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They saw a gaunt high room, lit on one side by a huge studio-window, over which various tattered blinds were drawn; a floor of bare boards, with a few rags of carpet here and there; in the middle, a table covered with painter's apparatus of different kinds; palettes, paints, rags, tin-pots, and, thrown down amongst them, some stale crusts of bread; a large easel, with a number of old and dirty canvases piled upon it; two chairs, one of them without the usual complement of legs; a few etchings and oil-sketches and fragments of coloured stuffs pinned against the wall in wild confusion; and, spread out casually behind the easel, an iron folding-bedstead, without either mattress or bed-clothes.

The following list shows in a condensed form the order according to Mr. FIRST PERIOD 1588?-1596 LOVE'S LABOUR LOST Plot probably original. TWO GENTLEMEN OF VERONA The Shepherdess Felismena in George of Montmayor's Diana. COMEDY OF ERRORS Menæchmi of Plautus and earlier play. ROMEO AND JULIET Italian romance in Painter's Palace of Pleasure and Broke's Romeus and Juliet.

He tried to fight with his conviction that what the artist said was false, although even as he did so he could not crush down the feeling of having been wounded by the hand of a friend. It seemed to him incredible that Fenton, even though the painter's defection from the Pagans had caused something of a breach between them, could have been guilty of this outrage.

Men will point at you as you pass along the street, and say: 'There goes Barode Barouche. He was a great man in his day. He was defeated by a boy with a painter's brush in his hand. He will take from you your livelihood. You will go, and he will stay; he will conquer and grow strong. Go from me, Barode Barouche," she cried, thrusting out her hands against him, "go from me.

It must have been a cruel pain that drove him to smear it as he did!" Florimel began to feel a little motion of shame somewhere in the mystery of her being. But to show that to her servant, would be to betray herself the more that he seemed the painter's friend. "I will ask Lord Liftore to go and see the portrait, and if he thinks it like, I will buy it," she said.

If a painter's father says to him, 'Paint this, my boy, and do not paint that'; or a musician's, 'Strike this note, and not the other'; or a bronze-founder's, 'Cast so-and-so'; would it be tolerable that the son should be disinherited for not taking such advice? Of course not.

"Nay, he knows naught of your painter's gibberish. Give him a crayon and a bit of white bark and see can he make my picture. I'll lean my head back and fold my hands to sleep." In the long sunny quiet that followed, the old man really slipped away into a light doze, from which he was awakened by a loud shout from LeMaury.

Soon, she came back, and seated herself beside her creel and rod, where she could see the picture under the artist's brush. "Does it bother, if I watch?" she asked softly. "No, indeed," he answered. "It helps that is, it helps when it is you who watch." Which to the painter's secret amazement was a literal truth.

Ruskin has written remarkable descriptive prose. Ruskin could be severely plain in expression, but much of his earlier prose is ornate and almost poetic. The following description of the Rhone deserves to be ranked with the painter's art:

"Your opinion goes down in my memory in red letters." Sir Seymour turned to go. As he did so he cast a look round the studio, which suggested to Garstin that he would perhaps like to examine the other portraits dotted about on easels and hanging on the walls. A faint reddish line appeared in the painter's shaven blue cheeks. "Not worth your while!" he almost muttered. "Eh?" said Sir Seymour.