It was conspicuously displayed on an easel at the right of the entrance to the main room of the club, and was very large.

In the foreground, and to the left, under the shade of a live-oak, stood a couple of reddish cows, knee-deep in a patch of yellow poppies, while in the right-hand corner, to balance the composition, was placed a girl in a pink dress and white sunbonnet, in which the shadows were indicated by broad dashes of pale blue paint.

The ladies and young girls examined the production with little murmurs of admiration, hazarding remembered phrases, searching for the exact balance between generous praise and critical discrimination, expressing their opinions in the mild technicalities of the Art Books and painting classes.

They spoke of atmospheric effects, of middle distance, of "chiaro-oscuro," of fore-shortening, of the decomposition of light, of the subordination of individuality to fidelity of interpretation.
One tall girl, with hair almost white in its blondness, having observed that the handling of the masses reminded her strongly of Corot, her companion, who carried a gold lorgnette by a chain around her neck, answered: "Ah! Millet, perhaps, but not Corot." This verdict had an immediate success.

It was passed from group to group.