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Digitized by the Internet Archive 
 in 2017 with funding from 
 Getty Research Institute 
 
 fct* Tj. 
 
 https://archive.org/details/amateursassistanOOclar 
 
yO. 
 
 Pu6h's/if(i iy Samufi Le(^A,2>!, Strand, Zi^ndm, J&ut 
 
THE 
 
 AMATEUR’S ASSISTANT; 
 
 OR, 
 
 A SERIES OF INSTRUCTIONS 
 
 IN 
 
 SKETCHING FROM NATURE, 
 
 THE APPLICATION OF PERSPECTIVE, 
 TINTING OF SKETCHES, 
 
 . DRAWING IN WATER-COLOURS, 
 TRANSPARENT PAINTING, 
 
 &c. &c, 
 
 TO ACCOMPANY THE SUBJECTS WHICH FORM 
 
 THE PORTABLE DIORAMA. 
 
 By JOHN CLARK. 
 
 “ He who enlarges his curiosity after the works of Nature, 
 demonstrably multiplies the inlets to happiness.” 
 
 Dr. Johnson. 
 
 LONDON : 
 
 PRINTED FOR SAMUEL LEIGH, 18, STRAND. 
 
 M.DCCC.XXVI. 
 
PRINTED BY L. HARRISON, 373 , STRAND. 
 
PREFATORY REMARKS. 
 
 The instructions which, it is hoped, will be found 
 in the following pages, are addressed to the amateur, 
 and to those who are desirous of cultivating an inti- 
 macy with sketching and drawing. Sketching from 
 nature is dwelt upon at some length, from a belief, that 
 where a taste for it can be excited, the master is found 
 to teach all that follows : however, a few of the leading 
 features of linear perspective are simply defined, and 
 their application to sketching rendered familiar. 
 
 The difficulties which usually impede the progress 
 of amateurs in various departments of art are explained, 
 and the methods of subduing them detailed. Directions 
 are given for staining, tinting, and painting, with the 
 adaptation of finished subjects to transparency ; the 
 idea of which has been suggested by an exhibition called 
 “ the Diorama,” which has possessed the rare excel- 
 lence of having yielded delight and satisfaction to all 
 who have witnessed the effects given to the scenes of 
 
VI 
 
 PREFATORY REMARKS, 
 
 which that exhibition has been composed; and the de- 
 sign of this effort is, the promotion of that knowledge 
 by which an increased pleasure may be experienced, 
 either in witnessing the admirable productions of picto- 
 rial representation, or in beholding the beautiful scenes 
 of animative nature. That the various contents may 
 he found useful to those for whom they are more parti- 
 cularly intended, is the anxious wish of ^ 
 
 THE AUTHOR. 
 
DIRECTIONS 
 
 FOR DISPLAYING THE VIEWS 
 
 IN THE 
 
 PORTABLE DIORAMA. 
 
 Take all the vIcavs and shades out of the box; fix the frame with 
 the roller upright in the grooves made to receive it, and place that 
 part of the box in front. Then fix one of the views in the frame; 
 and to produce changes of effect, place a shade in the frame behind 
 the view, and attach the curtain to the small rings at the top of the 
 shade ; turn the roller gradually, that the shade may recede the whole 
 extent of the curtain. By gradually winding it up again, till the 
 shade approaches the view, an increased variety of effects will be ex- 
 hibited. The white curtain prevents an unpleasant appearance of 
 shadow passing over the view. 
 
 When exhibited at night, an argand lamp is to be preferred, 
 which should be placed so as to cast its greatest light where the view 
 seems to demand it. The light should be thrown on the view ex- 
 clusively, if possible. The effect will be improved in proportion as 
 the surrounding glare can be obscured. 
 
 Shades composed of silk, sarsnet, &c. of well-chosen tints, from 
 grey for morning to crimson for evening, produce good effect on 
 views thus exhibited. 
 
LIST OF PLATES 
 
 Page 
 
 1. Simple Outline 9 
 
 2. Outlines with Distance 15 
 
 3. Sketches of Character in Trees 16 
 
 4. Diagrams of Perspective 26 
 
 5. Ditto ditto 28 
 
 6. Sketch, Waterfall 42 
 
 7. Sketch washed with Tints 44 
 
 8. Process with Neutral Tint, 1 and 2 53 
 
 9. Ditto ditto 3 and 4 54 
 
 10. Process in Colours 58 
 
THE 
 
 AMATEUR’S ASSISTANT. 
 
 ON SKETCHING FROM NATURE. 
 
 The taste for drawing, which so generally prevails, is calculated 
 to increase the desire of the amateur and the tourist to retain remem- 
 brances of the spots they have visited. Sketching from nature may 
 be considered one of those acquirements which a little application 
 w'ill place wdthin our reach. 
 
 Mr. Nicholson, in the Introduction to his admirable Series of 
 Instruction in Drawing in M^ater-Colours, says, “ Many of the 
 advantages of travel are lost to, or beyond the reach of, those 
 who are not qualified by some knowledge of art to delineate on 
 the spot a beautiful scene in nature, or the interesting remains of 
 ancient magnificence; a power which, by moderate application, 
 any person may acquire.” 
 
 Sir Joshua Reynolds, in his Discourses delivered at the Royal 
 Academy, says, ** When the arts were in their infancy, the power 
 of merely drawing the likeness of any object was considered as 
 one of its greatest efforts: the common people, ignorant of the prin- 
 
 B 
 
2 
 
 SKETCHING FROM NATURE. 
 
 ciples of art, talk the same language even to this day; but when it 
 was found that ever}^ man could be taught to do this merely by the 
 observance of certain precepts, the name of genius then shifted its 
 application, and was given only to those who added the peculiar 
 character of the object they represented ; to those who had inven- 
 tion, expression, grace, or dignity ; or, in short, such qualities or 
 excellences, the production of which could not then be taught by 
 any known and promulgated rules.” 
 
 The great and liberal mind of Reynolds sought not to conceal 
 from others the lights which he had perceived and felt ; he therefore 
 declared, that “ nothing was denied to well-directed labour.” 
 
 Labour may be a terra perhaps irreconcileable to those who 
 imagine, that by genius alone the art of delineating from nature can 
 be acquired : alas I want of application is a real deficiency of genius ! 
 The attainment of the higher departments of art may perhaps re- 
 quire as much genius as knowledge; but to such extended pursuits 
 these observations are not directed. 
 
 Dr. Knox says, They whose natural feelings have been 
 improved by culture, know from experience how the manners are 
 polished, and the temper sweetened, by a well-directed study of 
 the art of imitation.” 
 
 Perhaps no quotation is necessary to shew the value of the 
 ability to transfer to a sketch-book the resemblance of scenes or 
 objects we shall probably have but one opportunity of beholding 
 in nature: it is pre-eminently desirable, and it is unquestionably 
 attainable; or if there be a preventive to the universal diffusion of 
 the art of sketching from nature, it is to be found in imaginary dif- 
 ficulties. 
 
SKETCHING FROM NATURE. 
 
 3 
 
 The art by which an idea is conveyed from Indus to the Pole” 
 was formerly an acquisition so great, that its possessor ranked above 
 his fellows. Time rolled on ; the knowledge of writing became so 
 widely diffused, that disgrace was attached to those who were not 
 masters of it. This was not the effect of all-powerful genius, but 
 of well-directed perseverance, before which a host of difficulties 
 will quickly vanish. 
 
 Sketching from nature is without doubt a portion of the Fine 
 Arts easily attained by all who wish to exercise the pencil for their 
 amusement. The inducements are various, and the gratification is 
 of a superior order. A few lines will give a better idea of a distant 
 scene than pages of elaborate description; every effort is attended 
 by proportionate increase of knowledge, and what is thus obtained 
 is permanent. 
 
 Copying from nature requires no greater mental exertion than 
 copying from a print or a drawing; and the advantages of the 
 former are sufficiently obvious. 
 
 The pleasure derived from the sketch-book is universally ac- 
 knowledged : when it is opened, who is not anxious to examine its 
 contents? who is not delighted, if not instructed, by the information 
 it communicates? Indeed the general concurrence of polished society 
 has given to this department of the Fine Arts an elevation of cha- 
 racter that places it in a prominent situation amongst those pursuits 
 which embellish and render life delightful. 
 
 The desire to possess the power of sketching from nature, to be 
 enabled to feel and to retain the appearances of objects, is frequently 
 expressed : the taste and intellectual curiosity which this desire 
 
 B 2 
 
4 
 
 SKETCHING FROM NATURE. 
 
 evinces, cannot fail to meet with ample gratification ; a little perse- 
 verance will prove how easily the supposed impediments may be 
 overcome, how soon the eye and the hand become familiar with 
 the means by which the outlines of objects are acquired. 
 
 There are some particulars worthy of notice respecting thedegree 
 of acquirement in the use of the pencil, obtained either from having 
 received the rudiments of drawing from a master, or from the 
 practice of copying the works of others as an amusement directed 
 solely tasteful inclination: in the former, what may be termed 
 the mechanism of the art will have been obtained; in the latter, 
 from the variety of styles that may have been imitated,' a consi- 
 derable knowledge of opposition of form and character will have 
 been acquired : if to either of these be added an intimacy with art, 
 arising from an attentive examination of the productions of different 
 artists, or what may be more valuable, the contemplation of those 
 instructive pictures which nature exhibits, it will be of the greatest 
 importance to the attainment of success in sketching from nature. 
 
 In the absence of all knowledge of design, if there be inclination 
 to pursue the study, there must be taste; and as application renders 
 the use of the pencil familiar, the judgment will assist in commu- 
 nicating a manner by which to express the outlines of forms. 
 
 Let the simple subject of No. 1. Plate I. be considered as 
 a few lines expressive of memorial, or the stenography of the 
 view of a cottage; if it be copied, the mind should be occupied 
 upon what each particular line is to portray, the intention of the 
 line, and the reasons for the variety of lines; all of which tend to 
 increase the intimacy with the subject, and prevent absurd devi- 
 
SKETCHING FROM NATURE. 
 
 5 
 
 ations; since it cannot be supposed that a line, as exhibited at the 
 angle of a house while thought was occupied upon it, could he 
 imitated by any other than a perpendicular line. 
 
 Diagonals and curves are subjected to similar results ; propor- 
 tions and relative situations of parts present themselves to the 
 mind, if the process of copying be regulated by adherence to the 
 due understanding of a line before it is committed to the paper. 
 The eye and the hand are necessary to the machinery ; but judg- 
 ment is the directing agent: judgment improves in proportion as it 
 is exercised; to it the eye and the hand are obedient; and, that 
 practice makes perfect, is to be admitted in sketching from nature 
 as readily as in any other branch of education. 
 
 Like all other studies, the art of sketching must be progressively 
 acquired ; but a pleasing style or taste in delineation is less difficult 
 of attainment perhaps than an equal degree of proficiency in many 
 other branches of polite education. 
 
 “ They who have never observed the gradations by which art is«‘ 
 acquired, who see only what is the result of labour and application,, 
 conclude, from their inability to do the same at once, that it is not ' 
 only unattainable by them, but that it can only be performed by 
 those who have the gift of inspiration. Such untaught minds find 
 a vast gulf between their own powers and those of complicated art, 
 which they are utterly unable to fathom ; and they suppose that 
 such a void can be passed only by supernatural powers.” Such were 
 the remarks of Sir Joshua Reynolds; and they may still be rei- 
 terated, notwithstanding the advancement of general learning since 
 the days of that great man. 
 
6 
 
 SKETCHING FROM NATURE. 
 
 The late much-esteemed Mr. Repton regretted that sketching 
 from nature did not regularly form a branch of polite education, 
 since the habit of investigating the beauties of nature with an artist’s 
 eye expanded the mind, and assisted it in judging more correctly 
 of the elegancies of life. 
 
 Authorities might be multiplied in justification of the advan- 
 tages to be derived from a cultivation of the Fine Arts ; and books 
 of instruction in every department are not wanting. 
 
 Notwithstanding this department of the Fine Arts finds an 
 admirer in every person of taste, and though all who practise 
 drawing as an amusement are aware of the advantages it possesses 
 over copying from drawings, still there is a seeming reluctance to 
 follow the master, so universally acknowledged as the most faithful 
 guide. If it were asked, could a person, unaccustomed to the use of 
 the lead-pencil, walk into the fields, and transfer to the sketch-book 
 a view of some object? If the person could write a description of 
 that object, the answer is yes. What ! without knowledge of per- 
 spective, of the method of reducing by the eye so as to preserve 
 proportion! Yes, unquestionably. A sketch to be made under such 
 circumstances would require some consideration ; it would at least 
 deserve as much reflection as writing a description of the object. 
 
 This plan of proceeding would encourage a strict investigation 
 of particulars, and suggest modes of expression adapted to give a 
 full explanation, and may be termed the feeling necessary to convey 
 to others an idea of the object. The author of Waverley” could 
 do this delightfully; but few writers are so felicitous in their descrip- 
 tions. 
 
SKETCHING FROM NATURE. 
 
 7 
 
 In preparing the requisites for sketching, it is recommended to 
 have the sketch-book secured with a clasp or two, if it be large; the 
 paper should be what is called stout xoove draxving. The lead-pencil 
 should be free from grit, and capable of giving three gradations of 
 blackness to the paper by different degrees of pressure. 
 
 Let the supposed subject be a simple cottage, as No. 1. and it 
 is required that a sketch be taken of it by a person who could give 
 a written description of its appearance, but who has never used a 
 lead-pencil for the purpose of delineation. Suppose the cottage 
 stands on a gently rising ground: can it be imagined difficult to draw 
 a curved line to express the outline of that ground? It is not too 
 much to expect that it might be irregularly given, since it is not a 
 perfectly formed portion of a circle that presents itself in the object. 
 Upon the centre of this line, or rising ground, to represent the 
 cottage, three perpendicular lines of equal height are required to 
 be drawn, but not at equal distances from each other; one of the 
 openings, with the previously drawn ground line, giving three sides 
 of a square; the other opening three sides of a parallelogram; then 
 by drawing a straight line across the top, this figure is formed. 
 
 The person who could write a description of the object would 
 consider it absurd to continue: he could draw thus. Then 
 with respect to the roof, observe, that over the square opening 
 diagonal lines form the gable; that at the other end of the parallel- 
 ogram a line in agreement with that side of the gable is required ; 
 and that a straight line across the top completes the roof. The 
 door, the window, and the chimney are but squares or parallelograms 
 placed upright, two in the larger parallelogram, and one in the roof. 
 
8 
 
 SKETCHING FROM NATURE. 
 
 It will probably be said, that it is perfectly ridiculous to attempt 
 to teach drawing thus : doubtless any person could proceed after this 
 method, and could make the scolloping flourishes at either end of 
 - the cottage to represent trees; but is this called drawing? No; but it 
 is the first step. Shew it to a third person, and mark if it be not un- 
 derstood immediately; and as a first attempt, consider this the first 
 letter of the alphabet in the language of sketching from nature. 
 But there is no perspective ! Who can be expected to be conversant 
 .with grammar previous to their learning to read? Who could study 
 Milton before the primer? Reflect on the means by Avhich every 
 description of learning is obtained, and it will be found, that incli- 
 nation and perseverance have overcome all impediments to ad- 
 vancement; all is the gift of industry. Raphael painted many a 
 picture before he became the divine Raphael. 
 
 Often perhaps the disappointment experienced at the com- 
 mencement of sketching from nature arises from the judgment 
 being in advance of the hand which is to execute; and this is too 
 frequently found to produce such an improper effect on the mind, 
 that the attempt to reconcile the execution to the judgment is relin- 
 quished. Often the contemplation of the intricacies of perspective 
 produces a discouraging effect, :for the faculties cannot act with 
 freedom under anticipations of failure; and frequently a feeling of 
 incompetency to express each variety of character the scene may 
 require, has engendered feelings highly injurious to the cultivation 
 of taste in the Fine Arts. 
 
 It has been considered, that the great impediments to success 
 in this department of the art are to be found in the above-mentioned 
 

 
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SKETCHING FROM NATURE. 
 
 9 
 
 discouraging particulars, and that a few plain directions might 
 remove all imaginary difficulties in sketching: therefore it is pro- 
 posed to treat on the most simple of the necessary proceedings — on 
 linear perspective, as far as it is necessary — on character, as far as 
 it is essential to sketching from nature. This method is adopted that 
 the mind may not be burthened at the commencement; for though 
 perspective be the basis of the art, and might be first considered, 
 yet if the scene be faithfully copied, there will be no deviation from 
 its most rigid rules. 
 
 A sketch-book, of whatever dimensions, should be a paral- 
 lelogram of just proportion, or a square and a half in width by a 
 square in height; a shape best adapted to landscape. 
 
 The object, or the scene proposed to be sketched, should at 
 first be simple, as the cottage No. 1. 'Take a station from which 
 the subject may seem to have a pleasing effect; commence with the 
 perpendicular lines of the principal object, sketcbing them faintly, 
 and in agreement with the sides of the sketch-book, lest, from the 
 habit of inclining letters when writing, these lines take a similar 
 inclination; then sketch the horizontal lines which describe the top 
 and lower edges of the roof; keep these in agreement with the 
 square form of the sketch-book, observing the proportion one part 
 bears to another. If any inaccuracy occur, do not endeavour to 
 obliterate it with the Indian rubber, but proceed to sketch the parts 
 as shall seem to be more correct, keeping all the lines faint in the 
 progress, and the correct form will appear amid the faintly sketched 
 lines. Place the sketch occasionally further from the eye, and 
 compare it with the object. When the general resemblance is ob- 
 
 C 
 
10 
 
 SKETCHING FROM NATURE. 
 
 tained, put in, with a firm hand, those lines which appear to be 
 faithful to the object, and give all possible freedom to such redrawn 
 lines. 
 
 This freedom may be deemed the result of long practice; but 
 it can be attempted by drawing those lines with a rapid motion of 
 the pencil. At times give no more than the indication of a continued 
 line by a tremulous motion of the hand, which will cause the line 
 to appear stronger in some parts than in others, and no way re- 
 sembling a line drawn with the assistance of a ruler. A few trials 
 will be sufficient to prove it can be easily effected, and also display 
 its advantages over mathematically drawn lines for the purposes of 
 sketching. 
 
 When the principal object is defined, proceed to the parts at- 
 tached, taking care that lines which describe doors, windows, 
 chimneys, and walls, are perpendicular, never putting in the de- 
 cided lines till the correctness of the relative situations has been 
 determined by previously faint sketches of the parts and comparison 
 with the object. Then proceed to give the accessories which make 
 up the scene; a few forms indicating the extremities of trees or 
 bushes should be sketched with freedom: this may be produced by 
 avoiding small forms, particularly such as approach to the figure 
 3, which give a stiff and harsh character to the whole ; rather 
 assume that formation of line which is given when flourishing with 
 the pen, observing that the line thus produced by the pencil should 
 be of the broken or tremulous description ; for the exclusion of 
 stiff or formal lines constitutes a charm in sketching. During the 
 progress of the sketch, be particularly careful to avoid touching the 
 
SKETCHING FROM NATURE. 
 
 U 
 
 lines with the hand : this may be done by commencing as far as is 
 consistent on the left, and finishing on the right with the fore- 
 ground, on which a few strong lines may be drawn, partaking of 
 freedom or of touch, which, by being drawn last, when the pencil 
 has lost its point, will communicate a bolder marking, and give 
 both delicac}^ and distance to the principal subject of the sketch; 
 in all of which it is recommended to give the appearance of dis- 
 tinctness, rather than positive formation: foritshould beremembered, 
 that the endeavour to make out minute parts with precision during 
 the progress of the sketch is injurious in every point of view; it 
 impedes the freedom of execution, calls the attention from the 
 scene as a whole, and is a cause of the loss of relative proportion. 
 When this is discovered by an intelligent eye, the consequence is 
 disappointment, for the resemblance is lost; a consciousness of 
 inability to restore it creates disgust, and the sketch is rejected as 
 a complete failure. 
 
 Mr. Gilpin says, “ It is always a sign of genius to be dissatisfied 
 with our own efforts:” but all that is unpleasant in this procedure 
 can be avoided by advancing gradually to what may be deemed 
 the difficulties; and it cannot be too strongly enforced on those ivho 
 for a first time attempt to delineate from nature, that the subject 
 should be simple; that the sketch should be no more than to 
 awaken the remembrance of the object when removed from it; that 
 since it is impossible to commence the undertaking with the confi- 
 dence experience inspires, a cheerful disposition is best calculated 
 to assist in attaining all that can be desired. 
 
 ‘ ' C 2 
 
12 
 
 SKETCHING FROM NATURE. 
 
 This preliminar}^ is dwelt upon with much earnestness, as a 
 right direction on the commencement of a journey is essential to 
 its satisfactory termination. 
 
 On selecting the object in nature from which it is desirable to 
 take a sketch, the best view of it demands consideration: if it can 
 be obtained from a spot generally frequented, as a pathway or high- 
 road, it is the more desirable, since it is more likely to be recognised 
 by those who may afterwards inspect the sketch-book. There is no 
 object which a lover of the arts would select for the sketch-book 
 devoid of interest; its simplicity, its grace, its richness, its rudeness, 
 its barrenness, all have their value, independent of their associations 
 of character and circumstance. 
 
 If it be taken on a particular excursion, in company with some 
 esteemed friend, the memorial of the occurrence, the scene of 
 mental gratification, the home of those we love, these are delights 
 that are awakened as the sketch-book presents the corresponding 
 scenes. Nor is the pleasure unfelt by those who contemplate the 
 views as mere transcripts of nature: they excite inquiry; they convey 
 information ; they increase the estimation in which the admirer of 
 nature is held, and contribute much towards the stock of human 
 enjoyment. If this be well founded, it will justify the repeated en- 
 forcement of a few principles on which the acquirement of such a 
 power to dispense pleasure depends. 
 
 The object being selected, and the spot determined whence it 
 is to be taken, observe the portion of the page it is to occupy, that 
 the principal object may be judiciously placed, and the sketch cover 
 the page. Suppose the scene before given is to receive the addition 
 
SKETCHING FROM NATURE. 
 
 13 
 
 of a few trees on the fore-ground, and a view of the sea between these 
 trees and the cottage, as No. 2. It will be evident that there are 
 three distinct plans or degrees of distance: first, the fore-ground; 
 second, the cottage; and, third, the distant sea. This scene might 
 appear too intricate for an early attempt; but it will be observed 
 how trifling are the means by which it is effected. The second 
 plan, or the cottage, is produced by the process before-mentioned : 
 the lines expressing the third plan, or remote ground and the sea, 
 should partake of the rapidly sketched line with a fine-pointed 
 pencil, the sea in a straight line across the opening; for fine lines 
 assist in giving the idea of distance, and should be carefully 
 observed. 
 
 The first plan should be sketched with a pencil having a 
 coarser point than the second, in order to give a boldness, and to 
 detach it from the other plans: the process for the outline of the 
 trees being as before given, the lines which describe the trunk and 
 stem should here and there receive a repetition of touch, by bearing 
 hard upon the line previously drawn on that side of the object op- 
 posed to the light; as also on parts of the fore-ground, where tufts 
 of grass, or masses of stone, may seem to require power or touch, 
 which assists in giving a spirited effect to the sketch. 
 
 With reference to the scene as it appears in nature, the strong 
 distinction of line to express degrees of distance may not be ob- 
 served; but it is justifiable to separate by such simple means, for 
 let the scene be sketched with a pencil retaining an equal point 
 throughout, and the effect will be comparatively insipid. Rather 
 than dispense with this mode of detaching plans in the sketch, it 
 
14 
 
 SKETCHING FROM NATURE. 
 
 is recommended to be supplied with pencils suited to the gradations; 
 thus, a double-hard for the distance, a medium for the second plan, 
 and a soft for the fore-ground. Pencils are manufactured to suit 
 this mode of treatment. 
 
 The advantages arising from the preservation of distances in 
 pencil-sketching are too manifest to require further remark, and 
 perhaps, as far as relates to simple outline, may have been suffi- 
 ciently enlarged upon, since the mode of obtaining outline will be 
 similar under all the variety of subjects. During the process of 
 sketching, no part should be considered undeserving of attention; 
 all should be examined with the desire to transfer characteristic 
 likeness to the sketch-book : proceed “ wisely and slow ; they stumble 
 who run fast.” The time should be occupied in considering how a 
 form can be best expressed, rather than in hastily transferring a 
 variety of forms to the paper : hence the utility of sketching the parts 
 faintly two or three times, in order to select the best adapted form 
 which is to remain ; and hence freedom and apparent truth in the 
 execution. Practice will explain how little of judicious outline is 
 necessary to preserve the resemblance of a scene, and reflection will 
 teach the method of avoiding what is superfluous. 
 
 Let the subjects Nos. 1. and 2. be examined, and it will be 
 obvious that no addition of lines would render either of them a 
 better resemblance of the object as far as relates to outline ; and 
 it may be further observed, that to receive effect afterwards, all 
 that is necessary is produced. 
 
 When a few sketches shall have been made from simple 
 subjects in nature, with the mind occupied upon the means by which 
 

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SKETCHING FROM NATURE. 
 
 15 
 
 to transcribe what the eye has received, when the judgment shall 
 have regulated the measurements of objects, or determined their 
 relative proportions, subjects of more intricacy may be attempted: 
 yet let it never be forgotten, that the advance should be pro- 
 gressive. ' ' 
 
 Examine the scene: if it be complicated, take some detached 
 portion on which to exercise the arrangement of form and character 
 in their leading features ; do not suffer the minute parts of a mass 
 to interfere with its outline, since it might prove a labyrinth from 
 which there is no escape. Confusion of line must be avoided, 
 particularly where various masses of foliage project upon each other 
 in diversity of character, or where a multiplicity of buildings crowd 
 in endless intricacy. A firmly determined outline of the bolder 
 features is all that should be attempted; clearness and simplicity 
 
 i 
 
 are excellences which, united to faithful representation, constitute 
 perfection in sketching. 
 
 There can be no definite directions for expressing the numerous 
 combinations of forms which nature presents to our view: the pe- 
 culiarity or manner of artists differs widely; each may possess all 
 the fidelity and decision acquired by freedom of touch, to imitate 
 which would be doubling the application; since every mode, 
 however felicitous, has been acquired by long intimacy with art, 
 and every lover of sketching will from practice obtain a means by 
 which to express all that may be required in the exercise of the 
 pencil. 
 
 It is usual to enrich, or even to compose, fore-grounds where 
 nature has not appeared to furnish all that might be wished ; such 
 
16 
 
 SKETCHING FROM NATURE. 
 
 as the introduction of broken ground, stones, shrubs, and trees: but 
 these should ever be suited to the scene, and such as might have 
 been so placed. 
 
 To obviate incongruity, a trifling removal from tbe spot where 
 the view is taken will frequently furnish all that can be required 
 to supply the fore-ground. This is connected with composition, and 
 in request when drawings or paintings are to be made from sketches: 
 yet to assist in calling the attention to nearer objects, a few sketches 
 of some of the diversities in form are given, Plate III. : these minutise 
 it will be useful to describe; their characters are dissimilar, and of 
 course could not be given but by assuming lines differently arranged. 
 These are objects which should occupy the attention when copying 
 from nature, where the due impression will be made: The oak 
 requires serrated or angular lines; the elm, circular or protruding 
 lines; the fir, horizontally-placed sharp angular lines; the poplar, 
 perpendicularly-placed sharp angular lines: these, with slight oc- 
 casional deviations, may convey to the mind the characteristic 
 peculiarities of various descriptions of foliage. 
 
 Rocks may be sketched in bold square markings; plains and 
 rivers by horizontal lines: but the knowledge of the proper use of 
 these lines to convey character can only be faintly obtained from 
 written descriptions; but a mind properly stimulated by persever- 
 ance will obtain the object desired. Many are the advantages 
 resulting from energies thus exerted; without this Claude had re- 
 mained a pastrj'^-cook. 
 
 Experience proves how ineffectual instruction is when inju- 
 diciously forced upon the mind by prejudiced teachers. Few have 
 

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1 
 
 I 
 
 
 
SKETCHING FROM NATURE. 
 
 17 
 
 been taught to any valuable purpose who have not been essentially 
 their own teachers. All that masters can do is, to shorten the period 
 necessary to, obtain a knowledge of the mechanism of art; and if 
 there be a deficiency of ardour, it will be fortunate indeed if the 
 pupil make any sensible progress. 
 
 It is said of Claude Lorraine, that he exerted his utmost industry 
 to explore the true principles of his art by an incessant examination 
 of nature; that he frequently continued in the open fields making 
 his studies from sunrise till dusk. Vandervelde, whose forte lay in 
 representing sea-pieces, caused himself to be bound to the mast of 
 a vessel during a storm, that he might, without the fear of being 
 washed overboard, contemplate the grandeur of the scene. 
 
 Such devotion to art must inevitably produce excellence ; and 
 it is strictly true of sketching, that success and gratification will be 
 in exact proportion to the ardour with which it is pursued: hence 
 the eye becomes familiar with the beauties of nature, the hand 
 becomes accustomed to the characters which express them, and the 
 improving judgment marks the general form — 
 
 “ The leading features, which the eye of taste, 
 
 Practis’d in nature, readily transcribes.” 
 
 “We never mean 
 
 With close and microscopic eye to pore 
 On every studied part; the practised judge 
 Looks chiefly on the whole ; and if the hand 
 Be guided by true science, it is sure 
 To guide thy pencil freely. Scorn thou then 
 On parts minute to dwell ; the character 
 Of objects aim at, not the nice detail.” 
 
 D 
 
18 
 
 SKETCHING FROM NATURE. 
 
 It is worthy of notice, that serenity of mind is essential to 
 successful efforts in sketching from nature. 
 
 “ Though the blast foretelling rain 
 Comes from off the northern main; 
 
 Though far o’er the hill and dale 
 Shades of murky clouds prevail; 
 
 Though the line thy hand would trace 
 Fail to catch from beauty grace; 
 
 Though thy pencil own the shade 
 Which an absent beam hath made; 
 
 Though thy ardour cease to flow, 
 
 Chill’d by nature’s touch of woe ; 
 
 Though thy purpose should be crost. 
 
 E’en as bark by tempest tost, 
 
 Vain to load thy heart with grief! 
 
 Sighs to thee are no relief. 
 
 Vainer still thy angry mood, 
 
 Nature will not thus be woo’d. 
 
 Calm retreat, await the hour 
 Cheerful skies resume their power; 
 
 Then with rapture hail the sun: 
 
 Nature must with smiles be won.” 
 
 There are times, and few have not experienced them, in which 
 the mind seems prepared to comprehend with avidity, to perceive 
 beauties in nature by other eyes unseen, to feel a consciousness of 
 delight, to feel the bosom’s lord sit lightly on his throne:” these 
 are happy moments for the sketch-book to receive the copied forms 
 of objects. 
 
SKETCHING FROM NATURE. 
 
 19 
 
 Nature presents innumerable subjects for the pencil; but it is 
 the eye of taste that will select a good scene, or what is termed 
 a fine arrangement of parts: the ability to succeed in this will 
 be taught by repeated trials, and there is an invaluable tuition 
 derived from the consciousness of failure while the desire to persevere 
 continues. 
 
 It frequently occurs, that there is a want of determination 
 where to commence a sketch from nature: to obviate this perplexity, 
 when the spot is selected, hold the sketch-book advanced in front, 
 so as to see over it the extent of the scene to be copied : if it be 
 wide, the book must be brought nearer to the eye, till it occupies 
 the scene desired ; then, while the eye glances across the book to 
 the view, faintly mark on the paper the situations of three or four 
 conspicuous parts of the scene, which will give the required scale 
 for the whole. If the surface of the scene be undulated, or if 
 buildings intervene, place the lower edge of the book so as to cut 
 those objects horizontally, and faintly mark the prominent features 
 in corresponding parts on the paper, and these will give the relative 
 situations: the horizontal line may also be determined by this 
 method, if there be no distant plain or sea in the view. Then, with 
 these guides to the situations of particular parts of the scene, pro- 
 ceed to sketch the forms. Faintly mark the intervening objects, 
 compare each part carefully while slightly sketched, and correct as 
 may be required. 
 
 After a general idea of the parts has been tranferred from nature, 
 proceed to give the outline more determination, as before directed. 
 
 D 2 
 
20 
 
 SKETCHING FROM NATURE. 
 
 As it may be supposed this view will consist of three plans, the 
 principal will have been sketched, forming the second ; the third 
 will be then sketched with a finer pointed pencil than the second; 
 and the first, or fore-ground, put in with a powerful line, sufficient 
 to detach it, observing the parts as they fall beneath the leading 
 characters of the second plan, that each may have its relative situ- 
 ation in agreement with the great original. 
 
 That a degree of perfection in simple outline should be obtained 
 previously to the study of perspective may seem a novel recom- 
 mendation ; but it is nevertheless advised, that the mind ma}?^ not be 
 encumbered during its struggle to adopt lines suited to the ex- 
 pressing of different objects in nature. Linear perspective unques- 
 tionably is the basis of the pictorial art; its principles pervade almost 
 every object which the pencil can produce; by it is shewn on a 
 plain surface the effect of objects receding from the eye, however 
 complicated their form or character. Yet there are but a few leading 
 rules applicable to sketching from nature; and these it may be pre- 
 sumed are operations of the mind governing parts of the delineation, 
 rather than the positive application of geometrical exactness. These 
 leading rules, as regulating principles, may be comprised in the 
 following : First, the horizontal line, which is placed at the 
 supposed height of the eye of the spectator, and parallel to the base 
 line of the subject; second, the point of sight, which is placed 
 on the horizontal line, and in or near the centre of the subject ; 
 third, the visual rays, which are lines determining the receding 
 of objects directed to their points on the horizontal line. It is in- 
 tended to render these unvarying rules of linear perspective obvious 
 
SKETCHING FROM NATURE. 
 
 21 
 
 by the assistance of Plate II. There can be no rule to determine 
 the height of the horizontal line. If it he placed high in the 
 subject, the scene will represent what is called a bird’s-eye view ; if 
 the horizontal line be placed low, or near the base of the subject, 
 the view will he deficient in importance. Too great a proportion 
 of sky, or of fore-ground, is equally to be rejected. The horizontal 
 line must therefore he determined by the nature of the subject, or 
 the taste of the delineator: in Plate X. it is assumed at about one- 
 third the height of the paper which is to receive the sketch. 
 
 The point of sight is on the horizontal line, and in front of the 
 spectator; all lines terminating in this point are denominated visual 
 rays, as the diminishing of windows and doors appear on looking 
 down a straight street of great length.. 
 
 Lines which determine the diminution of objects to points of 
 distance out of the subject are called diagonals, as the diminutions 
 in a street diverging from that before-mentioned : these lines will 
 find their terminating point on the horizontal line, regulated by the 
 angle in which the diverging street is viewed. The eye of the spec^ 
 tator is supposed to embrace all that may be included in an angle 
 of ninety degrees. The space occupied in the most extended sketch 
 from nature must never exceed what is seen when looking directly 
 to the front, otherwise there would be two points of sight, which 
 are inadmissible. 
 
 On the circle, Plate IV. No. 2. is marked an angle of ninety 
 degrees, which is the greatest expansion of view taken from nature: the 
 eye placed in the centre at a will embrace the scene whatever the 
 extent of vision, whether the size of the sketch be that of b, c, or d. 
 
22 
 
 SKETCHING FROM NATURE. 
 
 The usual angle of vision, or an angle of sixty degrees, forms an 
 equilateral triangle; the eye being placed at the angle a, and the points 
 of distance at the other two, e and f; the line connecting these may be 
 called the horizontal line. 
 
 By Fig. 3. the ordinary proportion of a sketch-book is 
 supposed to be represented : the size of the book may be taken 
 agreeably to the taste of the delineator, the rules being common 
 to all sizes, b is denominated the base line; because in making 
 drawings, it is essential that this line be drawn correctl}^ since 
 it regulates all lines which cross the subject as parallels to it: it 
 is the lower edge of the sketch-book. p,p are perpendicular lines, 
 which determine the truth of the upright position of the drawing; 
 and all perpendicular lines must be drawn in agreement with them: 
 these are the sides of the sketch-book. H is the horizontal line, so 
 called from its being the boundary of vision: it is clearly defined 
 in nature when the sea is in the extreme distance; but it exists with 
 equal effect when the view consists of lofty hills or buildings. In 
 scenes of nature this line ascends in agreement with the eye when 
 a mountain is climbed, and it descends as the eye sinks into a valley : 
 therefore this line is always on a level with the eye of the spectator 
 who is supposed to view the scene; and to some point on this line all 
 those lines which regulate the diminishing of objects must be drawn, 
 s is the point of sight ; placed directly in front of the spectator, 
 and consequently near the centre of the sketch, it marks the spot 
 whence the objects can be seen to the greatest advantage. 
 
 If these simple abbreviations of rules in linear perspective be 
 examined, it will be seen that the horizontal line, and the influence 
 
SKETCHING FROM NATURE. 
 
 23 
 
 it should possess iri delineation, is the most worthy of consideration. 
 A sketch taken from nature, with a knowledge of the value of the 
 horizontal line, will possess a correctness in the eye of taste far 
 superior to the most elaborate drawing in which this knowledge is 
 deficient. 
 
 Perspective is founded on truth; therefore objects cannot be 
 arranged otherwise than as they appear in nature, without a devi- 
 ation from its rules. A correct eye and an expert hand might 
 succeed in sketching without reference to the rules alluded to; for 
 picturesque forms in ruins, and the irregularities of precipices, 
 present outlines and surfaces over which linear perspective can have 
 no influence; but if any part of the building remain perfect in 
 arch, gateway, or roof) the horizontal line and vanishing point must 
 be attended to, or all will be confusion. 
 
 It is at the risk of being thought tedious that these particulars 
 are dwelt upon or repeated; but an anxious desire to convey the 
 proposed instruction will, it is hoped, justify any mode by which 
 it can be communicated. Some persons who possess sketch-books, 
 pencils, and palettes, have thought, or acted as if they imagined, 
 that unless they were perfectly acquainted with geometrical pro-, 
 jection, the restrictions of perspective would become troublesome. 
 The danger of a little learning” does not apply to sketching from 
 nature. 
 
 Referring again to Plate II. on which the perspective lines are 
 drawn, it will be seen how powerfully the visual rays operate on 
 those parts of the building which are presented obliquely to the eye 
 of the spectator, who is supposed to stand in front, and facing the 
 
24 
 
 SKETCHING FROM NATURE. 
 
 point of sight. The minutiae of window, roof, gate, &c. are regulated 
 by lines drawn from the nearest perpendiculars to the point on the 
 horizontal line s; and it will also be seen that the minutiae on those 
 parts of the building which face the spectator are all drawn in lines 
 parallel to the base b. In sketching from nature, with the knowledge 
 of these simple rules, and calling in their aid while the eye is di- 
 rected to the object and the hand transferring the variety of forms 
 to the paper, there will be a greater degree of correctness infused, 
 than, if sketched without reference to those rules, notwithstanding 
 all their truth existed in the objects copied from nature. 
 
 It is hoped that this will not be considered as contending for an 
 admitted truth, but rather as a means resorted to for the purpose of 
 enhancing the value of these simple rules of perspective. When 
 these rules are so understood, that the knowledge of them will operate 
 on the hand during the progress of sketching, the mind should be 
 stored with the means by which to regulate the diminution of va- 
 riously formed objects, their proper heights at different distances, 
 and the construction of architectural parts seen obliquely; all of 
 which, depending upon geometrical figures, have been erroneousl}’^ 
 considered as the dry and uninteresting part of the art: but the un- 
 favourable impression this produced has been occasioned by forcing 
 the intricacies on the attention without due preparation. 
 
 Drawing is an elegant acquisition, and the inducements to its 
 cultivation should be rendered as pleasing as possible, more par- 
 ticularly as it forms a delightful portion of female education. 
 
 It is presumed that the proper time to study linear perspective is 
 after the hand is familiar with sketching, and the eye can discover 
 
SKETCHING FROM NATURE. 
 
 25 
 
 a want of correctness. Geometrical figures then no longer alarm 
 by their abstruseness, and there is no tedium in the investigation of 
 their principles. The desire of improvement reconciles the mind 
 to any reasonable method of obtaining it, and what is obtained 
 under these circumstances is as lasting as it is valuable. To afford 
 opportunities for such information, some of the most useful examples 
 are inserted, that the mind may be accustomed to judge of the 
 effects of linear perspective upon regular objects. As the case of 
 instruments is not to be used when sketching, the examination and 
 copying and enlarging of a few problems, with a just estimation of 
 their value, will familiarize the hand with the essentials of compasses 
 and rules. 
 
 DEFINITIONS. 
 
 Horhonlal lines are those drawn straight from left to right. 
 
 Parallel lines are such as are straight and equidistant. 
 
 Perpendicular lines are those placed upright on others, or at 
 right angles on a horizontal line. 
 
 Diagonal lines are those drawn slanting; as, if two parallels be 
 given, a line drawn from the left extremity of the lower line to the 
 right extremity of the upper line is a diagonal. 
 
 A square is a figure composed of four equal lines at right angles. 
 
 A parallelogram is an elongated square. 
 
 A segment is a portion of a circular line. 
 
 A diameter is a right line drawn through the centre of a circle. 
 
 A semicircle is a circle cut by its diameter. 
 
 A right angle is formed by a perpendicular placed on a hori- 
 zontal : a square contains four right angles. 
 
 E 
 
26 
 
 SKETCHING FROM NATURE. 
 
 A?i obtuse angle is more expanded than a right angle. 
 
 An acute angle is more contracted than a right angle. 
 
 Intersection is where one line crosses another. 
 
 To raise a perpendicular line. — See Plate IV. Fig. 1. 
 
 Place one point of the compasses on the line at a, open them 
 to any distance, suppose as at b, and mark the points at either side; 
 then from these points, bb, mark a segment of the circle above the 
 linecc; where these segments intersect each other is mathematically 
 perpendicular to the point a. 
 
 To find the points of distance. — Plate IV. Fig. 3. 
 
 The parallelogram represents a picture; H the horizontal line, 
 s the point of sight, D the point of distance, or the supposed space 
 between the eye and the picture, which is usually equal to the length 
 of the picture. A cube placed so as to exhibit its sides in perspec- 
 tive would have its points of distance transferred to the horizontal 
 line, by taking the distance from s to D, and marking it on the hori- 
 zontal line, d, d. 
 
 The diminishing of squares, as exhibited in a regularly con- 
 structed pavement. — Plate IV. Fig. 4. 
 
 The baseline is supposed b b ; on it mark at equal spaces from 
 the centre, as bb, and with the compasses mark the points cc at a 
 height chosen for the horizontal line, and draw it from c to c. In the 
 centre place the point of sight s, to it draw the visual rays b v and 
 B V, which lines give the diminishing sides of the pavement ; then 
 mark the joinings of the stones on the base line bb, as 1,2,3, 4, 5,6,7, 
 and draw the lines from those marks to the point of sight s; raise the 
 

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SKETCHING FROM NATURE. 
 
 27 
 
 perpendiculars be and be, and draw the diagonals be andZ»c; 
 where these lines intersect the visual rays BV, the abridgment of 
 the square is determined: therefore draw the parallel P. The inter- 
 sections of the visual rays, 1,2, 3,4, 5, 6,7, will determine all the 
 remaining parallels of the pavement. 
 
 To find the centre for the summit of a steeple or obelisk. — 
 Plate IV. Fig. 5. 
 
 Suppose the basement to be on the line B, draw the horizontal 
 line H, and place the point of sight as at s ; draw the visual rays 
 from the perpendiculars o and p to s ; then take the point of dis- 
 tance about the width of the drawing, and mark it from the point 
 of sight s on the horizontal line to the right, as at D; from it draw 
 the diagonal D to o ; where this line intersects the visual ray P s, as at 
 N, is the base of the opposite receding perpendicular; from this draw 
 the parallel M, and the fourth perpendicular is found where it inter- 
 sects the visual ray os; then draw the diagonal M to p, and where 
 these diagonals intersect each other is the true centre of the object 
 and the perpendicular li. 
 
 To construct gable ends and roofs. — Plate V. Fig. 1. 
 
 The sides of the house being given, determine the horizontal 
 line H; draw the visual rays from the angles of the form given, 
 as b, e, d, e, to the point of sight s; then draw the diagonals b,g 
 and d, h; where these lines intersect raise the perpendicular i, 
 and it will give the true centre on which the roof may be dra^vn 
 from d and g to k. The point l is found by repeating the process 
 on the visual ray e. 
 
 E 2 
 
28 
 
 SKETCHING FROM NATURE. 
 
 To find the height of figures placed in remote parts of a 
 landscape. — Plate V. Fig. 2. 
 
 Determine the height of an object on the base line u, draw its 
 visual rays c and D from the head and feet to the point of sight s 
 on the horizontal line H, and the diminution of the human figure 
 on a level surface is determined. Upon unequal surfaces, as atEE, 
 draw a parallel from the base of the elevation on which a figure is 
 required, to the visual ray cs, as F; and the perpendicular from the 
 intersection of c s to the visual ray DS, as g, is the height of the 
 figure to be placed as required. 
 
 To find the diminution of windows, columns, &c. on the re- 
 ceding front of a house. — Plate V. Fig. .3. 
 
 Suppose the side of a building obliquely situated is required 
 to be constructed in agreement with the side seen in front: draw 
 the base line B, the horizontal line n, and the vanishing point p ; 
 from the nearest perpendicular, as d and E, draw the diagonals to 
 p; continue the parallels of the windows F and G into the perpen- 
 dicular D E, and from the intersections draw the diagonals to P; then 
 take the space between the perpendicular de and the perpendicular 
 of the window, as w, and mark it on the base line B, as 1 ; then the 
 opening of the window, as m; mark its space also on the line B, as 
 2; then take the space between the windows, and mark it, as 3; 
 then the window, as 4. Suppose the house to have a door in 
 the centre, with two windows on each side, the measurements must 
 be all marked upon the base line B, as 5, 6, 7, 8, 9, 10, and 1 1 ; then 
 mark the point of distance by placing one foot of the compasses 
 on the point s, extend the other foot to the point of distance at the 
 

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SKETCHING FROM NATURE. 
 
 29 
 
 top, and mark it on the horizontal line at v, and draw the diagonals 
 from 1,2, .3, 4, &c. to it; then raise perpendiculars from every inter- 
 section of the diagonals to v by the lines 1, 2, 3, 4, &c. and the true 
 situation of the windows, door, &c. will be found. 
 
 To draw a flight of steps. — Plate V. Fig 4. 
 
 Determine the base line b, the horizontal line H, and the point 
 of sight S; determine the points of distance D and x; then de- 
 termine the profile of the first step on the base line 1 ; to mark the 
 ascent draw the line 1 e; from the height of the step draw the 
 flat surface to D, then the diagonal lines 2 and 3, or the height of 
 the step X. The width of the flight of steps determine by the per- 
 pendicular 4 on the line 2 and 3 ; then raise the perpendicular for 
 the second step 5, draw the height of the steps to x, and the sur- 
 faces to D, continuing so to construct them to the height required. 
 At the turn of the steps draw the line of ascent F, and proceed 
 with the perpendiculars of the steps. The levels here are drawn to 
 the point of distance d, and the edges of the steps to the point x, 
 till getting above the horizontal line, the levels are no longer 
 visible. 
 
 Those who require a more intimate knowledge of perspective 
 may consult Malton’s or Brown’s ** Perspective.” The utility of 
 the rules before noticed will have claimed the consideration of the 
 lover of sketching from nature; although it is true that, with a dis- 
 criminating eye and an equally correct hand, ever}^ particular of 
 linear perspective will have been found while transcribing the scene. 
 If a sketch be taken so that errors could not be detected without 
 
30 
 
 SKETCHING FROM NATURE. 
 
 geometrical investigation, assisted by instruments, it would be hy- 
 percriticism to make allusion to deficiency in linear perspective. 
 
 It is not for the purpose of guarding against the opinions of 
 others that these rules should be stored in the mind of the sketcher, 
 but for the satisfaction derived from the consciousness of the union 
 of the rules of art with all that nature has presented to the view. 
 It is a practice worthy of imitation, after a sketch is taken, to apply 
 the rules to every object requiring proof of correctness. Suppose a 
 steeple of Gothic structure, where the ornamental part will be indi- 
 cated perhaps by simple dots: the point of sight, or point of distance, 
 will be found by taking the upper and lower lines of the object 
 which tend to the horizontal line; and this point will determine 
 the direction of all intervening parts. It will also be necessar}' to 
 examine the perpendiculars; for it is of importance that they should 
 be drawn correctly with respect to each other, and with reference 
 to the shape of the book. 
 
 In the various departments of art a student may be assisted by 
 those who have preceded him ; he may improve his skill in com- 
 position, in light and shadow, in perspective, in grace and ele- 
 gance, in all the scientific parts of his art; but with regard to 
 execution, he must depend upon himself. He may obtain a style 
 or manner that ma}^ be very pleasing; but it he copy the style of 
 another, he will certainly be a formal mannerist. The more closely 
 nature is copied, the better chance there is of success. This mode 
 of expressing character, or mannerism, by artists, is the result of 
 long practice, and each has fallen into some particular style from 
 habit, rather than choice: thus artists are as well known by their 
 
SKETCHING FROM NATURE. 
 
 31 
 
 drawings as by their hand-writing; each style is approved by cor- 
 responding tastes, as having best described what nature presented 
 to their view. 
 
 It would be impossible to determine which style might be best 
 without referring to the great original ; and this is the ordeal to 
 which every production of pictorial art must submit. To become 
 a mere copyist of any particular style is unworthy of a person of 
 the least pretension as an artist: the great object should be to 
 portray such features of the views to be copied from nature, that 
 at any remote period there can be no doubt of the meaning of every 
 line. No time can be said to be wasted in the endeavour to obtain 
 a correct outline; but let it be as simple as possible ; for compli- 
 cated lines, which appear to have meaning while the object is 
 before the eye, after a time become worse than useless, since they 
 may mislead: therefore, at the risk of being considered remarkably 
 slow, be correct; rapidity of execution may gain time, but Avill 
 often sacrifice what is more valuable. By sketching quickly at 
 first, no one can learn to sketch well; by sketching well, who will 
 not learn to sketch quickly? 
 
 Those who are acquainted ivith the productions of departed 
 genius frequently speak of sketches as resembling the style or after 
 the manner of some great master; as when a scene is open, and the 
 landscape recedes in soft gradation, some subject of Claude’s is 
 associated in the imagination, and it is said to be a Claude-like 
 scene; its characteristic being the beautiful. When a scene consists 
 of noble buildings in fine taste, and intermixed with stately trees, 
 it is said to be a Poussin-like scene; its characteristic being the 
 
32 
 
 SKETCHING FROM NATURE. 
 
 grand. When a scene consists of rocks and the ruder representations 
 of landscape, it is said to be a Salvator Rosa-like scene; its cha- 
 racteristic being the picturesque. So of other scenes possessing a 
 resemblance to the style of particular masters in their happiest 
 delineations. The study of fine originals may be attended with 
 good effect if it lead to the contemplation of the excellences of 
 those masters, their arrangement and opposition of forms, their 
 contrast and harmony of character, their just combinations of parts 
 as united to their respective compositions, in agreement with their 
 great original, Nature. 
 
 After considerable intimacy with the pencil, and consequent 
 facility in giving form, the value of a well-selected point of view 
 will become more evident: it will be perceived that removing a 
 few yards, perhaps to the right or left, will be of the greatest im- 
 portance; that the scene may be rendered more pleasing, more 
 picturesque or grand in effect, by advancing or receding a short 
 distance; that forms may assume a grandeur in masses of trees 
 and buildings, that the scene may expand, and distant objects may 
 he seen, presenting a beautiful variety, foreshortening may become 
 necessary, in consequence of the forms projecting over each other, 
 and by it the whole may become highly picturesque. The selection 
 must necessarily depend on taste. 
 
 Frequently the same principal object, with a few accessories, 
 will admit of being treated in various ways by a choice in the point 
 of sight. A ruin can rarely fail to present much that will be in- 
 teresting in any point of view: yet it is a subject which can be so 
 variously treated, that a few remarks are necessary. If it be desired 
 
SKETCHING FROM NATURE. 
 
 that the surrounding scenery should form part of the composition, 
 the due distance whence to embrace all that is necessary should 
 be sought, preserving the principal object most conspicuous: when 
 its importance is decreased, the removal has been too great; when 
 the principal occupies too much to admit of the scenery to ad- 
 vantage, the removal has not been far enough : between these the true 
 point may be found. If the ruin be such, that corresponding parts 
 or uniformity appear, the composition will be improved by removal 
 until some interv^ening object, as a mass of trees, obscure a portion 
 of the principal : the better part being sketched correctly, will readily 
 suggest all such minutiae as depend on uniformity. If the exhibition 
 of perspective be required, the object should be approached, so that 
 the parts ma}^ be shewn to advantage, but not ostentatiously: a tree 
 or masses of foliage may form a valuable portion of the subject, 
 relieving the otherwise uniformity of line. If the ruin be Gothic, 
 and near the eye, considerable knowledge of the perfect ornament 
 is necessary, to prevent giving improper forms to particular parts, 
 however mutilated ; because there are minutise that determine the 
 antiquity of the structure, which demand great attention. If only 
 the character and situation of the ruin be required, its boldest 
 masses should be chosen ; and if they can be accommodated to 
 contrasting masses of foliage, the whole presenting a striking effect, 
 or grandeur of outline, it is impossible to fail being an ornament to 
 the sketch-book. This character of outline is best adapted to the 
 amateur; neither the minute parts of Saxon or Gothic ornament, nor 
 the detail of foliage, are expected to be portrayed: the sketch will 
 be sustained by its grandeur of form and mass, and its correctness 
 
 F 
 
34 
 
 SKETCHING FROM NATURE. 
 
 of outline will render it interesting and valuable to every eye of 
 taste. 
 
 Nothing would be more difficult than to teach principles by 
 which trivial or unessential parts should be rejected : yet nothing is 
 so injurious to the character of the grand, as minute breakings, or 
 detached portions of either building or foliage. No object that can 
 be considered derogatory should find a place in such a scene. A 
 hovel in front of an ancient pile of architecture, such as might 
 occur in nature, and in the best point of view, should be obscured 
 by a screen of foliage placed on the fore-ground. This may be said 
 to be an unfaithful representation of the scene; but it will find a 
 justification in the taste which has determined on the exclusion of 
 what was derogatory to the character of the scene: so also groups 
 or detached masses of trees, which do not compose in characteristic 
 unison, may be united. The fore-ground should be such as will 
 harmonize without sameness, and contrast without inconsistency, 
 all tending to the preservation of the general character of grandeur. 
 
 “ Where Nature walks with proud majestic step. 
 
 Give not the robe the formal folds of art, 
 
 But bid it flow with ample dignity ; 
 
 Mix not the mean and trivial. Is the whole 
 Sublime, let each according part be grand.” 
 
 In selecting a point whence to sketch an extensive scene viewed 
 from an eminence, the first consideration should be how to obtain 
 the best command of the windings of a river, since nothing adds so 
 much to the beauty of an extensive view as water. If the scene be 
 terminated by lofty hills, endeavour to select the point so that a 
 
SKETCHING FROM NATURE. 
 
 35 
 
 fine form be most conspicuous in the distance : a pyramidal outline 
 of mountain will best oppose the level lines of the intermediate space. 
 If the ocean be the boundary, endeavour to place the point of sight 
 so that some object of agreeable form rise on the second plan, but 
 not in the middle of the subject: otherwise enrich the fore-ground 
 with foliage or inequality of surface, so as to break the insipidity 
 of the horizontal line. 
 
 “ Rarely to more than three distinguished parts 
 Extend the landscape ; nearest to the eye 
 Present the fore-ground, then the midway space, 
 
 Ere the blue distance melt in liquid air. 
 
 But though full oft these parts with blending tints 
 Are softened, so as wakes a frequent doubt 
 Where each begins, where ends, yet still preserves 
 A general balance.” 
 
 If the scene consists of crags, rocks overhung with trees, 
 rough surfaces of precipices, or rugged objects of whatever de- 
 scription, select a point where the outlines of the various parts cross 
 and oppose each other. Objects of similar form should not be 
 sketched near each other; all regular shapes are particularly offen- 
 sive in such a scene, where Avildness should predominate. Select a 
 principal, let the remainder be subservient: 
 
 “ For e’en variety itself may pall, 
 
 If to the eye, when pausing with delight , 
 
 On one fair object, it presents a mass 
 Of many, which disturb the eye’s repose. 
 
 All hail. Simplicity ! to thy chaste shrine. 
 
 Beyond all other, let the artist bow.” 
 
 F 2 
 
36 
 
 SKETCHING FROM NATURE. 
 
 Mr. Price, in his “ Essay,” has, from a simple and homely scene, 
 given a very happy illustration of the picturesque. Describing the 
 appearance of a lane in a dressed or improved state, and in a rude 
 or neglected state, he says, “ Intricacy in the disposition, and 
 variety in the forms and lights and shadows of objects, are the great 
 characteristics of picturesque in scenery. All painters who have 
 imitated the more confined scenes of nature have been fond of 
 making studies from old neglected bye-roads and hollow ways; and 
 perhaps there are few spots that in so small a compass h.ave a greater 
 variety of that sort of beauty called picturesque. Perhaps what is 
 most immediately striking in a lane of this kind is its intricacy: any 
 winding road must necessarily have some degree of intricacy; but 
 in a dressed lane every effort of art seems directed against that dis- 
 position of the ground; the sides are so regularly sloped, so regularly 
 planted, and the space between them and the road so uniformly 
 levelled, the sweeps of the road so plainl}^ artificial, the verges of 
 the grass that bound it so nicely edged; the whole, in short, has such 
 an appearance of being made by a receipt, that curiosity, that most 
 active principle of pleasure, is almost extinguished. But in the 
 hollow lane and bye-road all the leading features, and a thousand 
 circumstances of detail, promote the natural intricacy of the ground: 
 the turns are sudden and unprepared; the banks sometimes broken 
 and abrupt; now wildly overhung with thickets of trees and bushes, 
 now loosely skirted with wood; no regular verge of grass, no cut 
 hedges, no distinct line of separation; the border of the road, shaped 
 by the tread of passengers and animals, is as unconstrained as the 
 footsteps which formed it; even the tracks of the wheels, for no cir- 
 
SKETCHING FROM NATURE, 
 
 37 
 
 cumstance is indifferent, contribute to the picturesque effect of the 
 whole.” This is so just, such an admirable illustration of the pic- 
 turesque, and also such a painter-like discrimination of natural 
 objects, that the taste on which it is founded is worthy of notice 
 and cultivation. 
 
 Amongst the scenes which nature presents to our admiration, a 
 fall of water holds a pre-eminent station; and though its effects may 
 have been various upon a multiplicity of spectators, there will 
 scarcely be found one who has not experienced sensations which 
 have made lasting impressions. The recollections of such scenes in 
 our tranquil hours are fraught with a considerable portion of terror 
 mixed with an indescribable pleasure. In our conversations on the 
 visits paid to those surprising scenes, there is a delight which in 
 vain seeks for appropriate language, and after exhausting every term 
 expressive of astonishment and rapture, reposes in silent admiration. 
 
 The Falls of the Clyde have not only excited the curiosity 
 of all tourists to that part of Scotland, but they have afforded 
 subjects for the pencils of many artists, and more numerous amateurs; 
 they are therefore objects ver}^ generally known,^ and their beauties 
 as highly appreciated. If the sources of pleasure thus derived 
 be examined, they will be found to originate in the effect produced 
 by the picturesque, in which so great a portion of variety is mingled; 
 this not only seizes upon the imagination, but affords a continual 
 supply to gratify the curiosity. Mr. Price^ in his “ Essay on the 
 Picturesque,” as just quoted, says, that “ intricacy in the disposition, 
 and variety in the forms, the tints, and the lights and shadows of 
 objects, are the great characteristics of picturesque scenery.” Per- 
 
38 
 
 SKETCHING FROM NATURE. 
 
 haps no combination of objects equals that which composes a water- 
 fall, in presenting to the imagination the essentials of the picturesque. 
 Every line is marked by variety and intricacy; every ruggedness of 
 rock, every projecting bough, every impending root or mass of ve- 
 getation, is wild and irregular; it is a subject for the pencil and for 
 contemplation of a superior class amongst the beauties of the 
 creation : 
 
 “ Smooth to the shelving bank a copious flood 
 Rolls fair and placid ; where collected all 
 In one impetuous torrent, down the steep 
 It thundering shoots, and shakes the country round. 
 
 At first an azure sheet it rushes broad; 
 
 Then whitening by degrees, as prone it falls, 
 
 And from the loud-resounding rocks below, 
 
 Dash’d in a cloud of foam, it sends aloft 
 A hoary mist, and forms a ceaseless shower.” 
 
 There are many particulars, occasionally uniting, which produce 
 very peculiar effects; the degree and tone of light, the hour of day, 
 the quantity of water rushing over the precipice, its being more or 
 less tinged with peat, the time of the year, the vernal or autumnal 
 lines of the surrounding scener}'- in all their varieties of contrast or 
 delightful harmony : these may be considered sufficient to account 
 for the variety of opinions respecting the characteristics, or the effect 
 produced on the minds of spectators; and these peculiarities are 
 calculated to raise various degrees of astonishment and delight. 
 But there are sensations more immediately connected with the love 
 of the arts, that operate forcibly in exciting that enthusiasm which 
 is almost essential to the just contemplation of those stupendous 
 
SKETCHING FROM NATURE. 
 
 39 
 
 works of nature. Whether enthusiasm be a departure from correct 
 feeling is not to be investigated: yet, without it some gratifications 
 of the highest order are excluded from enjoyment, particularly 
 where the picturesque or the sublime becomes the characteristic of 
 the scene. It is by no means strange, that scenes of this description 
 should produce effects varying from each other on different or in- 
 different beholders; but even where there exists a taste for the grand 
 effects of nature, there will be a diversity of opinion, arising from 
 the changes of appearance to which those scenes are subjected. To 
 explain under what combination of circumstances either of the 
 Falls of the Clyde would appear to the greatest advantage, cannot 
 be here attempted : the accidental passage of a cloud might give a 
 solemn character to the scene; the morning sun glancing upon the 
 falling foam, while all around is grey, might infuse a peculiar 
 beauty of effect; the evening glow of an autumnal sun, touching 
 the pendant foliage with gold, illuminating the rocks, and casting 
 unnumbered beauteous tinges amid the boiling foam, might give a 
 splendour to the scene of enchanting grandeur; the thick clouds 
 may overcast the view, a broad shade of awful gloom give additional 
 depth to the chasm, and an indistinctness to masses of rock, overhung 
 with dark projecting foliage, that might present the characteristic 
 of sublimity. 
 
 “ How profound the gulf! 
 
 And how the giant element 
 From rock to rock leaps with delirious bound, 
 
 Crushing the cliffs, which, downward worn and rent 
 With his fierce footstep, yield in chasms a fearful vent 
 To the broad column!” 
 
40 
 
 SKETCHING FROM NATURE. 
 
 To these varieties of light under which such scenes may be 
 Auevved, must be added the impressions made by the rushing and 
 roaring of the waters, the degree of timidity Avith which the pre- 
 cipice or the boiling foam is approached, the strength of nerve in 
 the beholder, and last, not least, the degree of taste or of enthusiasm 
 Avdiich excited the desire to behold those awful scenes of nature. 
 Nor should it be forgotten, that Avaterfalls, stupendous as those of 
 the Clyde, are considerably increased in their terrors by being 
 vieAved from below; the beholder shudders at the overwhelming 
 appearance, and shrinks from the impending terrors: 
 
 “ Lo ! where it comes like an eternity, 
 
 As if to sweep down all things in its track. 
 
 Horribly beautiful!” 
 
 Hoav different the sensations experienced when beholding an 
 open tranquil scene, such as the prospect from Richmond Hill; 
 
 “ From whose fair brow 
 The bursting prospect spreads immense around ; 
 
 And, snatch’d o’er hill and dale, and wood and lawn. 
 
 And verdant field, and darkening heath between, 
 
 - , And villages embosomed soft in trees. 
 
 And spiry towns by surging columns mark’d 
 Of household smoke, the eye excursive roams.” 
 
 In favourable lights, there is a splendour cast on the Thames as 
 it winds gracefully along; the tranquil meadoAvs beneath increase 
 the breadth of light, Avhich becomes brilliant, but happily balanced, 
 melloAved, and subdued by the surrounding masses of luxuriant 
 foliage, Avhose delicacy of form and gradation of tone, insensibly 
 
SKETCHING FROM NATURE. 
 
 41 
 
 varying from light to shade, lead the eye over the whole expanse, 
 which terminates in atmospheric tints, and leaves the mind con- 
 scious of delight in contemplating a scene so tranquil, chaste, and 
 heautiful. 
 
 The sensations experienced while sketching such scenes are of 
 a pleasing and exalted kind; the heart seems to have been improved 
 during the contemplation or reverie, and consciousness returns hut 
 to employ the tongue in expressions of delight. If an enjoyment 
 so pure be thus experienced, there is no doubt of the inlets to 
 happiness being multiplied by sketching those magnificent scenes. 
 
 Nature offers such endless variety of subjects for the pencil, 
 that it may suffice to have glanced at a few of those which are 
 universally acknowledged as beauties, without presuming to lead 
 taste captive. The impressions made on the mind of an amateur, 
 who has sketched a particular scene, are not produced on all who 
 see it ; a corresponding taste can only be found in those who have 
 contemplated and have been delighted with nature under similar 
 appearances: for, after all, the ability to judge of representations 
 of natural beauties, and the admiration they ma}'^ excite, depend 
 chiefly on intimacy with the subject, or an enthusiastic love of the 
 arts. 
 
 In all that has been advanced it has been assumed, that 
 sketching from nature is not pursued from a selfish gratification 
 alone, but with reference to the pleasure it may communicate to 
 others; and the better method of insuring this is, to be as faithful 
 as possible to the scenes, that the sketches may be recognised at a 
 glance, and also that they may be useful as references. A correct 
 
 G 
 
42 
 
 TINTING OF SKETCHES. 
 
 outline is the anatomy of landscape, which may afterwards be 
 clothed and decorated as taste and judgment may dictate. It is 
 recommended at all times to place near the principal object a 
 human figure or an animal, to serve as a scale of proportion. 
 
 TINTING OF SKETCHES. 
 
 For the preservation of sketches, it is recommended to wash 
 them over with weak gum-water, or a simple wash of colour, by 
 means of a flat camel-hair pencil, as Plate VI. If it be re- 
 quired to add a degree of effect by gradation of tint, some little 
 instruction will be necessary to those unaccustomed to distribute 
 tint with the hair-pencil. The mechanism of this particular is 
 easil}'^ acquired, and a simple method is given, Plate VII. Rub 
 a small portion of a cake of the colour most approved of, either 
 ink, or sepia, or grey, into a saucer with a little soft water; 
 then, having two other saucers, make three gradations of tint. The 
 degree of strength chosen for the first must regulate the strength 
 of the other two and three. Referring to the annexed print, a 
 relative proportion of power may be seen: let those tints be well 
 mixed in their respective saucers; take a hair-pencil, large as the 
 nature of the sketch will permit, and wash over those parts most 
 remote, preserving the line of water clean ; when this is dry, with 
 the second degree of poAver wash OA^er the parts Avhich may be called 
 the second plan; Avhen this is dry, with the third poAver Avash over 
 the parts on the fore-ground : this process is a simple tinting of 
 the sketch. 
 

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TINTING OF SKETCHES. 
 
 4 .) 
 
 Those unacquainted with the process of washing in the tints will 
 observe, that the colour must be well incorporated with the water, 
 and so diluted as to flow freely from the pencil : trial made on a 
 piece of loose paper muII determine this. A proper quantity should 
 be taken in the pencil : for if too little be taken, it will neither 
 flow equally, nor cover the intended space ; if too much be taken, 
 it will encumber the operation, and prevent the due decision of 
 form. If the space to be covered be large, the pencil must be fre- 
 quently replenished with tint, and deliberately made to act on the 
 edge of the fluid till the space be covered ; and the pencil must not 
 touch any other part of the distributed tint during the progress. 
 In repeating the wash, when necessary, care should be taken that 
 the previously washed tint is perfectly dry ; and it will be better 
 to keep within the boundary of the first wash, lest a degree of 
 harshness should be given to the edge of the mass, which it would 
 be difficult to remove without injury. 
 
 Another simple method of preserving and enriching a sketch is, 
 to wash a tint of grey or sepia over the whole subject; when dr}'', 
 repeat the washes, as in the process above ; when all is dry, reduce 
 a small portion of white with water, and wash in the breadth, or 
 touches of light, on appropriate parts: these maybe repeated where 
 greater relief is wanted; generally a few stains upon the principal 
 is all that will be found necessary, unless some particular effect be 
 wished, and then perhaps it is better to copy the sketch. 
 
 A very pleasing effect can be given to sketches by washing in 
 the distance with a tender grey tint, giving some indications of 
 
 G 2 
 
44 
 
 MIXING OF TINTS. 
 
 clouds as the sky may seem to require ; then add a little sepia to 
 the grey, and wash in the second plan, preserving the breadth of 
 light as determined upon ; afterwards add more sepia, wash in the 
 fore-ground, and retouch slightly where power is required. 
 
 During the progress of these washes, it is better to do too little 
 than too much; all should have a slightness, but far removed from 
 what may be termed slovenly. The greatest beauty this description 
 of sketch can possess is, its proper indication of character in outline, 
 and application of tint just sufficient to assist the imagination in 
 the separation of masses. 
 
 The process of tinting, or rather staining, the sketches, after 
 these modes, is easy of attainment. To determine where the lights 
 shall be, will demand some consideration ; improperly left, they are 
 most injurious: therefore, before the application of tint, let it be 
 well considered how the parts of the scene are to be relieved, the 
 principle of which is, to oppose darks to lights and lights to darks ; 
 the intermediate or half-tint to be so disposed as to obviate harsh- 
 ness in the opposing tints : this is the department for exercising 
 the taste and judgment. It may be said, sketches do not require to 
 be thus treated ; but since they are intended to communicate 
 pleasure to others, it must be acknowledged, that a few stains ju- 
 diciously applied are calculated to increase the gratification: those 
 tints not only separate the parts, but they tend to excite the ima- 
 gination; and to the e3?^e of taste they possess the properties of 
 pictures, delightful to contemplate. This pleasure arises chiefly 
 from the parts being rather indicated than made out; the imagi- 
 nation is called into action ; there is a satisfaction in reconciling 
 

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COLOURING OF DRAWINGS. 
 
 45 
 
 those intentions to our own ideas, or in filling up the subject in 
 agreement with our own experience. 
 
 After practice in the progressive mode of advancement has 
 left nothing unsubdued, and the desire to become acquainted with 
 the use of colours arises, then the method of blending, compounding, 
 harmonizing, and opposing of tints may be commenced. But let 
 jiot the idea of giving variety of hue to a drawing be supposed a 
 means by which it will be rendered more worthy of notice, or that 
 undertaking to appl}'^ colours is a necessary advancement in the 
 art. If by study and nice discrimination effects in nature make 
 impressions that command attention, either b)^ force of light and 
 shade, -or by opposition of colour; 
 
 “ If thy heart 
 
 Glow, palpitate with transport at the sight; 
 
 If emulation seize thee to transfuse 
 These splendid visions on thy vivid chart; 
 
 Haste, snatch thy pencil, bounteous Nature yields- 
 To thee her choicest stores, and the glad Muse 
 Sits by assistant.” 
 
 If it be thought possible from previous study to communicate 
 any particular effect to a drawing, if the love of art urge the at- 
 tempt, if the scene presents itself to the mind’s eye repeatedly, the 
 calculating path of instruction may be quitted, and the taste in- 
 dulged ; it is the offspring of true feeling, and more valuable than 
 volumes of dictation on the use of colours: otherwise, let the desire 
 to “ dip the pencil in the varied hue” be regulated by progressive 
 advances, as a slower, but not less certain, means of obtaining the 
 
46 
 
 MIXTURE OF COLOURS. 
 
 end desired. When sketches shall have been stained, and repetition 
 shall suggest ideas of effects more powerful, 
 
 “ Mix thy tints. 
 
 And call on chaste Simplicity again.” 
 
 “ Nature’s simple loom 
 
 Weaves but with three distinct or mingled hues 
 The vest that clothes creation. These are red, 
 
 Azure, and yellow.” 
 
 There is much truth and poetry in this quotation from Gilpin: 
 the spreading of simple tints, where they seem to be required, 
 either of the red, the blue, or yellow, will not appear difficult, nor 
 perhaps will the arrangement of the different degrees of strength 
 of tint; but the mixture of any two or more degrees of strength, 
 for variety of tone, and the effect one may produce on another in 
 a multiplicity of applications in the progress of a drawing, becomes 
 the province of those who would render assistance. The list of 
 colours for landscape will be limited, but sufficient for the purposes: 
 they are in mixture susceptible of infinite variety in tone, and ca- 
 pable of giving great power of colour. They are such as may be 
 purchased in cakes at the shops of those who furnish materials for 
 artists, and are as follow : 
 
 Red ochre. Indigo. Yellow ochre. 
 
 Luke. Gamboge. 
 
 Sepia. 
 
47 
 
 EXPLANATION OF TERMS IN PAINTING. 
 
 As the use of technical terms cannot be avoided, an expla- 
 nation of some may perhaps be necessary to their being clearly 
 understood. 
 
 A Tint. 
 
 The cake of colour being touched with soft water, a small 
 quantity rubbed off in a saucer, and reduced with water to the 
 strength required. 
 
 A Tint washed in or over. 
 
 With a pencil moderately charged with tint, commence at the 
 most convenient part; spread it evenly by slow movements, keeping 
 the pencil as equally charged as possible till the wash is completed. 
 
 Soften off 
 
 Is to reduce the power of a wash while in its wet state, b}?^ 
 applying another pencil, dipped in soft w^ater, to the edge of the 
 tint, and gradually reducing it till all colour is lost. Or this may 
 be effected by wetting the paper previously, or by the repetition of 
 tints till the gradation be obtained. 
 
 Blending 
 
 Is the softening off of one tint over another, as the warmth of 
 the horizon tint over that of the sky tint. 
 
 Touching 
 
 Is the giving of power to form, or character for spirit or 
 effect. 
 
48 
 
 EXPLANATION OF TERMS. 
 
 Taking out 
 
 Is the touching with water and dabbing with a cloth, or 
 rubbing with crumb of bread, to obtain light on a part previously 
 coloured too heavily. 
 
 Making out 
 
 Is distinctness given to objects either in outline or colour. 
 
 The Principal 
 
 Is that part of the scene to which the eye is first attracted, 
 either by light or dark. 
 
 Lights 
 
 Are such parts as receive illumination. 
 
 Shade 
 
 Is the part opposed to the light. 
 
 Mass 
 
 Is a considerable breadth of light or of shade thrown on a 
 landscape for effect. It also has reference to parts which should 
 appear connected, to destroy a fluttered effect in foliage, &c. 
 
49 
 
 DRAWING-BOARD, DRAWING-PAPER, &c. 
 
 To those who may have approved of what has been hitherto 
 recommended, all that is necessary on outline may be considered as 
 given: yet let it be remembered, that the suggestions were confined 
 to the sketch-book, from which no leaf should ever be torn : a 
 subject required from it, for any particular purpose, is to be copied, 
 and the following directions are the progressive means to be 
 adopted : A drawing-board, a case of drawing-instruments, and a 
 T-square, must be provided : if the drawing-board be of that de- 
 scription which admits a surface into a surrounding frame, and 
 secured behind, the drawing-paper must be wetted, by being dipped 
 into water; after remaining about five minutes to expand, it may 
 then be placed upon the board, pressed into the frame, and fastened 
 with the buttons behind, in which state it must remain until the paper 
 be perfectly dry. If the board be a plain surface, the paper in its 
 expanded state may be fastened by gluing the edges. It has been 
 usual to damp the paper by passing a wetted sponge over the sur- 
 face; but the friction may do injury: therefore immersion is pre- 
 ferable. The drawing-board must be correctly formed at its angles, 
 and the T-square must be equally true: their agreement will be 
 found by applying the T-square to the angles of the board ; if the 
 line of the ruling-blade and the edges of the board be parallel to 
 each other, a drawing may be correctly made on it; otherwise the 
 trouble will be much increased: therefore the agreement of board 
 and T-square is indispensable to those who make drawing an 
 amusement. 
 
 H 
 
.50 
 
 QUALITY OF PAPER. 
 
 The quality of the paper should be such as will best suit the 
 scene it is to receive. If larger than eighteen inches by twelve, 
 perhaps a paper with a surface somewhat rough is best for landscape. 
 If the scene require the truth of architecture to be expressed, the 
 surface of the paper should be of closer or finer texture: generally 
 speaking, the smaller a drawing, the smoother the paper should be 
 chosen. Whatever be the subject copied to receive colour, let it 
 be borne in mind, that the preservation of the surface of the paper 
 is essential to the clearness and delicacy of the drawing. It is 
 therefore recommended never to obliterate a falsely sketched line 
 with what is called Indian rubber ; its friction is destructive to 
 clearness of tint. The better method is, to sketch so faintly those 
 lines that are absolutely necessarj^ that an error may be brushed 
 away with a handkerchief. A line to determine the boundary of 
 an object is not required to remain ; therefore sketching in a way 
 to serve as guides to the light and shade of the subject is sufficient. 
 
 In this state of the drawing it will be proper to consider the 
 effect intended to be given, to reflect if the sketch demanded any 
 particular treatment when it was originally taken, how the prin- 
 cipal light should operate on the scene, and where the breadth of 
 shade would be best situated; for effect must be considered as de- 
 pendent on the just distribution of these. It may be simple, as 
 rendering the principal object most prominent, either by its having 
 the greatest portion of light or of shade; or it ma}'' be complex, by 
 a distribution of light and shade over other parts of the subject, 
 yet subservient to that which is denominated the principal. Much 
 must depend on taste : yet whatever determination be taken re- 
 
LIGHT AND SHADOW. 
 
 51 
 
 specting the situation of a mass of light, a pleasing, perhaps some- 
 thing approaching to a pyramidal, form will be most advantageous. 
 The distribution of masses of shade must be regulated by what will 
 be most conducive to the general effect of the whole: 
 
 “ With studious eye examine next the vast 
 Ethereal concave ; mark each floating cloud, 
 
 Its form, its colour, and what a mass of shade 
 It gives the scene below.” 
 
 Although it may be considered unusual, in order to acquire a 
 knowledge of the art, to study the outline thus, nevertheless the 
 exercise of taste and judgment is of great importance at this stage 
 of the drawing. What may have been observed in nature, when the 
 sketch was taken, was in all probability a general diffusion of light, 
 the representation of which is insipid: therefore it is justifiable to 
 introduce those oppositions which are most likely to produce a 
 pleasing or a grand effect. The determination as to the situation, 
 breadth, and form of those masses must be regulated by what is 
 presented to the mind, after mature consideration, and previous to 
 the application of colours. To illustrate this, a subject is annexed 
 in the different stages of advancement. Plates VIII. and IX, This 
 scene may be treated in a variety of methods with respect to dis- 
 position of light and shade, but an effect is assumed for the purpose 
 of exhibiting breadth and simplicity. The outline of the leading 
 masses being faintly sketched, mix a tint of gre}^ such as the colour- 
 makers call neutral tint; or the tint ma}/^ be made thus: Take a 
 delf palette, or a plate, dip the cakes of colour in soft water, and 
 rub off a small portion of indigo, lake, and red ochre, or light red, 
 
 H 2 
 
52 
 
 MIXING TINTS, &c. 
 
 as it is sometimes called, keeping those tints apart. Then take a small 
 saucer, and with a hair-pencil take from the indigo a quantity suited 
 to the size of the drawing, and dilute the tint with water; then add 
 a portion of the red and a smaller portion of lake, mix them well 
 with the pencil in the saucer, and try the tone of colour on a piece 
 of waste paper, to ascertain the precise hue of neutral tint: for this 
 process any precise directions would fail, but artists have agreed 
 that the blue should predominate, being only reduced in its harsh- 
 ness by the addition of red, and just sufficient of lake to give a 
 tender violet hue to the compound. This tone, denominated neutral 
 tint, is found to be best adapted to express the aerial tone of nature: 
 therefore, if on trial during the mixture, the blue prevail too pow- 
 erfully, add more red; or if the red prevail over the blue, add indigo, 
 to restore it to that pearly tone which forms the best basis for draw- 
 ing in colours. The degree of power with which to commence, 
 must depend on taste and the nature of the subject ; for whatever 
 be its power, the succeeding tints must be regulated by it, so that 
 the drawing will be strong or feeble in proportion as the commenc- 
 ing tint be chosen. Observe invariably to use as large a hair-pencil 
 as the drawing will permit; because a small pencil will not possess 
 power to distribute a tint equally over the required space, and in 
 touch will be altogether ineffectual. Except on particular occa- 
 sions, a pencil called a sivan-quillt when elastic and with a good 
 point, is best calculated for general uses. 
 
 Prepare the neutral tint in three gradations of power, and in se- 
 parate saucers; commence with the weakest to wash in the clouds, 
 from the top downwards, keeping the pencil moderately full, so as 
 

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GRADATIONS AND APPLICATION OF NEUTRAL TINTS. 53 
 
 neither to cause the edges to be hard from an excess in the quantit}^ 
 nor undetermined from deficiency of tint. If the drawing be large, 
 this process will be facilitated by previously damping the surface of 
 the paper with a large hair-pencil dipped in soft water, the superflu- 
 ous wet being dabbed up with a linen cloth or handkerchief. In either 
 case proceed with the broad wash until the subject, with the excep- 
 tion of the highest light, be covered with an equality of tint : during 
 this process consider attentively for what purpose any particular part 
 may be left uncovered, that the appropriate forms be preserved. In 
 the clouds avoid regularity and repetition of form, such as angles, 
 circles, squares, &c. which are offensive; if by accident these should 
 occur, as soon as the tint is perfectly dr}'^, correct the parts objected 
 to, by adding small portions of tint on the extreme edges of the 
 mass, so as to prevent the repair from being seen. If by accident 
 the tint should not be even as required, pass a large flat hair-pencil 
 dipped in soft water over the whole drawing, horizontally and per- 
 pendicularly ; and while it is completely wet, pass the wet pencil a 
 few times over the most objectionable parts, which will immediatelv 
 rectify them. If the tint shall have risen so as to stain the lights, 
 dab such parts with a linen handkerchief, and all will be restored to 
 the effect of No. 1. Plate VIII. The paper during such a process as 
 above described, will have absorbed a considerable quantity of water, 
 and in parts will become uneven, or what is called cockled : in this 
 case the better mode is to permit it to dry gradually; the heat of a 
 fire would only dry it partially, and render such parts harsh under 
 the pencil during the next application of tint. When the paper shall 
 have resumed a flat surface, and before it is thoroughly dr}^ pro- 
 
54 
 
 MANAGEMENT OF THE NEUTRAL TINTS, &c. 
 
 ceecl to wash in all the parts requiring a second degree of power, 
 preserving the edges of the respective parts, as in the first process. 
 The forms require equal attention, particularly those next the lights. 
 On the shadow sides of objects the tint should be kept rather within 
 the form given by the first tint, lest hardness be introduced. If 
 during this process objectionable shapes occur, the method of wash- 
 ing with clean soft water must be resorted to ; remembering to wet 
 the whole of the drawing, and to clear the soiled lights by dabbing 
 as before, being careful not to injure the paper by friction. A con- 
 siderable degree of sharpness should be preserved, so that the second 
 tint may be distinguished from the first, otherwise a woolly effect 
 will be the result. The degree of sharpness may be judged of by 
 referring to No. 2. Plate VIII. The paper may, for the third gra- 
 dation of power, be permitted to dry, and the washes applied till 
 the effect of No. 3. Plate IX. is produced, the fore-ground being 
 washed over with sepia, to detach it from the other plans. 
 
 In proceeding to give colour to such a subject, the following 
 hints are rather submitted to the consideration of those who may 
 feel inclined to adopt the mode of obtaining this particular effect; 
 they are not given as directions for the best method to be adopted, 
 where the proceeding should be regulated by taste, neither are they 
 offered as the most perfect of which the art is capable. The language 
 of dictation must not be used to produce mannerism; no particu- 
 lar must be insisted on tending to a preference of style. The love 
 of art will suggest careful study and examination in this stage of 
 practice. It is in the mechanism alone that presumption is ha- 
 zarded; and even here only one of many methods is pointed out as 
 
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COLOURS, SIMPLE TINTS, AND COMPOUNDS. 
 
 55 
 
 a means by which to proceed in the acquirement of knowledge, in 
 order to guard against disappointments, and to repair accidental 
 omissions, or an5Mnjury done to the sketches. To inspire confidence 
 is all that should be ventured upon. If perseverance be excited, 
 the end is answered, and the intention of this work is complete. 
 
 Returning to the subject, which has received three gradations 
 of tint as a preparative for an effect in colours, various methods may 
 be resorted to as a means by which a degree of finish may be given. 
 The knowledge of colours in simple tints and their' compounds, 
 either by mixture in tint, or by being washed over each other, can 
 only be obtained by practice. A tint of blue, washed over a tint 
 of lake, will be a much clearer purple, than if the blue and lake be 
 mixed in a saucer, and then washed in. All tints appear brighter 
 by judicious opposition. “The primitive or simple colours, red, 
 blue, and yellow, do not afford the most pleasing contrasts; nor do 
 the derivations or compound colours, orange, purple, and green, 
 produce the best effects when opposed to each other: hence may be 
 deduced a direction in the choice of tints likely to produce the most 
 pleasing contrasts.” And it is also worthy of notice, that such se- 
 lection’s with respect to contrast produce harmony every way con- 
 sistent with the laws of nature or the rules of art; from both of 
 Avhich may be inferred, that beauty, as applied to the arts, does not 
 consist in multiplicity of colours, but in the just combination of 
 a few. 
 
 In this department of the art, the numerous colours which are 
 supposed essential to drawing in landscape become stumbling-blocks, 
 like the intricacies of perspective before a knowledge of their uses 
 
56 
 
 PROCESS IN landscape-drawing; &c. 
 
 has become apparent. In all other studies that occup}^ the inves- 
 tigating mind, the use of implement or medium must be understood 
 before either can be effectively applied: so in the use of colours, 
 till their effects and contrasts be made evident by intimacy with their 
 properties, they cannot be correctly or judiciously used. As a 
 means by which some ideas of their respective value may be im- 
 parted, the following remarks are introduced: Suppose a scene to 
 consist of three plans, or degrees of distance, similar to No. 4. 
 Plate IX. The first plan, with the ruin on it, acts as the fore- 
 ground; the second plan, a craggy hill, occupies the intermediate 
 space; the third plan is a distant mountain, with a river winding 
 at its base. The application of colours to this scene should be regu- 
 lated by reference to nature, and to the inadequate means by which 
 her beauties may be represented. 
 
 A faint tint of lake may be washed over the third plan ; be- 
 cause this tint, upon the neutral wash previously given, will render 
 it less aerial than the clouds, and because purple is the most retiring 
 tone. * 
 
 A tint of red ochre may be washed over the second plan; be- 
 cause this tint upon the neutral wash of the part will cause it to 
 advance in front of the third, having less of the aerial tone. 
 
 A stronger tint of red ochre may be washed over the first 
 plan; because this tint, upon the washes previously given, will 
 cause the mass to advance in front of the second, and because there 
 is less of the intervening tone which the atmosphere gives to every 
 object in nature. 
 
 When these simple applications of colour have been considered. 
 
CHARACTERISTIC ACCESSORIES IN LANDSCAPE. 
 
 57 
 
 and their respective distances appear relative to each other in 
 strength and tone, they must yet be made to agree with the tone 
 of tlie light: 
 
 “ The sky, whate’er its hue, to landscape gives 
 A corresponding tinge : the morning ray 
 Spreads it with purple light, in dewdrops steeped; 
 
 The evening fires it with a crimson glow.” 
 
 Therefore whatever tone be given to the principal light in the sky, 
 that tone must operate on all the parts which ma}^ have surfaces 
 turned towards the light ; and this tint should be increased in its 
 strength gradually, as the parts requiring it approach the front. 
 
 Enriching the subject, diversifying the surfaces of the masses 
 with characteristic accessories, must have reference to situation; 
 and the tint or touch used for such purposes must be in agreement 
 with aerial perspective. Suppose it be necessary to touch or make 
 out objects on the fore-ground with powerful colours: such making- 
 out or touchings on the second plan must be less distinct in form 
 and power, because of the interference of the atmospheric medium 
 through which they are seen ; and this attention must be paid to 
 each degree of remoteness. Objects situated on masses may 
 be sketched with the lead-pencil as guides for the forms, and the 
 variety of tone must be given by neatl}'^ touching the respective 
 parts. 
 
 In giving touch to a drawing, the greatest care should be taken 
 to do no more than enough, either in distinctness of form, force, or 
 brilliancy of colour: therefore, when the local colours have been 
 washed over the masses in agreement with their aerial perspective, 
 
 I 
 
58 
 
 TONING AND EFFECT. 
 
 proceed to retouch, or render more evident any objects that may 
 require it, by toning them in agreement with the mass on which 
 they may be situated. On the masses of shade, all unnecessary 
 appearances of lights, which tend to disturb the breadth, should be 
 touched out, to prevent the general effect from being confused. In 
 all these proceedings observe, that tints appear stronger and sharper 
 on the edge while wet than after they become dry; and that con- 
 tinuation of retouch, or wash with a tint too feeble, is very detri- 
 mental to spirit and clearness: the tints beneath are injured by the 
 repeated action of the pencil, and the general appearance of the 
 drawing will be void of decision, or will have what is called a woolly 
 effect. 
 
 Plate X. This subject is given on a larger scale, for the purpose 
 of shewing in what manner it might justifiably be enriched. The 
 fore-ground is rendered bolder, more broken, and more covered 
 with underwood. A few figures are introduced to enliven and di- 
 versify the mass; a few trees are added to the part opposed to the 
 second plan; and an increased force is given to the various parts 
 both in colour and touch. This increase will require a propor- 
 tionate degree of power to be given to the second plan ; a few washes 
 on the foliage will be sufficient, preserving the gradation in aerial 
 perspective. In this process be careful not to alter the outline of 
 any part which may be essential to the truth and character of the 
 scene. The sky will require the azure to be strengthened in parts; 
 and the clouds will require repetitions of faint purple and tender blue 
 stains, to preserve the harmony of the subject: 
 
 “ Whate’er the force of opposition, still 
 
 In soft gradation equal beauty lies.” 
 
ON GIVING FINISH TO DRAWINGS. 
 
 59 
 
 It will be observed, that the surface of the paper, as before re- 
 commended, must be studiously preserved from friction or injury 
 of any kind ; that the tints should be washed with attention to 
 their evenness and clearness; and that touches should not disturb 
 masses by their power : yet in the progress, spots may nevertheless 
 appear, either of light or of dark, injurious to good effect. In 
 correcting these, the attention must be directed to their situation: 
 spots of light generally must be warmer than the shade on which 
 they appear, and of course should be toned down, in agreement 
 with the colour of the object. 
 
 If an increased effect of light be required by heightening 
 upon a mass, or to produce catching lights on the edges of objects, 
 they should be judiciously touched with clean water, and just 
 before it is absorbed, a piece of blotting-paper should be carefully 
 pressed on the parts: if sufficient colour has not been taken up, 
 the touch with water and the pressure of the blotting-paper should 
 be repeated, without friction. If, however, the required brightness 
 has not been produced, the parts must be permitted to dry ; the 
 touch of water may be then repeated on the sides of the previously 
 given forms next to the light, the blotting-paper applied to absorb 
 the fluid, and then, by gently rubbing the forms with clean crumb 
 of bread, the wffiiteness even of the paper may be produced, if 
 required. Thus also touches of colour which appear offensive may be 
 removed : but in such process, the greatest care should be taken to 
 preserve the surface of the paper; because these lights or touches 
 so washed up wall require to be tinted with appropriate colours, 
 which the object and its distance may require; in all of wdiich 
 
 I 2 
 
PREVALENCE OF ATMOSPHERIC TONE. 
 
 GO 
 
 attention should be paid to the natural appearances of objects seen 
 under the selected effect of atmosphere: this particular in the pro- 
 gress of study becomes of great importance to the truth of repre- 
 sentation. Amongst the numerous directions that might be ven- 
 tured upon in considering this under the head of making-out, as 
 it is technically called, nothing satisfactory could be conveyed. 
 The most useful would be, the avoidance of minutice in distant parts, 
 since it is better to do too little than too much. By reference to 
 nature only can the degree of distinctness be ascertained ; and 
 where this can be done while a drawing is in progress, it should 
 never be neglected: a strict attention to this will shew how Nature 
 
 I 
 
 combines 
 
 “ In one harmonious whole her scatter’d charms; 
 
 And o’er them flings appropriate force of light. 
 
 Its nice gradations, and its bold effects.” 
 
 This appeal will teach the uniting of many small parts into 
 one mass, the gradual diminution of clearness in local colouring, 
 and the power of the atmosphere in producing harmony. It is 
 during such investigations that a knowledge of the art is acquired, 
 and precepts obtained, which never can be taught by books. 
 
 Liberty taken with a scene from nature in drawing does not 
 include effect produced by the state of the atmosphere, chosen 
 either by the requisites of the scene, or by the taste of the draughts- 
 man. Perhaps the greatest advantage should be taken of shade to 
 produce particular effects: 
 
 “ Behold what glorious scenes 
 
 Arise through Nature’s works from shade! 
 
TRANSPARENT PAINTING. 
 
 61 
 
 Lo! where the sun, just sinking in the west, 
 
 Pours from th’ horizon’s verge a splendid ray. 
 Which tenfold grandeur to the darkness adds. 
 
 To aid thine eye, distrustful if the end 
 Be fully gained, await the twilight hour, 
 
 When the grey owl, sailing on lazy wing. 
 
 Her circuit takes ; w’hen lengthen’d shades dissolve ; 
 Then in some corner place thy finished piece. 
 
 Free from each garish ray : thine eye will there 
 Be undisturbed hy parts; there will the whole 
 Be viewed collectively ; the distance then 
 Will, from its fore-ground, pleasingly retire, 
 
 As distance ought, with true decreasing tone :• 
 
 If not, if shade or light be out of place. 
 
 Thou seest the error, and mayst yet amend.” 
 
 TRANSPARENT PAINTINGS. 
 
 On drawings, when the surface of the paper has been pre- 
 served from friction, numerous effects of a luminous nature may be 
 powerfully shewn. 
 
 This work accompanies a selection of scenes, exhibiting a few 
 of those varieties of which the transparent principle is susceptible. 
 
 There is no subject which the sketch-book offers but may be 
 thus treated; the application of various lights tind intervening 
 shades presents a scene under such different aspects, as to furnish de- 
 lightful occupation and open rational sources of amusement, that 
 “ leave nor languor nor regret behind.” The method by which 
 these effects may be produced is subjoined. 
 
 The paper best suited for transparent drawing is the thinnest. 
 
TRANSPARENT PAINTING. 
 
 62 
 
 with the smoothest surface, rejecting such parts as have injuries, 
 water-marks, or maker’s name; and it should be suffered to expand 
 in the wetting as much as possible before it is fastened on the 
 drawing-board. The drawing may be advanced to the state of the 
 subject, Plate X. with an increased power of colour. 
 
 If the subject be required for a simple transparent scene, the 
 clouds and sky may be put in. If for the purpose of association 
 with various shades, the sk}^ should be tenderly indicated, that it 
 may not interfere with the effect which those shades are intended 
 to produce on the scene; but that the landcape may not appear unfi- 
 nished when viewed by itself, it will be well to treat the subject as 
 a mild evening scene, with a few light clouds floating along the 
 horizon. 
 
 The drawing being thus advanced, a slight wooden frame, of 
 appropriate size, should be glued on the flat surface, and fixed upon 
 the drawing, while yet on the drawing-board, pressing it so that no 
 part be left unsecured : in this state it should remain two or three 
 hours to become firm; after which it may be separated by passing 
 a knife round the outer edge of the frame or drawing-board. 
 
 Unless the drawing has been powerfully coloured, the effect, 
 when held up to the light, will be feeble ; but as it ivould be 
 scarcely possible to finish it to the power required while on the 
 drawing-board, the frame should be placed in an inclined position, 
 as on an easel, in front of a window, and the additional power 
 should then be given to the respective parts with their appropriate 
 colours; which process will be better understood by those who have 
 previously tinted the drawing. In this proceeding great power of 
 
TRANSPARENT PAINTING. 
 
 6.-1 
 
 colour will be required, particularly in the fore-ground ; and ad- 
 vantage may be taken to retouch’ or tint on the other side of the 
 drawing, M’^here double effect will be produced. The colours best 
 adapted are those which possess a degree of opacity, such as the 
 ochres, red and yellow; the Cologne earth or umber for browns ; 
 indigo and ochre for greens; sienna, burnt and raw, for richness: 
 but in the sky or clouds, or where clearness in atmospheric tint is 
 required, the washes will look better if composed of Prussian blue, 
 and the warm tints of the horizon composed of lake and gamboge. 
 This mode of treating a drawing admits of great delicacy, as 
 well as great force, in finishing. After it shall have received all 
 that is thought necessary to the intended effect, it may be rendered 
 more luminous, wholly or partially, by the application of mastic 
 spirit varnish : the sky, or most brilliant part, may be varnished on 
 both sides of the drawing, to give it a greater degree of trans- 
 parenc}^ for light, or to admit the particular tones of clouds, &c. 
 produced by the shades. 
 
 The mastic varnish must be spread with a flat camel-hair 
 brush; it will be distributed evenly by covering the surface quickly, 
 passing the brush from side to side, and from top to bottom, regu- 
 larly: all repetitions must be delayed till after the previous var- 
 nishing is quite dry. 
 
 . On the shades may be represented various atmospheric phe- 
 nomena, as sunrise, the different appearances of evening, twilight,, 
 moonlight, rainbow, storm, volcano, &c. If any one of these be 
 constructed to arrange with a particular landscape, the effect will 
 be rendered more complete ; because the shades will then admit of 
 
04 
 
 TRANSPARENT PAINTING. 
 
 tones, or cast shadows, suited to the respective forms of the scene 
 which they are to accompany. 
 
 Whatever may be drawm on the shade or back scene must be 
 reversed, that is, the light thrown the contrary ^vay to the landscape 
 it is intended for ; because the frame is to be fixed, as before de- 
 scribed, and it is necessary the surfaces of the drawing and shade 
 should be as close as possible to each other when exhibited. The 
 shade, after the effect is put in, can be cut from the board, .and then 
 attached to its owm frame or strainer; but there is a risk of its being 
 uneven on its surface. If the reversing of the effect on the shade 
 should be considered as an unpleasant process, the paper may be 
 strained upon an open frame, and draivn or painted on, to suit its 
 landscape, in the usual method, and the slight wooden frame af- 
 terwards attached to the back, that the surfaces of the scene and 
 the shade ma}' touch each other. In either case the shade must 
 be varnished, in agreement with the desired representation. 
 
 An addition of colour and of power may be given to subjects, 
 after thus finished, by touching and glazing with oil-colours, such 
 as are sold in small portions tied in a bladder. In this process a 
 palette and knife must be procured. The bladder should be punc- 
 tured with a pin, and sufficient colour forced out on the palette; 
 the colours should be mixed b}^ means of the small pliant palette- 
 knife, and the tints reduced with mastic varnish: the process will 
 then be the same as before described for water-colours. 
 
 The subjects can be entirely painted with oil-colours, com- 
 mencing on the transparent principle; the application of colours 
 differing in nothing material from the process already described, 
 
TRANSPARENT PAINTING. 
 
 6.5 
 
 except that, instead of washing up for lights, they may be scraped 
 up, while the colour is wet, with the end of the palette-knife. The 
 parts thus treated, when perfectly drj^, may be glazed upon with 
 appropriate colours: such glazing colours must be reduced, with a 
 mixture of spirit of turpentine and varnish in equal quantities, to the 
 tone required. If masses appear too much illuminated, or if smaller 
 parts appear cold, a rich tone may be made by a mixture of ivory 
 black and burnt sienna, with which, in various degrees of strength, 
 any portion of a transparency, except the distance, may be glazed 
 into proper keeping. By repetitions of glazing and of touch a great 
 degree of finish may be produced, with less trouble than with 
 water-colours: the unpleasant smell from mixtures in oil is the only 
 objection to their being more particularly recommended. 
 
 It may be necessary to observe, that subjects on the transpa- 
 rent principle appear to great advantage by lamp-light (an argand 
 lamp in preference); and if the lamp be placed so as to act most 
 powerfully on the principal light of the scene, it will be considerably 
 improved in effect and brilliancy. The effects produced by the 
 shades are various in proportion as they are near to the subject: 
 frequently the most pleasing effect is exhibited when the shade, or 
 back scene, is kept at a little distance from the view or landscape; 
 or when it is gradually advanced from the light of the lamp to the 
 subjeet, the gradations are very pleasing. Often when the shade is 
 close at one end only, or at the top only, the indistinctness occa- 
 sioned by the trifling removal of a part of the shade from the sub- 
 ject renders the scene more interesting, than when both subject and 
 shade are close to each other. All these varieties will be diseovered 
 by a slight investigation of the properties of transparent painting. 
 
 K 
 
TRANSPARENT PAINTING. 
 
 Of) 
 
 It is of little consequence on what portion of a landscape early 
 attempts are made; to repeat those attempts, even under circum- 
 stances of conscious failure, is of more importance to the amateur 
 than is generally imagined. Improvement, and consequent gratifi- 
 cation, must be the reward of application in proportion as the 
 faculties are exercised : 
 
 “ All is the gift of industry, whate’er 
 Exalts, embellishes, or renders life 
 Delightful.” 
 
 THE END. 
 
 Printed by L. Harrison, 373, Strand. 
 
ASTRONOMY FAMILIARIZED FOR YOUNG PERSONS. 
 
 Just published, fitted up in aw elegant Box, price 11. 8s. plain, or 11. 14.s. beautifully coloured, the Second Edition, 
 
 considerably enlarged, of 
 
 URANIA’S MIRROR; 
 
 OR, 
 
 A VIEW OF THE HEAVENS, 
 
 ON A PLAN PERFECTLY ORIGINAL. DESIGNED BY A LADY. 
 
 The Work consists of Thirtj-two large Cards, on which are represented all the Constellations visible in the British 
 Empire. Each Constellation is drawn with the Figure ascribed to it by the Ancients ; and the Stars are perforated, so as 
 to exhibit, when held up to the light, their natural appearance in the Heavens. The Cards are accompanied with a 
 Familiar Treatise on Astronomy, written expressly for this purpose, by J. Aspin ; and illustrated with Plates. 
 
 LITERARY OPINIONS OF URANIA’S MIRROR. 
 
 “ Among the many ingenious and beautiful inventions to promote the 
 .study of science, and render it as delightful as it is valuable, we have 
 never seen any thing- to surpass this admirable production. It is stated 
 in the title to be “ on a plan perfectly original, designed by a lady 
 and we are sure that thousands of her sex, and all the young of 
 both sexes, will repay her with gratitude for the pure and elegant plea- 
 sure she has thus prepared for them. Like almost every interesting 
 discovery, the present is exceedingly simple. It consists of a number 
 of large cards, on which are engraved and coloured the various constel- 
 lations which occupy our northern hemisphere ; each containing one 
 or more of those remarkable divisions which ancient astronomers 
 framed to assist the memory, and enable them to describe the positions 
 of the stars. Thus marked out for more distinct elucidation, the new 
 plan is completed by perforating every star in the constellation, in pro- 
 portion to its relative magnitude, and in its actual place; so that by hold- 
 ing the card up to the light, you perceive, at once, the entire form, the 
 precise situation, and the character, of those heavenly bodies which 
 are visible in each constellation. Nothing can be more demonstrative 
 and instructing ; while, at the same time, nothing (as we have said) 
 can be more ingenious and beautiful. With this assistance, any per- 
 son may become acquainted with the “ starry heavens,” or make their 
 youthful frieods astronomers, while they are charmed by an amuse- 
 ment. Mr. Aspin’s Treatise is an excellent guide ; and we have only 
 to repeat our most cordial encomium upon the whole of this fine in- 
 vention .” — Literary Gazette. 
 
 “ Urania’s Mirror is an ingenious and useful work. A neat box con- 
 tains thirty-two cards, &c The whole forms a pleasing 
 
 amusement, and a profitable exercise of ingenuity. Nothing, perhaps, 
 is more characteristic of the present age than these helps to the acquire- 
 ment of knowledge. To borrow a figure from a great modem dis- 
 covery in niechanics — a rail-way of amusement is run along the high 
 roads of science, upon which the mind travels with smoothness, plea- 
 sure, and velocity.” — Examiner. 
 
 “ The figures are very prettily drawn, and the colours are various and 
 pleasing. It will be found a very useful and a very amusing present 
 from parents to their children these Christmas holidays. We have not, 
 for a long time, seen so entertaining a present to make to youth of 
 both sexes .” — Morning Herald. 
 
 “ Mr. Leigh, of the Strand, has just published one of the most elegant 
 and acceptable guides to astronomy, which has ever been laid before 
 the public. It is called “ Urania’s Mirror; or, a View of the Heavens ” 
 and the plan is perfectly original. In thirty-two large cards are repre- 
 sented all the constellations visible in the British Empire. Each con- 
 stellation is drawn with the figure ascribed to it by the ancients • and 
 the stars are perforated, so as to exhibit, when held up to the light 
 their natural appearance in the heavens. These, with a Familiar Trea! 
 tise on Astronomy, which accompanies the work, render an acquaint- 
 ance with that sublime science an object of easy attainment, either to 
 the juvenile or the adult.” — News. 
 
 “ Tills is another and an interesting specimen of the extent of amuse- 
 ment and instruction, that may be communicated by means of cards 
 adapted to the end in view, Urania’s Mirror ‘ consists of thirty-two 
 cards, on which are represented all the constellations visible in the 
 
 British Empire; on a plan perfectly original, designed by a Lady.’ 
 When we first cast our eyes on these cards, we did not perceive one- 
 hundredth part of their merit — of their real utility. They looked to 
 us merely as so many well-executed figured representations of the co n- 
 stellatioiis, coloured with considerable taste; but we soon learnt, 
 from an advertisement prefixed to Mr. Aspin’s Treatise, that not only 
 are the stars represented in their places, but tlie cards are perforated 
 with holes, answerable to the comparative magnitudes of the stars 
 which compose each constellation ; so that, by holding up the card 
 against the light, an accurate representation is seen of that poition of 
 the heavens to which it relates. The idea, which is quite new, is well 
 executed ; and the Familiar Treatise on Astronomy, with which it is 
 accompanied, present: in a concise, yet perspicuous manner, a winning, 
 familiar, introduction to Astronomy, excellently adapted to the purpose 
 for which it is intended. We cannot close our brief notice of this pro- 
 duction without recommending it to the attention of parents and others 
 engaged in the culture of youthful minds.” — Star, 
 
 “ A singularly ingenious little work has just appeared, called ‘ Urania’s 
 Mirror ; or, a View of the Heavens.’ This is a most pleasing and 
 beautifully adorned display of the constellations. It is accompanied by 
 an explanatory Treatise on Astronomy, written with great clearness, 
 and admirably suited to the capacity and comprehension of the rising 
 generation .” — Morning Chronicle. 
 
 “ Urania’s Mirror, in design, execution, and utility,may be considered 
 a happy effort of taste and genius. By this elegant and ingenious device, 
 the study of astronomy is rendered not only familiar and amusing, but a 
 knowledge of this sublime science is communicated at a glance more 
 effectually than by a course of lectures. Urania’s Mirror would prove 
 a desirable Christmas present to the youth of both sexes. To public 
 seminaries of education, it will be a most valuable acquisition.” — Weekly 
 Globe, 
 
 “ An elegant work has just been published by Mr. Leigh, of the Strand, 
 entitled ‘ Ui-auia’s Mirror; or, a View of the Heavens.’ Urania’s 
 Mirror is not less likely to be a favourite with the pupil than with tlie 
 teacher — at once encouraging the youthful student in the acquirement 
 of astronomical knowledge, and affording useful aid to the labours of the 
 instructor.” — New Times. 
 
 “ The plan upon which instruction in that most sublime of all sciences, 
 astronomy, is here conveyed, is not merely original, but is entitled to 
 the highest praise for its elegance and ingenuity.” — British Press. 
 
 “ By means of the new invention, called ‘ Urania’s Mirror,’ and the judi- 
 cious and Familiar Treatise on Astronomy, written expressly to accom- 
 pany it, the knowledge of the twelve signs of the zodiac, and all the 
 other constellations visible in Great Britain, may be acquired with ease 
 by persons of all ages, without any other assistance than a celestial 
 globe, which will now only require an occasional and momentary 
 glance ; while without the cards called Urania’s Minor, the unassisted 
 student must pore over the globe with doubt, fatigue, and frequently 
 with impatience, if not with disgust. The infirm and convalescent may 
 now also amuse tliemselves most agreeably when confined to their 
 chambers, if they can but have a glimpse of the sky. On tlie whole, 
 thii is a beautiful and instructive work, particularly calculated for the 
 rising generation.” — Sun. 
 
PALESTINE; OR, THE HOLY LAND. 
 
 Ju$t Published, neatly mounted on Canvass, with Roller, \l. 15s.; Canvass and Case, \l. I6s. ; Canvass and Roller, full-coloured 
 
 and varnished, 2l. 2s., a New Edition, corrected to the present Time, of 
 
 AN HISTORICAL MAP OF PALESTINE; 
 
 OR, THE HOLY LAND. 
 
 Exhibiting a correct and masterly Delineation of the peculiar Geographical Features of the Country, and of all Places 
 therein connected with Scripture History ; interspersed with Ninety-eight Vignettes and Numerous Emblems, illustrative of the most important 
 and interesting Circumstances recorded in the Old and New Testaments, introduced Topographically from the best Historical and Geogra- 
 phical Authorities. The size of the Map is 40 inches by 27^. Drawn by Mr. Assheton, engraved by Mr. Hall. 
 
 The Map is accompanied by a Geographical Index, shewing the Latitude and Lougitude of every Place; together with Explanatory 
 References to the Vignettes, Emblems, &c. ; a Sketch of the History and Present State of the Country ; a concise Description of its Principal 
 Districts and Cities ; and an Economical Calendar of Palestine. 
 
 THE MYRIORAM A; 
 
 OB, 
 
 MANY THOUSAND VIEWS, 
 
 DESIGNED BY Mr. CLARK. 
 
 The Mybiobama is a moveable Picture, consisting of numerous Cards, on which are fragments of Landscapes, 
 
 neatly coloured, and so ingeniously contrived, that any two, or more, placed together, will form a plea-iing View ; or if the whole are put on a 
 table at once, will admit of the astonishing number of 27,922,789,888,000 Variations : it is therefore certain, that if a person were occupied night 
 and day, making one change every minute, he could not finish the task in less than 39 , 807,438 year.«, and 330 days. The cards are fitted up in an 
 elegant box, price isr. 
 
 DEDICATED TO, AND HONOURED WITH THE APPROBATION OF 
 
 THE MYRIORAM A, 
 
 SECOND SERIES, 
 
 CONSISTING ENTIRELY OF ITALIAN SCENERY. 
 
 DESIGNED BY Mr. CLARK. 
 
 The First Series of this Work having been honoured with very flattering marks of approbation, Mr. Clark has 
 
 been induced to design the present Collection, in the hope that it will be found still more deserving of the public patronage. 
 
 The Second Series consists entirely of Italian Scenery, and is capable of even greater variation than the First, as the number of Cards is 
 increased from 16 to 24 . 
 
 The changes or variations which may be produced by these Twenty-four Cards, amount to the astounding and almost incredible number 
 of 620,448,401,733,939,439,360,000, the magnitude of which cannot be better illustrated than by the following observations : — 
 
 Supposing it possible to effect one of these changes every minute, night and day, it would require to produce them all 1,180,457,385,337,213,545 
 years, 75 days ; that is to say, that if all the inhabitants of this globe (computing them at 1,000,000,000, of which, according to common calcula- 
 tion, they fall considerably short) were employed in the task, it would take them 1 , 180 , 457,385 years to complete it ; which is more than 
 196.742 times the period which has elapsed since the Creation of the World. 
 
 Supposing the space occupied in length by each of these landscapes (when the whole of the Cards are employed) to be a yard (and it is nearly 
 double ), they would by being placed one after tlie other, cover tbe length of 352,527,500,984,795,136,000 miles, that is 14 , 101 , 100 , 039 , 391,805 
 times the circumference of the globe : to walk over which, the wandering Jew, who is supposed never to rest, and whose rate we may reckon at 
 four miles an hour, would require 10,060,716,352,305,768 years, 263 days, and 8 hours. 
 
 Our young friends need therefore little fear that they, or their children, or their children’s children, will exhaust the fund of amusement, which 
 must be affbrded by the endless variety of elegant scenery the Myriorama is calculated to present to their attention. — Price ll. 4 s. fitted up in an 
 elegant box. 
 
 POPULAR PSALMS AND HYMNS ADAPTED TO FAVOURITE AIRS. 
 
 JUST PUBLISHED, A NEW EDITION OF 
 
 THE BEAUTIES OF MOZART, HANDEL, PLEYEL, HAYDN, BEETHOVEN, ROSSINI, 
 
 AND OTHER CELEBRATED COMPOSERS. 
 
 Adapted to the Words of popular Psalms and Hymns, for One or Two Voices; with an Accompaniment and occasional 
 
 S3nnpbonies for the Piano-forte, Organ, or Harp. By an Eminent Professor. In one thick Volume 4to., price if. 1 is. 6«f. bound. 
 
 London: Printed for SAMUEL LEIGH, 18, Strand.— Sold by all Booksellers. 
 
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