DRA 
are clear and brilliant, and tlie shades ju- 
diciously contrasted with them ; but those, 
like every product of the fine arts under 
the same circumstances, become contemp- 
tible when incorrectly executed. The 
choice of the subject is of great importance 
in each branch of drawing, and none more, 
so than those for transparencies, for which 
moon-light and fire-light scenes are gene- 
rally adapted, as botli are capable of pro- 
ducing great richness in tlie tints, and when 
introduced with ruins, are more particu- 
larly attractive : for- instance, the court of 
an ancient feudal castle, surrounded by 
fragments of walls, pierced with windows 
of magnificent mould, through which the fo- 
liage of the ivy hangs in grand festoons, 
grouping with the aspiring ash, the branches 
of the latter silvered by moon light, gleam- 
ing between various towers retiring each 
beyond the other, and waving over the 
deep shades of the former, at the same time 
faintly illuminating the gliding figures of 
midnight plunderers, seen passing through 
the gateway. 
Having excited attention to the nature of 
the best subjects, it will be necessary to 
say how they should be treated. Fix the 
paper intended for this purpose in a strain- 
ing fiame, draw the design, and colour it in 
the usual manner, then placing it against 
a window, examine where the shades re- 
quire strengthening, which will be some- 
times necessary on the back of the draw- 
ing, and with the opaque substances of 
ivory or lamp-black, mixed with gum wa- 
ter ; having completed it to the due effect, 
the brightest parts, as the moon or a fire, 
are to be impregnated with spirits of tur- 
pentine on each side of the paper, and the 
next lights on one side only; those must 
be covered again with a varnish, composed 
of two equal portions of spirits of turpen- 
tine and Canada balsam, but with great 
care lest it spread bfeyond tlie desired li- 
mits. The moon must not be coloured, 
but fire and flame will require red lead and 
gamboge. 
There is one other process which will be 
entertaining to a studious mind, destitute of 
any particular partiality for the arts, which 
is preparing a sheet of thin white-brown pa- 
per, by passing a brush over it fiileA with 
oil of turpentine; thus made transparent, 
it is to be strained upon a frame, and placed 
against any object that may be preferred, 
then fake a perforated board suited to the 
eye, and looking tlnough it draw the out- 
line observable on tlie transparent paper 
DRE 
with a black-lead pencil; the shading of 
the object fnay be obtained very correctly 
by this means, with a little attention ; but 
it should be done rapidly as the position of 
the shadows continually vary with the mo- 
tion of the sun: to facilitate this part of the 
operation it would be well to make several 
degrees of colour, and number them as they 
appear on tlie paper, in order to finish the 
drawing at more leisure. 
Drawing a cast, among bowlers, is win- 
ning the end, without stirring the bowl or 
block. 
Drawing, fitie, among taylors, the art 
of sowing up button-holes, or any rents in 
cloth, in so nice a manner as that they 
cannot be discovered from the entire part 
of the cloth. 
DREAMS have been described as the 
imaginations, fancies, or reveries of a sleep- 
ing man, and they are said to be deducibla 
to the three following causes : 1. The im- 
pressions and ideas lately received, and par- 
ticularly those of the preceding day. 2. The 
state of the body, particularly the stomach 
and brain ; and, 3. Association. That 
dreams are, in part, deducible from the 
impressions and ideas of the preceding day, 
appears from the frequent recurrence of 
these, especially of the visible ones, in our 
dreams: in general, ideas that have not 
affected the mind for some daj's, recur in 
dreams only from the second and third 
causes. That the state of the body affects 
our dreams, is evident from the dreams of 
the sick, and of those who labour under 
indigestions, spasms, and flatulencies ; and 
a little observation will shew that we are 
carried on from one thing to another in our 
dreams partly by association. In proof of 
what we have advanced, we may observe, 
1st. That the scenes which present them- 
selves in dreams are taken to be real, and 
we suppose oiu'selves present, and actu- 
ally seeing and hearing what passes, which 
is occasioned by there being no other 
reality to oppose to the ideas wiiich offer 
themselves, whereas in the common fictions 
of the fancy, while we are awake, there is 
alw'ays a set of real external objects strik- 
ing some of our senses, and precluding a 
like mistake there. Again, the trains of 
visible ideas, which occur in dreams, are 
far more vivid than common visible ideas, 
and may therefore be more easily taken for 
actual impressions, ‘idly. There is a great 
wildness in our dreams ; for the brain, dur- 
ing sleep, is in a state so different from that 
in which the usual associations were formed, 
