Professional Documents
Culture Documents
^ARTISTIC ANATOMY
OF THE
HUMAN
BY
FIGU.RE.
HENRY WAREE]^,
PROFESSOR OF DRAWING AT QUEEN'S COLLEGE, LONDON,
STiMcntgsSrfjtce Illugtrattons,
Drawn on Wood by
LONDON:
WINSOR AND NEWTON,
38,
RATHEONE PL VCE.
1852.
PRICJU
OKK
SHIIililMG.
w
The
HAROLD
B.
LEE LIBRARY
Gift
of
Robert Sears
~^
^^0
ARTISTIC ANATOMY
OF THE
^ U)3^
HUMAN FIGURE.
BY HENEY WAREEN,
PEOFESSOE OF DKAWING AT QCEEN'S COLLEGE, LONDON,
Drawn on Wood by
Gr.
Mason.
^rs probat
arttficem*
Colour
iiHafeers,
bg Special Slppointment,
to l^er piajestg,
anH
to
1852.
LONDON
Printed bv Scliulze and Co., 13, Poland Street.
UNIVERSH
PREFACE.
The Author
sufficiently
has endeavoured to
make
this little
work
human
figure.
it
may be
letters,
muscles,
wherever they
same
letters
may
occur through
will apply.
each section,
the
or
numbers
The
made
fibres
;
more
freely.
than
sculptors
love
to
indicate,
perhaps
too
NOTES.
The general construction
follows
of
the
human frame
first
is
as
is
overspread^ es-
the
joints,
by
tough
covering
called
periosteum.
On
this are
placed the
different
layers of
muscles,
The muscles
are partly
formed of fleshy
fibres,
taking
The whole
Through
the
actions
is
pliable
and
soft
but
visible,
thick
clothing,
less
of the
muscles are
more or
but
it is
forms
in
and
directions,
and
it is
them
exaggeration.
6
are
to
NOTES.
be
first
and
chiefly
considered,
An
to
affectation of grace is a
common
stumbling-block
form
an
moving
figure, is
no
less
error.
The antique
and
human
sideration of
INSTRUCTIONS
ARTISTIC ANATOMY.
PliATE
I.
THE SKELETON.
A. Os Frontis
the
frontal bone.
B. Os parietale.
C.
Os temporum.
bones
Os sacrum.
K. Os ilium.
L.
Os ischium.
bone.
8
P. Scapula
THE SKELETON.
shoulder
blade,
Q.
Humerus
or brachium
R. Radius.
S. Ulna.
T.
wrist bones.
W. Femur
X. Tibia.
Y. Fibula.
Z.
thigh bone.
AA. Bones
BB. Bones
THE SKELETON.
By
the skeleton
is
;
of the edifice,
Man
size,
were,
The skeleton
hard and solid
and
is
formed of a material
columnar and
lateral
The skeleton
of which
is
a combination of
all
it is,
little
work
and, indeed,
if
we
that most of
them
are to be reckoned
in pairs or in clusters,
concerned.
THE SKELETON.
10
THE SKELETON.
Of
round
we have
great variety,
some
are
and
in
some bones
all
So great indeed
is
enlarge upon
it
here
and
I shall content
them by anatomists,
or structure
is
with the
the latter,
inferior,
the
and
and
are the
legs.
The bones
and
or vertebral
column
and
number.
neck
five to
its
back or
ribs
dorsal,
the loins
lumbar.
two
two
the coccyx.
It
has,
when viewed
in profile, a curved or
THE SKELETON.
serpentine form.
11
slightly concave, in
In the neck
it
is
the
proaching
and
united
with the os
is also
sacrum,
it
again
becomes convex.
There
its
The intention of
from the
straight line
Each vertebra
or
projections
supplied
articulating
with
as
well as
according
their
various
amounts or
it
directions
of
will
be well to note
from
fifth
The
as
worthy of
notice,
most
The
column,
OS
is
sacrum,
in an advanced stage of
five
composed of
together.
are
so
elastic
as to
move
The
in
all
directions
without
injury
its
whole length.
12
THE SKELETON.
of
amount
neck.
is
movement takes
more
or less upright
To
this
against
small
smooth surfaces on
;
twelve
on each
side
The
the
not
being
joined
like
the
upper
seven
to
Their
direction
and arched
together
when enveloped
built
tion
The sternum,
front
and
of the chest
as
teriorly
the
it
bond of support
is
to
which
attached by cartilaginous
is
composed of
several bones
though
its
of original
in its
division
may
by a change
sternum
is
angle.
The general
its
forwards
and downwards,
angle
varying
much
according to
THE SKELETON.
13
for
the
man; and
in proportion,
is
the direction
more upright
in a
woman
than in a man.
the
out-
prominent in a
find
man
than in a woman, in
straighter.
whom we
At
their junction
them,
which forms
clavicle
is
the figure.
outward
end of the
when we
treat of
The
pelvis
bones forming
which
occupies
these
the
middle of the
chiefly consider
human
structure.
Of
we may
downward
it
and,
is
surmounted
14
by
a powerful
THE SKELETON.
rounded edge or spine
for the attachment
of large
The
will sufficiently
On
The arm,
is
which
designated,
is
is
appended to the
to
which
it is
The bone of
a
long bone,
and a rounded
rests
which,
the
The
lower
end
of
the
humerus
becomes
enlarged
transversely
and by a peculiar
joint
of beautiful
me-
chanism
is fitted
way
as
that the
one
the
radius
can
is
called pro-
To
the
;
fingers.
15 from
its
extremity
so
called
relative
is
ment
bone,
of bones.
like
The
the
arm,
is
in
part
too,
axis.
The
great
chief of these,
called
its
the
trochanter major
regards
of
importance in
position, as
it
general
gives attachment to
femur,
like
the
humerus,
leg, called
fingers, so the
and the
toes.
differences
to be attended
16
to in
man
PliATE
II.
is
but
will
the head
we shall consider as forming part of it. The skull, in its upper part, gives the complete form of and if we take the cheek bone, that portion of the head
;
together
just notion of
and lower
Of the
skull
as the standard
profile
view,
names of the
several bones
which
are,
for
by irregularly
temporum.
17
18
THE HEAD
D. Malar, or cheek bone
E. Upper jaw bone
F.
AxND NECK.
os malce.
maxilla superior.
Lower jaw
maxilla inferior.
os occipitis.
G. Occipital bone
seated,
it
The
acknowledged standard of
its
of the
cranium
is
so little
its
membranous
covering,
may
the head.
Not
muscles of the
human
So united are
it
were,
network of muscular
fibre
Adhering
and
to
markings in an opposite
PliATE
It
is
III.
nevertheless
necessary
that
these
muscles be
studied, as a
no
less
19
dependent on them.
They
form as possible,
PliATE
III.
will allow.
20
may be
so
much
larger in
the mamillary
belonging
to
the neck
the
frontal
arched
foreheads,
as
also
the
raised,
angle
all
expressing more or
teristics.
of mental or physical
charac-
PliATE
IV.
Of
as
vrill
suffice
easily understood.
it
Their
will
be unnecessary to
plates.
them on the
The
21
PliATE
i/.^-"'
.v.uWt*''-''"''
forehead by
its
action
22
by a strong tendon
it
into the
raises
and
It
thus an auxiliary to
its
name from
It is a
its
use,
and
itarises in the
upper jaw
mass of
which
it
and
is
attached to
the
With
and then,
as
may be
observed,
it
in
fact,
act
at the
same moment,
becomes very
passion,
which time
also
visible.
This happens in
great
effort
or
during any
of
the
mind
or
body.
orbicularis
which
it
closes
It is
attached
to the
bony margin
round the
23
completed
has
its
origin,
and
having
its
insertion.
The
tendon
elevator
upper
lip^
nates by spreading
lip,
both of which
It serves materially,
united with
the
muscle,
mem-
compress the
It
orifices of
act of smelling.
The
upper
lip,
levator
labii
superioris,
runs
obliquely
down
to
It
the upper
lip,
which
it
draws upward
and outward.
in laughter
place by
its side,
descending in a parallel
24
Of
Those
has
its
origin at the
broad_,
it
sets out
received
also
name
of
musculus pyramidalis.
it
has the
name
The
closing of the
mouth
is
use
lips
together
important,
is
and indeed
a part
other muscles in
its vicinity.
Its effects,
however, are
movements
effected
by
its
varied
as
in
constrained passion
are
or
deep
meditation,
when the
other or
lips
compressed
;
either
in
against
each
as also
antagonism to
suppression
of
some of the
laughter.
other
muscles,
in
the
The
its
use in
a
its
name,
as
in
blowing
trumpet or
wind instrument.
Before dismissing the muscles of the face,
it
may be
9r^
may
be said to
powerful emotions.
The
well
It
situation
to
of the windpipe,
aspera arteria,
is
too
known
may be
the
on two
or
bowing move-
ment,
is
the 2:lobe
The
second, or rotatory
and
which being
inserted
into
the
foramen,
or
turns.
is
The movement
lioiited
either
shoulder
direction.
to
quarter of
circle
in
each
26
performed by the
five
The neck
the
is
cervical
in
their
several
joints
pairs.
many
motions.
They
most part in
The
sterno-cleido mastoideus
is
its
and volume.
its
edge
is
hinder
portion
is
somewhat
is
ear. It
assists in
almost
all
In
on that
with a strong
at
its
portion
junction with
sternum.
thyroid
prominence
larynx,
evident.
caused
by the
of
the
commonly
called xldam^s
apple,
becomes very
may be made
to
where
27 by the space
so
broadly
and
finely
treated^
and where,
towards
too,
the
wrinkling of the
side
is
skin
in
front
or
the other
strongly
marked
as
to
be unsightly
it
while in the
visible,
is
hardly
unless
it
The
trapezius, so called
from
its
its
quadrilateral form
resemblance to
monk's cowl
[cucullus)
is
in a
women wear
neck-handkerchiefs.
To the
occipital
bone
To the ligament, which binds the spinous processes of the vertebrae of the
neck
To
To
and
From
this
fibres
are
sent
obliquely
upper
part,
obliquely
upward
from
and
laterally
28
it
fills
clavicle
it
and
its
Eventually
its
attaches
to
middle^
of the
and
spine
the
superior
scapula.
angle
of the
With such
number
of attachments,
;
its
actions
as
contractions in or
cavities at
So
are,
the
wrinkles
such attachments
with
its
generally speaking,
at right angles
fibres,
as seen
skin.
may be
traced,
from
its
many
folds of
muscle which forms the beautifully curved between the neck and the shoulder.
lie
line of junction
under
it
will
not be here
necessary to describe.
the sterno-hyoideus, by
They
The
latissimus
colli,
to
the
skin of the upper part of the chest below the clavicle, and
29
inserted
into
the
portion of
it
as its
name
imports, and
serves as a
it.
It assists in
and
it
obliquely
THE SHOULDER
JOINT.
least
One
difficult,
of the
manifold movements.
It
The
as
first
seen in front,
through the
its
ribs,
with
its
acromion
against
glenoid cavity,
PliATE
V.
The
given in
its
position
when
the
arm
is
hanging down.
The
30
ITS SPINE AS
31
enwrapped, as
all
it
hold
together.
is free
;
The scapula
to
move
and the
clavicle,
by
its
attachments
on the shoulder,
is
made
of the
The socket
joint
humerus
it
dently
of,
it,
changing
angle.
The
outer end of the clavicle also rises, and thus also changes
its
end being
VI.
its
fulcrum.
PliATE
Reference
may be made
is
arm
of the Laocoon,
and in that
Fighting Gladiator.
made
to slide partially
round the
side
makes an
The
as
much
augmented.
33
it
must be borne
in
first
the bones
33
shorter.
The muscles
will
correspondingly.
When
the
arm
is
thrown back,
as
in the Fighting
Museum, then
The Theseus
is
a beautiful illus-
the backward motion, the act of leaning on the elbowforces the shoulder upward.
PL.ATE
VII.
The
and
clavicle in their
;
much
bony kndb of
should
statues
find
it
Almost
all
the antique
may
as has
been
said,
are,
enwrap
first
bones which
joint,
34
The
named from
its
triangular form,
or
PliATE VII.
Its
attachments are
In
front, to
of the clavicle.
At the back,
scapula.
THE SHOULDER
The whole
into a point,
JOINT.
35
downwards
the upper
arm
about
its
middle.
PliATE VIII.
The
deltoid
is
rounded about
it
By
its
threefold power,
PliATE VIII.
raises the
arm
laterally, or forward, or
backward, according
less
more or
called into
energy
while
its
tened or extended.
When
arm
up,
it
swells around
D 2
36
marked,
The circumstance
to the spine
of
its
of
the scapula,
when
scapular spine.
This
is
is
moved backwards,
as then the
A proof of this
is
muscular development,
such exaggeration
of an artist.
It
is
fact of
a most useful
may
raised,
the head
In raising the
keep
arm
body
tion,
too,
it
that, in order to
changed.
to
and
mark
in
37
PliATE IX.
38
quence of
than in a
its
its
insertion
man
or
it
may be
it
membrane which
covers the
muscle.
Sometimes too
happens that
at the articulation
the integument
is
observed.
These delicate
differences^
breast,
has attach-
To the
collar bone,
To
To the
and
fifth ribs,
and
to the
body
Its
man
a broad
flat,
though
shoulder
its
fibres are
made
to contract.
There
is
less, a slight
depres-
is
still
more
when
the muscle
stretched
by the extended
uplifting of the
THE TRUNK.
arm, certain
little
39
fibre
inequalities of
and aponeurotic
it.
A
is
laterally or forwards,
but
it
becomes
raised
is
still
higher.
In a
not so deep.
PliATE
X.
THE TRUNK.
The two
ternally,
it
sides
will
be
muscles
The mesial
beginning
ceeding
all
line,
as
it is
called,
at the
hollow between the collar bones, prosurface of the sternum, and through
down the
The
it
is
is
a lozenge-shaped
on each
side.
form of the
ribs,
40
It appears,
THE TRUNK.
indeed,
to have been a convention of the
form.
it
is
to be found
much
in the
and
it
ribs,
or their sterno-costal
generally the
most
prominent.
salient
is
;
flatter
The nipple
of the muscle.
is
somewhat above
but this
is
From
tinues
down,
before
stated,
The
rectus, or straight
muscle alluded
to,
is
attached
and seventh
ribs
is
in-
The
so
as
much
THE TRUNK.
PliATE
X.
41
42
actions, that
statues,,
it it
THE TRUNK.
will
is
where
action
its
In
its
of pulling
many
is
folds in the
and
this
further carried
ends
with
the
tendinous
expansion
of
its
neighbour
muscle.
They
As they
all
number
or position, in
The
Its
and
obliquely-disposed serrations.
The
directions,
that
it
would
occupy too
much
space
to
particularise
them
here.
The depression
or
indent
is
at
the
junction
of this
THE TRUNK.
to the
43
bone
itself;
man,
and the
groove.
fuller
This
which
will
applies
generally
to
the
fleshy
persons
in
exceptions
emaciated forms.
Thus
too_,
it
may
outlines
drawn
human
enothers
form
for
in
addition
to
the
layers
of muscles
in
in
we have to
or skin
membrane
its
first
digitation
two
ribs in succession,
on a
line obliquely
From
it is
thence
attached
scapula,
which
it
44
THE TRUNK.
is
its
power
is
When
as ex-
the arm
is
raised, this
muscle
is
more apparent,
known
others.
as
as well
as in
many
FliATE XI.
The
from whence
it
runs upwards in
many
fibres to the
of the
humerus,
where
it is
inserted
by
placis,
suffering
its
it,
form in
various changes of
Like the
last
it
acts
upon
is
attached,
when
When
the
body
is
bent forwards,
and
this
muscle
make
their appearance in
THE TRUNK.
PL,ATE XI.
45
46
THE TRUNK.
Beneath, and enwrapped by this broad muscle, we see
sacrum
ribs
and
the vertebrae.
this
muscle produces
many
transverse folds
berance
or
rotundity,
or
of
edginess,
according
may
flexibility
of the trunk
the loins
body,
is
of the shoulders
The
diff'erence
is
the female
here.
more than
mention
47
THE SUPERIOR EXTREMITY, OR ARM. The arm, together with the hand,
which no other animal
gifted with.
is
most beautiful
man powers
is
There
no part of
the
that
hand
and usefulness of
its
The osseous
scapula and
bones
one
lower.
as will readily
It
may however
is
no uncommon
the
to the fore
arm without
nevertheless a
marked
which
is
made
to roll over
and
to cross
arm
is
48
49
PliATE XIII.
When
crossed,
the
bones
are
is
thus
the
thumb
turned
inward
hand
called
is
pronation
the
hand
When
side, the
thumb
is
turned out-
in
front.
This
is
called
to
supination^
in
antagonism
the
other.
supinators.
So
also
it
may
well be borne
in
mind, that
are
designated
while
the
in
first
front,
the
back.
50
It will
not at
and that
in the position
I
will be
of the upper
arm
is
straighter
when
stretched out
as will be readily
observed in nature.
it
may
be remarked that
if
a line
at the wrist, it
would
edge of the
similar line
little
finger
thumb and
line.
The hand
PliATE XIV.
The back
of the
human hand
is
is
arched transversely,
concave.
proportionably
Of the
51
most prominent.
child,
nences.
To
particularly in a thin
is
hand
round
the most
and in addition to
last is
tri-
On
finger forms a
more
fleshy mass.
When
is
to
incline towards
palm.
The
thumb and
of each
as
must
internally, the
lower end
the mdius,
this
latter
being
somewhat
At the elbow
female
arm
frequently
becomes a dimple,
hollow.
The
projection of the
must
52
be considered, as
the
is
beyond
When
fits
arm
is
into a groove
PliATE XV.
It
therefore,
The diagrams
53
Deltoides.
2. 3.
4.
5.
Biceps brachii.
Triceps extensor cubiti.
Pronator radii
teres.
6.
7.
Palmaris longus.
Flexor carpi ulnaris.
8.
9.
The
Were
the front
of
its
two heads
^whence
its
name
or tendons, would be
observed attaching
to
the
of the humerus.
becoming very
itself to
fleshy,
jointly
with
the
triceps,
it
When
very
strong action
is
much
though a
flatness
is
still
more
The
54
Its three
it
which
owes
its
as three dis-
tinct muscles,
it is
and
as
such
of the arm.
When
acting
PliATE XVI.
Deltoides.
rAnconseus externus
tri3.-|
Anconaeus longus
ceps.
-Anconseus internus
]
2.
3.
17.
14.
Extensor
munis.
digitorum
com-
15.
Extensor
brevis
pollicis
manus.
16.
Extensor
longus
pollicis
manus.
SIDE.
50
A ligamentpurposely omitted
in the illustrationswhicli binds
together
the wrist
tlie
various tendons at
is
called the
ligamentum
carpi annulare.
SIDE.
Deltoides.
3.
Triceps bracbii.
5.
56
The
They
may be shown
or not, as occa-
The an-
and
muscular promi-
nences are
less
marked.
The
muscles are
less
tendinous and
in their
filled
integuments.
in
The
biceps
particular
is
less abrupt,
a peculiarity
In
other
respects,
the
57
hips,
we
find a
at the
PliATS: XIX.
and the
limits
of a
little
work
like the
present
description as they
might necessarily
require.
is
With
the
referred to the
leg
made
sufficiently
evident.
to
It
has been
further
thought
necessary,
however,
pay
little
human
form not
less beautiful
when
the knee
is
bent are
58
20 19
34-
hr
26i
m
m
31
59
The marked
difference
which
exists
in the
knee of the
is
woman
the
as
chiefly
In the female,
greater,
as
so the inat
their
lower extremities
tiful equilibrium),
(in
in the setting
and a
knee.
consequent
greater
this,
at the
In addition to
clothed
more abundantly
is
with
adipose
membrane,
and
thus
propor-
it
occur
is
The
architect, in
contour
the
other for
uniformity's sake.
structed with
of
man
has con-
beautv.
60
When
the knee
is
femur and
tibia
bones at the
61
20. Pectinalis.
21. Biceps femoris.
PliATE XXII.
maximus.
23. Sartorius.
29. Gasterocnemius.
62
63
33.
Semimembranosus.
The
solceus, or
lower portion of
attaches itself to
marked
protuberance.
In drawing the
foot, it
may be
setting
on to the
hand
it
to the fore
is
arm;
that
is
to say,
mediately or directly
but
tibia
64
made
to project
more
Nor must
it
In
fact, it
should
and thus
is
avoided
sinuous or slightly
undulating line
ture,
is
and
it is
this line
elasti-
city of
human
figure.
END.
LONDON:
Printed by Schulze and Co., 13, Poland Street.
C/2
CS3
llufftratth
LIST OF COLOURS
AND MATERIALS,
AlTD
WATER-COLOUR PAINTING,
ITANUFACTrHED AND SOLD BY
RATHBONE PLACE,
LONDON.
38,
MOIST WATEB,
treatment
known
unlimited period, and a box of them, though laid aside for two or three
years, will be found, as
when
when purchased
the hottest climates, and they are on this account particularly adapted
and recommended to
INDIA,
from the atmosphere and heat there, generally break up and crumble
into small pieces,
when they
this
when
unfrequently the
and with
it
the
thought, of the
It is this
had
quaUty indeed
is,
which
at
once brought
]\Ioist
the great cause of their popularity with the artist, who, with the evidence
of his works before him, produced by their
ago,
still
use
them
The
colours are placed in thin porcelain pans, in form and size similar
in tin-foil for
"When required
recommended
which
form
for use
(being japanned with flat or dead white) the tints are readily mixed.
now
MOIST COLOURS,
high
Among
the
many
artists of
eminence
who have
C. T.
Stanfield,
Esq., R.A.
T.
S.
RowBOTHAM,
Esq.
UwiNS,
Esq., R.A.
Knight,
Esq., R.A.
W. Brockedon, Esq.
J. J.
J.
Jenkins, Esq.
Esq.
W. Wright,
W. Etty,
J.
J.
Esq., R.A.
D. Harding, Esq.
Chambers, Esq. W. Havell, Esq. D. Morrison, Esq. G. F. Angus, Esq. J. TuRNBULL, Esq. W. Hawkins, Esq.
G.
W. Mac KAY,
R. J.
Esq.
BuRFiELD, Esq.
SOCIETIES
W.
C.
C. Smith, Esq.
F.
Esq.
Rowbotham,
Esq.
M. Richardson, Esq.
W.
A. Nesfield, Esq. G. A. Fripp, Esq. A. D. Fripp, Esq. E. Duncan, Esq. C. Bentley, Esq. H. Warren, Esq. J. Fahey, Esq. E. H. Wehnert, Esq.
M. Youngman, Esq. E. CoRBOuLD, Esq. G. HowsE, Esq. A. H. Taylor, Esq. G. S. Shepherd, Esq. A. Penley, Esq. B. R. Green, Esq. H. Pidgeon, Esq. J. H. Mole, Esq. Miss Steers.
COLO U/?i
oj\r.
Harding's Work,
Art."
"
The
Principles
and Practice of
"
in
improvements in the preparations of the pigments; the greatest advantage, hovs^ever, has been the introduction of Moist Colours, which,
I
believe,
are
French
invention,
by Messrs.
DtlST
OF
G0:L0XT3EIS A3\r
Price
Is. each.
rUlCES.
Antwerp Blue
Bistre
Burnt Sienna Burnt Roman Ochre Brown Pink Blue Black Burnt Umber Brown Ochre
Chrome Yellow,
Cologne Earth Dragon's Blood Emerald Green
1, 2,
and 3
Raw Umber
Red Lead
Roman Ochre
Sap Green
Terre Verte
Gamboge
Hooker's Green, No. 1 Hooker's Green, No. 2 Indigo
Indian
Italian
Red
RATHBOXE PLACE.
mOIST
Sepia
WATER
COIiOURS, continued.
each.
1*. 6d.
Warm
Brown Madder
Constant "White Chinese White Indian Yellow
Mars Brown Mars Yellow Crimson Lake Scarlet Lake Purple Lake
Scarlet Vermillion.
Water Colour
Artists.)
1.
1.
(Assorted
for Landscape.)
containing Gamboge,
Kaw
Sienna,
Venetian Red,
Ditto,
No.
2.
containing
Cobalt,
Crimson Lake,
Yellow Ochre,
Burnt Sienna,
Indigo,
Light Red,
Crimson Lake,
Cobalt,
RATHBONE PLACE.
8 Cake Box, No. 2. (Landscape
containing
Scarlet
and Figures.)
Ochre,
Yellow
Light
Red,
Vermillion,
Rose
Madder,
Cobalt,
Prussian Blue.
Price 16s.
Yellow Ochre,
Burnt Sienna,
Venetian Red,
Olive Green,
Crimson Lake,
Neutral Tint,
Vandyke Brown,
and Indigo.
Cobalt,
Price 16s.
Ditto,
No.
2.
(Landscape and
Figures.)
containing
Yellow Ochre,
Light Red, Vermillion,
Prussian Blue,
Indian Yellow,
Burnt Sienna,
Cobalt,
Rose Madder,
Vandyke Brown,
Brown
Pink,
Vandyke Brown,
Crimson Lake,
Indigo,
Neutral Tint,
Cobalt,
Indian Red,
and Gamboge.
Price 18. 6d.
Ditto,
No.
2.
containing
Raw
Sienna,
Burnt Sienna,
Light Red,
Scarlet Vermillion,
Rose Madder,
Purple Lake,
Indigo,
Vandyke Brown,
Brown Pink,
(Landscape.)
Cobalt,
Indigo,
containing
Neutral Tint,
Emerald Green,
Brown
Pink,
Vandyke Brown,
Indian Red,
Madder Brown,
Light Red,
Crimson Lake,
Burnt Sienna,
Indian Yellow,
Yellow Ochre,
and Gamboge.
Price 1. 25.
Ditto,
No.
2.
containing
French Blue,
Olive Green,
Neutral Tint,
Emerald Green,
^Madder Brown,
Scarlet Vermillion,
Vandyke Brown,
Rose Madder,
Indian Yellow,
Purple Lake,
Light Red,
Yellow Ochre,
and Gamboge.
Price 1.
5s. 6d.
16
1.
containing
Rose Madder,
Purple Lake,
Olive Green,
Madder Brown,
Emerald Green,
Vandyke Brown,
Payne's Grey,
Indigo,
and Cobalt.
Price 1.
8s. 6d,
Ditto,
No.
2.
containing
Indian Yellow,
Gallstone,
Chrome No.
Rose Madder,
Carmine,
Ivory Black,
Indigo,
Burnt Carmine,
Olive Green,
Vandyke Brown,
Emerald Green,
RATHBONE PLACE.
18 Cake Box.
(Landscape,
containing
Lemon
Yellow,
Indian Yellow,
Gamboge,
Rose Madder,
Olive Green,
Purple Lake,
Brown Madder,
Emerald Green,
Vandyke Brown,
Indigo,
Payne's Grey,
Cobalt,
Raw
Sienna,
Light Red,
Vandyke Brown,
Emerald Green,
and Cobalt.
Sepia,
Brown
Pink,
Sap Green,
Smalt,
Indigo,
French Blue,
Price 2. 7s. 6d.
lists
another
may he
stihstitated,
and
if
the colour
JTASAaSfSffK
MOIST
C0D&0TT3a
BOXES.
To
Boxes for Moist Colours made to order, to hold any number of cakes,
and on any plan, to
suit the artist's convenience.
from Nature, the cups being attached to the Moist Colour Boxes. Japanned Copper Water Bottles, with plated
Large
size size
insides.
ditto
ditto ditto
Extra large
ditto
various.
10
"WATER COLOURS.
PREPARED
IN
XjBkJUjUt
WUOIiE
Is.
AKS:,
Eacb.
WHOLE
CAKE.
HALE CAKE.
Antwerp Blue
Bistre
Burnt Sienna Brown Pink Blue Black Burnt Umber British Ink Brown Ochre Burnt Roman Ochre
Chrome Yellows,
Cologne Earth Dragon's Blood Emerald Green French Green
1, 2,
and 3
Gamboge
Green Bice
Hooker's Green, No. 1 Hooker's Green, No. 2 Indigo Indian Red Italian Pink Ivory Black
King's
YeUow
Black
Lamp
RATHBONE PLACE.
11
WATER COLOURS,
WHOLE
Sepia
continued.
"Warm Sepia
Roman
Sepia
Lake
Brown Madder
Constant
"WTiite
Purple Lake
Chalon's
Brown
Chinese White
Indian Yellow
Black Lead
Scarlet Vermillion
Mars Brown
WHOLE
CAKES,
Cobalt Blue.
HALF CAKES,
Is.
WHOLE
Lemon Yellow
French Blue
CAKES, 3s.
HALF CAKES,
*
Is. 6d.
Pink Madder
Rose Madder
Intense Blue
WHOLE
CAKES, 5s.
Mars Orange
Pure Scarlet
Carmine
Gallstone
Burnt Carmine
Smalt
Purple Madder
Cadmium Yellow
Orange Vermillion
WHOLE
CAKES, 21s.
Genuine Ultramarine.
Mahogany
embracing every
from
4s. to
10.
12
WHITE PIGMENT
FOR WATER COLOUR
PAINTERS.
WHITE OXIDE
OF ZINC,
Is.
6d. each.
pronounced by the highest chemical authorities to he one of the most unchangeable substances in nature. Neither impure air, nor the most powerful re-agents, affect its whiteness. It is not injured by, nor does it injure, any known pigments. It has long been pointed out by chemists as a most desirable substance for the Artists' use, provided sufficient body could be imparted to it ; but
want of this necessary quality rendered it unavailable. In WiNSOR AND Newton's preparation, termed Chinese White, this desideratum has been attained. The Chinese White, by combining body and permanency, is rendered far superior to those whites known as " Constant" or as " Permanent" Whites; and not having their clogging or pasty qualities, it works and washes wdth freedom. The great body it possesses gives it the property of drying on paper of the same tone as it appears when first laid on, and thus, when used, either alone or in compound tints, it does not deceive the Artist like other whites, by drying up three or four tones higher than when wet. The Chinese White is peculiarly available in mixing with any of the Water Colours in use, and particularly with the Moist Colours, thereby forming at pleasure an extensive range of body colours of a very superior
until lately the
kind.
The
follo-ning
Jlr.
Haiding's
and Practice of Art." " Wlien the Oxide of Zinc, which is prepared by Winsor and Newton under the name of 'Chinese "V^^lite,' was iii-st put into my hands, some years ago, I apphed to one of my friends, whose name as a chemist and' philosopher is amongst the most distinguished in our countrj^ to analyze it for me, and to teU me if I might rely on its durahihty; the reply was,' that if it would in all other respects answer the piu-poses I required of it, I had nothing to fear on account of its diu'ability." "This is an invaluable pigment." "It is" hardly possible to overrate the value of ' Opaque White' in Water Colours when judiciously used."
" Principles
RATHBONE PLACE.
13
This is an extremely white pigment, but does not possess the body of Chinese White ; it is generally used for high lights, &c., in Landscape and Miniature Painting. Price 1*. 6d. the Bottle.
WATER
C O
li
OUB
MEGILP.
Invented and Prepared by Winsor and Newton, for the use of Water Colour Painters.
A most desirable medium, imparting additional depth, briUiancy, and transparency in Water Colour Painting, improving the working of the colours, and preventing them running one into another. Price 2*. the Bottle.
CODCOTTOEllfcBSS
]&XQtriI)
OX
&A3&.
This limpid Extract of Gall possesses all the strength and properties of the Gall as it is usually sold in the paste state, but is deprived of its unpleasant quahties. Price 1. the Bottle.
Price
small
size, 6d.
middle
ditto, 1*.
14
beg respectfully to
Engineers,
call
Architects,
Drawing
firmness,
and dehcacy of
tint
erasure,
and the truth and certainty to which they are made to answer to
HHHH.
Wood
BBBB.
and deepest
HH. A
HHH. HHHH.
Very hard
Drawing)
Extremely hard
Engineering, or Drawing on
Wood)
f
I
U
.
Drawing
>
'^
CO
(firm)
/^
EHB. Same
BB.
as
....
Is.
BBB. Intensely Black (for extra deep BBBB. Same as BBB., with very broad
each.
RATHBONE PLACE.
PATENT
15
LEAD
DRAWING PENCILS,
HHH.
Very hard
HH. Hard
H. Rather hard
F.
Free -working
>
I
,?"/
Each.
BB.
BBB. Very Black BBBB. Very Broad Lead and Black BBBBBB. Very Thick Lead and Black
These Pencils possess nearly
all
9d.
Is.
Cumberland Lead.
and Students.
They
Manufactared by
WINSOE
and
NEWTON, with.
CUMBERLAND
LEAD.
BROCKEDON'S
PATENT
PURE
Amateurs, Architects, Engineers, Surveyors, &c., to the Drawing Pencils which they manufacture of Brockedon's Patent Pure Cumberland Lead,
particular sorts of which have been selected by Mr. Harding, and with which they are supplied, by that gentleman's permission to the Pencils
:
Newton have
Harding's name.
Sold in Cases, containing a Set of Six Pencils, of various thickness
of Lead.
16
RATHBONE PLACE.
17
THE BRUSHES DESCRIBED ARE ALL THE SAME SIZES AS THE ENGRAVINGS.
my
m
ml
N
ml
\m\
P <
<\
\\to\\
< N
Im
Messrs. IVinsor and IVewton solicit especial attention to tlieir Stock of IVater Colour Sable Brusbes, 'nblch Tdll be found most Complete, and of tbe Best Quality. Tbey are selected wltb sreat care from tbe Stocks of tbe best makers in Paris.
18
II
N?l
N?2
N?4
N9 5
i?r
The Engra\angs show various
and No.
sizes of
are attached, the remaining sizes can be readily determined from them,
largest,
flat
or round.
19
Ebony Handles.
Round.
Flat.
20
W^Tll^ @[LiyK
^\^^
11 ful
Brush
where
large
re-
foregrounds,
and
large
works.
III
IIIIIW
Middle
ditto
Small ditto
Goose Quill
Duck
Crow
ditto
ditto
ditto, for
Pigeon
Lithography
size
on page 17.
RATHBONE PLACE.
21
i inch wide
1| inch -wide
22
OIiID
SKETCH BOOKS.
These Books consist of a number of sheets of paper, compressed so as to form an apparent solid substance; each sheet can, however, be immediately separated, by passing a knife round the edges of the uppermost surface. Winsor and Newton's SoUd Sketch Books are all made of stout and extra thick Drawing Papers, as being better adapted for Water Colour Painting than the ordinary papers generally used. A large stock and great variety are constantly kept, containing the papers used by the most eminent artists, including Mr. Harding, Mr. Dewixt, Mr. Copley Fielding, &c. &c.
Solid Sketcli
to
any required
size,
on
tlie
S03E,3CD
SKETCH
S003KS,
when removed
for pencil.
WHITE PAPER.
16mo
RATHBONE PLACE.
23
SOIilD
SKETCH BOOKS,
WHITE PAPER BLOCKS.
continued.
unbound.
24
MISCEIiLANEOUS.
Portfolios
Liquid Carmine
all sizes,
Sketch Books of
or tinted
white
Scrapers
Erasers
Reed Pens
Crayons
ditto
Ox
Gall, in Pots
Pearl
Cement
Sponge
Ivory Palette Knives
Squares
Crow Pens
Indian Glue
kinds
for Ar-
M.
Sketching Seats
and
S.
India Rubber
Stumps,
Leather,
Paper,
and
matbb=ia:ls aEQXJi3aE
OF WHICH
IS
\ ^^
\.^''c.f.
^ii>k'Lt:v
kHi
...
.\-^
'^
r/--v>'f
Is.
THE ART OF
BY
THOMAS
L.
ROWBOTHAM,
Wood by
Dalziel.
JUN.,
Engraved on
(l
\s.
.,,;
THE ART OF
ME RRI FIELD.
\s.
\s.
BY AARON PENLEY.
Fourth. Edition, Price \s.
THE ART OF
BY HENRY MURRAY.
Second Edition, Price
\s.
INSTRUCTIONS IN
PROFESSOR OF DRAWING AT QUEEN'S COLLEGE, LONDON, AND MEMBER OF THK NEW SOCIETY OF PAINTERS IV WATER-COLOURS.
(JTonfatning Sititcm EUustrations,
G.
MA
WINSOK AWD
And Sold by
all