rushes and water and the reflections in water, and the gleams of weed beneath it. A certain dexterity having been acquired among these simple subjects, I will with less trepidation attempt to limn the thatch and brick of the populous village.
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I have now sketched in water-colours.
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I have been looking through the catalogue of artists' materials, very generously included free of charge with my recent purchases, and particularly at the list of colours. My unsuccess is now explained. The tubes that have been sold to me are dull, commonplace things. Cobalt Blue, Yellow Ochre, Vandyke Brown, Dragon's Blood, Raw Sienna, Burnt Sienna. These names carry me back nearly half a century to the nursery where, with a shilling box of paints, I tinted the designs of the then fashionable Kate Greenaway. How should I have rendered sedgy banks and feathery willows and elusive tremulous reflections with such trite matter? What I need is a supply of Oxide of Chromium and Italian Pink, Mars Yellow and Scarlet Madder Alizarin, Hooker's Green No. 2, and Purple Lake and Primrose Aureolin. The very names are an inspiration. What effects I might achieve with these! How
