le of all kinds of depth of tint, without repeated figures.

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

[210] 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.

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

[212] William Hunt, of the Old Water-colour Society.

[213] At Marlborough House, among the four principal examples of
Turner's later water-colour drawing, perhaps the most neglected is that
of fishing-boats and fish at sunset. It is one of his most wonderful
works, though unfinished. If you examine the larger white fishing-boat
sail, you will find it has a little spark of pure white in its
right-hand upper corner, about as large as a minute pin's head, and that
all the surface of the sail is gradated to that focus. Try to copy this
sail once or twice, and you will begin to understand Turner's work.
Similarly, the wing of the Cupid in Correggio's large picture in the
National Gallery is focussed to two little grains of white at the top of
it. The points of light on the white flower in the wreath round the head
of the dancing child-faun, in Titian's Bacchus and Ariadne, exemplify
the same thing.

[214] I shall not henceforward _number_ the exercises recommended; as
they are distinguished only by increasing difficulty of subject, not by
difference of method.

[215] If you understand the principle of the stereoscope you will know
why; if not, it does not matter; trust me for the truth of the
statement, as I cannot explain the principle without diagrams and much
loss of time.

[216] If you can, get first the plates marked with a star. The letters
mean as follows:--

_a_ stands for architecture, including distant grouping of towns,
cottages, &c.
_c_ clouds, including mist and aerial effects.
_f_