“Partly,” he said, with a smile. “I used to see a good many photographs of trout fishing in the Adirondacks; lines taut, and then hurling a trout through the air, to land it in the canoe. So once I thought I would try it myself. I went up there and fished for two weeks in the rain. I am trying to think how to make the rain appear to strike and bounce from the water. You know how water looks when it is raining,”—and there came into his face a thoughtful and studious look, showing how carefully he weighed every detail of his work. Mr. Remington rises early, has breakfast at seven, and works until three, when he takes his customary horseback ride across the country. “Do you work from inspiration?” I asked. “I do not know what you mean, exactly. I must have a study in my mind, and then I work it out. Some mornings I can do but little; but I am kept exceedingly busy with constant orders to fill, besides illustrating my own articles.” HOW HIS WAR PICTURES ARE MADE. “That painting of the charge of the Rough Riders up San Juan hill, and your other Cuban pictures, must have been interesting work.” “I saw Roosevelt just before but not during the charge. But when you see one, you see all. The fighting to-day is done in long, thin lines; the solid formations are no longer used. It makes too great a target. You are never out of range, for the bullets carry a mile and a half. Most of the fighting is done lying down, the front line advancing, and the others harassing the enemy. To me there was nothing enjoyable about it. A correspondent is worse off than the soldier. He has no means of transportation. Fortunately, in Cuba, I secured a horse the day before the battle. I made a great number of sketches, but lost one of my sketch books while crawling on my hands and knees through the long grass. It contained many bits of action, which I wanted. I suppose it was spoiled, or maybe someone found it. But in my younger days, I actually enjoyed being in the midst of an Indian fight. The climate is so different, and entirely to my liking, out west.” We rose and viewed the studio. “How do you get that peculiar alkali, yellowish air of the plains?” I asked, as we stood before an example of Mr. Remington’s art. “Only by having lived there, and after a dint of study. That is a dust study.” “And those blue shadows are correct?” COLOR OF THE PLAINS. “Yes; you cannot have a black shade out in the open, and the atmosphere there causes that particular shade. That one above, though, which is also a study, shows an almost steel gray shadow, while that other one is still darker. These are ‘color notes,’ of Indian ponies, and bronchos. There is no crest or arch to their necks. They are really degenerated horses, but they can go.” On a pedestal was a casting of the “Broncho Buster.” “You must have modeled in clay before you did that.”