136 



THE POPULAE EDUCATOE. 



Fig. 35. 



ing over your work in an ungraceful or painful attitude. The 

 eye should be as nearly as possible directly opposite the centre 

 of your drawing, and the inclination of your paper and copy 

 (should be such that a lino passing from your eye to either paper 

 or copy, when you are at work, should pass through the centre 

 of the copy at a in Fig. 35, or the centre of the drawing at b, as 

 nearly as possible at right angles to their respective planes. 



It is unnecessary to give directions as to the manner of holding 

 your pencil. Tour own judg- 

 ment must direct you in a great 

 measure as to that. It matters 

 little, so that you feel the in- 

 strument fit your fingers easily. 

 If proper attention has been be- 

 stowed upon the primary instruc- 

 tions that we have given, you 

 have already learned the im- 

 portance of depending not solely 

 on your fingers, but also on the 

 action of the wrist and arm. 

 The hand should not bo suf- 

 fered to rest upon the paper upoa 

 which you are drawing, if it can 

 be avoided, but have a spare 

 piece to lay under it while you 

 are at work. It will serve 

 another purpose to try the 

 points of your pencils upon, ot 

 the points of your pens, crayons, 

 and brushes when you are sufficiently advanced to draw with 

 pen and ink, or to paint in writer-colours. Begin at once to pre- 

 serve your drawings in a portfolio. Even when you have failed 

 in many attempts you should keep them by you. Destroy nothing 

 that you do, and you will soon learn to do nothing that you 

 would desire to destroy. Preserve order in the disposition of 

 ail your materials : much time and vexation may be saved by 



Fig. 40. 



longer whilst we make a few remarks upon some of the pecu- 

 liarities of Angular Perspective. No doubt it is much more 

 difficult to understand than parallel perspective, arising from 

 the great variety of positions in which objects may be placed, 

 for if the lines are, on the one hand, ever so slightly out of the 

 perpendicular from the picture plane, or, on the other, in the 

 least degree vary from the parallel to the picture plane, the 

 treatment necessarily cornea under the rules of Angular Per- 

 spective. Let us try to make 

 this clear by the help of Figs. 

 36 and 37. 



Fig. 36 is a case of parallel 

 perspective (see p. 72, Fig. 27a). 

 Fig. 37 has its sides a b and 

 e f slightly removed from the 

 perpendicular c d, and the sides 

 a e and b f in the same pro- 

 portion removed from the lino 

 e g, parallel to P P ; consequently 

 it presents the angle at e to the 

 picture plane. (We shall pre- 

 sently be under the necessity 

 of seeking a little help from Geo- 

 metrical Perspective, in order 

 to make ourselves more clearly 

 understood.) There is another 

 peculiarity in connection with 

 this relating to the position of 

 the vanishing points ; we request 

 the pupil to look at Fig. 38 : he will observe that the angle of the 

 building, a b, is nearest the eye, whilst the side abed retires 

 one way to v p 1, and the side a b ef retires another way to 

 v P 2. Now, when he sees this he will probably say, "Yes, 

 these sides certainly do retire as so stated, but I should like to- 

 be informed why these two vanishing points are placed where 

 they are. Is there any rule for so placing them ? or is it 



it ; and, above all things, remember that what is worth doing, 

 is worth doing well. 



"We propose now to give some instructions in Angular Per- 

 spective ; we use this term when the object presents an angle, 

 and not a side, to the picture plane, that is, when the angle is 

 nearest us and all the sides retire ; this occurs especially when 

 all rectangular forms, such as buildings, boxes, and things of a 

 similar shape and character, are so arranged. (See p. 72, Fig. 

 27&.) Before we proceed to explain the method of drawing 

 objects so placed before us, we must detain the pupil a little 



33 



merely a matter of choice ? in short, can I place them anywhere 

 I please?" These are very fair questions, and we will en- 

 deavour to answer them. Of course, the house (Fig. 38) must 

 have a ground-plan, which will be placed with regard to the pic- 

 ture plane as it is shown in Fig. 39, the angle towards us, and 

 the sides retiring. Now let us suppose we are standing at s p 

 (station point), from which place we are to make our drawing ; 

 from this place we determine our vanishing points, and tlie 

 distance these vanishing points aro apart will determine whether 

 we are near or at a greater distance from the object. Then to 



