"Why, that hain't no gray," he announced, with enthusiasm; "that thar's sort of ashy purple." Still, he was not satisfied. His first brush-stroke showed a trifle dead and heavy. It lacked the soft lucid quality that the hills held, though it was close enough to truth to have satisfied any eye save one of uncompromising sincerity. Samson, even though he was hopelessly daubing, and knew it, was sincere, and the painter at his elbow caught his breath, and looked on with the absorption of a prophet, who, listening to childish prattle, yet recognizes the gift of prophecy. The boy dabbled for a perplexed moment among the pigments, then lightened up his color with a trace of ultramarine. Unconsciously, the master heaved a sigh of satisfaction. The boy "laid in" his far hills, and turned. "Thet's the way hit looks ter me," he said, simply. "That's the way it is," commended his critic. For a while more, Samson worked at the nearer hills, then he rose. "I'm done," he said. "I hain't a-goin' ter fool with them thar trees an' things. I don't know nothing erbout thet. I can't paint leaves an' twigs an' birdsnests. What I likes is mountings, an' skies, an' sech- like things." Lescott looked at the daub before him. A less-trained eye would have seen only the daub, just as a poor judge of horse-flesh might see only awkward joints and long legs in a weanling colt, though it be bred in the purple. "Samson," he said, earnestly, "that's all there is to art. It's the power to feel the poetry of color. The rest can be taught. The genius must work, of course--work, work, work, and still work, but the Gift is the power of seeing true--and, by God, boy, you have it." His words rang exultantly. "Anybody with eyes kin see," deprecated Samson, wiping his fingers on his jeans trousers. "You think so? To the seer who reads the passing shapes in a globe of crystal, it's plain enough. To any other eye, there is nothing there but transparency." Lescott halted, conscious that he was falling into metaphor which his companion could not understand, then more quietly he went on: "I don't know how you would progress, Samson, in detail and technique, but I know you've got what many men have struggled a lifetime for, and failed. I'd like to have you study with me. I'd like to be your discoverer. Look here." The painter sat down, and speedily went to work. He painted out nothing. He simply toned, and, with precisely the right touch here and there, softened the crudeness, laid stress on the contrast, melted the harshness, and, when he rose, he had built, upon the rough cornerstone of Samson's laying, a picture.