The family of young children that was now growing up round our artist naturally necessitated the summer holiday assuming a visit to the seaside, and much of Mrs. Allingham's time was, no doubt, spent on the shore in their company. It is little matter for surprise that this pleasure was combined with that of welding them into pictures; and, if an excuse must be made for Mrs. Allingham oftentimes robing her little girls in pink, it is to be found in the fact that the models were almost invariably her own children, who were so attired. It certainly will not be one of the least agreeable incidents for those who saunter over the illustrations of this volume to distinguish them and trace their growth from the cradle onwards, until they pass out of the stage of child models. This drawing was painted on the shore at Sandown, Isle of Wight, where the detritus of the Culver chalk cliffs afforded, in combination with the sand, splendid material for the early achievements in architecture and estate planning which used to yield so healthy an occupation to youngsters. It was a hazardous task to attempt success with such a variety of tones of white as here presented themselves, but the result is entirely satisfactory. In fact the drawing shows how readily and with what success the painter took up another phase of outdoor work, not easy of accomplishment. In those collections which include these seashore subjects they single themselves out from all their neighbours by the aptitude with which figures and a limpid sea are painted in sunshine. This, again, is no doubt due to their having been entirely out-of-doors work. [Illustration: 29. DRYING CLOTHES _From the Water-colour in the possession of Mr. C. P. Johnson._ Painted 1886.] This important drawing, in which the figure is on a large scale, makes one regret that Mrs. Allingham abandoned her portraiture, for a more captivating life study it is hard to imagine. Flattery apart, one may say that Frederick Walker never drew a more ideal figure or conceived a more charming colour scheme. The only feature which would perhaps have been omitted from a later work is that of the foxgloves in the corner, which appears to be rather an artificial introduction. The note of the little child behind the gate is charming. It is evidently not allowed to wander in the field, although the well-worn path shows that here is the main road to the cottage, and it feels that a joy is denied it not to be allowed to participate in the ceremony of gathering in of the family washing, as it was in younger days when the clothes were hung out. [Illustration: 30. HER MAJESTY'S POST OFFICE _From the Water-colour in the possession of Mr. H. B. Beaumont._ Painted 1887.]