It was Millet’s habit to commence a great number of pictures.  On some of them he would work as long, according to his own expression, as he saw the scene in nature before him; for, at least at this epoch, he never painted directly from nature.  For a picture which I saw the following summer, where three great hay-stacks project their mass against a heavy storm cloud, the shepherd seeking shelter from the impending rain, and the sheep erring here and there, affected by the changing weather—­for this picture, conveying, as it did, the most intense impression of nature, Millet showed me (in answer to my inquiry and in explanation of his method of work) in a little sketch-book, so small that it would slip into a waistcoat pocket, the pencilled outline of the three hay-stacks.  “It was a stormy day,” he said, “and on my return home I sat down and commenced the picture, but of direct studies—­voila tout.”  Of another picture, now in the Boston Museum of Fine Arts, of a young girl, life size, with a distaff, seated on a hillock, her head shaded by a great straw hat relieved against the sky, he told me that the only direct painting from nature on the canvas was in a bunch of grass in the foreground, which he had plucked in the fields and brought into his studio.

[Illustration:  The sower.  From A painting by Jean Francois Millet.

From the original painting, now in the collection of Mrs. W.H.  Vanderbilt; reproduced by permission of Braun, Clement & Co.  In his criticism of the Salon of 1850, where the picture was first exhibited, Theophile Gautier thus described it:  “The sower advances with rhythmic step, casting the seed into the furrowed land; sombre rags cover him; a formless hat is drawn down over his brow; he is gaunt, cadaverous, and thin under his livery of misery; and yet life is contained in his large hand, as with a superb gesture he who has nothing scatters broadcast on the earth the bread of the future.”]

On this first day, it would be difficult to say how many pictures in various states of advancement I saw.  The master would occasionally say, reflectively:  “It is six months since I looked at that, and I must get to work at it,” as some new canvas was placed on the easel.  At first, fearing that he was too ill to have me stay, I made one or two motions to leave.  But each time, with a kindly smile, I was bidden to stay, with the assurance that the headache was “going better.”  After a time I quite forgot everything in enthusiasm at what I saw and the sense that I was enjoying the privilege of a lifetime.  The life of the fields seemed to be unrolled before me like some vast panorama.  Millet’s comments were short and descriptive of what he aimed to represent, seldom or never concerning the method of his work.  “Women in my country,” meaning Lower Normandy, of course, “carry jars of milk in that way,” he said, indicating the woman crossing the fields with the milk-can supported by a strap on her shoulder.  “When I was a boy there were great flights of wild pigeons which settled in the trees at night, when we used to go with torches, and the birds, blinded by the light, could be killed by the hundred with clubs,” was his explanation of another scene full of the confusion of lights and the whirr of the bewildered pigeons.