se yellow;
the gloom of a forest with its yellow-grays and blue-grays, the
gray-green moss of the lichens, the brown of the tree-trunks, the
black and gray hues of the rocks, all these, if carefully studied and
analyzed and reproduced, would make beautiful anything in the world
from a bonnet to a chateau. To illustrate:

Several years ago an intimate friend of mine, a distinguished
architect of New York, the late Mr. Bruce Price, in designing a number
of cottages at Tuxedo sought in vain for some color mixture current in
the paint-shops with which to cover the outside of his buildings. All
schemes of browns, olive-greens, colonial yellow with white trimmings
and the reverse, Pompeiian reds, slate-grays, and dull yellows
resulted in making "spots" of the houses, so that the effect he wished
to produce, that of the houses being merged into the forest, was lost.
Mr. Price was not only an architect, but he was an artist as well. He
had little skill with his brush, but he had that innate good taste,
with a keen eye to discern the subtle gradations in color, that only
needed change of occupation to make him a painter. One day, looking at
a new bare wooden cottage--unpainted as yet--in contrast to a mass of
foliage in the early autumn before the leaves had begun to turn, in
which the yellow-grays one often sees predominated, he suddenly
thought to himself: "The tree-trunks and underbrush do not stand out;
they are all of one piece, each keeping its place, while my house"--as
he rather inelegantly but forcibly expressed it--"sticks up like a
sore thumb." Later, this very clever man made an analysis of the local
color in these several grays, and his subsequent matching and
combining of these different tints resulted in the exact tones of the
forest before him, and when this was completed and the house painted
you felt should you enter the front door that the leaves must be over
your head.

Bringing the discussion down to more practical details, really to the
palettes which we hold in our hands, the question then naturally
arises as to how best to express true local color, with its varying
blues, yellows, and reds, and especially its varying grays.

In my own experience I find grays to be the prevailing tones
everywhere in nature.

I find also that the great masters of modern art, particularly the
school of 1830, known as the Barbizon school, and represented by such
men as Rousseau, Corot, Daubigny, Diaz, and Millet, and lat