[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 white basin with the solution, and put anything you like to float on it, or lie in it; walnut shells, bits of wood, leaves of flowers, &c. Then study the effects of the reflections, and of the stems of the flowers or submerged portions of the floating objects, as they appear through the blue liquid; noting especially how, as you lower your head and look along the surface, you see the reflections clearly; and how, as you raise your head, you lose the reflections, and see the submerged stems clearly.