82 
THE PARIS EXHIBITION, 1867. 
[Nature and Art, August 1, 1866. 
are so immediately in the front, they produce the 
greatest influence upon the eye, either for an agree- 
able impression or otherwise. An artist is so well 
aware of this fact, that he is often put to much 
trouble before he can produce a satisfactory arrange- 
ment ; and not until he has done this, is he inclined 
to turn his attention to other portions of the work. 
In the accompanying drawing there is much prac- 
tice of the kind, and it will be seen that, not only 
do the forms or direction of lines of grass undulate 
naturally, but that the several masses are also of 
different quantities and considerably varied in tone 
of colour. It is upon the outside lines of the grass 
that the forms of the road, the path, and the water- 
course depend ; so that here is another reason (and 
a very important one) for giving study and careful 
drawing to this part of the sketch. 
The detached bits of Stone are, in their turn, 
useful, by position, to direct the eye to the sides and 
centre ; and this they do by assuming a crescent-like 
form round the foreground. The upright figure 
repeats the perpendicular lines of the trees. 
There is but little actual light in the drawing, 
the general impression being that of half-tone, and 
the only positive dark is upon the figure, which, 
from its blue, red, and brown drapery, imparts a 
mildness of tint to all around. The highest or 
brightest yellow light is upon the centre of the 
distant vale, while the light stone to the left under 
the tree and those by the water- course to the right 
invite attention to the entire foreground. I will 
only add, that where there is an absence of deep 
and powerful shadows, great judgment must of 
necessity be applied to balancing the warm and 
cool tints ; and to this the tyro cannot too soon 
direct his attention. 
The colours employed were, for the — 
Sky — C obalt. 
Clouds — Sepia, cobalt, and a little lake. 
Mountains — Cobalt, lake; yellow ochre, with a 
glazing of gamboge and raw sienna on the yellow 
part, raw sienna and lake on the red ; and terre 
verte on the green parts. 
Middle Distance — Raw sienna and yellow ochre 
for a first wash. Cobalt, lake, and raw sienna 
for the markings. Raw sienna and lake for the 
spaces between ; for the highest light, gamboge 
and lemon-yellow. 
Trees and Grass — Gamboge, bright sienna, and 
indigo : a little sepia introduced for the dark 
shadows. A glazing of terre verte on parts of 
the greener tones. 
Stems and Shadows of Road and Stones — Sepia, 
lake, indigo. 
Light Tint of Road — Yellow ochre, lake, sepia. 
THE PARIS EXHIBITION, 1867. 
T HE works of the Universal Exhibition Build- 
ing are beginning to make a most imposing 
appearance, and the plan of the whole is now 
distinctly visible. But it is necessary that our 
readers should, at the outset, clearly understand 
the form and arrangement of the compound 
structure, which is to contain the collection of 
choice samples of the art and industry, not only of 
the present time, but of past ages of the world. 
The plan of the Exhibition building is of irregular 
ovoidal form. If you were to take a ring and 
press two of the sides together until you have 
reduced the diameter in one direction to about 
three-quarters of that of the other, you would have 
nearly the figure of the outline of the building. 
It consists, in fact, of a very short body with semi- 
circular ends. But a simple diagram will best 
show, not only the general form, but also the 
internal arrangements. 
The length of the building is about 1,600 
feet, and the width nearly 1,250. Figures alone, 
however, do not always give a suflicent idea 
of extent ; and it will be well to compare the 
new building with another devoted to the same 
purposes : namely, that of the Exhibition of 
1862, at South Kensington. The length of 
the principal front of the latter building was 
1,150 feet ; so that the Paris building will be 
wider than the other was long, and longer by 
about 450 feet, or considerably more than one- 
third. The great nave of the Exhibition of 1862 
was eight hundred feet long; the great central 
avenue of the building now erecting in Paris will, 
with the garden in the centre, be double that 
length ; and the great transverse avenue more 
than half as long again as the great nave of the 
