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LANDSCAPE PAINTING 
 
 IN OIL COLOURS, 
 
 EXPLAINED IN LETTERS ON THE THEORY AND PRACTICE 
 
 OF THE ART, 
 
 AND 
 
 Ellustrateti ig lExampks from tfte srfaeral ^cfiools. 
 
 JOHN BURNET, F.R.S. 
 
 AUTHOR or “ PRACTICAL HINTS ON PAINTING,” “ REMBRANDT AND HIS WORKS," ETC. 
 
 LONDON ; 
 
 DAVID BOGUE, FLEET STREET. 
 
 MDCCCXLIX. 
 
TO 
 
 MRS. CHARLES MORLEY ROBISON, 
 
 OF ETLOE HOUSE, LEYTON, 
 
 THESE LETTERS ARE INSCRIBED 
 
 AS A SMALL TRIBUTE 
 
 OF 
 
 THE AUTHOR’S REGARD. 
 

PREFACE. 
 
 Ix gi\^ng a series of letters to the public, embracing a course of study 
 confined principally to the subject of Landscape Painting, I perhaps ought 
 to apologize for their brevity, investigating as they do the rudiments and 
 practical working of a large field of endless variety. The apology I have 
 to offer is a consciousness that words cannot make clear principles and 
 pecuharities more particularly addressed to the eye, and I have therefore 
 contented myself with drawing the student’s attention to those points, both 
 in pictures and natural imagery, on which his taste and practice must be 
 founded. The favour my other works on the various branches of painting 
 have found, gives me a certain confidence that this elementary book will be 
 received with a kindly spirit. My object has been to engraft theory upon 
 practice, as all written knowledge upon the subject must be of little avail 
 without the means of carrying it out into practical results. I have, there- 
 fore, not only commenced with considering the subject in separate portions, 
 but some of the details on which I have dwelt are of the humblest and most 
 familiar character; for a trifling weed wiU frequently contain the highest 
 elements of the art — breadth, richness of form, and a true proportion of 
 sharpness and softness. He who can render even a tree or weed wdth 
 
VI 
 
 PREFACE. 
 
 truth and taste, possesses the password that makes Nature unfold her more 
 hidden treasures. No one can conquer this seemingly unimportant object 
 without a correct eye and much reflection ; and when these are acquired by 
 habit and industry, higher properties can be successfully grappled mth and 
 achieved. 
 
 The examples of the several parts of a landscape are purposely marked 
 stronger than aerial perspective would warrant, that they may appear more 
 evident in their forms. 
 
 February, 1849. 
 
LIST OF ILLUSTRATIONS. 
 
 STUDY OF A SKY From 
 
 SKETCH OF A SKY 
 
 SKETCH OF A DISTANCE 
 
 SKETCH OF A DISTANCE 
 
 SKETCH FEOM A PICTUEE 
 
 SKETCH FEOM NATUEE 
 
 SKETCH FEOM A PICTUEE 
 
 SKY-LINE FEOM A PICTUEE 
 
 IDEAL SKY-LINE 
 
 STUDY FEOM A PICTUEE 
 
 STUDY OF WEEDS AND PLANTS . . . 
 SKETCH OF TEEES FEOM A PICTUEE. 
 STUDY FEOM A DEAWING 
 
 WOUVFRMAN8 . . Facing page 14 
 
 CUYP 16 
 
 JOHN SUBNET 18 
 
 JAMES BURNET 18 
 
 RUBENS 20 
 
 JAMES BURNET 20 
 
 TENIERS 22 
 
 BERG MEM 24 
 
 JOMN BURNET 24 
 
 CLAUDE 26 
 
 WILLIAM SIMSON 30 
 
 TITIAN 32 
 
 CLAUDE 34 
 
 STUDY OF WEEDS FEOM NATUEE . . JOMN BURNET 
 
 40 
 

 
 
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LETTERS 
 
 ox 
 
 LANDSCAPE PAINTING. 
 
 LETTER 1. 
 
 My dear — 
 
 I am quite delighted to hear that you have resolved to commeuce 
 you^ studies in oil painting. I only regret that you did not make up your 
 mind long since, as I have always observed that an early education in oil 
 painting is paramount to every other consideration,^ Most oil painters 
 have a superior command of all other materials, while few water-colour 
 draughtsmen have arrived at a perfect feeling in oil; however, as the 
 proverb has it, “ Better late than never,” It will, therefore, behove us to 
 set about the task in the shortest and clearest manner. 
 
 The first thing you must do is to get a palette and brushes: these I 
 will describe to you in detail. In place of a common oval palette, have it 
 of an oblong shape, as it holds more colours, and is of a better shape to put 
 into a case when you go into the country to paint. Let it be of sandal 
 wood, as, being of a fight colour, you will see the tints better, and you will 
 not be led into the error of painting dark pictures, as walnut-tree or 
 mahogany palettes are apt to lead to, from making the tints look bright ly 
 contrast. Besides, we must always remember that the best colourists have 
 used fight grounds to paint upon. Wfien done painting for the day, wipe 
 your palette clean with a cloth and a little spirits of turpentine ; afterwards 
 use a little oil, to keep it bright and smooth. If any colours remain on the 
 
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2 
 
 LETTERS 
 
 palette worth saving, take them off with the palette-knife, and arrange them 
 on the bottom of a soup-plate, so that by pouring water into it, sufficient 
 to cover them, they 'will keep fresh for another occasion. 
 
 With regard to the brushes, it must depend very much what branch of 
 the art you mean to practise, as every department requires a slight 
 difference in the tools; but supposing that you have not made up your 
 mind yet, I shall give you a description of aU sorts, and their various uses, 
 so that you may be able to choose for yourself. The first are hog-hair, or 
 what we call French brushes, as they are better made in Paris than any- 
 where else. Have some of a flat shape, with tin tops to the handles, as 
 these are most useful in laying in broad tints; also in landscape, where 
 they do admirably for touching in the foliage of trees, &c., as we see in the 
 works of Teniers, and others of the Dutch and Flemish schools. Those 
 that are not flat ought to be of a shape thick in the middle, and coming to 
 a fine point; this is accomplished by baking the hair in an oven, with a 
 bent inclination, and when made up the curvatures are placed so as to 
 bend inwards. The next to these are goat’s-hair and fitches, excellently 
 adapted for painting the hair of animals, or other matters that require 
 texture, when the hog-hair tools are too coarse to be made use of. The 
 other pencils I would recommend you to use are sables, as they are firmer 
 and more elastic than those made of camel hair. You must also not forget 
 to provide yourself with one or two softeners of different sizes, as they are of 
 the utmost importance to soften the various layers of colour, and blend the 
 tints together. Let the handles of all your brushes be long, as it enables you 
 to paint a little removed from the canvass,^ so that you see the general 
 effect of what you are doing better. 
 
 In my next letter I will give you a list of the colours best suited for 
 your purpose, and also the mode of using them. In the meantime, 
 wishing you every success, 
 
 I remain yours, &c. 
 
 J. B. 
 
ON LANDSCAPE PAINTING. 
 
 LETTER IL 
 
 Mr DEAK — 
 
 Now that you have decided upon commencing your practice in oil 
 painting with landscapes, the advice and instruction I shall give will be 
 more particularly confined to that branch of the art. It certainly requires 
 less correct drawing than figure painting ; nevertheless, it embraces a larger 
 field for picturesque beauty, and in handling and colour lie its greatest 
 charms. In painting small pictures, I would recommend panel, being 
 susceptible of taking on a greater degree of finish; but if at all of a 
 moderate size, use canvas; and if not of white ground, let them both be 
 of a light colour. Before beginning to sketch in your subject, wash over 
 the surface with a little chalk and water, which removes any grease, and 
 makes the colour flow easily. After the outline is made, wash in your trees 
 and foreground objects with a little warm water-colour, such as burnt 
 sienna, or burnt umber, so that when you paint your sky and distance, you 
 may adapt them to the general forms ; also the extremities of the trees ■will 
 shine through the sky, and enable you to trace them -with more certainty. 
 You will also find a warm tint of great use in the shadows, giving both 
 transparency and richness. 
 
 YTien you have completed your design, the sky is the first thing to be 
 put in ; and as the sky is of the utmost importance, not only to the harmony 
 and effect of the whole, on account of its forms and light and shade, but 
 also as to the general hue, it must receive your whole attention, as skies are 
 never good if much altered from the original design. Those masters who 
 have most excelled in skies ought to be your guide, as by studying them 
 you ■wiU be better enabled to read, as it were, the great book of nature, 
 which, after all, if you expect to be original in your Avorks, must be your 
 constant study. Those who have excelled in skies are Wouvermans, Cuvp, 
 W. Yandevelde, Ruysdael, Teniers, of the Dutch school, and the great Italian 
 
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4 
 
 LETTERS 
 
 landscape painter, Claude Loraine — though all ditFerent, yet all true to 
 nature, and in strict harmony with the landscapes of which they are a part. 
 
 I shall now proceed to describe the best mode of painting skies, as practised 
 by the several artists I have named, and shall begin with Wouvermans. The 
 colours to be used are ultramarine, (but Prussian blue or French ultramarine 
 will serve to practise with,) ivory black, Vermillion, Naples yellow, and flake 
 white.^ He seems to have put in his dark clouds in the first instance, 
 frequently using a buff-coloured panel, or at least sketched in the darks 
 with such a tint, which, of course, is to be quite dry before you begin 
 painting, so that the ground will shine through. In mixing up the tint 
 your darks are to be painted with, use a good deal of mygulp, so that the 
 ground on the panel will influence the transparency of the tint, and conduce 
 to a true representation of nature, as clouds are generally more yellow and 
 luminous in their interior and reflected lights, than on the outer portion of 
 the vapour. When this is done, put in your azure, or blue portion of the 
 sky, without interfering with the parts you mean to keep as your light or 
 dark — these must be regulated in their shapes and size by the landscape 
 they are to harmonize with or give force to. Hence the necessity of having 
 a clear idea of what you intend. You are then to put in the high lights of 
 the clouds, which ought to be with little vehicle, as the best mode of giving 
 solidity and brightness to these parts of the picture. Your work being now 
 in this state, you are to take a clean softener, and press gently the points of 
 it into the blue tint on the palette, which is to be touched delicately on the 
 surface of your dark clouds, giving a union with the azure portions of the 
 sky. This must be done so as to produce a stippled appearance, such as 
 we see in a miniature. Then take another clean softener, and blend the 
 cool tints on the surface, without disturbing the colour beneath; this, if 
 not overdone, will give a beautiful harmony with the azure, and also a 
 luminous character to the interior of the clouds — if overdone with the 
 softener, it will produce what artists term wooliness, and render the colour 
 underneath opaque. A little of delicate cool tint is also to be given to the 
 
ON LANDSCAPE PAINTING. 
 
 5 
 
 shadows of the light clouds, but with little vehicle; after which a softener 
 is to be passed gently over the lights and half-lights, so as to give the whole 
 a full and pulpy appearance. Then the reflected lights of the clouds 
 touched gently in with warm colour, and the high-Hghts of the whole 
 touched in with a clean tint, so as to give the proper sharpness necessary 
 to the true effect of nature, which consists always of certain mixtures of 
 softness and precision. When you read this, you must do so looking at the 
 same time on the natural appearance of the heavens, and testing the truth 
 and correctness of the advice ; you will by that means get acquainted with 
 all the various phenomena, and endeavour, at the same time, to exert your 
 investigation to And out the several causes for such variety of effect. 
 
 In painting skies such as Wouvermans’, or those that have a soft 
 appearance, it is better not to use much varnish mixed with the oil, not 
 only on account of its aUowing the softener to have a greater power over 
 the colour, but it wiU enable you to touch upon the clouds with a greater 
 degree of facility and finish. The late WUliam Coll in s, the Academician, 
 who was excellent at skies, often painted them without any varnish 
 at all in the colour, but made use of a bleached fat oil; neither did he 
 wish the pigment to dry too quickly, that he might have sufficient time 
 to finish the whole without repainting. From Wouvermans I will carry 
 you to the other extreme, to the skies of Albert Cuyp. As Wouverman’s 
 are all softness and roundness, so Cuyp’s are full of flatness and sharp 
 edges, which is the difference perceived in nature between the mid-day 
 sky and that of evening. Cuyp seems to have used a great deal of varnish 
 with his oil, hence the crisp sharp edge of his clouds ; and though bathed 
 in the light of the setting sun, still possessing form and distinctness ; and 
 though finished with the greatest tenderness, the softener never seems to 
 have been in his hand ; this is produced by repeated scumbling, which is 
 going over the whole, when the several paintings are dry, mth lighter tints 
 nnxed with white, whereas what is termed glazing is these tints transparent, 
 and without white in the colour ; this it is that gives his skies that luminous. 
 
6 
 
 LETTEES 
 
 unsteady appearance, as if every particle of atmosphere was tilled with the 
 rays of the setting sun; even his darkest clouds seem to have been subjected 
 to this treatment; hence their aerial property. I remember a very fine 
 example of this mode of treatment-—- viz., scumbling lighter colour over 
 darker tints, in a picture of his, of “ Fishing under the Ice,” formerly in 
 the possession of the Duke of Bedford. After the first painting was dry, he 
 seems to have gone over the whole sky with a lighter scumble, and then, 
 using a clean piece of fine linen, wiped it off, in giving shape to his clouds, 
 so that in place of their being above, they are below the surface of the last 
 painting ; this not only gives them greater purity, but keeps them, -with all 
 their sharpness, in harmony with the lighter portion ; besides, it is a much 
 readier way, and a safer, than by mixing up a fresh tint on the palette to 
 paint them in with. Look at evening skies in nature, and you will often 
 perceive the same effect in the distant clouds, sharp, but as if seen through 
 a fine gauze. In painting sides generally, but evening skies in particular, 
 great use ought to be made of the flat hog-hair brushes ; they spread out 
 the colour better than the round. From what I have said above you may 
 perceive, that while the sky is wet, a good deal of detail may be given by 
 merely touching out the forms with a dry sable pencil, as it removes the 
 lighter scumbling off the under strata, and gives more or less distinctness, 
 as you choose, without having recourse to fresh painting, which often dries 
 out of harmony, and clogs up the delicacies with thick paint. In painting 
 evening skies, I do not see that any fresh colours are necessary; therefore 
 I will not confuse you by setting a fresh palette. 
 
 I shaU now describe the best mode of painting skies, such as we see in 
 the finest of Teniers’ works, always bearing in mind that you are to test 
 a painter’s skies by a constant reference to nature. You will perceive, 
 generally, that the pictures by Teniers are very delicate in their colour, a 
 silvery tint predominating, except where he wishes a strong point, either of 
 red or blue, which receives greater force in consequence ; and his skies being 
 more distant than either the figures or landscape, are treated accordingly ; 
 
ON LANDSCAPE PAINTING. 
 
 7 
 
 his blues are much tempered with white and delicate grey, and his opposition 
 of the several tones in the sky are of the gentlest character, but, from his 
 making use of much varnish in his colour, they are distinct, from their sharp 
 edge. 
 
 As the skies of Teniers’ pictures are often treated as back-grounds to his 
 figures, they frequently possess less consequence than they would otherwise 
 do ; in fact, they are chiefly the depositories for the principal mass of light, 
 and kept broad in effect to give bustle and animation to his groups of 
 figures. We perceive the same treatment in the skies of Paul Veronese, 
 and others of the Venetian school, only upon a larger scale, and we may 
 observe that his smallest pictures, and his largest landscapes, have the same 
 flatness and purity of tint, both in the clouds and azure. Teniers’ view of 
 his own house, in the collection of the Marquis of Westminster, and the two 
 large landscapes in the Dulwich Gallery, are excellent examples of this mode 
 of treatment, but it will be in vain to attempt this luminous purity of 
 colour with Prussian blue; you must therefore use ultramarine ashes, or 
 ultramarine and flake white, and in place of ivory black you will often find 
 willow black, that is, charcoal made from wiUow twigs, gives a delicious 
 pearly hue, and should it incline to purple, it can easily be remedied by a 
 little Naples yellow. 
 
 The colours of Teniers, and others of the Dutch school, seem not 
 only to have been finely ground, but used every day fresh from the stone ; 
 indeed, the colours sold by colourmen are not only badly ground, but settle 
 so unequally with regard to the oil, either in tubes or bladders, that you 
 would do well, if you do not like the trouble of grinding them yourself in 
 the first instance, to subject them to a little grinding on a fine porphyry 
 stone ; in large pictures, it is of less consequence. 
 
 In painting skies, such as those of Cuyp and Teniers, if flat French tools 
 are too large, use flat sables; these give admirably that edge and even 
 spread of colour peculiar to both these masters. 
 
 As this letter has extended to a considerable length already, I must 
 
8 
 
 LETTERS 
 
 reserve my observations respecting the skies of Vandevelde, Ruysdael, and 
 Claude to my next ; in the meantime, never neglect to study the beautiful 
 examples nature often presents, as well as the examples of these artists ; pay 
 particular attention to the difference of form and colour in the clouds of 
 midday skies, compared with those of evening; and endeavour to paint a 
 little every day, so as to get command over the materials, otherwise the 
 theory of the art will get beyond the practice, you will be dissatisfied with 
 your work, disheartened by failures, and only a poor critic upon art when 
 you ought to be a painter. Persevere, and you will be sure to succeed. 
 
 Yours, &c. 
 
 J. B. 
 
ON LANDSCAPE PAINTING. 
 
 9 
 
 LETTER III. 
 
 My deae 
 
 I am quite pleased with your enthusiasm, and trust it will continue, as, 
 unless 5’ou give your whole mind to your studies, you will never accomplish 
 anything satisfactory. Think of the old saying, “ Ars longa, vita brevis est,” 
 and that will stimulate you to go steadily and perseveringly on. Remember, 
 there is no royal road to excellence, and from time to time you must refresh 
 your eye, by contemplating well-coloured pictures; this is the surest and 
 readiest way of acquiring a good notion of colouring, without which no 
 landscape can be attractive. 
 
 I shall now continue my criticisms by an investigation of the skies of 
 W. Yandevelde. You must have observed that his finest works are generall}^ 
 calms cenes, with the water compressed within a low horizon ; this of neces- 
 sity obliges him to have recourse to a sky of much interest and detail. As 
 his skies are arranged as backgrounds to his shipping, the clouds assume 
 those forms that give relief to the sails of his vessels, and also harmonize 
 by delicately repeating the stronger shapes either in the hulls or rigging. 
 The clouds tower up, as is often seen in midday when looking out to sea. 
 His clouds are yellower in tone than those of Teniers, and the azure is of a 
 stronger blue ; but these colours are rendered comparatively tender by the 
 strong dark touches on the masts and yards of his vessels, also by the dark 
 brown sails of his fishing boats rising up into the picture from the boats 
 drawn up on the foreground sand, the yellowness of whicli, and the warm 
 dark colours of his boats and figures, give delicacy and space to the sky from 
 strong contrast; and as all pictures require a certain quantity of gi’ey or 
 neutral tint to give value and refinement to the richer colours, the water is 
 often made use of for that purpose. His sea never assumes that strong green 
 colour observed in many of the works of marine painters. 
 
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10 
 
 LETTERS 
 
 From these remarks you will perceive that nature often requires modify- 
 ing and refining in her strong colours; coarseness in the handling and 
 grossness in the colour are strong marks of an untutored eye. As the tints 
 of the sea in Yandevelde’s pictures assume the greatest delicacy as they 
 aj)proach the horizon, so do the under strata of his clouds, giving that 
 perspective character of distance so evident in nature. Compared with the 
 pictures by his father, you will perceive a much greater refinement of colour ; 
 indeed, the absence of gross colours is a peculiar mark of the best masters 
 of the Dutch school ; therefore do not be afraid of leaning to that side of the 
 scale, as most beginners fall into the opposite one. 
 
 I shall now draw your attention to the skies of Jacob Euysdael. They are 
 more firmly painted than those of Teniers, and the azure is deeper in tone; 
 the blue and also the grey tones of his clouds are much fresher, and con- 
 vey the look of nature after a shower; they are painted with a full body 
 of colour, nor is the vehicle used very apparent. In painting skies of 
 this quality, you will find the softener not of so much use as one of the 
 flat French brushes ground fine towards the extremities of the hair; this, 
 used delicately in passing over the surface while the colour is wet, gives that 
 enamel look which is perceivable in his pearly tones, especially if you make 
 use of the brush used in painting the azure of the sky, so as to temper the 
 retiring portions of the clouds in the first instance ; also you will find the 
 same advantage in maldng use of the pencil filled with the grey tint in 
 painting partially into the blue of the sky ; this not only produces a harmony 
 between the two, but gives that variety of tint observable in nature. With 
 Euysdael the union between his sky and landscape is often given by the grey 
 colour being used on cottages or on the stems of trees, such as the beech, 
 birch, &c., and the high light of his clouds, repeated towards the foreground 
 by a light coloured road, or even the flowers of an elderberry bush. I men- 
 tion these things that you may never lose sight of the necessity of union 
 between the several parts of your picture. The forms and depth of the 
 foliage of Euysdael’s trees enable him to keep the sky in due subordi- 
 
ON LANDSCAPE PAINTING. 
 
 11 
 
 nation, which may be also seen in the landscapes of Hobbima, Avhose skies 
 are often of a very bold and bright character. The forms in Kuysdael’s skies 
 are beautifully laid out, both in the openings into the azure, and the arrange- 
 ment of the several masses of light of his clouds, taking the sky as a whole, 
 and also making it conducive to the general effect of the landscape. This we 
 denominate composition, and it can only be accomplished by weaving in the 
 beautiful appearances of nature with scientific skill — an art which can only 
 be learned by studying the works of those great men who have gone before 
 us ; when once you are possessed of the secret, you can then bend nature to 
 your own purposes. 
 
 We now come to the great master of aerial perspective, Claude Loraine, 
 the skies of whose landscapes are so captivating, both those of evening and 
 midday. His sunsets are generally seaport views, with buildings and vessels 
 receding to the horizon, and filled with the warm rays of the descending 
 sun; the perspective effect is heightened by the deep-toned sea as it ap- 
 proaches the foreground, and by the strength and detail of the figTires and 
 objects nearest the spectator. The colouring and tone of his distant build- 
 ings are similar to those of Cuyp, but are less filled with juicy vehicle, and 
 are made to recede more by repeated scumbling over the whole, and retouch- 
 ing into the several parts to define the minute portions. The sun, being 
 often placed near the point of sight, makes both the emanation of the light 
 and the receding of the several lines converge to the same focus. 
 
 The ultramarine in Claude’s pictures looks of the purest kind, and in his 
 foreground strengths of the deepest colour; the yellow looks often stronger 
 than what Naples yellow would produce, perhaps light ochre in the first 
 painting, and afterwards the earthy character taken out of it by more delicate 
 scumblings. Yermillion will certainly go deep enough for any of the mixed 
 tones, either hot or cold ; and the greys of Claude look more as if they were 
 made by a mixture of blue, red, and yellow, than by the use of ivory black. 
 When you mix a tint by this method, it is best to mix blue, red, and white 
 only, in the first instance, and add the yellow afterwards ; it is a more cer- 
 
12 
 
 LETTERS 
 
 tain metliod, and disturbs the transparency of the tint less. You will perceive, 
 in the treatment of his clouds, they seldom go strong into the principal mass 
 of light, but come in contact with the outline of those buildings he wishes 
 to recede, by which the buildings nearest the eye receive more force, and also 
 a greater breadth of hght is preserved. 
 
 Let me now direct your attention to the midday skies of Claude; they 
 are not only cooler in tint, but filled with a greater quantity of fleecy warm 
 clouds, Avhose shadows are never of sufticient strength to cut up the great 
 breadth of the sky, nor is the intenseness of the azure carried to that 
 extreme which would disturb the luminous quality and general amenity of 
 the whole. In most of his sunsets, as he generally reserves the centre of his 
 pictures for the principal light, using the side objects, such as his buildings, 
 &c., for the purposes of half- tint, so in his midday subjects he extends the 
 light of his skies across the whole canvas, and brings up against them a 
 mass of dark trees in the middle; this not only gives the etfect of light 
 and delicacy to his sky and distance, but is necessary to give decided form 
 to his landscapes. Now these dark masses, rising up in the middle, are not 
 only softened down by portions of foliage of a more delicate and receding 
 colour, but also by other trees of a light yellow or brown tint, clinging 
 to the principal darks; also you must notice that these clumps do not cut 
 the sky with a uniform tint behind them; but light clouds passing behind 
 come in contact with the darkest portions of the foliage, giving both solidity 
 and that variety to be found in nature, arising from objects coming in con- 
 tact with a background composed of different degrees of strength and colour. 
 When I say the lights of his clouds are generally tinged with yellow, you 
 will perceive the same treatment carried into his distant hiUs, while the 
 shadows are kept of a delicate blue grey. 
 
 When you read these remarks, go and examine the pictures of this 
 master, and if they are correct, the matter will thus be riveted in your 
 memory ; if not, you will be enabled to establish a theory for yourself. It 
 is sufficient for me to have opened to your eye a method of investigation ; 
 
ox LANDSCAPE PAINTING. 
 
 13 
 
 but look at many before you decide. Unfortunately, we have not many of 
 Claude’s works in this country accessible to the public; his finest being in 
 private collections, such as the Egremont Claude, and those of Lord Radstock, 
 or others; but still the National Gallery and the Dulwich Gallery will give 
 you examples. 
 
 Supposing that you now perceive the principles of these fine masters, 
 to which, for their simplicity and strong features, I have drawn your 
 attention, I will lead you to an examination of the skies observable in 
 nature ; but as they are chamelion-like, and never long settled, in their variety 
 of changes, it requires a clear insight into the rudiments of the art, to be 
 able to view those images that pass before you and catch their character as 
 they fly. Every hour, every day, every season, has its peculiar variety of 
 clouds, and those whose habits lead them to observe the heavens can per- 
 ceive the endless changes ; even a shepherd, who knows nothing of painting, 
 by looking on the sky, can pronounce with certainty the indications of rain 
 or fair weather. 
 
 In examining the striking efiects, often observable in the evening skies, 
 which nature displays, especially those after a storm, it is necessary to be on 
 your guard not to be carried away by their brilliancy, and the often fantastic 
 forms of the clouds ; the Poet and Novelist have frequently described them, 
 but even the fiercest are very much modified, coming to us through the 
 medium of words. It is a different affair when put on canvas. Few artists 
 have succeeded in rendering them available to pictorial purposes. The 
 landscapes of Rubens, enriched by the exhibition of a tournament, with red 
 draperies, glancing armour, or embattled turrets, can support such a back- 
 ground; but for general purposes they are not available. Those represent- 
 ations, even by the dexterous hand of the late P. De Loutherbourg, are 
 more fitted for the scenic representations of a theatre. Hence we perceive 
 the evening skies of Cuyp, Avith aU their brilliancy, are treated with great 
 refinement and delicacy; indeed, some of them, in place of haA'ing the out- 
 line of the clouds riven as it were AAuth lightning, and bordered AAuth a golden 
 
14 
 
 LETTEKS 
 
 coloured list, are given with all the soberness of effect that nature exhibits 
 when the sun is beneath the horizon, and the clouds teU broad and soft 
 without any light touching at all upon their edges. I may refer you, as 
 examples of this abstaining from violent effects, to many of the skies of our 
 great English landscape painter, Richard Wilson ; whose clouds, often rising 
 up from the horizon to the zenith, as if the whole heavens were rent in 
 twain, are always subdued and modified in colour : this ought to teach us 
 to modify both the harshness and brilliancy of natural phenomena. Nature 
 has many expedients for removing such displays into their proper place in 
 the distant horizon, which is denied to a flat surface, such as a canvas or 
 panel. Another captivating mode of giving your work a learned look, is to 
 adopt the use of the palette knife in laying on your colour ; it gives certainly 
 a brightness and flatness to the pigment, but is totally at variance with the 
 most delicate part of your picture. It is in vain to justify its adoption by 
 mentioning that Brauwer, Rembrandt, and our own Turner, have used it. 
 What is genuine gold from the hand of genius, becomes spurious when 
 attempted by feebler powers, having the careless accidental appearance of 
 Nature’s works without her truth and intelligence; it may have grown into 
 fashion in this country from the dexterous appearance of the works of our 
 water-colour painters; but remember, oil paintings are expected to take a 
 higher standing. In a recapitulation of the skies by the Dutch painters, and 
 bringing them in contrast with those of the great Italian and Venetian mas- 
 ters, they exhibit a greater aflinity to grey tones, or effects produced by the 
 management of black and white, than those masters who have always classed 
 their colours under the distribution of hot and cold principles. 
 
 I have enclosed you a couple of sketches from the skies of Wouvermans 
 and Cuyp, for the purpose of giving you an insight into their different 
 methods of treating that portion of the landscape ; but you must not forget 
 that as their pictures represent distinct times of the day, they are of neces- 
 sity distinct in the forms of the clouds and in the colour. You must also 
 never lose sight of the intention in each of these artists. The skies of 
 
3 
 
ON LANDSCAPE PAINTING. 
 
 15 
 
 Wouvermans are often used as backgrounds to his groups of figures; and 
 the lights and colouring of the whole are rendered subservient to his general 
 eflPect. The darks and lights of his clouds are either in reference to those 
 of his figures, by repeating the shapes or extending the masses of light ; and 
 the rotundity and softness of his horses, and other combinations, are kept 
 in harmony by the corresponding melting in of the lights and darks of his 
 sky. On the contrary, Cujrp’s cattle and figures, being dark, and cutting 
 against the ground, require an extension of his forms, by doubling as it were 
 the extremities of his outline, and by that means carrying his dark masses 
 gradually into the light portion of the picture. 
 
 As we proceed, these principles will gradually be developed, and I trust 
 by the time you receive my concluding letter, you will be complete master 
 of the method of uniting one part of the composition with the other. 
 
 Yours, &c. 
 
 J. B. 
 
16 
 
 LETTERS 
 
 LETTER lY. 
 
 My dear 
 
 I shall now proceed to give you a few practical hints on painting dis- 
 tances. As the most remote parts of the landscape are very much imbued 
 with the atmosphere, it is often well, if possible, to paint them in while the 
 sky is wet, and even with the same tint as the lower portion, only darker. This 
 you will perceive to be the method pursued both by Cuyp and Claude in 
 their sunsets, as giving the truest representation of nature; nor do they 
 make much distinction in the colour of their trees and ground, compared 
 ■\vith that of their buildings; but objects are made only distinguishable 
 by their various shapes, or dilFerence in the handling, which preserves the 
 greatest breadth and truth of effect. For example, in trees, with the light 
 shining through them, if the colour is put on with the point of the brush, 
 which may be either a French tool, or small fitch, according to the size of 
 your work ; and if your ground is of a light colour, which I have recom- 
 mended, it will shine through, and give a true character of nature. As the 
 objects advance, a little more distinctness of colour may be given, but seldom 
 stronger than what black, white, and light ochre will produce ; or delicate 
 grey and Naples yellow, and a little warm colour, interspersed either on the 
 buildings, or other objects admitting of such varieties in the general hue. 
 You will observe in nature, both in midday and evening effects, that objects, 
 on the right and left of the sun, have not only more defined light and shade, 
 but are more divided in their colours ; and looking towards the north, you 
 will see buildings, &c., that come dark off the sky, from being in shadow 
 under the sun’s light, are rendered lighter than the sky itself behind them. 
 
 I mention all these things, that your attention may be drawn to them; 
 for, unless you contemplate the various changes the position of the light 
 produces upon objects, you will never be able to give a true representation 
 
ON LANDSCAPE PAINTING. 
 
 17 
 
 of them; and remember, that objects approach the eye from their strength 
 of colour as ’svell as strength of shadoAv ; therefore your fields or mountains 
 ought to belong to the tone of your sky, more than to the landscape in 
 general. You will find many examples of this in all fine works, from 
 Titian down to Kubens, and from the great Flemish colourist down to 
 Gainsborough, whose scheme of colouring was built upon this principle. 
 
 Having now carried on your distance as far as possible towards comple- 
 tion, it will be necessary to set your palette with colours of a richer character, 
 such as light and dark ochre, Indian red, raw sienna, burnt sienna, Cologne 
 earth, burnt umber, Vandyke bro’wn; these to be placed in rotation from 
 flake white, Naples yellow, and vermiUion, at the top of your palette, down 
 to your black and Prussian blue at the bottom. I forgot to mention, speak- 
 ing of distances, that you will find terra verte a useful colour in giving 
 delicate green tints. I have purposely left out many glazing colours, which 
 more properly belong to the finishing of your work, especially as you ap- 
 proach the foreground. 
 
 Though I recommend you to paint your distance, if possible, when your 
 sky is wet, yet in many cases, where much minutiae is introduced, you will 
 find it impossible to finish at first painting. The best plan, therefore, is to 
 wait till the colour is dry, and then scumble over the whole with a tint, 
 either cooler or Avarmer, as will best improve the effect, into which you can 
 then touch your various objects, with different tints, such as nature warrants, 
 always keeping in mind the extreme dehcacy that distance gives them. In 
 this second painting, even if the lower part of the sky is scumbled over with 
 the same tint, it wiU give your work greater breadth and harmony. Nor 
 should you mind because the second painting loses the gloss and shining 
 appearance of the first, as will be often the case, since light tints are often 
 more delicate and luminous under these circumstances; indeed, many of 
 our best landscape painters, aware of this fact, leave the bright lights of their 
 skies and buildings unvarnished, using the varnish in finishing more as a 
 glaze, from its giving a darker appearance in many lights, the unvarnished 
 
 D 
 
18 
 
 LETTEKS 
 
 parts looking more like the absorbent quality of fresco painting. In 
 speaking of distant objects, I could linger longer on the subject than the 
 other departments of the work would perhaps admit of, but I am most 
 anxious that you should perceive the great beauty this portion of the 
 landscape is capable of producing. We are naturally fond of looking into 
 space, and the eye is captivated by the pleasure the power of doing so 
 affords. You remember the lines of the author of “ The Pleasures of Hope” 
 on this subject : — 
 
 “ Why do those cliffs of shado^vy tint appear 
 More sweet than all the landscape smiling near 1 
 ’Tis distance lends enchantment to the view, 
 
 And robes the mountain in its azure hue.” 
 
 Independent, however, of the gratification this sensation affords the 
 spectator, you must always bear in mind that you are painting on a fiat 
 surface, and if you diminish the delicacy of your distant objects, you wiU, 
 of necessity, be obliged to use colours stronger than nature warrants, in 
 enabling your foreground objects to keep their perspective situations. 
 The particular character of the landscape you are engaged in of course 
 requires a difference of treatment. The great thing to be avoided is, not 
 to jump, as it were, from the foreground to the distance, but introduce 
 middle-ground objects, to lead the eye imperceptibly into the realms of 
 space. Besides, you will find oj)enings in the trees or buildings of your 
 middle-ground give great beauty to those portions of your distance seen 
 between them, enshrining them, and acting as rich appearances of frame- 
 work. This will also enable you to intercept objects that are unpicturesque, 
 and give greater value to those that are beautiful. The middle-ground is 
 often to be considered neutral ground, neither belonging to the distance nor 
 fore-ground, but by its breadth and shadow serving as a foil to both. 
 
 One more remark respecting distances, and I have done for the present. 
 You will perceive that in flat scenes, such as meadow-land intersected with 
 lines, those lines running to the point of distance become very much fore- 
 
r-f ; 
 
 
 4 
 
ON LANDSCAPE PAINTING. 
 
 19 
 
 shortened, while the divisions lying parallel with the base of your picture 
 are less so ; hence they assume an importance from contrast, and assist the 
 receding character of your landscape ; especially if you choose a low horizontal 
 line, as in that case their peculiarity increases. Skies suitable to such 
 scenes are often in greater harmony when the clouds diminish gradually to 
 the horizon, and assume elliptical forms as they extend over the distant 
 poition of the landscape. This treatment you will perceive often in the 
 works of Adrian Yandevelde, Paul Potter, Teniers, and others of the Dutch 
 school, when painting flat scenery. On the other hand, when your dis- 
 tances are of a mountainous and rocky character, the boldness of their 
 form requires a difierent treatment, such as we see in the pictures of 
 Berghem, whose clouds, both in the form and colour, are admirably adapted 
 to the breadth and general arrangement of his scenes, and for purity of tint, 
 and a free floating character, are excellent examples for you to study. 
 When I use the word study, I do not mean that you are to copy any of 
 these artists servilely, but rather examine into the various methods they 
 adopt to produce a complete work, where everything is conducive to the 
 breadth and harmony of the whole. I shall, in my next, lead you towards 
 the fore-ground ; but in doing so, it will be necessary to direct your greatest 
 attention to the next division of the subject, as in its province generally lies 
 the most interesting part of the landscape. When I have gone through the 
 several component parts, I shall endeavour to explain the general effect of 
 the whole, and the best mode of acquiring that knowledge which will 
 enable you to produce it. 
 
 D 2 
 
 Yours, &c. 
 
 J. B. 
 
20 
 
 LETTERS 
 
 LETTER V. 
 
 My dear 
 
 From your last letter, I am afraid you have a little of that pro- 
 pensity which most beginners in a new art exhibit — in place of advancing 
 with regular approaches, their patience is exhausted, and they endeavour to 
 take the citadel by storm. I am afraid you will not only meet with dis- 
 appointment, but much of your work you will be obliged to undo. Your 
 laying in your middle ground with grey colour is quite a mistake ; it may 
 do very well, and perhaps it is the practice with some water-colour painters, 
 but it will not succeed in oil, as by it you will lose both clearness and 
 transparency, which is only to be produced by preserving the original 
 ground of your canvas to the last. If was of no use my advising you to 
 sketch in your subject in the first instance with warm brown colour, if you 
 have now gone over the whole with what you call neutral grey. How are 
 you to recover your transparency? I shall not dwell longer on this subject, 
 but only remark that what we often do wrong is more from want of due 
 reflection than from any other cause. As this part of the picture regulates 
 what is called the sky-line, from its coming in contact with it, and therefore 
 defining it — as we see in the wood scenes and villages of Hobbima and 
 Ruysdael, or in the street scenes of Canaletti — it is of the greatest con- 
 sequence that this boundary preserves a good general shape, as it is often 
 the strongest line in the picture. And here lies the necessity for making a 
 small sketch in the first instance, that the sky may be adapted so as to 
 extend the forms of the different objects, and also give distinctness or 
 softness to the several portions of the picture. When the point of sight is 
 at one side of the picture, the strong portions of the landscape and arrange- 
 ment of the lines are often made to recede and diminish in size and strength 
 as they stretch out to this point ; hence the doubling of the lines, both by 
 the distant objects and clouds, frequently made use of to assist this effect. 
 

ON LANDSCAPE PAINTING. 
 
 21 
 
 which is also the case when the point of sight is placed near the centre, and 
 the diminution of the various objects carried down from each side of the 
 composition. The forms in the landscape also assume a decided shape when 
 the composition is of such a nature that they rise up against the sky in the 
 centre of the picture. You will therefore perceive how necessary it is to 
 modify this outline, both by the arrangement of the clouds in the sky, and 
 also by the size and strength of the detailed objects in the fore-ground. That 
 you may more easily comprehend my meaning on this point, I have enclosed a 
 few outlines of this portion of the picture, and you will find it of the greatest 
 ser^dce, when any object or assemblage of objects, either trees or buildings, 
 strike you as possessing a good general shape, to make a slight outline of 
 the whole. A few examples of this kind will enable you not only to 
 perceive the cause of the beauty or character of such picturesque arrange- 
 ments, but also give you the power of assisting such combinations either by 
 shifting your point of sight, if from nature, or adding or diminishing the 
 various forms, either by strength of the shadow, or alteration of the out- 
 line. I am more anxious that your attention should be particularly given 
 to this part of the treatment of a picture, as the Italian and Flenush 
 painters excel us both in choice and treatment, in this particular. In 
 investigating the several beautiful parts, in nature and in pictures, you 
 will find a careful examination of the several parts in detail, in the first 
 instance, wiU enable you to comprehend them more easily when viewed as a 
 whole ; by such an education, your eye in time will be able to traverse with 
 certainty the most intricate labyrinth. I shall now proceed through the 
 middle distance towards the fore-ground. 
 
 In sketching a subject from nature, it is necessary, in the first instance, 
 to select the situation which mil comprehend its greatest character of 
 pictorial beauty — and enable you to give the fullest effect of light and 
 shade. This is one reason why you should investigate the w'orks of 
 those celebrated landscape painters, who from example have reduced the 
 art to a certain degree of fixed principles. To assist your investigation in 
 
22 
 
 LETTEKS 
 
 this matter, I shall make a few remarks upon the school of Holland — a 
 school that has produced the finest examples of truth of nature, combined 
 with scientific composition; for though the objects introduced are often of 
 the humblest character, they are rendered with all the beauty and force that 
 chiaro-scuro and colour can accomplish. And it would be well, in the first 
 instance, to examine the collection of Dutch etchings in the British 
 Museum; you will there perceive what it is that constitutes the ditference 
 between the works of those with whose names we are familiar, and the 
 etchings of artists that would, in all probability, have remained unknown to 
 the British public but for the persevering industry of John Sheepshanks, Esq., 
 whose name the collection now bears. I think a very little inspection will 
 show you why the works of Buysdael, Waterloo, &c., stand pre-eminent in 
 contradistinction to a congregation of etchings from the hands of artists of 
 the same school — it arises not only from the boldness, and a large distribu- 
 tion of the several forms, but also from a greater variety and truth in the 
 handling. I omit noticing the landscapes by Rembrandt, because they are 
 in a separate collection ; but also look at these wonderful works, as they will 
 show you what a genius can produce from scenes in other hands rendered 
 mean and contemptible. I refer you to these, as their principles are 
 perhaps more easily seen than when shrouded in the intricate mazes of 
 colour and shadow exhibited in their pictures; but as it is my inten- 
 tion to give you an insight into the practical principles of painting in 
 oil, I must confine my remarks more particularly to their pictures, and 
 shall begin with the landscapes of Hobbima. The works of this fascinating 
 colourist are generally villages embosomed in trees, with a light road 
 running through them, or a piece of stagnant water, fenced in with reeds 
 or railings, carrying down to the base of his picture the reflections of his 
 sky and trees.'* The principal mass of trees, though removed to the middle 
 ground, and coming in contact with the sky at top, are, nevertheless, pro- 
 nounced with a bold light and shade, and a greater degree of finish than 
 we should expect. Hence you will perceive the necessity of abstaining 
 
ON LANDSCAPE PAINTING. 
 
 23 
 
 from your making out your masses with grey in the first instance, as you 
 say you have done, for his trees are brought up against the sky with the 
 greatest richness and transparency, sometimes the colour being of burnt 
 sienna and Prussian blue, or, at all events, dark ochre or raw sienna and 
 blue. He seems to have laid the foliage in with a brush filled with plenty 
 of colour, sw immin g in mygulp, which gives his works that pulpy rich 
 appearance, and then taken a smaller pencd, or sable, and struck out the 
 irregular blots into a more defined shape, and possessing a great variety 
 of touch. In this respect he differs from Euysdael and Berghem : Ruysdael 
 is often individual in his touch, giving the ragged edge of the oak tree leaf, 
 while Berghem is still more jagged in his leafing. I must now call your 
 attention to Hobbima’s introduction of grey tints, which are reserved for his 
 stems and branches of his trees, but painted in the great masses of trans- 
 parent colour wdthout disturbing the breadth by the lightness of the hue. 
 Also on the foliage he paints into it with opaque grey touching, which is in 
 strict accordance with nature, as leafing against the light is richer in colour 
 than the reflections from the opposite sky ; and also observe that the upper 
 side of leaves in general are smooth and glossy, which makes them take on 
 the reflections of the sky, and therefore the outer touches of your foliage 
 ought to be cool, and not the interior of the masses. You will also perceive 
 that he often keeps the wood- work of his cottages in shadow of a cool dark 
 grey, as the Dutch painters always considered a certain quantity of neutral 
 tint necessary ; bear this always in mind, for beginners in coppng from 
 nature generally make their colours harsh and violent. The skies in 
 Hobbima’s pictures are generally large in the forms of the clouds, and the 
 azure of a pretty strong blue ; this gives great richness to his masses of 
 fohage, as by that means portions are brought out in strong relief, and other 
 parts melt into the azure. I have mentioned a light chalky road often 
 running through his villages, which serves to unite by its colour the upper 
 part of his picture with the lower. In finishing his trees and dark masses, 
 he has recourse to repeated glazings with rich brown, and other warm tints. 
 
24 
 
 LETTERS 
 
 which give great depth to his green colour, and prevent his grey tones from 
 being out of harmony. But though deep in tone, his pictures are never 
 black ; the darks of his figures always predominating, while his fore-grounds 
 keep their place by rich brown colour, interspersed with firm touching in 
 his weeds and grass. His glazing colours are always filled with mygulp, 
 which gives them a rich, juicy transparency. Unfortunately, we have few 
 specimens in this country in galleries open to the public to which I might 
 refer you; there is one, though a small one, in the collection at Dulwich. 
 Indeed, his pictures are very scarce, and it is curious to remark, that in Sir 
 Joshua Reynolds’ Tour through Holland he does not seem to have met Avith 
 one. Sir Robert Peel and the Marquis of Westminster possess excellent 
 examples of this eminent painter. 
 
 In adopting the process of glazing over your masses of trees or clumps 
 of buildings, you will find painting into the depths of the shadow with 
 decided dark touchings prevent the whole from being flat and heavy ; also, 
 let me draw your attention to the necessity of painting into the retiring 
 portions (while wet) with more delicate opaque tints; this will not only take 
 off the effect of too much sameness, but enable the advancing branches to 
 have greater relief, as glazed colours have this property in a greater degree 
 than any other method. And also, if you wish to give an appearance of 
 the light shining through any particular branch of foliage, or upon it in a 
 high degree, it is well to paint such part in high rehef in the first instance, 
 and when dry, glaze over it with a brighter colour, such as yellow lake, and 
 Prussian blue, and even then paint into the surrounding or contiguous 
 parts with an opaque tint of a less obtrusive colour. I must draw your 
 attention to the appearance of nature under such circumstances, as most 
 beginners and unskilful artists render everything on the surface of the 
 canvas, in place of carrying the eye into the properties of space. This 
 department of the art is of such paramount importance in landscape 
 painting, that I must give you a separate letter on the painting of trees 
 alone; as I am now engaged in one of the most intricate and fascinating 
 
f 
 
 
ON LANDSCAPE PAINTING. 
 
 25 
 
 departments of the art, I must continue my observations on masses of dark. 
 I remember an observation of Fuseli, who said “ it would be easy to give 
 breadth of etfect, if flatness or insipidity could do it.” You will therefore 
 find, in introducing variety and the proper quantity of minutiae into your 
 masses, that it is necessary to be continually on your guard. From 
 Hobbima, I should like to draw your attention to the middle-ground objects 
 of Claude ; but before doing so, I must say a little respecting the practice 
 of Ruysdael and Berghem. Reynolds, in describing the eminent painters of 
 landscape of the Dutch school, classes Ruysdael, Berghem, Wouveianans, 
 and Potter as the chief — but had he lived to our time, he would have 
 included Hobbima, whose works now bring larger prices than those of 
 either Ruysdael or Berghem. The landscapes of Ruysdael are generally 
 laid out in a larger and bolder character than those of Hobbima; the 
 branches and foliage of his trees, generally the oak, are more individual 
 m the form and touch; his rocky scenes, with waterfalls tumbling down 
 towards the foreground, are excellent examples for study. In his 
 earlier pictures of this class, they are more like those of Everdingen — 
 broad in effect, but an earthy brown predominates ; hence his later 
 works, fresh and vigorous in touch and colour, are more highly prized, 
 having all the truth and individuality of nature. His intimacy with 
 Berghem may have led to this change, as the works of Berghem are 
 generally both lighter in effect and fresher in colour. Berghem’s rapidit}^ 
 in painting, however, engendered a mannerism which you will never 
 perceive in Ruysdael. Berghem’s landscapes being in most instances back- 
 grounds to his figures and cattle, his middle distance is kept flatter and 
 more subordinate in consequence, the forms both of buildings and mountains 
 melting in with the sky. In examining the middle-ground objects in 
 Claude’s pictures, especially Avhere his trees or buildings rise up against the 
 sky in the centre of his pictures, you will perceive a greater refinement and 
 delicacy of tint than in those of the Dutch school. His glazings are more 
 painted into with greys and green tones of a tender hue, which render his 
 
 a 
 
 E 
 
26 
 
 LETTEKS 
 
 masses of shadow less harsh, and give a greater appearance of magni- 
 tude. Pay particular attention to his foliage, as the touch of his leafing 
 assumes a perspective shape as it passes over the several clumps and tops of 
 the trees. This you will perceive in nature, also in the sides of the foliage, 
 as they recede from the centre opposite the eye. In my letter upon trees, I 
 will draAv your attention to this more particularly, as this present one 
 contains quite sufficient for you to engage your attention upon. 
 
 Yours, &c. 
 
 J. B. 
 
ON LANDSCAPE PAINTING. 
 
 27 
 
 LETTER VI. 
 
 Mt dear 
 
 We shall now come down to the foreground, as being that part of 
 the landscape nearest the eye; it is necessary, therefore, that it should 
 receive all those quahties conducive to its situation — such as detail, 
 breadth and largeness of parts, and also strength of colour, or, at least, 
 strengthening those colours that will detach it from the distance, and 
 give air and a retiring character to the sky and distant objects. Thus, if 
 the general effect of the landscape is cool, you will secure both variety and 
 force by increasing the warmth of the colours as they approach the fore- 
 ground. You will see a very fine example of this mode of treatment in the 
 “ View of Tivoli,” by Gaspar Poussin, presented to the National GaUery by 
 the late Lord Farnborough. Poussin has preserved a regular gradation, 
 from the cool tints in the sky and upper portion of the landscape to the 
 warm shadows and touching on the foreground. These are kept in their place, 
 and focused in the general hue by one of the figures having a red mantle. 
 You will also perceive, in many landscapes of Cuyp representing sunset, 
 where the sky and distance is of a warm yellow tone, that he gives value 
 and force to his foreground by broad washes of cool colour, and often 
 touches of bright green ; and the shadows under the foreground weeds are 
 given with intense black, of a cool colour. I draw your attention to these 
 matters that you may get acquainted in the first instance with the simple 
 principles of arranging your hot and cold colours ; this will render it less 
 necessary to have recourse to violent colourmg for giving your work a 
 perspective appearance. 
 
 In preparing your palette for the foreground painting, you might add 
 to the colours already made use of, yellow lake, lemon yellow, Venetian red, 
 madder brown, and emerald green. Some of these must be sparingly used, 
 as they may be too brilliant; and also you will find some of the lakes 
 and dark colours bad driers; you can therefore mix with them a little 
 
 E 2 
 
28 
 
 LETTERS 
 
 japanner’s gold size, wliicli is of a strong diying quality. In painting small 
 pictures, you will find tlie works of Wouvennans and Paul Potter good 
 guides to follow; they both possess great minutiae and finish in tlieir fore- 
 grounds. Wouvennans uses his colour full, and with plenty of mygulp, 
 and puts it on with the end of the brush, with a rich touchy character; he 
 then, with a fine pointed sable, makes out the small parts, either clumps 
 of indhddual blades of grass and weeds, or stones, taking advantage of the 
 forms the larger laying in has given rise to, finisliing as much as possible 
 without having recourse to glazing. Potter, on the contrary, makes out the 
 detail of his foreground with colour little removed from black and white, 
 but firm, and of a good body, and when dry, glazes over the whole with a 
 general wash, touching into it with pure colour of a hot or cold quality, 
 according as the objects demand. This method gives his ground great 
 solidity and firmness, but it is less liquid than that of Wouvennans. 
 In bringing the base of your landscape in contact with the edge of the 
 frame, you will often find to introduce light broken ground not only 
 advantageous in bringing down the lights of the upper part of your pic- 
 ture, but also it will enable you to give flatness and solidity to the receding 
 portions. Dark foregrounds often give the appearance of their sinking 
 down within the frame, in place of bringing them flush up to the surface ; 
 and in this case, if your work is of sutficiently large dimensions, you may 
 adopt the use of the palette-knife in laying your colour on, not only as it 
 will suggest many accidental forms, but it serves as a good basis to glaze 
 upon, giving a solid natural appearance. You will often find the introduc- 
 tion of weeds, and pieces of rock or small stones, of the greatest advantage, 
 as it enables you to give the necessary detail, and also by the strong darks 
 produced by their shadows keeping your foreground in its relative situation. 
 You will see a good example of this in the Cuyp on the walls of the 
 National Gallery; the shadows of the cattle and figures, though near the 
 eye, are yet kept in their situation by a border of weeds clustering all across 
 the base of the picture, Avhose sharp edges and intense darks underneath 
 keep all other shadows in check. And now, while I am upon this subject. 
 
ON LANDSCAPE PAINTING. 
 
 29 
 
 let me advise you to make studies of weeds and plants, not only dra^ving 
 them with the greatest care, both in form and light and shade, but marking 
 the situations where they grow, whether in dry soil or in water, and their 
 general colour, whether light yellow or cool green, and observing the effect 
 that the sunshine has upon the colour : — for example, you will perceive when 
 the light shines through the leaf, it is of a bright green, such as yellow lake, 
 and blue; but when viewed on the upper surface, most leaves appear of a 
 more opaque and greyer colour, from their receiving the reflection of the 
 sky.® These thmgs are to be taken advantage of according to their useful- 
 ness, therefore must be knovm and examined, that you may be able to 
 render them true to nature. 
 
 And here, while I am speaking of shadows from objects near the fore- 
 ground, let me draw your attention to their colour under various effects of 
 light : for example, in sunset, you will often perceive the parts illuminated, and 
 their shadows of different hues, the objects being lighted up by the yellow rays 
 of the setting sun, the shadow receiving the reflection of the cool northern 
 sky. But it does not follow that you are to render these matters too 
 literally ; a painter’s licence takes precedence of all others, and breadth and 
 harmony require generally a uniformity in the local colour, especially in 
 objects near the eye. You will find this the practice of Cuyp, and all great 
 colourists. I shall send you one or two studies of foreground plants — not 
 that you are to copy them, or the studies of any one, for the purpose of 
 introducing them into your pictures — you must draw or paint them from 
 nature yourself : it is only that you may be made acquainted -with their 
 leading character. You will find, by rendering the near edges of tlie several 
 leaves sharp and cutting against the ground, that it will give them their 
 true perspective appearance; and by giving the outlines farthest from the 
 eye less opposition, they vnl\ acquire a more receding character. This is 
 the conduct to l)e observed in all objects, however large or minute. As to 
 the strength of their shadows, that must depend upon the advantage they 
 will be of to the general effect, either as to their strength or delicacy. Their 
 nature must depend upon the situation they are to be painted in — l.mt if 
 
30 
 
 LETTEES 
 
 near the eye, giving them a large character is a safe rule to follow. The 
 treatment of foregrounds in pictures of a large size is generally of a broader 
 and less detailed character, from the work being viewed at a greater 
 distance; whereas a small picture is examined near the eye. You will see 
 exceptions to this mode of treatment in the large landscapes of Claude, and 
 a few others ; but, at the same time, be always on your guard against falling 
 into the other extreme. 
 
 In the early stages of the art, the minutise of individual plants and 
 flowers were carried to the highest pitch of trifling absurdity. Not only is 
 the whole ground of these pictures inlaid with endless specimens of botanic 
 scrupulosity, but the intervening spaces are fiUed with reptiles and insects, 
 as if the lives of the artists had been of an antediluvian length. Titian® and 
 Rubens put an end to this barbarous imitation of nature, and, as it were, by 
 a few short-hand strokes, gave a truer reading. I am afraid of carrying 
 you too much into the philosophy of the art, and so frightening you from 
 its pursuit ; but I am confident by a little reflection in the outset everything 
 will be rendered comparatively easy. You must bear in mind, that while 
 with the palette on your thumb you are learning, as it were, the mere 
 grammar of the art of painting, I am endeavouring to explain to you its 
 highest excellences, so that the theory and practice are progressing hand in 
 band. 
 
 Having now gone through the several divisions of a landscape, I shall 
 give you a few hints respecting the component parts of these divisions, 
 and shall proceed in my next letter to describe trees — a part as necessary 
 to the perfection of landscape painting as the study of the human figure 
 is to the historical painter. As there is of necessity an interval between 
 each letter, it will afford you longer time to acquire a correct insight into 
 their meaning and usefulness, and often revert to the advice they contain 
 when engaged on the several parts each letter treats of. Above aU. things, 
 have faith — Avhich you will be sure to have if you take the same pleasure in 
 reading them that I do in writing. 
 
 Yours, &c. 
 
 J. B. 
 

 V, . 
 
 .,.;v 
 
 j'i' f 
 
 
 yj- 
 
 %' ■ 
 
 \ 
 
 .11 
 
 
ox LANDSCAPE PAINTING. 
 
 31 
 
 LETTER VIE 
 
 Mt deae 
 
 As I mean to devote this letter entirely to the consideration of 
 trees, it vill be of advantage to take a retrospective view of the subject, 
 as we shall by that means come to a more clear understanding with respect 
 to the character and beauty of this great adjunct to landscape scenery. 
 In the pictures of the early masters, the representations of trees were 
 more like symbolic or conventional signs, than correct imitations of these 
 beautiful ornaments of Nature’s scenery. But it must be remembered 
 that the early painters were historical painters, or painters of allegory, and 
 therefore the hmnan figure occupied the canvas to the exclusion, in a great 
 measure, of every other object; and consequently, when even castles, or 
 other large buildings were introduced, even though contiguous, they were 
 represented without reference to their perspective magnitude. As the art 
 advanced, objects received both a greater degree of their natural magnitude 
 and truth of delineation ; trees expanded their single leaves into clumps of 
 foliage, and their branches into more numerous and intricate ramifications. 
 But it was not till Titian took up the pencil that landscape assumed an 
 importance and truth of representation in historical compositions; and to 
 the great Venetian we are indebted for the foundation of a department of 
 the art where, in place of being merely an accessory or back-ground to the 
 figures, the figures became an introduction into the landscape, mainly as 
 embellishments ; in the same manner Rubens, follo’^ving his example, paved 
 the way for the introduction of the beautiful landscapes of the school of 
 Holland. 
 
 All trees differ in their general appearance : some with regard to the size 
 and shape of their foliage, and others are more distinguishable from the 
 character of the branches ; some, from their grand and regular appearance, 
 may be more applicable to historical or classic subjects, while others, from 
 their ragged and picturesque shapes, are more adapted to scenes of famihar 
 
32 
 
 LETTEES 
 
 life. Hence the necessity of choosing those whose forms are most condu- 
 cive to the subject in hand. The trees of Titian possess this quality in the 
 highest degree ; and those forming the landscape to his picture of “ The 
 Death of Peter the Martyr,” dispute the palm for attraction -with the figures 
 themselves. The style mth which the trees of Titian rise up in the air, 
 the mode in which the branches shoot out from the stem, both in advancing 
 to the spectator and receding from him, are perfect examples of this depart- 
 ment of the art. Nor is the leafing less worthy of notice: never either too 
 trifling in size, nor too large in the character. The trees of Titian are in 
 accordance with the style of his historical compositions, both as respects 
 their form and depth of colouring; and this unison and harmony we observe 
 in all our celebrated landscape painters : — for example, how well do the trees 
 of Claude (such as the Lombardy poplar, in its broad soft foliage and grey 
 stems) assist in the general efiect of his picture ; nor, in the landscapes of 
 Salvator Kosa, cast amid the wild scenery of the Alps, do we perceive the 
 rugged rock and indented cavern claim any alliance but mth the wild chesnut, 
 whose riven bark and broad-leafed branches are so admirably adapted to 
 the character of the whole. And if you turn your attention to the land- 
 scapes of the Dutch masters, such as Hobbima, Kuysdael, Waterloo, and 
 Wynants, you will notice the same natural combinations: the stunted oak, 
 the rugged hawthorn, the pollard willow, all lend their aid to the truthful- 
 ness of the scene. Thus it is that we observe the surrounding imagery not 
 only influences the taste of the artist, but leads his study to those objects 
 presented to his pencil. I am more anxious that your attention should be 
 drawn to these circumstances, as you will be less likely to be led astray 
 in composing landscapes of a heterogeneous character, where one part 
 destroys the truth and natural etfect of the other. In landscape gardening 
 this variety may be very applicable, and I dare say is often acted upon; 
 but it is our business to adhere to truth and nature, and portray those 
 plants and trees only that are indigenous to the soil. Thus it is that 
 reeds or sedges rise up Avith all the superiority that their situation entitles 
 them to. 
 

 
 
 V 
 
 t 
 
 I 
 
 
ON LANDSCAPE PAINTING. 
 
 From ■what I have already taken notice of, you will be in possession of 
 many remarks calculated to excite your investigation. But in endeavouring 
 to carry them into practice, difficulties of necessity will interfere; for 
 instance, in painting branches coming towards the spectator, you •will find 
 the fohage prevents their ramifications from being seen sufficiently to assist 
 the perspective efiect ; also the extremities, though nearest the eye, being 
 reduced in size compared with the branch when it leaves the stem, wiU 
 operate against that law which gives enlargement of form as one of the 
 properties of objects approaching the eye. These are, therefore, only to be 
 combated by either bringing the foliage light off some dark mass behind, 
 or by partially covering the extremities with leaves, that the structure and 
 natural inclmation of the several boughs may be clearly indicated. In 
 selecting trees for the purposes of painting, choose those that do not termi- 
 nate in httle twigs and branches of a diminutive character, but such as 
 not only leave the parent stem wdth sufficient boldness, but continue that 
 property to the extremities. Elm trees have frequently this peculiarity; 
 and though in park scenery you will find the trees rise upright out of the 
 grassy sward, yet they are of a more pictorial character where they shoot 
 out in an oblique direction, from a bank or broken ground, exposing portions 
 of their roots in a bold and fantastic manner. Take advantage of every 
 opportunity that afibrds itself for sketching such accidental effects, as they 
 are not only valuable materials for painting from, but are rarely to be met 
 with, except in particular situations. 
 
 Another matter of the greatest importance in selecting trees for your 
 pictures, is that a sufficient quantity of branches present themselves so as to 
 permit the lights of the sky to intervene, which gives great variety and 
 pictorial beauty, not only enabhng you to give decided forms to your masses 
 of foliage, but to show the peculiar structure of the ramification. The 
 works of many of the Dutch school 'will afford you excellent examples of 
 this, but Kature is the great school, filled with endless varieties, when once 
 your eye is sufficiently tutored to perceive them. 
 
 I shall now add very little more to this letter respecting trees, except 
 
 F 
 
34 
 
 LETTERS 
 
 directing your attention to one or two essential points. Tlie picturesque 
 beauty of a landscape is often very much enhanced by being represented 
 under the influence of wind, rain, or sunshine, and no portion undergoes 
 greater change under such circumstances than trees. The pictures of 
 Cuyp, Ruysdael, and Hobbima may furnish you with many hints, but the 
 inexhaustible resources of natural eflects must be your chief reliance. The 
 
 great example of Titian operated with the most beneficial influence on the 
 
 0 
 
 landscapes of Velasquez: the highest qualities of this branch of the art 
 exercised by the great Venetian we see revived and carried out to their 
 fullest extent by the head of the Spanish school, the backgrounds to his 
 portraits and historical pictures being perfectly Titianesque — witness 
 the background to the study of “ The Prince of Spain,” in the Dulwich 
 Gallery, and also the background to “ The Boar Hunt,” in the National 
 Gallery, to which I would more particularly direct your attention. I 
 have mentioned elsewhere that the sky is often a mass of repose for aU the 
 bustle and agitation of lights in the figures ; here it is employed as a repeti- 
 tion in the upper part of the picture of what is taking place below, and 
 while the background trees and ground form a deep mass of repose, the 
 sky is made to traverse the upper part next the frame with flashes of light 
 of the most unsteady character. This will teach you that there is no rule 
 without exceptions, and that it is impossible to give such advice as shall be 
 applicable to all situations. While Velasquez was giving to Spain such 
 transcendent marks of his universal genius, it is curious to remark the little 
 progress the rival Spanish painter, Murillo, made in this department of the 
 art. The landscape background to his “ History of Jacob,” in the collection 
 of the Marquis of Westminster, is a striking example of his deficiency in this 
 subsidiary but important feature. 
 
 As I have mentioned the two great founders of landscape painting, Titian 
 and Rubens, I must say a few words on the landscapes of the great Flemish 
 painter. The works of Rubens in this department are slight, and unaccom- 
 panied with either much glazing or detail; most of them were painted in a 
 journey through Flanders, taken on account of his health. But slight as 
 
ON LANDSCAPE PAINTING. 
 
 35 
 
 they are, they breathe the true spirit of nature, given by the hand of a 
 master perfectly acquainted with the arrangement of hot and cold colours ; 
 and therefore to be viewed upon this broad principle alone. Look at the 
 Kubens landscape in the National Gallery, presented by the late Sir George 
 Beaumont, and judge for yourself. And always bear this in mind — if you 
 lay out your work on a broad intelligent principle, whether you give much 
 detail or httle, it will command attention. 
 
 But now, having been drawn away into theory, I must give you a little 
 humble advice respecting the practical management of your work. In 
 painting trees, you must take into consideration the unsteady appearance 
 and multitudinous touching of the general mass; it is, therefore, better to 
 put the general elfect in with the end of the brush, or in such a way as will 
 give you a rich touchy surface to work on. I have mentioned that the trees 
 of Teniers, especially the lights, are put in with a flat French tool. Those of 
 Ruysdael and others, though filled with transparent colour of an unsteady 
 character, are laid in with a reference to his finished pencilling. Claude, on 
 the contrary, depends more on his repeated glazings and touching into the 
 masses afterwards with delicate grey and green tones. Thus, you perceive, 
 in commencing either trees or anything else, it is of paramount importance 
 to have a clear reference towards the finishing. 
 
 In my next, I will give you a few hints respecting the character and 
 treatment of water, so great an ornament to landscape painting. My old 
 master, Mr. John Graham, of Edinburgh, used to say a stream of water was 
 as necessary to the beauty of a landscape as a female figure was to the 
 interest of a historical composition. I shall now conclude, urging you to 
 give your whole mind to your studies, as the only chance of your gaining a 
 clear idea of the art. Nature will not unveil her beauties to casual observers ; 
 hence mankind in general see her, as St. Paul expresses it, “ through a 
 glass darkly.” 
 
 Yours, Ac. 
 
 F 2 
 
 J. B. 
 
36 
 
 LETTEES 
 
 LETTER VIII. 
 
 My deae 
 
 According to my promise, I send you a few practical instructions 
 respecting the painting of water; and to begin mtli one of the most 
 essential requisites, a full liquid pencil is indispensable, with the colour 
 flowing, with plenty of mygTilp. Cuyp has excelled all others in his treat- 
 ment of this branch of the art ; his boats and barges float along absolutely 
 wet with the rippling wave, while their sides are glittering with reflection 
 of the sunshine from its surface. Nor is he less happy in representing 
 olqects reflected down through its mirror-like bosom. Perhaps the contem- 
 plation of his pictures gives us that pleasure which is awakened within us 
 when viewing it in nature. That I may more clearly explain my meaning, 
 let me take a pond, or small piece of still water, ■with a clump of trees at its 
 edge, tlie reflections from which will give you a greater gratification than 
 looking on the objects themselves. Some imagine this arises from the 
 novelty in beholding them inverted, and therefore less common to the eye ; 
 but it arises from many causes — viz., they are broader in the general effect 
 in the reflection, and the colours are less violent, and melt ■mtli greater 
 sweetness into each other; also, the objects themselves are often injured by 
 the background, whereas in their reflection the outline comes in contact 
 with the reflection of the sky, which gives them a more decided and 
 generally a better form. Nor should we omit to notice the small grey 
 ripple streaking across on the surface, and also the gentle undulation of their 
 outlines, conveying a lifelike character to the whole. Wlien you contem- 
 plate nature in these situations, observe how often she assists the beauty 
 and situation of the reflected images, by a weed or stake rising up out of the 
 water, keeping the whole in check by the brightness of its colour or darlmess 
 of its shadow. Even a lingering duck on the surface seems to assist nature 
 in comj)leting the picture. 
 
ON LANDSCAPE PAINTING. 
 
 37 
 
 "Wliat I have said respecting trees will hold good, and is equally 
 apphcahle to buildings and other objects; and in painting them, while the 
 whole is wet, use a softener, or fine flat tool, which, passed gently over, in a 
 perpendicular direction, will give them their reflected character. After 
 which, to represent the surface of the water, give a few delicate streaks of 
 ultramarine grey, or, as I have said before, a few weeds or stones rising 
 above the surface, which will assist its perspective flatness. 
 
 In painting any object from nature, the first thing to be considered 
 is its peculiar feature, and that strong characteristic is never to be lost 
 sight of. Therefore, in representing water, we must never forget that 
 transparency, sufficient to perceive the bottom of the stream, is one, and the 
 power of reflecting images upon its surface, is another; but its strongest 
 property is the ease with which even the stillest lake is put in motion. This 
 unsteady, undulating feature, perhaps, is the most difficult to be rendered ; 
 hence we see, both in the turbulent seas of Backhuysen and Vandervelde, a 
 certain fixedness in the form and treatment of the waves that frequently 
 destroys this undulating, unsteady character. There is an excellent example 
 of this in a picture by Vandervelde in the Bridgewater Collection, and only 
 not perfect, from every form of the water being too sharply defined, and 
 this defect is more perceivable from a picture by Turner hanging as a 
 companion. In the Turner, we have the same correctness of form in the 
 perspective appearance of the principal waves, in the multitudinous con- 
 gregation of smaller undulations, in the hollows and ridges of the water, 
 and so rendered that the eye cannot remain upon or define any particular 
 portion, but is carried over the whole by a chain of undulating, unsteady 
 outhnes. I mention these matters, not that you are to neglect giving every 
 portion its shape and bulk, but that you may render every line as if in 
 motion, and disturbed in its attempt to settle. 
 
 In the cascades by Ruysdael you will see many beautiftd examples of 
 the motion and transparency of water, from the smooth surface above the 
 fall gradually becoming disturbed as it approaches the edge, and the 
 
38 
 
 LETTEES 
 
 shining mass in its descent bending do-wnwards the weeds, t^vigs, and 
 grasses at its sides, until breaking into a thousand frothy particles below, 
 gradually accumulating and swallowing up each other, as they hurry on 
 with the agitated current. You will frequently find broken stems of birch 
 or beech trees fallen into the water, at the bottom of his pictures, for the 
 purpose of conducting the light downwards, and also assisting his composi- 
 tion in counteracting the lines of his cascades. AU these matters you must 
 search for in nature, and mark the particular incidents of detail. In 
 Ruysdael’s waterfalls, you will perceive a breadth of effect, both from the 
 water taking on strong reflections, and also the water in shadow being a 
 bro’vvn colour, which is often the case in nature, where the current has run 
 through a long tract of peat moss, such as the rivers in Devonshire often 
 exhibit. Nevertheless, they take on in the light portions a cool, silvery 
 grey, which mixes deliciously with the warm ground, if not rendered too 
 fierce. In the pictures of Ruysdael, the darks and reflections seldom go 
 beyond raw umbre and black, or burnt umbre. In painting water, both 
 in a state of motion or stillness, it is often rendered too light for its 
 surrounding banks; hence it throws the whole picture out of harmony. 
 Claude, Cuyp, and Ruysdael never fall into this error in any of their works. 
 The poets take every opportunity of introducing water into their landscapes ; 
 but I would particularly mention Thomson, in whose works you will find 
 innumerable incidents drawn from nature, with which you may enrich your 
 pictures. And here let me advise you to note down in writing aU the 
 varieties of natural imagery, which often cannot be so readily done with the 
 brush ; this practice will imprint them on your memory, especially as you 
 can always refer to them in your note book. “ A word on the spot,” says 
 the poet Cray, “is worth a cartload of recollection.”^ 
 
 I have now, perhaps, said enough to draw your attention to the 
 peculiarities of the subject, so as to enable you to investigate the original 
 manuscript existing in nature’s works. It is a species of idleness to wish 
 everything explained : what you learn by your own industry will outweigh 
 
ON LANDSCAPE PAINTING. 
 
 39 
 
 all that books can teach you. These letters you must consider as little 
 more than landmarks, pointing out the road you are to go ; but to perceive 
 the beauties of nature, and engraft them on your memory, so as to make 
 them available, you must travel over the ground yourself ; always bearing 
 in mind that, the further you advance, your gratification and delight ^vill 
 be increased. Go on, like our friend in “ The Pilgrim’s Progress,” and you 
 will be certain to arrive at the end of your desires. 
 
 Yours, &:c. 
 
 J. B. 
 
40 
 
 LETTEKS 
 
 LETTER IX. 
 
 My dear 
 
 I received your two studies, and am very much pleased with the 
 careful manner in which they are painted. Studies from nature, especially 
 weeds or minute objects, are of no use unless sufficiently faithful to be 
 transferred by copying them into your pictures. What I am delighted with 
 is to perceive the scientific way in which you have given force and sharp- 
 ness to the edges of those leaves nearest the eye, and a retiring softness 
 to the edges on the further side ; also to the transparency and brilliancy 
 of the light which shines through the leaf, and the grey pencihng on the 
 upper side, on which the slcy is reflected. The upper side you will generally 
 find is more smooth, not only because the breathing vessels of plants are 
 underneath, but also the upper surface is covered with a greater quantity of 
 silex, which gives that shining appearance, such as we perceive in the hoUy 
 and many others. I mention these matters that, by your knowing the 
 cause of the various effects in nature, you may give them with greater truth 
 and precision. I like the way, also, in which you have introduced the 
 different touches of grass and small plants that are scattered and inter- 
 spersed with the larger weeds. 
 
 AVliat you mention in your note respecting the sky-line is so far correct, as 
 many landscape painters at present mix up the distant parts with the sky in 
 too confused a manner ; it is all very well to say it gives a greater breadth of 
 effect, but it entirely destroys the solidity of nature. You must also bear in 
 mind that when groups of figures are introduced into a landscape, the sky-line 
 is of necessity kept more soft and unobtrusive, so as to give value and force 
 to the foreground objects — in fact, the whole is then treated as if it was 
 merely a background to the figures. It is curious, since my attention has 
 been more particularly drawn to the examination of this line in a great 
 

ON LANDSCAPE PAINTING. 
 
 41 
 
 many works, how very defective most of them appear, both with regard to 
 the general form, and the advancing and receding of the several parts of 
 which it is composed. As I have now gone into the treatment of individual 
 portions of the landscape, I am anxious to give you a few practical hints 
 respecting the general conduct to be observed in the management of the 
 whole. 
 
 In turning over in your mind the works of the different celebrated land- 
 scape painters, from the time of Claude to that of Gainsborough, you will 
 find that they all possess a distinctive character, not so much from the local 
 scenery of their pictures as the mode in which such scenery is treated, both 
 as respects the general laying out of the subject, and the tone of colouring. 
 This is the result of their taste and decided predilection for peculiar effects. 
 This cannot be designated manner, it is more properly style, and marks the 
 characteristics of the master; inferior pictures are without this stamp, and 
 are therefore inferior. Titian, Claude, Salvator Rosa, Gaspar Poussin, 
 Rubens, Rembrandt, Cuyp, and Ruysdael are as easily distinguished as the 
 court characters in a pack of cards. From this you will perceive the necessity 
 of commencing your works upon some settled plan — a few touches by a 
 scientific hand are more expressive of truth and nature than the most 
 elaborate finishing devoid of meaning, where every portion of the picture 
 is at variance ■with its neighbour. And this combination can only be carried 
 into effect by having a clear perception of what you intend. If you look 
 upon the -wildest and most irregular vagaries of nature, you will always 
 perceive she has a rallying point, predominant over many others: when, 
 therefore, you are incited to paint any subject from nature, never lose sight 
 of that feature which arrested your attention, but make every accessory 
 contribute to its importance. And in composing a picture of imaginary 
 scenery, make use of those objects most conducive to carry out your design. 
 Hence we acknowledge the propriety of the objects in the “ Solitude,” by 
 Richard Wilson, whose trees, water, and even weeds, contribute to the still- 
 ness of the scene ; and though it might have been more solitary, perhaps. 
 
 G 
 
42 
 
 LETTERS 
 
 without a living object, yet that figure is a silent hermit, reading his Alma 
 Mater. On the other hand, look at his “ Celadon and Amelia,” from Thomson’s 
 “ Seasons every incident gives indication of the presence of a thunder 
 storm, and becomes the appropriate scenery surrounding the a-wful catas- 
 trophe, when — 
 
 “ That moment, to the ground 
 A blacken’d corpse was struck the beauteous maid.” 
 
 I am afraid I am coaxing you too early into the department of historical 
 landscape ; but what I am anxious for you to have constantly in view is the 
 whole purport of the subject. And now I must put you on your guard 
 against the observations of people who pretend to paint by their natural 
 instinct, without reference to rules drawn from what has been done by 
 those who have gone before us. Shun such doctrine as a pestilence ; as I 
 have never found those artists capable of leaving any works whose celebrity 
 had not perished previous to their own decease. However, let us now 
 return to a more practical investigation of the art of landscape painting. 
 Every department, you are aware, requires a different mode of treatment, 
 from the pastoral to the historical — for there are many things in the one 
 that but ill agree with the arrangement of the other ; the great distinction 
 seems to be that the one is particular, the other general. I should like you to 
 see a picture in the collection of Henry Thomas Hope, Esq., of a wood scene, 
 by Adrian Vandevelde, as it explains entirely my meaning — it is nature 
 itself, without any alteration, and is mentioned by Reynolds, in his “ Tour 
 through Holland,” as the most perfect representation he ever saw;® but it is 
 strictly individual nature. On the other hand, the landscapes of Annibal 
 Caracci, Titian, and others, disdain this painful penciling of detail, and give 
 the great broad features of nature. Not that you must treat the pictures 
 of Vandevelde, or Wynants, or any of the Dutch painters of pastoral life, 
 with less observation, but you must draw lines of distinction between the 
 different departments of landscape painting. There are several matters, 
 however, that are applicable to all styles — such as breadth of light and shade 
 
ON LANDSCAPE PAINTING. 
 
 43 
 
 and colour, and a certain degree of sharpness in the forms even in the 
 softest effects ; add to these a decided leading feature characteristic of the 
 subject. 
 
 I am interrupted — therefore will conclude. But the general conduct 
 of a picture is too important an affair to be included in a single letter. In 
 another, bt and by, I will resume the subject. 
 
 Yours, &c. 
 
 J. B. 
 
44 
 
 LETTEES 
 
 LETTER X. 
 
 My dear 
 
 I was sorry you were from home the other day when I called, as I 
 am fearful you are advancing by the mere theory of the art, in place of 
 making use of the trowel and mortar. “ Labour is the price the gods have 
 set upon everything excellent.” I went up into the library, and found many 
 of your unfinished works standing round, but bearing the strong features of 
 the colour-shop rather than the impress of nature’s stamp. Remember that 
 the best colouring possesses those tints difficult to imitate, and combined of 
 many broken colours; whereas I could trace the various colours on your 
 canvas as clearly as in the pfinted list of the colour manufacturer. This, 
 you will say, is severe criticism, and I am perhaps in some measure to 
 blame, as many of my letters may not appear sufficiently practical. This I 
 will endeavour to avoid in future, so that your pictures will acquire more of 
 studied detail, in place of the mere learned look of an amateur painter. I 
 will, then, in this letter, give you a little study from nature. 
 
 Strolling down to the bottom of the garden, my attention was arrested 
 by the beauty of the hedge, which, after a slight shower, shone out in all the 
 freshness of sparkling finish. I have often been struck with the beautiful 
 detail and variety of an English hedge, and yours is in a state of perfection at 
 present. Let me therefore advise you to send down your easel and paint 
 it on the spot. You know I am always against fireside copies of nature. 
 The first thing you are to consider is the broad general mass, which you 
 are to lay in with the point of a French brush, filled with plenty of mygulp 
 and colour, either burnt sienna and Prussian blue, or ochre and blue, 
 according as the different strengths of the several masses require; and when 
 you have got the general form and breadth, then proceed to make out the 
 detail with a fine pointed sable, filled with raw sienna and blue in the half- 
 
ON LANDSCAPE PAINTING. 
 
 45 
 
 tints, and Naples yellow and blue for the high lights, or such colours as you 
 find will give the nearest approach to the truth of nature. And you will 
 observe from the smalhiess of the leaf of the hawthorn, and the multiplicity 
 of its leaves as well, that an endless touching mil seem to be required; 
 much of this, however, may be given with little study, except where the light 
 leaves come in contact with the dark masses, and assume a decided shape. 
 You will also find it requisite to hatch, as it were, many lines with a pink- 
 coloured brown, to give the twigs and branches, and at the bottom of 
 the hedge put in the larger darks. You are now to proceed mth the 
 finish and detail, by maldng out those weeds and creepers which give so 
 much variety and richness, such as the wild convolvulus, &c., and here and 
 there a blackberry branch, jutting out into high relief. Where ah these 
 are to be introduced, it will be necessary to flatten the ground behind them, 
 so that they may receive both sharpness and finish when painted ; in this 
 case it is often better to wait until the background tint is dry, that a 
 finer edge and greater precision may be given. In painting the bank 
 at the bottom of the hedge, do not forget to give the general look it presents, 
 from the ochre fines of the withered grass, interspersed with the small 
 green leaves of the wild strawberry, and here and there the dandelion. I 
 forget whether there are any dock leaves — but if so, introduce them, as you 
 mil find weeds of a large form of the greatest consequence in preventing 
 too much littleness in the detail. 
 
 Now, all these matters cannot be finished at once: you are, therefore, 
 in repainting, to glaze into the masses with transparent colour, to give the 
 depth and rich variety of nature, and then revive your minute touching of 
 detail, remembering the great breadth that nature always preseiwes. If all 
 this is done, you will find, when the study is set up in your painting-room, 
 it mil take precedence of what is already there. I mention these matters, 
 confident that studies from nature, if conducted upon scientific principles, 
 are irresistible in their claims to pre-eminence. And while I am upon this 
 subject, let me advise yon to collect weeds and plants — not for the purpose 
 
46 
 
 LETTERS 
 
 of bringing them into your painting-room, as Sir Joshua says was the 
 practice of Gainsborough,® but of planting them in your hedge-walks, where 
 they will be a continual source of instruction, not only making your eye 
 acquainted with their form and colour, from constant observation, but 
 serving as a school of study to paint from, in all their freshness. In planting 
 weeds in your hedge-walks, take precaution that your gardener or his 
 assistant does not clear them out when in perfection. 
 
 While I am upon the practical part of the art, let me advise you to 
 make a study of the small stream that flows at the bottom of the field. I 
 was very much struck with the picturesque and beautiful arrangement of 
 the pollard willows on each side of the brook. Take the sketch looking up 
 the stream, with the objects under the influence of perspective diminution ; 
 there is something attractive in objects whose lines run from the spectator 
 into the distance — the eye delights to extend into space. You will see 
 fine examples of this in many of the Dutch masters, where the sea beach, 
 with the sandy bank running from the base line to the distant horizon, 
 is gradually softened and broke down in its strength by being repeated and 
 doubled by the irregular lines of the approaching tide, while the straight 
 parallel lines of the horizontal water keep the whole in check. We perceive 
 also many fine examples of this mode of treatment in the works of Ruysdael 
 and Hobbima. A very remarkable specimen, by Hobbima, you will find in 
 the collection of Sir Robert Peel, where a road runs straight up through 
 the centre of the picture, with a series of tall trees at each side. In 
 Rembrandt and De Konings we perceive the same principles, with the 
 lines of flat marshy land extending to the horizon. You will find the 
 subject within your reach available for all these beauties, so appreciated in 
 the pictures of the Dutch school. Choose a situation that gives the trees 
 all the advantages of perspective and variety, and the water those shapes 
 which gradually increase from elliptical forms to straight lines towards the 
 horizon. Strengthen this tendency which the encroachments of the water- 
 cresses and other plants produce; nor forget to give a force and foreground 
 
ON LANDSCAPE PAINTING. 
 
 47 
 
 character to the banks, as they approach the eye, by means of the stems 
 and reflections of the trees in the water. Independent of these means, you 
 must give more detail and richness of colour; nor omit to make much use 
 of the sedges and reeds, which tend to break down the abrupt harshness of 
 the stems of the trees, and unite perpendicular lines with horizontal. 
 
 In nature, everything seems to conspire towards harmony, notwith- 
 standing the strongest contrasts, and our eye seems to be conducted from 
 one point to another by something analogous. My excellent friend, the late 
 William Simson, whose studies from nature are so captivating, used to say, 
 “You can never find nature at fault — if anything is wrong, it is from your 
 not having translated her properly. ‘ Si quirendo circumspici.’ ” 
 
 But to return to the examination of the scene I wish you to make a 
 study of. Look at the character of the row of willow trees as they recede 
 from the eye. In the foreground we perceive the stems strongly indented 
 with a multitude of lines from the fissures in the bark — also the foliage 
 defined into separate leaves — in both cases becoming gradually amalgamated 
 and lost as they retire into the distance, where they depend entirely upon 
 the mere general form for their similitude. Now, if you make use of 
 scumbling over those most distant, and glazing on those nearest the eye, 
 you will produce this effect. There are many ways of carrying out this 
 practically, but suppose you try one : having painted the stems with a grey 
 colour, as near to nature in tint as possible, take the end of your pencil 
 stick, and draw in the detail through the colour when wet ; after the whole 
 is dry, glaze over those nearest to you with a little black and burnt sienna, 
 which partially wipe off, so that it remains principally in the crevices. On 
 the other hand, scumble over the most distant with a little pearly grey, 
 to melt them in with the surrounding background. In like manner 
 touch in their foliage with Prussian blue and ochre for the dark leaves, and 
 terra verte and Naples yellow for the lights, using a fine pointed sable, 
 to give the character of the leaf, gradually throwing them into a general 
 mass as they retire. When the whole is dry, use glazing slightly, as the 
 
48 
 
 LETTEES 
 
 foliage is delicate in tint ; and after scumbling the distance, touch in mth a 
 little terra verte and white, to give solidity and colour without destroying 
 the retiring quality. 
 
 Now, you must remember that this is but one reading of nature. Paul 
 Potter seems to have adopted this method, while Wouvermans has painted 
 his trees without depending much upon glazing. If you are not careful, 
 by much glazing you will give a harshness and a wiryness to your work, 
 while mthout it, you will be apt to give an appearance nearly allied to 
 prettiness, or fan painting. On the borders of these extremes Potter and 
 Wouvermans have closely walked. I am aware that I may appear painfully 
 particular, and perhaps even triflingly minute ; but you must creep before 
 you can hope to run. An artist, in this particular, is something like a 
 butterfly — he must be a grub, and even a caterpillar, for a length of time, 
 before he is able to mount into the regions of air and light. Even Turner, 
 who is now an emperor, following up this similitude, was once humble and 
 painstaking ; and so was Callcott, Mulready also, and likewise the inimitable 
 Wilkie. If you wish to excel in anything, but especially in painting, constant 
 application and study must be given. There is no railroad to perfection in art. 
 I have heard of an artist, if I so may denominate him, who used to prove to 
 his pupils the facility of drawing by placing the paper and pencil behind 
 him, and sketching off any subject they proposed. Such legerdemain tricks 
 are more suited to Astley’s Amphitheatre than a painting school. I have 
 never seen his works, but have little doubt that those done with the 
 assistance of his eyes were not of a higher grade. I have read books upon 
 art also, where you were carried up into the seventh heaven at once, like 
 an Arabian Nights’ dream — where every page sparkled with diamonds and 
 precious stones, like a jeweller’s window- — where the plodding dulness of 
 the old masters was considered as so much dead weight — and where you 
 are recommended to rise into the realms of light, and space, and colour, 
 without clinging any longer to old mother earth. Be not deceived by such 
 pleasing invitations : know that in painting, as in life, the lower spokes of 
 
ON LANDSCAPE PAINTING. 
 
 49 
 
 the ladder must of necessity be most worn— and let me mention, as an 
 antidote “against such poisoned nostrums,” what Sir Joshua Reynolds 
 says respecting Michael Angelo : “ The great artist who has been the subject 
 of the present discourse was distinguished from his infancy for his inde- 
 fatigable diligence; and this was continued through his whole life, until 
 prevented by extreme old age. The poorest of men, as he observed himself, 
 did not labour from necessity more than he did from choice. Indeed, from 
 all the circumstances related of his life, he appears not to have had the least 
 conception that his art was to be acquired by any other means than great 
 labour— and yet he, of all men that ever lived, might make the greatest 
 pretensions to the efficacy of native genius and inspiration.” 
 
 As in this letter I have been anxious to draw your mind away from 
 general ideas of nature to minute detail, in my next I will endeavour to 
 show how far you may venture into a principle of generalising. Study, if 
 possible, must be made agreeable ; and though I do not mean to permit you 
 to have your own way in running over the ground, I shall, nevertheless, use 
 a very delicate curb. One thing, however, is certain — you must be perfect 
 master of your palette and brushes, so as to be able to copy anything from 
 nature correctly. I will not say, “ let no day pass without a line,” but 
 every day you have the palette on your thumb, see that it leaves a red 
 mark. 
 
 Y ours, &c. 
 
 J. B. 
 
 H 
 
50 
 
 LETTERS 
 
 LETTER XL 
 
 My dear 
 
 Pay particular attention to this letter, as in it I shall endeavour to 
 explain the leading principles of art, as applicable to landscape painting ; 
 and for the purpose of simplifying as much as possible so intricate a subject, 
 I shall make one or two observations relative to form, chiaro-scuro, and 
 colour. With regard to lines, you will find a perpendicular has its greatest 
 antagonist in a horizontal line, and the lines necessary to harmonize the 
 two are consequently oblique lines : now, as these lines incline more or less 
 to extremes, they do not, by such inclination, give increase of force; on 
 the contrary, they break down and soften, by their harmonious agreement, 
 those lines with which they accord. So, in light and shade, black and 
 white are the two extremes, and can only be united by the presence of 
 middle tint. According as this half-tint is regulated will depend the force 
 of either of these opposites ; if it is of a light scale, the dark will have more 
 point and strength — if of a deep shade, the white will have greater value. 
 Hence we see the necessity of regulating the half-tint according as we wish 
 to increase the power of either the light or dark objects. Likewise in 
 colour we shall find the same law will operate towards a similar result. 
 For example, take blue, red, and yellow, the three primitive colours, and let 
 a green be added to the group — the red will gain an ascendancy by the 
 blue and yellow being harmonized by the compound colour; or, in place of 
 a green, let a purple be present, the yellow will increase in value from the 
 same cause. This is the reason why cold colours have more force in a 
 warm picture, and warm colours in a cold. 
 
 Simple as these laws are, they extend through the whole scale of colour, 
 and must never be lost sight of, even in the most complicated works. 
 Reynolds says, justly, “ To become a great proficient, an artist ought to see 
 
ON LANDSCAPE PAINTING. 
 
 51 
 
 clearly enough to enable him to point out to others the principle on which 
 he works; otherwise he will be confined, and, what is worse, he ^vill be 
 uncertain.” This knowledge will give you the power of generalising your 
 ideas, provided your eye is sutficiently educated to know what to adopt or 
 what to reject, and this judgment can only be acquired by contemplating 
 works of excellence ; and even bad pictures will assist you in this, for by 
 inquiring why they look bad, you will learn what to avoid. But we must 
 never forget, that even when generalising upon the broadest principles, 
 portions of detail are necessary, for the purpose of giving a truth and 
 reality to the whole. You will perceive from this how necessary it is 
 that theory and practice should proceed together; otherwise, however 
 well your taste may regulate your choice of form and colour, your hand 
 will be unable to obey the dictates of your eye. Nor can practice alone 
 teach you the power of generalising your ideas ; it is next to impossible that 
 any one can achieve much without having examined with care the works of 
 those who have preceded us — it would be carrying the art back to its 
 infancy. Eeynolds, in a note on Du Fresnoy’s “ Art of Painting,” says, 
 “ The mind is distracted with the variety of accidents, for so they ought to be 
 called, rather than forms, and the disagreement of these among themselves 
 will be a perpetual source of confusion and meanness, until, by generalising 
 his ideas, the painter has acquired the only true criterion of judgment; then, 
 wdth a master's care — 
 
 ‘ J udge of bis art, through Beauty’s realms he flies, 
 
 Selects, combines, improves, diversifies.’ v. 76. 
 
 It is better that he should come to diversify on particulars, from the large 
 and broad idea of things, than vainly attempt to ascend from particulars to 
 this great general idea; for to generalise from the endless and vicious 
 variety of actual forms requires a mind of wonderful capacity — it is, perhaps, 
 more than any one mind can accomplish. But when the other, and I think 
 better, course is pursued, the artist may avail himself of the united powders of 
 
 H 2 
 
52 
 
 LETTERS 
 
 his predecessors. He sets out with an ample inheritance, and avails himself 
 of the selection of ages.” 
 
 I do not intend this to be a long letter, for words can teach little. You 
 must read pictures, which will teach you the rudiments of the art; and 
 when you have learnt the grammar, go into the fields and read the great 
 book of nature. I remember meeting my old friend, Mr. John Crome, of 
 Norwich, (some of whose landscapes are not surpassed even by those of 
 Gainsborough,) with several of his pupils, on the banks of the Yare. “ This 
 is our academy !” he cried out triumphantly, holding up the brush. And 
 certainly, when the beauties of nature can be pointed out and explained 
 under the guidance of scientific taste, they are clearer and more convincing 
 than a whole volume of copies. Read this letter carefully over, and you 
 will be convinced that treating nature upon generalising principles is not so 
 light a matter. I hope to return to the subject again; persevere and 
 observe, when, as Shakspere says, you will find — 
 
 “ Tongues in trees, books in the running brooks, 
 
 Sermons in stones, and good in every thing.” 
 
 Yours, &C. 
 
 J. B. 
 
ON LANDSCAPE PAINTING. 
 
 LETTER XII. 
 
 3Iy deae 
 
 As the principle of generalising is of the greatest importance in painting, 
 and as it is often acted upon merely as an excuse for the want of careful 
 finishing and minute detail, I shall continue the investigation in this letter; 
 for unless any subject is clearly understood, it is totally impossible that it 
 can be made available with any certainty. There are qualities inherent in 
 this principle quite compatible with the humblest walks of the art — such as 
 a good general form, a capability of receiving a breadth of light and shade, 
 with an amenity and beautiful arrangement of colour. And even when it 
 extends its influence to ennobling the subject to the highest departments 
 of historical or poetical composition, it is nevertheless susceptible of the 
 highest degree of finish in particular portions. Reynolds, speaking of this 
 principle, of adding dignity or grandeur to a subject, in contradistinction 
 to the mere transcript of nature, says, “ The same local principles which 
 characterise the Dutch school extend even to their landscape painters, and 
 Rubens himself, who has painted many landscapes, has sometimes trans- 
 gressed in this particular. Their pieces in this way are, I think, always a 
 representation of an individual spot, and each in its land a veiy faithful, but 
 a very confined portrait. Claude Lorraine, on the contrary, was convinced 
 that taking nature as he found it seldom produced beauty : his pictures are 
 a composition of the various draughts which he had previously made from 
 various beautiful scenes and prospects. However, Rubens in some measure 
 has made amends for the deficiency with which he is charged— he has 
 contrived to raise and animate his otherwise uninteresting views by intro- 
 ducing a rainbow, storm, or some particular accidental effect of light. 
 That the practice of Claude Lorraine, in respect to his choice, is to be 
 adopted by landscape painters in opposition to that of the Flemish and 
 
54 
 
 LETTEES 
 
 Dutch schools, there can be no doubt, as its truth is founded upon the same, 
 principle as that by which the historical painter acquires perfect forms. 
 But whether landscape painting has a right to aspire so far as to reject what 
 the painters call accidents of nature, is not easy to determine. It is certain, 
 Claude Lorraine seldom, if ever, availed himself of these accidents; either 
 he thought that such peculiarities were contrary to that style of general 
 nature which he professed, or that it would catch the attention too strongly, 
 and destroy that quietness and repose which he thought necessary to that 
 style of painting.” 
 
 These accidents have been employed largely and without scruple by the 
 poets ; in fact, both Virgil and Thomson have produced some of their finest 
 passages by their introduction. And our great landscape painter, Bichard 
 Wilson, has ennobled his pictures by their assistance— witness his “ Celadon 
 and Amelia,” his ‘‘ Ceyx and Alcyone,” and many where the elements are 
 called into action as a means of giving grandeur and interest to his subject. 
 Had Sir Joshua lived to our times, the splendid effects of Turner would 
 have convinced him how much inanimate nature was capable of enrichment 
 by being clothed in poetic imagery. Hail, rain, snow, sunshine, and 
 whirlwinds, have all been pressed into the service, to give dignity to what 
 in other hands would be mere topographical imbecilities. To enable you, 
 however, to revel in these flights of imagination, you must continually have 
 recourse to nature, that even in the very whirlwind of your painting (so to 
 speak) she may be called in to beget a smoothness, and never to overstep 
 her modesty. The Avorks of amateur artists, when they attempt scenes of 
 this kind, are generally full of fire and spirit, but Avith little reference to 
 natural truth. Though painting refers to the mind as well as the eye, yet 
 these sensations can only be striking and lasting Avhen conveyed through 
 the medium of correct principles. The attention may be arrested by 
 apparent beauties Avhen casually vieAved, but they lose their influence 
 Avhen calmly investigated. In everything you do, therefore, nature must be 
 your guide. With all her minutias, you Avill find her a great generaliser. 
 Most people look only to the general appearance of objects, and their 
 
ON LANDSCAPE PAINTING. 
 
 55 
 
 approval is given to a work conveying such impressions ; but an artist must 
 scrutinize everything with the eye of a botanist, that he may perceive on 
 what its general appearance depends. 
 
 Variety consists in an endless combination of objects, distinct in them- 
 selves, but agreeing with each other in certain qualities, a perception of 
 which is indispensable. “ There is in nature a certain proportion of blunt- 
 ness and sharpness ; in the medium between these two extreme? the true 
 and perfect art of imitating consists. If the sharp predominate, it gives a 
 dry manner ; if the blunt predominate, it makes a manner equally removed 
 from nature; it gives Avhat painters call wooHiiiess and heaviness.” You 
 Avill also learn that the art of colouring requires a certain mixture of 
 hot and cold tints, sometimes vivid and distinct, at others, portions melting 
 and blending into each other. This you will learn by examining well- 
 coloured pictures, which knowledge you are to make use of when copying 
 from nature. Pictures ■\vill instruct you in the true knowledge of nature 
 more convincingly than any -written criticism can pretend to ; aU that books 
 can do is to direct your attention to those points worthy of observation, and 
 enable your eye to discover their beauty and character. I cannot conclude 
 this sentence -without quoting what Reynolds says upon the subject of 
 colouring. “ An eye critically nice can only be formed by observing AveU- 
 coloured pictures with attention; and by close inspection and minute 
 examination, you will discover at last the manner of handling, the artifices 
 of contrast, glazing, and other expedients by which good colourists have 
 raised the value of their tints, and by which nature has been so happily 
 imitated.” “ When you have clearly and distinctly learned in Avhat good 
 colouring consists, you cannot do better than have recourse to Nature herself, 
 who is always at hand, and in comparison of whose true splendour the best 
 coloured pictures are but faint and feeble.” And always remember that 
 Nature is a coy mistress — if you neglect her, she Avill neglect you. 
 
 Yours, &c. 
 
 J. B. 
 
56 
 
 LETTER.S 
 
 LETTER XIIL 
 
 My deae 
 
 I shall noAV conclude my series of letters for the present, as you must 
 work out your studies by painting, not reading. I have written sufficient 
 to direct you in the right path, or, at all events, to have indicated a line 
 for your guidance. And that you may more clearly perceive the import of 
 my writing, I will recapitulate the principal points to which I have endea- 
 voured to draw your attention. The first was, to paint all your studies 
 from nature, in place of using the portcrayon ; “ this Avas the practice of 
 the Venetian painters, and of all those who have excelled in colouring.” I 
 have directed you to the study of the principal landscape painters of the 
 Dutch school, as I am confident it is in that school you will sooner acquire 
 a knoAvledge of the principles of painting than in any other. That you 
 may, however, have greater faith in my advice, I shall quote what Sir 
 Joshua Reynolds says on that subject, in his “Tour through Flanders and 
 Holland.” After noticing the principal works in the various collections, he 
 sums up his observations with a critique on the school of Holland. “ The 
 account which has been given of the Dutch pictures is, I confess, more 
 barren of entertainment than I expected. One would Avish to be able 
 to convey to the reader some idea of that excellence, the sight of Avhich has 
 afforded so much pleasure ; but as their merit often consists in the truth of 
 representation alone, whatever praise they deserve, AvhateA^er pleasure they 
 give Avhen under the eye, they make but -a poor figure in description. It is 
 to the eye only that the Avorks of this school are addressed ; it is not, there- 
 fore, to be Avondered at, that what AYas intended solely for the gratification 
 of one sense succeeds but ill when applied to another. A market Avoman 
 with a hare in her hand, a man bloAving a trumpet, or a boy blowing 
 bubbles- — a AueAv of the inside, or a vieAv of the outside of a church, are the 
 
ON LANDSCAPE PAINTING. 
 
 57 
 
 subjects of some of their most valuable pictures. However uninteresting 
 their subjects, there is some pleasure in the contemplation of the truth of 
 the imitation. But to a painter they alford likewise instruction in his 
 profession; here he may learn the art of colouring and composition, a 
 skilful management of light and shade, and, indeed, all the mechanical 
 parts of the art, as well as in any other school whatever. The same skill 
 which is practised by Rubens and Titian in their large works is here 
 exhibited, though on a smaller scale. Painters should go to the Dutch school 
 to learn the art of painting^ as they would go to a grammar-school to learn 
 languages. They must go to Italy to learn the higher branches of knowledge. 
 We must be contented to make up our idea of perfection from the excel- 
 lences which are dispersed over the world. A poetic imagination, expression, 
 character, or even correctness of drawing, are seldom united with that 
 power of colouring which would set off those excellences to the best 
 advantage; and in this perhaps no school ever excelled the Dutch. An 
 artist, by a close examination of their works, may in a few hours make 
 himself master of the principles on which they wrought, which cost them 
 whole ages, and perhaps the experience of a succession of ages, to 
 ascertain.” 
 
 In studying, and even copying pictures of the Dutch and Flemish 
 schools, I wish you to apply such knowledge to the purpose of painting from 
 nature, so that you may form a style of your own, which will be more 
 effective in proportion as you are acquainted with those principles upon 
 which fine works of art are constructed. 
 
 From the Dutch school I have been anxious to lead you into an examina- 
 tion of the Italian and Venetian schools; for though the principles of colour- 
 ing and harmony are the same, yet the Venetian manner is more generalized, 
 and consequently more suited to the higher branches of the art. The classic 
 scenery of Claude, the dignified treatment of Titian, and even the savage 
 wildness of Salvator Rosa, will aU instruct you in the various modes of 
 treating your subject, and of keeping all the parts in harmony, not only 
 
 I 
 
58 
 
 LETTEES 
 
 in the form, light, shade, and colour, but also in the very handling^ which 
 contributes so much to the union of a work, by making the whole “ hang 
 weU together,” to use a painter’s phrase. But even in this great extension 
 of your generalizing power, you must never lose sight of a clear perception 
 of individual nature. For your satisfaction in this particular, you ought to 
 remember that both Titian and Rubens, for many years in the outset of 
 their study, copied with great fidelity and minute finish anything placed 
 before them; the consequence was, when in their later works they 
 generalized, a few strokes of the brush gave the character of the object, and 
 conveyed the image to the spectator more strikingly than the laborious 
 detail of inferior hands. 
 
 In examining pictures and natural scenery, I have endeavoured to point 
 out the method of investigating the several parts in detail, from the sky- 
 line to the foreground weeds, which is so indispensable to a true rendering 
 of the subject. And as colours are the medium of expressing your ideas, 
 you ought to make yourself familiar with their properties, both in a simple 
 and combined character. This can only be done by daily practice, till the 
 eye, by constant habit, gets a complete mastery of them, and a readiness in 
 their application. Above all, you must endeavour to take a delight in your 
 work. 
 
 From what I have written you will perceive that even the humblest 
 style of landscape painting may be enriched and ennobled by engrafting 
 upon it some of those principles belonging to the higher departments of the 
 art : good general form, breadth of fight and shade, and a proper balance of 
 hot and cold colours. What I have also endeavoured to impress upon your 
 mind is to acquire a habit of reflection ; painting is not merely under the 
 guidance of the eye, the mind must be constantly at work in reasoning 
 upon the consequences as you proceed, and judging of the best means of 
 accomplishing your purpose. We fail often not from a want of knowledge, 
 but from not making use of that knowledge. What you have acquired 
 from the study of the works of the best landscape painters applies to the 
 
ON LANDSCAPE PAINTING. 
 
 59 
 
 study of nature. “ Study nature attentively, but always with those 
 masters in your company. Consider them as models which you are to 
 imitate, and, at the same time, as rivals with whom you are to contend.” 
 
 I have selected the advice of Sir Joshua Reynolds to finish this letter 
 with, knowing that it will carry (as it ought) more weight than that of, 
 
 Yours, &c. 
 
 J. B. 
 
APPENDIX. 
 
 NOTES UPON THE SEVERAL LETTERS. 
 
 Letter I. — Note 1. 
 
 With regard to early education, it has been so often urged by all writers, that it 
 seems superfluous to draw attention to it on the present occasion ; but I do so, as it 
 is particularly requisite in reference to painting. A predilection for the subject, and a 
 familiar acquaintance with colours and their use, seem almost necessary to precede 
 the theory of the art. Hence we see the most eminent artists of the Dutch and other 
 schools were the sons or nephews of painters, so that they may he said to have imbibed 
 a love for the art from their infancy. 
 
 Note 2. 
 
 The great advantage of brushes of a considerable length in the stick is, that they 
 enable you to see the general effect of your work. In portraiture it is absolutely 
 necessary, especially if the canvas is large, as in that case it enables the painter to 
 see his sitter. Velasquez is mentioned as having used very long brushes; and we 
 know Sir Joshua Reynolds did, as his niece, Mrs. Gwatkin, made a rest-stick of one of 
 them when painting. The late Sir Henry Raeburn adopted also brushes of a long 
 character. And here I may notice a practice he adopted in finishing his portraits, as 
 it tended very much to the general effect of the work, so essential to the truth of the 
 likeness. When the picture was near completion, he would place the easel close by the 
 sitter, and retire to the end of his painting room, so that he might compare them 
 together. After examining them carefully for a time, he would walk up to the picture, 
 and paint upon those parts where it differed from the original, and again retire to view 
 them in conjunction, and after fresh investigation, return to heighten the force of the 
 resemblance. By this method he secured that general look which nature always 
 
62 
 
 APPENDIX. 
 
 possesses, independent of the minutiae. In studying any object, or in painting from 
 nature, this is of the greatest importance — as often in finishing the detail we lose sight 
 of the effect taken as a whole. 
 
 Letter II. — Note 3. 
 
 I herewith send you a list of the Colours for Oil Painting, such as you will find in 
 the principal colour shops : — 
 
 OIL COLOUES, 
 
 IN TUBES AND BLADDEES. 
 
 Antwerp Blue 
 
 Deep Chrome 
 
 Lamp Black 
 
 ^Purple Madder 
 
 Bitumen 
 
 ^Emerald Green 
 
 *Lemon YeUow 
 
 *Baw Sienna 
 
 Blue Black 
 
 Extract of Orange 
 
 Light Bed 
 
 *Baw Umber 
 
 Bone Brown 
 
 Vermilion 
 
 Lima Yellow 
 
 *Boman Ochre 
 
 Brown Pink 
 
 *Flake White 
 
 Mars Yellow 
 
 Bose Madder 
 
 Brown Bed 
 
 *French Ultra- 
 
 Mars Orange 
 
 Scarlet Lake 
 
 *Brown Madder 
 
 marine 
 
 Mars Bed 
 
 Sugar Lead 
 
 Brown Ochre 
 
 Green Oxide of 
 
 Mars Brown 
 
 *Terre Verte 
 
 Burnt Boman do. 
 
 Chromium 
 
 *Mummy 
 
 Vandyke Brown 
 
 *Burnt Sienna 
 
 Indigo 
 
 ^Naples Yellow 
 
 Venetian Bed 
 
 Burnt Umber 
 
 Indian Brown 
 
 Naples Orange 
 
 Verdigris 
 
 Carmine 
 
 ^Indian Bed 
 
 N ottiagham White 
 
 *Vermilion 
 
 Cappah Brown 
 
 ^Indian Lake 
 
 Orange Chrome 
 
 Verona Brown 
 
 Chrome Yellow 
 
 Indian Yellow 
 
 *Orange Vermilion 
 
 *Ultr amarine 
 
 Chrome Green 
 
 Itahan Pink 
 
 Patent YeUow 
 
 ^Ultramarine Ashes 
 
 Cobalt Blue 
 
 *Ivory Black 
 
 Permanent Blue 
 
 * YeUow Lake 
 
 Cologne Earth 
 
 Jaune de Borne 
 
 Pink Madder 
 
 * YeUow Ochre 
 
 ^Crimson Lake 
 
 *Lake 
 
 *Prussian Blue 
 
 YeUow Madder 
 
 You will find tubes cleaner, and produce less waste than bladders. I have 
 marked with a star those which you will find most useful, and which it is necessary to 
 get well acquainted with, before covering your palette with a multitude of pigments, 
 tending only to confuse yovtr practice. I have not marked the chromes, as you will 
 find them too violent, independent of their liability to change. To the Naples yellow you 
 ought to use an ivory or horn palette knife, as, it being a sulphuret of lead, the steel 
 knife is apt to turn it of a greenish hue. The glazing colours generally you will find 
 bad driers, therefore it is necessary to use a little japanner’s gold size to them in the 
 mygulp. The mygulp, of course, you are aware is a mixture of drying oil and mastic 
 varnish, in such proportions as may best suit the work. When the varnish prepon- 
 
APPENDIX. 
 
 63 
 
 derates, it -will set up with a sharper edge, and when more drying oil is added, it flows 
 more easily, and gives a fulness to the colour. Use the boiled, or dark drying oil, as it is 
 less likely to turn dark than the light, which is often rendered drying by the addition 
 of sugar of lead, pernicious to many of the colours. You will find a great advantage, 
 in using mygulp for many of the deep rich toned glazings, to subject it to a yentle 
 heat in the first instance, as by such means you give it a stronger body ; in fact, it 
 renders it an oil varnish. The best method of producing this, is by pouring an equal 
 quantity of mastic varnish and drying oil into a small clean iron pot, and setting it on 
 a clear slow fire ; the action of the heat drives ofll the turpentine from the varnish, and 
 the oil takes its place. After which it is to be poured into a small jelly-pot, or basin. 
 This will keep for many years in a pure state, and will increase in its drying properties 
 from its imbibing oxygen from exposure to the atmosphere. In the preparation of this 
 varnish, which in Italy went by the name of Bombelli, you must be careful lest the 
 vapour in escaping should catch fire. 
 
 Letter III. — Note 4. 
 
 The two sketches alluded to in this letter are — one from a sky of Wouvermans, in the 
 Dulwich Gallery, and the sky of the Canal of Dort, in the Bridgewater Collection; in 
 this last, where the forms of the clouds extend, and repeat those of the buildings and 
 boats, we see an excellent example of the principle of enriching the subject by 
 carrying it on, and repeating or doubling the several lines of the composition. This 
 it is that renders a sky one of the most important features of a landscape, and shows 
 the artist’s skill and science in the highest degree. 
 
 Letter IV. — Note 5. 
 
 I shall repeat what I have mentioned in this letter respecting distances, for the 
 purpose of more minutely explaining the colouring of distant objects. It is only 
 when the light shines on them that they receive touches of colour, the shadows 
 remaining of a uniform tint ; and, on looking towards objects when the light is behind 
 the spectator, they assume a greater degree of local colour ; so that light buildings. 
 &c., are brighter often than the sky with which they come in contact. Under the 
 light, when the sun is represented in the j)icture, the floating vapour renders the lower 
 line of all objects less distinct than the upper. 
 
 In the distances of many of the Dutch painters, such as P. Potter and others, we 
 perceive a greater degree of minute detail than this portion of the picture often 
 
64 
 
 APPENDIX. 
 
 receives. Nevertheless, they keep their situation, from the correctness of the perspec- 
 tive. Even Claude and Cuyp, with all their breadth and delicacy of tint, introduce 
 often a multiplicity of objects into their distances. In the sketches I have given as 
 examples, I have been anxious to express what never ought to be lost sight of — a 
 variety of form ; for, even in the most distant objects, when rendered with the greatest 
 delicacy, we recognise them by their different shapes. 
 
 Letter V. 
 
 In the examples I have chosen, to explain the character which the outline of the 
 landscape produces where brought in contact with the sky, my principal object has been 
 to draw the student’s attention to its great importance in giving often the leading feature 
 of the composition. It ought to possess a good general form, arising from lines of 
 different lengths, and defining objects of various shapes, in some cases boldly indented 
 and irregular, giving thereby the greatest richness of picturesque beauty ; it ought also 
 to be composed not only of various shapes, but of various degrees of strength and 
 colour, in portions soft against the sky, for the purpose of keeping their true 
 perspective distance, and enabling near objects to come cutting and boldly off the 
 background. In the woi’ks of Teniers we find innumerable examples of this richness 
 and variety of outline, even when the picture is more properly a background to his 
 groups of figures. We also perceive this mode of treatment in some of the works of De 
 Hooge, which gives great truth and reality to the scene. The works of Claude exhibit 
 many beautiful examples, possessing the most varied forms, yet rendered with the 
 greatest breadth and delicacy, and as his pictures are mostly compositions, combining 
 selections from sketches from nature, his taste in adapting them to the production of a 
 complete whole is left unfettered. The sketches I have given to illustrate this part of 
 the j)icture are a view of Teniers’ chateau, a composition, by Berghem, from a picture 
 in the collection of the Marquis of Westminster, and one from a small picture by 
 Claude, in the possession of — Smith, Esq. The student will also find similar ar- 
 rangements in No. 64 and No. 90 of the “Liber Veritatis.” 
 
 Letter VI. 
 
 Perhaps the most effective and useful way to make studies of weeds, plants, and 
 foreground objects, is to adopt the plan of giving the colour and general appearance 
 with oil colours, and make a careful drawing with black lead of the detail and structure 
 of the leaf. Some artists use soft water colours; others draw with black and white 
 chalk, on blue or stained paper. 
 
APPENDIX. 
 
 65 
 
 Note 6. 
 
 As much has been written already by Reynolds and others respecting the propriety 
 of detaihng weeds and plants in historical pictures, or even in landscapes of a classic 
 character, it is unnecessary to notice at great length this part of the subject. From 
 the plants and weeds in the picture by Raffaelle, of the “ Transfiguration,” to those in 
 the foreground in the “Peter Martyr,” by Titian, there is sufficient variation to 
 indicate that the weeds of Titian are given in a more pictorial and picturesque style; 
 nevertheless, all historical landscapes can never be injured by the plants having both 
 precision and faithful delineation of character; it is only necessary to see that they 
 correspond in character to the country where the scene is laid, and are peculiar and 
 indigenous to the soil. 
 
 Letter VII. 
 
 In studying trees it is of the utmost importance to examine them when denuded of 
 their foliage, trees differing not more in the character of their leaves than in the 
 structure and ramification of their branches, and winter is the best time to examine 
 them for this purpose. I say examine ; but of course it is better to make studies of 
 their varieties ; at the same time it is better to examine and reflect without drawing 
 than to draw without reflection, which is the cause of a useless style of proceeding. 
 The illustration I have given on this subject is from the background of the picture of 
 “ Peter the Martyr,” and shows the peculiar style in which Titian adapted his back- 
 grounds to the composition of his figures. It is often difficult to say which was the first 
 in arrangement. A very fine drawing (evidently from nature) of these trees was 
 formerly in the collection of the late Sir Thomas Lawrence, and is now in the jDosses- 
 sion of the King of Holland : it is on dark blue j^aper, done with black chalk. The other 
 sketch is from a drawing by Claude, engraved in the third volume of the “ Liber Veri- 
 tatis.” In the British Museum there are two volumes of his drawings, principally from 
 nature, and they form excellent examples for the student’s investigation, to elucidate 
 the way in which various portions of individual detail can afterwards be worked up to 
 the completion of a finished composition, which most of his pictures are- Thej' are 
 generally with pen and burnt umber, and many of them not unlike the sketches of 
 Rembrandt, both in regard to the spirit and breadth. 
 
 K 
 
66 
 
 APPENDIX. 
 
 Letter VIII. — Note 7. 
 
 Nothing, perhaps, is more conducive to the harmony and completeness of a picture 
 than the introduction of water, either as a winding stream, or a still lake — it enables 
 the artist to repeat the various forms by reflections, or to unite the sky with the lower 
 portion of the landscape, by leading down the light and breaking it into smaller por- 
 tions; also by bringing the reflection of the light of the sky in contact with the strongest 
 darks of the foreground ; likewise its cool or grey colour with the rich browns of the 
 ground. 
 
 Letter IX. — Note 8. 
 
 In again noticing the importance of the sky line in this letter, I would wish to draw 
 the student’s notice to the many beautiful examples existing in natural imagery, and 
 often how appropriate ; the several objects are assisted in keeping their perspective 
 distance by the strength and precision of their outline, or receding from the foreground 
 by their lines being broke up with a diminution of parts and delicacy of colour. 
 In one of the illustrations I have given an ideal line, showing as a plan how such 
 arrangements are achieved; a knowledge of this is the foundation, in making any sketch 
 from nature, of knowing what point of sight to choose. 
 
 Letter X. — Note 9. 
 
 Sir Joshua Eeynolds, in his Fourteenth Discourse, mentioning the loss the Academy 
 have sustained in the death of Gainsborough, amongst other remarks, says: “It may 
 not be improper to make mention of some of the customs and habits of this extra- 
 ordinary man — points which come more within the reach of an observer. I, however, 
 mean such only as are connected with his art, and, indeed, were, rs I apprehend, the 
 causes of his arriving to that degree of excellence which we see and acknowledge in his 
 works. Of these causes we must state, as the fundamental, the love which he had to 
 his art, to which, indeed, his whole mind seems to have been devoted, and to which 
 everything was referred ; and this we may fairly conclude from various circumstances 
 of his life which were known to his intimate friends. Among others, he had a habit of 
 continually remarking, to those who happened to be about him, whatever peculiarity 
 of countenance, whatever accidental combination of figures, or happy effects of light 
 
APPENDIX. 
 
 67 
 
 and shadow occurred in prospects in the sky in walking the streets or in company. If, 
 in his walks, he found a character that he liked, and whose attendance was to be 
 obtained, he ordered him to his house ; and from the fields he brought into his 
 painting-room stumps of trees, weeds, and animals of various kinds, and designed 
 them, not fi’om memory, but immediately from the objects. He even framed a kind of 
 model of landscapes on his table, composed of broken stones, dried herbs, and pieces 
 of looking-glass, which he magnified and improved into rocks, trees, and water. How 
 far this latter practice may he useful in giving hints, the professors of landscape can 
 best determine ; like every other technical practice, it seems to me wholly to depend 
 on the general talent of him who uses it. Such methods may be nothing better than 
 contemptible and mischievous trifling, or they may be aids. I think, upon the whole, 
 unless we constantly refer to real nature, that practice may be more likely to do harm 
 than good. I mention it only as it shows the solicitude and extreme activity which he had 
 about everything that related to his art; that he wished to have his objects embodied, 
 as it were, and continually before him ; that he neglected nothing which could keej) 
 his faculties in exercise, and derived hints from every sort of combination. Though 
 he did not much attend to the works of the great historical painters of former ages, 
 yet he was well aware that the language of the art — the art of imitation, must be 
 learned somewhere ; and as he knew that he could not learn it in an equal degree from 
 his contemporaries, he very judiciously applied himself to the Flemish school, who are 
 undoubtedly the greatest masters of one necessary branch of art; and he did not need 
 to go out of his own country for examples of that school : from that he learnt the 
 harmony of colouring, the management and disposition of light and shadow, and 
 every means which the masters of it practise to ornament and give splendour to their 
 works ; and, to satisfy himself, as well as others, how well he knew the mechanism and 
 artifice which they employed to bring out that tone of colour which we so much 
 admire in their works, he occasionally made copies from Keubens, Teniers, and 
 Vandyke, which it would he no disgrace to the most accurate connoissem' to mistake, 
 at the first sight, for the works of those masters. What he thus learned he applied to 
 the originals of nature, which he saw with his own eyes, and imitated, not in the 
 manner of those masters, but in his own.” 
 
 In this letter an error has crept in, in quoting an observation of a Latin author, since 
 applied to Sir Christopher Wren, on his monument in St. Paul’s Cathedral ; it ought 
 to be, “ Si queeris circumspice.” 
 
68 
 
 APPEND! X. 
 
 Letter XI. 
 
 Again I must draw the student’s attention to this letter, as it contains the leading 
 principles of the art, put in as few words as possible ; as I am afraid, in explaining 
 it in a more extended form, it would not only weaken its effect, but tend to destroy 
 the necessity of applying his mind to investigation, which, after all, is the surest way 
 of acquiring that knowledge which will longest remain with him. 
 
 Letter XII. 
 
 In examining the pictures of Claude Lorraine, and especially the work of the 
 “ Liber Veritatis,” containing prints from those pictures, we are struck with the various 
 ways in which his studies from nature were applied and dovetailed in, as it were, to the 
 composition of a complete work. The connecting links which his own taste made 
 necessary for this purpose, give us a clear insight into the mode of generalising his 
 ideas ; the strong passages from nature are interwoven and broke down in their harsh- 
 ness by the extension of the forms in more delicate lines, and their abruptness 
 swallowed up, by bringing the softening influence of shadow to come in contact with 
 them. 
 
 Letter XIII. 
 
 In concluding this series of letters, I have been made aware, by reflection, of the 
 necessity of keejDing a proper balance between minute detail and broad general 
 principles; between a scale of hot and cold colours, and giving the various objects 
 their peculiar character, enabling them to keep their situations in the picture, and also 
 conducive to a leading feature, which is of as paramount necessity in a landscape as in 
 an historical composition of figures, and which is one of the great sources of dignifying 
 any work. 
 
 Savin & Edwards, Printers, 4, Chandos-street, Covent Garden. 
 
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