A study of 

 Blackthorn. 



It is SO difficult to tell others how a thing is done, more 

 especially, perhaps, in painting than in any other Art ; for so much 

 depends on our own sense of beaut}-, and our own individtial 

 interpretation of it. If we were bound b)- hard and fast rules, 

 that individualit\-, an artist's most cherished possession, would 

 be lost. 



Therefore I am endeavouring in these chats of outs, not to be 

 dogmatic, or to lay down any law or rule formed from m\- own 

 experience, but to impress upon )ou to learn all you can from 

 \-our own, and also to see the necessity for the cultivation of 

 your own emotions and thoughts, to the true realisation of your 



subject, be it what it ma\-. 



There can be no better teacher than Nature herself; no moie charm- 

 ing studies than the gifts she scatters so lavishly around ; we ma\-, of 



course, learn much that is technically useful from a 



group of "models" (cubes, triangles, etc.) set up 



before us in approved School of Art fashion ; and 



perhaps we may feel a certain amount of pleasure 



and interest in bringing our study of them to such 



a pitch of perfection and finish that it looks very 



real and true. We have df)ubtless been training 



eyes and hand with good effect ; but where has 



been the enthusiasm we experienced when trying to 



give our impression of the humblest flower ? Where 



the delight we who love Nature must feel when ,' 



we study the subtleties of colour and form in the 



works of God ? \ v 



This enthusiasm, this stirring, as it were, of our 



very souls, must carry us into higher realms of 



thought, and therefore uplift our taste to higher 



things ; it is the creation of the very essence of true 



ry bee that'; 

 nging. 



