From fire to oil was a natural transition for burned fingers, and Amy fell to painting with undiminished ardor.  An artist friend fitted her out with his castoff palettes, brushes, and colors, and she daubed away, producing pastoral and marine views such as were never seen on land or sea.  Her monstrosities in the way of cattle would have taken prizes at an agricultural fair, and the perilous pitching of her vessels would have produced seasickness in the most nautical observer, if the utter disregard to all known rules of shipbuilding and rigging had not convulsed him with laughter at the first glance.  Swarthy boys and dark-eyed Madonnas, staring at you from one corner of the studio, suggested Murillo; oily brown shadows of faces with a lurid streak in the wrong place, meant Rembrandt; buxom ladies and dropiscal infants, Rubens; and Turner appeared in tempests of blue thunder, orange lightning, brown rain, and purple clouds, with a tomato-colored splash in the middle, which might be the sun or a bouy, a sailor’s shirt or a king’s robe, as the spectator pleased.

Charcoal portraits came next, and the entire family hung in a row, looking as wild and crocky as if just evoked from a coalbin.  Softened into crayon sketches, they did better, for the likenesses were good, and Amy’s hair, Jo’s nose, Meg’s mouth, and Laurie’s eyes were pronounced ‘wonderfully fine’.  A return to clay and plaster followed, and ghostly casts of her acquaintances haunted corners of the house, or tumbled off closet shelves onto people’s heads.  Children were enticed in as models, till their incoherent accounts of her mysterious doings caused Miss Amy to be regarded in the light of a young ogress.  Her efforts in this line, however, were brought to an abrupt close by an untoward accident, which quenched her ardor.  Other models failing her for a time, she 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 featherbeds 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.