CHAMBERS'S INFORMATION FOR THE PEOPLE. 



for example, suppose a ground-plan drawn within 

 the square in fig. 19, it could be very readily drawn 

 within the perspective square in fig. 20. In the 



Fig. 20. 



drawing of bridges, much annoyance is frequently 

 experienced by beginners, and espe- 

 cially when the arches are varied in 

 size, as they commonly are. By this 

 operation, however, any inconvenience 

 incurred by the other methods is 

 avoided, because, although the arches 

 may vary in size, by lotting them in 

 the same proportion with the original 

 drawing, as fig. 19, the mode of work- 

 ing in each case is the same ; but 

 in all the ordinary methods, every 

 variation in the size of the arches 

 entails a fresh operation. 



Besides varying in size, arches very 

 frequently vary in form. Some are 

 pointed, others are elliptical ; but by 

 simply drawing the form geometri- 

 cally on a separate piece of paper, 

 and lotting it and the perspective 

 space in the same manner, they are as 

 easily represented as the ordinary circle. 



To place the various Figures introduced into a 

 Landscape in Perspective. One should be drawn 

 first, as at A, fig. 21 ; and by drawing lines from 



various distances. Thus the figure on the height 

 at C, and that on the declivity at B, have each 

 their height given according to the scale. 



SKETCHING FROM NATURE. 



The first studies should be as simple as possible : 

 an old cottage, a picturesque field-gate, a bridge 

 or such like, may be chosen ; and in selecting the 

 point of view, secure the greatest amount of variety 

 in point of character and line. A direct front view 

 should be avoided if possible, and one at an angle 

 selected in preference ; for example, in sketching 

 objects such as those indicated in fig. 22, points 

 of view should be taken so that they present a 

 perspective appearance, as b and </, in preference 

 to a and c, which, it will be observed, look stiff 

 and formal. The materials used are the same as 

 those in copying, with the addition of a sketching- 

 stool, and a portfolio or sketch-book. 



In order to imitate the perspective effects of the 

 lines correctly, great care is necessary, as the eye 

 is very apt to be deceived : the best way is to hold 

 the sketch-book horizontally, with its upper edge 

 between the eye and the lower extremity of the 

 line to be copied, to note the amount of relative 

 slope, and render it accordingly. The first 





Fig. 21. 



his head and feet to any point in the horizontal 

 line, we obtain a scale of proportions for the 



Fig. 22. 



attempts should be nearly in outline, and the 

 most striking characteristics and leading features 

 only are to be attempted, leaving more complete 

 finish to a subsequent period, when it may be done 

 with the brush. Too much care cannot be taken 

 to give truth. All essays at bold drawing or style 

 should be avoided ; for it will be found that it is 

 only by a long course of careful study that real 

 dexterity can be attained. As experience is gained, 

 the pupil acquires confidence, and puts the proper 

 touches in the right places, so as to bring out the 

 effect, and express the characteristic features with 

 less amount of labour. 



In the management of extended views, the first 

 point is to fix on the particular portion of the 

 scene to be contained in the sketch : a good 

 method of doing this is to cut an aperture in a 

 piece of card-board, two or three inches long, of 

 the same proportions as the sketch-book ; then 

 looking at the scene through this, and selecting a 

 pleasing combination of objects those occurring 

 at the extremities should be noted, as well as 

 those situated exactly in the centre : the sketch 



