PLATE III. is an outline for practising colouring upon. In using these outlines, it may be a profitable exercise occasionally to vary the colours from those given on the corresponding plate. A comparison of the effect produced by the original, and by its copy with variations, will tend to fix on the memory of the artist the exact degree of merit of the original and of the altered combinations of colour. The practical value of an educated eye, no less than of an educated mind, is dependent on the force and intelligence of the memory, and every exercise which can assist in fixing a fleeting image on the brain is no less efficacious in strengthening the one than it can be in developing the other. PLATE IV., from the Harleian MS. No. 2,804, gives one of our usual exercises upon the main structural features of all illumination--the alphabets, initial letters, and small borderings. These, in this case in the Romanesque style, have been taken from a very remarkable Bible formerly belonging to the church of St. Mary, near Worms. For further notice of this and similar volumes, see "Historical Manual," page 43. The main use to the student of this class of lesson is to give him steadiness of hand in the use of the pen; a word or two of counsel upon which may not be altogether unprofitable to him. Firstly, then, let him avoid the habit of allowing the pen to touch the paper before he has clearly made up his mind where it is to go and when it is to be taken off. An ill-directed line instantly reveals a listless mind, and a careful master can generally detect the exact points in his work at which the attention of a usually diligent pupil has been abstracted from it. Secondly, he should never express by half a dozen or more separate strokes forms which may be defined by a single continuous line. Thirdly, let him practise moving the pen or pencil, not up and down only, but in every direction, until equal facility is acquired in drawing spirals from left to right and from right to left. Fourthly, it is well to hold the pen or pencil nearly vertical, just touching, but scarcely ever pressing heavily on, the surface of the drawing. Fifthly, he should by no means aim at dash or spirit until he is quite sure that his lines are correct: nothing betrays the ill-educated artist more surely and readily to those who know better than a bold stroke where a delicate one would be more appropriate, or a dark touch in the wrong place. It is the ignorant only who are misled by an appearance of _bravura_, vigour, and facility.