tained as in tl-.e method of copying by 
squares. Every peculiarity of the landscape 
must be caught with avidity, the declination 
of lines, the apparent lessening of objects, 
the species of the trees, the tendency of the 
broken fragments on the edges of clouds, 
and the movements of the foliage and 
branches by the wind ; the seasons should 
also be observeii, as the lights vary greatly 
with them, and the colouring essentially. 
Raging billows, waterfalls, and clouds dis- 
charging rain, offer many particulars for 
minute observation, and the shadows of 
passing clouds have a beautiful effect when 
chasing each other over the sides of moun- 
tains, or are spread like a veil over a large 
, tract of country. In making the lights and 
shades of a landscape, it must never be for- 
gotten, that whatever place the sun may be 
in, the liglit can fall but one way, and that 
all the difference possible in the shades are 
their degrees of strength between morning, 
evening, and noon, and their strength at ei- 
ther extreme of the day compared with the 
meridian, as they are very §hort at thatperiod, 
and often intermixed with strong reflected 
light, experienced artists always prefer 
morning and evening, as productive of those 
golden and purple tints which catch upon 
objects half buried in deep shadow, and 
give a beautiful effect to the landscape. 
Claude Lorrain was almost the only painter 
who thought himself equal to representing 
the sun, and the silvery effect of its beams, 
upon water : that he succeeded to admira- 
tion must be acknowledged, but it is ex- 
tremely doubtful whether his pictures will 
ever be equalled ; it is, however, certain, 
that the attempt has failed in eveiy modern 
instance. As one step towards imitating 
the brilliancy of the orb of day, it has been 
the custom to suppose the sun just beyond 
the boundary of the picture, by making tlie 
sky clear and light on that side, and gra- 
dually fading thence through the landscape. 
As this method is founded upon just prin- 
ciples, the young artist may safely adopt it, 
though not as an indispensable rule ; for the 
light breaking through clouds, and luminat- 
ing the centre or front of a view, has an 
excellent effect, especially if that spot is 
animated by human figures or cattle. When 
a building, whether a modern or ancient 
edifice, is the principal object, the light 
should be thrown decidedly on it, though 
that on the sides of clouds next to the sun 
must be brightest. But as that may be 
considered too attractive of the attention 
from the building, the atmosphere ought to 
be rather dark and tempestuous; because 
if there are few clouds, the light distributed 
on the globules of moisture floating in the 
air will overpower even the direct rays of 
the sun on an opaque body. In shading 
circular bodies, the light side ought not to 
cut hard upon the next object, but be sof- 
tened into it in a slight degree ; tlie brightest 
light succeeds, then the shading gradually 
deepens about three quarters through, after 
which the extremity catches a reflected 
light, and the outline blends with the tint 
behind it ; in the same manner foliage, tlie 
edges of hills, &c. should combine with tlie 
light or shade behind them. In represent- 
ing the angles of houses, the strongest shades 
must be next the light, whence they decline 
and become lighter: in this case, and in 
every particular relating to architecture, it 
will be most proper to draw from the 
works of the best masters, and finally from 
reality, as it is almost impossible to describe 
the consequence of every little light, and 
shade projected from the ornaments. Con- 
trast, when artfully contrived, is the true 
secret of producing relief; for instance, a 
plain light surface will not relieve from the 
paper ; but if the same surface has part of its 
depth shaded, as if placed obliquely, it as- 
sumes solidity : thus, if two deeply darkened 
objects are connected, they will appear on 
the same line ; but if a faint light, derived 
by reflection from some neighbouring sub- 
stance, is thrown upon the most distant, it 
will detach itself, and give an idea of sepa- 
ration from the other: hence it follows 
that shade should always be opposed to 
light throughout a landscape, but in that 
judicious manner pointed out by nature, 
whose operations in this case must be closely 
examined and ascertained, as they are often 
so faintly and capriciously performed as to 
elude an eye unaccustomed to accurate ob- 
servation: let it be remembered, besides, 
that her contrasts are never violent and 
glaring, ever declining in force with the 
distance of the objects ; tliose in the front 
of a view require tlie most attention, as 
every part being near, they become per- 
fectly distinct, and must be represented 
with the strongest colours suited to the 
substance. 
There are some other rules proper in 
drawing ; particularly, if a flower is to be 
copied froin nature, it is usual to begin with 
the centre, proceeding thence with the 
leaves composing it to the extremities, 
which method enables the student to lay 
them one above another in the correct and 
