How to avoid Disappointment
ONE of my favourite lounges in Paris is the studio of an artist, who tolerates my presence on the score of a slight service which I happened to render him some years ago, and which he magnifies into a lasting claim on his gratitude. I soon acquire an almost passionate interest in the progress of a noble picture. I love to think how the perfect whole exists in the imagination of the artist before his pencil has marked the canvas—to observe how every minute stroke, every dismal-looking layer of colour conduces to the ultimate effect, and how completely the creative genius which has conceived the result can calculate the necessary means. I love to watch the artist's eye, so wrapt and unworldly in its glance, scrupulously attentive to the details of his actual labour, yet keeping ever in view the idea which that labour is to fulfil. I say to myself—this is an image of what our life should be—a series of efforts directed to the production of a contemplated whole, just as every stroke of the artist's pencil has a purpose bearing on the conception which he retains in his mind's eye. We should all be painting our picture, whether it be a home scene after
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