DRAWING^ LANDSCAPES. 



drawing, he cannot too soon have recourse to na- 

 ture ; he will obtain from her the materials for ac- 

 quiring every species of excellence, in a greater 

 degree than from the works of the first masters. 

 The study of these, however, will greatly abridge 

 his labour, and it should go hand in hand with 

 drawing from nature. 



The fewer colours that are used in a drawing, 

 the better, as harmony is most easily preserved ; 

 and by the mixture of a few, every possible tint 

 may be obtained. 



It was mentioned, when treating on optics, that 

 the sun's rays were considered by Sir Isaac Newton 

 to be composed of seven primitive colours; but 

 all the vast variety of tints which we see in nature 

 may be formed by the mixture of red, blue, and 

 yellow, in various proportions. If we had pig- 

 ments of these colours perfectly pure, we should 

 have no occasion for more than these three ; but 

 this is not the case, and therefore we are obliged 

 to have recourse to materials of other broken tints. 

 The colours that are found to be the most useful in 

 drawing landscapes in water-colours, are, lake, 

 indigo, Prussian-blue, gamboge, light red, yellow 

 ochre, burnt terra Sienna, burnt umber, and Cologne 

 earth. Some of the other colours may be occasion- 

 ally useful, but these are all that are necessary for 

 general use. 



The best sort of water-colours are those mixed 

 with gum and made up into cakes, as these may be 

 used by rubbing upon a tile, in the same manner as 

 Indian ink. 



Mechanical Drawing. 



We have given the name mechanical drawing 

 to that sort of delineation which depends entirely 



DD 2 



