292 



THE POPULAB EDUCATOR. 



subject appears preferable to another. It may be the composi- 

 tion of the subject, or perhaps the display of colour it exhibits ; 

 or it may be owing to the effect of light and shade. Each 

 of these circumstances is sufficiently important to create a 

 preference. 



When we sit down to draw an out-door scene, the first ques- 

 tions that occur to us are : Does it compose well ? Are the 

 principal lines of the subject harmoniously arranged and con- 

 nected with each other ? Do any of the less important parts 

 obtrude in such a way as to offend the eye with their masses and 

 angles, to the detriment of other parts of greater consequence ? 

 These questions, and others of a like nature, will suggest them- 

 selves ; and in the course of our experience we shall find out 

 that we have the liberty, or licence, as it is termed, to modify the 

 composition in such a way as to make it agreeable, without 

 sacrificing the truthfulness of the whole. To apply these re- 

 marks, let us suppose we are about to draw a scene of which the 

 view is limited ; in other words, there is very little choice of 

 position from which to take it. For instance, it might be a 



the subject rather the contrary. It is admitted to be correct 

 in principle and in practice to make the sky subservient to the 

 rest of the picture, as it is capable of every variety of change 

 in form, light and shade, and in colour, and yet it need not be 

 false to nature. Besides, a sky can be made exceedingly service- 

 able in giving effect, by increasing the mass of dark in a 

 picture where it is required, or as a background to throw up 

 objects that are in light. For instance, after a shower, when 

 the sun has broken out, and its rays are lighting up buildings 

 and objects in the distance, the retiring dark mass of clouds, as 

 they dip below the horizon, give, by contrast, additional bril- 

 liancy to the effect of the sunlight. 



Fig. 6 is an example of the right-angular form, of which a line 

 in the direction from A to B (taking the lines of the hills and the 

 trees) forms the hypothenuse ; the ground, the base, and the up- 

 right trees on the right, form the perpendicular. In a subject 

 like this the above arrangement assists the perspective, and 

 many artists do not hesitate in the least to make such altera- 

 tions in the disposition of the parts, that they may be able to 



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tower or ruin, having its most interesting part concealed by 

 trees. The licence we speak of would permit that the position 

 of the trees might be changed, or their branches directed 

 another way ; or they might be thinned or cut out so as to 

 admit a view of the part we wish to preserve. Much of this 

 may be done without in the least altering the character of the 

 subject. We give this simply to supply an instance where the 

 taste and judgment of the artist must be exercised. 



One of the most pleasing forms of arrangement in the com- 

 position of a subject is that of a right-angled triangle. Whether 

 we employ this form to include the whole subject, as in Fig. 6, 

 or in parts or in groups, as in Fig. 7, certain it is that it affords 

 an opportunity for great contrasts, with an harmonious blending 

 of intermediate forms and proportions to combine them. With 

 regard to preserving the triangular form of composition, if 

 desirable, much may be done by slight alterations to make the 

 picture more effective. The growth of a particular tree may be 

 improved, and another, much in the way, may be carried 

 back in the picture. Sometimes the massing of clouds in certain 

 parts will assist; and we may observe here that clouds and 

 skies in general are great resources when difficulties arise in the 

 composition of a landscape, because many liberties may be taken 

 with their arrangement which cannot in the least interfere with 



preserve this character. If a couple of poplars stood in the 

 foreground, at c or d, of the same height as the tree on the right, 

 and on the same plane, they would either leave them out, or put 

 them further back with different heights ; or, with the help of 

 the sky as a background, modify their prominence, so as not to 

 destroy the general character of tlie composition. Some will 

 even venture to remove trees and buildings to other situations 

 altogether. It was the frequent practice of an eminent English 

 landscape painter to take great liberties with his subjects in this 

 respect. He would remove a large group of trees to the opposite 

 side of a river, rather than they should interfere with the lines 

 he wished to preserve ; and especially if they were useful in 

 their new position to give additional improvement to his picture. 

 But a wholesale interference with the true portraiture of the 

 landscape is dangerous without long previous experience ; in 

 youthful hands it may act prejudicially in the practical part of 

 the work. It is only they who know well what they are about 

 who can venture to such an extent as we have just mentioned. 

 At first, let our pupils bear in mind that they must proceed step 

 by step ; copy Nature closely until they can copy her well ; then 

 afterwards they may be able and at liberty to adapt or alter as 

 they find necessary, or as their improved taste and judgment 

 may dictate. Mr. John Bumet shows what a master-mind ia 



