undertook to cast her own pretty foot, and the family were one day alarmed by an unearthly bumping and screaming; and, running to the rescue, found the young enthusiast hopping wildly about the shed, with her foot held fast in a pan-full of plaster, which had hardened with unexpected rapidity. With much difficulty and some danger, she was dug out; for Jo was so overcome with laughter while she excavated, that her knife went too far, cut the poor foot, and left a lasting memorial of one artistic attempt, at least.
After this Amy subsided, till a mania for sketching from nature set her to haunting river, field, and wood, for picturesque studies, and sighing for ruins to copy. She caught endless colds sitting on damp grass to book "a delicious bit," composed of a stone, a stump, one mushroom, and a broken mullein stalk, or "a heavenly mass of clouds," that looked like a choice display of feather-beds when done. She sacrificed her complexion floating on the river in the midsummer sun, to study light and shade, and got a wrinkle over her nose, trying after "points of sight," or whatever the squint-and-string performance is called.
If "genius is eternal patience," as Michael Angelo affirms, Amy certainly had some claim to the divine attribute, for she persevered in spite or all obstacles, failures, and discouragements, firmly believing that in time she should do something worthy to be called "high art."
She was learning, doing, and enjoying other things, meanwhile, for she had resolved to be an attractive and accomplished woman, even if she never became a great artist. Here she succeeded better; for she was