file which includes the original        
illustrations4       ,see #cjcbe-;h4htm 
or #cjcbe-;h4zip3                       
7https3_/_/www4gutenberg4org_/cache_/epu
b_/#cjcbe_/pg#cjcbe-;images4html7       
or                                      
7https3_/_/www4gutenberg4org_/files_/#cj
cbe_/cjcbe-;h4zip7   ,transcriber's     
note3        ,one typographical error   
has been corrected3 it is listed        
at the end of the text4                 
,illustrations occurring in the middle  
of a paragraph were       moved to the  
nearest paragraph's begining4           
,library ,edition  ,,the ,,complete     
,,works ,,of ,,john ,,ruskin            
,,elements ,,of ,,drawing ,,and         
,,perspective ,,the ,,two ,,paths ,,unto
 ,,this ,,last ,,munera ,,pulveris      
,,sesame ,,and ,,lilies ,,ethics ,,of   
,,the ,,dust   ,national ,library       
,association ,new ,york                 
,chicago   ,,the ,,elements ,,of        
,,drawing  ,,in ,,three ,,letters ,,to  
,,beginners4     ,,contents4            

,,page    ,,preface                     
ix      ,,letter ,i4   ,,on ,,first     
,,practice                              
#a      ,,letter ,,ii4   ,,sketching    
,,from ,,nature                         
#fe      ,,letter ,,iii4   ,,on ,,color 
,,and ,,composition                     
#ajf       ,,appendix ,i4               
,,illustrative ,,notes                  
#ahc      ,,appendix ,,ii4   ,,things   
,,to ,,be ,,studied                     
#ahh     ,the ,elements of ,drawing was 
written during the winter of #ahef4 ,the
 ,first ,edition was published in #aheg2
 the ,second followed in the same year1 
with some additions and slight          
alterations4 ,the ,third ,edition       
consisted of sixth thousand1 #ahei2     
seventh thousand1 #ahfj2 and eighth     
thousand1 #ahfa4  ,the work was partly  
reproduced in ,our ,sketching ,club1 by 
the ,rev4 ,r4 ,st4 ,john ,tyrwhitt1     
,m4,a41 #ahgd2 with new editions in     
#ahge1 #ahhb1 and #ahhf4  ,mr4 ,ruskin  
meant1 during his tenure of the ,slade  

,professorship at ,oxford1 to recast his
 teaching1 and to write a systematic    
manual for the use of his ,drawing      
,school1 under the title of ,the ,laws  
of ,fsole4 ,of this only vol4 i4 was    
completed1 #ahgi2 second edition1 #ahhb4
  ,as1 therefore1 ,the ,elements of     
,drawing has never been completely      
superseded1 and as many readers of ,mr4 
,ruskin's works have expressed a desire 
to possess the book in its old form1 it 
is now reprinted as it stood in #ahei4  
,,advertisement  ,,to  ,,the ,,second   
,,edition4   ,as one or two questions1  
asked of me since the publication of    
this work1 have indicated points        
requiring elucidation1 ,i have added a  
few short notes in the first ,appendix4 
,it is not1 ,i think1 desirable         
otherwise to modify the form or add to  
the matter of a book as it passes       
through successive editions2 ,i have1   
therefore1 only mended the wording of   
some obscure sentences2 with which      
exception the text remains1 and will    

remain1 in its original form1 which ,i  
had carefully considered4 ,should the   
public find the book useful1 and call   
for further editions of it1 such        
additional notes as may be necessary    
will be always placed in the first      
,appendix1 where they can be at once    
referred to1 in any library1 by the     
possessors of the earlier editions2 and 
,i will take care they shall not be     
numerous4    ,august #c1 #aheg4         
,,preface4   i4 ,it may perhaps be      
thought1 that in prefacing a manual of  
drawing1 ,i ought to expatiate on the   
reasons why drawing should be learned2  
but those reasons appear to me so many  
and so weighty1 that ,i cannot quickly  
state or enforce them4 ,with the        
reader's permission1 as this volume is  
too large already1 ,i will waive all    
discussion respecting the importance of 
the subject1 and touch only on those    
points which may appear questionable in 
the method of its treatment4  ii4 ,in   
the first place1 the book is not        

calculated for the use of children under
 the age of twelve or fourteen4 ,i do   
not think it advisable to engage a child
 in any but the most voluntary practice 
of art4 ,if it has talent for drawing1  
it will be continually scrawling on what
 paper it can get2 and should be allowed
 to scrawl at its own free will1 due    
praise being given for every appearance 
of care1 or truth1 in its efforts4 ,it  
should be allowed to amuse itself with  
cheap colors almost as soon as it has   
sense enough to wish for them4 ,if it   
merely daubs the paper with shapeless   
stains1 the color-box may be taken away 
till it knows better3 but as soon as it 
begins painting red coats on soldiers1  
striped flags to ships1 etc41 it should 
have colors at command2 and1 without    
restraining its choice of subject in    
that imaginative and historical art1 of 
a military tendency1 which children     
delight in1 7generally quite as         
valuable1 by the way1 as any historical 
art delighted in by their elders17 it   

should be gently led by the parents to  
try to draw1 in such childish fashion as
 may be1 the things it can see and      
likes1--birds1 or butterflies1 or       
flowers1 or fruit4  iii4 ,in later      
years1 the indulgence of using the color
 should only be granted as a reward1    
after it has shown care and progress in 
its drawings with pencil4 ,a limited    
number of good and amusing prints should
 always be within a boy's reach3 in     
these days of cheap illustration he can 
hardly possess a volume of nursery tales
 without good wood-cuts in it1 and      
should be encouraged to copy what he    
likes best of this kind2 but should be  
firmly restricted to a few prints and to
 a few books4 ,if a child has many toys1
 it will get tired of them and break    
them2 if a boy has many prints he will  
merely dawdle and scrawl over them2 it  
is by the limitation of the number of   
his possessions that his pleasure in    
them is perfected1 and his attention    
concentrated4 ,the parents need give    

themselves no trouble in instructing    
him1 as far as drawing is concerned1    
beyond insisting upon economical and    
neat habits with his colors and paper1  
showing him the best way of holding     
pencil and rule1 and1 so far as they    
take notice of his work1 pointing out   
where a line is too short or too long1  
or too crooked1 when compared with the  
copy2 accuracy being the first and last 
thing they look for4 ,if the child shows
 talent for inventing or grouping       
figures1 the parents should neither     
check1 nor praise it4 ,they may laugh   
with it frankly1 or show pleasure in    
what it has done1 just as they show     
pleasure in seeing it well1 or cheerful2
 but they must not praise it for being  
clever1 any more than they would praise 
it for being stout4 ,they should praise 
it only for what costs it self-denial1  
namely attention and hard work2         
otherwise they will make it work for    
vanity's sake1 and always badly4 ,the   
best books to put into its hands are    

those illustrated by ,george ,cruikshank
 or by ,richter4 7,see ,appendix47 ,at  
about the age of twelve or fourteen1 it 
is quite time enough to set youth or    
girl to serious work2 and then this book
 will1 ,i think1 be useful to them2 and 
,i have good hope it may be so1         
likewise1 to persons of more advanced   
age wishing to know something of the    
first principles of art4  iv4 ,yet      
observe1 that the method of study       
recommended is not brought forward as   
absolutely the best1 but only as the    
best which ,i can at present devise for 
an isolated student4 ,it is very likely 
that farther experience in teaching may 
enable me to modify it with advantage in
 several important respects2 but ,i am  
sure the main principles of it are      
sound1 and most of the exercises as     
useful as they can be rendered without a
 master's superintendence4 ,the method  
differs1 however1 so materially from    
that generally adopted by               
drawing-masters1 that a word or two of  

explanation may be needed to justify    
what might otherwise be thought willful 
eccentricity4  v4 ,the manuals at       
present published on the subject of     
drawing are all directed1 as far as ,i  
know1 to one or other of two objects4   
,either they propose to give the student
 a power of dexterous sketching with    
pencil or water-color1 so as to emulate 
7at considerable distance7 the slighter 
work of our second-rate artists2 or they
 propose to give him such accurate      
command of mathematical forms as may    
afterwards enable him to design rapidly 
and cheaply for manufactures4 ,when     
drawing is taught as an accomplishment1 
the first is the aim usually proposed2  
while the second is the object kept     
chiefly in view at ,marlborough ,house1 
and in the branch ,government ,schools  
of ,design4  vi4 ,of the fitness of the 
modes of study adopted in those schools1
 to the end specially intended1 judgment
 is hardly yet possible2 only1 it seems 
to me1 that we are all too much in the  

habit of confusing art as applied to    
manufacture1 with manufacture itself4   
,for instance1 the skill by which an    
inventive workman designs and molds a   
beautiful cup1 is skill of true art2 but
 the skill by which that cup is copied  
and afterwards multiplied a             
thousandfold1 is skill of manufacture3  
and the faculties which enable one      
workman to design and elaborate his     
original piece1 are not to be developed 
by the same system of instruction as    
those which enable another to produce a 
maximum number of approximate copies of 
it in a given time4 ,farther3 it is     
surely inexpedient that any reference to
 purposes of manufacture should         
interfere with the education of the     
artist himself4 ,try first to           
manufacture a ,raphael2 then let        
,raphael direct your manufacture4 ,he   
will design you a plate1 or cup1 or a   
house1 or a palace1 whenever you want   
it1 and design them in the most         
convenient and rational way2 but do not 

let your anxiety to reach the platter   
and the cup interfere with your         
education of the ,raphael4 ,obtain first
 the best work you can1 and the ablest  
hands1 irrespective of any consideration
 of economy or facility of production4  
,then leave your trained artist to      
determine how far art can be            
popularized1 or manufacture ennobled4   
vii4 ,now1 ,i believe that 7irrespective
 of differences in individual temper and
 character7 the excellence of an artist1
 as such1 depends wholly on refinement  
of perception1 and that it is this1     
mainly1 which a master or a school can  
teach2 so that while powers of invention
 distinguish man from man1 powers of    
perception distinguish school from      
school4 ,all great schools enforce      
delicacy of drawing and subtlety of     
sight3 and the only rule which ,i have1 
as yet1 found to be without exception   
respecting art1 is that all great art is
 delicate4  viii4 ,therefore1 the chief 
aim and bent of the following system is 

to obtain1 first1 a perfectly patient1  
and1 to the utmost of the pupil's power1
 a delicate method of work1 such as may 
insure his seeing truly4 ,for ,i am     
nearly convinced1 that when once we see 
keenly enough1 there is very little     
difficulty in drawing what we see2 but1 
even supposing that this difficulty be  
still great1 ,i believe that the sight  
is a more important thing than the      
drawing2 and ,i would rather teach      
drawing that my pupils may learn to love
 ,nature1 than teach the looking at     
,nature that they may learn to draw4 ,it
 is surely also a more important thing1 
for young people and unprofessional     
students1 to know how to appreciate the 
art of others1 than to gain much power  
in art themselves4 ,now the modes of    
sketching ordinarily taught are         
inconsistent with this power of         
judgment4 ,no person trained to the     
superficial execution of modern         
water-color painting1 can understand the
 work of ,titian or ,leonardo2 they must

 forever remain blind to the refinement 
of such men's penciling1 and the        
precision of their thinking4 ,but1      
however slight a degree of manipulative 
power the student may reach by pursuing 
the mode recommended to him in these    
letters1 ,i will answer for it that he  
cannot go once through the advised      
exercises without beginning to          
understand what masterly work means2    
and1 by the time he has gained some     
proficiency in them1 he will have a     
pleasure in looking at the painting of  
the great schools1 and a new perception 
of the exquisiteness of natural scenery1
 such as would repay him for much more  
labor than ,i have asked him to undergo4
  ix4 ,that labor is1 nevertheless1     
sufficiently irksome1 nor is it possible
 that it should be otherwise1 so long as
 the pupil works unassisted by a master4
 ,for the smooth and straight road which
 admits unembarrassed progress must1 ,i 
fear1 be dull as well as smooth2 and the
 hedges need to be close and trim when  

there is no guide to warn or bring back 
the erring traveler4 ,the system        
followed in this work will1 therefore1  
at first1 surprise somewhat sorrowfully 
those who are familiar with the practice
 of our class at the ,working ,men's    
,college2 for there1 the pupil1 having  
the master at his side to extricate him 
from such embarrassments as his first   
efforts may lead into1 is at once set to
 draw from a solid object1 and soon     
finds entertainment in his efforts and  
interest in his difficulties4 ,of course
 the simplest object which it is        
possible to set before the eye is a     
sphere2 and1 practically1 ,i find a     
child's toy1 a white leather ball1      
better than anything else2 as the       
gradations on balls of plaster of       
,paris1 which ,i use sometimes to try   
the strength of pupils who have had     
previous practice1 are a little too     
delicate for a beginner to perceive4 ,it
 has been objected that a circle1 or the
 outline of a sphere1 is one of the most

 difficult of all lines to draw4 ,it is 
so2,a but ,i do not want it to be drawn4
 ,all that his study of the ball is to  
teach the pupil1 is the way in which    
shade gives the appearance of           
projection4 ,this he learns most        
satisfactorily from a sphere2 because   
any solid form1 terminated by straight  
lines or flat surfaces1 owes some of its
 appearance of projection to its        
perspective2 but in the sphere1 what1   
without shade1 was a flat circle1       
becomes1 merely by the added shade1 the 
image of a solid ball2 and this fact is 
just as striking to the learner1 whether
 his circular outline be true or false4 
,he is1 therefore1 never allowed to     
trouble himself about it2 if he makes   
the ball look as oval as an egg1 the    
degree of error is simply pointed out to
 him1 and he does better next time1 and 
better still the next4 ,but his mind is 
always fixed on the gradation of shade1 
and the outline left to take1 in due    
time1 care of itself4 ,i call it        

outline1 for the sake of immediate      
intelligibility1--strictly speaking1 it 
is merely the edge of the shade2 no     
pupil in my class being ever allowed to 
draw an outline1 in the ordinary sense4 
,it is pointed out to him1 from the     
first1 that ,nature relieves one mass1  
or one tint1 against another2 but       
outlines none4 ,the outline exercise1   
the second suggested in this letter1 is 
recommended1 not to enable the pupil to 
draw outlines1 but as the only means by 
which1 unassisted1 he can test his      
accuracy of eye1 and discipline his     
hand4 ,when the master is by1 errors in 
the form and extent of shadows can be   
pointed out as easily as in outline1 and
 the handling can be gradually corrected
 in details of the work4 ,but the       
solitary student can only find out his  
own mistakes by help of the traced      
limit1 and can only test the firmness of
 his hand by an exercise in which       
nothing but firmness is required2 and   
during which all other considerations   

7as of softness1 complexity1 etc47 are  
entirely excluded4  x4 ,both the system 
adopted at the ,working ,men's ,college1
 and that recommended here1 agree1      
however1 in one principle1 which ,i     
consider the most important and special 
of all that are involved in my teaching3
 namely1 the attaching its full         
importance1 from the first1 to local    
color4 ,i believe that the endeavor to  
separate1 in the course of instruction1 
the observation of light and shade from 
that of local color1 has always been1   
and must always be1 destructive of the  
student's power of accurate sight1 and  
that it corrupts his taste as much as it
 retards his progress4 ,i will not      
occupy the reader's time by any         
discussion of the principle here1 but ,i
 wish him to note it as the only        
distinctive one in my system1 so far as 
it is a system4 ,for the recommendation 
to the pupil to copy faithfully1 and    
without alteration1 whatever natural    
object he chooses to study1 is          

serviceable1 among other reasons1 just  
because it gets rid of systematic rules 
altogether1 and teaches people to draw1 
as country lads learn to ride1 without  
saddle or stirrups2 my main object      
being1 at first1 not to get my pupils to
 hold their reins prettily1 but to sit  
like a jackanapes1 never off4  xi4 ,in  
these written instructions1 therefore1  
it has always been with regret that ,i  
have seen myself forced to advise       
anything like monotonous or formal      
discipline4 ,but1 to the unassisted     
student1 such formalities are           
indispensable1 and ,i am not without    
hope that the sense of secure           
advancement1 and the pleasure of        
independent effort1 may render the      
following out of even the more tedious  
exercises here proposed1 possible to the
 solitary learner1 without weariness4   
,but if it should be otherwise1 and he  
finds the first steps painfully irksome1
 ,i can only desire him to consider     
whether the acquirement of so great a   

power as that of pictorial expression of
 thought be not worth some toil2 or     
whether it is likely1 in the natural    
order of matters in this working world1 
that so great a gift should be          
attainable by those who will give no    
price for it4  xii4 ,one task1 however1 
of some difficulty1 the student will    
find ,i have not imposed upon him3      
namely1 learning the laws of            
perspective4 ,it would be worth while to
 learn them1 if he could do so easily2  
but without a master's help1 and in the 
way perspective is at present explained 
in treatises1 the difficulty is greater 
than the gain4 ,for perspective is not  
of the slightest use1 except in         
rudimentary work4 ,you can draw the     
rounding line of a table in perspective1
 but you cannot draw the sweep of a sea 
bay2 you can foreshorten a log of wood  
by it1 but you cannot foreshorten an    
arm4 ,its laws are too gross and few to 
be applied to any subtle form2          
therefore1 as you must learn to draw the

 subtle forms by the eye1 certainly you 
may draw the simple ones4 ,no great     
painters ever trouble themselves about  
perspective1 and very few of them know  
its laws2 they draw everything by the   
eye1 and1 naturally enough1 disdain in  
the easy parts of their work rules which
 cannot help them in difficult ones4 ,it
 would take about a month's labor to    
draw imperfectly1 by laws of            
perspective1 what any great ,venetian   
will draw perfectly in five minutes1    
when he is throwing a wreath of leaves  
round a head1 or bending the curves of a
 pattern in and out among the folds of  
drapery4 ,it is true that when          
perspective was first discovered1       
everybody amused themselves with it2 and
 all the great painters put fine saloons
 and arcades behind their ,madonnas1    
merely to show that they could draw in  
perspective3 but even this was generally
 done by them only to catch the public  
eye1 and they disdained the perspective 
so much1 that though they took the      

greatest pains with the circlet of a    
crown1 or the rim of a crystal cup1 in  
the heart of their picture1 they would  
twist their capitals of columns and     
towers of churches about in the         
background in the most wanton way1      
wherever they liked the lines to go1    
provided only they left just perspective
 enough to please the public4  xiii4 ,in
 modern days1 ,i doubt if any artist    
among us1 except ,david ,roberts1 knows 
so much perspective as would enable him 
to draw a ,gothic arch to scale at a    
given angle and distance4 ,turner1      
though he was professor of perspective  
to the ,royal ,academy1 did not know    
what he professed1 and never1 as far as 
,i remember1 drew a single building in  
true perspective in his life2 he drew   
them only with as much perspective as   
suited him4 ,prout also knew nothing of 
perspective1 and twisted his buildings1 
as ,turner did1 into whatever shapes he 
liked4 ,i do not justify this2 and would
 recommend the student at least to treat

 perspective with common civility1 but  
to pay no court to it4 ,the best way he 
can learn it1 by himself1 is by taking a
 pane of glass1 fixed in a frame1 so    
that it can be set upright before the   
eye1 at the distance at which the       
proposed sketch is intended to be seen4 
,let the eye be placed at some fixed    
point1 opposite the middle of the pane  
of glass1 but as high or as low as the  
student likes2 then with a brush at the 
end of a stick1 and a little body-color 
that will adhere to the glass1 the lines
 of the landscape may be traced on the  
glass1 as you see them through it4 ,when
 so traced they are all in true         
perspective4 ,if the glass be sloped in 
any direction1 the lines are still in   
true perspective1 only it is perspective
 calculated for a sloping plane1 while  
common perspective always supposes the  
plane of the picture to be vertical4 ,it
 is good1 in early practice1 to accustom
 yourself to inclose your subject1      
before sketching it1 with a light frame 

of wood held upright before you2 it will
 show you what you may legitimately take
 into your picture1 and what choice     
there is between a narrow foreground    
near you1 and a wide one farther off2   
also1 what height of tree or building   
you can properly take in1 etc4,b  xiv4  
,of figure drawing1 nothing is said in  
the following pages1 because ,i do not  
think figures1 as chief subjects1 can be
 drawn to any good purpose by an        
amateur4 ,as accessaries in landscape1  
they are just to be drawn on the same   
principles as anything else4  xv4       
,lastly3 ,if any of the directions given
 subsequently to the student should be  
found obscure by him1 or if at any stage
 of the recommended practice he find    
himself in difficulties which ,i have   
not enough provided against1 he may     
apply by letter to ,mr4 ,ward1 who is my
 under drawing-master at the ,working   
,men's ,college 7#de ,great ,ormond     
,street71 and who will give any required
 assistance1 on the lowest terms that   

can remunerate him for the occupation of
 his time4 ,i have not leisure myself in
 general to answer letters of inquiry1  
however much ,i may desire to do so2 but
 ,mr4 ,ward has always the power of     
referring any question to me when he    
thinks it necessary4 ,i have good hope1 
however1 that enough guidance is given  
in this work to prevent the occurrence  
of any serious embarrassment2 and ,i    
believe that the student who obeys its  
directions will find1 on the whole1 that
 the best answerer of questions is      
perseverance2 and the best              
drawing-masters are the woods and hills4
    #aheg4   ,,footnotes3    ,a ,or1    
more accurately1 appears to be so1      
because any one can see     an error in 
a circle4    ,b ,if the student is fond 
of architecture1 and wishes to know more
     of perspective than he can learn in
 this rough way1 ,mr4 ,runciman 7of     
#di ,acacia ,road1 ,st4 ,john's ,wood71 
who was my first drawing-master1     and
 to whom ,i owe many happy hours1 can   

teach it him quickly1     easily1 and   
rightly4 ,mr4 ,runciman has died since  
this was written3     ,mr4 ,ward's      
present address is ,bedford ,chambers1  
#bh ,southampton     ,street1 ,strand1  
,london1 ,w4,c4     ,,the  ,,elements   
,,of ,,drawing4     ,,letter ,i4  ,,on  
,,first ,,practice4   #a4 ,,my ,,dear   
,,reader1--,whether this book is to be  
of use to you or not1 depends wholly on 
your reason for wishing to learn to     
draw4 ,if you desire only to possess a  
graceful accomplishment1 to be able to  
converse in a fluent manner about       
drawing1 or to amuse yourself listlessly
 in listless hours1 ,i cannot help you3 
but if you wish to learn drawing that   
you may be able to set down clearly1 and
 usefully1 records of such things as    
cannot be described in words1 either to 
assist your own memory of them1 or to   
convey distinct ideas of them to other  
people2 if you wish to obtain quicker   
perceptions of the beauty of the natural
 world1 and to preserve something like a

 true image of beautiful things that    
pass away1 or which you must yourself   
leave2 if1 also1 you wish to understand 
the minds of great painters1 and to be  
able to appreciate their work sincerely1
 seeing it for yourself1 and loving it1 
not merely taking up the thoughts of    
other people about it2 then ,i can help 
you1 or1 which is better1 show you how  
to help yourself4  #b4 ,only you must   
understand1 first of all1 that these    
powers1 which indeed are noble and      
desirable1 cannot be got without work4  
,it is much easier to learn to draw     
well1 than it is to learn to play well  
on any musical instrument2 but you know 
that it takes three or four years of    
practice1 giving three or four hours a  
day1 to acquire even ordinary command   
over the keys of a piano2 and you must  
not think that a masterly command of    
your pencil1 and the knowledge of what  
may be done with it1 can be acquired    
without painstaking1 or in a very short 
time4 ,the kind of drawing which is     

taught1 or supposed to be taught1 in our
 schools1 in a term or two1 perhaps at  
the rate of an hour's practice a week1  
is not drawing at all4 ,it is only the  
performance of a few dexterous 7not     
always even that7 evolutions on paper   
with a black-lead pencil2 profitless    
alike to performer and beholder1 unless 
as a matter of vanity1 and that the     
smallest possible vanity4 ,if any young 
person1 after being taught what is1 in  
polite circles1 called drawing1 will try
 to copy the commonest piece of real    
work--suppose a lithograph on the       
titlepage of a new opera air1 or a      
wood-cut in the cheapest illustrated    
newspaper of the day1--they will find   
themselves entirely beaten4 ,and yet    
that common lithograph was drawn with   
coarse chalk1 much more difficult to    
manage than the pencil of which an      
accomplished young lady is supposed to  
have command2 and that wood-cut was     
drawn in urgent haste1 and half spoiled 
in the cutting afterwards2 and both were

 done by people whom nobody thinks of as
 artists1 or praises for their power2   
both were done for daily bread1 with no 
more artist's pride than any simple     
handicraftsmen feel in the work they    
live by4  #c4 ,do not1 therefore1 think 
that you can learn drawing1 any more    
than a new language1 without some hard  
and disagreeable labor4 ,but do not1 on 
the other hand1 if you are ready and    
willing to pay this price1 fear that you
 may be unable to get on for want of    
special talent4 ,it is indeed true that 
the persons who have peculiar talent for
 art1 draw instinctively1 and get on    
almost without teaching2 though never   
without toil4 ,it is true1 also1 that of
 inferior talent for drawing there are  
many degrees3 it will take one person a 
much longer time than another to attain 
the same results1 and the results thus  
painfully attained are never quite so   
satisfactory as those got with greater  
ease when the faculties are naturally   
adapted to the study4 ,but ,i have never

 yet1 in the experiments ,i have made1  
met with a person who could not learn to
 draw at all2 and1 in general1 there is 
a satisfactory and available power in   
every one to learn drawing if he wishes1
 just as nearly all persons have the    
power of learning ,french1 ,latin1 or   
arithmetic1 in a decent and useful      
degree1 if their lot in life requires   
them to possess such knowledge4  #d4    
,supposing then that you are ready to   
take a certain amount of pains1 and to  
bear a little irksomeness and a few     
disappointments bravely1 ,i can promise 
you that an hour's practice a day for   
six months1 or an hour's practice every 
other day for twelve months1 or1        
disposed in whatever way you find       
convenient1 some hundred and fifty      
hours' practice1 will give you          
sufficient power of drawing faithfully  
whatever you want to draw1 and a good   
judgment1 up to a certain point1 of     
other people's work3 of which hours if  
you have one to spare at present1 we may

 as well begin at once4   ,,exercise ,i4
  #e4 ,everything that you can see in   
the world around you1 presents itself to
 your eyes only as an arrangement of    
patches of different colors variously   
shaded4#a ,some of these patches of     
color have an appearance of lines or    
texture within them1 as a piece of cloth
 or silk has of threads1 or an animal's 
skin shows texture of hairs3 but whether
 this be the case or not1 the first     
broad aspect of the thing is that of a  
patch of some definite color2 and the   
first thing to be learned is1 how to    
produce extents of smooth color1 without
 texture4  #f4 ,this can only be done   
properly with a brush2 but a brush1     
being soft at the point1 causes so much 
uncertainty in the touch of an          
unpracticed hand1 that it is hardly     
possible to learn to draw first with it1
 and it is better to take1 in early     
practice1 some instrument with a hard   
and fine point1 both that we may give   
some support to the hand1 and that by   

working over the subject with so        
delicate a point1 the attention may be  
properly directed to all the most minute
 parts of it4 ,even the best artists    
need occasionally to study subjects with
 a pointed instrument1 in order thus to 
discipline their attention3 and a       
beginner must be content to do so for a 
considerable period4  ,illustration3    
,,fig4 #a4  #g4 ,also1 observe that     
before we trouble ourselves about       
differences of color1 we must be able to
 lay on one color properly1 in whatever 
gradations of depth and whatever shapes 
we want4 ,we will try1 therefore1 first 
to lay on tints or patches of gray1 of  
whatever depth we want1 with a pointed  
instrument4 ,take any finely pointed    
steel pen 7one of ,gillott's            
lithographic crowquills is best71 and a 
piece of quite smooth1 but not shining1 
note-paper1 cream laid1 and get some ink
 that has stood already some time in the
 inkstand1 so as to be quite black1 and 
as thick as it can be without clogging  

the pen4 ,take a rule1 and draw four    
straight lines1 so as to inclose a      
square1 or nearly a square1 about as    
large as a1 ,fig4 #a4 ,i say nearly a   
square1 because it does not in the least
 matter whether it is quite square or   
not1 the object being merely to get a   
space inclosed by straight lines4  #h4  
,now1 try to fill in that square space  
with crossed lines1 so completely and   
evenly that it shall look like a square 
patch of gray silk or cloth1 cut out and
 laid on the white paper1 as at b4      
,cover it quickly1 first with           
straightish lines1 in any direction you 
like1 not troubling yourself to draw    
them much closer or neater than those in
 the square a4 ,let them quite dry      
before retouching them4 7,if you draw   
three or four squares side by side1 you 
may always be going on with one while   
the others are drying47 ,then cover     
these lines with others in a different  
direction1 and let those dry2 then in   
another direction still1 and let those  

dry4 ,always wait long enough to run no 
risk of blotting1 and then draw the     
lines as quickly as you can4 ,each ought
 to be laid on as swiftly as the dash of
 the pen of a good writer2 but if you   
try to reach this great speed at first1 
you will go over the edge of the square1
 which is a fault in this exercise4 ,yet
 it is better to do so now and then than
 to draw the lines very slowly2 for if  
you do1 the pen leaves a little dot of  
ink at the end of each line1 and these  
dots spoil your work4 ,so draw each line
 quickly1 stopping always as nearly as  
you can at the edge of the square4 ,the 
ends of lines which go over the edge are
 afterwards to be removed with the      
penknife1 but not till you have done the
 whole work1 otherwise you roughen the  
paper1 and the next line that goes over 
the edge makes a blot4  #i4 ,when you   
have gone over the whole three or four  
times1 you will find some parts of the  
square look darker than other parts4    
,now try to make the lighter parts as   

dark as the rest1 so that the whole may 
be of equal depth or darkness4 ,you will
 find1 on examining the work1 that where
 it looks darkest the lines are closest1
 or there are some much darker lines    
than elsewhere2 therefore you must put  
in other lines1 or little scratches and 
dots1 between the lines in the paler    
parts2 and where there are any very     
conspicuous dark lines1 scratch them out
 lightly with the penknife1 for the eye 
must not be attracted by any line in    
particular4 ,the more carefully and     
delicately you fill in the little gaps  
and holes the better2 you will get on   
faster by doing two or three squares    
perfectly than a great many badly4 ,as  
the tint gets closer and begins to look 
even1 work with very little ink in your 
pen1 so as hardly to make any mark on   
the paper2 and at last1 where it is too 
dark1 use the edge of your penknife very
 lightly1 and for some time1 to wear it 
softly into an even tone4 ,you will find
 that the greatest difficulty consists  

in getting evenness3 one bit will always
 look darker than another bit of your   
square2 or there will be a granulated   
and sandy look over the whole4 ,when you
 find your paper quite rough and in a   
mess1 give it up and begin another      
square1 but do not rest satisfied till  
you have done your best with every      
square4 ,the tint at last ought at least
 to be as close and even as that in b1  
,fig4 #a4 ,you will find1 however1 that 
it is very difficult to get a pale tint2
 because1 naturally1 the ink lines      
necessary to produce a close tint at    
all1 blacken the paper more than you    
want4 ,you must get over this difficulty
 not so much by leaving the lines wide  
apart as by trying to draw them         
excessively fine1 lightly and swiftly2  
being very cautious in filling in2 and1 
at last1 passing the penknife over the  
whole4 ,by keeping several squares in   
progress at one time1 and reserving your
 pen for the light one just when the ink
 is nearly exhausted1 you may get on    

better4 ,the paper ought1 at last1 to   
look lightly and evenly toned all over1 
with no lines distinctly visible4       
,,exercise ,,ii4  #aj4 ,as this exercise
 in shading is very tiresome1 it will be
 well to vary it by proceeding with     
another at the same time4 ,the power of 
shading rightly depends mainly on       
lightness of hand and keenness of sight2
 but there are other qualities required 
in drawing1 dependent not merely on     
lightness1 but steadiness of hand2 and  
the eye1 to be perfect in its power1    
must be made accurate as well as keen1  
and not only see shrewdly1 but measure  
justly4  #aa4 ,possess yourself         
therefore of any cheap work on botany   
containing outline plates of leaves and 
flowers1 it does not matter whether bad 
or good3 ,baxter's ,british ,flowering  
,plants is quite good enough4 ,copy any 
of the simplest outlines1 first with a  
soft pencil1 following it1 by the eye1  
as nearly as you can2 if it does not    
look right in proportions1 rub out and  

correct it1 always by the eye1 till you 
think it is right3 when you have got it 
to your mind1 lay tracing-paper on the  
book2 on this paper trace the outline   
you have been copying1 and apply it to  
your own2 and having thus ascertained   
the faults1 correct them all patiently1 
till you have got it as nearly accurate 
as may be4 ,work with a very soft       
pencil1 and do not rub out so hard#b as 
to spoil the surface of your paper2     
never mind how dirty the paper gets1 but
 do not roughen it2 and let the false   
outlines alone where they do not really 
interfere with the true one4 ,it is a   
good thing to accustom yourself to hew  
and shape your drawing out of a dirty   
piece of paper4 ,when you have got it as
 right as you can1 take a quill pen1 not
 very fine at the point2 rest your hand 
on a book about an inch and a half      
thick1 so as to hold the pen long2 and  
go over your pencil outline with ink1   
raising your pen point as seldom as     
possible1 and never leaning more heavily

 on one part of the line than on        
another4 ,in most outline drawings of   
the present day1 parts of the curves are
 thickened to give an effect of shade2  
all such outlines are bad1 but they will
 serve well enough for your exercises1  
provided you do not imitate this        
character3 it is better1 however1 if you
 can1 to choose a book of pure outlines4
 ,it does not in the least matter       
whether your pen outline be thin or     
thick2 but it matters greatly that it   
should be equal1 not heavier in one     
place than in another4 ,the power to be 
obtained is that of drawing an even line
 slowly and in any direction2 all       
dashing lines1 or approximations to     
penmanship1 are bad4 ,the pen should1 as
 it were1 walk slowly over the ground1  
and you should be able at any moment to 
stop it1 or to turn it in any other     
direction1 like a well-managed horse4   
#ab4 ,as soon as you can copy every     
curve slowly and accurately1 you have   
made satisfactory progress2 but you will

 find the difficulty is in the slowness4
 ,it is easy to draw what appears to be 
a good line with a sweep of the hand1 or
 with what is called freedom2#c the real
 difficulty and masterliness is in never
 letting the hand be free1 but keeping  
it under entire control at every part of
 the line4   ,,exercise ,,iii4  #ac4    
,meantime1 you are always to be going on
 with your shaded squares1 and chiefly  
with these1 the outline exercises being 
taken up only for rest4  ,illustration3 
,,fig4 #b4  ,as soon as you find you    
have some command of the pen as a       
shading instrument1 and can lay a pale  
or dark tint as you choose1 try to      
produce gradated spaces like ,fig4 #b1  
the dark tint passing gradually into the
 lighter ones4 ,nearly all expression of
 form1 in drawing1 depends on your power
 of gradating delicately2 and the       
gradation is always most skillful which 
passes from one tint into another very  
little paler4 ,draw1 therefore1 two     
parallel lines for limits to your work1 

as in ,fig4 #b1 and try to gradate the  
shade evenly from white to black1       
passing over the greatest possible      
distance1 yet so that every part of the 
band may have visible change in it4 ,the
 perception of gradation is very        
deficient in all beginners 7not to say1 
in many artists71 and you will probably1
 for some time1 think your gradation    
skillful enough1 when it is quite patchy
 and imperfect4 ,by getting a piece of  
gray shaded ribbon1 and comparing it    
with your drawing1 you may arrive1 in   
early stages of your work1 at a         
wholesome dissatisfaction with it4      
,widen your band little by little as you
 get more skillful1 so as to give the   
gradation more lateral space1 and       
accustom yourself at the same time to   
look for gradated spaces in ,nature4    
,the sky is the largest and the most    
beautiful2 watch it at twilight1 after  
the sun is down1 and try to consider    
each pane of glass in the window you    
look through as a piece of paper colored

 blue1 or gray1 or purple1 as it happens
 to be1 and observe how quietly and     
continuously the gradation extends over 
the space in the window1 of one or two  
feet square4 ,observe the shades on the 
outside and inside of a common white cup
 or bowl1 which make it look round and  
hollow2#d and then on folds of white    
drapery2 and thus gradually you will be 
led to observe the more subtle          
transitions of the light as it increases
 or declines on flat surfaces4 ,at last1
 when your eye gets keen and true1 you  
will see gradation on everything in     
,nature4  #ad4 ,but it will not be in   
your power yet awhile to draw from any  
objects in which the gradations are     
varied and complicated2 nor will it be a
 bad omen for your future progress1 and 
for the use that art is to be made of by
 you1 if the first thing at which you   
aim should be a little bit of sky4 ,so  
take any narrow space of evening sky1   
that you can usually see1 between the   
boughs of a tree1 or between two        

chimneys1 or through the corner of a    
pane in the window you like best to sit 
at1 and try to gradate a little space of
 white paper as evenly as that is       
gradated--as tenderly you cannot gradate
 it without color1 no1 nor with color   
either2 but you may do it as evenly2 or1
 if you get impatient with your spots   
and lines of ink1 when you look at the  
beauty of the sky1 the sense you will   
have gained of that beauty is something 
to be thankful for4 ,but you ought not  
to be impatient with your pen and ink2  
for all great painters1 however delicate
 their perception of color1 are fond of 
the peculiar effect of light which may  
be got in a pen-and-ink sketch1 and in a
 wood-cut1 by the gleaming of the white 
paper between the black lines2 and if   
you cannot gradate well with pure black 
lines1 you will never gradate well with 
pale ones4 ,by looking at any common    
wood-cuts1 in the cheap publications of 
the day1 you may see how gradation is   
given to the sky by leaving the lines   

farther and farther apart2 but you must 
make your lines as fine as you can1 as  
well as far apart1 towards the light2   
and do not try to make them long or     
straight1 but let them cross irregularly
 in any directions easy to your hand1   
depending on nothing but their gradation
 for your effect4 ,on this point of     
direction of lines1 however1 ,i shall   
have to tell you more1 presently2 in the
 meantime1 do not trouble yourself about
 it4   ,,exercise ,,iv4  #ae4 ,as soon  
as you find you can gradate tolerably   
with the pen1 take an ,h4 or ,,hh4      
pencil1 using its point to produce      
shade1 from the darkest possible to the 
palest1 in exactly the same manner as   
the pen1 lightening1 however1 now with  
india-rubber instead of the penknife4   
,you will find that all pale tints of   
shade are thus easily producible with   
great precision and tenderness1 but that
 you cannot get the same dark power as  
with the pen and ink1 and that the      
surface of the shade is apt to become   

glossy and metallic1 or dirty-looking1  
or sandy4 ,persevere1 however1 in trying
 to bring it to evenness with the fine  
point1 removing any single speck or line
 that may be too black1 with the point  
of the knife3 you must not scratch the  
whole with the knife as you do the ink4 
,if you find the texture very           
speckled-looking1 lighten it all over   
with india-rubber1 and recover it again 
with sharp1 and excessively fine touches
 of the pencil point1 bringing the parts
 that are too pale to perfect evenness  
with the darker spots4  ,you cannot use 
the point too delicately or cunningly in
 doing this2 work with it as if you were
 drawing the down on a butterfly's wing4
  #af4 ,at this stage of your progress1 
if not before1 you may be assured that  
some clever friend will come in1 and    
hold up his hands in mocking amazement1 
and ask you who could set you to that   
niggling2 and if you persevere in it1   
you will have to sustain considerable   
persecution from your artistical        

acquaintances generally1 who will tell  
you that all good drawing depends on    
boldness4 ,but never mind them4 ,you do 
not hear them tell a child1 beginning   
music1 to lay its little hand with a    
crash among the keys1 in imitation of   
the great masters3 yet they might1 as   
reasonably as they may tell you to be   
bold in the present state of your       
knowledge4 ,bold1 in the sense of being 
undaunted1 yes2 but bold in the sense of
 being careless1 confident1 or          
exhibitory1--no1--no1 and a thousand    
times no2 for1 even if you were not a   
beginner1 it would be bad advice that   
made you bold4 ,mischief may easily be  
done quickly1 but good and beautiful    
work is generally done slowly2 you will 
find no boldness in the way a flower or 
a bird's wing is painted2 and if ,nature
 is not bold at her work1 do you think  
you ought to be at yours8 ,so never mind
 what people say1 but work with your    
pencil point very patiently2 and if you 
can trust me in anything1 trust me when 

,i tell you1 that though there are all  
kinds and ways of art1--large work for  
large places1 small work for narrow     
places1 slow work for people who can    
wait1 and quick work for people who     
cannot1--there is one quality1 and1 ,i  
think1 only one1 in which all great and 
good art agrees2--it is all delicate    
art4 ,coarse art is always bad art4 ,you
 cannot understand this at present1     
because you do not know yet how much    
tender thought1 and subtle care1 the    
great painters put into touches that at 
first look coarse2 but1 believe me1 it  
is true1 and you will find it is so in  
due time4  #ag4 ,you will be perhaps    
also troubled1 in these first essays at 
pencil drawing1 by noticing that more   
delicate gradations are got in an       
instant by a chance touch of the        
india-rubber1 than by an hour's labor   
with the point2 and you may wonder why  
,i tell you to produce tints so         
painfully1 which might1 it appears1 be  
obtained with ease4 ,but there are two  

reasons3 the first1 that when you come  
to draw forms1 you must be able to      
gradate with absolute precision1 in     
whatever place and direction you wish2  
not in any wise vaguely1 as the         
india-rubber does it3 and1 secondly1    
that all natural shadows are more or    
less mingled with gleams of light4 ,in  
the darkness of ground there is the     
light of the little pebbles or dust2 in 
the darkness of foliage1 the glitter of 
the leaves2 in the darkness of flesh1   
transparency2 in that of a stone1       
granulation3 in every case there is some
 mingling of light1 which cannot be     
represented by the leaden tone which you
 get by rubbing1 or by an instrument    
known to artists as the stump4 ,when you
 can manage the point properly1 you will
 indeed be able to do much also with    
this instrument1 or with your fingers2  
but then you will have to retouch the   
flat tints afterwards1 so as to put life
 and light into them1 and that can only 
be done with the point4 ,labor on1      

therefore1 courageously1 with that only4
   ,,exercise ,v4  ,illustration3 ,,fig4
 #c4  #ah4 ,when you can manage to tint 
and gradate tenderly with the pencil    
point1 get a good large alphabet1 and   
try to tint the letters into shape with 
the pencil point4 ,do not outline them  
first1 but measure their height and     
extreme breadth with the compasses1 as a
 b1 a c1 ,fig4 #c1 and then scratch in  
their shapes gradually2 the letter ,a1  
inclosed within the lines1 being in what
 ,turner would have called a state of   
forwardness4 ,then1 when you are        
satisfied with the shape of the letter1 
draw pen-and-ink lines firmly round the 
tint1 as at d1 and remove any touches   
outside the limit1 first with the       
india-rubber1 and then with the         
penknife1 so that all may look clear and
 right4 ,if you rub out any of the      
pencil inside the outline of the letter1
 retouch it1 closing it up to the inked 
line4 ,the straight lines of the outline
 are all to be ruled1#e but the curved  

lines are to be drawn by the eye and    
hand2 and you will soon find what good  
practice there is in getting the curved 
letters1 such as ,bs1 ,cs1 etc41 to     
stand quite straight1 and come into     
accurate form4  #ai4 ,all these         
exercises are very irksome1 and they are
 not to be persisted in alone2 neither  
is it necessary to acquire perfect power
 in any of them4 ,an entire master of   
the pencil or brush ought1 indeed1 to be
 able to draw any form at once1 as      
,giotto his circle2 but such skill as   
this is only to be expected of the      
consummate master1 having pencil in hand
 all his life1 and all day long1--hence 
the force of ,giotto's proof of his     
skill2 and it is quite possible to draw 
very beautifully1 without attaining even
 an approximation to such a power2 the  
main point being1 not that every line   
should be precisely what we intend or   
wish1 but that the line which we        
intended or wished to draw should be    
right4 ,if we always see rightly and    

mean rightly1 we shall get on1 though   
the hand may stagger a little2 but if we
 mean wrongly1 or mean nothing1 it does 
not matter how firm the hand is4 ,do not
 therefore torment yourself because you 
cannot do as well as you would like2 but
 work patiently1 sure that every square 
and letter will give you a certain      
increase of power2 and as soon as you   
can draw your letters pretty well1 here 
is a more amusing exercise for you4     
,,exercise ,,vi4  #bj4 ,choose any tree 
that you think pretty1 which is nearly  
bare of leaves1 and which you can see   
against the sky1 or against a pale wall1
 or other light ground3 it must not be  
against strong light1 or you will find  
the looking at it hurt your eyes2 nor   
must it be in sunshine1 or you will be  
puzzled by the lights on the boughs4    
,but the tree must be in shade2 and the 
sky blue1 or gray1 or dull white4 ,a    
wholly gray or rainy day is the best for
 this practice4  #ba4 ,you will see that
 all the boughs of the tree are dark    

against the sky4 ,consider them as so   
many dark rivers1 to be laid down in a  
map with absolute accuracy2 and1 without
 the least thought about the roundness  
of the stems1 map them all out in flat  
shade1 scrawling them in with pencil1   
just as you did the limbs of your       
letters2 then correct and alter them1   
rubbing out and out again1 never minding
 how much your paper is dirtied 7only   
not destroying its surface71 until every
 bough is exactly1 or as near as your   
utmost power can bring it1 right in     
curvature and in thickness4 ,look at the
 white interstices between them with as 
much scrupulousness as if they were     
little estates which you had to survey1 
and draw maps of1 for some important    
lawsuit1 involving heavy penalties if   
you cut the least bit of a corner off   
any of them1 or gave the hedge anywhere 
too deep a curve2 and try continually to
 fancy the whole tree nothing but a flat
 ramification on a white ground4 ,do not
 take any trouble about the little      

twigs1 which look like a confused       
network or mist2 leave them all out1#f  
drawing only the main branches as far as
 you can see them distinctly1 your      
object at present being not to draw a   
tree1 but to learn how to do so4 ,when  
you have got the thing as nearly right  
as you can1--and it is better to make   
one good study1 than twenty left        
unnecessarily inaccurate1--take your    
pen1 and put a fine outline to all the  
boughs1 as you did to your letter1      
taking care1 as far as possible1 to put 
the outline within the edge of the      
shade1 so as not to make the boughs     
thicker3 the main use of the outline is 
to affirm the whole more clearly2 to do 
away with little accidental roughnesses 
and excrescences1 and especially to mark
 where boughs cross1 or come in front of
 each other1 as at such points their    
arrangement in this kind of sketch is   
unintelligible without the outline4 ,it 
may perfectly well happen that in       
,nature it should be less distinct than 

your outline will make it2 but it is    
better in this kind of sketch to mark   
the facts clearly4 ,the temptation is   
always to be slovenly and careless1 and 
the outline is like a bridle1 and forces
 our indolence into attention and       
precision4 ,the outline should be about 
the thickness of that in ,fig4 #d1 which
 represents the ramification of a small 
stone pine1 only ,i have not endeavored 
to represent the pencil shading within  
the outline1 as ,i could not easily     
express it in a wood-cut2 and you have  
nothing to do at present with the       
indication of foliage above1 of which in
 another place4 ,you may also draw your 
trees as much larger than this figure as
 you like2 only1 however large they may 
be1 keep the outline as delicate1 and   
draw the branches far enough into their 
outer sprays to give quite as slender   
ramification as you have in this figure1
 otherwise you do not get good enough   
practice out of them4  ,illustration3   
,,fig4 #d4  #bb4 ,you cannot do too many

 studies of this kind3 every one will   
give you some new notion about trees4   
,but when you are tired of tree boughs1 
take any forms whatever which are drawn 
in flat color1 one upon another2 as     
patterns on any kind of cloth1 or flat  
china 7tiles1 for instance71 executed in
 two colors only2 and practice drawing  
them of the right shape and size by the 
eye1 and filling them in with shade of  
the depth required4  ,in doing this1 you
 will first have to meet the difficulty 
of representing depth of color by depth 
of shade4 ,thus a pattern of ultramarine
 blue will have to be represented by a  
darker tint of gray than a pattern of   
yellow4  #bc4 ,and now it is both time  
for you to begin to learn the mechanical
 use of the brush2 and necessary for you
 to do so in order to provide yourself  
with the gradated scale of color which  
you will want4 ,if you can1 by any      
means1 get acquainted with any ordinary 
skillful water-color painter1 and       
prevail on him to show you how to lay on

 tints with a brush1 by all means do so2
 not that you are yet1 nor for a long   
while yet1 to begin to color1 but       
because the brush is often more         
convenient than the pencil for laying on
 masses or tints of shade1 and the      
sooner you know how to manage it as an  
instrument the better4 ,if1 however1 you
 have no opportunity of seeing how      
water-color is laid on by a workman of  
any kind1 the following directions will 
help you3--   ,,exercise ,,vii4  #bd4   
,get a shilling cake of ,prussian blue4 
,dip the end of it in water so as to    
take up a drop1 and rub it in a white   
saucer till you cannot rub much more1   
and the color gets dark1 thick1 and     
oily-looking4 ,put two teaspoonfuls of  
water to the color you have rubbed down1
 and mix it well up with a camel's-hair 
brush about three quarters of an inch   
long4  #be4 ,then take a piece of       
smooth1 but not glossy1 ,bristol board  
or pasteboard2 divide it1 with your     
pencil and rule1 into squares as large  

as those of the very largest            
chess-board3 they need not be perfect   
squares1 only as nearly so as you can   
quickly guess4 ,rest the pasteboard on  
something sloping as much as an ordinary
 desk2 then1 dipping your brush into the
 color you have mixed1 and taking up as 
much of the liquid as it will carry1    
begin at the top of one of the squares1 
and lay a pond or runlet of color along 
the top edge4 ,lead this pond of color  
gradually downwards1 not faster at one  
place than another1 but as if you were  
adding a row of bricks to a building1   
all along 7only building down instead of
 up71 dipping the brush frequently so as
 to keep the color as full in that1 and 
in as great quantity on the paper1 as   
you can1 so only that it does not run   
down anywhere in a little stream4 ,but  
if it should1 never mind2 go on quietly 
with your square till you have covered  
it all in4 ,when you get to the bottom1 
the color will lodge there in a great   
wave4 ,have ready a piece of            

blotting-paper2 dry your brush on it1   
and with the dry brush take up the      
superfluous color as you would with a   
sponge1 till it all looks even4  #bf4   
,in leading the color down1 you will    
find your brush continually go over the 
edge of the square1 or leave little gaps
 within it4 ,do not endeavor to retouch 
these1 nor take much care about them2   
the great thing is to get the color to  
lie smoothly where it reaches1 not in   
alternate blots and pale patches2 try1  
therefore1 to lead it over the square as
 fast as possible1 with such attention  
to your limit as you are able to give4  
,the use of the exercise is1 indeed1 to 
enable you finally to strike the color  
up to the limit with perfect accuracy2  
but the first thing is to get it        
even1--the power of rightly striking the
 edge comes only by time and practice3  
even the greatest artists rarely can do 
this quite perfectly4  #bg4 ,when you   
have done one square1 proceed to do     
another which does not communicate with 

it4 ,when you have thus done all the    
alternate squares1 as on a chess-board1 
turn the pasteboard upside down1 begin  
again with the first1 and put another   
coat over it1 and so on over all the    
others4 ,the use of turning the paper   
upside down is to neutralize the        
increase of darkness towards the bottom 
of the squares1 which would otherwise   
take place from the ponding of the      
color4  #bh4 ,be resolved to use        
blotting-paper1 or a piece of rag1      
instead of your lips1 to dry the brush4 
,the habit of doing so1 once acquired1  
will save you from much partial         
poisoning4 ,take care1 however1 always  
to draw the brush from root to point1   
otherwise you will spoil it4 ,you may   
even wipe it as you would a pen when you
 want it very dry1 without doing harm1  
provided you do not crush it upwards4   
,get a good brush at first1 and cherish 
it2 it will serve you longer and better 
than many bad ones4  #bi4 ,when you have
 done the squares all over again1 do    

them a third time1 always trying to keep
 your edges as neat as possible4 ,when  
your color is exhausted1 mix more in the
 same proportions1 two teaspoonfuls to  
as much as you can grind with a drop2   
and when you have done the alternate    
squares three times over1 as the paper  
will be getting very damp1 and dry more 
slowly1 begin on the white squares1 and 
bring them up to the same tint in the   
same way4 ,the amount of jagged dark    
line which then will mark the limits of 
the squares will be the exact measure of
 your unskillfulness4  #cj4 ,as soon as 
you tire of squares draw circles 7with  
compasses72 and then draw straight lines
 irregularly across circles1 and fill up
 the spaces so produced between the     
straight line and the circumference2 and
 then draw any simple shapes of leaves1 
according to the exercise ,no4 ,,ii41   
and fill up those1 until you can lay on 
color quite evenly in any shape you     
want4  #ca4 ,you will find in the course
 of this practice1 as you cannot always 

put exactly the same quantity of water  
to the color1 that the darker the color 
is1 the more difficult it becomes to lay
 it on evenly4 ,therefore1 when you have
 gained some definite degree of power1  
try to fill in the forms required with a
 full brush1 and a dark tint1 at once1  
instead of laying several coats one over
 another2 always taking care that the   
tint1 however dark1 be quite liquid2 and
 that1 after being laid on1 so much of  
it is absorbed as to prevent its forming
 a black line at the edge as it dries4  
,a little experience will teach you how 
apt the color is to do this1 and how to 
prevent it2 not that it needs always to 
be prevented1 for a great master in     
water-colors will sometimes draw a firm 
outline1 when he wants one1 simply by   
letting the color dry in this way at the
 edge4  #cb4 ,when1 however1 you begin  
to cover complicated forms with the     
darker color1 no rapidity will prevent  
the tint from drying irregularly as it  
is led on from part to part4 ,you will  

then find the following method useful4  
,lay in the color very pale and liquid2 
so pale1 indeed1 that you can only just 
see where it is on the paper4 ,lead it  
up to all the outlines1 and make it     
precise in form1 keeping it thoroughly  
wet everywhere4 ,then1 when it is all in
 shape1 take the darker color1 and lay  
some of it into the middle of the liquid
 color4 ,it will spread gradually in a  
branchy kind of way1 and you may now    
lead it up to the outlines already      
determined1 and play it with the brush  
till it fills its place well2 then let  
it dry1 and it will be as flat and pure 
as a single dash1 yet defining all the  
complicated forms accurately4  #cc4     
,having thus obtained the power of      
laying on a tolerably flat tint1 you    
must try to lay on a gradated one4      
,prepare the color with three or four   
teaspoonfuls of water2 then1 when it is 
mixed1 pour away about two-thirds of it1
 keeping a teaspoonful of pale color4   
,sloping your paper as before1 draw two 

pencil lines all the way down1 leaving a
 space between them of the width of a   
square on your chess-board4 ,begin at   
the top of your paper1 between the      
lines2 and having struck on the first   
brushful of color1 and led it down a    
little1 dip your brush deep in water1   
and mix up the color on the plate       
quickly with as much more water as the  
brush takes up at that one dip3 then1   
with this paler color1 lead the tint    
farther down4 ,dip in water again1 mix  
the color again1 and thus lead down the 
tint1 always dipping in water once      
between each replenishing of the brush1 
and stirring the color on the plate     
well1 but as quickly as you can4 ,go on 
until the color has become so pale that 
you cannot see it2 then wash your brush 
thoroughly in water1 and carry the wave 
down a little farther with that1 and    
then absorb it with the dry brush1 and  
leave it to dry4  #cd4 ,if you get to   
the bottom of your paper before your    
color gets pale1 you may either take    

longer paper1 or begin1 with the tint as
 it was when you left off1 on another   
sheet2 but be sure to exhaust it to pure
 whiteness at last4 ,when all is quite  
dry1 recommence at the top with another 
similar mixture of color1 and go down in
 the same way4 ,then again1 and then    
again1 and so continually until the     
color at the top of the paper is as dark
 as your cake of ,prussian blue1 and    
passes down into pure white paper at the
 end of your column1 with a perfectly   
smooth gradation from one into the      
other4  #ce4 ,you will find at first    
that the paper gets mottled or wavy1    
instead of evenly gradated2 this is     
because at some places you have taken up
 more water in your brush than at       
others1 or not mixed it thoroughly on   
the plate1 or led one tint too far      
before replenishing with the next4      
,practice only will enable you to do it 
well2 the best artists cannot always get
 gradations of this kind quite to their 
minds2 nor do they ever leave them on   

their pictures without after-touching4  
#cf4 ,as you get more power1 and can    
strike the color more quickly down1 you 
will be able to gradate in less         
compass2#g beginning with a small       
quantity of color1 and adding a drop of 
water1 instead of a brushful2 with finer
 brushes1 also1 you may gradate to a    
less scale4 ,but slight skill will      
enable you to test the relations of     
color to shade as far as is necessary   
for your immediate progress1 which is to
 be done thus3--  #cg4 ,take cakes of   
lake1 of gamboge1 of sepia1 of          
blue-black1 of cobalt1 and vermilion2   
and prepare gradated columns 7exactly as
 you have done with the ,prussian blue7 
of the lake and blue-black4#h ,cut a    
narrow slip1 all the way down1 of each  
gradated color1 and set the three slips 
side by side2 fasten them down1 and rule
 lines at equal distances across all the
 three1 so as to divide them into fifty 
degrees1 and number the degrees of each1
 from light to dark1 #a1 #b1 #c1 etc4   

,if you have gradated them rightly1 the 
darkest part either of the red or blue  
will be nearly equal in power to the    
darkest part of the blue-black1 and any 
degree of the black slip will also1     
accurately enough for our purpose1      
balance in weight the degree similarly  
numbered in the red or the blue slip4   
,then1 when you are drawing from objects
 of a crimson or blue color1 if you can 
match their color by any compartment of 
the crimson or blue in your scales1 the 
gray in the compartment of the gray     
scale marked with the same number is the
 gray which must represent that crimson 
or blue in your light and shade drawing4
  #ch4 ,next1 prepare scales with       
gamboge1 cobalt1 and vermilion4 ,you    
will find that you cannot darken these  
beyond a certain point2#i for yellow and
 scarlet1 so long as they remain yellow 
and scarlet1 cannot approach to black2  
we cannot have1 properly speaking1 a    
dark yellow or dark scarlet4 ,make your 
scales of full yellow1 blue1 and        

scarlet1 half-way down2 passing then    
gradually to white4 ,afterwards use lake
 to darken the upper half of the        
vermilion and gamboge2 and ,prussian    
blue to darken the cobalt4 ,you will    
thus have three more scales1 passing    
from white nearly to black1 through     
yellow and orange1 through sky-blue1 and
 through scarlet4 ,by mixing the gamboge
 and ,prussian blue you may make another
 with green2 mixing the cobalt and lake1
 another with violet2 the sepia alone   
will make a forcible brown one2 and so  
on1 until you have as many scales as you
 like1 passing from black to white      
through different colors4 ,then1        
supposing your scales properly gradated 
and equally divided1 the compartment or 
degree ,no4 #a of the gray will         
represent in chiaroscuro the ,no4 #a of 
all the other colors2 ,no4 #b of gray   
the ,no4 #b of the other colors1 and so 
on4  #ci4 ,it is only necessary1        
however1 in this matter that you should 
understand the principle2 for it would  

never be possible for you to gradate    
your scales so truly as to make them    
practically accurate and serviceable2   
and even if you could1 unless you had   
about ten thousand scales1 and were able
 to change them faster than ever juggler
 changed cards1 you could not in a day  
measure the tints on so much as one side
 of a frost-bitten apple4 ,but when once
 you fully understand the principle1 and
 see how all colors contain as it were a
 certain quantity of darkness1 or power 
of dark relief from white--some more1   
some less2 and how this pitch or power  
of each may be represented by equivalent
 values of gray1 you will soon be able  
to arrive shrewdly at an approximation  
by a glance of the eye1 without any     
measuring scale at all4  #dj4 ,you must 
now go on1 again with the pen1 drawing  
patterns1 and any shapes of shade that  
you think pretty1 as veinings in marble 
or tortoiseshell1 spots in surfaces of  
shells1 etc41 as tenderly as you can1 in
 the darknesses that correspond to their

 colors2 and when you find you can do   
this successfully1 it is time to begin  
rounding4   ,,exercise ,,viii4  #da4 ,go
 out into your garden1 or into the road1
 and pick up the first round or oval    
stone you can find1 not very white1 nor 
very dark2 and the smoother it is the   
better1 only it must not shine4 ,draw   
your table near the window1 and put the 
stone1 which ,i will suppose is about   
the size of a in ,fig4 #e 7it had better
 not be much larger71 on a piece of not 
very white paper1 on the table in front 
of you4 ,sit so that the light may come 
from your left1 else the shadow of the  
pencil point interferes with your sight 
of your work4 ,you must not let the sun 
fall on the stone1 but only ordinary    
light3 therefore choose a window which  
the sun does not come in at4 ,if you can
 shut the shutters of the other windows 
in the room it will be all the better2  
but this is not of much consequence4    
#db4 ,now if you can draw that stone1   
you can draw anything2 ,i mean1 anything

 that is drawable4 ,many things 7sea    
foam1 for instance7 cannot be drawn at  
all1 only the idea of them more or less 
suggested2 but if you can draw the stone
 rightly1 everything within reach of art
 is also within yours4  ,for all drawing
 depends1 primarily1 on your power of   
representing ,roundness4 ,if you can    
once do that1 all the rest is easy and  
straightforward2 if you cannot do that1 
nothing else that you may be able to do 
will be of any use4 ,for ,nature is all 
made up of roundnesses2 not the         
roundness of perfect globes1 but of     
variously curved surfaces4 ,boughs are  
rounded1 leaves are rounded1 stones are 
rounded1 clouds are rounded1 cheeks are 
rounded1 and curls are rounded3 there is
 no more flatness in the natural world  
than there is vacancy4 ,the world itself
 is round1 and so is all that is in it1 
more or less1 except human work1 which  
is often very flat indeed4              
,illustration3 ,,fig4 #e4  ,therefore1  
set yourself steadily to conquer that   

round stone1 and you have won the       
battle4  #dc4 ,look your stone          
antagonist boldly in the face4 ,you will
 see that the side of it next the window
 is lighter than most of the paper2 that
 the side of it farthest from the window
 is darker than the paper2 and that the 
light passes into the dark gradually1   
while a shadow is thrown to the right on
 the paper itself by the stone3 the     
general appearance of things being more 
or less as in a1 ,fig4 #e1 the spots on 
the stone excepted1 of which more       
presently4  #dd4 ,now1 remember always  
what was stated in the outset1 that     
everything you can see in ,nature is    
seen only so far as it is lighter or    
darker than the things about it1 or of a
 different color from them4 ,it is      
either seen as a patch of one color on a
 ground of another2 or as a pale thing  
relieved from a dark thing1 or a dark   
thing from a pale thing4 ,and if you can
 put on patches of color or shade of    
exactly the same size1 shape1 and       

gradations as those on the object and   
its ground1 you will produce the        
appearance of the object and its ground4
 ,the best draughtsman--,titian and     
,paul ,veronese themselves--could do no 
more than this2 and you will soon be    
able to get some power of doing it in an
 inferior way1 if you once understand   
the exceeding simplicity of what is to  
be done4 ,suppose you have a brown book 
on a white sheet of paper1 on a red     
tablecloth4 ,you have nothing to do but 
to put on spaces of red1 white1 and     
brown1 in the same shape1 and gradated  
from dark to light in the same degrees1 
and your drawing is done4 ,if you will  
not look at what you see1 if you try to 
put on brighter or duller colors than   
are there1 if you try to put them on    
with a dash or a blot1 or to cover your 
paper with vigorous lines1 or to produce
 anything1 in fact1 but the plain1      
unaffected1 and finished tranquillity of
 the thing before you1 you need not hope
 to get on4 ,nature will show you       

nothing if you set yourself up for her  
master4 ,but forget yourself1 and try to
 obey her1 and you will find obedience  
easier and happier than you think4  #de4
 ,the real difficulties are to get the  
refinement of the forms and the evenness
 of the gradations4 ,you may depend upon
 it1 when you are dissatisfied with your
 work1 it is always too coarse or too   
uneven4 ,it may not be wrong--in all    
probability is not wrong1 in any        
7so-called7 great point4 ,but its edges 
are not true enough in outline2 and its 
shades are in blotches1 or scratches1 or
 full of white holes4 ,get it more      
tender and more true1 and you will find 
it is more powerful4  #df4 ,do not1     
therefore1 think your drawing must be   
weak because you have a finely pointed  
pen in your hand4 ,till you can draw    
with that1 you can draw with nothing2   
when you can draw with that1 you can    
draw with a log of wood charred at the  
end4 ,true boldness and power are only  
to be gained by care4 ,even in fencing  

and dancing1 all ultimate ease depends  
on early precision in the commencement2 
much more in singing or drawing4  #dg4  
,now ,i do not want you to copy my      
sketch in ,fig4 #e1 but to copy the     
stone before you in the way that my     
sketch is done4 ,to which end1 first    
measure the extreme length of the stone 
with compasses1 and mark that length on 
your paper2 then1 between the points    
marked1 leave something like the form of
 the stone in light1 scrawling the paper
 all over1 round it2 b1 in ,fig4 #e1 is 
a beginning of this kind4 ,rather leave 
too much room for the high light1 than  
too little2 and then more cautiously    
fill in the shade1 shutting the light   
gradually up1 and putting in the dark   
slowly on the dark side4 ,you need not  
plague yourself about accuracy of shape1
 because1 till you have practiced a     
great deal1 it is impossible for you to 
draw the shape of the stone quite truly1
 and you must gradually gain correctness
 by means of these various exercises3   

what you have mainly to do at present   
is1 to get the stone to look solid and  
round1 not much minding what its exact  
contour is--only draw it as nearly right
 as you can without vexation2 and you   
will get it more right by thus feeling  
your way to it in shade1 than if you    
tried to draw the outline at first4 ,for
 you can see no outline2 what you see is
 only a certain space of gradated shade1
 with other such spaces about it2 and   
those pieces of shade you are to imitate
 as nearly as you can1 by scrawling the 
paper over till you get them to the     
right shape1 with the same gradations   
which they have in ,nature4 ,and this is
 really more likely to be done well1 if 
you have to fight your way through a    
little confusion in the sketch1 than if 
you have an accurately traced outline4  
,for instance1 having sketched the      
fossil sea-urchin at a1 in ,fig4 #e1    
whose form1 though irregular1 required  
more care in following than that of a   
common stone1 ,i was going to draw it   

also under another effect2 reflected    
light bringing its dark side out from   
the background3 but when ,i had laid on 
the first few touches ,i thought it     
would be better to stop1 and let you see
 how ,i had begun it1 at b4 ,in which   
beginning it will be observed that      
nothing is so determined but that ,i can
 more or less modify1 and add to or     
diminish the contour as ,i work on1 the 
lines which suggest the outline being   
blended with the others if ,i do not    
want them2 and the having to fill up the
 vacancies and conquer the              
irregularities of such a sketch will    
probably secure a higher completion at  
last1 than if half an hour had been     
spent in getting a true outline before  
beginning4  #dh4 ,in doing this1        
however1 take care not to get the       
drawing too dark4 ,in order to ascertain
 what the shades of it really are1 cut a
 round hole1 about half the size of a   
pea1 in a piece of white paper the color
 of that you use to draw on4 ,hold this 

bit of paper with the hole in it1       
between you and your stone2 and pass the
 paper backwards and forwards1 so as to 
see the different portions of the stone 
7or other subject7 through the hole4    
,you will find that1 thus1 the circular 
hole looks like one of the patches of   
color you have been accustomed to match1
 only changing in depth as it lets      
different pieces of the stone be seen   
through it4 ,you will be able thus      
actually to match the color of the stone
 at any part of it1 by tinting the paper
 beside the circular opening4 ,and you  
will find that this opening never looks 
quite black1 but that all the roundings 
of the stone are given by subdued       
grays4#aj  #di4 ,you will probably find1
 also1 that some parts of the stone1 or 
of the paper it lies on1 look luminous  
through the opening2 so that the little 
circle then tells as a light spot       
instead of a dark spot4 ,when this is   
so1 you cannot imitate it1 for you have 
no means of getting light brighter than 

white paper3 but by holding the paper   
more sloped towards the light1 you will 
find that many parts of the stone1 which
 before looked light through the hole1  
then look dark through it2 and if you   
can place the paper in such a position  
that every part of the stone looks      
slightly dark1 the little hole will tell
 always as a spot of shade1 and if your 
drawing is put in the same light1 you   
can imitate or match every gradation4   
,you will be amazed to find1 under these
 circumstances1 how slight the          
differences of tint are1 by which1      
through infinite delicacy of gradation1 
,nature can express form4  ,if any part 
of your subject will obstinately show   
itself as a light through the hole1 that
 part you need not hope to imitate4     
,leave it white2 you can do no more4    
#ej4 ,when you have done the best you   
can to get the general form1 proceed to 
finish1 by imitating the texture and all
 the cracks and stains of the stone as  
closely as you can2 and note1 in doing  

this1 that cracks or fissures of any    
kind1 whether between stones in walls1  
or in the grain of timber or rocks1 or  
in any of the thousand other conditions 
they present1 are never expressible by  
single black lines1 or lines of simple  
shadow4 ,a crack must always have its   
complete system of light and shade1     
however small its scale4 ,it is in      
reality a little ravine1 with a dark or 
shady side1 and light or sunny side1    
and1 usually1 shadow in the bottom4     
,this is one of the instances in which  
it may be as well to understand the     
reason of the appearance2 it is not     
often so in drawing1 for the aspects of 
things are so subtle and confused that  
they cannot in general be explained2 and
 in the endeavor to explain some1 we are
 sure to lose sight of others1 while the
 natural overestimate of the importance 
of those on which the attention is fixed
 causes us to exaggerate them1 so that  
merely scientific draughtsmen caricature
 a third part of ,nature1 and miss      

two-thirds4 ,the best scholar is he     
whose eye is so keen as to see at once  
how the thing looks1 and who need not   
therefore trouble himself with any      
reasons why it looks so3 but few people 
have this acuteness of perception2 and  
to those who are destitute of it1 a     
little pointing out of rule and reason  
will be a help1 especially when a master
 is not near them4 ,i never allow my own
 pupils to ask the reason of anything1  
because1 as ,i watch their work1 ,i can 
always show them how the thing is1 and  
what appearance they are missing in it2 
but when a master is not by to direct   
the sight1 science may1 here and there1 
be allowed to do so in his stead4  #ea4 
,generally1 then1 every solid illumined 
object--for instance1 the stone you are 
drawing--has a light side turned towards
 the light1 a dark side turned away from
 the light1 and a shadow1 which is cast 
on something else 7as by the stone on   
the paper it is set upon74 ,you may     
sometimes be placed so as to see only   

the light side and shadow1 sometimes    
only the dark side and shadow1 and      
sometimes both or either without the    
shadow2 but in most positions solid     
objects will show all the three1 as the 
stone does here4  #eb4 ,hold up your    
hand with the edge of it towards you1 as
 you sit now with your side to the      
window1 so that the flat of your hand is
 turned to the window4 ,you will see one
 side of your hand distinctly lighted1  
the other distinctly in shade4 ,here are
 light side and dark side1 with no seen 
shadow2 the shadow being detached1      
perhaps on the table1 perhaps on the    
other side of the room2 you need not    
look for it at present4  #ec4 ,take a   
sheet of note-paper1 and holding it     
edgewise1 as you hold your hand1 wave it
 up and down past the side of your hand 
which is turned from the light1 the     
paper being of course farther from the  
window4 ,you will see1 as it passes1 a  
strong gleam of light strike on your    
hand1 and light it considerably on its  

dark side4 ,this light is reflected     
light4 ,it is thrown back from the paper
 7on which it strikes first in coming   
from the window7 to the surface of your 
hand1 just as a ball would be if        
somebody threw it through the window at 
the wall and you caught it at the       
rebound4  ,next1 instead of the         
note-paper1 take a red book1 or a piece 
of scarlet cloth4 ,you will see that the
 gleam of light falling on your hand1 as
 you wave the book1 is now reddened4    
,take a blue book1 and you will find the
 gleam is blue4 ,thus every object will 
cast some of its own color back in the  
light that it reflects4  #ed4 ,now it is
 not only these books or papers that    
reflect light to your hand3 every object
 in the room on that side of it reflects
 some1 but more feebly1 and the colors  
mixing all together form a neutral#aa   
light1 which lets the color of your hand
 itself be more distinctly seen than    
that of any object which reflects light 
to it2 but if there were no reflected   

light1 that side of your hand would look
 as black as a coal4  #ee4 ,objects are 
seen therefore1 in general1 partly by   
direct light1 and partly by light       
reflected from the objects around them1 
or from the atmosphere and clouds4 ,the 
color of their light sides depends much 
on that of the direct light1 and that of
 the dark sides on the colors of the    
objects near them4 ,it is therefore     
impossible to say beforehand what color 
an object will have at any point of its 
surface1 that color depending partly on 
its own tint1 and partly on infinite    
combinations of rays reflected from     
other things4 ,the only certain fact    
about dark sides is1 that their color   
will be changeful1 and that a picture   
which gives them merely darker shades of
 the color of the light sides must      
assuredly be bad4  #ef4 ,now1 lay your  
hand flat on the white paper you are    
drawing on4 ,you will see one side of   
each finger lighted1 one side dark1 and 
the shadow of your hand on the paper4   

,here1 therefore1 are the three         
divisions of shade seen at once4 ,and   
although the paper is white1 and your   
hand of a rosy color somewhat darker    
than white1 yet you will see that the   
shadow all along1 just under the finger 
which casts it1 is darker than the      
flesh1 and is of a very deep gray4 ,the 
reason of this is1 that much light is   
reflected from the paper to the dark    
side of your finger1 but very little is 
reflected from other things to the paper
 itself in that chink under your finger4
  #eg4 ,in general1 for this reason1 a  
shadow1 or1 at any rate1 the part of the
 shadow nearest the object1 is darker   
than the dark side of the object4 ,i say
 in general1 because a thousand         
accidents may interfere to prevent its  
being so4 ,take a little bit of glass1  
as a wine-glass1 or the ink-bottle1 and 
play it about a little on the side of   
your hand farthest from the window2 you 
will presently find you are throwing    
gleams of light all over the dark side  

of your hand1 and in some positions of  
the glass the reflection from it will   
annihilate the shadow altogether1 and   
you will see your hand dark on the white
 paper4 ,now a stupid painter would     
represent1 for instance1 a              
drinking-glass beside the hand of one of
 his figures1 and because he had been   
taught by rule that shadow was darker   
than the dark side1 he would never think
 of the reflection from the glass1 but  
paint a dark gray under the hand1 just  
as if no glass were there4 ,but a great 
painter would be sure to think of the   
true effect1 and paint it2 and then     
comes the stupid critic1 and wonders why
 the hand is so light on its dark side4 
#eh4 ,thus it is always dangerous to    
assert anything as a rule in matters of 
art2 yet it is useful for you to        
remember that1 in a general way1 a      
shadow is darker than the dark side of  
the thing that casts it1 supposing the  
colors otherwise the same2 that is to   
say1 when a white object casts a shadow 

on a white surface1 or a dark object on 
a dark surface3 the rule will not hold  
if the colors are different1 the shadow 
of a black object on a white surface    
being1 of course1 not so dark1 usually1 
as the black thing casting it4 ,the only
 way to ascertain the ultimate truth in 
such matters is to look for it2 but1 in 
the meantime1 you will be helped by     
noticing that the cracks in the stone   
are little ravines1 on one side of which
 the light strikes sharply1 while the   
other is in shade4 ,this dark side      
usually casts a little darker shadow at 
the bottom of the crack2 and the general
 tone of the stone surface is not so    
bright as the light bank of the ravine4 
,and1 therefore1 if you get the surface 
of the object of a uniform tint1 more or
 less indicative of shade1 and then     
scratch out a white spot or streak in it
 of any shape2 by putting a dark touch  
beside this white one1 you may turn it1 
as you choose1 into either a ridge or an
 incision1 into either a boss or a      

cavity4 ,if you put the dark touch on   
the side of it nearest the sun1 or      
rather1 nearest the place that the light
 comes from1 you will make it a cut or  
cavity2 if you put it on the opposite   
side1 you will make it a ridge or mound2
 and the complete success of the effect 
depends less on depth of shade than on  
the rightness of the drawing2 that is to
 say1 on the evident correspondence of  
the form of the shadow with the form    
that casts it4 ,in drawing rocks1 or    
wood1 or anything irregularly shaped1   
you will gain far more by a little      
patience in following the forms         
carefully1 though with slight touches1  
than by labored finishing of texture of 
surface and transparencies of shadow4   
#ei4 ,when you have got the whole well  
into shape1 proceed to lay on the stains
 and spots with great care1 quite as    
much as you gave to the forms4 ,very    
often1 spots or bars of local color do  
more to express form than even the light
 and shade1 and they are always         

interesting as the means by which       
,nature carries light into her shadows1 
and shade into her lights2 an art of    
which we shall have more to say         
hereafter1 in speaking of composition4  
a1 in ,fig4 #e1 is a rough sketch of a  
fossil sea-urchin1 in which the         
projections of the shell are of black   
flint1 coming through a chalky surface4 
,these projections form dark spots in   
the light2 and their sides1 rising out  
of the shadow1 form smaller whiter spots
 in the dark4 ,you may take such        
scattered lights as these out with the  
penknife1 provided you are just as      
careful to place them rightly as if you 
got them by a more laborious process4   
#fj4 ,when you have once got the feeling
 of the way in which gradation expresses
 roundness and projection1 you may try  
your strength on anything natural or    
artificial that happens to take your    
fancy1 provided it be not too           
complicated in form4 ,i have asked you  
to draw a stone first1 because any      

irregularities and failures in your     
shading will be less offensive to you1  
as being partly characteristic of the   
rough stone surface1 than they would be 
in a more delicate subject2 and you may 
as well go on drawing rounded stones of 
different shapes for a little while1    
till you find you can really shade      
delicately4 ,you may then take up folds 
of thick white drapery1 a napkin or     
towel thrown carelessly on the table is 
as good as anything1 and try to express 
them in the same way2 only now you will 
find that your shades must be wrought   
with perfect unity and tenderness1 or   
you will lose the flow of the folds4    
,always remember that a little bit      
perfected is worth more than many       
scrawls2 whenever you feel yourself     
inclined to scrawl1 give up work        
resolutely1 and do not go back to it    
till next day4 ,of course your towel or 
napkin must be put on something that may
 be locked up1 so that its folds shall  
not be disturbed till you have finished4

 ,if you find that the folds will not   
look right1 get a photograph of a piece 
of drapery 7there are plenty now to be  
bought1 taken from the sculpture of the 
cathedrals of ,rheims1 ,amiens1 and     
,chartres1 which will at once educate   
your hand and your taste71 and copy some
 piece of that2 you will then ascertain 
what it is that is wanting in your      
studies from ,nature1 whether more      
gradation1 or greater watchfulness of   
the disposition of the folds4 ,probably 
for some time you will find yourself    
failing painfully in both1 for drapery  
is very difficult to follow in its      
sweeps2 but do not lose courage1 for the
 greater the difficulty1 the greater the
 gain in the effort4 ,if your eye is    
more just in measurement of form than   
delicate in perception of tint1 a       
pattern on the folded surface will help 
you4 ,try whether it does or not3 and if
 the patterned drapery confuses you1    
keep for a time to the simple white one2
 but if it helps you1 continue to choose

 patterned stuffs 7tartans and simple   
checkered designs are better at first   
than flowered ones71 and even though it 
should confuse you1 begin pretty soon to
 use a pattern occasionally1 copying all
 the distortions and perspective        
modifications of it among the folds with
 scrupulous care4  #fa4 ,neither must   
you suppose yourself condescending in   
doing this4 ,the greatest masters are   
always fond of drawing patterns2 and the
 greater they are1 the more pains they  
take to do it truly4#ab ,nor can there  
be better practice at any time1 as      
introductory to the nobler complication 
of natural detail4 ,for when you can    
draw the spots which follow the folds of
 a printed stuff1 you will have some    
chance of following the spots which fall
 into the folds of the skin of a leopard
 as he leaps2 but if you cannot draw the
 manufacture1 assuredly you will never  
be able to draw the creature4 ,so the   
cloudings on a piece of wood1 carefully 
drawn1 will be the best introduction to 

the drawing of the clouds of the sky1 or
 the waves of the sea2 and the dead     
leaf-patterns on a damask drapery1 well 
rendered1 will enable you to disentangle
 masterfully the living leaf-patterns of
 a thorn thicket or a violet bank4  #fb4
 ,observe1 however1 in drawing any      
stuffs1 or bindings of books1 or other  
finely textured substances1 do not      
trouble yourself1 as yet1 much about the
 wooliness or gauziness of the thing2   
but get it right in shade and fold1 and 
true in pattern4 ,we shall see1 in the  
course of after-practice1 how the penned
 lines may be made indicative of        
texture2 but at present attend only to  
the light and shade and pattern4 ,you   
will be puzzled at first by lustrous    
surfaces1 but a little attention will   
show you that the expression of these   
depends merely on the right drawing of  
their light and shade1 and reflections4 
,put a small black japanned tray on the 
table in front of some books2 and you   
will see it reflects the objects beyond 

it as in a little black rippled pond2   
its own color mingling always with that 
of the reflected objects4 ,draw these   
reflections of the books properly1      
making them dark and distorted1 as you  
will see that they are1 and you will    
find that this gives the luster to your 
tray4 ,it is not well1 however1 to draw 
polished objects in general practice2   
only you should do one or two in order  
to understand the aspect of any lustrous
 portion of other things1 such as you   
cannot avoid2 the gold1 for instance1 on
 the edges of books1 or the shining of  
silk and damask1 in which lies a great  
part of the expression of their folds4  
,observe also that there are very few   
things which are totally without luster2
 you will frequently find a light which 
puzzles you1 on some apparently dull    
surface1 to be the dim image of another 
object4  #fc4 ,and now1 as soon as you  
can conscientiously assure me that with 
the point of the pen or pencil you can  
lay on any form and shade you like1 ,i  

give you leave to use the brush with one
 color1--sepia1 or blue black1 or mixed 
cobalt and blue black1 or neutral tint2 
and this will much facilitate your      
study1 and refresh you4 ,but1           
preliminary1 you must do one or two more
 exercises in tinting4   ,,exercise     
,,ix4  #fd4 ,prepare your color as      
directed for ,exercise ,,vii4 ,take a   
brush full of it1 and strike it on the  
paper in any irregular shape2 as the    
brush gets dry1 sweep the surface of the
 paper with it as if you were dusting   
the paper very lightly2 every such sweep
 of the brush will leave a number of    
more or less minute interstices in the  
color4 ,the lighter and faster every    
dash the better4 ,then leave the whole  
to dry2 and1 as soon as it is dry1 with 
little color in your brush1 so that you 
can bring it to a fine point1 fill up   
all the little interstices one by one1  
so as to make the whole as even as you  
can1 and fill in the larger gaps with   
more color1 always trying to let the    

edges of the first and of the newly     
applied color exactly meet1 and not lap 
over each other4 ,when your new color   
dries1 you will find it in places a     
little paler than the first4 ,retouch it
 therefore1 trying to get the whole to  
look quite one piece4 ,a very small bit 
of color thus filled up with your very  
best care1 and brought to look as if it 
had been quite even from the first1 will
 give you better practice and more skill
 than a great deal filled in carelessly2
 so do it with your best patience1 not  
leaving the most minute spot of white2  
and do not fill in the large pieces     
first and then go to the small1 but     
quietly and steadily cover in the whole 
up to a marked limit2 then advance a    
little farther1 and so on2 thus always  
seeing distinctly what is done and what 
undone4   ,,exercise ,x4  #fe4 ,lay a   
coat of the blue1 prepared as usual1    
over a whole square of paper4 ,let it   
dry4 ,then another coat over four fifths
 of the square1 or thereabouts1 leaving 

the edge rather irregular than straight1
 and let it dry4 ,then another coat over
 three fifths2 another over two fifths2 
and the last over one fifth2 so that the
 square may present the appearance of   
gradual increase in darkness in five    
bands1 each darker than the one beyond  
it4 ,then1 with the brush rather dry 7as
 in the former exercise1 when filling up
 the interstices71 try1 with small      
touches1 like those used in the pen     
etching1 only a little broader1 to add  
shade delicately beyond each edge1 so as
 to lead the darker tints into the paler
 ones imperceptibly4 ,by touching the   
paper very lightly1 and putting a       
multitude of little touches1 crossing   
and recrossing in every direction1 you  
will gradually be able to work up to the
 darker tints1 outside of each1 so as   
quite to efface their edges1 and unite  
them tenderly with the next tint4 ,the  
whole square1 when done1 should look    
evenly shaded from dark to pale1 with no
 bars1 only a crossing texture of       

touches1 something like chopped straw1  
over the whole4#ac  #ff4 ,next1 take    
your rounded pebble2 arrange it in any  
light and shade you like2 outline it    
very loosely with the pencil4 ,put on a 
wash of color1 prepared very pale1 quite
 flat over all of it1 except the highest
 light1 leaving the edge of your color  
quite sharp4 ,then another wash1        
extending only over the darker parts1   
leaving the edge of that sharp also1 as 
in tinting the square4 ,then another    
wash over the still darker parts1 and   
another over the darkest1 leaving each  
edge to dry sharp4 ,then1 with the small
 touches1 efface the edges1 reinforce   
the darks1 and work the whole delicately
 together as you would with the pen1    
till you have got it to the likeness of 
the true light and shade4 ,you will find
 that the tint underneath is a great    
help1 and that you can now get effects  
much more subtle and complete than with 
the pen merely4  #fg4 ,the use of       
leaving the edges always sharp is that  

you may not trouble or vex the color1   
but let it lie as it falls suddenly on  
the paper3 color looks much more lovely 
when it has been laid on with a dash of 
the brush1 and left to dry in its own   
way1 than when it has been dragged about
 and disturbed2 so that it is always    
better to let the edges and forms be a  
little wrong1 even if one cannot correct
 them afterwards1 than to lose this     
fresh quality of the tint4 ,very great  
masters in water color can lay on the   
true forms at once with a dash1 and bad 
masters in water color lay on grossly   
false forms with a dash1 and leave them 
false2 for people in general1 not       
knowing false from true1 are as much    
pleased with the appearance of power in 
the irregular blot as with the presence 
of power in the determined one2 but we1 
in our beginnings1 must do as much as we
 can with the broad dash1 and then      
correct with the point1 till we are     
quite right4 ,we must take care to be   
right1 at whatever cost of pains2 and   

then gradually we shall find we can be  
right with freedom4  #fh4 ,i have       
hitherto limited you to color mixed with
 two or three teaspoonfuls of water2    
but1 in finishing your light and shade  
from the stone1 you may1 as you efface  
the edge of the palest coat towards the 
light1 use the color for the small      
touches with more and more water1 till  
it is so pale as not to be perceptible4 
,thus you may obtain a perfect gradation
 to the light4 ,and in reinforcing the  
darks1 when they are very dark1 you may 
use less and less water4 ,if you take   
the color tolerably dark on your brush1 
only always liquid 7not pasty71 and dash
 away the superfluous color on blotting 
paper1 you will find that1 touching the 
paper very lightly with the dry brush1  
you can1 by repeated touches1 produce a 
dusty kind of bloom1 very valuable in   
giving depth to shadow2 but it requires 
great patience and delicacy of hand to  
do this properly4 ,you will find much of
 this kind of work in the grounds and   

shadows of ,william ,hunt's drawings4#ad
  #fi4 ,as you get used to the brush and
 color1 you will gradually find out     
their ways for yourself1 and get the    
management of them4 ,and you will often 
save yourself much discouragement by    
remembering what ,i have so often       
asserted1--that if anything goes wrong1 
it is nearly sure to be refinement that 
is wanting1 not force2 and connection1  
not alteration4 ,if you dislike the     
state your drawing is in1 do not lose   
patience with it1 nor dash at it1 nor   
alter its plan1 nor rub it desperately  
out1 at the place you think wrong2 but  
look if there are no shadows you can    
gradate more perfectly2 no little gaps  
and rents you can fill2 no forms you can
 more delicately define3 and do not rush
 at any of the errors or incompletions  
thus discerned1 but efface or supply    
slowly1 and you will soon find your     
drawing take another look4 ,a very      
useful expedient in producing some      
effects1 is to wet the paper1 and then  

lay the color on it1 more or less wet1  
according to the effect you want4 ,you  
will soon see how prettily it gradates  
itself as it dries2 when dry1 you can   
reinforce it with delicate stippling    
when you want it darker4 ,also1 while   
the color is still damp on the paper1 by
 drying your brush thoroughly1 and      
touching the color with the brush so    
dried1 you may take out soft lights with
 great tenderness and precision4 ,try   
all sorts of experiments of this kind1  
noticing how the color behaves2 but     
remembering always that your final      
results must be obtained1 and can only  
be obtained1 by pure work with the      
point1 as much as in the pen drawing4   
#gj4 ,you will find also1 as you deal   
with more and more complicated subjects1
 that ,nature's resources in light and  
shade are so much richer than yours1    
that you cannot possibly get all1 or    
anything like all1 the gradations of    
shadow in any given group4 ,when this is
 the case1 determine first to keep the  

broad masses of things distinct3 if1 for
 instance1 there is a green book1 and a 
white piece of paper1 and a black       
inkstand in the group1 be sure to keep  
the white paper as a light mass1 the    
green book as a middle tint mass1 the   
black inkstand as a dark mass2 and do   
not shade the folds in the paper1 or    
corners of the book1 so as to equal in  
depth the darkness of the inkstand4 ,the
 great difference between the masters of
 light and shade1 and imperfect artists1
 is the power of the former to draw so  
delicately as to express form in a      
dark-colored object with little light1  
and in a light-colored object with      
little darkness2 and it is better even  
to leave the forms here and there       
unsatisfactorily rendered than to lose  
the general relations of the great      
masses4 ,and this1 observe1 not because 
masses are grand or desirable things in 
your composition 7for with composition  
at present you have nothing whatever to 
do71 but because it is a fact that      

things do so present themselves to the  
eyes of men1 and that we see paper1     
book1 and inkstand as three separate    
things1 before we see the wrinkles1 or  
chinks1 or corners of any of the three4 
,understand1 therefore1 at once1 that no
 detail can be as strongly expressed in 
drawing as it is in reality2 and strive 
to keep all your shadows and marks and  
minor markings on the masses1 lighter   
than they appear to be in ,nature2 you  
are sure otherwise to get them too dark4
 ,you will in doing this find that you  
cannot get the projection of things     
sufficiently shown2 but never mind that2
 there is no need that they should      
appear to project1 but great need that  
their relations of shade to each other  
should be preserved4 ,all deceptive     
projection is obtained by partial       
exaggeration of shadow2 and whenever you
 see it1 you may be sure the drawing is 
more or less bad3 a thoroughly fine     
drawing or painting will always show a  
slight tendency towards flatness4  #ga4 

,observe1 on the other hand1 that1      
however white an object may be1 there is
 always some small point of it whiter   
than the rest4 ,you must therefore have 
a slight tone of gray over everything in
 your picture except on the extreme high
 lights2 even the piece of white paper1 
in your subject1 must be toned slightly 
down1 unless 7and there are thousand    
chances against its being so7 it should 
all be turned so as fully to front the  
light4 ,by examining the treatment of   
the white objects in any pictures       
accessible to you by ,paul ,veronese or 
,titian1 you will soon understand       
this4#ae  #gb4 ,as soon as you feel     
yourself capable of expressing with the 
brush the undulations of surfaces and   
the relations of masses1 you may proceed
 to draw more complicated and beautiful 
things4#af ,and first1 the boughs of    
trees1 now not in mere dark relief1 but 
in full rounding4 ,take the first bit of
 branch or stump that comes to hand1    
with a fork in it2 cut off the ends of  

the forking branches1 so as to leave the
 whole only about a foot in length2 get 
a piece of paper the same size1 fix your
 bit of branch in some place where its  
position will not be altered1 and draw  
it thoroughly1 in all its light and     
shade1 full size2 striving1 above all   
things1 to get an accurate expression of
 its structure at the fork of the       
branch4 ,when once you have mastered the
 tree at its armpits1 you will have     
little more trouble with it4  #gc4      
,always draw whatever the background    
happens to be1 exactly as you see it4   
,wherever you have fastened the bough1  
you must draw whatever is behind it1    
ugly or not1 else you will never know   
whether the light and shade are right2  
they may appear quite wrong to you1 only
 for want of the background4 ,and this  
general law is to be observed in all    
your studies3 whatever you draw1 draw   
completely and unalteringly1 else you   
never know if what you have done is     
right1 or whether you could have done it

 rightly had you tried4 ,there is       
nothing visible out of which you may not
 get useful practice4  #gd4 ,next1 to   
put the leaves on your boughs4 ,gather a
 small twig with four or five leaves on 
it1 put it into water1 put a sheet of   
light-colored or white paper behind it1 
so that all the leaves may be relieved  
in dark from the white field2 then      
sketch in their dark shape carefully    
with pencil as you did the complicated  
boughs1 in order to be sure that all    
their masses and interstices are right  
in shape before you begin shading1 and  
complete as far as you can with pen and 
ink1 in the manner of ,fig4 #f1 which is
 a young shoot of lilac4  #ge4 ,you will
 probably1 in spite of all your pattern 
drawings1 be at first puzzled by leaf   
foreshortening2 especially because the  
look of retirement or projection depends
 not so much on the perspective of the  
leaves themselves as on the double sight
 of the two eyes4 ,now there are certain
 artifices by which good painters can   

partly conquer this difficulty2 as      
slight exaggerations of force or color  
in the nearer parts1 and of obscurity in
 the more distant ones2 but you must not
 attempt anything of this kind4 ,when   
you are first sketching the leaves1 shut
 one of your eyes1 fix a point in the   
background1 to bring the point of one of
 the leaves against2 and so sketch the  
whole bough as you see it in a fixed    
position1 looking with one eye only4    
,your drawing never can be made to look 
like the object itself1 as you see that 
object with both eyes1#ag but it can be 
made perfectly like the object seen with
 one1 and you must be content when you  
have got a resemblance on these terms4  
#gf4 ,in order to get clearly at the    
notion of the thing to be done1 take a  
single long leaf1 hold it with its point
 towards you1 and as flat as you can1 so
 as to see nothing of it but its        
thinness1 as if you wanted to know how  
thin it was2 outline it so4 ,then slope 
it down gradually towards you1 and watch

 it as it lengthens out to its full     
length1 held perpendicularly down before
 you4 ,draw it in three or four         
different positions between these       
extremes1 with its ribs as they appear  
in each position1 and you will soon find
 out how it must be4  ,illustration3    
,,fig4 #f4  #gg4 ,draw first only two or
 three of the leaves2 then larger       
clusters2 and practice1 in this way1    
more and more complicated pieces of     
bough and leafage1 till you find you can
 master the most difficult arrangements1
 not consisting of more than ten or     
twelve leaves4 ,you will find as you do 
this1 if you have an opportunity of     
visiting any gallery of pictures1 that  
you take a much more lively interest    
than before in the work of the great    
masters2 you will see that very often   
their best backgrounds are composed of  
little more than a few sprays of        
leafage1 carefully studied1 brought     
against the distant sky2 and that       
another wreath or two form the chief    

interest of their foregrounds4 ,if you  
live in ,london you may test your       
progress accurately by the degree of    
admiration you feel for the leaves of   
vine round the head of the ,bacchus1 in 
,titian's ,bacchus and ,ariadne4 ,all   
this1 however1 will not enable you to   
draw a mass of foliage4 ,you will find1 
on looking at any rich piece of         
vegetation1 that it is only one or two  
of the nearer clusters that you can by  
any possibility draw in this complete   
manner4 ,the mass is too vast1 and too  
intricate1 to be thus dealt with4       
,illustration3 ,,fig4 #g4  #gh4 ,you    
must now therefore have recourse to some
 confused mode of execution1 capable of 
expressing the confusion of ,nature4    
,and1 first1 you must understand what   
the character of that confusion is4 ,if 
you look carefully at the outer sprays  
of any tree at twenty or thirty yards'  
distance1 you will see them defined     
against the sky in masses1 which1 at    
first1 look quite definite2 but if you  

examine them1 you will see1 mingled with
 the real shapes of leaves1 many        
indistinct lines1 which are1 some of    
them1 stalks of leaves1 and some1 leaves
 seen with the edge turned towards you1 
and coming into sight in a broken way2  
for1 supposing the real leaf shape to be
 as at a1 ,fig4 #g1 this1 when removed  
some yards from the eye1 will appear    
dark against the sky1 as at b2 then1    
when removed some yards farther still1  
the stalk and point disappear           
altogether1 the middle of the leaf      
becomes little more than a line2 and the
 result is the condition at c1 only with
 this farther subtlety in the look of   
it1 inexpressible in the wood-cut1 that 
the stalk and point of the leaf1 though 
they have disappeared to the eye1 have  
yet some influence in checking the light
 at the places where they exist1 and    
cause a slight dimness about the part of
 the leaf which remains visible1 so that
 its perfect effect could only be       
rendered by two layers of color1 one    

subduing the sky tone a little1 the next
 drawing the broken portions of the     
leaf1 as at c1 and carefully indicating 
the greater darkness of the spot in the 
middle1 where the under side of the leaf
 is4  ,illustration3 ,,fig4 #h4  ,this  
is the perfect theory of the matter4 ,in
 practice we cannot reach such accuracy2
 but we shall be able to render the     
general look of the foliage             
satisfactorily by the following mode of 
practice4  #gi4 ,gather a spray of any  
tree1 about a foot or eighteen inches   
long4 ,fix it firmly by the stem in     
anything that will support it steadily2 
put it about eight feet away from you1  
or ten if you are far-sighted4 ,put a   
sheet of not very white paper behind it1
 as usual4 ,then draw very carefully1   
first placing them with pencil1 and then
 filling them up with ink1 every        
leaf-mass and stalk of it in simple     
black profile1 as you see them against  
the paper3 ,fig4 #h is a bough of       
,phillyrea so drawn4 ,do not be afraid  

of running the leaves into a black mass 
when they come together2 this exercise  
is only to teach you what the actual    
shapes of such masses are when seen     
against the sky4  #hj4 ,make two careful
 studies of this kind of one bough of   
every common tree1--oak1 ash1 elm1      
birch1 beech1 etc42 in fact1 if you are 
good1 and industrious1 you will make one
 such study carefully at least three    
times a week1 until you have examples of
 every sort of tree and shrub you can   
get branches of4 ,you are to make two   
studies of each bough1 for this         
reason1--all masses of foliage have an  
upper and under surface1 and the side   
view of them1 or profile1 shows a wholly
 different organization of branches from
 that seen in the view from above4 ,they
 are generally seen more or less in     
profile1 as you look at the whole tree1 
and ,nature puts her best composition   
into the profile arrangement4 ,but the  
view from above or below occurs not     
unfrequently1 also1 and it is quite     

necessary you should draw it if you wish
 to understand the anatomy of the tree4 
,the difference between the two views is
 often far greater than you could easily
 conceive4 ,for instance1 in ,fig4 #i1 a
 is the upper view and b the profile1 of
 a single spray of ,phillyrea4 ,fig4 #h 
is an intermediate view of a larger     
bough2 seen from beneath1 but at some   
lateral distance also4  #ha4 ,when you  
have done a few branches in this manner1
 take one of the drawings you have made1
 and put it first a yard away from you1 
then a yard and a half1 then two yards2 
observe how the thinner stalks and      
leaves gradually disappear1 leaving only
 a vague and slight darkness where they 
were2 and make another study of the     
effect at each distance1 taking care to 
draw nothing more than you really see1  
for in this consists all the difference 
between what would be merely a miniature
 drawing of the leaves seen near1 and a 
full-size drawing of the same leaves at 
a distance4 ,by full size1 ,i mean the  

size which they would really appear of  
if their outline were traced through a  
pane of glass held at the same distance 
from the eye at which you mean to hold  
your drawing4 ,you can always ascertain 
this full size of any object by holding 
your paper upright before you1 at the   
distance from your eye at which you wish
 your drawing to be seen4 ,bring its    
edge across the object you have to draw1
 and mark upon this edge the points     
where the outline of the object crosses1
 or goes behind1 the edge of the paper4 
,you will always find it1 thus measured1
 smaller than you supposed4             
,illustration3 ,,fig4 #i4  #hb4 ,when   
you have made a few careful experiments 
of this kind on your own drawings1      
7which are better for practice1 at      
first1 than the real trees1 because the 
black profile in the drawing is quite   
stable1 and does not shake1 and is not  
confused by sparkles of luster on the   
leaves17 you may try the extremities of 
the real trees1 only not doing much at a

 time1 for the brightness of the sky    
will dazzle and perplex your sight4 ,and
 this brightness causes1 ,i believe1    
some loss of the outline itself2 at     
least the chemical action of the light  
in a photograph extends much within the 
edges of the leaves1 and1 as it were1   
eats them away1 so that no tree         
extremity1 stand it ever so still1 nor  
any other form coming against bright    
sky1 is truly drawn by a photograph2 and
 if you once succeed in drawing a few   
sprays rightly1 you will find the result
 much more lovely and interesting than  
any photograph can be4  #hc4 ,all this  
difficulty1 however1 attaches to the    
rendering merely the dark form of the   
sprays as they come against the sky4    
,within those sprays1 and in the heart  
of the tree1 there is a complexity of a 
much more embarrassing kind2 for nearly 
all leaves have some luster1 and all are
 more or less translucent 7letting light
 through them72 therefore1 in any given 
leaf1 besides the intricacies of its own

 proper shadows and foreshortenings1    
there are three series of circumstances 
which alter or hide its forms4 ,first1  
shadows cast on it by other             
leaves1--often very forcibly4 ,secondly1
 light reflected from its lustrous      
surface1 sometimes the blue of the sky1 
sometimes the white of clouds1 or the   
sun itself flashing like a star4        
,thirdly1 forms and shadows of other    
leaves1 seen as darknesses through the  
translucent parts of the leaf2 a most   
important element of foliage effect1 but
 wholly neglected by landscape artists  
in general4  #hd4 ,the consequence of   
all this is1 that except now and then by
 chance1 the form of a complete leaf is 
never seen2 but a marvelous and quaint  
confusion1 very definite1 indeed1 in its
 evidence of direction of growth1 and   
unity of action1 but wholly indefinable 
and inextricable1 part by part1 by any  
amount of patience4 ,you cannot possibly
 work it out in facsimile1 though you   
took a twelvemonth's time to a tree2 and

 you must therefore try to discover some
 mode of execution which will more or   
less imitate1 by its own variety and    
mystery1 the variety and mystery of     
,nature1 without absolute delineation of
 detail4  #he4 ,now ,i have led you to  
this conclusion by observation of tree  
form only1 because in that the thing to 
be proved is clearest4 ,but no natural  
object exists which does not involve in 
some part or parts of it this           
inimitableness1 this mystery of         
quantity1 which needs peculiarity of    
handling and trick of touch to express  
it completely4 ,if leaves are intricate1
 so is moss1 so is foam1 so is rock     
cleavage1 so are fur and hair1 and      
texture of drapery1 and of clouds4 ,and 
although methods and dexterities of     
handling are wholly useless if you have 
not gained first the thorough knowledge 
of the form of the thing2 so that if you
 cannot draw a branch perfectly1 then   
much less a tree2 and if not a wreath of
 mist perfectly1 much less a flock of   

clouds2 and if not a single grass blade 
perfectly1 much less a grass bank2 yet  
having once got this power over decisive
 form1 you may safely--and must1 in     
order to perfection of work--carry out  
your knowledge by every aid of method   
and dexterity of hand4  #hf4 ,but1 in   
order to find out what method can do1   
you must now look at ,art as well as at 
,nature1 and see what means painters and
 engravers have actually employed for   
the expression of these subtleties4     
,whereupon arises the question1 what    
opportunity you have to obtain          
engravings8 ,you ought1 if it is at all 
in your power1 to possess yourself of a 
certain number of good examples of      
,turner's engraved works3 if this be not
 in your power1 you must just make the  
best use you can of the shop windows1 or
 of any plates of which you can obtain a
 loan4 ,very possibly1 the difficulty of
 getting sight of them may stimulate you
 to put them to better use4 ,but1       
supposing your means admit of your doing

 so1 possess yourself1 first1 of the    
illustrated edition either of ,rogers's 
,italy or ,rogers's ,poems1 and then of 
about a dozen of the plates named in the
 annexed lists4 ,the prefixed letters   
indicate the particular points deserving
 your study in each engraving4#ah ,be   
sure1 therefore1 that your selection    
includes1 at all events1 one plate      
marked with each letter4 ,do not get    
more than twelve of these plates1 nor   
even all the twelve at first2 for the   
more engravings you have1 the less      
attention you will pay to them4 ,it is a
 general truth1 that the enjoyment      
derivable from art cannot be increased  
in quantity1 beyond a certain point1 by 
quantity of possession2 it is only      
spread1 as it were1 over a larger       
surface1 and very often dulled by       
finding ideas repeated in different     
works4 ,now1 for a beginner1 it is      
always better that his attention should 
be concentrated on one or two good      
things1 and all his enjoyment founded on

 them1 than that he should look at many1
 with divided thoughts4 ,he has much to 
discover2 and his best way of           
discovering it is to think long over few
 things1 and watch them earnestly4 ,it  
is one of the worst errors of this age  
to try to know and to see too much3 the 
men who seem to know everything1 never  
in reality know anything rightly4       
,beware of handbook knowledge4  #hg4    
,these engravings are1 in general1 more 
for you to look at than to copy2 and    
they will be of more use to you when we 
come to talk of composition1 than they  
are at present2 still1 it will do you a 
great deal of good1 sometimes to try how
 far you can get their delicate texture1
 or gradations of tone3 as your         
pen-and-ink drawing will be apt to      
incline too much to a scratchy and      
broken kind of shade4 ,for instance1 the
 texture of the white convent wall1 and 
the drawing of its tiled roof1 in the   
vignette at p4 #bbg of ,rogers's ,poems1
 is as exquisite as work can possibly   

be2 and it will be a great and          
profitable achievement if you can at all
 approach it4 ,in like manner1 if you   
can at all imitate the dark distant     
country at p4 #g1 or the sky at p4 #hj1 
of the same volume1 or the foliage at   
pp4 #ab and #add1 it will be good gain2 
and if you can once draw the rolling    
clouds and running river at p4 #i of the
 ,italy1 or the city in the vignette of 
,aosta at p4 #be1 or the moonlight at p4
 #bbc1 you will find that even ,nature  
herself cannot afterwards very terribly 
puzzle you with her torrents1 or towers1
 or moonlight4  #hh4 ,you need not copy 
touch for touch1 but try to get the same
 effect4 ,and if you feel discouraged by
 the delicacy required1 and begin to    
think that engraving is not drawing1 and
 that copying it cannot help you to     
draw1 remember that it differs from     
common drawing only by the difficulties 
it has to encounter4 ,you perhaps have  
got into a careless habit of thinking   
that engraving is a mere business1 easy 

enough when one has got into the knack  
of it4 ,on the contrary1 it is a form of
 drawing more difficult than common     
drawing1 by exactly so much as it is    
more difficult to cut steel than to move
 the pencil over paper4 ,it is true that
 there are certain mechanical aids and  
methods which reduce it at certain      
stages either to pure machine work1 or  
to more or less a habit of hand and arm2
 but this is not so in the foliage you  
are trying to copy1 of which the best   
and prettiest parts are always          
etched--that is1 drawn with a fine steel
 point and free hand3 only the line made
 is white instead of black1 which       
renders it much more difficult to judge 
of what you are about4 ,and the trying  
to copy these plates will be good for   
you1 because it will awaken you to the  
real labor and skill of the engraver1   
and make you understand a little how    
people must work1 in this world1 who    
have really to do anything in it4  #hi4 
,do not1 however1 suppose that ,i give  

you the engraving as a model--far from  
it2 but it is necessary you should be   
able to do as well#ai before you think  
of doing better1 and you will find many 
little helps and hints in the various   
work of it4 ,only remember that all     
engravers' foregrounds are bad2 whenever
 you see the peculiar wriggling parallel
 lines of modern engravings become      
distinct1 you must not copy2 nor admire3
 it is only the softer masses1 and      
distances1 and portions of the foliage  
in the plates marked f1 which you may   
copy4 ,the best for this purpose1 if you
 can get it1 is the ,chain bridge over  
the ,tees1 of the ,england series2 the  
thicket on the right is very beautiful  
and instructive1 and very like ,turner4 
,the foliage in the ,ludlow and ,powis  
is also remarkably good4  #ij4 ,besides 
these line engravings1 and to protect   
you from what harm there is in their    
influence1 you are to provide yourself1 
if possible1 with a ,rembrandt etching1 
or a photograph of one 7of figures1 not 

landscape74 ,it does not matter of what 
subject1 or whether a sketchy or        
finished one1 but the sketchy ones are  
generally cheapest1 and will teach you  
most4 ,copy it as well as you can1      
noticing especially that ,rembrandt's   
most rapid lines have steady purpose2   
and that they are laid with almost      
inconceivable precision when the object 
becomes at all interesting4 ,the        
,prodigal ,son1 ,death of the ,virgin1  
,abraham and ,isaac1 and such others1   
containing incident and character rather
 than chiaroscuro1 will be the most     
instructive4 ,you can buy one2 copy it  
well2 then exchange it1 at little loss1 
for another2 and so1 gradually1 obtain a
 good knowledge of his system4 ,whenever
 you have an opportunity of examining   
his work at museums1 etc41 do so with   
the greatest care1 not looking at many  
things1 but a long time at each4 ,you   
must also provide yourself1 if possible1
 with an engraving of ,albert ,drer's4  
,this you will not be able to copy2 but 

you must keep it beside you1 and refer  
to it as a standard of precision in     
line4 ,if you can get one with a wing in
 it1 it will be best4 ,the crest with   
the cock1 that with the skull and satyr1
 and the ,melancholy1 are the best you  
could have1 but any will do4 ,perfection
 in chiaroscuro drawing lies between    
these two masters1 ,rembrandt and ,drer4
 ,rembrandt is often too loose and      
vague2 and ,drer has little or no effect
 of mist or uncertainty4 ,if you can see
 anywhere a drawing by ,leonardo1 you   
will find it balanced between the two   
characters2 but there are no engravings 
which present this perfection1 and your 
style will be best formed1 therefore1 by
 alternate study of ,rembrandt and      
,drer4 ,lean rather to ,drer2 it is     
better1 for amateurs1 to err on the side
 of precision than on that of vagueness3
 and though1 as ,i have just said1 you  
cannot copy a ,drer1 yet try every now  
and then a quarter of an inch square or 
so1 and see how much nearer you can     

come2 you cannot possibly try to draw   
the leafy crown of the ,melancholia too 
often4  #ia4 ,if you cannot get either a
 ,rembrandt or a ,drer1 you may still   
learn much by carefully studying any of 
,george ,cruikshank's etchings1 or      
,leech's wood-cuts in ,punch1 on the    
free side2 with ,alfred ,rethel's and   
,richter's#bj on the severe side4 ,but  
in so doing you will need to notice the 
following points3  #ib4 ,when either the
 material 7as the copper or wood7 or the
 time of an artist does not permit him  
to make a perfect drawing1--that is to  
say1 one in which no lines shall be     
prominently visible1--and he is reduced 
to show the black lines1 either drawn by
 the pen1 or on the wood1 it is better  
to make these lines help1 as far as may 
be1 the expression of texture and form4 
,you will thus find many textures1 as of
 cloth or grass or flesh1 and many      
subtle effects of light1 expressed by   
,leech with zigzag or crossed or        
curiously broken lines2 and you will see

 that ,alfred ,rethel and ,richter      
constantly express the direction and    
rounding of surfaces by the direction of
 the lines which shade them4 ,all these 
various means of expression will be     
useful to you1 as far as you can learn  
them1 provided you remember that they   
are merely a kind of shorthand2 telling 
certain facts not in quite the right    
way1 but in the only possible way under 
the conditions3 and provided in any     
after use of such means1 you never try  
to show your own dexterity2 but only to 
get as much record of the object as you 
can in a given time2 and that you       
continually make efforts to go beyond   
such shorthand1 and draw portions of the
 objects rightly4  #ic4 ,and touching   
this question of direction of lines as  
indicating that of surface1 observe     
these few points3  ,illustration3 ,,fig4
 #aj4  ,if lines are to be distinctly   
shown1 it is better that1 so far as they
 can indicate anything by their         
direction1 they should explain rather   

than oppose the general character of the
 object4 ,thus1 in the piece of wood-cut
 from ,titian1 ,fig4 #aj1 the lines are 
serviceable by expressing1 not only the 
shade of the trunk1 but partly also its 
roundness1 and the flow of its grain4   
,and ,albert ,drer1 whose work was      
chiefly engraving1 sets himself always  
thus to make his lines as valuable as   
possible2 telling much by them1 both of 
shade and direction of surface3 and if  
you were always to be limited to        
engraving on copper 7and did not want to
 express effects of mist or darkness1 as
 well as delicate forms71 ,albert       
,drer's way of work would be the best   
example for you4 ,but1 inasmuch as the  
perfect way of drawing is by shade      
without lines1 and the great painters   
always conceive their subject as        
complete1 even when they are sketching  
it most rapidly1 you will find that1    
when they are not limited in means1 they
 do not much trust to direction of line1
 but will often scratch in the shade of 

a rounded surface with nearly straight  
lines1 that is to say1 with the easiest 
and quickest lines possible to          
themselves4 ,when the hand is free1 the 
easiest line for it to draw is one      
inclining from the left upwards to the  
right1 or vice vers1 from the right     
downwards to the left2 and when done    
very quickly1 the line is hooked a      
little at the end by the effort at      
return to the next4 ,hence1 you will    
always find the pencil1 chalk1 or pen   
sketch of a very great master full of   
these kind of lines2 and even if he     
draws carefully1 you will find him using
 simple straight lines from left to     
right1 when an inferior master would    
have used curved ones4 ,fig4 #aa is a   
fair facsimile of part of a sketch of   
,raphael's1 which exhibits these        
characters very distinctly4 ,even the   
careful drawings of ,leonardo da ,vinci 
are shaded most commonly with straight  
lines2 and you may always assume it as a
 point increasing the probability of a  

drawing being by a great master if you  
find rounded surfaces1 such as those of 
cheeks or lips1 shaded with straight    
lines4  ,illustration3 ,,fig4 #aa4  #id4
 ,but you will also now understand how  
easy it must be for dishonest dealers to
 forge or imitate scrawled sketches like
 ,fig4 #aa1 and pass them for the work  
of great masters2 and how the power of  
determining the genuineness of a drawing
 depends entirely on your knowing the   
facts of the objects drawn1 and         
perceiving whether the hasty handling is
 all conducive to the expression of     
those truths4 ,in a great man's work1 at
 its fastest1 no line is thrown away1   
and it is not by the rapidity1 but the  
economy of the execution that you know  
him to be great4 ,now to judge of this  
economy1 you must know exactly what he  
meant to do1 otherwise you cannot of    
course discern how far he has done it2  
that is1 you must know the beauty and   
nature of the thing he was drawing4 ,all
 judgment of art thus finally founds    

itself on knowledge of ,nature4  #ie4   
,but farther observe1 that this         
scrawled1 or economic1 or impetuous     
execution is never affectedly impetuous4
 ,if a great man is not in a hurry1 he  
never pretends to be2 if he has no      
eagerness in his heart1 he puts none    
into his hand2 if he thinks his effect  
would be better got with two lines1 he  
never1 to show his dexterity1 tries to  
do it with one4 ,be assured1 therefore  
7and this is a matter of great          
importance71 that you will never produce
 a great drawing by imitating the       
execution of a great master4 ,acquire   
his knowledge and share his feelings1   
and the easy execution will fall from   
your hand as it did from his3 but if you
 merely scrawl because he scrawled1 or  
blot because he blotted1 you will not   
only never advance in power1 but every  
able draughtsman1 and every judge whose 
opinion is worth having1 will know you  
for a cheat1 and despise you            
accordingly4  #if4 ,again1 observe      

respecting the use of outline3  ,all    
merely outlined drawings are bad1 for   
the simple reason1 that an artist of any
 power can always do more1 and tell     
more1 by quitting his outlines          
occasionally1 and scratching in a few   
lines for shade1 than he can by         
restricting himself to outline only4    
,hence the fact of his so restricting   
himself1 whatever may be the occasion1  
shows him to be a bad draughtsman1 and  
not to know how to apply his power      
economically4 ,this hard law1 however1  
bears only on drawings meant to remain  
in the state in which you see them2 not 
on those which were meant to be         
proceeded with1 or for some mechanical  
use4 ,it is sometimes necessary to draw 
pure outlines1 as an incipient          
arrangement of a composition1 to be     
filled up afterwards with color1 or to  
be pricked through and used as patterns 
or tracings2 but if1 with no such       
ultimate object1 making the drawing     
wholly for its own sake1 and meaning it 

to remain in the state he leaves it1 an 
artist restricts himself to outline1 he 
is a bad draughtsman1 and his work is   
bad4 ,there is no exception to this law4
 ,a good artist habitually sees masses1 
not edges1 and can in every case make   
his drawing more expressive 7with any   
given quantity of work7 by rapid shade  
than by contours2 so that all good work 
whatever is more or less touched with   
shade1 and more or less interrupted as  
outline4  ,illustration3 ,,fig4 #ab4    
#ig4 ,hence1 the published works of     
,retzsch1 and all the ,english          
imitations of them1 and all outline     
engravings from pictures1 are bad work1 
and only serve to corrupt the public    
taste4 ,and of such outlines1 the worst 
are those which are darkened in some    
part of their course by way of          
expressing the dark side1 as ,flaxman's 
from ,dante1 and such others2 because an
 outline can only be true so long as it 
accurately represents the form of the   
given object with one of its edges4     

,thus1 the outline a and the outline b1 
,fig4 #ab1 are both true outlines of a  
ball2 because1 however thick the line   
may be1 whether we take the interior or 
exterior edge of it1 that edge of it    
always draws a true circle4 ,but c is a 
false outline of a ball1 because either 
the inner or outer edge of the black    
line must be an untrue circle1 else the 
line could not be thicker in one place  
than another4 ,hence all force1 as it is
 called1 is gained by falsification of  
the contours2 so that no artist whose   
eye is true and fine could endure to    
look at it4 ,it does indeed often happen
 that a painter1 sketching rapidly1 and 
trying again and again for some line    
which he cannot quite strike1 blackens  
or loads the first line by setting      
others beside and across it2 and then a 
careless observer supposes it has been  
thickened on purpose3 or1 sometimes     
also1 at a place where shade is         
afterwards to inclose the form1 the     
painter will strike a broad dash of this

 shade beside his outline at once1      
looking as if he meant to thicken the   
outline2 whereas this broad line is only
 the first installment of the future    
shadow1 and the outline is really drawn 
with its inner edge4#ba ,and thus1 far  
from good draughtsmen darkening the     
lines which turn away from the light1   
the tendency with them is rather to     
darken them towards the light1 for it is
 there in general that shade will       
ultimately inclose them4 ,the best      
example of this treatment that ,i know  
is ,raphael's sketch1 in the ,louvre1 of
 the head of the angel pursuing         
,heliodorus1 the one that shows part of 
the left eye2 where the dark strong     
lines which terminate the nose and      
forehead towards the light are opposed  
to tender and light ones behind the ear1
 and in other places towards the shade4 
,you will see in ,fig4 #aa the same     
principle variously exemplified2 the    
principal dark lines1 in the head and   
drapery of the arms1 being on the side  

turned to the light4  ,illustration3    
,,fig4 #ac4  #ih4 ,all these refinements
 and ultimate principles1 however1 do   
not affect your drawing for the present4
 ,you must try to make your outlines as 
equal as possible2 and employ pure      
outline only for the two following      
purposes3 either 7#a47 to steady your   
hand1 as in ,exercise ,,ii41 for if you 
cannot draw the line itself1 you will   
never be able to terminate your shadow  
in the precise shape required1 when the 
line is absent2 or 7#b47 to give you    
shorthand memoranda of forms1 when you  
are pressed for time4 ,thus the forms of
 distant trees in groups are defined1   
for the most part1 by the light edge of 
the rounded mass of the nearer one being
 shown against the darker part of the   
rounded mass of a more distant one2 and 
to draw this properly1 nearly as much   
work is required to round each tree as  
to round the stone in ,fig4 #e4 ,of     
course you cannot often get time to do  
this2 but if you mark the terminal line 

of each tree as is done by ,drer in     
,fig4 #ac1 you will get a most useful   
memorandum of their arrangement1 and a  
very interesting drawing4 ,only observe 
in doing this1 you must not1 because the
 procedure is a quick one1 hurry that   
procedure itself4 ,you will find1 on    
copying that bit of ,drer1 that every   
one of his lines is firm1 deliberate1   
and accurately descriptive as far as it 
goes4 ,it means a bush of such a size   
and such a shape1 definitely observed   
and set down2 it contains a true        
signalement of every nut-tree1 and      
apple-tree1 and higher bit of hedge1 all
 round that village4 ,if you have not   
time to draw thus carefully1 do not draw
 at all--you are merely wasting your    
work and spoiling your taste4 ,when you 
have had four or five years' practice   
you may be able to make useful memoranda
 at a rapid rate1 but not yet2 except   
sometimes of light and shade1 in a way  
of which ,i will tell you presently4    
,and this use of outline1 note farther1 

is wholly confined to objects which have
 edges or limits4 ,you can outline a    
tree or a stone1 when it rises against  
another tree or stone2 but you cannot   
outline folds in drapery1 or waves in   
water2 if these are to be expressed at  
all1 it must be by some sort of shade1  
and therefore the rule that no good     
drawing can consist throughout of pure  
outline remains absolute4 ,you see1 in  
that wood-cut of ,drer's1 his reason for
 even limiting himself so much to       
outline as he has1 in those distant     
woods and plains1 is that he may leave  
them in bright light1 to be thrown out  
still more by the dark sky and the dark 
village spire3 and the scene becomes    
real and sunny only by the addition of  
these shades4  ,illustration3 ,,fig4    
#ad4  #ii4 ,understanding1 then1 thus   
much of the use of outline1 we will go  
back to our question about tree-drawing 
left unanswered at page #dh4            
,illustration3 ,,fig4 #ae4  ,we were1   
you remember1 in pursuit of mystery     

among the leaves4 ,now1 it is quite easy
 to obtain mystery and disorder1 to any 
extent2 but the difficulty is to keep   
organization in the midst of mystery4   
,and you will never succeed in doing    
this unless you lean always to the      
definite side1 and allow yourself rarely
 to become quite vague1 at least through
 all your early practice4 ,so1 after    
your single groups of leaves1 your first
 step must be to conditions like ,figs4 
#ad and #ae1 which are careful          
facsimiles of two portions of a         
beautiful wood-cut of ,drer's1 the      
,flight into ,egypt4 ,copy these        
carefully1--never mind how little at a  
time1 but thoroughly2 then trace the    
,drer1 and apply it to your drawing1 and
 do not be content till the one fits the
 other1 else your eye is not true enough
 to carry you safely through meshes of  
real leaves4 ,and in the course of doing
 this1 you will find that not a line nor
 dot of ,drer's can be displaced without
 harm2 that all add to the effect1 and  

either express something1 or illumine   
something1 or relieve something4 ,if1   
afterwards1 you copy any of the pieces  
of modern tree drawing1 of which so many
 rich examples are given constantly in  
our cheap illustrated periodicals 7any  
of the ,christmas numbers of last year's
 ,illustrated ,news or others are full  
of them71 you will see that1 though good
 and forcible general effect is         
produced1 the lines are thrown in by    
thousands without special intention1 and
 might just as well go one way as       
another1 so only that there be enough of
 them to produce all together a         
well-shaped effect of intricacy3 and you
 will find that a little careless       
scratching about with your pen will     
bring you very near the same result     
without an effort2 but that no          
scratching of pen1 nor any fortunate    
chance1 nor anything but downright skill
 and thought1 will imitate so much as   
one leaf of ,drer's4 ,yet there is      
considerable intricacy and glittering   

confusion in the interstices of those   
vine leaves of his1 as well as of the   
grass4  ,illustration3 ,,fig4 #af4      
#ajj4 ,when you have got familiarized to
 his firm manner1 you may draw from     
,nature as much as you like in the same 
way2 and when you are tired of the      
intense care required for this1 you may 
fall into a little more easy massing of 
the leaves1 as in ,fig4 #aj 7p4 #ee74   
,this is facsimild from an engraving    
after ,titian1 but an engraving not     
quite first-rate in manner1 the leaves  
being a little too formal2 still1 it is 
a good enough model for your times of   
rest2 and when you cannot carry the     
thing even so far as this1 you may      
sketch the forms of the masses1 as in   
,fig4 #af1bb taking care always to have 
thorough command over your hand2 that   
is1 not to let the mass take a free     
shape because your hand ran glibly over 
the paper1 but because in ,nature it has
 actually a free and noble shape1 and   
you have faithfully followed the same4  

#aja4 ,and now that we have come to     
questions of noble shape1 as well as    
true shape1 and that we are going to    
draw from ,nature at our pleasure1 other
 considerations enter into the business1
 which are by no means confined to first
 practice1 but extend to all practice2  
these 7as this letter is long enough1 ,i
 should think1 to satisfy even the most 
exacting of correspondents7 ,i will     
arrange in a second letter2 praying you 
only to excuse the tiresomeness of this 
first one--tiresomeness inseparable from
 directions touching the beginning of   
any art1--and to believe me1 even though
 ,i am trying to set you to dull and    
hard work1                              
,very faithfully yours1                 
,j4 ,,ruskin4   ,,footnotes3    #a      
7,n4,b4--,this note is only for the     
satisfaction of incredulous     or      
curious readers4 ,you may miss it if you
 are in a hurry1 or are     willing to  
take the statement in the text on       
trust47      ,the perception of solid   

,form is entirely a matter of           
experience4 ,we     see nothing but flat
 colors2 and it is only by a series of  
experiments that we find out that a     
stain of black or gray indicates     the
 dark side of a solid substance1 or that
 a faint hue indicates     that the     
object in which it appears is far away4 
,the whole technical     power of       
painting depends on our recovery of what
 may be called the     innocence of the 
eye2 that is to say1 of a sort of       
childish     perception of these flat   
stains of color1 merely as such1 without
     consciousness of what they         
signify1--as a blind man would see them 
if suddenly gifted with sight4      ,for
 instance3 when grass is lighted        
strongly by the sun in certain          
directions1 it is turned from green into
 a peculiar and somewhat                
dusty-looking yellow4 ,if we had been   
born blind1 and were suddenly           
endowed with sight on a piece of grass  
thus lighted in some parts by     the   

sun1 it would appear to us that part of 
the grass was green1 and     part a     
dusty yellow 7very nearly of the color  
of primroses72 and1 if     there were   
primroses near1 we should think that the
 sunlighted grass     was another mass  
of plants of the same sulphur-yellow    
color4 ,we     should try to gather some
 of them1 and then find that the color  
went     away from the grass when we    
stood between it and the sun1 but not   
from the primroses2 and by a series of  
experiments we should find     out that 
the sun was really the cause of the     
color in the one1--not     in the other4
 ,we go through such processes of       
experiment     unconsciously in         
childhood2 and having once come to      
conclusions     touching the            
signification of certain colors1 we     
always suppose that     we see what we  
only know1 and have hardly any          
consciousness of the     real aspect of 
the signs we have learned to interpret4 
,very few     people have any idea that 

sunlighted grass is yellow4      ,now1 a
 highly accomplished artist has always  
reduced himself as     nearly as        
possible to this condition of infantine 
sight4 ,he sees the     colors of nature
 exactly as they are1 and therefore     
perceives at     once in the sunlighted 
grass the precise relation between the  
two     colors that form its shade and  
light4 ,to him it does not seem shade   
and light1 but bluish green barred with 
gold4      ,strive1 therefore1 first of 
all1 to convince yourself of this great 
fact about sight4 ,this1 in your hand1  
which you know by experience     and    
touch to be a book1 is to your eye      
nothing but a patch of white1           
variously gradated and spotted2 this    
other thing near you1 which by          
experience you know to be a table1 is to
 your eye only a patch of     brown1    
variously darkened and veined2 and so   
on3 and the whole art     of ,painting  
consists merely in perceiving the shape 
and depth of     these patches of color1

 and putting patches of the same size1  
depth1     and shape on canvas4 ,the    
only obstacle to the success of painting
     is1 that many of the real colors   
are brighter and paler than it is       
possible to put on canvas3 we must put  
darker ones to represent     them4    #b
 ,stale crumb of bread is better1 if you
 are making a delicate     drawing1 than
 india-rubber1 for it disturbs the      
surface of the paper     less3 but it   
crumbles about the room and makes a     
mess2 and1 besides1     you waste the   
good bread1 which is wrong2 and your    
drawing will not     for a long while be
 worth the crumbs4 ,so use india-rubber 
very     lightly2 or1 if heavily1       
pressing it only1 not passing it over   
the     paper1 and leave what pencil    
marks will not come away so1 without    
minding them4 ,in a finished drawing the
 uneffaced penciling is often           
serviceable1 helping the general tone1  
and enabling you to take out     little 
bright lights4    #c ,what is usually so

 much sought after under the term       
freedom is     the character of the     
drawing of a great master in a hurry1   
whose     hand is so thoroughly         
disciplined1 that when pressed for time 
he can     let it fly as it will1 and it
 will not go far wrong4 ,but the hand of
     a great master at real work is     
never free3 its swiftest dash is        
under perfect government4 ,paul         
,veronese or ,tintoret could pause      
within a hair's breadth of any appointed
 mark1 in their fastest     touches2 and
 follow1 within a hair's breadth1 the   
previously     intended curve4 ,you must
 never1 therefore1 aim at freedom4 ,it  
is not     required of your drawing that
 it should be free1 but that it should  
be right2 in time you will be able to do
 right easily1 and then your     work   
will be free in the best sense2 but     
there is no merit in doing     wrong    
easily4      ,these remarks1 however1 do
 not apply to the lines used in shading1
     which1 it will be remembered1 are  

to be made as quickly as possible4      
,the reason of this is1 that the quicker
 a line is drawn1 the lighter     it is 
at the ends1 and therefore the more     
easily joined with other     lines1 and 
concealed by them2 the object in perfect
 shading being to     conceal the lines 
as much as possible4      ,and observe1 
in this exercise1 the object is more to 
get firmness of     hand than accuracy  
of eye for outline2 for there are no    
outlines in     ,nature1 and the        
ordinary student is sure to draw them   
falsely if he     draws them at all4 ,do
 not1 therefore1 be discouraged if you  
find     mistakes continue to occur in  
your outlines2 be content at present    
if you find your hand gaining command   
over the curves4    #d ,if you can get  
any pieces of dead white porcelain1 not 
glazed1     they will be useful models4 
#e ,artists who glance at this book may 
be surprised at this     permission4 ,my
 chief reason is1 that ,i think it more 
necessary that     the pupil's eye      

should be trained to accurate perception
 of the     relations of curve and right
 lines1 by having the latter absolutely 
true1 than that he should practice      
drawing straight lines4 ,but also1      
,i believe1 though ,i am not quite sure 
of this1 that he never ought     to be  
able to draw a straight line4 ,i do not 
believe a perfectly     trained hand    
ever can draw a line without some       
curvature in it1 or     some variety of 
direction4 ,prout could draw a straight 
line1 but ,i     do not believe ,raphael
 could1 nor ,tintoret4 ,a great         
draughtsman can1     as far as ,i have  
observed1 draw every line but a straight
 one4    #f ,or1 if you feel able to do 
so1 scratch them in with confused       
quick touches1 indicating the general   
shape of the cloud or mist of     twigs 
round the main branches2 but do not take
 much trouble about     them4    #g ,it 
is more difficult1 at first1 to get1 in 
color1 a narrow     gradation than an   
extended one2 but the ultimate          

difficulty is1 as     with the pen1 to  
make the gradation go far4    #h ,of    
course1 all the columns of color are to 
be of equal length4    #i ,the degree of
 darkness you can reach with the given  
color is     always indicated by the    
color of the solid cake in the box4     
#aj ,the figure a1 ,fig4 #e1 is very    
dark1 but this is to give an     example
 of all kinds of depths of tint1 without
 repeated figures4    #aa ,nearly       
neutral in ordinary circumstances1 but  
yet with quite     different tones in   
its neutrality1 according to the colors 
of the     various reflected rays that  
compose it4    #ab ,if we had any       
business with the reasons of this1 ,i   
might     perhaps be able to show you   
some metaphysical ones for the          
enjoyment1 by truly artistical minds1 of
 the changes wrought by     light and   
shade and perspective in patterned      
surfaces2 but this is     at present not
 to the point2 and all that you need to 
know is that     the drawing of such    

things is good exercise1 and moreover a 
kind of     exercise which ,titian1     
,veronese1 ,tintoret1 ,giorgione1 and   
,turner1     all enjoyed1 and strove to 
excel in4    #ac ,the use of acquiring  
this habit of execution is that you may 
be     able1 when you begin to color1 to
 let one hue be seen in minute          
portions1 gleaming between the touches  
of another4    #ad ,william ,hunt1 of   
the ,old ,water-color ,society4    #ae  
,at ,marlborough ,house1 in #aheg among 
the four principal     examples of      
,turner's later water-color drawing1    
perhaps the most     neglected was that 
of fishing-boats and fish at sunset4 ,it
 is one of     his most wonderful works1
 though unfinished4 ,if you examine the 
larger white fishing-boat sail1 you will
 find it has a little spark     of pure 
white in its right-hand upper corner1   
about as large as a     minute pin's    
head1 and that all the surface of the   
sail is gradated     to that focus4 ,try
 to copy this sail once or twice1 and   

you will     begin to understand        
,turner's work4 ,similarly1 the wing of 
the ,cupid     in ,correggio's large    
picture in the ,national ,gallery is    
focused to     two little grains of     
white at the top of it4 ,the points of  
light on     the white flower in the    
wreath round the head of the dancing    
child-faun1 in ,titian's ,bacchus and   
,ariadne1 exemplify the same     thing4 
#af ,i shall not henceforward number the
 exercises recommended2 as     they are 
distinguished only by increasing        
difficulty of subject1 not     by       
difference of method4    #ag ,if you    
understand the principle of the         
stereoscope you will     know why2 if   
not1 it does not matter2 trust me for   
the truth of the     statement1 as ,i   
cannot explain the principle without    
diagrams and     much loss of time4     
,see1 however1 ,note #a1 in ,appendix   
,i4    #ah ,the plates marked with a    
star are peculiarly desirable4 ,see     
note at the end of ,appendix ,i4 ,the   

letters mean as follows3--      a stands
 for architecture1 including distant    
grouping of towns1          cottages1   
etc4     c clouds1 including mist and   
arial effects4     f foliage4     g     
ground1 including low hills1 when not   
rocky4     l effects of light4     m    
mountains1 or bold rocky ground4     p  
power of general arrangement and effect4
     q quiet water4     r running or    
rough water2 or rivers1 even if calm1   
when their          line of flow is     
beautifully marked4      ,from the      
,england ,series4      a c f r4         
,arundel4                   a f p4      
,lancaster4       a f l4 ,ashby de la   
,zouche4      c l m r4 ,lancaster       
,sands499     a l q r4 ,barnard         
,castle499           a g f4             
,launceston499       f m r4 ,bolton     
,abbey4            c f l r4 ,leicester  
,abbey4       f g r4 ,buckfastleigh499  
f r4 ,ludlow4       a l p4 ,caernarvon4 
a f l4 ,margate4       c l q4 ,castle   
,upnor4              a l q4 ,orford4    

a f l4 ,colchester4                  c  
p4 ,plymouth4         l q4 ,cowes4      
f4 ,powis ,castle4       c f p4         
,dartmouth ,cove499           l m q4    
,prudhoe ,castle4       c l q4 ,flint   
,castle499           f l m r4 ,chain    
,bridge over     a f g l4               
,knaresborough499                       
,tees499         m r4 ,high ,force of   
,tees499         m q4 ,ulleswater4      
a f q4 ,trematon4                    f  
m4 ,valle ,crucis4      ,from the       
,keepsake4        m p q4 ,arona4        
p4 ,st4 ,germain en ,laye4         l m4 
,drachenfels499              l p q4     
,florence4         f l4 ,marly499       
l m4 ,ballyburgh ,ness499      ,from the
 ,bible ,series4          f m4 ,mount   
,lebanon4             a c g4 ,joppa4    
m4 ,rock of ,moses at         c l p q4  
,solomon's ,pools499                    
,sinai4                      a l4 ,santa
 ,saba4       a l m4 ,jericho4          
a l4 ,pool of ,bethesda4      ,from     
,scott's ,works4          p r4          

,melrose499                    c m4     
,glencoe4         f r4 ,dryburgh499     
c m4 ,loch ,coriskin499           a l4  
,caerlaverock4      ,from the ,rivers of
 ,france4          a q4 ,chteau of      
,amboise1 with     a p4 ,rouen          
,cathedral4                 large bridge
 on right4      f p4 ,pont de l',arche4 
l p r4 ,rouen1 looking down the    f l  
p4 ,view on the ,seine1                 
river1 poplars on right499              
with avenue4       a l p4 ,rouen1 with  
cathedral      a c p4 ,bridge of        
,meulan4                 and rainbow1   
avenue     c g p r4 ,caudebec499        
on left4    #ai ,as well2--not as       
minutely3 the diamond cuts finer lines  
on     the steel than you can draw on   
paper with your pen2 but you must be    
able to get tones as even1 and touches  
as firm4    #bj ,see1 for account of    
these plates1 the ,appendix on ,works to
 be     studied4    #ba ,see ,note #b in
 ,appendix ,i4    #bb ,this sketch is   
not of a tree standing on its head1     

though it     looks like it4 ,you will  
find it explained presently4            
,,letter ,,ii4  ,,sketching ,,from      
,,nature4   #ajb4 ,,my ,,dear           
,,reader1--,the work we have already    
gone through together has1 ,i hope1     
enabled you to draw with fair success   
either rounded and simple masses1 like  
stones1 or complicated arrangements of  
form1 like those of leaves2 provided    
only these masses or complexities will  
stay quiet for you to copy1 and do not  
extend into quantity so great as to     
baffle your patience4 ,but if we are now
 to go out to the fields1 and to draw   
anything like a complete landscape1     
neither of these conditions will any    
more be observed for us4 ,the clouds    
will not wait while we copy their heaps 
or clefts2 the shadows will escape from 
us as we try to shape them1 each1 in its
 stealthy minute march1 still leaving   
light where its tremulous edge had      
rested the moment before1 and involving 
in eclipse objects that had seemed safe 

from its influence2 and instead of the  
small clusters of leaves which we could 
reckon point by point1 embarrassing     
enough even though numerable1 we have   
now leaves as little to be counted as   
the sands of the sea1 and restless1     
perhaps1 as its foam4  #ajc4 ,in all    
that we have to do now1 therefore1      
direct imitation becomes more or less   
impossible4 ,it is always to be aimed at
 so far as it is possible2 and when you 
have time and opportunity1 some portions
 of a landscape may1 as you gain greater
 skill1 be rendered with an             
approximation almost to mirrored        
portraiture4 ,still1 whatever skill you 
may reach1 there will always be need of 
judgment to choose1 and of speed to     
seize1 certain things that are principal
 or fugitive2 and you must give more and
 more effort daily to the observance of 
characteristic points1 and the          
attainment of concise methods4  #ajd4 ,i
 have directed your attention early to  
foliage for two reasons4 ,first1 that it

 is always accessible as a study2 and   
secondly1 that its modes of growth      
present simple examples of the          
importance of leading or governing      
lines4 ,it is by seizing these leading  
lines1 when we cannot seize all1 that   
likeness and expression are given to a  
portrait1 and grace and a kind of vital 
truth to the rendering of every natural 
form4 ,i call it vital truth1 because   
these chief lines are always expressive 
of the past history and present action  
of the thing4 ,they show in a mountain1 
first1 how it was built or heaped up2   
and secondly1 how it is now being worn  
away1 and from what quarter the wildest 
storms strike it4 ,in a tree1 they show 
what kind of fortune it has had to      
endure from its childhood3 how          
troublesome trees have come in its way1 
and pushed it aside1 and tried to       
strangle or starve it2 where and when   
kind trees have sheltered it1 and grown 
up lovingly together with it1 bending as
 it bent2 what winds torment it most2   

what boughs of it behave best1 and bear 
most fruit2 and so on4 ,in a wave or    
cloud1 these leading lines show the run 
of the tide and of the wind1 and the    
sort of change which the water or vapor 
is at any moment enduring in its form1  
as it meets shore1 or counter-wave1 or  
melting sunshine4 ,now remember1 nothing
 distinguishes great men from inferior  
men more than their always1 whether in  
life or in art1 knowing the way things  
are going4 ,your dunce thinks they are  
standing still1 and draws them all      
fixed2 your wise man sees the change or 
changing in them1 and draws them        
so1--the animal in its motion1 the tree 
in its growth1 the cloud in its course1 
the mountain in its wearing away4 ,try  
always1 whenever you look at a form1 to 
see the lines in it which have had power
 over its past fate and will have power 
over its futurity4 ,those are its awful 
lines2 see that you seize on those1     
whatever else you miss4 ,thus1 the      
leafage in ,fig4 #af 7p4 #fc7 grew round

 the root of a stone pine1 on the brow  
of a crag at ,sestri near ,genoa1 and   
all the sprays of it are thrust away in 
their first budding by the great rude   
root1 and spring out in every direction 
round it1 as water splashes when a heavy
 stone is thrown into it4 ,then1 when   
they have got clear of the root1 they   
begin to bend up again2 some of them1   
being little stone pines themselves1    
have a great notion of growing upright1 
if they can2 and this struggle of theirs
 to recover their straight road towards 
the sky1 after being obliged to grow    
sideways in their early years1 is the   
effort that will mainly influence their 
future destiny1 and determine if they   
are to be crabbed1 forky pines1 striking
 from that rock of ,sestri1 whose clefts
 nourish them1 with bared red lightning 
of angry arms towards the sea2 or if    
they are to be goodly and solemn pines1 
with trunks like pillars of temples1 and
 the purple burning of their branches   
sheathed in deep globes of cloudy green4

 ,those1 then1 are their fateful lines2 
see that you give that spring and       
resilience1 whatever you leave ungiven3 
depend upon it1 their chief beauty is in
 these4  ,illustration3 ,,fig4 #ag4     
#aje4 ,so in trees in general1 and      
bushes1 large or small1 you will notice 
that1 though the boughs spring          
irregularly and at various angles1 there
 is a tendency in all to stoop less and 
less as they near the top of the tree4  
,this structure1 typified in the        
simplest possible terms at c1 ,fig4 #ag1
 is common to all trees that ,i know of1
 and it gives them a certain plumy      
character1 and aspect of unity in the   
hearts of their branches which are      
essential to their beauty4 ,the stem    
does not merely send off a wild branch  
here and there to take its own way1 but 
all the branches share in one great     
fountain-like impulse2 each has a curve 
and a path to take1 which fills a       
definite place1 and each terminates all 
its minor branches at its outer         

extremity1 so as to form a greater outer
 curve1 whose character and proportion  
are peculiar for each species4 ,that is 
to say1 the general type or idea of a   
tree is not as a1 ,fig4 #ag1 but as b1  
in which1 observe1 the boughs all carry 
their minor divisions right out to the  
bounding curve2 not but that smaller    
branches1 by thousands1 terminate in the
 heart of the tree1 but the idea and    
main purpose in every branch are to     
carry all its child branches well out to
 the air and light1 and let each of     
them1 however small1 take its part in   
filling the united flow of the bounding 
curve1 so that the type of each separate
 bough is again not a1 but b1 ,fig4 #ah2
 approximating1 that is to say1 so far  
to the structure of a plant of broccoli 
as to throw the great mass of spray and 
leafage out to a rounded surface4       
,therefore beware of getting into a     
careless habit of drawing boughs with   
successive sweeps of the pen or brush1  
one hanging to the other1 as in ,fig4   

#ai4 ,if you look at the tree-boughs in 
any painting of ,wilson's you will see  
this structure1 and nearly every other  
that is to be avoided1 in their         
intensest types4 ,you will also notice  
that ,wilson never conceives a tree as a
 round mass1 but flat1 as if it had been
 pressed and dried4 ,most people in     
drawing pines seem to fancy1 in the same
 way1 that the boughs come out only on  
two sides of the trunk1 instead of all  
round it3 always1 therefore1 take more  
pains in trying to draw the boughs of   
trees that grow towards you than those  
that go off to the sides2 anybody can   
draw the latter1 but the foreshortened  
ones are not so easy4 ,it will help you 
in drawing them to observe that in most 
trees the ramification of each branch1  
though not of the tree itself1 is more  
or less flattened1 and approximates1 in 
its position1 to the look of a hand held
 out to receive something1 or shelter   
something4 ,if you take a looking-glass1
 and hold your hand before it slightly  

hollowed1 with the palm upwards1 and the
 fingers open1 as if you were going to  
support the base of some great bowl1    
larger than you could easily hold2 and  
sketch your hand as you see it in the   
glass with the points of the fingers    
towards you2 it will materially help you
 in understanding the way trees         
generally hold out their hands3 and if  
then you will turn yours with its palm  
downwards1 as if you were going to try  
to hide something1 but with the fingers 
expanded1 you will get a good type of   
the action of the lower boughs in cedars
 and such other spreading trees4        
,illustration3 ,,fig4 #ah4              
,illustration3 ,,fig4 #ai4  #ajf4 ,fig4 
#bj will give you a good idea of the    
simplest way in which these and other   
such facts can be rapidly expressed2 if 
you copy it carefully1 you will be      
surprised to find how the touches all   
group together1 in expressing the plumy 
toss of the tree branches1 and the      
springing of the bushes out of the bank1

 and the undulation of the ground3 note 
the careful drawing of the footsteps    
made by the climbers of the little mound
 on the left4#bc ,it is facsimild from  
an etching of ,turner's1 and is as good 
an example as you can have of the use of
 pure and firm lines2 it will also show 
you how the particular action in        
foliage1 or anything else to which you  
wish to direct attention1 may be        
intensified by the adjuncts4 ,the tall  
and upright trees are made to look more 
tall and upright still1 because their   
line is continued below by the figure of
 the farmer with his stick2 and the     
rounded bushes on the bank are made to  
look more rounded because their line is 
continued in one broad sweep by the     
black dog and the boy climbing the wall4
 ,these figures are placed entirely with
 this object1 as we shall see more fully
 hereafter when we come to talk about   
composition2 but1 if you please1 we will
 not talk about that yet awhile4 ,what  
,i have been telling you about the      

beautiful lines and action of foliage   
has nothing to do with composition1 but 
only with fact1 and the brief and       
expressive representation of fact4 ,but 
there will be no harm in your looking   
forward1 if you like to do so1 to the   
account1 in ,letter ,,iii4 of the ,law  
of ,radiation1 and reading what is said 
there about tree growth3 indeed it would
 in some respects have been better to   
have said it here than there1 only it   
would have broken up the account of the 
principles of composition somewhat      
awkwardly4  ,illustration3 ,,fig4 #bj4  
#ajg4 ,now1 although the lines          
indicative of action are not always     
quite so manifest in other things as in 
trees1 a little attention will soon     
enable you to see that there are such   
lines in everything4 ,in an old house   
roof1 a bad observer and bad draughtsman
 will only see and draw the spotty      
irregularity of tiles or slates all     
over2 but a good draughtsman will see   
all the bends of the under timbers1     

where they are weakest and the weight is
 telling on them most1 and the tracks of
 the run of the water in time of rain1  
where it runs off fastest1 and where it 
lies long and feeds the moss2 and he    
will be careful1 however few slates he  
draws1 to mark the way they bend        
together towards those hollows 7which   
have the future fate of the roof in     
them71 and crowd gradually together at  
the top of the gable1 partly diminishing
 in perspective1 partly1 perhaps1       
diminished on purpose 7they are so in   
most ,english old houses7 by the        
slate-layer4 ,so in ground1 there is    
always the direction of the run of the  
water to be noticed1 which rounds the   
earth and cuts it into hollows2 and1    
generally1 in any bank or height worth  
drawing1 a trace of bedded or other     
internal structure besides4 ,figure #bj 
will give you some idea of the way in   
which such facts may be expressed by a  
few lines4 ,do you not feel the         
depression in the ground all down the   

hill where the footsteps are1 and how   
the people always turn to the left at   
the top1 losing breath a little1 and    
then how the water runs down in that    
other hollow towards the valley1 behind 
the roots of the trees8  #ajh4 ,now1 ,i 
want you in your first sketches from    
,nature to aim exclusively at           
understanding and representing these    
vital facts of form2 using the pen--not 
now the steel1 but the quill--firmly and
 steadily1 never scrawling with it1 but 
saying to yourself before you lay on a  
single touch1--that leaf is the main    
one1 that bough is the guiding one1 and 
this touch1 so long1 so broad1 means    
that part of it1--point or side or knot1
 as the case may be4 ,resolve always1 as
 you look at the thing1 what you will   
take1 and what miss of it1 and never let
 your hand run away with you1 or get    
into any habit or method of touch4 ,if  
you want a continuous line1 your hand   
should pass calmly from one end of it to
 the other without a tremor2 if you want

 a shaking and broken line1 your hand   
should shake1 or break off1 as easily as
 a musician's finger shakes or stops on 
a note3 only remember this1 that there  
is no general way of doing any thing2 no
 recipe can be given you for so much as 
the drawing of a cluster of grass4 ,the 
grass may be ragged and stiff1 or tender
 and flowing2 sunburnt and sheep-bitten1
 or rank and languid2 fresh or dry2     
lustrous or dull3 look at it1 and try to
 draw it as it is1 and don't think how  
somebody told you to do grass4 ,so a    
stone may be round or angular1 polished 
or rough1 cracked all over like an      
ill-glazed teacup1 or as united and     
broad as the breast of ,hercules4 ,it   
may be as flaky as a wafer1 as powdery  
as a field puff-ball2 it may be knotted 
like a ship's hawser1 or kneaded like   
hammered iron1 or knit like a ,damascus 
saber1 or fused like a glass bottle1 or 
crystallized like hoar-frost1 or veined 
like a forest leaf3 look at it1 and     
don't try to remember how anybody told  

you to do a stone4  #aji4 ,as soon as   
you find that your hand obeys you       
thoroughly1 and that you can render any 
form with a firmness and truth          
approaching that of ,turner's or ,drer's
 work1#bd you must add a simple but     
equally careful light and shade to your 
pen drawing1 so as to make each study as
 complete as possible2 for which you    
must prepare yourself thus4 ,get1 if you
 have the means1 a good impression of   
one plate of ,turner's ,liber           
,studiorum2 if possible1 one of the     
subjects named in the note below4#be ,if
 you cannot obtain1 or even borrow for a
 little while1 any of these engravings1 
you must use a photograph instead 7how1 
,i will tell you presently72 but1 if you
 can get the ,turner1 it will be best4  
,you will see that it is composed of a  
firm etching in line1 with mezzotint    
shadow laid over it4 ,you must first    
copy the etched part of it accurately2  
to which end put the print against the  
window1 and trace slowly with the       

greatest care every black line2 retrace 
this on smooth drawing-paper2 and1      
finally1 go over the whole with your    
pen1 looking at the original plate      
always1 so that if you err at all1 it   
may be on the right side1 not making a  
line which is too curved or too straight
 already in the tracing1 more curved or 
more straight1 as you go over it4 ,and  
in doing this1 never work after you are 
tired1 nor to get the thing done1 for if
 it is badly done1 it will be of no use 
to you4 ,the true zeal and patience of a
 quarter of an hour are better than the 
sulky and inattentive labor of a whole  
day4 ,if you have not made the touches  
right at the first going over with the  
pen1 retouch them delicately1 with      
little ink in your pen1 thickening or   
reinforcing them as they need3 you      
cannot give too much care to the        
facsimile4 ,then keep this etched       
outline by you in order to study at your
 ease the way in which ,turner uses his 
line as preparatory for the subsequent  

shadow2#bf it is only in getting the two
 separate that you will be able to      
reason on this4 ,next1 copy once more1  
though for the fourth time1 any part of 
this etching which you like1 and put on 
the light and shade with the brush1 and 
any brown color that matches that of the
 plate2#bg working it with the point of 
the brush as delicately as if you were  
drawing with pencil1 and dotting and    
cross-hatching as lightly as you can    
touch the paper1 till you get the       
gradations of ,turner's engraving4      
#aaj4 ,in this exercise1 as in the      
former one1 a quarter of an inch worked 
to close resemblance of the copy is     
worth more than the whole subject       
carelessly done4 ,not that in drawing   
afterwards from ,nature you are to be   
obliged to finish every gradation in    
this way1 but that1 once having fully   
accomplished the drawing something      
rightly1 you will thenceforward feel and
 aim at a higher perfection than you    
could otherwise have conceived1 and the 

brush will obey you1 and bring out      
quickly and clearly the loveliest       
results1 with a submissiveness which it 
would have wholly refused if you had not
 put it to severest work4 ,nothing is   
more strange in art than the way that   
chance and materials seem to favor you1 
when once you have thoroughly conquered 
them4 ,make yourself quite independent  
of chance1 get your result in spite of  
it1 and from that day forward all things
 will somehow fall as you would have    
them4 ,show the camel's hair1 and the   
color in it1 that no bending nor        
blotting is of any use to escape your   
will2 that the touch and the shade shall
 finally be right1 if it costs you a    
year's toil2 and from that hour of      
corrective conviction1 said camel's hair
 will bend itself to all your wishes1   
and no blot will dare to transgress its 
appointed border4 ,if you cannot obtain 
a print from the ,liber ,studiorum1 get 
a photograph#bh of some general         
landscape subject1 with high hills and a

 village or picturesque town1 in the    
middle distance1 and some calm water of 
varied character 7a stream with stones  
in it1 if possible71 and copy any part  
of it you like1 in this same brown      
color1 working1 as ,i have just directed
 you to do from the ,liber1 a great deal
 with the point of the brush4 ,you are  
under a twofold disadvantage here1      
however2 first1 there are portions in   
every photograph too delicately done for
 you at present to be at all able to    
copy2 and1 secondly1 there are portions 
always more obscure or dark than there  
would be in the real scene1 and involved
 in a mystery which you will not be     
able1 as yet1 to decipher4 ,both these  
characters will be advantageous to you  
for future study1 after you have gained 
experience1 but they are a little       
against you in early attempts at        
tinting2 still you must fight through   
the difficulty1 and get the power of    
producing delicate gradations with brown
 or gray1 like those of the photograph4 

#aaa4 ,now observe2 the perfection of   
work would be tinted shadow1 like       
photography1 without any obscurity or   
exaggerated darkness2 and as long as    
your effect depends in anywise on       
visible lines1 your art is not perfect1 
though it may be first-rate of its kind4
 ,but to get complete results in tints  
merely1 requires both long time and     
consummate skill2 and you will find that
 a few well-put pen lines1 with a tint  
dashed over or under them1 get more     
expression of facts than you could reach
 in any other way1 by the same          
expenditure of time4 ,the use of the    
,liber ,studiorum print to you is       
chiefly as an example of the simplest   
shorthand of this kind1 a shorthand     
which is yet capable of dealing with the
 most subtle natural effects2 for the   
firm etching gets at the expression of  
complicated details1 as leaves1 masonry1
 textures of ground1 etc41 while the    
overlaid tint enables you to express the
 most tender distances of sky1 and forms

 of playing light1 mist1 or cloud4 ,most
 of the best drawings by the old masters
 are executed on this principle1 the    
touches of the pen being useful also to 
give a look of transparency to shadows1 
which could not otherwise be attained   
but by great finish of tinting2 and if  
you have access to any ordinarily good  
public gallery1 or can make friends of  
any printsellers who have folios either 
of old drawings1 or facsimiles of them1 
you will not be at a loss to find some  
example of this unity of pen with       
tinting4 ,multitudes of photographs also
 are now taken from the best drawings by
 the old masters1 and ,i hope that our  
,mechanics' ,institutes and other       
societies organized with a view to      
public instruction1 will not fail to    
possess themselves of examples of these1
 and to make them accessible to students
 of drawing in the vicinity2 a single   
print from ,turner's ,liber1 to show the
 unison of tint with pen etching1 and   
the ,st4 ,catherine1 photographed by    

,thurston ,thompson from ,raphael's     
drawing in the ,louvre1 to show the     
unity of the soft tinting of the stump  
with chalk1 would be all that is        
necessary1 and would1 ,i believe1 be in 
many cases more serviceable than a      
larger collection1 and certainly than a 
whole gallery of second-rate prints4    
,two such examples are peculiarly       
desirable1 because all other modes of   
drawing1 with pen separately1 or chalk  
separately1 or color separately1 may be 
seen by the poorest student in any cheap
 illustrated book1 or in shop windows4  
,but this unity of tinting with line he 
cannot generally see but by some special
 inquiry1 and in some out of the way    
places he could not find a single       
example of it4 ,supposing that this     
should be so in your own case1 and that 
you cannot meet with any example of this
 kind1 try to make the matter out alone1
 thus3  #aab4 ,take a small and simple  
photograph2 allow yourself half an hour 
to express its subjects with the pen    

only1 using some permanent liquid color 
instead of ink1 outlining its buildings 
or trees firmly1 and laying in the      
deeper shadows1 as you have been        
accustomed to do in your bolder pen     
drawings2 then1 when this etching is    
dry1 take your sepia or gray1 and tint  
it over1 getting now the finer          
gradations of the photograph2 and1      
finally taking out the higher lights    
with penknife or blotting paper4 ,you   
will soon find what can be done in this 
way2 and by a series of experiments you 
may ascertain for yourself how far the  
pen may be made serviceable to reinforce
 shadows1 mark characters of texture1   
outline unintelligible masses1 and so   
on4 ,the more time you have1 the more   
delicate you may make the pen drawing1  
blending it with the tint2 the less you 
have1 the more distinct you must keep   
the two4 ,practice in this way from one 
photograph1 allowing yourself sometimes 
only a quarter of an hour for the whole 
thing1 sometimes an hour1 sometimes two 

or three hours2 in each case drawing the
 whole subject in full depth of light   
and shade1 but with such degree of      
finish in the parts as is possible in   
the given time4 ,and this exercise1     
observe1 you will do well to repeat     
frequently1 whether you can get prints  
and drawings as well as photographs1 or 
not4  #aac4 ,and now at last1 when you  
can copy a piece of ,liber ,studiorum1  
or its photographic substitute1         
faithfully1 you have the complete means 
in your power of working from ,nature on
 all subjects that interest you1 which  
you should do in four different ways4   
,first4 ,when you have full time1 and   
your subject is one that will stay quiet
 for you1 make perfect light and shade  
studies1 or as nearly perfect as you    
can1 with gray or brown color of any    
kind1 reinforced and defined with the   
pen4  #aad4 ,secondly4 ,when your time  
is short1 or the subject is so rich in  
detail that you feel you cannot complete
 it intelligibly in light and shade1    

make a hasty study of the effect1 and   
give the rest of the time to a          
,dreresque expression of the details4   
,if the subject seems to you            
interesting1 and there are points about 
it which you cannot understand1 try to  
get five spare minutes to go close up to
 it1 and make a nearer memorandum2 not  
that you are ever to bring the details  
of this nearer sketch into the farther  
one1 but that you may thus perfect your 
experience of the aspect of things1 and 
know that such and such a look of a     
tower or cottage at five hundred yards  
off means that sort of tower or cottage 
near2 while1 also1 this nearer sketch   
will be useful to prevent any future    
misinterpretation of your own work4 ,if 
you have time1 however far your light   
and shade study in the distance may have
 been carried1 it is always well1 for   
these reasons1 to make also your        
,dreresque and your near memoranda2 for 
if your light and shade drawing be good1
 much of the interesting detail must be 

lost in it1 or disguised4  #aae4 ,your  
hasty study of effect may be made most  
easily and quickly with a soft pencil1  
dashed over when done with one tolerably
 deep tone of gray1 which will fix the  
pencil4 ,while this fixing color is wet1
 take out the higher lights with the dry
 brush2 and1 when it is quite dry1      
scratch out the highest lights with the 
penknife4 ,five minutes1 carefully      
applied1 will do much by these means4   
,of course the paper is to be white4 ,i 
do not like studies on gray paper so    
well2 for you can get more gradation by 
the taking off your wet tint1 and laying
 it on cunningly a little darker here   
and there1 than you can with body-color 
white1 unless you are consummately      
skillful4 ,there is no objection to your
 making your ,dreresque memoranda on    
gray or yellow paper1 and touching or   
relieving them with white2 only1 do not 
depend much on your white touches1 nor  
make the sketch for their sake4  #aaf4  
,thirdly4 ,when you have neither time   

for careful study nor for ,dreresque    
detail1 sketch the outline with pencil1 
then dash in the shadows with the brush 
boldly1 trying to do as much as you     
possibly can at once1 and to get a habit
 of expedition and decision2 laying more
 color again and again into the tints as
 they dry1 using every expedient which  
your practice has suggested to you of   
carrying out your chiaroscuro in the    
manageable and moist material1 taking   
the color off here with the dry brush1  
scratching out lights in it there with  
the wooden handle of the brush1 rubbing 
it in with your fingers1 drying it off  
with your sponge1 etc4 ,then1 when the  
color is in1 take your pen and mark the 
outline characters vigorously1 in the   
manner of the ,liber ,studiorum4 ,this  
kind of study is very convenient for    
carrying away pieces of effect which    
depend not so much on refinement as on  
complexity1 strange shapes of involved  
shadows1 sudden effects of sky1 etc42   
and it is most useful as a safeguard    

against any too servile or slow habits  
which the minute copying may induce in  
you2 for although the endeavor to obtain
 velocity merely for velocity's sake1   
and dash for display's sake1 is as      
baneful as it is despicable2 there are a
 velocity and a dash which not only are 
compatible with perfect drawing1 but    
obtain certain results which cannot be  
had otherwise4 ,and it is perfectly safe
 for you to study occasionally for speed
 and decision1 while your continual     
course of practice is such as to insure 
your retaining an accurate judgment and 
a tender touch4 ,speed1 under such      
circumstances1 is rather fatiguing than 
tempting2 and you will find yourself    
always beguiled rather into elaboration 
than negligence4  ,illustration3 ,,fig4 
#ba4  #aag4 ,fourthly4 ,you will find it
 of great use1 whatever kind of         
landscape scenery you are passing       
through1 to get into the habit of making
 memoranda of the shapes of shadows4    
,you will find that many objects of no  

essential interest in themselves1 and   
neither deserving a finished study1 nor 
a ,dreresque one1 may yet become of     
singular value in consequence of the    
fantastic shapes of their shadows2 for  
it happens often1 in distant effect1    
that the shadow is by much a more       
important element than the substance4   
,thus1 in the ,alpine bridge1 ,fig4 #ba1
 seen within a few yards of it1 as in   
the figure1 the arrangement of timbers  
to which the shadows are owing is       
perceptible2 but at half a mile's       
distance1 in bright sunlight1 the       
timbers would not be seen2 and a good   
painter's expression of the bridge would
 be merely the large spot1 and the      
crossed bars1 of pure gray2 wholly      
without indication of their cause1 as in
 ,fig4 #bb a2 and if we saw it at still 
greater distances1 it would appear1 as  
in ,fig4 #bb b and c1 diminishing at    
last to a strange1 unintelligible1      
spider-like spot of gray on the light   
hill-side4 ,a perfectly great painter1  

throughout his distances1 continually   
reduces his objects to these shadow     
abstracts2 and the singular1 and to many
 persons unaccountable1 effect of the   
confused touches in ,turner's distances1
 is owing chiefly to this thorough      
accuracy and intense meaning of the     
shadow abstracts4  ,illustration3 ,,fig4
 #bb4  #aah4 ,studies of this kind are  
easily made1 when you are in haste1 with
 an ,f4 or ,,hb4 pencil3 it requires    
some hardness of the point to insure    
your drawing delicately enough when the 
forms of the shadows are very subtle2   
they are sure to be so somewhere1 and   
are generally so everywhere4 ,the pencil
 is indeed a very precious instrument   
after you are master of the pen and     
brush1 for the pencil1 cunningly used1  
is both1 and will draw a line with the  
precision of the one and the gradation  
of the other2 nevertheless1 it is so    
unsatisfactory to see the sharp touches1
 on which the best of the detail        
depends1 getting gradually deadened by  

time1 or to find the places where force 
was wanted look shiny1 and like a       
fire-grate1 that ,i should recommend    
rather the steady use of the pen1 or    
brush1 and color1 whenever time admits  
of it2 keeping only a small             
memorandum-book in the breast-pocket1   
with its well-cut1 sheathed pencil1     
ready for notes on passing              
opportunities3 but never being without  
this4  #aai4 ,thus much1 then1          
respecting the manner in which you are  
at first to draw from ,nature4 ,but it  
may perhaps be serviceable to you1 if ,i
 also note one or two points respecting 
your choice of subjects for study1 and  
the best special methods of treating    
some of them2 for one of by no means the
 least difficulties which you have at   
first to encounter is a peculiar        
instinct1 common1 as far as ,i have     
noticed1 to all beginners1 to fix on    
exactly the most unmanageable feature in
 the given scene4 ,there are many things
 in every landscape which can be drawn1 

if at all1 only by the most accomplished
 artists2 and ,i have noticed that it is
 nearly always these which a beginner   
will dash at2 or1 if not these1 it will 
be something which1 though pleasing to  
him in itself1 is unfit for a picture1  
and in which1 when he has drawn it1 he  
will have little pleasure4 ,as some     
slight protection against this evil     
genius of beginners1 the following      
general warnings may be useful3  #abj4  
7#a47 ,do not draw things that you love1
 on account of their associations2 or at
 least do not draw them because you love
 them2 but merely when you cannot get   
anything else to draw4 ,if you try to   
draw places that you love1 you are sure 
to be always entangled amongst neat     
brick walls1 iron railings1 gravel      
walks1 greenhouses1 and quickset hedges2
 besides that you will be continually   
led into some endeavor to make your     
drawing pretty1 or complete1 which will 
be fatal to your progress4 ,you need    
never hope to get on1 if you are the    

least anxious that the drawing you are  
actually at work upon should look nice  
when it is done4 ,all you have to care  
about is to make it right1 and to learn 
as much in doing it as possible4 ,so    
then1 though when you are sitting in    
your friend's parlor1 or in your own1   
and have nothing else to do1 you may    
draw anything that is there1 for        
practice2 even the fire-irons or the    
pattern on the carpet3 be sure that it  
is for practice1 and not because it is a
 beloved carpet1 or a friendly poker and
 tongs1 nor because you wish to please  
your friend by drawing her room4  #aba4 
,also1 never make presents of your      
drawings4 ,of course ,i am addressing   
you as a beginner--a time may come when 
your work will be precious to everybody2
 but be resolute not to give it away    
till you know that it is worth something
 7as soon as it is worth anything you   
will know that it is so74 ,if any one   
asks you for a present of a drawing1    
send them a couple of cakes of color and

 a piece of ,bristol board3 those       
materials are1 for the present1 of more 
value in that form than if you had      
spread the one over the other4  ,the    
main reason for this rule is1 however1  
that its observance will much protect   
you from the great danger of trying to  
make your drawings pretty4  #abb4 7#b47 
,never1 by choice1 draw anything        
polished2 especially if complicated in  
form4 ,avoid all brass rods and curtain 
ornaments1 chandeliers1 plate1 glass1   
and fine steel4 ,a shining knob of a    
piece of furniture does not matter if it
 comes in your way2 but do not fret     
yourself if it will not look right1 and 
choose only things that do not shine4   
7#c47 ,avoid all very neat things4 ,they
 are exceedingly difficult to draw1 and 
very ugly when drawn4 ,choose rough1    
worn1 and clumsy-looking things as much 
as possible2 for instance1 you cannot   
have a more difficult or profitless     
study than a newly painted ,thames      
wherry1 nor a better study than an old  

empty coal-barge1 lying ashore at low   
tide3 in general1 everything that you   
think very ugly will be good for you to 
draw4  7#d47 ,avoid1 as much as         
possible1 studies in which one thing is 
seen through another4 ,you will         
constantly find a thin tree standing    
before your chosen cottage1 or between  
you and the turn of the river2 its near 
branches all entangled with the         
distance4 ,it is intensely difficult to 
represent this2 and though1 when the    
tree is there1 you must not imaginarily 
cut it down1 but do it as well as you   
can1 yet always look for subjects that  
fall into definite masses1 not into     
network2 that is1 rather for a cottage  
with a dark tree beside it1 than for one
 with a thin tree in front of it1 rather
 for a mass of wood1 soft1 blue1 and    
rounded1 than for a ragged copse1 or    
confusion of intricate stems4  7#e47    
,avoid1 as far as possible1 country     
divided by hedges4 ,perhaps nothing in  
the whole compass of landscape is so    

utterly unpicturesque and unmanageable  
as the ordinary ,english patchwork of   
field and hedge1 with trees dotted over 
it in independent spots1 gnawed straight
 at the cattle line4  ,still1 do not be 
discouraged if you find you have chosen 
ill1 and that the subject overmasters   
you4 ,it is much better that it should1 
than that you should think you had      
entirely mastered it4 ,but at first1 and
 even for some time1 you must be        
prepared for very discomfortable        
failure2 which1 nevertheless1 will not  
be without some wholesome result4  #abc4
 ,as1 however1 ,i have told you what    
most definitely to avoid1 ,i may1       
perhaps1 help you a little by saying    
what to seek4 ,in general1 all banks are
 beautiful things1 and will reward work 
better than large landscapes4 ,if you   
live in a lowland country1 you must look
 for places where the ground is broken  
to the river's edges1 with decayed      
posts1 or roots of trees2 or1 if by     
great good luck there should be such    

things within your reach1 for remnants  
of stone quays or steps1 mossy          
mill-dams1 etc4 ,nearly every other mile
 of road in chalk country will present  
beautiful bits of broken bank at its    
sides2 better in form and color than    
high chalk cliffs4 ,in woods1 one or two
 trunks1 with the flowery ground below1 
are at once the richest and easiest kind
 of study3 a not very thick trunk1 say  
nine inches or a foot in diameter1 with 
ivy running up it sparingly1 is an easy1
 and always a rewarding subject4  #abd4 
,large nests of buildings in the middle 
distance are always beautiful1 when     
drawn carefully1 provided they are not  
modern rows of pattern cottages1 or     
villas with ,ionic and ,doric porticoes4
 ,any old ,english village1 or cluster  
of farmhouses1 drawn with all its ins   
and outs1 and haystacks1 and palings1 is
 sure to be lovely2 much more a ,french 
one4 ,french landscape is generally as  
much superior to ,english as ,swiss     
landscape is to ,french2 in some        

respects1 the ,french is incomparable4  
,such scenes as that avenue on the      
,seine1 which ,i have recommended you to
 buy the engraving of1 admit no         
rivalship in their expression of        
graceful rusticity and cheerful peace1  
and in the beauty of component lines4   
,in drawing villages1 take great pains  
with the gardens2 a rustic garden is in 
every way beautiful4 ,if you have time1 
draw all the rows of cabbages1 and      
hollyhocks1 and broken fences1 and      
wandering eglantines1 and bossy roses2  
you cannot have better practice1 nor be 
kept by anything in purer thoughts4     
,make intimate friends with all the     
brooks in your neighborhood1 and study  
them ripple by ripple4  ,village        
churches in ,england are not often good 
subjects2 there is a peculiar meanness  
about most of them and awkwardness of   
line4 ,old manor-houses are often       
pretty4 ,ruins are usually1 with us1 too
 prim1 and cathedrals too orderly4 ,i do
 not think there is a single cathedral  

in ,england from which it is possible to
 obtain one subject for an impressive   
drawing4 ,there is always some          
discordant civility1 or jarring         
vergerism about them4  #abe4 ,if you    
live in a mountain or hill country1 your
 only danger is redundance of subject4  
,be resolved1 in the first place1 to    
draw a piece of rounded rock1 with its  
variegated lichens1 quite rightly1      
getting its complete roundings1 and all 
the patterns of the lichen in true local
 color4 ,till you can do this1 it is of 
no use your thinking of sketching among 
hills2 but when once you have done this1
 the forms of distant hills will be     
comparatively easy4  #abf4 ,when you    
have practiced for a little time from   
such of these subjects as may be        
accessible to you1 you will certainly   
find difficulties arising which will    
make you wish more than ever for a      
master's help3 these difficulties will  
vary according to the character of your 
own mind 7one question occurring to one 

person1 and one to another71 so that it 
is impossible to anticipate them all2   
and it would make this too large a book 
if ,i answered all that ,i can          
anticipate2 you must be content to work 
on1 in good hope that ,nature will1 in  
her own time1 interpret to you much for 
herself2 that farther experience on your
 own part will make some difficulties   
disappear2 and that others will be      
removed by the occasional observation of
 such artists' work as may come in your 
way4 ,nevertheless1 ,i will not close   
this letter without a few general       
remarks1 such as may be useful to you   
after you are somewhat advanced in      
power2 and these remarks may1 ,i think1 
be conveniently arranged under three    
heads1 having reference to the drawing  
of vegetation1 water1 and skies4  #abg4 
,and1 first1 of vegetation4 ,you may    
think1 perhaps1 we have said enough     
about trees already2 yet if you have    
done as you were bid1 and tried to draw 
them frequently enough1 and carefully   

enough1 you will be ready by this time  
to hear a little more of them4 ,you will
 also recollect that we left our        
question1 respecting the mode of        
expressing intricacy of leafage1 partly 
unsettled in the first letter4 ,i left  
it so because ,i wanted you to learn the
 real structure of leaves1 by drawing   
them for yourself1 before ,i troubled   
you with the most subtle considerations 
as to method in drawing them4 ,and by   
this time1 ,i imagine1 you must have    
found out two principal things1         
universal facts1 about leaves2 namely1  
that they always1 in the main tendencies
 of their lines1 indicate a beautiful   
divergence of growth1 according to the  
law of radiation1 already referred      
to2#bi and the second1 that this        
divergence is never formal1 but carried 
out with endless variety of individual  
line4 ,i must now press both these facts
 on your attention a little farther4    
#abh4 ,you may1 perhaps1 have been      
surprised that ,i have not yet spoken of

 the works of ,j4 ,d4 ,harding1         
especially if you happen to have met    
with the passages referring to them in  
,modern ,painters1 in which they are    
highly praised4 ,they are deservedly    
praised1 for they are the only works by 
a modern#cj draughtsman which express in
 any wise the energy of trees1 and the  
laws of growth1 of which we have been   
speaking4 ,there are no lithographic    
sketches which1 for truth of general    
character1 obtained with little cost of 
time1 at all rival ,harding's4 ,calame1 
,robert1 and the other lithographic     
landscape sketchers are altogether      
inferior in power1 though sometimes a   
little deeper in meaning4 ,but you must 
not take even ,harding for a model1     
though you may use his works for        
occasional reference2 and if you can    
afford to buy his ,lessons on ,trees1#ca
 it will be serviceable to you in       
various ways1 and will at present help  
me to explain the point under           
consideration4 ,and it is well that ,i  

should illustrate this point by         
reference to ,harding's works1 because  
their great influence on young students 
renders it desirable that their real    
character should be thoroughly          
understood4  #abi4 ,you will find1      
first1 in the titlepage of the ,lessons 
on ,trees1 a pretty wood-cut1 in which  
the tree stems are drawn with great     
truth1 and in a very interesting        
arrangement of lines4 ,plate #a is not  
quite worthy of ,mr4 ,harding1 tending  
too much to make his pupil1 at starting1
 think everything depends on black dots2
 still1 the main lines are good1 and    
very characteristic of tree growth4     
,then1 in ,plate #b1 we come to the     
point at issue4 ,the first examples in  
that plate are given to the pupil that  
he may practice from them till his hand 
gets into the habit of arranging lines  
freely in a similar manner2 and they are
 stated by ,mr4 ,harding to be universal
 in application2 all outlines expressive
 of foliage1 he says1 are but           

modifications of them4 ,they consist of 
groups of lines1 more or less resembling
 our ,fig4 #bc below2 and the characters
 especially insisted upon are1 that they
 tend at their inner ends to a common   
center2 that their ends terminate in are
 inclosed by ovoid curves2 and that the 
outer ends are most emphatic4           
,illustration3 ,,fig4 #bc4  #acj4 ,now1 
as thus expressive of the great laws of 
radiation and inclosure1 the main       
principle of this method of execution   
confirms1 in a very interesting way1 our
 conclusions respecting foliage         
composition4 ,the reason of the last    
rule1 that the outer end of the line is 
to be most emphatic1 does not indeed at 
first appear2 for the line at one end of
 a natural leaf is not more emphatic    
than the line at the other3 but         
ultimately1 in ,harding's method1 this  
darker part of the touch stands more or 
less for the shade at the outer         
extremity of the leaf mass2 and1 as     
,harding uses these touches1 they       

express as much of tree character as any
 mere habit of touch can express4 ,but1 
unfortunately1 there is another law of  
tree growth1 quite as fixed as the law  
of radiation1 which this and all other  
conventional modes of execution wholly  
lose sight of4 ,this second law is1 that
 the radiating tendency shall be carried
 out only as a ruling spirit in         
reconcilement with perpetual individual 
caprice on the part of the separate     
leaves4 ,so that the moment a touch is  
monotonous1 it must be also false1 the  
liberty of the leaf individually being  
just as essential a truth1 as its unity 
of growth with its companions in the    
radiating group4  #aca4 ,it does not    
matter how small or apparently          
symmetrical the cluster may be1 nor how 
large or vague4 ,you can hardly have a  
more formal one than b in ,fig4 #i1 p4  
#dg1 nor a less formal one than this    
shoot of ,spanish chestnut1 shedding its
 leaves1 ,fig4 #bd2 but in either of    
them1 even the general reader1          

unpracticed in any of the previously    
recommended exercises1 must see that    
there are wandering lines mixed with the
 radiating ones1 and radiating lines    
with the wild ones3 and if he takes the 
pen1 and tries to copy either of these  
examples1 he will find that neither play
 of hand to left nor to right1 neither a
 free touch nor a firm touch1 nor any   
learnable or describable touch          
whatsoever1 will enable him to produce1 
currently1 a resemblance of it2 but that
 he must either draw it slowly or give  
it up4 ,and 7which makes the matter     
worse still7 though gathering the bough1
 and putting it close to you1 or seeing 
a piece of near foliage against the sky1
 you may draw the entire outline of the 
leaves1 yet if the spray has light upon 
it1 and is ever so little a way off1 you
 will miss1 as we have seen1 a point of 
a leaf here1 and an edge there2 some of 
the surfaces will be confused by        
glitter1 and some spotted with shade2   
and if you look carefully through this  

confusion for the edges or dark stems   
which you really can see and put only   
those down1 the result will be neither  
like ,fig4 #i nor ,fig4 #bd1 but such an
 interrupted and puzzling piece of work 
as ,fig4 #be4cb  ,illustration3 ,,fig4  
#be4  ,illustration3 ,,fig4 #bd4  #acb4 
,now1 it is in the perfect              
acknowledgment and expression of these  
three laws that all good drawing of     
landscape consists4 ,there is1 first1   
the organic unity2 the law1 whether of  
radiation1 or parallelism1 or concurrent
 action1 which rules the masses of herbs
 and trees1 of rocks1 and clouds1 and   
waves2 secondly1 the individual liberty 
of the members subjected to these laws  
of unity2 and1 lastly1 the mystery under
 which the separate character of each is
 more or less concealed4  ,i say1 first1
 there must be observance of the ruling 
organic law4 ,this is the first         
distinction between good artists and bad
 artists4 ,your common sketcher or bad  
painter puts his leaves on the trees as 

if they were moss tied to sticks2 he    
cannot see the lines of action or       
growth2 he scatters the shapeless clouds
 over his sky1 not perceiving the sweeps
 of associated curves which the real    
clouds are following as they fly2 and he
 breaks his mountain side into rugged   
fragments1 wholly unconscious of the    
lines of force with which the real rocks
 have risen1 or of the lines of couch in
 which they repose4 ,on the contrary1 it
 is the main delight of the great       
draughtsman to trace these laws of      
government2 and his tendency to error is
 always in the exaggeration of their    
authority rather than in its denial4    
#acc4 ,secondly1 ,i say1 we have to show
 the individual character and liberty of
 the separate leaves1 clouds1 or rocks4 
,and herein the great masters separate  
themselves finally from the inferior    
ones2 for if the men of inferior genius 
ever express law at all1 it is by the   
sacrifice of individuality4 ,thus1      
,salvator ,rosa has great perception of 

the sweep of foliage and rolling of     
clouds1 but never draws a single leaflet
 or mist wreath accurately4 ,similarly1 
,gainsborough1 in his landscape1 has    
great feeling for masses of form and    
harmony of color2 but in the detail     
gives nothing but meaningless touches2  
not even so much as the species of tree1
 much less the variety of its leafage1  
being ever discernible4 ,now1 although  
both these expressions of government and
 individuality are essential to masterly
 work1 the individuality is the more    
essential1 and the more difficult of    
attainment2 and1 therefore1 that        
attainment separates the great masters  
finally from the inferior ones4 ,it is  
the more essential1 because1 in these   
matters of beautiful arrangement in     
visible things1 the same rules hold that
 hold in moral things4 ,it is a         
lamentable and unnatural thing to see a 
number of men subject to no government1 
actuated by no ruling principle1 and    
associated by no common affection3 but  

it would be a more lamentable thing     
still1 were it possible1 to see a number
 of men so oppressed into assimilation  
as to have no more any individual hope  
or character1 no differences in aim1 no 
dissimilarities of passion1 no          
irregularities of judgment2 a society in
 which no man could help another1 since 
none would be feebler than himself2 no  
man admire another1 since none would be 
stronger than himself2 no man be        
grateful to another1 since by none he   
could be relieved2 no man reverence     
another1 since by none he could be      
instructed2 a society in which every    
soul would be as the syllable of a      
stammerer instead of the word of a      
speaker1 in which every man would walk  
as in a frightful dream1 seeing specters
 of himself1 in everlasting             
multiplication1 gliding helplessly      
around him in a speechless darkness4    
,therefore it is that perpetual         
difference1 play1 and change in groups  
of form are more essential to them even 

than their being subdued by some great  
gathering law3 the law is needful to    
them for their perfection and their     
power1 but the difference is needful to 
them for their life4  #acd4 ,and here it
 may be noted in passing1 that1 if you  
enjoy the pursuit of analogies and      
types1 and have any ingenuity of        
judgment in discerning them1 you may    
always accurately ascertain what are the
 noble characters in a piece of painting
 by merely considering what are the     
noble characters of man in his          
association with his fellows4 ,what     
grace of manner and refinement of habit 
are in society1 grace of line and       
refinement of form are in the           
association of visible objects4 ,what   
advantage or harm there may be in       
sharpness1 ruggedness1 or quaintness in 
the dealings or conversations of men2   
precisely that relative degree of       
advantage or harm there is in them as   
elements of pictorial composition4 ,what
 power is in liberty or relaxation to   

strengthen or relieve human souls2 that 
power precisely in the same relative    
degree1 play and laxity of line have to 
strengthen or refresh the expression of 
a picture4 ,and what goodness or        
greatness we can conceive to arise in   
companies of men1 from chastity of      
thought1 regularity of life1 simplicity 
of custom1 and balance of authority2    
precisely that kind of goodness and     
greatness may be given to a picture by  
the purity of its color1 the severity of
 its forms1 and the symmetry of its     
masses4  #ace4 ,you need not be in the  
least afraid of pushing these analogies 
too far4 ,they cannot be pushed too far2
 they are so precise and complete1 that 
the farther you pursue them1 the        
clearer1 the more certain1 the more     
useful you will find them4 ,they will   
not fail you in one particular1 or in   
any direction of inquiry4 ,there is no  
moral vice1 no moral virtue1 which has  
not its precise prototype in the art of 
painting2 so that you may at your will  

illustrate the moral habit by the art1  
or the art by the moral habit4          
,affection and discord1 fretfulness1 and
 quietness1 feebleness and firmness1    
luxury and purity1 pride and modesty1   
and all other such habits1 and every    
conceivable modification and mingling of
 them1 may be illustrated1 with         
mathematical exactness1 by conditions of
 line and color2 and not merely these   
definable vices and virtues1 but also   
every conceivable shade of human        
character and passion1 from the         
righteous or unrighteous majesty of the 
king to the innocent or faultful        
simplicity of the shepherd boy4  #acf4  
,the pursuit of this subject belongs    
properly1 however1 to the investigation 
of the higher branches of composition1  
matters which it would be quite useless 
to treat of in this book2 and ,i only   
allude to them here1 in order that you  
may understand how the utmost           
noblenesses of art are concerned in this
 minute work1 to which ,i have set you  

in your beginning of it4 ,for it is only
 by the closest attention1 and the most 
noble execution1 that it is possible to 
express these varieties of individual   
character1 on which all excellence of   
portraiture depends1 whether of masses  
of mankind1 or of groups of leaves4     
#acg4 ,now you will be able to          
understand1 among other matters1 wherein
 consists the excellence1 and wherein   
the shortcoming1 of the tree-drawing of 
,harding4 ,it is excellent in so far as 
it fondly observes1 with more truth than
 any other work of the kind1 the great  
laws of growth and action in trees3 it  
fails1--and observe1 not in a minor1 but
 in the principal point1--because it    
cannot rightly render any one individual
 detail or incident of foliage4 ,and in 
this it fails1 not from mere            
carelessness or incompletion1 but of    
necessity2 the true drawing of detail   
being for evermore impossible to a hand 
which has contracted a habit of         
execution4 ,the noble draughtsman draws 

a leaf1 and stops1 and says             
calmly1--,that leaf is of such and such 
a character2 ,i will give him a friend  
who will entirely suit him3 then he     
considers what his friend ought to be1  
and having determined1 he draws his     
friend4 ,this process may be as quick as
 lightning when the master is great--one
 of the sons of the giants2 or it may be
 slow and timid3 but the process is     
always gone through2 no touch or form is
 ever added to another by a good painter
 without a mental determination and     
affirmation4 ,but when the hand has got 
into a habit1 leaf ,no4 #a necessitates 
leaf ,no4 #b2 you cannot stop1 your hand
 is as a horse with the bit in its      
teeth2 or rather is1 for the time1 a    
machine1 throwing out leaves to order   
and pattern1 all alike4 ,you must stop  
that hand of yours1 however painfully2  
make it understand that it is not to    
have its own way any more1 that it shall
 never more slip from one touch to      
another without orders2 otherwise it is 

not you who are the master1 but your    
fingers4 ,you may therefore study       
,harding's drawing1 and take pleasure in
 it2#cc and you may properly admire the 
dexterity which applies the habit of the
 hand so well1 and produces results on  
the whole so satisfactory3 but you must 
never copy it2 otherwise your progress  
will be at once arrested4 ,the utmost   
you can ever hope to do would be a      
sketch in ,harding's manner1 but of far 
inferior dexterity2 for he has given his
 life's toil to gain his dexterity1 and 
you1 ,i suppose1 have other things to   
work at besides drawing4 ,you would also
 incapacitate yourself from ever        
understanding what truly great work was1
 or what ,nature was2 but1 by the       
earnest and complete study of facts1 you
 will gradually come to understand the  
one and love the other more and more1   
whether you can draw well yourself or   
not4  #ach4 ,i have yet to say a few    
words respecting the third law above    
stated1 that of mystery2 the law1       

namely1 that nothing is ever seen       
perfectly1 but only by fragments1 and   
under various conditions of             
obscurity4#cd ,this last fact renders   
the visible objects of ,nature complete 
as a type of the human nature4 ,we have1
 observe1 first1 ,subordination2        
secondly1 ,individuality2 lastly1 and   
this not the least essential character1 
,incomprehensibility2 a perpetual       
lesson1 in every serrated point and     
shining vein which escapes or deceives  
our sight among the forest leaves1 how  
little we may hope to discern clearly1  
or judge justly1 the rents and veins of 
the human heart2 how much of all that is
 round us1 in men's actions or spirits1 
which we at first think we understand1 a
 closer and more loving watchfulness    
would show to be full of mystery1 never 
to be either fathomed or withdrawn4     
,illustration3 ,,fig4 #bf4  #aci4 ,the  
expression of this final character in   
landscape has never been completely     
reached by any except ,turner2 nor can  

you hope to reach it at all until you   
have given much time to the practice of 
art4 ,only try always when you are      
sketching any object with a view to     
completion in light and shade1 to draw  
only those parts of it which you really 
see definitely2 preparing for the after 
development of the forms by chiaroscuro4
 ,it is this preparation by isolated    
touches for a future arrangement of     
superimposed light and shade which      
renders the etchings of the ,liber      
,studiorum so inestimable as examples1  
and so peculiar4 ,the character exists  
more or less in them exactly in         
proportion to the pains that ,turner has
 taken4 ,thus the sacus and ,hesperie   
was wrought out with the greatest       
possible care2 and the principal branch 
on the near tree is etched as in ,fig4  
#bf4 ,the work looks at first like a    
scholar's instead of a master's2 but    
when the light and shade are added1     
every touch falls into its place1 and a 
perfect expression of grace and         

complexity results4 ,nay1 even before   
the light and shade are added1 you ought
 to be able to see that these irregular 
and broken lines1 especially where the  
expression is given of the way the stem 
loses itself in the leaves1 are more    
true than the monotonous though graceful
 leaf-drawing which1 before ,turner's   
time1 had been employed1 even by the    
best masters1 in their distant masses4  
,fig4 #bg is sufficiently characteristic
 of the manner of the old wood-cuts     
after ,titian2 in which1 you see1 the   
leaves are too much of one shape1 like  
bunches of fruit2 and the boughs too    
completely seen1 besides being somewhat 
soft and leathery in aspect1 owing to   
the want of angles in their outline4 ,by
 great men like ,titian1 this somewhat  
conventional structure was only given in
 haste to distant masses2 and their     
exquisite delineation of the foreground1
 kept their conventionalism from        
degeneracy3 but in the drawings of the  
,carracci and other derivative masters1 

the conventionalism prevails everywhere1
 and sinks gradually into scrawled work1
 like ,fig4 #bh1 about the worst which  
it is possible to get into the habit of 
using1 though an ignorant person might  
perhaps suppose it more free1 and       
therefore better than ,fig4 #bf4 ,note  
also1 that in noble outline drawing1 it 
does not follow that a bough is wrongly 
drawn1 because it looks contracted      
unnaturally somewhere1 as in ,fig4 #bf1 
just above the foliage4 ,very often the 
muscular action which is to be expressed
 by the line runs into the middle of the
 branch1 and the actual outline of the  
branch at that place may be dimly seen1 
or not at all2 and it is then only by   
the future shade that its actual shape1 
or the cause of its disappearance1 will 
be indicated4  ,illustration3 ,,fig4    
#bg4  #adj4 ,one point more remains to  
be noted about trees1 and ,i have done4 
,in the minds of our ordinary           
water-color artists a distant tree seems
 only to be conceived as a flat green   

blot1 grouping pleasantly with other    
masses1 and giving cool color to the    
landscape1 but differing no wise1 in    
texture1 from the blots of other shapes 
which these painters use to express     
stones1 or water1 or figures4 ,but as   
soon as you have drawn trees carefully a
 little while1 you will be impressed1   
and impressed more strongly the better  
you draw them1 with the idea of their   
softness of surface4 ,a distant tree is 
not a flat and even piece of color1 but 
a more or less globular mass of a downy 
or bloomy texture1 partly passing into a
 misty vagueness4 ,i find1 practically1 
this lovely softness of far-away trees  
the most difficult of all characters to 
reach1 because it cannot be got by mere 
scratching or roughening the surface1   
but is always associated with such      
delicate expressions of form and growth 
as are only imitable by very careful    
drawing4 ,the penknife passed lightly   
over this careful drawing will do a good
 deal2 but you must accustom yourself1  

from the beginning1 to aim much at this 
softness in the lines of the drawing    
itself1 by crossing them delicately1 and
 more or less effacing and confusing the
 edges4 ,you must invent1 according to  
the character of tree1 various modes of 
execution adapted to express its        
texture2 but always keep this character 
of softness in your mind1 and in your   
scope of aim2 for in most landscapes it 
is the intention of ,nature that the    
tenderness and transparent infinitude of
 her foliage should be felt1 even at the
 far distance1 in the most distinct     
opposition to the solid masses and flat 
surfaces of rocks or buildings4         
,illustration3 ,,fig4 #bh4  #ada4 ,,ii4 
,we were1 in the second place1 to       
consider a little the modes of          
representing water1 of which important  
feature of landscape ,i have hardly said
 anything yet4  ,water is expressed1 in 
common drawings1 by conventional lines1 
whose horizontality is supposed to      
convey the idea of its surface4 ,in     

paintings1 white dashes or bars of light
 are used for the same purpose4  ,but   
these and all other such expedients are 
vain and absurd4 ,a piece of calm water 
always contains a picture in itself1 an 
exquisite reflection of the objects     
above it4 ,if you give the time         
necessary to draw these reflections1    
disturbing them here and there as you   
see the breeze or current disturb them1 
you will get the effect of the water2   
but if you have not patience to draw the
 reflections1 no expedient will give you
 a true effect4 ,the picture in the pool
 needs nearly as much delicate drawing  
as the picture above the pool2 except   
only that if there be the least motion  
on the water1 the horizontal lines of   
the images will be diffused and broken1 
while the vertical ones will remain     
decisive1 and the oblique ones decisive 
in proportion to their steepness4  #adb4
 ,a few close studies will soon teach   
you this3 the only thing you need to be 
told is to watch carefully the lines of 

disturbance on the surface1 as when a   
bird swims across it1 or a fish rises1  
or the current plays round a stone1     
reed1 or other obstacle4 ,take the      
greatest pains to get the curves of     
these lines true2 the whole value of    
your careful drawing of the reflections 
may be lost by your admitting a single  
false curve of ripple from a wild duck's
 breast4 ,and 7as in other subjects7 if 
you are dissatisfied with your result1  
always try for more unity and delicacy3 
if your reflections are only soft and   
gradated enough1 they are nearly sure to
 give you a pleasant effect4#ce ,when   
you are taking pains1 work the softer   
reflections1 where they are drawn out by
 motion in the water1 with touches as   
nearly horizontal as may be2 but when   
you are in a hurry1 indicate the place  
and play of the images with vertical    
lines4 ,the actual construction of a    
calm elongated reflection is with       
horizontal lines3 but it is often       
impossible to draw the descending shades

 delicately enough with a horizontal    
touch2 and it is best always when you   
are in a hurry1 and sometimes when you  
are not1 to use the vertical touch4     
,when the ripples are large1 the        
reflections become shaken1 and must be  
drawn with bold undulatory descending   
lines4  #adc4 ,i need not1 ,i should    
think1 tell you that it is of the       
greatest possible importance to draw the
 curves of the shore rightly4 ,their    
perspective is1 if not more subtle1 at  
least more stringent than that of any   
other lines in ,nature4 ,it will not be 
detected by the general observer1 if you
 miss the curve of a branch1 or the     
sweep of a cloud1 or the perspective of 
a building2#cf but every intelligent    
spectator will feel the difference      
between a rightly-drawn bend of shore or
 shingle1 and a false one4 ,absolutely  
right1 in difficult river perspectives  
seen from heights1 ,i believe no one but
 ,turner ever has been yet2 and observe1
 there is ,,no rule for them4 ,to       

develop the curve mathematically would  
require a knowledge of the exact        
quantity of water in the river1 the     
shape of its bed1 and the hardness of   
the rock or shore2 and even with these  
data1 the problem would be one which no 
mathematician could solve but           
approximatively4 ,the instinct of the   
eye can do it2 nothing else4  #add4 ,if1
 after a little study from ,nature1 you 
get puzzled by the great differences    
between the aspect of the reflected     
image and that of the object casting it2
 and if you wish to know the law of     
reflection1 it is simply this3 ,suppose 
all the objects above the water actually
 reversed 7not in appearance1 but in    
fact7 beneath the water1 and precisely  
the same in form and in relative        
position1 only all topsy-turvy4 ,then1  
whatever you could see1 from the place  
in which you stand1 of the solid objects
 so reversed under the water1 you will  
see in the reflection1 always in the    
true perspective of the solid objects so

 reversed4  ,if you cannot quite        
understand this in looking at water1    
take a mirror1 lay it horizontally on   
the table1 put some books and papers    
upon it1 and draw them and their        
reflections2 moving them about1 and     
watching how their reflections alter1   
and chiefly how their reflected colors  
and shades differ from their own colors 
and shades1 by being brought into other 
oppositions4 ,this difference in        
chiaroscuro is a more important         
character in water-painting than mere   
difference in form4  #ade4 ,when you are
 drawing shallow or muddy water1 you    
will see shadows on the bottom1 or on   
the surface1 continually modifying the  
reflections2 and in a clear mountain    
stream1 the most wonderful complications
 of effect resulting from the shadows   
and reflections of the stones in it1    
mingling with the aspect of the stones  
themselves seen through the water4 ,do  
not be frightened at the complexity2    
but1 on the other hand1 do not hope to  

render it hastily4 ,look at it well1    
making out everything that you see1 and 
distinguishing each component part of   
the effect4 ,there will be1 first1 the  
stones seen through the water1 distorted
 always by refraction1 so that1 if the  
general structure of the stone shows    
straight parallel lines above the water1
 you may be sure they will be bent where
 they enter it2 then the reflection of  
the part of the stone above the water   
crosses and interferes with the part    
that is seen through it1 so that you can
 hardly tell which is which2 and        
wherever the reflection is darkest1 you 
will see through the water best1#cg and 
vice vers4 ,then the real shadow of the 
stone crosses both these images1 and    
where that shadow falls1 it makes the   
water more reflective1 and where the    
sunshine falls1 you will see more of the
 surface of the water1 and of any dust  
or motes that may be floating on it3 but
 whether you are to see1 at the same    
spot1 most of the bottom of the water1  

or of the reflection of the objects     
above1 depends on the position of the   
eye4 ,the more you look down into the   
water1 the better you see objects       
through it2 the more you look along it1 
the eye being low1 the more you see the 
reflection of objects above it4 ,hence  
the color of a given space of surface in
 a stream will entirely change while you
 stand still in the same spot1 merely as
 you stoop or raise your head2 and thus 
the colors with which water is painted  
are an indication of the position of the
 spectator1 and connected inseparably   
with the perspective of the shores4 ,the
 most beautiful of all results that ,i  
know in mountain streams is when the    
water is shallow1 and the stones at the 
bottom are rich reddish-orange and      
black1 and the water is seen at an angle
 which exactly divides the visible      
colors between those of the stones and  
that of the sky1 and the sky is of      
clear1 full blue4 ,the resulting purple1
 obtained by the blending of the blue   

and the orange-red1 broken by the play  
of innumerable gradations in the stones1
 is indescribably lovely4  #adf4 ,all   
this seems complicated enough already2  
but if there be a strong color in the   
clear water itself1 as of green or blue 
in the ,swiss lakes1 all these phenomena
 are doubly involved2 for the darker    
reflections now become of the color of  
the water4 ,the reflection of a black   
gondola1 for instance1 at ,venice1 is   
never black1 but pure dark green4 ,and1 
farther1 the color of the water itself  
is of three kinds3 one1 seen on the     
surface1 is a kind of milky bloom2 the  
next is seen where the waves let light  
through them1 at their edges2 and the   
third1 shown as a change of color on the
 objects seen through the water4 ,thus1 
the same wave that makes a white object 
look of a clear blue1 when seen through 
it1 will take a red or violet-colored   
bloom on its surface1 and will be made  
pure emerald green by transmitted       
sunshine through its edges4 ,with all   

this1 however1 you are not much         
concerned at present1 but ,i tell it you
 partly as a preparation for what we    
have afterwards to say about color1 and 
partly that you may approach lakes and  
streams with reverence1#ch and study    
them as carefully as other things1 not  
hoping to express them by a few         
horizontal dashes of white1 or a few    
tremulous blots4#ci ,not but that much  
may be done by tremulous blots1 when you
 know precisely what you mean by them1  
as you will see by many of the ,turner  
sketches1 which are now framed at the   
,national ,gallery2 but you must have   
painted water many and many a day--yes1 
and all day long--before you can hope to
 do anything like those4  #adg4 ,,iii4  
,lastly4 ,you may perhaps wonder why1   
before passing to the clouds1 ,i say    
nothing special about ground4#dj ,but   
there is too much to be said about that 
to admit of my saying it here4 ,you will
 find the principal laws of its         
structure examined at length in the     

fourth volume of ,modern ,painters2 and 
if you can get that volume1 and copy    
carefully ,plate #ba1 which ,i have     
etched after ,turner with great pains1  
it will give you as much help as you    
need in the linear expression of        
ground-surface4 ,strive to get the      
retirement and succession of masses in  
irregular ground3 much may be done in   
this way by careful watching of the     
perspective diminutions of its herbage1 
as well as by contour2 and much also by 
shadows4 ,if you draw the shadows of    
leaves and tree trunks on any undulating
 ground with entire carefulness1 you    
will be surprised to find how much they 
explain of the form and distance of the 
earth on which they fall4  #adh4        
,passing then to skies1 note that there 
is this great peculiarity about sky     
subject1 as distinguished from earth    
subject2--that the clouds1 not being    
much liable to man's interference1 are  
always beautifully arranged4 ,you cannot
 be sure of this in any other features  

of landscape4 ,the rock on which the    
effect of a mountain scene especially   
depends is always precisely that which  
the roadmaker blasts or the landlord    
quarries2 and the spot of green which   
,nature left with a special purpose by  
her dark forest sides1 and finished with
 her most delicate grasses1 is always   
that which the farmer plows or builds   
upon4 ,but the clouds1 though we can    
hide them with smoke1 and mix them with 
poison1 cannot be quarried nor built    
over1 and they are always therefore     
gloriously arranged2 so gloriously1 that
 unless you have notable powers of      
memory you need not hope to approach the
 effect of any sky that interests you4  
,for both its grace and its glow depend 
upon the united influence of every cloud
 within its compass3 they all move and  
burn together in a marvelous harmony2   
not a cloud of them is out of its       
appointed place1 or fails of its part in
 the choir3 and if you are not able to  
recollect 7which in the case of a       

complicated sky it is impossible you    
should7 precisely the form and position 
of all the clouds at a given moment1 you
 cannot draw the sky at all2 for the    
clouds will not fit if you draw one part
 of them three or four minutes before   
another4  #adi4 ,you must try therefore 
to help what memory you have1 by        
sketching at the utmost possible speed  
the whole range of the clouds2 marking1 
by any shorthand or symbolic work you   
can hit upon1 the peculiar character of 
each1 as transparent1 or fleecy1 or     
linear1 or undulatory2 giving afterwards
 such completion to the parts as your   
recollection will enable you to do4     
,this1 however1 only when the sky is    
interesting from its general aspect2 at 
other times1 do not try to draw all the 
sky1 but a single cloud3 sometimes a    
round cumulus will stay five or six     
minutes quite steady enough to let you  
mark out his principal masses2 and one  
or two white or crimson lines which     
cross the sunrise will often stay       

without serious change for as long4 ,and
 in order to be the readier in drawing  
them1 practice occasionally drawing     
lumps of cotton1 which will teach you   
better than any other stable thing the  
kind of softness there is in clouds4    
,for you will find when you have made a 
few genuine studies of sky1 and then    
look at any ancient or modern painting1 
that ordinary artists have always fallen
 into one of two faults3 either1 in     
rounding the clouds1 they make them as  
solid and hard-edged as a heap of stones
 tied up in a sack1 or they represent   
them not as rounded at all1 but as vague
 wreaths of mist or flat lights in the  
sky2 and think they have done enough in 
leaving a little white paper between    
dashes of blue1 or in taking an         
irregular space out with the sponge4    
,now clouds are not as solid as         
flour-sacks2 but1 on the other hand1    
they are neither spongy nor flat4 ,they 
are definite and very beautiful forms of
 sculptured mist2 sculptured is a       

perfectly accurate word2 they are not   
more drifted into form than they are    
carved into form1 the warm air around   
them cutting them into shape by         
absorbing the visible vapor beyond      
certain limits2 hence their angular and 
fantastic outlines1 as different from a 
swollen1 spherical1 or globular         
formation1 on the one hand1 as from that
 of flat films or shapeless mists on the
 other4 ,and the worst of all is1 that  
while these forms are difficult enough  
to draw on any terms1 especially        
considering that they never stay quiet1 
they must be drawn also at greater      
disadvantage of light and shade than any
 others1 the force of light in clouds   
being wholly unattainable by art2 so    
that if we put shade enough to express  
their form as positively as it is       
expressed in reality1 we must make them 
painfully too dark on the dark sides4   
,nevertheless1 they are so beautiful1 if
 you in the least succeed with them1    
that you will hardly1 ,i think1 lose    

courage4  #aej4 ,outline them often with
 the pen1 as you can catch them here and
 there2 one of the chief uses of doing  
this will be1 not so much the memorandum
 so obtained1 as the lesson you will get
 respecting the softness of the         
cloud-outlines4 ,you will always find   
yourself at a loss to see where the     
outline really is2 and when drawn it    
will always look hard and false1 and    
will assuredly be either too round or   
too square1 however often you alter it1 
merely passing from the one fault to the
 other and back again1 the real cloud   
striking an inexpressible mean between  
roundness and squareness in all its     
coils or battlements4 ,i speak at       
present1 of course1 only of the cumulus 
cloud3 the lighter wreaths and flakes of
 the upper sky cannot be outlined2--they
 can only be sketched1 like locks of    
hair1 by many lines of the pen4 ,firmly 
developed bars of cloud on the horizon  
are in general easy enough1 and may be  
drawn with decision4 ,when you have thus

 accustomed yourself a little to the    
placing and action of clouds1 try to    
work out their light and shade1 just as 
carefully as you do that of other       
things1 looking exclusively for examples
 of treatment to the vignettes in       
,rogers's ,italy and ,poems1 and to the 
,liber ,studiorum1 unless you have      
access to some examples of ,turner's own
 work4 ,no other artist ever yet drew   
the sky3 even ,titian's clouds1 and     
,tintoret's1 are conventional4 ,the     
clouds in the ,ben ,arthur1 ,source of  
,arveron1 and ,calais ,pier1 are among  
the best of ,turner's storm studies2 and
 of the upper clouds1 the vignettes to  
,rogers's ,poems furnish as many        
examples as you need4  #aea4 ,and now1  
as our first lesson was taken from the  
sky1 so1 for the present1 let our last  
be4 ,i do not advise you to be in any   
haste to master the contents of my next 
letter4 ,if you have any real talent for
 drawing1 you will take delight in the  
discoveries of natural loveliness1 which

 the studies ,i have already proposed   
will lead you into1 among the fields and
 hills2 and be assured that the more    
quietly and single-heartedly you take   
each step in the art1 the quicker1 on   
the whole1 will your progress be4 ,i    
would rather1 indeed1 have discussed the
 subjects of the following letter at    
greater length1 and in a separate work  
addressed to more advanced students2 but
 as there are one or two things to be   
said on composition which may set the   
young artist's mind somewhat more at    
rest1 or furnish him with defense from  
the urgency of ill-advisers1 ,i will    
glance over the main heads of the matter
 here2 trusting that my doing so may not
 beguile you1 my dear reader1 from your 
serious work1 or lead you to think me1  
in occupying part of this book with talk
 not altogether relevant to it1 less    
entirely or                             
,faithfully yours1                      
,j4 ,,ruskin4   ,,footnotes3    #bc ,it 
is meant1 ,i believe1 for ,salt ,hill4  

#bd ,i do not mean that you can approach
 ,turner or ,drer in their     strength1
 that is to say1 in their imagination or
 power of design4     ,but you may      
approach them1 by perseverance1 in truth
 of manner4    #be ,the following are   
the most desirable plates3--            
,grande ,chartreuse4                    
,little ,devil's ,bridge4     sacus and 
,hesperie4             ,river ,wye 7not 
,wye and ,severn74     ,cephalus and    
,procris4            ,holy ,island4     
,source of ,arveron4                    
,clyde4     ,ben ,arthur4               
,lauffenburg4     ,watermill4           
,blair ,athol4     ,hindhead ,hill4     
,alps from ,grenoble4     ,hedging and  
,ditching4            ,raglan4 7,subject
 with quiet brook1     ,dumblane ,abbey4
                   trees1 and castle on 
the right47     ,morpeth4     ,calais   
,pier4     ,pembury ,mill4      ,if you 
cannot get one of these1 any of the     
others will be     serviceable1 except  
only the twelve following1 which are    

quite     useless3--        #a4 ,scene  
in ,italy1 with goats on a walled road1 
and trees above4       #b4 ,interior of 
church4       #c4 ,scene with bridge1   
and trees above2 figures on left1 one   
playing           a pipe4       #d4     
,scene with figure playing on           
tambourine4       #e4 ,scene on ,thames 
with high trees1 and a square tower of a
 church           seen through them4    
#f4 ,fifth ,plague of ,egypt4       #g4 
,tenth ,plague of ,egypt4       #h4     
,rivaulx ,abbey4       #i4 ,wye and     
,severn4      #aj4 ,scene with castle in
 center1 cows under trees on the left4  
#aa4 ,martello ,towers4      #ab4 ,calm4
      ,it is very unlikely that you     
should meet with one of the original    
etchings2 if you should1 it will be a   
drawing-master in itself     alone1 for 
it is not only equivalent to a          
pen-and-ink drawing by     ,turner1 but 
to a very careful one2 only observe1 the
 ,source of     ,arveron1 ,raglan1 and  
,dumblane were not etched by ,turner2   

and the     etchings of those three are 
not good for separate study1 though it  
is deeply interesting to see how        
,turner1 apparently provoked at the     
failure of the beginnings in the        
,arveron and ,raglan1 took the plates   
up himself1 and either conquered or     
brought into use the bad etching     by 
his marvelous engraving4 ,the ,dumblane 
was1 however1 well etched     by ,mr4   
,lupton1 and beautifully engraved by    
him4 ,the finest ,turner     etching is 
of an aqueduct with a stork standing in 
a mountain     stream1 not in the       
published series2 and next to it1 are   
the     unpublished etchings of the ,via
 ,mala and ,crowhurst4 ,turner seems to 
have been so fond of these plates that  
he kept retouching and     finishing    
them1 and never made up his mind to let 
them go4 ,the ,via     ,mala is         
certainly1 in the state in which ,turner
 left it1 the finest     of the whole   
series3 its etching is1 as ,i said1 the 
best after that     of the aqueduct4    

,figure #bj1 above1 is part of another  
fine     unpublished etching1 ,windsor1 
from ,salt ,hill4 ,of the published     
etchings1 the finest are the ,ben       
,arthur1 sacus1 ,cephalus1 and ,stone   
,pines1 with the ,girl washing at a     
,cistern2 the three latter are the      
more generally instructive4 ,hindhead   
,hill1 ,isis1 ,jason1 and ,morpeth1     
are also very desirable4    #bf ,you    
will find more notice of this point in  
the account of     ,harding's           
tree-drawing1 a little farther on4      
#bg ,the impressions vary so much in    
color that no brown can be              
specified4    #bh ,you had better get   
such a photograph1 even though you have 
a     ,liber print as well4    #bi ,see 
the closing letter in this volume4      
#cj ,in #aheg4    #ca ,if you are not   
acquainted with ,harding's works1 7an   
unlikely     supposition1 considering   
their popularity17 and cannot meet with 
the     one in question1 the diagrams   
given here will enable you to           

understand all that is needful for our  
purposes4    #cb ,i draw this figure 7a 
young shoot of oak7 in outline only1 it 
being impossible to express the         
refinements of shade in distant         
foliage in a wood-cut4    #cc ,his      
lithographic sketches1 those for        
instance in the ,park and     the       
,forest1 and his various lessons on     
foliage1 possess greater     merit than 
the more ambitious engravings in his    
,principles and     ,practice of ,art4  
,there are many useful remarks1 however1
 dispersed     through this latter work4
    #cd ,on this law you do well1 if you
 can get access to it1 to look     at   
the fourth chapter of the fourth volume 
of ,modern ,painters4    #ce ,see ,note 
#c in ,appendix ,i4    #cf ,the student 
may hardly at first believe that the    
perspective of     buildings is of      
little consequence2 but he will find it 
so     ultimately4 ,see the remarks on  
this point in the ,preface4    #cg ,see 
,note #d in ,appendix ,i4    #ch ,see   

,note #e in ,appendix ,i4    #ci ,it is 
a useful piece of study to dissolve some
 ,prussian blue in     water1 so as to  
make the liquid definitely blue3 fill a 
large white     basin with the solution1
 and put anything you like to float on  
it1     or lie in it2 walnut shells1    
bits of wood1 leaves of flowers1 etc4   
,then study the effects of the          
reflections1 and of the stems of the    
flowers or submerged portions of the    
floating objects1 as they     appear    
through the blue liquid2 noting         
especially how1 as you lower     your   
head and look along the surface1 you see
 the reflections     clearly2 and how1  
as you raise your head1 you lose the    
reflections1     and see the submerged  
stems clearly4    #dj ,respecting       
,architectural ,drawing1 see the notice 
of the works     of ,prout in the       
,appendix4     ,,letter ,,iii4  ,,on    
,,color ,,and ,,composition4   #aeb4    
,,my ,,dear ,,reader1--,if you have been
 obedient1 and have hitherto done all   

that ,i have told you1 ,i trust it has  
not been without much subdued           
remonstrance1 and some serious vexation4
 ,for ,i should be sorry if1 when you   
were led by the course of your study to 
observe closely such things as are      
beautiful in color1 you had not longed  
to paint them1 and felt considerable    
difficulty in complying with your       
restriction to the use of black1 or     
blue1 or gray4 ,you ought to love color1
 and to think nothing quite beautiful or
 perfect without it2 and if you really  
do love it1 for its own sake1 and are   
not merely desirous to color because you
 think painting a finer thing than      
drawing1 there is some chance you may   
color well4 ,nevertheless1 you need not 
hope ever to produce anything more than 
pleasant helps to memory1 or useful and 
suggestive sketches in color1 unless you
 mean to be wholly an artist4 ,you may1 
in the time which other vocations leave 
at your disposal1 produce finished1     
beautiful1 and masterly drawings in     

light and shade4 ,but to color well1    
requires your life4 ,it cannot be done  
cheaper4 ,the difficulty of doing right 
is increased--not twofold nor threefold1
 but a thousandfold1 and more--by the   
addition of color to your work4 ,for the
 chances are more than a thousand to one
 against your being right both in form  
and color with a given touch3 it is     
difficult enough to be right in form1 if
 you attend to that only2 but when you  
have to attend1 at the same moment1 to a
 much more subtle thing than the form1  
the difficulty is strangely             
increased1--and multiplied almost to    
infinity by this great fact1 that1 while
 form is absolute1 so that you can say  
at the moment you draw any line that it 
is either right or wrong1 color is      
wholly relative4 ,every hue throughout  
your work is altered by every touch that
 you add in other places2 so that what  
was warm a minute ago1 becomes cold when
 you have put a hotter color in another 
place1 and what was in harmony when you 

left it1 becomes discordant as you set  
other colors beside it2 so that every   
touch must be laid1 not with a view to  
its effect at the time1 but with a view 
to its effect in futurity1 the result   
upon it of all that is afterwards to be 
done being previously considered4 ,you  
may easily understand that1 this being  
so1 nothing but the devotion of life1   
and great genius besides1 can make a    
colorist4  #aec4 ,but though you cannot 
produce finished colored drawings of any
 value1 you may give yourself much      
pleasure1 and be of great use to other  
people1 by occasionally sketching with a
 view to color only2 and preserving     
distinct statements of certain color    
facts--as that the harvest moon at      
rising was of such and such a red1 and  
surrounded by clouds of such and such a 
rosy gray2 that the mountains at evening
 were in truth so deep in purple2 and   
the waves by the boat's side were indeed
 of that incredible green4 ,this only1  
observe1 if you have an eye for color2  

but you may presume that you have this1 
if you enjoy color4  #aed4 ,and1 though 
of course you should always give as much
 form to your subject as your attention 
to its color will admit of1 remember    
that the whole value of what you are    
about depends1 in a colored sketch1 on  
the color merely4 ,if the color is      
wrong1 everything is wrong3 just as1 if 
you are singing1 and sing false notes1  
it does not matter how true the words   
are4 ,if you sing at all1 you must sing 
sweetly2 and if you color at all1 you   
must color rightly4 ,give up all the    
form1 rather than the slightest part of 
the color3 just as1 if you felt yourself
 in danger of a false note1 you would   
give up the word1 and sing a meaningless
 sound1 if you felt that so you could   
save the note4 ,never mind though your  
houses are all tumbling down1--though   
your clouds are mere blots1 and your    
trees mere knobs1 and your sun and moon 
like crooked sixpences1--so only that   
trees1 clouds1 houses1 and sun or moon1 

are of the right colors4 ,of course1 the
 discipline you have gone through will  
enable you to hint something of form1   
even in the fastest sweep of the brush2 
but do not let the thought of form      
hamper you in the least1 when you begin 
to make colored memoranda4 ,if you want 
the form of the subject1 draw it in     
black and white4 ,if you want its color1
 take its color1 and be sure you have   
it1 and not a spurious1 treacherous1    
half-measured piece of mutual           
concession1 with the colors all wrong1  
and the forms still anything but right4 
,it is best to get into the habit of    
considering the colored work merely as  
supplementary to your other studies2    
making your careful drawings of the     
subject first1 and then a colored       
memorandum separately1 as shapeless as  
you like1 but faithful in hue1 and      
entirely minding its own business4 ,this
 principle1 however1 bears chiefly on   
large and distant subjects3 in          
foregrounds and near studies1 the color 

cannot be had without a good deal of    
definition of form4 ,for if you do not  
map the mosses on the stones accurately1
 you will not have the right quantity of
 color in each bit of moss pattern1 and 
then none of the colors will look right2
 but it always simplifies the work much 
if you are clear as to your point of    
aim1 and satisfied1 when necessary1 to  
fail of all but that4  #aee4 ,now1 of   
course1 if ,i were to enter into detail 
respecting coloring1 which is the       
beginning and end of a painter's craft1 
,i should need to make this a work in   
three volumes instead of three letters1 
and to illustrate it in the costliest   
way4 ,i only hope1 at present1 to set   
you pleasantly and profitably to work1  
leaving you1 within the tethering of    
certain leading-strings1 to gather what 
advantages you can from the works of art
 of which every year brings a greater   
number within your reach2--and from the 
instruction which1 every year1 our      
rising artists will be more ready to    

give kindly1 and better able to give    
wisely4  #aef4 ,and1 first1 of          
materials4 ,use hard cake colors1 not   
moist colors3 grind a sufficient        
quantity of each on your palette every  
morning1 keeping a separate plate1 large
 and deep1 for colors to be used in     
broad washes1 and wash both plate and   
palette every evening1 so as to be able 
always to get good and pure color when  
you need it2 and force yourself into    
cleanly and orderly habits about your   
colors4 ,the two best colorists of      
modern times1 ,turner and ,rossetti1#da 
afford us1 ,i am sorry to say1 no       
confirmation of this precept by their   
practice4 ,turner was1 and ,rossetti is1
 as slovenly in all their procedures as 
men can well be2 but the result of this 
was1 with ,turner1 that the colors have 
altered in all his pictures1 and in many
 of his drawings2 and the result of it  
with ,rossetti is1 that though his      
colors are safe1 he has sometimes to    
throw aside work that was half done1 and

 begin over again4 ,william ,hunt1 of   
the ,old ,water-color1 is very neat in  
his practice2 so1 ,i believe1 is        
,mulready2 so is ,john ,lewis2 and so   
are the leading ,pre-,raphaelites1      
,rossetti only excepted4 ,and there can 
be no doubt about the goodness of the   
advice1 if it were only for this reason1
 that the more particular you are about 
your colors the more you will get into a
 deliberate and methodical habit in     
using them1 and all true speed in       
coloring comes of this deliberation4    
#aeg4 ,use ,chinese white1 well ground1 
to mix with your colors in order to pale
 them1 instead of a quantity of water4  
,you will thus be able to shape your    
masses more quietly1 and play the colors
 about with more ease2 they will not    
damp your paper so much1 and you will be
 able to go on continually1 and lay     
forms of passing cloud and other        
fugitive or delicately shaped lights1   
otherwise unattainable except by time4  
#aeh4 ,this mixing of white with the    

pigments1 so as to render them opaque1  
constitutes body-color drawing as       
opposed to transparent-color drawing1   
and you will1 perhaps1 have it often    
said to you that this body-color is     
illegitimate4 ,it is just as legitimate 
as oil-painting1 being1 so far as       
handling is concerned1 the same process1
 only without its uncleanliness1 its    
unwholesomeness1 or its inconvenience2  
for oil will not dry quickly1 nor carry 
safely1 nor give the same effects of    
atmosphere without tenfold labor4 ,and  
if you hear it said that the body-color 
looks chalky or opaque1 and1 as is very 
likely1 think so yourself1 be yet       
assured of this1 that though certain    
effects of glow and transparencies of   
gloom are not to be reached without     
transparent color1 those glows and      
glooms are not the noblest aim of art4  
,after many years' study of the various 
results of fresco and oil painting in   
,italy1 and of body-color and           
transparent color in ,england1 ,i am now

 entirely convinced that the greatest   
things that are to be done in art must  
be done in dead color4 ,the habit of    
depending on varnish or on lucid tints  
for transparency1 makes the painter     
comparatively lose sight of the nobler  
translucence which is obtained by       
breaking various colors amidst each     
other3 and even when1 as by ,correggio1 
exquisite play of hue is joined with    
exquisite transparency1 the delight in  
the depth almost always leads the       
painter into mean and false chiaroscuro2
 it leads him to like dark backgrounds  
instead of luminous ones1#db and to     
enjoy1 in general1 quality of color more
 than grandeur of composition1 and      
confined light rather than open         
sunshine3 so that the really greatest   
thoughts of the greatest men have       
always1 so far as ,i remember1 been     
reached in dead color1 and the noblest  
oil pictures of ,tintoret and ,veronese 
are those which are likest frescoes4    
#aei4 ,besides all this1 the fact is1   

that though sometimes a little chalky   
and coarse-looking body-color is1 in a  
sketch1 infinitely liker ,nature than   
transparent color3 the bloom and mist of
 distance are accurately and instantly  
represented by the film of opaque blue  
7quite accurately1 ,i think1 by nothing 
else72 and for ground1 rocks1 and       
buildings1 the earthy and solid surface 
is1 of course1 always truer than the    
most finished and carefully wrought work
 in transparent tints can ever be4      
#afj4 ,against one thing1 however1 ,i   
must steadily caution you4 ,all kinds of
 color are equally illegitimate1 if you 
think they will allow you to alter at   
your pleasure1 or blunder at your ease4 
,there is no vehicle or method of color 
which admits of alteration or           
repentance2 you must be right at once1  
or never2 and you might as well hope to 
catch a rifle bullet in your hand1 and  
put it straight1 when it was going      
wrong1 as to recover a tint once        
spoiled4 ,the secret of all good color  

in oil1 water1 or anything else1 lies   
primarily in that sentence spoken to me 
by ,mulready3 ,know what you have to do4
 ,the process may be a long one1        
perhaps3 you may have to ground with one
 color2 to touch it with fragments of a 
second2 to crumble a third into the     
interstices2 a fourth into the          
interstices of the third2 to glaze the  
whole with a fifth2 and to re-enforce in
 points with a sixth3 but whether you   
have one1 or ten1 or twenty processes to
 go through1 you must go straight       
through them knowingly and foreseeingly 
all the way2 and if you get the thing   
once wrong1 there is no hope for you but
 in washing or scraping boldly down to  
the white ground1 and beginning again4  
#afa4 ,the drawing in body-color will   
tend to teach you all this1 more than   
any other method1 and above all it will 
prevent you from falling into the       
pestilent habit of sponging to get      
texture2 a trick which has nearly ruined
 our modern water-color school of art4  

,there are sometimes places in which a  
skillful artist will roughen his paper a
 little to get certain conditions of    
dusty color with more ease than he could
 otherwise2 and sometimes a skillfully  
rased piece of paper will1 in the midst 
of transparent tints1 answer nearly the 
purpose of chalky body-color in         
representing the surfaces of rocks or   
building4 ,but artifices of this kind   
are always treacherous in a tyro's      
hands1 tempting him to trust in them3   
and you had better always work on white 
or gray paper as smooth as silk2#dc and 
never disturb the surface of your color 
or paper1 except finally to scratch out 
the very highest lights if you are using
 transparent colors4  #afb4 ,i have said
 above that body-color drawing will     
teach you the use of color better than  
working with merely transparent tints2  
but this is not because the process is  
an easier one1 but because it is a more 
complete one1 and also because it       
involves some working with transparent  

tints in the best way4 ,you are not to  
think that because you use body-color   
you may make any kind of mess that you  
like1 and yet get out of it4 ,but you   
are to avail yourself of the characters 
of your material1 which enable you most 
nearly to imitate the processes of      
,nature4 ,thus1 suppose you have a red  
rocky cliff to sketch1 with blue clouds 
floating over it4 ,you paint your cliff 
first firmly1 then take your blue1      
mixing it to such a tint 7and here is a 
great part of the skill needed7 that    
when it is laid over the red1 in the    
thickness required for the effect of the
 mist1 the warm rock-color showing      
through the blue cloud-color1 may bring 
it to exactly the hue you want 7your    
upper tint1 therefore1 must be mixed    
colder than you want it72 then you lay  
it on1 varying it as you strike it1     
getting the forms of the mist at once1  
and1 if it be rightly done1 with        
exquisite quality of color1 from the    
warm tint's showing through and between 

the particles of the other4 ,when it is 
dry1 you may add a little color to      
retouch the edges where they want shape1
 or heighten the lights where they want 
roundness1 or put another tone over the 
whole3 but you can take none away4 ,if  
you touch or disturb the surface1 or by 
any untoward accident mix the under and 
upper colors together1 all is lost      
irrecoverably4 ,begin your drawing from 
the ground again if you like1 or throw  
it into the fire if you like4 ,but do   
not waste time in trying to mend it4#dd 
#afc4 ,this discussion of the relative  
merits of transparent and opaque color  
has1 however1 led us a little beyond the
 point where we should have begun2 we   
must go back to our palette1 if you     
please4 ,get a cake of each of the hard 
colors named in the note below#de and   
try experiments on their simple         
combinations1 by mixing each color with 
every other4 ,if you like to do it in an
 orderly way1 you may prepare a squared 
piece of pasteboard1 and put the pure   

colors in columns at the top and side2  
the mixed tints being given at the      
intersections1 thus 7the letters        
standing for colors73        b       c  
d      e      f     etc4     a a b    a 
c    a d    a e    a f     b --     b c 
b d    b e    b f     c --     --     c 
d    c e    c f     d --     --     --  
d e    d f     e --     --     --     --
     e f     etc4  ,this will give you  
some general notion of the characters of
 mixed tints of two colors only1 and it 
is better in practice to confine        
yourself as much as possible to these1  
and to get more complicated colors1     
either by putting the third over the    
first blended tint1 or by putting the   
third into its interstices4 ,nothing but
 watchful practice will teach you the   
effects that colors have on each other  
when thus put over1 or beside1 each     
other4  #afd4 ,when you have got a      
little used to the principal            
combinations1 place yourself at a window
 which the sun does not shine in at1    

commanding some simple piece of         
landscape3 outline this landscape       
roughly2 then take a piece of white     
cardboard1 cut out a hole in it about   
the size of a large pea2 and supposing  
,r is the room1 a d the window1 and you 
are sitting at a1 ,fig4 #bi1 hold this  
cardboard a little outside of the       
window1 upright1 and in the direction b 
d1 parallel to the side of the window1  
or a little turned1 so as to catch more 
light1 as at a d1 never turned as at c  
d1 or the paper will be dark4 ,then you 
will see the landscape1 bit by bit1     
through the circular hole4 ,match the   
colors of each important bit as nearly  
as you can1 mixing your tints with      
white1 beside the aperture4 ,when       
matched1 put a touch of the same tint at
 the top of your paper1 writing under   
it3 dark tree color1 hill color1 field  
color1 as the case may be4 ,then wash   
the tint away from beside the opening1  
and the cardboard will be ready to match
 another piece of the landscape4#df     

,when you have got the colors of the    
principal masses thus indicated1 lay on 
a piece of each in your sketch in its   
right place1 and then proceed to        
complete the sketch in harmony with     
them1 by your eye4  ,illustration3      
,,fig4 #bi4  #afe4 ,in the course of    
your early experiments1 you will be much
 struck by two things3 the first1 the   
inimitable brilliancy of light in sky   
and in sunlighted things2 and the       
second1 that among the tints which you  
can imitate1 those which you thought the
 darkest will continually turn out to be
 in reality the lightest4 ,darkness of  
objects is estimated by us1 under       
ordinary circumstances1 much more by    
knowledge than by sight2 thus1 a cedar  
or ,scotch fir1 at #bjj yards off1 will 
be thought of darker green than an elm  
or oak near us2 because we know by      
experience that the peculiar color they 
exhibit1 at that distance1 is the sign  
of darkness of foliage4 ,but when we try
 them through the cardboard1 the near   

oak will be found1 indeed1 rather dark  
green1 and the distant cedar1 perhaps1  
pale gray-purple4 ,the quantity of      
purple and gray in ,nature is1 by the   
way1 another somewhat surprising subject
 of discovery4  #aff4 ,well1 having     
ascertained thus your principal tints1  
you may proceed to fill up your sketch2 
in doing which observe these following  
particulars3  7#a47 ,many portions of   
your subject appeared through the       
aperture in the paper brighter than the 
paper1 as sky1 sunlighted grass1 etc4   
,leave these portions1 for the present1 
white2 and proceed with the parts of    
which you can match the tints4  7#b47   
,as you tried your subject with the     
cardboard1 you must have observed how   
many changes of hue took place over     
small spaces4 ,in filling up your work1 
try to educate your eye to perceive     
these differences of hue without the    
help of the cardboard1 and lay them     
deliberately1 like a mosaic-worker1 as  
separate colors1 preparing each         

carefully on your palette1 and laying it
 as if it were a patch of colored cloth1
 cut out1 to be fitted neatly by its    
edge to the next patch2 so that the     
fault of your work may be1 not a slurred
 or misty look1 but a patched bed-cover 
look1 as if it had all been cut out with
 scissors4 ,for instance1 in drawing the
 trunk of a birch tree1 there will be   
probably white high lights1 then a pale 
rosy gray round them on the light side1 
then a 7probably greenish7 deeper gray  
on the dark side1 varied by reflected   
colors1 and1 over all1 rich black strips
 of bark and brown spots of moss4 ,lay  
first the rosy gray1 leaving white for  
the high lights and for the spots of    
moss1 and not touching the dark side4   
,then lay the gray for the dark side1   
fitting it well up to the rosy gray of  
the light1 leaving also in this darker  
gray the white paper in the places for  
the black and brown moss2 then prepare  
the moss colors separately for each     
spot1 and lay each in the white place   

left for it4 ,not one grain of white1   
except that purposely left for the high 
lights1 must be visible when the work is
 done1 even through a magnifying-glass1 
so cunningly must you fit the edges to  
each other4 ,finally1 take your         
background colors1 and put them on each 
side of the tree trunk1 fitting them    
carefully to its edge4  #afg4 ,fine work
 you would make of this1 wouldn't you1  
if you had not learned to draw first1   
and could not now draw a good outline   
for the stem1 much less terminate a     
color mass in the outline you wanted8   
,your work will look very odd for some  
time1 when you first begin to paint in  
this way1 and before you can modify it1 
as ,i shall tell you presently how2 but 
never mind2 it is of the greatest       
possible importance that you should     
practice this separate laying on of the 
hues1 for all good coloring finally     
depends on it4 ,it is1 indeed1 often    
necessary1 and sometimes desirable1 to  
lay one color and form boldly over      

another3 thus1 in laying leaves on blue 
sky1 it is impossible always in large   
pictures1 or when pressed for time1 to  
fill in the blue through the interstices
 of the leaves2 and the great ,venetians
 constantly lay their blue ground first1
 and then1 having let it dry1 strike the
 golden brown over it in the form of the
 leaf1 leaving the under blue to shine  
through the gold1 and subdue it to the  
olive-green they want4 ,but in the most 
precious and perfect work each leaf is  
inlaid1 and the blue worked round it2   
and1 whether you use one or other mode  
of getting your result1 it is equally   
necessary to be absolute and decisive in
 your laying the color4 ,either your    
ground must be laid firmly first1 and   
then your upper color struck upon it in 
perfect form1 forever1 thenceforward1   
unalterable2 or else the two colors must
 be individually put in their places1   
and led up to each other till they meet 
at their appointed border1 equally1     
thenceforward1 unchangeable4 ,either    

process1 you see1 involves absolute     
decision4 ,if you once begin to slur1 or
 change1 or sketch1 or try this way and 
that with your color1 it is all over    
with it and with you4 ,you will         
continually see bad copyists trying to  
imitate the ,venetians1 by daubing their
 colors about1 and retouching1 and      
finishing1 and softening3 when every    
touch and every added hue only lead them
 farther into chaos4 ,there is a dog    
between two children in a ,veronese in  
the ,louvre1 which gives the copyists   
much employment4 ,he has a dark ground  
behind him1 which ,veronese has painted 
first1 and then when it was dry1 or     
nearly so1 struck the locks of the dog's
 white hair over it with some half-dozen
 curling sweeps of his brush1 right at  
once1 and forever4 ,had one line or hair
 of them gone wrong1 it would have been 
wrong forever2 no retouching could have 
mended it4 ,the poor copyists daub in   
first some background1 and then some    
dog's hair2 then retouch the background1

 then the hair2 work for hours at it1   
expecting it always to come right       
to-morrow--when it is finished4 ,they   
may work for centuries at it1 and they  
will never do it4 ,if they can do it    
with ,veronese's allowance of work1 half
 a dozen sweeps of the hand over the    
dark background1 well2 if not1 they may 
ask the dog himself whether it will ever
 come right1 and get true answer from   
him--on ,launce's conditions3 ,if he say
 'ay1' it will2 if he say 'no1' it will2
 if he shake his tail and say nothing1  
it will4  #afh4 7#c47 ,whenever you lay 
on a mass of color1 be sure that however
 large it may be1 or however small1 it  
shall be gradated4 ,no color exists in  
,nature under ordinary circumstances    
without gradation4 ,if you do not see   
this1 it is the fault of your           
inexperience3 you will see it in due    
time1 if you practice enough4 ,but in   
general you may see it at once4 ,in the 
birch trunk1 for instance1 the rosy gray
 must be gradated by the roundness of   

the stem till it meets the shaded side2 
similarly the shaded side is gradated by
 reflected light4 ,accordingly1 whether 
by adding water1 or white paint1 or by  
unequal force of touch 7this you will do
 at pleasure1 according to the texture  
you wish to produce71 you must1 in every
 tint you lay on1 make it a little paler
 at one part than another1 and get an   
even gradation between the two depths4  
,this is very like laying down a formal 
law or recipe for you2 but you will find
 it is merely the assertion of a natural
 fact4 ,it is not indeed physically     
impossible to meet with an ungradated   
piece of color1 but it is so supremely  
improbable1 that you had better get into
 the habit of asking yourself           
invariably1 when you are going to copy a
 tint--not ,is that gradated8 but ,which
 way is that gradated8 and at least in  
ninety-nine out of a hundred instances1 
you will be able to answer decisively   
after a careful glance1 though the      
gradation may have been so subtle that  

you did not see it at first4 ,and it    
does not matter how small the touch of  
color may be1 though not larger than the
 smallest pin's head1 if one part of it 
is not darker than the rest1 it is a bad
 touch2 for it is not merely because the
 natural fact is so1 that your color    
should be gradated2 the preciousness and
 pleasantness of the color itself       
depends more on this than on any other  
of its qualities1 for gradation is to   
colors just what curvature is to lines1 
both being felt to be beautiful by the  
pure instinct of every human mind1 and  
both1 considered as types1 expressing   
the law of gradual change and progress  
in the human soul itself4 ,what the     
difference is in mere beauty between a  
gradated and ungradated color1 may be   
seen easily by laying an even tint of   
rose-color on paper1 and putting a rose 
leaf beside it4 ,the victorious beauty  
of the rose as compared with other      
flowers1 depends wholly on the delicacy 
and quantity of its color gradations1   

all other flowers being either less rich
 in gradation1 not having so many folds 
of leaf2 or less tender1 being patched  
and veined instead of flushed4  #afi4   
7#d47 ,but observe1 it is not enough in 
general that color should be gradated by
 being made merely paler or darker at   
one place than another4 ,generally color
 changes as it diminishes1 and is not   
merely darker at one spot1 but also     
purer at one spot than anywhere else4   
,it does not in the least follow that   
the darkest spots should be the purest2 
still less so that the lightest should  
be the purest4 ,very often the two      
gradations more or less cross each      
other1 one passing in one direction from
 paleness to darkness1 another in       
another direction from purity to        
dullness1 but there will almost always  
be both of them1 however reconciled2 and
 you must never be satisfied with a     
piece of color until you have got both3 
that is to say1 every piece of blue that
 you lay on must be quite blue only at  

some given spot1 nor that a large spot2 
and must be gradated from that into less
 pure blue1--grayish blue1 or greenish  
blue1 or purplish blue1--over all the   
rest of the space it occupies4 ,and this
 you must do in one of three ways3      
either1 while the color is wet1 mix with
 it the color which is to subdue it1    
adding gradually a little more and a    
little more2 or else1 when the color is 
quite dry1 strike a gradated touch of   
another color over it1 leaving only a   
point of the first tint visible2 or     
else1 lay the subduing tints on in small
 touches1 as in the exercise of tinting 
the chess-board4 ,of each of these      
methods ,i have something to tell you   
separately2 but that is distinct from   
the subject of gradation1 which ,i must 
not quit without once more pressing upon
 you the preminent necessity of         
introducing it everywhere4 ,i have      
profound dislike of anything like habit 
of hand1 and yet1 in this one instance1 
,i feel almost tempted to encourage you 

to get into a habit of never touching   
paper with color1 without securing a    
gradation4 ,you will not1 in ,turner's  
largest oil pictures1 perhaps six or    
seven feet long by four or five high1   
find one spot of color as large as a    
grain of wheat ungradated3 and you will 
find in practice1 that brilliancy of    
hue1 and vigor of light1 and even the   
aspect of transparency in shade1 are    
essentially dependent on this character 
alone2 hardness1 coldness1 and opacity  
resulting far more from equality of     
color than from nature of color4 ,give  
me some mud off a city crossing1 some   
ocher out of a gravel pit1 a little     
whitening1 and some coal-dust1 and ,i   
will paint you a luminous picture1 if   
you give me time to gradate my mud1 and 
subdue my dust3 but though you had the  
red of the ruby1 the blue of the        
gentian1 snow for the light1 and amber  
for the gold1 you cannot paint a        
luminous picture1 if you keep the masses
 of those colors unbroken in purity1 and

 unvarying in depth4  #agj4 7#e47 ,next1
 note the three processes by which      
gradation and other characters are to be
 obtained3  ,a4 ,mixing while the color 
is wet4  ,you may be confused by my     
first telling you to lay on the hues in 
separate patches1 and then telling you  
to mix hues together as you lay them on3
 but the separate masses are to be laid1
 when colors distinctly oppose each     
other at a given limit2 the hues to be  
mixed1 when they palpitate one through  
the other1 or fade one into the other4  
,it is better to err a little on the    
distinct side4 ,thus ,i told you to     
paint the dark and light sides of the   
birch trunk separately1 though1 in      
reality1 the two tints change1 as the   
trunk turns away from the light1        
gradually one into the other2 and1 after
 being laid separately on1 will need    
some farther touching to harmonize them3
 but they do so in a very narrow space1 
marked distinctly all the way up the    
trunk1 and it is easier and safer1      

therefore1 to keep them separate at     
first4 ,whereas it often happens that   
the whole beauty of two colors will     
depend on the one being continued well  
through the other1 and playing in the   
midst of it3 blue and green often do so 
in water2 blue and gray1 or purple and  
scarlet1 in sky3 in hundreds of such    
instances the most beautiful and        
truthful results may be obtained by     
laying one color into the other while   
wet2 judging wisely how far it will     
spread1 or blending it with the brush in
 somewhat thicker consistence of wet    
body-color2 only observe1 never mix in  
this way two mixtures2 let the color you
 lay into the other be always a simple1 
not a compound tint4  #aga4 ,b4 ,laying 
one color over another4  ,if you lay on 
a solid touch of vermilion1 and after it
 is quite dry1 strike a little very wet 
carmine quickly over it1 you will obtain
 a much more brilliant red than by      
mixing the carmine and vermilion4       
,similarly1 if you lay a dark color     

first1 and strike a little blue or white
 body-color lightly over it1 you will   
get a more beautiful gray than by mixing
 the color and the blue or white4 ,in   
very perfect painting1 artifices of this
 kind are continually used2 but ,i would
 not have you trust much to them3 they  
are apt to make you think too much of   
quality of color4 ,i should like you to 
depend on little more than the dead     
colors1 simply laid on1 only observe    
always this1 that the less color you do 
the work with1 the better it will always
 be3#dg so that if you had laid a red   
color1 and you want a purple one above1 
do not mix the purple on your palette   
and lay it on so thick as to overpower  
the red1 but take a little thin blue    
from your palette1 and lay it lightly   
over the red1 so as to let the red be   
seen through1 and thus produce the      
required purple2 and if you want a green
 hue over a blue one1 do not lay a      
quantity of green on the blue1 but a    
little yellow1 and so on1 always        

bringing the under color into service as
 far as you possibly can4 ,if1 however1 
the color beneath is wholly opposed to  
the one you have to lay on1 as1 suppose1
 if green is to be laid over scarlet1   
you must either remove the required     
parts of the under color daintily first 
with your knife1 or with water2 or else1
 lay solid white over it massively1 and 
leave that to dry1 and then glaze the   
white with the upper color4 ,this is    
better1 in general1 than laying the     
upper color itself so thick as to       
conquer the ground1 which1 in fact1 if  
it be a transparent color1 you cannot   
do4 ,thus1 if you have to strike warm   
boughs and leaves of trees over blue    
sky1 and they are too intricate to have 
their places left for them in laying the
 blue1 it is better to lay them first in
 solid white1 and then glaze with sienna
 and ocher1 than to mix the sienna and  
white2 though1 of course1 the process is
 longer and more troublesome4           
,nevertheless1 if the forms of touches  

required are very delicate1 the after   
glazing is impossible4 ,you must then   
mix the warm color thick at once1 and so
 use it3 and this is often necessary for
 delicate grasses1 and such other fine  
threads of light in foreground work4    
#agb4 ,c4 ,breaking one color in small  
points through or over another4  ,this  
is the most important of all processes  
in good modern#dh oil and water-color   
painting1 but you need not hope to      
attain very great skill in it4 ,to do it
 well is very laborious1 and requires   
such skill and delicacy of hand as can  
only be acquired by unceasing practice4 
,but you will find advantage in noting  
the following points3  #agc4 7a47 ,in   
distant effects of rich subject1 wood1  
or rippled water1 or broken clouds1 much
 may be done by touches or crumbling    
dashes of rather dry color1 with other  
colors afterwards put cunningly into the
 interstices4 ,the more you practice    
this1 when the subject evidently calls  
for it1 the more your eye will enjoy the

 higher qualities of color4 ,the process
 is1 in fact1 the carrying out of the   
principle of separate colors to the     
utmost possible refinement2 using atoms 
of color in juxtaposition1 instead of   
large spaces4 ,and note1 in filling up  
minute interstices of this kind1 that if
 you want the color you fill them with  
to show brightly1 it is better to put a 
rather positive point of it1 with a     
little white left beside or round it in 
the interstice1 than to put a pale tint 
of the color over the whole interstice4 
,yellow or orange will hardly show1 if  
pale1 in small spaces2 but they show    
brightly in firm touches1 however small1
 with white beside them4  #agd4 7b47 ,if
 a color is to be darkened by           
superimposed portions of another1 it is1
 in many cases1 better to lay the       
uppermost color in rather vigorous small
 touches1 like finely chopped straw1    
over the under one1 than to lay it on as
 a tint1 for two reasons3 the first1    
that the play of the two colors together

 is pleasant to the eye2 the second1    
that much expression of form may be got 
by wise administration of the upper dark
 touches4 ,in distant mountains they may
 be made pines of1 or broken crags1 or  
villages1 or stones1 or whatever you    
choose2 in clouds they may indicate the 
direction of the rain1 the roll and     
outline of the cloud masses2 and in     
water1 the minor waves4 ,all noble      
effects of dark atmosphere are got in   
good water-color drawing by these two   
expedients1 interlacing the colors1 or  
retouching the lower one with fine      
darker drawing in an upper4 ,sponging   
and washing for dark atmospheric effect 
is barbarous1 and mere tyro's work1     
though it is often useful for passages  
of delicate atmospheric light4  #age4   
7c47 ,when you have time1 practice the  
production of mixed tints by interlaced 
touches of the pure colors out of which 
they are formed1 and use the process at 
the parts of your sketches where you    
wish to get rich and luscious effects4  

,study the works of ,william ,hunt1 of  
the ,old ,water-color ,society1 in this 
respect1 continually1 and make frequent 
memoranda of the variegations in        
flowers2 not painting the flower        
completely1 but laying the ground color 
of one petal1 and painting the spots on 
it with studious precision3 a series of 
single petals of lilies1 geraniums1     
tulips1 etc41 numbered with proper      
reference to their position in the      
flower1 will be interesting to you on   
many grounds besides those of art4 ,be  
careful to get the gradated distribution
 of the spots well followed in the      
calceolarias1 foxgloves1 and the like2  
and work out the odd1 indefinite hues of
 the spots themselves with minute grains
 of pure interlaced color1 otherwise you
 will never get their richness or bloom4
 ,you will be surprised to find as you  
do this1 first1 the universality of the 
law of gradation we have so much        
insisted upon2 secondly1 that ,nature is
 just as economical of her fine colors  

as ,i have told you to be of yours4 ,you
 would think1 by the way she paints1    
that her colors cost her something      
enormous2 she will only give you a      
single pure touch1 just where the petal 
turns into light2 but down in the bell  
all is subdued1 and under the petal all 
is subdued1 even in the showiest flower4
 ,what you thought was bright blue is1  
when you look close1 only dusty gray1 or
 green1 or purple1 or every color in the
 world at once1 only a single gleam or  
streak of pure blue in the center of it4
 ,and so with all her colors4 ,sometimes
 ,i have really thought her miserliness 
intolerable3 in a gentian1 for instance1
 the way she economizes her ultramarine 
down in the bell is a little too bad4#di
  #agf4 ,next1 respecting general tone4 
,i said1 just now1 that1 for the sake of
 students1 my tax should not be laid on 
black or on white pigments2 but if you  
mean to be a colorist1 you must lay a   
tax on them yourself when you begin to  
use true color2 that is to say1 you must

 use them little1 and make of them much4
 ,there is no better test of your color 
tones being good1 than your having made 
the white in your picture precious1 and 
the black conspicuous4  #agg4 ,i say1   
first1 the white precious4 ,i do not    
mean merely glittering or brilliant3 it 
is easy to scratch white seagulls out of
 black clouds1 and dot clumsy foliage   
with chalky dew2 but when white is well 
managed1 it ought to be strangely       
delicious1--tender as well as           
bright1--like inlaid mother of pearl1 or
 white roses washed in milk4 ,the eye   
ought to seek it for rest1 brilliant    
though it may be2 and to feel it as a   
space of strange1 heavenly paleness in  
the midst of the flushing of the colors4
 ,this effect you can only reach by     
general depth of middle tint1 by        
absolutely refusing to allow any white  
to exist except where you need it1 and  
by keeping the white itself subdued by  
gray1 except at a few points of chief   
luster4  #agh4 ,secondly1 you must make 

the black conspicuous4 ,however small a 
point of black may be1 it ought to catch
 the eye1 otherwise your work is too    
heavy in the shadow4 ,all the ordinary  
shadows should be of some color1--never 
black1 nor approaching black1 they      
should be evidently and always of a     
luminous nature1 and the black should   
look strange among them2 never occurring
 except in a black object1 or in small  
points indicative of intense shade in   
the very center of masses of shadow4    
,shadows of absolutely negative gray1   
however1 may be beautifully used with   
white1 or with gold2 but still though   
the black thus1 in subdued strength1    
becomes spacious1 it should always be   
conspicuous2 the spectator should notice
 this gray neutrality with some wonder1 
and enjoy1 all the more intensely on    
account of it1 the gold color and the   
white which it relieves4 ,of all the    
great colorists ,velasquez is the       
greatest master of the black chords4    
,his black is more precious than most   

other people's crimson4  #agi4 ,it is   
not1 however1 only white and black which
 you must make valuable2 you must give  
rare worth to every color you use2 but  
the white and black ought to separate   
themselves quaintly from the rest1 while
 the other colors should be continually 
passing one into the other1 being all   
evidently companions in the same gay    
world2 while the white1 black1 and      
neutral gray should stand monkishly     
aloof in the midst of them4 ,you may    
melt your crimson into purple1 your     
purple into blue1 and your blue into    
green1 but you must not melt any of them
 into black4 ,you should1 however1 try1 
as ,i said1 to give preciousness to all 
your colors2 and this especially by     
never using a grain more than will just 
do the work1 and giving each hue the    
highest value by opposition4 ,all fine  
coloring1 like fine drawing1 is         
delicate2 and so delicate that if1 at   
last1 you see the color you are putting 
on1 you are putting on too much4 ,you   

ought to feel a change wrought in the   
general tone1 by touches of color which 
individually are too pale to be seen2   
and if there is one atom of any color in
 the whole picture which is unnecessary 
to it1 that atom hurts it4  #ahj4       
,notice also that nearly all good       
compound colors are odd colors4 ,you    
shall look at a hue in a good painter's 
work ten minutes before you know what to
 call it4 ,you thought it was brown1    
presently you feel that it is red2 next 
that there is1 somehow1 yellow in it2   
presently afterwards that there is blue 
in it4 ,if you try to copy it you will  
always find your color too warm or too  
cold--no color in the box will seem to  
have an affinity with it2 and yet it    
will be as pure as if it were laid at a 
single touch with a single color4  #aha4
 ,as to the choice and harmony of colors
 in general1 if you cannot choose and   
harmonize them by instinct1 you will    
never do it at all4 ,if you need        
examples of utterly harsh and horrible  

color1 you may find plenty given in     
treatises upon coloring1 to illustrate  
the laws of harmony2 and if you want to 
color beautifully1 color as best pleases
 yourself at quiet times1 not so as to  
catch the eye1 nor look as if it were   
clever or difficult to color in that    
way1 but so that the color may be       
pleasant to you when you are happy or   
thoughtful4 ,look much at the morning   
and evening sky1 and much at simple     
flowers--dog-roses1 wood-hyacinths1     
violets1 poppies1 thistles1 heather1 and
 such like1--as ,nature arranges them in
 the woods and fields4 ,if ever any     
scientific person tells you that two    
colors are discordant1 make a note of   
the two colors1 and put them together   
whenever you can4 ,i have actually heard
 people say that blue and green were    
discordant2 the two colors which ,nature
 seems to intend never to be separated1 
and never to be felt1 either of them1 in
 its full beauty without the other6--a  
peacock's neck1 or a blue sky through   

green leaves1 or a blue wave with green 
lights through it1 being precisely the  
loveliest things1 next to clouds at     
sunrise1 in this colored world of ours4 
,if you have a good eye for colors1 you 
will soon find out how constantly       
,nature puts purple and green together1 
purple and scarlet1 green and blue1     
yellow and neutral gray1 and the like2  
and how she strikes these color-concords
 for general tones1 and then works into 
them with innumerable subordinate ones2 
and you will gradually come to like what
 she does1 and find out new and         
beautiful chords of color in her work   
every day4 ,if you enjoy them1 depend   
upon it you will paint them to a certain
 point right3 or1 at least1 if you do   
not enjoy them1 you are certain to paint
 them wrong4 ,if color does not give you
 intense pleasure1 let it alone2 depend 
upon it1 you are only tormenting the    
eyes and senses of people who feel      
color1 whenever you touch it2 and that  
is unkind and improper4  #ahb4 ,you will

 find1 also1 your power of coloring     
depend much on your state of health and 
right balance of mind2 when you are     
fatigued or ill you will not see colors 
well1 and when you are ill-tempered you 
will not choose them well3 thus1 though 
not infallibly a test of character in   
individuals1 color power is a great sign
 of mental health in nations2 when they 
are in a state of intellectual decline1 
their coloring always gets dull4#ej ,you
 must also take great care not to be    
misled by affected talk about colors    
from people who have not the gift of it3
 numbers are eager and voluble about it 
who probably never in all their lives   
received one genuine color-sensation4   
,the modern religionists of the school  
of ,overbeck are just like people who   
eat slate-pencil and chalk1 and assure  
everybody that they are nicer and purer 
than strawberries and plums4  #ahc4     
,take care also never to be misled into 
any idea that color can help or display 
form2 color#ea always disguises form1   

and is meant to do so4  #ahd4 ,it is a  
favorite dogma among modern writers on  
color that warm colors 7reds and        
yellows7 approach1 or express nearness1 
and cold colors 7blue and gray7 retire1 
or express distance4 ,so far is this    
from being the case1 that no expression 
of distance in the world is so great as 
that of the gold and orange in twilight 
sky4 ,colors1 as such1 are ,,absolutely 
inexpressive respecting distance4 ,it is
 their quality 7as depth1 delicacy1     
etc47 which expresses distance1 not     
their tint4 ,a blue bandbox set on the  
same shelf with a yellow one will not   
look an inch farther off1 but a red or  
orange cloud1 in the upper sky1 will    
always appear to be beyond a blue cloud 
close to us1 as it is in reality4 ,it is
 quite true that in certain objects1    
blue is a sign of distance2 but that is 
not because blue is a retiring color1   
but because the mist in the air is blue1
 and therefore any warm color which has 
not strength of light enough to pierce  

the mist is lost or subdued in its blue3
 but blue is no more1 on this account1 a
 retiring color1 than brown is a        
retiring color1 because1 when stones are
 seen through brown water1 the deeper   
they lie the browner they look2 or than 
yellow is a retiring color1 because1    
when objects are seen through a ,london 
fog1 the farther off they are the       
yellower they look4 ,neither blue1 nor  
yellow1 nor red1 can have1 as such1 the 
smallest power of expressing either     
nearness or distance3 they express them 
only under the peculiar circumstances   
which render them at the moment1 or in  
that place1 signs of nearness or        
distance4 ,thus1 vivid orange in an     
orange is a sign of nearness1 for if you
 put the orange a great way off1 its    
color will not look so bright2 but vivid
 orange in sky is a sign of distance1   
because you cannot get the color of     
orange in a cloud near you4 ,so purple  
in a violet or a hyacinth is a sign of  
nearness1 because the closer you look at

 them the more purple you see4 ,but     
purple in a mountain is a sign of       
distance1 because a mountain close to   
you is not purple1 but green or gray4   
,it may1 indeed1 be generally assumed   
that a tender or pale color will more or
 less express distance1 and a powerful  
or dark color nearness2 but even this is
 not always so4 ,heathery hills will    
usually give a pale and tender purple   
near1 and an intense and dark purple far
 away2 the rose color of sunset on snow 
is pale on the snow at your feet1 deep  
and full on the snow in the distance2   
and the green of a ,swiss lake is pale  
in the clear waves on the beach1 but    
intense as an emerald in the sunstreak  
six miles from shore4 ,and in any case1 
when the foreground is in strong light1 
with much water about it1 or white      
surface1 casting intense reflections1   
all its colors may be perfectly         
delicate1 pale1 and faint2 while the    
distance1 when it is in shadow1 may     
relieve the whole foreground with       

intense darks of purple1 blue green1 or 
ultramarine blue4 ,so that1 on the      
whole1 it is quite hopeless and absurd  
to expect any help from laws of arial   
perspective4 ,look for the natural      
effects1 and set them down as fully as  
you can1 and as faithfully1 and never   
alter a color because it won't look in  
its right place4 ,put the color strong1 
if it be strong1 though far off2 faint1 
if it be faint1 though close to you4    
,why should you suppose that ,nature    
always means you to know exactly how far
 one thing is from another8 ,she        
certainly intends you always to enjoy   
her coloring1 but she does not wish you 
always to measure her space4 ,you would 
be hard put to it1 every time you       
painted the sun setting1 if you had to  
express his #ie1jjj1jjj miles of        
distance in arial perspective4  #ahe4   
,there is1 however1 ,i think1 one law   
about distance1 which has some claims to
 be considered a constant one3 namely1  
that dullness and heaviness of color are

 more or less indicative of nearness4   
,all distant color is pure color3 it may
 not be bright1 but it is clear and     
lovely1 not opaque nor soiled2 for the  
air and light coming between us and any 
earthy or imperfect color1 purify or    
harmonize it2 hence a bad colorist is   
peculiarly incapable of expressing      
distance4 ,i do not of course mean that 
you are to use bad colors in your       
foreground by way of making it come     
forward2 but only that a failure in     
color1 there1 will not put it out of its
 place2 while a failure in color in the 
distance will at once do away with its  
remoteness2 your dull-colored foreground
 will still be a foreground1 though     
ill-painted2 but your ill-painted       
distance will not be merely a dull      
distance1--it will be no distance at    
all4  #ahf4 ,i have only one thing more 
to advise you1 namely1 never to color   
petulantly or hurriedly4 ,you will not1 
indeed1 be able1 if you attend properly 
to your coloring1 to get anything like  

the quantity of form you could in a     
chiaroscuro sketch2 nevertheless1 if you
 do not dash or rush at your work1 nor  
do it lazily1 you may always get enough 
form to be satisfactory4 ,an extra      
quarter of an hour1 distributed in      
quietness over the course of the whole  
study1 may just make the difference     
between a quite intelligible drawing1   
and a slovenly and obscure one4 ,if you 
determine well beforehand what outline  
each piece of color is to have1 and1    
when it is on the paper1 guide it       
without nervousness1 as far as you can1 
into the form required2 and then1 after 
it is dry1 consider thoroughly what     
touches are needed to complete it1      
before laying one of them on2 you will  
be surprised to find how masterly the   
work will soon look1 as compared with a 
hurried or ill-considered sketch4 ,in no
 process that ,i know of--least of all  
in sketching--can time be really gained 
by precipitation4 ,it is gained only by 
caution2 and gained in all sorts of     

ways2 for not only truth of form1 but   
force of light1 is always added by an   
intelligent and shapely laying of the   
shadow colors4 ,you may often make a    
simple flat tint1 rightly gradated and  
edged1 express a complicated piece of   
subject without a single retouch4 ,the  
two ,swiss cottages1 for instance1 with 
their balconies1 and glittering windows1
 and general character of shingly eaves1
 are expressed in ,fig4 #cj with one    
tint of gray1 and a few dispersed spots 
and lines of it2 all of which you ought 
to be able to lay on without more than  
thrice dipping your brush1 and without a
 single touch after the tint is dry4    
,illustration3 ,,fig4 #cj4  #ahg4 ,here1
 then1 for ,i cannot without colored    
illustrations tell you more1 ,i must    
leave you to follow out the subject for 
yourself1 with such help as you may     
receive from the water-color drawings   
accessible to you2 or from any of the   
little treatises on their art which have
 been published lately by our           

water-color painters4#eb ,but do not    
trust much to works of this kind4 ,you  
may get valuable hints from them as to  
mixture of colors2 and here and there   
you will find a useful artifice or      
process explained2 but nearly all such  
books are written only to help idle     
amateurs to a meretricious skill1 and   
they are full of precepts and principles
 which may1 for the most part1 be       
interpreted by their precise negatives1 
and then acted upon with advantage4     
,most of them praise boldness1 when the 
only safe attendant spirit of a beginner
 is caution2--advise velocity1 when the 
first condition of success is           
deliberation2--and plead for            
generalization1 when all the foundations
 of power must be laid in knowledge of  
speciality4        99       99       99 
99       99  #ahh4 ,and now1 in the last
 place1 ,i have a few things to tell you
 respecting that dangerous nobleness of 
consummate art1--,,composition4 ,for    
though it is quite unnecessary for you  

yet awhile to attempt it1 and it may be 
inexpedient for you to attempt it at    
all1 you ought to know what it means1   
and to look for and enjoy it in the art 
of others4  ,composition means1         
literally and simply1 putting several   
things together1 so as to make one thing
 out of them2 the nature and goodness of
 which they all have a share in         
producing4 ,thus a musician composes an 
air1 by putting notes together in       
certain relations2 a poet composes a    
poem1 by putting thoughts and words in  
pleasant order2 and a painter a picture1
 by putting thoughts1 forms1 and colors 
in pleasant order4  ,in all these cases1
 observe1 an intended unity must be the 
result of composition4 ,a pavior cannot 
be said to compose the heap of stones   
which he empties from his cart1 nor the 
sower the handful of seed which he      
scatters from his hand4 ,it is the      
essence of composition that everything  
should be in a determined place1 perform
 an intended part1 and act1 in that     

part1 advantageously for everything that
 is connected with it4  #ahi4           
,composition1 understood in this pure   
sense1 is the type1 in the arts of      
mankind1 of the ,providential government
 of the world4#ec ,it is an exhibition1 
in the order given to notes1 or colors1 
or forms1 of the advantage of perfect   
fellowship1 discipline1 and contentment4
 ,in a well-composed air1 no note1      
however short or low1 can be spared1 but
 the least is as necessary as the       
greatest3 no note1 however prolonged1 is
 tedious2 but the others prepare for1   
and are benefited by1 its duration3 no  
note1 however high1 is tyrannous2 the   
others prepare for1 and are benefited   
by1 its exaltation3 no note1 however    
low1 is overpowered2 the others prepare 
for1 and sympathize with1 its humility3 
and the result is1 that each and every  
note has a value in the position        
assigned to it1 which1 by itself1 it    
never possessed1 and of which1 by       
separation from the others1 it would    

instantly be deprived4  #aij4           
,similarly1 in a good poem1 each word   
and thought enhances the value of those 
which precede and follow it2 and every  
syllable has a loveliness which depends 
not so much on its abstract sound as on 
its position4 ,look at the same word in 
a dictionary1 and you will hardly       
recognize it4  ,much more in a great    
picture2 every line and color is so     
arranged as to advantage the rest4 ,none
 are inessential1 however slight2 and   
none are independent1 however forcible4 
,it is not enough that they truly       
represent natural objects2 but they must
 fit into certain places1 and gather    
into certain harmonious groups3 so that1
 for instance1 the red chimney of a     
cottage is not merely set in its place  
as a chimney1 but that it may affect1 in
 a certain way pleasurable to the eye1  
the pieces of green or blue in other    
parts of the picture2 and we ought to   
see that the work is masterly1 merely by
 the positions and quantities of these  

patches of green1 red1 and blue1 even at
 a distance which renders it perfectly  
impossible to determine what the colors 
represent3 or to see whether the red is 
a chimney1 or an old woman's cloak2 and 
whether the blue is smoke1 sky1 or      
water4  #aia4 ,it seems to be appointed1
 in order to remind us1 in all we do1 of
 the great laws of ,divine government   
and human polity1 that composition in   
the arts should strongly affect every   
order of mind1 however unlearned or     
thoughtless4 ,hence the popular delight 
in rhythm and meter1 and in simple      
musical melodies4 ,but it is also       
appointed that power of composition in  
the fine arts should be an exclusive    
attribute of great intellect4 ,all men  
can more or less copy what they see1    
and1 more or less1 remember it3 powers  
of reflection and investigation are also
 common to us all1 so that the decision 
of inferiority in these rests only on   
questions of degree4 ,a4 has a better   
memory than ,b41 and ,c4 reflects more  

profoundly than ,d4 ,but the gift of    
composition is not given at all to more 
than one man in a thousand2 in its      
highest range1 it does not occur above  
three or four times in a century4  #aib4
 ,it follows1 from these general truths1
 that it is impossible to give rules    
which will enable you to compose4 ,you  
might much more easily receive rules to 
enable you to be witty4 ,if it were     
possible to be witty by rule1 wit would 
cease to be either admirable or amusing3
 if it were possible to compose melody  
by rule1 ,mozart and ,cimarosa need not 
have been born3 if it were possible to  
compose pictures by rule1 ,titian and   
,veronese would be ordinary men4 ,the   
essence of composition lies precisely in
 the fact of its being unteachable1 in  
its being the operation of an individual
 mind of range and power exalted above  
others4  ,but though no one can invent  
by rule1 there are some simple laws of  
arrangement which it is well for you to 
know1 because1 though they will not     

enable you to produce a good picture1   
they will often assist you to set forth 
what goodness may be in your work in a  
more telling way than you could have    
done otherwise2 and by tracing them in  
the work of good composers1 you may     
better understand the grasp of their    
imagination1 and the power it possesses 
over their materials4 ,i shall briefly  
state the chief of these laws4   #a4    
,,the ,,law ,,of ,,principality4  #aic4 
,the great object of composition being  
always to secure unity2 that is1 to make
 out of many things one whole2 the first
 mode in which this can be effected is1 
by determining that one feature shall be
 more important than all the rest1 and  
that the others shall group with it in  
subordinate positions4  ,illustration3  
,,fig4 #ca4  ,this is the simplest law  
of ordinary ornamentation4 ,thus the    
group of two leaves1 a1 ,fig4 #ca1 is   
unsatisfactory1 because it has no       
leading leaf2 but that at b is prettier1
 because it has a head or master leaf2  

and c more satisfactory still1 because  
the subordination of the other members  
to this head leaf is made more manifest 
by their gradual loss of size as they   
fall back from it4 ,hence part of the   
pleasure we have in the ,greek          
honeysuckle ornament1 and such others4  
#aid4 ,thus1 also1 good pictures have   
always one light larger and brighter    
than the other lights1 or one figure    
more prominent than the other figures1  
or one mass of color dominant over all  
the other masses2 and in general you    
will find it much benefit your sketch if
 you manage that there shall be one     
light on the cottage wall1 or one blue  
cloud in the sky1 which may attract the 
eye as leading light1 or leading gloom1 
above all others4 ,but the observance of
 the rule is often so cunningly         
concealed by the great composers1 that  
its force is hardly at first traceable2 
and you will generally find they are    
vulgar pictures in which the law is     
strikingly manifest4  #aie4 ,this may be

 simply illustrated by musical melody3  
for instance1 in such phrases as this-- 
,illustration  one note 7here the upper 
,g7 rules the whole passage1 and has the
 full energy of it concentrated in      
itself4 ,such passages1 corresponding to
 completely subordinated compositions in
 painting1 are apt to be wearisome if   
often repeated4 ,but1 in such a phrase  
as this--  ,illustration  it is very    
difficult to say which is the principal 
note4 ,the ,a in the last bar is        
slightly dominant1 but there is a very  
equal current of power running through  
the whole2 and such passages rarely     
weary4 ,and this principle holds through
 vast scales of arrangement2 so that in 
the grandest compositions1 such as ,paul
 ,veronese's ,marriage in ,cana1 or     
,raphaels ,disputa1 it is not easy to   
fix at once on the principal figure2 and
 very commonly the figure which is      
really chief does not catch the eye at  
first1 but is gradually felt to be more 
and more conspicuous as we gaze4 ,thus  

in ,titian's grand composition of the   
,cornaro ,family1 the figure meant to be
 principal is a youth of fifteen or     
sixteen1 whose portrait it was evidently
 the painter's object to make as        
interesting as possible4 ,but a grand   
,madonna1 and a ,st4 ,george with a     
drifting banner1 and many figures more1 
occupy the center of the picture1 and   
first catch the eye2 little by little we
 are led away from them to a gleam of   
pearly light in the lower corner1 and   
find that1 from the head which it shines
 upon1 we can turn our eyes no more4    
#aif4 ,as1 in every good picture1 nearly
 all laws of design are more or less    
exemplified1 it will1 on the whole1 be  
an easier way of explaining them to     
analyze one composition thoroughly1 than
 to give instances from various works4  
,i shall therefore take one of ,turner's
 simplest2 which will allow us1 so to   
speak1 easily to decompose it1 and      
illustrate each law by it as we proceed4
  ,illustration3 ,,fig4 #cb4  ,fig4 #cb 

is a rude sketch of the arrangement of  
the whole subject2 the old bridge over  
the ,moselle at ,coblentz1 the town of  
,coblentz on the right1 ,ehrenbreitstein
 on the left4 ,the leading or master    
feature is1 of course1 the tower on the 
bridge4 ,it is kept from being too      
principal by an important group on each 
side of it2 the boats1 on the right1 and
 ,ehrenbreitstein beyond4 ,the boats are
 large in mass1 and more forcible in    
color1 but they are broken into small   
divisions1 while the tower is simple1   
and therefore it still leads4           
,ehrenbreitstein is noble in its mass1  
but so reduced by arial perspective of  
color that it cannot contend with the   
tower1 which therefore holds the eye1   
and becomes the key of the picture4 ,we 
shall see presently how the very objects
 which seem at first to contend with it 
for the mastery are made1 occultly1 to  
increase its preminence4   #b4 ,,the    
,,law ,,of ,,repetition4  #aig4 ,another
 important means of expressing unity is 

to mark some kind of sympathy among the 
different objects1 and perhaps the      
pleasantest1 because most surprising1   
kind of sympathy1 is when one group     
imitates or repeats another2 not in the 
way of balance or symmetry1 but         
subordinately1 like a far-away and      
broken echo of it4 ,prout has insisted  
much on this law in all his writings on 
composition2 and ,i think it is even    
more authoritatively present in the     
minds of most great composers than the  
law of principality4#ed ,it is quite    
curious to see the pains that ,turner   
sometimes takes to echo an important    
passage of color2 in the ,pembroke      
,castle for instance1 there are two     
fishing-boats1 one with a red1 and      
another with a white sail4 ,in a line   
with them1 on the beach1 are two fish in
 precisely the same relative positions2 
one red and one white4 ,it is observable
 that he uses the artifice chiefly in   
pictures where he wishes to obtain an   
expression of repose3 in my notice of   

the plate of ,scarborough1 in the series
 of the ,harbors of ,england1 ,i have   
already had occasion to dwell on this   
point2 and ,i extract in the note#ee one
 or two sentences which explain the     
principle4 ,in the composition ,i have  
chosen for our illustration1 this       
reduplication is employed to a singular 
extent4 ,the tower1 or leading feature1 
is first repeated by the low echo of it 
to the left2 put your finger over this  
lower tower1 and see how the picture is 
spoiled4 ,then the spires of ,coblentz  
are all arranged in couples 7how they   
are arranged in reality does not matter2
 when we are composing a great picture1 
we must play the towers about till they 
come right1 as fearlessly as if they    
were chessmen instead of cathedrals74   
,the dual arrangement of these towers   
would have been too easily seen1 were it
 not for the little one which pretends  
to make a triad of the last group on the
 right1 but is so faint as hardly to be 
discernible3 it just takes off the      

attention from the artifice1 helped in  
doing so by the mast at the head of the 
boat1 which1 however1 has instantly its 
own duplicate put at the stern4#ef ,then
 there is the large boat near1 and its  
echo beyond it4 ,that echo is divided   
into two again1 and each of those two   
smaller boats has two figures in it2    
while two figures are also sitting      
together on the great rudder that lies  
half in the water1 and half aground4    
,then1 finally1 the great mass of       
,ehrenbreitstein1 which appears at first
 to have no answering form1 has almost  
its facsimile in the bank on which the  
girl is sitting2 this bank is as        
absolutely essential to the completion  
of the picture as any object in the     
whole series4 ,all this is done to      
deepen the effect of repose4  #aih4     
,symmetry1 or the balance of parts or   
masses in nearly equal opposition1 is   
one of the conditions of treatment under
 the law of ,repetition4 ,for the       
opposition1 in a symmetrical object1 is 

of like things reflecting each other3 it
 is not the balance of contrary natures 
7like that of day and night71 but of    
like natures or like forms2 one side of 
a leaf being set like the reflection of 
the other in water4  ,symmetry in       
,nature is1 however1 never formal nor   
accurate4 ,she takes the greatest care  
to secure some difference between the   
corresponding things or parts of things2
 and an approximation to accurate       
symmetry is only permitted in animals1  
because their motions secure perpetual  
difference between the balancing parts4 
,stand before a mirror2 hold your arms  
in precisely the same position at each  
side1 your head upright1 your body      
straight2 divide your hair exactly in   
the middle and get it as nearly as you  
can into exactly the same shape over    
each ear2 and you will see the effect of
 accurate symmetry3 you will see1 no    
less1 how all grace and power in the    
human form result from the interference 
of motion and life with symmetry1 and   

from the reconciliation of its balance  
with its changefulness4 ,your position1 
as seen in the mirror1 is the highest   
type of symmetry as understood by modern
 architects4  #aii4 ,in many sacred     
compositions1 living symmetry1 the      
balance of harmonious opposites1 is one 
of the profoundest sources of their     
power3 almost any works of the early    
painters1 ,angelico1 ,perugino1 ,giotto1
 etc41 will furnish you with notable    
instances of it4 ,the ,madonna of       
,perugino in the ,national ,gallery1    
with the angel ,michael on one side and 
,raphael on the other1 is as beautiful  
an example as you can have4  ,in        
landscape1 the principle of balance is  
more or less carried out1 in proportion 
to the wish of the painter to express   
disciplined calmness4 ,in bad           
compositions1 as in bad architecture1 it
 is formal1 a tree on one side answering
 a tree on the other2 but in good       
compositions1 as in graceful statues1 it
 is always easy and sometimes hardly    

traceable4 ,in the ,coblentz1 however1  
you cannot have much difficulty in      
seeing how the boats on one side of the 
tower and the figures on the other are  
set in nearly equal balance2 the tower1 
as a central mass1 uniting both4   #c4  
,,the ,,law ,,of ,,continuity4  #bjj4   
,another important and pleasurable way  
of expressing unity1 is by giving some  
orderly succession to a number of       
objects more or less similar4 ,and this 
succession is most interesting when it  
is connected with some gradual change in
 the aspect or character of the objects4
 ,thus the succession of the pillars of 
a cathedral aisle is most interesting   
when they retire in perspective1        
becoming more and more obscure in       
distance3 so the succession of mountain 
promontories one behind another1 on the 
flanks of a valley2 so the succession of
 clouds1 fading farther and farther     
towards the horizon2 each promontory and
 each cloud being of different shape1   
yet all evidently following in a calm   

and appointed order4 ,if there be no    
change at all in the shape or size of   
the objects1 there is no continuity2    
there is only repetition--monotony4 ,it 
is the change in shape which suggests   
the idea of their being individually    
free1 and able to escape1 if they like1 
from the law that rules them1 and yet   
submitting to it4  ,illustration3 ,,fig4
 #cc4  #bja4 ,i will leave our chosen   
illustrative composition for a moment to
 take up another1 still more expressive 
of this law4 ,it is one of ,turner's    
most tender studies1 a sketch on ,calais
 ,sands at sunset2 so delicate in the   
expression of wave and cloud1 that it is
 of no use for me to try to reach it    
with any kind of outline in a wood-cut2 
but the rough sketch1 ,fig4 #cc1 is     
enough to give an idea of its           
arrangement4 ,the aim of the painter has
 been to give the intensest expression  
of repose1 together with the enchanted1 
lulling1 monotonous motion of cloud and 
wave4 ,all the clouds are moving in     

innumerable ranks after the sun1 meeting
 towards that point in the horizon where
 he has set2 and the tidal waves gain in
 winding currents upon the sand1 with   
that stealthy haste in which they cross 
each other so quietly1 at their edges2  
just folding one over another as they   
meet1 like a little piece of ruffled    
silk1 and leaping up a little as two    
children kiss and clap their hands1 and 
then going on again1 each in its silent 
hurry1 drawing pointed arches on the    
sand as their thin edges intersect in   
parting4 ,but all this would not have   
been enough expressed without the line  
of the old pier-timbers1 black with     
weeds1 strained and bent by the storm   
waves1 and now seeming to stoop in      
following one another1 like dark ghosts 
escaping slowly from the cruelty of the 
pursuing sea4  #bjb4 ,i need not1 ,i    
hope1 point out to the reader the       
illustration of this law of continuance 
in the subject chosen for our general   
illustration4 ,it was simply that       

gradual succession of the retiring      
arches of the bridge which induced      
,turner to paint the subject at all2 and
 it was this same principle which led   
him always to seize on subjects         
including long bridges wherever he could
 find them2 but especially1 observe1    
unequal bridges1 having the highest arch
 at one side rather than at the center4 
,there is a reason for this1            
irrespective of general laws of         
composition1 and connected with the     
nature of rivers1 which ,i may as well  
stop a minute to tell you about1 and let
 you rest from the study of composition4
  #bjc4 ,all rivers1 small or large1    
agree in one character1 they like to    
lean a little on one side3 they cannot  
bear to have their channels deepest in  
the middle1 but will always1 if they    
can1 have one bank to sun themselves    
upon1 and another to get cool under2 one
 shingly shore to play over1 where they 
may be shallow1 and foolish1 and        
childlike1 and another steep shore1     

under which they can pause1 and purify  
themselves1 and get their strength of   
waves fully together for due occasion4  
,rivers in this way are just like wise  
men1 who keep one side of their life for
 play1 and another for work2 and can be 
brilliant1 and chattering1 and          
transparent1 when they are at ease1 and 
yet take deep counsel on the other side 
when they set themselves to their main  
purpose4 ,and rivers are just in this   
divided1 also1 like wicked and good men3
 the good rivers have serviceable deep  
places all along their banks1 that ships
 can sail in2 but the wicked rivers go  
scooping irregularly under their banks  
until they get full of strangling       
eddies1 which no boat can row over      
without being twisted against the rocks2
 and pools like wells1 which no one can 
get out of but the water-kelpie that    
lives at the bottom2 but1 wicked or     
good1 the rivers all agree in having two
 kinds of sides4 ,now the natural way in
 which a village stone-mason therefore  

throws a bridge over a strong stream is1
 of course1 to build a great door to let
 the cat through1 and little doors to   
let the kittens through2 a great arch   
for the great current1 to give it room  
in flood time1 and little arches for the
 little currents along the shallow      
shore4 ,this1 even without any          
prudential respect for the floods of the
 great current1 he would do in simple   
economy of work and stone2 for the      
smaller your arches are1 the less       
material you want on their flanks4 ,two 
arches over the same span of river1     
supposing the butments are at the same  
depth1 are cheaper than one1 and that by
 a great deal2 so that1 where the       
current is shallow1 the village mason   
makes his arches many and low3 as the   
water gets deeper1 and it becomes       
troublesome to build his piers up from  
the bottom1 he throws his arches wider2 
at last he comes to the deep stream1    
and1 as he cannot build at the bottom of
 that1 he throws his largest arch over  

it with a leap1 and with another little 
one or so gains the opposite shore4 ,of 
course as arches are wider they must be 
higher1 or they will not stand2 so the  
roadway must rise as the arches widen4  
,and thus we have the general type of   
bridge1 with its highest and widest arch
 towards one side1 and a train of minor 
arches running over the flat shore on   
the other3 usually a steep bank at the  
river-side next the large arch2 always1 
of course1 a flat shore on the side of  
the small ones3 and the bend of the     
river assuredly concave towards this    
flat1 cutting round1 with a sweep into  
the steep bank2 or1 if there is no steep
 bank1 still assuredly cutting into the 
shore at the steep end of the bridge4   
,now this kind of bridge1 sympathizing1 
as it does1 with the spirit of the      
river1 and marking the nature of the    
thing it has to deal with and conquer1  
is the ideal of a bridge2 and all       
endeavors to do the thing in a grand    
engineer's manner1 with a level roadway 

and equal arches1 are barbarous2 not    
only because all monotonous forms are   
ugly in themselves1 but because the mind
 perceives at once that there has been  
cost uselessly thrown away for the sake 
of formality4#eg  ,illustration3 ,,fig4 
#cd4  #bjd4 ,well1 to return to our     
continuity4 ,we see that the ,turnerian 
bridge in ,fig4 #cb is of the absolutely
 perfect type1 and is still farther     
interesting by having its main arch     
crowned by a watch-tower4 ,but as ,i    
want you to note especially what perhaps
 was not the case in the real bridge1   
but is entirely ,turner's doing1 you    
will find that though the arches        
diminish gradually1 not one is regularly
 diminished--they are all of different  
shapes and sizes3 you cannot see this   
clearly in ,fig4 #cb1 but in the larger 
diagram1 ,fig4 #cd1 over leaf1 you will 
with ease4 ,this is indeed also part of 
the ideal of a bridge1 because the      
lateral currents near the shore are of  
course irregular in size1 and a simple  

builder would naturally vary his arches 
accordingly2 and also1 if the bottom was
 rocky1 build his piers where the rocks 
came4 ,but it is not as a part of bridge
 ideal1 but as a necessity of all noble 
composition1 that this irregularity is  
introduced by ,turner4 ,it at once      
raises the object thus treated from the 
lower or vulgar unity of rigid law to   
the greater unity of clouds1 and waves1 
and trees1 and human souls1 each        
different1 each obedient1 and each in   
harmonious service4   #d4 ,,the ,,law   
,,of ,,curvature4  #bje4 ,there is1     
however1 another point to be noticed in 
this bridge of ,turner's4 ,not only does
 it slope away unequally at its sides1  
but it slopes in a gradual though very  
subtle curve4 ,and if you substitute a  
straight line for this curve 7drawing   
one with a rule from the base of the    
tower on each side to the ends of the   
bridge1 in ,fig4 #cd1 and effacing the  
curve71 you will instantly see that the 
design has suffered grievously4 ,you may

 ascertain1 by experiment1 that all     
beautiful objects whatsoever are thus   
terminated by delicately curved lines1  
except where the straight line is       
indispensable to their use or stability2
 and that when a complete system of     
straight lines1 throughout the form1 is 
necessary to that stability1 as in      
crystals1 the beauty1 if any exists1 is 
in color and transparency1 not in form4 
,cut out the shape of any crystal you   
like1 in white wax or wood1 and put it  
beside a white lily1 and you will feel  
the force of the curvature in its       
purity1 irrespective of added color1 or 
other interfering elements of beauty4   
,illustration3 ,,fig4 #ce4  #bjf4 ,well1
 as curves are more beautiful than      
straight lines1 it is necessary to a    
good composition that its continuities  
of object1 mass1 or color should be1 if 
possible1 in curves1 rather than        
straight lines or angular ones4 ,perhaps
 one of the simplest and prettiest      
examples of a graceful continuity of    

this kind is in the line traced at any  
moment by the corks of a net as it is   
being drawn3 nearly every person is more
 or less attracted by the beauty of the 
dotted line4 ,now1 it is almost always  
possible1 not only to secure such a     
continuity in the arrangement or        
boundaries of objects which1 like these 
bridge arches or the corks of the net1  
are actually connected with each other1 
but--and this is a still more noble and 
interesting kind of continuity--among   
features which appear at first entirely 
separate4 ,thus the towers of           
,ehrenbreitstein1 on the left1 in ,fig4 
#cb1 appear at first independent of each
 other2 but when ,i give their profile1 
on a larger scale1 ,fig4 #ce1 the reader
 may easily perceive that there is a    
subtle cadence and harmony among them4  
,the reason of this is1 that they are   
all bounded by one grand curve1 traced  
by the dotted line2 out of the seven    
towers1 four precisely touch this curve1
 the others only falling hack from it   

here and there to keep the eye from     
discovering it too easily4              
,illustration3 ,,fig4 #cf4  #bjg4 ,and  
it is not only always possible to obtain
 continuities of this kind3 it is1 in   
drawing large forests or mountain forms1
 essential to truth4 ,the towers of     
,ehrenbreitstein might or might not in  
reality fall into such a curve1 but     
assuredly the basalt rock on which they 
stand did2 for all mountain forms not   
cloven into absolute precipice1 nor     
covered by straight slopes of shales1   
are more or less governed by these great
 curves1 it being one of the aims of    
,nature in all her work to produce them4
 ,the reader must already know this1 if 
he has been able to sketch at all among 
mountains2 if not1 let him merely draw  
for himself1 carefully1 the outlines of 
any low hills accessible to him1 where  
they are tolerably steep1 or of the     
woods which grow on them4 ,the steeper  
shore of the ,thames at ,maidenhead1 or 
any of the downs at ,brighton or ,dover1

 or1 even nearer1 about ,croydon 7as    
,addington ,hills71 is easily accessible
 to a ,londoner2 and he will soon find  
not only how constant1 but how graceful 
the curvature is4 ,graceful curvature is
 distinguished from ungraceful by two   
characters2 first in its moderation1    
that is to say1 its close approach to   
straightness in some part of its        
course2#eh and1 secondly1 by its        
variation1 that is to say1 its never    
remaining equal in degree at different  
parts of its course4  #bjh4 ,this       
variation is itself twofold in all good 
curves4  ,illustration3 ,,fig4 #cg4  ,a4
 ,there is1 first1 a steady change      
through the whole line1 from less to    
more curvature1 or more to less1 so that
 no part of the line is a segment of a  
circle1 or can be drawn by compasses in 
any way whatever4 ,thus1 in ,fig4 #cf1 a
 is a bad curve because it is part of a 
circle1 and is therefore monotonous     
throughout2 but b is a good curve1      
because it continually changes its      

direction as it proceeds4               
,illustration3 ,,fig4 #ch4  ,the first  
difference between good and bad drawing 
of tree boughs consists in observance of
 this fact4 ,thus1 when ,i put leaves on
 the line b1 as in ,fig4 #cg1 you can   
immediately feel the springiness of     
character dependent on the changefulness
 of the curve4 ,you may put leaves on   
the other line for yourself1 but you    
will find you cannot make a right tree  
spray of it4 ,for all tree boughs1 large
 or small1 as well as all noble natural 
lines whatsoever1 agree in this         
character2 and it is a point of primal  
necessity that your eye should always   
seize and your hand trace it4 ,here are 
two more portions of good curves1 with  
leaves put on them at the extremities   
instead of the flanks1 ,fig4 #ch2 and   
two showing the arrangement of masses of
 foliage seen a little farther off1     
,fig4 #ci1 which you may in like manner 
amuse yourself by turning into segments 
of circles--you will see with what      

result4 ,i hope however you have beside 
you1 by this time1 many good studies of 
tree boughs carefully made1 in which you
 may study variations of curvature in   
their most complicated and lovely       
forms4#ei  ,illustration3 ,,fig4 #ci4   
,illustration3 ,,fig4 #dj4  #bji4 ,b4   
,not only does every good curve vary in 
general tendency1 but it is modulated1  
as it proceeds1 by myriads of           
subordinate curves4 ,thus the outlines  
of a tree trunk are never as at a1 ,fig4
 #dj1 but as at b4 ,so also in waves1   
clouds1 and all other nobly formed      
masses4 ,thus another essential         
difference between good and bad drawing1
 or good and bad sculpture1 depends on  
the quantity and refinement of minor    
curvatures carried1 by good work1 into  
the great lines4 ,strictly speaking1    
however1 this is not variation in large 
curves1 but composition of large curves 
out of small ones2 it is an increase in 
the quantity of the beautiful element1  
but not a change in its nature4   #e4   

,,the ,,law ,,of ,,radiation4  #baj4 ,we
 have hitherto been concerned only with 
the binding of our various objects into 
beautiful lines or processions4 ,the    
next point we have to consider is1 how  
we may unite these lines or processions 
themselves1 so as to make groups of     
them4  ,illustration3 ,,fig4 #da4       
,illustration3 ,,fig4 #db4  ,now1 there 
are two kinds of harmonies of lines4    
,one in which1 moving more or less side 
by side1 they variously1 but evidently  
with consent1 retire from or approach   
each other1 intersect or oppose each    
other2 currents of melody in music1 for 
different voices1 thus approach and     
cross1 fall and rise1 in harmony2 so the
 waves of the sea1 as they approach the 
shore1 flow into one another or cross1  
but with a great unity through all2 and 
so various lines of composition often   
flow harmoniously through and across    
each other in a picture4 ,but the most  
simple and perfect connection of lines  
is by radiation2 that is1 by their all  

springing from one point1 or closing    
towards it2 and this harmony is often1  
in ,nature almost always1 united with   
the other2 as the boughs of trees1      
though they intersect and play amongst  
each other irregularly1 indicate by     
their general tendency their origin from
 one root4 ,an essential part of the    
beauty of all vegetable form is in this 
radiation2 it is seen most simply in a  
single flower or leaf1 as in a          
convolvulus bell1 or chestnut leaf2 but 
more beautifully in the complicated     
arrangements of the large boughs and    
sprays4 ,for a leaf is only a flat piece
 of radiation2 but the tree throws its  
branches on all sides1 and even in every
 profile view of it1 which presents a   
radiation more or less correspondent to 
that of its leaves1 it is more          
beautiful1 because varied by the freedom
 of the separate branches4 ,i believe it
 has been ascertained that1 in all      
trees1 the angle at which1 in their     
leaves1 the lateral ribs are set on     

their central rib is approximately the  
same at which the branches leave the    
great stem2 and thus each section of the
 tree would present a kind of magnified 
view of its own leaf1 were it not for   
the interfering force of gravity on the 
masses of foliage4 ,this force in       
proportion to their age1 and the lateral
 leverage upon them1 bears them         
downwards at the extremities1 so that1  
as before noticed1 the lower the bough  
grows on the stem1 the more it droops   
7,fig4 #ag1 p4 #fg72 besides this1      
nearly all beautiful trees have a       
tendency to divide into two or more     
principal masses1 which give a prettier 
and more complicated symmetry than if   
one stem ran all the way up the center4 
,fig4 #da may thus be considered the    
simplest type of tree radiation1 as     
opposed to leaf radiation4 ,in this     
figure1 however1 all secondary          
ramification is unrepresented1 for the  
sake of simplicity2 but if we take one  
half of such a tree1 and merely give two

 secondary branches to each main branch 
7as represented in the general branch   
structure shown at b1 ,fig4 #ah1 p4     
#fh71 we shall have the form ,fig4 #db4 
,this ,i consider the perfect general   
type of tree structure2 and it is       
curiously connected with certain forms  
of ,greek1 ,byzantine1 and ,gothic      
ornamentation1 into the discussion of   
which1 however1 we must not enter here4 
,it will be observed1 that both in      
,figs4 #da and #db all the branches so  
spring from the main stem as very nearly
 to suggest their united radiation from 
the root ,r4 ,this is by no means       
universally the case2 but if the        
branches do not bend towards a point in 
the root1 they at least converge to some
 point or other4 ,in the examples in    
,fig4 #dc1 the mathematical center of   
curvature1 a1 is thus1 in one case1 on  
the ground1 at some distance from the   
root1 and in the other1 near the top of 
the tree4 ,half1 only1 of each tree is  
given1 for the sake of clearness3 ,fig4 

#dd gives both sides of another example1
 in which the origins of curvature are  
below the root4 ,as the positions of    
such points may be varied without end1  
and as the arrangement of the lines is  
also farther complicated by the fact of 
the boughs springing for the most part  
in a spiral order round the tree1 and at
 proportionate distances1 the systems of
 curvature which regulate the form of   
vegetation are quite infinite4 ,infinite
 is a word easily said1 and easily      
written1 and people do not always mean  
it when they say it2 in this case ,i do 
mean it3 the number of systems is       
incalculable1 and even to furnish       
anything like a representative number of
 types1 ,i should have to give several  
hundreds of figures such as ,fig4 #dd4fj
  ,illustration3 ,,fig4 #dc4            
,illustration3 ,,fig4 #dd4              
,illustration3 ,,fig4 #de4  #baa4 ,thus 
far1 however1 we have only been speaking
 of the great relations of stem and     
branches4 ,the forms of the branches    

themselves are regulated by still more  
subtle laws1 for they occupy an         
intermediate position between the form  
of the tree and of the leaf4 ,the leaf  
has a flat ramification2 the tree a     
completely rounded one2 the bough is    
neither rounded nor flat1 but has a     
structure exactly balanced between the  
two1 in a half-flattened1 half-rounded  
flake1 closely resembling in shape one  
of the thick leaves of an artichoke or  
the flake of a fir cone2 by combination 
forming the solid mass of the tree1 as  
the leaves compose the artichoke head4  
,i have before pointed out to you the   
general resemblance of these branch     
flakes to an extended hand2 but they may
 be more accurately represented by the  
ribs of a boat4 ,if you can imagine a   
very broad-headed and flattened boat    
applied by its keel to the end of a main
 branch1#fa as in ,fig4 #de1 the lines  
which its ribs will take1 supposing them
 outside of its timbers instead of      
inside1 and the general contour of it1  

as seen in different directions1 from   
above and below1 will give you the      
closest approximation to the            
perspectives and foreshortenings of a   
well-grown branch-flake4 ,fig4 #be      
above1 p4 #hi1 is an unharmed and       
unrestrained shoot of healthy young oak2
 and1 if you compare it with ,fig4 #de1 
you will understand at once the action  
of the lines of leafage2 the boat only  
failing as a type in that its ribs are  
too nearly parallel to each other at the
 sides1 while the bough sends all its   
ramification well forwards1 rounding to 
the head1 that it may accomplish its    
part in the outer form of the whole     
tree1 yet always securing the compliance
 with the great universal law that the  
branches nearest the root bend most     
back2 and1 of course1 throwing some     
always back as well as forwards2 the    
appearance of reversed action being much
 increased1 and rendered more striking  
and beautiful1 by perspective4 ,fig4 #be
 shows the perspective of such a bough  

as it is seen from below2 ,fig4 #df     
gives rudely the look it would have from
 above4  ,illustration3 ,,fig4 #df4     
#bab4 ,you may suppose1 if you have not 
already discovered1 what subtleties of  
perspective and light and shade are     
involved in the drawing of these        
branch-flakes1 as you see them in       
different directions and actions2 now   
raised1 now depressed3 touched on the   
edges by the wind1 or lifted up and bent
 back so as to show all the white under 
surfaces of the leaves shivering in     
light1 as the bottom of a boat rises    
white with spray at the surge-crest2 or 
drooping in quietness towards the dew of
 the grass beneath them in windless     
mornings1 or bowed down under oppressive
 grace of deep-charged snow4 ,snow time1
 by the way1 is one of the best for     
practice in the placing of tree masses2 
but you will only be able to understand 
them thoroughly by beginning with a     
single bough and a few leaves placed    
tolerably even1 as in ,fig4 #ch1 p4     

#adi4 ,first one with three leaves1 a   
central and two lateral ones1 as at a2  
then with five1 as at b1 and so on2     
directing your whole attention to the   
expression1 both by contour and light   
and shade1 of the boat-like             
arrangements1 which1 in your earlier    
studies1 will have been a good deal     
confused1 partly owing to your          
inexperience1 and partly to the depth of
 shade1 or absolute blackness of mass   
required in those studies4  #bac4 ,one  
thing more remains to be noted1 and ,i  
will let you out of the wood4 ,you see  
that in every generally representative  
figure ,i have surrounded the radiating 
branches with a dotted line3 such lines 
do indeed terminate every vegetable     
form2 and you see that they are         
themselves beautiful curves1 which1     
according to their flow1 and the width  
or narrowness of the spaces they        
inclose1 characterize the species of    
tree or leaf1 and express its free or   
formal action1 its grace of youth or    

weight of age4 ,so that1 throughout all 
the freedom of her wildest foliage1     
,nature is resolved on expressing an    
encompassing limit2 and marking a unity 
in the whole tree1 caused not only by   
the rising of its branches from a common
 root1 but by their joining in one work1
 and being bound by a common law4 ,and  
having ascertained this1 let us turn    
back for a moment to a point in leaf    
structure which1 ,i doubt not1 you must 
already have observed in your earlier   
studies1 but which it is well to state  
here1 as connected with the unity of the
 branches in the great trees4 ,you must 
have noticed1 ,i should think1 that     
whenever a leaf is compound1--that is to
 say1 divided into other leaflets which 
in any way repeat or imitate the form of
 the whole leaf1--those leaflets are not
 symmetrical1 as the whole leaf is1 but 
always smaller on the side towards the  
point of the great leaf1 so as to       
express their subordination to it1 and  
show1 even when they are pulled off1    

that they are not small independent     
leaves1 but members of one large leaf4  
#bad4 ,fig4 #dg1 which is a block-plan  
of a leaf of columbine1 without its     
minor divisions on the edges1 will      
illustrate the principle clearly4 ,it is
 composed of a central large mass1 ,a1  
and two lateral ones1 of which the one  
on the right only is lettered1 ,b4 ,each
 of these masses is again composed of   
three others1 a central and two lateral 
ones2 but observe1 the minor one1 a of  
,a1 is balanced equally by its opposite2
 but the minor b #a of ,b is larger than
 its opposite b #b4 ,again1 each of     
these minor masses is divided into      
three2 but while the central mass1 ,a of
 ,a1 is symmetrically divided1 the ,b of
 ,b is unsymmetrical1 its largest       
side-lobe being lowest4 ,again1 in b #b1
 the lobe c #a 7its lowest lobe in      
relation to ,b7 is larger than c #b2 and
 so also in b #a4 ,so that universally  
one lobe of a lateral leaf is always    
larger than the other1 and the smaller  

lobe is that which is nearer the central
 mass2 the lower leaf1 as it were by    
courtesy1 subduing some of its own      
dignity or power1 in the immediate      
presence of the greater or captain leaf1
 and always expressing1 therefore1 its  
own subordination and secondary         
character4 ,this law is carried out even
 in single leaves4 ,as far as ,i know1  
the upper half1 towards the point of the
 spray1 is always the smaller2 and a    
slightly different curve1 more convex at
 the springing1 is used for the lower   
side1 giving an exquisite variety to the
 form of the whole leaf2 so that one of 
the chief elements in the beauty of     
every subordinate leaf throughout the   
tree is made to depend on its confession
 of its own lowliness and subjection4   
,illustration3 ,,fig4 #dg4  #bae4 ,and  
now1 if we bring together in one view   
the principles we have ascertained in   
trees1 we shall find they may be summed 
under four great laws2 and that all     
perfect#fb vegetable form is appointed  

to express these four laws in noble     
balance of authority4  #a4 ,support from
 one living root4  #b4 ,radiation1 or   
tendency of force from some one given   
point1 either in the root or in some    
stated connection with it4  #c4 ,liberty
 of each bough to seek its own          
livelihood and happiness according to   
its needs1 by irregularities of action  
both in its play and its work1 either   
stretching out to get its required      
nourishment from light and rain1 by     
finding some sufficient breathing-place 
among the other branches1 or knotting   
and gathering itself up to get strength 
for any load which its fruitful blossoms
 may lay upon it1 and for any stress of 
its storm-tossed luxuriance of leaves2  
or playing hither and thither as the    
fitful sunshine may tempt its young     
shoots1 in their undecided states of    
mind about their future life4  #d4      
,imperative requirement of each bough to
 stop within certain limits1 expressive 
of its kindly fellowship and fraternity 

with the boughs in its neighborhood2 and
 to work with them according to its     
power1 magnitude1 and state of health1  
to bring out the general perfectness of 
the great curve1 and circumferent       
stateliness of the whole tree4  #baf4 ,i
 think ,i may leave you1 unhelped1 to   
work out the moral analogies of these   
laws2 you may1 perhaps1 however1 be a   
little puzzled to see the meaning of the
 second one4 ,it typically expresses    
that healthy human actions should spring
 radiantly 7like rays7 from some single 
heart motive2 the most beautiful systems
 of action taking place when this motive
 lies at the root of the whole life1 and
 the action is clearly seen to proceed  
from it2 while also many beautiful      
secondary systems of action taking place
 from motives not so deep or central1   
but in some beautiful subordinate       
connection with the central or life     
motive4  ,the other laws1 if you think  
over them1 you will find equally        
significative2 and as you draw trees    

more and more in their various states of
 health and hardship1 you will be every 
day more struck by the beauty of the    
types they present of the truths most   
essential for mankind to know2#fc and   
you will see what this vegetation of the
 earth1 which is necessary to our life1 
first1 as purifying the air for us and  
then as food1 and just as necessary to  
our joy in all places of the            
earth1--what these trees and leaves1 ,i 
say1 are meant to teach us as we        
contemplate them1 and read or hear their
 lovely language1 written or spoken for 
us1 not in frightful black letters nor  
in dull sentences1 but in fair green and
 shadowy shapes of waving words1 and    
blossomed brightness of odoriferous wit1
 and sweet whispers of unintrusive      
wisdom1 and playful morality4  #bag4    
,well1 ,i am sorry myself to leave the  
wood1 whatever my reader may be2 but    
leave it we must1 or we shall compose no
 more pictures to-day4  ,this law of    
radiation1 then1 enforcing unison of    

action in arising from1 or proceeding   
to1 some given point1 is perhaps1 of all
 principles of composition1 the most    
influential in producing the beauty of  
groups of form4 ,other laws make them   
forcible or interesting1 but this       
generally is chief in rendering them    
beautiful4 ,in the arrangement of masses
 in pictures1 it is constantly obeyed by
 the great composers2 but1 like the law 
of principality1 with careful           
concealment of its imperativeness1 the  
point to which the lines of main        
curvature are directed being very often 
far away out of the picture4 ,sometimes1
 however1 a system of curves will be    
employed definitely to exalt1 by their  
concurrence1 the value of some leading  
object1 and then the law becomes        
traceable enough4  #bah4 ,in the        
instance before us1 the principal object
 being1 as we have seen1 the tower on   
the bridge1 ,turner has determined that 
his system of curvature should have its 
origin in the top of this tower4 ,the   

diagram ,fig4 #cd1 p4 #ade1 compared    
with ,fig4 #cb1 p4 #acg1 will show how  
this is done4 ,one curve joins the two  
towers1 and is continued by the back of 
the figure sitting on the bank into the 
piece of bent timber4 ,this is a        
limiting curve of great importance1 and 
,turner has drawn a considerable part of
 it with the edge of the timber very    
carefully1 and then led the eye up to   
the sitting girl by some white spots and
 indications of a ledge in the bank2    
then the passage to the tops of the     
towers cannot be missed4  #bai4 ,the    
next curve is begun and drawn carefully 
for half an inch of its course by the   
rudder2 it is then taken up by the      
basket and the heads of the figures1 and
 leads accurately to the tower angle4   
,the gunwales of both the boats begin   
the next two curves1 which meet in the  
same point2 and all are centralized by  
the long reflection which continues the 
vertical lines4  #bbj4 ,subordinated to 
this first system of curves there is    

another1 begun by the small crossing bar
 of wood inserted in the angle behind   
the rudder2 continued by the bottom of  
the bank on which the figure sits1      
interrupted forcibly beyond it1#fd but  
taken up again by the water-line leading
 to the bridge foot1 and passing on in  
delicate shadows under the arches1 not  
easily shown in so rude a diagram1      
towards the other extremity of the      
bridge4 ,this is a most important curve1
 indicating that the force and sweep of 
the river have indeed been in old times 
under the large arches2 while the       
antiquity of the bridge is told us by a 
long tongue of land1 either of carted   
rubbish1 or washed down by some minor   
stream1 which has interrupted this      
curve1 and is now used as a             
landing-place for the boats1 and for    
embarkation of merchandise1 of which    
some bales and bundles are laid in a    
heap1 immediately beneath the great     
tower4 ,a common composer would have put
 these bales to one side or the other1  

but ,turner knows better2 he uses them  
as a foundation for his tower1 adding to
 its importance precisely as the        
sculptured base adorns a pillar2 and he 
farther increases the aspect of its     
height by throwing the reflection of it 
far down in the nearer water4 ,all the  
great composers have this same feeling  
about sustaining their vertical masses3 
you will constantly find ,prout using   
the artifice most dexterously 7see1 for 
instance1 the figure with the           
wheelbarrow under the great tower1 in   
the sketch of ,st4 ,nicholas1 at        
,prague1 and the white group of figures 
under the tower in the sketch of        
,augsburg#fe72 and ,veronese1 ,titian1  
and ,tintoret continually put their     
principal figures at bases of pillars4  
,turner found out their secret very     
early1 the most prominent instance of   
his composition on this principle being 
the drawing of ,turin from the ,superga1
 in ,hakewell's ,italy4 ,i chose ,fig4  
#bj1 already given to illustrate foliage

 drawing1 chiefly because1 being another
 instance of precisely the same         
arrangement1 it will serve to convince  
you of its being intentional4 ,there1   
the vertical1 formed by the larger tree1
 is continued by the figure of the      
farmer1 and that of one of the smaller  
trees by his stick4 ,the lines of the   
interior mass of the bushes radiate1    
under the law of radiation1 from a point
 behind the farmer's head2 but their    
outline curves are carried on and       
repeated1 under the law of continuity1  
by the curves of the dog and boy--by the
 way1 note the remarkable instance in   
these of the use of darkest lines       
towards the light--all more or less     
guiding the eye up to the right1 in     
order to bring it finally to the ,keep  
of ,windsor1 which is the central object
 of the picture1 as the bridge tower is 
in the ,coblentz4 ,the wall on which the
 boy climbs answers the purpose of      
contrasting1 both in direction and      
character1 with these greater curves2   

thus corresponding as nearly as possible
 to the minor tongue of land in the     
,coblentz4 ,this1 however1 introduces us
 to another law1 which we must consider 
separately4   #f4 ,,the ,,law ,,of      
,,contrast4  #bba4 ,of course the       
character of everything is best         
manifested by ,contrast4 ,rest can only 
be enjoyed after labor2 sound to be     
heard clearly1 must rise out of silence2
 light is exhibited by darkness1        
darkness by light2 and so on in all     
things4 ,now in art every color has an  
opponent color1 which1 if brought near  
it1 will relieve it more completely than
 any other2 so1 also1 every form and    
line may be made more striking to the   
eye by an opponent form or line near    
them2 a curved line is set off by a     
straight one1 a massy form by a slight  
one1 and so on2 and in all good work    
nearly double the value1 which any given
 color or form would have uncombined1 is
 given to each by contrast4#ff  ,in this
 case again1 however1 a too manifest use

 of the artifice vulgarizes a picture4  
,great painters do not commonly1 or very
 visibly1 admit violent contrast4 ,they 
introduce it by stealth1 and with       
intermediate links of tender change2    
allowing1 indeed1 the opposition to tell
 upon the mind as a surprise1 but not as
 a shock4#fg  #bbb4 ,thus in the rock of
 ,ehrenbreitstein1 ,fig4 #ce1 the main  
current of the lines being downwards1 in
 a convex swell1 they are suddenly      
stopped at the lowest tower by a counter
 series of beds1 directed nearly        
straight across them4 ,this adverse     
force sets off and relieves the great   
curvature1 but it is reconciled to it by
 a series of radiating lines below1     
which at first sympathize with the      
oblique bar1 then gradually get steeper1
 till they meet and join in the fall of 
the great curve4 ,no passage1 however   
intentionally monotonous1 is ever       
introduced by a good artist without some
 slight counter current of this kind2 so
 much1 indeed1 do the great composers   

feel the necessity of it1 that they will
 even do things purposely ill or        
unsatisfactorily1 in order to give      
greater value to their well-doing in    
other places4 ,in a skillful poet's     
versification the so-called bad or      
inferior lines are not inferior because 
he could not do them better1 but because
 he feels that if all were equally      
weighty1 there would be no real sense of
 weight anywhere2 if all were equally   
melodious1 the melody itself would be   
fatiguing2 and he purposely introduces  
the laboring or discordant verse1 that  
the full ring may be felt in his main   
sentence1 and the finished sweetness in 
his chosen rhythm4#fh ,and continually  
in painting1 inferior artists destroy   
their work by giving too much of all    
that they think is good1 while the great
 painter gives just enough to be        
enjoyed1 and passes to an opposite kind 
of enjoyment1 or to an inferior state of
 enjoyment3 he gives a passage of rich1 
involved1 exquisitely wrought color1    

then passes away into slight1 and pale1 
and simple color2 he paints for a minute
 or two with intense decision1 then     
suddenly becomes1 as the spectator      
thinks1 slovenly2 but he is not         
slovenly3 you could not have taken any  
more decision from him just then2 you   
have had as much as is good for you3 he 
paints over a great space of his picture
 forms of the most rounded and melting  
tenderness1 and suddenly1 as you think  
by a freak1 gives you a bit as jagged   
and sharp as a leafless blackthorn4     
,perhaps the most exquisite piece of    
subtle contrast in the world of painting
 is the arrow point1 laid sharp against 
the white side and among the flowing    
hair of ,correggio's ,antiope4 ,it is   
quite singular how very little contrast 
will sometimes serve to make an entire  
group of forms interesting which would  
otherwise have been valueless4 ,there is
 a good deal of picturesque material1   
for instance1 in this top of an old     
tower1 ,fig4 #dh1 tiles and stones and  

sloping roof not disagreeably mingled2  
but all would have been unsatisfactory  
if there had not happened to be that    
iron ring on the inner wall1 which by   
its vigorous black circular line        
precisely opposes all the square and    
angular characters of the battlements   
and roof4 ,draw the tower without the   
ring1 and see what a difference it will 
make4  ,illustration3 ,,fig4 #dh4  #bbc4
 ,one of the most important applications
 of the law of contrast is in           
association with the law of continuity1 
causing an unexpected but gentle break  
in a continuous series4 ,this artifice  
is perpetual in music1 and perpetual    
also in good illumination2 the way in   
which little surprises of change are    
prepared in any current borders1 or     
chains of ornamental design1 being one  
of the most subtle characteristics of   
the work of the good periods4 ,we take1 
for instance1 a bar of ornament between 
two written columns of an early         
fourteenth century ,,ms41 and at the    

first glance we suppose it to be quite  
monotonous all the way up1 composed of a
 winding tendril1 with alternately a    
blue leaf and a scarlet bud4 ,presently1
 however1 we see that1 in order to      
observe the law of principality1 there  
is one large scarlet leaf instead of a  
bud1 nearly half-way up1 which forms a  
center to the whole rod2 and when we    
begin to examine the order of the       
leaves1 we find it varied carefully4    
,let ,a stand for scarlet bud1 b for    
blue leaf1 c for two blue leaves on one 
stalk1 s for a stalk without a leaf1 and
 ,r1 for the large red leaf4 ,then1     
counting from the ground1 the order     
begins as follows3  b1 b1 ,a2 b1 s1 b1  
,a2 b1 b1 ,a2 b1 b1 ,a2 and we think we 
shall have two b's and an ,a all the    
way1 when suddenly it becomes b1 ,a2 b1 
,r2 b1 ,a2 b1 ,a2 b1 ,a2 and we think we
 are going to have b1 ,a continued2 but 
no3 here it becomes b1 s2 b1 s2 b1 ,a2  
b1 s2 b1 s2 c1 s2 b1 s2 b1 s2 and we    
think we are surely going to have b1 s  

continued1 but behold it runs away to   
the end with a quick b1 b1 ,a2 b1 b1 b1 
b6#fi ,very often1 however1 the designer
 is satisfied with one surprise1 but ,i 
never saw a good illuminated border     
without one at least2 and no series of  
any kind was ever introduced by a great 
composer in a painting without a snap   
somewhere4 ,there is a pretty one in    
,turner's drawing of ,rome with the     
large balustrade for a foreground in the
 ,hakewell's ,italy series3 the single  
baluster struck out of the line1 and    
showing the street below through the    
gap1 simply makes the whole composition 
right1 when otherwise it would have been
 stiff and absurd4  #bbd4 ,if you look  
back to ,fig4 #dh you will see1 in the  
arrangement of the battlements1 a simple
 instance of the use of such variation4 
,the whole top of the tower1 though     
actually three sides of a square1       
strikes the eye as a continuous series  
of five masses4 ,the first two1 on the  
left1 somewhat square and blank1 then   

the next two higher and richer1 the     
tiles being seen on their slopes4 ,both 
these groups being couples1 there is    
enough monotony in the series to make a 
change pleasant2 and the last           
battlement1 therefore1 is a little      
higher than the first two1--a little    
lower than the second two1--and         
different in shape from either4 ,hide it
 with your finger1 and see how ugly and 
formal the other four battlements look4 
#bbe4 ,there are in this figure several 
other simple illustrations of the laws  
we have been tracing4 ,thus the whole   
shape of the walls' mass being square1  
it is well1 still for the sake of       
contrast1 to oppose it not only by the  
element of curvature1 in the ring1 and  
lines of the roof below1 but by that of 
sharpness2 hence the pleasure which the 
eye takes in the projecting point of the
 roof4 ,also1 because the walls are     
thick and sturdy1 it is well to contrast
 their strength with weakness2 therefore
 we enjoy the evident decrepitude of    

this roof as it sinks between them4 ,the
 whole mass being nearly white1 we want 
a contrasting shadow somewhere2 and get 
it1 under our piece of decrepitude4     
,this shade1 with the tiles of the wall 
below1 forms another pointed mass1      
necessary to the first by the law of    
repetition4 ,hide this inferior angle   
with your finger1 and see how ugly the  
other looks4 ,a sense of the law of     
symmetry1 though you might hardly       
suppose it1 has some share in the       
feeling with which you look at the      
battlements2 there is a certain pleasure
 in the opposed slopes of their top1 on 
one side down to the left1 on the other 
to the right4 ,still less would you     
think the law of radiation had anything 
to do with the matter3 but if you take  
the extreme point of the black shadow on
 the left for a center1 and follow first
 the low curve of the eaves of the wall1
 it will lead you1 if you continue it1  
to the point of the tower cornice2      
follow the second curve1 the top of the 

tiles of the wall1 and it will strike   
the top of the right-hand battlement2   
then draw a curve from the highest point
 of the angled battlement on the left1  
through the points of the roof and its  
dark echo2 and you will see how the     
whole top of the tower radiates from    
this lowest dark point4 ,there are other
 curvatures crossing these main ones1 to
 keep them from being too conspicuous4  
,follow the curve of the upper roof1 it 
will take you to the top of the highest 
battlement2 and the stones indicated at 
the right-hand side of the tower are    
more extended at the bottom1 in order to
 get some less direct expression of     
sympathy1 such as irregular stones may  
be capable of1 with the general flow of 
the curves from left to right4  #bbf4   
,you may not readily believe1 at first1 
that all these laws are indeed involved 
in so trifling a piece of composition4  
,but1 as you study longer1 you will     
discover that these laws1 and many more1
 are obeyed by the powerful composers in

 every touch3 that literally1 there is  
never a dash of their pencil which is   
not carrying out appointed purposes of  
this kind in twenty various ways at     
once2 and that there is as much         
difference1 in way of intention and     
authority1 between one of the great     
composers ruling his colors1 and a      
common painter confused by them1 as     
there is between a general directing the
 march of an army1 and an old lady      
carried off her feet by a mob4   #g4    
,,the ,,law ,,of ,,interchange4  #bbg4  
,closely connected with the law of      
contrast is a law which enforces the    
unity of opposite things1 by giving to  
each a portion of the character of the  
other4 ,if1 for instance1 you divide a  
shield into two masses of color1 all the
 way down--suppose blue and white1 and  
put a bar1 or figure of an animal1      
partly on one division1 partly on the   
other1 you will find it pleasant to the 
eye if you make the part of the animal  
blue which comes upon the white half1   

and white which comes upon the blue     
half4 ,this is done in heraldry1 partly 
for the sake of perfect intelligibility1
 but yet more for the sake of delight in
 interchange of color1 since1 in all    
ornamentation whatever1 the practice is 
continual1 in the ages of good design4  
#bbh4 ,sometimes this alternation is    
merely a reversal of contrasts2 as that1
 after red has been for some time on one
 side1 and blue on the other1 red shall 
pass to blue's side and blue to red's4  
,this kind of alternation takes place   
simply in four-quartered shields2 in    
more subtle pieces of treatment1 a      
little bit only of each color is carried
 into the other1 and they are as it were
 dovetailed together4 ,one of the most  
curious facts which will impress itself 
upon you1 when you have drawn some time 
carefully from ,nature in light and     
shade1 is the appearance of intentional 
artifice with which contrasts of this   
alternate kind are produced by her2 the 
artistry with which she will darken a   

tree trunk as long as it comes against  
light sky1 and throw sunlight on it     
precisely at the spot where it comes    
against a dark hill1 and similarly treat
 all her masses of shade and color1 is  
so great1 that if you only follow her   
closely1 every one who looks at your    
drawing with attention will think that  
you have been inventing the most        
artificially and unnaturally delightful 
interchanges of shadow that could       
possibly be devised by human wit4  #bbi4
 ,you will find this law of interchange 
insisted upon at length by ,prout in his
 ,lessons on ,light and ,shade3 it seems
 of all his principles of composition to
 be the one he is most conscious of2    
many others he obeys by instinct1 but   
this he formally accepts and forcibly   
declares4  ,the typical purpose of the  
law of interchange is1 of course1 to    
teach us how opposite natures may be    
helped and strengthened by receiving    
each1 as far as they can1 some impress  
or reflection1 or imparted power1 from  

the other4   #h4 ,,the ,,law ,,of       
,,consistency4  #bcj4 ,it is to be      
remembered1 in the next place1 that     
while contrast exhibits the characters  
of things1 it very often neutralizes or 
paralyzes their power4 ,a number of     
white things may be shown to be clearly 
white by opposition of a black thing1   
but if we want the full power of their  
gathered light1 the black thing may be  
seriously in our way4 ,thus1 while      
contrast displays things1 it is unity   
and sympathy which employ them1         
concentrating the power of several into 
a mass4 ,and1 not in art merely1 but in 
all the affairs of life1 the wisdom of  
man is continually called upon to       
reconcile these opposite methods of     
exhibiting1 or using1 the materials in  
his power4 ,by change he gives them     
pleasantness1 and by consistency value2 
by change he is refreshed1 and by       
perseverance strengthened4  #bca4 ,hence
 many compositions address themselves to
 the spectator by aggregate force of    

color or line1 more than by contrasts of
 either2 many noble pictures are painted
 almost exclusively in various tones of 
red1 or gray1 or gold1 so as to be      
instantly striking by their breadth of  
flush1 or glow1 or tender coldness1     
these qualities being exhibited only by 
slight and subtle use of contrast4      
,similarly as to form2 some compositions
 associate massive and rugged forms1    
others slight and graceful ones1 each   
with few interruptions by lines of      
contrary character4 ,and1 in general1   
such compositions possess higher        
sublimity than those which are more     
mingled in their elements4 ,they tell a 
special tale1 and summon a definite     
state of feeling1 while the grand       
compositions merely please the eye4     
#bcb4 ,this unity or breadth of         
character generally attaches most to the
 works of the greatest men2 their       
separate pictures have all separate     
aims4 ,we have not1 in each1 gray color 
set against somber1 and sharp forms     

against soft1 and loud passages against 
low3 but we have the bright picture1    
with its delicate sadness2 the somber   
picture1 with its single ray of relief2 
the stern picture1 with only one tender 
group of lines2 the soft and calm       
picture1 with only one rock angle at its
 flank2 and so on4 ,hence the variety of
 their work1 as well as its             
impressiveness4 ,the principal bearing  
of this law1 however1 is on the separate
 masses or divisions of a picture3 the  
character of the whole composition may  
be broken or various1 if we please1 but 
there must certainly be a tendency to   
consistent assemblage in its divisions4 
,as an army may act on several points at
 once1 but can only act effectually by  
having somewhere formed and regular     
masses1 and not wholly by skirmishers2  
so a picture may be various in its      
tendencies1 but must be somewhere united
 and coherent in its masses4 ,good      
composers are always associating their  
colors in great groups2 binding their   

forms together by encompassing lines1   
and securing1 by various dexterities of 
expedient1 what they themselves call    
breadth3 that is to say1 a large        
gathering of each kind of thing into one
 place2 light being gathered to light1  
darkness to darkness1 and color to      
color4 ,if1 however1 this be done by    
introducing false lights or false       
colors1 it is absurd and monstrous2 the 
skill of a painter consists in obtaining
 breadth by rational arrangement of his 
objects1 not by forced or wanton        
treatment of them4 ,it is an easy matter
 to paint one thing all white1 and      
another all black or brown2 but not an  
easy matter to assemble all the         
circumstances which will naturally      
produce white in one place1 and brown in
 another4 ,generally speaking1 however1 
breadth will result in sufficient degree
 from fidelity of study3 ,nature is     
always broad2 and if you paint her      
colors in true relations1 you will paint
 them in majestic masses4 ,if you find  

your work look broken and scattered1 it 
is1 in all probability1 not only ill    
composed1 but untrue4  #bcc4 ,the       
opposite quality to breadth1 that of    
division or scattering of light and     
color1 has a certain contrasting charm1 
and is occasionally introduced with     
exquisite effect by good composers4#gj  
,still it is never the mere scattering1 
but the order discernible through this  
scattering1 which is the real source of 
pleasure2 not the mere multitude1 but   
the constellation of multitude4 ,the    
broken lights in the work of a good     
painter wander like flocks upon the     
hills1 not unshepherded1 speaking of    
life and peace3 the broken lights of a  
bad painter fall like hailstones1 and   
are capable only of mischief1 leaving it
 to be wished they were also of         
dissolution4   #i4 ,,the ,,law ,,of     
,,harmony4  #bcd4 ,this last law is not1
 strictly speaking1 so much one of      
composition as of truth1 but it must    
guide composition1 and is properly1     

therefore1 to be stated in this place4  
,good drawing is1 as we have seen1 an   
abstract of natural facts2 you cannot   
represent all that you would1 but must  
continually be falling short1 whether   
you will or no1 of the force1 or        
quantity1 of ,nature4 ,now1 suppose that
 your means and time do not admit of    
your giving the depth of color in the   
scene1 and that you are obliged to paint
 it paler4 ,if you paint all the colors 
proportionately paler1 as if an equal   
quantity of tint had been washed away   
from each of them1 you still obtain a   
harmonious1 though not an equally       
forcible1 statement of natural fact4    
,but if you take away the colors        
unequally1 and leave some tints nearly  
as deep as they are in ,nature1 while   
others are much subdued1 you have no    
longer a true statement4 ,you cannot say
 to the observer1 ,fancy all those      
colors a little deeper1 and you will    
have the actual fact4 ,however he adds  
in imagination1 or takes away1 something

 is sure to be still wrong4 ,the picture
 is out of harmony4  #bce4 ,it will     
happen1 however1 much more frequently1  
that you have to darken the whole system
 of colors1 than to make them paler4    
,you remember1 in your first studies of 
color from ,nature1 you were to leave   
the passages of light which were too    
bright to be imitated1 as white paper4  
,but1 in completing the picture1 it     
becomes necessary to put color into     
them2 and then the other colors must be 
made darker1 in some fixed relation to  
them4 ,if you deepen all                
proportionately1 though the whole scene 
is darker than reality1 it is only as if
 you were looking at the reality in a   
lower light3 but if1 while you darken   
some of the tints1 you leave others     
undarkened1 the picture is out of       
harmony1 and will not give the          
impression of truth4  #bcf4 ,it is not1 
indeed1 possible to deepen all the      
colors so much as to relieve the lights 
in their natural degree1 you would      

merely sink most of your colors1 if you 
tried to do so1 into a broad mass of    
blackness3 but it is quite possible to  
lower them harmoniously1 and yet more in
 some parts of the picture than in      
others1 so as to allow you to show the  
light you want in a visible relief4 ,in 
well-harmonized pictures this is done by
 gradually deepening the tone of the    
picture towards the lighter parts of it1
 without materially lowering it in the  
very dark parts2 the tendency in such   
pictures being1 of course1 to include   
large masses of middle tints4 ,but the  
principal point to be observed in doing 
this1 is to deepen the individual tints 
without dirtying or obscuring them4 ,it 
is easy to lower the tone of the picture
 by washing it over with gray or brown2 
and easy to see the effect of the       
landscape1 when its colors are thus     
universally polluted with black1 by     
using the black convex mirror1 one of   
the most pestilent inventions for       
falsifying ,nature and degrading art    

which ever was put into an artist's     
hand4#ga ,for the thing required is not 
to darken pale yellow by mixing gray    
with it1 but to deepen the pure yellow2 
not to darken crimson by mixing black   
with it1 but by making it deeper and    
richer crimson3 and thus the required   
effect could only be seen in ,nature1 if
 you had pieces of glass of the color of
 every object in your landscape1 and of 
every minor hue that made up those      
colors1 and then could see the real     
landscape through this deep gorgeousness
 of the varied glass4 ,you cannot do    
this with glass1 but you can do it for  
yourself as you work2 that is to say1   
you can put deep blue for pale blue1    
deep gold for pale gold1 and so on1 in  
the proportion you need2 and then you   
may paint as forcibly as you choose1 but
 your work will still be in the manner  
of ,titian1 not of ,caravaggio or       
,spagnoletto1 or any other of the black 
slaves of painting4#gb  #bcg4 ,supposing
 those scales of color1 which ,i told   

you to prepare in order to show you the 
relations of color to gray1 were quite  
accurately made1 and numerous enough1   
you would have nothing more to do1 in   
order to obtain a deeper tone in any    
given mass of color1 than to substitute 
for each of its hues the hue as many    
degrees deeper in the scale as you      
wanted1 that is to say1 if you wanted to
 deepen the whole two degrees1          
substituting for the yellow ,no4 #e the 
yellow ,no4 #g1 and for the red ,no4 #i 
the red ,no4 #aa1 and so on3 but the    
hues of any object in ,nature are far   
too numerous1 and their degrees too     
subtle1 to admit of so mechanical a     
process4 ,still1 you may see the        
principle of the whole matter clearly by
 taking a group of colors out of your   
scale1 arranging them prettily1 and then
 washing them all over with gray3 that  
represents the treatment of ,nature by  
the black mirror4 ,then arrange the same
 group of colors1 with the tints five or
 six degrees deeper in the scale2 and   

that will represent the treatment of    
,nature by ,titian4  #bch4 ,you can     
only1 however1 feel your way fully to   
the right of the thing by working from  
,nature4  ,the best subject on which to 
begin a piece of study of this kind is a
 good thick tree trunk1 seen against    
blue sky with some white clouds in it4  
,paint the clouds in true and tenderly  
gradated white2 then give the sky a bold
 full blue1 bringing them well out2 then
 paint the trunk and leaves grandly dark
 against all1 but in such glowing dark  
green and brown as you see they will    
bear4 ,afterwards proceed to more       
complicated studies1 matching the colors
 carefully first by your old method2    
then deepening each color with its own  
tint1 and being careful1 above all      
things1 to keep truth of equal change   
when the colors are connected with each 
other1 as in dark and light sides of the
 same object4 ,much more aspect and     
sense of harmony are gained by the      
precision with which you observe the    

relation of colors in dark sides and    
light sides1 and the influence of       
modifying reflections1 than by mere     
accuracy of added depth in independent  
colors4  #bci4 ,this harmony of tone1 as
 it is generally called1 is the most    
important of those which the artist has 
to regard4 ,but there are all kinds of  
harmonies in a picture1 according to its
 mode of production4 ,there is even a   
harmony of touch4 ,if you paint one part
 of it very rapidly and forcibly1 and   
another part slowly and delicately1 each
 division of the picture may be right   
separately1 but they will not agree     
together3 the whole will be effectless  
and valueless1 out of harmony4          
,similarly1 if you paint one part of it 
by a yellow light in a warm day1 and    
another by a gray light in a cold day1  
though both may have been sunlight1 and 
both may be well toned1 and have their  
relative shadows truly cast1 neither    
will look like light2 they will destroy 
each other's power1 by being out of     

harmony4 ,these are only broad and      
definable instances of discordance2 but 
there is an extent of harmony in all    
good work much too subtle for           
definition2 depending on the            
draughtsman's carrying everything he    
draws up to just the balancing and      
harmonious point1 in finish1 and color1 
and depth of tone1 and intensity of     
moral feeling1 and style of touch1 all  
considered at once2 and never allowing  
himself to lean too emphatically on     
detached parts1 or exalt one thing at   
the expense of another1 or feel acutely 
in one place and coldly in another4 ,if 
you have got some of ,cruikshank's      
etchings1 you will be able1 ,i think1 to
 feel the nature of harmonious treatment
 in a simple kind1 by comparing them    
with any of ,richter's illustrations to 
the numerous ,german story-books lately 
published at ,christmas1 with all the   
,german stories spoiled4 ,cruikshank's  
work is often incomplete in character   
and poor in incident1 but1 as drawing1  

it is perfect in harmony4 ,the pure and 
simple effects of daylight which he gets
 by his thorough mastery of treatment in
 this respect1 are quite unrivaled1 as  
far as ,i know1 by any other work       
executed with so few touches4 ,his      
vignettes to ,grimm's ,german stories1  
already recommended1 are the most       
remarkable in this quality4 ,richter's  
illustrations1 on the contrary1 are of a
 very high stamp as respects            
understanding of human character1 with  
infinite playfulness and tenderness of  
fancy2 but1 as drawings1 they are almost
 unendurably out of harmony1 violent    
blacks in one place being continually   
opposed to trenchant white in another2  
and1 as is almost sure to be the case   
with bad harmonists1 the local color    
hardly felt anywhere4 ,all ,german work 
is apt to be out of harmony1 in         
consequence of its too frequent         
conditions of affectation1 and its      
willful refusals of fact2 as well as by 
reason of a feverish kind of excitement1

 which dwells violently on particular   
points1 and makes all the lines of      
thought in the picture to stand on end1 
as it were1 like a cat's fur            
electrified2 while good work is always  
as quiet as a couchant leopard1 and as  
strong4         99       99       99    
99       99  #bdj4 ,i have now stated to
 you all the laws of composition which  
occur to me as capable of being         
illustrated or defined2 but there are   
multitudes of others which1 in the      
present state of my knowledge1 ,i cannot
 define1 and others which ,i never hope 
to define2 and these the most important1
 and connected with the deepest powers  
of the art4 ,i hope1 when ,i have       
thought of them more1 to be able to     
explain some of the laws which relate to
 nobleness and ignobleness2 that        
ignobleness especially which we commonly
 call vulgarity and which1 in its       
essence1 is one of the most curious     
subjects of inquiry connected with human
 feeling4 ,others ,i never hope to      

explain1 laws of expression1 bearing    
simply on simple matters2 but1 for that 
very reason1 more influential than any  
others4 ,these are1 from the first1 as  
inexplicable as our bodily sensations   
are2 it being just as impossible1 ,i    
think1 to show1 finally1 why one        
succession of musical notes#gc shall be 
lofty and pathetic1 and such as might   
have been sung by ,casella to ,dante1   
and why another succession is base and  
ridiculous1 and would be fit only for   
the reasonably good ear of ,bottom1 as  
to explain why we like sweetness1 and   
dislike bitterness4 ,the best part of   
every great work is always inexplicable3
 it is good because it is good2 and     
innocently gracious1 opening as the     
green of the earth1 or falling as the   
dew of heaven4  #bda4 ,but though you   
cannot explain them1 you may always     
render yourself more and more sensitive 
to these higher qualities by the        
discipline which you generally give to  
your character1 and this especially with

 regard to the choice of incidents2 a   
kind of composition in some sort easier 
than the artistical arrangements of     
lines and colors1 but in every sort     
nobler1 because addressed to deeper     
feelings4  #bdb4 ,for instance1 in the  
,datur ,hora ,quieti1 the last vignette 
to ,rogers's ,poems1 the plow in the    
foreground has three purposes4 ,the     
first purpose is to meet the stream of  
sunlight on the river1 and make it      
brighter by opposition2 but any dark    
object whatever would have done this4   
,its second purpose is1 by its two arms1
 to repeat the cadence of the group of  
the two ships1 and thus give a greater  
expression of repose2 but two sitting   
figures would have done this4 ,its third
 and chief1 or pathetic1 purpose is1 as 
it lies abandoned in the furrow 7the    
vessels also being moored1 and having   
their sails down71 to be a type of human
 labor closed with the close of day4    
,the parts of it on which the hand leans
 are brought most clearly into sight2   

and they are the chief dark of the      
picture1 because the tillage of the     
ground is required of man as a          
punishment3 but they make the soft light
 of the setting sun brighter1 because   
rest is sweetest after toil4 ,these     
thoughts may never occur to us as we    
glance carelessly at the design2 and yet
 their under current assuredly affects  
the feelings1 and increases1 as the     
painter meant it should1 the impression 
of melancholy1 and of peace4  #bdc4     
,again1 in the ,lancaster ,sands1 which 
is one of the plates ,i have marked as  
most desirable for your possession3 the 
stream of light which falls from the    
setting sun on the advancing tide stands
 similarly in need of some force of near
 object to relieve its brightness4 ,but 
the incident which ,turner has here     
adopted is the swoop of an angry        
sea-gull at a dog1 who yelps at it1     
drawing back as the wave rises over his 
feet1 and the bird shrieks within a foot
 of his face4 ,its unexpected boldness  

is a type of the anger of its ocean     
element1 and warns us of the sea's      
advance just as surely as the abandoned 
plow told us of the ceased labor of the 
day4  #bdd4 ,it is not1 however1 so much
 in the selection of single incidents of
 this kind1 as in the feeling which     
regulates the arrangement of the whole  
subject1 that the mind of a great       
composer is known4 ,a single incident   
may be suggested by a felicitous chance1
 as a pretty motto might be for the     
heading of a chapter4 ,but the great    
composers so arrange all their designs  
that one incident illustrates another1  
just as one color relieves another4     
,perhaps the ,heysham1 of the ,yorkshire
 series1 which1 as to its locality1 may 
be considered a companion to the last   
drawing we have spoken of1 the          
,lancaster ,sands1 presents as          
interesting an example as we could find 
of ,turner's feeling in this respect4   
,the subject is a simple north-country  
village1 on the shore of ,morecambe     

,bay2 not in the common sense a         
picturesque village2 there are no pretty
 bow-windows1 or red roofs1 or rocky    
steps of entrance to the rustic doors1  
or quaint gables2 nothing but a single  
street of thatched and chiefly          
clay-built cottages1 ranged in a        
somewhat monotonous line1 the roofs so  
green with moss that at first we hardly 
discern the houses from the fields and  
trees4 ,the village street is closed at 
the end by a wooden gate1 indicating the
 little traffic there is on the road    
through it1 and giving it something the 
look of a large farmstead1 in which a   
right of way lies through the yard4 ,the
 road which leads to this gate is full  
of ruts1 and winds down a bad bit of    
hill between two broken banks of moor   
ground1 succeeding immediately to the   
few inclosures which surround the       
village2 they can hardly be called      
gardens3 but a decayed fragment or two  
of fencing fill the gaps in the bank2 a 
clothes-line1 with some clothes on it1  

striped blue and red1 and a smock-frock1
 is stretched between the trunks of some
 stunted willows2 a very small haystack 
and pig-sty being seen at the back of   
the cottage beyond4 ,an empty1          
two-wheeled1 lumbering cart1 drawn by a 
pair of horses with huge wooden collars1
 the driver sitting lazily in the sun1  
sideways on the leader1 is going slowly 
home along the rough road1 it being     
about country dinner-time4 ,at the end  
of the village there is a better house1 
with three chimneys and a dormer window 
in its roof1 and the roof is of stone   
shingle instead of thatch1 but very     
rough4 ,this house is no doubt the      
clergyman's3 there is some smoke from   
one of its chimneys1 none from any other
 in the village2 this smoke is from the 
lowest chimney at the back1 evidently   
that of the kitchen1 and it is rather   
thick1 the fire not having been long    
lighted4 ,a few hundred yards from the  
clergyman's house1 nearer the shore1 is 
the church1 discernible from the        

cottages only by its low two-arched     
belfry1 a little neater than one would  
expect in such a village2 perhaps lately
 built by the ,puseyite incumbent3#gd   
and beyond the church1 close to the sea1
 are two fragments of a border          
war-tower1 standing on their circular   
mound1 worn on its brow deep into edges 
and furrows by the feet of the village  
children4 ,on the bank of moor1 which   
forms the foreground1 are a few cows1   
the carter's dog barking at a vixenish  
one3 the milkmaid is feeding another1 a 
gentle white one1 which turns its head  
to her1 expectant of a handful of fresh 
hay1 which she has brought for it in her
 blue apron1 fastened up round her      
waist2 she stands with her pail on her  
head1 evidently the village coquette1   
for she has a neat bodice1 and pretty   
striped petticoat under the blue apron1 
and red stockings4 ,nearer us1 the      
cowherd1 bare-footed1 stands on a piece 
of the limestone rock 7for the ground is
 thistly and not pleasurable to bare    

feet72--whether boy or girl we are not  
sure3 it may be a boy1 with a girl's    
worn-out bonnet on1 or a girl with a    
pair of ragged trousers on2 probably the
 first1 as the old bonnet is evidently  
useful to keep the sun out of our eyes  
when we are looking for strayed cows    
among the moorland hollows1 and helps us
 at present to watch 7holding the       
bonnet's edge down7 the quarrel of the  
vixenish cow with the dog1 which1       
leaning on our long stick1 we allow to  
proceed without any interference4 ,a    
little to the right the hay is being got
 in1 of which the milkmaid has just     
taken her apronful to the white cow2 but
 the hay is very thin1 and cannot well  
be raked up because of the rocks2 we    
must glean it like corn1 hence the      
smallness of our stack behind the       
willows2 and a woman is pressing a      
bundle of it hard together1 kneeling    
against the rock's edge1 to carry it    
safely to the hay-cart without dropping 
any4 ,beyond the village is a rocky     

hill1 deep set with brushwood1 a square 
crag or two of limestone emerging here  
and there1 with pleasant turf on their  
brows1 heaved in russet and mossy mounds
 against the sky1 which1 clear and calm1
 and as golden as the moss1 stretches   
down behind it towards the sea4 ,a      
single cottage just shows its roof over 
the edge of the hill1 looking seawards3 
perhaps one of the village shepherds is 
a sea captain now1 and may have built it
 there1 that his mother may first see   
the sails of his ship whenever it runs  
into the bay4 ,then under the hill1 and 
beyond the border tower1 is the blue sea
 itself1 the waves flowing in over the  
sand in long curved lines slowly2       
shadows of cloud1 and gleams of shallow 
water on white sand alternating--miles  
away2 but no sail is visible1 not one   
fisher-boat on the beach1 not one dark  
speck on the quiet horizon4 ,beyond all 
are the ,cumberland mountains1 clear in 
the sun1 with rosy light on all their   
crags4  #bde4 ,i should think the reader

 cannot but feel the kind of harmony    
there is in this composition2 the entire
 purpose of the painter to give us the  
impression of wild1 yet gentle1 country 
life1 monotonous as the succession of   
the noiseless waves1 patient and        
enduring as the rocks2 but peaceful1 and
 full of health and quiet hope1 and     
sanctified by the pure mountain air and 
baptismal dew of heaven1 falling softly 
between days of toil and nights of      
innocence4  #bdf4 ,all noble composition
 of this kind can be reached only by    
instinct2 you cannot set yourself to    
arrange such a subject2 you may see it1 
and seize it1 at all times1 but never   
laboriously invent it4 ,and your power  
of discerning what is best in           
expression1 among natural subjects1     
depends wholly on the temper in which   
you keep your own mind2 above all1 on   
your living so much alone as to allow it
 to become acutely sensitive in its own 
stillness4 ,the noisy life of modern    
days is wholly incompatible with any    

true perception of natural beauty4 ,if  
you go down into ,cumberland by the     
railroad1 live in some frequented hotel1
 and explore the hills with merry       
companions1 however much you may enjoy  
your tour or their conversation1 depend 
upon it you will never choose so much as
 one pictorial subject rightly2 you will
 not see into the depth of any4 ,but    
take knapsack and stick1 walk towards   
the hills by short day's journeys1--ten 
or twelve miles a day--taking a week    
from some starting-place sixty or       
seventy miles away3 sleep at the pretty 
little wayside inns1 or the rough       
village ones2 then take the hills as    
they tempt you1 following glen or shore 
as your eye glances or your heart       
guides1 wholly scornful of local fame or
 fashion1 and of everything which it is 
the ordinary traveler's duty to see1 or 
pride to do4 ,never force yourself to   
admire anything when you are not in the 
humor2 but never force yourself away    
from what you feel to be lovely1 in     

search of anything better2 and gradually
 the deeper scenes of the natural world 
will unfold themselves to you in still  
increasing fullness of passionate power2
 and your difficulty will be no more to 
seek or to compose subjects1 but only to
 choose one from among the multitude of 
melodious thoughts with which you will  
be haunted1 thoughts which will of      
course be noble or original in          
proportion to your own depth of         
character and general power of mind2 for
 it is not so much by the consideration 
you give to any single drawing1 as by   
the previous discipline of your powers  
of thought1 that the character of your  
composition will be determined4         
,simplicity of life will make you       
sensitive to the refinement and modesty 
of scenery1 just as inordinate          
excitement and pomp of daily life will  
make you enjoy coarse colors and        
affected forms4 ,habits of patient      
comparison and accurate judgment will   
make your art precious1 as they will    

make your actions wise2 and every       
increase of noble enthusiasm in your    
living spirit will be measured by the   
reflection of its light upon the works  
of your hands4--,faithfully yours1      
,j4 ,,ruskin4   ,,footnotes3    #da ,i  
give ,rossetti this pre-eminence1       
because1 though the leading             
,pre-,raphaelites have all about equal  
power over color in the     abstract1   
,rossetti and ,holman ,hunt are         
distinguished above the rest     for    
rendering color under effects of light2 
and of these two1     ,rossetti composes
 with richer fancy1 and with a deeper   
sense of     beauty1 ,hunt's stern      
realism leading him continually into    
harshness4     ,rossetti's carelessness1
 to do him justice1 is only in          
water-color1     never in oil4    #db   
,all the degradation of art which was   
brought about1 after the     rise of the
 ,dutch school1 by asphaltum1 yellow    
varnish1 and brown     trees would have 
been prevented1 if only painters had    

been forced to     work in dead color4  
,any color will do for some people1 if  
it is     browned and shining2 but      
fallacy in dead color is detected on the
     instant4 ,i even believe that      
whenever a painter begins to wish       
that he could touch any portion of his  
work with gum1 he is going     wrong4   
,it is necessary1 however1 in this      
matter1 carefully to distinguish        
between translucency and luster4        
,translucency1 though1 as ,i have       
said above1 a dangerous temptation1 is1 
in its place1 beautiful2 but     luster 
or shininess is always1 in painting1 a  
defect4 ,nay1 one of     my best        
painter-friends 7the best being         
understood to attach to     both        
divisions of that awkward compound      
word17 tried the other day     to       
persuade me that luster was an          
ignobleness in anything2 and it     was 
only the fear of treason to ladies'     
eyes1 and to mountain     streams1 and  
to morning dew1 which kept me from      

yielding the point     to him4 ,one is  
apt always to generalize too quickly in 
such matters2     but there can be no   
question that luster is destructive of  
loveliness in color1 as it is of        
intelligibility in form4 ,whatever      
may be the pride of a young beauty in   
the knowledge that her eyes     shine   
7though perhaps even eyes are most      
beautiful in dimness71 she     would be 
sorry if her cheeks did2 and which of us
 would wish to     polish a rose8    #dc
 ,but not shiny or greasy4 ,bristol     
board1 or hot-pressed     imperial1 or  
gray paper that feels slightly adhesive 
to the hand1 is     best4 ,coarse1      
gritty1 and sandy papers are fit only   
for blotters and     blunderers2 no good
 draughtsman would lay a line on them4  
,turner     worked much on a thin tough 
paper1 dead in surface2 rolling up his  
sketches in tight bundles that would go 
deep into his pockets4    #dd ,i insist 
upon this unalterability of color the   
more because ,i     address you as a    

beginner1 or an amateur3 a great artist 
can     sometimes get out of a          
difficulty with credit1 or repent       
without     confession4 ,yet even       
,titian's alterations usually show as   
stains on     his work4    #de ,it is1  
,i think1 a piece of affectation to try 
to work with few     colors3 it saves   
time to have enough tints prepared      
without mixing1     and you may at once 
allow yourself these twenty-four4 ,if   
you arrange     them in your color-box  
in the order ,i have set them down1 you 
will     always easily put your finger  
on the one you want4      ,cobalt       
,smalt                  ,antwerb blue   
,prussian blue     ,black               
,gamboge                ,emerald green  
,hooker's green     ,lemon yellow       
,cadmium yellow         ,yellow ocher   
,roman ocher     ,raw sienna     ,burnt 
sienna           ,light red             
,indian red     ,mars orange    ,extract
 of vermilion   ,carmine                
,violet carmine     ,brown madder       

,burnt umber            ,vandyke brown  
,sepia      ,antwerp blue and ,prussian 
blue are not very permanent colors1 but 
you need not care much about permanence 
in your work as yet1 and     they are   
both beautiful2 while ,indigo is marked 
by ,field as more     fugitive still1   
and is very ugly4 ,hooker's green is a  
mixed color1     put in the box merely  
to save you loss of time in mixing      
gamboge and     ,prussian blue4 ,no4 #a 
is the best tint of it4 ,violet carmine 
is a     noble color for laying broken  
shadows with1 to be worked into         
afterwards with other colors4      ,if  
you wish to take up coloring seriously  
you had better get ,field's             
,chromatography at once2 only do not    
attend to anything it says     about    
principles or harmonies of color2 but   
only to its statements     of practical 
serviceableness in pigments1 and of     
their operations on     each other when 
mixed1 etc4    #df ,a more methodical1  
though under general circumstances      

uselessly     prolix way1 is to cut a   
square hole1 some half an inch wide1 in 
the     sheet of cardboard1 and a series
 of small circular holes in a slip      
of cardboard an inch wide4 ,pass the    
slip over the square opening1     and   
match each color beside one of the      
circular openings4 ,you will     thus   
have no occasion to wash any of the     
colors away4 ,but the first     rough   
method is generally all you want1 as1   
after a little practice1     you only   
need to look at the hue through the     
opening in order to     be able to      
transfer it to your drawing at once4    
#dg ,if colors were twenty times as     
costly as they are1 we should     have  
many more good painters4 ,if ,i were    
,chancellor of the ,exchequer     ,i    
would lay a tax of twenty shillings a   
cake on all colors except     black1    
,prussian blue1 ,vandyke brown1 and     
,chinese white1 which ,i     would leave
 for students4 ,i don't say this        
jestingly2 ,i believe such     a tax    

would do more to advance real art than a
 great many schools of     design4      
#dh ,i say modern1 because ,titian's    
quiet way of blending colors1     which 
is the perfectly right one1 is not      
understood now by any     artist4 ,the  
best color we reach is got by stippling2
 but this is not     quite right4    #di
 ,see ,note #f in ,appendix ,i4    #ej  
,the worst general character that color 
can possibly have is a     prevalent    
tendency to a dirty yellowish green1    
like that of a     decaying heap of     
vegetables2 this color is accurately    
indicative     of decline or paralysis  
in missal-painting4    #ea ,that is to  
say1 local color inherent in the object4
 ,the     gradations of color in the    
various shadows belonging to various    
lights exhibit form1 and therefore no   
one but a colorist can ever     draw    
forms perfectly 7see ,modern ,painters1 
vol4 iv4 chap4 iii4 at     the end72 but
 all notions of explaining form by      
superimposed color1     as in           

architectural moldings1 are absurd4     
,color adorns form1 but     does not    
interpret it4 ,an apple is prettier     
because it is striped1     but it does  
not look a bit rounder2 and a cheek is  
prettier because     it is flushed1 but 
you would see the form of the cheek bone
 better     if it were not4 ,color may1 
indeed1 detach one shape from another1  
as     in grounding a bas-relief1 but it
 always diminishes the appearance     of
 projection1 and whether you put blue1  
purple1 red1 yellow1 or     green1 for  
your ground1 the bas-relief will be just
 as clearly or     just as imperfectly  
relieved1 as long as the colors are of  
equal     depth4 ,the blue ground will  
not retire the hundredth part of an inch
     more than the red one4    #eb ,see1
 however1 at the close of this letter1  
the notice of one     more point        
connected with the management of color1 
under the head     ,law of ,harmony4    
#ec ,see farther1 on this subject1      
,modern ,painters1 vol4 iv4 chap4       

viii4  #f4    #ed ,see ,note #g in      
,appendix ,i4    #ee ,in general1       
throughout ,nature1 reflection and      
repetition are     peaceful things1     
associated with the idea of quiet       
succession in     events2 that one day  
should be like another day1 or one      
history the     repetition of another   
history1 being more or less results of  
quietness1 while dissimilarity and      
non-succession are results of           
interference and disquietude4 ,thus1    
though an echo actually     increases   
the quantity of sound heard1 its        
repetition of the note or     syllable  
gives an idea of calmness attainable in 
no other way2 hence     also the feeling
 of calm given to a landscape by the    
voice of a     cuckoo4    #ef ,this is  
obscure in the rude wood-cut1 the masts 
being so     delicate that they are     
confused among the lines of reflection4 
,in     the original they have orange   
light upon them1 relieved against       
purple behind4    #eg ,the cost of art  

in getting a bridge level is always     
lost1 for     you must get up to the    
height of the central arch at any rate1 
and     you only can make the whole     
bridge level by putting the hill farther
     back1 and pretending to have got   
rid of it when you have not1 but        
have only wasted money in building an   
unnecessary embankment4 ,of     course1 
the bridge should not be difficultly or 
dangerously steep1     but the necessary
 slope1 whatever it may be1 should be in
 the bridge     itself1 as far as the   
bridge can take it1 and not pushed aside
 into     the approach1 as in our       
,waterloo road2 the only rational excuse
 for     doing which is that when the   
slope must be long it is inconvenient   
to put on a drag at the top of the      
bridge1 and that any restiveness     of 
the horse is more dangerous on the      
bridge than on the embankment4     ,to  
this ,i answer3 first1 it is not more   
dangerous in reality1 though     it     
looks so1 for the bridge is always      

guarded by an effective     parapet1 but
 the embankment is sure to have no      
parapet1 or only a     useless rail2 and
 secondly1 that it is better to have the
 slope on     the bridge and make the   
roadway wide in proportion1 so as to be 
quite safe1 because a little waste of   
space on the river is no loss1     but  
your wide embankment at the side loses  
good ground2 and so my     picturesque  
bridges are right as well as beautiful1 
and ,i hope to     see them built again 
some day instead of the frightful       
straight-backed things which we fancy   
are fine1 and accept from the           
pontifical rigidities of the engineering
 mind4    #eh ,i cannot waste space here
 by reprinting what ,i have said in     
other books2 but the reader ought1 if   
possible1 to refer to the     notices of
 this part of our subject in ,modern    
,painters1 vol4 iv4     chap xvii42 and 
,stones of ,venice1 vol4 iii4 chap4 i4  
#h4    #ei ,if you happen to be reading 
at this part of the book1 without       

having gone through any previous        
practice1 turn back to the sketch     of
 the ramification of stone pine1 ,fig4  
#d1 p4 #ag1 and examine the     curves  
of its boughs one by one1 trying them by
 the conditions here     stated under   
the heads ,a and ,b4    #fj ,the reader1
 ,i hope1 observes always that every    
line in these     figures is itself one 
of varying curvature1 and cannot be     
drawn by     compasses4    #fa ,i hope  
the reader understands that these       
wood-cuts are merely     facsimiles of  
the sketches ,i make at the side of my  
paper to     illustrate my meaning as ,i
 write--often sadly scrawled if ,i want 
to     get on to something else4 ,this  
one is really a little too careless2    
but it would take more time and trouble 
to make a proper drawing of     so odd a
 boat than the matter is worth4 ,it will
 answer the purpose     well enough as  
it is4    #fb ,imperfect vegetable form 
,i consider that which is in its nature 
dependent1 as in runners and climbers2  

or which is susceptible of     continual
 injury without materially losing the   
power of giving     pleasure by its     
aspect1 as in the case of the smaller   
grasses4 ,i     have not1 of course1    
space here to explain these minor       
distinctions1     but the laws above    
stated apply to all the more important  
trees and     shrubs likely to be       
familiar to the student4    #fc ,there  
is a very tender lesson of this kind in 
the shadows of     leaves upon the      
ground2 shadows which are the most      
likely of all to     attract attention1 
by their pretty play and change4 ,if you
 examine     them1 you will find that   
the shadows do not take the forms of the
     leaves1 but that1 through each     
interstice1 the light falls1 at a       
little distance1 in the form of a round 
or oval spot2 that is to     say1 it    
produces the image of the sun itself1   
cast either vertically     or obliquely1
 in circle or ellipse according to the  
slope of the     ground4 ,of course the 

sun's rays produce the same effect1 when
 they     fall through any small        
aperture3 but the openings between      
leaves are     the only ones likely to  
show it to an ordinary observer1 or to  
attract his attention to it by its      
frequency1 and lead him to think        
what this type may signify respecting   
the greater ,sun2 and how it     may    
show us that1 even when the opening     
through which the earth     receives    
light is too small to let us see the    
,sun ,himself1 the ray     of light that
 enters1 if it comes straight from ,him1
 will still bear     with it ,his image4
    #fd ,in the smaller figure 7#cb71 it
 will be seen that this     interruption
 is caused by a cart coming down to the 
water's edge2     and this object is    
serviceable as beginning another system 
of curves     leading out of the picture
 on the right1 but so obscurely drawn as
     not to be easily represented in    
outline4 ,as it is unnecessary to the   
explanation of our point here1 it has   

been omitted in the larger     diagram1 
the direction of the curve it begins    
being indicated by the     dashes only4 
#fe ,both in the ,sketches in ,flanders 
and ,germany4    #ff ,if you happen to  
meet with the plate of ,drer's          
representing a     coat-of-arms with a  
skull in the shield1 note the value     
given to the     concave curves and     
sharp point of the helmet by the convex 
leafage     carried round it in front2  
and the use of the blank white part of  
the shield in opposing the rich folds of
 the dress4    #fg ,turner hardly ever1 
as far as ,i remember1 allows a strong  
light     to oppose a full dark1 without
 some intervening tint4 ,his suns never 
set behind dark mountains without a film
 of cloud above the     mountain's edge4
    #fh       ,a prudent chief not      
always must display               ,his  
powers in equal ranks and fair array1   
,but with the occasion and the place    
comply1               ,conceal his      
force2 nay1 seem sometimes to fly4      

,those oft are stratagems which errors  
seem1               ,nor is it ,homer   
nods1 but we that dream4                
,essay on ,criticism4    #fi ,i am      
describing from an ,,ms41 circa #acjj1  
of ,gregory's     ,decretalia1 in my own
 possession4    #gj ,one of the most    
wonderful compositions of ,tintoret in  
,venice1     is little more than a field
 of subdued crimson1 spotted with flakes
     of scattered gold4 ,the upper      
clouds in the most beautiful skies owe  
great part of their power to infinitude 
of divisions2 order being     marked    
through this division4    #ga ,i fully  
believe that the strange gray gloom1    
accompanied by     considerable power of
 effect1 which prevails in modern       
,french art1     must be owing to the   
use of this mischievous instrument2 the 
,french     landscape always gives me   
the idea of ,nature seen carelessly in  
the     dark mirror1 and painted        
coarsely1 but scientifically1 through   
the     veil of its perversion4    #gb  

,various other parts of this subject are
 entered into1     especially in their  
bearing on the ideal of painting1 in    
,modern     ,painters1 vol4 iv4 chap4   
iii4    #gc ,in all the best            
arrangements of color1 the delight      
occasioned     by their mode of         
succession is entirely inexplicable1 nor
 can it be     reasoned about2 we like  
it just as we like an air in music1 but 
cannot reason any refractory person into
 liking it1 if they do not3     and yet 
there is distinctly a right and a wrong 
in it1 and a good     taste and bad     
taste respecting it1 as also in music4  
#gd ,puseyism was unknown in the days   
when this drawing was made2     but the 
kindly and helpful influences of what   
may be called     ecclesiastical        
sentiment1 which1 in a morbidly         
exaggerated     condition1 forms one of 
the principal elements of ,puseyism1--,i
 use     this word regretfully1 no other
 existing which will serve for          
it1--had been known and felt in our wild

 northern districts long     before4    
,,appendix4   ,i4  ,,illustrative       
,,notes4    ,,note #a1 p4               
#db4--,principle of the stereoscope4    
#bdg4 ,i am sorry to find a notion      
current among artists1 that they can1 in
 some degree1 imitate in a picture the  
effect of the stereoscope1 by confusion 
of lines4 ,there are indeed one or two  
artifices by which1 as stated in the    
text1 an appearance of retirement or    
projection may be obtained1 so that they
 partly supply the place of the         
stereoscopic effect1 but they do not    
imitate that effect4 ,the principle of  
the human sight is simply this3--by     
means of our two eyes we literally see  
everything from two places at once2 and1
 by calculated combination1 in the      
brain1 of the facts of form so seen1 we 
arrive at conclusions respecting the    
distance and shape of the object1 which 
we could not otherwise have reached4    
,but it is just as vain to hope to paint
 at once the two views of the object as 

seen from these two places1 though only 
an inch and a half distant from each    
other1 as it would be if they were a    
mile and a half distant from each other4
 ,with the right eye you see one view of
 a given object1 relieved against one   
part of the distance2 with the left eye 
you see another view of it1 relieved    
against another part of the distance4   
,you may paint whichever of those views 
you please2 you cannot paint both4 ,hold
 your finger upright1 between you and   
this page of the book1 about six inches 
from your eyes1 and three from the book2
 shut the right eye1 and hide the words 
inches from1 in the second line above   
this1 with your finger2 you will then   
see six on one side of it1 and your1 on 
the other4 ,now shut the left eye and   
open the right without moving your      
finger1 and you will see inches1 but not
 six4 ,you may paint the finger with    
inches beyond it1 or with six beyond it1
 but not with both4 ,and this principle 
holds for any object and any distance4  

,you might just as well try to paint    
,st4 ,paul's at once from both ends of  
,london ,bridge as to realize any       
stereoscopic effect in a picture4       
,,note #b1 p4 #ei4--;,dark lines turned 
to the light4  #bdh4 ,it ought to have  
been farther observed1 that the         
inclosure of the light by future shadow 
is by no means the only reason for the  
dark lines which great masters often    
thus introduce4 ,it constantly happens  
that a local color will show its own    
darkness most on the light side1 by     
projecting into and against masses of   
light in that direction2 and then the   
painter will indicate this future force 
of the mass by his dark touch4 ,both the
 monk's head in ,fig4 #aa and dog in    
,fig4 #bj are dark towards the light for
 this reason4     ,,note #c1 p4         
#ih4--,softness of reflections4  #bdi4  
,i have not quite insisted enough on the
 extreme care which is necessary in     
giving the tender evanescence of the    
edges of the reflections1 when the water

 is in the least agitated2 nor on the   
decision with which you may reverse the 
object1 when the water is quite calm4   
,most drawing of reflections is at once 
confused and hard2 but ,nature's is at  
once intelligible and tender4           
,generally1 at the edge of the water1   
you ought not to see where reality      
ceases and reflection begins2 as the    
image loses itself you ought to keep all
 its subtle and varied veracities1 with 
the most exquisite softening of its     
edge4 ,practice as much as you can from 
the reflections of ships in calm water1 
following out all the reversed rigging1 
and taking1 if anything1 more pains with
 the reflection than with the ship4     
,,note #d1 p4 #ajj4--,where the         
reflection is darkest1 you will see     
through the water best4  #bej4 ,for this
 reason it often happens that if the    
water be shallow1 and you are looking   
steeply down into it1 the reflection of 
objects on the bank will consist simply 
of pieces of the bottom seen clearly    

through the water1 and relieved by      
flashes of light1 which are the         
reflection of the sky4 ,thus you may    
have to draw the reflected dark shape of
 a bush3 but1 inside of that shape1 you 
must not draw the leaves of the bush1   
but the stones under the water2 and1    
outside of this dark reflection1 the    
blue or white of the sky1 with no stones
 visible4     ,,note #e1 p4             
#aja4--;,approach streams with          
reverence4  #bea4 ,i have hardly said   
anything about waves of torrents or     
waterfalls1 as ,i do not consider them  
subjects for beginners to practice upon2
 but1 as many of our younger artists are
 almost breaking their hearts over them1
 it may be well to state at once that it
 is physically impossible to draw a     
running torrent quite rightly1 the      
luster of its currents and whiteness of 
its foam being dependent on intensities 
of light which art has not at its       
command4 ,this also is to be observed1  
that most young painters make their     

defeat certain by attempting to draw    
running water1 which is a lustrous      
object in rapid motion1 without ever    
trying their strength on a lustrous     
object standing still4 ,let them break a
 coarse green-glass bottle into a great 
many bits1 and try to paint those1 with 
all their undulations and edges of      
fracture1 as they lie still on the      
table2 if they cannot1 of course they   
need not try the rushing crystal and    
foaming fracture of the stream4 ,if they
 can manage the glass bottle1 let them  
next buy a fragment or two of yellow    
fire-opal2 it is quite a common and     
cheap mineral1 and presents1 as closely 
as anything can1 the milky bloom and    
color of a torrent wave3 and if they can
 conquer the opal1 they may at last have
 some chance with the stream1 as far as 
the stream is in any wise possible4     
,but1 as ,i have just said1 the bright  
parts of it are not possible1 and ought1
 as much as may be1 to be avoided in    
choosing subjects4 ,a great deal more   

may1 however1 be done than any artist   
has done yet1 in painting the gradual   
disappearance and lovely coloring of    
stones seen through clear and calm      
water4  ,students living in towns may   
make great progress in rock-drawing by  
frequently and faithfully drawing broken
 edges of common roofing slates1 of     
their real size4     ,,note #f1 p4      
#abe4--,nature's economy of color4      
#beb4 ,i heard it wisely objected to    
this statement1 the other day1 by a     
young lady1 that it was not through     
economy that ,nature did not color deep 
down in the flower bells1 but because   
she had not light enough there to see to
 paint with4 ,this may be true2 but it  
is certainly not for want of light that1
 when she is laying the dark spots on a 
foxglove1 she will not use any more     
purple than she has got already on the  
bell1 but takes out the color all round 
the spot1 and concentrates it in the    
middle4     ,,note #g1 p4 #ach4--,the   
law of repetition4  #bec4 ,the reader   

may perhaps recollect a very beautiful  
picture of ,vandyck's in the ,manchester
 ,exhibition1 representing three        
children in court dresses of rich black 
and red4 ,the law in question was       
amusingly illustrated1 in the lower     
corner of that picture1 by the          
introduction of two crows1 in a similar 
color of court dress1 having jet black  
feathers and bright red beaks4  #bed4   
,since the first edition of this work   
was published1 ,i have ascertained that 
there are two series of engravings from 
the ,bible drawings mentioned in the    
list at p4 #ej4 ,one of these is        
inferior to the other1 and in many      
respects false to the drawing2 the      
,jericho1 for instance1 in the false    
series1 has common bushes instead of    
palm trees in the middle distance4 ,the 
original plates may be had at almost any
 respectable printseller's2 and ordinary
 impressions1 whether of these or any   
other plates mentioned in the list at p4
 #ej1 will be quite as useful as proofs3

 but1 in buying ,liber ,studiorum1 it is
 always well to get the best impressions
 that can be had1 and if possible       
impressions of the original plates1     
published by ,turner4 ,in case these are
 not to be had1 the copies which are in 
course of publication by ,mr4 ,lupton   
7#d ,keppel ,street1 ,russell ,square7  
are good and serviceable2 but no others 
are of any use4--,note of #aheg4  ,i    
have placed in the hands of ,mr4 ,ward  
7,working ,men's ,college7 some         
photographs from the etchings made by   
,turner for the ,liber2 the original    
etchings being now unobtainable1 except 
by fortunate accident4 ,i have selected 
the subjects carefully from my own      
collection of the etchings2 and though  
some of the more subtle qualities of    
line are lost in the photographs1 the   
student will find these proofs the best 
lessons in pen-drawing accessible to    
him4--,note of #ahei   ,,ii4  ,,things  
,,to ,,be ,,studied4  #bee4 ,the worst  
danger by far1 to which a solitary      

student is exposed1 is that of liking   
things that he should not4 ,it is not so
 much his difficulties1 as his tastes1  
which he must set himself to conquer3   
and although1 under the guidance of a   
master1 many works of art may be made   
instructive1 which are only of partial  
excellence 7the good and bad of them    
being duly distinguished71 his          
safeguard1 as long as he studies alone1 
will be in allowing himself to possess  
only things1 in their way1 so free from 
faults1 that nothing he copies in them  
can seriously mislead him1 and to       
contemplate only those works of art     
which he knows to be either perfect or  
noble in their errors4 ,i will therefore
 set down1 in clear order1 the names of 
the masters whom you may safely admire1 
and a few of the books which you may    
safely possess4 ,in these days of cheap 
illustration1 the danger is always      
rather of your possessing too much than 
too little4 ,it may admit of some       
question1 how far the looking at bad art

 may set off and illustrate the         
characters of the good2 but1 on the     
whole1 ,i believe it is best to live    
always on quite wholesome food1 and that
 our enjoyment of it will never be made 
more acute by feeding on ashes2 though  
it may be well sometimes to taste the   
ashes1 in order to know the bitterness  
of them4 ,of course the works of the    
great masters can only be serviceable to
 the student after he has made          
considerable progress himself4 ,it only 
wastes the time and dulls the feelings  
of young persons1 to drag them through  
picture galleries2 at least1 unless they
 themselves wish to look at particular  
pictures4 ,generally1 young people only 
care to enter a picture gallery when    
there is a chance of getting leave to   
run a race to the other end of it2 and  
they had better do that in the garden   
below4 ,if1 however1 they have any real 
enjoyment of pictures1 and want to look 
at this one or that1 the principal point
 is never to disturb them in looking at 

what interests them1 and never to make  
them look at what does not4 ,nothing is 
of the least use to young people 7nor1  
by the way1 of much use to old ones71   
but what interests them2 and therefore1 
though it is of great importance to put 
nothing but good art into their         
possession1 yet1 when they are passing  
through great houses or galleries1 they 
should be allowed to look precisely at  
what pleases them3 if it is not useful  
to them as art1 it will be in some other
 way2 and the healthiest way in which   
art can interest them is when they look 
at it1 not as art1 but because it       
represents something they like in       
,nature4 ,if a boy has had his heart    
filled by the life of some great man1   
and goes up thirstily to a ,vandyck     
portrait of him1 to see what he was     
like1 that is the wholesomest way in    
which he can begin the study of         
portraiture2 if he loves mountains1 and 
dwells on a ,turner drawing because he  
sees in it a likeness to a ,yorkshire   

scar or an ,alpine pass1 that is the    
wholesomest way in which he can begin   
the study of landscape2 and if a girl's 
mind is filled with dreams of angels and
 saints1 and she pauses before an       
,angelico because she thinks it must    
surely be like heaven1 that is the right
 way for her to begin the study of      
religious art4  #bef4 ,when1 however1   
the student has made some definite      
progress1 and every picture becomes     
really a guide to him1 false or true1 in
 his own work1 it is of great importance
 that he should never look1 with even   
partial admiration1 at bad art2 and     
then1 if the reader is willing to trust 
me in the matter1 the following advice  
will be useful to him4 ,in which1 with  
his permission1 ,i will quit the        
indirect and return to the epistolary   
address1 as being the more convenient4  
,first1 in ,galleries of ,pictures3  #a4
 ,you may look1 with trust in their     
being always right1 at ,titian1         
,veronese1 ,tintoret1 ,giorgione1 ,john 

,bellini1 and ,velasquez2 the           
authenticity of the picture being of    
course established for you by proper    
authority4  #b4 ,you may look with      
admiration1 admitting1 however1 question
 of right and wrong1#ge at ,van ,eyck1  
,holbein1 ,perugino1 ,francia1          
,angelico1 ,leonardo da ,vinci1         
,correggio1 ,vandyck1 ,rembrandt1       
,reynolds1 ,gainsborough1 ,turner1 and  
the modern ,pre-,raphaelites4#gf ,you   
had better look at no other painters    
than these1 for you run a chance1       
otherwise1 of being led far off the     
road1 or into grievous faults1 by some  
of the other great ones1 as ,michael    
,angelo1 ,raphael1 and ,rubens2 and of  
being1 besides1 corrupted in taste by   
the base ones1 as ,murillo1 ,salvator1  
,claude1 ,gaspar ,poussin1 ,teniers1 and
 such others4 ,you may look1 however1   
for examples of evil1 with safe         
universality of reprobation1 being sure 
that everything you see is bad1 at      
,domenichino1 the ,carracci1 ,bronzino1 

and the figure pieces of ,salvator4     
,among those named for study under      
question1 you cannot look too much at1  
nor grow too enthusiastically fond of1  
,angelico1 ,correggio1 ,reynolds1       
,turner1 and the ,pre-,raphaelites2 but1
 if you find yourself getting especially
 fond of any of the others1 leave off   
looking at them1 for you must be going  
wrong some way or other4 ,if1 for       
instance1 you begin to like ,rembrandt  
or ,leonardo especially1 you are losing 
your feeling for color2 if you like ,van
 ,eyck or ,perugino especially1 you must
 be getting too fond of rigid detail2   
and if you like ,vandyck or             
,gainsborough especially1 you must be   
too much attracted by gentlemanly       
flimsiness4  #beg4 ,secondly1 of        
published1 or otherwise multiplied1 art1
 such as you may be able to get         
yourself1 or to see at private houses or
 in shops1 the works of the following   
masters are the most desirable1 after   
the ,turners1 ,rembrandts1 and ,drers1  

which ,i have asked you to get first3   
#a4 ,samuel ,prout4#gg  ,all his        
published lithographic sketches are of  
the greatest value1 wholly unrivaled in 
power of composition1 and in love and   
feeling of architectural subject4 ,his  
somewhat mannered linear execution1     
though not to be imitated in your own   
sketches from ,nature1 may be           
occasionally copied1 for discipline's   
sake1 with great advantage3 it will give
 you a peculiar steadiness of hand1 not 
quickly attainable in any other way2 and
 there is no fear of your getting into  
any faultful mannerism as long as you   
carry out the different modes of more   
delicate study above recommended4  ,if  
you are interested in architecture1 and 
wish to make it your chief study1 you   
should draw much from photographs of it2
 and then from the architecture itself1 
with the same completion of detail and  
gradation1 only keeping the shadows of  
due paleness1--in photographs they are  
always about four times as dark as they 

ought to be1--and treat buildings with  
as much care and love as artists do     
their rock foregrounds1 drawing all the 
moss1 and weeds1 and stains upon them4  
,but if1 without caring to understand   
architecture1 you merely want the       
picturesque character of it1 and to be  
able to sketch it fast1 you cannot do   
better than take ,prout for your        
exclusive master2 only do not think that
 you are copying ,prout by drawing      
straight lines with dots at the end of  
them4 ,get first his ,rhine1 and draw   
the subjects that have most hills1 and  
least architecture in them1 with chalk  
on smooth paper1 till you can lay on his
 broad flat tints1 and get his          
gradations of light1 which are very     
wonderful2 then take up the             
architectural subjects in the ,rhine1   
and draw again and again the groups of  
figures1 etc41 in his ,microcosm1 and   
,lessons on ,light and ,shadow4 ,after  
that1 proceed to copy the grand subjects
 in the ,sketches in ,flanders and      

,germany2 or in ,switzerland and ,italy1
 if you cannot get the ,flanders2 but   
the ,switzerland is very far inferior4  
,then work from ,nature1 not trying to  
,proutize ,nature1 by breaking smooth   
buildings into rough ones1 but only     
drawing what you see1 with ,prout's     
simple method and firm lines4 ,don't    
copy his colored works4 ,they are good1 
but not at all equal to his chalk and   
pencil drawings2 and you will become a  
mere imitator1 and a very feeble        
imitator1 if you use color at all in    
,prout's method4 ,i have not space to   
explain why this is so1 it would take a 
long piece of reasoning2 trust me for   
the statement4     #b4 ,john ,lewis4    
,his sketches in ,spain1 lithographed by
 himself1 are very valuable4 ,get them1 
if you can1 and also some engravings    
7about eight or ten1 ,i think1          
altogether7 of wild beasts1 executed by 
his own hand a long time ago2 they are  
very precious in every way4 ,the series 
of the ,alhambra is rather slight1 and  

few of the subjects are lithographed by 
himself2 still it is well worth having4 
,but let no lithographic work come into 
the house1 if you can help it1 nor even 
look at any1 except ,prout's1 and those 
sketches of ,lewis's4     #c4 ,george   
,cruikshank4  ,if you ever happen to    
meet with the two volumes of ,grimm's   
,german ,stories1 which were illustrated
 by him long ago1 pounce upon them      
instantly2 the etchings in them are the 
finest things1 next to ,rembrandt's1    
that1 as far as ,i know1 have been done 
since etching was invented4 ,you cannot 
look at them too much1 nor copy them too
 often4  ,all his works are very        
valuable1 though disagreeable when they 
touch on the worst vulgarities of modern
 life2 and often much spoiled by a      
curiously mistaken type of face1 divided
 so as to give too much to the mouth and
 eyes and leave too little for forehead1
 the eyes being set about two thirds up1
 instead of at half the height of the   
head4 ,but his manner of work is always 

right2 and his tragic power1 though     
rarely developed1 and warped by habits  
of caricature1 is1 in reality1 as great 
as his grotesque power4  ,there is no   
fear of his hurting your taste1 as long 
as your principal work lies among art of
 so totally different a character as    
most of that which ,i ,have recommended 
to you2 and you may1 therefore1 get     
great good by copying almost anything of
 his that may come in your way2 except  
only his illustrations1 lately          
published1 to ,cinderella1 and ,jack and
 the ,bean-stalk1 and ,tom ,thumb1 which
 are much overlabored1 and confused in  
line4 ,you should get them1 but do not  
copy them4     #d4 ,alfred ,rethel4  ,i 
only know two publications by him2 one1 
the ,dance of ,death1 with text by      
,reinick1 published in ,leipsic1 but to 
be had now of any ,london bookseller for
 the sum1 ,i believe1 of eighteen pence1
 and containing six plates full of      
instructive character2 the other1 of two
 plates only1 ,death the ,avenger1 and  

,death the ,friend4 ,these two are far  
superior to the ,todtentanz1 and1 if you
 can get them1 will be enough in        
themselves to show all that ,rethel can 
teach you4 ,if you dislike ghastly      
subjects1 get ,death the ,friend only4  
#e4 ,bewick4  ,the execution of the     
plumage in ,bewick's birds is the most  
masterly thing ever yet done in         
wood-cutting2 it is worked just as ,paul
 ,veronese would have worked in wood1   
had he taken to it4 ,his vignettes1     
though too coarse in execution1 and     
vulgar in types of form1 to be good     
copies1 show1 nevertheless1 intellectual
 power of the highest order2 and there  
are pieces of sentiment in them1 either 
pathetic or satirical1 which have never 
since been equaled in illustrations of  
this simple kind2 the bitter intensity  
of the feeling being just like that     
which characterizes some of the leading 
,pre-,raphaelites4 ,bewick is the ,burns
 of painting4     #f4 ,blake4  ,the     
,book of ,job1 engraved by himself1 is  

of the highest rank in certain          
characters of imagination and           
expression2 in the mode of obtaining    
certain effects of light it will also be
 a very useful example to you4 ,in      
expressing conditions of glaring and    
flickering light1 ,blake is greater than
 ,rembrandt4     #g4 ,richter4  ,i have 
already told you what to guard against  
in looking at his works4 ,i am a little 
doubtful whether ,i have done well in   
including them in this catalogue at all2
 but the imaginations in them are so    
lovely and numberless1 that ,i must     
risk1 for their sake1 the chance of     
hurting you a little in judgment of     
style4 ,if you want to make presents of 
story-books to children1 his are the    
best you can now get2 but his most      
beautiful work1 as far as ,i know1 is   
his series of ,illustrations to the     
,lord's ,prayer4     #h4 ,rossetti4  ,an
 edition of ,tennyson1 lately published1
 contains wood-cuts from drawings by    
,rossetti and other chief               

,pre-,raphaelite masters4 ,they are     
terribly spoiled in the cutting1 and    
generally the best part1 the expression 
of feature1 entirely lost2#gh still they
 are full of instruction1 and cannot be 
studied too closely4 ,but observe1      
respecting these wood-cuts1 that if you 
have been in the habit of looking at    
much spurious work1 in which sentiment1 
action1 and style are borrowed or       
artificial1 you will assuredly be       
offended at first by all genuine work1  
which is intense in feeling4 ,genuine   
art1 which is merely art1 such as       
,veronese's or ,titian's1 may not offend
 you1 though the chances are that you   
will not care about it2 but genuine     
works of feeling1 such as ,maud or      
,aurora ,leigh in poetry1 or the grand  
,pre-,raphaelite designs in painting1   
are sure to offend you3 and if you cease
 to work hard1 and persist in looking at
 vicious and false art1 they will       
continue to offend you4 ,it will be     
well1 therefore1 to have one type of    

entirely false art1 in order to know    
what to guard against4 ,flaxman's       
outlines to ,dante contain1 ,i think1   
examples of almost every kind of        
falsehood and feebleness which it is    
possible for a trained artist1 not base 
in thought1 to commit or admit1 both in 
design and execution4 ,base or degraded 
choice of subject1 such as you will     
constantly find in ,teniers and others  
of the ,dutch painters1 ,i need not1 ,i 
hope1 warn you against2 you will simply 
turn away from it in disgust2 while mere
 bad or feeble drawing1 which makes     
mistakes in every direction at once1    
cannot teach you the particular sort of 
educated fallacy in question4 ,but1 in  
these designs of ,flaxman's1 you have   
gentlemanly feeling1 and fair knowledge 
of anatomy1 and firm setting down of    
lines1 all applied in the foolishest and
 worst possible way2 you cannot have a  
more finished example of learned error1 
amiable want of meaning1 and bad drawing
 with a steady hand4#gi ,retzsch's      

outlines have more real material in them
 than ,flaxman's1 occasionally showing  
true fancy and power2 in artistic       
principle they are nearly as bad1 and in
 taste1 worse4 ,all outlines from       
statuary1 as given in works on classical
 art1 will be very hurtful to you if you
 in the least like them2 and nearly all 
finished line engravings4 ,some         
particular prints ,i could name which   
possess instructive qualities1 but it   
would take too long to distinguish them1
 and the best way is to avoid line      
engravings of figures altogether4#hj ,if
 you happen to be a rich person1        
possessing quantities of them1 and if   
you are fond of the large finished      
prints from ,raphael1 ,correggio1 etc41 
it is wholly impossible that you can    
make any progress in knowledge of real  
art till you have sold them all1--or    
burnt them1 which would be a greater    
benefit to the world4 ,i hope that1 some
 day1 true and noble engravings will be 
made from the few pictures of the great 

schools1 which the restorations         
undertaken by the modern managers of    
foreign galleries may leave us2 but the 
existing engravings have nothing        
whatever in common with the good in the 
works they profess to represent1 and1 if
 you like them1 you like in the         
originals of them hardly anything but   
their errors4  #beh4 ,finally1 your     
judgment will be1 of course1 much       
affected by your taste in literature4   
,indeed1 ,i know many persons who have  
the purest taste in literature1 and yet 
false taste in art1 and it is a         
phenomenon which puzzles me not a       
little2 but ,i have never known any one 
with false taste in books1 and true     
taste in pictures4 ,it is also of the   
greatest importance to you1 not only for
 art's sake1 but for all kinds of sake1 
in these days of book deluge1 to keep   
out of the salt swamps of literature1   
and live on a little rocky island of    
your own1 with a spring and a lake in   
it1 pure and good4 ,i cannot1 of course1

 suggest the choice of your library to  
you3 every several mind needs different 
books2 but there are some books which we
 all need1 and assuredly1 if you read   
,homer1#ha ,plato1 schylus1 ,herodotus1 
,dante1#hb ,shakspeare1 and ,spenser1 as
 much as you ought1 you will not require
 wide enlargement of shelves to right   
and left of them for purposes of        
perpetual study4 ,among modern books    
avoid generally magazine and review     
literature4 ,sometimes it may contain a 
useful abridgment or a wholesome piece  
of criticism2 but the chances are ten to
 one it will either waste your time or  
mislead you4 ,if you want to understand 
any subject whatever1 read the best book
 upon it you can hear of3 not a review  
of the book4 ,if you don't like the     
first book you try1 seek for another2   
but do not hope ever to understand the  
subject without pains1 by a reviewer's  
help4 ,avoid especially that class of   
literature which has a knowing tone2 it 
is the most poisonous of all4 ,every    

good book1 or piece of book1 is full of 
admiration and awe2 it may contain firm 
assertion or stern satire1 but it never 
sneers coldly1 nor asserts haughtily1   
and it always leads you to reverence or 
love something with your whole heart4   
,it is not always easy to distinguish   
the satire of the venomous race of books
 from the satire of the noble and pure  
ones2 but in general you may notice that
 the cold-blooded1 ,crustacean and      
,batrachian books will sneer at         
sentiment2 and the warm-blooded1 human  
books1 at sin4 ,then1 in general1 the   
more you can restrain your serious      
reading to reflective or lyric poetry1  
history1 and natural history1 avoiding  
fiction and the drama1 the healthier    
your mind will become4 ,of modern       
poetry1 keep to ,scott1 ,wordsworth1    
,keats1 ,crabbe1 ,tennyson1 the two     
,brownings1 ,thomas ,hood1 ,lowell1     
,longfellow1 and ,coventry ,patmore1    
whose ,angel in the ,house is a most    
finished piece of writing1 and the      

sweetest analysis we possess of quiet   
modern domestic feeling2 while ,mrs4    
,browning's ,aurora ,leigh is1 as far as
 ,i know1 the greatest poem which the   
century has produced in any language4   
,cast ,coleridge at once aside1 as      
sickly and useless2 and ,shelley1 as    
shallow and verbose2 ,byron1 until your 
taste is fully formed1 and you are able 
to discern the magnificence in him from 
the wrong4 ,never read bad or common    
poetry1 nor write any poetry yourself2  
there is1 perhaps1 rather too much than 
too little in the world already4  #bei4 
,of reflective prose1 read chiefly      
,bacon1 ,johnson1 and ,helps4 ,carlyle  
is hardly to be named as a writer for   
beginners1 because his teaching1 though 
to some of us vitally necessary1 may to 
others be hurtful4 ,if you understand   
and like him1 read him2 if he offends   
you1 you are not yet ready for him1 and 
perhaps may never be so2 at all events1 
give him up1 as you would sea-bathing if
 you found it hurt you1 till you are    

stronger4 ,of fiction1 read ,sir        
,charles ,grandison1 ,scott's novels1   
,miss ,edgeworth's1 and1 if you are a   
young lady1 ,madame de ,genlis'1 the    
,french ,miss ,edgeworth2 making these1 
,i mean1 your constant companions4 ,of  
course you must1 or will1 read other    
books for amusement once or twice2 but  
you will find that these have an element
 of perpetuity in them1 existing in     
nothing else of their kind2 while their 
peculiar quietness and repose of manner 
will also be of the greatest value in   
teaching you to feel the same characters
 in art4 ,read little at a time1 trying 
to feel interest in little things1 and  
reading not so much for the sake of the 
story as to get acquainted with the     
pleasant people into whose company these
 writers bring you4 ,a common book will 
often give you much amusement1 but it is
 only a noble book which will give you  
dear friends4 ,remember1 also1 that it  
is of less importance to you in your    
earlier years1 that the books you read  

should be clever than that they should  
be right4 ,i do not mean oppressively or
 repulsively instructive2 but that the  
thoughts they express should be just1   
and the feelings they excite generous4  
,it is not necessary for you to read the
 wittiest or the most suggestive books3 
it is better1 in general1 to hear what  
is already known1 and may be simply     
said4 ,much of the literature of the    
present day1 though good to be read by  
persons of ripe age1 has a tendency to  
agitate rather than confirm1 and leaves 
its readers too frequently in a helpless
 or hopeless indignation1 the worst     
possible state into which the mind of   
youth can be thrown4 ,it may1 indeed1   
become necessary for you1 as you advance
 in life1 to set your hand to things    
that need to be altered in the world1 or
 apply your heart chiefly to what must  
be pitied in it1 or condemned2 but1 for 
a young person1 the safest temper is one
 of reverence1 and the safest place one 
of obscurity4 ,certainly at present1 and

 perhaps through all your life1 your    
teachers are wisest when they make you  
content in quiet virtue1 and that       
literature and art are best for you     
which point out1 in common life1 and in 
familiar things1 the objects for hopeful
 labor1 and for humble love4            
,,footnotes3    #ge ,i do not mean      
necessarily to imply inferiority of rank
 in     saying that this second class of
 painters have questionable             
qualities4 ,the greatest men have often 
many faults1 and sometimes     their    
faults are a part of their greatness2   
but such men are not1 of     course1 to 
be looked upon by the student with      
absolute implicitness     of faith4     
#gf ,including1 under this term1 ,john  
,lewis1 and ,william ,hunt of the       
,old ,water-color1 who1 take him all in 
all1 is the best painter of     still   
life1 ,i believe1 that ever existed4    
#gg ,the order in which ,i place these  
masters does not in the least     imply 
superiority or inferiority4 ,i wrote    

their names down as they     occurred to
 me2 putting ,rossetti's last because   
what ,i had to say of     him was       
connected with other subjects2 and one  
or another will     appear to you great1
 or be found by you useful1 according to
 the     kind of subjects you are       
studying4    #gh ,this is especially the
 case in the ,st4 ,cecily1 ,rossetti's  
first     illustration to the ,palace of
 ,art1 which would have been the best   
in the book had it been well engraved4  
,the whole work should be     taken up  
again1 and done by line engraving1      
perfectly2 and wholly     from          
,pre-,raphaelite designs1 with which no 
other modern work can     bear the least
 comparison4    #gi ,the praise ,i have 
given incidentally to ,flaxman's        
sculpture in     the ,seven ,lamps1 and 
elsewhere1 refers wholly to his studies 
from     ,nature1 and simple groups in  
marble1 which were always good and      
interesting4 ,still1 ,i have overrated  
him1 even in this respect2 and     it is

 generally to be remembered that1 in    
speaking of artists whose     works ,i  
cannot be supposed to have specially    
studied1 the errors ,i     fall into    
will always be on the side of praise4   
,for1 of course1     praise is most     
likely to be given when the thing       
praised is above     one's knowledge2   
and1 therefore1 as our knowledge        
increases1 such     things may be found 
less praiseworthy than we thought4 ,but 
blame can     only be justly given when 
the thing blamed is below one's level of
     sight2 and1 practically1 ,i never  
do blame anything until ,i have got     
well past it1 and am certain that there 
is demonstrable falsehood in     it4 ,i 
believe1 therefore1 all my blame to be  
wholly trust-worthy1     having never   
yet had occasion to repent of one       
depreciatory word     that ,i have ever 
written1 while ,i have often found that1
 with     respect to things ,i had not  
time to study closely1 ,i was led too   
far     by sudden admiration1 helped1   

perhaps1 by peculiar associations1 or   
other deceptive accidents2 and this the 
more1 because ,i never care     to check
 an expression of delight1 thinking the 
chances are1 that1     even if mistaken1
 it will do more good than harm2 but ,i 
weigh every     word of blame with      
scrupulous caution4 ,i have sometimes   
erased a     strong passage of blame    
from second editions of my books2 but   
this     was only when ,i found it      
offended the reader without convincing  
him1     never because ,i repented of it
 myself4    #hj ,large line engravings1 
,i mean1 in which the lines1 as such1   
are     conspicuous4 ,small vignettes in
 line are often beautiful in figures    
no less than landscape2 as1 for         
instance1 those from ,stothard's        
drawings in ,rogers's ,italy2 and1      
therefore1 ,i have just recommended     
the vignettes to ,tennyson to be done by
 line engraving4    #ha ,chapman's1 if  
not the original4    #hb ,gary's or     
,cayley's1 if not the original4 ,i do   

not know which     are the best         
translations of ,plato4 ,herodotus and  
schylus can only     be read in the     
original4 ,it may seem strange that ,i  
name books like     these for beginners3
 but all the greatest books contain food
 for     all ages2 and an intelligent   
and rightly bred youth or girl ought to 
enjoy much1 even in ,plato1 by the time 
they are fifteen or sixteen4            
99       99       99       99       99  
,,correction ,,made ,,to ,,the          
,,original ,,text4  ,page #eh3 ',thus1  
the outline a and the outline d4' 'd'   
replaced by 'b4'