“When I am to paint a subject which is mythological, I am at pains to absorb the atmosphere of the period, and to learn something of the geography in which the legendary figures moved. I visit the scene of the story, obtain every picture which will give me a knowledge of the dress of the period, and I am not satisfied until I have exhausted every possible source of information. It is well known that Sir Frederick Leighton constantly refreshed his mind and memory by visiting the classic scenes of his paintings. “Some artists have been known to go so far as to paint a scene as an artist living in the period of the story would have painted it. I regard this as rather extreme. It is well to have the details perfect, but modern art has some advantage of technique and color which are not to be despised. I would not have you believe that technical efficiency is the greatest essential in an artist’s qualifications, only it is a valuable asset when added to natural ability and earnestness of purpose.” PERSISTENCE AND HARD WORK COUNT. Mr. Abbey has invariably practiced what he advises other artists to do. Before beginning the decorative paintings for the delivery room of the Boston Library, he spent many months traveling in Italy, collecting information which might aid him in the paintings of the Holy Grail. But in the end he decided that the scene should not be in Italy at all, and his effort went for nothing, as far as that particular series was concerned. He spent four years of unsurpassable toil, study and application in completing the first five of the pictures, and when they were done the public was not slow to appreciate the effort he had evidently put forth. Mr. Abbey could not have chosen a subject more worthy of his talent. He has confidence in his ideas of what is best in art, is full of mediæval feeling, and is endowed,—in spite of his sunny, hopeful temperament,—with an appreciation of the tragedy underlying so much of human life. In historical pictures, he considers no toil too great to make sure of accuracy, and his university training has been of the greatest assistance to him in his work. “No artist can be too well educated,” he said, during my conversation with him; “every bit of information is sure to be of use to him sooner or later, in one painting or another.