tains several figures, it will be proper to 
find the centre and mark it, which will give 
the learner an opportunity of ascertaining 
the places of the most conspicuous correctly 
on either side. Having completed the out- 
line, it must be critically examined, and 
amended where faulty, ere the least at- 
tempt be made at finishing. If a print is 
to be imitated, the lines which compose it 
are to be followed in every particular with 
a good pen and Indian ink, as an en- 
graving supersedes all directions. 
There are several useful rules to be ob- 
served in drawing a truly proportioned 
head and face : the former contains four 
equal parts, measuring from the crown to 
the upper part of the forehead, to the eye- 
brows, to the lower part of the nose, and 
to the chin. The first step towards draw- 
ing a full face is to form ati oval, through 
which make a perpendicular line, and a se- 
cond across tlie centre, then divide tl;e 
former into four equal parts, the first is to 
include the hair, the second the forehead, 
the third the nose, and the last the lips and 
chin ; the transverse line is to be consider- 
ed five times the length of the eye, one 
length of which is to be left for the space 
between the organs of sight; the ear should 
never be higher than the eye-brows, nor 
lower than the bottom of the nose ; the 
mouth is the length of the eye, and the mid- 
dle of it must be on the perpendicular line, 
and the exterior of the nostrils ought not 
to extend beyond the inner comer of the 
eyes. To illustrate the above directions 
practically, they may be followed on an 
oval of wood made for the purpose, which 
when turned sideways, upwards, or down- 
wards, will shew the true lines of the face 
in those positions. See Plates — -Draw- 
ing. In drawing the profile, the line 
of the oval is still to be preserved, but 
the projections of the nose, &c. must be 
left to the learner’s observations on living 
figures. It has been observed by an emi- 
nent painter, that nothing is more easy than 
to represent an infant smiling, or under tlie 
influence of grief, which is accomplished by 
raising the corners of the mouth in the first 
case, and depressing them in the second ; 
in smiling, the eyebrows undergo but little 
alteration; but in frowning they are vio- 
lently contracted, and drawn towards each 
other. In other parts of the figure, care 
should be taken to avoid shewing the mus- 
cles too strong, even in representing large 
persons ; in youth they are less visible, and 
in corpulent figures they are almost con- 
cealed from view. In the breadth of the 
limbs it will be found, that the calf of the 
leg is double the diameter of the ancle, and 
that the largest part of the thigh is three 
times the diameter of the smallest. 
Drawing of Landscapes. The science of 
perspective is so absolutely necessary in 
this branch of the art, that it must be ac- 
quired before the student attempts to copy 
a drawing or print ; for although the heights 
of trees, bushes, hills, &c. &c. vary greatly, 
yet there is a general and palpable declen- 
sion in tlie relative proportions as they re- 
tire from the eye ; besides, if a building in- 
tervenes, the w'ant of truth in this particu- 
lar becomes instantly obvious. 
When the student is master of perspec- 
tive he may proceed to copy good drawings 
either with black-lead pencils or chalk, ac- 
cording to the paper he adopts; but he 
should prefer those only that give a clear 
and distinct idea of the outline, as he can- 
not possibly comprehend the forms of ob- 
jects which are mixed and lost in others, 
merely to bring the light into a focus for 
brilliant effect : it would not be amiss at 
the same time to draw detached objects, 
till their forms are perfectly and cor- 
rectly obtained ; having accomplished this 
point, groupes will be more easily under- 
stood and copied. Shading with the above 
materials must be governed by the ob- 
jects drawn from; in using Indian ink, 
the student should lay on the colour ex- 
ceeding faint next the light, and deepen the 
shade gradually ; and we would recommend 
him to confine himself to it till a good 
judge of his merit pronounces he may at- 
tempt colouring; as he should remember 
his aim is to become a skilful artist by re- 
gular progression, and not a mere gaudy 
colourist, to entrap vulgar applause. When 
the student arrives at this most difficult 
and arduous branch of the art, he cannot 
too attentively consult the best specimens 
of colouring within his reach, remarking 
how the tints of the ah’ in the zenith are ge- 
nerally treated, which is of a purer blue 
than on the horizon, where the vapours, 
continually floating near the earth, become 
more visible, and are tinged with yellow or 
purple, according to the position of the sun, 
and their form, when condensed and raised 
in clouds, which partake of the same tints 
from the same cause, their transparency in 
some parts, their daizling light, reflections, 
and deep shades, in others. He will per- 
ceive that the experienced artist, sensible 
of the existence of moisture in the air be- 
