that the paint will spread and make excellent trees for the distance, Fig. 157. [Illustration: _Fig. 159_] When your work is dry enough to paint over without spreading the color, mix some green and black, and green and brown; paint in the meadow, using the color made of green and black for the extreme and middle distance, the color made of green and brown for the foreground, leaving spaces for streams and ponds, and your sunset upon the meadow is finished. A pretty little sketch it is, too, Fig. 158. [Illustration: Leaf from an Artist’s Note-Book.] A different composition can be made by proceeding as directed as far as Fig. 156 and then, instead of putting in trees on the horizon, hills running to points in the water can be painted in a flat tint with the Payne’s gray, and a vessel with masts painted in the foreground, as in Fig. 159. This also makes a pretty and effective little sketch. Fig. 160 shows sunset notes taken while aboard a ferryboat in the winter of 1886-87. From these you can see just how the notes are made; but you must make _your own notes_, because what is perfectly intelligible to the writer of the sunset memoranda is an enigma to another person. For example, in Fig. 160, “Rose-tinted sky” may mean almost any shade of red, or blue and red mixed, but “Rose-tinted sky” no doubt brings before the mind’s eye of the writer of the notes the exact color of the sky at the time the notes were made. [Illustration] [Illustration: A Study in Oil.] CHAPTER XXIII. HOW TO PAINT IN OIL-COLORS. THE difference between oil- and water-color painting lies in the fact that, although especially well adapted to the portrayal of some subjects, water-color has its limitations, while with oil-colors any subject, from the simplest study in still-life to the grandest conception of a great artist, can be represented, and no limit has yet been reached in its possibilities. But there are first steps to be taken in all things, and the greatest artist who ever lived had to make a beginning and learn the preliminaries of painting before he could produce a picture. To these steps, then, we will turn our attention, and the first will be the necessary =Materials.= The following list of colors, with their combinations, will be found sufficient for most purposes. YELLOWS. REDS. BLUES. GREENS. Yellow Ochre, Vermilion, Permanent Blue, Terre Verte, Naples Yellow, Light Red, Cobalt, Emerald Green, Light Cadmium, Indian Red, Antwerp Blue. Light Zinnober Green. Orange Cadmium. Venetian Red, Burnt Sienna, Rose Madder. Silver White, Raw Umber, Vandyke Brown, Ivory Black. Winsor & Newton’s colors are acknowledged by most artists to be the best, but the writer personally prefers German white, as in her opinion it is not so stiff, and mixes better with other colors than the Winsor & Newton. =The Easel=