d etching by his marvellous engraving. The
Dumblane was, however, well etched by Mr. Lupton, and beautifully
engraved by him. The finest Turner etching is of an aqueduct with a
stork standing in a mountain stream, not in the published series; and
next to it, are the unpublished etchings of the Via Mala and Crowhurst.
Turner seems to have been so fond of these plates that he kept
retouching and finishing them, and never made up his mind to let them
go. The Via Mala is certainly, in the state in which Turner left it, the
finest of the whole series: its etching is, as I said, the best after
that of the aqueduct. Figure 20., above, is part of another fine
unpublished etching, "Windsor, from Salt Hill." Of the published
etchings, the finest are the Ben Arthur, AEsacus, Cephalus, and Stone
Pines, with the Girl washing at a Cistern; the three latter are the more
generally instructive. Hindhead Hill, Isis, Jason, and Morpeth, are also
very desirable.

[223] You will find more notice of this point in the account of
Harding's tree-drawing, a little farther on.

[224] The impressions vary so much in colour that no brown can be
specified.

[225] You had better get such a photograph, even if you have a Liber
print as well.

[226] See the closing letter in this volume.

[227] Bogue, Fleet Street. If you are not acquainted with Harding's
works (an unlikely supposition, considering their popularity), and
cannot meet with the one in question, the diagrams given here will
enable you to understand all that is needful for our purposes.

[228] I draw this figure (a young shoot of oak) in outline only, it
being impossible to express the refinements of shade in distant foliage
in a woodcut.

[229] His lithographic sketches, those, for instance, in the Park and
the Forest, and his various lessons on foliage, possess greater merit
than the more ambitious engravings in his "Principles and Practice of
Art." There are many useful remarks, however, dispersed through this
latter work.

[230] On this law you will do well, if you can get access to it, to look
at the fourth chapter of the fourth volume of "Modern Painters."

[231] The student may hardly at first believe that the perspective of
buildings is of little consequence: but he will find it so ultimately.
See the remarks on this point in the Preface.

[232] It is a useful piece of study to dissolve some Prussian blue in
water, so as to make the liquid definitely blue: fill a large