WATER

COLOUR

PAINTING

BY

ALFRED
MEMBER

OF

W.
THE

With

NEW

67

RICH

ENGLISH

ART

CLUB

Illustrations

PHILADELPHIA

J.

B.
LONDON

COMPANY

LIPPINCOTT
:

SEELEY,

SERVICE

1918

,"

CO.,

Ltd.

IhOSO

g)

TO

S,

Tj^ROM

"*-

"

but

enough,

Mr.

James
and

great

kindness

them

for

heartiest
"

Mr.

the

Wint,

de

of

^
J(
V,

-4:

thanks
shown

is due
in

to

their

"

Victoria

David

Muirhead.

Miss

be

to

dealing

R.

included.

Museum.
Mr.
with

F.
a

help
And

Stanley
somewhat

A.

B.

the

lastly, a
for

exacting

adding

P. Wilson

Mr.

Mr.

whd

have

walls
I

A.

my

Clifton, and

kind

very

my

ciation
appreat

word

patience

author.

Miss

Castle, by

authorities

the

lent

tender

convey

A.

with

and

of Conisboro'
to

whose

allowed

who

book,

also

Service

Rich,

b.a.,

their

my

to

another

thereby

those

Mr.

Lock,

I wish

and

and

Tonks,

from

splendid picture

politeness

Albert

To

quite

G. L. Behrend

Mr.

Cameron,

illustrating

Helen

her

Y.

familiar

friends

Henry

pictures

.my
of

D.

kind

in

help

was

Mrs.

by

works,

Mr.

Mr.

allowed

who

their

was

friend

the

much

about

story

my

To

Pryde,

purpose
"

talk

to

of my

thank

to

unhung

thanks

Tatlock
Peter

that

as

gratefully.

very

well

as

telling

received

constantly helped

was

attraction, I have

McEvoy

'

of

have

I had

privilege of reproducing

Steer,

record

to

the
rare

assistance

I want

"v

in this

What

method

HELPERS

"

friends

my

book.

the

and

valuable

me

this

writing

FRIENDS

of

many

matter,

"*"*

MY

he

the
of

has

CONTENTS
OHAPTEH

PA0B

I.
II.

Paper,
The

Board,

Easel

Colour

Box,

17

Materials

and

Generally

22
.

III.
IV.
V.

Drawing

28

Stoj,

Life

Method

32

Using

op

Water-Colours

36
...

VI.

Composition

Landscape

in

53
....

VII.

Some

Difficulties

How

and

Working

in

Meet

to

Nature,

from

Them

70
....

VIII.

Clouds

IX.

Sussex

79

Kent

88

X.
XI.
XII.

Skies

and

Warwickshire
Newbury

75

(Berks)

AND

Counties

Hungerford

to

WILTSHIRE

ACROSS

BACK

Neighbouring

the

and

and

TO

91

Devizes,
95

SALISBURY
.

XIII.

The

Fens

Wolds

and

105

Lincolnshire

of

XIV.
XV.
XVI.
XVII.

Richmond

.115

Yorkshire

Swaledale,

and

119

Shropshire
Rye

125

Winchelsea

and

Castle

Corfe

and

its

132

Neighbourhood
.

XVIII.
XIX.

135

London
The

Thames

Court
XX.

Colchester

Bridge

London

from

to

Hampton

140

Oxford

and

.....

and

Mersea

148

Island
.

ii

PAINTING

COLOUR

WATER

12

PAGE

CHAPTER

XXI.

XXII.

Visit

On

Chipping

to

Study

the

op

151

Gloucestershire

Campden,

Trees

156

Nature

from

XXIII.

Lesson

.168

Yorkshire

Richmond,

at

XXIV.

Water-Colour

Painters

Past

178

Present

and

XXV.

John

Constable

Richard
David

Parkes

XXVII.

Other

Sell

Cotman

Bonington

Franoia

Prout

Samuel

210

Cox
.

XXVI.

John

Artists

Pictures

to

be

the

Present

223

Generation
.

Studied

and

those

to

be

238

Avoided
.

XXVIII.

Emotion

Index

in

Art

244

249

LIST

OF

ILLUSTRATIONS

PLATE

I. The

TERRACE

Frontispiece

....

MOB

II.

Sussex

Church

Tower

38

....

III.

The

Effect

of

Heavy

Cloud

over

land
Wood-

38
IV.

V.

VI.

Drawing

of

Common

Bridge

40

Inn

40

and

Commencing

Painting

in

Water-Colours

41
.

VII.

Piecing

Colours

together

42
....

Vin.

Break

in

Clouds

the

42
....

IX.

X.

Bray-on-the-Thames

46

Draining

Old

Windmill

50
....

XI.

XII.

52

Florence

View

Distant

of

Lincoln

56
....

XIII.

Drawing
only

XIV.

XV.

in

by

Use

of

Sky

the

which

is

indicated

Paper

Low-Toned

60
.

Distant

View

Distant

View

of

Lincoln

of

Lincoln

"

Stage

.62
.

"

Stage

II

.62
.

XVI.

XVII.

Siddlesham

Cloud

64

Mill

76

Study
13

LIST

OF

ILLUSTRATIONS

15

PLATH

PAOB

XLII.
XLIII.

Elm

Tube

Water-Colour
Stage

XLIV.

Drawing

Drawing

Stage

XLIX.

Drawing

L.
LI.
LII.

LIX.
LX.
LXI.

of

Richmond,

Yorks

.176
.

Abbey

180

Church

Cattle

and

Windsor

and

from

the

.182

Playing
184

Bridgnorth

188

Abbey

Reevaulx
View

in

LVIIL

Yorks

Fields

XIV.

LVII.

Richmond,

IV

College

Conisboro'

LVI.

of

Drawing

Landscape,

LIII.

LV.

174

Water-Colour

Eton

Richmond, Yorks

172

itiRKSTALL

XLVIII.

of

III

Stage
XLVII.

II

Water-Colour

VI.

Yorks

170

Water-Colour

XLV.

Richmond,

of

Stage

XL

166

Road

the

in

Island

Rocky

192

Elba

of

Castle

196

Yorkshire

198
200

Castle

Knaresborough
A

190

....

204

Landscape

Moel

Hebog

206

Lake

Scene

208

The
Moor
The

Baggage
and

Water

Waggon

.214
.

Windmill

218

Mill

222

WATER

16

COLOUR

PAINTING
PAGZ

PLATE

LXII.

LXIII.

LXIV.

LXV.

Durham

226

Cathbdbal

228

Kinfauns

Landscape

with

House,

Customs

230

Mill

234

Venice
....

LXVI.

LXVII.

The

Harlech

Haunted

House

Castle

236

240

WATEK

COLOUK

PAINTING

CHAPTER

PAPER,
writing

IN

practical
to

enable

to

the

advanced

every

student

trodden

elements.

the

ground

the

at

afford

may

but

elementary,

be

in

more

of well-

review

and

interest,

of

order

the

even

beginning.

in

adopted

is

plan

be

it is necessary

student,

This

most

begin

to

Art

shall

which

painting,
the

to

way

simple
only

not

water-colour

on

in

use

with

start

book

EASEL

BOARD,

some

way

helpful.
It

is

is done

painting
difficulties
the

as

meet

in

given

All

his

used

moderately

be

present

surface.

which

better

for

beginner

of

one

within

moderately
this

any

for

this

smooth,
artist

are

than

Whatman,

student

limitation
and

colourman

that

be

of

papers

experience

more

that

necessary

the

student

paper

time,

Arnold,

which

his

paper

taking
to

the

present

make

able

examples

excellent

rough.

not
to

capable
will

or

and

washes

certain

white

many

the

at

and

doubt

pure

the

had

be

to

thg

Among

on,

as

here

peculiaritiesas possible.

any

use

lighter makes,

the

however,

always

must

colour

absolutely

few

as

without

said, that

papers

of

vanish

it is

few

as

mortification

the

which

in

manner

shall

work

later

said

be

efforts

colour

be

takes

paper

earliest

which

smooth

the

will

pitfallsand

as

difficulties, however,

water-colour

early

the

More

in the

it may

here

when

that

order

'

which

on

paper

difficulty is used

word

The

bewildering

these

but

be

paper

And

the

arise.

experience,

turn

in

considered,

well

may

way.

showing

gained,

be

much

every

eccentric

behave.

of

at

one

should

the

that

importance

great

possible

as

result

an

is

of

matter

in

with

water-

few

are

should

It is

more

own

choice, but

must

wash

supply.

be

factory,
satis-

white,

easily,
The

and

list

of

the

given at
No.
difficulty,

papers
of

EASEL

BOARD,

PAPER,

18

end

this

of

being suitable

the

arranged in order
beginner, and so on

certain

should

is

chapter
for

in sequence.
I will

consider

now

the

why
by

reason

paper
student.

in the

Tinted
the
papers
study be avoided
work
to
of
bad
because
quality
are
they give an appearance
Such
it.
have
would
which
otherwise
nothing to recommend
not
canthe use
of body colour, which
also likelyto induce
are
papers
will
of body colour
The
matter
be too severely condemned.
white
is another
later on.
Michallet
be duly considered
paper
its
to
but
owing
which
is admirable
for water-colour
painting,
earlier stages of

in

of substance,

want

this

is apt to be
paper
advanced
students, David
difficult to

although
a

different

this

and

absorbent

Very

of

mastery

of

the

when

which

to

Before

been

acquired,
has

on

dressed
or

In

of
the

the

endless

the

and

ceased

afford

becomes

real

any

of

matter

from

varieties

the

are

stance
sub-

or

knowledge

in

advances

indeed

complete

surface,

to

in order

work
to

on

owing

make

give them
offending material

working

considered

such

good

will be

quality,tone,

is left to
and

learn

surface

are

to

well

to

are

rendered

and

those

by
best

With
to

these

be used

which

inquiry
suited

to

few

in the

should

and

and
more

of manufacture.

quite workable,
papers
in
bath
cold water, when
papers

that

point out
finely prepared

this process

removed.

the best

in water-colours,

student

as

white

to

are

be

may

being very
papers,
to get the brilliant whiteness,

pure

order, however,

of what

quite

choose.

less difficult to

necessary
the

then

leaving the subject,it

of

many

taste, and

is

work

until

avoided

be

to the
difficulty
painter. As the student
and
experience the particular paper used

individual

the

tion
perfec-

the

that

so

dry.

when

assume

is necessary.

worked

medium

wash,

only

should

has

they

difficult to

colour

papers

technique

which

is obtained

use

For

beginner.

the

for

done,

be

to

in its substance,
is beautiful
paper
first applied have
when
the washes
that

is very

liftingof

no

as

from

paper

of effects in its
direct

Cox

out

washing

is any

disappointing

work,

appearance

Moreover,

there

case

it is

only

most

of

remarks

early days

be

avoided,

experience which
his requirements.

PAPER,
Method

of

considered

Having

BOARD,

preparing

EASEL

19

Paper

the

Use

for

the kinds

of paper best suited to the

of the water-colour
student, it is now
necessary to
in
the manner
which
paper should be prepared for use.
in which

many
ways
method
so

this

be done

can

there

is,in my

requirements
explain
Of

the

opinion,no

practicaland effective as strainingthe paper on a

This is done by taking a sheet of paper, some
board.
two to two
and a half inches largerthan the drawing board, damping it well,
and then pinning with drawing pins the overlappingpaper to the
back of the board, pullingand straining
firmlyyet gently as the
Having given it time to dry, the student will
paper is fastened.
obtain an
even
surface,which will not cockle as the painting
proceeds. David Cox and others of the early school of water-

paintersused

colour

strained
on
a
frame,
paper
at the back
of it, thus
be introduced

cloths could

continuallydamp

surface

as

their work

that

so

wet

preservinga

proceeded.

This

process

but reference is made to it here

perfect,
It is not a damp
be severelycondemned.
in order that it may
paper which the student requiresto paint on, but an absolutely
dry surface. More will be said on this point when the technique
work is being considered.
of our
should
be avoided
if possibleis the
article which
Another
drawing block," which is apt to get very bubbly as a drawing
vaunted

much

has been

as

"

loose and useless.

very often the later leaves become
doubt they are, but the good student
convenient
no

and

progresses,

Very
should

study

not

to possess

convenience, but rather take

mere

himself of

good

reliable surface of paper

The

with

comfort

consideration

painterwill
for it in my
explain,do

Although

and

In

The

Easel

trouble

upon

which

a drawing board, it
selecting
should be well made but not thick, as any extra weight of materials
avoided.
should be carefully
when working from Nature
Drawing
pinsshould always be of good qualityand not too large.

to work

ease.

any

of this article in the

words,
experienceand, for

need

not

this

but

few

is

I have

reasons

its

recommend

chapter

as

kit of

use

under

I will
any

dealing simply with

materials for the student, some

reasons

must

water-colour

found

never

which

any

use

proceed to

circumstance.
the

here be

necessary

given why

PAPER,

20

such

traditional

article

him.

The

in

for water-colour

use

this

truest way

so

the easel is set aside

as

better

board

it will become
a

on

reason

at

it and
once

than

let it rest

to

use

to

great that

so

explained,

self-denial must

much

of colour from

apparent that all the washes

the

down

begin to run
pools of colour

and
tiring,

If an easel is fixed
obtainingthem.
water-colour
painting is commenced,

full brush

one's knees.

on

this is very irksome

and
for this positionhas been

that

advantages will appear

be faced in order to ensure
a

no

drawing-boardto be placedwhen it is
and to ensure
slanting,
purposes is slightly

the

with

of

as

for the

positionnothing is

It may
be contended
it is ; but when
the

EASEL

BOARD,

surface

paper

and

to

work, or so far
down
the run
of the colour lasts. At the same
as
time, the spot
where the colour was
intended to remain is denuded
of material,

gather in

appears thin and

givesso much charm to

and

so

lower

of the

at the

part of

the

entirelylackingin the substance

a water-colour
painting.

which

It is also

impossiblewhen working at an easel in this medium

firm line, which
is again an
to get a sufficiently
indispensable
The
also
of
water-colour
easel
in
use
a light
a high wind
quality.
is most
be a reason
uncomfortable, and should, incidentally,
On the other hand, the positionits use gives to
againstits use.
the artist in the eyes of the generalpublic is rather interesting.
Some
working in Sussex and excited the interest
years ago I was
of a very talkative little girl,
she became
who
familiar
as
more
also critical. After

became
not

the

real artist like Mr.

county.
the

reason

who

also

working

was

that

in that

was

part of

I very readilydisclaimed the honour, but on inquiring

I found that it was
the fact of my
not using an easel

completelyput
Having explained the

which

talk, she observed

some

so

of court.

out

me

why

easel

is not

suited to
it
is
to
out
to the student
work,
point
necessary
an
alternative method
possessinggreater advantages. One fairly
have
small canvas
is
to
frame
a
four legs,upon
on
good plan
rest his drawing board, and thus work
which the artist can
with
this
and
comfort.
In
the
plan
legsof the stand nearest
great ease
reason

an

water-colour

to the

worker

necessary

should

slant to the

be shorter than
board.

The

the

one

arrangement is the lack of power which

when
rest givesto the worker
leaningon

simple plan which

the drawing board
on

The
rest

I have
my

others,thus givingthe

serious drawback
a

more
or

over

or

less

to this

unsteady

it.

followed

knees.

for many
years is,to
This positiongives

great

PAPER,

and

power,

although

satisfactory
allows
and

in

the

should

stool

greatest

to

when

use

question
have

of

given

It

in

found

to

should

be

The

it

used,

is

or

List

of

the

work

ought

not

to

be

the

then

by

hard

put

on

to

best

adapted

for

David

Canson,

Cox,

have

used

Creswick,

Burlington.

myself

Varley,

Thin

that

work,

so

side

one

thing
should

because

Water-colour

Allenje,

Whatman,

Cartridge,

Van

be

result.

Painting

Those

dividual
in-

motor-car

difficult.

Papers

to

be

motor-car

remember

accompanied

ever

open,

that

will

this

useful

method

comfort,

best

the

be

mind

should

always

must

it

good

appear

of

doubt

in

that

so

maximum
no

in

may

and

with

dealing

it

that

camp

greater

me

working

borne

winds.

students

advantageous

most
case,

however,

accomplishing

irksome

the

the
and

be

given

In

hoping

high

of

most

when

required,

good-sized

has

nature.

however,

particular

afford

plan
is

his

student,

worth
any

should,

and

most

method

is

case

which

followed

experience,

own

This
that

in

firm

stools

from
be

to

firmness

the

prove

results.

nothing

flimsy

decide

must

followed

the

will

position

very

painting

my

reader.

that

best

any

of

amount

method

the

in

necessity
see

the

21

it

tiring,

give

placed

out

absolute

than

amateurs

the

pointed

an

surprise

the

be

EASEL

and

and

end,
to

be

is

irksome

board

ensures

It

the

BOARD,

Michallet,

Gelder,

White

II

CHAPTER

THE

of materials

subject

THE

interesting
with

might

to

points

will

The
but

the

be

of interest
be

the

moist
colours

decide

be

to

much

cleaner

hard

and
have

great

of

worker
be

chief

the

thoroughly

When

condition

registration

desiring
the
to

once

the

older
and

must

therefore

same

time

There

for

one

strongly urged

entirely put

on

one

jot

for

immediate

be

desired,

be

can

and

that

the

side

in favour

dry

mean

fleeting

cake

give
in

cases

flower-

as

This

should

of the

such

must

question

although

taste,

very

for

many

work.

the

no

down

utilized, such

studio

individual

itself

use

however,

kept

foremost

it is

nature

is

hand,

the

is in

to

be

can

other

favour,

then

There

they

as

which

are,

with

work

colours, and

the

hand

to

of still life and

remain

their

to

much

of colours

system

On

the

or

medium.

from

colours

moist.

all kinds

it is

it is

the

ready

whether

"

should

moist
as

use,

working

leave

cakes

in

included

be

early masters,

colours,

for

some

material

dust.

points

colours

of the

the

cake

from

In

have

to

free

should

him

to

importance,

which

student

with

as

of the

many

ever-ready

advantage

before

but

None

most

it must

space

paramount

the

by

every

appeals

quite

recommendation.

painting,

of

these

of

type

used

as

well

as

in favour

said

the

which

and

colours

I think

which

being

way

cake

time,

colours

at

want

is

experienced

chapter.

the

discuss

to

himself

much

effects.

for

are

actual

the

colour.
for

for

moist

an

one

colour-box

the

of

considering

it should

cake

alone

considered,

be

student

the

nature.

before

modern

of

of

use

But

book.
limits

therefore

the

which

narrow

contents

it will

for

upon

write

ease

confined

practical

one

GENERALLY

MATERIALS

AND

COLOUR-BOX,

more

at

be

the

tried,

modern

medium.
There
which
make

has
should

been

much

diversity

furnish

the

his first venture

in

box

with

of

opinion

which

the

painting landscapes
22

as

young
from

to

the

colours

student
nature.

may

After

THE
much

COLOUR-BOX

AND

MATERIALS

23

practicalexperience,it

five colours

is very stronglyadvised that these

reliable for beginners: lightred, yellow

most

are

ochre,cyanine-blue,
and burnt
ivory-black,
these

colours

beauty.

Light red is

work, and
with

by

one

and

one
a

pointout

permanent

lendingitselfreadilyto

the blue in this

sienna.

their

We

will take

and
qualities

rare

colour,very brilliant,
easy to
association with others. Thus,

and the yellow,it makes

list,

beautiful greys, suitable for cloud shadows,

series of most

those

buildings
ready to take its part in buildings,
cattle,or the drapery of foreground figures. If mixed
with
cyanine-bluealone, it produces a quiet purple which can safely
be put into the hands
of a beginner without
fear of that
any
roads.

or

Used

purely,it

mauve
distressing

on

is

colour

painfullyevident
Yellow

or

ochre

in the

invadingthe whole work,

landscapeof the amateur.

is, if possible,even

which

is

so

highly prized for its

than lightred.
With
beauty and other qualities
but little help
from more
brilliant yellowsit can
be depended upon to supply all
that is necessary
in the landscape,where
yellow is required.
Quite permanent, it is also a most charming colour to use, and is
capable of a most beautiful varietyof expressionwhen it is used,
from a limpidwash
of subtle palenessto its deepesttone.
ful
Beautiin the warmth
of evening light,
it is equallyresponsiveand
effective when

used

to form

part

more

of the colour green, whether

for

fields,or foregroundherbage.
foliage,
Cyanine-blue,our third colour in this list,is quite equal in
beauty to either of its companions, and is undoubtedly quite
It is the best of this class of blue for durability,
and
necessary.
at

as

time.

should

present manufactured

be found

to

stand

the

test

of

Whilst

the
writing of this colour it is as well to warn
student againstthe use of colours somewhat
similar,viz. prussian
and antwerp blues, the former
being very unreliable. For the
and
clear blue of skies,distant hills,

the

greatestvalue.

consideration.

used

and

student

from

colour-box

strivingto get
the

and

fourth

our
Ivory-black,

in the

true

should

try
patiently

partner in

green,

it is of

importance when greys are under

with the two
precedingcolours it is

common

to work,
delightful

value

It is also of

In

when

as

also has
its

to
lightest

its

colour,is of far
it is

than
estimate

sit down

to obtain

range

of the

of

pression,
ex-

strongesttone.

more

use,

and

generallycredited
of
qualities

quietlywith
the

beautiful

most

this

of

In

pigment,

sheet of white

greatestvarietyof tones

greater

with.

paper

possible,

from

such

with

in

with

taken

be

well

as

as

by

one

beautiful

over

masses

colours,it makes

soft

a
or

conjunction
immensely

how

purely,it makes

used

When

it is.

in

cussion
dis-

under

now

evident

transparent shadows

delightfuland
generalshadow
other

spot of jettyblack.

dealt with

and

one

it will become

ivory-black,when

useful

to

exercise,the other four colours

an

can

most

limpidtransparent wash

the most

After

or

COLOUR-BOX

THE

24

for clouds,
Taken

landscape.

the

buildings,
together

greens, browns,
allow blue or red to

rich neutral

as
we
varying from cold to warm,
predominate in our mixing.
of a singlecolour
The question of the range and possibilities
suggeststo me a very good and useful exercise,from the practice
of
of which I have gained much
experienceas to the vast amount
varietythere is in what conventionallyis looked upon as a single
or

greys,

colour.

The

more

am

familiar with

colour, the greateramount

producing those effects for which I

strive. In these single-colour
drawings it will be obvious to all
that ivory-blackhas the greatest power, and that yellow ochre
with the yellow there is a surprising
has the least : and yet even
of expression. In strivingto
do in the way
that it can
amount
of each separate colour, I find that
get a knowledge by this means
it will make
the student very careful to avoid the scrubbing and
washing out method, as such a process only tends to kill the
used should never
of a colour, which being once
again
brilliancy
me

in

must

be

it will do for

of work

be disturbed.
A word

of caution

given in

the

handlingit may become dense

when
appliedover and over
again on the
beauty is obtained when a wash, whether
of the strongest, is applied to the paper,
without being again touched
disturbed.
or
with careless

We

now

come

to

the last of

our

five

for
ivory-black,
opaque, especially

of

case

and

spot. It's great

same

of the

faintest

very

allowed

and

colours,and

to

dry

or

in

certainlyits

clearlyshows, that in this list there is no first or last

in order of merit, as they are all of such great excellence that the
to make
himself acquainted with their
student only has seriously
them
all equally. Having thus striven to
to appreciate
qualities
show
the beauties of this our
elementary colour list, and to
used to
explain how necessary for the student it is to become
will proceed to add colour by colour until
each one gradually,
we
the listis quitecomplete and made
up as the writer would suggest.
beauty

The

very

next, and

sixth, colour

to be

added

to

our

list must

not

be

AND

MATERIALS

GENERALLY

25

thoughtto possess any particularsuperiority

its fellows now
over
into
our
coming
palette,but simply is one of an additional five
which are equallybeautiful. Our new
friend is transparent green
oxide of chromium, which for great brilliancy
and charm
of working
easilybe surpassed.

cannot

Its

is in

foreground
where it should be used with a most
foliage,
sparing
and
here and there,where spots of scintillation are required,
hand,
also be used, by admixture
quite purely. It can
with other
colours,in making neutral greens in endless variety,and also
great

use

herbageand

very useful purpose

the student must
take care,
serves

in the creation

when

company

associated

parts should

component

reds have

as

with

this

be very

of greys.
In this use
way of seekingto part

colour, and

well mixed

and

therefore

the

the wash

used

quickly.
In further

adding
companion

welcome

sienna,which
Admirable

in the

associated

used

in

pure
of the

A
and
new

pure
not

of

with other

more

no

family than

such

distinction.

be

applied,sympathetic
rare
beauty when
worthy the affectionate

can

way
well calculated

to

in the

assist him

colour

very

addition
do

cannot

we

ultramarine

welcome

to

better than

include

in lieu of

this latter is used

only of

use

of the firmament

distance,and

the

as

is

the zenith is

apparent.

of greys,

making

beautiful

aureolin

is therefore

pigment, clean and

easy

in its

As

charming
the

and

the

working

most

regard of

colours
claim

allowed, for it is
as

well

middle

masses,

its claim to
sympathetic colour, and fullyjustifies
the painter. As we
are
admitting to our company
brilliant hue, a brightyellow certainlyhas a
more
consideration

it

were

approached,and

In tree

this is

list,

our

would be the blue selected

ultramarine,which of course
for its costliness,
a full pan
being pricedas high as 21s.

depth

raw

colours,possessinga

be

now

such

french

or

blue for skies it is

full

merit

be,

masterpieces.

seekingfor

blue

it

which

painter,and

strong blue will

in

with

ease

select

our

state, it is in every

creation

list,there is,or should

our

already very
qualityto
every

to

possesses

when

regard

to

as

of

to
a

our

very

being a

callingfor component elements.

greens are
this colour for many
years, and have always found

great help when

have

used

very
is as

useful in
well not

colours
action.

not

supplyinga good brightyellow when

to

use

it with

either carmine

when
being satisfactory

or

combined

it

required. It

crimson-lake, these

owing

to chemical

COLOUR-BOX

THE

26

It is necessary

to

againstthe

the student

warn

sparing way, as its effect if

startlingand aggressive.
Another
bright and useful colour, which
in any

but

addition to
and
a
as

aidingin

Most

box.

our

the

pervadingthe

often

so

far too

the last of

will form

sense

very dangerous colour in the hands of the

it is likelyto help in producingthe

colour

freelyis

good

silverygreys,

of sunset-time, it is nevertheless

tones

warm

used

it is in every
beautiful in the making of

list of five,is rose-madder

second

our

of this colour

use

student,
inexperienced
depressingpurple-pink

of the

work

this

With

amateur.

warning it will be found helpful.

Beyond this very complete list of colours, which should be
few which
are
found sufficient for all practical
a
purposes, come
colours are all
added
of supply. These
given as an extra source
beautiful in themselves, and are well known
by experienceto me.
They should, however, be for the use of those only who have

word

of

become

of their art.

masters

They shall

be

taken

as

they

come

begin with naplesyellow,which is a beautiful pale

tone, rather opaque, and perfectly
permanent. For use in sunny
be found ;
better colour can
no
landscapesand buildingmasses
hand,

to

so

and

it is very admirable
Another
colour,with

which

is most
of

masses

has

obtained
be used

This colour is

herbage.
from

trees

colours.

and

foreground

of mine,

great favourite

associated

and

very

pure state, but it is not advisable to mix it

Indian
red is another
useful colour when

with blues.

beautiful, and

already reached

it

cannot

alone, in lightwashes, but is dense in substance, and

when

as

possibly be
Emerald-green may

which
of its own,
mixture
of other colours.

sparinglyin

other

used

the

painting of

foliage.

in it,is brown-pink,

a strong yellownature

in the

useful

effective in sunlit

strong character

with

and

can

Brown

and

be

included

purple-madder are
in

our

unsafe
useful

list,which

has

years of experience,
range which, after many
writer has found amply sufficient for all practicalpurposes.

There

are, of course,

qualitywhich
These

must

be

experiencethe

it has

left to

of great beauty and admirable

to mention.
found
necessary

others

numerous

not

been

the individual

student, who

best suited to his taste, and

will find

by
capable of

pigments
as
a painter.
fullyhis feelings
Reference
must
be
made
the great advantage there is
to
again
in adhering firmlyto a limited palette,
for the young
especially
the
student, as affording
greatest securityagainstpaintingin the

most
expressing

AND
florid

and

since

the

masters

unnatural

Coming
we

flat

now

be

ferrules.

what

flat-ferruled

when
as

be

can

Nos.

are

best

the

is

4, 8 and

drawn

of

red

For

all

three

brushes

are

be

to

sizes of brushes
It is very

attention

springy,

arising
with

colour

from

the

pigment

condition
surest

of

Failing this,
paint-box,
for

the

if

in

all will be

when

india-rubber

the

best

dry,

of

the

have

been

burnt

list

are

rags,

the

the
is

kept

but

few

should

doubt

in

mixing
by the
in good

other

the

that

constant

in the

painter.

This

annoyance
use

colours

no

be

use.

asked

often

box

the

dipper

size, viz.

after

previous

is

sponge

purposes,

corner

use.

of the

requirements
list will

The

for water,

be

pencil,and

added.

List

Primary

keep

red

sufficient,

brushes

prevent

There

water-colour
linen

sponge,

to

with

moment

no

amply

dried

keeping

weather.

it is

as

for this purpose

question

of

There

well.

of

imperial

from

means

hot

and

brush

palette.

effecting this is
a
piece of damp

equipment

complete

the

is the

for work

way

left in
on

is, which

student

them

and

rinsed

not

used

ordinary

that

necessary

round,

always

recommended

well

keep

half

beyond

brushes.

point,

matter

sidered,
con-

themselves

I have
is

of

in

latter

provide

black

be

must

subject

this

to

taste.

nature,

12.

the

round.
or

individual

likely

which

on

kept perfectly clean, being

will

followed

water-colour

early

quality obtainable,

instead

The

much

so

the

colour-box

of students

whether

is

been

by

student

number

from

in.

20

of

drawing

in.

16

the

left to

working
no

advise

but

brushes,

adopted
of the

part

brushes

has

27

from.

Attention

remarkable

and

which

colour

another

should

sable

of

departed
to

GENERALLY

manner

scheme
was

These

MATERIALS

of

Colours

cyanine-blue, yellow ochre, light red, ivory -black,

sienna.

Additional

list

french

ultramarine,

(transparent), emerald-green,
madder,

brown-madder,

indian

naples

green

yellow,

red, vermilion.

oxide
raw

of chromium

sienna,

rose-

III

CHAPTER

DRAWING

this

A LTHOUGH
-tl.

water-colour

the

subject

been

called

is built, and

without

rightly

pictorial Art
colour

becomes

more

is the

element

in

Art

at

to

once

work

should

his lack

by

is not
the

be

from

working

relative

that

student

enable

Before

study

of

drawing

water-colour

in

such

a
a

as

year."
as

way

Drawing

of infinite

which

enables

most

flat

one

surface.

elementary

on

joy.
to

To

put

student

such

It

advice

to

as

is

drawing

give

advice

such

which

ignorance,

the

being

should

and

be,
few

Art

for

matter

yet such

consideration

and

words,

appearance
the

begin
28

and

in

an

corrected.

study

it in

young

of

important

so

the

instruction

School

side

be

receive

be

lessons

requiring
to

to

and

amateurs

attended

in its

it would

disinclination

student

may

reproduce

Now

offer

subject,

general

should

career

this

on

one

constant

his

begins
is caused

progressive path,

all desire

aside

put

and

the

long

source

for

is ludicrous

this

be

must

artist, however

on

to

that

conscious.

where

to

amongst

probably

Now

schools

and

the

on

set

has

prevalent,

is very

error

he

to

picture,

experiences

made

details

thing

to

Drawing

student

becomes
kind

of

correctly.

exists

usual

be

safe

remarks

painting

drawing,

will

into

go

he

all

judgment

young

it.

sense

in

such

by

which

charming

to

once

great

more

which

is the

"

various

see

to

at

of this

work

to

presence,

the

he

reference

expression.

its

first check

very

pass

upon

most

only

When

follow

few

It

it is

attempt

to

begin

to

perhaps

the

eye

make

students.

in

of

can

the
we

well

as

of

the

Rather

will

scope

merits

taught.

and

of which

drawing,
the

it the

meaningless

submitted.
the

some

to

foundation

the

proclaims

eye,

nature,

of

within

the

which

critical

the

less

or

scarcely possible

making

without

drawing

of

subject

the

of

treat

to

it is

only,

painting

of

has

Drawing

is intended

book

case,

his

the

whole

drawing
of

of

time
is the

solid

it is evident

study

of the
a

Art

object

that

drawing

the

by

DRAWING

working from
copiesbe

solid object,and

made

from

29

under

flat

no

consideration

should

I have

drawings.
taught many young
the first lesson has been given from some
people,and invariably
familiar object. The child who beginsto study drawing in this
and as more
difficult objects
way has taken the first step properly,
are
drawn, the preliminary
stage is being dealt with which would
lead

student

to

to the living
antique cast, and, finally,
figure.
being read by a student who
is desirous of learningsomething
water-colour
painting. For such a student this
an

it may
be that these words are
has followed such a course, and who

Now

about

chapteris not intended, it is for

those who

are

more

or

less in the

the student stillin the earlystages

as
elementary stage.
of drawing is concerned, it is as well to assure
him that in studying
from familiar objectshe is doing what all the great artists of the
As

past have
The
with

done

before

far

him.

greatest help when

making a study is to provide oneself
which
offers the greatest possibleinterest to the
subject

student.

As

these

remarks

intended
for those
particularly
are
taking up the study of landscape paintingfrom nature
in water-colours,it is proposed, as far as possible,
the
to make
instruction on
drawing practically
apply to this branch of Art.
With
this end in view, it is stronglyadvised that wherever
the
student
is painting from
he should
have
with
him
nature
a
of
notes
and
studies
of
fair size in which to make
drawing-book
strike him as being particularly
interesting,
any objectwhich may
this
construction.
In
of
or
as presentingsome
difficulty
way all
the familiar objectsof nature pass under review and are subjected
to a keen scrutiny.
Details thus become
well known, and through this knowledge
labour should be
This pleasant
forciblyexpressedin one's work.
of effective painting
pursued with untiringeffort,as no amount
hide shortcomingsin drawing ; and, on the other hand, good
can
other technical
where
drawing gives interest to a picture even
to record drawings
in which
are
qualities
lacking. A notebook
should be the constant
companion of the student, and such small
but gradually
efforts will not only afford much
strengthen
pleasure,
also be
should
attention
his capacity in this direction.
Much
of the
work by the great men
devoted
to the study of notebook
drawings and notes,
past, notably that of Constable, whose
are

who

exhibited
be

in Room

99

constantlystudied.

at the

Victoria and Albert Museum,

should

DRAWING

30

A very favourite
in pen and ink
colours

in

detail is to

thus

veritable water-colour

where

and

as

the

compositionswhere

subjectbuildings,
of

greatest amount

is
difficulty

of

maximum

local

impossibleto impress too stronglythe necessity

study of drawing, as it is only by continual hard

It is

for the constant

in this direction that

work

making

ings
draw-

to tint in the

then

studies it is best to select

obtained

be

highlydetailed

is to make

mine

colour outline,and

or

light washes,

drawing. For such

shipping,or other
present.

plan of

can

success

obtained.

be
possibly

give a familiar illustration of the importance attached to the

constant
study of drawing by a great artist : A story is told of the
an
antique
late Professor Legros,who being asked to recommend
torso
the
by
cast for the study of a student, suggested
large
had
he
that
student
Michael Angelo. To this advice the
replied
if
And what
drawn
it three times already.
you have," said the
I

"

many

more."

study

of

to

one

the

it

over

done

work

in

life school

enables

drawing

difficulties experiencedwhen

the

meet

done

I have

subject. Thus

of

forty times, and hope to do it

that the
The student should always bear in mind
particularkind of drawing helps with every class

"

Professor.

one

tree,

or

barge.
I

was

student

spent only
time

for many
week in the

one

years

at

the

Slade

Antique Room,

being passed in the Life Room.

The

the

School, where
remainder

years

thus

of my

spent in

culties
objectof qualifyingfor the diffifrom
with in paintinglandscapesin water-colours
to be met
class of work it was
nature
always my ambition
; for this particular
On the other hand, it very frequentlyhappens that
to pursue.
in their previous
the best students from the life are those who
studies have
only drawn from inanimate objects,but who have
by such work arrived at great perfection.The great qualityto
be aimed
at is that of taking infinite pains which, once
attained,

drawing from

should
As

lead to
has

to make

that

it

remarked

before, this book

is

on

water-colour

the

questionof drawing is only dealt with in order

it clear to the student how important the subject is,and
in such a light. In subshould always be looked upon
sequent
chapters this question of drawing will be constantly

emphasizedand
to.

the

success.

been

painting,and

with

life were

Among

there is no

the works

all the
instance

of the

artists whose
of

one

who

great men
work

of the

will be

has not evidenced

past referred

reproduced here
by his paintings

DRAWING

his

devotion

irksome
the
means

to

is

nature

giants
of

in

To

drawing.

the

expressing

entirely
field

of

their

31

look

modern

Art

ideas.

this

upon

regarded

idea,

as

it

as

study
all
the

tends
most

as

to

one

show

of

an

that

fascinating

IV

CHAPTER

STILL

found

HAVE

when

aversion
in

of

life work

the
For

fifty

than

more

various

Schools

still fife

subjects.

I have

as

owing

have

the

manner

of

it in

outline

mistress,
to

painted.
task,

laborious
and

out

due

painting

and

which

next

which

friends
of

Now

quality

every

merit,
executed
lives

in

Such

which

equally

but

the

the
process

way

direful

and

method

the

on

still life

to

the

work

and

production
was

was

and

is

make

it

even

to

the

brain

supplied

33

still

more

washingthe

course,

and

work,

dull

deadly

only
the

certain

in

equally impressed.

are

that

is

Of

fine

so

or

condition

much

finished.

to

master

proper

colouring,

produced

it is that

sure

generally

proceeds
the

by

in

as

of

is

student

criticisms

thing
to

which

corrected

pronounced

having

goes

this

that

endless
is

drawing,

as

their
had

has

kind

the

finally passed

relatives

certainty

far

as

produced.

found

object

set, the

being

process,

at

and

of

group

is

after

is astonished

course

who

being duly

again,

The

subject

alterations

many

student

students

the

have,

been

have

entirely

rests

of

entirely lacked

have

numbers,

vast

the

two.

pencil,

again

in

fault

The

is this.

to

which

drawings,

Britain

and

matter,
the

objected

be

of such

which

they

in

paintings

has, however,

which

by

This

produced

been

groups,

arranged,

method

the

taste.

confused

The

well

such

cause.

one

water-colour

of

of

study

of Great

public

on

in

not

homes

the

effect

The

dullness

utter

into

to

thousands

as

thing indispensable

to

have

there

years

Art

been

seen,

interest
The

of

due

chiefly

is

artist

an

as

upon

objects

water-colours.

in

nature

looked

be

should

what

to

from

working

to

still life

of

study

the

students

by

made

objection

constant

recommended

I have

preliminary

and

great

LIFE

by

cause,

effort, lacking

hand

of

sooner

small

the

master
or

or

art

student

if any,

power,
the

of

thing

which

mistress.

later,

revolt

STILL

againstthe system.

This

LIFE

33

has come,

and

accordingly.
Now
havingattemptedto explainwhy
such

"

stilllife

the modern

"

is hated

student

has

justifiable
objectionto paintingfrom stilllife,I find it a
very pleasanttask to talk about the better way of doing this class
of work.
I hope before I leave the subjectto have converted the
reader to look upon this delightful
and interesting
study with my
of my joy when pursuingit.
own
eyes, and to feel some
The student should always bear in mind
that his latest study
a

should

be

clear statement

knowledge, so
under

the

passedas

much

and

direction
the work

of

of the

no
a

and

extent

drawing done
full of his knowledge, is
much
misapprehensionis

If,however,

more.

master,

and

of the student, then

limit of his Art

a

to arise in the mind of such a student, and of others also. The

likely
earlydrawings should be done in line only,without any thought
of the questionof lightand shade, which shall be dealt with as
In this elementary
under
notice.
difficult studies come
more
of drawings should be done, and in each case
stage great numbers

the

effort

concentrated

most

capable. No

progress can
each
taken, and if possible
artist whose
opinion can
in

achieved
seek to

get

of

which

student

the

is

hoped for unless great painsare

drawing should be corrected by the best
be

be

drawing objectsin
an

made

got. When
outline

effect of construction

has
proficiency

only,it is the
by puttingin

best
a

been

plan to

shadow

of

value

one

only.
making studies

objectssuch as these, the greatestcare

with accuracy.
should be taken to preserve the shape of the shadow
It is also most
important to paint the shadow in one wash, the
effect of this method
being to get an appearance of great strength
into the drawing. In order to keep up a keen interest in this kind
a collection of any
objects
of study the student is advised to make
of shape or colour likely
which strike him as possessing
qualities
to make
interesting
groups. I myself,during the time that I was
attention to this class of work, made a very large
givingparticular
Glass,
collection of objectsof great varietyat a very small cost.
and
ancient
china, metal-work, odd piecesof old wood-carving,
and a thousand
of every description,
and arms
modern
armour
and one other objectssuitable to draw and paint.
that so much
importance
It may
appear strange to the student
to
are
consideringas a preliminary
is placed on the study we
In

paintingfrom
c

nature.

of

It must

be borne

in

mind, however, that

LIFE

STILL

34

before

proceedingto

found

to

confront

deal with
when

one

will be

great difficulties which

the

working

open, it is necessary
technical knowledge of the
in the

perfectas possiblein the

in the chapter
I have attempted to explainthis method
medium.
In order
dealingwith the questionof how to use water-colours.
than great
found no better way
to gain this knowledge, I have
to

be

as

devotion

to

It is very charming to sit

of objects,and, at leisure,
interesting
group
with
It is this struggling
colour and values.

study of still life.

the

quietlyin front of an
study their lines and
difficulties which
gives the importance
it of great value to the artist.
At no time should it be looked upon

and

still life work,

to

makes

as

of the

many

picturesof
The

more

is

master, and
which

given the

table

and

the

of

doer.

In order

many

advantages

and

are

armour

couragement
enbeing so, how much
such
of
in
the
a
to follow
steps

student

in this class of

with

ease

work

enchanting

most

arms

which

There

are

of great

we

to demonstrate

which

beauty,

in
have

advantages

many

them

work, but amongst

which

and

fame

ensure

from

ceivably
very confor the

may

manner
practical

derived

few

objects

few

place a

can

immediately begin a study

become

small moment,

stilllife ; this

attempt great things.

to be found

are

the

done

made

Vandyke

less than

greater than

are
on

which

nor

thing of

objects at the best period of their work.

inanimate

studies

neither

greatest paintershave

as

of the

some

having devoted

study, I now
give my personalexperience. As
an
instance, when
beginning a paintingwhere the interest of the
foreground is centred in a building,a knowledge of drawing and
much

time

to this

Likewise, in working
absolutelynecessary.
in and occupiesa proma
on
compositionwhere shippingcomes
inent
position,a similar experienceis essential,as the details,
and commonplace.
unless made
with accuracy,
become
tame
the
Another
simple joy of working
very important point is that
when
the painterfeels himself capable of
is infinitely
enhanced
ing
masteringdifficultieswhich appear to the inexperiencedeye nothbut a confused mass
of details. Nothing has given me
greater
mastery

of detail is

satisfaction

in my
in the task

expression.All
will school

work

than

thus

to unravel

selected,and graduallyto

such

himself

delightcan
to

the

be

necessary

great apparent

reduce

promised to
toil,which

of pains and patience. As a reward

infinity
happy result is sure to follow. Very wonderful

it to

the

orderly

an

student

consists

for such
is it to

fusion
con-

who

of

an

the
efforts,
see

the halo

STILL

of

beauty

when

which

in

that

numbering
the

to

if

observe
a

make

continued

and

the

it

them,
note

work
a

greater

has

distinct
sense

efforts.

commonplace

draughtsman

great

artist's

dating

corresponding
yet

the

35

otherwise

an

found

series

means,

an

have

and

review

should

of

part
I

this

by

mind

necessary

feel

surrounds

translated

borne

LIFE

of

study
in

work,

good
and

order

of

to

carefully

then

at

the

zealously

satisfaction,

end

his
and

be

always

alive

keep

all

keep
of

twelve

been

pursued,
in

it

is

drawings

to

has

progress

advancement

let

masterly

plan

what
been

and

object,

his

thusiasm.
en-

studies,
months

By

made.
the

student

knowledge,
encouragement

and

CHAPTER

METHOD

it clear

make

to

when

the

it is laid

should

rule

This
of his

I will

Art.

difficulty,the
the

even

of

first this

him

to

in

obvious,
colour
and

to
as

produced

it

thus

in this

paper

having

considering
out

but

the
on

order

(in

have

place

of

it

hangs

get

been

no

the

is

whole

on

with

as

blot

When

hand,

The
a

36

will

between

of

full brush,

is

ing
dry-

applied

and

This

referred
the

we

some

washing

pains.
be

wash

shadow

and

atmosphere,,
and

very

it is referred

if the

and

plate

our

colour

washes,

right tone)

difference

tention
con-

does, and

dry in,

to

several

colour

will

made

colour, lacking all vitality, but

putting
the

in

other

of labour

the

but

my

in

Tower

once

effect.

by

At

paper.

which

which

at

on

transparent

evidence

every

manner

to

opaque

an

the

produced

been

put

is allowed

on

the

evident

point clearly.

flat it dried

and

Now,

The

the

was

to

more

upon

shadow,

in

transparent

manner

had

instead

in its

bloom.

would

there

shadow

resting quite

paper

method.

demonstrate

to

as

simple illustration, drawing

very

side

one

the

subject,

of

upon

simple thing,

principle

is the

in order

demonstrate

to

applied

very

the

direct

with

this

forming

the

as

seen

to

with

begin

To

order

student

this

shown

master

looked

be

to

be

the

as

words.

foregoing

here

are

artist.

arranged

intended

should

attention

well

as

drawings,
the

way

no

the

to

meant

is

(Illus. II)

in

that

exists.
is here

of
of

medium

our

his

gives

it become

series

are

seem

may

he

what

in

pictures, but

which

in

student

young

practical meaning

parts

manner

more

show

illustrations

These

the

guide

in

and

water-colour

the

of

the

first and

working

in

directness

aim

the

be

As

painted.

Art

that

down

should

effects

producing

this

of

and

since

interruption

any

attempt

practise

which

system

or

without

masters

great

general principle

mode

pursued

I will

using water-colours,

of

the

that

been

has

advocate
time

method

the

WATER-COLOURS

USING

OF

considering

IN

to
are

ing
spongin
no

again,
bloom,

possessing
question

to

again,

early

of

for

water-

METHOD

OF

USING

WATER-COLOURS

37

colour

painters,together with their followers,and the men

who
in this medium
during the greaterpart of the nineteenth
This
of putting on colour in full washes
century.
simple method
and then allowingit to dry in undisturbed, is the firstgreat point
worked

which

the

examples

student

should

attention, or the dense

foliage always the

"

filled brush

blot

simple

very

given to impressand emphasizethe point.

always be borne in mind that the method is the same
the silvery shadow
on
a
bright white cloud claims

whether

brush

these

are

It must

our

Therefore

master.

and

full

same

then

shadow

on

of middle

mass

of colour

mass

allowed

dry

to

in

as

distance

appliedfrom
blot.

well-

Take

large
big a

filled to
as

overflowing,and then on your paper flick as

can, and without
disturbingit let it dry. Look at

you

spot of colour
It is the

full,transparent,and with

now,

fetish of the

water-colour

rich bloom

method

of

this

on

and

work,

it.

its

greatest beauty.
The

student

British
paintingsof this peculiarly
great Galleries,public and private,in Great

most

of the

and

America.

from

which

can

see

Of

there

course

instruction

are

such

many

Art

in

Britain

treasure-houses

water-colour

be gathered; and be
can
inspiration
also, that this scheme of applying water-colour in
not
peculiarto the mode of working by the old
master, but has been followed since the art began.

Not

Thomas

it remembered
"

blot

"

was

only did
recognizeit

the

as

and

Girtin,John
for

means

Sell Cotman

and

Peter de Wint
and

gettingatmosphere

fullness of

as
colour, but from their time to the present such men
Bonington,
Collier,Melville, and now
Cox, Callow, Thomas
Miiller,David
artists adhere to it.
P. W. Steer, H. Tonks, and other modern

is to try and take the

I myself have followed.

intention

My
road

which

student

with

along the

me

should
make
his drawing
earlier stages the student
in penciluntil,having satisfied himself that it is correct,
carefully
In

he

the

proceedwith

can

student

is

now

one,

will find

my

the
care,

colouring. The
so

although it is hoped

as

littletrouble

study shall be

that the

interest in it, as

some

accomplishthis study only the

that

first

our

well

as

elementary
a

very

advanced

more

the

firstfive colours

anxiety as possible
may

and

less

or

more

mentary
ele-

man
work-

beginner.

To

used, in order

are

arise to confuse

the student.
This

study

has been

line,values, and

selected

detail.

as

It is one,

very

simplecomposition,in

however, which

can

be found

ILLUSTRATION

full

II

Chukch

Sussex

of

description

this

Tower

is

drawing

ILLUSTRATION

The

Effect

full

description

V.

Woodland

Cloud
over

of

Chapter

III

Heavy
of

in

given

this

drawing

is

given

in

Chapter

V.

Illus. II

Sussex

Church

Tower

Illus. Ill

TWR

ETTfRCT

OF

HEAVY

CLOUD

OVER

WOODLAND

METHOD

OF

USING

WATER-COLOURS

39

ready to hand throughout the length and breadth of England, for

the beginner to try his hand at, when
puttingin practicethis first
simple truth of the well-tried method
I advocate.
Many a like
I
have
and
drawing
I hope to wrestle with, in
more
made,
many
to
to
add
in
attempt
my
my knowledge of paintingfrom nature
water-colours.
that

out

In these firstwords
should

attempt

of advice it is as

be made

well to

point

begin a water-colour by
or
gettingwhat is called qualityinto the work
the
tones
whole
which
be entirely
hidden
by washing over
may
not
be thought,
by subsequent laying on of colour. It must
that
of local colour is never
to in
however,
a mass
to be added
parts.
In the drawing of the Bridge (Illus.
IV), the shadow on it to the
left was
the local colour was
added
when
quite dry. This point
show
be added, but such an
how a deeper tone can
will serve
to
addition should never
the local mass.
The early
entirelycover
efforts of the student when
should always
paintingfrom nature
be an
attempt to express as far as possiblethe view he has
selected as simply as he can.
This aim is,however, almost entirely
rather to be the student's
neglected,and it appears
object to
no

to

tintingthe paper,

his efforts

make

Needless

to

nothing but

giving up

the

that such

say

is leadingto

of the

with

sound

basis it will lead to

One
is
as
a

abilityof

tree

comes

different colour.

best way is to allow

the wet colours in
line of white

can

favourite

some

begin to study from

disappointment,and sooner
to

way

undertaken.

The

best, but

knowledge

of the

task is

master.
nature
or

hard

if commenced

later
one,
on

subjectproportionate

the student.

of colour
a

sore

of

work

difficulties at

of the earliest

mass

when

endless

task

beset

to the

the

resemble

stumbling-blockswhich
another

with

in touch

will be encountered
of

different tone,

buildingor another tree of

I have
In such a case
always found that the
between
to remain
a thin line of the dry paper
all is dry, the dividing
juxtaposition.When
in front

of

be filled in with

either colour.

is here meant.
what
distinctly
hood
there is a likeliOf course,
this plan need only be adopted when
of the colours
running together. This plan of piecing
to
should be found very helpful
togethera drawing from nature
the student, and is one which I have often put in practice.
how I begin
been asked by pupilsto tell them
I have frequently
to paint a picture.To this question there is,accordingto my

This

illustration will show

very

ILLUSTRATION

IV

Bridge

Drawing

IN

this

colour

but

the

drawing

shadow

quite

was

such

of

to

deeper

should

addition
an

local

the

when

was

thus

dry

added

left

the

added,

can

whole

the

entirely

never

be

tone

cover

mass.

ILLUSTRATION

Common

Inn

and

whole

THE

scheme

day,

of
a

and

gave

only

grey

To

pond.

drawing
of

blue

of

centre

added

interest.

the

Common

foreground

these

the
was

Here

the

strip
with

Inn,

the

were

cottages
five

neutral

quiet
of

sky

distance

the

and

white

and

road

which

trees

colours

still
were

used.
ones

this

cold

the

the

of

tone

warmer

of

the

Illus.

IV

Illus.

Bridge

Common

and

Inn

METHOD

belief,only
or

is

such

OF

one

answer

USING
:

on

mechanical

WATER-COLOURS

first wash
paper, without
any
But
from that point,how to go on

dry

process.
different matter.
However,

very
somewhere

and

the water-colour

as

I write

student,

41

with the
start

there must

be

beginning
attemptingto help

objectof

shall be made.

the

is equally addressed
to the
plan herewith advocated
youngest beginner, as to those who have travelled far on the
road.
Begin by drawing or paintingthe most interesting
object,
of
the
have
chosen
for
or part
subjectyou
your study or picture.
Now

"V%

Illus.

VI.

Commencing

Painting

in

Water-Colours

pictureis started. The beauty of the line of castle

the brightmass
of brilliant white cloud, and the crowd
buildings,
of trees in the middle
foreground,all tend to make up a picture
in line,colour, and value composition. These
parts
satisfactory
the livingsoul of the thing,and being so, were
to me
were
tered
regisAnd
but
not
without
as
only
hurry.
rapidly as possible,
attention
and
without
of
atom
with
but
rather
centration
conhurry,
every
I was
of which
capable. Before the sunlighthad
passed from cloud or castle, and before the shadow had left the
tree group, the spineof the work
was
completed,and all else to be
done was
ance,
patientlyto go on with the details of secondaryimportstillfurther to increase the interest of
and to seek by them
Now

here

the heart
Now

of the work.

it is in

doing these

middle

and

later

parts of

our

picture

VII

ILLUSTRATION

Piecing

/HEN

II

"

tone,

another,

one

remain

of

mass

different

"

into
to

one

either

drawing
the

in

road

of

high

dark

balance,

means

in

degree

under

of

composition

of

the

If

cloud
would

the

to

the

light
it

mass

be

would

bad.

bank

and

are

left

the

of

are

right.
the

the

in

piece

of

Complement
in

were

looked

ment
comple-

tary
complemen-

picture

foreground
have

and

clouds,

bank

to

part

one

sunlit

and

cattle

herbage

part.
the

with

trees

repeating

another

immediately
such

or

cattle,

dark
and

of

mass

group

tree

paper
in

fill

59)

page

of

the

dry

Clouds

the

shows

group
The

cloud

the

to

value.

the

to

and

given

foreground

and

dry

are

of

VIII

Break

here

line

thin

running

them

colour.

(See

THE

both

ILLUSTRATION

of

danger

allow

to

until

two

with

space

is

plan

the

is

there

of

another

with

touch

in

comes

that

best

between

intervening

colour

so

the

Colours

together

lesser

placed
unsightly,

Illus. VII

Piecing

Colotjks

together

Illus. VIII

Break

in

the

Clouds

(See

p.

59)

METHOD
that

success

OF

USING

failure may

or

WATER-COLOURS

step in

therefore

43
it becomes

lutely
abso-

that the effort to achieve should be sustained

necessary
until the last brushful of colour has been used, and the artist
leaves his work to the judgment of others. Words
seem

inadequate

to

emotion, and
express an
towards
this objectthe words

effort is directed
pictorial

as

every
be assumed

must

to have

done

their

best.
In

this subject,a reallydifficult and complex

selecting
has been

might well

stumble

considered,and
Yet

over.

which

one

the most

all that has been

position
com-

experienced

written in reference

it is the same,

to

only enlargedand elaborated,as would be said

simplestudy were being discussed. The drawing which

if a very
shall be considered

is

now

of

one

and
great simplicity,

suited to

the

beginner. (See page 40.)

Landscapes of this simple type
England and other countries,and
hand
of
in

of the

student.

The

course

are

scattered

are

everywhere ready

of everyone

broadcast

in Art must

from simple to great things,and joy should

progression,
each stage, although necessarily
the greater achievement

over

to

the

be

one

be felt
will

afford the greater satisfaction.

A very familiar difficulty
which
when
as

largesurface
of

mass

shadowed

has

woodland,

to
a

constantlyis met with arises

be covered, with varying colour, such
heath or common
or
yet again,a
;

wall of different materials.

alters fresh additions

should

parti-coloured
appearance
narrow

made

to

be

given to
change occurs,

very violent
line of paper between

however,

be

In such

the tones

the

cases,

as

the colour

brush, and

so

the

objectpainted. When,
then the rule of leavinga

the

should

be followed.

of
mass
which
often happens, is when
a
difficulty,
the
In such a case, see that
colour is obviouslytoo dark in tone.
offendingpart is quite dry, and then put with the brush some
clean water
on
it, and brisklyrub with a dry clean rag. Do not
If deftlydone this givesa very charming
put on too much water.
Another

effect.

When

drawing

in

hand,

very clear
the student

shadow
should

a
part
passes over
limits
of
its
take note

of

the

and

completion of the work, when all the local colours are

be run
set and dry, it can
in, and if done with care and judgment
herself uses.
the result should be a transparentveil such as Nature
that a series of tricks
It must
not be thought from these remarks
The
exist in this lovelyart.
is going to be divulged,as none
show the student
will clearly
or failure of this cloud shadow
success
then

on

the

METHOD

44

WATER-COLOURS

USING

OF

the
To epitomize,
blot."
grasped the questionof the
is untiringdevotion
method
I suggest and believe in and practise,
to drawing, a constant
study of Nature and all her moods, and
then
emotional
effort to registersuch
an
phases in a direct
without
relyingin the least on any set rule of thumb,
manner,
"

if he has

mechanical

or

aid.

having drawn attention to the method which I believe in

the only one
as
capable of givingto water-colours their greatest
I object
to which
beauty, it is necessary to mention those means
the student.
and againstwhich I want
to warn
Now

in order to trace the rise of the laboured and

It is necessary,
of painting in water-colours,
less mechanical
more
manner
or

anything like an exact

than
date for this transition is impossible,
as the change took more
seems
for this gradual decadence
account
a generation. To
very
unless we take into consideration the great social changes
difficult,
had come
Revolution
which were
then taking place. The French
and gone, Europe was
preparingfor her long rest after a hundred
had begun,
years of war, and a series of extraordinaryinventions
which were
destined to replacethe aristocracyof the land by a
rulingclass,owing its creation to trade and manufacture.
the
sole
The
been
for generations almost
old nobility had
patrons of Art, and they had dispensedtheir patronage with rare
abilityand taste. The new order had to be educated in taste and
culture ; but in the interim the Arts suffered,and that severely.
As the new
kind of buyer increased, it became
evident that more
so-called
finish
looked for in works
of art as a speciesof
was
guarantee that much time and labour had been expended on their
the part of the public
on
production. Unfortunatelythis demand
met
with a ready response, and
even
amongst artists of the
to go back

nearlya

greatest distinction
term

the

term

To

years.

fix

"

"

new

hundred

now

came

the

effect could

into vogue,

be

and

commonly applied to the

laboriouslyover-detailed efforts which

seen

"

in their works.

Exhibition

works

"

was

completely finished
the
began to cover

and
walls

of the

also hear of the emotional

and
great Galleries. We now
spontaneous drawings (water-colour)
being styled sketches
"

which

term

was

slightthing and
common
as

use

does this

intended
of not

there is not
one.

referred to is

to

much
one

the

convey
account.

which

Doubtless

something less

conveys

it is intended

than

meaning
Now

that

it

was

of all the terms

such
to

"

mean

false

in

impression

that the effort

complete thing.

ILLUSTRATION

IX

Peter

Wint
de

1782-1842

BRAY-ON-THE-THAMES

FROM

THE

TOWING

National

PATH

Gallery

"5b

^^

W
CO

"j

ti-i

9"

METHOD

OF

USING

Every genuine effort

of

WATER-COLOURS

in Art

is

47

It is the

complete.

expression

emotion,
being such is finished. As an instance of what
is here meant, let two water-colour drawings by Peter de Wint
in
the Victoria and Albert Museum
be cited. They are both of Brayand

an

on-the-Thames.

The

highestqualityand
laboured effort upon
overdone
Let

with

smaller

is

beauty,

rare

which

much

detail,and

very

direct emotional

and

the

other

work

and

of the

largerone

time and

thought have been spent,

Exhibition
work."
evidentlyan
"

the student

carefullystudy the two, and soon he will be convinced

that the so-called sketch is the livingwork of art, and the
other is well,it is something much
less,and convinces not at all.
These
rather beside our
remarks, which may
seem
subject,will,
if the student
considers
of
carefully
them, appear
reallygreat
importance. It is as necessary to draw attention to that which
should be avoided, as to point out the method
which is advised.
here make
short
Bearing directlyon this subject,I must
a
reference to the place in Art occupied by Turner.
This greatest
of all landscapepaintershas been to the student of water-colour
work a cause
of stumbling and disaster. This may
sound a harsh
the
assertion
statement, but a little explanation will make
"

evident.
Should

the learner confine himself

"

Period

of this

many

done

not

drawings, includingthose
the

show

and
and

as

been

It has

which

traversed.
and

middle

been

his models

of Turner

in

study of

the

"

Middle

be well, but very unfortunately

paintingsand water-colour

His

so.

sepia for

pure and direct method

these the writer is never

help.

take

all would

great master

have

to the

here
weary

the

"

Liber

Studiorum,"

recommended
of

goingto

to

for

the fashion, however, for the

tion,
admira-

inspiration
student

to

styleand method those later poeticalefforts

only possibleafter his former periodshad

of
were

This

has

to water-colour

of the nineteenth

the

been

cause

of much

dividuall
disaster in-

later

paintinggenerallyduring the

century.

The

attempt

to copy

the water-

later years has only resulted

in utter failure,
the best that has been achieved being a miserable
colours executed

by

during his

Turner

imitation.
The

student

must

begin his

work

from

the

first

beginning,at

to express his thoughts and emotions,

using the simple means
free from
become
then as his knowledge develops he may

restraint,and afterwards
stand

alone to

justifyor

of his art, his work

he has used.
otherwise the means
as

the master

and
all

must

METHOD

48

Before

subjectis left,another

tMs

whose
and

care,

towards

heavy,

qualityfar inferior to

that

be

must

whose

tioned
men-

with

studied

great

became

work

comparatively
distinguished

of his life over-laboured,

the later middle

of

be

Sell Cotman,

is John

this master

master

great
should

of work

entire range

and

WATER-COLOURS

USING

OF

which

to have
during his earlier life. He appears
brilliantly
recognizedhis fault,as the work of his later years again had the
it is so
for which
limpid beauty of wash and charming simplicity
student
confused
much
as
a
highly distinguished.I was
young
From
and exercised when
no
looking at this master's work.
have
I
but
I
the
learned
fortunately questioned
painter
more,
of
here
Cotman
referred
to.
The
reader will see
that I
period
am
givingmy experiencesvery fully,hoping by it to encourage
and
stimulate inquiry and effort,and it is on this account
this
method
has been written.
It
separate chapter on water-colour
be quite understood, however, that I shall seek throughout
must
this book to keep the questionnow
being considered ever present,
it is,in my
as
opinion,the subject which should be the keynote
of a technical work
of this kind.
It may
be of further help and

him

so

interest

discuss

to

present day whose

study of
with

method.

the

method

Thomas

work

here

whose

of their

worthy

J. S. Cotman

and

and

the

me

earliest to

greatest help in

are

with

closelywhenever

him

Peter

de

should
Wint.

be linked
Each

in their

paintingsthe greatest help to the

and style. As
acquire purity of method
earlypart of the nineteenth century, no men

of these
student
we

have

William

on

consideration,

our

Muller.

Their

as

method

Richard
and

Parkes

manner

equally

as

the
a

occasion

an

effort to

claim

the

later on
again mentioned
cited as
affordingadmirable
be more
less easilytraced
or

be studied

seeinghis work,

the

will be

men

paintingscan
working.

Girtin should

from

men

afforded

they

arises of

afford

has

All these

others, but

examples, in

little those

men

in his

break
so

into

great

Bonington

are

and

fresh and

ever

full of

profound interest,and their work should become familiar

who
are
studying,or who take a delightin watercolour painting.
Later on there is Callow, who, althoughnot of the first order,
very admirably carried on the pure system and traditions of his
to

art.

all those

To

finish

helps
Collier and

to

our

the

list of those

men

who

student, mention

Henry Tonks,

the

former

are

must

here
be

of whom

given

made

as

cular
parti-

of Thomas

worked

during

ILLUSTRATION

Sell

John

Cotman

1782-1842

OLD

DRAINING

WINDMILL

ILLUSTRATION

the

hand,
admirable

in

in

order

fault.

drawing

are

building

the

The

left

the

stretches

very

beautiful,

all

None
the

work

white,
is

of

of

or

mortification
his

heart.

and

of

is

good

after
of

far

his
curious

and

that
is

his

less

men

able
laborious

better

his

how

to

neutral

spots

and

was

in

face

he

the

be

the

of

die

to

and

had

race

only

his

was

kind

most

in

can

fine

delicate,

Cotman's

career,

showed

was

of

degree,

bright

extremely

succeed

that
use

Cotman

him,

name,

to

it.

sky

head

delightful

that

character
cheered

also

the

with

Cotman

fact

fortune

for

in

of

the

telling

introduce

line

Mill

in

than

pictures

feeling

most

what,

better

touch

and

is

of

part

in

introduced

being

knew

his

The

It

effect

white

the

of

the

head

break

reserved

Always

and

the

as

is

inkiness.

planked

the

piece

it, the

painters

red.

seeing

early
broken

red,

refined,

little

of

lot,

use

the

by

there

but

manner

as'well

Mill,

white

it.

of

refinement,

Very

the

the

masterly

firm.

delicate

gentle.

while

with

profoundly
very

in

portion

then

of

does

old

our

in

especially

such

no

all

the

of

is

pointed

be

has

black,

an

Mill

the

only

eliminates

complemented

back

black,

black,

although
full

the

major

and

tones,

wsrk

of

is

which

of

drawing

very

excellence

part

also

Cotman

spots

result.

and

at

when

his

lower

the

hand,
out

colour,

of

constructive

the^figure

of

light

darks

and

of

blacks

is

Cotman

black
need

original

the

his

his

in

this

but

that

gets

atmosphere

plate

manner,

it clear

often

precision

The

inky

an

make

to

Cotman

always

to

rather

S.

the

masterly

and

firm

John

of

the

In

study.

to

usual

his

Windmill

Draining

picture

rendered
out

Old

with

drawn

and

drawn,

Windmill

Draining

Old

FINELY

life,
paratively
com-

called

Illus. X

By permission of Mr.

Old

Draining

Windmill,

by

J.

S. Cotman

Palser

METHOD

late

the

middle

Works

of
be

can

Mr.

productions

particular
the

help

their

seek

oneself

so,

"

their

style
all

Let

done,

of

the

taint

are

seeking

the

same

saying

that

is

will

make

to

the

brush
such

in

said

this

all

end

way

well,

is

and

easily

it

the
to

is

and

now

useless

close

and

the

credit

paying
constant

of

the

said

"

Style

from

that

they

very

attention

study
painter.

to

of

"

if he

free

tarred
are

and
have

then

quite

are

Critics

endured.

from

pupils

again

all

where

else, and
is

told

all

and
is

he

always

direct

thing.

ever,

into

have

my
a

if

after

such

distinction

great

someone

but

of

suggestion,

introduce

work

although

assumes,

Everyone

affront

thing,

this

painter

plagiarism.
tomimitate

existence

the

possess

lose,

to

this

as

And

pitfall.

style

no

do

they

refresh

to

will

fear

its

in

permanently,

at

constantly

"

such

no

mind

who
ing
look-

study

most

all

after

wherewith

may

if

advising

quality

does

eventually

of

has

last

very

that

fear

need

referred

constantly

man.

assured,

made

shudder

one

of

by

seen

myself,

to

the

on

they

another

always

am

student

the

quite

they

Nature,

of

that

rest

and

advised

is

"

what

at

aid

possession,
any

affording

as

be

can

master,

work

let

not

EBrror

and
an

as

the

pleasing
Do

with

recoil

emotional

possession

common

particular

any

fixes

leisure.

at

there

as

the

mentioned

Britain,

frequently,

the

seeing

them,

studying

by

the

are

Great

of

of

is

of

with

working
of

taken

here

men

student

course

being

the

have

drawing

Such

style.

and

aid.

the

at

the

galleries

public

than

is

work.

of

to

be

51

found

be

can

taken

master's

latter

the

should

advantage
lessons

this

of

The

and

Tonks,

COLOURS

while

time,

opportunities

better

no

beauties

of

Victorian

Whenever

now.

us

WATER

USING

OF

with
fond
much
Nature

0$

3 i "r
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DO

wHO"Ow

CHAPTER

VI

COMPOSITION

IN

LANDSCAPE

question of
THEconnected
with

composition

is the

the

of

making

of

marring

or

pictures, so

that

described

as

down

lay
would

be

which

has

law

Middleharnis,
should

rule

quiet

at

which

in

To

the

or

only

should

obtain

all

to

not

in

his

yet he

the

effect

result

the

work

the

trained

eye

can

get

to

gave

road

the

so

picture
world

the

of

which

ideas

preconceived

and

be

this

effect

the

way

on

student

part of his work

of critical

concensus

but

Hobbema,

opposition

To

colour.

and

unerringly guided

be

recognized,

achievement.

satisfaction

important

most

the

thing

is

could

most

correctly

be

can

of line, values
artist

in

occur

which

that

see

the

The

mistakes

the

rests

one

treasures.

picture.
the

we

Herein

picture.

Small

good composition,

composition,
Now

do

which

went

of its greatest
A

by
to

work.

arrangement

impossible.
led

the

seldom

grand

painting

matter

important

most

is to

opinion

will

look

good

only

at

in

otherwise.

be

of this

knowledge

pictures

those

in the

placed

has

looking

be

must

correct

when

produced

category

of

good compositions.

a~|iractical
suggestion

As
of
a

mine,
small

have

to

book

I have

subject

buildings,timber

in fact

with

nature.

but

to

labour.

rough

just

order

to

outdoor

if the

see

It is also

dated,

particular

interest.
of

of such

studies

masses,

roads,

farm

which

I met

need

and

mind

good plan

drawings

in

landscape

such

not

be

then
is

getting

for the

sepia
53

from

or

indian

plan

nature,
ments
arrange-

simple

this

In

conceivable

every

buildings, rivers,
with

in any

in my

the

time

time

to

memory.

critical
to

make

ink, others

verse
con-

ated,
elabor-

way

refresh

more

student

from

stpdies

my

just

for years

was

sufficiently to

down

be

of

studies

These
noted

noted

everything

all and

should

notes

in

being

advised, and

pursuing

be

hundreds

shipping,

Such

me

as

me

made

when

could

in-which

struck

as

way

with

it is

referred

by

from
not

such
these
over-

LANDSCAPE

IN

COMPOSITION

54

far to let the lines,general

just sufficiently
and values express themselves.
of the pictures,
masses
the principalparts of the work,
is meant
By generalmasses
of clouds, tree masses,
such as distant hills,
lightsand shadows
be shunned, as Art
rivers,and foreground. No labour must
finished but

demands

carried

follow her

those who

from

very

service.

whole-hearted

happens that in seekingfor subjectswhich will increase

and strengthenthe knowledge of compositionthere is very little
of
a
time in which to seize a passingeffect. Thus
heavy mass
clouds may
a very
stronglyshadowed foreground,with the
cause
is often very fine.
middle distance in brightlight: such a scheme
has to be registered
A rapidly passing effect of this nature
the lit-up
almost in a breath.
Yet if the shape of the cloud mass,
noted, enough will have been
space and the dark foreground are
finished drawing at
the making of a more
obtained
to enable
the study from such a note as this in
leisure. It is wise to make
It often

the studio, and

such

as

of the

of

kind

former

in the

as

; or,

Stonemason's

The

possible,

as

seen

the memory.
Compositions
of great
either be of a simple nature
or

greatestqualitycan

effect has been

impressionsrapidlyfade from

complexity. The
pictureare few,
Gallery,by Crome
"

after the

soon

as

"

where

are

Mousehold

again,the

same

parts of
principal

National

paintingby

Canaletto

collection.

of the past appear to have aimed

at the
of interest on
central point in their works,
one

great

the

at the

Heath,"

wonderful

in the

Yard"

the

men

centrating
con-

and

This
lettingthe subsidiaryparts lead up to such a centre.
plan,however, is not without exceptions,as, for instance,in the
Transfiguration by Raphael, where two distinct schemes of
compositionexist on one canvas, and yet, it is unnecessary to say,
the whole thing appears right.
Do not let it be thought that this reference to figurepaintings
is in any way unhelpfulto the student of water-colour
landscape,
the same
in
all
s
hould
be
evident
as
art.
The
principles
pictorial
of the Dutch
greater number
landscapepaintersbase their compositions
low
for
in
their
flat
it
on
would
a very
skyline,
country
then
"

"

be

scheme

which

would

be

ever

present to them

in their walks

abroad.
In
upon
even

sources

referringto
the Dutch
now,

of

in

this school, it must

masters

the

spiteof all the

be

British school
modern

inspiration. Constable

and

remembered

that

is based, and

ideas, be
de Wint

one

were

it is

should,

of the

chief

both

great

COMPOSITION
students

of

the

influenced

much

IN

Dutch

LANDSCAPE

masters, and

them^the

if they bear
Digressions,

55

through Constable,

Fontainebleau-Barbizon

who

school.

the

point at issue,can be forgiven;

so
the practical
which it is the
suggestions,
of
aim
the
writer to give,can
be resumed.
great
A very important part in the making of a correctly
balanced
is played by the silhouette. No doubt most
picture(composition)
students know
lot about this question of silhouette,so those
a
who
do can
skip this page, and leave the point to be discussed
between
readers and myself.
my less advanced
In walking down
the narrow
street of some
charming old town,
on

after this little one,

it does

not

where,

matter

to rise in the

mind

at

at home

call
"

or

abroad

it will have

such

"

been

is

one

noticed

sure

there

that

affect the mind.

The street in
things which principally
be
in shadow,or shade may
one
questionmay
entirely
only cover
are

two

side of it,whether
side traces

or

is immaterial.

not

Now

where

the shadowed

its line of

irregularbuildingsagainstthe lit-upsky,
street,
; and, again,if there is a lightside to our
the sunlit buildingsshow white againstthe blue sky, and this side
is also silhouetted in a reverse
dark.
lightversus
way,
This questionof silhouette must
not be thought only to apply
hard
outlines
when the
of buildings
are
painted. Equally beautiful
it is silhouetted

are

the effects when

outline

to

of shadowed

mass

background

purple heath

man

registeredin

Without

could

not

his

Stream

"

be looked

land,

have

did John

than
let

or

brown

and

"

Bridge

Greta

No

washing

To
"

The

out

or

effect

laboured
with

the

of the

painteris

vincingly
con-

all appear very

the writer has often shown

difficult to

the

may

Let

shadowed

and

accomplished the miracle, but

givinga lesson to quitea beginner.

under an arch
for example, where the shadow
is seen
the principle
beyond. In such a case
and the subjectis of the simplest.

Again, the

"

this beautiful

method

transparent blot, the emotion

student, and yet

Sell Cotman.

at.

pure water-colour
have
been obtained.

expressed. This
young
when

their dark

oppose

againstthe last brightnessof a summer

appreciated more
fully,and certainlynone
work
more
wonderfully and beautifullyhis

the

technique could
direct and

down

of sunny

of the silhouette
appreciation
take
two
typicalexamples,

Shadowed

trees

rises sombre

No

sunset.

side of

tower

is

application
bridgebe taken,
opposes the light
in its entirety,
its

againsta lightcloud.

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to

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COMPOSITION
As

in

drawing so

student, and

in

be

ever

IN

LANDSCAPE

the
composition,
adding to his

57

artist has
of

store

ever

to remain

knowledge

in this

direction.
As

I made
works

helpin

this very

importantpart of paintingfrom

nature,

in my
days a collection of engravings after the
young
of the Dutch
and French
schools.
These very charming

engravings can be bought for a trifle at any old printshop, and

afford great help to the beginner. The period when
such works
in
were
the middle
of the seventeenth
engraved began
-century
and continued
the
whole
of the eighteenth. The works of
during
all
the
masters
the
of
Dutch
of the
nearly
school, and many
great
thus
French, were
reproduced. Great assistance can be got from
such a study, and if a small collection is handy for reference, it
will be found

settingout

for

collection.

You

The

student

which

helpful.I

most

work

tour

might

do

used

in the

stronglyappealsto him, but

void of interest.

Now

practiceall he knows,

this is a

case

it

to

country,

than

worse

will often find when

make

to

follow this

studyingfrom
the

where
where

before
practice,

through
example.

go

nature

my

view

foregroundis entirely

he must

lackingpart of
what
would
make
otherwise
an
interesting
picture. Something
be introduced
and life into the
must
to put the absent vitality
the
composition,but how ? Suppose the vacant part which mars
landscapeconsists of a quitetenantless meadow, with interesting
and low-lyinghillsbeyond. The meadow
groups of trees, buildings
is the difficulty,
which must
be filledwith interest or the drawing
will be a failure. A group of cattle,a few sheep,or a horse and
cart will lend themselves
admirably to brightenthe pictureand
to givethe-necessary
foregroundinterest. Now it is very easy to
advise the placingof such a group as suggested,in order to put
into the work, but the query naturallyarises as to where
backbone
such
the

spot should

to

this blank

try and put in

overcome

Continual

find its home.

painterto place with unerringaccuracy

and

will
practice
the

enable

different interests

student of landscape work to

is the young
proceed? Again I must bring in my own experience,and by it I
it has been found the
In such a case
hope to solve the difficulty.
of his

best
group

work, but how

suggest on a page of our study book the

parts of the field,and then to decide in what

plan roughly
in various

to

it looks most at home.

position
It is said of Corot,that when
different groups

of

figuresor

he

was

animals

paintingfrom
which

intruded

nature

the

themselves

LANDSCAPE

IN

COMPOSITION

58

all paintedin roughly,

landscapehe was consideringwere
satisfied that he had hit on the
and painted out until he was
of
arrangement most suited to his picture. Of course, in the case
water-colour
a
drawing, such indications of groups should be
be very easily
can
the superfluousones
when
made
in pencil,
erased.
I have often tried this plan and found it a very successful
exercise.
expedient,as well as a most interesting
which will confront the beginner,and
Another
great difficulty
which will continue during the whole time he paintsfrom nature,
bewildering haste, one
is the question of a cloudy sky. With
into the

the
arrangement of clouds succeeds the other, until
the problem has
is in despairwith the difficulty.However,

beautiful
mind

with

to be faced

great determination

suggestionswhich

is essential when

execution
nature

in water-colours.

fortifyhimself
before

him.

nature

on

rest

to

such

failures,as

while

be

may

has

the

few

Rapidity in
being painted from

task.

cloudy sky is
This being the case,
a

are

the

student

must

of repeated
with the mortification
up
have
who
the experienceof all
been
gone

working from
generallyfound that when
cloudy day the best plan is to deal with the sky first,
I have

work

may
dealt with.

has been

helpful in

Here

put

the interest and

of the

to solve it.

energy
come

on

are
more

as

yet

at

their best.

when
leisurely

once

All the
the

sky

generalrule there is one part of the sky which is full

of the lit-up
portionof the clouds, so to this part the firstattention
the salient part of the cloud
should be paid, seeking to register
of this central portion the less
the consideration
From
group.
prominent parts can be done at greater leisure. The whole scheme,
the greaterpart of the passing
when painting
a sky,is to eliminate
clouds, and to take into the pictureonly those which are needed
to produce the general effect of the composition. The
young
alive
absolute
the
to
become
student will very soon
sity
necesquite
of making endless studies of clouds, in black and
white,
pencil,chalk, or charcoal.
One very good plan is to indicate the shape of the cloud group
and then stump in the shadows
chosen for consideration in pencil,
with the fingeror thumb.
Excellent effects are thus got, and the
time spent should be so small that quicklypassingeffects can
be
easilyregistered. If the student when
making water-colour
studies adheres to the approved method, he will soon
begin to
appreciatethe beautiful transparent shadows he can get by it.
Now

as

COMPOSITION
On

IN

the

LANDSCAPE

other hand, it will become

ever
more
is
lost
if
atmosphere
entirely
sponging out

59

clear to him

and

scrubbing are

the young
student in his earlydays when
find the question of sky too puzzlingand

working from

resorted

to.

Should
nature

let him
In this

that

for

time

put it aside,and

then
difficult,

do his studies without

skies.

it should be

clearlyshown that the sky is appreciated,

and a proper proportionof
a drawing
paper left. Here is shown
in which no sky was
of
the
size
correct
attempted,only
paper was
it.
Too
taken of
to
should
not
be
apportioned
great advantage
such a concession as this,as sooner
later this most
or
important
of
the
has
to
be
dealt
with.
part
Nevertheless,it is
landscape
better for the beginner to leave the sky entirely
alone than to land
himself in dishearteningdifficulties (seep. 60).
east,
Very often quitesmall flocks of clouds can be seen in the northlit up by the evening sun.
is a very
Such a cloud scheme
and affords a healthy and not too difficult task
interesting
one,
for those unaccustomed
to such work.
Unremitting effort should
be accorded
to sky painting,
the beauty of the landscapemuch
as
depends on the way this part of a compositionis handled.
should be
The term
which
in paintingis one
complement
understood
by the student,and which I will attempt now to make
in a
clear. It is a pointinteresting
to consider, and its application
to do with the making of a picture. The
landscape has much
trating
of a drawing illusof explainingto a student by means
difficulty
is a
artist the term
the point is great, although to an
case

"

homely

"

one.

42 shows
mass
a
drawing given "opposite
page
clouds, and in the foreground a group of cattle,with a
piece of road of high value. Now in this instance the

The

cattle and
the dark

bank

trees

are

to the

complement to the cloud.

left are also complementary to
the

of sunlit
bank

and

group of
And
again,

the dark

tree

ment
herbage to the rightof the picture. In other words, compleof one
balance, or a repeating
means
part of the picturein a
lesser degree in another
part. Again, the faculty of correctly
into play,as if the lightforeground
composing a subjectcomes
have
it would
were
placed immediately under the cloud mass
and such a compositionwould be bad.
looked unsightly,
with
The constant
study of the work of great masters combined
drawings made from nature will quickenthe sense of proportion,
the subjectnow
of expressing
and this word is only one more
way
and

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COMPOSITION

being

considered.

in the

Whatever

of

manner

IN

LANDSCAPE

61

the

knowledge

planning a picturehas

writer

been

have

may

gained

in

this

way.
And

let

now

consider the

us

subjectof

flat country

as

painting

I have

ground.

during my life had much advice as to where I

in
order to get good subjectsfor my penciland brush,
go
but never
have I been told to seek a flat country. Always has the
should

adviser

urged

tains.
inspirations
amongst hills and mounNeedless to say, such advice has always been very meekly
listened to but never
The
taken, as it is bad beyond words.
is a flat one, and
art arose
country where the landscapepainter's
it is to flat country that the student should proceed in order to

to

me

get my

find the best fields for his labour.

A flat country
both

fine distances and

grand clouds,which are

landscape painter'sart. A few examples,

means

essential in the

showing

the

kind

composition which is to be seen in a flat

here given.
district,
are
The first was
painted near Bardeney, and in the distance is seen
Lincoln Cathedral.
In such a picture,the whole question of
rests with the placingof the foregroundobjectsin their
success
to the distant cathedral.
Not only has every care to
relationship
be taken with the drawing, but colour and values must
be considered
with an
infinityof pains. Again and again a student
passes by such a charming compositionas this with the remark
of such a flat country. No doubt the
that nothing could be made
difficulties are
great as againstthe old familiar compositionin
which a lake, a mountain, and a foreground group of cattle were
and
theme.
But difficulties have to be met
the ever-recurring
mastered,

so

let

of

continue

us

As the learner becomes

in such
open

county

land

grow
hills and

amongst

as

on

more

deep valleys,where

expressingmy

being considered.
Berkshire

and

ground, with
Nothing
I have

The

very
there is

in

short
no

the

mistaking my

no

moors,

time,

chance

oppressivethat
be

working

or

of

to

be

seeing

flat open

meaning

class of country
the

of

rollingdowns

now

of

happy huntingequallythe painter's

Cambridge or Lincolnshire.
Holland, Belgium, and France.
tryingto pointa moral in Composition

flats and

led away

must

Yorkshire

is said here about

been

so

to

extraordinarybeauties

preferencefor the

Wiltshire,are
the

accustomed

more

rapidly.In

him

far

in thus

and

Lincolnshire,the

distance, becomes
country is craved forv There
into

the task.

fens

of

XIV

ILLUSTRATION
View

Distant

effectof

the

Stages showing

Two

Stage

the

giving

was

cathedral

carefully,and

by

successful

some

the

on

of the

if it would

asked

River

of their

be

distant

The
of

morning

flat

the

I had

Witham.

suggested by

were

page

skyline

of the

studies.

result

the

end

the

this

Lincoln.

near

on

seen

are

valley

the

forms

facing

drawings

two

my

labours,

was

as

my

that

subject

the

painted

pupils had
custom,

of

country

and

looking through them,

was

towers

selected

ting
chatI

when

was

a
strong foreground of
possible to introduce
look of the distant
to emphasize the far-away

objects, so as
cathedral.
Wishing to interest my students, I
add
such
foreground to the drawing I myself
a
varied

of

addition

and

the absence

strong foreground.

THElesson

Lincoln

of

I would

said

that

had

made.

XV

ILLUSTRATION
II

Stage

to
in the
morning, in order
position we had taken
up
of
about
fifty yards in front
1, was
get the picture No.
farm
few
stunted
trees.
Removing
a
buildings and
my
some
between
I
backwards
station
brought
fiftyyards or so,
point
in
myself and the distant view the rough tree and cart, as shown
illustration
No.
2, and
proceeded to paint these objects over
my
in strong warm
colours.
The
work
result, as will be seen, not only

THE

"

"

gave
middle

an

interest

drawing,

near

When

I would

colours,

but

should

be

objects

part of

the

foreground,

meadows

distance

materially.
rich

to

and

such

an

point

out

also

of

accurate

picture

can

the

addition

but

also

far

tended

this

make

buildings

distance
as

to

is

attempted

the
recede
to

necessity not only of using strong

that
the
paying particular attention
in all their details, which, in the quite
the

never

be overdone.

Illus. XIV

Distant

View

of

Lincoln

"

First

Stage

Illus. xv

Distant

View

of

Lincoln

"

Second

Stage

COMPOSITION
to

intrude

on

the

IN

chapter which

LANDSCAPE
will deal

63

with
exclusively

the

placessuitable for work.

The

picturehere reproducedis

next

which
Selsey,

is situated in the middle

from

Worthing
and then
Selsey,
of the

whole

westward.
from

of Siddlesham

of those flats which

Probabjy between

Bognor

Mill,near

to West

stretch

Chichester

Witteringthe

flattest

and

part

Many friends who have shown

great anxiety to keep me in the rightpath I should follow when
paintingfrom nature have become quite pained and sorrowful
when
I have declared my intention of having another tripto the
Selseycountry.
To return
to the question of Siddlesham
For such a
Mill.
the clouds are of paramount importance,
givingstrength
picture
to the foreground by their shadowing, and
affordingby their
the necessary
silverymasses
lightingto the picture. The lowlyingdistant downs lead one away as well as lend a feelingof
repose and
Another
fact that

pointsin

district is found.

mystery.

low-lyingdistricts is the
Few
their way through them.
its beauty than does the presence

feature in
interesting
slow-runningrivers find

landscapeadd

of water, whether

to

more

in the form

Experience will

teach

these

of rivers,lakes,or

ponds.

fullyto appreciatethe class

to
very lightlyhinted at, and
the making of pictures.I could
end to justify
flat country as a

the student

of country which
has here been
learn how readilyit lends itselfto

proceed to give instances without

study ground, but other matters must be dealt with, so this one
must
be reluctantly
left.
That
part which incident plays in a pictureis to the young
which troubles a
student a difficulty
of the first degree,and one
painter to" the last. In order to make this point clear to the
traction
the various small disbeginner,let it be ^aid that incident means
in detail which go to give a livinginterest to a picture.
of
Some
of the greatest paintershave loved to put an infinity
incident
To

works, and have done so with great success.

the horses and cart with their attendant
illustration,

into their

give an

waggoner,

the ducks

the middle

distance

picture,may
their
justify

all be
presence

passingalong
foregroundpond,figures
in
the
field
road, cattle and sheep
part of our
on

the

incidents

by

in the

the admirable

same

way

and
composition,
in which

they may

all

be

introduced.
Now

the

great scheme

of

good pictureshould

be

simplething,

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COMPOSITION
and

however
incidents,

IN

LANDSCAPE
should

numerous,

their'subordinate parts modestly,so

generalplan of

the

that

65

always be
they

never

It is difficult to pass
reference being made
to the

design.

of incident without

made

to

disturb

play
the

by this question
grand Harvest
"

by Rubens, in the Wallace Collection,

excellent reproductionscan
be had.
This marvellous
pictureis full of incident,and yet nothing in it distracts the mind
in the slightest
The
degreefrom the quietgrandeur of its scheme.
introduction of such detail into a picture,if successfully
plished,
accomis only within the provinceof the master.
The student should seek simplethemes for his penciland brush,
and strive to make
them
as
as perfect
possible.This reference to
incident in a compositionwas
in order to show that even
made
an
abundance
of detail need not of itself be hurtful to the picture,
but rather tend to give it interest and sparkle.
A very different class of subjectmust
be considered,which
now
although not being strictly
landscape,can very well be included
in this chapter. Reference
is here made
to towns
and buildings
generally. Here, as in an open landscape,the central point of
the attention, and
interest should
then the subsidiary
engage
should
be
painted to support and emphasize it. Nothing
parts
be
can
more
deadly dull than the laboured and mechanical
picturesand buildingswhich were produced in such vast quantities
during the middle of the nineteenth
century and onwards. And
yet if this class of subjectis seen at its best, the charm of it is very
evident and its possibilities
ment
are
great. As an additional induceto the beginner,many
be found in
very simplepicturescan
detached
villagestreets,farm buildings,
cottages,and work of a

Rainbow
Landscape^with

"

of which

like nature.
As
work
the

helps in compositionsof
substantial

more

exterior

interiors.

of

The

this

assistance

buildings,and

kind, few

than

the

do

Dutch

afford in their

men

John

Sell Cotman

painterBosboom

of the latter artist is in his

work

being
quiteperfect,

full of interest

branch of painting water-colour

for

particularway

poetic charm.

In this

I most
being meant
stronglyadvise againstlargedrawings being attempted, for it is
deal with a work
quiteimpossibleto make such a delicate medium
have come
to frightful
beyond a certain size. Even the best men
griefwhen they have attemptedto paintlargepicturesof buildings
As an example,I refer the reader to the large
in water-colours.
"

pictureof

"

Lincoln

Cathedral

"

of

and

for

course

by .Peter

"

de Wint

in the Victoria

IN

COMPOSITION

66

and

Albert

but

the

two

would

begin

and

end

parts of it that

are

be

sitting,
thing

at one

building the

elaborate

an

limit to the time

no

good,

are

generalruje it is

drawing

water-colour

of
at the most
; but in case
there need
be impossible,
so

such

on

to

there

course

it quite impossible. As

size makes

advisable
or

Of

Museum.

LANDSCAPE

spent

subject.

drawing being completed,every effort should

otherwise it will look patchy
be made to paintit during one
sitting,
interest.
As experienceaccumulatesand possess no
emotional
The

and

whole

of the

faculties become

the

selection of

the

alive to

more

the

almost

good composition becomes

in

beauties

an

nature,
instinct.

happy condition is arrived at, let its possessor beware

time
have
I in my
he ignoresits subtle urgings. Many
how
a
earlier days of work been very stronglydrawn
to a subject,but
included
in such a scene
have passed it by because
there was
some
obviouslycommonplace and ugly object.
is a grave mistake, as
to shun a picturefor such a reason
Now
it would
not
have attracted.
have been there, otherwise
beauty must
this

When

assured, that

Rest

increases,the

to

power

see

beautiful

the

commonplace objectsmay under certain conditions

full of charm.
Sunlightand shadow, atmosphere

most

become
and

the

as

line,at times become

such potent factors,that their influence

Some
few years
followingis an instance.

all-powerful.The
in
since, when working in the neighbourhood of a country town
the south of England, I wasby what
very forciblyattracted
appeared to me a very sweet picture.At first I felt rather annoyed
that such a subjecthad so stronglyappealed to me,
the chief
as
objecton a river which formed the foreground was nothing lessmodern
a very
than, in itself,
hideous, absolutelynew
laundry^
of startling
architectural peculiarities.
Still feeling
the attractiveness
of the whole thing,but scarcelyknowing whence
I
it came,
studied the whole
anchored, and sittingquietlydown
thing at
leisure. As I gained a clearer perceptionof the values and tones,
the reason
obvious.
why my attention had been arrested became
The mass
of ugly buildingbefore mentioned
was
entirelybathed
in a delightful
cold grey shadow, which
obscured
all
practically
its ugly detail.

is

And

now

namely,
and

came

that

the

out

silhouette

its colour, influenced

charming

contrast

truth

which

of the

by

againstthe

the
warm

I did

not

before

laundry was
very
made
atmosphere,
and

sunny

observe,

charming,
an
equally

downs

beyond.

COMPOSITION

LANDSCAPE

IN

Moreover, the silhouette of

qualityin the river. Needless

the

67

building repeated
say, the drawing was

to

its

shapely

done

with

great satisfaction. In this case, instinct at first called attention ;

then reason
objected to the building,which was known
to be
the silhouette which had not been observed)
whollyugly (excepting
and, finally,attentive
inquiry explained why instinct had
prompted.
Such an experiencemakes
it very evident that great care should
be taken when
working from nature not to miss opportunities
through allowingprejudicesto influence one.
Very seldom does
it happen that the exact
thing presents itself ; the good must

therefore be taken
I do not

to

mean

with the intention

have

may
a

and

selected.

its presence

which

eliminated

whenever

the idea that a student

convey
of making drastic alterations in

it should
picture,

that

the. bad

For
without

may

have

necessary.
should set out

view which

he

into
instance,if a telegraph-post
comes
doubt be included,for it is quitelikely

givenjustthat

balance

to the

landscape

attracted.

Very justlymay alterations be effected in such a case as the

much
following. Painting in Surrey a few years since, I was
attracted by a very beautiful picture-as
I was
walking along the
banks
of the River
mood
was
Wey.
My
pensive (some folks
would
have called it ill-tempered),
the
as
productive
day so far had been unthe
of work.
and
it
with
However,
evening came,
at once.
something to paint,which was accordinglycommenced
As the pictureproceeded,the presence
of some
rather peculiar,
almost eccentric,details in the compositionbecame
evident.
The
middle
on

-a

distance

level with

objectswere

church

tower, which
of elm

group
justin line with

trees

was

to the

the upper

rather

to the

middle

right,and

part of

small

left,was
these

footbridge

in the left foreground.

Now

here is

case

where

the artist must

think,and arrange the

compositionby raisingor depressingthe objectsso as to give a

Such
tinually
varietyof line and avoid monotony.
points as this conwhen you are paintingfrom nature, and it is under
occur
such circumstances
that alterations and
adjustments are fully
The student,as he gainsexperienceby his studies from
justified.
nature, will find that such alterations as those pointed out will
It is,however,
beeome
quite easy and need little consideration.
very dangerous to get into the habit of simplytakingthe pictorial
objectin front of one and upon it to buijd a composition.Such

work

be left for the studio

must

LANDSCAPE

IN

COMPOSITION

68

it does

not

into the scope

work, with the

enter

help in outdoor
the
when
simpleexceptionof still life study. It is very peculiar,
practical
experienceof work is being unravelled, to find how one
thing leads to another, with apparentlyvery little connection
of this

between
The

book, which

the

is intended

as

two.

pointjust considered, by

which

it is evident

that

alteration

forciblyto my mind the way

and painted. To begin with, let a
familiar objectsshould be seen
it is^dmitted
of cattle be taken as an example. Of course,
group
that cattle of all kinds have the usual complement of legsand feet,
insists in demonstrating
which
student invariably
fact the young
in a very exact
If attention, however, is carefully
paid to
way.
of line has

the

to be

made, brings very

of these features, it will be

appearance
of cattle as it gets farther and farther into the

actual

seen

that

background
convention.
ever-increasing
A group of such beasts in the foreground should be, if possible,
as
Cuyp paintedthem, furnished with the rightproportionof legs,
objectsbe viewed as they recede,
feet,horns, etc. But let the same
and it will be noted that the evidence of how they are built becomes
of coloured dots
less and less,until they assume
a mere
appearance
the landscape. Yet during all this gradual change they always
on
be mistaken
for aught else.
remain cattle,and could never
Herein lies the difficulty,
and also the necessity
for indefatigable
I earlyfound such study a labour, but a
labour in observation.
It was
to try, as far as possible,
one.
highlyinteresting
my custom
of cattle,sheep, ploughing
the exact
to set down
appearance
ground
teams, hay-making and harvestinggroups, etc., from the foredistance.
Human
to the extreme
beings naturallycome
rule should apply to all objectsin
into such a category. The same
A group of trees five miles away
should be as evidently
nature.
of trees as if it were
Details will
a group
a hundred
yards away.
graduallymerge, but the main characteristics should remain to
proclaim their identity. This is rather a digressionfrom the
questionof composition,but the composing and the points here
group

becomes

touched

subjectto

lie very

upon

To return

the

near

effect of

to

one

an

another.

it must
proper subject,
that the questionas to what is a correct
to

our

always be

borne

in mind

and

proper composition
is of very wide interpretation.Without
doubt, the young
any
student should adhere to certain fixed laws, which
are
apparent
in the works

of great masters

of the

past and

the

present. Such

COMPOSITION

examples

ity,

should

and

his

Later

on,

venture

the

as

As

be

at

all

taught

me

of
in

the

then

kind

very

Needless

such

works
is

very

collections,

to

for

needful,
whether

is, however,

and

therefore

just

study
as

they

as

that

great
and

habit

quite
strongly

had

confirmation.

very

be

bad
of

works

by

are

past

tions
ques-

or

be

must

other

words,
now

recommend

it
has

visit

to

drawings

simple
appealed
but

it

to

the

be

found

present

me.

became
into

fallen
in

one

any

selection

admonition
to

in

are

experience

taken
An

pictures

and

unwittingly
be

must

will

at,

exercise

do

strengthened,
I

care

the

my

my

mind.

practical

(in

way

make

ideas

in

may

plan,

with

which

very

author^

speculation

no

was

and

my

evident

say,

In

It

he

student,

thing

pictures
were

the

and

wbrks

arrangement

to

guide

in

new

It

for

his

learned,

are

help.

great

such

only

the
the

collections,

of
not

masters'

advantage.

picture

way

errors.

of

of

with

clearer

get

of

as

faculty

but

be

to

and

now

found

notebook

this

to

necessary,

great

my

In

begins

may

the

as

69

beginner

which

deal,

to

soon

composition)

as

schemes

have

LANDSCAPE

becomes

themselves.

we

avoided.

given

learner

unto

that

the

by
executed

picture

law

held

paintings

on

fact

be

IN

of

in

this
most

painters.

VII

CHAPTER

there

how

to

as

the

to

I will
on

young

during

when

trip

will

has

doubt

and

planned

been

the

matters,

at

arise

once

is

work

day's

open,

embarked

are

which

incidents

met

the

in

technical

with

concerned

here

selves
them-

I have

who

others

nature,

present

these, which

of

help

trivial

those

which

hindrances
some

from

painting landscapes

of

no

not

am

with

simply

but

Of

they

as

like quest.

student.

experience

my

speak,

and

apparent,

ever

direct

produced

be

is to

checks

minor

is

difficulty, which

great

picture

many

are

with

the

from

APART

THEM

MEET

TO

HOW

AND

NATURE,

FROM

WORKING

IN

DIFFICULTIES

SOME

actually

started.
I do

think

not

single obstacle
wind.

with

the

calculated

so

because

morning

fit of

result.

likely

ill-temper
sit in

To
to

arise

from

superlativelyfine
I have
seek
as

so

wind,

and

is to

be

possible

when

the

as

sheltered

engaged

probably

It

again absolutely

is

and

doing,

in

is

face

terrible

my

work

the

end

wind

with
of my

at

only

be

to

reward

spot.

painting

Richmond,

of

by

an

extra
7o

had
violent

my

high

panied
accom-

So

never

bit.

result

At

of your
factory
satis-

nothing
certain

that

will

inconvenience
of if

something

heroism.
the

all costs
out

any

everything

horrid

that

in Yorkshire.
and

with

of such

At

in

thought

general rule,

great resolution,
labour

end

all the

plenty of heart-breaking difficulties without

in your
being uncomfortable
surroundings.
in

the

or

will

general disgust

wind

always found,

carefully for

about

sit in the

high

blown

try and

as

usually

clouds.

be

work

is
of

way

likely to

being accomplished.
vile

in the

are

afternoon's

or

of humour

out

one

atmosphere

of

incidents
you

time, do not

same

put

to

condition

that

,oflandscape painting

years

many

charming

day

is
such

Now

put off

after

be

best

You

adding

to

I remember
I

will find
them

by

painting

struggled through

virtue

gust

is to

comfortable

as

doors.

plan

of

rewarded
wind

near

knocking

DIFFICULTIES
board

up my

No

one

IN

and
was

struggleto

This incident

under

FROM

NATURE

7i

upsettingsome
near

graduallycleared
I do

WORKING

up.

ing.
drawmy
very dirtywater over
at the time, fortunately,
matters
so

me

However, I

secure

reminds

all conditions.

shy

never

at

windy day, but

fairlysheltered spot.
to advise

me

Cows

are

well-secured

simple innocent

water-dipper
creatures, but

do not

leave your paint-boxopen when

from
you absent yourself
work for a time.
I did so once, with the result that a cow
or

your
in the field where
two

I had

been

but will doubtless

about

remain

made

with

working

and

after

inspecting
paints. They are
most
animals, and I suppose paintsare a bit tasty. I
inquisitive
eat a good lot of them
myself,but chieflybeing engrossedwith
noticed ifItheytaste at all.
subjectI have never
my
Some
of my
of
pupilshave been quite alarmed at the number
times I put my
brush in my
mouth.
One lady besought me
not
to eat any- more
paint,thinking,I suppose, that her instructions
be brought to a sudden
would
stop by my untimely end. As a
of gettinga pointto
matter of fact, I find there is no better way
brush than by putting it in my
It is a bad habit,
mouth.
my
what

was

meal

me

now.

came,

off my

Being out on a paintingtripreminds me that I have often come

stool that my pupils
to grief
littlecamp
through using the trifling
very often affect. -Use a good-sizedstrong stool,as it is far more
ence
trouble to carry. Refercomfortable, although it is a little more
to these triflesis important,since your work
can-onlygain if
when
working from nature.
you enjoy a certain degree of comfort
paths and bypaths of England
My tramps through the various,
and
how necessary
it is to be very well-behaved
have taught me
full of courtesy when
dealing with farmers and country folks
to walk
into a
seem
a
trifling
transgression
generally. It may
to paint a pictureof it without
asking
farmyard and sit down
permission.Many farmers will not resent such an act, although
Some, however, will
they may feel it an intrusion all the same.
roughly request the artist to leave their premisesas they are not
for publicuse.
I have had poured out to me
by brother artists
of farmers.
tales of the gross incivility
My experiencehas taught
however, that they are good-naturedand anxious to do all in
me,
I have
their power
to help a visitor.
always got on well with
farmers for the simple reason
that, when I have wished to use any
The
to do so.
part of their premises,I have first asked permission
result has been that not only has my
request been conceded,

DIFFICULTIES

72
but

I have

been

told to go

NATURE

FROM

WORKING

IN

the farm

I liked about

where

or

its

buildings.
My

attention
The

and

not

has been

asked

to take

whole

class

in the best

regaledwith

was

and
parlour,

been

occasion

one

my
best
the

fine strawberries and

very

bull,"

often

I have

upon

"

for the

out

barns.

rick-yardor

in the
tea

look

ance.
import-

of

matters

two

or

one

be closed, I must

gates must

smoke

ealled to

of advice whiclr I
give a ^riece
think most
When
they are working out in the evening
necessary.
light
alone,let them be careful to avoid long walks in the failing
to their hotel or apartments. The
farm labourer is a good type
It is the tramp
of man
but seldom worse.
rough,very possibly,
of

To

cream.

students

women

"

who

wanders

from

casual ward

one

to another

is to be

who

feared,

he is usuallya bad lot and often very brutal. There is,however,

in a country
in evidence
another type of creature
who is generally
as

of the parish: in
village.I refer to the
silly-billy
the local epileptic.If you cannot
get, or do not care
kind of barker
then have a dog, or another
"

sufficient confidence
as
seriously,

very

which

should

not

"

to
am

use

it.

other
for

certain it deals with

real

panion,
com-

if you have
to be taken

this advice

mean

words,

of

source

danger

be courted.

which is ever
fully*
difficulty
present is our delightI
am
quite contented with it, although
varying climate.
I refer to this
abused than the English climate.
nothing is more
common
topic,as weather plays such a very important part in
the life of one
who paintsfrom nature.
Do not be put off your
to do something else if the day starts badly.
work and arrange
beautiful than the afterpartof a day
No time is usuallymore
The rainy month
that began with frowns and tears.
is generally
the best month
for painting. The clouds are
usuallygood, and
the air in between
the rain is clear. I have painted much
when
the ground has been wet and the sky threatening" Have
thing
somefeet
to
not
and
do
waterproof put your
on,
get chilled,and
A

very

different

I have

all will be well.

June

or

justbeen
down.

after

October.

Work

usuallybeen

been

able to sit out

beyond

of notes

in the form

I have

seldom

which

before

or

I have

punished

made

if I have

much

these

before

dates

has

without

sitting

abandoned

this

rule.

During the months

mpossible to paint
"

another, work

can

I mention
sometimes

be done.

there is
at

When

one
a

scarcelya day
time,

and

triphas been

when

sometimes

planned

it is
at

and

HOW

TO

MEET

the district to be painted decided

placeof work

for wet

days

73

try and arrange a suitable

old church, some
sheltered ruin,

an

"

THEM

on,

farm buildings.It
interesting

or

gettinga

covered

is often difficult to manage

this
for work ; but do it,else many
misera able

ground

hour is in store for

you.

waitingand watching for

I have
often

had

find

one

you

can

took

thingsare more wretched

weather to improve.

the

full share

my

pesteredme

thing to

Few

past of the doubt

the choice

to

as

in the

of

which

has

subject. The most fatal

is quitepleasing,
in order to
a

do is to pass by a thing that

stillbetter. If a view or effect has arrested
your attention,
in it. I
safelyconclude that there is something special
to learn

years

has cried halt to

this,and

subjectwhich
not be thought that work is always
charming localities. Very often a

It must

me.

now

never

pass

found, even in the most

long tramp is quite fruitless. This, however,

to be

as

than

the emotions

be

must

stirred,otherwise

by

cannot

helped,

be

little good ieTlikely

to

result.
There

is

student
under

point I should
beginner,which

and
rather

off

you

The

fancy

mind

Never

been

has

I have
let

mentioned
a

hideous

the

before
modern

it intrudes itself prominently

arrested

by something that

it there is good in it. No undue

appointm
disupon
is not
be felt when
work
easily found ;

depend

you,

should
ah

to impresson
especially

subject,because

into it. If your

such

different conditions.

buildingput

appealsto

like

one

experienceis

to

common

all,and

ever

will be.

friends
by unprofessional
is invariably bad.
nothing about the
Naturally they know
and
is likelyto
tell the kind of country which
cannot
subject,
supply subjects. I think I have been advised to paint Leith Hill,
in Surrey,by most
of my lay friends. It is usuallypointed out as
suitable as a paintingground for the reason
that such a vast
most
number
I have

type of country recommended

of counties
not

taken

lunch

or

can

it on

be

seen

yet, and

from

its summit.

trust I

Needless

to say

never

may.
It is very ill-advised to work after a long walk or bicycle-ride.
The finest subjectwill not appeal so fullyunder such conditions.
cup of tea, and then all will be well. After long
I stilladhere to my rule of doing without an umbrella.
experience,

Have

I have

of a very hot day and nearly

given elsewhere my experience
gettingsunstroke ; but this was very unusual heat, and I did not
neck.
I
the back of my
take the precaution of protecting
even
like all the lightI can
get, in spiteof rapidlydrying paints.

DIFFICULTIES

74

NATURE

FROM

WORKING

IN

caused by children is
the nuisance
villagesand towns
sometimes
to avoid
working
very great. It is quite necessary
After these
the schools close in the morning or afternoon.
when
in
folks seem
to pack themselves
away
specialperiodsthe young
In

some

holes and

try and

to

They

take

corners,

and

tempt them
your

money

the

student

leave

to

depart by offeringmoney

and

go for a few
I have
known

It is fatal

in peace.

so

for
but

minutes,

so

doing.
always

abroad
of instances
vastly reinforced.
where
policeprotectionhas been sought and procured quiteeasily,
the authorities recognizethe fact that the artist and art student
as
I am
of revenue
to their town.
means
always
are
a considerable
careful about
hiring small boys to carry my boards and
very
summoned
stool. "Upon one
occasion' a friend of mine was
camp
before the magistratesto answer
to appear
a
charge of decoying
return

from school.
child away
I have found
that in choosing a

the

greatest care

is necessary.

companion

The

for

get

nerves

paintingtrip
bit

on

edge if

things do not go right,and then the meeting at meals or in the

should the day have
evening is likelyto be dull if not worse
been productive of extra disappointments. I have generallygone
alone, as I know
myself and do not want to fall foul of friends.
Friendships are more
easilysnapped than made, and two of a
it is dull spendtechnical.
trade seldom
I know
ing
agree on matters
the evenings alone after a tiringday. It is a blessingto be a
gotten.
good sleeper,as extra bed does no harm, and troubles are forThe
most
well-chosen
knew
couple of friends I ever
themselves
to different studies.
One
used to paint,and
devoted
the other was
an
organistand spent her day in the parish church.
both charming, and
another's
never
They -were
got in one
way
in the slightest
degree.
On seeing a place for the first time, it may
be after a tiring
railway journey, do not hastily conclude that it will not do.
Take
and then have a walk round, doing no work
a good rest
on
the first day but merely exploring.I have known
several occasions
when
first impressionshave been very erroneous
indeed.
I knew
artist who took a dislike to a place at first sightand quitted it
an
the same
evening he got there. Years afterwards he went to the
town
same
again and had entirelyto alter his views of it. As a
time and painted a number
result,he remained
a considerable
of
good things.
"

"

CHAPTER

VIII

CLOUDS

and

HERE
of

skies

worthy

changing
As

years

and

in

shock

than

by,

to

get

way

the

another

or

student'

by

I will instead
"

from

that

them

he

painting

on

Their

of

field

should

for

bits

copy

will

of

almost

resolutely,
from

so

invariably
a

Dojt
direct.

as

be

condition

arduous

task.

always

so

pass

of the

first think

points give

me

there

him

to

seem

grasp
to

culty.
diffi-

of

terror

will

going

not

am

in the

hope

to

to

poor

crude

of

labour

aimed

in

any

the

student

as

early

an

it

I found

days trying

paint
clouds

and

skies.

in

the

and

spend
memory

to

complete

from

nature

be faced
things. This must
and
experience inseparable

for

that

long

let your
it will

time

aside.

put

be

work

only

be

will obtain.

you
of the

shade

be

must

clouds,

of

study

the

but

may,

you

position

75

Nowhere

whole

repainting

that

light and

makes

this, that

beginning

at

skies)

failure.

skies

paint

When

of

court

is to

from

then

and

handbooks

treat

they

sit down,

To

student

of the
the

task

experiences,

as

notes.

quickly,

effect

my

impossible.

of

Clouds

my

that

when

necessary

and
washing out
-badly and as crudely as

semblance

These

and

efforts

early

as

so

cloudy sky,

when

clouds,

thought

any

me

better

clouds

to

them

making

exercise

The

thing.

be

ever

useful

most

refer

with

is it

of nature

begin painting

task

dealing

from

painting

lifetime.

before

especially

nature,

ever-

something

irregularity (I

orderly plan

its

and

for

of my

some

afforded

has

sky

However,

up

well

subject

in nature

bit

subject

the

practical.
speak disparagingly of those

I must

from

utter

wide

him

give

last

and

conjuring

them

I started

and

express.

will learn

Again, however,

would

better

bit here

accomplished.

one

that

on

the

since

ever

know

words

consider

Nothing

felt

much

was

few

contemplating

I have

here

but

themselves.

pleasure

go

be

never

all to

SKIES

scattered

clouds,

moods.

that

nature

I have

and

place

greater

me

there

AND

sun

scheme

and
and

time
the

of

day.

general

75
es

rS

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r/i

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t-H

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cd

jg

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wh

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60
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1
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CLOUDS
colour.

The

effect

an

AND

illustration here

can

quickestmethods

77

given 'Hullserve

obtained with

be

SKIES
show

to

how

broad

little detail of work.

very

be those

The

the best for outdoor

sought for as
spoilsa good effort by not knowing
when
to leave well alone.
It is the best plan when
paintinga
at
sunset
time
for
the
be
contented
with a
landscape
beginnerto
plainsky. The lightest
part of such a sky will be about a third up

painting.The

from

must

student

the horizon

point to the
immediately

and

often

occupy

zenith

about

uppermost

or

third of the space from that

part of the painting. Then

lightest
period it gets darker tillthe skyline
I always found this a comfortingway to proceed,
is reached.
scape.
me
as it gave
plenty of time to think about the rest of the landable thoughtfullyto study the
At the same
time, I was
colour and gradationsof such a sky, without
having the extra
Of course
of clouds.
a
stormy sunset should not be
difficulty
the

for this exercise,but

chosen
too

not

below

where

one

there

clouds

are

that

are

aggressive.

sky is often most lovelyat sunset time. It

be
is at such a time that comparativelysimple cloud masses
can
remain
which
Every advantage should
seen
fairlymotionless.
with penciland brush
be taken of these quiet times to register
thus spread out.
the attractions of nature
Every opportunity
fit to
nature
sees
should be seized by the student to note it when
displaya simplepileof beauty for our delectation.
Clouds are curious thingsto study. At one time full of fairy-like
and at another
gatheringtogetherin appallingmasses
qualities
"

The

north-eastern

of stormy

in
to be observed
A very importantmatter
is to avoid allowingthe darkest value to occupy

fierceness.

paintinga sky
too largea portionof
middle

values

forcibly.
Nothing
The

most

and

then

in nature

of

of wonder

transparency by

the lightsand

the darks

wants

so

overcast

firmament

to
means

is
me

so

how
so

opaque
full of charm.
one

clumsy

can

and

be of the

masses

will

tenderly dealing with

it will become

transparency which

source

the chief

and

stormy

tenderly,otherwise

Let

the whole.

must

speak
as

be

most

sky.

treated

lose all that

quality

It has

always been a
ever
hope to produce this
washing and stippling
"

"

as

thingsin nature.
Truly has it been written, that in order to give to an
to rest bf Nature, the clouds must
sky that quietfalling
horizontal kind. The rough drawing of a sunset which I
the

evening
be

here

of

give

CLOUDS

78

will
a

explain

few

meaning

my

will

sentences

and

disturbed

the

beginning

of

the

quietly

ending

clouds

be

sleeping

lines

windless

day.

In

the

sunrise

is

lines.
and

its

be

day
a

way
of

like

character

awakening

use

as

Nature

day

finish,
kind,

and
a

is

sunset

be

but

is

best

associated

and
best
is

equally

in

the

early

shown

in"

peaceful.

be

order

to

to

repose,

express

to

end

morning

rest

the
the

by

the

quiet

at

seen

expressed
with

sinking

fierce

The
often

sinking

which

are

although

use,

can

may

and

awakes,

kind,

should

agitated

"

that

accompaniment.

an

windy

its

words

any

and

and

reposeful

of

SKIES

than

uprising

clouds

of

of

stormy

of

same

The

better

clouds

must

AND

of

sky
horizontal-

of

Nature,

at

CHAPTER

THE

IX

WATER-COLOUR

PAINTER'S

COUNTRY

Sussex
very
THEStudent

many

and

years,
and

student,
with
beset

here

artist.

my

path,

students.
fellow

I have

Conscious
I

However,

workers,

those

even

supplied

I conclude
which

others

list

and

do

fellow

my
interest

my

respect

and

may

with

look

the

have

save

wanderings

whom

to

the

the

difficulties

of these

some

have

before

address

to

which

take

experiences of
beginner, the advancing

the

breath

of the

hesitate

is to

include

help

take

myself

scenes

pages
to

to

stop

set

now

varied

intended

are

the

"

task

those
through
inspiration. These

with

me

pleasant

admiration.

thinking

When
evident
of

to

the

that

me

which
must

kindly

there

will

talk

be

about

in

and

eight

and

guardians,

look

at

it to

be

great

are

but

with

that

good place
very

with

soon

to

see

after

four

I resort

from

The
visit

79

for

as

an

I visited

there

force

another

of

much

constant

the

by

better

appear
to

Art

relevant
ir-

water-

student.
National

the

masterpieces

boys of
older boy

an

to

suited

best

taken

Again,

highly polished

be

other

them.
this

the

not

was

pictures, having heard

a

land

these

and

otherwise

of age

years

writer.

necessary

might

visited

hand, but

pages,

may

the

through
be

may

the

early beginning

nine

No,

went

to

very

consideration

wander

in

former

moment

to

very

and

Crome.

of

which

duly impressed

was

whims

considered

devoted

I made

subject

composition.

of great

remarks

chapter

between

Constable
or

of

painting.

Gallery,

points

and

forewords

These
by use.
understanding

When

values

that

to

the

back

looking

method,

it seemed

devoted

be

to
as

upon

constant

repetition,so

colour

related

looked

be

book

As
we
study.
land, occasionally bypaths

only distantly

are

of this

for

suited

of the

parts

scheme

of it should

part

best

places

different

the

over

of Turner,

my

parents
to

my

own

age

that

he

believed

so
example was
juvenile expedition

1 -I-S

IS

"a

"

12
.1

"

"
_

so

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+"

S
_-

"-,_"

fe

"

?.Q
"*
.

"

"'S
00

p
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"

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pQ

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""132

M~

H
to
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5
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fl

3s

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to

Tj

h
"

PS

"

"

PS
w

"u

"

"8

en

fi

J* "

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HP

oj

a"

"

+*

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JS

"

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"

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TS

oS

co

"

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i^J3

T3-

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fi

"

CO
CO

t"
W

SUSSEX

planned,and

was

from

this time

was

to

study landscapedrawing

nature.

The

enthusiasm

of these

continues to "broaden
that

I found

that which
should

was

help to

that

nature

for brush
a

autumn

form
let

now

and

without

love of the South

And

earlyyears was
strengthen. And

nothing but encouragement

so
evidentlymy great joy.

be treated
from

work

to

it

81

and

Downs

my

undue

attempted was
began, which was

was

love for that class of

describe

those

pencilwhich

have

me

pressure,

intense,and still it
here let it be recorded
from

parents, in

earlyaspirations

Thus
or

my

advice.

The

in Sussex, when
to be

and
lasting,

next

my
was

country.

wanderings in quest of subjects

cluded
lasted for many
years and inand
of delight. The first summer

great and varied land

in the open country was

spent in the neighbourhoodof

This very fine ground is one

of the most
Pulborough,Sussex.
varied in England, includingas it does the rollingDowns, the
River Aran and its valley,
beauteous
the distant views of Arundel
and Amberley, and stillfurther to the west the statelyspireof
of the greatest,
Chichester.
This land has been paintedby some
will its sweet
its glories
be exhausted, and never
but never
can
enchantment
grow less. To the student who is puttingto the test
borough
his early knowledge of composition,values, and
colour, PulBridge, with the villagerisingbehind, is ready for his
trial of skill. Again, if a walk is taken over
Houghton Bridge and
folds
Park, the picturewhich unup the road to the north of Arundel
of surpassing
itself upon lookingsouth-east is one
grandeur.
the
intense
and
this
I remember
well
picture,
painting
very
to the quesLet us get back for a moment
tions
pleasureit gave me.
and composition,and then for a space this view
of method
shall be repainted. The time was
gettingshort for so large a
subject,yet the thing was so beautiful that it had to be done.
the distance of the Downs, and beyond, the open miles
There was
all suffused with the lightof
of flat country stretching
to the sea
In the middle
the decliningsun.
ground the statelypile of
Arundel Castle,with the timber masses
immediately surrounding
outline stood out in
it. The details of buildingand trees, whose
strong silhouette againstthe distant lit-upland and sea and sky,
were
firmlydrawn in, showing finely.And now was carried out in
the scheme
of allowingthe carefully
put in periodof light
practice

distance to
and

trees.

come

The

distance castle
up to, but not touch, the middle
woodland
of near
opposed
great round masses

PAINTER'S

WATER-COLOUR

82

themselves

distance, and

the middle

to

COUNTRY
in turn

were

kept

clear

by the thin line of dry paper which intervened.

In the foreground was
an
undulating downland, sombre and
vention,
interstrong in the deepeningshades of evening,and then, glorious
themselves
the edge of the
of deer introduced
on
a group
foregrounddown and sparkledin white and red and black against
of wood.
the dense near
masses
Every plan I knew was requisitioned
and
each
of
the
to facilitate my
as
work,
picture
part
it
finished
Yet
from
under
hand
one
was
completely.
passed
my
and

to themselves

thing did wait and that

of

their tiny zone

interposed
tone

and

values

the thin lines of white

was

which

safety and prevented the planes of

hopelesslymingling

from

paper

with

another.

one

Hastilyall was done, and yet each part had sufficient time allotted
to its doing to prevent either hurry or carelessness.
When
all was
filled in very carefully,
perfectlydry, the little white lines were
and the task was
completed.
Do not let the student be depressedor mortified,if the first time
he ventures
such an undertaking as this the result is bound
to
on
the day end in a sad homebe distressing.
Often and often must
coming,
out
comes
yet let it always be borne in mind that success
of

and that it is those .who will

apparent failure,
succeed.

who

When

taken

not

admit

defeat

pleasantlands
and shown those subjectswith which you will continually
struggle
and which
will
should
love,
never
yet always
forgetthat
you
you
notebook
must
a
constantlybe your companion. Pages rilled
with all and everythingwhich attracts the attention to its beauty
reminder
to the student
are
of the fields of
always an interesting
his labour.
Continual
practice also strengthensthe technical
well as trains the eye to seize on the salient points
as
experience,
of a landscapewith ever-increasing
correctness.
For years I have
never

been

are

of

very

unusual

student.

Much

bargescome

Such
and

in many

work
up

subjects as

these

through

notebook, and in these books

of subjectswhich
infinity
interest. The locality
to

an

as

without

you

attracted

I have

recorded

possessingelements
I am
which
now
giving attention is
and particularly
suited to the young
ways,
be done along the banks
can
of the Arun,

some

distance from

river craft

tend by
certainly
of drawing.
There is generallyto be
most

and very often vessels of

as

its mouth

admirable

are

their

at

for

Littlehampton.
picturemaking,

to strengthenthe
difficulty

found

much

me

group

largerkind.

of

power

barges at Arundel,
I was
working

When

SUSSEX

83

in this part of Sussex, and had my headquartersat Pulborough,

I used to plan day tripsto placesin the near
neighbourhood.
One

pretty and

trip can be taken to Amberley,

interesting
the north slopeof the Downs
the marshes,
across
on
called,the brooks.
or, as these are locally
Amberley Castle itself suppliessome
very fine subjects,and
there is also a charming view of Pulborough when
half across
the
very
which is

brooks.

As

an

added

attraction to these marshes

the cattle

are

of

Amberley, Sussex

Illus. XIX.

grazingcountry, and they are ever

presentto add their colour to the picture. This was the locality
series of cattle groups, beginning with
I used to make
where
a
and then graduallyincreasing
those thirty or forty yards away
of beasts picturedwas
times
somethe distance until the little crowd
It is interesting
to notice how
three or four miles distant.
great interest,for it is

details become

lost until

fine

group

of cattle three

or

four

miles

is
spots of colour. And now
only like so many
appears
away
be
for keen observation,as these spots must
evident the necessity
paintedwith the greatestcare, otherwise they will never resemble
the

animals

for which

this when
somethingjtike

they

are

intended.

I think

he referred to Turner

and

Ruskin

the

said

recording

of
to

it is a very useful thing

esting
of it. I found this plan most inter-

bridgeat

various distances.

do, whoever

first thought

COUNTRY

PAINTER'S

WATER-COLOUR

84

However,

drawing^ariousthingsseen at different distances. Such

practicegivesgood exercise in findingout the essential elements
in

in

objects.
Thus, for instance, if
difficultto

it is very

them

to

get
vanished

they are

as

see

group

the

of trees

masses

confused

of

with

subjectin hand,

is the

lightand

shadow

the detail.

Should

when
we,

half a mile from the objectthe details will have

through the
and the construction be obvious

near

ever,
how-

nearly

play

of

/^.kJ'^i
Illus. XX.

Amberley,

Sussex

The
villageand castle of Amberley are most
lightand shade.
charmingly situated,nestlingunder the Downs, which form a
Brooks."
I made
a watergrand background when seen from the
colour drawing of it from this positionone
broilinghot day in
July,when the white stone walls reflected the sun, and they looked
silver for brightness,
like burnished
standingout againsta deep
other good pointsin
blue sky with jjrandeffect. There are many
and around the place,but I liked this the best for a near
picture,
"

and

more

There

distant
is

ones

shall be noted

in due

course.

pictureto be seen

the way from

on
particularly
good
the villageto the railway station.
The
castle is seen
resting
the
with
a good roadieadingto it which
Downs,
quietlyamongst
h
as
cattle
or people on
it,and the whole thingis
generally carts,
a

SUSSEX

85

backed

up by the distant hills. I only givethese pointsas they

suggested themselves to me, but doubtless many
to be
more
are
found, and better ones, too, for the matter of that. I did this

drawing of the castle again years after I spent the summer

in the mornPulborough,having bicycledfrom Hurstpierpoint
ing

sunny
at

and

back

again in

remark

may

that

but
longbicycle-ride,
like

them, and

the

found

never

I have

believe

likelyto provoke any

Houghton Bridge, over
of Arundel

down

the

tried

to be

very

of

amount

the

I
evening. Incidentally,

hand-shakingafter

any

never

them

and

north

cool of the

as
motor-cycle,

bad

from

health

hand-shaking and
here, is

Aran

Park, and

past it
river here wanderings can

even

point

nerves.

the road

on

Chichester.

on

to

be

made, and much

to

Up

is to
interesting
and

be

XXI.

I did

seen.

since the time

Amberley

I did it have

variety of moods,

the
and

that is

dWS

Illus.

I do not

rJ- #td

Church

small paintingof Bury Church,

the same
seen
subjectin a great

over
it,
spread sunlightor shadow
dressed it in different garbs. I must
remember, however,
this is not a book on Sussex, which has alreadybeen so well done
by Mr. E. V. Lucas, but merely notes of what I found in the
county, pleasantand helpfulfor a water-colour student to work

nature

as

and

at.

I must

hasten

worth, and
named
Common

so

on

to

than once,
place,paintingthe Mill more
here is a fine sandy rough place,full

colour and

well

in shadow
the

so take the road to Fittlemy jottings,

worked
at the firstMidhurst.
Constable

with

on

contrast

trudgeswith

so
me

I believe.
of

The

brightnessof

ground
adapted for puttinginto practicea strong forewhen

break

in

showery evening sky

bewilderinglycharming.
and

The

seeks to let his emotions

more

find

makes

the student
in
expression

his

work, the

COUNTRY

PAINTER'S

WATER-COLOUR

86

more,

clear to him

will it become

sure,

am

that

stippleand scrub in water-colour can

other
There
are
to satisfyhim.
never
many
supply the means
but these must be left for the investigation
good thingsin this locality,
I
in
the
districts
am
of those who follow my footsteps
pointing
the method

and

of wash

out.

Midhurst

is

picturesit
attention,

is,however,
as

the

park is

I do not

know

how

be

seen

the visitor

who

those

love

street

old
interesting
many
Castle and park that I direct
are

subjects,and

full of fine timber

Constable

these studies should

for

there

Cowdray

to

castle is full of interest.

and

and

pretty town,

affords attractions,as

It

houses.

drew

of the ruined

some

the

parts,

as
possible,
they~arevery fine.
gets on at Cowdray Castle now, as

if

thingshave changed there of late years. But when I visited the

place there was no objectionmade* to my painting,which I did,
both inside and outside the building. If the student finds when
doing a buildingcompositionthat he gets on well for a time, and
to a great and
and then
comes
expresses his intentions fairly,
overwhelming stumbling-block,he should not hesitate to leave
I do not for a moment
the drawing unfinished.
say that halffinished studies should be the order of the day, but under exceptional
It tends to
conditions this is the rightcourse
to pursue.
far less

and after all it is wise

mortification,

to be too

far cast

plan from the very first days I had

I did that part of a subjectwhich
with nature.
clearlyappealed
It is a
and left the rest if likelyto land me
in a muddle.
to me,
but
very bad plan to be always avoiding difficulties in this way,
to resort to it as an
exceptionI am sure is good.
I spent in the country paintingfrom nature
This first summer
happened to be a very fine one for work, with a sufficient amount
of broken
weather to get clouds and atmosphere, and yet for the
In those days there were
main part brightand sunny.
mills
a few windin the district,which
nice varietyof subject,and
a
gave
students
provided good drawing studies. I do not think many
would
use
as
rapidlyas I did, but always to keep
up notebooks
down.

one

at

always followed

not

hand

startingthe

cannot

this

be too
with

much

insisted

on.

I remember

once

day
doing nothing but
and I finished up
quick pencilstudies. It was very interesting,
in the late evening with nearly seventy pages of my book filled.
of them
but they all had a scheme
of
Very slightmany
were,

compositionin them,

the

and

determination

am

convinced

of

such

an

exercise

was

SUSSEX

good.

Large

bridges,

churches

Many

6nly
that

back

to

me

of

Sussex,

varied,

as

took

occupied

any
I

as

well

of

the

things
being

no

minutes

"to

particularly

which
is

included.

ten

took
better
to

of

be
such

great

minutes.
of

minutes.
than

country
seen

and

do,/

one

two

in

day's

interest.

village

trees,

were

than

more

write,

there

as

all

couple

of

groups

castles,

Ring,

this

as

and

as

Chanctonbury
work

landscapes,

open

87

do

It

distant
For

this

trudge

streets,

such

not

all

comes

view
a

particular
are

member
re-

of

day's
part

infinitely

CHAPTER

THE

COUNTRY

PAINTER'S

WATER-COLOUR

Kent

"VTOTHING

could
than

journey

-"-'

afford

great stretches

to

interest

which

first

my

life of

with

acquaintance

it still preserves

times,

owes

my

the

interest

attention,

and

I have

worked

place

for

its freshness

second
It

was

since

although
there

many

I believe

and

me,

ling
ming-

district.

manufacturing

attracted

now

painting

its chief

rolling downs, with

ruined
castles, and the

riverside

first

first

my

or

and

rivers, woods

the

Rochester

The

lowlands

of open

of

with

teems

second.

my

to

contrast

greater

ever

will.
It is rather
London

side

cathedral
think

and

the

as

only

the

if I had

me

rather

which
the

word

for

selected

such

an

delicious

the

of
be

tall

the
of

mass

are

well

as

for

The

in

can

certainty,

be
and

the

an

old

shadows

quietly determined

painted

the

to

to

I do

Medway,
in

situation.

who

I should

no

ships

variety,

sit

can

fear

it
be

not

he

and

told
find

need

which

I could,

way

friend

with

the

of

the

barges

at

seem

to

which

busy place.

hours

and

quietly

endless

Very interesting, as well

bleaches
object. The
sun
colours,

of

squat

help

student

subjects

I refer

best

thought

young

out

objects

in the
that

he

endless

on.

other

in such-

Rochester

all

of the

keynote

beauty

the

on

the

which

years

chimneys,

was

them

late

of

the

keep,

bristlingmasts

painting.

thinking

studied

tides.

shapes

to

subject-moving

I have

the

for

there

here

naturally

come

tangled
been

hours,

as

to

seems

added

been

from

approached

Norman

of recommendation

never

as

nervous,

anchor,

has

good place

down

(a spire

is

city

mighty

improvement),
equally bristling mass

unravel

to

The

an

bustle

general
had

is

rail.

by

tower

not

the

startling at first,as

without

barge resting quietly

as

the

88

timbers

change
on

the

difficult

hurry

so

hot

is the

drawing

into

the

slowly

that

cloudless

there

between

always

day
must

of

most

their
with
be

KENT
when

there

clouds.
fleeting

89

is work

There

here for all to do,

making his first efforts through all the

are

from

the young
student
stages of labour, to the finished craftsman.
I did early work
here, and have visited the place periodically
for years.
This is a rare place to tempt one
to do the Victorian

water-colour, simply because the whole thing can look so brilliantly

beautiful at times, with its brilliant skies,white and red
sails,and full-laden hay-barges.But do not fall into the habit of
"

making a
pretty picture,"else I shall be sorry I ever took you
to this entrancinglocality.A moment
to show
by the way, please,
the kind of cold douche
I had when
working here some
years
since. The subjectsI had been working at were
beautiful
and
so
varied, that I was
gettinga little puffed up, so that my fall was
when
very salutary,and left me
thinking. As is very common
is paintingnear
one
a populous town,
people had stopped
many
to watch
me
working one day, and passed on with some
trifling
remark.

I became

attentive

more

aware,

however, that

the rest, and

than

one

young
person was
being comely and well-favoured

accordingto the giftsof nature, her presence

At last,having watched
for
me
attentively
remarked
very questioningly
I painted,and
to sell what

might

that

was

young
found

which

friend

man

it

held

her

the

was

to be

conceit

my

chastened

spirit.

hour, she

suppose I ever
replyingthat,curious

come

my

tried
she

as

her response
that she had a

way,

at all

rid of his efforts.

lover's

made

work

others, and

on

was

her

yet she

saving clause,that

However,

an

rude, but
painted better than I did, but that he

who

she inflicted

there

wish

impossibleto get

she

wounds
as

she did not

about

that she did not

upon my
it,sales did sometimes

think

irksome.

not

was

The

estimation

indifferent

was

not

she did not" wish

cured, and

very

to

in
the

brutal

to be rude.

pursued my

task

in

but as I trudgealong
again for a long spell,
recallingthe past and tellingwhat I know as to the beauties of
ideas as to how these
the country visited,as well as giving my
I will not

break

off

should be dealt with, I find it difficult not to say

word

now

and

side of my
wanderings. This was a splendid
again of the human
place for humanity, but I will stick to my last,and only talk
the Strood Cement
about such thingsas hay-barges,or better still,
Works

across

the

water.

These

cement

works

are

the

most

delightfulsight,and to me are an ever-presentjoy when I am

to get everyworking in this neighbourhood. The cement seems

where,

only

not

but

covering

the

innumerable
Now

and

the

seen

to

the

The

there

and

when

before

and
this

amongst

the

beginner

should

grandly

Rooked

be

This

not

mine.

at,

the

each
of

one

material
must

and

be

left

it in

his

with

book

with
own

in

for

view
a

great
of

way,

in

centres

field

and,

ventured

me

well

point

the

such

at

finished

man,
work-

but

on,

magnitude,
all

England

which
The

as

hope,

with
to

there

as

attraction

labour,

let

be

into
is

which
one

the

is

broken

looking
of

distance,

no

Medway

river

short

itself.

to

of

when

change

us

the

is

into

it

can

advantage.

like

peculiar

of

There

not

it is

picture,

mind

may

entirely
this

make

beauty,

brought

be

the

The

me.

Let

glory

revisits

silvery

to

first

he

as

river.

smoke,

one

any

when

their

Hill

Britain.

bear

with

only

working

my

for

Great

the

full

to

was

its

eke

with

objects
of

the

go

picture

that

in

Windmill

up

and

as

is

Then

place

interest

marvellous

chimneys,

thing

is, the

is not
and

such,

in

always

that

up

shines,

sun

sky.

sympathy

foreground

sundry

finest

be

in

side

the

the

fresh

gain

gained

tall

and

impossible

and

creeping

even

northern
of

entirely

walk

is

blue

surely

Rochester

height

all

parts,

many

will

are

short

when

character

strong

Shipping,

us.

weird

being

the
go

is

cold

the

Strood

on

subject

our

also

always

composition

and

place

believe, only

buildings,

the

student

from

are

is

the

this

culled

of

it

young

in

spot,

and

of

will,

the

cementy,

clothes

chimneys.

wonder

perfection

pictures

chief

all

their

and

workers

dust

tall

it, and

saw

its

backing

beauty.

the

making

with

the

COUNTRY

PAINTER'S

WATER-COLOUR

90

its

are

own.

could

find

student

others,
in

it

is

supply

not

water-colour
the

many

There

joy

to

late
trans-

equal

to

CHAPTER

THE

WATER-COLOUR

PAINTER'S

Warwickshire
first

MY

years

in

to

when

to

give

be

made

splendid
furnish

to

pupils

for

some

mansion

me

with

It

student

have

kind, with

advantages
the

various
It

is

an

definite

garden paintings

Honyngton

strongly.
deeply, as
feeble

The

One

stuff

come

mass

from,

catalogue
of such

well

To
of

how

or

liken

firm,

usually

as

to

go

value

the

to

these

buyers

also

I did

pages

cut

would

be

making

to

to

merit

illustrated

an

of

at

such

rude

things
since

admirable,

picture

are

miserable-

arrange

saying

me

very

such,

be

such

from

most
a

of

for

several

into

gone

to

found

be

prints are

beyond

and

possessing no

case

galleriescan

greatest
well, and

so

be

must

the

to

place appealed

claiming

see

tunity
oppor-

of the

one

study,

the

as

this

old-fashioned

an

qualities.

the

great seedsman

some

profess

never

for

Hall,

where

them

of

compose
attractive.

garden painting

any

fine

about

interest

materials

constructive

wonder

were

very

good

their

and

terrace-steps, is

pictures we

of

it afforded

words, in nearly every

may

exhibitions.

they

question

the

beyond

all.

of

and

anything

big garden

ground

subjects possessing

gardens

lessons,

said

charmingly

especially good
at

have

gardens

and

so

terraced

the

thought

The

are

for

Hall,

Honyngton

was

The

actual

for me,
happy time
as
very
able
also to find plenty of time
not

student.

incidents

our

The

work.

lawns, terraces,
to

efforts

about

of water-colour

stay

few

Shipston-on-Stour,

at

of

was

but

gained only

was

neighbourhood.

was

chat

go

Counties

in the

I need

painting.

and

subjects

and

apt,

district

Shipston.

near

the

lesson-giving incident,
to

to

subject

result.

were

this

lessons

old

own

my

of

COUNTRY

Neighbouring

the

I had

the

pictures might
my

and

knowledge

ago,

order

place

XI

botanical

specimen.
I

am

journey

taking
of

very

serious

investigation, and

interest
feel I must
9i

in

companion

my
say

few

homely

in

this

truths

to

J3
""

"

J3

3
a

o
=2

xi

13

"

"""

-a

i-S
T3
S3
"e

"
^

13
S3

"

(S.g
O
i"

6-1

"

w
s

rt

..3

'"si M
O

"u

S"T3

WARWICKSHIRE
about

the

manner
silly

in which

goingto say painted,but I

to apply to such rubbish.
mind
of

pictureare
often is in

lightand

gardens are

often

reallycannot ; that
Again, I will askihe

that the great natural

98

term

well, I

"

was

is too serious

student

to bear in

influences at work in the production

shadow.
Brightness of colour there

garden,but the finest type to be painted is the

garden, where straightwalks, yew hedges, and terraces,
the
chief pointsof interest. Do not think from these remarks
are
that flowers in a garden are
to be painted,because
it is
never
with fine effect.
possible to do them
As
a
grand example
Minister's Garden
nothing could be better than the
by Cecil
Lawson, in the City Gallery,Manchester.
Look
at the beauty of handling in the
way the hollyhocksare
managed, and it is very evident that flowers in a garden can be
made
I found
a
in garden paintingin
very noble monument.
very

formal

"

water-colours

that

the

centre

"

of interest should

be

done

with

strength and precision,

leavingthe subsidiaryparts to be dealt
with more
incidentally.There is in this neighbourhood Compton
Winyates a mansion which has a statelygarden of great beauty.
The castle affords many
subjectsfor the student, and the whole
with interest. Although I did not spend much
place abounds
time in the investigation
of gardens when
I was
here, I feel little
"

doubt
this

that

should

the

student

would

direction,many

in the district. I shall not

it is

as
own

subjectwhich

can

be

wish

to

found,

as

again refer

prosecute his studies in

there

to the

are

fine old houses

paintingof gardens,

be left to the student

in his

to pursue

individual

way.
The character of the rest of this district is that of many
and wooded
parts of England. It is very finelyseen

road

from

on

the

Shipston-on-Stour.In fact,of its class it

is amongst the grandest,the masses
of foliage
recedingin literal
billows of woodland
tillthey are lost in the distance and become
blended with the sky. There is from Shipston a very interesting
expeditionwhich can be taken to Chipping Campden, which is,
I

Warwick

lating
undu-

to

believe,a few miles

When

interest.
when

ChippingCampden

many

into Gloucestershire.

the border

stayingat Shipston I went this tripand found

There is plenty of woodland
scenery on the

those interested

days

over

town

is reached

charms, and here

way,

fine feast is laid before

and
all

In those
quitestatelytown.
an
imposingchurch at its end had for me
I
such a task is to be had to perfection.

in the beauties

street with

it full of

of

94

do

not

but

such

say

having

It

is, however,

form

the

fine

and

in

doing

be

do,

to

the

as

find

so

to

to

note

paint it,

to

me

it does.

long time before

stately mansions

opportunity

fine

again tempt

never

it may

thing

afford

street

Canaletto,

such

many
a

will

subject

done

COUNTRY

PAINTER'S

WATER-COLOUR

little

how

out

emulate

and

try

to

which

of

knows

one

drawing.
It

be

may

interesting

this

that

town

one

was

of

the

in

the

residential
of

West
in

the

England

halt

the

the
now

of

in

account
comes

very

should

be
the

coloured

the

In

and

should

Before

are

this
it

from

one

on

this

the

lovely

if

of

colour

place

on

and

hereabouts,

no

castle

This

locality.

it

so

finished

white

efforts

should

usually
and

workman,

in imitation
bad.

All

therefore

the

is very

this

my
leave

used, Which

be

must

are

and

In

nature.

advanced,

of

use

them.

part of the
It is

summer's

country, mention

grand subject

the
from

bridge

some

fairly

is the

here

to

from

far

master,

some

refer

studies

place, Chinese

the

points

It takes
so, if

of

Castle.

other

this

in

to

place, such

presents itself from

many

it

have

not

Castle, the

landscapes
I want

even

next

avoid

leaving

of Warwick
it

into

making

first

for

are

I would

interests, makes

As

noted.

works

things

student

as

in the

choice

such

the

which

painting

particular thing

alone.

is bad

and

when
papers
the
student,

opinion
such

when

to

brighter
rested,

all the

be

and' think.

me

digress

must

breath

Kenilworth

to

its other

to

beautifully

visited

back

came

refer

missed

be

to

Now

addition

take

will

talks

here

flourished

which

centuries.

of my

just to

place

unmeritioned.

which,

of

then

interested

were

Industry,

eighteenth

and

and

who

merchants

professionalpart

memory

left

the

Woolstapling

seventeenth

bit, but
for

of

places

bridge
which

has

evening
time

to

possible, a lengthy trip

the reward
is great.
managed

to

in the

it

always

for

remained
and

advised,

There

admirably,

in my

enjoyed

made

picture, especially

seen

get acquainted
it is

be

evening light.
be

can

must

mind

as

and

this

saw

it profoundly.

painting
with

but

country,

if this

can

be

CHAPTER

THE

WATER-COLOUR

Newbury

conclude

not

giving merely
tempted

to

take

remarks

my

attracted

was

to

be

not
on

was

to

its side.

to

The
the

would

So

of

mine,

work

he

of

feel

should

them

for

out

point

soon

I had

disclosed

from
I have

the

as

This

is all

Mr.

saw

It
the

out

most

whole
'

and

was

the

to

up

restored
minister

heavenly
250
95

the

with

wonder
miles

view
of
of my

beast

it

as

sloping down

(the

with

about

settling
the

thing

poor

course,

reward,

my

to his normal

the

which

down.

animal
that

beauty,
trip to

that
see

it

begin
which
state.

comfort
was

its
less

becoming

threw

to

and

friendly help

be

my

admiring

an

and, of
to

peculiar

very

now

to

stand

Sheep

such

was

were

on

attention

my

wriggled

legs

leading

in order
a

me

the

seemed
of its

Thinking

animal

it could

reached
to

its back,

down

worn

before

road.

ridden

and

in

watched

struggles

of two

in which

way

quietly jogging

was

sheep.

restfulness

faint

grass.
as

me

sheep

hidden

should

accidental

and

on

the

The

hold

I walked

where

to

quiet

minutes

the

nibbling
came

pair

one

anyone

and

behaving

was

other

the\air.

As

machine

amiss,

ridge)
in

of the

about

thirty

or

caught

several

was

journeys

only

leaving Marlborough,

that

got off my

taken
a

However,

after

floundered

legs flapping
and
less, and

on

If

general,

in

discovered.

sheep

of twenty

road

of work.

amount

having

extent.

illustration

Downs

and

struggled
mob

and

of these

one

an

be

irregular way.

would

that

to

directions

is

can

the

across

way

on
as

following

subjects

fine

experience,

is limited

large

and

starting-point,although the student

that the place is uninteresting. I am

this

own

venture

of

joy,

much

me

gave

in all details.

himself
The

from

my

seeing

my

eyes

the

at

salisbury

to

which

bicycle expedition
addition, productive

Devizes

and

wiltshire

across

get anything

COUNTRY

Hungerford

to

in

not

must

back

was

was,

did

PAINTER'S

(Berkshire)
and

THIS

XII

of

entirely

gladly
it, and

"u
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en

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BERKSHIRE
such
register
the hunt
sort

satisfy
any
add

him
telling
would

of

of the incident

help I

had

halt

next

by

pass

received

given his sheep,as

died in

was

few

chosen

was

view

where

mellow

later

and

warm

he assured

road,and

the

on

hearty thanks
me

the creature

spent

and
great pleasure,
incident

at

time

some

also

was

least. The

point

got a fine view of SilburyHill,which

bath of

beginningto

There
go down.
work, so 1 settled to

paintedthat

uncommon

uninteresting.Just to
aroused in sheep, I may

SilburyHill,where

near

one

in
appeared rising

zealously

minutes.

paintingwhich afforded me
from one
extraordinarily
interesting

to do my
to me
as

as

his

I had

near

I may
have
shepherd a few minutes

the

surelyhave

My
doing

how

how

interest which

that I met

for the

point we

97

I tellthis to show

prosecuted,and

be to the

may

WILTSHIRE

thingof loveliness;
be

must

AND

the sun
light,
justthen
was
yet a good spellof time for me
it quietly. It became
very evident

I should

warm

find trouble

with

the

middle

foreground.
To leave the turn
lost in the

of the road

as

it went

downwards

and

became

interveningbetween me
and the mellow
hill beyond was
quite impossible,
yet how to
not at all obvious.
A man
a relief was
drivinga cow or
manage
well as a
three girls
two passed along,and two
as
or
on
bicycles,
flock of sheep,but nothing was
justright. It is at a time like this
that it becomes
very evident that to attempt a bit of design is
such an invention
would be sure to look
next
to impossible,
as
tame
and not rightfor the particular
spot.
and
As usual under such conditions,I began to get irritated,
had almost given up hope that anything of interest would turn up,
the
when
the unexpected happened. A large tilt-cart turned
white coveringgave
and the lightfalling
its practically
on
corner,
At
I got it in and
once
me
justthe spot of lightI was cravingfor.
soon

very
use

it

as

dense

shadow

labour

my
well

as

of the woods

ended.

Now

possible.There

take

was

no

of my

one

washing out

secrets

of my

and
dark

scrapingeither,for the carjb was paintedon a

pieceof clean paper left ready for the righttenant if it turned up.
it appears
In this way
as
though my friend the cart had been
the picture.
plannedand thought of from the time I commenced
of

mass

I had
be

shadow,

settled where

asked,

turned

or

"

up ?
picturewould

But
"

the group
would
what

To
have

to

be, and that

happen

questionI

which
been

was

failure.

if that
can

I may
tilt-cart had not
was

aH.

only reply,that

my

It is not
it seemed
I

me

to be

got comfortably to

and

but in this case

objectis so essential,
in quiteso aptly.
so, and nothing else came
Devizes, where I found pleasantquarters,

always that
to

having

strained

COUNTRY

PAINTER'S

WATER-COLOUR

98

an

fresh paper,

rested

well,as

for my ride to Salisbury. Between

there is work for a long summer,
or
even

paration
necessary preDevizes
and
Newbury
a

the best

part of

time,
life-

for a hunting-ground for a

simply prospecting
of great
most
class. The next
beautiful,with masses
day was
clouds, for there had been rain in the night and the weather
fluffy
seemed
breaking. I rode on happily enough, but saw nothing to
bring me to a halt of sufficient attractiveness to turn to artistic
It is the greatest mistake to imagine that demonstrative
account.
efforts can
for ever
be occupying the painter.
brilliant beyond words
On this particular
day the clouds were
in their pure whiteness, and piled themselves
up into the most
and yet I did not want to paintthem,
gorgeous heaps of loveliness,
but only to look and admire.
And
always let it be remembered
that observingnature
in its various conditions should be a highly
important task for the student, and for the matter of that every
other sane
Apart from the great joy of it,values can be
person.
thought out and compared, as well as the arrangement of lines and
the generalplan of compositions. Drawing and paintingis not
book,
only learned when the head is bent over
drawing board or notethe mind
but also when
is busy making attentive observations
and storingthe brain with such knowledge. This cannot
be
insisted on, as trainingthe mind
to be continuallyon
too much
the alert is of infinite value.
This habit of mental picturedrawing
and paintingis fascinating
it is
beyond words, and when once
acquiredit is an ever-present joy. Every detail of picturemaking
be practisedas the various aspects of a landscapepass under
can

only

was

review.
The

consideration

of

line,of values, and

weighed and decided on, and

from place to place becomes

thus the whole

of

colour, can

time

we

are

all be

moving

This may
long period of work.
of gettinga knowledge of the various
a
seem
very simpleway
truths
of nature
as
exemplifiedin painting. But it was years
before I fullygrasped the advantage of mental drawing and painting.
I was
told to try such practical
never
observation,and so it
to me
I had once
only came
as
very gradually. However, as soon
tired of comparing the value of various
never
grasped it I was
vision. I got rather too intent
across
objectsas they came
my
one

BERKSHIRE

AND

WILTSHIRE

99

occasion,and bicycledinto a herd of cows, which cost me

five shillings
before I pacified
the drover, as I had damaged the
of one
shock would
assured the nervous
ear
animal, and I was

upon

one

check

its

milkingfacultyfor a time. Although

bred, so could not argue the point !

London

Many

time

I have

found

so

to interest

much

in

me

interest
have

not

painter. The

owed

their subtle
Plain

will

adjustment of

never

to
some

to

I must
say

spots I have
colour

so

ever

much

seen
as

to

get along or Salisbury

nothing of the rest of

most
interesting
sky a

paint one
Stonehenge. It happened

I did

little to

Hampshire

compositionor

values.

knotty
begun a

at

this time

this
few
that

in progress, and this fact helpedme

subject. The sky had been charming me for
were

manoeuvres

get materials for

of

beautiful

be traversed, to

miles before I got to

sort of

Weald

most

their charm

journey.
particular
some

The

was

point of values that I have unpacked my traps and

analysisof a subject,which in itself afforded
practical

Illus. XXIV.

born

Sussex

time, and the white road

as

it wound

across

the

quietly

M
W
H
o
CO

m
Eh
CO

W
O

BERKSHIRE

undulatingland

was

to think

beautiful

my

lol

not
interesting.These pointswere
to satisfy
me.
However, as I was beginning
eveningcloud sky would never be done, the

very

in themselves

enough

WILTSHIRE

AND

rightthing croppedup. The road in front of me took a turn which

the station point for a finger-post.
was
And
here were
grouped
two or three "avalry-men. It was
all justright,and in a moment
I was
off my
and was
machine
working at the group of figures,
the key of the position.
as they evidentlymarked
The sky was
full of joy,as the strong values of the figures
now
in fine relief againstthe clean brightnessof the eveninglight.
were
All went happily,
in a hurry to be gone
did not seem
as the figures
since they had managed to get something to drink which delayed
them

and
little,

so

time

me

gave

Salisburywas very" pleasant,as

cloudy day, and very hot. I do
people,but

the

to finish.

the

The

further ride into

evening was

clear after the

know

not

how

heat affects other

beginsto get low, a very melancholy

excitement
which
also has in it a great feeling
of pleasure.
comes,
I think this feelingmust
be associated with the lovely colours
which begin to wrap up nature as the nightis coming on.
At this
of the
time, if one has any imaginationat all,a passionatesense
charm
and

to me,

of nature
this
I

As

of

at

mystery
a

was

am

was

others

as

came

that

one

but

before

never

sadness.

Stonehenge

about,

In truth,
common

for the first time.

In fact, I had

not

met

feelingof interest,however, left me

seeking an entrance
through the barbed wire
demanded
a
policeman on duty, who politely
It

too

was

machine
quicklymounted
my
the class of sightseer
who
on
This city possesses much

made

advice

leave

the student

is to

and

that

much

for my

rode into

me.

place

seen

I share in

I think

the

object on
in front of

was

of
feeling

seen

sunset-time,

All my

upon
for admission.
shilling

to

unusual

an

Stonehenge
my

at

strong.

of

known

have

who

moved

so

very

aware

increased

apparentlyno

for miles.

moment,

was

this much

near,

often

very

effect,which
depressing

most

with many
There

knew

once

knowledge that

it had

arises.

sun

evening the influence

wheeled
along I was

horizon, and
The

as

nerves

one
any-

in

fence
one

so

Salisbury,
meditating

this necessary.
but my
is highly interesting,

such

scheme

as

the cathedral

alone, so far

as

and Turner
be well left
Constable
can
paintingit is concerned.
with the glory of their achievements.
As a distant object,of
it comes
grandly into the landscape,but as a near object
course,
the details

are

far too

bewildering.I

have

never

had

sufficient

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BERKSHIRE

try it,and do

to

courage

old
interesting

very

to the student

into details

this

on

from
interesting
took

now

There

AND

me

not

suppose

103

shall.

ever

There

are

here, which
buildings

will

who

work, but I will

is keen

subject. I

street

on

shall be

the old houses

givemuch

coming

point of

the Downs

across

WILTSHIRE

view

to towns

later

on.

some

ment
amuse-

not

far

go

more

road

My

to Winchester.

happy thingsto be
but nothingto
low-lyinghills,

plainsof rolling
call for particular
attention tillwe
Here during stormy weather the cathedral
get near Winchester.
be seen
associated
can
grandly pictured. Dark woodland
masses,
with richlycoloured downs, in the midst of which the stately
lines
of the cathedral add a beauty and as complete a picturewhich
to my knowledge has never
yet been painted. Such a pictureis
are

seen

these open

on

"

often seen,
is fine,but not

not

the normal

as

few miles up the Downs

It is the storm
qualitywhich is

condition

so.
superlatively
I have
wanted, and rough cloudy weather is not always at hand.
this view, as I have attempted to describe it, once
seen
only,
and then I had not even
the back of an
envelope with me, and
did
not
Neither
as
was
good then as it is now.
memory
my
I possess
the experience which
makes
it possibleto paint a
thing a few hours after seeing it. It is this class of picture

which

is

seen

such

to

admiration

of the southern

the whole

over

counties.

proximity to

The

the

occasions, without

Channel

English

doubt, the gathering of great rain clouds, and

inland by west

south-west

or

country. Afr least,I have

kind in the southward
east
me

north-east.

or

when

always

found

counties than
I note

I first observed

interest others also. I have

than in the south

winds, break

this

I have

just as

it,and

so

never

seen

an

these, if driven

up in the hillydown
effects of this
far more
in the Midlands

item

thought

which
it

or

the

interested

might possibly

finer effects of storm

clouds

of

England.
From
Winchester
to Southampton a very pretty and interesting
part of the country is passed through, which increases in beauty
the coast is approached. The character of the land the more
as
east we
parts becomes
go rises in bold downland, which in many
Hills. Much
work can be found here,
headlands, as at Portsdown
where

for many

weeks

I have

great pleasure.The
water-ways affords much
very

charm

of

shippingas

the

from

time

to

paintedwith
land in irregular

time

breaking into the

with the added
that is interesting,
least pleasingfeature.
by no means

sea

WATER-COLOUR

104

Portchester

Castle

which

at

The

view

of

middle
The

adds

have

an

unpleasant

of

other

of

it

There

for

brush

be

taken

must

finds

anyone

eastward

the

Chichester

are

district

which

painter.

as

and

look

it

in

the

as

very

Isle

will

villagesas

at

once

important

getting

In

get

on

on

workshop

I
to

intend

still

further

for

of

the

and
deal

to

part

jects
sub-

painted

be

Portsmouth

between

later

for

which

should

Wight

this

upon

sentiment

personal
of

plenty

be

to

locality

fashionable

Wight.

thinking,

my

me

far

moved

calling

without

very

but

to

of

never

to

the

as

Isle

was

appeared

Sussex

with.

town

the

and,

attractive.

with,
I

separately,

is

and

towns

fallen

upon

and

sufficiently

small

but

wholly

This

such,

times,

paint

to

pencil.

or

in

of

dealt

the

restricted

too

be

taking

afford

Weald

to

bringing

always

England

"pretty-pretty"

work

three

or

found

the

when

away

two

place.

parts

rather

as

effects

further

visited

there,

work

this

and

of

should

Hill

northward

variety

building,

interesting

Portsdown

looking

cloud

distance,
I

from
in

found-fine

Isle

to

if

and

highly

repeatedly.

Portsmouth

Hampshire

generally

and

grand

painted

interest,

endless
and

is

time

one

COUNTRY

PAINTER'S

with

England

landscape

CHAPTER

THE

WATER-COLOUR

The

is the

JOY

as

Fens

that

this

it from

but

before

I will

rain

whilst

In

one

The

miles

great

scattered

of

great agricultural
and

and

numbers,
been

has

kept

Search

only.
from

east

give

to

the

county
the

to

Lincolnshire

the

of the

time

In

"old

such

one

this

in

county

known

terrible

as

this
was

no

the

to

from

my

north

in

this

abounded

Pilgrimage
Henry

or

priory

being,
in

and
to

that

England

in great monastic

particular spot
the

thing

one

south

to

stately abbey

and

105

rivers

pumping

mind

counties

to

with

course

continual

richest

umbrage

are

with

of

are

of the

"the

of

There

supplied

for

hatched

land

associated

reason

landscape,

were

religion"

gave

in it is found

this

ten

years.

and

of Lincolnshire

Reformation,

institutions, they
extinction.

tion.
direc-

mills, bridges,

there

thousand

interrupted
un-

found

objects

of

objects

kept dry by

is

of

opposite

interest.

well

complete

you

the

whole

water-ways

nearly

was

round

pumping

is also

thing lacking,

one

west, and

charm

land

for

so

although

the

the

as

is, however,

There

at

Small

great water-ways.

endless

sheep,

neath,
under-

miles

rendered

The

all other

district, which

in

seen

in

life and

of

and

of trees, and

groups

were

air

coming,

perfect playground

turning

the

having

was

thirty or forty

distinct.

objects

cattle

in

of

was

clear

was

as

weather

weather, and

worshipped
of

the

weather

distances
were

feeling

my

first time,

atmosphere

romped

clearness

with

numbers

the

be

extraordinarily

abounds

flatness

mean.

by simply

waiting

beautiful

away

Lincoln
Broken

there

to

the

first visit

wonderful

and

for

exactly

clouds

direction

of vision

joy

I
down

The

country,
like

was

what

the

cloudy beauty.

perfection.

It

came

above

fully expressed

lovely county
For

COUNTRY

Lincolnshire

of

which

London.

explain

the

Wolds

I know

produce joy.

to

said

of

word

only

to

PAINTER'S

and

approached

travelled

kind

XIII

doomed

rebellion

to
to

utter

reinstate

of Grace."

This

VIII, that

he

break
out-

issued

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LINCOLNSHIRE
a

"

decree that this

in his

stunk

land of

should
nostrils,

house, but that all should

107

vipers,this

hotbed

of

sedition,which

possess the remnants

be utterlywiped out."

of

not

religious

And

thus

our

of

queenly beauty is robbed of this great charm, and no

artist in recordinghis wanderings in it can
add to his fame
by
paintingthe rich beauties of Bardney, Thornton-le-Wold, Crowwith which the county
land, or a score of other abbeys and priories
adorned.
(It is true that, with the exceptionof a few single
was
walls here and there,these buildingswere
cut clean to the ground,
as
though a scythe had been used to make
completetheir
county

destruction.
But
this

if for the work

the

respect,it is in truth

and
perfection,

hold remains
happy
I did

the

as

painterhas in hand the county fails in

its only shortcoming. All else is here in

charm

of Lincolnshire

lastingimpressionon

in the land I had

come

to, and

on

when

the mind.
the

it has taken

once

at

was

evening 6f

once

arrival

my

drawing of a pumping mill on the River Witham.

town, chieflyinhabited
Spa is a pleasantmodern

Wood-

by the
who go there to take the cure.
It has, however, nothing
patients
for work.
else to recommend
that it makes
a good centre
it,save
it Lincoln and Boston
be visited with ease, as they are
From
can
both on the direct railway line. Bardney is an interesting
place
it and at the latter many
about half-wayto Lincoln, and between
hall

fine views

can

be

seen

of the

cathedral.

I hesitate to

attempt

to my
thoughts of this building.My
give expression
drawings,I hope, do better than my pen ; but as I feel I must say
something about the places I painted,a record is here made.
Certainlythe day I bicycledfrom Woodhall, with the intention of
working my way over to Lincoln, left nothing to be desired in the
of weather.
It was
beautifullycloudy,with an element of
way
storm
hanging about to give a blueness in the distance, and now
which might turn to rain at any
and again a heaviness overhead
I knew
that I must
moment.
get the far side of Bardney from

in words

Woodhall
where

to

before

I could

get the

cathedral

to

sit in my

requiredit.

sluggishstream winding among

constantlyaffordinga pleasantforeground. It was

The
and

River

in the river

Witham

is a

few miles out of Lincoln

quitesuddenly a beauty which

treasured

the Fens,
at

turn

that the cathedral assumed

hope

may

ever

remain

north-east

possession.The blue-clouded
the
lovelycyanine,and againstit,bathed in sunlight,-

as

work

with
was

me

of

cathedral

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LINCOLNSHIRE
enthroned

sat

The
and

109
"

in

statelymajesty a true
Queen of the Fens."
hill on which the cityis built rises abruptlyfrom the plain,
the cathedral makes
ings
a fitting
completionto the mass of buildwhich

"

cluster round

air in this district which

to its interest.

it.

It is the wonderful

affords such

charm

clearness of the
and

adds

much

so

paintingsuch a subjectthat the truth is

brought honie to me that, by direct method, and by it alone,can
such a picturebe achieved.
This, my firstimpressionof Lincoln,
only got stronger as I became more
acquainted with the beauties
of the place,and had opportunities
of again and againpaintingit.
The
fine subjectsfor the
city within its walls possesses many
ating
painter,as its hillystreets often show the cathedral as the culminpoint of interest in the composition.
The

It is in

student

the beauties

with

of the

this introduction

placeat

to go into detail of the many

his

to Lincoln

for space will

leisure,

pointsof
city.

work

must

allow

not

interest I discovered

out
me

in my

wanderings in and about the

My next tripwas to Boston, which lies about sixteen miles in
the opposite direction from Woodhall.
Very different were
my
when
I
first
from
those
I
had
I
into
this
as
town,
came
feelings,
bold hill capped by a majestic
there is no
Lincoln.
Here
saw
cathedral,but the whole place is on flat land. The church is,
for
landmark
forms a striking
however, very fine,and its tower
Boston
Stump," as it is called,
thirtymiles in each direction.
is looked upon with much
prideby the inhabitants, and is a grand
truncated
example of what is known in Gothic architecture as a
that it is a spirewhich is
spire." This term of truncated means
from
cut off about twenty or thirtyfeet after it leaves the tower
which it springs. The drawing of mine of Boston, which is here
of the
Stump."
reproduced,shows clearly the appearance
There are several such towers in the west of England, but this is
"

'

"

the finest I had

ever

seen.

different from those I had when

feelingswere
much
first I saw
joy possessedme, as I
Lincoln, but very soon
had only changed one
feast for another of an
equallyimperial
side
which
character.
The richness of the subjects
gatheron the riveris trulyastounding,and filledme with a fierce desire for work.
pleasedthat their
Very kind, too, are the Boston folks,who seem
and that its interests
is being made
the subjectof .pictures,
town
so much
are
appreciated.This feelingof being made at home and
happy is a great pointwith me, as I am convinced that my best
I said that

my

111

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"

LINCOLNSHIRE
work

has

The

been

river

done

built up with
baulks of timber.

least,or

it

so

appeared

for

enough

I feel

joyfuland

tented.
con-

the town, and on either side the banks

stone
and brick, and held togetherwith great
I think the rise and fall of the tide must
be

are

at

placeswhere

through

runs

twenty feet

in those

111

to

and

me,

that

is

good
landing-stages;

descriptive
purposes.
the
warehouses,
loadingand unloading of vessels,afforded endless
pleasureto me as I wandered
through the town and made fresh
I had never
discoveries at every turn.
seen
a placeof such interest
in its particular
way, and reflected lovinglyon the work in store
for my brush and pencil. From
parts of the town I found
many
the
forming a fine interest as it rose above the neighbouring
Stump
I
week
and
then
mined
deterbuildings. spent a
working here,
the water-way which runs
to investigate
out of Lincoln to
the north-west.
This is the Gainsborough Canal, which I found
full of interest,as it is much
used by certain barges which carry a
largesquare sail,and form admirable subjectsfor painting.The
foregroundswhich this barge traffic affords interested me greatly,
and in the distance Lincoln, with its towers, constantlymade
a
"

All the details of

"

incident.

happy

search for

In my

subjeetmatter,
neighbourhood of

than the

more

active life

much

busy,

which

to make

The

questionof

such

on

foreground are
a

canal

as

for my

theme

and

the

brush.

in which
locality

Rickmansworth,
is very
me,

as

The

it does not

come

There

water-way

another

that

which

always so
subjectsfrom
tion,
considera-

has often afforded

was

Junction,

in the

I make

further reference

neighbourhood of
this note as the place
be made
to it by
can

into any of the localities I mention

in this
time I spent on the Gainsborough Canal was

book-(p.114). The
as it introduced
very profitable,

me

to this class of

very different from that which is found

like the Medway at Rochester
the Thames
or
even
character

fact,it awakened

helpedme

is

canal I refer to is the Grand

I worked

no

canal.

plentiful.
being under

in Hertfordshire.

and
interesting,

localitieshave

fieldfor work

I think it as well to mention

a

few

in

me

to be able to charter

such

an

interest in canal

work.
on

It is of

broad

at Oxford.

river
In

that I hope
life,

future time and live the life

barge at some
of a bargee for a spell. Such a tripwould be free beyond words,
and possess also an element of charming simplicity.
Should these
words awake
in anyone
idea into practice,
I
a desire to put the

T3

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rS'

LINCOLNSHIRE

113

"

conjurehim by

the

"

that he must
gods to gang warily." I mean
to the cleansing
and fumigatingof any craft he gets
see
carefully
hold of,else there willbe a terrible awakening. I could be more
forcible, and say there would
be no awakening, from the simple
fact there would have been no goingto sleep.I have found much
distress when
paintingin the neighbourhood of barges from the
attention
to the

of certain active little creatures

navigatorsof

these craft and

who

attach themselves

their families.

Apart from
this,I cannot conceive a more
than might be
pleasantpicnic-time
It certainly
would
be inexpensivefor a
spent in such a way.
small party and give time for uninterrupted
work as well- There
is always the halting-time
when
locked,
barges are being locked and unfor work to be done more
or less quietly.
The process of gettinga bargethrough a lock is not long,but it
is enough if the worker is alert and employs his time well. As a
detail of the subjectsfound
on
a
canal, I would mention the
different parts of a lock itself. The drawing of such a thing is
time and found
and I have spent much
highlyinteresting,
great
pleasurein such a subject. The student must be fullyprepared
for difficulties,
and certainly
in the drawing of a lock he will find
meal.
a good wholesome
I did not

follow this canal many

miles out of Lincoln, but the
part of it I did paintafforded me many days'work, and it was only
lack of time which
been

preventedmy

said,however,

to show

of it.

seeingmore

the student

Enough

the class of work

has

in this

outlyingdistrict of Lincohvand how admirable it is.

those rising
led me
to the Wolds
on
lands,
My next expedition
which in the old days were
rough and uncultivated,not unlike the
wildest of our southern heaths or commons.
They are now being
is wild
put under cultivation,but their general Appearance
enough.
There
are
interesting
places within easy distance of
many
"

Lincoln, Boston,
to

interest him

and

Woodhall, where
repay

and

in

much

no

more

way

to

about

the student
of it

as

attempt

the beauties
to

of

visit. It

of the district under

make
of

guide to

is,however,

consideration

it. I could write

duced
but having introLincolnshire,

it,and given my

reasons

for

thinkingso

I must
country for the landscapepainter,

investigation.

own

to

will find much

the student

the trouble

objectto givea generalidea

my

his

or

well

leave it for

U
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15

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"

i-u^Sd-I

CHAPTER

THE

WATER-COLOUR

Richmond

Nothing

could

running

Witham

be

is

its rocks

through

changed

when

wandered

just

work.
of

It

was

to

correct.

which

will

things

I did

This

is

choice

my

It is
the
I

river

new

the

and

tired

never

in the

complaints
little

very

when
germ

create

serious
and

others

carrier."
of

to

charming,
fit to

and

from

the

view,

and

from

hours

and

have

subjects

of

the

first

terrace.

fights,but

the

town

with

evening,

to

of

the

by
Of

afforded

other

the

always

was
moors

no

the

me

rocks
cause

in

that

of

by

bridge.

something
be

can

got in
I heard

personally
much

was

she, the-child,
news

never

likely

was

heard

little creatures

of any

dancing

state

of nakedness

was

for those

complaints

which

It is marvellous
115

found

of mine

piece

this

beyond
To

of the

spot, but

pupil
a

down

go

riverside.

the

this

at

such

course,

to

side

little creature

one

the

among

this

as

compositions

them.

anyone.

make.

One

fine in many

subject

children

flutter, but

the

promise

gave

supply

town

yards along

difficultywith

annoyance

saw

this

the

informed

bit

such

Numerous

about

paddling about

very

at

hundred

few

few

forecast

my

sinking

light

castle

of

"

to

the

working

of the

of

slowly

from

after

severely.

was

sun

from

me.

horrified
was

of

down

sunlight.

waning

paint

here

It is very

neutral

in it to fascinate

length

many
had

the

great change

view

general
subject.

all in the

deep

which

one

proved

find

draughtsmanship

when

was

pulled together
backing

student

well-known

will

and

delightkwas great
selecting likely spots for

and

me,

another.

to

My

torrent.

After-events

the

was

to

great change

beauty

the

than

Richmond

world

come.

his

test

roaring

about

The

of

swiftly moving
boulders, and ready

and

new

one

is

Swale

into

very

hours

happy

been

the

kind

contrast

greater

and

Yorkshire

part of Yorkshire

from

only

in

COUNTRY

Swaledale,

this

to

of rain to be
I

PAINTER'S

and

Lincolnshire
FROM
indeed, but it

moors

XIV

how

dense

some

people

WATER-COLOUR

116

PAINTER'S

COUNTRY

heard groups of
reallylovelything. I have repeatedly
selves
little thingswho
were
sportingin the water and enjoyingthembeyond words referred to as ugly littlebrats.
Through the woods which here rise very grandly from the river
be found, at the end of which a fine view of the castle
a path can
and
town
is seen, with a glimpse of river and bridge. Those
to
students who like street and buildingwork will find here much
is chieflyfine in other
interest them, but the locality
subjects.
to Easby Abbey, the Barracks, Race-course,
From
the field-path
will be found which will provide work for
the West Fields, much
the painter. There is no lack of subjectsin the immediate
bourhood
neighto

are

of the town,
fine
one

things.

Middleham

direction and

endless

joy

to

and

the

country for

many

miles is full of

Castle, Bolton

Greta
those

Bridge and
who

are

Castle, Wensley Dale in

Catwick in the other, all afford

looking

for

the

beautiful

in

nature.

paintingtripsto Richmond, each of

which was
productiveof much work, and I hope that I may still
of paintingthere in the future.
Before
have many
opportunities
moving on to another place,I should like to say a word or two
about the old bridge and its many
interesting
pointsas a subject
it the subjectof a great many
for study. I made
lessons,as well
as
painting it several times myself. The bridge itself,as it
occupiesthe right-handforeground,varies continuallyduring the
be said of any other object in nature, only
day. The same
may
the changing lightmakes
in this case
effects. In
very interesting
the morning, about nine o'clock,the bridge,backed
by the castle
in shadow.
when you are facingit,appears
This, reflected in the
effect,and tends to produce a wellstream, has a most fascinating
balanced
composition. As the sun draws round, bridge,castle,
and
the thing is at
then, to me,
everything is in sunlight,
in such a condition once, and found
its best. I paintedthe scene
it a most
of buildings
charming task. All the details of the mass
and the whole thing,when
showed
worked
out as I did
distinctly,
it,appeared most elaborate.
In this case, I made
the drawing in pen and colour and tinted
It was
it with lightwashes for the local colours.
very interesting,
and I would recommend
such a study to any student visiting
the
place. In stormy weather the bridge and castle shine bright in
the morning light,
with a dark north-east background of clouds
which
often intenselyblue.
are
Nearly every stretch of fifty
I have

undertaken

"three

YORKSHIRE

yards to the

of the

west

which in its turn

known

not

for my
remark

any

brush

as

has

bridgepresents a
afforded

subjectwhich
this

that it is

117

much

me

has

each of
composition,
pleasureto do. I have

new

given me

so

much

employment

I do not wish it to be inferred from

one.

this

thing finer than others,but I do look upon it

as being
variety.
As I am
this subject,which has always appeared so full of
on
beauty, I feel compelled to say how seldom I have seen justice
done to its attractions.
I may
speak more
stronglythan this,
and condemn
which have
heartilythe many hideous productions
Castle and Bridge.
masqueraded under the title of Richmond
However, it is not my objectadverselyto criticize the works of
others.
From
the gasworks side the bridge in the morning light
is very
work.
This can
be
fine, and affords most interesting
at this point
painted from either bank, as the composing qualities
are
so
good that subjects are readilyfound for study. I have
dwelt at some
of this theme, as I am
length on the possibilities
convinced
of the advantage to be gained by the student if full
is paid to it. Not
attention
only is the drawing complicated,
a

full of interest and

but the local colour is most

When
ruins

working

in

attractive.

district of this kind where

of castles, abbeys, and

are

many

buildings,I have
found great advantage in keeping the pen fullyemployed. Not
only does it keep the mind alert and careful when dealingwith
such an arbitrarything as a buildingis,but it also givesa very
I have seen
sympathetic line indicative of crumbling stonework.
a drawing of Fountains
Abbey, where the delicate beauty of the
architectural details has been sought to be obtained by a medium
looked very much
which
like charcoal.
Many have found the
greatest pleasurein the use of the pen when dealingwith ruined
and
buildings,

many

more

and

I have

ancient

will continue

practiceof filling
my
pen with
buildingwhich is being drawn.
to suit the taste

other

there

to

do

so.

I make

colour to suit the local tone

it

of the

be of any kind
used indifferently
sharp and broad
The

pen

can

just
nibs,

liked them

If the

equally.
student wants
help in

better than

seek out

and

make

this class of work, he cannot

himself acquainted with

pen

Sandby. I shall have much

but I thought a reference to them would
to say about these men,
well justat this point. Anyone with a likingfor pen work
come
and its neighbourhood,
could happilyspend a year in Richmond
drawings of

Thomas

Girtin and

Paul

the

do

and,

strange

much

is

it

that
whether
of

of

by
the

points
but

it

It

happy

fit

to

considering

force

knowledge.
have

in

back

to

experiences

their

but
beauties.

other

introduction
the

of

digression
method

here.

could

not

with

begin
fields

considered,

call

began
off

breaking
I

work.

my

again

range

technical

before

sure

help

the

on

was

felt

is

masses

by

limited

only

where

and

Richmond

hunting-ground,
of

little

connected

question

every

This

draughtsman,

The

brush.

construction
is

come

that

or

which

comfortably

wanderings

my

get

possibly

seems

recounting

now

gives

painter's
might

the

the

mind

in

borne

always

proclaims

pencil,

pen,

emphasize

to

useful.

the

knowledge

water-colour
be

must

which

point

the
of

that

lines

strong

the

of

use

It

sojourn.

his

do

sound,

may

such

be

it

most

it

as

good

COUNTRY

PAINTER'S

WATER-COLOUR

118

considering
me

to

give

and

could
that
my

CHAPTER

THE

XV

WATER-COLOUR

PAINTER'S

COUNTRY

Shropshire

TO

would

the

to

paint

can

and
be

describe

it is

but

convey

added

charm

colour

class

it

well

as

if I

is, but

excellent

pupils

my

country

in

in

pleasant

are

there

is

rare

yet

the

A
the

for

one

my

my

do.

There

pupil

from

be

in

this

Keen

The

student.

enough

in

be
it

instance

and

I here
had

was

the

of

are

type which

There
stood

shown

by

light

were

got
to

save

afford

and

of

one

excellent

decidedly

fine

feature

beauty.
119

of

the

to

these
work

and
this

objects
excellent

make
many

It

lady.

which

farmsteads

seek

to

goes

great variety of subjects makes

buildings

is

work

house,

simple compositions. In
interesting and form good subjects

more

my

mildewed.

labours

own

my

water-

why

in this

interest

an

know

of this

store

to

not

Wint,

least

the

pleasure.

de

old

an

got from

that

then

Truly

of Peter

was

after

I do

much

me

going

I think

looking

was

ings
wander-

satisfaction.

every

to

versa.

Severn.

so

during

places
draw.

the

Even

farmsteads,
for

pencil

landscape here
is a continual
help in the picture. Coming
river, which
distance, it is a thing of
into the
foreground or middle

brush.

either

to

giving

being

not

work,

such

with

little

the

consequence.

when

and

their

vice

paper

above

for all who

churches

on

drawings

good

associated
studies

of

county,

devote

to

one

If, however,

me

surroundings

lessons

my

state,

rising ground

on

will afford

that

my

and

can,

working

charming

were

is

possibly

of

advantage
in

in

happy

am

I had

of

lifetime

give.

neighbourhood.

in this

granddaughter

the

was

house

right thing

fact

county

bit

that

pleasure

the

this

only

of the

quite

was

happy,

very

was

met

it

as

known

well, in the

as

at

the

journey

my

since

first

Shrewsbury

of

I have

as

slightly all

all I have

beauties

impression only

an

there, this part of

From

and

required,

subject

the

120

Distant

about

Harghmond

three

Abbey.

COUNTRY

PAINTER'S

WATER-COLOUR

miles from

Shrewsbury

rich meadows

The

the fine ruins of

are

which

surround

it and

feeding-groundfor fine herds of

cattle which to me
are
always a happy sightas affordinghelpsin
foregrounds. A fine point from which are seen the spiresof
my
stretch down

to the

river

are

the

the river-bank here. Shrewsbury from

the town, is got from near
its gracefulspiresnestles close by, with its clustering
underneath

buildingsand
complete a picturesweet
kindly English scenery
red brick

tiled roofs.

The

distant

cool blue

hills

charming simplicity.The dear

found
to greater perfection
is nowhere
the painting
I executed
When
than
this Welsh
borderland.
on
from this spot,its qualityas a national type suggesteditselfto me
had their
which moved
me
very strongly. The pleasantemotions
herds of cattle,the rich
originin many
things. The wholesome
meadows, the town
risingfrom this wealth of land, and beyond,
all seemed
to tell a tale of England.
the low-lyingrange of hills,
After spending a week
two here, I began to feel how
or
great an
had
the
the
influence
soothingnature of
place
upon me.
rule
when
to my
teaching of only givingone
Keeping strictly
work.
three-hour
lesson daily,I found
ample time for my own
Early evening is always a favourite time for me to begin painting.
In my
to this time of day is the
experiencethe only drawback
dew, which hinders the paintfrom drying. No better plan
falling
be found when
this is the case than to leave a line,of dry paper
can
between
the colour masses.
Great care
must
be taken to keep the
vantage
adcolours separate, as explained in an earlier chapter. Much
is found when working towards the evening from the fact
that the masses
of the landscape become
distinct as the
more
details fade
to young

out

of view.

in its

I do

students, as it is apt

experienced,who are able

knowledge, the evening is

not

suggest this time, therefore,

to lead to carelessness.

To the

more

generalizeand suggest with greater

attractive time to paint. To all
a very
I would say, beware
of that most
hideous colour
purple. At any
time this colour is likelyto be a dangerous stumbling-block,
but it is never
so
insinuatingas at sunset.
Amongst the many pretty tripsI have taken round Shrewsbury,
back with more
none
comes
pleasurableassociations than the one
I took to Wenlock
Abbey. Much Wenlock is the town to steer for,
and once
to the Abbey is simple.'
you have arrived there,the way
The buildingis one
of the few monastic
institutions of which
a
used as a private residence.
At the time when
I
part is now
to

"

SHROPSHIRE

121

painted the place it was

occupiedby The Rt. Honble. James
who
afforded
for pursuingmy
Gaskell,
me
kindly
facility
every
work in comfort.
The day I was
at Wenlock
most
was
fully
delightand
the
ruins
full
of
The
colour
of the
were
light.
sunny,
stone of which
the Abbey is built is very warm
and the shadows
of

were

allow

beautiful coolness.

work

to

me

for

Certainlythere would
delightto employ my
After another
with

work
much

before

Shropshire

did not

amongst such lovelysurroundings.

been no
lack of subjectsof great

or

so,

during which

saw

me

and

in

employed myself
Having
long

London.

to

Shrewsbury,

it

was

not

being this time my

neighbourhood should find much

quarters.
head-

again,Ludlow

students, as the work

great variety. Those

time

itself,I returned

material
interesting
This town

that time

only sorry

was

brush.

town

found

with

have

week

in the

week

to

be found

within

favour

its borders

is of

placemust skipthese pages,

I shall give my experiences
that is as far as drawing
as
very fully,
in.
and painting
thrown
are
concerned, with a littlepicture-seeing
I began with the castle,which
is a very fine buildingof many
such a traditional
parts and large proportions. It has become
bereft of all sentiment,
habit to draw and paintbuildingsin a manner

'

who

that I shall try and

in them.
There

valid

is no

reason

know

show

why

the

the existence

such

of other

subjectsshould

possibilities

not

be full of

with the
be very sick as a young
man
palsiedthingsI used to see in the so-called great exhibitions. To
be fed on such stuff is enough to create the worst ideas as to the

great quality. I used

of this
possibilities

charm

of Bosboom's

I cannot
of

too

to

class of work.

work, and

stronglyurge

studying the work

now

Fortunately I
that of
latterly

the student

upon
of both these

men

when

the
he

have

felt the

Pryde.
great advantage
is engaged upon
James

talkingabout. Their work shows the sparkle

of the heavenly thing,and how
marvellouslythe simple object
of the gods.
be dressed fit for the company
can
Ludlow
Castle is a building of such size and so many
parts
in
that it is well adapted to furnish material for pictures.When
have a most
strikingeffect.
masses
strong sunlight,the shadow
and
massive
The
openingsgive that
deepset window
masonry
buildings.
statelygrandeur which I find so attractive in Norman
will
I hope that many
a happy day, and
Here I have spent many
find the opportunityof doing likewise.
Apart from the castle
the

theme

am

now

there
these

few

near

I do

not

think

risingfrom
a

objectswhich

are

it worth

the river

fine vantage

COUNTRY

PAINTER'S

WATER-COLOUR

122

ground

while

which

from

to

into detail.

go

oppositeside

the

on

afford interest,but about

may

from

cliff

The

affords

the town

the

the town, castle,and

to see

bridges.
the cliffit is the centre object
old bridgeis very fine. From
is stormy, the
when
the weather
fine features,especially
of many
and the interveningmaterial
distant hills making a grand skyline,
the castle
interest.
From
in the composition teeming with
readily be
interestingseries of views can
ramparts another
two

The

which

seen,

the

word

should

in its

amusement

interest,and much
The

afford the student

that

is

much

sense

newer

"

amusement.
to

mean

use

twinkling

charming.

surrounding country

is full of work

for the

painter,and

explore,as after all my stay

short. I had every opportunity,however, thanks
at Ludlow
was
of gettingabout the
of my pupilspossessed,
to the car which one
neighbourhood pretty freelyand of making myself acquainted
in
with its chief characteristics.
I also had an opportunitywhen
this locality
of letting
pupilsknow what I thought about the
my
The
of photography to Art.
quite
question arose
relationship
in fact quiteas casuallyas the subjecthas crept into
accidentally,
this chapter.
As photographyhas often been quoted to me
as a great help to
views about
it. My
the landscape painter,I will express my
shall be the whipping-post. It
Ludlow
pupil and his camera
happened that I was lookingat a drawing which included a part
This study was
the
to drink.
of the river where cattle often came
work of the photographer in question. In lookingat the drawing,
that much
interest would
have been added
I remarked
by the
contains

much

group of
supplyingthe means

presence
as

that I had

of

no

cows.

time

The

to

camera

of gettingthe group

was

at

once

wanted.

suggested
The

tunity
oppor-

good one, and enabled me to chat a while to those

who happened to be present,and to explainmy views.
of photography as a help to the landscape painteris
The use
the reason
entirelypernicious,
being that a thing which is purely
mechanical
can
only injure by its presence that which should be
Granted
that only the shapes of objectsare
entirelyemotional.
the influence of this mechanism
used in a picture,
is incorporated
in the work, and its presence can be detected by the critical. However
of
is
in
a piece
carefully
photography copied, order to make
was

SHROPSHIRE

123

it look like a
and

thingtaken direct from nature, the hardness remains

culty
qualityis felt. I have never, found any diffiin detectingwhere details have been copiedfrom photographic
studies. Objectsin nature are often merely so suggestive,
excessive detail,which is sure
of phototo follow the use
graphy,
destroyssuch suggestion, I have thought much about

the mechanical

that
this
from

subject,and $he conclusion I have come

to
this source
is bad from beginning to end.

the effect

the work

on

of all those who

use

is that any help

And
being bad,

photographywill be

bad

also.

Photography has played its great and

has been

of infinite
of

or
shilling

and

to the artist.

By

great drawing is providedfor

two

advantage

useful work

which

might otherwise

cost

its

in

Art, and

means

few

hundreds

production
re-

pence or a
of pounds,

be

beyond the reach of any but the very wealthy. In the

enlargement of designsit is useful beyond words, whilst in book
its effect has been a complete revolution of the art.
illustrating
But granting all this to photography,and much
which
I
more
have not enumerated, it can
be a help to the landscape
never
the reverse.
Now
painterbut entirely
having relieved my mind
this
and paint one
on
more
subject,I will get back to Ludlow
picturebefore I leave its lovelyhills and vales and trudge off to a
so

different kind

very

One stormy

of

country.

afternoon

I had

been

wandering

about

seeking a
fancy
particular

subjectto paintbut

findingnothing to

of the moment,
when
"brow
the
of
the
on

suddenly arrested. I
my attention was
cliffs overlooking the river and town.

heavy

cloud

mass

was

suit my

was

overhead, and under it the distant hillswere

lit up with a beautiful pearly warmth, the town

with its castle
and trees being richlysombre
distance.
On the
in the middle
cliffy the

top of which formed

little group of children,whose
"

of the

foreground were gathered a

bright attire justcaught the last
in brilliant relief againstthe dark
my

"

settingsun, and was

This group occupiedthe left
castle and woody middle distance.
middle of my picture,
and was
the key of the situation. I worked
able to finish completely before either the
very quickly and was
sky effect altered or the children had gone.

rays

picturein order to show the beginnerthat every

in finding^a
will again and again experience
one
great difficulty
ment.
discouragesubject,and that such a quandary should not cause
but
of
I want
to give a fair idea
paintinglocalities,
my
1 describe this

necessarily

many
I

comment.

character

hand

PAINTER'S

WATER-COLOUR

124

of
has

been

hope,

places
given

happy
however,

hunting-ground
that

in

inspirations

where
to

COUNTRY

the

student

of

must

what
may

have
be

landscape

be

left
said

found,

painting.

without
as

to

the

helping

CHAPTER

THE

WATER-COLOUR

PAINTER'S

Rye

With

to

much

and

Possibly
the

that

been

resorted

rule

my

me

whilst

joy, and

found

I have
Seldom

time

of

although

of my

sweetest

has

learner

lessons, leaving
In

one

or

mutual

class

water-colour
few

years

colour
so

for

much
my
Before

to

who

had

to

from

gone

the

me

it

as

be.

whom

to

me,

begin

to

of this

that

talk about

should

short

wife, before
this

after

when

about

I had
had

I had

to

The

of

fortnight

labours

their

the

to

strong
love

my

of

many

so

first

my

been

trip I

have

course

been,

not

with

I had

kind,

pupils. Many

my

spent

is

troublesome,

who

words

few

having

pictorial art.

had

giving help

my

that

time

these

nature.

first class, I selected

I

my

Rye

seriously. During
interest

work

life after

though

was

painting from
previously with

work

with

to

teaching

happiest impression.
such
met
a
pupil

I say
at

was

than

time

never

I have

instances
seemed

rather

bore,

my

that

really been
those

Not

compulsion.

of

of my

teach

find

teachers,

been

less

remains

associated

are

has

part

cause

has

anything

to

'and

interest

because

teaching
with

it has

and

years,

two

pupil

I have

with

the

who

others.

to

or

limited

fact, however,

memories

come

been

helpful

very

many

instructing

teaching,

excellent

most

more

for

been

knowledge

under

to

have
friends

being

them

to

energies

their

devoted

to

course

of

faculty

occupied with quite hard

do very
happy pictures,

I found

have

impart

have

may
The

who

Sussex

and

my

only devoting

it irksome.

found

can

of

of others

helping

among
to

remains

only

has

pupils

fallen short

have

fact

found

effort

Kent

of

lot to possess

I know

in their
men

the

have

to

Coast

the

happy

very

COUNTRY

Winchelsea

and

of

work.

my

such

but

to

my

worry

that

part

further,
in

me

been

ITandhas

XVI

taken

in

place

up

water-

painted, and

found

decide

upon

place

Rye.
the
125

beauties

I found

here

to

employ

WATER-COLOUR

126

COUNTRY

PAINTER'S

penciland brush, I should like to say a word or two on

fallacy. I refer to the often expressedopinion that
ssuch

placehad

exhausted.
own

Now

eyes, and

been

the

popular

such

one

with their

sees

artists of

quality

the result is two

standpoint,

same

and

itsinterest has become

this is a terrible error, as every

two peoplesee alike. If two
no

subjectfrom

paint a

paintedthat

often

so

lutely
abso-

different

pictures. The same

objectis looked at, but the
resultant pictureis the emotion
of the individual,
and no two
brains think alike. Thus Rye may
have been often painted,as
it has, but the student visiting
doubt
the place for the first
no
time is going to translate it in his own
way, and it only remains
for him to see that his renderingis a good and interesting
one.
It is a very worrying idea this seekingfor fresh fields,so it is
far better
I

think

to

that

no

always feel quitehappy and

have

been

never

used

has

one

by any

paintedthem

ever

before,

that my eyes and my

else,and therefore the

assured
one

brain
result

is

going to be my own
entirely.
Now
having settled the point that Rye is a very hackneyed
One more
word
I
place,I will get on with tellingits beauties.
will say, and that is,that of all the placesI know, never
has one
had its beauties so much
abused
by bad work as this delightful
spot. Bad
labelled
old town

is a poor tame
word to call the stuff which I have seen
views
of or views in or views near.
Rye
Approach the
"

from

Winchelsea

on

evening, and

summer

there

is

something to be seen which will repay you. But this very simplelooking silhouette of the town, capped with its charming old
church, is not going to be depictedeasily.Do it again and again,
and stillit eludes your grasp, and the student knows, with sighs,
that his drawing is wrong,
his colour is bad, and that
Rye from
the Winchelsea
road on a summer's
evening stillremains to be
conquered.
Rye is one of those towns from which the sea has receded,
leavingit high and dry about two miles inland. In the time of
the Plantagenetsits walls were
a
sea-washed, and many
rough
it
had
the
hands
at
of
both
French
and
experience
Spanish.
"

"

Between

the

from
Saltings,

town

which

and
the

coast

there

lies

flat land, called The

place can be seen to great advantage.

Small craft can
get up the river (Rother),and these vessels give
added
interest to this localityof many
an
The
charms.
town
streets
being built on a bold bluff of land, it is full of narrow
paved with cobbles, and thus provides for the student of such

KENT
views

AND

SUSSEX

127

Street is particularly
charming subjects.Mermaid
has afforded me
much
pleasurein past days. To
the placefor the first time, a month
of hard work
visiting
many

beautiful,and
one

will do

little

and how

chief

my

keeping it

distance.

chief

to

are

delightfultime

much

there is to be

done,

working round

object,either

this remark
be

how

to hand.

of interest in

source

the

as

From

views

near

show

are
readily,
subjects

I found
and

than

more

it must

in the

the town,
middle or far

be inferred that

not

quite

lightlypassed by. I have had many

paintingby the river and quite near

when

the

walls.
old

The

gates

be
certainly

Ypres gate

made

The

accurate.

more

of the

day

once

in

interest,which

church

I have

fact, I think that

should

painted the
times

seven

tower, standing at the head

a

very
If wet

is well chosen.

the church providesmany

itself,

fine

one

if the
subject,especially

weather

very

of

is

fine

happens to
as
subjects,

intrude

it is

large

full of interest.

and
As
to

of

source

subjectof drawings.

streets, makes

narrow

of

time

the
than

more

another

are

suggestion,which

try and

windows

get

I would

fine views

some

the

to

access

church

might

it would

recommend,
be

tower,

got. If

as

from

be wise
its upper

steps were
certainly
prospect this
my

ever

age
vantagain directed to Rye, I should most
to interest me.
ground with good hopes of finding much
remark
I may
that much
Incidentally,
golfis played here, as the
to be most
attractive.
I am
but I
links seem
not a golfplayer,

know
or

that

should

artists

most

be,

a,

fond

are

great drain

on

of innocent
the

nervous

spprt. Art work is,

system, and outdoor

salutarycorrective. The air of Rye

is also very good, and the place is pleasantto live in for a time.
I have always found, when
working in this neighbourhood,that
it
one's headquarters. From
Rye is the best place to make
Winchelsea can be easily
worked, as well as Pevensey and Romney.
of the finest
church
is merely a fragment of one
Winchelsea
fine drawing
ecclesiastical buildingsin England, and makes
a
active exercise acts

from
Few

several

as

very

points.

remains

of

the,town

sacked and
repeatedly
by French and Spanish,and
apparentlynever rebuilt. The

exist,as it was

during Plantagenet times

of these burnings it was
after one
old gate on the Hastings road is very charming, and is well
The flat marsh
looking at
country towards Pevensey is
burnt

worth
of the

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"

tt

r-

"

42

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*"

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-C

ft

J4

3 g^

-d

a,

aH"H^i

sy

i
"

w
o

X!

KENT
kind which

AND

should be called

"

SUSSEX

painters'land," as

spaciousclear land, and

the skies in

of

joy.

come

as

no

Let the student

better

place can

believe -the

Romney

eighty or
variety of

hundred

colour

different from
I cannot

it affords

cloudy weather

are

fine
full

ever

here for the

study of cattle groups,

found in England for such subjects. I
Pevensey marshes afford pasture for

be
and

thousand

in the

head

beasts

the monotonous

insist too

129

of cattle.

is most

the

here

the

beatttiful,
being quite

black and white

stronglyon

And

of the Dutch

cattle.

necessityfor studying very

closelycattle

groups in an
open landscape. No time is wasted
is devoted to such work.
In time the student becomes
so

that

used to the appearance

of distant groups, that his cattle,however
small,become real things. This capacityis the outcome
of knowing

exactly the drawing

able to
when

seize

the

on

of the

essential

objectsrepresented,and being
only spots
parts, which become

the

drawn
distant.
time
I spent much
are
groups
very
in this study,and Always found
it most
edifying. Quite large
studies

should
in

borne

be

made

mind, that unless

sheep, showing its

possibleto do the same
or

essentials are
The

more

evident

that

mastered

of all kinds
do

of cattle, as

it must

be

good drawing of a cow

construction
it will never
be
correctly,
object in the distance,where only the
one

can

observable.

landscapework
an

exact

is

pursued, the

knowledge

in all its details.

And

of the

it becomes

more

object depictedmust

then, when

be

this exact

knowledge
gained, the picturepainted must be suggestiveonly of such
cognizance. Witness the beautiful truthfulness in the tiny cattle

is

groups
colour
of

of Peter

de

Wint, yet who

livingand moving
Romney and Pevensey are

with

are

infinite interest.

The

can

creatures.

wandered

skies

doubt
The
over

here, when

that these

these marshes

more

the

spots of

more

clouds

are

they

teem

about,

are

the less pregnant with beauty

joy,and they are none
in the evening of a clear hot summer
day.
these marshy lands
The
drowsy mists creeping slowly over
when
the heat of day has gone give an air of mystery and charm
whiqh can only be painted (now and then),as there are no words
is more
to express its beauty. I think this land of the marshes
thoroughly the landscape painter'sthan any other. The lowlying land, the great expanse of sky, a few farm buildingsand a
have a picturesimple in
group of middle distance cattle,and we
made
a thing of infinitequality
theme, but which can be possibly
a

constant

WATER-COLOUR

130

and
as

charm.

I must

better

no

counties.

write

found

are

COUNTRY

PAINTER'S

think

which

those

than

doubt

without

buildings,

these old farm

little about

in the

abound

Kent,

southern

Sussex, Hampshire,

pre-eminentlythe counties of the

old farmstead
and the old farm buildings. I have travelled so
the south, mid and east, that I
much
about England, especially
there is
can
speak with authority when I say this. Of course
plenty of corrugatediron coming into existence, and this stuff is
not half bad if the time of day is well chosen
and the silhouette
good.
This questionof farm buildings
found its way in very well here,
I cannot
do better than say a few more
words on the subject
so
and give an
illustration or two.
Where
farm
buildingsexist

Dorsetshire

there.
beasts

are

are

certain to be beasts

about, and

where

there

are

there will

for
than

To

Wiltshire

almost

is life and
better

and

and possibly
there
so
probably be men
women,
It
is
a
nd
activity,
subjectsfor the painter.
infinitely
the student to sit down
and paint or draw a good farmyard
if
there
church
is
at the end of it.
a village
a
street,even

begin with,

he

will find greater difficultiesin the former, and

I have
students
seen
looking so wretchedly

less convention.
miserable

when

and

villagestreet

subjectunder

consideration, that I

work

willingly.I have never

paintingsof villagestreets
piece of experiencein order
done, unless it is

seen

and

church

feeble art

churches.

try and

to

suggest such

never

such

have

tower

prevent

efforts

any

the

pieceof
as

just mention

fine villagewith
superlatively

been

the

this

being

more

church

and

all

else in

keeping.
The first thing I do when
lookinground a neighbourhood is to
inspectthe farm premises,and when doing so I am certain to find
something of great interest. Few peopleknow how extraordinarily
fine many
is
of the barns in an English farm are.
The woodwork
often of a most
elaborate kind, and was
possiblybuilt two hundred^
and fiftyor three hundred
added
interest,I
years since. As an
mention
that many
barn is built of old ships'timbers,
a
may
which
be seen
can
by the bolt-holes and other marks of ship
construction.
To

break

picture,I

away

would

I have
in

them,

equallyso.

littlefrom

refer to the

found

and

for

in

other

the country I

am

now

tryingto

ings
farm buildhighlyinteresting
is very rich
Buckinghamshire. Amersham
towns
and
villageson the Chiltern Hills

put in this

note

many

as

this

county does

not

come

into

KENT
my

littleworld

get

back

In

where

to Sussex

SUSSEX

ANP

work

is to be

181

looked for,so
generally

I will

again.

this

county I have

time

than

elsewhere.

from

my

found

evidences

of

bygone
smock-frock, the shepherd's crook,
and the flail for threshing,still lingerin some
of the villages
in
Sussex.
Old country dames
still use
the pattens and the clogs,
and until quite latelyteams
of black oxen
did the arduous
draft
work of the hillyfarms of the South Downs.
I do get a bit away
last,as

at

more

The

present, but my

be that

must

excuse

I have

Art so deadly dull,that I want

on
always found handbooks
to
volume
this
if
I
brighten
possiblycan.
The stockyardsare another
stead.
part of the farmvery interesting
In them groups of cattle can
be quietlystudied and the
leaves of notebooks
colour in many
rich,and- when

filled with

work

of the most

useful kind.

The

of these

is often very
delightful
groups of buildings
the brightnessof a few beasts is added, the picture
becomes
yard
very complete. The pig is another denizen of the farmwhich
provides a most interesting
subject. I have always
had an affection for these creatures, findingthe drawing of them
difficult but most
entertaining.Change of work I always find
most
helpful,and the greater the change the better. Employ the
of
morning in making studies in a farmyard, and the maximum
will be felt for the open
latter part of the day.

landscapewhich

zest

effort should

Every
interest
cease

being taken

to

be

taken

inevitablyresult.
day

and

end

with

made

in all work
in hand

with

It is better

to

the

ensure

attempted.

greatest possible
soon

keenness, then

for the student

doing nothing

he

no

enthusiasm.

As

than

to

in the

work

to wander

attempt

subjects

as

bad

must

about

all

subjectin

always made it my rule

only to do a thing I felt real pleasurein attempting. Should I
have been wandering about for a whole morning, and then hit on
something which has pleased me about lunch time, then lunch
was
forgottenand the work got on with. Therefore it is bad to
which

feels

be

is dealt with

I have

unless you are allowed

you are painting,
of my friends are alive
to do exactly as you think fit. So many
in this respect,that I find little difficulty
when
to my peculiarity
visiting.This little piece of moralizingcan be the finish of our

stay with

friends when

chapteron Rye, Winchelsea,

I hope has the pleasurein
afforded

me.

and the Sussex

store

Marshes, which district

for others which

it has

always

XVII

CHAPTER

WATER-COLOUR

THE

Corfe

that

to

of

ruins

of

great

interest.

the

and

was

without

select
with

impressed
mile

it

is

the

as

never

seen

With

the

the

loneliness
the

impressive

most

varying

in

the

so

of

the

place.

It

fear

no

the

as

Corfe,

to

particularly

was

from

seen

Most'

places

such

seen

point

constantly

are

cloud, but- 1

to

phases

many

does

as

therefore,

this

previously done,

own.

When

out

leave

to

of

place

point

went

been

sunlight

remains,

it, and

to

better

exception of the large painting by

Public
I know
Gallery, Johannesburg,

picture

like

which

ruin, especially when

solemn.

assume

here,

attempt

had

the

sky changesTrom

anything

only

saw

is

if everyone

that

of

There

it is far

as

village.

and

north

ruins

first I

work

not

I think
work

when

find

will

found,

of

is

these

I arrived.

subjects entirely their

from

two

or

after

mind.

knowledge

any

would

they

individual

it stands

of the

Corf

about

place

failingto

best

are

but

common,

the

so

great

one

own.

subjects.

pictures

the

to

or

student

with

teems

the

their

fortresses

The

the

supply

Ludlow,

or

loneliness

with

hour

an

fastidious

simply

and

interested

work

most

place

bareness

in

village.

and

place

Richmond
The

features

peculiarly

most
to

where

is

whole

both.

particularway

Dorsetshire

lovely

the

its

equal-in

charm

with

to

many

charm

began

dominate

Compared

There

have

the

castle

Neighbourhood

its

this

is

Sussex,

have

west

itself.

and

full of

in contrast

boldly

out

Castle

different, but

VERY

COUNTRY

PAINTER'S

of
a

no

Castle.

Corfe

Wilson

have

Steer

now

really good
still to

place

be

won.

I found

where

greatest

it is associated

appealed
building
are

the

most

to

me

is most

charm
with

especially
brilliant,

luminous,

in

and

large

towards
the

as

of

some

of the

near

mass

of

sunset.
stones

132

trees.

At

of which

lovely colour.

views, especially
such

This
a

time

point
the

it is constructed

I will here

say

that

DORSETSHIRE
the

paintingof

from

the street
in the

villagestreet
the church

near

earlytwilight.
and

success,

again to this
Seen

the

in

133

is

is
a

I have

shall make

the castle seen

as
justified,
ally
very charming object,especi-

tried it

another

once

attempt if my

and
light,the church
shadow, and, beyond, the castle looms in a
the sky, and has a most
sweet
silhouette.
dozens of such ways of seeingthe place,but
can

be well

steps take

street

came

across,

from

seen

the

and

it

was

this is distant,and

Corfe

mellow

mass

There
this

are

the

was

of Poole

deep
against
probably
only one

The

country also lies

Castle

only shows it as a small thing.

this point,however, as there
.

to

the

on

the road

eastward.

to

and

in such

and

Wareham,

I remember

It is well worth

of the distant town

paintingtrip some

years

make

most

kind

views

many

in

of
can

pression
vividlythese imthe pleasureof working
of colour I speak about

soil,which affects heather

When
this country of dunes
looking across
Poole Harbour, the brightgreen-blueof the
houses

rough
rich

very

hope that I shall again have

charming country. This richness
marked
in this locality,
and I think

is very
by the colour of the

castle

Harbour, but

is much
looking at it from
Corfe and
Poole
Harbour,
heathery country between
colour, and producing fine foregrounds. This same

seen

me

in

are

beautiful.

most

neighbourhood

Illus. XXXIII.

be

out
with-

place.

such

of its kind

twice but

or

must

and

be occasioned
other

growth.
stretchingtowards
with

the sunny
interesting
picture.On
sea

since, I bicycled from

Weymouth

through
full

Wareham

of

desire

to

is

It

the

spend

some

result

of

whole,

the

when

at

Poole

is

coast

fine

in

the

for

cliffs*in

it

order

should

village
material
found

of

be

for
fresh

too

which

could

be

recommend

landscape

the

thought.

short,

and

had

found

passed
the
work.

of

much
here

beauties

are

which

it

regrets

of

the

left

the

very

to

shows
these
district.

and

provide

castle

to

and
Castle

was

in

Months

happily..

seeking

of

always

neighbourhood

the

plenty

Corfe

and
any

never

this

affords

it

at

stay

advantage,
place

in

repeatedly,

me

occupy

great

My

have

mention

the

joins

drawn
it.

I
are

as

provide

attempted

interesting,

very

have
in

this

on

and

parts,

have

dental
inci-

things

work.

interests

care,

with

in

great

to

tent,

affords

interest

great

of

with

many

at

one's

and

those

engrossing.

bridge

interest

with

of

little

the

building
The

all

kind

the

varied

studied

points

this

most

how

subjects.

fine

many

show

to

on

weather

wet

pitch

to

interesting

but

become

may

think,

Dorsetshire

much

and

point

like

who

the

Wareham,

shipping,

very

painting,

views

near

are

from

at

Another

which

did.

contemplated.

got
of

of

which

headquarters

my

whole

in

place

is

way

those

cliff

that

me

work

fix

although

and

good

port.

cliffs,

much

is

shall
The

sunny,

easily

the

small

subjects

done

far

is

interest
to

The

of

Harbour

much

to

bout

again

keen

later

years

giving.

now

country

with

me

few

am

central.

and
it

the

filled

that

which

visit

here

more

times,

serious

Corfe,

at

later

stay

bright

very

with

is met

this

ride

this

found

and

Harbour,

was

time

being

as

is

It

when

Wareham,
coast

Poole

and
charms.

many

COUNTRY

PAINTER'S

WATER-COLOUR

134

heartily

can

field

for

CHAPTER

THE

XVIII

WATER-COLOUR

PAINTER'S

COUNTRY

London
DID

begin

not

painter

of

Working

at

given

the

me

never

will

In

with

begin

which

pure

and

dealing

with

the

than

district

The

for the

whole

of labour

shipping
when

this

looking
for

the

when

east

charm

of

making

the

various

atmosphere
this

district

in

finding

some

of the

new

way.
fresh
beauty
the

shipping

to

the
I

well
it had

effect

I feel for
to

paint,

with

here

so

between

as

to

my

this

keen

ebb

from

and

always

was

desire

first visit here

mind.
and
the
to

Time

has

the

beauties

first

district

of

record

quaint and nautical,

the
and
Ship Hotel

that
the
135

when

painting
out
with-

long

the

line

park
alive

of

the

or

with

procession

irresistiblycalls

child

of

increased

see

in it.

London

impressions

my

The

beautiful.

as

only

halting

ever

flow, the

the

or

necessary

Greenwich

which

my

Greenwich

is

seen

remember
on

the

either

and

The

me.

And

described.

visited

light,

on

loved.

poor

which

delight

beauty

Thames

to be

stately pageant,
register a thing so grandly

moves

painter

can

Whether

own.

of the

have

hospital,either
every

district

very

never

to

of

in all material

of loveliness

source

place

which

constantly changing

grandeur

are

me

locality on

wealth

the

indeed

river, is splendid under

of

the

other

any

with

make

I have

stately buildings of
its

to

afforded

is Greenwich,

The

wealthy
picture. Words

than

is alive

field of labour,

always

place

exhaust.

enough

beauties

has

This

it is

is in itself

glory all

of

not

wide

very

which

district

is added

west,

or

this

painter

cannot

life is in itself

to

principally

am

and

simple,

other.

any

attractions

years

buildings.
building composition has, nevertheless, always
zeal for such
work
will
greatest joy, and I hope my

less.

greater
Thames.

the

because

fine

greater pleasure
has

London

landscape

grow

with

which

Trafalgar, it

on

the

affection

When

of it.

walking

six, and

the

began

I visited

Everything
the

would

river
seem

is

front

only

natural

to

meet

COUNTRY

PAINTER'S

WATER-COLOUR

136

shipped

had

who

seamen

Benbow

with

Sir

or

such ancients, there is

to meet
But failing
CloudesleyShovel.
is seen.
in what
material to charm
Lumbering oil or
plentiful
cattle boats creepingcautiously up the river to seek their berths
from
and
dischargethe cargo which is to help to keep London
darkness
or
starvation, followed by a little snorting gadfly of a

tug with its tail of barges which

have

effects of lightand
startling
like
truthfullywould sound more
from such a prosaicutterance
one

and

see,

bless the

page from
on
as a book
drew

to

I have

seen

describe

to

which

page

that

shadow

such

and

lost the tide.

them

fairytale

Rather

Art.

notice

your

than
go

such

world of charms.
The hospitalitself'will supply endless tions
suggesimmortal
become
for picturesof a kind which have
by the
brush
The

and

pencilof

whole

year

James

Pryde.

round, the river,the park, the palaceare

full of

the
I have
seen
particulartime.
peculiarto its own
shippinghuddled togetheralong the wharves, snowy and snowed
And-again,
glowing pink in the lightof a January sunset.
upon,
'has
after the sultryheat of a July day the last flush of light
caught the river and lit it up in a way no words can paint. These
are
just ordinary things which can be written about ; all else
be left to the seeingeye, or to a pen more
must
apt than mine.
It must
from
not be concluded
what I have said that this neighbourhood
is unsuited
As
to the student
a
or
beginner.
young
I found
the
riverside
workman
of
objects
plenty
study amongst
which are here in plenty. At low tide there are
always barges
and small craft left high and dry which
provide fine subjects
interest

for careful black

In

time

my

and

white

there

were

work.

ship-breakingyards, where
seventeenth
and eighteenthcentury

also old

abounded
from
figure-heads
ships,as well as anchors and
such

amongst

coming

treasures, and

across

Again, in

I had
the

clutter.

got

"

park

separate studies,and

bitten

off

more

will be found
the tamest

than
trees

I found

fit of the

object of peculiarbeauty

an

that

other
often

of

of deer, which

when,
covered
dis-

drawing, I

I could

which

great joy

blues

can
are

swallow

!"

be taken

as

relief after

studying cows, sheep,and pigs in the Sussex farmyards. The

Observatory,too, is a quaint building,which becomes, however,
when
associated with the park trees, a highlyinteresting
object.
It is from

things can

the hill here that

be

seen.

I have

most

of the

found

fine up

and

down

river

great delightin gettingon

ILLUSTRATION

XXXIV

William

Exhibited

ST.

1761-1771

PAUL'S

Victoria

James

CATHEDRAL

and

Albert

Museum

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C3
_o

S"*

O
*

JS

us

""
^

nut)

CO

m
"
1-5

1-1

"4

EC

X
X
X

LONDON

anchored

barges,

viewed
in

from

their

all

craft,

in

his

critic

is

the

alive

crew

busily,

away
hav"

is,

taken
but

down
On

others,
side,

north

and

few,

object

is

point

to

bpok.

Neither

sought

and

student

own

leave
out

do
found

experiences
in

his

quest

to

for

of

type

fields

is

spars

the

do

wherein

of

best

to

labour.

south
tions,
attrac-

own

write

to

districts

hoping

and

the

in

just

student,

the

all

takes.

mentioned

attempt
the

river

on

their

have

to

not

town

Lower

Tilbury,

down

as

where

to

my

guideI

have
It

England.

thereby

joke.

exist.

Wapping,

work

riverside

the

have

seems

men

and

not

turn

all

giving,

the

or

member

vessel

song

Lower

tarring

every

what

every

that

assert

am

doing

and

any

stages

others
at

and

are

sails

whole

with

discoveries

work

that

in

visiting.

worth

localities

my

sides

beauty.

further

wish

the

Gravesend,

all

and

one

interest

bargee

occasion

Greenhithe,

and

Erith,
are

charm

and

his

when

and

that

Poplar,

if

light

as

is

interest

of

Woolwich,

these

there

bank,
full

are

labour

concluded

up

little

The

an

the

merely
be

when

completely,

won

found

such

over

their

not

higher

and

my

making

must

and
the

Slung

Greenwich

it

often

painter,

turn

workers.

is

seems

represented.

Upon

to

Take

attention

is

forward.

seems

with

river.

comfortable.

draw

subject

all

changed

navigator

incorrectly

are

going

the

things

soon

interesting

very

painting
of

make

how

in

out

barge

will

tackle

marvellous

way

the
to

and

other
A

and

power

also,

and

little

is

it

as

139

help

is
the

XIX

CHAPTER

Thames

The

London

from

Bridge

grand

if he

even

thing,

at

seen

comfortable
work

points

can

been

having

can

often

so

on

and

painted

but

life of the

of*London

are

points
hackneyed

bridge

it is

I have

as

acquainted

The

landing-stages

or

the

Truly

ease.

be

canvas.

barges
than

otherwise

buildings

the

paint,

to

but

should

or

paper

found

with

point

student

anchored
be

pursued

be

it

subject

difficult

vantage
the

busiest,

From

best.

the

which

its very

at

their

of

reproduces

never

is here

river

with

is

Bridge

fact

simple

it is

London

from

Court

Hampton

to

Oxford

and

Tower
11HE
the
from

COUNTRY

PAINTER'S

WATER-COLOUR

THE

more

where

"

spot,

remarked,

before

all

possible that something new

may
be
done.
The
much
that
is
bridges supply
interesting and
yet
air of
the Embankment
is beginning to put on
beautiful, and
an
of life.
gravity with its sixty years
and
I know
the
river
Gravesend
to
Oxford,
fairly well from
there
is only one
which
I cannot
good terms,
spot with
get on
differently, and

see

eyes

that

and

Putney
beautiful

then

good

we

the

river

come

to

overflowing
to
Some

giving

know
years

lessons

to

with

of

Battersea,

their

and

that

the

To
as

Court.

place,
more

has

And

been

it is

are

and

Bridge.
yet

see

and

Park,

It

and
I

you

charms,

Kingston

me

will

Mortlake,

Chiswick,

in Richmond

from

sweet

them

varied

own

worked

of this

Parliament.

look. at

glories of Hampton
attractions

about

ago

hill

much

see

and

I have
the

Houses

kind,

any

all have

from
the

the

Chelsea

attractive.

fortune

seem

of

Richmond,

and

painted

light.

any

and

and

attractions

no

under

and

to

is Westminster

offer

they

it is

so

my

so

of it the

full

less I

it.

spent

one

in water-colour

day

week

drawing
140

during
to

some

whole

summer

of its inmates.

ILLUSTRATION

XXXV

Peter

Monamy

1670-1749

AN

OLD

Victoria

EAST

INDIA

and

Albert

WHARF

Museum

XXXV

ILLUSTRATION

Old

is

THIS

class

clouds

attention.

the

student

is

calmly

be

endeavouring
All

such

cart

have

has

When

or

is

undertaking
wit

this,

no

and

patience

who

it

is

seriously

encountered

has

confident,

gained

with

grappled

in

with
accuracy

the

student

Sussex
a

simple
to

wain,

matter,

accomplish

he

has

will

but

of

his

This

drawing

which

the

work

is

true

details
are

himself

set

that
one

to

that

comprehend
rather

well.

subjects

relinquished

step.

the

charm.

as

work

but

are

his

feel

very
has

managed

he

and

all

the

quiet

heroic,

difficulties

painters

great

that

keeps

not

to

distract

to

many

none,

composition,

is

interest

of

overcome

the

feeling

without

full

dog

the

as

subject

The

be

and

kind,

this

long

so

too

fleeting

no

cattle,

or

the

to

drawing.

boats

and

should

There

as

on.

be

cannot

are

such

quiet,

carried

and

practical,

follow.

to

objects,

All

can

all

Wharf

which

work

encouraged
moving

or

an

of

India

earnestly

in

East

calls

draw

such

for

Illus. XXXV

Old

East

India

Wharf,

by

P.

Monamy

LONDON
had

charming time,

stories connected

and

with

148

heard

of the old

many

the

legends and
the study of

place. Whether it is
gardens,or landscapethe student is intent on, all are
buildings,
found here in perfection.
I cannot
afford the space to introduce
than one
two
more
or
things to illustrate Hampton Court, but
I hope they will be enough to awaken
interest in it. It
some
to me
seems
marvellous thing that so many
a
people have no
knowledge
since, I
a

of

went

London

this

truly grand palace. Quite a short time

Hampton Court to give a drawing lesson to

to

lady,

well

of her

out

teens, who

had

never

seen

it before.
To

those

who

seek

Molsey gate, the

herbaceous

Lion

border

arduous

an

drawing task, I

gate, and

which

the

gate

past

runs

the

at the

tennis

recommend
end

the

of the

large

Each

court.

these

is of a
gates is of great beauty, and the last named
excellence.
These
things I just take at random, but there
others

many

equallyfine.

The

whole

of the

full of groups
of statuary, vases
of stone
fountains
and fish-ponds. The sunk
many

gardens

rare
are

literally

are

bronze,

or

of

as

well

as

formal

gardens near
the vinery are things to love, and therefore to paint. Cardinal
Wolsey built the palaceand presentedit to Henry VIII, and this
faced on the two sides frontingthe gardens and
old buildingwas
park in 1697 by Sir Christopher Wren, in order to provide
William
and Mary with a palace approximating to the glories
of Versailles. With
great ingenuityWren did his task, and the
work

new

is built in and
entered

to be

appears
from

part

of the

old.

And

yet,

the

Molsey gate it is Tudor, and as

it is left on enteringthe gardens it is a Stuart palace,with nothing
to suggest its earlier history.
in this new
courts
I
The
especially,
part are very beautiful,
I
Court, which is most
think, the Fountain
fascinating.When
teaching here, I used to set my pupilsthe task of drawing
was
as

the

palaceis

architectural feature,such

some

in strong sunshine.
all the local colours
done

in

one

value

I insisted
;

believe in the

charming

to

see

on

the whole

every

or

of the shadowed

thus

only true way

the delightof

colonnade, when
detail being put in, and

gateway

of grey.
It is
thus be obtained.

simpleeffects can
are
dear to the inexperienced
to

as

astonishingwhat
The

shadows
slobbering

paintingthem.
young

they can
they-find
graspedthis principle,

to be

beautifully

avoided, and the student

of

my

parts had

so

gets

It is very

pupils when, having

in their
put it in practice

COUNTRY

PAINTER'S

WATER-COLOUR

144

Hampton Court has always appealed to me very strongly,

owing to its brightnessof colour generally. The buildingis of a
beautiful red brick with stone dressings,which are of a charming
work.

whiteness.
colour

These

and

associated

when

masses,

with

the dark

stronglyto any one

working amidst so much

yew

trees

lawns, appeal very

seekingpictorial
is lovelyhas
a
good and lastingeffect on the mind, and probably tends to
influence.
At least,this is how the spot has always
have a lasting
appealed to me, and accounts for my having visited it periodically
for many
There is another
reason
why the place should
years.
be appreciatedby the student
of Art, and that is the absolute
order that is maintained
throughout the whole of the palaceand
its grounds. No unholy scraps of paper are seen
anywhere, as no
the

that

I think

themes.

luncheons

allowed

are

under

here

any

that

I have

conditions.

worked

for'five-and-twenty
years, and have never
been subjectedto the slightest
although on several
annoyance,
occasions
I have fixed upon
a
holiday time for my visits. The
artist who calls to mind the rudeness he has experiencedabroad
of our
home
in many
own
or
nearer
villages will fullyrealize
what
this immunity from vulgar intrusion means.
This is an admirable
ground to put in practicethe use of the
in well for such work, but even
Not only the buildingscome
pen.
here

from

time

to time

"

"

to delicate

the trees lend themselves

given with
said

about

the

with the white

hand

at
never

pen-point. I

the

to

sashed

deal

worked

with

much

would

of

usefulness

windows
these

between

attention,which can be best

here repeat what I have before

sharp penknife. When

dealing
it is a great help to find a penknife

tiresome

little white

here and

Oxford, with the exception

Windsor
short stay I had at Shillingford.
would doubtless be found
is, of course, most
of

"

"

object,however,
painting has
my
useful

Oxford,

and

to

is to

deal with

been

done, and

say.

quite near

the

parts of

about

ShilUngford is

which
about

Dorchester, with

lines.

where

much

I have

work

interesting.My
the

country where
can

ten

its most

find
miles

thing
some-

from

interesting

church.
The

low-lyinghills,which

great charm, and

passingbarges and
however, that

the

miles
a few
Iffley,

additional
their

here

hug

interest

can

the

river,help to give a

always be

occupants. It is as

found

in the

approach the city,

glory of this neighbourhood is seen and felt.
the London
side of Oxford, is a pretty village
we

LONDON
with

superb Norman

The

trees.

church

if once

the

he

I do

not.

or

not

buildingis seen.

Oxford, however,
arrived.

now

snuglynestling
grand old
among
by every one who
be particularly
addicted to architectural
think I should have to urge this point,

be drawn
church should certainly

follows Art, whether

work

is

objective,and

our

So much

has been

that I will attempt

glories,
known
subject. As far as I
afraid if my

words

Oxford

an

colour

of its

of

cityI

further

no

know

about

Oxford

such

on

I will

much.

pieceof

paintbuildings;
meadows

here

joyscan

be found

am

of
The

in hand
from

stone

crumble

but other

well-

the hands

for the task I have

a

its

talk,only I

that I know

Take

have

we

placeand

it up, and the tone

the place is for the student
Generally,

you.

of the

is
one

cityis

loves to

who

with littlesearching.

of unsurpassed
very fine,with timber
associated with the trees are the towers, which
are

beauty. Always
form fine subjectsfor

worker

to revel in.

The

in

there so many
are
space, but nowhere
I do not
small a compass.
refer just to
architectural
effort, beautiful as this may

light and

grand things produced by

should

the

spot fall into

concede

know, which

and

in this town

remarks

this venerable

will not
do

written

knowledge necessary.

collegewalls

before

The

about
he

man

of the

the kind

145

be

the

quest of the

cityis but small

lovelythings in so
the beauty of an
be,

shade

student, and

and

here

rather

but

line.

the

to

This

search

is

and consideration are

glories.Kindness
here seen
to perfection.
I have
worked
of
for hours in the High Street,in the corner
of
St.
a
Mary's by Inigoshop window, drawing the gateway
whatever.
In
the
and
found
hindrance
Jones,
no
college
but
I
felt
certain
in
crowded
of
a
precincts
politetoleration,
ing.
street during the busy part of the day it was
truly astonishI have
Tom
Tower
in the early evening from
drawn
St. Aldate's Bridge with a similar experience.I record these
and
of great credit to the townsfolk
facts as being universal
conducted

in

land

of

of Oxford.

college gardens,

The

these

about

devoted
streets.

of
now

to

The

things
in

'

can

say
subjects found

chapels and

that

their

full of interest,but
believe, are
here
time
was
little,as my
chiefly
I

old

have
age

lived
have

in

the

collegequads

dining halls
through many
settled down

have

and

all the

in

charm

rough times,
to

peace

and

the

and

quiet.

I would

strongly advise

is much

to

be

and

painting.

we

see

such

learned
I do

Just

students

not

in

the

look at the inside of

the

in

of

manner

labour, both

in

mean

study interiors,as

to

such

from

subjects treated

water-colours,but
Pryde.

COUNTRY

PAINTER'S

WATER-COLOUR

146

or

room,

in

finicky way
modern

there

drawing
in

which

exhibition

Cotman,

Bosboom,

of
or

chapel,as you would look

of lightand shade, and let

landscape,and paint the masses

the details come
in as best they can.
I do not want
to be understood
to talk heresy either againstdrawing or
detail,but it is
paintingwe are talkingabout now, and the great thingsin painting
are
lightand shade. I have seen many a chancel of an old county
that would
church
full of Stuart and Georgian memorials
paint
i
f
if
handled.
But
such
a subjectis
instead,
splendidly, properly
on
chosen, the little incidents,such as an inscription
a memorial
tablet,are zealously
studied, and the great questionof the lighting
of the whole thing scarcelythought about, and certainly
never
These
remarks
the
to
to
made
call
attention
are
properly seen.
fact that here is a grand locality
where
interior subjectscan
be
studied to perfection.
To get away
from the quiet of collegequads and gardens and
be amongst the bright life of the river is soon
effected,and in a
walk of a few minutes
the college
reached.
The paintare
barges'
ing
of these barges on a brightday in summer
is a pleasureI have
often promised myself,but which
far has not been realized.
so
I do not know
did it,but if not, he was
if Melville ever
certainly
could have done the subjectcomplete justice.
the painter who
It may
be asked why I, as a landscapepainter,talk about the
work
in a city. Although writing chieflyabout
to be found
the
student
work
of a
of landscape, I have
also mentioned
other professional
experiences; and as in my life
my
I sought a change of work
amongst the buildingsand interest
of a city, so
I seek to
introduce
variety by recounting all
wanderings in search of subjectsto paint,whether in town
my
at

country.

or

The
From
fine

Wint
and

neighbouring country
mile

here

is flat but

citythe towers form a

feature as a skylinewhich, if I remember
Peter de
correctly,
than once.
painted more
Boating is made very easy here,
from the water
I remember
charming things can be seen.
many
an
especiallyattractive drawing I got of the tower of
many

parts

or

two

from

quite interesting.

the

LONDON

Magdalen

when

being

punted,

short

life.

drawn
his

with

as

attention
own

punting

must

repeat
to

this

investigations.

Oxford.

to

me

147

as

what

locality

skipper
I
the

have
student

should

say

would

-punt
before
must

when

but

have

said,

that

be

left

was

having
to

make

CHAPTER

PAINTER'S

WATER-COLOUR

THE

Colchester
my
FEWthan of that

which

of work

is well

situated

meadows,
to

trees

in

town

hall

lower

the

is

on

find
do

should

taking

care

far

as

experience

Colchester

I think

only

houses

lovely drawing

old

settlement.

the

town,

visit

here

motor-bus

is

only

few

deeply

feeling of
freedom.
crowded

the
As

it

much
it is

takes

the

miles

distant.

all-round
the

such

the

intention

visitor

eye

becomes

to

openness
travels
with

this

over

already
in

to

me

the

I have

times

this

attractive,

Cotman

be

did

done,
The

bricks

to

made

colour

from

in and

as

which
evident

and

receding landscape

my

Island.

country.

generous

the

about

others,

it very

flat

his

it has

as

yachting town,

objects, although
148

suggest

visiting Mersea

painting
seems

do

is very

leave

little

I
but

subject, but

of Roman

of

and

paper.

beauty.

I must

I have
when

spots of interest

for

moved

am

other

stroke
sun-

another,

then

it should

built

my

or

since

of architectural

be

with

up

this

at

way.

town,

grown

mainly

may

search

made

was

is in the
have

on

in my

the

getting

Several

in this

worst

and

umbrella,

an

particular,

the

stunted

are

to

can

the

on

I worked

way

absorbed

my

trees

There

the

but

one

place. However,

interesting,as

is most

sun

is concerned.

which

and

of the

this

much

was

and
possibilities,

many

in
sun

Botolph's Priory,

St.

how

the

as

There

use

never

shade

me

great risks, when

very

run

without

follow

all the

getting

doing

one

any

life.

from

once

quite charming,

are

certain

water-tower

interesting object.
day, and came
nearer

in my

in

the

the'left.

on

is

itself,which

it

painted

from

which

hot

before

ever

town

There

of Colchester
I

pleasure

greater

me

locality.

town

length

and

violently

advise

not

whole

distance

great charm

done

strong

than

to

part of the

middle

the

this

in the

the

Island

afforded

rising ground.

on

showing

right

have

I made

be

to

COUNTRY

Mersea

and

painting trips

amount

drawing

XX

the

gradually

The
full of
more

losing

COLCHESTER
evidence
of

of form

AND

until the

ISLAND

MERSEA

mystery of

earth becomes

149

with that

one

sky.
It is in such

to be

and

land

artist,and

an

that

how

all of oneself.

feel
especially
such

worthy

I do not

how

is to claim

work

good a thing it is
the best

my brother artists feel,as

in
and inspirations
their work
are

know

how

they are a silent race, when

would never
have found
question. But I do know that my feeling
expressionin words save for my desire to help and encourage the
student.
This Essex lowland is a placeof romance
which compels
thoughtfulness,and a little melancholy also at times which is
far from

unpleasant.I believe the

pupilsinto the deep forests to think
end

German
and

send

musicians

get ideas.

And

their

to

such

through a flat country.

beautiful
Morning, noon, evening and night,it is always the same
rounded
thing, and ever
varying. Mersea Island is only a localitysurthe causeway
which
by the sea at high tide, when
an

would

it with

connects

what
On

and

the

mainland
I

becomes

believe,and

very

thus

evident.

The

another

proof

gave

scattered trees,with here

the road to the sea, farm buildings,
all help to providea rare
there a low-lyingridgeof sand hills,

subjects.Note

become

of

rare

with

such

the

becomes
This

road

to

most
near

which

soon

the

of cattle,or

group

even

motor-car.

intervening,the
foreground-detail
pictureand
Mersea

is

the
seen

evening after

towards

case,

lines of the causeway

straight
landscape,if broken by the presence

how

value in

country wain,

or

wander

peoplethey were.
practical

feast of

students

my

built this way,

Romans
of

I make

objectonly serves
at its best

hot

and

on

cloudless

level

of

At once,

landscape

emphasize it.
brightcloudy day,
to

one.

In the latter

the
objectsdotted over the country graduallyassume
lovelycolour, deepeningto a great qualityof richness in the
objects and graduallydying into the misty cloud period

the

intervenes

between

the land

and

the last of the evidence

of

sunlight.The littlecoast town of Mersea is full of lifeand interest,

also to afford a
much
yachting is done here, and it seems
as
pleasantholidayresort. The shippinggave me much pleasureto

paint,as

I found

it did not

seem

to

be very

active,and

rather

of inanition,which meant
ample time for my
given to long spells
such placesalong this coast where
study of it. There are many
his time to great advantage.
the student will find much
joy,filling
I am
chieflycallingattention to the land of Mersea, as the coast
seems

much

like other

parts of Essex

and

Suffolk.

I should like

to

explore

farther

finding

other

example

and

and

look

to

north

in

afield

districts

paint

COUNTRY

PAINTER'S

WATER-COLOUR

150

of
in

and

likd

Mcrsea
south

this

part

charm.
Island
of

it.

of

Those

should

in

England,
who

bear

the

follow

may
this

hope

hint

in

of

my

mind,

CHAPTER

THE

WATER-COLOUR

Visit

WITH

small

very

painting
teaching.

from

old

rest

visited

the

Stour,

several
the

as

from

members
I

churches
if

of my

old

or

spot

to

its architecture

street

this

suggests

of fact, evidence

of

to

new

me

rule

old

town,

and

condition

the

place.

It is

and

yet

is, as

that

yet

I think
\

inhabitants,

stateliness,

social

small

made

study

to

Cotswold

thousand

grave

bygone

be

to

were

two

down

village or

quaint

very

of

student

has

matter

ceased

long

exist.

to

Campden
its

was

favourite

wealth

whose

others

left the

industry gradually
thus

Cotswold
poor,

without

Greyness
of

the

roads,
midland

houses,
the

she

small

hedges
must

rare

and

dividing

walls

It is

too.

keynote

is the

"

residence

that

fed
did

any

great

as

local

large,

all is grey,

good place

record

of the

the

Cotswolds.

much

people and
special character
of

of

of its

wealth, and

became

tively
comparain their

former

importance.

church,

great grey

the

for

grey
a

paint villages, towns,

student
or

of

to

attractive

very

pitch

his

parish churches.

walls

slabs, the

fields, in place of the. southern

and

had
This

excepting

colour, the
roofs

the

and

that

industry

the

on

Chipping

merchants

for

great wool

locality, as

remained

buildings,' which

of
the

sheep

lost their

towns

and

from
of

centuries

eighteenth

place

came

flocks

in the

source

and

seventeenth

the

During

or

in the

less than

quite small, having

as

class.

planting

be

only

Shipston-on-

at

locality was

to

well-

I had

work.

working

was

the

so

general

my

would

time

taking

were

war

myself

of my

part

who

other

avoid

houses,

exception

an

favoured

and

when

previously

usually

of

object

certain

chiefly ladies

before,

years

usual

my

this

I visited

time,

war

was

devoting

were

once

Gloucestershire

with

hospital nursing

place

Although

it

as

town,

and

students

COUNTRY

Campden,

class,

nature,

My

earned

PAINTER'S

Chipping

to

truly charming

to

XXI

camp

and
kind
if he

WATER-COLOUR

152

COUNTRY

PAINTER'S

ideas,and
a place to give one
Chipping Campden is essentially
Here there are
it is ideas and suggestionsthat an artist wants.
fine trees dotted about the very spaciousstreet, for practically
many
street
of
handsome
of
consists
one
the whole
great
place
breadth.

In

centre

of the

conduct

is

town

originallyintended

believe, was
to
staplers

the

their business

for

the

sort

of hall, which, I

wool

duringrough

merchants
or

and

rainy weather.

this building is chieflyput at present is

to which
purpose
to serve
that of a recreation ground for children,and incidentally
The

and introduce
feature for artists to .contemplate
interesting
into their drawings. There is plenty of scope here for a student
stir from amongst
to spend a very profitable
month, and yet never
as

an

this

and
of grey stone houses
placeis so charming in its reserve

mass

cottages. The

colour

of the

that it is almost

impossible
pink
ways
get in edgecolours into any study made
either of those objectionable
through the whole length and breadth of this truly beautiful
place.
whole

for the most

As

soon

obstinate

as

I had

of
disciple

arrived, and taken

and

purple to

walk

round

with

some

of

that
I told them that I felt compelledto rescind much
pupils,
my
of village
I had previously
said about the futility
painting,as here

something quiteunique in the way of bricks and mortar, that

they could with proprietycontemplate and worry themselves
with to their hearts' content, and with much
advantage as well.
it must
in
From
these remarks
not be thought that we remained
did not,
the street during the whole of our
stay, for we certainly
the country in the immediate
vicinitybeing full of charm, and
both simple
lendingitself readilyfor the easy selection of subjects,
is always
is one
and complicated. There
feature absent, which
to the landscape painter:
a
great beauty, and very welcome
namely, a river.
of necesHowever, we managed very well,especially
as in case
sity
and other near
a
tripcould be made to Shipston-on-Stour,
placeswhere the blessingof a river was to be had. When choosing
to the town
the very grand church becomes
a spot for work
near
a fine feature in most
compositionsselected. The west of England
is noted for the size and great beauty of its towers, and amongst
them Campden holds a high place. They are of the Perpendicular
Period of Gothic architecture,and being built when
this was
a
was

part of the land, the churches bore evidence of

prosperous
this affluence in the richness of the way in which they were
built
very

CHIPPING
and

the

towers
a

CAMPDEN,

elaboration

is very

charm

of their

details.

panellingof these
helpa drawingto possess

and goes far to

beautiful,
unique : at the same

attempt is made

an

153

The

that is almost

has to be faced when

of it.
The

GLOUCESTERSHIRE

time

to

much

difficulty
givea good rendering
'"

interiors of these

churches

are

fine subjectsfor

also very

the student's

Campden

energy, and afford excellent work for wet days. In

church there are fine Stuart and Georgian memorials

that I

for studies,as the colour is so reserved

stronglyrecommend
quiet. I have tried many a subjectof this kind, in which I
have sought to get my ideas expressedby the use of a very few
colours,such as ivory-black,
yellow ochre, and a very restricted
of some
use
bright pure colours,in order to give scintillating
pointswhere they may be found necessary. Marble is a material
that in its lightsand shadows
is very beautiful.
A quite easy walk is to Fox
Hill, from which a very grand
and

landscapecan

woodland, and
beyond is a great hill,with a distant open country stretching
to where the sky meets
it,and joinsup in a gentlemystery.
away
Another

be seen,

very
placetakes one
Cotswolds

with

pleasantwalk
over

here,-and

fine

of

mass

near

which

is to

Broadway, the road to

flat land that crowns
interesting

most

which

from

fine distances

are

the

obtained

and

necessarily
open sky effects.
with
The
colour of this comparatively flat district abounds
good farm buildings,very different in their soft greyness to the
less garishred brick tiles and corrugatediron buildings
more
or
of the southland
farms of Sussex, Kent, and Surrey. Not that I
which seems
have the usual hatred for the effect of corrugatediron',
to come
in excellently
in the landscape at times ; in fact,
to me
and
Light
everything does well, where the good fairies
aid
to the painter.
Shadow
play, and give their mysterious
In the country through which we are now
walking on our way to
singly
Broadway, trees are scarce, but here and there they occur
"

"

"

"

monotony of arable land. Note

should be taken of the tilled fields here,for the soil is very beautiful
The crops raised are of
in colour ; in fact,I think unusuallyso.
or

in small

much

masses

variety,and

to

relieve the

this adds

country. The greystone low walls

been
The
most

used

to

working

in the south

cattle in this district

Englishcounties,and

are

of

this open
strange to those who have

additional

an

seem

of

as

course

charm

to

England.

varied

in colour

sheep are

much

as

they are in
in evidence

WATER-COLOUR

154

PAINTER'S

everywhere. I found the natives

and no difficulty
should be found
farmers

COUNTRY

here very kind and hospitable,

in gettingpermissionfrom the

stray about their farms and study in their farmyards

amongst their stock. The rules that appertaineverywhere

and

to

shuttinggates,not walking over young or standingcrops,

and never
smoking in stackyards,should be observed strictly,
and certainlythe student
artist should
and
always remember
that before going on to a man's land or invading his farmyards
Observe this simple
permissionto do so should firstbe obtained.
rule of elementary civility,
farmer is a
and the Gloucestershire
too ; but if he
very nice and pleasantfellow,and a bit humorous
considers you are actingin any way intrusively,
then he will show
himself a very rough customer
indeed- I could very easilywrite
a
fairlylong book on this district,and the great beauty it
possesses, with which to cheer the artist. Enough, however, has
been said to give a good idea to an intendingvisitor.
One
the placesof
words
I will add, and they are
two
on
or
interest in the near
neighbourhood. Broadway I do not like,
it has too much
to me
of the fashionable
as
interesting place
as

to

"

"

element, with its

"

well-known"

residents

can

find this sort of

to
Park, quitenear
thingin London when I want it. Northwick
house, and possesses a fine collection
Campden, is a very interesting
of paintings,which
should
if possible. The
certainlybe seen
of fine
picturesare well shown, and there are a gr,eatnumber
paintings
by the Dutch, Flemish, and Italian masters.
Although,
in the usual acceptationof the term, the place is not a
show
for an
Art student to get
house," there should be no difficulty
permissionto see the treasures here.
of the houses in Campden should be seen, as
If possible,
some
have
interior decoration
in the way
of wood
interesting
many
panelling.There is one very charming Gothic house in the street
of the outside, as I was
I only speak from what I saw
not fortunate
enough to get an introduction to the occupier,although I do not
think there would
be any difficulty
in doing so, as I found the
inhabitants invariablypolite and hospitablein all the social
grades. A visit should be paid to the photographer,who sells a
most
series of local scraps, includingchurch
metalinteresting
work and fine Gothic needlework.
This man
has also good photographs
of the memorials
in the church, especially
several of the
Noel
family two particularly
good ones of the Ladies Ann and
PenelopeNoel, put up in the earlypart of the reignof Charles I.
"

"

"

CHIPPING

During
the
and

very

little

time

in

England
of
my

to

of

quest

interest
future

place,
beauties.

been

for

life

plans
in

and

there

one

is

from

subjects
spent
may
short

in
lead

in

nature

they

as

for
such
me

month

my
a

way
to

may

visit

justice

be

to

and

me

again
cannot

I
this

my

travelled
show

to

sincerely
very

be

but

but

as

thus
be.

of

has

written

water-colours,
to

seen

suggestion

my

here

came

work,

exploit

to

interest

take

have

able

only
of

much

155

was

may

that

things

take

who

Much

painting

to

has

Campden

student

any
here.

reference

object

that

by
a

at

stay

casually,

unearthed

spending

full

short

my

place

GLOUCESTERSHIRE

CAMPDEN,

done

how

hope

ing
interestto

its

CHAPTER

THE

ON

"VTO

STUDY

objects

landscape

-i-* and

such

varied

singly, in

small

groups,

full of

In

beauty.
be

drawn

much

interest

Much

of the

the

the

poor

to

and

that

this

sit down

To

quite
done

consistently
of the

the

subject

these
such
and

will

will
have

ash, and

When
of

be

given

for

me

fir.

the

seen

affirm

as

summer.

modern

paid
unless

that

it is

known,

is

of

of attention

safely
is

they

affords

in the

lack

impossible

I have

doubt

no

entirely owing

to

suitable
un-

the

in the

study
these
other

afford

insight

become
the

trees

that

special
forest

As
trees

156

in

afford

but

our

not

time

draw

are

studies,
more

the

state

the
the

interesting
for

do

to

gives

leafless

of

study

hurried

trees

oak,

and

regular
ir-

special subjects

very

also

I do
of

such

ledge
know-

attempt

winter
to

and

no

student

if

work,

other

their

In

have

trees

trees

the

such

no

all

pleasure

they

drawing,

be

with

in them.

greatest

These

of

of

which

should

common

study

an

year

It is, however,

and

quite useless.
the

part of the

standing,
tree

cold

strong.

very

There

in

as,

in the

will
of

for.

formation,

mentioning

beauty

to

his interest

Scotch

only

garb

truth.

winter

when

regularly,

hastily,

would

branch
not

and

the

for

save

studies

up

attention

greater

nature

construction

make

drawings
more

which

and

spiney

efforts

in

full

very
tree

fidelity

from

study

pencil

do

to

to

can

of

study

tree

impossible,

safe

state

be

elegance

all times

at

leafless
the

always

are

and

grace

and

seen

conditions.
and

is doubtless

with

their

is to

put down

formation

of

climatic

be

in

which

drawing

tree

neglect

Their

appear

they

masses,

year

greater

Whether

trees.

of Nature,

in winter.

branch
the

represent

they

must

of trees

study

trunk

student

painted.

tree

landscape painting
to

the

when

as

of the

seasons

and

do

as

with

themselves

present

great woodland

or

NATURE

FROM

attractions

all

appeal irresistiblyto
should

TREES

OF

the

in

XXII

that

wish

country,

to

of

painting.

suggest lack

but

merely

to

STUDY

OF

TREES

emphasize those particularones

appealed to me.
The

FROM
which

NATURE
have

always very strongly

endless

varietywhich is seen in a group

and there is a crispness
in
quite extraordinary,
the branches

divide

and

subdivide

Iixus. XXXVI.

account
is not

difficultto draw, from

of Scotch
the

firs is

angularway

which, I think, goes far

Scotch

attractiveness.

for their unusual

157

the fact of it

to

Fir

This

tree is

being so

one

very

which

firm and

or less in hard sections,

distinct in its leaf masses, that grow more
I do not wish to suggest that a
which can be grasped with ease.

perfectdrawing
any

of

other subject,but

Scotch
as

fir is not

study it can

as

be

profoundly difficult as
more

easily
got hold of,

STUDY

158
which

being the

many

trees.

Great
The

OF

case, the interest in it is

kept alive

beautiful qualityof
particularly

also is the

rich darkness

NATURE

FROM

TREES

is rendered
of its foliage

stillmore

better than

its

colouring.

lovelyby

bright colouringof the trunk and subsidiarybranches.

in the same
again this tree appealsto one in its colouring,

An

Illus. XXXVII.
it does in the branch
branches

and

The rich

Here
way

sunset

should

has

very

as

and
colouringof foliage

comparativelyeasilyseen, and thus becomes a

subjectfor the student to paint. The colour of the
of this tree

the

Ash

is

branches

under

formation,

in

beautiful

way of
iridescent.

factory
satis-

trunk

lightingup

No opporglow, and becoming almost

tunity
be lost of making studies of Scotch firs,
and I can

STUDY

OF

TREES

FROM

NATURE

159

attention he devotes to them

promise the student that the more
the greater will his admiration become.
I have often found it a pleasantexercise justto take a
group of
branches and make
in pencilor colour,
a careful drawing of them
that is when
time does not allow of the whole tree or group being
done.
This suggestion,
of course,
appliesequallyto the study of
all kinds of trees, and will be found helpful
in the effort to get an
intimate knowledge of them.
My plan has been when I see a
of
but if
thing
beauty to try and registerit ; fully,if possible,
time does not allow of that, then as much
be done.
as can
sit down
I never
work
from
unless
the
nature
to
subjectchosen
the
other
fillsme
with enthusiasm
I
hand,
never
;*but,on
pass by
beautiful
without
least
of
it
at
note
a
as
subject
making a
fully
time
allows.
For
wandered
as
through England
many
years
1^
with the sole objectof seeking for the beautiful,and of registering
with
and
brush.
impressions
My joys in this
my
pen, pencil,
pursuithave increased with my experience,and my feelingsare
and yet ever
stillthose of the student
ever
striving,
findingthe
The subjectof trees
object of my quest leadingme further on.
of the most
to the landscape painteris certainlyone
important
and so it becomes
he has to struggle,'
with which
naturallyone
of the most
delightful.A great mistake made by the student in
his early days of nature
study is his attempt to do too much.
"

Not

that

mean

too

much

work,

as

he

can

never

do that, but

the condition of
attempt to make his studies assume
of some
is often a far-away imitation
so-called finish,which
rather

the

favourite

master.

ignorant,and get for the

it lulls
of praisewhich is far from a blessing,
as
executant
a meed
As I have said bSfore,trees without
into a false contentment.
studied and continuallydrawn,
their foliageshould be patiently
clear and distinct object
as in their leafless state they afford a very
in all humility.
Let such drawings be made
upon which to labour.
and when
this elementary
out the chief proportions,
First scheme
deal
with
the
construction,
proceedto
pointhas been accomplished,
the fact that the branches,
that the drawing demonstrates
so
towards the draughtsman
the trunk, come
as they spreadbut from
Such

imitations

may

deceive

from him.
also go away
the difficulties of such
I know

the

and

disappointmentsthat are
and hard though it be.

an

effort,and

also the continued

in store, but it is the only road, rough

The oak is a great favourite of mine,

STUDY

160

when
especially
the great roots

OF

FROM

TREES

it grows
become

on

NATURE

steep and
and

loose-soiled

bank, where

gnarled and twisted into

as
a
drawing copy,
grotesque shapes. Such a tree is admirable
and full of qualityas a study. The student should have no thought
to make
his drawing beautiful in its technical quality,
this will
as
all come
in time as a quite natural sequence
to his labours.
be the one
must
Simple truth of proportionand construction
and sole object,and as these qualities
mastered
all else will
are
be
If work is entered upon in this way, then it
gradually added.
can
safelybe promised that graduallythe vision will become clear,
exposed

Illus. XXXVIII.
and

difficulties will be

Grow
More

overcome.

the

are

of

Oaks

and

more

objectsof nature :
work appeared complex

and insurmountable

clear to the

so

vision,and

and

on

paper

that the

great mistake,for when

a

more

In

or

less mechanical

that it was

an

in

early stages of
will graduallybecome

in

arose.
difficulty

seen

in the

easy to express.
with great earnestness
me

Pupils have often assured

saw
but
objectsquiteclearly,
down

things which

will be

that

they
they saw

puttingwhat

Now

of

this is

course

objectis clearlyperceivedit becomes

it.
process to register

giving my experiences of
tramps in England, I must givea

the
very

trees

I have

high placein

drawn
my

in my

estimation

STUDY
to the

willow, both

OF

TREES

and

most

also when

state, and

form
delightful

the

marks

trees

of tree

and

meadow

of

course

it

brook

arise,drawing

masses

colour also.

Where

the

become

sunlightfalls on such a line

most
fairy-like
silver-grey.In

Illus. XXXIX.

this

sepia.
exact

Of

Group

course

great care

order

Ash

of

be

must

these two

well

to

represent

Trees

be desired.
success

on

It must
the wash

taken, in order

colours

found, the delicate effect of

dependsfor

pollardwillows,they

is

of
proportions

nothing to

of

peculiarto willows,I have found no colours

required effect as well as a mixture of indigo and

colour,which

produce the

been

161

In those districts of marsh

the line of stunted

river,the

or

NATURE

in its full unfettered

isin its pollardcondition.

land where

FROM

but

when

limpid wash

be borne

in mind

to
once

secure

this has

of it should
that

being very lightand

the

leave

everything
transparent,

ILLUSTRATION

Danny

In

from

careless

making
the

of

shape

paint

such

be

with

box

into

came

mixed

period

be
rule

so

careful

oft
not

its

disturb
mar

risk

its

of

of

trunk

painted

be

by

down

introduce

simplicity."

is
of

nor

the

sunshine

silver

equal

value,

late

period

into

into

dark

of

masses,

the

otherwise

Alphonse
light,

dark

light

elm

the

same

and

birch,

me

parts

would
the

state

Legros

incidents

the

an

there

Let

management.
Professor

in

kind,

with
of

and

would

shadow,

everything,
case

my

tively
instinc-

this

deep

of

in

and

here

of

than

to

method

paints

study

birch

luminous

of

that

instance"jsihe

less

of

breadth

losing

quality

of

elm

comparing
for

time

progressed.

painting

be

touched

all the

many

broad

Take,

The

lenaid
to

when

in

question

tones

drawing

my

by

the

to

sunshine.
should

as

contrast

object.

the

most

should

was

no

the

satisfaction

directness

'that

of

found

come

drawing

is

After

on

and

good,

far

employed,

small

may

this

be

to

always

is

in

great.

were

but

There

to

that

have

I believe

as

determined

near

of

they
the

much

shadowed

trunk

tree

student

trees

done

putting

acquiring

to

advantage.

palette

my

be

must

deepest

yet

is

there

help

addition

in

mere

that

of

part

colours,

use,

the

the

of

group
was

colour

practice

benefit

it
it

derived

such

No

as

of

few

on

to

out

is

study

is

I have

this

But

with

drawing

the

as

great.
it

of

of

the

value,

its

yet

out,

and

managing

values

and

of

tone

which

from

may

time,

where

kind

carried

work

point

This

I took

pains
the

to

painting

observer

the

and

the

casual

patch

part

constantly

that

as

one

most

second

mind
each

and

the

one's

and

simple.

was

difficult,
for

mood',
my

up

the

to

appear

Sussex

Park,

light-hearted

CARELESSLY
may

XL

"

Be

that

may

that

may

HHHHnHHHwftM'..

Illus.

'

XL

In

Danny

Park,

Sussex

STUDY

OF

TREES

FROM

It should
though put on in a mass.
is fatal. It may
as
any tinkering
the student

will find willow trees

is
experience,

most

such

endless

also be
be
in

the Thames

localities where

the

168

all,

and for

appliedonce
well to note

as

here where

and this,from my
profusion,
marshy
; but all low-lying

certainlyEssex
Cambridge, parts

as
country,
country bordering on

NATURE

of

and

charming

Hertfordshire, and the

other largerivers,afford

tree

we

consideringis

are

seen.

All those

England

who

should
to the

inquirerthat
with

him.

set

become

to

familiar

quite early in their

ash, and having once

it will

Not

out

ever

only

remain

is the

search
done

the

with

close

give very
so, I can

chief favourite

of

trees

sideration
con-

promisethe

amongst

trunk, but the great and

trees

subsidiary

branches
that

it has appeared
are
very full of grace and beauty. To me
their qualityof surface is capable of taking very beautiful

shadows.

of foliage
way in which the masses
appear to hang
the
branches
has
to
mind
that the ash
to
on
always suggested my
is a rare dainty lady,and exhibits that attractive way
of showing
off

The

beautiful

costume

happiness,in the

that Watteau

butterflycourtiers

has

placed on

of the Court

record

of Louis

for

our

XIV.

begins to pay
court
be a complete devotion, else there
to the ash ; there must
will be no success, rest quite assured.
Although the ash does not
I think I am
generally,
rightin statingthat all the
profusely
grow
counties of England have this tree, and if this is not so, the simple
work
has
be considered as final,as my
fact that I think it is can
into thirty-sevenof the English counties,and I cannot
led me
think of one
where I did not find the ash growing. I am
the
sure
for this sweet tree is carefully
best way to get a great enthusiasm
99 at the Victoria and Albert Museum,
and
to go through Room
study the drawings of Constable there. Truly these elaborate
painstakingefforts are almost enough to make one despair(at
least, that is the effect they had on me). But, having taken
There

breath

must

and

be

no

half-love

quietlyreflected

take
difficult,

as

much

when

that

in the mind

the

student

all in Art
as

you

is hard

possiblycan

and

very
of these

truly grand drawings, and thus fortified seek in Nature a welldrawings of the
grown ash tree, and try to do a like drawing. Make
and then tiny branches, and so on, until the
separate leaves first,
whole tree in all its beautiful grace is the subjectof your study.
And
drawings ofsingle
then, when you have done many,
many
trees, seek out a group, and try and producea pieceof work that

XLI

ILLUSTRATION

is

THIS
it

is

become

leaf

given

from

as

merely

added

charm

because

of

branches

and

their

shadowed

the

This

picture.

shadow

and

was

combined

made

in

make

such

make

the

drooping
charming

which

chalk,

of

The

to

to

drawn,

because

composition.

lawn

drawing

but

order

not

were

beautiful,

were

in

They

simple

very

advocated

objects.

they
light

method

natural

with

although

and

of

example

an

Trees

of

notebook,

my

acquainted

however,

Study

is

favourite

medium

of
for

necessity
be

cannot

filled
and

mine

wish

from

come,

bringing

pleasure

of
he

the

will

to

in

subject,
have

others.

to

and

the

joy

studies

from

help

then

them

nature.

student.

and

student,

from

of

making

future.

begin

doubt

way.
he

but
time

the
that

knowing
~

As

beauties

without

in

nature

the

the

their

others,
then

in

in

some

The

Notebooks

pleasure

material

emotions

show

to

love
and

the

endless

clearness

with

the

on

give
and

his

reproduce

to

particularly

will

will

to

untiring

impressed

seen

appeal

to

simply

are

studies

and

satisfaction

strongly

long

continuous

studies

such

things

as

to

emphatically

unbounded

soon

which

making

too

with

in

he

He

will

will

do

great
his

will

not

them
reward

work

is

Illus.

XLI

A
A

Study
leaf

from

of

my

Trees
notebook

STUDY

OF

TREES

FROM

will prove how keen has been your

it should be drawn
and painted.
When

NATURE

inquiryabout

travellingthrough England,

byword.

much

To

is this the
the elm

one

every
of the

that

case

proper

has

struggled with

the

smoke

atmosphere is very
of these trees in the various

London

subjectsfor my work.
elm tree is a most splendid
A single
subjectfor

group themselves
many
feature which is without

in

truly the
it

and

derive
great
especially
drawn
and paintedthere for

presence.
stillfind endless

is

local

great hardihood

Gardens

I have

again I

and

is

although the
injuriousto its health, the grandeur,
parks is a feature of extreme beauty.

London

Kensington

Bucks

Beechy

is well known,
of

familiar forest

most

English landscape. With

tree

ash, and how

Buckinghamshire is
In
most
usually met.

county visited,the elm is the tree

Buckinghamshire,however, the beech is the
so

the

unless

the

tree, in fact

165

they

great masses

rival

refer the student

as

far

as

trees

charm

from

many
a

study,and

afford

are

its

years, and
when

landscape

concerned.

Here

to the absolute

necessityof making
pencilstudies continuouslyin order to become familiar not only
of the tree, but also with
with the construction and peculiarities
themselves in a wide wooded
the masses
as they arrange
landscape.
must

If the student

follows

familiar

become

with

then

themselves, he may
obtained

will be of

this scheme, and, after many

the formation
of these trees

colour

qualityand

possiblewithout

been

use

the

with

character

as

they

confidence.
which

preliminaryexercise

would
with

The
not

the

group
result
have

pencil

I advise.

that

consideringthis tree, there is

painterthe study of whose work will
In

the

studies,has

student

than

Peter

de Wint.

water-colour

landscape
be of greater advantage to
This great artist evidentlyhad
no

of elm trees, so very

greatest affection for those masses
the great parks of England. The warm
familiar to all who know
associated with, and contrasted with the
of sunlit foliage,
masses
the very

velvety shadows
Not

form

that

this

scapes.
beauty in many of de Wint's landpainter lacked great qualityin all cases
rare

brought other trees into his works, but the elm seems
to have
provided him with a subject which he always treated
this most
ing
interestand capacity. Whilst I am
with rare ability
on
incident
in
subject,I should like to record an
my working life
which occurred during my
stay at Chipping Campden. During
to make
at this place,a friend of mine asked me
the time I was
a
where

he

STUDY

166

NATURE

FROM

TREES

OF

Worcester,
drawing of Spechley Park, near
it as a small giftfor Mrs. Berkeley,of Spechley.
she wanted
as
I went
to Worcester
early one lovelyAugust morning, and got
to
Spechley in time to do my drawing before lunch, and,
I painted, and
work.
As
in the
afternoon, completed my
small

water-colour

W
XLII

Illus.

got

and

more

detailsof

the

park, I

of the elm
of mine

to

accustomed

more

Mr.

trees, and
and

place was

celebrated

which

been

had

much

was

Mrs.

Elm

making

to

struck

at tea

time

Berkeley.

for the

planted under

Tree

the

with

the

mentioned

From

size and

out

them

beauty

direction

and

the distances
unusual
this

impression

I heard
of the

of John

cence
magnifithat the
elm

trees,

Evelyn

for

STUDY

of

ancestor

an

TREES

OF

the

Second.

FROM

present

NATURE

in

owner

the

16?

reign

Charles

of

the

"w
.

Being
elm

evidently

showed

have

noted

for

from

their

size

it

the

afforded

with

great

and

in

great

full

pictures,
of

this

all

indivdually
as

he

to

give

size

him

is

good
the

at

me

the

were

saw

through

and

districts
both

Spechley,

of

impression
indeed,

fine

very

being

as

fine

pre-eminently

the

way
be

way

trees

England.

general

idea
under

which

he

is

this

consideration.

charming
In

originality.

familiar
has

quite

trees

most

impossible*

become

studied

individually

trees,

much

ever

student

be

can

the

paints

Enough
when

elm

has
the

Treating

and
it

that

landscapes

treated.

results

limitations

forest

subject

do,

in

refer

especially

delightful

convincing
and

work

whose

painters

help,

should

through

wanders

landscape

our

to

as

the
of

and

whose

masses,

from

me

landscape

delight

advantage

differently

work

modern

Muirhead,

saw

were

beautiful.

was

great.

me

David

gave

trees

struck

parks

those

shape,

other

that

that

those

Among

The

elms

much

of

beauty

unique.

was

amongst

to

and

journeys

finest

and

park,
which

growth
My

our

but

trees,

and

owners.

of

many

their

size

the

the

through

the

by

impressed

was

walk

long

by

way

especial

into

of

the

pride

me

size

almost

being

of

great
led

the

for

me

trees

with

upon

England

but

those

me

looked

took

they

trees,

with

pleased

been

particular

for
to

me

the

student

said,
feature

take

to

however,
in

the

CHAPTER

words

FEW

in

order

enable

that

the

way

merely

I do

among

insert

some

if left at

which,

of the
of

note

perfect

class

to

the

fathom

work,

with

work,

own

me

rule

her

such

On

but

working

the

at

and

invariably

breaks

The

of
or

it is in

is to

scheme

proceed

gestion
sug-

strike

by

step

I will

work,

by stage,

to

step
with

an

illustrations,

morning

supposed

was

her

occasions

time

same

my

down
168

adopt

the

and

secrets

of

best

degenerates

to
own

my

and

pursuing

companions

my
as

desire

in

rule

"

intended

materials

and

paints

holding

was

I had

employ

to

allowing
"

out

while

pupil

pupil expressed

my

collect

find

first

mass

of my

accompanying

with

but

to

to

building

some

condition

stage

My

remarks

in Yorkshire.

invited
me.

made

methods

of

from

the

simple

so,

clear.

making
was

during

proceed

to

these

private work,

secret

so

come

This

which

Richmond,

at

devote

watch

lesson

in

then

few

With

these

assist

may

picture.

and

once,

particular trip

This

my

the

of

hope,

at

hills,

still have,

complete

coming

idea.

my

should

be

endeavour

development

the

through

on,

shall

to

interesting forethought

an

possess

I wish

always

fulfillingthis

drawing

time

any

interest

account

so

of

is

it is

working

itself

suggestion

should

and

And

picture.

or

in

skyline

done

when

adopt

complete

it

mind,
this

that

be

that

order

painting

merely

woods,

complete,

manner

to

be

in

usually

interest

If I leave

buildings.

and

begin

of

may

distance

middle

object

This

stages.

practical,

in

described

here

lesson

it

illustration,

be borne

always

chapter

planned

impression

the

should

The

have

coloured

It must

convey

nature

many.

has

ideas.

to

from

whenever

nature

wish

clear.

which

my

simplest plan

the

employ

grasp

not

thoroughly

make

to

painting

one

of

stages, each

this,

commencing

before

object quite

its

student

the

YORKSHIRE

RICHMOND,

necessary

make

to

however,

of

are

successive

in four
to

AT

LESSON

XXIII

to

they may.

into

lesson

LESSON

AT

RICHMOND

169

pure and simple,which, though it interrupts,

compensates
by the pleasureit gives,in impartingpracticalhelp. And

proved
The

morning

the

selected,and

of
expression

assumed

more

lapseof

perfectfor

was

the field I had

that the ferocious

was

so

it

this occasion.

on

reached

me

than

short time

real,we

some

subjectI contemplated; we
after assuringmy companion
in the

cows

settled down

enclosure

same

to work.

After the

stopped to see how my companion fared.

that all was
not going well,and my
fears were
realized ;
and so my
rule not to interrupt
pupil fell to pieces,and the
my
lesson began. My profferedsuggestionsevoked
no
resentment,
I
felt
so
quite happy.
," I said, will you
My dear Miss
a

I feared

"

"

kindlytell me what you

the landscapein front of
showing
but
I

that she

did not

consider
us

"

the most
She

at

appreciatedfullywhat

attractive feature

once

she

answered

ought to

in

correctly,
have

done,

do.

invariably
urge

my

pupilswhen

paintingfrom

always
landscape

nature

minds
that feature of the
registerat once
most
forciblyholds their attention, for such is,in fact, its
soul.
Her particularpoint of view aroused my
interest,and I
in
proceeded to give her practicalsuggestionsas to the manner
I paintingthe subjectshe had selected
which I would proceedwere
the
for her picture. I laid down
series of four stages which
a
drawing must successivelyreach before it could be considered
complete. These stages,or conditions,are arbitrarybut necessary
must
be suggested.
sort of scheme
when
givinga lesson,as some
in their

to

which

I then

drew

attention

to what

I considered

the most

attractive

tellingpoint in the landscape,and proceededto paint it as

I was
particularto make it
directlyas possible. As I worked
using certain colours, my pupil
quite clear that although I was
might consider different ones would achieve a better result,and
possiblyfrom her pointof view this might be so, for the sense of
but values are
colour is different with
arbitrary,
one,
every
and it is upon them that the successful construction of the drawing
chieflyrests.
Beyond anything else in the subjectchosen, it was the beautiful
of castle buildings
mass
skylineof distant hills and the nearer
in Coloured
This is clearlyshown
charmed
that especially
me.
with
Illustration No. I. After gettingthese features registered,
and

all the attention

and

care

picturegraduallyfound

of which
its proper

I had

command,

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the

the rest of the

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LESSON

RICHMOND

AT

171

part doing its allotted duty in helpingto emphasizethe choice of

something that

sought

'

faint hills
in the extreme-distance
I painted with cyanine blue, put on with
full brush of colour and allowed to soak
a
in, never
touchingit a
second
time, but simply
to the first intention for the
make

to

the soul of all. The

trusting

result. As

the

objectsget

colours become
be

must

care

being dealt
too

much

the
buildings,

in the castle

as

certain details may

Great
be added.
however, when middle distance objectsare
and

warmer,

taken,

with

to avoid

forward

and

point that

nearer,

detail,or they will be forced

spoilthe effect of recession,which is a

overmuch

so

be

must

I cannot
too emphatically
constantlykept in mind.
call attention to the necessityfor keeping the distance
lightlytreated, both with regard to value as well as to

very
the details

introduced.

Details

should

reserved

be

for

the

foreground, where the distinct drawing of near

objects cannot
ness
possiblybe overdone, but will tend to add greatlyto the attractiveof the picture.
The

continuation

Illustration No.

point,and

of the lesson is

II, where

the additional

effort is made

every

in the Coloured

clearlyshown

that

is added

work

each

pointby

part of the work

shall

its

completed condition as the picturedevelops. My aim

to avoid
was
any necessityfor washing out, although I pointed
out to my
pupil that this was sometimes
moving
necessary when
from point to point in the buildingup of a drawing from nature,
assume

when

it

evident

was

that

mistake

had

been

made

in value

or

colour.
When

part of
I

it is necessary
to decide on
to work
study,I endeavour

and
painting,

am

smallestpart
It must
of the

be

thereby

am

should

be

pointedout

dealt
that

as

the

the different

earlier stage, and by added

an
parts
force and interest to the whole.

paintingthe

distance, I took

buildingsas
both

in colour

make

to

and

making

greatest care

it is desirable

while

that

the

full of interest

that

be allowed

houses

as

the

get

to

as

from

the chief interest

the

to

go over
additional

generalmasses

of the work.

the

middle

great variety of
be impressedhere,

incident

value, into the picture,such

detract

colour.

the

must

much

of

mass

make

possible.It

the

stages in the growth

details to lend

up
to

subject

and

reached, it is repeatedlynecessary

pictureare

of any

judge correctlyhow

regards value

as

of

In

value

or

the whole

broadly at

able to

with

colour

of

as

possible,

details must

lightand

not

shade

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A
The

LESSON

AT

first conceptionof

that has caused

to the moment

RICHMOND

beautiful

some

to halt must

173

objector

be retained

in nature

scene

in the mind

rightup
of paint is appliedfor its
registration.So now, in this particularinstance,the chief points
that made
that attracted me
the overhanging
up the pfcture
were
of clouds,the far distant hills in the
mass
land beyond
lighted-up
them, the

one

when

warm

and

the sunny
The coloured

the' last brushful

of the town,

mass

the dark

middle-distance

trees

foreground.

which is the third stage on our road,

illustration,
clearlyhow the pictureis developing,and emphasize

will show
the

foregoingremarks.
As my
work
developed,step by step, it

have

described that

which

was

present, and

ever

sought help from

morning proceeded.

the

picture I
production of

was

for the

the

ever-changingmoods of nature as
the
At times the pictureappeared an absolutely
different one,
and then again it changed to its original
condition
of overhanging cloud, shadowed
in the middle
trees
distance and the sunlit foreground. I drew the attention of my
I made
of the point of my brush when
use
pupilto the constant
paintingthe buildingsof the town, and that each touch was put
hard lines were
on
By this means
very wet from a full brush.
This fullness
avoided, and a certain degree of atmosphereadded.
of colour,whether
used when
drawing a line with the brush or in
the shadowed
to
cloud mass,
the blot
again calls attention
method
when
applying paint to paper.
and
I then explainedthe terms
complement
paintingin,"
illustrations.
The
white
and
sky immediately
practical
gave
under and adjacentto the dark cloud is
complemented
by the
and the white cow
lighthouses and again by the lighttree-stems
"

"

"

"

"

"

foreground. These

in the
I had

and
of

them
I

mind

stored in my

indulgedin

complement,

features
and

licence.

some

series of

"

had

they were

I drew

darks

not

"

"

introduced, but
coming in good time,

been

attention

in various

to another

point

ing.
parts of the draw-

speak,in the distant dark

period to the left of the .castle buildings,on the tower and trees
trees and the
the right,the dark parts of the middle-distance
on
Such pointsas these are a "greathelp in producing a
black cow.
twinkling interest in the picture,and avoidingwhat Constable
The

dark

cloud

is

so
repeated,

to

"

"

calls "flatness"
I

now

in

painting.

great beauty a blot of colour possesses as

built up by much
the tame
effect,laboriously

referred to the

compared

with

S
te

**

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LESSON

AT

RICHMOND

175

In several cases
where ^1
layersof washes.
had put on a good heavy blot of colour,
to the left of
especially
the castle and justbelow the left dark blue spot,it formed
a kind
of texture
showing very faintlythose colours of which it,was
composed. The result produced by such a separationof the
colours as they dry is often very beautiful and productiveof much
atmosphere.
A change in the colours of the landscapehad interruptedfor a
time the scheme
I had picturedin my mind, but at this point in
the lesson Nature
resumed
her original
able
and I was
expression,
to carry
on
preconceivedplan ; a passingheavy cloud cast
my
its strong shadow
the line of foliageand ground to the left of
on
with the
the castle and on the distant righthand part of the town
the
faint
Particular attention should be paid to
square tower.
warmth
lightingup of the middle-distance trees by the interesting
of their upper part, and when
they fade away into the left-hand
of the picture. This effect, is obtained
corner
by mixing burnt
sienna,yellow ochre or raw sienna with the dark or colder colours
of trees had been
the lower portion of this mass
with which
painted. Attention should also be paid to the brightgreen period

scrubbing and

many

between
the trees as seen
beneath
appears
with transparent green oxide
colour is made

which
This

their

trunks.

of chromium

yellow ochre to give it sunny brightness.These brightspots

the
are
a
great help in giving incident to a drawing, and cause
to speak.
so
whole pictureto scintillate;
how
I showed
deadly dull, flat and uninterestinga picture
lacked
which
diversityof incident, both in value and colour,
must
surely be ; that nothing is so productiveof flatness as
I impressed
dear to many.
so
washing and scrubbing out, a method
on
pupilthe necessityof unremittingapplicationto
my
drawing which tends so much to eliminate flatness. I pointedout
the knees,
to rest flat on
the advantage of allowing the board
the
instead of perchingit on an easel,for by the latter method
and

colours

intended
was

to

using

occurred

wet,

oxide
so

colour

that
was

sink.

were

away

showed

obtained

"

from

those

parts into which

how

her

certain

one,
particularly

colours

they

are

which

grey-green,

which

comparativelylight
the upper part of the trees, and was
got by mixing
on
used very
with ivory-black.This was
of chromium
Another
interesting
when dry it had a good bloom."
of lightred and naplesyellow,admirable
a mixture

in the

periodcame
green

and

down

run

dark

tree

where

masses

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A
for

LESSON

AT

RICHMOND

177

sunlighteffect on red brick houses. It frequently

happens
that as the work approachescompletion
and allows of a somewhat
comprehensivesurvey of the generaleffect of the work to be taken,
certain parts requirestrengthening
and emphasizing.So it was
a

with the work

was

engaged on

the

sunlightwas

now

and the herd of cows

mentioned
satisfaction,
my
wandered
exactlyto the positionI wished.
It will be

seen

admirably the sunlighton

value

interest to the dark

group of cows
and to givea

above

had

in the fourth and last coloured illustration of this

series how
and

quiteto

the

foregroundhelpsto give

trees in the middle

distance.

The

also tends to make

the dark trees appear stilldarker,

pointof brightinterest to the whole picture-

This

also very necessary as affording

a point
group of life was
of strengthin the foreground.The colours I used in painting
the
animals

were

lightand

indian red, burnt

This

sienna,and ivory-black.

care
part of my work, simpleas it may seem, called for more
than the previousstages. The colours I used on the near
part of
those I had previouslyemployed. In painting
the picturewere
of sunlightthe greatestcare must
the light
be
tones in the mass
taken not to produce any overstrengthof colour, otherwise the
attempt to produce,sunlightwill surelysuffer.
instruction,
Thus ended a happy day
my pupilhappy in receiving
and I in impartingit.
"

XXIV

CHAPTER

PAINTERS

WATER-COLOUR

making
INthose
whose
in

no

school

particular

all the

and

more

had

laboured

it.

The

others

in the

In

Gallery.
Turner's
"

had

"

particular

mentioned

Having
others

for

whom

I have

help

I have

study,

for

my

own

Method
to

manner

my

with

I have
desire

efforts.

I say

looked

When

Henderson

form

these,

Liber

was
was

itself

those
steel

My

lection
predi-

work

of

favourites,

neglected.
elegant

very

engravers

who

feelings in

ihis

the

by

one

it must

and

not

admiration
of

work

sought

help

continual

bis

embody
and

the

of

study

for

and
I

at

otherwise.

I will take

what

by

housed
had

all

at

were

earliest

try

any

those

were

great

works.

out

found

than

and

my

the

who

Hill, Hindhead,"

towards

for

pleasure

from

Gibbet

series

studied,

to

more

those

and

always

been

than

my

they

Studiorum,
"

similar

sought

from

bequest,

enough,

encouragement,

studied.
not

of others.

and

help

to

sense

earlier

done

this,

any

is

own

I became

enthusiasm

rather

increased

have

my

my

in this

Italy and

Rogers'

It

invariably

always

were

in

As

for

in

great

discuss.

strong drawing

very
which

poems

illustrated

that

any

"

others

the

taken

studies.

my

is it meant

Abbey,"

have

in

have

satisfaction

the

Kirkstall

of the

none

of

I studied

for

Castle,"

list

sought

Curiously

work

The

Norham

never

when

days

the

my

to

Wints

nature.

little

past, and

the

de

me

to

work,

awoke

although
I

in my

which

for

and

chosen

PRESENT

painters,
to

Neither

drawings
were

"

complete

I have

in the

help

labour.

of
men

National

like

been

as

AND

water-colour

of

has

interested

Turner.
the

work

intended

way

include

selection

PAST

to

of

work

all those

one

be

concluded

at

thousands

particular man
in

method

leaving

obtain,

devoted

my

study

of

nature.
Paul

work

Sandby
should

be

is

an

known

early
to

of water-eolour

master

all those

178

who

seek

for

drawing,
knowledge

whose
in the

ILLUSTRATION

XLVII

Thomas

Gietin

1775-1802

KIRKSTALL

Victoria

ABBEY

and

Albert

Museum

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ILLUSTRATION

XLVIII

Antony

Thomas

Devis

1729-1817

LANDSCAPE,

AND

CHURCH

Victoria

and

Albert

Museum

CATTLE

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XLIX

ILLUSTRATION

Paul

Sandby,

a.

a.

1725-1809

ETON

WINDSOR

AND

COLLEGE

FIELDS

PLAYING

'

Victoria

FROM

and

Albert

Museum

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WATER-COLOUR
Art

PAINTERS

he

practisedso
gathered from

been

well.

What

PAST
I know

"

PRESENT

of his work

has

185

chiefly

the

at the
examples in the Print Room
from privatecollections. His drawings are
in second-hand
shops
bookup out of old portfolios
such like places. I bought a very charming study by
for seven
and sixpence,
and doubtless
shillings
many

British Museum
and
stillto be picked
and

him

once

more

are

The

here and

there hidden

great charm

away

in odd

corners.

Sandby's work is his masterlysense of

with a great delicacyof workmanship.

of Paul

composition, combined
only has he a rare refinement in his line,but in addition
keen appreciation,^values.
The illustrations I have selected
this artist are given to show his mastery of detail.
Not

as
jP[Search

of

who
lived
amongst the work of those men
duringthe greaterpart of the eighteenthcentury, and it will be a
one

difficult matter

may

drawings will safely

of this trulygreat artist. While practising
hang in the company
the greatestrestraint in the use of colpur,
which he systematically
limited to a mere
tint,yet the results he achieved were1 truly
Castle,
masterly. I have in my mind a tiny drawing of Windsor
r
friend
The
to
at
a
belonging
Shrewsbury.
astonishinglyefined
pencilwork with which he sought to givebackbone to the drawing
is of rare
ground
beauty. The value tones of sky, distance,and foreare
simple transparent washes of blue (some sort of
Prussian,I think),ivory-black,burnt sienna, and yellow ochre.
A very limited palettetruly,and yet the trulymarvellous
effect
obtained
of
from the use of such produced on the mind
a feeling
entire satisfaction. The
drawing is quite small, probably
9 in. by .6 in.,and
yet the feelingon the mind is as if a great
being looked at : it is indeed a masterpiece,and
paintingwere
was
appeared by which the wonder
yet how slightthe means
achieved.
All indeed, with the exception
of the mind that fathered
to

find

even

very few

whose

it.
It is the

same

with

this master's

when
drawings of buildings,

ing
apparentlydone for the service of engravers workThe beauty of the drawing,
works.
for some
topographical
the rare manner
by which be conveys the appearance of crumbling
stonework, the construction made evident by the most reserved
of delicate shadows, all is done with a profound knowledge
use
of his art, which producesabsolute contentment.
When
lookingat the works of moderate size by Sandby, I have
often wondered
why he ever laboured at the largerand cbmparaseen

near,

and

WATER-COLOUR

186

PAST

PAINTERS
The

tivelyuninterestingcompositions.
demanded

such works, and

the artist had

"

PRESENT

is,the public

reflection
to

comply.

When

drawings of Sandby, I have been much struck

beauty of the figuregroups he introduced into
great judgment with which they are placed.

with the

at the

delicate
and

the

Girtin is the next

Thomas

have studied

great

man

of the

ing
look-

his

past whose

work,

work

pleasure. It is a marvellous thing

that this artist accomplished in his short life so much
work.
A
of his drawings are at the British Museum, showing
largenumber
the wide range of his labours.
In the drawings which
he made
for a panorama
of London, his extraordinaryfacility
in the use
of the pen is seen
to great advantage. Other
picturesare here
which show how trulygreat was
his poeticalappreciation
of
seen
the beauties of nature.
Although his drawings are very often of
to get into the smallest space subjects
size,he yet manages
trifling
which might be painted as gallerypictures.
I have often wondered
with many
of
why Girtin,in common
the old water-colourists,
indulgedin paintingsuch huge pictures.
Take, for instance,the
Bridgnorth drawing in the Print Room.
Can there be any doubt that this picturewould have been far more
forcible,and certainlyinfinitely
more
charming, had it been
reduced scale ? It seems
done on a much
scarcelycredible that a
of such judgment in matters
of Art as Girtin could have
man
And yet, for what
sought to compete with the premier medium.
with

zeal and

"

other

could

reason

"

Girtin, de Wint, Turner,

Cotman

or

have

did produce ? I do
painted the huge thingsthey sometimes
it seems
think anything is gainedby such efforts,
and certainly
that

me

much

is lost in the way

Girtin did not

for one,

am

very

do much

of concentration

work

on

this

not
to

ever,
of effect. How-

big scale

"

for which

I,

thankful.

examples here given of Girtin's work are but a meagre

of drawing attention to his genius. Very beautiful as each
means
work
is without
doubt, they must
only be taken as a suggestion
beautiful
to the student to make
further investigation.
However
The

drawings of buildingswere, it is in his works where he

deals with the theme
of the open landscapethat his geniusreaches
its highest flight. In the
White
House
he proved himself
to be one
of our greatest landscapepainters,
and worthy the unstinted
praisewhich Turner is said to have bestowed upon it.
Girtin's

"

One

"

of the greatest advantages I have found in well knowing the

work of the great men
of the past has been the enthusiasm it has

ILLUSTRATION

P.

Wilson

BRIDGNORTH

Steer

vsag.s

ILLUSTRATION

LI

Thomas

Gietin

1775-1802

RIEVAULX

YORKSHIRE

ABBEY,

Victoria

and

Albert

Museum

pa

"!

en

ILLUSTRATION

LII

Robert

John

Cozens

1752-1799

VIEW

IN

Victoria

ISLAND

THE

and

Albert

OF

Museum

ELBA

O
xn

s
H
ft

S5

O
t-H

"

CD

Si

WATER-COLOUR
awakened
condition
It is
and

in

PAINTERS
for labour.

me

PAST

Toil

"

PRESENT

to have

seems

193

been to them

in.
they delighted

^wonder

no

the work

that the fruits of their lives

To
plentiful.

so

that their art

then
their

was

or

considerations.

in

learningthis

there

me

all,undisturbed

I cannot

be too

lesson of devotion

were

scheme

and that he
effects,

fine

very littledoubt
few other distractions

seems

by

emphaticin pointingout
the student is

that

acquiringmuch

that will be of great value to him in his work.

In many
drawings it will be seen that he was breaking away

simpletinted

so

of Girtin's
from

the

which his predecessors

laboured for their

on

which culminated
assuming real painting,
in the works
of John
Varley, Turner, de Wint, and the later
There was, however, in his paintingsa great
water-colour men.
in the size of his palette,
and always a seekingto produce
reserve
his effects by very simple means.
It was
quiteearlyin my labours that I felt very impressedwith
the qualityof Peter de Wint's work, and the advantage to be
the texture of this
gained by a close study of it. It was chiefly
master's

colour

was

which

awoke

questionthe intimate

to

claim

to

againto

have

way

I should not like

my enthusiasm.
others have scrutinized his work, or

exceeded

it. I have, however, returned again and

of de Wint's work, and each,time I am
more

the

study
impressedwith the extraordinary
beauty of his colour.
If possiblehis best work
should be looked at, and the rest for
of study left alone.
In the labour of such a genius,
purposes
and

more

all his work

is in

way
It is when

highestnote.

reached.

are

felt that

he

excellent,but much does not strike the

he is spontaneous that his best achievements

was

In his

doing

more

much

laborious

that went

efforts I have

againsthis

always
and
feelings

convictions.
Peter de Wint
his
his
than

who

evidentlywas intent upon making

work remunerative, and having this end in view he allowed
to suffer. If the painteraims at any other object
paintings
the very

was

man

simpleand

distinct

one

of

himself,he
pleasing

is

beginningto tread a bad road. It is very sad to think that the

to
sale of a picturehas to be refused,because it is not possible
this
detail into it." But the artist must
on
put rather more
of his reputation
pointbe firm if he is intendingto think more
than the sale of his productions.In writingabout the help I
"

have

found

in the work

pictureswhich
N

have

of de Wint, I think it best to refer to those

chief joy. Certainlya foremost
been my

WATER-COLOUR

194

place is occupied in my
the possessionof Mrs.
Victoria

and

mind

by

"

PAST

PAINTERS

of Gloucester in

largeview

the

PRESENT

Tatlock, at the time of writing in the

South Kensington. It is masterly
Museum,

Albert

composition,as well as evidencingin all its parts the greatest

I think it is justthe perfection
of a waterbeauty of execution.
colour painting,and worthy of continual study.
Also at Kensington, but this time in the Henderson
Bequest,
The High Bridge,Lincoln," which
is
is of its kind a fine thing,
Nowhere
be so well seen
the
can
being full of life and emotion.
first intention
undisturbed.
There
advantage of leavingthe
is in this picture a great robustness
of handling, which is an
attraction entirely
absent in those works where detail and elaboration
are
sought. Another
picturein the same
very interesting
in

"

"

collection is that which

clouds

heavy

and

another

are

Although

of

favourite

of mine.

is called

shadowed

example

"

road

"

Road

are

brilliant

of the attractiveness

this
great simplicity,

in Yorkshire."

of

picturehas

The

beyond words,

and

spontaneous work.

always been

great

when

fortunate

paintingin the neighbourhood of

Ludlow, Shropshire,to have an opportunity of seeingthe very
fine lot of de Wints
at Oakley Park.
Several of the paintingsin
this collection are
reproduced in the beautiful little work on
de Wint
Sir
Walter
by
Armstrong. All lovers of water-colour
work should, I think, possess this book, as it gives,
such a lively
very

was

idea in

small

not

think

of this great man's

achievements.
I do
compass
there should be much
in gainingadmission
to
difficulty

see

these

pictures,but

The

"

Harlech

of those

Park

is not

"

show

house."

Castle,"at the Victoria and Albert Museum,

emotional

beautiful

Oakley

pictureswhere

story told in few words.

all is

seen

at

is one

glance,and

its

always feel that in this work

the artist was
completelyin love with his subject,and laboured
at high pressure.
This is quite a type which is repeatedlyfound
the range of work studied becomes
as
largerand more
complete.
of de Wint's
Interestingand full of merit as many
building
picturesare, I do not advise the student to seek for helpfrom them
in this direction.
It is far better to consult the drawings of
J. S. Cotman

and

in architecture
When
should

Thomas

which

studying the
be

borne

painted. The

Girtin.

Both

these

men

have

mastery

is

quite apart, and perfect.

works
of the early water-colour

in mind

tone of age

the

number

which

is of

of years

men

it

they have been

exquisitebeauty should

ILLUSTRATION

LIII

Peter

Wint
de

1784-1849

CONISBORO'

CASTLE

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S

ILLUSTRATION

LIV

Peter

Wint
de

1784-1849

ROAD

IN

National

YORKSHIRE

Gallery

4)

05

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"

ILLUSTRATION

LV

Wint

Peter
de

1784-1849

CASTLE

KNARESBOROUGH

National

Gallery

"

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WATER-COLOUR
be

never

copied,but

student

who
the

master

PAINTERS

PAST

rather it should

PRESENT

201

be

The
studiouslyavoided.
exactly,instead of trying to

is inclined to

on
principles

"

which

copy
the old

self
worked, will find himinvolved in many
difficulties. For instance,in most
of the
heavy skies paintedby the earlymen, the blues have fled,leaving
men

in many
a

instances only the reds they were

instance of this sort
highlyinteresting

Copley Fieldingin
great storm-cloud
the

faded

cityof

colours

Wallace
have

might
Dis.

gloating
over

in

the

mixed
in

been

In this

the lurid

I firstfound

very young
of the earlymen,

the work

is

by

picturethe

which
intensity

when

was

There

large seascape

Collection.

with.

hung
over-

delight

and

the worry these

Of course
I knew

quite pathetic.
to the many
colours,neither had I access
fleeting
littlemanuals
the subjectof trustworthypigments.
on
in which
always struck me as remarkable is the manner
gave

me

was

nothing about
admirable
What

has

the dark

blues of Peter

de Wint

have

lasted.

I believe he used

specialindigoof

his own, which must have been a very fine colour,

wonderfulgreens.
and doubtless helpedin the making of his many
In reviewing what I know
of de Wint's work, it appears to me
that he

delightedin

the soft neutral tone

bright spots of high

brilliant and

most

the

use

of white

with the paper

value to appear.

paper, and sought to supply

only left where he wanted his
This

convincing effect

to

method

of his

givesa
Curiously

his works.

to me
enough, it has been remarked
by Wilson Steer that in his
opinion a water colour should always be painted on white paper ;
I give this authority as that of the greatest of our
landscape
paintersof the present time, whether as a painterin oil or watercolour.
I am
a
great believer in authority,and here I give an

opinionwhich
The

past

looked

to

friend I found

next

John

was

is second

very

best

of his

most

unequal,and

me

support of

the

finest work

evident that it

very

own.

my

amongst the water-colour

When

Varley.

at, it is to

in

none

must

It is true

contemporaries.

of this artist is

be ranked
that

be attributed

to this fact may

^men of the
with the

his work

the

was

of his

reason

occupying a post of greater distinction. Many of his later

drawings are very conventional, being obviously painted for

not

I often wonder

Exhibitions.
Art

by

this

ill effect on
It

seems

how

herding togetherin
the work

to have

the

injuryhas

for exhibition to strive to

men

been

done

shows.
great periodical

be very
the desire of artists when

of certain

been

much

can

to

The

clearlytraced.

preparingwork

produce a thing of obvious

labour

with

"

PAST

PAINTERS

WATER-COLOUR

202

PRESENT

impressthe public. With this objectin view, the rapidly

executed and spontaneous effort was
put on one side as unworthy,
thus leaving to posteritythe task of findingin these cast-offs
of
a picture
Holy
great works of art. I have in my possession
and
1810.
dated
An
Island Castle," by John
Varley, signed
apparent replicaof this drawing, evidentlydone in the studio,
If these
signedand dated 1811, is in one of the publicmuseums.
two
drawings are compared, it is very evident that the earlier
doubt
which
no
was
painted out of doors, is the great
one,
done at a later time
work, and that the carefullylaboured one
I do not think Varley himself doubled
falls far below it in merit.
the buyer whose ignohis work, but he had to think of satisfying
rance
finish and exactness
of manipulation.
the spoiling
demanded
which

to

"

I think

and
grief,

to

come

be told of this rock upon which he may

be prepared to face it. Many of the works of

should

the student

so

extraordinarydecorative
in the furnishingof a
them
very welcome
in his
of method, especially
exactness
an
Varley

have

an

should not

certain attractiveness,but

quality,which makes
room.
They also have
later period,which has
imitated.

be

This

artist

of being the firstman

to paintin water-colours,
reputation
hence
he is called by some
distinct from
his predecessors,
father of water-colour
painting.

has the
as

the

I think

I have

described

already the
paintingin the

difference

between

when

ever,
Howmedium.
same
drawing and a
in appropriately
I will do so again,as such a reference comes
dealingwith the work of Varley. A water-colour drawing

is an

outlined

water-colour

in pen or penciluvwhich
the local colours are
in. On the other hand, a water-colour
painting

work

faintlywashed
is produced in the method
in
from the lightmasses

oils,
being paintedwith

tones

varying

through the different

reached, where the
is capable is used.

the sunny passages

until the deep shadows
are

stages of tone

richestcolour of which
The

of

the medium

great point of variance

between

oil and

water-colour

work

is,that in the former the shadows are executed in thin transparent

colour,and the lightsin thick solid paint,whilst the latter method
is exactlythe

worked, but
I will not
to

whether

venture

abouf

Now
he

to say.

alter their method

somewhere
of

reverse.

1790.

this

the

was

It

about

was

undoubtedly the way

first to paint in water
to

seems

the

After

paintingin water-colours,I

same

me

that several

time,

thinkingmuch
have

come

which

was,

about

to the

men

the

Varley
colours

began
roughly,
manner

conclusion that

ILLUSTRATION

LVI

Richard

Junb.

Cooper,

1740-1814

LANDSCAPE-

ROCKY

Victoria

and

Albert

Museum

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ILLUSTRATION

LVII

John

Varley

1778-1842

MOEL

DOWN

LOOKING

HEBOG,

Victoria

EMRYS

DINAS

NEAR

FROM

and

Albert

THE

Museum

VALE

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LVIII

ILLUSTRATION

Vabley

John

1778-1842

LAKE

SCENE

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WATER-COLOUR

it

is

where

art

an

medium

The

PAINTERS

quite

is

size.

the

last

have

His

bought

drawings

for

sixpence

was

have

taken

acquired

as

but

limited,

country

of

examples
I

widely,

of

one

by
his
as

think

public

and

contemporaries
.

the

been

finest

produced

will

be

how

seen

have

and

that

his

They
often

are

more

old

portfolios

that

works

have

in

seen-

than

are

the
those

is

here

than

either

his

production
been

not

doubtless

are

for

difficulty

study

heard

be

pair

which

greater
to

never

of

scene

found

sions.
dimen-

frequently

can

purchase
lake

work

moderate

to

my
The

institutions.

in

take

it

work

think

helps.
rather

pictures

dealers

master's

my

beyond

carry

have

interesting,

these.
this

his

record.

cannot

and

restricted.

be

assertion,

years,

kept

price.

established
is

this

209

size.

always

are

low

very

each

reproduced

those

Varley

it

which

fifty

limited

should

that

of

PRESENT

"

work

drawings
and

part

the

proof

or

outside

most

of

beautiful,
a

hundred

been
the

getting

As

paintings

during

For

size

delicately

so

limited

water-colour

few

the

PAST

in
of

much

scattered

hands
of

of

any

small
of

his

CHAPTER

WATER-COLOUR

XXV

PAST

PAINTERS

Constable

John
back
ON havelooking
derived
John

Constable

which

he

studied

charming
largest
at

the

the

great

is

size.

The

Victoria

His

tree
as

thought

his

water-colour

his

whole

for

his

all.

whom

for

His

artist

of

to

should

style,

he

evolves
He

his

was

horse

and

light

have

as

without

thus

taken

would

and

of

out

choice

look

end

alone

is

I do

style.
as

safer

no

model,

that

had

and
of his

individual

any

model

It

choice.

my

lines

of

self,
him-

Constable

I selected

been

find

to

that

than

confusion

apparent

taneous
spon-

it is very

save

from

man

but

and

charming

by

say

have

certainly
an

not

and

pleased

different

remarkably

there

be

for

always

squarely

ended

he

works

I have

carefully,

to

was

the

invaluable,

masterly

work

to

is
of

to

small

energy.

them

at

increase

are

most

was

draughtsman,
subjects.

All

sunshine
is

is

his

endless

delight

force

is

paint

and

Every

they

are

and

whole

unique

should

of

well

as

thing

advantage

student
a

as

subtle

most

in
be

expression

his

balance

just

is

amazing.

familiar
of the

great

I
and

them,

with
way

of

power

in

these

in

of

pencil drawing

evidence

line

of the

being

as

little

strong

exactly right, in
The

drawings.

well

as

I think

shade.

doubt

the

nation

treasure-house

perfect

untiring

in

collection

and

studies

the
a

for

I find

idea.

in

cart

found

beautiful

one's

of

composition.
of

yet

master

selection

his

as

is

are

manner

which

in themselves

you

found

how

is

effort

work

Constable

marvellous

Museum

that

and

be

his

to

The

place.

whom

work,

their

suitable

feelings. Nobody

working

of

notebooks
are

from

men

in-work

drawings

When

contemporaries,
upon

well

exist.

that

high

His

studies

the

study

evidenced

of.

Albert

of

very

devoted

genius

that

of which

room

his

convincing

the

many

evidence

and

help by

clearly

and

student.

expression

note

possessed

pictures,

apparent

taking

occupying

fortunately

so

and

PRESENT

AND

great

WATER-COLOUR

PAINTERS

PAST

worked

man

in the perfecting
of himself.
the keenest of joys and the most

Constable
have

always

and

felt refreshed

after

PRESENT

"

211

Obviously,toil was
loving of

this
-visiting

better able to face the difficultiesof my

labours.

choice

work.

to

collection,

In the

use

of

the

pencilfew have shown such complete mastery. If ever a man

paintedin pencilit was Constable,and trulychoice paintings
they
I have found this painter's
water-colours
were.
scattered about
England, and turning up in the most unaccountable
places. Of
his oil paintings
I can
say nothing here, except that from personal
water-colour work
experienceI have found much help in my own
from studying them.
In all Constable's work
there is so much
colour incident,which givesto it an utter freedom from
flatness."
I believe this term was
his own, and it certainly
is a most happy one.
A picturepaintedflatly
is one lackingin sparkleand a constant
twinkle of colour incident.
In making his works
scintillate with
colour in sunlightas well as shadow, he never
for a moment
loses
and never
weakens
his breadth
of
sight^ofthe cardinal masses
This principle
of spaciousmasses
of lightand shadow
treatment.
is seen
in his great landscapes,and is equally apparent in the
with its drawing three inches by four.
I so
page of a notebook
fullyrealize the importance of this point in pictureconstruction
too
that I cannot
forciblyor too frequentlyimpress it on the
"

However, the great

student.

appealto

one

at first sightby the

shadow.

and

Therefore

constantlybent, as
have nothing but the

will

character

the

Cotman

distinction the work

of this

achieved.

placedhim high in
a

of

ing
light-

let your
such devotion

from

labours,and

your

painter,he

His

work

great artist comes

he laboured.

It is

considered,to see
as

etcher

an

alone

the list of British artists. But

it is considered
and

on

Sell

with whom
any of those great men
the difficultiesof his life are
when
he

their scheme

its

also.

pointof

record

their works

shrine of Constable

best influence

John
In

at

brevityof

detail

the benefit derived

be

knee

loved

masters

how

must

great he
be

both

was

conceded

as

before

astonishing,
splendid

the

would

have

tion,
when, in addiwater-colourist

unique positionindeed.

admiration for the work of Cotman, I must

is my
warn
be
labours
must
pursued warily.
the student that the study of his
but at
Not that he is ever
faultyin his compositionor drawing,'
Great

one

as

periodof

his lifehis colour

gets very violent and overstrained.

His

of

use

what

with

and

brightblues
his

colours,make

drawings of

fortunatelyfor the

Very

representedin
Britain.

as
orange-yellows,

be described

may

of

most

Students

PAST

PAINTERS

WATER-COLOUR

212

can

his normal

as

well

quiteharsh

this time

other crude

as

when

compared

style.

of Art, the work

lovers

PRESENT

"

of Cotman

is

great public collections of Great

the

therefore

drawings with comparativeease.

his

help by studying his

Naturally,the greater number

seek

drawings and paintingshave found their way to London,

the Victoria
of the British Museum
or
and are in the safe-keeping
Those in the possessionof Mr. Colman
of
and Albert Museum.
if possible.I will
of rare value, and should be seen
Norwich
are
either of those drawings which have
not attempt to particularize
tion
afforded me
specialpleasure. My objectis rather to draw attenshines.
It is when
Cotman
to the class of drawing in which
he seeks to get his story told by direct methods, and in limpid
transparent washes, that he is at his best, and is,without question,
of water-colour
the greatestmaster
painting.
I
students
who
in their wanderings
Incidentally, must warn
counties, may
through England, and especiallyin the eastern
which
The system upon
he
come
across
drawings by Cotman.
It
Cotman's
was
plan to
taught may not be generallyknown.
lend his drawings to pupilswho, having copied them, were
given

of his

lesson

on

thousand

their

effort.

of Cotman's

this way
many
of which
many

clever
no

At

time

one

water-colour

copiesgot

doubt

there

drawings
scattered

about

touches
finishing
if such a drawing got

had

about

were

in circulation.
the

by

two

In

country,

the

master.

into the hands of

easilyconceivable that
man's
an
unscrupulousperson, it would be but a short step to add Cotand if
signature. I feel sure this fraud has been practised,
the name
so forgedseventy or
was
eightyyears since,it would now
of genius,Cotman
Like so many
have quitea genuine look.
men
had but little recognitionduring his life. His restrained colour
and simplecompositionfound no favour in the eyes of the general
public,who in his days, as now, preferredthe vulgar and noisy.
I do not generallyadvise the copying of water-colour paintings
If, however, I made
by students.
any exceptionto this rule, it
It is

would

certainlybe

caricatures

which

in favour

have

been

of this

great artist. The

ridiculous

of Turner's works
constantlymade
cannot
But in copyby
severelycondemned.
ing
there
is
technical
a
Cotman,
simplicityin his work which
be
might possibly
although with extreme
overcome,
difficulty.
his admirers

be too

LIX

ILLUSTRATION

John

Sell

Cotman

1782-1842

THE

BAGGAGE

WAGGON

LIX

ILLUSTRATION
The

brilliancyof

THE
The

student

from

this

cases

must

the

very
he

painter, as

laboured

written

effect

from

arises

and

in

Cotman's

directness

is

theatrical.

masterly productions

most

of

method

his

carefully differentiate
is not
always direct

rather
there

Waggon

Baggage

when
but

Cotman

of

work.

seeking help

in very
has
been

many
much

difficultyin finding good critical

opinions oh his paintings. My greatest pleasure is in those works
he did in the earlier part of his life ; those he accomplished later on,
with
their bright blues and
do not
at all.
appeal to me
oranges,
In this picture everything seems
good. The charmingly managed
and waggon,
all help
trees, thestriking foreground with horseman
in their several parts to make
should
up a charming picture. Note
be taken
of the beauty of the left-hand
tree, and the effect produced
the
and
branches
show
stems
as
by
light
they
up against
the dark
of
the
also
the
in
to
manner
background
foliage
right ;
which
the dark
period runs
through the picture from the bottom
it culminates
dark part
in the upper
right-hand corner
up to where
tree.
of the round-headed
Nothing is left to chance, but rather
the most
shows
careful planning in order
that the effect arrived
should
be attained.
The
at
drawing of the cart and figure is
them
are
managed
on
perfect in its simplicity,and the shadows
I
oughly
thorwith
deftness.
do
know
not
a
a
drawing more
masterly
Cotman
than
this is, nor
in which
his gentle mood
one
be
felt if the
is so
well expressed. No
discouragement should
about,

so

"

no

"

student

after

great

achievement.

many

efforts
Of

the

fails to
many

get such

an

water-colourists

effect, as
who

have

it is

done

accomplished such simple beauty in their

work
Cotman.
as
Right in his conception, this artist in bis
happiest drawings carried his plan straight through to the end.
Of course,
I am
in which
it was
possible
speaking of those works
for Cotman
to begin and
finish a picture without
even
so
tripping
I speak
often
but
be made,
or
over-painting. Attempts may
after long experience when
I
say that the best results are seldom
attained.
is the artist who
reaches
and
Happy
again to a
now
is his reward.
even
point where
partial satisfaction
great things, few

have

Illus.

Hon

L1X

The

Baggage

Waggon,

by

John

puhlished

Sell

ly the Autotype

Cotman

Co.

WATER-COLOUR
There

is

PAINTERS

chance

PAST

"

PRESENT

215

but not the

copyingthe great Norwich man
of imitating
the subtleties of Turner.
slightest
It is better, however, to leave copying alone, but rather, by
patient study, to try and unravel the principleson which each
worked.
I stillponder when lookingat a Cotman
particularman
of his sunshine, as well as on the depth
drawing on the brilliancy
and transparency of his shadows.
Emotion
is the springfrom
which

flows

endeavour.

of

Cotman's
His

his otherwise

labours

anxious

it is the

work, and

purest

of art

source

love, and much

gladdened
life. I have often felt,as I studied Cotman's
were

those

of

the

work,

influence of his pure effort truthfully

to express
inspiring
feeling. It is so very obviously free from all that falseness
which has caused some
to strive to pleaseothers rather than
men
themselves
alone. Reputation is a charming reward to gain. But
the only lastingcredit is that which is based on the sincere effort
to work
in accordance
with the dictates of the emotions.
faithfully
did.
Cotman
And
in "his finest efforts this is undoubtedly what
and yet seldom
Few men
have met with such a scanty recognition
has honour been so fullydeserved.
his

Fbancia

not

century water-colourist has apparently

early nineteenth

This

left behind

him

much

Yet

he did.

of the work

evidence

what

of composition.
paintedis strong and full of a fine appreciation
His colour is,
rich,and when his work is seen at its best it may well
claim a prominent placeamongst the best of those who composed
the school of early water-colour
painters. I have found great
help from the few examples of his work that I know, and advise
studied when
opportunities
that his picturesshould be carefully
is certainlya most
Francia
accomplished
for doing so,
occur
should
be known.
work
craftsman, and for this qualityalone his
he

In

way

as

days
number

must

any

of his forerunners

Bonington

painterof

incident.

at to believe

is looked

as

Parkes

Richard
of detail and

emotional

Bonington

Parkes

Richard

have

of works

been
which

stands

out

as

"unceasing,in

raries,
contempo-

rare

when

It is wonderful

in the shortness

or

of his life. The

order

to

account

stand to the credit of his

executant

his work
toil of his
for the

genius.

PRESENT

"

great brilliancyof his techniquegivesto his work

The

qualityof

oil paintingthan that of water-colour.

an

in

him

near

comes

Collection

it

when

Peter de Wint

but
strongest paintings,

It is many
years since I first saw
those
in the
believe they were
Bethnal

at the

housed

was

the

more

Boning-

so.

paintings. I

ton's

of his best and

some

does

he seldom

even

PAST

PAINTERS

WATER-COLOUR

216

Green

Wallace

Museum

in

Nothing amongst the masterpiecesthere collected together

that I Was
be remembered
greater joy. It must
very
gave me
water-colour
work
wherever
out
for
it
keenly
young, and looked
A rare
to be seen.
was
feelingfor a bouquet of colour always
whether he painted
to have stirred Bonington'simagination,
seems
I find also,in studying his work, an
in oil or water-colours.
of his landscapes,
extraordinaryrefinement of feelingin many
which has been of the greatesthelp.
1872.

Prout

Samuel
is

This artist's work

to

the

for

student

as

study

conventional

rule far too

without

of

note

to be held up

warning being first

of the reed pen, whilst full of charm, is apt to

is exercised.
The strong outline
lead astray, unless much
reserve
His

sounded.

obtained

by

use

this reed

process

always

lacks the sensitiveness

painting. The force of his shadows is too

brutallysimple,althoughwithout doubt most effective. It is this
which the student is likely
very forcingof sunlightand shadow
to find attractive and
good to imitate. I have found much in
Prout's work
to
and
in years
help me,
by have even
gone

which

should

ventured

on

exist in

pen

the

reed

short-lived,and

pen
I remained

drawings which

he

trick.

His

influence

contented

produced

with

without

the

the

help

however,

was,

study

of those

of his favourite

convention.
His

figuregroups

are

in
interesting

that

with

way,
student

but

not

are

of

an

The
considered.
discriminate
must
seriously
looking at this artist's work, and doing so wilT~find much
is very beautiful and masterly. Here
who
dently
eviwas
a
man
considered that water
colours could successfully
compete
oil paintingin the size of works
I
in my
have
attempted.

order to be
when

mind

huge shipwreckswhich

two

house.
and

The

incident

the labour

came

across

in

country

ing,
depictedin these great efforts is quiteamazis beyond praise. But the whole thing is disappointi

in the extreme, and

goes to prove

how

futile the toil is

ILLUSTRATION

LX

Louis

Fban^ois

Thomas

Francta

1772-1839

AND

MOOR

Victoria

WINDMILL

and

Albert

Museunfr

"J

Q
S5

S
h-1

"
o
o

co

fc-l ."

."

oj .3

+j

-u

WATER-COLOUR
when

PAINTERS

attempt

an

is made

to do

PAST
a

PRESENT

"

water-colour

219

drawing

on

such

scale.
The

there
of

publicgalleries
are
are

few

medium

our

of Prout

rich in

examples

collections of the works

where

which

he is not

of Prout's

of the old

represented.It

work, and

Englishmasters
is the directness

has

always attracted me, and it is this great quality

that I point out as very worthy of study. His shadows
are
always
and
their
in
show any muddling
never
transparent,
management.
I have also always been impressed with his sense
of composition
and selection of subject. Although I refer to this artist as one
from whom
help may be got by the study of his work for certain
it must not be thought that I placehim on the same
qualities,
plane
as
Girtin,Cotman, or de Wint.

David
Admirable
with

Prout

as

the work

and

other

century, be taken

with

Cox

men

of the

reserve.

it must, in common
first half of the nineteenth

Cox

of David

was,

I admire

much

of his

painting,

seeingin it a rare expressionof the beauties of Englishlandscape.

from
I am
giving my own
impressionsof the work of the men
I
where
I have
whom
sought help. I am also statingclearly
have found their work
lacking. In Cox I discern very clearlya
desire to make
way, to give them
up his picturesin a mechanical
a grand importance.
tion
student may
A young
easilybe led astray by such a demonstraskill. There is a drawing of an old water mill at the
of mere
Victoria

and

Albert

Museum,

and

another, the

well-known

In both of these splendid

museum.
Challenge,"in the same
full and
his heart in the most
Cox spoke from
picturesDavid
emotional manner,
beyond which no artist can go. Follow his
and select paintingsof the same
work
type, and he is a help and
encouragement fitted to rank with the best. It is when he seeks
elaborated
to produce those great and
to go beyond this, and
I object
exhibition works, that his mission to the student ends.
of
work in
to this phase of his art, as the beginning of that class
the walls
than fifty
water-colours which for more
years crowded
of all
of our
great exhibitions and made them the laughing-stock
seeingeye." The
those who
possessedthat rare quality,the
beauty of those direct drawings which Cox produced in such
His
is to love them.
is indeed such, that to see them
numbers
"

"

220

WATER-COLOUR

figure

drawings

pictures,
to

be
The

in

Print

Museum,

hideous

To

goid

attempt

the

mounts

are

to

emotionally.

in

and

PRESENT

for

his

large

They

beauty.

great

and

shown,

the

let
which

of

artist

are

surround

works

of

Cox

student

sought

Cox.
will

be

of

seek
to

removed

them
express

Great

day

one

from

advantage,

be

not

their
in

the

drawing.

water-colour

would

Art

of

that

hope

great

Albert

and

cities

great

their

to

true

the

the

David

of

Victoria

the

Museum,

this

select

Rather
those

"

studies

are

simplicity

other

works

of

which

ones

which

British
and

in

works

advantage.
detach

the

at

rich

framed

white

of

PAST

places.

many
Room

are

of

many

Birmingham,

Britain,
the

again,
masterpieces

are

seen

PAINTERS

out,
his

of
and

practical
carefully

conceptions

ILLUSTRATION

LXI

David

Cox

1783-1859

WATER

NORTH

MILL,

Victoria

and

Albert

WALES

Museum

Pln-J

.a

J3

"fi."u

O
o
r,

"S J

T3
T3

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CHAPTER

XXVI

OTHER

has

IT

always

been

ARTISTS

pleasant

reflection

to

through all that dreary period in which

existed
languished and almost
expired, men
in which
thought correctly of the method
a
should
and

be
he

Much

the

work

much

worked

at

in

looking
their

remember

to

informant

My

In

certain

century

was

hopeful. A
has
given

told

was

most

candidly expressive

Both

these

work,
its

as

Walker,

well

Watson,

these

to

do

he

of

made
this

copied

willow

honour,
men,

white.

Small,

were

all

from

middle

of the

to

quickly

whom

working
of them

to

later

as

worked

Houghton,

prominent

by

this

lit-uppart
I used

and

indigo.
himself.

nineteenth
look

more

generation
book

trators.
illus-

in

water-

Pinwell,

members

salt of that

great

of

Fred
that

period which
Impressionists in France,
a
generation before the so-called
came
reanimated
the
the New
and
then
English Art Club in England
I have
Those
Art.
men
just mentioned
were
dry bones of modern
water-colour
of the
strictest
in the
term,
painters.
sense
not,
and
of book
that
in particular was
Their
work
they
illustrating,
small

body

of artists

whose

work

was

223

the

with

whom

Needham

most

and

the

on

tip from

were

as

was

time

trees

sepia

began

artists,

the

with

the

black

as

artist colourman

as

the

afforded

when
that

copying
the silvery grey

had

picture.
and

men

work

works

was

last

ill-spent.

was

some

it

his

think

not

whose

man

band

of their

study

drawings

well-earned

I refer
colours

purity.

particulars,as soon
passed, Art matters
small

began,

admirable,

back

that

drawing

revival

very

once

me

the

was

pictures that

the

water-colour

still

painted

being puzzled about

told by the
foliage,I was

borrow

who

Leitch

artist, and
of the

painting

worked

Cox

the

another

was

pleasure.

from

copying
I

in

painting

and

Needham

P.

and

that

David

in his best

assistance

boy,

mere

R.

water-colour

when

working

was

before

of

Richardson,

water-colour

me

Callow

working

was

of

elder
of

executed.

know

to

me

ARTISTS

OTHER

224

paintedmore

or

less

as

addition

an

regularwork.

to their

ally
Natur-

the one in
in vogue
at that time was
expressedthemselves when working in water-colours.

the stiffformal
which

method

they
what
beautiful than
they did,
Nothing could have been more
and nothing could have kept Art alive so vigorously. Great artists
not
that of water-colour
as
strictly
they were, their work was
studied their
painters. I admire them beyond words, but I never
To tell completelyof the
paintingsto help me on with my own.
I have striven during my life to improve my knowledge as a
way
water-colour
painter,I have been obliged to note the joy the
has given me.
work of these men
Many admirable artists I have
for this
passed by whose efforts gladdened this time, my reason
I was
them
when
came
across
labouringin my
being that I never
to my
knowledge about the
earlyyears. Latterlymuch has come
of this Mid- Victorian

workers

time, but this does

not

within

come

the scope of my subject. Arthur Melville,I regret to say, has not

but so far as I have seen
been
to me,
his work
at all well known
it

appeals to me
doing,and take

most

every

The

Again
whose
worked

remind

I must

works

well back

have

thoroughly. Let
opportunity to see
Peesent

seen

into the

student

his

do

as

am

paintings.

Generation

the student
and

the

that

studied.

I write

about

Although

the

men

Brabazon

only when
past century, it was
New
English Art Club that I knew

he

his
began to exhibit at the
paintings.Certainlyhis work is not to be imitated by the student.
Full of sunlightand colour, fine in composition,he is an artist
standing alone in his originality.I think of all the miserable
things in the way of water-colour paintingsI have ever seen have
been the vile imitations of Brabazon.
his work
From
I have got
fine
tonic
for
the
such
and
a
emotions,
help is of the best.
many
He
student
of
was
a
Turner, and is a strikingexample of
great
how a man
be inspiredby another
without
in the slightest
may
degree becoming a copyist. Few of the revival paintersshine
brighterthan does Brabazon.
the work
Although PhilipWilson Steer is particularly
a painter,
he has done in waterc-olours
shows him possessed of a geniusfor
that medium.
Whenever
his drawings are to be seen, the student
should avail himself of the opportunity of studying them.
They
are
always direct and full of masterlyqualityin their composition,

ILLUSTRATION

LXII

Edwakd

Edwards

1738-1806

DURHAM

CATHEDRAL

Victoria

and

Albert

Museum

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ILLUSTRATION

LXIII

D.

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KINFAUNS

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ILLUSTRATION

LXIV

David

LANDSCAPE

Muirhead

WITH

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OTHER

ARTISTS

231

colour,and drawing. For the most part they are hidden away in
privatecollections ; soon I hope the publicgalleries
of the country
will see fit to secure
examples of his works in water-colours.
The student who is studying
in water-colours
should not only
seize opportunities
of seeingthe works of the past masters, but
also those of the present time.
in the

public acquiringof
Otherwise

and

drawingsmight
alas,no

Fund, and

"

works

know,

do all those interested

as

of art, how

national fund for

minister
publicfunds are adthe buying of paintings

be of

can

tions,
advantage ; but under present condiof such a National
imagine the establishing

the folks the

Government

would

call to their aid to

spend it. There would, of course, be the Royal Academy, the

Royal Institute of Painters in Water Colours,the R.W.S., and the
R.B.A., with, perhaps,the R.P.E. to assist in buying prints.
The
New
English Art Club and the International Societyof
Painters, as well as all independent workers, would be carefully
excluded.
Thus
should
be no
a
we
better off,in which case
National

Fund

I should
head

find

had

like to

better not
see

be

the works

for.
prayed
in water-colours

of David

Muir-

prominent place in the national collections. This is

another
painter whose genius finds expressionin water-colour
works of the greatest beauty and in rare style. I have found the
work by studying his masterlyproductions.
greatest help in my own
refinement, a close knowledge of
Painting with extreme
his sentiments
as
expressedin his work should be of the greatest
helpto the student. There is,again,another artist whose works in
water-colours,although rarelyseen, have always appealedto me
most
forcibly.I refer to James Pryde. His drawings,although
of the Jype
much
helpedby the use of Chinese white, are certainly
to be included
considering.However
amongst the work I am
the subjectis always
small they may
be in actual measurement,
his work
is ever
large and stately. And beyond such qualities
a

expressiveof
pictureit is a
colours, and

fine idea.

some

tame

much

And

thing indeed.

without
I .have

regretthat his work

such
few of

qualityin

Pryde'swater-

in this direction has been

picturesis here reproduced,and is enough

I cannot
too strongly
to show the character of his work.
urge the
this artist's pictureswhenever
an
student
to see
opportunity
for doing so.
occurs
They stand altogetherapart from the
ordinary,and are always full of poeticthought. Amidst much
that is excellent in modern
work, it is this kind of paintingthat
so

limited.

One

of his

OTHER

232

ARTISTS

genius is

is rarelyseen.

The

of this unusual

cult.

found, and

seldom

to

me

Pryde

is

I have
speak about the work of an artist from whom
had much
Harpignies. I
man,
help. I refer to that admirable
it is an interesting
have a charcoal drawing in my
;
possession
it
example of his style. Although this pictureis rather classical,
a fair number
has a fine qualityin its composition. I have seen
and have always felt cheered after looking
of works by Harpignies,
of
In England they are scattered about in the hands
at them.
I will

now

well-known
dealers,and will no doubt become
artist is,I believe,
the last survivor of the Brabazon

in time.

This

school,having

There

is

Others

have

a
charming
contemporaries.
contented
to get
he
always seemed
simplicityin his outlook, as
from the most
his inspirations
simplesubjectsand clothe them
with his emotional
quality. In certain ways he has always
appealedto me very strongly. In a gatheringtogetherof the best
would
be
work
of the last fiftyyears
his originalpersonality
not calculated to arrest attention
are
stronglyfeltr His strivings
much
so
as
by their originality,
by their masterly management
is the soul
of a simple theme.
Certainlyin his work
simplicity
of wit," and after all this is the vital spark of genius.
All the artists upon whose
productionsmy remarks have been

outlived

Corot

and

his

"

made
me

are

by

those whose

the

qualityof

will discover

and

I have

works

their

doubtless

painting,which

his

attracted

the student

My objecthas been,
I have gone, to trace my working life and point to those
so far as
from whose paintingsI have derived helpand inspiration.I have
not
yet referred to a flower painter,although there
several of great abilityworking at the present time^
are
To me
there is no flower painterin water-colours
possessedof
though
greater genius for her subjectthan Miss Ursula Tyrwhitt. Alshe is a scaringproducer of work which she thinks fit to
show publicly,
enough has been seen to establish her reputation
for originality
and quality. There is none
of the feeble prettiness
Which crowds
the walls of the great publicexhibitions.
Instead
of

make

studied.

selection.

own

this, there is apparent in her work

strivingto express
publicgenerallyof
feelingsin the way

choice

ideas.

this artist,but
she

has

the

Very

seriousness
little is known

if she continues

begun

I believe

that

of

mind

by

the

to express her

her

future

is

assured.
It is rather

to
surprising

find

so

able

an

artist

caringto practise

ILLUSTRATION

LXV

James

THE

CUSTOMS

Pkyde

HOUSE,

VENICE

ILLUSTRATION

The

IN

the

of

LXV

Customs

the

Venice

House,

illustration

of

this

master,

only

case

expression

that

opinion,

to

for

and

stately

poetic
tion
concep-

my

he

stands

alone

painters

artist's

in

the

school

of

him.

approaches
no

water-colour

British

hope

share

that

one

and

pleasure

give

can

that

encouragement

work

of

the

experienced

be

by

have

the

derived

student.

this

from

add,

must

may

that

however,

Pryde

labours

painter
as

works

in

oil.

in

water-colours,

incidentally

to

his

Jllus.

LXV

The

Customs

House,

Venice,

by

James

Pryde

ILLUSTRATION

LXVI

A.

THE

HAUNTED

A.

McEvoy

HOUSE

LXVI

ILLUSTRATION

The

A.

MR.

well

is

He

in

regard

in

addition

which

portraits,

his

to

to

the

will

their

poetic

character

picture

and

student

full

to

and

of

the

charm

take
every

add

the

This

to.

Subdued

distribution

and

opportunity

in

of

of

tone

the

lights,

interest.

world

well

picture

With

estimation

hold

them,

admiration

unqualified

my

and

paints

the

to

critical

expressing

by

he

worker.

can

referred

composition

all

to

mine

of

indefatigable

no

qualities.

great

charm

is

words

painter

water-colourist.

an

myself

content

he

portrait

as

poetic

profession

artistic

so

for

which

as

distinguished

of

quality

rare

reputation

also

is

known,

imparts

draws,

whose

McEVOY,

A.

House

Haunted

demonstrates

and

the

perfect

whole

in

its

makes

up

strongly

studying

recommend

this

artist's

the

work.

Illus.

LXVI

The

Haunted

House,

by

A.

A.

McEvoy

OTHER

flower

painting,

seeing

however,
in

manner

few

are

more

exhibitions
to

of
such

get

have

of

of

the

whilst
what

is

exhibitions

of

of
can

opinion
of

at

of

would

The

student

in

the

the

no

of

study

the

avoid
of

the

to

the

great

accident

water-colourists

guide

to

one

is
I

thing

old

the

found

public

To

particular
of

as

it

is

sentiments
are

at

all

times

student.

bad

me

those

to

as

the

the

the

extreme,

to

of
to

good.

are

and

his

study

hence
finest

visiting

of

important
that

ing
follow-

the

time

influenced,
to

give

whole

in

relating

matters

in

the

as

study

to

easily

on

often

is

I
for

spent

almost

is

inexperienced
oneself

let

be

seeing
It

that

entirely

Instead,

picture

pictures

avoid

to

avoid

work.
to

the

this

periodical

utterances.

is

Art

there

are

present.

in

had

what

student

modern

expressed
warn

young.

the

devoting

possible.
openly

the

in

the

so

from

the

guidance

reputation.
bad

in

think

art

study.

devote

established

looking

very

the
Let

and

ignorant

the

critical

derived

past

the

my

to

help

to

have

this

practise

and

such

ately,
Fortun-

means

received,

by

fortune

under

was

I
the

of

owe

still

advice.

he

work

who

found

are

well

guided

of

fallen.

beautiful.

so

than

has

Unfortunately,

which

painters
the

whom

or

being

it

painters

thing

Art

on

help

come

that

gardens.

having

It

displays

the

importance.
of

pitiful

of

of

influence

of

flower

travesties

told

works

worthy

ebb

few

287

low

still

are

is

instead

misled,

what

to

there
that

ARTISTS

the

of
Art

Art
which

against

time
those
avoid
The
sity
neces-

works
are

these

XXVII

CHAPTER

PICTURES

THOSE

AND

STUDIED

BE

TO

TO

BE

to

leave

AVOIDED

I HAVE
school
the

heard

the

where

he

been

and

student

of

He

special school

when

be

to

be

there
be

have

that,

is

looked

men

over

the

their

being

exhibitions
This

gives

is, I

where
an

assertion

work

who

true

artist."

single

of

man,

painting

are

and

for the

away

lifetime

their

"

one

man

or,

to

most

likely,

more

am

sure,

the

works

interesting

to

good
of

they

way.

nearly

find

continued

can

prominent

most

mind

represented
a

thus

all the

exhibitions

such

look

can

every

back

artist

of

manner.

student
is

man

works

in this

call to

In

is

art

contemporary

shows.

Nearly

in such
save

best

of

number

and

years

one

the

periodically

shown

only
it

absolutely

of the
men

The

opinions.

eventual

hidden

are

generally,

weariness.

work

for any

where

drawback,

They

limited

past fifteen

It is hard

the

particular institution,

one

"

so-called

without

at

exhibit

room

great

understand

or

the

told

hence.

speaking

necessarily

eminence

no

thought.

gone

the

at

seen

The

tardily recognized during

they

I think

of

to

school,

copying

artist

an

buyers

be

must

has

his

such

however,

mere

little.

to

belong

time

present

The

mind.

he

work

man

pleased

cannot

in

justify such

to

since,

hold

that

in view,

have

must

great, leads

to

certain

fully

which

would

learn

follow

go

of work

who
to

do

of

This

it.

to

the

object

class

the

out

time

short

class

mind

may

individual

the

part,

the

which

art

only

this

begin early

devotion

however

no

of

man's

should

of the

works

proceed

his

that

years,

find

to

pictures accordingly.

himself.

Such

and

learned

produced

condition

at

had

he

that

be

public,
and

Again,

decision.
me

the

so-called

doing

would

about

student

for several

studied

had

painting

pleased

which

to

of

practice

opinion given by

relief from

238

plan.

few
one

men

but
There
are

class

of

interest

yet, in face
are,

in

of this

again, small

gathered
picture

to

together.
another,

ILLUSTRATION

LXVH

VaELKY

COKNELIUS

1781-1873

CASTLE,

HARLECH

Victoria

NORTH

and

Albert

WALES

Museum

"m

""

"*"

T"

.3 s

*fl

a i "w

+"

9
H
10

O
w

a1

J3

"

"

""t3

-g

a"

a"

.g

"

s
",a

-S

"

eg ^

"u

^"Bl^JB

*h

**

CO

;?

ft"

-a

til

0)

.T!

jj

"

eg

rt

fl)

la *

"

.3 W

a
o

d
O

S3

ft"3

""
"

aj

-p

eS

1-3 ~W

55 .S3 .2

"

+3

+3

go
3
3
cd

s
2
?

PICTURES
without

the

TO

BE

lassitude attendant

STUDIED

241

a
large exhibition.
visiting

on

It is very difficult to keep the mind

alert,when you are
with attention
at many
the mind
pictures. The more
with

keenness

incapableof
The
works

on

further

student
of art

should

picture,the

sooner

it

tires,and

looking
is fixed
becomes

effort in this direction.

attempt

never

after the other.

to

look at

more

than

few

advantage gainedby looking

great attention at a few picturesis far greater than by
beautiful they
wearily going through a great number, however
the Print Room
mdy all be. I make it a rule,when visiting
or the
Victoria and Albert Museum,
to be contented
with looking at
than ten or twelve.
quite a few, very often not more
By this
the mind
means
can
fullyabsorb all that is studied,without fear
It is a useful method
of confusion.
to write a small digestof the
pictureslooked at, after making such a visit. This will not only
impress the works seen on the mind, but help also to strengthen
the pointswhich have chiefly
attracted attention.
It is when
studying works in this way that I see no reason
why
parts of picturesshould not be copied in order to help the mind
fullyto grasp certain specialpoints. This is very different from
Such a thing I have always
making complete copies of works.
felt to be a deadly dull entertainment.
I have found it a great
help in my work to correspondwith brother students and artists
I do not mean
much
matters
Art matters.
on
on
so
relatingto
theories of Art, as on pointsand questionsof picturesseen, or
heard of. By this means
I have constantlybeen made
aware
even
to
of the home "i treasures
which might otherwise not have come
notice.
It seems,
also,to be a rational thing to make letter
my
for
writing of real interest,instead of merely being the medium
discussingtrivial subjects.I have always sought to make everything
one

The

with

of my
to the furtherance
life minister-in some
in my
way
and I should
has added much
This scheme
joy to my life,

work.

like others

Amongst
the studentdo not
is to
as

allow

well to find

In water-colour
get reproductions.

this
paintings

is difficult,

printsare usually so horriblybad. However, certain

reproducefairlywell, notably Sandby, Girtin, and^Cot-

colour

masters
man.

pleasurein such a plan.

other ways
of strengtheninga knowledge of Art,
means
should begin earlyto collect pictures.When
of the buying of original
works, the next best thing

as

Prints

colour masses,

after Peter

de

usuallyworthless,as his
dark shadows, are quiteimpossible

Wint

in the
especially

are

PICTURES

242

TO

BE

STUDIED

prints after the Dutch, Italian,and

French
masters, in ling engraving,can be pickedup for a triflein
of these
old printor book shops. I have collected a great number
value of such
to study. The
and found them
most
interesting
printsas a help to a knowledge of compositionI have already

to

Old

reproduce well.

mentioned.
for several years been making a small collection of waterIt is not an
men.
paintingsand drawings by modern

I have
colour

leadingartists are not gettinghigh prices

for their work.
A good figurehas to be paid for a representative
those by John
Brabazon, and of course
Sargent are costly.
those
whom
the
Otherwise
it is the work
publicconsider the
by
leaders of Art which obtain largesums.
It must
be borne in mind, however, that the leadingArt critics
to buy. I have often
advise well on the questionof whose pictures
been told, when
discussingthe questionof the merit or demerit
of works of art, that what is good or bad is a questionof fashion.
Such
is a great error, as subjected to the highest
statement
a
critical opiniona pictureis good or bad and must
remain
ever
expensivetaste, as

the

so.

When

Peter de Wint

gettingfair professional
pricesfor his
John S. Cotman
had to see his go for a few shillings.
Yet
pictures,
they were both great men, and of the latter Turner had the highest
opinion. If the public choose to give high pricesfor pictures
because
they are from the walls of our fashionable institutions,
it is no criterion of their merit.
The publicis lackingin taste to a
pitiableextent, yet they will buy what appeals to them rather
than be guided by sound
critical advice.
I have seen
tens
of
thousands
bad
extraordinarily
pictures,when their
spent on
has been that they have hung on the walls
only recommendation
of great exhibitions.
Truly,they may have been well spoken of
by the Press ; but then, who were the critics ? I have also seen
exhibitions where the criticisms have been praiseof the faintest
kind, and yet the public,likingthe stuff,have bought freelyand
at high prices.I contend
that the best critics have for many
years
advised the publicwell in matters
of Art generally. I also know
that much
has been said in the Press which, if subjectedto the
ordeal of high opinion,would
be condemned.
I know
the publicare thus in a difficult position.They must,
with care, being sure
however, read such utterances
that a faint
is
in
virtual
condemnation.
From
a
praise
reality
my experience
was

AND

advise

the

what

student,

pictures

it

is

as

they
my

life,

must

and

is

original
where

bought
sign,
direction.

from
as

intended

is

it

far

It

concluding
better

than

artists

find

much

that

so

shows

freely

as

plainly

to

all

vulgar
years

that

is
use

hand

gone

things

do

but

shown,

by.
are

are

the

feel

moving

not

this

of

work

learner.

I
in

taste

thoughtful

the

the

way

which

in

public

that

only

which

same

the

to

patronage,
is

of

parcel

and

Not

the

method

the

warned

those

out

in

given
or

be

to

point

chapter,

was.

greater

in

to

helping
this

it

is

is

part

248

necessary

as

advice

is

as

is
it

as

colours

applied.

before

say,

England
and

be

it

at

Such

the

out

AVOIDED

BE

that

looking

study.

to

pointed

should

TO

knowing

avoid

to

advisable
have

THOSE

tions,
exhibi-

great
visited
to

in

be
the

and
a

good
right

XXVIII

CHAPTER

EMOTION

SAY

beautiful

of the

it is but

musical

in

in

delight

which

were

the

feelings.

Lulli

and

when

that

Death

he

himself
efforts

of

cradle

with

be

thing,

into

the

and

the

worthy

way.

student
treated

used

early days
of

lies the

originality.

has

advice

given,

quite

sorrowful,

pointed

when

and
as

of

rules

felt

as

finally
felt

not

unhappy
gave

that

244

laid

that

was

of

expression

my

told

but

in his

could

not

in

of

those

painting

follow

studying.
lack

Art

the

book

such

the

the
own

for

Even
for

is

all that
;

One

down
I

forced

are

written

handbook

up

it

be

must

painting.
be

all

taught,

matters.

water-colour
could

be

the

provides

which

handbooks

Art

are

heavenly

fit for emulation

and

boy,

in

very

to

her

These

the

formality
can

in

sister

responsibilityof

heavy

childish

the

which

by

Methods

information

subject
I

in

end

tell is his own,

to

I felt that

picture.

be

can

read,

to

the

only

can

discovered

has

that

age,

of all difficulties.

ABC

rigid system,

too

his

all knew

tail.

cat's

spite

herein

seeking
of

vent

And

past

artist

in

"

infant

yet they prove

;
a

of

knowledge

killing of

story the

hairs

the

groove,

in the

find

were

is but

educate.
same

the

instinct

surprising
his

of

that

he

tones,

his musical

express

Lulli

painted

from

must

down

striking

instinct

and

sizes

tomb

and

song

an

musicians

his

on

who

to

greatest

Equally

made

expression.

who

in

West,

possessed,

technical
of

but

which

when

form

little scullion,

of various

for

sought

such

Lulli, when

by

the

recorded

was

of Art

had

thus

seeking

itself in

express

telling how

no

child

of

also."

brush

to

stewpans

one

Benjamin

is

he

means

it

deaf

if

those

on

blind,

examples

means

tapping

died

crude

Tr All

French

became

was

to

The

only

seeks

There

painting.

is first awakened.
found

soul

the

tangible

It is

of Art.

prompts
it

give

to

attempt

soul

lovely thing

the

From

to

which

being

human

step

the

Thus

artistic

the

in nature.

short

found.
the

in

instinct

the

is the

emotion

that

emphatically

very

ART

IN

the
was

instinct

EMOTION
which

prevented

IN

ART

245

taking full advantage

me

of

theTplanslaid

down.

My

plan

next

was

artist colourmen.

however, by

As

began

studio

to

has

Nature

borrow

the

works

was

take

paintingsfrom

water-colour
obtained

distinguished
by

men

work, this method

I

to

in this way were

not,
their
the emotional
of
quality

also abandoned.

It

was

littlelater that

from nature.
My
every opportunity to work
for many
in
the
where
I
find
air,
years
open

been

beauty. The
work
I have
done
under
has been infinitely
small. The
cover
studio is a very right and proper workshop, but the landscape
paintermust be well equipped with knowledge gained direct from
before he begins to paint from memory
nature
alone.
I stilldo
not want
less from nature.
to work
a studio,as it might tempt me
At
do any
in a room
work
suitably
present I can
memory
lighted. The student must not conclude from my remarks that
work

ready

even

which

is

this

hasty, as

delicate and

Cotman,

or

than

awake

and

lover

her

many

of the intricate works

as

they are,

of

Girtin,

their emotional

be doubted.

moods.

devoted

case.

with

need be
response to the emotions
Can anything be imagined more

Turner, and yet, laboured

intimate

varying

the

beautiful

emotions

stir the

immediate

an

is not

cannot
qualities
Nothing can
an

to

these

constant

I cannot
of

Nature

feelingsof emotion in the mind save

acquaintance with Nature in all her
how
it is possiblethat a really
see
hard
could produce the many
and

things which are shown in the great exhibitions and

word
be the student's watchto his Art must
called pictures.Devotion
will enable him
if he is to gain that knowledge of it which
I have seen
so much
to do great works.
playingat drawing and
the absolute
paintingthat I cannot speak too stronglyrespecting
Art is such a grand field of labour
necessityfor concentration.
must giveit whole-hearted
service,as nothing
that its practitioners
be counted
No honours must
short of this will do.
on, as they
mechanical

seldom

come

great,seldom

to the

whole-hearted

worker, and reward, even

to the

comes.

usuallypaid for an artist's work after he has

I have often thought
benefit by them.
cannot

Living pricesare

passedaway

and

that emotion, which should be the first element in a work

If the artist is intent too
is absent, for various reasons.

of art,

eagerly

this great
making, he is running great risks of killing
quality.If,again,hjeis seekingthe applauseof the publicinstead

on

money

EMOTION

246

ART

IN

judgment, his emotions must be curbed

approval of his own
in line with what
is bad.
For it can
be
in order to bring them
sentiment
in Art matters
safelyaffirmed that the generalmodern
Balanced
is bad.
opinion it cannot be called,as it is only the
highlycultured few who possess such a faculty.
During the two generationswhich immediately preceded what
Art revival work
which
be very correctlycalled the modern
can
ceased to exist. It is
of an emotional
was
type had practically
littlewonder
that the public,
brought up to look upon such productions
works of art, should have lost all appreciationof what
as
of a good pictureshould be.
Such stuff,being the
the qualities
of the

in whom

labour

of those

such

feelingin

evident
or

others.

in the

emotion
I feel

was

no

pictureswhich

forty years after the Great

dead

doubt
were

that

letter,failed
much

to

stir

of the dullness

painted during the thirty

Exhibition

of 1851

owe

their bad

qualityto the ignoranceof the public. As I have before remarked,

had plenty of money
the public,who
manded
during these years, dethe
certain quality in
fortunate
a
picturesthey bought. Unthe artists of that age appeared willingto paintto
Evidence
of great labour satisfied the public that they
order.
The
birds'-nests and
were
gettinga fair return for their money.
as
utterlydevoid of emotion
eggs on a bit of primrose bank were
The
as
they well could be.
equally laboured works of still fife
full of
master, were
objects,by the seventeenth
century Dutch
either
in
their
emotion,
lighting,colour, or design. A most
elaborate

utterance

fine emotional
are

the

be

I wish

to

fine

of technical

outcome

the student

of

that ideas

which

picturesare surelydull
thing will live and that
depending on possessingor lacking

skill. This

die, their respectivefates

that emotional

thingif it is the

impress on

great thingsin Art, without

demonstrations
one

idea.

may

qualitywhich is the soul of Art.

I do not think that anything in paintingawoke
inquiry so
my
which
that
the
to
me
early as
suggested
necessityof a picture
than
from- nature.
The
mere
a
being something more
copy
of
be
with
the most
prettiest Surrey cottages may
exactlycopied,
o
f
tortoiseshell
cats
the
bricks in front of
fascinating
playing on
it,and yet a picturehas not been produced,although a very high
pricemay have been paid for cottage and cat. The mind can
alone dictate to the hand
the paintingof a picture. Nature
and
its contemplation awake
the mind
to make
effort to record
an
result is no mere
a thing of beauty. The
from
nature, but a
copy

EMOTION

product
And

of

this

with

and

is

complete
be

is

the

human

Art.

honesty

satisfactory.

simple

very
let

the

demands

which

mind,
student

should

of

As

thing.
of

ignorant

the

to

the

pointed
to

247

highest

the

or

purpose,
have

is

work

Work
an

ART

IN

before,

satisfy
public

of

your

"

go

hang

creation.

ideals,

highest

result

out

in

thing

his

efforts

honesty
Art
!

and
not
can-

in

Art

instincts,
"

INDEX

Bonington,
Absorbent

to be

papers

avoided,

Book

Allenje

"

Amberley,

83

Amersham,

Antwerp
Arnold

blue,

"

critics, 242

Arun

R., The,

Arundel

Park
163

Aureolin,

25

Castle,

Brushes,

complement,

Barges

as

subjects, 88,

113

Barges

on

the

139

Beginning
Berkeley,

Bloom,
"Blot

Body

Thames,

Cake

130

picture,

Mr.

Spechley,

and

41

Mrs.,

of

colours,

21

23
85

Camp

stool, The, 21,

Canal

life,

Cartridge
The,

44,

Cattle,

173

153

18
249

22

48,V223

Canaletto,

165

Method,"

paper,

Church,

Callow,

36

colour,

27

107

old,
a

26

59

61,

Fine

84

26

sienna,

Bury

Bardeney,

Barns,

The, Amberley,

Burlington

and

47

153

Brooks,"

Burnt

Balance

109

224

Brown-pink,

81

146

Stump,"

Brown-madder,

82

and

Ash, The,

Boston

Broadway,

17

223

121,

Bray-on-Thames,

23

215

109

Brabazon,

130

paper,

65,

Boston,

21

paper,

48,

illustrators,

Bosbbom,

18

Art

R.P.,

71

109
54

paper,

Groups

21

of, 68, 83, 129,

INDjiiX

250

Cattle

the

on

Marshes,

Romney

Compton Wiriyates, 93

Causeway,

Is.,

Mersea

The,

tained,
re-

173

Constable, 29, 54; 79, 86, 163,

149

Chapels

and

Oxford,

Halls

Dining

of

173,

210

by, 74,

On,

212

Copyist,The,

115

ChippingCampden,
Church

Rye,

tower,

Churches

in

93, 151
127

Shropshire,119
of

Cloud

shadow,

43

Cloud

shadows, Greys for, 23

Clouds

and

Corfe,

132

Corot,

57

152

J.

Cotman,

S., 37, 48, 49, 55, 56,

146, 148, 194, 211, 241,

skies, 58,

Necessity
Courtesy and civility,

75

for, 71,

Collectingpictures,On,

Courts

241

154

Cowdray

Collier,T" 37,

Cox, D., 37,

48

papers

Creswick

22

to be

avoided,

94

values, 171

143

Castle, 86
219

21

paper,

Critics,89
Crome, 54,

and

Court,

Hampton

at

Collegebarges,146

Coloured

242

Country, Types of, 73

Colchester,148

Colour-box, The,

238

Corrugated iron roofs, 153

Churches, West

England,

of masters,

works

Copying the

146

Children, Annoyance

Colours

first,to be

Conception, The

129

79

Cyanine-blue,23

Colours, Fleeting,201
Colours, How

to

keep

in condition,
D

27

Colours,

To

prevent

running

together, 39

Companions,

Cox

Day, How

On

the

74

Complement,

David

choice

of,

paper,

to divide

Decadence

in

paintingsCauses
59,

Composition,53

173

Details,On
Devizes,

18,

98

21

the,

water

of, 44

painting,68

131

colour

INDEX
De

Wint, Peter, 37

Dew, Evening,

Farmsteads

obviate

to

43

some,

Directness

of

Shropshire,119

Fielding,
Copley,201

120

How
Difficulties,

251

First

impressions,
Danger of, 74

Fittleworth,85
of

working, 36

Dorsetshire,its charms,

Flat

country

as

ground, 61

133

Drawing, Importance of, 28

".Flatness,"211

Drawing block,The,

19

Flower

Drawing board, The,

19

Fontainebleau

Drawing book,

The

use

of

Dressing in

paper,

232
painting,

Forgeries
to

eliminate,

of

Cdtman's

French

Italian, and

Dutch,

works, Engravings of, 242

Dutch

54
landscape painters,

work,

212

Foreground, The,

18

Barbizon

school, The, 55

a, 29

Drawing pins,19

painting.

171

Foregrounds,Vacant,
Fountains
Fox

Abbey,

57

117

Hill, Chipping Campden,

153

E
Frame

efforts,244

Early

Easel, The,
Elm,

The,

support the drawing

to

board,20

19

Francia,

215

164

ultramarine,

French

25

Emerald-green, 26
Emotion

the soul of Art, 244

Engravings, Collecting,57
Evelyn, J., 165

Gainsborough Canal, The, 111'

Evening, Paintinginthe, 120

"

Exhibition

Exhibitions

Works,"
of old and

"

and

J., 121

Germ

at

Hampton

carrier,"A,

Court, 143
115

Girtin,T., 37, 48, 117, 186, 194,

Farmers

91
subjects,

Gaskell,Rt. Hon.
Gates

buildings,Old,

as

modern

work, 237

Farm

Gardens

44

130

71
civility,

241

Grand Junction

Canal, The,

109

INDjCiA

252

Green

for

Green

oxide

23
foliage,

of chromium,

Greenwich,

135

Greenwich

Observatory,

"

25

94

Elms

Kensington Gardens,
136

Bridge," Cotman's,

Greta

Castle,

Kenilworth

Greys, Combinations

in,

164
55

form,

to

23

Greys,

25

Landscapes

of

C,

93

Lawson,

simple type,

43

Legros, Prof., 30
Leitch, R. P., 223
Liber

Hampton

Court,

Hampton

Court, Gates

140

Abbey,

Harghmond

Light red, 23

120

Lincoln
"

with

Landscape

Harvest

Rainbow,"

Rubens',

High Street, Oxford,

Hobbema,

Cathedral,

Lincoln

145

107

Cathedral,"

Lincoln

Wint's,

65

Honyngton Hall,

weather, 105
of

astical
ecclesi-

buildings,105

91

Lines

Hought"*i, 223
Br.,

de

P.

66

Lincolnshire, lack

53

Houghton

Turner's, 47,

178

at, 143

Harpignies,232
"

Studiorum,

by

pen,

pencil,and brush,

118

85

Locks

and

barges,

Lucas, E. V.,
Ludlow,

113

85

121

Lulli,244
Iffley,143
Incident, The

insertion

of, 63,
M

171

Indian

Interior

red,

26

Magdalen Tower,

147

Masses, General,

54

Interiors,153

Melville,Arthur,

224

Ivory-black,23

Mental

146
subjects,

picturedrawing,

98

INDEX
Mermaid
Mersea

Street, Rye, 127

253

Obstacles, checks

Island,148

drances,70

Michallet paper, 18,

Old-time

21

places,131

Middle distance objects,171

"

Midhurst,85

Oxford, 145

"Minister's

hin-

and

Garden," The,

One

"

shows,

man

238

C.

Lawson's,93
Moist colours,22
"

Mousehold

Heath," Crome's,

Painting in," 173

Panellingin churches, 153

54

Much

"

Wenlock,

120

Muirhead, D., 167,

Miiller,W.,

Paper,

17

Paper, preparationfor

231

Papers,List of,for

48

use,

19

water-colour

painting, 21
of

Pen, Use
N

Penknife, Use
Peter

Naples yellow,26
A,

Fund,

National

Needham,

colours,24

Neutral

greens,

New

English

Wint,

de

45^,
54,

66, 119,

241, 242

Neutral

blue, 25

of a, 144

129, 147, 164, 178, 193, 216,

231

223

New

the, 117

Photography in Art,

25

fdr

Pictures
Art

land

Pevensey, Marsh

Club,

223

at, 127

122

study,On selecting,

69

'

Noel
North

family, The,
wick

Park,

Notebook, Value
Notes,

On

154

Piecing togethercolours,42
Pig, The,

154

53

ject,
interestingsub-

131

of the, 82, 86

making,

an

Pinwell,
Point

223

of

interest,Registering

the, 168
O

Oak,

Poole

The, 159

Oakley Park,

Pollard

194

willows,
Harbour,

Porchester

161
133

Castle,104

INDEX

254

Portsdown

Hills,103

Prices,245

St.

Prout, S., 216

Salisbury,101

Prussian

blue,

23

Botolph'sPriory, 148

Saltings,The, Rye,

Pryde, J., 121,

136,

146,

231

Sandby, P., 117, 178,

241

Sargent,J., 242

Public

taste, The, 242

Scotch

Pulborough,81

Firs,157

washing

out,

24

Purple,a dangerous colour, 120

Sepia,Rough drawings in, 53

Shadow,
"

33

Shadowed

man's,

Cot-

Stream,"
55

Shadows, Ivory-blackin, 24

Raphael, 54
Raw

sienna, 25

Reed

pen,

The,

and

Sheep, A,
216

kindness

warded,
re-

95

Reformation, The,

its effect in

Ship-breakingyards

105
Lincolnshire,

136

Reproductions, 241

Shippingon

Richmond,

and

Scrubbing

Purple, A quiet,23

Yorks,

115,

116,

the

at

wich,
Green-

Thames,

135

Shipston-on-Stour,91

Shrewsbury, 120

168

Rickmansworth,

Canal

at,

Siddlesham

Mill, 63

SilburyHill,97

109

Rivers, their beauty in

scape,
land-

Silhouette,The,

Rochester, 88

Marshes,

Rose-madder,
Rubens,
Ruskin,
125

65
83

duced,
pro-

161

Rogers'Italy,178
Romney

55

of willows,how
Silver-grey

63

Rye,

126

26

Size of water-colour

paintings,

209

129
"

Sketches," 44

Skies,Blue for,25

Sky

and

Slade

clouds,58

School, The,

30

INDEX

Small,

Tramps,

223

Spechley Park, Worcester,165

Spontaneous

laboured

v.

169
painting,

"

Steer,P. W., 37, 132, 201,

224

72

Transfiguration,"
Raphael's,

effort,

202

Stagesin

255

54

Tree

masses,

Colour

Tree

Studies, Constable's,210

for, 25

Trees, The study of,156

Stilllife,32

Turner, 47, 79, 178, 212,

Stockyards,131

"Twinkling"

Stonehenge,

Tyrwhitt, Miss Ursula,

Storm

101

clouds, Fine

213

interest, 173
232

effects of,

103

Strainingthe
Strood

Cement

Stuart

and

19

paper,

Van

Works,

Gelder

21

paper,

89

Varley, J., 201

Georgian memorials,

Varley paper,

21

153

Varying colour, Masses

Studio, The,

of, 43

245

Vermilion,

of, 66,

Subjects,Choice

27

73

Sunsets, 77

Swale, R.,

115

Walker, Fred,

Castle,94

Warwick
"

and

Washing

Water-colour

Teaching
Thames,
Tinted

and

pupils,125

paper, Disadvantage of,

to

be

copied,

Tonks, H., 37,

Towns

Watson,

71

223
72

Abbey,

Wenlock

120

West, Benj., 244

194

Tower

Size of,
paintings,

65

Weather,
of age, not

77
stippling,"

Water-dipper,The,

R., 140

18

Tone

223

of London,

and

Wey, R.,

48

The, 140

buildings,65

Whatman
White

67

paper, 17
Canson

paper,

21

INDEX

256

Isle

Wight,

of,

The,

Willow,

127

Winchester,

103

Windmill

Witham,

of,

Inconvenience

Hill,
R.,

90

107

of

70

Spa,

ochre,

Yellow

Yorkshire,

Ypres

The,

Lincolnshire,

WoodhaU

161

Winchelsea,

Wind,

Wolds

104

Gate,

107

23

Ruins

Rye,

in,
127

117

113