Nature and Art, May 1, 1867.] 
“ STRAY SCRAPS FROM ODD LARDERS.” 
133 
object of interest. One particular more I would 
wish to be well noticed, and that is the form of the 
long soft cloud abov.e the mountain. If it were of 
any other shape than it is, it would necessarily 
have attracted undue attention, whereas by its 
simple, though slightly broken horizontal line, both 
mountains have their peculiarities strongly and 
clearly developed. Thus far have I thought it 
necessary to speak of the manner in which the 
several lines of the picture are composed, and how 
these in their varieties obtain value the one from 
the other. It is from the want of study in this indi- 
vidual branch of the art that much real pleasure in 
the contemplation of Nature or of a picture is lost. 
The intention in the working out of the scene too 
frequently escapes general observers, who, as a rule, 
do not imagine for one moment that the principles 
of art run so deep as to call forth the most intense 
efforts of the mind before they can be presented in 
all their excellence, and convey a just and reason- 
able idea of Nature — of Nature under her many garbs 
— of Nature in her numberless and varied effects. 
With regard to colour, a general 'warmth 
pervades the whole drawing, which is cheered by 
the line of small blue hills in the middle distance. 
This blue tint must not be too suddenly introduced, 
otherwise it would be unharmonizing , if I may use 
the term ; but rather should it be insinuated upon 
the purplv tone of which the general mass of 
shadow is composed. This blue tone is also 
carried into the lower and shadowed portions of 
the trees, and in a less cold degree upon the rocks. 
I have said less cold degree, which means that 
there should be a little red added (crimson lake). 
The presence of the white stone in the foreground 
is very necessary to give depth of tone to the other 
light portions of the drawing ; indeed all high 
lights are of the greatest importance as well as all 
the deepest touches, because they form so many 
points of attraction, upon which the eye will be 
sure to rest. 
In carrying the colouring of this subject to com- 
pletion, the sky should receive the line of cloud 
with a soft yet decided edge, as this will give 
considerable space beyond the mountains. There 
are two tones of clouds at the top edge, being 
of yellow ochre and rose madder, and that about 
the mountains partaking of more rose madder and 
a very small portion of cobalt. These tints may be 
passed over the mountains. After they are dry, 
the broad shadows upon the mountains are to be 
washed on with a thin colour, made of cobalt and 
rose madder, carrying it under the blue tones ; and 
while it is drying, it will be advisable to put on 
the horizontal tints upon the water with the same 
colour. The next thing to be done should be the 
more detailed shadows on the mountain, and 
afterwards the blue tones of the low line of hills, 
which should be of cobalt, a very little gamboge, 
and Chinese white ; the gamboge being to impart 
a slight green tone to the blue, and the Chinese 
white to give a little opacity in order that it may 
show more readily over the under tints. The 
warm citrine tints of the grass are of - raw sienna, 
mixed with rose madder in the redder parts, and 
a little cobalt where of a greener hue. All the 
trees in the middle distance are a modification of 
gamboge, lake, and cobalt, and will require careful 
painting : their reflections are put in with the 
same. The foreground trees are to have the 
markings of the clusters of foliage distinctly put 
on with gamboge, burnt sienna, and indigo, the 
brush being held rather uprightly, and the colour 
imparted by lifting the hand at each touch from off 
the paper, for the purpose of causing the forms to 
show out with decision and crispness ■ for nothing- 
ought to appear blurred or softened. When the 
whole of these forms are given satisfactorily, the 
intermediate spaces are to receive their washes, 
being careful to leave such lights as are requisite, 
otherwise there will not be any gradation. For 
the two yellowish trees, gamboge, burnt sienna, 
and indigo are to be employed, varying the 
quantity of each according to the proper tint. The 
centre tree is shaded with cobalt and lake over 
the first tint. A little cobalt and lake may also 
be put over the deepest shadows of the others, to 
impart a slight grey tone. In like manner the 
darkest touches are given upon the grass, and 
a few lines upon the water, keeping them hori- 
zontal. These are intended to represent the surface 
of the water. 
It would be far more profitable to recommence 
this subject entirely, following out the directions 
given in the last number, and only having the 
former chromo-lithograph as a guide rather than 
making it the copy. In adopting this method the 
learner will, in time, better comprehend how all 
finished water-colour drawings are begun and 
carried through to completion. 
“STRAY SCRAPS PROM ODD LARDERS.” 
By W. B. Lord, Royal Artillery. 
W HETHER roaming among the luxuriant 
forests of the Tropics, journeying through 
the frozen wastes of the Arctic Regions, the arid 
flats of Africa, the fern-clad hills and valleys of 
New Zealand, or away on the clear blue sea, 
amongst the islands of the Pacific, the observant 
traveller will not fail to be struck with the 
marvellous wisdom of the Providence who has 
placed ready to the hand of man the food best 
calculated to supply his need in the climate in 
