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THE

OXFOKD DRAWING BOOK,


COKTAmiNG PROGRESSIVE INFORMATION

SKETCHING-, DEAWING,
|attl>0faj)e

WITH

Saneri),

^nmiSf

IN

AND COLOEING
m\i tde |ttman /igttrt

NEW METHOD OF PRACTICAL PERSPECTIVE.

BY NATHANIEL WHITTOCK,
TEACHER OF DRAWING AND PERSPECTIVE, AND LITH0GRAFHI8T TO THE UNIVERSITY OF OXFORD.

ILLUSTRATED BY UPWARDS OF ONE HUNDRED LITHOGRAPHIC DRAWINGS, FROM REAL VIEWS,


TAKEN EXPRESSLY TOR
TO WHICH

LESSONS* IN
A

THIS WORK.

IS AJ3DED]

FLOWER DRAWING,
SERIES OF PLATES.

BY JAMES ANDREWS,
AnXHOR

EGBERT

B.

OF "lessons in

FLOWER PAINTINGj"

ETC.

NEW YORK:
COLLINS, 254 PEARL STREET.
1852.

kc

ADVERTISEMENT.
In preparing a new Edition of " The Oxford Drawing Book"

for the press, the publisher has con-

sidered that the addition of lessons in drawing and painting Flowers

value of the work.


figure, but

It already contains lessons in

none on

this interesting

branch of the

stone expressly for this edition, after designs

Gems," " Lessons

in

Flower

painting," &c.,

would considerably enhance the

Landscapes, Architecture, Animals, and the Human

art.

He

has therefore added eight plates, drawn on

by James Andrews,

the well known author of the " Floral

making the work one of the most complete of

its

kind

published in this country.

The

directions

far in this study,

on these additional lessons are necessarily brief: the pupil


will

who

has advanced thus

need nothing but close attention to enable him soon to acquire

facility of

execution.

For the use of those who wish


edition of this

work

is

to study painting in water colors in connection with

prepared with colored plates.

264 Peabi. street, Jult, 1851.

drawings an

INTRODUCTION.
Deawing

lias

now become an essential part of genteel

education,

the publication of a work, therefore, which professes to teach

sumed, be acceptable to

all

who

delineating scenes from nature with taste

Among the number

of elementary

descended to lead the learner step by

a slight sketch before a pupil, and

and

finish,

effect,

and

step, in a plain

him

to copy

it

demonstrated, particularly in the early lessons.

things,

which

own

at first

less

universally acknowledged

in a style hitherto unattempted, will,

it

it is

pre-

and to obtain the power of

correctness.

Drawing Books now ih

tell

its utility is

proficients in this elegant art,

circulation, I

famOiar manner.
;

but the

should be clearly pointed out, and the reason

succeeding lesson becomes

of his

become

desire to

and

way

why

hare never met with one that con-

It is not

enough

for a teacher to place

in which he ought to commence, proceed,

different lines

and touches produce a certain

The pupil then has a sohd foundation to build on every


;

irksome, and in a short time he

is

repaid the trouble of attending to httle

appeared tedious, by the delight he expferiences when he contemplates the creative power

hand, and the pleasure of those

Pictures will always be more pleasing,


torical recollection or local tradition;

who view

if,

his productions.

in addition to their inherent beauty, they are associated -with his-

and the Author of this work has ever found the pupil more eager to copy

drawings which represent subjects of which he has some previous knowledge, than an ideal composition

which he knows has no


interesting object.

It

reality

may

this

has induced him to

be objected,

that,

by

make every

lesson in this

work

glancing at history and biography in a

a real view of

work

some

like this

we

mixing studies

are

and an inquiry may be made, of what importance can

ing an elm or an oak, where the trees are situated


taste for drawing,

By

this

is

draw from nature

to

detailed gradually,

and as

it is

sary part of the art of drawing, fixed in the

is

draw-

who has

elm which crowns the top of Headington

correctly,

by

called for

near

Hill,

without some knowledge of perspective

yet

the subject immediately before the learner's eye.

and the

least pleasing,

but most neces-

mind without burdening the memory, or creating


to

In this work the theory and practice of

definitions are avoided,

which most persons have experienced who have had

wade through

obsolete terms

th*e

and

that disgust

scholastic tech-

be found in most of the works on perspective.

I cannot give a better reason for

making

my

lessons assume the

an eminent writer of the present day, when addressing his son


I write in the

form of

securing your attention.

letters, for

We

which reaches our ear or our

form of

"I

letters,

than by using the words of

have adopted the epistolary form, that

is,

the sake of plainness, and at the same time for the sake of obtaining and

are naturally
eye, as

more

attentive to that

which

is

addressed to us, than

we

are to that

mere unpointed observation."

Most of the Landscape Scenery and Buildings introduced,

them

he

quite sure, however, that every person

this essential of the art is totally neglected.

means a succession of dry mathematical

nicalities to

if

great Dr. Johnson, to any trees which fancy alone could produce.

any person

most drawing books

perspective

shelter in her misfortunes, or the

by the

It is impossible for

in

am

be to the learner,

would prefer a picture of the venerable oak in Ampthill Park, under which the pious

Queen Catharine found


Oxford, celebrated

it

in or near the University of Oxford,

which

is

are

from drawings made

so rich in picturesque

for this

work,

and architectural beauty.

many
In

of

treat-

VI
ing of tke variovis styles of Grecian and Gothic Architecture, their distinguishiag features -are pointed out, to
enable the student to determine the era of their invention, and the uses to which they

may be

in drawing plans for the erection of modern buildings.

The Eustic Figures and Animals

taken from the best productions of approved masters.

The

studies for the

Human

properly applied

are from nature, or

Figure are selected from

the Elgin Marbles, the Pomfret Statues, and the finest specimens of Canova, Chauntry, and other

modem

masters.

That the work may be found useful to those who seek


rational
it

and refined amusement,

absolutely necessary,

is

as well as to others

in a

knowledge of the

art of

whose present profession or future prospects may render

the Author's sincere wish and confident expectation.

K
Oxford, June

1st, 1826.

Drawing a source of

WHITTOCK

THE

OXFORD DRAWING BOOK


LETTER
MY DEAR GEORGE AND
I shall

you

that

commence my
it is

ELIZA,

benefit

from lessons given

therefore advise
;

it is

art

of Drawing, by informing

impossible to obtain proficiency in this delightful accomplishment, with-

knowledge gained thus

pursuit

on the

written instructions

out great industry and regular application.


little

I.

you

not of

to

in

The

at irregular

one lesson,

is lost

and

I should prefer the morning.

distant intervals of time, as the

before

devote an hour and a

much consequence what

student in drawing can derive but

half]

it

can be applied

in another.

three days in the week, to this

part of the day, but

were

it

convenient,

The

only materials you will require for some time, are black-lead pencils of various

You

degrees of hardness,* drawing paper, and India rubber.

will

hkewise

raiddUng sized portfolio very convenient, not only to keep your drawings

much

likewise

preferable to use as a desk

as the mill-board of which

in,

it is

find

but

it is

made,

is

not quite so hard as wood, and yet sufficiently hard to allow the pencil sharpness of
touch.

may

By

placing books underneath

be raised or lowered to

While drawing,

suit

position,

the light should

it

the form of a desk,

come from

pencil.

the

left,

You must

that the

be careful to

keeping your body away from the edge of the

pressure of the chest

wardness of attitude

is

shadow of your
sit

table,

while by keeping an erect position, your hand

in

an upright

as a constant

Most persons who attempt

to

is

quite at liberty,

free.

these prehminary remarks,

which

not only prejudicial to health, but also gives an habitual awk-

and your touch becomes firm and

Having made

you can give

your convenience.

hand may not be thrown on the


and easy

it,

draw

we

will

now proceed

for the first time,

to

our

first

make continued hard

The pencils made by Brookman and Langdon are decidedly the

best.

lesson

lines, like

those

you

will find

marked No.

1,

Plate

never draw a perpendicular or horizontal

is

please,

attended to

line

Nor

never be used in picturesque drawing.


rule

The consequence of this

I.

will

it

be required,

and draw a number of small dots or very short


2, in

the

same

plate,

you

Before you proceed


paper,

till

farther,

you must

will see I

practise lines

you can make a perpendicular

can

without the aid of a ruler, which must

Way, by the side of the others, and you cannot

this

that they

if the

following simple

place one dot immediately above another, at any distance

If you look at No.

is,

line

from one

lines

have placed

fail

to

you

to the other.

lines

formed

observe the difierence.

formed in

this

w^te
You can

manner, on

with tolerable certainty.

then apply them in making the outline of the mile-stone, as represented in No.

You

will find that,

when making

this

drawing,

such a position, as to see two sides of

this

we

stone

first.

We will

3,

are supposed to be standing in


;

and

in consequence, the line

that forms the angle, or corner, will be nearest to the eye.

drawn

in

therefore begin with the middle

line,

This must always be

and form

it

as I before

pointed out, by placing a dot at the top and bottom, and drawing short broken lines

from one
left

to the other.

If you observe the plate, the dots which were

larger than the others.

other,

You wiU

and draw the two outside

Httle distance

from the top of the

made

first

are

next place dots at equal distances from each

lines in the
first line,

same way.

If

you then place a dot a

and draw short broken

lines in

a slanting

you

direction to the top of each of the upright hnes,

And when you have drawn

lines

from each of the dots


This

the outside lines of the mile-stone.

in

drawing

will

at the bottom,

will for the future

which

used here purposely to point out and exemplify

Having made the

outline,

but this

is

lines all

the outline,

observe that I shall use that term instead of outside lines,

we

will

proceed

over

quite accidental, as

it.

The

you

its

meaning.

to put the mile-stone in shade.

look at the next drawing of the same stone. No.

number of small

you have formed

making

called

is

and you
is

form the top of the stone.

4,

lines in the

will find if

you

will see that I

If you

have drawn a

drawing seem to join each other,

you look

at the lines

under No. 5

these are drawn with freedom, and as even as possible to each other, about a
quarter of an inch long

one row under the


will

perhaps be

sible

will

from the

stiff

point,

soon learn

to

other.

with these lines the mile-stone

Your

and hard, but

first

if

it

properly.

You

you hold the

This

ceed to the third drawing of the same

will perceive that the light

to

be covered, placing

attempts at producing this shade with effect


pencil loosely,

making ,each successive stroke with

do

is

we

figure,

rapidity

will call the first

No.

comes on the

and as

far as pos-

and freedom, you

shade

and now pro-

6.

front of the stone,

and the side

is

in

PIJ

/'/.^

a
1

\/\

A
/

1jffi

%m
.-I

!'

^^^''

-'

Pis

/"/!

*"

"f

>fc

Cj

If T"-

'C..^B9)^S^\

--^

darker shade
shade, letting

produced by drawing

this is

lines in

one row of Unes follow another as

this

shade under No,

line

of the ground

7.

till

a slanting direction over the

before.

You

will find

first

an example of

have purposely avoided writing anything about the out-

now, but

this is

formed by moving the pencil backward and

forward, instead of up and down, taking care to lean harder as the pencil touches the

dark side

the outline of the

up with the slanting

filled

Having made the

we

will finish

effected

you

it

as in No.

lines,

by making the
it

outline

clear to

and put on the

first

on the dark side a

liftle

again, observing to

No.

The

and

mark

and second shades,


stronger.

the break in the stone

This

and

you

presently.
;

You have now


make

the letters,

this

only to

and the

does

mark
first

is

now

use of the line formed by dots instead of the hard line like No.

stone throws on the ground


in

lightly,

6.

which would not have admitted of being broken as

more

must be touched

the stone

outline of the mile-stone,

by going over

will see the

bank behind

1,

but this will appear

the

shadow which the

drawing

is

completed, as

6.

small drawings are intended to exemplify what I hinted at before, that

the difference of effect which can be produced by the broken or dotted

line,

is,

compared

6
with the hard
the hard
light or

line. I

No.

1.

This

part of an old wall, and

is

you

will see if I

had used

could not have shown the broken parts, nor could I have marked the

dark parts of the projecting stones.

We have
Ijiat

line,

now done

with Plate

I.

and

you turn

if

to Plate II-i

you

will perceive

you

I have naade outlines and finished drawings of two small subjects for

The outline, as well


mile-stone.
The pales

practise.

as the light and shade, are to be formed as

in the

are

the outUne of eo^ch of

large post

is

in the

them

is

all in

made

the pencil freely, and

make

first

shade, but care

directed

must be taken

that

strongest on the dark side; the dark side of the

There

second shade.

tjmn in the former one, but you

the

was

to

will find

is

no

rather

more ground

difficulty in

the lines from right to

left,

producing

drawing

in this
it,

if

you hold

bearing harder on the dark

side<

No,

2, is the

gable-end of a house, and

if

you observe

purposely to show where I began to draw from, you


in the

same manner

as in the mile-stone.

is

nearly a repetition of that in No.

ver^

little

shade on the house

1,

the

The

and you

the large dots, which are left

will see that the outline is

outline of the paling

will

and foreground

proceed as before directed.

shadow formed by

formed

There

the projection of the roof is

produced by using the

first

rushes in the foreground are

and taking

You must
will

soon

You

off lightly

it

find

it

contained in the

III.,

made by

pf great:

your

dots,

on waste paper,

have occasion

and form the

without a separate outline

No.

the finished drawing.

1, is

to

ing,

you

will

the centre.

when you begin


it

thin

you can do

plates,
lines.

make a number of
and

it

this is

the

the
fine,

freely, as

you

drawings

understand

how

have introduced four small drawings, Plate

hoping that you

will

now be

part of a broken cross

termed an octagon.

able to

make them from

in the part standing upright

on the ground, shows

that

it

has

In making the outline of this drawl-

begin as before, with the part nearest to the eye, which in this case

ig

After drawing the pedestal, or bottom stone on which the upright stones

are placed, go on to the

first

range of the latter.

Finish the outline of them J)efore you

begin the upper stones, taking care to keep the lines dotted, so that you

ward form

and pointed.

outlines of the

will therefore perfectly

three sides only are seen, but the broken part lying
eight sides or angles

till

on the pencil

service.

and second

first

pressing on the pencil

toward the end, which of course leaves

practice this sort of touch

will doubtless

to place

shade, only bearing rather strong

the broken parts.

When

the whole outline

is

may

after^

completed, the stones in the

8
front

must be

slightly

touched here and there with the

sides finished with the second

No. 2

is

and

third,

first

shade, and those at the

as before directed.

a better drawing than any you have had to copy before,

but,

ception of the two curved stones that form the arch of the gateway,

than a repetition of the pales in Plate


to

II.

and of the mile-stone

it

in Plate

with the exis little


I.

In order

form the arch, you must place a dot exactly between the upright stones

proper distance above them, and


the under line of the arch

if

you then draw a

the upper line

dots at a proper distance above this

The

bridge,

No.

making two others

under the
the top.

you

will

bridge.

first,

formed

at equal distances

The

from

it

bent,

it

will

give you

same way, by placing the

in the

in the centre
;

of the drawing, and

this will

give the top or

arch must be formed by making another dot exactly

and placing two others on the

little

little

rather lower

sides,

!from the centre dot draw a curved


with a

at the

line.

formed by placing a dot

3, is

parapet of the bridge.

is

line

more

each

line to

at

a proper distance from

each of the side

dots,

and

practice produce the half circle which forms the arch of the

The mountain

in the

background must be

slightly

shaded with slanting

lines,

and the banks on both sides of the bridge covered with the

first

and second

shades.

The window, No.


tempt

on

this

plate, is

I have placed

at present.

window forms

4,

it

here that you

part of a drawing which will

you

to at-

the

same

notice in a few

more

heavy a drawing

rather too

may

refer to

come under our

for

when

it

lessons.

I think

you

when you have

will perfectly

practised the subjects

understand

how

at proper distances, as well as to

This

shades.
that I

is

to

now

sent,

two or three times over,

commence a drawing, by

form

free

broken

acquiring a great deal for the

first

placing points or dots

and the

lines,

lesson,

first

and second

and though you may think

have repeated the same instructions several times, you must recollect that

has been

my

aim

to impress

on your mind what might otherwise appear of

importance, and I would

much

the slightest risk of not

making the

it

little

rather incur the censure of saying too much, than run


instruction I wish to

convey perfectly clear

to

your understanding.

Trusting that this has been done, I shall conclude the

first

lesson

and

in

a short

10
time yoU will receive another, accompanied With a view of some interesting subject,

drawn on purpose

for

you

to copy,

by your

faithful friend,

WHITTOCK.

N.

LETTER
With
ter

this letter

you

a drawing (Plate IV.) of the remains of the chap-

will receive

house belonging to the nunnery

Rosamond

Clifford (better

II,

at

known by

Godstowe, which
the

name of Fair Rosamond) was

This nunnery was formerly of considerable importance


of Winchester, toward the

was afterwards
was

civil

it

but the building sustained

it

was

I.,

buried.

was founded by a lady

I.,

in the

year 1129; but

greatly enlarged and ornamented with a beautiful tower.

war, in the reign of Charles

the royal army,

end of the reign of Henry

latter

dissolved at the reformation

of the

famous as the spot where

is

little

The society

damage

till

the time

when, being converted into barracks for

accidentally destroyed by

fire.

11

The

tower, and great part of the walls, were standing within the last century

I shall at a future opportunity send

the reign of

George

drawing now sent

II.,

taken from a sketch

Oxford, and few antiquarians

Having sUghtly glanced

eye,

now

visit

in the

The

Ashmolean Museum.
is

about two miles from

the university without viewing this secluded spot.

at the history

of Godstowe,

we

will

proceed to the drawing.

as I before informed you, by drawing the line nearest the

which of course must be the corner of the building

you may be

certain of having

it

in the proper plaice,

making dots

first,

and quite upright.

so that

You

observe that the line which forms the angle of the building, nearest the poplar
is

not so long as the one drawn at

the picture
it

and

runs up to

it.

if

when

you look

I do not

present, but I wish

first,

as

it

mean

bottom of the building, you

to explain the reason

you to observe

that they do so,

why

side,

ing,

Having formed the two upright

with two more drawn horizontally, or nearly


is

complete.

I need hardly

way at

and you will soon discover the cause

and you have the gable-end of the building

and the outline

tree,

will find

the lines run in this

place a dot between them, to find the point of the roof; from this
lines,

will

reaches neither so low nor so high in

at the line at the

I begin to treat on Perspective.

upright

and

the ruins as they appeared in

Godstowe

that remains at present.

is all

You must commence,

you a drawing of

so, at the

tell

draw

lines,

you must

lines to the

two

another line at the farthest

top and bottom of the build-

you, that the lines for the

windows

12
imust

be done

in the

so that if yon ftiake

same manner, taking care


th'ree

you need not rub them


in shadB

as

it

or four outlines on the same drawing before

t>ut,

as they will not be perceived

and reiri&mber, that the

less

raises the stirfece of the p^aper,

you must be very

Ene, which

good, unless
Tjuilding,

it is so,

you

beginning at the

may now

strengthen your

will
top,
first

use you

and

make of

careful to

make

and leaving the

light as

by going over

strongly, keeping

them

this

sufficiently strong to

mark

You

no

finished the out-

drawing can be

after

shade nearly the whole

you see

it

You

in the copy.

again, forming the edges


also

mark

You will

will see I

much

not find

filled up,

and

the form of the

and by leaning hard on the

quite free,

drawing, as they are nearly


their shape.

is correct,

put the building

Having

first

You must

give a sharp bladk touch or two in the dark parts.

with the windows in

it

it

faint,

the India rubber, the better,

correct, as

proceed to cover with

outline

when you

spoils the drawing.

broTken corners df the stories as you proceed.

windows more

and very

that they are quite free

pencil,

difficulty

but the lines are

left

have formed the stones as I

proceeded with the second shade, not formal square blocks, but rough broken stones,
as they
the

\vill

of course appear in an old diliapidated building, like

same method

in

forming the stones on the

light side, arid

this.

you

the thick black touches are always to be placed on the dark side.

your taste

in

drawing, by letting the lines of the

first

will

I have used

observe that

You

will

show

shade run in Various directions,

13
so as to form different kinds and shapes of the stones.

mean

if

you look at

the large stones near the

the outline of trees here, which

you

will

together; take care to


right method.

to be

make them

The ground

is

and

light,

have iatrodueed
free,

I cannot better ^escribe

and
it

in

the letter i joined freely

and praqtipe

will

soon give the

formed as before directed, and the stump of the

front must, like everything else, be first

tree in

understand what I

form by holding the pencil quite

making a number of
free

will

two small windciw^

giving the fingers a circular motion at the sanje time.

words than by supposing you

You

touched up with a blunt-pointed pencil,

till

it is

drawn very

light,

and afterward

darker than any other part of the

drawing,

The

foregoing directions, aided by your

own

judgment,

will,

have no doubt,

enable you to produce a good copy of the drawing of Godstowe, and vie will

proceed to Plate V., which

is

now

a correct drawing of the remains of Beaumont Palace,

Oxford.

This palace was

from

his heroic

hearted.

built

by Henry

I.,

and was the

birth-pl3.ce

achievements in Palestine, gained the

title

of Richard

I.,

who

of Gceur-de-Lion, or Uon

14
In drawing

this ruin,

you must commence as

line at the angle nearest the eye,

by

side,

on the dark

God-

shade, and effect given

them

first

This drawing being intended as practice in

side.

the instruction previously given, I shall forbear entering

you

find yourself at

loss,

as before directed in drawing

the broken stones must be produced by the

spirited touches

by making a perpendicular

and then carefully sketch the outline of the whole

form the arches that are seen on the dark


stowe

before,

you must have recourse

more

into detail.

to a careful pefiisal of

Should

my former

letter.

The

next drawing, Plate VI.,

is

Tower of Oxford

the

Castle, seen behind

one of

the small bridges thrown over the canal.

Oxford Castle was erected

in the reign

inhabitants of Oxford in subjection.

moat.

It

of William the Conqueror, to keep the

was of great

Within the walls was a church, dedicated

Many interesting events

strength,

and surrounded by a

to St, George.

are recorded in history as having taken place in this castle.

In the reign of Stephen, the Empress


sieged by the king in person,

Maud

took refuge here, and was closely be-

who swore a solemn

oath that he would not raise the

ri(^

pi^
i^.

/'^.(^

A^

15
siege
that

till

it

he had taken the empress prisoner.

defied his utmost efforts for

But such was the strength of the

more than

three

months

at the

castle,

end of that

time,

the garrison being reduced to the utmost extremity by famine and incessant fatigue,

The

the empress determined to effect her escape.

ground covered

writh

river being frozen over,

and the

snow, she dressed herself and three attendants in white, and

issuing silently about midnight, from a postern of the castle, crossed the river, and

creeping along on the snow, passed

on foot

to

all

the enemies' sentinels in safety.

She travelled

The

Abingdon, and reached Wallingford on horseback before daylight.

garrison surrendered the castle to Stephen the morning after her departure.

The tower
on the
still

site is

called

represented in this drawing,

now

erected the country

is all

jail,

that remains of the original buildings

in the

Gothic style of building, and

it is

Oxford Castle.

In commencing

this

apet of the bridge,

you begin the tower.

drawing, I should advise you to

first

When

tower nearest the bridge.


perpendicular

making a

slight outline

you have done

You

will

this,

mark

the centre of the par-

of the arch and the banks before

make

the outline of the angle of the

observe in this building that the outline

as the tower tapers toward the top, the outline of course leans a

is

not

little.

16

You mast
side lines.

nearly the
spective

be particular in making the outline of the angle higher than the two out-

To you
same
till

first

appear singular, as you are aware that the walls are

I cannot explain the cause of this

height.

it

I write to

Having made a correct and

as you can.

you on

per-

free outline,

let

draw

shade (making the lines hght and close together) over the whole of the tower,

The

outline previoTJsly

made of

show through both

shades, and must

now be

then go over the dark side with the second shade.


the loop-holes and the window, will

made

till

then you must be content to copy what you see in the drawing, and

the outline run as like


the

may

this

darker, yet

still

taking care that none of your touches are so dark or so thick

as those you will afterward use in the bridge


distance from the bridge, and

appear so strong as they do

it is

as the tower

is

supposed to be at some

only by not letting either the light or the shade

in the foreground, that

you can make

the distant objects

recede.

Having

finished the tower,

mark

the outline of the trees, taking care to give your

hand

that circular motion I before directed

lines

of the second shade, a

are nearer to the eye.

you may make black

The

little

fill

up the outline of the trees with short

darker than those used on the tower, because they

outline of the bridge

must now be made darker

free touches, as the darker this appears, the

more

it

and here
will

come

17
forward

make

be careful not to

and formal, and be sure

to

the projecting stones that

go around the arch

keep the dark touches on the side that

is

in

water

formed by

is

free lines

reflectipn in the water


tint required.

lightly
line,

The

as that would

cloud that floats near the tower,

make

it

make

itself!

The

The dark

even with the bottom hne of the picture.

must be made by passing over once or twice,

backward and forward

shade

the outhne of the reflection of the arch in the water lighter than the arch

you have got

till

is

till

stiff

you get the

produced by drawing the pencil

the shape without

appear hard, and destroy the aerial

any previous

effect

out-

which clouds

should always possess.

This drawing
conclude

will require all

this letter

your

attention,

and I hope

by a few remarks on Plate VII.

to angular buildings, but

many

will receive

is

I shall

I have hitherto confined myself

of the most picturesque are circular.

of a postern in the city wall, near the old gate, called Bocardo,

This spot

it.

is

The drawing

of this character.
it

was from

Cranmer was

forced to

calculated to excite melancholy feelings in the beholder, as

the small loop hole you see near the top, that Archbishop

behold his learned and venerable brethren, Bishops Ridley and Latimer, perish in the
flames,

which were but a prelude

to his

own destruction.

In contemplating the death

of these reverend martyrs, a feeUng of joy, that bigotry and intolerance have long since

18
fled

from our happy

in our

isle,

mingles with our sorrow for the past, and raises that emotion

minds which may be termed pleasing melancholy.

that constitutes the enjoyment

who can

it

this

You

in the

which Shakspeare,

of the banished duke:

who

Sermons

faint line,

this postern,

curving

dots by which

will, I

am

sure, forgive this digression,

it

as

It

was

in the play

this

when you know

into,)

feeling

which gave
it,"

birth to those

has put in the mouth

you

in trees, books in the running brooks,

in stones,

will

and good

make

the

in everything."

two perpendicular

you proceed from one

you mark where

to the other.

lines

On

first,

then draw

this line

the short perpendicular lines which

place the

form the

battle-

ments, spring from; then proceed to form each battlement precisely in the same

you

did the

first

that

a participation of such refined

As you like

"

of

to

me

(which

finds

"Tongues

In drawing

of ideas that renders

this association

it is

hope of leading you on

pleasure and mental gratification.


beautiful lines

and

otherwise insignificant drawing has led

has been made

emotion

is this

portray the scenes of other times, or the remains of them, of first-

rate service to the community.

a view of

it

we derive from viewing drawings of places which have

been the scenes of remarkable events


the artist

Indeed

drawing, (the mile-stone.)

As

way

circular drawings are rather difiicult,

19
I have introduced an outline with nil the requisite points marked.

thrown on the wall by the

circular projection, but

the postern a small space near the wall

by no means be

omitted, as

it is

left

You

will

my

observe

will see

on the dark

it

light

from the

wall,

could not have without

it.

must

and gives
I

need

former observations as to retouching the outline in the dark parts.

that,

though the wall

is

quite straight,

one side of

it is

considerably

higher than the other, and that the outline runs in a slanting direction.

be content to make your drawing

like the copy,

appearance, but the succeeding letters

The

side of

rather lighter than the rest; this

caused by the reflected

the postern the circular appearance which

scarcely repeat

you

There is a shadow

will,

without knowing the reason of this

I hope, fully explain this also.

subjects I have hitherto drawn, though they

they have consisted of separate buildings with

be copied without any very glaring error

You must

have been

little

in perspective, yet as

variety of outHne, they might

but you cannot proceed farther without

being introduced to a knowledge of perspective, to which I have already had occasion


to allude.

Architectural drawings are of two kinds, drawings of elevations, and drawings in


perspective.

20
In drawing an elevation of a building, you are supposed to stand directly in front
of

it

sides.

tion

all

the lines are of equal length and breadth

You
but

if

will

understand

this

you could go toward

side; in this case all the

by looking

at

No.

nor can you see either of the

1,

Plate VIII., which

the end of the house,

you

is

an eleva-

and one

will see the front

hues would not be of an equal height, those nearest the eye

being higher than those at a distance, which decrease in length as they recede from
the view.

you

In the drawing No.

this idea

enter

more

2,

the

same building

is in

perspective.

Having given

of the difference between elevation and perspective, I shall in

fully

on the

my

latter.

N.

WHITTOCK.

next

21

LETTER
In the present

which

all

that

is

letter

it is

III.

not intended to enter into the geometrical problems by

advanced on the

art

of Perspective could be proved, but profiting

by the exertions of those mathematicians who have


the various propositions,

Yet

we

shall

endeavour

6learly demonstrated the truth of

to render their labours practically useful.

there are certain terms and definitions of points, lines, and figures, with the

ing of which

it is

absolutely necessary to be acquainted, before

we can

mean-

apply them,

or understand the terms used by writers, either on drawing or any other scientific
subject.

We shall begin with figures.


which are used

in arithmetic,

This term

is

not confined to the Arabic numerals

but in this case applied to circles, squares, parallelo-

grams, right angles, equilateral triangles, &c.

and we

of those used in geometry or perspective are formed.

will

now

describe

how

several

22

The
point,
it.

circle,

formed by placing one leg of the compasses on a

is

and allowing the other leg

The

round

you are aware,

it

The

the circumference

two equal

circle

a line at an equal distance completely round

on which you place the compasses

point

circle into

to trace

and a Hne drawn

let it

be large or small,

is

circle.

supposed to be divided into 360

Astronomers divide each degree into

equal parts, called in admeasurement, degrees.

sixty minutes, and each minute into sixty seconds, but the
is sufficient for

By looking

our purpose.

and has a

circle is divided into degrees,

The

circle divided into degrees, is

viding the degrees by the

quadrangle has four

drawn from 360

to

sides,

90

at

line

No.

the line

this describes

drawn from 360

it

show

to

its

diameter.

Thus a square

sides in the figure required.


is

90.

In No.

one side of the square.

called a chord,

to 90, is

3,

you will

line

di-

or

find a line

drawn from one

and the space between the

circumference, an arc; both are measured by the

Thus

division into degrees

Plate VIII., you will find that the

drawn through

and the fourth of 360

is

3,

first

of great use in describing angular figures, by

number of

part of the circle to another,

Hne formed

directly through the centre, dividing the

diameter of the

parts, is called the

once formed,

called the centre, the

is

line

number of degrees they

and the
contain.

a chord of 90 degrees, containing an arc of 90

23
degrees

draw

three other chords of equal length,

and the square

is

In

complete.

drawing, there are other methods of producing the figures formed by a circle, without
troubling ourselves to calculate the degrees, but

and other terms used

in describing the parts

it

of a

is

best to

circle,

show you

the use of these,

as in admeasurement of any

kind they are of constant recurrence.

A square may be formed by drawing


from each

An

point.

No.

by the dotted

lines,

By

two other

may be formed by

The

base Hue

D, E, No.

lines

2,

Plate IX., this will give the length of one side of the

of equal length give the triangle.

drawing

is

and most other angular figures

is

lines

placing one leg of the compasses in the

the circle, also, the pentagon, five sides and anglies

dctagon, eight

and drawing

and the other on its circumference, then forming the arc described

circle,

circle,

Plate IX.

equilateral triangle

centre of the

angle

2,

two diameters of a

may

the hexagon, six

the

be formed.

the line which bounds the bottom of the picture,

often termed the terrestrial or ground line.

and

in landscape

24

The

horizontal line

what part of

always parallel or even with the base

is

line,

and indicates

the picture the representation of the natural horizon should appear

in

but

as the beauty an(J correctness of any picture will greatly depend on a thorough

knowledge of the

principle of the horizontal Une, four small drawings, introduced

in Plate X., are designed to illustrate the

though, in

fact,

remarks that follow on

Al-

subject.

the person taking the view can never form a part of the picture,

therefore should not appear in the drawing

by way of

this

license, to introduce

and

yet I have been obliged in these views,

him, in order to render the subject intelligible.

If you stand on the sea-shore looking toward the ocean, in the extreme distance
the sky and water appear to meet together, and the line formed by the termination of
the view of the water

exactly the

is

same height

You

called the horizon.

as your eye

this

Nor does

it

make any

line

you can prove by holding a

distance from you, even with your eye, and

your view.

will find that this

it

will

difference if

is

always

stick

some

completely hide the horizon from

you are lying on the ground, or

standing on an eminence, the horizon will of course be higher or lower, but in

all

cases will be even with your. eye.

In the drawing. No.


is

1,

the height of his eye

a sailor
ships

is

seen looking toward the sea, the horizontal line

and boats of various dimensions are seen

the sails

25
of most of them appear above the horizon, but the hulks of
that do not appear

higher,

his eye are said to

2,

v^ill

man

In No.

is

seated on a

convince you that

boat are entirely

3,

belovs^

man

is

cliff,

the horizon

belovsr,

and

all

it

all

that are

this is not so pleasing

that of the three


will

a picture as No. 1

the sails of the

the horizon, and the sky forms but a small part of the picture.

seen sitting in a boat, the horizon

examples before

us.

No.

1, is

consequently be most pleasing which

in that case the space

the height of his eye, but a

is still

the space between the ground line and the horizon

view

be

of them below

above the horizon.

In No,
glance

above the height of

all

the
is

is

is

even with his eye, but

too confined

thus

it

most worthy of following.

follows,

That

taken in a standing position, and

between the horizon and the base

line will generally

occupy

about one-third of your picture.

No.

4, is

an inland horizon, and

is

introduced to

in the sea view: the only reason for selecting


is,

that the plane or surface of the sea is

show

that the effect

is

the

same as

marine subjects for the three examples

more regular than

the horizon unobscured by objects rising above

it.

that of a landscape,

and

26
Having,
tal line,

it is

made you thoroughly acquainted

hoped,

we must now

opposite to the eye,

proceed to the point of sight

when looking

at

any

this point that all the lines

The diagrams

in Plate

sight, sufficiently for


it is

is in

the horizontal

line,

is

and

always
it

is

in

of the picture terminate.

XI.

will enable

you

to understand the use of the point of

us to proceed with our picturesque drawings for a short time, as

very desirable for you to become thoroughly conversant with the horizontal hne

and the point of sight before we proceed

farther in the art of perspective.

In No.

1,

a number of upright poles are seen

and

at

an equal distance from each

plain,

you

this is the point or spot directly

and as the horizontal Hne

object:

even with the eye, of course the point of sight

with the use of the horizon-

that the farther

any object

is

other.

they are

all

standing on the same

Common observation

from the eye, the smaller

it

appears,

poles in the drawing gradually lessen as they recede from the view.
as before stated, that

and therefore

lines

all

see

drawn from

why

convince

and thus the

The

reason

is,

the lines in the picture terminate in the point of sight,


the top and bottom of the

first

pole to the point of

sight in the horizon, will give the true height in perspective of the

And you now

will

whole of them.

the base hues of the buildings slant upward, and the roofs and

PUO
.','

Fl

//

27
other lines above the door downward.

All lines below the horizon, terminating in the

point of sight, must incline upward, and those above the horizon

In No.
to

2, I

show you

You

explain the reason

why

all

plain, in order

objects appear smaller as they recede

will

understand this by looking at No. 3

from

here you see the two lines

formed by the rays from the top and bottom of the pole meet
the angle
the rest

on the

All objects appear large or small according to the angle at which they are

the eye.
seen.

the other

hill,

that the lines of both terminate in the point of sight.

now

I will

have drawn two cottages, one on the

downward.

a, h,

c; the rays from the next pole form the angle

which,

if

No.

4.

sight, as in

in the eye,
d, e,f,

and form

and so on

for

they were continued far enough, would terminate in the point of

Here

the poles are continued to the point of sight, the angles

appearing smaller the nearer they approach

it.

I shall not enter farther into the art of perspective at present, but leave

you

to

apply the foregoing rules to the drawings sent with them.


-J

Plate XII.

is

a drawing of Denbigh Castle, North Wales.

28
Plate XIII.

a sketch of a village

it

Cumberland.

your guide

lake,

You

will find the horizontal

and the point of sight

in the

take great care to draw the lines correctly in perspective, at the

time not letting them appear hard.

Plate

in

drawing on the distant edge of the

line in this

boat upon

is

have

left

same

the dotted lines in this drawing as

for the future.

XIV.

is

a drawing of the remains of Oseney Abbey, near Oxford.

Trifling

as these ruins appear now, they once formed part of one of the most magnificent
nastic establishments in the kingdom, which

and from him Dr.

and you

in 1129.

Plot, in their Antiquities of Oxford, give

origin of this celebrated building.


itself)

was erected

will

time had recourse

not
to,

fail

its

by which the minds, even of the

Anthony Wood,

a minute account of the

This account I have sent you, as a curiosity

to observe the

to obtain

mo-

degrading arts which the priesthood of that

endowment
nobility,

in

nor the equally degrading superstition

were enslaved, when such

arts could effect

their purpose.

It

appears that

she resided

in

Dame Edith,

Oxford

Castle,

the wife of

Robert Doyly, used

by walking on the banks of the

to solace herself,
Isis

when

under the stately

elms which overshadowed them; and frequently observing the magpies gathered

29
together on a tree by the river-side,

making a great

induced to ask Rodolphus, a canon of

on

for to confer
pies, but so

this matter, the

many poor

St.

chattering, as

Fridswid, her confessor,

meaning of

it.

"

Madam," says

it

whom
he,

way

souls in purgatory, uttering in their

were, at her,

was

she had sent

"these are not

their

complaints

aloud to you, as knowing your extensive goodness of disposition and charity," and he

humbly hoped,
posterity, she

for the love

of God, and the sake of her

my

do

"Is

it

and the souls of

so indeed?" said she; "I

And

best endeavors to bring these poor souls to rest."


"

matter to her husband,


sat,

soul,

would do them some public good, as her husband's uncle had done, by

building the church and college of St. George.


will

own

did prevail

on him

to begin this building

relating the

where the pies had

thus delivering their complaints in the year before mentioned."

From

this beginning,

Oseney Abbey became one of the grandest

the abbot sat as baron in parliament.

At

Henry VIII., Oseney was converted

the county of Oxford

was made a diocess

Oxford.

speaking, (though

it

into

a cathedral church, and

but on the disgrace of Cardinal Wolsey,

translated the cathedral church from

this, strictly

England, and

the dissolution of the monastic establishr

ments, in the reign of

Henry

in

Oseney

had been used long

to Christ

before,)

Church College, and

gave the

title

of city to

The remains of Oseney Abbey, now


tion relative to the

drawing of the

must

faintly,

first

be drawn

till

converted to a

building.

you have got

The

mill, will

require

in the direction

of the bend of the

the true shape of the tree, then cover

touches on ihe dark


to the

side,

and

across the lines

The small branches

trunk

pencil, let lines

tree,

lastly,

made

run

all

formed

in the

it

obliged to introduce the tree, but

produce at

first

I shall shortly send

enable you to form them with as

much

to let the reflection of the objects

you

that

it

will

this is

be rather

the line,

difficult for

trees,

now produce buildings.

on the water appear transparent

the outlines of the buildings, trees,

then

up the whole of the remaining space of the

&.C.,

only letting the lines run in a horizontal direction

for

a real view, I was

on drawing

by drawing
filling

make sharp

when you begin

As

instructions

ease as you

curving them

the few leaves that are seen are

lighter touch.

am aware

it,

then, with

same way you make touches

are formed in the

same manner, but with a

over

you

give roundness and spirit

last, it will

off sharp and light toward the end

if

with the same pencil,

long grass or rushes, by pressing the pencil on the paper

and bringing

direc-

outlines of the pollard willow

the trunk with the second shade, pressing rather hard on the pencil

a firm touch and a blunt-pointed dark

no new

this

you

which

to

will

Take care

you can effect

without putting them in shade,

next

river with the first shade,


let

the building and trees

be put in shade, the windows and other parts drawn, but take care they are not

PIJ4

PU^
<|

^^\

1.

r*s.W^^
-Vi/

r"

Ji.ematn^o/'^'''^^

Pl/S
PcitJii cfZ>iJt<mx:e^

Pomt QfSvtf?!,^

PfftTii e/'iSig'TU

^ffnzojp

fforvion

PI. ^(f

Pomt sfDRiia?tei^

31
formed with hard hnes, nor yet so dark as the building
this,

draw a few flowing

lines at

itself.

After you have done

distance apart, over the whole river, and the

some

desired effect will be produced.

LETTER
Having made you acquainted with

IV.

the horizontal line and point of sight, I now;

proceed to the point of distance.

This point

is

the place where the spectator stands to take the view; and of

course, as before mentioned, can never be seen in the picture.


that the eye cannot conveniently take in

gle

and

more rays than are included

for this reason, that the pupil being in the centre

admit more than a quadrant of a

circle,

You must
in

recollect

a right an-

of the eye, does not well

so that whatever rays exceed that portion,

if

33
seen at

all,

ring to No.

is

only produce a dim confused


1.

Plate

the point of sight in the horizon

country,

understand

this

by

refer-

be seen

distinctly,

you could not do

it

where the person stands

to take the

view

A is

b b are the points of distance on the horizontal line

formed by the Unes or rays from C.

may

will

XV.

the point of distance, or spot

these lines

You

effect.

You

but if

will

observe that

you wished

that

all

to take in

comes within

a greater extent of

from the same point of distance without turning the

head, and thus having another point of sight, which would throw your whole draw-

ing into confusion: but


larger,

and would take

if

you were

in

more of

the view

be a greater distance from the point of

you why

and the points b


This drawing

sight.

b,

2,

in this case

hoped,

and we

show

now

will

in perspective drawings.

Plate XV.,

one side of which, c

would

will, it is

the points of distance are placed on the horizontal line

proceed to their use

In No.

a greater distance, the angle would be

to stand at

c, is

is

the base line; and I wish to put a square in perspective,

measured on the base

c c to the point of sight a

and

perspective from c c,I have

to

made

determine

line

how

to effect this, I

large the square

dotted lines to b

b,

draw

lines

from

would apj>ear

the points of distance

in

the

33
points

where they

intersect the lines

drawn

to the point of sight, will give the true

size of the other three sides of the square.

Accidental points are so called, because they are not drawn to the point of sight,
or to the point of distance, but appear accidentally on the horizon, according to the
situation of the object

such a position,

drawn

though

that,

atj^

objects, terminate in

which

is,

must of course appear

a point

out of the picture, to

in perspective

show where

I have briefly, but

at pleasure,
this

till

its

a block of stone lying in

in perspective,

it

is

would

this

The

and the former

is

to

is

line

a long

way

be found.

satisfactorily explained the nature

we must proceed

quite conversant with all the lines

letter.

case

another block;

to

of most of the

a practical appli-

next plate (XVI.) contains three figures, which you

you are

cannot be

in the present

by continuing the horizontal

the accidental point

hoped

it

sides must, however, like those

in the horizon

points and lines used in perspective drawings,

cation of them.

is

therefore, the accidental point of this object,

which can only be put

As

it

either to the point of sight or of distance

of all other
fall

thus e in the drawing before us,

may

vary

and points treated of

in

34

No.

1, is

shows one

a small square viewed directly from the


side of the square,

they will give the sides c

and

if

front,

we draw lines from

put in perspective,

c and

to the point

of sight,

and d b ; but we cannot obtain the remaining side without

a,

having recourse to the points of distance, which are here placed on the horizon,
equal distance from the point of
tance, will intersect the lines

from the points of


this rule will

No.
sents

2,

shows the

two

for

horizontal

line,

horizon

so

for the

is

same

line

to the point

figure

view

of

sight,

and another

viewed from the

same

in the front view,

you must

line

drawn

complete the square

front.

object.

In

this position

and the point of sight, instead of appearing

real point of sight,

at

drawn from c ox dio the point of dis-

parallel to the base line, will

any square

of the horizon, as was the case

The

side or oblique view of the

sides to the

the picture.

sight.

drawn

intersection,

answer

d,

in the

it

pre-

middle

must be placed nearer the side of

recollect, is

still

in the centre

of the

but the position of the eye being greatly on one side of the object, the

much

extended, that the whole of

it

cannot be given on the paper, and

reason, only one point of distance can be introduced.

not lettered, because the process of putting thi square in perspective


in the preceding example.

This figure
is

the

is

same as

FU<f

rL/7

i^.
Licllo'rdlj-T^OK'gT, Lo'TTibdh Polar f

P-U9
1^

^,^<?
7
>>.

"

u^:

35

No.

3,

contains two square blocks of stone, a and h

horizon, 6

is

below

it.

It

to

it is

understand

upon

this,

till

in

how

much above

it,

to put elevations in perspective,

you are

considerably above the


is

always even

of course the top of the stone cannot

Before you can draw these stones,

h.

is

has been shown before, that the horizon

with the eye, and a being so

be seen, as

quite able to form squares

will

it

be necessary for you

but I do not wish to enter

and other figures on the ground

plain.

Plate XVII.

is

the entrance to

Lambeth Palace. This gateway was built by Cardinal

Pole, the last Catholic archbishop of Canterbury.

the Protestant martyr. Archbishop Cranmer, and

This

prelate,

was promoted

infamous Queen Mary, was esteemed a pious, humane, and

though he succeeded
to this office

liberal

by the

man, and greatly

averse to the dreadful persecution of the Protestants, which, from his station, he ap-

peared to sanction.

The gateway forms

ings, erected at various periods for the

who have

accommodation of the archbishops of Canterbury,

in succession resided here for

the most distinct architectural drawings


the angle nearest the eye

have drawn the perspective

the entrance to an extensive range of build-

many

You will find this one


You will of course begin

centuries.

we have

had.

the height of the figure will determine the horizon.


lines

on the margin, as a guide

for

of
at

your making the draw-

36
ing on a large sheet of paper.

than the object

you

itself;

upon the gateway from

Take

will see

care to keep the

what

is

meant,

Be

the farthest tower.

if

shadow of

the object darker

you observe the shade thrown

careful in

making your dark

spirited

touches on the dark side of your outline, and observe the variety of touch on the
brick and stone work.

Plate XVIII.

introduced in connexion with the preceding drawing, because

is

represents the interior of Lollard Tower, in

prison of the early reformers,

who were

Lambeth Palace.

This building was the

converted from the errors that disgrace the

church of Rome, by the arguments and writings of Wickliff those converts were
;

derision called Lollards, and the scene of their confinement retains the name.

a small dark room, measuring only twelve


studded with iron
chained,

still

it

feet

by

nine,

in

It is

formed with thick oak planks

the rings and staples to which the unfortunate prisoners were

remain.

This room
point of sight

is

an excellent subject
this point,

for

showing the

by applying your

rule,

lines

you

running on

will find in

all

sides to

one

a large spot upon

the edge of the board in which the rings are inserted, near the centre of the picture
the double line in the margin

shows the horizontal

line.

37

The

last three

spective lines

you

drawings are intended as practical

but as I hope they will

to proceed for

now be

of the use of per-

sufficiently familiar to

some time without glaring

of the art which you have already

illustrations

errors,

to

enable

I shall proceed to a branch

the necessity of acquiring,

felt

you

viz.,

the study of

trees.

LETTER
In the preceding examples I have, as
trees, because,

V.

far as possible,

avoided the introduction of

although they constitute the chief beauty of landscape scenery, most

persons find them very

difficult

to produce.

But, as I before informed you, there

are rules for drawing trees as well as other objects


correct outlines, and have acquired

our attention to the study of

this

and as you are now able

some knowledge of

most

light

and shade, we

to

form

will turn

interesting branch of the art of drawing.

38
Plate

XIX.

a drawing of the stump of an old oak in Blenheim Park

is

glance will convince you that no perpendicular lines can be used in


that every part of

it is

In commencing

this

formed by angular or curved

and then proceed with the

outline of the trunk

arm

The arm

it.

parts into

make a

which

it

slight but free outline

may

afterward be divided

have a shght but correct skeleton of any

You may now

you come

mark

If a

by

arm

here

the form of every branch as far


till

you come

to another

mass of fohage hides part of the

of the whole of
;

to the first

this

it,

without noticing the

method of proceeding, you

will

take a soft black pencil and retouch the whole, taking care to keep

by going over

forward in a horizontal
first

till

rises,

tree.

the broad spirited touches on the dark side


in shade,

lines.

completed, go back to the trunk,

or branch, and then proceed as before.

trunk or arms,

drawing, but

from which the trunk of the tree

in the foreground,

leave the trunk, and form the arm, observing to

you can see

a single

drawing, you must with your hard pencil sketch freely the

form of the mass of earth

as

this

it

then put the whole of the mass of foliage

with lines formed by moving the hand backward and

direction.

The

shade, leaving that part blank which

trunk and arms must


is

in strong light

now be

after this

put into the

go over the

39
dark part with the second shade, taking care to give your pencil that circular motion

You

that will give roundness to the tree.

will notice for yourself the

given afterward, the knots, &c., better than I can describe them

you now
subject

The

to do,

more

is,

to give character to the foliage

at length, I refer

fohage of trees

is

you

to Plate

made up of

XX.

it

they

copy No. 1 slowly, and with

copy.

You may

is

you are able

careful not to proceed


leaves,

to

produce

then proceed to No.

except that the circle

When

you are able

till

2,

and as these forms present

appear.

In order to do

This figure you must practise

with ease, without looking at the

it

which

may

care, taking notice that the inner

points of the strokes are directly toward the centre.

a number of times,

necessary that you should acquire

is

way

great facility of expressing them, whichever


first

that remains for

irregular curved lines, formed into semicircles,

themselves to the eye in various directions,

you must

all

but as I shall have to treat on this

angles, or points, according to the character of the tree

this,

dark touches

is

formed nearly

in the

same way,

more broken.

to

draw Nos.

1, 2,

till

you can do

so,) then, as

you may proceed

to join

them

in

and

3,

without looking at the copy, (and be

you have

cluster,

hitherto

been forming single

from the examples

4, 5, 6,

and

7.

40
All the examples in the

from 8

first

row are

to 11, consists of foliage of

a more pointed character

proceed on the same plan as before.

you may proceed


this differs

from

to
all

12 and

13,

When

some

It will

time,

time for

Plate

till

other kinds, and must be most attentively studied.

XXI.

is

The edge

of the water

The

other

drawn are ap-

elementary plate of foliage for


shall, therefore, to

allow

the

its

It is

will give

a pleasing rural scene, and

you the horizontal

line,

and you

tower and cottage in perspective.

a gateway into the Tower of London

state prisoners for so

Bloody Gate.

feeling of horror
time, with

this

a view near Woodeaton, Oxon.

is

XXII.

name of

figures previously

your hand has acquired perfect freedom, and I

will easily put the

the

where the

foliage

proceed to our regular drawing.

this,

by which

but in these you must

you can draw these forms with freedom,

be requisite for you to practise

an easy drawing.

Plate

the next row,

which are the elementary drawings of oak

figures in this plate are parts of trees


plied.

leaves of a semicircular iform

and from

its

many

ages have passed to execution,

It is

impossible to view a scene like

and melancholy retrospection.

Under

being the gate

it

has acquired

this,

without a

this gate, little altered

iron-studded doors, ponderous portcullis, and

all

by

the terrific strength

41
required in ages past,

bow

their

window,

attached to

still

it,

have passed many

illustrious characters

Under

neck beneath the bloody axe of the executioner.

at the side

the small grated

of the gate, the bones of the young princes, the sons of

in this

their unnatural uncle,

drawing

first

Having had time

1,

Plate

of a picture.

and second shades with a

to practise Plate

XXIII.

The

is

it

XX., we

outline of this tree

preserves the

may

soft pencil.

will

now

return to trees.

like the

is

formed by the small semicircular touches, and

second shade.

same character

No.

2, is

a poplar seen

in the outline, but is filled

at a distance the foliage of a tree never appears distinct.

No.

be necessary

to

make a number of Unes

like those

and terminate them by a tremulous motion of the hand.

at

some dis-

up more in mass, as
3, is

part of a droop-

ing willow, one of the most beautiful and picturesque trees in nature.
this, it will

be obtained

part of a poplar supposed to be very near the foreground

shaded with short touches


tance

will find little difficulty

the depth of shade required under the gateway,

by recrossing the

No.

You

Richard the Third.

Edward

who were

the Fourth, were found; having been interred here by the murderers

employed by

to

To

used in the

produce

first

shade,

42

No.

7, is

a pollard willow

the trunk

the trunk and a branch of a beech tree.

round than most


in light

others, the

produced as

As

shade must be more

and branch of a poplar

When

in

you have acquired

presented in this plate,

XXIV-

is

8,

This

is

XX.

Few

visit

strengthening

it

letting the lines

The same

afterward

elm

6,

shows the trunk

tree.

is

this fine elm.

drawing

trees,

given in

care must be used in

Hill,

called

Oxford without walking up Headington

surrounding country beneath the shade of

and Plate XXIII.

part of an

is

freedom of hand to produce the parts of trees

venture on a perfect

to the instruction for

more smooth and

the finish of the parts

a drawing of a celebrated elm upon Headington

persons

can be added

5,

No.

This tree was planted by a person named Joseph PuUen, and


tree.

is

No. 4 shows

an oak stump.

sufficient

we may

No.

circular.

Nos. 19 and 20, of Plate

and No.

XIX.

in Plate

the trunk of this tree

and shade, with the foliage strongly marked.

of the elm, which are seen

Plate

is

near Oxford.

Joe Pullen's
to

view the

Very few verbal

directions

Hill,

my remarks

making a

on Plate

light outline

the whole of the foliage should be put in the

run in a horizontal direction

then

make

XIX.

first,

first

and

shade,

the outUne of the most

Pl.ki

I>l.Z2

Bloody Gate

'^l"'4i/''

projecting masses, with the semicircular touch, and put the hinder ones that remain in
the second shade.
sible,

have

instructions as clear as pos*

avoided troubling you with more than light and shade

made some
middle

tint:;

one part of

progress,
if

it is

you look
in

it is

strong

These

lighti

necessary that I should show you thB use of what is called

light; that

is

it

is,

that

have marked

this, I

neither

it

it

in dbade; this is the middle

isj

you have drawn

that foliage, not beingran

This shade,

therefore,

on the

The second shade you

tint,

you

will

dle tints

have

its

you add

is

the

you

same as

the middle

form, but without

life

and

will

it,

That you may

and No.

tint,

As
it;

it

not

the shade.
the

applies to the

and the reason of

reflect the

light like stone.

the strong light of any plain surface

and

spirit.

3,

2^ is

management of

if

you leave

the tree in this state,

however, to the light and mid-

If,

the dark shade, by crossing the lines previously

branches and in other parts that require


shade, and

over the whole of

even surface, does not

tree, is

put on

lines

will see that

No. 1; the part marked No,

middle tint gives depth and value to both light and shade.

this

you

directly faces the sun.

three distinctions pervade every drawing, and a judicious

foliage of the tree,

we have now

but as

at the large stone at the foot of this tree,

^rong

thoroughly understand
in.

my

keep

hitherto, in order to

your tree

will

made under

the

be complete as to light and

only have to put in semicircular touches here and there, for the

foliage.aaid the drawing of the tree is finished.

The

grass and weds in the fore-

44

ground require your


produce the

Plate

the rest

tree,

XXI V*

is

called Stonehenge.

attention,
is

but need

little

remark from

me

when you can

for

easy.

a near view of that stupendous mass of stones on Salisbury Plain,


It is

supposed by

many

learned antiquaries, to be the remains of

druid's temple, raised to the worship of the sun, long before the invasion of

by Julius

Caesar.

were brought

when

it is

The form
is

It is

a very curious question

to the spot

where they

stand,

how such enormous

of

this

near the high

temple was

altar.

circular,

and the spot from which

in the

kingdom.

From

they form a good subject for a picturesque drawing.

its

especially

was

little

this

drawing

understood.
is

taken

These immense masses of stone are the most extraordinary

remains of antiquity to be found

to illustrate the

blocks of stone

and raised one upon another

recollected that the assistance derived from machinery

England

remarks on the use of the middle

tint,

their irregular appearance,

have introduced them here,

and you cannot

fail

to observe

pleasing effect in a drawing of this kind, which otherwise would be mere black

and white, without anything

You

are aware that I

am

to blend

them

together.

at the present time preparing

your minds for a series of

landscape and architectural subjects, to be given in another part of

this

work

and

it

45
has been

come

my

my

object so to vary this elementary part of

tedious or disgusting.

It

my

has been

aim

design, that

it

shall not be-

you on step by

to lead

step,

iri

the

acquirement of every branch of drawing, so that in the end you may be able to apply
the various parts to the formation of the whole.

not pursued any one branch to

its

For

conclusion, but have returned to

You began

as your progress in the art has required.

them

to the formation of simple structures

lines

of the upper parts of the buildings seemed

and we have

you should understand not only how

tive,

but also elevated forms of every kind

have no farther occasion to

such intervals

lines,

and applied

to slant

led

on

to put
;

any

that the

downward, and those of the

to

hence your introduction

an explanation of the rules

now arrived at that point when it is

that

I shall

at

you found they were formed so

The outlines of trees introduced,

by which they are formed

it

with making

lower parts upward, and you naturally inquired the cause


to perspective.

reason I have apparently

this

figures

on the plain

necessary

in perspec-

and I have the pleasure to inform you, that

refer to perspective

diagrams

after the present series.

XXVII. you will observe the line which is perpendicular to the base line,
marked he; this line is called^the line of elevation, and on this line is measured every
In Plate

object that

is

raised above the ground plain.

a wall with a doorway in perspective

In the example before us, I wish to put

the wall

is

twenty

feet

long and eighteen feet

m
high

show you bow a scale

in order to

the bottom of the drawing, by which

base

line,

draw

lines

and the height of

on the

you

drawn from h

formed, I have drawn the scale of ten feet at


will

measure the length of the wall on the

of elevation

line

from h and c to the point of

to the point of distance

if

it

is

sight,

is

half]

this

mu^

height, length,

to the

upper line,

If you wish to give the thickness, which

and thickness of the wall


is six feet

you must

intersect that

the true length of the wall in perspective; and

likewise be measured on the base line

centre of the wall

this,

drawn from the base

from the intersection /g", you draw perpendiculars

height of the wall.

having done

and from d e, the measure on the base,

the point where the lines

to the point of sight,

feet high.

To

will give the

here one foot and a

we have now

in true perspective.

wide and ten

is

it

obtained the

The doorway

ascertain

in tbe

on what part of

the wall this should be placed, find the centre of the admeasurement of the length of

the wall
i

on

k ; from

the base line, and set off three feet on each side of

these points

intersect the line

show

the spot

doorway.

To

draw

drawn from

lines to the point

it

this is

shown by

of distance, and the points where they

the bottom of the line of elevation to the point of sight,

where the perpendicular

lines are to

be drawn for the sides of the

obtain the true height, measure ten feet on the line of elevation, and

thence draw a line to the point of sight


thickness of the wall at the opening.

the Knes

drawn before

will give

you the

Pl.z,')

p/.^i

-/-

Stonfhenf'

Pi. -16

47

drawn

I have

this

easy figure that j<m might not be confused by a number of lines;

but you will perceive

upon

this wall, I

to the

You

show more

by the black

you
but

should proceed in the same way,

will

observe I have

clearly in

lines.

what

When

and

line,

left

many tops

No.

produce

the other at

you must turn

this,

a,

when we put

viz,,

measure

other at

upper

o,

line

the lines parallel

the wall find

this figure to

any square

of

Wiertl,

doorway are form^

various adtoeasurements,

figure of this kind in perspective


difficult to

put in

XXV.

a direct elevation of the top of a semicircular doorway.

you would only have to

and take a sweep from a

this figure in perspective,

set

to &

it

one foot of your compasses on


;

but as

we

and the semicircle

at

g",

line

3,

with

to divide

you

this

it

into

n num-

will find done,

these Unes will intersect each

g; at this intersection

If you look at No.

e,

cannot use the compasses

becomes necessary

and from each angle draw a diagonal

of the square.

line

the dotted fees to be seen through the

you have practised

to Plate

on the

the perpendicular lines

ber of parts contained in a parallelogram or long square


a, &, e, <Z

all

of doorways are semicircular, and as the circle is ratte*

in this plate, is

1,

all

direction they run

will find little difficuky in putting

perspective,

To

wished to measure windows, doom, or anything dse

ground plane on the base

elevation.

to

that, if I

draw a

the semicircle

line parallel to the

is

used in a sucees-

48
sion of archways, but the one in direct elevation
this addition, that

No.

in

1, is

a Une

marked O.

is

drawn from/ to

From

semicircle in perspective.

the point of sight

marked

by the point formed


connect
I

all

line to

am aware

you

will

this will

same way

by curved

be a

soon be able

tive in the

drawn from,

difficult

to effect

it.

necessary to

in Plate

show

on the

proceed to put the

will

it

2, is

the perpendicular lines

XXVII.,

will

show you where

the centre of the arch in perspective,

at

first,

marked

but

if

f,

and

if

you

you study the diagram,

a Gothic arch, which


it

as

shown

circles in perspective

XXVI.,

commence by forming a

give you the semicircle in perspective.

will

performance

plane, Plate

this in the plate is

as the circular, by dividing

In order that the formation of


I have exhibited

lines,

No.

the point

down

to

at their intersection

the divisions

we

by

the perpendicular of the direct elevation, nearest

already raised, according to the rule laid


the diagonal lines are to be

with

1,

the point in the centre of the square, which

of elevation,

line

draw a

h,

divided as directed in No.

the length and height of the archway,

Having obtained

admeasurement on the base hne, and

is

the

is

put in perspec-

in the plate.

may be

rendered more

clear,

perspective of a circle.

half circle below the base line;

for

It

is

this

purpose, place the compasses in the middle of the base, and sweep the semicircle

a h

divide the half circle into six parts

from these points of division perpendicular

49
lines

must be drawn

from a and
distance,

6,

to the

base line

this done,

and from the same points a

and the points where they

will give the size of the

perpendiculars

o,

draw

square

in

b,

draw

draw diagonal

intersect the lines

which the

lines to the point

of

lines to the point

circle

sight,

drawn

ber of squares

and

if

draw

at the angle

line to the opposite angle, continue this line

you

set out,

You

and

it

will give

you the

will perceive that the circle is

till

of

to

the point of sight,

Then from

must appear.

the

but do not take them farther than

lines parallel to the

you commence

c,

lines to the point

the upper side of the perspective square; and from the points
intersect the diagonal lines,

of sight

base

line

where these

this will

lines

form a num-

of any one, and draw a curved

you return

to the

angle from which

true appearance of the circle in perspective.

formed with more ease in proportion to the number

of divisions in the square, because the curved lines are shorter, and you have more
guide to the regular formation of the

You

are

now

circle.

theoretically acquainted with all the lines

and points necessary

produce correct picturesque drawings of architecture and landscape, and

them

practically, as the various subjects that

come under our

notice

may

we

to

shall use

require.

m
LETTER VI

Plate

XXVIII,

contiains

style; this is the earliest

you see an

and rudest

style

is

called the

Saxon or Anglo-Norman

of EngHsh architecture, so that whenever

old building in this style, you;

eleventh century.
is

drawings in what

may be

sure

it

was

built in the tenth

Mf. Rickman, whose antiquarian knowledge and architectural

or

skill

surpassed by none^ divides the different styles of Gothic architecture in such a

manner

that the date of

any building may be determined with

referring to the dates specified.

1.

The Norman (which

style prevailed

ittll89;

The

pointed, with bold

by

The following sketch is introduced for your information.


sometimes erroneously called the Saxon)

from before the conquest

It is distinguished

somewhat

2.

is

tolerable exactness,

by

its

to the

style.

This

end of the reign of Henry the Second,

arches being semicircular* though occasionally

and rude ornaments.

early English style, reaching to the end of the reign of

Edward

the First,

51
1307,

distinguished by pointed arches, long narrow

is

a pecuhar ornament, which, from

its

windows without muUions, and

resemblance to the tooth of a shark,

called

is

the toothed ornament.

3.

The

decorated English

reaching to the end of the reign of

style,

Third, 1377, and perhaps from ten to fifteen years

windows with pointed


forming

arches, divided

circles, arches,

and other

distinguished by

later, is

by muUions, and the tracery

figures, not

Edward

running perpendicularly

large

its

flowing

in

its

the

lines,

numerous

ornaments very delicately carved.

4.

in

The

some

perpendicular English

building of this style

nates this style

is

not later than

Probably the

late as 1640.

Henry

the Eighth.

The name

lines,

and form a mark of distinction from the

crowded with ornament, as

"

that though

described as such are either

many

writers speak of

known

to be

last

to destroy the

whole

clearly desig-

Saxon

style.

Many

beauty of the

Mr. Rickman concludes

the carvings are generally very delicately executed.

by observing,

latest

the mullions of the windows, and the ornamental panellings run in

buildings of this kind are so

design

the latest style, and appears to have been used

though much debased, as

cases,

perpendicular

is

buildings, those

Norman, or are so

like

which are

them, that there

is

52
no real

distinction; but

Saxon work of a much


to be of so great

No.

1,

it

most

is

likely that, in

earlier date

may

in the plate before us, is

the depth of the arch.

This arch

window

and do not project

3,

none have been ascertained

is

this

mode

number of bands or mouldings, and of course

supported by columns or shafts.

shows a small Norman tower, with two stages of ornamental arches

semicircle of the

No.

hitherto

a Norman door, with a semicircular arch

in increasing the

2,

is

semicircular

real

an age."

of enrichment consisted

No.

exist

some obscure country church,

far

supported by shafts

the

the buttresses at the side are plain,

from the building.

Norman

arches

is

pier,

this

of a massive circular form, supporting ornamented

pier

is

used to support inferior arches in

this

style

of

building.

I must refer to this plate again

when churches of

this style

come

before us

but I

wish you to notice particularly the general characteristics of the various styles of
buildings, in use at different periods.

/'/ '->V

Piac
!f%^ -?

* -""7*,

FIM

53

No.

1,

Plate

XXIX. is

ecclesiastical buildings;

not

my

names used by

intention to give the

all

architects

that I

wish

and builders
is,

only state that the ornamental work over the door

is

and the other a quatrefoiled

No.

2, is

a lancet window

No.

3, is

a decorated pinnacle

finial

4, is

called

trefoiled

circle.

the side ornaments are called crockets,

finial

and the

the heads on each side of the arch are corbels

in

No.

scale.

ele-

the

2.

the top of a decorated canopy, and

ornaments on a larger

and that of

in the decorated English style.

same ornament may be observed

No.

is

eye

I shall therefore

called panelling,

the circular ornaments on each side above the pointed arch, one

for every

to familiarize the

to the distinguishing features of the four styles already mentioned.

gant ornament at the top a

of

of architecture in the kingdom.

part of the architectural drawings introduced

circle,

style

a doorway from Salisbury Cathedral, one of the

this is

finest structures in this style

It is

specimen of the second or early English

fine

is

introduced to

show the crockets and

54

No.

5, is

No.

6,

No.

7, is

The
arch

circle,

a cinquefoiled

a pointed arch,

common

circle.

trefoiled.

termination of walls in Gothic buildings, called battlements.

arches in outline are as follows


the segmental arch

d,

a,

you perceive

an ogee arch

XXX.

you have

is

a drawing which

h,

pointed arch

that this arch is only

the line points to the centre from which

Plate

it is

will require

drawn

e,

It is

c,

lancet

a segment of a

the semicircular arch.

an application of

attained from the foregoing instruction.

all

the knowledge

a view of part of the Chapel

of Mprton College, Oxford, taken from the entrance into Christ Church Meadow,
called the Grove.

perspective

One of

the

first

things to be attended to in this drawing,

the grove, the place in which

you must stand

narrow piece of ground bounded by the wall of Corpus


fore

it is

is

to take this view,

Christi College,

the
is

and there-

impossible to see Merton College Chapel at the proper point of distance

the consequence of standing so near

it is,

that the lines run with great declivity to the

points of sight and distance, as both are extremely limited.

The heads of

the

two

55
figures will give

you the height of the horizon, and

of the tower, you


picture

you

this

will get the points

you apply a

ruler to the lines

of sight and distance, which are both out of the

On

the nearest angle of the tower will in this case be the line of elevation.
will

measure the heights and tops of the pinnacles, then draw

with your fine pencil, so that


distance,

if

it

may

be taken out easily

to

faint lines

and

the point of sight

do the same from. the base of the pinnacle; then draw the

lines

the battlement, and the square panels with the quatrefoiled circles under

which form

them

also

form the springing of the arch, and the bottom of the windows of the tower.

Proceed

in the

same manner with

must here have a new


eye

this will

not at

line

of elevation, which

all alter

will

of course be the angle nearest the

pendicular Jines accurately, and every part will

fall

required, then the ruler

take care to place your per-

naturally in

its

place.

effect.

As

be-

were quite new, and a correct architectural drawing were

would be necessary

to give all the lines clear

but this building has stood for ages, time has broken
its

proceed from the outline to produce the picturesque

fore observed, if the building

roughness to

Having drawn your

the points of sight or distance.

perspective lines faintly, you will find the drawing easy

We must now

you

the other part of the building, observing that

surface, which, to the eye of

an

its

artist, is far

sharp

more

and unbroken

fines,

and given a

beautiful than a

new

56
building.

our business to depict

It is

which time has given

marked

in the

to

the

much worn

work of

venerable

this

line,

that a sharp touch or

two

all

the distances accurately

The same

Having drawn them

would

call pierced.

all,

The

first

Take

pinnacle,

com-

crockets on the pinnacles

will sufficiently represent

the finial be clearly distinguished.

cles.

them, nor can

care to keep the arch from the

direction will apply to the other pinna-

begin the battlements, which are what an architect

This tower

is

a fine specimen of the decorated style of archi-

having a profusion of ornaments, which you must take care to mark properly.

You may now draw


if

Having

pile.

and working downward.

pedestal of the pinnacle distinct.

tecture,

the broken lines with the variety of form

perspective lines, you must begin drawing from the

mencing with the centre


are so

all

you have any

the buttresses, and afterward the outline of the pointed

difficulty in finding the centre

windows

of the arch, you must turn to Plate

XXVI.
The

divisions of the

the following directions,

windows
you

will at first sight

will

appear

produce them with

difficult

little

divided by the lines which run horizontally into three parts

but if you observe

trouble
;

the

window

is

lower division

is

the

divided into three compartments, by upright lines called mullions, and they are ter-

minated by a

trefoiled arch;

of course you

will give the

number of lines

to

show

the

57
thickness of the muUions.

The

next story of the window

by a continuation of the mullions, but they are terminated


arches, and each of these arches has a slight

small pointed arches, out of the large one

divided into three Hghts,

differently,

muUion running

first

of the window in the tower seems to have six

is

Thus

produced.
lights,

up,

having pointed

and forming two

the second division

the divisions in the third

partment contained within the arch are formed in the same way.

When

com-

you have

got the outline of the whole of the windows, put the dark part in shade, and the
tracery will

show

distinctly, especially if

you make

spirited

dark touches on the parts

in shade.

After you have drawn the windows in the tower, the larger windows will be comparatively easy.

That

in

shade nearest the buttress has but one division, the lower

part divided by three mullions, and the upper part having an additional muUion,

springing from the point of the lower arches.

window

in the strong light, as every part

lower ones divided into six


partment

is

windows of

more

lights,

the tiling produced, as

seen clearly.

be careful in drawing the


It

has three divisions

with a trefoiled arch termination

intricate, but will

the tower.

is

You must

I need not

the third

the

com-

be produced by proceeding as you did in the


tell

you how

you have been taught

the surface of the wall

this in so

many

drawings.

is

shown or

58
It

now

only remains for

rected in Plate

XXIV.

me

The

to notice the trees,

and made darker than any other part of the drawing

spirit,

may

appear to be thrown back

left

much

instruction in

the ground

lighter than the grass.

my

power, but a great deal

is

have now, I
is

make

utmost

several attempts before

so that

all

the rest

easy, but observe that the gravel

to

left

copy the drawing with accuracy and freedom, not


to

di-

trunk of the tree in the. foreground must be touched

with

is

which are elm, and drawn as

you succeed, as

to

believe, given

your

own

taste

be discouraged

this

all

walk

the verbal

and judgment,
if

to

you are obUged

drawing certainly requires your

attention.

Merton College ranks as

the oldest regular foundation in Oxford.

by Walter de Merton, (from

whom

it

takes

its

It

name,) in the year 1264

was founded
a great part

of the building, including the subject of our drawing, has been added since

its

foun-

dation, but the old library is certainly part of the original building.

Among

the

famous men who have been educated

in this

college,

English reformer, John Wickliff; the noted antiquary, Antony

Richard

Steele.

are the early

Wood; and

Sir

.59

LETTER

Plate

XXXI.

is

With

ing willow.

a study of one of the most graceful trees


respect to the

my

be added to that given in

masses

first

VII.

mode of copying

last letter

with a light pencil.

this, little

observe there
light falls

it is

in

middle

tint,

tree,

in the lines of the

to

first

made, as they

put the tree in light and shade.

which you

will

will

You

the
first

all

will

produce by passing the pencil lightly

except where the strong hght

second shade, where

the tree in this state as an example for

are introduced.

all

not a great deal of strong light inside of the branches on which the

over every part of the

can put

verbal direction can

If the outlines are not quite correct in the

when you proceed

is

nature, the droop-

care must be taken in sketching

instance, repeat the attempt, without rubbing out those

blend together

in

all

it

is

may be

future drawings,

required
required.

where

over
I

this,

you

have drawn

trees of this kind

60

Be

careful in shading the trunk

this will

Plate

make

in light

duced.
line,
is

and shade.

in the first

Magdalen College Chapel, which

The

ways over

figure

waves of

you

will

it,

to

have

the sea are

show

is

sails

sent

notice.

you a marine view.

drawn

in

the roughness of the surface and grain of the timber.


in producing, as the legs are

not seen.

strong and irregular in the foreground, but

of the vessel in the distance very

them would bring them too forward, and


picture.

pro-

in the distance

come under your

XXXIII.

smooth as they approach the horizon, because they are


touch the

The tower

only.

will shortly

in Plate

is

these require a very light free out-

put in light and shade, and then lines

little difficulty

made

and second shades

old boat in the foreground

various

and putting the masses

have before informed you how the foliage of the poplar

In order to vary the drawings, I have

The

with graceful curves, as

it

in sketching the outline

see masses of trees in the distance

and must be put

that of

do

a poplar tree drawn from nature, in Christ Church Meadow.

is

proceed as before directed,

You

to

the masses of foliage appear pendant.

XXXII.

You must

and branches,

spoil

what

at

^ distance

lightly,
is

become

The
quite

take care to

as a dark

touch on

called the keeping of the

61
Plate

XXXIV,

is

famous as the house


and dilapidated as

in

which our great dramatic

wretched dwelling

ness stoops to do
its

who have

homage

native energy,

it

and

to genius.

it

of so great a genius,

sufficient taste to appreciate the

Kings, princes, noblemen, and great

of Shakespeare.
visited this

all

Poor

was born.

poet, Shakespeare,

this building appears, yet, as the birth-place

viewed with veneration by

it is

by

a view of an old building at Stratford on Avon, rendered

men

of

all

works
have

classes,

has thus become a sort of temple where great-

Shakespeare possessed a mind so strong, that

could break through the shackles of poverty, and, by industry

and peculiar powers of adaptation, cover the deficiency of education under which he
laboured.
years.

His early

Bred

life

promised nothing of that glory which encircled his riper

humble circumstances, he followed the business of

in

combined the trade of butcher and wool-stapler.

Having been

guilty of

ful irregularities,

a neighbouring magistrate threatened to

law

Shakespeare to quit Stratford, and seek a living

this forced

where he could

who

find

He was

this introduction to

proper sphere of action


and, to use his

inflict

who

father,

some youth-

the penalty of the


in the

metropolis

no better employment than holding the horses of the gentlemen

visited the theatre.

humble as

his

afterwards taken into the service of the actors

fame was, he had now reached the threshold of

his poetic

own emphatic

and
his

powers soon raised him above his former masters,

language, he shook

all

the difficulties of poverty

and

62
station

from him,

the honoured

dew drops from

" like

the lion's mane," and in his

companion of the highest and best men

own day became


Time, which

in the realm.

new

has buried the works of most of his contemporaries

in oblivion,

upon

England and the admiration of

his,

and

at the present

day he

is

the glory of

has shed

lustre

the civilized world.

There

is

nothing in this drawing that requires remark

many

the directions given for

Plate

XXXV.

the perspective

of the former drawings will apply to

a marine cavern called Freshwater Cave,

is

This cave, which can be entered only about low water,


beneath a lofty

by the constant

clifii

narrow, but the depth


rock, while the roof

A lofty rugged

is

is

forty yards

hung with

arch admits light to

assaults of the sea.

and the passage

terrific
its

is

is

is

easy,

and

this.

in the Isle

of Wight.

an excavation made

The

entrance

is

rather

strewed with fragments of

masses, threatening to

fall

every moment.

inmost recesses, and thus lessens the horrors

of the scene.

It

has sometimes happened that persons, visiting

ployed their time

in

exploring the interior,

till

this

cave at low water, have em-

the turn of the tide has placed

them

Fl.

32

jP/.

34.

Fl.

.33.

Kj(%fJ.^'.^

FL

TnshwcLUr care

sk.

of Wi^kt.

LITH

OF

LEWIS

JS.

HPOVW\ JHMN

63
in perilous circumstances,

and compelled them

to hail the nearest vessel for assis-

tance.

The

next subject to which I shall direct your attention,

In copying

this

drawing, which

banks of the River Cherwell, you


tions given in

my

is

is

XXXVI.

Plate

a view of Magdalen College, taken from the

will

previous lessons, as

have occasion
it

includes

all

to

make use of

all

the instruc-

which have been

the subjects

treated of separately.

Magdalen College
spicuous in

this

the university.

is

one of the largest

drawing,

is

in

justly esteemed

Oxford

and the tower, which

is

This college was founded during the reign of Henry VI.,

office

in the

of lord chancellor.

an instance of greatness attained by one of originally low condition.

His parents were named Patten, and resided


Lincolnshire

so con-

one of the great architectural beauties of

year 1457, by Bishop Waynfleet, who then held the high

This bishop

is

their

at

an obscure town called Waynfleet, in

son was early sent to Winchester school, though his name does

not appear on the foundation.


that

no great honour pertained

fleet,

the place of his nativity.

Either from the custom of that time, or from an idea


to his family

name, he assumed the name of

His progress

in

learning

was so

Wayn-

great, that at

an

64
early age he

became master of Winchester

school.

When King Henry

visited the

school previous to his founding a similar institution at Eton, he was so struck with
the diligence and ability of the master, that he

and Waynfleet

in

removed him

ward made Bishop of Winchester, and held

But Henry's

for the latter

was

that,

after-

In this

during the sanguinary

between the Houses of York and Lancaster, he retained the respect and

esteem of both parties

and though he resigned

his office

of chancellor on the depo-

of his royal patron, yet Edward IV. honoured him by visiting him at Magdalen

College, after his retirement from public

By

foundation,

the highest office in the state.

capacity his moderation and justice were so exemplary,

sition

new

a short time became provost of Eton College.

bounty and Waynfleet's promotion did not terminate here

conflicts

to his

life.

devoting the riches he had acquired to so noble a purpose as the foundation of

Magdalen
tors of the

It is

College, his

human

name

is

justly

handed down

to posterity

among

the benefac-

race.

a remarkable circumstance, that Cardinal Wolsey was a fellow of this college,

and was bursar during the erection of the tower.

65

We will now proceed to the drawing


series

and as

on elementary landscape drawing,

you will

part distinctly, and

you have previously

find

it

I shall

this

letter

endeavour

will

terminate

to point out to

almost a retrospective glance at

all

my

first

you every

the instructions

received.

You

will first sketcti the

the pollard willow

and the

mass of

after this the

piers faintly, as well as their reflection in the water

This

other part.

will

form your

divisions for windows, bands,


faint

which you
the

and

same way with


all

this

you proceed with any

of elevation, and on

&c., that are required

by applying .your

ruler.

this

you must mark

having sketched

all

the

this turret,

to the points

of sight and distance,

You must

of course proceed in

the base of the pinnacle, the top of the battlements, the windows,

the other divisions.

You may
marked

line

next proceed with the

nearest the eye, before

is

hne from the top of the pinnacle

will easily find

of

horizontal lines of the bridge, marking the arches

tower, drawing the corner turret that

draw a

trees before the bridge faintly, then the trunk

next draw the remaining

all their

tower

is

divisions.

turrets,

which

will

now

be easy, as you have

If you refer to our architectural lessons,

in the perpendicular style

you

will perceive

of architecture, the pinnacles are crocketed,

66

and the parapet

is

pierced.

of the tower in shade


required,

and

need not

having done

so,

tell

you how

to

proceed in putting one side

you must strengthen the

drawing of the tower, working from the

finish the

outline

better directions for the trees in the foreground, than

you have done

When

before.

spaces between them in the


the water must

now

you have drawn each

first

is

I cannot give

by referring you

tree separately,

and second shades, according

it

Having drawn

top.

the tower, proceed with the buildings at the side, and the bridge.

you

where

fill

to those

up the

to the depth required

be put in shade, and the figures in the foreground marked

strongly.

In the foregoing lessons I have endeavoured to blend amusement and instruction,

and
this,

am

pleased to find by your

that

your path

you have now


will in future

be

In the next series of


exclusively, so that

enabled to

laid

letter that I

have effected

my purpose

be assured of

a good foundation for our farther progress, and that

clear.

letters,

your attention

when we come

make them more

figures together, as the subject

to landscapes of

pleasing,

may

will

by blending

require.

be directed to drawing figures

more importance, we may be


rural scenery, architecture,

and

J'/y.

M.

PI. 37.

-M\-

7'L ,?S.

JPl.

'*ff'l''-%

'TH

tf

wj:

J&.

67

ANIMALS AND THE HUMAN FIGURE.


LETTER

VIII.

In commencing a course of lessons on the drawing of animals and the


figure,

you

power you have

will find that the

and observing the points

in

attained of forming correct outlines,

a drawing, as practised in our lessons on landscape,

The

render the introductory lessons on figures an easy and pleasing study.


diflference

made

you

will

form

is

in the formation

of the outline

will
first

which, instead of being

with broken lines or dots, as in landscape, must be produced with light and

free curved fines.

which

observe

human

will

understand

this,

the outline of part of a horse.

is
is

You

not attained at once, you

the correct form

show

The

may add

lines are

to

No.

drawn

1,

Plate

lightly,

others without rubbing out,

XXXVII.,

so that if the
till

you have

then strengthen the outline, and give dark spirited touches in parts

that require them, as in

shade, to

by referring

No.

2.

No. 4

the muscle and bone.

is

the quarter of a horse, which I have put in

The
10

outhne.

must

first

be particularly attended

68
to

commence from

come

to the thigh

the top of the back, and follow the outHne with care,

make

points for the centre of the

appear, and take care that the outline of each side

Having drawn both


of

it,

bringing in

serve No.

make a

3,

sides,

down on

have

tail,

both sides,

and then the

till

it is

at

line

to

distance between the

leg's.

4,

which

put in light and shade.

is

which form the shade are


dark parts
diagonally,

all ctirved,

in the first shade,


still

You

lines

if

you ob-

You must now

touches to the outline, and the sketch

is

I must request that

you

will not think

joint,

outline

this is done,

perceive that the lines

is required,

You must now

put

all

the

cross the lines

give a few dark

After the particular directions

complete.

you can scarcely require a

4,

When

joints.

following the shape of the outline

taking care to curve or bend them.

given in Nos. 3 and

Having draWn the

will

and where greater depth

it.

which runs from the centre

even with the outside

of the body, proceed to mark the form of the muscles and


look at No.

an equal distance from

the points and measures for your guide.

show the

you

should

tail

determine the length of the thigh, showing the end of the

faint dot to

and likewise points

left

form the

is

body where the

till

repetition of

them on No. 5

of proceeding to the next subject

till

and

you can

the examples in this plate with ease and correctness.

I should observe,

that these examples are taken from a very excellent publication

by Mr. Alkin, who

draw

is

all

decidedly the best horse painter of the present day

and he remarks,

for the use of

69
those

who wish

to

judge of the beauty and use of a horse,

of a horse, well-formed, strong, and handsome

and not over-burdened with

XXXVIII.

Plate

stronger shade

The

No.

2,

well

tha,t

No- 4

the quarter

is

marked with muscle and bone,

flesh.

subject

is continiied.

No. 1

is

the

body of a horse put

the front view of the breast of a fine horse.

You must

in

pro-

ceed with the outline as directed before, taking care to ipake points, that both sides

may
No.

be equal
4,

3,

the neck and shoulders of a horse remarkable for

legs and feet in various directions,

rectly, as

whole

No.

no part of any animal

figure, as the legs

Plate

and

XXXIX. is copied

nent French

artist.

is

so

which you mvist be careful

difficult to

in

cppyjng cor-

manage, when you come

to

from a

spirited

drawing of a horse's head, by a very emi-

Carlo Vernet.

spirit

and beauty of the

of one feature from another, by marking


to the

draw the

feet.

I have not divided the horse's head into pq,rts in this instance, because

have spoiled thp

beauty.

its

it

picture, but

with points.

it

would

you can measure the distance


I

sha:ll

close this introduction

drawing of horses, with an extract from a beautiful French work,

entitled,

70
Spectacle de la Ndture.

of beasts, reason, in

If custom had not dignified the lion with the

"

my judgment,

rather than the king of animals

would confer
he

sion

finest turn

ness

of shape,

is

on the contrary, never

all

that are

good

in his food

of

all

their aver-

animals, he

look around on the rest of the brute

discover any eye that sparkles with

wind, or limbs of such complete flexibility


divested of his bridle, suffer

observe in

all

him

to

mane

ramble at

his attitudes a majestic

more

Let him be managed by


full liberty

through the

fields,

least acquainted with his virtues.

Is he required to cultivate his land or to carry his

baggage

is,

you

will

he

He

may,

to serve his master.


is

under the weight of his labours, rather than decline them.


?

his rider, or,

deportment and a noble mien, which attract the

and admiration even of those

master to distant places

Where do we

fire ?

that floats so majestically in the

with propriety, be said to have but one ruling desire, which

his

injures

the most generous in his disposition, the most liberal

behold so stately a chest, so fine a body, a

will sink

only capable of de-

is

do you see any animal whose head displays so much beauty and graceful-

Can we

attention

horse,

and enjoys

qualities,

of his services, and the most frugal


creation,

since he

of king

lion is anything

he discovers no dispositions that can expose him to

he possesses no bad

has the

The

The

on the horse.

is their tyrant,

vouring, or inspiring them with terror.

any other creature

it

title

always ready, and


Is he to

he seems sensible of the honour, studies

how

convey

to please

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71

He

him, and varies his pace at the smallest signal.

hasten

it

when made acquainted

with his rider's

will.

is

always ready to slacken or

Neither the length of a journey'

nor the unevenness of the way, neither ditches nor the most rapid

courage him

any other service

does

bear him to the attack of an enemy

battle

You

at fear,

awaken

and

is

not aflfrighted

his courage,

will recognise the

the horse.

subjects,

and so

is

is

nor do they require

it.

the shading, in the

He

his duty to defend his master, or

goeth on to meet the armed men, he

the sound of the trumpet


at the

this

and the signal

sight of the

drawn

for

sword.'

"

The

noble animal given in the 39th chapter of


poet, ancient or

fine

modern.

Little verbal direction

outlines

you

will

before

Newfoundland dog, with a

parts of the animal before

you venture

can be given on these

observe are

same manner as the horse

make yourself familiar with them

a portrait of a

draw detached

'

by any

contains parts of dogs.

several times, to

which

dis-

sublime poetry of Job in the latter part of this panegyric on

Indeed the description of

XL.

?
;

become

it

and he retreats not

that book, has never been equalled

Plate

can

he surmounts every obstacle, and no impediment can check his career.

Is he called to

mocketh

rivers,

still

curved Hues,

draw the heads and

you proceed

child

on

its

to attempt the

to Plate

back.

whole

feet

XLI.,

You must
figure,

nor

73
will

it

be advisable

tion of the

Plate

human

XLII.

to sketch the

boy

consists of figures of swans,

outline very faint,

make

horse, but

must be

much

on the propor-

finished

line or

in the

by making

faint,

be careful in making your

size of the copy, as

it

and the

The shadows

same manner as those on the body of the

circuleir

reflection

two drawn across

touches like feathers

on the water

left

the

swans

in the

at first quite white,

it.

Plate XLIII. consists of two whole figures of a cat and a cow, from Morland

both subjects, begin by making points and sketching the outline slightly;

ward, in strengthening

it,

give

it

first

the usual fault of

is

larger than the drawing before them.

produced

first

distance must be kept

and afterward a

letter

which are frequently introduced in

You must

effect.

and keep within the

figures

on the swans are

my

figure.

aquatic scenery with the happiest

learners to

you have received

till

in

afler-!!

breaks and touches, to imitate the appearance of

the hair.

I shall

remark on Plates XLIV., XLV., and XLVI.,

after I

have written a

letter

J'l.

44.

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73

on the proportiom of the human


with Plate XLVII., which

Cuyp.

This

You

will

mass kept

wilh short thin

Plate
beautiful

in the
lines, to

XLVni.

is

middle
give

you

will therefore

pass them, and proceed

stillness

of

its

composition,

is

known by

it

tint

The

light

and shade are strongly marked, and

whole

after this is effected, the

the rough hairy

is

hatched over

eflfect.

a group of sheep, from a picture by George Morland, whose

and accurate delineations of rural scenery and figures justly place him

highest class of painters of the British school.

person endowed with so

much

conduct, as rendered his short


painful to dwell

the

observe a greater degree of finish given to this subject,

than to the animals previously drawn.


the

a group of cattle, from a fine painting by the celebrated

from the peaceful

picture,

name of Repose.

is

figure

much

to

to

be lamented, that a

such irregularities of

a continual scene of misery and dependance.

on the dark parts of a character^

might have been an honour

it is

have been subject

talent should
life

And

in the

to this

country

that,

It is

under happier circumstances^

but a short sketch of his

life

may

not be

unacceptable to you.

The

father of

Morland was an

indifferent painter of portraits,

and

in

very low

cir-

cumstances, the misery of which was increased by his loose and irregular habits.

74

Our young

much

artist early exhibited

a strong inclination to painting, but his genius was

depressed by the circumstances and habits of his family.

He was

very soon into the mysteries of the gin-shop, the ale-house, and the stable
these abodes of vice and misery he unfortunately

of study.

Yet with

all

and frequently with very beautiful

and

in

and

number of works possess-

His favorite subjects were interiors of

farm-yards, doors of public-houses, &c.

his selection of existence

these disadvantages, he produced a

ing very striking beauties.

ease,

made

initiated

stables, pig-styes,

these he touched with great freedom and

colour.

Some

of his smaller pictures of pigs

wallowing, or surrounded by young ones, playing or sucking, are master-pieces of


their kind.

afforded

soon so

His

soon procured him considerable employment, and

him the means of dissipation


far surpassed those

Kings-bench
laid

talents in this line

prison.

Even

in

which unhappily he indulged

means, that he
in this

fell

into debt,

to excess,

and was confined

and

in the

abode of vice and wretchedness his talents were

under contribution by frame-n^akers, picture dealers, &c., who, taking advantage

of his caprices and his love of liquor, indulged him


productions of his pencil.

Some of

them,

him from imprisonment, immured him


the benefit of his labours

in

more

to excess, receiving in return the

speculative than the rest, released

a private house, and took to themselves

keeping him in almost a constant state of intoxication.

such a mode of existence the

vital

all

In

spark could not long support the bodily frame

FL

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75
and, consequently, at an age when, in raen*of proper conduct, the physical and
tal

powers are

in

state

of maturity, he

fell

into decay,

men-

and a premature dissolution

closed his mortal career, in the fortieth year of his age.

The

youthful and giddy-minded are too apt to compare their

that of

by the

one whose whole hfe was composed of short

direst necessity,

genius,

and

fatal precedent,

this
if

will

world in his lucid

white,

it

shows

which genius and industry are combined.

when

of

to

pass for a

all

sober advice, hic-

flattered himself that, like him,

he should be able

in derision

is different in

these animals from that of

and "as the fleece of a sheep, when

best

it

intervals.

observe that the touch

have before done

of exertion when driven to

many a drunkard has endeavoured

coughed the name of Morland, and

You

in

reproached for his conduct, has,

to astonish the

with

succeeded by long periods of idleness and intoxication, instead

of setting before themselves (examples

Following

fits

own conduct

any you

in its natural state, is nearly

contrasted with dark shadows

from

this

circumstance,

sheep add greatly to the beauty of the foreground in a landscape.

Plate

XLIX.

contains parts of horses taken from the sketch book of Morland,


11

76

whose constant
that

practice

came under

it

was

his notice

to take sl*tches from nature, of almost every animal

in

many

cases the most spirited and correct drawings

were made with the burnt end of a skewer, or by any means of marking on paper
which presented

itself at the

characters of animals

Morland was peculiarly happy

moment.

and you

will not

placid, the vicious, or the timid horse,


facilitate

your progress

in

of more finished subjects


with the original,

till

be

at

life,

in this free style

if

marking the

a loss to discover the head of the

in the sketches before you.

drawing from

in

It will greatly

you accustom yourself to draw parts

from memory, and afterward compare them

every part of a horse or other animal become familiar to you

and as you have used the pencil so

long, I should

recommend

that

you now sketch

with black and white chalk, which will give more effect with less labour.

Plate L.
artist,

is

the frightened horse, from a fine picture by Carlo Vernet, a

whose drawing of

spirit, to

that of

the horse

any other painter

Alkin, has exceeded him.

than any other, because he

You

was considered

but

will

it is

superior, both in accuracy

acknowledged

that our

observe I have dwelt more on

more constantly before our

and

this

noble animal

shape

hidden by his outward covering than that of most other quadrupeds.

The

who can draw

a horse well, rarely finds

much

difficulty

eye,

and

own countryman,

his

is

French

with other animals.

is

less

student

77
Plate LI.

Two fox-hounds

our studies of animals, and in

by Taylor

my

next

with these 1 shall for the present conclude

commence with

letter

LETTER

the-

that

own

Justly to delineate the

image."

he dignified his last-formed creature


"

human form

excellence to which the painter can aspire.

demand your undivided


Before we proceed
should

know

to

attention

figure.

IX.

Nothing can surpass the beauty and symmetry of the human


by our Creator

human

The

man by

divine,"

is

figure, as

we

are told

creating

him

" in his

the highest point of

study of this subject will therefore

and persevering exertion.

draw any

particular limbs or features,

properly where to place them.

it

is

necessary that

If I were addressing a person

who

we

con-

templated making the art a profession, I should advise him to obtain a small work by

Tinney, displaying the anatomy of the

human

figure, written expressly for artists,

and

78
to

make

himself thoroughly acquainted with the names and forms of the bones and

muscles, before he attempts to


study,

that

which

many

is

draw

the figure.

It is for

want of

the only foundation for correctness, and which

persons

fail

who endeavour

to obtain

only, certain rules

human

for the relative proportions of the

have been
figure,

may be

easily attained,

a liveUhood by portrait painting.

But as the study of anatomy would occupy too much time


drawing an amusement

this preliminary

laid

which

for persons

who make

down by eminent masters

will,

in

some

degree, supply

the place of anatomical knowledge.

We will commence our studies with the rules for producing the head and face.
referring to Plate LII.,

you

oval, or rather the outline

draw a perpendicular

marked a
lines c c

a,

and

is

line,

thence to c c

and eyelids

commenced by drawing an

it.

into five parts.

See No.

1,

Then

being larger at the top.

dividing the oval in the centre

marked on

is

it

is

this line in

crossed at equal distances by the lines b

crown of the head and


b,

head

of the shape of an egg,

and d d are again divided

the features being

will find that the first

b,

have drawn

Plate LIII.

part of the forehead occupy the

By

first

You

c,

the plate

and d

d.

this figure

is

The

without

will perceive that the

division as far as the line

placed the part of the forehead seen below the hair, the eyebrows

the eyes are always placed exactly in the centre of the head, as

may

be

Ptsa

Fl.54'

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79
seen on the line c c
is

the next division,

occupied by the mouth and chin.

divisions,

between the

that the distance

same

lines

lines

d,

gives the length of the nose

is

the eyes are placed

d,

and

tions with a pencil

it

will

on an

in various directions,

much
egg^,

lessen the difficulty, if you

is

observe

and

that the

mark

the different propor-

you can have a half or three-quarter


;

this

will

This

ears.

designed in every pos-

adding the features, as in Plate LII.

look upward or downward at pleasure

By
face,

turning the

and make

it

exemplify at once the reason

the lines in our succeeding examples curve in different directions, according

to the inclination of the head.

As

I before observed, these divisions of the head are

only to supply the place of anatomical knowledge, and


all

last

will

which mark the length of the nose, show the length of the

sible position

why

and you

equal to the breadth of one eye

diagram shows the general principles on which the head

egg

and the

In the second and fourth of the perpendicular

c c and

between the eyes

it is

not to be supposed that

heads are formed with mathematical nicety, according to the foregoing

These general
copy or from

principles should always be kept in

life,

and they

drawing on your egg

will

will enable

mind when drawing

either

prevent your making any very glaring error.

you

to

form the second head

in Plate

LII.

rules.

from a

The

80
Plate LIII. contains ovals in various directions,

ceding

No. 1 has the

rules.

inclined to the right

and

produce a three-quarter face

to

left,

line

a,

You must

the outline.

seen

in the first

No. 6

example

here observe, that the line

the lines

still

is

seen.

the head in profile, in which,

is

in the

to the pre-

In Nos. 2 and 3 the oval

lines without the features.

Nos. 4 and 5 are heads looking up and down.


of course, the

marked according

all

middle of the face, becomes

which runs from the lower

d,

part of the nose under the ear, always marks the termination of the back part of the

head

where

have drawn a human

called the

occipitis,

commence.
by some

No. 2

artists

terminates
in

this

you

you

skull;

the

at

plate

this,

turn

will

point,

introduced to

is

that,

head,

you must

over to No.

1,

Pkate LIV.,

that the part of the skull

find

and

but I cannot say that I

the

vertebrae

of the

neck

show you a method used

think

in this plate are sketches of

to place the features properly without

you

till

Nos. 3 and 4

in all cases.

prove

of finding the place for the ear and other features, by means

of an equilateral triangle

to teach

To

a full-grown person.

in

them

the rule a

good one

heads without the

and here

let

lines,

me remind

having once thoroughly learned the foregoing rules for drawing the
habitually call

them

to

mind whenever you attempt

they become quite familiar to you

you

will then

to sketch

have no occasion

to

face,

mark

81
the lines

on your drawing, but

will

be able to place the features correctly without

their help.

Having given
body and

these rules for drawing the

Plate

the limbs.

length figure

whole figure

is

and you

LV.

will observe,

first,

by studying the figures

have before observed,

you must never omit


intend to draw, not

this

to

will

now proceed

the oval of the head, which

You

human

figure is

will see the relative

in this plate

enter into detail on this subject at present.


I

we

by the numbers on the side of the

as a well-proportioned

eight times the length of the head.


to the body,

head,

to the

contains a back, front, and side view of a whole

divided into eight parts

studied, forming the

human

and

it is

plate, that the

we have

already

supposed to be

proportion of the

hmbs

unnecessary that I should

For those who do not study anatomy,

must be considered the grammar of figure drawing

apply the rules laid

down

in this plate to

any

as

and

figure

you

by actual admeasurement on the paper or canvass, but by

your eye.

We must

now

pass on to the sketching of limbs and features, preparatory to

tempting the whole figure.

You must

at-

begin with eyes, and they are easily drawn by

82

any person as

familiar in fronting outlines as

you ought

to be

from your previous

practice.

I have sent you, in Plate LXI., six drawings of the eye in various directions
first,

you

parts

do

it

will observe, is the

the centre one

correctly,

is

eye drawn directly

the size of the sight

and then put

it

in light

make

and shade.

the other four, and do not turn to another plate

before
is

you with

in front

till

till

copy

you can

same manner with

in the

you can draw any of

tolerable correctness, without looking at the

the

this is divided into three

outlines of this eye

Proceed

the eyes

the eye in profile

half the width of the eye in front.

Plate

LIX.

width of which

contains drawings of the nose and ears at large.


is

equal to half its height and, as

one quarter of the head.


rectly, before
front,

You must proceed

you attempt a

we have before seen,

The

nose.

No.

1, is

its

the ear, the

height

is

about

make

outlines cor-

3, is at its

base, seen in

as in the last plate to

finished drawing.

about the width of the eye

No.

the other figures are too easy to require

comment.

Plate LXIII. contains a drawing of a mouth and part of the nose, from an antique

17.

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83
figure, as this

subject, I

example

more complex than any you have before attempted on

have sent both outline and finished drawing.


and ears

eyes, nose, mouth,


features.

is

The same remark

correctly,
will

you may proceed

When you
to

this

can draw the

combine them with other

apply to Plate LXII.

Plate LVI. contains an outline and finished drawing of a hand from the antique,

and the following

plates,

in various directions,

LVII

LVII,*, and LVIII., consist of hands, arms, and legs,

any one of which

will

form an excellent study

they are

all

taken from the highest authority,

Plate
the

LX.

contains a drawing of feet from the statues of the Apollo Belvidere and

Medicean Venus

these statues are supposed to be the highest standards of male

and female beauty.

The

any of these

keep the hatching

they

figures,

may form diamonds

feet in the plate are the size

rather than squares.

of the pencil or chalk, but


it is

required.

lines clear,

make

of the original.

In shading

and cross them diagonally, so that

Do

not

fill

any part with a close

the shadows stronger by recrossing the lines

tint

where

84

LETTER
As you
human

are by this time able to

figure,

we

will

proceed

make

X.

correct drawings of the separate parts of the

to subjects in

which they are

united.

LXIV. is an outline and finished drawing of the lower part of the face seen
profile.
The outline must be studied first, and every part formed correctly, ob-

Plate
in

serving to

make

that part of the outline

This

be put in strong shade.

is

done

nose, the lower part of the upper

lip,

more pleasing than

make a good

touch under the

and the corner of the mouth.

This variation

the sketch in the


is left in

strong

first

lights,

its

situation, often renders free outline

elaborately finished subjects

if the

drawing,

outline

broad, which will afterward

in the outline before us in the

in the strength of the line, according to

ings

more dark and

not perfect.

is

shade, by covering

with curved lines

all

remember

it

is

You may now

draw-

impossible to

proceed to put

parts of the drawing, except that

which

cross these lines for the darker or second

shade, taking care to hold the pencil or portcrayon as far as possible from the point.

85
that the line
in the

may

be long and

background with

free.

After putting the nose and mouth in shade, lay

each other diagonally,

lines crossing

mass a shade darker than the middle


the strong light
tints

tint

on the

you get the whole

This background

face.

on the face very forward, and

left

till

same time keep

at the

from appearing too black by contrast with the white paper

the background,

it

This nice balancing of

would be opposed.

will

the dark

to which,

without

and shade

light

technically called the keeping of a picture, a subject which I shall treat of

when we

fully

return to

ground, give the


the drawing

Plate
ture

is

LXV.

last

spirited

contains two heads in profile.

This head represents

artist,

Le

human

which

it is

give

you

trouble

is

No. 1

Brun,
figure,

is

who has

and

lips,

a pleasing study from a picrendered himself famous by

when under

liveliness, cheerfulness,

degree of surprise mingled with admiration.

may

more

finished the back-

touches to the lower part of the nose and

his accurate delineations of the

that

you have

is

complete.

by the celebrated French

sions.

When

landscape drawing.

throw

This

is

and

the influence of the pas-

attention, influenced

an easy drawing

by a

the only part

the hair: in copying this, observe that all the lines

formed run from a point

at the

to every part of the head, taking care to

crown of the head

let

wind and turn them

by

the lines run in curves

in imitation

of the copy.

86

No. 2 represents
tures

veneration, and admiration, expressed both

respect,

LXVI.

is

heads that

profile

a head from a picture by Fuseh, introduced here as the


will

come under our

notice.

springs from one point, and terminates in

LXIV.

Plate

first

apply to the subject before

LXVII.

is

fine

wavy

The

pointed out, as they will greatly assist you.


;

but

you observe

The

ringlets.

head from the passions, by

are formed as before directed

hair,

of the

last

again, all

directions given for

us.

In drawing the outline of this three-quarter

pain.

fea-

and by the position of the hand on the bosom.

Plate

Plate

by the

face,

The

you must take care

Le

Brun, representing bodily

remember

the divisional lines

Hght, shade,

and background

to preserve the reflected light

between the lower part of the cheek and the dark shade of the neck.

Plate

LXVIII.

is

a drawing from the statue of Venus de Medicis, one of the

productions of the ancient sculptors.


with red chalk, which will

you procure
touch.

the best

This head, as well as Plate LXVII.,

work with as much ease

French

chalk,

is

finest

drawn

as the pencil or black crayon, if

and take care that

it

is soft

and pleasant to the

PL 64

PI 63

%.

i^SsfeS^??^^

..-^;^^^"
f?^??!-'^'

S'

PI.

PI. 65
"-?-

66

87

When

the whole figure

boy and
Plate

the foregoing example correctly,

you can copy


and

Here

his dog.

LV.

for that purpose

The

finishing

the outline correctly, will be easy.

hatching there

on the face the

is

be proper to commence

will

refer to Plate

XLIV.,

the forester's

the division of the figure according to the rules laid

apply.

will

we must

it

of the drawing,

You must

observe that the shadows thrown on the figure are

all

the less

us,

keep the hands

formed by

in

you have formed

after

In small figures, like that before


better.

down

and

free,

lines crossing

each

other.

The

sleeping shepherd, Plate

drawn by

the

same

rule.

The

XLV., and

the girl at the spring, Plate

XL VI.,

are

landscapes to both these subjects are interesting, and

care must be taken that they do not overpower the principal figures.

You

will

observe that juvenile faces are marked by peculiar roundness of form, and that the
outline of the

Plate

head approaches nearer

LXIX.

in the world,

is

and

metry of every

the statue of Apollo, which

is

part,

just discharged his

to the circle than the oval.

is

allowed to be the finest single figure

justly the object of universal admiration,

which gives dignity

arrow

at the

Python.

to the whole.

In drawing

from the elegant sym-

Apollo

is

supposed

to

this beautiful figure, great

have
care

88
must be taken

that the outUne

yet delicately, shaded.

from

no

you can draw

figures in plaster of Paris, cast

how

loss

to

proceed

When

directions.
fall

When

flowing and correct, and that every part

is

you draw from

plaster figures,

upon them from the top of the room

the top

by

this

means

you must proceed

from models from the antique.

them on paper,

in placing

windows, you should close one

this figure,

entirely,

thus, if

if

you constantly

You

and the other

all

in

to sketch
will

be at

refer to our early

you must take care

you draw

firmly,

is

to let the light

room

that has

two

but about one-third from

the figure will be in strong light and shade,

and you

will

be

able to produce the whole with force and truth, which would not be the case if the

shadows were weakened by

As the
two

concluding subject on

anatomy of

human

The
is

this

in different directions.

branch of the

art,

I have sent you, in Plate

LXX.,

figures in outline, with the muscles violently excited, displaying themselves with

great force.

the

coming

lights

These specimens

will

prove to you the necessity of understanding the

the exterior muscles of the body, if

figure to a greater extent than I

figure

on the burning

suffering, is taken

pile,

you intend pursuing your

have gone

studies of

in this treatise.

whose writhing muscles show the acute

torture he

from a picture by Guido Rheni, and forms the subject of one of

/V ()7

si'

FI 6.9

fl

6<S

89
the four celebrated paintings, by that
the hero

hiniiself,

Dejanira, shot

artist,

He

of the Hfe of Hercules.

represents

who, having discovered the centaur Nessus' plan of carrying

him with a poisoned arrow.

Nessus, on the point of expiring, gave

Dejanira a tunic stained with his blood, assuring her


ing Hercules back to her

if

it

possessed the virtue of bring-

This garment was poi-

ever he should prove faithless.

soned, and Hercules had no sooner put

it

terminated them by putting an end to his

oflf

on than he
life,

felt

indescriba:ble torments.

He

and the god of strength and courage

expired on a burning pile raised by himself

Guide Rheni was the son of a musician, who intended him


but the genius of Guide displaying itself early, he

Dennis Calvart, a Flemish

and soon distinguished himself by


of Pope Paul the Fifth,

Tuscany and

He

painter.

who

Compelled

was placed under the

if in his later

which

work with

rapidity,

direction of

at length attracted the attention


;

him with presents and proofs of


facility,

the Prince of
their

might have ended his days

esteem.

in the

midst

years his passion for gaming had not disturbed his

This, added to the losses he sustained, absorbed


to

profession

afterward entered the school of the Caracci,

his works,

Guido, endowed with an astonishing

working.

own

took great pleasure in seeing him paint

others also loaded

of fame and fortune,

for his

he had the mortification

all

the fruits of his labour.

in his old

age

to see his

90
paintings

little

abandoned by

now

I shall

esteemed by connoisseurs
his

former

conclude

friends,

my

he died

letters

on

at last,

in great

figure

pursued by his creditors, and

poverty in the year 1642, aged 67.

drawing exclusively, and only recur

to

it

again as the figures in the different landscapes that will come under our notice in the

next part of

this

work may demand our

attention.

It will

be proper to remark that

draw on

thick paste-

board, or else,have your paper strained on canvass, in a stretching frame.

I shall take

if

you draw with red or black chalk crayons, you should

either

a future opportunity of showing you the use of coloured paper, and heightening the
light with white chalk,

escaped

my

and merely mention

observation.

It

has been

step in the foundations of the


series

of

art,

letters will contain full

my

it

here lest you should suppose

object throughout, to lead

you on

which I hope has been accomplished

instruction

it

had

step

my

by

next

on the more ornamental and pleasing

branch, which would have been useless in the earlier lessons.

j^. rz.

Fl. 7J.

iQliit'i

fan er ofZondcn/.

Iffle^

Fl. 73.

t?M Zffnd/>n. Iridic.

OF LEWIS

lU.

BROWN

37

JOHN

T.

III

C/acrc7i/.

Tl

74-

91

LETTER

XI.

We have now nothing but pleasure before us,


have

to

remark

will

as every drawing on which

we

shall

be interesting, and the execution easy, since you have masteredi

the difficulties of the early stages of the

art.

We commence our third part with a drawing of the Tower of London, Plate LXXI.,
and

I cannot give

you a

better description of

Walks through London, which


on an eminence

called

Tower

I therefore insert.

Hill,

and though said

be traced with any certainty beyond the time of

what

is

now

called the

than that contained in Hughson's

it

"

to

its

stands

be of very ancient date, cannot

WilHam

White Tower, and enlarged

covers twelve superficial acres

The Tower of London


the Conqueror,

who

built

the whole, which at present

ramparts are surrounded by a deep and wide ditch,

proceeding north on each side of the

fortress, nearly in
13

a parallel

line,

and meeting

92
in

a semi-circular projection.

The

slope

is

faced with brickwork, and the walls have

been so much mended, that the original stone

is

scarcely to be seen.

placed at intervals round the walls, though the interior

The

houses.

is

completely lined with old

principal buildings within the tower walls are the

Chapel of St. John, the Church of


Record, and Jewel

Offices, the

St.

White Tower,

was

Horse Armory, the Grand Storehouse,

in the south-east angle

of England for nearly

Queen

five

the

Peter ad Vincula infra Turrim, the Ordnance,


in

Small Armory, the Apartments for State Prisoners, and the Menagerie.
within the tower

Cannon are

which

The

is

the

palace

of the walls, and was used by the kings

hundred years, only ceasing to be so on the accession of

Elizabeth, who, after being confined as a prisoner

by Queen Mary, had pro-

bably no wish to renew her residence in the tower."

We have

before had a drawing of the Bloody Gate, with

through which you pass

to the

its

Chapel and the White Tower.

ponderous

The

portcullis,

latter is

a large

square building, with square turrets at each angle rising considerably above the embattled parapet.

The windows

are semi-circular, and their form and ornaments

the date of the tower to be about the time of the conquest,

William

to erect similar buildings, in different parts

subjects in awe.

when

it

was

show

the policy of

of the kingdom, to keep his

new

93
This view
there

and

is

taken from the river, and

is little in this

let

is

because

it is

full

difficult to

drawn

exercised, and I

in finished drawings.
it is

careful drawing, as

the water transparent,

less

sky than

is

here given, not

it

is

injurious to

butnow your judgment has been

hope more matured, I have introduced more sky, as

Here you see nearly

is

usual

the buildings run in horizontal lines

all

therefore necessary that the clouds should take a circular form, in order to give

picturesque effect by opposition.


pencil,
soft

Keep

is

execute with the chalk or pencil, but because

the effect of the drawing, unless properly placed;

more

requires

and dark, so that the buildings of the

I have in former lessons

recede.,

it

not familiar to you.

the shipping in the foreground be

may

tower

subject that

that

all

is,

to pass over the

paper and rub

brush

lightly

The means

whole of
over

it till

it
it

lightly,

used to produce the sky with the

and then take a stump or piece of

looks like a smooth even

tint

put on with a

then with your pencil form the dark masses of clouds, and after

edge of the India rubber take out the

most pleasing

Plate

lights

this

with

all

Httle trouble will

with the

produce a

effect.

LXXII.,

is

a drawing of Mey Church, Oxfordshire.

London, because the architecture of

It follows the

the tower of this church

is

Tower of

of the same period.

94
though as a building devoted

This church

is

is

it

admitted of more embellishment.

situated in a small village about a mile

consists of an aisle
vjrhich

to religious purposes

The tower

and chancel.

a circular window supported by

other rude but elaborate sculpture, so

nearly in the centre, on each side of

is

shafts,

ornamented with the zig-zag and

much used

The church is

about the era of the conquest.

and a half from Oxford, and

churches and other buildings

in

entered on both sides by circular door-

ways, adorned with columns, and the zig-zag, beak, and toothed ornament in receding

The drawing

divisions of mouldings.

of the western doorway, which


the rest, and, though rude in

Both on the south and


circular tops are

still

is

its

north,

before us shows the south entrance and part

rich in the

sculpture which adorns

execution, produces a striking grandeur of effect.

windows of

perceptible,

same kind of

and show

later dates

have been

inserted, but the

that a regularity of architecture prevail-

ed throughout.

I have

commenced

architecture, that

this part

of our work with these early specimens of English

you may gain a portion of antiquarian knowledge

distinguish dates of buildings as

we proceed

specimens than the Tower of London and

and I

Ifley

am

Church.

sufficient to

not aware of any earlier

95

The

height of the figure in the foreground will give you the horizontal

points of sight and distance are both out of the picture, but

by applying your
not

stiff;

and

let

rule.

You

this

age

LXXIII.
is

is

will

fall

upon the doorway, which

will easily find

windows

the architecture of the doors and

the strong light

of the drawing.

Plate

Keep

you

line.

The
them

distinct,

yet

the principal feature

is

proceed with the sky as before.

a view of

London

The

Bridge.

spirit

of improvement which in

so conspicuous, has at length penetrated the breasts of the citizens of the

metropolis, and this bridge, which has stood since the year 1176, after undergoing

various alterations,

more

suitable to the

is

at length, to the

At

this

London narrowed by
of parliament.

of the

immensity of the metropohs

This bridge was thirty-three years


with houses.

credit

in building,

be erected.

and was,

till

the year 1756, covered

period the inconvenience of having the principal entrance to


habitations,

became so

glaring, that they

were removed by act

Standing on the Southwark side of the Thames,

magnificent spires of the different churches, with


.skies,"

to

be removed, and one

city, to

"

this

bridge and the

London's column, pointing

and the roaring torrent beneath, form a very picturesque subject

You must

to the

for a drawing.

begin by dividing the whole space allowed for the bridge, into piers and

96
arches,

commencing with

and adjacent

Having got

buildings.

first,

taking care to keep

little

darker in the shade, as

it all

all

in their proper places, finish the

in middle tints for the light parts,

if either light or

You

This

is

called St.

The rough stonework


lines,

of the bridge

is

leaving the light for the foam.

ground very strong, and

Plate

LXXIV.

in 1185.

The

it

will

easy

built

the water

Make

the piles

is

same time

Jerusalem from being violated by

to

infidels.

become
of the

produced by long wavy

and

flag-staff in the fore-

throw back the other parts of the

at the

will

very

by Sir Christopher Wren.

picture.

Temple Church,

knights templars were an order of military monks,

and

it

it

will then finish the spire

the interior of the circular tower of the

is

chastity, and poverty,


at

Magnus Church, and was

Monument

and make

shade should be too strong,

prominent, and spoil the keeping of your picture.


church.

Monument,

the centre arch, then h'ghtly sketch the Church,

erected

who made a vow of

keep the Temple of the Holy Sepulchre

At

the

first

formation of the society

they were remarkable for their adherence to their vows, and were so celebrated for
their piety

and valour, that the religious of that day vied with each other

gifts to these

vowed

soldiers of the temple

in

so that, in a short time, they

bestowing

became as

conspicuous for their pride and luxury, as they were before for the opposite virtues.

They had

splendid establishments in every country in Europe, and their principal

97
residenc(3 in

London was on

the spot which

devoted to a very different use.

of a circular form,
plars

were

arid

The Temple

most of the

built in imitation

of it.

still

bears the

name of the Temple though

of the Holy Sepulchre at Jerusalem

religious buildings erected

by the knights tem-

We here see that the circular arches had got

disuse,

and the elegant pointed arch, supported by clustered columns, supplied

place

but as

all

alterations in architectural styles proceed gradually,

Norman ornament

of semi-circular arches supported by shafts

iron railings on the

still

we

difficult for

Pay

their

The

retained.

pavement enclose the tombs of eleven of the knights templars;

of the knights are in complete armour.

perspective.

into

see the old

these figures consist of two groups, five are cross-legged, and the rest straight

would be

is

you

to produce,

This church forms a beautiful

had I not informed you how

attention to the mouldings

three

subject,

to put

and

circles

in

round the arches, and the capitals and

bases of the columns.

Plate

LXXV.

is

a view of the

thic ecclesiastical buildings

in

some cases

Abbey Church

congruity

the puerility, of

and on the

This

of magnitude executed in England


its

ornaments,

dwindled into the imbecility of age.


to

at Bath.

turrets at

it is

Ornament

is

the last of the

from the

variety,

Goand

evident that Gothic architecture had


is

piled

on ornament without regard

the west end of the church are

two ladders

98
carved in stone, with ascending and descending angles.

These remarks merely regard

the deviation from any regular style of building which characterizes this expiring
effort

of Gothic design, for

being struck with

its

it is

impossible to look at the

Abbey on

The drawing

picturesque beauty.

the whole, without

before us

is

taken on the

banks of the Avon, nearly opposite the north parade, and shows the ruins of the old

As

Assembly Rooms.
and

regards the drawing, this subject will be a test of your

will require great attention

the horizontal line

are aware that

it

is

which of course

is

placed, I

to the

is

here the principal object,

its

is

neither the light nor shade be so strong as

careful

management

bringing

it

When

you were

at

will

You must keep

every building in the

The Abbey,

distance from the eye.


at

some

distance

you

will

on the Assembly Rooms.

is

therefore

It requires

attending to the keeping as I have be-

be called to

Bath you probably observed

Abbey which you do

liberty is taken

foreground, and you

ornaments on the tower and turret appear, without

and your attention

buildings near the


little

to let the

too forward in the picture; this

fore observed,

in the

have introduced a figure

required, according to

ability,

In order to show where

perspective lines.

at the height of his head.

is

tone of colour that

let

it

it

in

every succeeding subject.

some

that there are

not see in this drawing

unsightly old

the truth

is,

that a

with the trees, in order to hide them, because they would spoil

the picture, as they can by no

means be twisted

into picturesque buildings.

You

J'l

f-'i.75

76

Bi/tk

/^i

//

/;

Grg-en-wicAy JVi/SDilal

//

/<

99
will naturally ask,

only say, that

ceeding with

it

Are such

is

truth,

deviations allowed in taking a view

treading on
it

difficult

is

must be done with care and

unsightly

at the

same

many good

drawing of the principal

by

them

in

so that they give value to the whole.

suppose yourself drawing a Gothic

it

was a

ruin,

is

that

to

imagine what

you may observe devia-

alterations

must never

affect the

justify altering the archi-

a wrong position, for the sake of effect


is

You

some of

to heighten
will

the minor ob-

understand what I

near which stands a

muah of

mean

common modern

the unsightly stable as I could

should use every other means to draw the eye

and bringing forward the


drawings of the
all

done here

if

you

stable

pollard willow standing near the place, I should not hesitate to give

branches and leaves, to hide as

of

that is

means they assume a form

Thus nothing could

objects.

which I can

chimneys seen above the trees show

But those

the utmost that can be allowed in a real view

if there

all

and we leave the spectator

pictures.

tecture of the buildings, or placing

jects,

this

taste

I have hinted on this subject, as

kind of buildings they are.


tions of this sort in

time, the

that there are buildings behind them,

To

ground, and that to reconcile such a pro-

merely to make the trees more luxuriant


hides what

beautiful,

tasteful artist

he sees before him.

of so

away from

it.

It is this

and I

heightening

and sinking the unsightly, which makes the

much more

value than the indiscriminate copies

100
Plate

LXXVI.

a view of Clifton, taken from the Ferry-house.

is

grandeur of Italian scenery; the immense


buildings, the river winding
liage,

has

the

all

of rocks surmounted by beautiful

pile

course amid such gigantic masses of rock and fo-

with the vessels passing femd repassing, forms, on the whole, a scene replete

with picturesque beauty.


is

its

It

This drawing

the principal object to be attended to

and do not

let

will require but little

spirit

and you

stiff

The

and formal.

will find the

The keeping

mix with

the distance appear to

let

your masses of hanging foliage be

foreground must be drawn with

remark.

the

air,

figure in the

dark tree of great ser-

vice in throwing the buildings on the rock into their proper situation.

Plate

LXXVII.

a view of Greenwich Hospital, taken from the

is

river.

shipping in the foreground of this picture must be drawn with force and
that the buildings

may

appear sufficiently

distant.

water caused by the rapid motion of the steam


decrease tiU they are

Greenwich was,

who

at

lost in

water.

Keep

vessel.

will

spirit,

so

observe the swell of the

The waves must

gradually

the foreground dark.

a very early period, the residence of the sovereigns of England,

took great pleasure in

kept her court.

still

You

The

its

embellishment.

After her death the palace

Here Queen Elizabeth was

was

born, and

disused, and, in the reign of Charles

101
II., it

had become so ruinous,

ficent pile

on

that

it

was taken down.

but only lived to complete the

its site,

He

first

William and Mary, the design was formed of converting


aged or disabled seamen.

for

This was carried

ing finished by public subscription;

it

was

first

began the present magni-

During the reign of

wing.

this building into

into execution,

an asylum

and the whole

build-

occupied by the objects of this splen-

did charity, A. D. 1737.

LXXVIII.

Plate
ing

is

the chapel

a picturesque study, from a view

is

where the famous William Tell (one of the Swiss

nobly delivered their country from a foreign yoke)


simple,

and

tinctly.

draw them

human

will require

no remark.

You must

interred.

correctly,

you

will bear

in

mind

build-

who

so

architecture

is

patriots,

The

preserve the masses of trees dis-

have introduced two Swiss figures in the foreground

LXXIX.

is

and, in order to

the rule given for the proportion of the

part of the ruins of Kenilworth Castle, Warwickshire.

celebrated structure has been the scene of


its

is

The

figure.

Plate

and

in Switzerland.

many

events recorded in English history

ruins will be contemplated with interest, particularly

the celebrated

work of

the author of Waverly,

This

which takes

by those who have read

its

name from

these pon-

102
derous remains of Gothic grandeur.

and was formerly the great


but

is

hall.

The view

This was

before us

built so late as the reign

this

immense

pile,

as each succeeding

according to the taste of the period in which he


with circular arches in strong shade, and
octangular tower.

LXXX.,

Plate

Keep

twelfth

to

owner enlarged and decorated

it

lived.

all

the characteristic
;

let

style

keep the ruins

at the

bottom of the

fall

marks of the

This building was

religious edifices

the semicircular arches had given

spirit in its execution.

larly attended to

Every

You must

the direct light

while the massive circular piers were retained.

both care and

of Henry VIIL,

the rest of the lights in half tint.

and thirteenth centuries

style,

let

interior,

was

remains of Lannercost Priory, Cumberland.

erected in 1116, and has

draw

taken from the

not the style of architecture of the whole of the buildings.

be found in

ed

is

The

This drawing

to the pointwill require

perspective of the arches must be particu-

show

the variety of touch

way

of the

the effect of time

on the stones

the foliage, weeds, &c., bold and free.

I shall close

LXXXI.,

my

observations on Gothic architecture by a few remarks on Plate

a view of the ruins of Croyland Abbey.

mains of one of the most superb buildings

in

This beautiful ruin

England.

Upon

is all

that re-

examination, you will

P/'

^fnilu

-^/i

( (7

/Q

/'( .^C

f'l

1^

103
find

even in the vestige before us three

Abbey was
building,

This

of Gothic architecture.

distinct styles

erected in the early part of the tw^elfth century, on the site of the old

which was destroyed by

instructive to

know by what means

have never been equalled

commencement of

this

in

And

fire.

it

must be both interesting and

buildings were erected so magnificent, that they

more modern

building,

as

from

"

have inserted the account of the

times, I

Perington's Literary History of the Middle

Ages."

"
fire,

Early

was

in the twelfth century the

The

rebuilt.

abbot had obtained from the archbishops of England and their

suffragans, an indulgence,
for sin, to those

who

Abbey of Croyland, which was destroyed by

which dispensed with the

third part

should contribute toward the pious undertaking

directed to the king and his people, and to the kings of


all

other kings and their vassals, rich and poor, in

Two monks carried


conveyed

it

the animating instrument into

into Scotland,

all

and

historian,

were

it

was

parts of the Christian world.


;

others gladly

Denmark, Norway, and other kingdoms of Europe

mountains of marble, says the


silver,

inflicted

France and Scotland, and to

France and Fanders

great exertions were used in every county in England.

heaps of gold and

of all penances

while

In the space of four years

collected round the spot, with

immense

of iron, brass, cement, and every necessary material.

104
"

On

the day \yhich

was

fixed for laying the foundation, a great multitude

the neighbouring districts met at Croyland

and

families,

abbots, monks, nuns, clerks,

earls, barons, knights,

and persons of

all

from

with their ladies

The

ranks.

abbot

JofFred prayed, and, shedding tears of joy, laid the corner stone of the eastern front, to
the north

the next stone

was

attached to the abbey, and on


knight,
laid

and

his wife

and

sister,

it

he

by Richard de Purlos, a knight

laid

twenty pounds

The

second witk

priest

and by the

who each

money, materials, or by finding

his parish, offering their labour

sixty,

and the

third with forty-two

The

for

the

first

attended bv a hundred

one day

in

every month

men, making the same

three columns of the south wall

offering,

were then

the
till

laid

of Grantham, with two hundred and twenty men, offering ten marks

priest

of

Hockham

with his men, presenting twenty quarters of wheat,

and as many of malt; and by a

third priest, with

marks, two stone-cutters

own

Croyland.

came Geoffrey Reddel,

the priests of three neighbouring parishes advanced, and

work should be completed.

by the

in

of the three columns of the north wall

and four men of

then

foundation stones of the north wall were laid by two abbots and the

monks of the convent when


laid the bases

who was much

with a long train of noblemen and others,

a stone, and gave a handsome donation, either

workmen.

the

laid

in

their

eighty-four men, offering six

quarry, and the carriage of the stone to

105
"

JofFred,

them

who had

addressed each one as he laid the stone,

to the fraternity of the abbey,

and with the

participation also of their joint prayers

which consisted of more than


in hilarity,

when

five

and good works, invited the vast concourse,

the strangers retired, and the great

rising to the clouds, looked

historian, "

down on

admitted

benefits of the indulgence, to the

thousand persons, to dinner.

ments of the monks," concludes the

now having

The day was passed

work began.

The

public apart-

were soon completed, while the church,

the neighbouring forest, inviting the traveller

to approach."

By means
which

like these, as I before observed,

those noble structures were raised,

at this time, notwithstanding the great increase

scarcely dare attempt.

of wealth and

skill,

nations

106

LETTER
The

XII.

succeeding views, previous to our entering on the next branch of the

colouring, are selected as lessons for the practice of the rules

viz.,

acquainted with, rather than as conveying any

be brief in

Plate

my

bay

LXXXII.
is

is

a view of Pennarth Castle, South Wales.


cliff)

overlooking the

The mountain

rocks and ruin of the castle


will find the

produce

I shall therefore

Bay of Oxwich.

This castle stands

On the

farther side of

seen the church of Oxwich, rising under the shelter of the bold projection

of Oxwich point.

You

information.

you are already

remarks on the drawing of them.

on the verge of a rocky


this

new

art,

but by

in the distance partly

in the

foreground, forms a very picturesque subject.

masses of clouds which

making them of a

edges with the India rubber, they

enveloped in clouds, with the

solid

will

float

even

over the mountain most


tint,

and taking out the

appear with good

effect.

difficult to

lights

on the

/'/

14 r

nn

\ci

/)//<

/O/

hUffcr

I/-

-vv

Jhi-ra^f'fJeCa.ytU

V^

PI

'if;

^rs^V''"''
-^*
// /7/ /f/f/-,

/^

///

/// 1 1

ae/

!il'ar/f.tfarr/'i

]/ern;,!:

v.

107
Plate

LXXXIII.

is

taken from a beautiful drawing of Windsor Castle, as seen

from the great park, and

You must form

scenery.
distance

and

it

is

introduced here to accustom your hand to extensive

all

the masses of trees faintly, particularly those in the

be advisable for you to put the buildings in shadow before you

will

The

proceed with the landscape around them.


care to sketch their forms gracefully

make

deer in the foreground will require

the touches on

them sharp and

spirited,

but not clumsy.

Windsor
that

it

is

Castle

is

so well known, and so

unnecessary to notice

its

many

history here.

descriptions of

its

enlargement and embellishment

have been given,

This has been the favourite

dence of most of the sovereigns of England since the conquest,


each other in

it

and

who have

at the present time

resi-

vied with

it is

under-

going great alteration and improvement.

Plate

LXXXIV.

is

an anterior view of the Castle

building, erected to protect

before us

show
lish

is

at

Newcastle, a very ancient

England from the incursions of the Scots.

part of an arched vault, formerly a chapel, and

the effect of

what the

by the words

Italians call chairo oscuro,

clear obscure, though these


16

which

is

is

The drawing

introduced here to

translated into

Eng-

do not quite convey the meaning.

108

You
and

observe that the carved work and the zig-zag moulding round the circular arch,
in the parts that recede, are as clearly, but not so strongly

posed

to the light

shadow within a
"without letting

this is

done by the use of half

shade, and this

them come

that the Italian masters,

mode of proceeding

into the hght.

and made

in their pictures.

I shall have to speak

Plates

you

LXXXV.

will

and

Warkworth Hermitage,
interesting

It

so that there

may

their beautiful

brings the objects to the eye

was by attending

to this part of the art

on the

clear obscure again,

when we com-

LXXXVI.

contain views of the exterior and interior of

which, in addition to their picturesque beauty, are rendered


first

poem of

inhabitant,

the

which Dr. Percy has

Hermit of Warkworth

cribes the subject of the plates as follows

And

now, attended by

Deep hewn

And

their liost.

within a craggy

And

near a flight of stately steps,

All cut with nicest

view'd,

overhung with wood.

that

groups of figures take their propej place

by the melancholy history of the

The hermitage they

all

not then be unacquainted with the meaning of the word.

transmitted to posterity in his beautiful

"

appear a

Rubens, Titian, Michael Angelo, and others, excelled

lived before them,

mence colouring

tints,

marked, as those ex-

chff.

And

skill,

piercing through a stony arch,

Ean winding up

the

hill.

he des-

loa
Then scoop'd within

Beside the altar rose a tomb

the solid rock

Three sacred vaults he shows,

All in the living stone,

The

Gn which

chief a chapel, neatly arch'd,

On

branching columns rose.

Up

to the altar's

A kneeling

ample breadth

Two easy steps ascend.


And near, a glimmering solemn light
Two well-wrought windows lend.

You will,

perhaps, be anxious to

and bestow such pains

a young and beauteous

maid

In goodly sculpture ?hpn^

in

angel feirly carved,

Lean'd hovering o'er her breast,

A weeping warrior at
And

know what

hewing

her

feet.

near to these her crest."

led the hermit to retire

his habitation out

from the world,

of the solid rock

the story, ac-

cording to Dr. Percy, runs thus

A chieftain

of Northumberland called Sir Bertram,

(who afterward became the

lonely hermit,) aspires to the hand of the fair daughter of a neighbouring chief

lady requites his loye, but, in the


bids

him prove

wars, but

is

of ancient chivalry, arms him for the

valour by his deeds.

desperately

in a short time

that

his

spirit

wounded

conveyed

Sir

in battle, is

Bertram

had befallen him, had, previous

The

and

fights bravely in the Scottish

borne nearly

to his mistress's castle.

field,

The

lifeless

lady,

from the

field,

and

having heard of the

to his arrival, left her castle to visit him.

ill

After a

no
tedious delay he recovers, and not finding his mistress return, his brother and himself
set out in different roads to seek her

search,
is

till

he

is

he

reduced nearly to despair.

Sitting,

from

the object of his

vi^eariness,

under a

tree,

he

accosted by an aged pilgrim, in the words of the poem, as follows

" Cheer up,

Some
For

my

son, perchance (he said)

tidings I

oft

The

may

bear.

when human hopes have

Then heavenly

failed.

comfort's near."

pilgrim proceeds to inform Sir Bertram that he has lately heard a lady's voice

lamenting in a tower near the spot

and hastens to the tower, where,

the knight thanks the pilgrim for his intelligence,

after

watching some hours, he hears the lady's voice

he afterwards sees her through the grating

he

v^rithout finding

travels,

falls

"

asleep

When

lo,

till

he saw a ladder of ropes

o'er the

third night,

tall.

And

weary with watching,

soon he saw his love descend,

Wrapp'd

wall,

moat was newly

A poplar strong and


This apparent

on the

near the morning

Depending from the

And

laid,

in

a tartan plaid,

Assisted by a sturdy youth,

In Highland garb then clad."

faithlessness of the lady rouses the jealousy

and rage of Sir Bertram,

Ill

who

follows them, and hears the lady discoursing familiarly with the youth she had

fled with

'

and

after

thanking him for coming to her rescue, adds

And ever shall my grateful


Thy services repay

heart

'

Die, traitor,

;'

Sir

Bertram could not

But

cried,

'

Ah, then

farther hear,

And

Vile traitor, stay

Vile traitor, yield that lady

die,'

a dreadful thrust

Attends each furious word

up

Oh,

'

!'

fair Isabel

knew

his voice,

rushed beneath his sword.

stop,'

she cried,

'

oh, stop thy arm,

And

quick his sword he drew

Thou

dost thy brother slay

The

stranger turned in sullen rage,

And

here the hermit paused and wept.

And

at Sir

Bertram

His tongue no more could say.

flew.

With mortal hate their vigorous arms


Gave many a vengeful blow.

At length he

But Bertram's

Ere I could stop

And

stronger

arm

How

prevailed,

laid the stranger low.

It

After this tragical event, Sir Bertram

" Loathed his wretched hfe.

And

long to end

Till time,

Had

it

thought.

and books, and holy men

better counsel taught."

cried,

'

Go, lovely pair-

shall I tell the rest

fell,

my

piercing sword,

and stabb'd her

breast.'

112

With

feelings of penitence

the words of the

and devotion, he resolves

These rocks and hanging grove

My

My noble

The

in

was wont

hermitage

in

my choice,,

And here I carved her beauteous


And scooped this hollow cave."

to rove.

is still

friend approved

This blest retreat he gave

murmuring stream

oft beside that

love

from the world, and

poem

" This sweet sequestered vale I chose,

For

to retire

good preservation, and

of both the exterior and interior

in the latter is

the plates give

jGbrm,

an accurate view

seen the carved figure of the lady as

described in the poem.

In drawing the
the

first

of these interesting views, Plate

whole of the subject

hermitage

and

let

in half tint,

LXXXV., you

must keep

except the strong light on the entrance to the

the sky be darker than the half tint

on the rock.

The shadow

of the rock and the hanging foliage must not be so strong as the large tree in the
foreground.

Plate
that

LXXX VI.

come from

the

will require great nicety in the

window

they must be

left

management of the rays of

in the first shade,

ligh

and strengthened

in the part that requires

them

lighter than

as

it,

any other

you proceed

in the drawing,

Keep the

part.

always observing

to leave

groinings of the vault in perspective, and

take notice of what I before observed on keeping the parts of the drawing in strong

shade clear and


or sepia,

Plate

This drawing

distinct.

when you

carved roof

is

is

115

by 40

feet in length,

of Christ Church, Oxford.

in breadth,

of Irish oak, and the pendants are richly

light effect, without detracting

greatly heightened by the


:

beautiful subject for India ink,

are able to use them.

LXXXVII is the interior of the Dining Hall

elegant refectory

walls

make a

will

from

numerous

these not only recall to

grandeur.

its

portraits

Owen, and
lessons

on

Henry

come under your

notice.

building, the point of sight


ful to

VIII,, to the grace

tinting, as the interior

make

In
is

all

in height

the finely

which gives the wholea

splendour of this hall

of eminent characters which adorn

mind the actions of the

others, of the present day.

gilt,

The

illustrious dead, but

the gradual advancement of portrait painting, from the

bein in the reign-of

and 50

This

stiff

show

is
its

also

colourless head of Hol-

and nature of Sir

Thomas Lawrence,

I have introduced this hall previous to our

of buildings

is

the

most

difficult

subject that can

cases where you wish to draw the interior of a

the first thing to be attended to

the height of your eye, and

it

will

this

you must be care-

have a more pleasing

effect if

you

114

mark

the point of sight nearer the side of the

show one

side of the apartment (as in the

both sides ran equally to the point of sight.


is

little

your rule

below the bust placed


at the tops

room than

the centre, as

is

The, point of sight

in the centre,

and you

the point of sight.

In

drawing of Lollard's Tower which I sent with one of


terminate in the point of sight.

You

well

in Christ

will easily find

know how

this

my

to

drawing

due gradation of

tint,

is

and shade on the object

then
if

llall

by placing

of course the

(like the
all

simple

the lines

form the windows and every

to preserve the keeping, so that the

may

Church
it

early letters)

other part, by referring to elevations and streets in perspective, and

then have to attend to

will

drawing before us) more correctly than

of the windows and the lower part of the room

point where the lines intersect

you

all

that

lower end of the

you

will

hall,

by

recede from the eye, and be thrown back by strong light

in the foreground.

have hitherto given brief biographical notices of eminent persons connected with

the subjects of the drawings, and none will excite greater interest than that of Cardinal

Wolscy, the founder of Christ Church.

eon of a butcher

uncommon

in the

town of Ipswich,

This celebrated character was the

Suffolk.

His

aptness to learn, sent him early to the

he was removed to Magdalen College, Oxford.

father,

observing in him an

grammar school

from whence

Here he made so extraordinary a

ri

i*

yv

I,
fiii.*""

-ff'iirf-

^;

'

i*as^.i*^i ^*j.i*4.i

i^jt

.'-j-.^

^-^-'^'^

vi-

.vr

115
progress that he took the degree of bachelor of arts

of age

in

when he was only

He was

consequence of which he was called the boy bachelor.

mitted to a fellowship in the

same

college,

and

in the

fifteen

years

then ad-

end nominated master of Mag-

dalen school, where the sons of the Marquis of Dorset were placed for their education.

This circumstance procured him the patronage of the marquis, who presented him
with the rectory of Lymington, in Somersetshire, to which he was instituted in 1500,

He was

being then in the twenty-ninth year of his age.

The

dalen College, Oxford.

next situation

the court of

Rome.

means

The

the

However,

obliged to look out for another patron.


;

this

who

With

and having, during

and a great favourite of Henry

resign,

to

VII.,

France as one of

on account of

his

in is that

bursar of

Mag-

of chaplain to Dr.

in favour with the arch-

for the first time

was

mentioned at

the greatest advantage

died in 1503, so that he

this

his residence in the

great

age,

who was

he was appointed

his family.

When

and returned
16

Wolsey

was again

view he studiously attached him-

contracted an acquaintance with Sir George Nephant,

went over

made

pope, at the archbishop's request, granted his chaplain a

reaped from his connexion with Dr. Dean,

power

him

name of Wolsey was

dispensation to hold two benefices.

self to persons in

find

Here he grew greatly

Dean, archbishop of Canterbury.


bishop, and by this

we

also

Sir
to

to be

west of England,

treasurer of Calais,
his

chaplain,

and

John obtained leave

to

England, he recommended

116

Wolsey

in

such strong terms to the king, that he put him upon the Hst of royal

chaplains.

Thus Wolsey

at last cast

nearly the close of his

life,

anchor in his desired port

and from

this period

till

he pursued an uninterrupted career of successful ambition.

In 1509 Henry VII. died, and was succeeded by his son Henry VIII., who, at his
accession,

was only eighteen years of age.

the favour of the

young monarch.

Wolsey

effectually

succeeded in gaining

In 1515 he was promoted

Lincoln, and then to the archbishopric of York.

And

finally,

under the

title

to the see of

the pope, being desirous

of engaging so powerful a minister in the interest of the apostolic


cardinal,

first

see, created

him a

of Cardinal of St. Cecile, beyond the Tiber.

The grandeur which Wolsey assumed upon this new acquisition of dignity is
hardly to be paralleled. The splendour of his equipage and costliness of his apparel exceeded

all

description.

But the munificence of

was not

his disposition

He had a consimen. Among other

merely exercised on objects of an external or temporary nature.


derable ambition to be the patron of learning and learned

branches of erudition, he founded the


thinking that a sufficient

mark of

first

Greek professorship

his esteem, in the

at

Oxford

and not

year 1525 he determined to

build a college, as a lasting


in

which he had received

mence

his

his education.

projected foundation, the

called Cardinal, but


tion in

monument of his

now

Having obtained the royal assent

first

the cardinal at the

to

com-

stone of that magnificent structure, then

Church College, Oxford, was

Christ

honour of the founder

zeal and gratitude toward the seminary

laid,

with a superscrip-

same time building a grammar

school at Ipswich, the place of his nativity, to qualify young scholars for admittance
to

it.

It appears,

this

however, that he had

period he began to decline.

now

passed the zenith of his popularity, and from

His ambition almost daily led him

to

some

which rendered him unpopular, and armed against him the strenuous exertions of
enemies

to hasten his downfall.

fell

a victim

to the disgrace

and being previously much indisposed,

and mortification of his present circumstances.

expired at Leicester Abbey, on his


king,

his

In the year 1529 he was arrested by order of the

king, at his archiepiscopal seat in the north

he

act

way

to

London

to receive the

on the 29th of November, 1530, and was buried

He

judgment of the

in the middle of

one of the

abbey chapels.

In prosperity, Wolsey was proud, arrogant, and haughty

in adversity,

mean, ab-

118
ject,

and cowardly.

His vices were of that cast which most disgrace the sacred char-

At

acter of a prelate.

same time

the

greatly promoted and encouraged literature

and useful

Plate

Rome

arts

and he was,

LXXXVIII.
this is

is

in general,

virtues

his

view of the present appearance of the Arch of Titus

architectural beauties,

its

with the leading features of Greek and


to

go

into

an

it

architecture.

which led

which are now classed under

to the

plain

and robust

in its appearance,

strength are required.

of architecture
high.

of

its

tico

is

slightly acquainted

It is

not

my

its

best

name,

is

evidently Italian, but

modern example of this

of St. Paul's, Covent Garden.

intention

orders of architecture,

The Tuscan

order

is

the

used for buildings where plainness and

the column, including the base and capital,

The

be found in the

to

There are but few remains of buildings executed

This order, from


simplicity.

and

at

formation of the different

five distinct

the Tuscan, Doric, Ionic, Corinthian, and Composite.

most

he

thus late in our series of views,

we might become

Roman

historical detail of the causes

styles of building,

for

liberal friend to the poor.

one of the most interesting remains of antiquity

considering

he patronized and cultivated the polite

former capital of the world, and I have introduced


that, in

were of the public kind

is
is

in this style

about seven diameters


placed

first

on account

order, is the plain but noble por-

119

The Doric
earliest
it is

order

is

the next, both in simplicity and strength,

more ornamented than

to be

thus used by

The

the Tuscan, being fluted.

" Ion,

The Romans

foot.

modern

The

is

volutes.

in after ages

about six diameters

origin of this order

more

it

The

more elegant

formation, and

following account of

figure,

and gave

had recourse, as before

elegant,
to this

gave eight diameters

new

to

its

origin

lofty,

he added a base

hanging on each

or flowers in festoons

were wrought, resembling the

The

Corinthian order

said

is

man

six

is

capital is orna-

its

given by Vitruvius

new member

Doric order,

Thus he was

the

is still

he gave

and furrows, or

folds or plaits

who

and that

of a shoe.

in imitation

side,

first
;

to

hunmn

to the

a column, that the aspect might be more pleasing

volutes, like locks or plaits of hair


fruits

in the

order a feminine delicacy.

appearance might be more

mented with

added another diameter, and

a Greek prince, building a temple to Diana, and seeking some

render

in the

architects.

Ionic order approaches a

mented with

its

height of the Doric column

founded on the example of nature, which has given to the height of

times the length of his


it is

The

Grecian buildings.

and was used

The

to the capital, orna-

down

fluting

the column,

of a matron's garment."

more ornamented, and one diameter

is

allowed for the

capital,

which gives the column a noble yet

The same

delicate grandeur.

author,

who

describes the origin of the Ionic, has given us the origin of the Corinthian order, as
follows

"

A young lady of Corinth

fell

ill

and

After her interment, her nurse

died.

collected together sundry ornaments with which she used to be pleased, and putting

them

into a basket, placed

it

near her tomb; and,

weather, she covered the basket with a

tile.

root of acanthus, which in spring shot forth

It
its

they should be injured by the

lest

happened the basket was placed on a


leaves

these, running,

the basket, naturally formed a kind of volute in the turn given


leaves."

up the

by the

tile

side of
to the

Happily Callimachus, a most ingenious sculptor, passing that way, was

struck with the beauty, elegance, and novelty of the basket surrounded by acanthus
leaves

and, according to this idea or example, he afterward

made columns

for the

Corinthians, ordaining the proportions such as constitute the Corinthian order.

The Composite
owes

its

order,

is

origin to the

standing

is

a bold mixture of the Ionic and Corinthian

Romans.

the arch of Titus at

honor of Titus
Saviour.

order

for his

Rome,

best and

Plate

most perfect antique specimen of

LXXXVIII.

this

was erected

and
this

to the

overthrow of Jerusalem, which had been predicted by our

This structure

monument of

The

capitals,

may

be regarded not only as a work of

the truth of the Scriptures.

On

art,

but also as a

each side of the arch are

121
bas-reliefs,
ple,

showing the golden candlestick and other implements taken from the tem-

and carried

in

procession to grace the triumphs of Titus.

Should you wish

to

become an adept

some good work on

to study

in architectural drawing,

the five orders.

it

will

be necessary

Mr. Nicholson has written on the sub-

ject with great mathematical precision.*

Plate

LXXXIX. is

a view of the Castle and City of Edinburgh; this

best and most difficult landscapes

keep the distance very

light,

and

you

let

will

have

to copy.

the mountains, &c.,

You must

mix with

one of the

is

be careful to

the sky

the build-

ing in the foreground must be very distinct.

Plate

XC. is

in colour

pared for
the light

a snow scene

but I

deemed

this sort

it

this is

more

difficult to

execute in chalk or pencil, than

proper to send you one specimen, that you

of subject.

All

on the branches of the

you have

trees

may

be pre-

to attend to is a careful preservation of

and on the

buildings, as they cannot

* See Nicholson's Student's Instructor in Drawing and Working the Five Orders of Architecture.

be taken

122

You

out afterward.

grow

faint as they

will

observe even in this snow scene, that both light and shade

recede from the eye.

Plate XCI., the Cascade of Tivoli,

Plate

XCIV.

geons of

is

is

a pleasing subject, which requires no direction.

the Castle of Chillon, on the

Lake of Geneva,

It

was

in the

dun-

this castle that the three brothers lingered out their

miserable existence in

of which forms the subject of a beautiful

poem by Lord Byron,

captivity, the story

called the Prisoners of Chillon.

After copying the various examples I have sent, you should be competent to sketch

from nature.

Begin with simple

find yourself at

such as an old barn or cottage, and

subjects,

a loss where to commence, turn

pursue the same means there pointed out.


harsh

stiff outlines,

You must

as your eye

in

your

There

never lose sight of the perspective

picture.

You

sketching from nature,

will
in

lines,

now no
its

on the

size of

fear of

bad

you

work, and

your making

effects in

a drawing.

taking care not to draw anything

and that the horizontal

perhaps find some

fixing

is

quite familiar with

is

but at the proper point of distance

to the early lessons in this

if

difficulty in

line is properly placed

your

first

attempts at

your drawing, or determining what

Pl.9f

p;

,:^mf^,-^,

st.

''^<f?'

/ /^^

\^,

>%

^1

-?

123
objects should be taken

you

it

to cut out

a square

forms the frame of a

you

will at

in,

To

or what omitted.

in Bristol

picture,

once see what object

board about

come
IT

this,

I should

recommend

this size

and, by holding
will

obviate

into

it

a proper distance from your eye,

your space, and the boundary

lines

124
will

be

distiiictl/

You

marked.

will,

of course, find that the nearer you hold the

frame to your eye the larger the picture


true horizon

by holding a

stick in

told, that

appear.

Tou can

at all times find the

an horizontal direction before your eyes, and what-

ever you see above or below the stick

been frequently

will

the horizon

is

is

above or below the horizon, as you have

always the height of your eye standing

in

any

direction.

I shall

now

proceed to the use of colours.

you have already

to you.

will

soon discover that the power

attained of drawing with correctness and

learn but a judicious mixture of


to produce light

You

and shade

tints,

as you already

spirit,

leaves

know where

you

little

to apply

to

them

your previous drawings having rendered these familiar

125

AND COLOURS.

INDIA INK, SEPIA,

LETTER

XIII.

Before you commence tinted drawings, you must be furnished with a drawing

board to strain the paper on which you intend to draw


in

most large towns

but as you

may have

to get

never seen anything of the kind, I have, in No.


the

most

but

mahogany

useful

and the

is best,

easiest to

and

it is

be procured

ing that
will

it is

No. 3

is

will

this

more convenient than a

merely a panel

he seen by No.

let into

this

can easily be procured

one made by a carpenter who has

1,
it

least liable to warp.

one about eleven inches by sixteen


paper, and will be

Plate XCII.,

may

made a drawing of

be made of any sort of wood,

I should advise, for general use,

take half a sheet of

larger board.

You

demy drawing

will see

a frame and fastened with wedges

by the draw-

at the back, as

2.

another sort of board, which

is

very convenient

when you draw from

126

may
may

nature, as several sheets of paper

you how

this is

formed

the points

be strained at once

the drawing will

be a quarter of an inch

show

Having

in height.

procured a board, you must next choose the paper, and for the purpose of colouring,
it

must not be too smooth

paper

may

indeed for landscapes

it

be procured of various sizes and qualities

for early practice find

demy drawing paper

ceed to wet your paper with a clean sponge and water,


without curling up, then place
frame, and fasten
quite dry before

it

you attempt

you

the large

flat

India ink
sepia

The

at Plate

brush

is

draw on

will find

camel hair pencils or brushes

you look

to

to

it

quite

at the back.

At

it.

first

work with

used for skies and broad

not used for drawings so

much

You must now

pro-

will lie flat

on the

table

can, put the board in the

You must wait till

it is

dry.

You

will

now

require

these must be chosen with judgment


all

you

the sizes

will require;

tints.

as

makes much more pleasing drawings, and


directions for the use of one are the

will

the paper will appear wrinkled

smooth when

XCII., I have drawn brushes of


is

till it

on the board as even as you

down by means of the wedges

in various parts, but

if

it

you

at the stationers, but

good enough.

quite

The

can scarcely be too rough.

same

it

was

formerly, as a colour called

affords

a greater variety of

as for the other.

tint.

I have, therefore,

only sent you one example in India ink, and the remainder in sepia.

127

The paper

being properly strained, and having provided yourself with a cake of

India ink and a set of brushes, or camel hair pencils of different sizes, a white plate

and a cup of cold soft water, you may commence the

Damp

XCV.

Plate

your brushes

your paper with the largest brush

in water,

and

let

a few drops from

it fall

you must rub up your India ink, taking care not


take a large brush and dip

mix
the

it

with water

same

whole

till it

it

becomes

will at first find

fearful of using too

hand corner

much

colour

it

difficult to

keep the brush quite


to cover,

of water

it

side of the plate

full,

even

if

in the

otherwise the edge of the

first

here

and on another part of the plate


form the

tint

No. 1

then with

of the drawing, put the

at the top

form a broad

flat tint,

tint,

as

tint

you must mix

full

will

be

of colour,

end of the space you

at the

dry before you get more in your

will

flat sky-brtish.

the tint

you

brush go over too large a space, but

you are nearly

drawing, will not require the use of the

on the

Having so done,

too wet.

brush, and the sky will be spoiled with lines running across

laid

then dip one of

but you must always keep the brush

and never try to make what you have

wish

full

upon one

have

sufficiently pale to
left

drawing of Marston Cross,

with the exception of the strong light on the broken angles of

in this shade,

You

to

into the India ink,

brush, beginning in the

the cross.

tinted

No.

enough on the waste paper on your drawing board

2,
;

No.

6,

on the

it

this

Plate

being a small

XCII.

plate, trying if

with this

tint

form the

Having
it is

dark

trees, the

128

windows and doors of

the buildings, and the road; in fact, every part that requires

a second shade.

When

taking care to

the touches

let

this is quite dry,

on the

now

the whole of the drawing in

with

tint

No.

4,

trees

light,

put

it

in strong

shadow with

shade, and middle

tints,

you have been taught

trees, rushes, &e., in

to use the

No.

3,

You have

and you

working with rather a smaller brush, with which you

exactly as

tint

form the figure you require.

broken parts of the thatch, the dark parts of


using

it

will finish

will

form the

the foreground,

dark pencil in our pjecjeding

drawing.

you had not been taught how

If

to

make

touches on the buildings to

they are formed with, I should have mentioned

person
this

who has made

point,

I have

so

it

many drawings from good


observed,

before

that

here

but

it is

clear

and transparent

tint.

India ink

have sent this

is

not so

difiicult to

much used
XCVI.,

subject, consisting for the

of sky and water, for your second drawing, because I

sky most

impossible for a

subjects, to require direction

colour called sepia, and you will see by the marine view, Plate

more

show what

am aware

that

that

on

as a
it

is

most part

you

will find

execute.

Afler you have drawn the outhne of the subject, and sketched lightly the form of

129

on the horizon, you must proceed as before

the large clouds that float

With

first tint.

the large brush begin at the top and

that requires a flat

tint,

then take another brush with a

edges toward the rolling clouds,


softening,

and

go over

till it

little

first;

and with

this

lights at the edges, but with

a soft aerial

other; while the sky is drying

tints

second shades.

You

is

in the foreground,
effect,

as dark as

Plate

XCVII.

this is called

is

next mix a

this will leave

tint

off"

the strong

as though the clouds melted into each

would run

first

into

and second

and injure the

put the boats and shipping in the distance in the

finished

must be

it

will

you can go over the water with the

You may now make

and the sky

previously laid on are dry, take a smaller brush and form the

mast of the large vessel

plied,

effect,

don't touch the sails of the vessels, as the colour

When the

water only, and wash the

form the clouds, softening them

toward the edge of that part of the sky formed before

sky.

sky

prevent the hard wirey appearance which your early attempts at

will

shade darker than the

form the

that part of the

all

leaves no colour on the paper

skies will undoubtedly have, unless treated in this way.

tints

to

a transparent cloud over the

and

first

flat tints first

ap-

the hulk of the ship, masts, rigging, &c., with the boats

finished

up with darker

colour,

and the

last touches, to

give

can be made.

a bridge over the Ouse, a pleasing, easy subject.

have again

130

begun the sky with a

flat

tint,

which you

will find

runs

the exception of the light sparkling touches on the piers


trees

all

through the drawing, with

these must be

and distance are formed with the second shade over the

of the drawing with the third shade over the other two.

first,

Take

transparent, and let the reflection of the bridge be distinct.

The

but not so dark as the boats in the foreground, or

The

and the dark parts

care to keep the water

boats and weeds in

the foreground must be finished up strongly, and a dark touch or

on the bridge

white.

left

two on the

you

figures

will bring

them

too near, and spoil the keeping of the picture.

The
Isle

last subject I shall

of

Wight

send you

in Sepia, is

here the dark sky

is

a drawing of Carisbrook Castle, in the

intended to throw a general gloom over the

whole drawing, with the exception of the strong

lights

on the building

the broken

stones and weeds in the foreground must be strongly marked, and the penciling on
the building attended
turrets, as

When

You must

to.

they will lose their rotundity without

you are able

to

tint

and

it.

produce copies of the

instructions sent will enable

an even

be careful in keeping the reflected light on the

you

to do,

you

finishing the foreground

will

last four plates,

which I hope the

have learned the method of spreading

with the darker

tints.

Having drawn so

JPL.9(?

J'i.'J

Cal/ii

^PLdy

J'l.&T

niiini

Pn tJie OH'i-e

"'^O/;
'

f'asl/r

131
much, and knowing so well the

any object that presents


in

most cases

Before
blue,

we

and

perfection,

quired.

effect

itself to

I should decidedly

enter

From

your

recommend

thirdly,

it

is

latter.

necessary to observe, that yellow,

and

if

these could be obtained in

should be enabled, by combining them, to form every


the three primitive or simple colours are formed four
;

forms a gray.

It will

fourthly, the

who

tints

formed by the

artists

different

if

names of

who

are en-

drawings, without a previous knowledge of light

Learners sometimes imagine that they can produce the same

of reputation,

first,

number of

after the

invented them, and are eagerly sought after by persons


brilliant

compounds,

for the great

which may be purchased, many of which are called

deavouring to produce

and shade.

compounds

mixture of the three primi-

an endless variety of shades may be produced. This accounts

the artists

is re-

be obvious, from this short explanation of the

theory of colours, that by the mixture of the

different colours

that

tint

secondly, yellow and red, which form orange

red and blue, which form purple

tive colours

the

three primitive colours

blue and yellow, which produce green

Sepia, though

notice, either in India ink or

upon coloured drawings

red, are the

we

of light and shade, I shall leave you to copy

they procure the

same

they labour under the want of their judgment,

effect

with

material, without considering that

taste,

and experience.

All persons

132

who commence
will aid

colouring

may

be assured, that a judicious selection of a few colours

them more than the possession of

all

which expensive

the fanciful tints with

boxes of colours are loaded.

A boXi
the

most
1

containing the following twelve colours, will produce every


finished

Yellow Ochre,

5 Vermillion,

3 Italian Pink,

1 Venetian Red,

11 Indigo,

8 Burnt Sienna,

12 Prussian Blue.

Raw Umber,

XCIX., No.

land, but

1,

Yellow ochre

nowhere so pure as

tectural drawings, corn-fields,

trees or herbage, as

it is

is

&c.

lump of

10 Vandyke Brown,

a mineral earth found

in the vicinity

which

to clog in using as

is

light

this colour

is

now

gamboge, and

is

many

but

too opaque.

the yellow most

bought

preferred to

is

in

places in

T^his colour is

of the sky

not sufficiently bright, and

that can be procured from the colourmen,

bright yellow,

of Oxford.

and the yellow

brought from the East Indies, and

grass,

9 Sepia,

6 Lake,

Plate

required in

drawing

2 Gamboge,

gum

tint

used

not

is

2.

Gamboge

at the druggist's, is quite as

gamboge

3.

in archi-

much used in

commonly used

and much cheaper.

Eng-

is

for trees,

good as any

Italian pink is

for trees, &c., as

it

is

therefore of great use to beginners.

not so apt

4.

Raw

1^
umber

an ochroijs

is

earth,

and

brilliant

colour

but as

it is

some circumstances

liable to

flesh tints, draperies,

&c.

This beautiful colour


colours,

when

This colour

it

will

is

mix

shall notice in their

Burnt Sienna

is

In general

is

it

very

fine purple gray.

its

quicksilver,
useful,

great use

is

7.

any

other,

and

a calcined earth brought from

of neutral

and

useful for bright glowing tints on the foreground or buildings

Indigo, and forms a rich green of various tints,~9. Sepia.

it

it

is

under

paj-ticularly for

6,

Lake,

therefore greatly superior

is

Italy,

a native red ochre.

is

it

The

likewise a valuable colour to

(which

we

&c.

a very rich colour

is
;

tints,

horizons,

roadj distant

tiling,

is

is

mixed with other

but

tints,

Venetian red

in the formation

proper place,) likewise

has been shown unmixed, but

it

must be used sparingly and with judgment.

easily with almost


;

when mixed

purposes,

of the different tints.^5. Vermillion

compounded of sulphur and

change.
it

treat

many

not only used for bright glowing

forms a

to Indian or light red

8.

but

a useful colour for

when we

with others, as will be shown

most

is

mixes freely with


use of this colour

mix with

others, as

can be used of any depth of shade on the outlines pf buildings, sharp touches on

trees, figures,

usjed for

&c.

shadow

10.

Vandyke brown

to the burnt sienna

is

more opaque and of a ruddy hue, and

on roads,

buildings, figures,

&c.

dark blue extracted from a plant which grows in the East and
colour

is

particularly useful in the formation of tints,

and

is

11. Indigo is

West

Indies.

likewise a

is
a,

This

good colour

134
for skies.

fact in

all

12. Prussian blue is a clear bright colour, useful for skies

cases where blue

have now enumerated

subject, I will

names and

No.

13, Plate

of which

XCIX.

be produced, and

is

nor

easily levigated

and

is

to

15.

on the

more expensive.
is

palette.

14.

The

very transparent, and

for

It is chiefly

Carmine

in

most

it

very

is

this

too expen-

and

is

not

used by miniature and enamel painters,


it

stand well, retaining

will

is

chiefly used

in

my

opinion not

much

16.

is

difficult to use,

a very bright rose colour, more

sometimes used

a tone of colour, require warmth.

on

beautiful blue that can

This colour

lazuli.

fruit

great disadvantage of this colour


is

am

a learner, as a very small cake ainounts

colour, as

is

and

a bright yellow,

but as I

afterward find useful, and with the

the finest and

be regretted, as

to

this colour is expensive,


is

is

box of colours

much

proper that you should be acquainted.

them a most invaluable

Gallstone

may

a preparation of calcined lapis

is this

liancy for centuries.

lake

it is

Ultramarine

sive to be introduced into a


to a guinea

the colours requisite for a learner

add a few others which you

qualities

in

required.

is

all

and water

to lay

its bril-

brilliant

than

and flower pieces.

superior to gamboge, but


is

its

liabihty to fade

it

over greens, which, having too cold

Yellow lake

is

expensive and not durable

ri.m

-7-"

/J

^4

''*"

'6

'^

fiS

)0

0?

Itxlru

-li

12

135
it flies

in

a short time

after

it is

used.

but too heavy and opaque for water colours


copper.

18.

King's yellow

is

a good blue for some purposes,

17. Verditer is
;

it is

a mineral colour produced from

a useful opaque colour;

a pure orpiment, or

is

it

arsenic coloured with sulphur, and must therefore be used with care by those

19.

but not so generally useful, as

its

put their brush in their mouths.


red

the tints formed with

A volume

it

might be

Indian red

weight causes

filled

with the

to sink in water,

and renders

but as

tints

it

useful, I

is

the combinations of

all

my

not

shall

intention to intro-

now proceed

show

which a combination of the before-mentioned twelve colours

1, is

what

is

called a neutral

tint.

Most of

of the light and shade of their pictures with

do not see the necessity

for this

myself, as

the old masters put in the whole

this tint,

you

will

and afterward applied colours.


find

in

our next lesson, and

merely mention the subject here as the practice was formerly very general.
tint

to

produce.

No.

it

names and uses of

duce to your notice anything not generally

will

nearly the colour of Venetian

muddy.

colour with which the colour-shops abound

you only some of the

is

who

may

be formed of Venetian red and Indigo mixed together

Neutral

as in this case they

136

become a
it

is

gr&y.

No.

2, is

composed of equal

colours, judiciously
distant trees

and

a gray

nearly like the formef in appearance and use

tint

quantities of lake, indjgo,

mixed according

to the tone of colour required, are useful

buildings, particularly if the horizon is,warm.

in every possible

variety for clouds, distant

trees,

hills,

4k^c.

your own judgment, when you apply the

This
;

useless, as

you

harmonizes with the other part of the drawing.No.

Prussian blue with a


is

No

little

tint for distant trees,


5, is

tint

and herbage
for the

lake

.the clear

made with

in foregrounds.

No.

is

formed of

6, is

indigo, used as

No.

8, is

tint

little

made of

brightest green that can be formed

answer nearly the same purpose.


Venetian red:

this is

No.

a good shade

a mixture of

3, is

this colour.

this

Italian pink
in the
9, is

tint for

is

No.

No.

4,

raw umber.

warm

formed of lake and raw umber, and

neutral tint

be made

best inform

will

a shade for

bright parts of roads, foliage, &c., in the foreground.

light.

tint,

indigo and a small proportion of

composed of burnt sienna and

of yellow ochre and lake with a


strong

azure sky

may

tint

for

multiplied examples

would be
if it

These three

and raw umber.

7, is

trees

used

is

a mixture

useful for buildings in a

and Prussian blue

this is

the

absence of Italian pink, gamboge

will

composed of gamboge,

indigo,

and a

little

No. 8; and, by a judicious mixture of the

three colours, will form a variety of tint for almost

all

kinds of foliage.

137
I shall not

now

send you any more examples of the

tions of colours, as

we

them

to drawings.

Plate

of the various combina-

must here observe,

when speaking of

that

when speaking of warm

you

I have sent a diagram for

three simple colours, blue, red, and yellow

and orange

apply

cold colours I

mean

colours, those that are yellow.

I should call indigo a cold colour, and burnt sienna a

XCIII

we

have to remark farther on the subject when

shall

those that appear gray, and

Thus

effect

to colour,

warm

which

In No.

one.

show you

will

5,

the

and the three Compounds, green, purple,

the mixture of the three simple colours producing gray

is

seen in the

centre,

We will

now proceed

to

make our

first

view of Langollen Bridge, North Wales.


subject, that

you may see the progressive

coloured drawing, Plate

C, which

have sent you three drawings of

effect

of the colouring.

Having, as

is

this

in the

Sepia drawing, provided yourself with clean soft water and a white plate,* you must

on the rim of
blue,

Venetian

it,

some

at

colours you will form


*

A common white

plate

some

indigo,

yellow ochre, lake, raw umber, and burnt sienna.

red,

rim without injuring the

distance from each other, rub

is

tints

all

the tints required in the drawing before us.

better tiian

any other kind of palette

formed in the

plate.

for

In

Prussian

With
this

these

drawing,

water colours, as the colours can be rubbed on the

138
and indeed

most

delicate

the drawing

most

in

tint,

others,

advisable to

it is

and almost any colour

nearly finished, as

is

is

will

commence

with the sky, as that

show

upon

The azure of this sky

blue and lake

this

you

will

is

some

the practice with

formed of

tint

apply in the same

No.

4,

it;

did the

if left

tints,

and

first tint

water

You must

the colour.

from the

in

the brush

next take a

little

of No.

2,

the neutral

trees, colour the cloud, taking care to soften that off as

tint,

you

Sepia

in the

must not be wet, but just damp enough

spoil

Prussian

will see is

drawings, taking care to keep the edges of the clouds by softening the blue

a brush dipped

till

the colours from

the sky

which you

way you

whereas,

artists,

mix with

the trees and buildings would, without great care,

them.

clear

the

is

tint

with

to absorb

and, beginning

did the blue, so

that they appear both to melt into a scarcely visible tint in the white that forms the

of the; cloud.

light

With

you vary the

tint at all,

give a slight

tint

the

add a

tain
is

tint

of indigo and

coloured with a

light

you

tint

will

lake, so

then with the neutral

little

tint

you may colour the

more

lake.

Having

distant mountain, or if

finished the

sky you

may

of yellow ochre over the other parts of the drawing with the ex-

ception of the water, which

a light

same

tint

now colour on

expressed that

the dark parts of the surface with

it

may

appear to

form the dark parts of the

reflect the

moun-

The

bridge

waterfall.

of lake and raw umber, leaving the stone round the arch

the distant trees are formed with

tint

No. 4

and the

first

shade of those near

139
the house,

gamboge and Prussian

burnt sienna.

coloured the whole of the drawing with the primary

therefore proceed to put

are shaded with the

and

little

it

tint

in shade,

used

in

formed with burnt sienna and

finished
;

will see

forming them

umber preponderating

well as the touches on the bank.

with sepia

which you

done

drawing

the outline

effect in pencil.

With

the trunk of the trees

this

of

2.

we

The distant trees

a mixture of umber,
is

will

made
lake,

of this colour, as

the trees near the house is a tint

indigo, tint 5.

Here

3:

colour mixed with

foreground

with neutral

tint

the last touches are given to the bridge

places exactly as

raw umber and

indigo,

full

you gave

you form the

the dark touches on the door and

windows

and with the same colour you can

you can heighten the

touching them in dots with the brush

be completed.

No.

shadow under the arch

the

The shade on

seen in No.

in the

made

is

made distinct and marked dark in

is

dark rushes and weeds


of the house are

is

in

tints

the touches on the distance are

lake and indigo, the dark side of the house

indigo, the

The

in the foreground is a light tint

You have now

with a

The bank

blue.

finish

on the

of the neutral

tint

finish

foliage of the trees


:

by

the drawing will then

140

As

am aware

one

in blending

of your finding gieat difficulty in spreading broad:

tint

tliis,

to give a. slight

and. tbajt

the

f^nd,

&ii;ihject,

wash of yellow ochre over


la,rge fl^t

of

this, slight tint

brush

yeUpw

harmony

gives wajrmth and

you. should begin with

tint

tak^ caa^e to have

sky

t})e

changes from a blue


:

tint;

formed with

to

produce

at the copy, that as

a crimson

to

this effect,

tint,

and

horLzoUj

may be

the effect

As

it.

indigo,

that again blends into

you have only

still

for a

not get

toi

in

is

perceptible

this

always beautiful

of the

our

and lake

kust

use

put the whole

You

to dip the

a yellow on the

brush in the

first tint;

and as

it

lake,

which

gets nearer

distance continue the pure lake wash, then meet this

little

with the yellow ochre, but take care that one


join

may

tint

you approach the horizon, the sky

should be worked on the plate ready, instead of the


the.

of Qolour,

ochyr destroys the strong white

to all the tints Laid over


this

it full

required at once, leaving the form of the clouds at the right hand.

wiU observe, by looking

horizon

will

the whole of the drawing

the largest of the round brushes, and go over the paper so quickly as

of the

You

and I should

pencil,

brush move quickly along the picture, that the

dry at the edge


paper,

your black lead

with

lightly

be best done with the

will

md

with another, I have sent Plate CI., a marine view.

of course sketch the outline

^vige you

flat tiots,

you

will find

and you

tint is

much

so blended with the other that no

easier to perform than to describe

will continually

have

to

wash one

tint into

141
another in this

way

formed of

not

tell

tint

you

lake

may

forming the clouds, you

When

it

water

must

this

will

in the light parts

of the

cloud's, to

somt measure partake of the

ijolour

is

made darker

the tnixtare of raw


lighter

neutral tint

with
to

The

tint.
;

with

umber with

thie sail

We

still

it

are either

left

The men

in neutral tint to

vivid the nearer they

when

is

in the

approach the eye

I write

on

effects

now come

to the

nearer

as
it

it

approaches nearer

becomes green; by

assume a

whitCj or else slighdy touched witfe

after

up

foreground are touched with bright colours,

a greater distance, because colours are more


:

you

will see the use

of the large cloudy the

produced by contrast and harmony.

a general view of Oxford

form of the buildingSj

and

the brilliant

the large vessel must be coloured with burnt sienna, and touched

throw the vessels

Plate CII.

I need

teft.

the indigo, the breakers in the foregrounti

distant vessels

Vandyke brown.

rock, &c.^

lake and indigo, and

give

is

of the sky ; the extreme dis-

tance must be gray, blended with touches of yellow and lake


it

be

of course leave the space for

would receive from the sun below the horizon.


in

may

cloud

the sky and clouds are quite dry; a tint of yellow ochre

be washed carefully

tone which
:

take care to soften ihe edges, so that the Hght

that, in

of the vessel.

The dark

every drawing that comes before you.

in

here you must be careful in drawing the

which wash the whole over with a

light tint

of yellow

142

The sky

ochre, as in the last drawing.

The
tint

clouds are indigo and lake, with a

The

haildings nust be

more
tint

The

of ochre and lake.

all

distant trees are lake

of the middle ground

is

little

light,

tint

of Prussian blue and

The

Venetian red.

distant hills are tint

left

No.

2, indigo,

strong neutral
sienna,

blue, with

little

The

Prussian blue and gamboge

tint.

The

trees in

sienna.

The

tint.

The

first

trees are tinted with

The

shaded with neutral

Plate

cm.

is

finished

up with sepia or Vandyke brown

river is tinted with a slight

The road

a view of Pembroke Castle

shadows are gray, and


effect I

is

wash of Prussian

the

Venetian
blue,

and

tint.

of hght and shade in cold and

This

and burnt

the foreground are tinted with indigo

shadowed with the same, and

red and burnt sienna.

light.

a bright

raw

Italian pink.

trunks of the trees are the latter colour, with touches of gray.

all

lake and

is

lake.

and burnt sienna, shaded with the same, and the dark touches made with a

itidigo

sition

horizon

and the shade given with neutral

and Prussian

is

a bright

this will

warm

this

drawing

tints.

You

is

will

sent to

show

the oppo-

observe in nature that

be more apparent on an object in a bright sun-

have endeavoured

to

produce

in the

drawing before us

the

strong light comes upon the round tower and the angles of the building, while the
great

mass

is

in

shade;

this

does not prevent every part of the building from being

143
distinctly seen,

This

Hghts.

and the variety of

Plate CIV.

as

much

given by blending the

effect is

general wash of

tint is

tint 2,

an idea of what

tints together,

is

and afterwards giving a

called contrast in painting, both in colour

my

a strong neutral

which beconies red as

tint,

broad

in the

over the whole.

shall again, refer to in

tint

more shown than

a view of an eruption of Mount Vesuvius, and

is

must be much

or

concluding remarks.

lighter than the

it

The gray

is

sent to give

and form

of the sky

is

approaches the flames.

The

upper part of the sky.

sea

is

you

and which I
produced by

The

horizon

likewise neutral

blended toward the foreground with Venetian red, to give the lurid reflection of

the flames.

indeed

it

is

This

is

the only drawing in which I have

only in dark subjects that

it

can be of

use, as in others the

and does not harmonize with other colours.

strong,

are formed with India ink, one shade over the other,
tained

the ruddy tinge

now come

is

The
till

black

rolling clouds of

quite white, the next tinge

is

of vermillion.

is

too

smoke

the depth of colour is ob-

produced by going over the whole with Venetian

to the flame bursting

spirited touches

mixed India ink and colour

red.

from the volcano, the brightest part of which

is

bright yellow, and the whole heightened with sharp

The

bright fiery pieces of

pumice stone which

fall

into the sea

you wish

and

all

around, are taken out of the dark of the sky by wetting the part

to take out with the point of the brush, and, while

colour off with India rubber

The

on.

the

these spots are afterwards touched with vermillion and

king's yellow, which are both

damp, rubbing the

opaque colours, and

cover any

will

tint

they are placed

foreground and the burning lava are produced with the same colours as

smoke and flame of the

volcano.

Plate
ing

here

is

CV.

is

a view of the ruins of the palace of the GBesars at Rome.

supposed to be made at sunset amid the glowing

all is

warm and

The wash

brilliant.

stronger than in the other drawings, so

Prussian blue with which you


the middle of the picture,

you

will

commence

and then change

will soften into the bright

dome and

so that

that side of

rather stronger than the distant

Sl

for

hill

be rather

give -a tone to the dear

soften this

till

you come

to

the distant hills are tinted with

the sky

and distance are quite dry,

Church which

and with the same

the architectural ornaments of the building.

will

may

a slight tinge of Venetian red, which

When

Peter's

it

the sky

yellow of the horizon

indigo and lake, with yellow at the edges.


tint the

it

of an Italian sky ;

over the whole

first laid

much

tints

This draw-

tint

is

in shade with tint 2,

touch the windows and

The green eminence

in the centre of

U5
the picture

road

is

is first

touched with Italian pink and indigo mixed

tinted with Venetian red

withi

Venetian

and heightened with burnt sienna.

and breaks in the road are foj-med with touches of Vandyke brown.

ments and
is

tinted

to the proper tone

capitals of

columns are touched with

ruin

stones

warm

colours,

architectural orna-

on the opposite side

have

change of

tint

but in painting

subjects sent
right method,

you

to

you

copy

and the

rest

but

in

all

taste,

joined to diligent practice and

a short time to produce pictures vry superior to the


that I or

tints

this, in

you an idea of the colours used

impossible to give verbal directions for every

any one

depends on yourself

where a greater number of


poses pointed out

it is

Sound judgmfent guided by

observation, will enable

and

Vandyke brown.

in the last six subjects endeavoured' to give

producing them

is first

the light side touched with ochre and burnt sienna,

tint,

the whole heightened with

in

The

sepia.

The

The

and shaded with Vandyke brown, and the bending trunk of the tree

formed with neutral

by a wash of gray.

The

The remains of

a portico supported by Corinthian columns, are tinted with a variety of

which are lowered

red.

else

can do,

am aware

is

to put

you

in

that there are

the

works

are described, and their application to various pur-

my

opinion, rather fetters the learner than assists him^

as he supposes none but those particular tints will give a proper effect; when,

if left to

146
produce the

tint

by the knowledge he has obtained that

all

colours

three primitives and their compounds, he will naturally ask himself


tint,

to

what

class does

it

belong

? is it

of

red,

blue,

answer, and by practice he will be enabled to produce

LETTER
As soon

as

you are

able to

after

you have made the

the

tiles

to the front,

fresh in

thus

mark

loss for

His subjects

will

it.

XIV.

Take your

outline, write

sketch-book with you Wherever you go,

down on

the separate parts the colours as

Supposing you had sketched a detached old building, you should

they appear to you.

mark

at

the

copy the drawings already sent, I would have you begin

copying from nature in colours.

and

or yellow

if,

come from

if old

and broken

that in the

"

old

dark

red,

mixed with green."

same way, and when you return home with

your mind, endeavour

to

produce a drawing from your sketch.

Go

on

the subject

A short

time

147
will give great facility to

you
in

will

you

method of sketching, with

in this

it

on paper.

In your early sketches from nature


selection of subjects: for example,

it

it

will

be necessary that you make a judicious

would be a waste of time

a pleasing picture from a regular modern house,

You would

tural ornament.

from being exposed

make

letter,

find

to the weather,

shall

used by
is effect:

to

artists

for instance,

without architecvariety of tint

its

a much more pleasing subject.

would advise you

weary you, or render

conclude

by

built with bricks

of producing

I have, in a

pointed out what subjects are called picturesque, and no others will

pleasing pictures.

drawing as

to think

even an old miJe-stone, with

which are much easier than large ones

advantage, that

be in the habit of combining colours, and indeed, forming the whole subject

your mind before you put

former

this

my

instructions

when speaking

this

word

is

it

by making small drawings,

to begin

nor will you spend so

tedious before

it is

much

time over a

completed.

by explaining the meaning of many of the terms

or writing on pictures.

That which

is

most frequent

understood the general arrangement of the whole picture;

two persons may make a drawing of the same

an accurate drawing, colour

it

true to nature,

and

yet,

subject,

one

shall

make

by making choice of the time

148
of the day when the building

is

unsightly object to be as prominent, or

though

On
will

it

may

be praised for

the contrary, the artist

its

accuracy,

detail

it,)

from observation,

is

placed near

angle
tures

is

if the light is

either

by the introduction of

as in other things

it

circle,

blue

means a union or agreement of

on

figures, or

by any other means

The word

is

that

contrast almost explains


difference to that

which

and thus we have contrast of light and shade, form, colours, &c.

contrasted by a

fully

but will take care so to

not favourable at the time he

means opposition or

is

a contrast to yellow, &c.

light

their

use and application.

Harmony

and shade, form or colour.

and harmony are of such great consequence

more

it,

effect.

produced by contrast and harmony.

itself in painting
is

hand produces

the picture before his


;

effect.

produce an accurate drawing, but one that a good judge would pro-

nounce done with

Effect

cannot be said to be painted with

anything that would take away from that object should be screened

thiat

will not only

it

the other parts of the picture,

of the principal object

dispose of the light and shade, (even

drawing

more so than

whose mind forms

be equally correct in the

some

not in strong light and shade, or by allowing

in the

production of

As

it

an

in pic-

contrast

effect, I will

enter

149
If you refer to No.

tower:

this is

Plate XCIII., I have there

1,

an upright

figure,

and would be

stiff

drawn the

and formal

outline of a

in itself; but

it

round
is

dered picturesque by being contrasted with the irregular outline of the distant

and these are again contrasted by the horizontal

line

which forms the water

renhills,

at their

base.

Almost every drawing


this is the

use of the

that

wavy

you have executed has been formed on

line

of the trunk of the tree in the foreground of Plate

CV., the ruins of CsBsar's Palace at

were

parallel to the architecture

the faint outline of the distant

of
hill

Rome.
St.

Here

the upright Corinthian

Peter's Church,

many

and the broken columns on the ground.

straight lines

are contrasted by light ones, and for that reason I have

few leaves contrast the mass of building opposed

lines

2,

tree

would have been offensive

judicious observer, and, to give a pleasing effect, the tree

In Fig.

columns

and were only opposed by

would have made a picture without the introduction of the


recurrence of so

this principle

to

is

let

but a constant

to the

added.

This

eye of the

Heavy forms

a single branch with a

it.

Plate XCIII., I have contrasted the spire of the church with the curved

of the clouds, and with the foliage on the sloping bank.

These are again con-

150
trasted both in form and colour, and the effect of distance

is

given by the broken

rails

in the foregrounds

In Fig.

3, I

have contrasted the heavy trunk of the elm witb a young

thus strong effect

is

You

given to both.

duced with most


rest

of the

effect

picture.

here the light

tints,

falls

which soften them

when

This

is

it

is

is

it,

Strong

not for the inter-

light is

always

seen in the drawing of Croyland Abbey, Plaie

intro-

LXXXI.

on the elegant Gothic tracery of the early English doorway,

and by the tone of the

the contrast of form and substance

You

will

and the form of the tower

I have now, I hope, given


:

by the dark heavy

this is strongly contrasted

rest of the building

contrasted by the oblique clouds.

to contrast another.

both.

it

contrasted with a subdued tone of colour over the

indeed on the whole of the rich front


wall near

and

are quite aware of the effect of light and

shade, which would generally be too violently contrasted were

vention of the middle

ash,

every

tint

conclude that

you make

warm

you a

clear idea of

in colouring is intended

colours are opposed to cold, and

cold to warm.

Harmony

is

opposed

to contrast,

and means a perfect agreement

shade, colour, &c., in every part of the picture.

hope

in form, light

and

have hitherto sent you no

151

drawing

in

which contrast has alone been consulted without harmony, and you

4 here you see

therefore turn to Plate XCIII., Fig.

has

its

brother, nothing

You

eflfect.

broken or abrupt, and

is

observe what I meant

will

the palace of the Ceesars

column of the palace

in

harmony of

consequence

when speaking of

here the architecture of

perfect

all is

in the

each

tame and without

contrast on Plate CV.,

St. Peter's

and though there was contrast

lines

will

harmonized with the

broken ruins strewed on

the ground, yet the parallel lines preponderated and called for the introduction of

Thus

the tree.

harmony of

it is

with colours

ple in the distaqt


;

ings, are

you turn

trees

and

and the horizontal

in the foreground, the


hills

lines

how

useful both

harmony and

arts,

Duke

of York.

but effect

is

given

gray on the water, and the pur-

I think I

top.

warmth of the

have now

sufficiently

contrast are in producing effect.

who

Among

entered with enthusiasm into every-

and certainly soared

painters in water colours of his day,


to the

whole

of the clouds, which harmonize with the line of build-

the best of the old school of drawing-masters,

thing connected with the

view of Oxford, a general

these are again contrasted by the

broken by the large cloud from the

explained

to Plate CII.,

colours, (green of various tints) pervades the

by the warm tone of the road

horizon

if

far

beyond most of the landscape

was Mr. Edward Dayer, who was draughtsman

In a volume of his works, published after his death some

years ago, are some slight directions for drawing in water colours

and though they

152
are on the whole not sufficiently comprehensive, yet, as he possessed a highly cultivated

mind and thorough knowledge of the theory and practice of the subject on

which he wrote, the following extracts cannot

"In studying from

nature, always begin with

only be easier to get the forms


tity

of

more
for,

light

and shadow,

will

should the student copy


;

indeed

of,

till

This

will

as they will

less

judgment, and therefore be

it

will not

his success will

teach him to think, which

more than two or

As single

three in a picture, will be found the easiest to begin

with from nature, they will also admit of being more exquisitely finished, which

many

not the case in a picture containing a great

whole supersedes every other consideration,


thing

you

will also

relieve nothing.

or, as

it is

where an attention

to the

technically said, to relieve every

in the future

drawing from nature, care must be taken not


it

parts,

is

As, therefore, single objects require more detailing, they

be likely to induce a habit of care

a short point of sight,

is

depend upon the clearness of his

conception, not only on the picture as a whole, but on each particular part."
objects, or not

not

be the only method of calling forth ideas;,

doomsday,

much of

single objects,

but from giving, in general, a sufficient quan-

form a whole with

likely to ensure success.

the end of the art

to be highly useful

fail

will

be

made

to

operations of the

to get too near

an

object, as,

art.

In

by having

appear under so great a point of distance as

153
to look quite distorted

this

disagreeable effect will be avoided by observing (unless

prevented by circumstances) never to be nearer the building than twice

its

elevation

or length, which will bring the object within an angle of forty-five degrees; this rule
also holds

whole

good with respect

to looking at pictures, as

at a less distance than twice

the focal point,

large ones, as the eye at the time


the

most minute

things

to place

first,

parts.

"

it

and

on

this subject

"

will

As

that

impossible to see the

may

be considered as

takes in the whole

is

than

finish

capable of distinguishing

In looking at pictures, the spectator should observe two

them on

the plane of the horizon

nearer than the above focal point."


larly beautiful,

longest side.

is

once account for small pictures requiring more

will at

it

its

it

The remarks on

and secondly, not

light

to

go

and shade are particu-

supply any deficiency of information in what I have written

As much

of the success of the picture depends on the judgment

used in arranging the masses of shade, great care should be taken to keep them

broad and simple, otherwise

whole; that

is,

are laid

masses

in,

to this

will

be in vain to expect what the painter calls a good

such a union of light with

a pleasing sensation

dows

it

to the eye.

When

light,

and shadow with shadow, as to excite

the natural as well as their projected sha-

the next step will be uniting

them together so as

to

form them into

end the interposition of artificial or accidental shadows

sary, (such as those

will

be neces-

thrown from the clouds,) which, by being judiciously used,

may

154
be made so to combine the different parts of the picture together, as to produce

broad masses, and which, by being


in the

may

working

Imay be easily altered even into

also be obtained

by bringing the dark part of the clouds against the dark part

niiade to assist in the

will

considerably increase their breadth, and the lights

same way

it

is

common error among

introduce their skies without any relation to the masses


the breadth of a picture than any other part

of

light

or light be required,

it

may

a strength of tone
shades and bright

will

all

times

it

will

coming

many

it

contributes

more

to

a sufficiency

or should a farther quantity of dark

By

attention to this practice, a

ensure a mellow picture; besides

each other.

in contact with

greater air of poverty to a picture than too

this

yet

this,

be acquired without hardness, which must ever attend dark

lights,

make

be increased by cloudsi

breadth will be certain, and at

may

landscape painters to

for should the objects give

and shade, the sky may be kept down

give dignity, and

light

Should the shadows not iappear agreeable, one great advantage

tip.

of the landscape, which


be

laid in soft,

much

light;

on the contrary, shadow

the light, if sparingly used, appear with

of the poets, but

Thomson

that his best descriptions are

full

in particular,

of shade.
-'

Solemn and slaw

And

seems

all is

tlie

At

every step

shadows blacker

fall,

awful list'ning gloom around.

Nothing can give a

to

more

vivacity.

will

Of

have been so well aware,

155
Majestic

wood

of ev'ry vig'rous green,

Stage above stage, high waving o'er the

Or

to the

fair

hills,

horizon wide diffused

A boundless deep immensity of shade.'


"

From

these observations

it

must be

necessary, yet exactly what quantity

some considerably more

one-third,

inquiry.

sufficiently evident that a quantity

is difficult

to

determine

some

of shade

is

painters allowing

the nature of the subject will best decide

the

If the scene be beautiful, everything should tend to excite sensations of

pleasure, therefore the light should be broad

animated

state.

On

and

vivid, as light is

the contrary, should the subject be of the

and require treating with

dignity,

its

most

more noble

cast,

life

in

a greater quantity of darkness [and obscurity

is

necessary.

"

In disposing the picture with masses of

to scatter

them or

to

make them

light

too numerous.

three masses of light, and to keep

all

and shade, care should be taken not

The general

rule

of them subordinate to the

first

is,

not to exceed

As

grand one.

every picture should have a principal feature, every art should be used to conduct
the eye to

it

this is generally

at least in that part, so that

it

done by bringing the greatest power of

may

be distinctly seen at the


21

first

light

glance.

on

This

it,

or

fea-

156
ture should invariably occupy the centre of the picture, and every

used to prevent inferior

from distracting the attention

lights

means should be

and on no account

At the

should straggling lights be introduced into the remote corners of the picture.
point where the eye concentrates

of

sight, there

the object will be

lights at the extremities

itself]

most

and which in perspective


distinctly seen,

of a picture ehould

iiot,

which

is

is

called the point

the reason

why

by their brightness, attract the

the

sight,

and thereby destroy the repose of the whole."

as

am

quite sure that the ^preceding extracts will be highly acceptable to

you have

what

it

frequently heard the

means

in painting.

the refinements of

knowledge with sound judgment


the

taste mentioned, I will

how two

persons

at

may

all.

most

more than being able

to bear

to bring

our acquired

upon the object immediately before

taste in his performance,

who weighs

have before observed that truth

represent the

produce a picture with greater

knowledge of

light

and

endeavour to point out

effect

same

is

not

us.

well in his mind

everything that will conduce to the beauty of his picture, before he

drawing the subject

In pictures, and indeed everything else connected with

taste is nothing

life,

That person will show

word

you

taste.

commences
I

showed

object with equal truth, and yet one shall

than the other

it

is

the

power of combining

and shade, contrast and harmony, which enabled one

to excel the

other

and he showed

I recollect going with

ject.

by applying

his taste

two

artists to

all

knowledge

his acquired

to the subr

see the mass of stones called Stojieheng,

of which I sent you a sketch in one of the early lessons.

When we first came in sight

of them I had a feeling of disappointment, for I had pictured such gigantic masses in

my own
plain

when

mind, that

on which they

the reality

stood, they,

was before me, contrasted with the immense


to,

my

object in visiting this relic of antiquity was^to ascertain, if possible, the original

of the building, of which

my

t^ie

stones formed a part

two companions were busy

The

of view.

result

is

called

Mr, A. took
stones,

tastes,

his

it

it

in his

at different points

gave a better practical

thaA any other subject I can

view from a great distance,

coloured with great truth

ing,

^nd while I was thus employed

call to

mind

diawing

the day
;

was

fine,

illustration

at the present

in order to get in the

and likewise a great part of the surrounding country.

presented

form

of their labours was so dissimilar, as well as their explanations

of the principle on which they acted, that

what

making drawings from the stones

in

My

imagination, shrunk into littleness.

the sky cloudless,

All

of

tima

whole of the

was sketched and

and he had thus

re-

from the great distance at which he had taken the draw-

and the gentle ascent of the ground beyond the stones, the top of the largest

was very

little

above the horizon

there

was no more shadow introduced than the

158
objects themselves gave

nothing but

its

and on the whole

accuracy to recommend

it

was a tame

spiritless

with

picture,

it.

Mr. C, on the contrary, had approached so near the stones, that the masses appeared gigantic

he had drawn a very low horizon, which gave great height

and had thrown a strong

object,

in

middle

tint,

light

on the mass

in order to contrast the

the centre, keeping

in

square blocks of stone

gray rolling cloud rising behind them, which gave value

masses of shadow were grand and imposing

all

to the

the rest

he had made a dark

to his strong light

his

and near one of the largest stones he

had drawn an old shepherd, whose venerable form and white smock frock made him
appear

like the spirit

former grandeur.

of one of the Druid

No

in valuing

the cause of this disparity

power of representing

faithfully

from a thorough knowledge of

one

simply,

at

that

effect,

one had only the mechanical,

such an expression

may

to his sight,

and from calling


in his

which the object before him was but the body, but
soul, if

to visit the ruins of

twenty times the price of the other.

forms as they appeared

grandeur of the ruins he was then viewing, had

added

who had come

contrast could be greater than the two pictures, and no person

would have hesitated a moment

What was

priests,

to

to

whereas the

mind the

other,

antiquity

and

mind's eye formed the picture of

which

be applied to pictures.

his taste

and judgment

159
I

that

have now given you


is

necessary to

all

the instruction that writing will convey,

facilitate

your progress

in

soon aim

at higher attainments

and your mind

laid

will

down

vour

at the

founded

but

is,

to teach

same time gradually


it

you a supplement

all

you

in these letters,

you

All that any drawing-

you the mechanical part of the

art,

and endea-

develop the principles on which the art

to

depends on yourself to

exertion both of the mind and hand.

hope

be directed to those writers

and painters who have reached the height of their profession.


master can pretend to do

When

drawing and colouring.

have made yourself perfectly conversant with the rules


will

and

call those principles into action

It

may

be

that, at

to the present work, containing

is

by a constant

a future time, I shall send

some of

the best specimens of

ancient and modern masters, as well as more extended instruction, in drawing and
colouring the

human

figure,

and in the higher department of historical painting

these would be as useless to the student


to the acquirement of

knowledge

who has

conquer the

difficulties incidental

in the first stage of the art, as

person to attend lectures on rhetoric or poetry,

English grammar.

to

it

would be

who had just commenced

for

learning the

FLOWER PAINTING.
The

following directions on painting Flowers are

this subject

of those

These directions are

are taken.

who have

by James Andrews, from whose designs the drawings on

concise, because the lessons are

already become acquainted with the art of drawing in

its

intended for the instruction

various branches, and therefore

need nothing on that head, and moreover, because, to use Mr. Andrew's expression,
intention to convey instruction

by example

which are more likely to confuse than to

Too much
lines.

stress

Do not,

rather than

cannot be laid on the necessity of


till

be made as

fine

sparingly

disturbs the surface of the paper,

it

and

light as possible, for

written rules, I purposely avoid minute details

the pupil."

assist

therefore, begin with colours

by

first

acquiring the power of correctly defining the out-

you can draw these with accuracy and facility. The others should

which

and

pencils are best.

I have also added specimens of the tints

neutral tint or India ink


6.)

Take

fi-ont

with prepared ox-gall.

any

tint

most commonly

part of the leaves should

care that the colours are very evenly

produce an easy flow.

in water;

the

mixed and
;

first

first

in its outline state,

used.

in laying

The

of purple

may

flat tint

(Plate

them down, keep the brush

fall,

be produced by mixing blue and carmine; greens, (except emerald)

add a

tints,

little spirit

grays,

by black and

as

I.,

Fig.

so as to

the

more

blue.

Ijy

blue

For roses or

of sal-ammoniac.

these few hints and a careful and perseveriog study of the lessons, the pupil

commence

and the other

best varnish for leaves or parts of flowers is a strong clear solution of gum arable

very bright carmine

to

assist

Apparent greasiness in the paper may be remedied by touching the point of the brush

and gamboge; browns by

advanced

To

Lay down the shadows with the

be covered over with

black lake, or Venetian red and gamboge

With

Use the India rubber very

and prevents the colour lying smoothly and evenly.

the student, I have in every case given two copies of the subject, the
finished.

being " my professed

it

difficult tasks of

wiU be

forming groups and copying from nature.

sufficiently

Plate

2.

^1^^

PC,'

0.

ft^

V)

^
*;

?2^

Plate

Plate

3,

4.

Plate

Plate

6.

v^

5.

Plate
Plate

8.

7.

INDEX OF PLATES.
I.

....
....

Elementary Subjects

n. Ditto

m.

Subject.

Subject.

No.

Ditto

IV. Euins of Godstowe


V. Remains of Beaumont Palace
VI. Oxford Castle

Vn. Eound Tower

XTV. Remains

Swans

Cow
Woodman and Dog

Sleeping Shepherd
Girl at the Spring

of Oseney

Point of Distance
XVI. Planes in Perspective
XVII. Entrance to Lambeth Palace
.

Lollard's

Tower

XIX. Old Tree

XX.

XXI. Woodeaton

XXn.
XXin.
XXIV.
XXIV*.

XXV.

XXVL
XXVn.
XXVIII.

XXIX.

XXX
XXXL

Outlines of
Ditto .

Heads

Various Heads

Joe Pullen's Tree


Stonehenge

Outlines of

Human

Figure

Hand from the Antique


Arms and Hands

....
....

Perspective
Ditto
Ditto
Norman Architecture
English Architecture
Merton College

Two Fox Hounds

Legs
Large Hand
Ears and Nose
Feet from the Statues of Venus
and Apollo
:

Willow Tree

Frightened Horse

Bloody Gate
Parts of Trees

Cattle

Sheep

Heacfe of Horses

Foliage of Trees

Cat and

XV.

XVin.

Boy and Dog

XIII. Point of Sight

....
Castle

House where Shakspeare was


Freshwater Cave
Magdalen College
.

IX. Ditto
X. Four small Views, (Horizontal Line)
XI. Point of Sight

XIL Denbigh

Parts of Horses
Ditto
Head of a Horse
Parts of Dogs

VIII. Perspective Diagrams

Poplar Tree
Boats

LXL

^yes

bom

INDEX OF PLATES.
No.

Subject.

No.

LXII. Eyes and Nose


Nose and Mouth
LXIV. Lower part of the Face in
LXV. Heads in Profile

iiXIII.

LXXXIII. Windsor

LXXXIV.

Profile

LXVL Finished Head ^


LXVII. Head from Le Bmn, (red chalk)
LXVIII. Head of Venus de Medicis, (red
.

LXXXVIL
LXXXVIIL
LXXXIV.

LXX.

....

LXXL
LXXn.

Ifley

Church

LXXm.

London Bridge
LXXIV. Temple Church

LXXV. Abbey

LXXVL

....

LXXVII. Greenwich

XCL

LXXIX.

LXXX.

LXXXL

Hospital from the

XCVin.
XCIX.

Cascade of Tivoli

Carisbrook Castle, (sepia)


Colours and Tints

Interior of Kenilworth Castle


Lannercost Priory
Croyland Abbey
.

cm.

CIV. Mount Vesuvius

CV. Imperial Palace

Castle

ADDITIONAL PLATESFLOWERS.
No.

No.

Subject.

I. Specimen of Tints
n. The Forget-me-not
in. Leaves

IV. The Ear-drop

requisites

C. LangoUen Bridge
CI. Marine View
CII. View of Oxford
Pembroke Castle

Tell's Chapel, Switzerland

LXXXII. Pennarth

XCin. Contrast and Harmony


XCIV. Castle of Chillon
XCV. Marston, near Oxford, (India ink)
XCVI. Marine view, (sepia)
XCVII. View on the Ouse, (sepia)

Thames

LXXVm.

Church, Bath

Clifton

Edinburgh

XCII. Drawing

Figures in Outline
Tower of London .

Hermitage

Interior of Warkworth Hermitage


Christ Church Dining Hall
Arch of Titus

XC. Polar Eegions

chalk)

LXIX, ApoUo

Castle
.
Interior of Newcastle Castle

LXXXV. Warkworth
LXXXYI.

Subject.

Subject.

V. Buds
VI. Sweet-pea
Vn. Carnation Pink
Vni. Marigold
.

at

Eome

i,"l'S

Hi''

III"
,i)
ii

ll.lllllfll

I.lilljl

I.

II

fi

i
,

'I

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