the student: the leading principles are all that are required, at
setting out. As he goes on, it will be time enough to extend his
enquiries.

Secondly, a _good manner_ of drawing the _parts_, or objects represented
in a picture, with accuracy.

Thirdly, reference to the best compositions of others will enable him to
compare and combine them.

Fourthly, to render some subservient to others, by a skilful
distribution of Light and Shade.

Exercise the memory on various parts of objects, till you draw them
well: the means of _connecting_ them will gradually occur, until the
whole is united. The constant practice of this method will lessen the
difficulty at every step, until it becomes a habit of the mind, and is
rendered as easy to grasp a _whole_ scene, as before it was the parts.
The fleeting nature of effects of cloud or sunshine passing before us,
leave no time to meditate them; therefore, to impress the memory with
them is the only resource left.

The single glance of an eye has been found sufficient to catch the
passing expression of character, and fix it on the memory, when that
memory has been strengthened and matured by repeated efforts: so
evanescent are the features of things and forms that pass us by, that
observation--discriminative observation--assisted by habits of memory,
alone can fix them in our ideas: no single expression of the human
countenance remains long enough to paint it by any other means. When the
memory has been thus exercised, the slightest hint will be sufficient to
fire it. This may account for the expression, 'that artists see things
where nobody else can find them!' It is an _improved perception_ that
catches resemblances from almost ideal forms.

The most general forms of nature are the most beautiful. An enlarged
comprehension sees the whole object _at once_, without minute attention
to details, by which it obtains the ruling characteristics, and imitates
it by short and dexterous methods. 'Science soon discovers the shortest
and surest way to effect its own purpose;'--by an exact _adequate_
expression, and _no more_, adjusts the whole. The laziness of highly
finishing the parts, has been justly called the 'laborious effects of
idleness:' excessive _labour_ in the detail, is always pernicious to
the general effect, frittering it away; and, while you deceive yourself
that you are acquiring art, your pursuit will end in mechanics, in
default of more extended views--the _Art of seein