§♦ , LECTURE X. 



In drawing, we may employ the pen, the pencil, chalks, crayons, inks, 

 water colours, or body colours ; we may paint in miniature, in distemper, in 

 fresco, in oils, in varnish, in wax, or in enamel; and we may imitate the 

 effects' of painting, by mosaic work, or by tapestry. 



The first step in copying a drawing, or in painting, is to procure a correct 

 outline : a master of the art can do this with sufficient accuracy, by such an 

 estimate of the proportions of the figures, as the eye alone enables him to 

 form ; especially if he be assisted by lines, which divide the original into a 

 number of squares, and enable him to transfer their contents to the corre- 

 sponding squares of the copy, which may in this manner be reduced, or en- 

 larged, when it is required. But a copy may sometimes be more expeditiously 

 made, by tracing immediately from the original, when the materials employed 

 are sufficiently transparent to admit the outlines to be seen through them ; or, 

 where the original is of no value, by pricking a number of points through it, so 

 as to mark the copy, either at once, or by means of charcoal powder inibbed 

 through the holes, which is called stenciling: and for this purpose, an inter- 

 mediate copy may be fonned on semitransparent paper. Another method is 

 to put a thin paper, rubbed with the powder of black lead, or of red chalk, 

 between the original and the paper intended for the copy, and to pass a blunt 

 point over all the lines to be traced, which produces correspondent lines on 

 the paper; this is called calking. Where the work is large, it may be cover- 

 ed with a thin gauze, and its outlines traced on the gauze with chalk, which 

 is then to be placed on the blank surface, and the chalk shaken off it, in the 

 way that a carpenter marks a board with his line. 



The pen was formerly much used for making rough sketches, and it is still 

 sometimes employed for the same purpose, as well as for assisting the efiect of 

 the pencil. The appearances of uniform lights and shades must necessarily 

 be imitated in drawings with the pen, as well as engravings, by a mixture of 

 the whiteness of the paper, with the blackness or colour of the ink, the eye 

 being too remote to distinguish minutely the separate lines, by which the 

 effect is produced, although they do not entirely escape its observation. In 

 this respect, drawings in pencils and chalks have an advantage over engrav- 

 ings ; these substances, after being laid on in lines, are spread, by means of 

 rubbers, or stumps, of paper, leather, or linen, so as to produce a greater 



