When Mrs. Allingham finally, I will not say determined to cut herself away from figure painting, but by the influence of her surroundings drifted away from it, she did not, as so many do, become the delineator of a single phase of landscape art. Her journeyings in search of subjects for some years were neither many nor extensive, for a paintress with a family growing up around her has not the same opportunities as a painter. He can leave his incumbrances in charge of his wife, and his work will probably benefit by an occasional flitting from home surroundings. But a mother's work would not thrive away from her children even if absence was possible, which it probably was not in Mrs. Allingham's case. Hence we find that the ground she has covered has been almost entirely confined to what are termed the Home Counties, with an occasional diversion to the Isle of Wight, Dorsetshire, Gloucestershire, and Cheshire. In the Home Counties, Surrey and Kent have furnished most of her material, the former naturally being oftenest drawn upon during her life at Witley, and the latter since she lived in London, whither she returned in the year 1888. This inability to roam about whither she chose was doubtless helpful in compelling her to vary her subjects, for she would of necessity have to paint whatever came within her reach. But her energy also had its share, for it enabled her to search the whole countryside wherever she was, and gather in a dozen suitable scenes where another might only discover one. As evidence of this we may instance the case of the corner of Kent whither she has gone again and again of late, and where in the present year she has still been able to find ample material to her liking. A visit to this somewhat out-of-the-way spot, which lies in Kent in an almost identically similar position to that which Witley does in Surrey, namely, in the extreme south-west corner, shows how she has found material everywhere. In the mile that separates the station from the farmhouse where she encamps, she shows a cottage that she has painted from every side, a brick kiln that she has her eye on, an old yew, and a clump of elms that has been most serviceable. Arriving at the farm-gate she points to the modest floral display in front that has sufficed for "In the Farmhouse Garden" (Plate 2), whilst over the way are the buildings of "A Kentish Farmyard" (Plate 58). Entering the house the visitor may not be much impressed with the view from her sitting-room window, but under the artist's hands it has become the silvern sheet of daisies reproduced in Plate 38. "On the Pilgrims' Way" (Plate 41) is a field or so away, whilst a short walk up the downs behind the house finds us in the presence of the originals of Plates 32 and 36. A drive across the vale and we have Crockham Hill, whence comes Plate 40, and Ide Hill, Plate 55.