ght illumining the corner, the figures crowded against the light, forming a mass in themselves, and it interests you at a glance, sit down and study it long enough to find out what feature of the landscape impressed you at first sight. If, as you look, the first impression becomes weakened, perhaps it is because the immediate foreground, which at the first glance was clear, is now dotted with passers-by, thus obscuring your point of interest, or a cloud has passed over the sky, lowering the whole tone, or the group of figures across the light has dispersed, exposing the ugly right-angled triangle of the flat wall and street level instead of the same lines being[20] broken picturesquely with the black dots of heads of the crowd itself. In a moment it is no longer a composition of the same power that struck you at first. Perhaps while you sit and wait the scene again changes, and something infinitely more interesting, or the reverse, is evolved from the perspective before you. And so it goes on, until this constantly changing kaleidoscope repeats itself in its first aspect, until you have fairly grasped its meaning and analyzed its component parts. Or until either the effect that first delighted you, or the subsequent effect that charmed you still more, becomes a fixed fact in your mind. That, then, is the picture that you want to paint and that you are to paint exactly as you saw it. And if you can reproduce it exactly as you did see it, ten chances to one it will impress your fellow men. The trouble is that when you sit down to paint it you are so often lost in its detail that you forget its salient features, and by the time[21] you have finished and blocked up the immediate foreground with figures that did not exist when you were first thrilled by its beauty, you have either painted its least intere