[Illustration: Fig. 50] [Illustration: Fig. 50a] Or this very busy alarm clock—she writes the same word “shines” (Figs 51, 51a): [Illustration: Fig. 51] [Illustration: Fig. 51a] She has got at least part of a watch whenever one has been presented. You remember the one Bob drew (Fig. 17). There was another in series thirty-three; Craig made a crude drawing and added: “Shines, glass or metal” (Figs. 52, 52a): [Illustration: Fig. 52] [Illustration: Fig. 52a] Also, on the automobile ride to Pasadena, series three, there was a watch-face among the drawings, and Craig drew the angle of the hands, and added the words, “a complication of small configurations.” Having arrived in Pasadena, she took the twelve drawings and tried them over again. This time, of course, she had a one in twelve chance of guessing the watch. She wrote: “A white translucent glimmering, or shimmering which I knew was not light but rather glass. It was like heat waves radiating in little round pools from a center.... Then in the center I saw a vivid black mark.... So it was bound to be the watch, and it was.” And here is a fountain. You see that it appears to be in a tub, and is so drawn by Craig. But you note that the “shine” has been got. “These shine!” (Figs. 53, 53a): [Illustration: Fig. 53] [Illustration: Fig. 53a] Another instance, even more vivid. I made a poor attempt to draw a bass tuba, as one sees them on the stage—a lot of jazz musicians dressed up in white duck, and a row of big brass and nickel horns, polished to blind your eyes. See what Craig drew, and also what she wrote (Figs. 54, 54a): [Illustration: Fig. 54] [Illustration: Fig. 54a] The comments, continued on the other side of the sheet, are: “Dull gold ring shimmers and stands out with shadow behind it and in center of it. Gleams and moves. Metal. There is a glow of gold light, and the ring or circle is out in the air, suspended, and moves in blur of gold.” You see, she gets the feeling, the emotional content. I draw a child’s express-wagon, and she writes: “Children again playing but can’t get exactly how they look. Just feel there are children.” Or take this one, which she describes as “Egyptian.” I don’t know if my pillar is real Egyptian, but it seems so to me, and evidently to my wife, for you note all the artistry it inspired (Figs. 55, 55a): [Illustration: Fig. 55] [Illustration: Fig. 55a] Sometimes Craig will embody the feeling in some new form of her own invention; as for example, when I draw an old-fashioned cannon on wheels, and she writes: “Black Napoleon hat and red military coat.” I draw a running fox—well drawn, because I copy it from a picture; she rises to the occasion with two crossed guns, and a hunting horn with a lot of musical notes coming out of it (Figs. 56, 56a): [Illustration: Fig. 56] [Illustration: Fig. 56a]