[11] Nearly neutral in ordinary circumstances, but yet with quite different tones in its neutrality, according to the colors of the various reflected rays that compose it.

[12] If we had any business with the reasons of this, I might perhaps be able to show you some metaphysical ones for the enjoyment, by truly artistical minds, of the changes wrought by light and shade and perspective in patterned surfaces; but this is at present not to the point; and all that you need to know is that the drawing of such things is good exercise, and moreover a kind of exercise which Titian, Veronese, Tintoret, Giorgione, and Turner, all enjoyed, and strove to excel in.

[13] The use of acquiring this habit of execution is that you may be able, when you begin to color, to let one hue be seen in minute portions, gleaming between the touches of another.

[14] William Hunt, of the Old Water-color Society.

[15] At Marlborough House, [in 1857] among the four principal examples of Turner's later water-color drawing, perhaps the most neglected was that of fishing-boats and fish at sunset. It is one of his most wonderful works, though unfinished. If you examine the larger white fishing-boat sail, you will find it has a little spark of pure white in its right-hand upper corner, about as large as a minute pin's head, and that all the surface of the sail is gradated to that focus. Try to copy this sail once or twice, and you will begin to understand Turner's work. Similarly, the wing of the Cupid in Correggio's large picture in the National Gallery is focused to two little grains of white at the top of it. The points of light on the white flower in the wreath round the head of the dancing child-faun, in Titian's Bacchus and Ariadne, exemplify the same thing.

[16] I shall not henceforward number the exercises recommended; as they are distinguished only by increasing difficulty of subject, not by difference of method.

[17] If you understand the principle of the stereoscope you will know why; if not, it does not matter; trust me for the truth of the statement, as I cannot explain the principle without diagrams and much loss of time. See, however, [Note 1], in Appendix I.

[18] The plates marked with a star are peculiarly desirable. See note at the end of Appendix I. The letters mean as follows:—

a stands for architecture, including distant grouping of towns, cottages, etc.
c clouds, including mist and aërial effects.
f foliage.
g ground, including low hills, when not rocky.
l effects of light.
m mountains, or bold rocky ground.
p power of general arrangement and effect.
q quiet water.
r running or rough water; or rivers, even if calm, when their line of flow is beautifully marked.
From the England Series.
a c f r. Arundel. a f p. Lancaster.
a f l. Ashby de la Zouche. c l m r. Lancaster Sands.*
a l q r. Barnard Castle.* a g f. Launceston.*
f m r. Bolton Abbey. c f l r. Leicester Abbey.
f g r. Buckfastleigh.* f r. Ludlow.
a l p. Caernarvon. a f l. Margate.
c l q. Castle Upnor. a l q. Orford.
a f l. Colchester. c p. Plymouth.
l q. Cowes. f. Powis Castle.
c f p. Dartmouth Cove.* l m q. Prudhoe Castle.
c l q. Flint Castle.* f l m r. Chain Bridge over Tees.*
a f g l. Knaresborough.* m q. Ulleswater.
m r. High Force of Tees.* f m. Valle Crucis.
a f q. Trematon.
From the Keepsake.
m p q. Arona. p. St. Germain en Laye.
l m. Drachenfels.* l p q. Florence.
f l. Marly.* l m. Ballyburgh Ness.*
From the Bible Series.
f m. Mount Lebanon. c l p q. Solomon's Pools.*
m. Rock of Moses at Sinai. a l. Santa Saba.
a l m. Jericho. a l. Pool of Bethesda.
a c g. Joppa.
From Scott's Works.
p r. Melrose.* c m. Glencoe.
f r. Dryburgh.* c m. Loch Coriskin.*
a l. Caerlaverock.
From the Rivers of France.
a q. Château of Amboise, with large bridge on right. f p. Pont de l'Arche.
l p r. Rouen, looking down the river, poplars on right.* f l p. View on the Seine, with avenue.
a l p. Rouen, with cathedral and rainbow, avenue on left. a c p. Bridge of Meulan.
a p. Rouen Cathedral. c g p r. Caudebec.*