painters, frequently produced by violating this latter rule.
The writer would particularly notice the results of light thrown into
the distance, in stormy sea-views.]

16. It is useful to know, that the shadows of morning are darker than
those of evening; also, that when objects are in _shadow_, their light
(as it is then a reflected light,) falls on the opposite side to that on
which it would come if they were enlightened.

17. The _harmony_ of the whole should be studied; if the piece strikes
you as defective in this respect, place it at evening in some situation
where it will not be reached by a strong light, when the misplaced
lights and shadows will strike you more forcibly than in the glare of
day.

18. To stain your paper with a slight reddish or yellowish tint, adds to
the harmony of a sketch, yet it is a mere matter of taste; but, when it
is desired, it had better be done after the drawing is completed,
otherwise the colour risks looking patched from the rubber.[6]

[Footnote 6: Coffee has been recommended for this purpose, but delicate
and pleasing washes or glazings may be produced from burnt sienna,
yellow ochre, burnt umbre, and lake, in various combinations, and laid
on extremely attenuated by water.]

19. In _colouring_, the _sky_ gives the _ruling tint_ to the landscape;
it is absurd to unite a noonday sky, with a landscape of sunset glow.

20. From the three virgin colours, red, blue, and yellow, all the tints
of nature are composed.[7] There is not in nature a perfect white,
except snow, and the petals of some flowers.

[Footnote 7: The artist, however, cannot produce _his_ tints from those
simple colours _entirely_, but the advice once given to the writer, by a
painter, was:--"Never fancy that _many_ colours will effect your object;
a _few_ well chosen will better succeed, and be more easily managed;
half-a-dozen would, for _me_, answer every purpose." The student is
warned against _gaudy colouring_, which, if allowable in _caricatures_
seen _elsewhere_, reminds one of pedlar's pictures.]

21. Sketch nothing but what you can _adorn_, (for the purpose of showing
to friends, &c.) but do not adorn your first, or _rough_ sketch; _make
another_, and refer to your _original_ draught, as you would do to the
view itself, for it contains your _general ideas_--your first and
freshest, which may be lost by endeavouring to refine and improve upon
them in the original sketch.[8]

[Footnote 8: The