stand behind him, to see and hear his clear instructions carried into
actual practice on the work before him. He often illustrated his
little special lessons by his stores of instructive and interesting
anecdotes, which no doubt helped to rivet his practice all the deeper
into their minds. Thus the Nasmyth classes soon became the fashion.
In many cases both mothers and daughters might be seen at work together
in that delightful painting-room. I have occasionally met with some of
them in after years, who referred to those pleasant hours as among the
most delightful they had ever spent.

These classes were continued for many years. In the meantime my
sisters' diligence and constant practice enabled them in course of time
to exhibit their works in the fine art exhibitions of Edinburgh.
Each had her own individuality of style and manner, by which their
several works were easily distinguished from each other. Indeed,
whoever works after Nature will have a style of their own. They all
continued the practice of oil painting until an advanced age.
The average duration of their lives was about seventy-eight.

There was one point which my father diligently impressed upon his
pupils, and that was the felicity and the happiness attendant upon
pencil drawing. He was a master of the pencil, and in his off-hand
sketches communicated his ideas to others in a way that mere words
could never have done. It was his Graphic Language. A few strokes of
the pencil can convey ideas which quires of writing would fail to
impart. This is one of the most valuable gifts which a man who has to
do with practical subjects can possess. "The language of the pencil"
is a truly universal one, especially in communicating ideas which have
reference to material forms. And yet it is in a great measure
neglected in our modern system of education.