interest you, which
you should do in four different ways.

First. When you have full time, and your subject is one that will stay
quiet for you, make perfect light and shade studies, or as nearly
perfect as you can, with grey or brown colour of any kind, reinforced
and defined with the pen.

Secondly. When your time is short, or the subject is so rich in detail
that you feel you cannot complete it intelligibly in light and shade,
make a hasty study of the effect, and give the rest of the time to a
Dureresque expression of the details. If the subject seems to you
interesting, and there are points about it which you cannot understand,
try to get five spare minutes to go close up to it, and make a nearer
memorandum; not that you are ever to bring the details of this nearer
sketch into the farther one, but that you may thus perfect your
experience of the aspect of things, and know that such and such a look
of a tower or cottage at five hundred yards off means _that_ sort of
tower or cottage near; while, also, this nearer sketch will be useful to
prevent any future misinterpretation of your own work. If you have time,
however far your light and shade study in the distance may have been
carried, it is always well, for these reasons, to make also your
Dureresque and your near memoranda; for if your light and shade drawing
be good, much of the interesting detail must be lost in it, or
disguised.

Your hasty study of effect may be made most easily and quickly with a
soft pencil, dashed over when done with one tolerably deep tone of grey,
which will fix the pencil. While this fixing colour is wet, take out the
higher lights with the dry brush; and, when it is quite dry, scratch out
the highest lights with the penknife. Five minutes, carefully applied,
will do much by these means. Of course the paper is to be white. I do
not like studies on grey paper so well; for you can get more gradation
by the taking off your wet tint, and laying it on cunningly a little
darker here and there, than you can with body-colour white, unless you
are consummately skilful. There is no objection to your making your
Dureresque memoranda on grey or yellow paper, and touching or relieving
them with white; only, do not depend much on your white touches, nor
make the sketch for their sake.

Thirdly. When you have neither time for careful study nor for Dureresque
detail, sketch the outline with pencil, then dash in the shadows with
the brush boldly, t