Chapter 1. Composition
_ My chief reason for confining these four talks to the outdoor sketch is because I have been an outdoor painter since I was sixteen years of age； have never in my whole life painted what is known as a studio picture evolved from memory or from my inner consciousness, or from any one of my outdoor sketches. My pictures are begun and finished often at one sitting, never more than three sittings； and a white umbrella and a three-legged stool are the sum of my studio appointments.
Another reason is that, outside of this ability to paint rapidly out-of-doors, I know so little of the many processes attendant upon the art of the painter that both my advice and my criticism would be worthless to even the youngest of the painters to-day. Again, I work only in two mediums, water-color and charcoal. Oil I have not touched for many years, and then only for a short time when a student under Swain Gifford (and this, of course, many, many years ago), who taught me the

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