9. The hand should be accustomed to the touch of various kinds of trees, though in a mere _sketch_, little variety is required; the distinction, however, between full foliaged, and straggling, branchy trees must be preserved, for both are necessary even in a sketch, and the artist should therefore be prepared to represent them. 10. The artist must attend to the composition, and the disposition of his subject. By the _composition_ may be understood the objects with which he composes his view; by the _disposition_, their picturesque and tasteful arrangement. 11. Figures, must be such as are appropriate to the scene; thus, history in miniature is bad, because a landscape is in itself a subject sufficient for the employment both of pencil and eye; therefore historical figures in a view, are lost and out of place. 12. Birds may be introduced with good effect, if thrown into proper distance; to represent them _near_ is absurd: ruins and sea views are the best subjects in which they can appear. 13. _Effect_ is to be produced best, by strong contrasts of _light_ and _shade_ both in earth and sky; but the student's taste must determine where these shall fall, and though the contrasts should be strong, yet _gradation_, in both, must be observed. 14. A predominancy of _shade_ has the best effect; and light, though it should not be scattered, must not be drawn, as it were, into one focus. 15. The light, in a picture, is best disposed when the fore-ground is in shadow, and it falls in the middle; but this rule is subject to many variations. Light should rarely be spread on the distance.[5] [Footnote 5: Extraordinary and beautiful effects, however, are, by superior painters, frequently produced by violating this latter rule. The writer would particularly notice the results of light thrown into the distance, in stormy sea-views.] 16. It is useful to know, that the shadows of morning are darker than those of evening; also, that when objects are in _shadow_, their light (as it is then a reflected light,) falls on the opposite side to that on which it would come if they were enlightened. 17. The _harmony_ of the whole should be studied; if the piece strikes you as defective in this respect, place it at evening in some situation where it will not be reached by a strong light, when the misplaced lights and shadows will strike you more forcibly than in the glare of day. 18. To stain your paper with a slight reddish or yellowish tint, adds to the harmony of a sketch, yet it is a mere matter of taste; but, when it is desired, it had better be done after the drawing is completed, otherwise the colour risks looking patched from the rubber.[6] [Footnote 6: Coffee has been recommended for this purpose, but delicate and pleasing washes or glazings may be produced from burnt sienna, yellow ochre, burnt umbre, and lake, in various combinations, and laid on extremely attenuated by water.]