3 IX DRAWING. 



I'-ilgo we apeak of miut help ua to use the shade tints in auoh a 

 way that tho muscles and bonoa which give the variety of BUT- 

 face may bo exactly represented in accordance with the action 

 and atrungth tho part* exhibit. 



The manner of uaing the pencil in ahading has been already 

 explain, ,! in I ,.-,-,, ii XI I. (Vol. I., page 359). The pupil moat 

 refer to thia again, and continue the practice. It would be 

 advisable to procure a ball about the aize of a cricket-ball (thia 

 kind of boll, indoed, would anawer tho purpoae), whitewash it, and 

 when dry it will form an excellent model from which the prac- 

 tice of ahading may be atudiod with advantage ; for the ball 

 exhibits every degree of light and shade, from the highest light 

 to the darkest shadow, including the cast shadow upon tho table 

 or stand upon which it ia placed. Figa. 141, 142, and 143 are 

 tfivrii t illustrate the course to be pursued. After the outline 

 haa boon mode, if it should be block or heavy, faint it. A light 

 out lino ia tho bost to proceed with in the ahading. A black out- 

 lino upon the edgea of the shadow injurea them very much ; it 

 deatroya the harmony of tone, and, what ia very objectionable, 

 the eye is attracted by it. We are obliged to make use of a 

 line to determine tho extent of the part, and its subdivisions 

 which contain the extent of tone or colour, and we muat have 

 no mean consideration of ita importance, but as we proceed with 

 the work, the line must be absorbed in the ahadows. Nature 

 shows no black outline but a limit ; we draw the limits by clear 

 faint lines, and complete the effect by shading. It must be 

 borne in mind that we have only two means of distinguishing 

 objects from one another by light and shade, and by colour ; con- 

 sequently, when Nature begins to use black lines to mark her 

 boundaries, we may. Mark in slightly, but with great care, the 

 extent of the broad and cast shadows. In order to understand 

 clearly the extent of these shadows, and to decide where the 

 half -tint commences, and the depth and proportion of all other 

 minor tones, the pupil must look at his copy or model for a 

 moment or two with half-closed eyes ; he will very soon see the 

 advantage of doing so, as he will thereby be able to say which 

 is decided shadow and which are the half-tints, and thus at 

 once determine the proportion of tone ha is to employ in repre- 

 senting them. The first stage will be to'fill in the whole of the 

 broad and cast shadows with one flat even tint, equal in tone to 

 the reflections, as in Fig. 141 ; afterwards darken the greatest 

 depth by crossing lines, lifting up the pencil as explained by 

 Fig. 83, Lesson XII. (Vol. I., page 360) ; then lastly will be the 

 semitones connecting the high lights and broad shadows, with all 

 those minor tones found within the limits of the broad light, and 

 caused by the varied surface of the object (Fig. 142). The stump 

 mentioned in Lesson X. (Vol. I., page 295) may be used to lay on 

 a flat and moderate tint over the parts intended for the broad 

 and cast shadows ; afterwards work over the shadows with the 

 point in the line manner. The use of the stump must be restricted 

 to the shadows named until the pupil has acquired confidence in 

 handling it, and then he will find himself capable of employing 

 it for the darkest of the minor tones, but in thia he must be 

 guided by his own judgment, resulting from experience. Per- 

 haps some of our pupils may be unable readily to procure a 

 stump ; we will show them how to make one. Cut some thick 

 coarse grey packing-paper to the shape of Fig. 144, according 

 to the dimensions there given ; and then roll it closely up, be- 

 ginning at the broader end, and terminating with a b. If the 

 stump be well made it will be very hard and tight, ending in a 

 point at both ends. Put a little gum on the end a b, and press it 

 down upon tho body of the stump ; it will then be fit for use, 

 as follows : Take a piece of hard strong paper, and cover a por- 

 tion of it with a BB pencil until it is quite black ; then rub the end 

 of the stump on the blackened paper, and tone down the shadows 

 with it as evenly as possible. Another hint with regard to the 

 outline. It frequently happens that, by repeated alterations, the 

 surface of the paper loses its firmness and becomes dirty, so 

 that, when shading upon it, it is very difficult to make a clean 

 and bright drawing; therefore finish the outline regardless of 

 the paper, and trace it upon a clean piece to receive the 

 shading. The tracing-paper may be made by rubbing a dark 

 and soft pencil upon half a sheet of foolscap. Place the clean 

 paper to receive the shaded drawing upon a drawing-board; 

 npon thia placo the tracing-paper laid upon its face down- 

 wards ; and lastly, the finished outline upon that ; pin them 

 down at one end, and then, with a hard point, firmly 

 press over the outline, which will be printed upon the clean 



ahoot from the blackened paper; thin traced outline will then be 

 ready for Mhading. 



Until the pupil has had some coniiiderable practice, be will 

 find that his greatest difficulty doe* not oonujtt in TftUffg an 

 even tint, aa ail defect* can be remedied by (tippling that is, 

 by carefully filling op the lighter or uneven parts with tbe 

 point only ; but it connate in uniting the extreme lights with 

 the decided shadows by semitones, which are liable to appear 

 dirty, and require a very careful and delicate hand to treat 

 them properly. 



To sum up, we have in these lessons taken up the three 

 leading divisions of art still life, landscape, and figure and hare 

 endeavoured to give the necessary instructions which are gene- 

 rally applicable to all, at the same time paying doe regard to 

 particulars which belong to and snatain the individual character 

 of each subject as it comes before ua. Our pupils will have 

 discovered that the leading principles of art are universal, 

 that they are not confined to one particular branch to the ex- 

 clusion of othera ; but from the moment we take up the pencil 

 to commence tho outline, the essential beginning of every sub- 

 ject, we start npon principles which are absolute, and which 

 must have their influence in directing as. This refers to the 

 drawing or outline preparatory to filling it in with light and 

 shade or colour. There is no necessity to repeat the cautions 

 we have given, or the necessary process of execution, when en- 

 gaged in this most difficult and most important part of the 

 work. Our efforts should be to acquire a bold and unhesita- 

 ting manner of drawing ; thia can only be done by a thorough 

 knowledge of the subject and close observation, combined with 

 patience and perseverance. A bold, free style is frequently 

 understood to be a rapid dashing manner, a fatal mistake 

 in hundreds of cases where study and experience have had 

 but little influence. Bold drawing is done with few lines and 

 seemingly little effort, in a quiet, deliberate, and steady manner, 

 producing a resemblance which is recognised, felt, and admired 

 by all who are interested in it. Success of this kind is not 

 altogether the result of manual practice, the mind has the most 

 to do with it ; the knowledge of things in general, of facts 

 relating to natural history, manners and customs, and the 

 character and construction of the object we are representing, 

 are the greatest means of help we can obtain. A mind thus 

 thoroughly instructed will have much less difficulty in guiding 

 the hand than when it is dependent upon manual practice only; 

 because, if the mind can fully comprehend that which has to be 

 done, and can within itself see the result, the hand well prac- 

 tised in the manner of wielding the pencil will at once be guided 

 by its influence, doubts and speculations will be few, and the 

 result satisfactory. It is not at all uncommon to meet with the 

 case of a draughtsman or artist satisfied with a picture, at 

 which a man with an accomplished mind only smiles. Why is 

 it? Simply because the painter has depended more npon his 

 hand than his judgment, or that his mind is incapable of re- 

 ceiving those more important lessons from Nature which elevate 

 art and make it valuable. Of course we feel we are addressing 

 those who cannot remain satisfied with bare imitation, whose 

 desire is to do something more, and picture the life as well as 

 the form. The instructions necessary for imitation only are 

 very simple, and con soon be explained, and we trust we have 

 not failed to do so; but beyond that point the sources of in- 

 struction are infinite, as every object has something to reveal 

 concerning itself, and the artist most not fail to listen to it. 



We will conclude with a passage from one of the lectures of 

 Sir Joshua Eeynolds, delivered to the students at the Royal 

 Academy : " There ia one precept," he observes, " in which I 

 shall be opposed only by the vain, the ignorant, and the idle. 

 I am not afraid that I shall repeat it too often. Ton must have 

 no dependence on your own genius. If yon have talents, in- 

 dustry will improve them ; if you have moderate abilities, 

 industry will supply their deficiency. Nothing is denied to 

 well-directed labour ; nothing is to be obtained without it. Not 

 to enter into metaphysical discussions on the nature or essence 

 of genius, I will venture to assert that assiduity, unabated by 

 difficulties, and a disposition eagerly directed to the object of 

 ita pursuit, will produce effects similar to those which some call 

 the result of natural powers. Though a man cannot at all 

 times, and in all places, paint or draw, yet the mind can pre- 

 pare itself by laying in proper materials, at all times and in all 

 places." 



