_a f g l._ Knaresborough.* Tees.*
_m r._ High Force of Tees.* _m q._ Ulleswater.
_a f q._ Trematon. _f m._ Valle Crucis.

_From the Keepsake._

_m p q._ Arona. _p._ St. Germain en Laye.
_l m._ Drachenfels.* _l p q._ Florence.
_f l._ Marly.* _l m._ Ballyburgh Ness.*

_From the Bible Series._

_f m._ Mount Lebanon. _a c g._ Joppa.
_m._ Rock of Moses at _c l p q._ Solomon's Pools.*
Sinai. _a l._ Santa Saba.
_a l m._ Jericho. _a l._ Pool of Bethesda.

_From Scott's Works._

_p r._ Melrose.* _c m._ Glencoe.
_f r._ Dryburgh.* _c m._ Loch Coriskin.*

_a l._ Caerlaverock.

_From the Rivers of France._

_a q._ Chateau of Amboise, with _a p._ Rouen Cathedral.
large bridge on right. _f p._ Pont de l'Arche.
_l p r._ Rouen, looking down the _f l p._ View on the Seine,
river, poplars on right.* with avenue.
_a l p._ Rouen, with cathedral _a c p._ Bridge of Meulan.
and rainbow, avenue _c g p r._ Caudebec.*
on left.

[19] As _well_;--not as minutely: the diamond cuts finer lines on
the steel than you can draw on paper with your pen; but you must be
able to get tones as even, and touches as firm.

[20] See, for account of these plates, the Appendix on "Works to be
studied."

[21] See Note 2 in Appendix I.

[22] This sketch is not of a tree standing on its head, though it
looks like it. You will find it explained presently.

LETTER II.

SKETCHING FROM NATURE.

102. MY DEAR READER,--The work we have already gone through together
has, I hope, enabled you to draw with fair success either rounded and
simple masses, like stones, or complicated arrangements of form, like
those of leaves; provided only these masses or complexities will stay
quiet for you to copy, and do not extend into quantity so great as to
baffle your patience. But if we are now to go out to the fields, and to
draw anything like a complete landscape, neither of these conditions
will any more be observed for us. The clouds will not wait while we copy
their heaps or clefts; the shadows will