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belongs, of course, to the modern school. He paints, I feel, in too much of a hurry, and his pictures have not the beautiful smooth finish of a Millais, or, among living artists, of a Lavery⁠—but no doubt he will grow out of this slapdash method when he is older. It is a kind of affectation which besets the young painters of today, and, while I cannot help but see the defects of his method, I am not blind to the merits of the work and to the kind thought which prompted the execution. He is anxious to show it at the Academy next year, and Margaret is (naturally, I suppose) delighted with the idea. I was obliged, however, to say that I did not care about the project. It is the kind of picture to attract a good deal of comment of one sort and another, and these young people do not quite see the amount of undesirable publicity it might involve. I fear they are both rather disappointed, but later on, when I was able to speak quietly about it to Lathom alone, he saw the matter in the right light, and was very nice about it. We are hanging it in a good light in the drawing-room, where it will look very well.