MR. COLLIER'S "MANUAL OF OIL-PAINTING." [To The Editor of The "Spectator."] Sir, --In the review of my " Manual of Oil-Painting," in your issue of February 12th, two methods of painting are contrasted. "Get your details right bit by bit, says our author in other words, and modify them subsequently till your effect is accurate." That, according to the reviewer, is the wrong method. "Get your effect true from the first, says the French master, and then your details will fall naturally into their right place, and at the worst you will be working on a foundation of truth." That, according to the same authority, is the right method.

Now, the odd part of it is that I cordially agree with my reviewer. The method that he puts forward as the precise contrary of mine is the very one that I advocate, as I can conclusively show by reference to my book. Here is the gist of my system. The first day's painting consists in matching the tints of "every considerable patch of colour or light and shade in the object, until the canvas is completely covered. This is the first day's painting, and the result of it should be that the picture, "when seen at some distance," should give "a good idea of the general look of the object without any of its details." The next stage is to carefully look over the general effect, and to correct any tones that seem to require it. "When the general tones appear quite right," "the larger details should be put in." "In the subsequent paintings," "finer and finer details" are added until the picture is finished.

This is my method, described in the words used in the "Manual." What can be plainer? --I am, Sir, &c., John Collier.