mind when pent up in London during the darksome and dreary November days, half asphyxiated with the smoke and sulphur laden atmosphere; then the very remembrance of such a time of golden sunshine and fresh and fragrant breezes is of untold refreshment.
Some people might have deemed that prospect, composed chiefly of flat fields, sluggish waters, and scattered trees, uninteresting and unbeautiful, with nothing to commend it, still less to rave about; but there is such a thing as the art of seeing, which art reveals, to those who cultivate it, beauty in the most unexpected places. The charm of form and colour is often a noteworthy factor that makes for beauty in a prospect that is devoid of the picturesque and the "sweetly pretty." The best training in the art of seeing and discovering beauty that I know is to make a series of sketches from Nature, in colour—water-colour for preference, as being clearer of tint and easier applied. Take, for instance, a bit of an old stone wall, or, better still, a weather-stained boulder on some moor, outline it as well as you can—never mind the drawing at first, it is the colour you must look for—copy these tint for tint, hue for hue, as faithfully as you can. Before starting you may imagine that the rugged boulder is simply gray all over, lighter on the side where the sun shines, and darker in the shadows, and that is all; but as you try to represent its surface you will soon discover, if you only look hard and carefully enough, that what you at first deemed to be merely a mass of gray is composed of a myriad changeful colours:
