This little sequestered bridge would hardly seem to be of sufficient importance to deserve a name, nor for the matter of that the streamlet, the Tigbourne, which runs beneath it, but on the Hindhead slope streams of any size are scarce, and therefore call for notice. Bridges resemble stiles in being enforced loitering places, for whilst there is no effort which compels a halt in crossing bridges, as there is with stiles, there is the sense of mystery which underlies them, and expectancy as to what the water may contain. Especially is this so for youth; and so here we have boy and girl who pause on their way from bluebell gathering, whilst the former makes belief of fishing with the thread of twine which youngsters of his age always find to hand in one or other of their pockets. [Illustration: 34. SPRING IN THE OAKWOOD _From the Water-colour in the possession of the Artist._ Painted 1903.] We have elsewhere remarked on the rare occasions on which Mrs. Allingham utilises sunlight and shadow. Here, however, is one of them, and one which shows that it is from no incapacity to do so, for it is now introduced with a difficult effect, namely, blue flowers under a low raking light. The artist's eye was doubtless attracted by the unusual visitation of a bright warm sun on a spring day, and determined to perpetuate it. The wood in which the scene is laid is on the Kentish Downs, where, as the distorted boughs show, the winds are always in evidence. The juxtaposition of the two primaries, blue and yellow, is always a happy one in nature, but specially is it so when we have such a mass of sapphire blue. Blue, gentle cousin of the forest green, Married to green in all the sweetest flowers-- Forget-me-not, the bluebell, and that queen Of secrecy the violet. [Illustration: 35. THE CUCKOO _From the Water-colour in the possession of Mr. A. Hugh Thompson._ Painted about 1887.] In a recent "One Man Exhibition" by that refined artist Mr. Eyre Walker, there was a very unusual drawing entitled "Beauty for Ashes." The entire foreground was occupied with a luxuriant growth of purple willow loosestrife, intermixed with the silvery white balls of down from seeding nipplewort. Standing gaunt from this intermingling, luxuriant crop, were the charred stems of burnt fir trees, whilst the living mass of their fellows formed an agreeable background. The subject must have attracted many travellers on the South-Western Railway as they passed Byfleet; it did so in Mr. Walker's case to the extent that he stayed his journey and painted it.