Just before Mr. Clemens made his speech, a young woman attired as Joan of Arc, with a page bearing her flag of battle, courtesied reverently and tendered Mr. Clemens a laurel wreath on a satin pillow.  He tried to speak, but his voice failed from excess of emotion.  “I thank you!” he finally exclaimed, and, pulling him self together, he began his speech.

Now there is an illustration [pointing to the retreating Joan of Arc].  That is exactly what I wanted—­precisely what I wanted—­when I was describing to myself Joan of Arc, after studying her history and her character for twelve years diligently.

That was the product—­not the conventional Joan of Arc.  Wherever you find the conventional Joan of Arc in history she is an offence to anybody who knows the story of that wonderful girl.

Why, she was—­she was almost supreme in several details.  She had a marvellous intellect; she had a great heart, had a noble spirit, was absolutely pure in her character, her feeling, her language, her words, her everything—­she was only eighteen years old.

Now put that heart into such a breast—­eighteen years old—­and give it that masterly intellect which showed in the face, and furnish it with that almost god-like spirit, and what are you going to have?  The conventional Joan of Arc?  Not by any means.  That is impossible.  I cannot comprehend any such thing as that.

You must have a creature like that young and fair and beautiful girl we just saw.  And her spirit must look out of the eyes.  The figure should be—­the figure should be in harmony with all that, but, oh, what we get in the conventional picture, and it is always the conventional picture!

I hope you will allow me to say that your guild, when you take the conventional, you have got it at second-hand.  Certainly, if you had studied and studied, then you might have something else as a result, but when you have the common convention you stick to that.

You cannot prevail upon the artist to do it; he always gives you a Joan of Arc—­that lovely creature that started a great career at thirteen, but whose greatness arrived when she was eighteen; and merely, because she was a girl he can not see the divinity in her, and so he paints a peasant, a coarse and lubberly figure—­the figure of a cotton-bale, and he clothes that in the coarsest raiment of the peasant region just like a fish woman, her hair cropped short like a Russian peasant, and that face of hers, which should be beautiful and which should radiate all the glories which are in the spirit and in her heart that expression in that face is always just the fixed expression of a ham.

But now Mr. Beard has intimated a moment ago, and so has Sir Purdon-Clarke also, that the artist, the, illustrator, does not often get the idea of the man whose book he is illustrating.  Here is a very remarkable instance of the other thing in Mr. Beard, who illustrated a book of mine.  You may never have heard of it.  I will tell you about it now—­A Yankee in King Arthur’s Court.