How considerable and rapid an advance now took place in Mrs. Allingham's powers may be seen from the two drawings which are dated two years later, namely, in 1879. In figure draftsmanship there is no comparison between the timid and haltingly painted children of "The Sand-Martins' Haunt" and the seated baby in "The Clothes-Line." In the first the capacity to draw was no doubt present, but the power to express it through the medium of water-colour was as yet unacquired. But after two years' study, knowledge is present in its fulness, and from now onwards the only changes in Mrs. Allingham's work are a greater precision, breadth, facility of handling, and harmony of colour. The figure of the woman still smacks somewhat too much of the studio, and she is a lady-like model,[7] certainly not the type one would expect to see hanging out the washing of such a clearly limited and humble wardrobe as in this case. The figure again detaches itself too much from the rest of the picture, and Mrs. Allingham, we are sure, would now never introduce such a jarring note as the scarlet and primrose handkerchief, to which Mr. Ruskin objected at the time it was painted. The blanket, clothes-line, clothes-basket, and other accessories are painted with a minuteness which was an admirable prelude to the breadth that was to follow; but are singularly constrained in comparison with the yellow gorse bushes, most difficult of any shrubs to limn, but which here are noteworthy for unusual easiness of touch. Even with these qualifications the picture is a delightful one, replete with grace and beauty, and complete in its portrayal of the little incident of the baby, a less robust little body than Mrs. Allingham would now paint, capturing as many of the clothes-pegs that her mother needs as her small fingers and arms can embrace. [Illustration: 12. THE CONVALESCENT _From the Water-colour in the possession of Mr. R. S. Budgett._ Painted 1879.] This, like "The Young Customers," was founded on previous work, namely, a black-and-white drawing made for the _Graphic_, as an illustration to Mrs. Oliphant's _Innocent_. But in the story the patient dies from an over-dose administered in mistake by Innocent, who is nursing her. Some years afterwards the poisoning comes to light, and Innocent is tried and acquitted. Mrs. Allingham would never have voluntarily repeated such a subject as this, and her temperament is shown in her having utilised the material for one in which refreshing sleep promises a speedy recovery. [Illustration: 13. THE GOAT CARRIAGE _From the Water-colour in the possession of Sir F. Wigan._ Painted 1880.]