Sketching From Nat 00 Elli

ii
the library
BRIGHAM YOUNG
Ui^lVERSlfij
PROVO, UT<AH
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in
2016
https://archive.org/details/sketchingfromnatOOelli
SKETCHING FROM NATURE
Sketch at Penshurst
(by
H.
S.
Marks).
'T:-
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JA
OGA AG
SKETCHINGIFRGM-NATURE
Si
Iganlibook for ^tuUentsf anti Slmateur^
BY
TRISTRAM
J.
ELLIS
AUTHOR OF on A RAFT AND THROUGH THE DESERT*
WITH A FRONTISPIECE AND TEN ILLUSTRATIONS

By H. STACY MARKS, R.A., and
THIRTY SKETCHES BY THE A UTHOR
SECOND EDITION
REVISED AND ENLARGED
lônlion
MACMILLAN AND
AND NEW YORK
1887
CO.
Printed hy R.
*TH1?
&
R. Clark, Edinburgh.
library
PROVO, uTAH
CONTENTS
CHAP.
I.
II.
PAGE
Introductory
III.
A Short Chapter on
IV.
On Sketching
V.
VI.
VII.
VIII.
IX.
X.
in
Perspective
Black and White
Materials and Apparatus
Colours and their Durability
Choice of Colours for Sketching
On Composition and Selection of Subject

On Figures
in Landscape
On Relative Tone or
XI. Hints
XII.
...
On beginning a Sketch
Values
on Manipulation in Oil Colours
On the Study
On Handling
i6
31
45
52
65
77
95
in
120
of Special Objects and
Effects
XIII.
128
in
Water-Colours
XIV. Simplicity in Art.
170
.180
Appendix
183
Index
191
LIST OF ILLUSTRATIONS
Sketch at Penshurst, by H.
FIG.
1.
Blocking in a Landscape
2.
Perspective of Street
3.
S.
Marks
Frontispiece
....
.
PAGE
.19
.21
.23
Perspective of Hilly Road
4.
Circles in Perspective
5.
Stoke Pogis Church
6.
St.
7.
Horses Drinking
35
8.
Etching Materials
38
9.
Example of Egg-shaped Light and Shade
78
10.
Dark
78
11.
Gibraltar from the Spanish Lines
12.
Study of Bruges Watergate
13.
Picture of Same
26
Michaels Mount, Cornwall
against Light
...
.
29
79
80
81
.85
14.
Man
15.
Sketch of a Wheat-field, by H.
16.
Pushing off Shore
89
17.
Near Cairo
90
18
19.
Asleep, by H.
S.
Marks
Figures in Landscape, by H.
S.
S.
Marks
Marks
86
96
LIST OF ILLUSTRATIONS
xii
p/ge
FIG.
Figure in Landscape, by H.
20.
Marks
THE Eye
.......
23.
Proportion of the Human Figure
24.
Boys, by H.
25.
Example OF Relative Tones
26.
27.
28.
97
Effect produced by a Figure too near
21.
22.
S.
Two
S.
lOI
Marks
103
Studies of Cloud and Sea
The Top of Hind-Head
29.
Hind-Head, Surrey
30.
Temple of Phil^
100
a Storm
in
132
133
134
....
113
143
31.
Reflection in Smooth Water
32.
Reflection in Rough
33.
Ruffled Water at Philê
34.
English Fishing-Boat
35.
Arab Boat from the Red Sea
36.
Views of Lateen Sails
154
37.
Growth of Trees
156
38.
Branches of Beech, by H.
144
Water
145
146
153
153
....
Pelicans and Flamingoes, by H.
S.
S.
Marks
Marks
177
Tailpiece
ERRATA
Page 58,
for
To
in colour
list,
column of Reds, No. 3 from

Carmine Madder.
Carmine, read
Blues, ada
New
Blue
top,
'V ,L.iiiiiAK3r
ITHBOSOPIUC-V'
point

CHAPTER
INTRODUCTORY
LL who
have
make
to
tried
study in water-colours
finished
from nature out of doors have

doubtless
been
disappointed
at
surprised
the
and
different
appearance the sketch presents
when brought
light
indoors.
and quite flimsy
It
may add
nature,
is
if
is
appears
often
very
great
lies,
drawback,
the study represents
some place of
and not
easily revisited
artist
purpose of correcting mistakes.
generally
it
nearly always too
This unexpectedness of result
importance to the
for the
It
a speculative charm to working from
but
especially
generally either too
execution, or
in
heavy and overwrought.

cold in colour.
is
not in any want of
The
ability,
fault
but in
not carefully noting the colour and intensity of
the light in which the artist

thing, as regards colour
this in a
way
CHAP.
Every-
working.
is
and tone, depends upon
by the generality
scarcely appreciated
of even professional painters.
The cause
flimsiness
same
is
of these two
and heaviness
artist
opposite results
(often
produced by the
on two consecutive days or
not very far to seek.
In the
of
sittings)
case his eye
first
has been distracted and dazzled by the whiteness

of the paper, so that the lightest
and
his
light as
and
tendency
will
he possibly can,
colourless.
be to make the whole as

the time feeling
all
The second
advanced stage of
wash looks dark,
case shows a
and
error,
it is
it
dull
more
when he
occurs
has got his paper completely covered and begins

carefully to
do the
and works
detail,
his colour
darker and darker, without perceiving that, on
account of the bright light
he
is
getting
it
in
too dark.
which he
It
must
is
working,
be recollected
that a picture has generally to be seen in a
that
is
room
darker than the darkest cast shadow out
of doors, and must be painted so as to look well

in that
comparative gloom,
making the
relations of
one colour to
general
this
shadow
is
obtained by
to light
and of
another more intense, while the
tone has to be
looks true out of doors.
made lighter than what

The aim of the artist,
then, should be to paint his picture in the light
INTRODUCTORY
most nearly approaching that of the room (say a

of the
gallery
Academy)
Royal
in
which
the
picture has afterwards to be seen.
To do
this
is
it
necessary that the picture
Some
should be in shadow.
eminence
artists of
have studios with a good north
light,
constructed
on the spot where the study or picture
and
made,
through
looking
paint
is
to be
window
others have portable studios that take to pieces,
while others again have studios carefully fitted up
and running upon wheels

though extremely
these,
employed
in
like
a gipsy van.
useful,
All
can scarcely be
sketching from nature as generally
understood, and are only mentioned here to show

the great importance artists attach to this question
of
light.
Tents and umbrellas are about
the
nearest approach to the studio that can be used

in
sketching, and yet both are bad.
through a
tent,
if
the
sun
is
The
shining,
casts
yellow light over the paper or canvas that

to
the
is
fatal
production of good colour, and with an
umbrella (when
the
glare
it
is
so thick as to be free from
above objectionable quality of the
reflection
tent) the
from the ground frequently causes the
light
on the picture to be stronger below than
above
the reverse of the light in which pictures
are generally seen.
sun
is
This can be avoided,
if
the
not too vertical, by sloping the umbrella
CHAP.
towards the sun sufficiently to allow some white
from the sky to come from above on the
light
The
picture.
best thing to have
the shadow
is
of a rock, wall, or house, or even a thick bank of
The work should then be placed
trees.
as nearly
and with one side towards the
vertical as possible,
point from where the greatest illumination comes,
and then the
be reduced to
difficulty of light will
a minimum.
There are many other

wind, cold, heat, damp,
comparatively minor
difficulties
etc.,
caused by
but they are
and
importance,
all
of
ordinary
and well-known precautions can be taken against

them.
What
who has
an amateur, and,
a strong desire
any beginner
in fact,
produce, combined
to
with a naturally active disposition, has most to
guard
against,
Carefulness
quicker
manipulation
Nearly
required.
putting as
eyesight
essential to all
is
the
much
would
of workmanship.
carelessness
is
all
art,
into their
care
them.
The
by
work
as their
result
was not
always agreeable, but by so doing the
artist
had
a foundation of knowledge that lasted him
laid
his
and the
the
closer
great artists have begun
finish
let
good
the
lifetime.
may
R.A.
be seen
very notable
in the
work of the
instance of this
late
John
His early pictures were so hard
Phillip,
in
their
INTRODUCTORY
elaborate finish that the drapery of his Spanish

ladies looked
like tin, yet, in
later work,
his
few
could be more free than he in the masterly sweep

of the brush.
Nevertheless, even in his slightest
sketches, there
was a strength that made
painted stand out in
He
and
a solid
had formerly so worked out the modelling of
everything by which alone solidity

painting, that
it
Examples could
obtained
is
became a second nature
and he could produce the
the
he
all
manner.
real
effect
work of men of such diverse
Brett, Millais,
and Leighton.
slight, requires
a certain
to him,
without an
easily be multiplied,
in
effort.
and include
styles as Turner,
All work, however
amount of
care,
and
if
the
time taken be small the more intense must be the

care whilst
it
It
lasts.
follows, therefore, that to
do painting quickly and well

indeed,
and cannot be
and the
It
result
is
is
carelessness,
better to
carelessness
little
and
its
bad
is
aimed
at.
required in art even
free
consequently
at
first,
and dashing.
the
all
it
at slowly
when
Care^ above
when
for
and thus
influence,
happens that a sketch worked
rapidity
strain,
a great deal of care
takes less time in the end than
is
is
work slowly
requires
afterwards to correct
often
carried on for long, as the
becomes weakened through the
attention
bad.
very hard work
is
too great
things care,
work seems most
CHAPTER
CHAP.
II
ON BEGINNING A SKETCH
All
nature appears to the eye as a series of
flat
patches of colour and shade of different strengths
the most tender are generally the most distant,
while strength
The
less
characteristic
is
difference, also,
sudden and
in near ones.
less
It
of near objects.
between shadow and
light is
strong in distant objects than
sometimes happens that
clear atmospheres, especially at the tops of
between the
tains, this difference
many
in distant objects
even
as strong
those close by.
as
in
then ceases to look far
light
miles
Be very
ing and drawing to
make
make
it
and shade
away
The
is
nearly
distance
the light and shade in
go
same depth
back,' as in nature.
both are merged into one, so that form
only distinguished by the

houette,
the
greatest
is
careful, then, in paint-
the distance approach nearly to the
of tone, in order to
very
moun-
and the spectator
off,
deluded completely.
When
in
objects being in
appearance of distance
is
silis
II
This
obtained.
why
is
fog gives
such an ap-
pearance of enormous size to objects close by, for
they appear far
must be huge
off,
and therefore we
to look so large.
rocky
hill,
partly shrouded in mists, impresses us with

ness, yet
is
when they
clear
away we
but a very small one.
It
is
impossible to exaggerate the
they
feel that
find
its
when
vast-
perhaps
it
therefore almost
importance of
re-
presenting this quality of delicate difference (or

simplicity) of tone in distant objects, especially in
monochrome drawings, where
the greys and purples
of aerial perspective cannot be represented.
On
account of the natural colours being varied
and altered by every change of

each slight alteration of general
of working in colour
sible to attain
is
anything
and
light,
also
by
the difficulty
effect,
so great that
is
it
like certainty until
impos-
we have
gained a sound knowledge of light and shade.

This, then, will be our
consideration.
first
Each varying tone has a

other that gives a value to
frequently lost altogether
This
is
study
is
mastery
it is
it
relation
which
if it is
is
to
every
marred or
not truly rendered.
so well understood in France that special
given to relative tones or

is
values,''
till
obtained in dealing with them, and this
that gives the great strength and realism of
the French school as opposed to the English.
Choose a
subject, then,
where the
relative tones
CHAP.
are simple and plainly marked, and the masses

are not too complex.
in a
we
This
shall obtain best
simple landscape with stones, a wall, an open

or
gate,
some well-marked
object in
the
ground, trees in the middle distance, and
on
looking
It is as well to place ones self
the horizon.
fore-
hills
rather towards the sun, so that three-quarters of
Now
the objects in the picture are in shade.

paper,
take a block of not too rough

not hot-pressed
medium
No.
pencil,
possible,
is
of Faber.
best,
Sit
and begin to sketch
Whatmans
and a hardish
the
in
will find the greatest difficulty in fitting
ject to the
it
will
that
shape and
be too square, or too
Either
large, or too long, so
at
one point, you
on the scale you have chosen, a pet
stone, tree, or piece of distance cannot be got
To
obviate this difficulty
it
is
may be
up
and hold
for carrying)
Look
at
frame, and imagine
frame about
within
it.
wood
Very
up
vertically, in front
what you see through the

it
to be a picture.
likely
all
the size
jointed so as to fold
Move
you get what you want
till
you cannot get
it
in.
sometimes at first
convenient to carry a light frame of

of your paper (that
of you.
if
You
your sub-
size of the paper.
when you have commenced
will find that,
shade,
in the outline.
you
will
to
the
draw
find that either
you wish within the frame, or
else that the scale will
become too small
to
be
II
Do
pleasant for your sketch.
not try and arrange
nature so as to bring things in that you do not
This
see within the frame.
a most vicious and
is
The
pernicious practice for a beginner.

artists
maj/ do
but even they often
it,
fail
greatest
in
mak-
Get as much as
ing their pictures look natural.
you conveniently can within your frame, and copy
You
that.
it
will still
into the paper
masses
it
have great
is
in the simplest
first
difficulty in fitting
as well to
lines, as
in
the
possible way, using
the pencil as lightly as you can, and
with the horizon
block in
Fig.
commencing
Do
i.
not be
afraid of rubbing
out the whole of
your work, if you

are certain
you
can improve
however
it,
much
pains and time
you have spent

Fig.
over it
I. Blocking in a Landscape.
be-
ginner should never have too high an opinion of

his work, for
it
is
only worth anything at
a stepping-stone to better
alter
it
unless
you
are sure
efforts.
is
till
that
it
you
may
will
master you.
as
But do not
you can improve
this begets a habit of alteration that
you
all
The
never by any chance
it,
for
grows upon
result
finish
then
your
lO
CHAP.
go on altering and
altering,
sketch, but always
hoping against hope that

it
is
the finish that
and to look
delightful
therefore
at
is
when
the delightful part to do,
But
done.
the
unless
do not be
it
part
early
more
can never be
well
is
begun,
some time over
afraid to take
this early part, for the
Now
improve.
will
it
correctly
it
is
done
the more easy will be the finishing.

blocking-in
After the
as
you
can,
commence
is
done as nearly true
outlining the distance with
the utmost delicacy, and then outline the more
Now
foreground parts.
close one eye
and hold
the block upright in front of you and compare

carefully with nature.
find that
You
will
made
they take up too

faults are
size of the
the foreground too small, also
the fields far off do not look as
These
almost certainly
you have exaggerated the
distance and
it
flat
as in nature,
much vertical room on the paper.

made more or less by every one,
even experienced
artists are
not free from them.
we know the objects are

we think we see them
and
large in the distance,
We must then devise some
larger than we do.
The
reason
means
simple, for
for seeing
granted.
in
is
them without taking
their size for
This we shall do by looking at them
a fresh way, so that
we
shall consider the scene
as a whole, not regarding each thing individually

in the
way we
ordinarily
and unconsciously
do.
II
We
can get our required result
By
1.
This
in three
such a good and
is
form
should
phernalia of every
By
artist.
way
easy
part
of
you, and then turning

pivot,
be
the
it
You
obtained.
way
surprised at the
mountains and
hills
of
will
it
in
front of
on an imaginary
the
object
most
can
be
likely
the distance shrinks, and the
become
level.
to take into the reflection ones
then very likely
para-
turning your back
slightly
reflection
that
the
on the object and placing the mirror
easily
ways.
looking at the objects in a mirror.
pocket -mirror
vertical
II
will
It
own
is
as well
sketch,
be seen that not only
and
is
the
distance exaggerated, but that the vertical lines are
The mirror is a most useful aid

ones own work, as well as looking
not upright.
correcting
nature.
one,
It
and
it
is
in
at
convenient to have a very small
should be held close to one eye (say
the right), with the corner against the nose, and
the plane of the glass slightly turned

the
face.
The plane
of the
away from
mirror must
vertical, and the sketch should be so also, or
appear distorted, and
will
correct the drawing

it
in
you may
endeavouring
in reality
be
it
to
be altering
for the worse.

2.
By
placing the head horizontally or upside
down.
Most of us have looked
at things through our
12
when we were
legs
CHAP.
The landscape
children.
always looked so pretty, yet so small, and the

colours appeared brighter than
the ordinary dull routine
when looked
manner
right
at in
way
up.
Things looked small because we seldom looked

anything but the distance, and, viewed
light,
we saw them
in this
in true proportion to the
fore-
ground, and the colours looked bright because
were not looking

adults will feel
for details
much
in
the form.
at
new
we
Few
inclined to try the youthful
experiment, but nearly the same effect can be
produced by simply turning the head on one side

till it
becomes
horizontal.
Observe carefully how
the distance shrinks, while things in the immediate
foreground remain the same.
part of the distance against the

find
the
it is
same
in
we measure
foreground we
If also we look
Yet,
both cases.
if
at nature with both eyes and suddenly close one,
a similar but not quite so marked effect will be
produced.
3.
By
half closing the eyes, so that objects are
seen through the eyelashes.
This
is
perhaps the most easy and useful
way
of helping ourselves to see nature freshly, and
much
without knowing too

are^
only
how they
distance shrink to
of what the objects
appear.
its
proper
Not only
size,
will
the
but the most
important and salient features of the landscape
II
come out more
will
mass
will
and shade
strongly, the light
undisturbed by
itself
the smaller
all
broken lights and shades, and the colour

seen
best
to
advantage.
elements of the picture
Our eye can
We
graph.
simple
the
by a photo-
also be corrected
mountains look
things
fact,
be
will display themselves.
know how
of mountain scenery,
till
In
will
never gives a good idea
it
reduces
it
like
all
the heights,
mole -hills, and
it
makes
the foreground look enormous when
in
they are really small.
It
is
always correct
in
perspective, yet different lenses give very different
looking pictures, depending upon the focal length.
But
it
will
be better to consider
this point in the
chapter on Perspective.
It is true
a certain amount of latitude must be
given to the artist to give more importance to
Before
with
than
distance
perfectly
we can begin
arrange a
to
drawings.
correct
picture
must know exactly what correct drawing

wise
we
shall
soon get
geration that looks, and
Also the more finished

necessary
it is
to
we
is,
other-
lost in a tangle of
exag-
is,
the result of ignorance.

picture
have the drawing
is
the
more
correct, there-
fore accustom yourself to correct drawing from
the
first.
Hills
may
have the same outline and
take up the same space
they vary vastly
in
in
the picture even
when
actual size, for the space de-
14
CHAP.
pends on the angle which the top and base of

each makes with the eye.
and
would
at a certain distance
angle
as
distance.
that
twice
hill
the
hill
far
We
is.
these means, and not
Exaggerated
size.
guishing
mark of
own
its
value or colour
and therefore how
off,
of distance
is
work of an amateur.
will
always hold
known among
by every one
Yet the use of such an instrument
be deprecated, as
it
of drawing without
etc.
become
for their correctness,
their friends
that quality being recognised
use
For
some distinguished amateurs habitually
use the camera lucida, and their drawings
its
is
its
a distin-
against those that are incorrect.
this reason
glance.
by
it
by unduly exaggerating
Drawings that are correct

their
same
give the
can only express
size
the
of a certain size
the height at twice the
only by noting
It is
we know how
large,
hill
rapidly takes
it,
and
It is chiefly useful
in
is
to
the power
many
a fine subject
moving
clouds, water,
in
impossible, such as
away
at a
the rapid drawing of
exclusively architectural subjects.
To
return to the sketch.
rected the drawing
After having cor-
by the methods alluded
seeing nature correctly, draw the distant

delicate outlines with a No.
in
to for
hills
in
4 Faber, and shade

same pencil but
the middle distance with the
pressing a
little
harder.
Be
careful
to
make
the
II
lights
and shades only
of tone, and to
distinct
make
slightly different in
darker pencil. No. 3 or No.

in
branch
flat
if
each stone
tree,
depth
the edges of the shadows
Take a
and sharp, but not hard.
and draw
2, for
if it
slightly
the foreground,
be a wall, or each
and put on the shade
in
strong
masses as seen with the eye half closed.

In doing this sketch, doubtless great difficulty
will
be experienced
correct.
Much
in getting the
assistance
to
drawing at
this
all
end can be
obtained from a slight knowledge of Perspective.
This
will
form the subject of the next chapter.
i6
CHAPTER
CHAP.
III
A SHORT CHAPTER ON PERSPECTIVE

If our eyes were sufficiently accurate
we should
only have to place our picture upright beside the

subject
to
be
drawn, shut
one
eye,
copy
and
exactly from nature, in order to get a representation in perfect perspective.
The
writer has
known
such a draughtsman who, without any knowledge

of perspective, yet drew nature
He
correctly.
could see with only one eye, and therefore had

seen, as
it
were, a picture always before him, for
all
our drawings are but the representation of what
we
see with one eye.
eyes,
till
Most people
see with
two
and yet are unable to see things properly
they
know them,
perspective
becomes
so a certain knowledge of
imperative.
complete
knowledge can only be gained by studying

a branch of Descriptive Geometry.
As
it
as
this
is
impossible to most people, a few hints and rules

are
given here that will
be of an exclusively
Ill
practical
bearing directly on
nature,
its
17
use in
sketching from nature.

If a sheet of glass, say the
window, be placed
upright between the spectator and the subject he
about to draw, and then with one eye only
is
open, and fixed at one point,^ he carefully draws
on
the outline
this
glass,
in
Chinese white
or
Indian ink, of everything he sees, the result will
be a drawing
be what
will
perfect perspective.
in
is
called the
and the distance of

be measured.
If
his eye
The
glass
plane of his picture,
from that plane should
he places his eye nearer the
glass he will find he can take in a greater range
of subject, and,
if farther,
the range will be com-
The eye ought never
paratively smaller.
nearer to the glass than two
feet,
to be
and had best
be at a distance of twice the width of the picture.

It
is
this
distance of the eye from the picture
that exactly corresponds with the focal length ot
a simple lens in a
photographic camera.
shorter the focal length
is
The
the larger will be the
range of the subject taken in by a plate of a given

size,
and
also the
greater in the
It is
amount of
light
let in will
be
same proportion, causing the photo-
impossible to keep the eye fixed without either looking
through a small hole or over a fixed point. Make a hole about

half an inch in diameter through a piece of card, or look over
the corner of a box or book placed upright on the table.
i8
graph to be taken much
much sought
a lens in
after in
As
faster.
CHAP.
rapidity
is
photography, the focus of
a small machine
often very short,
is
even six inches or four and a half only.
It is
impossible to view a drawing so near, and
it
is
only at such a short distance that the photograph

look right and not exaggerated.
will
This
case with the simple lens, but there are

lenses
made
that,
is
the
compound
with a short focus, will give a
photograph corresponding to a long focus simple
These
lens.
special
compound
lenses are all very
expensive and are not generally used by amateurs.

If,
therefore,
by the
lens
is
On
any aid from photography
sketcher, a long
desired
and narrow angle
indispensable.
examining the
where the sloping

find
focus
is
outline,
and noting carefully
lines of buildings
run
he
to,
that those that are level in nature
all
will
run
towards points on what would be the horizon
we could see it. That

directly away from him
if
those running in nature

(or at right angles to the
plane of the picture) go towards the centre of the

picture, called the Point of Sight,
and those slop-
ing obliquely go to points to the right and
left,
called Vanishing Points, called so because the side
of the buildings,
if
carried out to infinity,
vanish from sight at that point.
It
may
would
here be
remarked that the kind of perspective generally
Ill
taught has no exact counterpart in nature, as
supposes the earth to be

true
perspective
and yet
it
flat,
horizon
sufficiently
is
which
imaginary,
ordinary
accurate, for
purposes of a picture, to take the horizon as

it
were the
visible
edge of the smooth
though the true perspective

above
horizon
sea,
if
al-
always
is
this.
Let us take a
street as
an example (Fig.
In this the near part of the street

perspective, that
go
buildings
and thus
(marked
right
it
The
not.
it is
therefore
is
19
in
is,
directly
the horizontal
away from
the picture
P. S.)
The
^0 to
the
is
in direct
lines
the
2).
of the
spectator,
Pomt of
Sight
lines of the building to the
beyond the corner of the
street are parallel
to the plane of the picture, and must be drawn
horizontaL
The mouldings and
plinths, etc., of the
sides of the porticoes to the houses
on the right
20
must be drawn
horizontal, as
well
that run straight across from right to
distance
is
streets that
go
building
at
off right
and
as
left.
the junction
left
CHAP.
lines
all
In the
ot
two
obliquely to the
plane of the picture, and here the lines run off to

vanishing points right and
the picture.
points
the
that are outside
left
All the horizontal lines run to these

tops
and
cornices of the tower,
sills
of the windows, the
and the
little
on the pinnacles round the dome.
short plinths
If the courses
of the stones were shown these would also go to

the
same
points.
Each group of
parallel
to each other
point.
It will
in
go
to the
be observed that
lines that
are
same vanishing
all
vertical lines
nature are vertical in the drawings and houses
are not
drawn smaller
as they ascend higher.
nature they appear to do
so,
In
yet perspective
is
if
the picture be held vertically
in the right place, as
regards the eye, the tops of
perfectly right, for
the buildings will be farther off and appear smaller

in the
nature.
exact proportion that they appear to be in
When
also the eye of the spectator
is in
the right place the horizontal lines exactly facing

us also taper off right and
left,
as in nature.
In
other words, each part of a perspective picture must

itself be seen in perspective in order to appear rights
and any apparent exaggeration of perspective then
becomes softened down, and the drawing has a
Ill
look of reality and solidity.
This has
21
its
exact
artist
to so
counterpart in photography.
It
should be the object of the
place and design his picture
that
the spectator
should naturally place himself in the right position,
and obtain
this air of reality that
is
not to
be got by any other means.

In Fig. 2
it
will
be observed that the windows
of the houses diminish in width as they recede.
This diminishing can be drawn
b}^ rule,
but
it is
better to observe nature closely in drawing from

it,
and copy what you
The
see.
lines of the
and pathways go to the same points as the

courses of the buildings
if
if
road
string-
they be horizontal, but
they descend they converge to a point below
the horizon, or
if
they
rise
they converge to a
22
point above
The
Here
it.
down
goes
street
and then up again

lines of the
houses
(Fig.
at
3)
first
an example.
is
to
P.
all
the time going to P.
lines of the
the upper
on the
summit
it
as
left
or
hill
shows that
above the eye of the spectator.
is
The placing of figures

very
and
line,
hill,
That
opposite.
hill
comes above the horizon

its
the
left)
the house to the
story of
the top houses
the
S.,
houses run up, but above they
run down, even when on the descending

in
i,
Below the
horizon (the line running from right to

level
No.
S.
to P. S. No. 2, the horizontal
point of sight of the picture.
real
CHAP.
difficult,
a picture
in
is
usually
unless they are actually placed on
and drawn as they
the right spots
in
appear with the
rest.
but when
impossible, and the perspective
it
is
sufficiently accurate,
object of
known
be drawn
in the
nature,
It is
they
always best to do
may
is
be compared to an
near to them, or else
size
this,
very front the
full
may
dimensions of
a foreground figure, and lines from the head and

feet carried
lines
to a point
on the horizon where the
would pass the place where the
be placed.
In this
way
figure
is
to
figures are introduced
in
the two foregoing examples.
This subject
most important one, and
be discussed more
at length in the chapter
In
perspective
it
will
is
on Composition.
circles
appear
as
ellipses.
HI
Thus
all
23
the string-courses of a round tower must
be represented as
To draw
ellipses.
the ellipse correctly
by eye
is
a very
difficult thing,
and
it is
well that the pupil should
by
rule,
till
his
do
several
hand and eye become
accustomed to the exact form.
Fig.
Draw
4. Circles in Perspective.
a line near the top of your paper, and
another about an inch and a half below.

with your compasses
in
circles,
two inches
diameter, exactly touching this latter line and
below
to
make two
Then
it.
draw
These are the two

in
perspective.
squares round each
circle,
circles
We
are going
first
draw
touching them with
four sides, and connect the corners
Where they
we
must
intersect the circles,
draw
all
by diagonals.
lines parallel
24
through the centres parallel to the
Now
vertical line
it
till
cuts the upper line,
call
the
from a distance of six inches.
it
left
upper
of P.
six inches from
S.,
line or horizon,
Draw
and
it,
call it
a point on the
D.
from the corners of both squares
lines
and from the ends of the subsidiary
them
to P. S.
also from the
These
lines
points,
and from these
will
intersect
shall
the
lines within
same points
others at
shown
to D.
certain
draw
intersections
parallel to the horizon, as
We
and
Let us suppose
we ought to look
Mark off to
that to see our picture rightly
the
lines
sides.
through the centre of one square draw a
intersection P. S. (point of sight).
at
draw
Also
of the squares.
the sides
to
CHAP.
lines
the figure.
in
have obtained the perspective drawings
of the squares with the subsidiary
they are drawn correctly
we
shall
lines,
and
be able
if
to
connect the corners of our square with diagonals

that
shall
exactly cut
the
intersections
of the
subsidiary lines, as in our figure below.
With a fine-pointed pencil and a steady hand

draw in the perspective circles, cutting and
touching the lines exactly as in the lower
You
will
by
this
look of a circle in
figure.
means obtain an idea of the

perspective that you will be
able to recognise in nature afterwards in a
you would never have been able
to
way
do without
Ill
going through
this
at
what uninteresting
and some-
tedious
first
Having now got
exercise.
your eye accustomed to the appearance of a

in
perspective,
it
25
circle
be good practice to draw
will
on a table before
vases, cups, plates, etc., placed
you.
drawing a
In
of horizontal
series
circles
in
perspective, as, for example, the joints in the series
of drums out of which a column

that
the
flattest,
circle
and the other
and more rounded

farther
this
drawings of
described
in
we have
circles
(Fig.
should
perspective.
cart-wheel,
or
of the picture.
parallel
circles
4),
be the
become more
will
exact proportion as they get
in
introduced
To
line.
perspective
above and below the two just

but without adding
of construction.
circles
remember
and farther above or below that
illustrate
lines
is built,
nearest the horizon will
It
is
the
all
not necessary that
be horizontal to appear
elliptical
They may be vertical like a

make any angle with the plane
Wherever
circles,
however, are
to the plane of the picture (on account
of being seen full
appear as true
face
circles
as
it
is
called),
they
and must be drawn
as
such.
In drawing a sloping roof, say of a church, the

extremities of the roof must be treated as a street
going up a very steep
hill,
that
is,
they must tend
26
to
a point above
the
CHAP.
This point
horizon.
is
generally so far above as to be completely out of
the paper, and the direction of the lines

therefore be guessed
at.
The example
must
(Fig. 5)
is
a drawing of the church at Stoke Pogis, where
Fig.
5. Stoke Pogis Church.
Gray was supposed

Elegy.
The
to have written his celebrated
smaller roof behind
is in
a different
plane from the larger one, and has a different slope,

so the lines and edges of
its
extremities go to a
different point, in this case a higher point, than
Ill

To
those of the other.

all
give the rules for finding
expand the
these points would
beyond
limits, besides
its
therefore be
by
guessed
make
size of this
book
being puzzling to those
The
not initiated in mathematics.
sufficient to
27
eye.
It
points must
is
generally
the lines at the two ends nearly,
but not quite, parallel, and sloping towards each

other a
little
at the top.
If the pupil bears these simple
spective in
assist
him
mind he
in
will
rules of per-
have enough to greatly
sketching from nature, but should he
take up architecture as a speciality he will have

to
go into the subject more thoroughly.
perspective
if
the
is
Yet
very simple and easily learnt, and,
mind once grasps the
principle, rules soon
become almost unnecessary.
The
rays of light that
practically parallel,
come from
the sun are
though when seen through a
misty atmosphere, or through
air
with dust in
it,
they appear to expand from a point, that point
being the sun.
This
effect is
being seen in perspective, and

perceived
when
the air
is
caused by the rays

is
most commonly
somewhat charged with
moisture and the sun obscured by clouds with
rugged edges.
The
separate rays of light coming
through the apertures between the clouds become

visible
when
the eyes are not blinded by the too
direct light of the sun.
The
vanishing point of
28
these rays
CHAP.
of course the sun, and their per-
is
spective will be similar to that of a road going up-
As we do
Fig. 3).
hill (as in
not often meet with
long straight parallel lines going up-hill, the eye

is
it
unused to judging them properly, and therefore

is
so very difficult to think of these rays as
being in up-hill perspective that
them
to think of
This
sun.
an
is
But when we stop
it
error,
and a very common one.
to consider that the sun
times the diameter of the earth, and

of
light
at
all,
becomes easy
as diverging instead from the
we
can
is
coming
to the earth.
point of
light, its
Even
distance
is
if
10
comprehend
clearly
rays do not diverge from
that the
is
not a
the sun
in
the sun were a real
so great that the con-
vergence of the rays in the comparatively short

space
that
exists
between
the
earth would be inappreciable.
of demonstrating this fact
is
clouds
and the
practical
way
by watching a beam
of light coming through a hole into a darkened
room.
If
one walks up to the part where
comes
it
through the hole the beam seems to converge on

to the bright spot of light that forms
end.
On
its
farther
returning to that other end the
beam
seems to converge to the hole through which the

light comes.
The
perspective direction of cast shadows from
the sun on
flat
ground
is
towards a point on the
Ill
29
horizon just below the sun and not towards the
sun
In Fig. 6 the shadows of the two
itself.
figures
on the
left
and of the man leaving the boat
on the right are shown by the dotted
line
to run
towards a spot that has been found by letting
Fig.
fall
6. St. Michaels Mount, Cornwall.
a perpendicular line from where the sun
is till it
touches the horizon behind the low part of
St.
MichaeFs Mount,
In
this
illustration
at
the
one end of the harbour.

rays
of light are on very
different planes, although they are all
drawn con-
verging towards the same vanishing point, which

is
here the sun.
On
account of the uneven shape
of the openings of the clouds through which the
30
light passes,
some of the rays come
some
behind
fall far
The
It
is
coming from a
if
farther
the picture
as
is
feet,
intended to be seen at a
and smaller or
the picture
to be
is
off than that distance.
larger in pro-
seen nearer or
In other words,
about half a degree with the eye.

really the correct size
small.
The
little
will
this
always appear too
We
must therefore enlarge
to satisfy the cravings of the eye, but
not much, as
educated.
it
Though
suns glory cannot be given in such
a narrow compass.
it
in a per-
diameter should always subtend an angle of
its
is
itself.
moon
sun or
size of the
distance of three
portion
point,
drawing should be three -eighths of an
spective
inch
and
too complex to be given here.
must be studied from the object
The proper
in front
Michaels Mount.
St.
perspective of light
such as a candle,
CHAP.
it
would then look absurd to the

ON SKETCHING IN BLACK
IV
CHAPTER
ON SKETCHING
Working
same
AND WHITE
IN BLACK
most inadequate way of representing
Directly anything finished
notes.
pared
IV
can only be used well for the merest
It
where sky
introduced, the effect
is
with
any other material
Some
monochrome drawings.
Harding brought pencil work

fection as possible.
a fashion
it
in Pencil is far the easiest, and, at the
time, the
nature.
WHITE
It
poor com-
producing
for
years
ago
D.
J.
to as great a per-
became a
fashion,
He made
has gone by.
attempted
is
is
full
and
like
use of
all
the different qualities of hardness in plumbago,
and even invented
different
wedge-shaped forms
of lead in the pencil to produce thick or thin or
medium
The
are
lines at pleasure.
different
qualities
usually
manufactured
H.H.H.H.
useful
for
scription
(the hardest
and purest made).
mechanical drawing of the
on hard paper.
Only
finest
de-
32
H.H.H.
Not
so hard as above.
CHAP.
Useful some-"
times for tracing and mechanical drawing.
H.H.
May
blacker and softer than above.
little
be used for extreme distances.
Very
H.
useful for
making
outlines for water-
colour drawings, also for skies and distances in

pencil drawings, and even for complete drawings
if
the paper be hard enough.
Very
F. (fine).
useful for general sketching
if
the paper be not too hard.
H.B. (hard black).
complete sketches on
Useful for foregrounds and

soft paper.
Useful for foregrounds.
B. (black).
Ditto on very soft paper.
B.B.
Only
useful occasionally for touching
extreme darks on
A
made
and
very useful series
numbers
in
softest paper.
of pencils are
to 4,
Nos. 3 and 4 are most useful to
softest.
carry for sketching purposes.
remarkably even
The
lead of
much
drawings
effect
is
is
it
is
not
all
attempted.
remarkably
in
pencil if
For architectural
efficient,
but
when any
on a landscape has to be represented
almost useless.
is
in texture.
Charming work may be produced

too
Faber's,
being the blackest
it
In working in pencil be sure
IV
and keep the
lines firm
bing or a stump
and sharp.
employed
is
WHITE
33
Directly rub-
all
the beauty of
the pencil-work vanishes.

Fiisain^ or
Charcoal^
is
a substance but
little
much
liked,
used in this country, but in France
and so popular that many
it is
artists
have earned
great reputations entirely through works executed
medium.
in this
The method
of work
completely opposite to
is
that of pencil, for the high lights are wiped out
instead of being
In this
blank.
left
it
resembles
more than any other medium, and
oil-painting
is
forcible in proportion.
The
is
make
being the darkest.
Nos.
charcoal
dipped
in grease
on the
paper,
brought to a
in three qualities.
i
to render
and
2 are
No.
sometimes
them more permanent
and enable the charcoal
to
be
fine point.
In working with charcoal the masses are put in
roughly at
first.
Then, by the aid of the finger
and paper -stump, the surface of the drawing
is
brought to a pleasing and smooth texture, while

sharpness in the lights
is
gained by picking off
the excess of black with bread kneaded up be-
tween the finger and thumb.
The bread should
be about one day old, just soft enough to knead

easily,
paper.
but not wet enough to
By
damp
or grease the
bringing this pellet of bread to a fine
34
CHAP.
point the smallest lights can be picked out witb

great precision and delicacy.
It
is
best to begin
by rubbing charcoal with
the finger over the whole of the paper, sufficiently
dark to form the sky.

then be rubbed
in,
Trees, houses,
should
etc.,
roughly as regards form, but
carefully as regards their relative depth of tone to
the sky.
be
left
white cow in the foreground should
whiter than the sky, while the dark trees
behind should be
Here
is
made
little
as dark as
is
possible.
sketch, though, on account of
medium in which it is reproduced, it cannot

any
in
way resemble a fusain drawing. We will,
however, give some hints upon the way in which
the
it
should be done in fiisain
nature (Fig.
First,
if
taken direct from
7).
certain
amount of charcoal can be
rubbed over the paper, lightest
the centre and
in
This had better
getting darker towards the top.
be done with the
Then
finger-tip, or a
the horses and
tolerable care,
more
very soft stump.
man can be drawn
attention being paid to accu-
racy of general proportions than to
should be
made
with
in
as dark as possible.
tower behind, and the
trees,
may
They
The old
detail.
then be put
The
only more slightly, and well rubbed down.
water must be worked
in
the
same way.
in,
Now,
with the bread pellet and stump, form and
life
IV
WHITE
35
must be given to the whole. The light near the

horizon should be picked out with precision and
Fig.
strength
7.
Horses
Drinking.
by pressing heavily on the paper, and
the form of the horses head brought out carefully.

If too
much be
cut off anywhere,
it
should be im-
36
mediately replaced by the
down
to the
same texture
point
CHAP.
and
stumped"
Those bright
as the rest.
horizontal clouds across the sky should also be
picked out, great care being taken not to
The
overlap the old tower or trees.
tower should be
made exact by
parts that in the
first
and
outline.
It
account of
to
make
picking off those
drawing have strayed too
far,
up with stump and point to the true
filling
spotty
make them
outline of the
be found
will
all this
difficult
first,
on
pellet,
not
at
dabbing of the bread
the sky round the trees and tower look
but by the aid of lightly touching with
the pellet those parts that are too dark, and lightly
touching with the stump those places that are too

pale, perfect evenness of gradation
The
point, stump, finger,
tinually
and give texture, and the
the whole
till
The
shape.
pellet are used con-
the point to strengthen, the stump and
finger to soften
lighten
and
may be obtained.
final
darks
picture
in the
is
pellet to
brought
foreground should
only be put in quite at the end, with Nos.
and the stump used

best stumps are
qualities
little
slightly to give texture.
made
of paper, of
all
sizes
of hardness, and are so cheap that,
worn or
loose,
they
may
into
or 2,
The
and
if
be thrown away
without compunction.
When
finished, the
drawing must be fixed at
once, as the slightest touch will spoil
it.
An
YOGA T.TB-AE"
S EAJA YOGA ACAju.
S EAJA
SKETCHING IN
OJV
IV
37
ordinary scent -vaporiser can be used to distribute

a liquid called
fixatif evenly over the
and the drawing
is
may
rendered permanent.
be bought of any
French materials, or
artists
may
surface,
Fixatif'^
colourman
selling
made by
easily be
dis-
solving one part hy weight of hard white spirit
varnish
It
even
parts alcohol
to seven
is
tint
on a piece of paper within a space fixed
"by hard
lines.
it
matters
It
space takes, a
but
make an
very good practice to try and
circle, oval,
little
what form
should have distinct edges, and the
should be brought up to them sharply.
by the means above alluded

lights
this
square, or trapezium,
to of darkening the
and lightening the darker
fectly even tint
tint
When,
spots,
per-
seems to have been obtained when
seen at the ordinary working distance on a table

(about twelve inches) from the eye
your paper at
you
will
two
least
many
discover
feet off.
then hold up
To your
kind that you had been blind to before.

again correct,
keeping your paper
still
perfect evenness
is
surprise
unevennesses of a larger
obtained.
These
far off,
till
This exercise com-
pleted a few times will give great power to your
hand and
beautiful
find
eye.
and
It
facile
seems wonderful that such a
mode
so few exponents
drawback
to
it is
of representation should
in
England.
The only
that the sketch or drawing
must

38
lAP.
be fixed out of doors on the spot, or very carelu i

protected
even from
amount of
certain
values fusain
and
is
wind, and
relative
perhaps the best medium extant,
even preferable to chalk, which
is
involves
this
For studying
trouble.
be next
will
considered.
Drawing
common
in
studying the
it is
black or red chalk
here than fusain^ and

figure,
is
much more
delightful
is
but for sketching from nature
not to be compared with charcoal.
now but
It
Chalk
can be rubbed, stumped, and picked
out in a similar manner to fusain^ but
more
difficult to
mended
is
same manner
rarely used, except in the
as pencil.
for
work
in,
is
much
and cannot be recom-
for use in sketching
from nature.
Etchmg from
nature
the last
is
of the black and
white media that
be
will
here
touched upon.
Fig.
-Etching Materials.
is
may
as not only beautiful effects
they
may
be reproduced
in
It
very important,
be obtained, but
great
numbers by
printing.
The
materials requisite are
copper
plate.
(Always
quality only.)
obtain
the
best
IV
SKETCHING IN BLACK
dabber of
WHITE
39
silk or kid.
ball of etching-ground.
Coarse and
mirror
is
etching needles.
fine
essential for etching buildings or
any places where
it
the right way,
that they should be
i.e,
desired they should print
is
drawn the
reverse of nature on the copper plate.
It will
be
found convenient to have a shallow box made,
bottom of which the copper plate can
into the
The hand should
slide.
ruler that
is
The
the box.
in
the
that
lid
mirror can be most easily fastened
by rotating
it,
and
opening the
also
may
one side and rather behind the

sit
artist
lid
by
be reflected at
artist.
He
should
with his back nearly turned towards
This has
his subject.
an
stiff flat
of the box, and pivoted vertically, so
the hinges, any desired spot
of course
upon a
rest
kept off the copper by the sides of
its
inconveniences, for
when
etches from nature spectators generally
come up behind him,
so as not to inconvenience
him, as they believe, whereas they really and most

effectually cut off his view.
ing
is
not
required,
and
For
the
trees, etc., revers-
mirror
becomes
unnecessary.
Preparing Plate
The
plate
the jaws of a hand-vice, and
most
easily heated
petroleum
stove.
if
is
held between
of small size
is
by being held over a gas or
The
ball
of etching- ground
40
CHAP.
must be dabbed occasionally on the top

substance begins to come off
then
freely,
till
its"
must
it
be rubbed rapidly over, and the plate should be

taken off before the ground commences to smoke
The whole
or burn from the heat.
surface should
then be strongly pounded with the

till
silk
dabber
becomes of one uniform brown shiny
it
Before
has time to cool
it
it
tint.
has to be passed
backwards and forwards over a smoking flame,

either of a petroleum
lamp or wax
carefully, so that the black deposit
taper, very
from the smoke
forms evenly and sufficiently quickly to prevent

the flame from burning the film.
plate
is
The blackened
then ready for use.
It will
sometimes be found convenient,
subject has to be reversed, to sketch
over
with the
if
the
carefully
Trace the sketch on tracing-paper and
in pencil.
rub
it
its
face
finger.
some whiting
Place the tracing afterwards face
downwards on the prepared

go over the
or white chalk
lines
side of the plate
with a hardish pencil.
and
On
taking off the paper, dust the plate slightly with a
very soft handkerchief, and every line will be seen

distinctly
The
traced in white on the black surface.
outlines should be then
by the point with a

just hard
enough
to
gone over carefully
firm hand, those of the sky
make
contact with the copper.
sure that
it is
in actual
This can easily be
felt.
IV
There
WHITE
41
a slight but pleasant resistance to the
is
movement
The
of the hand.
point must not be
allowed to slide on the surface of the copper, or
most probably the

as
dabbed on
ground
in the previous
(or film
be completely cut through, and
and shaky
line will
deeply as
dug
the
great
into the copper
compatible with retaining
is
power of making the

is
an interrupted
For the foreground
result.
objects the point should be

as
described
paragraph) will not
Never
line engravings.
and bolf
lines free
advantage
etching
the
for this
possesses
over
lose sight of this quality
of freedom, but do not let your drawing be loose
and
careless, for a single careless stroke in etching
stands out in a staring
way
that
is
not
known in
Even
a pencil, pen-and-ink, or fusain drawing.

there
it
is
bad enough, but
by endless copies
in
mind that you
copy but
not perpetuated
it is
Always bear
as in an etching.
are not working
for a thousand,
for
a single
and try and put into
it
thousand times more art and care than into your

single pen-and-ink drawing.
In etching from nature
it is
to obtain an elaborate effect.
should be aimed
should be
When
made
at,
almost impossible
finished sketch
and each stroke of the point
to represent as
every intended
line
much
as possible.
of the
work
is
complete, and after the back of the copper plate
42
CHAP.
has been protected by Brunswick black or some

varnish, the plate
may
The bath may be

convenient one
is
be put into the acid bath.
of varying
of commercial nitric acid
water.
little
strengths,
and a
obtained by taking equal parts
old
1*32)
(sp. gr.
liquid
and ordinary
from
left
previous
bitings should be added, or a few scraps of copper,

to take off the
wise
When
first
edge of
strength, as other-
its
commence by
biting
too
quickly.
the lines have been bitten deeply enough
all
for the
out,
will
it
extreme distance, the plate must be taken
dried with blotting-paper, and
carefully painted over with
and when thoroughly dry
the distance
stopping-out' varnish;
it
should be returned to
the bath, that the lines intended to be stronger
may
By
be bitten more.
successively stopping-out
and biting a great deal of gradation may be given

to the
lines.
The exact amount
only be found out by experience
necessary can
but some idea
of the depth of the lines can be obtained by feeling
with the point, and
if
the acid
mentioned above, two minutes
is
of the strength
for
the
extreme
distance and half an hour for the added bitings
of the foreground lines
may
temperature of the
here taken to be about
60,
long,
but
if
and
very
if
little
air is
exposure
higher this
lower
it
will
difference
The
be allowed.
will
be
too
not be long enough.
of
temperature
makes
IV
of difference
a great deal
may be
plate
cleaned
43
The
the biting.
in
with
WHITE
benzine, petroleum,
or turpentine.
The
biting
indoors,
much
as
he
for the
Many
it
should be done
is
and
be least bitten, and
add good work
to his plate every
prefer etching
the plate
is
in
extreme distance
is
last,
It
the
finished
The
that
fore-
and the
first,
by the time the
foreground
should
be
be dark enough to come well
sufficiently bitten to
forward.
so
very weak
with
the bath.
ground should then be commenced
distance
presence
in
then better able to
to the ground.
artists
when
etcher
will require to
also sure to
time he takes
acid
stopping-out
as possible on the ground,
what parts
is
had better be done
with acid
and the
of nature
see
only by the various thickness of
is
the lines that the effect of distance or nearness
The
given.
difference of thickness in the
is
lines
between the distance and foreground should be

very great,
much more than
is
necessary in a
pencil sketch, for the printing nearly always levels
the strength of
is
able to
effect.
make
skilful printer,
a great deal out of a plate by
leaving or taking the ink film from

his
own
printer
It
discretion
yet in
that
and not the etcher who
is
however,
is
its
case
the
surface at
it
is
the
artist.
impossible to give other than the most
44
meagre outline of the process of etching

place.
Lalanne's beautiful
little
CHAP.
in
book, translated
into English (which can be obtained through

artists
colourman), will be found to do
to this exquisite art.
this"
any
full justice
MATERIALS AND APPARATUS
45
CHAPTER V
Pencils, charcoal, chalk, and etching have been
described.
Of paper
it
is
best to use that of
manufacture only.
water-colour drawing
Whatmans
very convenient form for

is
Whatmans paper pasted

known generally
on to millboard or cardboard, and
They
Cottams boards.
as
heavy to
are rather
carry in large quantities on a journey, but one or
two
will
carry
be both lighter and more convenient to
when out sketching than
drawing-board.
size (21 in.
When
by 14 J
either a block or
larger than half imperial
they require some support
in.)
at the back.
Blocks for small-sized Sketches
When
sketches have to be made, as on a tour,
it
many
will
be
found most useful to have them bound like sketch-
books at one
side, so
that each leaf as
it is
tached goes to form part of a book that

plete
when the block
is
finished.
Or
it
is
de-
com-
might be
46
CHAP.
furnished with a pocket to put the leaves in as'
each
is
removed from the
Blocks without
others.
these adjuncts should be exclusively reserved for
use in the house.
Whatmans paper is made with four kinds of

rough, medium, smooth, and hot-pressed.
surface
The
first
three
are
not hot-pressed).
ever be used
medium
as
Not
Neither the
first
sketching
from
for
quality
known
nor
paper
nature.
the most generally useful.
is
{i,e,
should
last
The
In
Whatmans paper can be obtained in

thicknesses known by numbers that indi-
imperial size
different
Thus
cate the weight in pounds per ream.
medium
medium
would
grain,
mean
For small blocks

Paper as
light as
this is
60
for sketch-books.
it is
as
paper not
and weighing 90
is
90 Not
hot-pressed,
lbs. to
the ream.
the most useful weight.
made, but
is
only suitable
Again, for sizes over ^ imperial
as well to use a thicker or heavier paper, such
140 Not.
Large-sized paper
is
made, called
double Elephant and Antiquarian, but these are

too large for the convenience of amateurs sketch-
ing from nature.
Drawing-boards are best when made with a

frame furnished with small points that fasten the
paper to the board.
The paper should be put
on wet, and several sheets

stretched together.
When
may
be
everything
wetted and
is
dry the
of
positions
these
may
sheets
be easily inter-
may
changed, so that several drawings
be carried
same board, and each one worked
about on the
on at
^7
pleasure.
It
always
is
best
use the
to
thickest paper with these boards.
Canvas
made
is
of
and
widths
all
qualities.
For sketching use single prime of a pale greyish

hue, as the glare of the white canvas out of doors
very disturbing to the eye.
is
It is better for the
canvas to be smooth in surface, and not to show

its
texture through the work, yet
so
smooth that the paint does not
Like
paper,
work
to
should not be
bite easily.
a rough -surface canvas marks

certain
think his work
is
extent,
the
and makes the pupil
better than
should be given by the work.

not be too fresh and moist, for
first
it
is.
The texture
The canvas should
if it is not dry when
it
used, the colour put on with varnish or rapidly
drying
medium
will
dry sooner than the
on the canvas below and cause
it
prime
to crack at the
brush marks.
Paper
is
for oil-painting
can also be bought, and
very useful for sketches and studies
purpose to which no permanent value
The form
board'^
is
made
for a
attached.
is
of tablet for oil-painting called ^'Academy
seldom
Royal (22
in.
made
by 19
of a
in.),
and
larger
is
venient to carry for small paintings.
size
than
extremely conIt is
pleasant
48
to
work upon, but
sketches,
it is
CHAP.
only suitable for the slightest
and the colour should be used without
varnishes, maguilp, or
mediums, otherwise
other
cracks invariably occur in the sketch that after a
time go right through the priming of the board.
Canvas mounted on millboard

is
made and
also
is
very convenient for sketching purposes.
Two
of these boards put face to face, but kept from
touching by a light frame of wood, protect one

another and can be easily carried.
Brushes of small
best
made
to
large size
have them of
easy
to
water colours are
of yellow sable set in tin with black
Of
handles.
for
size
handle
is
it
scarcely worth while
far
For
in
Everything
cheaper.
should be of the best quality;
buy a cheap
the long run to
being more
sable, camels hair
and
never pays in
it
brush.
hog-hair brushes should be bought
oils, flat
abundance, and only a few sable, and these of
small
sable
It is as well to
size.
have a few very small
brushes with very long hair for painting
reeds, grass, etc.
really
be invented.
in
wind,
ground.
easel
that,
good Sketching Easel

It
should be
and
adapt
The most
with sliding
is
itself
a thing yet to
strong, steady
light,
easily
generally useful
legs.
on account of
its
Its
is
to
uneven
the French
only drawback
lightness,
it
is
is
not very
"
steady in a wind.
shorter
perhaps more convenient
It is
most
to place than
and certainly takes a
others,
time to put up.
All
should
easels
sufficiently large to enable the painter to
them standing.
Often
49
five
be
work
minutes work
at
at
sketch in a standing position, for correcting the
drawing and tone,
work when
What
is
worth a whole mornings
sitting.
is
known
as the
hook
easel
is
very
convenient for oil-painting, where the three legs

consist of poles that pass through brass eyes that
are fixed to the frame of the canvas

prefer
artists
to
this
all
itself.
other systems,
Many
and
it
certainly has the merit of great simplicity, though
the picture cannot be raised and lowered as easily

as with the French sketching easel.
Sketching Umbrella in sunny weather, and
where the shadow of a wall or some opaque object

is
not attainable,
is
an absolute necessity.
It
should
always be lined with some dark colour, so as to
make
it
useless.
quite opaque, otherwise
The
it
usual semi-transparent
is
worse than
brown holland
umbrellas should be studiously avoided, as the

glare that passes through
them on
to the paper
or canvas entirely precludes the possibility of see-
ing the tone of the work in the picture.
Tents are
made
in
many
forms, but
all
are
comparatively useless, the trouble of taking them
50
them
to the spot, putting
removing them,
and then afterwards
up,
too great for artists engaged in
is
sketching from nature, even

difficulty
drawing inside the
The
best to
there
was not the
tent.
Stools
sit
if
upon) of lighting the
(before touched
Sketching
CHAP.
made
are
upon
but the easiest to carry
which folds into a
great
in
variety.
the ordinary camp-stool,
is
is
the three-legged stool
stick that can
be strapped to
The seats of these stools are scarcely

made strong enough, and it is best to have
one made of leather by a saddler, or else carry a
the easel.
ever
spare seat or two.
There
is
is
a combination of easel and stool that
much used by some
people.
It
drawback, however, of fixing the

level
and one distance from
has the great

artist
his work,
at
one
and hence
cannot be recommended.
Pigments are treated of
Of medinms
use as
in the
little
necessary to rub some drying

painting
before
second
the
oil
we want to thin
brushes, when putting
foreground, rushes,
much
medium.
colour for
in small
etc.,
varnish thinned with

excellent
the
oil
This
first
but
it
as possible.
fine
sable
branches of
trees,
amber or
copal
little
of lavender
may
It is
over a
applied,
is
should always be cleaned off as

If
next chapter.
as possible.
makes an
be also used
in
where
places
those
Pure copal varnish

should
be
not
picture after
rapidly
dry, as,
except
if laid
required.
is
and mastic
crack,
liable to
employed
it is
make
drying
quick
is
51
varnish
to
on before,
it
will
In fact
the picture turn yellow.
all
mediums except turpentine have a tendency

turn
yellow and
oil-paintings
tine dries off completely,
ground with
and
Turpen-
air.
the pigments were
if
with
this instead of
brown or
finally
black through the oxidation of the
to
oil
they would be
each and separately permanent
in colour,
have no cohesive strength.
has also the disad-
It
but would
vantage of bringing the different pigments when
mixed
into such close juxtaposition that chemical
action
is
set
oil,
and the colours
have no tendency to act
The
object of varnishing
that
is
dry,
to
is
first
keep out the
after painting,
covering
ing of copal varnish.
it
In about a
The
when thus protected from
is
dirty or yellowed
off with spirit, the thin
is
best
picture
week cover again
copal will
it
the
air.
not crack
When
the
can easily be cleaned
film of copal completely
protecting the picture from being cleaned

the process.
as
air,
This
when the
way.
over with a very thin coat-
thickly with mastic.
mastic
in this
the active agent of destruction.
done about a year

is
alter or destroy
The same pigments, when mixed with
each other.
linseed
up,
away
in
52
CHAPTER
CHAP.
VI
COLOURS AND THEIR DURABILITY
The
durability of the colour of pigments,
particularly in water-colours,
a short account of what
is
is
more
so important that
known
at the present
time will be useful to the beginner.
It will
be an
advantage to know what colours can be employed

with safety under different circumstances, and to
learn to paint with those instead of with pigments
have to be abandoned
that will
after skill has
A
of
oil
warm
upon the
discussion
somewhat
many
Times
even
relative durability
in
a series of
1886, commencing with a
detailed account of the serious fading
of Turners water-colour pictures.
who
of the writers,
upon old
in
on,
later
in their use.
and water colours took place
letters to the
of
been attained
is
pictures, did
drawing could
exposed to
full
last
an
One
authority
not believe a water-colour
longer
than thirty years
if
daylight in a gallery even without
the direct rays

satisfactorily
considered
by
of the sun.
all
experts
This was refuted
who had made
VI
53
special study of the durability of colour, with the
condition, however, that right pigments
and
right
mixtures should be used.

a curious fact that
It is
unfaded even
all
colours will remain
exposed to strong sunlight, pro-
if
vided they are enclosed in a vessel that contains
Even
neither air nor moisture.
so long as there
if air is
admitted,
no moisture, the change or
is
fading will be extremely slight.
This shows the
importance of having a dry room or gallery
for
pictures.
Oil-colours, from the protective nature
of the
and varnishes against damp, are there-
oils
The
fore less liable to fade than water-colours.
darkening of the medium by time also reduces

intensity of the
the
and thus
colours,
medium
Most
of
the
not wholly an advantage.
it is
colours that are permanent in oils are
permanent
in water-colours, the chief
tions being vermilion
be used
fading,
they
Indian
and
in
Venetian
in
become
red^
as
but cannot
in oils,
water-colours,
gradually
dangerous to use
excep-
and malachite green^ both of
which are perfectly permanent

safely
darkening
destroys the beauty of the more delicate
colours, so that
also
this
oil-
them from
further protects
Unfortunately,
fading.
reaches the
that
light
still
instead
as,
dark
now
made,
of
grey.
are
water-colours mixed with
any vegetable pigments,
though
the
old
pure

54
material
is safe.
The
;)
CHAP.
following colours are pretty
safe to use in oil-colours,
P. is
placed against those
that are absolutely permanent, the others being

practically so
when used
Reds.
in sufficient
body.
Bro7vns.
Yellows.
P. Vermilion.
P.
Deep Cadmium.
P.
Burnt Umber.
P. Cinnabar.
P.
Middle
P.
Raw
P. Venetian
Lemon
Red.
do.
do.
P. Burnt Sienna.
Yellow.
P. Indian
P. Aureolin.
Raw
P. Light
P.
Yellow Ochre.
P. Naples Yellow.
Sepia.
Red.
Red.
P. Carmine Madder.
P.
Rose
P.
do.
P. Strontium.
Red
do.
P.
P. Purple
do.
Roman
P.
Ochre.
do.
Vandyke Brown.
Brown Madder.
P.
Cologne Earth.
P.
Cappah Brown.
P.
Mummy.
P. Bitumen.
Greens.
Blues,
Real Ultramarine.
do.
P. French
P. Cobalt Green.
P. Cobalt.
P. Viridian or
P.
Whites.
Flake White.
P. Malachite Green.
P. Zinc
do.
Emerald
Oxide of
Chromium.
P. Ultramarine Ash.
P. Ceruleum.
Terre Verte.
Prussian Blue.
Antwerp Blue.
Blacks.
P. Charcoal.
P. Ivory.
The
following pigments are to be avoided
Carmine.
Crimson Lake.
Indian Yellow.
Gamboge.
Brown
P. Blacklead.
Pink.
Chrome Yellows
{Avoid mixing Prus-
and Emerald Green
sian Blue a7id Naples
will turn black.
Yellow
All
Hookers Greens will

turn brown.
or
Yellow
with
Lemon
Zinc White
Madders
the
Indigo.
Indian
Sap Green.
Red of modern kmd
All these will fade
with Madder^ Naples
rapidly.
Yellow^
any
or
Venetian
Indigo^
or
vegetable colours
VI
In the
55
of Reds, the madders or vermilion
list
and white must be made to take the place of

earmine^ which
An
colour.
exposure of merely six hours to a
winter sun will
make an
hitherto
perfectly
appreciable difference in
Even the
the colour of carmine.
have
but most fugitive
a beautiful
is
maddej's,
which
been considered to be the only
permanent transparent
have been
reds,
found by Professor Church to fade slightly and

to
change a
to the sun.
little in
colour
by a
madder kept
fading, while car7nine
and the other madders became

Cinnabar
is
of the
its
own
little
natural rock, and
is
duller
in
tint,
slightly yellower.
same chemical composition
vermilion^ only a
in oil
years exposure
Rose madder became more purple
as
comes from the
it
absolutely unchangeable both
and water-colour.
Of
Yellows,
the
the well-known and useful
gamboge and Indian yellow are put among the

colours that should not be used.
do not fade away altogether,

finally
lose
Gamboge
Though they
like carmine,
gives such a
raw and unpleasant green
and poor kind of orange that
its loss is
not of
consequence, but Indian yellozv gives

colours in mixture.
in
It
its tint,
much
very fine
can be used occasionally
strong body, as though
change
they
about 50 per cent of their colour.
it
fades
it
does not
and the yellownejss of the mediura
56
greatly
in old pictures will
ciency in depth.
But
make up
the colour
it,
to disappear through absorption.
impossible to paint without
which
is
is
oil,
liable
is
is
almost
using lemon
yelloiv^
It
counted as a permanent pigment, but
and therefore
it
it
when mixed
apt to turn very slightly green
with
for its defi-
used as a glaze over
if it is
thick paint with white in
CHAP.
should not be mixed
with delicate reds in any quantity.
Of Browns,
the
useful
sepia
and
Vandyke
brow7i are both liable to fade somewhat, but
used in strong
ceptible.
in
body
Mummy and
colour, are
thickly
both
the fading
scarcely per-
bitumen^ though permanent
liable
run
to
upon the canvas), not
course of years.
is
(if
laid
These two colours are much
mixed with enough medium
remain
at all
at once, but in the
used in France, where painters say that

are
if
if
they
or siccatif they
English painters have found these
firm.
colours absolutely unreliable in our climate.
Of
the Blues, indigo
colour to use.
rapidity, while others
yet
seem
we have been unable
for either fact.
is
still
Some specimens
a very unsafe
fade with great
to be permanent.
As
to find out the reason
Both Pntssian and Antwerp blues
are liable to fade, but, strangely enough, the colour
that
is
lost
by exposure
pletely to the
to light will return
pigment when
it
com-
has been placed in
VI
the dark for a while
so that,
what
at,
at another,
is
lost at
the painting
if
one time can be gained
and the blues may be made permanent

Real nltramarine
in the picture.
is
the only blue
that seems absolutely permanent under

stances, but its substitute,
French
all
bhte^
circum-
is
practi-
from excessive damp.
cally so if protected
is
is
when not being
protected enough from the light
looked
57
Cobalt
a vitreous pigment, and though counted per-
manent
it
has a slight tendency to become of a
when mixed with oil.

Of Greens, the most useful is emerald
greenish hue
of chromium.
Nearly
all
It
produced by mixture
useful greens can be
of blue and yellow.
Emerald green
unsafe colour to use either in

colours.
is
take
its
to be
body
its
oils
an absolutely
or in waterits loss
Malachite green
regretted.
place.
Of Whites,
from
is
a raw and ugly green, and
is
much
not
will
It
oxide
transparent and glazes well.
is
flake white
and
its
is
the most
useful,
power of mixing with
other colours without hurting them, but
all
liable
it is
when exposed to the air of towns.

This can be prevented by protecting, and, as it
to turn black
were, locking
white
air,
is
but
it
up
it
lacks body
rose madder.
medium.
Zinc
by exposure
to the
in varnish or
absolutely unchanged
and
acts injuriously
upon
Bismuth white should be avoided

58
as
unsafe.
It
be useful to compare
will
chapter with the Appendix
mentioned
The
187).
(p.
Appendix
in this
CHAP.
this
colours
are prepared on the
system of M. Blockx, but have not come into

general use, because they dry so slowly that most
have not patience to wait
artists
is
one painting
till
dry before putting on another.
Slow-drying
colours are distinctly disadvantageous in
or large towns, as the atmosphere
is
London
so charged
with impurities that the surface of the picture

will
become
dirty before
it is
The above remarks apply
dry.
manent pigments
will
Reds,
P. Light
P.
Red.
P. Carmine.
list
of per-
be required, as follows
Deep Cadmium.
P.
Middle
P.
Lemon
do,
Rose Madder.
P. Aureolin.
P.
Red
do,
P.
P. Purple
do.
P. Strontium.
P.
Burnt Umber.
P.
Raw
do,
P. Burnt Sienna.
Yellow.
P.
Browns,
Yellows,
P. Cinnabar.
With
to oil-colours.
water-colours a slight change of the
Raw
Yellow Ochre.
do.
Sepia.
P.
Vandyke Brown
Brown Madder.
P. Ivory Black.
P.
French
White,
Greens,
Bines,
P. Real Ultramarine.
do,
P. Cobalt.
P. Chinese.
P. Viridian or
Em-
Oxide of
P. Cobalt.
erald
P. Ultramarine Ash.
Chromium.
Prussian Blue.
Antwerp
{Avoid
colours, )
do,
all colours
mentioned as
to be
avoided in the
list
of
oil-
VI
From
this
list
were
reds, that
vermilion, Indian
and Venetian
in the list of oil-colours,
purposely excluded.
In the
59
have been
way they
now
are
made, both India7i and Venetian red contain a
and
trace of sulphuric acid,
this
soon causes them to
destroy other colours, particularly indigo}
This
the reason of the saying that Indian red eats
The
other colours.
India
in
but
now be
cannot
Vermilio7i
to turn dark grey, but very slowly.
caused by exposure to
in
itself to
light,
of the
is
is
not
but simply from a
medium
In oil-colours the
prevents this happening
and thus makes vermilion a permanent

Cinnabar
liable
is
This
return to the black-coloured
form of the same substance.

stiffness
ob-
an inconveniently heavy colour
to use in water-colour painting.
tendency
old htdian red from the mines
harmless,
is
It is also
tained.
is
up
colour.
the natural vermilion, and, though not
quite so bright as the ordinary kind,
free
is
from
unfortunate tendency to revert to the black
this
The Reds
form.
avoided in
oils
in
are
the
list
also
all
to
be
be avoided
in
of colours
to
water-colours.
Of
1
They
for the
the
the
are
Yellows,
made from
cadmimn
the oxide of iron
manufacture of green
vitriol
the
left in
lump
darker half forms Indian red, and the
Venetian red.
is
left
out as
the retort required

is
cut in two, and
lighter
half
makes
6o
not being quite durable
most
the other two are the
cadmmm
All the
lasting.
CHAP.
yellows blacken
with any admixture of Prussian or Antwerp
Although lemon yellow

permanent
colour, yet
it
generally reckoned
is
slightly fades
strong sunlight, but
to
has
it
gamboge fade
no tendency to
slightly,
in
portfolio sketches
or in a
a permanent
is
when properly prepared, and

is
has
only very
does so
Aureolin
sketch-book.
is
it
the latter fades rapidly in water-
and may be used
ochre
as
Both Indian yellow and
oil.
colours, the former
Indian yellow and
both of
on exposure
become green when mixed with water
when mixed with
blue.
it
colour
takes the place
gamboge.
a perfectly permanent colour.
Yellow
Strontium
not easily used in water-colours on account of
its
weight, but
take
will
Of
its
not wanted, as lemon yellow
is
it
place.
Browns,
the
permanent
but they are too dull when
colours,
dry to be really useful
The
latter is the
siemta and
raw
more
in
and one
do without.
it
useful of the two.
Burnt
is
most permanent
would be almost impossible to
Raw
sienna, however, has a slight
tendency to blacken
fore
water-colour painting.
sienna are very useful, particularly
the former, which luckily

colour,
and raw umber are
bztrnt
be avoided when
in drying,
and should there-
delicacy of colour
is
required.
VI
When
thoroughly dry
ceases to change.
it
and Vandyke brown have
somewhat
fleeting
SeJ?ia
been shown to be
lately
when used
wash
in a thin
they
both fade distinctly on a short exposure to the

sun,
but they
with tolerable
may be
safely
employed
Brown madder
body/'
yellows on being exposed to
body
siderable
may
unless
light,
used with
is
if
brown -black.
manent, and by mixing
brown madder,
fine
It
it
con-
Ivory black
it.
be mentioned amongst the browns, as
certainly
used
slightly
it
is
perfectly per-
is
with burnt sienna and
warm permanent browns may
be obtained to take the place of sepia or Van-
dyke brown,
if
the artist
is
afraid of using those
colours.
Of
the Blues, real ultramarine
permanent and indestructible

prohibits
general use.
its
nearly always used in
manent
if
no acid
is
its
but
the most
is
its
great price
French tdtramarine
place,
and
is
is
quite per-
brought into contact with
it,
such as when acid gums of sticky substances are

used to fasten a water-colour drawing on to cardboard, or
when
able from the
Good
is
cobalt
is
in
oils,
mixed with the
permanent
ultramarine ash.
considerable
as
it is
acids insepar-
modern Indian or Venetian
body
If
in water-colours,
Prussian blue
" it is
is
reds.
and so
used
in
wonderfully lasting, and,
the colours lost by exposure to light
62
return to
it
well to avoid
it
will
is
when placed
in delicate
itself in
it
and are mixtures of
used,
same substance,
it
also restores
fleeting
of Hooker's green
made
colours,
blues and
greens.
Cobalt green
fade rapidly.
may
safely be
and also emerald oxide of chro^nium
so easy to
colours, that
ones
is
blue
darkness.
Of Greens, we must beware

They are both
They
It
Antwerp
fades rather faster
or sap green.
is
the dark.
in
work.
a different preparation of the
but though
CHAP.
mix greens
it
but
it
water-
for ones self in
scarcely worth while to burden
is
box with these pigments.
Emerald green is
Not
one of the worst possible colours to use.

only does
black
it
affect other pigments,
but soon turns
itself in water-colour.
Of Whites,
colours,
and that
there
is
is
only one to use
in
water-
Chinese white^ and this should
not be mixed with the madders, as they seem to
be affected by the zinc of which
it
is
composed.
Flake white should never be employed
it
soon
turns black in the air of towns, or even in rooms
much
used.
In the foregoing remarks the effect of sunshine

in
fading colours
has
been chiefly referred
to,
although, as a general rule, pictures are not exposed

to
it.
Galleries are built on purpose to prevent
the glare falling upon
the pictures, which
also
VI
spoils the frames
and prevents the paintings from
being properly seen.

galleries,
63
especially
happens often
It
in public
South Kensington,
at
that,
though blinds are arranged to exclude the sunon bright days, an occasional ray cannot be
light
Some-
prevented from falling on the pictures.
times the chance carelessness of an attendant will

allow the sun to remain shining on valuable water-
Therefore
colours for hours at a time.
in
choosing
colours that shall be permanent for pictures that
may
be exhibited
sunlight
in public galleries, the effect of
upon them must be considered.
But
in
an ordinary room, where the windows are low and

the direct sunlight
walls,
most
affected
except carmine and
colours,
by the
ever comes on
scarcely
state
of
the
the
those
atmosphere,
are
practically permanent.
The
relative
strength of direct sunlight and
ordinary bright daylight in
where there
forty to
is
a room or
one up to four hundred to one.
extraordinary difference in these figures
accounted for by the great differences

of light
gallery
no sun has been estimated from
that
are
let
into
an
The
may
in the
ordinary
Photography would seem to indicate that
be
kinds
room.
in
an
ordinary sitting-room the proportion of the lights

is
more
like
the second
For a lens that
will
than the
first
estimate.
take a subject in sun out of
64
CHAP.
doors in three seconds will require half an hour"

to take the interior of a
is
not quite an accurate
room equally
test,
required to photograph an interior

to the
well.
This
as the length of time

is
extreme depth of the shadows.
chiefly
due

CHOICE OF COLOURS FOR SKETCHING
VII
CHAPTER
65
VII
Even
with the small
list
the previous chapter there
of choice that
some idea of the
best to choose for special purposes.
extraordinary with what few colours a great
It is
result can
be produced, twelve or fourteen being
the utmost
any one requires
most complicated
few
such an abundance
necessary to give a beginner
is
it
of pigments given in
is
artists
have them
to use
picture.
them
are
in
all
for
producing the
effects of colour.
able
their
are
sitting, or
new colour
of an old one, which
is
In
more,
box they
one
in
use
to
fact,
for
if
very
they
never likely
even over one
usually takes the place
discarded for the time
being.
The subjoined is a list

by some of our principal
of the palettes as used

artists,
and
it
will
be
observed with what very few colours they contrive

to give their effects
SKETCHIMG FROM NATURE
66
LIST OF PALETTES,
Leighton, P.R.A.
Sir F.
CHAP.
879.
Yellow Ochre.
Roman
Landscape.
(14 colours, 3 supplementary.)
do.
Burnt Sienna.
Ivory Black.
Cappah Brown.
Alma Tadema,
R.A.
Burnt Sienna.
Raw
Roman
(ii colours, 2 supplementary.)
do.
Ochre.
Yellow
White.
do.
Naples Yellow.
Jaune de Naples (French).
Yellow Ochre.
Aureolin.
Raw
Cadmium.
{Supplementary
Lemon
Brown Ochre.
Sienna, or
Orange Vermilion.
Chinese
Yellow, Pale and Dark.
Flake White.
do.
Red,
Light
or
Burnt
Yellow
Ochre.
Vermilion.
Burnt Sienna.
Venetian Red
Cobalt.
,
*
Indian
do
Green Oxide of Chromium.
Rose Madder.
Ivory Black.
Cobalt.
{Supplementary
Emerald Oxide of Chromium.
(Note. These colours are given in

the order in which they are placed on
Cadmium.
Madder Lake.
the palettel)
For
Vic AT Cole, R.A.
Skies.
Cobalt.
(14 colours.)
Pale Lemon.
Vermilion.
{All these colours are permanent.,
For
Flesh.
CohAt and E.
-< white
Oxide of Chromium
(
Vermilion
Lake
and may
be
mixed
together
freely withoutfear ofdeterioration,
as they do not act upon each other
in
gradations.
chemically
Mixed with white Cobalt

in gradations.
Zinc White.
Green.
Cobalt Blue.
VII
Ultramarine.
Cobalt.
Lemon
French Ultramarine.
Yellow.
Yellow Ochre.
Vermilion.
Raw
Indian Red.
Sienna.
Burnt
67
Purple Madder.
do.
Light Red.
Vandyke Brown.
Indian do.
Plumbago.
Madder Lake.
Raw Umber.
Cadmium
{Exceptional
Real Ultramarine.
Yellow.
Cappah Brown.
W.
Hook, R.A.
J. C.
(13 colours,
supplementary.)
Q.
Orchardson, R.A.
White.
{Figure.)
White.
Lemon
Naples Yellow.
Yellow Ochre.
Yellow Ochre.
Vermilion.
Roman
Yellow.
Indian Red.
do.
Vermilion.
Crimson Lake, or Madder.
Indian Red.
Vandyke Brown.
Antwerp Blue.
Rose, or Crimson Madder.
Deep Lemon Yellow mid Cobalt,
{Supplementary.
mixed.
Purple Madder.
Cadmium.
Cobalt.
Raw
French Ultramarine.
Light Red.
Sienna.
Vandyke Brown.
Gold Ochre.
Plumbago.
Black.
{Landscape
White.
Naples Yellow.
W. W. OuLESS, R.A.
Deep Lemon.
Yellow Ochre.
Roman do.
Deep Lemon Yellow and
1 1
colours, 2 supplementary.
Flake White.
Ceru-
leum or Cobalt, a mixture.
Lemon Yellow
Yellow Ochre.
{not for flesh).
))
68
Raw
CHAP.
Yellow Ochre.
Sienna.
Burnt Sienna {never for flesh).
Brown
Raw Umber.
Vermilion.
Vandyke Brown.
Light Red.
do.
Ivory Black.
Cobalt.
Extract Vermilion.
Antwerp Blue.
Ordinary
Burnt Sienna.
do.
Raw Umber.
Pink Madder.
Caledonian Brown.
{Supplementary
Black.
Cobalt.
{Supplementary.
French Ultramarine.
Lemon
Yellow.
Cadmium.
Oxide of Chromium
Pettie, R.A.
( 1
Madder Lake.
White.
Lemon
Raw
or Yellow.
Luke
Sienna.
Fildes, A. R.A.
Yellow Ochre.
Cadmium.
Vermilion.
Flake White.
Crimson Madder.
Yellow Ochre.
Cobalt.
Roman
Vandyke Brown.
Raw
Ivory Black.
Citron Yellow.
do.
Sienna.
Light Red.
{Supplementary
Cobalt.
Purple Madder.
Ultramarine Ash.
French Ultramarine.
Terre Verte.
Antwerp or Prussian
Caledonian Brown.
Blue.
Oxide of Chromium.
Brown Madder.
Bitumen {much
used).
Verona Brown.
H. Stacy Marks, R.A.

(i2 colours, 4 supplementary.)
Ivory or Blue Black.

{Supplementary.
White.
Yellow Lake.
Naples Yellow.
Burnt Vermilion.
VII
Rose, or Carmine Madder.
Raw Umber.
Marcus Stone, A.R.A.

Caledonian Brown.
Real Ultramarine.
Flake White.
Yellow Ochre.
Emerald Green.
Raw
Sienna.
Burnt
do.
Vermilion.
Indian Red.
French Ultramarine.
Peter Graham, A.R.A.

Identical with Pettie's, except
Raw Umber.
Terre Verte.
Ivory Black.
Ultramarine (Real).
{Supplementary
Oxide Chromium,
arid occasionally
Black Lead, for
69
Cobalt Green.
Caledonian Brown.
skies.
Lemon
Yellow, or Cadmium.
Crimson, or Rose Madder.

Fields Extract of Vermilion.
Val. Prinsep, A.R.A.
Colin Hunter, A.R.A.
(II colours, 2 supplementary.)
(15 colours.)
Flake White.
White.
Lemon
Naples Yellow.
Yellow.
Pale Cadmium.
Lemon
Raw
Yellow Ochre.
Sienna.
do.
Vermilion.
Raw
Rose Madder.
Cadmium, pale and
Indian Red.
Vermilion.
Sienna.
Venetian
Rose Madder.
Cobalt.
Cobalt.
Antwerp Blue.
Oxide of Chromium.
Antwerp
{Supplementary.
Blue.
Burnt Sienna.
Madder Brown.
Vandyke do.
Naples Yellow.
Caledonian
French Ultramarine.
Cappah
do.
do..^
or
deep.
70
For what
is
from Nature/'
Vicat
as Sketching
landscape painting,
would
be
Indian
red^
well
for
with,
would
it
list
than
Perhaps for quite a beginner
Coles.
work
known
ordinarily
viz.
CHAP.
be possible to have a better
scarcely
to
to
suppress
raw
sienna
they are colours rather
it
and
difficult
and our number of pigments would
then be reduced to twelve.
The
following are
water-colour artists
Sir
(
lists
of colours
used
by
James Linton, P.R.I.
Permanent Blue.
Ceruleum.
Terre Verte.
Yellow Ochre.
Burnt Umber.
Indian Yellow.
Rubens Madder.
Madder Red.
Venetian Red.
Ultramarine Ash.
Cyanine.
Hamilton MacCallum,
R.I.
Cobalt.
(lo colours, 2 supplementary.)

Indigo.
Burnt Sienna.
Chinese White.
Raw
Yellow Ochre.
Sienna.
Vandyke Brown.
Brown Madder.
Raw
Purple Madder.
Light Red.
Raw Umber.
Cobalt Blue.
Ivory Black.
Ceruleum.
Sienna.
Rose Madder.
Burnt Sienna.
Brown Madder.
[Supplementary
Ivory Black.
Light Cadmium.
Vermilion.
[Supple7nentary
Rose Madder.
Pale Cadmium.
French Ultramarine.
Transparent Oxide of Chromium.
VII
Thomas Collier,
R.I.
Brown Madder.
Vandyke Brown.
Purple Madder.
Yellow Ochre.
Gamboge.
Raw
71
{Supplementary
Sienna.
Permanent Yellow.
Light Red.
Brown
Rose Madder.
Extract of Vermilion.
Ultramarine.
French Ultramarine.
Ultramarine Ash.
Cobalt Green.
Cobalt.
Pink.
Sap
do.
Rubens Madder.
Turner Brown.
Indigo.
Burnt Sienna.
Raw Umber.
Brown Madder.
Purple
do.
Frank Dillon,
R.I.
Sepia.
{Supplementary
Brown
Yellow Ochre.
Pink.
Roman do.
Lemon Yellow.
Prussian Blue.
Vandyke Brown.
Burnt Sienna.
Light Red.
Indian
Keeley Halswelle,
R.I.
Lemon
Yellow.
Pale Cadmium.
do.
Dark
Deep Yellow Madder.
Yellow Ochre.
Raw
Sienna.
Venetian Red.
Rose Madder.
Orange
do.
Madder Lake.
Cobalt Blue.
Ultramarine Ash.
French Ultramarine.
Cyanine.
Terre Verte.
Raw Umber.
Lamp Black.
{Supplementary
Cobalt.
Cyanine Blue.
do.
Vermilion.
Aureolin.
Olive Green.
Raw
Terre Verte.
Venetian Red.
Sienna.
Burnt Sienna.
Rose Madder.
Raw Umber.
Prussian Blue,
72
E. A.
Waterlow, R.W.S.
CHAP.
Ultramarine Ash.
Transparent Oxide of Chromium.
Cobalt Green.
Rose Madder.
Brown Madder.
Venetian Red.
Burnt Sienna.
Cadmium.
Gamboge.
Raw Umber.
Lemon
Turner Brown.
Yellow.
{Supplementary
Yellow Ochre.
Yellow Madder.
Indian Yellow.
Raw
Aureolin.
Sienna.
Azure.
Vermilion.
Cobalt.
Indian Yellow.
A very useful
list
Reds.
1.
14.
Vermilion or Cinnabar.
of colours
is
the following:
Yellows.
Browns.
4.
Yellow Ochre.
8.
Burnt Sienna.
5.
Lemon
9.
Raw Umber.
Yellow.
2.
Carmine Madder.
6.
Orange Cadmium.
10. Sepia.
3.
Light Red.
7.
Aureolin.
Blacks.
Blues.
1.
Brown Madder.
{Supplementary
Ivory Black.
12. Cobalt.
13.
1.
French Blue.
Transparent Oxide
Chromium
of
or
Cobalt Green.
With
these almost
imitated that
is
any
Ultramarine Ash.
Cyanine Blue.
4.
Raw
Sienna.
effect of colour
seen in nature.
plete without the
2.
3.
The
can be
list is
com-
supplementary colours, which
need only be carried when great
skill
in
mixing
has been attained.
list
of six colours
is
here given, which con-
VII
tains, as
were, the pith of the larger
it
list,
73
and
very brilliant effects can be got with them.

1.
Aureolin.
3.
Rose Madder.
5.
Cobalt Blue.
2.
Yellow Ochre.
4.
Burnt Sienna.
6.
Black.
An immense
brightest to the
aureoliiiy
Mix
madder.
BROWNS.
and warm
with
Greens, from the
yellow ochre^ or burnt sienna with
Oranges.
it
of
variety
most sombre, are formed by mixing
it
either of the
Mix
Greys. Mix
cobalt.
burnt sienna and
madder^ or mix
Black and cobalt
will
and
sunset
warmed up
by an overwash of yellow
ochre^
If
Chinese white
aerial
afterwards
with perhaps a
mixed with
is
when grey paper
is
used, then
all
the colours,
Nos.
2,
7,
should be suppressed as too transparent.
if
they are mixed with the Chinese white

colour
it
well,
they
the course of years sink into the white
lose
10,
1 1
in sufficient quantities to
in
rose
rose 7nadder.
little
For,
cobalt.,
form a good grey
for rain clouds, especially if
and
rose
burnt sienna and blacky
madder^ and yellow ochre for
as
cobalt.
two with
with rose madder or aureolin^ or cool
cobalt with a little rose
greys.
first
nearly
all
their
strength.
But to our
will
and
list
we may add Indian red^ raw umber, and certdeu7n.

It is well to work in tempera (i.e. solid with
Chinese white) with as few colours as possible,
as
the tendency to produce muddiness with the
74
many
mixture of
colours
is
CHAP.
greater in solid
far
than transparent water-colours.
should also
It
be recollected that with tempera the colour should
be laid on at once as nearly as possible what

is
when
intended to be
finished,
it
and not touched
Beware of washing one colour over
afterwards.
another, especially
if
the former
mixed with
is
Dulness and muddiness are almost sure to
white.
result.
transparent
colour
may be washed
over an
opaque one to intensify
slightly,
but
must
it
be
or alter
it
done
it
extreme
with
caution.
We
have
already
the
referred to
idea that
water-colour paintings are not so permanent as

oils,
and are more
true
if
But
this
is
the water-colours are not kept in a
ciently
only
suffi-
dry place, nor protected from the direct
The
rays of the sun.
more
generally
is
likely to fade.
delicacy of their colour
lasting
than
with
oils,
as
is
there
no medium to turn dark by the oxidisation of
the
air.
Damp
is
With water-colour
with
oils
it
the picture
valuable
it
the great
it
finally
is
may
enemy
alike to both.
soon produces mildew, and
rots
painted.
the
canvas upon which
If the
picture
is
very
be worth while to remove the old
canvas and put new
in its place.
As
this
cannot
be done with water-colours, care should be taken

to
make
the frame as dust and
damp
proof as
VII
possible.
way
very good
colours, after thorough drying,
of framing water-
is
two sheets of
ing between
75
draw-
to place the
and
glass,
the
lute
edges with some damp-resisting material, such as
marine glue, or paste them round with

proofed paper and paste, and again
over
''
water-
pay them
with varnish.^
The only medium required in water-colour

Though many water-colour
painting is water.
mediums are sold and seem at first to be useful,
the practised artist very soon puts
Gum,
side.
for
should be avoided, as
for
but
purpose,
this
isinglass
up so quickly
in its use.
in
be
ends
in
may
in bottle that
few
thin solution of isinglass in water

will
add greatly
manently when work has to be done over

All these schemes
for
it
to
per-
it.
making water-colours
Waterproof paste may be made by diluting some cobblers
paste with hot water.
It
can also be
and alum with the ordinary
mix the materials

till it
it
will persist
the transparency of the pigments, and fix
resin
made
be
boiling alcohol, but
washed over a water-colour
and
may
transparent and
very permanent species of varnish
dries
shadows,
generally
yellowing the parts covered.
by dissolving
them on one
the
certain to crack
is
it
Water-colour varnish
spoil the picture.
used
up
bringing
boils
then
made by mixing powdered

To make it smooth,
flour-paste.
in cold water, put the

stir
and boil
pan on the
for a quarter of
fire
and
an hour longer.
stir
76
stronger will
most
is
have but
artists, as
a transitory
CHAP.
interest
to
they will soon learn that strength
got by a just regard to the relative colours and
tones,
and
not
to
the
intensity of the colours.
particular
brilliancy
or
ON COMPOSITION AND SELECTION
VIII
CHAPTER
77
VIII
ON COMPOSITION AND SELECTION OF A SUBJECT

two
If
choose
artists
same
the
subject,
as
frequently happens at well-known places abroad,
and both are conscientious workers,

theless,
pictures
very
at
unlikely
all
may be equally
much better
be
like
in
simply because the
they
that
one
like
is,
will
another,
nature
it
never-
produce
though
both
generally one will
composition than the other,

artist
who
did
it
knew most
about composition, and therefore chose his position
best.
This
is
even
more the case with
photography than sketching.
We
frequently see
photographs of places that form the most charming pictures, but more
frequently
not forming any picture at
know
we
find
them
though we
all
their subjects to be beautiful.
knowledge of composition
and even a few

sides
all,
is
very important,
rules are very useful.
of a picture
should
The two
nearly balance each
other, either in interest, or mass, or
both combined.
78
The most
where
the
compositions
pleasing
masses do
not
CHAP.
are
those
each other,
balance
but the smallest
mass
should
have the greater
One
interest.
of the
simplest
forms of composition
may
be
seen in an egg
Fig.
9.
Example
laid sidewayS
of Egg-shaped Light
and illuminated
by one point of
A mere
light.
be called a picture, but Fig.
Fig.
10.
Dark
the distance on the

to
left
balance the strong
egg could scarcely

9
is
one, because
against Light.
is
sufficiently interesting
mass on the
right.
In
VIII
instance dark
this
the reverse
is
is
taken encircling
sided
(as
is
but
light,
When
equally good, as in Fig. lo.
the composition of the ground
79
unavoidably one-
almost any view of Gibraltar, for
in
example) interest
may
be given by clouds or by
large figures in the foreground, or both (Fig. ii).
The
great use of foreground figures
to
is
add an
interest to the picture in the right place.
In Fig.
is
a drawing of the Porte Saint
Croix at Bruges, a delightful old gate, and

of lovely colour
yet
when drawn by
full
itself it is
one-sided in composition, and poor as a subject.
To
centralise the
picture, introduce to the
right
one of those old Flemish barges so often seen on

the canals in Belgium (see Fig.
sail-cloth
man from
afternoon,
3).
piece of
has been spread to protect the steersthe hot mid-day sun.
and the barge has come
It
is
now
late
to rest for the
8o
and
night
moored
is
womenkind have taken

clothes,
and
the
to
the
right
CHAP.
The
bank.
the opportunity for washing
looking
are
sailors
condition of the rigging.
after
the
This concentrates the
much on the barge, and to make a

we must have minor interests in other
interest too
picture
parts also.
We
will
therefore introduce
cart
going into the gate, and more barges moored on

Finally, white clouds are put in
the other side.
with the greatest mass behind the dark mast of

the front barge, and our picture
picture
lines as well as
many
be
others
or
sketch
masses
by Turner.
in curves that
may
is
complete.
be composed
by
such as Calais Pier^ and
The
lines
should always
have a tendency to run to two
VIII

The
balancing points.
curves should,
never be a part of a circle, but be
if
some
8i
possible,
irregular,
yet true curve, tending towards parts of ellipses.
Fig. 13. Picture of Same.
hyberbolas,
or
Such curves we can
cycloids.
trace in Fig. 13.
To form
good composition, not only the
masses combined with interest must balance, but

the
another.
but
is
be
should
light
possible
upon one
The egg
too
must be a
rigid
as
point
is
for
much
and
concentrated
the
a perfect example of
pleasantness, and
It is a great
little elastic.
as
shadow on
all
this,
rules
mistake to
82
the
force
nature
that
but
and
light
the
subject
planes of different
itself in
Thus, the sun shining straight on to a
values.
illuminates
field
and
the
illuminated, the light has a
tendency to arrange
flat
chosen so
be
In nature, unless
itself.
artificially
is
unlife
points
into
should
subject
does so of
it
shade
CHAP.
nearly equally
it
a bad and
is
it
upon nature by lighting the

central spot
field
over
all
improve
system to
false
strongly in one
and keeping every other part lower
in tone.
It
this
unfortunate for beginners in art that so
is
man
great a
as
Rembrandt should have
system of grouping lights and shades to the
extent he did.
inside a
true,
room
It
is
it
is
extremely fascinating, and
or house
but in the open
light,
it
air,
never true, though
figures this
out in his
Louvre.
that
and
perfectly just
is
and especially
in sun-
Rembrandt, who
had contracted a habit of lighting
and
practised
pictures
his
way, actually carried the same
picture, the
Good Samaritan^
So much worshipped
is
the
in
this great
man
any number of excuses have been framed
this untruth,
artists
and
it
over and over again.
of forcmg the
for
has been copied by modern
lighting of a
The
vicious
landscape
is
habit
much
indulged in by the modern French and Flemish

schools.
French
artists,
with
whom
the
writer
VIII
expostulated upon
has
nature, but argued
picture that
that
rough-and-ready
way
but
as
it
it
was not
picture
should
it
English and French landscape pictures
those
by
Daubigny, and others, do not contain
it.
the
if
light
nature upon
between
it
is
is
in
a deep wood,
or
spot,
when
its
effect
in
where a gleam of sun

dark and stormy clouds,
rift in
beautiful
and should be copied exactly,
natural and not forced.
centration of light
but
as
crags, or
lofty
happens to be concentrated
one
passes between a
it
not be
is
not necessary to a good
it
amply proved by many of the best
is
Millais,
for
That
nature.
then
is
It
by a student sketching from
practised, especially
Yet
in
for
would not be other-
artificial
is
it
was necessary
in
of getting interest concen-
where
it
prevalence
be so arranged.
should
it
trated on one spot

;
great
admitted freely that
their school,
wise
its
83
is
For
this con-
a beautiful thing in
itself,
could not possibly happen in nature
it
is
incongruous
totally
against truth and good taste.
It is
and
not
militates
uncommon
to see in France moonlight pictures wherein the

light falls full
middle, are
centrates
upon a
some
his
figures to such
flat field
figures.
light
on which, near the
The
artist often
con-
on one spot near the dark
an extent that to be natural the
ground must be almost
in a liquid condition.
It
84
is
very
called
effective,
but such a
CHAP.
dodge,' for
it
can be
by no other name, should be avoided.
Of course, when the greatest dark and highest

come in juxtaposition the strongest effect is
light
produced
in
a picture, yet this should always be
got naturally, not

I
where the
o,
We
artificially.
figures
come
again in horses drinking (Fig.
Some
The
even when everything
The
is
it
7, p. 35).
colours
of the
and
sails
and darks to be grouped
is
in
the
glare of the
full
play of light on the water, the forms
of the waves
when
in Fig.
They may be placed any-
sea.
different
hulls permit the lights
sun.
it
of the easiest things to group are boats
and ships on the

where.
have
against the sunset, and
if
the sea
smooth,
all
is
rough, and the reflections
lend themselves easily to
grouping of the most complicated and delicate

kinds.
In
all
compositions there should be one chief
point of interest.
to the
number of
If
it is
large there
subsidiary
points
graduating from the principal one

that are of very small value.
advisable not to put too
many
especially for a beginner, yet
have more than one.
This
is
no
limit
of interest,
down
to those
In a sketch
it
is
points of interest,
he should always
may
be taken
as
marking the difference between a study and a

sketch, for in a study the only thing
aimed
at
is
VII
to
do some particular thing with the
The study
realism.
of a
figure will
is
same
will
characteristic feature of interest in
For example
the background or foreground.

14), here
utmost
be of the
figure alone, but a pleasing sketch of the
introduce some
85
man
asleep,
who by
(Fig.
himself would
be sufficiently uninteresting, but by the addition

of surroundings a most charming and interesting
sketch
is
is
The near
sail
drawn up on the
not a person moving.

carrying
learn that as there
fallen asleep at the tiller,
nothing to do.
boat
We
made.
wind he has
out
the
hangs
beach,
A delightful
calm
of the
is
no
from having
idly,
a small
and there
little
picture,
is
incident,
is
the
86
CHAP.
motionless windmill at the top of the slight rise

in the distance.
trees lightly indicated behind,
shade, birds, or
some other
cottage might have
door.
sketch
Fig. 15.
aloft,
have some other
sketch of a tree would
little
in the
sketch of a
some one coming out of the
of a
Sketch
some sheep
object.
ship
might show
of Wheat-field (by H.
S.
sailors
M.)
boat on the sea near, or scudding
clouds overhead, with seagulls sailing through the

air.
But
Here
is
it is
not necessary to have
an example without
a charming
little
it
life in
a sketch.
(Fig. 15).
This
is
sketch of a wheat-field by Mr.
Marks, wherein the trees
in the
background, with
the field beyond and the numerous
little
stooks.
VIII
go
to
make
it
87
of interest, though there
full
no
is
whatever.
life
In
put
we should be
composition
all
in incidents that are
careful not to
not likely to take place in
nature, such as an elaborately-clouded sky with the
landscape below in
sun
full
huge pieces of wreck
from an old line-of-battle ship of a hundred years
ago
boats
foreground of a picture of modern
the
in
only yesterday
painted
Bedowee,
fighting costume, with long guns
up a
spears, riding
and
street in Cairo or
in
still
full
longer
Jerusalem
or an Italian peasant in gala costume working in
the
Or
fields.
effects,
again, in landscapes with strong
do not put long and strong shadows on
the ground in a picture where the sun's disc
is
already half down, or bright high lights on the
edges of things just below the moon, when near

the horizon, or a ship
calm
through
might
examples
mistakes, that
likely to
water,
be
and complete want of
running
sail
etc.
of
fast
Many other
most common
disregard of what
total
nature,
in
full
quoted
show a
happen
in
etc.
is
and a gross ignorance
careful study or thought.
In former times nature never seemed enough

for the artist.
He
always added to
richer than he found
may have
tion
all
it.
it
to
Now we know
make
it
a picture
the requirements of a good composi-
and yet may be perfectly
natural.
The
great
88
photography has made
Spread of instantaneous
abundantly
this
plain.
many
If
we
number
look over a
photographs we
of instantaneous
CHAP.
may
pick
pictures,
and there
no
possibility of contrivance
when
the incidents are arranged
is
in these as there is
the slower processes of photography.
for
curious
how
notice
to
the
the
less
aware that they are being taken,
beautiful
is,
is
are
more
the
Not but what
often becomes.
it
It
figures
in other words,
more natural the composition
the
out
that in composition and effect are beautiful
there are
many more examples
of bad than good composition,
but when
it
is
it
good
is
has a charm about
it
that
possessed by the works of the greatest
only
masters.
We have already
a
stated that shipping composes
very well seen if we look at

number of instantaneous photographs of water
This
itself easily.
We
subjects.
ones.
Here
pushing
off
is
can generally pick out some good
is
an example (Fig.
the
in
boat
of
principal object in the picture.

to be a little too
position,
much
it
with the
is
form
the
They would seem

left
com-
helps to disturb
even more towards that
but the point of interest
dog that
course
The men
to the left for free
and the boat on the
the balance and put

side,
i6).
made by
the poor
being sent unwillingly home, combined
little
boat in the distance, and row of
VIII
marking the
floats
net,
again centralise the com-
position without effort or stiffness.

tion
is
This
slightest,
so
that
is
illustra-
made
reproduced from a tracing
from the photograph, and
the
89
direct
not altered from
we have a
real
it
piece
in
of
natural composition.
Below, Fig. 17,
is
another instance, also traced
from an instantaneous photograph.

is
a road on the outskirts of Cairo.
The subject
The town is
seen in the distance cut off from the rest of the

picture
by a horizontal flood-bank.
Over
this
peasants are seen descending and forming a curved

line
towards the front of the picture.
The
that are in the extreme foreground look as
figures
if
they
had been placed there on purpose to balance the

composition.
Three women are talking together.
90
CHAP.
make them all out, as they are"

covered by melayahs'^' and make a confused mass
with the bundles they have been carrying.
The
man on the right mounted on a donkey, which
but
turns
the
difficult to
it is
head to look
its
composition
There
right,
is
in
left
Selection of a
it
flitting
Subject
over
it,
to
the
while on the
It
is
strange what a
takes before the beginner can learn
to choose a subject that

attract
manner.
there are cultivated fields with spring
vegetation.
long time
women, completes
unconventional
pond of water behind him
with swallows
extreme
at the
an
composes
him too much, such
trunk, a beautiful
well.
Details
as a splendidly rugged
group of
flowers, a
charming
VIII
most
reflection, or a
all
and he
rustic cottage,
his attention
rivet
poor and uninteresting

or
and
other
beside
which one and
regardless of surroundings,
when
surprised
is
his sketch
looks
it
better
if
is
interest of
way
of doing this
is
the general
causes
detail
done how
put upon a wall
We
compositions.
should always regard general grouping

special
91
An
later.
and
first
admirable
to half close the eyes,
which
and
light,
grouping of
lines
shade and colour, to become more easily visible
on account of the attention not being drawn
by the
It is also a great assistance to
detail.
up the arm
in front of the face,
off
put
holding the part
from the elbow to the wrist horizontally, and to
move
up and down
it
until
you see where the
subject had better be cut off for the bottom of
Then
the picture.
along
it
better
vertically
the other hand

to
full
may
be moved
where the sides had
Sometimes the subject seems a
come.
beautiful one, as a rich

in
see
and splendid
bit of
heather
bloom, with perhaps some cottages and
fir-trees
at a
and distant
little
hills
distance, rather
beyond.
Yet we
on one
find
it
will
side,
not
and we try
compose
into an interesting picture,
vain the
moving of one arm up and down, and of
one hand backwards and forwards.
in
Suddenly a
man and
loaded donkey emerge from the cottage
gate and
come
slanting across the picture towards
92
US,
CHAP.
child stopping at the door to see
little
him
off.
Immediately a good composition appears, and we

only have to copy that to secure our
picture.
However, most probably nothing appears
at
all,
and then we have to put our man and donkey

from some other place, but
him
till
as well not to begin our sketch unless
it is
in
we have imagined
it is
indeed a mere study of heather to be used on
some
future occasion.
made
as
may
as
study
and
finished
that in copying
In such case
it
as
as nearly
be to working actually from nature.
then always done for a special purpose,
is
improve yourself
to
should be
careful as possible, so
we should approach
of use, and ought not to be shown.

it
it
in
You may do
drawing a special thing,
and may make many of them, but only show
them
to a master, or
some one from whom
it
is
desired to get information, and not for the purpose
of giving pleasure to others, for in that you will

certainly
fail.
purpose of using
picture, but this
this
book
study
be produced for the
when painting a
afterwards
it
is
may
going beyond the function of
to consider.
The French
consider that
a landscape
picture unless there are three plmtes or parts

first
plane or
foreground,
the
is
no
the
second plane or
middle distance, the third plane or extreme distance.
An
endless variety
may
be given to the
VIII
93
composition by varying the size and importance of

the three planes, but they should always be there.
If the third plane
is
missing a close and shut-
produced.
in feeling is
little
somehow
should be got in
cannot be done a
fine
sky
peep of distance
or other, though
will
if this
sometimes act as a
third plane.
If
the seco7id plane
Though
theatrical.
mountain scenery, we
is
not seen the effect
is
nature occasionally, as in
in
may have a fine landscape

we know and feel
without a visible second plane,

it
must be
This feeling cannot be put into
there.
a picture, but
it
can be suggested by an eagle or
floating cloud.
If the first
plane or foreground
omitted
is
all
strength goes out of the picture.

Lastly,
if
both the second
are wanting, the sketch

picture,
is
it
is
and the
third planes
neither landscape nor
And
only a study.
even
in
a mere
study (to be used perhaps as a background for

flgures)
there had
some gap
in a wall
in a
some break or
best be
hedge, an open gate or a
hole,
window
through which you can catch a glimpse
of distance.
The advice of a celebrated picture-dealer to a

young landscape artist was, Never paint a picture
with a shut-in composition.

like
to have pictures
People inside rooms
which when they look
at
94
they can imagine themselves
seeing
CHAP.
oi^t
of to
something bright and fresh beyond.
To
choose a subject well
think of
with
how
or
strong
it
will
without
effect.
those which
you should perpetually
compose in your sketch either
the
accessories
The most
of
figures
or
interesting sketches are
depend upon
effect
or
figures
for
their strength.
Figures play so important a part in composition

that
it is
chapter.
as well to consider
them
in
a separate
ON FIGURES IN LANDSCAPE
IX
CHAPTER
95
IX
To
place a
having
it
figure well
on the
landscape without
in
spot, so that
not only
poses well but seems to stand in
ground,
is
really a
most
people never learn to do
difficult
it.
its
it
com-
place on the
Many
thing.
Their figures are
either too large or too small for the place they
occupy.
We
must have a
feeling
perspective in
for
order to place them well as regards standing in

the right place for their
it
is
size.
To
get this feeling
as well always to introduce figures
rules
down
set
in the
by the
chapter on Perspective
(p.
6) whenever a perspective drawing is attempted.

Another way is to make some one stand on the
1
spot where the figure

so
as
to
get
the
is
intended to be introduced,
size,
which should
then
be
measured most carefully against the distance.
The
three small drawings. Figs.
from sketches taken by Mr. Marks
i8,
19,
20,
for this very
96
purpose, will serve to
The
more
this
illustrate
CHAP.
fully.
position of a figure six feet high against the
horizon at a distance of thirty

artist
was standing,
feet,
when
seen
represented
is
Fig.
in
the
1
8.
The same figure at the same distance, drawn

when the artist was kneeling, is shown in Fig. 19.
Observe how in the latter sketch the landscape is
reduced
in
vertical
Fig.
height, so
the horizon
that
t8.
Fig. 19.
Figures in Landscape (by H.
S.
M.)
comes about the centre of the back instead of

at the shoulders as
vertical
reduction
landscape
for
is
in
the former sketch.
example,
figure to the gate,
The
proportionate throughout the

the
spaces
and from the gate
from
to the
the
hedge
beyond, are reduced in the same proportion as
Now,
the total height.
scape as in Fig.
8,
we have introduced
if
we had drawn our
and then
at the place
the figure
land-
where
we had put one
whose shoulder only reached the horizon,
it
would
IX
look too small and be too small,
97
though with
would not be so evident as
single figure this
a
if
there were a second figure correctly put in some-
where out by the gate.
If the
drawn by the
they were
field is
level,
and
when he was
artist
standing, their shoulders ought to be both on the
horizon
or, if
the artist was kneeling, the horizon
should cut the same part of their backs.
Where
will come
was
the ground descends a

higher, as in
thirty feet
of the ground will
much
so
Fig. 20,
In fact a
off.
in
position
of
relative
the
head
of
the
almost
put
in
it
ground
yet
if
by
is
it
rule if the
at all
uneven
they do
will
landscape
XT C M.)
T\T N
(by h.
s.
They have
much according
feeling of the artist as to
it
fig. 20. figure in
not
be introduced very
If,
fall
figures are placed
incorrectly
friend
figure
and
rise
impossible to
look right.
to
where the
little
figure
and the horizon, that

is
the horizon
make
difference
the
little
what
like
Mr. Marks, the
who
will sit
artist
and stand
to
the
is right.
has an obliging
at various distances,
be most excellent practice to draw him
over and over
again.
He may
H
not be pictur-
98
CHAP.
esque, but he will be far better practice than the
most picturesque
in
drawn from
figures
nature, put
afterwards in places on the picture where the
originals never
were
This practice
in nature.
is
of
course exclusively for study, the drawings are not
show.
for
beginner need not mind
nothing he does
For the right introduction
of figures
necessary that they should be well, even
drawn.
this,
as
be really worth showing.
will
if
it
is
roughly,
best for the student to go through
It is
a regular course of figure-drawing from the nude

at
some school of
and
from
Take every opportunity
art.
you have of drawing
memory,
figures,
directly
both from nature

seeing them,
after
trying, in the latter case, to catch the character
more than
make
to
It utterly stunts
It is
Never copy.
a pretty sketch.
imagination and self-dependence.
important not to do
this,
as in the long run
you must depend upon yourself
master
is
of
how to advance
come when they will
use to beginners to show them

step
by
step,
but a time
will
have to run alone or not at

to get into the habit
early on.
at the
will
be
Be
It is best
of depending on
self-reliant,
same time humble,

far
all.
then
yourself
but never forget to be

for
your best attempts
behind the great masters, and very
far
behind nature.
Nearly every beginner has a tendency to make
99
the head of a figure too large, the legs too short,
and the
feet too
This arises very much
small.
notice
any one
carefully unless they are standing close
by them.
from the
They
fact
that
few people
are thus seen in violent perspective,
unduly
head being nearest appears

the feet proportionably small.
twenty
at least
or else place
is
as
feet off
and the
with
large,
Place the figure
when drawing a
full-length,
on an elevation, so that your eye
it
nearly on a level with the centre of the body,

in
way exaggeration by
this
reduced to a minimum.
larger
in
proportion
the natural
foot
is
is
much
than
most
to
the
Few know
people imagine.
perspective
Feet are generally
equal
figure
that the length of
to the length of the
fore-arm measured from the projecting bone at

the back of the wrist to the point of the elbow
where the arm
To show
is
bent.
the effect of placing the eye at different
heights relative to the figure, here are two sketches
traced from photographs taken fifteen feet from the

sitter at
The
two
first
different elevations (Figs. 21
and
22).
sketch represents the appearance of the
figure with the
eye
five feet
from the ground, or
about the height of the eye of an ordinary
The head and upper

for the legs,
part of the
body appear
sitter.
large
and the hands look particularly big
as they are so close to the eye.
Most beginners
lOO
would have made the hands
CHAP.
small, even
though
they saw them large, and would thus have got

the drawing entirely
wrong
at that part,
Fig. 21.
when the
Fig. 22.
Effect produced by having a Figure too near the Eye.
simple
way would have been
farther
off.
The second
to put the figure
sketch (Fig. 22) shows the appear-
ance of the figure when the eye
is
only two feet
IX
above the
level
Observe how
on which the figure
makes the
tall it
is
lOI
standing.
figure look, because
the perspective reduces the size of the head and

shoulders.
pearance
feet
If,
is
much
then, so
difference in the ap-
produced by a difference of only three
between the heights of the points of view, and
so far off as fifteen
feet, it
easily be under-
will
stood what great exaggeration would result with

the very
common
distance of eight or nine
For drawing the general

twenty
least
outline, a distance of at
recommended.
feet is
The generally received

figure
Leonardo
through
and
proportion for the
that of Vitruvius, as
is
given
is
in
da
the
is
human
handed down
to us
Vinci,
annexed
The
illustration (Fig. 2 3 ).
of the whole figure
feet.
length
represented
as divided into eight parts.
One
goes to the head, three to the
body
to
the
fork
and four to the

in
the
knees.
of the legs,
legs,
divided
middle just below the
The
tips of the fingers
should reach half-way between

the hip-joint and
knee.
The
Fig.
23. Proportion of
THE Human Figure.
length of the hands should equal

the
length of the face, and the
one-sixth the length of the body.
feet
should be
102
CHAP.
very seldom that any one possesses these
It is
known
proportions exactly, though some have been

to
do
but the more nearly they tend towards
so,
them the
As
more noble
finer or
will the figure appear.
a rule, in nature the head
seventh, the fork
the
and
legs
In fact
we
say one-
larger,
lower down, and consequently
feet
shorter.
always keep their place on the

fore with the
is
The hands
legs,
nearly
and are there-
arm longer than the Greek
proportion.
generally approach more nearly to the
ape than the
figure above.
classical
It
well,
is
however, always to bear the true proportion in
mind, and
see
how
nearly the
you
figure
are
drawing approaches them, and then make your
The
study.
length of one-sixth for the feet
scarcely ever found in nature,
A proportion
very large.
t.e,
man
six feet high
and a half
inches,
or
and
if
so
of one-seventh
common
It is
scape,
is
is
looks
better,
would have a foot ten
woman
five
dimensions, and not at
feet
three
These are
inches high a foot nine inches long.
very
it
all
too small.
best to choose rustic figures for a land-
for,
besides the fact that fashionably-dressed
people (especially men) look positively ugly in

landscapes, the fashions change so rapidly, that in
a year or two the sketch will look
and
fail
to give pleasure.
out of date,
Children and old people
look nearly always well and
harmonious
in
an
IX
103
English landscape, and these, luckily, are the most

easy to persuade to
sit.
half an hour will suffice to
an introduced figure
for
With
make
in
little
a very
a picture, and
soon get used to his asking them to
like
it
study
if
the
staying in any country place the rustics
artist is
will
practice
fair
(if
not kept too long
they find that a
trifling
at
sit,
a time)
tip is the result
and
when
on each
occasion.
Sometimes an opportunity occurs of an unconscious model, as in the sleeping
of which
we should take advantage.
ample of good
This
is
boatman
rustic figures
also reproduced
figure studies of
is
(p.
85),
Another ex-
given here (Fig. 24).
from another of the clever
Mr. Marks, and represents two
boys, one already asleep, and the other tending in
104
CHAP.
that direction, in the hot sunlight of a summers day.
But
it
find to
is
seldom that any figures we accidentally
study ever
fit
away from them.

hands as mere
by
into landscapes that
we make
Generally they remain on our
worked
studies, or are
into sketches
Special
slight addition of interesting incidents.
figures
must be obtained, as a
rule, to sit for in-
troducing into a picture, or they have to be drawn
without nature, and great indeed must be the
knowledge of an
successfully.
artist
he can do that
before
They should never be
should be more blocked in than drawn

are even
again,
more
difficult
in.
than
and
large,
Animals,
and
figures,
should only be introduced after a great deal of

individual study.
Photographs, especially if they are instantaneous,

give a great help to the study of animals, and for
a black and white drawing they

(This
directly copied.
may
may
be sometimes
be considered as an
Good photo-
exception to the rule given above.)
graphs are always instructive, the drawing
if
so
After turning over
beautifully correct in details.
many,
is
they are well selected,
it
feels
almost
impossible to look at sketches except by the very

first
masters.
cannot
lie
It
is
but this
said
is
that
photograph
certainly not the fact.
representation of nature to
be
true in relative values of light
true
must be
and shade, as well
IX
Now in
as true in drawing.
105
the former particular
The
photographs are often very wrong indeed.
and brighter the colours the farther
clearer the air
from nature they
graph
sunlight with
its
almost equal
If,
boat
and
sky,
brilliancy
seen
in
full
shining out dazzlingly
sail
blue
a photograph in
get
example, we photo-
for
Nile
or
white
deep
the
against
are.
dahabieh
in
the
reflected
we
shall
will
most
water,
which the
sail
with
appear slightly darker than the sky, and the
likely
reflection
disappear
will
Again,
altogether.
bright orange dress against an intense blue door
look like a dark dress against a pale door.
will
In drawing, also, a photograph will be sometimes

in the way mentioned (p. 99), and
known how a building may be made to
a monstrous size, when it is really small,
misleading,
it is
well
look of
simply by contrivance in placing the figures and

the height at which the camera stands or
a lens
may
by using
High mountains
of short focal length.
look poor and low by introducing too
much
foreground.
On
service
The
taking
liberties
Nature
with
great
has been done to art by photography.
public
are
character and
more
weed out the bad

one time
artists
critical
drawing, and
in
are
the
matter of
better
able
pictures from the good.
used to take
liberties
to
At
with nature
io6
CHAP.
way that would not be permitted for a

moment now. The great arch-liberty-taker was
a
in
He
Turner.
into one sky
He would
and
would put the sun, moon, and

helped his composition or
if it
stars
interest.
put trees growing in impossible places,
making a view of a well-known town
in
would put that which was behind him into the

view
in front,
and he would
Any
were mountains.
And
yet Turner
is
hills till
they
one who now did the same
would not have
things
up
pile
his
pictures
looked
a great man, and
at.
we always
gather knowledge and strength from looking at

In early days he copied nature with
his works.
an almost slavish
gained was
it
like a
knowledge he
the
was able
to take
actually seen
it
at
it
well.
and made
all,
mountain, as
real
that height.
tried
to
it
If
if
he had
any one with
less
do the same he would
have made
likely not
mountain
hill,
mountain ten times as high, he yet
seem to be a
knowledge had
most
and
that he
he painted a celebrated
appear
made
care,
great
with nature afterwards, and do
liberties
When
so
it
look like a real
but like paint and canvas.
One
of the marks of a great landscape painter seems

to
be that he can alter nature
could do
so,
well.
Stanfield
though not to the same extent as
Turner, so could
Crome,
or, to
Claude, and Salvator Rosa.
go farther back,
None
of these
men
IX
107
could have done such work without having previously obtained a great knowledge of nature from
and minute study.
careful
All great painters, both of figures and land-
begun
scape, have
the
same
and
careful way,
works of those who were afterwards
early
are hard
freest
the
in
and generally disagreeable from
The same path
intense study.
of study must be
followed by the amateur, and though he will not
have time to do as much,
work
in
Very
likely
hard, and
let
he
will
end
producing a confused,
in
disagreeable
Let him not be

Take something very
result.
discouraged, but try again.
simple at
him always carry the
pictures or studies as far as he can.
his
say a cup and saucer, an apple or
first,
other fruit on the table, and go on to things more
complicated,
such
as
Then
trunks.
tree
do
branches, and finally leaves, and distance beyond
Above
them.
all
things
let
him be
careful to get
the relative values or tones correctly, for that
way
the only
In
of keeping things from confusion.
making a sketch the only
may now
take with nature
is
water, so as to
objects
Perhaps
that
it
we
sort of liberty
to slightly alter the
grouping of the objects, such as rocks,
composition.
is
trees,
and
make them more harmonious

Sometimes we
would
just
mar
have
to
the whole
in
remove
scene.
happens that an awkward-looking
tree
io8
CHAP.
or a branch close to the artist crosses his picture
and
view of a charming old bridge or
spoils a
house or
castle, whilst this is
the only good point
from which to take the view at
Under
all.
circumstances the tree or branch
may
these
be omitted
provided they are not necessary to
in the picture,
the history or character of the place and do not

fill
up too great a part of the sketch, as the parts
hidden by them
have to be put
will
being seen at the
moment
in
in
without
front of the artist,
unless he can
dodge about and peep round the
As
such parts are always done worse
obstacles.
than the rest of the picture, the sketch had better

not be
it is
made
if
they are likely to be large.
Besides
impossible to judge correctly beforehand of
the effect that will be produced by leaving out any
large or important part.

this is
when a
distant view looks lovely through
the interlacing branches of
but when
we
we probably
It is
new
familiar instance of
some foreground
trees,
get round to the other side of them
find the
view
is
poor and uninteresting.
very dangerous to introduce an important
part
foreground.
a sketch, such as a complete
in
To
from nature, and
be at
it is
good
all
difficult to
it
should be done
make
what we have already.
It is
too small, and
be found
is
liable to
perspective from the
rest,
new
it
tally with
apt to be put in
and then
it
in a different
has
all
to be
IX
109
Besides this
difificulty
altered in order to
fit it in.
of perspective there are the values and colours,

etc.,
which cannot be compared properly with a
distance to which this foreground does not naturally
Hence these other
belong.
qualities are almost
sure to be wrong, and cause the
be a
Only small
failure.
tone
things,
new foreground
where the
to
relative
easy to determine, should be introduced.
is
For instance,
we look
drawing a
in
river scene,
where
across the river and see a delightful
bank
and peep of distance beyond, we must beware of
new foreground on our side of the

make a foreground by a
boat or some other incident, the value of
putting in a
river.
sailing
which
It
possible to
is
easily determined if
is
before our eyes whilst
we have seen
boat which
passing
we were working, and
the boat to be added can be
tance.
it
then
drawn from another
anchored or fixed at the right
is
white
and
sail
its
reflection
dis-
always adds
wonderful interest to a river sketch.

It is
much
easier,
having got a good foreground
and middle distance, to add an extreme distance

from
elsewhere
ordinary
the
is
will
is
that,
under
pretty nearly always the same,
and on account of
perspective
being
value as regards the other parts
effects, its
of the picture
reason
its
nearness to the horizon the
generally similar.
probably draw
it
But the beginner
on too large a
scale.
lO
The
limits of the liberties that
CHAP.
we can with any
safety take in sketching from nature are narrowed

into these.
We may
suppress an ugly object
small enough, or introduce an
into the sketch, provided that in the latter case

is
not the view of a special place
On no
account should
we attempt
middle distance, for that
is
if
extreme distance
we
it
are taking.
to introduce a
the most difficult to
render well and requires the greatest care in getting

its
right relation of tone
and colour with the
This subject of relative tones or values

important
that,
though
it
rest.
is
so
has been touched upon
several times previously in this work,
worthy of having a chapter devoted to
it
is
itself
well
ON RELATIVE TONE OR
^VALUES
CHAPTER X
ON RELATIVE TONE OR VALUES
In talking of values we may mean either the
one part
relative tone or the relative darkness of
of
reference to colour, for

talk of the value of
picture,
The term has no

though we may sometimes
with another.
picture
when we
some
talk of
particular colour in a
values
we
are speaking
of the strength of the different tones in the picture
white and absolute black.
between
when we speak of the

shade,
all
we take
value
into account
and every other shade
Upon
its
And
of a particular
relative
depth to
in the picture.
the true rendering of the relation of the
depth of one tone to another depends the whole

of
the
of
effect
standing out
a picture.
The
of rendering
in
is
light
and shade, and
of the
of one part from another part in

result of the
absence of this truth
one of the most marked features
the works of amateurs.
They
making the foreground dark,
think that by
or the lines thick,
1 1
SKE TCHING FROM NA TURK
they can bring

reverse
intent
it
Many
people again are so
on studying the form of each individual
object in the picture, and

that they forget to
making
compare
So much
around.
is
when perhaps the very
forward,
required.
is
chap.
it
right in
itself,
what
carefully with
the case that the
this
is
it
pre-Raphaelites were quite unaware of the true
value
studied each
pictures are
in the
They
one object bore towards another.

separately,
flat,
degree
it
and consequently
their
the foreground does not stand out
To
does in nature.
modern
the
French school must be given the credit of carrying

the study of values to
its
greatest refinement.
Rembrandt had a great
feeling for
be said to be the pioneer of relative
was the pioneer of

things
lit
up by a
etching.
it,
and may
to7te^
In the instance of
single point of light he
a perfect mastery of
in all its details.
it
well to study his pictures, for this reason

other.
Velasquez
is
far
as he
showed
It
is
if for
as
no
more subtle than Rem-
brandt in his relations of tone, and his pictures

should be
much
studied,
and they may even be
copied in black and white, though only for the
purpose of studying the relative values.

painter of nature he stands in
all
the other old masters.
nature
in
every touch
values, right in colour,
he
As
marked advance of
There
is
and right
is
vigour and
always right
in texture.
in
ON /RELATIVE TONE OR VALUES

To
house,
can be
study values
as
is
subject
the
made
it
simple.
best to
commence
the
in
to draw
Out of doors things are
in
and
light
Here
everything continually varies.

to
II3
you are about
necessarily complicated
good subject
>3
commence upon
shade, for
is
a very
(Fig. 25).
We
have a table with a medium-coloured cloth upon
it,
rather light than dark.
darker wall.
paper, and
On
upon
it
the table
Behind
is
is
a slightly
a sheet of white
a green glass Greek wine-bottle,
a pear, and a black dabber for etching.
It
is
quite unnecessary to have these exact things for

study, only have something white
I
and something
II4
black, with
two or three colours
example runs
from white to black somewhat thus

pear,
drawing
wall,
bottle,
and
by drawing an upright
centre of the bottle
pagne-bottle
and
it
the paper,
dabber.
In
and a stump.
this use black chalk
Begin
The
between.
in
scale of tone of the objects in the
table-cloth,
CHAP.
may
line
for
the
be an empty cham-
a horizontal one for the back
of the table.
Settle the size
picture,
you are going
make your
to
and leave about one-eighth of the whole
height above the top of the bottle and bottom of

the paper.
Draw
in
the outline carefully as regards the
sizes of the objects
and
their relative position, but
Be
not necessarily neatly.

sides of the bottle the
Put
as
you
in the
same
careful
to
make
the
size.
background with strokes as evenly
can, but going in different directions, as in
the sketch.
Rub
in the black
dabber
(it
may
be a black
cherry, black-handled knife, anything really black),
and make
Put
it
as black as
you
can.
in the table-cloth in the
same way
as the
background, only make the lines more horizontal.
Leave a perfectly blank space
And now
for the
white paper.
put in the bottle, being careful to
leave the high light places.
Rub down
115
with the stump.
Compare each value
nature with the black
in
dabber as you are doing
and compare them
it,
also in your drawing.
When you
think you have got
compare them with each

is
and the bottom
lighter.
Do
them
right,
Note that the
darker than the background
top of the bottle

is
other.
not be too solicitous about the reflected
Try and get tho gejteral tone right.

Always half shut the eyes when comparing
lights.
values.
thousand
It
is
little
the
only
details
way
that
to
eliminate
the
divert the attention
from the values.
You
will
most
likely find
that, as
related to
each other and not merely to the black dabber,

or to the white paper, your values are considerably
wrong.
Alter them to look right with each other,
but always go back to the black and white, and
compare them with
those.
Finish with the eyes open, but keep continually
comparing the values, both
in
your study and
nature, with the eyes half closed.

in
with the point, rubbing
Keep
down with
in
putting
the stump,
and picking out with bread, as described before

33) in drawing with fusain.
(p.
Do many
and
subject.
of these studies, varying your light
Ii6
There
no such thing as absolute values that^
is
down on
can be put
the paper at once and
exactly into their places.
all
CHAP.
It
and depends not only on the
is
all
fall
relative,
upon
light that falls
your subject, but that on your paper, the intensity

of the blackest
mark
that you can
make with
So
your chalk, or the whiteness of your paper.
you
will
have to try many times, and go frequently
over the whole drawing, before you arrive at even

a comparatively satisfactory result.
have done
this
you
When you
have learned more about
will
from any number of sketches
relative tone than
taken out of doors.
You may
in the
get a
more
refined
example of values
study of a glass of clear water placed on the
By means
table-cloth.
of carefully-studied values
of different parts of the water against the tablecloth,
and only by
this
means, can
appearance be given to the contents of the

even when the drawing
After practising
house,
is
watery
glass,
not particularly accurate.
upon many objects
among which may be
in
the
usefully included casts
of heads and hands from the antique, and always

carefully studying their values against the back-
ground, you
doors.
It
may
try a sketch from nature out of
would be better
still
practice of working in black
much
detail
should not
to continue the
and white, and too
be attempted.
Avoid
ON RELATIVE TONE OR
Keep up your
getting tired of your work.
and
if
VALUES
colour assists you to do
means sometimes, but

do many studies
more you do
it is
so,
use
117
interest,
by
it
all
absolutely necessary to
black and white only, and the
in
at first the quicker
you
get on
will
afterwards.
Take
your
at first a subject with the sun rather in
face, so that the objects in front relieve
from those behind (see Fig.
selves easily
Block the forms
in
them-
9, p. 78).
values,''
and try and get the
as seen with the eyes half closed, as quickly as

possible, before they
have time to change.
The
time taken ought scarcely ever to be more than

half an hour.
After acquiring sufficient

oil-colours
may
be used.
skill
The
with charcoal,
colour will be an
additional difficulty, but you should attend less to

it
at
first
than
to
the
sketches, about six inches
Make
values."
by
four, as
you can, without attempting any
detail,
noting the values and colours.
fully
called
impressions," and should be
numbers by
all
landscape
artists.
but care-
These are
made
It is
small
quickly as
in great
only thus
they can get a true appreciation of natural colour
and
tone.
Their work, after a course of them,
will acquire a solidity
and strength that
it
had no
trace of before.
Effects with the sun behind the artist are the
ii8
most
and should only be attempted
difficult,
considerable
full
CHAP.
skill
after
obtained in doing sketches
is
Everything depends upon such
of shadow.
slight gradation of tone, mixed with a strong

shadow here and there, that unless the tones are
most carefully studied it would look harsh and
When
unnatural.
much more
there
no sun the values are
is
than
delicate
when
there
is,
and
although they seem always the same, yet they

are constantly varying from hour to hour.
study before the
trained to
memory
remember the values
harmonise throughout the

stant shifting
much
a great deal of practice and
It requires
careful
so that they shall
picture.
and change of
sufficiently
is
It is
effect that
the con-
forms the
great difficulty in out-door painting, especially in
England.
may
This
that, as a school,
respect.
we
day
weak
in this
Besides, in southern or eastern climates,
where the weather

as
partly account for the fact

are particularly
after
is
more even,
it
is
far easier,
day at the same hour the
practically the same.

Italy or perhaps
An
Egypt
is
artist
effect is
when painting
often, without
in
knowing
Eng-
much more correct in his

land, and when afterwards
looking through his
sketches he
their vigour,
it,
is
surprised at
values than in
though
perhaps without knowing the reason.
picture or sketch in which the values are
correctly
represented will always
make
another,
where they have not been properly studied, look

poor^
however carefully the
worked.
details of the latter are
Correct values in a picture are also
sign of culture in an
artist.
Values are the only means of eorreetly represent-
ing
effects.
The importance
of the subject can scarcely be
over-estimated, and
study devoted to
If
their
you
It
manly, sound
delightful
the
it.
desire to learn
importance
about Art.
much and long should be
is
in
art,
more about values and

get
Wm.
Hunts
Talks
a book in which you will find
common -sense, mixed
with some
dashes of American humour, not
in-
troduced for the purpose of making you laugh,

but because the author could best express himself
that way.
He
has the happy knack of impressing
important things on the reader.
120
CHAPTER
CHAP.
XI
HINTS ON MANIPULATION IN OIL COLOURS

Setting
way
is
Palette.
the
Every
A
of setting his palette.
has
rule,
pet
his
however,
the
middle of the outer
rest in a
curved row, beginning
to set the white
edge and then the
artist
good
in
with yellow and running through orange, brown,

red on one side, and blue, green, and black on
There could not well
the other side of the white.
be a better way.
edge
By
placing the white on the
can easily be combined with any of the
it
other colours, while there
is
a large space
left
near
the middle for mixing.
Painting
you can
Always
try
and
in the first painting.
and somewhat
flowing,
do
as
much
Use the brush
and put the colour on
as
full
in
masses as square as possible consistent with nearly

getting the forms of the objects.
Do
mix
the colours on the canvas but on
the palette, and
when you think you have obtained
not
the right tone and colour put
it
clean and square
'
XHlrjOiiOPi
:
.
tUUl
...
ON MANIPULATION IN
XI
This rule
on the canvas.
v.K
OIL COLOURS
121
of skies
in the case
capable of considerable amendment, but for

the foreground,
strong work, especially in

necessary to adhere to
brush, except
and obtain clean
one against
mind
if
make
it
is
it
the
first
were, pressing
be very
will
it
Never
the work look rough.
long as
this so
strong
At
another.
not to
in
by bringing the
lines
different tints close up, and, as
difficult
is
it
closely.
it
Always use a hog-hair

finishing,
is
all
strong,
and
it
look
will
the relative colours and tones are right.
There are several forms of hog-hair brushes

the round,
or square
little
used,
flat,
and
for ordinary sketching
The
are not required.
with
with either rounded
The round brushes
points.
and
thin-flat,
rather rounded
even for painting
ones should be chosen
flat
points and
Very
skies.
are very
from nature
flat
long hairs,
full
ones, with sharp
square ends, are for foreground work or where

great decision of outline
is
When
required.
the
brushes are small and the hairs are short and
ground truly to a good
may
such
work
fine
be done with the corners that a sable brush
will scarcely
work.
chisel edge,
The
be required even for delicately-finished

finer
rushes in the
long-haired
branches of
round
diameter, after as
sable
much
long
trees, grass, or
foreground can be put
brush
of
in
very
with a
small
as the general tone
and
122
shape as
This finishing should be put on while the
hair.
other
done with the hog-
possible has been
is
CHAP.
somewhat
is
wet, with a
may dry and

When this cannot
look
put
sary to
be done and
latter
This thin film of
that
in
the
it
other.
becomes neces-
it
touches over
the
should be rubbed over
first
and wiped with a
rag.
finishing
linseed oil
little
with
unison
in
the
in
dry paint, the

with a
brush of not too
full
and must be so worked
liquid colour,
oil
not only forms a key or
new work,
connecting link between the old and
but makes the old work look nearly as
if
it
had
just been painted.
Those colours that dry the quickest should

be put on
first
and the slower
otherwise cracking
is
the colours
before
driers
above them,
almost sure to come, even

thoroughly
are
When
dry.
the slow -driers are placed over the quick -driers,

their
drying
is
much hastened and
the
others
impeded, and the over-colours will assuredly crack.
Thus the slow-drying madders dry rapidly when

glazed
over
and flake
raw tmberj yellow
wkite^
and
if
the
vermilion^
ochre^
latter
are painted
over the former they impede the whole drying

of the picture.
This
is
particularly
the
case
with
bitumen^
that tempting but ever-to-be-avoided brown, for

it
is
painted into or on the top
of, it
is
if
sure to

ON MANIPULATION IN
XI
OIL COLOURS
Even when
cause the complete ruin of the picture.

it
dry and when used
seems to
drying colour,
123
as a glaze over quick-
will cause the varnishing to crack.
it
Another cause of cracking comes from
manner of laying one colour over

second
is
quite dry),
it
still
will
be
tacky
in a
(sticky
with not being
manner stretched by the
drawing of the brush over the surface of the

crack
will
normal
If the
another.
too dry in the brush and laid on while
is
the other
and
the
in
unstretched
picture,
tendency to return to a
its
condition.
Therefore
we
should always paint with a wetter colour over a

drier one,
and then the lower one
appreciably, even though
by no means
Most colours dry with

speed,
still it is
Reds,
Indian Red,
and
as well to
will
dry.
evenness of
tolerable
remember
that of
Browns,
Yellows,
move
not
Blues,
Cadmium,
The Umbers,
Strontium,
Cologne Earth,
Naples Yellow,
Cappah Brown,
Ceruleum,
flake white are quick-drying colours
whilst
the slow-drying colours should only be used for
the upper painting, and are as follows
Reds.
Yellows.
Browns.
Blues.
The Madders.
Aureolin.
Raw Sienna.
Mummy.
Ultramarine Ash.
Sepia.
Vandyke.
Whites.
Zinc White.
Purple or
Brown Madder.
Antwerp Blue.
124
CHAP.
Other colours can be used either above or

below each other.
Painting with
\\\o,
palette-knife should be
Though many
but rarely.
done
have been
fine pictures
entirely painted in this manner, they are fine in

spite of their handling,
which can never be any-
thing but rough.
also a laborious piece of
business.
It
a purity of colour
Still
immense
combined with
certain circumstances,
of a picture
is
it
may
under
and,
be employed on parts
when sketching from
rough bark of a foreground
obtained,
is
strength,
nature.
The
the sudden and
tree,
bright patches in the sunset sky, and extra bright
of high
touches
the
light
palette-knife,
used,
are
and certain
liable
to
but
should
it
by an
injured
be
with
sparingly
Naples yellow,
colours, such as
be
done
can best be
iron
palette-
knife.
It
may
be taken as a
instrument and
maxim
special effect, but the artist
that every special
produce
can
material
its
own
must avoid using any
one instrument too much, as
it
is
pretty sure to
be much worse than an ordinary tool for general

purposes.
The one exception
brush, which can scarcely be too
A softening tool
is
used
all
the
hog-hair
much employed.
particularly useful for an evenly
gradated blue sky, but

effect if
is
it
gives a poor
over the picture.
It
is
and weak
not often
ON MANIPULATION IN
XI
wanted, and
OIL COLOURS
scarcely worth carrying
is
when
125
sketch-
ing from nature.
In painting
into a habit of
we must be careful to avoid getting

making small short dabs with the
Let each stroke be carefully
brush on the canvas.

put
in
it is
and of a
In painting skies
definite shape.
necessary to do a certain amount of blending
of the colours after they have been put on the
canvas
and
it is
to darker colour
paler than
always
we
always best to blend from lighter
and
to paint the
intend
it
goes down,'
than when
first
shall
i.e.
whole somewhat
appear when dry, as
becomes
The whole sky should
put on.
be painted in one day, or while the paint

as
this
the only
is
way
in
which the
the colour
is
painted part,
will
if
made
to
match the
not be in right tone with the
alteration
unusual
can
skill
be
allowed
and knowledge
In sketching from nature
For
for,
it,
old,
on drying
This
first part.
but
requires
it
in sky-painting.
it is
best to begin
and putting
broadly, so that
we may
in
method
it
is
by
upon
the principal shades
get a rough idea of the
intended general effect of the picture.

this
if
newly-
the
carefully blocking in the subject with charcoal
the canvas
wet,
allowed to dry and another part of
then painted next to
is
is
proper
gradation of tone and colour can be got.
the sky
it
duller or darker
impossible to be at
Without
all
certain
126
CHAP.
we have got the subject in the best

With charcoal-drawing it
on the canvas.
position
that
with
fixed
charcoal
more
(see
fixatif^'
may
or
37),
p.
be blown off and the
carefully with
is
the
lines
then
loose
put in
raw umber and turpentine.
a good plan, even
This
is
used,
making a kind of monochrome drawing with
if
the
fixatif'"'
the different values fairly represented.
is
The
also
best
of turpentine should be used and the colour
spirits
put on thinly and transparently, no flake white

being mixed with
it.
This
dry directly out
will
of doors, and the actual painting of the picture or
sketch can then be commenced.
Having got the form
right,
is
it
best to begin
by painting the sky and putting in the highest

light with
may
parts
colour.
Some
great solidity.
be then scumbled
Now
that both
shade are on the canvas,
in
of the darker
with transparent
extremes of light and

it
will
be easy to put
the intermediate tones with certainty.
in
The sky
and distance should be painted entirely with
solid
colour, but towards the foreground glazes of the
quick-drying colours mixed with

used,
and the higher
lights
medium may be
and half-tones may be
painted with them, the original glaze on the canvas
being here and there

a rapid and easy
but
it
requires
way
some
left in
the shadows.
This
is
of painting foreground work,

skill
to get the glaze suffi-
ON MANIPULATION IN
XI
ciently near the right tone
part of
it
This
127
and colour to leave any

putting on
is
with a brush with very

it
COLOURS
without alteration.
Scumbling.
bing
OIL
little
paint in
the colour
it,
and rub-
about on the canvas so as to smear the
colour evenly on the surface without showing the
brush marks distinctly.

for intensifying shades,
mixed with a
little
medium.
used, otherwise a dull
produced, and
it
the higher lights.
Scumbling
is
very useful
when the colour should be

It
should be sparingly
and rather spotty
effect
is
should never be employed over
128
CHAPTER
CHAP.
XII
ON THE STUDY OF SPECIAL OBJECTS AND EFFECTS
Colour
is
in a
and we may have
as relative as tone,
two pictures that are equally
and painted
One may be
very different key.
another too yellow in
right,
cold and
warmth, and yet each
its
represents sunshine, and looks perfectly right
Another may be
itself.
scintillating
with
with,
adding a
get
all
most
depends upon
It
what
and what our temper of mind

It is
and yet be
colours,
brilliant
equally conscientiously done.
what colour we begin
is
light
we work
most easy to do a grey picture where, by

little
of one pigment or another,
we can
our varieties of tone and qolour, and
difficult
it
is
and requires the greatest culture
to
make
it
look right and not gaudy.

will give a feeling of
the
in,
at the time.
paint one with brilliant colours and yet
way
by
soft in tender greys, or
life,
If
grey one never can.
supposing the subject
is
it
reality,
not
all
looks right
and vigour
This
grey
is
it
in a
always
in nature, as
in
AND EFFECTS
SPECIAL OBJECTS
XII
fog or mist
in
129
such case, of course, bright
colours would be out of the question.
masterpieces, note what
In a picture
one of Fortuny's
full of brilliant colour, such as
large part
grey and
neutral colours play in order to produce the effect.
the arrangement of the different colours that
It is
and of
gives the brilliant effect,
colour there must be
of brightness
given
is
if
portions of the rainbow.
It is difficult to
first,
very pleasing effect
the colours are in the pro-
parts blue, five parts red,
colours at
little.
really pure bright
This
measure the amounts of
Yellow, for example,
colours
is
used nearly
Red
very attenuated.
blue in
dark
all
different
and of course the above proportion
only holds good for the colours

hues.
roughly eight
is
and three parts yellow.
all
is
in their brilliant
mixed with other
over a picture, but

in
all
the browns, and
The
the shadows and blacks.
in a picture
should be, as a
is
light to
rule, three or
more
to one.
I.
In painting skies we should seek out the
highest light and put that in

all
are
the rest subservient to it
many
clouds
but
if
it
first,
and then make
This
is
when
begin at the top with the blue as dark as

tended, and paint
downwards towards the
mixing continually with

with yellow ochre.
If
there
be a pure blue sky,
flake
white
is
in-
horizon,
tinged
you are painting a sunset
130
effect, it is
best to begin with the brightest parj:
A softening tool
and work upwards.

to get the
but
is
it
better not to use
and the second more

is
may
be used
smoothness of the gradation of a sky,

it if
but paint in the sky twice, the
This
CHAP.
can be avoided
it
first
time very
same
thinly, with the
especially the case
if
there are
solid,
colours.
many clouds,
then a softening tool should not be used.
for
make impressions
recommended for landof canvas.
Have these
very good plan to
It is a
of skies only, as before
scapes on
small
pieces
always ready pinned
in the lid of
and when you see a good

tiful
effect
your paint-box,
cloud or a beau-
bit of
take a rough sketch of
of light
always attending more to the
relative
values
colour and tone than to the exact form.
way, and only
in this
way,
will
anything
knowledge be obtained of sky, which
landscape.
After doing
many
of
In this
like a true
is
often, if
most important feature
not generally, the
it,
in
of these, perhaps
one or two every time you go out sketching, you

learn to get
will
work
more
you
precision even while
quickly, and be able to
make
a really
fair
representation of a passing effect or cloud without
making
very
for
it
it
look
stiff
last qualities
and laboured.
These are the
a painting of sky should possess,
should always be freely and lightly put
Take
care
that your clouds
in.
are grouped
in
AND EEFECTS
SPECIAL OBJECTS
XII
131
masses after the laws of composition given before

(p.
77) for objects, and not scattered evenly over
the sky, as sometimes happens in nature.
This
is
and should be no more represented than an
ugly,
ugly and characterless face in figure drawing.
Here are two examples of

first
(Fig. 26)
Fig. 26.
nearly
all
of the
Study
of Cloud and Sea.
same
size
spective to the horizon.

natural,
but not
(Fig. 27) the
Cloudland.
worth
clouds
are
and going
Everything
doing.
off in per-
piled
up
like
perfectly
is
In the second
not only grouped,
there are two layers, one of the great
under,
is
The sky has become a
interesting as
but
cumuli
mountains of cotton-wool,
and the other above, the long streaks of

clouds.
The
shows scattered nodules of clouds
cirrus
cloudscape, and
a landscape with
its
hills
and
132
There may be many layers of clouds, and
sky.
the
CHAP.
more we have the more
sure to be.
landscapes.
that have been given before for
On
Fig. 27.
account of the transitory nature
Study
of Cloud and Sea.
of vapour, and the consequently short time
have
for
making a study of a
skies are rarely well done.
amount of
is
The grouping and composition have
same laws
the
interesting the sky
practice,
and
It requires
real
we
cloud, complicated
an immense
love of the subject,
to attain to anything like success in this direction.
When
falling rain
is
coming from a cloud
in
SPECIAL OBJECTS
XII
front of lighter clouds
AND EFFECTS
note the direction of the
streaks of rain (Figs. 28 and 29).
curious that
appear at
if
the rain
first
33
is
sight to
It
is
rather
falling heavily the streaks
go
in different directions
with the same high wind, according to the distance

the rain
is
Fig. 28.
The
(28 and 29)

rain
is
The two
from the spectator.
will
Top of Hind-Head
explain
in
this.
figures
a Storm.
In Fig.j28 the
supposed to be close by, and the streaks
represent the lines of falling drops, the direction
of the wind being from the right.

is
falling
in
sheets, these
''
When
the rain
sheets or waving
masses of drops, flying before the wind, have a
tendency to form misty streaky masses nearly at

right angles to the line of the raindrops, as shown.
34
CHAP.
In the distance these sheets are the only things

seen,
and they appear as
streaks,
in
Fig.
29
in
the opposite direction to those in Fig. 28, although

the wind
same
actually the
is
The wind
is
of
course stronger high up than near the earth, and

therefore the top of the advancing cloud
Fig. 29.
faster
than
its
Hind-Head,
under
side.
Surrey.
This makes
travelling clouds appear to be sloping
the wind.
rain,
for
The same
travels
fast-
away from
thing happens with falling
the upper part travels the fastest, and

sheets of rain that
therefore the
tical if there
were no
wmd
from the wind, as shown
would
be ver-
away
The whole
slope over and
in Fig. 29.
storm has a movement toward the
left,
owing
to
AND EFFECTS
SPECIAL OBJECTS
XII
the wind, so that each drop
way from
the
rain
quite a different
falls in
the groups or sheets

is
When
of rain.
heavy these
not
and
visible,
135
sheets
not
are
the distance the shower has the
in
High up
general appearance of a mist.
the
in
air also the streaks of rain will get twisted in
manner of
owing
directions,
in the velocity of the different layers
simple sunset sky
is
all
to the constant variety
of the wind.
one of the easiest to do,
with a few long bright clouds near the horizon
Be always
and torn fragments above.
make your sky dark enough to

You will at first
bright clouds.
careful
to
give value to the

inevitably
make
it
too dark, but do not be discouraged, you will learn

presently what a small difference there
is
between a
bright sky and bright clouds, and how that difference
becomes very
visible
when
the lines of demarcation
between the colours are sharp but not hard.
As
the sun sets,
if
the sky
unclouded, the horizon

beautiful
rose
which
tint,
is
pure or almost
opposite will
can
be
assume a
represented
with carmine madder and vermilion^ with yellow
As
above.
ochre
tinted
band
will
the
rise,
sun descends
blue of ceruleum^ with a
The
rose
this
rose-
showing a slate-coloured
little
black underneath.
band can often be traced
like a circle all
round the horizon, being lowest where the sun

has
set.
As
it
rises
on the opposite side to the
SKE TCHING FROM NA TURK
36
sun
it
becomes
self altogether
west
the
it
till
it
loses
it-
all
trace of red has died
greyish -green
pale
is
always, and finally over-
When
spreads the sky.

in
fainter,
near the zenith, the grey (which
the twilight) follows
out
and
fainter
chap.
is
left.
This colour can be usefully made with yellow ochre
and French ultra7narme^ mixed with a great deal
becomes greyer and
of white.
It
disappears
when
it is
and
it
It is
England
the atmosphere in
these effects.
night.
We may
clear
is
call
fainter,
till
it
not often that
enough
for
the ideal sunset,
it
helps us to understand the gradual fading
of light in other sunsets.
After the sun has set sometimes the sky at

the
horizon
above,
brilliant
and
becomes darker than the sky

orange clouds, which
just
most
appear
over the place where the sun has dis-
appeared, are no brighter in
greeny-white
sky
above
value
them.
than the
These
bright
streaks of cloud should be represented with the
purest reds and yellows,
have at command.
7nilion^
useful.
and
rose
mixed with
Cadmitun^ lemon
or
the
full
yellozv^ ver-
carmine madder are
Never mix more than two together
time, or the result will be dull.
Take
you
white,
most
at
one
care to give
value to the gradation into the dark sky
overhead, for by that means you will give brilliancy

to
your high
lights.
AND EEEECTS
SPECIAL OBJECTS
XII
and are
If the clouds are fleecy
37
at a great alti-
tude they will become most brilliantly lighted a

short
light
time after the sun has
Just as the
set.
seems fading out of the actual sky, which
begins to get the greenish hue mentioned above,

the high clouds begin to be illuminated with an
orange
gradually
light
fading
into
The
red.
orange clouds make the already greenish sky look

greener
still
by
contrast,
sometimes takes
it
till
an emerald hue, very beautiful both to see and

to
paint.
It
can be rendered by putting some
lemon yellow with
the French
yellow ochre spoken
of above.
clouds the later they are in
from the setting sun, so
one
after another
cloud-layers
in
The
reflecting the light
there are
This beautiful
many
layers
sufficiently
to
effect
requires
the
distinguish
painting, so as to
prevent the colours
from becoming muddled together.
example of high
higher the
becomes illuminated while those
below are fading.

great care
if
and
ultramarine
wonderful
reflecting cloud-like substance
was
1883, after the eruption of
November
Krakatoa.
Here the
illumination did not reach
its
seen during those gorgeous sunsets in
till
quite an hour after sunset,
light
had reached the higher
greatest
intensity
by which time the

air
where the filmy
ashes were floating.
Always, even with dark
skies,
keep them
light
138
they
will
earth.
It
in tone, as otherwise
on the
the objects
appear to stick to
us, that
how
surprising
is
pale even the darkest skies are.

after sunset, or at least
CHAP.
It
when night
only long
is
upon
close
is
the clouds seem to have a tone approaching
Sometimes a black cloud, with the
that of earth.
then seem
pale green northern light under
it,
positively to stick to the trees
and other objects
that intersect
It
it.
very
is
difficult
to
give
what colours should be used.

ferable in the sky,
colour
will
any
as
rules
Ceruleum
to
is
pre-
and much nearer to the
real
than French blue or
are both very useful
cobalt^
though they
when mixed with
it
or lemon
yellow.
For clouds
balt^
and
vermilion^
little
the high
in
and yellow ochre

lemon yellow
ochre
of rose madder.
or
little
may
shadows,
yellow
ochre
all
the pearly tints of
collect that vermilion should be used with
to
not
it
is
overcome the
so
opaque.
Antwerp
Never
in
little
be added, with a touch
Almost
clouds can be produced with these colours.
caution, as
co-
for the
Towards the horizon a
lights.
more yellow
broad daylight mix a
Re-
extreme
a very powerful colour and apt

cobalt
It
or other blues that
should
not
be
used
are
with
blue.
let
any more than one spot
in
your sky

AND EFFECTS
SPECIAL OBJECTS
XII
be pure white, and generally
let
even the highest
toned to pale cream-colour.
light be
doing light cirrus clouds
In
139
touch them
it
is
better
to
with a long-haired brush over the
in
blue sky while
wet
still
is
it
but with dense
or heavy thunder clouds, never let your blue sky
be previously painted under the place where they

are to go, for the blue colour will inevitably shine
through
in time.
In painting
2.
the colours should re-
distaîces,
semble somewhat those used
The
tones should be kept
the sky or clouds.
in
flat,
and
as little detail
The
as possible allowed to enter into the work.
outline should, except in the case of fog, be clear
and
distinct with very careful drawing, but should
not be hard.
The
difference of tone
between the
extreme distance and the sky, and between one

part of the distance and another, should be very
Italy
very clear atmospheres, such
In
slight.
and
in the
East,
you
will
as
in
sometimes see a
great deal of detail in even the extreme distance,
but
you compare
if
will see at
it
with the foreground you
once what extremely delicate differences
of colour and tone produce

3.
all
In studying water or
the detail.
sea^
remember
that
there are always three points to be borne in mind,

viz.
{a?)
The
reflection of the
sky and objects.
40
(^.)
The
(<;.)
Its
CHAP.
colour of the water.
transparency and power of refraction.
All these acting together at the same time give
we
the utmost variety of colour to water, so that

shall often
have to bring into play the
of our palette in painting
Water
Reflections in
4.
smooth
fectly
accurately as
When
a mirror, up
to see through the water, or,

its
parent,
Close by,
colour.
we
is
per-
to
a point not far
Nearer than that we begin
distant from the eye.
see
water
everything perfectly, as
reflects
it
power
full
it.
if it is
if
we
dirty,
the water
trans-
is
shall lose the reflection altogether,
only see the objects at the bottom.
shall
and
acts, in
It
exactly like a transparent sheet of glass.
fact,
cases where the water
is
very deep,
In
colours
its
form a species of backing to the surface, and we

are able to see near objects that are very bright
reflected
are
in
their natural
colours, but those that
very dark appear the colour of the water.
This
is
particularly
marked
in the reflection of a
small boat in deep water close by

tion, or, as
it
is
us.
often wrongly called,
simply seems to take
ofiT
The
reflec-
shadow,''
the glare of the sky from
the surface, and one sees the colour of the water,
green or blue or even brown, as the case
An
object on the water can only cast a
when
the water
is
comparatively opaque.
may
be.
shadow
In this
AND EFFECTS
SPECIAL OBJECTS
XII
case
we
reflection,
side
frequently
The shadow
pictures, as
it is
shadow and
the
the sun
if
of the spectator, and
horizon.
on one
low on the
not too
some
In
is
seldom represented
is
not beautiful and takes
look of water.
the
both
see
and most strongly
141
cases,
in
away from
the sun
if
is
rather behind the spectator, and the surface
little
is
troubled, so as to practically destroy the
reflection,
and the water
loses the look of water,
be dry ground.
is
very opaque,
it
entirely
and might perfectly well

say that water
It is needless to
with this effect should not be selected for sketching.
Clouds produce a shadow on water, even

is
quite transparent,
if it
and the cooler shade of the
shadowed water, mixed with the brighter colour of

the
parts, gives
sunlit
delightful
variety
the
to
surface of the sea and enables waves to be seen

clearly
and separately
for painting.
Small waves appear most vigorous

a grey day
when the
light
waves crested with foam are most

bright
day when the sun
form on
but large
effective
rather
is
in
in front,
is
on a
behind the
spectator.
When
a boat
coming from the

boat
is
visible
is
near a wave with the light
farther side,
if
the keel of the
through the water, the colour of the
water where the light comes
always a beautiful green.
in
under the boat
This
is
caused by
is
re-
42
and where
fraction,
it is
strongest
it
CHAP.
will, as it
were,
blot out anything that could otherwise be seen at
bottom, even where the water
the
perfectly
is
transparent.
Reflections in perfectly
smooth water appear
always the same depth below as the height of the

Just above
object above the surface of the water.
the
first
cataract of the Nile stands the beautiful

Philae,
surrounded by the water of the
banked up
into a kind of small basin-like
temple of
river,
lake
is
by the
Being
rocks.
in
a hollow the water
way
frequently perfectly smooth, in a
rarely
if
ever seen in this country of troublous winds, and
we
shall take
it
here as an example (Fig. 30).
reflection appears precisely the
would
if
it
were
exactly
same
object
is
as the temple
reversed
below the surface of the water.
The drawing
what happens.
The
downwards
Observe then
of this
reversed
not the exact counterpart of the drawing
of the temple above.
It is
seen from a different
Those things that are near the
point of view.
edge are higher comparatively to those that are
Some
farther behind.
nade seen behind
things, such as the colon-
in the
gap of ruined
wall, just
to the right of the boat in the centre, disappear
altogether
in
the
reflection.
The palm-trees
appear higher compared with the temple beyond.
Then again the
reflection of the stones in
front
XII
SPECIAL OBJECTS
AND EEEECTS
143

144
than
smaller
rather
is
the
same
looks the
in
themselves
stones
The
because of their roundness.
CHAP.
boats reflection
height, as well as the dahabieh
the distance.
Rule for drawing the
Suppose the surface of water

it
till
of any point
reflection
place where the water would reach
down
onwards
to be carried
Mark
be exactly below that point.
the
and measure
to,
same distance
vertically exactly the
as the
This gives the place
height of the point above.

of the reflection.
The
great and inviolable law of reflection
that the angle of incidence
Here
angle of reflection.
explain
will
To
the
is
little
is
diagram that
(Fig. 31).
it
left
a tower
is
represented standing on
The eye
a low platform above the water.

spectator
is,
always equal to the
is
on
seen
the
It
right.
of the
the
sees
reflected top of
the tower, along

the line from
through
The angle
Fig.
to
31. Reflection in Smooth Water.
makes with a
angle
vertical line
makes.
The
is
first
it
to T.
the
IJne
from the eye
the
same
is
the
as the
angle
of
reflection, and the second the angle of incidence.
Now,
it
is
very evident that
if
we supposed
the
SPECIAL OBJECTS
XII
AND EFFECTS
45
tower reversed below the surface of the water, as
shown by dotted
lines,
the line of sight to T'
would be the same as the other
line as far as the
direction from the eye went; that
is
appear
in the
same place
The same reasoning
Now
you, and observe what

it
little
is
and place
mirror,
would
it
applies to the platform P.
suppose the water
Take a
to say,
as the reflected tower T.
is
a
it
little ruffled.
on the
reflected in
away from you, and you
level before
it.
Now
will see
more
of the lower part of the same objects, then
towards you and you

part.
will
see
tilt
tilt
more of the upper
waves have the trough running across
If
the line of vision, the upper part of each trough
on the side near you resembles the mirror

position,
first
in the
and the far side the mirror in the
Thus we
second position.
shall
have
in a series
of waves a series of reflections, some of the part
above and some below the normal
The second diagram
reflections.
will illustrate this clearly.
For the sake of simplicity only two waves are
drawn
The
(Fig.
32).
principal
of reflection
shown
and
it
are
as
before,
will
be seen
that the top of the
tower
is
lines
reflected
in
3
two
m
places,
rough Watbk.
one close by

46
the base,
and the other
the near
wave.
The
the
at
platform,
CHAP.
nearest part of
P,
reflected
is
near the same place, while the part of the water

that before reflected
is
how
T now
reflects the
streaks of sky appear
among
sky
This
the fragment-
ary reflections of objects on the shore.
them are again
Parts of
reflected quite near the eye,
we get the rule that

When the water is slightly
and
thus
are elongated^ but lose in
broken
into
This
where
but
is
is
Ruffled
shown
in
Water at
from
the
Phil^.
the annexed illustration,
water
slightly
ruffled
instead
of
(Fig. 33).
Observe the
so
for they are
seen the same view of Philae as before,
with the
smooth
intensity^
by fragmaitary reflections
Fig. 33.
sky.
rujfied the reflections
much
reflections of the near stones are not
elongated as the temple and the dahabieh
in the distance.
If the water were
still
rougher,
the intensity of the reflections would be so small

that they would practically disappear altogether.
SPECIAL OBJECTS
XII
AND EFFECTS
147
we have shown
In the diagram (Fig. 32)
two waves as having smooth
the
If they
surfaces.
were very small ones, such as those caused by a

very gentle breeze, or those
of things passing on the
made by the movement

surface when there is
no wind, or by any merely slightly disturbing
force,
we should
then the surface would be smooth and
have the streaks and flecks of sky and other objects
But
intermingling in the reflections.
comes
in
if
the wind
any force on the water, the surface
mirrors that the eye
and can only take

tone
we
chiefly
is
not able to see them
is
in
their general
from the
so
all,
That
tone.
reflection of the sky, for
most of the surface of the waves next us
see
that reflect the sky, as at
higher
the
surface
will
waves
be
the
The
reflection
if
(Fig.
32),
and the
more the sky -reflecting

and the
seen,
reflecting surface can
cloud,
is
moving
cut up into small reflecting and constantly
less
the
object-
be seen.
of the sun, moon, or a bright
not too high in the heavens, generally
appears as a vertical streak on the water that

elongates and becomes weaker as the surface gets
rough.
When
the
horizon,
unless
the water
reflection
sun
moon
or
is
very
touches
the
smooth, the
disappears altogether, as the reflecting
surfaces are those on the farther
of each wave.
When
half
and
down
invisible side
there
is
never
SKETCHING FROM NA TURE
148
any
CHAP.
water
reflection, unless the surface of the
absolutely
still
and
half,
then
it
would
is
a reversed
reflect
by any chance show a long
never
vertical streak.
Smooth
colour of
sea
it,
from the horizon.
and
difficult,
In this
sometimes
The
horizon.
sea
case
When
often
the surface
impossible,
seen
on
it
above,
vertically
behind
which,
us,
up,
and as
more
still
and
if
the
but
it
it
is
Mediterranean.
slightly troubled
is
somewhat higher
roughens
see
to
effect,
the
ally darker, the horizon of the
As
extremely
is
it
the
reversed
is
never smooth enough near
is
the British Islands to give this
phenomenon
the sky
and takes
sky
the
reflects
but each part of the sky
it
reflects
this is gener-
sea appears dark.

reflects
sometimes
even
sky
the
slightly
covered with black clouds,
gives a dark and threatening look to the water,
and
finally,
when
the waves rise
higher, their
still
apparent colours combine with the actual colour

of the sea
When
itself.
the waves
are
large
but the
smooth, the troughs and sides will

different parts of the sky,
surface
reflect
quite
and an endless variety
of tints are visible.
Be
careful^ therefore^
always
to
make
the sky
and
sea harmonise.
As
a rule the tops of the waves are sharp
SPECIAL OBJECTS
AND EFFECTS
gradating downwards
and
and
in
drawing them
in
towards
outline
the
trough,
we only
indicate
In northern latitudes the crest
the tops.
always darker than the trough, but

eastern parts this
and behind the
some
front
reversed
is
light
will
in
nearly
is
southern or
when the sun
When
spectator.
149
low
is
the sun
is
in
be partially seen coming
through the top of the wave on account of the

transparency of the water.
of a pale green
When you
find
it
27,
usually
tint.
are drawing a large
piled
wave you
up one above the other
The
132).
p.
is
will
of an agglomeration of smaller wavelets
seemed
that
colour
never simple and smooth, but always
is
made up
Its
(see Fig.
large waves group themselves
generally into very strongly
marked masses, and
though they sometimes form
parallel ridges,
as well not to
for
it
draw them,
as in
it
is
Fig. 26, p. 131,
gives a remarkably dull and uninteresting
effect.
breaking wave near land often
reflects
the sun or sky with dazzling brilliancy, on account

of
its
smooth
We
surface.
must not forget that when the sun
front of us
foam appears dark and occasionally black

point where the sun
5.
is
in
and shining on the water, the white
Wet sand
is
reflected
reflects objects in the
as the surface of
at the
from the water.
same way
smooth water, and where the
150
horizon
The
bright shows as a light streak.
is
wet sand
CHAP.
edge of the breakers generally
at the
reflects
them
streaks.
a misty way, chiefly as vertical
in
boat coming
in
dragged
or being
through the breakers always gives a very strong
A very
reflection.
good subject
a sketch of wet sand
to introduce
upon
a group of standing gulls,
is
with their reflection.

6.
As
Foam
a rule,
be
should
the foam
left
very
carefully
studied.
upon the water in rear of
wave resembles somewhat a net with
a breaking
the meshes very uneven, and not a series of white
As
points or masses.
wave breaks the foam
forms lumps of white substance that has colour
and shadow
like
where
blown
it
gets
carelessly, but
in
it
nature.
from
After
similar piece,
we must be
watch
is
in
for a
memory
it
It
solid.
is
only
off in spray, that
Never paint
not hard.
put
either kind of
good
edge,
its
shows
piece,
it
is
foam
and then
without again looking at
finished
and compare.
watch again
for a
With foam and waves
continually watching our opportunities,
and then painting from memory.
Luckily waves
repeat themselves in form very nearly, not every
wave, but every sixth or seventh.

as a
wave
breaking,
is
the
smooth and
curling over and
curling or
reflects the
inner
foam that
As
a rule, just
on the point of
surface
is falling.
becomes
When
SPECIAL OBJECTS
XII
the sun
is
shining
is
AND EFFECTS
on the foam the
full
151
reflection
very strong, and should by no means be
out.
On
a grey or overcast day
so visible
indeed
it
nearly invisible
left
is
not nearly
if
the water
should be rather thick or muddy.
The
value
of foam against the colours of
the sea should be carefully noted by looking at
with the
eyes
(p. 115).
On
half-closed,
explained
a bright day and with a clear sea
the foam looks

It
before
as
much
whiter than on a dull day.
also varies with the position of the sun.
sunset in front of breaking waves
on the smooth
reflected
it
is
often strongly
surfaces of the water
flat
at their base,
and then the foam
blue-grey on
these
reflected in the
will
look dark
lower surfaces, and will be
same colour on the shining wetness
of the sands.
When
the sea
is
very transparent
its
colour
greatly varies, according to the depth of the water
and what
shore,
underneath.
is
when
the sun
is
looking from the
In
rather behind one, on to
shallow transparent water a
little
troubled,
appear
that
may
beautiful
represented
yellow.
covered
green,
it
easily
will
be
by a mixture of cobalt and lemon
A
with
little
distance
seaweed,
and
off
there
here
are
the
sea
rocks
will
assume a lovely purple hue, mixed with a great

deal of azure blue reflected from the sky.
52
CHAP.
In river sceiiery the water often has slight
7.
on the surface that interrupt the
films
and give a great look of
reflections
flatness to the water.
These should always be taken advantage
but
of,
not too liberally, or a streaky disagreeable effect
be
will
They
produced.
should
of course
gathered into groups, like everything
be
else.
The study of boats could easily have a book

In drawing them try if possible
written about it.
8.
to understand the use of the principal ropes,
take care to put the sails
Do
wind.
boat sailing towards you
drawn upright
1
1,
it
never looks natural.
scarcely
wind
(This
sketch.
what ought not
to
figure
is
given to the
drawn
is
be done.)
life
that
becomes exposed as
before
it
it
little
the
in
is
by the boat being heeled over by the wind

dances over the near wave.
show
to
Observe
companion drawing the look of
keel
if
In Fig. 26,
the boats have been drawn upright, and
an extraordinary look of unreality
whole
is
leans over with the
ever upright, but
p.
and
blown by the same
not draw them standing too high out
of water.
all
given
as
it
bit of the
shoots off the crest
dives into the hollow, and the sea nearly
comes over the bulwarks.

Never
along
make
your
boat,
moment when
it
the
water
straight
it
looks
dull
varies greatly
and
but
even
take
and gives a
feel-
SPECIAL OBJECTS
XII
ing that there
is
AND EFFECTS
a chance of
its
coming
in
153
some-
times.
Keep
is
never
in
and that
mind that the broadest part of a boat

the middle, but always rather forward,
in
rounds rapidly towards the front and
it
gently off towards the stern.
The
lines
of a
forward part of a boat are very beautiful in their

sweep.
an English fishing-boat; Fig. 35

shows the exaggeration of the same lines in an
Fig.
34
is
Fig. 35.
Fig. 34.
Arab Boat from the Red Sea.
English Fishing-Boat.
Arab boat from the Red

stern that in the
floating
power
first rise
in
those
going are here raised

all
beauty
is
Sea.
just
The prow and
enough
to give extra
parts for rough-weather
in
an exaggerated way
till
gone, though from their finish and
ornamentation they are very picturesque.
The
in
great lateen
sails,
that are so
the East, are a beautiful form of
are at
first
very
difficult to
much used
sail.
They
draw, as they vary so
154
much according
they are taken.
same
the
CHAP.
to the point of view from
Here
sail (Fig.
36),
which
are four different views of
showing how much more
varied they are in form and beautiful in line than
our square or
They
lugsails.
are well worthy of
close study.
Rigging
in
is
always
difficulty
just
with a sable brush with long

likely take as
much time
hair.
painting
in
The ropes should be put in,

when the background is slightly
oils.
if
possible,
moist,
It will
most
as the painting of
the rest of the ship put together, but
it
and
will
all
be
time well spent, as nothing marks so strongly the

difference
between good boat-painting and bad.
The brush should be

in
flowing,
and the strokes put
slowly and firmly, so that they stick up from
the canvas in the foreground work.
For distant
XII
SPECIAL OBJECTS
ships,
they
may
AND EFFECTS
blended
be
with
sky
the
in
masses not too distinctly marked, and single ropes
had better be
mencements
left
at the
out altogether, only the com-
masts indicated.
With water-colours
much
is
it
the
easier, as
strokes with a fine brush naturally run to lines.
When
there
a bright light behind the rigging
is
the ropes appear very

real
size,
and
much
sometimes
thinner than
disappear
their
altogether.
This should, of course, be accurately imitated

the drawing, and the fact that
appears thickest where

acute
distant boats,
colour
is
it
joins the
After putting
angle.
it is
in
the rope always
in
mast
the
at
an
rigging
of
not a bad plan to wait
till
the
dry and then pass a wet brush
just
rapidly over the whole.
and mechanical look
This takes off the hard
likely to
be there.
When
doing foreground shipping the same hard mechanical
appearance must be avoided by taking every
advantage of the different colours of the ropes.

9.
How
They
study
to
quickly and
easily,
trees^
is
so
as
to
draw them
a very difficult
are so intensely varied in form,
problem.
manner of
growth, colour, density of foliage, and ruggedness

of stem, that
it
is
hard to see the general laws
that govern them.

It
is
best
leaves, as then
to
we
begin studying
see
them without
more readily the way
in
56
which they grow
anatomy
their
in
(Fig.
the
37).
We
begin learning
same way
as
human
the
namely, with the framework.
figure,
We
find
that oaks and elms have a rugged
and irregular way of branching
more
the
CHAP
contrary
irregular of the two.

(2),
the oak being
The
beech, on the
has branches that have a tendency
to
grow
in
a fan shape
in
(i),
curves right from the ground, and end
similar growth.
the wych-elm and ash
The walnut and Spanish
have a
chestnut,
ash and plane-tree, have in growth a combination

of
and
2.
The
birch (3), again,
modified beech, but the stem
is
is
somewhat
longer,
and the
point towards which the curves of the branches
tend
fir,
is
considerably above the roots.
or stone pine (4),
is
The Scotch
again quite different, the
branches growing erratically from the
sides,
bent with a reverse curve ending upwards.

larch
(5),
silver
fir,
deodora, and
but
The
Wellingtonia,
have branches that sweep downwards from the

stem, only that the extreme ends have
a slight
SPECIAL OBJECTS
XII
tendency
artificial
same
upwards.
tree,
AND EFFECTS
pollard (7)
is
157
an
quite
and, whether of oak of ash, has the
peculiarity of the branches tending upwards,
even though below the head they commence by
A somewhat similar growth,
growing downwards.
only perfectly natural, we see in the palm-tree
where
may
all
and curve over
leaves of last year,
down,
forming
if
grow out of one head.
beautiful feathery leaves branch out in

tions,
we
The
the ribs of the leaves or branches,
so call them,
if
tuft
direc-
all
The
intersecting lines.
in
they have not been

of
feathers
(6),
cut,
hang
As
below.
generally seen near large towns, the palm head

so cut about for the sake of the ribs of
to
make
crates with,
surrounds
its
and
base, that
it
its
is
leaves
also for the fibre that

loses half its beauty.
There are several other kinds of
trees that
we
have not here enumerated, but enough has been

said to direct the attention of the reader to the
importance of noticing the manner of growth of
When
the stems.
clothed with foliage they look
very different of course, but

the
we can always
trace
manner of the branches underneath, and, by
thinking of
this,
we
are far
more
likely to get the
character of the tree correctly.
Always bear
in
they grow smaller

ever small,
is
mind
that as branches bifurcate
in diameter.
No
branch, how-
thrown out of a big one, without the
SKETCHING FROM NATL/RE
158
large one getting smaller.
This
ant to remember, as often
drawing, to be sure
larger
Do
most import-
difficult to see
it is
and we must
diminution,
is
CH-AP.
be
careful,
we never make
in
it
the
rough
actually
not
make your
Too many
tree look flat.
amateurs seem to forget that there are branches

coining towards them^ as well as on each side of
the main stem, and they draw
them
like sections
of trees, or like pressed pieces of pink seaweed.
Draw most
difficult,
like look to the picture.
flat,
they are the most
as
and are very important
foreground
and leaves
carefully those branches
come towards you,
that
We
in giving the tree-
are here talking of
those in the far distance do look
trees,
and should be painted as they appear.

In painting trees
commence by drawing
in the
general form with great care, and then put in as
many
as
of the branches, and as
you can
see, or
even a
much
of the stem,
more, as often as
little
you can trace them by the shape of the
Then seek out
foliage.
the highest light, and put that
in,
and block out the general forms of the shadows
by
scumbling
turpentine.
with
little
raw
This dries at once.

over the
timber
Now
and
put in the
highest lights
all
keep them
subservient to the highest light of
all,
all
and then put
in
tree,
being careful to
your darks their true colour.
SPECIAL OBJECTS
XII
carefully
AND EFFECTS
comparing them always with your high
lights, so as to
get the right values.
mediate
will
tones
stems and
foliage, the
or painting
Where
now come
except
branches,
be painted
should
59
at
in
in
inter-
easily.
The
very smallest,
the
the
The
same time
the
as
form being given by the cutting

over,
of the
in,
next to them.
foliage
the sky appears through the tree in small
patches
it
had better be painted
With shadows of
sunlight
shadows
the
Here,
light.
afterwards.
ground the spots of
trees on the
appear round, and
nipped out by the
in
should be painted, at least on
also,
its
as
if
the sunlight
edges, over the
shadow.
The greens
much with the
it
is
required for tree-painting vary so

effect of light
on the landscape that
impossible to give a regular rule for them.
For green
trees,
use
in
the
foreground French
ultramarine mixed with cadmium^ le^non yellow^
and yellow ochre
for the
high
lights,
painted into a
glazing of French blue^ bzcrnt sienna^
and
aureolin.
Emerald
oxide
be used here and there, mixed with a

parent yellow.
sienna,
little
trans-
For the middle distance, suppress
most of the cadmium, and introduce a
and perhaps a
raw
of chromium can
little
cobalt
vermilion.
For the extreme
distance, use cobalt, vermilion,
and lemon yellow,
little
with touches of yellow ochre and perhaps a
little
i6o
raw
sien7ia,
but very
a sunset
is
When
most
of
it
should be
the orange glow of
on the landscape carry the cadmium
and vermilion through

the
None
little.
transparently painted.
CAP.
distant,
the high lights, except
all
where
and
vermilion
lemon
yellow will be ruddy enough.

In water-colours vermilion should be
as
much
may
as possible, but rose
madder and
avoided
light
red
be blended with the yellow-greens of the trees
with the sunset effect upon them.
For ordinary
daylight effects the same colours can be used as

in oils,
though cadmium should be somewhat
placed by aureolin.
brown madder and

will
cobalt with a little burnt sienna
be found to give a good grey
require very careful putting
in,
and they
so as to leave the
lights
enough rounded, as mentioned above,
lights
cannot be painted
Chinese white
in,
as with
Where
more intense, though not so high

that where the sun
to
should choose a
unless
is
in
sky
the sunlight
through the leaves the colour
we wish
for the
to doing the light
shining through the foliage.
If
oils,
used, which should be avoided.
is
The same remarks apply

shines
re-
For shadows on the ground,
is
always
value
as
shining directly on them.
draw our
trees in sunshine,
moment when
we
the sun illuminates
the trunks and boughs most strongly just in front

of the deep
shadow of the
foliage,
and when the
AND EFFECTS
SPECIAL OBJECTS
XII
shadowed part
i6i
relieved against the lighter part
is
of the shadowed
weather the
In dull
foliage.
boughs
will nearly
foliage,
except in the cases of silver birches and
always appear dark amid the
the top stems of Scotch
shows strongly marked the history of
tree
Every
growth.
its
indelible
firs.
mark.
If
broken off
in its
end of
days.
its
accident
little
had
has
it
youth
shows
it
close to another, then
lean
will
it
always seeking for light and fresh
tendency
assume
various
its
it
fir
will
and
it,
this
even
spring
or a beech, with plenty
broad and low
long slender upright
seeks the light,
trees, will
sometimes grow
round and round into a
another.
air
and not quite depth enough of
earth, will spread out
with
away from
Sometimes an oak,
character.
vertically like a
of space round
Holly-bushes
planted too
sometimes
eccentricities,
surrounded too closely by other
up
always to the
cause the same species of tree to
will
entirely altering
if
its
top -leader
its
it
may have been
It
leaves
first
Make your
history can be read,
stems.
an oak.
Stems
twist
the top of the tree
spiral, as
one direction and then
in
study,
and
like
like birch-trees,
it
will
then,
so
that
this
be a good study of
the tree you are drawing.

I
As
o.
Rocks and earth require most careful drawing.
they are fixed, and neither
move with wind
162
nor
CItAP.
they would be easy to represent but for
tide,
the great complication of surfaces on their faces.
With a
slight
knowledge of geology both rocks
and earth gain an

of course, be
which takes
interest
tedium of drawing them
They
carefully.
commenced with
off the
should,
the eyes half closed,
so as to get the general scheme of light and shade,
and the points of highest and lowest
If the
tones.
rocks are in sunlight do not try to finish too

in
one
sitting, for if
two hours there

direction
picture
you remain working more than
will
be too
much
difference in the
between one part of the
of the light
and another.
Remember
of
history
rocks as
the
much
adventures
show the
as trees
have
they
through, only here the time goes back

past,
much
often
for
mixed
shingle
countless
with
ages.
larger
varying colour of each stone.
examine them.
Some
passed
into the
a shore of
In
the
notice
stones
Pick up a few and
are of dark basalt, others
of delicate pink granite, and smaller ones of white

quartz.
Others are green with a
seaweed
that
has
not
been
browny purple from another

Endeavour
fine
washed
kind
to put all these things into
clinging
off,
of
or
growth.
your study,
or at least indicate them, and your interest will
grow
till
stones,
you get a strong
and boulders.
affection for rocks,
and
SPECIAL OBJECTS
XII
Use great
afraid of
making them
Be very
their character.
is
commencement
the drawing and
you expend
for every bit of care
Of
course
hard,
careful over
of your picture,
to get the forms
correct at the beginning will repay
the end.
163
precision in putting on your dabs of
and do not be
paint,
for that
AND EEEECTS
when rocks
you tenfold
at
brown that
are
colour must be used, but as sparingly as possible,
and tempered with greys,
reds, yellows,
and even
greens where any indications of them can be seen.

In England the surface of rocks
is
generally so
covered with coloured lichens that grey, orange,
and green occur
far
interesting,
it
more frequently than the
A piece of bare rock
colour of the rock.
has so
and other growths
little
history to show.
is
local
seldom
Marine
the cracks and crannies, and
in
the various lichens or shells on the surface, render
In very hot climates these are
a rock interesting.
absent,
and rocks there are
the colours caused
by the
chiefly admirable for
beautiful effects* of light
upon them.
1 1
Sand
values.
It
requires
is
very
careful
study
of
only by delicate differences of
colour and tone that
its
flatness
and retirement
It is very like snow in

when drifted against stones,
only it has rather more variety of tone and colour.
We should, if possible, choose some place where
into the distance are seen.
the
forms
it
takes
64
sand
the
and devoid of
not perfectly plain
is
CliAP.
incident, such as pools, seaweed, or pebbles
when
this
is
unavoidable
it
but
better to introduce
is
boats, or animals, than to invent rough-
figures,
nesses and incidents that are not there.
Carefully
study Mr. Brett's pictures at the Royal Academy,
both sand and rocks.

Yellow ochre enters largely into the painting of
But though
sand.
when
the sun
good
it is
grey
for a
effect,
yet
shining this yellow will not be
is
found sufficiently strong, and leinon yellow and a

little
cadmium may be sometimes added.

enough as
careful to paint the sand grey
The shadows
into the distance.
on any ridges are grey.
Vermilion and cobalt
in water-colours cobalt
anything sudden
be avoided.
in
The
goes
it
of foreshortening
be conveniently mixed with the yellow ochre
and
Be
the
may
in oils,
and brown madder^ but
way
of contrast should
great character of sand
is
its
evenness.
12.
growing
The work
crops, or
required
The
shirked in sketching.
great deal of
work
in
painting grass,
in
ploughed land
fact
is
very frequently
is,
there
is
a very
them that cannot be done
without close attention.
In painting grass you
should seize on
irregularities
and
values,
all
little
and accentuate
these,
the picturesque part, and then
as
of colour
they are
show the patches
SPECIAL OBJECTS
XII
and discoloured places
bald
of
AND EFFECTS
165
according
to
the characteristics of the field you are drawing.
Weeds, small
growing
in grass-fields,
marked
we see in
we must choose
beautiful
flowers
We
and
nature,
distinctly
cannot
paint
too complex
is
it
always
are
and become very
the foreground.
in
everything
but
and
plants,
the most striking, the most
and leave the
characteristic parts,
rest.
Where
the grass appears in small quantities, as
patches amongst heather or on the side of a
in
dusty road,
its
greenness
is
part of
we can make
the brightest green
But
the extreme foreground.
beauty, and
its
be right
will
the greenness becomes monotonous, and

try
it
and
find
what would make any parts
we should
less
green
also appears less green than a patch of grass
itself
by
near another colour, perhaps next a red-brick
wall or
bank of red
we
yellower than
passing
cloud
Therefore
must
in
in a field of grass
if
earth.
Grass in sunlight
are apt to think
over
it
shows
by
this
the field of grass
is
a shadow of a
in
is
contrast.
full
sun
it
incline to yellow in the general colour, so that
the picture shall
still
seem sunny when brought
indoors.
13.
With ploughed
fields^
draw
carefully in correct perspective,
in
the furrows
do not make them
too markedly even, but accentuate
all
the
little
66
CHAP.
roughnesses on their top edge with the stones and
weeds that get turned up.
The remarks about browns
Note
rocks are applicable here.

the
grey as
colour gets
distance
the
full
colour of the brown
14.
In
there
is
how
also
quickly
towards the
retires
it
only quite in the foreground where
it is
in the painting of
is
seen.
representing growing crops
perhaps
most work, but as we seldom require to
sketch them, and they do not form a satisfactory

better to seek about for something
foreground,
it is
bolder and
easier to sketch.
15.
Ripe corn
unbroken
should
field
be
of
is
good
it is
to look upon, but an
unsatisfactory to paint.
represented
as
partly
cut,
It
and the
reapers and stooks of sheaves will break up the
monotony.
Be
the stems.
It
in
representing
careful over the bases

is
and tops of
only by being very particular
how one
comes
root
in
front of
another that the stems can be saved from looking

like
an upright
solid stripy wall
of yellow.
The
foreground heads generally come out dark against

those behind, and the few front ones should be
carefully drawn.
corn
can
The golden
effect of the
only be given after
noting
its
ripe
value
against the dark trees and hedges behind and the
ground below.
in
Unless you have something dark
the picture to compare
it
with, the corn will
SPECIAL OBJECTS
XII
not look brilliant and
This
case
the
is
AND EFFECTS
golden, but only yellow.
much
as
167
nature as
in
in
picture.
Ferns
16.
be
cannot
by any
represented
but must be drawn out leaf by
touch,
They take a
landscape
leaf.
great deal of time, and in ordinary
be
should
sparingly
introduced.
they are blocked out, like the foliage of
which
entirely lose the feathery lightness
If
they
trees,
is
one
of their chief beauties.

1
Snow
7.
direct from
requires
most
the
The
nature.
careful
study
tones and colours
are
very subtle, and require immense care in comparing one part with another to get
The shadows
in
snow take
them
at all right.
their colour very
much
from their reflecting the objects above or around
As snow
them.
in
England,
study
it
well.
it
is
generally lasts but a short time
not easy to get enough time to
Try, then, to
make
accurate studies
of white things (lumps and heaps of
salt,
or even
white paper or drapery), as this will help you to

paint
snow
afterwards.
You should always

in such
your pieture
a manner that you could hnagine yourself
walking
through
amongst
the rocks.
the
of the drawing which
value
seek to finish
that
fields^
over
Directly you
is
the
come
hills,
or
to a part
so uncertain in texture or
you can no longer imagine yourself
i68
walking there, you

picture
and there
It
you would be able

this quality
is
of the
that part
has something
practically a blank, or,
is
colour or shade there
have
know
will
unfinished.
is
CHAP.
wrong.
covered, the
if
If
were right
it
way over
to see your
left out,
To
it.
not necessary that the work
it is
should be very smooth or detailed, but only
true.
In the sketch at Penshurst in Kent by Mr.
Marks, that forms the frontispiece to
this
can
feel
the
windows, and
its
look over the front of the cottage, and

reality
of
chimney.
tiled
its
front,
its
Then you can imagine
ing out of the door, through the
man
the gate where the old

past the tree to the
where the two
little
right,
is,
yourself walklittle
will
haymakers are
wood on
You
can do
all this
till
you pass over
interest
would be
old
man
or else you
stray in the fields where the
the
left,
or enter
climb the
the
hills
thick
behind.
without meeting with a single
blank and represents nothing, yet
is
the drawing
hill
and along the road
figures are,
the right and
place that
the
to
garden to
and down the
the bridge, and so out beyond sight
can fancy you
book,
You
very distinctly noticeable.
this quality is
is
only a sketch in
given
by the
lines.
Notice also
figures.
The road
dull without the people
on
harmonises well with the
gate and cottage of last century.
it,
and the
dilapidated
AND EEEECTS
SPECIAL OBJECTS
XII
If
we look
at
many
of Mr. Hookas pictures,
especially his earlier work,
we
of truth clearly, though the
smooth.
Again,
it is
169
well
shall see this quality
work
anything but
is
marked
in
Mr. Millais's
best landscapes, though the texture of these
perhaps rougher
In
foreground landscape work requires
fine, all
much time and

the advice to
from nature
it is
very simple, so
make
rapid sketches
patience, unless
all
is
is
still.
who
desire to
choose
necessary, relieve their
simple foregrounds, and,
monotony by
figures.
if
170
CHAPTER
ON HANDLING
Most
of what
CHAP.
XIII
IN WATER-COLOURS
has been previously said about
studying sky, water, boats,
trees, rocks,
and
fore-
ground applies equally well to both water-colour
and
The
oils.
actual manipulation of the two
entirely different.
In water-colours
high lights
we put them
in oils
we
is
leave the
in.
In painting a sky the strongest characteristics

of the two methods
come out
distinctly.
It
is
best in water-colours to begin with the blue sky

at the top with the colour very liquid in the brush,
and leaving the white clouds
if
they are large.
For a pure blue sky, cover the whole
making the wash

dark.
It
this blue
will
as even as possible,
surface,
and not too
be generally necessary to go over
once or twice again,
depth at once, the colour
is
as, if
liable to
made
the
full
be too uneven
for future correction.
We
our care the blue
too pale in parts, and too
dark
in others.
is
The
shall find that with all
pale parts should be stippled
ON HANDLING IN WATER-COLOURS
XIII
up with a brush containing very pale
blue,
17
and the
dark parts washed down with a hardish sable, and
dabbed (but not rubbed) with a clean

stippling should be
when
The
rag.
washed over with pure water
quite dry to blend the stipple marks.
Pale white clouds, in streaks like mares
tails
and mackerel, can now be taken out by wetting

the
paper
in
the shape
required,
The
lightly over with a clean rag.
and
rubbing
whitest parts
can be produced by wetting the place again with

clean water, dabbing with the rag, and then rubbing
over lightly with india-rubber.
This
the surface of the paper, and often
hard edge, that must be softened

tip of a stiff sable brush.
will
remove
make rather a
down with the
For very diaphanous
clouds on a blue sky, india-rubber or ink-eraser

applied
when the colour
will often
towards the horizon
over the sky to give
The grey
dry
reduce
Successive washes of pa/e
the tone quite enough.

ycllozv or orange
is
sufficient
it
may
be laid
warmth and
tone.
of the clouds must be produced with
transparent colours only, opaque ones will always
look heavy.
Cobalt^ rose
madder^ and burnt sienna
are most useful colours for this purpose.
In a sunset sky the bright streaks of cloud
must be painted upon pure white paper always
that
is
to say,
if
we
require
the exact tone of sky
we
many washes to
To make
desire.
get
the

172
streaks
we must rub down
to white paper
put pure colour on that.
It
wash over the whole sky with
is
CHAP.
and then
not possible to
colour, after having
put in the bright clouds, without impairing their

brilliancy.
Cadjnium
effects, for
it
is
almost a useless colour
is
too dull and opaque
in
when
such
dry.
Le7fion yellow
and aureolin should alone be used.
Rose madder
for the red, but a little orange ver-
milion
is
sometimes
useful,
mixed with
but never with lemon yellow^ as
it
aureolin^
looks
brick
They may, however, very

some
colour in a pure sky.
usefully be laid pure beside each other in

cases.
The delicate green of a sunset sky had best be

made with the purest colours at your command
le^non yellow with cobalt^
off with
Frequent
washings,
but
little,
and the rawness taken
very
with
little,
stippling
rose
madder.
up between
them, are generally requisite to get evenness of

texture.
For the distance, where the tones are

similar
flat,
methods of manipulation are necessary
but when
we come
should, from the

sible the full
first,
be put on as nearly as pos-
tone intended.
at all delicate this
to the foreground, the colours
is
When
the effect
is
practically impossible, as the
glare of the white paper puzzles the eye too much.
XIII
yet
should always be attempted.
it
It
173
often
is
convenient to put on a wash of the colour of the
and then put the shadows
objects in high light,
over with a slight tendency to a colour that shall
Thus a
be the complement of the former.
warm
high light should have
Never use browns
versa.
colour
that
much
with
is,
shadows of a
the
in
landscape, unless they be very

positive
cold
shadows, and vice
altered
by
good deal of
purple, red, or green in them.
Practise to lay on the colour evenly without
retouching
it
will
look
much
fresher.
Bring the
edge of one colour close up against the other, but
do not
light
let it
overlap, rather let a small space of
appear
In finished work the
between.
in
white can be touched out

fine
brush
in sketches
Figures ought,
the beginning
they
may
if
it
possible, to
but, as this
be put
by the point of a
often helps to give vigour.
in
be sketched
in at
cannot always be done,
with Chinese whitCy
if
not
too large, and yet sufficiently in the foreground.
Always put the colour on

for if
into
it
is
the
paper,
through.
and the
result
is
it
gradually sinks
and the ground colour comes
In doing so
in strongly
thickly and strongly,
put on too thinly
it
mixes with that above,
muddy and
enough
it
disagreeable.
If put
stands well, but transparent
colour should only be worked over
it
with caution
74
and rather strongly.
If
thin transparent colour,

for the time,
and the part

It
it
cThap.
be washed over with
it
gives a beautiful effect
but soon the white comes through,is
then far too high in value.
better to avoid Chinese white altogether.
is
great deal can be done in obtaining whites
dabbing
by
washing over the place with water, then
carefully
it
with a handkerchief or rag, and rubbing
This
with india-rubber.
is
same process
the
as
with clouds, with the difference that in this case

the hard edge should be
It requires
left.
little
practice to rub out the colour without tearing the
paper.
The rubber should be passed
at
first
quickly and lightly over the place, and the pressure
The
gradually intensified.
be thoroughly dry,
colour
all
and even then a
sometimes accidentally picked
off.
round should
little
of
it is
This should
be restored by stippling with the point of the

brush.
The
may
figure
be then painted trans-
parently on the white prepared place.

Stippling
is
an extremely useful way of patch-
ing up unavoidable mistakes or unevennesses, but

it
should not show
itself,
and should never be em-
ployed as a means of producing a texture
all
over
a picture.
In painting water
it is
necessary to be especially
putting on the colours evenly and at
careful
in
once.
The groundwork
or
colour of the high
XIII
175
generally reflected from the sky, and
lights
is
of the
same
tioned before,
is
As men-
colour, only a little duller.
148, the part of the sky reflected
p.
depends upon the roughness of the surface of the
The darks should be put on
water.
their
full
depth at once, any patching up or alteration

watery look we wish to
to the
fatal
get.
is
Hence
they must be placed deliberately and with great
The brush must be kept
attention to form.
in
hand, and no trust put
the dabs of colour
Rough
may
well
chance shapes that
in
take.
texture, to the siLvface of rock^
may
be
sometimes conveniently given by passing the brush

full
of nearly dry colour over the surface of the
paper,
when
parts only.
the colour will stick to the highest
Or
and rubbing
when
brush,
highest
else
by painting
it
the
points
rather too dark
damp and hard
with a slightly
it
taken off the
colour
will
be
the
rest
being
only,
left
in
the
interstices.
may
variety of texture
be obtained by em-
ploying a hog-hair brush occasionally.
hazy
effects
or
misty distances can

is
muddy
colour should
The
look.
With
are the
the
most
be readily
required not to produce a
given, but great care
employed very
Delicate
generally
be
pure.
exception
difficult
of figures, perhaps trees
things
to
paint in water-
176
colours.
wash, of the colour of the highest
can be put over most of the space to be
light,
occupied by the
taking
tree,
away the
chiefly for the purpose of
disturbing effect on the eye of
The
the white paper.
general darks (but not the
extreme darks) should next be washed

shape of them carefully
the
GHAP.
The
shutting the eye.
in
noting
in,
nature by half
paler and deeper darks
can then be introduced with a not too -flowing
Note the highest
brush.
that
you see
in nature,
light
and deepest shade
and be careful not to
let
other lights and shades compete with them.
For
trees with light feathery foliage the hog-
hair brush will be found often useful, but
it
re-
quires great care in manipulation in order not to
show the shape of the end of the brush too

in
often
each dab.
do equally
well, particularly if the point
blunted by wear.
little
plainly
tolerably dry yellow sable will
be
Try and make your
touch resemble the foliage of the tree before you,
and do not try

of tree
one
touches
to
for
rapidly
and are bad,
for
have a touch
for
each species
oak, elm, ash, etc. etc.
become mere
such
habits of hand,
they tend to destroy appreciation
of the individual character of the tree you are
drawing.
If,
on the contrary, you carefully copy
the tree, and at the

oak, elm,
etc.,
same time know
then you
will, after
it
to be an
a time, get into
XIII
way
a certain
but
trees,
it is
of doing these different kinds of
way
and not a servant

In foregrounds
leaf,
flower,
patience
it
or
will
be a master
of,
as in the other case.
often best to outline each
is
stone.
It
requires
much
the
there
if
any
are
rush,
to,
you
that
to
delineate
leaves,
177
large
branches of trees
In wet
in front.
weather
it
is
good practice to
branch
fetch
from a tree
doors, and
it
in-
draw
carefully
in
outline, as in Fig.
38,
which reprea branch
sents
The
of beech.
leaves that have

Fig.
their
turned towards you

tion,
38. Branches of Beech (by H.
S.
M.)
edges
the greatest
require
atten-
and oblige you to think over where each
should join the stem, even
if
you cannot see
its
stalk.
There
is
very
to
little
say more
than has
178
been said already
the
study of rocks, sand,
Always endeavour
to put in at once,
with full colour, the thing
you see before you.
ferns, etc.
and
in
CHAP.
The
preliminary pencil sketch for water-colours
must be much more detailed than
for oils, as
not blotted out by the colours, and

last,
while alteration
is
much more
is
is
it
useful to the
difficult.
Chinese white
is
not very useful in sketching
from nature, but
it
may sometimes be employed
as a
wash or coat of white on the bare paper,
which
may
afterwards be worked upon in trans-
parent colour.
It
requires great skill
and very
delicate handling to paint thus without disturbing
the Chinese-white ground, but
produces great
it
when well done. It was employed by William Hunt in his fruit and flower
pictures when he wished to get one part particularly
The Chinese
bright, such as a cherry or plum.
brilliancy of effect
white has to be laid on some time before
it
becomes
sufficiently hard to be easily worked on, and

in itself renders
from nature.
it
this
generally unsuited for sketching
Some
artists
have covered the whole
paper with Chinese white, under the impression

that the bleaching materials used in whitening the
paper-pulp
have a deleterious
effect
upon the
pigments, and they wish to introduce a shield, as

were, to protect them.
paper
(and
it
But the pulp of the best
no other should
be
used)
is
too
XIII
179
thoroughly washed and cleaned for there to be a
They may more

damp of the paper,
chance of hurting the colours.

likely
be hurt by the natural
helped by the atmosphere, and this the Chinese

white has no influence upon.
8o
CHAP.
CHAPTER XIV
SIMPLICITY IN ART
We
know how
all
figure, or
strongly a single life-sized
even a head,
well painted, with only
if
a simple toned background, will stand out in a
The
gallery of miscellaneous paintings.
with their complicated masses of
and weak beside
Now,
it.
seem poor
detail,
this
is
others,
merely on
account of the simplicity of the masses, resulting
from the choice of a single figure with the plain

background, which causes
the
rest.
If
incidents
it
to look stronger than
be introduced
background so as to render
it
full
into
of small lights
and shades of nearly equal strength
to the figure,
not only will the figure not stand out as

to
do,
weak
Not
but the whole picture

in
one word,
that
it is
is
be
not simplicity.
the lights and
will
have
will
is
ought
lost its simplicity.
artistically simple.
It
it
be rendered
requisite for a picture to
in detail in order to
ness
it
the
be poor
Bald-
only necessary that
darks should not compete with

SIMPLICITY IN ART
XIV
each other
in
To make
force.
8i
a good
picture
(not necessarily an interesting one) there should
always be a highest point or place of
and a
light,
greatest point or place of dark.
We
naturally
here
recur
Rembrandt's
to
pictures,
which represent the climax of simplicity
in art.
See how any one of his portraits stands
out from every other picture round
up
leads
some
to
and he never burdens
his
background with
his etchings,
all
so low in tone that
for
it
before you see
we have
else,
but he keeps
you have generally
Meissonnier,
same
and
strength,
Bouguereau,
artists
Bonnat
or
landscape, Pelouse, Troyon, Corot, Daubigny,
Allonge
and
painted,
and yet
is
to seek
variety as well as simplicity.
Study works by well-known French

Laurens,
it
There are not two shades
it.
or two lights that are of the
is
in-
he works the greatest detail into the
background and everywhere
in
always
In his subject pictures, and especially in
cidents.
thus
He
it.
central light on the forehead,
how simply their pictures are

how full they are all over. There
see
always some central interest to which everything

subservient, yet there
looks
natural.
choice of subject
and natural
Do
is
Everything
if
you
nothing forced,
depends
upon
it
all
the
desire to secure this simple
effect.
not therefore sketch something because you
SKETCHING FROM NA TURE
182
want
to sketch, but only
chap, xiv
when you have found such
a good subject that you cannot resist sketching
When you
it.
cannot find a subject make a study,
make many studies merely for studys sake.

Be careful of your values.
Keep up your interest in your work. Directly
It follows, then, that
that flags the work suffers.
if you cannot keep up your interest when doing
mere studies you had better leave
to succeed
it is
art alone, for
necessary to study much.
Pelicans and Flamingoes (by H.
S.
M.)
APPENDIX
CHOICE OF COLOURS AND MATERIALS
The following
a
notes are taken from a
rhuile^ etc./
gentleman who has made

for
many
He
years.
has had great
ancient pictures, and he

a^ great
The
following
1.
authority
causes
work, Peinture
fils,
of Ghent, a
this subject his special study
by the Government of Belgium

be
little
by M. Jacques Blockx
facilities
for the
given him
examination of
considered in that country to
is
on the
subject.
of the alteration in
pictures
are
the
The bad
preparation of the ground, and
its
too
The employment of oils of bad quality.

The use of siccatives and varnish.
The abuse of spirits of turpentine.
The vicious manner of applying the colours.
The use of fading colours, or those which
act
premature use.
2.
3.
4.
5.
6.
unfavourably on each other in mixtures.

7.
The
too hasty varnishing after completion.
Peinture a
Mat^riaux, Definitions des Couleurs fixes et Conseils

Compendium a Iusage des
Imprimerie de Eugene
Par Jacques Blockx, fils. Gand.
Ihuile.
Pratiques, Suivis dune notice sur Iambre dissons.

artistes peintres.
Vanderhaeghen, Rue des Champs
60.
1881,
APPENDIX
184
PREPARATION OF THE GROUND.
The ground
that covers the canvas ought to be of
pure white lead mixed with linseed or poppy

only enough should be applied just to
nail
till
makes a
this
white ground
grating noise
if
so dry that the
is
when passed over
and glue should never be used,

lasts well
pores,
The prepared canvas should
not to form a thick bed.

not be used
and
oil,
up the
fill
for,
kept thoroughly dry,
Whiting
it.
though the mixture
damp must
ruin
it
in
time.
For panels the same ground of white lead should be

used,
and both back and
Ochre should
front painted.
The best
wood is either mahogany or cedar, the latter preferably.
Oak should not be employed, it shrinks unevenly, and
not be used below the white-lead ground.
is
liable to
be attacked by worms.
OILS.
Oils should never
be beaten up with
by quick chemical processes,

fatness,
which
their sticky
their
fatty
is
most valuable
and objectionable
ones, prolonged
and exposure
When
their
to
the rays
thus purified linseed
acid, nor clarified
these destroy
for
qualities,
their
To remove
quality.
and yet leave
repose, frequent
washings,
of the sun are necessary.

oil
should be of a fine trans-
parent gold colour, and will be a tolerably drying

It
should never be
metallic salts to
The
is
the
make
it
dry quickly.
best two oils are linseed

fatter,
oil.
boiled or oxidised artificially by
and gives more
and poppy.
solidity
to
The
first
the colours.
APPENDIX
Unfortunately
been
it
yellows in
Poppy
clarified.
oil
185
drying, even
keeps
its
having
after
and
colour,
ferable for mixing with flake white, blue, violet
is
pre-
and the
paler madders.
VARNISH.
Science does not possess a good theory for the manufacture of varnishes,
nothing
is
and
numerous experiments
in spite of
more confused than the
The
they are manufactured.
not known,
depends upon the quality of the
it
resins
from which they are made, but they
friable
sooner or later unless there
of
upon which
principles
durability of varnishes
is
all
is
gums or
become
a very large quantity
composition, and unless they dry slowly.
oil in their
The quick -drying
made
varnishes,
with
alcohol,
benzoline, or chloroform, have poor lasting qualities,
and
should not be used.
made
Varnishes
with
are
oils
the best.
In their
manufacture several resins are melted together and drying oil added,
to
and
finally
a proper consistency.
amber, turpentine
yellow
camphor, anhne^
ele^ni^
little
The
turpentine to bring
it
resins
used are copal,
of Venice,
pounce, mastic,
and balm of copaiba.
Varnish should be applied thinly to pictures after

they are quite dry.
DESICCATION AND SICCATIVES.
The
desiccation or drying of colours
the solidification of the
from the
Open
air
oils.
These
is
last
produced by
absorb oxygen
air, and
become heavier and more bulky.
and heat greatly favour desiccation, but it is
always variable and uncertain in rapidity.
It is at first
APPENDIX
86
slow, but quickens as soon as the oil solidifies.
This
is
why a
colour dries faster
time.
Colours formed by oxides of metals generally
when
it
is
applied a second
favour drying, while vegetable colours retard

colours that absorb
much
when
and present a smooth and horny
solidity,
dry.
The
To produce
its
rapid driers
is
When
become
dull
and
surface
granular.
a solid result each colour must be allowed
natural time for drying,
catives
The
it.
oxygen slowly and regularly have
and the employment of
sic-
inadmissible.
the painting
is
thoroughly dry there
is
no
longer any absorption of oxygen, the colours petrify and

If they
shrink.
harm
is
done
do so
siccatives, cracks are
As a
in a quiet
and regular manner no
to the painting, but if they are forced
corollary
by
caused by their shrinking unevenly.
we may mention
that cracks
generally
appear in the blacks, browns, and lakes, for as these dry

with difficulty they are usually mixed with siccatives in
their manufacture.
TURPENTINE.
Spirits of turpentine acts
upon
manner by destroying their fat

therefore never be employed by
oils in
an unfavourable
qualities.
itself for
It
should
thinning the
colours, as a very small quantity will destroy the oil with
which the colour
is
ground, and in mixtures
it
brings
the different pigments into too close a contact.
PRACTICE OF USING THE MATERIALS.

It is
using
it.
always necessary to ungrease a canvas before
This can be done by water, turpentine, or
APPENDIX
187
soap and a scrubbing-brush, according to the tenacity of

the surface grease.
As soon
to the surface all over

it
and rub a
little
it
as water will stick evenly
Then
perfectly clean.
is
fresh oil over
dry
For preparing the
it.
surface of an old picture for correction rub well with the
cut face of a raw potato.
picture
might
longest.
more
is
best done at one painting, what
a single coat;
call
it
then retains
Those with many paintings or
liable to deteriorate.
sary to use
When
it is
more than one painting the
the whole picture, otherwise
loses
it
its
we
freshness
glazings
are
absolutely neceslast
its
should cover
freshness,
and
each under painting should be perfectly dry before the

next
is
put over.
that dry fastest,
For the under painting use the colours
and paint
For the
last
painting
take the slower drying colours, and paint thickly.
Never
thinly.
put a quick drier over a slow one
it is
therefore dan-
gerous to sketch in a picture with black, cassel earth,
bitumen, or burnt sienna.
Employ
in preference
mars
brown, mars yellow, cadmium, ultramarine blue, green

oxide of chromium, cobalt
in thinly
violet, or
the ochres.
and rub out with turpentine
all
Sketch
lines that are
not wanted, as they serve to break the key between the
ground and the painting.
COLOURS.
J.
The following is a list of colours experimented on by

Dyckmans in 1847. They were placed on two panels
in patches of the pure colour,
and then
shaded with white up to the half-tone.

shades and mixtures of these colours.
also the
In
all
same
150
APPENDIX
88
Bistre.
Mummy.
Bitumen.
Natural Ochres.
Cobalt Blue.
Burnt
Russian
French Ultramarine.
Mars Orange.
Green Ultramarine.
Brown
Patent Yellow.
do.
Pink.
Iron Brown.
Ivory
English Red.
do.
Vandyke
do.
do.
Mars
do.
Naples
do.
Carmine.
Saturn
do.
Carmine Madder.
Indian
do.
Cinnabar.
Vandyke
do.
Crimson Lake.
Cassel Earth.
Mars Scarlet.
Antimony Yellow.
Italian
Raw
do.
Sienna.
Cadmium
do.
Burnt
Mars
do.
Terre Verte.
Sulphur
do.
Naples
do.
Do.
Roberts Lakes,
Burnt.
Cobalt Green.
do. of Rome.
Madder Lakes.
Naples
do.
to
Malachite Green.
7.
Vermilion.
Smyrna Lake.
Veronaise Green.
Lemon
Mars
Yellow.
The
Violet.
panels were exposed to light and
the house
and the other
air,
one
in
outside.
After noting carefully the effects of time and exposure
on these
colours,
and gathering much information from
other sources, such as old pictures,
etc.,
M. Blockx has
come
to the conclusion that the following colours can
safely
be mixed with flake white.
Those marked with
an asterisk can be mixed together also without danger.
Those not marked, when mixed by themselves or with

the others, do not alter in any appreciable manner.
Ênglish Red.
* Venetian Red.
*Mars
Îndian
do.
do.

APPENDIX
Madder, Carmine, Rose, and
189
Cobalt Blue.
*Burnt Sienna.
^French Ultramarine.
*Real Ultramarine.
*Mars Orange.
Cobalt Violet.
those not burnt,
Cadmium
Mars
Yellows.
do.
* Yellow Ochre.
*Mars Yellow.
*Brown Ochre.
*Mars Brown.
Îtalian Earth.
Ivory Black.
Vine
Dark madders and

with white
do.
cassel earth discolour
be mixed with any colour containing

Flake white
is
The
following
in painting
iron.
the best to use in oil-painting, and,
pure and properly mixed with
used
is
list
oil, it is
of colours that should not be
Scheele Green.
Carmine.
Schweinfurt do.
Carmine Lake.
Cinnabar
Burnt Madder.
Green Lakes.
do.
Chrome Yellows.
Malachite Green.
Laque de Gaude.
Cobalt
Indian Yellow.
Mineral Blue.
Zinc
Raw
do.
Prussian do.
do.
Violet Lakes.
do.
Raw Umber.
Sienna.
Terre Verte.
Burnt
Verona Earth.
Green Ochres.
Bitumen.
Paris Green.
Ivory Brown,
They
are not
do.
Mummy.
all
and many
others.
unpermanent colours by themselves,
but they have other drawbacks

siccative
if
a permanent white.
Blanc de Neige.
Antimony
when mixed
Naples yellow must not
vermilion blackens.
either
they
are
too
and cause unequal drying when mixed with
other colours, or they never dry (as bitumen), or they

destroy other colours
when mixed with them.
INDEX
Academy Board, 47.
Alteration in pictures, causes
of,
183.
Charcoal, or Fusain, sketching

from nature in, 34.
Chinese White ground, 178.
Choosing a subject, 94.
Claude, 106.
Amateur, mark of the, 1 4.

Amateurs, advice to, on keeping
up interest in their v^ôrk, 182. Cloudland, examples of, 131.
Clouds in water-colours, 170.
Animals, photographs of, 104.
Clouds in broad daylight, 138.
Appendix^ 183.
Cole, R.A., Vicat, palette of,
Artists, French, 82.
66
Art, simplicity in, 180.
Collier, R.I., Thomas, palette
Atmosphere, effect of clear, 6.
.
of,
Beech, branch
of,
71.
Colours, choice
177.
Black and White, Sketching
in,
31, 116.
of,
65.
Colours to be avoided,
54
Blocking in, 9.
Blocks for small sketches, 45.
Blockx, M. Jacques, 58, 183.
Colours,
Blues, 54, 56, 58, 61, 72, 73,

123.
Boats, English and foreign, 153.
Boats, how to draw, 84, 152.
Colours not to be used,
Boys, sketch
of,
103.
list
of,
list of tested, 187.

Colours, quick and slow driers,
122, 123.
list
of,
189.
Composition, rules for, 77.

Cracking in pictures, 122, 123.
Crome, 106.
Browns, 54, 56, 58, 60, 72, 73,

123.
Bruges, Porte Saint Croix
Brushes, 48, 121.
at, 79.
Cairo, sketch near, 89.
Camera
lucida, objections to, 14.
71.
Distances,
how
J., 187.
of, 4.
Causes of pictures fading, 53.
to paint, 139.
Drawing-boards, 46.
Drawings, correct, 14.
Dyckmans,
Canvas, 47.
Carefulness, need
Desiccation, 185.
Dillon, R.I., Frank, palette
Earth,
161.
of,
INDEX
192
Harding,
Easel, Sketching, 48.
Egg-shaped
and shade, 78.
light
Etching, acid bath for plate, 42.
Etching from nature, 38.

Etching materials, 38.
Etching, preparing plate for, 39.
Eyes, half closing the, 12.
Fading
of water-colours,
dis-
cussion upon, 52, 74.

Falling rain, how to paint, 132.
Ferns, 167.
Figure, proportion of, loi.
Figures, how to draw, 99.
Figures in landscapes, 22, 95.
Fildes,
of,
A.R.A., Luke,
palette
31
D., pencil work
J.
of,
Head, how
to place the, ii.

Heaviness, cause of, 2.
Hills, how to draw, 13.
Hog-hair brush, 121, 124, 175.
Hook, pictures by, 169.

Hook, R.A., J. C., palette
of,
67.
Horses drinking, sketch of, 34.

Hunter, A.R.A., Colin, palette
69.
of,
Hunt, Wm., Talks about Art,
Krakatoa,
19.
effects of the erup-
tion of, 137.
68.
Finishing a picture, what to aim

at in, 167.
Fixatif^'"''
44
how
to
FixatifE how to
Flimsiness, cause
make, 37.
Foregrounds,
etching by,
Leighton, P.R.A., Sir F., palette
use, 37, 126.
of,
66.
Lenses, focal lengths
of, 2.
of,
17, 18.
on taking, 105, no.

Linton, P.R.L, Sir J., palette
Foam,
150.
Foot, length
Lalanne, book on
Liberties,
of,
102.
how
to introduce,
of,
70.
108.
Framing water-colours,
French artists, 181.
MacCallum, R.L, Hamilton,
75.
Fusain, or charcoal, 33.

Fusain, to get an even tint
palette of, 70.

asleep, sketch
Man
in,
37.
of,
Gibraltar, 79.
Graham, A.R.A.,
palette
Peter,
of,
85.
Manipulation, hints on, 120.

Marks, R.A., H. Stacy, palette
68.
Mastic, 51.
Materials, way of using the,
86.
69.
Grass, 164.
Mediums, 50,
Greens, 54, 57, 58, 62, 73.

Greens for transparent water,
Moonlight pictures, French, 83.
of,
151
75.
Mirror, reversing objects in, ii.
Oils, 184.
Greens for trees, 159, 160.

Grouping of objects, 107.
Orange
Growing
67.
Ouless, R.A.
crops, 164, 166.
Halswelle,
R.I.,
Keeley,
colour, 73.
Orchardson, R. A.,
W.
Q., palette
of,
W. W.,
palette of,
67-
palette of, 71.
Handling
in water-colours, 170.
PAINTING,
hints on, 120.
INDEX
permanency
Paintings,
of,
Relative tones, 76,
74*
Palettes,
list of,
no, in.
Rembrandt, Good Samaritan by,
Palette, setting the, 120.

Palette-knife, painting with,
193
82.
24.
66.
Paper, choice of, 8, 45, 46.

Peinture a Vhuile^ by M. Jacques
Blockx, 183.
Pelicans, etc., tailpiece, 182.
Pencils, choice of, 8, 14, 31.
Penshurst, sketch at, 168.
Rembrandt,
Rembrandt,
portraits by, 181.

result of style of, 82.
Rigging, 154.
Ripe corn, 166.

River scenery, 152.
Rocks, 161.
Rosa, Salvator, 106.
Perspective, 16.
Rough
Perspective, circles in, 23.

Perspective, how to draw a pic-
Ruffled water at Philse, 146.
ture in, 19.
Perspective of cast shadows, 28.

Perspective of figures, 99.
Perspective of hilly road, 21.
Perspective of rays of light, 27.
Perspective of roofs, 26.
R.A., J., palette of, 68.

Philae, view of Temple at, 143.
Phillip, R.A., the late John, 4.
Photographs, reduction of heights
Pettie,
by. 13-
Photographs, use of, 88, 104.

Photograph, sketch from, 89.
Pigments, list of permanent, 54,
S8.
Plane of picture, 17.

Planes, the three, in landscape,
92.
Skies in water-colours, 170.

Sky and sea, to harmonise, 148.
Smooth water, reflections in, 144.
Snow, 167.
Stanfield, R.A., 106.
Stippling in water-colours, 174.
Stoke Pogis Church, 26.
Stone, A.R.A., Marcus, palette
69.
of,
Study, difference between sketch

and, 84.
Study, necessity of shadow for
Points, vanishing, 18.
Preparation of the ground, 184.
making
A.R.A., Val., palette
a, 3.
Subjects, selection
69.
of,
77, 90.
Proportion of figure, loi.
Sun or moon, proper
Reds, 54,
picture of, 30.

Sun or moon, reflection
55,
58,
59, 72, 73,
Sunset, oil-colours
123.
Reflections,
rule
for
145.
Sea, studying, 139.

Ships, 84.
Siccatives, 185.
Sketching-stools, 50.
Skies, how to paint, 129.
Point of sight, 19.
of,
in,
Sails, lateen, 154.

Sand, 163.
Sand, wet, 149.
Scumbling, 127.
Sea, smooth, 148.
Ploughed land, 165.
Prinsep,
water, reflections
size in a
of,
147.
for,
135.
Sunset, water-colours for, 171.
drawing,
144Relative colours, 76.

Relative strength of sunlight and
Tacky, colours when, 123.

Tadema, R.A., Alma, palette of,
66
daylight, 63.
INDEX
194
Tempera, working
in,
73.
Tents, objections to, 49.

Texture in water-colours, 175.
Trees, anatomy of, 156.
Trees, how to paint, 158.
Trees, how to study, 155.
Trees in sunshine, 160.
Trees, shadows of, 159.
Turner, R.A., 106.
Turner, Calais Pier by, 80.
Turpentine, 51, 186.
Umbrella,
Sketching, 49.
Water in glass, how
1 1
6.
174-
Water-colour
sketching,
list
of
colours for, 72.
Waterlow, R.W.S., E. A., palette

of,
72.
Waterproof paste, 75.

Waves, breaking, 149.
Waves, large, 149.
Waves, very small, 147.
Whatmans
four kinds of paper,
46.
Wheat-field, sketch
Values,
to paint,
Water-colours, medium for, 75.

Water-colours, to paint water in,
of,
86.
colours
to
iii, 113, 119.

Values not absolute, 116.
White,
Vanishing points, 18.
Whites, 54, S7> S8> 62, 73, 123,
7,
flake,
Varnishes, 51, 185.

Velasquez, 112.
White, study
Water,
Yellows,
reflections in, 140.
Water, studying, 139.
mix
with, 187.
174.
73. 123-
of,
54,
Ii6, 167.
55,
58, 59,
72,
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SKETCHING FROM NATURE

Iganlibook for ^tuUentsf anti Slmateur^

AUTHOR OF on A RAFT AND THROUGH THE DESERT*

WITH A FRONTISPIECE AND TEN ILLUSTRATIONS

Black and White

Materials and Apparatus

Colours and their Durability

Choice of Colours for Sketching

On Composition and Selection of Subject

on Manipulation in Oil Colours

of Special Objects and

XIV. Simplicity in Art.

Perspective of Hilly Road

Stoke Pogis Church

Example of Egg-shaped Light and Shade

Gibraltar from the Spanish Lines

Study of Bruges Watergate

Michaels Mount, Cornwall

Pushing off Shore

Proportion of the Human Figure

Example OF Relative Tones

Effect produced by a Figure too near

Studies of Cloud and Sea

The Top of Hind-Head

Reflection in Smooth Water

Ruffled Water at Phil^e

Arab Boat from the Red Sea

Views of Lateen Sails

Pelicans and Flamingoes, by H.

column of Reds, No. 3 from

SKETCHING FROM NATURE

from nature out of doors have

appearance the sketch presents

and quite flimsy

the study represents

purpose of correcting mistakes.

nearly always too

This unexpectedness of result

a speculative charm to working from

generally either too

heavy and overwrought.

not in any want of

not carefully noting the colour and intensity of

SKETCHING FROM NATURE

the light in which the artist

and tone, depends upon

of even professional painters.

on two consecutive days or

not very far to seek.

case his eye

has been distracted and dazzled by the whiteness

be to make the whole as

wash looks dark,

has got his paper completely covered and begins

darker and darker, without perceiving that, on

account of the bright light

that a picture has generally to be seen in a

darker than the darkest cast shadow out

of doors, and must be painted so as to look well

another more intense, while the

looks true out of doors.

made lighter than what