, NO. 1 265
STILL LIFE, NO. 2 266
STILL LIFE, NO. 3 267
STILL LIFE, NO. 4 269
STILL LIFE, NO. 5 270
STILL LIFE, NO. 6 271
SWEET PEAS 282
DUeRER _by Himself_ 289
PORTRAIT OF HIS MOTHER _Whistler_ 291
PORTRAIT OF HIMSELF _Valasquez_ 293
PORTRAIT _Parkhurst_ 297
HAYSTACKS IN SUNSHINE _Monet_ 307
ON THE RACE TRACK _Degas_ 314
WILLOW ROAD _Parkhurst_ 317
ENTRANCE TO ZUYDER ZEE _Clarkson Stanfield_ 337
GIRL SPINNING _Millet_ 345
SKETCH OF A FLUTE PLAYER _Parkhurst_ 355
MILTON DICTATING "PARADISE LOST" _Munkacsy_ 363
BUCKWHEAT HARVEST _Millet_ 368
STUDY OF FORTUNE _Angelo_ 373
EBOUCH OF PORTRAIT _Th. Robinson_ 379
LANDSCAPE PHOTO. NO. 1 394
LANDSCAPE PHOTO. NO. 2 395

PART I

MATERIALS

THE PAINTER IN OIL

CHAPTER I

GENERAL OBSERVATIONS

There is a false implication in the saying that "a poor workman blames
his tools." It is not true that a good workman can do good work with
bad tools. On the contrary, the good workman sees to it that he has
good tools, and makes it a part of his good workmanship that they are
in good condition.

In painting there is nothing that will cause you more trouble than bad
materials. You can get along with few materials, but you cannot get
along with bad ones. That is not the place to economize. To do good
work is difficult at best. Economize where it will not be a hindrance
to you. Your tools can make your work harder or easier according to
your selection of them. The relative cost of g