In other pictures we see the tide at full flood; nature is in a fairer mood, and the universe glows with an exquisite green. The waves, of a glassy transparency, are for the moment held in check by a supreme power. Such passing phases of Nature Mr. Harrison seizes with unerring touch. Another branch of his work, already referred to in speaking of the picture _In Arcady_, are the paintings of the nude amidst the actual surrounding of the fields. Part of their success may be ascribed to the fact that they have been painted in each case in the open air. From the photographs, which Mr. Harrison has allowed us to reproduce, both sides of his beautiful talent may be judged. Like most Impressionists, his art breathes of a love and joy with Nature as seen by a temperament refined, distinguished, one may add—aristocratic. In the days when Florida was a primæval wilderness Mr. Harrison as a very young man entered the United States Coast Survey. Whistler, it may be remembered, commenced his career under the auspices of the same department. Florida was just the place for an adventurous youth, and Harrison was interested in his work. His enthusiasm, coupled with his ability, resulted in being intrusted with most of the difficult and sometimes dangerous “reconnaissance” engineering scout work that called for lonely jaunts and camping out amongst the swamps and lagoons. After four years on the Florida coast the party moved on to Puget Sound. The young men connected with the survey had been dabbling for some time in the use of water-colours, and Harrison found that the artist in him was winning ascendency over the surveyor. An argument with the head of the survey settled the matter. Mr. Harrison went to San Francisco, and then travelled to Paris, and studied under Gérôme. He was in his twenty-sixth year, and conscious that his career was midway between success and failure. He exhibited at the Salon a picture _Châteaux en Espagne_, a boy stretched on his back in the sand of a warm, dry beach, wrapt in the spell of a day-dream. “It was rather symbolic,” said the artist once as he gazed at the photograph, “of my own state of mind at that time.”