This, and the drawing of a "Summer Garden" (Plate 64), are taken almost from the same spot in Mrs. Allingham's garden at Sandhills. Both are simple studies of flowers without any more elaborate effort at arrangement or composition than that which gives to each a purposed scheme of colour--a scheme, however, that is, with set purpose, hidden away, so that the flowers may look as if they grew, as they appear to do, by chance. The flowers, too, are old-fashioned inhabitants: pansies, sea-pinks, marigolds, sweetwilliams, snap-dragons, eschscholtzias, and flags, with a background of rose bushes; all of them (with the exception, perhaps, of the flag) flowers such as Spenser might have had in his eye when he penned the lines-- No daintie flowre or herbe that growes on grownd, No arborett with painted blossomes drest And smelling sweete, but there it might be fownd To bud out faire, and throwe her sweete smels al arownd. [Illustration: 62. A KENTISH GARDEN _From the Drawing in the possession of the Artist._ Painted 1903.] This scene may well be compared with that of Tennyson's garden at Aldworth, reproduced in Plate 74, as it illustrates even more appositely than does that, the lines in "Roses on the Terrace" concerning the contrast between the pink of the flower and the blue of the distance. But here the interval between the colours is not the exaggerated fifty miles of the poem, but one insufficient to dim the shapes of the trees on the opposite side of the valley. Of all the gardens here illustrated none offers a greater wealth of colour than this Kentish garden, situated as it is with an aspect which makes it a veritable sun-trap. [Illustration: 63. CUTTING CABBAGES _From the Water-colour in the possession of Mr. E. W. Fordham._ Painted about 1884.] The cabbage is probably to most people the most uninteresting tenant of the kitchen-garden, and yet its presence there was probably the motive which set Mrs. Allingham to work to make this drawing, for it is clear that in the first instance it was conceived as a study of the varied and delicate mother-of-pearl hues which each presented to an artistic eye. As a piece of painting it is extremely meritorious through its being absolutely straight-forward drawing and brush work, the high lights being left, and not obtained by the usual method of cutting, scraping, or body colour. The buxom mother of a growing family selecting the best plant for their dinner is just the personal note which distinguishes each and every one of our illustrations. [Illustration: 64. IN A SUMMER GARDEN _From the Water-colour in the possession of Mr. William Newall._ Painted about 1887.]