DRAWING. 



reflections occasioned by the gloss on 

 the inferior projections. Jewels and orna- 

 meivs or' gold, embroidery, &c. will at 

 times be useful, but there are no rules 

 applicable to the drawing of them. In 

 the general disposition of the drapery, 

 the posture of the figure and of the limbs 

 inust uniformly be consulted ; they must 

 accord, or there can be no other effect 

 than stiffness in the ;>erson represented. 

 Drapery gently agitated by the wind, in 

 running or flying figures, has a good ef- 

 fect wiien it :s made to flow in one direc- 

 tion, and not too much extended; the 

 lights require great care, and should be 

 directed en the most rotund parts, and 

 those must not be crossed by dark shade, 

 or the limbs or body so treated will ap- 

 pear oroken. 



Lest it should be supposed the fore- 

 going rules are rather calculated for a 

 person in some degree acquainted with 

 the art of drawing, than one beginning 

 , with the first rudiments, we shall de- 

 scend to stiiJ further minutiae. 



When a picture highly varnished, a 

 drawing in brilliant colours, or glazed 

 pr.nt, is to be copied, it should be placed 

 in ;i reclining position, that the light may 

 not glare on it and confuse the eye ; if the 

 painting is large, the distance should be 

 proportionably increased, so as to enable 

 the copyist to see the whole at once. Af- 

 ter marking the spaces between the fea- 

 tures, and cue different parts of the body, 

 the outlines must be faintly sketched; 

 ana if the subject contains several figures, 

 it will be proper to find the centre, and 

 mark it, which will g ( ve the learner an 

 opportunity of ascertaining the places of 

 the most conspicuous correctly on either 

 side. Having completed the outline, it 

 must be critically examined, and amend- 

 ed where faulty, ere the least attempt be 

 made at finishing. If a print is to be 

 imitated, the lines which compose it are 

 to be followed in every particular with a 

 good pen and Indian ink, as an engraving 

 supersedes all directions. 



There are several useful rules to be ob- 

 served in drawing a truly proportioned 

 head and face : jthe former contains four 

 equal parts, measuring from the crown to 

 the upper part of the forehead, to the eye- 

 brows, to the lower part of the nose, and 

 to the chin. The first step towards draw- 

 ing a full face is to form an oval, through 

 which make a perpendicular line, and a 

 second across the centre, then divide the 

 former into four equal parts, the first is 

 to include the hair, the second the fore- 

 head, the third the nose, and the last the 



lips and chin ; the transverse line is to be 

 considered five times the length of the 

 eye, one length of which is to be left for 

 the space between the organs of sight; 

 the cars should never be higher than the 

 eye-brows, nor lower than the bottom of 

 the nose ; the mouth is the length of the 

 eye, and the middle of it must be on the 

 perpendicular line, and the exterior of 

 the nostrils ought not to extend beyond 

 the inner corner of the eyes. To illus- 

 trate the above directions prcatically, 

 they may be followed on an oval of wood 

 made for the purpose, which, when turned 

 sideways, upwards, or downwards, will 

 shew the true lines of the face in those 

 positions. See PJLATES DRAWING. In 

 drawing the profile, the line 01 the oval is 

 still to be preserved, but the projections 

 of the nose, &,c. must be left to the learn- 

 er's observa ions on living figures. It has 

 been observed by an eminent painter, that 

 nothing is more easy than to represent an 

 infant smiling, or under the influence of 

 grief, which is accomplished by raising 

 the corners of the mouth in the first case, 

 and depressing them in the second : in 

 smiling, the eye-brows undergo but little 

 alteration ; but in frowning, they are vio- 

 lently contracted, and drawn towards 

 each other. In other parts of the figure, 

 care should be taken to avoid shewing 

 the muscles too strong, even in represent- 

 ing large persons; in youth they are 

 less visible, and in corpulent figures they 

 are almost concealed from view. In the 

 breadth of the limbs it will be found, 

 that the calf of the leg is double the di- 

 ameter of the ancle, and that the largest 

 part of the thigh is three times the dia- 

 meter of the smallest. 



Throwing of Landscapes. The science 

 of perspective is so absolutely necessary 

 in this branch of the art, that it must be 

 acquired before the student attempts to 

 copy a drawing or print ; for although the 

 heights of trees, bushes, hills, &c. &c. 

 vary greatly, yet there is a general and 

 palpable declension in the relative propor- 

 tions as they retire from the eye ; besides, 

 if a building intervenes, the want of truth 

 in this particular becomes instantly ob- 

 vious. 



When the student is master of perspec- 

 tive, he may proceed to copy good draw- 

 ings, either with black lead pencils or 

 chalk, according to the paper he adopts ,- 

 but he should prefer those only that give 

 a clear and distinct idea of the outline, 

 as he cannot possibly comprehend the 

 forms of objects which are mixed and 

 lost in others, merely to bring the light 



