D R A 
D R A 
iJl D R A 
DRAUGHT, or Draft. See Archi- 
tecture. 
Draught-hooks, are large hooks ofiron, 
fixed on the cheeks of a cannon-carriage, two 
on each side, one near the trunnion-hole, 
and the other at the train, distinguished by 
the name of fore and hind draught-hooks. 
Large guns have draught-hooks near the 
middle transom, to which ire fixed the 
chains that serve to keep the shafts of the 
limbers on a inarch. The fore and hind 
hooks are used for drawing a gun backwards 
or forwards, by men with strong ropes, called 
draught-ropes, fixed to these hooks. 
DRAW, in the sea-language. A ship is 
said to draw so much water, according to the 
number of feet she sinks into it ; so that if a 
ship sinks into the water 18 feet perpendicu- 
larly, she is said to draw 18 feet water; and 
according as she draws more or less, she is 
said to be of more or less draught. 
Drawback, in commerce, certain du- 
ties, either of the customs or of the excise, 
allowed upon the exportation of some of our 
own manufactures; or upon certain foreign 
merchandize that has paid dutv on importa- 
tion. The oaths of the merchants importing 
anti exporting are required to obtain the 
drawback of foreign goods, affirming the 
truth of the officer’s certificate of tiie entry, 
and the due payment of the duties; and these 
may be made by the agent of any corpora- 
tion or company, or by the known servant 
of any merchant usually employed in mak- 
ing his entries and paying his customs. In 
regard to foreign goods entered outwards, if 
less quantity or value is fraudulently shipped 
out than is expressed in the exporter’s certifi- 
cate, the goods mentioned in it, or their va- 
lue, are forfeited, and no drawback allowed. 
Foreign goods exported by certificate, in or- 
der to obtain the drawback, if they are not 
shipped or exported, or if they are relanded 
in Great Britain, unless in case of distress, to 
save them from perishing, are to lose the 
benefit of the drawback, and are forfeited, all 
their value, with the vessels, horses, carriages, 
&c. employed in the relanding them; and 
the persons employed in the relanding, or by 
whose privity they are relanded, or into 
whose hands they shall knowingly come, are 
to forfeit double the amount of the draw- 
back. Officers of the customs conniving at, 
or assisting in, any fraud relating to certifi- 
cate goods, besides other penalties, are to 
forfeit their office, and to suffer six months 
imprisonment, without bail or mainprize; as 
are also masters, or persons belonging to the 
ships employed therein. Bonds given for the 
exportation of certificate goods to Ireland, 
must n°t tie delivered up, nor drawback al- 
lowed for any goods, till a certificate under 
the hands and seals of the collector or comp- 
troller, &c. of the customs is produced, testi- 
fying the landing. 
Drawbridge, a bridge made after the 
manner of a floor, to draw up, or let down, 
as occasion serves, before the gate of a town 
or castle. See Bridge. 
A drawbridge may he made after several 
different inodes, but the most common are 
made with plyers, twice the length of the 
gate, and a foot in diameter. The inner 
square is traversed with a cross, which serves 
for a counterpoise; and the chains which 
hang from the extremities of the plyers, to 
bit "up or let down the bridge, are of iron o: 
brass. In navigable rivers it is sometimes 
necessary to make the middle arch of bridges 
with two moveable platforms, to be raised 
occasionally, in order to let the masts and 
rigging of vessels pass through. 
DRAWING, in painting, is the accurate 
representation and just symmetry of forms 
and proportions; whence a painter or sculptor 
is said to know much or little of drawing, ac- 
cording to his skill in these respects; and in 
like manner a figure of a man or other ani- 
mal, a building, or any other object repre- 
sented, is said to he in drawing or out of 
drawing. Drawing may justly he considered 
as the basis of painting; for it is but labour 
lost, when the painter endeavours to disguise 
by ingenious artifices of colour, the defects 
of forms which are fundamentally incorrect 
and incoherent. 
Amongst the artists of antiquity, Apelles is 
recorded as the most eminent for the beauty 
of his drawing. Since the revival of the arts 
in Italy, Michael Angelo appears the most 
learned draughtsman, Rafi’aelle the most cor- 
rect and graceful. The Roman and Floren- 
tine schools have excelled all others in this 
fundamental part of painting. Of the former, 
Raffaelle, Giulio Romano, Polydore, and 
their scholars; of the latter, M. Angelo, Leo- 
nardo da Vinci, and Andrea del Sarto, have 
been the most excellent. In the Bolognese 
school Annibal Caracci is particularly dis- 
tinguished. In the French school Poussin, Le 
Sueur, and Le Rrun ; in our own, Mortimer 
and Barry have been the most celebrated. 
Drawing: a representation of objects on 
paper, by means of chalk, lead, charcoal, 
crayon, or common ink, or of Indian ink, or 
water-colours. When the latter method is 
used, it is called a washed or coloured draw- 
ing. This mode has of late years been im- 
proved in a singular degree, and it is at pre- 
sent practised with unprecedented excellence 
in England and other countries. 
The drawings of great masters are fre- 
quently nothing more than such studies as 
they have made of various parts of their 
works, diligently designed after nature; as, 
in an historical subject, heads, hands, feet, or 
entire figures, draperies, animals, trees, and, 
in short, every object that can enter into the 
composition of the work. 
Drawing, art of. The art of delineating 
objects on the surface of any substance what- 
ever. The fundamental part of this art is a 
knowledge of geometry and perspective: the 
study of both is therefore the first step to- 
wards the attainment of the art of drawing. 
See Geometry and Perspective. 
The study of this art has at all times been 
held in high estimation by all polished na- 
tions, not only on account of the delightful 
amusement it is capable of affording, but 
from the superior consideration of its influ- 
ence on the intellect and judgment, by form- 
ing the eye, and with it the mind, to habitual 
discriminations of dimension, regularity, pro- 
portion, and order. There is on record, a 
saying of Thomas earl of Arundel, lord- 
marshal of England, “ that one who could 
not draw a little would never make an ho- 
nest man.” 
The organ of sight is one of the quickest 
we possess, and takes in at a single glance an 
infinite variety of forms, but it cannot per- 
fectly comprehend more than one object at a 
time, nor even that one accurately, without 
study and repeated observation. In order, 
t hend ore, to acquire a true notion of forms, 
the student must begin by studying succes- 
sively each component part, and not pass to 
a second till he has well stored his memory 
by a sufficient practice of the first, otherwise 
he will lose his time, and infallibly protract 
his studies. Let him he careful also to ac- 
quire accuracy before he attempts quickness. 
The surest mode therefore for the attain- 
ment of excellence in drawing, is to begin 
with such plain geometrical figures, as 
squares, arches, circles, ovals, cones, and 
cylinders, which will be useful in numerous 
forms of similar proportions; and having ac- 
quired sufficient facility and readiness in these 
figures, then to give to every object its due 
light and shade, according to its concavity 
or convexity, so as to convey the perfect 
idea of the elevation or depression, nearness 
or distance, of every part. 
From this, the next step is the imitation 
of the forms of fruits, with their leaves ; of 
flowers, herbs, trees of various kinds,- &c. 
giving also to each its proper light and shade. 
The third step is the representation, in the 
same manner, ot beasts, birds, fishes, &c. Ike. 
From this the student may safely proceed 
to the imitation of the human figure, begin- 
ning, as before remarked, with its various 
parts, as the eye, mouth, hand, foot, &c. &c. ; 
and thence the head, arm, leg, trunk; and 
lastly, the whole figure, carefully observing 
all its due proportions. When 'he is suffi- 
ciently master of the naked form, let him 
proceed to the study of drapery, learning 
how to clothe a figure, so as to give it every 
advantage of ornament, without interruption 
of its air and motion, grace or symmetry. 
To these acquisitions are to be added is 
study of architecture, landscape, and all in- 
animate objects, or still life. See Archi- 
tecture, Landscape, and Still Life. 
The implements and materials most requi- 
site for the young draughtsman are : 
Drawing-boards for fixing the paper upon, 
so that it may not shift, and also lor straining 
it, to prevent the colours, when laid wet upon 
the paper, from causing it to swell up, so as to 
be uneven. The simplest sort is made of a 
deal-board, framed square, with a strong 
piece across each end, to prevent warping. 
Upon this the paper may be fixed down with 
pins, wafers, or sealing-wax, or it may be 
strained with paste or glue as follows: having 
wetted the paper well with a sponge, lay it 
upon the board, and turning up the edges 
about half an inch, run a little good paste or 
glue all round on the under side, and press 
the paper down upon the board with a cloth, 
then set it by to dry; the paper, which had 
expanded and blistered up much when wet, 
will contract in drying, while the edges, be- 
ing fixed immoveably, will strain quite fiat 
and tight, and will be much better for draw- 
ing upon than when loose. 
The best kind of drawing-boards, however, 
are made with a frame and a moveable pan- 
nel, upon which the paper is simply put wet, 
and then forced into the frame, where it is 
confined by wedges at the hack. This strains 
equally well, without the trouble of pasting, 
so that you may dry it at the lire ; and it also 
looks much neater. These drawing-boards 
may he bought at most colour-shops. It is 
necessary to mention, that all the angles o£ 
drawing-boards should be exactly square?: 
