First M.-of-F.P. "Little Girl in Black"—what a very plain child, to be sure!
Second M.-of-F.P. What there is of it; but it looks to me as if the artist had spent so much time over the black that he forgot to put in the little girl—he's got her mouth, though.
First M.-of-F.P.. Well, if it was my child, I should insist upon having the poor little thing more finished than that—even if I had to pay extra for it.
[A Superior Person has entered the West Gallery, accompanied by a Responsive Lady, who has already grasped the fact that a taste for Pastels is the sure sign of a superior nature.
The R.L.. Isn't that portrait quite wonderful! Wouldn't you take it for an oil-painting?
The S.P.. One might—without some experience—which is just where it is so entirely wrong. A Pastel has no business to imitate the technique of any other medium.
The R.L. Oh, I think you are so right. Because, after all, it is only a Pastel, isn't it? and it oughtn't to pretend to be anything else. (She looks reproachfully at the too ambitious Pastel.) And it isn't as if it was successful, either—it won't bear being looked into at all closely.
The S.P. You should never look at a Pastel closely; they are meant to be seen from a distance.
The R.L. (brightly). Or else you miss the effect? I quite see. Now, I like this—(indicating a vague and streaky little picture)—don't you? That's what I call a real Pastel.