ending marks as well as mistakes that must have been accepted thereafter as a given of the unfolding composition: the watery patch of thinned olive green at the lower left sug- gests itself as one such (detail 9), a pooled bit of stray color that had to remain, like other stray marks of the same or similar color, at the bottom edge of the conflated surfaces of table linen and sheet of paper, along the edge of the red stripe on the linen to the right, beneath the third apple diago- nally above it (detail 10). The white cloth is a bit like a palette in that regard, with traces of paint upon it, a red side by side with that dun green, divided by a slight touch of blue, topped by a bit of eggplant purple-brown, on the edge of golden yellow. Near those stray marks, exposed pencil marks trail off, underneath the blue-edged fold to the left, dragging along more or less parallel to the edge of the linen above, under and over the loops of blue just beneath the pitcher, alternating with one another rather than matching up, threaded on top of one layer of diaphanous paint and beneath another. Meanwhile, down and over to the right, two lines cross over the descending diagonal of the red stripe: an afterthought, punctuating the end of the drawing perhaps, or perhaps Detail 10 the index of a pencil picked up, yielding to impulse and then to second thoughts, and put down again—a pentimento, of a pecu- liarly Cezannian kind, over rather than under the "finished" work, marking the openness of a process never finally closed, the aleatory fragility of the decision to stop. And then, around the periphery of that peculiar shape of off-white with its pencil tracks, brush 105 PENCIL LINES AND WATERCOLORS