He is like nature to Fuseli—he puts me out. Shade Colour and Reputation When a thing is near and in light, colour and form are important; when far and in shadow, they are unimportant. Form and colour are like reputations which when they become shady are much of a muchness. Money and Technique Money is very like technique (or vice versa). We see that both musicians or painters with great command of technique seldom know what to do with it, while those who have little often know how to use what they have. Action and Study These things are antagonistic. The composer is seldom a great theorist; the theorist is never a great composer. Each is equally fatal to and essential in the other. Sacred and Profane Statues I have never seen statues of Jove, Neptune, Apollo or any of the pagan gods that are not as great failures as the statues of Christ and the Apostles. Seeing If a man has not studied painting, or at any rate black and white drawing, his eyes are wild; learning to draw tames them. The first step towards taming the eyes is to teach them not to see too much. Quickness in seeing as in everything else comes from long sustained effort after rightness and comes unsought. It never comes from effort after quickness. Improvement in Art Painting depends upon seeing; seeing depends upon looking for this or that, at least in great part it does so. Think of and look at your work as though it were done by your enemy. If you look at it to admire it you are lost. Any man, as old Heatherley used to say, will go on improving as long as he is bona fide dissatisfied with his work. Improvement in one’s painting depends upon how we look at our work. If we look at it to see where it is wrong, we shall see this and make it righter. If we look at it to see where it is right, we shall see this and shall not make it righter. We cannot see it both wrong and right at the same time. Light and Shade Tell the young artist that he wants a black piece here or there, when he sees no such black piece in nature, and that he must continue this or that shadow thus, and break this light into this or that other, when in nature he sees none of these things, and you will puzzle him very much. He is trying to put down what he sees; he does not care two straws about composition or light and shade; if he sees two tones of such and such relative intensity in nature, he will give them as near as he can the same relative intensity in his picture, and to tell him that he is perhaps exactly to reverse the natural order in deference to some canon of the academicians, and that at the same time he is drawing from nature, is what he cannot understand.