The Press., 1911-10-11
An Instructor In Painting
 A Tale of
 Crr'S Island By TOM F. BROWN Copyright by American Press Asso-
 ciation, 1911.
A Tale of Orr'S Island
By TOM BROWN
OOOe Q o c Q Q 0esO OOOO0

eOSOeOoeOoOesOeOoOOoooOooO o During the summer of 19- Constance Phillips, an art student chose the coast of Maine for field in which to paint pictures. There is an island on that coast which has been made pre- eminent among its neighbors by q celebrated authoress, who located one 1 of her stories there. Harriet Beecher Stoves Pearl of Orr's Island" has been read by millions of her fellow cOuntrymea, thus familiarizing them with at least the name of the locality.
 Miss Philips, being alone, stopped at a small hotel near the house in which Mrs. Stowe wrote her story In the morning after breakfast she would take her artists paraphernalia and start out in search of a scene to trans fer to canvas. But she found nothing of the marine order that pleased her more than the view looking eastward from the lower end of the island. De scendinC an incline, she found herself just above rocky shore overlooking a strip of Casco bay. There she set uP ANA SeiSCl anu, III A0l subject bit of the rocks and 8 bit of l the ocean, began her work. Constance painted all the morning, but unfortunately her ability to trans fer to canvas what she saw was not of a high order. Like many aspirants for success in art, she felt 1t, but was un- able to express 1t. What she had placed on the canvas disappointed her. She was looking at her work ruefully when she heard step behind her and, turning, saw man descending through the wild grass and weeds. As he pass ed her he lifted his cap and, casting a glance at her picture, paused, looking from it to its subject.
 "You have selected quite an attrac- tive view" he said. Your discrimi- nation in this respect is proved by your having chosen the best there is here"
 q fear 1t is all discrimination" said Constance, viewing her work lugu- briously.
 "You mean that you are not gifted with the artistic touchT'
 ''I fear I am not"
 "A good deal depends upon that which for the want of a better word I shall call the trickery of art. There are all sorts of methods of producing effects which, though in themselves mechanical, tend to successful paint ing. Judging from this bit of work, I fancy you have something to learn in this respect
 Lots"
 'For instance, this bit of rocky cliff is depicted against that wood across the water. The cliff is of 8 dark brown, the wood a dark green, two dark substances, the one directly be- hind the other. You must make one of them of a different shade from what 1t is. The rock, being in the foreground, is the most important. You have got its color to perfection. The wood, being distant, would bear more blending with it's neighboring objects. It will bear Tightening, which will darken the rock"
 Constance mixed some colors on her palette, gave the wood beyond the rock dab and was quite pleased with the improvement. The rock stood out boldly, while the wood appeared at its proper distance.
 Are you teacher of artY' she asked.
 "I have taught art, but I do not l teach now. am interested at present l in regaining my physical strength, which is somewhat run down."
 Constance noticed that he was pale | and thin. His eyes, which were large and expressive at any time, seemed | more so in his invalid condition. She l thanked him for his suggestion and, | removing her canvas, folded her easel | and her stool, put her palette and | paint in her box and was starting | away when the stranger said:
 ''Have you to carry those things | farT'
 gro the village, about a mile up the | island"
 "Do you come back to paint this afternoonT'
 q expect to-
 '@Then 1t is not necessary that you | should lug them both ways. have shack on the crest, between here and | the road, and you can leave them there"
 'tThat would indeed be saving of | labor"
 He took up part of her belongings while she carried the rest, and they | walked together up little path to one of those summer cottages containing only beds, chairs and cheap tableware which city folk rent either for a few weeks in summer or for ''the season" There was a broad porch on three sides of it, and it's occupant, setting | down the artists materials on the porch, said:
 '@They may remain here till you re- turn in the afternoon, and if you don't come again today will take them in-