We notice very carefully the construction of the flowers—the num-
ber of petals and their shape, and how all are fitted together to form
a delicate bloom. Or, if our subject is a twig, we note the general
direction and shape of the stem and the masses.

With these observations in mind, we make a very light sketch of
the twig or plant in general, the proportion and direction of the
stem, balancing the masses and the background spaces to form a
happy arrangement and good composition. When satisfied with
the design, we begin to fill in the details, striving to interpret the
beautiful form before us.

Our impressions should be our very own, otherwise art would pos-
sess neither individuality nor originality. We should not copy the —
works of other artists, but study them, and, having learned the ways
of others, create a method of our own. Let us not hesitate in at-

tempting the difficult. On the other hand, let us not despise what
might seem too trivial for study.

Not only are we learning much of botany and natural history in —
general, but we are educating our eyes and training them to see 1
intelligently and understandingly all that lies about us. If our |
studies of Nature should fail in all but bringing us into that state
of observation and sensitiveness of mind in which we find—“‘Books —
in the running brooks, sermons in stones, and good in everything” —
—then indeed have we attained to treasure immeasurable! 4

ALICE M. MACPHERSON.