DRAWING. 



117 



i "tactical a I into two equal parts at e, as required. On the line 

 Drawing.^ /' c on whatever height, as at /, A- or /, the place of the 

 x """ "Y""'' apex of the pediment will be marked, and the lines i a, 

 i b, ka, h b, or / a, I b, will be drawn according to the 

 height required. 



Fig.JS. is a pyramid : The principles on which this is 

 drawn are applicable to the spire of a church, the roof 

 of a house, and the like. The lines at the angles a, b, c, d, 

 which form its base, being drawn in order to find the 

 point on the ground over which its apex is to stand, 

 diagonal lines a c, b d will be drawn ; their intersection 

 at e will give the point required, from which the line 

 e/will be drawn of any length, and the point aty will 

 be marked according to its height ; the lines fa,J b,fc, 

 will then be drawn, which complete the figure. 



Fig. 4. is a range of windows. The horizontal lines 

 a, a, a, a, are drawn, as in the Plate, parallel to the 

 ground line. When the objects are seen in perspective, 

 instead of lying parallel to the ground line, they will 

 meet in the vanishing point. One of these lines will be 

 divided with points, according to the place and number 

 of the windows required; from these points vertical lines 

 bb bb, bb bb, will be drawn, the intersection of which, 

 with the lines a, a, a, a, will give the objects required. 



Fig. 5. is a tiled roof. The long lines a, a, a, paral- 

 lel to the inclination of the roof, are drawn at their pro- 

 per distances. The horizonal lines b, b, b, will follow 

 next, which are at first made perfectly straight, and the 

 sharpness of the angles which are produced by their 

 intersection, will be taken off by the curve Jines c, c, c. 



Fig. 6. represents the same object as seen on the fore 

 ground ; the parts are here more minutely detailed. 

 Fig. 8. is a balustrade. The small parts of the baluster, 

 which are represented in the Plate, Fig. 7, are not visi- 

 ble at a distance. The horizontal lines a, b, c, d, e,f, 

 the space being divided according to the number of the 

 balusters, and the vertical lines g, g,g, will be drawn of 

 their proper length, bounded by the lines b and c. The 

 swell of the lower part \\ ill be marked within the lines c 

 and d, keeping them all of the same degree of curvature 

 in order to preserve due uniformity, and the lines will be 

 strengthened on one side to a greater depth, according 

 to the direction of the light. Fig. 9. represents the 

 same object, as seen at a still greater distance. Fewer of 

 the small parts are visible than in the preceding Figure. 

 Fig. 10. represents the radiation of the stones that com- 

 pose an arch. The lines of the stones, of whatever breadth 

 they may be, all converge towards the centre of the circle 

 a. Fig. 1 1 . shews the error that will be committed by not 

 attending to this rule. Figs. 12, 13, and 14-, represent 

 the appearance of trees at different distances : the 

 first tree at a great distance, almost round, none of the 

 small masses being visible. Fig. 13. a tree nearer the 

 eye ; the lesser divisions are apparent in some degree. 

 Fig. 14. a tree on the foreground. The minutiae of the 

 foliage are here detailed as well as the branches, and 

 the character of the bark is visible. Fig. 15. illustrates 

 what has been said of the outline and shading of a per- 

 pendicular wall, the latter of which is pel-formed by 

 perpendicular lines, and occasionally crossed by hori- 

 zontal ones ; and the joining of the perpendicular lines 

 already mentioned, give a certain degree of roughness to 

 the appearance of the surface of the wall, which is -well 

 calculated to express the character of a ruin. Fig. 16. 

 objects lying in an inclined direction ; the lines of the 

 shading are likewise inclined. Fig. 17. a sphere in the 

 shading of this, if the lines take a curve direction ; if 

 they were drawn straight, they would express little more 

 than the appearance of a flat surface of a circular form. 



Fig. 1 8. is an example of the method of shading objects;, Practical 



the surfaces of which are not so regular, the sky, trees, 



hills, c. The lines are here zig-zag, their distances 



are kept equal, and they may be crossed to increase the CC xxxv I. 



depth of the shadows. p;,,. jg. 



The student, will derive much advantage in this 

 point, from the examination of etchings of the Italian 

 and Dutch landscape painters, such as Claude Lorraine, 

 Canaletti, Du Jardin, Rembrandt, Both, Ruysdael, and 

 others, which will conduct him on the right path ; and 

 will sufficiently warn him to avoid the low, vague, ami 

 unscientific style of Moreland, and his followers, the 

 makers of drawing books, who have been long so suc- 

 cessful in corrupting the taste of the amateurs of land- 

 scape. 



In drawing with Indian ink, bistre, or any other si- In Indian 

 milar colour, always presupposing a correct and well ' n k> 

 defined outline, the large shadows will be laid in first, &c> 

 making out the general effect or chiar' oscuro of the 

 whole ; the shadows of the smaller objects will follow ; 

 and the finishing touches will be given to each part, 

 according to the strength of colour and style of hand- 

 ling, which the situation and character of each may re- 

 quire. In laying a large shade, there is considerable 

 difficulty to the beginner, in keeping it smooth and free 

 from those marks and stains, which arise from stopping 

 in the middle of the operation, or working with too 

 small a quantity of colour in the pencil, and thereby 

 allowing the edge of it to get dry before it be finished : 

 this may be avoided by beginning at the left side 

 of the part to be wrought upon, going regularly on with 

 a full pencil, and leaving no part so long as to give it 

 time to dry at the edge. The pencil should be of a size 

 proportioned to the space to be covered ; and the shade 

 should be laid on as smooth and equal as possible, with- 

 out leaving any more of the tint than is sufficient to 

 cover it. This ought to be particularly attended to in 

 skies, where .any defect of this sort is so conspicuous 

 and irremediable. 



In sketching from nature, the most essential requi- 

 quisites of which are characteristic, spirited, and cor- 

 rect delineation, and a slight but expressive mode of 

 shading, the outline is often done with a pen, and tin's, 

 either with Indian ink, or a brown colour: this last, 

 when the shading is done with Indian ink, gives a fine 

 rich effect to the sketch. A solution in oil of turpen- 

 tine, of the bitumen called asphaltum, is sometimes 

 used in this way ; and in those subjects where bold- 

 ness and freedom, rather than minuteness of de- 

 tail, are required, such as large trees, rocks, &c. 

 it has a fine effect. The paper should be rather of 

 a rough and absorbent quality, such as the finer sort 

 of cartridge paper, as it prevents blotting, to which this 

 solution has a great tendency : it should be kept in a 

 phial, and the pen dipt in it when wanted. 



The tinted paper already mentioned, is very useful ill 

 slighter works, whether sketches from nature, or those 

 studies for the composition or effect of larger pictures; 

 as the chiar' oscuro may be made out, with great ease 

 and rapidity, cither with black chalk or Indian ink, 

 and the lights put in with white chalk, or with perma- 

 nent white, put on with a hair pencil. This is the oxide 

 of zinc, ground in the usual way, and mixed with the 

 mucilage of gum arable : it is sold in the shops in cakes, 

 and is infinitely preferable to white lead, or flake white, 

 which, from their tendency to return to the metallic 

 state, and to become black, are totally unfit for use in 

 drawing in water colours. In this way, those brilliant 

 and transitory effects of sunshine, which are so striking 



