“The young artists in Harper’s offices were given all sorts of subjects to do, pictorial, illustrative and reportorial, and this variety has been of the utmost value to me. There was one sort of work, however, that I preferred above all others. When only a lad I fell in love with the classic literature of England; Goldsmith was always one of my favorite authors, and whenever I had spare time I devoted it to illustrating some of the stories that I had read. I was especially fond of English history, so you can imagine my delight when it was decided that I was to illustrate the works of Herrick for ‘Harper’s Monthly,’ with a view to ultimate publication in book form. “It was then that I first came to England. I thought it advisable to live for a time in the English country, and I settled for two years in one of the most picturesque districts of Worcestershire. I need not tell you that I enjoyed that visit, and, when I returned to America, in 1880, it was only to remain eight months and to arrange my affairs so that I could return here. Although I had lost none of my regard for the land of my birth, I felt that, if I was to draw pictures from English history, England was the place for me to live in, so here I have been ever since, save for occasional journeys to America and the Continent.” Mr. Abbey breathed a sigh of relief as he finished the narrative of his early days. “But this doesn’t bring you up to date,” I said, “and the most interesting story is about what you’ve done since.” But the artist shook his head. “It’s simply a record of steady work,” he said; “you already know about the chief paintings I have done in late years.” “Of course,” I said, “you are doing nothing now but painting in oils?” “That’s all,” replied Mr. Abbey, “and my contracts will prevent me from doing any other kind of work in the near future. I didn’t begin painting in oils until I had been working many years; the ‘Mayday Morn,’ my first exhibit, was not shown until 1890. It seems quite the usual thing for artists to take up oils after they are known chiefly by black and white or water colors.” HE ALWAYS TAKES PAINS. “It is well known that you spend much time in preparing the subjects of your paintings,” I said, “but there aren’t many artists who worry about the technical details as you do.” “I won’t say that I worry about them,” replied Mr. Abbey. “An artist should study for his profession just as a man should prepare for the law or medicine, and should never consider that natural ability is all that he requires for success. He should have a knowledge of architecture and sculpture as well as of the principles of drawing; in short, he should carefully learn what may be called ‘the grammar of his profession.’