s between the aspect of the reflected image and that of the
object casting it; and if you wish to know the law of reflection, it is
simply this: Suppose all the objects above the water _actually_ reversed
(not in appearance, but in fact) beneath the water, and precisely the
same in form and in relative position, only all topsy-turvy. Then,
whatever you can see, from the place in which you stand, of the solid
objects so reversed under the water, you will see in the reflection,
always in the true perspective of the solid objects so reversed.

If you cannot quite understand this in looking at water, take a mirror,
lay it horizontally on the table, put some books and papers upon it, and
draw them and their reflections; moving them about, and watching how
their reflections alter, and chiefly how their reflected colours and
shades differ from their own colours and shades, by being brought into
other oppositions. This difference in chiaroscuro is a more important
character in water painting than mere difference in form.

When you are drawing shallow or muddy water, you will see shadows on the
bottom, or on the surface, continually modifying the reflections; and in
a clear mountain stream, the most wonderful complications of effect
resulting from the shadows and reflections of the stones in it, mingling
with the aspect of the stones themselves seen through the water. Do not
be frightened at the complexity; but, on the other hand, do not hope to
render it hastily. Look at it well, making out everything that you see,
and distinguishing each component part of the effect. There will be,
first, the stones seen through the water, distorted always by
refraction, so that if the general structure of the stone shows straight
parallel lines above the water, you may be sure they will be bent where
they enter it; then the reflection of the part of the stone above the
water crosses and interferes with the part that is seen through it, so
that you can hardly tell which is which; and wherever the reflection is
darkest, you will see through the water best, and _vice versa_. Then the
real shadow of the stone crosses both these images, and where that
shadow falls, it makes the water more reflective, and where the sunshine
falls, you will see more of the surface of the water, and of any dust
or motes that may be floating on it: but whether you are to see, at the
same spot, most of the bottom of the water, or of the reflection of the
objects above,