In Lilac Tide 
l 3 9 
“ The green is good for us, and we welcome it with 
uncritical gladness ; but when we think of painting, 
it may be doubted whether any season of the year is 
less propitious to the broad and noble harmonies 
which are the secrets of all grand effects in art.” 
And he compares the season to the uncomfortable 
hour in a household when the early risers are walk- 
ing about, not knowing what to do with themselves, 
while others have not yet come down to breakfast. 
I must confess that an undiversified country land- 
scape in spring has upon me the effect asserted by 
Hamerton. I recall one early spring week in the 
Catskills, when I fairly complained, “ Everything is 
so green here.” I longed for rocks, water, burnt 
fields, bare trees, anything to break that glimmering 
green of new grass and new Birches. But in the 
spring garden there is variety of shape and color ; 
the Peony leaf buds are red, some sprouting leaves 
are pink, and there are vast varieties of brown and 
gray and gold in leaf. 
Let me give the procession of spring in the gar- 
den in the words of a lover of old New England 
flowers, Dr. Holmes. It is a vivid word picture of 
the distinctive forms and colors of budding flowers 
and leaves. 
f€ At first the snowdrop’s bells are seen. 
Then close against the sheltering wall 
The tulip’s horn of dusky green. 
The peony’s dark unfolding ball. 
“ The golden-chaliced crocus burns ; 
The long narcissus blades appear ; 
