ndow a small sketch-book,
with pencil cut over night, and colors moist. The one indulgence which
I would have you allow yourselves in fast coloring, for some time, is
the endeavor to secure some record at the instant of the colors of
morning clouds; while, if they are merely white or gray or blue, you
must get an outline of them with pencil. You will soon feel by this
means what are the real difficulties to be encountered in all
landscape coloring, and your eyes will be educated to quantity and
harmonious action of forms.

But for the rest--learn to paint everything in the quietest and
simplest light. First outline your whole subject completely, with
delicate sharp pencil line. If you don't get more than that, let your
outline be a finished and lovely diagram of the whole.

16. All the objects are then to be painted of their proper colors,
matching them as nearly as you can, in the manner that a missal is
painted, filling the outlined shapes neatly up to their junctions;
reenforcing afterwards when necessary, but as little as possible; but,
above all, knowing precisely what the light is, and where it is.[3]

[Footnote 3: Make a note of these points:

1. Date, time of day, temperature, direction and force of wind.

2. Roughly, by compass, the direction in which you are looking; and
angle of the light with respect to it.

3. Angle subtended by picture, and distance of nearest object in it.]

17. I have brought two old-fashioned colored engravings,[4] which are
a precise type of the style I want you to begin with. Finished from
corner to corner, as well as the painter easily could; everything done
to good purpose, nothing for vain glory; nothing in haste or
affectation, nothing in feverish or morbid excitement. The observation
is accurate; the sentiment, though childish, deep and pure; and the
effect of light, for common work, quite curiously harmonious and
deceptive.

[Footnote 4: From a "Picturesque Tour from Geneva to Milan" ...
engraved from designs by J. Lory of Neufchatel. London: Published by
R. Ackermann, at his Repository of Arts, 1820.]

They are, in spite of their weaknesses, absolutely the only landscapes
I could show you which give you a real idea of the places, or which
put your minds into the tone which, if you were happy and at ease,
they would take in the air and light of Italy.

I dwell on the necessity of completion especially, because I have lost
much time myself from my sympathy with the fe