shape; because he knew well that just on this important point the more careless artists trusted to the joiners. The oldest planks were hunted up, the joiners were obliged to go accurately to work with gluing, painting, and arranging; and they were then kept for years in an upper room, where they could be sufficiently dried. A precious board of this kind was entrusted to the painter Junker, who was to represent on it an ornamental flower-pot, with the most important flowers drawn after nature in his artistic and elegant manner. It was just about the springtime; and I did not fail to take him several times a week the most beautiful flowers that fell in my way, which he immediately put in, and by degrees composed the whole out of these elements with the utmost care and fidelity. On one occasion I had caught a mouse, which I took to him, and which he desired to copy as a very pretty animal; nay, really represented it, as accurately as possible, gnawing an ear of corn at the foot of the flower-pot. Many such inoffensive natural objects, such as butterflies and chafers, were brought in and represented; so that finally, as far as imitation and execution were concerned, a highly valuable picture was put together.
Hence I was not a little astonished when the good man formally declared one day, when the work was just about to be delivered, that the picture no longer pleased him,—since, while it had turned out quite well in its details, it was not well composed as a whole, because it had been produced in this gradual manner; and he had committed a blunder at the outset, in not at least devising a general plan for light and shade, as well as for colour, according to which the single flowers might have been arranged. He scrutinised, in my presence, the minutest parts of the picture, which had arisen before my eyes during six months, and had pleased me in many respects, and, much to my regret, managed to
