id on composition which may set the young artist's mind
somewhat more at rest, or furnish him with defence from the urgency of
ill-advisers, I will glance over the main heads of the matter here;
trusting that my doing so may not beguile you, my dear reader, from your
serious work, or lead you to think me, in occupying part of this book
with talk not altogether relevant to it, less entirely or

Faithfully yours,

J. RUSKIN.

FOOTNOTES:

[220] It is meant, I believe, for "Salt Hill."

[221] I do not mean that you can approach Turner or Durer in their
strength, that is to say, in their imagination or power of design. But
you may approach them, by perseverance, in truth of manner.

[222] The following are the most desirable plates:

Grande Chartreuse.
AEsacus and Hesperie.
Cephalus and Procris.
Source of Arveron.
Ben Arthur.
Watermill.
Hindhead Hill.
Hedging and Ditching.
Dumblane Abbey.
Morpeth.
Calais Pier.
Pembury Mill.
Little Devil's Bridge.
River Wye (_not_ Wye and Severn).
Holy Island.
Clyde.
Lauffenbourg.
Blair Athol.
Alps from Grenoble.
Raglan. (Subject with quiet brook, trees, and castle on the right.)

If you cannot get one of these, any of the others will be serviceable,
except only the twelve following, which are quite useless:--

1. Scene in Italy, with goats on a walled road, and trees above.

2. Interior of church.

3. Scene with bridge, and trees above; figures on left, one playing a
pipe.

4. Scene with figure playing on tambourine.

5. Scene on Thames with high trees, and a square tower of a church seen
through them.

6. Fifth Plague of Egypt.

7. Tenth Plague of Egypt.

8. Rivaulx Abbey.

9. Wye and Severn.

10. Scene with castle in centre, cows under trees on the left.

11. Martello Towers.

12. Calm.

It is very unlikely that you should meet with one of the original
etchings; if you should, it will be a drawing-master in itself alone,
for it is not only equivalent to a pen-and-ink drawing by Turner, but to
a very careful one: only observe, the Source of Arveron, Raglan, and
Dumblane were not etched by Turner; and the etchings of those three are
not good for separate study, though it is deeply interesting to see how
Turner, apparently provoked at the failure of the beginnings in the
Arveron and Raglan, took the plates up himself, and either conquered or
brought into use the ba