xpressing the roundness of a
surface. They frequently draw with considerable dexterity and vigour,
but never attain the slightest sense of those modulations in form which
can only be expressed by gradations in shade. They leave sharp edges to
their blots of colour, sharp angles in their contours of lines, and
conceal from themselves their incapacity of completion by redundance of
object. The assurance to such persons that no object could be rightly
seen or drawn until the draughtsman had acquired the power of modulating
surfaces by gradations wrought with some pointed instrument (whether
pen, pencil, or chalk), would at once prevent much vain labour, and put
an end to many errors of that worst kind which not only retard the
student, but blind him; which prevent him from either attaining
excellence himself, or understanding it in others.

162. It would be easy, did time admit it, to give instances of other
principles which it is equally essential that the student should know,
and certain that all painters of eminence would sanction; while even
those respecting which some doubt may exist in their application to
consummate practice, are yet perfectly determinable, so far as they are
needed to guide a beginner. It may, for instance, be a question how far
local colour should be treated as an element of chiaroscuro in a
master's drawing of the human form. But there can be no question that it
must be so treated in a boy's study of a tulip or a trout.

163. A still more important point would be gained if authoritative
testimony of the same kind could be given to the merit and exclusive
sufficiency of any series of examples of works of art, such as could at
once be put within the reach of masters of schools. For the modern
student labours under heavy disadvantages in what at first sight might
appear an assistance to him, namely, the number of examples of many
different styles which surround him in galleries or museums. His mind is
disturbed by the inconsistencies of various excellences, and by his own
predilection for false beauties in second or third-rate works. He is
thus prevented from observing any one example long enough to understand
its merit, or following any one method long enough to obtain facility in
its practice. It seems, therefore, very desirable that some such
standard of art should be fixed for all our schools,--a standard which,
it must be remembered, need not necessarily be the highest possible,
provided o