Under the stimulus, in part, of the desire for something out of the ordinary line of subject for pictures, and in part from the hope that going into the "desert" might quicken the spiritual faculties so tantalized by the experience of the circles, I decided to pass the next summer in the great primeval forest in the northern part of New York State, known as the Adirondack wilderness. It was then little known or visited; a few sportsmen and anglers had penetrated it, but for the most part it was known only to the lumberers. Here and there, at intervals of ten to twenty miles, there were log houses, some of which gave hospitality in the summer to the sportsmen, and in the winter to the "loggers" who worked for the great lumber companies. It was a tract of a hundred miles, more or less, across, mainly unbroken wildwood, cut up by rapid rivers, impossible of navigation, otherwise than by canoes and light skiffs which could be carried from one sheet of water to another on the backs of the woodsmen, around the cascades, and over tracts of intervening land through virgin forests, without roads, and, to a large extent, without paths. I hoped here to find new subjects for art, spiritual freedom, and a closer contact with the spiritual world--something beyond the material existence. I was ignorant of the fact that art does not depend on a subject, nor spiritual life on isolation from the rest of humanity, and I found, what a correct philosophy would have before told me, nature with no suggestion of art, and the dullest form of intellectual or spiritual existence. One of my artist friends--S.R. Gifford, landscape painter, like myself on the search for new subjects--had been, the year before, to the Saranac Lakes, and gave me the clue to the labyrinth, and I found on Upper Saranac Lake a log cabin, inhabited by a farmer whose family consisted of a wife, a son, and a daughter. There I enjoyed a backwoods hospitality at the cost of two dollars a week for board and lodging, and passed the whole summer, finding a subject near the cabin, at which I painted assiduously for nearly three months. I passed the whole day in the open air, wore no hat, and only cloth shoes, hoping that thus the spiritual life would have easier access to me. I carried no gun, and held the lives of beast and bird sacred, but I drew the line at fishing, and my rod and fly-book provided in a large degree the food of the household; for trout swarmed. I caught in an hour, during that summer, in a stream where there has not been a trout for years, as large a string as I could carry a mile. All the time that I was not painting I was in the boat on the lake, or wandering in the forest.