After painting, Monet’s chief recreation is gardening. In his domain at Giverny, and in his Japanese water-garden across the road and railway (which to his lasting sorrow cuts his little world in twain), each season of the year brings its appointed and distinguishing colour scheme. Nowhere else can be found such a prodigal display of rare and marvellously beautiful colour effects, arranged from flowering plants gathered together without regard to expense from every quarter of the globe. Like the majority of Impressionists, Monet is most pleased with schemes of yellow and blue, the gold and sapphire of an artist’s dreams. [Illustration: A RIVER SCENE · CLAUDE MONET ] In the neighbouring fields are hundreds of poplars standing in long regimental lines. These trees, which inspired _Les Peupliers_, were bought by Monet to avoid the wholesale destruction which threatened every tree in the Seine valley a few years ago. The building authorities of the Paris Exhibition required materials for palisading, and thousands of trees were ruthlessly felled to make a cosmopolitan holiday. [Illustration: A LADY IN HER GARDEN · CLAUDE MONET ] In the distance are the mills, subjects of the master’s admiration and reproduction, yearly copied by the scores of students and amateurs who, year by year, during the summer, journey through this delightful country. In the peace of Giverny we leave the great painter. He is one of the few original members of the Impressionist group who has lived to see the almost complete reversal of the hostile judgment passed upon his canvases by an ill-educated public. Now he is able to enjoy not only the satisfaction of having his principles acknowledged, but also the receipt of the material fruits of a world-wide renown. Not often do pioneers succeed so thoroughly. Success in the sale-room is not always the same thing as artistic success, but some information as to the prices Monet now commands may prove of value. The _New York Herald_, referring to the well-known Chocquet auction, says: “It will be observed that the works by Monet are sought after and purchased at high prices, which are moreover justified by collectors as well as by dealers.” At the present moment a small example (about 26 in. by 32 in.) can be had for any price from four hundred guineas upwards. After the Chocquet sale, dealers of all nationalities flocked down to Giverny. Two series of impressions, entitled _Water Lilies_ and _Green Bridges_, were carried off, and the art public were deprived of seeing them exhibited as a whole, their creator’s original intention.