LESSONS IN DEAW1NO. 



angle or remarkable change which a line tokos in it ourra- 



IVrlmjiH uftiT tliiM r.'inark jt will bo better to leave the 

 imjiil to liimMolf whilst copying this subject, aa by thin timo 

 t bo. we hopo, able to anticipate much that would be only 

 a repetition of tin- principli-s already laid down. 



.-ivii a vuw leaf a* a further illustration of thin 



:iif a drawing that in, marking in its charac- 



* and angles. (See Figs. 18 and 19). 1'V is in tin; 



; rt uf the work, which must be carried out a* follows; 



C'ommriu'o ut muno important and loading feature of the object, 



o centre, at a; mark in 6; observe the inclination of 



a to b; join a b; mark in c; also observe the distance of c 



from b ; join a e. The line a d e will bo found not a direct 



line, il is the point where it varies; mark d first and e next ; 



. a f g is a similar lino ; also ah i. These are 



the ^rt'iit and loading characteristic linos and points, which 



it \\ould bo advisable to mark in the order wo have written 



direct lines and curves, advuing the pupil not to ahade his 

 drawings for the present, until he ha* gained ?% < *tBt con- 

 fidence in outline. 



The value and importance of a correct and ready method of 

 drawing the simple forms of object* cannot be over-estimated. 

 He who is master of thin enviable power can apply it to any 

 branch of art he pleases. The greatest impediment to the 

 progress of many a pupil in most likely to arise from his im- 

 j):it i.-nt desire to arrive, without a moment's delay, at the power 

 of making a drawing. Irregular and misdirected effort* in 

 copying drawings of cottages and stumps of tree* appear to be 

 a much more pleasant task than the performance of iiiiiuilsM 

 so arranged as to lead the student from the knowledge of -one 

 principle to an acquaintance with another; nevertheleea, the 

 latter is essential to him who wishes to be master of drawing. 

 The training of the hand and the eye which such exercise* are 

 calculated to impart, will make the copying of a large number 



them. The secondary parts are t k c, t m n, o p g. The 

 points r and s, t and u, must be arranged with an eye to c, 

 b, and e. These are the minor divisions, all of which must be 

 respectively joined together by straight lines, or in some special 

 cases by a curve, as from r to t, or v to e. Partially rub out the 

 arrangement that is, "faint it," and then draw the finished 

 outline as in Fig. 19, which may be, in the detail, further 

 "marked in," aa the points 1, 2, 3, 4, 5, etc. Let the student 

 compare both figures as he proceeds. 



As the above instructions apply to all flat objects, whether com- 

 posed of straight or curved lines, we again urge most earnestly 

 the strict observance of this practice, as so much depends upon 

 it for the understanding and successfully carrying out of all that 

 we shall have to advance hereafter in these lessons. 



We have added in Figs. 16 and 17, and some smaller copies 

 in outline (which are without numbers, as there is no necessity 

 to make any special reference to them in our remarks), a few 

 examples for practice, of subjects in the fiat, composed of 



of simple figures as easy as it ia to make alphabetical character* 

 by the conjunction of " straight strokes, pot-hooks, and hangers." 

 The simple figures wo are setting before the learner in these 

 early lessons constitute in fact the alphabet of drawing, and 

 with these, if he would make himself a sound draughtsman, 

 he must become well acquainted ; for just as the combination 

 of letters, syllables, and words, forms in the printer's hands 

 either a poem or an auctioneer's catalogue, so doe* the appli- 

 cation of the elements of linear drawing constitute, in the 

 hands of the artist, an historical picture, a portrait, a landscape, 

 a design for an ornamental framework, or the plan and elevation 

 of a building. 



Unacquainted with these elements, how much industry, and 

 even talent, has many a youth thrown away ! Let us take an 

 instance of such a youth. Ho make* his earliest essays, it may 

 be, at copying some finished production, or some elaborate 

 engraving. He tries his best to produce a neat and accurate 

 copy, and he endeavour* to give the details of hi* original 



