114 



DRAWING. 



T) ran in:; in 

 Indian ink. 



Practical The outline being carefully made out in black chalk, 

 a ' ittle of *' scrapings of the chalk should Ix.- i : 

 over a " tne shadows with n stump ; nn instrument nincle 

 tibck duJk. of ctiamois >lled up tightly jn a cylindrical form, 



and cut nt both ends to a point. ' This performs the 

 Operation with great smoothness, and makes nn excellent 

 ground for the finishing, which is done by working up the 

 shades to the requisite depth with the point of the chalk. 



The lights must be put on with white chalk, and 

 blended carefully into the middle tint, (the colour of the 

 paper,) by a stump kept for the purpose ; nnd the great- 

 est care must be taken to keep the black nnd white chalk 

 from coming into contact, as their meeting will produce 

 a disagreeable and unharmonious colour. 



In drawing on white paper, the outline should be 

 made out with the chalk, and the shadows rubbed in 

 with a stump, and wrought up to the proper depth, as 

 already mentioned, till the shadow be sufficiently smooth. 

 Any errors in either the outline or finishing may be cor- 

 rected by rubbing them out with the crumb of a new 

 loaf, squeezed together into a convenient shnpe. This me- 

 thod is much more tedious and difficult than when it is 

 performed on tinted paper, as it requires infinite labour 

 to give sufficient smoothness and delicacy to the sur- 

 face. Sometimes a middle tint is formed by the scra- 

 pings of chalk laid on with the stump over the whole pa- 

 per, and the lights taken out entirely with the bread. 

 This method, when well executed, has a beautiful effect ; 

 but the time and practice necessary to do it well, render 

 it totally unfit for an unexperienced hand. 



In drawing in Indian ink, the ontline should be made 

 out with black lead, which in tins case is preferable to 

 chalk. The great masses of shadow must be laid in first, 

 and, beginning with the tints much lighter than is want- 

 ed, smoothing them in with a wet hair pencil, and re- 

 peating the process till the shades be brought up to their 

 proper depth ; taking care that each shade be perfectly 

 dry before another is put over it. 



For slighter sketches, where boldness and freedom of 

 outline are principally aimed at, as in studies for the com- 

 position of larger works, a pen was much employed for 

 the outline by the old masters, particularly by those of 

 the Italian schools, and slightly shaded with the hair 

 pencil, with bistre, sepia, or the like. The drawings in 

 this way of Leonardo da Vinci, M. Angelo, Raffacllc, 

 the Carracci, Parmeggiane, and others, are deservedly 

 much esteemed, and frequently sell at very high prices. 

 Of all these methods which we have mentioned, that 

 which we would particularly recommend, as combining 

 utility and expedition, is that of the black and white 

 chalk upon tinted paper. The tint of the paper should 

 be light, that the black chalk may be seen distinctly up- 

 on it, and, in order to avoid the coldness and harshness 

 which paper of a dark shade always gives to light put in 

 with white chalk, or any similar substance. In making 

 any correction, a piece of new bread is preferable to In- 

 dian rubber; and if any greasincss appear by the too 

 frequent use of the bread, so as to prevent the paper 

 from receiving the chalk readily, warming the paper ut 

 the fire will in a great measure remove it. 



The student should at first occupy himself for some time 

 in copying from draw and \vhcn he has acqui- 



red, in sonic- degree, the management of his materials, and 

 a knowledge of the method of expressing himself, he will 

 do well to begin to draw from good casts from the an- 

 tique, and after that to go to nature; but in thin 

 f his progress, he will go little way without the assistance 



of anatomy, the use and necessity of which we have al- 

 most anxiously inculcated in the preceding article. 



In the management of light and shadow, whet! 

 applied to the human figure, or to any other sir 

 there is perhaps no one circumstance so conducive both 

 to tiuth and Inrauty of representation, ! th of 



effect." In the language of art, breadth is opposed to 

 wh.it is called spottiness. Breadth implies, that the 

 lights and shades be arranged in large and broad masses. 

 The separation of the lights and shades into many small 

 parts, leads to the unpleasing effect of spottiness. Both 

 of these appearances are often exhibited in nature. But 

 in every instance, the one is delightful, the other is 

 teazing to the sense ; the former is essential to beauty 

 nnd grandeur, the latter, unavoidably, is product; 

 littleness. Its great principles will be more fully treated 

 of under the head Cliiar osmro, (.see PAINTING ;) but we 

 shall, in a summary way, take notice here of as much as 

 is connected with the drawing of single figures. 



In looking at a statue or plaster cast, with the light 

 coming on it from one point, the delicate and almost 

 imperceptible transition fiom light to dark are very ob- 

 vious; every feature has the most complete relief, even 

 on those parts where the shadow is most delica; 

 well as on the dark side of the figure, while the shadows 

 on the different parts of the dark side are sufficiently dis- 

 tinct without harshness ; and throughout the whole, no- 

 thing obtrudes itself to the eye to interrupt the general 

 roundness and repose, or, as it is called in technical lan- 

 guage, to cut it tip. These delicate inflexions and grada- 

 tions of shadow, on the light pa its of the face and body, 

 which in reality are little removed from the brightness 

 of clear light, being so well defined in the model, arc 

 apt to be mistaken by the inexperienced student, and 

 to be made so dark as to leave him no power of gi- 

 ving, with his chalk, the necessary depth of shadow, 

 and consequently roundness to the whole; he must 

 therefore attentively consider the effect of contrast, and 

 endeavour to distinguish what is in itself light or dark, 

 from what may appear so from its being placed near to 

 tints of an opposite character: in this he will derive 

 much assistance from looking frequently at his model 

 with his eyes half shut, or through a Claude Lorraine 

 glass, (a lens of a very dark colour,) or even a piece of 

 window-glass, blackened with the smoke of a candle, as 

 he will by this means lose sight of the particular forms 

 of the more minute parts, and he will see only the great 

 masses of light and shade, and thus he will more accu- 

 rately discriminate between what is light, middle tint, or 

 pure shadow, the right management of which constitutes 

 so great a source of beauty in the human figure, which, 

 from the rotundity of its form, displays so fine an illus- 

 tration of this principle. The judicious introduction of 

 the reflected light, affords the ff~ 'stance in 



giving accuracy and distinctness to the details of those 

 parts of the figure which are in shade, and likewise in 

 the requisite roundness nnd delicacy. These re- 

 flections me always to be seen in nature to a certain ex- 

 tent; but when they do not appear with sufficient strength, 

 they may be assisted by setting up a sheet of whr 

 per, or the like, at such a height and distance from the. 

 model as mnv be best suited to the effect rcouiicd. 



In drawing from nature, or from the plaster cast, the Toulon of 

 model should in general be placed, with regard to the* 1 " 

 light, in such a situation, that at least two-thirds of the 

 figure be illuminated; and when the light comes in from 

 above, it has a still better effect: but this position of the 



