Nature ami Art, June 1, 1867.] 
ON SKETCHING FROM NATURE. 
163 
ON SKETCHING FROM NATURE. 
By Aaron Penley, Professor of Landscape Painting at the Royal Military Academy, Woolwich. 
No. XI. STUDY OF STONES ON THE NORTH SIDE OF TALIARIS, NEAR LLANDILO, SOUTH WALES. 
mHERE are few details in the foreground of a 
X picture of more value to its effect than 
detached groups of stones, large or small. In no 
other objects do we find greater diversity of colour, 
although composed of the same material j and it is 
quite true that, although masses from the parent 
rock lie side by side, yet each and all vary in tint 
to an extraordinary degree. This offers us every 
desirable change of tone whereby our foreground 
can be enriched ; and groupings of stones are no 
less valuable for the introduction of colour than 
for the distribution of light and shadow ; for, 
being often the medium of some concentrated 
light, they become, as it were, the key-tone or focus 
of a whole drawing : this, however, will depend 
greatly, or, I should rather say, entirely, upon the 
character of the subject. The introduction into a 
scene of large stones (fallen or surface stones) 
should always be the result of knowledge as to 
their possibility of getting there ; and I mention 
this from the fact of their sometimes being a kind 
of stereotyped adjunct to a foreground, quite irre- 
spective of the geological character of the site. 
This is an error so common, that the artist can at 
once detect between a truthful sketch and a tricky 
deception practised by a tyro. It matters little 
what the subject may represent, if there be a strict 
adherence to reasonableness throughout, without 
bringing into notice any foreign objects totally at 
variance with the scene. Nothing shows greater 
ignorance than this ; and I feel it would be an 
omission on my part, where I not to give a word 
of caution against so great an error. 
The group of stones given for our subject is a 
part only of a sketch drawn and coloured on the 
spot. It will be found to combine variety of 
angular forms, and much divei'sity of colour, as well 
as great force of light and shade. In drawing 
groups, or even single stones, of this description, 
great attention should be paid to the general out- 
line, and the several angles which are presented to 
secure an appearance of a broken surface and of 
stone-like fracture. In almost every instance there 
must be a crispness of edge to each part, without 
softening or melting of one into the other. How- 
ever slight the washes may be in the lightest parts, 
yet they must all have clear and decided edges. 
Indeed, if they do not, the consequence will be a 
semblance to dough or putty instead of to stones. 
It is also of great importance that the breakage of 
divided portions should be properly and very 
attentively cared for, inasmuch as this is peculiar 
to each class of stone. 
In a subject so local as this I have selected, I 
shall not enter into minute detail as to its stages of 
progression, but would remark that the principal 
thing to be observed throughout, is to leave the 
whole of the lights clean, sharp, and well defined. 
To effect this, a true pencil outline is imperative ; 
without it there cannot be a successful result. As 
regards the colouring, the student must determine 
those parts that are warm and those that are cold, 
that is, which tones are inclining to the yellow, 
orange, red, lake-purple, or blue-purple, to grey or 
blue. It is only by a true balance of each that 
agreeable impression can be made, so that it is to 
be hoped this matter will have some consideration 
before commencing with the colour. The sky is 
produced simply with cobalt and a little lake. 
The light tints on the stones are obtained with 
YELLOW OCHRE, BURNT SIENNA, LAKE, and COBALT, 
in different proportions, agreeable to the tint re- 
quired. All the shadows are done with burnt 
sienna, lake, and indigo, varied, — and a little 
gamboge introduced where the deepest touches are 
seen, because it causes the other colours to hold out 
with greater power from its being a natural gum 
and having a glossy quality. The herbage is of a 
mixture of gamboge, burnt sienna, and indigo, 
more or less of one than the other, and lake in- 
troduced upon the indications of heather. The top 
of the hill and the small loose stones must be 
coloured in with cobalt and light red, and the 
short grass of yellowish tone is of yellow ochre 
and brown pink, and in the greener parts a little 
indigo added. 
The foregoing instruction will be found sufficient 
to enable the learner to copy with accuracy the 
subject before him. I have introduced it into the 
pages of Nature and Art for the purpose of giving 
an insight into the manner of portraying masses of 
fallen stone, thinking the season for sketching from 
Nature is coming on, when many will seek for con- 
verse with scenes of beauty, grandeur, and interest. 
I take this opportunity of giving an extract from 
a letter received from a subscriber to Nature and 
Art, and I do so to clear up any misapprehension 
that may be felt by others upon’ the same point. 
“Sir, — May I, as one of the numerous admirers of your 
sketches in Nature and Art, be permitted to call your 
attention to a want in your instructions which I fancy must 
be more or less felt by a great number of those who seek 
for instruction from them ? I allude to manipulation. 
“ In looking at the ‘ copies ’ one is struck with the effect 
produced by innumerable dots or specks overlaying the flat 
tints, sometimes of the same, but not seldom in other 
colours. No allusion is made to this dotting in the letter- 
press, and the student is left to wonder whether the same 
effect is expected to be arrived at by flat washes (no men- 
tion being made of other modus operandi), and if recourse is 
only had to this treatment of the subject, in order to supply 
some defect in the matter or manner of painting.” 
M 2 
