3.33 
DRAWING. 
the collar-bones of a woman, make an equi- 
lateral triangle. 
For the breadth of the lirpbs no precise 
measures can be given ; because the measures 
themselves are changeable, according to the 
qualify of the persons, and according to the 
movement of the muscles. In general, how- 
ever, the hands are twice as long as they are 
broad, and each of their parts has its length, 
breadth, and thickness. The nail upon the 
linger is about half the joint it is upon. The 
length of the foot is a sixth part of the height 
ot a person; and the length is live-eighths 
more than (lie breadth, 4 lie length of the 
face and hands ought to be exactly equal, 
and makes but just the tenth part of a per- 
son’s height. 
I lie rules in drawing children are as fol- 
low : Some make a child to contain live mea- 
sures of the head, viz. from the top of the 
head to the privities three, and in the thighs 
and legs two more; the breadth between the 
two shoulders the length of a head and a half ; 
the breadth of the body above the navel the 
length of one head; and the breadth of the 
upper part ot the thigh is the third part of 
two lengths of the head ; the breadth of the 
knee is just the measure there is betwixt the 
eyes and the chiu ; the small of the leg, and 
the brawn of the arm, are of the thickness of 
the neck. 
As to the order and manner of proceeding 
in drawing the human figure, it is lirst requi- 
site to mark the exact extent which you 
propose to give to the whole ligure, both in 
height and breadth; next divide, agreeably to 
the most general proportions ; and having thus 
ascertained the place where each part is to 
be d rawn, sketch the head, then the shoulders, 
in their exact breadth; then draw the trunk 
of the body, beginning with the arm-pits 
(leaving the arms till afterwards) and so 
down to the hips on both sides, being sure to 
observe the exact breadth of the waist. 
V> hen you have done this, then draw that leg 
which the body stands upon, and afterwards 
the other, which stands loose, then draw the 
arms, and last of all the hands. 
Endeavour to form all the parts of your 
figure with truth, and in just proportion, not 
one arm or one leg bigger or less than the 
other; not broad shoulders with a thin slender 
waist, nor raw and bony arms with thick and 
gouty legs; but let there be a kind of har- 
mony and agreement amongst the members, 
and an agreeable symmetry throughout the 
whole figure. 
But as the essence of drawing consists in 
making at first a good sketch, you must in 
this particular be very careful and accurate ; 
draw no part perfect or exact, till you see 
whether the whole draught be good; and 
when you have altered that to your mind, 
you may then finish one part after another as 
curiously as you can. In drawing the eyes, 
ears, legs, arms, hands, feet, &c. great care, 
study, and practice are requisite ; this must 
be learned, as before remarked, by carefully 
imitating the best drawings you can get of 
eyes, ears, &c. for as to the mechanical rules , 
of draw ing them by lines and measures, they 
are not only perplexed and difficult, but also 
contrary to the practice of the best masters. 
The actions and postures of the hand are so 
many and various, that no certain rules can 
be given for drawing them that will univer- 
sally hold good; and as the hands and feet 
j are difficult members to draw, it is necessary, 
I and well worth while, to bestow due time 
and pains about them, carefully imitating 
their various postures and actions, so as not 
only to avoid all lameness and imperfection, 
but also to give them life and spirit. 
In drawing a labouring man, you must re- 
present him with strong limbs and raised 
muscles, swelling and standing out, especi- 
ally in bearing burdens, drawing weights, 
leaping, walking, combating, or such-like 
violent exercises. In representing persons 
asleep, you must carefully avoid giving any 
such postures or actions in their lying as 
would not in all probability afford rest ; for a 
great want of judgment would appear in re- 
presenting their limbs or bodies supported by 
their own force, and not by the help of some- 
thing else. 
Let it be remembered, as a general obser- 
vation, always to begin with the right side of 
the draught you are making, that is, on your 
own left side, as is customary in writing, for 
by so doing, you will always have the part 
that is done before your eyes, and the rest 
I will follow with ease; whereas, if you begin 
; with the left side, your hand and arm will 
! cover what you do lirst, and deprive you of 
I the sight of it. 
Expression of the passions . — With regard 
! to the representations of the passions, Mr. de 
| Piles observes, that it is absurd, as well as 
| impossible, to pretend giving such particular 
! demonstration of them as to fix their ex- 
j pression to certain strokes which the painter 
j should be obliged to make use of, as essential 
and invariable rules. ' See Expression. 
Drawing of draper //. — In the art of cloth- 
ing the figures, or casting the drapery pro- 
perly and elegantly upon them, many" things 
are to be observed. 1. The eye must never 
be in doubt of its object; but the shape and 
proportion of the part or limb, which the 
drapery is supposed to cover, must appear, 
| at least so far as art and probability will per- 
mit. 2. The drapery must not sit too dose 
to the parts of the body, but let it seem to 
fiovv round, as it were to embrace them, yet 
so as that the figure may be easy, and have a 
free motion. 3. The draperies which cover 
those parts that are exposed to great light, 
must not be so deeply shaded as to seem to 
pierce them ; nor should those members be 
crossed by folds that are too strong, lest by 
the too great darkness of their shades the 
limbs look as if they were broken. 4. The 
great folds must be drawn lirst, and then 
stroked into lesser ones ; and great care must 
be taken that they do not cross one another 
’improperly. 5. Folds in general should be 
large, and as few as possible: however, they 
must be greater or less according to the 
quantity and quality of the stuff's of which the 
drapery is supposed to be made. The qua- 
lity of the persons is also to be considered in 
the drapery. If they are magistrates, their 
draperies ought to be large and ample; if 
country clowns or slaves, they ought to be 
coarse and short; if ladies or "nymphs, light 
and soft. 6. Suit the garments to the body, 
and make them bend with it, according as it 
stands in or out, straight or crooked, or as it 
bends one way or another; and the closer the 
garment fits to the body, the narrower and 
smaller must be the folds. 7. Folds well 
imagined give much spirit to any kind of ac- 
tion; because their motion implies a motion 
in the acting member, which seems to draw 
them forcibly, and makes them more or less 
stirring as the action is more or less violent. 
8. An artful complication of folds in a circu- 
lar manner greatly helps tire fore-shortenings^ 
9. All folds consist of two shades and no 
more; which you may turn with the garment 
at pleasure, shadowing the inner side^deeper, 
and the outer more faintly. 10. The shades 
in silk and fine linen are very thick and 
small, requiring little folds, and' a light sha- 
dow. 11. Observe the motion of the air or 
wind, in order to draw the loose apparel all 
flying one way ; and draw that part of the. 
garment that adheres closest to the body be- 
fore you draw the looser part that flies off 
from it, lest, by drawing the loose part of the 
garment first, you should mistake the posi- 
tion of the figure, and place it improperly.! 
12. Rich ornaments, when judiciously and 
sparingly used, may sometimes contribute to] 
the beauty of draperies; but such ornaments 
are far below the dignity of angels or hea- 
venly figures; the grandeur of whose dra- 
peries ought rather to consist in the boldness : 
and nobleness of the folds, than in the qua- i 
lity of the stuff, or the glitter of ornaments. : 
13. Light and flying draperies are proper 
only to figures in strong motion, or in the 
wind: but when in a calm place, and free! 
from violent action, their draperies should be : 
large and flowing; that, by their contrast and I 
the fall ot the folds, they may appear .with j 
grace and dignity. 
Drawing of landscapes. — Every one whew 
wishes to learn to draw landscapes will parti- 
cularly find the advantages arising from the] 
previous study of perspective. This will 
enable him not only to understand and drawl 
all the parts of buildings which so frequently 
form a principal feature in views of places;] 
but will also give him true ideas of the me-] 
thod of expressing distances, the winding of 
roads, and a variety of particulars that are 
continually occurring. 
Having made himself master of the prin- 
cipal difficulties in perspective, he should 
next copy some good drawings ; and here it 
is of great importance that what he copies] 
first should be very excellent; for it is an 
absurd notion, though entertained -by many,! 
that indifferent drawings will do to begin] 
with, or to bring the hand in, as it is termed;] 
but, as a great master justly observes, the j 
most likely effect these can produce, will be 
to put the hand out. 
In choosing drawings to copy for begin- 
ners, particular attention should be paid to ' 
select those where the outlines or forms of 
the objects are distinctly and correctly 
drawn, and not those in which a good effect 
only lias been principally aimed at. The] 
first thing to be studied is, to be able to ex- 
press with the black-lead pencil, decidedly 
and truly, the forms of all sorts of objects; 
and till this is attained, no attempt should be I 
made at finislied drawings or pictures. 
By neglecting this important circumstance, 
many who would have excelled, if they had 
been put into the right way, have completely ' 
lost themselves, and run quite wild, by aim- 
ing at producing merely dashing effects, 
which, though very captivating at first, do I 
not continue to maintain that power over the j 
mind, as when they are accompanied by true 
drawing, and beautiful and correct forms. 
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