33. You will find in your educational series[6] many drawings illustrative of the method; but I have enlarged here the part that is executed with the pen, out of this smaller drawing, that you may see with what fearless strength Holbein delineates even the most delicate folds of the veil on the head, and of the light muslin on the shoulders, giving them delicacy, not by the thinness of his line, but by its exquisite veracity. [Footnote 6: At the Ruskin Drawing School, Oxford.] The eye will endure with patience, or even linger with pleasure, on any line that is right, however coarse; while the faintest or finest that is wrong will be forcibly destructive. And again and again I have to recommend you to draw always as if you were engraving, and as if the line could not be changed. 34. The method used by Turner in the _Liber Studiorum_ is precisely analogous to that of Holbein. The lines of these etchings are to trees, rocks, or buildings, absolutely what these of Holbein are; not suggestions of contingent grace, but determinations of the limits of future form. You will see the explanatory office of such lines by placing this outline over my drawing of the stone, until the lines coincide with the limits of the shadow. You will find that it intensifies and explains the forms which otherwise would have escaped notice, and that a perfectly gradated wash of neutral tint with an outline of this kind is all that is necessary for grammatical statement of forms. It is all that the great colorists need for their studies; they would think it wasted time to go farther; but, if you have no eye for color, you may go farther in another manner, with enjoyment. 35. Now to go back to Turner. The _first_ great object of the _Liber Studiorum_, for which I requested you in my sixth Lecture[7] to make constant use of it, is the delineation of solid form by outline and shadow. But a yet more important purpose in each of the designs in that book is the expression of such landscape powers and character as have especial relation to the pleasures and pain of human life--but especially the pain. And it is in this respect that I desired you (Sect. 172) to be assured, not merely of their superiority, but of their absolute difference in kind from photography, as works of disciplined design. [Footnote 7: "Lectures on Art, 1870," Sec. 170.] [Illustration: NEAR BLAIR ATHOL. From the painting by Turner.]