556 
DRAWING. 
mistake one kind of tree for another in the 
drawing than it is in nature. Nothing is 
more prejudicial to the student's progress 
than a habit of indiscriminate forms, which, 
although they denote a tree in general, do 
not decide its species. 
in ail these the process is the same as in 
the first rudiments, making first a correct 
outline, and afterwards giving the lights and 
shades, agreeably to the rules already learned. 
Drawing of beasts, birds, fishes, &c. — Jn 
this step the student must not only study the 
forms of each class of the several animals, in 
the same maimer as, in the preceding stage, 
he studied those of trees, but he must begin 
to observe the varieties of form, induced by 
the motions of the muscles, in all the actions 
of the head, body, or limbs, as well as the 
expression of face, characteristic action, and 
every other circumstance which distinguishes 
these from inanimate objects. In drawing 
beasts, he will begin to find a necessity of 
acquiring a general knowledge of anatomy. 
The student who is unacquainted with the 
form and construction of the several bones 
which support and govern the animal frame, 
or does not know in what mode the mucsles, 
moving those bones, are fixed to them, can 
make nothing of what appears of them 
through the integuments with which they are 
covered, which appearance, however, is the 
object of his pencil. It is impossible even 
for an artist to copy faithfully what he sees, 
unless he thoroughly understands it ; let him 
employ ever so much time and study in the 
attempt, it cannot but be attended with 
many and great mistakes ; just as it must hap- 
pen to a man who undertakes to copy Some- 
thing in a language which he does not under- 
stand, or to translate into his own what has 
been written in another on a subject with 
which he is not acquainted. This subject 
will be more fully treated under the ensuing 
head, where, as well as in the subsequent ar- 
ticles, will also be found more particular in- 
structions for the use of the proper materials 
tor drawing. 
Drawing the human figure . — The study of 
the human figure has always been consider- 
ed by artists as the most important part of 
the art. It is the most difficult, and is by 
many considered as contributing the most of 
any to general improvement; though there 
are some who carry this idea to too great an 
extent, saying, that a person who can draw 
the human figure well, can draw every tiling 
besides. But this, it is well known, is not 
the case, there being many artists who can ; 
draw the figure very well, who cannot draw 
landscape nor architecture. To draw any 
thing well, requires a particular study. The 
study of tiie figure, however, includes all the 
finest principles of the art; and when the eye 
of the student has been accustomed to copy 
faithfully all the minute circumstances which 
constitute the character of a figure, and to 
attend to the innumerable beauties and grace- 
ful forms which it presents* lie will be better 
qualified to pursue with advantage every 
Other branch of the fine arts. 
In learning to draw the human figure, it is 
necessary to begin with each of the parts se- 
parately,’ and after sufficient practice in that 
way, to proceed to put them together in the 
complete figure. For instance, the head 
being the most important part of the human 
body, it should be studied first. For this 
purpose, the student should copy the best 
drawings he can procure of the eye, mouth, 
nose, and ear, separately, and on- a large 
scale; and of these a front view, profile or 
side view, oblique view, &c. 
The readiest materials for drawing these, 
as well as all other parts of the figure, aie 
black chalk, or black lead ; the former may 
be used either upon white paper, or upon 
middle-tint paper; and in tiiat case, white 
chalk may be used for laying on the lights. 
Black lead is only used upon white paper. 
A piece of soft charcoal may be made use ot, 
for first slightly sketching in the general form, 
which must afterwards be gone over and 
('.Directed with the black chalk. The false 
lines of the black lead may be removed by 
the Indian rubber; but the student must re- 
member to be as sparing as possible of this, 
as it is more improving to endeavour to draw 
every thing correct and decided at once, 
and not trust to the being able to erase the 
lines which are wrong. 
The shadows may be laid on by drawing 
parallel curve-lines, according to the situa- 
tion of the part, crossing them occasionally, 
and softening them in with more delicate 
lines, where necessary. 
All the parts of a human figure are com- 
posed of curved surfaces ; no straight lines 
are ever admissible, but every line should 
have a graceful turn; and it is this circum- 
stance particularly, that occasions, the study 
of the figure to give so much freedom in 
drawing. Care should be taken that no lines 
ever cross each other at right angles, which 
gives a disagreeable net-like appearance ; 
neither should the crossings be too oblique, 
as then they are confused; a proper medium 
will be acquired by the study of good draw- 
ings or prints ; in general, however, crossing 
should be avoided as much as possible. Some- 
times the shadows are rubbed in, or their 
edges are softened, with a stump, which is a 
very expeditious way, and produces a fine 
effect; but it should be used with discretion, 
as it is better to execute the shadows in a 
clear and regular manner by soft lines. Care 
should be taken not to make the lines harsh 
and hard, like those of an engraving; they 
should be softer and more mellow. On this 
account, drawings are much better to learn 
from than prints, as, by copying the latter, 
the student is very apt to acquire a dry and 
hard manner. But we particularly caution 
him to avoid copying wiiii a pen all the lines 
in engravings used for the shadows, which 
some, who have not been accustomed to see 
good drawings, are apt to do. 
Many productions of this kind have been 
executed with an immensity of labour, and 
have been thought very fine by those who 
had but little knowledge of the art ; yet art- 
ists, and those who are good judges, always 
consider them as very disgusting, and lament 
to see so much patience and labour misap- 
plied. 
In copper-plate engravings, there are no 
other means of producing shadows than by 
lines, at least with an equal effect; but this 
arises from the nature of the process,; and in 
drawing, which is of a very different nature, 
there is not the same necessity for them. In 
general it should be observed, that the less 
labour there appears in any drawing, the 
better it is; and that though every possible 
pains should be taken to make drawings or 
paintings excellent, yet this labour should be 
always disguised as much as possible, and the 
whole should appear as if executed with the 
greatest ease. 
In learning to draw, it is of more import- 
ance than is generally supposed, to copy 
from tlie finest works only. ’1 he most pre- 
judicial quality of a model is mediocrity. 
The bad strike and disgust, but those that 
are not good, nor absolutely bad, deceive us 
by offering a dangerous facility. It is for 
this reason that engraving contributes to the 
progress of the arts, when it is employed on 
subjects that are judiciously chosen ; but 
is too often prejudicial by the indifferent 
works it multiplies without number. But 
let Raffaelle be copied by skilful engravers, 
let a young artist profit by his labours, and 
works without dignity and expression will 
soon become intolerable to him; he will per- 
ceive to what an . elevation the excellence of 
the art can raise him. 
The way to avoid mediocrity is by the 
study and imitation of beautiful productions, 
or, in want of them, of the most finished 
translations that have been made from them; 
for so we may call beautiful prints. Let a 
young draughtsman study the heads of Raf- 
faelle, and he will not see without disgust the 
sordid figures of indifferent painters. But if 
you feed him with insipid substances, he will 
soon lose the taste necessary to relish great 
excellences. In the one case he will advance 
firmly in his career ; in the other he will con- 
tinually totter, and even not be sensible of 
his own weakness. 
Having copied frequently the parts of a 
face, he is next to proceed to the entire head, 
drawing first a front view, then a profile, a 
three-quarter, and so on, varying it m every 
possible direction, till he is thoroughly ac- 
quainted with the appearance of all the prin- 
cipal lines in every situation. 
The student should now accompany his 
lessons by making observations on good casts 
and living models; but more particularly the 
former, as individual nature is seldom fine, 
and there is danger of copying what is bad, 
and acquiring false ideas of beauty. By these 
exercises he will have acquired some facility 
in handling his pencil, and he will be thus 
prepared for the study .of the whole figure. 
But before he can proceed to this with ad- 
vantage, we would recommend to him the 
study of anatomy, for the same reasons which 
have been given under the preceding head. 
But it is to be remarked, that it is not neces- 
sary for the designer to study anatomy as a 
surgeon, nor to make himself acquainted with 
all the nerves, veins, &c. It is sufficient to 
study the skeleton, and the muscles which 
cover them, and of these he should most par- 
ticularly make himself familiar with those 
muscles which most frequently appear and 
come into action. For this purpose he 
should procure plaister casts of the anatomy 
of the human body, and consult treatises 
written upon the subject; and if he has op- 
portunity, it will be proper afterwards to at- 
tend discussions and lectures on anatomy, 
lie should also use every possible opportu- 
nity of making observations on the actions of 
the muscles in nature. Being thus thoroughly 
prepared, he will be enabled to draw the hu- 
man figure with great advantage, and he will 
make a more rapid progress than he could 
have done without these previous studies. 
