p /"•' 
 
 4 
 
 * 
 
/ 
 
 ALL 
 
 DRAUGHTSMEN'S ASSISTANT; 
 
 O R, 
 
 DRAWING MADE EASY: 
 
 WHEREIN THE 
 
 PRINCIPLES OF THAT ART ARE RENDERED FAMILIAR : 
 
 IN TEN INSTRUCTIVE LESSONS. 
 
 / 
 
 COMPRISED UNDER THE FOLLOWING HEADS. 
 
 ii FEATURES AND LIMBS. 
 
 2. PROFILES AND OVALS. 
 
 3. WHOLE FIGURES. 
 
 4. DRAPERY. 
 
 5. LIGHT AND SHADE. 
 
 «. LANDSCAPES. 
 
 7. PERSPECTIVE. 
 
 8. ENLARGING AND CONTRACTING,. 
 
 9. IMITATION OF LIFE. 
 10. HISTORY. 
 
 Explained by a great Variety of Ex amples from the moft approved Defigns 00* 
 Copper-plates, neatly engraved : 
 
 WITH 
 
 A fukable Introduction on the Utility of this Noble Art, 
 
 AND 
 
 Observations on Design, as well in regard to Theory as Practice, 
 
 BY THE AUTHOR OF THE ARTIST'S ASSISTANT. 
 
 LONDON: 
 
 Printed for R. Sayer and J.. Bennett,. Map and Print-Sellers, (No. 53) Fleet-facet. 
 
Digitized by the Internet Archive 
 in 2014 
 
 https://archive.org/details/alldraughtsmensaOObowl 
 
NEW DRAWING-BOOKS, 
 
 Printed for R.Sayer and J. Bennett, Map and Print-Sellers (No. 53) Fleet-Street. 
 1. rr"VtiE Triumph of Painting, a new Drawing-Book on Forty Folio Copper-plate3 : con- 
 fiding of Features, and Farts of the Human Body, &c. by Hayman, Worlidge, Le 
 Brim, &c. Farts of Horfes, and other Animals, by Seymour, Parocell, Ridinger, ice. Aca- 
 demy Figures, by C. Vanloo and BoQchardon ; Groups, defigned by Gwinn, and engraved, 
 by Mr. Ravenet, Folio, Price 10s. 6d. fewed. 
 
 2. A Collection of Land/capes and Figures, ice. on Twenty-nine Copper-plates, by Paul 
 Sandby, and M. Chatelain. Folio, Price 10s. 6d. fewed. 
 
 3. The School of Art, or moft complete Drawing- Book extant: confuting of an extenfive 
 Series of well-chofen Examples, on Sixty Copper-plates. Folio, Price 15s. fewed, bound rl. is. 
 
 4. The ArtijVs Fade Mecum ; being the whole Art of Drawing, elegantly engraved on One 
 Hundred Large Quarto Copper-plates, collected from the Works of thegreateft Matters : to 
 which is prefixed, an Eflay on Drawing, with introductory Rules, for the Ufe of Learners. 
 The Second Edition, Quarto, Price 7s. 6d. fewed, and ros. 6d. neatly bound. 
 
 5. A Collection of Figures and Converfations, Cattle, Beafls, and Birds, on Sixty Copper- 
 Plates, from Vernet, Boucher, Berghem, Barlow, &c. Quarto, Price 10s. 6d. fewed. 
 
 6. Twenty-four Delightful Views, by the celebrated Mr. Collet. Quarto, 10s. 6d. fewed. 
 
 7. The Complete Drawing-Book; containing felect Parts of the Human Body, &c. on One 
 Hundred and Sixteen Copper-plates, from Le Clerc, Le Brun, Rembrandt, Bergham, Bar- 
 low, Chatelain, Swain, &c. The Fourth Edition. Octavo, Price 5s. fewed, 6s. bound. 
 
 8. The Complete Dtawing-Mafler, &c. Quarto, Price 6s. fewed. 8s. bound. 
 
 9. A new Introduction to the Art of Drawing, collected from the moll free andeafy Defigns 
 of the belt Mailers, on Thirty-fix Folio Copper-plates, Price cs. 
 
 10. Heads reprefenting the various P afjiens of the Soul, by Le Brun, on 20 Fol. Cop. -plates, 55. 
 
 1 1. Twelve of the ?nofl Capital Heads felected from Le Brim's Paffions, engraved in Imita- 
 tion of Red Chalk. Folio, Price, 3s. 
 
 12. A Compendious Treat'fe of Anatomy, adapted to the Arts of Defigning, Painting, and 
 Sculpture, on Eight Folio Copper-plates, Price 4s. 
 
 13. Six Academy Figures, by Vanloo and Bouchardon. Price 2s. 6d. the Set. 
 
 14. Twelve Heads, half the Size of Life, from Originals of Raph. Urbin. Price 2s. 
 
 15. A Book of Beafls, drawn from Nature, by M. Oudri. Price 2s. 
 
 1 6. A New, Ufeful, and Extenfive Collection of the moft beautiful Flovjers, by J. Pillement, 
 on Twenty Copper-plates. Price 6s. 
 
 17. Ladies Amufcment, or the whole Art of Japanning made eafy, illuttrated in upwards of 
 Two Thoufand different Defigns, on Three Hundred Copper-plates, by J. Pillement, and other 
 Matters; to which are added the moft approved Methods of Japanning. The Third Edition. 
 N. B. The above Work will be found extremely ufeful to the Porcelane, and other Manu- 
 factures depending on Defign. Quarto, Price 2I. 2s. fewed, and 5I. 5s. coloured. 
 
 N. B. The above is divided into four Parts, 75 Plates in each. Price 10s. 6d. plain, or 
 il. 1 is. 6d. coloured. 
 
 j8. Flower-painting made eafy, on 72 Copper-plates. Price 6s. fewed, and il. ics. coloured. 
 
 19. The Florift. Octavo, Price 6s. fewed, and il. is. coloured. 
 
 20. One Hundred and 14 Peifpectivc Views of the moft principal Cities, Villages, Country - 
 Houfes, Canals, &c. in the United Provinces, by Radamaker. 7s. 6d. fewed, 8s. 6d. bound. 
 
 2 1 . Fifty Views of Villages, ice. by M. Chatelain, from the moft agreeable Profpects near 
 London. Price 4s fewed, cs. bound. 
 
 22. Bloemarfs Drawing-Book, on Twenty-five Copper-plates. Folio, Price 2s 
 
 23. Principcs des Deffcin, by Le Clerc, on fifty-two Copper-plates, izmo. Price 2s. fewed. 
 
 24. A New Collection of- Hiflorcal Subjects. Price is. 6d. 
 2 c. A New Drawing-Book. Price is. 6d. 
 
 26. The ArtijPs AJJijlant in Drawing, Perfpective, Etching, Engraving, Mezzorinto-Scra- 
 ping, Painting on Glafs, in Cray< ns, in Water-Colours, and on Silks, Sattins, &c. Price is. 
 27.. The Chaplct, or a Collection of Flowers, ice. on 38 Folio Plates, il. is. half-bound.. 
 
 ALSO, 
 
 Seventy-Seven different Drawing-Books, in Quarto, on various Subjects, at is. each. 
 One Hundred and Forty-Six Ditto, on oifferent Subjects, at 6d. each. 
 Ei^ht different Books of Views of Villages, &c. near London, at 6d. each. 
 Eighteen Ditto, of Views in Holland, at 6d. each. 
 
 Fifteen different Books of Emblems, for the Amufement of Children, commonly called 
 
 Turn-ups, at 6d. each. 
 
THE 
 
 DRAUGHTSMAN'S ASSISTANT; 
 
 O R, 
 
 DRAWING MADE EASY. 
 
 INTRODUCTION. 
 
 DRAWING is the Reprefentation of any Object either real or imaginary % 
 being the Imitation of Nature or Art, in which by Outlines and Shadows,, 
 well executed in their Symmetry, and Proportion, the Copy appears as if it 
 were the real Object. 
 
 This ufeful and entertaining Art improves the Mind, refrefhes and fupports the 
 Memory ; it enables the Artill to form the cleareft conception, without which the 
 molt laboured Defcriptions would be found deficient ; and it refcues from Oblivion the 
 Aclions and Perfons of our Fore-fathers, and preferves their Features and Deeds to fu- 
 ture Generations ; and retains every uncommon Appearance of Nature* 
 
 Nature feems to inculcate a Fondnefs for Drawing even in Youth, by the Delight 
 they take in Pictures, Prints, &c. which is a kind of univerfal Language, that fpeaks 
 lo the Fye, and conveys Ideas underftood by every Nation and People on the Globe. 
 
 The Artilt may at Pleafure take Sketches of any Appearances in the Works of Na- 
 ture or Art, either in his own, or any foreign Country, and bring them home for his 
 future Ufe or Inipeclion. — ■ — With this Accomplifliment the Nobility and Gentry can 
 judge of Defigns before executed, and fpare themfelves the Mortification of Delay, and 
 the additional Expence of future Alterations. In a word, it may be laid to be the lilent, 
 but the moft expreffive Language of Nature. 
 
 There is no Art or Profeffion to which Drawing is not ufeful, but more particularly, 
 the Painter, Carver, Statuary, Engraver, Chafer, Mathematician, Architect, Navi- 
 gator, Gardener, Weaver, Embroiderer, Whitefmith, and indeed every Workman 
 whofe Advantage in Trade may depend on Variety and Beauty ; as by the Affiitance 
 of it he can lay down his Defigns, and improve them to the Fancy and Satisfaction of 
 kis Employers, 
 
 B Jj 
 
 J.Wk.<SL-21 11 £1 Of' " 
 
 * 
 
( 2 ) 
 
 It is a. Pity fo ufeful a Branch of Education mould ever be neglected, as feveral by 
 excelling in this Art have attained Perfection in their refpective Profefnons and Employ- 
 ments, and have diftinguifhed themfelves by Works of Ingenuity, which have met 
 with the Protection and Encouragement of the judicious Part of Mankind. We. need 
 not point out the Injury done to Youth by the Neglect of this neceffary Study, and 
 how greatly many in Years of Maturity lament the Deficiency of it as a lofs to them- 
 felves and Families. No wonder it fhould be deemed one of the chief Accomplish- 
 ments in human Life, and thought worthy even of Royal Patronage, as well as the ho- 
 nourable Regard paid to it by the different Societies, in all of which a fpirked Emula- 
 tion is excited among the Proficients, by Premiums given to fuch as produce the moft 
 correct and perfect Defigns or Imitations. 
 
 It has ever been the Misfortune of thofe who have profefled to lay down Rules for 
 the Attainment of any Art or Science, to leave them enveloped with Difficulties, which, 
 if not utterly infuperable, at leaft difcourage the Learner from proceeding in a Study 
 which he can have little Hopes will ever reward his Purfuit. 
 
 From hence we may reafonably infer, that the faid Profeffors were totally unac- 
 quainted, if not with the Theory, at leaft with the Practical Fart of what they under- 
 took to teach others : and that the Inftructions they have given were founded rather 
 upon a bare Suppofition of their Efficacy, than upon the furer Bafis of long and repeated 
 Experience, which alone could have infured their Succefs, and from which, with all 
 due Deference to the Judicious (whofe Sanction we fhall at all Times be ambitious to 
 deferve), we may venture- to anfwer for the Practicability of our own. 
 
 To obviate every Objection, and to remove all thofe Difficulties which had fo long 
 blocked up the Path of Science, and retarded, if not wholly impeded the Pupil, in his 
 Progrefs to the Temple of Fame, was the chief View in compiling the fubfequent little 
 Treatife. 
 
 Over and above the Improvements made in illuftrating the feveral Arts hitherto fo 
 imperfectly and unintelligibly explained, we have introduced Directions for Scraping 
 in Metzoiinto, which, in this Edition, are ftill farther enlarged, and which, as they 
 have never been before attempted in any Books of this kind, we flatter ourfelves will 
 be the more acceptable ; efpecially when it fhall appear, fr6m the Rules laid down for 
 the Performance of this Art, that it is fo eafy to be attained, that a tolerable Profi- 
 ciency in Drawing will enable any one to undertake it with all imaginable Profpect of 
 Succefs. 
 
 The Reader will alfo find, in this Impreflion, the Addition of a very ufeful Problem, 
 in the Article of Perfpective, illuftrated by a new Plate. 
 
 A,s this Book is chiefly intended for the Ufe of young Practitioners, we have pur- 
 pofely avoided all abftrufe Expreffions and obfolete Terms, contenting ourfelves with 
 fuch a familiar Stile as we judged moft likely to inform thofe Minds we would wifh to 
 improve : Yet, as the Ideas of an Artift are not wholly to be conveyed without fome 
 neceffary Terms peculiar to each Branch, we have taken Care to explain fuch as could 
 not be omitted without a manifeft Injury to the Work, by familiar Words of a fynoni- 
 mous Tendency, wherever they occur ; fo that we apprehend we have not left the leaft 
 Stumbling-Block for the Reader to encounter. 
 
 GENERAL 
 
( 3 ) 
 
 GENERAL INSTRUCTIONS. 
 
 V E Pv. Y young Beginner fhould endeavour to improve his Memory with the 
 Beauties of the molt excellent Paintings and Prints, taking Notice of the Harmony 
 of their different Parts, as well as of the Realbns fcr the Dilpofttion of the Lights and 
 Shades : which will, by Degrees, improve the Ideas to a Degree of Excellency, and 
 make the Practice eafy and familiar ; as the hand will be more ready to execute thofe 
 Objects the Mind has lb clearly conceived. The Ufe of this Accompliihment is vifible in 
 many, who, though not able to execute, yet, by accultoming themfelves to this Study, 
 become excellent Judges, and are with great Propriety termed Connoijfenrs in the polite 
 Arts of Painting, Engraving, &c. &c. It will ahb be of eflential Service to the Pupil 
 to attend to the Realbns afligned for the Merits or Defects of the Performance, as fuch 
 an Enquiry will greatly forward him in his Study. 
 
 Pupils fhould take particular Notice of the Original intended to be drawn from, ob- 
 ferving whether the Figures or Objects are upright, or incline to the right or left, tak- 
 ing Care alio that every Part in the Copy has the lame Direction, which may ealily be 
 discovered by frequently reviling the Sketch, and comparing it attentively with the 
 Original. Paying a due Obfervance to this by young Beginners will mend their Judg- 
 ment, and in Time enable them to proceed with a growing Pleafure. 
 
 MATERIALS FOR DRAWING. 
 
 Charcoal, cut in long Slips. 
 Black Lead Pencils. 
 
 Crayons of black, white, and red Chalk. 
 A Porte-Crayon. 
 Indian Ink. 
 
 Camel's Hair-Pencils. 
 Fitches. 
 
 Crow-quill Pens. 
 
 A R uler and a Pair of Companies. 
 An Indian Rubber. 
 
 INSTRUCTIONS, WITH EXAMPLES. 
 
 t*C VERY Learner is particularly defired to perfect himfelf in the Practice of the 
 firft Leflon, in its feveral Branches, before he attempts the Second, and fo of the 
 Second, before he proceeds with the Third, not endeavouring to become JVIafter of the 
 whole at once, which will only perplex his Ideas, and weary him in the Purl'uit of 
 what he will never by this Means be likely to attain ; whereas by proceeding gradually, 
 the Rules will be found much more eafy and practicable, and confequently the Study 
 infinitely more pleafing and encouraging. 
 
 Drawing 
 
( 4 ) 
 
 Drawing the Introductory Lines, with the Features and Limbs 
 
 jeparately. 
 
 ENDEAVOUR to imitate perpendicular or upright Strokes, and then horizontal or 
 parallel Lines, but without ufmg the Ruler ; and if Care be taken, few Examples of 
 this Sort will give you Perfection. When you have attained this, proceed to the curved, 
 and twining Lines, observing carefully their different Inclinations. And when you can 
 with Eafe perform thefe, proceed to draw the Out lines of a Human Face, as the Eyes, 
 Nofe, Mouth and Ears ; and from them proceed to the Parts of the Body, as the Arm.;, 
 Hands, Legs, &c. See Plate I. 
 
 N. B. The above muft be but faintly Iketched, fo as to be eafily taken down with a 
 Rubber, in order to make the necelTary Alterations before finifhing. 
 
 Profiles and Ovals. 
 
 WHEN you are become Mafter of the former, you may then attempt the Profile 
 or Side face, being careful to obferve the Proportion of the feveral Parts to each 
 other; after this the Full or Oval Face, obferving ftill the Bearings of every Feature 
 with refpeft to the reft, and keeping the Proportions as exacl as poffible. After pro- 
 ceeding with great Care in the above, you may begin the Out-line of the Body as in 
 Plate II. 
 
 Whole Figures, with the Proportions and Dimenfwns of the 
 
 Human Body. 
 
 IF on thorough Examination you find you can eafily imitate the different Fea- 
 tures, and Parts of the Body, you may begin the whole Figure by Jketching the whole 
 very lightly with your Pencil or Charcoal, examining the Proportion of the different. 
 Parts, taking it down with a Rubber, and altering where it lhall appear neceflary. 
 When you have brought it as near as poffible to your Original, proceed to finifh with the 
 Crow-quill Pen and Indian Ink, beginning with the Head, then proceeding to the 
 Shoulders, Body, Arms, Hands, Hips, Legs and Feet, taking Care to corredt any Er- 
 rors in the Pencil Sketch, the Remains of which will be eafily erazed with a Rubber. 
 
 N. B. Refrain from the Ufe of CompafTes till after a very minute Infpe£- ; on with 
 the Eye, and then, if the Fault cannot be difcovered, a proper Application ot diem will 
 greatly affift the Pupil to remedy the Defedt. Having by clofe Attention and Practice 
 improved his Ideas fo far as to be able to compleat a Figure in Out-lines, we fhall pro- 
 ceed to inftruct him in the Drapery or Cloathing ; but before we quit this Subjecl it 
 will be neceflary in this Place to give him 
 
 THE beft Method of afcertaining the Proportions and Dimenfions of the feveral Parts, 
 of the Human Body, by raifing a Perpendicular on the Place you intend for the Middle 
 of the Figure, and divide it into Heads, and from fuch form a Scale, to regulate the 
 proper Diftances : but as it has been common to divide the Figure into ten Parts, we 
 have (though we do not fo well approve of this Method) given an Example of both of 
 thefe Methods, together with Rules for the Illuftration of each reflectively. 
 
 Ths 
 
( 5 ) 
 
 The Proportion of a Figure divided into Eight Heads. 
 
 Sve Plate HI. 
 
 THE Length of the Head, is from the Crown of the Head to the Bottom of the 
 Chin. 
 
 A Line ruled through the Second Divifion will directly crofs the Paps of the Breads. 
 The Third Divifion will fall near the Naval. 
 
 The Fourth acrofs the Privities, which is exactly the Middle of the Figure. 
 The Fifth crofles the Middle of the Thigh. 
 The Sixth is juft below the Bend of the Knee. 
 The Seventh falls a little below the Calf of the Leg. 
 The Eight extend: to the Bottom of the Heel. 
 
 Oblerve that when the Arms are extended at full Length in a direct Line, the full 
 Extent from the Middle Fingers of each Hand is exactly the Length of the Figure ; 
 from the Middle of the Collar Bone to the End of the Middle Finger meafures four 
 Heads, viz. The Firft to the Bend of the Shoulder, the Second to the Elbow, the 
 Third to the Wrift, and the Fourth to the Fingers Ends. 
 
 From Shoulder to Shoulder in a Man of common Size, meafures exactly two Heads; 
 but there is no precife Standard for the Breadth of the Limbs, which vary according to 
 the Bulk of the Perfon, and the Movement of the Mufcles. 
 
 0% \ 
 
 The Proportion of a Figure divided into Ten Parts. See Plate III. 
 
 THE Firft of thefe Divifions extends from the Crown of the Head to the under Lip. 
 The Second a little below the Collar Bone, and a Line drawn through this Part of 
 the Figure, will Pafs over the Middle of the Shoulders. 
 
 The Third Divifion will make a Line juft below the Paps of the Breaft. 
 The Fourth will reach juft below the Navel. 
 
 The Fifth, which is the Middle of the Figure, directly acrofs the Privities. 
 
 The Sixth will pafs over the Middle of the Thighs. 
 
 The Seventh crofies the Bend of the Knee. 
 
 The Eight directly through the Calves of the Legs. 
 
 The Ninth reaches half Way from the Calf, to the Bottom of the Heel, which deter- 
 mines the Tenth and laft Divifion of the Figure. 
 
 The young Beginner will find the foregoing Rules of infinite Advantage, to which 
 we would advife him to give due Application till they become Itrongly imprefTed on his 
 Mind ; but Care mult be taken that too firict an Obfervance of the preceding Dimen- 
 fions may not deftroy that Variety of Compofitions fo abfolntely nectflary ; nor will the 
 Prefervation of the fame Proportion be always allowed in the Subject, which Mr. Ho- 
 garth, in his Chapter of Proportion, very judicioully remarks in his Qbfervations upon 
 the celebrated Statue of Apollo Bthidere, where he fays, I cannot throw a ftronger 
 Light on what has been faid hitherto of Proportion, than by animadverting on a re- 
 markable Beauty in the Apollo Behidere, which hath given it the Preference even to the 
 Antinous ; I mean a Super-addition of Greatnefs to at leaft as much Beauty an/I Grace 
 as is found in the latter. 
 
 C In 
 
( 6 ) 
 
 In the fame Apartment at Rome are to be fcen thefe two Mafter-pieces of Art, where- 
 in viewing the dntinoas the Spectator is filled with Admiration; when Che Apollo flrikes 
 him with Snrprife; and, as Travellers cxprefs themfelves, with an Appearance of 
 fomething more than human, which they are always at a Lofs to defcribe ; but the Ef- 
 fect of this is, they fay, the more extraordinary, as the Difproportion upon Examination' 
 is e vident to every common Eye. 
 
 Anatomy the Foundation of Defign. 
 
 ANATOMY is a perfect Knowledge of all the Parts of the Human Body ; but no 
 more is necefTary to Painters than that which relates to the Bones, and the principle 
 Mufcles that cover them. 
 
 There is an abfolute Neceffity to be thoroughly acquainted with the Forms and 
 Joints of the Bones, becaufe the Dimenfions are often altered by Motion; and likewife 
 to underltand the Office and Situation of the Mufcles, lince the moft firiking Truth in 
 Defign depends upon them. 
 
 As it is indilpenfably necefTary that the Pupil mould have fome Knowledge in Ana- 
 tomy, it being the fundamental Part of Delign, and enables Artifts to d ill over the Beaifa 
 ties of the Antique; it is) therefore earneftly recommended the Student to pay fome At- 
 tention to it, as all that is necefTary for Draughtfmen is very eafdy retained. 
 
 Of Drapery. 
 
 WHEN you have drawn the Out-lines of the Figure you want to cloath, faintly 
 with Charcoal, iketch the Out-lines of your Drapery lightly, with the feveral Folds, 
 remembering that they muft not crofs each other. Due Regard muft likewife be had to 
 the Quality of the Drapery ; as Siuifs and Woollen Cloth are more harm than Silk, 
 which is always flowing • and eafy. Remember that the Drapery muft not flick too 
 clofe to the Body, but let it feem to flow eafy about it, and yet appear fo that the 
 Motion of the Figure be free and natural. Be careful that the Drapery f'uppofed to be 
 blown by a Breeze of Wind all flow one Way, and draw the Parts next the Body before 
 thofe which fly off. The Garments muft always bend with the Figure, and if you make 
 the Drapery almoft clofe to the Body the fmaller muft be the Folds, and if quite clofe 
 there muft be no Folds, but only a faint Shadow, to reprefent the Bend of that Part of 
 the Body which it covers. It is necefTary the Student fliould take every Opportunity of 
 Improvement in this ufeful Branch, by remarking the Folds in the Drapery of Gentle- 
 men and Ladies, according to their feveral Pofitions : By this unerring Rule of Nature, 
 the Learner will greatly heighten his own Ideas, and give a fupefior excellence to his 
 Work. 
 
 Thus far may ferve to give the young Draughtfman a general Idea of Drapery, but 
 that he may not be at a Lofs in perfecting himfelf in this necefTary Branch of the Art, 
 we have here fubjoined the following more particular Inflructions, viz. 
 
 1. Be careful to avoid overcharging your Figure with a Superfluity of Drapery. 
 
 2. Let as much of the Form of the Body as poflible be fhewn underneath it. 
 
 3. When the Draperies are large throw them into as few Folds as you can, and let 
 thefe be large and graceful. 
 
 4. O12 
 
( 7 ) 
 
 4- On the contrary, let thole which are clofe to the Body and fliort, be looleued by 
 fmall Folds fudicioaity placed, which wiil be the means of avoiding that Stiflhefs, 
 which for want of this Caution appears, when the Drapery is made to fit too fhait, and 
 makes the Figure feem as if wrapped round with a Bandage, inftead of being gracefully 
 cloathed. 
 
 5. When much Drapery is required, let the greater Part 'if potfible) be thrown into 
 Shadow. 
 
 6. Obferve that the Folds which fall in the Light mud have Mich foft and tender 
 Shadows, as may make them fit hollow from the Body, and not feem to girt too clofely 
 to it. 
 
 7. Let the Folds be properly contrafted, and avoid ftrait Lines as much as poffible. 
 
 8. A judicious Repetition of Folds in a circular Form greatly Contribute to charae- 
 teriie a fore-fh or f ened Limb. 
 
 9. In fixed Attitudes let the Drapery appear likewife motionlefs (unlefs expofed to 
 the Air). But the Drapery of Figures moving with great Ability, fnould feem to play 
 zs if agitated by the Wind, but in Proportion only to the Velocity of the Figures in 
 Motion. 
 
 We cannot conclude this Subject without giving this- very ufeful Caution, viz. Let 
 the Pupil be careful how he ftudies Statues, and remember that the befl of them 
 are only Memorials of thofe great Artifts, whofe Lives were fpent in endeavouring 
 to exprefs their own Idea of Perfection, which varied according to the different Tafte 
 of each, and the Nature of the Materials upon which they wrought : and let it be 
 likewife remembered, that there is a Stiffhefs (which mould be fhidioufly avoided) 
 in a Copy (even though a correct one) made after the finer! Statue, which will never 
 convey any Idea but that of a Statue ; whereas there is fuch a Freedom obfervable in 
 the Imitations of Nature, as evidently dutinguifhes them from thofe taken either from 
 Marble or Planter. 
 
 Of Light and Shade. 
 
 THE proper Diftribution of Light and Shade in a Picture is abfolutely neceflary to 
 be known ; as it net only determines the proper Diftance of one Object from another, 
 without which the Whole would be an undiftinguifhed Mafs of Confufian, but it gives 
 likewife to each refpective Object its Subflance, Roundnefs and Effect. 
 
 Therefore, having out-lined the Folds, and the other Parts of Drapery, you may 
 next attempt the Shadowing of your Figure, obferving the following Method : 
 
 Shadow the Drawing with the Pencil or Pen; in which great Care is required. 
 Firft, obferve from which Side the Light comes in, which if natural ought to be from 
 the Right or Left ; for when the Light comes in the Middle, it is called an artificial 
 Light, as proceeding from fome artificial Luminary, as a Candle, Lamp, &c. &c. 
 Lay your Shades rather faint at firft. fo that you may heighten them at Pleafure where 
 neceiTary ; for you may at any Time darken your Shadows, when you cannot lighten them. 
 
 Remember that your Shades muff be all on the fame Side of the Figure, that is to 
 fay, if the Right Side of the Face be in Shade, fo mult the fame Side of the Body, Arm, 
 Leg, &c. Your Shades muff all be faint as they approach the Light, the Strength gra- 
 dually decreafmg towards the Extremities, to prevent a harfli Appearance^ as that is. 
 a never-failing Sign of a bad Workman. 
 
 When 
 
( * » . 
 
 When one Part of the Body projects over or before another, the Part projecting 
 mull receive a ftronger Light: Thofe Parts that bend inward mult be made fo much 
 the darker, and Ihadowed deepelt next the Light. 
 
 Two equal Lights mult never be made in the fame Picture : The ftrongeft Light 
 Ihould fall upon the Middle of the Piece (where the principal Figures ou<rht to (land), 
 diminifhing gradually towards the Extremities. 
 
 A Stump made of Paper or Glove-leather rolled hard, and cut almoft to a Point like 
 a Pencil, is ufeful (if you fiiade with the Pencil, Red Chalk, or Crayons) to blend the 
 Shades, and foften them into each other ; as alfo, where they appear too ftrong, to 
 weaken them with the aforefaid Roll. By examining Nature you will improve your 
 Ideas in Light and Shade, as well as in Out-lines, and be enabled to-form a right Judg- 
 ment of the Truth of your Drawing. 
 
 N. B. The Indian Ink may be prepared for a few different Shades by rubbing it. 
 more or lefs in Water on a Marble Stone cut in Hollows, for that Purpole, referving 
 one of the Hollows for the Water. 
 
 Of Drawing Land/capes, ire. 
 
 THIS will give the Student an inexhauftible Fund of Amufement, from the Variety 
 of Subjects which Nature conftantly fupplies for his Obfervance and Imitation. And 
 in order to improve in this Study, the belt Method is to adhere to the Rules before 
 laid down with regard to the Human Body, by beginning with the moft (imple Objects, 
 as the Out-lines of Cottages, Trees, &c. for which Reafon we {hall give a few Exam- 
 ples in each, with their proper Shades ; but would advife the Pupil not to be too 
 hafty in the Shadowing before he is perfect in the Out -line; and, as it is impoflible he 
 fnould excel in Landlcape without fome Knowledge of Perfpeclive, we fhall give fome 
 Directions, fuitably illuftrated with Problems, as a neceffary Afliftant to the Prac- 
 titioner, which will prevent his being impofed on by faulty and incorrect Originals, 
 where the Ignorance of Perfpe&ive makes the whole Landfcape appear unnatural and 
 ■dutorted. 
 
 Of Perfpeclive. 
 
 THE firft thing neceffary to learn before we proceed to the Problems, is an Ex- 
 planation of the feveral technical Terms ufed in the Practice of this Art ; and thefe are 
 as follow : 
 
 The Bafe or Fundamental Line is the Bottom of the Drawing, or that Part of the 
 Ground on which the Perfon is fuppoied to ftand, looking towards the Point of 
 Sight. 
 
 A Perpendicular is an upright Line with refpeel: to any Part of the Bafe. 
 Parallel Lines are equidiftant from each other, as the Horizon to the Bafe. 
 The Horizon is the moft diftant Part where the Clouds feem to touch the Earth, and 
 Limits the Sight. 
 
 The Point of Sight is that Part of the Horizon where all the Vifual Rays center. 
 Vifual Rays are Beams of Light conveying the JJkenels -of any Thing to the Sight, 
 and the Knowledge thereof to the Mind. 
 
 Points 
 
( 9 ) 
 
 Points of Dijlance are fet off on the Horizontal Line, at equal Diftancei on each Side 
 -ofthe Point of Sight. 
 
 Diagonal Lines are thofe drawn from the Points of Diftance to the End of the Bafe 
 Line. 
 
 The Abridgment of the Square is the Line where the Diagonals crofs the Vifual Rays, 
 and muft always be parallel to the Bafe ; this is only of Ufe when the Sight is limited 
 -by a Perpendicular, as the End of a Church or Room. 
 
 The foregoing Terms are illuftrated in Plate IV. Fig. I. 
 
 The Poiirt of direft View is when the Object is feen in Front, as a Houfe, &c. or a Geo- 
 metrical Elevation raifed from a Ground-plot, comprehending an equal Space on both 
 Sides the Point of Sight. 
 
 The Point of Oblique View is when the Object is feen fideways ; for Inftance, a 
 View of a Canal with fome remarkable Buildings, when the Perfon drawing the faid 
 View is placed on the Bafe Line oppofite to the Buildings, fo that the Ray of Light 
 may be more oblique, and the Buildings lefs fore-fhortened, and appear to greater 
 Advantage. 
 
 Accidental Points are thofe where Objects End in the Horizontal Line, not in the 
 Points of Sight or Diftance, ferving for Streets, Houles, Chairs, &c. taking diffe- 
 rent Directions. 
 
 Ichnography is a Plan or Ground-plot to be raifed in Perfpective. 
 
 Scertography is bringing any Thing raifed in Perfpective from an Ichnographic Plan 
 to its proper Proportion, that all Objects may be diminiflied in a Picture the fame at 
 in Nature. 
 
 As the Art of Perfpective is conftructed on Geometrical Principles, it may be ne- 
 ceffary, previous to the Rules themfelveG, to demonftratc the following introductory 
 Operations : 
 
 1. From a Point in a given Line i — z to raife a Perpendicular. See Fig. II. 
 
 Plate IV. 
 
 Draw the given Line i — 2, then fet one Foot of the Compaffes in 2, and extending 
 them to rather more than half the Length of the Line 1 — 2, ftrike the Arch 3, 4. and 
 with the fame Extent of the Compaffes let one Point in 3, and defcribe the Arch 5, 6. 
 and then, without altering the Companies, fet one Foot in 7, and fweep the Arch 8, 9. 
 Next rule tlirough the Points 3, 7. to interfect the Arch 8, y. at 10; and draw the 
 Line from 10 to 2, which is the Perpendicular required. 
 
 2. To .raife a Perpendicular upon A, it being the Center of the given Line A. B. 
 
 Se* Fig. Hi. * Plate IV. 
 
 Divide the Bafe Line B C into two equal Parts, then extend the Compaffes to any 
 Diltance greater than A B or A C, and with one Foot in B fweep the Arch d e, then 
 with the fame Extent of CompafTes fet one Foot in C, and fweep the Arch f g, and 
 from the Interfcction of the two Arches at h draw a Line to the Center of the Bafe 
 Line at A, and you have the Perpendicular required. 
 
 D 3. To 
 
( 1° ) 
 
 3. To draw a Line parallel to, or equidiftant from, another given Line E. F. 
 
 See Fig. IV. Plate IV. 
 
 Extend the Compafles to the Diftance of the parallel required, then with one Foot in 
 any Point of the Line given, as in G, fweep the Circle H. I. Again, without altering the 
 Compafles, fat one Foot in another Point, as in K. and defcribe the Circle L. M. then 
 rule the Line T. C. touching the outward Parts- of die two Circles, and you will then 
 have the Parallel to the Line, given. 
 
 4. To bifect or divide a given Line, C. D. into two equal Parts. See Fig. V. Plate IV. . 
 
 Having taken with your CompafTes any Diftance greater than half the given Line^ 
 proceed with one Foot of them in C. to defcribe the Arch E. E. and without altering the 
 Diftance, fetting one Foot in D, fweep the Arch F. F. and thefe Arches will interfecl 
 each other in the Points I. K. which joined by a Perpendicular will crofs C. D. in the 
 middle Point L. 
 
 5. Having three given Points not in a right Linej how to turn a Circle through . 
 
 them. See Fig. VI. Plate IV. 
 
 Three Points being fixed as at D. E. and F. proceed to join them by the right Lines 
 D. E. and E. F. then by Fig. V. bifect the Line D. E. with the Line G. H. which being 
 done, divide the Line E. F. with the Line I. K. and from the Middle K. where thefe 
 Lines center, extend your Compafles to D. and fweep the Arch D. E. F. P. 
 
 6.. A fure Way of drawing an Oval. See Fig. VII. Plate IV. . 
 
 Divide the given Line G. H. into four equal Parts ; one Foot of the Compafles being 
 fet in I. defcribe a Circle E. E. . Without altering the Extent of the Compafles from K. . 
 fweep the Circle F. F. then extend the Compafles, one Foot in K, and fweep the Arch 
 L. L. With the fame Extent fet one Foot in h and- turn the Arch M. M. the Inter- 
 fections muft be united by a Perpendicular from N. to O. then proceed, with one Foot 
 of the Compafles in N. to defcribe the Arch P. P. and with the fame Extent of Com- 
 pafles fet one Foot in O. and turn the Arch T. T. 
 
 7. Another certain Method. See Fig. VIII. Plate IV. 
 
 Rule a given Line A. L. then place one Foot of the Compafles in C. and defcribe 
 the Circle F. F. then with the fame Extent of Compafles on the Line A. L. in the fup- 
 pofed Point O. defcribe the Circle P. P. and through the Points where the 
 
 two Circles interfecl, rule the perpendicular K. T. then, having one Foot of the Com- 
 pafles fet in K. extend the other fo as to fweep the Arch B. B. to the lower Extremi- 
 ties of the Circles ; then, without altering the Compafles, fet one Foot in T, and turn 
 the Arch U. U. to join the upper Extremities.. 
 
 By the preceding Examples it is evident that an Oval of any Form or Size may be 
 conftrucled at Pleafure, only oblerving always to fet the Compafles at an equal Dif- 
 tance from the given Line A. L. on the Perpendicular K. T., 
 
 Pratlical 
 
 I 
 
( « ) 
 
 Practical Examples in Ferfpe Bive. 
 
 To draw a Square Pavement in Perfpective. See Fig. IX. Plate IV. 
 
 SUPPOSING you have a Piece of Pavement confifting of 64 Pieces of Marble, 
 each a Foot Square, your firft Bufmefs is to draw an Ichnographical Plan, which i3 
 thus performed :- 
 
 An exact Square bein^ made to the Size of your intended Plan, proceed to divide 
 both Horizon and Bafe into eight equal Parts, and from each Diviiion in the Bafe to 
 its oppofite Point in the Horizon rule perpendicular Lines, and divide the Sides into 
 the fame Number, ruling acrofs from Point to Point parallel Lines; fo that of Courfe 
 your Pavement will be divided into 64 Square Feet ; as the Eight Feet in Length, 
 being multiplied by the Eight in Breadth, produce the Number of Pieces contained in 
 the Whole : then rule from Corner to Corner Diagonal Lines, and you will have your 
 Ground-plot as in the fame Figure. 
 
 Now, to throw this into Perfpective, draw another Square as before directed, and 
 divide the Bafe Line only into eight equal Parts ; fix your Point of Sight at F. in the 
 Center of the Horizon G. H. ; then to every Divifion in the Bafe D. E. rule Lines 
 from the fame Point ; and proceed to rule Diagonals from D. to H, and from G. to 
 E, to anfwer thofe in the Ground-plot, and you will then have your Square reduced 
 to the Triangle D. E. F. and from the Point I. where the Line D. F. is interfered 
 by the Diagonal G. E. to the oppofite Interferon K. where the Line E. F. is inter- 
 fered by the Diagonal D. H. ; then rule a parallel Line, which is the Abridgment of 
 the Square. 
 
 From the reft of the Lines which go from the Bafe to the Point of Sight, through 
 the Points which are interiec"i.ed by the Diagonals, rule parallel Lines, and you will then 
 have your Square Pavement laid in true Perfpective, as in Fig. X. Plate IV. 
 
 To find the Height and Proportion of Objects appearing above the Horizon on a 
 fuppofed Plane. See Fig. XI. Plate IV. 
 
 Having your horizontal Line ruled A. B. proceed with fixing your Point of Sight- 
 as at N, and marking the Place of your neareft Pillar by a Dot at the Summit or Top 
 as at C, and another at the Bafe as at D. Then rule a Line from C. to N. and ano- 
 ther from D. to N. and thefe two Lines give the Height of any Number of Pillars : 
 for inftance, would you have your Pillar at E, fix your Dot for the Bafe, then meet the 
 Diagonal D. N. at F, by ruling a parallel Line, and to the Diagonal C N. rule the Per- 
 pendicular F. G, which Perpendicular ihews the Height of the Pillar required at E. Or, 
 would you have a Pillar placed at H, obferve the foregoing Directions ; ruling the 
 Parallels H. I. and K. L, and the Perpendiculars I. M. and L. O, will Ihew the required 
 Heights and Diftances. 
 
 In finding the Diameter at any particular Diftances, you are to be guided by that 
 neareft the Bafe ; as, for Example, fuppofe your neareft Pillar D. R. to be ten Feet in 
 Height and one in Diameter, interfect from Bottom to Top in two equal Parts, and . 
 upon the Bafe of the Pillar fet off one of them from the Point of Sight N. to the Dia- 
 meter R. then Rule a Line to the Point of Sight from R, and you will have on the re- 
 ipective Bails the Thicknefs of each Pillar. 
 
 The 
 
( ^ ) 
 
 The preceding Rule exemplified in Objects beneath the Horizon. See Fig. XII. 
 Plate IV. 
 
 Having ruled the Horizontal Line A. B, fix the Point of Sight as at C ; then, ac- 
 cording to your Judgment, make a Dot for the Feet of your Figure as at D, and another 
 for the Head as at E ; then rule a line from C. to D, and from C. to E, and theie two 
 Diagonals will mew the true Height of any Number of Figures that can be wanted. 
 Make Dots for the Place of the Feet of any Figure where you would have them 
 ftand, as at F, G, H, I, and K : now to know the Height of each reflectively, 
 draw parallel Lines from the Dots F, G, H, I, and K, to the Diagonal C D ; then 
 raife Perpendiculars from the Points where the Parallels interfect this Diagonal at 
 L M R, N S, O T, and P U, and the Perpendicular L Q_ mews the Height of the 
 Figure at F, as does M R of that at G, N S of that at H, O T of *hat at I, and P U of 
 that at K. 
 
 Note, You will be obliged always to fix the Height of one Figure as at D E, in or- 
 der to find the Size of the reft; and the Point of Sight may be placed at any Diftance 
 you pleafe from the firft fuppofed Figure on the Horizontal Line. 
 
 From a Line given to form a Square. See Fig. XIII. Plate IV. 
 
 Rule your Bafe Line of any Length you pleafe, as at A B ; then raife Perpendicu- 
 lars (as in Fig. II.) from A to C, and from B to D ; next take with your CompaiTes 
 the Length from A to B, and fetting one Foot in A, turn the Arch E F ; then with the 
 fame Extent of Compares fet one Foot in B, and defcribe the Arch G H; laftly, rule a 
 Line from I to K, touching the outward Parts of the two Arches where they interfect 
 the Perpendiculars, and you have the Square required. 
 
 From a given Line to form a Parallelogram. See Fig. XIV. Plate IV. 
 
 Rule a given Line of the Length required, as at A B ;*then raife a Perpendicular at 
 A, and another at B, as in Fig. II.) and on them fet off the proper Heights, as A C 
 and B D ; join C D with a Line, and your Parallelogram is complete. 
 
 FIG. XV. Plate IV. 
 
 In this Figure we have attempted to mew how to draw, with Certainty, that curved 
 Line, which Mr. Hogarth, in his ingenious Analyfis has ftiled the Line cf Beauty- 
 There has, however, been an Objection railed by fome, that he has omitted the Rule 
 whereby this truly v.feful Line may be found : For which Reafon, and in order to 
 enforce the Study of it, we have given this Figure, not as an Infult upon that celebrated 
 Author (whofi; P.leaning is very clear), but as a Line well deferving of Attention, 
 being of itfelf fingle and eafily drawn ; and as we are defiraus of following the 
 Method of that great Artift, in the Explanation of our Ideas by the moft familiar 
 Objects, we here inform the Student, that it may be plainly feen in that well-known 
 Anmlement of the School-Boy, a fix-pointed Star ; in which the contrafted Halves of 
 any two oppolite Points give the Line which is with great Propriety ftiled the Line of 
 Utimty* 
 
 To 
 
( 13 ) 
 
 To execute a Direct View. Sec Fig. L Plate V*. 
 
 If you would draw a Direct View of a Houfe and Wall, or, in other Words, a Geome- 
 trical Elevation to be railed from a Plan or Ground-plot, by a Scale, made according to 
 the Dimenfions of the Building, firit rule the Bale Line A A above the Plan B B at any 
 Height youpleafe. Then erctt Perpendicular? at C and J) for the Extremities of the 
 Houfe, alio from the Windows marked in the Plan ef, g //, i k, I m, n n, which will 
 give the Breadth of all the Windows. Rule thefe Perpendiculars faintly with Black 
 Le'd. Having done this, fuppofe the Bottom of the Parlour or Ground-Floor Win- 
 dows to be 3 Feet above the Bafe Line A A, take off with your Compares 3 Feet from 
 lhe Scale, and transfer that Meafure from p to u at eacli End of the Houfe. Then {up- 
 poling tne Parlour Windows to be 54 F ett high, let off that Meafure from the Scale, 
 and transfer it to the Extremities from q to r. Then, if the DHlance from the Top of 
 the Parlour Windows to the Bottom of thofe on the Firft Floor be 5 Feet, take it as be- 
 fore from the Scale, and let it off at each End from r to s. Then fuppofe the Chamber 
 Windows to be 54 Feet high, transfer that Diltance from the Scale from s to t at each 
 End. Next, fuppofing from the Top of the Firft Floor or Chamber Windows to the 
 Bottom of the Cornice to be 3 Feet, take 3 Feet from the Scale as before, and fet off 
 that Diltance at each End from t to u. Then if the Cornice be Foot high, meafure 
 it oft" from the Scale, and transfer it to each End from u to w. Laftly, fuppofe the Roof 
 to be 3 Feet from the Top of the Cornice, fet oft' 3 Feet at each End from w to x t 
 1 hen rule faintly with your Pencil the Parallels q q, r r, s s, 1 1, u u y w iv, x .v, and 
 ) ou have the Height and Breadth of all the Windows, &c. which having outlined, 
 rub out the Parallels and Perpendiculars with Bread ; and letting oft" 6 Feet, the fup- 
 pofed Height of the Wall, rule the Line from A to Y at each End, and the Work is 
 ready for lhading. > 
 
 To draw an Oblique View. See Fig. II. Plate V. 
 
 Firft Rule the Horizontal Line D E, and if the molt remarkable Objects be on the 
 Left-Hand, as at C, having taken your Station on the Bafe Line as at G, from that 
 Place raife a Perpendicular G I, which at the Point of Sight K will interfect the Hori- 
 zon ; and to find the Roof and Bafe of the principal Building C, rule the Diagonals L K 
 and M K. 
 
 N. B. Obferve whether the Profpeel before you make a Curve, which if it ftiould, 
 be careful to make the fame in your Copy, whether it be direct or oblique. 
 
 To draw a View wherein are Accidental Points. See Fig. III. Plate V. 
 
 Suppofe a large Building in which are feen two Fronts taking different Directions, 
 as in this View : fix your Station at A about the Center of the Bafe Line, after which 
 rule the Horizontal Line B C, then fix upon that your Points of Sight D and E ; and 
 rule firft the Diagonals E H and E I, and you may draw Diagonals from the Point of 
 Sight D to F, G, and K, &x. that they may take their proper Directions towards their 
 respective Points of Sight. 
 
 Accidental Points feldom intervene where there is but a fmall Diftance, as in Canals, 
 Groves, Noblemens' Seats, &c. which are to be drawn by the ftrictert Rules of Per - 
 
 E fpectivc 
 
( U ) 
 
 fpe&ive. But when the Profpedl is cxtenfive, it muft include every Thing analagoin 
 thereto ; but as this requires liich an infinite Number of Accidental Points, you had 
 better not attempt them till your ideas are farther improved, and your Judgment more 
 ftreiigfhened. 
 
 Of Enlarging and Contracting. Fig. IV. and V. Plate V. 
 
 WITH your CompafTes divide your Original into any Number of Squares, and 
 with your Pencil Rule from Side to Side, and from Top to Bottom ; then divide your 
 Paper into the fame Number' of Squares bigger or lefs than the Original you intend 
 to enlarge or contract : and you may, to prevent Miftakes, number the Squares both 
 in the Original and Copy, as they are done in the Plate. This done, place your 
 Original before you, and draw Square by Square, that is to fay, make the fame Parts 
 as are contained in one Square of your Original fall into the fame Square of your 
 intended Copy ; and by doing this with Care, you will make the one exactly corre- 
 spond with the other in due Symmetry and Proportion. Then outline your Subject 
 with Indian Ink, and rub out the Marks of the Pencil with Bread, and fo proceed to 
 mading. 
 
 Of Copying of Draughts. 
 
 WHEN you would copy a print or drawing exactly of the fame Size, rub the Back 
 of it with the Dure of Red Chalk or Black Lead ; lay this upon your Paper, and pin it 
 down at the four Corners ; then with a blunt Point trace the Outlines and Breadths of 
 the Shadows; which done, having carefully examined it to fee that nothing be omitted, 
 take it off, and finifh it with the Pencil or Pen. 
 
 Another way to make an exact Copy, and at the fame Time to preferve the Ori- 
 ginal, is, to lay a Piece of tranfparent Paper upon it, and draw the Outlines thereon 
 with a Black Lead Pencil ; then between that and the Paper you intend to draw upon, 
 place a Piece of thin Poft-Paper, reddened or blackened at the Back ; after which, pro- 
 ceed to trace and finifh it according to the foregoing Rule. 
 
 If you would reverie your Original, you need only turn the tranfparent Paper, with 
 the Drawing you have made upon it, downwards upon the Poft-Paper, and trace it as 
 above directed. 
 
 Of the Imitation of Life. 
 
 CHUSE the Perfon you are to draw from, to be of an handfome Shape and good 
 Proportion, as this w r ill confirm your Ideas, and illuftrate the Rules before-mentioned. 
 
 Place the Perfon in the moft natural and eafy Pofition, always avoiding, in your 
 £arly Practice, the copying of ungraceful or diftorted Attitudes, which ferve only to 
 
 give 
 
( '5 ) 
 
 give the young Practitioner a wrong Bias, and render him incapable of forming a juft 
 and proper Conception of the natural Beauties and Graces of the Human Form. 
 
 Begin as before directed with a flight Sketch with your Charcoal of the main 
 Itadirtg Strokes or Outlines, which having clone correctly, proceed to finifh with your 
 Pencil. 
 
 Take particular Notice of the Mufclcs as they occur; as this will give aRefemblance 
 of the Perfon in the Outline, if correctly obferved, before you (hadow it. 
 
 In draw ing a Likenefs, great Care is neceflary to exprefs the Paflions in the livelieft 
 Manner, and this is done by minding the Difpofition of every Feature, with peculiar 
 Nicety. This being by far the moft difficult Part the Pupil has to learn, we would 
 advife him not to be too hafty to attain it before he has made a thorough Proficiency 
 in the eafier and more practicable Branches of Drawing ; nor would we, on the other 
 Hand, difcourage the Efforts of Genius, which in the Purfuit of any Art or Science, are 
 moft certainly truly laudable, and have been frequently attended with the deferved 
 Succefs : all that we mean to inculcate by this Caution, is not to afpire all at once, or 
 by too hafty Strides, to Perfection, but rather to afcend progreflively the neceflary Steps 
 which lead towards it. 
 
 Of Hjjlory. 
 
 THE Student has in this Branch the whole Art of Drawing, as it were, blended 
 together ; and when he has fo far gained his Point, as to draw completely the Human 
 Body, this will be the moft delightful Employment that can be imagined. For the 
 Choice of Subjects he need never be at a Lofs, as his own or his Neighbour's Families 
 will furnifh him with Abundance. Books will likewife greatly aflift him, particularly 
 the Sacred Hiftory, which is replete with an inexhauftible Fund of Events, above all 
 others worthy to be recorded, and therefore moft deferving his ferious Attention. To 
 this we may add the Hiftory of our own Country, wherein the illuftrious Actions of 
 ancient Heroes, as well as thofe of our Contemporaries, and particularly our gallant 
 Officers Military and Naval in the laft War, afford ample Matter for the Exercile of 
 the ingenious Artift. As to Beafts, Birds, Flowers, Fruits, Plants, &c. we think it 
 wholly unneceffary to give any Directions concerning them, as the Subjects we have al- 
 ready difcuffed are by far the moft ufeful, and he who can draw a human Figure correctly, 
 is fufficiently qualified for every other Branch of this noble Art ; but as the experienced 
 Draughti'man may fometimes choofe to vary the Object of his Study,|which, when perfect 
 in Anatomical Subjects, he may do with Safety, we have given a few Examples of 
 Beafts, Birds, Shipping, &c. for his farther Entertainment and Amufement. 
 
 Obfervations 
 
( >6 ) 
 
 Objtrvations en Drftgn, as well in Regard to Ihcovy as Praclue. 
 
 THE Theory of Defign is only to be acquired by fludying the beft Authors who 
 have laid down the fckntincal Iluks for the Attainment of .this Art. By a found 
 Knowledge in the Theory of Defign, thofe w ho are unable to draw the mofl uro'ple Ob- 
 ject$ may be enabled to give their Opinion upon the Performances of the beft Matters; 
 in this Cafe, Theory being detached from Practice, is equally confidered, and diflinguim- 
 ed by the Epithet of Tafte. There is another Method of acquiring Tafte; which is by 
 frequently examining good Pictures, in the Prefence of thofe who are efteerned Con- 
 noifeurs in the Art, who generally pafs their Judgment without Ileferve. 
 
 Theory, in this Senle of the Word, has been hitherto the greateft Support of Pant- 
 ing ; forbad Tafte been confined to Practice only, we" mould not be able to find lb 
 inariy invaluable Pieces in the Cabinets of Princes and other Enccuragers of /rt, and 
 who could not perhaps have been permitted by their Avocations to have acquired any 
 Tafte for this polite Art, fo that Painting of Courfe would have found no Patronage. 
 
 The practical Part of Defign is produced only by a frequent Application of the 
 Hand, accompanied with the Understanding, in the Imitation of various Forms. 
 
 Thofe Objects, whether Perfons or Places, which we have but a tranfient View of, 
 are in the Memory like Sketches of Charcoal upon Paper, which the Whiiking of a 
 Feather will entirely deface. How then lhall the unaccuitomed Hand perform its Func- 
 tion when the Object is not inculcated in the Mind, and can in a fhort Time retain only 
 a confufed Idea of its Refemblance ? This is therefore an infallible Proof that the only 
 Way to attain Perfection is to blend Practice with Theory. 
 
 From what has been already faid, it is plain that the Conveyance of the Similitude 
 of Objects is only to be obtained by an unwearied Application. The Hand by Practice 
 acquires a Facility which gives Freedom, and we muft correct that Freedom by Judg- 
 ment. Pleafe to obferve, that we do not here mean by Judgment but Exertion of 
 the Understanding that is neceitary to cbmpofe an historical Picture, but relates only 
 to Proportion, it being nothing uncommon for one who is a good practical Draughts- 
 man to be entirely incapable of compofing, which we think Ihould be with the utmolr 
 Propriety afcribed to the Genius. 
 
 THE END. 
 
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THE GETTY CENTER 
 LIBRARY