abrupt contrast. No. 1. "A Japanese Girl," by Monet. A poppy in the pale
green walls; a wonderful macaw! Why does it not speak in strange
dialect? It trails lengths of red silk. Such red! The pigment is twirled
and heaped with quaint device, until it seems to be beautiful embroidery
rather than painting; and the straw-coloured hair, and the blond light
on the face, and the unimaginable coquetting of that fan....

No. 2. "The Drop Curtain," by Degas. The drop curtain is fast
descending; only a yard of space remains. What a yardful of curious
comment, what satirical note on the preposterousness of human
existence! what life there is in every line; and the painter has made
meaning with every blot of colour! Look at the two principal dancers!
They are down on their knees, arms raised, bosoms advanced, skirts
extended, a hundred coryphées are clustered about them. Leaning hands,
uplifted necks, painted eyes, scarlet mouths, a piece of thigh, arched
insteps, and all is blurred; vanity, animalism, indecency, absurdity,
and all to be whelmed into oblivion in a moment. Wonderful life;
wonderful Degas!

No. 3. "A Suburb," by Monet. Snow! the world is white. The furry fluff
has ceased to fall, and the sky is darkling and the night advances,
dragging the horizon up with it like a heavy, deadly curtain. But the
roof of the villa is white, and the green of the laurels shaken free of
the snow shines through the railings, and the shadows that lie across
the road leading to town are blue--yes, as blue as the slates under the
immaculate snow.

No. 4. "The Cliff's Edge," by Monet. Blue? purple the sea is; no, it is
violet; 'tis striped with violet and flooded with purple; there are
living greens, it is full of fading blues. The dazzling sky deepens as