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CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 FROM 
 
 . Mrs.?. Bedell 
 
CORNELL UNIVERSITY LIBRARY 
 
 3 1924 082 413 448 
 
The original of tiiis book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924082413448 
 
THE 
 
 OXFOKD DRAWING BOOK, 
 
 COKTAmiNG PROGRESSIVE INFORMATION IN 
 
 SKETCHING-, DEAWING, AND COLOEING 
 
 |attl>0faj)e Saneri), ^nmiSf m\i tde |ttman /igttrt 
 
 WITH A NEW METHOD OF PRACTICAL PERSPECTIVE. 
 
 BY NATHANIEL WHITTOCK, 
 
 TEACHER OF DRAWING AND PERSPECTIVE, AND LITH0GRAFHI8T TO THE UNIVERSITY OF OXFORD. 
 
 ILLUSTRATED BY UPWARDS OF ONE HUNDRED LITHOGRAPHIC DRAWINGS, FROM REAL VIEWS, 
 
 TAKEN EXPRESSLY TOR THIS WORK. 
 
 TO WHICH IS AJ3DED] 
 
 LESSONS* IN FLOWER DRAWING, 
 
 A SERIES OF PLATES. 
 
 BY JAMES ANDREWS, 
 
 AnXHOR OF "lessons in FLOWER PAINTINGj" ETC. 
 
 NEW YORK: 
 EGBERT B. COLLINS, 254 PEARL STREET. 
 
 1852. 
 
 kc 
 
ADVERTISEMENT. 
 
 In preparing a new Edition of " The Oxford Drawing Book" for the press, the publisher has con- 
 sidered that the addition of lessons in drawing and painting Flowers would considerably enhance the 
 value of the work. It already contains lessons in Landscapes, Architecture, Animals, and the Human 
 figure, but none on this interesting branch of the art. He has therefore added eight plates, drawn on 
 stone expressly for this edition, after designs by James Andrews, the well known author of the " Floral 
 Gems," " Lessons in Flower painting," &c., making the work one of the most complete of its kind 
 published in this country. 
 
 The directions on these additional lessons are necessarily brief: the pupil who has advanced thus 
 far in this study, will need nothing but close attention to enable him soon to acquire facility of 
 execution. 
 
 For the use of those who wish to study painting in water colors in connection with drawings an 
 edition of this work is prepared with colored plates. 
 
 264 Peabi. street, Jult, 1851. 
 
INTRODUCTION. 
 
 Deawing lias now become an essential part of genteel education, and its utility is universally acknowledged ; 
 the publication of a work, therefore, which professes to teach it in a style hitherto unattempted, will, it is pre- 
 sumed, be acceptable to all who desire to become proficients in this elegant art, and to obtain the power of 
 delineating scenes from nature with taste and correctness. 
 
 Among the number of elementary Drawing Books now ih circulation, I hare never met with one that con- 
 descended to lead the learner step by step, in a plain famOiar manner. It is not enough for a teacher to place 
 a slight sketch before a pupil, and tell him to copy it ; but the way in which he ought to commence, proceed, 
 and finish, should be clearly pointed out, and the reason why different lines and touches produce a certain 
 effect, demonstrated, particularly in the early lessons. The pupil then has a sohd foundation to build on ; every 
 succeeding lesson becomes less irksome, and in a short time he is repaid the trouble of attending to httle 
 things, which at first appeared tedious, by the delight he expferiences when he contemplates the creative power 
 of his own hand, and the pleasure of those who view his productions. 
 
 Pictures will always be more pleasing, if, in addition to their inherent beauty, they are associated -with his- 
 torical recollection or local tradition; and the Author of this work has ever found the pupil more eager to copy 
 drawings which represent subjects of which he has some previous knowledge, than an ideal composition 
 which he knows has no reality ; this has induced him to make every lesson in this work a real view of some 
 interesting object. It may be objected, that, by glancing at history and biography in a work like this we 
 
are mixing studies ; and an inquiry may be made, of what importance can it be to the learner, if he is draw- 
 ing an elm or an oak, where the trees are situated ? I am quite sure, however, that every person who has a 
 taste for drawing, would prefer a picture of the venerable oak in Ampthill Park, under which the pious 
 Queen Catharine found shelter in her misfortunes, or the elm which crowns the top of Headington Hill, near 
 Oxford, celebrated by the great Dr. Johnson, to any trees which fancy alone could produce. 
 
 It is impossible for any person to draw from nature correctly, without some knowledge of perspective ; yet 
 in most drawing books this essential of the art is totally neglected. In this work the theory and practice of 
 perspective is detailed gradually, and as it is called for by the subject immediately before the learner's eye. 
 By this means a succession of dry mathematical definitions are avoided, and the least pleasing, but most neces- 
 sary part of the art of drawing, fixed in the mind without burdening the memory, or creating that disgust 
 which most persons have experienced who have had to wade through th*e obsolete terms and scholastic tech- 
 nicalities to be found in most of the works on perspective. 
 
 I cannot give a better reason for making my lessons assume the form of letters, than by using the words of 
 an eminent writer of the present day, when addressing his son : " I have adopted the epistolary form, that is, 
 I write in the form of letters, for the sake of plainness, and at the same time for the sake of obtaining and 
 securing your attention. We are naturally more attentive to that which is addressed to us, than we are to that 
 which reaches our ear or our eye, as mere unpointed observation." 
 
 Most of the Landscape Scenery and Buildings introduced, are from drawings made for this work, many of 
 them in or near the University of Oxford, which is so rich in picturesque and architectural beauty. In treat- 
 
VI 
 
 ing of tke variovis styles of Grecian and Gothic Architecture, their distinguishiag features -are pointed out, to 
 enable the student to determine the era of their invention, and the uses to ■which they may be properly applied 
 in drawing plans for the erection of modern buildings. The Eustic Figures and Animals are from nature, or 
 taken from the best productions of approved masters. The studies for the Human Figure are selected from 
 the Elgin Marbles, the Pomfret Statues, and the finest specimens of Canova, Chauntry, and other modem 
 masters. 
 
 That the work may be found useful to those who seek in a knowledge of the art of Drawing a source of 
 rational and refined amusement, as well as to others whose present profession or future prospects may render 
 it absolutely necessary, is the Author's sincere wish and confident expectation. 
 
 K WHITTOCK 
 
 Oxford, June 1st, 1826. 
 
THE 
 
 OXFORD DRAWING BOOK 
 
 LETTER I. 
 
 MY DEAR GEORGE AND ELIZA, 
 
 I shall commence my written instructions on the art of Drawing, by informing 
 you that it is impossible to obtain proficiency in this delightful accomplishment, with- 
 out great industry and regular application. The student in drawing can derive but 
 little benefit from lessons given at irregular and distant intervals of time, as the 
 knowledge gained thus in one lesson, is lost before it can be applied in another. I 
 therefore advise you to devote an hour and a half] three days in the week, to this 
 pursuit ; it is not of much consequence what part of the day, but were it convenient, 
 I should prefer the morning. 
 
2 
 
 The only materials you will require for some time, are black-lead pencils of various 
 degrees of hardness,* drawing paper, and India rubber. You will hkewise find a 
 raiddUng sized portfolio very convenient, not only to keep your drawings in, but it is 
 likewise much preferable to use as a desk ; as the mill-board of which it is made, is 
 not quite so hard as wood, and yet sufficiently hard to allow the pencil sharpness of 
 touch. By placing books underneath it, you can give it the form of a desk, which 
 may be raised or lowered to suit your convenience. 
 
 While drawing, the light should come from the left, that the shadow of your 
 hand may not be thrown on the pencil. You must be careful to sit in an upright 
 and easy position, keeping your body away from the edge of the table, as a constant 
 pressure of the chest is not only prejudicial to health, but also gives an habitual awk- 
 wardness of attitude ; while by keeping an erect position, your hand is quite at liberty, 
 and your touch becomes firm and free. 
 
 Having made these prehminary remarks, we will now proceed to our first lesson : — 
 Most persons who attempt to draw for the first time, make continued hard lines, like 
 
 * The pencils made by Brookman and Langdon are decidedly the best. 
 
those you will find marked No. 1, Plate I. The consequence of this is, that they can 
 never draw a perpendicular or horizontal line without the aid of a ruler, which must 
 never be used in picturesque drawing. Nor will it be required, if the following simple 
 rule is attended to : place one dot immediately above another, at any distance you 
 please, and draw a number of small dots or very short lines from one to the other. 
 If you look at No. 2, in the same plate, you will see I have placed lines formed in 
 this Way, by the side of the others, and you cannot fail to observe the difierence. 
 Before you proceed farther, you must practise lines formed in this manner, on w^te 
 paper, till you can make a perpendicular line with tolerable certainty. You can 
 then apply them in making the outline of the mile-stone, as represented in No. 3, 
 You will find that, when making this drawing, we are supposed to be standing in 
 such a position, as to see two sides of this stone ; and in consequence, the line 
 that forms the angle, or corner, will be nearest to the eye. This must always be 
 drawn first. We will therefore begin with the middle line, and form it as I before 
 pointed out, by placing a dot at the top and bottom, and drawing short broken lines 
 from one to the other. If you observe the plate, the dots which were made first are 
 left larger than the others. You wiU next place dots at equal distances from each 
 other, and draw the two outside lines in the same way. If you then place a dot a 
 Httle distance from the top of the first line, and draw short broken lines in a slanting 
 
direction to the top of each of the upright hnes, you will form the top of the stone. 
 And when you have drawn lines from each of the dots at the bottom, you have formed 
 the outside lines of the mile-stone. This in drawing is called making the outline, 
 and you will for the future observe that I shall use that term instead of outside lines, 
 which is used here purposely to point out and exemplify its meaning. 
 
 Having made the outline, we will proceed to put the mile-stone in shade. If you 
 look at the next drawing of the same stone. No. 4, you will see that I have drawn a 
 number of small lines all over it. The lines in the drawing seem to join each other, 
 but this is quite accidental, as you will find if you look at the lines under No. 5 ; 
 these are drawn with freedom, and as even as possible to each other, about a 
 quarter of an inch long : with these lines the mile-stone is to be covered, placing 
 one row under the other. Your first attempts at producing this shade with effect 
 will perhaps be stiff and hard, but if you hold the pencil loosely, and as far as pos- 
 sible from the point, making ,each successive stroke with rapidity and freedom, you 
 will soon learn to do it properly. This we will call the first shade ; and now pro- 
 ceed to the third drawing of the same figure, No. 6. 
 
 You will perceive that the light comes on the front of the stone, and the side is in 
 
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darker shade ; this is produced by drawing lines in a slanting direction over the first 
 shade, letting one row of Unes follow another as before. You will find an example of 
 this shade under No, 7. I have purposely avoided writing anything about the out- 
 line of the ground till now, but this is formed by moving the pencil backward and 
 forward, instead of up and down, taking care to lean harder as the pencil touches the 
 dark side : the outline of the bank behind the stone must be touched lightly, and 
 filled up with the slanting lines, as in No. 6. 
 
 Having made the outline of the mile-stone, and put on the first and second shades, 
 we will finish it by making the outline on the dark side a liftle stronger. This is 
 effected by going over it again, observing to mark the break in the stone ; and now 
 you will see the use of the line formed by dots instead of the hard line like No. 1, 
 which would not have admitted of being broken as this does ; but this will appear 
 more clear to you presently. You have now only to mark the shadow which the 
 stone throws on the ground ; make the letters, and the first drawing is completed, as 
 in No. 6. 
 
 The small drawings are intended to exemplify what I hinted at before, that is, 
 the difference of effect which can be produced by the broken or dotted line, compared 
 
6 
 
 with the hard line, No. 1. This is part of an old wall, and you will see if I had used 
 the hard line. I could not have shown the broken parts, nor could I have marked the 
 light or dark parts of the projecting stones. 
 
 We have now done with Plate I. ; and if you turn to Plate II-i you will perceive 
 Ijiat I have naade outlines and finished drawings of two small subjects for you to 
 practise. The outline, as well as the light and shade, are to be formed as was directed 
 in the mile-stone. The pales are all in the first shade, but care must be taken that 
 the outUne of eo^ch of them is made strongest on the dark side; the dark side of the 
 large post is in the second shade. There is rather more ground in this drawing 
 tjmn in the former one, but you will find no difficulty in producing it, if you hold 
 the pencil freely, and make the lines from right to left, bearing harder on the dark 
 side< 
 
 No, 2, is the gable-end of a house, and if you observe the large dots, which are left 
 purposely to show where I began to draw from, you will see that the outline is formed 
 in the same manner as in the mile-stone. The outline of the paling and foreground 
 is nearly a repetition of that in No. 1, and you will proceed as before directed. There 
 m ver^ little shade on the house ; the shadow formed by the projection of the roof is 
 
produced by using the first shade, only bearing rather strong on the pencil ; the 
 rushes in the foreground are made by pressing on the pencil when you begin the fine, 
 and taking it off lightly toward the end, which of course leaves it thin and pointed. 
 You must practice this sort of touch on waste paper, till you can do it freely, as you 
 will soon find it pf great: service. 
 
 You will doubtless have occasion to make a number of outlines of the drawings 
 contained in the first and second plates, and will therefore perfectly understand how 
 to place your dots, and form the lines. I have introduced four small drawings, Plate 
 III., without a separate outline ; hoping that you will now be able to make them from 
 the finished drawing. No. 1, is part of a broken cross : in the part standing upright 
 three sides only are seen, but the broken part lying on the ground, shows that it has 
 eight sides or angles ; this is termed an octagon. In making the outline of this drawl- 
 ing, you will begin as before, with the part nearest to the eye, which in this case ig 
 the centre. After drawing the pedestal, or bottom stone on which the upright stones 
 are placed, go on to the first range of the latter. Finish the outline of them J)efore you 
 begin the upper stones, taking care to keep the lines dotted, so that you may after^ 
 ward form the broken parts. When the whole outline is completed, the stones in the 
 
8 
 
 front must be slightly touched here and there with the first shade, and those at the 
 sides finished with the second and third, as before directed. 
 
 No. 2 is a better drawing than any you have had to copy before, but, with the ex- 
 ception of the two curved stones that form the arch of the gateway, it is little more 
 than a repetition of the pales in Plate II. and of the mile-stone in Plate I. In order 
 to form the arch, you must place a dot exactly between the upright stones at the 
 proper distance above them, and if you then draw a line a little bent, it will give you 
 the under line of the arch ; the upper line is formed in the same way, by placing the 
 dots at a proper distance above this line. 
 
 The bridge, No. 3, is formed by placing a dot in the centre of the drawing, and 
 making two others at equal distances from it rather lower ; this will give the top or 
 parapet of the bridge. The arch must be formed by making another dot exactly 
 under the first, and placing two others on the sides, each at a proper distance from 
 the top. !from the centre dot draw a curved line to each of the side dots, and 
 you will with a little practice produce the half circle which forms the arch of the 
 bridge. The mountain in the background must be slightly shaded with slanting 
 
lines, and the banks on both sides of the bridge covered with the first and second 
 shades. 
 
 The window, No. 4, on this plate, is rather too heavy a drawing for you to at- 
 tempt at present. I have placed it here that you may refer to it when the same 
 window forms part of a drawing which will come under our notice in a few more 
 lessons. 
 
 I think when you have practised the subjects now sent, two or three times over, 
 you will perfectly understand how to commence a drawing, by placing points or dots 
 at proper distances, as well as to form free broken lines, and the first and second 
 shades. This is acquiring a great deal for the first lesson, and though you may think 
 that I have repeated the same instructions several times, you must recollect that it 
 has been my aim to impress on your mind what might otherwise appear of little 
 importance, and I would much rather incur the censure of saying too much, than run 
 the slightest risk of not making the instruction I wish to convey perfectly clear to 
 your understanding. 
 
 Trusting that this has been done, I shall conclude the first lesson ; and in a short 
 
10 
 
 time yoU will receive another, accompanied With a view of some interesting subject, 
 drawn on purpose for you to copy, by your faithful friend, 
 
 N. WHITTOCK. 
 
 LETTER II, 
 
 With this letter you will receive a drawing (Plate IV.) of the remains of the chap- 
 ter house belonging to the nunnery at Godstowe, which is famous as the spot where 
 Rosamond Clifford (better known by the name of Fair Rosamond) was buried. 
 
 This nunnery was formerly of considerable importance ; it was founded by a lady 
 of Winchester, toward the latter end of the reign of Henry I., in the year 1129; but 
 was afterwards greatly enlarged and ornamented with a beautiful tower. The society 
 was dissolved at the reformation ; but the building sustained little damage till the time 
 of the civil war, in the reign of Charles I., when, being converted into barracks for 
 the royal army, it was accidentally destroyed by fire. 
 
11 
 
 The tower, and great part of the walls, were standing within the last century ; and 
 I shall at a future opportunity send you a drawing of the ruins as they appeared in 
 the reign of George II., taken from a sketch now in the Ashmolean Museum. The 
 drawing now sent is all that remains at present. Godstowe is about two miles from 
 Oxford, and few antiquarians visit the university without viewing this secluded spot. 
 Having sUghtly glanced at the history of Godstowe, we will proceed to the drawing. 
 You must commence, as I before informed you, by drawing the line nearest the 
 eye, which of course must be the corner of the building ; making dots first, so that 
 you may be certain of having it in the proper plaice, and quite upright. You will 
 observe that the line which forms the angle of the building, nearest the poplar tree, 
 is not so long as the one drawn at first, as it reaches neither so low nor so high in 
 the picture ; and if you look at the line at the bottom of the building, you will find 
 it runs up to it. I do not mean to explain the reason why the lines run in this way at 
 present, but I wish you to observe that they do so, and you will soon discover the cause 
 when I begin to treat on Perspective. Having formed the two upright lines, you must 
 place a dot between them, to find the point of the roof; from this draw lines to the two 
 upright lines, and you have the gable-end of the building ; another line at the farthest 
 side, with two more drawn horizontally, or nearly so, at the top and bottom of the build- 
 ing, and the outline is complete. I need hardly tell you, that the lines for the windows 
 
12 
 
 imust be done in the same manner, taking care that they are quite free and very faint, 
 so that if yon ftiake th'ree or four outlines on the same drawing before it is correct, 
 you need not rub them t>ut, as they will not be perceived when you put the building 
 in shadB : and reiri&mber, that the less use you make of the India rubber, the better, 
 as it raises the stirfece of the p^aper, and spoils the drawing. Having finished the out- 
 Ene, which you must be very careful to make correct, as no after drawing can be 
 good, unless it is so, you will proceed to cover with first shade nearly the whole 
 Tjuilding, beginning at the top, and leaving the light as you see it in the copy. You 
 may now strengthen your first outline by going over it again, forming the edges and 
 broTken corners df the stories as you proceed. You must also mark the form of the 
 windows more strongly, keeping them quite free, and by leaning hard on the pencil, 
 give a sharp bladk touch or two in the dark parts. You will not find much difficulty 
 with the windows in this drawing, as they are nearly filled up, but the lines are left 
 sufficiently strong to mark their shape. You will see I have formed the stones as I 
 proceeded with the second shade, not formal square blocks, but rough broken stones, 
 as they \vill of course appear in an old diliapidated building, like this. I have used 
 the same method in forming the stones on the light side, arid you will observe that 
 the thick black touches are always to be placed on the dark side. You will show 
 your taste in drawing, by letting the lines of the first shade run in Various directions, 
 
13 
 
 so as to form different kinds and shapes of the stones. You will understand what I 
 mean if you look at the large stones near the two small windciw^ I have iatrodueed 
 the outline of trees here, which you will form by holding the pencil quite free, and 
 giving the fingers a circular motion at the sanje time. I cannot better ^escribe it in 
 words than by supposing you to be making a number of the letter »i joined freely 
 together; take care to make them free and light, and praqtipe will soon give the 
 right method. The ground is formed as before directed, and the stump of the 
 tree in front must, like everything else, be first drawn very light, and afterward 
 touched up with a blunt-pointed pencil, till it is darker than any other part of the 
 drawing, 
 
 The foregoing directions, aided by your own judgment, will, I have no doubt, 
 enable you to produce a good copy of the drawing of Godstowe, and vie will now 
 proceed to Plate V., which is a correct drawing of the remains of Beaumont Palace, 
 Oxford. 
 
 This palace was built by Henry I., and was the birth-pl3.ce of Rich«ard I., who 
 from his heroic achievements in Palestine, gained the title of Gceur-de-Lion, or Uon 
 hearted. 
 
14 
 
 In drawing this ruin, you must commence as before, by making a perpendicular 
 line at the angle nearest the eye, and then carefully sketch the outline of the whole : 
 form the arches that are seen on the dark side, as before directed in drawing God- 
 stowe ; the broken stones must be produced by the first shade, and effect given them 
 by spirited touches on the dark side. This drawing being intended as practice in 
 the instruction previously given, I shall forbear entering more into detail. Should 
 you find yourself at a loss, you must have recourse to a careful pefiisal of my former 
 letter. 
 
 The next drawing, Plate VI., is the Tower of Oxford Castle, seen behind one of 
 the small bridges thrown over the canal. 
 
 Oxford Castle was erected in the reign of William the Conqueror, to keep the 
 inhabitants of Oxford in subjection. It was of great strength, and surrounded by a 
 moat. Within the walls was a church, dedicated to St, George. 
 
 Many interesting events are recorded in history as having taken place in this castle. 
 In the reign of Stephen, the Empress Maud took refuge here, and was closely be- 
 sieged by the king in person, who swore a solemn oath that he would not raise the 
 

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15 
 
 siege till he had taken the empress prisoner. But such was the strength of the castle, 
 that it defied his utmost efforts for more than three months ; at the end of that time, 
 the garrison being reduced to the utmost extremity by famine and incessant fatigue, 
 the empress determined to effect her escape. The river being frozen over, and the 
 ground covered writh snow, she dressed herself and three attendants in white, and 
 issuing silently about midnight, from a postern of the castle, crossed the river, and 
 creeping along on the snow, passed all the enemies' sentinels in safety. She travelled 
 on foot to Abingdon, and reached Wallingford on horseback before daylight. The 
 garrison surrendered the castle to Stephen the morning after her departure. 
 
 The tower represented in this drawing, is all that remains of the original buildings ; 
 on the site is now erected the country jail, in the Gothic style of building, and it is 
 still called Oxford Castle. 
 
 In commencing this drawing, I should advise you to mark the centre of the par- 
 apet of the bridge, first making a slight outline of the arch and the banks before 
 you begin the tower. When you have done this, make the outline of the angle of the 
 tower nearest the bridge. You will observe in this building that the outline is not 
 perpendicular ; as the tower tapers toward the top, the outline of course leans a little. 
 
16 
 
 You mast be particular in making the outline of the angle higher than the two out- 
 side lines. To you this may appear singular, as you are aware that the walls are 
 nearly the same height. I cannot explain the cause of this till I write to you on per- 
 spective ; till then you must be content to copy what you see in the drawing, and let 
 the outline run as like it as you can. Having made a correct and free outline, draw 
 the first shade (making the lines hght and close together) over the whole of the tower, 
 then go over the dark side with the second shade. The outline previoTJsly made of 
 the loop-holes and the window, will show through both shades, and must now be 
 made darker, yet still taking care that none of your touches are so dark or so thick 
 as those you will afterward use in the bridge ; as the tower is supposed to be at some 
 distance from the bridge, and it is only by not letting either the light or the shade 
 appear so strong as they do in the foreground, that you can make the distant objects 
 recede. 
 
 Having finished the tower, mark the outline of the trees, taking care to give your 
 hand that circular motion I before directed ; fill up the outline of the trees with short 
 lines of the second shade, a little darker than those used on the tower, because they 
 are nearer to the eye. The outline of the bridge must now be made darker ; and here 
 you may make black free touches, as the darker this appears, the more it will come 
 
17 
 
 forward ; be careful not to make the projecting stones that go around the arch stiff 
 and formal, and be sure to keep the dark touches on the side that is in shade ; make 
 the outhne of the reflection of the arch in the water lighter than the arch itself! The 
 water is formed by free lines even with the bottom hne of the picture. The dark 
 reflectipn in the water must be made by passing over once or twice, till you get the 
 tint required. The cloud that floats near the tower, is produced by drawing the pencil 
 lightly backward and forward till you have got the shape without any previous out- 
 line, as that would make it appear hard, and destroy the aerial effect which clouds 
 should always possess. 
 
 This drawing will require all your attention, and I hope will receive it. I shall 
 conclude this letter by a few remarks on Plate VII. I have hitherto confined myself 
 to angular buildings, but many of the most picturesque are circular. The drawing 
 of a postern in the city wall, near the old gate, called Bocardo, is of this character. 
 This spot is calculated to excite melancholy feelings in the beholder, as it was from 
 the small loop hole you see near the top, that Archbishop Cranmer was forced to 
 behold his learned and venerable brethren, Bishops Ridley and Latimer, perish in the 
 flames, which were but a prelude to his own destruction. In contemplating the death 
 of these reverend martyrs, a feeUng of joy, that bigotry and intolerance have long since 
 
18 
 
 fled from our happy isle, mingles with our sorrow for the past, and raises that emotion 
 in our minds which may be termed pleasing melancholy. Indeed it is this emotion 
 that constitutes the enjoyment we derive from viewing drawings of places which have 
 been the scenes of remarkable events ; and it is this association of ideas that renders 
 the artist who can portray the scenes of other times, or the remains of them, of first- 
 rate service to the community. You will, I am sure, forgive this digression, (which 
 a view of this otherwise insignificant drawing has led me into,) when you know that 
 it has been made in the hope of leading you on to a participation of such refined 
 pleasure and mental gratification. It was this feeling which gave birth to those 
 beautiful lines which Shakspeare, in the play of " As you like it," has put in the mouth 
 of the banished duke: who finds 
 
 "Tongues in trees, books in the running brooks, 
 Sermons in stones, and good in everything." 
 
 In drawing this postern, you will make the two perpendicular lines first, then draw 
 a faint line, curving it as you proceed from one to the other. On this line place the 
 dots by which you mark where the short perpendicular lines which form the battle- 
 ments, spring from; then proceed to form each battlement precisely in the same way 
 you did the first drawing, (the mile-stone.) As circular drawings are rather difiicult, 
 
19 
 
 I have introduced an outline with nil the requisite points marked. There is a shadow 
 thrown on the wall by the circular projection, but you will see on the dark side of 
 the postern a small space near the wall left rather lighter than the rest; this must 
 by no means be omitted, as it is caused by the reflected light from the wall, and gives 
 the postern the circular appearance which it could not have without it. I need 
 scarcely repeat my former observations as to retouching the outline in the dark parts. 
 You will observe that, though the wall is quite straight, one side of it is considerably 
 higher than the other, and that the outline runs in a slanting direction. You must 
 be content to make your drawing like the copy, without knowing the reason of this 
 appearance, but the succeeding letters will, I hope, fully explain this also. 
 
 The subjects I have hitherto drawn, though they have been in perspective, yet as 
 they have consisted of separate buildings with little variety of outHne, they might 
 be copied without any very glaring error ; but you cannot proceed farther without 
 being introduced to a knowledge of perspective, to which I have already had occasion 
 to allude. 
 
 Architectural drawings are of two kinds, drawings of elevations, and drawings in 
 perspective. 
 
20 
 
 In drawing an elevation of a building, you are supposed to stand directly in front 
 of it ; all the lines are of equal length and breadth : nor can you see either of the 
 sides. You will understand this by looking at No. 1, Plate VIII., which is an eleva- 
 tion ; but if you could go toward the end of the house, you will see the front and one 
 side; in this case all the hues would not be of an equal height, those nearest the eye 
 being higher than those at a distance, which decrease in length as they recede from 
 the view. In the drawing No. 2, the same building is in perspective. Having given 
 you this idea of the difference between elevation and perspective, I shall in my next 
 enter more fully on the latter. 
 
 N. WHITTOCK. 
 
21 
 
 LETTER III. 
 
 In the present letter it is not intended to enter into the geometrical problems by 
 which all that is advanced on the art of Perspective could be proved, but profiting 
 by the exertions of those mathematicians who have 6learly demonstrated the truth of 
 the various propositions, we shall endeavour to render their labours practically useful. 
 Yet there are certain terms and definitions of points, lines, and figures, with the mean- 
 ing of which it is absolutely necessary to be acquainted, before we can apply them, 
 or understand the terms used by writers, either on drawing or any other scientific 
 subject. 
 
 We shall begin with figures. This term is not confined to the Arabic numerals 
 which are used in arithmetic, but in this case applied to circles, squares, parallelo- 
 grams, right angles, equilateral triangles, &c. ; and we will now describe how several 
 of those used in geometry or perspective are formed. 
 
22 
 
 The circle, you are aware, is formed by placing one leg of the compasses on a 
 point, and allowing the other leg to trace a line at an equal distance completely round 
 it. The point on which you place the compasses is called the centre, the Hne formed 
 round it the circumference ; and a Hne drawn directly through the centre, dividing the 
 circle into two equal parts, is called the diameter of the circle. 
 
 The circle once formed, let it be large or small, is supposed to be divided into 360 
 equal parts, called in admeasurement, degrees. Astronomers divide each degree into 
 sixty minutes, and each minute into sixty seconds, but the first division into degrees 
 is sufficient for our purpose. By looking at No. 3, Plate VIII., you will find that the 
 circle is divided into degrees, and has a line drawn through it to show its diameter. 
 
 The circle divided into degrees, is of great use in describing angular figures, by di- 
 viding the degrees by the number of sides in the figure required. Thus a square or 
 quadrangle has four sides, and the fourth of 360 is 90. In No. 3, you will find a line 
 drawn from 360 to 90 ; this describes one side of the square. A line drawn from one 
 part of the circle to another, is called a chord, and the space between the line and the 
 circumference, an arc; both are measured by the number of degrees they contain. 
 Thus the line drawn from 360 to 90, is a chord of 90 degrees, containing an arc of 90 
 
23 
 
 degrees ; draw three other chords of equal length, and the square is complete. In 
 drawing, there are other methods of producing the figures formed by a circle, without 
 troubling ourselves to calculate the degrees, but it is best to show you the use of these, 
 and other terms used in describing the parts of a circle, as in admeasurement of any 
 kind they are of constant recurrence. 
 
 A square may be formed by drawing two diameters of a circle, and drawing lines 
 from each point. No. 2, Plate IX. 
 
 An equilateral triangle may be formed by placing one leg of the compasses in the 
 centre of the circle, and the other on its circumference, then forming the arc described 
 by the dotted lines, D, E, No. 2, Plate IX., this will give the length of one side of the 
 angle ; two other lines of equal length give the triangle. 
 
 By the circle, also, the pentagon, five sides and anglies ; the hexagon, six ; the 
 dctagon, eight ; and most other angular figures may be formed. 
 
 The base Hue is the line which bounds the bottom of the picture, and in landscape 
 drawing is often termed the terrestrial or ground line. 
 
24 
 
 The horizontal line is always parallel or even with the base line, and indicates in 
 what part of the picture the representation of the natural horizon should appear : but 
 as the beauty an(J correctness of any picture will greatly depend on a thorough 
 knowledge of the principle of the horizontal Une, four small drawings, introduced 
 in Plate X., are designed to illustrate the remarks that follow on this subject. Al- 
 though, in fact, the person taking the view can never form a part of the picture, and 
 therefore should not appear in the drawing ; yet I have been obliged in these views, 
 by way of license, to introduce him, in order to render the subject intelligible. — 
 If you stand on the sea-shore looking toward the ocean, in the extreme distance 
 the sky and water appear to meet together, and the line formed by the termination of 
 the view of the water is called the horizon. You will find that this line is always 
 exactly the same height as your eye ; this you can prove by holding a stick some 
 distance from you, even with your eye, and it will completely hide the horizon from 
 your view. Nor does it make any difference if you are lying on the ground, or 
 standing on an eminence, the horizon will of course be higher or lower, but in all 
 cases will be even with your. eye. 
 
 In the drawing. No. 1, a sailor is seen looking toward the sea, the horizontal line 
 is the height of his eye ; ships and boats of various dimensions are seen ; the sails 
 
25 
 
 of most of them appear above the horizon, but the hulks of all of them below it ; all 
 that do not appear above the height of his eye are said to be belovsr, and all that are 
 higher, above the horizon. 
 
 In No, 2, a man is seated on a cliff, the horizon is still the height of his eye, but a 
 glance v^ill convince you that this is not so pleasing a picture as No. 1 ; the sails of the 
 boat are entirely belovs^ the horizon, and the sky forms but a small part of the picture. 
 
 In No. 3, a man is seen sitting in a boat, the horizon is even with his eye, but 
 the space between the ground line and the horizon is too confined ; thus it follows, 
 that of the three examples before us. No. 1, is the most worthy of following. That 
 view will consequently be most pleasing which is taken in a standing position, and 
 in that case the space between the horizon and the base line will generally occupy 
 about one-third of your picture. 
 
 No. 4, is an inland horizon, and is introduced to show that the effect is the same as 
 in the sea view: the only reason for selecting marine subjects for the three examples 
 is, that the plane or surface of the sea is more regular than that of a landscape, and 
 the horizon unobscured by objects rising above it. 
 
26 
 
 Having, it is hoped, made you thoroughly acquainted with the use of the horizon- 
 tal line, we must now proceed to the point of sight ; this is the point or spot directly 
 opposite to the eye, when looking at any object: and as the horizontal Hne is always 
 even with the eye, of course the point of sight is in the horizontal line, and it is in 
 this point that all the lines of the picture terminate. 
 
 The diagrams in Plate XI. will enable you to understand the use of the point of 
 sight, sufficiently for us to proceed with our picturesque drawings for a short time, as 
 it is very desirable for you to become thoroughly conversant with the horizontal hne 
 and the point of sight before we proceed farther in the art of perspective. 
 
 In No. 1, a number of upright poles are seen : they are all standing on the same 
 plain, and at an equal distance from each other. Common observation will convince 
 you that the farther any object is from the eye, the smaller it appears, and thus the 
 poles in the drawing gradually lessen as they recede from the view. The reason is, 
 as before stated, that all the lines in the picture terminate in the point of sight, 
 and therefore lines drawn from the top and bottom of the first pole to the point of 
 sight in the horizon, will give the true height in perspective of the whole of them. 
 And you now see why the base hues of the buildings slant upward, and the roofs and 
 
Fl // 
 
 PUO 
 
 .','■ 
 
 .-4= ' :- ' 
 
 
 
 - 
 
 ,•(;'■;._.. >r .■<;_ 
 
 
 1 
 
 
 -L «^@^^^^^^S 
 
 
 i-^™ii.i^^^s^fe5fe 
 
 J^t^ 
 
 'I 
 
 
 ir= ^Ja,-' 23" 
 
 
 
 tel' '' 'r::i ~ « 
 
 /^^/Z 
 
 ]3enbi<jihCa&-tl6 
 
27 
 
 other lines above the door downward. All lines below the horizon, terminating in the 
 point of sight, must incline upward, and those above the horizon downward. 
 
 In No. 2, I have drawn two cottages, one on the hill, the other on the plain, in order 
 to show you that the lines of both terminate in the point of sight. 
 
 I will now explain the reason why all objects appear smaller as they recede from 
 the eye. All objects appear large or small according to the angle at which they are 
 seen. You will understand this by looking at No. 3 : here you see the two lines 
 formed by the rays from the top and bottom of the pole meet in the eye, and form 
 the angle a, h, c; the rays from the next pole form the angle d, e,f, and so on for 
 the rest ; which, if they were continued far enough, would terminate in the point of 
 sight, as in No. 4. Here the poles are continued to the point of sight, the angles 
 appearing smaller the nearer they approach it. 
 
 I shall not enter farther into the art of perspective at present, but leave you to 
 
 apply the foregoing rules to the drawings sent with them. 
 
 -J 
 
 Plate XII. is a drawing of Denbigh Castle, North Wales. 
 
28 
 
 Plate XIII. is a sketch of a village in Cumberland. You will find the horizontal 
 line in this drawing on the distant edge of the lake, and the point of sight in the 
 boat upon it ; take great care to draw the lines correctly in perspective, at the same 
 time not letting them appear hard. I have left the dotted lines in this drawing as 
 your guide for the future. 
 
 Plate XIV. is a drawing of the remains of Oseney Abbey, near Oxford. Trifling 
 as these ruins appear now, they once formed part of one of the most magnificent mo- 
 nastic establishments in the kingdom, which was erected in 1129. Anthony Wood, 
 and from him Dr. Plot, in their Antiquities of Oxford, give a minute account of the 
 origin of this celebrated building. This account I have sent you, as a curiosity in 
 itself) and you will not fail to observe the degrading arts which the priesthood of that 
 time had recourse to, to obtain its endowment ; nor the equally degrading superstition 
 by which the minds, even of the nobility, were enslaved, when such arts could effect 
 their purpose. 
 
 It appears that Dame Edith, the wife of Robert Doyly, used to solace herself, when 
 she resided in Oxford Castle, by walking on the banks of the Isis under the stately 
 elms which overshadowed them; and frequently observing the magpies gathered 
 
29 
 
 together on a tree by the river-side, making a great chattering, as it were, at her, was 
 induced to ask Rodolphus, a canon of St. Fridswid, her confessor, whom she had sent 
 for to confer on this matter, the meaning of it. " Madam," says he, "these are not 
 pies, but so many poor souls in purgatory, uttering in their way their complaints 
 aloud to you, as knowing your extensive goodness of disposition and charity," and he 
 humbly hoped, for the love of God, and the sake of her own soul, and the souls of 
 posterity, she would do them some public good, as her husband's uncle had done, by 
 building the church and college of St. George. "Is it so indeed?" said she; "I 
 will do my best endeavors to bring these poor souls to rest." And relating the 
 matter to her husband, " did prevail on him to begin this building where the pies had 
 sat, thus delivering their complaints in the year before mentioned." 
 
 From this beginning, Oseney Abbey became one of the grandest in England, and 
 the abbot sat as baron in parliament. At the dissolution of the monastic establishr 
 ments, in the reign of Henry VIII., Oseney was converted into a cathedral church, and 
 the county of Oxford was made a diocess ; but on the disgrace of Cardinal Wolsey, 
 Henry translated the cathedral church from Oseney to Christ Church College, and 
 this, strictly speaking, (though it had been used long before,) gave the title of city to 
 Oxford. 
 
The remains of Oseney Abbey, now converted to a mill, will require no new direc- 
 tion relative to the drawing of the building. The outlines of the pollard willow 
 must first be drawn faintly, till you have got the true shape of the tree, then cover 
 the trunk with the second shade, pressing rather hard on the pencil ; if you then, with 
 a firm touch and a blunt-pointed dark pencil, let lines run all over it, curving them 
 in the direction of the bend of the tree, and lastly, with the same pencil, make sharp 
 touches on ihe dark side, across the lines made last, it will give roundness and spirit 
 to the trunk The small branches are formed in the same way you make touches for 
 long grass or rushes, by pressing the pencil on the paper when you begin the line, 
 and bringing it off sharp and light toward the end ; the few leaves that are seen are 
 formed in the same manner, but with a lighter touch. As this is a real view, I was 
 obliged to introduce the tree, but am aware that it will be rather difficult for you to 
 produce at first I shall shortly send you instructions on drawing trees, which will 
 enable you to form them with as much ease as you now produce buildings. Take care 
 to let the reflection of the objects on the water appear transparent ; this you can effect 
 by drawing the outlines of the buildings, trees, &.C., without putting them in shade, 
 then filling up the whole of the remaining space of the river with the first shade, 
 only letting the lines run in a horizontal direction ; next let the building and trees 
 be put in shade, the windows and other parts drawn, but take care they are not 
 
PU^ 
 
 PIJ4 
 
 1. ^^\ 
 
 <| 
 
 
 r*s.W^^ 
 
 
 -Vi/ 
 
 «» *—■»■ r" 
 
 
 
 
 Ji.ematn^o/'^'''^^ 
 
 Pl/S 
 
 PcitJii cfZ>iJt<mx:e^ / PfftTii e/'iSig'TU 
 
 fforvion PI. ^(f 
 
 Pomt QfSvtf?!,^ Z ^ffnzojp 
 
 Pomt sfDRiia?tei^ 
 
31 
 
 formed with hard hnes, nor yet so dark as the building itself. After you have done 
 this, draw a few flowing lines at some distance apart, over the whole river, and the 
 desired effect will be produced. 
 
 LETTER IV. 
 
 Having made you acquainted with the horizontal line and point of sight, I now; 
 proceed to the point of distance. 
 
 This point is the place where the spectator stands to take the view; and of 
 course, as before mentioned, can never be seen in the picture. You must recollect 
 that the eye cannot conveniently take in more rays than are included in a right an- 
 gle : and for this reason, that the pupil being in the centre of the eye, does not well 
 admit more than a quadrant of a circle, so that whatever rays exceed that portion, if 
 
33 
 
 seen at all, only produce a dim confused effect. You will understand this by refer- 
 ring to No. 1. Plate XV. 
 
 C is the point of distance, or spot where the person stands to take the view ; A is 
 the point of sight in the horizon ; b b are the points of distance on the horizontal line 
 formed by the Unes or rays from C. You will observe that all that comes within 
 these lines may be seen distinctly, but if you wished to take in a greater extent of 
 country, you could not do it from the same point of distance without turning the 
 head, and thus having another point of sight, which would throw your whole draw- 
 ing into confusion: but if you were to stand at a greater distance, the angle would be 
 larger, and would take in more of the view ; and the points b b, would in this case 
 be a greater distance from the point of sight. This drawing will, it is hoped, show 
 you why the points of distance are placed on the horizontal line : and we will now 
 proceed to their use in perspective drawings. 
 
 In No. 2, Plate XV., d is the base line; and I wish to put a square in perspective, 
 one side of which, c c, is measured on the base line ; to effect this, I draw lines from 
 c c to the point of sight a ; and to determine how large the square would apj>ear in 
 perspective from c c,I have made dotted lines to b b, the points of distance : the 
 
33 
 
 points where they intersect the lines drawn to the point of sight, will give the true 
 size of the other three sides of the square. 
 
 Accidental points are so called, because they are not drawn to the point of sight, 
 or to the point of distance, but appear accidentally on the horizon, according to the 
 situation of the object ; thus e in the drawing before us, is a block of stone lying in 
 such a position, that, though it must of course appear in perspective, it cannot be 
 drawn either to the point of sight or of distance ; its sides must, however, like those 
 of all other objects, terminate in a point in the horizon ; this would in the present case 
 fall atj^ which is, therefore, the accidental point of this object, j is another block; 
 which can only be put in perspective by continuing the horizontal line a long way 
 out of the picture, to show where the accidental point is to be found. 
 
 As I have briefly, but it is hoped satisfactorily explained the nature of most of the 
 points and lines used in perspective drawings, we must proceed to a practical appli- 
 cation of them. The next plate (XVI.) contains three figures, which you may vary 
 at pleasure, till you are quite conversant with all the lines and points treated of in 
 this and the former letter. 
 
34 
 
 No. 1, is a small square viewed directly from the front, put in perspective, c d, 
 shows one side of the square, and if we draw lines from c and d to the point of sight, 
 they will give the sides c a, and d b ; but we cannot obtain the remaining side without 
 having recourse to the points of distance, which are here placed on the horizon, at 
 equal distance from the point of sight. A line drawn from c ox dio the point of dis- 
 tance, will intersect the lines drawn to the point of sight, and another line drawn 
 from the points of intersection, parallel to the base line, will complete the square : 
 this rule will answer for any square figure viewed from the front. 
 
 No. 2, shows the side or oblique view of the same object. In this position it pre- 
 sents two sides to the view ; and the point of sight, instead of appearing in the middle 
 of the horizon, as was the case in the front view, must be placed nearer the side of 
 the picture. The real point of sight, you must recollect, is still in the centre of the 
 horizontal line, but the position of the eye being greatly on one side of the object, the 
 horizon is so much extended, that the whole of it cannot be given on the paper, and 
 for the same reason, only one point of distance can be introduced. This figure is 
 not lettered, because the process of putting thi» square in perspective is the same as 
 in the preceding example. 
 
rL/7 
 
 FU<f 
 
 
 
 P-U9 
 
 i^. 
 
 
 Licllo'rdlj-T^OK'gT, Lo'TTibdh Polar f 
 
 1^ ^ 
 
 
 
 
 6 
 
 ^,^<? 
 
 7 
 
 
 
 >■>. 
 
 "■ u^: 
 
35 
 
 No. 3, contains two square blocks of stone, a and h ; « is considerably above the 
 horizon, 6 is below it. It has been shown before, that the horizon is always even 
 with the eye, and a being so much above it, of course the top of the stone cannot 
 be seen, as it is in h. Before you can draw these stones, it will be necessary for you 
 to understand how to put elevations in perspective, but I do not wish to enter 
 upon this, till you are quite able to form squares and other figures on the ground 
 plain. 
 
 Plate XVII. is the entrance to Lambeth Palace. This gateway was built by Cardinal 
 Pole, the last Catholic archbishop of Canterbury. This prelate, though he succeeded 
 the Protestant martyr. Archbishop Cranmer, and was promoted to this office by the 
 infamous Queen Mary, was esteemed a pious, humane, and liberal man, and greatly 
 averse to the dreadful persecution of the Protestants, which, from his station, he ap- 
 peared to sanction. The gateway forms the entrance to an extensive range of build- 
 ings, erected at various periods for the accommodation of the archbishops of Canterbury, 
 who have in succession resided here for many centuries. You will find this one of 
 the most distinct architectural drawings we have had. You will of course begin at 
 the angle nearest the eye ; the height of the figure will determine the horizon. I 
 have drawn the perspective lines on the margin, as a guide for your making the draw- 
 
36 
 
 ing on a large sheet of paper. Take care to keep the shadow of the object darker 
 than the object itself; you will see what is meant, if you observe the shade thrown 
 upon the gateway from the farthest tower. Be careful in making your dark spirited 
 touches on the dark side of your outline, and observe the variety of touch on the 
 brick and stone work. 
 
 Plate XVIII. is introduced in connexion with the preceding drawing, because it 
 represents the interior of Lollard Tower, in Lambeth Palace. This building was the 
 prison of the early reformers, who were converted from the errors that disgrace the 
 church of Rome, by the arguments and writings of Wickliff ; those converts were in 
 derision called Lollards, and the scene of their confinement retains the name. It is 
 a small dark room, measuring only twelve feet by nine, formed with thick oak planks 
 studded with iron ; the rings and staples to which the unfortunate prisoners were 
 chained, still remain. 
 
 This room is an excellent subject for showing the lines running on all sides to one 
 point of sight ; this point, by applying your rule, you will find in a large spot upon 
 the edge of the board in which the rings are inserted, near the centre of the picture ; 
 the double line in the margin shows the horizontal line. 
 
37 
 
 The last three drawings are intended as practical illustrations of the use of per- 
 spective lines ; but as I hope they will now be sufficiently familiar to you to enable 
 you to proceed for some time without glaring errors, I shall proceed to a branch 
 of the art which you have already felt the necessity of acquiring, viz., the study of 
 trees. 
 
 LETTER V. 
 
 In the preceding examples I have, as far as possible, avoided the introduction of 
 trees, because, although they constitute the chief beauty of landscape scenery, most 
 persons find them very difficult to produce. But, as I before informed you, there 
 are rules for drawing trees as well as other objects ; and as you are now able to form 
 correct outlines, and have acquired some knowledge of light and shade, we will turn 
 our attention to the study of this most interesting branch of the art of drawing. 
 
38 
 
 Plate XIX. is a drawing of the stump of an old oak in Blenheim Park ; a single 
 glance will convince you that no perpendicular lines can be used in this drawing, but 
 that every part of it is formed by angular or curved lines. 
 
 In commencing this drawing, you must with your hard pencil sketch freely the 
 form of the mass of earth in the foreground, from which the trunk of the tree rises, 
 and then proceed with the outline of the trunk till you come to the first arm ; here 
 leave the trunk, and form the arm, observing to mark the form of every branch as far 
 as you can see it. The arm completed, go back to the trunk, till you come to another 
 arm or branch, and then proceed as before. If a mass of fohage hides part of the 
 trunk or arms, make a slight but free outline of the whole of it, without noticing the 
 parts into which it may afterward be divided ; by this method of proceeding, you will 
 have a shght but correct skeleton of any tree. 
 
 You may now take a soft black pencil and retouch the whole, taking care to keep 
 the broad spirited touches on the dark side ; then put the whole of the mass of foliage 
 in shade, by going over it with lines formed by moving the hand backward and 
 forward in a horizontal direction. The trunk and arms must now be put into the 
 first shade, leaving that part blank which is in strong light ; after this go over the 
 
39 
 
 dark part with the second shade, taking care to give your pencil that circular motion 
 that will give roundness to the tree. You will notice for yourself the dark touches 
 given afterward, the knots, &c., better than I can describe them ; all that remains for 
 you now to do, is, to give character to the foliage ; but as I shall have to treat on this 
 subject more at length, I refer you to Plate XX. 
 
 The fohage of trees is made up of irregular curved lines, formed into semicircles, 
 angles, or points, according to the character of the tree ; and as these forms present 
 themselves to the eye in various directions, it is necessary that you should acquire 
 great facility of expressing them, whichever way they may appear. In order to do 
 this, you must first copy No. 1 slowly, and with care, taking notice that the inner 
 points of the strokes are directly toward the centre. This figure you must practise 
 a number of times, till you are able to produce it with ease, without looking at the 
 copy. You may then proceed to No. 2, which is formed nearly in the same way, 
 except that the circle is more broken. 
 
 When you are able to draw Nos. 1, 2, and 3, without looking at the copy, (and be 
 careful not to proceed till you can do so,) then, as you have hitherto been forming single 
 leaves, you may proceed to join them in a cluster, from the examples 4, 5, 6, and 7. 
 
40 
 
 All the examples in the first row are leaves of a semicircular iform ; the next row, 
 from 8 to 11, consists of foliage of a more pointed character ; but in these you must 
 proceed on the same plan as before. When you can draw these forms with freedom, 
 you may proceed to 12 and 13, which are the elementary drawings of oak foliage ; 
 this differs from all other kinds, and must be most attentively studied. The other 
 figures in this plate are parts of trees where the figures previously drawn are ap- 
 plied. It will be requisite for you to practise this elementary plate of foliage for 
 some time, till your hand has acquired perfect freedom, and I shall, therefore, to allow 
 time for this, proceed to our regular drawing. 
 
 Plate XXI. is a view near Woodeaton, Oxon. It is a pleasing rural scene, and 
 an easy drawing. The edge of the water will give you the horizontal line, and you 
 will easily put the tower and cottage in perspective. 
 
 Plate XXII. is a gateway into the Tower of London ; and from its being the gate 
 by which state prisoners for so many ages have passed to execution, it has acquired 
 the name of the Bloody Gate. It is impossible to view a scene like this, without a 
 feeling of horror and melancholy retrospection. Under this gate, little altered by 
 time, with its iron-studded doors, ponderous portcullis, and all the terrific strength 
 
41 
 
 required in ages past, still attached to it, have passed many illustrious characters to 
 bow their neck beneath the bloody axe of the executioner. Under the small grated 
 window, at the side of the gate, the bones of the young princes, the sons of Edward 
 the Fourth, were found; having been interred here by the murderers who were 
 employed by their unnatural uncle, Richard the Third. You will find little difficulty 
 in this drawing ; the depth of shade required under the gateway, may be obtained 
 by recrossing the first and second shades with a soft pencil. 
 
 Having had time to practise Plate XX., we will now return to trees. 
 
 No. 1, Plate XXIII. is part of a poplar supposed to be very near the foreground 
 of a picture. The outline of this tree is formed by the small semicircular touches, and 
 shaded with short touches like the second shade. No. 2, is a poplar seen at some dis- 
 tance : it preserves the same character in the outline, but is filled up more in mass, as 
 at a distance the foliage of a tree never appears distinct. No. 3, is part of a droop- 
 ing willow, one of the most beautiful and picturesque trees in nature. To produce 
 this, it will be necessary to make a number of Unes like those used in the first shade, 
 and terminate them by a tremulous motion of the hand. 
 
42 
 
 No. 7, is a pollard willow ; the trunk is produced as in Plate XIX. No. 4 shows 
 the trunk and a branch of a beech tree. As the trunk of this tree is more smooth and 
 round than most others, the shade must be more circular. No. 5, is part of an elm 
 in light and shade, with the foliage strongly marked. This is the finish of the parts 
 of the elm, which are seen in Nos. 19 and 20, of Plate XX. No. 6, shows the trunk 
 and branch of a poplar ; and No. 8, an oak stump. 
 
 When you have acquired sufficient freedom of hand to produce the parts of trees 
 presented in this plate, we may venture on a perfect tree. 
 
 Plate XXIV- is a drawing of a celebrated elm upon Headington Hill, near Oxford. 
 This tree was planted by a person named Joseph PuUen, and is called Joe Pullen's 
 tree. Few persons visit Oxford without walking up Headington Hill, to view the 
 surrounding country beneath the shade of this fine elm. Very few verbal directions 
 can be added to the instruction for drawing trees, given in my remarks on Plate XIX. 
 and Plate XXIII. The same care must be used in making a light outline first, and 
 strengthening it afterward ; the whole of the foliage should be put in the first shade, 
 letting the lines run in a horizontal direction ; then make the outUne of the most 
 
Pl.ki 
 
 '^l"'4i/'' 
 
 I>l.Z2 
 
 Bloody Gate 
 
projecting masses, with the semicircular touch, and put the hinder ones that remain in 
 the second shade. I have hitherto, in order to keep my instructions as clear as pos* 
 sible, avoided troubling you with more than light and shade ; but as we have now 
 made some progress, it is necessary that I should show you thB use of what is called 
 middle tint:; if you look at the large stone at the foot of this tree, you will see that 
 one part of it is in ^rong light; that is, that it directly faces the sun. That you may 
 thoroughly understand this, I have marked it No. 1; the part marked No, 2^ is not 
 in. strong lighti neither is it in dbade; this is the middle tint, and No. 3, the shade. 
 These three distinctions pervade every drawing, and a judicious management of the 
 middle tint gives depth and value to both light and shade. As it applies to the 
 foliage of the tree, you have drawn lines over the whole of it; and the reason of 
 this isj that foliage, not beingran even surface, does not reflect the light like stone. 
 This shade, therefore, on the tree, is the same as the strong light of any plain surface 
 The second shade you put on is the middle tint, and if you leave the tree in this state, 
 you will have its form, but without life and spirit. If, however, to the light and mid- 
 dle tints you add the dark shade, by crossing the lines previously made under the 
 branches and in other parts that require it, your tree will be complete as to light and 
 shade, and you will only have to put in semicircular touches here and there, for the 
 foliage.aaid the drawing of the tree is finished. The grass and w«eds in the fore- 
 
44 
 
 ground require your attention, but need little remark from me ; for when you can 
 produce the tree, the rest is easy. 
 
 Plate XXI V* is a near view of that stupendous mass of stones on Salisbury Plain, 
 called Stonehenge. It is supposed by many learned antiquaries, to be the remains of 
 a druid's temple, raised to the worship of the sun, long before the invasion of England 
 by Julius Caesar. It is a very curious question how such enormous blocks of stone 
 were brought to the spot where they stand, and raised one upon another ; especially 
 when it is recollected that the assistance derived from machinery was little understood. 
 The form of this temple was circular, and the spot from which this drawing is taken 
 is near the high altar. These immense masses of stone are the most extraordinary 
 remains of antiquity to be found in the kingdom. From their irregular appearance, 
 they form a good subject for a picturesque drawing. I have introduced them here, 
 to illustrate the remarks on the use of the middle tint, and you cannot fail to observe 
 its pleasing effect in a drawing of this kind, which otherwise would be mere black 
 and white, without anything to blend them together. 
 
 You are aware that I am at the present time preparing your minds for a series of 
 landscape and architectural subjects, to be given in another part of this work ; and it 
 
45 
 
 has been my object so to vary this elementary part of my design, that it shall not be- 
 come tedious or disgusting. It has been my aim to lead you on step by step, iri the 
 acquirement of every branch of drawing, so that in the end you may be able to apply 
 the various parts to the formation of the whole. For this reason I have apparently 
 not pursued any one branch to its conclusion, but have returned to it at such intervals 
 as your progress in the art has required. You began with making lines, and applied 
 them to the formation of simple structures ; you found they were formed so that the 
 lines of the upper parts of the buildings seemed to slant downward, and those of the 
 lower parts upward, and you naturally inquired the cause ; hence your introduction 
 to perspective. The outlines of trees introduced, led on to an explanation of the rules 
 by which they are formed ; and we have now arrived at that point when it is necessary 
 that you should understand not only how to put any figures on the plain in perspec- 
 tive, but also elevated forms of every kind ; and I have the pleasure to inform you, that 
 I shall have no farther occasion to refer to perspective diagrams after the present series. 
 
 In Plate XXVII. you will observe the line which is perpendicular to the base line, 
 marked he; this line is called^the line of elevation, and on this line is measured every 
 object that is raised above the ground plain. In the example before us, I wish to put 
 a wall with a doorway in perspective ; the wall is twenty feet long and eighteen feet 
 
m 
 
 high ; in order to show you bow a scale is formed, I have drawn the scale of ten feet at 
 the bottom of the drawing, by which you will measure the length of the wall on the 
 base line, and the height of it on the line of elevation : having done this, you must 
 draw lines from h and c to the point of sight, and from d e, the measure on the base, 
 to the point of distance ; the point where the lines drawn from the base intersect that 
 drawn from h to the point of sight, is the true length of the wall in perspective; and 
 if from the intersection /g", you draw perpendiculars to the upper line, it will give the 
 height of the wall. If you wish to give the thickness, which is here one foot and a 
 half] this mu^ likewise be measured on the base line : we have now obtained the 
 height, length, and thickness of the wall in true perspective. The doorway in tbe 
 centre of the wall is six feet wide and ten feet high. To ascertain on what part of 
 the wall this should be placed, find the centre of the admeasurement of the length of 
 the wall on the base line, and set off three feet on each side of it ; this is shown by 
 i k ; from these points draw lines to the point of distance, and the points where they 
 intersect the line drawn from the bottom of the line of elevation to the point of sight, 
 show the spot where the perpendicular lines are to be drawn for the sides of the 
 doorway. To obtain the true height, measure ten feet on the line of elevation, and 
 thence draw a line to the point of sight ; the Knes drawn before will give you the 
 thickness of the wall at the opening. 
 
p/.^i -/- + 
 
 Pl.z,') 
 
 Stonfhenf' 
 
 Pi. -16 
 
 
 
 
 K 
 \ 
 
 \ 
 
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 p^h""^- 
 
 --^ 
 
 -*v 
 
 
 
 
 />^/\/ 
 
 V 
 
 ^ 
 
 
 
 
 r- 1 /\ 
 
 /\ 
 
 
 
 
 
 
 
 
 
 \ 
 
 
 
 \L^ 
 
 ^\A 
 
 1 
 
 L^ 
 
 7X 
 
 1 
 
 
 ^, 
 
 \ 
 
 \ 
 
 o 
 
 i> 
 
 
 — c 
 
 A. 
 
 ) 
 
 \ ^ -■' '< ■■' 'f '■' '^ 
 
 Ir nf FerJ 
 
 Manzontal L-iru 
 
 ~^ tSasfJjtne T" 
 
 Pl.^j 
 
 Dtetance 
 
47 
 
 I have drawn this easy figure that j<m might not be confused by a number of lines; 
 but you will perceive that, if I wished to measure windows, doom, or anything dse 
 upon this wall, I should proceed in the same way, viz,, measure all the lines parallel 
 to the ground plane on the base line, and all the perpendicular lines on the line of 
 elevation. You will observe I have left the dotted fees to be seen through the Wiertl, 
 to show more clearly in what direction they run ; the wall find doorway are form^ 
 by the black lines. When you have practised this figure to various adtoeasurements, 
 you will find little difficuky in putting any square figure of this kind in perspective ; 
 but many tops of doorways are semicircular, and as the circle is ratte* difficult to put in 
 perspective, you must turn to Plate XXV. 
 
 No. 1, in this plate, is a direct elevation of the top of a semicircular doorway. 
 To produce this, you would only have to set one foot of your compasses on e, with 
 the other at a, and take a sweep from a to & ; but as we cannot use the compasses 
 when we put this figure in perspective, it becomes necessary to divide it into n num- 
 ber of parts contained in a parallelogram or long square ; this you will find done, 
 a, &, e, <Z ; and from each angle draw a diagonal line ; these Unes will intersect each 
 other at o, and the semicircle at g", g; at this intersection draw a line parallel to the 
 upper line of the square. If you look at No. 3, the semicircle is used in a sucees- 
 
48 
 
 sion of archways, but the one in direct elevation is divided as directed in No. 1, with 
 this addition, that a Une is drawn from/ to the point in the centre of the square, which 
 in No. 1, is marked O. Having obtained the length and height of the archway, by 
 admeasurement on the base hne, and line of elevation, we will proceed to put the 
 semicircle in perspective. From the perpendicular of the direct elevation, nearest 
 the point of sight marked h, draw a line to the point M : the perpendicular lines 
 already raised, according to the rule laid down in Plate XXVII., will show you where 
 the diagonal lines are to be drawn from, to show the centre of the arch in perspective, 
 by the point formed at their intersection ; this in the plate is marked f, and if you 
 connect all the divisions by curved lines, it will give you the semicircle in perspective. 
 I am aware this will be a difficult performance at first, but if you study the diagram, 
 you will soon be able to effect it. No. 2, is a Gothic arch, which is put in perspec- 
 tive in the same way as the circular, by dividing it as shown in the plate. 
 
 In order that the formation of circles in perspective may be rendered more clear, 
 I have exhibited on the plane, Plate XXVI., the perspective of a circle. It is 
 necessary to commence by forming a half circle below the base line; for this 
 purpose, place the compasses in the middle of the base, and sweep the semicircle 
 a h : divide the half circle into six parts : from these points of division perpendicular 
 
49 
 
 lines must be drawn to the base line ; this done, draw lines to the point of sight c, 
 from a and 6, and from the same points a b, draw diagonal lines to the point of 
 distance, and the points where they intersect the lines drawn to the point of sight, 
 will give the size of the square in which the circle must appear. Then from the 
 perpendiculars o, draw lines to the point of sight, but do not take them farther than 
 the upper side of the perspective square; and from the points where these lines 
 intersect the diagonal lines, draw lines parallel to the base line : this will form a num- 
 ber of squares ; and if you commence at the angle of any one, and draw a curved 
 line to the opposite angle, continue this line till you return to the angle from which 
 you set out, and it will give you the true appearance of the circle in perspective. 
 You will perceive that the circle is formed with more ease in proportion to the number 
 of divisions in the square, because the curved lines are shorter, and you have more 
 guide to the regular formation of the circle. 
 
 You are now theoretically acquainted with all the lines and points necessary to 
 produce correct picturesque drawings of architecture and landscape, and we shall use 
 them practically, as the various subjects that come under our notice may require. 
 
m 
 
 LETTER VI 
 
 Plate XXVIII, contiains drawings in what is called the Saxon or Anglo-Norman 
 style; this is the earliest and rudest style of EngHsh architecture, so that whenever 
 you see an old building in this style, you; may be sure it was built in the tenth or 
 eleventh century. Mf. Rickman, whose antiquarian knowledge and architectural skill 
 is surpassed by none^ divides the different styles of Gothic architecture in such a 
 manner that the date of any building may be determined with tolerable exactness, by 
 referring to the dates specified. The following sketch is introduced for your information. 
 
 1. The Norman (which is sometimes erroneously called the Saxon) style. This 
 style prevailed from before the conquest to the end of the reign of Henry the Second, 
 ittll89; It is distinguished by its arches being semicircular* though occasionally 
 somewhat pointed, with bold and rude ornaments. 
 
 2. The early English style, reaching to the end of the reign of Edward the First, 
 
51 
 
 1307, is distinguished by pointed arches, long narrow windows without muUions, and 
 a pecuhar ornament, which, from its resemblance to the tooth of a shark, is called 
 the toothed ornament. 
 
 3. The decorated English style, reaching to the end of the reign of Edward the 
 Third, 1377, and perhaps from ten to fifteen years later, is distinguished by its large 
 windows with pointed arches, divided by muUions, and the tracery in flowing lines, 
 forming circles, arches, and other figures, not running perpendicularly ; its numerous 
 ornaments very delicately carved. 
 
 4. The perpendicular English is the latest style, and appears to have been used 
 in some cases, though much debased, as late as 1640. Probably the latest whole 
 building of this style is not later than Henry the Eighth. The name clearly desig- 
 nates this style ; the mullions of the windows, and the ornamental panellings run in 
 perpendicular lines, and form a mark of distinction from the last style. Many 
 buildings of this kind are so crowded with ornament, as to destroy the beauty of the 
 design ; the carvings are generally very delicately executed. Mr. Rickman concludes 
 by observing, " that though many writers speak of Saxon buildings, those which are 
 described as such are either known to be Norman, or are so like them, that there is 
 
52 
 
 no real distinction; but it is most likely that, in some obscure country church, real 
 Saxon work of a much earlier date may exist ; hitherto none have been ascertained 
 to be of so great an age." 
 
 No. 1, in the plate before us, is a Norman door, with a semicircular arch : this mode 
 of enrichment consisted in increasing the number of bands or mouldings, and of course 
 the depth of the arch. This arch is supported by columns or shafts. 
 
 No. 2, shows a small Norman tower, with two stages of ornamental arches ; the 
 semicircle of the window is supported by shafts ; the buttresses at the side are plain, 
 and do not project far from the building. 
 
 No. 3, is a Norman pier, of a massive circular form, supporting ornamented 
 semicircular arches ; this pier is used to support inferior arches in this style of 
 building. 
 
 I must refer to this plate again when churches of this style come before us ; but I 
 wish you to notice particularly the general characteristics of the various styles of 
 buildings, in use at different periods. 
 
/'/ '->V 
 
 FIM 
 
 
 ■!f%^ -? * *■ -""7*, 
 
 Piac 
 
53 
 
 No. 1, Plate XXIX. is a fine specimen of the second or early English style of 
 ecclesiastical buildings; this is a doorway from Salisbury Cathedral, one of the 
 finest structures in this style of architecture in the kingdom. 
 
 It is not my intention to give the names used by architects and builders for every 
 part of the architectural drawings introduced ; all that I wish is, to familiarize the eye 
 to the distinguishing features of the four styles already mentioned. I shall therefore 
 only state that the ornamental work over the door is called panelling, and that of 
 the circular ornaments on each side above the pointed arch, one is called a trefoiled 
 circle, and the other a quatrefoiled circle. 
 
 No. 2, is a lancet window in the decorated English style. 
 
 No. 3, is a decorated pinnacle ; the side ornaments are called crockets, and the ele- 
 gant ornament at the top a finial ; the heads on each side of the arch are corbels ; the 
 same ornament may be observed in No. 2. 
 
 No. 4, is the top of a decorated canopy, and is introduced to show the crockets and 
 finial ornaments on a larger scale. 
 
54 
 
 No. 5, is a cinquefoiled circle. 
 
 No. 6, a pointed arch, trefoiled. 
 
 No. 7, is a common termination of walls in Gothic buildings, called battlements. 
 
 The arches in outline are as follows : a, an ogee arch ; h, pointed arch ; c, lancet 
 arch ; d, the segmental arch ; you perceive that this arch is only a segment of a 
 circle, the line points to the centre from which it is drawn : e, the semicircular arch. 
 
 Plate XXX. is a drawing which will require an application of all the knowledge 
 you have attained from the foregoing instruction. It is a view of part of the Chapel 
 of Mprton College, Oxford, taken from the entrance into Christ Church Meadow, 
 called the Grove. One of the first things to be attended to in this drawing, is the 
 perspective ; the grove, the place in which you must stand to take this view, is a 
 narrow piece of ground bounded by the wall of Corpus Christi College, and there- 
 fore it is impossible to see Merton College Chapel at the proper point of distance ; 
 the consequence of standing so near it is, that the lines run with great declivity to the 
 points of sight and distance, as both are extremely limited. The heads of the two 
 
55 
 
 figures will give you the height of the horizon, and if you apply a ruler to the lines 
 of the tower, you will get the points of sight and distance, which are both out of the 
 picture ; the nearest angle of the tower will in this case be the line of elevation. On 
 this you will measure the heights and tops of the pinnacles, then draw faint lines 
 with your fine pencil, so that it may be taken out easily ; to the point of sight and 
 distance, do the same from. the base of the pinnacle; then draw the lines which form 
 the battlement, and the square panels with the quatrefoiled circles under them ; also 
 form the springing of the arch, and the bottom of the windows of the tower. 
 Proceed in the same manner with the other part of the building, observing that you 
 must here have a new line of elevation, which will of course be the angle nearest the 
 eye ; this will not at all alter the points of sight or distance. Having drawn your 
 perspective lines faintly, you will find the drawing easy ; take care to place your per- 
 pendicular Jines accurately, and every part will fall naturally in its place. 
 
 We must now proceed from the outline to produce the picturesque effect. As be- 
 fore observed, if the building were quite new, and a correct architectural drawing were 
 required, then the ruler would be necessary to give all the lines clear and unbroken ; 
 but this building has stood for ages, time has broken its sharp fines, and given a 
 roughness to its surface, which, to the eye of an artist, is far more beautiful than a new 
 
56 
 
 building. It is our business to depict all the broken lines with the variety of form 
 which time has given to this venerable pile. Having all the distances accurately 
 marked in the perspective lines, you must begin drawing from the first pinnacle, com- 
 mencing with the centre line, and working downward. The crockets on the pinnacles 
 are so much worn that a sharp touch or two will sufficiently represent them, nor can 
 the work of the finial be clearly distinguished. Take care to keep the arch from the 
 pedestal of the pinnacle distinct. The same direction will apply to the other pinna- 
 cles. Having drawn them all, begin the battlements, which are what an architect 
 would call pierced. This tower is a fine specimen of the decorated style of archi- 
 tecture, having a profusion of ornaments, which you must take care to mark properly. 
 You may now draw the buttresses, and afterward the outline of the pointed windows : 
 if you have any difficulty in finding the centre of the arch, you must turn to Plate 
 XXVI. 
 
 The divisions of the windows will at first sight appear difficult ; but if you observe 
 the following directions, you will produce them with little trouble : the window is 
 divided by the lines which run horizontally into three parts ; the lower division is 
 divided into three compartments, by upright lines called mullions, and they are ter- 
 minated by a trefoiled arch; of course you will give the number of lines to show the 
 
57 
 
 thickness of the muUions. The next story of the window is divided into three Hghts, 
 by a continuation of the mullions, but they are terminated differently, having pointed 
 arches, and each of these arches has a slight muUion running up, and forming two 
 small pointed arches, out of the large one first produced. Thus the second division 
 of the window in the tower seems to have six lights, ; the divisions in the third com- 
 partment contained within the arch are formed in the same way. When you have 
 got the outline of the whole of the windows, put the dark part in shade, and the 
 tracery will show distinctly, especially if you make spirited dark touches on the parts 
 in shade. 
 
 After you have drawn the windows in the tower, the larger windows will be com- 
 paratively easy. That in shade nearest the buttress has but one division, the lower 
 part divided by three mullions, and the upper part having an additional muUion, 
 springing from the point of the lower arches. You must be careful in drawing the 
 window in the strong light, as every part is seen clearly. It has three divisions ; the 
 lower ones divided into six lights, with a trefoiled arch termination ; the third com- 
 partment is more intricate, but will be produced by proceeding as you did in the 
 windows of the tower. I need not tell you how the surface of the wall is shown or 
 the tiling produced, as you have been taught this in so many drawings. 
 
58 
 
 It now only remains for me to notice the trees, which are elm, and drawn as di- 
 rected in Plate XXIV. The trunk of the tree in the. foreground must be touched 
 with spirit, and made darker than any other part of the drawing ; so that all the rest 
 may appear to be thrown back ; the ground is easy, but observe that the gravel walk 
 is left much lighter than the grass. I have now, I believe, given all the verbal 
 instruction in my power, but a great deal is left to your own taste and judgment, to 
 copy the drawing with accuracy and freedom, not to be discouraged if you are obUged 
 to make several attempts before you succeed, as this drawing certainly requires your 
 utmost attention. 
 
 Merton College ranks as the oldest regular foundation in Oxford. It was founded 
 by Walter de Merton, (from whom it takes its name,) in the year 1264 : a great part 
 of the building, including the subject of our drawing, has been added since its foun- 
 dation, but the old library is certainly part of the original building. 
 
 Among the famous men who have been educated in this college, are the early 
 English reformer, John Wickliff; the noted antiquary, Antony Wood; and Sir 
 Richard Steele. 
 
.59 
 
 LETTER VII. 
 
 Plate XXXI. is a study of one of the most graceful trees in nature, the droop- 
 ing willow. With respect to the mode of copying this, little verbal direction can 
 be added to that given in my last letter : care must be taken in sketching all the 
 masses first with a light pencil. If the outlines are not quite correct in the first 
 instance, repeat the attempt, without rubbing out those first made, as they will all 
 blend together when you proceed to put the tree in light and shade. You will 
 observe there is not a great deal of strong light inside of the branches on which the 
 light falls ; it is in middle tint, which you will produce by passing the pencil lightly 
 over every part of the tree, except where the strong hght is required : over this, you 
 can put in the lines of the second shade, where it may be required. I have drawn 
 the tree in this state as an example for all future drawings, where trees of this kind 
 are introduced. 
 
60 
 
 Be careful in shading the trunk and branches, to do it with graceful curves, as 
 this will make the masses of foliage appear pendant. 
 
 Plate XXXII. is a poplar tree drawn from nature, in Christ Church Meadow. 
 You must proceed as before directed, in sketching the outline and putting the masses 
 in light and shade. I have before informed you how the foliage of the poplar is pro- 
 duced. You see masses of trees in the distance ; these require a very light free out- 
 line, and must be put in the first and second shades only. The tower in the distance 
 is that of Magdalen College Chapel, which will shortly come under your notice. 
 
 In order to vary the drawings, I have in Plate XXXIII. sent you a marine view. 
 The old boat in the foreground is put in light and shade, and then lines drawn in 
 various ways over it, to show the roughness of the surface and grain of the timber. 
 The figure you will have little difficulty in producing, as the legs are not seen. The 
 waves of the sea are made strong and irregular in the foreground, but become quite 
 smooth as they approach the horizon, because they are at ^ distance ; take care to 
 touch the sails of the vessel in the distance very lightly, as a dark touch on 
 them would bring them too forward, and spoil what is called the keeping of the 
 picture. 
 
61 
 
 Plate XXXIV, is a view of an old building at Stratford on Avon, rendered 
 famous as the house in which our great dramatic poet, Shakespeare, was born. Poor 
 and dilapidated as this building appears, yet, as the birth-place of so great a genius, 
 it is viewed with veneration by all who have sufficient taste to appreciate the works 
 of Shakespeare. Kings, princes, noblemen, and great men of all classes, have 
 visited this wretched dwelling ; and it has thus become a sort of temple where great- 
 ness stoops to do homage to genius. Shakespeare possessed a mind so strong, that 
 by its native energy, it could break through the shackles of poverty, and, by industry 
 and peculiar powers of adaptation, cover the deficiency of education under which he 
 laboured. His early life promised nothing of that glory which encircled his riper 
 years. Bred in humble circumstances, he followed the business of his father, who 
 combined the trade of butcher and wool-stapler. Having been guilty of some youth- 
 ful irregularities, a neighbouring magistrate threatened to inflict the penalty of the 
 law : this forced Shakespeare to quit Stratford, and seek a living in the metropolis ; 
 where he could find no better employment than holding the horses of the gentlemen 
 who visited the theatre. He was afterwards taken into the service of the actors ; and 
 humble as this introduction to fame was, he had now reached the threshold of his 
 proper sphere of action ; his poetic powers soon raised him above his former masters, 
 and, to use his own emphatic language, he shook all the difficulties of poverty and 
 
62 
 
 station from him, " like dew drops from the lion's mane," and in his own day became 
 the honoured companion of the highest and best men in the realm. Time, which 
 has buried the works of most of his contemporaries in oblivion, has shed new lustre 
 upon his, and at the present day he is the glory of England and the admiration of 
 the civilized world. 
 
 There is nothing in this drawing that requires remark ; the perspective is easy, and 
 the directions given for many of the former drawings will apply to this. 
 
 Plate XXXV. is a marine cavern called Freshwater Cave, in the Isle of Wight. 
 This cave, which can be entered only about low water, is an excavation made 
 beneath a lofty clifii by the constant assaults of the sea. The entrance is rather 
 narrow, but the depth is forty yards ; and the passage is strewed with fragments of 
 rock, while the roof is hung with terrific masses, threatening to fall every moment. 
 A lofty rugged arch admits light to its inmost recesses, and thus lessens the horrors 
 of the scene. 
 
 It has sometimes happened that persons, visiting this cave at low water, have em- 
 ployed their time in exploring the interior, till the turn of the tide has placed them 
 
Fl. 32 
 
 ■■Kj(%fJ.^'.^ 
 
 Fl. .33. 
 
 jP/. 34. 
 
 FL JS. 
 
 
 
 TnshwcLUr care £sk. of Wi^kt. 
 
 LITH . OF LEWIS «. HPOVW\ JHMN 
 
63 
 
 in perilous circumstances, and compelled them to hail the nearest vessel for assis- 
 tance. 
 
 The next subject to which I shall direct your attention, is Plate XXXVI. 
 In copying this drawing, which is a view of Magdalen College, taken from the 
 banks of the River Cherwell, you will have occasion to make use of all the instruc- 
 tions given in my previous lessons, as it includes all the subjects which have been 
 treated of separately. 
 
 » 
 
 Magdalen College is one of the largest in Oxford ; and the tower, which is so con- 
 spicuous in this drawing, is justly esteemed one of the great architectural beauties of 
 the university. This college was founded during the reign of Henry VI., in the 
 year 1457, by Bishop Waynfleet, who then held the high office of lord chancellor. 
 This bishop is an instance of greatness attained by one of originally low condition. 
 His parents were named Patten, and resided at an obscure town called Waynfleet, in 
 Lincolnshire ; their son was early sent to Winchester school, though his name does 
 not appear on the foundation. Either from the custom of that time, or from an idea 
 that no great honour pertained to his family name, he assumed the name of Wayn- 
 fleet, the place of his nativity. His progress in learning was so great, that at an 
 
64 
 
 early age he became master of Winchester school. When King Henry visited the 
 school previous to his founding a similar institution at Eton, he was so struck with 
 the diligence and ability of the master, that he removed him to his new foundation, 
 and Waynfleet in a short time became provost of Eton College. But Henry's 
 bounty and Waynfleet's promotion did not terminate here ; for the latter was after- 
 ward made Bishop of Winchester, and held the highest office in the state. In this 
 capacity his moderation and justice were so exemplary, that, during the sanguinary 
 conflicts between the Houses of York and Lancaster, he retained the respect and 
 esteem of both parties ; and though he resigned his office of chancellor on the depo- 
 sition of his royal patron, yet Edward IV. honoured him by visiting him at Magdalen 
 College, after his retirement from public life. 
 
 By devoting the riches he had acquired to so noble a purpose as the foundation of 
 Magdalen College, his name is justly handed down to posterity among the benefac- 
 tors of the human race. 
 
 It is a remarkable circumstance, that Cardinal Wolsey was a fellow of this college, 
 and was bursar during the erection of the tower. 
 
65 
 
 We will now proceed to the drawing ; and as this letter will terminate my first 
 series on elementary landscape drawing, I shall endeavour to point out to you every 
 part distinctly, and you will find it almost a retrospective glance at all the instructions 
 you have previously received. 
 
 • 
 
 You will first sketcti the mass of trees before the bridge faintly, then the trunk of 
 the pollard willow ; after this the horizontal lines of the bridge, marking the arches 
 and the piers faintly, as well as their reflection in the water ; next proceed with the 
 tower, drawing the corner turret that is nearest the eye, before you proceed with any 
 other part. This will form your line of elevation, and on this you must mark all the 
 divisions for windows, bands, &c., that are required ; having sketched this turret, 
 draw a faint hne from the top of the pinnacle to the points of sight and distance, 
 which you will easily find by applying .your ruler. You must of course proceed in 
 the same way with the base of the pinnacle, the top of the battlements, the windows, 
 and all the other divisions. 
 
 You may next draw the remaining turrets, which will now be easy, as you have 
 marked all their divisions. If you refer to our architectural lessons, you will perceive 
 this tower is in the perpendicular style of architecture, the pinnacles are crocketed, 
 
66 
 
 and the parapet is pierced. I need not tell you how to proceed in putting one side 
 of the tower in shade : having done so, you must strengthen the outline where it is 
 required, and finish the drawing of the tower, working from the top. Having drawn 
 the tower, proceed with the buildings at the side, and the bridge. I cannot give 
 you better directions for the trees in the foreground, than by referring you to those 
 you have done before. When you have drawn each tree separately, fill up the 
 spaces between them in the first and second shades, according to the depth required ; 
 the water must now be put in shade, and the figures in the foreground marked 
 strongly. 
 
 In the foregoing lessons I have endeavoured to blend amusement and instruction, 
 and am pleased to find by your letter that I have effected my purpose ; be assured of 
 this, that you have now laid a good foundation for our farther progress, and that 
 your path will in future be clear. 
 
 In the next series of letters, your attention will be directed to drawing figures 
 exclusively, so that when we come to landscapes of more importance, we may be 
 enabled to make them more pleasing, by blending rural scenery, architecture, and 
 figures together, as the subject may require. 
 
J'/y. M. 
 
 
 
 PI. 37. 
 
 / 
 
 7'L ,?S. 
 
 -M\- 
 
 JPl. J&. 
 
 
 '*«ff'l''-% 
 
 
 'TH t»f I t wj: 
 
67 
 
 ANIMALS AND THE HUMAN FIGURE. 
 
 LETTER VIII. 
 
 In commencing a course of lessons on the drawing of animals and the human 
 figure, you will find that the power you have attained of forming correct outlines, 
 and observing the points in a drawing, as practised in our lessons on landscape, will 
 render the introductory lessons on figures an easy and pleasing study. The first 
 diflference you will observe is in the formation of the outline ; which, instead of being 
 made with broken lines or dots, as in landscape, must be produced with light and 
 free curved fines. You will understand this, by referring to No. 1, Plate XXXVII., 
 which is the outline of part of a horse. The lines are drawn lightly, so that if the 
 form is not attained at once, you may add others without rubbing out, till you have 
 the correct form ; then strengthen the outline, and give dark spirited touches in parts 
 that require them, as in No. 2. No. 4 is the quarter of a horse, which I have put in 
 shade, to show the muscle and bone. The outhne. must first be particularly attended 
 
 10 
 
68 
 
 to : commence from the top of the back, and follow the outHne with care, till you 
 come to the thigh ; make points for the centre of the body where the tail should 
 appear, and take care that the outline of each side is at an equal distance from it. 
 Having drawn both sides, form the tail, and then the line which runs from the centre 
 of it, bringing in down on both sides, till it is even with the outside lines ; if you ob- 
 serve No. 3, I have left the points and measures for your guide. You must now 
 make a faint dot to determine the length of the thigh, showing the end of the joint, 
 and likewise points to show the distance between the leg's. Having draWn the outline 
 of the body, proceed to mark the form of the muscles and joints. When this is done, 
 look at No. 4, which is put in light and shade. You will perceive that the lines 
 which form the shade are all ctirved, following the shape of the outline : put all the 
 dark parts in the first shade, and where greater depth is required, cross the lines 
 diagonally, still taking care to curve or bend them. You must now give a few dark 
 touches to the outline, and the sketch is complete. After the particular directions 
 given in Nos. 3 and 4, you can scarcely require a repetition of them on No. 5 ; and 
 I must request that you will not think of proceeding to the next subject till you can 
 draw all the examples in this plate with ease and correctness. I should observe, 
 that these examples are taken from a very excellent publication by Mr. Alkin, who 
 is decidedly the best horse painter of the present day ; and he remarks, for the use of 
 
69 
 
 those who wish to judge of the beauty and use of a horse, tha,t No- 4 is the quarter 
 of a horse, well-formed, strong, and handsome ; well marked with muscle and bone, 
 and not over-burdened with flesh. 
 
 Plate XXXVIII. — The subject is continiied. No. 1 is the body of a horse put in 
 stronger shade ; No. 2, the front view of the breast of a fine horse. You must pro- 
 ceed with the outline as directed before, taking care to ipake points, that both sides 
 may be equal No. 3, the neck and shoulders of a horse remarkable for its beauty. 
 No. 4, legs and feet in various directions, which you mvist be careful in cppyjng cor- 
 rectly, as no part of any animal is so difficult to manage, when you come to draw the 
 whole figure, as the legs and feet. 
 
 Plate XXXIX. is copied from a spirited drawing of a horse's head, by a very emi- 
 nent French artist. Carlo Vernet. 
 
 I have not divided the horse's head into pq,rts in this instance, because it would 
 have spoiled thp spirit and beauty of the picture, but you can measure the distance 
 of one feature from another, by marking it with points. I sha:ll close this introduction 
 to the drawing of horses, with an extract from a beautiful French work, entitled, 
 
70 
 
 Spectacle de la Ndture. " If custom had not dignified the lion with the title of king 
 of beasts, reason, in my judgment, would confer it on the horse. The lion is anything 
 rather than the king of animals : he is their tyrant, since he is only capable of de- 
 vouring, or inspiring them with terror. The horse, on the contrary, never injures 
 any other creature ; he discovers no dispositions that can expose him to their aver- 
 sion ; he possesses no bad qualities, and enjoys all that are good : of all animals, he 
 has the finest turn of shape, is the most generous in his disposition, the most liberal 
 of his services, and the most frugal in his food : look around on the rest of the brute 
 creation, do you see any animal whose head displays so much beauty and graceful- 
 ness ? Can we discover any eye that sparkles with more fire ? Where do we 
 behold so stately a chest, so fine a body, a mane that floats so majestically in the 
 wind, or limbs of such complete flexibility ? Let him be managed by his rider, or, 
 divested of his bridle, suffer him to ramble at full liberty through the fields, you will 
 observe in all his attitudes a majestic deportment and a noble mien, which attract the 
 attention and admiration even of those least acquainted with his virtues. He may, 
 with propriety, be said to have but one ruling desire, which is, to serve his master. 
 Is he required to cultivate his land or to carry his baggage ? he is always ready, and 
 will sink under the weight of his labours, rather than decline them. Is he to convey 
 his master to distant places ? he seems sensible of the honour, studies how to please 
 
T2.4€. 
 
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71 
 
 him, and varies his pace at the smallest signal. He is always ready to slacken or 
 hasten it when made acquainted with his rider's will. Neither the length of a journey' 
 nor the unevenness of the way, neither ditches nor the most rapid rivers, can dis- 
 courage him : he surmounts every obstacle, and no impediment can check his career. 
 Is he called to any other service ? does it become his duty to defend his master, or 
 bear him to the attack of an enemy ? ' He goeth on to meet the armed men, he 
 mocketh at fear, and is not aflfrighted ; the sound of the trumpet and the signal for 
 battle awaken his courage, and he retreats not at the sight of the drawn sword.' " 
 You will recognise the sublime poetry of Job in the latter part of this panegyric on 
 the horse. Indeed the description of this noble animal given in the 39th chapter of 
 that book, has never been equalled by any poet, ancient or modern. 
 
 Plate XL. contains parts of dogs. Little verbal direction can be given on these 
 subjects, nor do they require it. The outlines you will observe are still curved Hues, 
 and so is the shading, in the same manner as the horse : draw the heads and feet 
 several times, to make yourself familiar with them before you proceed to Plate XLI., 
 which is a portrait of a fine Newfoundland dog, with a child on its back. You must 
 draw detached parts of the animal before you venture to attempt the whole figure, nor 
 
73 
 
 will it be advisable to sketch the boy till you have received my letter on the propor- 
 tion of the human figure. 
 
 Plate XLII. consists of figures of swans, which are frequently introduced in 
 aquatic scenery with the happiest effect. You must be careful in making your first 
 outline very faint, and keep within the size of the copy, as it is the usual fault of 
 learners to make figures much larger than the drawing before them. The shadows 
 on the swans are first produced in the same manner as those on the body of the 
 horse, but must be finished by making circuleir touches like feathers ; the swans in the 
 distance must be kept faint, and the reflection on the water left at first quite white, 
 and afterward a line or two drawn across it. 
 
 Plate XLIII. consists of two whole figures of a cat and a cow, from Morland : in 
 both subjects, begin by making points and sketching the outline slightly; afler-!! 
 ward, in strengthening it, give it breaks and touches, to imitate the appearance of 
 the hair. 
 
 I shall remark on Plates XLIV., XLV., and XLVI., after I have written a letter 
 
J'l. 44. 
 
 J^I. 4-5. 
 
 
 
 
 J7. ^^. 
 
 ^.^/. 
 
 
73 
 
 on the proportiom of the human figure ; you will therefore pass them, and proceed 
 with Plate XLVII., which is a group of cattle, from a fine painting by the celebrated 
 Cuyp. This picture, from the peaceful stillness of its composition, is known by the 
 name of Repose. You will observe a greater degree of finish given to this subject, 
 than to the animals previously drawn. The light and shade are strongly marked, and 
 the mass kept in the middle tint ; after this is effected, the whole is hatched over 
 wilh short thin lines, to give it the rough hairy eflfect. 
 
 Plate XLVni. is a group of sheep, from a picture by George Morland, whose 
 beautiful and accurate delineations of rural scenery and figures justly place him in the 
 highest class of painters of the British school. And it is much to be lamented, that a 
 person endowed with so much talent should have been subject to such irregularities of 
 conduct, as rendered his short life a continual scene of misery and dependance. It is 
 painful to dwell on the dark parts of a character^ that, under happier circumstances^ 
 might have been an honour to this country ; but a short sketch of his life may not be 
 unacceptable to you. 
 
 The father of Morland was an indifferent painter of portraits, and in very low cir- 
 cumstances, the misery of which was increased by his loose and irregular habits. 
 
74 
 
 Our young artist early exhibited a strong inclination to painting, but his genius was 
 much depressed by the circumstances and habits of his family. He was initiated 
 very soon into the mysteries of the gin-shop, the ale-house, and the stable ; and in 
 these abodes of vice and misery he unfortunately made his selection of existence and 
 of study. Yet with all these disadvantages, he produced a number of works possess- 
 ing very striking beauties. His favorite subjects were interiors of stables, pig-styes, 
 farm-yards, doors of public-houses, &c. ; these he touched with great freedom and 
 ease, and frequently with very beautiful colour. Some of his smaller pictures of pigs 
 wallowing, or surrounded by young ones, playing or sucking, are master-pieces of 
 their kind. His talents in this line soon procured him considerable employment, and 
 afforded him the means of dissipation ; in which unhappily he indulged to excess, and 
 soon so far surpassed those means, that he fell into debt, and was confined in the 
 Kings-bench prison. Even in this abode of vice and wretchedness his talents were 
 laid under contribution by frame-n^akers, picture dealers, &c., who, taking advantage 
 of his caprices and his love of liquor, indulged him to excess, receiving in return the 
 productions of his pencil. Some of them, more speculative than the rest, released 
 him from imprisonment, immured him in a private house, and took to themselves all 
 the benefit of his labours ; keeping him in almost a constant state of intoxication. In 
 such a mode of existence the vital spark could not long support the bodily frame ; 
 
FL 4-8 . 
 
 M. 4-^. 
 
 
 
 
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 J°l. S:f. 
 
 •*•*,,. '-5' 'jr^ "\ '" 
 
 LITH. OF LEWIS 
 
75 
 
 and, consequently, at an age when, in raen*of proper conduct, the physical and men- 
 tal powers are in a state of maturity, he fell into decay, and a premature dissolution 
 closed his mortal career, in the fortieth year of his age. 
 
 The youthful and giddy-minded are too apt to compare their own conduct with 
 that of one whose whole hfe was composed of short fits of exertion when driven to it 
 by the direst necessity, succeeded by long periods of idleness and intoxication, instead 
 of setting before themselves (examples in which genius and industry are combined. 
 Following this fatal precedent, many a drunkard has endeavoured to pass for a 
 genius, and if reproached for his conduct, has, in derision of all sober advice, hic- 
 coughed the name of Morland, and flattered himself that, like him, he should be able 
 to astonish the world in his lucid intervals. 
 
 You will observe that the touch is different in these animals from that of any you 
 have before done ; and "as the fleece of a sheep, when in its natural state, is nearly 
 white, it shows best when contrasted with dark shadows ; from this circumstance, 
 sheep add greatly to the beauty of the foreground in a landscape. 
 
 Plate XLIX. contains parts of horses taken from the sketch book of Morland, 
 
 11 
 
76 
 
 whose constant practice it was to take sl*tches from nature, of almost every animal 
 that came under his notice ; in many cases the most spirited and correct drawings 
 were made with the burnt end of a skewer, or by any means of marking on paper 
 which presented itself at the moment. Morland was peculiarly happy in marking the 
 characters of animals ; and you will not be at a loss to discover the head of the 
 placid, the vicious, or the timid horse, in the sketches before you. It will greatly 
 facilitate your progress in drawing from life, if you accustom yourself to draw parts 
 of more finished subjects in this free style from memory, and afterward compare them 
 with the original, till every part of a horse or other animal become familiar to you ; 
 and as you have used the pencil so long, I should recommend that you now sketch 
 with black and white chalk, which will give more effect with less labour. 
 
 Plate L. is the frightened horse, from a fine picture by Carlo Vernet, a French 
 artist, whose drawing of the horse was considered superior, both in accuracy and 
 spirit, to that of any other painter ; but it is acknowledged that our own countryman, 
 Alkin, has exceeded him. You will observe I have dwelt more on this noble animal 
 than any other, because he is more constantly before our eye, and his shape is less 
 hidden by his outward covering than that of most other quadrupeds. The student 
 who can draw a horse well, rarely finds much difficulty with other animals. 
 
77 
 
 Plate LI. Two fox-hounds by Taylor ; with these 1 shall for the present conclude 
 our studies of animals, and in my next letter commence with the- human figure. 
 
 LETTER IX. 
 
 Nothing can surpass the beauty and symmetry of the human figure, as we are told 
 by our Creator that he dignified his last-formed creature man by creating him " in his 
 own image." Justly to delineate the " human form divine," is the highest point of 
 excellence to which the painter can aspire. ^ The study of this subject will therefore 
 demand your undivided attention and persevering exertion. 
 
 Before we proceed to draw any particular limbs or features, it is necessary that we 
 should know properly where to place them. If I were addressing a person who con- 
 templated making the art a profession, I should advise him to obtain a small work by 
 Tinney, displaying the anatomy of the human figure, written expressly for artists, and 
 
78 
 
 to make himself thoroughly acquainted with the names and forms of the bones and 
 muscles, before he attempts to draw the figure. It is for want of this preliminary 
 study, which is the only foundation for correctness, and which may be easily attained, 
 that many persons fail who endeavour to obtain a liveUhood by portrait painting. 
 But as the study of anatomy would occupy too much time for persons who make 
 drawing an amusement only, certain rules have been laid down by eminent masters 
 for the relative proportions of the human figure, which will, in some degree, supply 
 the place of anatomical knowledge. 
 
 We will commence our studies with the rules for producing the head and face. By 
 referring to Plate LII., you will find that the first head is commenced by drawing an 
 oval, or rather the outline of the shape of an egg, it being larger at the top. Then 
 draw a perpendicular line, dividing the oval in the centre ; this line in the plate is 
 marked a a, and is crossed at equal distances by the lines b b, c c, and d d. The 
 lines c c and d d are again divided into five parts. I have drawn this figure without 
 the features being marked on it. See No. 1, Plate LIII. You will perceive that the 
 crown of the head and part of the forehead occupy the first division as far as the line 
 6 b, thence to c c is placed the part of the forehead seen below the hair, the eyebrows 
 and eyelids ; the eyes are always placed exactly in the centre of the head, as may be 
 
Ptsa 
 
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 ar 
 
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79 
 
 seen on the line c c ; the next division, d d, gives the length of the nose ; and the last 
 is occupied by the mouth and chin. In the second and fourth of the perpendicular 
 divisions, between the lines c c and d d, the eyes are placed ; and you will observe 
 that the distance between the eyes is equal to the breadth of one eye ; and that the 
 same lines which mark the length of the nose, show the length of the ears. This 
 diagram shows the general principles on which the head is designed in every pos- 
 sible position : and it will much lessen the difficulty, if you mark the different propor- 
 tions with a pencil on an egg^, adding the features, as in Plate LII. By turning the 
 egg in various directions, you can have a half or three-quarter face, and make it 
 look upward or downward at pleasure ; this will exemplify at once the reason 
 why the lines in our succeeding examples curve in different directions, according 
 to the inclination of the head. As I before observed, these divisions of the head are 
 only to supply the place of anatomical knowledge, and it is not to be supposed that 
 all heads are formed with mathematical nicety, according to the foregoing rules. 
 These general principles should always be kept in mind when drawing either from a 
 copy or from life, and they will prevent your making any very glaring error. The 
 drawing on your egg will enable you to form the second head in Plate LII. 
 
80 
 
 Plate LIII. contains ovals in various directions, all marked according to the pre- 
 ceding rules. No. 1 has the lines without the features. In Nos. 2 and 3 the oval is 
 inclined to the right and left, to produce a three-quarter face ; the lines still seen. 
 Nos. 4 and 5 are heads looking up and down. No. 6 is the head in profile, in which, 
 of course, the line a a, seen in the first example in the middle of the face, becomes 
 the outline. You must here observe, that the line d d, which runs from the lower 
 part of the nose under the ear, always marks the termination of the back part of the 
 head in a full-grown person. To prove this, turn over to No. 1, Pkate LIV., 
 where I have drawn a human skull; you will find that the part of the skull 
 called the occipitis, terminates at the point, and the vertebrae of the neck 
 commence. No. 2 in this plate is introduced to show you a method used 
 by some artists of finding the place for the ear and other features, by means 
 of an equilateral triangle ; but I cannot say that I think the rule a good one 
 in all cases. Nos. 3 and 4 in this plate are sketches of heads without the lines, 
 to teach you to place the features properly without them ; and here let me remind 
 you that, having once thoroughly learned the foregoing rules for drawing the 
 head, you must habitually call them to mind whenever you attempt to sketch a face, 
 till they become quite familiar to you ; you will then have no occasion to mark 
 
81 
 
 the lines on your drawing, but will be able to place the features correctly without 
 their help. 
 
 Having given these rules for drawing the human head, we will now proceed to the 
 body and the limbs. Plate LV. contains a back, front, and side view of a whole 
 length figure ; and you will observe, by the numbers on the side of the plate, that the 
 whole figure is divided into eight parts ; the oval of the head, which we have already 
 studied, forming the first, as a well-proportioned human figure is supposed to be 
 eight times the length of the head. You will see the relative proportion of the hmbs 
 to the body, by studying the figures in this plate ; and it is unnecessary that I should 
 enter into detail on this subject at present. For those who do not study anatomy, as 
 I have before observed, this must be considered the grammar of figure drawing ; and 
 you must never omit to apply the rules laid down in this plate to any figure you 
 intend to draw, not by actual admeasurement on the paper or canvass, but by 
 your eye. 
 
 We must now pass on to the sketching of limbs and features, preparatory to at- 
 tempting the whole figure. You must begin with eyes, and they are easily drawn by 
 
82 
 
 any person as familiar in fronting outlines as you ought to be from your previous 
 practice. 
 
 I have sent you, in Plate LXI., six drawings of the eye in various directions : the 
 first, you will observe, is the eye drawn directly in front ; this is divided into three 
 parts : the centre one is the size of the sight ; make outlines of this eye till you can 
 do it correctly, and then put it in light and shade. Proceed in the same manner with 
 the other four, and do not turn to another plate till you can draw any of the eyes 
 before you with tolerable correctness, without looking at the copy ; the eye in profile 
 is half the width of the eye in front. 
 
 Plate LIX. contains drawings of the nose and ears at large. No. 1, is the ear, the 
 width of which is equal to half its height ; and, as we have before seen, its height is about 
 one quarter of the head. You must proceed as in the last plate to make outlines cor- 
 rectly, before you attempt a finished drawing. The nose. No. 3, is at its base, seen in 
 front, about the width of the eye ; the other figures are too easy to require comment. 
 
 Plate LXIII. contains a drawing of a mouth and part of the nose, from an antique 
 
Pf. s/y. 
 
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 17. 
 
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83 
 
 figure, as this example is more complex than any you have before attempted on this 
 subject, I have sent both outline and finished drawing. When you can draw the 
 eyes, nose, mouth, and ears correctly, you may proceed to combine them with other 
 features. The same remark will apply to Plate LXII. 
 
 Plate LVI. contains an outline and finished drawing of a hand from the antique, 
 and the following plates, LVII , LVII,*, and LVIII., consist of hands, arms, and legs, 
 in various directions, any one of which will form an excellent study ; they are all 
 taken from the highest authority, 
 
 Plate LX. contains a drawing of feet from the statues of the Apollo Belvidere and 
 the Medicean Venus ; these statues are supposed to be the highest standards of male 
 and female beauty. The feet in the plate are the size of the original. In shading 
 any of these figures, keep the hatching lines clear, and cross them diagonally, so that 
 they may form diamonds rather than squares. Do not fill any part with a close tint 
 of the pencil or chalk, but make the shadows stronger by recrossing the lines where 
 it is required. 
 
84 
 
 LETTER X. 
 
 As you are by this time able to make correct drawings of the separate parts of the 
 human figure, we will proceed to subjects in which they are united. 
 
 Plate LXIV. is an outline and finished drawing of the lower part of the face seen 
 in profile. The outline must be studied first, and every part formed correctly, ob- 
 serving to make that part of the outline more dark and broad, which will afterward 
 be put in strong shade. This is done in the outline before us in the touch under the 
 nose, the lower part of the upper lip, and the corner of the mouth. This variation 
 in the strength of the line, according to its situation, often renders free outline draw- 
 ings more pleasing than elaborately finished subjects ; remember it is impossible to 
 make a good drawing, if the outline is not perfect. You may now proceed to put 
 the sketch in the first shade, by covering all parts of the drawing, except that which 
 is left in strong lights, with curved lines ; cross these lines for the darker or second 
 shade, taking care to hold the pencil or portcrayon as far as possible from the point. 
 
85 
 
 that the line may be long and free. After putting the nose and mouth in shade, lay 
 in the background with lines crossing each other diagonally, till you get the whole 
 mass a shade darker than the middle tint on the face. This background will throw 
 the strong light left on the face very forward, and at the same time keep the dark 
 tints from appearing too black by contrast with the white paper to which, without 
 the background, it would be opposed. This nice balancing of light and shade is 
 technically called the keeping of a picture, a subject which I shall treat of more 
 fully when we return to landscape drawing. When you have finished the back- 
 ground, give the last spirited touches to the lower part of the nose and lips, and 
 the drawing is complete. 
 
 Plate LXV. contains two heads in profile. No. 1 is a pleasing study from a pic- 
 ture by the celebrated French artist, Le Brun, who has rendered himself famous by 
 his accurate delineations of the human figure, when under the influence of the pas- 
 sions. This head represents liveliness, cheerfulness, and attention, influenced by a 
 degree of surprise mingled with admiration. This is an easy drawing ; the only part 
 that may give you trouble is the hair: in copying this, observe that all the lines by 
 which it is formed run from a point at the crown of the head ; let the lines run in curves 
 to every part of the head, taking care to wind and turn them in imitation of the copy. 
 
86 
 
 No. 2 represents respect, veneration, and admiration, expressed both by the fea- 
 tures and by the position of the hand on the bosom. 
 
 Plate LXVI. is a head from a picture by Fuseh, introduced here as the last of the 
 profile heads that will come under our notice. The hair, you observe again, all 
 springs from one point, and terminates in wavy ringlets. The directions given for 
 Plate LXIV. apply to the subject before us. 
 
 Plate LXVII. is a fine head from the passions, by Le Brun, representing bodily 
 pain. In drawing the outline of this three-quarter face, remember the divisional lines 
 first pointed out, as they will greatly assist you. The Hght, shade, and background 
 are formed as before directed ; but you must take care to preserve the reflected light 
 between the lower part of the cheek and the dark shade of the neck. 
 
 Plate LXVIII. is a drawing from the statue of Venus de Medicis, one of the finest 
 productions of the ancient sculptors. This head, as well as Plate LXVII., is drawn 
 with red chalk, which will work with as much ease as the pencil or black crayon, if 
 you procure the best French chalk, and take care that it is soft and pleasant to the 
 touch. 
 
PI 63 
 
 
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 PI. 65 
 
 PL 64 
 
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87 
 
 When you can copy the foregoing example correctly, it will be proper to commence 
 the whole figure ; and for that purpose we must refer to Plate XLIV., the forester's 
 boy and his dog. Here the division of the figure according to the rules laid down in 
 Plate LV. will apply. The finishing of the drawing, after you have formed 
 the outline correctly, will be easy. In small figures, like that before us, the less 
 hatching there is on the face the better. You must keep the hands free, and 
 observe that the shadows thrown on the figure are all formed by lines crossing each 
 other. 
 
 The sleeping shepherd, Plate XLV., and the girl at the spring, Plate XL VI., are 
 drawn by the same rule. The landscapes to both these subjects are interesting, and 
 care must be taken that they do not overpower the principal figures. You will 
 observe that juvenile faces are marked by peculiar roundness of form, and that the 
 outline of the head approaches nearer to the circle than the oval. 
 
 Plate LXIX. is the statue of Apollo, which is allowed to be the finest single figure 
 in the world, and is justly the object of universal admiration, from the elegant sym- 
 metry of every part, which gives dignity to the whole. Apollo is supposed to have 
 just discharged his arrow at the Python. In drawing this beautiful figure, great care 
 
88 
 
 must be taken that the outUne is flowing and correct, and that every part is firmly, 
 yet delicately, shaded. When you can draw this figure, you must proceed to sketch 
 from figures in plaster of Paris, cast from models from the antique. You will be at 
 no loss how to proceed in placing them on paper, if you constantly refer to our early 
 directions. When you draw from plaster figures, you must take care to let the light 
 fall upon them from the top of the room ; thus, if you draw in a room that has two 
 windows, you should close one entirely, and the other all but about one-third from 
 the top ; by this means the figure will be in strong light and shade, and you will be 
 able to produce the whole with force and truth, which would not be the case if the 
 shadows were weakened by lights coming in different directions. 
 
 As the concluding subject on this branch of the art, I have sent you, in Plate LXX., 
 two figures in outline, with the muscles violently excited, displaying themselves with 
 great force. These specimens will prove to you the necessity of understanding the 
 anatomy of the exterior muscles of the body, if you intend pursuing your studies of 
 the human figure to a greater extent than I have gone in this treatise. 
 
 The figure on the burning pile, whose writhing muscles show the acute torture he 
 is suffering, is taken from a picture by Guido Rheni, and forms the subject of one of 
 
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 FI 6.9 
 
 fl 6<S 
 
 
89 
 
 the four celebrated paintings, by that artist, of the Hfe of Hercules. He represents 
 the hero hiniiself, who, having discovered the centaur Nessus' plan of carrying oflf 
 Dejanira, shot him with a poisoned arrow. Nessus, on the point of expiring, gave 
 Dejanira a tunic stained with his blood, assuring her it possessed the virtue of bring- 
 ing Hercules back to her if ever he should prove faithless. This garment was poi- 
 soned, and Hercules had no sooner put it on than he felt indescriba:ble torments. He 
 terminated them by putting an end to his life, and the god of strength and courage 
 expired on a burning pile raised by himself 
 
 Guide Rheni was the son of a musician, who intended him for his own profession ; 
 but the genius of Guide displaying itself early, he was placed under the direction of 
 Dennis Calvart, a Flemish painter. He afterward entered the school of the Caracci, 
 and soon distinguished himself by his works, which at length attracted the attention 
 of Pope Paul the Fifth, who took great pleasure in seeing him paint ; the Prince of 
 Tuscany and others also loaded him with presents and proofs of their esteem. 
 Guido, endowed with an astonishing facility, might have ended his days in the midst 
 of fame and fortune, if in his later years his passion for gaming had not disturbed his 
 working. This, added to the losses he sustained, absorbed all the fruits of his labour. 
 Compelled to work with rapidity, he had the mortification in his old age to see his 
 
90 
 
 paintings little esteemed by connoisseurs : at last, pursued by his creditors, and 
 abandoned by his former friends, he died in great poverty in the year 1642, aged 67. 
 
 I shall now conclude my letters on figure drawing exclusively, and only recur to it 
 again as the figures in the different landscapes that will come under our notice in the 
 next part of this work may demand our attention. It will be proper to remark that 
 if you draw with red or black chalk crayons, you should either draw on thick paste- 
 board, or else,have your paper strained on canvass, in a stretching frame. I shall take 
 a future opportunity of showing you the use of coloured paper, and heightening the 
 light with white chalk, and merely mention it here lest you should suppose it had 
 escaped my observation. It has been my object throughout, to lead you on step by 
 step in the foundations of the art, which I hope has been accomplished ; my next 
 series of letters will contain full instruction on the more ornamental and pleasing 
 branch, which would have been useless in the earlier lessons. 
 
Fl. 7J. 
 
 fan er ofZondcn/. 
 
 Fl. 73. 
 
 t?M Zffnd/>n. Iridic. 
 
 
 . OF LEWIS lU. BROWN 37 JOHN 5 T. r 
 
 j^. rz. 
 
 iQliit'i III 
 
 
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 Tl 74- 
 
91 
 
 LETTER XI. 
 
 We have now nothing but pleasure before us, as every drawing on which we shall 
 have to remark will be interesting, and the execution easy, since you have masteredi 
 the difficulties of the early stages of the art. 
 
 We commence our third part with a drawing of the Tower of London, Plate LXXI., 
 and I cannot give you a better description of it than that contained in Hughson's 
 Walks through London, which I therefore insert. " The Tower of London stands 
 on an eminence called Tower Hill, and though said to be of very ancient date, cannot 
 be traced with any certainty beyond the time of WilHam the Conqueror, who built 
 what is now called the White Tower, and enlarged the whole, which at present 
 covers twelve superficial acres ; its ramparts are surrounded by a deep and wide ditch, 
 proceeding north on each side of the fortress, nearly in a parallel line, and meeting 
 
 13 
 
92 
 
 in a semi-circular projection. The slope is faced with brickwork, and the walls have 
 been so much mended, that the original stone is scarcely to be seen. Cannon are 
 placed at intervals round the walls, though the interior is completely lined with old 
 houses. The principal buildings within the tower walls are the White Tower, the 
 Chapel of St. John, the Church of St. Peter ad Vincula infra Turrim, the Ordnance, 
 Record, and Jewel Offices, the Horse Armory, the Grand Storehouse, in which is the 
 Small Armory, the Apartments for State Prisoners, and the Menagerie. The palace 
 within the tower was in the south-east angle of the walls, and was used by the kings 
 of England for nearly five hundred years, only ceasing to be so on the accession of 
 Queen Elizabeth, who, after being confined as a prisoner by Queen Mary, had pro- 
 bably no wish to renew her residence in the tower." 
 
 We have before had a drawing of the Bloody Gate, with its ponderous portcullis, 
 through which you pass to the Chapel and the White Tower. The latter is a large 
 square building, with square turrets at each angle rising considerably above the em- 
 battled parapet. The windows are semi-circular, and their form and ornaments show 
 the date of the tower to be about the time of the conquest, when it was the policy of 
 William to erect similar buildings, in different parts of the kingdom, to keep his new 
 subjects in awe. 
 
93 
 
 This view is taken from the river, and all that it requires is careful drawing, as 
 there is little in this subject that is not familiar to you. Keep the water transparent, 
 and let the shipping in the foreground be full and dark, so that the buildings of the 
 tower may recede., I have in former lessons drawn less sky than is here given, not 
 because it is difficult to execute with the chalk or pencil, but because it is injurious to 
 the effect of the drawing, unless properly placed; butnow your judgment has been 
 more exercised, and I hope more matured, I have introduced more sky, as is usual 
 in finished drawings. Here you see nearly all the buildings run in horizontal lines ; 
 it is therefore necessary that the clouds should take a circular form, in order to give 
 picturesque effect by opposition. The means used to produce the sky with the 
 pencil, is, to pass over the whole of it lightly, and then take a stump or piece of 
 soft paper and rub lightly over it till it looks like a smooth even tint put on with a 
 brush ; then with your pencil form the dark masses of clouds, and after all with the 
 edge of the India rubber take out the lights ; this with Httle trouble will produce a 
 most pleasing effect. 
 
 Plate LXXII., is a drawing of Mey Church, Oxfordshire. It follows the Tower of 
 London, because the architecture of the tower of this church is of the same period. 
 
94 
 
 though as a building devoted to religious purposes it admitted of more embellishment. 
 This church is situated in a small village about a mile and a half from Oxford, and 
 consists of an aisle and chancel. The tower is nearly in the centre, on each side of 
 vjrhich is a circular window supported by shafts, ornamented with the zig-zag and 
 other rude but elaborate sculpture, so much used in churches and other buildings 
 about the era of the conquest. The church is entered on both sides by circular door- 
 ways, adorned with columns, and the zig-zag, beak, and toothed ornament in receding 
 divisions of mouldings. The drawing before us shows the south entrance and part 
 of the western doorway, which is rich in the same kind of sculpture which adorns 
 the rest, and, though rude in its execution, produces a striking grandeur of effect. 
 Both on the south and north, windows of later dates have been inserted, but the 
 circular tops are still perceptible, and show that a regularity of architecture prevail- 
 ed throughout. 
 
 I have commenced this part of our work with these early specimens of English 
 architecture, that you may gain a portion of antiquarian knowledge sufficient to 
 distinguish dates of buildings as we proceed ; and I am not aware of any earlier 
 specimens than the Tower of London and Ifley Church. 
 
95 
 
 The height of the figure in the foreground will give you the horizontal line. The 
 points of sight and distance are both out of the picture, but you will easily find them 
 by applying your rule. Keep the architecture of the doors and windows distinct, yet 
 not stiff; and let the strong light fall upon the doorway, which is the principal feature 
 of the drawing. You will proceed with the sky as before. 
 
 Plate LXXIII. is a view of London Bridge. The spirit of improvement which in 
 this age is so conspicuous, has at length penetrated the breasts of the citizens of the 
 metropolis, and this bridge, which has stood since the year 1176, after undergoing 
 various alterations, is at length, to the credit of the city, to be removed, and one 
 more suitable to the immensity of the metropohs to be erected. 
 
 This bridge was thirty-three years in building, and was, till the year 1756, covered 
 with houses. At this period the inconvenience of having the principal entrance to 
 London narrowed by habitations, became so glaring, that they were removed by act 
 of parliament. Standing on the Southwark side of the Thames, this bridge and the 
 magnificent spires of the different churches, with " London's column, pointing to the 
 .skies," and the roaring torrent beneath, form a very picturesque subject for a drawing. 
 You must begin by dividing the whole space allowed for the bridge, into piers and 
 
96 
 
 arches, commencing with the centre arch, then h'ghtly sketch the Church, Monument, 
 and adjacent buildings. Having got all in their proper places, finish the Monument 
 first, taking care to keep it all in middle tints for the light parts, and make it very 
 little darker in the shade, as if either light or shade should be too strong, it will become 
 prominent, and spoil the keeping of your picture. You will then finish the spire of the 
 church. This is called St. Magnus Church, and was built by Sir Christopher Wren. 
 The rough stonework of the bridge is easy ; the water is produced by long wavy 
 lines, leaving the light for the foam. Make the piles and flag-staff in the fore- 
 ground very strong, and it will throw back the other parts of the picture. 
 
 Plate LXXIV. is the interior of the circular tower of the Temple Church, erected 
 in 1185. The knights templars were an order of military monks, who made a vow of 
 chastity, and poverty, and at the same time to keep the Temple of the Holy Sepulchre 
 at Jerusalem from being violated by infidels. At the first formation of the society 
 they were remarkable for their adherence to their vows, and were so celebrated for 
 their piety and valour, that the religious of that day vied with each other in bestowing 
 gifts to these vowed soldiers of the temple ; so that, in a short time, they became as 
 conspicuous for their pride and luxury, as they were before for the opposite virtues. 
 They had splendid establishments in every country in Europe, and their principal 
 
97 
 
 residenc(3 in London was on the spot which still bears the name of the Temple though 
 devoted to a very different use. The Temple of the Holy Sepulchre at Jerusalem is 
 of a circular form, arid most of the religious buildings erected by the knights tem- 
 plars were built in imitation of it. We here see that the circular arches had got into 
 disuse, and the elegant pointed arch, supported by clustered columns, supplied their 
 place ; but as all alterations in architectural styles proceed gradually, we see the old 
 Norman ornament of semi-circular arches supported by shafts still retained. The 
 iron railings on the pavement enclose the tombs of eleven of the knights templars; 
 these figures consist of two groups, five are cross-legged, and the rest straight : three 
 of the knights are in complete armour. , This church forms a beautiful subject, and 
 would be difficult for you to produce, had I not informed you how to put circles in 
 perspective. Pay attention to the mouldings round the arches, and the capitals and 
 bases of the columns. 
 
 Plate LXXV. is a view of the Abbey Church at Bath. This is the last of the Go- 
 thic ecclesiastical buildings of magnitude executed in England : from the variety, and 
 in some cases the puerility, of its ornaments, it is evident that Gothic architecture had 
 dwindled into the imbecility of age. Ornament is piled on ornament without regard 
 to congruity ; and on the turrets at the west end of the church are two ladders 
 
98 
 
 carved in stone, with ascending and descending angles. These remarks merely regard 
 the deviation from any regular style of building which characterizes this expiring 
 effort of Gothic design, for it is impossible to look at the Abbey on the whole, without 
 being struck with its picturesque beauty. The drawing before us is taken on the 
 banks of the Avon, nearly opposite the north parade, and shows the ruins of the old 
 Assembly Rooms. As it regards the drawing, this subject will be a test of your ability, 
 and will require great attention to the perspective lines. In order to show where 
 the horizontal line is placed, I have introduced a figure in the foreground, and you 
 are aware that it is at the height of his head. You must keep every building in the 
 tone of colour that is required, according to its distance from the eye. The Abbey, 
 which of course is here the principal object, is at some distance ; you will therefore 
 let neither the light nor shade be so strong as on the Assembly Rooms. It requires 
 careful management to let the ornaments on the tower and turret appear, without 
 bringing it too forward in the picture; this is attending to the keeping as I have be- 
 fore observed, and your attention will be called to it in every succeeding subject. 
 When you were at Bath you probably observed that there are some unsightly old 
 buildings near the Abbey which you do not see in this drawing ; the truth is, that a 
 little liberty is taken with the trees, in order to hide them, because they would spoil 
 the picture, as they can by no means be twisted into picturesque buildings. You 
 
f-'i.75 
 
 Bi/tk 
 
 /^i /; 
 
 Grg-en-wicAy JVi/SDilal 
 
 J'l 76 
 
 // /< 
 
 // ( 
 
99 
 
 will naturally ask, Are such deviations allowed in taking a view ? To which I can 
 only say, that it is treading on difficult ground, and that to reconcile such a pro- 
 ceeding with truth, it must be done with care and taste ; all that is done here is 
 merely to make the trees more luxuriant ; by this means they assume a form that 
 hides what is unsightly ; at the same time, the chimneys seen above the trees show 
 that there are buildings behind them, and we leave the spectator to imagine what 
 kind of buildings they are. I have hinted on this subject, as you may observe devia- 
 tions of this sort in many good pictures. But those alterations must never affect the 
 drawing of the principal objects. Thus nothing could justify altering the archi- 
 tecture of the buildings, or placing them in a wrong position, for the sake of effect : 
 the utmost that can be allowed in a real view is to heighten some of the minor ob- 
 jects, so that they give value to the whole. You will understand what I mean if you 
 suppose yourself drawing a Gothic ruin, near which stands a common modern stable ; 
 if there was a pollard willow standing near the place, I should not hesitate to give 
 it branches and leaves, to hide as muah of the unsightly stable as I could : and I 
 should use every other means to draw the eye away from it. It is this heightening 
 and bringing forward the beautiful, and sinking the unsightly, which makes the 
 drawings of the tasteful artist of so much more value than the indiscriminate copies 
 of all he sees before him. 
 
100 
 
 Plate LXXVI. is a view of Clifton, taken from the Ferry-house. It has all the 
 grandeur of Italian scenery; the immense pile of rocks surmounted by beautiful 
 buildings, the river winding its course amid such gigantic masses of rock and fo- 
 liage, with the vessels passing femd repassing, forms, on the whole, a scene replete 
 with picturesque beauty. This drawing will require but little remark. The keeping 
 is the principal object to be attended to ; let the distance appear to mix with the air, 
 and do not let your masses of hanging foliage be stiff and formal. The figure in the 
 foreground must be drawn with spirit ; and you will find the dark tree of great ser- 
 vice in throwing the buildings on the rock into their proper situation. 
 
 Plate LXXVII. is a view of Greenwich Hospital, taken from the river. The 
 shipping in the foreground of this picture must be drawn with force and spirit, so 
 that the buildings may appear sufficiently distant. You will observe the swell of the 
 water caused by the rapid motion of the steam vessel. The waves must gradually 
 decrease tiU they are lost in still water. Keep the foreground dark. 
 
 Greenwich was, at a very early period, the residence of the sovereigns of England, 
 who took great pleasure in its embellishment. Here Queen Elizabeth was born, and 
 kept her court. After her death the palace was disused, and, in the reign of Charles 
 
101 
 
 II., it had become so ruinous, that it was taken down. He began the present magni- 
 ficent pile on its site, but only lived to complete the first wing. During the reign of 
 William and Mary, the design was formed of converting this building into an asylum 
 for aged or disabled seamen. This was carried into execution, and the whole build- 
 ing finished by public subscription; it was first occupied by the objects of this splen- 
 did charity, A. D. 1737. 
 
 Plate LXXVIII. is a picturesque study, from a view in Switzerland. The build- 
 ing is the chapel where the famous William Tell (one of the Swiss patriots, who so 
 nobly delivered their country from a foreign yoke) is interred. The architecture is 
 simple, and will require no remark. You must preserve the masses of trees dis- 
 tinctly. I have introduced two Swiss figures in the foreground ; and, in order to 
 draw them correctly, you will bear in mind the rule given for the proportion of the 
 human figure. 
 
 Plate LXXIX. is part of the ruins of Kenilworth Castle, Warwickshire. This 
 celebrated structure has been the scene of many events recorded in English history ; 
 and its ruins will be contemplated with interest, particularly by those who have read 
 the celebrated work of the author of Waverly, which takes its name from these pon- 
 
102 
 
 derous remains of Gothic grandeur. The view before us is taken from the interior, 
 and was formerly the great hall. This was built so late as the reign of Henry VIIL, 
 but is not the style of architecture of the whole of the buildings. Every style was to 
 be found in this immense pile, as each succeeding owner enlarged and decorated it 
 according to the taste of the period in which he lived. You must keep the ruins 
 with circular arches in strong shade, and let the direct light fall at the bottom of the 
 octangular tower. Keep the rest of the lights in half tint. 
 
 Plate LXXX., remains of Lannercost Priory, Cumberland. This building was 
 erected in 1116, and has all the characteristic marks of the religious edifices of the 
 twelfth and thirteenth centuries ; the semicircular arches had given way to the point- 
 ed style, while the massive circular piers were retained. This drawing will require 
 both care and spirit in its execution. The perspective of the arches must be particu- 
 larly attended to : let the variety of touch show the effect of time on the stones : 
 draw the foliage, weeds, &c., bold and free. 
 
 I shall close my observations on Gothic architecture by a few remarks on Plate 
 LXXXI., a view of the ruins of Croyland Abbey. This beautiful ruin is all that re- 
 mains of one of the most superb buildings in England. Upon examination, you will 
 
P/' /Q 
 
 ^fnilu -^/i ( (7 
 
 /'( .^C 
 
 / 7 ^ / / 
 
 f'l 1^ 
 
103 
 
 find even in the vestige before us three distinct styles of Gothic architecture. This 
 Abbey was erected in the early part of the tw^elfth century, on the site of the old 
 building, which was destroyed by fire. And as it must be both interesting and 
 instructive to know by what means buildings were erected so magnificent, that they 
 have never been equalled in more modern times, I have inserted the account of the 
 commencement of this building, from " Perington's Literary History of the Middle 
 Ages." 
 
 " Early in the twelfth century the Abbey of Croyland, which was destroyed by 
 fire, was rebuilt. The abbot had obtained from the archbishops of England and their 
 suffragans, an indulgence, which dispensed with the third part of all penances inflicted 
 for sin, to those who should contribute toward the pious undertaking ; and it was 
 directed to the king and his people, and to the kings of France and Scotland, and to 
 all other kings and their vassals, rich and poor, in all parts of the Christian world. 
 Two monks carried the animating instrument into France and Fanders ; others gladly 
 conveyed it into Scotland, Denmark, Norway, and other kingdoms of Europe ; while 
 great exertions were used in every county in England. In the space of four years 
 mountains of marble, says the historian, were collected round the spot, with immense 
 heaps of gold and silver, of iron, brass, cement, and every necessary material. 
 
104 
 
 " On the day \yhich was fixed for laying the foundation, a great multitude from 
 the neighbouring districts met at Croyland ; earls, barons, knights, with their ladies 
 and families, abbots, monks, nuns, clerks, and persons of all ranks. The abbot 
 JofFred prayed, and, shedding tears of joy, laid the corner stone of the eastern front, to 
 the north ; the next stone was laid by Richard de Purlos, a knight who was much 
 attached to the abbey, and on it he laid twenty pounds ; then came Geoffrey Reddel, 
 knight, and his wife and sister, with a long train of noblemen and others, who each 
 laid a stone, and gave a handsome donation, either in money, materials, or by finding 
 workmen. The foundation stones of the north wall were laid by two abbots and the 
 monks of the convent ; when the priests of three neighbouring parishes advanced, and 
 laid the bases of the three columns of the north wall ; the first attended bv a hundred 
 and four men of his parish, offering their labour for one day in every month ; the 
 second witk sixty, and the third with forty-two men, making the same offering, till 
 the work should be completed. The three columns of the south wall were then laid 
 by the priest of Grantham, with two hundred and twenty men, offering ten marks ; 
 and by the priest of Hockham with his men, presenting twenty quarters of wheat, 
 and as many of malt; and by a third priest, with eighty-four men, offering six 
 marks, two stone-cutters in their own quarry, and the carriage of the stone to 
 Croyland. 
 
105 
 
 " JofFred, who had addressed each one as he laid the stone, now having admitted 
 them to the fraternity of the abbey, and with the benefits of the indulgence, to the 
 participation also of their joint prayers and good works, invited the vast concourse, 
 which consisted of more than five thousand persons, to dinner. The day was passed 
 in hilarity, when the strangers retired, and the great work began. The public apart- 
 ments of the monks," concludes the historian, " were soon completed, while the church, 
 rising to the clouds, looked down on the neighbouring forest, inviting the traveller 
 to approach." 
 
 By means like these, as I before observed, those noble structures were raised, 
 which at this time, notwithstanding the great increase of wealth and skill, nations 
 scarcely dare attempt. 
 
106 
 
 LETTER XII. 
 
 The succeeding views, previous to our entering on the next branch of the art, 
 viz., colouring, are selected as lessons for the practice of the rules you are already 
 acquainted with, rather than as conveying any new information. I shall therefore 
 be brief in my remarks on the drawing of them. 
 
 Plate LXXXII. is a view of Pennarth Castle, South Wales. This castle stands 
 on the verge of a rocky cliff) overlooking the Bay of Oxwich. On the farther side of 
 this bay is seen the church of Oxwich, rising under the shelter of the bold projection 
 of Oxwich point. The mountain in the distance partly enveloped in clouds, with the 
 rocks and ruin of the castle in the foreground, forms a very picturesque subject. 
 You will find the masses of clouds which float over the mountain most difficult to 
 produce ; but by making them of a solid even tint, and taking out the lights on the 
 edges with the India rubber, they will appear with good effect. 
 

 /'/ -vv 
 
 
 14 r nn \ci i /)//< 
 
 
 /O/ V^ 
 
 
 ^rs^V''"'' 
 
 
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 hUffcr I/- ■ Jhi-ra^f'fJeCa.ytU 
 
 PI 'if; 
 
 
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 !il'ar/f.tfarr/'i ]/ern;,!: t v. 
 
107 
 
 Plate LXXXIII. is taken from a beautiful drawing of Windsor Castle, as seen 
 from the great park, and is introduced here to accustom your hand to extensive 
 scenery. You must form all the masses of trees faintly, particularly those in the 
 distance ; and it will be advisable for you to put the buildings in shadow before you 
 proceed with the landscape around them. The deer in the foreground will require 
 care to sketch their forms gracefully ; make the touches on them sharp and spirited, 
 but not clumsy. 
 
 Windsor Castle is so well known, and so many descriptions of it have been given, 
 that it is unnecessary to notice its history here. This has been the favourite resi- 
 dence of most of the sovereigns of England since the conquest, who have vied with 
 each other in its enlargement and embellishment ; and at the present time it is under- 
 going great alteration and improvement. 
 
 Plate LXXXIV. is an anterior view of the Castle at Newcastle, a very ancient 
 building, erected to protect England from the incursions of the Scots. The drawing 
 before us is part of an arched vault, formerly a chapel, and is introduced here to 
 show the effect of what the Italians call chairo oscuro, which is translated into Eng- 
 lish by the words clear obscure, though these do not quite convey the meaning. 
 
 16 
 
108 
 
 You observe that the carved work and the zig-zag moulding round the circular arch, 
 and in the parts that recede, are as clearly, but not so strongly marked, as those ex- 
 posed to the light ; this is done by the use of half tints, so that there may appear a 
 shadow within a shade, and this mode of proceeding brings the objects to the eye 
 "without letting them come into the hght. It was by attending to this part of the art 
 that the Italian masters, Rubens, Titian, Michael Angelo, and others, excelled all that 
 lived before them, and made their beautiful groups of figures take their propej place 
 in their pictures. I shall have to speak on the clear obscure again, when we com- 
 mence colouring ; you will not then be unacquainted with the meaning of the word. 
 
 Plates LXXXV. and LXXXVI. contain views of the exterior and interior of 
 Warkworth Hermitage, which, in addition to their picturesque beauty, are rendered 
 interesting by the melancholy history of the first inhabitant, which Dr. Percy has 
 transmitted to posterity in his beautiful poem of the Hermit of Warkworth ; he des- 
 cribes the subject of the plates as follows : 
 
 " And now, attended by their liost. 
 The hermitage they view'd, 
 Deep hewn within a craggy chff. 
 And overhung with wood. 
 
 And near a flight of stately steps, 
 All cut with nicest skill, 
 And piercing through a stony arch, 
 Ean winding up the hill. 
 
loa 
 
 Then scoop'd within the solid rock 
 Three sacred vaults he shows, 
 The chief a chapel, neatly arch'd, 
 On branching columns rose. 
 
 Beside the altar rose a tomb 
 
 All in the living stone, 
 
 Gn which a young and beauteous maid 
 
 In goodly sculpture ?hpn§^ 
 
 Up to the altar's ample breadth 
 Two easy steps ascend. 
 And near, a glimmering solemn light 
 Two well-wrought windows lend. 
 
 A kneeling angel feirly carved, 
 Lean'd hovering o'er her breast, 
 A weeping warrior at her feet. 
 And near to these her crest." 
 
 You will, perhaps, be anxious to know what led the hermit to retire from the world, 
 and bestow such pains in hewing his habitation out of the solid rock : the story, ac- 
 cording to Dr. Percy, runs thus : 
 
 A chieftain of Northumberland called Sir Bertram, (who afterward became the 
 lonely hermit,) aspires to the hand of the fair daughter of a neighbouring chief The 
 lady requites his loye, but, in the spirit of ancient chivalry, arms him for the field, and 
 bids him prove his valour by his deeds. Sir Bertram fights bravely in the Scottish 
 wars, but is desperately wounded in battle, is borne nearly lifeless from the field, and 
 in a short time conveyed to his mistress's castle. The lady, having heard of the ill 
 that had befallen him, had, previous to his arrival, left her castle to visit him. After a 
 
no 
 
 tedious delay he recovers, and not finding his mistress return, his brother and himself 
 set out in different roads to seek her ; he travels, v^rithout finding the object of his 
 search, till he is reduced nearly to despair. Sitting, from vi^eariness, under a tree, he 
 is accosted by an aged pilgrim, in the words of the poem, as follows : 
 
 " Cheer up, my son, perchance (he said) 
 Some tidings I may bear. 
 For oft when human hopes have failed. 
 Then heavenly comfort's near." 
 
 The pilgrim proceeds to inform Sir Bertram that he has lately heard a lady's voice 
 lamenting in a tower near the spot ; the knight thanks the pilgrim for his intelligence, 
 and hastens to the tower, where, after watching some hours, he hears the lady's voice ; 
 he afterwards sees her through the grating : on the third night, weary with watching, 
 he falls asleep till near the morning : 
 
 " When lo, he saw a ladder of ropes 
 Depending from the wall, 
 And o'er the moat was newly laid, 
 A poplar strong and tall. 
 
 And soon he saw his love descend, 
 Wrapp'd in a tartan plaid, 
 Assisted by a sturdy youth, 
 In Highland garb then clad." 
 
 This apparent faithlessness of the lady rouses the jealousy and rage of Sir Bertram, 
 
Ill 
 
 who follows them, and hears the lady discoursing familiarly with the youth she had 
 fled with ; and after thanking him for coming to her rescue, adds — 
 
 ' And ever shall my grateful heart 
 Thy services repay ;' 
 Sir Bertram could not farther hear, 
 But cried, ' Vile traitor, stay — 
 
 ' Die, traitor, die,' a dreadful thrust 
 Attends each furious word ; 
 Ah, then fair Isabel knew his voice, 
 And rushed beneath his sword. 
 
 Vile traitor, yield that lady up !' 
 And quick his sword he drew : 
 The stranger turned in sullen rage, 
 And at Sir Bertram flew. 
 
 ' Oh, stop,' she cried, ' oh, stop thy arm, 
 Thou dost thy brother slay ! ' 
 And here the hermit paused and wept. 
 His tongue no more could say. 
 
 With mortal hate their vigorous arms 
 Gave many a vengeful blow. 
 But Bertram's stronger arm prevailed, 
 And laid the stranger low. 
 
 At length he cried, ' Go, lovely pair- 
 How shall I tell the rest — 
 Ere I could stop my piercing sword, 
 It fell, and stabb'd her breast.' " 
 
 After this tragical event, Sir Bertram 
 
 " Loathed his wretched hfe. 
 
 And long to end it thought. 
 
 Till time, and books, and holy men 
 
 Had better counsel taught." 
 
112 
 
 With feelings of penitence and devotion, he resolves to retire from the world, and in 
 the words of the poem — 
 
 " This sweet sequestered vale I chose, 
 These rocks and hanging grove ; 
 For oft beside that murmuring stream 
 My love was wont to rove. 
 
 My noble friend approved my choice,, 
 This blest retreat he gave ; 
 And here I carved her beauteous jGbrm, 
 And scooped this hollow cave." 
 
 The hermitage is still in good preservation, and the plates give an accurate view 
 of both the exterior and interior ; in the latter is seen the carved figure of the lady as 
 described in the poem. 
 
 In drawing the first of these interesting views, Plate LXXXV., you must keep 
 the whole of the subject in half tint, except the strong light on the entrance to the 
 hermitage ; and let the sky be darker than the half tint on the rock. The shadow 
 of the rock and the hanging foliage must not be so strong as the large tree in the 
 foreground. 
 
 Plate LXXX VI. will require great nicety in the management of the rays of ligh t 
 that come from the window ; they must be left in the first shade, and strengthened 
 
in the part that requires it, as you proceed in the drawing, always observing to leave 
 them lighter than any other part. Keep the groinings of the vault in perspective, and 
 take notice of what I before observed on keeping the parts of the drawing in strong 
 shade clear and distinct. This drawing will make a beautiful subject for India ink, 
 or sepia, when you are able to use them. 
 
 Plate LXXXVII is the interior of the Dining Hall of Christ Church, Oxford. This 
 elegant refectory is 115 feet in length, by 40 in breadth, and 50 in height ; the finely 
 carved roof is of Irish oak, and the pendants are richly gilt, which gives the wholea 
 light effect, without detracting from its grandeur. The splendour of this hall is 
 greatly heightened by the numerous portraits of eminent characters which adorn its 
 walls : these not only recall to mind the actions of the illustrious dead, but show also 
 the gradual advancement of portrait painting, from the stiff colourless head of Hol- 
 bein in the reign-of Henry VIII,, to the grace and nature of Sir Thomas Lawrence, 
 Owen, and others, of the present day. I have introduced this hall previous to our 
 lessons on tinting, as the interior of buildings is the most difficult subject that can 
 come under your notice. In all cases where you wish to draw the interior of a 
 building, the point of sight is the first thing to be attended to : this you must be care- 
 ful to make the height of your eye, and it will have a more pleasing effect if you 
 
114 
 
 mark the point of sight nearer the side of the room than the centre, as you will then 
 show one side of the apartment (as in the drawing before us) more correctly than if 
 both sides ran equally to the point of sight. : The, point of sight in Christ Church llall 
 is a little below the bust placed in the centre, and you will easily find it by placing 
 your rule at the tops of the windows and the lower part of the room ; of course the 
 point where the lines intersect is the point of sight. In this drawing (like the simple 
 drawing of Lollard's Tower which I sent with one of my early letters) all the lines 
 terminate in the point of sight. You well know how to form the windows and every 
 other part, by referring to elevations and streets in perspective, and all that you will 
 then have to attend to is to preserve the keeping, so that the lower end of the hall, by 
 due gradation of tint, may recede from the eye, and be thrown back by strong light 
 and shade on the object in the foreground. 
 
 I have hitherto given brief biographical notices of eminent persons connected with 
 the subjects of the drawings, and none will excite greater interest than that of Car- 
 dinal Wolscy, the founder of Christ Church. This celebrated character was the 
 eon of a butcher in the town of Ipswich, Suffolk. His father, observing in him an 
 uncommon aptness to learn, sent him early to the grammar school ; from whence 
 he was removed to Magdalen College, Oxford. Here he made so extraordinary a 
 
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115 
 
 progress that he took the degree of bachelor of arts when he was only fifteen years 
 of age ; in consequence of which he was called the boy bachelor. He was then ad- 
 mitted to a fellowship in the same college, and in the end nominated master of Mag- 
 dalen school, where the sons of the Marquis of Dorset were placed for their education. 
 This circumstance procured him the patronage of the marquis, who presented him 
 with the rectory of Lymington, in Somersetshire, to which he was instituted in 1500, 
 being then in the twenty-ninth year of his age. He was also made bursar of Mag- 
 dalen College, Oxford. The next situation we find him in is that of chaplain to Dr. 
 Dean, archbishop of Canterbury. Here he grew greatly in favour with the arch- 
 bishop, and by this means the name of Wolsey was for the first time mentioned at 
 the court of Rome. The pope, at the archbishop's request, granted his chaplain a 
 dispensation to hold two benefices. However, this was the greatest advantage Wolsey 
 reaped from his connexion with Dr. Dean, who died in 1503, so that he was again 
 obliged to look out for another patron. With this view he studiously attached him- 
 self to persons in power ; and having, during his residence in the west of England, 
 contracted an acquaintance with Sir George Nephant, who was treasurer of Calais, 
 and a great favourite of Henry VII., he was appointed to be his chaplain, and 
 went over to France as one of his family. When Sir John obtained leave to 
 resign, on account of his great age, and returned to England, he recommended 
 
 16 
 
116 
 
 Wolsey in such strong terms to the king, that he put him upon the Hst of royal 
 chaplains. 
 
 Thus Wolsey at last cast anchor in his desired port ; and from this period till 
 nearly the close of his life, he pursued an uninterrupted career of successful ambition. 
 In 1509 Henry VII. died, and was succeeded by his son Henry VIII., who, at his 
 accession, was only eighteen years of age. Wolsey effectually succeeded in gaining 
 the favour of the young monarch. In 1515 he was promoted first to the see of 
 Lincoln, and then to the archbishopric of York. And finally, the pope, being desirous 
 of engaging so powerful a minister in the interest of the apostolic see, created him a 
 cardinal, under the title of Cardinal of St. Cecile, beyond the Tiber. 
 
 The grandeur which Wolsey assumed upon this new acquisition of dignity is 
 hardly to be paralleled. The splendour of his equipage and costliness of his ap- 
 parel exceeded all description. But the munificence of his disposition was not 
 merely exercised on objects of an external or temporary nature. He had a consi- 
 derable ambition to be the patron of learning and learned men. Among other 
 branches of erudition, he founded the first Greek professorship at Oxford : and not 
 thinking that a sufficient mark of his esteem, in the year 1525 he determined to 
 
build a college, as a lasting monument of his zeal and gratitude toward the seminary 
 in which he had received his education. Having obtained the royal assent to com- 
 mence his projected foundation, the first stone of that magnificent structure, then 
 called Cardinal, but now Christ Church College, Oxford, was laid, with a superscrip- 
 tion in honour of the founder ; the cardinal at the same time building a grammar 
 school at Ipswich, the place of his nativity, to qualify young scholars for admittance 
 to it. 
 
 It appears, however, that he had now passed the zenith of his popularity, and from 
 this period he began to decline. His ambition almost daily led him to some act 
 which rendered him unpopular, and armed against him the strenuous exertions of his 
 enemies to hasten his downfall. In the year 1529 he was arrested by order of the 
 king, at his archiepiscopal seat in the north ; and being previously much indisposed, 
 he fell a victim to the disgrace and mortification of his present circumstances. He 
 expired at Leicester Abbey, on his way to London to receive the judgment of the 
 king, on the 29th of November, 1530, and was buried in the middle of one of the 
 abbey chapels. 
 
 In prosperity, Wolsey was proud, arrogant, and haughty ; in adversity, mean, ab- 
 
118 
 
 ject, and cowardly. His vices were of that cast which most disgrace the sacred char- 
 acter of a prelate. At the same time his virtues were of the public kind ; for he 
 greatly promoted and encouraged literature ; he patronized and cultivated the polite 
 and useful arts ; and he was, in general, a liberal friend to the poor. 
 
 Plate LXXXVIII. is view of the present appearance of the Arch of Titus at 
 Rome ; this is one of the most interesting remains of antiquity to be found in the 
 former capital of the world, and I have introduced it thus late in our series of views, 
 that, in considering its architectural beauties, we might become slightly acquainted 
 with the leading features of Greek and Roman architecture. It is not my intention 
 to go into an historical detail of the causes which led to the formation of the different 
 styles of building, which are now classed under five distinct orders of architecture, 
 the Tuscan, Doric, Ionic, Corinthian, and Composite. The Tuscan order is the 
 most plain and robust in its appearance, and is used for buildings where plainness and 
 strength are required. There are but few remains of buildings executed in this style 
 of architecture ; the column, including the base and capital, is about seven diameters 
 high. This order, from its name, is evidently Italian, but is placed first on account 
 of its simplicity. The best modern example of this order, is the plain but noble por- 
 tico of St. Paul's, Covent Garden. 
 
119 
 
 The Doric order is the next, both in simplicity and strength, and was used in the 
 earliest Grecian buildings. The height of the Doric column is about six diameters ; 
 it is more ornamented than the Tuscan, being fluted. The origin of this order is said 
 to be founded on the example of nature, which has given to the height of man six 
 times the length of his foot. The Romans in after ages added another diameter, and 
 it is thus used by modern architects. 
 
 The Ionic order approaches a more elegant formation, and its capital is orna- 
 mented with volutes. The following account of its origin is given by Vitruvius : 
 " Ion, a Greek prince, building a temple to Diana, and seeking some new member to 
 render it more elegant, had recourse, as before in the Doric order, to the hunmn 
 figure, and gave to this new order a feminine delicacy. Thus he was the first who 
 gave eight diameters to a column, that the aspect might be more pleasing ; and that 
 its appearance might be more lofty, he added a base in imitation of a shoe. The 
 volutes, like locks or plaits of hair hanging on each side, he gave to the capital, orna- 
 mented with fruits or flowers in festoons ; and furrows, or fluting down the column, 
 were wrought, resembling the folds or plaits of a matron's garment." 
 
 The Corinthian order is still more ornamented, and one diameter is allowed for the 
 
capital, which gives the column a noble yet delicate grandeur. The same author, who 
 describes the origin of the Ionic, has given us the origin of the Corinthian order, as 
 follows : " A young lady of Corinth fell ill and died. After her interment, her nurse 
 collected together sundry ornaments with which she used to be pleased, and putting 
 them into a basket, placed it near her tomb; and, lest they should be injured by the 
 weather, she covered the basket with a tile. It happened the basket was placed on a 
 root of acanthus, which in spring shot forth its leaves ; these, running, up the side of 
 the basket, naturally formed a kind of volute in the turn given by the tile to the 
 leaves." Happily Callimachus, a most ingenious sculptor, passing that way, was 
 struck with the beauty, elegance, and novelty of the basket surrounded by acanthus 
 leaves ; and, according to this idea or example, he afterward made columns for the 
 Corinthians, ordaining the proportions such as constitute the Corinthian order. 
 
 The Composite order is a bold mixture of the Ionic and Corinthian capitals, and 
 owes its origin to the Romans. The best and most perfect antique specimen of this 
 order, is the arch of Titus at Rome, Plate LXXXVIII. ; this was erected to the 
 honor of Titus for his overthrow of Jerusalem, which had been predicted by our 
 Saviour. This structure may be regarded not only as a work of art, but also as a 
 standing monument of the truth of the Scriptures. On each side of the arch are 
 
121 
 
 bas-reliefs, showing the golden candlestick and other implements taken from the tem- 
 ple, and carried in procession to grace the triumphs of Titus. 
 
 Should you wish to become an adept in architectural drawing, it will be necessary 
 to study some good work on the five orders. Mr. Nicholson has written on the sub- 
 ject with great mathematical precision.* 
 
 Plate LXXXIX. is a view of the Castle and City of Edinburgh; this is one of the 
 best and most difficult landscapes you will have to copy. You must be careful to 
 keep the distance very light, and let the mountains, &c., mix with the sky : the build- 
 ing in the foreground must be very distinct. 
 
 Plate XC. is a snow scene : this is more difficult to execute in chalk or pencil, than 
 in colour ; but I deemed it proper to send you one specimen, that you may be pre- 
 pared for this sort of subject. All you have to attend to is a careful preservation of 
 the light on the branches of the trees and on the buildings, as they cannot be taken 
 
 * See Nicholson's Student's Instructor in Drawing and Working the Five Orders of Architecture. 
 
122 
 
 out afterward. You will observe even in this snow scene, that both light and shade 
 grow faint as they recede from the eye. 
 
 Plate XCI., the Cascade of Tivoli, is a pleasing subject, which requires no direction. 
 Plate XCIV. is the Castle of Chillon, on the Lake of Geneva, It was in the dun- 
 geons of this castle that the three brothers lingered out their miserable existence in 
 captivity, the story of which forms the subject of a beautiful poem by Lord Byron, 
 called the Prisoners of Chillon. 
 
 After copying the various examples I have sent, you should be competent to sketch 
 from nature. Begin with simple subjects, such as an old barn or cottage, and if you 
 find yourself at a loss where to commence, turn to the early lessons in this work, and 
 pursue the same means there pointed out. There is now no fear of your making 
 harsh stiff outlines, as your eye is quite familiar with its bad effects in a drawing. 
 You must never lose sight of the perspective lines, taking care not to draw anything 
 but at the proper point of distance ; and that the horizontal line is properly placed 
 in your picture. You will perhaps find some difficulty in your first attempts at 
 sketching from nature, in fixing on the size of your drawing, or determining what 
 
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 objects should be taken in, or what omitted. To obviate this, I should recommend 
 you to cut out a square in Bristol board about this size : 
 
 it forms the frame of a picture, and, by holding it a proper distance from your eye, 
 you will at once see what object will come into your space, and the boundary lines 
 
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124 
 
 will be distiiictl/ marked. You will, of course, find that the nearer you hold the 
 frame to your eye the larger the picture will appear. Tou can at all times find the 
 true horizon by holding a stick in an horizontal direction before your eyes, and what- 
 ever you see above or below the stick is above or below the horizon, as you have 
 been frequently told, that the horizon is always the height of your eye standing in any 
 direction. 
 
 I shall now proceed to the use of colours. You will soon discover that the power 
 you have already attained of drawing with correctness and spirit, leaves you little to 
 learn but a judicious mixture of tints, as you already know where to apply them 
 to produce light and shade ; your previous drawings having rendered these familiar 
 to you. 
 
125 
 
 INDIA INK, SEPIA, AND COLOURS. 
 
 LETTER XIII. 
 
 Before you commence tinted drawings, you must be furnished with a drawing 
 board to strain the paper on which you intend to draw { this can easily be procured 
 in most large towns ; but as you may have to get one made by a carpenter who has 
 never seen anything of the kind, I have, in No. 1, Plate XCII., made a drawing of 
 the most useful and the easiest to be procured ; it may be made of any sort of wood, 
 but mahogany is best, and it is least liable to warp. I should advise, for general use, 
 one about eleven inches by sixteen ; this will take half a sheet of demy drawing 
 paper, and will be more convenient than a larger board. You will see by the draw- 
 ing that it is merely a panel let into a frame and fastened with wedges at the back, as 
 will he seen by No. 2. 
 
 No. 3 is another sort of board, which is very convenient when you draw from 
 
126 
 
 nature, as several sheets of paper may be strained at once ; the drawing will show 
 you how this is formed ; the points may be a quarter of an inch in height. Having 
 procured a board, you must next choose the paper, and for the purpose of colouring, 
 it must not be too smooth ; indeed for landscapes it can scarcely be too rough. The 
 paper may be procured of various sizes and qualities at the stationers, but you will 
 for early practice find demy drawing paper quite good enough. You must now pro- 
 ceed to wet your paper with a clean sponge and water, till it will lie flat on the table 
 without curling up, then place it on the board as even as you can, put the board in the 
 frame, and fasten it down by means of the wedges at the back. You must wait till it is 
 quite dry before you attempt to draw on it. At first the paper will appear wrinkled 
 in various parts, but you will find it quite smooth when dry. You will now require 
 camel hair pencils or brushes to work with ; these must be chosen with judgment : 
 if you look at Plate XCII., I have drawn brushes of all the sizes you will require; 
 the large flat brush is used for skies and broad tints. 
 
 India ink is not used for drawings so much as it was formerly, as a colour called 
 sepia makes much more pleasing drawings, and affords a greater variety of tint. 
 The directions for the use of one are the same as for the other. I have, therefore, 
 only sent you one example in India ink, and the remainder in sepia. 
 
127 
 
 The paper being properly strained, and having provided yourself with a cake of 
 India ink and a set of brushes, or camel hair pencils of different sizes, a white plate 
 and a cup of cold soft water, you may commence the tinted drawing of Marston Cross, 
 Plate XCV. Damp your paper with the largest brush full of water ; then dip one of 
 your brushes in water, and let a few drops from it fall upon one side of the plate : here 
 you must rub up your India ink, taking care not to have it too wet. Having so done, 
 take a large brush and dip it into the India ink, and on another part of the plate 
 mix it with water till it becomes sufficiently pale to form the tint No. 1 ; then with 
 the same brush, beginning in the left hand corner at the top of the drawing, put the 
 whole in this shade, with the exception of the strong light on the broken angles of 
 the cross. You will at first find it difficult to form a broad flat tint, as you will be 
 fearful of using too much colour ; but you must always keep the brush full of colour, 
 and never try to make what you have in the brush go over too large a space, but 
 keep the brush quite full, even if you are nearly at the end of the space you 
 wish to cover, otherwise the edge of the tint will dry before you get more in your 
 brush, and the sky will be spoiled with lines running across it : this being a small 
 drawing, will not require the use of the flat sky-brtish. No. 6, Plate XCII. Having 
 laid on the first tint, you must mix the tint No. 2, on the plate, trying if it is dark 
 enough on the waste paper on your drawing board ; with this tint form the trees, the 
 
128 
 
 windows and doors of the buildings, and the road; in fact, every part that requires 
 a second shade. When this is quite dry, put it in strong shadow with tint No. 3, 
 taking care to let the touches on the trees form the figure you require. You have 
 now the whole of the drawing in light, shade, and middle tints, and you will finish 
 with tint No. 4, working with rather a smaller brush, with which you will form the 
 broken parts of the thatch, the dark parts of trees, rushes, &e., in the foreground, 
 using it exactly as you have been taught to use the dark pencil in our pjecjeding 
 drawing. 
 
 If you had not been taught how to make touches on the buildings to show what 
 they are formed with, I should have mentioned it here ; but it is impossible for a 
 person who has made so many drawings from good subjects, to require direction on 
 this point, I have before observed, that India ink is not so much used as a 
 colour called sepia, and you will see by the marine view, Plate XCVI., that it is a 
 more clear and transparent tint. I have sent this subject, consisting for the most part 
 of sky and water, for your second drawing, because I am aware that you will find 
 sky most difiicult to execute. 
 
 Afler you have drawn the outhne of the subject, and sketched lightly the form of 
 
129 
 
 the large clouds that float on the horizon, you must proceed as before to form the 
 first tint. With the large brush begin at the top and go over all that part of the sky 
 that requires a flat tint, then take another brush with a little water only, and wash the 
 edges toward the rolling clouds, till it leaves no colour on the paper ; this is called 
 softening, and will prevent the hard wirey appearance which your early attempts at 
 skies will undoubtedly have, unless treated in this way. You will next mix a tint a 
 shade darker than the first; and with this form the clouds, softening them off" 
 toward the edge of that part of the sky formed before ; this will leave the strong 
 lights at the edges, but with a soft aerial effect, as though the clouds melted into each 
 other; while the sky is drying you can go over the water with the first and second 
 tints ; don't touch the sails of the vessels, as the colour would run into and injure the 
 sky. When the tints previously laid on are dry, take a smaller brush and form the 
 mast of the large vessel ; put the boats and shipping in the distance in the first and 
 second shades. You may now make a transparent cloud over the flat tints first ap- 
 plied, and the sky is finished : the hulk of the ship, masts, rigging, &c., with the boats 
 in the foreground, must be finished up with darker colour, and the last touches, to give 
 effect, as dark as it can be made. 
 
 Plate XCVII. is a bridge over the Ouse, a pleasing, easy subject. I have again 
 
130 
 
 begun the sky with a flat tint, which you will find runs all through the drawing, with 
 the exception of the light sparkling touches on the piers ; these must be left white. The 
 trees and distance are formed with the second shade over the first, and the dark parts 
 of the drawing with the third shade over the other two. Take care to keep the water 
 transparent, and let the reflection of the bridge be distinct. The boats and weeds in 
 the foreground must be finished up strongly, and a dark touch or two on the figures 
 on the bridge ; but not so dark as the boats in the foreground, or you will bring them 
 too near, and spoil the keeping of the picture. 
 
 The last subject I shall send you in Sepia, is a drawing of Carisbrook Castle, in the 
 Isle of Wight ; here the dark sky is intended to throw a general gloom over the 
 whole drawing, with the exception of the strong lights on the building ; the broken 
 stones and weeds in the foreground must be strongly marked, and the penciling on 
 the building attended to. You must be careful in keeping the reflected light on the 
 turrets, as they will lose their rotundity without it. 
 
 When you are able to produce copies of the last four plates, which I hope the 
 instructions sent will enable you to do, you will have learned the method of spreading 
 an even tint and finishing the foreground with the darker tints. Having drawn so 
 
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131 
 
 much, and knowing so well the effect of light and shade, I shall leave you to copy 
 any object that presents itself to your notice, either in India ink or Sepia, though 
 in most cases I should decidedly recommend the latter. 
 
 Before we enter upon coloured drawings it is necessary to observe, that yellow, 
 blue, and red, are the three primitive colours ; and if these could be obtained in 
 perfection, we should be enabled, by combining them, to form every tint that is re- 
 quired. From the three primitive or simple colours are formed four compounds ; first, 
 blue and yellow, which produce green ; secondly, yellow and red, which form orange ; 
 thirdly, red and blue, which form purple ; fourthly, the mixture of the three primi- 
 tive colours forms a gray. It will be obvious, from this short explanation of the 
 theory of colours, that by the mixture of the tints formed by the different compounds, 
 an endless variety of shades may be produced. This accounts for the great number of 
 different colours which may be purchased, many of which are called after the names of 
 the artists who invented them, and are eagerly sought after by persons who are en- 
 deavouring to produce brilliant drawings, without a previous knowledge of light 
 and shade. Learners sometimes imagine that they can produce the same effect with 
 artists of reputation, if they procure the same material, without considering that 
 they labour under the want of their judgment, taste, and experience. All persons 
 
132 
 
 who commence colouring may be assured, that a judicious selection of a few colours 
 will aid them more than the possession of all the fanciful tints with which expensive 
 boxes of colours are loaded. 
 
 A boXi containing the following twelve colours, will produce every tint required in 
 the most finished drawing : 
 
 1 Yellow Ochre, 5 Vermillion, 9 Sepia, 
 
 2 Gamboge, 6 Lake, 10 Vandyke Brown, 
 
 3 Italian Pink, 1 Venetian Red, 11 Indigo, 
 
 4 Raw Umber, 8 Burnt Sienna, 12 Prussian Blue. 
 
 Plate XCIX., No. 1, Yellow ochre is a mineral earth found in many places in Eng- 
 land, but nowhere so pure as in the vicinity of Oxford. T^his colour is used in archi- 
 tectural drawings, corn-fields, and the yellow light of the sky ; but is not much used in 
 trees or herbage, as it is not sufficiently bright, and is too opaque. — 2. Gamboge is a 
 gum brought from the East Indies, and is the yellow most commonly used for trees, 
 grass, &c. A lump of this colour bought at the druggist's, is quite as good as any 
 that can be procured from the colourmen, and much cheaper. — 3. Italian pink is a 
 bright yellow, which is now preferred to gamboge for trees, &c., as it is not so apt 
 to clog in using as gamboge, and is therefore of great use to beginners. — 4. Raw 
 
1^ 
 
 umber is an ochroijs earth, and is a useful colour for many purposes, when mixed 
 with others, as will be shown when we treat of the different tints.^— 5. Vermillion is a 
 most brilliant colour ; but as it is compounded of sulphur and quicksilver, it is under 
 some circumstances liable to change. In general it is very useful, paj-ticularly for 
 flesh tints, draperies, &c. ; but it must be used sparingly and with judgment. — 6, Lake, 
 This beautiful colour is not only used for bright glowing tints, but mixed with other 
 colours, when it forms a fine purple gray. — 7. Venetian red is a native red ochre. 
 This colour will mix easily with almost any other, and is therefore greatly superior 
 to Indian or light red ; its great use is in the formation of neutral tints, (which we 
 shall notice in their proper place,) likewise tiling, roadj distant horizons, &c. — - 
 8. Burnt Sienna is a calcined earth brought from Italy, and is a very rich colour 
 useful for bright glowing tints on the foreground or buildings ; it mixes freely with 
 Indigo, and forms a rich green of various tints,~9. Sepia. The use of this colour 
 has been shown unmixed, but it is likewise a valuable colour to mix with others, as 
 it can be used of any depth of shade on the outlines pf buildings, sharp touches on 
 trees, figures, &c. — 10. Vandyke brown is more opaque and of a ruddy hue, and is 
 usjed for shadow to the burnt sienna on roads, buildings, figures, &c. — 11. Indigo is a, 
 dark blue extracted from a plant which grows in the East and West Indies. This 
 colour is particularly useful in the formation of tints, and is likewise a good colour 
 
134 
 
 for skies. — 12. Prussian blue is a clear bright colour, useful for skies and water ; in 
 fact in all cases where blue is required. 
 
 I have now enumerated all the colours requisite for a learner ; but as I am on this 
 subject, I will add a few others which you may afterward find useful, and with the 
 names and qualities of which it is proper that you should be acquainted. 
 
 No. 13, Plate XCIX. Ultramarine is the finest and most beautiful blue that can 
 be produced, and is a preparation of calcined lapis lazuli. This colour is too expen- 
 sive to be introduced into a box of colours for a learner, as a very small cake ainounts 
 to a guinea ; nor is this much to be regretted, as it is very difficult to use, and is not 
 easily levigated on the palette. It is chiefly used by miniature and enamel painters, 
 and is to them a most invaluable colour, as it will stand well, retaining its bril- 
 liancy for centuries. — 14. Carmine is a very bright rose colour, more brilliant than 
 lake : this colour is expensive, and is chiefly used in fruit and flower pieces. — 
 15. Gallstone is a bright yellow, in my opinion not much superior to gamboge, but 
 more expensive. The great disadvantage of this colour is its liabihty to fade ; it 
 is very transparent, and is sometimes used to lay over greens, which, having too cold 
 a tone of colour, require warmth. — 16. Yellow lake is expensive and not durable ; 
 
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135 
 
 it flies in a short time after it is used. — 17. Verditer is a good blue for some purposes, 
 but too heavy and opaque for water colours ; it is a mineral colour produced from 
 copper. — 18. King's yellow is a useful opaque colour; it is a pure orpiment, or 
 arsenic coloured with sulphur, and must therefore be used with care by those who 
 put their brush in their mouths. — 19. Indian red is nearly the colour of Venetian 
 red ; but not so generally useful, as its weight causes it to sink in water, and renders 
 the tints formed with it muddy. 
 
 A volume might be filled with the names and uses of all the combinations of 
 colour with which the colour-shops abound ; but as it is not my intention to intro- 
 duce to your notice anything not generally useful, I shall now proceed to show 
 you only some of the tints which a combination of the before-mentioned twelve colours 
 will produce. 
 
 No. 1, is what is called a neutral tint. Most of the old masters put in the whole 
 of the light and shade of their pictures with this tint, and afterward applied colours. 
 I do not see the necessity for this myself, as you will find in our next lesson, and 
 merely mention the subject here as the practice was formerly very general. Neutral 
 tint may be formed of Venetian red and Indigo mixed together ; as in this case they 
 
136 
 
 become a gr&y. — No. 2, is a gray tint nearly like the formef in appearance and use ; 
 it is composed of equal quantities of lake, indjgo, and raw umber. These three 
 colours, judiciously mixed according to the tone of colour required, are useful for 
 distant trees and buildings, particularly if the horizon is,warm. This tint may be made 
 in every possible variety for clouds, distant hills, trees, 4k^c. ; multiplied examples 
 would be useless, as your own judgment, when you apply the tint, will best inform 
 you if it harmonizes with the other part of the drawing.— No. 3, is a mixture of 
 Prussian blue with a little lake : .the clear azure sky is formed of this colour. — No. 4, 
 is a tint for distant trees, made with indigo and a small proportion of raw umber. — 
 No 5, is a tint composed of burnt sienna and indigo, used as a shade for warm trees 
 and herbage in foregrounds. — No. 6, is formed of lake and raw umber, and is used 
 for the bright parts of roads, foliage, &c., in the foreground. — No. 7, is a mixture 
 of yellow ochre and lake with a little neutral tint : this is useful for buildings in a 
 strong light. — No. 8, is a tint made of Italian pink and Prussian blue ; this is the 
 brightest green that can be formed : in the absence of Italian pink, gamboge will 
 answer nearly the same purpose. — No. 9, is composed of gamboge, indigo, and a little 
 Venetian red: this is a good shade tint for No. 8; and, by a judicious mixture of the 
 three colours, will form a variety of tint for almost all kinds of foliage. 
 
137 
 
 I shall not now send you any more examples of the effect of the various combina- 
 tions of colours, as we shall have to remark farther on the subject when we apply 
 them to drawings. I must here observe, that when speaking of cold colours I mean 
 those that appear gray, and when speaking of warm colours, those that are yellow. 
 Thus I should call indigo a cold colour, and burnt sienna a warm one. In No. 5, 
 Plate XCIII , I have sent a diagram for you to colour, which will show you the 
 three simple colours, blue, red, and yellow ; and the three Compounds, green, purple, 
 and orange ; the mixture of the three simple colours producing gray is seen in the 
 centre, 
 
 We will now proceed to make our first coloured drawing, Plate C, which is a 
 view of Langollen Bridge, North Wales. I have sent you three drawings of this 
 subject, that you may see the progressive effect of the colouring. Having, as in the 
 Sepia drawing, provided yourself with clean soft water and a white plate,* you must 
 on the rim of it, at some distance from each other, rub some indigo, Prussian 
 blue, Venetian red, yellow ochre, lake, raw umber, and burnt sienna. With these 
 colours you will form all the tints required in the drawing before us. In this drawing, 
 
 * A common white plate is better tiian any other kind of palette for water colours, as the colours can be rubbed on the 
 rim without injuring the tints formed in the plate. 
 
138 
 
 and indeed in most others, it is advisable to commence with the sky, as that is the 
 most delicate tint, and almost any colour will show clear upon it; whereas, if left till 
 the drawing is nearly finished, as is the practice with some artists, the colours from 
 the trees and buildings would, without great care, mix with the sky tints, and spoil 
 them. The azure of this sky is formed of tint No. 4, which you will see is Prussian 
 blue and lake ; this you will apply in the same way you did the first tint in the Sepia 
 drawings, taking care to keep the edges of the clouds by softening the blue tint with 
 a brush dipped in water ; the brush must not be wet, but just damp enough to absorb 
 the colour. You must next take a little of No. 2, the neutral tint, and, beginning 
 from the trees, colour the cloud, taking care to soften that off as you did the blue, so 
 that they appear both to melt into a scarcely visible tint in the white that forms the 
 light of the; cloud. With the same tint you may colour the distant mountain, or if 
 you vary the tint at all, add a little more lake. Having finished the sky you may 
 give a slight tint of yellow ochre over the other parts of the drawing with the ex- 
 ception of the water, which you will now colour on the dark parts of the surface with 
 a light tint of indigo and lake, so expressed that it may appear to reflect the moun- 
 tain : then with the neutral tint form the dark parts of the waterfall. The bridge 
 is coloured with a tint of lake and raw umber, leaving the stone round the arch 
 light : the distant trees are formed with tint No. 4 ; and the first shade of those near 
 
139 
 
 the house, gamboge and Prussian blue. The bank in the foreground is a light tint of 
 burnt sienna. , 
 
 You have now coloured the whole of the drawing with the primary tints ; we will 
 therefore proceed to put it in shade, which you will see done in No. 2. The distant trees 
 are shaded with the tint used in forming them ; the touches on the distance are made 
 with a little lake and indigo, the dark side of the house is a mixture of umber, lake, 
 and indigo, the umber preponderating ; the shadow under the arch is of this colour, as 
 well as the touches on the bank. The shade on the trees near the house is a tint 
 formed with burnt sienna and indigo, tint 5. 
 
 The finished drawing is seen in No. 3: Here the last touches are given to the bridge 
 with sepia ; the outline is made distinct and marked dark in places exactly as you gave 
 effect in pencil. With this colour mixed with raw umber and indigo, you form the 
 dark rushes and weeds in the foreground ; the dark touches on the door and windows 
 of the house are made with neutral tint ; and with the same colour you can finish 
 the trunk of the trees : you can heighten the finish on the foliage of the trees by 
 touching them in dots with the brush full of the neutral tint : the drawing will then 
 be completed. 
 
140 
 
 As I am aware of your finding gieat difficulty in spreading broad: flat tiots, md 
 in blending one tint with another, I have sent Plate CI., a marine view. You will 
 of course sketch the outline lightly with your black lead pencil, and I should 
 ^vige you to give a. slight wash of yellow ochre over the whole of the drawing : 
 tliis, will be best done with the la,rge fl^t brush ; tak^ caa^e to have it full of Qolour, 
 and. tbajt the brush move quickly along the picture, that the tint may not get 
 dry at the edge : this, slight tint of yeUpw ochyr« destroys the strong white of the 
 paper, f^nd, gives wajrmth and harmony to all the tints Laid over it. As in our kust 
 &ii;ihject, you. should begin with t})e sky ; this tint; ^ formed with indigo, and lake ; use 
 the largest of the round brushes, and go over the paper so quickly as toi put the whole 
 of the tint required at once, leaving the form of the clouds at the right hand. You 
 wiU observe, by looking at the copy, that as you approach the horizon, the sky 
 changes from a blue to a crimson tint, and that again blends into a yellow on the 
 horizon : to produce this effect, you have only to dip the brush in the lake, which 
 should be worked on the plate ready, instead of the first tint; and as it gets nearer 
 the. horLzoUj still for a little distance continue the pure lake wash, then meet this 
 with the yellow ochre, but take care that one tint is so blended with the other that no 
 join may be perceptible ; this you will find much easier to perform than to describe : 
 the effect is always beautiful ; and you will continually have to wash one tint into 
 
141 
 
 another in this way in every drawing that comes before you. The dark cloud is 
 formed of tint 1 ; take care to soften ihe edges, so that the Hght may be teft. I need 
 not tell you that, in forming the clouds, you will of course leave the space for thie sail 
 of the vessel. When the sky and clouds are quite dry; a tint of yellow ochre and 
 lake may be washed carefully in the light parts of the cloud's, to give it the brilliant 
 tone which it would receive from the sun below the horizon. We now come to the 
 water : this must in somt measure partake of the ijolour of the sky ; the extreme dis- 
 tance must be gray, blended with touches of yellow and lake ; as it approaches nearer 
 it is made darker with lake and indigo, and still nearer it becomes green; by 
 the tnixtare of raw umber with the indigo, the breakers in the foregrounti assume a 
 lighter tint. The distant vessels are either left whitCj or else slighdy touched witfe 
 neutral tint ; the large vessel must be coloured with burnt sienna, and touched up 
 with Vandyke brown. The men in the foreground are touched with bright colours, 
 to throw the vessels in neutral tint to a greater distance, because colours are more 
 vivid the nearer they approach the eye : you will see the use of the large cloudy the 
 rock, &c.^ when I write on effects produced by contrast and harmony. 
 
 Plate CII. is a general view of Oxford ; here you must be careful in drawing the 
 form of the buildingSj after which wash the whole over with a light tint of yellow 
 
142 
 
 ochre, as in the last drawing. The sky is a bright tint of Prussian blue and lake. 
 The clouds are indigo and lake, with a little Venetian red. The horizon is a bright 
 tint of ochre and lake. The distant hills are tint No. 2, indigo, lake and raw sienna. 
 The haildings n»ust be all left light, and the shade given with neutral tint. The 
 more distant trees are lake and Prussian blue, with a little Italian pink. The first 
 tint of the middle ground is Prussian blue and gamboge The trees are tinted with 
 itidigo and burnt sienna, shaded with the same, and the dark touches made with a 
 strong neutral tint. The trees in the foreground are tinted with indigo and burnt 
 sienna, shadowed with the same, and finished up with sepia or Vandyke brown : the 
 trunks of the trees are the latter colour, with touches of gray. The road is Venetian 
 red and burnt sienna. The river is tinted with a slight wash of Prussian blue, and 
 shaded with neutral tint. 
 
 Plate cm. is a view of Pembroke Castle : this drawing is sent to show the oppo- 
 sition of hght and shade in cold and warm tints. You will observe in nature that 
 all shadows are gray, and this will be more apparent on an object in a bright sun- 
 light. This effect I have endeavoured to produce in the drawing before us ; the 
 strong light comes upon the round tower and the angles of the building, while the 
 great mass is in shade; this does not prevent every part of the building from being 
 

 
 
 
 
 
 
 
 
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143 
 
 distinctly seen, and the variety of tint is as much or more shown than in the broad 
 Hghts. This effect is given by blending the tints together, and afterwards giving a 
 general wash of tint 2, over the whole. 
 
 Plate CIV. is a view of an eruption of Mount Vesuvius, and is sent to give you 
 an idea of what is called contrast in painting, both in colour and form ; and which I 
 shall again, refer to in my concluding remarks. The gray of the sky is produced by 
 a strong neutral tint, which beconies red as it approaches the flames. The horizon 
 must be much lighter than the upper part of the sky. The sea is likewise neutral 
 tint blended toward the foreground with Venetian red, to give the lurid reflection of 
 the flames. This is the only drawing in which I have mixed India ink and colour ; 
 indeed it is only in dark subjects that it can be of use, as in others the black is too 
 strong, and does not harmonize with other colours. The rolling clouds of smoke 
 are formed with India ink, one shade over the other, till the depth of colour is ob- 
 tained ; the ruddy tinge is produced by going over the whole with Venetian red. I 
 now come to the flame bursting from the volcano, the brightest part of which is 
 quite white, the next tinge is bright yellow, and the whole heightened with sharp 
 spirited touches of vermillion. The bright fiery pieces of pumice stone which fall 
 
into the sea and all around, are taken out of the dark of the sky by wetting the part 
 you wish to take out with the point of the brush, and, while damp, rubbing the 
 colour off with India rubber ; these spots are afterwards touched with vermillion and 
 king's yellow, which are both opaque colours, and will cover any tint they are placed 
 on. The foreground and the burning lava are produced with the same colours as 
 the smoke and flame of the volcano. 
 
 • 
 Plate CV. is a view of the ruins of the palace of the GBesars at Rome. This draw- 
 ing is supposed to be made at sunset amid the glowing tints of an Italian sky ; 
 here all is warm and brilliant. The wash first laid over the whole may be rather 
 stronger than in the other drawings, so much so that it will give -a tone to the dear 
 Prussian blue with which you will commence the sky ; soften this till you come to 
 the middle of the picture, and then change it for a slight tinge of Venetian red, which 
 you will soften into the bright yellow of the horizon ; the distant hills are tinted with 
 indigo and lake, with yellow at the edges. When the sky and distance are quite dry, 
 tint the dome and that side of Sl Peter's Church which is in shade with tint 2, 
 rather stronger than the distant hill ; and with the same tint touch the windows and 
 the architectural ornaments of the building. The green eminence in the centre of 
 
U5 
 
 the picture is touched with Italian pink and indigo mixed withi Venetian red. The 
 road is first tinted with Venetian red and heightened with burnt sienna. The stones 
 and breaks in the road are foj-med with touches of Vandyke brown. The remains of 
 a portico supported by Corinthian columns, are tinted with a variety of warm colours, 
 which are lowered to the proper tone by a wash of gray. The architectural orna- 
 ments and capitals of columns are touched with sepia. The ruin on the opposite side 
 is tinted and shaded with Vandyke brown, and the bending trunk of the tree is first 
 formed with neutral tint, the light side touched with ochre and burnt sienna, and 
 the whole heightened with Vandyke brown. 
 
 I have in the last six subjects endeavoured' to give you an idea of the colours used 
 in producing them ; but in painting it is impossible to give verbal directions for every 
 change of tint Sound judgmfent guided by taste, joined to diligent practice and 
 observation, will enable you in a short time to produce pictures v«ry superior to the 
 subjects sent you to copy ; all that I or any one else can do, is to put you in the 
 right method, and the rest depends on yourself I am aware that there are works 
 where a greater number of tints are described, and their application to various pur- 
 poses pointed out ; but this, in my opinion, rather fetters the learner than assists him^ 
 as he supposes none but those particular tints will give a proper effect; when, if left to 
 
146 
 
 produce the tint by the knowledge he has obtained that all colours come from the 
 three primitives and their compounds, he will naturally ask himself if, at a loss for a 
 tint, to what class does it belong ? is it of red, blue, or yellow ? His subjects will 
 answer, and by practice he will be enabled to produce it. 
 
 LETTER XIV. 
 
 As soon as you are able to copy the drawings already sent, I would have you begin 
 copying from nature in colours. Take your sketch-book with you Wherever you go, 
 and after you have made the outline, write down on the separate parts the colours as 
 they appear to you. Supposing you had sketched a detached old building, you should 
 mark the tiles thus : if old and broken — " old — dark red, mixed with green." Go on 
 to the front, mark that in the same way, and when you return home with the subject 
 fresh in your mind, endeavour to produce a drawing from your sketch. A short time 
 
147 
 
 will give great facility to you in this method of sketching, with this advantage, that 
 you will be in the habit of combining colours, and indeed, forming the whole subject 
 in your mind before you put it on paper. 
 
 In your early sketches from nature it will be necessary that you make a judicious 
 selection of subjects: for example, it would be a waste of time to think of producing 
 a pleasing picture from a regular modern house, built with bricks without architec- 
 tural ornament. You would find even an old miJe-stone, with its variety of tint 
 from being exposed to the weather, a much more pleasing subject. I have, in a 
 former letter, pointed out what subjects are called picturesque, and no others will 
 make pleasing pictures. I would advise you to begin by making small drawings, 
 which are much easier than large ones ; nor will you spend so much time over a 
 drawing as to weary you, or render it tedious before it is completed. 
 
 I shall conclude my instructions by explaining the meaning of many of the terms 
 used by artists when speaking or writing on pictures. That which is most frequent 
 is effect: by this word is understood the general arrangement of the whole picture; 
 for instance, two persons may make a drawing of the same subject, one shall make 
 an accurate drawing, colour it true to nature, and yet, by making choice of the time 
 
148 
 
 of the day when the building is not in strong light and shade, or by allowing some 
 unsightly object to be as prominent, or more so than the other parts of the picture, 
 though it may be praised for its accuracy, it cannot be said to be painted with effect. 
 On the contrary, the artist whose mind forms the picture before his hand produces it, 
 will be equally correct in the detail of the principal object ; but will take care so to 
 dispose of the light and shade, (even if the light is not favourable at the time he is 
 drawing it,) thiat anything that would take away from that object should be screened 
 from observation, either by the introduction of figures, or by any other means that 
 will not only produce an accurate drawing, but one that a good judge would pro- 
 nounce done with effect. 
 
 Effect is produced by contrast and harmony. The word contrast almost explains 
 itself in painting as in other things ; it means opposition or difference to that which it 
 is placed near ; and thus we have contrast of light and shade, form, colours, &c. ; an 
 angle is contrasted by a circle, blue is a contrast to yellow, &c. Harmony in pic- 
 tures means a union or agreement of light and shade, form or colour. As contrast 
 and harmony are of such great consequence in the production of effect, I will enter 
 more fully on their use and application. 
 
149 
 
 If you refer to No. 1, Plate XCIII., I have there drawn the outline of a round 
 tower: this is an upright figure, and would be stiff and formal in itself; but it is ren- 
 dered picturesque by being contrasted with the irregular outline of the distant hills, 
 and these are again contrasted by the horizontal line which forms the water at their 
 base. 
 
 Almost every drawing that you have executed has been formed on this principle — 
 this is the use of the wavy line of the trunk of the tree in the foreground of Plate 
 CV., the ruins of CsBsar's Palace at Rome. Here the upright Corinthian columns 
 were parallel to the architecture of St. Peter's Church, and were only opposed by 
 the faint outline of the distant hill and the broken columns on the ground. This 
 would have made a picture without the introduction of the tree ; but a constant 
 recurrence of so many straight lines would have been offensive to the eye of the 
 judicious observer, and, to give a pleasing effect, the tree is added. Heavy forms 
 are contrasted by light ones, and for that reason I have let a single branch with a 
 few leaves contrast the mass of building opposed to it. 
 
 In Fig. 2, Plate XCIII., I have contrasted the spire of the church with the curved 
 lines of the clouds, and with the foliage on the sloping bank. These are again con- 
 
150 
 
 trasted both in form and colour, and the effect of distance is given by the broken rails 
 in the foregrounds 
 
 In Fig. 3, I have contrasted the heavy trunk of the elm witb a young ash, and 
 thus strong effect is given to both. You are quite aware of the effect of light and 
 shade, which would generally be too violently contrasted were it not for the inter- 
 vention of the middle tints, which soften them both. Strong light is always intro- 
 duced with most effect when it is contrasted with a subdued tone of colour over the 
 rest of the picture. This is seen in the drawing of Croyland Abbey, Plaie LXXXI. ; 
 here the light falls on the elegant Gothic tracery of the early English doorway, 
 indeed on the whole of the rich front : this is strongly contrasted by the dark heavy 
 wall near it, and by the tone of the rest of the building ; and the form of the tower 
 is contrasted by the oblique clouds. I have now, I hope, given you a clear idea of 
 the contrast of form and substance : every tint you make in colouring is intended 
 to contrast another. You will conclude that warm colours are opposed to cold, and 
 cold to warm. 
 
 Harmony is opposed to contrast, and means a perfect agreement in form, light and 
 shade, colour, &c., in every part of the picture. I hope I have hitherto sent you no 
 
151 
 
 drawing in which contrast has alone been consulted without harmony, and you will 
 therefore turn to Plate XCIII., Fig. 4 : here you see perfect harmony of lines — each 
 has its brother, nothing is broken or abrupt, and in consequence all is tame and without 
 eflfect. You will observe what I meant when speaking of contrast on Plate CV., 
 the palace of the Ceesars ; here the architecture of St. Peter's harmonized with the 
 column of the palace ; and though there was contrast in the broken ruins strewed on 
 the ground, yet the parallel lines preponderated and called for the introduction of 
 the tree. Thus it is with colours ; if you turn to Plate CII., view of Oxford, a general 
 harmony of colours, (green of various tints) pervades the whole ; but effect is given 
 by the warm tone of the road in the foreground, the gray on the water, and the pur- 
 ple in the distaqt trees and hills : these are again contrasted by the warmth of the 
 horizon ; and the horizontal lines of the clouds, which harmonize with the line of build- 
 ings, are broken by the large cloud from the top. I think I have now sufficiently 
 explained how useful both harmony and contrast are in producing effect. Among 
 the best of the old school of drawing-masters, who entered with enthusiasm into every- 
 thing connected with the arts, and certainly soared far beyond most of the landscape 
 painters in water colours of his day, was Mr. Edward Dayer, who was draughtsman 
 to the Duke of York. In a volume of his works, published after his death some 
 years ago, are some slight directions for drawing in water colours ; and though they 
 
152 
 
 are on the whole not sufficiently comprehensive, yet, as he possessed a highly cul- 
 tivated mind and thorough knowledge of the theory and practice of the subject on 
 which he wrote, the following extracts cannot fail to be highly useful : 
 
 "In studying from nature, always begin with single objects, as they will not 
 only be easier to get the forms of, but from giving, in general, a sufficient quan- 
 tity of light and shadow, will form a whole with less judgment, and therefore be 
 more likely to ensure success. This will be the only method of calling forth ideas;, 
 for, should the student copy till doomsday, it will not teach him to think, which is 
 the end of the art ; indeed much of his success will depend upon the clearness of his 
 conception, not only on the picture as a whole, but on each particular part." As single 
 objects, or not more than two or three in a picture, will be found the easiest to begin 
 with from nature, they will also admit of being more exquisitely finished, which is 
 not the case in a picture containing a great many parts, where an attention to the 
 whole supersedes every other consideration, or, as it is technically said, to relieve every 
 thing you relieve nothing. As, therefore, single objects require more detailing, they 
 will also be likely to induce a habit of care in the future operations of the art. In 
 drawing from nature, care must be taken not to get too near an object, as, by having 
 a short point of sight, it will be made to appear under so great a point of distance as 
 
153 
 
 to look quite distorted ; this disagreeable effect will be avoided by observing (unless 
 prevented by circumstances) never to be nearer the building than twice its elevation 
 or length, which will bring the object within an angle of forty-five degrees; this rule 
 also holds good with respect to looking at pictures, as it is impossible to see the 
 whole at a less distance than twice its longest side. As that may be considered as 
 the focal point, it will at once account for small pictures requiring more finish than 
 large ones, as the eye at the time it takes in the whole is capable of distinguishing 
 the most minute parts. " In looking at pictures, the spectator should observe two 
 things ; first, to place them on the plane of the horizon ; and secondly, not to go 
 nearer than the above focal point." The remarks on light and shade are particu- 
 larly beautiful, and will supply any deficiency of information in what I have written 
 on this subject : " As much of the success of the picture depends on the judgment 
 used in arranging the masses of shade, great care should be taken to keep them 
 broad and simple, otherwise it will be in vain to expect what the painter calls a good 
 whole; that is, such a union of light with light, and shadow with shadow, as to excite 
 a pleasing sensation to the eye. When the natural as well as their projected sha- 
 dows are laid in, the next step will be uniting them together so as to form them into 
 masses : to this end the interposition of artificial or accidental shadows will be neces- 
 sary, (such as those thrown from the clouds,) which, by being judiciously used, may 
 
154 
 
 be made so to combine the different parts of the picture together, as to produce 
 broad masses, and which, by being laid in soft, Imay be easily altered even into light 
 in the working tip. Should the shadows not iappear agreeable, one great advantage 
 may also be obtained by bringing the dark part of the clouds against the dark part 
 of the landscape, which will considerably increase their breadth, and the lights may 
 be niiade to assist in the same way : it is a common error among landscape painters to 
 introduce their skies without any relation to the masses ; yet it contributes more to 
 the breadth of a picture than any other part ; for should the objects give a sufficiency 
 of light and shade, the sky may be kept down : or should a farther quantity of dark 
 or light be required, it may be increased by cloudsi By attention to this practice, a 
 breadth will be certain, and at all times it will ensure a mellow picture; besides this, 
 a strength of tone will be acquired without hardness, which must ever attend dark 
 shades and bright lights, coming in contact with each other. Nothing can give a 
 greater air of poverty to a picture than too much light; on the contrary, shadow will 
 give dignity, and make the light, if sparingly used, appear with more vivacity. Of 
 this many of the poets, but Thomson in particular, seems to have been so well aware, 
 that his best descriptions are full of shade. 
 
 -' At every step 
 
 Solemn and slaw tlie shadows blacker fall, 
 And all is awful list'ning gloom around. 
 
155 
 
 Majestic wood of ev'ry vig'rous green, 
 
 Stage above stage, high waving o'er the hills, , 
 
 Or to the fair horizon wide diffused 
 
 A boundless deep immensity of shade.' 
 
 " From these observations it must be sufficiently evident that a quantity of shade is 
 necessary, yet exactly what quantity is difficult to determine ; some painters allowing 
 one-third, some considerably more ; the nature of the subject will best decide the 
 inquiry. If the scene be beautiful, everything should tend to excite sensations of 
 pleasure, therefore the light should be broad and vivid, as light is life in its most 
 animated state. On the contrary, should the subject be of the more noble cast, 
 and require treating with dignity, a greater quantity of darkness [and obscurity is 
 necessary. 
 
 " In disposing the picture with masses of light and shade, care should be taken not 
 to scatter them or to make them too numerous. The general rule is, not to exceed 
 three masses of light, and to keep all of them subordinate to the first grand one. As 
 every picture should have a principal feature, every art should be used to conduct 
 the eye to it ; this is generally done by bringing the greatest power of light on it, or 
 at least in that part, so that it may be distinctly seen at the first glance. This fea- 
 
 21 
 
156 
 
 ture should invariably occupy the centre of the picture, and every means should be 
 used to prevent inferior lights from distracting the attention ; and on no account 
 should straggling lights be introduced into the remote corners of the picture. At the 
 point where the eye concentrates itself] and which in perspective is called the point 
 of sight, there the object will be most distinctly seen, which is the reason why the 
 lights at the extremities of a picture ehould iiot, by their brightness, attract the sight, 
 and thereby destroy the repose of the whole." 
 
 I am quite sure that the ^preceding extracts will be highly acceptable to you ; and 
 as you have frequently heard the word taste mentioned, I will endeavour to point out 
 what it means in painting. In pictures, and indeed everything else connected with 
 the refinements of life, taste is nothing more than being able to bring our acquired 
 knowledge with sound judgment to bear upon the object immediately before us. 
 That person will show the most taste in his performance, who weighs well in his mind 
 everything that will conduce to the beauty of his picture, before he commences 
 drawing the subject at all. I have before observed that truth is not taste. I showed 
 how two persons may represent the same object with equal truth, and yet one shall 
 produce a picture with greater effect than the other : it is the power of combining 
 knowledge of light and shade, contrast and harmony, which enabled one to excel the 
 
other ; and he showed his taste by applying all his acquired knowledge to the subr 
 ject. I recollect going with two artists to see the mass of stones called Stojieheng«, 
 of which I sent you a sketch in one of the early lessons. When we first came in sight 
 of them I had a feeling of disappointment, for I had pictured such gigantic masses in 
 my own mind, that when the reality was before me, contrasted with the immense 
 plain on which they stood, they, to, my imagination, shrunk into littleness. My 
 object in visiting this relic of antiquity was^to ascertain, if possible, the original form 
 of the building, of which t^ie stones formed a part ; ^nd while I was thus employed 
 my two companions were busy in making drawings from the stones at different points 
 of view. The result of their labours was so dissimilar, as well as their explanations 
 of the principle on which they acted, that it gave a better practical illustration of 
 what is called tastes, thaA any other subject I can call to mind at the present tima 
 
 Mr, A. took his view from a great distance, in order to get in the whole of the 
 stones, and likewise a great part of the surrounding country. All was sketched and 
 coloured with great truth ; the day was fine, the sky cloudless, and he had thus re- 
 presented it in his diawing ; from the great distance at which he had taken the draw- 
 ing, and the gentle ascent of the ground beyond the stones, the top of the largest 
 was very little above the horizon ; there was no more shadow introduced than the 
 
158 
 
 objects themselves gave ; and on the whole it was a tame spiritless picture, with 
 nothing but its accuracy to recommend it. 
 
 Mr. C, on the contrary, had approached so near the stones, that the masses ap- 
 peared gigantic ; he had drawn a very low horizon, which gave great height to the 
 object, and had thrown a strong light on the mass in the centre, keeping all the rest 
 in middle tint, in order to contrast the square blocks of stone : he had made a dark 
 gray rolling cloud rising behind them, which gave value to his strong light ; his 
 masses of shadow were grand and imposing ; and near one of the largest stones he 
 had drawn an old shepherd, whose venerable form and white smock frock made him 
 appear like the spirit of one of the Druid priests, who had come to visit the ruins of 
 former grandeur. No contrast could be greater than the two pictures, and no person 
 would have hesitated a moment in valuing one at twenty times the price of the other. 
 What was the cause of this disparity ? simply, that one had only the mechanical, 
 power of representing faithfully forms as they appeared to his sight, whereas the other, 
 from a thorough knowledge of effect, and from calling to mind the antiquity and 
 grandeur of the ruins he was then viewing, had in his mind's eye formed the picture of 
 which the object before him was but the body, but to which his taste and judgment 
 added soul, if such an expression may be applied to pictures. 
 
159 
 
 I have now given you all the instruction that writing will convey, and I hope all 
 that is necessary to facilitate your progress in drawing and colouring. When you 
 have made yourself perfectly conversant with the rules laid down in these letters, you 
 will soon aim at higher attainments ; and your mind will be directed to those writers 
 and painters who have reached the height of their profession. All that any drawing- 
 master can pretend to do is, to teach you the mechanical part of the art, and endea- 
 vour at the same time gradually to develop the principles on which the art is 
 founded : but it depends on yourself to call those principles into action by a constant 
 exertion both of the mind and hand. It may be that, at a future time, I shall send 
 you a supplement to the present work, containing some of the best specimens of 
 ancient and modern masters, as well as more extended instruction, in drawing and 
 colouring the human figure, and in the higher department of historical painting — 
 these would be as useless to the student who has to conquer the difficulties incidental 
 to the acquirement of knowledge in the first stage of the art, as it would be for a 
 person to attend lectures on rhetoric or poetry, who had just commenced learning the 
 English grammar. 
 
FLOWER PAINTING. 
 
 The following directions on painting Flowers are by James Andrews, from whose designs the drawings on 
 this subject are taken. These directions are concise, because the lessons are intended for the instruction 
 of those who have already become acquainted with the art of drawing in its various branches, and therefore 
 need nothing on that head, and moreover, because, to use Mr. Andrew's expression, it being " my professed 
 intention to convey instruction by example rather than by written rules, I purposely avoid minute details 
 which are more likely to confuse than to assist the pupil." 
 
 Too much stress cannot be laid on the necessity of first acquiring the power of correctly defining the out- 
 lines. Do not, therefore, begin with colours till you can draw these with accuracy and facility. The others should 
 be made as fine and light as possible, for which F and H pencils are best. Use the India rubber very 
 sparingly ; it disturbs the surface of the paper, and prevents the colour lying smoothly and evenly. To assist 
 the student, I have in every case given two copies of the subject, the first in its outline state, and the other as 
 finished. I have also added specimens of the tints most commonly used. Lay down the shadows with the 
 neutral tint or India ink ; the fi-ont part of the leaves should first be covered over with flat tint (Plate I., Fig. 
 6.) Take care that the colours are very evenly mixed ; and in laying them down, keep the brush fall, so as to 
 produce an easy flow. Apparent greasiness in the paper may be remedied by touching the point of the brush 
 with prepared ox-gall. The best varnish for leaves or parts of flowers is a strong clear solution of gum arable 
 in water; any tint of purple may be produced by mixing blue and carmine; greens, (except emerald) Ijy blue 
 and gamboge; browns by black lake, or Venetian red and gamboge ; grays, by black and blue. For roses or 
 very bright carmine tints, add a little spirit of sal-ammoniac. 
 
 With these few hints and a careful and perseveriog study of the lessons, the pupil wiU be sufficiently 
 advanced to commence the more difficult tasks of forming groups and copying from nature. 
 
Plate 2. 
 
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Plate 3, 
 
 Plate 4. 
 
Plate 6. 
 
 Plate 5. 
 
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Plate 8. 
 
 Plate 7. 
 
INDEX OF PLATES. 
 
 No. Subject. 
 
 I. Elementary Subjects . 
 
 n. Ditto .... 
 
 m. Ditto .... 
 
 IV. Euins of Godstowe 
 
 V. Remains of Beaumont Palace 
 
 VI. Oxford Castle . 
 
 Vn. Eound Tower . 
 
 VIII. Perspective Diagrams . 
 
 IX. Ditto .... 
 
 X. Four small Views, (Horizontal . 
 
 XI. Point of Sight . 
 
 XIL Denbigh Castle . 
 
 XIII. Point of Sight . 
 
 XTV. Remains of Oseney 
 
 XV. Point of Distance 
 
 XVI. Planes in Perspective . 
 
 XVII. Entrance to Lambeth Palace 
 
 XVin. Lollard's Tower . 
 
 XIX. Old Tree . 
 
 XX. Foliage of Trees . 
 
 XXI. Woodeaton . 
 
 XXn. Bloody Gate 
 
 XXin. Parts of Trees . 
 
 XXIV. Joe Pullen's Tree 
 
 XXIV*. Stonehenge . 
 
 XXV. Perspective . 
 
 XXVL Ditto .... 
 
 XXVn. Ditto .... 
 
 XXVIII. Norman Architecture . 
 
 XXIX. English Architecture . 
 
 XXX Merton College . 
 
 XXXL Willow Tree 
 
 Line) 
 
 Subject. 
 
 LXL 
 
 , Poplar Tree . 
 . Boats . 
 , House where Shakspeare was 
 , Freshwater Cave . 
 Magdalen College . 
 Parts of Horses 
 Ditto . 
 
 Head of a Horse . 
 Parts of Dogs 
 Boy and Dog 
 Swans . 
 Cat and Cow 
 Woodman and Dog 
 Sleeping Shepherd 
 Girl at the Spring 
 Cattle . 
 Sheep . 
 
 Heacfe of Horses . 
 Frightened Horse . 
 Two Fox Hounds 
 Outlines of Heads 
 Ditto . 
 Various Heads 
 Outlines of Human Figure 
 Hand from the Antique 
 Arms and Hands . 
 Legs : . . . 
 Large Hand . 
 Ears and Nose 
 Feet from the Statues of Venus 
 
 and Apollo 
 ^yes . 
 
 bom 
 
INDEX OF PLATES. 
 
 No. Subject. 
 
 LXII. Eyes and Nose 
 iiXIII. Nose and Mouth . 
 LXIV. Lower part of the Face in Profile 
 LXV. Heads in Profile . 
 LXVL Finished Head ^ . . . 
 LXVII. Head from Le Bmn, (red chalk) 
 LXVIII. Head of Venus de Medicis, (red 
 chalk) 
 LXIX, ApoUo .... 
 LXX. Figures in Outline 
 LXXL Tower of London . 
 LXXn. Ifley Church 
 LXXm. London Bridge , 
 LXXIV. Temple Church . 
 LXXV. Abbey Church, Bath . 
 LXXVL Clifton .... 
 LXXVII. Greenwich Hospital from the 
 
 Thames 
 LXXVm. Tell's Chapel, Switzerland 
 LXXIX. Interior of Kenilworth Castle . 
 LXXX. Lannercost Priory . 
 LXXXL Croyland Abbey . 
 LXXXII. Pennarth Castle 
 
 No. Subject. 
 
 LXXXIII. Windsor Castle . 
 
 LXXXIV. Interior of Newcastle Castle 
 
 LXXXV. Warkworth Hermitage . 
 
 LXXXYI. Interior of Warkworth Hermitage 
 
 LXXXVIL Christ Church Dining Hall 
 
 LXXXVIIL Arch of Titus 
 
 LXXXIV. Edinburgh . 
 
 XC. Polar Eegions 
 
 XCL Cascade of Tivoli . 
 
 XCII. Drawing requisites 
 
 XCin. Contrast and Harmony 
 
 XCIV. Castle of Chillon . 
 
 XCV. Marston, near Oxford, (India ink) 
 
 XCVI. Marine view, (sepia) 
 
 XCVII. View on the Ouse, (sepia) 
 
 XCVin. Carisbrook Castle, (sepia) 
 
 XCIX. Colours and Tints 
 
 C. LangoUen Bridge 
 
 CI. Marine View . 
 
 CII. View of Oxford 
 
 cm. Pembroke Castle 
 
 CIV. Mount Vesuvius 
 
 CV. Imperial Palace at Eome 
 
 No. 
 
 ADDITIONAL PLATES— FLOWERS. 
 
 Subject. No. Subject. 
 
 I. Specimen of Tints 
 n. The Forget-me-not 
 in. Leaves 
 IV. The Ear-drop . 
 
 V. Buds 
 VI. Sweet-pea . 
 Vn. Carnation Pink . 
 Vni. Marigold . 
 

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