in the part clings a luxuriant clump of the deadly agaric (touch wood) which may so often be seen on trees that have passed their better days. These are not all the burdens under which this aged subject is struggling. The mistletoe has fastened itself upon its only living branch, and parasitic vines innumerable clamber up and surround the trunk in their ‘deadly embrace.’ A brightly colored woodpecker has just alighted on the dying tree and finds food in plenty in the substance of decay. The whole picture is intended to suggest the idea of a struggle, and I know that I can make it so plain that anyone will realize my intention. A little pool of rain water lies at the foot of the rock and touching the roots which will give an additional effect of reflection, and what with this, the warm coloring of dried fallen leaves relieved by a group of delicate ferns, and other like growths, together with a strong play of sunlight on the whole, I see no reason why the picture should not be a good success and feel equal to rendering all that my imagination suggests and pictures. I have only just commenced, but enough is even now suggested to insure an at least attractive result. I have selected the medium of water-color because I believe that more can be done with that than most people are aware. I can work faster with water-color and secure just as brilliant effect as I could in oils. People in general do not know how much can be done with water-color, and I hope that I may live to show them.” Six years later, coming back to the same subject in a letter to Colonel Gibson, he defends water-color as a medium in the following hearty fashion: “Concerning the ‘water-color’ subject, on which you say ‘Of course water-color painting is not or cannot be high art, because it concerns itself too much with detail’ (not verbatim but embodying your [Illustration: _The Struggle for Life_ _First Watercolor_]