LESSONS IN DRAWING. 



at the other itide ; observe the tone, and consequently thu 

 union nt ..(" pressure required fur the cant ithadow. 



imoful littlo instrument for shading, called a 



made .! ii.-r of leather or paper, rolled op to about 



tin- lrKth .111.1 thii-kn.-Hs of the finger, and pointed at each end. 



. -i.-.l. lila< -k chalk or lead U ground to a powder, the point 



..p.'il int.. it, and then rubbod over the part to 



be shadi'il until an oven tint in produced. We merely n. 



MI- here and explain its use, but at present we will put 



:, and keep to the line method until the pupil has tho- 



rmujhly mastered it ; afterwards we will draw his attention to 



of the stump, as capable of producing a ground for aha- 



:<> be lined over afterward*. The (Treat art of shading a 



Ira wing well U to make use of the sluvdowx, half tints, and 



oar admiration is excited by the uuueutuesi and beauty of the 

 form which the line alone determines : BOW this feeling most be 

 carried on, if hen introducing the shadows and the infinite num- 

 ber of minor tones, by preseffinu all that the line intended to 

 gire, whilst our attention is engrossed upon the shadows. la 

 Fig. 73 there are several point* of importance which most not 

 be passed orer : the pupil will notice that the wall to the left 

 has the upper edges of each stone left untouched, because these 

 edges, as they "round off" to the horizontal surface, meeting the 

 mortar, catch the light more forcibly than the faces of the stones 

 which are in a perpendicular position. In old stone walls of 

 ruins these effects are continually to be seen, and must not be 

 disregarded. The depth or intensity of shadows may not only 

 be increased or diminished according to the pressure of the pencil 



Fig. 75. 



minor (or lighter) tones, as a means of distinguishing the form 

 of the object, whether as to its general effect, or to the most 

 minute and delicate details. We know that, in nature, objects 

 are not represented to us by lines drawn about their edges ; they 

 are distinguishable from each other only by light and shade and 

 colour : therefore, as it is necessary in the first instance to deter- 

 mine by an outline the boundary or form of the object, with all 

 its various changes of surface, so we must as we proceed with 

 the picture, by adding light, and shade, and colour, gradually 

 lose the drawn lino in the work, so as to avoid harshness, and 

 that appearance which would strike us as if it had been cut out 

 with a penknife. Of course we cannot altogether do without 

 the line of the form, nor is it desirable that we should ; and since 

 our intention is to give as intelligible a representation of the 

 object as we con, lines may be judiciously left without offending 

 the eye by any unseemly harshness of expression. A line only 

 determines the boundary of an object that is, it gives the form ; 

 and in simple outline only, where no light and shade are added, 



employed, but also by the distance the lines are drawn apart 

 closer together when depth is required, and wider when the 

 shadows are to be lighter. The lines which produce the oast 

 shadow of the wall on the horizontal surface of the steps must be 

 drawn, towards the vanishing point of the steps, and the edge of 

 the shadow is determined by the following rule : Let A. (Fig. 74) 

 be the wall causing the shadow on the steps ; let the dotted lines 

 a 6, c d, e /, etc., represent the inclination of the sun's rays (at 

 an angle with the horizon, but parallel with the picture plane). 

 As the end of the wall rises perpendicularly from the end of the 

 step at k, therefore the shadow of the upper edge a will be at 6, 

 and the shadow of a c will be 6 g, directed towards the vanishing 

 point of the wall ; and because the sun's rays are parallel with 

 the picture plane, and the wall at right angles with the picture 

 plane, therefore its shadow will be the same, and consequently 

 both the edge of the wall and its shadow have the same vanish- 

 ing point, which in this case is the F s (point of sight). Thus it 

 will be seen that the edge of the shadow on the front of the 



