Then there were cowherds’ huts, and dewlapped cattle standing or lying in sun-drenched high pastures. There was a plucked fowl, with its long writhen neck hanging down from a table among a setting of vegetables. There were flower-pieces, types of mountain peasantry, and so on⁠—all painted with a certain brisk dilettantism, the colours boldly dashed on to the canvas, and often looking as though they had been squeezed on out of the tube. They must have taken a long time to dry⁠—but were sometimes effective by way of helping out the other shortcomings.