4 
 
 .'EKTH )- 
 
F R C N 1' i F I y. C V, 
 
HINTS 
 
 ON 
 
 SKETCHING FROM NATURE. 
 
 BY 
 
 K E. GREEK 
 
 PART IIL-COLOUR. 
 
 SEVENTH EDITION. 
 
 LONDON: 
 GEOEGE ROWNEY AND COMPANY, 
 
 MANUFACTURING ARTISTS' COLOURMEN, 
 
 52, KATHBONE PLAGE, AND 29, OXFOED STEEET, W. 
 
LONDON : 
 
 HENDERSON, RAIT, AND FENTON, GENERAL PRINTERS, 
 73 & 74, MARYLEBONE LANE, OXFORD STREET. 
 
PREFACE. 
 
 The favourable reception of the first and second parts 
 of this work, as indicated not only by the general 
 demand for them, but expressed in many letters of 
 kind approval received by the Author, encourages him 
 to hope that this third part, on which a considerable 
 amount of time and care have been expended, will 
 meet with equal success, and that the numerous en- 
 quirers for its publication will not be disappointed 
 in its perusal. 
 
 3, Circus Road, 
 
 St. John's Wood, London. 
 
Digitized by the Internet Archive 
 in 2013 
 
 http://archive.org/details/hintsonsketchingOOgree 
 
CONTENTS. 
 
 PAGE 
 
 Colour. Introduction 7 
 
 Primary Colours and their Combinations .... 8 
 
 Qualities of Colours 11 
 
 Mixing Broken Tints 17 
 
 Contrast and Harmony .21 
 
 General Distribution of Colour in Landscape . . .25 
 
 Balance of Colour 29 
 
 Water Colour Materials 32 
 
 Management of Washes 47 
 
 Progressive Treatment of a Sketch in Water Colours . 54 
 
 Unity of Effect 69 
 
 Conclusion ........... 63 
 
SKETCHING FROM NATURE. 
 
 PART III. 
 
 CHAPTER 1. 
 
 ON OOLOUE.— INTRODUCTION. 
 
 The hints on sketching from nature already given in 
 the first and second parts of this work would be 
 incomplete without some reference to painting and 
 the use of water colours. This part of the subject is 
 so full, both in its theory and practice, that any 
 instruction in a handbook of this description must 
 be of the most elementary character. The following 
 hints are offered to those who have not commenced 
 the practice of colouring, with the hope that they 
 may prove acceptable, and be the means of leading 
 to a more thorough and earnest study of this most 
 important branch of the art. A good eye for colour 
 is a natural gift, and one for which neither artist nor 
 amateur can be too grateful ; but, whatever the natural 
 gift may be, it is capable of being developed by study, 
 and continuously improved by practice. 
 
 We will first endeavour to explain the general laws 
 of colour, and then consider to what extent the know- 
 ledge of these laws may be made available in sketching. 
 
8 
 
 SKETCHING FROM NATURE. 
 
 CHAPTER II. 
 
 ON THE PEIMAEY COLOUES AND THEIE 
 COMBINATIONS. 
 
 A PRIMARY colour is one that cannot be produced by 
 the mixture of others. There are but three primaries : 
 yellow, red, and blue. From these three colours all 
 others may be produced by mixture. 
 
 The three colours, yellow, red, and blue, with the 
 assistance of the white ground of the paper, are equal, 
 at least in theory, to all the requirements of the art. 
 By the mixture of yellow and red we obtain orange, 
 from yellow and blue we have green, and by blending 
 red and blue we produce purple. 
 
 Orange, green, and purple may then be called the 
 secondary series, and from these we produce the ter- 
 tiaries — orange and green giving olive ; orange and 
 purple, brown ; and green and purple, gray or slate. 
 
 We have placed this before the reader in a tabular 
 form, in order that the sequence and relative position 
 of the various colours may be clearly seen and re- 
 membered. 
 
 We have called the last colour on the right hand 
 gray or slate ; and it is worthy of remark that while 
 the six colours comprising the first and second series 
 
C OL OUR 
 
 SH ADF, 
 
 ! tace page 8 . 
 
ON THE PRIMARY COLOURS AND THEIR COMBINATIONS. 9 
 
 have distinctive names which are recognized by all; 
 the three last are spoken of under different names, 
 and, worse still, the names are sometimes transposed. 
 For instance, the tertiary series are named thus, citrine, 
 russet, and olive ; citrine being another name for the 
 mixture of orange and green, russet for the mixture 
 of orange and purple, and, sad to relate, the mixture 
 of green and purple being called olive. Now, whatever 
 may be the original signification of the term olive, it is 
 now generally understood to mean a warm rich green, 
 differing exceedingly from any colour that can be made 
 by mixtures of green and purple. 
 
 We have added the term slate to the mixture of 
 green and purple, because the crossing of these two 
 colours produces a slatey gray for which we have no 
 generally accepted name — a true gray is simply the 
 mixture of black and white, while the colour which 
 results from the blending of purple and green has an 
 excess of blue in its composition. These remarks upon 
 the names of the tertiaries would not have been intro- 
 duced were it not most important to have clear ideas 
 of the connection between names and colours ; and 
 also that the reader may be warned against a possible 
 misunderstanding, arising from the use of different 
 names in the writings of others. 
 
 In the first tabular illustration of the colours, page 8, 
 the primary, secondary, and tertiary series have been 
 kept separate in order to impress them more readily 
 on the memory ; but this arrangement is not the most 
 favourable for expressing their connection, or the manner 
 
10 
 
 SKETCHING FROM NATURE. 
 
 in which one set of colours produces that next in order 
 to it. We have therefore given the usual circular figure,'*' 
 in which the sequence is more evident, the primary 
 colours, yellow, red, and blue, occupying the centre, 
 and each colour in the outer circles lying next the two 
 by which it is produced ; thus orange is placed over the 
 yellow and the red, and the green next the yellow and 
 blue, and so on throughout the series. 
 
 The connection which exists between purity of colour 
 and light, and the loss of light which results from the 
 mixture of the primaries may also be observed in this 
 diagram. In the centre, yellow, red, ancj blue, have 
 each their distinct correlatives in shade ; yellow having 
 the least, red the next in quantity, and blue the most. 
 From this scale there is no direct departure in the colours 
 of the second circle ; for, although orange has less light 
 than yellow, it has in equal proportion more light than 
 red. But when we pass to the outer circle, which is 
 composed of the tertiaries, the loss of light is most 
 perceptible ; olive has by no means so much light as 
 yellow, brown is much deeper in tone than red, and 
 gray is decidedly nearer to shade than blue. We must 
 not therefore consider that this loss of light is a disad- 
 vantage, for the presence of tone in the colours of the 
 tertiary scale, of which the greater portion of a picture 
 is generally made up, is the very quality that makes 
 them so valuable as a ground on which to place the 
 brighter touches of the picture. This connection between 
 colour and tone or shade is further considered in the 
 next chapter. 
 
ON THE QUALITIES OF COLOUR. 
 
 11 
 
 CHAPTER III. 
 
 ON THE QUALITIES OF COLOURS. 
 
 The first division of the primary scale is into what 
 are called warm and cold colours, yellow and red being 
 termed warm, and blue the cold colour, and this is far 
 from being a fanciful arrangement ; for in painting 
 yellow and red are inseparable from a light and warm 
 effect, and it is impossible to produce shade or coolness 
 without the use of blue. By this we see that in the 
 natural scale of colours the warm tones predominate ; 
 and the practical inference to be derived from this fact 
 is, that they should maintain the same relative value 
 in painting ; or in other words the general tone of a 
 picture should be warm, the cold colours being intro- 
 duced as a contrast, and in order to give value to the 
 other side of the scale. 
 
 Let us now consider each colour separately, observing 
 its place in the table, and endeavoming to connect it 
 with those properties which belong to it as a conse- 
 quence. 
 
 It will be seen in the chart, page 8, that three terms 
 have been used, viz., light, shade, and colour, and that 
 below all lies the gloomy region of blackness. Light 
 is placed above the yellow, shade over the blue, and 
 
12 
 
 SKETCHING FROM NATURE. 
 
 colour over the red, because these terms best express 
 the characteristics of these colours. And first, as to the 
 connection between yellow and light. This colour is 
 placed next to whiteness or light, for it occurs in 
 frequent, we might almost say in constant, union with 
 it in nature ; and seldom is the sun or a cloud so white 
 that no trace of yellowness or warmth can be detected 
 in its tone. Yellow tints are found pervading the 
 lights of nearly every object in the landscape ; they 
 warm the foliage, enrich the mountain side, and tone 
 the distant sky. 
 
 Blue, on the contrary, is nearest allied to shade, and 
 though not shade in itself, yet no shade can be produced 
 without it. We find it therefore mingling with all the 
 shades of nature, especially those of the clouds and dis- 
 tant landscape ; and though the foreground browns may 
 seem to be free from its influence, yet a reference to the 
 chart will show that even here it is present, having been 
 introduced through the purple. 
 
 We have placed the word colour over red, and surely 
 it merits the distinction, for red is, so to speak, the very 
 acme of colour. Yellow may be regarded as colour 
 diluted with light, and blue, as colour passing into 
 shade, a theory which, however fanciful it may appear, 
 is not without support in nature. For instance, let us 
 consider the changes which tinge in succession the face 
 of the sun. In mid-day pure light with its accompany- 
 ing whiteness prevails ; towards the afternoon a delicate 
 tone of yellow makes its appearance, which deepens 
 into a golden hue as the sun approaches the horizon ; 
 
ON THE QUALITIES OF COLOUR. 
 
 13 
 
 but the intensities of colour are near at hand — orange 
 is quickly exchanged for a fiery red ; yet before the 
 glorious orb disappears from view it is tinged with 
 crimson, a colour which cannot be produced from the 
 primaries without the aid of blue. Thus we have an 
 unbroken series of tints from white light, to the 
 commencement of shade, passing through red, at 
 which point we may certainly ^ say that colour is 
 most vigorously expressed. But for another illustra- 
 tion : red is unquestionably the most forcible of 
 colours ; as such it is used as a signal both by day 
 and night, and many other instances will occur to 
 the mind in which it is employed in consequence 
 of its attractive power. This characteristic makes it 
 a matter of great importance that we should understand 
 its right employment in art. The greatest care is 
 required in its use ; and although it may be said to 
 mingle with every tint, and that a picture is only 
 rich in colour in proportion as red is present, yet, in 
 consequence of its power, there is great danger in 
 using it in a crude state ; therefore, when any object 
 is principally composed of red, every gradation towards 
 brown or gray should be most carefully preserved. 
 
 But whilst directing attention particularly to red 
 as the most effective of colours, we must not forget 
 the claims of yellow and blue. These, together with 
 the red, complete the primary scale ; and in a painting 
 each must be represented, or the eye will not be 
 satisfied with its completeness as a work of colour. 
 For instance, it is in vain that the warm tones formed 
 
14 
 
 SKETCHING FROM NATURE. 
 
 by yellow and red are exhibited, if the cool tints 
 produced by the use of blue are wanting, for without 
 them the work can only appear hot and oppressive. 
 Again, if the picture is composed principally of cool 
 tints, without the aid of the warm scale, it must 
 remain cold and comfortless in the extreme. 
 
 It is this filling up or completing the primary scale 
 which gives rise to the term " complementary," so 
 frequently employed when speaking of coloiu' — a word 
 which signifies filling up. Thus, purple is said to be 
 complementary to yellow, green to red, and orange 
 to blue: or, in other words, if yellow is present, 
 purple, which is composed of the two remaining 
 primaries, red and blue, complements or fills up the 
 scale ; or if red is used, then green, which is composed 
 of yellow and blue, forms the complementary ; and if 
 blue is employed, then orange, which results from 
 mixing the remaining primaries, is the colour to 
 complement or fill up the series. 
 
 The principle of emj)loying complementary colour is 
 of the utmost imj)ortance in painting ; therefore if any 
 tone of colour prevails, either through the whole subject 
 or any considerable portion of it, the complementary to 
 that tone should be carefully introduced. For instance, 
 in treating the sky where blue prevails, it is most 
 important to exhibit, together with it, a certain amount 
 of orange, its complementary. This is carried out in 
 water-colour pafnting by toning the paper with a warm 
 wash, previous to painting the sky ; this warm wash 
 gives to all the lights of the clouds a faint orange tone, 
 
ON THE QUALITIES OF COLOUR. 
 
 15 
 
 and, as this colour underlies the blue, it tends to 
 harmonize the whole. The effect of toning blue with 
 orange may be frequently observed in nature when the 
 haze that is always more or less present in the distance 
 is rendered warm and luminous by the light of the sun. 
 This warm haze overlaps, as it were, the distant blue, 
 and changes it to a warm tone, thus bringing it into 
 delicate and refined harmony with the distant land- 
 scape. But if we desire to experience the full power of 
 this delicious exhibition of colour, let us go out to 
 nature on some lovely evening when rich golden clouds 
 are floating in an azure sky — then, if ever, the value of 
 this combination will be felt and acknowledged. 
 
 For a firrther illustration of the working of this 
 principle, let us consider its application to the prevailing 
 tone of the landscape ; this is in most instances found 
 to be green — the complementary being red. Therefore 
 in landscape painting it is of the utmost consequence to 
 introduce amongst the various greens tones tending 
 towards red, for if these be omitted the effect of the 
 picture will certainly be cold and harsh. 
 
 One of the most common errors of beginners in land- 
 scape colouring is to overlook the presence of this com- 
 plementary red. Their trees are painted too green, 
 especially in the distance, and the grass is insufferably 
 crude ; whereas a more matured judgment would be 
 watchful for the faintest tinges of complementary colour, 
 and even find it necessary to add small portions of lake, 
 brown madder, or burnt sienna, to almost every tint of 
 green. 
 
16 
 
 SKETCHING FROM NATURE. 
 
 The pleasure which the eye experiences in the presence 
 of a completed scale gives peculiar value to every warm 
 tone in landscape painting, whether it be a cottage roof, 
 a piece of broken ground, or patch of heather ; and this 
 demand of the eye for the complementary accounts 
 most satisfactorily for the frequent practice of intro- 
 ducing browns or reds amongst the figures. The 
 various seasons of the year offer an opportunity for 
 choice in colouring, and the general preference given to 
 autumn over midsummer can be traced directly to this 
 deep-seated delight in a completed scale ; each olive 
 blade, russet spray, or golden leaf, being a means by 
 which the much-coveted complementary colour is intro- 
 duced. 
 
ON MIXING BROKEN TINTS. 
 
 17 
 
 CHAPTER IV. 
 
 ON MIXING BROKEN TINTS. 
 
 We have s^Doken of the delight experienced by the 
 eye from the introduction of complementary tones in 
 painting, but a singular result follows upon their 
 absolute mixtiu'e ; for, if any two tints that are exactly 
 complementary to each other are mixed in certain pro- 
 portions, black is the result : that is, they fight so 
 desperately that they destroy each other. Mix either 
 yellow and purple, red and green, or blue and orange, 
 and the result in each case will be the same, a dirty gray 
 or black. But this only occurs upon their mixture in 
 definite proportions ; a little of one colour with the other 
 does not produce black, it only tones or breaks the 
 mixture towards gray, and this toning or breaking of 
 positive colours is of the highest value — indeed one 
 great difference between the sketch of an accomplished 
 artist and the work of a beginner is that, in the 
 latter case the colours are iised in too crude a state, or 
 too much as they are supplied by the manufacturer ; 
 whereas the more educated eye recognizes the presence 
 of an all-pervading gray blending with and harmon- 
 izing the whole. Now, one way of producing this 
 harmony is by crossing each colour with a small portion 
 of its complementary ; yet this requires the greatest 
 care, for if the process is carried too far the brilliance of 
 
 B 
 
18 
 
 SKETCHING FROM NATURE. 
 
 the work must suffer, and the result will be a degraded 
 and dirty tone throughout the painting. 
 
 In the diagram on the opposite page the mutual 
 influence of colours that are complementary to each 
 other may be observed. In the first row yellow is 
 crossed with purple. In the second, red is combined 
 with green, and in the third set blue is mixed with 
 orange, the result being seen in the centre squares, where 
 in either case a broken tint or gray is produced by 
 the mixture. The practical value of these half tints 
 cannot be overrated ; and it will be evident, even to an 
 unpractised eye, that, though the two outside sets of 
 colours, composed of the primary and secondary series, 
 are quite unfit for general use in consequence of their 
 unharmonious and crude character, the other tints are 
 valuable as affording broken or harmonious tones fit 
 for general use. The student is recommended to con- 
 struct a table of this kind, and extend it to the various 
 colours of the box, placing the names of the colours 
 employed at the side, so that the combination may be 
 known, should it be required in future. The most 
 simple way of painting such a scale is to mix a fair pro- 
 portion of any two colours, say gamboge and purple ; 
 place them in the spaces to the right and left, then for the 
 space next the gamboge add a little of the purple, for 
 the space next* the purple a little gamboge, and for the 
 centre space gamboge and purple in equal quantities. 
 In this way gamboge may also be crossed with sepia or 
 Vandyke brown, raw sienna with cobalt, ochre with 
 cobalt, lake with indigo, lake with olive green, &c., by 
 
ON MIXING BROKEN TINTS. 
 
 19 
 
 which means the student will become acquainted with 
 the influences of the various colours on each other, and 
 secure a store of broken tints and grays, together with the 
 knowledge how to produce them when they are required. 
 
 In the commencement of the practice of colouring, 
 whether it be in copying from the work of an artist, or 
 in the endeavour to imitate nature, the mixture of the 
 exact tint or tone is generally found to be one of the 
 greatest difficulties. The reason for this is that the 
 effort to j)aint is generally made hefore the theory of 
 colour has been studied, and without any previous prac- 
 tice in the preparation of mixed tints. The student in 
 this case loses much precious time, and no little colour 
 and patience in the endeavour to do that which should 
 have been made a separate study, and its difficulties 
 overcome before attempting to copy or to sketch. 
 
 In acquiring the knowledge necessary to success in 
 this branch of the art, a practical working out of the 
 matter in hand is the surest way to save time ; it is 
 vain to look at a coloured diagram, or even to read over 
 the statements with regard to it, if the actual mixing 
 of the tint be neglected. The best use that can 
 possibly be made of the box of colours is first to copy 
 the coloured diagrams in this work, and then to find 
 out what else can be done by mixing the various colours 
 in twos or threes, observing what influence they exercise 
 upon each other, and noticing the delicate shades of 
 tone which may be produced by varying the quantity 
 of any one colour in a mixture, or by exchanging it for 
 another of a similar hue. In this exercise there is no 
 
20 
 
 SKETCHING FROM NATURE. 
 
 principle so productive of useful or varied results as 
 that of combining complementary colours, as already 
 directed at page 18 ; and in order that this subject 
 may be more clearly understood we have given two 
 charts by which the true complementary to any tint 
 may be readily perceived by looking across the figure. 
 Thus in the first chart purple is opposite to yellow, 
 green to red, and orange to blue ; and in the second 
 diagram orange appears complemented by gray, green 
 by brown, and purple by olive. From this it is 
 evident that the primary colours have but one set 
 of complementaries, whereas the secondary tints — 
 orange, green, and purple — may be complemented 
 either from the first or the third series ; for instance, 
 green is complemented in the one by red, in the other 
 by brown, purple by yellow or olive, and orange by 
 blue or gray. 
 
 A very valuable hint may be given in connection 
 with this fact — viz., that the primary colours need not 
 be present in their integrity in order to secure either 
 harmony or contrast in a painting — indeed their presence 
 in any great quantity is actually destructive of harmony. 
 It should therefore be remembered that the highest 
 pleasure which the eye is capable of receiving from 
 colour may be secured by a judicious contrast of the 
 harmonious colours which form the tertiary scale. 
 
 We have frequently employed the terms harmony 
 and contrast, and, as a clear idea of the meaning attached 
 to these words is of the utmost importance, we have 
 dsvoted the next chapter to their consideration. 
 
ON CONTRAST AND HARMONY. 
 
 21 
 
 CHAPTEE V. 
 
 ON CONTRAST AND HARMONY. 
 
 These words are frequently employed when speaking 
 of colours. It is, therefore, important that their 
 meaning should be clearly understood, in order that 
 a definite idea may be conveyed to the mind of the 
 reader when they are used, and that we may avoid an 
 improper application of them. 
 
 Contrast is connected with ideas of opposition. We 
 speak of the contrast of lights with darks, warm colours 
 with cold ones, near objects with distant ones, and so 
 on. Harmony, on the other hand, is employed to 
 express blending or union. Thus one colour har- 
 monizes with another when the blending of the two 
 produces that which is pleasant to the eye ; just as in 
 music notes are said to harmonize when their mutual 
 vibrations produce a sound which is agreeable to the 
 ear. Things in general are said to work harmoniously 
 when they are free from opposing interests. If this 
 be the commonly accepted meaning of the term har- 
 mony, can there be any propriety in the use of this 
 word when speaking of the mutual effect of comple- 
 mentary colours, or in the remark that blue and orange 
 form a harmonious combination ? Is it not far more 
 
22 
 
 SKETCHING FROM NATURE. 
 
 correct to say that these colours form an agreeable 
 contrast ? 
 
 To this some may reply, you cannot produce har- 
 mony of colouring with blue without combining it with 
 orange ; and therefore orange and blue harmonize. 
 But surely in this case the delight which the eye 
 experiences in the presence of a completed scale has 
 simply been called by a wrong name ! Blue and 
 orange brought together in a crude state do not harmo- 
 nize — they contrast ; and that as violently as any two 
 colours can. And if we desire to make them harmonize, 
 it can alone be effected by crossing or breaking each 
 colour with a small portion of the other ; that is, the 
 blue must not be pure blue, but a blue with a little 
 orange mixed with it; and the orange must not be 
 crude, but blended with a little blue. 
 
 This method of harmonizing contrasting tones may 
 be frequently observed in the works of that great 
 colourist, Turner. We remember particularly a Vene- 
 tian scene, in which the principal portion of the picture 
 was occupied with an expanse of water, the general 
 tone being a greenish blue ; the nearer objects were 
 composed of boats and figures, in which the contrasting 
 colours, orange-and brown, predominated. The oppos- 
 ing effect of these colours had been harmonized by 
 glazing the water with warm tones, and the boats and 
 figures with cool purplish grays. Surely in this case 
 the harmony did not result from the first contrast, but 
 was introduced by the after glazing. 
 
 Eeturning again for a moment to the subject of 
 
ON CONTRAST AND HARMONY. 
 
 23 
 
 music, we liave remarked that notes harmonize when 
 their vibrations blend with each other, producing a full, 
 rich chord ; but the result of the equal mixture of any 
 two colo"ars that are complementary to each other is 
 invariably black. What harmony is there in this? 
 Surely it is nothing less than the most fatal opposition ! 
 
 It will be readily admitted by advanced colourists 
 that the tertiary scale — composed of olive, brown, and 
 gray — is by far the most harmonious, and that the 
 most pleasing pictures are those in which no crude or 
 unbroken colours have been employed. Does not this 
 fact support the argument that harmony is intimately 
 connected with the breaking of pure colour ? What is 
 olive but yellow broken by red and blue ? What is 
 brown but red crossed with yellow and blue ? and gray 
 but the result of blending a little red and yellow with 
 blue? 
 
 To place this still more clearly before the reader — 
 
 Olive contains 2 parts of yellow to 1 of blue and 1 of red. 
 Brown 2 red 1 yellow 1 blue. 
 
 Gray 2 blue 1 red ,, 1 yellow. 
 
 Therefore it may be said that olive is a harmony in 
 itself, the crudities of the three primary colours having 
 been removed by blending ; and the remark applies 
 equally to brown and gray. 
 
 The practical aim of these observations on the theory 
 of colours is to direct the student — first, to the great 
 fact that no combination of colours can be satisfying to 
 the eye unless the three primaries are fairly represented 
 in it ; secondly, that this completeness of the scale of 
 
24 
 
 SKETCHING FROM NATURE. 
 
 colour is most agreeably secured by the employment of 
 contrasting or complementary tones ; and thirdly, that 
 harmony cannot proceed from the use of crude or 
 opposing colours, but is the result of judicious blending. 
 
 It should further be remembered that the tertiary 
 scale— composed of olive, brown, and gray — is by far the 
 most harmonious ; and therefore these tints form an 
 excellent basis, on which the brighter colours of a pic- 
 ture may be placed, an arrangement which in practice 
 is attended with a most satisfactory result. 
 
GENERAL DISTRIBUTION OF COLOUR IN LANDSCAPE. 25 
 
 CHAPTEE VI. 
 
 ON THE GENERAL DISTRIBUTION OF COLOUR IN 
 LANDSCAPE. 
 
 The first great division of colour in average daylight 
 effect is between the sky and foreground—the one tend- 
 ing towards the cold, and the other towards the warm 
 scale. As the sky approaches the horizon its coldness 
 is more or less modified by the warm light which is 
 reflected from the mists that lie near the surface of the 
 earth ; and as the foreground passes into distance it 
 becomes affected by the blue of the air ; so that, on the 
 one hand, the cold colour of the sky is warmed as it 
 approaches the landscape ; and, on the other, the warm 
 tones of the foreground are cooled as they pass into the 
 distance. It is here that each scale is harmonized and 
 blended by an all-pervading gray. 
 
 It might seem at first that this is a very generalized 
 statement, and that it cannot, therefore, be of any 
 practical value ; but we would recommend a most 
 careful consideration of these simple facts to those who 
 intend to sketch in colours ; and before a single tone of 
 colour is mixed, let such questions as these be asked : — 
 How blue is the sky? What amount of warmth is 
 there amongst its oool tones ? and, especially, what tint 
 
26 
 
 SKETCHING FROM NATURE. 
 
 of gray prevails in its distance? Then, with regard 
 to the foreground, how warm are these colours ? 
 Where can I observe the first indication of gray 
 from atmospheric influences ? How blue is that 
 distance? &c., &c. When these various effects have 
 been cautiously observed, the chances are in favour of 
 a truthful sketch being produced, and also of a steady 
 improvement in colouring, by a development of the 
 faculty of estimating correctly the general tone of any 
 portion of the picture. 
 
 With regard to the sky, it may be observed that the 
 fullest blue is generally in that part most removed from 
 the sun, and that its intensity diminishes gradually as 
 it approaches the source of light. 
 
 The amount of gray or blue in any distant view is 
 generally greater than is at first supposed. The best 
 proof of this is to paint a passage of distance from some 
 position where a clear view can be obtained, but where 
 there is also a possibility of observing the scene after- 
 wards, through the stems or boughs of a foreground 
 group of trees. Many will be surprised to find, on 
 making the experiment, that what they had considered 
 to be somewhat positive colouring proves to be little 
 more than bluish gray of varied tones — this blueness 
 having been made evident by contrast with the strong 
 browns or greens of the nearer objects. Then, again, 
 the foreground colours are generally xauch fuller and 
 warmer than they appear to beginners ; and a wash of 
 colour by an experienced hand, which seems at first 
 far too full and energetic, is found by degrees to take 
 
GENERAL DISTRIBUTION OF COLOUR IN LANDSCAPE. 27 
 
 its proper place, and work harmoniously with the rest 
 of the picture. 
 
 In each of the illustrations on the opposite page one 
 of the primary colours is represented in connection with 
 its complementary, and an endeavour is made to present 
 the combination agreeably to the eye. 
 
 In the first view, the yellow tint of the sky after 
 sunset is contrasted by the purple tones of a distant 
 mountain. In this study light and shade form a most 
 important part of the composition, fulness of tone in 
 the shade being most necessary to its effect. 
 
 In the second subject, the red glow of the setting sun 
 is complemented by the deep greens of the foreground 
 trees ; these are further valuable in causing the sky 
 and distance to retire. In this illustration, colour 
 takes the lead, for red, which is the most powerful of 
 the primaries, becomes the key-note of the composition ; 
 light and shade are therefore made subservient to it. 
 
 In the third example, the blue tints of sky and sea 
 are brought into contrast with the warm tones of a 
 field of corn, heightened towards orange by the rich 
 effects of a summer afternoon ; a combination of colour 
 with light and shade, which is generally found to 
 yield a most happy result. But in either of these 
 instances there is considerable danger that a crude 
 effect will be produced, in consequence of the suddenness 
 of the contrast. Many persons may prefer the more 
 quiet but fuller harmony of the next three examples, 
 in which a secondary colour is combined with its com- 
 plementary from the tertiary scale. 
 
28 
 
 SKETCHING FROM NATURE. 
 
 In the first picture, the purple of the hill is contrasted, 
 not as in the previous instance with yellow, but with 
 olive, which is one of the tertiaries, and which forms 
 the prevailing tone of the trees and foreground. 
 
 In the second scene, the green of the foliage and hill 
 is contrasted with brown, another of the tertiaries — this 
 colour being employed freely in the tints of the stems 
 and rocks, and also their reflections in the water. 
 
 In the third illustration, a tendency to orange pervades 
 the tones of sails, boat, and strand ; these warm tones 
 are complemented by the prevailing gray of sky and 
 cloud, producing an effect in which there is more of 
 fulness and repose than would have resulted from the 
 employment of blue. In all these instances taste and 
 judgment are the best guides ; there neither is, nor can 
 be, any arbitrary rule. That which forms a pleasing 
 combination in the opinion of one may not be equally 
 satisfactory to another ; an earnest study of nature is 
 essential to the formation of a correct eye for colour ; 
 and if the picture be true in colour, it will never be 
 found to offend. 
 
to f3 ce page. 2 8. 
 
BALANCE OF EFFECT. 
 
 29 
 
 CHAPTER VII. 
 
 BALANCE OF COLOUR. 
 
 The ideas connected with this part of our subject 
 should be understood, if we desire to produce the 
 most pleasing effects of which colour is capable. In 
 order to explain them more clearly, we will refer for 
 a moment to the manner in which balance of effect is 
 secured in outline, and also in light and shade. 
 
 Balance of effect in outline may be thus explained. 
 The eye demands that the directions of the lines of 
 which a picture is composed should contrast, or balance 
 each other ; thus, a group of lines in one direction 
 require the presence of lines tending in an opposite 
 direction, in order that a satisfactory balance may be 
 produced. By referring to the frontispiece, we may 
 see that the inclination of the lines of the cliff is con- 
 trasted by an opposite inclination in the lines of the 
 masts of the boat ; and in the smaller illustrations at 
 pages 27 and 28 many instances of a similar character 
 may be observed. 
 
 A due regard to the principle of balance of effect in 
 light and shade makes it desirable that a mass of light 
 on one side the composition should be repeated to a 
 certain extent on the other ; and the same is necessary 
 
30 
 
 SKETCHING FROM NATURE. 
 
 for the system of darks. The transfer of these ideas 
 to colouring is a most simple process. Let us consider 
 the first great division of colours into warm and cold. 
 A due balance of effect requires that some of the warm 
 colour should be carried into the cool portion of the 
 picture, and also that some of the cool tints should 
 be placed among the warmer tones. A reference to 
 the frontispiece will explain how this is effected. The 
 picture is divided generally thus — sky, distant cliff, 
 and water form the cool portion ; and the near cliff, 
 boats, and strand, the warm part of the composition. 
 Now the cool tints of sky and distance are brought 
 over amongst the warm colours, by the shades on the 
 houses, the grays of the boats to the left, and also by 
 the shade over the left-hand corner ; while the warm 
 tones are carried up towards the blue, by the sunlit 
 touches on the distant cliff, but more expressly by 
 the small sail against the sky, which is very warm in 
 tone. 
 
 Distribution of colour is another means for producing 
 an agreeable balance of effect. Observe the manner 
 in which the reds are carried through the composition 
 in the frontispiece ; they commence on the left, in the 
 roofs, are sustained by the reddish browns of the sails 
 and large boat, are concentrated in the red of the figure) 
 and finally spread towards the sky by the small sail 
 and flag. The endeavour to distribute each colour 
 through the various portions of a subject may be 
 observed, in a greater or less degree, in all the illus- 
 trations of this work. "Water is a most effective means 
 
BALANCE OF EFFECT. 
 
 31 
 
 for securing balance of effect by its tendency to 
 reproduce the tints of sky or cloud by reflection, 
 and thus to introduce the cool scale amongst the 
 warm tones of the foreground. These effects may be 
 seen in each of the illustrations at page 28. 
 
32 
 
 SKETCHING FROM NATURE. 
 
 CHAPTER VIII. 
 
 ON WATER COLOUR MATERIALS. 
 
 It is advisable, before entering upon the subject of 
 execution, to understand something of the materials 
 employed. These are : — 
 
 Colours, brushes, pencils, paper, sponge, and blotting 
 paper. We will consider the characters of each and 
 point out their necessary qualifications. 
 
 The following list of colours embraces those used by 
 the writer, and will be found thoroughly efficient : — 
 
 Colour. 
 
 YELLOWS. 
 
 REDS. 
 
 BLUES. 
 
 Cadmium. 
 Yellow ochre. 
 Gamboge. 
 Eaw sienna. 
 
 Orange vermilion. 
 Venetian red. 
 Scarlet lake. 
 Indian red. 
 
 Cobalt. 
 French blue. 
 Antwerp. 
 Indigo. 
 
 GREENS. 
 
 BROWNS. 
 
 Olive. 
 Emerald. 
 
 Vandyke. 
 Madders. 
 
 Warm sepia. 
 Burnt sienna. 
 
ON WATER COLOUR MATERIALS. 
 
 33 
 
 A tube of white is very valuable for occasional mix- 
 ture with the colour in skies, or distances, and for 
 small touches of body colour. 
 
 It should be remembered, with regard to any list of 
 colours, that each professor has some favourites, and 
 that a colour which is esteemed by one may be disliked 
 by another ; therefore, if at any time a particular colour 
 not contained in the list is recommended for certain 
 qualities, put it to the proof, and receive or reject it as 
 the judgment may determine. 
 
 Cadmium. 
 
 An intense mineral yellow, permanent, and semi- 
 transparent, particularly useful for sunset effects, or 
 wherever glow is required, also for mixing with blue 
 for some brilliant greens. 
 
 Gamboge. 
 
 A transparent, greenish yellow gum, suitable for 
 juicy and grassy greens ; it should be employed in 
 thin washes, for, if used in great body, it has a ten- 
 dency to become opaque. 
 
 Yellow Ochre. 
 
 A sunny, but somewhat opaque, yellow earth, suit- 
 able, in thin washes, for the warm tones of clouds, and, 
 for this purpose, mixes well with vermilion or scarlet 
 
 c 
 
34 
 
 SKETCHING FROM NATURE. 
 
 lake ; it is also useful for buildings, roads, &c. It 
 should be kept out of foreground foliage, in consequence 
 of its opacity, but it is very useful in distant greens, 
 especially where atmosphere is required. 
 
 Eaw Sienna. 
 
 A transparent, golden earth, suited to autumnal 
 tones in foliage, or for thin glazings to give sunlight 
 to general washes ; care is necessary when using it in 
 very full washes as it soon becomes spotty and opaque. 
 
 Burnt Sienna. 
 
 An invaluable orange-red earth, transparent, and 
 very useful in foliage where warmth is required; it 
 is also employed in tile or brick work, and is an excel- 
 lent colour, when mixed with Vandyke or madder brown, 
 for cows. 
 
 Orange Vermilion. 
 
 Very preferable to the common vermilion, which is 
 heavier in colour. This pigment is prepared from the 
 ore cinabar, and requires a great amount of grinding 
 to make it a good washer, but this, and other heavy 
 colours, as prepared by Messrs. Rowney & Co., may 
 be trusted to give the most delicate and flat washes. 
 It is highly valuable for sunny effects, and, in thin 
 tones, may be employed in sky, rock, or ground. 
 
ON WATER COLOUR MATERIALS. 
 
 35 
 
 Crimson Lake. 
 
 A most useful purplish red. It is seldom used in its 
 purity but is very valuable in combination, especially 
 with indigo for forming delicate grays, which have the 
 valuable property of resisting better than any others 
 the action of the brush or sponge. These grays are 
 therefore very useful when the shade of any object is 
 put on before its local colour — a method of treatment 
 recommended both in distance, and for broad cast 
 shadows in the immediate foreground, as it produces 
 a fuller and softer effect than when the shade is added 
 afterwards. This colour will not bear continued expo- 
 sure to strong light. 
 
 Venetian Eed. 
 
 A most pleasant red earth, suitable for toning the 
 paper in the first warm wash. It forms most useful 
 grays with cobalt, French, or any of the blues, and for 
 brick, tile, or earth, is invaluable. 
 
 Indian Eed. 
 
 A very full-toned permanent dull red ; should be 
 used with caution, as it is very difficult to remove ; it 
 is principally valuable in forming purplish grays by 
 mixture with blue. 
 
 Cobalt. 
 
 A bright mineral blue, partly opaque, and one of 
 the most valuable of water-colours ; it enters into 
 
 c 2 
 
36 
 
 SKETCHING FROM NATURE. 
 
 combination with every tone where either gray or 
 atmosphere is required ; it is useful for sky, shades of 
 clouds, mountains, distance, grays of all kinds, and cool 
 tints in foliage — especially the reflections from the 
 shining surface of leaves — with gamboge it makes a 
 series of the most brilliant and lively greens ; with lake, 
 the most beautiful purples ; with lake or Venetian red, 
 the best permanent grays ; with sepia, neutral grays, 
 suited to rock or stems of trees — ^in fact it permeates 
 the picture, and therefore requires replenishing more 
 frequently than any other colour. 
 
 French Blue. 
 
 A fuller and more transparent blue than cobalt, but 
 by no means so generally useful ; still, it is valuable in 
 the box as a medium tone, between cobalt and indigo, 
 and will be found useful in skies, and also in mixing 
 rich or deep greens. 
 
 Antwerp Blue. 
 
 This mineral colour is not very permanent, but is 
 occasionally useful. It forms with Vandyke brown 
 delicious cool transparent greens ; and with Indian red 
 it produces a series of rocky grays, which possess the 
 quality of washing with singular flatness and equality 
 of tone. 
 
 Indigo. 
 
 A deep cold vegetable blue. This colour enjoys by 
 
ON WATER COLOUR MATERIALS. 37 
 
 no means a good reputation ; many object to it on 
 account of its tendency to turn black when used in 
 excess, especially in foliage. It is also but partly 
 permanent; still, when used with caution, it will be 
 found serviceable, for it has many very valuable 
 properties ; it forms a series of most pure and trans- 
 parent grays by mixture with lake and burnt sienna. 
 These grays are peculiarly suitable for shades in clouds 
 or distant mountains, or for any shades that are 
 required to stand frequent after washings — as, for 
 instance, the thin, transparent, cast shadows over a 
 road or the immediate foreground. For these, no blue 
 will stand better than indigo ; intensity and depth are 
 gained very readily by it. But it is here that the 
 caution already given is required, for these depths 
 will as readily become black if too great a quantity is 
 employed. 
 
 Olive Gtreen. 
 
 A very useful tone of green ; it may be heightened 
 or warmed by gamboge or raw sienna, deepened by 
 burnt sienna, or cooled by the addition of blue. It is 
 especially valuable in foliage or moss ; but care is also 
 required to guard against its tendency to blackness. 
 
 Emerald Green. 
 
 A most brilliant mineral colour — opaque ; very seldom 
 required, but when needed there is nothing that can 
 supply its place. It is useful sometimes for mixing 
 with cobalt, for a passage of distant sky ; it also makes 
 
38 
 
 SKETCHING FROM NATURE. 
 
 excellent sea greens, and is occasionally employed in 
 foliage. 
 
 Madder Brown. 
 
 A rich and very transparent vegetable brown, 
 reddish in its tendency, gummy in its consistency, 
 drying very hard on the palette — indeed, so hard, 
 that it should be kept in the tube, and only pressed 
 out as required. It is suitable for any rich browns, 
 as those amongst brambles or foreground herbage, also 
 in the crevices of rocks, or boughs of trees ; and 
 occasionally valuable for warm tones of haze in 
 distance, glazing, &c. 
 
 Vandyke Brown. 
 
 A transparent brown, well suited to any position 
 where brown is required. With indigo or cobalt, it will 
 make greenish grays, and is frequently employed with 
 green to bring down its tone into transparent depth ; 
 for this purpose it is much better than sepia. 
 
 Sepia. 
 
 A valuable animal brown, useful for cool grays, 
 obtained by mixture with cobalt or either of the blues ; 
 a ready worker, but not so transparent as Vandyke 
 brown. 
 
 White. 
 
 This may be kept either in bottle or tube ; if in the 
 latter, a short and thick one should be chosen, with 
 
ON WATER COLOUR MATERIALS. 39 
 
 a large opening through which a little water or 
 ammonia may be added to keep it moist. It is useful 
 for giving a semi-opaque flatness to any wash, and 
 therefore highly valuable for distances ; and by mixing 
 it in body with any colour it may be employed for 
 sharp touches of high light. It will be found by 
 practice, that those colours which are most transparent 
 are the best to mix with it for touches of body colour ; 
 that is, raw sienna rather than ochre, or burnt sienna 
 in preference to vermilion, the opaque colour having a 
 tendency to look chalky when mixed with white. 
 
 The colours should be those prepared in pans or 
 tubes, and a japanned tin box will be found essential 
 for sketching. The one employed by the writer is 
 arranged thus : — 
 
 O 03 
 > 
 
 < 
 
 But in the arrangement of colours, as in the colours 
 themselves, there will always be individual preferences, 
 therefore each professor adopts that which seems to 
 
40 
 
 SKETCHING FROM NATURE. 
 
 accord either with theory or the conveniences of 
 practice. The intention in the arrangement exhibited 
 is to begin with the lighter colours, such as yellows, 
 on the right hand, passing through red and blue to the 
 darker colours on the left, and the greens are intro- 
 duced amongst the colours that are most frequently 
 employed in combination with them. 
 
 Brushes. 
 
 These may be of the best camel's hair at first, and, 
 when the value of a good brush has been learnt, sable 
 will be found more efficient, in consequence of its 
 strength and spring. The sizes recommended are : — 
 
 No. 1. No. 2. No. 3. 
 
 For first washes. For general work. For fine touches and finish. 
 
 How TO Choose a Brush. 
 
 Rinse it thoroughly in water, draw it freely over the 
 side of the vessel with a spring; if it comes readily 
 to a point it may be a good brush ; if it does not return 
 readily to a point, reject it immediately. When a 
 brush has come through the first ordeal, play it with 
 
ON WATER COLOUR MATERIALS. 
 
 41 
 
 the point on a piece of paper as though painting with it, 
 watching carefully to see if the hairs keep well together, 
 and return freely to ap point when removed from the 
 surface ; if this be the case, it will prove a serviceable 
 tool. The point should not be very long, for then 
 the colour will not flow freely from it, and the work 
 will suffer in consequence. 
 
 For comfort there is nothing like a good old brush, 
 therefore all brushes should be preserved most carefully 
 and nursed into excellence. Never put a brush away 
 wet, but draw it through a damp sponge, or the mouth, 
 and put it by with the point well formed, the hairs thus 
 acquire a spring in the right direction ; that is of the 
 utmost importance in working. 
 
 The Sponge. 
 The sponge should be of the above size, and of the 
 
42 
 
 SKETCHING FROM NATURE. 
 
 form called cup sponge, of a fine texture, and thorouglily 
 freed from sand or grit. To prepare it for use, feoak it 
 in water, and then squeeze it as dry as possible. It 
 should be held in the left hand, where it ought to be as 
 much at home as the brush in the right. It is difficult 
 to exaggerate the value of the sponge in water colour 
 painting. It acts most efficiently as a means for cleaning 
 the brush, which should never be put into the mouth to 
 get rid of colour. It serves also to remove extra colour 
 when the brush is too full. The sponge is the best and 
 only effectual tool for reducing a tint, or removing one 
 that is in error. In order to prepare any part of the 
 picture for alteration by the sponge, first pass water over 
 it with a large brush, then, having rinsed the sponge in 
 clear water, and squeezed it as dry as possible, commence 
 with gentle dabbings, turning the sponge as the colour 
 is discharged, and rinsing it frequently in water to get rid 
 of the colour that has been removed from the picture. 
 If the dabbing should be found ineffectual, change the 
 movement for an oval one, which will allow the sponge 
 to press along the surface — this, if continued, will recover 
 the white paper, even in the darkest portions of the 
 work. The reason for the delicious efficacy of the 
 sponge in the dabbing process may be found in its 
 texture and nature. It is covered with a short, fine 
 pile, the hairs of which enter the hollows of the paper, 
 and gently disengage the colour, which is then drawn 
 up into the sponge, and thus does not soil the surround- 
 ing surface. By this really singular adaptation of the 
 sponge to the necessities of water colour painting it is 
 
ON WATER COLOUR MATERIALS. 
 
 43 
 
 possible to reduce the tone of a tree, which has been 
 painted against a sky, without injuiy to the sky itself. 
 Another use for the sponge is in cleaning the box, and 
 even the surface of the colours themselves, in order to 
 remove the traces of old washes, dust, &c. 
 
 The Paper. 
 
 Whatman's " Extra stout not " is recommended as an 
 excellent medium surface (the word " not " is constantly 
 used in the trade, and means not hot pressed) , but some 
 persons prefer a very rough paper, which certainly 
 possesses some advantages in sketching — especially in 
 trees and mountain distances, as the touch exhibits 
 greater variety, and, as the colour remains damp a 
 longer time, a greater variety of tint can be given in 
 a single wash ; but there are difficulties attending its use 
 in the foreground, especially where finish is required, and 
 for this reason the medium surface is generally preferred. 
 The most convenient form of the paper for sketching is 
 in a block, from which a sketch can be easily removed, 
 when another surface presents itself for the next effort. 
 The size recommended for general work is 4to Imperial ; 
 this is capable of two excellent divisions, in one 
 direction it will give two small pictures of average 
 dimensions, and by dividing it through its longest 
 direction we obtain two elongated shapes, suited for 
 extended lake, or distant mountain studies. 
 
44 
 
 SKETCHING FROM NATURE. 
 
 Water-Bottle. 
 
 After many experiments in water-bottles we have 
 come to the conclusion that there is nothing better 
 than a common glass phial and cork. A bottle 
 holding 4 ounces will be found sufficient for average 
 requirements, providing it be replenished when a 
 supply may offer. The reason for recommending the 
 glass in p>reference to metal is that the amount of supply 
 is always known — economy can therefore be practised 
 when necessary, and the water is never discoloured by 
 the rusting of the inside. Cups to hang on the side 
 of the box will be found very useful, or, what is 
 preferable, an arrangement of wells attached to a strip of 
 tin thus — 
 
 These serve for mixing the larger washes, and after- 
 wards for economising the supply of water, as one can 
 be kept for rinsing the brush. The rim which projects 
 inwards, covering part of the opening, will be found 
 very useful, by preventing the spilling of the water. 
 
 Sketching Folio. 
 
 A very convenient sketching folio has been designed 
 by the writer; it contains all that is required for a 
 
ox WATER COLOUR MATERIALS. 45 
 
 quarto imperial sketch, in the size of a music folio. 
 
 All the materials are presented at one view. Wells for 
 water, spaces for Inclia-rubber, bottle of white, or extra 
 tubes, and the brushes are under an india-rubber 
 band. 
 
 The top of the box contains the block. It opens just 
 so far as to form a pleasant inclination for painting, and 
 by means of a row of small brass pins in the sides of 
 the box against which the block rests it may be 
 lowered to any angle desired. When the sketch is 
 finished the block is turned face inwards against a 
 ledge which keeps the surface from touching the back 
 of the box; this is a great convenience should any 
 portion of the surface be wet. 
 
46 
 
 SKETCHING FROM NATURE. 
 
 Blotting Paper, &c. 
 
 This is a great comfort, both at home and in the 
 field. It frequently saves the time that would otherwise 
 be lost in waiting while the water washes are drying, 
 and the state of the surface after the blotting paper has 
 been used is better suited to the reception of colour 
 than after partial evaporation. It is also valuable 
 when the tone of a wash is felt to be in error, as the 
 colour may be removed, immediately by firm pressure 
 with the blotting paper. 
 
 A sketching stool should be considered a necessity, 
 and an umbrella, with joint and spike to drive into the 
 ground is certainly a great luxury ; but these things 
 may be left to the taste or inclination of the student. 
 
MANAGEMENT OF WASHES. 
 
 47 
 
 CHAPTER IX. 
 
 MANAGEMENT OF WASHES. 
 
 A FEW practical hints on the essentials of broad 
 washing will be found of great service to beginners ; 
 and, although a considerable part of the instruction is 
 more suited to home than to open-air effort, it will not, 
 therefore, be less acceptable. 
 
 Mixing, 
 
 Always mix the colours thoroughly, and continue to 
 work them with the brush, even after they seem to be 
 amalgamated with the water, and, if a wash has been 
 allowed to rest, stir it up again thoroughly before 
 using it. Take care that more colour is mixed than is 
 absolutely required, that there may be at all times an 
 ample supply. The brush should never be exhausted. 
 
 Preparation of the Paper. 
 
 Carry a wash of clean water over the surface of 
 the paper, and then take up the extra moisture with 
 blotting paper. This dn-ection may be thought un- 
 necessary, but practice will make it evident that it is 
 
48 
 
 SKETCHING FROM NATURE. 
 
 impossible to carry a wash to the best effect on a dry 
 surface. These preparatory washes should be employed 
 as the painting progresses, whenever softness and 
 delicacy are requisite — as in sky and distance — but 
 they should not be passed over the surface till all 
 previous colouring is thoroughly dry. 
 
 Inclination of Surface. 
 
 Never paint on a level, but allow a sufficient incli- 
 nation to cause the extra colour to flow down freely 
 after the brush, for by this means alone can a clean 
 tone be secured; the only caution required is not to 
 have the inclination so steep as to cause the colour to 
 run of its own accord. 
 
 Manner of Laying-on. 
 
 Whatever the shape or size of the wash may be, 
 commence, if possible, at the left hand upper portion — 
 passing from this along the top, and bringing the 
 wash gradually down towards the right hand lower 
 corner. Never put in a lower bit before an upper 
 one, as the upper will flow into or over the lower, 
 and destroy its flatness. In very free washes, as for 
 sky, there should always be a slight pool of colour 
 at the lower edge of the wash, that is, the colour 
 ought not to be driven on with the brush till it 
 is exhausted, for then the place where more colour 
 has been added will show. 
 
MANAGEMENT OF WASHES. 
 
 49 
 
 GrRADUATING. 
 
 When a surface lias to be graduated from full to 
 pale, mix a comparatively small quantity of colour 
 equal in tone to the deeper portion, prepare the surface 
 with a water wash, apply the blotting paper, and then 
 turn the surface so that the fullest tint may be upAvards. 
 Commence at this part, and add a brush-full of water 
 to the colour in the palette every time the brush 
 requires replenishing, taking care to mix it thoroughly 
 with the wash. This will gradually weaken the force 
 of the tint, and bring it off to pure water at last, — or a 
 tint so delicate that it cannot injure the painting. 
 This process requires an amount of judgment that 
 can only be acquired by practice ; therefore several 
 experimental efforts should be made on waste paper. 
 It is at all times possible to graduate a tint by adding 
 more colour to the wash, and thus to work from pale to 
 full. But this process is not by any means so delicate 
 and sure as the former ; therefore, where greater 
 delicacy is required, as in sky, always commence at 
 the fullest portion of the tint, and graduate by adding 
 water to the wash. 
 
 General System of Execution. 
 
 The lightest tint of an object should be painted first, 
 and carried all over it ; when dry, the half tints should 
 be added, and on these, the shades, when the half tints 
 are dry ; the deepest darks should be put in last, with 
 small, decided touches. Thus the effect is produced by 
 
 D 
 
50 
 
 SKETCHING FROM NATURE. 
 
 wash within wash — the first being large and pale, and 
 the last comparatively small and dark. The reason 
 for this somewhat complicated process is, that it is 
 practically impossible in water colour painting to fit 
 the edges of the various tones together so neatly that 
 the joinings cannot be seen, and therefore the lighter 
 tones have to be carried under the darker ones in order 
 that cleanness and delicacy of execution may be 
 secured. In advanced handling, the various tones are 
 occasionally painted next each other, passing gradually 
 from light to shade, the edges being joined while 
 wet, and the deeper shades touched in upon the half 
 tints before they are dry; but this process requires 
 considerable dexterity and judgment, and cannot, 
 therefore, be recommended to beginners. 
 
 On Leaving Lights. 
 
 When a light on the object is clear and sharp, it 
 should be left — that is, the colour should not be carried 
 over it ; but, if the edges of the light are soft and in- 
 definite, the wash may be taken over the light, which 
 can then be produced by the application of the brush 
 before the colour is dry. 
 
 On Taking Out Lights with the Brush. 
 
 While a wash is still wet, a soft or graduated light 
 may be taken out most eff'ectively by the brush, but 
 to enable it to draw up the colour from the surface of 
 
MANAGEMENT OF WASHES. 
 
 51 
 
 the paper, the brush must first be drawn through a 
 damp sponge with considerable pressure. It is then 
 ready for application to the spot where a light is re- 
 quired; directly it touches the paper some of the colour 
 is drawn up into the brush by capillary attraction. If 
 the brush is moved about on the surface, a half light is 
 immediately produced, which may be increased in effect 
 by repeated applications of the brush. The lights so 
 produced are invaluable for clouds, reflections in water, 
 or, indeed, for any effects where softness and gradation 
 are required. During this operation the brush must be 
 repeatedly passed through the sponge to remove the 
 colour that has been drawn into it, or its power to 
 produce a light will be lost. 
 
 On Taking Out Lights after the Surface is Dry. 
 
 In practice it will be found impossible to leave or 
 remove all the lights ; we require, therefore, some 
 means for producing them afterwards. One way is to 
 wet the place where a light is required, and then give 
 it a smart rub with a handkerchief or cloth ; by this 
 means some of the colour is rubbed off. This process 
 is suitable for leaves, boughs, &c., in any portion of 
 the picture where the colour has been painted thickly. 
 In the thinner washes it is advisable, after wetting the 
 surface with water, to take up the extra moisture with 
 blotting paper, and then rub with bread crumbs, or 
 with a piece of bread held by the crust, but 
 allowing the crumb only to touch the paper ; by 
 
 d2 
 
62 
 
 SKETCHING FROM NATURE. 
 
 this means a light is produced proportionate to the 
 energy of the rubbing. Very small sparkling lights 
 may be taken out with a penknife, and tinted 
 afterwards, if required; this last process is suitable 
 for the spray of a waterfall, or the foam of the sea. 
 The knife is an excellent tool in a careful and practised 
 hand, but it should not be used so as to tear or injm^e 
 the surface of the paper. 
 
 On Taking Out a Light with the Sponge. 
 
 An excellent method for taking out a light is by 
 first cutting out its shape in thick tracing or note 
 paper, and then placing this as a shield over the place 
 where the light is required ; the colour may then be 
 removed by sponging through the opening ; care must 
 be taken, however, that the sponge is only damp, all 
 extra water having been thoroughly squeezed out of it ; 
 for if this precaution is not taken the water will find 
 its way under the shield, to the detriment of the sur- 
 rounding tones. This process is recommended for 
 figures and small lights, such as the sail of a boat, &c., 
 or for removing any small portion of the work that 
 requires correction. 
 
 On Eemoving Part or a Tint. 
 
 It is sometimes desirable to remove a portion of a 
 wash in order to graduate it, or to introduce a change 
 
MANAGEMENT OF WASHES. 
 
 53 
 
 in the colour ; for this purpose there is nothing so effi- 
 cient as judicious dabbing with a damp sponge, as 
 recommended on page 42. A wash may be removed 
 altogether by the same process, but the sponge must 
 then be used energetically till the clean surface of the 
 paper is recovered. 
 
54 
 
 SKETCHING FROM NATURE. 
 
 CHAPTER X. 
 
 PROGEESSIVE TREATMENT OF A SKETCH IN 
 WATER-COLOURS. 
 
 Commence the sketch with slight strokes of soft 
 charcoal — this material is recommended in consequence 
 of the facility with which it may be dusted out, and 
 thus any change in the position or arrangement of the 
 various objects may be readily effected. When the 
 eye is satisfied with the general correctness of the 
 outline, dust off the looser portions of the charcoal, 
 and draw in each object carefully with an HB pencil, 
 avoiding, if possible, the use of india-rubber, as 
 it frequently wears the surface, and thus alters 
 the tone of the washes of colour. The forms of 
 clouds should only be intimated, and distant ob- 
 jects sketched with a delicate outline, otherwise the 
 strokes of the pencil will show after the colour is put 
 in ; foreground objects, on the contrary, will bear a 
 vigorous and decided touch. When the outline is 
 complete, study the general tone of the scene, and 
 notice the direction of the larger gradations. Com- 
 mence by warming the paper with a graduated tone of 
 Venetian red, or ochre and lake, strong in the fore- 
 ground and weak towards the upper portion of the sky, 
 
PROGRESSIVE TREATMENT OF A SKETCH, ETC. 55 
 
 keeping it very delicate under the deepest portion of 
 the blue. Wliile this is drying mix the various blues 
 or grays required for the sky or clouds, and, when the 
 graduated warm wash is quite dry, pass clean water 
 over it with the brush, taking up the extra moisture 
 with blotting paper, then commence with sky or 
 clouds, as the mass of either may prevail. In a very 
 cloudy sky small touches of blue may be left to the 
 last. Leave small portions of the warm wash for the 
 highest lights in clouds, taking care to graduate and 
 soften them into the blue by the action of a damp 
 brush, as explained on page 50. A dexterous hand 
 will flow into the sky and clouds, with their lights and 
 shades, in one wash, but it is better for beginners to 
 divide this most difficult portion of the sketch into 
 stages, letting each dry before another is commenced, 
 and passing clean water over the surface between the 
 washes of colour, taking up the extra moisture with 
 blotting paper, before more colom* is added. 
 
 Some may remark, but all this cannot be done in 
 the open air ! To this we would reply, follow the 
 instructions as well as you can, and remember, with 
 regard to clouds, that very much has to be left to the 
 memory. The cloud originally sketched may be gone 
 long ago, but in all probability one very like it has 
 taken its place, from which either colour or light and 
 shade may be studied with equal advantage. 
 
 Should there be any time to spare between the 
 drying of the various washes, the attention may be 
 given to any decided foreground object, and its general 
 
56 
 
 SKETCHING FROM NATURE. 
 
 tints advanced, returning to the sky or distance as soon 
 as it is ready to receive additional work. 
 
 The progress of the sketch must now he left to the 
 ingenuity of the student, bearing in mind the leading 
 principle that finish should progress from the distance 
 towards the foreground. Sky and distance should 
 always be painted thoroughly behind trees, just as 
 though the trees were not there ; and should the tones 
 be so full that the highest lights of the trees would 
 suffer, still paint over them, but remove the tone where 
 it crosses the lights of the tree by means of the brush. 
 It may also be observed that for distant effects it is 
 better to paint the shades first, carrying the tone of 
 the lights gently over all, and the reverse with the 
 foreground, where the shade should be reserved for the 
 last. The one process gives a softness and harmony 
 of tone, and the other, transparency and energy of 
 effect. 
 
 The most practical advice that can be given to 
 beginners is to commence with simple foregroud 
 objects. Paint them carefully, and as the power of 
 imitation increases, and the hand acquires a mastery 
 over the brush, extend the effort to the more distant 
 details of the landscape. Be careful to paint distance 
 more delicate and gray than it appears, and on the 
 contrary, the foreground more rich and warm, the 
 error then, if any, will be on the safe side, and the eye 
 will gradually acquire the power of estimating the 
 tones more truthfully. 
 
 With regard to distance, it is advisable to aim at 
 
PROGRESSIVE TREATMENT OF A SKETCH, ETC. 57 
 
 securing the general tone rather than to attempt 
 the imitation of minute changes of colour ; this will 
 also tend to the formation of a free and effective 
 style. 
 
 A frequent error of beginners, especially in the 
 treatment of foreground objects, is to put in the first 
 tints too weak and pale. In this case, the shades tell 
 hard and spotty when placed upon them. The prac- 
 tice of the master, on the contrary, is to paint the first 
 tints rich and full, keeping the shades delicate and in 
 harmony with the lights, thus producing a broad and 
 quiet effect. 
 
 It will frequently happen that the whole of a subject 
 cannot be completed at one sitting ; this need never 
 be a trouble provided there is an opportunity of 
 returning to the place on another occasion ; but at 
 least let the sky and distance be completed at the first 
 sitting, reserving the foreground for a second visit. 
 Then choose a day when the effect is similar, go at the 
 same hour and continue the sketch. For large pictures, 
 or very finished work, this process may be repeated 
 through a month or six weeks, but, beyond that, it is 
 unadvisable to continue the study of any scene, owing 
 to the changes which occur both in light and shade 
 from the altered altitude of the sun, and the variations 
 of colour which are produced by the progress of the 
 seasons. It is the habit of some masters to paint on 
 the same scene hour after hour, continuing the effort 
 through the greater part of the day. This method of 
 study may prove fairly successful on cloudy days, or 
 
58 
 
 SKETCHING FROM NATURE. 
 
 for gloomy scenes, but cannot be recommended for any 
 view where direct sunlight is employed. In the latter 
 case the experience of the writer would limit the effect 
 to three hours at the utmost, for by this time all the 
 shadows have so considerably changed in position that 
 the truth of the effect would suffer by their continued 
 imitation. 
 
 There is one point in connection with the imitation 
 of the tints and tones of nature that should be clearly 
 recognized — viz., that imitation is only to be con- 
 sidered as true relatively ; that is, no wash of colour can 
 be absolutely true by itself, it is only true when con- 
 sidered in its relations to the tints which surround it. 
 Thus, one master may prefer a brilliant, and another 
 a low scale of imitation, and either may be considered 
 as true relatively. This pitch of the tone, like many 
 other things in connection with sketching, must be left 
 to the taste or judgment of the artist. 
 
 We have endeavoured thus far to give a few 
 hints on water-colour practice, but it must not be 
 supposed that these, or any directions however careful 
 and complete, can supersede the direct lessons of a 
 master. Seeing is worth more than volumes of 
 description, and the secrets or dexterities of handling 
 can only be communicated by personal instructions. 
 Still, hints must be useful when a master's assistance 
 cannot be secured, and we trust the foregoing pages 
 have not been written in vain. 
 
ON UNITY OF EFFECT. 
 
 59 
 
 CHAPTER XI. 
 
 ON UNITY OF EFFECT. 
 
 After all that has been said on behalf of exactness in 
 drawing, skill in composition, or breadth and gradation 
 of light and shade — and after every instruction in the 
 theory of colour, or manipulation of washes, there still 
 remains the all-important subject of unity of effect. 
 By unity of effect, the first, and frequently the most 
 lasting impression of the painting is produced ; by this, 
 all the good qualities of the various portions of the art 
 are concentrated, and to this, every part of the picture 
 should be made subservient. 
 
 Without unity of effect the most accurate and 
 detailed drawing will be but a useless expenditure of 
 time — the powers of light and shade will be employed 
 in vain, — and even the most subtle refinements of colour 
 will serve but to distract the attention, without satisfy- 
 ing the mind, and the work as a whole will fail to pro- 
 duce a lasting impression. 
 
 If then this quality be of such high value, it is 
 necessary that we should understand the meaning 
 of the expression, imity of effect. By it we mean 
 the general sentiment of the picture, or that impression 
 which the work as a whole produces on the mind : this 
 impression may be grave or gay, desolate or cheerful, 
 exciting or soothing ; but whatever it is, it should bo 
 
60 
 
 SKETCHING FROM NATURE. 
 
 brought home to the sensibilities of the spectator, and 
 made to produce an undivided effect. 
 
 In order to illustrate the subject, let us suppose 
 the principle object in the scene to be an old castle, 
 surrounded by wild or desolate scenery; in this case 
 cloud and shade will accord better than blue sky and 
 glowing colour, or, if sunlight be employed, it should 
 be subdued as in the deepening glow of a setting sun. 
 On the contrary, if the picture consists of a cottage 
 with its settle, draw-well, and other accessories of 
 country life, then the blooming rose, the bright blue 
 sky, or golden hour are all in harmony with the scene, 
 and the busy wife or group of happy children complete 
 the picture. Again, if the subject be composed of 
 towering mountain heights, with foreground of fen 
 and reedy pool, the gloom of overhanging cloud, or 
 break in a stormy sky will be in sympathy with such a 
 scene, and the solitary heron or distant herd of deer 
 will complete the subject, and deepen the impression of 
 the landscape upon the mind. 
 
 In the illustrations on the opposite page, the same 
 scene of mountain and lake is represented under 
 different effects. The one as it might appear on a fine 
 day, with its blue sky and bright colouring ; the other 
 when cloud and mist are present, crowning the heights, 
 and deepening every tone by their accompanying 
 gloom. The latter treatment will be admitted by most 
 persons to be more in keeping with the character of 
 the scene, and thus be productive of the greatest 
 amount of unity of effect. Every scene has its sym- 
 
to face pcige 60 
 
ON UNITY OF EFFECT. 
 
 61 
 
 pathies, and should be represented together with its 
 appropriate time, season, or figure ; and one great 
 secret of success is to discover what these may be, by 
 analyzing the sensations of pleasure which rise unbidden 
 in the heart, remembering that whatever has moved 
 the artist will be most likely to exercise a similar 
 influence on those who examine his work ; therefore 
 if the scene be great or grand, let every accompani- 
 ment be great and grand also ; or, if solemn and sombre,' 
 avoid every introduction of the pretty or gay ; whilst 
 if the view be gentle or sweet, let gentleness and 
 sweetness prevail throughout. 
 
 Let us consider for a moment the consequence of a 
 departure from this great principle. We remember a 
 picture by a great name in water-colour art, in which a 
 lovely scene of river, rock, and tree, with its accom- 
 paniment of distance, hill, and dale, was represented 
 with all the power of a finished master of the brush ; 
 the day and hour were alike well chosen, the 
 entire scene being bathed in the golden glow of an 
 afternoon sun. So far the unity of the subject was 
 complete — all told of quiet, happy landscape, steeped 
 in sunshine and repose. But figures were intro- 
 duced : a group of cows crossing a ford, baited and 
 bothered by a barking cur that dashed after them 
 into the water, whilst a man on the bank gesticulated 
 wildly with his arms ! This was a discordant note 
 indeed, and one by which the unity of the efl'ect was 
 completely destroyed. The cows themselves were not 
 out of place, but they should have been standing 
 
62 
 
 SKETCHING FROM NATURE. 
 
 dreamily in the pools, or under the friendly shade of 
 some overhanging tree, and tormented with nothing 
 larger than flies. 
 
 Again, the unity of a picture may be injured by the 
 introduction of figures either too attractive in themselves 
 or out of sympathy with the scene, as a group of 
 fashionably dressed children in a country lane, or a 
 bright shawl amid the solemnities of a mountain pass. 
 But here we feel that such things must be left to the 
 good taste and judgment of the student. We have at 
 all events directed attention to the subject, and also, we 
 trust, enforced the necessity of giving a united effect to 
 every important work. 
 
 But some may say how can these efi'ects be secured ? 
 The day may be unfavourable, a bright sky may be 
 present when cloud and gloom are wanted, or the 
 sun may be absent when brilliancy is especially 
 desired. To this we would answer, the best eff'ects 
 must be watched and waited for, therefore it is 
 advisable to have several subjects in hand, some for 
 fine, and others for dull weather, and even to have in- 
 door studies ready for rainy days ; thus there is always 
 something to be done for which the day is aj)propriate. 
 But this method of study requires the locality to be 
 fixed for some weeks, and cannot be followed when 
 passing rapidly from one place to another ; in this 
 case the effects must be taken as they occur, and thus 
 cannot be expected to give so high a quality to the 
 work, as in most instances would result from following 
 the plan recommended. 
 
CONCLUSION. 
 
 63 
 
 CHAPTER XII. 
 
 CONCLUSION. 
 
 We cannot conclude these hints on landscape sketching, 
 without a parting word to those who may desire to make 
 success in this branch of the profession the duty of life. 
 The first important consideration in such a case is to 
 ascertain the natural taste, or, in other words, to find 
 out that of which we are most fond. An excellent 
 guide to this is to observe the works of others,, and 
 take careful note of those which give the greatest 
 amount of pleasure and satisfaction. Consider also 
 what eff'ects in nature, or what combination of objects, 
 move the heart most efiectually, and when they have 
 been discovered, let every efi'ort be directed to success 
 in this direction ; for be assured we can never paint 
 thoroughly well that of which we are not thoroughly 
 fond. An earnest and deep love for the thing done 
 is the only sure basis on which to build the effort of an 
 artist's life. Therefore let no one turn aside from his 
 natural bias, or select any other walk or style because 
 there may seem to be a better chance of success in it ; 
 especially, do not exchange a style of execution which 
 has been produced by the gradual development of mind 
 and heart for one which may be considered to sell 
 
64 
 
 SKETCHING FROM NATURE. 
 
 better. Let the art be its own re"5vard, and eventually 
 it will repay, and that with no stinting hand. We do 
 not mean by this that a young artist should neglect 
 or despise the advice of friends : this would be folly 
 indeed, but that he should be thoroughly convinced 
 that the advice is good, and worthy to be followed,, 
 before he allows his course in life to be influenced by 
 it. 
 
 In the present day there is a great amount of inde- 
 pendence of thought in art, as well as in all other 
 matters, but it should be remembered that it is possible 
 to be independent without merit, and original at the 
 expense of truth. 
 
 We will suppose that the walk in art has been 
 chosen, and that there are no extravagant theories in 
 the way, siren-like, to induce a departure from 
 simplicity and nature ; then go humbly to the 
 great Mistress, set earnestly to work, and seek not only 
 to discover the secrets of nature's charms, but 
 look within for the reason of their influence on the 
 mind. Young hands are too eager for the strokes 
 of the pencil or the washes of the brush, and are in 
 danger of neglecting the more important matters of 
 thought and reflection, but be assured the thing 
 produced is not of more importance than the fact 
 observed ! 
 
 Let each sketch or study be carefully selected, 
 seeking for that position, or efi'ect of light and shade, 
 which will best develop the character of the 
 scene. Eemember that the attention need not be 
 
CO^XLUSION. 
 
 65 
 
 devoted to complete views, but that, on the con- 
 trary, it is frequently advisable to concentrate the 
 power upon a small portion of a view. Therefore be 
 prepared to study whatever presents itself as excellent 
 of its kind — at one time it may be a cloud, at another 
 a passage of sky or an interesting line of distance, or it 
 may be but a fragment of rock or the bough of a tree ; 
 still whatever is felt to be worthy the effort should have 
 all the attention and care that can be given : by this 
 means the folio will be stored with choice materials, 
 not of much value in themselves, but calculated to 
 enhance the value of all future work. 
 
 With regard to style of execution, or finish, these 
 are secondary matters, and must be left to individual 
 feeling. No receipt can be given for the language in 
 which a thought should be expressed, but it should at 
 least be intelligible and capable of being comprehended 
 even by an uneducated person. So in painting, the 
 touch should be clearly expressive of the intention, and 
 the scale of finish adapted to the character of the work. 
 Grrand effects will not bear so minute a finish as home 
 scenes ; and indeed, as regards finish generally, it may 
 be observed that time and eff'ort are frequently expended 
 on the elaboration of details that had far better be 
 treated in a suggestive manner, and left to the 
 imagination of the spectator to complete. 
 
 In connection with the style of execution, we would 
 caution the student against the great mistake of con- 
 demning the work of another, simply because the style 
 is not admired. We must be content to listen 
 
 E 
 
66 
 
 SKETCHING FROM NATURE. 
 
 occasionally to the praise of a work with which we 
 have no sympathy. Each master will have his own 
 circle of admirers ; if his heart is large and capable 
 of receiving pleasure from many varied phases of 
 nature, his circle of friends will be large also ; 
 whereas, if his taste is restricted, or the manner of 
 his execution eccentric, so in proportion will the circle 
 be narrowed. 
 
 It may be remarked, " But surely some things must 
 be right, and others must be wrong. Is there no rule ? 
 Cannot it be known which are good pictures and which 
 are bad ?" To this we reply, yes, assuredly; weak work 
 is rejected by all whose judgment is matured ; bad 
 drawing shares the same fate, but executive power, 
 however eccentric, will ever find some admirers. 
 Therefore the student need not be surprised to find 
 a work eulogised which to him may be painful in 
 the extreme; but he should remember that it is 
 praised, not for that which he dislikes, but for the 
 possession of good qualities with which he is not yet 
 acquainted, and which therefore possess no attraction 
 for him. 
 
 What then in such a troubled sea of opinion is to be 
 done ? Again we return to our former advice : seek for 
 that which accords with your individual feeling, follow 
 it earnestly, conscientiously, devotedly — keep close to 
 Nature, and you will at least exert a wholesome 
 influence in art, and never be without a fair amount 
 of success. 
 
 There is one point yet untouched, and it is a deeply 
 
CONCLUSION. 
 
 67 
 
 important one. If a liigli and pure style is desired, 
 take care of the mind and heart, as well as of the 
 eye and hand; a love for nature accompanied with 
 that intense delight which an artist only knows is 
 indeed a precious gift, and should call forth daily 
 gratitude to the Giver of all good. Its possession 
 should be guarded with the most watchful care, and all 
 that could tend to destroy refinement and sensibility 
 should be cautiously avoided. Be careful to preserve 
 the general health by avoiding unnecessary exposure to 
 cold or damp, and study the comfort and well-being of 
 the body, for if that be neglected it will surely exact a 
 heavy retribution. The mind cannot work healthily 
 in a frame debilitated either by over-exertion or the 
 absence of the usual supplies. These observations 
 proceed from the dearly bought experience of one who 
 has loved the art ^' not wisely, but too well," and who 
 speaks from the sad remembrance of sketching trips 
 which resulted rather in loss of health than gain 
 in art. 
 
 "We must not omit to recognise the chequered 
 character of a landscape artist's life, its sunshine and 
 shade, its cloud and storm, its frequent disappoint- 
 ments, and many ups and downs; but, with every 
 drawback, it is still a most delightful career, and it 
 would be difficult to conceive one more full of gentle 
 and happy thoughts. Of the artist it may be said : A 
 student he ever lives, acquiring knowledge daily, and 
 thus he carries into old age the freshness of youth. The 
 spring of nature's loveliness is ever flowing, and from 
 
 e2 
 
68 
 
 SKETCHING FROM NATURE. 
 
 this pure and inexhaustible stream he daily receives 
 those invigorating supplies which sustain him through 
 a life of art. 
 
 That this may be the happy experience of many who 
 read these pages is the earnest hope of the 
 
 AUTHOE. 
 
 HKM)BHSON. RAIT, AND FKNTON. PKINTEKS. JIARYLKJJONE LANK UXFOUU ST. 
 
"PRIZE 
 
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 Paris Universal 
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 1867. 
 
 TWO SILVER MEDALS. 
 CLASS 6. 
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 CLASS 7. 
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 Retail IDepartments : 
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 12-]Vroist Tube Box 
 
 Gamboge, Roman Ochre, Lemon Yellow, Chinese White, 
 Indian Red, Vermilion, Brown Pink, Sepia, Cceruleum, 
 French Ultramarine, Indigo, and Veronese Green. 
 
 15-Moist Tube Box l 14 
 
 Gamboge, Raw Sienna, Lemon Yellow, Cadmium Yel- 
 low, Mars Orange, Indian Red, Vermilion, Crimson Lake, 
 Madder Brown, Sepia, Lamp Black, Cobalt, Indigo, Olive 
 Green, and Chinese White. 
 
 20-Moist Tube Box 2 5 
 
 Gamboge. Yellow Ochre, Lemon Yellow, Cadmium Pale, 
 Cadmium Deep, Chinese Orange, Chinese White, Light 
 Red, Vermilion, Orange Vermilion, Crimson Lake, Rose 
 Madder, Violet Carmine, Sepia, Brown Pink, Cobalt, 
 Indigo, Cceruleum, Emerald Green, and Veronese Green. 
 
 24:-Moist Tube Box lO 
 
 Gamboge, Yellow Ochre, Roman Ochre, Lemon Yellow, 
 Indian Yellow, Cadmium Orange, Light Red, Indian Red, 
 Vermilion, Scarlet Vermilion, Carmine, Rose Madder, 
 Madder Brown, Brown Ochre, Vandyke Brown, Sepia, 
 Cobalt, French Ultramarine, Indigo, Emerald Green, Olive 
 Green, Cceruleum, Veronese Green, and Chinese White. 
 
 d, 
 
 
 30-Moist Tube Box 3 
 
 Gamboge, Yellow Ochre, Naples Yellow, Roman Ochre, 
 Lemon Yellow, Indian Yellow, Cadmium Orange, Italian 
 Pink, Light Red, Indian Red, Vermilion, Scarlet Ver- 
 milion, Carmine, Rose Madder, Madder Brown, Brown 
 Ochre, Vandyke Brown, Warm Sepia, Brown Pink, Cobalt, 
 French Ultramarine, Indigo, Neutral Tint, Ivory Black, 
 Emerald Green, Veronese Green, Olive Green, Chinese 
 White, Cceruleum, and Ultramarine Ash. 
 
 7 8 
 
8 
 
 GEORGE ROWNEr & Co., 
 
 MINIATURE SIZE JAPANNED SKETCH BOXES. 
 
 FILLED WITH QUARTER-CAKES OF MOIST COLOURS. 
 
 This Illustration shows the Box, with Twelve Colours, two-thirds its size. 
 
 4-Quarter-Cake Box * • 4 o 
 
 Gamboge, Light Red, Sepia, and Cobalt. 
 
 8-Quarter-Cake Box . . . . . . . 6 o 
 
 Gamboge, Yellow Ochre, Light Red, Rose Madder, 
 Vandyke Brown, Cobalt, Indigo, and Veronese Green. 
 
 12-Quarter-Cake Box .... ,..83 
 
 Gamboge, Roman Ochre, Lemon Yellow, Chinese Orange, 
 Indian Red, Vermilion, Brown Pink, Sepia, Cceruleum, 
 French Ultramarine, Indigo, and Veronese Green. 
 
 16-Quarter-Cake Box 12 o 
 
 Yellow Ochre, Lemon Y^'ellow, Cadmium Deep, Mars 
 Yellow, Light Red, Scarlet Vermilion, Rose Madder, Car- 
 mine, Pm-ple Lake, V^andyke Brown, Madder Brown, 
 Cceruleum, French Ultramarine, Indigo, Emerald Green, 
 and Veronese Green. 
 
 PALETTE BOXES. 
 
 For holding a small supply of Colour for a few days' use ; the 
 
 wells to be filled from the tubes 5 9 
 
 Ditto, ditto, with double row of wells 8 6 
 
52, KATHBONE PLACE, and 29, OXFOED STREET. 9 
 
 SOLID SKETCH BLOCKS & TABLETS. 
 
 These Books consist of a number of sheets of paper, compressed so 
 as to form a solid block, each sheet of which is to be separated by 
 inserting a knife underneath the uppermost sheet, and passing it round 
 the edge. 
 
 SOLID SKETCH BLOCKS AND TABLETS, 
 
 MADE OF Whatman's thick papers. 
 
 32 Surfaces. 
 
 Size. 
 
 Solid 
 Blocks. 
 
 Solid 
 Tablets. 
 
 
 
 
 Each. 
 
 Each. 
 
 
 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 Imperial 32mo 
 
 5 inches by 3 J 
 
 1 
 
 3 
 
 2 
 
 6 
 
 Royal 16mo 
 
 
 
 1 
 
 8 
 
 3 
 
 
 
 Imperial 16mo 
 
 
 
 2 
 
 6 
 
 3 
 
 9 
 
 Royal 8vo 
 
 9 
 
 
 3 
 
 
 
 4 
 
 3 
 
 Imperial 8vo 
 
 10 
 
 
 3 
 
 9 
 
 5 
 
 6 
 
 „ 6mo . 
 
 14 
 
 
 4 
 
 9 
 
 7 
 
 6 
 
 Royal 4to 
 
 llj 
 
 
 4 
 
 9 
 
 7 
 
 6 
 
 Imperial 4to 
 
 14 
 
 „ 10 
 
 7 
 
 6 
 
 10 
 
 6 
 
 ,, 3mo 
 
 20 
 
 
 9 
 
 9 
 
 15 
 
 3 
 
 Half Royal 
 
 18 
 
 „ Hi 
 
 10 
 
 3 
 
 16 
 
 8 
 
 „ Imperial 
 
 20 
 
 » 14 
 
 14 
 
 3 
 
 20 
 
 
 
 A 3 
 
10 
 
 GEOKGE ROWNEY & Co., 
 
 SOLID SKETCH BLOCKS AND TABLETS, 
 
 MADE OF Whatman's extra thick papers. 
 
 32 Surfaces. 
 
 Size. 
 
 Solid 
 JdIocks. 
 
 Solid 
 Tablets. 
 
 
 
 Each. 
 
 Each, 
 
 
 
 s. d. 
 
 5. d. 
 
 Imperial 16nio 
 
 7 inches by 5 
 
 3 
 
 4 3 
 
 Double Elephant 16mo 
 
 9 „ 6 
 
 4 6 
 
 6 
 
 Imperial 8vo 
 
 10 „ 7 
 
 5 3 
 
 6 9 
 
 6mo 
 
 Double Elephant 8vo 
 
 14 „ 7 
 
 7 
 
 9 9 
 
 12 „ 9 
 
 8 3 
 
 11 3 
 
 Imperial 4to . 
 
 14 „ 10 
 
 10 
 
 13 
 
 „ 3mo 
 
 20 „ 9J 
 
 13 
 
 18 9 
 
 Double Elephant 4to 
 
 18 „ 12 
 
 16 6 
 
 22 G 
 
 Half Imperial 
 
 20 „ 14 
 
 19 9 
 
 25 9 
 
 SOLID SKETCH BLOCKS AND TABLETS, 
 
 MADE OF THICK MACHINE MADE TINTED CRAYON PAPERS. 
 
 32 Surfaces. 
 
 Size. 
 
 Solid 
 Blocks. 
 
 Solid 
 Tablets. 
 
 
 
 
 Each. 
 
 Each. 
 
 
 
 
 s. d. 
 
 s. d. 
 
 Imperial 12mo 
 
 5 inches by 3i 
 
 1 
 
 2 3 
 
 Eoyal 16mo 
 
 
 . H 
 
 1 3 
 
 2 6 
 
 Imperial „ . 
 
 7 
 
 „ 5^ 
 
 1 6 
 
 2 9 
 
 Royal 8vo 
 
 9 
 
 ^2 
 
 2 3 
 
 3 6 
 
 Imperial,, .... 
 
 10 
 
 7 
 
 2 6 
 
 4 3 
 
 „ 6mo . 
 
 Royal 4to 
 
 14 
 
 7 
 
 3 6 
 
 6 
 
 1^ 
 
 
 3 9 
 
 6 3 
 
 Imperial,, 
 
 14 
 
 10 
 
 4 9 
 
 7 9 
 
 „ 3mo 
 
 20 
 
 
 7 3 
 
 12 9 
 
 Half Royal ... 
 „ Imperial 
 
 18 
 
 „ lii 
 
 7 9 
 
 13 6 
 
 20 
 
 „ 14 
 
 9 3 
 
 15 3 
 
 SKETCHING PORTFOLIOS, 
 
 WITH JAPANNED TIN FRAME FOR SECURING THE PAPER IN USE, AND WITH 
 POCKET TO CONTAIN THE SKETCHES AND A SUPPLY OF PAPER. 
 
 
 
 Size. 
 
 Each. 
 
 
 
 
 s. 
 
 d. 
 
 Imperial 8vo 
 
 11 inches by 7 
 
 5 
 
 
 
 
 12 
 
 
 6 
 
 
 
 
 15 
 
 ., 11 
 
 7 
 
 G 
 
 Half Royal 
 
 19 
 
 „ 12 
 
 11 
 
 
 
 Double Elephant 4to ... 
 
 18 
 
 „ 12i 
 
 12 
 
 
 
 
 22 
 
 „ 15 
 
 15 
 
 
 
52, RATHBONE PLACE, and 29, OXFORD STREET. 11 
 
 SKETCH BOOKS. 
 
 MADE OF Whatman's hand-made drawing tapeks. 
 Half-bound, Cloth Sides, Roan Backs, Gilt. Yvrty Leaves. 
 To fasten with Elastic Band, 
 
 
 Size. 
 
 
 Each. 
 
 
 
 
 
 £ 
 
 s. 
 
 d. 
 
 Imperial 32 mo 
 
 5 Inches bv 3A- 
 
 
 
 1 
 
 6 
 
 16mo 
 
 7 „ 
 
 5 
 
 
 
 2 
 
 3 
 
 Demy 8vo .... 
 
 7 „ 
 
 41 
 
 
 
 1 
 
 9 
 
 Medium 8vo 
 
 8 „ 
 
 ? 
 
 
 
 2 
 
 3 
 
 Royal „ . . . . 
 
 9 
 
 
 
 
 2 
 
 9 
 
 Imperial ... 
 
 .10 „ 
 
 7' 
 
 
 
 3 
 
 9 
 
 Demy 4to .... 
 
 H „ 
 
 7 
 
 
 
 3 
 
 
 
 Medium 4to 
 
 
 8 
 
 
 
 3 
 
 9 
 
 Royal 
 
 Super-royal 4to 
 
 lU 
 
 9 
 
 
 
 4 
 
 6 
 
 13 „ 
 
 9 
 
 
 
 5 
 
 
 
 Imperial 4to .... 
 
 14i ., 
 
 10 
 
 
 
 6 
 
 G 
 
 The above are made of "Hot-pressed " paper. 
 
 POCKET SKETCH BOOKS. 
 
 MADE OF HOLLINGWORTH's FINE DRAWING PAPERS. 
 
 Quarter-bound, with *' Sketches" in gold mediaaval characters on the 
 cover, Cloth Sides, Roan Backs and Elastic Band. Thirty-six Leaves 
 
 
 Size. 
 
 Each. 
 
 
 
 s. 
 
 d. 
 
 
 inches by 4J 
 
 1 
 
 
 
 
 9 5J 
 
 1 
 
 6 
 
12 
 
 GEORGE EOWNEY & Co., 
 
 BLACK LEAD PENCILS, 
 
 PRIZE MEDAL AWARDED INTERNATIONAL EXHIBITION, 1862. 
 
 GEORGE ROWNEY & CO.'S 
 
 IMPROVED DRAWING PENCILS. 
 
 Neatly got up in Polished Cedar, in order to prevent the lead dust 
 adhering to the Pencil, and consequently soiling the fingers. 
 
 HB Hard and Black 
 
 B Black for Shading 
 
 BB Softer and very Black 
 
 F Firm for Ordinary Drawing 
 
 H Hard for Sketching 
 
 HH Harder for Outlines 
 HHH Very Hard for Architects 
 HHHH Extra Hard for Engineers 
 
 2s. per dozen. 
 
 EXTRA LETTERS, MOST CARBPUIiLY PREPARED. 
 
 EHB Extra Hard and Black \ 
 
 D£HB Ditto, ditto, extra Thick Lead f . , 
 
 FF Very Firm and Double Thick Lead ^ 
 
 BBB Softer and Very Black, Double Thick Lead ) 
 
 BBBB Extra Soft and Black, 6d. each, or 5s. 6d. per dozen. 
 
 BBBBBBB Very Broa*d and Black Lead, Is. each, or 10s. per dozen. 
 
 THE IMPROVED PENCILS. 
 
 MAY BE HAD IN SETS, AS FOLLOWS I 
 
 s. d. 
 
 4 Pencils in Roan Cases each 1 3 
 
 7 Pencils in ditto „ 2 8 
 
 7 Ditto in ditto, divided and lettered . . . ,,2 9 
 
 7 Ditto in Embossed Gilt Morocco Case . . „ 6 
 
 12 Pencils, a Full Set, comprising 4 extra letters, in Roan Case, 
 
 divided and lettered ..... each 5 6 
 
 12 Ditto, a Full Set, in Embossed Gilt Morocco Case „ 11 
 
 Messrs. Rowney & Co. have every confidence in recommending their 
 IMPROVED DRAWING PENCILS to the notice of the Profession, 
 their moderate price and superior quality being sufficient to give them 
 a decided preference with the public. 
 
 ROWNEY'S EVER-POINTED DRAWING PENCILS, 
 
 H, HB, B, & BB. 
 
 Each degree is polished in a different colour, Is. each. 
 Leads only, 2s. per dozen. 
 Cases containing four Pencils, 4s. per Case. 
 The fault of all Pencils of this description has been hitherto their 
 inability to resist the pressure necessary in drawing. The above Pencils 
 are free from this defect, and are exceedingly light in the hand. 
 
 Fencil Manufactvrers to Her Majesty's Stationery Offices and Schools of Design. 
 
52, RATH BONE PLACE, and 29, OXFORD STREET. 13 
 
 GEORGE ROWNEY & CO 'S 
 
 PENNY DRAWING PENCILS. 
 
 With the view of enabling the working classes to avail themselves 
 of the advantages presented by the many Schools of Design and Classes 
 recently opened for the instruction of Drawing in its various branches, 
 and to supply themselves with good Materials at a low price, Messrs. 
 R. and Co. have devoted their attention to the production of a Penny 
 Drawing Pencil, of a quality sufficiently good for general purposes. 
 The Pencils are manufactured of Four Degrees — Hard, Middle, Soft, 
 and very Soft, in Polished Cedar. 
 
 H Hard, in Plain Cedar, Polished . 
 
 Is. per dozen. 
 
 HB Middle, Coloured Red „ . . . 
 B Soft, Coloured Black „ . . . 
 
 BB Very Soft „ . . . 
 
 Each Pencil is stamped in Silver, thus— "GEORGE ROWNEY & 
 COMPy." 
 
 Cases, containing Three Pencils, 6d. each. 
 
 G. ROWNEY & CO.'S HALFPENNY PENCIL. 
 
 In Polished and Stained Cedar, stamped in Silver — 
 
 " G. ROWJN'EY & CO." 6d. per dozen. 
 
 CUMBERLAND BLACK LEAD DRAWING PENCILS, 
 
 MANUFACTURED BY 
 
 GEORGE ROWNEY AND CO. 
 
 OF THE GENUINE PLUMBAGO, OR PATENT COMPRESSED LEAD, OF THE 
 FOLLOWING DEGREES: — 
 
 H 
 
 HH 
 
 HHH 
 
 HHHH 
 
 HB 
 
 F 
 
 B 
 
 BB 
 
 BBB 
 £HB 
 FF 
 
 DEHB, 
 BBBB. 
 
 Hard . 
 Harder 
 Very Hard . 
 Extra Hard. 
 Hard and Black . 
 Middling Degree 
 Black for Shading 
 Very Black for ditto , 
 Soft Broad Lead 
 Extra Hard and Black 
 Very Fine . 
 
 -3s. per dozen. 
 
 J 
 
 6s. per dozen. 
 93. per dozen. 
 
14 
 
 GEOKGE ROWNEY & Co., 
 
 GEORGE ROWNEY & CO/S 
 COLOURED CRAYONS, ETC., 
 
 MANUFACTURED OF THE FINEST MATERIALS. 
 POINTED CRAYONS. 
 
 These are hard Crayons whicli work with great evenness and freedom. 
 
 s. d. 
 
 Boxes containing 12 . per Box 1 
 
 „ „ 18 ..... . „ 16 
 
 „ 24 „ 2 
 
 36 „ 3 
 
 IMPROVED CRAYONS. 
 
 These are Similar to the Swiss, rather harder, but of medium quality 
 and smaller. 
 
 s. d. 
 
 Boxes containing 36 per Box 4 6 
 
 72 „ 9 
 
 „ _ „ 144 „ 18 
 
 Vermilion, Lake, or Cobalt, separately. per dozen Crayons 4 6 
 
 SWISS CRAYONS. 
 
 These are very soft, and the material most in use for Crayon Drawing, 
 They are sold in Glass Tubes, which prevent the colours mingling. 
 
 £ d. 
 
 Boxes containing 12 each 6 
 
 „ 24 „ 10 6 
 
 „ 36 „ 15 
 
 „ 72 „ 1 10 
 
 „ 144. ....... 3 
 
52, EATHBONE PLACE, and 29, OXFORD STREET. 15 
 
 GEORGE ROWNEY & CO.'S 
 
 BRUSHES FOR WATER-COLOUR 
 DRAWING. 
 
 SABLE HAIR PENCILS, 
 Miniature. 
 
 ' Ckow. 
 
 ) Duck. 
 
 Large Duck. 
 
 ^ Small Goose, 
 
 ( GOOSK 
 
 Dome-pointed, tied with 
 
 Large eagle 
 Small eagle 
 Extra large swan 
 Large swan 
 Middle swan 
 Small swan 
 Extra small swan 
 Extra large goose 
 Large goose 
 Goose 
 Small goose 
 Large duck 
 Duck . 
 Crow 
 Miniature 
 
 gold wire. 
 
 
 
 
 Red. 
 
 Brown. 
 
 
 s. 
 
 
 s, d. 
 
 each 
 
 
 
 18 9 
 
 jj 
 
 
 
 15 
 
 j> 
 
 7 
 
 6 
 
 7 6 
 
 j> 
 
 6 
 
 
 
 6 
 
 ?> 
 
 5 
 
 
 
 4 6 
 
 j> 
 
 3 
 
 9 
 
 3 
 
 J) 
 
 3 
 
 
 
 2 3 
 
 >» 
 
 2 
 
 
 
 1 6 
 
 i> 
 
 1 
 
 8 
 
 1 3 
 
 
 1 
 
 3 
 
 1 a 
 
 » 
 
 1 
 
 
 
 9 
 
 
 
 
 9 
 
 8 
 
 » 
 
 
 
 8 
 
 6 
 
 
 
 
 4 
 
 4 
 
 11 
 
 
 
 5 
 
 4 
 
16 
 
 GEORGE ROWNEY & Co., 
 
 BROWN SABLE BRUSHES, 
 
 IN GERMAN SILVER FERULES, AND POLISHED HANDLES. 
 VERY FINE QUALITY. 
 
 s. d. 
 
 No. 1 round or flat each 7 
 »» 2 „ „ „ 9 
 »> 3 ,, „ 11 
 
 s. d. 
 
 No. 4 round or flat, each 1 2 
 
 11 ^ J) j> ?> 1 3 
 
 5> ^ M »> ?? 1 6 
 
 RED SABLE BRUSHES, 
 
 IN GERMAN SILVER FERULES, AND POLISHED HANDLES. 
 VERY FINE QUALITY. 
 S. d. 
 
 No. 1 round or flat, each 1 
 »> 2 „ >» » 13 
 » 3 „ „ 16 
 
 No. 4 round or flat each 
 11 ^ ,» >» It 
 »» 6 » >» 11 
 
 1 9 
 
 2 
 2 3 
 
62, RATHBONE PLACE, and 29, OXFORD STREET. 
 
 CAMEL HAIR BRUSHES. 
 
 Large Swan Quill Camels 5d. each. 
 
 Small Swan Quill Camels 4d. each. 
 
 Extra Small Swan Quill Camels 3d. each. 
 
 Full Goose Camels 8d. each. 
 
 No. 
 1. 
 2. 
 3. 
 4. 
 5. 
 6. 
 7. 
 
 FRENCH CAMEL HAIR BRUSHES. 
 
 Small Crow 
 
 Crow 
 
 Duck 
 
 Lar^e Duck 
 Small Goose 
 Goose 
 
 Large Goose 
 
 8. Swan, No. 
 
 9. 
 10. 
 11. 
 12. 
 
 each 
 . 
 „ 
 
 
 „ 
 
 
 1 
 1 
 
 2 
 2 
 2 
 
 a 
 
 7 
 
 10 
 
 1 2 
 
 1 4r 
 
 2 2 
 
 FRENCH CAMEL HAIR IN TIN. 
 
 From Nos. 1 to 6, Flat or Round 
 
 6s. per dozen. 
 
 SKETCHING UMBRELLAS. 
 
 £ 5. d. 
 
 5 feet, when open, made of Brown Holland or Jeannette each 1 15 3 
 
 Ditto ditto with Fan Joint . . „ 1 18 ^ 
 
 5 feet 6 inches ditto 1 17 6 
 
 Ditto ditto with Fan Joint . ,,'2 6 
 
18 
 
 GEORGE ROWNEY & Co., 
 
 PORTABLE SKETCHING EASEL IN CASE. 
 
 Ash, 5 feet or 6 feet 
 Mahogany, or Walnut-Wood, 5 feet 
 Ditto, ditto 6 „ 
 
 Ditto, French Polished . 5 „ 
 Ditto, ditto • . 6 „ 
 
 THE GERMAN SKETCHING SEAT AND EASEL 
 COMBINED. 
 
 ADAPTED FOR EITHER OIL OR WATER-COLOUR SKETCHING. 
 
 Price £1 Os. Od. each. 
 
 THE EASEL, OPEN. CLOSED. 
 
 The same principle has been adapted for the use of Ladies, and is 
 equally serviceable and portable. Price £1 13s. each. 
 
 KNAPSACK EASEL. 
 
 Similar to the German easel, with the addition of a waterproof case 
 and straps. The Interior has sufficient space to contain the requisites 
 of a walking tour. Price £2 9s. 6d. each. 
 
 Square Seat, similar to above illustration, without the easel 
 Price 12s. each. 
 
53, RATHBONE PLACE, and 29, OXFOKD STREET. 19 
 
 JAPANNED WATER BOTTLES. 
 
 For carrying a supply of water for Sketching^ with Cups to fit on the 
 Falette or Box. 
 
 Japanned Water Bottles and Cups . 
 Middle size ditto 
 Large size ditto 
 Oval ditto, plated inside . 
 Ditto, ditto, larger . . . . , 
 Large new Water Bottle, with space for holding 
 brushes ... 
 
 each 
 
 s, d, 
 
 2 9 
 
 3 
 3 6 
 
 5 3 
 
 6 
 
 7 3 
 
 EIMMED 
 DIPPER, 
 
 To prevent the 
 water spilling. 
 Is. 9d. 
 
 FRENCH COLOURED CRAYONS. 
 
 BOX OF 100 SEMI-HARD FRENCH CRAYONS. 
 
 Boxes containing 26 short 
 
 25 semi-hard 
 50 
 
 12 soft 
 
 each 
 
 s. 
 3 
 5 
 7 
 4 
 9 
 18 
 
 d. 
 
 6 
 3 
 
 6 
 
 
 6 
 
20 
 
 GEORGE KOWNEY & Co. 
 
 GEORGE ROWNEY & CO/S 
 Portable Tents, 
 
 FOR 
 
 SKETCHING TOURS, PIC-NICS, OR SUMMER EXCURSIONS. 
 
 The advantages of these tents, consisting of their portability and h'ght weight wh6n packed, 
 and their strength and spaciousness when pitched, are much appreciated by artists. 
 
 Size of small tent when set up 4 feet square, 7 feet high. 
 
 „ „ Packed 4 inches by 4 inches, 4 feet 4 inches long. 
 
 Weight, about 121bs, Price, including case, 67s. 
 
 Size of large tent when set up 7 feet by 4 feet 6, 7 feet high. 
 
 „ „ Packed 5 inches by 5 inches, 4 feet 6 inches long. 
 
 Weight, about 17 lbs. Price, including case, £3 15s. 
 
1: 
 
*Hrr^T3 OK SK.ETQHING FKOM 
 *H|NTS ON SKSTCHING/'FIIOM. l4ATUliE. ^ 
 *HINTS ON ■ SKEXCHING FROM •" N ATUEE. ^ tot i - 
 GUIDE- TO- FIQURB FAINTING IN WA'TER;' C^^LOUli -■ 
 
 GUIDE TO 'SKETCHING FROM NATl i.^ . 
 
 PRINCIPLES of" PERSPECTIVE. Hskr? Le^^. ■ 
 
 tJUIPE TO WATER COLOUR PATNTING: li P; ' ^ 
 
 HIK.TS FOR SKETCHING TREES FROM" NATUiir., • 
 COLOURS. Thomas Hatton 
 
 GUIDE TO OIL PAINTING. Part L J. .S, TaMPLET^ 
 
 GUIDE TO OIL PA-INTING. Part iL (La3?dscaPe fkosI N&TD3-.h,„ a. i : 
 
 GUIDE TO LIGHT AND SHADE DllAWlNOV Mrs., M. *V!^iPK!rIF.^. 
 
 GUIDE TO PENCIL AND CHALK DtrAWl:-^. G, H^.. , . 
 
 GUIDE TO PICTOiUAL ART. IL- O'-Nsel .......... 
 
 GUIDE TO LEVELLING AND SURVBWKa.'V^. 
 
 GUIDE TO PICTORIAL PBH8PE0TIVE. B, R.^GHesm .■ 
 
 GUIDE TO FIGURE DRAWING. O. IJ. -'Hicks . . . .\ . . . 
 
 GUIDE TO FLOWER PAINTING IN 'WATETi ■ Colour- , ■ 
 
 GUIDE TO PAINTING ON GLASS. IL Biei.fei.d 
 
 GUIDE TO MINIATURE "PAINTING A.ND COLO.u H ' 
 GRAPHS. J, S. Templeton . . . , 
 
 ON THE MATERIALS USED IN PAiNTING/'wrnf ^ R?/ • 
 NisHiNQ and' CLE\^'^^?G Pictures. Charlss "M^i-.Ts-'s-, 
 
 GUIDE TO ANIMAL DRA.WING. C. H. We 
 
 GUIDE T<) JLL^MINATING AND MLSSAL VKmrnr-. 
 AUDSLEy = 
 
 Ditto, with additional clirorao-lHliographjjd IHiii? 
 
 PRACTICAL ^lANUAL OF HERALDIC ILi.r^ 
 Baigknt and C. J. K^sskll. Demv 'Svo, ciotii and g- . 
 
 TllEORY OF COLOURING. J. Bacon. Cloth tind gi; . 
 
 PRACJICAL GUIDE TO SCENE PAINTING. F 
 
 **H[NTS ON SKETQIHNG TItbM NAl URsv 
 one. Cloth aud .gilt .-^ . 
 
 ' HEPiOF.nnoBf. Rait, & -Few ton:, Prir.tws, 7a aim * .m-^v. i^xw- '