Nature aiul Art, January 1, 1S67. 
ON SKETCHING FROM NATURE. 
1; 
ON SKETCHING FROM NATURE. 
By Aaron Penley, Professor of Landscape Painting at the Royal Military Academy, Woolwich. 
No. VI. GROUP OF FIR TREES DRAWN FROM NATURE. 
W ITH tlie new year I had almost been induced 
to commence a series of studies more ele- 
mentary in character than any as yet introduced 
into the pages of Nature and Art ; but upon 
more mature consideration, it appeared to me that 
perhaps it would be better to steer a middle course, 
and meet the wishes of the general public, than to 
address myself exclusively to the more limited class 
who practise and delight in water-colour drawing. 
It is gratifying to find there are so many to whom 
this work is such a source of pleasure, and who 
look for its periodical publication with considerable 
interest ; and I cannot but infer that this is the 
fact, from the numerous letters constantly received 
from strangers, relative to my several contributions 
with the accompanying instruction. 
I confess I doubted whether the reproductions of 
my original drawings would be presentable, so 
many thousands having to be printed, and by the 
steam press too ; but it is encouraging to find this 
difficulty better and better overcome by the extreme 
care and study exercised in making the means 
sufficient to the end. This is very evident from the 
great improvement in the colouring of the last 
subject, where the tints, Avith one exception only 
(the green tint on the shadowed side of the hut, 
which should have been more grey), are really good, 
and admirably suited for the learner to copy. The 
sky and distance are quite satisfactory. It is, I 
think, due to those who seek for guidance and in- 
struction from these examples, that I should express 
much confidence in anticipating increased truthful- 
ness in every succeeding number. 
The present subject is of a different character, 
being such as I have been solicited to introduce by 
subscribers, consisting only of a group of Fir Trees, 
the like of which may be met with in almost every 
belt or plantation of the saipe species. It was 
draAvn upon the spot, and selected for the clear 
manner in which the light and shadow Avere de- 
veloped, giving to each branch, or portion of it, an 
individuality peculiarly its own, and yet so expressed 
as to favour breadth of effect and harmony in the 
entire group. Such “bits” or “ studies ” require 
but little time to produce, although nothing can be 
more useful or profitable than a sketch-book filled 
with the different classes of trees presented to us 
in our every-day walk. 
I much recommend the practice of carefully and 
freely drawing each tree with the black-lead pencil, 
especially with reference to the main stems, noticing 
Avell their direction or inclination from the perpen- 
dicular, and how the several lines affect each other 
in giving a graceful disposition of form, because it 
is only by a due observance of these combinations 
that an impression of elegance and refinement can j 
be conveyed. It is a matter of importance to the 
general effect, that the bearings of the principal 
lines should be studied and remarked upon. For 
instance, it is as Avell to note, if the perpendicular 
stem of one tree is accompanied by another that 
is taking an angle or curve in a certain direction, 
Avhat influence the change of line has upon the eye ; 
whether it is, or is not, too abrupt ; or if the two 
compose so agreeably as to give a pleasing effect. 
I like much to linger before groups of trees, young 
or old, whether clothed or not clothed Avith foliage, 
and by change of position to see the many varieties 
of forms they take, and which of the many would 
produce the most pleasing composition. There is 
real pleasure in this — much to be learnt and much 
to be put in practice. Lessons may be had in 
many localities whence lessons could scarcely be 
expected to be gleaned, and our daily converse 
Avith a common-place scene may be thus fraught 
with increased interest and pleasure. 
The ability to draw naturally leads to observation 
of detail and generalization, it being evident that 
this cannot be exercised without a corresponding 
reflection upon everything presented, as to con- 
struction, growth, character, and use. Hoav far 
this is desirable, every one must judge for him- 
self. 1 can only say, that to myself the enjoy- 
ment is beyond expression ; and often when walking 
over what would be considered a monotonous and 
dreary plain, Avith a canopy of dull leaden clouds, 
I am struck Avith beautiful undulating lines, 
varieties of tone and tint, Avith receding distances 
and aerial perspective, that produce much to be 
admired, thought upon, and studied. The infinitude 
of Nature demands the highest mental exercise and 
the perfection of Art, and we only are to blame if 
Ave do hot see in her every phase something (I 
would rather say everything) from which to glean 
instruction, and to derive contemplative pleasure. 
In writing thus, it must be clearly understood 
that the motive is to lead others to exercise a 
similar attention to Nature in her generality, and 
not to suppose that it is only upon scenes of 
grandeur and acknowledged loveliness that our 
admiration should be called forth. Doubtless the 
character of such favoured spots is calculated, from 
its exquisite combinations, to arrest the attention 
of the most unobservant • but it is also from every 
description and feature of landscape, as well as 
from various accidental groupings of figures, cattle, 
trees, buildings, vessels, &c., that the lover of 
Nature and Art should derive constant delight 
combined with instruction. Something can be 
gathered from all we see, if the information con- 
veyed is really sought for. 
In commencing the outline of the present group 
