oups you encounter in walking about; never be
without a little book for this purpose, as the merest draught will, when
you are composing, apply itself to your picture better than any thing
that may be suggested. I have invariably found this the best resource.
Take first the exact outline, shape, and position of the figure, and
afterwards the expression of what he is doing, carefully noticing the
shadowed parts, and dividing them boldly from the light; the half-tints
may be blended with comparative ease; therefore make as few lines as
possible, never encumbering them. That part of the figure which is
foreshortened will have the greater number of folds, while that which is
not, will come out plain and bold. Such memoranda will always have a
look of reality over every other means of obtaining it.

It is not unfrequently the case that, in the progress of a work, a
number of circumstances, partly the result of thought, partly of
accident, may occur; therefore, entire reliance on the first sketch is
not always to be depended on; at the same time, the various improvements
that suggest themselves, do not always interfere with the carrying out
our first conceptions, and still securing the same treatment with which
we commenced.

A repetition of forms can only be diverted by opposing lines being
brought in somewhat strong contrast against them; and, if possible,
between their recurrence. (_Plate 2, fig. 1._)

In copying, draw various lines across the original, and the same on the
paper the copy is to be made on. Begin with the centre, and draw
towards the sides; the objects represented will be neither too large
nor too small by this means.

I have said, that variety and intricacy have many charms. In passing
over our embellished lands, with all the advantages our country affords
in landscape objects, we cannot but observe this infinite variety in the
English oak, the birch, the ash, the abele; the magnificent white
poplar, with its large and beautiful leaves; the beech, the elm, the
stately horse-chestnut, &c.; their great diversity of foliage and bark;
their distinct peculiarities of colour and form; the oriental plane, the
hazel, sycamore, the maple; especially where the landscape-gardener was
never heard of, when the universal and monotonous green of summer gives
place to the glowing hues of October and _November_, the best months of
all, from the large portion of pearly grey that pervades all nature at
that time, and from