5 60 
DRAWING. 
have a sudden light behind, to detach them 
from the ground, or from those objects that 
are placed behind them ; otherwise they will 
appear confusedly as sticking upon each 
other; whereas the opposition of shade to a 
light object, and of light to a dark one, gives 
a projection, and separates them from other 
bodies. 
There should be a balance preserved be- 
tween the lights and shadows: a broad light 
ought not to be introduced into a draught 
without a large shadow. The nearer any 
object is to the eye, it is seen so much the 
stronger and plainer: the sight is weakened 
by distances, and the more remote any ob- 
ject is, it is seen in a more imperfect man- 
ner. Therefore, those objects which are 
placed foremost to the view, ought to be 
more finished than those that are cast be- 
hind ; and they should have such a relative 
dominion over each Oliver, that as one ob- 
ject by its heightenings causes others to re- 
tire more backwards, so the same object 
must be chased, and made to appear farther 
from the sight than others which are more 
strongly illuminated. 
It is not sufficient that remote objects be 
only coloured in a more faint and languid 
manner; but, according to their distance, 
the parts must appear more or less confused ; 
the eye not being able to discover minutely 
what is far separated from it. Pure and un- 
mixed white either draws an object nearer, 
or carries it off to a greater distance. If it 
be accompanied with black, the opposition 
of light and dark renders the object more 
sensible, and brings it nearer to the advan- 
ced part ; but pure white, being the lightest 
»f colours, un’ess it be forced forwards, and 
supported by black, will fly off to the re- 
motest view. As for pure black, it is the 
heaviest, most earthy, and most sensible of 
all colours, and brings the objects nearer to 
the sight : it must be placed in masses, be in- 
sensibly confused, and have its proper re- 
poses. 
In the representation of bodies give them 
always such lights as are most proper and 
convenient to their supposed situations. If 
the objects are in the lields or open air, and 
the sun not visible, or obscured by clouds, 
you must then introduce almost an universal 
light, though not warm and strong, and your 
shades must be faint ; but when the sun is 
conspicuous, and shines in its full lustre, 
then the light must be very strong and bold, 
and the shadows very dark. If the objects 
you represent be supposed in a room, a little, 
but not very much illuminated, and you 
survey it from without, and stand on a level 
with the light that strikes upon it, the sha- 
dows of that figure must be very soft, where- 
by the figure itself will appear beauteous to 
the eye ; and will, notwithstanding the soft- 
ness of the shadow, seem as imbossed, and 
come boldly out. A small light illuminating 
the body occasions the shadows on the dark 
side to be large, and their extremities to be 
very bold. On the other hand, a broad light 
makes the shadows on the darker side to be 
more distinct and more soft in their limita- 
tions. 
Reflection is to be used in delineating glit- 
tering or shining bodies, as glass, pearls, sil- 
ver, 6cc. Let the cause of the reflection, be 
it more or less, be seen in the thing itself. 
Place all your lights one way through the 
whole work; and if the light falls. sideways 
on the picture, the other side, which is the 
farthest from the light, must be made the 
darkest. That part of the body must be 
made lightest which has the light most op- 
posite to it ; if the light be placed above the 
head, then the top of the head must be made 
lightest; the shoulder must receive the next 
greater degree of light ; and thus must you 
continue to shade, losing the light by degrees. 
By how much one part of the body projects 
more than another, it must by so much be 
made the lighter : and, on the contrary, those 
parts that bend inward must be made so 
much the darker. Two equal lights must 
never be made in one and the same picture ; 
the greater is to strike forcibly into the 
middle, and with greatest lustre on those 
parts of the design where the principal 
figures and strength of the action seem to 
lie, diminishing it gradually as it approaches 
nearest the extremities of the piece. 
In copying, before you begin your work, 
view the original with close attention ; divide 
it in your mind into several parts; observe 
the length, the breadth, and the similitude 
of each part ; consider their proportion to 
each other and the whole, the distances 
from one part to the other, and what parts 
lie opposite to each other. 
After you have done your copy, view it 
afresh, bv comparing it with the original, for 
the discovering and amending of faults, as it 
will not only serve to perfect you in that parti- 
cular draught, but will im prove your knowledge 
of lines and proportions in general, and in time 
enable you for the nearest imitations. Draw 
the outlines in a gliding manner, large and 
smooth, which will give them the resemblance 
of life and motion. Preserve in your draught 
a strong resemblance between the parts and 
the whole ; every member ought to be made 
to agree, and the eyes, legs, hands, and feet, 
should be exactly paired. 
Having good copies to draw after, learn 
to reduce them to other proportions, either 
larger or smaller, and this by frequent prac- 
tice. 
PARTICULAR DIRECTIONS. 
In drawing after a picture or print, take 
care to place it in such a light that the gloss 
of the colours may not interrupt your view, 
but so that the light and your eye may fall 
equally and obliquely upon the piece. Let 
the piece he placed at such a distance, that 
upon opening your eyes, you may view it all 
at once: and the larger the picture is, it 
should be so much placed off at the 
greater distance ; but right before you, arid a 
little reclined. 
Draw all your outlines at first very faint 
with a coal, which may easily be rubbed 
out again with the feather of a duck's wing, 
or the crumb of bread ; and these outlines 
should be true, and agreeable to the pattern. 
The outlines next the light, should be drawn 
more faint ; and when you have drawn one 
feature it should be a direction for you, in 
some measure, to draw another, by observ- 
ing with your eye the distance from that to 
the next feature, making a full mark at the 
place with your coal, then draw it, and so on 
to the next, till you have drawn the whole. 
Then observe the middle of the picture 
you would copy, and touch upon the paper 
with the point of your coal ; afterwards ob- 
serve the more conspicuous and uppermost 
figures, if there are more than one, which 
you are to touch lightly in their proper places. 
Thus running over the whole draught, you 
will see, as it were, the skeleton of the piece 
you are to draw. 
Having made out these sketches, view 
them diligently, to see if they answer your 
pattern or not ; for the gestures of the life 
ought to shew themselves eminently in the 
first and rudest draught of the piece ; correct 
and amend whatever you perceive amiss ; 
adding and diminishing as it varies from the 
pattern, by which means it will be brought 
nearer and nearer to the life. 
Observe the distance of one limb, joint, 
or muscle, from another, and the same in all 
other accidents of the figure ; their length, 
breadth, turnings, &:c. Shadow next to the 
light very faintly : and where you see bold! 
and free touches, be not timorous in express-* 
ing the same, in drawing a head after the! 
life, or otherwise, take care to place the fea- 
tures exactly right upon the cross -lines, whe- 
ther it be a full face or three-quarter face. 
In fore-shortening, you must make the cross-1 
lines to fly upwards, but where the aspect isl 
downwards, they must be made downwards! 
in a circular manner. 
In copying the exact appearance of prints,! 
having drawn the outlines true with a coal, I 
you are to proceed to trace the same lines! 
again with a pen, Indian ink, &c. drawing! 
them with more exactness ; and by imitating! 
all the hatches, with their exact distances! 
one from another, their crossings, turnings,! 
and windings, with more boldness and free-! 
dom, perfect your design. 
In drawing after a naked body, bear con-[ 
stautly in mind what has been remarked! 
above, that all the muscles are not to be so! 
plainly expressed as in anatomical figures t| 
but that side whose parts are most apparent,} 
and of signification in the performance of any 
action, must be made to appear more or less, 
according to the force of that action. 
In drawing young persons, the muscled 
must not appear manifestly so hard as in el-j 
der and full-grown persons ; the same thingl 
is to be observed as to fat and fleshy persons,! 
and such as are very delicate and beautiful ;| 
and in women scarce any muscles at all are! 
to be expressed, or but very little, unless itf 
be in some very forcible action, and then tool 
they are to be represented very faintly: the! 
like is also to be observed as to children.! 
The motion of the whole body must be con-1 
sidered in drawing of the muscles ; as in the! 
rising and falling of the arms, the muscles off 
the breast appear either more or less, and it| 
is the same chiefly in the shoulders, sides,] 
and neck, according to the several actions oft 
the body. 
The proportion of the figure ought to bel 
multiplied by degrees, in proportion of one] 
to two, three, four, &c. for herein the chief] 
skill consists ; and the diameter of the l>ig-| 
gest place between the knee and the foot isl 
double the least, and the largest part of th$| 
thigh triple. 
Of drawing faces . — In drawing a head, it| 
j is usually divided into four equal parts: 1J 
From the crown of the head to the top of| 
the forehead. 2. From the top of the fore-1 
head to the eyebrows. 3. From the eye-1 
j brows to the bottom of the nose. 4. TX " 
