Handbook of Drawing

OF DRAWING

HANDBOOK

BY

WALKER

WILLIAM LECTURER

AND

WITH

TEACHES

OF

FREEHAND

UPWARDS

OF

TWO

sincere most

is universal heart

elaborate

and

in its influence

quick

;

so

finish.

THE

COLLEGE

OWENS

WOODCUTS

HUNDRED

may

In

observation.

imitative

IN

DIAGRAMS

AND

'Art

DRAWING

Either

this will

it be

in its

case

it may

be

whole

and

practice,if be the

it

proceed

merest

from ilje Sfecoub(Kitglblj American

*

YORK

NEW

SCRIBNER'S

CHARLES 743

AND

745

BROADWAY

1880

sketch,

perfect.' GOETHE. "

SONS

from or

a

the

Art

Library

1(0

PREFACE TO

THE

issue

very

this

fair

real

indulge

Handbook of

and

done

a

a

great it

country meet

reception

in

the

me

usefulness

may

; and

I

with

America

OWENS

Manchester,

as

1880.

isfactory sat-

shall kind it has

as

WALKER.

COLLEGE,

February,

to

amongst

England. WILLIAM

THE

aifords

extended

that

hope

appreciative in

of

Scribner

Messrs.

in America

amateurs

the

of

proposal

prospect the

EDITION.

AMEKICAN

THE

vii

PREFACE

THE

TO

THE

in

in

cultivation

the

of

Books

has

its

studied

find

in

as

in

its

beauties The

its its

of

in

Nature,

will

or

"

any

put

It

tion informa-

likelyto

has

all true

been

be

met

prepared

education

by

bad,

consists

and

in the here enable

before

abundance

Greek

intellectual

expression. the

latter

be

aspect, former

The

signs.

should

rules, and

and

;

man, Ger-

or

its

copying

merely

class-room,

in

are

than

more

elements

significant outlines,

diagrams

is not

as

and

good

Art,

the

such

judgment.

emotional

information

and

that

delineative

exact

furnish

to

form.

learned

be

more

sphere of

the

grammatical

recommended,

and

of

to

is

Education

Examples,

is not

"

work

principle

language

the

EDITION.

compact

guiding

the

well

Art

other

any

under

Art

this

Elementary

on

but

of

purpose

with

FIRST

amidst

as

will the

studio.

presented, the and him

and

student

to

drawings in

the

practice

make* from

ful truthoutlines and

lecture-rooms

elsewhere. ix

Preface.

x

work

The

of

only useless

away

in

its

duty

present to

issuing

been

suffering,

physical

courses

has

help this

were

to

and

form,

little

as

and

fellows

my

has

to

open

others

chiefly

prepared

to

I

me

are

imperfections.

many either

to

the

my

to

or

latter.

reasons

the

hours

bring

the

out

desire

The

and

apology

volume.

WILLIAM

Fairlands,

let

Hayfield.

Two

"

myself, chose

intervals

during

WALKER.

pass

book

and

for

As

false start, or

a

inquiry or

an

in

entering

suggested, and

the

In to

such

prevent

may

learn

that

us

that

those

enables

In

ask,

us

Just we

we

"What seek

fundamental so.

should

And

in

the

of

at

we

thoughtful be

useful, suppose should

we

to

develop

given

for

in

the

to the

come

once

worthy motive,

a

study be

lead

pursuit of

naturally expect

perhaps drudgery,

would

Science as cesthetically,

with

answer

would

the

it,

and

has

wish

we

But,

order

God

in nature

principles on in

do

it may

Because

which

will

The

which

course

which

and

success.

course

?

stated

of

worthy

Art

start

we

;

beginning, then,

results

the

matter

is here

like

we

higher form,

a

work,

are

reasonable.

more

taneously spon-

outset.

Because

then intellectually,

reasonably expect

may

That

the

works

of

ask, Why

us

be,

study

to

His

to do

us

of

root

let

be

faculties

nobler

appreciationof

reply,

take

wish

we

let

reply should

our

should

answer

at the

satisfactory,or

certainly would

our

say

if

; but

men

To

deemed

be

hardly

?

draw

field

new

tendency

place, then,

first to

this

failure,

to

occurred

not

has

perhaps

indispensable facts

wrong

lead

bias, may

wrong

upon

few

a

a

which

two,

STUDENTS.

TO

ADDRESS

to

of

would an

go

the

secure

undoubtedly acquaintance the

which any

language,

new

likely to

most

to

this

through

this nature

some

preparation, equivalent

with

is based.

Art

subject of

be,

to

labour,

learning

Address

xii

French

to Students.

ingly, not unwill-

hexameters, and

verbs, or writingGreek

*

provided always that labour would It is

bring us

just in

this

Art, remembering

and

temper the

at

Greek

and

verbs

to the desired

nearer

that

Arts

without of

work

a

its

physical science

any

Language alone is form, while science

still

without To

that so

be

on

mind

much

so

"

power

of

means

becomes

be

impossibleof

; but

rather

be '

action Art

of power,

should

with

Physical reasoned a

medical

Latin ; and

acquirement

perception,and

is conversant

it into

i111:11:0 of God

a

new

Himself.

with

hand

and perception.' pleasure, not

from

to stand, phial-like,

this master,

Chemistry,then it should

so

be treated

development of

now

so

much as

agent, which, gatheringto itself knowledge weaves

expressing

"a

indispensableas

as

; for

instruction

much

so

and

illustrations ?

fact.' To sense-subjected

should

sources

youthful

from

it

as

would

learn, there

eye, main A

a

soon

or

sensible form.

enjoyment with and

so

drawing will Mathematics

even

thought

be

Anatomy,

or

without

the worst

of

prehensible utterlyincom-

would

Chemistry,

that, in

and

;

are

What

whatever,

one

instead of

student

him

drawing is incomparably the best.

stands

statement

aid.

French

study is

to

proposes

Sciences

and

Physics,or

on

now

everything about

to

of the

fact, many

he

study

occasionallybe useful

will

hexameters

student to

a

such

goal.

that, whilst

time

same

pleasant,the language

closelyrelated

ask

we

that

certain

were

we

that

a

ceive re-

much

Geology mysterious

of all

which

kinds, is the

INTRODUCTION.

IF

it

amongst

any

not

in

one

other

of

such

is

Millions

of

takes

us,

yet

each

time

in

the

our

be

may

every

and

common

as

there well

would

to

are

as

in the

be

full

pleasant

to

would

wearisome.

be

that

dwell

is

an

in

the

to

us

than

therefore

by

of

the

aspects.

infinite

source

midst

of we

in

appearances An

square

is not

which

ual contin-

pecially pleasure, es-

but

is

fully to enjoy

general

form

and

things, the

oblong one.

the which

This

landscape,

of

cause bemind

form

of

fail

vision,

The

see.

means

ances Appear-

and

It

various

that

a

result.

facts,

judge accurately

monotony. in

the

around

alteration

complete

a

is

some

of the

things

cultivation.

we

with

of

with

variance

at

detailed of

yet

;

life unconscious

inch

everything

variety both

not

were

might

disconcert

appearance

an,

under

things we

that

it

them,

not

or

correctlythe

see

about

through

in the

furnished

when constant

surprise,if

open

assumes

of

change

If

are

able

object

of

faculty, requires

be

to

could

windows

move

of

eyes

requires eye

we

constantly other

intelligentmen,

or

pass

place

appearance

any

them

Exchange,

fact.

persons

that

like

walls

the

change

are

of

amount

probably

of

large gathering

the

small

no

Manchester

the

on

hundred

every

appearance cause

announced

were

room

A

is

circular

so

it.

color, world more

room

Introduction.

xiv

actuallydifferent hues

The

infinite

another

of it is lost because not

music, and

knowledge

that young

music, is it

world, which with

As so

the

hand

would

time

the Greeks, in as

France he

is

Arts of

is concerned, it

with

writingand

only

drawing

Germany every

taught

to

she must

drawing

if

pay

and

this beautiful

enrich

our

the

to

ceive re-

drawing

will

this country.

With

synonymous

; and

taught to draw just

time

England is

more

when

were

much

ought

utilitarian motive,

a

child is

write,and

; and

time in the practice

thingsin

note

is

and

necessary

imagery ?

physicalworld

practiceof both the

to

rapidlyapproaching its rightplace in education in

demand

by

important gateway of knowledge,

great culture, even for the

colour

considered

immensely enlargeand

fine thoughts and

the

as

and

ciation appre-

equallyimportant to cultivate the

not

the eye is the most

far

it

helps,both

to the

of form

spend so much

should

persons

eye to observe,and

minds

with all the

If it be

full appreciati

a

important is

so feeling(love), necessary

and

surrounded.

are

we

of

be furnished

enjoyment of the charms

and

which

necessary to

are

have

we

knowledge of

a

enjoyment of sound, how should

that the mind

enjoyment

quick to observe,or

not

are

well-trained ear,

a

and

of

we

much

pleasure,but

is

in the world

colours

fullyto appreciate. If

trained

been

of

source

and

to

attention

is

given to the

hold to the

of principles

Art

her

own

in

ing rightteach-

as

primary

a

step.

Every purchase we or

pattern about

make

of

it,encourages

anything with good

or

bad

a

design

Art, though

Introduction.

do

we

what in

think

not

pleases design, No

us,

well

as

doubt

and

pure,

Art,

and

good,

or

to

as

to

expect

to

sell

has

taste

it

bad

and

generally,

True is

of

in

that

his

in

is

in

one

Art

as

perfect is

an

is

pure

be

know it

bad,

good

who

or

buy

what useless

is

shopmen the the

that

therefore,

know

should

manufacturer,

is

what

prepare

desirable, the

those

not

must

and

may

artistically,

they

fits

nature's of

view

important

him

all of

himself

and

universe in In

the

things,

this

factor.

the man,

great

applied

as

become

to

capability

manifested Man.

whether

man,

"

universe,

work

"

If

false.

what

buy

purpose. taste

do

to

apt

quality

and

but

;

from

most

as

in

too

Art.

material

the

true,

which

Creator

secondly,

it

well

as

education

Infinite

of

It

good

patrons,

to is

buy.

right

morals,

its

sense

which

public

best

a

distinguish

will

is

be

may

are

place

everybody

public

what

its

to

manufacturers

that

is

what

of

suited

as

in

are

so

instead

We

time.

the

at

so

xv

the

first,

; *

Father

his

work

of

or

of

perfectly surely

or

and

highest view

of '

all

us

;

the

and,

spiritual

only the

the

whether

surroundings,

world, and

in

Art

to

in

study

the

of

CONTENTS.

CHAPTER

PAGE

I.

ON

DRAWING

II.

ON

THE

III.

ON

SEEING

1 7

EYE

AND

12

OBSERVING

......

20

IV.

ON

HOLDING

V.

ON

LINES

VI.

ON

OUTLINE

26

VII.

ON

SKETCHING

29

ON

LIGHT

ON

DRAWING

Vni.

IX.

X.

AND

CONTRAST

XII.

ON

RELIEF

ON

SIZE

XV.

ON

37

SHADE

FOR

FLAT

A

COURSE

81

XVII.

ON

TASTE

XVIII.

ON

STYLE

XIX.

ON

MOTIVE

XX.

ON

BEAUTY

.

.

83 .

.

.....

...

.

86 .

.

.....

.

.

.

.

89 .

SECURING

57

STUDY

76

SYMMETRY

ON

OF

....

PROPORTION

XVI.

55

COPIES

.........

.

ON

23

FROM

SUGGESTIONS

ON

XIV.

PENCIL

.........

XI.

xra.

THE

CHARACTER

IN

ART

.

WORK

.

.

.

.

92 ....

.'.'-.

95

.

99 101

107 .

.

. _

XXI.

ON

110

FITNESS ...

XXII.

ON

.

.

.

.

.

.

112

VARIETY .

b

xvii

xviii

Contents.

PAGE

CHAPTER

XXIII.

ON

UNITY

118

XXIV.

ON

COMPOSITION

120

XXV.

ON

LIOUT

AND

TO

AND

XXVI.

LAWS

SKETCH,

TO

GROUPS

OF

OBJECTS

130 AND

NATURE,

OP

APPLIED

AS

PICTURES

THEIR

APPLICATION

AS

PLES PRINCI-

138

ART

OF

XXVII.

SHADE

145

PICTURE

STUDY,

153

XXVIII.

ON

GRASS,

ETC

XXIX.

ON

TREES

XXX.

ON

PRACTICE

XXXI.

ON

WATER

187

XXXII.

ON

SKIES

193

XXXIII.

ON

DRAWING

HERBAGE,

160 FOR

TREE

181

DRAWING

FIGURES

AND

204

ANIMALS ....

XXXIV.

ON

210

CRITICISM

PART

XXXV.

ON

PERSPECTIVE.

XXXVI.

ON

ARTISTIC

XXXVII.

ON

TECHNICAL

II.

INTRODUCTORY

REMARKS

215 .

.

.

218

PERSPECTIVE

238

PERSPECTIVE

APPENDIX. ON

A."

B.

"

C.

"

D.

"

ON

CHILDREN'S THE

DIASCOPE

PENCIL-IN-HAND

NOTE

DRAWING

ON

263 264

MEASUREMENT

TEACHING

.......

266 207

LIST

ILLUSTRATIONS.

OF

"Frontispiece.

PAaE

of

sketches

Rough

for

a

'Effect'

for

Frontispiece

,,

Lotus

4, 5.

box.

2, 3

Order

Figs. 1, 2. 3.

tea-kettle, "c

Moulding 13

Scroll

plant.

15

,,

6,

for

bracket

Iron

16

lamp

,,

20

Hands

7, la. ,,

1b,

c.

and

Hand

pencils

.21

,,

Id.

File

22

box

"

and

curvilinear,

Rectilinear,

8, 9, 10.

forms

compound

24 .

,,

"

,,

,,

20.

Coast

21.

Female

Outline

wheel.

by

scene,

J.

D.

Outlines

of

24.

Window

of

30 ...

32 33

Harding

D.

....

.34

tree

.

.

.

Outlines

picture

.

faces

"

23.

of

27

stone

Harding

J.

figures, by

"

22.

of

Sketch

,,

shoe, convolvulus,

Irregular form,

14, 15, 16, 17. 18, 19.

26

apple

Circle, cube,

11, 12, 13.

.

.

.

35

trunks

,,

.36

25.

Diagram,

26.

Illumination

27.

Jar

,,

showing of

rays

of

.

.

.

....

,,

.

39

light

40

objects

,,

and

,,

28, 29.

hoop, showing

Blocks,

,,

30. ,,

31. ,,

Base

of

showing

pillar and

Doorways,

showing

cast

41

shadows ....

43

reflections

stick, showing effect

of cast

cast

45

shadows .

.

46

shadow ...

List

xx

of Illustrations. PAGE

Figs.3 la. 32.

Opening

in

Wooden

33.

Portion

34.

Pillar

wall, showing retirement

platterand

of shade

.

.

knife

47

......

of tree

48

.,

35,36.

"

Old 40.

...

.

.

*.

.

.49

Pairs of feet .

.

.

.

.

.51

/.

Roofs

37, 38, 39.

"

.

.

"

twine

Leaves

52

shed

54

blockingin'

'

,,

59

Flat tint 41.

Outline

GO

sketch

of boat

,,

Graduated ,,

42, 43, 44.

,,

45,46. 47.

,,

,,

views

Angular

50.

Angular

51.

Eye-stand

"

Chairs

54,55.

Barreland

"

56.

Portions

57.

Outline

,,58.

of round

65

table

66

of

67 of squares

67

of square

68

70

'What-not'

cylinders

70 71

........

sketch, after J. M. W.

Turner

Diagrams,

73

...

contrast

to show

77

61.

"

"

62.

,,

78

"

after Watteau, by J. Dancing figures,

D.

Boat

68, 64, 65.

"

,,

.

72

...

M

"

59, 60.

"

of squares

69

52, 53.

"

views

views

view

"

"

63

Transparent cube

48, 49.

.,

61

tint

Different

Two

.

46

Harding

.

79 80

Arches, showing relative size

....

84

66.

Diagram, showing proportion

87

67.

Ovals, showing symmetry

90

Landscape

91

xxi

of Illustrations.

List

PAGE

Pigs. 68, 69. 70. "

92

Twigs, showing character

94

Hamper

,, '

71, 72.

"

Jugs

96

.

.."....-....

Scroll

98 '

Umbrella

73, 74.

"

.-100 .

101

drawing, showing truth and falseness

Child's

.

*

Acorn

106

.

.

.

.

-109

Vase 75. ,,

"

Diagram of circle,showing segments

"

ovals

77.

showing how

,,

Rhine

boats

Contents

of

,,

,,

,,

,,

,,

,

"

79, 80.

a

pocket

87, 88.

Composition lines

89, 90.

,,91.

"

in

"

"

letter

96, 97.

Repose

Division

Bolton

of

and

pictures

101.

.117

.

.

.

.

.

Italian Lane

124

.-.'..'.

124

.'.._..

125

...

.

.

.125

126 .

picture

buildings

in

122 123

.

....

Contrast

Abbey, by

"

,,

.

'.

.

Surrey

,

~

J. D.

.127

...

.

.

.

100.

.116

126

Composition lines

,,

,,

115

prisoner

94, 95.

99.

.

121

.

98.

.

.-

"

discovered

,,

,,

.

.

"

"

The

.

123

Crocus, vase

93.

.

.

Lines, showing relation,"c.

85, 86.

The

.

ovoids

to construct

...

.

.

compositions,glass,sketch-book,"c.

Two

81, 82, 83, 84.

92.

...

.

"

,,

.

"

"

76a, b.

78.

lt4

oval

76. "

113 ....

.

.

.134

.

.

.

"

"

"

"

.

.

135

"

,,

.

,,

...

_"

128

.129

.......

Harding

.

136

137

Bit of road .

of Illustrations.

List

xxii

PAGE

106.

140

Candlesticks

104, 105.

"

139

candlesticks

Primitive

Figs.102, 103.

141

Candlestick

"

107, 108, 109.

"

110. "

142

Cups of Wilkie's

Facsimile

first idea of the

'

Rabbit

on

the 147

Wall' 111.

Sketch

148

of field-flower

"

113.

,,

"

Sketch

of

Dame

115. 116.

Study

151

of tree trunk

H8.

Outlines

"

121, 122.

Notes of leaves

123, 124.

.

,,

,,,

"

125.

Herbage

126.

Concentric

'

"

ringsof

130.

Branches

183.

tree

Oak

grass

.

.-'"-.

.

.

.

158 159

131, 132.

Oak

163

tree trunk

leaves and

of oak

and

spray

sycamore

.

.

.

.164 165

....

168

134.

Ash

tree

169

135.

Ash

spray

171

136.

Umbrella

137.

Shade

138.

Sycamore

139.

Birch tree

175

140.

Shade

exercise

176

141.

Beech

stems

..

,,

.157

.

..

"

.156 .

Preparationfor

127, 128, 129,

"

,,

of leaf

.

"

,,

152

grass blades

..

119, 120.

,,

149 ....

150

"

.

149

bridge

"

""

148

common

Campbell'shenroost

,,

"

117.

a

"

"

"

sheep on old window

114. ..

"

148

beehive

112.

"

diagram

172

exercise

173

tree

(J. D. Harding)

174

...

177

List

of Illustrations.

xxiii

PAGE

Figs. 142. ,,

Scotch

179

Tree-shade

143, 144. 145.

fir

Exercise

exercise

182

for tree contour

183

,,

"

,,

146,147. 148.

"

149. "

,,

186

Diagrams, showing angle of reflection

150. 151.

185

trunk

"

"

"

of oak

Portion Tree

"

.

.

.

-

Frontispiece.

153.

Diagrams, showing

154.

Cumulus

curvature

of

waves

.

.

.

.

.

.

at rest

after travel

155.

.

"

156.

Creeping mist

157.

Clouds

158.

Coast

,,

159. "

.

.

.199

203

......

206 207

Figures, after Prout

163.

Figures, after J. D. Harding

164.

Oak

165.

Transparent cube

,,

.

.

"

160, 161, 162.

"

"

above

"

"

.

(J. D. Harding)

scene

"

.

.

.

.

.209 209 .217

spray

218 '

Cube "

"

"

"

"

168. 169. 170.

174. 175.

"

,,

"

diagram

Book

176. 177.

.

.

.

.

.

.

.

Cube

...

.

.

.

.

i|

.

.

.

.

.

.

.

.

.

"

.

,

....

Outline

.

.

.

.

.

.

.

.

.

Twenty

...

room

-219 .

220

.220

"

222

./

223 .

Transparent cubes Interior of

218

.221

blocks

Transparent cubes cubes

".

"

.

;

Arm-chair

171, 172, 173.

190

202

from

seen

,,

189

198

,,

"

188 189

"

"c Looking-glass,

152.

,,

184

,

upright

.

.

...

224 .....

225 .

,

xxiv

List

of Illustrations. PAGE

Figs. 178.

of

Diagram

"

179, 180.

Blocks of

"

181, 182.

Two

"

183, 184.

Uphill and

185, 186.

Angular

,,

,,

view

Angular

188.

Transparent

189. "

buildings

227

of shed

views

187.

"

226

room

228

downhill

view

229

of square

and

cube .

.

.

of cube

231

cube

232

cubes

233

"

"

,,

190.

Block

of

191.

Angular

buildings view

195. "

196, 197.

"

198, 199, 2CO.

"

201, 202, 203. 204.

Block

Diagram

1.

.

.

.

circle

Ground

239

plan and

views

"

of

of three cubes six cubes

"

buildingsfrom

Showing

4, 5.

,,

.235

.

.

ground plan

same

Appliance, illustrative of perspectiveterms

2, 8.

"

piano

237

and

Square

"

and

234

of models

Group

"

238

of cube

Chairs

192, 193, 194.

"

in

same

how

and profile,

to find distance

,,

.

.

.

.

.

.

.

.

.

points and

6, 7, 8.

,,

9, 10.

"

11, 12. 13.

"

14.

,,

Figs.205. "

,,

parallelviews

.

"

of square

view

of cube

ing vanish-

tomb-stone

,,

Hands

....

oblong cube

.

.

.

251 254 256 258

,,

Diascopc

206, 207.

and

,,

Explanatory of angular view

Angular

245

248

circle and

"

241

244

*

flat

240

242

points "

230

261

265

measuring

Kettle,"c

......

266 ,268

OF

HANDBOOK

DRAWING.

PART

I.

I.

CHAPTER

DEAWING.*

ON

THE

1.

has

drawing

led

series

a

associated

with

wider

much

are

used,

that

not

and

used.

should

mechanical

such

the

be

as

was

Department become

it has

applied

is not

rulers,

compasses,

flowers,

free-hand

landscapes,

assistance, ought

be

to

a

all

to

geometric drawing, instruments

this

models,

by

Eightly understood

alone.

In

It

unfortunately,

has,

instruments,

therefore

speaking,

and

free-hand

instruments,

without

copying,

significance, and

where

drawing "c.,

Art,

and

term

confusion.

designs issued

outline

of

Science

of

the

to

the

considerable

to

originally applied of

of

misunderstanding

are

work.

Strictly

drawn

without

considered

hand free-

as

drawing. *

A

definition

if it is not

to

of

the

exclude

Hamerton

leaves

significant marks,

the

art will

permit

us

:

'

"

'

drawing into

art

some

less.

says

term

If

we

we

are

say as

'

which that

precise

be

must

drawing

drawing as

comprehensive

very

the

is

numerous

enters a

more

motion

which

varieties

to be.'

1

or

of

On

2. Its

ideas

practisedmore

useful

which

all.* *

In

infancy

pressing ex-

should

art, and

in

sort

a

as

most

a

has

Russian

often

a

of

be

hand short-

understood

translation, and

respect it

Atkinson, the well-known

towards

perceptivefacultieswill

knowledge conveyed

this

step

of

earliest

the

language requiringno

by

medium

less from

or

language, by

quickened,'and

the

through

first

is the

elementary study

our

be

Drawing.

great advantage

traveller,told the writer

that

seriouslyinconvenienced his pencil. for the readiness with which he could had it not been use The followinganecdote, also,will show the advantage of being ready with this universal language. An artist who had neglected to secure for his day's his lunch before going amongst some mountains Welsh

on

many

occasions

painting,after and

he would

hours'

some

been

have

work

began

most

feel faint

to

for

of

want

food,

inquire if he could have a cup of tea. His receptionwas not an agreeable one, as he was attacked by a couple of curs, which frightened him and put to flight of noisy fowls. On the good woman of the house a number opening the door a few inches of tea, to the artist made his requestfor a cup which he got the reply, Dim Sasenach (No English). After again urging his request, and meeting with the same determined, settled, and settling 'Dim he Sasenach,' bethought him of his jxxiket answer, seeing

a

cottage at

distance, went

some

'

'

sketch-book, which of

had

been

Switzerland,

following,and

showed

to

of like service

and

he

it to the

want, instantlyopened wide

to

him

instantly made

among a

the

sketch

taineers moun-

like the

unwilling dame, who, recognisinghis

the door, beckoned

him

into the

cottage,

On

describe in

as

well

as

3.

The ?

draw

'

it had

and

coal-vase

and

answered.

better be

chair.

a

In

themselves

with

kettle

something

like

unknown

an

behind

in

the

and

making of

his a

he sketched

good

ignorant question,

an

who

persons

two

learn

can

to

had

children, who

mother, returned,

soon

the other

with

his

woman,

his mind

was

troduced, in-

the

he

so

;

hostess

his

two.

or

egg

mistake

charmed

he

possibility by the but politely,

substantial

eggs

something

of

remembrance

;

if she The

could inevitable

'

Dim

Sasenach

at her

"

filled with

with

eggs,

a

bowl,

of which will

give

the

rough

sketch

an

idea.

Satisfied,refreshed, and

again ready for work, prepared to depart,but sketch, the value

the of

power

of

English

soon

pocket sketch-book, getting out following: whereupon the oft went of interpreting, power diately to a cupboard, and imme-

so,

like the

large,clean,wooden

ascertained

'

his

returned

he

learn to

one

every

language

their

which

repast more few

asked thoughtlessly, oblige him with an him

the

amidst

suggested to

showed

draw

learningto

'

noisy cackling

addition

is

Very quickly the cakes were baking on Scotch a griddle,' hung from chimney. Soon the artist was

enjoying himself, the

This

spring water. boiling,and

was

chain

to

dailyuse

it.

drawing

Can

'

seem

All

of sticks and

bundle

a

of

can

of

of all persons

it may

although

hastilydespatched,and

one

of

instead

"

questionis often asked,

offered

were

article of

common

wish

to write.

concealed

a

a

if,as in business,we

any

strong argument in favour

a

a

writing almost

sofa,or

a

say

"

will be evident

writing,as

over

Drawing.

his

hostess

silver.

to

understand,

the not

without

artist before any

On

write

Can

'

add

who

is

taught

it

ought

taught in

be

in Continent

on

of incalculable

But

4.

here

understand

we

kinds

of

purpose

:

not

Beethovens, are

many

or

sons per-

forts pretentiousef-

not

because

schools, but

culture and

drawing,

ing draw-

schools, it is

because it would

of life to those

be who

of is

drawing

best

following remarks FortnightlyReview, January abilityto

draw

almost

drawing,

says

I do not

:

cultivated,but or

he

:

"

be

For

artisan

an

that the

is that

to

one

example, a

artisan.

an

man

The

of first

he should

Professor

Huxley appeared in the 1878. Speaking of the preparation for And especiallyI should require some for that is a giftwhich artistically, may '

learned, but with

everybody,can

I suppose

another.

suited to

from

mean

cannot

suitable

be

do

various

are

for knowledge requisite

and

requirementof

teaching

There

? may

applicableto

The

technical

draw

that which

scarcelythat

What

important question:

an

and

be

not

elemental *

arises

by learningto

may

the kind

of

painters,

born, but

less

own

by

learnt it.*

had

be

our

one

answered

the Continent

in the business

service

any

in the best national

to all children to

On

Masses.

Can

Great

many

happiness by

and

'

be

may

not

are

?

'

be

there generation,

a

national

to

Oratorios

than

insisted

in

Mozarts

or

poet

a

composers,

there

though

But

Handels,

become

great

or

required,

were

questionmight

the

one

any

great poets

made.

'

artist ?

an

another,

and

If it

learn to draw.

can

become

like

Drawing.

fair accuracy.

learn to write ; and,

majority of

body, Every-

writing is a kind the people who say they cannot as

draw, and give copious evidence of the accuracy of their assertion, could draw, after a fashion, if they tried. And that after a fashion " "

would "

be better

than

I Mi|.|M)s"' that

(thestudent)could

nothing for my in nine

draw.'

trades

pur[x"ses. out

of

ten it would

be

useful

if he

On

be

able

accurately, say ; for if he

it is drawn

when a

draw

to

if

box, and

foundation

box, then

a

which

on

Drawing.

a

draw

can

his

understand

brick

a

table ; and

build

to

brick, and

a

he

thus

he

knowledge

it draw

can

has

safe

a

it may

as

be

required. On

5.

the next

is

page

given a supposed order

for

a

mon com-

box, which, though very rough (as though drawn

haste),would

be

without of

any

chance

of

this

case

in

drawing

for

such

is

over

great written

a

any

drawing

tage advan-

description tions instruc-

instructions

"

that

but

the

write out

try to

only be understood,

not

might

workman intelligent

an

How

will

without

box

a

by

error.

be felt if the student

only,may that

clearlyunderstood

in

could

not

be

misunderstood. To

6.

those

who

in after years, recall than

of this kind

in various

7. But

parts of

if true

educated

sketch a

will be

man a

few

knowledge

such

power

in

by

only useful oneself and

even

of memorandum

the

of

be

sketch

that which

facultywithout judge,in

which

far

fits a person

the

beyond

general principlesof

matters

he

will be

for

life,then the requirements of

something

practiceas

tions associa-

photograph.

a

simple objects intelligently.He of

will,

the work.

education

the after circumstances

not

the circumstances

of

more

of freehand

knowledge

taken

or lengthened description,

a

Illustrations found

little

slightestsketch

The

delightful.

a

understood, will be

here

drawing, as but

travel,even

will can

develop in neither

of taste.

him

power

must

Fine that

an

to

have

Art, and aesthetic

fullyenjoy,nor

rately accu-

On

Fio.

1.

Drawing.

Fio.

2.

II.

CHAPTER

OF

8.

and

the

five

the

other

of

seeing

and

the

the

three

chiefly supply

is at

soul, and

through

images,

highest pleasure ranks

above is

eye

so

the

refined the

upon

the

of

all

it may before

A

here the

mind

be

of

the

image

an

consciousness

of

can

of

servant

ety vari-

richest

says

that

'the

the

Eye.

She

He

dignity.

form,

whose

with

repose

beautiful

the

is

eye

that

from

given

when

has

ure pleasreached

conveyed

by

9 ; but

page is

the

through

the

on

at

object

an

it passes

is formed

of it is

the

through

he

sense

raptures.'

sensational

light

is the

Robertson

that

The

comprehensive,

It

in

and

whilst

nature,

most

receives

senses

of

outline

the

wants.

comes

briefly stated,

eye,

animal

all.

W.

F.

description

lens, and the

the

sensation rest

serene

short

them

by discipline

purest of the 9.

it

our

of

ideas.

or

our

seeing,

"

seeing

two,

"

part of

active, the

most

intellectual

most

of

the

once

smelling

and

intellectual

the

to

knowledge

of

gateways

or

senses,

hearing, feeling, tasting,

hearing, belong

EYE.

THE

ON

placed line crystal-

retina,

from

whence

optic

nerve

to

the

the

brain.*

*

the of and

The

number

impression violet,

789

strike

the

of of

shocks

colour

millions retina

is of

at

the

per as

second

follows

of

:

Red,

"

All

millions. back

necessary

the

eye

451

these in

one

to

of

millions waves

second.

of

production

the

millions the

enter "

TYNDALL. 7

eye,

;

the

On

8

The

10.

eye of

adapted

to the

being ;

but

with

little

with

the

available

whilst

training;

perfect

eye

it

If

near. or

a

twenty

person years

by sight; shooting a drop the

and

pecks

chick at

away

grainsof

obtains

his

of water has

its prey

at

human

is

idea

no

gets

millions If

mountains

of miles away

a

London,

hold

and

objects reflected London last

there

would

"

objectswould with

many

eyes ; whilst camera,

not

fixingthem

in it

from

be

the

others

are

from

shell from

seeing near

or

It is

have

Liverpool to have

to

as

passed, on left

the

on

station ; all the

more

for

motes, very

as

were

nothing

who

the

requirestraining.

they

be gone. persons

small

travel, say,

as

misses;

colour.

so looking-glass

a

perhaps

image

to

were

person

it

; but

by

wonderfully adapted, self-

a

or

of distance

its food

scarcelyever

acting,self-regulating, ^and self-mindingorgan, things large as

fifteen

distinguishingthem

crumbs,

and

equally

appear

only just emerged

eye

and

distance.

sight at

little fish that

of similar size and

sand

The

11.

probably

whilst

the

by

young

of

even

is said to have

the

human

infant, though

of age, he

that

a

requires long

judge

face

very

young

organ,

blind

born

when

very

can

its mother's

and

moon

a an

as

frequent practicebefore The

is that of

as

well

animals, being chieflymoved

lower

their organs

instinct,have

sheep, is probablyas

a

of their life

purpose

the

of

fish,or

a

Eye.

just so,

other a

a

to

the

myriads

lesser

sensitised

the

arrivingin

glass but

learned

not

like

in

all

of

degree,

use

plate

their in

a

only receivingimages,but photographing and by

observation.

On

Considered

12.

the

merely

as

Eye. an

9

the

organ,

eye is

a

pound com-

lens, consistingof three principalparts,the aqueous the

humour, The

lens,and crystalline humour

aqueous

Behind

glass in shape.

in front of the the humour.

network

things with

13.

caused

means

to

vary.

and the

of the

by

eye

and

the

lens

and

the

the

watch-

a

ately immedi-

the

rounds sur-

vitreous

which

pigment, upon

called

the

retina, is spread. It

retina,that receives the images of

marvellous

rapidity,and

them

conveys

to the brain.

iris the size of the

of the

the

When

light is

it is intense

when

humour,

the

black

a

of nerves,

optic nerve

By

follow

this is

such

the

the aqueous

Then

is this delicate screen,

through

in front

lens, is the iris,which crystalline

pupil. Behind

delicate

is held

humour.

transparent,horny capsule,something like

a

cornea,

the vitreous

the

pupil

feeble

the

pupil

eye

is to

when

the

pands, ex-

thus

pupil contracts;

quantity of light entering the

be

may

extent

some

regulated.

upon

14.

The

a

near

distant 15.

also

pupil

diminishes

object, and The

one.

The

eye

image

expands thrown

possesses

distances,chiefly by Two

lens. crystalline the

eye cannot

adjustment the

other 16.

A

the centre

be

a

of

change

in the

clearlydefined

of the

to become

line drawn

eye

for

adjustment

the

seeing one

same

ferent dif-

for

curvature

different

at

a

upon

the retina is inverted.

upon

objects at

is fixed

it is fixed

when

power

a

eye

of the from

distances moment

will distinctly

:

the

cause

indistinct.

through

of the whole

the

centre

of the

cornea

eye is called the axis of the eye.

and

the

On

10

When

17.

impression of

an

retina it does not time

after the

Eye. light is

instantlysubside; but has

cause

passed

This

yaries

and

with

fraction

different

of If

18.

succession

a

images will

or

the

blend

of the

case

time

in

because

a

image

these

the two

which

amounts

are

of

when

that thrown

takes

to

very

reallyare,

viewed

have

give the

as

from

two

in the

if, whilst

will lose what *

I don't say,

drawing.

child

very

the in

rapidly,

they appear

(on that

he

young, the

drawing

'

or

two

Both

other,

retinae,were

the

not

See

they

as

exquisitelittle reflector,

As

innocence

torily. satisfac-

space

they often actual

the

eyes, therefore,

things not

sees

does

lessons.

of

impression of solidity.

they appear. true

retina

separate places. If

and solidity

first

is called have

vals at inter-

stereoscope,in which

at

the

the

on

the

full

idea of

what

gradually learns

and

other

going round

to

on

eye),unconscious

from quite different he

sensible

a

the retina of the

on

the

place

young

but

the

persistence

shady surface,as

object thrown

any

should

we

necessary

A

of

the

revolvingchromotrope.

object is

is what

20.

is called

to

each

a

picturesalways slightlydiffer.

two

short

a

impressionendures,

form

wheel

a

follow

the

pictures,thrown

combined, This

images

together and

eye differs from

one

of

spokesof

the colours 19. The

interval

for

second.

a

less than

the

persons,

This

the

upon

remains

away.

'persistenceof impression.'

made

actually

are

the child grows,

shapes draw

of the

of

things,

things,* eye

Appendix A,

on

;' so

he

that

children's

the

On

he is older, and

when he

will have

to

back

again,as

it were,

of

nature,

the rules of

use

to the

thus

perspective:

and simplicity

truth

child-sight. There

top of

are

with

the

supposing

a

sees

who

draw

distance

they

true

then

; the

enough

reading

'

of

*

Though

whether

a

as

necessary, or

this

fact that,

a

guide in

and

the

pencil

perspective

for this reason,

the

judging, distance,for "

a

with the

When

landsman.

equallynear

almost

more

boys

again, till at

image

the mind

image. Aiming

at

the

to take

last

is

retina a

correct

give power

to

one

of the two

given mark,

a

billiards,tends

on

at

given hole,

a

certaintywhich

The

is for difficulty

two

man, sea-

into their eye, first of

image

hole.

A

look-out, judges much

almost the

practice.

earnest

ample, ex-

in

as

and

the eye.

to

accuracy

than

cricket, or

shooting,or

and

of the other, again and

is nearest

marbles

the

marbles

determine

may

In

feres shape) inter-

It is

person,

frequent and

on

earnestlytake and

actual

of

solid forms

of the eye for

distance

their

very

the

book, correctly.

hold

upgrown

constantlyon

accuratelyof

they

an

draw

innocentlyor truly.

power

is

play have

a

cannot

retina.*

the

he would

depends

"

of

could

more

The

21.

or

child

young

correctlythan

that he

table

a

image

well, sufficiently more

of

or

(with its knowledge

mind

who

intelligent persons

many

tumbler,

a

the

case

*

things from

in seeing retiring forms difficulty

and correctly^ to learn

11

to draw

attempts

considerable

will have

Eye.

not

plumb-line may

the a

eye, if

be used

in

drawing,

fairlypractised,will

line be vertical

".

soon

it is

learn

reallyseldom to determine

CHAPTER

ON

BY

22.

III.

SEEING

careful

AND

the

for, although

often

we

If

wish

we

when avoid how

far

to

see,

we

have An

the

of

parallax

a

object

an

only

near,

vision

little idea

of

this

of

space

taken

(i.e. will

But

from

if the

the

and

of

the

at

:

it with

it obscures

or

]"cncil,ojien

set

ii

the

the

*

but

if

both

other

pencil

desire

we

eyes

must

for

with

places,

pecially object, es-

to

so

to

as

determine

used,

be

as

so

alone

eye

one

now

"

a

full

a

eye

from eye screens

taken

idea

of

pencil closed,

the

view

and

close

of

the

idea

strument. in-

the

different

two

objects

or

at

pen

and

the

be

may

better a

observe

from

eyes

will

be

fect, per-

one

different

understood

little distance what

without

; now,

a

No

of space.

vision

quite

from

distance various

exactly

without

see

in

seen

views

point).

same

we

be

may

it two

in

the

be

the

of

Hold one

of vision

what

the

by parallax

manner

look

room

that

have

meant

following

you,

relief

'

shall

is

used,

views

two

'

'other, the

What

be

exactly

each

*

should

by placing

with

we

eye

parallax

points, corresponding

and

any

given beyond

be

or,

one,

of space.

illustration

same

;

two

ordinary stereoscope,

the

recognises only

of

us,

from

single organ,

a

contour

one

is from

it were,

as

as

of vision.

clearly the

see

come be-

may

eye

instrument.

of

spoken

both, Art

use

the

drawing,

measuring

a

been

point

to

as

have

eyes

correctly,one

more

in

practice,as

astonishingly accurate Hitherto

OBSEEVINO.

object

just used,

from or

the

moving and

in

part head

it will

part. 12

Ixj

Seeing and

On

observe, then, that

We

clearlyone

should

only

eye

Observing. the

to

see

be

used

13

of

contours

in

; whilst

distance,or of the location of objects in

space,

objects

judging both

of

should

be used.

When

wish

we

should

eyes

for the

A

same

is

often

'

eyes

picture or

a

shade, apart from

detail,the

to

admit

glassis sometimes

used

as

the

drawing

only

the

by

artists

thus

seen

purpose.

in

of

spoken

parlance is

as

the

given

of

shade,

and

tration illus-

the

this

frontispieceof

the

forming

3

drawing

picture or

a

Art

Fig.

light

effect,'or

of

shade

'effect.'In

the

the

closed.

in

light and

darkened

light and

The

half

which

in

way-

partially closed,so

be

bright rays.

another

observe

to

of

principalmasses

yet

Art, viz.

in

be used

should

is

there

But

23.

work. 24.

From

wonderfully adapted, sensitive

said it will

been

that, although the

evident

be

has

what

the

for

and

eye

so

delicately

so

reception

is

of

images, FIG.

it

requires the

presence

of

a

mind

3.

to v

read

or

The so

needle

the

the

on

rapidly, but ready and

be

it the

take from

presenting; importance 25.

The

to

impression it presentsso constantly.

telegraphicdial

little purpose

willingto and

receive

this leads

us

be

may

if there the

be

moving na

information

to make

some

ever

gence intelliit may

remarks

on

of Observation.

power

of

observing varies

much

in

different

On

14

but

persons,

Observing.

practice. greatlyimproved by intelligent

be

may

It should

confined

be

never

book

to

has

who

one

learned

has

who

of wisdom

of evidences

eye, and

endless

an literally

of

source

likelyto

objects.

beauty

for

mind, is

We

enjoyment. part

be of service to

to

one

it

is seen,

what

on

the

closed

a

; but

observe

reflect

to

class of

of

to

therefore, naturallyinquirewhat is most

one

the

for

learnt

not

see, and

to

to

brimful

physical world, though

The

is

and

Seeing

may,

culum liberal curri-

of

a

us

in

and

forming

Certainly,whatever developingthis important faculty? other tangiblesubjects,such as chemistry and physics, Nature hold

rambles

does.

be

both

Art

art

the

of

or

and

the

as

"

a

eye

is

often

in its twofold

science to be

pleasurewe

man's

deep import,as which

stone, which

a

verbal

our

wish

we

descriptionalone if

but unsatisfactory,

knowledge

be understood

panied accom-

distinctly

helps observation, and character, as

known, and

take in any

as

:

to

the

mind

symbolic ornamentation

presentedto

on

1st, that by what

they suggest in

an

the eye is of such

a

science

art to be

whether objects,

making, chieflydepends

followingconsiderations to

A

remember.

studied

practised.The God's

leaf,or

In

case.

long.

Collateral

an

a

drawing of it,would

a

be should,, as

say,

simple

a

aspects must

drawing, rightly

is what

This

with

contact

beautiful

more

suppose

us

tedious

remembered 20.

and

to

reason

with and

Let

pick up,

we

some

would

in their

important place.

an

immediate

into

brings us

Art

with

and

pursued,

for

which

that

do,

may

a

of of

some

they

sent pre-

something ; or,

form

or

of

2nd, that colour

as

Seeing and

On

to excite

; or,

of the beautiful

sense

our

Observing.

"

this is aesthetic

3rd, the formk presented to

us

the

of

sense

or

or

be such

may

suggest the idea of fitness,either alone with

15

in

suous senas

to

conjunction

beauty.

FIG. 4.

27. In and

we Fig. 4 (the lotus-plant)

unpretending ornament, much

emotion,

significant symbols

but

of

when

which

by

have

a

conventional

itself would

recognisedas

Egyptian architecture

one

of

becomes

not

cite ex-

the most full of

interest.

FIG.

Fig. 5 in

itself

is

a

form

pleasing,as

5.

which, apart from is also

the

any

piece

of

association,is scroll-work

in

On

16

the

But

Fig. G.

charm

(conveying the much

of

it not

applied where

because

with

Seeing and

Observing.

this latter is

the work

only does

of

a

bracket

it does

also because

but fitness),

idea of

greatlyenhanced it

grace.

Pio. 0.

It is in thus that

real observation how

only to

see

important

28.

There

only that

which

essential characteristics

consists,and it is that

beauty,but

is,and whence

must

seeingthe

the

it will be

mind

also to know

fore, evident,there-

should kind

what

of tilings be

of

led not

beauty it

it arises. is much we

look

truth

in

for, and

the remark to

look

consciouslylook for something.

that

we

see

we energetically

This

will be

better

On

understood

the

by

and

Seeing

'And

the

at

magnet

asked, "What

and

assemblage this

even

of

of

the

Now,

for.

in

not

the

trees

"

my

Amid

the

experiment,

an

of

advantage

special point

'They

that

be

to

which qualities of

in

of the most

a

one

not

were

rocks in

beautiful

admitted or

their

plant they had

dinary or-

artists look

intelligentartisans

conversation the

and

sight

people generallydo

group

in

little

a

artistic

fact

and

seen particularly

searching for that

a

writer

the

Derbyshire,and

had

that

they even

They

way.'

heard

valleys

hills,nor

the

anists bot-

"

were

in

of

as

of

information

being

locality.

Thus, about to

truths

instance,

met

"

the

from

for those

For

upon

for?"

felt the

the

to

hand

with

between

difference

sight arises look

directed

net electro-mag-

*

illustrated.'

not

look

experimenters

attention

I

Faraday.

an

laid his

I to

am

room

arranged, when, just

impressions connected

prince

his

having

29.

excited,he

was

of

me,' says

in this

place

peculiar action

a

crystal.Everything was

a

the

before

took

Professor

reminds

acquaintance with

my

him

show

to

upon

arm

of

beginning

wished

which

occurrence

an

this

17

which

following anecdote,

Tyndall gives of Faraday. Tyndall, 'of

Observing.

what

men

they

whether

see

their

use

want

to

A

know.

it will rain, and

at

view

to

its value.

him

as

strikingly picturesque,but

market

value.

'

A

channels

as

eyes

drove

Money *

value

Tyndall,

On

of

'

a

field of

cattle will as

at the

looks

farmer

not

corn

be

with seen

objectshaving

is all that

Sound, p. 120.

some

sky

persons

a

by their can

On

18

dead

eyes, but

they have

:

like the

they are

aesthetic

aesthetic

no

who

man

still could

but

with,

Observing.

them'the

With

in the world.

see

and

Seeing

had

facultybehind

for he

did

or

them

his

know

not

;

read

bought spectaclesto

read,

not

is blind

sense

letters. It is

30. the

a

the

saw

same

the

though

"

again by

The

alike. in each

the

Not

31.

to

is concerned,

learningto education

see, for

for

gradually reveals this

new

to

nature

food for the

imagination.

Many

would

knew one

little about of them,

descriptionof a

group. and

Or, paper,

the

be

as

that

particular thing

When

people

rather

the

act

not

natural

a

acquiringit

of

form

of

form

of

a

ox

an

or

a

velops de-

thus

that

we

to try seriously

draw

may

one

Let

write

quietlyand

horse

that

horse.

if he find this too tedious,let him and

they

artistic

object of

sight is

talk of

to say

indignantat being told

however, sit down the

passed through

which, being emotional, supplies pure

sense,

persons

Capel

pictures

and aesthetically,

us

to

go

but precisely,

have

is the main

acquired,and

be

may

far

Artistic

amateurs.

we

men

different result.

quite a

that

If

two

same

paint, they ought

and

two

no

find

the

blindness.

equivalentto draw

but faculty,

with

anything is,so

see

learningto

are

been

will representation

different mind,

quitea

have

that

painted again and

shall not

artists,we

ever

object. be

subjectmay

saw

persons

Bettws-y-Coedor

say,

"

objects may

case

in any

artists

same

successive

two

no

equallytrue

appearance

sketching-ground of

Curig

that

it is

rainbow, and

same

ever

opticalfact

an

"

they any

such

a

it in

know

take pencil the

one

he

On

knows

and

well

so

and

Seeing rides

Observing. The

daily.

19

exercise

be

may

of

value to him. that

tells us,

Hamerton

32.

and

country life,and livingsummer he

till he

postponedthe writing of

; and

heur

the

from

humiliating

familiar labours them

by

their

artistic sense,

for

and

till she

such

as

and but

by

true

value

Rosa

on

and

even,

; for

and

calling

in

when

she first

kept

studied

restlessness

We

should

seek

hand, through art

and

always by

the

her first

present age

for

but

the gorgeous

the

quieter,

some

of

of seeing and

old

our

of sympathy,

power

is in

It is in

us.

students

cultivate

habit of

observingaccuratelv

a

noble

the

this

love for Nature

way

that

in her

bling, ram-

lish Eng-

enjoyingrests

thoughts we

the

and '

observation

detail

it in every

of

began

enduring, pleasure of

and

the true

it

it became

doubt

no

comparison,

impatient of anything

sensitiveness

excites within

their

in the memory.

standards

sheep, and

a

heart ; and

sensational.

of

Bon-

farm, and

without

Bonheur, that

us

sketch-book

chieflyin

ing paint-

to

and not, in the deep, critical,

bought

haste

to make

scenery

them,

have

must

less wholesome

not

the

on

apartment, and

The

standard. are

she

it

knew

view

cows

mately that, although inti-

of little value

are

of Rosa

Parisian

a

and

them.'

comparison we

in

oxen

he had

"

seen

study animals

her

all the

names

It is recorded to

with

Observations

33.

horses a

to

largefarm,

a

article

an

conviction

personallyfriendlywith

"

on

with

studies of them

to make

began

winter

anything accuratelyabout

knew

never

'accustomed

although

would

that

have

and simplicity,

her subtle, hidden

it

a

teachings.

CHAPTER

ON

THE

34.

much

hand,

in

thumb

as

long

mobile,

and

One in

this

an

octave.

of the

Much,

fingers so

however,

depends

is held

in

drawing.

and

is

this

which

is best

certainly

"

as

knuckles in

Fig. the

up 7

it

that

with

FIG.

the

Only

adapted

not

a.

thumb

on

the

one

the

the

short

he

can

that

rule

general be

held

in

the

near

FIG.

when

writing, thus

Sometimes and

first

the

only reach

the

pencil

be

given,

that to

position be

point,

7

done

;

with

or

a.

(Fig. 7), but

pencil, being

finger, and

case

pianoforte

can

particular work

fingers

paratively com-

latter

in which

way

are

and

physical adaptation. on

7.

as

the

performers

the

fingers

they

in

of

want

should

for

in others

varies

organ,

the

some,

practice

any

skilful

most

has

country

whilst

almost

handling

or

In

stiff ; but

and

surmount

soon

prehensile

individuals.

are

it

a

PENCIL.

THE

HOLDING

different

short will

IV.

rather

held

supported

by 20

tween bethe

On

long

should

one,

Holding along

pass

other

the

by

far

of work

drawing

As or

be

possible,be

as

when

to

at

excellence

instruments A

set of

cut even

with

an

done

with

a

pass

finger in

an

the

under

upward

hand, held

(Fig. 7 b),according

; and

worked

to the

in

from

all

it

cases

should,

as

shoulder, especially

the

easel.

in Art- work

used,

the

greatlydepends

sharpening of

the

on

the tools

tant. pencilsis impor-

pencilsnicelypointed is quite a temptation to

first two still finer

7c.

refinement.

delicacyand

like the

first

21

7 ".

FIG.

draw

the

fingers,thus

FIG.

kind

Pencil.

it should

direction ; sometimes also

the

in

Fig.

7 c, but

point,except

They like

where

should the

never

third one,

it is intended

be or

to

On

22

shade

wood

and

cleared

in

be

left

prevent a

away

Eig.

7

side

the

of

then

the

support

the

instrument

the

"

should

lead

as

with

broadly

Pencil.

the

Holding

small

uncut

it

on

from

file

side,

one

After

breaking. may

be

used,

d.

FIG.

7

d.

as

so

or

one

to

the

fixed

is

cedar

in

a

box,

CHAPTER

V.

ON

BY

35.

is not

without

length mark

line

a

here

breadth

stroke

or

LINES.

thickness,

or

made

by

the

meant

but

of

elongated

an

instrument

some

idea

abstract

on

plane

a

or

surface. There

36.

curved, and beautiful

not

may

in

of the

things

38.

things

by

two

in

it is easier

as

point

a

defined

or

in bricks.

line

is

that

considered

are

form, is

lines

that

continued

distance

fit two

curved

one

is found

in nature,

utilityis

to

are

It

; but

look

you

pattern

or

crystals,buildings,

in which

varied.

square

defined

nearest

which

curved

There

object

If

and

lines.

reallyno

are

man,

box,

a

human 39.

the

A

the

as

any

and

infinitelyvaried

indicated.

be

find

be

may

lines, straight

between

"

generally

in

these

straight line

than

the

or

there

made

because

by line

straight

Although idea

not

of

all the

may

will

described

points.

two

these

creation

you

direction,

one

any

in

room,

be

A

37.

of

means

forms

the

round

by

kinds

two

only

are

or

in which

plain

chief

the

as

purpose

for

as,

is

direction not in

many ;

faces straight sur-

or

irregular,

chiefly,but beautiful,

the

in

and

the

find

we

stance, in-

stantly con-

altogether,

in

leaves, flowers,

"c.

beauty, however, the

beauty

of

the

in

crystals,and

square

arises

even

partly 23

in from

24

a

On

of exactness, for if it be not

sense

give pleasureand 40. Both beautiful

when

in

forms

are

curved when

The vary, and lines.

lines.

called rectilinear

straightline only ;

straightand

when

with

made

lines

curved

can

be

placed only

perpendicular,horizontal,and perpendicular may

therefore

them

and

10.

;

and

they are

be considered

of

inclination

with

either

may

can

and

three

tions, posiing. slant-

positionsnever used

incline

only

in

oblique or

horizontal

slantinglines

or

degree

comparing

the

(as in Fig. 10).

Oblique

the

with

made

called curvilinear

both

most

tecture, of archi-

kinds

some

be

(as in Fig. 9) they are

straightline

viz.

in

as

felt to

are

Fio.

of

to

once

9.

forms

42. A

at

ceases

trees.

Fio.

composed

compound

lines

curved

8.

lines

it

exact

square.

combination,

(as in Fig. 8) they are

PIG.

a

flowers,and

When

41.

to be

straightand

vases,

and

Lines.

be

as more

standard or

estimated

perpendicularor

less,

by

horizontal

On

In

43. is

copying

standard

be first

of

all lines

by

them.

those

by

The

which

scarcelybe

can

in

means,

25

or

model, therefore, it

a

with

begin

to

lines should

judged

other

example

an

evidentlyabsurd

Lines.

slanting lines

drawn,

of

importance either

are

the

and

free-hand

slanting ones

tal horizon-

perpendicular or

there

as

on,

of

drawing,

the

constantly testing

stronglyinsisted

too

all

:

are

no

attaining accuracy.

(See,also,1 105.) 44.

and

By

all solid

line at

forms

perfect in

and

admitting of

of

The

is described like the

cannot

up

and

of

a

by elongation,and This its

combination

architecture '

four

fixed

the

as

by

per a

the

of the

highest development

"

se, but

contrast

to

admixture

straightwith in the human

it the

two

of

one

the form.

ment elein

than

archetype

as

buildings.

New

This of

no

only the

lem Jerusa-

ever, figure,how-

change

in its

"

cation appliThe

curve.

in Nature

of these

unity

an

the

the

admitting

highest forms

combination

as

square.' "

creation,

varietyrather

forms, such

beautiful

structure, and

beautiful made

are

to

being

circle,being

be considered as

most

as

future

in

in

not

a

vegetable

is,however, has

in

and

a

in

result

form

considered

be

may

constructed

highest piece of "

It

therefore

consists

square

crystalsand

economical

most

completeness.

which infinity, The

of all animal

superficies continue

we

it will

point

a

archetype

variety,and

no

numbers.

of

its

If

suggested.

from

simplest and

lines all

elemental

be

may

is the

the

"

two

distance

equal

an

circle,which forms,

of these

means

and

in Art

forms

modified

with

the other.

curve

is found

in

VI.

CHAPTER

ON

of

45.

OUTLINE

any

form

may

be

OUTLINE.

understood

(as Fig. 11).

It

FIG.

lines thus

to

indicate

its

general

may

to

be

also

the

mean

contour

mere

a

sketch

with

11.

and

leading characteristics,

:

"

FIG.

Some

FIG.

12.

objects

may

be

clearlyindicated

by

13.

outline 26

alone,

On

leaves, "c. ; whilst

as

shade

without A

46.

for

;

others the

"

flat contour

lines

Outline.

cannot

in

the

but

their character

same

contour

pressed exsatisfactorily

instance.

be

greatlymodified

on

its

by

17

Fig. 14,

as

greatlymodified

is

FIG.

by

the

different

FIG.

and

FIG.

it will

often

very

be

thought

and

labour

outline

is most the

to

suggests

it would

fullyto

FIG.

requirelong describe.

important, mind

time

(See

17.

idea

an

and

much

ing 6, order-

page

box.)

a

47.

In

drawing than

more

will

former

"c., whilst It is

always aim

Head, the first twenty lines will

as

only add

can

a

wrong

The

first efforts at

been

in

is to

afterwards

of

the

get at the

mouth,

importance

fact which

no

rect cor-

amount

primitiveman

with we

as

of

right.

sketch

outline,just as

the

lesser facts.

overrate

Art

cate indi-

; for

nose,

eyes,

by outline,inasmuch

indicated make

do

can

principal facts

the

latter

lines

scarcelypossibleto

shading will 48.

a

hundred

a

give the

form

The

it

effective,as

things which

16.

that

seen

of many

of

14.

markings.

15.

Thus

dicative in-

few

a

face sur-

example, Figs. 15, 16,

are

be

sphere,for

may

markings

or

27

find

in

the

children's mind

have work.

recognises,

rather the

the

than

this

it is in was

for

word

without

of

writing and the

considered

in

drawing

drawing,

their

are

evidence

any

in

to

show

that

Babylonians, Assyrians, or of

the

fuller

of shade.

expressionof

We

find

them

invariably in profile; tints

whole

of

colour.

civilised

impression

of form

by

seems

the to have

only by outlines

time been and

same

of

they design

by lines, and

not

had

of

forms the

as

the

knowledge

any

gradation

forms, and the

to be

appear

of the

means

fillingup

"

ment employ-

nations, such

outlining their

until

means

the

arts

get

ventional, essentiallycon-

does

earlier

form

the are

Egyptians,

then

Thus, world

the

used

produced

There

nature.

to the

to

"

is little doubt

All

are

eye

its earliest

there

same.

they

as

lines

no

in

early development

inasmuch there

the

the

Greeks

The and

of

regard

drawing

writing.

processes

retina

much

that

sense

kind

a

the

on

appearance

clearlystated

fact

and

or

Outline.

On

28

almost with

Greeks,

satisfied flat tints.

with

flat the the

CHAPTER

VII.

SKETCHING.

ON

Art

first

THE

49.

is in

make, the

thing

plan

most

would

be

he

would

testing

time,

saved

if young

and

lines

If

the

in

work

should the

be

from

of

",

and

casts,

of

to

the

with

right

and

'

some

and

rubber, and

by

by

(as

what

first and

secure

square

drawing,

of

in

Fig. 40),

the

very

would

be

ficiently suf-

to be

The

scrolls

in

lines

is shown

by

using right

of

when

useful

(as

straight

This

plan

in.'

drawing

flat. near

commence

leading

of

then

part. This

right angles, 'blocking

as

nature

is very

the

to

of

use

be

from

left.

in

is known

(Fig. 18).

is best

would

fixing accurately, the

or

available

every

as

the

all his house

persuaded

be

a

ground-

patience,

constant

a

blocking in,'

well

he

So,

only

of

house,

the

out

plumb-line

walls.

rately accu-

drawing.

a

done

"c.

a,

as

in

a

; otherwise

the

would

copied

in

Ordinarily it drawing,

and

leaves

used

lines,

angles,

to be

or

the

build

plot

building, with

place

to

in

principal parts to

to

plotting out,

be

only

be

accurately

them

time

about

when

points

imaginary,

Fig. 5)

would

persons

and

can

or

do

error,

careful

real

were

with

proceeding

This

man

And

wrong.

much

chief

a

students

young

the

determine

carefully and

corners,

before

which

which

sufficient

taking

Suppose

first

the

not

points

drawing.

mistake

great

line

or

exact

the

object, and centre

of

middle then a

of the to

work

picture 29

is

30

On

Sketching.

a,

Fia. 18.

FIG. 19.

\a,

a.

On

readilyfound

by drawing diagonal

of the paper,

corner

Fig.

drawing,

then

the

principal horizontal

and

the

chief

until

is

lines

are

from

to

corner

lines

woodcut

should

in

accuratelylaid

important

no

in the

as

objects sketched

the work

31

19.

that there

happen

of the

the centre

near

in

as

If it should

50.

Sketching.

(Fig.20),

first be

drawn,

them.

upon

in should

lines

Never details

the

be

added.

Fig. be

affords

21

of

which

perpendicular lines, by

various

which

forms

it would

impossible to reproduce accuratelywithout

almost

aid

of

example

an

curved

inclined

and

lines, both

of

judge

to

of

the

figure

the and

drapery. In

51.

much

use

as

and

never

of

judge

as

cleanly and

cold in

of

the

defined

figuresin

as

straightline

When

keenly

rustic

lines

of the value

52.

that

this work

figures,"c.,

be

; but

have

in

when to

of

arches, "c. (Fig. 24), may of

degrees of curvature.

in

a

the

to

Fig. 22,

tion juxtaposiaccurately

the

has should

various

a

clear be

curves,

perspective

objects as tree-stems,

lines may

lines (as at such

as

readilydrawn

straightlines,by

and

drawn

sketched, then, instead

be

be

only by

used

such

dotted

never

at

sketched

lines as

once,

always better

fully and

can

single line, several approximate

framework

is

one.

contour, the

Fig. 23, a), but

a

we

subject to

firmly at

It is

b.

at

curved

a

Objects composed

up

figure,it

human

possiblestraightlines,as

dotted a

the

drawing

which

be used

of

a

(as

5). Gothic

by

windows, first

setting

to determine

the

On

Sketching.

33

FIG. 21.

Showing curved

ones.

3

the value

of contrasting straight lines

with

On

34

Sketching.

V

^.-X

( Fio.

Faces with

should

dotted ones,

be drawn as

at b.

with

22.

straightlines,as

at a;

never

On

Sketching.

35

FIG. 23.

when Tree-stems,especially several

lines,as

at a, but

never

rough, may with

be sketched

dotted ones,

as

with

at b.

On

36

The

53.

be

used, and

in

follows inevitably several

are

them,

idea

some

other

in

some

cases

single and

a

in

rests

nature

is obtained

lines, is,that

rigidline the

on

; the

of the

singleline

a

several

cases

lines,the eye

it does

as

why

reason

Sketching.

form

texture

surface

and

the

where

; but

is

should

there

included

understood, character

eye

by and

of the

surface.

-J

FIG.

54.

Any

obtainingan bo

obtrude 55.

to

accurate

shading

any should

mechanical

reduced

Although

the

form

that

may

should

be

added, and

to such

itself in the

sketching from

from

is

aids

24.

the

these flat

remarks

as

been

not

outline

or

to

Nature.

in fore be-

itself

interfere

or

the work.

have

reference

copies,they apply also

round, and from

used

cleanlyremoved

sketch

faintncss

completingof

have

principally to

drawing

CHAPTER

ON

56.

the

the '

shade the

makes

the

the

is

drawing of

modelling only,

but

and

in

for

our

a

of

made.

It

surface

may

we

of

knowledge for

as,

forehead

wrinkles

or

they

the in

creases

be

may

the

of

of

without

the

face

a

revealed

of

by

the

a

light

that

this

by

lines

and

and

from

face,

of

paper

shade

that

of

or

of

conscious

piece

;

means

thing the

'

shade

same

one

from

on

which

on

the

on

become

or

light

are

takes

indicated

'

nose

We

eyes.

which

true

strongly

be

and

projection

nevertheless

is

;

surface

Might

surface

the

projection

instance,

over

the

as

contour

is to

shade,'

largely dependent

are

'

and

and

flatness

by

shade

roundness

'light

considered

be

confined

light and

*

fully expressed

never

nature

another, the

of

appearance

should

surface

; and

outcome

Art

object superficial,

an

it solid

natural

away

as

leaves

SHADE.

in

what

contour

outline

'

the

modelling

is to

outline

AND

LIGHT

SHADE

AND

of

means

for

"

LIGHT

(

VIII.

tbe

only is

on

them. 57. it

Before be

may

light and 58.

makes

treating

desirable its action

Light

is

to on

of

are

shade

few

facts

state

bodies

defined

objects perceptible of which

light and

as

to

a

in various an

the

as

with

separately invisible.

Art,

reference

to

circumstances.

imponderable sense

to

applied

of

agent

which

the

sight,

but

Thus,

although 37

ticles parwe

On

38

things by

see

If

it is of

and

the

of these

to

the

us

Whether its

and

the eyes, and

there be

if

number

a

or itself,

which

the power

of

the

or

ray,

a

of rays of

in

other

words,

of

number

we

will

which

rays

it reflects into the eye. and

absorbingmany

reveal

eye

then

can

dark

by it,

all directions.

portions entering the

in

light,

no

broken instantly

object is very light or

nature, and

lightitself.

the

see

partlyreflected

reflected

object,or, the

cannot

object,they are

partlyabsorbed

Some

Shade.

light,we

invisible ; but

course

light,fall upon

be

of

means

objectbe placed before

an

and

Light

it.

see

depend

upon

it absorbs

into

objectshave

Some

few reflecting

will

as

rays,

shortlyseen. 59. It must

and

be

remembered,

highest light,which

painting,our white

or

white

paint, is

as light,

in

paper cloud

this is

with of

either

one

reason

the

tender

from

Nature,

her

the

blue

sky,or

in Art

why

paper

(less light)than

by holding a piece of

seen

juxtapositionwith

; and

range

be

may

drawing

is white

darker

much

very

in

however, that

a

even

cannot

we

gradations or

whitest

the

pete com-

scope

her

highest light to

grey

or

deepest

dark. When

GO.

that

plane

when

the

into

shade absence

;

and of

the

object is

part than

one

part

equal number

an

that

are

any

from

plane

of rays

are

of

so

placed as

object is so placed

an

thrown

eye, it will appear

from

each

part of

equallylight;but

to reflect fewer

rays

from

another, there is gradationof lightinto

although light,yet,as

degreesof shade.

or

shade there

may are

be

generallydefined

degreesof light,so

as

there

On

This

Light

and

Shade.

will be better understood

by

reference

Let a, b, c, d, e, represent equal spaces Illumined on

b than

a

than

a

appear or

very

as

latter

c

dark, and d

or

that

plane,b

to

planes on as

receives

e,

receivingnone,

scarcelyany

any

ject. ob-

rays fall

more

c, will be

d

Fig. 25.

less

light

rays it will

will be

invisible

black.

but

An

it will the

only appear

The

the

from

eye

vertical direct

rays

as

The

and

number

line,o

p.

rays

from

it may

the

to

so

of intensity

quantityof these

actuallyvery light or

be

objectmay

retina.

no

*, it is evident

b c, this

on

Further,

b.

61.

to

from

39

various

*, it

happen

can

to

rays could

planes

It will be

seen

throw receive

illuminating of objectsmay

dark,

spectator in proportion

the

that

rays

very

received be

on

the

reflected

into

is indicated that

as

into the from

be

c

eye

on

d

receives

only such

surrounding

further

the

jects. ob-

illustrated

On

40

by

the

diagram

representrays those

the

c,

apparent that

as

rays, it will

A

B

direction

the

be

so

lines,a

the

plane,c, as

light;

B

is

a,

cepts inter-

placed

whilst A,

line of rays, must

of the

a

planes intercepting

lightest ; but

be

rays, it cannot

the

obliquelyto

and

light,and

It will be

rays. all the

in

(Fig.26), where

below

of

SJiade.

LigJit and

being

be necessarily

quitedark.

FIG.

62. But

there is another

When

objectsare

focus alone, as the and

from

the

but

sun,

26.

fact which

must

illumined

from

not

from

here one

be

served. ob-

point or

also, surrounding objects,

mination of atmosphere, that secondaryilluparticles

is called

and reflection,

thus

much

visible shade

is,in fact,but reflected light. The are

atmosphere is

said to be

seldom

composed

matter, by which

the

of

pure

;

even

our

bluest

skies

of small particles infinitesimally

rays of pure

white

lightare

broken.

On

formed

Clouds

of

and

Light

of particles

-Shade.

41

break

vapour

and

scatter the

rays in all directions. In

63.

; for

same

of

evenness

light,and

of

"

both

and

lightor

depth, transparency,and

the

idea

of

dark, have

of

colour. a

Art

in

the

darkness,

as

tone

which

repose,

and

one

defined

be

unbroken

Moreover, they both, however of

are

they generallyconvey

equal

an

shadow

and

instance,they may

absence

or

respectsshade

some

degree should

alwaysbe expressed. As

of

matter

a

arisingin part

is

we

natural, and All

64.

portion of

surface

have

inseparabledarkness. termed

natural

when

by

the

object

it

you

moved the

light and is

will

from

less away

the

is But

is caused

on

see

the

hoop

removing

There

subject which

some

other

accidental

instance,in Fig.

of the

jar would 65.

called

For

shadow.

shadow

darkness

or

more

some

tween object intervening be-

an

the

27

light have

an

This

shade.

this

is accidental.

turned

therefore

to divide

and

shade, into shade, which

as

objects receivingthe

opaque

light, and

speak of

now

shadow, which

their

practiceof Art,

the

its nature, it is desirable

from

darkness,which

in

convenience

jnIG" 37"

accidental on

the

the

jar.

This

hoop,

whilst

term

used

would the

of

shade

course

natural

be to

remain. is another is very

important,

in connexion

with

this

for

which

all

and

but

would

shadows

and

shades

The to

it is

:

tion, Reflec-

to above.

back

simply lightthrown

to another.

objecton

one

black absolutely

is meant

By Reflection,then, from

be

alreadyreferred

has been

which

Shade.

and

Light

On

42

varies

Reflection

of

strength

in

circumstances, but

greatly,according

degree it

some

is almost

always

present. White dark but

and

and

light.

all sides the

illumination As off in

rays, the

most, whilst

cloth, "c., throw

back

floatingin

matter

off rays, and

throw

these

by

from

away

illuminated

iu all

surfaces

positionand

important in

direct

as

proximity

thrown

are

whether directions, of

This

is

sight of by

a

objects to

the

important truth,

young

is better

affected

tions reflec-

by

these

lighter.

very

explanation may

or

Art.

and, consequently,all shades

reflections will be

rays

direct

the greater the lightis the strongerthe Generally, are,

the

visible.

lightfrom

other is very

the

parts of objects turned

straightlines

reflected each

of

rays

and

rendered

are

black

as

of particles

Even

receive

atmosphere

reflect

surfaces

such

ones,

opaque

little

from

polished

students

that

be

of

not

retained

student

may

out

than

a

and few

is

words

place, and

that

which

gain experiencein

often

so

as

is

lost

of

further

no

edge knowl-

tal, experimen-

the

following

manner.

66.

Get

several

piecesof

eight inches long,and half

through, so

that

as

white

many

they

cardboard, say

inches

will

fold

wide, and and

stand

six

cut

or

them

upright

On

like

(something stand

on

Figs.28

white

any

Light

a

dark

a

comparison

first case

lightfrom

Let

surface, of the

the the

a

as

placed

it will

in

the shaded

thrown

like

if

ner man-

Now

make

that

in the

side is much

of the

many

so

and

paper,

be found

part,because are

of them

one

table-cover.

partof

paper

let

be

dark

a

43

sheet of white

another

lower

upper

white

Shade.

29), and

two, and

(Fig.28) the

lighterthan

and

surface,as

possiblein sunlight. on

and

back

of

rays

reflected

or

R FIG.

against it ;

28.

whilst

FIG.

in the takes

perceptiblechange instead

of

case

(Fig. 29)

place, because

shade

side of

the

it.

reflectingthe light,absorbs

the "

other

29.-

objectswould

little or dark

Except

no

cloth, for

be inevitably

flection, re-

black

in fact,invisible. 67.

If the

will

student

now

coloured

surfaces, he will learn

of

laws.

these

Let

Y

make more

the

experiment

fullythe universality

(Fig. 28) represent the

coloured, say Yellow, and

with

E, the surface

on

which

cardboard it

stands,

Red, and

coloured

is

of

now

back

in

Fig. 29,

surface

of

B

to

the

because

the shaded

is thrown

of the Bed

some

side,Y,

reflected into the Yellow.

or

If,as the

Orange hue,

an

part of

that the lower

It will be observed

placed in sunlight.

let it be

before

as

Shade.

and

Light

On

44

which

on

hue

Purple

a

and

colours

Red, then

it stands

of

will appear

the

is coloured

cardboard

the

:

of

nature

and

the so

the

Blue, and lower

on,

part

according

material

used, ad

* infinitum.

It has been

G8.

their power an

of reflection. of them

object,some

remainder

thrown

rays

more

or

The

of

of

laws

pigments,and themselves. rays thrown

however,

f every

At

we a

not

For

The

is these

see

in all bodies almost

dence, degrees of inci-

difference between

the

flected re-

to

us

deep, will

certain

the

the

est high-

deepest opacity(say,pitch

reflection

of

colour,here referred to, apply only to light,where some singularphenomena present

to pure

instance,Helmholtz other

has

shown

that

Yellow

and

Blue

produce White

light. In painting, substances to produce Green. incidence reflects only 18 rays out of water perpendicular mix

1000.

Blue

When At

an

Yellow

incidence rays

light almost

every 1000."

and

the rays

at 00" it reflects 05

the

object,and

enable

very

upon

degreemerely.

togetherinto each

increased.

where

black.

transparency and

tar)is one *

the

that

light in

rays of

appear

known

retina

greatlyin

light fall

directions.! It

water, when

even

completelyabsorb and

the

by

of

vary

absorptionof light takes place

This

less,and

or

rays

absorbed

in all

on

substances

When

are

reflected

are

objects.

that

observed

strike the water of 40", for

; at

grazes

Vide Tyndall

on

80

333 ,

the

obliquely,the reflection

is

reflects 22 rays

;

example, rays

water

; while

at

an

angle of 89^,

surface, it reflects 721 rays

Light,2nd

cd. p. 17.

out

of

On

46

It will are

be

Shade.

and

if in Nature

evident, then, that

invariable in

Light

and

present,we

ever

our

efforts in

We

have

laws

for

only hope

can

proportion as

these

them

in

cess suc-

we

express

an

object is interposed

our

work. G9.

said

that

when

Ex.2.

,""

-"""V

III

K ""?.*'""' 'jtfx,

I -H" "v

between caused does

not

the

is called

bo

another

accidental

usually reveal

castingit may

light and

as

seen

so

the

shape

in

Fig. 30,

object,the

shadow much

of the where

*",

darkness

(seeIf 64). the

shape

surfaceon the

'M""-'' 4. V*f"t I'jff^.

Shadow)

of the

which

so

object

if falls,as

straightstick

casts

an

Light

and

according

to

On

irregularshadow,

Shade.

the

which

cast

of

at

reveals

once

the

portions of

some

of

a

cast

Fig.

31

a

shows

in

shade

and

flat

retiringspace

simple

FIG.

it passes, well

it is

darkest

as

Evidence knife

but

of

this may

casting the

as

at

the in

a

seen

be

the

surface

well

defined

at

in

the

to

the

tively compara-

into

over

the

wooden

the

away

the

darkest

in

a

J.

which

shadow

at

edges, as

object casting it.

from

where

the

accessories,as

falls,the edge of the shadow

Fig. 33,

is

made

when

stands

shadow

the

Sometimes, however,

shadow shadow

be

is

32.

immediately next

(Fig. 32).

which

usually

of both

object casting it.

may

reveal

surface.

retirement

or

how

few

a

a

Usually the

#,

of

1,

depth

manner

shadow,

shadow

cast

a

the

us

is close to

the addition

by

onlv does

Not

a

Ex.

mouldings.

shadow

part

to

the

framework in

until, as

in appearance,

same

of

shape

Also, in the doorways (Fig.31), the the

47

a

a

platter and the

object

surface is

on

darkest,

is darkest

at

the bottom. 70.

Shadows in

are

sunlightand

ordinarilydarker under

a

clear

than

sky, and

shades, especially for this

reason

:

LigJit and

On

48

Light

"

through pure

passes

of dust,

particles,as

of

or

Shad

* invisibly ;

air

in

water

if there bo

rays, scatter

the

falling on

some

but

suspension (cloud

vapour), these particles, receivingthe all directions,and

j.

shadow

or

in

them

prevent it

black. being absolutely

from

FIG. 33.

however, the lightis

71. When, are

clouds

not

absorbed, the shaded

breaking up from

the shadow *

a

This

small

beam

vapour

of

may

hole

be

in the

them

and

bright,and

scatteringthe

rays

there

they have

parts of objectswill be dull,and

undefined. thus

readilyshown shutter,

so

as

to

Now lightwill be invisible. from a kettle, to rise,and the

visible.

not

:

"

In

let in

totallydark, lightfrom the sun. a

cause

a

beam

of

room

little

bore The

dust, or smoke,

or

come light will instantlybe-

flective

or

72. The

attention

not

are

and

apparent,

so

light models

or

unrc-

are

the

from.

should

important property of

very

49

objectsis dark,

that white

reason

to work

best for students

Shade.

rays, these laws

of

absorbent

it is for this

and

of the

the local colour

When

and

Light

On

be

now

shade

its

"

drawn

another

to

gradation on

round

FIG. 34.

objects. should fact on

have

shade

flat surfaces. be a

seen

already said and

perfectlyeven

appliesto

can on

be

"We

is

on

roll of white

only.

a

free

cylinder,such

If you

from

simplest form

paper, have

in

all

where a

as

the

on

which

on

the

cases

round

as

gradation

pillar(Fig.34), or

gradation is

sphere,such

shade

spottiness. This

all circumstances,

under

The

that

as

an

in

one

rection di-

india-rubber

On

50

ball,you will

that the shade

sec

regularly ; whilst

but

gradationis much

the

should fine work

is

an

on

is

it is

example "

is

which

of

for

which

in

the

the

may

be

seen

edge

a

of the

shadow that

it

is somewhat

turned

towards

to

on

assumes

it

the as

of

use

might

fiat side a

and

an

cast

often the dent, It is evifrom

the

ground

from

the

shadow

from

If the

the

infer that

we

if the

but

be of

a

the

that

conclude

by

the

When

of

the

shadow

in

the

bat's-wing

a

be

placed so

as

the table ; it will

on a

light

objectnarrower

any

paper

shape

object,the

of

of the flame

pieceof

mining illu-

candle.

means

Let

an

shadow

illustrate this for himself

softened. the

the

the

on

flat paraffineflame.

the width

to cast

The

be taken

lightfalls

the

cone,

a

followingexperimental manner, than

work.

shadow.

the

casts

object,we

as

"

student

in

proportion;

in

proportion

a

the

of

some

shading on

light comes,

Fig. 34

of

shape

it leaves

flame, or by

The

ever, how-

tender, for all

account

any

the shadow

is wide

body

74. The

but

delicacyof

right-hand side.

the

object assumes

in

graduated shade,

property

object which

the

divergesas

face,

a

noted, namely, that they tell briefly

be

from

the

on

the

on

more

side,because

pillaris

is small

not

instance,that

left-hand

of

only even,

than

one

may

the direction

location

of

parts

it is better to sacrifice

must

directions,

quitetoo imperfect.

There

shadows

the

on

actuallyinimitable.

pedestalin Fig. 34 73.

working

and delicate,

egg

or

all

complex.

it not

keep

to

graduates in

egg,

more

of appearance

roundness shade

be

an

in the

great aim

The

us

on

Shade.

and

Light

cone,

edge of is

and

that

the flame

sharp

and

its is

clear,

On

form

In

75.

the

shadow

preciselythe

in

flame,the

shadow

and

but

to appear

to

object that

ground.

In

the

two

36)

there

will

Fig. 37,

surface but

casts

the

as

are

thus

it,and

following

the two

pairs of

feet

are

36.

which

shadows

lines in

no

they

cast

Nature, it is often

expressingshade always intended

they are

in

be observed

different.

in

them

use

by

lines,however, should the

given it will

FIG.

Although

necessary

of

51

35.

same,

made

the the

on

(Figs.35

FIG.

they are

touches

that it is

illustrations

These

the

of the illustrations

most

indicates

76.

than

Shade.

divergentcone.

a

that

wider

object be

if the

and

and

Light

Fig. 38

;

or

even

be

used

to

in

drawing.

in the

express

:

tion direc-

never

as

better,Fig. 39.

SUMMAEY.

77. This that it may 78.

we

of

it for 79. see

on

be desirable

Light to

our

light and

is

objects.

an

and

shade, and

knowledge

Light

and

give a

roundness, Solidity,

outcome on

chapter

of

Shade

summary

is

of it.

are projection, we

are

important

so

the

natural

greatlydependent

projection.

imponderable,invisible agent by

which

On

52

Light

is in itself

impinges on

anything.

80.

it

but invisible,

FIG.

Fio.

81. are

We

see

objectsby

reflected from

Shade.

LigTit and,

them

means

becomes

visible

as

37.

39.

of the rays of

into the eye.

lightwhich

On

82.

absorb

owing

from

84.

Shade

the

in

they

of rays

thrown

53

proportion

they reflect

dark

into the eye.

their shaded

on

them

upon

they

as

light or

appear

quite black

objectsappear

light being

objectsor

dark

rays, and

the number

Few to

few

or

many

Shade.

and

light or

Objects are

according to 83.

Light

from

side,

surrounding

atmosphere. be defined

may

as

light in

various

into natural

shade

of

absence

degrees. 85.

and

convenience

accidental 86.

its

For

divide shade

we

shadow.

Eeflection

is

back

lightthrown

on

to

an

objectfrom

surroundings. 87.

The

appertainingto ordinarywhite lightapply

laws

also to its component 88.

with

89.

"

results

Experimental

pigment colours and

with

differ very

difference

The

blue, red, yellow, "c.

parts

the densest

prismatic

and

much. the

between

colours

opacityis

highest known

said to be

parency trans-

of

one

degree

only. 90.

fall

Shadows than

more

91.

the

Shadows

edges, and 92.

usuallyreveal shapeswhich are

darkest

Graduated

shade

simplest form

the

gradation is in

should 94.

In

Shadows

which

be

direction

at rather

indicate

than the

they

at

their

objectscastingthem. the idea of roundness, and seen

in the

where cylinder,

only.

tenderness shading objects,

be aimed

on

cast them.

conveys

of it may one

surfaces

ordinarilyclearlydefined

close to the

the

93.

the

and

of delicacy

work

darkness. direction

from

which

the

On

64

falls

light

on

an

light, whether

the

object

and

;

great

Shade.

and

Liglit

not

small, in

or

the

unfrequently comparison

size

with

of the

object. 95.

Shadows

often

by showing

casting them,

they

removed

are

9G.

When

clear, the 97. as

from the

We

applied must

idea

of

have to

be

that

on

an

much

sunlight hitherto

objects.

locate

extent

some

touch

they

the

objects

surface,

a

that

or

it.

light

light (showing

shades

to

Its

brieflytreated

object

is

strong

reflection), is

bright,

or

and

the

the

shadows

conveyed.

spoken

of

light

application to, in another

and

and

shade uses

chapter.

in

only a

ture, pic-

CHAPTER

OK

FEW

98.

the

and

is

should

for

education. Art

is

known,

in

and

structure

mischievous

to

copying

instructions The and

stupid

of

the

those

contained

in

result is

the

of

idle

such

A

be

to

two

must

is

language

him as

without can

be

more

heads,

copy

and

Hubert's,

Even

Raze.

'to

attending

practice

deception,

to

its

be

can

of

name

of

understand

things

the

a

study

knowledge

a

to

such

text,

is

the

the

such

setting

trees,

alone

alphabetical characters,

student

bearing

it

science

a

"

other.

Few

than

that

But

practised.

its

this

are

but

copying,

art

good

a

there

that

said

each

make

that

good

provided,

are

to

deny

if

that

thought

an

landscapes,

or

Harding's

persons

tice prac-

careful

rules.

beginner

usual

the

by obtaining

its

as

and

not

and

with

apply

especially such the

be

to

enable

Julien's,

as

Drawing,

elsewhere

science

a

will

a

been

supposed

merely copying

as

have

is

from be

skilfully,but

grammar

do

have

art

by

to

landscapes,

or

we

combination

learned

however

heads

derived

twofold, an

it

seem

only patience enough

We

and

operate

such

education

some

moment

a

COPIES.

FLAT

than

Now

be

to

not

has

well.

advantages

its

of

By of

student

all

copy,

it.

whether

examples,

not

FEOM

departments

teaching

of

of

DRAWING

entirely misunderstood

more

Art

IX.

of with

inasmuch

the

tage. advan-

little

thoughtless as

55

they

On

66

that

imagine

as

99.

used

of real It may "

ought they be

not

say

and

point

be

used

in

devise

to

flat

should

how

they be, and much

advantage

moral

other

the

the

other

mass

of

these may

be a

course

appertainsto

Bketch such

a

is best

their

of the

the

a

course

Let

example. effort

its

it

is

as

neglectcan

Art

and

studies

view

here.

some

suited

to

in

of them cise exer-

signers intending de-

issued

student, he

beauty.

an

landscapes,in

generallyto

to effect than

and

an

originalpurpose.

seem

the

issued

affords excellent

that will educate truth

"

has

busy publishershave

which

regarded by

adopting

carryingout

lithographicexamples,

with

more

of which

and

hand,

heads, in flowers,"c., prepared

stroke

studies,and

of Science

copying

hand,

slavish

delinquency.

this,in fact,was

:

of

series of outline

exhaustless "

the honest

stroke

do

for

example,

an

the

by

not

be

copiesto

reallyconscientious

Department

graceful

a

of this

worthlessness

reply,that

motive

in

as

towards

for eye and

that

of

that

Art

The

100.

in

We

spiritor

remembered

only tend

endleas

?

kind

point,but by

and

important

On

so, what

imitation

for

intentions

very

of the

but rightly; merely correctly,

laborious

almost

unable

are

soon

gained by copying good examples rightly. We

and

ever

it

inquiringminds

inquired,then, Ought

be

able credit-

or

development.

be

to

Copies.

something worthy

conscious

and, if

at all ?

may

done

and intelligent

they are

way,

means

a

with

Flat

from

disgust,for, although they

in

better

have

they

whilst

;

ends

Drawing

have

been

truth.

However

cannot

do wrong

his faculties It is

in all

proposed

to

CHAPTER

SUGGESTIONS

IN

101.

into

use

FOR

laying

it will be

X.

out

COURSE

A

of

course

a

OF

STUDY,

exercises

for

all his faculties

perceived that

the

will be

dent, stu-

called

:

"

(A.)

The

to

eye hand

The

(B.)

to

contour

see

perceive delicate,

to

varying shade, a

The

(c.)

point mind

and

(D.)

The

hand

mind

to

sketch

to

to

sees.

and

even,

subtly it with

produce

of

appearances

them

from

essential

the

learn

eye

the

brush,

distinguish the

to

the

hand

pencil, or

pen,

"

the

and

truly, and

the

accurately what

trace

mind

outline

or

things,

nature.

characteristics

of

things. (E.)

The

judgment of

doing

done

1.

have

regard

to

more

(viz. improvement)

than

the to

purpose what

is

find

flat

(the drawing).

this

(A.) Taking outline

to

resolving

proposed

itself into

Rectangular

in

course

detail, we

"

figures,

such

as

squares,

grams, parallelo-

"c. 2.

Curvilinear

3.

Mixed

4.

Natural

or

symmetrical forms. compound

objects that

forms. are

flat,such

as

leaves, and

copies of objects. 67

flat

Suggestions for

68

In

102.

this

before

beginning

the

objects. All

from with

it is not

course

stage of outline

entire

the

Course

a

of Study.

to

drawing

shading

three may

be

understood

exercises

be

be

must

completed

the

or

that

sketching

prosecuted simultaneously

advantage.

103.

is the

Outline

may

be

suggestedor

best

to

practiseit If

models.

outline

from

(parallelogram)accurately,he symmetrical and b),only much 104.

an

a

exercise

it is

from

flat

or

and

square

proceed

may

forms, such

form

oblong

an

at

Fig.40 (a

as

to

once

and

larger.

The

order

drawings should 1.

curvilinear

as

drawings

draw

can

which

by

represented,and

student

a

simplest means

'Block

of

be executed

in'

the

in

procedure is

as

which

follows

such

outline

:

"

general shape, deciding upon

the

proportions. 2.

Draw

all the

3. Rub

down

partsdefinitely.

all the lines with

and only just visible,

are

but 105.

To

first

hewing

case,

rather

'

'

block in as

the

bread

true

out

the

form

larger than In

in

till they

cately outline,deli-

will

be

student

preparing his

roughly, and,

correct

completingit. only 'blocked

generalshape, the

the

sculptorwould

a

always securing the

or

then" make

pieceof

clearly.

proceed much

This

a

in the

should marble

sculptor's

ultimatelyrequired,but

general proportions,and

Fig. 40,

;

a, half

the

wards after-

figureis left,

in.'

method

of

working

reducinga drawing.

In

is very

useful when

enlarging

enlargingor reducingalways ob-

Suggestions for the

observe

of

proportions

halves, quarters,or thirds size

of such

as

The

106.

and

'blocking

form

the

; then

being

in'

the

almost over

as

whole

has

been

considerable hand

into

neatness

and

get the

to

with should

be

part of

no

an

'

in

quantities

be

not

done

truth

"

but

;

with

long

of quantity

afterwards,

40.

subdued

any

these

into

(See Fig. 40, #.)

upon.

invisible,the pencil should a

block

principalaim

the

59

by dividing it

straightones

FIG.

when

'

need

shorter

of Study.

copy

be determined

may

lines,but with

curved

Course

a

with be

bread

passed

line without

easy and

and

several

gradationor expression;

final

times

touching it, so

for ready position

precisionthe

made

line.

all should

be

ing draw-

There

equal in

Suggestions for

60

depth

and

regular in

be

may others

stand

When it is

an

is

assist in

making

(as in Fig. 41).

example

is

copied the

flat

ples, exam-

parts retire

some

size

same

to test its accuracy

This, however, should

paper.

copying projecting

guides, and varying emphasis

as

forward

good plan

a

be used

given to

when

boxes, boats, "c., from

as

should

of Study.

But

appearance.

objects,such squares

Course

a

by

of

means

tracing-

till the

be done

never

original,

the

as

and

copy

made. carefully

"

(B.) The The

107.

in

shading

mind

to

power

to

'

perceive,'"c. see

and

it is in form, and

as

is as important delicately

feel

is the first

real

step towards

success.

The

student

equal or

flat

may

first with

begin

shading,enclosed inch

in

an

by

one

enclosed with

If

used,

the

filled

with

bars, nearly touching each

interspacesfilled evenly If

a

should short

pen

or

the

point of

be what

is

in

one

lines

in another

up

a

lead

space

may

one

filled

be in

shade

various

pencil be

a

be

first

long, soft (never

other, and with

of

This

half.

may

the

say,

wiry), parallellines

or

brush

a

and

space

ways.

piece

oblong of,

equal

hard

small

a

afterwards

or

the

pencil. finely-pointed

is to be

used, the work

technicallycalled 'cross-hatched,'that is,

direction

direction ; but

as

are

crossed

lines

with

short

lines

crossingat great angles

Suggestions for

62

produce contrast, be

acute,

Yery

of Study.

angles formed

the

and

at B,

as

Course

a

never

at

as

lines

the

by

should

When

A.

this

cross-hatchingis quite dry the

lines

be

may

crossed, till all

whole

made

area

used, and

the

pencil is

the

stump, made

On

108.

student

should

be

rolled

into

touched

to sufficiently

in

cut

drawing;

a

like

remove

the

piece of

stiff

then

the

bread

or

thus

made

stippledup

work

the

knife

artists' gum

must

to

the work

exercise

I

if

error,

w

quite

is

the

paper

of

this

and

part

be used

laid

fail

be

may

scrapingdown

the

on

removed the

required shade.

for

bread

hole should

(india rubber), and the

part

should

small

a

;

even.

dark

crumb

a

or, I

till

spotty, the

or

offending dark

with

then

at

with

.

I

"

with

chalk.*

worked

dark

gently

shape

a

its

parts will require amending be

is too

be

to

space

this shade

In

"

some

should

part

some

the

grain on

or

and

point of pencilor

find that

exercise

Suppose

be

the

instrument

the whole

over

of paper,

or

correctingerrors.

may

each

for

is laid

of leather

completed with

the

sufficient texture

has

paper

surface, a faint flat shade a

light

even. perfectly

when

Sometimes,

the

filled,and

are

spaces

again

light

In

pen-

any

dark

patches. 109.

*

This

Gradation.

latter mode

"

The

has

throughout the country by Director,Mr. Poynter, R.A.

been the

second

exercise

introduced

into

in

the

nowly-appointed and

shading

Schools

of

is

Art

energetic Art

Suggestions for first,but

similar to the

filled in with

be

change dark

at the other

chalk

cylinderor

The

again

graduated tint,the

an

on

egg.

graduating

important, and

very

practised again

and

till

perfect mastery

is

however, the

must

on

be

should

but

oblong

an

to

the shade

of

power

is delicately

for

:

63

being by imperceptible

degrees,like a

end

one

of Study.

difficult

more

perfectlyeven

a

lightat

from

Course

a

obtained, "

student

may

know

stump

is used

in

that

he

obtained,

once

has

made

real

progress. the

"When best to

follows

proceed as

the

lighttint,over

proceed to lay in

"

parts requiring shading, and

the

as

darker

when

dark,

but

always lightand

though

(c.) 110,

'

The

not

to

all

truly,and

early training. again

the

to be

shading light objects, make

All

tender.

good

the

shades is delicate,

work

""c. distinguish,'

student

volume, he will have at

not

feeble.

mind

If the

afterwards

tenderlyas

parts, so

plaster casts, "c.,

china, eggs,

is

First,lay a perfectlyflat,even,

:

easilyperceptible. Never, such

graduating a surface, it

has

learnt

that

remarks

that very

this is

It would '

On

the

read

fault

no

be the

well

Introduction few

if he

Eye'

eye, but

would

and

see

can

persons

of the

this

to

now

'On

of

read

Seeing.'

(Chaps.-I. and III.) 111.

It is evident

that

no

of representation

an

object

Suggestions for

64

on

can

paper

mind

from

eyes, and

the

of course,

at

be

cannot

Some

the

students

the

on

will be of 112.

feel the

of

find

help

a

them, and

front of

glass.

it

For

students

two

to

it

the

a

of

much '

Diascope

'

ruled

squares

were

contours

have

who

use

imagine

to

the

appear,

pieceof glasswith

a

the

nises recog-

form,

any

object as though

in seeingthings as they difficulty

(seeAppendix), or

;

This,

for Art

paper,*

on

outline

treat

to

pieceof glass placedin objectstraced

the

views.

of two

image

sketching the

flat. perfectly

originaldoes

is,therefore,better for the student

It

eye, and

one

the

as

objectis presented to

down

put

eye.

when first,

only

blended

reallya

only one

same

of the

image

of Study.

points of vision, represented by

two

is

quite the

appear

for in nature

Course

a

it,

on

great service.

It is in this

disadvantage of

his childhood

; and

should

now

formal

studies,

be

seized, not in

sketch-book,carried

drawn

much

so

in

jotting down him, and

convenientlyat

the student

will

in from objects

opportunityof sketching objects

every

as

that

having

not

shape of anything about to be

his work

stage of

hand.

in the

any

paper

that

the

pens hap-

cheap pocket

common,

pocket ready

and

set

frequently

very on

A

making

for use,

will

be

convenient 113.

As

to

regular course of

of

found

it is best

objectdrawing, making

perspectiverules

will be the

systematicwork,

as

under

artists do ; the

head

an

to

go

such

of 'Artistic

This

is

seen

in the

a

application

explanation of

which

in Perspective'

present work. *

through

Stereoscope.

Suggestions for We

may,

Course

a

65

however, here state, for the benefit of beginners,

few facts in connexion

a

of Study.

with

the appearances

of

some

simple elementary forms. If

a

front of the face and square it be

will be laid

edge

one

of

actual

shape of

the

foreshortened

raised

be

If it

from

little

a

the

table, FIG.

FIG. 43.

keeping horizontal,the figurewill a

in

the

to parallel

paper

(Fig. 43).

at

held

table, still keeping

spectator,it will appear

as

be

if

but

(Fig.42) ;

the the

cardboard

or

paper

parallelto it,the

seen

on

of

sheet

square

(Fig.44), until

it

42.

quite and

narrower

appear

it is raised to the

narrower,

level of the eye,

*c*

I"

8'

FIG. 44.

when

the

higher,it

assumes

lines of each all appear

is lost

square

the

square

line,c, exactlyoppositethe eye

parallel perspective. 5

at d.

continued towards

at

line, as

a

shape seen

be

to converge

in

a

or

If the

Eaising

it

retiringside

'produced,'they will

point in of the

J.

the centre

of the

spectator. This

is

Suggestions for

66

If

114.

we

side of the

each

shall find

we

place

now

first one, similar

a

receding lines

all the

a

the the

course,

in any

If the

the

table, and

be

which

would

in

e

and

towards

where

the

point

parallelperspectiveis

usually marked

apply

/,

to the

v.

Of

P.

if placed circle,

direction

hand

or

to

sides will not

shown

at g in

the

P.

v.

two

vertical

left, the

Fig.44

placed with

; the

be

be

We

line.

moved

plane

little to

a

becomes

of

right

retiringlines convergingtowards

similar the

the

again visible,as

eye.

FIG.

a

its

If, keeping it in the

45.

have

views

edge

one

it will have

and visible,

(vanishingpoint)oppositethe

Fio.

11C.

a

exactly,it

the

be

exactly opposite the spectator, and

represented by

same

the

at

to converge

cardboard

square

plane vertical,the to

on

of the squares.

115. on

remark

shown

result,as

appear

cardboard

stillparallelto the spectator,

vanishing point, and same

of Study.

piece of

square

and

oppositethe spectator's eye, called

Course

a

round

result table

of

46.

foreshorteningin

(Figs.

45

and

46),

Suggestions for in

and

the

four

Course

a

of Study.

of

the

cardboard

be

retiringplanes

67

transparent

cube

(Fig.47).

FIG.

Now

117. with will

one

be

let the square towards

corner

as

in

seen

47.

the

Fig.

the

the

on

the

spectator: As

48.

laid

table,

appearance

cardboard

is raised

.

_

nearly to

more

the

level

it will appear almost and

U

L.

square

the

(as A, Fig. 49).

narrower

it is

is lost in the

(horizontalline).

its shape will little,

assumes

exactly

level

line, c,

If the card

appear

as

at

H.I.

-

zontal), (stillkeeping it hori-

eye

level of the eye, it

finally,when

whole H.

to the

of

-

and

a

D.

shape

with forms

is raised

Raising as

the

eye,

part above

It will be

at

of

it

B

;

the

the

the eye

observed,

Suggestions for

08

that

in this view

lines which

all those

This

point.

same

retiringlines

the

of the square

right and

directions,to the

different

parallelto

are

of the

view

of Study.

Course

a

to the

go in two

left,but

each other recede is called

square

that to the

angular

or

obliqueperspective. In this instance

118.

distance

same

level.

from

Further,

they will distance

same

on

on

each

side from

the

other,we

the

side be

tended, ex-

(H. L.),at

cardboard

square

result

a

same

the

the square.

is further

shall have

the

on

the

at

are

each

on

the level of the eye

meet

corner

corners

therefore

retiringlines

if the

that

outside

one

outside

two

spectator,and

the

Suppose,now, that

the

from

the

follows

as

be

placed

so

spectator than

(Fig.50): "

B

A FIG.

The

shorter

c, will be

corner,

than

angle,A,

A

and

the

tinned,terminate than

A

cardboard,

few or

will positions, into the

A

B

'H.

and

c

from prepare

a

the

line,A

c;

over

the

B

D, when

con-'

to the

figure

and nearer

nearest

D.

square

of cubical

c

L.' much

exercises

the

B, and

is not

angle,D,

the

careful

drawing

higher than

recedinglines,A on

do the lines

119.

The

B.

50.

of

student

drawn

from

wire, placed for

the

square

in

various

enteringmore

such objects,

as

fully

boxes, chairs,

Suggestions for houses, "c., by rule, as

Course

a

shown

of Study.

the

in

69

chapter on

'

Artistic

Perspective.' In

120.

careful his

model,

different

each

card

of

needle

on

of

up

is

a

object again

and

changing the

*

which

on

In

do.

again

without

point of

strong

piece

knittingor

into

a

card

the

to

'

stand

-

a

a

which

hole, through

look

is the

at

of

danger

view.' FIG.

121.

that the

One

of

the

the

he

though Diascope, or most

as

Fig. 53, 122.

in

Such

the

the

which In

is

a

lower

It is

retiring planes. culties, diffi-

these

overcome

referred

glassbefore

the The

to.

making retiringplanes in

of

instead

Fig. 52,

such

cylindricalforms, should

lines curved

a

to

in

too

like

agreeable.

more

may

their

objectsis

greatly assisted by using

is in

frame-work

frame-work

Fig. 55.

be

chair-seat

drawing

of

him

ruled

mistake

basins,"c.,

keep

may

piece of

a

common

wide,

enable

from

drawing

width

apparent

Only experience will

in

with

61.

difficulties

principal

beginner meets

determining

be

view.

a

pincushion,

will

wood,

eye

simply

down:

.or

into

*

an

stand,

a

slides stuck

block a

wire

use

which

(like Fig. 51),

should

ing view-

of

point

new

beginners

student

it will appear

of course,

as,

from

Sometimes

upright

positionwhen

to alter his

not

objects the

from

drawing

be

good plan

in

drawn

always

be

as

made,

mugs,

relation to the upper as

for the

in

Fig. 54,

student

as

so

or

to

lines. as

to consider

in the

70

Suggestions for

FIG. 52.

Fia. 54.

a

Course

of Study.

FIG. 53.

FIG. 55.

Suggestions for object as transparent, and in

error

the

it

draw

line,a b, and

the nearest at each

123.

The

habit

picture plane, it

viewing

in

end

sharp

a

the

between

only

with

where

Fig.

longer

are

the

nates termi-

curve

plane

of

glass for

the

often

the

object,and

greatly assist

inclination

the

or

in

curve

line.

a

124.

basis

The

for

square,

drawing

cube, and

the

other

most

and

attempting irregularand

intricate

student

this

has

gone

will be fitted to of Art,

proceed to

'Tlie mind

125.

Another

of

so

those

they are

most

the

form cylinder, and

well

should,

mastered

before

"When

objects.

the

the

he conscientiously,

course

study of

any

specialdepartment

landscape,figures,"c.

as

(D.)

habit

through

the

regular forms,

carefullystudied

therefore, be

with

lines

in

d.

spectator and

ascertaining accuratelyeither of

a

eye, will

one

is shown

the lower c

corner,

imagining

of

mon com-

56.

FIG.

than

71

The

accordingly.

vertical

outside

two

of Study.

of this kind

forms

drawing

A, where

56, at

Course

a

to

learn,' "c.

stage

looking at

in

this

natural

properties or

course

will

objectsas

qualitiesabout

clearlydistinguishedfrom

be to

to be

them

other

gain

the

impressed by

which

objectsand

72

Suggestions for

Vw.

a

Course

57.

of Study.

Suggestions for

a

Course

FIG. 58.

of Study.

73

Suggestions for

74

from

one

some

length

in

This

habit

has

another

is but

elsewhere

been

childhood, in what

in

some

who

known

are

of

had

has not

of.

few

a

found

be

set

Some

nature.

in

the

'

such

several

have

of

a

place was

Wherever

he went

; and

curious

Ruskin

example

and

58

by Turner, nearly as

are

he

had

a

sketches

liarities pecu-

thing

a

of

or

the

the

intention

shown

v.

p. 187.

by

Mr.

given a

in

fall Water-

They

the

evidence

intelligible un-

meaning.

author.

in every

pencil. Vol.

full of

original as bear

ing sketch-

almost

were

of slightpencil-sketch

allow, and

*

the

illustrations

The

possessionof

definite

may

strikingpeculiarities.

they were

Painters.*

possible like

a

meant

which, though grotesque,

(a Sunrise) is

this

from

from

essential characteristics

most

of his

of

and

perpetuallyobservingand

some

in the

reproduction would that

was

of

great

self for him-

serials,where

observingthe

others, to himself

in Modern

Figs.57

as

he

although to

A

is here

system.

the

drawings

of what

of Turner's

one

begun

truth.

much of

power

'

do much

may

from

comic

our

seeing,

be

Kindergarten

stronglycharacteristic

in them

The

12G.

are

of

of

'objectlessons,'and

slightlyexaggerated,and

are

person

ture' Observing Na-

advantages,nor

exercises,both

good examples

which a

On

It should

as

advantageof watching others draw, by

'

explained at

for the power

term

spoken

exercises

of the

student

is

this

way

XVI.,

III. and

Chaps.

in

A

simple

a

Character.'

'On

and

which

In

another.

of Study.

Course

a

are

mode

of

of the

fact

stroke

of

his

Suggestions for (E.)

The

*

judgment

The

127.

in

persons,

with not

been

off

He

has

for

the

few

a

of

two

amateur must to

things be

must

be

is certain

acquirethat

which

continual

be

done

and

that have

may

Art

is

that

ture na-

be able to

that

as

this,

would-be the

so

teacher

many

years

few lessons.

a

the result,is

fact that, however is

an

; and

sure

slow, there

although

the

value whatever, it may

mercantile

no

from

our

taken in

A

rightlypursued, it produces a

progress

the effort of

regarded as

have

to

have

case

a

feeling,the pursuit, not

satisfaction in the

is progress, work

stupid

for where

;

in such

is to be learned

In all true artistic the reward

justto

wonderfullygifted,or

uncommonly

who

much, and does

is

either

"

brief

few lessons,to

a

drawn

never

and

students.

as

tellingeffects

and quickly.' Now, paint effectively one

or

for

all he wants

pencil;

small

to those

teacher

a

dash

his brush.

care

from

teachers

as

appliesto

just to

'

75

impatienceof ignorant

mischievous

most

Art, whether

amateur him

enable

and

expecting large results

to do with

would-be

of Study.

have,' "c.

to

unreasonableness

exertions,have had

Course

a

mind

immortal

to striving

improve itself, and, therefore,precious. After

128.

sketched have

going through

will find

out, the student

been

brought

under

strict

and

of

into

in Art. success

able to

sympathy He

is thus

into any

develop his

that outward

a

that

course

with

technical

is here

his eye and

hand

his perceptions discipline,

truth

prepared

and

beauty

to enter

with

in

being Nature

confidence

of drawing, or application

faculties for still higher

manifestation

as

sensitive,and his whole

quickened,his feelingsmade brought

such

of God

which

we

is

enjoyments in call Nature.

XI.

CHAPTER

CONTRAST.

ON

CONTRAST

129.

almost

as

the

and

latter

exciting

opposite

concealing,

terms

the

"

forms

many

irritating, whilst

and

in

gradation

Art

revealing, and

former and

ered consid-

be

may

Contrast

facts.

and

soothing

is

gradation

is

agreeable. In

order

would

properly

well

do

If,

130.

make

to

it

held

verticallyagainst

rays

from

the

the

be

letters

on

nearly

so,

the

eye,

invisible,or of

part

lamp

the the

entering

contracted, and the

letters The

131.

in

the

pieces

of

tint, only

of

the

readily

the

time the

book

The

book

*

the

be

lower

of

pupil'

feeble

too

are

enter

will

rays

the

cause

the

to

on

be

and

lamp,

a

of

seen.

book

open

characters

strong,

from

an

same

part

upper

so

rays

the

at

whilst be

student

light to

to

be

der ren-

visible. eye

pieces

tint.

strong light

the

is

similarly affected,

following diagram

two

equal

the

of

allowed

being

eye,

portion

upper

the

can

page

the

contrast,

experimental inquiry.

an

the

night,

at

understand

to

Let

of

paper, and

B

paper,

with

darker

than

*

B

a

A

Let

(Fig. 59).* shaded

likewise

similar and

Chuvreul

with

A.

on

in

but

a

a

A

and

degree, A

perfectly even

represent

perfectly Now

less

let

even

them

sent repreand similar

two

and

equal

bo

placed

Colour.

76

On

in

as

the

darkness A

diagram, will be

2, darker

to

as

1, darkest of

A

when

follows

:

This

still ; and

be

them a

similar

of

wash

G

Obtain

also be of

number

a

and

lettered,numbered, relation to those

clear.

of colour

lay another a

third.

c

;

On

all

a

fourth

a sixth and, lastly,

a

exercise

for

and

let

paper,

into widths

A, B, c,

except

now,

all

wash

on

B.

stripsof

on

bearing

"c., in Fig. 60.

60.

On

on

if made

good

a

cut

marked

(saySepia);

flat wash.

Lay

lightest;

strongly apparent

more

following experiment, which,

remain

the

of

4, by its juxtaposition

u

will be

contrast

FIG.

Let

order

59.

moderately large scale, may student.

the

all.

force

in the

the

that

seen

1 will appear

A

"

FIG.

132.

77

it will be

3, darker

; B

Contrast.

on

lay a perfectlyflat

G

all

except

except E, A, B, c,

D

r, G, and

H,

and

lay

r, G, H, ;

a

fifth

on

I, B

and

Contrast.

On

78

strips in juxtapositionquite neatly

these

Place

of white

sheet

given.

If

cardboard, and

or

paper

of

The

strongest

against black

black

and

Fig. 61, where

the

lighterthan

in

tinted

or

as

the

little

a

white

is of

may

centre

be

in

seen

of b

looks

61.

dark

and

looks darker

a

than

surface.

Art, however, has

in the

from

Nature

a

applied to light and

when

powerfullyfelt of

a

on

Contrast than

in

space

surroundingpaper,

if laid

it would 134.

the

in

against white,

Fia.

here

order

fluted column.

a

contrast

white

the

viewed

rightlydone they will,when

distance,have the appearance 133.

in

a

on

much

wider

dark

ficance signi-

alone, and

is

and oppositionof colours,of objects,

and qualities of things. properties

Fully to very

many

illustrate the contrasts coloured

of colour

diagrams, and

extend

would far

require

beyond

the

limits of this work. The

student

however,

may,

experiments with various ;

consult

and, if he wishes any

of

the

coloured to pursue

assist himself

piecesof the

followingworks

by making

paper

or

board card-

subject further,may :

"

Field's

treatise

on

Contrast.

On

Cliromotograpliy ; Principles and of the many

Grammar

Practice

works

on

of Ornament, by of Art, by

Decorative

FIG.

135. to

make

The

straightline

mutually

is set

more

againsta

J. D.

Owen

Jones

Harding;

or

;

one

Art.

62.

forms of objectsare

them

79

contrasted

with

each

strongly felt, as

curved

one,

or

a

other

when

square

a

figure

Contrast.

Chi

80

round

against

a

will

felt

be

only

not

especially in

the

of

many

the

in

of

value

The

one.

kind

this

of

contrast

dancing figures (Fig. 62), but in

landscapes

the

work.

(See

Composition, Chap. XXIV.) properties of

The

136.

with

contrast

thick, round or

on

or

a

a

rock

judge

on

or

Contrast of

an

on

a

roof

of

of

often

are

set

in

instance, the soft,

for

as,

;

spray

in size is

unknown

size is known page

84.

hard,

leafage by

stoutness

Quixote

frequently used

quantity by

and

A

objects, whose

Don

tender

a

fixed.

This

portrait of Tom

estimated

the

moss

bodies

a

square

slates,

sturdy

stem

;

hard, flat wall. 137.

the

of

masses

;

in Art

other

each

various

of more

Sancho

is known

is used

strongly felt.

be

Thumb

by comparison magnitude

of

means

may

with

to

enable that

of which

in the

seen

could

to

us

only

arches be

rectly cor-

ordinary figures ; and

to make

the

in

like

or

manner

lanky length

of

CHAPTER

XII.

ON

BY

138.

"

of

it

perfectly

is

opposition

or

which

by

;

and

they

where but

be

The we

term

say

painting

than

to

separated

from

141.

In

art

and

stands

in

shading

quite

contour

or

entire

relief

'

It

is

limit

of

less

'

the

conceal clear

'

or

where

one

has

nothing,'

the

background

of any

equally light

to

another

against

set

colour,

drawing

to

object

is

;

and

distinctly

solid. which

proper,

no

eye

objects,

many

and

legitimately belongs

in

of

ble scarcely possi-

relation

in

used

relieved

sculpture,

clear

surface.

is also

is

the

that

space,

outline.

their

another

can

in

but

conscious

perfectly

so

violent

by

varied,

and

superficial or. strongly

sculpture

which

'an

'

tender

the

precise

colour

one

it

we

the

relief

in

things

see

location

follows

either

think

the

their

throughout

140.

it ; and

of

edges

tion separa-

necessarilyby contrasting

become

we

of

the

trace

dark

the

meant

is behind the

not

seldom

we

longer voluntarily

unless

and

constantly by

shapes,

to

which

by making

clear,

Nature

but

contrast,

that

simply

against strong light.

In

139.

from

and

is

'relief

obtained

even

dark

strong

term

object

an

drawing

their

the

BELIEF.

figure :

said

well

been

it is

to

be

is insulated,

sculpture

in

round. 142.

Other 6

terms,

such

as

*

basso

relievo

'

'

alto 81

relievo,'

and

'

relievo/

mezzo

from

projection

rounded

though unattached

coin

a

144.

gates

Florence,

known

examples

of

date,

145. the

which

One

Grecian

of

*

the

clear

not

a

the of

clearest

manifestation.

be

may

ground. backtwo

"

"

kinds

of

in

seen

the

of bas-relief

is

sovereign. San

of

Giovanni

Gates,' show of

finest

relievos

Achilles'

is

of work, shadows

a

of

the

in

landscape Our of

own

modern

notable

ample. ex-

excellence addition

forms

that

at

beautiful

misapplication.

indications

cast

the

different

is, doubtless, that

to

erally gen-

part entirely

introduction a

has

other

no

examples

the

Shield

perfection

as

these

Ghiberti

critics

bas-reliefs

arranged their

'

the

other

it.

Baptistery

probably

his

exquisiteness and

with

the

the

many

produced of

of

commonest

of

as

by

behind

temples,

relief, though

is considered Flaxman

surface

the

from

bulk, has

shilling, or

a

detached

or

slight

very

bulk, but

between

style

a

a

of

surface

plane has

work

any

relief, on

full

figure

Greek The

penny, The

the "

the

examples

various

Museum. "

of

plain

finest

The

relief, from British

the

Alto

to

to

any

relief

"

considerable

to

to

143.

rounded

relief

Mezzo

flat

or

background.

portions

some

less with

or

low

"

the

only

is not

hand,

more

Basso

background.

applied

commonly

are

connected

sculpture

a

Relief.

On

82

would

are

in to

so

the fully skil-

interfere

CHAPTER

XIII.

ON

how

to

make

of the

idea

large

By

147. the

students

MANY

146.

which

relation The

148.

of size is

of

subject,

the of

student

to

lamp

it

draw

if the

the

on

be

he

his

without

149.

There

wish the will scale bird.

size to

draw

size of be

too

however,

is

it will

be

the

nature

of

disposal

to

purpose

represent

equally right

be

an

inches

; but

elephant,

hand,

one

or

placed

best

cluster there

mistaken

for

of will

or

a

on

too

grapes, be

in and

danger

for

A

the

that

make at

hen's egg

first

some

on

we

only

them

egg of

the

drawn

Suppose

nature. we

fruit,

as

possible, be

are

currants.

mistaken

objects, such

some

when

should,

peas,

be

the

eight

or

on

fusion con-

great

a

the

on

wishes

house,

a

a

other.

they actually

a

might

as

little

are,

that

such

six

being

flowers, "c., which same

to

one

to

ultimate

the

it will

"

how

the

on

him

is

at

he

consider

must

overwhelming

time

suppose

by

proportion

:

chiefly

and

power,

us

large,

tree, then paper,

his

before

table

also

drawing

the

on

size, from

any

object

as

and

another.

to

or

knowing

not

proportion.

depending

partly

Let

drawing.

the

the

well

as

of

bears

sketch

a

optional, though and

sketch,

a

that

thing

of

by

merely magnitude

extent the

or

with

meant one

size

themselves

puzzle

drawing

a

size

SIZE.

sight they a

small

smaller

On

84

Objects in

150.

large or

small

by

a

the

Size.

drawing

of known and

size.

The

of

an

archway,

of

appear

objects

63.

FIG.

mind

to

other

some

04.

sets instantly

judges the indefinite by

sketch

made

be

juxtapositionof

FIG.

PIG.

may

up

the definite.

which

we

have

G5.

a

In

comparison,

Fig. 63 no

means

is

a

of

On

knowing,

feet

it is at

but

it is

once

64

the

arch, by comparison

with

the

feet

is

whose

size

would

of

without

nine

151.

inches

mountains their

is

must

be

mass

of

similar

"

till

of

some

thousand It

In

can

we

size

of

by

a

like

many

'

Fig.

the

65

be

to

something Fig.

a

65

of

height of

objects near,

ladder

a

the

ladder

arch,

always

are

of

is

ourselves

objects "

mind

on

that

the

It

them

with

reasoning their

with

the

mountains of

magnitude

has

reach

masses

the

time, the

grand

a

scarcely perceived, except

reasoning.

these

first

inferential

of

chalets

the

the

deeply impressed

process

manner

been

stated

a

elsewhere of

elevation

aii

by

twenty

earth.

evident, then, that make

the

not

are

on

cumuli

feet from is

it, that

nature

In

same.

rounds

'

tiny-looking

large.

process

the

visiting, for

on

it dawns

distant

also

the

Switzerland,

the

surroundings

in

given,

apart.

magnitude,

comparing

is

figure, is judged

sketch

to

determine

to

persons

of

; whilst

from

always

figure, for

Many

five, ten,

arch

same

sketching

variable,

be

which

the

about

when

sufficient

be

be

high.

important

sizes may

it may

"

figure passing through high

twenty

that

size

feet

It

moon.

about

the

Fig. the

by

seen,

85

six

about

"

In

high.

probably

same

the

approximately,

even

fifteen

or

Size.

only by

accurately the

a

process

of

acquainted

reasoning with

clock-face, tree, mountain,

the or

CHAPTER

XIV.

/

05

THE

152.

which of

application There of

object

an

and

other function in this

be

such

a

the

be

A

be

parts

or

to

the

relation

is

the

it

things

done

weight,

run

a

In

race.

feelings,

but

to

or

the

of

the

in

a

horse

a

the

case

In

relations

something

a

to

support

to

appeal

intellectual

seen

proportion

of

draw

is

alone.

column to

any

ornament.

varied

view

each

of

this

term

the

to

in

as

this

of

of

to

parts

faculty

which

other ;

of

illustration

applied

each

to

or

is

parts

independent

aesthetic

in

various

consciousness

a

kinds

the

varied.

the

quite

but

;

and

mind

many

the

wide

relation

An

sense

when

the

and

to

another

to

is

'proportion'

term

between

in

in

and

appeal

an

superincumbent to

is both

performed.

accomplished

athlete

Art

whole,

second

used

bears

from

solely

the

thing

produce

to

to

it is

153.

of

be

kaleidoscope,

case

may

in

as

to

the

term

arising

beauty,

one

the

may

of

meaning

simple

relation

the

PROPOBTIOH.

load,

an

or

is made

faculties

a

and

not

the

judgment. 154.

An

object

as

cases

the

the

in

the

sides

proportions

proportions

of

have

may

are

which

and

fixed

of

angles

variable, differ

unalterable

and

as

much,

a

in

square. the

the

human male

portions, proIn

some

figure, from

the

On

female, and

various

Discobolus, In

such

and

to

mind

of

sense

comparison mind

other,

the Athlete.

parts

produce

with

of

of

of

on

a

the

length

the idea of

Doric

the

a

building should to each

parts

and

pure

mind

idea

the

unbiassed

is and

containing more

column,

other

rest.

column

the column,

of

the

as

*

and solidity, durability,

Doric, suggests to the

the

each

agreeableness,satisfaction,and

Corinthian

The

from

adjustment

to

as

diameter

The

155.

and

87

from

various

the

relation

a

forms

the wrestler

or

the whole,

a

the

male

Architecture

bear

Proportion.

large

in to

conveys

deep

repose.

diameters

than

of

eleganceand

repose. A

the

horse

such

parts bear

speak

to

confusion

of of

horse

a

to be

relation

a

its purpose,

to

adapted

said

be

may

being

sides

in

of

other

speed

that

or

symmetry

of

when

it is well

But

power.

good symmetry

term

parts

or

good proportion

to each

whether

ideas, for the

corresponding

in

indicates

refers

to

a

the

a

thing. (See Symmetry, Chap. XV.) The

156. in

Fig.

66

are

proportionsof exactlythe

therefore, though they in

size,they '/I...

are

Proportion almost

*

heads this

the in

same

Art

equivalent to

A

are

B

and,

same,

different

in shape. seems

'

and

harmony

to '

FIG.

,

66.

be in

Music.

It will gener-

is said to be seven proportion in length of the Discobolus Athlete might be eight. There is an interesting chapter on ; an of Pictorial Art, by the Eev. St. John subject in the Handbook The

Tyrwhitt.

certain

definite

proportions

member

is

which

the

eye

they

be

the

proportions

of

the

most

that

said,

double than 3

the 3

7,

to

to

the

than

the

and

is

contrast'

various

works,

Beauty,

gives

beautiful a

few

a

given

of

form,' and '

curved we

not

especially

like "

the

exceed

aesthetic the

of

faculties

sensation

bells

to

of

"

the

of

power

of

what

his

the are

so

eye

appreciate,

the

beautiful.

the

great to

the

3

a

ful beauti-

to

6

than

'consists the

straight,

balance

Hay,

which

to

be

may

that and

of

his

in

of Symmetrical

may so

calculate, and

less

though

that

1, it is

'proper

figures by

changes

be

says,

Principles

changes

Thus, to

1

as

also,

this

and

of

the

lines

number

contrast

number

great

a

Jones

have

we

proportion

so

Owen

told:

in

8 ;

to

5

but

;

are

The

as

unit.

better, will

of

5.

proportions,

different

ratio

balance

alike,

all

most

beautiful

most

simple

pleasing.

to

3

ticular par-

are

"

provided,

some

8, though

to

subtle

more

proper

inclined, and

4

or

4

least

unit

be

will

being

square

and

'Harmony

157. in

a

on

each

and

simple

some

of

multiples

palpable square,

of

readily detect,

least

can

arranged

are

whole

the

where

proportions

Those

satisfactory.

parts

"

multiple

a

whose

forms

those

that

found

be

ally

in

Proportion.

On

88

mind

with

made be

subtle but

secure

not

then

rung as

on

far of

to the

reposes

CHAPTEE

XV.

ON

THE

158.

be

allowed

two

term

sides

individual similar

is

arrangement in

as

similarity of and walls

quite

in

and

the

A

of

from

it

the

would

furniture,

of

laterally internal

the

ance, appear-

this

This

beauty.

flowers

amongst

law

it

though

as

houses, both

our

find

we

every

external

of

constantly

decoration

two

seem

is

found

almost

As

principle

distinction

of cluster.

the

of

each

other, whilst

correspond,

member

on

of

of

the

on

symmetry

of

of

contours

other

therefore,

by

a

is

group

side in

similar

the

is

itself member

The

correspond sides

the

of

two

form, outer

on

each

arm

do

not

sides

of

legs

and

by

a

without

the

a

tours con-

with

other

similar

symmetry. because

symmetrical,

not

or

each

is balanced itself

metry sym-

group

compound

a

body

part of the the

it is balanced

the

the

of

symmetry "

the

between

extremities.

and

contours

the

nor

Whatever

arm,

side

made

example

limbs,

the

feet.

the

for

man,

trunk,

be

must

parts, and

Take

on

The

composed appearance.

"c.,

the

of

necessity*.

a

159.

group

be

designed

a

should

correspondence

that

different

often

in

the

Nature,

of

its outward

parts

; and

trees

law

a

shall

as

misapplied)

thing.

a

animals,

intended

was

of

thing parts in

(so often

significance,viz.

be

to

seems

'

symmetry

its true

opposite It

'

SYMMETRY.

side ; but 89

On

90

the

head, which

repetitionof

the

illustrate this

of

has

halves.

So

any

objects,

also in the

repetition. In

a

contain

so

relation

some

this law

of

mind

does

much

as

the

of

a

(Fig. 67)

not

require

different

exact

an

recognitionof

triptych,for instance,the

to each

will

clusters

or

groups

the

law

outer

two that

subjects,provided

they

67.

other, and

do not

repetition. It would, however,

to have

wrong

ovals

the

clearly.

FIG.

bear

two

arrangement

the

"

is perfect in plurality, The

principlemore

1GO.

panels may

this

not

two

repetitionof forms, of

Symmetry.

figuresubjectin

one

panel

interfere with be

and

manifestly a

landscape

in the other. 161.

In

geometric

the lines

repetition ; then different,but bear

some

intended

spandrils forming the

must

relation to decorate.

the

of

Gothic

a

doorway,

spandrilwill give the

idea of

the spandrilsmay subjects filling be

the

to each

in

treatment, and

other, or

to the edifice

same

the

be

shoul'd

they are

On

It will

162.

Nature

from as

in

principles intended

beautiful of

correspondence balance,

law

bound

are

of

all true

We

natural

side

one

all

to

symmetry,

as

for

objects

recognize, in which

there

is found

the

reciprocal

Fine

Art, properly

adornment

simply,

degree, lie at

to

and

and of

of

or

some

seems

guidance,

our

works, whether

our

obtain

must

we

another

to

called, of architecture,

so

we

in

so

91

evident, then, that

be

the

most

Symmetry.

this

beautiful

foundation

the

of

ornamentation.

ordinarilyapply

cannot

this term

horse, for instance),as

indicative

of

not

form, for if it

were

of

to

animal

an

(to a

special excellence

some

it would

symmetrical

be

simply

monstrous.

In

a

Landscape,

as

163.

of, which

light

and

feeling other.

limited when

mearis

such

shade,

or

that

one

side

the

sense

the a

of of

term

'balance'

of

may a

be

picture

disposition of parts, colour, the

as

shall

picture

applied

spoken

whether

prevent

is heavier

is

to

us

than

of from

the

XVI.

CHAPTER

OH

IF

1C4. at

look

we

fissured

a

rock,

very

descriptive

Art,

it

*

see

For

object

is

instance,

Figs.

C8

and

illustration

Used

FIG.

any

remembered, if

we

69,

in

other on

or

consider which

of

its the

at

mind,

of

first

bits

and

sight

of are

age,

which

representation two

to

69.

qualities

the

this

relation

peculiarities, whether

those

or

field, or

ploughed

a

good

a

character.'

strongly impress themselves the

in

68.

roughness,

newness,

shall

we

ART-WORK.

IN

furrows

the

at

word

all

means

FIG.

CHARACTER

SECURING

by

most

which

recognised.

twig given not

very 93

in

dis-

On

Character

Securing shall

similar,we

discover

soon

in Art-work.

that whilst

life and

promise, the other, wanting

indicate

life

the buds

"

In

165.

making

it is

Nature,

as

we

not

may

the intentions

Thus,

When

produce

is

is

required

part

no

to

attempt

about

other

words,

endeavour

of

can

be

directed than

to

arrangement

only as oak 166.

or

knowledge

some

a

have

to ask

of

a

to enable

tree,but

as

the of

?

the stem us

shape

some

"

sympathy

in we as

rotundity,

from

one

at and

kind particular

it will be

of the

of the way

fullyto get

ourselves

These

leaves ; but

and

we

efforts should

tree, our

the

that

minds

our

feelingor

twigs, and

the

on

strike off from

necessary

of

defined.

when

but

rest ;

we

such

case

imitation

of their

not

with

for

of hand

characteristics

its

word

expression of leafmess and

the

that

will be

example,

than

pressure

the

tree,

a

are

down

evident

the branches

the work

shading, ^considerable

equal

than

In the

an

another

strongly impresses

most

what

to

a

perfectlystraightline,or

a

such

keep

darker

put

but

perfectly even

to

command.

we

more

it

to

on

representation

our

clearly explained

represent,say,

what

is

to make

be

may

Art

in

more

piece

a

which

strokes of the

the

copy

from

write

beginning,to in

or

copy

of those. strokes.

endeavour

we

care

much

Expression

Feeling, and

a

leading peculiarities by

so

which

markings

from

or characterised,that distinguished

of it

as

drawing, whether

a

the

those

is full of

one

actuallydead.

good plan, before

a

separate paper is

is

"

the

93

leaves,

in which

another,

depict it,

of tree, such

ash. In

like manner,

if the

subjectbe

a

mossy

rock, we

94

On

should

strive and

moss,

to

the

and solidity, If

and

hardness

roof

those

express

these, however

it must

be considered

of

be

the

the

hamper

of

and

drawing

useless

camera

do

can

select and

the

light

In

as

on

rock.

object,the

essential ; and

carefully the object a

of

qualities failing

be

may

to

copied,

failure.

objectsand

shade

is most

their

at

clearlyseen

edges, but chiefly

70.

separate

"

as

may

be

seen

in the

as

sible impos-

(Fig. 70).

108.

which

the

thickness

rotundity, the

or

thickness, weight, age, "c.

light parts

the

and

angularity

FIG.

where

softness

Speaking generally,character

167.

Art-work.

in

of

granularness of

the

will be

on

ideas

express

thatched

a

Character

Securing

a

to

scene

may

feelings.

for

those be

Nature

all

put

that

express

from

us

down :

it would that

it is the

essential

and

identified by the

is

be before

us

"

business

of

striking

truths

mind

and

Art

the to

by

impressed

CHAPTER

XVII.

ON

VOLUMES

169.

have

than is

quote,

the

faculty

from

those

moral

in

nature

receives

who

its

we

do

better

Perfect

taste

* "

attractive

are

perfection.

pleasure

from

these

pleasure

from

any

to

He

taste

has

sources

our

who

wants

sources

other

puted dis-

possible pleasure

greatest

and

purity

cannot

words,

which

sources

much

ceives re-

he

;

false

or

taste.' If

object,

an

of

independently it, our our

the

receiving

for

his

this

on

and

says,*

possible,

as

material

little

bad

far

as

written

been

Ruskin

Mr.

word.

TASTE.

The

170. of

action

right is not

distinct and

without

good

or

'taste'

term

'judgment,' of

or

is

a

intuitive

our

taste

or

colour

be

choice

or

; if

pure

right, it

do

we

If

taste.'

*

is

right, mire ad-

we

admire

not

it,

is bad.

taste

that

form,

a

which

the

intellect.

wrong,

and

'taste.' from

in

its

at

of

definite

perfection Modern

so

of so

the

to

intellect

one

that

it

thing ; but

to

Vol.

this

tive instincanother to

is proper

do.'

Painters,

be

totally

are

is the

object

material

definite

a

a

conclusion

called, which

except

reason,

*

a

whether

reason

with

confounded

be

expressing

term

a

exertions

preferring

obvious

not

may

taste, properly

instant any

is

We

arrive

'All

must

I.

95

manity hu-

On

96

intuitive

This

171. unlimited educated

amidst

beautiful

in

man

of

only

the

this

by

the

be

therefore, to make laws

right

or

(Figs. 71

sight prefer the proceed

to

both

on

its suitableness. beautiful

by,

say,

a

the

curves,

would

of

the

feelingsand

some

if so,

the

of

it

ascertained

intellect,under

a

him

life.

But

well

as

ought,

we

those

the

prinbe

to

two

might

slight

is the

If a

we

definite ful, beauti-

more

its contour

first

at

is bad.

arrive at

soon

varietyof not

the

into

determined

taste

little alteration be

child

73.

that the second

or

and

an

about

effort,as

persons

shall

we

of the

in

judgment.

72),

first :

Whether

and

be

possiblethat

and

account

true

direct

FIG.

is

decision

the

objects of

objectsmay

analyse them,

unalterable

A

acquainted with

71.

It

life.

thingsof beauty ;

which

by

wrong.

sketches

beautiful

ourselves

FIG.

and

of

to

of

continuallyhas

developed by

the subtle influence

or

who

not

affected

likelyto develop

more

one

and

common

of

surroundings

taste than

good

be

may

circumstances

is much

Art

facultycan

ciDles

faculty

the

by

extent

Taste.

and

from

made

might

be

in the

proportionsor

by

a

the

mixed control

more

exercise of

the

On

Taste, then,

172. of

in

facultyof

a

We

173.

which

value we

told

are

china

its true

excellence Our

be

Let

Art, should

of

positionof

his friend

and

know

the

of

the

these

maintained. beautiful

judiced preof

with

wherein

that

as

object?

some

7

or

the

we

form

has it

*

ancient

or

colour ?

told

that

must

it

was

or

'

is it the

If it possesses

rightlycommand

because age

or

!

admire,

to

are

we

Oh

'

it, sir ?

is

which

;

ture-ga pic-

a

replied

history?

a

may

pretty'

old ; if it has are

that was,

indeed

us

gentleman who,

old

of its worth

reason

lead

to

they passed through

it qualifications,

because If

of

ing please,in speak-

to

what distinctly

beauty

It is not

venerable. of

judgment

be allowed

beautiful

clearlyand

attention ; but

ruins

800

Christie's tomorrow,'

at

ascertain

enthusiastic

remarked,

Is it

why.

antiquityof any

cost

satisfyourselves

to

not

beautiful, very beautiful us

little

pecuniaryvalue

stated

ought

ficial arti-

'that

high,

our

pleased,and

how together, very

that

having

the

by

things. When

some

inches

excellence, and

willingnessto

the

when

of

is

consists.

of matters into

on

guineas

acceptingthe

its real value, we

as

to

danger

before

puts

1000

bad

or

that which

misled

be

to

fifteen

or

fetch

in

are

; and

regard

twelve

tion opera-

is false.

connoisseur

learned

would

we

'

the World

the

only

vase,

vase

'

by

guineas, and

the

liable,however,

are

is good

agreeablyby

beautiful,or by that which

and

spontaneous

nature, which

moral

our

97

instant and

is the

it is affected

proportion as

pure

Taste.

be

our

distinctly

fashionable, nor

historyit

excavated

as city,it is interesting

a

may

the

from relic ;

be

or

it

On

98

may

pottery, and, exist admire

the

be

and

work

has

then it

been

is

moreover,

;

of

it

the

becomes

accordingly.

once

some

in

Taste.

the

only a

famous

of

possession of

specimen

thing

of

but

royal

some

the

history,

extinct

now

kind and

family,

known

we

to

must

CHAPTER

XVIII.

ON

STYLE

174. in

One

do

true,

fine

could

be

or

;

than

Cox

David

of

the

But

painting, Not

the

early

the

Dutch

pen,

used

he

aimed

that

of,

and

example, Prout

as

in

at

used

in

apply

not

and

of

ing, work-

expression

his

whity-brown

coarse,

style

'

of *

Elizabethan

their

Schools

Schools

;

their

nothing

used

it,

old

ings build-

of

to

that

paper

some

the

the

or

style

'

his

wild

motive

Bartolomeo,

and

in

to

the

ner man-

but

working,

the

example,

Dutch

style

'

of

architecture.

of

known

or

fidelity of

was

*

imitation

Art

others,

by of

motive

The

motive.

of

for

as,

;

only

way

determined

are

by

Italian

in

ornament,

Schools but

may

communities

and

the

Angelico,

reed

for

:

the

a

to

broad

styles to

in

nothing

be

may Some

truths

another

;

is

style (not

It has

pen.

versa.

individuals

style

style alone,

of

'fond

term

Schools

that

charcoal

drawing

a

broad

a

'

hand

'

or

pictures.

the

and

a

common,

particular

to

in

with

vice

truth

so

was

Byzantine

Fra

of

manner

peculiarly adapted

the

moorland

and 175.

'

kind

draw of

for or

'

piece

as

kinds

than

better the

express

also

be

may

particular

some

wind

false,

and

however, of

work,

of

truth

or

a

niggling),

style (not Avith

with

as

what

may

person

necessarily bold), fine

is

drawing

in

writing.

STYLE.

"

their

some

of

so,

also,

represented

as

was

by

expression

;

On

100

whilst

colour

Venetian 176. is but

be

to

have

been

chief

a

motive

of

the

School. It will the mode

School, and to

seems

Style.

be of

is not

expressed,it

entirelysubservient

seen,

therefore,that

inasmuch

expression employed by either is of

the

a

person

expressionitself

secondary importance,

to MOTIVE.

as

nor

and

Style or

what

a

is

indeed

CHAPTER

XIX.

ON

177.

School,

falseness. woodcuts

ON

in

Motive

depends

'The

(Figs.

Art-

motive and

whether

work,

ultimate

the

73

MOTIVE.

in

issue

FIG.

73.

Fro.

74.

exhibited

good

severally

74) would,

if

in

or

ill,truth

or

in

child

a

the

pursued,

two

be 101

a

or

little whole-

On

102

In

disastrous.

or

some

Motive.

the

first one,

something clever,regardlessof Fig. 74,

be natural

There

is

to apply closely

make the

to Art.

have

power

this world

reward, and brings with but

they who

not

and religious,

they

never

have

can

transposingthe If

this

doubted

even

mean,

to the

is

and

"

for

Virtue

:

seems

to

aim

is its

at own

highestpleasures; selfish,

pleasure,because

the The

formula,

same

'virtue,'seems

As

a

to

by saying it

of it. it may ;

hold

be

that especially Hence

there

done

to

chief

no

so

so

high

is syllable,

a

trulydone (as a

line

we or

dignitystill higher in action

so

great done

but

as

nor slight,

and that

to

help

the

: "

and

very

of it,which

of all purposes,

Shairp, Culture

of

great purpose,

a

be

may

George Herbert *

is

purpose

help it,and

is

a

be

can

Every action, down

'

manner

is capable of

For

is any

nor

the

it

be

utterance

or

peculiardignityin

express

but

truly says, line

a

should

student

Ruskin of

scarcelythink

we

of the

drawing

MOTIVE

may

God.

true

true),so, also,it

therefore

most

be

one.

pure

sometimes

the

who

are pleasure-sake

virtue.'*

'Art'

word

the motive

"

capable of

tone

the

they

and

gain

never

which

here.

good

and

Again

it for the

will

aim,

goodness tend

; but

it the truest

cultivate

issue of such

and

virtue

the virtue.

not

in

stronglyaimed

in morals

law

All

'

at

healthy.

well-known

a

powerful in

men

and

aims

truth ; whilst

the ultimate

feeblyexpressed:

however, would 178.

individual

of flower, of stone, of tree, is

truth

at, though

child

our

Religion,p. 61.

so

ennobled tions slightac-

it much,

pleasingof

Motive.

On

A

"

Makes

Therefore, in the

on

choice the

who

Him'

value

is the he

that

student

with

Rosa,

geology,

its

a

of

Gustave

of

argument

virtue.'*

effects

based

one

:

far

small

;

it goes,

as

far for the

Better

Herbert

discipleof George

motive, than

and

acting, we

is often

so acceptableness,

humility

grand

of

manner

work, which

the

of

his

or

Thy laws, fine."

the action

origin of

be in

Angelico, both

lor

as

pressing any

proofs of

on

;

separate lines

two

inherent

the other to

of

and

that

divine

room,

a

sweeps

Makes

have

this clause

drudgery

Who

'

with

servant

103

Fra

or

Salvator

of

monstrously impossible

but

Dore, with

his

insinuating and

dangerous exaggerations. this

Regarding

179.

Jbe misunderstood.

genius

there

That be

can

last-named

As Dante's

much

care,

high

and

in many

sphere not

appears

for the

aware

that

; the

is

a

to

reason

we

become

often

goes

a

Ruskin, Seven

power

not

We

Lamps,

p.

as

the

do

not

eight

at once,

Here

on

us

is the

legitimate

laws, and

Introduction.

we

But

them.

illustrator

5,

vellous. mar-

dawn

entirelyunfits

an

is

or

beyond

as

to

figure seven

has its

what

are

alone, and

representer of facts,and

protest againsthim *

female

imagination,which he

not

remarkable

a

creative

stands

noticed.

never

is

is unrivalled.

does

error

imaginative faculty is just think,

he

Quixote he

cases

Dore His

wish

we

imaginativefaculties

if in Elaine

even,

feet

his

exponent

Don

of

Gustave

little doubt.

and wonderfully prolific,

illustrator

artist

him,

it is for of

are

this we

this

the Bible.

On

104

Here

do

we

such

and

We

is meant

or

classes of

men

the true.

He

in the

anachronisms would in

a

and

;

weary that may What

not

only

be imbued was

a

the

of

years

his with

A

goat' Scape-

with

rials mate-

with

nineteenth-centuryartists

few

materials

could

as

the

or

he to

be

Riviera

Scotland go

"

for

gathered possibly a

to the

instruct

us

ground. backland were

the very dreariest of the

wilderness see, but

the sentiment

result ?

'

unmixed

not

is to

may

two

of representative

himself

which

eyes

by

ordinary painter of

An

must

that waste

that

teachers.

our

concerningthe

us

xvi.

but

fully

more

teach, instruct, be

as

Hunt, however,

only so,

not

of

scenes

Farrars

what, is done

shooting-box in about

scenes

; and

shop, work-

Eastern

little

to

way

Hunt

to instruct

Avith such

friend's

the

enacted

some

consider

n9t

Holman where

help

generallyunderstood

through Switzerland,

visitinga

more

imaginings that

a

country, probably

own

be content tour

here

century might supply

his

ment judg-

Canon

paintersmay

moment

a

Leviticus, chap.

from

in

this way

proposes

sixteenth

our

during several

a-stare

taking Holman

"

is

an

dramatic

It is

motive.

in

then, for

us,

sketch of

explain

picture is

a

enlighten,and

Let

well

as

by

of

There

truth.

facts,

want

seasons.

may

the purpose

help

will

as

all the

in

than

exhibition

180.

them

frontispieceto

thoughtlesspublicall

London

what

the

forms

Life of Christ, a

we

Hunt's

in Holman

which

hold

imagination;

realisation of the

the

comfort

and

of

statement

clear

to

man's

want

not

Motive.

below that

he would

picture

of

the his

Dead whole

press upon

which

Sea, soul us.

Fashion,

in

On

her

blindness,for

not

appreciate. The

the

"

subject

wilderness that a

picture was !

and

"

otherwise, and

be

with

sin

in

the

How

that

could

truth

otherwise is

she

How

?

?

and

"

could

interest in it !

no

"

on.

yet

it be

!

ugly

so

look wretched

creature

105

spoke the truth, though

once

wretched

goat

Motive.

such

a

could

a

should

not

representedas bearing

nation's sins ? When

181.

it

thing !

'

Tares

Sowing ago,

Millais

'

in the

hung

was

The

about.

yet

how

could

be

otherwise, and

182.

If

pictures are lesson

by Landseer,

Bull-fight,' by but what

power, between

the

on

and

at

place

town? walls

And of

our

house

and

common

read

to

time

learn from

Grand

?

such

and

'

the

to be

pictures to by

seen

might

we

might

Otter-hunt,'

The

'The

or

of artistic

is the difference

What

and

that of

between

or

of

true ?

Otter-hunt'

'The

deed

a

in their exhibition

teaching?

of

these

decoration

ugly

dark

was

lessons, we

us

match pigeon-shooting

homes,

near

be

boar-hunt

a

a

visit to

a

Lancashire

hanging

on

the

?

Surely,in

little more

thought

our

children

use

a

sense.

Further, work of

same

fete day ?

a

are

our

at the

to

we

of their

a

years

an

Boar-hunt,' by Schneider,

teaching

Hurlingham a

are

Ward

'What

it

and

Enemy

twelve

about

picture of

the

to

'The

or

bad,

An

l

wretched-lookingreptilescrawling

were

darkness

inquire what

pictureof

people said,

and

looked

sower

there

his

Eoyal Academy,

high,

gloomy, and And

exhibited

the

it should the

artist

reader

not or

before

be

forgotten that

illustrator the

author

in

an

always gets the

trated illustion atten-

does, for the picture

106

On

instantly

appeals

the

whilst

truth

from How

the

to

which

the

be

true

men

not

read

the

! text

much

a

the

read

; few

presents

and

look

has

the

page, be

to

tained ob-

process.

illustrators

should

illustrations,but

at

text

of

laborious

more

painters

people

Many

opening

author

the

that

the

on

eye

type by

important, then,

Motive.

without

looking

at

do the

illustrations. 183. too

strongly his

be him

either the

avoiding

from

Returning, then, the

on

urge

in

motives

thoughtless faculty that

or

this

student

which

the

pursuing Art, selfish,but

appreciating

of

digression, we

that

such

'

|n t{"t arorn

Uta

importance that as

which

is false.

Ibt "ah.'

cannot

they will

of may

develop

is true

and

amining ex-

not

in of

CHAPTEE

XX.

BEAUTY.

ON

184. that

to

BEAUTY'

'

like

Just

so

is

to

one,

sometimes

the

of

of

object

such

a

it

of

the

must

the

give

be

Mr. us

;

all

by of

if

the

we

says, in

the

be

be

wish

to

good

'Any simple

it is

together

what

material

on

of

a

say

bad,

or

the or

they

beautiful

ascertain

judgment

for

highest point

justly

cannot

pendent inde-

object

contemplation

any

ugly,

or

of

matter

it

that and

cannot

the

fact

evidences, those

are

If

neglect.

for

is

think,

stated,

by

good

or

untrained

the

to

suffer

may

goodness.

quite

be

may

opinions,

gathering sound

a

Ruskin

pleasure

taste

of

faculties

our

elsewhere

We

capable

we

entities

"

by

and

This,

are

but

are

our

stayed

beautiful

another.

instance

for

of

is

or

is

beauty

which

they

opinion.

and

of

cultivated

have

vase,

intellect

goodness

and

taste, for

fact

exercis'e

When

of

not

matter

alter

a

;

be

we

independently

and

to

taste

our

give

we

names

faculties

goodness

may

As

as

"

so

that

and

education,

capable

fact

and

they

or

sensibility.

it is

that

truth

of

the

recognition

unchangeable

appreciation

of

moral

opposite

Truth

and

perverted,

the

said be

may

fallacy.

a

in

and

are

satisfies

appetite

as

aesthetic

our

satisfaction

It

'goodness'

approximately

which

conscience.

truth,

and

is

is, and

evidences. which of 107

its

can

out-

On

108

without qualities,

ward of

in

the

'""'

and

definite in

or

way,

think

is,whether

that

"

some

but

cannot

direct

any

I call intellect,

the

beautiful,'we on

Beauty.

that

exertion

degree,

some

much

very

depends

(the 'us') have

we

true

or

taste.

pure

Stewart

Dugald

185.

'Notwithstanding the great

says,

and varietyof qualities physical,intellectual,

moral

which

it will be

"

the

admitted

word

that, in

it refers to

of

its

primitiveand

beauty of form,

composition,of lightand

-of which

referable

are

constituents there

are

general application,

most

go

few

make

to

which

of

beauty

up

expression;

infinite,but

are

in

brieflyreferred

are

all

various

generally present

are

work, especiallyin

parts of the

of colour,

beauty

principles.The

certain

to

is

there

shade, and

call beautiful, and

we

various

that

some

believe

I applicable,

objectsof sight.'

Besides

186.

is

beauty

to

"

the

thing anyin

to

three

next

chapters. 'All

moral

our

intellectual in

that

powers

beauty it

pleasure depends

is on

than

more

delicate

which

can

.

.

be

exaltingand it would

other ;

Ideas

of

probablethat and

beauty

presented to

the

constantlyunder

that

we

their

are

intended

by

influence,because

the there

of the

purely

are

their

high

perceptions the

mind,

to

all

much

amongst

human

purifyingit according

appear

in

untraceable

are

our

without

one

and

relation, which

fitness,propriety,and .

affect the

cannot

we

with

interwoven

so

degree addressing the

some

ideas of

of

feelingsare

tellectu in-

noblest

invariably

degree, and Deity

to be

is not

one

On

single object

187.

To

Nature

philosophy this made mental in

nature

which

is not

capable

full

enjoyment

of

o|

conveying

*

them.'

in

in

109

Beauty.

a

right

or

in

of

there

end

sensitive

and

there

Art,

and

Nature,

also

must

by

the

faculties, the

of be

be

must

a

beauty,

knowledge

the

principles

the

operation

intelligent practice

feelings, the

eye,

of Art. of

of Art the

and

concert.

*

Ruskin,

Modern

Painters,

Vol.

the

I.

whether of But

the to

feelings,

; thus

hand,

the act

XXI.

CHAPTER

OH

IN

188.

constitutes

fitness

themselves their

in

In

all

in

beautiful stable

and

be

oddly

is

In

related

pleasure

itself

to

adaptation instance, if the

we

the

; or,

sounds,

to

so

perform hand

for

in

walking,

we

the

some

with are

from

is

a

in

a

lane,

a

appealing

of

of

idea

the

to

the

and

objects

the

idea

all

function,

may of

merely

and in

essentially beautiful the

by

particular

the

in

faculties

give

to

not

handling,

place

this

that

number

apart

mind

ment agree-

individual

of

out

case

a

as

object

an

of

picturesque

one

case

other,

acquainted

are

foot

to

each

tory. nuga-

greyhound

intellectual

the

least

their

of

want

lawn.

in

kind,

former

like

a

in

quite

very on

things

sense

Italian

be

many

at

a

forget, however,

to

the

become

may

place

not

another

agreeableness, give

of

be

only

An

would

but

twofold

a

judgment. so

out

must

of

in

senses,

be

kinds.

become

not

fitness

the

from

yet

must

parts,

form,

though

may

there

calf, though

a

We

189.

fitness

their

creature,

;

would

application they

suitabilityof

but

forms,

; for

beautiful,

works

of

beauty

element

be

complete

and

of

sense

essential

an

in

may

perfect

a

FITNESS.

or

recognition

function.

the

foot

mechanical

charmed,

and

Take, for

at

for

walking

appliances look

its

of

:

of

it, apart 110

On

from

its

form,

know

we

and

human the

to

a

world

of

and

but

than

the

proportion

dictating

in

votaries, heels

unreasoning

Wise

intolerant

and

fashion,

of

as

in the

appliances with

disgusted

tyranny

reasonable

higher

in

; and

beauty

be

we

vileness

inches

two

shall

Ill

with' Nature's

charmed

so

utter

of

thing

a

are

foot,

of

as

Fitness.

Designer

fit to make

saw

them. The

190.

only

it will be

everything by

be

in

walls which

on

the

How

often

'

the

relief

surface should because truth.

do

latter

appointed, About

will

to

as

to

be

so

we

hearth

(as will

be

true

be

and

elaborate

there

should

And

as

upon,

The shown

that

in

this

to

principle.

deputy

is

pokers

the

has

be

in

ornament intended

striking patterns

XXVI.

to

'curate.'

all

Chap.

fire-

very

and

fenders

little

tables,

carpet

will

else.

carpets

our

the

even

a

must

various

the

principle in

as

there the

on

irony, called be

Thus

floors and

subject

ornate

art

silver

and

but

everything

precede the

not

ornament,

function, of

rooms,

highly

walked

avoided.

our

sometimes,

possible. be

in

must

should

see

is

of

mantel-shelf, and

heavy

which

work

a

apply

surrounded.

are

crockery

our

all

themselves,

the

"

on

we

and

of

tread, the

we

ornaments

irons

form

furniture

and

in

it, which

parts composing The

which

that

then,

seen,

fitness,both

a

referred

architecture, sculpture, painting, and

to

almost

to

here

principle

as

on

a

it

apply continually,

)

it is founded

in

CHAPTER

XXII.

VAEIETY.

ON

VARIETY

191.

of

sources

to

it

for

"

beauty

things,

from

Variety

seems

well

infinityis

each

;

them,

among most

Who, desire

the

Again,

wand

if such to

of

universal

by

change

return

captivating

to

that

constituent

*

make could

be

variety of

rest

on

both

the

ble inseparafrom

one

that

exactly

like not

the

some

her feel

be

ever

be

to

desire

in

all

they

admitted

must

a

that

found,

select

was

which

Practice

and

was

effected, would

beauty,

Principles and

and

would the

is

fact, constituted

consent

beholder

be

could

we

alike.

'by supposing

number,

number,

supposing

should

a

whole

two

This

together,

the

simply No

nature.

our

in

variety,

is

exactly

would

great

neither

Nature. are

seen

It

appellation.

this

of

of

be

essential

be

can

Harding,*

to

chief

essential

operation

upwards,

D.

women

beautiful, what

magician's

J.

of

other

there

its

of

necessity

that

who

law

grass

however

beauty

to

the

naturally belonging

characteristic

that,

it.

from

late

the

and

aggregate

a

a

beautiful

of merited

varied

the

by

laws

extent

of

be

to

examination,

the

blade

a

shown

number

The

trio

every

to

of

one

the

of

Like

subject

is

Nature, one

obedience

truth.

infinite, and

forms

it is

without

nor

in

as

production.

Art,

in

quality

its

Art,

and

beauty, in

elements

in

112

a

the

individual

of Art.

?

and

Were

the other.

expression,the

beauty always

But,

is

and

gratifiedby

afterwards

Harding

Mr.

192.

FIG.

thus variety,

different

sizes,s is

arcs

in

difference

s

'On

"

s

s,

E

E, 8 ,

from

we

are

of

to

are

excited of

show, in

a

tuent indispensableconsti-

an

shall

find

that

whatever

same,

the

is, during centre, and

equal length,and

of

is constituted

cutting segments

since, from

the

proceeds

perfectbeauty

preciselythe

size ;

equally distant E

:

circumference

circle, the

radii,R

that

beauty, and

of

of the

beauty,

75.

varietyis

that

palpable manner,

of

to

expression.'

and

infinite

its

fatigued by

be

the mind

and

and

unanticipated combinations

and

fresh

form

same

varietyis given

as

it,the eye

inseparablefrom

and

would

have

cannot

we

one,

to take the

mind

the

and

eye

perpetual recurrence.

form

the

Without

aggregate?

the

in

113

Variety.

On

of the circle the

curvature

may

construction its

whole

be

the

of

the

circuit,

consequently all the

curvature

the

is in

On

114

On

'

s

or

This

same.

s

s,

hand, if

the other

not, their curvature

unequal,

that

so

part of another,

of

these

of

curvature

segments from their

assumed

part of any

no

or

cut

we

and

itself

be

the

variety.

that, whether

shall find

we

form, therefore,cannot

it wants

beautiful,because

most

s

the

point

every

Variety.

segments

chords

radii, R

R

egg,

equal

R

R,

are

repeat

side ; for

same

is

be

would

segment

the

on

the

the

as

perpetually changing,

v

they

could

been

here

not

be

obliged

represented by to

place

Here, then,

beauty.

more

the

eye,

instead

yet

more

in

the

or

of

This,

so

limited

this,we

take

is

in order

sphere,

and

to

such

make

greater variety,and

as

of the

power a

mental

of

of

the

compasses

view, the

we

sameness

infinite

I have

myself

derstood. un-

therefore

far, is only offeringthe

thoroughly conscious the

radii

;

test

to

but

if,

shall of

feel

ture curva-

variety which

Variet'1.

On

the

ovoid, or

infinite in

segments

still have

should should of

form, admits

egg

the

the

conceive

we

number

an

then

the

works, the ovoid

human

be

cut

the

sphere,we

a

occurring;

is made

and

quently, conse-

form.'

He

Nature's

of

almost

up

but

radii

variety,and

beautiful

most

To

get

idea of the

correct

a

of infinity

FIG.

figure,which

law

of

one

form

when

conceive

entirelyof

forms.

193.

ful

from,

beautiful

is the most

form,

should

we

ever

infinite

of

be

how

If

cut, the curvature

so

egg

two, this

demonstrates

of.

curves

same

segments would of

to

115

combines

symmetry, or

be

can

obtain,

not

but

an

the in

one

of

our

when

longitudinaland

the

observations

to

we

with

to

ters diame-

transverse we

may

ture, constantly varying curva-

varietyof ovoids, from the very

evident,

attempt

possiblerelation, so

every

ovoid

varietywith

It will be

ovoid.

as

infinite

the law

confine

the

76 b.

much

mathematically,or

(Fig.76 a) to having

so

it

varied

only

one

not

proportion of

it,that

construct

must

we

consider

we

in

this beauti-

the

very

gated elon-

compressed (Fig.76 J), each

infinitystamped

upon

it.

On

116

Ovoids

of

instrument

they

various

Variety.

proportions for

specially adapted also

may

be

roughly

Draw

line

A

c

B

A

tie

D, and

Remove

Now

B.

the

the three

looselyabout If

pencil be

a

string,so

It will

depend

on

be

B

relation and

D.

be, say 108", and

c

vice

The

round

B

shall have

other

a

if

efforts of 2300

follow

endless

of

keep

to

as

it

the

trace

ovoid

the

the

for instance,

shall Have

make

we

CAD,

shape suited

to

form

a

say tall

a

will

isosceles

two

angles, CAD,

to

120",

vase

or

has

for

of

lines

himself

ovoid.

caused

remain

out

so

Greek

many

unsurpassed during

giving forms,

all the Art

years.

occupy this

work

to

judicious combination

varietythat

It would

the

sion, originalten-

it will

of

27", we

D

is recommended

It is the

vases, especially

to

shape

simpleplan for constructingan

infinite

D.

B

within

so

lie

versa.

student

194.

them.

stringwill

it to its

If the

face ; but

human

15", we

D

c

the each

to B

jar,and

this

that

evident

the

suited to the c

points,

ovoid, or composite ellipse.

CAD triangles,

and

with

as

the

at

the

always equally stretched, FIG. 77.

it

remaining pins,A

restore

carried

be

"

introduced

now

to

as

and

at c, and

but

(Fig. 77):

bisect

pins

an

;

stringtightlyround

a

pin

fix

by

purpose

follows and

D,

made

that

as

line, c

any

the

made

be

may

too

element

much of

space

in

a

work

of this kind

varietythroughout

not only in applications,

ornamental

its almost

art, but also in

On

to

of

form

the

mountain

boats

of

below),

requisition.

leaf

or

only

not "

directions

a

shapes, and

as

to

and

we

to

the

shapes, in

shall

117

painting.

and

sculpture,

architecture,

Variety.

It

applies

equally

shapes

and

modelling

but

the

quantities

to

composition

presently

(as find,

in

the

it is in

of and

Rhine constant

a

CHAPTER

XXIII.

ON

the

tf

combinations work

overlap

of

this

has

its

the

idea

This

of

is

music.

all

We

tying

idea

forms,

from

cycle;

and

natural

only are

of

or

the

parts

to

in

in

of

the the

the

creation

;

introduced

rather

perhaps,

highest

in

which

to

cord,

of

all

the

to

and

suggest

convey

by

this

idea.

same

object,

any of

visible

this

we

one

universe.

do

nation subordi-

the

in

as

whole,

piece

a

through have

to

seems

in

lowest,

of

this

the

And so

object

with was

whole

Unity,

it

also

then,

organic

unity,

of

the

a

individual

any

thus

and

complete

one

idea

of

been

things, binding

completeness

itself

of

running

it

and

the

is the

completeness

infinityof individuals,

designer whole

beauty

restrictions

pictorial art

a

nature;

may

governed

of

all

although

an

the

it, like

the

form

one

of

be

certain

oneness,

work

a

find

contemplating that

Unity,

together

divine

or,

"

a

inevitably

productive

under

in

extent.

riot, and

run

allow

beauty

almost

some

as

the

elements,

secure

they

to

of

but

of

essential

as

other

not

to

to

that

spoken

as

various

Unity.

idea of

each

must

the

necessary

found

sake,

relationships,so "

be

been

own

of

are

on

variety

for

merely

which

impinge

or

Variety but

consideration

Art, it will

of

UNITY.

of

it is

which

is that

in

conviction the

designer

being 118

that

On

which

which

time,

Art,

but

at

the

and

of

of

the

music

A

197.

and

of

with

the

completeness,

be

fact

it

enjoys

as

the

it

:

a

a

the

is

strongly

like

beautiful

a

of

few

a

notes

it.

incomplete, it

is

in

or

more

omission

the

of

that

ment ele-

for

enjoy

may

incomplete

work, felt

ending

may

mind

the

the

higher

the

completeness.*

in

rest

is

whole,

one

the

morals,

performed

sketch

cognisance

into

completeness

beginning

119

produces

obtain

necessity

piece

in

as

cannot

imperfect, the

and

expresses

In

196.

individuals

all

connects

Unity.

does

the

but

aim

not

fragment,

at

as

or

taking

mind,

to

pretend

or

of

only

part

a

whole.

some

idea

The

198.

is

but

of

has

unity

of

aggregation

an

nothing

do

to

with

form

whicji

differences

mity, unifor-

one

whole.

*

There

are

discovered

they

are

scarcely

parallelisms

extraordinary

some

between suited

sound for

an

and

elementary

form

and

confirming work

of

this

relationships this nature.

idea,

cently re-

but

CHAPTER

XXIV.

ON

'COMPOSITION

199.

each

COMPOSITION,

of

the

to

each

and of

several

all the

general design.'

help given by everything make

Composition

in

therefore such

brings of

reference

the

to

of

contents

a

like

watch

a

and

more

a

group,

the

general

several

pencil,

in

the

the

to

that

tion perfec-

defined

be

tively rela-

whole,

the

as

else

everything

to

agreeably

most

case

every

and what

a

and

of

objects

and

most

objects

the

to

to

illustrate to

on

the

must

with

both

places they

objects

of

the we

Now

the

same

proceed

at

kind to

a

once

than

We

eliminate

may sketch

rough

and

piece

of

find

that

are

the

us

railway key

a

we

familiar

a

pocket.

in

given

in

before

table

promiscuous is

this

railway pass-book,

coins.

so

the

beauty,

group.

several

and

association

the

keys, including

knife,

of

degree

perfectly natural,

appear

empty

(Fig. 78),"

for

to

higher

a

will

endeavour

us

something

key,

us

; but to

in

Let

manner.

have

picture

things introduced,

will

We

200.

to

as

us

as

severally occupy

have

also

may

satisfaction, by

affect

arranged

so

It

cation collo-

a

Art, both

to

respect

in the

combination

a

powerfully be

of

such

whole.

a

and

with

work

a

be

to

efficientlycontribute

most

may

in

objects

other, and

defined

be

may

a

lead we

necessary

by 120

taking

On

form), and feel

under

knife

the

the

and

be

a

?

Pass ; ' and

so

fruit

knife

book

out

of the

form

cannot

201.

natural

a

We

whole

will

or

a

will

and

they

piece of try

we

lie

with tumbler

relation

arrange the

flatlyon

which

to

with to

the

consistent

or

vary

water

other

the in it.

the

bears

no

In

articles,we

more

beginning

with

well

"

we

have

no

and

so

group, But

objects,we

as

may

or

with

a

pencil, and

this.

any

agreeably:

table,

as

eliminated.

ordinary lead

of

them

that

group.

pocket-book,

a

remove

the pencil finally, be

dozen

naturally go or

perhaps

78.

the

piece

a

eraser,

to

and

now

natural

we

it (silver),

try again, however,

single object, say inquire what

of

so

discover

nor,

;

same

group

except and

;

also must

FIG.

fact,

book

further

these

our

None,

We

pencil, or

the

inquire, What

we

them

keys.

to

the

to '

But

among

happens

relation

objects for

The

keys.

121

repetitionsof

are

knife, pencil, and

the

coins

(which

control.

exists

between

to

several

more

relation

the

coins

several

away

Composition.

A

knife,

all of these ;

but

we

find,

as

upright object we

add, say,

this tumbler

bears

instantly,by

a

no

intro-

On

122

ducing

a

paint-brush into

if especially

and

We

have

which

Composition.

bear

we

show

the group, a

bottle

for

our

also

materials

now

relation to each

some

FIG.

perchance, be

may,

this may it will

be

not

said

to

satisfythe

the

place,near

done

so

proposed composition

other, and

so

in

as

necessities

secure

Fig. 80,

with

Fig. or

we

will

proceed

of

but

though

Art.

a

We

had

better

80.

then

both

79 ;

according to Nature,

principal object

centre, and to

in

natural,

be

begin by letting the it

white.

79.

as

Fro.

about

of Chinese

them.

to arrange

They

suggest a relationship,

arrange

varietyand

occupy

the

the other

unity.

result. satisfactory

We

chief

objects have

On

202.

The

other, and

Composition.

relation of the

to

the

parts of

whole, may,

123

composition

a

be

perhaps,

to each

better

under-

\ FIG.

stood or

by considering them

they

bear

them more

in

in

as

they

compose

we

the flowers

have

and

each

we

(our Crocus),

85

get

to

one

of FIG.

have,

we

which

86.

simple

beautiful,

most

84,

combining,

till

on

go

83

as

place

we

towards thus

the

conveys

idea

of

85.

variety with symmetry how,

Figs.

and

may

Fig.

FIG.

in

them

other;

pendicular per-

we

if

whilst

they

;

strongest contrast,

Fig. 82;

place

we

shall feel that

line

one

feel that

If

combine

84.

place two

we

shall not

we

another

to

them

If

than

placing

by

only.

FIG.

relation.

Fig. 81,

oppose

and

83.

other, we real

any in

as

lines

as

each

to parallel

lines

more

Fro.

82.

it

also,though may

be

not

unity,

absolute,

asked, will

in

and

this

as

degree

some

in

apply

Fig. to

86.

of

But

landscape

?

Composition^

On

124

FIG.

Fia.

Let and

Figs.83 88,

of the

and

lines

"nd

bo

84 we

90.

as placed horizontally,

have

forming

89.

the

at

once

foundation

the of

in

general Figs. 89

Figs.87 direction and

90,

On

Composition.

""\\

FIG.

92.

.

125

J"-J.

On

12G

Composition.

FIG.

FIG.

94

93.

FIG.

95.

On

and

also

for

Figs. may

and

often

concert

It

95.

suggest

discover in

into

; for

in

in its analvsis.

the

93), the

is

the

we

96.

FIG.

97.

such

by

production

shall

two

find

following that

that

means

the

and of

a

work

they

lines

not can-

feelings should of

Art

as

of

mind

the

feelingsrequire, but

the

mind

the

simple elementary

FIG.

what

127

analyse

we

and

92

themselves

94

If

Fig. 91.

examples (Figs. resolve

Composition.

well

act as

On

128

There

203.

which and

than

ideas

the

themselves

with

quite

become

a

condition

of

FIG.

most

of

easilyrepresented by

lines,and

sketch

by

whilst

oppositionof lines,as

which

we

;

may

Nature

is

98.

tone

contrast

in

to repose

which

of

shade, by repetition in

of lines,as positions

certain

(Fig. 9G) ;

a

in

some

associate

monotony

things with

condition

a

"

these

To

source.

wh'ich is allied stillness,

of

familiar

by light

produced by

its exact

to

characteristics

lines and

sentiment

repetition and

of

that

stillness is

and

The

others.

easilytraced

is sometimes extent

qualitiesand

some

readily expressible by

more

are

shade

are

Composition.

of

the

light and

Fig. 97, give

rough

dark, and

rise to

a

contrary

feeling. 204.

If

we

take

picture,and

divide

intersection

will mark

is the weakest

it into the

place for

composition,for

rectangular parallelogramas

any

it

equal parts, as part of

the

divides

the

in

Fig. 98,

picturespace

principalobject of the

picture

into

a

our

the

which

pictorial

two

equal

On

In

halves. exact

the

does not

of

case

is

symmetry

Composition. ornamental

merely

picture;

but

occupied the

other

feature Thus

205.

what if

be

may

with

parts

thirds

fifths,we

or

positionson

or

side become

neutralised

for any

of interest. it will

be

seen

the

that

various

methods

least

introduction

of

pleasing,

without qualities, satisfactory call the we

as

men,

look, laws, "

we

works

always

ever

study, not

of Nature find

in

her

Fitness, Variety, and

at

or

disturbing

of idiosyncrasies

should the

side

one

equally important

aim

helps

the

points of interest,the corresponding parts

have

almost

course

strong positionsof

the

called

of these

some

into

composition, especiallyin landscape Art, the

of

apply.

shall obtain

on

where

design,

important constituent, this

an

By dividing the parallelogram

are

129

their

for

mentally we

might

Nature.

For

rules

much

the

customs

so

herself. the

what

Whichever

assertion

Unity.

of

of

three

and

way

of we

grand

XXV.

CHAPTER

ON

AND

LIGHT

SHADE

IN

'

shade

reference

had

to

now

how

see

dividually

limited

manner

;

the

As

207.

of

shade

operate

only show

be

its

relation

are

a

would

importance

the

to

in

here

done

we

:

objects, in-,

on

in

and

'light

objects

considered

can

show

the

and

shade,

when

and

objects

it may

mountains,

it

space

and

chiefly those

lead

parts

the

the

so

or

very

require

of

is

work

that

to

sentation repre-

projection,

of purpose

or

the

the

fill

of

light

it

with

reveal, the

to

houses

mind

the

idea

picture,

a

whether

the

of

to

in

shade

and

give

to

conceal,

to

contain,

light

occupies,

applied

locate,

to

is

object

an

to

space,

of

purpose

and

trees, figures to

spectator the

various

artist

or

consider

wishes

him

see.

If

208.

the ho

in

truths Let paper,

any

and

fully to

on

AND

OBJECTS

costly plates.

many

to

This

remarks individual

to

when

grouped,

or

the

only

light

picture.

whole

VIII.

Chapter

OF

PICTURES.

TO

206.

GROUPS

TO

APPLIED

AS

student may

make

clearly

on

two

defined

with a

before,

as

easily understand

more

connexion

him,

will,

stout

accurate

the

make

simple

periments, ex-

important

some

subject.

piece but

subject,

such

of

cartridge

delicate as

in

outlines

Fig. 9G,

of

or

or

grey

ink

of

Fig. 97, 130

Liglit and

On

"With

only considerablylarger. will

pencil that

other ; his

feelingswill

furnish

reasons

In

with

such

attempting kind

positionand its effect various

of

the

on

parts;

attended whole

the

to, he

by

the

light that

be 209.

It

of

local

has

to

of

happy

the

a

have

the

his

picture, of

colour

and

the

have

been

complete

shadows

extensive

more

paint

to

as

the

of various

and

when

moment

of

dark

; but

the

scene

light which

commonplaceness

of

with

intricate kind

and

and

Figs. 91 that

case

may a

dull

very he

few

a

is may

93.

when

particularsubject

a

it under

commence

light

made

been

unfrequently the

determined

bright gleam

it from

consider

considerations

for instance, such

:

is not

circumstances

some

will

illumine

of accidental

experiments

attempted

Nature, he

any

judgment

must

greatly modify

may

is the most

so.

the

these

introduction

these

artist has

for

and

he

is to

masses,

when

simple subjects,those may

which

each

intensities.

shapes and When

it is

why

exercises

large

and

him

a

subject

with

them

compare

his intellect

and

treat the

now

inform

soon

agreeabletreatment, him

then

aspects,and

131

piece of charcoal,* or

a

he may

easilyrub out,

different

under

Shade.

f an

from

unfavourable watchful

ever

lit up

be

by

instantlytransform day

into

a

beautiful

picture. This

*

instantaneous

Charcoal

must

be dusted

'

effect

'

he

off the paper,

rapidlysecures not

(perhaps

rubbed.

f If grey or tinted paper be used-,the lightparts of the sky, and the be put in with a and brightestparts of near very light objects,may pieceof extra soft white chalk, or with Chinese white.

On

132

brown

only on and

forms

and

And

this fine

on

watch

the

travel

hill

over

down

gladdening,saddening; moment

one

in

next

shade

deep

the

winding stream,

the

the

and

the

are

picture of

rustic

the

shadows

features to

memory

the

across

in

the

of

light,and

for

is most 211.

will look

a

inducing the

or

up

over

as

in

the

human

our

lives.

The

the hills in the distance

mind

the

loves

clouds

dwell

to

cast

their

;

upon

fleeting ing fall-

anew.

shadows

are

important

most

a

painterfor expressing space eye and

mind

to dwell

on

and

ever what-

student, with these thoughts in his memory, a

like Turner's

work

of England, an

of especially

exhibition

or

of

water-colour

the old

Rivers

Liber

of France,

Studiorum

(English)

drawings by

;

such

he

will

of

the

have

grand

a

mass

power

of

evidence

which

these

that

men

will

or

his go

works,

masters'

as

Wint, Varley, Barrett, Cox, Copley Fielding,and

him

down

interesting.

If the

Harbours

through

hands

they

as

alternately bright in light,or

scene

cloud

means

the

recall,as

accidental

These

shadows

cloud

bridge crossing it, the woody

that

to be revealed

into shade

of

hill,and

some

bright light, and

hill-side,the fortress-like rock, and these

of

top

spiritsgoing

in

a

"

charms

dale, concealing,revealing,

our

stand

we

the

to

effect of

and

the

drawing

student, in imagination,climb,

April morning,

marvellous

chalk),

shadows.

let the

now

soft white

and

completing his work, by adding

accurate

ever-changefullightsand 210.

charcoal

is assisted in

beautiful

to

with

paper

it he

by

Shade.

Liglit and

De

ing, Hard-

convince

accidental

cloud

Liglit and

On

shadows

place within

of space,

be

spots,or

of

the

accidental

usually

picture, as

irregular in form,

As of

two

and

with

blends

the

part of which of white on

so

the

is in

black

of

mass

from

light parts of

foreground, "

light

are

spoilt.

It

piece of

bread.

214

Now

can

he

will "

let

made

us

we

it

the

a

take

and

ground,

To

in

the

prevent

the

nearer

the

tony mono-

figure is introduced, the dark

student

But

with

a

shade

make

to

soft

this

pencil

building, the figure,and

fact,

that

the

all space

drawing

right again by cleaning the

more

ultimately

prevents the

the

and

the

light, whilst

gets lower,

on

consider

us

the upper

is left

bution distri-

the

by

mean

instantlyperceive that

destroyed, be

side to side of the

looking heavy.

over

show,"

"

former,

dark,

the

being subject to

picture,let

of which

shade

and

the

as

Being

nature.

landscape, they will

from

strong light.

strongly felt, let

the

a

shadow

more

the

side

to

into it.

building

dress

building

in In

the

dark

vast

what

darker

largea

and

of

101.

becomes

part

side

retiring surfaces a

not

shade

of

interestingpart

or

; but

to extend

illustrations

Figs. 100

other

all

and

Fig. 99,

over

be traced

cannot

light and

forms,

irregular surfaces,

passing

table- top, a room,

in

entire

their

in

appear

and

invariably appear

213.

not

in

foreshorteningwhich

shapes

picture,as

must

sion expres-

they generally do

that

almost

for the

continuously from

run

exact

a

artists

shadows

their

whether

of

clearlyvisible throughout

should

but

reach

the

133

light,and beauty.

These

212.

SJiade.

second

one.

In

this

with

is a

subject

I

we

Li

On

136

have

at

once

such

glitand

elements

SJiade.

of the

picturesqueas would,

independentlyof well-arrangedlightand shade, be

;

a

church to

make

ing interest-

lane,fine aged trees,old railings, a clear sky, and spire. Moreover, the

'

lines

'

these

of the

features

are

so

picture harmonious

combined and

a as

agree-

A

able.

railings much

shade

applied to

and

thus

of

to an

the

invests

mentioned.

a

it

he

and

be

the

the

with

the

flat

such

let

dark with

again

the

is but

; it is the

field

behind

the

of

pencil,

feel

the

the

old

them

student

parts a

in

trees

that

the so

be

pass

a

'drawing, as

all

to

make

to

and

space

ruined.

that

picture,

of

will

work

seen

object idea

all

the

left, causing

Now

light parts

and

gone,

the

on

visible.

over

the

over

It will

rid

chalk

equally dark, are

trees

13?

over

the

across

passes

nearer

Shade.

is thrown

shadoAv

clearly

white

light

as

the

and

more

little

all

cloud

distance, and

middle

and

dark

and

Light

On

an

advanced

by

means

surface ideas

of

purpose

of of

light stage

which his

Nature

as

shade,

of its

the paper

and

cation appli-

artist or

have

gets

canvas,

been

XXVI.

CHAPTER

LAWS

OF

AND

NATURE,

APPLICATION

THEIR

OF

'

215.

PEINCIPLES

truths, laws, which to

and

founded

lead

Art

deduced

fts

to

primary

those

are

or

only

successful

alised gener-

universal

from

but

practice, both

just appreciation

and

PRINCIPLES

ART,

on

not

complete

more

a

in

AS

of

Nature

Art.' '

Principles

Nature,

and is

what

varied

the

us

of

to

beauty,

useful

in

Art

the

of

ornamental,

of

Nature

beauty

of

her

of

in

or

with

;

in

the

all

the

we

are

developed

pencil,

or

the

representing

whether

of

productions

objects,

susceptible

more

power

essential

noble

more

make

which

surrounded.' As

216.

these

or

the

to

dictum

only

can

Divine

laws

principles

our

which

by

these

test

of

be

mind

Art

works,

of

the

fact

those

adopt

we

and

laws

of

by

determining

of

creating, or

Divine

operations

standard of

fashion

material the

by

beauty

laws

of of

study

a

in

from

as

true

a

quite independent The

ignorance.

discovered in

manifestation

deduced,

are

perfect,

are

what

the the

we

call

has

just

Nature. We been

will

imagine

a

said, by supposing

object,

say

a

candlestick

case

in that

; and

illustration we

to

wish make

to

our

of

what

design work

any

simple

of

design-

138

Laws

and

ing quite simple which

laws them

to

1st. It is

service has

law

a

of Nature

is

that

certain size and

a

It is

of

that, in things of

Nature

it is

guide

here in

us

candlestick.

candle,

and

102

;

a

but

the

as

we

for

wax,

the top of it

and

as

we

with

harmony

as

have

it

the

doing we

or

now

we

so,

socket

to

we

wish

shaft

to

to

some

hold

it, add

handle

light

to

the shaft, and grease

take

hold

or

in

must

we a

of

the

safely,as

the

lengthen

protect it from a

to

move

and

may

will

ornamenting

stand

may

wish

case

to

and

require a

may

in which

up,

103.

which

laws

designing

that

base,

accordingly(Fig. 103) ; well

in

always

three

First, we

convenience

shape

cipal prin-

applied.

have

we

is

ornament

which

Now,

held

ment orna-

a

"

Natural

thing to

have

use,

chief.

3rd.

Tig.

for

it is destined.

FIG.

our

apply

ing for it accord-

defined

addition, and secondary to utility never

an

or

extent

then

few

everything intended

character

for which

law

a

and

a

r

to the purpose 2nd.

in Nature,

work.

our

first enunciate

must

clear, we

find invariably

we

139

of Nature.

b3 so

running of, Ave

do

be carried

about,

that

now

proceed

Before the

consider

FIG.

made, whether

as

china, for much

thickness

rough if

as

the

of

sketch

produced

Avhich

metal, such

other. the

the

In

the

the

shaft

and

china

"

a

the but

Fig. 105.

Fitness,and we

may

also, gracefully

candlestick

one

former

of may

material

is to

clay,such be

quite

we

may

elegance by varying

shape of

the

this would

material

so

we

105.

or silver,

for the

lightness and

(Fig.106) ; in

as

to

safely,however,

FIG.

of

in

well,

do it

this

do

of

its work

of which

material

as

screen,

it will

can

we

a

do

will

design suitable

a

to

add

104.

be

wrong

by

that

to add

if it is intended

; but

this first law

to

candlestick

our

viz. ornament. must

better

conformed

thus

have

We

had

we

Nature.

(Fig. 104)

handle

require a

not

add

of

Laws

140

the

base, as in the

be

quite

easilybroken.

wrong On

Laws

material

highly

'relieved'

the

such

ornament,

china

candlestick

should

not

us,

in

thing

able suit-

be

a

principles of

are

Nature, which

of

the

most

would

or

paint or gold, quite flat.

as

from

laws

incised with

The

grease.

legitimately deduced

guide a

the

or

deeply

interfere

would

as

141

such

be

dust, wax,

for

Here, then, Art

work

it from

treatment surface

there

should

neither

cleaningof

of Nature

in

only

common

designing but

in

which

is

use,

that

judging correctlyof alreadydesigned. We

217.

simple object a

to

of

be, What

for

Certainly not

one

nor

wide

which

be

may

liquids in, but

like

shape much have

taking this

hold

shape

upset little

;

so

107 ;

saucer,

a

for

cooling

108

moreover,

from.

A

would

be

it is

the

sides,and

of.

Suppose

is we

like

?

evaporating them,

Fig.

slanted

is

from

Fig.

drinking

better;

"

vessel

like

suitable

or

for

not

of

drinking

shallow

and

life

inquiryought

shape

adapted

best

every-day

first

Our

tea-cup.

another

take

will

not will

well

larger, affixingit

a

a

handle

design is

adapted,

simply

106.

agreeable in form,

affixed the

FIG.

invert

as

convenient

for

it

a

on

we

for

child's cup,

might

it, make

little lower

for

the the

be

easily

handle

a

side, that

the

cup

danger of

of Nature.

Laws

142

our

be

may of

be

must

admitted

FIG.

the

As articles in

to be

cases

without the

right,and

forms

we

may

FIG.

here, again, we

But

to that

to

the

as

tea

107.

avoid

highly

which

is

kind or

general terms

dinner that

general

surroundings,but

most

white

can

of

and

nature

of

and

to

proper

for

only

here

will

gold

are

such state

Nature, such

undesirable; and

conventional

colour

the

ornament,

imitations are

ioa.

paintingand gilding.

services,we

simple geometric designs and satisfactory. The

as

painting

close

by

'relieved'

flat,such

of

bound

are

landscapes,flowers, fruits,"c.,

the

both

108.

subject to

adhere

balanced

ornament.

FIG.

218.

and

In

upsetting(Fig.109).

tea-cups

proceed to

easilylifted

more

work

depend

are

much

as

that most on

always safe,and

Laws

Nature.

of

generallythe primary colours, in but

admitted;

much

143

small

be

quantities,may

strong red, especially on

dinner

services,is decidedlyout of place. The

219.

named

application of

wall

architecture

the

fact, to

to these

amenable man's

knowledge,

man's

nature. It

false taste

ourselves taste

well

of

it becomes

The

fact

remains

whatever

in

regard

for

some

be followed '

or

either

case

or

and newer

the

acquiesce in correct and

this,let

us

eye

should

be

make

which is

true

right,or

opinions

be

may

right or

the laws

whether

wrong

of Nature

must

higher suppose

new

produced something detects

person in no

be

of

truth

^beauty.

to to

To

discover

develope illustrate

little skilled in Art

which, from fault

; and

in

to admire

taught

applicationsof

manifestations a

accustomed

but

tecture, archi-

to

be known,

design,must

is wrong,

in

relate

they

become

not

may

what

it,and

his eye

'Taste'),

on

violated.

Principles,then,

that

there ^s

as

thing

on

all this is

but

we

a

our

it will

painting,sculpture,or order

that

case

in either

and

that

principleson

and

taste

our

to- it ; in

reason,

221.

those

on

works, and

some,

that

be

founded

not

God's

of

importance

with

acquainted

is wrong,

they are

(see Chapter XVII.,

true

as

itself,must

feeling. Granted,

paramount

depends.

house

the

the laws

on

and

taste

as

of

fender,

everything,in

"

however, be said by

may, of

matter

decoration,

laws ; because but

fire-irons and

as

"

carpets, chairs, tables,

a

general principleshere

endless, furniture,such

is

220.

the

his

want

that

he

to

of takes

have

ledge, knowit to

Laws

144

him

defects, informs thus

tells

how

him

performance, that

the

viewed

to

the

ascribed

satisfied

in

with

but

as

bias

is

found faction, satis-

can

change

sight,

the

satisfythe and

was

now

the

but

medium

of

be

longer

no

of.

disapproves

Every

mind

and

the

sensitive, by

more

is felt to

truth, which

to

prone

impulse,

rely

; and

the

prejudice

principles of

Nature

or

it

and

Art.'

by

be that

be

so

ful power-

a

alone

feelings excited

they

by

be

in

a

should

condition

independent knowledge

of

;

mere

strengthened, by

only

can

is rendered

fashion,

our

to

it is necessary

judgment

and

on

liable

regulated, corrected,

correctly, when of

before

is the

in

truth,

acute

more

is

affording

what

alteration

present

consequence

of

To

the

his

minutes

instead

to

extremely

are

inconsiderate

decide

'

are

these

judgment

in

perhaps pride,

of

committed,

essential.'

We

controlled,

few

its

violated, and

has

The

a

reason

made

that

to

he

looking through

the

become

closely adhering

222.

and

possession

consequently

so

but

any

eye,

what

feelings, now

and

to

the

now

is

effort

future.

has

remedied

displeases.

Not

?

that

fact

th^Gmind,

in

faults, that and

he

faults

be

which

many

it annoys be

the

may

complacency, so

instantly perceiving

principles

of

they

production

possess

the

avoided

or

with

to

of

sensible

him

makes

and

to

artist, who,

accomplished

some

Nature.

of

of

the

be the to

the true

CHAPTER

XXVII.

IT

223. student

such

; but

the

of

technical

from

defined

its

off,

the

first

canvas,

and

the

brief

ter chap-

arising

from

especially in

ideas

of

with and

the

of

use

drawing cannot,

picture

of

genre

painter before

is

think, be

we

and

when

term

or

materials

also laid so

in

figure

be, with

much

rubbing

It

226.

to

proposes 10

not

in

preference

for

when in to

unfrequently

paint

a

offer

picture

a

the

in

used

paper

greatest

whether

subjects,

studio,

his

to

to

nated origithe

by

or

the

artist's

a

it is done and

guidance, to

but

ation deline-

the

slowly, and, This

a

it

should

we

sketch.

happens and

out.

of

outline

the

mean

legitimately applied

human

be on

is

verb

applies equally

term

in

the

nyms syno-

Nature. used

the

outline

of

thrown

as

may

its

it may

sense

hastily

The

with

sense

'

Sketch

'

together

this

work

such

historical

The

in

a

word

the

primary

The

facility.

landscape painter 225.

of

root,

shoot, and

or

the

by

an

confusion

terms,

Latin

historical, landscape,

call

this

of

head

considerable

a

languages.

promptitude

may

the

at

for

define

to

unnecessary

original meaning

other

throw

or

is often

The

in

"

stand

as

clearly

gathered

Art

thought

language.

224.

to

be

terms

there

want

be

might

PIOTUEE.

STUDY,

SKETCH,

has

that

when

produced

an

his 145

artist

sketch,

he

great

it necessary

find

may

and

care

as,

These

intimate

knowledge with

may

and

feelings. much

spend

portionof acquainted

When

time

with

future

and

and

of

the work

sion expres-

Nature,

working

ourselves

in view

an

work, that

before

in

The

such

complete

sit down

to make

pictureor not,

studies.'

'

future

a

thought

as

figures;

painter to

a

full

we

it,whether

picture

out

a

thoroughly

tended indefinitely

some

is not

sketch, it is

a

'study.'

a

A

227. of

picture

is

full and

a

thought, idea, historical

a

material, whether

any

paper,

and

outcome

complete representation

incident, or

landscape,on

wood, plaster (fresco),

usually understood

"

natural *

give

landscape,so

a

called

details of

the

his

feet, animals, trees,

is to assist

freedom

more

his

to

of

of

parts

or

properly

studies

these

of

Nature, with

instances, entire

some

are

purpose

he

various

the

in

from

prepare

heads, hands,

others, human

plants, "c.

to

thought,

such

separately; in

Picture.

Sketch, Study,

146

full

in

be

to

development

canvas,

colours, and

is the

"

of the

'

or

sketch

'

and

studies.' When

228.

there studies

the

held

their

was

a

and

members first winter

wonderful *

so

of Sketches

as

'

rather

sketches

that

has been cannot

changed

Water-Colour

an

the be into

some

so

annual

of them

result.

slight. '

Winter

Much

fairlyclassed pictures.

of as

ago,

display of

called, many very

ciety So-

years

instructive

most

sketches, and

successful

exhibited,however, but

and

Old

exhibition

sketches,'properly

incomplete except unique, and

the

of

It

was

tion Exhibithe

work

'sketches,'

Picture.

Sketch, Study,

Sir

David

of

first idea

The

229.

Wilkie,

studies

scrawl

a

afterwards

He

Fig. 110).*

was

of

of

made

of the

some

'Rabbit

the

147

the

on

only

inches

few

a

Wall,' by

(see

rate sepa-

principal

figures,and ultimatelypainted the picture well known.

so

Two

230.

the

of

landscape painterswhose adorn

the

Academy,

pursue

of

procedure in Of

works. of

course

the

Considered

he he

by

the

he himself is and

have

food

;

mind,

a

their

speaking figuratively,

"

innumerable

and destroysfifty, five

his

completes

says,

'

the

and

ideas

thus

of

in in

*

From

Jackson's

rarely

the

spot.

sellingmy

picturesI

artist

are

tures pic-

sell all,

clear demarcation from

on

in

revolved

its his

ture. completed pic-

the

by

of 'sketches'

large work

house, store-

artist draws

which

'study,'and

a

of

sort

a

the

in ultimatelybe re-presented

'picture.'As examples

other

sellinghis pictures,

originated,being

'sketch'

of

on.'

imaginationof

Still,there is no

out

remaining

pictures on

I sell my

an

the

The

fortune

to fall back

which

from

very fortunate

My good

'sketches'

sketches,

works.

complete

public

sketches

distinguisha

from

Royal

it is said

makes

from

may

232. to

no

The

231.

the

misfortune, for when

a

ally annu-

production of

sketch, but

a

of

of them

fiftyhe produces makes

works

quite opposite modes

one

hundred

every

walls

that

"

eminent

most

a

we

Wood-cutting.

always 'study'

may

refer

Sketch, Study,

148

Picture.

FIG.

FIG. 111.

FIG. 113.

112.

SJcetcJi, Study,

Fio.

115.

Picture.

149

150

SketcJi, Study,

FIG.

116.

Picture.

Sketch, Study,

Picture.

151

Sketch, Study,

152

to

Figs. 110, 111, 112, 113, 114, 115,

(tree-trunk) 'studies/

each

Nature.

The

be

Picture.

considered

and

118

(grass-blades) are

part having

been

a

picture.

FIG.

118.

116. of

the

carefully put

Frontispiece, although as

and

without

Figs.

117

of

nature

down

from

colour, may

CHAPTER

ON

the

the

IN

233.

is

mind

for

the

is

the

was

is not

the

separated

of

a

modifications

234.

The

of

of and

of '

we

things,

there

truth,

sequences

and

God Let

to

seem

over

us

the

converge,

this

for

the

remains lies

"

its

times On of

only

leaves

the

to

only on

which

flower

"

his

plant

a

the

highest

that

all the

and

blossom

should

not

still

the

the

fruit,

leaf.

at

and

inferences,

all, blessed in

of

of

modern

Goethe.

but

such

One

of

is

time

a

And

of

organ,

seed

reason

may

inevitable

life

that

Nature

of

intellectual

however

dawned

the

for

science.

reverie

dreamy

"

for

of

and

there

part and

advantage.

superadded

study

Nature,

generalizations

from

plant,

of in

facts

transformation

only

but

will

without

calculations

exact

study

hard

idea

or

and

development parts

the

of

mind

a

the which

scientific

result

meditative

dry,

always

not

beautiful

most

in

whilst

investigations,

after

stretch

pursuit

some

from

us

pursuit

are

full

scientific

our

formulas

necessity

a

of

ETC.

HERBAGE,

GRASS,

midst

on

mathematical

release

XXVIII.

the

be

merely

not

but

sesthetic, evolution

and

back

of

all

which

towards

great

religious ment develop-

eternal

our

all

cal logilines

Fatherhood,

evermore.'

spirit look,

with

;

grand, irresistible,

the the

suous, sen-

pencil

in

at

hand, 153

some

154

of the

things

If

look

we

than

more

at

of

mass

a

striking character

no

entire

an

blades a

manifestlydesigned for

are

what

be

may

under

our

feet,

may

see

little

Grass. 235.

at

which

in nature

pleasure,beginningwith

our

"

Grass, Herbage, "c.

On

of

agreeable in colour, but

about

it ; but

Taking

path.

millionth

a

idea

of the

observe

inorganicbecomes

organic,the

vital

"

in

nourishment

giving

far

purposes

their

In

exhibits hurt

dashes

perfect. fibrous

and

grass

a

up

as

itself,and

shoot

new

cluster

to

with thus

a

to

that a

at

of any

running

it will

and

In

this

few

a

which

is

its

size, is

more

other

plant,and

is

causing

the

cover

the

also it for

so

(see Fig. 118),

joint, thus

compensation

count ac-

that

root

way

not

into

attempt by

to

gance, ele-

throughout

of these

some

stems,

symmetry,

of grass

express

each

showing

its utilitarian

closelytogether, and

carpet. makes

of

in

also

cereals, the

proportion

than as

mind, to

haste, we

pencil

root, in

is known

blades

ground

the

tenacious

what

sending

of

The

unwise

our

and

design;

take

we

becomes

beauty, vital

models

of

earth

of the

structure

artistic efforts if in

the

and

are

The

strength.

when,

often

plumes,

lies about

in the tissues of grass

body

grasses

have

may

and

like

is necessary

interestingevidences

our

clever

many

bearded

and

what

few

a

Fig. 118,

dust

to

we

with

looking "

beauty that

off life and

both

beyond

destination. with

giving

that

of

part of .it

simple example,

a

on it,we reflecting

vital

if, instead

carefullystudy that,

tangible,definite

more

our

and

"

we

green,

take

field,we

grass

field of grass

a

the

propagates absence

of

On

blossoms, which

eat round

The

it the

work

before

the

taken

a

The

They

and

in

of

marvellous

not

young, each one

and

sheath

which

disposed in simple

another

dusty-lookingpollen.

It is said that

three hundred

and

The

design.

;

two

and

or

more

or

from

these

threads, terminating in yellow knobs

slender

genera,

speciesof

to

lightand

of

consistingof

above

formed,

so

of

upper

are

head

long

least resistance

wonders

are

the

from

of their

abundance

an

up

ingenuity,

leaf is

or

offer the

to

held

engineers have

our

blade

grasses

produced

when

The

y^etget

some

chaffyscales,inserted hang

as

and

branching heads,

scales

and

that, were be

in the construction

straw

narrow,

often

May

bridges?

flowers

of

example

an

a

wind,

them

blades

constructed

so

mechanic, it would

its purpose.

tubular

are

encloses

as

hint from

the earth and air.

human

a

world

being long

hollow, and

is

stem

of

boilers and

it

though

crop,

flower-stalks.

perfect for

and

sometimes

155

they generallyprefer the

that

many

236.

will

animals

observed

be

may

"e.

Grass, Herbage,

upwards

there

are

than

more

of five thousand

of

ent differ-

in the world.

grass

colour of grass

is that which

is most

soothingto

the

eye.

Altogether,the exquisiteperfectionof colour, adaptation enables "

helplessnessand an

end, and

not

Great

The

us

lowliness,but as

a

mere

Teacher

to

see

His

not

it "

in its form,

only God's

care,

care

for

too, for beauty

as

means.

spoke wisely when

He

SIDER said, CONf

the flowers of the field.' 237.

It is

good

and

pleasant practice,especiallyfor

a

On

156

beginner

in

Grass, Herbage, "c.

drawing, to

leaves

copy

in

form, like the Ivy-leafin Fig. 119, and eye

and

very

beautifully.But

steady

flat leaves

placed

then

to

as

has

show

another

of

one

he

is the

here

are

we

But

:

he

is

leaves

likelyto

if

-

leaf

a

is

curves

words,

if it be

foreshortened

from

the flat,but

properly a

so

front "

from

an

120.

exquisitechanges more

in

work

delicate

all the now

correct

a

flat scroll

FIG.

is

there

has

and

119.

space, with

surface, and

in it.

longer drawing

no

FIG.

objectin

in other

"

of

symmetrical

detached

danger

drawing

little art its varied

if he

draw

soon

may

mechanical, for the

become and

hand

flat

of

curve

field for

and Art-

expression(seeFig. 120). In

this

the

first,to

draw

whether

in the

in and

of work

kind

careful

the

copying

secondly,to

natural it

curve

a

leaves

correct

and

real work

do

things

two

with

should

observed

strict botanical

of

petals and without

calices of

a a

leaf,or flower ;

losing the beauty

delicacyof expressionwhich

:

accuracy,

veining and serratingof

all this

of Art.

be

would

of

der ren-

On

Grass, Herbage, "c.

157

On

158

This

more

"c.

artistic mode

of

and

conscientious

forms flowers, separately,

leaves, and to

Grass, Herbage,

advanced

sketching out

a

drawing grasses,

good stepping-stone

of doors.

It is desirable

c.

sometimes

to

draw

may

be

drawn

Figs.

121

and

they in

character

of

'

notes

them in

their natural the

122, when '

or

size,at

other

pocket sketch-book, they partake

memoranda.

more

as

times shown of

the

On

especially the

shade

124,

sketching

When

238.

and

for

quite

Whatever structural

denser

afterwards

organic make

the

a

is truth

is

herbage,

attempted

should

and

by

Sometimes

of

artistic

it in

as

be

beauty.

FIG.

it

first,

complete

125.

159

from

quantity

uneven,

masses

to

shapes. study

in

grass

ground

the

when

"c.

Herbage,

Grass,

as

the

may

Fig. done

is in

Nature,

well

to

Figs. addition be

125, with

lay

123

of

desirable but

a

in

and

tinct disto

larger. view

to

XXIX.

CHAPTER

TREES,

ON

adornments and we

must

in

do

with

the

some

order

in

that

varied,

physiological structure, reference

to

in

and

doing

characteristics, differences

from

the

when

Maple,

that

we

trees, and

clearly

understand

typical

of

with

a

trees

which

will

the

the

point

than

and

the

present

shrubs

few

fix which

chief

the

especially

And

this

in

least, leave

out

Rhododendrons,

as

we

those

Sycamore

Alder,

at

;

broad

not

attention,

our

have

the

white.

such

their

and

more

consider

may

as

many.

For

absolutely

all

black

strongly

more

may

240.

in

shall, for

we

coniferous

the

only

the

from

to

with

and

distinguish

we

Oak

the

or

expressed

classification

which

by

notice

"c.,

Birch,

Ash,

has

representation

of

only

can

we

Oak,

of

as

finer

this

even

than must

modes

the

and

appearances

Art

as

rather

complex

so

satisfactorily

But

classification

our

landscape

are

them

them.

things

of

appearances

They study

to

classify

way

beautiful

these

difficult.

confessedly

is

so

of

representation

THE

239.

"

e.

satisfactory expression g.

less

necessary, in

that

enable

kind us

pencil

or

pen

of

in

trees, especially

considerable

"

drawing

exercise

successfully

of

or

of to

practice

copying

shade

attempt

or

any

of

is

particular character tree 160

:

just

On

as

vocalist

a

the

but

'scales,'so

It

241. *

kind of

danger have

for

of

of

influence

of

least

at

If

effort

will

of

got

is for

been

in

is said

to

'capital

a

trees ?'

inquired

idea

an

deprecate.

we

to

and

be

photography,we

In

these

the

joint not,

are

indefinite

satisfied with

and

work.

which

understood,

we

Oak,

less forceful

are

to

the

as

efforts.

our

will

place

of

few

stndy carefullya

readily yield

better

had

'

touch

'

Constable

he

there

Constable, 'it will do for almost

Such

ought not,

we

that

have

men

kind

what

pre-Raphaelism

others

Beech,

them

we

their

That

this

are

and

Ash,

the in

what

the

character may

in tabulated

be

form,

:

"

243.

each

song

for the

different

mistake.

for

calling typicaltrees, such

thus

voice

from observation,arisingchiefly

non-characteristic 242.

a

great

artist that

said

tree.'

of intense

days

this

'But

'Oh/

tree and

Even

tree.

for trees.'

sort

of

eminent

an

his friend.

or

the

prepare

supposed, however,

kind

one

fallinginto

told

touch

be

not

must '

touch

another

any

the

concert, practisesnot

a

to

as

161

to be made.

about

one

who, before

Trees.

of

We these

will

consider

then,

leading trees;

and

as

in

brieflyas doing

so"

possible, in

trying

162

On

to

get

tangible idea

a

of

and diagnosis,

ascertain

All

some

have

trees

and

whilst

others Of

beauty.

latter,the Birch The

244.

the

on

the

leaves

and

of

its

the

twigs

of

the

and

up

business

to

shoot

for from

down

tear

the

on

the

on

gentle ; of

the

1st,

"

arrangement

peduncles; 3rd,

the

branches, and

the

the

stem

its

all

from

under

buds

to the

the

in

underneath it

following spring

will

stem, and

is

on

the

the

thus

the

varied

efforts

and

the

shoot

for have

a

is

tree as

manner

to

erratic.

earth, though

be

as

out

young

a

to

to

stances circum-

branching.

that

tree

found

of tree

its buds

a

such

the

be

of

carry

tree, and

from

roots

so

curious

most

wind, but

the

are

light,and

there a

kind

condition is to

and

of

tree

a

normal branch

each

divergence,the

of

sometimes

are

remain

may

a

that

us

of branch

instance, that

by

away

Hence

and

depends mainly

twigs on

warmth

this

accomplish

growing

or

growth

of

the

into

Suppose,

ance, appear-

in character,

example

an

2nd,

physiologiststell

altogetherto change great

is

tree

a

leaves ;

life in the

of

blown

of

particularangle

The

angular

tenderness

Oak

roundness

the stem.

on

Although has

of

of

sort

the Beech.

the

on

as

masculine

as

idea

former, the

arrangement

branches

the

and

a

appearances.

such

hard

upon

appearance

shape

the

of

looked

their

for

common, a

take

must

we

"

causes

have

convey the

the

some

be

may

them

things in

leafiness ; but and

Trees.

not

'the

time, the

bent

round

carrying its

new

light. it will be

observed

that

leaves

and

flowers

are

abundant

more

light

most

as

when

a

been

sawn

in the

be

may

not

only count

of its

it has

and

infinite

of

are

found

be

to

of

variety

of

ably prob-

leaves, which

chief

all

exactlyalike

a

"

are

Each

obedient kind

to

of tree

distinguishedfrom leaves from

two

trees, yet no

of aesthetic

sources

be

may

at

'

unity.

of leaf,which

the leaves of all other tree

it has

summer

inquiry,for

varietyand

kind

own

of

of the

one

of scientific

and

kind

the

years past.

almost

both

laws

has its

in

stagger us, is

enjoyment

FlG

*

for many

first may

tho

as

tell,

grown,

The

245.

the

but

position

had

bole of

the years

growth,

which

centric con-

then

may

also, the

of the

centre

the

126.

rough Fig. we

the

of

centre

has

through,

fact,

in

the

receives the

seen

tree-stem

In

that

so

is seldom

rings tree,

warmth,

and

of the tree which

side

that

on

163

Trees.

On

beautiful

one

any

example

of

with unity. infinity 246.

We

alluded

of trees.

appearances and

have

to the

We

will consider

the

these

varietyin

the

very

briefly,

order

given,

consequentlybut imperfectly. First, then, taking them

and

of this

causes

beginning with leaves *This

the outside

is "

start

only and

the

away the

not

case

with

in

stem,

from with

the

inverse

the

notice

we

parent

exogens

endogcns, such

stem.

trees

"

as

the

Palms

which and

way

in which

They all,of increase Canes.

from

On

164

originatein

course,

Trees.

of the

the

buds

year

is hidden

previous summer,

that

it is thus

Another

1

Some

divergefrom

leaves

along

the

the

stem

the

their

of

shoot leaves

Many

arranged

in

whorls,

(Fig. 127),

whorl, the sixth beginning

a

have

trees

Oak

the

as

others shown

alternate, as

Sycamore (Fig. 122).

five leaves form

where

bough.'

alternately ;

opposite; others, again, opposite and in

and

a

new

cycle. The

247.

next

varietyin

of

cause

tree

we

appearance

~

PIG. 127.

may

find

the

buds.

leaf arrangements

the

in

vernation

The

the

exquisitemanner of leaf form should

let

apart from

the

his

It may

vernations

first appear

of

almost

leaves

they

in

an

and

in

a

most

endless no

making

riety va-

student some

aminations ex-

interestingsubject,

Art.

observed

shapes the

this

from

emerge

exhibits

pass without

season

study of and

as

leaf arrangement,

observations

be

FIG. 130.

specialprovision for

and

spring

a

and

248.

FIG. 129.

FIG. 138.

that

there

of leaves

same.

on

are

cases

different

Comparing

the

in which trees

at

Sycamore

Trees.

On

and

the

similar

Horse-chestnut, to

that

shown

165

we

find

in

each

an

in

Fig.

132

at

b ;

FIG.

arrangement but-

as

they

181.

FIG. 132.

develop,the peduncles leaves with

far which

out, and the

tree

of the latter

form

those

is covered

lengthen

beautiful ; whilst

and

carry

the

digitate masses the

peduncles

of

On

166

Sycamore, remaining, short,

the

or sessile,

A

249.

leaves.

This, however,

effect

usually viewed

are

seldom

the

leaves

at

large

are

idea

it but

Oak

must

(Fig.133) "

so

paper,

tree

same

take

and

consider in the

in Nature

would it.

But unsatisfactorily.

very

it may

on

express

peculiarities by individual some

a

branch

half-dozen

which

not

itself, may

ago

received

of ;

paper

tree

time

branch

copy

a

and

tree.

It

knowing

trees, and

only be

was

size of the tree,

those

of the

a

at

it to

being

be

cannot

wishful

copy,

of tree, but Thus

from to

this

propertiesand

artist

taken

on

thing is does

camera

kind

it

which

One

Art

the

"

put

emotions

those

to

as

artistic representation.

a

one

the

the author

drawing

recognisableas

once

tree,

a

interferes

so

rise to.

young

of

best

may

but

;

leafiness

of

recognised.

from

leaves

typicaltrees

though

many

trees

the

leaves

the

or

trees, where

upon,

we

Even

but

cannot

the

our

give

we

"

and

object of

mind

certain,

powerful

some

the

how

vidual indi-

the

Horse-chestnut

of

of

imagined, as

mystery

one

of

so

away,

look

the

as

call up

to

as

used

now

not

the

to

infinityand

of seldom

We

has

in

as

in the

appearances

shape

Still,in

sometimes

although pleasant the

the

individualityin

of

the

proportionto

distinctlyseen,

presence

250.

in

be

to

(Fig.138).

distance

some

leaves

great difference

a

first be

at

separatelyvisible.

are

make

might

as

the

varietyin

said, arises from

are

with

of

cause

have

strikingan

this

making

allow

of the entire tree

third

trees, we

they

thus

nearly so,

general appearance

the

Trees.

an

of

of

Ash some

verify the work,

he went

into

but

tree

lane, and

the

branch

the

167

Trees.

On

discovered

soon

from

which

the

only

not

had

drawing

the

been

made. In

Oak

the

it is not

affects its appearance

in

the stalk.

The

its sessile

arrangement

is

contour

that

however, such

from

us

it

Fig.

shall

be

is

these

directed.

only the

destruction

that

those

recognise the

tree

of

other

may

carefullycopied

the

a

We

tree.

and

the

sensorium, and

special efforts

shade

? it may

quiet, for also ;

detail, but

more

to

our

portions by

be

with

paper

light parts

the be

supposed,

appeal equally to

not

its purpose,

the

of

rough

a

be

not

surface

does

it must

not

which

likeness

any

^vhat of

that

quality,if

or

of

parts that

But

inquired. Simply its chief

and

impressed stronglyon

are

is, therefore,to

should

It

given in Fig. 128,

with

even

or

Nature

part.

every

on

It must

130.

leaf which

arrangement

Fig. 129,

produce

in

tree

a

that

edges

in

these,

as

Oak-leaves,we that

leaf is

the

the

but

mass,

by covering a given

markings

forget

in

the

of

serrature

of the

shape

given

the

is

repose the

not

its

be

fusion con-

cealment, partialcon-

which

we

to

are

convenientlyand

clearly

perceived. 251.

In

the

after

been

made

a

for

First, to lay its character with

a

in

practiceof light but

divide

shade, paying

gradation, and or

drawing

accurate

guidance, to the

tree

leafage on

strong intention

sketch

attention

intricacy ;

the

light parts

outline

or

the work

its

of

it is often

has

follows

as

to

its

:

"

ness, even-

then

to

lay in

and

at

the

introducing,where

sirable, de-

the

edges,

possible,

168

On

FIG.

Trees.

133.

On

FIG.

Trees.

134.

169

On

170

actual

shapes draw

to finally,

keeping

of

the

the

former

the

latter to do

the

light.

found

leaves

instead

stem, the inside

This

of

under

of

the

holding

systematicmethod kind

any

practiceof

that

of

the

tree, and

of

twigs,

leaves

to

will

be

working It

drawing.

tree

and

causing

their

up

'

touch ;

'

mere

branches, and

and

their work

applicableto

constant

Trees.

the

was

J. prince of tree-draughtsmen,

D.

Harding. In

252.

Oak

and

and

Figs.131

At

Sycamore.

dissimilar,but till

first

careful

given

are

and

portionsof

not

seem

very

repeated inspection,

familiar, will reveal

them, especiallyif they

between

small

sight they may

examination

become

they

132

be

a

wide

ence differwith

compared

Nature.

observe

may

a

tree

great

division

next

the normal

that

calculated*

though much,

the

Taking

253.

be

as

in

branch

Fig. 134,

of

probably fiftyyears'growth. of

and

we

angle may

between

otherwise in the

at a, not

get

able to

strikes off almost that which of

the Ash

not

the

towards

the

are

get to

the

necessary

compound *

McCosh

and and

a

lightby the

and

upper of

be well

may

vigorousbranch any

other

to its existence.

Balfour.

a

if they laterally

right,and

pinnate,as

from

habit

usual

This

light.

horizontallyto was

a

grow

very

already shows

lower

as

Sycamore (Fig.138), where

being

the Ash,

sketched

was

It

this

consider

would branches, for they certainly

seen

which

may

branches,

could

divergenceof

as

difference

typicaltrees,we

our

angle of 60", does reallyvary

an

seen

of

shown

means,

thus The

tains ob-

leaves in

Fig.

On

In

135.

studying

long be careful as

have the

to observe

they retire

that

which

and

masses

tendency

a

of leaves

are

to

we

in which

manner

at the sides of the tree.

perspectivehad

it is most

whose

trees

171

Trees.

should

they foreshorten,

It

be

might

little to do with

but

droop,

what some-

trees

:

supposed in

reality by

important, though greatlyneglected even

artists. 254.

make

We

will

endeavour

this understood.

in

The

of

bodies, their

according with

the

to

their

shape

size

the were

the

same

according

removed same

sphere ; cover

it

and

Ivy-leaf,but to

shape. but

with

if

we

a

We

which

may

it with

perspective.

A

their

are

shape

viewed,

and

from

the

positions.

would

little

see

with

properties

carefullycopied

were

they

two

distance

different

distance

:

they

their

to

120

in

cover

'

perspective (perspicio)

size

their

and

to

manner

135.

position in

spectator. Figs.119

*

atmosphere) with

the

(apartfrom

simple

very

term

FIG.

has to do

a

a

look

reference

to

they

smaller, but

perspectivein pattern

If

from

we

a

plain

instantly the

rough

On

172

sketch

has

space the

divisions, as

their

takes

not

in

top

and

away

than

much

smaller.

255. seen

in

and

the

shape

This

The

have

regard

branches leaves

and at the

much

further

necessityappear trees is very

well

is

equally

the

Olive,

but consideration,

different

kinds

of

Willows,

Acacia, though differingfrom

arrangement

the

expressed in

size of the

of

left,

preciselywhat

to

so

; but

all trees. many

division,and

and

large

front, must

under

now

right

be

ought

tree, which, being

the

in

top

is

to

of perspectiveto application

Ash,

the

and

in

We

them.

foreshorteningof

of the

those

important in 256.

ought

centre

the

towards

This

also to the diminished

sides

The

retire to the

what

trees, and

the

to

but

masses,

evident.

patterns foreshortened.

place

only

this

they

representationsof

our

make

pattern receding only

a

other

have

will

(Fig. 130)

Trees.

the

same

of kind

expressionof

leaf, are of the

the

placed

exercise others.

for

The

Ash

both

in the the

one

leaf

in

same

will

shape

On

and are

Trees.

of the Olive

arrangement

and

of

of the Willows

some

the

from

similar, and, apart

very

173

colour, scarcely

distinguishable.

we

the

of

head

257.

At

have

placed the Beech,

In

the

of

most

large In

the

are

so

trees

Beech,

as

isolated

as

and

which

have

typicaldivision will

we

have

we

leaves

of

arrangements

third

our

had

been

simple

make

applicable,and

points is,lest

the

light

the evenness,

and

in

laying in

so

essential

shade. leaves

a

to

represent

consequently a

Fig. 137,

of

paratively com-

Poplar, the

and

very difficult to

them

like that

danger

form

to

as

except by separate leaf-like shapes ; and

readilyproduced shade,

review, their

under

of

also in the Birch

to

brieflyexamine.

such

masses

of trees

is

shade

no

longer

with

small

shade, should

be

disturbed. 258. mass

branch

In

the

of shade, of

Beech

part

upper and and

in

the

of

Fig.

lower

a

is

140 small

Birch, showing

the

represented a

leaf spray way

and

in which

174

On

FIG.

Trees.

138.

On

FIQ.

Trees.

13d.

175

176

the The

On

leaves

treatment

Black

and

in the

Poplar, is very

of the affords

in

of them

branches

example

an

entire

and

of

Art,

well

as

extreme

of the

as

the

branches.

chief

The

acuteness

the

Lombardy in the

White

difference

arises from

tree

twigs.

and

twigs

similar ; but

of the

appearance

the

off from

given

are

'Trees.

acter char-

Poplar

branching.

X^t:^x,r^^^P7 "^"sJ

FIG.

The

Black

although

White

and

elegant in form, Silver Birch The is but

stem

but

for

their

of the

it ages,

Black

branching, are

with

Birch,

sometimes line

the

unrivalled.

Birch, like that

covered and

also the

exquisitegracefulnessof

(Fig. 139) stands

smooth, and as

Poplars, and

divergentin

very

140.

of most

beautiful

in especially

some

young

striated

trees,

markings

soils,it becomes

;

On

FIG.

Trees.

141.

177

178

On

deeply corrugated, like

the

Beech

retains

stem

growth,

as

in

Beeches, and

English which

Spruces

to

the

place

form Their

division

are

the

Stone

Spruces

the

in

Scotch

the

and

difficult

are

The

Fir, also

must

we

usual

form

other

most

Fir,

In

divergence is resembling

when

the

localityso

carrying

spines

the

to

as

'

be

can

Larches

and

the

causes

as

tree

they bear, strongly

cones

The

Stone

become

grown,

so

age,

represent truly. '

such

trees.

full

to

called

aggregate.

picturesque, often

and

fers, Coni-

Scotch

and

considerable

attain

trees

branch

contrastingwith the

shade

of the

cipal prin-

themselves.

by

In this division

solemn

they

masses,

#nly

a

of the

some

Pine

spike-likeleaves, properly

assume

at

exception

a

Larches.

these

treated

to

Burnham

artistic sentiment.

Until

large

old

grand

the

form

whose

Yew,

greatlyassist 260.

the

and

the

The

its entire

throughout

brieflyglanced

trees, with

forest

principal individuals the

Horse-chestnut.

141.

thus

seem

and

in

observed

Fig.

have

We

259.

Oak

its smoothness

be

may

Trees.

their

Pine

imposing

very

dark

and

heads

high

againstthe sky. In

2G1.

methodical

procedure

generally, should

trees

the

representing

of

masses

their should

Figs.

them

which

has

be

adopted

spines,however,

position is vertical, the be 123

treated and

with

more

124.

like

The

shade the

twigs

In

here. be

for

expressing

observed

that

preparation for

preparation for are

same

recommended

been

it will

the

point,

a

very

numerous

as

them

grass

in and

On

reticulate,each at

as

in

c

262.

the

Trees.

its

carryingon

In

separate Chapter

a

in his

this part of be induced

manifestations

there *

The

little tuft of

will

endeavour

the

in

some

spines,

of wisdom

It would

for

not

be

strong hope

is, however,

one

form

that

he

may

beautiful

so

important a

link

organisms.

even desirable,

drawing

essential

143.

which

created

to assist

drawing trees, leaving

and lovingly, these study,earnestly

great cycle of

give rules

we

observed

subject,in

our

to

be

FIG.

to

a

practiceby summarising

principlesalways to

263.

tip

Fig. 142.*

student

in the

179

all the

if it

different

were

kinds

general principle almost

possible, of trees

:

universal

those of the Scotch themselves,especially Fir, are very beautiful objects,and serve as excellent examples for copying practice. with covered of Chinese When a thin wash white, the light and shade them become more on apparent ; but this should only be done in early practice. cones

On

180

in

its

of

one

who

About

became

the

his

him

in

was

curbly

his

'

his

master,'

to

did,

trees

by

a

mind.

'These

their

growth:

with

my

his

peculiar the senter

shown which

if

I

can

drawing,

I

bright the

to

to

author, of in

he

trees,'

idea

Park the

shall he

close

the His

trees.

kinds

success

of

unrivalled.

The

became Park

in

those

Charmed and of

laws

growth he

this, as

ened hast-

Forest,

told

repre-

a

complete, and

his

laws

!'

success

some

down

sketching,

his

Her.

crossed

put

the

of

almost

'obey

trees, and

of

soon

Park,

TRUTH

observe of

foundation

production

still remains

to

ask

and

sketching

and

his

up

He

questions

thought

down

put

gave

by,

when

himself,

to

assist

discovery.

Nature,

observe

only

different

was

the

said

also

asking

bright

a

an

ciples prin-

some

Greenwich

near

ill-success,

'

new

of

from

then

might a

occasion,

one

gravel-pit

his

at

then

trees.

fruitlessly sought

which

instead

on

large

despair

in

and

of

Harding,

had

"

sketch

anecdote

an

drawing-masters

work

and

go

D.

J.

Art,

recommended,

he

laws

'

in

guidance

lithographic

This

in

and

by

draughtsman

a

artist,

young

artists

eminent

as

late

the

inquiring

for

giant

a

illustrate

will

we

1824,

jear

energetic, from

which

application,

Trees.

as

a

was

work

CHAPTER

XXX.

'

ON

THE

264.

trees

are

"

long

face

them

would

must

himself

controlled

in

of

in

who of

full

their

of

their

of

watchfulness

with

work

must

of

life,

of

knowledge

of

"

stems

drawing

freedom

"

their

strong

his

their

the

"

growth,

their

manipulation

abandon

and

their

in

he

forest

the

whilst

wind,

expression

free

character,

general

the

the

feel

of

free

so

blast, that

give

of

sort

and in

the

DRAWING;.

components

varied

waving

arms

TREE

FOB

beautiful

so

sturdily

a

PRACTICE

wayward

peculiarities. The

265.

be

must work as

motion of

some

there

which

be

will

be

the

and

paler

c,

at

266.

144) one

are

may

to

the

be

intricacy,

The not

side, then

at

first

drawing

defined

have

sight

in

intention

then, with

d,

We

and

gested, sug-

quasi-

between

significant marks,'

"

b,

distinction

here

although

insignificant,

seem

them,

producing

the

or

scribble.

mere

qualities

gradation,

a

work.

leaves

constant

Beginning, 143),

make

to

exercises

these

must

result

careful

exercises

the

practising

real, intentional

and 'a

in

student,

and

strokes

aimed

at

on

shade

three,

are

"

(Fig.

evenness,

shorter

strokes

the

keeping

and

e,

the

other,

second

the

composing

nearly horizontal,

so

in

first exercise

so

but as

are

to

exercise

(Fig.

tilted, first

give

a

somewhat 181

on

On

182

angular

appearance

there

purpose, secure

This

Practice

repose,

kind

267.

A

; but

in

all

must

be

such

without

of shade

third

which

to.

As

"c., so

the

first

this would

Drawing.

exercise

ever shade, for whatof work

evenness

shade

be

may

would

cease

the

practisedfrom strokes

essential

conditions

example

would

be for

of

cases

be suitable for Oak-like

would

part of Fig. 139, by making still keeping the

Tree

for

be

much

of shade suitable

as

will

to

be.

trees.

the upper

shorter,but

just alluded for Ash-trees,

Beech, Birch, Poplar,"c.

On

"We

268.

of

projectingsurfaces

and

that

shown modified

the

of and

this should

the

exercises

be

incline

should

could

so

as

in

groups

tion direc-

surface

;

practising

Fig. "145,

lines at

the

was

greatly

The a

outer

it

be

first one,

the

form

to

IV.

of

in mind

repeated very often, the

upwards,

the

markings.

the direction

In

follow.

Chapter

outline

or

constantlyborne

which

should

which

be

In

of surface

addition

183

expressionof

line will often indicate

a

Drawing.

trees.

flat contour

a

by

the

to

come

now

Tree

for

Practice

a

and

like

c

a

c,

a

^

c

"\"^

ffl

X/),N

FIG.

and

bend

afterwards

down

drawn

of

power

may

with

This

little more In

detail as

be

outer

of d

manner

edges.

These

sizes, gradually increasing,so

acquired

of

expressingthem

d, always should

be

that

the

and perfectly,

great facility.

269. a

various

in the

their

being emphasised at

145.

shown

followed

the appearance

Fig. 147, on

be

may

it ; but

at

in

at b b and

A, B c

is

which

assumes

of tree form.

given

some

c,

by Eig. 146,

by

a

simple outline,with

additional which

character

considerable

no

is added,

rotundityis

On

184

Practice

%""

for

Tree

^"'^

ft*:"

N^

Tri

Drawing.

^ ,""

r

r

-'^

fX N ;

.

*^

^

PIG. 11G.

"fc 4~,-

\

FIG. '147.

.

_

"TV.

On

to the

given

and

Practice

Tree

for

originaldisc-like shape be

must

which flexibility

185

Drawing. of

A.

It is this rotundity

continuallyaimed

at in

exercises

have

been

to

put

in

doing

expressionof foliage.

the

When

270.

well

outline

these

and

we practisedseparately,

together,and

add

let it be

well

parts

intended

are

should

stems

borne

impinge

to a

in

148.

and

branches

mind,

that

; as

retire,the outline

little

in Fiff. 148.

attempt

may

FIG.

on

must stems, being cylindrical,

is shown

shade

the

but

of the

shade, and

be shaded

of the

most

them

this

shade

lightmasses

also

that

accordingly.

the This

On

186

have

We

271.

operandi with

Practice

the

point,

however,

are,

for

leisure

for

to

help

J.

D.

of

British

trees

of

as

much

Tree

follow

to

a

Art,

or

Landscape.

to

the

and

to

own

the

the

he

work,

brush

ments instru-

has

student

be

may

Lessons

modus

attempted

powerful

when

further,

author's

a

and

pencil

and

and

show

successfully

suitable

subject

the

to

The

pen.

representation, up

Drawing.

be

may

more

Elementary

Harding,

Tree

endeavoured

thus

which

by

for

on

Forest

referred

Trees, Trees

by

XXXI.

CHAPTER

WATER.

ON

to

idea

existence

latter,

of

Shadow*

of

the

caused

by

a

metal,

"c., and all

incident

is

reflection

absorbed,

ought f

to

the

upon

is

partial

surface that

;

the from

the

image

or

object

polished

a

eye. cally, techni-

speaking

or,

of

is,

; for

any

the

to

on

falls,

light

the

solid of

some

a

or

the

liquid,

fable be

At

a

of

'

Dog

the

The

Dog

and

his

and

his

is

quite

a

misnomer

At

angle

an

of

40"

water

reflects

60" "

reflects only

water

18

rays

"

80" ""

"

"

"

out

rays

of

every

1000.

"

333 ""

891

22 65

"

"

"

,,

"

721 "

; it

Image.

incidence

perpendicular

'

Shadow

1000.

every

are

rays

f

The

*

where

the

For

glass, water,

thence

in

surface.

meant

as

when

confusing

necessary

falling

such

thrown

being

cases

here

beams

surface,

is

polished

a

is or

rays

smooth

upon

In

least

from

Reflection.

of

opacity

some

at

difficulty

arises

that

owing

drawing,

difficult, except

is

also

water

with

but

in

water

unnecessary

'reflection'

By

picture

in

former

opacity,

no

273.

much

reflections

of

study

of

transparency,

and

still ;

perfectly

the

and

mobility

its

the

representation

THE

272.

"

"

TYNDALL. 187

out

of

On

188

274.

When

medium

putting of

tumbler

For

the

and

in

its

the

Before

Fig. 149, will

be

better

angle be

BOD.

277.

simplest form for will

our

of

this

not

complex

ject sub-

we

optics is

by

a

first,it

and

reflection

"

the

need

water,

of

laws

:

in

place

a

it.

learned

be

may

flat

simple

had

better

periments ex-

be

absolutely

an

mirror the

on

necessary;

few

on a

now,

purpose

suffice)laid

proceeding further

with

explained that

angle

incidence

of

let

A

B

nary (an ordi-

table

shall

always

are

the

o

It is

justso

c, is

and

Thus,

same.

the

angle,A

experiment,

of reflection

level surface

that

it may

the

the

representthe

seen

Or

the

takes

the

on

understanding of

be

may

sheet of water.

representour

it had

refraction

about

place,as

pencil obliquelyinto

a

seen

observations

hand-glass

27G.

or

one

water, refraction(a

rays)takes

as

are

full

surface,and

calm

the

ourselves

nevertheless, much

studied

but

knowledge

some

of

obliquelyfrom

air into

spoon

water;

present trouble 275.

a

light passes

from

as

reflections

water, and at

of

bending

or

by

seen

another,

to

breaking

beam

a

Water.

It

of water.

equal to

the

in

angle,

in Nature. be

put

thus

(Fig. 150)

before,representthe level water, and

A

o

c

:"

and

Let BOD

A

B,

as

equal

Water.

On

angles. Further, o, and

towards water,

the

line

o

be

E

would

c

let the

at

"

fixing into sails.

them

Behind

upon

it

these,

masts,

piece

can

now

observe

elevations, from and

not

higher.

a

the

the

see

on

the

"

pieces of may

the

paper

place a

crumpled

cork,

or

book

for to

kerchief pocket-hand-

retiring banks.

151.

various

shore

and

for

of newspaper

FIG.

We

the

of water

bits of wood

edge, we

and

represent upright rocks, or

looking

c,

would

E

sheet

our

oblong

the

on

at

150.

some

for

pins

what

o

to

now

FIG.

hand-glass put

supposed

imaginary spectator under

an

Returning

D.

be

eye

reflected

see

189

or

reflections

from

various

looking-glasslevel, higher

(SeeFig. 151.)

278.

The

picture

an

exact

inverted

or

image

in calm

reproductionof

water

the

is,however,

object as

we

see

Water.

On

190

,

reproductionunder

it on

the shore, but

often

new

arrangement.

For

152

though (Frontispiece),

what

We

at

are

infinityof shall

"We a

could

he

facts

not

have

to

here

of

been

wind,

to

and

in

water

the

confines

water

the

the

threshold.

let there

:

is broken

water

of

and reflections,

beyond

smooth

on

be inverted.

must

very

go

cognisantof

it reflected in the

the

observed

attempt

hitherto

breath

be

on

be

not

readilysee

only

present

entirely

an

spectatorviewing Fig.

a

So, also,the reflections of birds

water.

we

instance,

the roof, would

under

was

a

up

come

into millions S

A

S

8 FIG.

of its

surfaces,each bosom

reflects. wave

When

in

a

Fig. 153, But, the

to

curved

lines

lines,which

principalcurves

as

from

make

contracted the

an

its back

image

rendering

artist

or

of

all it

a

single

of

manifest.

more

in

For

attempting to paint a

represented by the

rough diagram in

explanation

simple,instead

s. our

at. A,

as

shall as

carrying on

becomes difficulty

imagine

us

sunset,

seen

or

consider

we

in colour, the

instance,Jet wave

little wavelet

expanded

an

153.

we

indicate in

B.

more

will substitute the

general

a

few

direction

of

straight of

the

Water.

On

; at

E

would

c

has

what

reflected

be

would

be

is here shown

is

s, whilst

at

D

the

chieflyon

planes,B

sky behind

the

the

seen

image

of

colour

said, the

been

reflected

be

sky would

the sunset and

with

accordance

In

191

the

tator, spec-

of the

sky

at the zenith.

What

279. for in

the and

is often

wave

in

When,

waves.

water to

a

direction, and

every

as

addition

particlereceiving its colour

becomes

of

infinite and

Sometimes

on

tremulous

to

elongation of

minor

remember

that

in

suspension, each light,and

accordingly,the

water

plexity com-

inimitable. lake there is what

invisible

in water,

movement

yet strong enough this

*

in

quite colourless,owing

held

smooth

a

with

covered

variouslycoloured

the

is supposed,

surfaces

curved

this, we

to

of

ray

of

sides

matter

appropriatelycalls

ton

its

difficulty,

of curvature

up

in lakes is seldom

found

affectingthe

made

has

particlesof earthy

280.

direction

diagram only one

the

only a part of

Hamer-

'

motion

slightly

a

"

entirelyinvisible

elongate a

reflection that

It is

reflection. we

in

onlyby

conscious

become

can

itself,

of this 'invisible motion.' 281. to

some

Sometimes

parts of

wavelets, and the wind

then 282.

very

gentle wind

leaving other

which

every

the water

Although

colourless,there

will

down

come

on

lake, rasping its surface into myriads of

a

parts

increases,the condition

in 'ripple,' and

a

is

in

perfect calm.

of the

often becomes water

in

usuallyin

leaden itself

it

some

becomes

water

recognisablereflection

As

is

a

destroyed,

in colour. may matter

be

considered which

gives

On

192

it

decided

a

different

all

are

in

From

283.

in

it

laws

respecting

with

it

are

in

rippling

Nature. be

after

its

of

truly

of

lived

objects their

nature

of

desirable

to

and

it

either

the

that

the

on

is

its

safe

seldom

to

form

wave

or

of

presence

in

ignorance,

our

works

of

water,

and

those

who,

studied

it

impossibility

the

declare

principal connected

immediate

we,

tions reflec-

the

fads

in

the

phases,

truthful

most

time

present

and

them,

special and

the

criticise

Awe,

it.

the

amongst

simple,

in

Loch

respecting

though

that

it,

except

varying

the

at

living

of

near

Perhaps

and

said

that,

varying

it

representing

forms

his

is

infinitely

284.

and

ready

too

having

in

few

are

Lucerne,

cause.

been

evident

be

brook,

Neither

should

by

it

this

here

representation

a

the

will

Lake

from

has

varied

so

Rhine,

colour

what

water,

attempt

The

colour.

Water.

study,

great

skill

is

for

has

in

of

painter Mr.

Francis

many attained

depicting

these

Powell,

making

years

great them.

less rest-

who, them

knowledge

XXXII.

CHAPTER

ON

THE

285.

this

by

work

in

except

the

of

study And,

as

sort

of

knowledge

of

creation

pleasing

talking

of

her

their

over

blue

far

so

or

again

blue,

known

recent

any of

student

a

advanced

towards

more

of

strange

thing

are

not

as

is

know,

we

a

done

and

or

not

of

be

answered,

great

everything

till next

time, with

well

perhaps

a

other least

part of

in

once

three

film

all

so

of

of

sky

brought and

in

the

than

every

were

watered,

of

works

purpose

rain-cloud

sake

we

purpose

if

of

any

other

by

part

purpose

which

her

answered essential

the

in

than in

little

is the

evident

essential

every

how

for

more

sole

many

It

sky.

part

just

but

;

the

the

is

man

a

him,

and

13

gratification.

hands

teaching

material

thereabouts,

the

the

for

it

organization

might,

has

and

more

is

about

There

pleasing

It

* "

Nature

and

some

:

more

her.

the

intelligent

the

purest

to be

into

put

know

which

works,

which

be

says

him

to

and

seem

drawing-class

subject.

to

attend

days,

the

not

the

in

That

2nd.

stepping-stone

first

man,

of

mere

could

to

highest

does

into

brought

usually utterly ignored

is

way.

of

is

subject

alluded

casual

people

in

it

there

Buskin

general

Because

source

that

work

in

a

That

small

286.

this

seldom

or

most

it is

3rd.

a

1st.

"

teachers,

most

why

reasons

are

SKIES.

up

left

morning 193

On

194

evening mist

and not

producing after

for dew.

of any

moment

a

Skies.

day

after

scene

principlesof

of

such

still upon

is not

exquisiteand

intended

for

stant con-

it is

perfectbeauty, that

for us, and

certain it is all done

Nature

is

picture after picture,glory

most

the

of this,there

lives when

our

scene,

glory,and working

instead

And

quite

perpetual

our

pleasure.'

sky

By

287.

above

space

also,with

clouds

and

infiniteness of shall

some

measure

part

of

which

to

is

in

term

various

the

blue

artistic sense,

an

visible

phenomena

hints

for the

student

a

which

respectingit

we

owe

will in

as

enjoyment of and

much,

so

that of

yet

little.

so

is surrounded, to

with

height of

a

is known

what

of various

composed "c., and

vapour,

to

earth

The

merely

mean

variety.

world

fiftymiles,

which

all their

prepare

observe

288.

the

give only such

our

we

here

not

but, using

us,

the

We

do

we

the

as

fluids,such

which, like other

from

forty

atmosphere, air,aqueous

as

wards bodies, gravitatesto-

the earth.

Air,

of these

one

is invisible, fluids, colourless,* elastic,

easilymoved, rarefied,and

and

is

but

pure,

generallymixed

invisible

and

in the

vapour

state.

289. *

as

into.

If

Like

with there

we

water,

blue

space,

It is seldom in

water

is very

air,the sky appears

ceilingor vault, but look at

When

condensed.

blue that

like

cannot

we

vaporous

little water

not

"

a

or

painted

a so

much

Let this be well remembered. blow

from

its colour

is

a

pipe

of

tobacco

perceptibleonly

in

some

fumes

deepestdepths.

On

Skies.

(unconsumed tobacco),the If or

marble

the

this

possible,it

be

it may

rough

will

our.

way,

become

blown

drop

about.

When

290.

the air is

charged

closer)through as

fall

quicklyto

represent our much

as

bulk,

its

a

so separated particles

invisible

is condensed

with

moisture its

(i.e.

which

particlesbecome

chill,it immediately assumes

a

it

represent,in

will

its

that

visible form

vapour.

If the

air

happens

invisible moisture, and clouds

become and

When

cloud its

atmosphere. or

less

there may

made

visible,in should

constituents ago, but answered.

we

is

then

is

charged

float that the

of

was

if it has

a

the

storm, thunder-

float the

high

or

a

asked

yet

been

about

moisture, amongst

air,locallycondensed clouds.

low

surrounding

atmosphere

an

invisible

separately in

themselves

doubt

it will

same

form

in

heavy, as

have

with

this

largedrops.

formed,

we

with

suddenly condensed,

densityin proportion to

float as

heavilycharged

and

in

Thus, then,

which

forms

be

fall to the earth a

more

to

thick, opaque,

according to

us

dense

so

extended

or

pellet

a

of cloud.

of the

some

it into

wool

This with

that it will float in the form

it

it may

out

distended

so

to light,relatively

so

of water

roll

cotton

pulled

be

in the air.

make

means

pelletof

If it be

of water.

drop

and

distance, or

some

Let

of clouds

wool

this

by

we

thrown

earth.

that

little cotton

a

form,

be

may

as

get

we

particleswill

float in the form

they will

that

195

and

How

or

why

these

liquid

of

the

same

many

thousand

fullyor

years

satisfactorily

On

196

convenience

For

291.

in

arranged

of

and

groups,

Ruskin's

Mr.

Skies.

fullycomplete, it

will

do

cannot

we

better

than

adopt

though

:

not

for further

student

the

prepare

usually

are

nomenclature

and

arrangement

clouds

study

and

fuller observations. Thus

*

the

as

divided

or

region

of

the stratus

;

into

an

even

the

the blue

'mackerel'

looked

mountains

of the

are

skies,

of

days

in

in

Mr.

often

are

and

may

and

direction

shape

for

time

a

quietnessand remarks,

be

of

of

*

'

as

They

They

or

According

to

tails '

in

they

anything

or

almost

the wind

most

; whereas

with

streaked

mares'

by

the

are

vapour

and

exquisite all other

differ from

which

from

touching

arranged driven

system laws

certain

are

generalsystem

the

when

says,

yet perfect freedom

The

by

Ruskin

having a plan there

though have

'

fine weather.'

of

formed

never

never

"

perspectiveretirement, present a

appearance. clouds

as

delicate

vulgarly known

and

rain-cloud.'

the

sky is commonly

parallellines,and sometimes, seen

of

region of

region,or

upon

region,

upper

Europe.

lines open

several

shapes they

central

the

of at least 15,000 feet'

multitudinous

speckled after their

be

may

highest

motionless

"

region,or region of

the lower CIRRI

regions

or

the

;

convenientlyconsidered

be

may

spaces

cirrus

elevation

below

"which

three

the

The

'

292.

atmosphere

other

clouds,

cannot

break,

like

a

relative

government.'

of the wind these

generallybe

clouds, though

appear

multitude

may

motionless.

they

may,

convenientlydesignatedas

determined

they Owing

as

the

themselves to

same

'cloud-flocks.'

their author

The

293.

considered

They

known

are

in

pilingup so

the

also

huge

the

as

masses

miles

some

we perspective,

in

to stand

were

of

takes

some

of

place in

Sometimes and

for

gentle wind,

it may

almost

float

travelled

elongated masses

cirro-stratus.

which

and

Figs.154 and

It must

clouds, so much

seen

shapes and If

them.

by

we

drons caulof

very miniature

a

grand shapes on

other

be

piled

up,

by

a

is then are

at

hundred

a

called

cumulo-

great elevation

a

Euskin

gives them

the

a

of

the

piling up

of

clouds,

height of 20,000 feet,and

of the

them.

not

as

will

sketched, will give only a

be

supposed, however,

chief agent in the

only or

electric and

155, here

rise to

effects of travel upon

is the

have

tance dis-

a so

surrounded

were

Mr.

imperfect idea

sometimes

294.

at

of 'cloud-chariots.'

poeticname appropriately

rough

true

often

are

often

are

perhaps fiftyor

If these

very

They

slowly away, gradually changing

stratus.

The

other.

their

motionless, till,moved

elongated, and

called

the fact of

from

of cumulus

becomes

are

rain-cloud.

true

of these

miles, it

they

the

amongst

on

should

mass

appear

form, till,having

its

floating

forget their

formation

huge

a

time

a

the

of visible

they

as

going

we

may

mountains.

high

our

and

be

STRATUS,

entire,except

seen

dye-house,and

a

boilingwater,

what

be

is

and

each

over

liable to

what

masses

cumulus,

away,

are

formation, and

those

cirri

large that they cannot of

in

including all

as

lying between

vapour

region, or

CLOUD

CENTRAL

19'7

Skies.

On

the

change

of

formation

that

and

the

wind

shaping

of

temperature arisingfrom

conditions, for in

some

cases

the

cloud

200

On

is the

up

of the wind.

cause

from

his window*

the

soon

the

third

rain-cloud

of the be

not

(probably)warm

air had

division

cloud

dailybeauty

of

in necessarily the

middle

not

rain, have

than entirety

these

latter

and

the

They

often

be

indistinct.

moving

in

along

from

floatingover and

a

the

him

mountains

cloud

*

of

it is

clouds

of

sides, in

seen definitely

The

of

nearness

of which

seen

is rendered

in definitive form

wind.

it may

not can-

edges fringed,

At be

miles

seen

the

towards

times,

other

away,

spectator;

envelop him, completely conceal ten

feet away

may

be

from

him, pass away,

Occasionallyamongst like

seen

as

indicated

in

Under

Kinder

Scout.

crawlingslowly about,

must

deposit moisture, if

landscape

entirelyunwetted. a

The

its lower

landscape

may

than

It

spoken

outline

is

columns, and

sunny

presentlyit leave

mist

high mountain,

everythingmore and

this

so

being easilystudied.

the

which

twisted, by the a

not

characteristic phenomena

mist, the

by

Sometimes

'and sometimes viewed

is

more

definite outline

traced, and

is

is attributable

proper.

of the

only thin

thought

it.

to

be

the rain-clouds

preventssome

re-form

aerial greys for their dark

distance,can

sometimes

are

rain-cloud

other

passed.

English landscape.

a

mostly pure

to their

been

which

to

state of rain ; far from

a

watched

arrangement

first

region alreadyreferred

and, owing their

this

that

of

that when

often

following each

region, possiblyat

supposed

has

particularplace,and

one

pleasant to contemplate,yet most

author

of vapour,

masses

as

The

295.

the

The

disappearat valley,

again as

Skies.

"

huge

Fig. 156.

monster

Skies.

On

Fig.

157

etched

was

down

Mount, looking As

there

were

to

on

clouds

no

a

To

the

ocean-like

an

above

regionof

morning

or

steaming

vapour

in

evening,

rain-cloud

without

the

which

means

of the forms

In

297.

of

has

been

which

to

to

this

In

is

the

the

firmament

contemplation; 'Dost

the

constant

let know

though

sible, utterlyimpos-

inquiry,to

scientific

phenomena,

also

of

is covered

treads

the

are

'

inquiry be

reverent

the

balancings of on

his

heart

the

that

their with

heavens

ever-changing material

the

conviction

past findingout.'

he

colour

of

work

the infinite

study,so

filled with

but

thou

to

be

venience con-

allusion

already ascertained

which

on

student

of

a

for

no

exhibitions

of advanced

explain luqidlywhat

objectsfor

lips,

days

If the earth

and

tion modifica-

for

is divided,

it would

subject alone

in these

they

necessarilyimperfect

and

marvellous

many

nature.

are

brief

to the

as

objects.

for satisfactorily

account

and

painterpossesses

firmament

study,the

cloud.

effective

principalregions,into which,

the

made

even

"

of fixed

of

form

most

frequentlypresent themselves.

devoted

and

the

white

the atmosphere

of

all countries

far the

by

giving,this

descriptionof

or

afford

beautiful, and

those

surfaces,and

open

the

perpetualin

as

are

on

in the

water,

condition

actually assuming

phenomena

valuable

lightback

belong all

over

moist and

everything that visiblyaffects

are

clouds.

nearlyblack.

valleys,or

risingfrom

Pike

on

of

mass

to reflect the

the

taken

of drifted smoke, heat-haze,local mists

phenomena

These

photograph

side of the rocks, they are

to the shade 296.

from

201

on

for his

clouds?'

'HIS

'

ways

CHAPTER

ON

IT

298. this

book

have

accessories,

and

If

the

not

the

and

severe

he

"

living

model,

How

certainly

if

the

from

man

still

in

or

from it this

necessary

Nature

motion,

attempt on

his

of

patiently

study

will

draw

to

supplementing

student

in

features

part

previously

to

if

"

large

in a

to

torical His-

regular

from

the

Anatomy. discovered

be the

seeks

as

and

may

this

he

Artistic

draw

of

wise other-

figure

cast

with

fore there-

aspect

through

the

of

picture.

a

picture,

moderately

a

the

the

go

is to

teaching Art;

in

only

relationship

must

of

course

the

Landscape

of

wishes

prominent

that

to

treated

principal

as

ANIMALS.

observed

subordinate

a

subjects

AND

chiefly

student

in

it

been

here

are

than

FIGUBES

reference

figures

make

DRAWING

may has

299.

XXXIII.

of

figure

a

scale, either

suggested

of

course

training. Hence, and

studied

apart

practice,

the

draw

with

it

bad 300.

should

Figure-drawing

When

power

all

from

may

perfect

be

figures

occupy

made

the

is the an

quickly

more

for most

a

of

specialty, and

knowledge

else, that, by

accuracy,

figure-drawing

be

all

gained

false

to

sentation, repre-

intolerable.

important

place 204

in

the

On

foreground

of

205

Landscape, they require a proportionate

a

of attention

amount

Animals.

and

Figures

Drawing

detail.

and individuality

to

Speaking generally,rocks, trees, foregrounds, "c., of

principalelements pictures,and

the

the

spent on

when

even

only is required,there will demand

When

it is

and

yet

are

What

introduced

or activity,

The be

What

introduction the

governed by

in the

former

any

other ?

of

figuresin of

as

The

will

with

cover or

a

should

to

work

ments, arrange-

must, of and

?

serve

for the

idea

course,

perspective:

to relationship

Composition);

in the

and

the

sketch-book

of

his

the

figure

making

will be

right introduction

for

Landscape

all sorts

of

dent stu-

used

are

Fig. 159.

way

and

living

if the

fingerthe figureswhich

best

notes

of

stronglyfelt

more

the birds in

even

Perhaps

the

of

drawing

a

Fig. 158,

draw

they

whether

composition

on

figuresor

be, Why

to

position,posture, and

importance

302.

of

use

to size.

objectsin

in

peculiarities

positionsor

or

surroundings (see Chapter latter

what

character

study.

have

purpose,

laws

to

as

ought

the

answer

repose,

and

is

subordinate

a

general

this

purpose

animals,

figures or will best

of

?

only

and

make

to

that

study

the other.

their

careful attention

proposed

of

difficulties and

animals, a primary consideration

they be

to

figuresoccupy

position in Landscape work,

which

kind

to be devoted

ought

in Historical

figuresare

as

and

amount

same

one

But

301.

Landscape,

are

to

obtain

purposes

memoranda

the

power

is to in

figures,in every

the

be

to stantly con-

pocket

varietyof

On

208

Drawing

costume, and

circumstance, deliberate

effort

inquiryshould

to

"

this.

express

of

bend

If

what

figure lie

?

It will

often

line,or

touch

consider

we

others,

many

have

aimed

but

seldom

and

of

well

should the

at

looking directlyat

nature,

parts of

whole

be

them

shall be a

the

dark,

the

in

a

or

in

first

a

spirit,

aim

bo

must

scarcelyperceptible subtle

some

works

D.

of

that

in

they

their

detailed

any

drawn

as

disappointed;

but

in his

admirable

in

pictureare

animals

forms

as

in

bodily

or

be

when one

likeness

figurestaken (

felt

observe a*

a

dencies, ten-

seen

we

it

to

and

facial

than

find

to

expect

Cox,

appear

they would

If, when

alone.

Turner,

David

Harding,

picture,rather

figures,we

we

then

shall find

we

attempting

looking

Prout's

studies

and vitality,

found

be

always truly

expression. They

of

and

the

more

opportunity

expressing their figuresand

at

general way,

when

whenever

notes

does

Stanfield, Copley Fielding, J. and

with

of colour.

arrangement 303.

such

making In

be,

of that

charm

and

in

And

occur.

may

Animals.

position,combined

larger scale

a

on

and

Figures

keeping'

to as

and

harmony. 304.

of

Some

elementary

be and

already been

figureshave

In all

of this book. '

cases

blocked

in,'so

in

respect no

this

figuresin As *

such

Prout's A

number

rules

a

to

as

work work

of these

as

may are

applicableto

given

both

figuresand their

secure

examples Prout's not

in the

be

can

earlier

drawing chapters

animals

correct

be

the

should

proportions,

better

than

the

Microcosm.*

readilyaccessible

reproducedin

Lessons

on

to

Animals.

the

On

student, a few simple illustrations 161, and which

They

162.

suggest blocks

Fro.

FIG.

In are

Fig. 163,

somewhat

the work

in

few

but

209

Figs. 160, lines,

main

shape.

160.

161.

softened

FIG.

and

Harding, rounded,

they may

FIG. 14

in

given

are

expressedby

are

after J. D.

for which

Animals.

Figures and

Drawing

the block-like so

be intended.

163.

162.

as

to

shapes

accord

with

CHAPTER

XXXIV.

CRITICISM.

ON

No

305.

criticising, critics

are

to

they

say

what

don't

would

opinion

one

anxious

to

truth

get side

to

F.

truth.

made

of

than

work

of

kind

truth

Criticism,

by

of

modes

and a

student

criticism

to

more

himself

get

seek

to

except criticism of

Art,

taste.

of

its

And

whether which

only

the we

result

a

gift

and

intuitively

nature and

of

a

or

rules

than

is the

instantly

in

to

and

knowledge

practice, taste

arts, has

inquiry

Safe

'

is indispensabl

indulged

rather

from

correct of

that

works.

own

principles

by

be

knowledge

his

on

can

should

work

be

For

*

says,

preparation

or

other

most

It should

procedure. ; Ms

"

like

his

seems

Eobertson

special capacity

a

on

has

"/

every

byx

person

a

and

Art,

W.

know

they

everybody

side

ready

sensible

accuracy

his

be

are

No

about

over

of

it, only

almost

but

will

mistakes

the

other

or

way

the

to

Geology,

or

about

better.

question

out with-

uncompromising

asked,

many

know

to

to

venture

much

great

ought

Chemistry

on

A

like.

who

persons

know

Exhibition

most

when

who,

persons

Art

an

the

usually

and

those

they

through

goes

person

and

meant result select

its

sparingly

rather

than

pass

ment, judgArt

accurate of

the

from

a

the of that

history correct

faculty

culture which 210

"

"

by is

Criticism.

On

and

true

in

beautiful

211

is false

which

that

preferenceto

ugly.

or

Whether

306.

historical

an

of

the

work

the

will

In

the

depend largelyon

of

case

in any

appearances

hours, that in the work is

great danger should

we

is

the

to

sensible

criticism.

hear

with

of

supposed

few

a

such

instances

to

examine ledge, know-

thought,

artist,having put

however

quite painful to

thoughtlessremarks

and silly

his

critic

his

unjust

It is

reply.

criticism

public

to

the presence

attitude

judicial,and strictly

of

evidence,but

kind, it should

always

is under

it be

review

this

knowledge

a

applicationof

when criticism, especially

work

the

be

condition, and

whose

of

the

on

a

of

thoughtful

great artists. In

307.

are

painter there

propose

ignorantpigmies, as they sit in judgment works

varied

known difficulties, totallyun-

the

canvas,

the

In

we

so

course

deliberate

that

of

means

to

man

honest

battle

the

to

no

able and

of much

critic,and

particularevent

the

an

in

the

in locality

that the work

result

expressions on be, has

of

error

victorious

and

may

of

remember

probably the

of

knowledge

our

landscape,too,

a

one

of

positionjustlyto judge

a

circumstances

history and

represented.

in

are

we

such

of

implies not

considered has the

to

only

of the character,

Further, in

evidence.

happens

critic is

the

be

of

whether

an

the

adverse author

opportunityof reply or

defence.

When,

308. a

work

with

of the

students, we

as

art, it is desirable to central

or

main

idea

have make of

to form

an

ourselves

it, and

then

opinionof acquainted to consider

Criticism.

On

212

whether

the artist has

not

or

difficulties that

'There

309.

that it must the

embody its

under

*

thought,that

dominion

own

the

mark

is

fresh

a

inference

that

general body

be

may

of truth

to

means

a

of creative

product Science

the

fresh

for

knowledge, knows

been

the

impulse

to

A

and beyond itself,

enjoying to *

This

view

article in the

of

British

each

work

of

till the

Fine

directlyto

full the

the character

QuarterlyReview

for

within

to

that

in

search

no

activitysave

no

lias

end that

accompanies

ably expressedin January, 1877.

Art

is

is

itself.

universe

points

a

as

of art

truth ; the

satisfaction of Fine

give a

is absorbed

whole

Art

more

them

use

its end

of the

a

can

word, every work

pursuitof

rest

no

he

of

thoughts

for

caring to

attainment

new

further

urges

the

a

to

them

thought, having

joy of

subdued.

In

comprehension

which

to

And

thought only

himself

from

thoughts

"

two

scientific

from

quite independent

drawn

end.

remoter

In

of

value

a

general expression,without

more

a

for him

the

feeling.

new

intellectual

universe, the artist confines

possess

in

formed un-

a second creativeness,

each

values

the

step towards

the whole which

of

of

matter

internal

character

Science

While

exhibit

it must

mind

required to distinguishaesthetic

production. as

dead

the

to

and

nature

to this

then, in addition

is

and spiritto seize,shape, vivify,

external

of

every

these marks

firstof

The

impression presented universes

creative.

characterize

which

creative

a

human

of the

power

subdue

fine art.'

of

reallygreat work

marks

two

are

work, whether

simple, or great and

and

be imitative

that work

his

surrounded

have

may

the

fairlyovercome

fullyand

an

Criticism.

On

exertion

'every

of

completed

213

of

mastery

thought

over

matter.'

Although

310.

of

nature,

It

of

is

should

the with

the

injure and

such

views

the

work

311.

We

Euskin,

in

artists,

but

act, has

also

it

in

discussion,

condemns,

elegant

should

should

writings

dicta, have

give

its

the

on

fashion in

no

reasons.

place

;

and

John

works

and

making

equally

and

critic,

presumption

a

knowledge,

unmeasured Art

in

we

cynicism.

the

mischievous

Obiter

people. as

most

if

ourselves,

large

into

that

become

whether

damage

reason,

we

assuredly,

for

;

we

think

unfortunately

it

that

minds

our

not,

a

imitative when

sense

unjustly,

develop

only

not

in

or

early

some

act.

without

his

be

measure,

criticism

or

soon

our

of

was

of

in

must

highest

Art

of

in

but

of

some

creative

author

may

cannot

remarks

severe

living

mind,

a

art

the

ignorantly its

or

in

object

indulged

sound

a

which

of

of

great

a

only

so

work

a

criticism

and

is

nature

approach criticise

we

it

yet

partakes

in

sometimes

and

measure,

work

fine

a

a

an

of

generous un-

precedent

amongst

criticism

criticism,

as

learned un-

well when

PART

II.

XXXV.

CHAPTEE

PERSPECTIVE.

ON

INTRODUCTOKY

MANY

312.

be

without

things most

able

the need

persons

to

trouble

how

make

only

uncertain

of

of

Perspective

boxes,

helpless they

eyes

appearances

draw

to

attempt

books,

as

and

the

learning the

with

anybody

correctly

see

objects, such

rectangular

that

imagine

people

surely

must

KEMARKS.

or

few

a

cover dis-

to

doors, the

but

;

are

in

of

Perspective

matter

of

seeing. The

313.

simple,

extremely the

fundamental

technical

is

mathematical It

understood, confusion in

its

In from

be

may

application

forms

314.

and

principles

of

understood

its rules

difficult,and

to

tax

may

by

a

child

irregular

the

powers

;

and of

are

but

plicate com-

an

able

be

well

mind. is as

important there

respecting

is it

that

the

often

much

as

a

term

should

and

misapprehension

science,

both

theoreticallyand

application. nine what

cases

out

of

they really

every

are;

ten

objects

different

appear

Perspective, therefore, 215

may

be

On

216

brieflydefined

enables

used

as Perspective,

out

When

his

and

certain

the

evolved

and

from

; whilst

which

the

work

in true

inclination

of any

his

much

of

Perspectivegrows An

31G.

out

architect

which

he intends

fact.

Of

these

outline, and

the

of the act of often

intended

will

'data'

the

thus,

his

as

objects themselves,

the

drawing.

requiresa

view

erect, before they have

to

he

perspective.

his

from

made

principal

what

he

are

of

pencil-in-hand

which

observations

level

vanishingpoints,

'observations,' accuratelymade, form out

an

ings build-

the

as

These

will work

one

when

some

say,

"

observations,together with

requireto get the

the

of Perspective.

Nature

with

In

other, the object

observations,such

him

divided

Technical

as object,

in the

he determines

furnish

be

others.

rules

from

the buildings,

these

measurement,

by

architects

artist sketches

recedinglines,by "c.;

different

appear

and by artists,

used

Nature

from

makes on

eye

they

they

as

science which

Perspective may

of the of the application an

he

"

by

Perspectiveis

artist sketches grows

the

as

represent objects when

Perspective,as

into Artistic

the

representingthings

spectator,and

a

Practically,Linear

315.

case

of

art

they reallyare.

Avhat

from

eye of

to

us

the

as

to the

appear

Perspective.

buildingshe

will

of

any

buildings,

existence

requireto

in

have

'measurements,' "c., together 'elevations,' 'ground-plans,' with

certain

'data'

(tobe

hereafter

explained);and

he will be able these, by the rules of Perspective, his edifice 317.

as

The

it will

actuallyappear

purpose

of

when

to

from

show

erected.

Perspectivecovers

much

more

Perspective.

On

than

representation of

the

"c.

buildings,

with

"

size

the

form

according

whorls and

165),

with the

so,

causes

drawing they

the

an

which

arm

The

is

or

the

sprigs or

FIG.

top In

sides

and

PIG.

164.

of the

tree

it is

figure drawing

foreshortening of

a

165.

large

as

equally

finger-nailto

that

leg.

a

work

the

with

little

of

in

at the

the

before

comes

the

size

fact

nearest.

are

and

position,and in

fail, because

leaves

applicable, from of

It

persons

to

trees

make

those

is

many

form

boxes,

as

in

it

this

such

164

also,

of

its

Even

is

tree.

forgetting

that

to

leaf

every

the

irregular, that

or

(Figs.

entire

an

with

do

to

according

Oak

of

regular forms,

its distance.

to

perspective;

as

has

object, regular

every eye

it

;

217

of

Perspective, then,

is to translate

FACTS

into

Linear

and

appearances. There

318.

Aerial

;

the

of

objects

as

they

on

Skies.) Hence

as

former

they

are

should

we

surrounded

everythingwe

by

by

the

never

"

at.

Perspective, with

the

represented by lines,

Perspective

look

of

itself

concerns

affected

are

kinds

two

are

and

that

Aerial

or

we

the

latter

(See Chapter

atmosphere.

forget

appearances

constantly

are

Linear

"

in

almost

CHAPTER

AETISTIO

ON

WHAT

319.

is

Perspective'

is

XXXVI.

here

the

PEESPECTIVE.

termed

method

constantly Nature

from

illustrations

with

the

be

must

directly )

FIG.

In

the

relative

order

fix

to

perspective

*

be

placed

in

Perspective.

may cubic

fold

hints it

in

and

given,

are

simple

very view

of

Here

166.

ample, ex-

cube,

a

the

cube* but

only parallel,

not

put

thus

where more

models

only

the One :

"

the

the

of

front

the the

it from

of

the

on

a

the

student

better in

readily

may

Cutting

the lines

dotted

all be

be

affording greater variety.

of

great

square

eye

point,

level

spectator. model,

should

"

exercises made

of half

that

are,

A

set

service,

it of as

then

;

with

first mine deter-

regard

which the

with

board

easily (see Fig. 167). would

front

vanishing

larger

before

cardboard,

through

Fig.

copying

height the

is not

cube-^-tho

A

a

drawing

166.

draw

in

in

some

parallel

in

seen

used

respecting

beginning

'Pictorial

or

and

;

.

as

Artistic'

'

eye,

to

it

in

parallel

but

always

Artistic

On

it.

opposite

to

and

Next

B.

from

ascertain

B, and

A

front this

of the

as

draw

it

of

apparent height

parallelto

parallelview its

of

the view

at

A

B.

important

an

back

book be

object may

line

placed

in

drawn

in

be

defined

without

becomes

once

to

moving

a

the

panoramic.

limited

extent

the If

eye.

The

optional,

168.

the

limited

This

representation

angle

of

vision such

representing irregularforms,

when

A

measurement

the

would

60", especially in

exceed

right-angledforms.

less

of

clearlyvisible

vision,* though

not

A

of

from

principal plane parallelto

FIG.

should

lines

by pencil-in-hand

having

one

moves,

eye

angle

the

A

spectator,and the

C)

219

draw

point

spectator,like Fig. 168,

manner.

simply

this

Towards

(see Appendix

Perspective.

is as

mountains, trees, or clouds.

the

little below be

should

heightof in the

is the

Fig. 169

320.

drawn

in the

Fig. 170

321.

Where

Fig. 171,

to

same

manner

from

the front

determines be drawn

there

are

front

when

seen

left of the

Avould

all the

as

the

line from

the back

previous case,

chair in

and

eye

cube

same

spectator,and

square,

obtained

of the side.

in the

manner.

same

parallel faces, first be

should

The

the model.

the width

several

planes

placed a

The

as

drawn,

"

*

Known

as

the

'

cone

of visual

as

rays.' (See Chapter XXXVII.)

in and

FIG.

169.

FIG.

170.

FIG.

PIG.

173.

FIG.

173.

171.

Artistic

On

222

then

vanishing point and

the

as

on,

instance, a to

Perspective^

in the

Some

previous cases. it would

flightof steps "

correctlywithout

draw

of back

distance

a

mined deter-

objects

as, for

"

almost

be

fixed

line

ble impossi-

vanishing point,

VP

/^

Fro.

whereas of

with

point,and

a

procedure,the 322.

When

draw

to

the

one

is made

another,

complete

by

block

one

spectator than best

work

the

behind.

174.

or as

front

means

simple mode

of this

quite easy. object stands in block

Fig.

172

first,and

nearer

or

to

173,

afterwards

the it is to

Artistic

On

In

323.

be

may other.

is shown

Fig. 174

when

Perspective. how in

transparent,and

represented When

the

drawn, the

in

FIG.

the

same

from

width proportionate 324.

In each

which

A,

been

representedas

with

all the

seen

receding

cube, has

in

the

bisects

latter and

foregoingexamples

the

below

lines

vanishing point opposite

each

been

E,

of the next

of the

behind

rately accu-

by using

175

vanishing point, and

diagonal line

sented reprenumber

a

readilyfound

be

may

how

retirement

middle

be

may

Fig. 175

proper

first,or others

cubes

223

F

gives

the

squares.

the eye, and

slantingupwards to

figure the

the

eye.

If

object has

consequently towards the

the

objects,

224

On

Artistic

Perspective.

however, be placed above like the

cubes

upper

receding lines

the

towards The

the

in

Fig. 176,

will slant downwards

the

horizontal

large railwaystation,seen

The

325.

presents

the

remains spectator,

but

the

room,

example The

of

farther

its true

shape,

sides,togetherwith the pictures, are ceiling,

the floor and

all

retiring planes ; consequently

the

retiringlines bounding

"

towards the

point oppositethe

a

which

govern

fender, and

the the

two

but not the door and these may

not

are

be

in the

rule

the

distant nearest same

below

same

lines of

those

slanting

are

The

slantingupwards.

will

it

above

are

downwards, those it

all

them

vanishing point,

lines which

sofa,

chairs, chair,as

plane.

It

remarked, however, that the

ordinary rooms the

177

to being parallel

of the

eye

that

of

point.

a

instructive

end

tend

the fact

a

one

given in Fig.

room

an

and

from

from

of lines to

parallel perspective.

representationof

of

illustration

good

a

this recedence

FIG. 176.

line.

iron-wrought covering

end, affords

eye,

is

seldom

spectator cannot

get

satisfactory, far

enough

226

back,

so

having

to

as

The

a

Artistic

see

the

wide

too

be

On

very

long

readiest

perspectiveis

of the

the

without

room

angle ; unless, indeed, the

to

representan

ment apart-

it, and

to

the further

parallel

end

of the

vanishing point,

ruling through in

shown

as

in

apartment

shape),fixing the

backwards,

room

of

begin by drawing

to

ruler

placing the

end

one.

way

(itstrue

room

distant

visual

a

Perspective.

the

each

small

then

corner

diagram

(Fig.178).

FIG. 178.

are

representedwith

thus the

such large objects,

When

320.

their

indicatingthat they spectatorhas what Hitherto

327.

receding lines and

Fig.

we

which

have were

180

there

which

is not

would

not

is

a

on

a

plane

recedingplane on

the

the

eye,

in

as

ourselves

parallelto the

slanting upwards,

Fig. 179,

bird's-eyeview.

concerned

horizontal, and

vanish

as

lines the

below

is "known

right anglesto

at

receding are

trees,buildings,"c.,

as

of

with

ground plane,

the the the

only

spectator. top of

receding

A

B

c

In D,

lines of which

level of the eye, but

far above

it,

On

Artistic

227

Perspective.

FIG. 179.

FIG. 180.

as

shown

these

by

the

lines would

point. Figs.181

dotted meet

and

lines,E

F.

is called

an

182

are

further

The '

point

accidental

examples.

'

in which

vanishing

Artistic

On

228

The

rough

illustrate this.

sketches In

each

Perspective. and

(Figs. 183 case

184)

recedinglines

the

may

better

formed

by

FIG. 181.

the a

divisions

of

the

vanishing point

because

'coursed'

horizontal

layersor

stones

that

are

felt to be

would

be

buildings have 'courses;'but

retiringtowards

level with

always their the

the stones

eye, in

retiringmarkings

FIG.

,7

183.

230

On

the

on

road, in the

bottom that

the

of the

the lines of infer

we

that

the views

it recedes.

as

road

are

the

Angular

when

objects have in

as

186, where both

the

Fig. 185, it will

be

right and

also in

the

the

term

the

used tator, spec-

as

sides

cube

there FIG.

cases

Fig.

that

seen

left-hand

of

line,

PERSPECTIVE.

angle presented towards

an

because

all these

Oblique Perspectiveis

or

conscious

the horizontal In

the

spectator.

ANGULAR

328.

are

far

about

Fig. 184,

is down-hill. the

case

we

In

retiringbelow

road

to parallel

are

consequently

:

rises

the

evidentlyterminate is in this

line,which

window

road

Perspective.

former, would

horizontal

the

above

Angular

tire, re-

must

185.

be

points towards

vanishing

two

which

the

receding

lines will tend. In

329.

Nature, when to

of

the

drawing objects they are

spectator,it

operation,thus

(1.)First line,as

A

B,

E

F, and

is well

FIG.

186.

oblique to

adopt

a

methodical

mode

:

"

determine

the

length, and

draw

the

front

Fig. 187.

(2.)Determine and

thus

from*

draw

(3.) Ascertain

the them the

distance

of laterally

the

lines

c

D

indefinitely. relative

height of

the

eye above

the

Angular

On

232

cube, and This

that

at

height

line is known

the

as

.Perspective.

draw

H.

line

a

is used

L., and

the

across

paper.

for

placingthe

at

which

vanishing pointson.

(4.)Ascertain and

lines,B

F

with

horizontal

the

a

H.

L.

which thus

B

In

line),and

figurewill

be

this

adopting

little consequence

at

an

method

the side which

the

from

it will away

on

sides

the

points will

be

drawn

to

; and

Nature, it is

from

sides of the

object retire It must

not.

spectatoror

will be

vanishing point

rapidly,whilst

on

the

be near

side which

denly sud-

If the

equally, the tant equallydis-

be

each

on

they meet

further

L.

H.

retire

so

be

must

drawing

the

the

retires

retire

of

whether

equal angle

not

until

them

them

completed.

observed, however, that

does

produce

receding lines

other

of

on

the

junction will give the vanishing points

all the the

angles

retire (by comparing respectively

D,

This

"

accurately the

side of the

spectator. it is desired

Suppose

330. to

representanother FIG.

cube

that which

has

already drawn,

been

F, and

(Fig. 188),bisectingE line,will give the line, as drawn

188.

immediately behind

at

a

diagonal line

continuing to

proportionate distance

K, from

to the left-hand

the

top

of

which

vanishing point,and

of a

the the

from

A

receding next

line must

the second

tical ver-

be cube

On

"will be

completed, in

process may

331.

above

Angular

If and

proportion with

exact

be carried further

the

object

partly below

to any

FIG.

189.

FIG.

190.

be the

233

Perspective.

so

extent,

placed

eye,

as

the first.

we

as

as

to

in

This

Fig. 189.

be

partly

ordinarilysee

buildings (Fig. 190), the receding lines, as

before

in

shown,

234

On

Angular will

Perspective. to

appear

slant

spectivelytowards case

be.

may in

this

several will

the

Fig.

the

in

the

familiar

Figs. 192, 193, in the

various

throughout

that its

Fig.

176.

rules may

be

194,

woodcuts

many in

well

as

of

as

buildings

this work.

object is

an

placed

so

not

are

parallel

below

as

vanishing point, above

the

inclination

is known

in what

meet

accidental

an

they

ground plane (levelground),

will

they

other

in

recedinglines

the

to

when

objects, as

and

When

332.

illustrate

representationof

household

the

as

and

each

on

re*

up

L.,

will

191

shown

as

appear

seen

or

H.

applicationof these

The

or

single cube,

placed

are

down

H.

of

L.,

the

according to

object,as

the

already

referred to in 1 327. From

333.

have

\

the

here

Artistic that

been

when

the

facts

(which

proceed

as

in

with

near

any

his an

be

which

respecting will has

artist

Perspective would

as

made

Perspective,it

certain

with

remarks

in

be

obtained Technical

data),he

sketch

may

easily,and

approximationto

ordinary

seen

truth

circumstances

On

FIG.

Angular

FIG.

192.

FIG.

235

Perspective.

194.

193.

would of

required; whereas, where

be

rules,the perspective

watch

be

Even

of

sure

when

drawn,

in

is

be

must

its proper

complicate

a

these

the

we

in

draughtsman And

representation.

do

of

on

the

the

of

grammar), ready

determine one an

direction of

already drawn.

a

line

mechanism

mind

he

supposed of

they are the human 334.

to

exist

in

and,

sees,

apply to buildingsor

great service

far

so

of the

as

lines these

must

cubes

of

mind

the

alone, for

drawing trees,animals,and

when

figure. It may

be

clearlyunderstood contained

remarked, that when and

in this

put

can

chapter,he

perspectivethat

is necessary

landscapeartist.

These

of various

forms, and

rigidityshould clothed

of

to test the accuracy

or

concerned, delineates accurately. Neither

aids be

(like

application,to

constitute,in fact, part

which

by

necessarily

not

for instant

They always

artist,and intelligent

mental are

the

accurate

auxiliarylines, in the

be

will

rules

obtainingan

they should

paper,

be

to

altogether

not

vanishingpoints,receding lines,"c., may be drawn

he

accuracy.

"these

these

although

then

even

greatlydependent

are

knowledge

the

on constantly

objectshas

of

rules

where

auxiliarylines, the

rules

knowledge

no

place,and

group

simple

and

Fig. 195,

greatly assist

there

anythingapproachingabsolute

which

to

apply,as on

student

get every part in

to

cannot

Perspective.

Angular

On

236

with

is capable.

be

practice the

in

will have to

the

broken,

science and

all the artistic

rather

they

hints

acquiredall

practicalwork

lines,after all,are are

has

student

the

but

than

should

feelingof

which

the

of

a

the skeleton art.

Their

afterwards the

be

student

CHAPTER

ON

of

little service

the

simplest

wearisome

to

of various

of

rulers be

before

seen

he

be

drawn

other

a

compasses,

to

as

without

a

tion, scale, eleva-

these, by the aid

From

data.

Nature,

truly

according

drawing

correct

the the

rules

student

developing

of

mode

of

with

may

have

may

an

important building

here

of

often

also that

in its elementary

science

the

are

erected, and

is

be

labour

of what

presentationsas

architectural

knowledge

idea

some

such

some

object by

an

Perspective, will

in

have

may

cannot

from

is

obtained.

the

is involved

drawing

and

and

measurements

that

in

measurements

and

Nevertheless,

shown,

student

object

plan,

labour

a

by architects,

used

Perspective, as

array

ground

PERSPECTIVE.*

TECHNICAL

TECHNICAL

335.

some

XXXVII.

stages,f And of

the

first terms

illustrated

will

we

in

used

in

Diagram

name,

this 1

explain,

afterwards

and

science, in various

OF

VISION.

CENTRE

GROUND

PLAN.

STATION

POINT.

STATION

LINE,

PICTURE

LINE, OR

LINE,

OR

BASE

GROUND

OR

CONE

*

before

f

In

OF

It must

be

remembered

problems that

this

the

is not

OF

RECTION, DI-

LINE.

RAYS.

POINTS.

student

a

LINE

DISTANCE

VISUAL

VANISHING

SIGHT.

going through these whilst working. him

OF

OR

LINE.

HORIZONTAL

LINE.

ELEVATION. POINT

as

"

PLANE.

PLANE,

works, and

:

GROUND

PICTURE

some

should

treatise

on

place models Perspective. 338

Technical

On

is the

PLANE

GEOUND

THE

Perspective. ground

239

which

on

the

plan

is

placed. PLAN.

GEOUND so

make

to

as

be the

square

be

(Fig. 196)

of

ground plan

FIG.

Fig. 198 when of

203,

or

a

circle

The

on

The

house.

cube,

the

pyramid,

a

viewed

with

(Fig.197)

one

is the

cylinder.

a

ground plan

of three

and angular perspective,

in like

left

manner

into be

197.

cubical

might, by

Figs. 199

or

forms, rules

the

200

;

and

developed into Figs. 202,

204. PLANE

PIOTUEE

picture' "

which

the

of

FIG.

the

clay,

lifted

were

marks

the

196.

might

201

THE

is the the

the

"

'plane

of delineation,'or

plane (whetherof glass,paper,

drawing

quite indefinite as

or

house

a

base, and

square

a

Perspective,be developed

Fig.

on

ground,

spectator.

cone

shows in

seen

a

if

or

ground plan of

is the

soft

some

it,that impressionwould

ground plan

the

the

parallelto

pressed on

foot ;

the

object having

any

side

of the

place on

would

ground

or

its

foot be

impression on

an

ground plan from

away

If the

"

'

or

'projection

in extent,,and

transparent.

.

in

canvas,

is to be made.

working may

'the

"c.) It .is

be considered

FIG.

FIG.

FIG.

198.

199.

200.

FIG.

201.

FIG.

202.

FIG.

203.

Technical

On

242

THE

line

PICTURE

LINE,

forming the the

on

THE

edge

of the

is the

ELEVATION

a

front

cube,

as

of the well

as

POINT

is the

SIGHT

OF

ing rest-

its

object,as

an

A

seen

is the

square

ground plan.

204.

point

the

on

picture plane called

is sometimes

and

Sight Point/

THE

of

Point,

OF

OENTEE

is

which eye

of

spectator.

exactlyoppositethe spectator's eye, '

Line, is the

pictureplane, and

upright view

FIG.

the

Base

or

ground plane.

elevation of

THE

Line,

Ground

or

bottom

in directly

when

Perspective.

is that

exactly opposite to

the or

VISION

spectator

the

"

and

point

the

ray.

the

pictureplane

point of sight

is sometimes

visual principal

on

"

called

i.

the

e.

the

Sight

TecJinical

On

Point

Station

is

centre

of the

visual

LINE,

of the spectator's

is called in various

works

either

Line

'

between

the

It

picture.

of

Direction,'or

Distance

'

spectator'seye

is the

same

the

as

and '

the

principal

ray.'

THE

drawn

the

across

the

THE

If he

spectator's eye.

CONE

Angle

picture,always

; if he be low

high

(imaginary in Nature)

LINE

HORIZONTAL

with

distance

243

of Distance. or

line

the

Line,'

is

Point

or

STATION

THE

simplythe

and picture,

the

from

eye

is

POINT

STATION

THE

Perspective.

of Vision,

view

any

each

side of

angle

objects. It the

only

necessary

is

Line

at

up, then

is but

EAYS--This

the

"

exactly on

high

level

a

the

which

another

we

H.

to

Direction.

This

for

term

GO0, i. e. 30"

on

limitation

representingregular bodies, and

when

L.

comfortably

can

usuallylimited

of

line

a

it is low.

then

down,

VISUAL

OF

be

and

is

is

does

apply to mountains, trees, "c.

not

THE

VANISHING

in which lines

POINTS

all horizontal

oblique

are

to

the

of

array but

Diagram

terms

it will

1, showing

Author

in

showing

the

or

bs a

made

sight

clearer

by

elementary teaching, and in

same

profile,and

receding

line.

first

simple appliance

line

Accidental

in

meet

the horizontal at

may

When

meet.

ground they below

horizontal

the

on

recedinglines

vanishingpoints,above This

points

are

midable, for-

appear reference

used

Diagrams

also laid down

the

by and

2 as

to

3, flat

a

diagram. 336. must

Before urge

the

we

proceed

student

to

to

make

work

the

himself

problems, familiar

we

with

.

O

O

C.

Centre

of

Vltloa Station Una

Ground

of

Plane

DIAGRAM

Station

DIAGRAM

2.

Point

3.

Direction

Point

of

part

every

the

working, larger It

the

will

be

or

the

and

station

and

To

'data

the

'

the

in

made

in

all

the

facilitated.

greatly

be

in

success

scale,

to

In

and

much

other

perspective

ground

the

centre

the

plan, end

(one

of

of

problems horizontal

which

the

is

picture),

the

are

data.

diagrams

shown

are

the

direction

of

the

result

that

line,

the

his

as

given.

ground

form

thereby

be

observed

and

render

diagrams,

should

here

line

point

given,

and

those

picture

line,

will

diagrams

than

Perspective.

three

these

figures

following

these

Technical

On

246

broad

in

and

thin

lines.

;

explanations the

working

simple,

more

lines

in

dotted;

Technical

On

EXPLANATION

HOW

TO

first

Always

receding at

all lines

e.

which

at

will be

is

will

point the

H.

they

the

near

gently,or

c

tre (cen-

(stationpoint) mark

s

left of

and

right

line,

on

These

c.

are

touch to

are

the the

H.

plane away,

from

away

the the

according

L.

of

its

the

the

to

spectator:

vanishing point

if the

of vision ; but

centre

far

vanishing points for

45".

suddenly

nearly parallelto

be

the

line retires

its vanishing s|"ectator, of

centre

vision,yet

on

L.

To

find

the

line at s, then

line forms

with off

set

for any

vanishing point

horizontal

thus

point on

compass

c

angle of

an

line retires

if the

the

points are

lines will

Receding angle

POINTS.

ground line,horizontal

space

distance

The

"

4.

Points.

the Distance

i.

with

line to the

the horizontal

NOTE.

Place

247

VANISHING

AND

the

lay down

vision),and

of

POINTS

of direction.

line

and

DIAGRAM

OF

DISTANCE

FIND

Perspective.

the

G.

set off

L.

the

H.

for various student

diagram

the

lines,A

D

should

L., which

a

angle which

the

the

line

give

the

will

that line.

DIAGRAM In this

it the

on

(ground line); produce

till it meets

vanishingpoint of

line, first draw

B

work

E

means

F, may

each

5.

by

which

be. found

of these

vanishing points are

various

shown, but the lines

separately.

On

Beginning with with

of GO0

the

base line

vanishing point for The

line

line

the

the

(50") to give the

v.

The

the

the

at

it

a

the base

at

L.

It has

is

draw

line

a

the

ground

is the

ishing van-

ground line,

the

at

it to the

be

draw

s

angle

same

L., which

H.

35" with

v.

that

seen

the

at

P.

the

will

to

the

left.

the

ground line, L., at

H.

an

e.

line

F,

being

at

an

ground line, is nearly parallel

distance

evident

the

line to

a

give the

considerable

required

be to the

its

drawing

Of

course

vanishing point

the

from

on

inclines

left,on

already

ground

points in

or

b, which

50" with

It will be observed, that

"

point point will

give the

a

line from

there

of

centre s

is not

room

at

the an

to

this sheet.

on

NOTE.

will

line to the left at 40",

a

H.

angle of

an

10" with

will be

10"

angle of

the

with

draw

extend

will

will

only

picture,as

show

40"

spectator,and, therefore, that

will be

60",and

a.

the

s

line

which

Lastly,it

to

line

is at

E

from

of

left at

from

of the line at d.

p.

angle of 35",

angle

therefore

which

L.,

angle of

an

right,and

line

therefore

s

(G. L. ) ;

angle

an

the line. forms

D

from

therefore

the line

from

point for

H.

angle of

an

it till it meet

produce

The

the

249

form

to

line to the

a

the line at

is at

B

line,therefore and

draw

s

found

line

ground

or

it till it touches

produce

Perspective.

A, it will be

line

horizontal

the

TecJinical

been

line at

the distance

an

if a

to the

angle points.

of 45"

ing vanish-

right, the vanishing

the horizontal

observed, that

line whose

line. lines

have

retiringfrom

their

vanishing

250

On

Technical

Perspective.

DIAGRAM In

the whole

foot, the

to

a

or

station

lines

words,

with

the

to

To

work

side of

the

Picture

Plane.

From

Sight.

To

ft. from will be Point

and

then

intersection a

line

towards

the

to

B), and

then

a

D

parallelto

measure

line or

the

E

from

front

of

draw

a

to

rule

line will

parallel

first of 4

B

4

ft.

measure

ft. further touch

from

the

Point

(D E),

Direction line

of the

direction,

is to

back

laid

just

Centre

or

Distance

off the

be

right angles

line

off 4 ft. from

will cut

the

lines to the

of the

Line

A

touching

at

the

to

which

rule

B

A

draw

perspective.

and

A

the

square

Sight,

(A B),

square

lying on

(G. L. ) ; then

Line

able invari-

an

spectator.

spectator,or

distance

I ; or,

at

of

the

obtain

and

problem, then,

the

Ground

or

ft.

4

side of the

Point

picture,

problem.

of its sides will be

the

the

TJiis is

parallelto

one

left side of the

the Picture

course

if

distance,

spectator, or, in

plane of

of

square

inch

an

of Vision.

the

it in the next

consequently,according

1 ft. to the

off 4

apply

"

of

point

point of sight.

pictureplane, two

picture (c).

for

the

ft. to the left of the

down, will retire

on

the

is the Centre

c

of its sides

one

scale is of

directlyfrom

it is clear that

it, and

to

ft.,and

perspectivea

pictureplane, 1 to the

5

ft.

the

will

in

figuresthe

right angles to

at

we

draw

Now

being

recede

are

law, and

ground,

L.

towards

they vanish

To

these

point (s),10

When other

H.

of

6.

of

mark

(which B

of

tance to Dis-

to the left

(A),

Point

The

2.

required;

complete the

then

square

in

H

OS

"*"v.~

GO

v\ I I

\

\

TecJmical

On

252

Perspective.

DIAGRAM To

in

draw

perspectivea

with

ground,

its

spectator,and

ft.

beyond

of 4

square

side

nearest

1

7.

ft.

ft. to

6

and

the

lying on

the left

of

the

parallelto

the

picture

plane. First the

on

6 ft. to the

measure

line

ground 4

square, lines to

ft.,to the

in -this

picture plane, mark

in the

Point

B

c

at

But

drawing

A,

from

will intersect

Point

ft. in the

1

ft. to the

2, which

square

beyond

A, and

the line

A

the

receding

the

as

picture,or

right of

size of

draw

B

Now

picture c.

mark

the

and and

A

of Direction

Line

the

draw

to

c, at 1 ft.

left of B,

as

will intersect the

picture as before, thus

proving

of the rule. the

as

just

at

ft. to the

1

to Distance

E, 1

as

1 ft. in the

1, which

rule

the accuracy

lines

of the

picture(at D). Or,

at F, and

line

then

is to stand

case

Distance

(G. L.)

B, and

centre

left of the

figure required

drawn

the

also

back

give

the

is

a

the

square,

intersection

retiring for

necessary

line,G H, thus completingthe square

in

as required. perspective

DIAGRAM To one

draw

side

right-angledparallelogramof

a

(4 ft.)being parallelto

plane, its nearest Mark

off

8.

2

side 2 ft. to the ft. to

the

and

touching

right of

right of

ft.

4

the

the

by

the

6

ft.,

picture

spectator.

spectator,on

the

Technical

On

then

and

L.,

0.

B,

and

parallelogram

is

A

from

A,

which

will

from

A

the

and

draw

intersect

the

line

the

line

and

also

of

the

to

the

original

the

Diagram

lines

explained,

In G.

The

L.

in

vanish

as

at

A

front

diagonal the

B

and lines

Distance

explanation.

the

Ground

forming

an

extend

the

rule

draw lines

the Points.

G.

first

for,

as

for

plans, from

the

width

laid

form

an

Point

Vanishing has

for

down to

of

line

diagonal

45"

of

plained ex-

draw

happens its

been

already

been with

the

G.

L.

Points. the

whence

to

the

angle

Distance

:

of

Line,

1,

thus

and

L.,

ground

then,

;

line

diagonal

point,

back

c

to

distance

7 ;

picture

Point

just

their

perspective

this

the

Diagram

the

right

perspective.

simple

very

G.

have

from

1, according as

the

is

6

the

with

in

be

always

and

;

in

that

the

(in perspective)

ft. the

to

the

as

Distance

6

D,

Now ft. to

6

to

represented

of

square

45"

of

angle will

5

at

c

worked

be

find

A

diagrams

centre

square,

line

a

ogram, parallel-

the

c.

mark

long,

253

of

centre,

parallel

E

be

Diagram

3.

B

D

three

The

"

1, 2, and

of

will

parallelogram

ft.

G

width

the

the

to

F,

at

may

A

rule be

draw

NOTE.

for

more

to

as

:

ft.

4

Perspective.

lines to

will L.,

the

be

found

and

then

Diagram

the

of

Centre

to

square of

Vision,

by extending drawing 8

will

not

to

the c.

the either

require

Technical

On

Perspective.

DIAGRAM To

Circle in

representa

It will

be

evident

amenable

are

to find

the

to

the

trace

be

required,which

intersected will

be

then

the Ground the Centre

at

simple.

lines of the Ground thence

from

Vanishing the

line

to

with

horizontal

which

to

Now

DIAGRAM To to

the

represent a right of

the

find

the

First

A, raise

then, at

cube,

of the

Vision, draw

a

c

; at

base

At

each

the

Point

horizontal

B, and

d,

and

the

line- to

by drawing Perspective

from

at A, and

is the

intersection

of

of Vision, c,

give points through

in

square, line

B

erect

/,

Perspective,2

1 ft. in the

from e,

as

diagonal

perspective.

in

perpendicular

a

c,

of

the

of

one

Line,

ft. square

4

from

10.

spectator,and

at

as

Cube

problem

Points, which

will

requiredcircle

of the

and

to

Distance

lines, which

square,

thence

Ground

to

a

will

of

produce

going

which

perpendicularlines

Line, and

to the

of the

lines

the

trace

the

Ground

c.

with

working

for lines at 45". the

draw

The

1.

Plan

one

Point

necessary

ground plan

a

surrounded

Extend

to the

of Vision,

; therefore

be

must

Plan

it will be

points in Perspective through

shown

as

left of

only straight-linedfigures

Perspectiverules,

required circle

to

the

picture.

that, as

of

number

a

9.

2 ft. to Perspective,

2 ft. in the

the spectator and

255

and

i to h.

draw

4

picture. in

as

Diagram

ft. for the to

ft.

the

the

height

Centre

of

from

g

Cube

in

perpendiculars; complete

7 ;

D.P

V.P.

V.P.

G.U

DIAGRAM

O.P

11.

V..P.

V.P.M.P.I.

DIAGRAM

12.

M.P.2.

Technical

On

Perspective.

DIAGRAM Hitherto Parallel

The

also

should

Angular

the

Vanishing

finding

shown

in

it

the

for lines at other

right of

the Ground

the

Line

to the left at

that

Measuring

picture,and

may

Vanishing Point then

set

offon

the Line

Point.

It must

has its

own

the

be

the

a

line

If

Line, it will the

Vanishing

diagram

the

angle of H.

on

a

receding line

be found

follows

as

to the Station

Point

Line

line

75" to

L.),and

the

be remembered

of Direction.

:

that

Measure

"

with

distance

from

the compasses,

the

will

the

and

Vanishing Point

give its Measuring

every is

any

it retires into the

as

from

of Direction,which

side of the Line

which

points by

Measuring Point, which 17

an

has

12.

the

are

the Horizontal

towards

will

It

ansrle of 50".

an

Points

measured

at

any

repeated,

of 45".

will be

(and consequentlyto

DIAGRAM

maybe

Points

shown

for

mind.

the

In this

angle.

spectatoris

Point

the Ground

angle to

preparatory

are

is here

angle

an

the

view.

and

Distance

Vanishing Point, which

own

next

strongly on

that

Points

the

Diagram 5,

more

for all lines at

to the

one

of

slant at any

its

Point

the

shown

Vanishing have

understanding of

impress

been

explanatoryof

and

been

to

as

been

diagram

method

line has

11.

have

diagrams

view ; this

to the clear

so

the

257

Vanishing Point

always on

the opposite

'3'd'lN

Td'IAI

Technical

On

Perspective.

DIAGRAM

To

represent

This

be

may

ground

plan, A

to the 40" at

and

in

Points,

and

cut

by drawing

from

will

base

give the

If, instead Points, 4 ft. rule

the

to

12), the

two

also

raise

and

This

side

Points

the A,

will

they the

give

Vanishing

two

as

2

the

receding

line

which

Vanishing

two

square

in

"

at " and

(found

take

place, and

a

line

(4

perpendicular Points.

At

each

perpendiculars till they

the

/to

1 and

will

the top of these, Cube

problem

quite easy.

of

left from

line

till

them

the

of

(viz.

this

I, and in

as

the

case

then

Diagram Square

in

obtained.

Vanishing

from

Points,

the

horizontal

the

to

and

e

a

which

it

Perspective.

in

from

intersection

erect

the

ruling

with

extend

this

respectively

c

Vanishing Points,

the

to

D

the

(in

make

from

length

Cube

of the

and

B

draw

draw

angle, and

(H. L.), A

/

D

5), and

proper

and

Measuring

same

A

e

desired

angles

From

off the

First,

ways.

angles they

Line

right and

Perspective be At

the

Diagram

measure

we

to the

"

of

the

off these

Points.

Vanishing

two

Extend

L.

Horizontal

the

meet

G.

Set

50").

Angular Perspective.

D, at

c

13.

in

observe

(as shown

s

B

and

L.

G.

done

the

case)touching

in

cube

a

259

meet

ft. ) to g, and of

corner

completed.

should

be

repeated till the

to

square

receding lines,

the

again,by ruling to

will be

the

rule

the

Vanishing

student

finds

it

TecJinical

On

260

Perspective.

14.

DlAGKAM

This

in

himself

prepared

plans

any

or

of

perspective

will

intelligently of

drawings in

him

before

come

may

little

He

and

the

the

and

difficulty have

also

ciating appre-

buildings business

life.

student

through

fit

this.

of

understood

have

will

he

readily

more

and

that

machinery

The

on

for

has

student

executing

and

understanding

illustration

further

a

problems,

previous

the

worked

as

the

if

and

rules,

foregoing

given

is

diagram

this

of

some

a

being.

who

man

little

those

for

has

book

only the

will

safe

highest

and

carefully

gone find

lines

purposes

that

he

of

true

and

has

thoughtfully been

education

business

moving which

of

his

APPENDIX.

A.-ON

THE

We

The

not

whilst

at

really

are.

things

as

lose

shape

they

hence

it

children

We

again

the

things

set

of

book

be

interesting,

otherwise

'

and

image

see

of the

is perfect, and

mind,

careful

habit

have

persons

kind

What in

from

;

of

practising

;

in

and

child

be

these will

not

should

drawing ?

'

draw

them

Let

there

unless

the

do

retina

the

by

grown-up

"

draw

shapes

knowledge the

the

read

appear,

persons

with

that

box.

asked,

them,

they

the

on

is

their

few

by long

decidedly,

answer

to

a

encouraged

around

models

done many

or

be

image

correctly

accurately

a

interfere

sarily neces-

draw

as

is, that

The

be

to

how

cause

retina.

it may

Further,

to

system.

what

learning

remarkable

to

not

child

young

is

difficultythat even

a

it

The

but

Kindergarten

time

is allowed

be

the

on

seeing things

quite

the

affirmative,

the

of

requires

only

sketching

in

letting

appear.

on

the

young

is

shape

but

children

young

power

same

makes

can

the

It

actual

in

purpose

the

Ought

'

'

lessons, except

chief

DEAWING.

asked,

decidedly

set

it may

this

?

answer

by

the

is often

Question to draw

learn

CHILDREN'S

from

systematic

some

should care

be to 263

very

draw

Appendix.

264

them.

In

work

interested,or

harm

be

praised

never

simply

commended

than

false

Ought Most and

in

some

cases

weakens

a

should

child's efforts

a

pair of

drawing

more

the

of

child ; but

a

should

never

is

sketch

a

showing

the

square,

excellent

are

consequence,

of

purpose

lines ?

ruler, a triangleor

hands

until

class

to rule

compasses,

the

be

allowed

flat

nice

instruments

But

only for

to be

put into the

exactness

then

but

tightness,neatness, cleanness,

Nothing

assuredly. A

free-hand

Children

good.

drawings they make,

the

any

children

young

purpose.*

than

done

be

always

injudiciouspraise.

or

to and

for

should

children

will be

for

specialeffort.

kind

this

more

should

or

of

strument in-

neatness

for

this

be

used

is their in

the

completed, and

student

where

he

has failed. Children the

who

have

things about

them

envelopes,or

on

been

encouraged

on

of

scraps

have

slates,seldom

by

any

form *

'

A

neat

a

insides of old

on

in difficulty

perspectiveas

standing under-

is ordinarily

piece of

flat ruler

may

and over a by folding over the last lap. A child should

DIASOOPE.

its

Diascope,'as

merely

to draw

artists.

B.-THE

THE

earlylife

paper,

such perspective,especially used

in

implies,is

name

cardboard be

made

half have

sheet

with of

thin

or

a

in its

simplest

wood,

with

long slipof cardboard,

foolscap paper

inche* marked

on

and

his ruler.

an

or

gumming

Appendix. cut

in

landscape

and

aperture a

size

and

with

a

conceal

of

piece

divided

be

remainder.

a

convenient

five inches

view or

before what

his

sketch.

through inches or

the

from

down,

will

student

of

'

give him

what

lies with

Diascope

him,

till he

is often

him

Let

to

goes

he

him,

part,

be

by five, This

three.

by

any

made

be

may

inches

of

or

opening

by intersectingthreads,

FIG.

a

one

of

parts

pendicula per-

horizontally (Fig. 205).

and

When

best

It may

seven

say

inches

the

at

the

to view

the

cardboard,

opening

an

which

through

proportion,but

larger, with may

it

205

and

has

move

found

the best

'

205.

perplexed

one

held

it to that

material.

look

eye

when

at

the

part

he

of

how

should the

at

from

right the

extensive

an

know

to

him,

before

has

and

Nature,

or

much, take

as

landscape six

to

left, and

landscape

ten up

which

Appendix.

266

0.-PENOIL-IN-HAND

THIS

simple and

proportions -

applyingit It

to do.

Shut

length;

eye and then

to the

eye ; hold

one

end

let the

FIG.

206.

any

point on

required,till

or

of

nearer

or

this

measured

to the

the

the

picture(being most

hand

the

pencil,as

which

it has

the

nothing

the

into, any careful

eye), and

in

thus

the

to

from

measure

;

along the pencil as wish

you

measurement,

arm's

at

207.

fingermove point

Fig. 206,

exactlybetween

wish

objectyou

first

in

pencilcome

FIG.

it reaches

obtained

with, or

objects,with

measuring

misunderstood, by

often

objects is

size of

of

is,therefore,here described.

let the thumb

Having

method

convenient

distant

of

MEASUKEMENT.

it

other

to

can

ascertain

be

now

part

moving

measure

the

of

not its

to

to. pared com-

object

bring the

proportion.

Appendix. In

all

the

measurements

length,and

remembered

be

always reference

pencil should

the

parallel to

only

their size.

Fig.

how

held

be

the

these

arm's

at It

face.

should have

measurements

of

proportions shows

207

of

plane that

the

to

267

the

objects,and is

pencil

not

held

to

when

measuring horizontally.

D.-NOTE

A

teaching had

has

place

as

as

At

farce.

writing be not

is

taught But

right.

a

understood,

more

is one

easy

we

mind

to

to

they

a

conversant

very with

?

If

young

we

as

is

it is

often

much

as

the

alphabet

do

and

visible.

Greek

or

German

application.

;

Wluit

thought

is

conveyed from

six

of

these

place

child, or

English,

Its

properly arranged

in its

which

by

of

a

merely arbitraryand

thought

universal

that

another

to make

as

nor,

extent, this may

of

are

when

not

education.

taught pretty

language

a

read, and

to

before

able

truly

as

in

twenty-six letters ;

has

taught,

very limited

a

Art

teaching

been

language

are

language, but

signs not

is

the

signs by which,

conventional

Art

and,

;

the

constitute

has

it

best

be

factor

a

and

importance is underrated, a

that

subject to

a

with

acquaintance

conviction

treatment

proper

TEACHING.

extensive

the

brought

its proper

rule, its

and

varied,

LONG,

ON

thus

an

"

English

intelligentperson kettle,

or

tea

Appendix.

268

pot,

Instead

lines

two

which

we

case

In

the

belongs

to

them, ought

the

science, educational

thus

that

be

Art

taught

writing is taught as

with

curved,

physical fact

any

which

"

or,

to

scarcely any

lines,and

two

be

taught

with

black

claim

we

these to

in

board

a or

like

that

the

all

that

practical

other or

trations, illus-

other

any

thoroughly incorporated in

be

aspects : first,the should

has

our

system.

It is true

as

straightand

Geography, Mechanics,

as

same

and

once.

Art, then,

governs

day by day,

manner,

two

of

teaching which

grammar

will

expressed. satisfactorily

be

can

utterly

sketch

possible

without accurately,

more

physicalfact

almost

express

may

state the

the

fundamental,

as

at

be

twenty-six arbitrarysigns,Art

these

of

mind

will

they

"

roughest

to the

idea

correct

a

cup

the

whilst

meaningless ; convey

them,

-of

three

or

;

and

"

the

teaching of it, also

commonplace, in

all

or

to

one,

has

such

schools, just as

regularly as

emotional

aspect,such

and, second, the

appliesto higher Art

utilitarian

"

pictures.

Appendix. In

this

utilitarian

to flat

the

from

hand

and much

of

more

to artisans

be

itself in

the

that

able

yet

works

and

it is

these

says:* the at are

"

largelyin in

seen

the

present day is

the

by

pressure all

the

Although

afternoon.'

he

examinations. the

the

of

schools.

In

all.

and

few

of

is

These

also,and

view

the

of

quences conse-

with

agree

desolation

here

.

.

of

They

.

stupid

all its

education Art

specialforce

to

examinations

have

in

FortnightlyReview, January

honesty we

1878.

of

work

people to

young

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MANUAL FOR

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