OF DRAWING
HANDBOOK
BY
WALKER
WILLIAM
LECTURER
AND
WITH
TEACHES
OF
FREEHAND
UPWARDS
OF
TWO
sincere
most
is universal
heart
elaborate
and
in its influence
quick
;
so
finish.
THE
COLLEGE
OWENS
WOODCUTS
HUNDRED
may
In
observation.
imitative
IN
DIAGRAMS
AND
'Art
DRAWING
Either
this
will
it be
in its
case
it may
be
whole
and
practice,if
be the
it
proceed
merest
from ilje
Sfecoub(Kitglblj
American
*
YORK
NEW
SCRIBNER'S
CHARLES
743
AND
745
BROADWAY
1880
sketch,
perfect.' GOETHE.
"
SONS
from
or
a
the
Art
Library
1(0
PREFACE
TO
THE
issue
very
this
fair
real
indulge
Handbook
of
and
done
a
a
great
it
country
meet
reception
in
the
me
usefulness
may
; and
I
with
America
OWENS
Manchester,
as
1880.
isfactory
sat-
shall
kind
it has
as
WALKER.
COLLEGE,
February,
to
amongst
England.
WILLIAM
THE
aifords
extended
that
hope
appreciative
in
of
Scribner
Messrs.
in America
amateurs
the
of
proposal
prospect
the
EDITION.
AMEKICAN
THE
vii
PREFACE
THE
TO
THE
in
in
cultivation
the
of
Books
has
its
studied
find
in
as
in
its
beauties
The
its
its
of
in
Nature,
will
or
"
any
put
It
tion
informa-
likelyto
has
all true
been
be
met
prepared
education
by
bad,
consists
and
in the
here
enable
before
abundance
Greek
intellectual
expression.
the
latter
be
aspect,
former
The
signs.
should
rules, and
and
;
man,
Ger-
or
its
copying
merely
class-room,
in
are
than
more
elements
significant outlines,
diagrams
is not
as
and
good
Art,
the
such
judgment.
emotional
information
and
that
delineative
exact
furnish
to
form.
learned
be
more
sphere
of
the
grammatical
recommended,
and
of
to
is
Education
Examples,
is not
"
work
principle
language
the
EDITION.
compact
guiding
the
well
Art
other
any
under
Art
this
Elementary
on
but
of
purpose
with
FIRST
amidst
as
will
the
studio.
presented,
the
and
him
and
student
to
drawings
in
the
practice
make*
from
ful
truthoutlines
and
lecture-rooms
elsewhere.
ix
Preface.
x
work
The
of
only
useless
away
in
its
duty
present
to
issuing
been
suffering,
physical
courses
has
help
this
were
to
and
form,
little
as
and
fellows
my
has
to
open
others
chiefly
prepared
to
I
me
are
imperfections.
many
either
to
the
my
to
or
latter.
reasons
the
hours
bring
the
out
desire
The
and
apology
volume.
WILLIAM
Fairlands,
let
Hayfield.
Two
"
myself,
chose
intervals
during
WALKER.
pass
book
and
for
As
false start, or
a
inquiry or
an
in
entering
suggested, and
the
In
to
such
prevent
may
learn
that
us
that
those
enables
In
ask,
us
Just
we
we
"What
seek
fundamental
so.
should
And
in
the
of
at
we
thoughtful
be
useful,
suppose
should
we
to
develop
given
for
in
the
to the
come
once
worthy motive,
a
study
be
lead
pursuit of
naturally expect
perhaps drudgery,
would
Science
as
cesthetically,
with
answer
would
the
it,
and
has
wish
we
But,
order
God
in nature
principles on
in
do
it may
Because
which
will
The
which
course
which
and
success.
course
?
stated
of
worthy
Art
start
we
;
beginning, then,
results
the
matter
is here
like
we
higher form,
a
work,
are
reasonable.
more
taneously
spon-
outset.
Because
then
intellectually,
reasonably expect
may
That
the
works
of
ask, Why
us
be,
study
to
His
to do
us
of
root
let
be
faculties
nobler
appreciationof
reply,
take
wish
we
let
reply should
our
should
answer
at the
satisfactory,or
certainly would
our
say
if
; but
men
To
deemed
be
hardly
?
draw
field
new
tendency
place, then,
first
to
this
failure,
to
occurred
not
has
perhaps
indispensable facts
wrong
lead
bias, may
wrong
upon
few
a
a
which
two,
STUDENTS.
TO
ADDRESS
to
of
would
an
go
the
secure
undoubtedly
acquaintance
the
which
any
language,
new
likely to
most
to
this
through
this nature
some
preparation, equivalent
with
is based.
Art
subject of
be,
to
labour,
learning
Address
xii
French
to Students.
ingly,
not unwill-
hexameters, and
verbs, or writingGreek
*
provided always that
labour would
It is
bring us
just in
this
Art, remembering
and
temper
the
at
Greek
and
verbs
to the desired
nearer
that
Arts
without
of
work
a
its
physical science
any
Language alone is
form, while
science
still
without
To
that
so
be
on
mind
much
so
"
power
of
means
becomes
be
impossibleof
; but
rather
be
'
action
Art
of power,
should
with
Physical
reasoned
a
medical
Latin ; and
acquirement
perception,and
is conversant
it into
i111:11:0 of God
a
new
Himself.
with
hand
and perception.'
pleasure,
not
from
to
stand, phial-like,
this master,
Chemistry,then
it should
so
be treated
development of
now
so
much
as
agent, which, gatheringto itself knowledge
weaves
expressing
"a
indispensableas
as
; for
instruction
much
so
and
illustrations ?
fact.' To
sense-subjected
should
sources
youthful
from
it
as
would
learn, there
eye, main
A
a
soon
or
sensible form.
enjoyment with
and
so
drawing will
Mathematics
even
thought
be
Anatomy,
or
without
the worst
of
prehensible
utterlyincom-
would
Chemistry,
that, in
and
;
are
What
whatever,
one
instead of
student
him
drawing is incomparably the best.
stands
statement
aid.
French
study is
to
proposes
Sciences
and
Physics,or
on
now
everything about
to
of the
fact, many
he
study
occasionallybe useful
will
hexameters
student to
a
such
goal.
that, whilst
time
same
pleasant,the language
closelyrelated
ask
we
that
certain
were
we
that
a
ceive
re-
much
Geology
mysterious
of all
which
kinds,
is the
INTRODUCTION.
IF
it
amongst
any
not
in
one
other
of
such
is
Millions
of
takes
us,
yet
each
time
in
the
our
be
may
every
and
common
as
there
well
would
to
are
as
in the
be
full
pleasant
to
would
wearisome.
be
that
dwell
is
an
in
the
to
us
than
therefore
by
of
the
aspects.
infinite
source
midst
of
we
in
appearances
An
square
is not
which
ual
contin-
pecially
pleasure, es-
but
is
fully to enjoy
general
form
and
things, the
oblong
one.
the
which
This
landscape,
of
cause
bemind
form
of
fail
vision,
The
see.
means
ances
Appear-
and
It
various
that
a
result.
facts,
judge accurately
monotony.
in
the
around
alteration
complete
a
is
some
of the
things
cultivation.
we
with
of
with
variance
at
detailed
of
yet
;
life unconscious
inch
everything
variety both
not
were
might
disconcert
appearance
an,
under
things
we
that
it
them,
not
or
correctlythe
see
about
through
in the
furnished
when
constant
surprise,if
open
assumes
of
change
If
are
able
object
of
faculty, requires
be
to
could
windows
move
of
eyes
requires
eye
we
constantly
other
intelligentmen,
or
pass
place
appearance
any
them
Exchange,
fact.
persons
that
like
walls
the
change
are
of
amount
probably
of
large gathering
the
small
no
Manchester
the
on
hundred
every
appearance
cause
announced
were
room
A
is
circular
so
it.
color,
world
more
room
Introduction.
xiv
actuallydifferent hues
The
infinite
another
of it is lost because
not
music, and
knowledge
that young
music, is it
world, which
with
As
so
the
hand
would
time
the Greeks,
in
as
France
he
is
Arts
of
is concerned, it
with
writingand
only
drawing
Germany every
taught
to
she must
drawing
if
pay
and
this beautiful
enrich
our
the
to
ceive
re-
drawing
will
this country.
With
synonymous
; and
taught to draw just
time
England is
more
when
were
much
ought
utilitarian motive,
a
child is
write,and
; and
time in the practice
thingsin
note
is
and
necessary
imagery ?
physicalworld
practiceof both
the
to
rapidlyapproaching
its rightplace in education in
demand
by
important gateway of knowledge,
great culture, even
for the
colour
considered
immensely enlargeand
fine thoughts and
the
as
and
ciation
appre-
equallyimportant to cultivate the
not
the eye is the most
far
it
helps,both
to the
of form
spend so much
should
persons
eye to observe,and
minds
with all the
If it be
full appreciati
a
important is
so
feeling(love),
necessary
and
surrounded.
are
we
of
be furnished
enjoyment of the charms
and
which
necessary to
are
have
we
knowledge of
a
enjoyment of sound, how
should
that the mind
enjoyment
quick to observe,or
not
are
well-trained ear,
a
and
of
we
much
pleasure,but
is
in the world
colours
fullyto appreciate. If
trained
been
of
source
and
to
attention
is
given to the
hold
to the
of
principles
Art
her
own
in
ing
rightteach-
as
primary
a
step.
Every purchase we
or
pattern about
make
of
it,encourages
anything with
good
or
bad
a
design
Art, though
Introduction.
do
we
what
in
think
not
pleases
design,
No
us,
well
as
doubt
and
pure,
Art,
and
good,
or
to
as
to
expect
to
sell
has
taste
it
bad
and
generally,
True
is
of
in
that
his
in
is
in
one
Art
as
perfect
is
an
is
pure
be
know
it
bad,
good
who
or
buy
what
useless
is
shopmen
the
the
that
therefore,
know
should
manufacturer,
is
what
prepare
desirable,
the
those
not
must
and
may
artistically,
they
fits
nature's
of
view
important
him
all
of
himself
and
universe
in
In
the
things,
this
factor.
the
man,
great
applied
as
become
to
capability
manifested
Man.
whether
man,
"
universe,
work
"
If
false.
what
buy
purpose.
taste
do
to
apt
quality
and
but
;
from
most
as
in
too
Art.
material
the
true,
which
Creator
secondly,
it
well
as
education
Infinite
of
It
good
patrons,
to
is
buy.
right
morals,
its
sense
which
public
best
a
distinguish
will
is
be
may
are
place
everybody
public
what
its
to
manufacturers
that
is
what
of
suited
as
in
are
so
instead
We
time.
the
at
so
xv
the
first,
;
*
Father
his
work
of
or
of
perfectly
surely
or
and
highest
view
of
'
all
us
;
the
and,
spiritual
only
the
the
whether
surroundings,
world,
and
in
Art
to
in
study
the
of
CONTENTS.
CHAPTER
PAGE
I.
ON
DRAWING
II.
ON
THE
III.
ON
SEEING
1
7
EYE
AND
12
OBSERVING
......
20
IV.
ON
HOLDING
V.
ON
LINES
VI.
ON
OUTLINE
26
VII.
ON
SKETCHING
29
ON
LIGHT
ON
DRAWING
Vni.
IX.
X.
AND
CONTRAST
XII.
ON
RELIEF
ON
SIZE
XV.
ON
37
SHADE
FOR
FLAT
A
COURSE
81
XVII.
ON
TASTE
XVIII.
ON
STYLE
XIX.
ON
MOTIVE
XX.
ON
BEAUTY
.
.
83
.
.
.....
...
.
86
.
.
.....
.
.
.
.
89
.
SECURING
57
STUDY
76
SYMMETRY
ON
OF
....
PROPORTION
XVI.
55
COPIES
.........
.
ON
23
FROM
SUGGESTIONS
ON
XIV.
PENCIL
.........
XI.
xra.
THE
CHARACTER
IN
ART
.
WORK
.
.
.
.
92
....
.'.'-.
95
.
99
101
107
.
.
.
_
XXI.
ON
110
FITNESS
...
XXII.
ON
.
.
.
.
.
.
112
VARIETY
.
b
xvii
xviii
Contents.
PAGE
CHAPTER
XXIII.
ON
UNITY
118
XXIV.
ON
COMPOSITION
120
XXV.
ON
LIOUT
AND
TO
AND
XXVI.
LAWS
SKETCH,
TO
GROUPS
OF
OBJECTS
130
AND
NATURE,
OP
APPLIED
AS
PICTURES
THEIR
APPLICATION
AS
PLES
PRINCI-
138
ART
OF
XXVII.
SHADE
145
PICTURE
STUDY,
153
XXVIII.
ON
GRASS,
ETC
XXIX.
ON
TREES
XXX.
ON
PRACTICE
XXXI.
ON
WATER
187
XXXII.
ON
SKIES
193
XXXIII.
ON
DRAWING
HERBAGE,
160
FOR
TREE
181
DRAWING
FIGURES
AND
204
ANIMALS
....
XXXIV.
ON
210
CRITICISM
PART
XXXV.
ON
PERSPECTIVE.
XXXVI.
ON
ARTISTIC
XXXVII.
ON
TECHNICAL
II.
INTRODUCTORY
REMARKS
215
.
.
.
218
PERSPECTIVE
238
PERSPECTIVE
APPENDIX.
ON
A."
B.
"
C.
"
D.
"
ON
CHILDREN'S
THE
DIASCOPE
PENCIL-IN-HAND
NOTE
DRAWING
ON
263
264
MEASUREMENT
TEACHING
.......
266
207
LIST
ILLUSTRATIONS.
OF
"Frontispiece.
PAaE
of
sketches
Rough
for
a
'Effect'
for
Frontispiece
,,
Lotus
4, 5.
box.
2, 3
Order
Figs. 1, 2.
3.
tea-kettle, "c
Moulding
13
Scroll
plant.
15
,,
6,
for
bracket
Iron
16
lamp
,,
20
Hands
7, la.
,,
1b,
c.
and
Hand
pencils
.21
,,
Id.
File
22
box
"
and
curvilinear,
Rectilinear,
8, 9, 10.
forms
compound
24
.
,,
"
,,
,,
20.
Coast
21.
Female
Outline
wheel.
by
scene,
J.
D.
Outlines
of
24.
Window
of
30
...
32
33
Harding
D.
....
.34
tree
.
.
.
Outlines
picture
.
faces
"
23.
of
27
stone
Harding
J.
figures, by
"
22.
of
Sketch
,,
shoe, convolvulus,
Irregular form,
14, 15, 16, 17.
18, 19.
26
apple
Circle, cube,
11, 12, 13.
.
.
.
35
trunks
,,
.36
25.
Diagram,
26.
Illumination
27.
Jar
,,
showing
of
rays
of
.
.
.
....
,,
.
39
light
40
objects
,,
and
,,
28, 29.
hoop, showing
Blocks,
,,
30.
,,
31.
,,
Base
of
showing
pillar and
Doorways,
showing
cast
41
shadows
....
43
reflections
stick, showing
effect
of cast
cast
45
shadows
.
.
46
shadow
...
List
xx
of Illustrations.
PAGE
Figs.3 la.
32.
Opening
in
Wooden
33.
Portion
34.
Pillar
wall, showing retirement
platterand
of shade
.
.
knife
47
......
of tree
48
.,
35,36.
"
Old
40.
...
.
.
*.
.
.49
Pairs of feet
.
.
.
.
.
.51
/.
Roofs
37, 38, 39.
"
.
.
"
twine
Leaves
52
shed
54
blockingin'
'
,,
59
Flat tint
41.
Outline
GO
sketch
of boat
,,
Graduated
,,
42, 43, 44.
,,
45,46.
47.
,,
,,
views
Angular
50.
Angular
51.
Eye-stand
"
Chairs
54,55.
Barreland
"
56.
Portions
57.
Outline
,,58.
of round
65
table
66
of
67
of squares
67
of square
68
70
'What-not'
cylinders
70
71
........
sketch, after J. M. W.
Turner
Diagrams,
73
...
contrast
to show
77
61.
"
"
62.
,,
78
"
after Watteau, by J.
Dancing figures,
D.
Boat
68, 64, 65.
"
,,
.
72
...
M
"
59, 60.
"
of squares
69
52, 53.
"
views
views
view
"
"
63
Transparent cube
48, 49.
.,
61
tint
Different
Two
.
46
Harding
.
79
80
Arches, showing relative size
....
84
66.
Diagram, showing proportion
87
67.
Ovals, showing symmetry
90
Landscape
91
xxi
of Illustrations.
List
PAGE
Pigs. 68, 69.
70.
"
92
Twigs, showing character
94
Hamper
,,
'
71, 72.
"
Jugs
96
.
.."....-....
Scroll
98
'
Umbrella
73, 74.
"
.-100
.
101
drawing, showing truth and falseness
Child's
.
*
Acorn
106
.
.
.
.
-109
Vase
75.
,,
"
Diagram of circle,showing segments
"
ovals
77.
showing how
,,
Rhine
boats
Contents
of
,,
,,
,,
,,
,,
,
"
79, 80.
a
pocket
87, 88.
Composition lines
89, 90.
,,91.
"
in
"
"
letter
96, 97.
Repose
Division
Bolton
of
and
pictures
101.
.117
.
.
.
.
.
Italian
Lane
124
.-.'..'.
124
.'.._..
125
...
.
.
.125
126
.
picture
buildings
in
122
123
.
....
Contrast
Abbey, by
"
,,
.
'.
.
Surrey
,
~
J. D.
.127
...
.
.
.
100.
.116
126
Composition lines
,,
,,
115
prisoner
94, 95.
99.
.
121
.
98.
.
.-
"
discovered
,,
,,
.
.
"
"
The
.
123
Crocus, vase
93.
.
.
Lines, showing relation,"c.
85, 86.
The
.
ovoids
to construct
...
.
.
compositions,glass,sketch-book,"c.
Two
81, 82, 83, 84.
92.
...
.
"
,,
.
"
"
76a, b.
78.
lt4
oval
76.
"
113
....
.
.
.134
.
.
.
"
"
"
"
.
.
135
"
,,
.
,,
...
_"
128
.129
.......
Harding
.
136
137
Bit of road
.
of Illustrations.
List
xxii
PAGE
106.
140
Candlesticks
104, 105.
"
139
candlesticks
Primitive
Figs.102, 103.
141
Candlestick
"
107, 108, 109.
"
110.
"
142
Cups
of Wilkie's
Facsimile
first idea of the
'
Rabbit
on
the
147
Wall'
111.
Sketch
148
of field-flower
"
113.
,,
"
Sketch
of
Dame
115.
116.
Study
151
of tree trunk
H8.
Outlines
"
121, 122.
Notes of leaves
123, 124.
.
,,
,,,
"
125.
Herbage
126.
Concentric
'
"
ringsof
130.
Branches
183.
tree
Oak
grass
.
.-'"-.
.
.
.
158
159
131, 132.
Oak
163
tree trunk
leaves and
of oak
and
spray
sycamore
.
.
.
.164
165
....
168
134.
Ash
tree
169
135.
Ash
spray
171
136.
Umbrella
137.
Shade
138.
Sycamore
139.
Birch tree
175
140.
Shade
exercise
176
141.
Beech
stems
..
,,
.157
.
..
"
.156
.
Preparationfor
127, 128, 129,
"
,,
of leaf
.
"
,,
152
grass blades
..
119, 120.
,,
149
....
150
"
.
149
bridge
"
""
148
common
Campbell'shenroost
,,
"
117.
a
"
"
"
sheep on
old window
114.
..
"
148
beehive
112.
"
diagram
172
exercise
173
tree
(J. D. Harding)
174
...
177
List
of Illustrations.
xxiii
PAGE
Figs. 142.
,,
Scotch
179
Tree-shade
143, 144.
145.
fir
Exercise
exercise
182
for tree contour
183
,,
"
,,
146,147.
148.
"
149.
"
,,
186
Diagrams, showing angle of reflection
150.
151.
185
trunk
"
"
"
of oak
Portion
Tree
"
.
.
.
-
Frontispiece.
153.
Diagrams, showing
154.
Cumulus
curvature
of
waves
.
.
.
.
.
.
at rest
after travel
155.
.
"
156.
Creeping mist
157.
Clouds
158.
Coast
,,
159.
"
.
.
.199
203
......
206
207
Figures, after Prout
163.
Figures, after J. D. Harding
164.
Oak
165.
Transparent cube
,,
.
.
"
160, 161, 162.
"
"
above
"
"
.
(J. D. Harding)
scene
"
.
.
.
.
.209
209
.217
spray
218
'
Cube
"
"
"
"
"
168.
169.
170.
174.
175.
"
,,
"
diagram
Book
176.
177.
.
.
.
.
.
.
.
Cube
...
.
.
.
.
i|
.
.
.
.
.
.
.
.
.
"
.
,
....
Outline
.
.
.
.
.
.
.
.
.
Twenty
...
room
-219
.
220
.220
"
222
./
223
.
Transparent cubes
Interior of
218
.221
blocks
Transparent cubes
cubes
".
"
.
;
Arm-chair
171, 172, 173.
190
202
from
seen
,,
189
198
,,
"
188
189
"
"c
Looking-glass,
152.
,,
184
,
upright
.
.
...
224
.....
225
.
,
xxiv
List
of Illustrations.
PAGE
Figs. 178.
of
Diagram
"
179, 180.
Blocks of
"
181, 182.
Two
"
183, 184.
Uphill and
185, 186.
Angular
,,
,,
view
Angular
188.
Transparent
189.
"
buildings
227
of shed
views
187.
"
226
room
228
downhill
view
229
of square
and
cube
.
.
.
of cube
231
cube
232
cubes
233
"
"
,,
190.
Block
of
191.
Angular
buildings
view
195.
"
196, 197.
"
198, 199, 2CO.
"
201, 202, 203.
204.
Block
Diagram
1.
.
.
.
circle
Ground
239
plan and
views
"
of
of three cubes
six cubes
"
buildingsfrom
Showing
4, 5.
,,
.235
.
.
ground plan
same
Appliance, illustrative of perspectiveterms
2, 8.
"
piano
237
and
Square
"
and
234
of models
Group
"
238
of cube
Chairs
192, 193, 194.
"
in
same
how
and
profile,
to find distance
,,
.
.
.
.
.
.
.
.
.
points and
6, 7, 8.
,,
9, 10.
"
11, 12.
13.
"
14.
,,
Figs.205.
"
,,
parallelviews
.
"
of square
view
of cube
ing
vanish-
tomb-stone
,,
Hands
....
oblong
cube
.
.
.
251
254
256
258
,,
Diascopc
206, 207.
and
,,
Explanatory of angular view
Angular
245
248
circle and
"
241
244
*
flat
240
242
points
"
230
261
265
measuring
Kettle,"c
......
266
,268
OF
HANDBOOK
DRAWING.
PART
I.
I.
CHAPTER
DEAWING.*
ON
THE
1.
has
drawing
led
series
a
associated
with
wider
much
are
used,
that
not
and
used.
should
mechanical
such
the
be
as
was
Department
become
it has
applied
is not
rulers,
compasses,
flowers,
free-hand
landscapes,
assistance, ought
be
to
a
all
to
geometric drawing, instruments
this
models,
by
Eightly understood
alone.
In
It
unfortunately,
has,
instruments,
therefore
speaking,
and
free-hand
instruments,
without
copying,
significance, and
where
drawing
"c.,
Art,
and
term
confusion.
designs issued
outline
of
Science
of
the
to
the
considerable
to
originally applied
of
of
misunderstanding
are
work.
Strictly
drawn
without
considered
hand
free-
as
drawing.
*
A
definition
if it is not
to
of
the
exclude
Hamerton
leaves
significant marks,
the
art will
permit
us
:
'
"
'
drawing
into
art
some
less.
says
term
If
we
we
are
say
as
'
which
that
precise
be
must
drawing
drawing
as
comprehensive
very
the
is
numerous
enters
a
more
motion
which
varieties
to be.'
1
or
of
On
2. Its
ideas
practisedmore
useful
which
all.*
*
In
infancy
pressing
ex-
should
art, and
in
sort
a
as
most
a
has
Russian
often
a
of
be
hand
short-
understood
translation, and
respect it
Atkinson, the well-known
towards
perceptivefacultieswill
knowledge conveyed
this
step
of
earliest
the
language requiringno
by
medium
less from
or
language, by
quickened,'and
the
through
first
is the
elementary study
our
be
Drawing.
great advantage
traveller,told the writer
that
seriouslyinconvenienced
his pencil.
for the readiness
with
which
he could
had it not been
use
The followinganecdote, also,will show
the advantage of being ready
with this universal
language. An artist who had neglected to secure
for his day's
his lunch before going amongst some
mountains
Welsh
on
many
occasions
painting,after
and
he would
hours'
some
been
have
work
began
most
feel faint
to
for
of
want
food,
inquire if he could
have a cup of tea.
His receptionwas
not an
agreeable one, as he was
attacked
by a couple of curs, which frightened him and put to flight
of noisy fowls.
On
the good woman
of the house
a number
opening
the door a few inches
of tea, to
the artist made
his requestfor a cup
which
he got the reply, Dim
Sasenach
(No English). After again
urging his request, and meeting with the same
determined, settled,
and settling
'Dim
he
Sasenach,'
bethought him of his jxxiket
answer,
seeing
a
cottage at
distance, went
some
'
'
sketch-book, which
of
had
been
Switzerland,
following,and
showed
to
of like service
and
he
it to the
want, instantlyopened wide
to
him
instantly made
among
a
the
sketch
taineers
moun-
like the
unwilling dame, who, recognisinghis
the door, beckoned
him
into the
cottage,
On
describe in
as
well
as
3.
The
?
draw
'
it had
and
coal-vase
and
answered.
better be
chair.
a
In
themselves
with
kettle
something
like
unknown
an
behind
in
the
and
making
of
his
a
he sketched
good
ignorant question,
an
who
persons
two
learn
can
to
had
children, who
mother,
returned,
soon
the other
with
his
woman,
his mind
was
troduced,
in-
the
he
so
;
hostess
his
two.
or
egg
mistake
charmed
he
possibility
by the
but
politely,
substantial
eggs
something
of
remembrance
;
if she
The
could
inevitable
'
Dim
Sasenach
at her
"
filled with
with
eggs,
a
bowl,
of which
will
give
the
rough
sketch
an
idea.
Satisfied,refreshed, and
again ready for work,
prepared to depart,but
sketch, the value
the
of
power
of
English
soon
pocket sketch-book,
getting out
following: whereupon the
oft
went
of interpreting,
power
diately
to a cupboard, and imme-
so,
like the
large,clean,wooden
ascertained
'
his
returned
he
learn to
one
every
language
their
which
repast more
few
asked
thoughtlessly,
oblige him with an
him
the
amidst
suggested to
showed
draw
learningto
'
noisy cackling
addition
is
Very quickly the
cakes were
baking on
Scotch
a
griddle,'
hung from
chimney. Soon the artist was
enjoying himself,
the
This
spring water.
boiling,and
was
chain
to
dailyuse
it.
drawing
Can
'
seem
All
of sticks and
bundle
a
of
can
of
of all persons
it may
although
hastilydespatched,and
one
of
instead
"
questionis often asked,
offered
were
article of
common
wish
to write.
concealed
a
a
if,as in business,we
any
strong argument in favour
a
a
writing almost
sofa,or
a
say
"
will be evident
writing,as
over
Drawing.
his
hostess
silver.
to
understand,
the
not
without
artist
before
any
On
write
Can
'
add
who
is
taught
it
ought
taught in
be
in Continent
on
of incalculable
But
4.
here
understand
we
kinds
of
purpose
:
not
Beethovens,
are
many
or
sons
per-
forts
pretentiousef-
not
because
schools, but
culture
and
drawing,
ing
draw-
schools,
it is
because
it would
of life to those
be
who
of
is
drawing
best
following remarks
FortnightlyReview, January
abilityto
draw
almost
drawing,
says
I do not
:
cultivated,but
or
he
:
"
be
For
artisan
an
that the
is that
to
one
example,
a
artisan.
an
man
The
of
first
he should
Professor
Huxley appeared in the
1878.
Speaking of the preparation for
And
especiallyI should require some
for that is a giftwhich
artistically,
may
'
learned, but with
everybody,can
I suppose
another.
suited to
from
mean
cannot
suitable
be
do
various
are
for
knowledge requisite
and
requirementof
teaching
There
?
may
applicableto
The
technical
draw
that which
scarcelythat
What
important question:
an
and
be
not
elemental
*
arises
by learningto
may
the kind
of
painters,
born, but
less
own
by
learnt it.*
had
be
our
one
answered
the Continent
in the business
service
any
in the best national
to all children
to
On
Masses.
Can
Great
many
happiness by
and
'
be
may
not
are
?
'
be
there
generation,
a
national
to
Oratorios
than
insisted
in
Mozarts
or
poet
a
composers,
there
though
But
Handels,
become
great
or
required,
were
questionmight
the
one
any
great poets
made.
'
artist ?
an
another,
and
If it
learn to draw.
can
become
like
Drawing.
fair accuracy.
learn to write ; and,
majority of
body,
Every-
writing is a kind
the people who say they cannot
as
draw, and give copious evidence of the accuracy
of their assertion,
could draw, after a fashion, if they tried.
And
that
after a fashion "
"
would
"
be better
than
I Mi|.|M)s"' that
(thestudent)could
nothing for my
in nine
draw.'
trades
pur[x"ses.
out
of
ten it would
be
useful
if he
On
be
able
accurately,
say
; for if he
it is drawn
when
a
draw
to
if
box, and
foundation
box, then
a
which
on
Drawing.
a
draw
can
his
understand
brick
a
table ; and
build
to
brick, and
a
he
thus
he
knowledge
it
draw
can
has
safe
a
it may
as
be
required.
On
5.
the next
is
page
given a supposed order
for
a
mon
com-
box, which, though very rough (as though drawn
haste),would
be
without
of
any
chance
of
this
case
in
drawing
for
such
is
over
great
written
a
any
drawing
tage
advan-
description
tions
instruc-
instructions
"
that
but
the
write out
try to
only be understood,
not
might
workman
intelligent
an
How
will
without
box
a
by
error.
be felt if the student
only,may
that
clearlyunderstood
in
could
not
be
misunderstood.
To
6.
those
who
in after years, recall
than
of this kind
in various
7. But
parts of
if true
educated
sketch
a
will be
man
a
few
knowledge
such
power
in
by
only useful
oneself
and
even
of memorandum
the
of
be
sketch
that which
facultywithout
judge,in
which
far
fits a person
the
beyond
general principlesof
matters
he
will be
for
life,then the requirements of
something
practiceas
tions
associa-
photograph.
a
simple objects intelligently.He
of
will,
the work.
education
the after circumstances
not
the circumstances
of
more
of freehand
knowledge
taken
or
lengthened description,
a
Illustrations
found
little
slightestsketch
The
delightful.
a
understood, will be
here
drawing, as
but
travel,even
will
can
develop in
neither
of taste.
him
power
must
Fine
that
an
to
have
Art, and
aesthetic
fullyenjoy,nor
rately
accu-
On
Fio.
1.
Drawing.
Fio.
2.
II.
CHAPTER
OF
8.
and
the
five
the
other
of
seeing
and
the
the
three
chiefly supply
is at
soul, and
through
images,
highest pleasure
ranks
above
is
eye
so
the
refined
the
upon
the
of
all
it may
before
A
here
the
mind
be
of
the
image
an
consciousness
of
can
of
servant
ety
vari-
richest
says
that
'the
the
Eye.
She
He
dignity.
form,
whose
with
repose
beautiful
the
is
eye
that
from
given
when
has
ure
pleasreached
conveyed
by
9 ; but
page
is
the
through
the
on
at
object
an
it passes
is formed
of it is
the
through
he
sense
raptures.'
sensational
light
is the
Robertson
that
The
comprehensive,
It
in
and
whilst
nature,
most
receives
senses
of
outline
the
wants.
comes
briefly stated,
eye,
animal
all.
W.
F.
description
lens, and
the
the
sensation
rest
serene
short
them
by discipline
purest of the
9.
it
our
of
ideas.
or
our
seeing,
"
seeing
two,
"
part of
active, the
most
intellectual
most
of
the
once
smelling
and
intellectual
the
to
knowledge
of
gateways
or
senses,
hearing, feeling, tasting,
hearing, belong
EYE.
THE
ON
placed
line
crystal-
retina,
from
whence
optic
nerve
to
the
the
brain.*
*
the
of
and
The
number
impression
violet,
789
strike
the
of
of
shocks
colour
millions
retina
is
of
at
the
per
as
second
follows
of
:
Red,
"
All
millions.
back
necessary
the
eye
451
these
in
one
to
of
millions
waves
second.
of
production
the
millions
the
enter
"
TYNDALL.
7
eye,
;
the
On
8
The
10.
eye of
adapted
to the
being ;
but
with
little
with
the
available
whilst
training;
perfect
eye
it
If
near.
or
a
twenty
person
years
by sight;
shooting a drop
the
and
pecks
chick
at
away
grainsof
obtains
his
of water
has
its prey
at
human
is
idea
no
gets
millions
If
mountains
of miles away
a
London,
hold
and
objects reflected
London
last
there
would
"
objectswould
with
many
eyes ; whilst
camera,
not
fixingthem
in it
from
be
the
others
are
from
shell
from
seeing
near
or
It is
have
Liverpool to
have
to
as
passed, on
left
the
on
station ; all the
more
for
motes, very
as
were
nothing
who
the
requirestraining.
they
be gone.
persons
small
travel, say,
as
misses;
colour.
so
looking-glass
a
perhaps
image
to
were
person
it
; but
by
wonderfully adapted, self-
a
or
of distance
its food
scarcelyever
acting,self-regulating,
^and self-mindingorgan,
things large as
fifteen
distinguishingthem
crumbs,
and
equally
appear
only just emerged
eye
and
distance.
sight at
little fish that
of similar size and
sand
The
11.
probably
whilst
the
by
young
of
even
is said to have
the
human
infant, though
of age, he
that
a
requires long
judge
face
very
young
organ,
blind
born
when
very
can
its mother's
and
moon
a
an
as
frequent practicebefore
The
is that of
as
well
animals, being chieflymoved
lower
their organs
instinct,have
sheep, is probablyas
a
of their life
purpose
the
of
fish,or
a
Eye.
just so,
other
a
a
to
the
myriads
lesser
sensitised
the
arrivingin
glass but
learned
not
like
in
all
of
degree,
use
plate
their
in
a
only receivingimages,but photographing and
by
observation.
On
Considered
12.
the
merely
as
Eye.
an
9
the
organ,
eye is
a
pound
com-
lens, consistingof three principalparts,the aqueous
the
humour,
The
lens,and
crystalline
humour
aqueous
Behind
glass in shape.
in front of the
the
humour.
network
things with
13.
caused
means
to
vary.
and
the
of the
by
eye
and
the
lens
and
the
the
watch-
a
ately
immedi-
the
rounds
sur-
vitreous
which
pigment, upon
called
the
retina, is spread. It
retina,that receives the images of
marvellous
rapidity,and
them
conveys
to the brain.
iris the size of the
of the
the
When
light is
it is intense
when
humour,
the
black
a
of nerves,
optic nerve
By
follow
this is
such
the
the aqueous
Then
is this delicate screen,
through
in front
lens, is the iris,which
crystalline
pupil.
Behind
delicate
is held
humour.
transparent,horny capsule,something like
a
cornea,
the vitreous
the
pupil
feeble
the
pupil
eye
is to
when
the
pands,
ex-
thus
pupil contracts;
quantity of light entering the
be
may
extent
some
regulated.
upon
14.
The
a
near
distant
15.
also
pupil
diminishes
object, and
The
one.
The
eye
image
expands
thrown
possesses
distances,chiefly
by
Two
lens.
crystalline
the
eye cannot
adjustment
the
other
16.
A
the centre
be
a
of
change
in the
clearlydefined
of the
to become
line drawn
eye
for
adjustment
the
seeing one
same
ferent
dif-
for
curvature
different
at
a
upon
the retina is inverted.
upon
objects at
is fixed
it is fixed
when
power
a
eye
of the
from
distances
moment
will
distinctly
:
the
cause
indistinct.
through
of the whole
the
centre
of the
cornea
eye is called the axis of the eye.
and
the
On
10
When
17.
impression of
an
retina it does not
time
after the
Eye.
light is
instantlysubside; but
has
cause
passed
This
yaries
and
with
fraction
different
of
If
18.
succession
a
images will
or
the
blend
of the
case
time
in
because
a
image
these
the
two
which
amounts
are
of
when
that thrown
takes
to
very
reallyare,
viewed
have
give the
as
from
two
in the
if, whilst
will lose what
*
I don't say,
drawing.
child
very
the
in
rapidly,
they appear
(on
that
he
young,
the
drawing
'
or
two
Both
other,
retinae,were
the
not
See
they
as
exquisitelittle reflector,
As
innocence
torily.
satisfac-
space
they often
actual
the
eyes, therefore,
things not
sees
does
lessons.
of
impression of solidity.
they appear.
true
retina
separate places. If
and
solidity
first
is called
have
vals
at inter-
stereoscope,in which
at
the
the
on
the
full
idea of
what
gradually learns
and
other
going round
to
on
eye),unconscious
from
quite different
he
sensible
a
the retina of the
on
the
place
young
but
the
persistence
shady surface,as
object thrown
any
should
we
necessary
A
of
the
revolvingchromotrope.
object is
is what
20.
is called
to
each
a
picturesalways slightlydiffer.
two
short
a
impressionendures,
form
wheel
a
follow
the
pictures,thrown
combined,
This
images
together and
eye differs from
one
of
spokesof
the colours
19. The
interval
for
second.
a
less than
the
persons,
This
the
upon
remains
away.
'persistenceof impression.'
made
actually
are
the child grows,
shapes
draw
of the
of
things,
things,*
eye
Appendix A,
on
;' so
he
that
children's
the
On
he is older, and
when
he
will have
to
back
again,as
it were,
of
nature,
the rules of
use
to the
thus
perspective:
and
simplicity
truth
child-sight.
There
top of
are
with
the
supposing
a
sees
who
draw
distance
they
true
then
; the
enough
reading
'
of
*
Though
whether
a
as
necessary,
or
this
fact that,
a
guide
in
and
the
pencil
perspective
for this reason,
the
judging, distance,for
"
a
with
the
When
landsman.
equallynear
almost
more
boys
again, till at
image
the mind
image. Aiming
at
the
to take
last
is
retina
a
correct
give power
to
one
of the two
given mark,
a
billiards,tends
on
at
given hole,
a
certaintywhich
The
is for
difficulty
two
man,
sea-
into their eye, first of
image
hole.
A
look-out, judges much
almost
the
practice.
earnest
ample,
ex-
in
as
and
the eye.
to
accuracy
than
cricket, or
shooting,or
and
of the other, again and
is nearest
marbles
the
marbles
determine
may
In
feres
shape) inter-
It is
person,
frequent and
on
earnestlytake
and
actual
of
solid forms
of the eye for
distance
their
very
the
book, correctly.
hold
upgrown
constantlyon
accuratelyof
they
an
draw
innocentlyor truly.
power
is
play have
a
cannot
retina.*
the
he would
depends
"
of
could
more
The
21.
or
child
young
correctlythan
that he
table
a
image
well,
sufficiently
more
of
or
(with its knowledge
mind
who
intelligent
persons
many
tumbler,
a
the
case
*
things from
in seeing retiring
forms
difficulty
and
correctly^
to learn
11
to draw
attempts
considerable
will have
Eye.
not
plumb-line may
the
a
eye, if
be used
in
drawing,
fairlypractised,will
line be vertical
".
soon
it is
learn
reallyseldom
to determine
CHAPTER
ON
BY
22.
III.
SEEING
careful
AND
the
for, although
often
we
If
wish
we
when
avoid
how
far
to
see,
we
have
An
the
of
parallax
a
object
an
only
near,
vision
little idea
of
this
of
space
taken
(i.e.
will
But
from
if the
the
and
of
the
at
:
it with
it obscures
or
]"cncil,ojien
set
ii
the
the
*
but
if
both
other
pencil
desire
we
eyes
must
for
with
places,
pecially
object, es-
to
so
to
as
determine
used,
be
as
so
alone
eye
one
now
"
a
full
a
eye
from
eye
screens
taken
idea
of
pencil
closed,
the
view
and
close
of
the
idea
strument.
in-
the
different
two
objects
or
at
pen
and
the
be
may
better
a
observe
from
eyes
will
be
fect,
per-
one
different
understood
little distance
what
without
; now,
a
No
of space.
vision
quite
from
distance
various
exactly
without
see
in
seen
views
point).
same
we
be
may
it two
in
the
be
the
of
Hold
one
of vision
what
the
by parallax
manner
look
room
that
have
meant
following
you,
relief
'
shall
is
used,
views
two
'
'other, the
What
be
exactly
each
*
should
by placing
with
we
eye
parallax
points, corresponding
and
any
given beyond
be
or,
one,
of space.
illustration
same
;
two
ordinary stereoscope,
the
recognises only
of
us,
from
single organ,
a
contour
one
is from
it were,
as
as
of vision.
clearly the
see
come
be-
may
eye
instrument.
of
spoken
both, Art
use
the
drawing,
measuring
a
been
point
to
as
have
eyes
correctly,one
more
in
practice,as
astonishingly accurate
Hitherto
OBSEEVINO.
object
just used,
from
or
the
moving
and
in
part
head
it will
part.
12
Ixj
Seeing and
On
observe, then, that
We
clearlyone
should
only
eye
Observing.
the
to
see
be
used
13
of
contours
in
; whilst
distance,or of the location of objects in
space,
objects
judging
both
of
should
be used.
When
wish
we
should
eyes
for the
A
same
is
often
'
eyes
picture or
a
shade, apart from
detail,the
to
admit
glassis sometimes
used
as
the
drawing
only
the
by
artists
thus
seen
purpose.
in
of
spoken
parlance
is
as
the
given
of
shade,
and
tration
illus-
the
this
frontispieceof
the
forming
3
drawing
picture or
a
Art
Fig.
light
effect,'or
of
shade
'effect.'In
the
the
closed.
in
light and
darkened
light and
The
half
which
in
way-
partially closed,so
be
bright rays.
another
observe
to
of
principalmasses
yet
Art, viz.
in
be used
should
is
there
But
23.
work.
24.
From
wonderfully adapted,
sensitive
said it will
been
that, although the
evident
be
has
what
the
for
and
eye
so
delicately
so
reception
is
of
images,
FIG.
it
requires the
presence
of
a
mind
3.
to
v
read
or
The
so
needle
the
the
on
rapidly, but
ready and
be
it the
take from
presenting;
importance
25.
The
to
impression it presentsso constantly.
telegraphicdial
little purpose
willingto
and
receive
this leads
us
be
may
if there
the
be
moving
na
information
to make
some
ever
gence
intelliit may
remarks
on
of Observation.
power
of
observing varies
much
in
different
On
14
but
persons,
Observing.
practice.
greatlyimproved by intelligent
be
may
It should
confined
be
never
book
to
has
who
one
learned
has
who
of wisdom
of evidences
eye, and
endless
an
literally
of
source
likelyto
objects.
beauty
for
mind, is
We
enjoyment.
part
be of service to
to
one
it
is seen,
what
on
the
closed
a
; but
observe
reflect
to
class of
of
to
therefore, naturallyinquirewhat
is most
one
the
for
learnt
not
see, and
to
to
brimful
physical world, though
The
is
and
Seeing
may,
culum
liberal curri-
of
a
us
in
and
forming
Certainly,whatever
developingthis important faculty?
other tangiblesubjects,such
as
chemistry and physics,
Nature
hold
rambles
does.
be
both
Art
art
the
of
or
and
the
as
"
a
eye
is
often
in its twofold
science to be
pleasurewe
man's
deep import,as
which
stone, which
a
verbal
our
wish
we
descriptionalone
if
but
unsatisfactory,
knowledge
be understood
panied
accom-
distinctly
helps observation, and
character, as
known, and
take in any
as
:
to
the
mind
symbolic ornamentation
presentedto
on
1st, that by what
they suggest
in
an
the eye is of such
a
science
art to be
whether
objects,
making, chieflydepends
followingconsiderations
to
A
remember.
studied
practised.The
God's
leaf,or
In
case.
long.
Collateral
an
a
drawing of it,would
a
be
should,,
as
say,
simple
a
aspects must
drawing, rightly
is what
This
with
contact
beautiful
more
suppose
us
tedious
remembered
20.
and
to
reason
with
and
Let
pick up,
we
some
would
in their
important place.
an
immediate
into
brings us
Art
with
and
pursued,
for
which
that
do,
may
a
of
of
some
they
sent
pre-
something
; or,
form
or
of
2nd, that
colour
as
Seeing and
On
to excite
; or,
of the beautiful
sense
our
Observing.
"
this is aesthetic
3rd, the formk presented to
us
the
of
sense
or
or
be such
may
suggest the idea of fitness,either alone
with
15
in
suous
senas
to
conjunction
beauty.
FIG. 4.
27. In
and
we
Fig. 4 (the lotus-plant)
unpretending ornament,
much
emotion,
significant
symbols
but
of
when
which
by
have
a
conventional
itself would
recognisedas
Egyptian architecture
one
of
becomes
not
cite
ex-
the most
full of
interest.
FIG.
Fig. 5
in
itself
is
a
form
pleasing,as
5.
which, apart from
is also
the
any
piece
of
association,is
scroll-work
in
On
16
the
But
Fig. G.
charm
(conveying the
much
of
it not
applied where
because
with
Seeing and
Observing.
this latter is
the work
only does
of
a
bracket
it does
also because
but
fitness),
idea of
greatlyenhanced
it
grace.
Pio. 0.
It is in thus
that
real observation
how
only to
see
important
28.
There
only that
which
essential characteristics
consists,and
it is that
beauty,but
is,and whence
must
seeingthe
the
it will be
mind
also to know
fore,
evident,there-
should
kind
what
of tilings
be
of
led not
beauty it
it arises.
is much
we
look
truth
in
for, and
the remark
to
look
consciouslylook for something.
that
we
see
we
energetically
This
will be
better
On
understood
the
by
and
Seeing
'And
the
at
magnet
asked, "What
and
assemblage
this
even
of
of
the
Now,
for.
in
not
the
trees
"
my
Amid
the
experiment,
an
of
advantage
special point
'They
that
be
to
which
qualities
of
in
of the most
a
one
not
were
rocks
in
beautiful
admitted
or
their
plant they had
dinary
or-
artists look
intelligentartisans
conversation
the
and
sight
people generallydo
group
in
little
a
artistic
fact
and
seen
particularly
searching for
that
a
writer
the
Derbyshire,and
had
that
they
even
They
way.'
heard
valleys
hills,nor
the
anists
bot-
"
were
in
of
as
of
information
being
locality.
Thus,
about
to
truths
instance,
met
"
the
from
for those
For
upon
for?"
felt the
the
to
hand
with
between
difference
sight arises
look
directed
net
electro-mag-
*
illustrated.'
not
look
experimenters
attention
I
Faraday.
an
laid his
I to
am
room
arranged, when, just
impressions connected
prince
his
having
29.
excited,he
was
of
me,' says
in this
place
peculiar action
a
crystal.Everything was
a
the
before
took
Professor
reminds
acquaintance with
my
him
show
to
upon
arm
of
beginning
wished
which
occurrence
an
this
17
which
following anecdote,
Tyndall gives of Faraday.
Tyndall, 'of
Observing.
what
men
they
whether
see
their
use
want
to
A
know.
it will rain, and
at
view
to
its value.
him
as
strikingly
picturesque,but
market
value.
'
A
channels
as
eyes
drove
Money
*
value
Tyndall,
On
of
'
a
field of
cattle will
as
at the
looks
farmer
not
corn
be
with
seen
objectshaving
is all that
Sound, p. 120.
some
sky
persons
a
by
their
can
On
18
dead
eyes, but
they have
:
like the
they are
aesthetic
aesthetic
no
who
man
still could
but
with,
Observing.
them'the
With
in the world.
see
and
Seeing
had
facultybehind
for he
did
or
them
his
know
not
;
read
bought spectaclesto
read,
not
is blind
sense
letters.
It is
30.
the
a
the
saw
same
the
though
"
again by
The
alike.
in each
the
Not
31.
to
is concerned,
learningto
education
see, for
for
gradually reveals
this
new
to
nature
food for the
imagination.
Many
would
knew
one
little about
of them,
descriptionof
a
group.
and
Or,
paper,
the
be
as
that
particular
thing
When
people
rather
the
act
not
natural
a
acquiringit
of
form
of
form
of
a
ox
an
or
a
velops
de-
thus
that
we
to
try seriously
draw
may
one
Let
write
quietlyand
horse
that
horse.
if he find this too tedious,let him
and
they
artistic
object of
sight is
talk of
to say
indignantat being told
however, sit down
the
passed through
which, being emotional, supplies
pure
sense,
persons
Capel
pictures
and
aesthetically,
us
to
go
but
precisely,
have
is the main
acquired,and
be
may
far
Artistic
amateurs.
we
men
different result.
quite a
that
If
two
same
paint, they ought
and
two
no
find
the
blindness.
equivalentto
draw
but
faculty,
with
anything is,so
see
learningto
are
been
will
representation
different mind,
quitea
have
that
painted again and
shall not
artists,we
ever
object.
be
subjectmay
saw
persons
Bettws-y-Coedor
say,
"
objects may
case
in any
artists
same
successive
two
no
equallytrue
appearance
sketching-ground of
Curig
that
it is
rainbow, and
same
ever
opticalfact
an
"
they
any
such
a
it in
know
take pencil
the
one
he
On
knows
and
well
so
and
Seeing
rides
Observing.
The
daily.
19
exercise
be
may
of
value to him.
that
tells us,
Hamerton
32.
and
country life,and livingsummer
he
till he
postponedthe writing of
; and
heur
the
from
humiliating
familiar
labours
them
by
their
artistic sense,
for
and
till she
such
as
and
but
by
true
value
Rosa
on
and
even,
; for
and
calling
in
when
she first
kept
studied
restlessness
We
should
seek
hand, through
art
and
always by
the
her first
present age
for
but
the gorgeous
the
quieter,
some
of
of seeing and
old
our
of sympathy,
power
is in
It is in
us.
students
cultivate
habit of
observingaccuratelv
a
noble
the
this
love for Nature
way
that
in her
bling,
ram-
lish
Eng-
enjoyingrests
thoughts
we
the
and
'
observation
detail
it in every
of
began
enduring, pleasure of
and
the true
it
it became
doubt
no
comparison,
impatient of anything
sensitiveness
excites within
their
in the memory.
standards
sheep, and
a
heart ; and
sensational.
of
Bon-
farm, and
without
Bonheur, that
us
sketch-book
chieflyin
ing
paint-
to
and
not, in the deep, critical,
bought
haste
to make
scenery
them,
have
must
less wholesome
not
the
on
apartment, and
The
standard.
are
she
it
knew
view
cows
mately
that, although inti-
of little value
are
of Rosa
Parisian
a
and
them.'
comparison we
in
oxen
he had
"
seen
study animals
her
all the
names
It is recorded
to
with
Observations
33.
horses
a
to
largefarm,
a
article
an
conviction
personallyfriendlywith
"
on
with
studies of them
to make
began
winter
anything accuratelyabout
knew
never
'accustomed
although
would
that
have
and
simplicity,
her subtle, hidden
it
a
teachings.
CHAPTER
ON
THE
34.
much
hand,
in
thumb
as
long
mobile,
and
One
in
this
an
octave.
of the
Much,
fingers so
however,
depends
is held
in
drawing.
and
is
this
which
is best
certainly
"
as
knuckles
in
Fig.
the
up
7
it
that
with
FIG.
the
Only
adapted
not
a.
thumb
on
the
one
the
the
short
he
can
that
rule
general
be
held
in
the
near
FIG.
when
writing, thus
Sometimes
and
first
the
only reach
the
pencil
be
given,
that
to
position
be
point,
7
done
;
with
or
a.
(Fig. 7), but
pencil, being
finger, and
case
pianoforte
can
particular work
fingers
paratively
com-
latter
in which
way
are
and
physical adaptation.
on
7.
as
the
performers
the
fingers
they
in
of
want
should
for
in others
varies
organ,
the
some,
practice
any
skilful
most
has
country
whilst
almost
handling
or
In
stiff ; but
and
surmount
soon
prehensile
individuals.
are
it
a
PENCIL.
THE
HOLDING
different
short
will
IV.
rather
held
supported
by
20
tween
bethe
On
long
should
one,
Holding
along
pass
other
the
by
far
of work
drawing
As
or
be
possible,be
as
when
to
at
excellence
instruments
A
set of
cut
even
with
an
done
with
a
pass
finger in
an
the
under
upward
hand, held
(Fig. 7 b),according
; and
worked
to the
in
from
all
it
cases
should,
as
shoulder, especially
the
easel.
in Art- work
used,
the
greatlydepends
sharpening of
the
on
the tools
tant.
pencilsis impor-
pencilsnicelypointed is quite a temptation to
first two
still finer
7c.
refinement.
delicacyand
like the
first
21
7 ".
FIG.
draw
the
fingers,thus
FIG.
kind
Pencil.
it should
direction ; sometimes
also
the
in
Fig.
7 c, but
point,except
They
like
where
should
the
never
third one,
it is intended
be
or
to
On
22
shade
wood
and
cleared
in
be
left
prevent
a
away
Eig.
7
side
the
of
then
the
support
the
instrument
the
"
should
lead
as
with
broadly
Pencil.
the
Holding
small
uncut
it
on
from
file
side,
one
After
breaking.
may
be
used,
d.
FIG.
7
d.
as
so
or
one
to
the
fixed
is
cedar
in
a
box,
CHAPTER
V.
ON
BY
35.
is not
without
length
mark
line
a
here
breadth
stroke
or
LINES.
thickness,
or
made
by
the
meant
but
of
elongated
an
instrument
some
idea
abstract
on
plane
a
or
surface.
There
36.
curved, and
beautiful
not
may
in
of the
things
38.
things
by
two
in
it is easier
as
point
a
defined
or
in bricks.
line
is
that
considered
are
form,
is
lines
that
continued
distance
fit two
curved
one
is found
in nature,
utilityis
to
are
It
; but
look
you
pattern
or
crystals,buildings,
in which
varied.
square
defined
nearest
which
curved
There
object
If
and
lines.
reallyno
are
man,
box,
a
human
39.
the
A
the
as
any
and
infinitelyvaried
indicated.
be
find
be
may
lines, straight
between
"
generally
in
these
straight line
than
the
or
there
made
because
by
line
straight
Although
idea
not
of
all the
may
will
described
points.
two
these
creation
you
direction,
one
any
in
room,
be
A
37.
of
means
forms
the
round
by
kinds
two
only
are
or
in which
plain
chief
the
as
purpose
for
as,
is
direction
not
in
many
;
faces
straight sur-
or
irregular,
chiefly,but
beautiful,
the
in
and
the
find
we
stance,
in-
stantly
con-
altogether,
in
leaves, flowers,
"c.
beauty, however,
the
beauty
of
the
in
crystals,and
square
arises
even
partly
23
in
from
24
a
On
of exactness, for if it be not
sense
give pleasureand
40. Both
beautiful
when
in
forms
are
curved
when
The
vary, and
lines.
lines.
called rectilinear
straightline only
;
straightand
when
with
made
lines
curved
can
be
placed only
perpendicular,horizontal,and
perpendicular
may
therefore
them
and
10.
;
and
they are
be considered
of
inclination
with
either
may
can
and
three
tions,
posiing.
slant-
positionsnever
used
incline
only
in
oblique or
horizontal
slantinglines
or
degree
comparing
the
(as in Fig. 10).
Oblique
the
with
made
called curvilinear
both
most
tecture,
of archi-
kinds
some
be
(as in Fig. 9) they are
straightline
viz.
in
as
felt to
are
Fio.
of
to
once
9.
forms
42. A
at
ceases
trees.
Fio.
composed
compound
lines
curved
8.
lines
it
exact
square.
combination,
(as in Fig. 8) they are
PIG.
a
flowers,and
When
41.
to be
straightand
vases,
and
Lines.
be
as
more
standard
or
estimated
perpendicularor
less,
by
horizontal
On
In
43.
is
copying
standard
be first
of
all lines
by
them.
those
by
The
which
scarcelybe
can
in
means,
25
or
model, therefore, it
a
with
begin
to
lines should
judged
other
example
an
evidentlyabsurd
Lines.
slanting lines
drawn,
of
importance
either
are
the
and
free-hand
slanting ones
tal
horizon-
perpendicular or
there
as
on,
of
drawing,
the
constantly testing
stronglyinsisted
too
all
:
are
no
attaining accuracy.
(See,also,1 105.)
44.
and
By
all solid
line at
forms
perfect in
and
admitting
of
of
The
is described
like the
cannot
up
and
of
a
by elongation,and
This
its
combination
architecture
'
four
fixed
the
as
by
per
a
the
of the
highest development
"
se, but
contrast
to
admixture
straightwith
in the human
it the
two
of
one
the
form.
ment
elein
than
archetype
as
buildings.
New
This
of
no
only
the
lem
Jerusa-
ever,
figure,how-
change
in its
"
cation
appliThe
curve.
in Nature
of these
unity
an
the
the
admitting
highest forms
combination
as
square.'
"
creation,
varietyrather
forms, such
beautiful
structure, and
beautiful
made
are
to
being
circle,being
be considered
as
most
as
future
in
in
not
a
vegetable
is,however,
has
in
and
a
in
result
form
considered
be
may
constructed
highest piece of
"
It
therefore
consists
square
crystalsand
economical
most
completeness.
which
infinity,
The
of all animal
superficies
continue
we
it will
point
a
archetype
variety,and
no
numbers.
of
its
If
suggested.
from
simplest and
lines all
elemental
be
may
is the
the
"
two
distance
equal
an
circle,which
forms,
of these
means
and
in Art
forms
modified
with
the other.
curve
is found
in
VI.
CHAPTER
ON
of
45.
OUTLINE
any
form
may
be
OUTLINE.
understood
(as Fig. 11).
It
FIG.
lines
thus
to
indicate
its
general
may
to
be
also
the
mean
contour
mere
a
sketch
with
11.
and
leading characteristics,
:
"
FIG.
Some
FIG.
12.
objects
may
be
clearlyindicated
by
13.
outline
26
alone,
On
leaves, "c. ; whilst
as
shade
without
A
46.
for
;
others
the
"
flat contour
lines
Outline.
cannot
in
the
but
their character
same
contour
pressed
exsatisfactorily
instance.
be
greatlymodified
on
its
by
17
Fig. 14,
as
greatlymodified
is
FIG.
by
the
different
FIG.
and
FIG.
it will
often
very
be
thought
and
labour
outline
is most
the
to
suggests
it would
fullyto
FIG.
requirelong
describe.
important,
mind
time
(See
17.
idea
an
and
much
ing
6, order-
page
box.)
a
47.
In
drawing
than
more
will
former
"c., whilst
It is
always
aim
Head, the first twenty lines will
as
only add
can
a
wrong
The
first efforts at
been
in
is to
afterwards
of
the
get at the
mouth,
importance
fact which
no
rect
cor-
amount
primitiveman
with
we
as
of
right.
sketch
outline,just as
the
lesser facts.
overrate
Art
cate
indi-
; for
nose,
eyes,
by outline,inasmuch
indicated
make
do
can
principal facts
the
latter
lines
scarcelypossibleto
shading will
48.
a
hundred
a
give
the
form
The
it
effective,as
things which
16.
that
seen
of many
of
14.
markings.
15.
Thus
dicative
in-
few
a
face
sur-
example, Figs. 15, 16,
are
be
sphere,for
may
markings
or
27
find
in
the
children's
mind
have
work.
recognises,
rather
the
the
than
this
it is in
was
for
word
without
of
writing and
the
considered
in
drawing
drawing,
their
are
evidence
any
in
to
show
that
Babylonians, Assyrians, or
of
the
fuller
of shade.
expressionof
We
find
them
invariably in profile;
tints
whole
of
colour.
civilised
impression
of form
by
seems
the
to have
only by outlines
time
been
and
same
of
they
design
by lines, and
not
had
of
forms
the
as
the
knowledge
any
gradation
forms, and
the
to be
appear
of the
means
fillingup
"
ment
employ-
nations, such
outlining their
until
means
the
arts
get
ventional,
essentiallycon-
does
earlier
form
the
are
Egyptians,
then
Thus,
world
the
used
produced
There
nature.
to the
to
"
is little doubt
All
are
eye
its earliest
there
same.
they
as
lines
no
in
early development
inasmuch
there
the
the
Greeks
The
and
of
regard
drawing
writing.
processes
retina
much
that
sense
kind
a
the
on
appearance
clearlystated
fact
and
or
Outline.
On
28
almost
with
Greeks,
satisfied
flat tints.
with
flat
the
the
CHAPTER
VII.
SKETCHING.
ON
Art
first
THE
49.
is in
make,
the
thing
plan
most
would
be
he
would
testing
time,
saved
if young
and
lines
If
the
in
work
should
the
be
from
of
",
and
casts,
of
to
the
with
right
and
'
some
and
rubber, and
by
by
(as
what
first
and
secure
square
drawing,
of
in
Fig. 40),
the
very
would
be
ficiently
suf-
to be
The
scrolls
in
lines
is shown
by
using right
of
when
useful
(as
straight
This
plan
in.'
drawing
flat.
near
commence
leading
of
then
part.
This
right angles,
'blocking
as
nature
is very
the
to
of
use
be
from
left.
in
is known
(Fig. 18).
is best
would
fixing accurately, the
or
available
every
as
the
all his house
persuaded
be
a
ground-
patience,
constant
a
blocking in,'
well
he
So,
only
of
house,
the
out
plumb-line
walls.
rately
accu-
drawing.
a
done
"c.
a,
as
in
a
; otherwise
the
would
copied
in
Ordinarily it
drawing,
and
leaves
used
lines,
angles,
to be
or
the
build
plot
building,
with
place
to
in
principal parts
to
to
plotting out,
be
only
be
accurately
them
time
about
when
points
imaginary,
Fig. 5)
would
persons
and
can
or
do
error,
careful
real
were
with
proceeding
This
man
And
wrong.
much
chief
a
students
young
the
determine
carefully and
corners,
before
which
which
sufficient
taking
Suppose
first
the
not
points
drawing.
mistake
great
line
or
exact
the
object, and
centre
of
middle
then
a
of the
to
work
picture
29
is
30
On
Sketching.
a,
Fia. 18.
FIG. 19.
\a,
a.
On
readilyfound
by drawing diagonal
of the paper,
corner
Fig.
drawing,
then
the
principal horizontal
and
the
chief
until
is
lines
are
from
to
corner
lines
woodcut
should
in
accuratelylaid
important
no
in the
as
objects sketched
the work
31
19.
that there
happen
of the
the centre
near
in
as
If it should
50.
Sketching.
(Fig.20),
first be
drawn,
them.
upon
in should
lines
Never
details
the
be
added.
Fig.
be
affords
21
of
which
perpendicular lines, by
various
which
forms
it would
impossible to reproduce accuratelywithout
almost
aid
of
example
an
curved
inclined
and
lines, both
of
judge
to
of
the
figure
the
and
drapery.
In
51.
much
use
as
and
never
of
judge
as
cleanly and
cold
in
of
the
defined
figuresin
as
straightline
When
keenly
rustic
lines
of the value
52.
that
this work
figures,"c.,
be
; but
have
in
when
to
of
arches, "c. (Fig. 24), may
of
degrees of curvature.
in
a
the
to
Fig. 22,
tion
juxtaposiaccurately
the
has
should
various
a
clear
be
curves,
perspective
objects as tree-stems,
lines may
lines (as at
such
as
readilydrawn
straightlines,by
and
drawn
sketched, then, instead
be
be
only by
used
such
dotted
never
at
sketched
lines
as
once,
always better
fully and
can
single line, several approximate
framework
is
one.
contour, the
Fig. 23, a), but
a
we
subject to
firmly at
It is
b.
at
curved
a
Objects composed
up
figure,it
human
possiblestraightlines,as
dotted
a
the
drawing
which
be used
of
a
(as
5).
Gothic
by
windows,
first
setting
to determine
the
On
Sketching.
33
FIG. 21.
Showing
curved
ones.
3
the value
of contrasting straight lines
with
On
34
Sketching.
V
^.-X
(
Fio.
Faces
with
should
dotted ones,
be drawn
as
at b.
with
22.
straightlines,as
at a;
never
On
Sketching.
35
FIG. 23.
when
Tree-stems,especially
several
lines,as
at a, but
never
rough, may
with
be sketched
dotted ones,
as
with
at b.
On
36
The
53.
be
used, and
in
follows
inevitably
several
are
them,
idea
some
other
in
some
cases
single and
a
in
rests
nature
is obtained
lines, is,that
rigidline
the
on
; the
of the
singleline
a
several
cases
lines,the eye
it does
as
why
reason
Sketching.
form
texture
surface
and
the
where
; but
is
should
there
included
understood,
character
eye
by
and
of the
surface.
-J
FIG.
54.
Any
obtainingan
bo
obtrude
55.
to
accurate
shading
any
should
mechanical
reduced
Although
the
form
that
may
should
be
added, and
to such
itself in the
sketching from
from
is
aids
24.
the
these
flat
remarks
as
been
not
outline
or
to
Nature.
in
fore
be-
itself
interfere
or
the work.
have
reference
copies,they apply also
round, and from
used
cleanlyremoved
sketch
faintncss
completingof
have
principally
to
drawing
CHAPTER
ON
56.
the
the
'
shade
the
makes
the
the
is
drawing
of
modelling
only,
but
and
in
for
our
a
of
made.
It
surface
may
we
of
knowledge
for
as,
forehead
wrinkles
or
they
the
in
creases
be
may
the
of
of
without
the
face
a
revealed
of
by
the
a
light
that
this
by
lines
and
and
from
face,
of
paper
shade
that
of
or
of
conscious
piece
;
means
thing
the
'
shade
same
one
from
on
which
on
the
on
become
or
light
are
takes
indicated
'
nose
We
eyes.
which
true
strongly
be
and
projection
nevertheless
is
;
surface
Might
surface
the
projection
instance,
over
the
as
contour
is to
shade,'
largely dependent
are
'
and
and
flatness
by
shade
roundness
'light
considered
be
confined
light and
*
fully expressed
never
nature
another,
the
of
appearance
should
surface
; and
outcome
Art
object superficial,
an
it solid
natural
away
as
leaves
SHADE.
in
what
contour
outline
'
the
modelling
is to
outline
AND
LIGHT
SHADE
AND
of
means
for
"
LIGHT
(
VIII.
tbe
only
is
on
them.
57.
it
Before
be
may
light and
58.
makes
treating
desirable
its action
Light
is
to
on
of
are
shade
few
facts
state
bodies
defined
objects perceptible
of which
light and
as
to
a
in various
an
the
as
with
separately invisible.
Art,
reference
to
circumstances.
imponderable
sense
to
applied
of
agent
which
the
sight,
but
Thus,
although
37
ticles
parwe
On
38
things by
see
If
it is of
and
the
of these
to
the
us
Whether
its
and
the eyes, and
there be
if
number
a
or
itself,
which
the power
of
the
or
ray,
a
of rays of
in
other
words,
of
number
we
will
which
rays
it reflects into the eye.
and
absorbingmany
reveal
eye
then
can
dark
by it,
all directions.
portions entering the
in
light,
no
broken
instantly
object is very light or
nature, and
lightitself.
the
see
partlyreflected
reflected
object,or,
the
cannot
object,they are
partlyabsorbed
Some
Shade.
light,we
invisible ; but
course
light,fall upon
be
of
means
objectbe placed before
an
and
Light
it.
see
depend
upon
it absorbs
into
objectshave
Some
few
reflecting
will
as
rays,
shortlyseen.
59. It must
and
be
remembered,
highest light,which
painting,our
white
or
white
paint, is
as
light,
in
paper
cloud
this is
with
of
either
one
reason
the
tender
from
Nature,
her
the
blue
sky,or
in Art
why
paper
(less light)than
by holding a piece of
seen
juxtapositionwith
; and
range
be
may
drawing
is white
darker
much
very
in
however, that
a
even
cannot
we
gradations or
whitest
the
pete
com-
scope
her
highest light to
grey
or
deepest
dark.
When
GO.
that
plane
when
the
into
shade
absence
;
and
of
the
object is
part than
one
part
equal number
an
that
are
any
from
plane
of rays
are
of
so
placed as
object is so placed
an
thrown
eye, it will appear
from
each
part of
equallylight;but
to reflect fewer
rays
from
another, there is gradationof lightinto
although
light,yet,as
degreesof shade.
or
shade
there
may
are
be
generallydefined
degreesof light,so
as
there
On
This
Light
and
Shade.
will be better understood
by
reference
Let a, b, c, d, e, represent equal
spaces
Illumined
on
b than
a
than
a
appear
or
very
as
latter
c
dark, and d
or
that
plane,b
to
planes on
as
receives
e,
receivingnone,
scarcelyany
any
ject.
ob-
rays fall
more
c, will be
d
Fig. 25.
less
light
rays it will
will be
invisible
black.
but
An
it will
the
only appear
The
the
from
eye
vertical
direct
rays
as
The
and
number
line,o
p.
rays
from
it may
the
to
so
of
intensity
quantityof
these
actuallyvery light or
be
objectmay
retina.
no
*, it is evident
b c, this
on
Further,
b.
61.
to
from
39
various
*, it
happen
can
to
rays
could
planes
It will be
seen
throw
receive
illuminating of objectsmay
dark,
spectator in proportion
the
that
rays
very
received
be
on
the
reflected
into
is indicated
that
as
into the
from
be
c
eye
on
d
receives
only such
surrounding
further
the
jects.
ob-
illustrated
On
40
by
the
diagram
representrays
those
the
c,
apparent that
as
rays, it will
A
B
direction
the
be
so
lines,a
the
plane,c,
as
light;
B
is
a,
cepts
inter-
placed
whilst A,
line of rays, must
of the
a
planes intercepting
lightest
; but
be
rays, it cannot
the
obliquelyto
and
light,and
It will be
rays.
all the
in
(Fig.26), where
below
of
SJiade.
LigJit and
being
be
necessarily
quitedark.
FIG.
62. But
there is another
When
objectsare
focus alone, as the
and
from
the
but
sun,
26.
fact which
must
illumined
from
not
from
here
one
be
served.
ob-
point or
also,
surrounding objects,
mination
of atmosphere, that secondaryilluparticles
is called
and
reflection,
thus
much
visible shade
is,in fact,but reflected light.
The
are
atmosphere is
said to be
seldom
composed
matter, by which
the
of
pure
;
even
our
bluest
skies
of
small particles
infinitesimally
rays of pure
white
lightare
broken.
On
formed
Clouds
of
and
Light
of
particles
-Shade.
41
break
vapour
and
scatter the
rays in all directions.
In
63.
; for
same
of
evenness
light,and
of
"
both
and
lightor
depth, transparency,and
the
idea
of
dark, have
of
colour.
a
Art
in
the
darkness,
as
tone
which
repose,
and
one
defined
be
unbroken
Moreover, they both, however
of
are
they generallyconvey
equal
an
shadow
and
instance,they may
absence
or
respectsshade
some
degree
should
alwaysbe expressed.
As
of
matter
a
arisingin part
is
we
natural, and
All
64.
portion of
surface
have
inseparabledarkness.
termed
natural
when
by
the
object
it
you
moved
the
light and
is
will
from
less away
the
is
But
is caused
on
see
the
hoop
removing
There
subject which
some
other
accidental
instance,in Fig.
of the
jar would
65.
called
For
shadow.
shadow
darkness
or
more
some
tween
object intervening be-
an
the
27
light have
an
This
shade.
this
is accidental.
turned
therefore
to divide
and
shade, into shade, which
as
objects receivingthe
opaque
light, and
speak of
now
shadow, which
their
practiceof Art,
the
its nature, it is desirable
from
darkness,which
in
convenience
jnIG" 37"
accidental
on
the
the
jar.
This
hoop,
whilst
term
used
would
the
of
shade
course
natural
be
to
remain.
is another
is very
important,
in connexion
with
this
for
which
all
and
but
would
shadows
and
shades
The
to
it is
:
tion,
Reflec-
to above.
back
simply lightthrown
to another.
objecton
one
black
absolutely
is meant
By Reflection,then,
from
be
alreadyreferred
has been
which
Shade.
and
Light
On
42
varies
Reflection
of
strength
in
circumstances, but
greatly,according
degree it
some
is almost
always
present.
White
dark
but
and
and
light.
all sides the
illumination
As
off in
rays, the
most, whilst
cloth, "c., throw
back
floatingin
matter
off rays, and
throw
these
by
from
away
illuminated
iu all
surfaces
positionand
important in
direct
as
proximity
thrown
are
whether
directions,
of
This
is
sight of by
a
objects to
the
important truth,
young
is better
affected
tions
reflec-
by
these
lighter.
very
explanation may
or
Art.
and, consequently,all shades
reflections will be
rays
direct
the greater the lightis the strongerthe
Generally,
are,
the
visible.
lightfrom
other is very
the
parts of objects turned
straightlines
reflected
each
of
rays
and
rendered
are
black
as
of
particles
Even
receive
atmosphere
reflect
surfaces
such
ones,
opaque
little
from
polished
students
that
be
of
not
retained
student
may
out
than
a
and
few
is
words
place, and
that
which
gain experiencein
often
so
as
is
lost
of
further
no
edge
knowl-
tal,
experimen-
the
following
manner.
66.
Get
several
piecesof
eight inches long,and
half
through, so
that
as
white
many
they
cardboard, say
inches
will
fold
wide, and
and
stand
six
cut
or
them
upright
On
like
(something
stand
on
Figs.28
white
any
Light
a
dark
a
comparison
first case
lightfrom
Let
surface,
of the
the
the
a
as
placed
it will
in
the shaded
thrown
like
if
ner
man-
Now
make
that
in the
side is much
of the
many
so
and
paper,
be found
part,because
are
of them
one
table-cover.
partof
paper
let
be
dark
a
43
sheet of white
another
lower
upper
white
Shade.
29), and
two, and
(Fig.28) the
lighterthan
and
surface,as
possiblein sunlight.
on
and
back
of
rays
reflected
or
R
FIG.
against it ;
28.
whilst
FIG.
in the
takes
perceptiblechange
instead
of
case
(Fig. 29)
place, because
shade
side of
the
it.
reflectingthe light,absorbs
the
"
other
29.-
objectswould
little or
dark
Except
no
cloth,
for
be
inevitably
flection,
re-
black
in fact,invisible.
67.
If the
will
student
now
coloured
surfaces, he will learn
of
laws.
these
Let
Y
make
more
the
experiment
fullythe universality
(Fig. 28) represent the
coloured, say Yellow, and
with
E, the surface
on
which
cardboard
it
stands,
Red, and
coloured
is
of
now
back
in
Fig. 29,
surface
of
B
to
the
because
the shaded
is thrown
of the Bed
some
side,Y,
reflected into the Yellow.
or
If,as
the
Orange hue,
an
part of
that the lower
It will be observed
placed in sunlight.
let it be
before
as
Shade.
and
Light
On
44
which
on
hue
Purple
a
and
colours
Red, then
it stands
of
will appear
the
is coloured
cardboard
the
:
of
nature
and
the
so
the
Blue, and
lower
on,
part
according
material
used, ad
*
infinitum.
It has been
G8.
their power
an
of reflection.
of them
object,some
remainder
thrown
rays
more
or
The
of
of
laws
pigments,and
themselves.
rays thrown
however,
f
every
At
we
a
not
For
The
is these
see
in all bodies
almost
dence,
degrees of inci-
difference between
the
flected
re-
to
us
deep, will
certain
the
the
est
high-
deepest opacity(say,pitch
reflection
of
colour,here referred to, apply only to
light,where some
singularphenomena present
to pure
instance,Helmholtz
other
has
shown
that
Yellow
and
Blue
produce White
light. In painting,
substances to produce Green.
incidence
reflects only 18 rays out of
water
perpendicular
mix
1000.
Blue
When
At
an
Yellow
incidence
rays
light almost
every 1000."
and
the rays
at 00" it reflects 05
the
object,and
enable
very
upon
degreemerely.
togetherinto each
increased.
where
black.
transparency and
tar)is one
*
the
that
light in
rays of
appear
known
retina
greatlyin
light fall
directions.! It
water, when
even
completelyabsorb
and
the
by
of
vary
absorptionof light takes place
This
less,and
or
rays
absorbed
in all
on
substances
When
are
reflected
are
objects.
that
observed
strike the water
of 40", for
; at
grazes
Vide Tyndall
on
80
333
,
the
obliquely,the reflection
is
reflects 22 rays
;
example,
rays
water
; while
at
an
angle of 89^,
surface, it reflects 721 rays
Light,2nd
cd. p. 17.
out
of
On
46
It will
are
be
Shade.
and
if in Nature
evident, then, that
invariable
in
Light
and
present,we
ever
our
efforts in
We
have
laws
for
only hope
can
proportion as
these
them
in
cess
suc-
we
express
an
object is interposed
our
work.
G9.
said
that
when
Ex.2.
,""
-"""V
III
K
""?.*'""'
'jtfx,
I
-H"
"v
between
caused
does
not
the
is called
bo
another
accidental
usually reveal
castingit
may
light and
as
seen
so
the
shape
in
Fig. 30,
object,the
shadow
much
of the
where
*",
darkness
(seeIf 64).
the
shape
surfaceon
the
'M""-''
4.
V*f"t I'jff^.
Shadow)
of the
which
so
object
if falls,as
straightstick
casts
an
Light
and
according
to
On
irregularshadow,
Shade.
the
which
cast
of
at
reveals
once
the
portions of
some
of
a
cast
Fig.
31
a
shows
in
shade
and
flat
retiringspace
simple
FIG.
it passes,
well
it is
darkest
as
Evidence
knife
but
of
this may
casting the
as
at
the
in
a
seen
be
the
surface
well
defined
at
in
the
to
the
tively
compara-
into
over
the
wooden
the
away
the
darkest
in
a
J.
which
shadow
at
edges, as
object casting it.
from
where
the
accessories,as
falls,the edge of the shadow
Fig. 33,
is
made
when
stands
shadow
the
Sometimes, however,
shadow
shadow
be
is
32.
immediately next
(Fig. 32).
which
usually
of both
object casting it.
may
reveal
surface.
retirement
or
how
few
a
a
Usually
the
#,
of
1,
depth
manner
shadow,
shadow
cast
a
the
us
is close to
the addition
by
onlv does
Not
a
Ex.
mouldings.
shadow
part
to
the
framework
in
until, as
in appearance,
same
of
shape
Also, in the doorways (Fig.31), the
the
47
a
a
platter and
the
object
surface
is
on
darkest,
is darkest
at
the bottom.
70.
Shadows
in
are
sunlightand
ordinarilydarker
under
a
clear
than
sky, and
shades, especially
for this
reason
:
LigJit and
On
48
Light
"
through pure
passes
of dust,
particles,as
of
or
Shad
*
invisibly
;
air
in
water
if there bo
rays, scatter
the
falling on
some
but
suspension (cloud
vapour), these particles,
receivingthe
all directions,and
j.
shadow
or
in
them
prevent it
black.
being absolutely
from
FIG. 33.
however, the lightis
71. When,
are
clouds
not
absorbed, the shaded
breaking up
from
the shadow
*
a
This
small
beam
vapour
of
may
hole
be
in the
them
and
bright,and
scatteringthe
rays
there
they have
parts of objectswill be dull,and
undefined.
thus
readilyshown
shutter,
so
as
to
Now
lightwill be invisible.
from a kettle,
to rise,and the
visible.
not
:
"
In
let in
totallydark,
lightfrom the sun.
a
cause
a
beam
of
room
little
bore
The
dust, or smoke,
or
come
light will instantlybe-
flective
or
72. The
attention
not
are
and
apparent,
so
light models
or
unrc-
are
the
from.
should
important property of
very
49
objectsis dark,
that white
reason
to work
best for students
Shade.
rays, these laws
of
absorbent
it is for this
and
of the
the local colour
When
and
Light
On
be
now
shade
its
"
drawn
another
to
gradation on
round
FIG. 34.
objects.
should
fact
on
have
shade
flat surfaces.
be
a
seen
already said
and
perfectlyeven
appliesto
can
on
be
"We
is
on
roll of white
only.
a
free
cylinder,such
If you
from
simplest form
paper,
have
in
all
where
a
as
the
on
which
on
the
cases
round
as
gradation
pillar(Fig.34), or
gradation is
sphere,such
shade
spottiness. This
all circumstances,
under
The
that
as
an
in
one
rection
di-
india-rubber
On
50
ball,you will
that the shade
sec
regularly
; whilst
but
gradationis much
the
should
fine work
is
an
on
is
it is
example
"
is
which
of
for
which
in
the
the
may
be
seen
edge
a
of the
shadow
that
it
is somewhat
turned
towards
to
on
assumes
it
the
as
of
use
might
fiat side
a
and
an
cast
often the
dent,
It is evifrom
the
ground
from
the
shadow
from
If the
the
infer that
we
if the
but
be of
a
the
that
conclude
by
the
When
of
the
shadow
in
the
bat's-wing
a
be
placed so
as
the table ; it will
on
a
light
objectnarrower
any
paper
shape
object,the
of
of the flame
pieceof
mining
illu-
candle.
means
Let
an
shadow
illustrate this for himself
softened.
the
the
the
on
flat paraffineflame.
the width
to cast
The
be taken
lightfalls
the
cone,
a
followingexperimental manner,
than
work.
shadow.
the
casts
object,we
as
"
student
in
proportion;
in
proportion
a
the
of
some
shading on
light comes,
Fig. 34
of
shape
it leaves
flame, or by
The
ever,
how-
tender, for all
account
any
the shadow
is wide
body
74. The
but
delicacyof
right-hand side.
the
object assumes
in
graduated shade,
property
object which
the
divergesas
face,
a
noted, namely, that they tell
briefly
be
from
the
on
the
on
more
side,because
pillaris
is small
not
instance,that
left-hand
of
only even,
than
one
may
the direction
location
of
parts
it is better to sacrifice
must
directions,
quitetoo imperfect.
There
shadows
the
on
actuallyinimitable.
pedestalin Fig. 34
73.
working
and
delicate,
egg
or
all
complex.
it not
keep
to
graduates in
egg,
more
of appearance
roundness
shade
be
an
in the
great aim
The
us
on
Shade.
and
Light
cone,
edge of
is
and
that
the flame
sharp
and
its
is
clear,
On
form
In
75.
the
shadow
preciselythe
in
flame,the
shadow
and
but
to appear
to
object that
ground.
In
the
two
36)
there
will
Fig. 37,
surface
but
casts
the
as
are
thus
it,and
following
the two
pairs of
feet
are
36.
which
shadows
lines in
no
they
cast
Nature, it is often
expressingshade
always
intended
they are
in
be observed
different.
in
them
use
by
lines,however, should
the
given it will
FIG.
Although
necessary
of
51
35.
same,
made
the
the
on
(Figs.35
FIG.
they are
touches
that it is
illustrations
These
the
of the illustrations
most
indicates
76.
than
Shade.
divergentcone.
a
that
wider
object be
if the
and
and
Light
Fig. 38
;
or
even
be
used
to
in
drawing.
in the
express
:
tion
direc-
never
as
better,Fig. 39.
SUMMAEY.
77. This
that it may
78.
we
of
it for
79.
see
on
be desirable
Light
to
our
light and
is
objects.
an
and
shade, and
knowledge
Light
and
give a
roundness,
Solidity,
outcome
on
chapter
of
Shade
summary
is
of it.
are
projection,
we
are
important
so
the
natural
greatlydependent
projection.
imponderable,invisible agent by
which
On
52
Light
is in itself
impinges on
anything.
80.
it
but
invisible,
FIG.
Fio.
81.
are
We
see
objectsby
reflected from
Shade.
LigTit and,
them
means
becomes
visible
as
37.
39.
of the rays of
into the eye.
lightwhich
On
82.
absorb
owing
from
84.
Shade
the
in
they
of rays
thrown
53
proportion
they reflect
dark
into the eye.
their shaded
on
them
upon
they
as
light or
appear
quite black
objectsappear
light being
objectsor
dark
rays, and
the number
Few
to
few
or
many
Shade.
and
light or
Objects are
according to
83.
Light
from
side,
surrounding
atmosphere.
be defined
may
as
light in
various
into natural
shade
of
absence
degrees.
85.
and
convenience
accidental
86.
its
For
divide shade
we
shadow.
Eeflection
is
back
lightthrown
on
to
an
objectfrom
surroundings.
87.
The
appertainingto ordinarywhite lightapply
laws
also to its component
88.
with
89.
"
results
Experimental
pigment colours
and
with
differ very
difference
The
blue, red, yellow, "c.
parts
the densest
prismatic
and
much.
the
between
colours
opacityis
highest known
said to be
parency
trans-
of
one
degree
only.
90.
fall
Shadows
than
more
91.
the
Shadows
edges, and
92.
usuallyreveal
shapeswhich
are
darkest
Graduated
shade
simplest form
the
gradation is in
should
94.
In
Shadows
which
be
direction
at rather
indicate
than
the
they
at
their
objectscastingthem.
the idea of roundness, and
seen
in the
where
cylinder,
only.
tenderness
shading objects,
be aimed
on
cast them.
conveys
of it may
one
surfaces
ordinarilyclearlydefined
close to the
the
93.
the
and
of
delicacy
work
darkness.
direction
from
which
the
On
64
falls
light
on
an
light, whether
the
object
and
;
great
Shade.
and
Liglit
not
small, in
or
the
unfrequently
comparison
size
with
of
the
object.
95.
Shadows
often
by showing
casting them,
they
removed
are
9G.
When
clear, the
97.
as
from
the
We
applied
must
idea
of
have
to
be
that
on
an
much
sunlight
hitherto
objects.
locate
extent
some
touch
they
the
objects
surface,
a
that
or
it.
light
light (showing
shades
to
Its
brieflytreated
object
is
strong
reflection),
is
bright,
or
and
the
the
shadows
conveyed.
spoken
of
light
application to,
in another
and
and
shade
uses
chapter.
in
only
a
ture,
pic-
CHAPTER
OK
FEW
98.
the
and
is
should
for
education.
Art
is
known,
in
and
structure
mischievous
to
copying
instructions
The
and
stupid
of
the
those
contained
in
result
is
the
of
idle
such
A
be
to
two
must
is
language
him
as
without
can
be
more
heads,
copy
and
Hubert's,
Even
Raze.
'to
attending
practice
deception,
to
its
be
can
of
name
of
understand
things
the
a
study
knowledge
a
to
such
text,
is
the
the
such
setting
trees,
alone
alphabetical characters,
student
bearing
it
science
a
"
other.
Few
than
that
But
practised.
its
this
are
but
copying,
art
good
a
there
that
said
each
make
that
good
provided,
are
to
deny
if
that
thought
an
landscapes,
or
Harding's
persons
tice
prac-
careful
rules.
beginner
usual
the
by obtaining
its
as
and
not
and
with
apply
especially such
the
be
to
enable
Julien's,
as
Drawing,
elsewhere
science
a
will
a
been
supposed
merely copying
as
have
is
from
be
skilfully,but
grammar
do
have
art
by
to
landscapes,
or
we
combination
learned
however
heads
derived
twofold,
an
it
seem
only patience enough
We
and
operate
such
education
some
moment
a
COPIES.
FLAT
than
Now
be
to
not
has
well.
advantages
its
of
By
of
student
all
copy,
it.
whether
examples,
not
FEOM
departments
teaching
of
of
DRAWING
entirely misunderstood
more
Art
IX.
of
with
inasmuch
the
tage.
advan-
little
thoughtless
as
55
they
On
66
that
imagine
as
99.
used
of real
It may
"
ought they
be
not
say
and
point
be
used
in
devise
to
flat
should
how
they be, and
much
advantage
moral
other
the
the
other
mass
of
these may
be
a
course
appertainsto
Bketch such
a
is best
their
of the
the
a
course
Let
example.
effort
its
it
is
as
neglectcan
Art
and
studies
view
here.
some
suited
to
in
of them
cise
exer-
signers
intending de-
issued
student, he
beauty.
an
landscapes,in
generallyto
to effect than
and
an
originalpurpose.
seem
the
issued
affords excellent
that will educate
truth
"
has
busy publishershave
which
regarded by
adopting
carryingout
lithographicexamples,
with
more
of which
and
hand,
heads, in flowers,"c.,
prepared
stroke
studies,and
of Science
copying
hand,
slavish
delinquency.
this,in fact,was
:
of
series of outline
exhaustless
"
the honest
stroke
do
for
example,
an
the
by
not
be
copiesto
reallyconscientious
Department
graceful
a
of this
worthlessness
reply,that
motive
in
as
towards
for eye and
that
of
that
Art
The
100.
in
We
spiritor
remembered
only tend
endleas
?
kind
point,but by
and
important
On
so, what
imitation
for
intentions
very
of the
but rightly;
merely correctly,
laborious
almost
unable
are
soon
gained by copying good examples rightly. We
and
ever
it
inquiringminds
inquired,then, Ought
be
able
credit-
or
development.
be
to
Copies.
something worthy
conscious
and, if
at all ?
may
done
and
intelligent
they are
way,
means
a
with
Flat
from
disgust,for, although they
in
better
have
they
whilst
;
ends
Drawing
have
been
truth.
However
cannot
do wrong
his faculties
It is
in all
proposed
to
CHAPTER
SUGGESTIONS
IN
101.
into
use
FOR
laying
it will be
X.
out
COURSE
A
of
course
a
OF
STUDY,
exercises
for
all his faculties
perceived that
the
will be
dent,
stu-
called
:
"
(A.)
The
to
eye
hand
The
(B.)
to
contour
see
perceive delicate,
to
varying shade,
a
The
(c.)
point
mind
and
(D.)
The
hand
mind
to
sketch
to
to
sees.
and
even,
subtly
it with
produce
of
appearances
them
from
essential
the
learn
eye
the
brush,
distinguish the
to
the
hand
pencil, or
pen,
"
the
and
truly, and
the
accurately what
trace
mind
outline
or
things,
nature.
characteristics
of
things.
(E.)
The
judgment
of
doing
done
1.
have
regard
to
more
(viz. improvement)
than
the
to
purpose
what
is
find
flat
(the drawing).
this
(A.) Taking
outline
to
resolving
proposed
itself into
Rectangular
in
course
detail, we
"
figures,
such
as
squares,
grams,
parallelo-
"c.
2.
Curvilinear
3.
Mixed
4.
Natural
or
symmetrical forms.
compound
objects that
forms.
are
flat,such
as
leaves, and
copies of objects.
67
flat
Suggestions for
68
In
102.
this
before
beginning
the
objects. All
from
with
it is not
course
stage of outline
entire
the
Course
a
of Study.
to
drawing
shading
three may
be
understood
exercises
be
be
must
completed
the
or
that
sketching
prosecuted simultaneously
advantage.
103.
is the
Outline
may
be
suggestedor
best
to
practiseit
If
models.
outline
from
(parallelogram)accurately,he
symmetrical and
b),only much
104.
an
a
exercise
it is
from
flat
or
and
square
proceed
may
forms, such
form
oblong
an
at
Fig.40 (a
as
to
once
and
larger.
The
order
drawings should
1.
curvilinear
as
drawings
draw
can
which
by
represented,and
student
a
simplest means
'Block
of
be executed
in'
the
in
procedure
is
as
which
follows
such
outline
:
"
general shape, deciding upon
the
proportions.
2.
Draw
all the
3. Rub
down
partsdefinitely.
all the lines with
and
only just visible,
are
but
105.
To
first
hewing
case,
rather
'
'
block in
as
the
bread
true
out
the
form
larger than
In
in
till they
cately
outline,deli-
will
be
student
preparing his
roughly, and,
correct
completingit.
only 'blocked
generalshape, the
the
sculptorwould
a
always securing the
or
then" make
pieceof
clearly.
proceed much
This
a
in the
should
marble
sculptor's
ultimatelyrequired,but
general proportions,and
Fig. 40,
;
a, half
the
wards
after-
figureis left,
in.'
method
of
working
reducinga drawing.
In
is very
useful when
enlarging
enlargingor reducingalways ob-
Suggestions for
the
observe
of
proportions
halves, quarters,or thirds
size
of such
as
The
106.
and
'blocking
form
the
; then
being
in'
the
almost
over
as
whole
has
been
considerable
hand
into
neatness
and
get the
to
with
should
be
part of
no
an
'
in
quantities
be
not
done
truth
"
but
;
with
long
of quantity
afterwards,
40.
subdued
any
these
into
(See Fig. 40, #.)
upon.
invisible,the pencil should
a
block
principalaim
the
59
by dividing it
straightones
FIG.
when
'
need
shorter
of Study.
copy
be determined
may
lines,but with
curved
Course
a
with
be
bread
passed
line without
easy and
and
several
gradationor expression;
final
times
touching it, so
for
ready position
precisionthe
made
line.
all should
be
ing
draw-
There
equal in
Suggestions for
60
depth
and
regular in
be
may
others
stand
When
it is
an
is
assist in
making
(as in Fig. 41).
example
is
copied the
flat
ples,
exam-
parts retire
some
size
same
to test its accuracy
This, however, should
paper.
copying projecting
guides, and varying emphasis
as
forward
good plan
a
be used
given to
when
boxes, boats, "c., from
as
should
of Study.
But
appearance.
objects,such
squares
Course
a
by
of
means
tracing-
till the
be done
never
original,
the
as
and
copy
made.
carefully
"
(B.) The
The
107.
in
shading
mind
to
power
to
'
perceive,'"c.
see
and
it is in form, and
as
is as important
delicately
feel
is the first
real
step towards
success.
The
student
equal or
flat
may
first with
begin
shading,enclosed
inch
in
an
by
one
enclosed
with
If
used,
the
filled
with
bars, nearly touching each
interspacesfilled evenly
If
a
should
short
pen
or
the
point of
be what
is
in
one
lines
in another
up
a
lead
space
may
one
filled
be
in
shade
various
pencil
be
a
be
first
long, soft (never
other, and
with
of
This
half.
may
the
say,
wiry), parallellines
or
brush
a
and
space
ways.
piece
oblong of,
equal
hard
small
a
afterwards
or
the
pencil.
finely-pointed
is to be
used, the work
technicallycalled 'cross-hatched,'that is,
direction
direction
; but
as
are
crossed
lines
with
short
lines
crossingat great angles
Suggestions for
62
produce contrast,
be
acute,
Yery
of Study.
angles formed
the
and
at B,
as
Course
a
never
at
as
lines
the
by
should
When
A.
this
cross-hatchingis quite dry
the
lines
be
may
crossed, till all
whole
made
area
used, and
the
pencil is
the
stump, made
On
108.
student
should
be
rolled
into
touched
to
sufficiently
in
cut
drawing;
a
like
remove
the
piece of
stiff
then
the
bread
or
thus
made
stippledup
work
the
knife
artists' gum
must
to
the work
exercise
I
if
error,
w
quite
is
the
paper
of
this
and
part
be used
laid
fail
be
may
scrapingdown
the
on
removed
the
required shade.
for
bread
hole should
(india rubber), and
the
part
should
small
a
;
even.
dark
crumb
a
or,
I
till
spotty, the
or
offending dark
with
then
at
with
.
I
"
with
chalk.*
worked
dark
gently
shape
a
its
parts will require amending
be
is too
be
to
space
this shade
In
"
some
should
part
some
the
grain on
or
and
point of pencilor
find that
exercise
Suppose
be
the
instrument
the whole
over
of paper,
or
correctingerrors.
may
each
for
is laid
of leather
completed with
the
sufficient texture
has
paper
surface, a faint flat shade
a
light
even.
perfectly
when
Sometimes,
the
filled,and
are
spaces
again
light
In
pen-
any
dark
patches.
109.
*
This
Gradation.
latter mode
"
The
has
throughout the country by
Director,Mr. Poynter, R.A.
been
the
second
exercise
introduced
into
in
the
nowly-appointed and
shading
Schools
of
is
Art
energetic Art
Suggestions for
first,but
similar to the
filled in with
be
change
dark
at the other
chalk
cylinderor
The
again
graduated tint,the
an
on
egg.
graduating
important, and
very
practised again
and
till
perfect mastery
is
however, the
must
on
be
should
but
oblong
an
to
the shade
of
power
is
delicately
for
:
63
being by imperceptible
degrees,like
a
end
one
of Study.
difficult
more
perfectlyeven
a
lightat
from
Course
a
obtained,
"
student
may
know
stump
is used
in
that
he
obtained,
once
has
made
real
progress.
the
"When
best to
follows
proceed as
the
lighttint,over
proceed to lay in
"
parts requiring shading, and
the
as
darker
when
dark,
but
always lightand
though
(c.)
110,
'
The
not
to
all
truly,and
early training.
again
the
to be
shading light objects,
make
All
tender.
good
the
shades
is delicate,
work
""c.
distinguish,'
student
volume, he will have
at
not
feeble.
mind
If the
afterwards
tenderlyas
parts, so
plaster casts, "c.,
china, eggs,
is
First,lay a perfectlyflat,even,
:
easilyperceptible. Never,
such
graduating a surface, it
has
learnt
that
remarks
that very
this is
It would
'
On
the
read
fault
no
be
the
well
Introduction
few
if he
Eye'
eye, but
would
and
see
can
persons
of the
this
to
now
'On
of
read
Seeing.'
(Chaps.-I. and III.)
111.
It is evident
that
no
of
representation
an
object
Suggestions for
64
on
can
paper
mind
from
eyes, and
the
of course,
at
be
cannot
Some
the
students
the
on
will be of
112.
feel the
of
find
help
a
them, and
front of
glass.
it
For
students
two
to
it
the
a
of
much
'
Diascope
'
ruled
squares
were
contours
have
who
use
imagine
to
the
appear,
pieceof glasswith
a
the
nises
recog-
form,
any
object as though
in seeingthings as they
difficulty
(seeAppendix), or
;
This,
for Art
paper,*
on
outline
treat
to
pieceof glass placedin
objectstraced
the
views.
of two
image
sketching the
flat.
perfectly
originaldoes
is,therefore,better for the student
It
eye, and
one
the
as
objectis presented to
down
put
eye.
when
first,
only
blended
reallya
only one
same
of the
image
of Study.
points of vision, represented by
two
is
quite the
appear
for in nature
Course
a
it,
on
great service.
It is in this
disadvantage of
his childhood
; and
should
now
formal
studies,
be
seized, not
in
sketch-book,carried
drawn
much
so
in
jotting down
him, and
convenientlyat
the student
will
in
from objects
opportunityof sketching objects
every
as
that
having
not
shape of anything about
to be
his work
stage of
hand.
in the
any
paper
that
the
pens
hap-
cheap pocket
common,
pocket ready
and
set
frequently
very
on
A
making
for use,
will
be
convenient
113.
As
to
regular course
of
of
found
it is best
objectdrawing, making
perspectiverules
will be
the
systematicwork,
as
under
artists do ;
the
head
an
to
go
such
of 'Artistic
This
is
seen
in the
a
application
explanation of
which
in
Perspective'
present work.
*
through
Stereoscope.
Suggestions for
We
may,
Course
a
65
however, here state, for the benefit of beginners,
few facts in connexion
a
of Study.
with
the appearances
of
some
simple elementary forms.
If
a
front of the face and
square
it be
will be
laid
edge
one
of
actual
shape of
the
foreshortened
raised
be
If it
from
little
a
the
table,
FIG.
FIG. 43.
keeping
horizontal,the figurewill
a
in
the
to
parallel
paper
(Fig. 43).
at
held
table, still keeping
spectator,it will appear
as
be
if
but
(Fig.42) ;
the
the
cardboard
or
paper
parallelto it,the
seen
on
of
sheet
square
(Fig.44), until
it
42.
quite
and
narrower
appear
it is raised to the
narrower,
level of the eye,
*c*
I"
8'
FIG. 44.
when
the
higher,it
assumes
lines of each
all appear
is lost
square
the
square
line,c, exactlyoppositethe eye
parallel
perspective.
5
at d.
continued
towards
at
line, as
a
shape seen
be
to converge
in
a
or
If the
Eaising
it
retiringside
'produced,'they will
point in
of the
J.
the centre
of the
spectator. This
is
Suggestions for
66
If
114.
we
side of the
each
shall find
we
place
now
first one,
similar
a
receding lines
all the
a
the
the
course,
in any
If the
the
table, and
be
which
would
in
e
and
towards
where
the
point
parallelperspectiveis
usually marked
apply
/,
to the
v.
Of
P.
if placed
circle,
direction
hand
or
to
sides will not
shown
at g in
the
P.
v.
two
vertical
left, the
Fig.44
placed with
; the
be
be
We
line.
moved
plane
little to
a
becomes
of
right
retiringlines convergingtowards
similar
the
the
again visible,as
eye.
FIG.
a
its
If, keeping it in the
45.
have
views
edge
one
it will have
and
visible,
(vanishingpoint)oppositethe
Fio.
11C.
a
exactly,it
the
be
exactly opposite the spectator, and
represented by
same
the
at
to converge
cardboard
square
plane vertical,the
to
on
of the squares.
115.
on
remark
shown
result,as
appear
cardboard
stillparallelto the spectator,
vanishing point, and
same
of Study.
piece of
square
and
oppositethe spectator's
eye,
called
Course
a
round
result
table
of
46.
foreshorteningin
(Figs.
45
and
46),
Suggestions for
in
and
the
four
Course
a
of Study.
of
the
cardboard
be
retiringplanes
67
transparent
cube
(Fig.47).
FIG.
Now
117.
with
will
one
be
let the square
towards
corner
as
in
seen
47.
the
Fig.
the
the
on
the
spectator:
As
48.
laid
table,
appearance
cardboard
is raised
.
_
nearly to
more
the
level
it will appear
almost
and
U
L.
square
the
(as A, Fig. 49).
narrower
it is
is lost in the
(horizontalline).
its shape will
little,
assumes
exactly
level
line, c,
If the card
appear
as
at
H.I.
-
zontal),
(stillkeeping it hori-
eye
level of the eye, it
finally,when
whole
H.
to the
of
-
and
a
D.
shape
with
forms
is raised
Raising
as
the
eye,
part
above
It will be
at
of
it
B
;
the
the
the eye
observed,
Suggestions for
08
that
in this view
lines which
all those
This
point.
same
retiringlines
the
of the square
right and
directions,to the
different
parallelto
are
of the
view
of Study.
Course
a
to the
go in two
left,but
each other recede
is called
square
that
to the
angular
or
obliqueperspective.
In this instance
118.
distance
same
level.
from
Further,
they will
distance
same
on
on
each
side from
the
other,we
the
side be
tended,
ex-
(H. L.),at
cardboard
square
result
a
same
the
the square.
is further
shall have
the
on
the
at
are
each
on
the level of the eye
meet
corner
corners
therefore
retiringlines
if the
that
outside
one
outside
two
spectator,and
the
Suppose,now,
that
the
from
the
follows
as
be
placed
so
spectator than
(Fig.50):
"
B
A
FIG.
The
shorter
c, will be
corner,
than
angle,A,
A
and
the
tinned,terminate
than
A
cardboard,
few
or
will
positions,
into the
A
B
'H.
and
c
from
prepare
a
the
line,A
c;
over
the
B
D, when
con-'
to the
figure
and
nearer
nearest
D.
square
of cubical
c
L.' much
exercises
the
B, and
is not
angle,D,
the
careful
drawing
higher than
recedinglines,A
on
do the lines
119.
The
B.
50.
of
student
drawn
from
wire, placed
for
the
square
in
various
enteringmore
such
objects,
as
fully
boxes, chairs,
Suggestions for
houses, "c., by rule, as
Course
a
shown
of Study.
the
in
69
chapter on
'
Artistic
Perspective.'
In
120.
careful
his
model,
different
each
card
of
needle
on
of
up
is
a
object again
and
changing the
*
which
on
In
do.
again
without
point of
strong
piece
knittingor
into
a
card
the
to
'
stand
-
a
a
which
hole, through
look
is
the
at
of
danger
view.'
FIG.
121.
that the
One
of
the
the
he
though
Diascope, or
most
as
Fig. 53,
122.
in
Such
the
the
which
In
is
a
lower
It is
retiring planes.
culties,
diffi-
these
overcome
referred
glassbefore
the
The
to.
making retiringplanes
in
of
instead
Fig. 52,
such
cylindricalforms,
should
lines curved
a
to
in
too
like
agreeable.
more
may
their
objectsis
greatly assisted by using
is in
frame-work
frame-work
Fig. 55.
be
chair-seat
drawing
of
him
ruled
mistake
basins,"c.,
keep
may
piece of
a
common
wide,
enable
from
drawing
width
apparent
Only experience will
in
with
61.
difficulties
principal
beginner meets
determining
be
view.
a
pincushion,
will
wood,
eye
simply
down:
.or
into
*
an
stand,
a
slides
stuck
block
a
wire
use
which
(like Fig. 51),
should
ing
view-
of
point
new
beginners
student
it will appear
of course,
as,
from
Sometimes
upright
positionwhen
to alter his
not
objects the
from
drawing
be
good plan
in
drawn
always
be
as
made,
mugs,
relation to the upper
as
for the
in
Fig. 54,
student
as
so
or
to
lines.
as
to consider
in
the
70
Suggestions for
FIG. 52.
Fia. 54.
a
Course
of Study.
FIG. 53.
FIG. 55.
Suggestions for
object as transparent, and
in
error
the
it
draw
line,a b, and
the nearest
at each
123.
The
habit
picture plane,
it
viewing
in
end
sharp
a
the
between
only
with
where
Fig.
longer
are
the
nates
termi-
curve
plane
of
glass for
the
often
the
object,and
greatly assist
inclination
the
or
in
curve
line.
a
124.
basis
The
for
square,
drawing
cube, and
the
other
most
and
attempting irregularand
intricate
student
this
has
gone
will be fitted to
of Art,
proceed to
'Tlie mind
125.
Another
of
so
those
they are
most
the
form
cylinder,
and
well
should,
mastered
before
"When
objects.
the
the
he
conscientiously,
course
study of
any
specialdepartment
landscape,figures,"c.
as
(D.)
habit
through
the
regular forms,
carefullystudied
therefore, be
with
lines
in
d.
spectator and
ascertaining
accuratelyeither
of
a
eye, will
one
is shown
the lower
c
corner,
imagining
of
mon
com-
56.
FIG.
than
71
The
accordingly.
vertical
outside
two
of Study.
of this kind
forms
drawing
A, where
56, at
Course
a
to
learn,' "c.
stage
looking at
in
this
natural
properties or
course
will
objectsas
qualitiesabout
clearlydistinguishedfrom
be
to
to
be
them
other
gain
the
impressed
by
which
objectsand
72
Suggestions for
Vw.
a
Course
57.
of Study.
Suggestions for
a
Course
FIG. 58.
of Study.
73
Suggestions for
74
from
one
some
length
in
This
habit
has
another
is but
elsewhere
been
childhood, in what
in
some
who
known
are
of
had
has not
of.
few
a
found
be
set
Some
nature.
in
the
'
such
several
have
of
a
place was
Wherever
he went
; and
curious
Ruskin
example
and
58
by Turner,
nearly as
are
he
had
a
sketches
liarities
pecu-
thing
a
of
or
the
the
intention
shown
v.
p. 187.
by
Mr.
given
a
in
fall
Water-
They
the
evidence
intelligible
un-
meaning.
author.
in every
pencil.
Vol.
full of
original as
bear
ing
sketch-
almost
were
of
slightpencil-sketch
allow, and
*
the
illustrations
The
possessionof
definite
may
strikingpeculiarities.
they were
Painters.*
possible like
a
meant
which, though grotesque,
(a Sunrise) is
this
from
from
essential characteristics
most
of his
of
and
perpetuallyobservingand
some
in the
reproduction would
that
was
of
great
self
for him-
serials,where
observingthe
others, to himself
in Modern
Figs.57
as
he
although
to
A
is here
system.
the
drawings
of what
of Turner's
one
begun
truth.
much
of
power
'
do much
may
from
comic
our
seeing,
be
Kindergarten
stronglycharacteristic
in them
The
12G.
are
of
of
'objectlessons,'and
slightlyexaggerated,and
are
person
ture'
Observing Na-
advantages,nor
exercises,both
good examples
which
a
On
It should
as
advantageof watching others draw,
by
'
explained at
for the power
term
spoken
exercises
of the
student
is
this
way
XVI.,
III. and
Chaps.
in
A
simple
a
Character.'
'On
and
which
In
another.
of Study.
Course
a
are
mode
of
of the
fact
stroke
of
his
Suggestions for
(E.)
The
*
judgment
The
127.
in
persons,
with
not
been
off
He
has
for
the
few
a
of
two
amateur
must
to
things
be
must
be
is certain
acquirethat
which
continual
be
done
and
that
have
may
Art
is
that
ture
na-
be able to
that
as
this,
would-be
the
so
teacher
many
years
few lessons.
a
the result,is
fact that, however
is
an
; and
sure
slow, there
although
the
value whatever, it may
mercantile
no
from
our
taken
in
A
rightlypursued, it produces a
progress
the effort of
regarded as
have
to
have
case
a
feeling,the pursuit, not
satisfaction in the
is progress,
work
stupid
for where
;
in such
is to be learned
In all true artistic
the reward
justto
wonderfullygifted,or
uncommonly
who
much, and does
is
either
"
brief
few lessons,to
a
drawn
never
and
students.
as
tellingeffects
and quickly.' Now,
paint effectively
one
or
for
all he wants
pencil;
small
to those
teacher
a
dash
his brush.
care
from
teachers
as
appliesto
just to
'
75
impatienceof ignorant
mischievous
most
Art, whether
amateur
him
enable
and
expecting large results
to do with
would-be
of Study.
have,' "c.
to
unreasonableness
exertions,have
had
Course
a
mind
immortal
to
striving
improve itself,
and, therefore,precious.
After
128.
sketched
have
going through
will find
out, the student
been
brought
under
strict
and
of
into
in Art.
success
able to
sympathy
He
is thus
into any
develop his
that outward
a
that
course
with
technical
is here
his eye and
hand
his perceptions
discipline,
truth
prepared
and
beauty
to enter
with
in
being
Nature
confidence
of drawing, or
application
faculties for still higher
manifestation
as
sensitive,and his whole
quickened,his feelingsmade
brought
such
of God
which
we
is
enjoyments in
call Nature.
XI.
CHAPTER
CONTRAST.
ON
CONTRAST
129.
almost
as
the
and
latter
exciting
opposite
concealing,
terms
the
"
forms
many
irritating, whilst
and
in
gradation
Art
revealing, and
former
and
ered
consid-
be
may
Contrast
facts.
and
soothing
is
gradation
is
agreeable.
In
order
would
properly
well
do
If,
130.
make
to
it
held
verticallyagainst
rays
from
the
the
be
letters
on
nearly
so,
the
eye,
invisible,or
of
part
lamp
the
the
entering
contracted, and
the
letters
The
131.
in
the
pieces
of
tint, only
of
the
readily
the
time
the
book
The
book
*
the
be
lower
of
pupil'
feeble
too
are
enter
will
rays
the
cause
the
to
on
be
and
lamp,
a
of
seen.
book
open
characters
strong,
from
an
same
part
upper
so
rays
the
at
whilst
be
student
light
to
to
be
der
ren-
visible.
eye
pieces
tint.
strong light
the
is
similarly affected,
following diagram
two
equal
the
of
allowed
being
eye,
portion
upper
the
can
page
the
contrast,
experimental inquiry.
an
the
night,
at
understand
to
Let
of
paper,
and
B
paper,
with
darker
than
*
B
a
A
Let
(Fig. 59).*
shaded
likewise
similar
and
Chuvreul
with
A.
on
in
but
a
a
A
and
degree,
A
perfectly even
represent
perfectly
Now
less
let
even
them
sent
repreand
similar
two
and
equal
bo
placed
Colour.
76
On
in
as
the
darkness
A
diagram,
will be
2, darker
to
as
1, darkest of
A
when
follows
:
This
still ; and
be
them
a
similar
of
wash
G
Obtain
also be
of
number
a
and
lettered,numbered,
relation to those
clear.
of colour
lay another
a
third.
c
;
On
all
a
fourth
a sixth
and, lastly,
a
exercise
for
and
let
paper,
into widths
A, B, c,
except
now,
all
wash
on
B.
stripsof
on
bearing
"c., in Fig. 60.
60.
On
on
if made
good
a
cut
marked
(saySepia);
flat wash.
Lay
lightest;
strongly apparent
more
following experiment, which,
remain
the
of
4, by its juxtaposition
u
will be
contrast
FIG.
Let
order
59.
moderately large scale, may
student.
the
all.
force
in the
the
that
seen
1 will appear
A
"
FIG.
132.
77
it will be
3, darker
; B
Contrast.
on
lay a perfectlyflat
G
all
except
except E,
A, B, c,
D
r, G, and
H,
and
lay
r, G, H,
;
a
fifth
on
I,
B
and
Contrast.
On
78
strips in juxtapositionquite neatly
these
Place
of white
sheet
given.
If
cardboard, and
or
paper
of
The
strongest
against black
black
and
Fig. 61, where
the
lighterthan
in
tinted
or
as
the
little
a
white
is of
may
centre
be
in
seen
of b
looks
61.
dark
and
looks darker
a
than
surface.
Art, however, has
in the
from
Nature
a
applied to light and
when
powerfullyfelt
of
a
on
Contrast
than
in
space
surroundingpaper,
if laid
it would
134.
the
in
against white,
Fia.
here
order
fluted column.
a
contrast
white
the
viewed
rightlydone they will,when
distance,have the appearance
133.
in
a
on
much
wider
dark
ficance
signi-
alone, and
is
and
oppositionof colours,of objects,
and qualities
of things.
properties
Fully to
very
many
illustrate the contrasts
coloured
of colour
diagrams, and
extend
would
far
require
beyond
the
limits of this work.
The
student
however,
may,
experiments with various
;
consult
and, if he wishes
any
of
the
coloured
to pursue
assist himself
piecesof
the
followingworks
by making
paper
or
board
card-
subject further,may
:
"
Field's
treatise
on
Contrast.
On
Cliromotograpliy
;
Principles and
of the many
Grammar
Practice
works
on
of Ornament, by
of Art, by
Decorative
FIG.
135.
to
make
The
straightline
mutually
is set
more
againsta
J. D.
Owen
Jones
Harding;
or
;
one
Art.
62.
forms of objectsare
them
79
contrasted
with
each
strongly felt, as
curved
one,
or
a
other
when
square
a
figure
Contrast.
Chi
80
round
against
a
will
felt
be
only
not
especially in
the
of
many
the
in
of
value
The
one.
kind
this
of
contrast
dancing figures (Fig. 62), but
in
landscapes
the
work.
(See
Composition, Chap. XXIV.)
properties of
The
136.
with
contrast
thick, round
or
on
or
a
a
rock
judge
on
or
Contrast
of
an
on
a
roof
of
of
often
are
set
in
instance, the soft,
for
as,
;
spray
in size is
unknown
size is known
page
84.
hard,
leafage by
stoutness
Quixote
frequently used
quantity by
and
A
objects, whose
Don
tender
a
fixed.
This
portrait of Tom
estimated
the
moss
bodies
a
square
slates,
sturdy
stem
;
hard, flat wall.
137.
the
of
masses
;
in Art
other
each
various
of
more
Sancho
is known
is used
strongly felt.
be
Thumb
by comparison
magnitude
of
means
may
with
to
enable
that
of which
in the
seen
could
to
us
only
arches
be
rectly
cor-
ordinary figures
; and
to make
the
in
like
or
manner
lanky length
of
CHAPTER
XII.
ON
BY
138.
"
of
it
perfectly
is
opposition
or
which
by
;
and
they
where
but
be
The
we
term
say
painting
than
to
separated
from
141.
In
art
and
stands
in
shading
quite
contour
or
entire
relief
'
It
is
limit
of
less
'
the
conceal
clear
'
or
where
one
has
nothing,'
the
background
of any
equally light
to
another
against
set
colour,
drawing
to
object
is
;
and
distinctly
solid.
which
proper,
no
eye
objects,
many
and
legitimately belongs
in
of
ble
scarcely possi-
relation
in
used
relieved
sculpture,
clear
surface.
is also
is
the
that
space,
outline.
their
another
can
in
but
conscious
perfectly
so
violent
by
varied,
and
superficial or. strongly
sculpture
which
'an
'
tender
the
precise
colour
one
it
we
the
relief
in
things
see
location
follows
either
think
the
their
throughout
140.
it ; and
of
edges
tion
separa-
necessarilyby contrasting
become
we
of
the
trace
dark
the
meant
is behind
the
not
seldom
we
longer voluntarily
unless
and
constantly by
shapes,
to
which
by making
clear,
Nature
but
contrast,
that
simply
against strong light.
In
139.
from
and
is
'relief
obtained
even
dark
strong
term
object
an
drawing
their
the
BELIEF.
figure
:
said
well
been
it is
to
be
is insulated,
sculpture
in
round.
142.
Other
6
terms,
such
as
*
basso
relievo
'
'
alto
81
relievo,'
and
'
relievo/
mezzo
from
projection
rounded
though
unattached
coin
a
144.
gates
Florence,
known
examples
of
date,
145.
the
which
One
Grecian
of
*
the
clear
not
a
the
of
clearest
manifestation.
be
may
ground.
backtwo
"
"
kinds
of
in
seen
the
of bas-relief
is
sovereign.
San
of
Giovanni
Gates,' show
of
finest
relievos
Achilles'
is
of work,
shadows
a
of
the
in
landscape
Our
of
own
modern
notable
ample.
ex-
excellence
addition
forms
that
at
beautiful
misapplication.
indications
cast
the
different
is, doubtless, that
to
erally
gen-
part entirely
introduction
a
has
other
no
examples
the
Shield
perfection
as
these
Ghiberti
critics
bas-reliefs
arranged
their
'
the
other
it.
Baptistery
probably
his
exquisiteness and
with
the
the
many
produced
of
of
commonest
of
as
by
behind
temples,
relief, though
is considered
Flaxman
surface
the
from
bulk, has
shilling, or
a
detached
or
slight
very
bulk, but
between
style
a
a
of
surface
plane
has
work
any
relief, on
full
figure
Greek
The
penny,
The
the
"
the
examples
various
Museum.
"
of
plain
finest
The
relief, from
British
the
Alto
to
to
any
relief
"
considerable
to
to
143.
rounded
relief
Mezzo
flat
or
background.
portions
some
less with
or
low
"
the
only
is not
hand,
more
Basso
background.
applied
commonly
are
connected
sculpture
a
Relief.
On
82
would
are
in
to
so
the
fully
skil-
interfere
CHAPTER
XIII.
ON
how
to
make
of the
idea
large
By
147.
the
students
MANY
146.
which
relation
The
148.
of size
is
of
subject,
the
of
student
to
lamp
it
draw
if the
the
on
be
he
his
without
149.
There
wish
the
will
scale
bird.
size
to
draw
size of
be
too
however,
is
it will
be
the
nature
of
disposal
to
purpose
represent
equally right
be
an
inches
; but
elephant,
hand,
one
or
placed
best
cluster
there
mistaken
for
of
will
or
a
on
too
grapes,
be
in
and
danger
for
A
the
that
make
at
hen's
egg
first
some
on
we
only
them
egg
of
the
drawn
Suppose
nature.
we
fruit,
as
possible, be
are
currants.
mistaken
objects, such
some
when
should,
peas,
be
the
eight
or
on
fusion
con-
great
a
the
on
wishes
house,
a
a
other.
they actually
a
might
as
little
are,
that
such
six
being
flowers, "c., which
same
to
one
to
ultimate
the
it will
"
how
the
on
him
is
at
he
consider
must
overwhelming
time
suppose
by
proportion
:
chiefly
and
power,
us
large,
tree, then
paper,
his
before
table
also
drawing
the
on
size, from
any
object
as
and
another.
to
or
knowing
not
proportion.
depending
partly
Let
drawing.
the
the
well
as
of
bears
sketch
a
optional, though
and
sketch,
a
that
thing
of
by
merely magnitude
extent
the
or
with
meant
one
size
themselves
puzzle
drawing
a
size
SIZE.
sight they
a
small
smaller
On
84
Objects in
150.
large or
small
by
a
the
Size.
drawing
of known
and
size.
The
of
an
archway,
of
appear
objects
63.
FIG.
mind
to
other
some
04.
sets
instantly
judges the indefinite by
sketch
made
be
juxtapositionof
FIG.
PIG.
may
up
the definite.
which
we
have
G5.
a
In
comparison,
Fig. 63
no
means
is
a
of
On
knowing,
feet
it is at
but
it is
once
64
the
arch, by comparison
with
the
feet
is
whose
size
would
of
without
nine
151.
inches
mountains
their
is
must
be
mass
of
similar
"
till
of
some
thousand
It
In
can
we
size
of
by
a
like
many
'
Fig.
the
65
be
to
something
Fig.
a
65
of
height
of
objects
near,
ladder
a
the
ladder
arch,
always
are
of
is
ourselves
objects
"
mind
on
that
the
It
them
with
reasoning
their
with
the
mountains
of
magnitude
has
reach
masses
the
time, the
grand
a
scarcely perceived, except
reasoning.
these
first
inferential
of
chalets
the
the
deeply impressed
process
manner
been
stated
a
elsewhere
of
elevation
aii
by
twenty
earth.
evident, then, that
make
the
not
are
on
cumuli
feet from
is
it, that
nature
In
same.
rounds
'
tiny-looking
large.
process
the
visiting, for
on
it dawns
distant
also
the
Switzerland,
the
surroundings
in
given,
apart.
magnitude,
comparing
is
figure, is judged
sketch
to
determine
to
persons
of
; whilst
from
always
figure, for
Many
five, ten,
arch
same
sketching
variable,
be
which
the
about
when
sufficient
be
be
high.
important
sizes may
it may
"
figure passing through
high
twenty
that
size
feet
It
moon.
about
the
Fig.
the
by
seen,
85
six
about
"
In
high.
probably
same
the
approximately,
even
fifteen
or
Size.
only by
accurately
the
a
process
of
acquainted
reasoning
with
clock-face, tree, mountain,
the
or
CHAPTER
XIV.
/
05
THE
152.
which
of
application
There
of
object
an
and
other
function
in
this
be
such
a
the
be
A
be
parts
or
to
the
relation
is
the
it
things
done
weight,
run
a
In
race.
feelings,
but
to
or
the
of
the
in
a
horse
a
the
case
In
relations
something
a
to
support
to
appeal
intellectual
seen
proportion
of
draw
is
alone.
column
to
any
ornament.
varied
view
each
of
this
term
the
to
in
as
this
of
of
to
parts
faculty
which
other
;
of
illustration
applied
each
to
or
is
parts
independent
aesthetic
in
various
consciousness
a
kinds
the
varied.
the
quite
but
;
and
mind
many
the
wide
relation
An
sense
when
the
and
to
another
to
is
'proportion'
term
between
in
in
and
appeal
an
superincumbent
to
is both
performed.
accomplished
athlete
Art
whole,
second
used
bears
from
solely
the
thing
produce
to
to
it is
153.
of
be
kaleidoscope,
case
may
in
as
to
the
term
arising
beauty,
one
the
may
of
meaning
simple
relation
the
PROPOBTIOH.
load,
an
or
is made
faculties
a
and
not
the
judgment.
154.
An
object
as
cases
the
the
in
the
sides
proportions
proportions
of
have
may
are
which
and
fixed
of
angles
variable,
differ
unalterable
and
as
much,
a
in
square.
the
the
human
male
portions,
proIn
some
figure,
from
the
On
female, and
various
Discobolus,
In
such
and
to
mind
of
sense
comparison
mind
other,
the Athlete.
parts
produce
with
of
of
of
on
a
the
length
the idea of
Doric
the
a
building should
to each
parts
and
pure
mind
idea
the
unbiassed
is
and
containing more
column,
other
rest.
column
the column,
of
the
as
*
and
solidity,
durability,
Doric, suggests to the
the
each
agreeableness,satisfaction,and
Corinthian
The
from
adjustment
to
as
diameter
The
155.
and
87
from
various
the
relation
a
forms
the wrestler
or
the whole,
a
the
male
Architecture
bear
Proportion.
large
in
to
conveys
deep
repose.
diameters
than
of
eleganceand
repose.
A
the
horse
such
parts bear
speak
to
confusion
of
of
horse
a
to be
relation
a
its purpose,
to
adapted
said
be
may
being
sides
in
of
other
speed
that
or
symmetry
of
when
it is well
But
power.
good symmetry
term
parts
or
good proportion
to each
whether
ideas, for the
corresponding
in
indicates
refers
to
a
the
a
thing. (See Symmetry, Chap. XV.)
The
156.
in
Fig.
66
are
proportionsof
exactlythe
therefore, though they
in
size,they
'/I...
are
Proportion
almost
*
heads
this
the
in
same
Art
equivalent to
A
are
B
and,
same,
different
in shape.
seems
'
and
harmony
to
'
FIG.
,
66.
be
in
Music.
It will gener-
is said to be seven
proportion in length of the Discobolus
Athlete
might be eight. There is an interesting chapter on
; an
of Pictorial Art, by the Eev. St. John
subject in the Handbook
The
Tyrwhitt.
certain
definite
proportions
member
is
which
the
eye
they
be
the
proportions
of
the
most
that
said,
double
than
3
the
3
7,
to
to
the
than
the
and
is
contrast'
various
works,
Beauty,
gives
beautiful
a
few
a
given
of
form,'
and
'
curved
we
not
especially
like
"
the
exceed
aesthetic
the
of
faculties
sensation
bells
to
of
"
the
of
power
of
what
his
the
are
so
eye
appreciate,
the
beautiful.
the
great
to
the
3
a
ful
beauti-
to
6
than
'consists
the
straight,
balance
Hay,
which
to
be
may
that
and
of
his
in
of Symmetrical
may
so
calculate,
and
less
though
that
1, it is
'proper
figures by
changes
be
says,
Principles
changes
Thus,
to
1
as
also,
this
and
of
the
lines
number
contrast
number
great
a
Jones
have
we
proportion
so
Owen
told:
in
8 ;
to
5
but
;
are
The
as
unit.
better, will
of
5.
proportions,
different
ratio
balance
alike,
all
most
beautiful
most
simple
pleasing.
to
3
ticular
par-
are
"
provided,
some
8, though
to
subtle
more
proper
inclined,
and
4
or
4
least
unit
be
will
being
square
and
'Harmony
157.
in
a
on
each
and
simple
some
of
multiples
palpable
square,
of
readily detect,
least
can
arranged
are
whole
the
where
proportions
Those
satisfactory.
parts
"
multiple
a
whose
forms
those
that
found
be
ally
in
Proportion.
On
88
mind
with
made
be
subtle
but
secure
not
then
rung
as
on
far
of
to
the
reposes
CHAPTEE
XV.
ON
THE
158.
be
allowed
two
term
sides
individual
similar
is
arrangement
in
as
similarity of
and
walls
quite
in
and
the
A
of
from
it
the
would
furniture,
of
laterally
internal
the
ance,
appear-
this
This
beauty.
flowers
amongst
law
it
though
as
houses, both
our
find
we
every
external
of
constantly
decoration
two
seem
is
found
almost
As
principle
distinction
of
cluster.
the
of
each
other, whilst
correspond,
member
on
of
of
the
on
symmetry
of
of
contours
other
therefore,
by
a
is
group
side
in
similar
the
is
itself
member
The
correspond
sides
the
of
two
form,
outer
on
each
arm
do
not
sides
of
legs
and
by
a
without
the
a
tours
con-
with
other
similar
symmetry.
because
symmetrical,
not
or
each
is balanced
itself
metry
sym-
group
compound
a
body
part of the
the
it is balanced
the
the
of
symmetry
"
the
between
extremities.
and
contours
the
nor
Whatever
arm,
side
made
example
limbs,
the
feet.
the
for
man,
trunk,
be
must
parts, and
Take
on
The
composed
appearance.
"c.,
the
of
necessity*.
a
159.
group
be
designed
a
should
correspondence
that
different
often
in
the
Nature,
of
its outward
parts
; and
trees
law
a
shall
as
misapplied)
thing.
a
animals,
intended
was
of
thing
parts in
(so often
significance,viz.
be
to
seems
'
symmetry
its true
opposite
It
'
SYMMETRY.
side ; but
89
On
90
the
head, which
repetitionof
the
illustrate this
of
has
halves.
So
any
objects,
also in the
repetition. In
a
contain
so
relation
some
this law
of
mind
does
much
as
the
of
a
(Fig. 67)
not
require
different
exact
an
recognitionof
triptych,for instance,the
to each
will
clusters
or
groups
the
law
outer
two
that
subjects,provided
they
67.
other, and
do not
repetition. It would, however,
to have
wrong
ovals
the
clearly.
FIG.
bear
two
arrangement
the
"
is perfect in
plurality,
The
principlemore
1GO.
panels may
this
not
two
repetitionof forms,
of
Symmetry.
figuresubjectin
one
panel
interfere with
be
and
manifestly
a
landscape
in the other.
161.
In
geometric
the
lines
repetition
; then
different,but
bear
some
intended
spandrils
forming
the
must
relation
to decorate.
the
of
Gothic
a
doorway,
spandrilwill give the
idea of
the spandrilsmay
subjects filling
be
the
to each
in
treatment, and
other, or
to the edifice
same
the
be
shoul'd
they are
On
It will
162.
Nature
from
as
in
principles intended
beautiful
of
correspondence
balance,
law
bound
are
of
all true
We
natural
side
one
all
to
symmetry,
as
for
objects
recognize, in
which
there
is found
the
reciprocal
Fine
Art, properly
adornment
simply,
degree,
lie at
to
and
and
of
of
or
some
seems
guidance,
our
works, whether
our
obtain
must
we
another
to
called, of architecture,
so
we
in
so
91
evident, then, that
be
the
most
Symmetry.
this
beautiful
foundation
the
of
ornamentation.
ordinarilyapply
cannot
this term
horse, for instance),as
indicative
of
not
form, for if it
were
of
to
animal
an
(to a
special excellence
some
it would
symmetrical
be
simply
monstrous.
In
a
Landscape,
as
163.
of, which
light
and
feeling
other.
limited
when
mearis
such
shade,
or
that
one
side
the
sense
the
a
of
of
term
'balance'
of
may
a
be
picture
disposition of parts,
colour,
the
as
shall
picture
applied
spoken
whether
prevent
is heavier
is
to
us
than
of
from
the
XVI.
CHAPTER
OH
IF
1C4.
at
look
we
fissured
a
rock,
very
descriptive
Art,
it
*
see
For
object
is
instance,
Figs.
C8
and
illustration
Used
FIG.
any
remembered,
if
we
69,
in
other
on
or
consider
which
of
its
the
at
mind,
of
first
bits
and
sight
of
are
age,
which
representation
two
to
69.
qualities
the
this
relation
peculiarities, whether
those
or
field, or
ploughed
a
good
a
character.'
strongly impress themselves
the
in
68.
roughness,
newness,
shall
we
ART-WORK.
IN
furrows
the
at
word
all
means
FIG.
CHARACTER
SECURING
by
most
which
recognised.
twig given
not
very
93
in
dis-
On
Character
Securing
shall
similar,we
discover
soon
in Art-work.
that whilst
life and
promise, the other, wanting
indicate
life
the buds
"
In
165.
making
it is
Nature,
as
we
not
may
the intentions
Thus,
When
produce
is
is
required
part
no
to
attempt
about
other
words,
endeavour
of
can
be
directed
than
to
arrangement
only as
oak
166.
or
knowledge
some
a
have
to ask
of
a
to enable
tree,but
as
the
of
?
the stem
us
shape
some
"
sympathy
in
we
as
rotundity,
from
one
at and
kind
particular
it will be
of the
of the way
fullyto get
ourselves
These
leaves ; but
and
we
efforts should
tree, our
the
that
minds
our
feelingor
twigs, and
the
on
strike off from
necessary
of
defined.
when
but
rest ;
we
such
case
imitation
of their
not
with
for
of hand
characteristics
its
word
expression of leafmess and
the
that
will be
example,
than
pressure
the
tree,
a
are
down
evident
the branches
the work
shading, ^considerable
equal
than
In the
an
another
strongly impresses
most
what
to
a
perfectlystraightline,or
a
such
keep
darker
put
but
perfectly even
to
command.
we
more
it
to
on
representation
our
clearly explained
represent,say,
what
is
to make
be
may
Art
in
more
piece
a
which
strokes of the
the
copy
from
write
beginning,to
in
or
copy
of those. strokes.
endeavour
we
care
much
Expression
Feeling, and
a
leading peculiarities
by
so
which
markings
from
or
characterised,that
distinguished
of it
as
drawing, whether
a
the
those
is full of
one
actuallydead.
good plan, before
a
separate paper
is
is
"
the
93
leaves,
in which
another,
depict it,
of tree, such
ash.
In
like manner,
if the
subjectbe
a
mossy
rock, we
94
On
should
strive
and
moss,
to
the
and
solidity,
If
and
hardness
roof
those
express
these, however
it must
be considered
of
be
the
the
hamper
of
and
drawing
useless
camera
do
can
select and
the
light
In
as
on
rock.
object,the
essential
; and
carefully the object
a
of
qualities
failing
be
may
to
copied,
failure.
objectsand
shade
is most
their
at
clearlyseen
edges, but chiefly
70.
separate
"
as
may
be
seen
in the
as
sible
impos-
(Fig. 70).
108.
which
the
thickness
rotundity, the
or
thickness, weight, age, "c.
light parts
the
and
angularity
FIG.
where
softness
Speaking generally,character
167.
Art-work.
in
of
granularness of
the
will be
on
ideas
express
thatched
a
Character
Securing
a
to
scene
may
feelings.
for
those
be
Nature
all
put
that
express
from
us
down
:
it would
that
it is the
essential
and
identified by the
is
be
before
us
"
business
of
striking
truths
mind
and
Art
the
to
by
impressed
CHAPTER
XVII.
ON
VOLUMES
169.
have
than
is
quote,
the
faculty
from
those
moral
in
nature
receives
who
its
we
do
better
Perfect
taste
*
"
attractive
are
perfection.
pleasure
from
these
pleasure
from
any
to
He
taste
has
sources
our
who
wants
sources
other
puted
dis-
possible pleasure
greatest
and
purity
cannot
words,
which
sources
much
ceives
re-
he
;
false
or
taste.'
If
object,
an
of
independently
it, our
our
the
receiving
for
his
this
on
and
says,*
possible,
as
material
little
bad
far
as
written
been
Ruskin
Mr.
word.
TASTE.
The
170.
of
action
right
is not
distinct
and
without
good
or
'taste'
term
'judgment,'
of
or
is
a
intuitive
our
taste
or
colour
be
choice
or
; if
pure
right, it
do
we
If
taste.'
*
is
right,
mire
ad-
we
admire
not
it,
is bad.
taste
that
form,
a
which
the
intellect.
wrong,
and
'taste.'
from
in
its
at
of
definite
perfection
Modern
so
of
so
the
to
intellect
one
that
it
thing
; but
to
Vol.
this
tive
instincanother
to
is proper
do.'
Painters,
be
totally
are
is the
object
material
definite
a
a
conclusion
called, which
except
reason,
*
a
whether
reason
with
confounded
be
expressing
term
a
exertions
preferring
obvious
not
may
taste, properly
instant
any
is
We
arrive
'All
must
I.
95
manity
hu-
On
96
intuitive
This
171.
unlimited
educated
amidst
beautiful
in
man
of
only
the
this
by
the
be
therefore, to make
laws
right
or
(Figs. 71
sight prefer the
proceed
to
both
on
its suitableness.
beautiful
by,
say,
a
the
curves,
would
of
the
feelingsand
some
if so,
the
of
it
ascertained
intellect,under
a
him
life.
But
well
as
ought,
we
those
the
prinbe
to
two
might
slight
is the
If
a
we
definite
ful,
beauti-
more
its contour
first
at
is bad.
arrive at
soon
varietyof
not
the
into
determined
taste
little alteration
be
child
73.
that the second
or
and
an
about
effort,as
persons
shall
we
of the
in
judgment.
72),
first :
Whether
and
be
possiblethat
and
account
true
direct
FIG.
is
decision
the
objects of
objectsmay
analyse them,
unalterable
A
acquainted with
71.
It
life.
thingsof beauty ;
which
by
wrong.
sketches
beautiful
ourselves
FIG.
and
of
to
of
continuallyhas
developed by
the subtle influence
or
who
not
affected
likelyto develop
more
one
and
common
of
surroundings
taste than
good
be
may
circumstances
is much
Art
facultycan
ciDles
faculty
the
by
extent
Taste.
and
from
made
might
be
in the
proportionsor
by
a
the
mixed
control
more
exercise
of
the
On
Taste, then,
172.
of
in
facultyof
a
We
173.
which
value
we
told
are
china
its true
excellence
Our
be
Let
Art, should
of
positionof
his friend
and
know
the
of
the
these
maintained.
beautiful
judiced
preof
with
wherein
that
as
object?
some
7
or
the
we
form
has it
*
ancient
or
colour ?
told
that
must
it
was
or
'
is it the
If it possesses
rightlycommand
because
age
or
!
admire,
to
are
we
Oh
'
it, sir ?
is
which
;
ture-ga
pic-
a
replied
history?
a
may
pretty'
old ; if it has
are
that was,
indeed
us
gentleman who,
old
of its worth
reason
lead
to
they passed through
it
qualifications,
because
If
of
ing
please,in speak-
to
what
distinctly
beauty
It is not
venerable.
of
judgment
be allowed
beautiful
clearlyand
attention ; but
ruins
800
Christie's tomorrow,'
at
ascertain
enthusiastic
remarked,
Is it
why.
antiquityof
any
cost
satisfyourselves
to
not
beautiful, very beautiful
us
little
pecuniaryvalue
stated
ought
ficial
arti-
'that
high,
our
pleased,and
how
together,
very
that
having
the
by
things. When
some
inches
excellence, and
willingnessto
the
when
of
is
consists.
of matters
into
on
guineas
acceptingthe
its real value, we
as
to
danger
before
puts
1000
bad
or
that which
misled
be
to
fifteen
or
fetch
in
are
; and
regard
twelve
tion
opera-
is false.
connoisseur
learned
would
we
'
the World
the
only
vase,
vase
'
by
guineas, and
the
liable,however,
are
is good
agreeablyby
beautiful,or by that which
and
spontaneous
nature, which
moral
our
97
instant and
is the
it is affected
proportion as
pure
Taste.
be
our
distinctly
fashionable, nor
historyit
excavated
as
city,it is interesting
a
may
the
from
relic ;
be
or
it
On
98
may
pottery,
and,
exist
admire
the
be
and
work
has
then
it
been
is
moreover,
;
of
it
the
becomes
accordingly.
once
some
in
Taste.
the
only
a
famous
of
possession
of
specimen
thing
of
but
royal
some
the
history,
extinct
now
kind
and
family,
known
we
to
must
CHAPTER
XVIII.
ON
STYLE
174.
in
One
do
true,
fine
could
be
or
;
than
Cox
David
of
the
But
painting,
Not
the
early
the
Dutch
pen,
used
he
aimed
that
of,
and
example,
Prout
as
in
at
used
in
apply
not
and
of
ing,
work-
expression
his
whity-brown
coarse,
style
'
of
*
Elizabethan
their
Schools
Schools
;
their
nothing
used
it,
old
ings
build-
of
to
that
paper
some
the
the
or
style
'
his
wild
motive
Bartolomeo,
and
in
to
the
ner
man-
but
working,
the
example,
Dutch
style
'
of
architecture.
of
known
or
fidelity of
was
*
imitation
Art
others,
by
of
motive
The
motive.
of
for
as,
;
only
way
determined
are
by
Italian
in
ornament,
Schools
but
may
communities
and
the
Angelico,
reed
for
:
the
a
to
broad
styles
to
in
nothing
be
may
Some
truths
another
;
is
style (not
It has
pen.
versa.
individuals
style
style alone,
of
'fond
term
Schools
that
charcoal
drawing
a
broad
a
'
hand
'
or
pictures.
the
and
a
common,
particular
to
in
with
vice
truth
so
was
Byzantine
Fra
of
manner
peculiarly adapted
the
moorland
and
175.
'
kind
draw
of
for
or
'
piece
as
kinds
than
better
the
express
also
be
may
particular
some
wind
false,
and
however,
of
work,
of
truth
or
a
niggling),
style (not
Avith
with
as
what
may
person
necessarily bold),
fine
is
drawing
in
writing.
STYLE.
"
their
some
of
so,
also,
represented
as
was
by
expression
;
On
100
whilst
colour
Venetian
176.
is but
be
to
have
been
chief
a
motive
of
the
School.
It will
the mode
School, and
to
seems
Style.
be
of
is not
expressed,it
entirelysubservient
seen,
therefore,that
inasmuch
expression employed by
either
is of
the
a
person
expressionitself
secondary importance,
to MOTIVE.
as
nor
and
Style
or
what
a
is
indeed
CHAPTER
XIX.
ON
177.
School,
falseness.
woodcuts
ON
in
Motive
depends
'The
(Figs.
Art-
motive
and
whether
work,
ultimate
the
73
MOTIVE.
in
issue
FIG.
73.
Fro.
74.
exhibited
good
severally
74) would,
if
in
or
ill,truth
or
in
child
a
the
pursued,
two
be
101
a
or
little
whole-
On
102
In
disastrous.
or
some
Motive.
the
first one,
something clever,regardlessof
Fig. 74,
be natural
There
is
to apply
closely
make
the
to Art.
have
power
this world
reward, and brings with
but
they who
not
and
religious,
they
never
have
can
transposingthe
If
this
doubted
even
mean,
to the
is
and
"
for
Virtue
:
seems
to
aim
is its
at
own
highestpleasures;
selfish,
pleasure,because
the
The
formula,
same
'virtue,'seems
As
a
to
by saying it
of it.
it may
;
hold
be
that
especially
Hence
there
done
to
chief
no
so
so
high
is
syllable,
a
trulydone (as a
line
we
or
dignitystill higher in
action
so
great
done
but
as
nor
slight,
and
that
to
help
the
:
"
and
very
of it,which
of all purposes,
Shairp, Culture
of
great purpose,
a
be
may
George Herbert
*
is
purpose
help it,and
is
a
be
can
Every action, down
'
manner
is capable of
For
is any
nor
the
it
be
utterance
or
peculiardignityin
express
but
truly says,
line
a
should
student
Ruskin
of
scarcelythink
we
of the
drawing
MOTIVE
may
God.
true
true),so, also,it
therefore
most
be
one.
pure
sometimes
the
who
are
pleasure-sake
virtue.'*
'Art'
word
the motive
"
capable of
tone
the
they
and
gain
never
which
here.
good
and
Again
it for the
will
aim,
goodness tend
; but
it the truest
cultivate
issue of such
and
virtue
the virtue.
not
in
stronglyaimed
in morals
law
All
'
at
healthy.
well-known
a
powerful in
men
and
aims
truth ; whilst
the ultimate
feeblyexpressed:
however, would
178.
individual
of flower, of stone, of tree, is
truth
at, though
child
our
Religion,p. 61.
so
ennobled
tions
slightac-
it much,
pleasingof
Motive.
On
A
"
Makes
Therefore, in the
on
choice
the
who
Him'
value
is the
he
that
student
with
Rosa,
geology,
its
a
of
Gustave
of
argument
virtue.'*
effects
based
one
:
far
small
;
it goes,
as
far for the
Better
Herbert
discipleof George
motive, than
and
acting, we
is often
so
acceptableness,
humility
grand
of
manner
work, which
the
of
his
or
Thy laws,
fine."
the action
origin of
be
in
Angelico, both
lor
as
pressing any
proofs of
on
;
separate lines
two
inherent
the other
to
of
and
that
divine
room,
a
sweeps
Makes
have
this clause
drudgery
Who
'
with
servant
103
Fra
or
Salvator
of
monstrously impossible
but
Dore, with
his
insinuating and
dangerous exaggerations.
this
Regarding
179.
Jbe misunderstood.
genius
there
That
be
can
last-named
As Dante's
much
care,
high
and
in many
sphere
not
appears
for the
aware
that
; the
is
a
to
reason
we
become
often
goes
a
Ruskin, Seven
power
not
We
Lamps,
p.
as
the
do
not
eight
at once,
Here
on
us
is the
legitimate
laws, and
Introduction.
we
But
them.
illustrator
5,
vellous.
mar-
dawn
entirelyunfits
an
is
or
beyond
as
to
figure seven
has its
what
are
alone, and
representer of facts,and
protest againsthim
*
female
imagination,which
he
not
remarkable
a
creative
stands
noticed.
never
is
is unrivalled.
does
error
imaginative faculty is just
think,
he
Quixote he
cases
Dore
His
wish
we
imaginativefaculties
if in Elaine
even,
feet
his
exponent
Don
of
Gustave
little doubt.
and
wonderfully prolific,
illustrator
artist
him,
it is for
of
are
this
we
this
the Bible.
On
104
Here
do
we
such
and
We
is meant
or
classes of
men
the true.
He
in
the
anachronisms
would
in
a
and
;
weary
that
may
What
not
only
be imbued
was
a
the
of
years
his
with
A
goat'
Scape-
with
rials
mate-
with
nineteenth-centuryartists
few
materials
could
as
the
or
he
to
be
Riviera
Scotland
go
"
for
gathered
possibly
a
to the
instruct
us
ground.
backland
were
the very dreariest of the
wilderness
see, but
the sentiment
result ?
'
unmixed
not
is to
may
two
of
representative
himself
which
eyes
by
ordinary painter of
An
must
that waste
that
teachers.
our
concerningthe
us
xvi.
but
fully
more
teach, instruct,
be
as
Hunt, however,
only so,
not
of
scenes
Farrars
what, is done
shooting-box in
about
scenes
; and
shop,
work-
Eastern
little
to
way
Hunt
to instruct
Avith such
friend's
the
enacted
some
consider
n9t
Holman
where
help
generallyunderstood
through Switzerland,
visitinga
more
imaginings that
a
country, probably
own
be content
tour
here
century might supply
his
ment
judg-
Canon
paintersmay
moment
a
Leviticus, chap.
from
in
this way
proposes
sixteenth
our
during several
a-stare
taking Holman
"
is
an
dramatic
It is
motive.
in
then, for
us,
sketch of
explain
picture is
a
enlighten,and
Let
well
as
by
of
There
truth.
facts,
want
seasons.
may
the purpose
help
will
as
all the
in
than
exhibition
180.
them
frontispieceto
thoughtlesspublicall
London
what
the
forms
Life of Christ,
a
we
Hunt's
in Holman
which
hold
imagination;
realisation of the
the
comfort
and
of
statement
clear
to
man's
want
not
Motive.
below
that
he would
picture
of
the
his
Dead
whole
press upon
which
Sea,
soul
us.
Fashion,
in
On
her
blindness,for
not
appreciate. The
the
"
subject
wilderness
that
a
picture was
!
and
"
otherwise, and
be
with
sin
in
the
How
that
could
truth
otherwise
is
she
How
?
?
and
"
could
interest in it !
no
"
on.
yet
it be
!
ugly
so
look wretched
creature
105
spoke the truth, though
once
wretched
goat
Motive.
such
a
could
a
should
not
representedas bearing
nation's sins ?
When
181.
it
thing !
'
Tares
Sowing
ago,
Millais
'
in the
hung
was
The
about.
yet
how
could
be
otherwise, and
182.
If
pictures are
lesson
by Landseer,
Bull-fight,'
by
but what
power,
between
the
on
and
at
place
town?
walls
And
of
our
house
and
common
read
to
time
learn from
Grand
?
such
and
'
the
to be
pictures to
by
seen
might
we
might
Otter-hunt,'
The
'The
or
of artistic
is the difference
What
and
that of
between
or
of
true ?
Otter-hunt'
'The
deed
a
in their exhibition
teaching?
of
these
decoration
ugly
dark
was
lessons, we
us
match
pigeon-shooting
homes,
near
be
boar-hunt
a
a
visit to
a
Lancashire
hanging
on
the
?
Surely,in
little more
thought
our
children
use
a
sense.
Further,
work
of
same
fete day ?
a
are
our
at the
to
we
of their
a
years
an
Boar-hunt,' by Schneider,
teaching
Hurlingham
a
are
Ward
'What
it
and
Enemy
twelve
about
picture of
the
to
'The
or
bad,
An
l
wretched-lookingreptilescrawling
were
darkness
inquire what
pictureof
people said,
and
looked
sower
there
his
Eoyal Academy,
high,
gloomy, and
And
exhibited
the
it should
the
artist
reader
not
or
before
be
forgotten that
illustrator
the
author
in
an
always gets the
trated
illustion
atten-
does, for the picture
106
On
instantly
appeals
the
whilst
truth
from
How
the
to
which
the
be
true
men
not
read
the
!
text
much
a
the
read
; few
presents
and
look
has
the
page,
be
to
tained
ob-
process.
illustrators
should
illustrations,but
at
text
of
laborious
more
painters
people
Many
opening
author
the
that
the
on
eye
type by
important, then,
Motive.
without
looking
at
do
the
illustrations.
183.
too
strongly
his
be
him
either
the
avoiding
from
Returning, then,
the
on
urge
in
motives
thoughtless
faculty
that
or
this
student
which
the
pursuing Art,
selfish,but
appreciating
of
digression, we
that
such
'
|n t{"t
arorn
Uta
importance
that
as
which
is false.
Ibt "ah.'
cannot
they
will
of
may
develop
is true
and
amining
ex-
not
in
of
CHAPTEE
XX.
BEAUTY.
ON
184.
that
to
BEAUTY'
'
like
Just
so
is
to
one,
sometimes
the
of
of
object
such
a
it
of
the
must
the
give
be
Mr.
us
;
all
by
of
if
the
we
says,
in
the
be
be
wish
to
good
'Any
simple
it is
together
what
material
on
of
a
say
bad,
or
the
or
they
beautiful
ascertain
judgment
for
highest point
justly
cannot
pendent
inde-
object
contemplation
any
ugly,
or
of
matter
it
that
and
cannot
the
fact
evidences,
those
are
If
neglect.
for
is
think,
stated,
by
good
or
untrained
the
to
suffer
may
goodness.
quite
be
may
opinions,
gathering
sound
a
Ruskin
pleasure
taste
of
faculties
our
elsewhere
We
capable
we
entities
"
by
and
This,
are
but
are
our
stayed
beautiful
another.
instance
for
of
is
or
is
beauty
which
they
opinion.
and
of
cultivated
have
vase,
intellect
goodness
and
taste, for
fact
exercis'e
When
of
not
matter
alter
a
;
be
we
independently
and
to
taste
our
give
we
names
faculties
goodness
may
As
as
"
so
that
and
education,
capable
fact
and
they
or
sensibility.
it is
that
truth
of
the
recognition
unchangeable
appreciation
of
moral
opposite
Truth
and
perverted,
the
said
be
may
fallacy.
a
in
and
are
satisfies
appetite
as
aesthetic
our
satisfaction
It
'goodness'
approximately
which
conscience.
truth,
and
is
is,
and
evidences.
which
of
107
its
can
out-
On
108
without
qualities,
ward
of
in
the
'""'
and
definite
in
or
way,
think
is,whether
that
"
some
but
cannot
direct
any
I call
intellect,
the
beautiful,'we
on
Beauty.
that
exertion
degree,
some
much
very
depends
(the 'us') have
we
true
or
taste.
pure
Stewart
Dugald
185.
'Notwithstanding the great
says,
and
varietyof qualities physical,intellectual,
moral
which
it will be
"
the
admitted
word
that, in
it refers to
of
its
primitiveand
beauty of form,
composition,of lightand
-of which
referable
are
constituents
there
are
general application,
most
go
few
make
to
which
of
beauty
up
expression;
infinite,but
are
in
brieflyreferred
are
all
various
generally present
are
work, especiallyin
parts of the
of colour,
beauty
principles.The
certain
to
is
there
shade, and
call beautiful, and
we
various
that
some
believe
I
applicable,
objectsof sight.'
Besides
186.
is
beauty
to
"
the
thing
anyin
to
three
next
chapters.
'All
moral
our
intellectual
in
that
powers
beauty it
pleasure depends
is
on
than
more
delicate
which
can
.
.
be
exaltingand
it would
other ;
Ideas
of
probablethat
and
beauty
presented to
the
constantlyunder
that
we
their
are
intended
by
influence,because
the
there
of the
purely
are
their
high
perceptions
the
mind,
to
all
much
amongst
human
purifyingit according
appear
in
untraceable
are
our
without
one
and
relation, which
fitness,propriety,and
.
affect the
cannot
we
with
interwoven
so
degree addressing the
some
ideas of
of
feelingsare
tellectu
in-
noblest
invariably
degree, and
Deity
to be
is not
one
On
single object
187.
To
Nature
philosophy
this
made
mental
in
nature
which
is not
capable
full
enjoyment
of
o|
conveying
*
them.'
in
in
109
Beauty.
a
right
or
in
of
there
end
sensitive
and
there
Art,
and
Nature,
also
must
by
the
faculties, the
of
be
be
must
a
beauty,
knowledge
the
principles
the
operation
intelligent practice
feelings, the
eye,
of Art.
of
of Art
the
and
concert.
*
Ruskin,
Modern
Painters,
Vol.
the
I.
whether
of
But
the
to
feelings,
; thus
hand,
the
act
XXI.
CHAPTER
OH
IN
188.
constitutes
fitness
themselves
their
in
In
all
in
beautiful
stable
and
be
oddly
is
In
related
pleasure
itself
to
adaptation
instance,
if
the
we
the
; or,
sounds,
to
so
perform
hand
for
in
walking,
we
the
some
with
are
from
is
a
in
a
lane,
a
appealing
of
of
idea
the
to
the
and
objects
the
idea
all
function,
may
of
merely
and
in
essentially beautiful
the
by
particular
the
in
faculties
give
to
not
handling,
place
this
that
number
apart
mind
ment
agree-
individual
of
out
case
a
as
object
an
of
picturesque
one
case
other,
acquainted
are
foot
to
each
tory.
nuga-
greyhound
intellectual
the
least
their
of
want
lawn.
in
kind,
former
like
a
in
quite
very
on
things
sense
Italian
be
many
at
a
forget, however,
to
the
become
may
place
not
another
agreeableness,
give
of
be
only
An
would
but
twofold
a
judgment.
so
out
must
of
in
senses,
be
kinds.
become
not
fitness
the
from
yet
must
parts,
form,
though
may
there
calf, though
a
We
189.
fitness
their
creature,
;
would
application they
suitabilityof
but
forms,
; for
beautiful,
works
of
beauty
element
be
complete
and
of
sense
essential
an
in
may
perfect
a
FITNESS.
or
recognition
function.
the
foot
mechanical
charmed,
and
Take,
for
at
for
walking
appliances
look
its
of
:
of
it, apart
110
On
from
its
form,
know
we
and
human
the
to
a
world
of
and
but
than
the
proportion
dictating
in
votaries, heels
unreasoning
Wise
intolerant
and
fashion,
of
as
in the
appliances
with
disgusted
tyranny
reasonable
higher
in
; and
beauty
be
we
vileness
inches
two
shall
Ill
with' Nature's
charmed
so
utter
of
thing
a
are
foot,
of
as
Fitness.
Designer
fit to make
saw
them.
The
190.
only
it will
be
everything by
be
in
walls
which
on
the
How
often
'
the
relief
surface
should
because
truth.
do
latter
appointed,
About
will
to
as
to
be
so
we
hearth
(as will
be
true
be
and
elaborate
there
should
And
as
upon,
The
shown
that
in
this
to
principle.
deputy
is
pokers
the
has
be
in
ornament
intended
striking patterns
XXVI.
to
'curate.'
all
Chap.
fire-
very
and
fenders
little
tables,
carpet
will
else.
carpets
our
the
even
a
must
various
the
principle
in
as
there
the
on
irony, called
be
Thus
floors and
subject
ornate
art
silver
and
but
everything
precede
the
not
ornament,
function, of
rooms,
highly
walked
avoided.
our
sometimes,
possible.
be
in
must
should
see
is
of
mantel-shelf, and
heavy
which
work
a
apply
surrounded.
are
crockery
our
all
themselves,
the
"
on
we
and
of
tread, the
we
ornaments
irons
form
furniture
and
in
it, which
parts composing
The
which
that
then,
seen,
fitness,both
a
referred
architecture, sculpture, painting, and
to
almost
to
here
principle
as
on
a
it
apply continually,
)
it is founded
in
CHAPTER
XXII.
VAEIETY.
ON
VARIETY
191.
of
sources
to
it
for
"
beauty
things,
from
Variety
seems
well
infinityis
each
;
them,
among
most
Who,
desire
the
Again,
wand
if such
to
of
universal
by
change
return
captivating
to
that
constituent
*
make
could
be
variety
of
rest
on
both
the
ble
inseparafrom
one
that
exactly
like
not
the
some
her
feel
be
ever
be
to
desire
in
all
they
admitted
must
a
that
found,
select
was
which
Practice
and
was
effected, would
beauty,
Principles and
and
would
the
is
fact, constituted
consent
beholder
be
could
we
alike.
'by supposing
number,
number,
supposing
should
a
whole
two
This
together,
the
simply
No
nature.
our
in
variety,
is
exactly
would
great
neither
Nature.
are
seen
It
appellation.
this
of
of
be
essential
be
can
Harding,*
to
chief
essential
operation
upwards,
D.
women
beautiful, what
magician's
J.
of
other
there
its
of
necessity
that
who
law
grass
however
beauty
to
the
naturally belonging
characteristic
that,
it.
from
late
the
and
aggregate
a
a
beautiful
of
merited
varied
the
by
laws
extent
of
be
to
examination,
the
blade
a
shown
number
The
trio
every
to
of
one
the
of
Like
subject
is
Nature,
one
obedience
truth.
infinite, and
forms
it is
without
nor
in
as
production.
Art,
in
quality
its
Art,
and
beauty,
in
elements
in
112
a
the
individual
of Art.
?
and
Were
the other.
expression,the
beauty always
But,
is
and
gratifiedby
afterwards
Harding
Mr.
192.
FIG.
thus
variety,
different
sizes,s
is
arcs
in
difference
s
'On
"
s
s,
E
E,
8
,
from
we
are
of
to
are
excited
of
show, in
a
tuent
indispensableconsti-
an
shall
find
that
whatever
same,
the
is, during
centre, and
equal length,and
of
is constituted
cutting segments
since, from
the
proceeds
perfectbeauty
preciselythe
size ;
equally distant
E
:
circumference
circle, the
radii,R
that
beauty, and
of
of the
beauty,
75.
varietyis
that
palpable manner,
of
to
expression.'
and
infinite
its
fatigued by
be
the mind
and
and
unanticipated combinations
and
fresh
form
same
varietyis given
as
it,the eye
inseparablefrom
and
would
have
cannot
we
one,
to take the
mind
the
and
eye
perpetual recurrence.
form
the
Without
aggregate?
the
in
113
Variety.
On
of the circle
the
curvature
may
construction
its
whole
be
the
of
the
circuit,
consequently all
the
curvature
the
is in
On
114
On
'
s
or
This
same.
s
s,
hand, if
the other
not, their curvature
unequal,
that
so
part of another,
of
these
of
curvature
segments from
their
assumed
part of any
no
or
cut
we
and
itself
be
the
variety.
that, whether
shall find
we
form, therefore,cannot
it wants
beautiful,because
most
s
the
point
every
Variety.
segments
chords
radii, R
R
egg,
equal
R
R,
are
repeat
side ; for
same
is
be
would
segment
the
on
the
the
as
perpetually changing,
v
they
could
been
here
not
be
obliged
represented by
to
place
Here, then,
beauty.
more
the
eye,
instead
yet
more
in
the
or
of
This,
so
limited
this,we
take
is
in order
sphere,
and
to
such
make
greater variety,and
as
of the
power
a
mental
of
of
the
compasses
view,
the
we
sameness
infinite
I have
myself
derstood.
un-
therefore
far, is only offeringthe
thoroughly conscious
the
radii
;
test
to
but
if,
shall
of
feel
ture
curva-
variety which
Variet'1.
On
the
ovoid, or
infinite in
segments
still have
should
should
of
form, admits
egg
the
the
conceive
we
number
an
then
the
works, the
ovoid
human
be
cut
the
sphere,we
a
occurring;
is made
and
quently,
conse-
form.'
He
Nature's
of
almost
up
but
radii
variety,and
beautiful
most
To
get
idea of the
correct
a
of
infinity
FIG.
figure,which
law
of
one
form
when
conceive
entirelyof
forms.
193.
ful
from,
beautiful
is the most
form,
should
we
ever
infinite
of
be
how
If
cut, the curvature
so
egg
two, this
demonstrates
of.
curves
same
segments would
of
to
115
combines
symmetry,
or
be
can
obtain,
not
but
an
the
in
one
of
our
when
longitudinaland
the
observations
to
we
with
to
ters
diame-
transverse
we
may
ture,
constantly varying curva-
varietyof ovoids, from
the very
evident,
attempt
possiblerelation, so
every
ovoid
varietywith
It will be
ovoid.
as
infinite
the law
confine
the
76 b.
much
mathematically,or
(Fig.76 a) to
having
so
it
varied
only
one
not
proportion of
it,that
construct
must
we
consider
we
in
this beauti-
the
very
gated
elon-
compressed (Fig.76 J), each
infinitystamped
upon
it.
On
116
Ovoids
of
instrument
they
various
Variety.
proportions
for
specially adapted
also
may
be
roughly
Draw
line
A
c
B
A
tie
D, and
Remove
Now
B.
the
the three
looselyabout
If
pencil be
a
string,so
It will
depend
on
be
B
relation
and
D.
be, say 108", and
c
vice
The
round
B
shall have
other
a
if
efforts of 2300
follow
endless
of
keep
to
as
it
the
trace
ovoid
the
the
for instance,
shall Have
make
we
CAD,
shape suited
to
form
a
say
tall
a
will
isosceles
two
angles, CAD,
to
120",
vase
or
has
for
of
lines
himself
ovoid.
caused
remain
out
so
Greek
many
unsurpassed during
giving
forms,
all the Art
years.
occupy
this
work
to
judicious combination
varietythat
It would
the
sion,
originalten-
it will
of
27", we
D
is recommended
It is the
vases,
especially
to
shape
simpleplan for constructingan
infinite
D.
B
within
so
lie
versa.
student
194.
them.
stringwill
it to its
If the
face ; but
human
15", we
D
c
the
each
to
B
jar,and
this
that
evident
the
suited to the
c
points,
ovoid, or composite ellipse.
CAD
triangles,
and
with
as
the
at
the
always equally stretched,
FIG. 77.
it
remaining pins,A
restore
carried
be
"
introduced
now
to
as
and
at c, and
but
(Fig. 77):
bisect
pins
an
;
stringtightlyround
a
pin
fix
by
purpose
follows
and
D,
made
that
as
line, c
any
the
made
be
may
too
element
much
of
space
in
a
work
of this kind
varietythroughout
not only in
applications,
ornamental
its almost
art, but also in
On
to
of
form
the
mountain
boats
of
below),
requisition.
leaf
or
only
not
"
directions
a
shapes,
and
as
to
and
we
to
the
shapes,
in
shall
117
painting.
and
sculpture,
architecture,
Variety.
It
applies
equally
shapes
and
modelling
but
the
quantities
to
composition
presently
(as
find,
in
the
it is in
of
and
Rhine
constant
a
CHAPTER
XXIII.
ON
the
tf
combinations
work
overlap
of
this
has
its
the
idea
This
of
is
music.
all
We
tying
idea
forms,
from
cycle;
and
natural
only
are
of
or
the
parts
to
in
in
of
the
the
the
creation
;
introduced
rather
perhaps,
highest
in
which
to
cord,
of
all
the
to
and
suggest
convey
by
this
idea.
same
object,
any
of
visible
this
we
one
universe.
do
nation
subordi-
the
in
as
whole,
piece
a
through
have
to
seems
in
lowest,
of
this
the
And
so
object
with
was
whole
Unity,
it
also
then,
organic
unity,
of
the
a
individual
any
thus
and
complete
one
idea
of
been
things, binding
completeness
itself
of
running
it
and
the
is the
completeness
infinityof individuals,
designer
whole
beauty
restrictions
pictorial art
a
nature;
may
governed
of
all
although
an
the
it, like
the
form
one
of
be
certain
oneness,
work
a
find
contemplating
that
Unity,
together
divine
or,
"
a
inevitably
productive
under
in
extent.
riot, and
run
allow
beauty
almost
some
as
the
elements,
secure
they
to
of
but
of
essential
as
other
not
to
to
that
spoken
as
various
Unity.
idea
of
each
must
the
necessary
found
sake,
relationships,so
"
be
been
own
of
are
on
variety
for
merely
which
impinge
or
Variety
but
consideration
Art, it will
of
UNITY.
of
it is
which
is that
in
conviction
the
designer
being
118
that
On
which
which
time,
Art,
but
at
the
and
of
of
the
music
A
197.
and
of
with
the
completeness,
be
fact
it
enjoys
as
the
it
:
a
a
the
is
strongly
like
beautiful
a
of
few
a
notes
it.
incomplete,
it
is
in
or
more
omission
the
of
that
ment
ele-
for
enjoy
may
incomplete
work,
felt
ending
may
mind
the
the
higher
the
completeness.*
in
rest
is
whole,
one
the
morals,
performed
sketch
cognisance
into
completeness
beginning
119
produces
obtain
necessity
piece
in
as
cannot
imperfect,
the
and
expresses
In
196.
individuals
all
connects
Unity.
does
the
but
aim
not
fragment,
at
as
or
taking
mind,
to
pretend
or
of
only
part
a
whole.
some
idea
The
198.
is
but
of
has
unity
of
aggregation
an
nothing
do
to
with
form
whicji
differences
mity,
unifor-
one
whole.
*
There
are
discovered
they
are
scarcely
parallelisms
extraordinary
some
between
suited
sound
for
an
and
elementary
form
and
confirming
work
of
this
relationships
this
nature.
idea,
cently
re-
but
CHAPTER
XXIV.
ON
'COMPOSITION
199.
each
COMPOSITION,
of
the
to
each
and
of
several
all
the
general design.'
help given by everything
make
Composition
in
therefore
such
brings
of
reference
the
to
of
contents
a
like
watch
a
and
more
a
group,
the
general
several
pencil,
in
the
the
to
that
tion
perfec-
defined
be
tively
rela-
whole,
the
as
else
everything
to
agreeably
most
case
every
and
what
a
and
of
objects
and
most
objects
the
to
to
illustrate
to
on
the
must
with
both
places they
objects
of
the
we
Now
the
same
proceed
at
kind
to
a
once
than
We
eliminate
may
sketch
rough
and
piece
of
find
that
are
the
us
railway key
a
we
familiar
a
pocket.
in
given
in
before
table
promiscuous
is
this
railway pass-book,
coins.
so
the
beauty,
group.
several
and
association
the
keys, including
knife,
of
degree
perfectly natural,
appear
empty
(Fig. 78),"
for
to
higher
a
will
endeavour
us
something
key,
us
; but
to
in
Let
manner.
have
picture
things introduced,
will
We
200.
to
as
us
as
severally occupy
have
also
may
satisfaction, by
affect
arranged
so
It
cation
collo-
a
Art, both
to
respect
in the
combination
a
powerfully
be
of
such
whole.
a
and
with
work
a
be
to
efficientlycontribute
most
may
in
objects
other, and
defined
be
may
a
lead
we
necessary
by
120
taking
On
form), and
feel
under
knife
the
the
and
be
a
?
Pass ; ' and
so
fruit
knife
book
out
of the
form
cannot
201.
natural
a
We
whole
will
or
a
will
and
they
piece of
try
we
lie
with
tumbler
relation
arrange
the
flatlyon
which
to
with
to
the
consistent
or
vary
water
other
the
in it.
the
bears
no
In
articles,we
more
beginning
with
well
"
we
have
no
and
so
group,
But
objects,we
as
may
or
with
a
pencil, and
this.
any
agreeably:
table,
as
eliminated.
ordinary lead
of
them
that
group.
pocket-book,
a
remove
the pencil
finally,
be
dozen
naturally go
or
perhaps
78.
the
piece
a
eraser,
to
and
now
natural
we
it
(silver),
try again, however,
single object, say
inquire what
of
so
discover
nor,
;
same
group
except
and
;
also must
FIG.
fact,
book
further
these
our
None,
We
pencil, or
the
inquire, What
we
them
keys.
to
the
to
'
But
among
happens
relation
objects for
The
keys.
121
repetitionsof
are
knife, pencil, and
the
coins
(which
control.
exists
between
to
several
more
relation
the
coins
several
away
Composition.
A
knife,
all of these ;
but
we
find,
as
upright object
we
add, say,
this tumbler
bears
instantly,by
a
no
intro-
On
122
ducing
a
paint-brush into
if
especially
and
We
have
which
Composition.
bear
we
show
the group,
a
bottle
for
our
also
materials
now
relation to each
some
FIG.
perchance, be
may,
this may
it will
be
not
said
to
satisfythe
the
place,near
done
so
proposed composition
other, and
so
in
as
necessities
secure
Fig. 80,
with
Fig.
or
we
will
proceed
of
but
though
Art.
a
We
had
better
80.
then
both
79 ;
according to Nature,
principal object
centre, and
to
in
natural,
be
begin by letting the
it
white.
79.
as
Fro.
about
of Chinese
them.
to arrange
They
suggest a relationship,
arrange
varietyand
occupy
the
the other
unity.
result.
satisfactory
We
chief
objects
have
On
202.
The
other, and
Composition.
relation of
the
to
the
parts of
whole, may,
123
composition
a
be
perhaps,
to each
better
under-
\
FIG.
stood
or
by considering them
they
bear
them
more
in
in
as
they
compose
we
the
flowers
have
and
each
we
(our Crocus),
85
get
to
one
of
FIG.
have,
we
which
86.
simple
beautiful,
most
84,
combining,
till
on
go
83
as
place
we
towards
thus
the
conveys
idea
of
85.
variety with
symmetry
how,
Figs.
and
may
Fig.
FIG.
in
them
other;
pendicular
per-
we
if
whilst
they
;
strongest contrast,
Fig. 82;
place
we
shall feel that
line
one
feel that
If
combine
84.
place two
we
shall not
we
another
to
them
If
than
placing
by
only.
FIG.
relation.
Fig. 81,
oppose
and
83.
other, we
real
any
in
as
lines
as
each
to
parallel
lines
more
Fro.
82.
it
also,though
may
be
not
unity,
absolute,
asked, will
in
and
this
as
degree
some
in
apply
Fig.
to
86.
of
But
landscape
?
Composition^
On
124
FIG.
Fia.
Let
and
Figs.83
88,
of the
and
lines
"nd
bo
84
we
90.
as
placed horizontally,
have
forming
89.
the
at
once
foundation
the
of
in
general
Figs. 89
Figs.87
direction
and
90,
On
Composition.
""\\
FIG.
92.
.
125
J"-J.
On
12G
Composition.
FIG.
FIG.
94
93.
FIG.
95.
On
and
also
for
Figs.
may
and
often
concert
It
95.
suggest
discover
in
into
; for
in
in its analvsis.
the
93),
the
is
the
we
96.
FIG.
97.
such
by
production
shall
two
find
following
that
that
means
the
and
of
a
work
they
lines
not
can-
feelings should
of
Art
as
of
mind
the
feelingsrequire, but
the
mind
the
simple elementary
FIG.
what
127
analyse
we
and
92
themselves
94
If
Fig. 91.
examples (Figs.
resolve
Composition.
well
act
as
On
128
There
203.
which
and
than
ideas
the
themselves
with
quite
become
a
condition
of
FIG.
most
of
easilyrepresented by
lines,and
sketch
by
whilst
oppositionof lines,as
which
we
;
may
Nature
is
98.
tone
contrast
in
to repose
which
of
shade, by repetition
in
of lines,as
positions
certain
(Fig. 9G) ;
a
in
some
associate
monotony
things with
condition
a
"
these
To
source.
wh'ich is allied
stillness,
of
familiar
by light
produced by
its exact
to
characteristics
lines and
sentiment
repetition and
of
that
stillness is
and
The
others.
easilytraced
is sometimes
extent
qualitiesand
some
readily expressible
by
more
are
shade
are
Composition.
of
the
light and
Fig. 97, give
rough
dark, and
rise to
a
contrary
feeling.
204.
If
we
take
picture,and
divide
intersection
will mark
is the weakest
it into
the
place for
composition,for
rectangular parallelogramas
any
it
equal parts, as
part of
the
divides
the
in
Fig. 98,
picturespace
principalobject of
the
picture
into
a
our
the
which
pictorial
two
equal
On
In
halves.
exact
the
does not
of
case
is
symmetry
Composition.
ornamental
merely
picture;
but
occupied
the
other
feature
Thus
205.
what
if
be
may
with
parts
thirds
fifths,we
or
positionson
or
side become
neutralised
for any
of interest.
it will
be
seen
the
that
various
methods
least
introduction
of
pleasing,
without
qualities,
satisfactory
call the
we
as
men,
look,
laws,
"
we
works
always
ever
study, not
of Nature
find
in
her
Fitness, Variety, and
at
or
disturbing
of
idiosyncrasies
should
the
side
one
equally important
aim
helps
the
points of interest,the corresponding parts
have
almost
course
strong positionsof
the
called
of these
some
into
composition, especiallyin landscape Art,
the
of
apply.
shall obtain
on
where
design,
important constituent, this
an
By dividing the parallelogram
are
129
their
for
mentally
we
might
Nature.
For
rules
much
the
customs
so
herself.
the
what
Whichever
assertion
Unity.
of
of
three
and
way
of
we
grand
XXV.
CHAPTER
ON
AND
LIGHT
SHADE
IN
'
shade
reference
had
to
now
how
see
dividually
limited
manner
;
the
As
207.
of
shade
operate
only
show
be
its
relation
are
a
would
importance
the
to
in
here
done
we
:
objects, in-,
on
in
and
'light
objects
considered
can
show
the
and
shade,
when
and
objects
it may
mountains,
it
space
and
chiefly those
lead
parts
the
the
so
or
very
require
of
is
work
that
to
sentation
repre-
projection,
of
purpose
or
the
the
fill
of
light
it
with
reveal, the
to
houses
mind
the
idea
picture,
a
whether
the
of
to
in
shade
and
give
to
conceal,
to
contain,
light
occupies,
applied
locate,
to
is
object
an
to
space,
of
purpose
and
trees, figures
to
spectator
the
various
artist
or
consider
wishes
him
see.
If
208.
the
ho
in
truths
Let
paper,
any
and
fully to
on
AND
OBJECTS
costly plates.
many
to
This
remarks
individual
to
when
grouped,
or
the
only
light
picture.
whole
VIII.
Chapter
OF
PICTURES.
TO
206.
GROUPS
TO
APPLIED
AS
student
may
make
clearly
on
two
defined
with
a
before,
as
easily understand
more
connexion
him,
will,
stout
accurate
the
make
simple
periments,
ex-
important
some
subject.
piece
but
subject,
such
of
cartridge
delicate
as
in
outlines
Fig. 9G,
of
or
or
grey
ink
of
Fig. 97,
130
Liglit and
On
"With
only considerablylarger.
will
pencil that
other ; his
feelingswill
furnish
reasons
In
with
such
attempting
kind
positionand
its effect
various
of
the
on
parts;
attended
whole
the
to, he
by
the
light that
be
209.
It
of
local
has
to
of
happy
the
a
have
the
his
picture,
of
colour
and
the
have
been
complete
shadows
extensive
more
paint
to
as
the
of various
and
when
moment
of
dark
; but
the
scene
light which
commonplaceness
of
with
intricate kind
and
and
Figs. 91
that
case
may
a
dull
very
he
few
a
is
may
93.
when
particularsubject
a
it under
commence
light
made
been
unfrequently the
determined
bright gleam
it from
consider
considerations
for instance, such
:
is not
circumstances
some
will
illumine
of accidental
experiments
attempted
Nature, he
any
judgment
must
greatly modify
may
is the most
so.
the
these
introduction
these
artist has
for
and
he
is to
masses,
when
simple subjects,those
may
which
each
intensities.
shapes and
When
it is
why
exercises
large
and
him
a
subject
with
them
compare
his intellect
and
treat the
now
inform
soon
agreeabletreatment,
him
then
aspects,and
131
piece of charcoal,* or
a
he may
easilyrub out,
different
under
Shade.
f
an
from
unfavourable
watchful
ever
lit up
be
by
instantlytransform
day
into
a
beautiful
picture.
This
*
instantaneous
Charcoal
must
be dusted
'
effect
'
he
off the paper,
rapidlysecures
not
(perhaps
rubbed.
f If grey or tinted paper be used-,the lightparts of the sky, and the
be put in with
a
and
brightestparts of near
very light objects,may
pieceof extra soft white chalk, or with Chinese white.
On
132
brown
only on
and
forms
and
And
this fine
on
watch
the
travel
hill
over
down
gladdening,saddening;
moment
one
in
next
shade
deep
the
winding stream,
the
the
and
the
are
picture of
rustic
the
shadows
features
to
memory
the
across
in
the
of
light,and
for
is most
211.
will look
a
inducing the
or
up
over
as
in
the
human
our
lives.
The
the hills in the distance
mind
the
loves
clouds
dwell
to
cast
their
;
upon
fleeting
ing
fall-
anew.
shadows
are
important
most
a
painterfor expressing space
eye and
mind
to dwell
on
and
ever
what-
student, with these thoughts in his memory,
a
like Turner's
work
of England,
an
of
especially
exhibition
or
of
water-colour
the
old
Rivers
Liber
of France,
Studiorum
(English)
drawings by
;
such
he
will
of
the
have
grand
a
mass
power
of
evidence
which
these
that
men
will
or
his
go
works,
masters'
as
Wint, Varley, Barrett, Cox, Copley Fielding,and
him
down
interesting.
If the
Harbours
through
hands
they
as
alternately
bright in light,or
scene
cloud
means
the
recall,as
accidental
These
shadows
cloud
bridge crossing it, the woody
that
to be revealed
into shade
of
hill,and
some
bright light, and
hill-side,the fortress-like rock, and
these
of
top
spiritsgoing
in
a
"
charms
dale, concealing,revealing,
our
stand
we
the
to
effect of
and
the
drawing
student, in imagination,climb,
April morning,
marvellous
chalk),
shadows.
let the
now
soft white
and
completing his work, by adding
accurate
ever-changefullightsand
210.
charcoal
is assisted in
beautiful
to
with
paper
it he
by
Shade.
Liglit and
De
ing,
Hard-
convince
accidental
cloud
Liglit and
On
shadows
place within
of space,
be
spots,or
of
the
accidental
usually
picture, as
irregular in form,
As
of
two
and
with
blends
the
part of which
of
white
on
so
the
is in
black
of
mass
from
light parts of
foreground,
"
light
are
spoilt.
It
piece of
bread.
214
Now
can
he
will
"
let
made
us
we
it
the
a
take
and
ground,
To
in
the
prevent
the
nearer
the
tony
mono-
figure is introduced, the
dark
student
But
with
a
shade
make
to
soft
this
pencil
building, the figure,and
fact,
that
the
all space
drawing
right again by cleaning
the
more
ultimately
prevents the
the
and
the
light, whilst
gets lower,
on
consider
us
the upper
is left
bution
distri-
the
by
mean
instantlyperceive that
destroyed,
be
side to side of the
looking heavy.
over
show,"
"
former,
dark,
the
being subject to
picture,let
of which
shade
and
the
as
Being
nature.
landscape, they will
from
strong light.
strongly felt, let
the
a
shadow
more
the
side
to
into it.
building
dress
building
in
In
the
dark
vast
what
darker
largea
and
of
101.
becomes
part
side
retiring surfaces
a
not
shade
of
interestingpart
or
; but
to extend
illustrations
Figs. 100
other
all
and
Fig. 99,
over
be traced
cannot
light and
forms,
irregular surfaces,
passing
table- top, a room,
in
entire
their
in
appear
and
invariably
appear
213.
not
in
foreshorteningwhich
shapes
picture,as
must
sion
expres-
they generally do
that
almost
for the
continuously from
run
exact
a
artists
shadows
their
whether
of
clearlyvisible throughout
should
but
reach
the
133
light,and beauty.
These
212.
SJiade.
second
one.
In
this
with
is
a
subject
I
we
Li
On
136
have
at
once
such
glitand
elements
SJiade.
of the
picturesqueas would,
independentlyof well-arrangedlightand shade, be
;
a
church
to
make
ing
interest-
lane,fine aged trees,old railings,
a clear sky, and
spire. Moreover,
the
'
lines
'
these
of the
features
are
so
picture harmonious
combined
and
a
as
agree-
A
able.
railings
much
shade
applied
to
and
thus
of
to
an
the
invests
mentioned.
a
it
he
and
be
the
the
with
the
flat
such
let
dark
with
again
the
is but
; it is the
field
behind
the
of
pencil,
feel
the
the
old
them
student
parts
a
in
trees
that
the
so
be
pass
a
'drawing,
as
all
to
make
to
and
space
ruined.
that
picture,
of
will
work
seen
object
idea
all
the
left, causing
Now
light parts
and
gone,
the
on
visible.
over
the
over
It will
rid
chalk
equally dark,
are
trees
13?
over
the
across
passes
nearer
Shade.
is thrown
shadoAv
clearly
white
light
as
the
and
more
little
all
cloud
distance, and
middle
and
dark
and
Light
On
an
advanced
by
means
surface
ideas
of
purpose
of
of
light
stage
which
his
Nature
as
shade,
of its
the
paper
and
cation
appli-
artist
or
have
gets
canvas,
been
XXVI.
CHAPTER
LAWS
OF
AND
NATURE,
APPLICATION
THEIR
OF
'
215.
PEINCIPLES
truths,
laws, which
to
and
founded
lead
Art
deduced
fts
to
primary
those
are
or
only
successful
alised
gener-
universal
from
but
practice,
both
just appreciation
and
PRINCIPLES
ART,
on
not
complete
more
a
in
AS
of
Nature
Art.'
'
Principles
Nature,
and
is
what
varied
the
us
of
to
beauty,
useful
in
Art
the
of
ornamental,
of
Nature
beauty
of
her
of
in
or
with
;
in
the
all
the
we
are
developed
pencil,
or
the
representing
whether
of
productions
objects,
susceptible
more
power
essential
noble
more
make
which
surrounded.'
As
216.
these
or
the
to
dictum
only
can
Divine
laws
principles
our
which
by
these
test
of
be
mind
Art
works,
of
the
fact
those
adopt
we
and
laws
of
by
determining
of
creating, or
Divine
operations
standard
of
fashion
material
the
by
beauty
laws
of
of
study
a
in
from
as
true
a
quite independent
The
ignorance.
discovered
in
manifestation
deduced,
are
perfect,
are
what
the
the
we
call
has
just
Nature.
We
been
will
imagine
a
said, by supposing
object,
say
a
candlestick
case
in
that
; and
illustration
we
to
wish
make
to
our
of
what
design
work
any
simple
of
design-
138
Laws
and
ing quite simple
which
laws
them
to
1st. It is
service has
law
a
of Nature
is
that
certain size and
a
It is
of
that, in things of
Nature
it is
guide
here
in
us
candlestick.
candle,
and
102
;
a
but
the
as
we
for
wax,
the top of it
and
as
we
with
harmony
as
have
it
the
doing
we
or
now
we
so,
socket
to
we
wish
shaft
to
to
some
hold
it,
add
handle
light
to
the shaft, and
grease
take
hold
or
in
must
we
a
of
the
safely,as
the
lengthen
protect it from
a
to
move
and
may
will
ornamenting
stand
may
wish
case
to
and
require a
may
in which
up,
103.
which
laws
designing
that
base,
accordingly(Fig. 103) ;
well
in
always
three
First, we
convenience
shape
cipal
prin-
applied.
have
we
is
ornament
which
Now,
held
ment
orna-
a
"
Natural
thing to
have
use,
chief.
3rd.
Tig.
for
it is destined.
FIG.
our
apply
ing
for it accord-
defined
addition, and secondary to utility never
an
or
extent
then
few
everything intended
character
for which
law
a
and
a
r
to the purpose
2nd.
in Nature,
work.
our
first enunciate
must
clear, we
find
invariably
we
139
of Nature.
b3
so
running
of, Ave
do
be carried
about,
that
now
proceed
Before
the
consider
FIG.
made, whether
as
china,
for
much
thickness
rough
if
as
the
of
sketch
produced
Avhich
metal, such
other.
the
the
In
the
the
shaft
and
china
"
a
the
but
Fig. 105.
Fitness,and
we
may
also,
gracefully
candlestick
one
former
of
may
material
is to
clay,such
be
quite
we
may
elegance by varying
shape of
the
this would
material
so
we
105.
or
silver,
for the
lightness and
(Fig.106) ;
in
as
to
safely,however,
FIG.
of
in
well,
do it
this
do
of
its work
of which
material
as
screen,
it will
can
we
a
do
will
design suitable
a
to
add
104.
be
wrong
by
that
to add
if it is intended
; but
this first law
to
candlestick
our
viz. ornament.
must
better
conformed
thus
have
We
had
we
Nature.
(Fig. 104)
handle
require a
not
add
of
Laws
140
the
base, as in the
be
quite
easilybroken.
wrong
On
Laws
material
highly
'relieved'
the
such
ornament,
china
candlestick
should
not
us,
in
thing
able
suit-
be
a
principles of
are
Nature, which
of
the
most
would
or
paint or gold, quite flat.
as
from
laws
incised
with
The
grease.
legitimately deduced
guide
a
the
or
deeply
interfere
would
as
141
such
be
dust, wax,
for
Here, then,
Art
work
it from
treatment
surface
there
should
neither
cleaningof
of Nature
in
only
common
designing
but
in
which
is
use,
that
judging correctlyof
alreadydesigned.
We
217.
simple object
a
to
of
be, What
for
Certainly not
one
nor
wide
which
be
may
liquids in,
but
like
shape
much
have
taking
this
hold
shape
upset
little
;
so
107 ;
saucer,
a
for
cooling
108
moreover,
from.
A
would
be
it is
the
sides,and
of.
Suppose
is
we
like
?
evaporating them,
Fig.
slanted
is
from
Fig.
drinking
better;
"
vessel
like
suitable
or
for
not
of
drinking
shallow
and
life
inquiryought
shape
adapted
best
every-day
first
Our
tea-cup.
another
take
will
not
will
well
larger, affixingit
a
a
handle
design is
adapted,
simply
106.
agreeable in form,
affixed
the
FIG.
invert
as
convenient
for
it
a
on
we
for
child's cup,
might
it, make
little lower
for
the
the
be
easily
handle
a
side, that
the
cup
danger
of
of Nature.
Laws
142
our
be
may
of
be
must
admitted
FIG.
the
As
articles
in
to be
cases
without
the
right,and
forms
we
may
FIG.
here, again, we
But
to that
to
the
as
tea
107.
avoid
highly
which
is
kind
or
general terms
dinner
that
general
surroundings,but
most
white
can
of
and
nature
of
and
to
proper
for
only
here
will
gold
are
such
state
Nature, such
undesirable; and
conventional
colour
the
ornament,
imitations
are
ioa.
paintingand gilding.
services,we
simple geometric designs and
satisfactory. The
as
painting
close
by
'relieved'
flat,such
of
bound
are
landscapes,flowers, fruits,"c.,
the
both
108.
subject to
adhere
balanced
ornament.
FIG.
218.
and
In
upsetting(Fig.109).
tea-cups
proceed to
easilylifted
more
work
depend
are
much
as
that
most
on
always safe,and
Laws
Nature.
of
generallythe primary colours, in
but
admitted;
much
143
small
be
quantities,may
strong red, especially on
dinner
services,is decidedlyout of place.
The
219.
named
application of
wall
architecture
the
fact, to
to these
amenable
man's
knowledge,
man's
nature.
It
false taste
ourselves
taste
well
of
it becomes
The
fact
remains
whatever
in
regard
for
some
be followed
'
or
either
case
or
and
newer
the
acquiesce in
correct
and
this,let
us
eye
should
be
make
which
is
true
right,or
opinions
be
may
right or
the laws
whether
wrong
of Nature
must
higher
suppose
new
produced something
detects
person
in
no
be
of
truth
^beauty.
to
to
To
discover
develope
illustrate
little skilled in Art
which, from
fault
; and
in
to admire
taught
applicationsof
manifestations
a
accustomed
but
tecture,
archi-
to
be known,
design,must
is wrong,
in
relate
they
become
not
may
what
it,and
his eye
'Taste'),
on
violated.
Principles,then,
that
there ^s
as
thing
on
all this is
but
we
a
our
it will
painting,sculpture,or
order
that
case
in either
and
that
principleson
and
taste
our
to- it ; in
reason,
221.
those
on
works, and
some,
that
be
founded
not
God's
of
importance
with
acquainted
is wrong,
they are
(see Chapter XVII.,
true
as
itself,must
feeling. Granted,
paramount
depends.
house
the
the laws
on
and
taste
as
of
fender,
everything,in
"
however, be said by
may,
of
matter
decoration,
laws ; because
but
fire-irons and
as
"
carpets, chairs, tables,
a
general principleshere
endless, furniture,such
is
220.
the
his
want
that
he
to
of
takes
have
ledge,
knowit to
Laws
144
him
defects, informs
thus
tells
how
him
performance,
that
the
viewed
to
the
ascribed
satisfied
in
with
but
as
bias
is
found
faction,
satis-
can
change
sight,
the
satisfythe
and
was
now
the
but
medium
of
be
longer
no
of.
disapproves
Every
mind
and
the
sensitive, by
more
is felt to
truth, which
to
prone
impulse,
rely
; and
the
prejudice
principles of
Nature
or
it
and
Art.'
by
be
that
be
so
ful
power-
a
alone
feelings
excited
they
by
be
in
a
should
condition
independent
knowledge
of
;
mere
strengthened, by
only
can
is rendered
fashion,
our
to
it is necessary
judgment
and
on
liable
regulated, corrected,
correctly, when
of
before
is the
in
truth,
acute
more
is
affording
what
alteration
present
consequence
of
To
the
his
minutes
instead
to
extremely
are
inconsiderate
decide
'
are
these
judgment
in
perhaps pride,
of
committed,
essential.'
We
controlled,
few
its
violated, and
has
The
a
reason
made
that
to
he
looking through
the
become
closely adhering
222.
and
possession
consequently
so
but
any
eye,
what
feelings, now
and
to
the
now
is
effort
future.
has
remedied
displeases.
Not
?
that
fact
th^Gmind,
in
faults, that
and
he
faults
be
which
many
it annoys
be
the
may
complacency,
so
instantly perceiving
principles
of
they
production
possess
the
avoided
or
with
to
of
sensible
him
makes
and
to
artist, who,
accomplished
some
Nature.
of
of
the
be
the
to
the
true
CHAPTER
XXVII.
IT
223.
student
such
; but
the
of
technical
from
defined
its
off,
the
first
canvas,
and
the
brief
ter
chap-
arising
from
especially in
ideas
of
with
and
the
of
use
drawing
cannot,
picture
of
genre
painter
before
is
think, be
we
and
when
term
or
materials
also
laid
so
in
figure
be, with
much
rubbing
It
226.
to
proposes
10
not
in
preference
for
when
in
to
unfrequently
paint
a
offer
picture
a
the
in
used
paper
greatest
whether
subjects,
studio,
his
to
to
nated
origithe
by
or
the
artist's
a
it is done
and
guidance,
to
but
ation
deline-
the
slowly, and,
This
a
it
should
we
sketch.
happens
and
out.
of
outline
the
mean
legitimately applied
human
be
on
is
verb
applies equally
term
in
the
nyms
syno-
Nature.
used
the
outline
of
thrown
as
may
its
it may
sense
hastily
The
with
sense
'
Sketch
'
together
this
work
such
historical
The
in
a
word
the
primary
The
facility.
landscape painter
225.
of
root,
shoot, and
or
the
by
an
confusion
terms,
Latin
historical, landscape,
call
this
of
head
considerable
a
languages.
promptitude
may
the
at
for
define
to
unnecessary
original meaning
other
throw
or
is often
The
in
"
stand
as
clearly
gathered
Art
thought
language.
224.
to
be
terms
there
want
be
might
PIOTUEE.
STUDY,
SKETCH,
has
that
when
produced
an
his
145
artist
sketch,
he
great
it necessary
find
may
and
care
as,
These
intimate
knowledge
with
may
and
feelings.
much
spend
portionof
acquainted
When
time
with
future
and
and
of
the work
sion
expres-
Nature,
working
ourselves
in view
an
work, that
before
in
The
such
complete
sit down
to make
pictureor not,
studies.'
'
future
a
thought
as
figures;
painter to
a
full
we
it,whether
picture
out
a
thoroughly
tended
indefinitely
some
is not
sketch, it is
a
'study.'
a
A
227.
of
picture
is
full and
a
thought, idea, historical
a
material, whether
any
paper,
and
outcome
complete representation
incident, or
landscape,on
wood,
plaster (fresco),
usually understood
"
natural
*
give
landscape,so
a
called
details of
the
his
feet, animals, trees,
is to assist
freedom
more
his
to
of
of
parts
or
properly
studies
these
of
Nature, with
instances, entire
some
are
purpose
he
various
the
in
from
prepare
heads, hands,
others, human
plants, "c.
to
thought,
such
separately;
in
Picture.
Sketch, Study,
146
full
in
be
to
development
canvas,
colours, and
is the
"
of the
'
or
sketch
'
and
studies.'
When
228.
there
studies
the
held
their
was
a
and
members
first winter
wonderful
*
so
of Sketches
as
'
rather
sketches
that
has been
cannot
changed
Water-Colour
an
the
be
into
some
so
annual
of them
result.
slight.
'
Winter
Much
fairlyclassed
pictures.
of
as
ago,
display of
called, many
very
ciety
So-
years
instructive
most
sketches, and
successful
exhibited,however,
but
and
Old
exhibition
sketches,'properly
incomplete except
unique, and
the
of
It
was
tion
Exhibithe
work
'sketches,'
Picture.
Sketch, Study,
Sir
David
of
first idea
The
229.
Wilkie,
studies
scrawl
a
afterwards
He
Fig. 110).*
was
of
of
made
of the
some
'Rabbit
the
147
the
on
only
inches
few
a
Wall,' by
(see
rate
sepa-
principal
figures,and ultimatelypainted the picture
well known.
so
Two
230.
the
of
landscape painterswhose
adorn
the
Academy,
pursue
of
procedure in
Of
works.
of
course
the
Considered
he
he
by
the
he himself
is
and
have
food
;
mind,
a
their
speaking figuratively,
"
innumerable
and
destroysfifty,
five
his
completes
says,
'
the
and
ideas
thus
of
in
in
*
From
Jackson's
rarely
the
spot.
sellingmy
picturesI
artist
are
tures
pic-
sell all,
clear demarcation
from
on
in
revolved
its
his
ture.
completed pic-
the
by
of 'sketches'
large work
house,
store-
artist draws
which
'study,'and
a
of
sort
a
the
in
ultimatelybe re-presented
'picture.'As examples
other
sellinghis pictures,
originated,being
'sketch'
of
on.'
imaginationof
Still,there is no
out
remaining
pictures on
I sell my
an
the
The
fortune
to fall back
which
from
very fortunate
My good
'sketches'
sketches,
works.
complete
public
sketches
distinguisha
from
Royal
it is said
makes
from
may
232.
to
no
The
231.
the
misfortune, for when
a
ally
annu-
production of
sketch, but
a
of
of them
fiftyhe produces
makes
works
quite opposite modes
one
hundred
every
walls
that
"
eminent
most
a
we
Wood-cutting.
always
'study'
may
refer
Sketch, Study,
148
Picture.
FIG.
FIG. 111.
FIG. 113.
112.
SJcetcJi,
Study,
Fio.
115.
Picture.
149
150
SketcJi, Study,
FIG.
116.
Picture.
Sketch, Study,
Picture.
151
Sketch, Study,
152
to
Figs. 110, 111, 112, 113, 114, 115,
(tree-trunk)
'studies/
each
Nature.
The
be
Picture.
considered
and
118
(grass-blades) are
part having
been
a
picture.
FIG.
118.
116.
of
the
carefully put
Frontispiece, although
as
and
without
Figs.
117
of
nature
down
from
colour, may
CHAPTER
ON
the
the
IN
233.
is
mind
for
the
is
the
was
is not
the
separated
of
a
modifications
234.
The
of
of
and
of
'
we
things,
there
truth,
sequences
and
God
Let
to
seem
over
us
the
converge,
this
for
the
remains
lies
"
its
times
On
of
only
leaves
the
to
only
on
which
flower
"
his
plant
a
the
highest
that
all the
and
blossom
should
not
still
the
the
fruit,
leaf.
at
and
inferences,
all, blessed
in
of
of
modern
Goethe.
but
such
One
of
is
time
a
And
of
organ,
seed
reason
may
inevitable
life
that
Nature
of
intellectual
however
dawned
the
for
science.
reverie
dreamy
"
for
of
and
there
part and
advantage.
superadded
study
Nature,
generalizations
from
plant,
of
in
facts
transformation
only
but
will
without
calculations
exact
study
hard
idea
or
and
development
parts
the
of
mind
a
the
which
scientific
result
meditative
dry,
always
not
beautiful
most
in
whilst
investigations,
after
stretch
pursuit
some
from
us
pursuit
are
full
scientific
our
formulas
necessity
a
of
ETC.
HERBAGE,
GRASS,
midst
on
mathematical
release
XXVIII.
the
be
merely
not
but
sesthetic,
evolution
and
back
of
all
which
towards
great
religious
ment
develop-
eternal
our
all
cal
logilines
Fatherhood,
evermore.'
spirit look,
with
;
grand, irresistible,
the
the
suous,
sen-
pencil
in
at
hand,
153
some
154
of the
things
If
look
we
than
more
at
of
mass
a
striking character
no
entire
an
blades
a
manifestlydesigned for
are
what
be
may
under
our
feet,
may
see
little
Grass.
235.
at
which
in nature
pleasure,beginningwith
our
"
Grass, Herbage, "c.
On
of
agreeable in colour, but
about
it ; but
Taking
path.
millionth
a
idea
of the
observe
inorganicbecomes
organic,the
vital
"
in
nourishment
giving
far
purposes
their
In
exhibits
hurt
dashes
perfect.
fibrous
and
grass
a
up
as
itself,and
shoot
new
cluster
to
with
thus
a
to
that
a
at
of any
running
it will
and
In
this
few
a
which
is
its
size, is
more
other
plant,and
is
causing
the
cover
the
also it
for
so
(see Fig. 118),
joint, thus
compensation
count
ac-
that
root
way
not
into
attempt by
to
gance,
ele-
throughout
of these
some
stems,
symmetry,
of grass
express
each
showing
its utilitarian
closelytogether, and
carpet.
makes
of
in
also
cereals, the
proportion
than
as
mind,
to
haste, we
pencil
root, in
is known
blades
ground
the
tenacious
what
sending
of
The
unwise
our
and
design;
take
we
becomes
beauty, vital
models
of
earth
of the
structure
artistic efforts if
in
the
and
are
The
strength.
when,
often
plumes,
lies about
in the tissues of grass
body
grasses
have
may
and
like
is necessary
interestingevidences
our
clever
many
bearded
and
what
few
a
Fig. 118,
dust
to
we
with
looking
"
beauty that
off life and
both
beyond
destination.
with
giving
that
of
part of .it
simple example,
a
on
it,we
reflecting
vital
if, instead
carefullystudy that,
tangible,definite
more
our
and
"
we
green,
take
field,we
grass
field of grass
a
the
propagates
absence
of
On
blossoms, which
eat round
The
it the
work
before
the
taken
a
The
They
and
in
of
marvellous
not
young,
each
one
and
sheath
which
disposed in simple
another
dusty-lookingpollen.
It is said that
three hundred
and
The
design.
;
two
and
or
more
or
from
these
threads, terminating in yellow knobs
slender
genera,
speciesof
to
lightand
of
consistingof
above
formed,
so
of
upper
are
head
long
least resistance
wonders
are
the
from
of their
abundance
an
up
ingenuity,
leaf is
or
offer the
to
held
engineers have
our
blade
grasses
produced
when
The
y^etget
some
chaffyscales,inserted
hang
as
and
branching heads,
scales
and
that, were
be
in the construction
straw
narrow,
often
May
bridges?
flowers
of
example
an
a
wind,
them
blades
constructed
so
mechanic, it would
its purpose.
tubular
are
encloses
as
hint from
the earth and
air.
human
a
world
being long
hollow, and
is
stem
of
boilers and
it
though
crop,
flower-stalks.
perfect for
and
sometimes
155
they generallyprefer the
that
many
236.
will
animals
observed
be
may
"e.
Grass, Herbage,
upwards
there
are
than
more
of five thousand
of
ent
differ-
in the world.
grass
colour of grass
is that which
is most
soothingto
the
eye.
Altogether,the exquisiteperfectionof
colour, adaptation enables
"
helplessnessand
an
end, and
not
Great
The
us
lowliness,but
as
a
mere
Teacher
to
see
His
not
it
"
in its form,
only God's
care,
care
for
too, for beauty
as
means.
spoke wisely when
He
SIDER
said, CONf
the flowers of the field.'
237.
It is
good
and
pleasant practice,especiallyfor
a
On
156
beginner
in
Grass, Herbage, "c.
drawing, to
leaves
copy
in
form, like the Ivy-leafin Fig. 119, and
eye
and
very
beautifully.But
steady
flat leaves
placed
then
to
as
has
show
another
of
one
he
is the
here
are
we
But
:
he
is
leaves
likelyto
if
-
leaf
a
is
curves
words,
if it be
foreshortened
from
the flat,but
properly a
so
front
"
from
an
120.
exquisitechanges
more
in
work
delicate
all the
now
correct
a
flat scroll
FIG.
is
there
has
and
119.
space, with
surface, and
in it.
longer drawing
no
FIG.
objectin
in other
"
of
symmetrical
detached
danger
drawing
little art
its varied
if he
draw
soon
may
mechanical, for the
become
and
hand
flat
of
curve
field for
and
Art-
expression(seeFig. 120).
In
this
the
first,to
draw
whether
in the
in
and
of work
kind
careful
the
copying
secondly,to
natural
it
curve
a
leaves
correct
and
real work
do
things
two
with
should
observed
strict botanical
of
petals and
without
calices of
a
a
leaf,or
flower ;
losing the beauty
delicacyof expressionwhich
:
accuracy,
veining and serratingof
all this
of Art.
be
would
of
der
ren-
On
Grass, Herbage, "c.
157
On
158
This
more
"c.
artistic mode
of
and
conscientious
forms
flowers, separately,
leaves, and
to
Grass, Herbage,
advanced
sketching out
a
drawing grasses,
good stepping-stone
of doors.
It is desirable
c.
sometimes
to
draw
may
be
drawn
Figs.
121
and
they
in
character
of
'
notes
them
in
their natural
the
122, when
'
or
size,at
other
pocket sketch-book,
they partake
memoranda.
more
as
times
shown
of
the
On
especially
the
shade
124,
sketching
When
238.
and
for
quite
Whatever
structural
denser
afterwards
organic
make
the
a
is
truth
is
herbage,
attempted
should
and
by
Sometimes
of
artistic
it
in
as
be
beauty.
FIG.
it
first,
complete
125.
159
from
quantity
uneven,
masses
to
shapes.
study
in
grass
ground
the
when
"c.
Herbage,
Grass,
as
the
may
Fig.
done
is
in
Nature,
well
to
Figs.
addition
be
125,
with
lay
123
of
desirable
but
a
in
and
tinct
disto
larger.
view
to
XXIX.
CHAPTER
TREES,
ON
adornments
and
we
must
in
do
with
the
some
order
in
that
varied,
physiological structure,
reference
to
in
and
doing
characteristics,
differences
from
the
when
Maple,
that
we
trees, and
clearly
understand
typical
of
with
a
trees
which
will
the
the
point
than
and
the
present
shrubs
few
fix
which
chief
the
especially
And
this
in
least, leave
out
Rhododendrons,
as
we
those
Sycamore
Alder,
at
;
broad
not
attention,
our
have
the
white.
such
their
and
more
consider
may
as
many.
For
absolutely
all
black
strongly
more
may
240.
in
shall, for
we
coniferous
the
only
the
from
to
with
and
distinguish
we
Oak
the
or
expressed
classification
which
by
notice
"c.,
Birch,
Ash,
has
representation
of
only
can
we
Oak,
of
as
finer
this
even
than
must
modes
the
and
appearances
Art
as
rather
complex
so
satisfactorily
But
classification
our
landscape
are
them
them.
things
of
appearances
They
study
to
classify
way
beautiful
these
difficult.
confessedly
is
so
of
representation
THE
239.
"
e.
satisfactory expression
g.
less
necessary,
in
that
enable
kind
us
pencil
or
pen
of
in
trees, especially
considerable
"
drawing
exercise
successfully
of
or
of
to
practice
copying
shade
attempt
or
any
of
is
particular
character
tree
160
:
just
On
as
vocalist
a
the
but
'scales,'so
It
241.
*
kind
of
danger
have
for
of
of
influence
of
least
at
If
effort
will
of
got
is
for
been
in
is said
to
'capital
a
trees ?'
inquired
idea
an
deprecate.
we
to
and
be
photography,we
In
these
the
joint
not,
are
indefinite
satisfied with
and
work.
which
understood,
we
Oak,
less forceful
are
to
the
as
efforts.
our
will
place
of
few
stndy carefullya
readily yield
better
had
'
touch
'
Constable
he
there
Constable, 'it will do for almost
Such
ought not,
we
that
have
men
kind
what
pre-Raphaelism
others
Beech,
them
we
their
That
this
are
and
Ash,
the
in
what
the
character
may
in tabulated
be
form,
:
"
243.
each
song
for the
different
mistake.
for
calling typicaltrees, such
thus
voice
from
observation,arisingchiefly
non-characteristic
242.
a
great
artist that
said
tree.'
of intense
days
this
'But
'Oh/
tree and
Even
tree.
for trees.'
sort
of
eminent
an
his friend.
or
the
prepare
supposed, however,
kind
one
fallinginto
told
touch
be
not
must
'
touch
another
any
the
concert, practisesnot
a
to
as
161
to be made.
about
one
who, before
Trees.
of
We
these
will
consider
then,
leading trees;
and
as
in
brieflyas
doing
so"
possible,
in
trying
162
On
to
get
tangible idea
a
of
and
diagnosis,
ascertain
All
some
have
trees
and
whilst
others
Of
beauty.
latter,the Birch
The
244.
the
on
the
leaves
and
of
its
the
twigs
of
the
and
up
business
to
shoot
for
from
down
tear
the
on
the
on
gentle
; of
the
1st,
"
arrangement
peduncles; 3rd,
the
branches, and
the
the
stem
its
all
from
under
buds
to the
the
in
underneath
it
following spring
will
stem, and
is
on
the
the
thus
the
varied
efforts
and
the
shoot
for
have
a
is
tree
as
manner
to
erratic.
earth, though
be
as
out
young
a
to
to
stances
circum-
branching.
that
tree
found
of tree
its buds
a
such
the
be
of
carry
tree, and
from
roots
so
curious
most
wind, but
the
are
light,and
there
a
kind
condition
is to
and
of
tree
a
normal
branch
each
divergence,the
of
sometimes
are
remain
may
a
that
us
of branch
instance, that
by
away
Hence
and
depends mainly
twigs on
warmth
this
accomplish
growing
or
growth
of
the
into
Suppose,
ance,
appear-
in character,
example
an
2nd,
physiologiststell
altogetherto change
great
is
tree
a
leaves ;
life in the
of
blown
of
particularangle
The
angular
tenderness
Oak
roundness
the stem.
on
Although
has
of
of
sort
the Beech.
the
on
as
masculine
as
idea
former, the
arrangement
branches
the
and
a
appearances.
such
hard
upon
appearance
shape
the
of
looked
their
for
common,
a
take
must
we
"
causes
have
convey
the
the
some
be
may
them
things in
leafiness ; but
and
Trees.
not
'the
time, the
bent
round
carrying its
new
light.
it will be
observed
that
leaves
and
flowers
are
abundant
more
light
most
as
when
a
been
sawn
in the
be
may
not
only count
of its
it has
and
infinite
of
are
found
be
to
of
variety
of
ably
prob-
leaves, which
chief
all
exactlyalike
a
"
are
Each
obedient
kind
to
of tree
distinguishedfrom
leaves from
two
trees, yet no
of aesthetic
sources
be
may
at
'
unity.
of leaf,which
the leaves of all other
tree
it has
summer
inquiry,for
varietyand
kind
own
of
of the
one
of scientific
and
kind
the
years past.
almost
both
laws
has its
in
stagger us, is
enjoyment
FlG
*
for many
first may
tho
as
tell,
grown,
The
245.
the
but
position
had
bole of
the years
growth,
which
centric
con-
then
may
also, the
of the
centre
the
126.
rough Fig.
we
the
of
centre
has
through,
fact,
in
the
receives the
seen
tree-stem
In
that
so
is seldom
rings
tree,
warmth,
and
of the tree which
side
that
on
163
Trees.
On
beautiful
one
any
example
of
with unity.
infinity
246.
We
alluded
of trees.
appearances
and
have
to the
We
will consider
the
these
varietyin
the
very
briefly,
order
given,
consequentlybut imperfectly.
First, then, taking them
and
of this
causes
beginning with
leaves
*This
the outside
is
"
start
only
and
the
away
the
not
case
with
in
stem,
from
with
the
inverse
the
notice
we
parent
exogens
endogcns, such
stem.
trees
"
as
the
Palms
which
and
way
in which
They all,of
increase
Canes.
from
On
164
originatein
course,
Trees.
of the
the
buds
year
is hidden
previous summer,
that
it is thus
Another
1
Some
divergefrom
leaves
along
the
the
stem
the
their
of
shoot
leaves
Many
arranged
in
whorls,
(Fig. 127),
whorl, the sixth beginning
a
have
trees
Oak
the
as
others
shown
alternate, as
Sycamore (Fig. 122).
five leaves form
where
bough.'
alternately
;
opposite; others, again, opposite and
in
and
a
new
cycle.
The
247.
next
varietyin
of
cause
tree
we
appearance
~
PIG. 127.
may
find
the
buds.
leaf arrangements
the
in
vernation
The
the
exquisitemanner
of leaf form
should
let
apart from
the
his
It may
vernations
first appear
of
almost
leaves
they
in
an
and
in
a
most
endless
no
making
riety
va-
student
some
aminations
ex-
interestingsubject,
Art.
observed
shapes
the
this
from
emerge
exhibits
pass without
season
study of
and
as
leaf arrangement,
observations
be
FIG. 130.
specialprovision for
and
spring
a
and
248.
FIG. 129.
FIG. 138.
that
there
of leaves
same.
on
are
cases
different
Comparing
the
in which
trees
at
Sycamore
Trees.
On
and
the
similar
Horse-chestnut,
to
that
shown
165
we
find
in
each
an
in
Fig.
132
at
b ;
FIG.
arrangement
but-
as
they
181.
FIG. 132.
develop,the peduncles
leaves
with
far
which
out, and
the
tree
of the latter
form
those
is covered
lengthen
beautiful
; whilst
and
carry
the
digitate masses
the
peduncles
of
On
166
Sycamore, remaining, short,
the
or
sessile,
A
249.
leaves.
This, however,
effect
usually viewed
are
seldom
the
leaves
at
large
are
idea
it but
Oak
must
(Fig.133)
"
so
paper,
tree
same
take
and
consider
in the
in Nature
would
it.
But
unsatisfactorily.
very
it may
on
express
peculiarities
by
individual
some
a
branch
half-dozen
which
not
itself,
may
ago
received
of
;
paper
tree
time
branch
copy
a
and
tree.
It
knowing
trees, and
only
be
was
size of the tree,
those
of
the
a
at
it to
being
be
cannot
wishful
copy,
of tree, but
Thus
from
to
this
propertiesand
artist
taken
on
thing is
does
camera
kind
it
which
One
Art
the
"
put
emotions
those
to
as
artistic representation.
a
one
the
the author
drawing
recognisableas
once
tree,
a
interferes
so
rise to.
young
of
best
may
but
;
leafiness
of
recognised.
from
leaves
typicaltrees
though
many
trees
the
leaves
the
or
trees, where
upon,
we
Even
but
cannot
the
our
give
we
"
and
object of
mind
certain,
powerful
some
the
how
vidual
indi-
the
Horse-chestnut
of
of
imagined, as
mystery
one
of
so
away,
look
the
as
call up
to
as
used
now
not
the
to
infinityand
of
seldom
We
has
in
as
in the
appearances
shape
Still,in
sometimes
although pleasant
the
the
individualityin
of
the
proportionto
distinctlyseen,
presence
250.
in
be
to
(Fig.138).
distance
some
leaves
great difference
a
first be
at
separatelyvisible.
are
make
might
as
the
varietyin
said, arises from
are
with
of
cause
have
strikingan
this
making
allow
of the entire tree
third
trees, we
they
thus
nearly so,
general appearance
the
Trees.
an
of
of
Ash
some
verify the work,
he went
into
but
tree
lane, and
the
branch
the
167
Trees.
On
discovered
soon
from
which
the
only
not
had
drawing
the
been
made.
In
Oak
the
it is not
affects its appearance
in
the stalk.
The
its sessile
arrangement
is
contour
that
however,
such
from
us
it
Fig.
shall
be
is
these
directed.
only the
destruction
that
those
recognise the
tree
of
other
may
carefullycopied
the
a
We
tree.
and
the
sensorium, and
special efforts
shade
? it may
quiet, for
also ;
detail, but
more
to
our
portions by
be
with
paper
light parts
the
be
supposed,
appeal equally to
not
its purpose,
the
of
rough
a
be
not
surface
does
it must
not
which
likeness
any
^vhat of
that
quality,if
or
of
parts that
But
inquired. Simply
its chief
and
impressed stronglyon
are
is, therefore,to
should
It
given in Fig. 128,
with
even
or
Nature
part.
every
on
It must
130.
leaf which
arrangement
Fig. 129,
produce
in
tree
a
that
edges
in
these,
as
Oak-leaves,we
that
leaf is
the
the
but
mass,
by covering a given
markings
forget
in
the
of
serrature
of the
shape
given
the
is
repose
the
not
its
be
fusion
con-
cealment,
partialcon-
which
we
to
are
convenientlyand
clearly
perceived.
251.
In
the
after
been
made
a
for
First, to lay
its
character
with
a
in
practiceof
light but
divide
shade, paying
gradation, and
or
drawing
accurate
guidance, to
the
tree
leafage on
strong intention
sketch
attention
intricacy
;
the
light parts
outline
or
the work
its
of
it is often
has
follows
as
to
its
:
"
ness,
even-
then
to
lay in
and
at
the
introducing,where
sirable,
de-
the
edges,
possible,
168
On
FIG.
Trees.
133.
On
FIG.
Trees.
134.
169
On
170
actual
shapes
draw
to
finally,
keeping
of
the
the
former
the
latter to do
the
light.
found
leaves
instead
stem, the
inside
This
of
under
of
the
holding
systematicmethod
kind
any
practiceof
that
of
the
tree, and
of
twigs,
leaves
to
will
be
working
It
drawing.
tree
and
causing
their
up
'
touch ;
'
mere
branches, and
and
their work
applicableto
constant
Trees.
the
was
J.
prince of tree-draughtsmen,
D.
Harding.
In
252.
Oak
and
and
Figs.131
At
Sycamore.
dissimilar,but
till
first
careful
given
are
and
portionsof
not
seem
very
repeated inspection,
familiar, will reveal
them, especiallyif they
between
small
sight they may
examination
become
they
132
be
a
wide
ence
differwith
compared
Nature.
observe
may
a
tree
great
division
next
the normal
that
calculated*
though
much,
the
Taking
253.
be
as
in
branch
Fig. 134,
of
probably fiftyyears'growth.
of
and
we
angle
may
between
otherwise
in the
at a, not
get
able to
strikes off almost
that which
of
the Ash
not
the
towards
the
are
get to
the
necessary
compound
*
McCosh
and
and
a
lightby
the
and
upper
of
be well
may
vigorousbranch
any
other
to its existence.
Balfour.
a
if they
laterally
right,and
pinnate,as
from
habit
usual
This
light.
horizontallyto
was
a
grow
very
already shows
lower
as
Sycamore (Fig.138), where
being
the Ash,
sketched
was
It
this
consider
would
branches, for they certainly
seen
which
may
branches,
could
divergenceof
as
difference
typicaltrees,we
our
angle of 60", does reallyvary
an
seen
of
shown
means,
thus
The
tains
ob-
leaves
in
Fig.
On
In
135.
studying
long
be careful
as
have
the
to observe
they retire
that
which
and
masses
tendency
a
of leaves
are
to
we
in which
manner
at the sides of the tree.
perspectivehad
it is most
whose
trees
171
Trees.
should
they foreshorten,
It
be
might
little to do with
but
droop,
what
some-
trees
:
supposed
in
reality
by
important, though greatlyneglected even
artists.
254.
make
We
will
endeavour
this understood.
in
The
of
bodies, their
according
with
the
to
their
shape
size
the
were
the
same
according
removed
same
sphere ;
cover
it
and
Ivy-leaf,but
to
shape.
but
with
if
we
a
We
which
may
it with
perspective.
A
their
are
shape
viewed,
and
from
the
positions.
would
little
see
with
properties
carefullycopied
were
they
two
distance
different
distance
:
they
their
to
120
in
cover
'
perspective (perspicio)
size
their
and
to
manner
135.
position in
spectator. Figs.119
*
atmosphere) with
the
(apartfrom
simple
very
term
FIG.
has to do
a
a
look
reference
to
they
smaller, but
perspectivein
pattern
If
from
we
a
plain
instantly
the
rough
On
172
sketch
has
space
the
divisions, as
their
takes
not
in
top
and
away
than
much
smaller.
255.
seen
in
and
the
shape
This
The
have
regard
branches
leaves
and
at the
much
further
necessityappear
trees is very
well
is
equally
the
Olive,
but
consideration,
different
kinds
of
Willows,
Acacia, though differingfrom
arrangement
the
expressed in
size of the
of
left,
preciselywhat
to
so
; but
all trees.
many
division,and
and
large
front, must
under
now
right
be
ought
tree, which, being
the
in
top
is
to
of perspectiveto
application
Ash,
the
and
in
We
them.
foreshorteningof
of the
those
important in
256.
ought
centre
the
towards
This
also to the diminished
sides
The
retire to the
what
trees, and
the
to
but
masses,
evident.
patterns foreshortened.
place
only
this
they
representationsof
our
make
pattern receding only
a
other
have
will
(Fig. 130)
Trees.
the
same
of
kind
expressionof
leaf, are
of
the
the
placed
exercise
others.
for
The
Ash
both
in the
the
one
leaf
in
same
will
shape
On
and
are
Trees.
of the Olive
arrangement
and
of
of the Willows
some
the
from
similar, and, apart
very
173
colour, scarcely
distinguishable.
we
the
of
head
257.
At
have
placed the Beech,
In
the
of
most
large
In
the
are
so
trees
Beech,
as
isolated
as
and
which
have
typicaldivision
will
we
have
we
leaves
of
arrangements
third
our
had
been
simple
make
applicable,and
points is,lest
the
light
the evenness,
and
in
laying in
so
essential
shade.
leaves
a
to
represent
consequently a
Fig. 137,
of
paratively
com-
Poplar, the
and
very difficult to
them
like that
danger
form
to
as
except by separate leaf-like shapes ; and
readilyproduced shade,
review, their
under
of
also in the Birch
to
brieflyexamine.
such
masses
of trees
is
shade
no
longer
with
small
shade, should
be
disturbed.
258.
mass
branch
In
the
of shade,
of
Beech
part
upper
and
and
in
the
of
Fig.
lower
a
is
140
small
Birch, showing
the
represented a
leaf spray
way
and
in which
174
On
FIG.
Trees.
138.
On
FIQ.
Trees.
13d.
175
176
the
The
On
leaves
treatment
Black
and
in the
Poplar, is very
of the
affords
in
of them
branches
example
an
entire
and
of
Art,
well
as
extreme
of the
as
the
branches.
chief
The
acuteness
the
Lombardy
in the
White
difference
arises from
tree
twigs.
and
twigs
similar ; but
of the
appearance
the
off from
given
are
'Trees.
acter
char-
Poplar
branching.
X^t:^x,r^^^P7
"^"sJ
FIG.
The
Black
although
White
and
elegant in form,
Silver Birch
The
is
but
stem
but
for
their
of the
it ages,
Black
branching, are
with
Birch,
sometimes
line
the
unrivalled.
Birch, like that
covered
and
also the
exquisitegracefulnessof
(Fig. 139) stands
smooth, and
as
Poplars, and
divergentin
very
140.
of most
beautiful
in
especially
some
young
striated
trees,
markings
soils,it becomes
;
On
FIG.
Trees.
141.
177
178
On
deeply corrugated, like
the
Beech
retains
stem
growth,
as
in
Beeches, and
English
which
Spruces
to
the
place
form
Their
division
are
the
Stone
Spruces
the
in
Scotch
the
and
difficult
are
The
Fir,
also
must
we
usual
form
other
most
Fir,
In
divergence is
resembling
when
the
localityso
carrying
spines
the
to
as
'
be
can
Larches
and
the
causes
as
tree
they bear, strongly
cones
The
Stone
become
grown,
so
age,
represent truly.
'
such
trees.
full
to
called
aggregate.
picturesque, often
and
fers,
Coni-
Scotch
and
considerable
attain
trees
branch
contrastingwith
the
shade
of the
cipal
prin-
themselves.
by
In this division
solemn
they
masses,
#nly
a
of the
some
Pine
spike-likeleaves, properly
assume
at
exception
a
Larches.
these
treated
to
Burnham
artistic sentiment.
Until
large
old
grand
the
form
whose
Yew,
greatlyassist
260.
the
and
the
The
its entire
throughout
brieflyglanced
trees, with
forest
principal individuals
the
Horse-chestnut.
141.
thus
seem
and
in
observed
Fig.
have
We
259.
Oak
its smoothness
be
may
Trees.
their
Pine
imposing
very
dark
and
heads
high
againstthe sky.
In
2G1.
methodical
procedure
generally, should
trees
the
representing
of
masses
their
should
Figs.
them
which
has
be
adopted
spines,however,
position is vertical, the
be
123
treated
and
with
more
124.
like
The
shade
the
twigs
In
here.
be
for
expressing
observed
that
preparation for
preparation for
are
same
recommended
been
it will
the
point,
a
very
numerous
as
them
grass
in
and
On
reticulate,each
at
as
in
c
262.
the
Trees.
its
carryingon
In
separate Chapter
a
in his
this part of
be induced
manifestations
there
*
The
little tuft of
will
endeavour
the
in
some
spines,
of wisdom
It would
for
not
be
strong hope
is, however,
one
form
that
he
may
beautiful
so
important a
link
organisms.
even
desirable,
drawing
essential
143.
which
created
to assist
drawing trees, leaving
and lovingly,
these
study,earnestly
great cycle of
give rules
we
observed
subject,in
our
to
be
FIG.
to
a
practiceby summarising
principlesalways to
263.
tip
Fig. 142.*
student
in the
179
all the
if it
different
were
kinds
general principle almost
possible,
of trees
:
universal
those of the Scotch
themselves,especially
Fir, are very
beautiful objects,and serve
as excellent
examples for copying practice.
with
covered
of Chinese
When
a thin wash
white, the light and shade
them
become
more
on
apparent ; but this should only be done in early
practice.
cones
On
180
in
its
of
one
who
About
became
the
his
him
in
was
curbly
his
'
his
master,'
to
did,
trees
by
a
mind.
'These
their
growth:
with
my
his
peculiar
the
senter
shown
which
if
I
can
drawing,
I
bright
the
to
to
author,
of
in
he
trees,'
idea
Park
the
shall
he
close
the
His
trees.
kinds
success
of
unrivalled.
The
became
Park
in
those
Charmed
and
of
laws
growth
he
this,
as
ened
hast-
Forest,
told
repre-
a
complete,
and
his
laws
!'
success
some
down
sketching,
his
Her.
crossed
put
the
of
almost
'obey
trees, and
of
soon
Park,
TRUTH
observe
of
foundation
production
still remains
to
ask
and
sketching
and
his
up
He
questions
thought
down
put
gave
by,
when
himself,
to
assist
discovery.
Nature,
observe
only
different
was
the
said
also
asking
bright
a
an
ciples
prin-
some
Greenwich
near
ill-success,
'
new
of
from
then
might
a
occasion,
one
gravel-pit
his
at
then
trees.
fruitlessly sought
which
instead
on
large
despair
in
and
of
Harding,
had
"
sketch
anecdote
an
drawing-masters
work
and
go
D.
J.
Art,
recommended,
he
laws
'
in
guidance
lithographic
This
in
and
by
draughtsman
a
artist,
young
artists
eminent
as
late
the
inquiring
for
giant
a
illustrate
will
we
1824,
jear
energetic,
from
which
application,
Trees.
as
a
was
work
CHAPTER
XXX.
'
ON
THE
264.
trees
are
"
long
face
them
would
must
himself
controlled
in
of
in
who
of
full
their
of
their
of
watchfulness
with
work
must
of
life,
of
knowledge
of
"
stems
drawing
freedom
"
their
strong
his
their
the
"
growth,
their
manipulation
abandon
and
their
in
he
forest
the
whilst
wind,
expression
free
character,
general
the
the
feel
of
free
so
blast, that
give
of
sort
and
in
the
DRAWING;.
components
varied
waving
arms
TREE
FOB
beautiful
so
sturdily
a
PRACTICE
wayward
peculiarities.
The
265.
be
must
work
as
motion
of
some
there
which
be
will
be
the
and
paler
c,
at
266.
144)
one
are
may
to
the
be
intricacy,
The
not
side, then
at
first
drawing
defined
have
sight
in
intention
then, with
d,
We
and
gested,
sug-
quasi-
between
significant marks,'
"
b,
distinction
here
although
insignificant,
seem
them,
producing
the
or
scribble.
mere
qualities
gradation,
a
work.
leaves
constant
Beginning,
143),
make
to
exercises
these
must
result
careful
exercises
the
practising
real, intentional
and
'a
in
student,
and
strokes
aimed
at
on
shade
three,
are
"
(Fig.
evenness,
shorter
strokes
the
keeping
and
e,
the
other,
second
the
composing
nearly horizontal,
so
in
first exercise
so
but
as
are
to
exercise
(Fig.
tilted, first
give
a
somewhat
181
on
On
182
angular
appearance
there
purpose,
secure
This
Practice
repose,
kind
267.
A
; but
in
all
must
be
such
without
of shade
third
which
to.
As
"c., so
the
first
this would
Drawing.
exercise
ever
shade, for whatof work
evenness
shade
be
may
would
cease
the
practisedfrom
strokes
essential
conditions
example
would
be for
of
cases
be suitable for Oak-like
would
part of Fig. 139, by making
still keeping the
Tree
for
be
much
of shade
suitable
as
will
to
be.
trees.
the upper
shorter,but
just alluded
for Ash-trees,
Beech, Birch, Poplar,"c.
On
"We
268.
of
projectingsurfaces
and
that
shown
modified
the
of
and
this should
the
exercises
be
incline
should
could
so
as
in
groups
tion
direc-
surface
;
practising
Fig. "145,
lines at
the
was
greatly
The
a
outer
it
be
first one,
the
form
to
IV.
of
in mind
repeated very often, the
upwards,
the
markings.
the direction
In
follow.
Chapter
outline
or
constantlyborne
which
should
which
be
In
of surface
addition
183
expressionof
line will often indicate
a
Drawing.
trees.
flat contour
a
by
the
to
come
now
Tree
for
Practice
a
and
like
c
a
c,
a
^
c
"\"^
ffl
X/),N
FIG.
and
bend
afterwards
down
drawn
of
power
may
with
This
little more
In
detail
as
be
outer
of d
manner
edges.
These
sizes, gradually increasing,so
acquired
of
expressingthem
d, always
should
be
that
the
and
perfectly,
great facility.
269.
a
various
in the
their
being emphasised at
145.
shown
followed
the appearance
Fig. 147,
on
be
may
it ; but
at
in
at b b and
A,
B
c
is
which
assumes
of tree form.
given
some
c,
by Eig. 146,
by
a
simple outline,with
additional
which
character
considerable
no
is added,
rotundityis
On
184
Practice
%""
for
Tree
^"'^
ft*:"
N^
Tri
Drawing.
^
,""
r
r
-'^
fX N
;
.
*^
^
PIG. 11G.
"fc
4~,-
\
FIG. '147.
.
_
"TV.
On
to the
given
and
Practice
Tree
for
originaldisc-like shape
be
must
which
flexibility
185
Drawing.
of
A.
It is this rotundity
continuallyaimed
at in
exercises
have
been
to
put
in
doing
expressionof foliage.
the
When
270.
well
outline
these
and
we
practisedseparately,
together,and
add
let it be
well
parts
intended
are
should
stems
borne
impinge
to
a
in
148.
and
branches
mind,
that
;
as
retire,the outline
little
in Fiff. 148.
attempt
may
FIG.
on
must
stems, being cylindrical,
is shown
shade
the
but
of the
shade, and
be shaded
of the
most
them
this
shade
lightmasses
also
that
accordingly.
the
This
On
186
have
We
271.
operandi
with
Practice
the
point,
however,
are,
for
leisure
for
to
help
J.
D.
of
British
trees
of
as
much
Tree
follow
to
a
Art,
or
Landscape.
to
the
and
to
own
the
the
he
work,
brush
ments
instru-
has
student
be
may
Lessons
modus
attempted
powerful
when
further,
author's
a
and
pencil
and
and
show
successfully
suitable
subject
the
to
The
pen.
representation,
up
Drawing.
be
may
more
Elementary
Harding,
Tree
endeavoured
thus
which
by
for
on
Forest
referred
Trees,
Trees
by
XXXI.
CHAPTER
WATER.
ON
to
idea
existence
latter,
of
Shadow*
of
the
caused
by
a
metal,
"c., and
all
incident
is
reflection
absorbed,
ought
f
to
the
upon
is
partial
surface
that
;
the
from
the
image
or
object
polished
a
eye.
cally,
techni-
speaking
or,
of
is,
; for
any
the
to
on
falls,
light
the
solid
of
some
a
or
the
liquid,
fable
be
At
a
of
'
Dog
the
The
Dog
and
his
and
his
is
quite
a
misnomer
At
angle
an
of
40"
water
reflects
60"
"
reflects only
water
18
rays
"
80"
""
"
"
"
out
rays
of
every
1000.
"
333
""
891
22
65
"
"
"
,,
"
721
"
; it
Image.
incidence
perpendicular
'
Shadow
1000.
every
are
rays
f
The
*
where
the
For
glass, water,
thence
in
surface.
meant
as
when
confusing
necessary
falling
such
thrown
being
cases
here
beams
surface,
is
polished
a
is
or
rays
smooth
upon
In
least
from
Reflection.
of
opacity
some
at
difficulty
arises
that
owing
drawing,
difficult, except
is
also
water
with
but
in
water
unnecessary
'reflection'
By
picture
in
former
opacity,
no
273.
much
reflections
of
study
of
transparency,
and
still ;
perfectly
the
and
mobility
its
the
representation
THE
272.
"
"
TYNDALL.
187
out
of
On
188
274.
When
medium
putting
of
tumbler
For
the
and
in
its
the
Before
Fig. 149,
will
be
better
angle
be
BOD.
277.
simplest form
for
will
our
of
this
not
complex
ject
sub-
we
optics is
by
a
first,it
and
reflection
"
the
need
water,
of
laws
:
in
place
a
it.
learned
be
may
flat
simple
had
better
periments
ex-
be
absolutely
an
mirror
the
on
necessary;
few
on
a
now,
purpose
suffice)laid
proceeding further
with
explained that
angle
incidence
of
let
A
B
nary
(an ordi-
table
shall
always
are
the
o
It is
justso
c, is
and
Thus,
same.
the
angle,A
experiment,
of reflection
level surface
that
it may
the
the
representthe
seen
Or
the
takes
the
on
understanding
of
be
may
sheet of water.
representour
it had
refraction
about
place,as
pencil obliquelyinto
a
seen
observations
hand-glass
27G.
or
one
water, refraction(a
rays)takes
as
are
full
surface,and
calm
the
ourselves
nevertheless, much
studied
but
knowledge
some
of
obliquelyfrom
air into
spoon
water;
present trouble
275.
a
light passes
from
as
reflections
water, and
at
of
bending
or
by
seen
another,
to
breaking
beam
a
Water.
It
of water.
equal to
the
in
angle,
in Nature.
be
put
thus
(Fig. 150)
before,representthe level water, and
A
o
c
:"
and
Let
BOD
A
B,
as
equal
Water.
On
angles. Further,
o, and
towards
water,
the
line
o
be
E
would
c
let the
at
"
fixing into
sails.
them
Behind
upon
it
these,
masts,
piece
can
now
observe
elevations, from
and
not
higher.
a
the
the
see
on
the
"
pieces of
may
the
paper
place a
crumpled
cork,
or
book
for
to
kerchief
pocket-hand-
retiring banks.
151.
various
shore
and
for
of newspaper
FIG.
We
the
of water
bits of wood
edge, we
and
represent upright rocks,
or
looking
c,
would
E
sheet
our
oblong
the
on
at
150.
some
for
pins
what
o
to
now
FIG.
hand-glass put
supposed
imaginary spectator under
an
Returning
D.
be
eye
reflected
see
189
or
reflections
from
various
looking-glasslevel, higher
(SeeFig. 151.)
278.
The
picture
an
exact
inverted
or
image
in calm
reproductionof
water
the
is,however,
object as
we
see
Water.
On
190
,
reproductionunder
it on
the shore, but
often
new
arrangement.
For
152
though
(Frontispiece),
what
We
at
are
infinityof
shall
"We
a
could
he
facts
not
have
to
here
of
been
wind,
to
and
in
water
the
confines
water
the
the
threshold.
let there
:
is broken
water
of
and
reflections,
beyond
smooth
on
be inverted.
must
very
go
cognisantof
it reflected in the
the
observed
attempt
hitherto
breath
be
on
be
not
readilysee
only
present
entirely
an
spectatorviewing Fig.
a
So, also,the reflections of birds
water.
we
instance,
the roof, would
under
was
a
up
come
into millions
S
A
S
8
FIG.
of
its
surfaces,each
bosom
reflects.
wave
When
in
a
Fig. 153,
But,
the
to
curved
lines
lines,which
principalcurves
as
from
make
contracted
the
an
its back
image
rendering
artist
or
of
all it
a
single
of
manifest.
more
in
For
attempting to paint a
represented by the
rough diagram in
explanation
simple,instead
s.
our
at. A,
as
shall
as
carrying on
becomes
difficulty
imagine
us
sunset,
seen
or
consider
we
in colour, the
instance,Jet
wave
little wavelet
expanded
an
153.
we
indicate
in
B.
more
will substitute
the
general
a
few
direction
of
straight
of
the
Water.
On
; at
E
would
c
has
what
reflected
be
would
be
is here shown
is
s, whilst
at
D
the
chieflyon
planes,B
sky behind
the
the
seen
image
of
colour
said, the
been
reflected
be
sky would
the sunset
and
with
accordance
In
191
the
tator,
spec-
of the
sky
at the zenith.
What
279.
for in
the
and
is often
wave
in
When,
waves.
water
to
a
direction, and
every
as
addition
particlereceiving its
colour
becomes
of
infinite and
Sometimes
on
tremulous
to
elongation of
minor
remember
that
in
suspension, each
light,and
accordingly,the
water
plexity
com-
inimitable.
lake there is what
invisible
in water,
movement
yet strong enough
this
*
in
quite colourless,owing
held
smooth
a
with
covered
variouslycoloured
the
is supposed,
surfaces
curved
this, we
to
of
ray
of
sides
matter
appropriatelycalls
ton
its
difficulty,
of curvature
up
in lakes is seldom
found
affectingthe
made
has
particlesof earthy
280.
direction
diagram only one
the
only a part of
Hamer-
'
motion
slightly
a
"
entirelyinvisible
elongate a
reflection that
It is
reflection.
we
in
onlyby
conscious
become
can
itself,
of this 'invisible motion.'
281.
to
some
Sometimes
parts of
wavelets, and
the wind
then
282.
very
gentle wind
leaving other
which
every
the water
Although
colourless,there
will
down
come
on
lake, rasping its surface into myriads of
a
parts
increases,the condition
in
'ripple,'
and
a
is
in
perfect calm.
of the
often becomes
water
in
usuallyin
leaden
itself
it
some
becomes
water
recognisablereflection
As
is
a
destroyed,
in colour.
may
matter
be
considered
which
gives
On
192
it
decided
a
different
all
are
in
From
283.
in
it
laws
respecting
with
it
are
in
rippling
Nature.
be
after
its
of
truly
of
lived
objects
their
nature
of
desirable
to
and
it
either
the
that
the
on
is
its
safe
seldom
to
form
wave
or
of
presence
in
ignorance,
our
works
of
water,
and
those
who,
studied
it
impossibility
the
declare
principal
connected
immediate
we,
tions
reflec-
the
fads
in
the
phases,
truthful
most
time
present
and
them,
special
and
the
criticise
Awe,
it.
the
amongst
simple,
in
Loch
respecting
though
that
it,
except
varying
the
at
living
of
near
Perhaps
and
said
that,
varying
it
representing
forms
his
is
infinitely
284.
and
ready
too
having
in
few
are
Lucerne,
cause.
been
evident
be
brook,
Neither
should
by
it
this
here
representation
a
the
will
Lake
from
has
varied
so
Rhine,
colour
what
water,
attempt
The
colour.
Water.
study,
great
skill
is
for
has
in
of
painter
Mr.
Francis
many
attained
depicting
these
Powell,
making
years
great
them.
less
rest-
who,
them
knowledge
XXXII.
CHAPTER
ON
THE
285.
this
by
work
in
except
the
of
study
And,
as
sort
of
knowledge
of
creation
pleasing
talking
of
her
their
over
blue
far
so
or
again
blue,
known
recent
any
of
student
a
advanced
towards
more
of
strange
thing
are
not
as
is
know,
we
a
done
and
or
not
of
be
answered,
great
everything
till next
time, with
well
perhaps
a
other
least
part
of
in
once
three
film
all
so
of
of
sky
brought
and
in
the
than
every
were
watered,
of
works
purpose
rain-cloud
sake
we
purpose
if
of
any
other
by
part
purpose
which
her
answered
essential
the
in
than
in
little
is the
evident
essential
every
how
for
more
sole
many
It
sky.
part
just
but
;
the
the
is
man
a
him,
and
13
gratification.
hands
teaching
material
thereabouts,
the
the
for
it
organization
might,
has
and
more
is
about
There
pleasing
It
*
"
Nature
and
some
:
more
her.
the
intelligent
the
purest
to be
into
put
know
which
works,
which
be
says
him
to
and
seem
drawing-class
subject.
to
attend
days,
the
not
the
in
That
2nd.
stepping-stone
first
man,
of
mere
could
to
highest
does
into
brought
usually utterly ignored
is
way.
of
is
subject
alluded
casual
people
in
it
there
Buskin
general
Because
source
that
work
in
a
That
small
286.
this
seldom
or
most
it is
3rd.
a
1st.
"
teachers,
most
why
reasons
are
SKIES.
up
left
morning
193
On
194
evening mist
and
not
producing
after
for dew.
of any
moment
a
Skies.
day
after
scene
principlesof
of
such
still upon
is not
exquisiteand
intended
for
stant
con-
it is
perfectbeauty, that
for us, and
certain it is all done
Nature
is
picture after picture,glory
most
the
of this,there
lives when
our
scene,
glory,and working
instead
And
quite
perpetual
our
pleasure.'
sky
By
287.
above
space
also,with
clouds
and
infiniteness of
shall
some
measure
part
of
which
to
is
in
term
various
the
blue
artistic sense,
an
visible
phenomena
hints
for the
student
a
which
respectingit
we
owe
will in
as
enjoyment of
and
much,
so
that
of
yet
little.
so
is surrounded, to
with
height of
a
is known
what
of various
composed
"c., and
vapour,
to
earth
The
merely
mean
variety.
world
fiftymiles,
which
all their
prepare
observe
288.
the
give only such
our
we
here
not
but, using
us,
the
We
do
we
the
as
fluids,such
which, like other
from
forty
atmosphere,
air,aqueous
as
wards
bodies, gravitatesto-
the earth.
Air,
of these
one
is invisible,
fluids,
colourless,*
elastic,
easilymoved, rarefied,and
and
is
but
pure,
generallymixed
invisible
and
in the
vapour
state.
289.
*
as
into.
If
Like
with
there
we
water,
blue
space,
It is seldom
in
water
is very
air,the sky appears
ceilingor vault, but
look at
When
condensed.
blue
that
like
cannot
we
vaporous
little water
not
"
a
or
painted
a
so
much
Let this be well remembered.
blow
from
its colour
is
a
pipe
of
tobacco
perceptibleonly
in
some
fumes
deepestdepths.
On
Skies.
(unconsumed tobacco),the
If
or
marble
the
this
possible,it
be
it may
rough
will
our.
way,
become
blown
drop
about.
When
290.
the air is
charged
closer)through
as
fall
quicklyto
represent our
much
as
bulk,
its
a
so separated
particles
invisible
is condensed
with
moisture
its
(i.e.
which
particlesbecome
chill,it immediately assumes
a
it
represent,in
will
its
that
visible form
vapour.
If the
air
happens
invisible moisture, and
clouds
become
and
When
cloud
its
atmosphere.
or
less
there may
made
visible,in
should
constituents
ago, but
answered.
we
is
then
is
charged
float that
the
of
was
if it has
a
the
storm,
thunder-
float
the
high
or
a
asked
yet
been
about
moisture, amongst
air,locallycondensed
clouds.
low
surrounding
atmosphere
an
invisible
separately in
themselves
doubt
it will
same
form
in
heavy, as
have
with
this
largedrops.
formed,
we
with
suddenly condensed,
densityin proportion to
float
as
heavilycharged
and
in
Thus, then,
which
forms
be
fall to the earth
a
more
to
thick, opaque,
according to
us
dense
so
extended
or
pellet
a
of cloud.
of the
some
it into
wool
This
with
that it will float in the form
it
it may
out
distended
so
to
light,relatively
so
of water
roll
cotton
pulled
be
in the air.
make
means
pelletof
If it be
of water.
drop
and
distance, or
some
Let
of clouds
wool
this
by
we
thrown
earth.
that
little cotton
a
form,
be
may
as
get
we
particleswill
float in the form
they will
that
195
and
How
or
why
these
liquid
of
the
same
many
thousand
fullyor
years
satisfactorily
On
196
convenience
For
291.
in
arranged
of
and
groups,
Ruskin's
Mr.
Skies.
fullycomplete, it
will
do
cannot
we
better
than
adopt
though
:
not
for further
student
the
prepare
usually
are
nomenclature
and
arrangement
clouds
study
and
fuller observations.
Thus
*
the
as
divided
or
region
of
the stratus
;
into
an
even
the
the blue
'mackerel'
looked
mountains
of the
are
skies,
of
days
in
in
Mr.
often
are
and
may
and
direction
shape
for
time
a
quietnessand
remarks,
be
of
of
*
'
as
They
They
or
According
to
tails '
in
they
anything
or
almost
the wind
most
; whereas
with
streaked
mares'
by
the
are
vapour
and
exquisite
all other
differ from
which
from
touching
arranged
driven
system
laws
certain
are
generalsystem
the
when
says,
yet perfect freedom
The
by
Ruskin
having a plan
there
though
have
'
fine weather.'
of
formed
never
never
"
perspectiveretirement, present a
appearance.
clouds
as
delicate
vulgarly known
and
rain-cloud.'
the
sky is commonly
parallellines,and sometimes,
seen
of
region of
region,or
upon
region,
upper
Europe.
lines
open
several
shapes they
central
the
of at least 15,000 feet'
multitudinous
speckled after
their
be
may
highest
motionless
"
region,or region of
the lower
CIRRI
regions
or
the
;
convenientlyconsidered
be
may
spaces
cirrus
elevation
below
"which
three
the
The
'
292.
atmosphere
other
clouds,
cannot
break,
like
a
relative
government.'
of the wind
these
generallybe
clouds, though
appear
multitude
may
motionless.
they
may,
convenientlydesignatedas
determined
they
Owing
as
the
themselves
to
same
'cloud-flocks.'
their
author
The
293.
considered
They
known
are
in
pilingup
so
the
also
huge
the
as
masses
miles
some
we
perspective,
in
to stand
were
of
takes
some
of
place in
Sometimes
and
for
gentle wind,
it may
almost
float
travelled
elongated masses
cirro-stratus.
which
and
Figs.154
and
It must
clouds, so much
seen
shapes and
If
them.
by
we
drons
caulof
very miniature
a
grand shapes on
other
be
piled
up,
by
a
is then
are
at
hundred
a
called
cumulo-
great elevation
a
Euskin
gives them
the
a
of
the
piling up
of
clouds,
height of 20,000 feet,and
of the
them.
not
as
will
sketched, will give only a
be
supposed, however,
chief agent in the
only or
electric and
155, here
rise to
effects of travel upon
is the
have
tance
dis-
a
so
surrounded
were
Mr.
imperfect idea
sometimes
294.
at
of 'cloud-chariots.'
poeticname
appropriately
rough
true
often
are
often
are
perhaps fiftyor
If these
very
They
slowly away, gradually changing
stratus.
The
other.
their
motionless, till,moved
elongated, and
called
the fact of
from
of cumulus
becomes
are
rain-cloud.
true
of these
miles, it
they
the
amongst
on
should
mass
appear
form, till,having
its
floating
forget their
formation
huge
a
time
a
the
of visible
they
as
going
we
may
mountains.
high
our
and
be
STRATUS,
entire,except
seen
dye-house,and
a
boilingwater,
what
be
is
and
each
over
liable to
what
masses
cumulus,
away,
are
formation, and
those
cirri
large that they cannot
of
in
including all
as
lying between
vapour
region, or
CLOUD
CENTRAL
19'7
Skies.
On
the
change
of
formation
that
and
the
wind
shaping
of
temperature arisingfrom
conditions, for in
some
cases
the
cloud
200
On
is the
up
of the wind.
cause
from
his window*
the
soon
the
third
rain-cloud
of the
be
not
(probably)warm
air had
division
cloud
dailybeauty
of
in
necessarily
the
middle
not
rain, have
than
entirety
these
latter
and
the
They
often
be
indistinct.
moving
in
along
from
floatingover
and
a
the
him
mountains
cloud
*
of
it is
clouds
of
sides,
in
seen
definitely
The
of
nearness
of which
seen
is rendered
in definitive form
wind.
it may
not
can-
edges fringed,
At
be
miles
seen
the
towards
times,
other
away,
spectator;
envelop him, completely conceal
ten
feet away
may
be
from
him, pass away,
Occasionallyamongst
like
seen
as
indicated
in
Under
Kinder
Scout.
crawlingslowly about,
must
deposit moisture, if
landscape
entirelyunwetted.
a
The
its lower
landscape
may
than
It
spoken
outline
is
columns, and
sunny
presentlyit
leave
mist
high mountain,
everythingmore
and
this
so
being easilystudied.
the
which
twisted, by the
a
not
characteristic phenomena
mist, the
by
Sometimes
'and sometimes
viewed
is
more
definite outline
traced, and
is
is attributable
proper.
of the
only thin
thought
it.
to
be
the rain-clouds
preventssome
re-form
aerial greys for their dark
distance,can
sometimes
are
rain-cloud
other
passed.
English landscape.
a
mostly pure
to their
been
which
to
state of rain ; far from
a
watched
arrangement
first
region alreadyreferred
and, owing
their
this
that
of
that when
often
following each
region, possiblyat
supposed
has
particularplace,and
one
pleasant to contemplate,yet
most
author
of vapour,
masses
as
The
295.
the
The
disappearat
valley,
again as
Skies.
"
huge
Fig. 156.
monster
Skies.
On
Fig.
157
etched
was
down
Mount, looking
As
there
were
to
on
clouds
no
a
To
the
ocean-like
an
above
regionof
morning
or
steaming
vapour
in
evening,
rain-cloud
without
the
which
means
of the forms
In
297.
of
has
been
which
to
to
this
In
is
the
the
firmament
contemplation;
'Dost
the
constant
let
know
though
sible,
utterlyimpos-
inquiry,to
scientific
phenomena,
also
of
is covered
treads
the
are
'
inquiry be
reverent
the
balancings of
on
his
heart
the
that
their
with
heavens
ever-changing material
the
conviction
past findingout.'
he
colour
of
work
the infinite
study,so
filled with
but
thou
to
be
venience
con-
allusion
already ascertained
which
on
student
of
a
for
no
exhibitions
of advanced
explain luqidlywhat
objectsfor
lips,
days
If the earth
and
tion
modifica-
for
is divided,
it would
subject alone
in these
they
necessarilyimperfect
and
marvellous
many
nature.
are
brief
to the
as
objects.
for
satisfactorily
account
and
painterpossesses
firmament
study,the
cloud.
effective
principalregions,into which,
the
made
even
"
of fixed
of
form
most
frequentlypresent themselves.
devoted
and
the
white
the atmosphere
of
all countries
far the
by
giving,this
descriptionof
or
afford
beautiful, and
those
surfaces,and
open
the
perpetualin
as
are
on
in the
water,
condition
actually assuming
phenomena
valuable
lightback
belong all
over
moist and
everything that visiblyaffects
are
clouds.
nearlyblack.
valleys,or
risingfrom
Pike
on
of
mass
to reflect the
the
taken
of drifted smoke, heat-haze,local mists
phenomena
These
photograph
side of the rocks, they are
to the shade
296.
from
201
on
for
his
clouds?'
'HIS
'
ways
CHAPTER
ON
IT
298.
this
book
have
accessories,
and
If
the
not
the
and
severe
he
"
living
model,
How
certainly
if
the
from
man
still
in
or
from
it
this
necessary
Nature
motion,
attempt
on
his
of
patiently
study
will
draw
to
supplementing
student
in
features
part
previously
to
if
"
large
in
a
to
torical
His-
regular
from
the
Anatomy.
discovered
be
the
seeks
as
and
may
this
he
Artistic
draw
of
wise
other-
figure
cast
with
fore
there-
aspect
through
the
of
picture.
a
picture,
moderately
a
the
the
go
is
to
teaching
Art;
in
only
relationship
must
of
course
the
Landscape
of
wishes
prominent
that
to
treated
principal
as
ANIMALS.
observed
subordinate
a
subjects
AND
chiefly
student
in
it
been
here
are
than
FIGUBES
reference
figures
make
DRAWING
may
has
299.
XXXIII.
of
figure
a
scale, either
suggested
of
course
training.
Hence,
and
studied
apart
practice,
the
draw
with
it
bad
300.
should
Figure-drawing
When
power
all
from
may
perfect
be
figures
occupy
made
the
is the
an
quickly
more
for
most
a
of
specialty,
and
knowledge
else, that, by
accuracy,
figure-drawing
be
all
gained
false
to
sentation,
repre-
intolerable.
important
place
204
in
the
On
foreground
of
205
Landscape, they require a proportionate
a
of attention
amount
Animals.
and
Figures
Drawing
detail.
and
individuality
to
Speaking generally,rocks, trees, foregrounds, "c.,
of
principalelements
pictures,and
the
the
spent on
when
even
only is required,there
will demand
When
it is
and
yet
are
What
introduced
or
activity,
The
be
What
introduction
the
governed by
in the
former
any
other ?
of
figuresin
of
as
The
will
with
cover
or
a
should
to
work
ments,
arrange-
must, of
and
?
serve
for the
idea
course,
perspective:
to
relationship
Composition);
in the
and
the
sketch-book
of
his
the
figure
making
will be
right introduction
for
Landscape
all sorts
of
dent
stu-
used
are
Fig. 159.
way
and
living
if the
fingerthe figureswhich
best
notes
of
stronglyfelt
more
the birds in
even
Perhaps
the
of
drawing
a
Fig. 158,
draw
they
whether
composition
on
figuresor
be, Why
to
position,posture, and
importance
302.
of
use
to size.
objectsin
in
peculiarities
positionsor
or
surroundings (see Chapter
latter
what
character
study.
have
purpose,
laws
to
as
ought
the
answer
repose,
and
is
subordinate
a
general
this
purpose
animals,
figures or
will best
of
?
only
and
make
to
that
study
the other.
their
careful attention
proposed
of
difficulties and
animals, a primary consideration
they be
to
figuresoccupy
position in Landscape work,
which
kind
to be devoted
ought
in Historical
figuresare
as
and
amount
same
one
But
301.
Landscape,
are
to
obtain
purposes
memoranda
the
power
is to
in
figures,in every
the
be
to
stantly
con-
pocket
varietyof
On
208
Drawing
costume, and
circumstance,
deliberate
effort
inquiryshould
to
"
this.
express
of
bend
If
what
figure lie
?
It will
often
line,or
touch
consider
we
others,
many
have
aimed
but
seldom
and
of
well
should
the
at
looking directlyat
nature,
parts of
whole
be
them
shall be
a
the
dark,
the
in
a
or
in
first
a
spirit,
aim
bo
must
scarcelyperceptible
subtle
some
works
D.
of
that
in
they
their
detailed
any
drawn
as
disappointed;
but
in
his
admirable
in
pictureare
animals
forms
as
in
bodily
or
be
when
one
likeness
figurestaken
(
felt
observe
a*
a
dencies,
ten-
seen
we
it
to
and
facial
than
find
to
expect
Cox,
appear
they would
If, when
alone.
Turner,
David
Harding,
picture,rather
figures,we
we
then
shall find
we
attempting
looking
Prout's
studies
and
vitality,
found
be
always truly
expression. They
of
and
the
more
opportunity
expressing their figuresand
at
general way,
when
whenever
notes
does
Stanfield, Copley Fielding, J.
and
with
of colour.
arrangement
303.
such
making
In
be,
of that
charm
and
in
And
occur.
may
Animals.
position,combined
larger scale
a
on
and
Figures
keeping'
to
as
and
harmony.
304.
of
Some
elementary
be
and
already been
figureshave
In all
of this book.
'
cases
blocked
in,'so
in
respect no
this
figuresin
As
*
such
Prout's
A
number
rules
a
to
as
work
work
of these
as
may
are
applicableto
given
both
figuresand
their
secure
examples
Prout's
not
in the
be
can
earlier
drawing
chapters
animals
correct
be
the
should
proportions,
better
than
the
Microcosm.*
readilyaccessible
reproducedin
Lessons
on
to
Animals.
the
On
student, a few simple illustrations
161, and
which
They
162.
suggest blocks
Fro.
FIG.
In
are
Fig. 163,
somewhat
the work
in
few
but
209
Figs. 160,
lines,
main
shape.
160.
161.
softened
FIG.
and
Harding,
rounded,
they may
FIG.
14
in
given
are
expressedby
are
after J. D.
for which
Animals.
Figures and
Drawing
the block-like
so
be intended.
163.
162.
as
to
shapes
accord
with
CHAPTER
XXXIV.
CRITICISM.
ON
No
305.
criticising,
critics
are
to
they
say
what
don't
would
opinion
one
anxious
to
truth
get
side
to
F.
truth.
made
of
than
work
of
kind
truth
Criticism,
by
of
modes
and
a
student
criticism
to
more
himself
get
seek
to
except
criticism
of
Art,
taste.
of
its
And
whether
which
only
the
we
result
a
gift
and
intuitively
nature
and
of
a
or
rules
than
is
the
instantly
in
to
and
knowledge
practice,
taste
arts, has
inquiry
Safe
'
is indispensabl
indulged
rather
from
correct
of
that
works.
own
principles
by
be
knowledge
his
on
can
should
work
be
For
*
says,
preparation
or
other
most
It should
procedure.
; Ms
"
like
his
seems
Eobertson
special capacity
a
on
has
"/
every
byx
person
a
and
Art,
W.
know
they
everybody
side
ready
sensible
accuracy
his
be
are
No
about
over
of
it, only
almost
but
will
mistakes
the
other
or
way
the
to
Geology,
or
about
better.
question
out
with-
uncompromising
asked,
many
know
to
to
venture
much
great
ought
Chemistry
on
A
like.
who
persons
know
Exhibition
most
when
who,
persons
Art
an
the
usually
and
those
they
through
goes
person
and
meant
result
select
its
sparingly
rather
than
pass
ment,
judgArt
accurate
of
the
from
a
the
of
that
history
correct
faculty
culture
which
210
"
"
by
is
Criticism.
On
and
true
in
beautiful
211
is false
which
that
preferenceto
ugly.
or
Whether
306.
historical
an
of
the
work
the
will
In
the
depend largelyon
of
case
in any
appearances
hours, that in the work
is
great danger
should
we
is
the
to
sensible
criticism.
hear
with
of
supposed
few
a
such
instances
to
examine
ledge,
know-
thought,
artist,having put
however
quite painful to
thoughtlessremarks
and
silly
his
critic
his
unjust
It is
reply.
criticism
public
to
the presence
attitude
judicial,and
strictly
of
evidence,but
kind, it should
always
is under
it
be
review
this
knowledge
a
applicationof
when
criticism,
especially
work
the
be
condition, and
whose
of
the
on
a
of
thoughtful
great artists.
In
307.
are
painter there
propose
ignorantpigmies, as they sit in judgment
works
varied
known
difficulties,
totallyun-
the
canvas,
the
In
we
so
course
deliberate
that
of
means
to
man
honest
battle
the
to
no
able and
of much
critic,and
particularevent
the
an
in
the
in
locality
that the work
result
expressions on
be, has
of
error
victorious
and
may
of
remember
probably the
of
knowledge
our
landscape,too,
a
one
of
positionjustlyto judge
a
circumstances
history and
represented.
in
are
we
such
of
implies not
considered
has the
to
only
of the character,
Further, in
evidence.
happens
critic is
the
be
of
whether
an
the
adverse
author
opportunityof reply or
defence.
When,
308.
a
work
with
of
the
students, we
as
art, it is desirable to
central
or
main
idea
have
make
of
to form
an
ourselves
it, and
then
opinionof
acquainted
to consider
Criticism.
On
212
whether
the artist has
not
or
difficulties that
'There
309.
that it must
the
embody
its
under
*
thought,that
dominion
own
the
mark
is
fresh
a
inference
that
general body
be
may
of truth
to
means
a
of creative
product
Science
the
fresh
for
knowledge, knows
been
the
impulse
to
A
and
beyond itself,
enjoying to
*
This
view
article in the
of
British
each
work
of
till the
Fine
directlyto
full the
the character
QuarterlyReview
for
within
to
that
in
search
no
activitysave
no
lias
end
that
accompanies
ably expressedin
January, 1877.
Art
is
is
itself.
universe
points
a
as
of art
truth ; the
satisfaction
of Fine
give a
is absorbed
whole
Art
more
them
use
its end
of the
a
can
word, every work
pursuitof
rest
no
he
of
thoughts
for
caring to
attainment
new
further
urges
the
a
to
them
thought, having
joy of
subdued.
In
comprehension
which
to
And
thought only
himself
from
thoughts
"
two
scientific
from
quite independent
drawn
end.
remoter
In
of
value
a
general expression,without
more
a
for him
the
feeling.
new
intellectual
universe, the artist confines
possess
in
formed
un-
a second
creativeness,
each
values
the
step towards
the whole
which
of
of
matter
internal
character
Science
While
exhibit
it must
mind
required to distinguishaesthetic
production.
as
dead
the
to
and
nature
to this
then, in addition
is
and
spiritto seize,shape, vivify,
external
of
every
these marks
firstof
The
impression presented
universes
creative.
characterize
which
creative
a
human
of the
power
subdue
fine art.'
of
reallygreat work
marks
two
are
work, whether
simple, or great and
and
be imitative
that work
his
surrounded
have
may
the
fairlyovercome
fullyand
an
Criticism.
On
exertion
'every
of
completed
213
of
mastery
thought
over
matter.'
Although
310.
of
nature,
It
of
is
should
the
with
the
injure
and
such
views
the
work
311.
We
Euskin,
in
artists,
but
act,
has
also
it
in
discussion,
condemns,
elegant
should
should
writings
dicta,
have
give
its
the
on
fashion
in
no
reasons.
place
;
and
John
works
and
making
equally
and
critic,
presumption
a
knowledge,
unmeasured
Art
in
we
cynicism.
the
mischievous
Obiter
people.
as
most
if
ourselves,
large
into
that
become
whether
damage
reason,
we
assuredly,
for
;
we
think
unfortunately
it
that
minds
our
not,
a
imitative
when
sense
unjustly,
develop
only
not
in
or
early
some
act.
without
his
be
measure,
criticism
or
soon
our
of
was
of
in
must
highest
Art
of
in
but
of
some
creative
author
may
cannot
remarks
severe
living
mind,
a
art
the
ignorantly
its
or
in
object
indulged
sound
a
which
of
of
great
a
only
so
work
a
criticism
and
is
nature
approach
criticise
we
it
yet
partakes
in
sometimes
and
measure,
work
fine
a
a
an
of
generous
un-
precedent
amongst
criticism
criticism,
as
learned
un-
well
when
PART
II.
XXXV.
CHAPTEE
PERSPECTIVE.
ON
INTRODUCTOKY
MANY
312.
be
without
things
most
able
the
need
persons
to
trouble
how
make
only
uncertain
of
of
Perspective
boxes,
helpless they
eyes
appearances
draw
to
attempt
books,
as
and
the
learning
the
with
anybody
correctly
see
objects, such
rectangular
that
imagine
people
surely
must
KEMARKS.
or
few
a
cover
dis-
to
doors,
the
but
;
are
in
of
Perspective
matter
of
seeing.
The
313.
simple,
extremely
the
fundamental
technical
is
mathematical
It
understood,
confusion
in
its
In
from
be
may
application
forms
314.
and
principles
of
understood
its rules
difficult,and
to
tax
may
by
a
child
irregular
the
powers
;
and
of
are
but
plicate
com-
an
able
be
well
mind.
is
as
important
there
respecting
is
it
that
the
often
much
as
a
term
should
and
misapprehension
science,
both
theoreticallyand
application.
nine
what
cases
out
of
they really
every
are;
ten
objects
different
appear
Perspective, therefore,
215
may
be
On
216
brieflydefined
enables
used
as
Perspective,
out
When
his
and
certain
the
evolved
and
from
; whilst
which
the
work
in true
inclination
of any
his
much
of
Perspectivegrows
An
31G.
out
architect
which
he intends
fact.
Of
these
outline, and
the
of the act of
often
intended
will
'data'
the
thus,
his
as
objects themselves,
the
drawing.
requiresa
view
erect, before they have
to
he
perspective.
his
from
made
principal
what
he
are
of
pencil-in-hand
which
observations
level
vanishingpoints,
'observations,'
accuratelymade, form
out
an
ings
build-
the
as
These
will work
one
when
some
say,
"
observations,together with
requireto get the
the
of Perspective.
Nature
with
In
other, the object
observations,such
him
divided
Technical
as
object,
in the
he determines
furnish
be
others.
rules
from
the
buildings,
these
measurement,
by
architects
artist sketches
recedinglines,by
"c.;
different
appear
and
by artists,
used
Nature
from
makes
on
eye
they
they
as
science which
Perspective may
of the
of the application
an
he
"
by
Perspectiveis
artist sketches
grows
the
as
represent objects when
Perspective,as
into Artistic
the
representingthings
spectator,and
a
Practically,Linear
315.
case
of
art
they reallyare.
Avhat
from
eye of
to
us
the
as
to the
appear
Perspective.
buildingshe
will
of
any
buildings,
existence
requireto
in
have
'measurements,' "c., together
'elevations,'
'ground-plans,'
with
certain
'data'
(tobe
hereafter
explained);and
he will be able
these, by the rules of Perspective,
his edifice
317.
as
The
it will
actuallyappear
purpose
of
when
to
from
show
erected.
Perspectivecovers
much
more
Perspective.
On
than
representation of
the
"c.
buildings,
with
"
size
the
form
according
whorls
and
165),
with
the
so,
causes
drawing
they
the
an
which
arm
The
is
or
the
sprigs or
FIG.
top
In
sides
and
PIG.
164.
of the
tree
it is
figure drawing
foreshortening of
a
165.
large
as
equally
finger-nailto
that
leg.
a
work
the
with
little
of
in
at the
the
before
comes
the
size
fact
nearest.
are
and
position,and
in
fail, because
leaves
applicable, from
of
It
persons
to
trees
make
those
is
many
form
boxes,
as
in
it
this
such
164
also,
of
its
Even
is
tree.
forgetting
that
to
leaf
every
the
irregular, that
or
(Figs.
entire
an
with
do
to
according
Oak
of
regular forms,
its distance.
to
perspective;
as
has
object, regular
every
eye
it
;
217
of
Perspective, then,
is to translate
FACTS
into
Linear
and
appearances.
There
318.
Aerial
;
the
of
objects
as
they
on
Skies.)
Hence
as
former
they
are
should
we
surrounded
everythingwe
by
by
the
never
"
at.
Perspective,
with
the
represented by lines,
Perspective
look
of
itself
concerns
affected
are
kinds
two
are
and
that
Aerial
or
we
the
latter
(See Chapter
atmosphere.
forget
appearances
constantly
are
Linear
"
in
almost
CHAPTER
AETISTIO
ON
WHAT
319.
is
Perspective'
is
XXXVI.
here
the
PEESPECTIVE.
termed
method
constantly
Nature
from
illustrations
with
the
be
must
directly
)
FIG.
In
the
relative
order
fix
to
perspective
*
be
placed
in
Perspective.
may
cubic
fold
hints
it
in
and
given,
are
simple
very
view
of
Here
166.
ample,
ex-
cube,
a
the
cube*
but
only parallel,
not
put
thus
where
more
models
only
the
One
:
"
the
the
of
front
the
the
it from
of
the
on
a
the
student
better
in
readily
may
Cutting
the
lines
dotted
all
be
be
affording greater variety.
of
great
square
eye
point,
level
spectator.
model,
should
"
exercises
made
of
half
that
are,
A
set
service,
it
of
as
then
;
with
first
mine
deter-
regard
which
the
with
board
easily (see Fig. 167).
would
front
vanishing
larger
before
cardboard,
through
Fig.
copying
height
the
is not
cube-^-tho
A
a
drawing
166.
draw
in
in
some
parallel
in
seen
used
respecting
beginning
'Pictorial
or
and
;
.
as
Artistic'
'
eye,
to
it
in
parallel
but
always
Artistic
On
it.
opposite
to
and
Next
B.
from
ascertain
B, and
A
front
this
of the
as
draw
it
of
apparent height
parallelto
parallelview
its
of
the view
at
A
B.
important
an
back
book
be
object may
line
placed
in
drawn
in
be
defined
without
becomes
once
to
moving
a
the
panoramic.
limited
extent
the
If
eye.
The
optional,
168.
the
limited
This
representation
angle
of
vision
such
representing irregularforms,
when
A
measurement
the
would
60", especially in
exceed
right-angledforms.
less
of
clearlyvisible
vision,* though
not
A
of
from
principal plane parallelto
FIG.
should
lines
by pencil-in-hand
having
one
moves,
eye
angle
the
A
spectator,and
the
C)
219
draw
point
spectator,like Fig. 168,
manner.
simply
this
Towards
(see Appendix
Perspective.
is
as
mountains, trees, or clouds.
the
little below
be
should
heightof
in the
is the
Fig. 169
320.
drawn
in the
Fig. 170
321.
Where
Fig. 171,
to
same
manner
from
the front
determines
be drawn
there
are
front
when
seen
left of the
Avould
all the
as
the
line from
the back
previous case,
chair in
and
eye
cube
same
spectator,and
square,
obtained
of the side.
in the
manner.
same
parallel faces,
first be
should
The
the model.
the width
several
planes
placed a
The
as
drawn,
"
*
Known
as
the
'
cone
of visual
as
rays.' (See Chapter XXXVII.)
in
and
FIG.
169.
FIG.
170.
FIG.
PIG.
173.
FIG.
173.
171.
Artistic
On
222
then
vanishing point and
the
as
on,
instance, a
to
Perspective^
in the
Some
previous cases.
it would
flightof steps
"
correctlywithout
draw
of back
distance
a
mined
deter-
objects
as, for
"
almost
be
fixed
line
ble
impossi-
vanishing point,
VP
/^
Fro.
whereas
of
with
point,and
a
procedure,the
322.
When
draw
to
the
one
is made
another,
complete
by
block
one
spectator than
best
work
the
behind.
174.
or
as
front
means
simple mode
of this
quite easy.
object stands
in
block
Fig.
172
first,and
nearer
or
to
173,
afterwards
the
it is
to
Artistic
On
In
323.
be
may
other.
is shown
Fig. 174
when
Perspective.
how
in
transparent,and
represented
When
the
drawn, the
in
FIG.
the
same
from
width
proportionate
324.
In each
which
A,
been
representedas
with
all the
seen
receding
cube, has
in
the
bisects
latter
and
foregoingexamples
the
below
lines
vanishing point opposite
each
been
E,
of the next
of the
behind
rately
accu-
by using
175
vanishing point, and
diagonal line
sented
reprenumber
a
readilyfound
be
may
how
retirement
middle
be
may
Fig. 175
proper
first,or
others
cubes
223
F
gives
the
squares.
the eye, and
slantingupwards
to
figure the
the
eye.
If
object has
consequently
towards
the
the
objects,
224
On
Artistic
Perspective.
however, be placed above
like the
cubes
upper
receding lines
the
towards
The
the
in
Fig. 176,
will slant downwards
the
horizontal
large railwaystation,seen
The
325.
presents
the
remains
spectator,
but
the
room,
example
The
of
farther
its true
shape,
sides,togetherwith the pictures,
are
ceiling,
the floor and
all
retiring planes ; consequently
the
retiringlines bounding
"
towards
the
point oppositethe
a
which
govern
fender, and
the
the
two
but not the door and
these
may
not
are
be
in the
rule
the
distant
nearest
same
below
same
lines of
those
slanting
are
The
slantingupwards.
will
it
above
are
downwards, those
it
all
them
vanishing point,
lines which
sofa,
chairs,
chair,as
plane.
It
remarked, however, that the
ordinary rooms
the
177
to
being parallel
of the
eye
that
of
point.
a
instructive
end
tend
the fact
a
one
given in Fig.
room
an
and
from
from
of lines to
parallel perspective.
representationof
of
illustration
good
a
this recedence
FIG. 176.
line.
iron-wrought covering
end, affords
eye,
is
seldom
spectator cannot
get
satisfactory,
far
enough
226
back,
so
having
to
as
The
a
Artistic
see
the
wide
too
be
On
very
long
readiest
perspectiveis
of the
the
without
room
angle ; unless, indeed, the
to
representan
ment
apart-
it, and
to
the further
parallel
end
of the
vanishing point,
ruling through
in
shown
as
in
apartment
shape),fixing the
backwards,
room
of
begin by drawing
to
ruler
placing the
end
one.
way
(itstrue
room
distant
visual
a
Perspective.
the
each
small
then
corner
diagram
(Fig.178).
FIG. 178.
are
representedwith
thus
the
such
large objects,
When
320.
their
indicatingthat they
spectatorhas what
Hitherto
327.
receding lines
and
Fig.
we
which
have
were
180
there
which
is not
would
not
is
a
on
a
plane
recedingplane on
the
the
eye,
in
as
ourselves
parallelto
the
slanting upwards,
Fig. 179,
bird's-eyeview.
concerned
horizontal, and
vanish
as
lines
the
below
is "known
right anglesto
at
receding
are
trees,buildings,"c.,
as
of
with
ground plane,
the
the
the
only
spectator.
top of
receding
A
B
c
In
D,
lines of which
level of the eye, but
far above
it,
On
Artistic
227
Perspective.
FIG. 179.
FIG. 180.
as
shown
these
by
the
lines would
point. Figs.181
dotted
meet
and
lines,E
F.
is called
an
182
are
further
The
'
point
accidental
examples.
'
in which
vanishing
Artistic
On
228
The
rough
illustrate this.
sketches
In
each
Perspective.
and
(Figs. 183
case
184)
recedinglines
the
may
better
formed
by
FIG. 181.
the
a
divisions
of
the
vanishing point
because
'coursed'
horizontal
layersor
stones
that
are
felt to be
would
be
buildings have
'courses;'but
retiringtowards
level with
always their
the
the
stones
eye,
in
retiringmarkings
FIG.
,7
183.
230
On
the
on
road, in the
bottom
that
the
of
the
the lines of
infer
we
that
the views
it recedes.
as
road
are
the
Angular
when
objects have
in
as
186, where
both
the
Fig. 185,
it will
be
right and
also in
the
the
term
the
used
tator,
spec-
as
sides
cube
there
FIG.
cases
Fig.
that
seen
left-hand
of
line,
PERSPECTIVE.
angle presented towards
an
because
all these
Oblique Perspectiveis
or
conscious
the horizontal
In
the
spectator.
ANGULAR
328.
are
far
about
Fig. 184,
is down-hill.
the
case
we
In
retiringbelow
road
to
parallel
are
consequently
:
rises
the
evidentlyterminate
is in this
line,which
window
road
Perspective.
former, would
horizontal
the
above
Angular
tire,
re-
must
185.
be
points towards
vanishing
two
which
the
receding
lines will tend.
In
329.
Nature, when
to
of
the
drawing objects
they are
spectator,it
operation,thus
(1.)First
line,as
A
B,
E
F, and
is well
FIG.
186.
oblique
to
adopt
a
methodical
mode
:
"
determine
the
length, and
draw
the
front
Fig. 187.
(2.)Determine
and
thus
from*
draw
(3.) Ascertain
the
them
the
distance
of
laterally
the
lines
c
D
indefinitely.
relative
height of
the
eye above
the
Angular
On
232
cube, and
This
that
at
height
line is known
the
as
.Perspective.
draw
H.
line
a
is used
L., and
the
across
paper.
for
placingthe
at
which
vanishing pointson.
(4.)Ascertain
and
lines,B
F
with
horizontal
the
a
H.
L.
which
thus
B
In
line),and
figurewill
be
this
adopting
little consequence
at
an
method
the side which
the
from
it will
away
on
sides
the
points will
be
drawn
to
; and
Nature, it is
from
sides of the
object retire
It must
not.
spectatoror
will be
vanishing point
rapidly,whilst
on
the
be
near
side which
denly
sud-
If the
equally, the
tant
equallydis-
be
each
on
they meet
further
L.
H.
retire
so
be
must
drawing
the
the
retires
retire
of
whether
equal angle
not
until
them
them
completed.
observed, however, that
does
produce
receding lines
other
of
on
the
junction will give the vanishing points
all the
the
angles
retire (by comparing
respectively
D,
This
"
accurately the
side of the
spectator.
it is desired
Suppose
330.
to
representanother
FIG.
cube
that which
has
already drawn,
been
F, and
(Fig. 188),bisectingE
line,will give the
line, as
drawn
188.
immediately behind
at
a
diagonal line
continuing to
proportionate distance
K, from
to the left-hand
the
top
of
which
vanishing point,and
of
a
the
the
from
A
receding
next
line must
the second
tical
ver-
be
cube
On
"will be
completed, in
process may
331.
above
Angular
If
and
proportion with
exact
be carried further
the
object
partly below
to any
FIG.
189.
FIG.
190.
be
the
233
Perspective.
so
extent,
placed
eye,
as
the first.
we
as
as
to
in
This
Fig. 189.
be
partly
ordinarilysee
buildings (Fig. 190), the receding lines, as
before
in
shown,
234
On
Angular
will
Perspective.
to
appear
slant
spectivelytowards
case
be.
may
in
this
several
will
the
Fig.
the
in
the
familiar
Figs. 192, 193,
in the
various
throughout
that its
Fig.
176.
rules may
be
194,
woodcuts
many
in
well
as
of
as
buildings
this work.
object is
an
placed
so
not
are
parallel
below
as
vanishing point, above
the
inclination
is known
in what
meet
accidental
an
they
ground plane (levelground),
will
they
other
in
recedinglines
the
to
when
objects, as
and
When
332.
illustrate
representationof
household
the
as
and
each
on
re*
up
L.,
will
191
shown
as
appear
seen
or
H.
applicationof these
The
or
single cube,
placed
are
down
H.
of
L.,
the
according to
object,as
the
already
referred to in 1 327.
From
333.
have
\
the
here
Artistic
that
been
when
the
facts
(which
proceed
as
in
with
near
any
his
an
be
which
respecting
will
has
artist
Perspective would
as
made
Perspective,it
certain
with
remarks
in
be
obtained
Technical
data),he
sketch
may
easily,and
approximationto
ordinary
seen
truth
circumstances
On
FIG.
Angular
FIG.
192.
FIG.
235
Perspective.
194.
193.
would
of
required; whereas, where
be
rules,the
perspective
watch
be
Even
of
sure
when
drawn,
in
is
be
must
its proper
complicate
a
these
the
we
in
draughtsman
And
representation.
do
of
on
the
the
of
grammar), ready
determine
one
an
direction of
already drawn.
a
line
mechanism
mind
he
supposed
of
they are
the human
334.
to
exist
in
and,
sees,
apply to buildingsor
great service
far
so
of the
as
lines
these
must
cubes
of
mind
the
alone, for
drawing trees,animals,and
when
figure.
It may
be
clearlyunderstood
contained
remarked, that when
and
in this
put
can
chapter,he
perspectivethat
is necessary
landscapeartist.
These
of various
forms, and
rigidityshould
clothed
of
to test the accuracy
or
concerned, delineates accurately. Neither
aids be
(like
application,to
constitute,in fact, part
which
by
necessarily
not
for instant
They always
artist,and
intelligent
mental
are
the
accurate
auxiliarylines,
in the
be
will
rules
obtainingan
they should
paper,
be
to
altogether
not
vanishingpoints,receding lines,"c., may
be drawn
he
accuracy.
"these
these
although
then
even
greatlydependent
are
knowledge
the
on
constantly
objectshas
of
rules
where
auxiliarylines, the
rules
knowledge
no
place,and
group
simple
and
Fig. 195,
greatly assist
there
anythingapproachingabsolute
which
to
apply,as
on
student
get every part in
to
cannot
Perspective.
Angular
On
236
with
is capable.
be
practice the
in
will have
to
the
broken,
science
and
all the artistic
rather
they
hints
acquiredall
practicalwork
lines,after all,are
are
has
student
the
but
than
should
feelingof
which
the
of
a
the skeleton
art.
Their
afterwards
the
be
student
CHAPTER
ON
of
little service
the
simplest
wearisome
to
of various
of
rulers
be
before
seen
he
be
drawn
other
a
compasses,
to
as
without
a
tion,
scale, eleva-
these, by the aid
From
data.
Nature,
truly
according
drawing
correct
the
the
rules
student
developing
of
mode
of
with
may
have
may
an
important building
here
of
often
also that
in its elementary
science
the
are
erected, and
is
be
labour
of what
presentationsas
architectural
knowledge
idea
some
such
some
object by
an
Perspective, will
in
have
may
cannot
from
is
obtained.
the
is involved
drawing
and
and
measurements
that
in
measurements
and
Nevertheless,
shown,
student
object
plan,
labour
a
by architects,
used
Perspective, as
array
ground
PERSPECTIVE.*
TECHNICAL
TECHNICAL
335.
some
XXXVII.
stages,f
And
of
the
first
terms
illustrated
will
we
in
used
in
Diagram
name,
this
1
explain,
afterwards
and
science, in various
OF
VISION.
CENTRE
GROUND
PLAN.
STATION
POINT.
STATION
LINE,
PICTURE
LINE,
OR
LINE,
OR
BASE
GROUND
OR
CONE
*
before
f
In
OF
It must
be
remembered
problems
that
this
the
is not
OF
RECTION,
DI-
LINE.
RAYS.
POINTS.
student
a
LINE
DISTANCE
VISUAL
VANISHING
SIGHT.
going through these
whilst working.
him
OF
OR
LINE.
HORIZONTAL
LINE.
ELEVATION.
POINT
as
"
PLANE.
PLANE,
works, and
:
GROUND
PICTURE
some
should
treatise
on
place models
Perspective.
338
Technical
On
is the
PLANE
GEOUND
THE
Perspective.
ground
239
which
on
the
plan
is
placed.
PLAN.
GEOUND
so
make
to
as
be the
square
be
(Fig. 196)
of
ground plan
FIG.
Fig. 198
when
of
203,
or
a
circle
The
on
The
house.
cube,
the
pyramid,
a
viewed
with
(Fig.197)
one
is the
cylinder.
a
ground plan
of three
and
angular perspective,
in like
left
manner
into
be
197.
cubical
might, by
Figs. 199
or
forms,
rules
the
200
;
and
developed into Figs. 202,
204.
PLANE
PIOTUEE
picture'
"
which
the
of
FIG.
the
clay,
lifted
were
marks
the
196.
might
201
THE
is the
the
the
"
'plane
of delineation,'or
plane (whetherof glass,paper,
drawing
quite indefinite
as
or
house
a
base, and
square
a
Perspective,be developed
Fig.
on
ground,
spectator.
cone
shows
in
seen
a
if
or
ground plan of
is the
soft
some
it,that impressionwould
ground plan
the
the
parallelto
pressed on
foot ;
the
object having
any
side
of the
place on
would
ground
or
its
foot be
impression on
an
ground plan
from
away
If the
"
'
or
'projection
in extent,,and
transparent.
.
in
canvas,
is to be made.
working may
'the
"c.)
It .is
be considered
FIG.
FIG.
FIG.
198.
199.
200.
FIG.
201.
FIG.
202.
FIG.
203.
Technical
On
242
THE
line
PICTURE
LINE,
forming the
the
on
THE
edge
of the
is the
ELEVATION
a
front
cube,
as
of the
well
as
POINT
is the
SIGHT
OF
ing
rest-
its
object,as
an
A
seen
is the
square
ground plan.
204.
point
the
on
picture plane
called
is sometimes
and
Sight Point/
THE
of
Point,
OF
OENTEE
is
which
eye
of
spectator.
exactlyoppositethe spectator's
eye,
'
Line, is the
pictureplane, and
upright view
FIG.
the
Base
or
ground plane.
elevation of
THE
Line,
Ground
or
bottom
in
directly
when
Perspective.
is that
exactly opposite to
the
or
VISION
spectator
the
"
and
point
the
ray.
the
pictureplane
point of sight
is sometimes
visual
principal
on
"
called
i.
the
e.
the
Sight
TecJinical
On
Point
Station
is
centre
of the
visual
LINE,
of the spectator's
is called in various
works
either
Line
'
between
the
It
picture.
of
Direction,'or
Distance
'
spectator'seye
is the
same
the
as
and
'
the
principal
ray.'
THE
drawn
the
across
the
THE
If he
spectator's
eye.
CONE
Angle
picture,always
; if he be low
high
(imaginary in Nature)
LINE
HORIZONTAL
with
distance
243
of Distance.
or
line
the
Line,'
is
Point
or
STATION
THE
simplythe
and
picture,
the
from
eye
is
POINT
STATION
THE
Perspective.
of Vision,
view
any
each
side of
angle
objects. It
the
only
necessary
is
Line
at
up, then
is but
EAYS--This
the
"
exactly on
high
level
a
the
which
another
we
H.
to
Direction.
This
for
term
GO0, i. e. 30"
on
limitation
representingregular bodies, and
when
L.
comfortably
can
usuallylimited
of
line
a
it is low.
then
down,
VISUAL
OF
be
and
is
is
does
apply to mountains, trees, "c.
not
THE
VANISHING
in which
lines
POINTS
all horizontal
oblique
are
to
the
of
array
but
Diagram
terms
it will
1, showing
Author
in
showing
the
or
bs
a
made
sight
clearer
by
elementary teaching, and
in
same
profile,and
receding
line.
first
simple appliance
line
Accidental
in
meet
the horizontal
at
may
When
meet.
ground they
below
horizontal
the
on
recedinglines
vanishingpoints,above
This
points
are
midable,
for-
appear
reference
used
Diagrams
also laid down
the
by
and
2
as
to
3,
flat
a
diagram.
336.
must
Before
urge
the
we
proceed
student
to
to
make
work
the
himself
problems,
familiar
we
with
.
O
O
C.
Centre
of
Vltloa
Station
Una
Ground
of
Plane
DIAGRAM
Station
DIAGRAM
2.
Point
3.
Direction
Point
of
part
every
the
working,
larger
It
the
will
be
or
the
and
station
and
To
'data
the
'
the
in
made
in
all
the
facilitated.
greatly
be
in
success
scale,
to
In
and
much
other
perspective
ground
the
centre
the
plan,
end
(one
of
of
problems
horizontal
which
the
is
picture),
the
are
data.
diagrams
shown
are
the
direction
of
the
result
that
line,
the
his
as
given.
ground
form
thereby
be
observed
and
render
diagrams,
should
here
line
point
given,
and
those
picture
line,
will
diagrams
than
Perspective.
three
these
figures
following
these
Technical
On
246
broad
in
and
thin
lines.
;
explanations
the
working
simple,
more
lines
in
dotted;
Technical
On
EXPLANATION
HOW
TO
first
Always
receding at
all lines
e.
which
at
will be
is
will
point
the
H.
they
the
near
gently,or
c
tre
(cen-
(stationpoint) mark
s
left of
and
right
line,
on
These
c.
are
touch
to
are
the
the
H.
plane
away,
from
away
the
the
according
L.
of
its
the
the
to
spectator:
vanishing point
if the
of vision ; but
centre
far
vanishing points for
45".
suddenly
nearly parallelto
be
the
line retires
its vanishing
s|"ectator,
of
centre
vision,yet
on
L.
To
find
the
line at s, then
line forms
with
off
set
for any
vanishing point
horizontal
thus
point on
compass
c
angle of
an
line retires
if the
the
points are
lines will
Receding
angle
POINTS.
ground line,horizontal
space
distance
The
"
4.
Points.
the Distance
i.
with
line to the
the horizontal
NOTE.
Place
247
VANISHING
AND
the
lay down
vision),and
of
POINTS
of direction.
line
and
DIAGRAM
OF
DISTANCE
FIND
Perspective.
the
G.
set off
L.
the
H.
for various
student
diagram
the
lines,A
D
should
L., which
a
angle which
the
the
line
give
the
will
that line.
DIAGRAM
In this
it the
on
(ground line); produce
till it meets
vanishingpoint of
line, first draw
B
work
E
means
F, may
each
5.
by
which
be. found
of these
vanishing points
are
various
shown, but the
lines
separately.
On
Beginning with
with
of GO0
the
base
line
vanishing point for
The
line
line
the
the
(50") to
give the
v.
The
the
the
at
it
a
the base
at
L.
It has
is
draw
line
a
the
ground
is the
ishing
van-
ground line,
the
at
it to the
be
draw
s
angle
same
L., which
H.
35" with
v.
that
seen
the
at
P.
the
will
to
the
left.
the
ground line,
L., at
H.
an
e.
line
F,
being
at
an
ground line, is nearly parallel
distance
evident
the
line to
a
give the
considerable
required
be to the
its
drawing
Of
course
vanishing point
the
from
on
inclines
left,on
already
ground
points in
or
b, which
50" with
It will be observed, that
"
point
point will
give the
a
line from
there
of
centre
s
is not
room
at
the
an
to
this sheet.
on
NOTE.
will
line to the left at 40",
a
H.
angle of
an
10" with
will be
10"
angle of
the
with
draw
extend
will
will
only
picture,as
show
40"
spectator,and, therefore, that
will be
60",and
a.
the
s
line
which
Lastly,it
to
line
is at
E
from
of
left at
from
of the line at d.
p.
angle of 35",
angle
therefore
which
L.,
angle of
an
right,and
line
therefore
s
(G. L. ) ;
angle
an
the line.
forms
D
from
therefore
the line
from
point for
H.
angle of
an
it till it meet
produce
The
the
249
form
to
line to the
a
the line at
is at
B
line,therefore
and
draw
s
found
line
ground
or
it till it touches
produce
Perspective.
A, it will be
line
horizontal
the
TecJinical
been
line at
the distance
an
if a
to the
angle
points.
of 45"
ing
vanish-
right, the vanishing
the horizontal
observed, that
line whose
line.
lines
have
retiringfrom
their
vanishing
250
On
Technical
Perspective.
DIAGRAM
In
the whole
foot, the
to
a
or
station
lines
words,
with
the
to
To
work
side of
the
Picture
Plane.
From
Sight.
To
ft. from
will be
Point
and
then
intersection
a
line
towards
the
to
B), and
then
a
D
parallelto
measure
line
or
the
E
from
front
of
draw
a
to
rule
line will
parallel
first
of
4
B
4
ft.
measure
ft. further
touch
from
the
Point
(D E),
Direction
line
of the
direction,
is to
back
laid
just
Centre
or
Distance
off the
be
right angles
line
off 4 ft. from
will cut
the
lines to the
of the
Line
A
touching
at
the
to
which
rule
B
A
draw
perspective.
and
A
the
square
Sight,
(A B),
square
lying on
(G. L. ) ; then
Line
able
invari-
an
spectator.
spectator,or
distance
I ; or,
at
of
the
obtain
and
problem, then,
the
Ground
or
ft.
4
side of the
Point
picture,
problem.
of its sides will be
the
the
TJiis is
parallelto
one
left side of the
the Picture
course
if
distance,
spectator, or, in
plane of
of
square
inch
an
of Vision.
the
it in the next
consequently,according
1 ft. to the
off 4
apply
"
of
point
point of sight.
pictureplane, two
picture (c).
for
the
ft. to the left of the
down, will retire
on
the
is the Centre
c
of its sides
one
scale is of
directlyfrom
it is clear that
it, and
to
ft.,and
perspectivea
pictureplane, 1
to the
5
ft.
the
will
in
figuresthe
right angles to
at
we
draw
Now
being
recede
are
law, and
ground,
L.
towards
they vanish
To
these
point (s),10
When
other
H.
of
6.
of
mark
(which
B
of
tance
to Dis-
to the left
(A),
Point
The
2.
required;
complete the
then
square
in
H
OS
"*"v.~
GO
v\
I
I
\
\
TecJmical
On
252
Perspective.
DIAGRAM
To
in
draw
perspectivea
with
ground,
its
spectator,and
ft.
beyond
of 4
square
side
nearest
1
7.
ft.
ft. to
6
and
the
lying on
the left
of
the
parallelto
the
picture
plane.
First
the
on
6 ft. to the
measure
line
ground
4
square,
lines to
ft.,to
the
in -this
picture plane, mark
in the
Point
B
c
at
But
drawing
A,
from
will intersect
Point
ft. in the
1
ft. to the
2, which
square
beyond
A, and
the line
A
the
receding
the
as
picture,or
right of
size of
draw
B
Now
picture c.
mark
the
and
and
A
of Direction
Line
the
draw
to
c, at 1 ft.
left of B,
as
will intersect the
picture as before, thus
proving
of the rule.
the
as
just
at
ft. to the
1
to Distance
E, 1
as
1 ft. in the
1, which
rule
the accuracy
lines
of the
picture(at D). Or,
at F, and
line
then
is to stand
case
Distance
(G. L.)
B, and
centre
left of the
figure required
drawn
the
also
back
give
the
is
a
the
square,
intersection
retiring
for
necessary
line,G H, thus completingthe square
in
as required.
perspective
DIAGRAM
To
one
draw
side
right-angledparallelogramof
a
(4 ft.)being parallelto
plane, its nearest
Mark
off
8.
2
side 2 ft. to the
ft. to
the
and
touching
right of
right of
ft.
4
the
the
by
the
6
ft.,
picture
spectator.
spectator,on
the
Technical
On
then
and
L.,
0.
B,
and
parallelogram
is
A
from
A,
which
will
from
A
the
and
draw
intersect
the
line
the
line
and
also
of
the
to
the
original
the
Diagram
lines
explained,
In
G.
The
L.
in
vanish
as
at
A
front
diagonal
the
B
and
lines
Distance
explanation.
the
Ground
forming
an
extend
the
rule
draw
lines
the
Points.
G.
first
for,
as
for
plans,
from
the
width
laid
form
an
Point
Vanishing
has
for
down
to
of
line
diagonal
45"
of
plained
ex-
draw
happens
its
been
already
been
with
the
G.
L.
Points.
the
whence
to
the
angle
Distance
:
of
Line,
1,
thus
and
L.,
ground
then,
;
line
diagonal
point,
back
c
to
distance
7
;
picture
Point
just
their
perspective
this
the
Diagram
the
right
perspective.
simple
very
G.
have
from
1, according
as
the
is
6
the
with
in
be
always
and
;
in
that
the
(in perspective)
ft.
the
to
the
as
Distance
6
D,
Now
ft. to
6
to
represented
of
square
45"
of
angle
will
5
at
c
worked
be
find
A
diagrams
centre
square,
line
a
ogram,
parallel-
the
c.
mark
long,
253
of
centre,
parallel
E
be
Diagram
3.
B
D
three
The
"
1, 2, and
of
will
parallelogram
ft.
G
width
the
the
to
F,
at
may
A
rule
be
draw
NOTE.
for
more
to
as
:
ft.
4
Perspective.
lines
to
will
L.,
the
be
found
and
then
Diagram
the
of
Centre
to
square
of
Vision,
by extending
drawing
8
will
not
to
the
c.
the
either
require
Technical
On
Perspective.
DIAGRAM
To
Circle in
representa
It will
be
evident
amenable
are
to find
the
to
the
trace
be
required,which
intersected
will
be
then
the Ground
the Centre
at
simple.
lines of the Ground
thence
from
Vanishing
the
line
to
with
horizontal
which
to
Now
DIAGRAM
To
to
the
represent a
right of
the
find
the
First
A, raise
then, at
cube,
of the
Vision,
draw
a
c
; at
base
At
each
the
Point
horizontal
B, and
d,
and
the
line- to
by drawing
Perspective
from
at A, and
is the
intersection
of
of Vision, c,
give points through
in
square,
line
B
erect
/,
Perspective,2
1 ft. in the
from
e,
as
diagonal
perspective.
in
perpendicular
a
c,
of
the
of
one
Line,
ft. square
4
from
10.
spectator,and
at
as
Cube
problem
Points, which
will
requiredcircle
of the
and
to
Distance
lines, which
square,
thence
Ground
to
a
will
of
produce
going
which
perpendicularlines
Line, and
to the
of the
lines
the
trace
the
Ground
c.
with
working
for lines at 45".
the
draw
The
1.
Plan
one
Point
necessary
ground plan
a
surrounded
Extend
to the
of Vision,
; therefore
be
must
Plan
it will be
points in Perspective through
shown
as
left of
only straight-linedfigures
Perspectiverules,
required circle
to
the
picture.
that, as
of
number
a
9.
2 ft. to
Perspective,
2 ft. in the
the spectator and
255
and
i to h.
draw
4
picture.
in
as
Diagram
ft. for the
to
ft.
the
the
height
Centre
of
from
g
Cube
in
perpendiculars;
complete
7 ;
D.P
V.P.
V.P.
G.U
DIAGRAM
O.P
11.
V..P.
V.P.M.P.I.
DIAGRAM
12.
M.P.2.
Technical
On
Perspective.
DIAGRAM
Hitherto
Parallel
The
also
should
Angular
the
Vanishing
finding
shown
in
it
the
for lines at
other
right of
the Ground
the
Line
to the left at
that
Measuring
picture,and
may
Vanishing Point
then
set
offon
the Line
Point.
It must
has its
own
the
be
the
a
line
If
Line, it will
the
Vanishing
diagram
the
angle of
H.
on
a
receding line
be found
follows
as
to the Station
Point
Line
line
75" to
L.),and
the
be remembered
of Direction.
:
that
Measure
"
with
distance
from
the compasses,
the
will
the
and
Vanishing Point
give its Measuring
every
is
any
it retires into the
as
from
of Direction,which
side of the Line
which
points by
Measuring Point, which
17
an
has
12.
the
are
the Horizontal
towards
will
It
ansrle of 50".
an
Points
measured
at
any
repeated,
of 45".
will be
(and consequentlyto
DIAGRAM
maybe
Points
shown
for
mind.
the
In this
angle.
spectatoris
Point
the Ground
angle to
preparatory
are
is here
angle
an
the
view.
and
Distance
Vanishing Point, which
own
next
strongly on
that
Points
the
Diagram 5,
more
for all lines at
to the
one
of
slant at any
its
Point
the
shown
Vanishing
have
understanding of
impress
been
explanatoryof
and
been
to
as
been
diagram
method
line has
11.
have
diagrams
view ; this
to the clear
so
the
257
Vanishing Point
always on
the opposite
'3'd'lN
Td'IAI
Technical
On
Perspective.
DIAGRAM
To
represent
This
be
may
ground
plan, A
to the
40"
at
and
in
Points,
and
cut
by drawing
from
will
base
give the
If, instead
Points,
4 ft.
rule
the
to
12), the
two
also
raise
and
This
side
Points
the
A,
will
they
the
give
Vanishing
two
as
2
the
receding
line
which
Vanishing
two
square
in
"
at " and
(found
take
place, and
a
line
(4
perpendicular
Points.
At
each
perpendiculars till they
the
/to
1 and
will
the top of these,
Cube
problem
quite easy.
of
left from
line
till
them
the
of
(viz.
this
I, and
in
as
the
case
then
Diagram
Square
in
obtained.
Vanishing
from
Points,
the
horizontal
the
to
and
e
a
which
it
Perspective.
in
from
intersection
erect
the
ruling
with
extend
this
respectively
c
Vanishing Points,
the
to
D
the
(in
make
from
length
Cube
of the
and
B
draw
draw
angle, and
(H. L.),
A
/
D
5), and
proper
and
Measuring
same
A
e
desired
angles
From
off the
First,
ways.
angles they
Line
right and
Perspective be
At
the
Diagram
measure
we
to the
"
of
the
off these
Points.
Vanishing
two
Extend
L.
Horizontal
the
meet
G.
Set
50").
Angular Perspective.
D, at
c
13.
in
observe
(as shown
s
B
and
L.
G.
done
the
case)touching
in
cube
a
259
meet
ft. ) to g, and
of
corner
completed.
should
be
repeated till the
to
square
receding lines,
the
again,by ruling to
will be
the
rule
the
Vanishing
student
finds
it
TecJinical
On
260
Perspective.
14.
DlAGKAM
This
in
himself
prepared
plans
any
or
of
perspective
will
intelligently
of
drawings
in
him
before
come
may
little
He
and
the
the
and
difficulty
have
also
ciating
appre-
buildings
business
life.
student
through
fit
this.
of
understood
have
will
he
readily
more
and
that
machinery
The
on
for
has
student
executing
and
understanding
illustration
further
a
problems,
previous
the
worked
as
the
if
and
rules,
foregoing
given
is
diagram
this
of
some
a
being.
who
man
little
those
for
has
book
only
the
will
safe
highest
and
carefully
gone
find
lines
purposes
that
he
of
true
and
has
thoughtfully
been
education
business
moving
which
of
his
APPENDIX.
A.-ON
THE
We
The
not
whilst
at
really
are.
things
as
lose
shape
they
hence
it
children
We
again
the
things
set
of
book
be
interesting,
otherwise
'
and
image
see
of
the
is perfect,
and
mind,
careful
habit
have
persons
kind
What
in
from
;
of
practising
;
in
and
child
be
these
will
not
should
drawing
?
'
draw
them
Let
there
unless
the
do
retina
the
by
grown-up
"
draw
shapes
knowledge
the
the
read
appear,
persons
with
that
box.
asked,
them,
they
the
on
is
their
few
by long
decidedly,
answer
to
a
encouraged
around
models
done
many
or
be
image
correctly
accurately
a
interfere
sarily
neces-
draw
as
is, that
The
be
to
how
cause
retina.
it may
Further,
to
system.
what
learning
remarkable
to
not
child
young
is
difficultythat
even
a
it
The
but
Kindergarten
time
is allowed
be
the
on
seeing things
quite
the
affirmative,
the
of
requires
only
sketching
in
letting
appear.
on
the
young
is
shape
but
children
young
power
same
makes
can
the
It
actual
in
purpose
the
Ought
'
'
lessons, except
chief
DEAWING.
asked,
decidedly
set
it may
this
?
answer
by
the
is often
Question
to draw
learn
CHILDREN'S
from
systematic
some
should
care
be
to
263
very
draw
Appendix.
264
them.
In
work
interested,or
harm
be
praised
never
simply
commended
than
false
Ought
Most
and
in
some
cases
weakens
a
should
child's efforts
a
pair of
drawing
more
the
of
child ; but
a
should
never
is
sketch
a
showing
the
square,
excellent
are
consequence,
of
purpose
lines ?
ruler, a triangleor
hands
until
class
to rule
compasses,
the
be
allowed
flat
nice
instruments
But
only for
to be
put into the
exactness
then
but
tightness,neatness, cleanness,
Nothing
assuredly. A
free-hand
Children
good.
drawings they make,
the
any
children
young
purpose.*
than
done
be
always
injudiciouspraise.
or
to
and
for
should
children
will be
for
specialeffort.
kind
this
more
should
or
of
strument
in-
neatness
for
this
be
used
is their
in
the
completed, and
student
where
he
has failed.
Children
the
who
have
things about
them
envelopes,or
on
been
encouraged
on
of
scraps
have
slates,seldom
by
any
form
*
'
A
neat
a
insides of old
on
in
difficulty
perspectiveas
standing
under-
is ordinarily
piece of
flat ruler
may
and over
a
by folding over
the last lap. A child should
DIASOOPE.
its
Diascope,'as
merely
to draw
artists.
B.-THE
THE
earlylife
paper,
such
perspective,especially
used
in
implies,is
name
cardboard
be
made
half
have
sheet
with
of
thin
or
a
in its
simplest
wood,
with
long slipof cardboard,
foolscap paper
inche* marked
on
and
his ruler.
an
or
gumming
Appendix.
cut
in
landscape
and
aperture
a
size
and
with
a
conceal
of
piece
divided
be
remainder.
a
convenient
five inches
view
or
before
what
his
sketch.
through
inches
or
the
from
down,
will
student
of
'
give him
what
lies
with
Diascope
him,
till he
is often
him
Let
to
goes
he
him,
part,
be
by five,
This
three.
by
any
made
be
may
inches
of
or
opening
by intersectingthreads,
FIG.
a
one
of
parts
pendicula
per-
horizontally (Fig. 205).
and
When
best
It may
seven
say
inches
the
at
the
to view
the
cardboard,
opening
an
which
through
proportion,but
larger, with
may
it
205
and
has
move
found
the best
'
205.
perplexed
one
held
it to
that
material.
look
eye
when
at
the
part
he
of
how
should
the
at
from
right
the
extensive
an
know
to
him,
before
has
and
Nature,
or
much,
take
as
landscape
six
to
left, and
landscape
ten
up
which
Appendix.
266
0.-PENOIL-IN-HAND
THIS
simple and
proportions
-
applyingit
It
to do.
Shut
length;
eye and
then
to the
eye ; hold
one
end
let the
FIG.
206.
any
point on
required,till
or
of
nearer
or
this
measured
to the
the
the
picture(being most
hand
the
pencil,as
which
it has
the
nothing
the
into, any
careful
eye), and
in
thus
the
to
from
measure
;
along the pencil as
wish
you
measurement,
arm's
at
207.
fingermove
point
Fig. 206,
exactlybetween
wish
objectyou
first
in
pencilcome
FIG.
it reaches
obtained
with,
or
objects,with
measuring
misunderstood, by
often
objects is
size of
of
is,therefore,here described.
let the thumb
Having
method
convenient
distant
of
MEASUKEMENT.
it
other
to
can
ascertain
be
now
part
moving
measure
the
of
not
its
to
to.
pared
com-
object
bring the
proportion.
Appendix.
In
all
the
measurements
length,and
remembered
be
always
reference
pencil should
the
parallel to
only
their size.
Fig.
how
held
be
the
these
arm's
at
It
face.
should
have
measurements
of
proportions
shows
207
of
plane
that
the
to
267
the
objects,and
is
pencil
not
held
to
when
measuring horizontally.
D.-NOTE
A
teaching
had
has
place
as
as
At
farce.
writing
be
not
is
taught
But
right.
a
understood,
more
is
one
easy
we
mind
to
to
they
a
conversant
very
with
?
If
young
we
as
is
it is
often
much
as
the
alphabet
do
and
visible.
Greek
or
German
application.
;
Wluit
thought
is
conveyed from
six
of
these
place
child, or
English,
Its
properly arranged
in its
which
by
of
a
merely arbitraryand
thought
universal
that
another
to make
as
nor,
extent, this may
of
are
when
not
education.
taught pretty
language
a
read, and
to
before
able
truly
as
in
twenty-six letters
;
has
taught,
very limited
a
Art
teaching
been
language
are
language, but
signs
not
is
the
signs by which,
conventional
Art
and,
;
the
constitute
has
it
best
be
factor
a
and
importance is underrated,
a
that
subject to
a
with
acquaintance
conviction
treatment
proper
TEACHING.
extensive
the
brought
its proper
rule, its
and
varied,
LONG,
ON
thus
an
"
English
intelligentperson
kettle,
or
tea
Appendix.
268
pot,
Instead
lines
two
which
we
case
In
the
belongs
to
them, ought
the
science,
educational
thus
that
be
Art
taught
writing is taught
as
with
curved,
physical fact
any
which
"
or,
to
scarcely
any
lines,and
two
be
taught
with
black
claim
we
these
to
in
board
a
or
like
that
the
all
that
practical
other
or
trations,
illus-
other
any
thoroughly incorporated in
be
aspects : first,the
should
has
our
system.
It is true
as
straightand
Geography, Mechanics,
as
same
and
once.
Art, then,
governs
day by day,
manner,
two
of
teaching
which
grammar
will
expressed.
satisfactorily
be
can
utterly
sketch
possible
without
accurately,
more
physicalfact
almost
express
may
state the
the
fundamental,
as
at
be
twenty-six arbitrarysigns,Art
these
of
mind
will
they
"
roughest
to the
idea
correct
a
cup
the
whilst
meaningless ;
convey
them,
-of
three
or
;
and
"
the
teaching of it, also
commonplace,
in
all
or
to
one,
has
such
schools, just as
regularly as
emotional
aspect,such
and, second, the
appliesto higher Art
utilitarian
"
pictures.
Appendix.
In
this
utilitarian
to flat
the
from
hand
and
much
of
more
to artisans
be
itself in
the
that
able
yet
works
and
it is
these
says:*
the
at
are
"
largelyin
in
seen
the
present day is
the
by
pressure
all
the
Although
afternoon.'
he
examinations.
the
the
of
schools.
In
all.
and
few
of
is
These
also,and
view
the
of
quences
conse-
with
agree
desolation
here
.
.
of
They
.
stupid
all its
education
Art
specialforce
to
examinations
have
in
FortnightlyReview, January
honesty we
1878.
of
work
people to
young
life,and
with
in
Education, he
on
of
speaking
apply
teachers
but
examinations.
of
years,
Schools
In
cannot
Many
excellent,
last
National
we
to
teaching
at
cheap
abomination
forenoon
teachings and
*
taught
writing
in
incessant
remarks
on
stand
under-
instruction
common
our
stimulation
generally,his
reflex effect
that
thing
a
as
preparationfor, and
educational
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'The
in
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270
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pretension
recommend
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warmly
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to
have
in
seen
"The
book
be
to
As
a
of the
one
with
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is concise
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Greek
Hayreuth,
in
and
1876."
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study
Egyptian art
Springfield
should
that we
in fact, no
noisseur
conbe without
this little
and
within
Saturday
Boston
appropriatefor study
It is
general
of skillful condensation, but, for the vast
its narrow
limits, is without comparison.
attention of musical
students.1'
use.
methodical."
and
for school
textbook
in
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of tnultum
Gazett*.
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useful
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of opera
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CRITICAL
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student
The
TIMF
$1.00,
really concise
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rev-iew of musical
history of the art.
PRESENT
Cloth,
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is divided
book
The
of chronometrical
series
THE
Mus.,
Tables,
well-arranged
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TO
Oxford.
Church,
with
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ERA
CHRISTIAN
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York
New
we
books
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full of information,
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pact
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Trilogy at
or
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compend. worth
Altogether, this is an admirable
As
and
of music.
quite indispensable to the student
best possible." Boston
Globe.
"
than
more
a
many
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works,
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%*
The
above
charges paid, upon
book
for
sale
receipt of
the
by
all
booksellers, or
price by
the
will
be
tent, post
SCRIBNER'S
CHARLES
743
AND
or
exp^eu
publishers,
745
BROADWAY,
SONS,
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YORK,