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THE
SKETCHING-, DEAWING,
|attl>0faj)e
WITH
Saneri),
^nmiSf
IN
AND COLOEING
m\i tde |ttman /igttrt
BY NATHANIEL WHITTOCK,
TEACHER OF DRAWING AND PERSPECTIVE, AND LITH0GRAFHI8T TO THE UNIVERSITY OF OXFORD.
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"
none on
this interesting
branch of the
in
Flower
painting," &c.,
art.
He
by James Andrews,
its
kind
The
directions
who
facility of
execution.
work
is
drawings an
INTRODUCTION.
Deawing
lias
education,
sumed, be acceptable to
all
who
of elementary
and
finish,
effect,
and
step, in a plain
him
to copy
it
things,
which
own
at first
less
universally acknowledged
it
it is
pre-
correctness.
tell
its utility is
circulation, I
famOiar manner.
;
but the
of his
become
desire to
and
way
why
It is not
enough
different lines
is
appeared tedious, by the delight he expferiences when he contemplates the creative power
who view
if,
his productions.
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
It
reality
may
this
be objected,
that,
by
make every
lesson in this
work
a real view of
work
some
like this
we
mixing studies
are
By
this
is
to
detailed gradually,
and as
it is
is
draw-
who has
correctly,
by
called for
near
Hill,
yet
and the
least pleasing,
wade through
obsolete terms
th*e
and
that disgust
scholastic tech-
making
my
form of
letters, for
We
form of
"I
letters,
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
we
are to that
them
he
nicalities to
if
great Dr. Johnson, to any trees which fancy alone could produce.
any person
perspective
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
it
which
is
are
so rich in picturesque
for this
work,
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
The
Human
properly applied
the Elgin Marbles, the Pomfret Statues, and the finest specimens of Canova, Chauntry, and other
modem
masters.
absolutely necessary,
is
as well as to others
in a
knowledge of the
art of
K
Oxford, June
1st, 1826.
Drawing a source of
WHITTOCK
THE
you
that
commence my
it is
ELIZA,
benefit
therefore advise
;
it is
art
of Drawing, by informing
pursuit
on the
written instructions
I.
you
not of
to
in
The
at irregular
one lesson,
is lost
and
before
half]
it
can be applied
in another.
were
it
convenient,
The
only materials you will require for some time, are black-lead pencils of various
You
will
hkewise
raiddUng sized portfolio very convenient, not only to keep your drawings
much
likewise
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
be raised or lowered to
While drawing,
suit
position,
it
come from
pencil.
the
left,
You must
that the
be careful to
wardness of attitude
is
shadow of your
sit
table,
in
an upright
as a constant
to
is
quite at liberty,
free.
which
Having made
your convenience.
it,
draw
we
will
now proceed
to
our
first
best.
lesson
lines, like
those
you
will find
marked No.
1,
Plate
is
please,
attended to
line
Nor
I.
will
it
be required,
the
same
plate,
you
till
farther,
you must
will see I
practise lines
can
this
that they
if the
following simple
is,
line
from one
lines
have placed
fail
to
you
to the other.
lines
formed
formed in
this
w^te
You can
manner, on
then apply them in making the outline of the mile-stone, as represented in No.
You
when making
this
drawing,
this
we
stone
first.
We will
3,
and
drawn
in
line,
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.
other,
You wiU
Httle distance
made
first
are
lines in the
first line,
same way.
If
lines in
a slanting
you
lines
in
drawing
will
at the bottom,
which
outline,
but this
is
lines all
the outline,
we
will
proceed
over
quite accidental, as
it.
The
you
its
meaning.
number of small
making
called
is
and you
is
4,
lines in the
will find if
you
If you
have drawn a
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
perhaps be
sible
will
from the
stiff
point,
soon learn
to
other.
Your
first
if
it
properly.
You
This
to
be covered, placing
do
is
we
figure,
rapidity
No.
comes on the
and as
far as pos-
shade
6.
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
this
line
of the ground
7.
till
before.
You
will find
first
an example of
now, but
this is
forward, instead of up and down, taking care to lean harder as the pencil touches the
dark side
filled
we
will finish
effected
you
it
as in No.
lines,
by making the
it
outline
clear to
first
liftle
again, observing to
No.
The
and
mark
This
and
you
presently.
;
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.
lightly,
6.
more
must be touched
the stone
by going over
bank behind
1,
the
drawing
is
completed, as
6.
line,
is,
compared
6
with the hard
the hard
light or
line. I
No.
1.
This
is
you
will see if I
had used
could not have shown the broken parts, nor could I have marked the
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
practise.
in the
are
large post
is
in the
them
is
all in
made
make
first
directed
must be taken
that
There
second shade.
the
was
to
will find
is
no
rather
more ground
difficulty in
left,
producing
drawing
in this
it,
if
you hold
side<
No,
2, is the
if
you observe
same manner
as in the mile-stone.
is
ver^
little
1,
the
The
and you
will
and foreground
shadow formed by
formed
There
first
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
No.
1, is
to
ing,
you
will
the centre.
thin
you can do
plates,
lines.
make a number of
and
it
this is
the
the
fine,
freely, as
you
drawings
understand
how
will
now be
termed an octagon.
able to
that
it
has
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
first
begin the upper stones, taking care to keep the lines dotted, so that you
ward form
and pointed.
outlines of the
three sides only are seen, but the broken part lying
eight sides or angles
till
on the pencil
service.
and second
first
will doubtless
to place
When
is
may
after^
8
front
must be
slightly
No. 2
is
and
third,
first
as before directed.
but,
ception of the two curved stones that form the arch of the gateway,
II.
it
in Plate
In order
form the arch, you must place a dot exactly between the upright stones
if
The
bridge,
No.
under the
the top.
you
will
bridge.
first,
formed
at equal distances
The
from
it
bent,
it
will
give you
in the
in the centre
;
this will
little
little
rather lower
sides,
at the
line.
3, is
is
line
more
each
line to
at
dots,
and
practice produce the half circle which forms the arch of the
The mountain
in the
background must be
slightly
lines,
and the banks on both sides of the bridge covered with the
first
and second
shades.
on
this
plate, is
I have placed
at present.
window forms
4,
it
you
to at-
the
same
notice in a few
more
heavy a drawing
rather too
may
refer to
for
when
it
lessons.
I think
you
will perfectly
understand
how
This
shades.
that I
is
to
now
sent,
commence a drawing, by
form
free
broken
first
and the
lines,
lesson,
first
and second
have repeated the same instructions several times, you must recollect that
has been
my
aim
to impress
much
making the
it
little
to
your understanding.
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
will receive
Rosamond
Clifford (better
II,
at
known by
Godstowe, which
the
was afterwards
was
civil
it
it
was
I.,
buried.
I.,
in the
latter
of the
is
little
The society
damage
till
the time
accidentally destroyed by
fire.
11
The
tower, and great part of the walls, were standing within the last century
the reign of
George
II.,
eye,
now
visit
in the
The
Ashmolean Museum.
is
at the history
of Godstowe,
we
will
you may be
certain of having
it
making dots
first,
so that
You
observe that the line which forms the angle of the building, nearest the poplar
is
the picture
it
and
runs up to
it.
if
when
you look
I do not
first,
as
it
mean
you to observe
why
side,
ing,
complete.
I need hardly
way at
tree,
will find
place a dot between them, to find the point of the roof; from this
lines,
will
upright
and
Godstowe
is all
you a drawing of
so, at the
tell
draw
lines,
you must
lines to the
two
windows
12
imust
be done
in the
as
it
t>ut,
less
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
light as
by going over
strongly, keeping
them
this
sufficiently strong to
mark
You
no
drawing can be
after
you see
it
You
in the copy.
mark
You will
will see I
much
not find
filled up,
and
quite free,
is correct,
Having
first
You must
it
it
faint,
correct, as
outline
when you
windows more
and very
pencil,
difficulty
left
proceeded with the second shade, not formal square blocks, but rough broken stones,
as they
the
\vill
same method
in
this.
you
the thick black touches are always to be placed on the dark side.
your taste
in
first
will
I have used
observe that
You
will
show
13
so as to form different kinds and shapes of the stones.
mean
if
you look at
you
will
to be
make them
The ground
is
and
light,
have iatrodueed
free,
and
it
in
and praqtipe
will
tree in
understand what I
making a number of
free
will
You
till
it is
drawn very
light,
and afterward
drawing,
The
own
judgment,
will,
have no doubt,
enable you to produce a good copy of the drawing of Godstowe, and vie will
is
now
Oxford.
from
his heroic
hearted.
built
by Henry
I.,
birth-pl3.ce
title
of Richard
I.,
who
of Gceur-de-Lion, or Uon
14
In drawing
this ruin,
by
side,
on the dark
God-
them
first
side.
you
find yourself at
loss,
spirited touches
by making a perpendicular
before,
more
into detail.
to a careful pefiisal of
Should
my former
letter.
The
is
Tower of Oxford
the
one of
in the reign
moat.
It
was of great
strength,
and surrounded by a
to St, George.
Maud
ri(^
pi^
i^.
/'^.(^
A^
15
siege
that
till
it
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
ground covered
writh
and the
issuing silently about midnight, from a postern of the castle, crossed the river, and
on foot
to
all
She travelled
The
garrison surrendered the castle to Stephen the morning after her departure.
The tower
on the
still
site is
called
now
is all
jail,
in the
it is
Oxford Castle.
In commencing
this
first
When
making a
slight outline
You
will
this,
mark
make
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
height.
it
I write to
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
now be
made
till
then you must be content to copy what you see in the drawing, and
may
this
darker, yet
still
it is
as the tower
is
supposed to be at some
recede.
Having
mark
hand
lines
The
little
fill
more
it
and here
will
come
17
forward
make
be careful not to
to
is
in
water
formed by
is
free lines
lightly
line,
The
as that would
make
it
make
itself!
The
The dark
shade
the outhne of the reflection of the arch in the water lighter than the arch
till
is
till
stiff
any previous
effect
out-
which clouds
This drawing
conclude
this letter
your
attention,
and I hope
many
will receive
is
I shall
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
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,
to his
own destruction.
of these reverend martyrs, a feeUng of joy, that bigotry and intolerance have long since
18
fled
in our
isle,
mingles with our sorrow for the past, and raises that emotion
who can
it
this
You
in the
which Shakspeare,
who
Sermons
faint line,
this postern,
curving
dots by which
will, I
am
it
as
It
was
in the play
this
into,)
feeling
which gave
it,"
birth to those
you
in stones,
will
and good
make
the
in everything."
two perpendicular
to the other.
lines
On
first,
then draw
this line
place the
form the
battle-
ments, spring from; then proceed to form each battlement precisely in the same
you
did the
first
that
As you like
"
of
to
me
(which
finds
"Tongues
In drawing
this association
it is
and
emotion
is this
a view of
it
Indeed
As
way
19
I have introduced an outline with nil the requisite points marked.
by no means be
omitted, as
it is
left
You
will
my
observe
will see
on the dark
it
light
from the
wall,
it.
must
and gives
I
need
that,
is
quite straight,
one side of
it is
considerably
higher than the other, and that the outline runs in a slanting direction.
The
side of
scarcely repeat
you
There is a shadow
will,
You must
have been
little
in perspective, yet as
20
In drawing an elevation of a building, you are supposed to stand directly in front
of
it
sides.
tion
all
You
but
if
will
understand
this
by looking
at
No.
1,
you
is
an eleva-
and one
being higher than those at a distance, which decrease in length as they recede from
the view.
you
this idea
enter
more
2,
the
same building
is in
perspective.
Having given
fully
on the
my
latter.
N.
WHITTOCK.
next
21
LETTER
In the present
which
all
that
is
letter
it is
III.
advanced on the
art
Yet
we
shall
endeavour
there are certain terms and definitions of points, lines, and figures, with the
ing of which
it is
we can
mean-
apply them,
or understand the terms used by writers, either on drawing or any other scientific
subject.
in arithmetic,
This term
is
and we
will
now
describe
how
several
22
The
point,
it.
circle,
is
The
round
it
The
the circumference
two equal
circle
point
circle into
to trace
let it
be large or small,
is
circle.
sixty minutes, and each minute into sixty seconds, but the
is sufficient for
By looking
our purpose.
and has a
The
to
sides,
90
at
line
No.
the line
this describes
it
show
to
its
diameter.
Thus a square
90.
In No.
called a chord,
to 90, is
3,
you will
line
di-
or
find a line
Thus
drawn through
is
3,
first
number of
Hne formed
diameter of the
once formed,
is
line
and the
contain.
23
degrees
draw
is
In
complete.
drawing, there are other methods of producing the figures formed by a circle, without
troubling ourselves to calculate the degrees, but
it
of a
is
best to
circle,
show you
as in admeasurement of any
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
drawing
is
is
lines
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
be formed.
and
in landscape
24
The
horizontal line
what part of
is
line,
and indicates
in
but
as the beauty an(J correctness of any picture will greatly depend on a thorough
knowledge of the
though, in
fact,
Al-
subject.
the person taking the view can never form a part of the picture,
by way of
this
license, to introduce
and
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
as your eye
this
Nor does
it
make any
line
your view.
it
will
difference if
is
always
stick
some
all
1,
a sailor
ships
is
the sails
25
of most of them appear above the horizon, but the hulks of
that do not appear
higher,
2,
v^ill
man
In No.
is
seated on a
3,
belovs^
man
is
cliff,
the horizon
belovsr,
and
all
it
all
that are
a picture as No. 1
the horizon, and the sky forms but a small part of the picture.
examples before
us.
No.
1, is
is still
view
be
of them below
In No,
glance
all
the
is
is
is
too confined
thus
it
follows,
That
occupy
No.
4, is
is
introduced to
show
is
the
same as
it.
that of a landscape,
and
26
Having,
tal line,
it is
hoped,
we must now
when looking
at
any
The diagrams
in Plate
is in
the horizontal
line,
is
and
always
it
is
in
XI.
will enable
you
very desirable for you to become thoroughly conversant with the horizontal hne
In No.
1,
and
at
plain,
you
object:
any object
is
other.
they are
all
Common observation
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
The
reason
is,
first
sight in the horizon, will give the true height in perspective of the
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.
point of sight, must incline upward, and those above the horizon
In No.
to
2, I
show you
You
why
all
plain, in order
will
from
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,
now
I will
downward.
a, h,
which,
if
No.
4.
sight, as in
in the eye,
d, e,f,
and form
and so on
for
Here
it.
I shall not enter farther into the art of perspective at present, but leave
you
to
Plate XII.
is
28
Plate XIII.
a sketch of a village
it
Cumberland.
your guide
lake,
You
in the
Plate
in
line in this
boat upon
is
have
left
same
XIV.
is
Trifling
as these ruins appear now, they once formed part of one of the most magnificent
nastic establishments in the kingdom, which
and you
in 1129.
was erected
will
not
to,
fail
its
Anthony Wood,
to observe the
to obtain
mo-
endowment
nobility,
in
their purpose.
It
appears that
she resided
in
Dame Edith,
Oxford
Castle,
the wife of
to solace herself,
Isis
when
elms which overshadowed them; and frequently observing the magpies gathered
29
together on a tree by the river-side,
making a great
on
for to confer
pies, but so
many poor
St.
chattering, as
meaning of
it.
"
Madam," says
it
whom
he,
way
were, at her,
was
their
complaints
aloud to you, as knowing your extensive goodness of disposition and charity," and he
humbly hoped,
posterity, she
my
do
"Is
it
And
soul,
would do them some public good, as her husband's uncle had done, by
own
did prevail
on him
relating the
From
this beginning,
At
Oxford.
speaking, (though
it
into
this, strictly
England, and
Henry
in
Oseney
to Christ
before,)
gave the
title
of city to
drawing of the
must
faintly,
first
be drawn
till
converted to a
building.
The
mill, will
require
in the direction
side,
and
trunk
tree,
lastly,
made
run
all
formed
in the
it
produce at
first
much
you
that
it
will
this is
be rather
the line,
difficult for
trees,
then
&.C.,
for
on drawing
by drawing
filling
make sharp
As
instructions
ease as you
curving them
lighter touch.
am aware
it,
then, with
over
you
last, it will
if
and bringing
direc-
the trunk with the second shade, pressing rather hard on the pencil
no new
this
you
which
to
will
Take care
next
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,
lines at
itself.
some
LETTER
Having made you acquainted with
IV.
This point
is
the place where the spectator stands to take the view; and of
gle
and
circle,
You must
in
recollect
a right an-
if
33
seen at
all,
ring to No.
is
Plate
country,
understand
this
by
refer-
be seen
distinctly,
it
to take the
view
A is
may
will
XV.
these lines
You
effect.
You
but if
will
observe that
you wished
that
all
to take in
comes within
a greater extent of
head, and thus having another point of sight, which would throw your whole draw-
if
you were
in
more of
the view
you why
sight.
b,
2,
in this case
hoped,
and we
show
now
will
in perspective drawings.
Plate XV.,
would
will, it is
In No.
to stand at
c, is
is
and
to
made
determine
line
how
to effect this, I
dotted lines to b
b,
draw
lines
from
would apj>ear
in
the
33
points
where they
drawn
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,
a point
in perspective
show where
at pleasure,
this
till
its
in perspective,
it
is
would
this
The
is
to
is
line
a long
way
be found.
we must proceed
letter.
case
another block;
to
of most of the
a practical appli-
you are
cannot be
in the present
hoped
it
in the horizon
cation of them.
is
As
it
of all other
fall
may
vary
in
34
No.
1, is
shows one
and
if
front,
put in perspective,
c and
to the point
of sight,
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
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
same
you must
line
drawn
front.
object.
In
this position
at
any square
The
sides to the
the picture.
sight.
drawn
intersection,
answer
d,
in the
it
pre-
middle
recollect, is
still
in the centre
of the
but the position of the eye being greatly on one side of the object, the
much
it
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,
horizon, 6
is
below
it.
It
to
it is
understand
upon
this,
till
in
how
much above
it,
you are
always even
h.
is
be seen, as
will
it
plain.
Plate XVII.
is
the entrance to
This
prelate,
was promoted
though he succeeded
to this office
liberal
by the
averse to the dreadful persecution of the Protestants, which, from his station, he ap-
peared to sanction.
who have
many
centuries.
we have
had.
for
of
at
36
ing on a large sheet of paper.
you
itself;
Take
will see
what
is
meant,
Be
if
shadow of
careful in
spirited
touches on the dark side of your outline, and observe the variety of touch on the
brick and stone work.
Plate XVIII.
is
who were
Lambeth Palace.
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.
still
it
feet
by
nine,
in
It is
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
the edge of the board in which the rings are inserted, near the centre of the picture
the double line in the margin
line.
37
The
last three
spective lines
you
to proceed for
now be
sufficiently familiar to
illustrations
errors,
to
enable
felt
you
viz.,
the study of
trees.
LETTER
In the preceding examples I have, as
trees, because,
V.
far as possible,
difficult
to produce.
this
some knowledge of
most
light
and shade, we
to
form
will turn
38
Plate
XIX.
is
it is
In commencing
this
arm
The arm
it.
parts into
make a
which
it
may
afterward be divided
you come
mark
If a
by
arm
here
you come
to another
of the whole of
;
to the first
this
it,
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.
lines.
trunk or arms,
drawing, but
in the foreground,
a single
drawing, you must with your hard pencil sketch freely the
as
this
it
direction.
The
in strong light
now be
after this
go over the
39
dark part with the second shade, taking care to give your pencil that circular motion
You
given afterward, the knots, &c., better than I can describe them
you now
subject
The
to do,
more
is,
at length, I refer
fohage of trees
is
you
to Plate
made up of
XX.
it
they
copy.
You may
is
to
produce
When
till
2,
appear.
In order to do
it
which
may
a number of times,
is
way
you must
all
this,
dark touches
is
formed nearly
in the
same way,
more broken.
to
draw Nos.
1, 2,
till
you can do
so,) then, as
to join
them
in
and
3,
you have
cluster,
hitherto
4, 5, 6,
and
7.
40
All the examples in the
from 8
first
row are
from
to
all
12 and
13,
When
some
It will
time,
time for
Plate
till
XXI.
is
The edge
of the water
The
other
allow
the
its
It is
will give
line,
and you
Bloody Gate.
feeling of horror
time, with
this
is
XXII.
name of
figures previously
the
where the
foliage
this,
by which
an easy drawing.
Plate
and from
its
many
It is
Under
it
has acquired
this,
without a
all
by
41
required in ages past,
bow
their
window,
attached to
still
it,
illustrious characters
Under
at the side
in this
drawing
first
1,
Plate
of a picture.
to practise Plate
XXIII.
The
is
it
XX., we
preserves the
may
soft pencil.
will
now
return to trees.
like the
is
second shade.
same character
No.
2, is
a poplar seen
No.
be necessary
to
like those
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
by recrossing the
No.
You
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
others, the
produced as
As
When
in
XXIV-
is
8,
This
is
XX.
Few
visit
strengthening
it
The same
afterward
elm
6,
tree.
is
drawing
trees,
given in
Hill,
called
part of an
is
venture on a perfect
persons
can be added
5,
No.
is
No. 4 shows
an oak stump.
sufficient
we may
No.
circular.
and No.
XIX.
in Plate
Plate
is
near Oxford.
Joe Pullen's
to
view the
directions
Hill,
my remarks
making a
on Plate
light outline
then
make
XIX.
first,
first
and
shade,
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
made some
middle
tint:;
one part of
progress,
if
it is
you look
in
it is
strong
These
lighti
light; that
is
it
is,
that
have marked
this, I
neither
it
it
isj
This shade,
therefore,
on the
tint,
you
will
dle tints
have
its
you add
is
the
you
same as
the middle
life
and
will
it,
and No.
tint,
As
it;
it
not
the shade.
the
applies to the
reflect the
and
spirit.
3,
2^ is
management of
if
you leave
If,
tree, is
put on
lines
middle tint gives depth and value to both light and shade.
this
you
we have now
but as
^rong
thoroughly understand
in.
my
keep
hitherto, in order to
your tree
will
made under
the
only have to put in semicircular touches here and there, for the
The
44
Plate
the rest
tree,
XXI V*
is
called Stonehenge.
attention,
is
but need
little
remark from
me
for
easy.
supposed by
many
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
to the spot
where they
stand,
of
this
temple was
altar.
circular,
in the
kingdom.
From
its
especially
was
little
this
drawing
understood.
is
taken
to illustrate the
blocks of stone
England
tint,
fail
to observe
pleasing effect in a drawing of this kind, which otherwise would be mere black
You
am
to blend
them
together.
this
work
and
it
45
has been
come
my
my
tedious or disgusting.
It
my
has been
aim
design, that
it
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.
its
For
You began
them
lines
and we have
tive,
such intervals
lines,
and applied
to slant
led
on
to put
;
any
that the
to
that
I shall
at
it
with making
this
figures
on the plain
necessary
in perspec-
refer to perspective
diagrams
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
the wall
is
twenty
feet
m
high
in order to
base
line,
draw
lines
on the
you
drawn from h
of elevation
line
if
it
is
sight,
is
half]
this
mu^
height, length,
to the
upper line,
you must
intersect that
this,
having done
feet high.
To
we have now
in true perspective.
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
show
the spot
doorway.
To
draw
drawn from
it
this is
shown by
lines are to
obtain the true height, measure ten feet on the line of elevation, and
the Knes
drawn before
will give
you the
Pl.z,')
p/.^i
-/-
Stonfhenf'
Pi. -16
47
drawn
I have
this
upon
this wall, I
to the
You
show more
by the black
you
but
will
observe I have
clearly in
lines.
what
When
and
line,
left
many tops
No.
produce
the other at
this,
a,
when we put
viz,,
measure
other at
upper
o,
line
this figure to
any square
of
Wiertl,
various adtoeasurements,
put in
XXV.
set
to &
it
but as
we
at
g",
line
3,
with
to divide
you
this
it
into
n num-
g; at this intersection
e,
becomes necessary
of the square.
line
to Plate
on the
all
in this plate, is
1,
all
perspective,
To
elevation.
to
that, if I
draw a
the semicircle
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.
marked
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
will
it
2, is
XXVII.,
will
at
first,
marked
but
if
f,
and
if
you
as
shown
circles in perspective
XXVI.,
commence by forming a
will
performance
plane, Plate
lines,
No.
the point
down
to
at their intersection
the divisions
we
by
with
1,
of elevation,
line
draw a
h,
Having obtained
is
the
is
put in perspec-
in the plate.
may be
rendered more
clear,
perspective of a circle.
for
It
is
this
purpose, place the compasses in the middle of the base, and sweep the semicircle
a h
49
lines
must be drawn
from a and
distance,
6,
to the
base line
this done,
perpendiculars
o,
draw
square
in
b,
draw
draw diagonal
which the
of
circle
sight,
drawn
ber of squares
and
if
draw
at the angle
you
set out,
You
and
it
will give
you the
till
of
to
Then from
must appear.
the
you commence
c,
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-
you return
to the
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.
them
notice
may
we
to
shall use
require.
m
LETTER VI
Plate
XXVIII,
contiains
you see an
and rudest
style
is
called the
Saxon or Anglo-Norman
eleventh century.
is
drawings in what
may be
sure
it
was
or
skill
manner
1.
style prevailed
ittll89;
The
by
It is distinguished
somewhat
2.
is
tolerable exactness,
by
its
to the
style.
This
Edward
the First,
51
1307,
is
its
called
is
3.
The
decorated English
style,
arches, divided
circles, arches,
and other
distinguished by
later, is
figures, not
Edward
running perpendicularly
large
its
flowing
in
its
the
lines,
numerous
4.
in
The
some
perpendicular English
is
Probably the
late as 1640.
Henry
the Eighth.
The name
lines,
"
that though
many
writers speak of
known
to be
last
to destroy the
whole
clearly desig-
Saxon
style.
Many
beauty of the
by observing,
latest
design
cases,
perpendicular
is
buildings, those
Norman, or are so
like
which are
is
52
no real
distinction; but
No.
1,
it
most
is
likely that, in
earlier date
may
This arch
window
3,
is
this
mode
semicircle of the
No.
hitherto
in increasing the
2,
is
semicircular
real
an age."
of enrichment consisted
No.
exist
far
supported by shafts
the
Norman
arches
is
pier,
this
pier
is
this
style
of
building.
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
all
architects
that I
wish
and builders
is,
is
No.
2, is
a lancet window
No.
3, is
a decorated pinnacle
finial
4, is
called
trefoiled
circle.
finial
and the
in
No.
scale.
ele-
the
2.
ornaments on a larger
and that of
No.
is
eye
I shall therefore
called panelling,
the circular ornaments on each side above the pointed arch, one
for every
to familiarize the
of
circle,
style
this is
It is
fine
is
introduced to
54
No.
5, is
No.
6,
No.
7, is
The
arch
circle,
a cinquefoiled
a pointed arch,
common
circle.
trefoiled.
d,
a,
you perceive
an ogee arch
XXX.
you have
is
a drawing which
h,
pointed arch
Plate
it is
will require
drawn
e,
It is
c,
lancet
a segment of a
an application of
all
the knowledge
of Mprton College, Oxford, taken from the entrance into Christ Church Meadow,
called the Grove.
perspective
One of
the
first
it is
is
Christi College,
the
is
and there-
it is,
The heads of
the
two
55
figures will give
you
this
you apply a
On
the nearest angle of the tower will in this case be the line of elevation.
will
if
it
may
to
faint lines
and
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
this will
not at
line
of elevation, which
all alter
will
fall
naturally in
its
place.
effect.
As
be-
would be necessary
but this building has stood for ages, time has broken
its
roughness to
We must now
you
an
its
artist, is far
sharp
more
and unbroken
fines,
and given a
beautiful than a
new
56
building.
It is
marked
in the
to
the
much worn
work of
venerable
this
line,
two
all
The same
would
call pierced.
all,
The
first
Take
pinnacle,
com-
cles.
This tower
is
having a profusion of ornaments, which you must take care to mark properly.
Having
pile.
tecture,
all
windows
XXVI.
The
divisions of the
windows
you
will
appear
difficult
little
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
number of lines
to
show
the
57
thickness of the muUions.
The
differently,
muUion running
first
is
Thus
produced.
lights,
up,
having pointed
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
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,
window
is
windows of
more
lights,
seen clearly.
the tower.
is
You must
I need not
the third
the
com-
you how
this in so
many
drawings.
is
shown or
58
It
now
rected in Plate
XXIV.
me
The
spirit,
may
left
much
instruction in
the ground
my
is
have now, I
is
make
utmost
so that
all
the rest
to
left
di-
with
is
you succeed, as
to
believe, given
your
own
taste
be discouraged
this
all
walk
the verbal
and judgment,
if
to
attention.
whom
it
takes
its
It
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
in this
college,
Richard
Steele.
Wood; and
Sir
.59
LETTER
Plate
XXXI.
is
With
ing willow.
my
masses
first
VII.
mode of copying
last letter
this, little
observe there
light falls
it is
in
middle
tint,
tree,
to
first
made, as they
which you
will
will
You
the
first
all
will
are introduced.
all
not a great deal of strong light inside of the branches on which the
can put
is
blend together
in
all
it
is
may be
future drawings,
required
required.
where
over
I
this,
you
have drawn
60
Be
this will
Plate
make
in light
duced.
line,
is
and shade.
in the first
The
ways over
figure
waves of
you
will
it,
to
have
show
is
sails
sent
notice.
drawn
in
not seen.
pro-
in the distance
XXXIII.
The tower
only.
will shortly
in Plate
is
little difficulty
made
various
The
it
that of
do
is
You
to
XXXII.
You must
and branches,
spoil
what
at
^ distance
lightly,
is
become
The
quite
take care to
as a dark
touch on
61
Plate
XXXIV,
is
in
wretched dwelling
ness stoops to do
its
who have
homage
native energy,
it
and
to genius.
it
of so great a genius,
of Shakespeare.
visited this
all
Poor
was born.
poet, Shakespeare,
it is
by
men
of
all
works
have
classes,
and peculiar powers of adaptation, cover the deficiency of education under which he
laboured.
years.
His early
Bred
life
in
Having been
guilty of
ful irregularities,
law
this forced
where he could
who
find
He was
this introduction to
inflict
who
father,
some youth-
metropolis
humble as
his
his poetic
own emphatic
and
his
language, he shook
all
and
62
station
from him,
the honoured
" like
in the realm.
new
in oblivion,
upon
his,
and
at the present
day he
is
the glory of
has shed
lustre
There
is
many
Plate
XXXV.
the perspective
is
by the constant
clifii
A lofty rugged
is
is
forty yards
hung with
terrific
its
is
is
is
easy,
and
this.
in the Isle
of Wight.
an excavation made
The
entrance
is
rather
masses, threatening to
fall
every moment.
of the scene.
It
in
till
this
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,
tance.
The
In copying
this
drawing, which
my
is
is
XXXVI.
Plate
will
previous lessons, as
have occasion
it
includes
all
to
make use of
all
the instruc-
the subjects
treated of separately.
Magdalen College
spicuous in
this
the university.
is
drawing,
is
in
justly esteemed
Oxford
is
office
in the
of lord chancellor.
so con-
This bishop
is
their
at
son was early sent to Winchester school, though his name does
fleet,
His progress
in
learning
was so
Wayn-
great, that at
an
64
early age he
school.
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
But Henry's
was
that,
after-
In this
between the Houses of York and Lancaster, he retained the respect and
his office
of his royal patron, yet Edward IV. honoured him by visiting him at Magdalen
By
foundation,
sition
new
conflicts
to his
life.
Magdalen
tors of the
It is
College, his
human
name
is
justly
handed down
to posterity
among
the benefac-
race.
65
and as
you will
find
it
I shall
this
letter
endeavour
will
terminate
to point out to
all
my
first
you every
the instructions
received.
You
and the
mass of
This
other part.
will
form your
which you
the
and
this
of elevation, and on
by applying .your
ruler.
this
having sketched
all
the
this turret,
to the points
You must
of course proceed in
the base of the pinnacle, the top of the battlements, the windows,
You may
marked
line
is
of
draw a
all their
tower
is
divisions.
turrets,
which
will
now
you
will perceive
66
is
pierced.
and
need not
having done
so,
tell
you how
to
finish the
outline
When
before.
now
first
is
I cannot give
by referring you
tree separately,
it
Having drawn
top.
the tower, proceed with the buildings at the side, and the bridge.
you
where
fill
to those
up the
strongly.
and
this,
am
that
your path
be
enabled to
laid
letter that I
have effected
my purpose
be assured of
clear.
letters,
your attention
when we come
to landscapes of
pleasing,
may
will
by blending
require.
and
J'/y.
M.
PI. 37.
-M\-
7'L ,?S.
JPl.
'*ff'l''-%
'TH
tf
wj:
J&.
67
VIII.
you
in
The
made
you
will
form
is
in the formation
of the outline
will
first
with broken lines or dots, as in landscape, must be produced with light and
which
observe
human
will
understand
this,
is
is
You
show
The
may add
lines are
to
No.
drawn
1,
Plate
lightly,
XXXVII.,
so that if the
till
you have
then strengthen the outline, and give dark spirited touches in parts
shade, to
by referring
No.
2.
No. 4
is
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
it,
bringing in
serve No.
make a
3,
sides,
down on
have
tail,
both sides,
till
it is
at
line
to
leg's.
4,
which
is
all ctirved,
You
lines
if
you ob-
is
you
joint,
outline
this is done,
is required,
put
all
the
complete.
4,
When
joints.
will
it.
show the
you
should
tail
faint dot to
left
form the
is
till
repetition of
them on No. 5
till
and
you can
I should observe,
draw
is
all
and he remarks,
69
those
who wish
to
XXXVIII.
Plate
stronger shade
The
No.
2,
well
tha,t
No- 4
the quarter
is
flesh.
subject
is continiied.
No. 1
is
the
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,
rectly, as
whole
No.
Plate
and
XXXIX. is copied
nent French
artist.
is
so
difficult to
in
cppyjng cor-
to
from a
spirited
Carlo Vernet.
spirit
draw the
feet.
I have not divided the horse's head into pq,rts in this instance, because
beauty.
its
it
picture, but
with points.
it
would
sha:ll
entitled,
70
Spectacle de la Ndture.
of beasts, reason, in
"
my judgment,
would confer
he
sion
finest turn
ness
of shape,
is
all
that are
good
in his food
of
all
their aver-
animals, he
observe in
all
him
to
mane
ramble at
more
through the
fields,
baggage
is,
you
will
he
He
may,
Where do we
fire ?
his
injures
will sink
is
do you see any animal whose head displays so much beauty and graceful-
Can we
attention
horse,
and enjoys
qualities,
since he
of king
lion is anything
he possesses no bad
has the
The
The
on the horse.
is their tyrant,
it
title
how
convey
to please
T2.4.
-PI.
--',>,.--
>.: -#
-/'Z.
j
4^.
-^S'-N
4/.
71
He
hasten
it
will.
is
nor the unevenness of the way, neither ditches nor the most rapid
courage him
does
battle
You
at fear,
awaken
and
is
not aflfrighted
his courage,
the horse.
subjects,
and so
is
is
it.
He
this
sight of the
drawn
for
sword.'
"
The
fine
modern.
outlines
you
will
before
you venture
observe are
a portrait of a
draw detached
'
by any
several times, to
which
dis-
XL.
?
;
become
it
Plate
can
Is he called to
mocketh
rivers,
still
curved Hues,
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
make
horse, but
must be
much
on the propor-
finished
line or
in the
by making
faint,
it
and the
The shadows
circuleir
reflection
on the water
left
the
swans
in the
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
is
produced
first
and afterward a
letter
You must
effect.
figures
my
figure.
learners to
till
in
afler-!!
the hair.
I shall
after I
have written a
letter
J'l.
44.
J7. ^^.
J^I. 4-5.
^.^/.
73
Cuyp.
This
You
will
mass kept
Plate
beautiful
in the
lines, to
XLVni.
is
middle
give
you
will therefore
stillness
of
its
composition,
is
known by
it
tint
The
light
whole
is
hatched over
eflfect.
and accurate delineations of rural scenery and figures justly place him
much
the
picture,
name of Repose.
is
figure
much
to
to
be lamented, that a
such irregularities of
it is
talent should
life
And
in the
to this
country
that,
It is
life
may
not be
unacceptable to you.
The
father of
Morland was an
and
in
very low
cir-
cumstances, the misery of which was increased by his loose and irregular habits.
74
Our young
much
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
in
and
ease,
made
initiated
stables, pig-styes,
colour.
Some
afforded
soon so
His
Kings-bench
laid
prison.
Even
in
means, that he
in this
fell
into debt,
to excess,
and
in the
Some of
them,
in
more
vital
all
In
FL
M.
4-8
Jl. S:f.
J3 ^S*(:iil,-
**,,.
LITH. OF
LEWIS
'-5'
'jr^ "\
'"
4-^.
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-
The
that of
by the
direst necessity,
genius,
and
fatal precedent,
this
if
will
white,
it
shows
when
of
to
pass for a
all
he should be able
in derision
is different in
best
it
intervals.
You
in
to astonish the
with
Following
fits
own conduct
any you
from
this
circumstance,
Plate
XLIX.
76
whose constant
that
practice
came under
it
was
his notice
in
many
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
moment.
and you
will not
your progress
in
till
be
at
life,
if
marking the
drawing from
in
It will greatly
long, I should
recommend
that
with black and white chalk, which will give more effect with less labour.
Plate L.
artist,
is
whose drawing of
spirit, to
that of
the horse
You
was considered
but
will
it is
acknowledged
that our
and
this
noble animal
shape
The
much
difficulty
eye,
and
own countryman,
his
is
French
is
less
student
77
Plate LI.
Two fox-hounds
by Taylor
my
next
commence with
letter
LETTER
the-
that
own
image."
human form
know
to
attention
figure.
IX.
human
The
man by
divine,"
is
figure, as
we
are told
creating
him
" in his
draw any
it
is
necessary that
who
we
con-
templated making the art a profession, I should advise him to obtain a small work by
human
and
78
to
make
himself thoroughly acquainted with the names and forms of the bones and
that
which
many
is
draw
the figure.
It is for
want of
persons
fail
who endeavour
to obtain
human
have been
figure,
may be
easily attained,
this preliminary
laid
which
for persons
who make
will,
in
some
degree, supply
We will commence our studies with the rules for producing the head and face.
referring to Plate LII.,
you
draw a perpendicular
marked a
lines c c
a,
and
is
line,
thence to c c
and eyelids
commenced by drawing an
it.
See No.
1,
Then
marked on
is
it
is
this line in
head
b,
have drawn
Plate LIII.
By
first
You
c,
the plate
and d
d.
this figure
is
The
without
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'
\^
It'.-;-.'-
--^.s'^ *\'
ar
>
I'
?.
^mr-
/'/ !,r,
79
seen on the line c c
is
divisions,
between the
same
lines
lines
d,
is
d,
and
it
will
on an
in various directions,
much
egg^,
is
observe
and
that the
mark
this
will
This
ears.
By
face,
turning the
and make
it
As
last
will
which mark the length of the nose, show the length of the
sible position
why
and you
egg
and the
c c and
it is
These general
copy or from
life,
and they
will
will enable
either
you
to
in Plate
LII.
rules.
from a
The
80
Plate LIII. contains ovals in various directions,
ceding
rules.
and
to
left,
line
a,
You must
the outline.
seen
in the first
No. 6
example
the lines
still
is
seen.
is
in the
to the pre-
marked according
all
d,
part of the nose under the ear, always marks the termination of the back part of the
head
where
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.,
find
and
the
vertebrae
of the
neck
think
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
and here
let
lines,
me remind
having once thoroughly learned the foregoing rules for drawing the
habitually call
them
to
you
will then
to sketch
have no occasion
to
face,
mark
81
the lines
will
their help.
Having given
body and
Plate
the limbs.
length figure
whole figure
is
and you
LV.
will observe,
first,
this
to
will
now proceed
You
human
figure is
in this plate
we
as a well-proportioned
head,
to the
human
and
it is
we have
already
supposed to be
proportion of the
hmbs
down
in this plate to
any
as
and
figure
you
your eye.
We must
now
You must
at-
82
any person as
you ought
to be
practice.
I have sent you, in Plate LXI., six drawings of the eye in various directions
first,
you
parts
do
it
correctly,
is
it
in light
make
and shade.
before
is
you with
in front
till
till
copy
you can
in the
the
Proceed
the eyes
Plate
LIX.
width of which
you attempt a
The
nose.
No.
1, is
its
height
is
about
make
outlines cor-
3, is at its
base, seen in
finished drawing.
No.
comment.
Plate LXIII. contains a drawing of a mouth and part of the nose, from an antique
17.
Pf. s/y.
>
h..
m.
n. JT.*
S)
It
>?
%S%5.^
%
#3
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t-VVl^
C'>
S8,
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t'l 'lU
60
i^/
ft
P/.f>Z
ip-
r,i
83
figure, as this
subject, I
example
is
correctly,
will
When you
to
this
Plate LVI. contains an outline and finished drawing of a hand from the antique,
plates,
in various directions,
LVII
will
they are
all
Plate
the
LX.
contains a drawing of feet from the statues of the Apollo Belvidere and
Medicean Venus
The
any of these
they
figures,
required.
lines clear,
make
of the original.
In shading
Do
not
fill
tint
where
84
LETTER
As you
human
figure,
we
will
proceed
make
X.
to subjects in
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
This
is
done
lip,
make a good
This variation
strong
first
lights,
its
if the
drawing,
outline
ings
not perfect.
is
shade, by covering
all
remember
it
is
draw-
impossible to
proceed to put
which
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.
lines crossing
tint
on the
This background
face.
left
till
at the
the background,
it
would be opposed.
will
the dark
to which,
without
and shade
light
when we
fully
return to
Plate
ture
is
LXV.
last
spirited
artist,
Le
human
which
it is
give
you
trouble
is
No. 1
Brun,
figure,
is
who has
and
lips,
when under
liveliness, cheerfulness,
may
more
that
you have
is
complete.
sions.
When
landscape drawing.
throw
This
is
and
attention, influenced
an easy drawing
by a
at the
let
by
in imitation
of the copy.
86
No. 2 represents
tures
respect,
LXVI.
is
heads that
profile
notice.
LXIV.
Plate
first
LXVII.
is
fine
wavy
The
but
you observe
The
ringlets.
hair,
of the
last
again, all
us.
pain.
fea-
Plate
Plate
by the
face,
The
Le
remember
Hght, shade,
and background
between the lower part of the cheek and the dark shade of the neck.
Plate
LXVIII.
is
you procure
touch.
the best
French
chalk,
is
finest
drawn
it
is soft
PL 64
PI 63
%.
i^SsfeS^??^^
..-^;^^^"
f?^??!-'^'
S'
PI.
PI. 65
"-?-
66
87
When
boy and
Plate
Here
his dog.
LV.
The
finishing
hatching there
is
be proper to commence
will
refer to Plate
XLIV.,
the forester's
apply.
will
we must
it
of the drawing,
You must
all
the less
us,
formed by
in
after
down
and
free,
lines crossing
each
other.
The
drawn by
the
same
rule.
The
XLV., and
XL VI.,
are
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
LXIX.
in the world,
is
and
metry of every
is
part,
is
arrow
at the
Python.
to the whole.
In drawing
Apollo
is
supposed
to
have
care
88
must be taken
from
no
how
loss
to
proceed
When
directions.
fall
When
is
plaster figures,
the top
by
this
means
them on paper,
in placing
this figure,
entirely,
thus, if
if
you constantly
You
all
in
to sketch
will
be at
you draw
firmly,
is
room
that has
two
and you
will
be
able to produce the whole with force and truth, which would not be the case if the
As the
two
concluding subject on
anatomy of
human
The
is
this
in different directions.
branch of the
art,
LXX.,
figures in outline, with the muscles violently excited, displaying themselves with
great force.
the
coming
lights
These specimens
will
figure
on the burning
suffering, is taken
pile,
have gone
studies of
in this treatise.
torture he
/V ()7
si'
FI 6.9
fl
6<S
89
the four celebrated paintings, by that
the hero
hiniiself,
Dejanira, shot
artist,
He
represents
if
it
it
oflf
on than he
life,
felt
indescriba:ble torments.
He
Tuscany and
He
painter.
who
Compelled
if in his later
which
work with
rapidity,
direction of
the Prince of
their
esteem.
in the
midst
profession
his works,
working.
own
for his
all
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
to
it
again as the figures in the different landscapes that will come under our notice in the
next part of
this
attention.
It will
draw on
thick paste-
I shall take
if
either
a future opportunity of showing you the use of coloured paper, and heightening the
light with white chalk,
escaped
my
observation.
It
has been
of
art,
my
it
you on
instruction
it
had
step
my
by
next
j^. rz.
Fl. 7J.
iQliit'i
fan er ofZondcn/.
Iffle^
Fl. 73.
OF LEWIS
lU.
BROWN
37
JOHN
T.
III
C/acrc7i/.
Tl
74-
91
LETTER
XI.
to
remark
will
we
shall
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
called
Tower
I therefore insert.
Hill,
what
is
now
called the
it
"
to
its
stands
WilHam
who
built
fortress, nearly in
13
a parallel
line,
and meeting
92
in
a semi-circular projection.
The
slope
is
is
scarcely to be seen.
The
houses.
is
Offices, the
St.
White Tower,
was
Queen
five
the
Small Armory, the Apartments for State Prisoners, and the Menagerie.
within the tower
Cannon are
which
The
is
the
palace
We have
to the
its
ponderous
The
portcullis,
latter is
a large
square building, with square turrets at each angle rising considerably above the embattled parapet.
The windows
William
subjects in awe.
when
it
was
show
the policy of
new
93
This view
there
and
is
is little in this
let
is
because
it is
full
difficult to
drawn
exercised, and I
in finished drawings.
it is
careful drawing, as
less
sky than
is
it
is
injurious to
is
usual
all
therefore necessary that the clouds should take a circular form, in order to give
Keep
is
more
requires
recede.,
it
may
tower
subject that
that
all
is,
brush
lightly
The means
whole of
over
it till
it
it
lightly,
tint
put on with a
then with your pencil form the dark masses of clouds, and after
most pleasing
Plate
lights
this
with
all
with the
produce a
effect.
LXXII.,
is
It follows the
is
Tower of
94
though as a building devoted
This church
is
is
it
consists of an aisle
vjrhich
to religious purposes
The tower
and chancel.
is
shafts,
much used
The church is
in
ways, adorned with columns, and the zig-zag, beak, and toothed ornament in receding
The drawing
divisions of mouldings.
still
is
its
north,
rich in the
windows of
perceptible,
same kind of
and show
later dates
have been
ed throughout.
I have
commenced
architecture, that
this part
we proceed
and I
Ifley
am
Church.
sufficient to
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
windows
of the drawing.
Plate
Keep
you
line.
The
them
distinct,
yet
is
a view of
London
The
Bridge.
spirit
of improvement which in
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
credit
in building,
be erected.
and was,
till
became so
to
city, to
"
this
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,
little
it all
all
if either light or
You
This
is
called St.
of the bridge
is
Plate
LXXIV.
in 1185.
The
it
will
easy
built
the water
Make
the piles
is
same time
to
infidels.
become
of the
and
at the
will
very
picture.
Temple Church,
and
it
it
is
Monument
and make
Monument,
erected
At
the
first
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
in
bestowing
became as
conspicuous for their pride and luxury, as they were before for the opposite virtues.
They had
97
residenc(3 in
London was on
of a circular form,
plars
were
arid
The Temple
most of the
built in imitation
of it.
still
bears the
disuse,
place
but as
all
Norman ornament
still
we
difficult for
Pay
their
The
retained.
perspective.
into
these figures consist of two groups, five are cross-legged, and the rest straight
would be
is
you
to produce,
three
subject,
to put
and
circles
in
Plate
LXXV.
is
a view of the
in
some cases
Abbey Church
congruity
the puerility, of
and on the
This
ornaments,
at Bath.
turrets at
it is
Ornament
is
from the
variety,
Goand
piled
two ladders
98
carved in stone, with ascending and descending angles.
the deviation from any regular style of building which characterizes this expiring
effort
its
it is
Abbey on
The drawing
picturesque beauty.
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
it
is
which of course
is
placed, I
to the
is
its
is
careful
management
bringing
it
When
you were
at
will
The Abbey,
some
distance
you
will
is
therefore
It requires
be called to
liberty is taken
to let the
fore observed,
in the
required, according to
ability,
perspective lines.
is
let
it
it
in
some
unsightly old
the truth
is,
that a
with the trees, in order to hide them, because they would spoil
means be twisted
You
J'l
f-'i.75
76
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99
will naturally ask,
ceeding with
it
Are such
is
truth,
treading on
it
difficult
is
unsightly
at the
same
many good
by
them
in
it
was a
ruin,
is
that
to
imagine what
alterations
must never
affect the
You
some of
to heighten
will
understand what I
muah of
mean
common modern
done here
if
you
stable
pollard willow standing near the place, I should not hesitate to give
of
that is
objects.
which I can
But those
if there
all
pictures.
jects,
this
taste
time, the
To
beautiful,
tasteful artist
of so
away from
it.
It is this
and I
heightening
much more
100
Plate
LXXVI.
is
has
the
all
pile
with the vessels passing femd repassing, forms, on the whole, a scene replete
its
It
This drawing
and do not
let
spirit
and you
stiff
The
and formal.
The keeping
mix with
let
remark.
the
air,
figure in the
vice in throwing the buildings on the rock into their proper situation.
Plate
LXXVII.
is
river.
shipping in the foreground of this picture must be drawn with force and
that the buildings
may
appear sufficiently
distant.
Greenwich was,
who
at
lost in
water.
Keep
vessel.
will
spirit,
so
gradually
still
You
The
its
embellishment.
was
born, and
101
II., it
ficent pile
on
that
it
its site,
He
first
for
it
was
first
wing.
into execution,
an asylum
build-
LXXVIII.
Plate
ing
is
the chapel
is
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
LXXIX.
is
and, in order to
is
The
figure.
Plate
and
in Switzerland.
many
the celebrated
work of
This
which takes
its
name from
these pon-
102
derous remains of Gothic grandeur.
is
hall.
The view
This was
before us
this
immense
pile,
as each succeeding
LXXX.,
Plate
Keep
twelfth
to
it
lived.
all
the characteristic
;
let
style
at the
bottom of the
fall
marks of the
religious edifices
larly attended to
Every
You must
of Henry VIIL,
style,
let
interior,
was
draw
be found in
ed
is
The
This drawing
show
way
of the
on the stones
I shall close
LXXXI.,
my
in
England.
Upon
is all
that re-
P/'
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103
find
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
instructive to
commencement of
this
in
And
fire.
it
more modern
building,
as
from
"
times, I
Ages."
"
fire,
Early
was
The
rebuilt.
suffragans, an indulgence,
for sin, to those
who
third part
it
into Scotland,
all
and
historian,
were
it
was
others gladly
inflicted
of all penances
while
immense
104
"
On
was
and
families,
and persons of
all
from
The
ranks.
abbot
JofFred prayed, and, shedding tears of joy, laid the corner stone of the eastern front, to
the north
was
and
his wife
and
sister,
it
he
laid
twenty pounds
The
second witk
priest
and by the
who each
sixty,
and the
The
for
the
first
attended bv a hundred
one day
in
every month
offering,
were then
the
till
laid
of Grantham, with two hundred and twenty men, offering ten marks
priest
of
Hockham
own
Croyland.
by the
in
then
foundation stones of the north wall were laid by two abbots and the
workmen.
the
laid
in
their
105
"
JofFred,
them
who had
when
five
historian, "
down on
admitted
now having
work began.
The
public apart-
to approach."
By means
which
of wealth and
skill,
nations
106
LETTER
The
XII.
viz.,
be brief in
Plate
my
bay
LXXXII.
is
is
overlooking the
The mountain
produce
I shall therefore
Bay of Oxwich.
On the
farther side of
seen the church of Oxwich, rising under the shelter of the bold projection
of Oxwich point.
You
information.
new
art,
but by
in the
making them of a
solid
will
float
even
effect.
difficult to
lights
on the
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107
Plate
LXXXIII.
is
scenery.
distance
and
it
is
all
will
The
make
the touches on
spirited,
Windsor
that
it
is
Castle
is
unnecessary to notice
its
many
history here.
descriptions of
its
it
and
who have
resi-
vied with
it is
under-
Plate
LXXXIV.
is
before us
show
lish
is
at
the effect of
what the
by the words
which
is
is
The drawing
introduced here to
translated into
Eng-
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
them come
mode of proceeding
and made
in their pictures.
Plates
you
LXXXV.
will
and
Warkworth Hermitage,
interesting
It
so that there
may
their beautiful
was by attending
on the
when we com-
LXXXVI.
poem of
inhabitant,
the
Hermit of Warkworth
And
now, attended by
Deep hewn
And
their liost.
within a craggy
And
view'd,
that
all
"
appear a
mence colouring
tints,
chff.
And
skill,
Ean winding up
the
hill.
he des-
loa
Then scoop'd within
The
Gn which
On
Up
to the altar's
A kneeling
ample breadth
You will,
perhaps, be anxious to
maid
in
A weeping warrior at
And
know what
hewing
her
feet.
A chieftain
lonely hermit,) aspires to the hand of the fair daughter of a neighbouring chief
him prove
wars, but
is
desperately
in a short time
that
his
spirit
wounded
conveyed
Sir
in battle, is
Bertram
The
and
borne nearly
field,
The
lifeless
lady,
from the
field,
and
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
Sitting,
from
vi^eariness,
under a
tree,
he
Some
For
my
tidings I
oft
The
may
bear.
Then heavenly
failed.
comfort's near."
pilgrim proceeds to inform Sir Bertram that he has lately heard a lady's voice
after
he
v^rithout finding
travels,
falls
"
asleep
When
lo,
till
o'er the
third night,
tall.
And
Wrapp'd
wall,
on the
And
laid,
in
a tartan plaid,
Ill
who
follows them, and hears the lady discoursing familiarly with the youth she had
fled with
'
and
after
heart
'
Die, traitor,
;'
Sir
But
cried,
'
Ah, then
farther hear,
And
die,'
a dreadful thrust
up
Oh,
'
!'
fair Isabel
knew
his voice,
stop,'
she cried,
'
And
Thou
The
And
And
at Sir
Bertram
flew.
At length he
But Bertram's
And
stronger
arm
How
prevailed,
It
And
long to end
Till time,
Had
it
thought.
cried,
'
fell,
my
piercing sword,
breast.'
112
With
feelings of penitence
My
My noble
The
in
was wont
hermitage
in
my choice,,
to rove.
is still
friend approved
murmuring stream
love
poem
For
to retire
in the latter is
jGbrm,
an accurate view
In drawing the
the
first
hermitage
and
let
in half tint,
LXXXV., you
must keep
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
window
they must be
left
ligh
and strengthened
them
lighter than
as
it,
any other
you proceed
in the drawing,
Keep the
part.
always observing
to leave
take notice of what I before observed on keeping the parts of the drawing in strong
Plate
This drawing
distinct.
when you
carved roof
is
is
115
by 40
feet in length,
in breadth,
elegant refectory
walls
make a
will
from
numerous
grandeur.
its
portraits
Owen, and
lessons
on
Henry
notice.
make
In
is
all
in height
the finely
gilt,
The
and 50
This
stiff
show
is
its
also
Thomas Lawrence,
of buildings
is
the
most
difficult
it
will
this
effect if
you
114
mark
show one
little
your rule
room than
the centre, as
is
in the centre,
and you
In
You
well
in Christ
know how
this
my
to
drawing
due gradation of
tint,
is
then
if
llall
by placing
of course the
(like the
all
simple
the lines
may
Church
it
early letters)
will
you
all
that
you
will
hall,
by
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
eon of a butcher
uncommon
in the
town of Ipswich,
Suffolk.
His
father,
observing in him an
grammar school
from whence
ri
i*
yv
I,
fiii.*""
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i*as^.i*^i ^*j.i*4.i
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115
progress that he took the degree of bachelor of arts
of age
in
He was
same
college,
and
in the
fifteen
years
then ad-
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
The
next situation
the court of
Rome.
means
The
the
However,
this
who
With
resign,
to
VII.,
France as one of
on account of
his
in is that
bursar of
Mag-
of chaplain to Dr.
was
mentioned at
this
great
age,
who was
he was appointed
his family.
When
and returned
16
Wolsey
was again
went over
made
power
him
self to persons in
find
we
also
Sir
to
to be
west of England,
treasurer of Calais,
his
chaplain,
and
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
life,
and from
this period
till
In 1509 Henry VII. died, and was succeeded by his son Henry VIII., who, at his
accession,
young monarch.
Wolsey
effectually
succeeded in gaining
And
finally,
under the
title
to the see of
first
see, created
him a
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.
was not
his disposition
mark of
first
Greek professorship
at
Oxford
and not
mence
his
his education.
monument of his
now
first
to
com-
Christ
laid,
with a superscrip-
school at Ipswich, the place of his nativity, to qualify young scholars for admittance
to
it.
It appears,
this
now
to
some
which rendered him unpopular, and armed against him the strenuous exertions of
enemies
fell
a victim
to the disgrace
his
he
act
way
to
London
to receive the
He
judgment of the
in the middle of
one of the
abbey chapels.
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
and useful
Plate
Rome
arts
and he was,
LXXXVIII.
this is
is
in general,
virtues
his
architectural beauties,
its
go
into
an
it
architecture.
which led
to the
plain
and robust
in its appearance,
of architecture
high.
of
its
tico
is
slightly acquainted
It is
not
my
its
best
name,
is
intention
orders of architecture,
The Tuscan
order
is
the
The
be found in the
to
and
at
five distinct
most
he
we might become
Roman
styles of building,
for
considering
is
is
in this style
first
on account
119
The Doric
earliest
it is
order
is
to be
thus used by
The
" Ion,
The Romans
foot.
modern
The
is
volutes.
in after ages
more
it
The
more elegant
formation, and
following account of
figure,
and gave
elegant,
to this
new
to
its
origin
lofty,
he added a base
hanging on each
or flowers in festoons
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
in the
mented with
render
in the
architects.
mented with
its
The
Grecian buildings.
The
down
fluting
the column,
of a matron's garment."
is
capital,
The same
delicate grandeur.
author,
who
describes the origin of the Ionic, has given us the origin of the Corinthian order, as
follows
"
fell
ill
and
died.
collected together sundry ornaments with which she used to be pleased, and putting
them
it
tile.
It
its
lest
these, running,
up the
by the
tile
side of
to the
struck with the beauty, elegance, and novelty of the basket surrounded by acanthus
leaves
made columns
for the
The Composite
owes
its
order,
is
origin to the
standing
is
Romans.
honor of Titus
Saviour.
order
for his
Rome,
best and
Plate
LXXXVIII.
this
was erected
and
this
to the
This structure
monument of
The
capitals,
may
On
art,
but also as a
121
bas-reliefs,
ple,
showing the golden candlestick and other implements taken from the tem-
and carried
in
to
become an adept
to study
in architectural drawing,
it
will
be necessary
Plate
LXXXIX. is
light,
and
you
let
will
have
to copy.
You must
mix with
one of the
is
be careful to
the sky
the build-
Plate
XC. is
in colour
pared for
the light
a snow scene
but I
deemed
this sort
it
this is
more
difficult to
of subject.
All
you have
trees
may
be pre-
and on the
* 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
Plate
XCIV.
geons of
is
is
Lake of Geneva,
It
was
in the
dun-
miserable existence in
After copying the various examples I have sent, you should be competent to sketch
from nature.
find yourself at
subjects,
stiff outlines,
You must
as your eye
in
your
There
picture.
You
will
in
lines,
now no
its
on the
size of
fear of
bad
you
work, and
your making
effects in
a drawing.
fixing
is
is
if
difficulty in
your
first
attempts at
Pl.9f
p;
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st.
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123
objects should be taken
you
it
to cut out
a square
you
will at
in,
To
or what omitted.
in Bristol
picture,
board about
come
IT
this,
I should
recommend
this size
and, by holding
will
obviate
into
it
lines
124
will
be
distiiictl/
You
marked.
will,
by holding a
stick in
told, that
appear.
Tou can
been frequently
will
the horizon
is
is
in
any
direction.
I shall
now
to you.
will
You
and shade
tints,
as you already
spirit,
leaves
know where
you
little
to apply
to
them
125
AND COLOURS.
LETTER
XIII.
Before you commence tinted drawings, you must be furnished with a drawing
but as you
may have
to get
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
merely a panel
he seen by No.
let into
this
1,
it
Plate XCII.,
may
made a drawing of
larger board.
You
demy drawing
will see
by the draw-
at the back, as
2.
is
very convenient
126
may
may
you how
this is
formed
the points
be strained at once
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
paper
may
it
it
you attempt
you
the large
flat
India ink
sepia
The
at Plate
brush
is
draw on
will find
you look
to
to
it
quite
at the back.
At
it.
first
work with
much
pro-
on the
table
it is
dry.
You
will
now
require
you
the sizes
will require;
tints.
as
will
smooth when
till it
if
it
you
good enough.
quite
The
same
it
was
affords
a greater variety of
tint.
I have, therefore,
only sent you one example in India ink, and the remainder in sepia.
127
The paper
India ink and a set of brushes, or camel hair pencils of different sizes, a white plate
Damp
XCV.
Plate
your brushes
in water,
and
let
it fall
mix
the
it
with water
same
whole
till it
it
becomes
hand corner
much
colour
it
difficult to
of water
it
full,
even
if
in the
first
here
tint
No. 1
then with
at the top
form a broad
flat tint,
tint,
as
tint
full
will
be
of colour,
at the
will
flat sky-brtish.
the tint
you
on the
Having so done,
too wet.
brush, and the sky will be spoiled with lines running across
laid
wish
full
upon one
have
sufficiently pale to
left
in this shade,
You
to
the cross.
tinted
No.
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
the buildings, and the road; in fact, every part that requires
a second shade.
When
taking care to
the touches
let
on the
now
with
tint
No.
4,
trees
light,
put
it
in strong
shadow with
tints,
to use the
No.
3,
You have
and you
exactly as
tint
it
will finish
will
form the
the foreground,
drawing.
If
to
make
person
this
point,
I have
so
it
before
that
here
but
it is
clear
and transparent
tint.
India ink
is
not so
difiicult to
much used
XCVI.,
sky most
impossible for a
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
With
first tint.
tint,
and
go over
till it
little
first;
and with
this
a soft aerial
tints
second shades.
You
is
in the foreground,
effect,
as dark as
Plate
XCVII.
this is called
is
next mix a
tint
off"
the strong
would run
first
into
and second
finished
must be
it
will
previously laid on are dry, take a smaller brush and form the
plied,
effect,
When the
sky.
sky
will
form the
all
tints
to
and
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.
have again
130
flat
tint,
which you
will find
runs
all
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
The
The
on the bridge
white.
left
two on the
you
figures
will bring
them
The
Isle
of
Wight
send you
in Sepia, is
is
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.
to
tint
and
it.
an even
you
to do,
you
will
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
most cases
Before
blue,
we
and
perfection,
quired.
effect
itself to
I should decidedly
enter
From
your
recommend
thirdly,
it
is
latter.
and
if
forms a gray.
It will
fourthly, the
who
tints
formed by the
artists
different
if
names of
who
are en-
of reputation,
first,
number of
after the
compounds,
deavouring to produce
and shade.
compounds
the artists
is re-
different colours
that
tint
tive colours
the
Sepia, though
we
same
effect
with
taste,
and experience.
All persons
132
who commence
will aid
colouring
may
all
which expensive
A boXi
the
most
1
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
trees or herbage, as
it is
is
&c.
lump of
10 Vandyke Brown,
in the vicinity
which
to clog in using as
is
light
this colour
is
now
gamboge, and
is
many
but
too opaque.
bought
preferred to
is
in
places in
T^his colour is
of the sky
bright yellow,
of Oxford.
grass,
9 Sepia,
6 Lake,
Plate
required in
drawing
2 Gamboge,
gum
tint
used
not
is
2.
Gamboge
gamboge
3.
in archi-
much used in
commonly used
Eng-
is
for trees,
good as any
Italian pink is
it
is
not so apt
4.
Raw
1^
umber
an ochroijs
is
earth,
and
brilliant
colour
but as
it is
some circumstances
liable to
&c.
when
This colour
it
will
is
mix
Burnt Sienna
is
In general
is
it
very
its
quicksilver,
useful,
great use
is
7.
any
other,
and
of neutral
and
it
it
is
under
paj-ticularly for
6,
Lake,
is
Italy,
is
it
The
(which
we
&c.
is
;
tints,
horizons,
roadj distant
tiling,
is
is
but
tints,
Venetian red
in the formation
it
when mixed
purposes,
change.
it
treat
many
forms a
8.
but
when we
most
is
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
is
on roads,
buildings, figures,
&c.
dark blue extracted from a plant which grows in the East and
colour
is
and
is
11. Indigo is
West
Indies.
likewise a
is
a,
This
good colour
134
for skies.
fact in
all
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
for
It is chiefly
Carmine
in
most
it
very
is
this
too expen-
and
is
not
will
is
chiefly used
in
my
opinion not
much
16.
is
difficult to use,
sometimes used
on
This colour
lazuli.
fruit
am
colour, as
is
and
a bright yellow,
but as I
be regretted, as
to
is
box of colours
much
Gallstone
may
is this
lake
it is
Ultramarine
qualities
in
required.
is
all
and water
to lay
its bril-
brilliant
than
its
liabihty to fade
it
Yellow lake
is
ri.m
-7-"
/J
^4
''*"
'6
'^
fiS
)0
0?
Itxlru
-li
12
135
it flies
in
a short time
after
it is
used.
18.
King's yellow
is
17. Verditer is
;
it is
a pure orpiment, or
is
it
arsenic coloured with sulphur, and must therefore be used with care by those
19.
its
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
1, is
what
is
called a neutral
tint.
Most of
for this
myself, as
this tint,
you
will
in
merely mention the subject here as the practice was formerly very general.
tint
to
produce.
No.
it
will
muddy.
is
who
may
Neutral
136
become a
it
is
gr&y.
No.
2, is
composed of equal
colours, judiciously
distant trees
and
a gray
tint
mixed according
in every possible
trees,
hills,
4k^c.
This
;
useless, as
you
No
little
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
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
neutral tint
be made
best inform
will
a shade for
light.
tint,
azure sky
may
tint
for
multiplied examples
would be
if it
These three
7, is
trees
used
is
a mixture
this is
the
will
composed of gamboge,
indigo,
and a
little
all
kinds of foliage.
137
I shall not
now
tions of colours, as
we
them
to drawings.
Plate
when speaking of
that
you
and orange
apply
cold colours I
mean
XCIII
we
shall
Thus
effect
to colour,
warm
which
In No.
one.
show you
will
5,
the
is
seen in the
centre,
We will
now proceed
to
make our
first
C, which
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
A common white
plate
some
indigo,
red,
is
tints
all
better tiian
formed in the
plate.
for
In
Prussian
With
this
these
drawing,
138
and indeed
most
delicate
the drawing
most
in
tint,
others,
advisable to
it is
nearly finished, as
is
is
will
commence
show
upon
this
you
will
is
some
formed of
tint
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
tint,
you
Sepia
in the
spoil
Prussian
will see is
drawings, taking care to keep the edges of the clouds by softening the blue
a brush dipped
till
the sky
which you
way you
whereas,
artists,
mix with
them.
clear
the
is
tint
with
to absorb
and, beginning
that they appear both to melt into a scarcely visible tint in the white that forms the
of the; cloud.
light
With
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
little
tint
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-
a light
same
tint
now colour on
expressed that
it
may
appear to
reflect the
moun-
The
bridge
waterfall.
of lake and raw umber, leaving the stone round the arch
tint
No. 4
and the
first
139
the house,
burnt sienna.
and
little
it
tint
in shade,
used
in
finished
;
will see
forming them
umber preponderating
with sepia
which you
done
drawing
the outline
effect in pencil.
With
this
of
2.
we
a mixture of umber,
is
will
made
lake,
of this colour, as
indigo, tint 5.
Here
3:
foreground
with neutral
tint
places exactly as
indigo,
full
you gave
windows
be completed.
No.
the
The shade on
seen in No.
in the
made
is
is
is
in
tints
indigo, the
The
with a
The bank
blue.
finish
on the
of the neutral
tint
finish
by
140
As
am aware
one
in blending
tint
tliis,
to give a. slight
and. tbajt
the
f^nd,
ⅈihject,
of
brush
yeUpw
harmony
tint
sky
t})e
tint;
formed with
to
produce
a crimson
to
this effect,
tint,
and
horLzoUj
may be
the effect
As
it.
indigo,
still
for a
not get
toi
in
is
perceptible
this
always beautiful
of the
our
and lake
kust
use
You
to dip the
a yellow on the
brush in the
first tint;
and as
it
lake,
which
gets nearer
little
may
tint
of Qolour,
it full
required at once, leaving the form of the clouds at the right hand.
horizon
will
the largest of the round brushes, and go over the paper so quickly as
of the
You
and I should
pencil,
with
lightly
will
md
^vige you
flat tiots,
you
will find
and you
tint is
much
will continually
have
to
wash one
tint into
141
another in this
way
formed of
not
tell
tint
you
lake
may
When
it
water
must
this
will
of the
cloud's, to
ijolour
is
made darker
neutral tint
with
to
The
tint.
;
with
umber with
thie sail
We
still
it
are either
left
The men
in neutral tint to
when
is
in the
I write
on
effects
now come
to the
nearer
as
it
it
approaches nearer
becomes green; by
assume a
after
up
you
and
the brilliant
the large vessel must be coloured with burnt sienna, and touched
Plate CII.
I need
teft.
distant vessels
Vandyke brown.
rock, &c.^
give
is
be
may
cloud
the sky and clouds are quite dry; a tint of yellow ochre
be washed carefully
tone which
:
that, in
of the vessel.
The dark
in
light tint
of yellow
142
The sky
The
tint
The
haildings nust be
more
tint
The
all
is
little
light,
tint
The
Venetian red.
left
No.
2, indigo,
strong neutral
sienna,
blue, with
little
The
tint.
The
trees in
sienna.
The
tint.
The
first
The
Plate
cm.
is
finished
The road
is
wash of Prussian
the
Venetian
blue,
and
tint.
This
and burnt
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 Prussian
is
a bright
this will
warm
this
drawing
tints.
You
is
will
sent to
show
the oppo-
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
143
distinctly seen,
This
Hghts.
Plate CIV.
as
much
effect is
general wash of
tint is
tint 2,
an idea of what
tints together,
is
my
a strong neutral
tint,
broad
in the
tint
is
must be much
or
concluding remarks.
it
The gray
is
sent to give
and form
of the sky
is
The
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
it
can be of
strong,
are formed with India ink, one shade over the other,
tained
now come
is
The
till
black
rolling clouds of
is
of vermillion.
is
too
smoke
spirited touches
red.
is
The
fall
you wish
and
all
around, are taken out of the dark of the sky by wetting the part
The
on.
the
cover any
will
tint
foreground and the burning lava are produced with the same colours as
volcano.
Plate
ing
here
is
CV.
is
all is
warm and
The wash
brilliant.
you
will
commence
dome and
so that
that side of
Sl
for
hill
be rather
soften this
till
you come
to
the sky
Church which
will
may
When
Peter's
it
the sky
it
of an Italian sky ;
first laid
much
tints
This draw-
tint
is
in the centre of
U5
the picture
road
is
is first
withi
Venetian
and breaks in the road are foj-med with touches of Vandyke brown.
ments and
is
tinted
capitals of
ruin
stones
warm
colours,
architectural orna-
have
change of
tint
but in painting
subjects sent
right method,
you
to
you
copy
and the
rest
but
in
all
taste,
tints
this, in
any one
depends on yourself
it is
and
Vandyke brown.
producing them
is first
tint,
in
The
sepia.
The
The
and shaded with Vandyke brown, and the bending trunk of the tree
by a wash of gray.
The
The remains of
red.
else
can do,
am aware
is
to put
you
in
the
works
my
as he supposes none but those particular tints will give a proper effect; when,
if left to
146
produce the
tint
all
colours
to
what
class does
it
belong
? is it
of
red,
blue,
LETTER
As soon
as
you are
able to
after
the
tiles
to the front,
fresh in
thus
mark
loss for
His subjects
will
it.
XIV.
Take your
outline, write
down on
mark
at
the
and
or yellow
if,
come from
if old
and broken
that in the
"
old
dark
red,
to
Go
on
the subject
A short
time
147
will give great facility to
you
in
will
you
in this
it
on paper.
it
it
will
You would
tural ornament.
make
letter,
find
to the weather,
shall
used by
is effect:
to
artists
for instance,
its
conclude
by
of producing
I have, in a
pointed out what subjects are called picturesque, and no others will
pleasing pictures.
drawing as
to think
advantage, that
be in the habit of combining colours, and indeed, forming the whole subject
former
this
my
instructions
when speaking
this
word
is
it
to begin
tedious before
it is
much
time over a
completed.
or writing on pictures.
That which
is
most frequent
it
true to nature,
and
yet,
subject,
one
shall
make
148
of the day when the building
is
though
On
will
it
may
be praised for
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
on
figures, or
The word
is
that
which
and thus we have contrast of light and shade, form, colours, &c.
contrasted by a
fully
means opposition or
is
light
their
Harmony
more
it,
effect.
itself in painting
is
hand produces
effect.
produce an accurate drawing, but one that a good judge would pro-
Effect
anything that would take away from that object should be screened
thiat
it
drawing
more so than
some
in the
production of
As
it
an
in pic-
contrast
effect, I will
enter
149
If you refer to No.
tower:
this is
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
line
renhills,
at their
base.
use of the
that
wavy
line
were
of
hill
Rome.
St.
Here
Peter's Church,
many
straight lines
lines
2,
tree
In Fig.
columns
this principle
to
is
let
but a constant
to the
added.
This
eye of the
Heavy forms
it.
Plate XCIII., I have contrasted the spire of the church with the curved
150
trasted both in form and colour, and the effect of distance
is
rails
in the foregrounds
In Fig.
3, I
is
You
given to both.
of the
effect
picture.
tints,
falls
when
This
is
it
is
is
it,
Strong
light is
always
intro-
LXXXI.
You
will
to contrast another.
both.
it
and
ash,
every
tint
conclude that
you make
warm
you a
clear idea of
in colouring is intended
cold to warm.
Harmony
is
opposed
to contrast,
hope
in form, light
and
151
drawing
in
which contrast has alone been consulted without harmony, and you
has
its
brother, nothing
You
eflfect.
is
will
in
harmony of
consequence
when speaking of
perfect
all is
in the
each
St. Peter's
lines
will
the ground, yet the parallel lines preponderated and called for the introduction of
Thus
the tree.
harmony of
it is
with colours
ings, are
you turn
trees
and
lines
how
useful both
harmony and
arts,
Duke
of York.
but effect
is
given
I think I
top.
warmth of the
have now
sufficiently
who
Among
whole
explained
to Plate CII.,
horizon
if
far
years ago, are some slight directions for drawing in water colours
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
of
more
for,
light
and shadow,
will
indeed
of,
till
This
will
as they will
less
it
will not
As single
with from nature, they will also admit of being more exquisitely finished, which
many
you
will also
relieve nothing.
or, as
it is
where an attention
to the
in the future
parts,
is
is
conception, not only on the picture as a whole, but on each particular part."
objects, or not
not
doomsday,
much of
single objects,
to be highly useful
fail
will
be
made
to
operations of the
an
object, as,
art.
In
by having
153
to look quite distorted
this
its
elevation
or length, which will bring the object within an angle of forty-five degrees; this rule
also holds
whole
to looking at pictures, as
most minute
things
to place
first,
parts.
"
it
and
on
this subject
"
will
As
that
may
be considered as
is
than
finish
capable of distinguishing
them on
longest side.
is
will at
it
its
it
The remarks on
light
to
go
As much
used in arranging the masses of shade, great care should be taken to keep them
whole; that
is,
are laid
masses
in,
to this
will
a pleasing sensation
dows
it
to the eye.
When
light,
them together so as
to
will
be neces-
may
154
be made so to combine the different parts of the picture together, as to produce
may
working
also be obtained
by bringing the dark part of the clouds against the dark part
will
same way
it
is
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
By
each other.
in contact with
this
yet
this,
lights,
make
be increased by cloudsi
may
landscape painters to
light
tip.
laid in soft,
much
light;
Thomson
full
in particular,
of shade.
-'
And
seems
all is
tlie
At
every step
shadows blacker
fall,
to
more
vivacity.
will
Of
155
Majestic
wood
Or
to the
fair
hills,
From
these observations
it
must be
one-third,
inquiry.
is difficult
to
determine
some
of shade
is
painters allowing
the
animated
state.
On
and
vivid, as light is
dignity,
its
most
more noble
cast,
life
in
is
necessary.
"
to scatter
them or
to
make them
light
too numerous.
all
The general
rule
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
it
may
first
light
glance.
on
This
it,
or
fea-
156
ture should invariably occupy the centre of the picture, and every
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
itself]
most
of a picture ehould
iiot,
which
is
is
the reason
why
the
sight,
as
am
you have
what
it
means
in painting.
the refinements of
how two
persons
at
may
all.
most
to bear
to bring
our acquired
who weighs
represent the
knowledge of
light
and
effect
same
is
not
us.
taste is nothing
life,
word
you
taste.
commences
I
showed
it
is
the
power of combining
to excel the
other
and he showed
ject.
by applying
his taste
two
artists to
all
knowledge
his acquired
to the subr
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,
my
object in visiting this relic of antiquity was^to ascertain, if possible, the original
my
t^ie
The
of view.
result
is
called
Mr, A. took
stones,
tastes,
his
it
it
in his
at different points
ing,
call to
mind
diawing
the day
;
was
fine,
illustration
at the present
presented
form
what
in
My
All
of
tima
whole of the
re-
and the gentle ascent of the ground beyond the stones, the top of the largest
was very
little
there
158
objects themselves gave
nothing but
its
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
object,
in
middle
tint,
light
on the mass
in
all
to the
the rest
his
had drawn an old shepherd, whose venerable form and white smock frock made him
appear
former grandeur.
No
in valuing
power of representing
faithfully
one
simply,
at
that
effect,
such an expression
may
to his sight,
which the object before him was but the body, but
soul, if
added
What was
priests,
to
to
whereas the
mind the
other,
antiquity
and
which
be applied to pictures.
his taste
and judgment
159
I
that
necessary to
all
facilitate
your progress
in
soon aim
at higher attainments
laid
will
down
vour
at the
founded
but
is,
to teach
you a supplement
all
you
in these letters,
you
art,
and endea-
to
depends on yourself to
hope
When
and
It
may
be
that, at
is
by a constant
some of
ancient and modern masters, as well as more extended instruction, in drawing and
colouring the
human
figure,
knowledge
who has
conquer the
difficulties incidental
English grammar.
to
it
would be
for
learning the
FLOWER PAINTING.
The
this subject
of those
are taken.
who have
its
need nothing on that head, and moreover, because, to use Mr. Andrew's expression,
intention to convey instruction
by example
Too much
lines.
stress
Do not,
rather than
be made as
fine
sparingly
it
and
the pupil."
assist
by
first
you can draw these with accuracy and facility. The others should
which
and
Take
fi-ont
any
tint
most commonly
in water;
the
mixed and
;
first
first
used.
in laying
The
of purple
may
flat tint
(Plate
fall,
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
best varnish for leaves or parts of flowers is a strong clear solution of gum arable
to
assist
Apparent greasiness in the paper may be remedied by touching the point of the brush
advanced
To
With
the student, I have in every case given two copies of the subject, the
finished.
it
difficult tasks of
wiU be
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
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
XX.
XXI. Woodeaton
XXn.
XXin.
XXIV.
XXIV*.
XXV.
XXVL
XXVn.
XXVIII.
XXIX.
XXX
XXXL
Outlines of
Ditto .
Heads
Various Heads
Outlines of
Human
Figure
....
....
Perspective
Ditto
Ditto
Norman Architecture
English Architecture
Merton College
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.
....
Castle
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
Poplar Tree
Boats
LXL
^yes
bom
INDEX OF PLATES.
No.
Subject.
No.
iiXIII.
LXXXIII. Windsor
LXXXIV.
Profile
LXXXVIL
LXXXVIIL
LXXXIV.
LXX.
....
LXXL
LXXn.
Ifley
Church
LXXm.
London Bridge
LXXIV. Temple Church
LXXV. Abbey
LXXVL
....
LXXVII. Greenwich
XCL
LXXIX.
LXXX.
LXXXL
XCVin.
XCIX.
Cascade of Tivoli
cm.
Castle
ADDITIONAL PLATESFLOWERS.
No.
No.
Subject.
I. Specimen of Tints
n. The Forget-me-not
in. Leaves
requisites
C. LangoUen Bridge
CI. Marine View
CII. View of Oxford
Pembroke Castle
LXXXII. Pennarth
Thames
LXXVm.
Church, Bath
Clifton
Edinburgh
XCII. Drawing
Figures in Outline
Tower of London .
Hermitage
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