At Marlborough House, among the four principal examples of Turner's later water-colour drawing, perhaps the most neglected is 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.

As soon as you feel yourself capable of expressing with the brush the undulations of surfaces and the relations of masses, you may proceed to draw more complicated and beautiful things.1 And first, the boughs of trees, now not in mere dark relief, but in full rounding. Take the first bit of branch or stump that comes to hand, with a fork in it; cut off the ends of the forking branches, so as to leave the whole only about a foot in length; get a piece of paper the same size, fix your bit of branch in some place where its position will not be altered, and draw it thoroughly, in all its light and shade, full size; striving, above all things, to get an accurate expression of its structure at the fork of the branch. When once you have mastered the tree at its armpits, you will have little more trouble with it.

Always draw whatever the background happens to be, exactly as you see it. Wherever you have fastened the bough, you must draw whatever is behind it, ugly or not, else you will never know whether the light and shade are right; they may appear quite wrong to you, only for want of the background. And this general law is to be observed in all your studies: whatever you draw, draw completely and unalteringly, else you never know if what you have done is right, or whether you could have done it rightly had you tried. There is nothing visible out of which you may not get useful practice.

Next, to put the leaves on your boughs. Gather a small twig with four or five leaves on it, put it into water, put a sheet of light-coloured or white paper behind it, so that all the leaves may be relieved in dark from the white field; then sketch in their dark shape carefully with pencil as you did the complicated boughs, in order to be sure that all their masses and interstices are right in shape before you begin shading.

1 I shall not henceforward numbcr the Exercises recommended; as they are distinguished only by increasing difficulty of subject, not by difference of method and complete as far as you can with pen and ink, in the manner of Fig. 6., which is a young shoot of lilac. You will probably, in spite of all your pattern drawings, be at first puzzled by leaf foreshortening;

Especially because the look of retirement or projection depends not so much on the perspective of the leaves themselves as on the double sight of the two eyes. ow there are certain artifices by which good painters can partly conquer this difficulty; as slight exaggerations of force or colour in the nearer parts, and of obscurity in the more distant ones; but you must not attempt anything of this kind. When you are first sketching the leaves, shut one of your eyes, fix a point in the background, to bring the point of one of the leaves against, and so sketch the whole bough as you see it in a fixed position, looking with one eye only. Your drawing never can be made to look like the object itself, as you see that object with both eyes l, but it can be made perfectly like the object seen with one, and you must be content when you have got a resemblance on these terms.

Exercise X Perspective Elements 12

Fig. 6.

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.

In order to get clearly at the notion of the thing to be done, take a single long leaf, hold it with its point towards you, and as flat as you can, so as to see nothing of it but its thinness, as if you wanted to know how thin it was; outline it so. Then slope it down gradually towards you, and watch it as it lengthens out to its full length, held perpendicularly down before you. Draw it in three or four different positions between these extremes, with its ribs as they appear in each position, and you will soon find out how it must be.

Draw first only two or three of the leaves; then larger clusters; and practise, in this way, more and more complicated pieces of bough and leafage, till you find you can master the most difficult arrangements, not consisting of more than ten or twelve leaves. You will find as you do this, if you have an opportunity of visiting any gallery of pictures, that you take a much more lively interest than before in the work of the great masters; you will see that very often their best backgrounds are composed of little more than a few sprays of leafage, carefully studied, brought against the distant sky; and that another wreath or two form the chief interest of their foregrounds. If you live in London you may test your progress accurately by the degree of admiration you feel for the leaves of vine round the head of the Bacchus, in Titian's Bacchus and Ariadne. All this, however, will not enable you to draw a mass of foliage. You will find, on looking at any rich piece of vegetation, that it is only one or two of the nearer clusters that you can by any possibility draw in this complete manner. The mass is too vast, and too intricate, to be thus dealt with.