DRAWING. 
559 
Black lead is the most useful material for 
drawing the outlines of landscapes, which are 
best executed with this alone, and should 
not be gone over afterwards by the pen, 
[ which, except it be very judiciously managed, 
? generally gives an appearance of hardness. 
Indian ink alone should be used for the 
[shadows till the student has advanced very 
I considerably ; nor till then should colours of 
I any kind be used. Beginners are always de- 
[ sirous of producing pictures and making co- 
loured drawings; but nothing is more hurtful 
S' than the practising this too early. The first 
! thing to be learned is, to draw forms correct- 
ly; next, the mode of shadowing objects truly; 
then the general light and shadow of a draw- 
ing, and, with this, good composition. All 
| this is best learned by using black lead, black 
( chalk, white chalk, Indian ink, and these se- 
‘ parately or combined, according to the taste 
t of the student ; but he should never think of 
[colours till he has made very considerable 
progress. 
When colours are employed, they should 
be used with great caution and judgment. 
! Nothing is so disgusting as to see coloured 
drawings where the reds, greens, and blues, 
are laid on in the most violent manner, 
without any regard to harmony. Those who 
execute such vile daubings, will say in their 
defence, that nothing can be greener than 
grass, nor bluer than the sky; but they should 
: consider, that nature employs such a multi- 
tude of little shadows, and such a variety of 
(different tints intermixed with her colours, 
that the harshness of the original colour is 
(corrected, and the effect of the whole is very 
different from a raw and distinct colour laid 
upon white paper. A single distinct colour 
|is always bad in a landscape; and the tints 
should always be varied and broken in every 
part. Though we should have recourse to 
the study of nature, in preference to any 
master, for the study of colouring, yet it re- 
quires some judgment to know what part of 
nature is to be studied, and what is to be 
avoided ; for in nature herself, there are many 
parts which are bad, and to copy them would 
do more harm than good. The student in 
colouring must examine, with every possible 
attention, the colouring of old waffs, broken 
and stained by time and the weather, old 
thatch, old tiles, rotten wood; in short, all 
objects which are covered with moss, stains, 
and tints of various kinds ; there he will ff nd 
all that is most perfect and harmonious in 
colouring. Let him copy these with every 
possible care, and avoid as bad all objects 
which are of a uniform decided colour. This 
has been the practice of all the great masters 
who have excelled in this captivating part of 
the art. In short, after learning the first 
principles of drawing, he cannot too soon 
have recourse to nature; he will obtain from 
her tlie materials for acquiring 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 la- 
bour, and it should go hand in hand with 
drawing from nature. 
! In landscapes, the scenes most generally to 
be met with, and which are most generally 
interesting, are of the picturesque kind, such 
as cottages and rustic scenery. In these, 
■straight lines should he avoided, and every 
thing that is regular and fermal. In general, 
every thing that is old and broken is preler 
able to what is new, as affording more va- 
riety. Old thatch, old tiles, old plaister, old 
fencing, are more picturesque,- and fitter for 
the pencil, than the same species of objects 
when new and entire. An old house almost 
tumbling down, whose parts are broken and 
ruinous, some bulging out, and -the whole 
stained and tinted with a variety of chaste 
and harmonious colours. by the pencil of na- 
ture, is infinitely preferable, as a subject for 
a picture, to any new house or gentleman’s 
seat, though the latter may be a more com- 
fortable habitation to live in. 
In the same way, an old worn-out cart- 
horse is a much litter animal to draw from, 
and a finer subject for the pencil, than a 
sleek and clean poney ; and an ass with a 
rough coat is more picturesque than the same 
animal kept in nice order. 
In subjects of the grand kind on the con- 
trary, such as magnificent buildings, cities, 
streets, &c. straight lines are often necessary 
and proper, as these objects are rather of the 
sublime than the picturesque kind ; and 
straight lines, and a degree of regularity, 
form part of the sublime. The employment 
of straight lines, however, requires great skill 
and knowledge of- the art, to prevent them 
from appearing bad, and they can only be 
employed with success by those who have 
attained to considerable eminence. 
The fewer colours that are used in a draw- 
ing the better, as harmony is most easily 
preserved, and by the mixture ot a few, every 
possible tint may be obtained. 
The sun’s rays were considered by sir Isaac 
Newton to be composed of seven primitive 
colours; but later observations have made 
them to consist only of three ; red, blue, and 
yellow ; so that all the vast variety of tints 
which we see in nature, is formed by the mix- 
ture of these in various proportion. If we 
had pigments of these colours perfectly pure, 
we should have no occasion tor more than 
these three; but this is not the case, and 
therefore we are obliged to have recourse to 
materials of other broken tints. f I he colours 
that are found to be the most useful in draw- 
ing landscapes in water-colours are, lake, in- 
digo, Prussian blue, gamboge, light red, yel- 
low-ochre, burnt terra Sienna, burnt umber, 
and Cologne earth. Some of the other co- 
lours may be occasionally 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. 
For a more particular account of the co- 
lours used in washing of drawings, and best 
methods of preparing them, see Washing, 
and Water-colours. 
GENERAL RULES. 
Correctness of outline . — This is the first 
point to be attained, and can only be the 
result of patient diligence and long practice. 
To gain the free use of the pencil or port- 
crayon, let the student accustom himself to 
hold it farther from the point than a pen is 
held in writing, by which means he will have 
the full command and direction of it. In 
drawing of figures in Indiail ink, the use ot 
the pencil is to draw the first sketches or 
outlines ; as any stroke or line that is amiss, 
may in this be more easily rubbed out than 
In any other thing ; and when you have 
made your sketch as correct as you can with 
the pencil, you may then draw carefully the 
best outline you have got, with your crow- 
quill pen and ink. The ink made use of for 
this, purpose, must not be the common, but 
Indian ink ; being much softer than the 
other, and not running; and by mixing it 
with water, it may be made to any degree 
of strength, and may be used in a pen like 
common ink. After using the ink, you may 
wipe out the pencil-lines by rubbing the 
piece gently with the crumb of stale bread. 
Having thus got your outline discharged*, 
your next work is to shade the figures, as 
directed ; either by drawing fine strokes with 
your pen, where it requires to be shaded, 
or by washing it with the hair-pencil and 
the Indian ink. As to the rule and com- 
passes, they are never or rarely to be used, 
except in measuring the proportion of your 
figures, after you have drawn them, to prove 
whether they are right or not ; or in houses, 
fortifications, and other pieces of architec- 
ture. 
Red lead and red or black chalk are used 
in the same manner as black lead. White 
chalk and tobacco-pipe clay are used in 
heightening or giving strong lights, and in 
drawing on coloured paper. Pastils or cray- 
ons are anv colours, mixed with tobacco- 
pipe clay, which, while soft and in the con- 
sistency of a paste, is rolled up in pieces, 
about the thickness of a quill, and two or 
three inches 1 in length, and then dried : they 
are generally used on coloured paper ; and 
the colours are rubbed and wrought one 
into another in such a maimer that no 
strokes appear, but the whole looks as if it 
was done with a brush. 
Of Ike general distribution of lights and 
shades . — As soon as the learner has made 
himself acquainted with the drawing of forms, 
his next endeavour must be to learn the art 
of disposing the light and shade of every ob- 
ject properly. T he best rule for doing this 
is, to consider from what point, and in what 
direction, the light falls upon the objects 
which he is delineating, and to let all his 
lights and shades be placed according to that 
direction throughout the whole work. It is 
the artful management of light and shade 
that gives the appearance of substance, 
roundness, and distance, to whatever bodies 
are represented by drawing. Draw a circle 
on a piece of paper; fill it up with any even 
colour, and it will appear to be a body witli 
a round circumference and Hat sides : but 
bv colouring it stronger in the middle, and 
causing it gradually to weaken towards the 
circumference, it will receive a convex ap- 
pearance like that of a ball or globe : wher- 
ever the vivacity of colour is strongest, that 
part of the object catches the sight first, and 
appears nearest to it : whereas its weakness 
and goings off are more and more broken 
and faint, and seem to fly farther off from 
the sight. In rounding the parts of any ob- 
ject, the extremities in turning must lose 
themselves insensibly and confusedly, with- 
out precipitating the light all of a sudden 
into the shadows, or sliadows into the light, 
but the passage of the one into the other 
must be common and imperceptible ; that 
is, by degrees of light into shadow, and sha- 
dow ’ into light. Objects that are painted 
light, must have a sufficient breadth ot sha- 
dow to sustain them ; and dark bodies must 
