.(} IN WATI 



Mft 



examples be painted with a somewhat darker tone than the one 



same way as before. Our i>n .break 



off the edges in not to wash them uniformly .l..wn to a smooth 



ited shade. This would msJcu the olouds too solid, but \>y 



.if the edges with a clean bruah (au>it, Imt not too wet, 



us t :.. ... t.-r would run into the colour, and spoil the whole), we 



produce, without any Booming effort on our part, other 



mediate tonoB in unison with the extremes, as well as many sharp 



nii'l bright prominences peculiar to olouds. On the lower part 



of the sky, as we approach the horizon, we may pass some light 



tone nearly over the whole. This may be a broken one also, 



but no extremes of light and shade must be introduced hero, as 



til a low troy all afirial perspective by bringing the lower 



parts too forward. The only exception to this last remark is in 



the oaae of evening effects. When the sun is low, then its rays 



out, leaving the sky to appear through the stums and foliage. 

 From the position of the son, there will be very little of the tree 

 in positive light, excepting some of the tips of the upper branches. 

 These most be painted with a lighter colour. As the tone of the 

 building most altogether be darker than the sky, wash a light 

 tint over the end, side of the tower, and the roof, bringing down 

 the same colour at the same time into the broad shadow on th* 

 front, which must be broken (as previously explained in painting 

 the sky), with a light hand scattering it over parti only. Thia 

 manner of breaking the tints, especially over old walls, has an 

 excellent effect in helping to give that variety of colour and semi- 

 tone on the surface which is so common to them. As the light 

 of the sky must be reflected in the lake in front, to give the 

 appearance of water, the whole of the ground near it before th 

 building, and in the foreground, may receive a general wash. 

 similar to the lighter parU of the building. The reflection of 



tig. 4. TREATMENT OF BACKGROUND, MIDDLE DISTANCE, AND FOREGROUND. 



illuminate the lower clouds with greater brilliancy. The distant 

 hills of Fig. 4 are painted with the same tone as the upper part 

 of the sky, the middle distance with the colour of the cloud 

 shadows, and the foreground with a darker mixture. The streak 

 of horizontal light near the foreground is the effect of the re- 

 flected light of the sky upon the water, and it gives us the oppor- 

 tunity of bringing the light down into the landscape. The 

 distant hills of Fig. 3 must be treated similarly to those of 

 Fig. 4. The side of the building in shadow may be done with 

 the same colour, and as the sun is behind the picture that is, 

 the building is between the sun and the spectator (see Lessons 

 in Geometrical Perspective, XVIII., p. 392, Vol. IV.), the whole 

 front of the building will be in shadow, having its cast shadow 

 on the ground before it. This latter may be done with the 

 same colour, although afterwards it will be necessary to make 

 it darker than the broad shadow, as the light reflected from the 

 ground will brighten the broad shadow of the building. Some of 

 the more general tones of the foreground may bo painted at the 

 siim time. The hedge-row in the middle distance must partake 

 f of the same colour as the building, both being about the same 

 distance from the front. Make a darker tint than has been yet 

 used for the tree, with which the greater portion must be made 



the building will materially help in giving character to the water. 

 The making out of the reflection should bo done with the shadow 

 colour of the building, drawing the brush downwards from the 

 bank, being careful to make the end of the reflection perpen- 

 dicular to the end of the object reflected, and, before it is quite 

 j dry, take a somewhat darker tone, and intersperse it in the same 

 ! perpendicular manner amongst those parts of the reflection 

 which require it, being guided by the corresponding parts in the 

 building. Lastly, the extreme depths of colour must be con- 

 fined to the tree and the foreground, which must bo executed 

 chiefly in sharp touches, regarding the forms of the objects and 

 their accompanying details. This kind of treatment will give 

 contrast to the lights, and decision of form and character to 

 everything placed prominently in the picture. 



As we have often remarked in our " Lessons in Drawing," 

 our pupils must not be disheartened if they do not succeed 

 in producing a fair copy of our illustrations even after many 

 attempts : they must be content to persevere, bearing in mind 

 that perseverance never fails to yield its fruits in due season. 

 It is also almost needless to point out that copies of our wood- 

 cuts should not be made of the same size, but on a scale giving 

 a picture of at least four times the area. 



