-ONS IN DB 



ml ry, the young lenrn to 



ohfldrei '>IH, th language would be every* 



where well and irniiiiiniitiejilly spoken. Consequently, c 

 plaoo our Ktud. i.t in cultivated nnn-crir 

 and writo their mother th correctness and p 



We arc :i.-i-ompli-ih HUH. We cannot place tl. 



of tin' working classes in cultivated nurseries, but wo raa> 

 to do the next boat thing ; un<l that is to bring forth and net 

 ; II.MII, in a living ami organic form, the Hpokon language of 

 such iiiir-'-ri.- . And thin shall wo undertake, the rather because, 

 IIH tin- in '!''! is tii,- chilli's natural educator, or, to speak more 

 correctly, as tho mother is an educator of God's own appoint- 



"t" odin-ation will bo good and 

 in proportion us it is in form, substance, and spirit, motherly. 



\Ye muM add that we write for tho English student. Wo write 

 nl<.> fin- the uiu -dm -at.-il and for tho young. Having those facts 

 >ur inin<l, wo shall study plainness and simplicity. Yet 

 do wo hopo to bo able to write in such a manner that scholars 

 may not disdain to cast an eyo on these pages. However th:it 

 may bo, wo shall make it our first object and our last BO to 

 our thoughts as to bo fully understood, if not also 

 readily followed, by tho now largo and meritorious class who 

 are endeavouring to educate themselves. To labour for these 

 is a very great picture. Wo ask for their confidence, and will 

 endeavour to reward their attention. 



LESSONS IN DRAWING. I. 



INTRODUCTION. 



" TVP enter upon tho subject of drawing, anil how to 

 draw, it will bo of great service to some of our read- 

 may make up their minds to practise from our instructions, 

 I-) give some, little advice respecting tho materials necessary 

 f'>r their use. First, the paper: the best and cheapest kind is 



'led "drawing cartridge," the imperial size is tho most 

 convenient, which when cut up into quarto, or four portions, 

 will afl'ord nufliHent room for the subjects we intend to place 

 before our pupils. Drawing books made of this paper, as 

 well as the paper itself, with pencils, drawing boards, and 

 other drawing mat. -rials, can be obtained from the publishers. 

 Tho next and most important of all the materials are tho 

 pencils: tar freehand drawing that is, drawing without the use 

 of instruments we recommend HB, B, and BB. Tho B pencil is 

 first used for marking in tho general proportions and character 

 of tho subject ; this pencil must be used lightly, then the errors 

 may bo very easily effaced without disturbing the surface of the 

 paper ; and what is equally important is, that after the whole 

 subject is arranged the drawing may be reduced in tone that is, 

 made lighter to receive the finished outline to be done with the 

 ii n, which makes a cleaner and more definite line than the B. 

 The B may also be used for shading, especially the broad or flat 

 fanM of shade: the BB is the finishing pencil for tho extreme 

 depth of tone in the darkest parts. For plan and geometrical 

 drawing, an IIH p< ncil is the most suitable. To careful that the 

 pencil is cut evenly with a sharp knife, not hacked or jagged as 

 in Fig. 1. Fig. 2 represents the most suitable form of point. 

 You must have a deal drawing board, half-inch or three-quarters 

 thick, according to size, upon which the paper is to be laid and 

 pinned down with flat-headed drawing pins. For highly-finished 

 and important drawings it would be better to fix the paper in 

 the following manner : Wot both sides with a sponge, being 

 particular that the paper is not rubbed, wetted only -, turn tho 

 up all round about three-quarters of an inch broad, and 

 paste tho under-side ; wait a n'.hmte or two until the paper has 

 pulHeiently e\p:mded (which is caused by tho wetting), then, 

 having placed it evenly on the board, turn tho pasted edges 

 down and press them close to the board, under a cloth or piece 

 of waste paper ; once more wet tho paper gently all ov : 

 the pasted edges, and lay tho board down flat, somewhere, to dry ; 

 the pasted edges must dry first, or the paper will fly up, 

 because as it dries it will contract. If the pupil is able to fix 

 his paper successfully, he will see for himself the adv:i- 

 having a firm and smooth surface to work upon. The most 

 convenient size of board is twenty-throe inches by sixteen 

 inches this will take half of an imperial sheet of paper, very 

 useful for plan drawing and working plans ; theee, with a piooe 

 of india-rubber, will be quite sufficient to start with. ThuB, 



led onnelYM with implcxncnta, we will proceed to 



Opclj our i-lii.jc.-t. 



vo that tho art of drawing can only be acquired by a 

 favoured few viz., by those who are supposed to posses* a power 

 but Hparingly bestowed amongst mankind in general. 

 . LT or gift is by them called genius, and they would 

 almost deem it an act of presumption to undertake tho practice 

 of tho art unless they were previously assured that they possessed 

 t , or power, or genius, or whatever else it may be termed. 

 Thoro are many who, after making a few attempts towards 

 acquiring the power of drawing, .-. in <l excuse titan- 



solves from further efforts by saying, " Oh, I have no get 

 this ; I must be born with the talent, or I cannot succeed." Such 

 a mistake is very common ; there will bo scarcely a reader of 

 this who could not furnish one or more cases in proof of the 

 statement. That genius is not absolutely necessary, we know 

 from undeniable evidence ; there are and have been t^^ntairin 

 of men who have proved themselves to be able draughtsmen, 

 adding to tho list of our Raphaels and Turners ; and 

 there are very fow indeed, considering the number who exercise 

 tho art, and whose success in drawing we must acknowledge to 

 bo very great, who can rank as first-rate artists. Knowing, 

 then, this to bo the case, wo relinquish all attempts to create 

 genius, and confine ourselves, by simple, practical instructions, 

 to open a way by which any one who has the courage to 

 persevere may acquire the power of drawing from natural or 

 artificial objects, and enable* him to represent his ideas in a way 

 of which no other art is capable. For purely mechanical draw- 

 ing that is, tho exact representation of the forms of objects, be 

 they animals, trues, machinery, or anything else no extraordinary 

 genius beyond an earnest desire is required. Only let the pupil 

 commence and proceed with a determination that nothing shall 

 daunt him, to follow out certain leading principles, which having 

 mastered, ho will then discover that the application of these 

 principles will render tho art not so difficult as he at first 

 imagined. Nevertheless, it is one thing to be able to draw a 

 simple object, or a combination of these objects, and it is quite 

 another thing to expect that having acquired this power it must, 

 without fail, result in producing a talent for tho higher qualifi- 

 cations of tho artist. No ; a great deal may be done towards 

 gaining a full mastery of the principles of drawing applicable to 

 a faithful transcript of any object whatever, before arriving at 

 the stage which introduces us to that exalted position where* 

 genius is necessary for the full development of the poetic, or 

 more elevated results of the artistic mind. In order, therefore, 

 to enable a student to overcome the difficulties of drawing, ho 

 undoubtedly must be fully prepared and determined to attack 

 every impediment ho may meet in his progress ; and for any 

 one who is earnest in his work there is this encouraging thought, 

 that if ho meets with a succession of difficulties, and manages by 

 perseverance to surmount them all one after the other, he must 

 be making sure progress, whereas if none present themselves he 

 may be assured he is standing still. 



Our purpose in these lessons on drawing is first to enlarge 

 upon tho leading principles, and, taking these for the ground- 

 work, we intend to apply them to all subjects, whether they be 

 still-life (or objects), figure, or landscape drawing. 



It is important to mention that, to draw a line successfully, 

 much depends upon the position of tho body, the hand, and tho 

 arm. Tho pupil must sit as uprightly as ho can, having tho copy 

 and tho paper he is drawing upon in a direct line before him ; he 

 must bo able to see both his copy and his own drawing without 

 having to raise or lower his head ; ho has no need to stoop over 

 his work it is bad for his health, and bad for his picture. W* 

 do not sit in the same position to draw as wo do to write. The 

 pencil is not subject to the same rules as a pen ; it must be so 

 iield that if dropped from the hand wliilst in tho act of drawing 

 the line, it would fall on the paper at a right angle with tho 

 line. For instance, to represent a perpendicular lino (see a to 6, 

 Fig. 1), tho pencil nwist bo held as shown in tho cngravii 

 horizontal position is represented, as in Fig. 2 ; if an inclined line, 

 as in Figs. 3 and 4. By attending to this rule wo have such a 

 command of the pencil tliat without moving tho wrist we can reach 

 cither end of tho lino, or that portion of the line we wi-h to draw, 

 without any danger of its l>eing directed out of 



-. 't-obably, will have noticed that there are but 

 two kinds of linos to draw by which all objects whatsoever are 

 represented viz., straight lines and curved lines. It is the 



