ve the same open-air feeling and vibration of light and color. There
is no need to say the same things over again. It is only necessary to
take all these things for granted, and emphasize certain other things
which are peculiar to the sea.

=Sea and Sky.=--To begin with, the relation of the sky to what is
under it is markedly different in color from any other relations in
painting. The sea is always more or less of a perfect reflecting
surface, and always strongly influenced in color, value, and key by
the reflections of the sky on its surface. The sky color is always
modifying the water--when and how depends on the condition of the
weather, and the degree of quiet or movement of the water. Sometimes
the water is a perfect mirror; sometimes the mirror quality is almost
lost, but the influence is there.

This relation is the most important thing, because the sea and the sky
is always the main part of your picture; and no matter what else is
there, or how well painted it may be, if these things are not
recognized, if they are not justly observed, your picture is bad.

I cannot tell you all about these things. The variety of effects and
relations is infinite. You must study them, paint them in the presence
of nature, and use your eyes; only remember the general principles of
air and atmosphere and light and color that I have spoken of
elsewhere--all have most vital importance on marine painting. You must
study these, and think of them, and in the presence of sea or sky
observe their bearings, and apply them as well as you can.

=Movement.=--If "_la nature ne s'arrete pas_" ordinarily, the fact is
even more marked in marines; for the water is the very type of
ceaseless motion. Somehow, you must not only study in spite of the
continual motion, but you must manage to make that motion itself felt.
This you will find is in the larger modelling of the whole
surface--the "heave" of it as distinguished from the waves themselves.
The waves are a part of that motion of course; but give the
wave-drawing only, without their relation to the great swing of the
whole body of water, and you get rigidity rather than movement. The
wave movement is in and because of this larger motion. See that first,
and make it most evident, then let the waves themselves cut it up and
help to express it.

[Illustration: =Entrance to Zuyder Zee.= _Clarkson Stanfield._]

=Wave Drawing.=--How shall you "draw" so changeable a thing as a wave?
Every wave