DRAWING. 





may then be proceeded with. A still further 

 assistance may be obtained by holding the sketch- 

 book with its upper edge between the eye and 

 certain parts of the landscape, taking care that it 

 completely extends between the extremities of the 

 portion to be sketched ; then, by making dots all 

 along the edge at the various distances where the 

 objects occur, these may be made use of in placing 

 them properly in their relative positions in the 

 drawing. The horizon is artificially divided into 

 360 degrees ; and in sketching, the amount in- 

 closed may range from 45 to 60 or 70 degrees. If 

 more is attempted to be taken in, the perspective 

 at the sides is apt to appear too strong, amounting 

 to distortion. When the subject is architectural, 

 this is of still greater importance, as the distortion 

 is more evident. If much is wished to be inclosed, 

 it is better to take a more distant point of view. 



After having decided on the point of view, and 

 on the portion to be sketched, the whole should be 

 lightly sketched in, without entering into detail, 

 beginning with the leading lines which occur in 

 the scene. These should be carefully compared 

 with the original, before attempting anything 

 further, as any error in this respect involves great 

 confusion in putting in the details afterwards. 

 Much will occur, in sketching from nature, that 

 has not been experienced or thought of in imitat- 

 ing drawings ; every scene has some new pecu- 

 liarity. The variety of buildings, of vegetation, of 

 hill-formation, of ground, of water and sky, is end- 

 less ; but if previous experience is brought to bear 

 in noting and copying these, it will be found not 

 so impracticable as at first sight might appear. 



ARRANGEMENT OR COMPOSITION. 



There are certain general principles existing in 

 all good works of art, which are necessary to their 

 being so. It might be thought that this would be 

 something superfluous that any scene in nature, 

 if transferred, would give equal pleasure. Now 

 we have such transferred pictures in ordinary 

 photographs ; but it will be found that few give 

 that satisfaction which would be expected ; and 

 when they do, they are careful selections from 

 nature, reflecting credit on the taste of the pho- 

 tographer. Whether in nature or in art, certain 

 laws of form, of colour, of light and shade, are 

 essential to our deriving satisfaction from the 

 scene. Variety is one of the first of these ; every- 

 thing that is formal or repeated becomes distaste- 



^;4f . 



Fig. 23. 



ful. A simple rustic paling, rudely made, with 

 gaps and interruptions of bits of hedge, is more 

 pleasing than one of the most perfect construction. 



An old cottage, rough and picturesque, gives a 

 certain satisfaction, which no new building ever 

 does. The winding, rutted footpath is more 

 pleasing than the finest portion of a perfect road. 

 And in works of art, this has particularly to be 

 attended to. A little sameness may occur in 

 nature, without creating any dissatisfied feeling, 

 because, by a change of scene, the defect may be 

 immediately remedied ; but a work of art is a 

 deliberate matter of choice, from which there is 

 no such means of escape ; everything, therefore, 

 should be carefully studied. 



The principal object should never be placed in 

 the centre of the picture, as in fig. 23, but rather 

 a little to one side, as in fig. 24. The sides of the 



Fig. 24. 



picture should also be different from each other, 

 all repetition being offensive. Fig. 25, as con- 

 trasted with fig. 26, will make this very evident. 



Fig. 25. 



The horizontal character of the distance should 

 not be repeated in the foreground, and vice versd, 

 as shewn in the preceding illustrations. Figures 



Fig. 26. 



introduced should also be kept away from the 

 centre, and from below any prominent objects in 

 a direct line above ; thus, those in fig. 25 are 



649 



