ineffable colour. Of three slighter works lately painted, I may set down a few rapid notes; but no task is harder than this of translation from colour into speech, when the speech must be so hoarse and feeble, when the colour is so subtle and sublime. Music or verse might strike some string accordant in sound to such painting, but a mere version such as this is as a psalm of Tate's to a psalm of David's. In all of these the main strings touched are certain varying chords of blue and white, not without interludes of the bright and tender tones of floral purple or red. In two of the studies the keynote is an effect of sea; in one, a sketch for the great picture, the soft brilliant floor-work and wall-work of a garden balcony serve in its stead to set forth the flowers and figures of flower-like women. In a second, we have again a gathering of women in a balcony; from the unseen flower-land below tall almond-trees shoot up their topmost crowns of tender blossom; beyond and far out to west and south the warm and solemn sea spreads wide and soft without wrinkle of wind. The dim grey floor-work in front, delicate as a summer cloud in colour, is antiphonal to the bluer wealth of water beyond: and between these the fair clusters of almond-blossom make divine division, Again the symphony or (if you will) the antiphony is sustained by the fervid or the fainter colours of the women's raiment as they lean out one against another, looking far oversea in that quiet depth of pleasure without words when spirit and sense are filled full of beautiful things, till it seems that at a mere breath the charmed vessels of pleasure would break or overflow, the brimming chalices of the senses would spill this wine