I finally found a subject which interested me in a view of the foot of the Mer de Glace from the opposite side of the river, looking up the glacier, with the bridge under the Brevent, and a cottage in the foreground, and set to work on it energetically. Ruskin used to sit behind me and comment on my work. My methods of painting were my own, for I had never painted under any one except the few months with Church, whose method had taught me nothing; and I had a way of painting scud clouds, such as always hang around the Alpine peaks, by brushing the sky in thinly with the sky-blue, and then working into that, with the brush, the melting clouds, producing the grays I wanted on the canvas. It imitated the effect of nature logically, as the pigment imitated the mingling of the vapor with the blue sky; but Ruskin said this was incorrect, and that the colors must be laid like mosaic, side by side, in the true tint. Another discouragement! I used to lay in the whole subject, beginning with the sky, rapidly and broadly, and, when it was dry, returning to the foreground and finishing towards the distance; and Buskin was delighted with the foreground painting, insisting on my doing nothing further to it. In the distance was the Montanvert and the Aiguille du Dru; but where the lines of the glacier and the slopes of the mountain at the right met, five nearly straight lines converged at a point far from the centre, and I did not see how to get rid of them without violating the topography. I pointed it out to Ruskin, and he immediately exclaimed: "Oh, nothing can he done with a subject like that, with five lines radiating from an unimportant point! I will not stay here to see you finish that study." And the next day we packed up and left for Geneva.