bsolutely
true, than that he should practice drawing straight lines. But also,
I believe, though I am not quite sure of this, that he never _ought_
to be able to draw a straight line. I do not believe a perfectly
trained hand ever can draw a line without some curvature in it, or
some variety of direction. Prout could draw a straight line, but I
do not believe Raphael could, nor Tintoret. A great draughtsman can,
as far as I have observed, draw every line _but_ a straight one.

[6] Or, if you feel able to do so, scratch them in with confused
quick touches, indicating the general shape of the cloud or mist of
twigs round the main branches; but do not take much trouble about
them.

[7] It is more difficult, at first, to get, in color, a narrow
gradation than an extended one; but the ultimate difficulty is, as
with the pen, to make the gradation go _far_.

[8] Of course, all the columns of color are to be of equal length.

[9] The degree of darkness you can reach with the given color is
always indicated by the color of the solid cake in the box.

[10] The figure _a_, Fig. 5, is very dark, but this is to give an
example of all kinds of depths of tint, without repeated figures.

[11] Nearly neutral in ordinary circumstances, but yet with quite
different tones in its neutrality, according to the colors of the
various reflected rays that compose it.

[12] If we had any business with the reasons of this, I might
perhaps be able to show you some metaphysical ones for the
enjoyment, by truly artistical minds, of the changes wrought by
light and shade and perspective in patterned surfaces; but this is
at present not to the point; and all that you need to know is that
the drawing of such things is good exercise, and moreover a kind of
exercise which Titian, Veronese, Tintoret, Giorgione, and Turner,
all enjoyed, and strove to excel in.

[13] The use of acquiring this habit of execution is that you may be
able, when you begin to color, to let one hue be seen in minute
portions, gleaming between the touches of another.

[14] William Hunt, of the Old Water-color Society.

[15] At Marlborough House, [in 1857] among the four principal
examples of Turner's later water-color drawing, perhaps the most
neglected was that of fishing-boats and fish at sunset. It is one of
his most wonderful works, thoug