studied pictures and written about them. I have seen all the most famous pictures in the world; my education and reading have been sufficiently general to possess me beforehand with a knowledge of most of the subjects to which a Painter is likely to have recourse; and, although I might be in some doubt as to the rightful fashion of the scabbard of King Lear's sword, for instance, I think I should know King Lear tolerably well, if I happened to meet with him.

I go to all the Modern Exhibitions every season, and of course I revere the Royal Academy. I stand by its forty Academical articles almost as firmly as I stand by the thirty-nine Articles of the Church of England. I am convinced that in neither case could there be, by any rightful possibility, one article more or less.

It is now exactly three years - three years ago, this very month - since I went from Westminster to the Temple, one Thursday afternoon, in a cheap steamboat. The sky was black, when I imprudently walked on board. It began to thunder and lighten immediately afterwards, and the rain poured down in torrents. The deck seeming to smoke with the wet, I went below; but so many passengers were there, smoking too, that I came up again, and buttoning my pea-coat, and standing in the shadow of the paddle- box, stood as upright as I could, and made the best of it.

It was at this moment that I first beheld the terrible Being, who is the subject of my present recollections.

Standing against the funnel, apparently with the intention of drying himself by the heat as fast as he got wet, was a shabby man in threadbare black, and with his hands in his pockets, who fascinated me from the memorable instant when I caught his eye.

Where had I caught that eye before? Who was he? Why did I connect him, all at once, with the Vicar of Wakefield, Alfred the Great, Gil Blas, Charles the Second, Joseph and his Brethren, the Fairy Queen, Tom Jones, the Decameron of Boccaccio, Tam O'Shanter, the Marriage of the Doge of Venice with the Adriatic, and the Great Plague of London? Why, when he bent one leg, and placed one hand upon the back of the seat near him, did my mind associate him wildly with the words, 'Number one hundred and forty-two, Portrait of a gentleman'? Could it be that I was going mad?

I looked at him again, and now I could have taken my affidavit that he belonged to the Vicar of Wakefield's family. Whether he was the Vicar, or Moses, or Mr. Burchill, or the Squire, or a conglomeration of all four, I knew not; but I was impelled to seize him by the throat, and charge him with being, in some fell way, connected with the Primrose blood. He looked up at the rain, and then - oh Heaven! - he became Saint John. He folded his arms, resigning himself to the weather, and I was frantically inclined to address him as the Spectator, and firmly demand to know what he had done with Sir Roger de Coverley.

The frightful suspicion that I was becoming deranged, returned upon me with redoubled force. Meantime, this awful stranger, inexplicably linked to my distress, stood drying himself at the funnel; and ever, as the steam rose from his clothes, diffusing a mist around him, I saw through the ghostly medium all the people I have mentioned, and a score more, sacred and profane.

I am conscious of a dreadful inclination that stole upon me, as it thundered and lightened, to grapple with this man, or demon, and plunge him over the side. But, I constrained myself - I know not how - to speak to him, and in a pause of the storm, I crossed the deck, and said:

'What are you?'

He replied, hoarsely, 'A Model.'

'A what?' said I.

'A Model,' he replied. 'I sets to the profession for a bob a- hour.' (All through this narrative I give his own words, which are indelibly imprinted on my memory.)

The relief which this disclosure gave me, the exquisite delight of the restoration of my confidence in my own sanity, I cannot describe. I should have fallen on his neck, but for the consciousness of being observed by the man at the wheel.