dropped as the frontispiece) being chief examples. The illustrations communicate her obvious appreciation and love for the humble pots, onions, and flowers of the garden. Many of the objects in the illustrations – the gate, the potting shed, the wall – have changed little over the years and are recognizable today from her illustrations. Aware the type of story she was writing was set primarily in colours of fawn, brown, and soft green, Potter wrote that, "the (red) handkerchief will make a good bit of colour all through the book." Critical reception The tale was well received by the Scotsman, but The Times Literary Supplement was not entirely enthusiastic:Among the little books that have become as much a manifestation of autumn as falling leaves, one looks first for whatever Miss Beatrix Potter gives ... In her new book ... although there is no diminution in the charm and drollery of the drawings, Miss Potter's fancy is not what it was. The story is inconclusive. Next year we think she must call in a literary assistant. We have no hesitation in calling her pencil perfect. Potter biographer Linda Lear notes that none of the rabbit books subsequent to Peter Rabbit appealed to Potter with the passion she experienced for the original, but, in Benjamin Bunny, she successfully wrote a simple, didactic tale for very young children that was less complicated than The Tale of Squirrel Nutkin and The Tailor of Gloucester. Benjamin Bunny however lacked the vitality of her previous efforts because it was made to order rather than allowed to flower from a picture letter to real children in the manner of Peter Rabbit and Squirrel Nutkin. The weak story line of Benjamin Bunny is evidence of her dwindling interest in continuing the Peter Rabbit saga, but the book displays a delight in place, a deep understanding of rabbit anatomy and behaviour, and beautifully miniaturized illustrations of vegetable gardens. Benjamin Bunny presented demands upon Potter she had not encountered in her previous three tales. She had depleted all her sketchbook backgrounds in the production of the other tales and was forced to create new ones, but the greatest challenge to Potter's artistry was consciously working to satisfy both her publisher's demand for another commercial success and her public's expectation of a tale as delightful as her others while labouring under the pressure to produce a sequel to a work of