r of treason to ladies' eyes, and to mountain
streams, and to morning dew, which kept me from yielding the point
to him. One is apt always to generalize too quickly in such matters;
but there can be no question that luster is destructive of
loveliness in color, as it is of intelligibility in form. Whatever
may be the pride of a young beauty in the knowledge that her eyes
shine (though perhaps even eyes are most beautiful in dimness), she
would be sorry if her cheeks did; and which of us would wish to
polish a rose?

[43] But not shiny or greasy. Bristol board, or hot-pressed
imperial, or gray paper that feels slightly adhesive to the hand, is
best. Coarse, gritty, and sandy papers are fit only for blotters and
blunderers; no good draughtsman would lay a line on them. Turner
worked much on a thin tough paper, dead in surface; rolling up his
sketches in tight bundles that would go deep into his pockets.

[44] I insist upon this unalterability of color the more because I
address you as a beginner, or an amateur: a great artist can
sometimes get out of a difficulty with credit, or repent without
confession. Yet even Titian's alterations usually show as stains on
his work.

[45] It is, I think, a piece of affectation to try to work with few
colors: it saves time to have enough tints prepared without mixing,
and you may at once allow yourself these twenty-four. If you arrange
them in your color-box in the order I have set them down, you will
always easily put your finger on the one you want.

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 colors, but
you need not care much about permanence in your work as yet, and
they are both beautiful; while Indigo is marked by Field as more
fugitive still, and is very ugly. Hooker's green is a mixed color,
put in the box merely to save you loss of time in mixing gamboge and
Prussian blue. No. 1 is the best tint of it. Violet carmine is a
nob