Nature and Art, March 1, 1867-1 
ON SKETCHING FROM NATURE. 
81 
ment in the drawing — breadth being its charac- 
teristic. Therefore, when adding to it the 
warm grey shadows, all dark touches will have 
to be avoided, otherwise it will not exhibit that 
serene atmosphere for which our English Lakes 
are so deservedly renowned. Although repose 
constitutes the feeling of the scene, yet it is by 
no means wanting in variety either of form or 
colour. There is, indeed, much diversity — much 
for the eye to dwell upon, as it scans the broken 
surfaces of Led Pike on Crummock Water, and the 
High Style and Haycocks on Buttermere. It will 
now be seen how valuable those pencilled outlines 
have been in establishing truthfulness of form and 
position, giving to each spur of the mountains its 
true character and formation, so that the appro- 
priate tints can be applied unhesitatingly to the 
several shadows of its component parts. 
The clouds are touched upon with rose madder 
and indigo ; the tint to be used very liquidly. 
After this is done, proceed to put in the shadowed 
side of the rocks on the near mountain (Red Pike) 
carefully following the pencilled outline. There 
are two degrees of shadow made with cobalt and 
rose madder, both of which are to be introduced 
tenderly. The greenish and isolated spur has a 
little yellow ochre mixed with the cobalt and rose 
madder ; lake must be substituted for rose madder 
if the pupil has not the latter. A glazing — that is, 
a thin wash of colour — of raw sienna and a little 
gamboge is next to be put on the grassy surface, 
while, in the warmer parts, the tint is made with 
raw sienna and rose madder. 
The distant mountains are principally shaded 
with indigo and cobalt, and the lighter spaces 
warmed with light tones of rose madder. The red 
tint also of the right portion of the mountain 
iu light, is obtained by one or two washes of rose 
madder over the first tints. Each of the divisional 
markings or forms will require strict attention, for 
the reason that distances are determined by them. 
The line of trees in the middle distance must 
now claim attention ; and cobalt, with a little yellow 
ochre and Chinese white, be mixed for the grey 
shadows of their colours. The cobalt should be 
largely the predominant, and the less there be 
of the white the better, or the effect might be 
chalky. The warm tone and general character of 
the trees must be given by raw sienna, with a little 
cobalt and rose madder for the shadowy parts. 
In doing this, the forms should be gracefully given 
without regularity of either shape or size. The 
treatment of such a passage as this is generally 
found by the learner to be difficult, because much 
taste, and even skill, is required to prevent stiffness. 
The rocky projection to the right is of cobalt, rose 
madder, and yellow ochre, with a little brown pink 
added for the darkest parts. 
The foliage of the large fir tree is done with a 
mixture of Indian yellow, burnt sienna, and indigo 
used in some substance. The forms are to be 
attended to very accurately, so that the clusters 
may fall into their several masses and take their 
proper shapes. The stem in its dark parts is 
ii. 
deepened with brown madder and indigo, the 
touches being put on with decision. It is necessary 
to observe the breadth of light in this tree, or the 
general effect will be in danger. The deepest 
touches have burnt sienna added. Law sienna 
and gamboge are employed for the grass in the 
foreground, with an occasional addition of indigo 
where the tone inclines to green rather than to 
citron. The several stones and rocks are cobalt, 
brown madder, and brown pink ; the last colour 
only being required for the very warm and deep 
touches. Yellow ochre and rose madder supply 
the orange tones, and also serve for the stem of the 
tree where it is of a light and warm hue. The 
markings or touches in the foreground must be 
placed at the extremity of the different tints so as 
to impart clearness and brilliancy, and secure a 
crispness of effect. 
The water should now have .a warm wash of rose 
madder over the darkest side, and also at the front. 
When dry, two more washes of cobalt and a very 
little Chinese white are to be touched on hori*. 
zon tally, leaving the several lights. After this, go 
over the part from near to the boat with raw 
sienna and a little cobalt, to give a transparent 
tone, and with a little more raw sienna put on the 
few lines of ripples when the other is dry. The 
boat and figures are coloured with cobalt and light 
red ; vermilion being added for the red coat. 
Indigo is for the cap of the foreground figure, and 
vermilion and rose madder shaded with sepia 
are mixed with the reds for the coat. 
The principal endeavour of the learner should be 
to keep the whole of the forms throughout, from 
first to last, clearly defined. I have been careful to 
give a subject for illustration that bears this stamp 
of manipulation %w ell knowing its import, and 
more especially in works intended for the portfolio. 
In this drawing the effect has been produced 
without any washing off, and is simply the result of 
laying on the colours with care and neatness. 
A few words as to the design and construction of 
our drawing may be of much service in explaining 
how light and shadow, as well as contrast of tones, 
are dispersed systematically so as to produce a 
pleasing balance of effect. The sky has in it but 
little actual blue, which will be found at the top to 
the left side ; this softens into warm grey to the 
right and deepens into a bluer tone as it reaches 
the mountains, while it weakens gradually into 
light broken clouds, interspersed with white on the 
lower part over the dark mountains. The water is 
the reverse of the sky, the dark side being under 
the light of it, and the light side under the dark 
clouds, so that the highest lights may be said to 
have exchanged places. This is also the case with 
the mountains. The breadth of warm colour on 
Red Pike is taken across the drawing on the fore- 
ground, and the blue-tone of the mountains in contact 
with the light sky, is in a less degree repeated in 
the darks of the line of trees, and the separate spurs 
at the bases of the large mountains. The breadth of 
warm colour is diffused over the distant foliage, and 
joins the foreground which is brought to a focus 
G 
