windows. But this unity of
tinting with line he cannot generally see but by some special inquiry,
and in some out of the way places he could not find a single example of
it. Supposing that this should be so in your own case, and that you
cannot meet with any example of this kind, try to make the matter out
alone, thus:

112. Take a small and simple photograph; allow yourself half an hour to
express its subjects with the pen only, using some permanent liquid
color instead of ink, outlining its buildings or trees firmly, and
laying in the deeper shadows, as you have been accustomed to do in your
bolder pen drawings; then, when this etching is dry, take your sepia or
gray, and tint it over, getting now the finer gradations of the
photograph; and, finally taking out the higher lights with penknife or
blotting paper. You will soon find what can be done in this way; and by
a series of experiments you may ascertain for yourself how far the pen
may be made serviceable to reinforce shadows, mark characters of
texture, outline unintelligible masses, and so on. The more time you
have, the more delicate you may make the pen drawing, blending it with
the tint; the less you have, the more distinct you must keep the two.
Practice in this way from one photograph, allowing yourself sometimes
only a quarter of an hour for the whole thing, sometimes an hour,
sometimes two or three hours; in each case drawing the whole subject in
full depth of light and shade, but with such degree of finish in the
parts as is possible in the given time. And this exercise, observe, you
will do well to repeat frequently, whether you can get prints and
drawings as well as photographs, or not.

113. And now at last, when you can copy a piece of Liber Studiorum, or
its photographic substitute, faithfully, you have the complete means in
your power of working from Nature on all subjects that interest you,
which you should do in four different ways.

First. When you have full time, and your subject is one that will stay
quiet for you, make perfect light and shade studies, or as nearly
perfect as you can, with gray or brown color of any kind, reinforced and
defined with the pen.

114. Secondly. When your time is short, or the subject is so rich in
detail that you feel you cannot complete it intelligibly in light and
shade, make a hasty study of the effect, and give the rest of the time
to a Duereresque expression of the details. If the subject seems to you
in