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 ■ 
 
 
 THE 
 
 ART OF DRAWING, 
 
 %c. 
 
I 
 
I 
 
FLOWEKS 
 
 JteZiJ-Aid fy S&r»<>*& Jirmec tC ' Jki/JdSZ-f-. 
 
ART OF DRAWING 
 
 IN ITS VARIOUS BRANCHES, 
 
 EXEMPLIFIED IN A COURSE OF 
 
 TWENTY-EIGHT PROGRESS LVE LESSONS, 
 
 ■CALCULATED TO AFFORD THOSE WHO ARE UNACQUAINTED WITH THE ART, THE MEANS 
 OF ACQUIRING A COMPETENT KNOWLEDGE 
 
 WITHOUT THE AID OF A MASTER: 
 
 BEING THE ONLY WORK OF THE KIND IN WHICH THE 
 
 PRINCIPLES OF EFFECT 
 
 ARE EXPLAINED IN A CLEAR, METHODICAL, AND AT THE SAME TIME FAMILIAR STYLE. 
 
 BY THOMAS SMITH. 
 
 ILLUSTRATED WITH COLOURED DESIGNS AND NUMEROUS 
 WOOD ENGRAVINGS. 
 
 LONDON: 
 
 PRINTED FOR SHERWOOD, GILBERT, AND PIPER, 
 
 PATERNOSTER-ROW. 
 
 1827. 
 
Plain Impressions of the Illustrations to this Work may be had 
 of the Publishers, price 2s. 6d. the set, for the Use of Students 
 practising Colouring. 
 
INDEX 
 
 ILLUSTRATIONS. 
 
 Diagrams in Perspective 
 
 Sketches in Landscape 
 
 Indian Ink Drawing 
 
 Sketch on Coloured Paper 
 
 Colours 
 
 Cottage, unfinished 
 
 Ditto, finished 
 
 Seine Boat, unfinished 
 
 Ditto, finished 
 
 Marine Subject 
 
 Ditto 
 
 Flowers, unfinished 
 
 Ditto, finished 
 
 Fruit 
 
 Still Life 
 
 Figure 
 
 Ditto 
 
 Stag, Pencil Drawing 
 
 Animals 
 
 Ditto 
 
 Sketches, exemplifying Contrast 
 
 PAGES. 
 
 3 to 13 
 
 . 26 — 31 
 
 35 
 
 40 
 
 42 — 55 
 
 5S 
 
 . 63 
 
 . 64 
 
 . 65 
 
 68 
 
 . 71 
 
 73 
 
 . 74 
 
 75 
 
 78 
 
 : S3 
 
 . 88 
 
 94 
 
 . 95 
 
 97 
 
 101 — 109 
 
INTRODUCTION. 
 
 iHERE is, perhaps, no amusement more de- 
 lightful, no accomplishment more useful, no 
 art more elegant, and no profession more 
 advantageous, than that of drawing. 
 
 As an amusement, however, much followed, 
 it is certain to bring neither regret, anxiety, 
 fatigue of body, nor enervation of the mind. 
 What other recreation can we say as much of? 
 The theatre is almost always quitted with a 
 certain feeling of regret should the representa- 
 tion have been good, or of weariness and dis- 
 gust if bad ; cards, though in nothing more 
 than a family game of whist, excite the passions 
 and cause anxiety ; dancing, riding, walking, 
 and every other exercise, however necessary 
 
VI 
 
 INTRODUCTION. 
 
 for the health, are more or less productive of 
 fatigue ; whilst the novel, even the best, always 
 produces an enervation of the mental faculties, 
 which incapacitates the reader for the proper 
 fulfilment of his more serious occupations. 
 Music, of a long list of amusements, is perhaps 
 the only one which cannot be taxed with the 
 above objections, though, at the same time, 
 there are circumstances which render it also 
 inferior to drawing : it can never be practised 
 in the same room with the literary student ; it 
 can very rarely be admitted into that of the sick; 
 and it is a complete bar to the conversation of 
 the person who is playing. With all these ad- 
 vantages there still remains one of the greatest 
 which we have not mentioned, and which will, 
 and ought to have weight with every person 
 whose income is not very great. This advantage 
 consists in the trifling expenses which are inci- 
 dental to learning to draw compared with those 
 of almost every other accomplishment. 
 
 If we consider drawing in the light of an 
 
INTRODUCTION. 
 
 Vll 
 
 acquirement, where shall we find one more 
 elegant or more useful. It is by a knowledge 
 of this art that many of our military men have 
 first gained the distinction and notice which 
 have led to their future fame and fortune ; it is 
 by drawing that the ingenious mechanician 
 renders his descriptions of complex machinery 
 intelligible ; it is also by this art that the tra- 
 veller is enabled to render the account of his 
 wanderings of tenfold value, by the representa- 
 tion of the various objects which may be in- 
 teresting, either on account of their singu- 
 larity or in regard to their connexion with the 
 improvement of science; whilst the slightest 
 sketch will often bring to mind the recollection 
 of circumstances which have escaped the me- 
 mory in the lapse of years, and render back 
 each long-forgotten image more vividly than 
 the best and completest journal. 
 
 Of its elegance as an art, or its advantages 
 as a profession, we shall say but little, as our 
 purpose is not to hold out inducements to 
 
 I 
 
Vlll 
 
 INTRODUCTION. 
 
 people to become artists, but rather to enable 
 those who know nothing of drawing to instruct 
 themselves in this most useful accomplishment ; 
 and also to put those drawing-masters who are 
 not acquainted with the theory of Effect in a 
 way to acquire it with facility, and thereby 
 fender their pupils capable of, at least, making 
 their drawings look respectable at a distance, 
 however they may fail in the detail on a 
 nearer view. 
 
 In teaching this delightful accomplishment 
 almost every artist has a way of his own ; the 
 most general method, however, of teaching, 
 whether it be the figure or landscape, is to 
 make the pupil begin with drawing outlines, 
 then finishing with chalk or pencil ; next draw- 
 ing in Indian ink, and lastly colouring. 
 
 Of this method, the second and third parts, 
 (I mean finishing with the pencil or chalk, and 
 drawing in Indian ink), may be considered as 
 a complete waste of the beginner's time, as I 
 know by experience that any decent landscape 
 
wMWM$§> PmmwB 
 
 INTRODUCTION. 
 
 IX 
 
 artist, who has never done any thing but out- 
 lines or coloured drawings, may be enabled, 
 by a week's practice, to do very good chalk or 
 pencil drawings, whilst months and months are 
 wasted by the learner before he can produce 
 any thing that will bear looking at ; and even 
 when he has acquired a tolerable proficiency in 
 this department, he will still remain as incapable 
 of laying the most simple tint, and as ignorant 
 of the principles of colours as if he had never 
 touched a pencil in his life. As for Indian ink 
 drawing, the two following axioms will be fully 
 sufficient to show its perfect inutility. 
 
 First. Every person who has learned to do 
 coloured drawings only, may do Indian ink 
 drawings; but, secondly, No one who has 
 learned to do Indian ink drawings only, can 
 do coloured drawings. 
 
 Many drawing-masters will say that Indian 
 ink drawing is of use, in order to give facility 
 in handling the brush. This I will not deny ; 
 
 : 'I'll 
 
 
INTRODUCTION. 
 
 — but why not learn to handle the brash in 
 doing coloured drawing, seeing, that by so 
 doing, the pupil is gaining two things at the 
 same time, whilst the task is rendered far more 
 pleasing, as every person who has ever given 
 lessons in drawing, must have found how ex- 
 tremely anxious young students are to get into 
 colours. 
 
 Having now shewn the inutility of finishing 
 with the pencil, and of Indian ink drawing, I 
 shall proceed to explain the plan on which the 
 work I now offer to the public is composed. 
 The first lessons consist of an introduction to 
 perspective, which I have rendered as concise, 
 and at the same time as explanatory, as pos- 
 sible : this part the student may either learn 
 the first, or leave till a future period. I should, 
 however, recommend him to learn it before he 
 begins drawing, as it will only be the labour of 
 a feAV hours, and will enable him to see when 
 any sketch he may have made after nature is 
 incorrect, and alter it accordingly. 
 

 INTRODUCTION. 
 
 XI 
 
 I next proceed to drawing outline of land- 
 scape, and after touching slightly on finishing 
 in pencil and Indian ink drawing, I explain the 
 theory of colours, the method of mixing the 
 various tints, and the manner of laying them 
 on the paper ; after which, I give instructions 
 for drawing fruit and flowers, still life and 
 architecture, and then proceed to figure draw- 
 ing with portrait and miniature painting, finish- 
 ing the second part of my treatise with animal 
 painting. 
 
 The last chapters of this work are on the 
 Theory of Effect ; a part of the art which has 
 never been systematically treated in any draw- 
 ing-book whatever that has yet been pub- 
 lished*. Whether this gross neglect of the 
 
 * The celebrated water-colour painter, John Varley, is the 
 only one who has ever attempted to write on the theory of effect 
 systematically ; and his works, which we most strongly recom- 
 mend to those students who are well advanced, and who have tho- 
 roughly studied the whole of this work, are not, I believe, pub- 
 lished under the name or on the principle of a drawing-book ; and 
 it is only justice to add, that the writer of this work gained his 
 first systematic ideas of effect from the excellent treatises of this 
 well-known Artist, 
 
 I 
 
 i 
 
Xll 
 
 INTRODUCTION. 
 
 most essential department be owing to the 
 ignorance, or to what is still more dishonour- 
 able, the mean jealousy of the writers of the 
 various drawing-books which have appeared 
 within these few years *, I cannot say, but 
 I hope my endeavours to illustrate this part 
 of the art, the inculcation of which has hitherto 
 been entirely neglected by the generality of 
 drawing-masters, will prevent its omission in 
 future works of this kind, and at the same time 
 induce other and better artists than myself, to 
 give the result of their experience to the pub- 
 lic in a form sufficiently clear and simple to be 
 comprehended by the youngest student. I 
 trust also that those persons, who have learned 
 to draw without learning the theory of effect, 
 and who will take the trouble of studying the 
 rules I have given, will find how greatly their 
 powers of composition, or, as it is generally 
 
 * It is unfortunate that the few drawing-books which have 
 been written by artists have almost all been composed merely as 
 the vehicle of a number of prints, instead of forming a systematic 
 course of written scientific instruction. 
 

 INTRODUCTION. 
 
 X1U 
 
 termed, of " drawing out of their own heads," 
 is increased; in short, without understanding 
 these rules, a man, however well he may draw, 
 can never be called an artist; whilst Rembrandt, 
 by his consummate knowledge of effect, gave 
 that magic representation of light and shade 
 that raised him to the highest rank in his 
 professsion, which as a draughtsman he could 
 never hope to obtain*. 
 
 * Rembrandt was very deficient in skill as a draftsman, par- 
 ticularly of the figure. 
 
 ! 
 
 ■I 
 
 : jj i 
 
 ■ ^ 
 
 ^ 
 

H H 
 
 CONTENTS. 
 
 Lesson 
 
 1 
 
 „ 
 
 2 
 
 „ 
 
 3 
 
 „ 
 
 4 
 
 >) 
 
 5 
 
 „ 
 
 6 
 
 )> 
 
 7 
 
 5) 
 
 8 
 
 )> 
 
 9 
 
 » 
 
 10 
 
 5> 
 
 11 
 
 „ 
 
 12 
 
 )> 
 
 13 
 
 >> 
 
 14 
 
 » 
 
 15 
 
 „ 
 
 16 
 
 „ 
 
 17 
 
 >> 
 
 18 
 
 „ 
 
 19 
 
 J) 
 
 20 
 
 » 
 
 21 
 
 Lesson 
 
 22 
 
 „ 
 
 23 
 
 „ 
 
 24 
 
 „ 
 
 25 
 
 » 
 
 26 
 
 Lesson 
 
 27 
 
 ,, 
 
 28 
 
 Conclusion 
 
 Perspective 
 
 To draw a row of Trees . 
 
 To draw a House 
 
 To draw a Circle in Perspective 
 
 To draw the Arches of a Bridge in Perspective 
 
 To draw the Hoops of a Barrel in Perspective 
 
 To draw a Road in Perspective 
 
 To draw a House in oblique Perspect 
 
 Of the different Kinds of Drawing 
 
 Of the Materials for Drawing 
 
 On the Outline and finishing Landscape in Penei 
 
 On Indian Ink . 
 
 On Colours 
 
 On the mixing of Tints 
 
 On colouring Landscape . 
 
 On colouring Landscape (continued) 
 
 On Marine Drawing 
 
 On Fruit and Flower Drawing 
 
 On Still-Life . 
 
 On Historical or Figure Drawing 
 
 On Historical or Figure Painting in Water Co 
 
 lours 
 On Portrait and Miniature Painting 
 On the Drawing of Animals 
 On the Colouring of Animals 
 On the Theory of Effect . 
 On Contrast, 101 — On the Contrast of Light 
 
 and Shade, 106 — On the Contrast of Colour, 
 
 109— On the Contrast of Greys 
 On Harmony . 
 On Effect . 
 
 Page 
 1 
 
 4 
 5 
 7 
 9 
 11 
 12 
 13 
 15 
 18 
 25 
 35 
 42 
 48 
 55 
 64 
 68 
 73 
 77 
 80 
 
 86 
 88 
 90 
 95 
 99 
 
 112 
 
 114 
 116 
 120 
 
 111 
 
 \ 
 
'■"" 
 
 Of the Publishers of this Work may be had, in 4to. illustrated by 
 Forty Engravings, price 11. lis. 6d. in boards, 
 
 A PRACTICAL TREATISE 
 
 PERSPECTIVE, 
 
 ON THE PRINCIPLES OP Dr. BROOK TAYLOR. 
 
 TO WHICH IS ADDED, 
 
 A DISCOURSE 
 
 ON THE APPLICATION OF THE SCIENCE OF PERSPECTIVE IN 
 THE COMPOSITION OF A PICTURE AND OTHER WORKS OF ART. 
 
 By EDWARD EDWARDS, 
 
 Associate and Teacher of Perspective in the Royal Academy. 
 
 Pamphilius-primus in Pictura omnibus Uteris eruditus, przecipue 
 Arithmetics et Geometrice, sine quibus negabat Arteni perfici 
 posse— Pun. Nat. Hist. 1. 35, c. 10. 
 
— H 
 
 PERSPECTIVE*. 
 
 LESSON I. 
 
 Perspective is the art of representing any object 
 on a plane surface as it would appear to the spectator. 
 The best exemplification of this definition is to imagine 
 the object to be seen through a pane of glass placed up- 
 right between it and the spectator, who, keeping his eye 
 fixed in one place, traces on the glass with a pencil the out- 
 line of the objects seen through it, which, when finished, 
 will be a true perspective view of those objects. 
 
 To do this by geometrical rules is called Perspective. 
 
 The first thing to be learnt in perspective, is to under- 
 stand the meaning of the different terms, of which the 
 following are the definitions : 
 
 The original object is the object intended to be repre- 
 sented : thus, if you be going to make a perspective view 
 of Westminster- Abbey, the abbey, together with those 
 houses and other objects which you intend to introduce 
 into your sketch, v\ ill constitute the original object; 
 whilst the different sides of the buildings, Sfc, will be 
 what arc termed original planes, and the lines of those 
 buildings original lines. 
 
 * Should the student be very young, or have a strong dislike 
 to mathematical studies, he may pass over the following lessons 
 on Perspective, and leave them till the last. 
 
PERSPECTIVE. 
 
 The Perspective Plane, called by many the plane of 
 the picture, is the picture itself. Thus the pane of glass 
 mentioned above may be considered the plane of the 
 picture,— also the paper on which you make a sketch of 
 any' object ; but it must always be considered as if 
 placed upright between the student and the object, and 
 not flat on a table. 
 
 The Base Line is the line formed by the bottom of the 
 picture, or perspective plane. 
 
 The Horizontal Line is a line drawn directly across the 
 picture, parallel with the base line, and always the same 
 height as the spectator's eye, which, when raised, causes 
 the horizontal line to be raised ; and when lowered, 
 causes it to be lowered. The best example which can 
 be given of this line in nature, is when a person standing 
 on the shore, looks at the ocean ; the farthest part of the 
 sea which is visible, and which comes immediately 
 against the sky, is the horizontal line. 
 
 The Point of Sight, called also by some the centre of 
 the picture, is the eye of the spectator. 
 
 The Centre of the picture is a point in the horizontal 
 line immediately opposite the spectator's eye; it is not, 
 however, always placed in the centre, as the term indi- 
 cates, but sometimes nearer to one end, in what is called 
 parallel perspective; though, in oblique perspective, it is 
 generally placed in or very near the centre of the hori- 
 zontal line. It is in this point that all the lines which 
 proceed in a direct line from the spectator, or, in other 
 words, all the lines which are perpendicular to the plane 
 of the picture, vanish. 
 
PERSPECTIVE. g 
 
 A Vanishing Point is any point in the perspective 
 plane in which two or more parallel lines of an object 
 would meet or vanish ; and vanishing lines are the said 
 lines of an object which meet in a point. 
 
 The Point of Distance is the distance of the eye from 
 the picture, which ought always be equal to or greater 
 than its length. This point is sometimes placed above 
 the picture, but the best method is to continue the hori- 
 zontal line beyond the edge of the picture, and then 
 mark off from the point of sight on either side the dis- 
 tance of the picture, which will give the point of distance. 
 
 Example. Suppose A BCD to represent the plane 
 of the picture, EF the horizontal line, and G the centre 
 of the picture : in order to find the point of distance, 
 continue the horizontal line forward from F to any suffi- 
 cient distance, say/; then from the point of sight G, 
 
 ! 
 
 o 
 
 P H 
 
 1 
 
 O 
 
 with a pair of compasses mark off the point II, which, 
 will be the point of distance, the line from G to H being 
 equal to the length of the picture. 
 
 Note. When the paper on which the student is 
 drawing is too small to admit of the continuation of the 
 horizontal line, it may be fastened to a board or table, 
 on which the line can be drawn as if it were on paper, 
 
 B3 
 
PERSPECTIVE. 
 
 or a slip of paper may be pasted to the drawing, which 
 will give sufficient length for the purpose required. 
 J^/^ Parallel Perspective is when the object to be repre 
 
 
 sented has one of its sides parallel to the plane of the 
 picture, and which side, as all the lines run parallel, 
 cannot have any vanishing lines. In parallel perspective 
 the centre of the picture is the vanishing point of those 
 lines which are at right angles with the lines of the side 
 parallel to the picture. 
 
 Oblique Perspective is so called when the sides of the 
 object stands in an oblique direction to the plane of the 
 picture, in which case the lines of both sides will be 
 vanishing lines. 
 
 LESSON II. 
 
 To draw a row of Trees placed at. equal distances, in 
 Perspective. 
 
 Let ABCD be the plane of the picture, and E F the 
 horizontal line. Continue the horizontal line to any dis- 
 tance/, and mark off the length of the picture upon it, 
 
 which will give the point of distance H ; next draw the 
 line GI, on which the trees are to be placed, and then 
 
PERSPECTIVE. 5 
 
 mark off the distances between the trees along the base 
 line, beginning at the point I, and proceeding in a diffe- 
 rent direction to the point of distance. Now as the base 
 line of the picture is not sufficiently long to take in 
 the 5th point, continue it to c, which will render it 
 long enough, and then draw lines from the distant point 
 H to the points 1,3, 3,4,5, and the points in which 
 these lines intersect the line G I will be the places for 
 the trees. 
 
 Having drawn the nearest tree which stands on the 
 base line, draw from the top Z the line ZG, which will be 
 the line for the tops of the rest of the trees. 
 
 This problem is extremely useful in almost all the 
 other problems in perspective : it is by this rule that all 
 distances along any line may be found, such as the door- 
 ways and windows along the side of a street, or the piers 
 and width of arches of a bridge, &c. &c. 
 
 
 LESSON III. 
 
 To draw a House, one side of which is parallel to the 
 Picture. 
 
 Let ABCD be the picture, EF the horizontal line, G 
 the centre of the picture, and H the point of distance : 
 First draw the square front of the house a, b, c, d with the 
 four windows in it, which, being parallel with the. plane 
 of the picture, will have no vanishing lines ; tin's being 
 done, draw the vauishing lines «G,eG,cG, and then 
 
f; 
 
 PERSPECTIVE. 
 
 the line He, continuing it till it touch the base line in the 
 paint 1 ; next measure off along the base line the distance 
 
 2,3,4 from the point 1, the first being equal to the 
 distance between the corner of the house c and the door, 
 the second equal to the breadth of the door-way, and the 
 third equal to the distance between the door-way and the 
 farther corner/: next draw the vanishing lines H 2, H3, 
 and H4, where the point in which H2 intersets Gc will 
 be the nearest corner of the door-way, where H 3 inter- 
 sects the same line, the farthest corner of the door-way, 
 and where H 4 intersects G c, the farthest corner of the 
 house, whilst cf will be the bottom of the house end, 
 the line eG giving the top of the door-way; next draw 
 the line fg, after which there only remains the peak of 
 the gable to finish the house end entirely : In order to 
 find this, first draw the two diagonal lines afgc, the 
 intersection of which Will give the centre of the house 
 end, and through which must be drawn the line x s. As 
 this line passes through the centre of the house end, it 
 will of course pass through the peak of the gable, which 
 is likewise over the centre of the house end, so that all 
 
PERSPECTIVE. 7 
 
 that is required is to know what height above the line 
 ag, the peak ought to be placed; to find this continue 
 the corner line ca to o, making the distance ao equal 
 to the height of the peak, above the line ag ; then draw 
 the vaninishing line o G, and the point m, in which it 
 intersects the line x z, will give the perspective height of 
 the peak ; draw the lines am and gm, and the end of 
 the house will be finished. In the same manner the 
 student must draw the other gable end by supposing the 
 house to be transparent, after which draw the line mn 
 from one peak to the other, to form the ridge of the 
 house, and the drawing will be finished. 
 
 LESSON IV. 
 
 To draw a Circle in Persjjective. 
 
 First draw the square ABCD, making its diameter 
 equal to the diameter of the circle you propose drawing ; 
 next draw the diagonal lines A D and 13 C, which will 
 intersect each other exactly in the centre of the square, 
 and then placing one leg of a pair 
 of compasses in the centre, extend 
 the other till it touch the side of the 
 square, and with this distance in- 
 scribe your circle; next draw the 
 lines a b, c d through the points f-- 
 ], 3, £, 7, whea the circle intersects the diagonal lines, 
 
 X 
 
o PERSPECTIVE. 
 
 and then the lines % 6, 4, 8, through the places where 
 the circle touches the sides of the square. 
 
 In order to put this circle in perspective draw the base 
 line A B, the horizontal line C D, and let D be the centre 
 of the picture and C the point of distance ; then, from 
 the point A in the base line lay off the distance A E 
 
 equal to C D in the foregoing figure, and divide it in the 
 same manner into the points J, % 3, which being done, 
 draw the vanishing lines A D, ] D, 2 D, 3 D, E.D ; 
 next lay off from E the distance E B equal to AE, and 
 draw the lines E C, B C, and then from the points G, 
 where E C intersects the line A D, to the point H, where 
 B C intersects the line E D, draw the line G H, when 
 the square in the foregoing figure, with its divisions, will 
 be drawn in perspective, with the exception of the dia- 
 gonal line, which remains to be made from A to H, and 
 the horizontal line a b, which passes through the centre of 
 the square, when the diagonal lines intersect each other. 
 All that is now required is to draw the circle, which 
 must be done with the hand, observing what points of 
 the square in the foregoing figure it passes through, and 
 
DHBi ^B H 
 
 PERSPECTIVE. 
 
 making it pass through the same points in the perspective 
 delineation of the same square in figure 5. 
 
 LESSON V. 
 
 To draw the Arches of a Bridge in Perspective. 
 
 This problem is performed exactly on the same prin- 
 ciple as problem third, Lesson IV, the arch being only 
 part of a circle. 
 
 Let A B be the base line, C D the horizontal line, D 
 the centre of the picture, and C the distance point: 
 draw the line A a equal to the height of the bridge ; the 
 vanishing line a D, which will give the top, and the line 
 A D the bottom of the bridge ; next mark off the 
 distances 1, c 2, 3, 4, 5, B equal to the breadth of the 
 three arches with the piers between them, and rule the 
 lines 1 C, £ C, 3 C, 4 C, 5 C, B C, when the points in 
 which these lines intersect the line A D will mark the 
 
 perspective breadths of the arches and piers ; next draw 
 the piers, after which nothing remains but to draw the 
 
iiiiiiiinmi«ii.iiimiiiiwii— 
 
 10 
 
 PERSPECTIVE. 
 
 arches. To do this according to rule mark off on the 
 line A a the distance from A to b, equal to the height of 
 the arches, and draw the line b D for the vanishing line 
 of the tops of the arches ; next continue the line A a 
 downwards to c, making the distance from A to c the 
 same as the distance from A to b ; then draw on another 
 piece of paper an exact square, whose sides shall be 
 equal to the distance b e, and inscribe a circle with the 
 same divisions and precisely in the same manner as in 
 Lesson IV. This being done, transcribe these divisions 
 to the line b c, and rule lines from the different points 
 which have not already lines drawn from them as d, e, 
 and c, to the point D ; next continue the line of the pier 
 down to/, and the perspective delineation of the square, 
 in the upper half of which is to be drawn the first arch 
 of the bridge, will be finished. In this square draw the 
 circle as directed in Lesson III, and the half of it, 
 which is contained in the half square b G, A i, will be 
 the true perspective delineation of the first arch of the. 
 bridge. The other arches may be drawn in the same 
 manner. 
 
PERSPECTIVE. 
 
 II 
 
 LESSON VI. 
 
 To draw the ffeops of a Chum or Barrel in Perspective. 
 
 This problem is nothing more 
 than another example of the third 
 problem, and is to be done by 
 imagining the churn or barrel to 
 be transparent. In the annexed 
 example, fig. 7, let A 13 be the 
 base line and C D the horizontal 
 line. First draw the two lines a c, a. 
 b d, which will give the two sides of the churn, and then 
 begin with the middle hoop ef, which, being immedi- 
 ately on the horizontal line, will appear perfectly straight; 
 next draw the hoop gk, which, being a little above the 
 horizontal line, will appear like a very narrow ellipsis, 
 whilst the top hoop, being still higher, will be still broader 
 as the eye sees more under it. In the same manner 
 draw the other hoops of the churn, which being lower 
 than the horizontal line, will grow broader and broader 
 as they get lower down, the eye seeing more over them. 
 When the object is extremely large, and the student is 
 afraid that he cannot draw them sufficiently true with 
 the hand, he may draw them in perspective by enclosing 
 each hoop in a square as described in problem third. 
 
 \ 
 
12 
 
 PERSPECTIVE. 
 
 LESSON VII. 
 
 To draw a Road in Perspective. 
 
 When it is intended to represent a road going up hill, 
 as the right hand road in fig. 8, the lines which form the 
 
 sides must be drawn so, that if continued, they would 
 vanish in a point above the horizontal line, recollecting 
 that the steeper the road the higher will be the vanish- 
 ing point. 
 
 When the road to be represented is perfectly level, 
 the sides would meet in the horizontal line, as in the 
 middle road, fig. 8, which passes over the bridge. 
 
 When the road goes down hill, the lines which form 
 the side, would meet, if continued, below the horizontal 
 line, as in the left hand road. 
 
 The figures on a road going down hill ought always 
 to be made with their heads below the horizon. 
 
 1 
 
PERSPECTIVE. 
 
 13 
 
 LESSON VIII. 
 
 To draw a House in oblique Perspective. 
 
 Let A B be the base line, C D the horizontal line, 
 and E the centre of the picture, from which draw the 
 perpendicular line E X equal to the length of the picture. 
 
 -Jm 
 
 From a, the nearest corner of the house, draw the 
 vanishing line a D for the bottom of that side of the 
 house ; continue this line till it touch the base line in 
 the point 1, from which erect the perpendicular line 
 1 b, and mark off upon it, the distance from 1 to c 
 equal to the actual height of the house ; draw the 
 vanishing line c D for the top of the house, and 
 then between the lines I D, c D, from the point a 
 draw the line a d, which will give the apparent height of 
 the corner of the house, To find the vanishing point 
 
 \ 
 
 M 
 
^ 
 
 14 
 
 PERSPECTIVE. 
 
 for the lines of the end of the house, draw the line D X, 
 and then the line X C at a right angle with it, when the 
 point C, in which the line X C intersects the horizontal 
 line, will be the vanishing point for the end of the 
 building : draw the line a C for the bottom, and the 
 line d C for the top of the square part of the house end, 
 the peak of the gable being drawn afterwards. 
 
 The next thing is to find the apparent width of the 
 end and side of the building : for. this it is requisite to 
 lay clown two distance points, to do which, with the 
 distance C X lay off on the horizontal line from C the 
 point x, which will be the distance point for the house 
 end, whilst the point z, found in the same manner by 
 laying off along the horizontal line from D, a distance 
 equal to the line D X : from the distance point draw 
 . the line xa, and continue it till it reach the base line in 
 the point/, from which lay off the distance/ 2 equal to 
 the distance from the corner a to the nearest corner of 
 the doorway ; 2, 3 equal to the doorway, and 3, 4 equal 
 to the distance between the doorway and the farthest 
 corner of the house ; next draw the lines x Q, x 5, and 
 x 4, and the points in which these lines intersect the 
 line a C, will give the apparent width of the doorway 
 and house end ; on the corner line a d mark off the 
 distance a i, and draw the line I C, which will give the 
 top of the doorway, after which draw the lines for the 
 sides and the doorway, and the line e g for the farthest 
 corner of the house end, the square part of which will 
 then be finished. To find the apparent height for the 
 peak of the gable mark off from c in the line 1 b the 
 
DRAWING. 
 
 15 
 
 distance c m equal to the height of the peak above the 
 square of the house end ; draw the line m D, and then 
 continue the line ad till it touch the line niD in the 
 point h, from which draw the line /* C, which will give 
 the apparent height of the gable end. 
 
 To find the width of the house side and of the win- 
 dows, proceed in the same manner as in the house end, 
 first drawing the line z o, and then marking off the 
 different distances p, q, r, s, t of the windows, fyc. The 
 rule for finding the other gable end is to suppose the 
 house transparent, and then to proceed as directed 
 above. 
 
 By a careful attention to the foregoing problems, the 
 student will obtain a sufficient knowledge of perspective 
 to carry him forward till he acquire by practice that 
 intuitive kind of acquaintance with its rules which every 
 artist (even those who have never learnt perspective) pos- 
 sesses. 
 
 LESSON IX. 
 
 Of the different Kind of Drawing. 
 
 Drawing is the art of representing any object, either 
 natural or artificial, on a plane surface, by the means 
 of lines and colours; and the truer those objects are 
 represented in regard to form, shade, and colour, or in 
 
 ; 
 
■* 
 
 16 
 
 DRAWING. 
 
 other words, the nearer the representation approaches to 
 deception, the better it is. 
 
 Drawing may be divided into two grand classes or 
 divisions, at the head of one of which stands historical 
 or figure drawing, whilst landscape drawing is the prin- 
 cipal of the other. Under these two heads may be 
 classed every other department of the art, attaching 
 portrait, miniature, and animals to the former, and 
 marine subjects, fruit and flowers, still life and archi- 
 tecture, to the latter. 
 
 Historical drawing consists in representing any histo- 
 rical fact, whether sacred or profane; any allegorical or 
 mythological subject, or any scene from the works of 
 fiction ; in all of which the human figure constitutes the 
 principal part. 
 
 Portrait painting is the exact representation of any 
 particular person, and as it consists in the delineation of 
 the human figure, it is justly considered as bearing a 
 near relation to historical drawing. 
 
 Miniature is nothing more than portrait painting on a 
 small scale, and more highly finished, though it is gene- 
 rally understood to apply to the representation of the 
 face and bust, and not the whole length figure. 
 
 The drawing of animals is a department of the art 
 which is connected both with history and landscape, 
 few pictures of either being painted, but more particu- 
 larly of the latter, in which they are not introduced ; 
 notwithstanding this circumstance, we choose to class 
 animal painting, when taken as a separate study with 
 
DRAWING. 
 
 17 
 
 history, as bearing a nearer affinity in being the repre- 
 sentation of animated nature. 
 
 Landscape consists in the delineation of unanimated 
 nature, in whatever form she may present herself. 
 Whether in the beautiful and highly-cultivated fields of 
 the south of England, the flat and dreary marshes of the 
 east, the wild sweeping grandeur of the Scottish hills, 
 or even the agitations of the stormy deep. These latter 
 scenes however, in the description of works of art, are 
 generally termed marine drawings, though they form 
 decidedly a part of landscape painting, notwithstanding 
 the seeming incongruity of terms. 
 
 Fruit and flower drawing consist in a representation of 
 these objects, and is generally carried to high degree of 
 finish : it is, however, a very inferior part of the pro- 
 fession, being much of the same nature as still life, by 
 which is understood the representation of every thing 
 which is not living, such as books, musical instruments, 
 furniture, fyc. 8fc- Still life is intimately connected with 
 every department of the art, as it enters, more or less, 
 into the composition of history, portrait, miniature, ani- 
 mals, fruit and flowers, and even landscapes. 
 
 Architectural drawing, however high architecture may 
 rank in itself, is the lowest department of the art, con- 
 sisting in a mere representation of architectural objects, 
 in which the ruler and the rules of perspective perform 
 the principal part. As for shells and insects, they are 
 generally considered as belonging to fruit and flower 
 painting; whilst birds are included under the head of 
 animal painting. 
 
 c 
 
 in 
 
MATERIALS. 
 
 LESSON X. 
 
 On the Materials for Drawing. 
 
 The first thing to be attended to by the person who is 
 about to learn drawing, is to provide himself with the 
 requisite materials, which consist of blacklead pencils, 
 chalk, portcrayons, stumps, Indian rubber, paper, draw- 
 ing-boards, rules, brushes, colours, sponges, and a pair 
 of compasses. Other instruments and materials are 
 occasionally used, and may sometimes be serviceable, 
 but the above will be found fully sufficient for every de- 
 partment of drawing, whether it be of the figure, land- 
 scape, animals, fruit and flowers, or still life ; of these 
 too the beginner need only provide himself with black- 
 lead pencil, paper, and a piece of Indian rubber ; in- 
 deed, materials are of such trifling importance in the 
 commencement of this art, that I have known several 
 who have obtained considerable proficiency as learners 
 by drawing on a slate, whilst others have used pen and 
 ink, charcoal, or common chalk. 
 
 The blacklead pencils most generally known and 
 esteemed are those made by Brookman and Langdon, of 
 Russel-street, Bloomsbury. I have, however," found 
 pencils by a variety of makers which have answered my 
 purpose equally well. Blacklead pencils are generally 
 marked as follow : 
 

 MATERIALS. 
 
 
 BB . 
 
 . . . Very black. 
 
 
 B . 
 
 . . . Black. 
 
 
 HB 
 
 . . . Hard and black. 
 
 
 F. 
 
 .- . . Fine, moderately 
 
 dark. 
 
 H. 
 
 . . . Hard, 
 
 
 HH 
 
 . . , Very hard. 
 
 
 19 
 
 Of these, I would advise the student to make use of 
 the double B, the HB, and the H, the single B being 
 only a worse kind of double B, very crumbly > and apt to 
 break, which is also the fault of the F, the HB possess- 
 ing the same colour, with the power of being made much 
 darker by increasing the pressure, and without the de- 
 fects of the former pencil; the double H is so extremely 
 hard, that it is seldom used except by architects. In the 
 use of the three pencils recommended, the H is adapted for 
 finishing distances and skies, and sketching architectural 
 objects in which an extra neatness of line is required; 
 with the HB all the middle distance ought to be finished, 
 whilst the double B is reserved for the dark broad shade 
 of the more massive object of the foreground. For the 
 general purposes of sketching, as well for finished sub- 
 jects as for outline, the HB is the pencil which ought 
 always to be used, 
 
 Chalk, which ought only to be made use of in drawing 
 the figure from plaster casts, statues, or the living 
 model, is sold in long square pieces by all the colour 
 shops. Black and white are all the colours that are 
 wanted, red being scarcely ever employed, having almost 
 always a disagreeable effect. On using chalk, it is put 
 
 l ; 1 S ; 
 
 i i 
 
 V 1 ' <j 
 
J 
 
 20 
 
 MATERIALS. 
 
 into an instrument called a pqrtcrayon, which facilitates 
 the handling of it, and which is made of either brass or 
 steel ; the latter ought to be preferred, as the brass is 
 apt to give a very unpleasant smeU to the hand. 
 
 The following is the representation of a portcrayon 
 with a piece of chalk in one end, which is prevented 
 falling out by means of one of the rings slipped down 
 towards the end over the two parts into which each end 
 of the instrument is divided, and which are thus squeezed 
 together in order to hold whatever is between them 
 tight and firm. 
 
 The stump is composed of a piece of soft glove lea- 
 ther rolled up tight, and then cut to a point ; its use is 
 to soften the shades laid on with the chalk. This utensil 
 may either be bought at the shop, or made by the stu- 
 dent, which is to be done by pasting one side of a piece 
 of common glove leather about four or five inches broad 
 by twelve long, and then rolling it up tight ; after which 
 it ought to be covered with a piece of paper. In order 
 to prevent its unrolling itself, a piece of string may be 
 tied round it till dry, when it can be cut to a point. The 
 following is a representation of a stump cut ready for 
 use. 
 
 Indian rubber is a substance too well known to need 
 any description ; the thick is much better than the thin, 
 

 MATERIALS. 
 
 21 
 
 as it lasts longer, does not so soon get soft in the hand, 
 or with rubbing, and is more manageable; a piece 
 about an inch and a half square by half an inch thick, of 
 a solid texture without any holes like a sponge, is the 
 best. 
 
 Drawing paper is of a great variety of kinds, known 
 by as many different names, such as demy, royal, super- 
 royal, imperial, colombier, elephant, double elephant, and 
 antiquarian, which last is the largest and strongest ; the 
 cheapest, which is demy, will be quite good enough to 
 practise pencil drawing upon, unless the student wishes 
 to do something very highly finished, when it will be 
 proper to make use of Bristol board, the smoothest that 
 can be got. For colouring, double elephant is perhaps 
 the best, though any of the above-mentioned papers will 
 be sufficiently good for practising upon except Bristol 
 board, which is too smooth for the colour to lay well 
 upon, and is only fit for miniature painting, or perhaps 
 fruit and flowers, which latter bear a near resemblance 
 to miniature in the style of working. There is a rough 
 kind of drawing-paper, which is extremely good for 
 colours, and of which I shall speak hereafter. For fruit 
 and flowers, any of the above papers hotpressed will be 
 found sufficient. 
 
 For drawing on chalk, a dark grey paper, of the tint 
 No. 5, Lesson XIV. is most generally used, the natural 
 colour of the paper serving as a kind of middle tint, 
 whilst the high lights and dark shades are put on with 
 white and black chalk, or sepia and white colour. 
 
 Drawing boards are of several kinds : the most simple 
 
MATERIALS. 
 
 consists of a plank, of deal, oak, mahogany, or any other 
 wood of the requisite dimensions, which is planed smooth, 
 having another piece of wood let into each end to pre- 
 vent its, warping ; the next and most ready consists of a 
 pannel which lets into a frame, and in which it is -con- 
 fined by means of wedges at the back. The third and last 
 that we. shall mention consists of a pannel on which a 
 number of points are set up all round the edges, so con- 
 trived to enter the same number of holes which are 
 made in a frame that is joined by hinges to one side of 
 the pannel, by which it shuts down and fastens with 
 strings on the three remaining sides : the annexed repre- 
 sentation will enable- the 
 student to understand 
 the above description : 
 the advantage of this 
 drawing - board is that 
 one can stretch two or 
 three sheets of paper at 
 the same time. I shall speak of the manner of perform- 
 ing this operation hereafter. 
 
 Rulers may be of the common flat kind. The instru- 
 ment called a parallel ruler is occasionally used for 
 drawing parallel lines ; it is, however, more adapted for 
 architectural drawing than any thing else. 
 
 The best brushes are those made of camel's hair, 
 notwithstanding there are many artists who prefer sables 
 as being more elastic ; this, however, I consider as mere 
 fancy, almost all our best artists making use of camel's 
 hair brushes. The goodness of a brush depends on its 
 
MATERIALS. 
 
 23 
 
 form, which should never bulge out in the middle, or 
 split like the annexed repre- 
 sentation, but taper off from 
 the quill to a good fine point, 
 sizes and shapes of those here 
 represented are quite sufficient, 
 unless for miniature, when the 
 smallest that can be got will be 
 requisite, and these ought al- 
 ways to be Sables. The student will also want a large 
 flat brush about two inches broad to wash his drawings 
 with. 
 
 The best water colours are said to be those made by 
 Newman, of Soho Square ; but, though I have no wish 
 to detract from the reputation which Mr. Newman has 
 so justly obtained (for I consider his colours as good as 
 it is possible for them to be made), I must, neverthe 
 less, observe that there are many manufacturers in the 
 metropolis, whose colours will answer all the purposes 
 required. 
 
 The following is a list of some of the best colour- 
 makers in the metropolis. 
 
 Ackermann, 
 
 Newman, 
 
 Itowney and Forster, 
 
 Reeve, 
 
 Strand. 
 Soho Square. 
 Rathbone-Place. 
 Holborn Hill. 
 
 Chapman, late Blackmoor, Oxford-street. 
 Dresch Compton-street, Soho. 
 
 ■ Smith and Warner, Piccadilly. 
 
 There is also another thing against which it is 
 
 9 lit 
 
 1 " : p 'Iks; 
 
24 
 
 MATERIALS. 
 
 necessary to warn the student ; that is, the foolish 
 waste of money in the purchase of large and expensive 
 boxes of colours j a half a guinea box, as they are called, 
 with twelve cakes of colours and four or five brushes 
 will be more than sufficient for every department of the 
 art. I have subjoined a list of the colours which a box 
 of twelve cakes ought to contain. 
 Indigo 
 
 Prussian blue 
 Venetian red 
 Lake 
 
 Yellow ochre 
 
 Gamboge, or Italian pink* 
 Raw umber 
 Vandyke brown 
 Burnt sienna 
 Burnt umber; 
 Sepia 
 
 Lamp black. 
 There are many other colours which are extremely 
 useful, and might be substituted for several of those 
 marked above : of these we shall take notice hereafter 
 when we speak of colouring. 
 
 Sponges are used either to wash drawings, or to 
 damp paper before it is stretched on the board, and 
 should be chosen soft and elastic, of a fine texture, and 
 free from grit, stones, and bits of sea-shells, which are 
 often found in them. 
 
 * The term Pink, though generally understood to mean a pale 
 rose colour, signifies any colour which is made by precipitation. 
 Italian pink is a bright yellow. 
 

 IS 
 
 \% 
 
 LANDSCAPE. 
 
 27 
 
 measuring with a pair of compasses, when the incorrect 
 parts must be rubbed out and corrected with the same 
 kind of faint line as before. 
 
 Note. — In using the Indian rubber, the fingers of the 
 left hand ought to be placed firmly on the edge of the 
 paper, whilst with the right the student holds the Indian 
 rubber, and effaces the incorrect parts, always rubbing 
 one way only ; that is, from the hand which holds the 
 paper, and not backwards and forwards, as that would 
 draw the paper into creases and wrinkles, and thereby 
 render it unfit for use. 
 
 After the student has rendered his faint outline as 
 correct as possible, he ought to retrace the lines with an 
 H B pencil cut to a fine point, drawing those lines which 
 form the light side of the object clean, light, and slender ; 
 whilst those which represent the shade side, ought to be 
 broad, firm, and dark ; in the same way the lines which 
 mark the under side of objects ought to be dark, whilst 
 those which mark the upper side ought to be light, as in 
 the representation of the small stones on the ground of 
 fig. 1. This rule holds good in regard to every object, 
 as every object must have a shade side and light side. 
 
 " In beginning to copy, the utmost care should be 
 taken not to adopt too servilely the particular manner of 
 executing, or the handling of the chalk or pencil : when 
 a particular system of working is aimed at, however 
 bold or free in the example, a want of confidence in- 
 variably follows, and the hand is cramped by a mistaken 
 attempt to attain a loose and independent style. It 
 should be the main object with the student to catch the 
 
 
26 LANDSCAPE. 
 
 left side of the drawing, by which the work will get 
 smeared and rubbed. Should the student sit with his 
 back towards the window, he will sit in his own light. 
 
 The student ought next to procure a smooth board, 
 which he should place on the table with the farthest side 
 propped up with a book or any other solid object, by 
 which it will be brought into a sloping direction like a 
 desk, nothing being more injurious to the health of 
 young people than the pernicious custom of drawing on 
 a flat table, roundness of shoulders and contraction of 
 the chest being the usual consequences of this practice. 
 
 These preparations being made, the student ought to 
 choose some simple subject like the following : 
 
 ^ k- 
 
 which he ought to sketch out as faintly as possible with 
 his H pencil, beginning with the top of the largest post 
 first, continuing it down to the line of the water, and 
 then proceeding to the smaller post, after which he must 
 draw in the bank and the line of the water, all of which 
 ought to be done so faintly, that the outline shall be but 
 just perceptible. This being done, let the student com- 
 pare his sketch with the original very attentively, in order 
 to find out where it is wrong, which may also be done by 
 
 *«&A 
 
MATERIALS. 
 
 25 
 
 A common pair of compasses are sufficient, as the 
 student ought only to use them for measuring sizes and 
 distances, and never to form the arches of bridges, &c. ; 
 and as he must learn to draw circles and arches per- 
 fect with the hand alone. 
 
 In the above enumeration of materials I have pur- 
 posely omitted the pallet to rub colours upon, as a com- 
 mon clean white plate will answer the purpose much 
 better. 
 
 LESSON XI. 
 
 On the Outline and finishing Landscape in Pencil. 
 
 The student having provided himself with a penknife, 
 Indian rubber, a piece of paper, and three pencils marked 
 H, H B, and B B, should place himself at a table in such 
 a manner that he may have the window either towards 
 his left hand, or immediately in front of him ; the former 
 is, however, the best. The reason why these two po- 
 sitions are to be preferred is, that when he sits with his 
 right hand towards the light, the shadow of his right 
 hand and arm fall on that part of the paper on which he 
 is working, as, in drawing as well as writing, the student 
 should work from left to right, because when he begins 
 his drawing on the right side of it, he is obliged to rest 
 his hand on the part which is finished, in order to do the 
 
 L 11 
 
28 
 
 LANDSCAPE. 
 
 form and effect of the subject of his imitation, rather 
 than the manner and touch ; and from this mode of 
 practice an original style of execution will be obtained*." 
 Let the student, after he has drawn the first subject 
 two or three times, till he has acquired the power of 
 imitating it exactly, proceed to the cottage, fig. 2, which 
 
 he must copy in the same way as the posts ; in this his 
 greatest care will most probably be required in preserv- 
 ing the uprightness of the windows and doors, as well as 
 the sides of the house and chimney, as most learners' 
 generally make their perpendicular lines of buildings, &c. 
 leaning towards the right hand. 
 
 The third subject consists of two stones standing near 
 
 * This, as well as the following quotations given in this lesson, 
 are from the works of Mr. Prout, an artist whose bold and masterly 
 delineations of marine subjects and ruined buildings, have lono- 
 been known and duly appreciated by the admirers of the fine arts. 
 
■Hi 
 
 1 1 
 
 LANDSCAPE. 
 
 29 
 
 the water edge, the outline of which must be drawn in 
 the same way as the others, after which the student must 
 proceed to shade the objects. In doing this, let him 
 first attentively observe the manner in which the original 
 is shaded, when he will find that it consists in a suc- 
 cession of short waving lines, laid so close together that 
 they form one even shade: these waving lines ought to 
 be imitated with the greatest care, as they give con- 
 siderable richness of tone ; and, if in a proper direction, 
 are of great assistance in determining the nature of the 
 shade side of objects, whether they be rough or smooth, 
 4rc $*. Each line ought also to be of the same thick- 
 ness from end to end, and not small in the beginning and 
 broad at the end, which is always the case with learners, 
 owing to their laying on lightly in the commencement, 
 and gradually leaning harder with the pencil as they pro- 
 ceed with the line. 
 
 The next subject consists entirely of foliage, being a 
 representation of weeds, behind which grow some bushes; 
 
 
 the manner of shading which is extremely difficult to 
 
 (I 
 
 1 
 
 \ I 
 
 •i V 
 
30 
 
 LANDSCAPE. 
 
 h > 
 
 describe, otherwise than by saying that it is a continual 
 repetition of the outline growing somewhat stronger 
 towards the interior ; a near examination of the bushes 
 will, however, sufficiently shew the manner of its execu- 
 tion. The more distant parts of the bushes must be done 
 with an H pencil, whilst those nearer the foreground will 
 require an H B. 
 
 When the student has drawn the above-mentioned 
 subject two or three times over, he may then proceed to 
 the following subjects, which consist of specimens of the 
 foliage of different trees. "With these studies he ought 
 to make himself most intimately acquainted by repeat- 
 edly copying them, at least ten times over each, or till 
 he knows them so thoroughly that he can draw them 
 perfectly well without looking at the originals, by which 
 time he will have acquired a certain capability of hand- 
 ling that will enable him to produce at least a steady 
 even line, with some attempt at form, more particularly 
 of foliage, which is the mpst difficult to manage. 
 
 The first is a representation of ivy growing on a wall, 
 the branches of which are long and straggling, and seem 
 as if they grew into one another. 
 
 The next is the weeping willow, invariably found near 
 water, into which its branches frequently droop. 
 

 % 
 
 LANDSCAPE. 
 
 The following is the elm, distinguished from the oak 
 by the smallness of its leaves, and the sweeping form of 
 its branches. 
 
 The last is the oak, known from all other trees by the 
 remarkable crookedness of its branches. 
 
 '■ \ ■ 
 
 ; Bi 
 
 •l|j 
 
32 
 
 LANDSCAPE. 
 
 He may now commence drawing from nature, the 
 great school in which every person who wishes to attain 
 a respectable knowledge of the art ought to enter him- 
 self; for at the same time that it is the best master any 
 one can have, being unerring, nature is also the cheap- 
 est, for the study of it costs nothing. " Many, who 
 copy drawings with considerable facility, are yet deterred 
 from attempting to draw from nature, from a diffidence 
 in their own original powers. This arises from a too 
 common error, — the fear of the difficulty of reducing 
 large objects to their just proportions on the small scale 
 of a moderately-sized paper. It is recommended to do 
 away this mistaken difficulty, not to aim at too much in 
 the first attempts at copying subjects from nature. Ob- 
 jects should be selected that have not many parts, and 
 these should be drawn with characteristic truth ; the 
 lines towards the light being lightly sketched, and those 
 towards the shadow marked more boldly. The chalk 
 or pencil should be tenderly used in representing the 
 varied surfaces in the light, and boldly handled in ex- 
 pressing the same in the shades. The most careful 
 attention should be paid to copying the forms in sketch- 
 ing the outline, for on the justness thereof must depend 
 the fitness of the design, which in nature is rarely copied 
 without improvement. By thus habituating the hand to 
 a faithful delineation of parts, it imperceptibly arrives at 
 the power of representing a whole ; and thus a subject, 
 whether it be of buildings, trees, rocks, or other studies, 
 to form a picture, is proceeded with . to its completion 
 without the least difficulty or fatigue ; while, on the 
 
 b 
 
n ■H H H ' 
 
 LANDSCAPE. 33 
 
 other hand, those who have at once commenced with 
 drawing a whole subject for a design, for want of this 
 practice of the parts, invariably give loose and incoherent 
 imitations of what they wish to represent, and multiply 
 sketches that afford to themselves no satisfaction, and 
 produce in those who view them disappointment and 
 disgust." 
 
 In order to give the student a better idea of the manner 
 of sketching, let us suppose Plate I. a subject from 
 nature. Fix on the peak of the house end, and having 
 marked its situation on the paper; draw the line which 
 forms the left side of the top of the building, and which 
 must slant downwards a little. It will be here proper to 
 remark, that the first line that is drawn in sketching 
 from nature, must be the guide of every other both in 
 length, direction, and situation, as all the other lines 
 must be in proportion with it. Thus, after the student 
 has drawn the line of the left-hand side of the house- 
 top, he will observe that the line which forms the right- 
 hand side is about the same length, and has the same 
 degree of, slope in it, though in a different direction. 
 The next thing to be drawn is the line of the right 
 side of the house, which he will observe is perpendi- 
 cular, and nearly the same length as one side of the 
 house-top. In drawing the bridge, it must be made 
 horizontal and of nearly the same length as the whole 
 breadth of the house end ; whilst the posts upon it will 
 be found to be equal in length to two-thirds of the length 
 of the perpendicular line of the right side of the house. 
 In this manner the student must finish the rest of the 
 
 r 
 
 1 j 
 
34 
 
 LANDSCAPE. 
 
 \ * 
 
 sketch by making continual comparisons with the parts 
 already drawn, by which means the power of copying 
 will be amazingly increased in a very short time, for the 
 art of imitation is nothing more than a perfect know- 
 ledge of the relations of one object with another, in 
 form, colour, light and shade, size, direction, fyc- fyc. 8?c. 
 I have already observed, that I consider learning to 
 finish in blacklead as a decided waste of time, seeing that 
 it can so much sooner be learned after the student has ac- 
 quired a certain degree of facility in colouring, when he 
 may copy the pencil drawing of the stag, Plate XIV., 
 which I have endeavoured to finish as highly as pos- 
 sible, and to shew to what degree of perfection pencil 
 drawing can be carried by any person who will take the 
 trouble to learn ; for if the student be determined to 
 make finished pencil sketches, I would have him do 
 them well or not at all. And as an encouragement to 
 beginners, and a proof of the facility with which a person 
 who can already draw in colours may learn to finish 
 very highly in pencil, I must state, that it was long after 
 I had acquired a tolerable capability of painting in 
 water-colours that I first began to do pencil drawings, 
 which, in less than a fortnight, I found myself able to 
 work up to a much higher degree of finish than any I had 
 ever seen *. 
 
 * Let not the student tax me with vanity in making this asser- 
 tion, as I consider finished pencil drawing (as far as regards the 
 execution only, and not with regard to effect or composition) as the 
 lowest effort of art. A person with the slightest knowledge of 
 drawing may acquire through patience, and practice, as finished a 
 
I t 
 
 ■vv 
 
^^^H 'Seas'*'* l"^^^* 
 
 LANDSCAPE. 
 
 35 
 
 The method I followed was to copy the rich waving 
 lines which we see in the best wood-cuts, and which I 
 adapted to the representation of earth, rocks, buildings, 
 #c. ; whilst the manner of finishing trees and tree- 
 stems I gained by copying the engravings of Woolett, 
 and the finishing of animals from those of Scott : and 
 and this is the method I would strongly recommend to 
 those who wish to acquire ability in this part of the 
 profession, the easiest and lowest, though possessing 
 considerable beauty when well executed.. 
 
 LESSON XII. 
 
 On Drawing in Indian Ink. 
 
 Though (as I have before observed) I consider 
 learning to draw in Indian ink before learning to draw in 
 colours, as a perfect waste of time, I shall still, in 
 compliance with the custom of most drawing-masters, 
 give my lesson on this department of the art before I 
 proceed to colouring; advising, at the same time, that 
 the student should pass it oyer for the reasons I have 
 given in the Introduction : for the same reason I have 
 
 style as blacklead can possibly admit of; but his drawing will 
 only consist of a number of lines laid together in a most beautiful 
 manner, without the least display of feeling, as far as regards the 
 nature of the object represented, whilst every line in the rough un- 
 finished sketch of the artist will give a more faithful delineation of 
 nature than the most finished drawing of the learner. 
 
 D 2 
 
 
36 
 
 INDIAN INK. 
 
 ) t 
 
 only given one subject for the student to copy, toge- 
 ther with directions, (exemplified by another subject,) 
 for drawing from nature on coloured paper, as it may 
 be considered as only a variation of Indian ink-drawing. 
 
 It is customary in drawing in Indian ink to make use 
 of a slab, in which there are three circular hollows for 
 mixing the different strengths of tints in, and a longer 
 one, in which the Indian ink is rubbed : this is, how- 
 ever, extremely inconvenient, especially to learners, 
 who generally, through the awkwardness incidental to 
 all beginners, contrive to spill half its contents on the 
 table whilst they have not room on a common sized 
 slab to regulate the strength of what remains. The 
 best thing, therefore, is a large common white plate, 
 on the edges of which is rubbed the Indian ink, whilst 
 the middle is left to mix the different tints upon. Of 
 the various brushes requisite, I have already spoken in 
 Lesson X, in which I have also described the diffe- 
 rent kinds of drawing-boards in use ; and as it is ne- 
 cessary to have the paper stretched either for drawing 
 in Indian ink or colours, I shall first give directions 
 as to the manner in which this operation is performed, 
 and which is one of those things the student should 
 learn on beginning either to draw in colours or Indian 
 ink. When the drawing-board consists of nothing but 
 a flat plank of wood, on which the paper is to be pasted 
 down, the student must begin by wetting each side of 
 his paper with a sponge and water, both perfectly clean, 
 till it be tolerably well saturated with moisture, after 
 which he must absorb what water remains on the 
 
 L 
 

 INDIAN INK. 
 
 37 
 
 surface, and then place it flat down on the drawing-board, 
 so that it may be as smooth as he can lay it; still, how- 
 ever, it is not of material consequence if it should not 
 be perfectly even, as the wrinkles will stretch out as it 
 dries. All that now remains to do is to turn back about 
 an inch of the paper all the way round, which must be 
 covered with strong stiff paste and then laid down again, 
 pressing it gently with a clean towel or pocket-handker- 
 chief till it stick firmly to the board, which must then be 
 laid flat till dry. Should the paper be wanted imme- 
 diately, the margin which is pasted down may be dried 
 by means of a warm iron passed over it a number of 
 times ; after which, the board may be reared against a 
 chair at some distance from the fire, taking care not to 
 leave it too long with one edge downward, as the water 
 sinking to the lower part would keep it wet while the 
 upper part drying and stretching would cause it to give 
 way in those parts which were most wet, and conse- 
 quently weakest. When the drawing-board consists of 
 a pannel let into a frame, the pannel must be taken out, 
 and the paper, which ought to be at least an inch larger, 
 must be laid flat upon it, after it has been thoroughly 
 damped as before directed ; the frame must then be 
 turned down nicely upon it, and the pannel gently 
 squeezed into it, and fastened by means of the bars be- 
 hind. When the drawing-board is one of those which 
 consist of a plank, round the edge of which are a number 
 of pegs that enter into the frame that is attached to it 
 by hinges, as I have already- described in Lesson X. 
 and which is adapted for stretching several pieces of 
 
38 
 
 INDIAN INK, 
 
 paper at once, the student must begin by wetting them 
 all, and then absorb the superfluous water as directed 
 above, after which the sheets of paper must be laid 
 evenly one over the other, till they form, as it were, one 
 thick sheet. This being done, they must be laid flat 
 on the board, the margin resting on the pegs, and 
 the frame shut down upon it, by which means the 
 paper will be thrust down close to the board, whilst the 
 pegs passing through it enter the frame, and thereby 
 keep the paper even ; the frame is fastened down by 
 strings attached to each end, and one side of the frame, 
 which are wrapt round pegs driven into the ends and 
 side of the plank. When several pieces of paper aie 
 stretched together in this manner, they require a consi- 
 derable time to dry. 
 
 When the paper is perfectly dry, the student may 
 begin by making a very correct outline of the subject 
 he intends copying. Sketching the outline of the distant 
 trees and clouds with a hard pencil, whilst he gives 
 greater force and vigour to the delineation of the trees 
 which are nearer, as well as the wooden cottage and 
 bridge. 
 
 The outline being finished the student must provide 
 himself with his brushes, Indian ink, plate, and a cup 
 of water, and begin by rubbing a sufficient quantity of 
 Indian ink ; he will next commence mixing his first tint, 
 which ought to be the strength of the sky in the copy, 
 and with this tint he will cover the whole of the sky and 
 dark parts of the clouds, leaving the white paper for the 
 lights, passing all over the trees, house, bridge, water, 
 
^BH H 
 
 INDIAN INK. 
 
 39 
 
 and foreground, except the patches and threads of bright 
 light about the door- top, the roof of the house, and the 
 bridge ; this and the next tint ought to be laid on with • 
 his largest brush ; the second tint must be somewhat 
 stronger than the last, and must be laid over the darker 
 parts of the clouds, but not over the sky ; it must also be 
 brought over all the same parts of the drawing as the 
 last tint, taking care, however, to leave a greater breadth 
 of light on the house end and bridge, together with some 
 of the weeds on the right-hand side of the drawing. 
 
 The student must now change his large brush for a 
 smaller one, and making his tint rather stronger, must 
 commence with the most distant trees, making his tint 
 gradually stronger and stronger * as he comes nearer the 
 house, the trees which are immediately against it being 
 tolerably dark. With the same strong tint the trees in 
 the right and left-hand corners ought to be done, and 
 also the shadow on the house softening it offf gra- 
 dually as it comes nearer the right-hand corner. The 
 same tint may likewise be laid over the shadow on 
 the bridge, the whole of the ground, .under the roof of 
 the house, and over the water, making the latter darkest 
 up towards the bridge, and softening it downwards. 
 
 The next tint is managed exactly in the same way, be- 
 ginning with a faint mixture for the distant trees, marking 
 
 * This is done by continually adding more of the Indian ink, 
 which is rubbed on the edge of the plate to the tint as the student 
 is using it. 
 
 t This is done by adding more and more water to the tint as 
 the student uses it. 
 
 f 1 j 
 
 1. 
 
40 
 
 INDIAN INK. 
 
 out their foliage, and increasing in strength as they 
 approach the house : with this tint the grass on each 
 side of the road may be covered, as well as the shadow 
 on the house, softening it off as before ; the shapes in 
 the water may also be finished, this time taking care to 
 soften them as they get downwards. All that is now re- 
 quired is one strong tint, with which must be done all 
 the marking and touching up of the house, water, bridge, 
 weeds, the grass on each side of the road, and the dark 
 posts which stand against the house, with their reflections 
 in the water, §-c. A few darker touches may be added 
 at the last, when the drawing will be finished. 
 
 In sketching from nature, many artists make use of 
 grey paper, on which, after drawing a correct outline, 
 the shades are laid in with sepia, Indian ink or black 
 chalk, and the lights with white colour or white 
 chalk ; this method is extremely expeditious, and is to 
 be preferred to finished blacklead pencil sketching on 
 white paper, as the student will always have sufficient 
 quantity of middle tint, which learners seldom obtain 
 when sketching on white paper, owing either to their 
 ignorance or indolence. As to the colour of the paper, it 
 is a thing of but little consequence, so long as it be neither 
 too dark nor too light ; though, for my own use I prefer 
 a paper of a sepia colour as in the annexed plate, 
 on which I lay in my shades with sepia, and my lights 
 with white water-colour, by which it is rendered a near 
 imitation of a sepia drawing, and at the same time will 
 not rub out, as is the case when it is finished with black 
 and white chalk. 
 
 h 
 

 5 ! 
 
mm 
 

 INDIAN INK. 
 
 41 
 
 In copying the annexed plate, the student must pro- 
 cure a piece of paper of as near the same colour as 
 he can, on which he must sketch his design very cor- 
 rectly. This being done, he must lay on the bright 
 lights of the evening sky, distant trees, and the foaoTof 
 the water, with constant white, which must be rubbed 
 so thick that it may completely hide the colour of the 
 paper; the secondary lights must be laid on rather 
 thinner, so as to show, in a slight degree, the colour of 
 the paper through it: these two sets of lights will be 
 found sufficient for the generality of effects. Next, with 
 a faint tint of sepia lay on the shades of the distant hills, 
 and the first shade of the water, distant trees, <K, leav- 
 ing the paper uncovered for the light side of the moun- 
 tains, the greater part of the water, and the light top of 
 the rocks on the right-hand side of the waterfall; a 
 strong tint must now be mixed up, with which the left- 
 hand rocks, the shadow and shades on the right-hand 
 rocks, the dark shades in the water, and the rock 
 and figure on the foreground, must be tinted. This 
 being done, the strongest tint must be mixed up, with 
 which the dark trees that come against the evening sky, 
 the spirited touches and shading of the rocks, and also 
 the figure and rocks of the foreground, must be done, 
 when the sketch will be finished. 
 
 N. B. The last touches may be laid on with a reed, 
 pen, or one made of a quill with a long slit. 
 
42 
 
 COLOURS, 
 
 LESSON XIII. 
 
 On Colours. 
 
 Of the immense number of colours which are made 
 and sold by different colour-shops, we shall only take 
 notice of about thirty, of which we shall give a descrip- 
 tion, with remarks on their use, durability, &c, begin- 
 ning with 
 
 1. Indigo is a fine deep blue, though not 
 sufficiently bright for the skies of clear days, 
 and ought therefore to be used only for twilight and 
 evening skies, where great depth is required ; it is also 
 extremely useful for making different greys by mixing it 
 with lake and any yellow colour, and has been found to 
 stand * remarkably well. 
 
 Q. Prussian Blue is a beautiful bright 
 colour, and is used for the clear blue skies 
 
 of fine days ; it is useful for distant mountains, drapery, 
 flowers, 8rc ; cobalt, however, though rather an ex- 
 pensive colour, is to be preferred, as Prussian blue is apt 
 - to change when combined with other colours. 
 
 * By the " standing" of colours is meant their capability of re- 
 maining a considerable time without fading or changing ; for 
 instance, yellow lake does not stand well, because it grows paler 
 and fades, and Prussian blue does not stand well, because it some- 
 times changes and grows darker. 
 
KBi ', 7i 
 
 
 COLOURS. 
 
 43 
 
 Antwerp, though not a very intense 
 blue, is extremely useful for representing the 
 
 delicate skies of sunny days, and stands very well. 
 
 4. Ultramarine, though one of the most 
 _ beautiful and most expensive colours we 
 possess, is extremely difficult to manage, as it curdles or 
 separates when rubbed on a plate and mixed with water; 
 I should, therefore, strongly recommend the student not 
 to use it, even though he possess it in his box, which is 
 not, however, very likely, seeing that the smallest cake 
 costs fifteen shillings. It stands perfectly well. 
 
 5. Cobalt is a most intense and beautiful 
 blue, being in colour somewhat like a mix- 
 ture of Prussian blue and ultramarine, though it works 
 much better than the latter, and is durable. 
 
 6. Vermillion " for the brightest reds is 
 useful in flesh and drapery, and in painted 
 
 objects, such as flags, boats, §-c, being of that degree of 
 brightness which will, by contrast, send back many other 
 reds into distance*". It is apt to change. 
 
 7. Carmine, which may be considered of 
 the same nature as lake, only much more 
 
 brilliant, is extremely useful in fruit and flowers, figures, 
 
 * This quotation, as well as all the others in this lesson, are 
 taken from the works of the celebrated John Varley, of whom 
 I hare already made mention. 
 
 E 2 
 
44 
 
 COLOURS. 
 
 and drapery : it may also be used instead of lake, should 
 the student not possess this latter colour. 
 
 8. Lake is one of the most useful colours 
 in landscape painting, as forming a standard 
 red, the mixture of which with any blue and yellow forms 
 a variety of the most beautiful greys. Mr. Varley ob- 
 serves, that purple lakes are more durable than carmines 
 and the brighter lakes, except madder lake. 
 
 9- Venetian red is " useful for the red 
 horizon tint of skies, and to make a neutral 
 tint* when mixed with indigo and a very little lake, and 
 is most excellent for its quality of mixing well with all 
 colours (Indian ink not excepted), and laying even and 
 smooth on paper with less trouble than light red, for 
 which it is a valuable substitute, and is preferable to 
 Indian red (which is so heavy and purple), and is very 
 good to mix with yellow ochre for general tints. Used 
 in bricks, tiles, fyc" Venetian red ought always to be 
 preferred to light red, as this latter can never be used for 
 the reds of evening skies. 
 
 10. Indian red is a very useful colour, as 
 it makes a beautiful grey when mixed with 
 blue : it is, however, very difficult to manage on account 
 of its weight causing it to sink when laid on the paper, 
 
 * By " neutral tint" is meant a grey, formed with such equal 
 quantity of yellow, blue, and red, that none of them preponderate 
 as in tint 5, Lesson XIV. 
 
HH 
 
 COLOURS. 
 
 45 
 
 whilst the blue with which it is mixed, being lighter, is 
 carried forward with the brush, leaving all the red settled 
 in one part of the paper : for this reason learners ought 
 never to make use of it. 
 
 11. Light red is nearly the same colour 
 as Venetian red, which ought always to be 
 preferred to it : it may be made the same colour, and 
 used for the same purposes, by mixing a very small 
 quantity of lake with it. 
 
 12. Madder lake is a beautiful colour, 
 and stands extremely well ; when used in- 
 stead of common lake, the greys made with it are pecu- 
 liarly aerial, on which account it is used by many artists. 
 
 13. Red lead, also called saturnine red, is 
 an ugly, opaque, useless colour, notwith- 
 standing it is put into almost every box of colours that 
 is made up. 
 
 14. Gamboge is the yellow most generally 
 used for greens, as it stands extremely well, 
 and is very bright ; it ought, however, never to be used 
 for any thing but greens, or yellow draperies, or to make 
 greys of. 
 
 15. Italian pink is a bright yellow, ad- 
 mirably adapted for making greens, and 
 though it does not stand quite so well as gamboge, it is 
 
 : : 
 
 I 
 
46 
 
 COLOURS. 
 
 to be preferred to that colour, particularly for the use of 
 beginners, as the greens made with it are always those of 
 vegetables, and never acquire that metallic or bronzy 
 appearance, which is frequently the case with the greens 
 made by learners of gamboge. 
 
 \6. Raw sienna is a serviceable yellow, 
 as it may be used either in skies, building, 
 or the greens of trees and grass. It is, however, not a 
 good working colour, and does not stand well. 
 
 17- Yellow ochre is used " for stone 
 buildings or plaster, corn-fields, and yellow 
 lights of the sky towards the horizon, mixes well with 
 Venetian red for warm lights on buildings, $*c, but 
 never to be used for the green for grass or trees, it not 
 being transparent enough." 
 
 18. Roman ochre is rather a deeper and 
 warmer colour than the former, and may be 
 used for exactly the same purposes : both these colours 
 are perfectly durable. 
 
 19. Indian yellow is a richer and darker 
 colour than gamboge, and is used chiefly for 
 
 greens, as is also 
 
 20. Gallstone; both these colours being 
 transparent, and useful to lay over other 
 greens which are too dead; neither of these colours 
 
■ 
 
 COLOURS. 47 
 
 stand very well, though some colourmen pretend to make 
 them permanent. 
 
 21. Yellow lake is extremely evanescent, 
 and ought never to be used ; in its nature it 
 
 somewhat resembles raw sienna. 
 
 22. Brown pink is of the same nature as 
 Italian pink, though a much duller and 
 darker colour ; the greens made with it are always 
 good. 
 
 B 23. Raw umber is a most useful colour for 
 j J representing mud, light-coloured earth, old 
 
 plaster, wood, fyc, and is also a good colour for shading 
 white with: mixed with indigo it makes a good yellow 
 green. 
 
 24. Burnt sienna stands extremely well, 
 and is used " for rich banks of earth in sun- 
 shine and evening tints, and for glowing tints on build- 
 ings ; not to be used on the horizon tints of skies, but 
 particularly useful in making green of various degrees of 
 warmth and depth when mixed with indigo and gam- 
 boge." Burnt sienna ought not to be used in making 
 greys, as it is apt to render them heavy or opaque. 
 
 25. Burnt umber is a most useful brown 
 for the colour of earth, as is also 
 
 26. Cologna earth; and 
 
 
 ; 
 
 : i 
 
48 
 
 COLOURS. 
 
 27. Vandyke brown : all these colours, 
 but more particularly the last, are good for 
 putting in dark spirited touches, such as the shadows 
 under stones, $-c &c. 
 
 28. Sepia: of this colour drawings are 
 _ frequently made in the manner of Indian 
 ink, to which it is to be preferred, as it works better, 
 and has a more pleasing effect; as a colour it forms a 
 good shading tint for white objects. 
 
 29. Lamp black ought only to be used 
 for drapery, and is of more use in miniature 
 painting than landscape. 
 
 50. Indian ink ; to he used only in making 
 Indian ink drawings. 
 
 31. Constant white. White, as well as 
 every other opaque colour, ought to be used 
 as little as possible in coloured drawings, though it is ex- 
 tremely useful to lay in the white drapery of a small 
 figuxe, Sfc, fyc. 
 
 \\ >! 
 
 LESSON XIV. 
 
 On the mixing of Tints. 
 
 Having now given a description of most of the 
 colours that are likely to fall in the way of the student, 
 I shall first dedicate a few lines to the explanation of the 
 
wm mm 
 
 THEORY OF COLOURS. 
 
 49 
 
 Theory of Colours ; after which I shall proceed to give 
 directions for the mixing of the various tints that occur 
 the oftenest in water-colour painting. 
 
 There are only three primitive or simple colours, from 
 which all other colours are made ; these are yellow, blue, 
 and red ; and if we could but obtain these colours in 
 perfection, we should require no others to form every 
 tint which nature affords. From the three primitive 
 colours are formed four compounds : first, by the union 
 of blue and yellow, which forms green ; secondly, by the 
 union of red and yellow, which forms orange ; thirdly, 
 by the union of red and blue, which forms purple; and, 
 fourthly, by the union of all the primitives, yellow, blue, 
 and red, which forms grey, the name we shall give to 
 every mixture of the three colours, designating them by 
 the terms yellow, grey, green grey, red grey, #-c. §-c, 
 according to their approximation to the different primi- 
 tive colours, or the three first compounds, green, orange, 
 and purple. Of the contrast or opposition of colours, I 
 shall speak in the twenty-sixth lesson. 
 
 When the student is about to procure a box of colours, 
 I would strongly advise him to choose one with not more 
 than twelve cakes, as these, if well chosen, will be found 
 to answer every purpose. The following is a list of 
 colours, which I am in the habit of using myself. 
 
 U II 
 
 1. Indigo 
 
 2. Prussian blue 
 
 3. Yellow ochre 
 
 4. Italian pink 
 
 ' 
 
50 
 
 THEORY OF COLOURS. 
 
 5. Venetian red 
 
 6. Lake 
 
 7. Burnt sienna 
 
 8. Raw umber 
 
 9- Vandyke brown 
 
 10. Sepia 
 
 1 1 . Lamp black 
 
 12. Carmine, 
 
 and in the composition of the following tints I have only 
 made use of the first nine : the following is a description 
 of the manner in which each tint is made. 
 
 No. 1. For the clear blue skies of fine 
 weather, and for distant hills, is made of 
 Prussian blue with a very small proportion of lake. 
 Remark, this is the only tint in which Prussian blue is 
 used in the tints in this lesson. 
 
 2. For evening skies, distant hills, and 
 the skies of dull days, is made of indigo, 
 
 with a very little lake. 
 
 3. Is made of lake, indigo, with rather a 
 large proportion of raw umber, and is used 
 
 for clouds *. 
 
 * This, as well as all the other tints, may be stronger or weaker 
 as occasion requires. 
 
51 
 
 4. Is used for the same purpose, and is 
 made of the same colours, the raw umber 
 
 being in somewhat smaller proportion. 
 
 5. Is an equal mixture of lake, indigo> 
 and raw umber, and is what is generally 
 called " neutral tint." It is extremely useful for distant 
 buildings, trees, and other objects, particularly if they 
 come against an evening sky. 
 
 6. For distant trees, is made of indigo, 
 with a very small proportion of raw umber. 
 
 7. For trees somewhat nearer, is made of 
 the same colours, the proportion of raw 
 
 umber being rather greater. 
 
 8. For the shade parts of trees, which are 
 still nearer than those that have been ex- 
 pressed by the foregoing tints : it is also extremely 
 useful for the green of willow-trees, which is paler and 
 more silvery than the foliage of most others. 
 
 9. Also made of indigo and raw umber, 
 the latter being still stronger than in any of 
 
 the former tints, may be used for foreground trees which 
 are in shade. 
 
 10. Used also for the same purpose as 
 the last tint, is made of burnt sienna and 
 
 •i :; 
 
52 
 
 indigo. This tint, as well as No. 9, together with the 
 two following, are extremely useful to lay in the shadows 
 and shapes of such grass and foliage as are done with 
 any of the four tints 13, 14, 15, 16, making use of the 
 darkest shading tint for No. 13, proceeding to the 
 lightest for No. 16; 
 
 11. For representing foliage in shade, is 
 made of burnt sienna and indigo, the former 
 
 colour predominating more than in the foregoing tint. 
 
 12. For the same purpose, and made 
 with the same colours as the last, the pro- 
 
 portion of burnt sienna being rather increased. 
 
 13. Is made of equal quantities* of 
 burnt sienna and Italian pink, with a small 
 proportion of indigo : its use is for sun-burnt foliage, the 
 warm edges of trees, #c. #c. 
 
 14. Is made of the same colours as No. 
 13, the burnt sienna being rather diminished, 
 and is also used for foliage, which is not in shade. 
 
 * "When I say, equal quantities of any colours, I do not mean 
 with regard either to weight or size, but only as far as regards the 
 strength of each, so that neither shall predominate. Thus, five 
 cakes of Italian pink would not be more, if as much as one cake 
 of indigo ; for if they were all ground up together, a green would 
 be produced, in which the Italian ink would be far from predomi- 
 nating, although it five times exceeded the indigo, as far as regards 
 weight and bulk. 
 
COLOURS. 63 
 
 15. Is made of Italian pink and indigo, 
 and is used for the brightest parts of foliage ; 
 
 it ought, however, to be sparingly used, as ought also 
 
 16. Which is made of the same colours, 
 the proportion of indigo being somewhat 
 
 less, and is used for the same purpose. 
 
 17. Is a mixture of yellow ochre, with a 
 very small proportion of lake and indigo, 
 and is useful for light tints on stone buildings, clayey 
 roads, fyc. 8fc. 
 
 i 
 
 18. Consists of raw umber alone. Hav- 
 _ ing already described this colour, we have 
 
 introduced it merely to continue the gradation to 
 
 19. A mixture of raw umber and lake; 
 very useful for roads, earth, wood, boats, 
 
 buildings, 8?c.&ic. 
 
 20. Is made of raw umber, lake, and a 
 small portion of indigo ; for the same pur- 
 poses as the last-mentioned tint, for which it forms a 
 •rood shading colour. 
 
 S-l, Made of the same colours as the 
 last, the blue being rather increased : its 
 uses are also the same, forming a good shading tint for 
 either of the two foregoing tints. 
 
 H 
 
54 
 
 COLOURS. 
 
 22., Made of the same colours, the blue 
 being still increased: it is used for the 
 shading of white objects, the bark of trees, old palings, 
 #c, and may be used to shade No. 21. 
 
 23. Is made of the same colours as the 
 last, with a greater proportion of indigo, 
 and is used for the same purpose. When made very 
 weak and pale, it is extremely serviceable for represent- 
 ing the silver grey which one finds on the bark of old 
 trees, ruined buildings, and stones, and which is gene- 
 rally occasioned by the grey lichens that grow upon 
 them. 
 
 24. Is also made of lake, indigo, and raw 
 umber, the lake and blue preponderating: 
 its uses are the same as the last, and likewise for bricks 
 and tiles ; when in very deep shade. 
 
 25. The same colours as before, the lake 
 being rendered more powerful : is good for 
 
 the shade side of any red object. 
 
 I I 26. Is made of Venetian and a very 
 
 I I small proportion of raw umber and indigo : 
 
 its use is for the light part of tiles, bricks, 8rc, when near 
 the foreground. 
 
 27- Venetian red alone ; is useful for 
 the light parts of the red roofs of distant 
 
COLOURS; 
 
 55 
 
 buildings. We have, however, already described the 
 uses of this colour in Lesson XIIL 
 
 Having now given a description of all the tints which 
 will be wanted by the learner, I must advise him to try 
 to imitate them on a piece of paper, beginning with the 
 first tint, which he must keep doing over and over, till 
 by dint of practice he can make at any time a fac-simile 
 of it ; this being done, he may proceed to the next, 
 which he will learn to do much sooner than the first, 
 as the care he bestowed in obtaining the foregoing tint 
 will accelerate the acquirement of this ; he should also 
 try to lay them as flat and even as possible, as one of 
 the principal beauties of water-colour painting, especially 
 in the skies, consists in the flatness and evenness of the 
 tints. 
 
 LESSON XV. 
 
 On colouring Landscape. 
 
 We now arrive at the most difficult, and at the same 
 time the most interesting part, of drawing, which is 
 colouring, or, as it has of late years been very pro- 
 perly termed " Painting in Water-Colours ;" and I 
 must here again take the opportunity of observing, that 
 I never yet found any advantage in delaying the student's 
 entrance " into colours," a thing so ardently desired by 
 
 \ i 
 
56 
 
 ON COLOURING LANDSCAPE. 
 
 most beginners ; but that, on the contrary, I have fre- 
 quently known my pupils, especially the younger part of 
 them, so disgusted by a long continuance of pencil 
 drawing, that when they have commenced colouring, it 
 has been with an apathy and indifference which shewed 
 at once that they no longer took any interest in an 
 accomplishment which is one of the very few that young 
 persons will freely give their minds to. On the other 
 hand, by making my pupils begin with colours when 
 they first began drawing, I have been enabled to 
 keep up that excitement and interest which the com- 
 mencement of a new study naturally causes, for a 
 considerable length of time, till, having acquired a 
 certain capability of making drawings to their own 
 satisfaction, they have no longer stood in need of any 
 other inducement to pursue their studies with proper 
 attention than the pleasure afforded by drawing, when 
 bereft of its difficulties. The following account of 
 the progress of one of my pupils taught in this manner, 
 will perhaps explain more clearly the nature of this 
 system, than any thing I could otherwise say on the 
 subject. 
 
 Some years ago, a young gentleman came to take les- 
 sons of me in landscape painting ; as he had never learnt 
 to draw, I began by making him copy the most simple 
 coloured drawings that I could possibly make, drawing 
 first the outline in pencil and then colouring it; these 
 subjects consisted chiefly of cottages, with trees behind 
 them. After he had received about twelve lessons, he 
 observed that he was sure he could draw well enough, if 
 
ON COLOURING LANDSCAPE. 
 
 57 
 
 he could only do trees. I replied, that he ought to prac- 
 tise them for a short time ; to which he agreed, and I 
 accordingly gave him eight or ten lessons in drawing 
 trees. By this time he found that he could draw trees 
 well enough, but that his houses were not as straight up 
 as they ought to be ; a few lessons on buildings made him 
 satisfied with himself in that particular, when he began 
 to find himself deficient iu drawing hills; these too he 
 began to manage well enough in a few more lessons ; at 
 the end of which, however, he observed that a little more 
 practice in drawing trees would be serviceable. In this 
 manner he proceeded from one thing to another, improv- 
 ing rapidly in each for six months, at the end of which 
 time he drew outlines as correctly as any of my pupils 
 who had done nothing but practise pencil drawing the 
 same length of time, whilst his style of colouring was 
 equal to any six months' pupil who had previously stu- 
 died outline; so that I may fairly say, that he learnt 
 twice as much as he would have done had he began with 
 pencil drawing only. Of the requisite preparation of 
 stretching the paper we have already spoken in our 
 lssson on Indian ink, as also of the brushes, colours, #-c; 
 we shall therefore proceed at once to give directions for 
 copying the subject of the annexed plate, consisting of a 
 cottage, the first of which shews it with merely the sky 
 finished and the first tints laid in, whilst in the second it is 
 represented as completely finished. 
 
 Having drawn a clear and correct outline, the student 
 must provide himself with a glass, or cup full of clean 
 
 F 
 
 
 
 a^ 
 
58 
 
 ON COLOURING LANDSCAPE. 
 
 water, (not pump water *,) and a common white plate, 
 on the margin of which he must rub a small quantity of 
 indigo, lake s raw umber, yellow ochre, burnt sienna, 
 and Italian pink ; Vandyke brown he will have no occa- 
 sion for till the drawing be nearly finished, when he can 
 rub it as he wants it, the colours working much better 
 when they are fresh rubbed than when they have dried 
 on the plate for some time. 
 
 In beginning to colour, it is the most usual and best 
 method to commence with the sky and extreme dis- 
 tance, which ought to be finished before any of the 
 other parts be touched, as by the strength of these the 
 student will be enabled to judge what degree of force 
 and vigour will be requisite in the foreground and middle 
 distance. Proficients may indeed occasionally do the 
 sky the last, but this is very often attended with great 
 difficulties, and in many cases is utterly impossible ; as, 
 for instance, when trees come against the sky a tint laid 
 over them must necessarily work off the green, which, 
 mingling with the colour destined for the representation 
 of clouds or blue sky, would completely spoil it. 
 
 In laying on the broad flat tints of the annexed plate, 
 the pupil ought to make use of the largest brush but 
 one ; whilst for the trees, shading of the ground, $*c, the 
 next size smaller will be found the best. 
 
 The first tint to be mixed up is that of the blue sky, 
 
 * Colours, when mixed or rubbed with pump-water, frequently 
 curdle. 
 
 
■i 
 
H 
 

 ON COLOURING LANDSCAPE. 59 
 
 which is composed of indigo, with a very small portion 
 of lake, being the same as No. 2, in the last lesson. 
 With this tint the student must begin at the right-hand 
 corner, and proceed along the top of the drawing, taking 
 care to have his brush very full of colour, and to drive 
 it forward by a succession of short strokes about an inch 
 long each, leaving, however, a sufficient quantity of 
 colour to keep the lower edge wet * When he has pro- 
 ceeded half way along the top of the drawing, he must 
 return to the beginning of the tint, and carry on a second 
 layer of colour, if I may so call it, taking care to pass 
 his brush in a trifling degree into the first layer, by 
 which means the superfluous colour that rests along its 
 edge will drain downwards into the second layer. When 
 he has arrived at the end of the first tint, he may carry 
 them both forward the whole length of the drawing, and 
 then return to the right-hand corner, and proceed as be- 
 fore till the whole of the blue part be covered, when 
 those parts which mingle with the grey of the clouds 
 must be softened off by means of adding more and more 
 water to the tint as it is laid on till it become pure 
 water. By pursuing the above method the learner will 
 soon be able to lay a flat wash, (one of the greatest dif- 
 ficulties to beginners,) the art of which consists in keep- 
 ing a full brush, in never allowing the edge of the tint to 
 
 * In order to give the colour a tendency to run downwards, the 
 upper edge of the drawing-board ought to be propped up with a 
 book, or any other solid substance, so that the paper may have a 
 slanting direction like a writing-desk. 
 
 F 2 
 
 /> 
 
60 
 
 ON COLOURING LANDSCAPE. 
 
 remain too long in one place *, and in never touching, 
 whilst wet, a tint after it has been laid. Should a 
 quantity of the tint remain at the edges of the white 
 clouds, it may be taken up by applying a clean brush 
 which has been dipt in water, and the wet squeezed 
 out ; care must be taken, however, that too much of the 
 tint be not absorbed, and a white place left. 
 
 The next tint is that of the clouds, which is made of 
 lake, indioo, and raw umber, and is the same as No. 4, in 
 the last lesson. In laying it on, the student must begin 
 by a wash of clean water over the right-hand corner of 
 the blue sk-y, adding by degrees more and more of the 
 tint as he gets lower down in the drawing f ; he must 
 next endeavour to leave the white edges of the clouds as 
 near as possible of the same shape as the copy, and then 
 carry the tint down to the house-end and over the dis- 
 tance, softening it off into the road. In the left-hand 
 corner the clouds are softened into the blue sky, as in 
 the right-hand side. 
 
 * The student ought never to allow the edge of any tint to 
 remain in the same place untouched more than four or five seconds, 
 nless the paper be of a very rough kind, when it may he allowed 
 to rest ten or fifteen seconds. It is for this reason that I would 
 always recommend the learner to begin with small drawings, and 
 to make use of strong rough paper, which is to be had at about one 
 shilling the sheet at most colour shops, and which for small draw- 
 ings does not require to be stretched. 
 
 t This process is exactly the reverse of the last, in which the 
 blue sky was softened by adding more water : in practising this 
 method, however, he must take great care that one tint be perfectly 
 dry before he lays on the next. 
 
ON COLOURING LANDSCAPE. 
 
 61 
 
 The above method of mingling one tint with another 
 by means of softening them off with water is, perhaps 
 the best that the student can begin with; as soon, how- 
 ever, as he has acquired a certain degree of capability 
 in handling his brush, it will be as well if he begin to do 
 it in the following manner : Having laid on the blue tint 
 of the sky as before directed, instead of softening it with 
 water, he must gradually add small portions^ of the 
 above colour, till the whole be changed into that tint, 
 which he must carry forward iv the same way as before 
 directed. To acquire this method, so quick in its exe- 
 cution, so easy (when once learnt) in its practice, and so 
 necessary in drawing, almost every object in nature 
 ought to excite the student's most earnest attention; and 
 it is only by a capability of readily changing the tint whilst 
 laying it on, that rapidity of execution and the power 
 of expressing a great deal with but few tints is acquired. 
 
 The distant hill is coloured with exactly the same tint 
 as the sky, being made of indigo and lake; when dry, a 
 second tint, the same as No. 8, is laid over the bottom 
 part, and the whole of the sky and distance is then 
 finished. 
 
 The next thing to be done is the house-end, beginning 
 with a faint tint of pure yellow ochre on the left-band 
 corner, which must be changed as it is carried forward, 
 by adding lake and indigo in very small proportions, 
 making it the coolest and darkest in the right-hand 
 corner, taking care to leave the window white. 
 
 The road must next be clone with the tint No. 2] 
 near the house, changing it as it comes forward by 
 
62 ON COLOURING LANDSCAPE. 
 
 adding raw umber till at length the nearest part be 
 coloured with nothing else. The grass on each side of 
 the road is tinted with No. 13; the chimney and red 
 tiles with pure Venetian red, the window panes with 
 indigo, and the wood work in the house-end, the shade 
 under the roof, in the window, and the side of the 
 chimney, with No. 5*. 
 
 Nothing now remains to complete the first set of 
 tints but to lay in the trees ; in doing this, the smallest 
 brush but one will be the best; and for the trees on the 
 left-hand, No. 12, made very strong, will be the tint. 
 The nearest part of the trees on the right-hand is made 
 Avith No, 9, whilst those more distant are made with 
 No. 8. 
 
 The student will now find that every part of his 
 drawing has the first tint laid in, a thing which ought 
 always to be clone before he begin to finish any par- 
 ticular part, except the sky and extreme distance, as he 
 can never tell what he is doing till he has got rid of the 
 white paper. 
 
 In finishing (seeing that the sky and distance are 
 already done) it will be as well if the student begin with 
 the trees, which, in this subject, are shaded with the 
 same tints that they were laid in with. After these, the 
 grass on each side of the road is also shaded with the 
 same tint as the first rendered a little stronger. In 
 regard to the manner of laying on these tints, it is im- 
 
 * As I have before observed, the student should learn the tints 
 mentioned in the foregoing lesso.n off by heart, so as to be able to 
 make them without having them to look at. 
 
'„ +.7- — M 
 
1 ', 
 
ON COLOURING LANDSCAPE. 
 
 63 
 
 possible to describe it by words, whilst strict attention to 
 the copy will soon enable the pupil to imitate the forms 
 of the different ways of shadowing earth, trees, grass, 
 fyc. In finishing the road, No. 24 must be used near 
 the house, changing it gradually as it comes forward into 
 No. 2 1 ; great care must be taken to leave the light 
 edges of the cart ruts of the same form as the original, as 
 otherwise the perspective of the road will be incorrect, 
 and consequently its flatness destroyed. 
 
 The student must now put in all the dark spirited 
 touches with Vandyke brown, making use of rather a 
 small brush : with this colour the cart ruts, shade-side 
 of the wood work, the window frame, #-c. fyc. fyc, must 
 be laid in very dark, leaving the colour full, so that it 
 may dry with a sharp edge. 
 
 All that now remains to finish the drawing is to touch 
 in the figure, of which the lower part of the drapery is 
 done with lake, and the upper part with burnt sienna, 
 both of them being laid on as strong as possible ; the 
 bonnet is made of a dark spot of Vandyke brown. The 
 student will most probably find the greatest difficulty in 
 doing the white handkerchief round the woman's neck, 
 which is " scraped up" or " taken up," terms given by 
 water-colour painters to two different methods of remov- 
 ing the colour, in order to represent any small white or 
 light-coloured object, which it is difficult to leave, or 
 which may have been forgotten. 
 
 Scraping up is generally done with a sharp penknife 
 or an instrument made on purpose, with a point like a 
 
 ■ 
 
64 
 
 ON COLOURING LANDSCAPE. 
 
 lancet, and is the best for threads of light, ripples in 
 water, fyc. 
 
 Taking up is done by first painting in with water 
 alone the exact form intended to be removed, then ab- 
 sorbing the moisture with a clean dry rag or handkerchief, 
 and lastly rubbing it well with another part of the same 
 rag, when the colour will be taken up on the cloth, and 
 a white place left. Should it be required to make the 
 place very white, it may be rubbed with Indian rubber 
 after the moisture has been absorbed. 
 
 ^ * 
 
 LESSON XVI. 
 On colouring Landscape, continued. 
 
 The next subject consists of a boat on the Seine, near 
 Paris. After having made a correct outline, the student 
 must mix up the tint No. ], equal in depth to the 
 strongest part of the sky ; with this the uppermost streak 
 of blue must be carefully laid in, after which it must be 
 M'eakened by adding a little water ; with this the second 
 streak must be laid in, and so on till all the blue parts of 
 the sky be finished, making each succeeding tint weaker 
 and weaker as it approaches the horizon : next mix up 
 No. 3, and lay in the clouds with it, bringing the tir*t 
 over part>of the blue and the white, so as to leave the 
 lowermost edge of the clouds white as in the copy : lay 
 a faint wash of Venetian red over the horizon, softening 
 it off upwards, and the sky will then be finished, The 
 
I % 
 
^ f 
 
 h» 
 
^r -&■*>. 
 
Vh 
 

 ON COLOURING LANDSCAPE. 
 
 65 
 
 town, which is seen in the extreme distance, is made of 
 No. 2*, the first and second tint of the right hand 
 distant trees and their reflections with No. 5; the first 
 and second tint of the left hand trees behind the bank 
 with No. 7 ; the first tint of the green bushes and grass 
 with Nos. 13 and 14, changing continually from one to 
 the other as in the copy, and bringing it downwards into 
 the water • the shade part of the boat, and its reflection 
 in the water, with No. 23 ; the thatch on the wooden 
 house in the middle of the boat, together with the edge 
 and deck at the stern, with pure yellow ochre, changing 
 occasionally into raw umber; the lower part of the boat, 
 with its reflection, is made of burnt siennaf ; the flat 
 wash of the water with No. 9, softened upwards, and 
 the nearest part of the bank with No. 20, changing it as 
 it gets more distant to No. 19. 
 
 The drawing is now in the same state as it is repre- 
 sented in the first plate of the subject ; in order to finish 
 it the student must turn to the finished plate of the same 
 subject, and proceed as follows: 
 
 With Nos. 1 1 and 1 2 work up the bushes and grass 
 on the bank, using the former for those parts which have 
 been done with No. 14, and the latter for those which have 
 been laid in with No. 1 3 ; next finish the bank with the 
 same tints as the first, and then give another shade to the 
 water with No. 9 ; the thatch of the house in the boat is 
 
 * It is needless to inform the student that all these numbers 
 refer to the numbers of the tints in Lesson XIV. 
 
 t In laying on this tint, care must be taken that the thread of 
 light which runs along- the water edge be left very fine and exact. 
 
66 
 
 ON COLOURING LANDSCAPE. 
 
 ^ / 
 
 worked up with burnt sienna, whilst all the dark shades 
 are laid in with Vandyke brown ; the leaves of the 
 water lily, which are floating on the water, are made 
 with indigo and Italian pink mixed up very strong. 
 
 All that now remains undone is the figure, the trowsers 
 of which are made with No. 24, the face and hands of 
 Venetian red; the hair of Vandyke brown, and the 
 jacket with stripes of lake : the reflections are made with 
 the same, and I must here observe, what the student will 
 probably have already noticed, that reflections in water 
 are always most vivid when the object is near or touches 
 the water, and faintest when farthest off: thus the legs 
 of the figure will be reflected very distinctly, whilst the 
 body and head will scarcely be seen. 
 
 I shall conclude this lesson with an account of the 
 process and use of washing drawings. 
 
 When the student has brought his drawing to such a 
 state that it only requires the dark touches to finish it, let 
 him take a large flat brush, from one to two inches broad 
 (the larger the better,) and with clean water wet it all 
 over : this being done, he must begin to wash it very 
 gently, using the brush as lightly as possible, and wash- 
 ing every part alike, without dwelling more on one place 
 than another ; when a very small portion of the colour 
 has been removed, he may rince it by pouring clean 
 water over it, or by going over it again with the brush 
 and fresh water, and then leave it to dry. 
 
 The advantage of washing drawings is to take ofFany 
 hard edges which have been left, and to soften the whole; 
 by washing the colour of the tops of all the little emi- 
 
l^9^HMH 'Miss H9R 
 
 ON COLOURING LANDSCAPE. 
 
 67 
 
 nences with which every part of the surface of unhot- 
 pressed paper is covered, whilst hollows remain of nearly 
 the same strength as before, a certain air is acquired 
 which nothing but washing can obtain. After a draw- 
 ing is washed, the greens will most probably want 
 strengthening, as they are washed off much sooner than 
 any of the other tints*. Another process is to rub the 
 drawing with a clean rag dipped in the fine powder 
 obtained by grinding the flat surfaces of two pieces of 
 pumice stone together: with this the drawing is rubbed 
 all over ; and, though it does not produce that softness 
 which is obtained by washing, it possesses the advantage 
 of not taking off the greens faster than the other tints. 
 
 In order to make the tints more even and solid, and 
 to give what is called " texture," any part of a drawing, 
 except the sky, may be rubbed with a clean rag, which 
 is just damp (not wet) laid over the finger ; by this 
 process a certain grain is given to the tint, which causes it 
 to look more solid and finished; a depth may be acquired 
 by a single tint well rubbed, which could not otherwise 
 be obtained without washing it over a number of times. 
 
 I must here warn the student against using a sponge 
 instead of a brush to wash his drawing with, as it takes 
 off the colour too rapidly ; a sponge ought only to be 
 used when there is a part of the drawing, which being 
 incorrect, it is required to efface. 
 
 * Drawings made on very rough paper ought never to he washed, 
 as the colour comes off too readily, and is apt to leave the little 
 spots of white too large, owing to the size of the eminences heing 
 much larger than on the other paper. 
 
 ■ 
 
68 
 
 LESSON XVII. 
 
 On Marine Drawing. 
 
 The study of marine drawing is attended with greater 
 difficulties than the other departments of landscape paint- 
 ing, not only on account of its not being always in the 
 power of students to draw from nature, but also, because 
 the representation of water in a state of agitation (as is 
 always the case, more or less, with the sea), is really 
 more difficult than that of trees, rocks, buildings, #,-c, 
 for this simple reason, that, while the latter objects 
 remain continually in a state of perfect tranquillity, and 
 thereby allow of their being sketched with the utmost 
 correctness, the former is constantly changing, never 
 remaining for the shortest moment in the same form, 
 and never again appearing exactly in the form it has 
 once assumed, rendering it impossible ever to make a 
 correct sketch, even of a single wave, much less of a 
 considerable part of the sea, which is required to make 
 a. drawing. In such a case as this, all that the student 
 can do is to continually observe the motion of the waves, 
 the various indentations of their surfaces, together with 
 the different forms they break into, till he shall have 
 learnt them, as it were, off by heart. 
 
 The first subject that we shall offer to the student's 
 attention is a view of the sea-coast. Having drawn the 
 outline, the student will mix up the tint No. 1 ; then 
 beginning with water only at the top of his drawing, he 
 will keep adding more and more of No. 1 as he gets 
 


ON MARINE DRAWING. 
 
 69 
 
 downwards till he readies the white clouds, the edges of 
 which he will carefully cut out with the darkest part of 
 his tint, whilst he softens it into the grey of the clouds 
 on the right-hand side of the drawing. The next thing 
 to be done is to mix up No. 4, and with it lay in the 
 clouds, beginning with water at the right-hand side of 
 the picture, and strengthening his tint as he gets down- 
 wards, passing all over the distant cliffs as low as the 
 town, making it considerably lighter as it approaches the 
 white edge of the clouds, and softening it into the sea. 
 Next, lay in the light flying clouds in the left-hand 
 corner with No. 24, rather faint, and the yellow on the 
 cloud edges, which must be made of pure yellow ochre, 
 and laid on so that it may not pass in the slightest 
 degree into the grey tint, and the sky will then be 
 finished. The distant hill and cliff must be done with 
 No. 5, and shaded with the same ; the shadows of the 
 house-ends and under the eaves must be done with 
 No. 22, and the tops with a pale tint of Venetian red. 
 Next do the sea, beginning with indigo and lake for the 
 extreme distance, which must be changed into indigo 
 and raw umber as it is brought lower down, till at 
 length the first tint of the waves which are near the 
 shore will be almost entirely composed of raw umber, 
 leaving the white paper for the bright lights. The stu- 
 dent must now lay on the first tint of the rocks and 
 shore, the lightest part of which must be made of 
 No. 17, changing as it gets darker into the tints 18, 19, 
 20, and 21 : the outside of the boat must be tinted 
 with No. 25, with which also the man's trowsers must 
 
 
70 
 
 ON MARINE DRAWING, 
 
 be coloured ; the inside of the boat must be shaded 
 with No. 23 ; the stripes in the man's jacket are done 
 with Prussian blue alone; the red cap with a mix- 
 ture of Venetian red and lake ; the first tint of the 
 great stone in the left-hand corner is made of No 24. 
 The green tint for the top of the rocks is No. 14, and 
 is shaded with No. 12 or 11. The dark shades on the 
 rocks are done with No. 22, and that on the road with 
 No. 23, with which also is done the shadow which falls 
 from the man. The distant part of the sea must be 
 strengthened by shading it with horizontal lines of lake 
 and blue, whilst the dark shades of the waves are put in 
 with No. 10, and the lighter ones with No. 12. No- 
 thing more remains than to put in the dark shades of the 
 large stone in the left-hand corner, as well as of the 
 smaller ones along the shore, and to touch up the road 
 and rock, all of which may be clone with a strong tint of 
 Vandyke brown. The birds may be done with neutral 
 tint. 
 
 The next subject consists entirely of sea, without any 
 land. The blue of the sky must be made of No. 2, laid 
 on very strong in the right-hand corner, growing paler 
 as it approaches the edges of the white clouds, which 
 must be left in ragged irregular forms, such as are com- 
 monly seen after a storm : these clouds may be shaded 
 with No. 4. The sea, where it comes against the hori- 
 zon, is made of a strongish tint of indigo and lake, 
 making it still stronger by changing it into a deep neu- 
 tral tint when it approaches the white foam of the 
 waves. This tint will require to be done two or three 
 
 "' 
 
'^Wc 
 
 HiuBBH 
 

 ■ %!*£ 
 
ON MARINE DRAWING. 
 
 71 
 
 times before sufficient strength can be obtained, and 
 care must be taken that the left-hand side be made 
 darker than the right. The nearer waves must be 
 tinted with a mixture of raw umber and indigo, chang- 
 ing occasionally into a cooler and warmer colour, whilst 
 the foam may be imitated by dragging the brush nearly 
 dry lightly over the white paper, in such a manner that 
 only the little eminences shall take the colour : for this 
 purpose a rough-grained paper is much better than hot- 
 pressed paper, which ought never to be used for land- 
 scape painting. The first tint of the boat and masts is 
 made of burnt sienna ; the first tint of the sail is made 
 of yellow ochre, with which also the stripes on one of 
 the sailor's jackets are done, the stripes on the other 
 man being made with Prussian blue ; the shade side of 
 the sail must be made with No. 21. The distant ves- 
 sels may now be laid in with neutral tint No. 5, and 
 shaded with the same, after which the waves must be 
 finished with repeated tints of raw umber and indigo, 
 varying the tints according to circumstances, keeping 
 them warm (by increasing the quantity of raw umber,) 
 in the lighter part, and more cool for the dark shades. 
 The face and hands of the figures may be done with 
 Venetian red. The dark side of the sail must be co- 
 loured with No. 2 1 , and the dark shade on the boat 
 with No. 24 ; the men are shaded with 23, and together 
 with the boat, sail, and mast, are touched up with Van- 
 dyke brown alone, whilst a mixture of Vandyke brown 
 and indigo is used for touching up the waves : the 
 
72 
 
 ON MARINE DRAWING. 
 
 second tint on the light part of the sail is made of 
 No. 17. 
 
 We shall now take leave of landscape painting, trust- 
 ing that the foregoing lessons will fully explain every 
 thing which can be taught by reading ; for the student 
 must recollect that it is practice alone which will enable 
 him to acquire a knowledge of drawing, and that his 
 progress in the art depends more on himself than on the 
 master who directs his studies ; for though it be true that 
 a bad master will do a great deal of harm by giving 
 wrong directions to his pupils, it is also equally true that 
 the best master will do but little good if he be not se- 
 conded by the exertions of the student; it is by the 
 want of exertion that we must account for the little 
 progress made by some of the pupils of our best artists, 
 and not by the inattention of the artist himself,; indeed, 
 so little is a drawing-master required by any one who is 
 determined on learning to draw, that I may venture to 
 say that most of our best landscape painters are self- 
 taught : the directions necessary are simple and short. 
 In addition to what I have already written, I shall add 
 the following observations, most of which are only a re- 
 petition somewhat simplified, of what has been stated in 
 the foregoing lessons. 
 
 By drawing on strong rough paper the tints are more 
 easily laid, and the trouble of stretching the paper becomes 
 unnecessary, except for large drawings; in doing small 
 drawings the tints are more easily laid, the student never 
 
Ha 
 
 ■Mb 
 
 
 *. 
 
, 
 
 \ r 
 
 FL.OWEKS 
 
 TiiJ-^Mid lvSA.ri,:.'r,t .JC7:uS:0\ T aJvl-/s2v. 
 
^H ^H 
 
 ■ H 
 
 ON FRUIT AND FLOWER DRAWING. 73 
 
 grows tired of his subject before it is finished, and should 
 he not succeed to his liking, he has not to regret the loss 
 of a great deal of time, seeing that a small drawing 
 cannot take a great deal of time to finish it. 
 
 Never make a tint with two colours if you can make 
 it with one ; never make a tint of three colours which 
 can be made by two ; and never, on any account, mix 
 four colours together, as there is no tint which cannot be 
 made by three colours. In drawing from nature, choose 
 the most simple objects, and such as admit of a breadth 
 of light and shade. 
 
 ■ 
 
 LESSON XVIII. 
 On Fruit and Flower Drawing. 
 
 The beauty of the objects represented, and the ease 
 with which they are executed, have long rendered this 
 department of the art the universal favourite of the 
 ladies, who seem to have taken it entirely to themselves, 
 there being but few gentlemen who excel in fruit and 
 flower painting. I shall begin my lesson with the an- 
 nexed group of flowers, consisting of a rose, tulip, con- 
 volvulus, and hare-bells. 
 
 Having first drawn a corect outline, mix up No. 5, 
 which is what is generally termed neutral tint: with this 
 all the green leaves and stems of the plants, and the 
 hare-bells, must be carefully shaded, leaving the white 
 
 G 
 
I ' 
 
 74 
 
 ON FRUIT AND FLOWER DRAWING. 
 
 paper for the high lights. When this is done, the stu- 
 dent may shade the convolvulus and tulip with sepia, 
 and the rose and rose-buds with pure lake, when the 
 drawing will be dead-cohured, as in the first plate of 
 flowers *. 
 
 In flower painting, the student ought to have a brush 
 at each end of his stick, one of which must be used to 
 lay on the tint, whilst the other is kept clean and moist 
 to soften them off with. 
 
 The next tint to be mixed up (see the finished plate) 
 is No. 16, with which all the rose-leaves and leaves of 
 the hare-bells must be coloured ; for the leaves of the con- 
 volvulus mix up No. 15, to which add a little indigo for 
 the leaves of the tulip : the rose and rose-buds must be 
 finished up with pure lake to the requisite degree of 
 strength, with which also must be done the streaks of 
 the tulip ; the convolvulus and hare-bells being worked 
 up with faint washes of pure Prussian blue, — the minute 
 prickles, which are found on the stem of the rose, are 
 made of pure lake, and must be laid on with the small- 
 est brush. 
 
 * The reason why I recommend all green leaves to be shaded 
 -with neutral tint before the greens are laid on, is, that when 
 the student comes to lay two or three tints of green one over 
 another, as is necessary to finish them, he must unavoidably 
 wash up the first tint whilst laying on the second, by which 
 means the flatness will be destroyed, and his drawing rendered 
 an unseemly daub. Greens take such little hold of the paper, 
 that even the most expert can scarcely lay one tint over ano- 
 ther without disturbing that tint which is underneath. 
 
 &L 
 

I ! 
 
 H 
 
 fc 
 
ON fruit and flower braving. 
 
 75 
 
 Fruit painting is generally considered more easy than 
 flower painting, on account of greater delicacy being 
 required in the working ; though, for my part, I con- 
 sider them much about equal; for if flowers require 
 greater delicacy of touch, fruit require greater care to 
 obtain that rotundity which beginners mostly find some- 
 what difficult. 
 
 The next subject consists of two peaches, an Orleans 
 plum, a bunch of green grapes, two cherries, and a pear; 
 in doing which, the whole must be laid in and shaded 
 to a proper degree of depth with neutral tint, No. 5. 
 When this is done, he may proceed to colour the grapes 
 with faint washes of Italian pink, over which is passed 
 in different places a light tint of Prussian blue, to repre- 
 sent the bloom which is on them ; the seeds, which are 
 seen through the rind of the grapes, are done with burnt 
 sienna : the peaches are first coloured with fiat washes of 
 gamboge, and then worked up with lake : the plum Is 
 finished with a mixture of Prussian blue and lake. Ins 
 order to get the rich scarlet of the cherries, they must 
 be first washed in with a strong tint of gamboge, over 
 which is laid a strong tint of lake * ; the light side of 
 the pear is laid in with No. 16, and the shade side with 
 No. 12. Having brought them as near the original as 
 can possibly be done with flat washes, the fruit must be 
 
 * This method of producing scarlet by a tint of yellow washed 
 over with a tint of lake, is much better than that of mixing 
 the two tooether, being much brighter; indeed, I have often 
 observed that one colour laid over another formed a much 
 brighter tint than when they were mixed together. 
 
 G 2 
 
76 
 
 ON FRUIT AND FLOWER DRAWING. 
 
 stippled * up with a small brash, using the same tint as 
 for the flat washes ; the ground on which they are laid 
 may be coloured with raw umber. 
 
 ^ / 
 
 No department of the art is attended with greater 
 facilities than the study of fruit and flowers ; at every 
 season of the year objects may be found to copy, and 
 the advantage of being able to draw them in-doors is 
 immense, when one considers the comparative trouble 
 of sketching landscape from nature ; still-life, indeed, 
 has all these advantages, but it is neither so interesting, 
 nor does it rank so high as fruit and flower painting. 
 
 When the student is well advanced in this part of 
 the profession, I should advise him to change his lake 
 for carmine, without which it is impossible to do justice 
 to the brilliancy of many of our scarlet flowers ; lake is, 
 however, quite sufficient to begin with. 
 
 That mealy appearance which is observed on the 
 petals of auriculas, polyanthus's, and many other flowers, 
 may be obtained either by scraping the flower very 
 gently with a sharp penknife, or by laying on white 
 
 * By stippling is meant that process in which the colour is 
 laid on in small spots or touches, which are generally less than 
 the smallest pin's head ; it is hy this method that that exces- 
 sive smoothness observed in miniatures is obtained. In stip- 
 pling, the colour ought to be used excessively faint, so that it 
 •will require going over a great number of times to get the proper 
 degree of strength. 
 

 ON STILL-LIFE. 
 
 77 
 
 colour rubbed very thick, in such a manner that the 
 brush may touch on the surface of the paper only, and 
 not in the minute hollows which are seen even in hot- 
 pressed paper, so as to leave the white in an immense 
 number of small grains, between which the colour of the 
 flower is still to be seen. 
 
 The small threads of lighter colour, as well as the 
 stamens of dark flowers, may also be done with body 
 colour*, which may be made by rubbing permanent 
 white very thick, and then adding a little of the colour 
 you wish to have ; thus, should you want a yellow body 
 colour/after you have rubbed the white on your plate, 
 add a little gamboge to it, which will give it the tint you 
 want ; in this manner you may make body colour of any 
 tint whatever. 
 
 LESSON XIX. 
 
 On Still-Life. 
 
 The representation of still-life, though one of the 
 lowest efforts of the art when regarded as a distinct 
 branch of the profession, has nevertheless always a 
 pleasing effect when well done. The old Dutch masters 
 have long been celebrated for their excellence in this 
 department of the art : and no one, except those who 
 
 * By body colour is meant any colour which is not transpa- 
 rent, such as permanent white, fyc. fyc, 
 
ON STILL-LIFE. 
 
 have had an opportunity of closely examining the works 
 of Mieris, could ever imagine the degree of finish, with 
 which the productions of this artist exhibit : in still-life, 
 as in flowers, excessive finish becomes a merit of the first 
 class, and makes up in some measure for the poverty 
 of the subject. 
 
 In studying still-life, as in other kinds of drawing, it 
 is best to begin with the representation of single objects, 
 such as, a bottle, jar, basket, besom, pitcher, flower- 
 pot, or any thing else where the proportions are not 
 too minute : he can afterwards begin to group them, 
 beginning with but a few articles at once, and increas- 
 ing their number as he improves. 
 
 The following subject was sketched in a wash-house, 
 where the things were accidentally arrayed as they are 
 represented. 
 
 The outlines being drawn, begin with a faint tint of 
 raw umber for the lightest part of the wall, gradually 
 changing it into No. 22 for the darkest part on the left 
 hand side ; the lightest part of the floor, which consists 
 of stones, must also be done with raw umber, changing 
 to No. 21 as it approaches the bottom of the drawing ; 
 the first tint of the hamper is made with No. 1 2, for the 
 light part, changing into a strong mixture of No. 10; 
 the first tint of the basket consists of pure yellow ochre 
 passed all over it ; a mixture of burnt sienna with a 
 very small proportion of Vandyke brown, constitutes the 
 first tint of the barrel, whilst a mixture of yellow ochre 
 and burnt sienna forms that of the upper part of the 
 pitcher, the lower part of which together with the red 
 
ON STILL- LIFE. 
 
 79 
 
 jar, is done with No. 26 : the bottle is laid in and 
 finished, with two or three strong tints of burnt sienna; 
 the blue stripes in the apron which hangs against the 
 wall, as well as the paper which covers the jar, are both 
 done with Prussian blue alone : the handle of the besom 
 is made of burnt sienna, and the besom itself of No. 24. 
 
 The first tints of every part of the drawing being now 
 finished, the student must begin to lay in the second 
 tint on the wall, which is exactly the same as the first, 
 leaving, however, breaks or uncovered places as in the 
 copy ; the second tint on the floor is composed of burnt 
 sienna in the lightest parts, to which is added a little 
 Vandyke brown for those places which are darker ; the 
 hamper is finished with a strong tint of Vandyke brown 
 and Indigo ; the barrel is shaded with No. 23, as is also 
 the basket and white cloth which is laid over it, making 
 the tint somewhat weaker for the basket, and still weaker 
 for the white cloth; the basket is then finished with 
 Vandyke brown, the pitcher is shaded with No. 24, and 
 the apron with No. 23 ; nothing now remains to be 
 done except the dark touches of Vandyke brown to 
 mark out the hoops on the barrel, the flat stones which 
 form the floor, fyc. fyc 
 
 Note. — Should any part be deficient in strength, it 
 may be worked up to a greater depth with the same 
 colours with which it was laid in and shaded. 
 
 With this lesson I shall conclude all that I have to 
 say on those departments of the art which are connected 
 with and dependent upon Landscape Painting, and 
 shall proceed to Figurer Historical Drawing, which, as I. 
 
80 
 
 ON FIGURE DRAWING. 
 
 have before observed, is more difficult than any of the 
 other parts of the profession. 
 
 LESSON XX. 
 
 On Historical or Figure Drawing. 
 
 I now enter upon the highest and most difficult depart- 
 ment of the art, that of drawing the human figure, in 
 studying which the student ought to possess a number of 
 plaster casts after the antique, such as 
 
 The Apollo Belvidere 
 
 The Venus de Medicis 
 
 The Hercules 
 
 The Antinous 
 
 The Gladiator 
 
 The Laocoon, #-c. fyc. 
 
 Should it not be in his power to procure these, the best 
 prints after the old masters will be found serviceable, 
 though it will be much better if he can commence his 
 studies by drawing from the antique. The figure I 
 should recommend is the Gladiator, though I would 
 advise the student to begin by drawing the extremities, 
 such as the hands and feet ; after which he may proceed 
 to draw faces till he have acquired a certain capability 
 of representing these parts, when he may proceed with 
 the whole length figure, in doing which he will find the 
 following list of proportions of the human figure, taken 
 

 ON FIGURE DRAWING. 81 
 
 principally from Hamilton's Drawing-Book, extremely 
 useful. 
 
 The length of the head, neck, and trunk, is half of 
 
 the entire height of the figure. 
 The lower extremities form the other half. 
 The entire height of a figure is ten times the length of 
 
 its face, which begins at the lowest hairs of the fore- 
 head, and ends at the chin. 
 From the top of the head to the forehead is one-third 
 , of a face. 
 The face is divided into three equal parts, of which 
 
 one contains the forehead, the next the nose, and 
 
 the third the mouth and chin. 
 Prom the chin to the pit between the two collar bones 
 
 at the bottom of the neck, two-thirds of a face. 
 From the bottom of the neck to the bottom of the 
 
 breast, one face. 
 The remaining part of the trunk two faces. 
 The thigh down to the middle of the knee, two faces 
 
 and a quarter. 
 From the middle of the knee to the ankle, two faces 
 
 and a quarter. 
 From the ankle to the sole of the foot, half a face. 
 A man, when his arms are stretched out, is, from the 
 
 longest finger of his right hand to the longest finger of 
 
 his left hand, as broad as he is high. 
 From one side of his breast to the other, two faces. 
 From the shoulder to the elbow, two faces. 
 From the elbow to the root of the little linger, two faces. 
 
82 ON FIGURE DRAWING. 
 
 From the point of the shoulder to the pit between the 
 two collar bones, one face. 
 
 The foot is one-sixth the length of the figure. 
 
 The length of the face and hands ought to be equal. 
 
 In drawing children, the whole length ought to be equal 
 to five heads, whereof the head and trunk take three, 
 whilst the thighs and legs take the other two. 
 
 In drawing a man and woman, the principal differences 
 will be in the relative breadth of the shoulders and 
 hips, which in the woman will be very nearly the 
 same breadth, the hips being very little narrower than 
 the shoulder, whilst in the man the latter are con- 
 siderably broader than the former. 
 
 In drawing a full face, the diameter across the eyes is 
 equal to five lengths of an eye. 
 
 The distance between the eyes is equal to one eye. 
 
 The breadth of the nostrils, one eye. 
 
 The length of the mouth, two eyes. 
 
 The above rules the student will find extremely service- 
 able in correcting the first rough outline of a figure ; by 
 these rules he can also determine where the knee, foot, 
 6rc. of any figure ought to be placed after he has sketched 
 the head. 
 
 In drawing from plaster casts it is the custom to 
 use grey paper, on which the figure is finished, with 
 black and white chalk, making use of soft willow char- 
 coal to sketch in the first outline*. Chalk drawings 
 
 * Charcoal is used in preference to chalk on account of the 
 facility with which it is effaced if incorrect : the student must 
 
FI©UIRE BRAW3I . ' G 
 
 ^ 
 
on FIGURE DRAWING. 
 
 83 
 
 are finished in two different ways ; in the first the chalk 
 
 is laid on in a succession of short strokes or hatches, 
 
 seldom, if ever, using the stump to soften the edges of 
 
 the shadows. This method has a very beautiful effect if 
 
 well done, which, however, is far from compensating for 
 
 the immense waste of time which finishing in this manner 
 
 occasions. In the second the stump is in continual use 
 
 to lay in, flatten, and soften the different shades ; and 
 
 though the drawing is by no means so agreeable to the 
 
 sight as those done in the former method, yet the facility 
 
 and quickness with which the sketch of any figure is 
 
 finished, amply makes up for its deficiency in other 
 
 respects ; for I always suppose that the pupil studies the 
 
 figure for the sake of learning to draw it correctly, and 
 
 not to acquire a capability of laying a number of lines 
 
 together in a beautiful manner. 
 
 The annexed plate represents the portrait of a lady 
 drawing in chalk, and finishing with the stump, in copy- 
 ing which the student must begin by drawing a faint 
 outline with willow charcoal. When he has got this 
 perfectly correct, he must efface it as much as he pos- 
 sibly can by passing a silk handkerchief lightly over it, 
 or by rubbing it very gently with bread till it be scarcely 
 visible ; this being done, he must retrace the lines with 
 hard black chalk*, and then begin by laying in the 
 
 recollect to use the crum of bread, which is at least one day old, 
 instead of Indian rubber, to take out any parts which are not 
 
 * The student ought to provide himself with black chalk of three 
 degrees of hardness, one being very soft and black, one in a middling 
 degree, and one hard ; one kind of white chalk will be sufficient.. 
 
,84 
 
 ON FIGURE DRAWING. 
 
 shadows with chalk of a middling degree, working them 
 soft and flat by rubbing them with the stump ; this must 
 be repeated till all the dark shades are of a proper depth, 
 and nothing remains to be done but the very black 
 touches, which must be laid in with vigour, using the 
 blackest chalk; and the bright lights, which must be put 
 on with the white chalk softened with the stump, in using 
 which take care that it be not with the end which has 
 softened the black shades, as you will otherwise make a 
 shade instead of a light. 
 
 In drawing a whole-length figure the student must 
 first begin with the head, then proceed with the trunk, 
 and lastly the lower extremities and arms — all these 
 ought to be sketched in lightly, and corrected till the pro- 
 portions be tolerably correct, when he must observe 
 whether the figure stand well on its feet, and whether the 
 general attitude be easy and natural ; this being done, he 
 may again proceed to correct the proportion for the last 
 time, after which he must draw in the strong outline, and 
 then proceed to finish. 
 
 Beginners frequently find considerable difficulty in 
 drawing from plaster casts, owing to their not knowing 
 how to place them in the easiest position, as well as 
 from the injudicious manner in which they allow the 
 light to fall upon them ; I have also frequently found 
 that young persons have had a dislike to draw from the 
 antique, on account of the little interest that the subjects 
 afford to those who are not sufficiently advanced in the 
 art, to feel the beauty of the proportions which those 
 figures exhibit. In one of my pupils (a boy about ten 
 
■MMMMMaMMH 
 
 
 OX FIGURE DRAWING. 
 
 85 
 
 years old), whose parents were desirous that he should 
 study the figure, this dislike was invincible ; I therefore 
 made a number of copies from the Apollo, the Gladia- 
 tor, Hercules, #c., on rather a small scale, the figures 
 being about six inches high, and placed in different atti- 
 tudes. I also gave each of them appropriate dresses, 
 representing them as fitting tight to the body and limbs, 
 so that the form might be seen as well as if they were 
 without them ; to each also I gave a character best 
 suited to their attitudes, making an archer of the Apollo, 
 a soldier of the Gladiator, fyc. &c. With these my pupil 
 was wonderfully delighted, and copied them several 
 times over, for the archer's green jacket and the red coat . 
 of the soldier excited an interest which could never have 
 been caused by the beautiful proportions of the Apollo 
 Belvidere, and the Gladiator. By thus giving him draw- 
 ings from plaster, each disguised in modern dresses, I led 
 him through the whole range of antique figures, and 
 made him well acquainted with their proportions long 
 before he had the least idea of the deception (if it merit 
 the name) which had been practised upon him. 
 
 The study of all the anatomy which is required in 
 drawing, and which consists of nothing more than a capa- 
 bility of drawing the skeleton and the external muscles, 
 together with a knowledge of the uses of the latter, is 
 so trifling, that I should advise every person to acquire 
 it who wishes to draw the figure correctly. A variety 
 of works have been published for this purpose, some of 
 which may be obtained at a very moderate expense. 
 
 For those who wish to study the figure merely for the 
 
ON FIGURE PAINTING 
 
 purpose of introducing it in landscape, the best work is 
 Pyne's Rustic Figures, published by Ackermann in 
 the Strand : in this the student will find all that he 
 can possibly require in landscape painting. 
 
 
 LESSON XXI. 
 On Historical or Figure Painting in Water-Colours. 
 
 Although we have but few historical painters in 
 water-colours, no one who has ever seen the works of 
 Christall, Richter, and some others, can ever doubt 
 the fitness of this style for such subjects : in point of 
 delicacy it is even superior to oil colours ; whilst, as far 
 as regards depth and force, it is no way inferior. 
 
 The only subject we shall offer is the same as that of 
 the last lesson coloured, in copying which the student 
 ought to provide himself with a piece of smooth Bristol 
 board, on which he must draw a faint but correct out- 
 line : this being done, let him mix up a faint tint of Ve- 
 netian red, and with it go all over the flesh, carrying it 
 well into the hair,, and also over the white drapery 
 that covers the neck, which being transparent, shows in 
 some measure the colour of the skin through it : when 
 this is dry, a second wash of the same tint must be 
 laid over the flesh, but not over the white drapery. 
 By this time the general tone will be approaching some- 
 what near that of the original, and the flat washes must 
 
IN WATER-COLOURS. 87 
 
 therefore be discontinued, and the colour only kid on in 
 very faint minute specks called stippling, (described in 
 Lesson XVIII,) till the neck, face, and arm, be per- 
 fectly fiat, soft, and even, and of the same strength 
 as the copy : this, however, can only be obtained by 
 using the colour excessively faint, so that the touch, when 
 laid on, can scarcely be seem The first tint of the hair 
 must now be laid on with your umber alone, after which 
 the flat shade on the neck, under the eyebrow where the 
 hair comes, against the face, and on the arm, must be 
 stippled in with indigo ; in the deepest parts of the 
 shade, such as under the eyebrow and behind the neck, 
 a little raw umber may be laid on with a little carmine 
 worked over it in order to prevent the tint being too 
 cold, as it otherwise would, if the requisite depth were 
 obtained by working it with indigo alone ; the red of the 
 cheek and lips must be next stippled in with carmine, 
 after which the eyebrow and eyelash, together with 
 the dark shade under the nostril and in the ear, is 
 touched in a mixture of carmine and burnt umber; the 
 eye itself is done with pure Prussian blue, and the hair 
 finished with burnt umber, when nothing remains to be 
 finished but the drapery. 
 
 The bestshadingtint for the white drapery which covers 
 the neck, as well as the white part of the sleeves, is sepia, 
 or the tint marked No. 22 : the gown is laid in with a 
 strong tint of Prussian blue, and is shaded with indigo 
 rubbed in strong gum-water*; the red border is done 
 
 * Gum-water is made by dissolving an ounce of gum arabic 
 in about the quantity of a small tumbler of water; when mixed 
 
00 ' ON PORTRAIT AND f 
 
 with carmine ; a light shade is thrown in behind the 
 figure with a double B pencil cut to a broad point, and 
 a tint of sepia washed over it, when the drawing will be 
 finished. 
 
 Prom the above example, the student will find that 
 the mere colouring the human figure is not attended with 
 greater difficulties than any other kind of drawing; for. 
 indeed, the colouring of every object in nature considered 
 without any relation to effect, is very nearly the same. 
 
 \u 
 
 LESSON XXII. 
 
 On Portrait and Miniature Painting. 
 
 Portraits are seldom if ever painted in water co- 
 lours, although I can assign no other reason than cus- 
 tom, which must also be pleaded as an excuse why 
 artists seldom paint miniatures in oil : many indeed will 
 say, that oil colours are more durable than water colours, 
 which is however incorrect : a picture painted in oil will 
 change, and grow more yellow, even within a few years after 
 it is finished, whilst illuminated manuscripts five hundred 
 years old are still in existence, in which the colours are 
 
 with the colours, it renders them darker than they otherwise 
 would be, By operating like a varnish in making them shine. If 
 the gum-water be wanted to wash over pencil drawing, in order 
 to prevent the lead from rubbing out, the proportion of gum ought 
 to be one ounce, or even less, to a quart of water. 
 
r : l GrFRE BRAWX2TG 
 
 » %';,..„ * rrj^ZJK-f. 
 
■ 
 
MINIATURE PAINTING. 
 
 89 
 
 as pure and unchanged as when first laid on : nor will 
 any one be surprised when they consider that water co- 
 lours are mixed and laid on with a pure unchanging 
 fluid, (water), which, evaporating as the colours dry, 
 leaves them as free from the mixture of extraneous mat- 
 ter, which might injure them, as they were before they 
 were rubbed ; whilst, on the contrary, oil colours are 
 mixed and laid on with a vehicle (oil), which is certain 
 to change and grow more yellow with age, and which 
 remaining intimately combined with the colours must 
 necessarily alter their tone : it is this change that gives 
 what picture fanciers call melloxmiess, and which may be 
 serviceable to those artists who are . deficient in that way ; 
 though, for my part, I prefer the mellowness which 
 comes from the touch of the painter, to that which is 
 gained by the changing of the colour, or rather of the 
 oil ; for the same colours mixed with water would still 
 remain the same. 
 
 Miniatures, by which are understood portraits on a 
 small scale, are generally painted on Bristol board, a 
 newly-invented paper called ivory paper, or on ivory 
 itself, which last is the best : on the two former, the 
 outline of the head is sketched in with blacklead pencil, 
 so lightly as to be scarcely perceptible ; whilst in the 
 latter it is drawn with a brush and Venetian red, or lake 
 mixed up very faint. 
 
 In miniature painting, permanent white will be found 
 very serviceable for the bright speck in the eyes, lights on 
 drapery, in the representation of lace, and all those ob- 
 jects of which the lights cannot be left, as scraping them 
 
 H 
 
 
90 
 
 ON PORTRAIT PAINTING. 
 
 up can seldom be done with that neatness and delicacy 
 which the high finish of most miniatures requires. 
 
 It is in miniature painting that stippling is most used ; 
 nothing indeed can be done without it, especially on 
 ivory, on which it is impossible to lay a succession of flat 
 washes, as it is so very smooth, and so little absorbent, 
 that the colour can take no hold. 
 
 And now I shall conclude my observations on a sub- 
 ject, which would not have been introduced into this 
 work, had I not wished to have left no department of 
 the profession unnoticed. 
 
 LESSON XXIII. 
 
 On the Drawing of Animals. 
 
 To those who devote themselves entirely to animal 
 painting, the study of landscape is not less necessary 
 than to those who only pursue the latter department of 
 the art ; as it is generally landscape (or buildings, which 
 are considered a part of landscape painting), that forms 
 the back ground of such pictures. I would therefore 
 advise every student who wishes to practise animal 
 painting, to begin with landscape, making such animals 
 as he may introduce into his drawing objects of secondary 
 consideration, until he shall have acquired a certain 
 degree of skill, when he may begin with the study of 
 animals, taking care however not to neglect his improve- 
 
DRAWING OF ANIMALS. 
 
 ment in landscape painting. The reason why I advise 
 this mode of study to the learner is, that most pupils 
 who begin animal painting are too apt to spend all their 
 time in finishing and working up the animals, whilst the 
 background is slighted, and hurried as a thing of no im- 
 portance whatever, by which means he acquires facility 
 and skill in painting one part of his picture, whilst the 
 other part still exhibits the awkward daubings of a mere 
 beginner ; a circumstance which never happens to those 
 who have commenced with the study of landscape. Let 
 the student always bear in mind, that no part of a draw- 
 ing ought to be slighted for the sake of another part, but 
 that every part, however subservient to the rest, should 
 be equally well done ; not that I mean to say, that a 
 subdued and obscure part of the picture ought to be 
 equally finished with the principal object therein, but that 
 it should be a faithful representation of that which it is 
 intended for. 
 
 Supposing the student has therefore acquired a cer- 
 tain capability of landscape painting, I shall now pro- 
 ceed to give a few directions for drawing animals, both 
 in outline and finished in pencil. 
 
 Although, in ths drawing of animals, as in every other 
 part of the art, Nature is the best model that the stu- 
 dent can possess, still, in this department the study of her 
 is attended with more difficulty than in almost any other, 
 owing to the impossibility of making an animal rest suffi- 
 ciently tranquil for the length of time which is generally 
 required by a beginner to complete a correct sketch : for 
 this reason, he ought always, if possible, to make his 
 
 H 2 
 
m 
 
 DEAWINCx OF ANIMALS. 
 
 I 
 
 drawing when the animal is lying down or asleep, and 
 to content himself with a part, such as a head, or a leg 
 and foot, till he has acquired a sufficient readiness of 
 catching the different forms of the animal, when he may 
 proceed to delineate a whole subject. The cow is per- 
 haps the best study that a learner can choose, as it is 
 more common than any other animal (except in great 
 towns), and is more often seen in a recumbent posture, 
 from its generally lying down to chew its cud. When 
 the student wishes to draw the animal in a standing pos- 
 ture, he ought to go into the fields at midday, when the 
 weather is excessively hot and sultry, at which time 
 cattle will often stand in the shade perfectly still for a 
 considerable time : they are also frequently to be found 
 standing up to their knees in some shallow pool of water, 
 from which the sun is kept off by large over-hanging 
 trees *. 
 
 Horses are more often seen in a standing position than 
 cows, and when in harness will generally stand still in 
 one posture sufficiently long for the student to make a 
 correct outline. 
 
 Dogs are seldom quiet unless when asleep or lying 
 down. 
 
 In the study of animal painting, great care ought to 
 be taken to draw the feet well, as it is a part not only 
 one, of the most difficult to manage, but also one of 
 
 The student ought to be particularly cautious neither to draw 
 with the sun shining on his paper or to sit bare headed exposed to 
 its rays, as the former is very prejudicial to the eye-sight, whilst 
 the latter is extremely dangerous to the health. 
 
 ■ V* • 
 
DRAWING OP ANIMALS. 
 
 9S 
 
 those which is most generally neglected, owing perhaps 
 to their not being so often seen as the other parts, from 
 their being hid by the grass in which animals are most 
 often seen, especially cattle and deer. 
 
 But as it is extremely difficult for many people, from 
 their peculiar situation or occupation, to study animal 
 painting from the living model, the deficiency may, 
 in a great measure, be made up by regarding the 
 works of others, such as Ward, Reneigle, Cooper, 
 Chalon, Landseer, fyc. 8,-c, and by a good collection of 
 the best prints ; there are also a few, and but a few, 
 good casts of cows, horses, and dogs, which might be ser- 
 viceable. 
 
 In drawing ducks, fowls, rabbits, guinea-pigs, and 
 other domestic animals of a small kind, I have found 
 that the best method is to set them on an old table with 
 a wicker basket turned down over them, to prevent 
 their getting away ; the basket ought to be such a one as 
 is generally used to put over a hen that has chickens ; 
 any kind of a basket however will do, the wicker work of 
 which is sufficiently wide to enable you to see the ani- 
 mals through it : it is also a good thing to give them 
 something to eat, as it will prevent their being too rest- 
 less. 
 
 Those who have opportunity, I should advise to com- 
 mence their studies of animal painting, by drawing pigs, 
 as bein" more simple in their general outline than all 
 others, whilst their excessive indolence induces them to 
 continual quietness. Sheep also are very easy to deli- 
 neate, as the head and legs are all that there is to draw, 
 

 94 
 
 DRAWING OF ANIMALS. 
 
 the form of the rest being entirely hidden by their rough 
 woolly coat. Deer are perhaps the most difficult of all 
 other animals, owing to the peculiar elegance of their 
 form, and also their horns, which add considerably to 
 the difficulty. 
 
 Animal painting is perhaps the only department of 
 the art in which high finishing with the blacklead pencil 
 is really useful, more especially as far as relates to 
 birds, in doing which all the various markings oSight to 
 be faithfully represented: to obtain facility of execution, 
 nothing is more serviceable than copying good wood- 
 cuts, and for this purpose I strongly recommend Bewick's 
 Natural History of British Birds; and if the student 
 will only make a point of copying every subject therein 
 faithfully, he will soon be capable of executing (as far as 
 finishing is concerned) any thing that may come across 
 him in the shape of a bird. I am aware that many 
 drawing-masters will be surprised at my recommending 
 wood-cuts as copies, but I know from my own expe- 
 rience, as well as that of many of my pupils, that it is 
 the best method of obtaining a facility of execution. In 
 order to get a good manner of imitating hair, a close 
 examination of some of Scott's exquisite engravings of 
 animals will be of great assistance; he must however be 
 extremely cautious that he does not get a sameness or 
 mannered style of working, and so represent with the 
 same kind of lines the fur of the rabbit, and the shaggy 
 hair of the stag. The annexed plate is a fac-simi!e of 
 a pencil drawing of a stag, the manner of doing which 
 I have already spoken of in Lesson XI. The thin light 
 

% 
 
 
DRAWING OF ANIMALS. 
 
 95 
 
 threads of grass which appear in the dark parts, are 
 made by indenting the paper, by drawing them in win\ 
 an ivory pencil stick, filed to a smooth point like a black- 
 lead pencil, after which a double B pencil is rubbed over 
 the place, by which means every part is rendered dark, 
 except those lines which being lower than the surface 
 the lead cannot touch. 
 
 LESSON XXIV. 
 
 On the Colouring of AnimdAs. 
 
 Animal painting is a department of the art which 
 may very soon be acquired by any one already ac- 
 quainted with historical or landscape painting, though I 
 think much sooner by him who has acquired some skill 
 in the latter ; this observation I mean however to apply 
 to animal painting only, and not to the drawing of ani- 
 mals, which is sooner to be learnt by the historical 
 draughtsman, seeing that it bears a nearer relation to 
 that kind of drawing, inasmuch as it is also the repre- 
 sentation of animated nature. 
 
 The subject we shall commence with consists of two 
 cows, one standing up and the other lying down. The 
 blue sky must be made with No. 1 ; the first and second 
 tints of the cloud of No. 3, softened off as they approach 
 the horizon, which must be tinted with a very faint wash 
 of Venetian red, when the sky will be finished. The 
 
96 
 
 COLOURING OF ANIMALS. 
 
 distant trees, with their reflections, must be made of 
 No. 5. The most distant part of the foreground trees 
 must be done with No. 7, which ought to be gradually 
 changed into a variety of different greens, growing 
 warmer as they come nearer the foreground : the grass 
 on which the cattle are placed ought next to be done 
 with No. 13, changing it as it approaches the right 
 hand comer into No. 10; the earth which comes 
 against the water is made of raw umber alone; the first 
 tint of the cow standing up of No. 21, and that of the 
 cow lying down of No. 24 ; the railings are done with 
 No. 21, second or shading tint with No. 24. The re- 
 flection in the water, as I have before observed, ought to 
 be done at the same time, and with the same tint as the 
 object reflected. 
 
 The drawing is now in its first state, having all the 
 first tints laid in. For the secondary tints on the fore- 
 ground trees a stronger set, though partaking much of 
 the same colour, may be made use of: thus for those 
 parts of which the first tint consists of No. 7, the second 
 tint may be No. 8, and so on, keeping rather cooler for 
 the shadows than the lights. In the same way the 
 shadows of the lighter parts of the grass may be made of 
 No. 12, whilst those of the darkest may be made with a 
 mixture of Vandyke brown and Indigo ; the earth, may 
 be finished with Vandyke brown alone. The student 
 must now lay on the second tints of the animals ; that 
 of the cow which is standing up being composed entirely 
 of burnt sienna, and that of the one laying down of an 
 equal mixture of Vandyke brown and lake. In laying on 
 
HHH 
 
1 
 1 
 
 I 
 
 una 
 
COLOURING OF ANIMALS. 
 
 97. 
 
 these tints lights ought to be left on the shoulder, the rump, 
 and the side of the standing cow, and on the shoulder of 
 that which is lying down. For the shadows of this last 
 a strong tint of Vandyke brown with a little blue may be 
 used, whilst for those of the former No. 24 will be the 
 best tint. For the dark spirited touches of the different 
 parts of the drawing, Vandyke brown, Vandyke brown 
 and blue, and Vandyke brown and lake, will be the best. 
 
 The next subject consists of poultry drinking. The 
 blue streaks in the sky are made of No. 1, whilst the 
 white spaces are filled up with a very faint tint of yellow 
 ochre ; the first tint of the trees on the left hand side 
 the picture are done exactly in the same manner, and 
 with the same tints as in the foregoing subject; the 
 herbage on the right hand side of the picture is done 
 with No. 15, and shaded with No. 10; the dish out of 
 which the fowls are drinkiug is painted with Venetian 
 red, and shaded with No. 24; whilst the shadows which 
 fall from it, and the legs of the fowls, are made of No. 23. 
 The first tint of the ground is composed of No. 17, near 
 the dish in the lightest part, and is gradually changed into 
 Nos. 17, 18, 19, 20, and 21, as it is carried into the 
 darker parts. For shading these different variations of 
 tint Nos. 18, 19, 20, 21, and 24, are used, the lightest 
 of them forming the shading of the lightest part of the first 
 tint, and the darkest for the darkest part. The student 
 may now begin with the fowls, making the first tint of the 
 head of the cock with No. 21, the neck of yellow ochre, 
 the back of burnt sienna, and the feathers which fall from 
 the rump of yellow ochre ; the long feathers of the tail, as 
 
98 
 
 COLOURING OF ANIMALS. 
 
 ■ 
 
 well as the breast and belly, may be made of Indigo, with 
 a very small proportion of burnt sienna, merely sufficient 
 to give it a green cast ; the quill feathers of the wing 
 must be done with Vandyke brown ; the wattles and 
 comb of the cock is made of a mixture of Venetian red 
 with a little lake. The first tint of the hen is composed 
 of No. 24, mixed with an equal proportion of burnt 
 sienna; the legs and bills are tinted with No. 5, and the 
 light part of the eyes with pure burnt sienna. The 
 plumage of the hen, the black dot in the middle of the 
 eyes, the marking of the quill feathers of the cock's wing, 
 the marking of the legs, together with all the dark 
 touches on the ground and in the foliage, #c, may be 
 done with strong Vandyke brown, as may also the marks 
 on the back of the cock, the light feathers of the neck 
 and rump being finished with No. 2 3 . The long feathers 
 df the cock's tail and the dark part of the belly and 
 breast must be worked up with pure indigo rubbed with 
 strong gum water, in order to give it greater depth. 
 
 ■ 
 I 1 
 
 —B 
 
99 
 
 THEORY OF EFFECT. 
 
 LESSON XXV. 
 
 On the Theory of Effect. 
 
 The generally received meaning of the word Effect is 
 that scientific arrangement of form, of light and shade, 
 and of colour, by which an artist skilled in its rules 
 renders his representations of nature more striking, at- 
 tractive, and beautiful, than he, who equally clever in 
 the mere imitation of objects, is at the same time totally 
 ignorant of the principles of Effect; for the student must 
 not suppose that a perfect representation of an object in 
 nature is sufficient ; no— he must also learn to know 
 whether that object be in a good state of light and shade, 
 colour, &C, before he makes a drawing of it ; and should 
 he never be able to see it in that state, he must supply 
 the deficiency from his own imagination according to 
 those rules which every artist of merit possesses, I might 
 say intuitively, as there are many who, at the same time 
 that they are capable of producing a very good effect, are 
 also unable to say by what rules it is produced. 
 
 Effect consists in the proper admixture and skilful 
 union of the two opposite qualities of which it is com- 
 
I : 
 
 100 
 
 ON THE THEORY OF EFFECT, 
 
 If 
 
 posed, and which are called Contrast and Harmony ; 
 should either of these exceed too much the power of the 
 other, the effect will be bad ; for should Contrast pre- 
 dominate too powerfully, it will be disturbed, scattered, 
 crude, and want repose ; and should too much harmony 
 prevail in the picture, the effect will be tame, spiritless, 
 monotonous, and poor. 
 
 By Contrast is meant opposition or difference of either 
 form, light and shade, or colour ; as for example, in re- 
 gard to form : a round object forms a contrast to a square 
 object, because the one is different or in opposition to 
 the other, inasmuch as the shape and form of each object 
 are in no ways the same ; by the same rule light is the 
 contrast of shade, and red of green, Src, as will be shewn 
 hereafter. 
 
 By Harmony is meant the unity, agreement, or same- 
 ness, of either form, light or shade, or colour : thus a 
 picture, in which a sameness or similarity of shapes and 
 lines, of light or of shade, and of colour prevail, the 
 whole will possess a great deal of harmony with but little 
 effect*. 
 
 In studying effect the student must consider every 
 object in nature under the three principal heads of form, 
 light and shade, and colour, as these constitute all the 
 qualities of objects which can be represented by drawing. 
 
 * A picture is said to be out of harmony when the contents are 
 too powerful and not properly subdued ; it is sometimes, though 
 very rarely, applied to those pictures wherein the sentiments do 
 not tend towards the same end. 
 
^HHHHHHHMHHHhhBS 
 
 101 
 
 LESSON XXVI. 
 On Contrast. 
 
 OF FORMS. 
 
 Whatever, form is different to another is a con- 
 trast to it. 
 
 Forms are made by lines and by light and shade. 
 
 An horizontal line is contrasted most strongly by a 
 perpendicular line. 
 
 A line is contrasted by any other line which is not 
 parallel to it, and which, if continued, would intersect 
 it; thus in fig. 1, the line A B is a contrast to C D, 
 because if continued to E, it would intersect the line 
 CD. 
 
 
 Fig- 1. 
 
 
102 
 
 ON- CONTRAST. 
 
 A straight line is .intersected by any irregular or 
 crooked line, as also by any curved line; in fig. 2 the 
 straight line of the bridge is contrasted by the irre- 
 gular line of the mountains, as well as by the curved 
 line of the arches. 
 
 Fig-. 2. 
 
 A straight line is also contrasted by any angle, as in 
 fig. 3, where the pyramids form a contrast to the straight- 
 ness of the horizontal line. 
 
 Fig-. 3. 
 
 A curved line is contrasted either by a straight line or 
 a curved line placed in an opposite direction, as in 
 fig. 4 ; the dome of the building is contrasted both by 
 its straight sides and the line of the clouds, which curve 
 in a different direction. 
 
 Fig. 4. 
 
ON CONTRAST. 
 
 103 
 
 A serpentine line is best contrasted by any straight 
 line, as in fig. 5 ; the line of houses forms an opposition 
 to the windings of the river. 
 
 Pig. 5. 
 
 A heavy form is contrasted by a light one, as the 
 heavy form of the post in fig. 6 is contrasted by the 
 lightness of the weeds which grow near it. 
 
 Fig-. 6. 
 
 Any smooth flat surface, such as water, ice, clear 
 sky, #-c, may be contrasted by the opposition of any 
 rough massive form. Thus in fig. 6, the smoothness of 
 the water is contrasted by the rough irregular form 
 of the lump of stone introduced into the foreground. 
 
 Any regular architectural form is best contrasted by 
 the irregular form of nature, as in fig. 7 ; the stiff 
 squareness of the tomb is relieved and thrown forward 
 
104 
 
 ON CONTRAST. 
 
 ■ < I 
 
 by the elegant bending foliage of the willow-tree which 
 hangs over it. 
 
 Pig-. 7. 
 
 '■■.;.■■.■ ■■'■:, 
 
 Forms which are square and hard are best contrasted 
 by those objects which are soft and round ; as the square 
 tower in fig. 8 is relieved by the soft round rolling clouds 
 which it stands against. 
 
 Fis>\ 8. 
 
 The rugged forms of rocky mountains may also be 
 contrasted by the softness of large rolling clouds as 
 in fie. 5. 
 
 MM 
 
ON CONTRAST. 
 
 105 
 
 Large objects are contrasted by smaller objects, as in 
 fig. 9, the large tree is rendered more conspicuous by 
 the introduction of the smaller ones placed near it, 
 and whose lightness of form gives value to its weight. 
 
 Fi?. 9. 
 
 Long objects may be contrasted by short ones, as 
 in fig. 5, the long line of buildings is opposed by the 
 clump of trees which come against it, whilst the straight 
 line of the top is contrasted in all its length by the irre- 
 gular Hue of the mountain behind. 
 
 A very low horizontal line increases the height of any 
 upright object, as in fig. 10, where the figure is rendered 
 of a most gigantic size by representing the horizontal 
 line not much higher than the ankle. 
 
 Fig. 10. 
 
f 
 
 106 
 
 LIGHT AND SHADE. 
 
 I 
 
 On the Contrast of Light and Shade. 
 
 We may divide light and shade, or chiaroscuro, into 
 light, which springs immediately from the object which 
 gives the light, as the sun, moon, candle, 8,-c; reflected 
 light, which is first received on one object, and then 
 thrown back on to another ; shade, which is caused by 
 the part of the object which is in shade being in such a 
 situation that it cannot receive the light ; and shadow, 
 which is the absence of light (on a part which ought 
 otherwise to receive the light, by the intervention of an 
 opaque object, as in Fig. 6, where a shadow is thrown 
 on a part of the ground which would be in light like 
 the rest, were it not for the post, which being opaque, 
 prevents the light from reaching that part of the ground, 
 and thus causes that absence of light which constitutes 
 shadow. 
 
 Note. Shadows always fall in a direction from the 
 object which gives light, as the sun, moon, fyc. 
 
 Reflected light is always thrown in a different direc- 
 tion to the real light, and for that reason almost always 
 falls on the shade sides of objects, by which they are 
 rendered lighter than their shadows, as in Fig. 6, where 
 the post is lighter than the shadow cast by it. It is for this 
 reason that the bottom of the shade sides of objects are ge- 
 
 mmmmm ■ 
 
LIGHT AND SHADE. 
 
 107 
 
 nerally lighter than the top, as receiving the reflected light 
 more powerfully : it is also occasioned by the contrast 
 of the dark shadow which springs from it, as every dark 
 object is rendered lighter by the contrast of any darker 
 object coming against it, in the same manner that every 
 object is rendered darker by the contrast of any lighter 
 object, every degree of light and shade possessing only 
 a relative value, as the same strength of colour in one 
 part of a picture constitutes a bright light, whilst in 
 another part it forms a deep shade. 
 
 It is also a custom, in describing a picture in re- 
 gard to effect, to divide all the different degrees of light 
 and shade into the light, the dark, and the middle tint, 
 of which latter there is generally the most in a well- 
 painted picture, as the middle tint includes the gene- 
 rality of shade as well as all the reflected lights. 
 
 We shall now proceed to explain the nature of the 
 contrast of light and shade. 
 
 Light is the contrast of shade, and shade is the 
 contrast of light. 
 
 A dark shade is a contrast to a lighter shade; and 
 vice versa. 
 
 A bright light is a contrast to any other light which 
 is not so bright. • 
 
 Small and agitated lights are best contrasted by large 
 
 i 2 
 
108 
 
 LIGHT AND SHADE. 
 
 dell flat shades, as in. the sketch on coloured paper, 
 where the flittering light of the flying spray at the 
 bottom of the waterfall is well contrasted by the sombre 
 stillness of the dark rocks against which it beats, and 
 in an opposite sense the broad light of the evening 
 sky is relieved by the small dark foliage of the trees on 
 the left-hand side. 
 
 In the same way a mass of building which are in 
 shade may be relieved and contrasted by perforations, 
 which admit the light as in Fig. 11., where the dark 
 side of the ruined abbey is relieved, and rendered less 
 heavy by the windows through which is seen the light 
 of the evening sky. 
 
 Fig. 11. 
 
 1 
 
 The strongest contrast to a light is by making that 
 light the only light in the picture, all the rest being in 
 shade. 
 
 A square flat shade is best contrasted by any small 
 irregular lights, as in. Fig. 12, the squareness of the dark 
 
 i 
 
CONTRAST OF COLOUR. 
 
 109 
 
 tomb is contrasted by the light leaves of the bramble 
 which hang over it. 
 
 Fig. 12. 
 
 Every light or shade may be contrasted by a light 
 or shade of a different form, according to rules given for 
 the contrast of form. 
 
 On the Contrast of Colour. 
 
 There are three primitive colours, with which all other 
 colours may be made : these colours are yellow, blue, 
 and red, each of which, if perfect, is entirely free from 
 any mixture of either of the above colours*. White 
 consists in the absence of all colour, and black is made 
 by the mixture of the three colours f . 
 
 * We possess no such thing as a perfect colour ; the blues seem 
 to me to he the most perfect that we have. In this, however, I 
 may he deceived by the superior power of blue over all the other 
 colours, by which any admixture is not so readily perceived. 
 
 t Sir Isaac Newton says, that white is caused by the mixture 
 of every colour, and black by the absence of all colour. This is 
 philosophically true ; but as the work I now offer to the pub- 
 lic is a work of practical information, I have ventured to assert a 
 proposition, which, though perfectly true in regard to the mixing 
 of colours, is at the same time false as far as it regards the doc- 
 trine of colours, 
 
no 
 
 CONTRAST OF COLOUR. 
 
 Now, as all these colours, if perfect, are entirely 
 free from any mixture of another colour, so each colour 
 forms a contrast to the other two ; as for example, a 
 perfect red, having no mixture of either blue or yellow 
 in it, is by this reason a contrast to either of those 
 colours, and so on in regard to the rest. These con- 
 trasts I shall call simple contrasts ; but as each primi- 
 tive colour has two others to contrast it, so these two 
 contrasting colours, when mixed together, form a double 
 contrast. For example : red is contrasted both by blue 
 and by yellow ; blue and yellow mixed together, form a 
 green, therefore green is the strongest contrast to red. 
 The following is a table of the primitive colours, the 
 simple contrasts, and the compound contrasts. 
 
 Primitive Colours. 
 
 Simple 
 Contrasts. 
 
 < 
 
 Double or 
 Compound Contrasts 
 
 Red S 
 
 Yellow 
 Blue 
 
 I 
 
 Green. 
 
 Yellow | 
 
 Blue 
 Red 
 
 \ 
 
 Purple. 
 
 Blue | 
 
 Red 
 
 Yellow 
 
 I 
 
 Orange. 
 
 Thus the simple contrasts to red are yellow and blue, 
 which, mixed together, form green, the double contrast 
 of red. 
 
 The simple contrasts of yellow are blue and red, which 
 mixed together, form purple, the strongest contrast of 
 yellow. 
 
CONTRAST OF COLOUR. 
 
 Ill 
 
 The simple contrasts of blue are red and yellow, which 
 mixed together, form orange, the strongest contrast of 
 blue. 
 
 The following simple scheme will exemplify the three 
 simple colours, yellow, blue, and red; and the three 
 compounds, green, purple, and orange, which form 
 the contrasts to the simple colours, whilst the union 
 of the three simple colours, producing grey, is seen in the 
 centre. 
 
 We have already observed, that all mixtures of the 
 three primitive colours we shall call greys ; dividing 
 them into red greys, green greys, yellow greys, purple 
 greys, blue greys, and orange greys, according as they 
 approach nearest to the different simple colours and 
 compounds. 
 
112 
 
 CONTRAST OF GREYS. 
 
 On the Contrast of Greys. 
 
 The gentlest contrasts of green greys are yellow 
 
 greys and blue greys; the next, orange greys and purple 
 
 greys ; and the strongest contrasts are red greys ; and 
 
 vice versa. 
 The gentlest contrasts of orange greys are red greys 
 
 and yellow greys; next, purple greys and green greys ; 
 
 and the strongest are blue greys ; and vice versa. 
 
 The gentlest contrasts^of purple greys, are blue greys 
 
 and red greys ; the next, orange greys and green greys ; 
 
 and the strongest, are yellow greys. 
 
 Every grey is contrasted by a primitive colour, and 
 that in a greater or less degree, according as that grey 
 possesses in its mixture a less or greater degree of the 
 colour it is meant to contrast. For example: a red 
 forms a strong contrast to a green grey, whilst it forms a 
 very feeble contrast to a red grey, with which it is said 
 to harmonize*. 
 
 Every colour may be contrasted by another colour of 
 a different form. In this case, however, the contrast is 
 not in the colour, but in the form. The same may be 
 said of the contrast of a dark and light tint of the same 
 colour, the contrast being then a contrast of light and 
 shade, and not of colour. 
 
 * The student will observe, that it is impossible to draw the 
 exact line which separates contrast from harmony, as it entirely 
 depends on circumstances, the value of forms, of light and shade, 
 and of colours, being entirely relative. 
 
 k i 
 
CONTRAST OF GREYS. 
 
 11: 
 
 In considering the three primitive colours, yellow 
 may be considered as light, red as middle tint, and blue 
 as dark ; again, yellow is a warm colour, red neither 
 warm nor cold, and blue is a cold colour. Of all the 
 colours, simple and compound, orange is the warmest, 
 and blue the coldest ; by which it will be seen, that all 
 warm colours are contrasts to cold colours. 
 
 By an attentive perusal of the foregoing pages, at the 
 same time carefully studying the examples which have 
 been given, the student will be enabled in .a few hours 
 to acquire a perfect knowledge of the different contrasts 
 of form, of light and shade, and of colour. Indeed, the 
 study of contrast requires nothing more than to compre- 
 hend thoroughly the meaning of the word, as the differ- 
 ences of light and shade, and of forms, are self-evident, 
 as are also the differences of colours, after the student 
 has learnt that there are only three primitive colours, 
 each of which differs from the other two. It is for this 
 reason that I fear I have been somewhat tautological 
 and verbose in my explanation of this part of Effect : 
 but as my work is intended to convey information, and 
 not as a specimen of high-flown language, I have con- 
 sidered that it is better by the sacrifice of style to render 
 it more clear and explanatory, than by an attempt at 
 elegance of diction, to lose that perspicuity so necessary 
 in works of instruction, and which is so often neglected 
 by scientific men. 
 
J 14 
 
 ON HARMONY. 
 
 LESSON XXVII. 
 
 On Harmony. 
 
 As we have before observed, harmony consists in a 
 sameness or similarity of forms, of light and shade, 
 and of colour. Thus, in regard to forms, 
 
 Every line is in harmony with another when it runs 
 parallel with it, whether it be a straight or a curved 
 line : thus, in the annexed figure, 
 
 1 
 
 there exists a perfect harmony in the lines of the two 
 mountains which follow one another, and in the straight 
 lines of the two rows of houses and square lump of 
 stone in the foreground, and the straight lines of the 
 water. 
 
 From this example, the student will readily perceive 
 what is meant by harmony of forms ; — in the same way, 
 the harmony of light and shade exists in a picture where 
 
 V 
 
ON HARMONY. 
 
 115 
 
 the lights or the shades are of the same degree of strength 
 throughout. 
 
 With regard to the harmony of colours the same 
 simplicity exists, and consists in a sameness of tints 
 which pervade the whole of a picture. Thus, when 
 a drawing or painting exhibits a general tone of green, 
 red, yellow, grey, fyc, it possesses a great deal of har- 
 mony, for a colour bears the greatest harmony towards 
 itself, as red to red, after which those colours which 
 have the greatest mixture of red in them, such as orange, 
 red greys, fyc. 
 
 The above explanations, though short, I trust will 
 be fully sufficient to shew the meaning of harmony: 
 the proper union of which, with the rules of contrast, 
 constitute what is generally termed Effect. 
 
116 
 
 ON EFFECT. 
 
 LESSON XXVIII. 
 
 On Effect. 
 
 In speaking of the contrast of forms, I have intro- 
 duced many objects as contrasting others when the oppo- 
 sition was not perfect, but, on the contrary, more or less 
 broken by a mixture of harmony ; for instance, I have 
 said, that " any line which if continued would cross an- 
 other line is a contrast to that line :" so it is ; but unless 
 that line cross the other at right angles, the contrast is 
 not perfect, but inclines more or less towards harmony, 
 in proportion as the lines approximate towards a parallel 
 situation : indeed, all the examples of contrast which I 
 have given, are so mingled with a certain proportion of 
 harmony, that they may all of them be introduced with- 
 out any fear of rendering the picture disturbed. In 
 making a drawing, the most powerful contrast as well 
 of light and shade, and colour, as of form, ought to exist 
 in the principal object, whilst all the other parts are kept 
 subdued, so that the eye may rest undisturbed on what 
 forms the subject of the picture, without being called 
 away by the" superior force or brilliancy of some other 
 object of less importance. With this view, I have given, 
 in the subject of poultry drinking, the brightest colours 
 and most forcible contrast to the cock, whilst all the rest 
 is more or less subdued, and rendered subservient to 
 that one object. Had I rendered the dish which con- 
 
 Ma 
 
ON EFFECT. 
 
 117 
 
 tains the water of a brilliant red, the contrast between it 
 and the bright green of the foliage which surrounds it, 
 would have been so forcible that it would, by becoming 
 a prominent feature in the drawing, continually attract 
 the eye from the principal object, and thereby destroy 
 the repose ; for the student must recollect that two prin- 
 cipal objects of equal force or size, or of the same colour, 
 ought never to exist in a picture, but that one object, 
 whatever it may be, ought to be the principal, and all 
 the rest subservient to it. 
 
 Much however will depend on the nature of the sub- 
 ject of which the drawing is composed. In portraits, 
 the effect is often thrown on the face, every other part 
 being made as little prominent as possible, whilst, on 
 the contrary, in landscape, many of the objects ap- 
 proach near to that of the principal one, not only in 
 colour but also in force. 
 
 In considering the effect of colours, particular regard 
 must be had to the kind of weather which is supposed to 
 be represented, if the subject be a landscape ; and in 
 other subjects, what the nature of the object is which 
 gives the light, whether it be the sun, fire, or candle, 
 and whether the light be reflected or direct, and if re- 
 flected whether from a warm coloured object or cold co- 
 loured object, as it is on the nature of the light that that 
 general hue which gives harmony to a picture depends ; 
 for example, suppose the subject is a landscape, in 
 which the setting sun, amid red and yellow clouds, is 
 the object which gives the light ; in this case, the light 
 side of every object will possess a warm yellow tint, and 
 
\ 
 
 118 
 
 ON EFFECT. 
 
 should any thing be represented of which the light side 
 is cold, a want of harmony will be the immediate conse- 
 quence : notwithstanding this, many, indeed I might say 
 all our best artists, who have ever painted moonlight, 
 have generally introduced a fire in some part of their 
 pictures, the red light of which is so different from the 
 cold beams of the moon, that I always think that that 
 part of the picture which derives its light from the fire, 
 looks like a piece of another painting cut out and stuck 
 against the moonlight. In representing a landscape 
 lighted by the rising sun, every object ought to be repre- 
 sented cooler than when the sun is setting, as the light 
 of the former is generally more clear and cold than that 
 of the latter. 
 
 With regard to the colouring either of landscapes or 
 other subjects, the greatest contrast ought to be observed 
 in the principal object ; thus, if the subject be some par- 
 ticular building, it may be represented with a bright yel- 
 low light upon it, whilst dark clouds of a cold blue grey 
 thrown behind it will render it more conspicuous than 
 the other parts of the picture where the contrasts are less 
 forcible. 
 
 When the colouring of any part of a drawing looks 
 dirty through want of clearness, some artificial object of 
 vivid colours placed against it will destroy the dinginess 
 which would otherwise exist ; for instance, should the 
 colouring of a field look dark, dirty, and want transpa- 
 rency, a figure placed against it, dressed in a white 
 jacket, striped with lake, and yellow or light blue co- 
 loured trowsers will render it less opaque. 
 
 Mi 
 
ON EFFECT. 
 
 119 
 
 From the above observations, the student will find 
 that effect depends on contrast, more or less subdued by 
 harmony, and that a knowledge of effect depends entirely 
 on a thorough knowledge of the different contrasts of 
 form, light and shade, and colour : all therefore that the 
 student will have to attend to in studying the principles 
 of effect, is to obtain a perfect knowledge of contrast, a 
 thing in itself the most easy that can possibly be, as the 
 very word may be said to explain its principles : the ar- 
 rangement, or subduing of contrasts, will likewise be 
 easily learnt (to a certain degree) by the rules given in 
 this lesson. 
 
 Let not, however, the student imagine that I offer 
 these chapters as a perfect system of the principles of 
 effect ; no, on the contrary, I only give them as a finger- 
 post to direct the traveller on a long but pleasant road, 
 from which, if he attend to the directions I have given, 
 and the ideas to which those directions give birth, it is 
 not likely that he will wander far : should he wish, how- 
 ever, when farther advanced, to obtain the information 
 of another guide, let him consult the works of John 
 Varley, from which I must again acknowledge that I 
 derived my first ideas on this subject; indeed all the 
 merit that I claim is, in having arranged those ideas 
 more simply than he has done, in having adapted them 
 better to the capacities of young persons ; and in having 
 
120 
 
 CONCLUSION. 
 
 been the first who has ever offered those ideas to the 
 public in the form of a drawing book. Let other and 
 better artists than myself do as I have done, and we 
 shall no longer see drawing masters who cannot draw, 
 and students ivho do not know what they are doing. 
 
 CONCLUSION. 
 
 I have now arrived at the end of this Treatise on 
 the Art of Drawing in Water-Colours ; and though it 
 consists of fewer pages than most works of this kind, I 
 trust it will be found fully sufficient to answer the pur- 
 pose intended, which is, to afford those who are un- 
 acquainted with drawing, the means of acquiring it with- 
 out the aid of a master. Many will perhaps say, that I 
 am advancing more than my work will make good ; 
 in answer to which, I must beg those persons to recol- 
 lect, that many of our best artists have raised them- 
 selves to their present eminence by their own exertions 
 alone, unaided even by a draiving-book ; that to acquire 
 this art depends almost entirely on the pupil * ; and that 
 
 * As I have before observed, a bad master may prevent the 
 student from getting on so fast as lie otherwise would, if aided by 
 a good instructor, but the best master can never advance his 
 pupil, if the latter does not aid his endeavours by attention and 
 industry. 
 
CONCLUSION. 
 
 121 
 
 as the art of Drawing (with the exception of the prin- 
 ciples of Effect,) is an act dependa7it more upon prac- 
 tice than theory, so it must necessarily follow that the 
 rules wilt be short and few, when compared with the 
 time requisite for its acquirement. 
 
 THE END. 
 
LONDON 
 PRINTED BY WILLIAM CLOWES, 
 
 Northumberlaml-court. 
 
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