142 LANDSCAPE PAINTING.

a light in one direction, few objects and colours, and simple reflections, the time of
day being frequently the same in repeated studies; but the ambition of the matured
artist induces him to seize the passing effects of nature in her happiest moods,
visible, perhaps, but for a moment, yet remaining for years, indelibly impressed
upon the memory, an enduring source of occupation and enjoyment, imparting to
the pencil a touch all but magical in its action on the mind of the spectator.

When aiming at the representation of these transitory effects, the student -will
find the boldness and decision of hand acquired by the practice recommended in
Light and Shade (Chapter III., Section 4) of the greatest use, enabling him to
seize upon the chief distinctions in tone, while apparently neglecting minor shades.
No time must be lost in undecided tints or feeble touches; but the hues must be
generalized in three or four distinct tints, and as much as possible effected with
these, not trusting to any attractions gained by softening or finishing. Should the
attention be distracted by minute details, in all probability the force of the effect
would not be preserved. Great extremes or unusual appearances must be avoided
until the student can give them without exaggeration; but all opportunities of
studying the phenomena of nature should be embraced, as their truthful repre-
sentation gives great additional interest. As a general rule, in landscapes the hour
of the day should be evident. To assist in showing this, we must summon to our
aid a knowledge of the different conformation of clouds, as displayed at various
periods of the day. Thus morning, either before or after sunrise, will be indicated
as much by the form of the clouds as by their colour; or, if cloudless, by the
appearance of dawn in the sky, by the summit of the hills alone being touched with
light, or by mists lying in the valleys. Midday by the direction of shadows,
reflections, or general expression of heat, calmness, and repose. In the evening, an
exact chronometer is afforded in the height of the sun above the horizon, the
beautiful and changing hue of the clouds, as day passing into twilight gives place
to sombre night. The student must not shut up his sketch-book, or relax his
observation, when the rain cloud sweeps across the scene, many most charming
effects being gained by watching its progress, the summer shower passing in filmy
veils over a portion only of the landscape; the rainbow, its companion, much or
little displayed; the lowering cloud, the thunder-storm and lightning flash, the
tempest,—all furnish the artist with valuable subjects for study.

In these phenomena, effects should be copied at the time, and the memory
should not be trusted; otherwise mistakes may occur, which to the eye of any
instructed person will appear simply ridiculous. A few notes, taken from Milner's
" Gallery of Nature," may remind the student of the principal points to be considered.
" When rain is falling, and the sun is on the horizon, the rainbow appears a com-