When my grandmother had got so far, she bit the end of her paint-brush; for P, who was her husband's father, of course married, and her mother-in-law must be also represented by a combination of four colours. She took the end of the brush out of her mouth and rubbed emerald green and carmine. E and F should symbolize her husband's mother's grandparents. E brought into the family a stream of carmine blood, and F one of vivid emerald. Then the veins of her step-mother represented a mixed tide of carmine and emerald and of two other families, as yet unindicated. To these she promptly appropriated violet and orange. Now at last was she able to tabulate the constituents of her husband's blood; it was composed of minute rills of vermilion, gamboge, sage-green, Prussian blue, carmine, emerald green, violet, and orange. Already she had trenched on the composite colours. Now a great dismay fell on my grandmother; for she had to complete the same process for the exemplification of her own blood; and for her ancestry not only were no primary colours left, but even no secondary. She had to represent them with brown, lavender, slate,--yes, oh joy! there was another blue, cobalt!--verdegris, lemon yellow, black, and white. She hesitated some while before employing the verdegris. She never completed that table; for she was aghast at the rivers of mud, literal mud, which, according to her scheme, flowed through the arteries of her offspring. Now look at this table. Consider, it is only one of a pedigree through five generations. [Illustration: