II m fdlXJL ^ 'ieL^kx^L^r (PulxXa^-*^. o *-kj£lsi j HANDBOOK OF FOLIAGE AND FOREGROUND DRAWING. Illuslrateb bjr NUMEROUS EXAMPLES OF TREES, SHRUBS, CLIMBING, MEADOW, AND WATER PLANTS, DEAWN FROM NATURE AND ON STONE BY THE AUTHOR HIMSELF ; WITH EXPLANATIONS, SHOWING THE BEST METHOD OF ACQUIRING THE CHARACTERISTIC TOUCH FOR EACH. By GEORGE BARNARD, Professor of Bra&jmg at Rugbg Srfjool, AUTHOR OF “LANDSCAPE PAINTING IN WATER COLOURS,” “DRAWING FROM NATURE,” “STUDIES OF TREES,” ETC. THIRD EDITIOX. LONDON: GEORGE ROITTLEDGE AND SONS, THE BROADWAY, LUDGATE. NEW YORK: 416, BROOME STREET. 1876. BY THE SAME AUTHOR. In imperial Svo., cloth extra, gilt edges, price 21s. THE THEORY AND PRACTICE OF LANDSCAPE PAINTING IN WATER-COLOURS. Illustrated by a Scries of Twenty-Six Drawings and Diagrams in Colours and Numerous Woodcuts. By :GE : ORGE BARNARD, Professor of Drawing at Rugby School. PKEFACE TO THE SECOND EDITION. It is now seventeen years since the first edition of this work was printed. It was exhausted in a short time, having been found exceedingly useful as a book of instruction which, without any great effort to the pupil, gave a large amount of necessary information to any one wishing either to become acquainted with the general characteristics of Foliage and Plants, or to learn to imitate them in Draw¬ ing or Painting. As long as any copies remained, it was used as an elementary class-book in Drawing at Bugby, and, conjoined with the Author’s ques¬ tions, formed part of the yearly Examinations. It would, therefore, have been reproduced, had it not been for the great labour of re-drawing the Plates on stone (as they were worn out): IV PREFACE TO THE NEW EDITION. the time of the Author being occupied by larger, though perhaps not more important works. Some might say that the Plates could have been cut on wood, or done again by some other person. Put the freedom of touch in Poliage is soon lost by the process of wood-cutting; and only one constantly studying from Nature can succeed in producing Foliage void of mannerism. At the request, then, of many friends who have- long felt the want of this little work as a manual or book of reference, it has been re¬ drawn; the Plates enlarged and made more capable of being copied ; numerous additions have been made to the text ; and a series of Questions on each study added at the end of the work. These should be required to be answered in Examinations on Landscape Draw¬ ing; and as the information is very concise, it will not be too much to expect that the pupil will carefully read each description whilst he studies the drawing, and thus find the answers without much trouble. Of course every one is aware that the know- PREFACE TO THE NEW EDITION. V ledge of Drawing truthfully from Nature can only he commenced by the study of books or plates; but in large public schools, such as Rugby, an experience of some thirty years has ■sufficiently proved to the Author, that when these are followed up by abundance of explana¬ tions on the black-board, and afterwards im¬ pressed by questions in examination, they are as useful as other books of education. CONTENTS. - i - PART I. FOLIAGE. PAGE Introduction.1 Elementary Practice.8 The Oak.12 The Ash.14 The Elm.16 The Wych, or Mountain Elm.17 The Beech.18 The Lime, or Linden-tree.20 The Birch.■ .22 The Walnut.23 The Sycamore.24 The Plane.26 The Sweet, or Spanish Chestnut.28 The Horse Chestnut.29 The Lombardy, or Common Poplar.30 The Aspen, or Trembling Poplar.30 The Black Poplar.31 The Weeping Willow—the Common, or White Willow . 32 The Osier.33 The Hazel.34 The Black Alder.36 The Maple—the Hawthorn.38 The Blackthorn, or Sloe-tree—the Acacia . . .39 The Stone Pine.40 The Cluster Pine.41 The Scotch Fir.42 The Spruce Fir.44 The Silver Fir.45 Vlll CONTENTS. PAGE The Cypress.46 The Cedar—the Juniper.47 The Larch.48 The Yew.49 The Elder.50 The Racemose-flowered Elder.51 Tub Mountain Ash, or Rowan-tree of Scotland . . 52 The Laburnum.53 The Palm—the Wayfaring-tree.54 The Guelder Rose—the Barberry—the Spindle-tree . 55 The Holly—the Box.56 The Dogwood, or Wild Cornel.57 PART II. FOREGROUND PLANTS. Introduction.59 The Vine.62 The Common Honeysuckle, or Woodbine . . . . 63 The Hop.64 The Ivy.66 The Clematis—the Common Bramble, or Blackberry . 68 The Red-bbrried Bryony.70 The Woody Nightshade, or Bitter-Sweet—the Jasmine . 72 The Passion Flower.73 The Virginian Creeper.74 Fruit Trees.75 The Fig. 76 The Mulberry—the Olive.77 The Aloe.78 Corn and Corn Plants.79 Grass, and the Disposition of Touches . . . . SI Grasses and Hedge Plants—the Purple Heath . . . 84 The Harebell.85 Furze—Broom.S6 The Common Thyme.87 The Ferns. .88 The Common Mallow—Mullen.90 The Yellow Toad Flax—the Common Wallflower . . 91 CONTENTS. IS PAGE. The Foxglove.. . . .92 The Monkshood.93 The Coltsfoot—the Field Sorrel.94 The Common Reed.95 The Comfrey—Brook-lime—Water Figwort . . .96 The Bulrush—the Hemlock.97 The Meadow-sweet—Branched Bur-reed . . . .98 The Dog-rose ..99 The Yellow Iris—Great Hairy Willow Herb—Common Rush.100' The Teasel—Great Bindweed.101 The White Water-lily—the Yellow Water-lily . . 102 The Great Water Plantain—Loosestrife—Forget-me-not 100 The Flowering Rush—Water Arrowhead . . . .104 The Thistle—the Nettle—Butcher’s Broom . . .105 The Burdock.106 The Primrose.107 The Common Dandelion—the Greater Plantain—the Great Water-dock.108 The Buttercup.109 The Horned Poppy—Herb Robert.110 Stonecrop .Ill Introduction to Questions on Foliage and Foreground Drawing. .113 Questions. .116 LIST OF PLATES. PART I. 1. Title-page. 2 . Elementary Practice. 3. Elementary Examples and Character ok Oak. 4. Oak. 5. Elementary Examples and Character of Ash. 6. Ash. 7. Elementary Examples and Character ok Elm. 8 . Elm. 9. Elementary Examples and Character of Beech. 10 . Beech. 11. Elementary Examples and Character of Lime. 12 . Elementary Examples and Character of Birch and Walnut. 13. Birch. 14. Walnut. 15. Elementary Examples and Character of Sycamore. 16. Sycamore. 17 . Elementary Examples and Character of Plane. 18. Elementary Examples and Character of Spanish Chestnut. 19. Elementary Examples and Character of Horse Chestnut. 20 . Horse Chestnut. 21 . Elementary Examples and Character of Poplar and Aspen. 22 . The Common, or Lombardy Poplar. 23. Elementary Examples of Weeping and White Willows. 24. White Willow. 25. Elementary Examples and Character of Hazel and Black Alder. 26. Elementary Examples of Hawthorn and Maple. 27. Hawthorn. 28. Stone Pine. 29. Elementary Examples of Scotch Fir and Spruce. LIST OF PLATES. xii 30. Scotch Fir. 31. Cypress and Cedar. 32. Larch and Yew. 33. Elder. 34. Mountain Ash, or Rowan-tree. 35. Date Palm. 36. Box and Holly. PART II. 37. Frontispiece. 38. Vine and Honeysuckle. 39. Hop. 40. Ivy. 41. Bramble. 42. Jasmine, Nightshade, and Bryony. 43. Aloes. 44. Corn and Corn-plants. 45. Grass, and the Disposition of Touches. 46. Grasses and Hedge Plants. 47. Furze, Broom, Heaths, &c. 48. Ferns. 49. Mallow and Toad-flax. 50. Foxglove. 51. Coltsfoot, Dock-sorrel, and Reed. 52. Comfrey, Figwort, Brook-lime, and Reed. 53. Bulrush and Hemlock. 54. Meadow-sweet, Dog-rose, and Bur-reed. 55. Yellow Iris and Rush. 56. Teasel and Greater Bindweed. 57. Water-lily and Yellow Water-lily. 58. Flowering Rush and Great Water-plantain. 59 . Burdock, Thistle, and Butcher’s Broom. 60. Primrose, Buttercup, Greater Plantain, Dandelion, ani> Great Water-dock. Jflliap aitxr $m%xmuh grafumrj. Part I. FOLIAGE. INTRODUCTION. rjlHE design of this little work is to assist the pupils in art at Rugby and elsewhere, in learning to observe and draw those objects which belong more immediately to the foreground of a picture; the limited time which they are able to devote to sketching from nature being insufficient for this purpose. Not pretending to a know¬ ledge of botany, the author has viewed trees and plants meiely with the eye of a painter; treating them as parts of a picture, and as they affect the unscientific observer. Artists have little to do with many plants which interest the botanist, for their attention is necessarily and chiefly duected to the general appearance; and therefore, on this occasion, such examples only have been selected as are at once the most common and distinct in character. 2 FOLIAGE AND FOREGROUND DRAWING. Having 1 already found by the success which has at¬ tended a larger work on trees, that a previous careful study of the different parts before the whole object is attempted, is of great use to the pupil, the same plan then adopted has in the present instance been carried out with respect to foreground plants. An important point is gained when the upil has learned to distinguish each variety of object by sight, and can give with a few rapid strokes its peculiar character. Now these leading, vigorous touches can never be given with truth and effect, if the pupil has not previously become intimately acquainted with the structure and arrangement of the component parts of the object to be drawn. The most accurate eye and practised hand will be greatly assisted by such previously acquired information. Thus, to be a faithful and effective delineator of nature, it is desir¬ able to know something even of geology, that its laws may not be transgressed, when representing the stratifi¬ cation of rocks or the fractures in portions of them near the foreground: for if the geologist can by a glance at the outline of mountains distinguish the nature of their formation, surely some knowledge on this subject would be useful to the artist, in preventing errors in drawing the forms which occur. Botany also wall aid him in recognizing each tree and plant at once, not mei’ely by the leaf or blossom, but by the general structure and arrangement of the parts; he should know something of the climate and soil in which they are generally found, and place in each scene such as naturally belong to it, giving every object its proper proportion, and in¬ troducing it only at the right season. The Eucalyptus of Australia, the Palm of Asia, and the Oak of Europe, would thus serve more clearly to distinguish each coun- INTRODUCTION. 3 try^ ancl would not meet, as they now sometimes do, in the same sketch. This careful study of character, upon which the truth ol diawing depends, should not be allowed to degenerate into a timid and servile imitation of parts only; for character is first seen in the general outline or outside form; and this depends in trees, first on the trunk or stem, then on the size and disposition of the branches, and the way in which the smaller shoots or twigs grow and the leaves expand. When these general outlines have been gained, and the pupil wishes to make a care¬ ful study, let him go closer to the object, and taking a poition of it, consider it in detail; in the same way that a musician would first acquire the power of expressing each note and bar in his score before he attempts the whole piece. Some may object, that in this careful attention to the minute details of pictures, there is danger of losing bieauth of effect, and may fear that every portion would appear as if at the same time in the focus of the eye. But such a result is easily avoided; for when once the different parts are understood, those not desired can be readily obscured by a few general strokes or glazings, dhe celebiated Turner may be quoted as an encourage¬ ment to the young in this careful and almost minute study; for in his earlier days he was an elaborate copyist of nature, though in his later works all this knowledge was melted, either in a blaze of coloured light or in the obscurity of deep shade. The most important and orna¬ mental parts of landscape are undoubtedly trees and plants; but the great difficulty of representing foliage has hitherto often prevented the student from attempting scenes of which they form the chief attraction. It is 4 FOLIAGE AND FOREGROUND DRAWING. the wish of the author to lessen this difficulty by sup¬ plying- the pupil with a few directions and examples for practice, which may lead, when followed by a careful study of nature, to a true and vigorous style in drawing such objects. There may be some difference of opinion as to the degree of distinctness with which the leaves of each spe¬ cies should be delineated; but there can be no doubt that, as in nature each tree has a character of its own, which with attention may be seen; so ought the artist with the same degree of attention, joined with practice, to be able to represent these characteristic points in his drawings. Before proceeding to examine trees in detail, or to enter upon that study of their parts which is neces¬ sary to enable the student to imitate them with facility as well as with correctness, a few general remarks on the characters of trees will not be out of place. This character must be preserved, however much it may be modified by climate, soil, or season of the year: thus a tree in full leaf in the midst of summer has a very dif¬ ferent appearance from that which it bears in autumn or winter; but as the trunk and ramification of the branches remain unaltered, the species is still discernible. Much variety may be observed in the same kind of tree growing under different circumstances; a forest Oak, for instance, differs greatly from the same species growing in clumps of two or three, or standing singly; when planted close together, their lateral branches are small and weak, and their height greater. Most trees appear to the best advantage in groups of two or three, or even growing alone; like some old weather-beaten Oak, stand¬ ing nobly in single grandeur. The influence of soil and climate is more observable in some trees than others; INTRODUCTION. the Oak, for example, when in favourable situations, spreads its broad limbs on every side, and grows to an immense size, increasing in spread more than in height; whilst on craggy rocks, or exposed to blighting blasts, it becomes diminutive and shrubby, scarcely over-top¬ ping the underwood. The Elm, Ash, and Lime shoot up more rapidly and attain a far greater height, but do not appear to adapt themselves with equal readiness to unfavourable situa¬ tions. By studying the principles upon which the indi¬ vidual character of each tree is formed, the pupil is enabled to represent with more facility and variety the different parts; and he must remember that much of the charm of foliage depends on the appearance of ease and grace in the execution. The way in which each tree grows from the ground must be particularly noticed; the roots, whether they are prominent or not; the trunk, if much divided near the base; the bark, if rough, smooth, twisted, or straight; the branches, their distance from the ground where they spring from the trunk; their size in proportion to the stem or to the mass of leaves; the angles which they make with the trunk or ground should also be remarked ; the general growth and direction of the twigs and leaves, whether these latter separate into small clusters and allow of much light between them, like those of the Ash, or mass together in greater numbers, like the Elm. Leaves which group closely together, as the Beech, Elm, &c., admit of greater breadth of light and shade than do those of the Birch, Weeping Willow, and others; and the pupil should therefore first attempt these. Memoranda should also be made of the time of the year when the autumnal tints appear on each tree. 6 FOLIAGE AND FOREGROUND DRAWING. and the various other changes which take place in the course of the seasons. When the student has thus made himself acquainted with the general character of each tree, as well as the kind of touch which is capable ol showing the shape and growth of the leaf, he should proceed to draw the whole tree from nature. In doing this, it is not possible to copy each small spray with minuteness, but it is sufficient if he secure the general resemblance; and the previous careful study of twigs and small branches growing in every direction will give great facility in the execution. When the tree is finished, the position and direction of the larger branches should he discernible amongst the thickest foliage : these may be ascertained in nature by a slight alteration of place; and in art, to produce the same effect, some of the foliage should be made a little thinner or semi-transparent, and the colour of the branch indicated. The branches thus seen give lightness to the tree, and prevent it from becoming heavy; but the student must beware of showing the stem and branches too completely, as this would make them appear all on the side nearest the spectator, whereas they shoidd be placed in the midst of the foliage, sometimes, even, being hidden by the lower masses of leaves, but near the out¬ side and top being more distinctly shown. It is a dif¬ ficult thing to preserve the just perspective of branches, but it should always be attempted ; some should pro¬ ject forwards, others retire, and others, again, be placed nearly parallel to the plane of the picture. In colour they are generally darker than the foliage, with the exception of the Birch, Beech, Aspen, &c.; and when in the sha¬ dow of green leaves, they partake considerably of theii tone. The difference of local colour in foliage may in INTRODUCTION. 7 some degree be indicated, even in pencil or chalk, by a broad or general tint put on with longer strokes, and the shadow afterwards added in the same manner as in colours. In the extreme distance the character of trees is only to be distinguished by their general form, which may be given with a flat tint. In the examples which accompany these notes, the leaves of each tree, and the way in which they grow on the sprays, with the general appearance of a bough at a greater distance, have been shown ; but these are not placed before the pupil to be copied (as it is quite im¬ possible to copy a tree leaf by leaf), but to explain to him the manner in which the character of each touch is derived. When this is perfectly understood, this charac¬ ter only should be studied, and facility in its application gained by drawing it in every direction on a large scale. In concluding these few remarks, the author will only add, that his sole object has been to assist his pupils in their labours ; for on their careful study and close imita¬ tion of nature (not only the general form, but the com¬ ponent parts), must depend the truth and excellence of their works; and his end will be gained, if in their soli¬ tary rambles they find a friend at hand in this work to throw light on some of the difficulties which all must encounter when first sketching* from nature. S, Harrington Square, London, April, 1870. FOLIAGE AND FOREGROUND DRAWING. 8 ELEMENTARY PRACTICE. The dexterity of handling* and precision of touch which are necessary to the skilful portraying of trees can only he acquired by careful study; apparent freedom and variety in the use of the chalk or brush being the result of re¬ peated efforts and practice in the elementary exercises. To attain this facility, it is necessary to begin with the simplest lines, and practise well each exercise until the difficulties are entirely overcome. The hand can generally make lines and curves in some directions with more ease than in others; but as foliage grows in all po¬ sitions, a corresponding freedom should be attained with the pencil before elaborate representations are attempted. Taking, therefore, fig. 1 to begin with, the student should first sketch a light boundary line of an oval form, and then make lines all round it, radiating from the centre, and increasing in strength to the outer termination. In fig. 2 the lines are slightly curved, and more difference made in the strength of the touch. In fig. 3 the appli¬ cation of these curved lines with their corresponding parts may be traced : together, they give a form which is like the point of a leaf, the other part being hidden in the general mass; the extremities of leaves which show against the sky, or are relieved by shadow, are always more easily seen than the other portions. The space en¬ closed by this series of touches is supposed to be a mass of leaves, on which the light falls undivided by shadow. No particular foliage is attempted in these practices; but they will give the general character of the outside, or profile of foliage when seen against the sky, or against PI. “2 . Elementary practice > 4 A/ i A V * ... ~=3> ‘ 6- r Iig.2 * 4-1 U X-A ELEMENTARY PRACTICE. 9 a dark background, but where the leaves lap over each other the whole becomes confused and far too intricate to be handled thus. A single leaf is easily understood, whether it be Ash, Elm, or Oak, but the leaves are as often presented towards you or from you, as in full, and the pupil should take a single twig and carefully draw leaves in every direction, and by removing the twig by degrees from the eye he will endeavour to trace the general forms remaining the longest visible; a spray of bramble or rose is an excellent example and easily pro¬ cured. The shade of foliage is generalized in a like manner with the light, no separate and completely formed leaves being visible, but all massed together, and by no means intended to be perfect forms. If tin pupil studies sprays of each tree in this way, both in re¬ gard to the general character impressed on the outside of the light and the outside of the shade, or shadowed side of the foliage, and likewise studies and draws the twigs and branches in every position, he will begin to understand the anatomy of trees, and will also preserve himself from falling into a mere mannerism of some conventional touch. In many of the examples of the principal trees the pupil will perceive that the spray is gradually removed further from the eve until it is generalized in a bough or branch, and thus the appro¬ priate touch is attained. The variations forming the touch of many trees, such as the Elm, Ash, Walnut, Chestnut, &c., must be derived from these first practices. The Oak, Sycamore, Thorn, and trees with concave or jagged leaves, require a different form of touch, such as fig. 4, which is a boundary line made with concave touches, and these being in a contrary direction to those hitherto practised. 10 FOLIAGE AND FOREGROUND DRAWING. should be copied until the pupil has acquired the power of drawing- the foliage of such trees. Care should be taken that the whole mass of leaves represented appear to project rather than recede; and to effect this, the outline must have more strength on the side opposite the light, thus indicating the direction from which it comes. In fig. 6 the touches commence as before, from the inner part, and are carried outwards to the right or left, thus showing the direction taken by the foliage of Beech, Lime, &c.; and if the touches are made short and thick, it will give the leaves a corresponding cha¬ racter. Fig. 7 : the foliage of bushes or shrubs being more upright than that of trees, the touches should be generally drawn in the same direction, or sligditly varying on all sides from the perpendicular. Fig. 8 : strokes placed nearly parallel, and pointing upwards, give the usual appearance of the leaves of Firs, which grow on the upper side of the branches; these are not difficult to execute, but they should be drawn in masses, and about the same length, for the edges of these tints give the form of light or shade. If the touches are too much separated, they will appear rather like individual leaves than clusters of foliage. The short, wavy, and zigzag touch in fig. 9 imitates the angular and upright leaf of the Poplar; or in the reverse direction, the hanging foliage of the weeping Birch. Fig. 10 : these strokes give the general direction of the Weeping YY il- low, the long leaves of which hang nearly perpendicu¬ lar to the earth; they are slightly curved, but enclose no large mass of light, as the foliage is thin and scat¬ tered. Figs. 11, 12, 13, show the practice which is necessary to give clearness and transparency in shading. By using the power of increasing or diminishing the ELEMENTARY PRACTICE. 11 depth of tone, and varying’ the direction of strokes, to correspond in some degree with the character of the foliage in the last figure, the shade may be drawn in such a manner that the light shall he left of the right shape, and very little outline is required to finish it. It is unnecessary to give the shape of leaves in the mass of shadow ; but the extremities should be drawn with atten¬ tion, the character there appearing distinctly marked. When the pupil has, by these elementary practices, gained some degree of facility, he will find in the suc¬ ceeding pages directions for acquiring the touch which is necessary to indicate each kind of tree. 12 FOLIAGE AND FOREGROUND DRAWING. THE OAK. QUERCUS ROBITR. It is generally allowed that the Oak is the noblest of our trees, not only from its great size and strength, shown in its massive trunk and spreading limbs, but because of its greater longevity, combined with a high degree of verdure. Its vigorous character is visible even in the extremities, the twigs and leaves springing out on all sides in star-like bunches ; but it is in decay tint the Oak presents the most picturesque appearance; with perhaps, some large limb severed by the winter’s dorm; others, though still remaining, bare of foliage, whilst some, again, are covered with fresh green leaves. A single tree in this venerable state then forms a p cture, but although Gilpin (a high authority) says it “is the most picturesque in itself, and the most accommodating in composition/'’ artists generally think that tin Elm, Ash, or Spanish Chestnut, stand far before it in the facility with which they form parts of a picture. But although single trees, whether of Oak, Elm, or Beech, scarcely can be said to form pictures, yet in groups of three or more, at different distances fnm the eye, Oaks are decidedly picturesque, and highly diarac- teristic of the park scenery of England. In the Forest of Fontainebleau also there is much nobility in the grand perpendicular column of Oaks, growing in some instances nearly 100 feet without a branch; and also among the rocks it is curious to see how the roots have twisted around and clasped tiem in their search for nourishment, piercing the stony wall THE OAK. 13 and straggling wide, whilst round the hoary and weird branches the moss and ivy cling, with here and there pendent tufts of mistletoe. The trunk, in general, is large in proportion to the height ; the roots frequently show above ground, but seem firmly fixed in the earth; the branches, which mostly grow in the horizontal direction, are spreading, knotty, and tortuous, “appearing,” again to quote Gilpin, “rather to divide from the trunk than to spring from it, carrying with them a great share of the substance of the stem.” Where it has room to spread, the width is greater than the height; the smaller branches and twigs are, like the larger limbs, still twisted; and the foliage being princi¬ pally at their extremities, the leaves growing freely in every direction, requires a star-like or radiating character in the touch. When in full leaf, the masses of light and shade are well defined, and are not difficult to imitate with a concave or angular touch; the roundness of the whole mass must, however, be preserved. The colour of the leaves is in summer a cool green, but in autumn the tones become rich and deep, varying from yellow-ochre to the richest madder; they cling to the tree until the near approach of winter, and, with the exception of those of the Beech and evergreens, are the only foliage which can with propriety be introduced into sporting or fox-hunting subjects, for it is then November, and the rough blasts have stripped the leaves from nearly all the other trees. In pheasant-shooting, which begins in October, the autumnal tints on the sparsely scattered foliage of the Oak woods and copses may be of great use to the painter. 14 FOLIAGE AND FOREGROUND DRAWING. THE ASH. ERAXINUS EXCELSIOR. Without competing- with the Oak, the Elm, or other trees, in grandeur or strength, the Ash is inferior to none in height, gracefulness of form, or elegance of foliage. It is seen everywhere, but its favourite haunt is by the mountain stream, where its branches gracefully sweep over the water, and add much to the beauty of the scene. The Ash rises, in an easy flowing line, to a greater height than the Oak; but its chief beauty consists in the light¬ ness of its appeai-ance. The branches at first keep close to the trunk, and form acute angles with it; but as they lengthen, they generally take an easy sweep, and the looseness of the leaves corresponding with the lightness of the spray, the whole forms an elegant depending foliage. The foliage does not combine in such large masses as that of the Elm, but is separated into little clusters or bunches; this separation gives opportunity to show the character of the long and elegantly curved leaf. The colour is a dull warm green. The leaves are late in ap¬ pearing, and fall early in the autumn. The colour of the stem is a fine grey, frequently relieved with the various yellows and light greens of lichens or mosses. The leaf of the Ash is a beautiful combination, of curved lines, and may be considered as a long ellipse with pointed terminations. The careful practice which is necessary to make these curved lines freely in every direition, is of great service in drawing all other kinds of foliage; and time is well spent on these elementary studies before the Asli P] ( Frcbaxruus EocceLsiar) V *" W vs ‘ 1 5 /-■< 'iii i - - J i t 3T. * S\ > % * * * a# 'y **% . , -3 * , ': .is, ?*.V ’^e - THE ASH. 15 complete tree is attempted. In this practice tne pupil should notice, that when the stroke is drawn back towards the centre, the curve should be the same as the outward form, and the touch darker at the outside. This increase of force gives relief to the tips of the leaves, and by its diminution towards the centre, allows the mind to imagine the other parts of the leaves where they are mingled to¬ gether, and are less distinct. After the pupil has acquired facility in these practices, let him proceed to indicate the outline of a bough or large cluster of leaves, and first sketch in with a light and free hand a boundary line, consisting of larger or smaller parts of ovals. The touch may now be given with a certain degree of freedom, still using the boundary line as a guide, but sometimes allowing the leaves to project beyond, and again withdrawing them within and permit¬ ting the touch to fade away in the mass of leaves. Care should be taken not to loop the touch, as this has a very unnatural appearance; nor yet to make the darkest part towards the centre, as this causes a harsh line, and de¬ stroys the perspective of the group. An entire branch may now be attempted, and should be carefully sketched with a light outline forming the general boundary line, giving at the same time the direc¬ tion of the light and shade; the shadow should be put in with care and attention to the form of the lights left. The outline is now added with varied strength, according to the light and shade, and the branches vigorously de¬ fined with a sharp, clear touch; sometimes they may be nicely imitated by commencing from the thickest part, and allowing the touch to die away towards the ex¬ tremities. FOLIAGE AND FOREGROUND DRAWING. 10 THE ELM. TTLMUS CAMPESTRIS. In our climate the noble and stately Elm rises to a greater height than most other trees, and possesses many of the attributes of beauty, the branches and trunk being well proportioned and elegant. Its foliage, although dull in colour, is excellent for its breadth of light and shade, forming rounded masses which are more easily imitated than those of most other trees. The Elm is admirably suited for the first studies of the young land¬ scape draughtsman, the limbs separating early from the trunk, and the divisions of the foliage, being easily seen, can be better drawn, while the whole perspective of the general masses must still be observed: a side light is desirable for study, as the roundness of the masses can then he more easily perceived. It is well before an elaborate drawing is commenced to take a sketch in small of the stem and principal branches, and should these not appear well balanced, to change the position and trace them in again, noticing how they come with respect to the masses of foliage which receive the light. As a rule, the stem and larger branches may be shown more in a drawing than they can he seen when the tree is in full midsummer foliage; when this receives the strong light, the small portion of stem that is seen is not sufficient to give form or grace to the tree, so that care must he taken to indicate the connexion between one portion of the stem and principal limbs and their extremities. The breadth also of the general shadows must he kept up whilst drawing the houghs. There is PI. Elm ( UbruMs campestrLs) THE WYCH, OR MOUNTAIN ELM. 17 a marked difference between the general outline of a large and full-grown tree and the young plant: in the former there is greater roundness and convexity, the twigs not appearing to separate, whilst in the latter they point more upwards, and do not give so graceful an out¬ line. The leaves are oval, and grow along the whole length of the twig, giving somewhat of the same form to the masses. The Elm groups well; and some fine examples for study may be seen in the play-grounds of Eton and Rugby. THE WYCH, OR MOUNTAIN ELM, ULMUS MONTANA, Is a large and beautiful tree, with wide-spreading pen¬ dent branches; the foliage also is larger, and requires a bolder touch than the common Elm. The bark is not very different. It is sometimes difficult to distinguish this tree at a distance from the Beech; but the branches, although they frequently droop as much, do not turn up at the extremities, as do those of the Beech. Although not common in the midland counties, a fine example may be seen near the church at Kenilworth, and nearer London there is a magnificent avenue of them in Cashio- bury Park. 18 FOLIAGE AND FOREGROUND DRAWING. THE BEECH. FAGUS SYLYATICA. There is much, diversity of opinion respecting the beauty of the Beech. Evelyn speaks of it as oie of the largest and handsomest of our forest-trees, and adds, “ They make spreading trees and noble shaces when planted at forty feet distance.” White, of Selbome, also declares it to be “the most lovely of all forest-trees, whether we consider its smooth rind or bark, its glossy foliage, or graceful pendulous boughs; ” whila Gilpin, who might be thought to look at it with an artist’s eye, thinks it “ rather a displeasing tree, made up of little¬ nesses, the branches disproportioned, and, in short, not better than an overgrown bush.” But if the (pinion of painters of the present day were asked, it vould be found to differ greatly from that of Gilpin; for certainly there is no tree more picturesque in the truik, roots, and lower branches, the colour of which is a charming gray, often beautifully varied with rich browr spots of lichen and mosses, which sometimes encircle tie trunk, giving the rotundity with great distinctness. There is also a transparent delicacy of tender green on its leaves in spring, and still earlier the rich colour of the buds have a visible effect on the tone of the wooes. Then there is no tree more beautiful in its decayirg hues of autumn than the Golden Beech, changing fron green to the brightest orange, then to glowing red, and eventually to a russet brown. It is likewise a most characteristic and desirable tree for forest and secluded scenes, and adds much to their picturesque beauty. TJiderneath JBeech fJFcujus Syb/atu:/x, j PI. 9. THE BEECH. 19 its pendent branches rest the stately deer, or amongst its roots burrow the wild rabbit or fox. The shade is so complete that grass does not flourish beneath it, but instead we have a short dry moss, and the tone is alto¬ gether solemn and quiet, “ a dim religious light ” is shed around. This is so peculiarly characteristic of the Beech, that it has been noticed by many poets. Thus one says, ‘ ‘ Where the broad beech its ample shade displays ; ” another, The gray smooth trunks distinctly shine Within the twilight of their distant shades ; ” and Gray makes it the favourite resort of the “ youth to fortune and to fame unknown; ” “ Here at the foot of yonder nodding Beech, That wreathes its old fantastic roots so high, His listless length at noontide would he stretch, And pore upon the brook that babbles by.” With respect to the principal points to be noticed in studying, we find the branches small in proportion to the length, and they are inserted nearly horizontally in the trunk; they bend downwards for the greatest part of theii length, and turn up again at the extremities. The leaves are not in large groups, but continue along the twig, and should be represented in short touches; as they are spread over the whole surface, the mass of foli¬ age is not much divided, the shade being continuous. The waved or strata-like form of the foliage should be marked. c 20 FOLIAGE AND FOREGROUND DRAWING. THE LIME, OH LINDEN-TREE, TILIA EUROIUEA, Is a stately and beautiful tree, about the size and general appearance of the Elm, but with more of a formal or pyra- midical shape. The branches are not so large, nor do they divide in so marked a manner from the trunk as those of the Elm, and this prevents their being seen so well; the tree also does not group so favourably for the picture. The leaf is larger, broader, and more pendent, and the whole appearance of the foliage closer than the Elm. The Lime is better known to the inhabitants of towns than the Elm, growing more freely amongst the houses; and its lovely warm green makes it a great orna¬ ment to our squares and suburban villas, and it may sometimes be well placed on a lawn near a mansion, where its branches are allowed to sweep down to the ground uninjured by cattle. In such a protected situa¬ tion, it is one of the most beautiful and delightful of trees, the early summer being refreshed with its rich green, and later in the season the sense of smell regaled with the fragrance of its blossoms. The Lime forms a grand avenue, as at Cashiobury near Watford; many of our churches have also avenues of polled Limes leading to the principal porch; but for magnificent specimens, one must go to Moor Park, in Hertfordshire, where there is one which is 100 feet high. The Lime is seen to greater advantage on the Continent than it is in England, being much used for avenues and public walks; its shade and the sweet odour of its blossoms THE LIME, OR LINDEN TREE. 21 being particularly agreeable and refreshing during tho long hot days of summer. The great variety of character in the Lime, frequently the result of local circumstances, is liable to confuse persons who are otherwise keen observers. An instance of this want of close observation came under my notice in one of my sketching tours, and will perhaps serve to explain the difficulty which exists in distinguishing this species of tree from a distance, and shows the advan¬ tage of copying the leaf, the twigs, or sprays, and the branches near and separately, as is advised in this work. While sketching in Nassau, I was struck with Sir Francis Head’s description of a remarkable Plane-tree, growing in the village of Frauenstein. He says, “ But what more than its castle attracted my attention, was an immense Plane-tree, the limbs of which had originally been trained almost horizontally, until, unable to support their own weight, they were now maintained by a scaffolding of stout props.” He then describes the village scene, and gives the legend of the great Plane-tree of Frauenstein. I was curious to see a tree so singularly like a Lime, and, having sketched the castle, sought it out; and it proved after all to be a Lime. The blossoms affect the general colour and form of tho foliage more than those of the Elm, and may be indicated by a lighter green and a stroke somewhat pendent. The touch which indicates the leaves is not unlike that of the Beech, but it is rather bolder; the masses of foliage are not disposed so much in strata. The trunk appears subject to wens, or rough swellings, which disfigure the form. 22 FOLIAGE AND FOREGROUND DRAWING. THE BIRCH. BETULA ALBA. A small triangular leaf, a light feathery foliage and a scattered head, are the noticeable points in this truly elegant tree. It is deservedly a favourite both w.tl poets and painters, and it is full of the most beautfd con¬ trasts, although the foliage is not sufficiently large or clustered to give much diversity of light or shade. The silvery whiteness of the hark exceeds that of an; other tree, but is beautifully varied by rich brown spots near the insertion of the branches, and by rings o: darker colour in many parts of the trunk; these increase bwards the root, and the trunk becomes very rough, aid is fre¬ quently much varied in its direction near the found. The twigs and smaller branches are long, and tie leaves grow at some distance from each other on alternatt sides; this, joined with their triangular shape, causes i short zigzag touch to be the best for their imitation. The examples given in the illustration are of the Weeping Birch, this variety being more cultivated than the erect kind on account of its superior elegante; the foliage is smaller and the branches slighter, drxping at an acute angle from the stem, while the tree itsel:' grows to a greater height than the upright species. T is the Weeping variety that one so often meets in Scotland, in¬ clining its graceful head over some tranquil lcel whoso waters reflect its dancing, fairy-like foliage in sunny ripples of varied tone and form. Springing this from amongst its native rocks and heather, it presents a most charming foreground for the artist’s picture. THE WALNUT. 23 THE WALNUT. JUGLANS REGIA. This is a noble tree, with, wide-spreading and massive branches diverging from the stem when near the ground. In the lateral extension of its head and the boldness and vigour of its tortuous limbs it greatly resembles the Oak, although the foliage is so strikingly dissimilar. The twigs are stout, and the leaves, being large and fewer in number than in many other trees, cause the use of a broad, decided touch, not so pointed as that of the Ash, though like it in many respects, owing to the leaflets being arranged on the twigs in somewhat the same position. The fruit, from its size and importance in distinguishing the tree, should be indicated, and the rich warm colour of the foliage, together with the breadth of touch, render it an excellent study in brush practice for the beginner. On the Continent the Walnut often attains an im¬ mense size, many noble specimens being met with, over¬ shadowing the promenades in Switzerland, as at Inter- lacken, where the inhabitants are justly proud of their fragrant and refreshing shelter. In England it is to be seen frequently in our farm-yards and about our cottages, its rich colour harmonizing well with rustic buildings; and although the leaves fall with the first frosts, the tree is still eminently picturesque from the fine outline of its trunk and branches. The trees in the illustration grew near an old farm¬ stead in Hampshire. 24 FOLIAGE AND FOREGROUND DRAWING. THE SYCAMORE. ACER PSEUDO-PLATANUS. The Great Maple, or Sycamore, is, according to Gilpin, “ a grander and nobler tree than the smaller Maple, but it wants elegance; it is coarse in proportion to its bulk. It forms, however, an impenetrable shade, and often re¬ ceives well-contrasted masses of light. Its bark has not the furrowed ruggedness of the Oak, but it has a species of roughness very characteristic. In itself it is smooth, but it peels off in large flakes like the Planes, to which in other respects it bears a near resemblance, leaving patches of different hues, seams, and cracks, which are often picturesque.” Lauder also adds, with the feeling of an artist, that “ the spring tints are rich, tender, glowing, and harmonious. In summer its deep green hue well accords with its grand and massive form; and the browns and dingy reds of the autumnal tints har¬ monize well with the other colours of the mixed grove, to which they give a fine depth of tone.” But the decaying autumnal tones of the Sycamore Maple in England can give us after all only a faint idea of the glorious array of colours presented by woods in Horth America, in which the White and Scarlet Maple abound. They are represented there as showing some of the richest colours of the rainbow, and as too intense and too suddenly contrasted to be pictorial. Far more lovely must the Scarlet Maple appear in spring, when it has deep red flowers and slender rosy leaf-stalks and branches, contrasted with the tenderest green of the opening buds. The leaves are imitated with a free, angular and concave THE SYCAMORE. 25 touch, partaking of the Oak character in some respects, hut differing very much in the general disposition of the branches and twigs. As there is with some persons a difficulty in distinguishing between the Plane and the Sycamore, it is worth while to notice the blossoms and seeds of both, and the pupil should pluck a leaf from a Sycamore in bloom, when no mistake can arise, and compare it with a Plane leaf, and he will find that though apart they may have been thought alike, when side by side there is a marked difference. The leaf of the Syca¬ more is five-lobed, and unequally serrated, while that of the Plane is more deeply indented, with a very re¬ markable angularity about the final lobe. The blossoms are drooping clusters of green flowers, and appear about May, changing to winged seeds in autumn. The leaves are at this time covered with dark-coloured spots, which soon destroy the richness of the green. 26 FOLIAGE AND FOREGROUND DRAWING. THE PLANE, PLATANUS ORIENTALIS, Is more regular and formal in its growth than the Syca¬ more, the branches spring more frequently from the lower part of the stem, and grow upwards at a mode¬ rate angle. The leaf is much the same, only rather more angular; the seed-vessels are round prickly balls, and become very conspicuous in autumn. The :ree is very common in London in our squares and parks, as it thrives better in a smoky atmosphere than most others. The bark peels off very freely, showing a light yellowish tint underneath, but the general hue is a grayish green. As a tree for bordering and shading public walks, streets, or promenades, where the soil and climate are favourable, the Plane has no equal, particularly i; 1 it is indulged with a copious watering now and then, as it is in Paris. It appears indeed both in that city and in London to have quite taken the place of the Elm and other trees. The general appearance of its large foliage, which is easily moved by the passing breeze, is a cheerful rich green, not quite so warm as that of the Lime, but far clearer in tone than the Elm ; the branches also being long and waving, with the scattered nature of its foliage, cause it often to display during sunshine what are called “flickering lights” and corresponding shadows cn the ground. It is not a tree that looks well when pol'ed or cut in any way, and therefore requires more room than the Lime or Acacia, and the head, having greater free¬ dom, allows the appearance of the buildings behind to be partially seen, not cutting their upper parts so com- THE PLANE. pletely from the promenade and figures beneath as the polled Acacia does at many of the baths in Germany. Perhaps as a tree for general introduction in English landscape the Plane may not be so useful as the Syca¬ more, but in course of time it may become more natural¬ ized. We are told that in the swampy forests of America it flourishes in unimpaired magnificence, and surpasses in size and height every tree with which it is associated. It often sends up a massive trunk seventy or eighty feet before it begins to branch, and then throws out huge arms, any one of which exceeds in dimensions the other trees which stand around. FOLIAGE AND FOREGROUND DRAWING. THE SWEET, OE SPANISH CHESTNUT. FAGUS CASTANEA. This tree has a noble and elegant appearance, growing in our climate in a regular and stately way, with much of the strength of the Oak, and something of the grace of the Ash, hut it is seen in its greatest beauty when crossing the passes which lead from Switzerland to Italy; the transition of vegetation is abrupt and strik¬ ing, forests of wild Chestnuts either replace the Fir on the sides of the mountains, or give interest to the nearer scene by the fine massing of their foliage, and the va¬ riety of their growth. Four distinct characters may be observed. It is in some cases a low tree, with a rounded and spreading head, somewhat resembling a large and full-grown Apple-tree. Elsewhere the bole has large dimensions, but it bears very diminutive branches, the tree having been reduced either by lopping or by the decay of the wood, to a mere trunk without limbs; sometimes, however, grotesquely irregular in shape, and not unpicturesque. In some sheltered and favoured situations of the valleys, the Spanish Chestnut rises to a lofty and spreading tree, being a most handsome speci¬ men of the vegetation of those parts; whilst on the rocky and precipitous slopes of the mountains it either becomes the low and spreading tree before mentioned, or assumes the character of a mere bush. It will thus appear that in mountainous countries, and on the slopes of the Alps and Pyrenees, it has much irregularity and becomes exceedingly picturesque: it is the tree most frequently introduced by Salvator in his Spanish ot* Sweet Ciiesnut. (Fcujlv.'; Ccustrmen ) PI 18. Horse Chesmit. { JEsCuhjOS hippo (XLStXUUlfn ) PL 18 . -- HORSE CHESTNUT. 29 pictures. The trunk and branches appear large in pro¬ portion to the quantity of foliage; the bark is divided into furrows, which sometimes take a spiral direction, and give the trunk a twisted appearance. The leaves are large and long, collected into bunches, but do not radiate so strikingly as those of the Horse Chestnut. The touch is firmer and more marked than that for the Ash. The flowers are not so conspicuous as those of the Horse Chestnut, and being green and pendent do not affect the general touch. HORSE CHESTNUT. JESCULUS HIPPOCASTANUM. This cannot he called a picturesque tree, its shape being formal; hut the broad masses of foliage, although much too defined to he agreeable to the painter, are grand and majestic when seen in an avenue or in groups. There is a good instance of this at Bushey Park. The stems in general are finely shaped, but are not much varied in colour from the foliage, being greenish in tone. The sombre colour of the leaves in summer is early changed by the frosts of autumn, and then becomes richly mingled with tints of the ochres and siennas. The pyramidal flowers are beautiful when taken singly, but difficult to introduce with good effect in a landscape. They appear about the end of May. The foliage is imitated with a hold touch, somewhat like that of the Ash, hut radiating more directly from centres, as several leaflets spring from one stalk; it is also much heavier and broader. 30 FOLIAGE AND FOREGROUND DRAWING. THE LOMBARDY, OR COMMON POPLAR. POPULUS DILATATA. This species of Poplar, although not introduced into this country until the last century, has so marked anl pecu-. liar a character, and has been so much cultivated, that it is generally understood when the Poplar is mentioned. The formality of this tree is sometimes broken by varie¬ ties in its growth; thus it may be seen split near the top by the branches being of different lengths and varied in their position, but their direction is generally at very acute angles from the stem. Some consider the claims of the Poplar to picturesque beauty as slight; lut one recommendation it possesses, that of yielding to every breath of air, and of waving from top to bottom in gentle sweeps, returning to its original shape w T hen at rest. In groups of three or more, at different distances from the spectator, it is certainly picturesque, and pleasantly varies the more rounded forms of other trees. Tlie stem is very rough and irregularly marked, generally in old trees having deep divisions corresponding to the intervals between the roots. The leaves are almost equilateral triangles, and placed on alternate sides of the twigs with their points upwards; they may be imitated with a zigzag or waved short touch. It has no very decided masses of light or shade. THE ASPEN, OR TREMBLING! POPLAR. POPULUS TREMULA. The chief characteristic of this species of Poplar, apart THE BLACK POPLAR. 1 31 from the motion of its leaves, is its hold, firm, and spread¬ ing appearance. The branches strike out rather stiffly at first, but afterwards become pendulous towards the extremities. The stem is generally gray, but becomes darker towards the root, and is sometimes varied with rings of a darker shade, which, when well drawn, give it rotundity. The colour of the foliage is a dull green, but the under surface is much whiter than the upper. The appearance of the tree at a distance is like the Birch, but is larger and bolder in character. The colour of the stem also is more subdued. The touch for the leaves should be firmer and darker. The Abele (Populus Alba) is another of the Poplar tribe, something like the latter, but having a more rounded head. The white downy appearance on the under side of the leaf is very conspicuous. THE BLACK POPLAR, POPULUS NIGRA, Is also a large and handsome tree. It attains a great height, and has thick and brilliant-coloured foliage. The leaves are heart-shaped, less notched at the edges than tire other species, and green on both sides. The catkins appear before the leaves (which do not open till the month of May); they are short and thick, and from the deep-red tinge of the anthers have a very ornamental effect on the leafless branches. Some fine specimens of this Poplar may be seen form¬ ing a handsome clump near Richmond. 32 FOLIAGE AND FOREGROUND DRAWING. THE WEEPING WILLOW. SALIX BABYLONICA. This is not an easy tree to draw well, however simple and regular it may appear; for the hanging masses of close leaves are apt to look formal, and it is difficult to give the least variety in the direction of the branches, and to avoid stiffness. The head of the tree is rounded and takes a mass of light; but the branches being very long and diverging in all directions, the foliage should gradually diminish as they approach the ground or water. The leaves are longer and placed at greater intervals on the twig than those of the common Willow. The colour is a light warm or yellowish green. THE COMMON OR WHITE WILLOW. SALIX ALBA. The derivation of the word salix, which signifies “ near water,” at once points to its most proper situation in the landscape; and its appearance is generally so much con¬ nected with that of water, that art has often adopted it as a sign wherewith to mark the course of a stream, river, or canal, where these objects are concealed from view. Those Willows which are allowed to run up with that rapid lightness of growth which is peculiar to them, seem to present no other defect, as a light and elegant tree, than too much straightness in the branches, and a loose irregularity in the arrangement of the leaves; hut it is the T11E OSIER. 33 old stumpy and hollow Willow, with its thin and shagged head, which finds, notwithstanding its shattered con¬ dition, an honoured place in the foreground, and doubt¬ less owes its usefulness in the composition to those cha¬ racteristic peculiarities which, in some measure, consti¬ tute its ugliness, but distinguish it in a striking manner from every other tree; thus proving that character may, where variety is wanting, become preferable to elegance itself. The touch for the foliage must be longer than for the Ash, and it has less variety in its direction. The colour is a pale ashy green, producing a silvery appearance. The bark is generally rough. THE OSIER, SALIX VIMIXALIS, Is generally planted by the side of rivers and streams or on small islands. The Thames and the Cam are especially noted for this species of Willow. The leaves are long and narrow, of a bluish green, covered below with a white hoary down. They appear not unlike shoots of the common Willow planted upright in regular rows. The touch is the same, but more upright. D 34 FOLIAGE AND FOREGROUND DRAWING. THE HAZEL. CORYLUS AVELLANA. Plantations and woods, where the trees are of the same species and size, do not yield good subjects for the artist, unless they occur on bold projecting surfaces or broken ground ; but thus situated, with some difference in the age and distance of the trees, there will be variety in the light and shade. It is therefore of importance, in de¬ picting such scenes, to have in the foreground some in¬ cidental break, either in the outline or colour. We have in the Hazel coppice many opportunities of introducing figures in picturesque attitudes, and the rich tones of the autumn tints will be harmonious and appropriate. One of our favourite poets has described such a scene: “ Even now, mctbinks, I see the bushy dell, The tangled brake, green lane, or sunny glade, Where on a sunshine holiday I stray’d, Plucking the ripening nuts with eager glee, Which from the Hazel boughs hung temptingly.” The Hazel presents the appearance of a large bushy shrub rather than that of a tree, from the number of suckers thrown up by the root; but it has been known to grow to the height of thirty feet. The bark is rough and of a light colour; but on the young branches and suckers it assumes a bright russet tinge, spotted with white; the colour of the leaves is a warm green; the clusters of nuts, when seen, being rather lighter. The Hazel is considered the harbinger of spring, when its pendent tassels of saffron powdered flowers and crimson- tipped buds adorn the leafless boughs. The charcoal Hazel. ( Coryhcs cwellajicuj Black Alder. f Almis glwtxnosiL-sj PL.25 JMut Coppice. THE HAZEL. 35 afforded by this tree is much used in the manufacture of crayons for the artist. And the burning’ of this affords one of those breaks or incidents that the young student should seize; for the rustic, cone¬ like hut of the charcoal-burner and the surround¬ ing accessories give one an idea of a settler in some far more distant country: whilst the man is hard at work felling away at the copse, the good woman raises a primitive triangle, lights a fire, boils a pot either for cooking or washing, and busies herself in setting all things straight. Farther off in the clearing may be seen the conical pile of cut wood, protected on the windward side by a screen of straw or brushwood, the warm tints of the setting sun falling on and tinging with glowing colours the wreaths of smoke which rise from the smoul¬ dering mass and partially obscure the woods. Should these be further varied by some old, scathed oak left for centuries amidst the copse, and still stretching his ragged arms over the whole, the Nut or Alder coppice may furnish a subject as well as a crayon for the artist. Another incident is often met with; and that is the hoop- maker. He also begins by clearing a space in a good sheltered situation, and open to the south. On this he raises a characteristic shed, by tying with the tough withes, long poles from tree to tree. These are crossed with others, and faggots of boughs are set up around as well as on the top, forming the scanty framework, and soon his work supplies abundance of short slips or shavings, which he piles on the roof to keep out sun and rain. These bright masses of colour in the dusky copse attract the wanderer, and cause many a question as to what trade is carried on in the depths of the wood. 36 FOLIAGE AND FOREGROUND DRAWING. THE BLACK ALDER. ALNUS GLUTINOSA. The Alder is not so generally known as might be sup¬ posed from its frequent occurrence. It is one of the largest and most picturesque of our water-loving trees, and its name has been supposed to be derived from its growing near water. In such situations, with a rich soil, it occasionally exceeds sixty feet, but the average height is forty or fifty; it sometimes stands singly, but more frequently grows in clumps, rising from the same root or stool. The Alder may be considered as more closely asso¬ ciated with water or damp situations than even the Willow or Poplar. If planted in a dry and elevated position, it dwindles to a mere stunted shrub, and is sometimes grown as coppice wood, which is cut every five or six years, and converted into charcoal, for the manufacture of gunpowder. It is by the standing pool and the dank cool marsh, the limpid brook, the full deep-flowing stream, and in the “cool green shadowy river nook,” that we must seek the best examples of the Alder. With such scenes and spots it has become identified, and the dense shade and deep-green foliage well harmonize with the surrounding scene. Cowley says : “ It loves tlie purling streams, and often laves Beneath the floods, and wantons with the waves.” And Gilpin tells us : “ He who would see the Alder in perfection must follow the banks of the Mole, in Surrey, through the sweet vales of Dorking and Mickleham. The Mole is far from being a beautiful river: it is a THE BLACK ALDER. 37 quiet and sluggish stream; but what beauty it has it owes greatly to the Alder, which every where fringes its banks, and in many places forms very pleasing scenes.” The trunk is almost black in colour, rough and cracked; and this, with the deep tint of the foliage, has caused it to be called the black Alder. The branches, with their long shoots sweeping the surface of the water, are something like the Beech, and the foliage has the short wavy line of that tree; but the leaf is much broader and the colour darker. The leaf is not unlike that of the Hazel in general appearance; but when they are placed side by side, as they are in the plate, considerable difference will be found. The leaf of the Alder, it will be seen, has a longer foot-stalk, and not the terminating point of the Hazel; is not so much serrated, but is more ribbed; it has also catkins of two different shapes, which will not be mistaken for those of the Hazel, nor yet for clusters of nuts. 38 FOLIAGE AND FOREGROUND DRAWING. THE MAPLE. ACER CAMPESTRE. This humble and diminutive tree is common in our hedges and thickets, but is generally reduced by the hedger to the size of the neighbouring Thorns and Sloes. It varies and ornaments the hedge, and is one of the first to show the effects of autumn on its foliage. The leaf is somewhat like that of the Sycamore; and there is a ruggedness in the branches and shoots, which, with their rich colour, gives them a marked character among our shrubs. THE HAWTHORN. CRATiEGUS OXYACANTIIA. As a tree, perhaps our general favourite may not be of much importance in the landscape; but when viewed near at hand, its twisted trunk and branches, with some small portion of foliage, its straggling roots, amongst which the deer or sheep love to ruminate, give great variety to the park or hill side. When covered with its white blossoms, it indicates the season of the year better than most trees, generally appearing at the end of May. In a hedge-row it is sometimes useful in breaking the monotonous expanse of country; and when blended by distance, gives a rich and unrivalled charm to English landscapes. The touch of the foliage is more acute and angular than the Oak, not allowing such a broad mass of light or shade: the colour of the foliage is a dark cool Green. Common Maple {Acer campestre J Hawthorn. ( Crataegus ooofaxardthxju) PI.26 THE BLACKTHORN, Oil SLOE TllEE. 39 THE BLACKTHORN, OR SLOE-TREE. PRUNUS SPINOSA. This is of much less importance to the artist than the last tree, and may he more properly called a thorny and crooked shrub, the flowers of which appear in April, before any of the leaves. The leaves are long and ser¬ rated, and do not grow in clusters like those of the Hawthorn. THE ACACIA. ACACIA. This tree, although partaking of the character of the Ash, has not its gracefulness, either in the trunk or branches, which are stiff and irregular in their lines. The foliage is feathery, and does not form into large masses as that of the Ash, but is something like the Birch in character, and the leaves being set along the small branches, make it desirable to separate the touch. The bark is, however, very different from that of the Ash, being rough and dark in colour, while the tint of the foliage is a beautiful lively green. On the Conti¬ nent the tree is much planted in the avenues of the public baths, and is then kept polled into rounded masses. 40 FOLIAGE AND FOREGROUND DRAWING. THE STONE PINE. PINUS PINEA. This is the most characteristic tree of Italy., and is seen in great perfection when contrasted with the fine pro¬ portions and warm colouring of the villas near Pome It rises to a great height, and the branches start from near the head, forming a beautifully varied and dark- coloured canopy. The stems, slightly deviating from the upright, and sometimes curving gracefully, are fre¬ quently introduced by the artist in the foreground of his pictures, as, from the absence of lateral branches and foliage, this tree allows the distance to be seen unob¬ scured. The knots and stumps of decayed branches are great additions to its picturesque qualities. The colour of the foliage is a dark and gray green. Every one is aware of the important difference that exists between trees that have flat leaves, or those pos¬ sessing breadth like the Ash or Oak, and those which have spiked or needle foliage, these last all belonging to the Eir tribe. The Germans have distinct terms for these two differences, yet in English we have no corresponding names, although it causes a marked difference in their appearance, and to the artist a totally different mode of touch. Where there is no apparent breadth of leaf, there must necessarily be less variety of character dis¬ played, and this must depend principally on the different number of spikes on each cluster, and the way in which these clusters grow on the branches; thus the compact¬ ness and solidity of the head of the Stone Pine, and the solid strata-like waves of the Cedar differ materially THE CLUSTER PINE. 41 from the scattered and pendent twigs of the Larch; the colours also in the latter example being subject to much more change in spring and autumn, and the appearance of the tree, owing to its habit of shedding its leaves more peculiar among the Fir tribe. THE CLUSTER PINE. PINUS PINASTER, OR PINUS MARITIMA. This tree is common in the south of Europe and along the shores of the Mediterranean, where great use has been made of it in fixing the shifting surface of the sand¬ hills, and in turning the waste land which they occupied to profitable account. For the same reason it lias been extensively planted on the “ Landes” near Bordeaux; and it merits some notice from the artist, as, without it, the only subject that this barren coast could yield him would be the wild Landais peasants, clad in their sheepskins, and stalking along on their high stilts, followed by their equally rough looking flocks of sheep. The Pine forest, therefore, may be more picturesque than the monotonous sandy plain, and, at any rate, it brings some variety ; whilst the various figures employed in collecting the resin, tar, and other produce of the Pines, with the uncouth wooden wains and sturdy oxen, furnish many an incident for the foreground. 42 FOLIAGE AND FOREGROUND DRAWING. THE SCOTCH FIR. PINUS SYLYESTRIS. This is the only Pine which is indigenous to this country, hut throughout England and Scotland it is very gene¬ rally diffused; in the latter country it is still found in vast forests. When it has space to spread, it grows less erect than the Larch or Spruce, the trunk being not unfrequently bent or twisted near the top. But when found in natural forests, or when planted in large masses, the trunks are drawn up and destitute of side branches ; it sometimes in these situations attains the height of eighty or a hundred feet. We then find it, as Gilpin observes, in “ close compact bodies, in thick array, which suffocates and cramps them; their lateral branches are gone, and their stems are drawn into poles, on which their heads appear stuck as on a centre/'’ But how different the sensations excited, when one sees it in its native haunts, towering in rugged majesty amid the sublimest scenes of the Scottish Highlands: in these wild solitudes, when standing on rocks or broken ground, the Scotch Fir is seen to the greatest advantage. Thus it appears when the continuity of shade is broken by a broad rush of light streaming down some vacant place brightly illuminating a single tree of huge dimensions and grand form, which, rising from a little knoll, stands out in bold relief from the darker masses behind it, where the shadows again sink deep and fathomless among the red and gray stems, whilst nature, luxuriating in the light that gladdens the little glade, pours forth her richest Highland treasures of purple heath-bells and bright green Scotch Fir. ( PaajLs syiyestrLp ) Spruce pi. 29 ( Pinus abins) SCOTCH IT It. 43 whortleberries, with tufts of fern irregularly intermin¬ gled. The branches are in such circumstances widely extended, and the foliage grows in clusters, chiefly at the extremities of the boughs, forming sometimes a dark canopy at the summit of the tree; the bark is frequently in scales of a gray colour towards the root, but much redder and smoother when higher from the ground. These varieties in colour are much increased by age, when the bark becomes deeply furrowed and of a rich brown colour. The roots, unlike those of almost every other tree, wander in a direction nearly horizontal, ac¬ commodating themselves to the scanty depth of soil in which they are found; and as the tree advances in age, they frequently appear above the surface of the ground, and are therefore much more tough and woody than those of other trees. The foliage is composed of innu¬ merable sharp-edged leaves, which fall every fifth year; they are arranged spirally on the branches in pairs, within a scaly sheath. When young, they are of a bright hue, but afterwards assume a bluish tint, probably on account of their peculiar form, by not allowing much scope for the influence of the solar rays. The leaves approach the perpendicular, are rather curved, and grow on the upper side of the branches, which will thus be frequently seen from below. The colour of the foliage may be given with the addition of a little lake, red, or madder to a cool green. It may be added that the cones are generally in pairs above the shoots of the current year; their colour varies, being sometimes yel¬ lowish or red, though more frequently of a purplish green. In conclusion may be added the pretty verses of Miss Twamley on the two trees most usually met with 44 FOLIAGE AND FOREGROUND DRAWING. in Scotland, namely, the “ gloomy Pine and bonnie Birch “ The lofty Fir crowns Scotland hills, Nor recks the winter’s blast; His root clings firmly to the rock, Like an anchor stout and fast. “ The Pine is king of Scottish woods, And the queen—ah ! who is she ? The fairest form the forest kens— The bonnie Birchen tree.” THE SPRUCE FIR, PINUS ABIES, Is almost as conical in its form as the Larch, the trunk being perpendicular; the foliage is, however, much more massive; the branches spread out laterally nearly paral¬ lel with the ground, but first bend a little downwards, and then curve upward. The smaller sprays may be indicated by a succession of curves slightly deviating from the branches. THE SILVER EIR. 45 THE SILVER EIR. PICEA PECTINATA. This is one of the handsomest of the Coniferse. It is also interesting- to the artist, as it is the only tree of the tribe that yields the turpentine employed in the prepara¬ tion of clear varnishes and artists’ colours. This is the produce of extensive forests near Strasbourg; but the tree has been largely introduced into England, and in many parts of our country, and also in Scotland, it has long since become conspicuous by the regularity of its pyramidal head towering above all other trees, and generally ranging from ninety to one hundred feet high, for as it has been remarked by Americans, most of our trees spread laterally rather than in height. The branches range, horizontally, in regular whorls, each presenting a flat or frond-like surface of foliage. It bears some resemblance to the Spruce Fir, but the leaves are less numerous, and have two distinct silver lines on the under side of the leaf ; the cones also stand erect on the branches, while those of the Spruce are pendent. The trunk is taper and smooth, large in proportion to the branches. It may be observed that this Fir is largely used in carpentering, and is imported under the form and name of Deal. 46 FOLIAGE AND FOREGROUND DRAWING. THE CYPRESS. CUPRESSUS SEMPERVIRENS. The Cypress has the general appearance of the Lom¬ bardy Poplar, hut is more compact,, stiff, and conical. When perfect, it tapers with great regularity, beginning low down, and terminating in a sharp and delicate point, but it very frequently rises with a smooth, bare trunk for several feet from the ground, and immediately attains its greatest width of foliage—differing in that respect from the Poplar, whose greatest breadth occurs more in the centre of the tree. The summit is, however, sometimes jagged and forked ; there is indeed considerable irregularity in the appearance of a group of Cypresses, some having diverging branches like the Yew, whilst others, particu¬ larly the old trees, have but a scanty cluster of foliage at the top, the part below presenting a mass of bare and matted branches. The bark is dark and fibrous. The foliage has a very close texture, which gives firmness and precision to the outline of the tree. Some very fine examples are to be seen on the Lake of Como, near Varenna, and it is found scattered along the coast of Genoa and at Florence, and is planted now and then in our cemeteries; but at Scutari, opposite to Constantinople, it is seen in thousands, forming a mass of dull green, unenlivened by any other kind of tree. THE CEDAR. 47 THE CEDAR. PINUS CEDRUS. This majestic tree has been well described by Gilpin; but as it is rarely introduced into our landscapes, it will be sufficient if only a few of its most striking peculiari¬ ties are noticed. It is remarkable for the great hori¬ zontal extent of its foliage, which is dark in colour, and grows tier above tier. The stem is sometimes divided into several large limbs, rising upwards nearly perpen- picularly, and from these the lateral branches spring at right angles. The lights and shadows are in unequal strata or layers, and should be decidedly indicated; the cast shadows should be distinctly shown. The foliage is difficult to describe; but it may be imitated by a succession of short curved lines generally pointing upwards, and is more in little tufts than that of the other Firs. The cones are few in number, but con¬ spicuous from their bright warm colour; they are placed on the upper part of the branch, and point upwards. THE JUNIPER, JUNIPERUS COMMUNIS, Is best known as a spreading evergreen shrub, which grows wild at great elevations, forming an excellent underwood and shelter for game in dry loamy soils; its conical tufts of bright green rise above the other bushes of the common, and under the protection of trees, it attains the height of a tall shrub. In the Forest of Fontainebleau however, it may be seen as a small tree of straggling growth and twisted stem. 43 FOLIAGE AND FOREGROUND DRAWING. THE LARCH, PINUS LARIX, Has a conical shape and straight perpendicular stem; thick at the root, but decreasing more rapidly than that of the Fir. The branches are long and slender, rather curved and pendent, but at the summit of the tree approach more to the perpendicular. The spray is also pendent, and the foliage light and delicate. The trunk is seen more completely than in most trees, and is some¬ times rough and covered with long gray moss. The Larches in the forest near Grindelwald, so feelingly alluded to by Byron, were covered, when the author sketched them for his work on Switzerland, with long festoons of gray moss, having a most singular appear¬ ance. The touch for the foliage should be a repetition of a short waved line. It may be observed that the Larch is deciduous, but yet is not in winter entirely divested of leaves. The pasture under these trees is always fresh and green, owing to the fertilizing nature of the leaves, aided perhaps by the light which permeates the foliage. Larch. K'j'tuus lar, low ( Ta3ClU>) ’Ssstofi mzt THE YEW. 49 THE YEW. TAXUS BACCATA. It is sometimes difficult to distinguish the Yew from the Cedar, for it has much of the same character; how¬ ever, in size and effect its inferiority is striking, and it consequently is not a tree that can be often introduced by an artist. It is generally found in village church¬ yards, where its deep sombre green, its slow growth and decay, harmonize well with the feelings produced by the locality. Gray has painted in few words this kindred association: “ Beneath the rugged Elms, the Yew-trees’ shade, Where heaves the turf in many a mouldering heap, Each in his narrow cell for ever laid, The rude forefathers of the hamlet sleep.” The Yew is now principally cultivated in gardens to form evergreen hedges, for which purpose it is well suited, as it grows thick and bears clipping; it makes a good screen or a back-ground for trees with lighter foliage. The trunk of the Yew is straight, but sometimes di¬ vides at a short distance from the ground into numerous branches, which spread in a horizontal direction, and frequently are closely intertwined. The trunk, with the branches, are grooved; the bark is thin, and peels off every year. The leaves are narrow, and closely arranged in a double row on the twigs; the cup-like berries, although a bright scarlet colour, are not of sufficient importance to be represented by the artist. The touch for the foliage may be rather more distinct than that for E 50 FOLIAGE AND FOREGROUND DRAWING. the Cedar, and its peculiarity of growing- in parallel rows on the twigs may be noticed. The general height of this tree is between thirty and forty feet. THE ELDER, SAMBTJCUS NIGER, Found so often in cottage-gardens, hedge-rows, and near ruins, may well be called common : it is much used by artists in rustic bits, as the wide-spread blossoms are sufficiently large to have a place in such scenes; they are frequently introduced, for they help to mark the early summer, and give an English character to the picture. When colour is used, it should be noticed that the flowers are not pure white, but tinged with lemon- yellow. The leaves are among the earliest which appear, but the blossoms are not seen until June; the deep purple or inky-coloured berries may, if necessary, be shown late in autumn hanging amidst the decaying leaves. The foliage is something like the Ash in shape, but deeper in colour; the branching is however very different, frequently springing from near the ground in vigorous shoots. THE RACEMOSE-FLOWERED ELDER. 51 THE RACEMOSE-ELOWERED ELDER. SAMBUCUS RACEMOSA. This variety of the Elder is generally known as the Scar¬ let-berried Elder, and is by far the most ornamental plant of the genus. Its foliage is of a bright green, deeply serrated, and extremely handsome. The clusters of fruit are at first green, but in the autumn become of a bright scarlet, far surpassing even the berries of the Mountain Ash. In the Pyrenees, or in the Highlands, this variety gi\ es gieat beauty to the mountain side, and in such situations the Elder appears to lose the character attached to it of clinging about the homestead or cottage; in fact, it is like the Mountain Ash, equally at home and an ornament in both situations. 52 FOLIAGE AND FOREGROUND DRAWING. THE MOUNTAIN ASH, UR ROWAN TREE OF SCOTLAND. PYRUS AU CUP ARIA. The name of this tree would apparently signify that it is a species of Ash, and perhaps the shape and general appearance of the leaves have contributed to the mistake, whereas it belongs to quite a different order, being placed by botanists in the same genus with the Apple and Pear, and more particularly the Siberian Crab, the fruit of which may be considered as a connecting link between the berry of the Mountain Ash and the Apple. It is not so graceful or so fine a tree as the Ash, and its clusters of white blossoms and light green foliage in spring, and its drooping hunches of scarlet berries in autumn, conspicuously distinguish it from the pendent blossom and shrivelled seed-vessels of the common Ash. It is one of those trees that appear equally at home in very different localities, for nothing can exceed the grace and charm that it gives in the wildest and most exposed situation on the mountain's side or in the southern valleys of the Hautes Pyrenees. In such wild haunts it appears perfectly free and uncultivated, yet when selected by the gardener to ornament a lawn or a garden in a suburb, it is equally beautiful. It is not an easy tree to delineate with the pencil, for the foliage is minute, and the branching is rather angular, and not nearly so graceful in its curves as the Ash, nor should the touch be so marked. It may be introduced with truth and effect in Highland scenes in autumn, when its coral-red berries and scattered branches Mountain AsJj or Rowan tree (PyruLs ocuxupariAuj THE MOUNTAIN ASH. 53 and foliage contrast well with the more sombre colouring of the Pine and Fir. Its harmonious tones reflected in the solitary tarn or gloomy pool have often attracted the attention of both poet and artist, even without the superstitious addition of its supposed charm against witchcraft. The wood grows straight and rapidly, and bends with great facility, being used by country people for trellis and arbour work, and called by them “ quick- bend/'’ THE LABURNUM. CYTISUS LABURNUM. Foremost amongst those trees that are highly orna¬ mental, although not indigenous to any part of Britain, is the Laburnum, and, as a foreground adjunct to a lawn or cultivated landscape, it should be studied. It w ill be found to come in well as an embellishment along the margin of plantations, roads, and avenues, where its beautiful pendulous blossoms, like showers of gold, enrich the scene. These appear early in the year, and give an air of warmth and rich colour, which is far more common m autumn. The leaves are tiefoliate and pendent, requiring a delicate and varied touch, not too thickly or closely placed. The trunk is smooth and gray m colour, and apt to divide at a few feet fiom the ground. 54 FOLIAGE AND FOREGROUND DRAWING. THE PALM. PHCENIX DACTYLIFERA. This graceful tree, althoug“li decidedly eastern, and characteristic of Asia, is sometimes seen in Europe. The examples represented are from the coast of Genoa, where it is cultivated for the sake of its leaves, which being- preserved with care, are sent to Rome for the Easter festivals of the Catholic Church. The leaves decay on the stem so soon, that they are rarely seen but at the crown, where they form a graceful tuft. The spine of each leaf should first be marked, and afterwards the leaflets added. THE WAYFARING-TREE. VIBURNUM LANTANA. There are two or three shrubs that are very ornamental to our hedges, both in summer and autumn, which are rather confusing to the young artist; a few words on each will be sufficient to distinguish them. The first is the Wayfaring Tree, which may be recognized by its numerous pliant, mealy branches, and heart-shaped leaves, covered especially on the under surface, with silvery down, so that they have the appearance of being pow¬ dered with dust; the flowers are white, and grow in clusters at the extremities of the shoots. In autumn, when the berries are partially ripe, one may distinguish it by the singular appearance of scarlet and black berries growing on the same cluster. PJ 8 5 Dale Palm. ( Phoerulcr, DcicfyUfeta/) THE GUELDER ROSE. 55 THE GUELDER ROSE, VIBURNUM OPULUS, Is a mueli prettier shrub than the preceding’, and is a highly ornamental hedge-plant. The leaves are large, three-lobed, and serrated. The flowers are a brilliant white, and much more conspicuous than those of the Wayfaring Tree. In autumn its hunches of coral berries are very handsome, and, earlier still, its foliage assumes a deep crimson-purple hue, and as it is frequently associated with the Maple, whose bright yellow foliage at this season forms so striking a contrast, it will he sure to attract the attention of any one studying colour and wanting rich tones for the foreground. Another low bushy shrub is the Barberry {Berberis Vulgaris ), which grows wild in many parts of England. Its clusters of yellow flowers in Spring, and its drooping bunches of scarlet berries, give it a rich and gay appear¬ ance ; while its close-growing thorny branches effectually distinguish it from other hedge shrubs. The Spindle-Tree {Euonymus Europmus) is remarkable from its beautiful pink-lobed seed-vessels, which render it a very conspicuous object, and when ripe, burst open, displaying most brilliant orange seeds. 56 FOLIAGE AND FOREGROUND DRAWING. THE HOLLY. ILEX AQUIFOLIA. This beautiful evergreen, with its angular and thorned leaves and bright scarlet berries, is a great ornament to lawns and home scenery in winter; without it all would often be barren and leafless. Its foliage is dark in tone and glossy, reflecting the lights and the blue colour of the sky. The touch should be somewhat like the Thorn, but the branches are bolder and more waved. THE BOX. BUXUS SEMPERVIRENS. This diminutive tree, or rather shrub, is chiefly known in this country as an edging for flower-beds; but in some cases, as at Box Hill, it appears as a small tree. Its foliage is small, and should be represented by a waved or zigzag touch ; being very close, it admits of marked division of light and shade. It is connected with the arts and artists by the great use of its wood to engravers. THE DOGWOOD, OR WILD CORNEL. 57 THE DOGWOOD, OR WILD CORNEL. CORNUS SANGUINEA. This common shrub of hedges and thickets is readily distinguishable by the deep red colour of its branches, and of the leaves also, before the fall in autumn. The flowers are of a greenish-white colour, and are succeeded by numerous clustered, dark-purplish, or almost black, berries. In autumn and winter the appearance of the Dogwood is highly ornamental to its native coppices from the striking red hue of its branches and the change¬ ful tints of the leaves passing through various gradations, from green through purple, to the intense crimson that precedes their fall. 59 Part II. FOREGROUND PLANTS. INTRODUCTION WITH respect to foreground plants, the artist must * ' continually regret, that though many delightful thoughts are suggested to the mind by the great variety around him, few can he transferred to paper. In some cases this arises from the diminutive form or scattered growth of plants ; in others, from the favourite flowers having little in elegance of form or brilliancy of colour to attract the eye. Poetry alone can revive the half- forgotten association, and wreathe together the thoughts and feelings occasioned by the actual sight of the plant. Of the Daisy, for instance, which has been sung by poets of all time, the artist can scarcely avail himself. The same may be said of the beautiful Forget-me-not, though its ie flowers of loveliest blue” do occasionally tint the margin of a brook. It, like the Gentian, so frequent on the Gemmi and the Furca, and so powerful in colour, is in the student’s sketch but a small star of cobalt or ultramarine. The Gletscher-blume, too, whose “ living flowers skirt the eternal frost,” and the very name of which recalls to the mind all the grandeur of the glacier, is a mere 60 FOLIAGE AND FOREGROUND DRAWING. azure speck in the foreground, a point of colour too minute to convey the ideas and sentiments which are brought to mind when this delicate flower is discovered. Although the Alpine Rose is, from its larger size and its growth in clusters, of more importance as a fore¬ ground object, even this conveys to the mind but a feeble ray of the sentiment awakened by the flower itself when the tourist first encounters it growing on its native heights. Plants, to be effective, must have size to give them importance, and form and colour to make them har¬ monize with the lines and tones of the whole picture. Even then they cannot be represented with precision or botanical truth, but only in their general form and parts ; for the eye must not rest satisfied on the foreground, but should pass on to the other portions of the picture; as in an overture we desire not the airs of the opera complete and perfect, but merely some indication of the general and leading features. Plants individually insignificant to the painter become of great importance when combined in large numbers and generally diffused; they then affect the tone of the whole picture, and are of the greatest service in giving variety of colour, and also in indicating the season of the year. Amongst such are the Heaths, which abound on uncultivated and barren moors and mountains, particu¬ larly in Scotland, giving an endless variety of rich roseate- russet and purple hues to the distant landscape. The Thyme and Marjoram also, with their spreading clusters of bloom, make many a bank a charming combination of colour. The Buttercup, more difficult to manage, with its golden cup, tints whole fields. The blossom of the Sorrel, rising far above the grass, gives great warmth and richness to the green. INTRODUCTION. 61 The Ferns also are amongst those plants which col¬ lectively add wildness and richness to the forest or the heath, or, with their usual accompaniment of deer, give interest to the shadowy glen. The effect of all these must he studied both at a distance and when near at hand; the brush and colour may give the general indi¬ cation, but the complete plant should be carefully copied singly and in groups for the foreground. The photo¬ graphic art, in the hands of an artist who is a skilful manipulator, and lias studied the process, is well calcu¬ lated to assist in treasuring for the folio the near parts of a picture, as in this way we obtain not mere indi¬ cations of plants, but their forms and light and shade complete; and although no foliage in motion can be taken, we procure with this valuable instrument the most faithful copies of rocks and weeds. The artist, with these studies at hand, is enabled to give with a few rapid touches their general character and form. In our search after the various plants which are im¬ portant for foregrounds, we must recollect that they grow with more luxuriance on some soils than others, flourishing spontaneously on some, whilst on others they are not to be found. Thus, on calcareous or chalky soils, which are perhaps the most productive to the botanist, will be found the Sainfoins, Thistles, Bramble, Poppies, Campanulas, &c. &c. Coltsfoot and the Trefoils are indicative of clay. On sandy soils thrive almost all the various kinds of grass, Thrift, Purple Sandwort, Wild Thyme, Gorse, Best Harrow. On peaty, boggy, or marshy places will be seen Heeds, Bushes, Mare^s Tail, Whortleberry, Bil¬ berry, Cranberry, &c. 62 FOLIAGE AND FOREGROUND DRAWING. THE VINE. VITIS. Climbing and creeping plants form an important division of foreground objects, and from being closely associated with buildings and figures, their character should be studied with attention, and the different parts more carefully delineated than would be necessary in trees or shrubs in the distance. The Vine, Ivy, Hop, Honey¬ suckle, and different kinds of creepers, form, when close at hand, graceful and natural frames to figures. Fore¬ most among them all stands the Vine, with its fine leaves, rich clusters of fruit, and graceful tendrils, so useful in embellishing English scenes, ornamenting the cottage window and porch, varying the lines and the colour, and enclosing figures in the most charming manner. But it is in Italy that it is seen to the greatest advantage. There, where nature and art favour its luxuriant growth, it is really beautiful, whether hanging in graceful fes¬ toons from tree to tree, or trained on rustic trellis-work over the roads and surfaces of rocks. In such situations the charm of beautiful contrasts of colour is also added; for at intervals glimpses of the blue Mediterranean may be seen—which, with the various figures engaged in their work, will be quite sufficient to employ the artist for many a long summer day. The Gourd also is frequently trained with the Vine, and with its large yellow blossoms and fruit contributes much to the variety of colour. On the Rhine, in Germany, and in France, the Vine being cultivated with great regularity and trained to short stakes, is not more picturesque than a Raspberry Vine CVitis ) Conan on H oneysn flsln ox* Woodbine. (Lordcera. peruSlymjP.i u/m ) COMMON HONEYSUCKLE, OK WOODBINE. bd bush. The leaves are late in appearing, and the grapes do not change their hue until the autumn. The branches of the Vine are contorted and irregular in the way in which they twine round any object ; they also extend great lengths without much diminution m their size. To imitate the foliage, the touch should be rather angular and star-like, partaking of the Oak cha¬ racter, but fuller in form and warmer in colour. COMMON HONEYSUCKLE, OR WOODBINE. LONICERA PERICLYMENUM. This well-known and sweet-scented creeper is so inti¬ mately associated with the humble cottage in all parts of the country, that it may be truly called the poor man’s shrub. Its twining shoots enable it to surround the rustic porch and seat, or garden bower; and much does it ornament them with its rich-coloured and ele¬ gantly formed blossoms, which, without presenting to the painter any very conspicuous outline or connected mass of colour, add considerably to the general warmth of the hue. Artists find these rich tones very useful, in preventing the colours of their figures from appearing as single spots. The Greeks in their architecture are much indebted to this flower for the form of some of the ornaments in their friezes. It is one of the first plants to put forth tufts of leaves in the spring; they are not so vivid in colour as most other buds of this season, being a quiet subdued green. The blossoms appear about midsummer; some again flower late in the autumn. 64 FOLIAGE AND FOREGROUND DRAWING. THE HOP. HUMULUS LUPULUS. This beautiful climbing-plant is common in some parts of England, and covers the hedges in the summer with its flowers, and in the autumn with its curious scaly clusters of seeds—the flowers appearing in July; the seeds are ripe about six weeks afterwards. The stem is rough, very long, and twisted round any support near it; leaves stalked, rough, three or five-lobed, and serrated. When seen in the cultivated grounds, the Hop is far more picturesque than the Vine in France, the poles being higher, and more freedom allowed in the growth of the plant, which frequently overtops the poles, and hanging down, spreads into large clusters of russet- coloured seeds. In time of picking, the hop-grounds furnish many picturesque groups and incidents; when the bines being severed from the root, are carried on the poles, two or three at once, to the spot where the busy women and children are employed picking the heads into the bins and baskets. Unfortunately for the artist the pickers are not generally rural, or even clean in their costume, but are more like the squalid vagabonds of the metropolis. Occasionally, however, one comes upon a merry gipsy-like group; the dark-eyed women, with gay handkerchiefs tied over their heads, filling with deft hands the deep bushel baskets with the fragrant blos¬ soms; children of all ages picking away busily; even the baby of the family is present, though it most likely lies safely in its little cot, nestled in some sheltered position under the hop-poles. Then, at meal-times, when . THE HOP. 65 the round iron pot is suspended from three stout poles and a roaring fire made underneath, many a picturesque sketch may be got of the hop-pickers grouped around it, seated in various attitudes, the ruddy fire lighting up their faces, bronzed by exposure to wind and sun. Foreigners, when passing through the sunny hop-gardens of Kent, are quite delighted with the animated and, to them, entirely novel scenes they catch a glimpse of as the train hurries them on. The graceful outline of waving creepers, brilliant dashes of incidental colour, curiously shaped drying-kilns, sending forth their aro¬ matic odours, strike them as forming a wonderfully varied and beautiful picture, which may even be con¬ sidered to rival their own far-famed grape vintage. Some of the most charming carvings of the cele¬ brated Grindling Gibbons were clusters of hops, the wood he selected, most probably lime, being exceedingly soft and suitable for such delicate tracery, and its tone repro¬ ducing the pale russet hues of the ripening blossoms. Such a garland presents an excellent study of form for the young beginner; whether gathered from the hedge or the hop-pole (where the clusters are richer, and the whole plant grows more luxuriantly), its natural position should be carefully noticed. The way in which the rough, square-shaped stem twists and turns, how the leaves are placed, the tendrils attach themselves, and the cone-like blossoms hang, should be minutely noted, and the spray placed in the same position, if possible, when arranged at home. Such study is of great value, teach¬ ing the young artist to seize the characteristics of each plant, and cultivating his powers of observation,, p C 6 FOLIAGE AND FOREGROUND DRAWING. THE IVY. HEDERA HELIX. This well-known creeper is a source both of pleasure and annoyance to the artist, for though its dark-green clus¬ tering foliage adorns many a ruined tower, and covers many an unsightly wall, yet when its support is the stately Elm or graceful Ash, then all form of the trunk and lower branches is hidden in one mass of green, and thus we lose in outline what we gain in colour. The leaves of the Ivy, like those of the Vine, are remarkable for the great variety of form which they display; some¬ times when near the blossom they may be seen almost like those of the Pear, also heart-shaped, angular, or hexagonal; in fact, as many as six or seven different forms may be found growing on the same plant. The Ivy-blossoms appear in October; these are followed by clusters of deep-coloured berries, and cause some variety in the mass of green, which without them is apt to be¬ come monotonous, from its great depth of tone. Objects with strong local colour often confuse the light and shade, and when in the hands of an inexperienced stu¬ dent, it requires some skill to represent the one without infringing upon the other. The great repute that this favourite plant held in the eyes of those greatest of sculptors, the Greeks, has caused all variations in the form of its leaves to be carefully noted; they have been frequently cast from nature, and the firmness of their outline makes them perhaps the easiest of foliage to cast. In this simple state, devoid of the intricacies of colour, it forms an excellent Comm on Ivy. (He d.era feelioc) T&W- **&&&** THE IVY. 67 elementary study; arranged as a wreath, as it is seen round the head of the Indian Bacchus, it is more intricate. The Ivy is also with poets a fruitful subject of pleasurable association, and “ Clings about the ruin’d walls Of cell, and chapel, and refectory,” adding largely to the beauty of the remains, which, shrouded in its Ivy folds, we call picturesque. Bor what can surpass the beauty of the tendril pendent from the oriel window, and lightly defined in the ray which it excludes, or twining with graceful ease round some slender shaft, or woven amid the tracery of the florid arch, and again losing all form in the broad masses of dense foliage on the shadowed side ? It may be observed, that although Ivy, whilst clinging’ close to a tree or ruin, gives something of a rounded representation of the form it conceals; yet when it has mounted to the summit of its support, its character and habit undergo a material alteration. It is no longer a climbing stem with lobed leaves, but sends out erect branches of tufted foliage, and becomes a round-headed bush. “ And monstrous Ivy stems Claspt tbe gray walls with hairy-fibred arms, And suckt the joining of the stones, and look’d A knot, beneath, of snakes—aloft, a grove.”— Tennysov. F 2 68 FOLIAGE AND FOEEGEOUND DRAWING. THE CLEMATIS. CLEMATIS VITALBA. Found in nearly every hedge, the wild Clematis, or Traveller's Joy, wreathes its elegant festoons of dark green leaves and fragrant white blossoms, contrasting well with the lighter green of the foliage of other creepers. In the early part of winter, its snowy tufts of seeds are very conspicuous; and as they become soiled by wind and weather, they look like masses of cobwebs. COMMON BRAMBLE, OR BLACKBERRY. RUBUS FEUTICOSUS. The Bramble is a plant which every one recognizes at a glance, and is so common in our lanes and rustic scenes that it becomes necessary for the artist to represent it correctly; at present the study of it is much neglected. The rough and ragged growth of the plants, their thorny stems, catching hold of every thing around, and their long curved suckers, give wildness to the landscape, and may be introduced into thickets, rough uncultivated spots of ground, and hedges. While young, its stem is a pale green; but when older it becomes a deep purple, with a gray or bluish tinge, and the whole plant in autumn, with its rich and deep-coloured berries, assists us to introduce figures and incidents in the foreground. The various positions of village children, as they scramble about at different heights, filling their baskets among' the COMMON BRAMBLE, OR BLACKBERRY. 69 straggling stems, give appropriate life and action to many a sketch. The Bramble may be introduced with a pleasing effect, when, thrusting its leaves and shoots through the interstices of a park paling, or over a rough wall, it diversifies the line which it is desirable to break. It should be remembered that such straggling plants as the Bramble must always be introduced as a fore¬ ground into 'subjects to which it is desirable to give an air of unkempt wildness; and in many rustic bits the artist is exceedingly glad of them, for the most difficult around that he has to deal with, is that which affords no variety or break in form or colour : a well-kept lawn for instance, with its carpet of short grass, without even a daisy to vary its monotony—an artist skilful in figures must, of necessity, turn it into a croquet ground, and place a pretty group upon it. Perhaps there is only one other occasion that perplexes a landscape artist more, and that is, the interior of some carefully pre¬ served ruin, such as Tintern Abbey, where the grass is most closely mown, the morsels of architecture piled up at intervals and not even a Bramble to be seen. Par pleasanter would be the deserted quarry out of which the stone had been hewed, with a pure spring filling the deeper parts of the excavation, and the clear water re¬ flecting the stones above; around the irregular margin of which, aquatic plants shoot up among the rubbish— the Bramble, the wild Clematis, or the Hop, hanging their festoons around, the Foxglove or Mallow standing sentry at the bottom. Nature, in such a case, seems to take pleasure in adorning herself, unassisted, with the loveliest charms. An autumn or winter's walk may, in such scenes, afford to the earnest student the oppor¬ tunity of studying form and colour in detail, for the 70 FOLIAGE AND FOREGROUND DRAWING. leaves of the Bramble are tinted by an. early frost into the most beautiful and varied tones of yellows, reds, and maroons, thus furnishing' charming contrasts with the deep purple and black of the berries; it is quite worth while to cut off such a spray and draw it at leisure indoors. RED-BERRIED BRYONY. BRYONIA DIOICA. Every one who has studied much from Nature, and by degrees has found beauty in every part, knows how difficult it is to awaken the perception of very young students to the exceeding gracefulness of the forms and lines of the simple weeds and plants which are con¬ stantly before them. Amongst the most beautiful, as well as the most common of climbing plants, are the Bryonies, with their graceful leaves and beautiful tendrils, and it is singular what a variety of curves these present to the artist if they are carefully studied from the time when the tendril or clasper is first thrust out as a gentle curve, till it gradually circles round the supporter plant, or twists in a spiral succession of curves, thus forming an elegant termination to the shoot. The difference between the Red-berried Bryony and the Black Bryony is very great; in fact, these two elegant climbers belong to quite a different genus. The leaf of the Red-berried Bryony resembles that of the Vine, and is of a delicate green, and rather downy; the berries cling close to the stem in clusters of from four to five, turning to brilliant orange and red as autumn advances; while those of the Black Bryony hang like small bunches RED-BERRIED BRYONY. 71 of green grapes, and the leaves are heart-shaped and a glossy dark green. Although all these delicate and succulent plants are best seen in their natural position, as regards the light and other objects around them, still it requires some resolution to sit down by a dusty road side, or a breezy common, and patiently study such an apparently insigni¬ ficant plant. I should advise the earnest student of Nature to cut off the branch or spray and carry it care¬ fully home. When in your room, it should be placed in a pot or glass filled with sand and well watered: thus firmly held, you can arrange it in the window so as to take a favourable light, giving it some judiciously selected back-ground of gray or greenish-tinted paper. If possible, let the light come upon it without the inter¬ vention of glass, as the delicate tones are materially degraded by the added colour. Thus preserved, it will last many davs: darkness at night joined with coolness is found to greatly assist delicate sprays and flowers in retaining their form and colour, but some flowers will persistently grow, and thus the drawing of their stamens and petals is altered; it only remains then to choose succeeding blossoms as they arrive at the proper stage. 72 FOLIAGE AND FOREGROUND DRAWING. WOODY NIGHTSHADE, OR BITTER-SWEET. SOLANUM DULCAMARA. Equally beautiful with the last, but conveying totilly different ideas to the mind, is the Nightshade. Tew plants exceed this in elegance; its heart and spear-shaied leaves form festoons of a fine deep green, from wlich droop the graceful purple and yellow blossoms; or, liter in the season, the bunch of scarlet berries contrastng well with the tint of the foliage. It flowers in July aid August. THE JASMINE. JASMINUM. Although not strictly entitled to much study is a painter’s flower, there is something so elegant in a spray of this fragrant plant that it often finds a place round the cottage porch, and its dark, cool green foliage md delicate star-like flowers form an agreeable contrast to the richer tones of the Rose or Honeysuckle. It is dso a favourite flower with the peasants on the coast of Genoa, and growing there in great luxuriance, is fre¬ quently placed as an ornament in the hair. PI. 1 '? THE PASSION FLOWER. 73 THE PASSION FLOWER. PASSIFLORA. To combine the study of form witli that of coloui, there is scarcely a more beautiful creeper than this Eastern-looking plant, now so often seen round the trellises and porches of our villas. It is perhaps rarely that the golden fruit is seen so tine and large as it was in I 860 ; but then the contrast of the lovely oval fruit with the starlike and singular blossom with its purple fringe, was exceedingly striking. I he study of its glossy leaves, reflecting the cool gray or bluish tints of the sky, is particularly suited to teach students how to vary such deep greens ; and the possession of so beau¬ tiful a creeper round the window is at once an answer to those who complain that they can find nothing to draw. If thus beautiful in a foreign land, what must it be when seen hanging in luxuriant festoons about the venerable trees of the American forests ? “ In this, their native soil, they are far larger than in our country, and very fragrant; and their lovely starry blossoms hang down in profusion among the branches, or clasp, by their strong tendrils, about the immense trunks of the trees. Of the most brilliant colours—blue, red, white, or purple—they contrast with their dark-green leaves, and rival the other blossoms of forests the beauty of whose floral ornaments is the greatest in the world. - ” This is one of those flowers that serve well as “ time studies. - ” From their very ephemeral character, they must be drawn at one sitting, as they open about eleven or twelve, and close the same evening. The anxious 74 FOLIAGE AND FOREGROUND DRAWING. pupil, however, should be forewarned that much miy be done beforehand to advance the study, by sketching the whole of the branches, tendrils, and leaves, and pitting in the surrounding tones, leaving sufficient space fri4tm. : lmpmlhf j miiM> Byadii lli or Bln e B ell . (Eyarijcduxs non serif thus) Self Beal 'me / j J7n. YuJyarisj Bugle (Jguycu Cuckoo Pint /'Arvm mnruZaJnrn,j THE HAREBELL. 85 as if by magic, while the golden Furze and Broom are perfectly gorgeous from contrast of colour—colour so intense and brilliant, yet so restful to the eye and so harmonious, melting as it does into the azure tones of distance or sky. Even when fading, how well do its rich orange and russet tints blend with those of the O decaying Fern, forming a most unrivalled foreground for the painter. But it is in Scotland that the Heath is to be seen in its greatest beauty; there entire tracts of country, whole mountain sides, are empurpled by its fairy blossoms, which, though so delicate in outline, are hardy enough to brave the most exposed and barren situations, springing from amongst the sterile rock, and relieving with the most brilliant hues the cold gray colouring of the granite hills. Another variety of Heath (Erica tetralix ) loves marshy ground, and is easily distinguished by its lovely head of pale-pink waxen flowers and cross-leaved foliage. The Ling (Calluna vulgaris ) is a hardy bushy plant, often classed with the Heaths, but not in reality belonging to them. Its purple blossoms are pale and insignificant when compared to those of Erica cinerea , and the effect they produce on the landscape is not so striking. THE HAREBELL. CAMPANULA ROTUNDIPOLIA. Growing on all heaths and thickets may be seen the pretty Harebell, with its delicate pendent flowers, its graceful stems, and narrow leaves. It springs up amidst the Heath, the Furze, and the Fern; but is so minute, that unless close at hand, it can scarcely be introduced by the artist. 86 FOLIAGE AND FOREGROUND DRAWING. FURZE. ULEX EUROPEUS. Whenever a common is sketched or a heath-scene painted^ there must the Furze he introduced; for it covers with its golden flowers almost all such spots; and may be found in blossom nearly all the year; hut especially in March and April. It is a shrub without leaves; having innumerable thorns instead. It is rarely found in the Highlands of Scotland; and appears to he quite unknown in Sweden; for Linnaeus had never seen this plant until he arrived in England; when he was much struck with its beauty. It affects the colour of the scene the most when in full bloom; and is far more intense and concentrated than the Broom: the green is less decided; being dull and gray. It is much cut for firing and covering the roofs of sheds by the poor; and this employment gives rise to many interesting groups of rustic figures; with their donkeys and carts; which relieve the monotony of a common. BROOM. SPARTIUM SCOPARIUM. This handsome plant is abundant on most heaths and hilly ground; its flowers large; open, widely spread; and of a bright yellow; are placed along the entire length of the shoots; which; clustering thickly together; allow a breadth of warm yellow light; should it be desirable; in the foreground of commons or sandy lanes. It flowers in June; and has afterwards long pods of a dark brown colour. Height of the plant; three to four feet. .Broom. ' Spaj'tiwn (Scuparvwt J V J PI 47 Furze Ule:r Eusvpceus) Cross Leaved ITetitJi EErtca, tetraH/r ) Jltur Bel] 'ainpanula. rvLuntUwtia) \ Hen Hi or 1 pi, {Ericas) THE COMMON THYME. 87 THE COMMON THYME. THYMUS SEUPYLLUM. Though not large enough singly to form an artist s foreground plant, the Thyme, by its habits of clustering in considerable masses, and by its general diffusion, not only over this country hut throughout Europe, becomes of importance. It grows equally well on the over¬ hanging cliff and the sunny bank, the mountain side or barren heath; and its blossoms of pale pink floweis at the base of some fragment of gray rock, the colour of which is broken with various tints of green Lichen, form altogether an appropriate and harmonious fore¬ ground to a lake or mountain scene; or, when mixed with Heather, Gorse, or Fern, in patches, in some sweet figure subject, such as Landseer’s “ Lassie tend¬ ing Sheep,” it much aids the sentiment and interest of the picture. Innumerable lines might be quoted from the sister art to heighten the feeling so essential to the landscape artist. Thus Shakspeare’s often quoted, “ I know a bank wbereon the wild Thyme grows Or, “ O’er fringed heaths, wide lawns, and mountain steeps, With silent step the fragrant Thyma creeps.” Virgil has also associated the “ steepy cliffs and flowering Thyme,” so that its proper locality appears to be broken and dry ground; and on these places, when seen in masses and in the foreground, or even in the distance, it must affect the colour of the tint. 88 FOLIAGE AND FOREGROUND DRAWING. THE FERNS. EILICES. Among the most graceful and elegant plants must be reckoned the Ferns, growing so closely together that they form large masses of colour, and yet individually so beautiful that they deserve to be finished with care when near to the eye. The leaves are in most instances divided, and spring from the ground coiled up in a very curious manner. The common Brakes, or Braken (Pteris aquilina ), lives and thrives almost everywhere, so that it may be intro¬ duced in sketches of parks, preserves, and commons. This kind of Fern is associated in our minds with deer, as they are exceedingly fond of the shelter it affords, and with them it contributes greatly to the wildness and beauty of park and forest scenery. It grows about three feet high, coming up in June, and with the first frosts changing its bright green colour to beautifully varied shades of ochres and siennas. It frequently remains nearly entire through the winter. In sketching it, begin with the stem, then proceed to the principal spine of the fronds, and afterwards to the subdivisions. The Male Fern (.Aspidium Filix Mels') is a large vigorous plant, growing in hedges or ditches, with the fronds around the crown of the root; these unroll themselves by degrees, and then take somewhat the form of a shuttlecock. Height about three feet. The Lady Fern {Athjrium Filix feemina) resembles the Male Fern in the manner of its growth, but, as its name would indicate, is much more elegant in form and THE FE11NS. 89 delicate in hue. The plant is tufted, the caudex of the larger varieties often, with age, acquiring some height, and elevating the circlet of fronds on a rude pedestal a few inches in length. The fronds themselves are very much divided, and display the most intricate outline. Creeping underneath sandy banks and round old tree- stumps, the hoary stemlike root of the common Poly¬ pody {T ohjpodkim, vulgare) throws up its dull-green hardy fronds and is one of the few Ferns that can be con¬ sidered evergreen. It never attains a great size ; hut in winter, when all else is brown and dead, its fronds, freshened by rain or dew, give a bright appearance to the bank or decayed trunk in which it loves to locate itself. A great contrast to the foregoing is the Hart’s Tongue [Scolopendrium vulgare ), with its broad, shining, bright green leaves, which reach an immense size when growing near water, some having been gathered more than two feet long in the moat of Kenilworth Castle. It may be appropriately introduced on the shady banks of little streams, where it clings amongst the rocks, its suc¬ culent leaves often dipping into the water. Though now unfortunately not often found in England, we must not forget to mention our handsomest Fern, the Osmund Royal, or Flowering Fern (Osmunda regalis). In favour¬ able—that is to say, marshy and boggy—situations, it attains the height of eight or ten feet; its roots are large and spreading, but its chief distinction is the curious fructification at the end of the fertile fronds. 90 FOLIAGE AND 1'OIIEGROUND DRAWING. COMMON MALLOW. MALVA SYLVESTRIS. As tliis is a large straggling plant, very common, and easily recognized, it is well adapted for the foreground. It grows by the roadside, on rubbish heaps, and in the meadows; the general appearance of the leaves is round, but they are divided into seven lobes. The flowers have five petals, pink in colour, with darker veins and centre, and being generally in clusters of three or four together, can be represented easily in a sketch without showing too much botanical study. The leaves are cool in colour, and the plant remains long in blossom. It flowers in June and July. Height, two to three feet. MULLEN. VERBASCUM. This is one of the most striking and largest of our hedge-plants; its leaves somewhat resemble the Fox¬ glove, but are more conspicuous, from their pale grayish colour and silvery down. The blossom has also a stately appearance, for it is a regularly tapering spike, rising as high as the Foxglove, and closely studded with deli¬ cate yellow flowerets, contrasted prettily with purple stamens. It sometimes, when very luxuriant, sends out its offsets with such regularity that it resembles a hand¬ some candelabra; and had its blossoms been richer in colour, would have been much more frequently used by artists as a foreground plant. THE COMMON WALLFLOWER. 91 YELLOW TOAD-FLAX. L1NARIA VULGARIS. This is a showy and tall plant, with yellow and crowded flowers, often found in hedge-rows and corn-fields. It opens in August ; and may be useful to repeat in smaller quantities the yellow in the dress of a figure. THE COMMON WALLFLOWER. CHEIRANTHUS CHEIRI. Although this well-known flower is chiefly recognized as the cottager's favourite, it is often seen on the broken fragments of ruins, and has been named the emblem of Love in Adversity ; for when the buttresses fall and the walls totter, then the flower brings its beauty and fragrance to gladden the wreck. Thus the poet says:— “ How beautiful it blooms! It gleams above the ruin’d tower Like sunlight over tombs; It sheds a halo of repose. Mower of the solitary place, Gray ruin’s golden crown, That lendest melancholy grace To haunts of old renown.” FOLIAGE AND FOREGROUND DRAWING. 93 THE FOXGLOVE, DIGITALIS PURPUREA, Is generally considered by artists as one of the hand¬ somest and most effective of wild flowers. Its tall stem, well-shaped leaves, and spike of large purple or white freckled bells, render it so striking an object that it is frequently selected to give form, or add colour, to the foreground. This showy flower is generally to be seen in hilly or rocky situations, in the skirts of woods, and amongst the bushes and fern of the heath or common. The flowers are about two inches long, and are all on the same side of the stalk; when decaying, the lower bells drop off first, leaving a few only at the top of the stalk. Should the main stem be injured, the side-shoots become more luxuriant, and form a scattered but larger cluster of flowers. Height, from three to four feet. Time of flowering, June and July. Foxglove. (Digitalis purpurea ) PI. 50. Foxglove. Digitalis -purpurea, j THE MONKSHOOD. 93 THE MONKSHOOI). ACONITUM NAPELLUS. Though not of much importance in this country as a foreground plant, on the Continent the wild Monkshood, with its handsome spikes of dark purply-blue flowers, takes a very prominent position. Being extremely hardy, and growing in profusion where it has once taken root, it forms large patches of dark blue on many of the Swiss Alps, and puzzles the tourist who has been accustomed to consider it as a garden flower. In the foreground of such scenes it must, however, be introduced with care, as its strong cold blue colour does not harmonize well, and is apt to look unnatural. A plant more familiar to the rambler by our English hedges, is the Canterbury Bell, the handsomest of our bell-shaped flowers, its drooping bright blue flowers often reaching an extra¬ ordinary size 94 FOLIAGE AND FOREGROUND DRAWING. COLTSFOOT, TUSSILAGO FARFARA, Grows on banks or borders of streams where there is clay, or in the dry bed of a river. The flowers appear in March, before the leaves; they are yellow, one on a stalk, and soon change into a beautiful head of long white cottony hairs. But it is the leaves which are generally drawn by the artists ; they are almost as large as the Burdock, but are not nearly so long in form, and are rather heart-shaped and angular. They cluster in great numbers; and each leaf being large, they allow of great breadth, and can be distinguished by a few lines; the green is cool and fresh, and contrasts wel'. with the warm colour of the earth, or the gray stones amongst which they often grow; the underneath side is downy. Care must be taken not to introduce the blossom and leaves in the same sketch, as the first dies lefore the other appears. The surface of the leaf when young forms a cup or plate; when older it becomes convex or rounded; still the general direction is parallel to the ground, and reflects the cool tones of the sky above. FIELD-SORREL. RUMEX ACETOSA. Although small in leaf and unimportant individually, this plant affects the colour of our fields in the summer, when the rich maroon or deep-red blossoms afford the artist an opportunity of varying the breadth of green, and of showing also the advance of the seasons. The Dork Sorrel. (Rurnex axeboscu J Reed . (Pkrougmite w Corrw amis ) iw/K.' Coltsfoot. ( Tussilxbgo rax far a, J THE COMMON HEED. 95 colour is imitated by the use of lakes or madders and burnt sienna. The Sorrel is most abundant in dry or sandy soil. The Dock Sorrel represented in the plate is a larger and more striking plant, generally preferring a moist situation. Height, two or three feet. THE COMMON REED. PHEAGMITES COMMUNIS. Among foreground plants scarcely one is more beautiful for colour and form than the reed. From its innumerable quantities, it affects, and, in fact, indicates the cha¬ racter of the landscape; and, waving afar, its purple feather tells of the hidden swamp or pool where many a wild duck or teal may be shot from a punt concealed in its midst. In the lowlands of Cambridgeshire and Lin¬ colnshire, the Reed still covers patches of immense extent, and constitutes the crop of the soil, being carefully har¬ vested and even exported into the adjoining counties for the various uses to which its culms are applied. An im¬ mense number of aquatic birds find a home among these Reeds; and sheltered there may be found the rare bearded titmouse, with many of our more common birds. Amongst those of our artists who have not disdained to study and paint with care this common plant, are Landseer, Aus- dell, and Herring; as the appropriate foreground plant, how beautifully is it drawn in the “ Sanctuary ” by Landseer, where the tired stag, after swimming the lake to avoid his pursuers, startles from the reeds and rushes the wild ducks that have ali’eady settled for the night. 96 FOLIAGE AND FOREGROUND DRAWING. THE COMFREY. SYMPHYTUM OFFICINALE. This plant is common in watery places and ditches, and being large is well suited for foregrounds. The floweis are yellowish-white or purplish in colour, and are in two separated bunches. The leaves are rough, wrinkled, running down the stem, and waved at the edges; those only from the root have stalks. It grows two or three feet high; remains in flower all the summer. BROOK-LIME. VERONICA BECCABUNGA. This little plant is found along 1 with water-cresses and similar plants in running streams; it blossoms in June and July, and becomes then very conspicuous with its pretty blue star-like flowers. WATER FIGWORT. SCROPIIULARIA AQUATICA. This is a very common plant, growing by the side of ditches and river banks; it is about two feet high, and is chiefly to be known by its square stem. The colour is a dull cool ffreen. THE HEMLOCK. 97 THE BULRUSH. JUNCUS PALUSTRIS. This common and easily distinguished water-plant can¬ not occur too frequently for the artist, who finds it a very characteristic accompaniment of water, whether on the shores of a lake, the hanks of a river, or in a muddy pool. Its height, and its rich brown clubbed spike of flowers and hairs make it very conspicuous; the leaves are long and narrow, and all grow from the same root. It flowers in August, and remains long unbroken by the winter wind. Its height in general may be five or six feet; but the reflection of it in clear water makes it appear of much more importance. It may he as well to remind young students that the reflection of any object should not be confused in their mind with the shadow : they are quite distinct. Thus the reflection of these rushes will he merely an inverted representation of them, whilst on a sunny day the projected or cast shadow may be distinctly traced on the surface of the water (unless it be very clear) in a contrary direction to the sun, hut will be more easily distinguished when the pool is muddy. THE HEMLOCK. CONIUM MACELATUM. This and several other umbelliferous plants are common in England, rising high above their neighbours in the hedges and ditches ; their blossoms have a greenish or grayish tone rather than the beautiful lemon-yellow of h 98 FOLIAGE AND FOREGROUND DRAWING. the Meadow-Sweet; they are also more compact and regular in their form, and when in seed are not unlike a miniature umbrella ; their stalks and foliage are strag¬ gling, and not easy to group : it will be sufficient if the pupil takes a few of the leading forms for his more care¬ ful study. MEADOW-SWEET. SPIRiEA ULMARIA. This effective foreground plant is found abundantly by the ditch, the borders of meadows, or the river's side. The stem is upright, leafy, and bears at the top a thick branched head of cream or lemon-tinted flowers, which cluster so closely together, that they permit the artist to give the general tone with truth, and they harmonize admirably with the warm Cuyp-like sunsets sometimes seen over our English meadows. Their colours recall the delicate and varied yellows which then surround the sun; and the associations connected with this plant speak of calmness and repose. Height, three to four feet. Flowers in June and July. BRANCHED BUR-REED. SPARGANIUM RAMOSUM. This is a plant which delights in shallow streams or ditches, and though not perhaps of sufficient importance to merit much attention, is useful in varying the fore¬ ground of such scenes. The stem is round and branched. The root-leaves are very long, sword-shaped, and rather hollow. The flowers are collected in several distinct round heads. Height about twelve or eighteen inches. Flowers in July. PI 5- Afeadow SweoL < SpiTC&Cb UlrnjA ncuJ Dog Pose. C Roj' i. Ccuurux J Branched Bnrreed (.<■Spcayarawn ramosum,.) THE DOG-EOSE. 99 THE DOG-ROSE. EOS A CANINA. The Dog-rose or Wild-rose is common in every hedge and in every thicket, bringing out its abundant large whitish or pink flowers in June; a fit successor to the beautiful Hawthorn, and in the winter accompanying the red haws of the latter withits fleshy red fruit, known by the name of f hips/ What a fund of subject for study is to be found in a branch of Wild-rose ! what perfection of form, what beauty of colour ! First, the glossy, purply-toned stem, thickly set with crimson thorns; then the leaves, so finely serrated, of varied tints, from dark green to the bright tender hue of the tapering shoot; and the blos¬ soms—can any thing be more exquisite than the outline of the rosy buds, or the delicately veined, newly opened rose? Nor, when the last petal falls, can the beauty of the Rose-bush be said to be over, for then the scarlet hips ripen, vying in brilliancy with any other berry of the wood; and those most curious productions, called by country people Robins - ’ Cushions, appear, looking like tufts of crimson moss. The Rose in the illustration is the variety often found beside water. It trails along the ground, never attaining the size of the Hedge-rose, and is easily distinguished by the purply colour of its terns and the whiteness of its blossoms. 100 FOLIAGE AND FOREGROUND DRAWING. THE YELLOW IRIS. IRIS PSEITDACORUS. This brilliant flower, sometimes called the Flag, rising up among the reeds and rushes of our rivulets and ponds, renders their margins some of the gayest spots England can show, contrasting as it does most charm¬ ingly with the varied tones of the numerous handsome water-plants that haunt such localities. Another variety of Flag, perhaps better known, is a fine purply blue, flecked with white, and grows exceedingly well in our gardens; this is the Fleur-de-lis, adopted as the emblem of France. GREAT HAIRY WILLOW-HERB. EPILOBIUM HIRSUTUM. This water-plant is so frequently found on river-banks or ditches, that it requires mention; it bears large pink flowers, and when these fade, the long seed-vessels split into four, and when in the foreground become visible to the artist. The flowers are upright spikes of rose or madder-colour. Flowers in July and August. Whilst speaking of water-plants, we may notice the different Persicaria as sufficiently important, when in bloom, to affect the colour of the portion of the picture nearest to the eye. COMMON RUSH. JTJNCUS CONGLOMERATES. Rushes are generally without leaves, and grow in clumps of round, pithy, smooth stems, and their flowers are in GREAT BINDWEED. 101 bundles on the sides of these stems near the top; they are characteristic of moisture, and sometimes with their long* and curved stalks are useful in breaking a formal line in a picture. In some sporting subjects, such as wild-fowl shooting, they have to be introduced near the for ground, and become of importance. THE TEASEL, DIPSACUS SYLVESTRIS, Is a common plant in the waste spots or hedges of Eng¬ land, easily distinguished by its great height and the peculiar appearance of its prickly head and pink blos¬ soms. The leaves are large and grow in pairs, and the whole plant is covered with prickles. Being of a firmer nature than many of the surrounding weeds, it some¬ times furnishes a welcome support to the Convolvulus or Bindweed, but is left standing gray and dead in the autumn. The height, from four to five feet. Time of flowering, end of July and August. GREAT BINDWEED, CONVOLVULUS SEPIUM, Is one of the greatest ornaments of our hedges, turning its garlands round bramble, thorn, and thistle. The chalice-like form of its pure white flower, the beautiful arrow-shaped leaves, and the whole mode of growth, render this plant a favourite with the artist, though the pest of the gardener. It flowers in July and August. FOLIAGE AND FOREGROUND DRAWING. ioa THE WHITE WATER-LILY. NYMPH2EA ALBA. Of tlie many lovely flowers which grow in the water, this is universally allowed to be the most beautiful; and the size of its cup-like blossom, with its broad dark- green leaves, cause it to be frequently chosen by the artist to gave interest and beauty to some shadowy pool, over which droops the Weeping Willow. It is said to delight in the shadow of the foliage which hangs over the water, and it certainly does more for the artist when it is clustered in groups in such nooks, relieved by the shadows and its dark glossy leaves, than when it is thoughtlessly scattered over the whole surface of the water. THE YELLOW WATER-LILY. NUPHAR LUTEA. This is neither so large nor so beautiful as the last; but yet is a fine flower, and contrasts well with it when they are growing together, as they frequently do. The blos¬ som rises sometimes higher from the water. These Lilies do not open before seven or eight in the morning, and close about four in the afternoon; they then droop and even dip beneath the sui’face. They blossom in July. The Brent is an excellent little stream for the study of water-plants. The student should commence at Han- well, and follow the banks of the stream to Greenford. THE FORGET-ME-NOT. 103 THE GREAT WATER-PLANTAIN. ALISMA PLANTAGO. This is a plant that is seen on almost every stream. It bears its large-ribbed, pointed leaves upon long, upright stalks rising from its root under the water. The flowers are pink on the upper part of the long stalk, and are placed in whirls. LOOSESTRIFE. LYSIMACHIA. Amongst the most showy of our water-plants are the Loosestrifes, both purple aud yellow. In the month of July they may be found in great profusion along the banks of the Thames. Indeed, such is the variety of handsome flowers at this season, that the artist can but select a few of the most prominent, and not attempt to repiesent all of them individually. THE EORGET-ME-NOT. MYOSOTIS PALUSTRTS. Tips lovely little flower has so many pleasing and poetical associations, that it is not likely to pass un¬ noticed. It grows very abundantly on almost every pod, and stream, visibly affecting the colour with its pae blue tint; but it also demands, from its associations, a careful and separate study indoors. 104 FOLIAGE AND FOREGROUND DRAWING. THE FLOWERING RUSH. BUTOMUS UMBELLATUS. This beautiful plant is not uncommon in our ditches and ponds, and its fine cluster of large pink flo^erf standing up among the narrow sword-shaped leaves is very conspicuous; it forms a fine contrast to its neigh¬ bours, the yellow Flags and Water-lilies, and is some¬ times called the Pride of the Thames. WATER ARROWHEAD. SAGITTARIA SAGITTIFOLIA. A common plant, easily distinguished by its arow- shaped leaves, is abundant in most hedges and streams ; it sometimes grows two or three feet above the water; but in general the leaves lie in large masses on the sur¬ face of the stream. Its white flowers bloom in Jkly and August. PI. 6 8. flowering Rush.. (.BvJx/nuLS umJbellatu^s) Gr-eat Water I ’ln.rrla.in. (Alisnicb phxrcta/jo) C>i•(\ater VVater Plaiila111 i AlLsnzcb PUinAoujoJ Water Arrow Head. (Sau/ittuno fta qim faluj ) BUTCHER'S BROOM. 105 THE THISTLE.—NETTLE. CARDUUS NUTANS-URTICA DIOICA. These common weeds must not be left entirely unnoticed, although their forms and colour are not very conspi¬ cuous ; they are seen, perhaps too often, in rambles for objects of study, and are not likely to detain young pupils long; nevertheless an artist, when painting some neglected overgrown garden or deserted village, will find it necessary to know their form and character. The blossom of the Common Thistle has a fine vase-like shape and bright purple colour, that of the Milk Thistle is on separated stalks, each producing a downy group of seeds; they are about two or three feet high. The latter plant is more of a whitish-green colour than the former. The stalks of the Nettle remain long standing after the leaves have perished; they form, with their light gray colour, an agreeable relief to the flat broad leaves of Coltsfoot or other plants on the side of streams or hedges. BUTCHER'S BROOM. RUSCUS ACULEATUS. This is a low shrubby plant, with prickly rigid leaves, rising to about the height of the knee; it is thence called Knee-holly. It is chiefly remarkable for the position of its small green flowers, growing in the centre of the leaves, and for the bright scarlet berries, which remain attached to the plant all the winter, and give it a very ornamental appearance. 106 FOLIAGE AND FOREGROUND DRAWING. THE BURDOCK. ARCTIUM LAPPA. From its size, marked character, and general distribution over the country, the Burdock is particularly useful to the artist, and forms one of his boldest and simplest foregrounds. The student, however, must not multiply the complete plant in his sketch. One in bloom will be sufficient, with a few leaves of lower growth. These root-leaves indeed, from their great size, constitute the most striking character of the Dock. When sketching in the open air is unattainable, one of the plants may be carefully placed in a pot, and this, from the variety of position in the heart-shaped leaves, the shadows cast by one leaf upon another, and the foreshortening necessary, will form a good subject of study. It is well to remark that the introduction of all these plants into the hue- ground of pictures must be quite easy and natural. Some kind of confusion may be allowed in objects which are thrown or are growing accidentally together, but breadth and simplicity must be observed, that the eye may not be disturbed by too many forms of the same size and distance from the spectator. The colour of the leaves is a cool green, little affected by autumn; but the dull purple flowers, and afterwards the balls of seed, though small compared to the foliage, slightly vary the general tint. The form of the plant is pyramidal, and the height about three feet. Flowers all summer. Biu'docJi. Arriium lapptb) PI. 5 9. Burdock (ArcUurn lappcuJ U tehee's Broom'/’ ¥‘t'5'cu.s axuLeaius) ‘ Thistle. fCardwns ArTznsit; THE PRIMROSE. 107 THE PRIMROSE. PRIMULA VULGARIS. The common Primrose is the early blooming flower of spring, and where is the meadow or the green land of England which it does not haunt ? Its name, derived from the word primus, the first, happily expresses one of its charms. The clustering groups of this flower allow it to be represented in lanes, woods, or on hedge banks, or children may be introduced filling their baskets, and it thus affords us an opportunity of giving yellow light in great masses, often a valuable thing in the fore¬ ground. This plant has lately become as much a favourite with artists as it has always been with our poets, and we rarely see a water-colour exhibition without a careful and powerful representation of it on the walls. Clare, with his artistic feeling, deserves quoting here : “ Welcome, pale Primrose ! starting up between Dead matted leaves of Asb and Oak, that strew The every lawn, the wood, and spinney through, ’Mid creeping Moss aud Ivy’s darker green. How much thy presence beautifies the ground ! How sweet thy modest, unaffected pride Glows on the sunny bank and wood’s warm side!” This short quotation will serve to show that it is one of the most useful plants to mark the early spring. It may be introduced before the leaves are on the trees in March or April. 108 FOLIAGE AND FOREGROUND DRAWING. COMMON DANDELION. LEONTODON TARAXACUM. It would appear scarcely necessary to draw or describe this well known plant; as it is seen almost everywhere and at all times; yet it will he useful to know that the flowers are not to be found open except at a particular time of the day, it opens at seven in the morning and closes at five in the afternoon. Its feathery ball of seeds gives it ultimately a very distinct character. THE GREATER PLANTAIN. PLANTAGO MAJOR. Though smaller than the Dock, this weed is also useful in varying the form and tint of the road-side, or in assisting to destroy the unpicturesque formality of pas¬ ture grounds. The leaves are deeply marked with seven ribs; they all rise from the root, and the spikes of green or brown flower spring from the centre. THE GREAT WATER-DOCK. RUMEX HYDROLAPATHUM. A fine large plant growing on the banks of rivers, and having a very different appearance to the Burdock, being more like the Horse-radish; it bears clusters of flowers unmixed with leaves. Buttercup fR otvlch cuJils buUbosusj PI. 60 . Primrose. (Primula, VulgarisJ Dandelion . ('Leontodon. tarcucasiLiri) Greater Plantain. ( Plautayo Mq/'or) Great Water Dock . ( Rumex hydroLipa ihxxm, ) THE BUTTERCUP. 109 THE BUTTERCUP. RANUNCULUS BULBOSUS. This small plant, but great favourite of the children, seen every where, and sometimes covering whole mea¬ dows in May and June, is too minute individually to be much introduced into foregrounds, but its rich and golden colour, when seen upon the breadth of the mea¬ dow, must be considered as most important in influ¬ encing the general tone. It appears to be less affected by a dry season than Grass, which is sometimes burnt up and browned, whilst the Buttercup becomes more prominent. Height, from six to eighteen inches. Another variety of the Crowfoot, called the Water Ranunculus (.Ranunculus aquatalis ), is much more effective as a foreground plant, from its larger blossom and round lobe-shaped leaves; it is found on most of our pools and streams, and occasionally in moist places where water is not visible. Another kind is very plentiful in our lakes, rivers, and ditches; its white flowers forming beautiful patches upon the water during the early part of summer. As artists are often in need of white to introduce into the foreground of pictures, and as these blossoms sometimes cluster in large masses, we should not consider them as beneath the notice of the eye or the use of the pencil. 110 FOLIAGE AND FOREGROUND DRAWING. THE HORNED POPPY. GLAUCIUM LUTEUM. The most careless rambler on tbe sea-beacli would notice this plant. Its large rich yellow flowers,, with the pecu¬ liar long horn-like pod, and the fine massive foliage rising out of the shingle, give a good opportunity of varying the monotonous tint of such a shore. The root- leaves somewhat resemble the Acanthus of Grecian Architecture. The general outline of the plant is bold but not ungraceful, and it sometimes reaches two feet in height. The colour of the foliage is of a bluish green. It flowers in July and August. HERB ROBERT. GERANIUM ROBERT!ANUM. Side by side with the last-named plant, and like it in the vanguard of vegetation, the student will at times meet with the Herb Robert, one of our wild Geraniums. The delicate character of its bright green foliage veined with red, and its elegant pink blossoms, make it contrast well with the stately yellow-horned Poppy. This plant is also frequent in hedges, and flowers all the summer months. STONE-CROP. Ill STONECROP. SEDUM ACRE. Although apparently so insignificant in blossom and size, the various kinds of Stonecrop become of great importance to the artist when studying home subjects, growing, as they so often do, on tbe barren wall or cot¬ tage roof, and breaking tbe otherwise straight formality of the outline, while the patches of brilliant yellow blos¬ soms afford an agreeable contrast to the reds and grays of the buildings. So it is in many other instances, and the young stu¬ dent soon discovers that some plants and flowers possess for the eye of the painter a far greater value than for the casual observer, this difference being caused, not of course by their size, but by their innumerable quantities affecting, and sometimes altering, the colour of his picture. Take the most minute herb for instance, Grass; what are a few blades of Grass ? their form and colour, when sparsely scattered over the soil, have no effect on the eye ; but group them close together, as in a meadow, or on an Alp, and what an entirely different idea do they give, changing a barren rock or hill-side into a verdant plain. So it is also with many of the flowers one sees in such profusion in Switzerland, the lovely blue Gentians and pale lilac Autumn Crocuses, and, humbler still, the Sedums which grow and cling to the rocks with their varied and brilliant colours, and give a local sentiment and charm to the most barren solitude. INTRODUCTION TO QUESTIONS ON FOLIAGE AND FOREGROUND DRAWING. Drawing being now admitted an important part of education in public as well as private schools, it becomes an anxious question with those who have to teach it, how to make the best use of the time that other duties, considered more essential, will permit, or the taste and inclination of the pupil will give to its pursuit. Long experience has convinced the Author that the study will never be allowed that portion of time which is considered by a well-qualified teacher as necessary to thoroughly train either the eye or hand; and that even though all may be compelled to learn drawing during a few terms, and practice an hour or two each week, very few will really bend their thought to the study, unless their minds are opened to its importance, and it becomes connected with real Nature : Art in the abstract being far too abstruse, and taking far too much study, to engage the attention of the young and vigorous, when put in competition, as it generally is, with athletic sports. To make it a bond fide study—one that the pupil en¬ gages in earnestly and uses all his powers to excel in— we must teach him to observe Nature carefully and to have the desire to imitate it correctly. The training and the method used will then become interesting 1 . o i 114 FOLIAGE AND FOREGROUND DRAWING. Now the Author has found nothing so effective in creating a taste for Drawing, or a wish to imitate, as placing real objects or parts of Nature before his pupils; then with a few simple strokes and observations, giving a general representation. The quickest pupils follow, while others have a spirit of emulation excited by seeing their companions succeeding in their endeavours. Thus a connexion is made between the reality and the symbol, and gradually the pupil learns to disdain the mere copy¬ ing of another's thoughts or expressions, and either invents a style for himself, or, recurring to the previous training he has thought so dry and uninteresting, brings it into use to express his own ideas of what he observes. The first consideration is, to teach the pupil to observe correctly; for it is not too much to say that all young people, whether educated or not, observe with a vague¬ ness and indifference that would be quite astonishing were it not continually brought before us by the loose and incorrect way in which people describe what they have seen. Faraday, who possessed exceeding quickness and correctness of observation, said, “ Above all things I like truth—truth in observation, and clear arid un¬ biassed truth in description." To cultivate these important qualities, it is necessary to have different examinations. One takes place at Rugby when the work of the year is exhibited and the rewards are to be determined. The pupils are then all assembled, and draw from something real or solid about the room—no copying or assistance being allowed. As the time is limited, the knowledge of the principles of Art and dexterity of handling are thus seen. These are called “ time drawings." The second kind of examination consists of a series of INTRODUCTION TO QUESTIONS. 115 questions on the art of Drawing; and this is, of course, elementary or advanced, according to the class to be examined. In some cases it may be on the principles of Perspective; in others, on Light and Shade; in more advanced, it may be on Colouring. To assist the pupils in all these studies, various books or works have been previously named, to which he can refer before he either writes or says his answer. Of course the Examiner's questions are limited; and as the time is short, so are the questions, and the answers must be equally brief. Now, as no master can examine his own class, and it is perhaps difficult to find masters in Art sufficiently free from certain scholastic prejudices to examine the pupils of another school, it has been the custom at Rugby to request the assistance of the Head Master and one or two of the others who happen to be particularly well qualified to undertake this duty; and it is in order to save much valuable time that in this edition of “ Foliage and Foregrounds" a few Questions have been added in divisions, in order to insure not only careful study of the Plates, but also the reading of the descriptions attached to them. But in no case does the Author con¬ sider that this or any of his books supplies the place of the teacher, or supersedes the necessity of practical work. As the subject of “ Foliage and Foregrounds" is entirely elementary, so the Questions will be found to be ex¬ tremely simple, and suited to the capacity of even the most juvenile pupil. QUESTIONS. On the Introduction and Elementary Practice. xo. 1. What is meant by the Foreground ? 2. What position does it occupy in the picture ? 3. How do artists generally view plants ? 4. Where is the character of a tree most distinctly seen ? 5. Name the most lofty English trees. 6. Name the most spreading trees. 7. How do you gain freedom and facility of hand ? 8. Indicate the elementary lines upon which all touches for foliage are founded. 9. What is the outline of foliage supposed to represent ? 10. What trees have curved or rounded foliage ? 11. What trees have angular or jagged foliage ? 12. What trees have strikingly different foliage from others ? 13. Should the eye be directed to the light or shadow of foliage ? 14. Describe the practice necessary for clearness and transparency in shading. 15. How is the character of trees rendered in the ex¬ treme distance ? On the Oalc, Ash, and Elm. xo. 1. Which is considered the noblest English tree r 2. How is the vigorous character of the Oak shown ? 3. Is the Oak a spreading or a high tree ? QUESTIONS. 117 NO. 4. What is it that affects the character of a spreading tree, and makes it grow tall instead ? 5. What is the general form and colour of an Oak leaf ? 6. What is it that particularly distinguishes the Ash ? 7. Is the foliage separated or in masses ? 8. Is the leaf of the Ash curved or angular ? 9. Why is the foliage of the Ash used for first practice ? 10. How does the Elm rank for height, among our English trees ? 11. Is there any remarkable difference in a full-grown Elm and a young tree ? 12. Is the foliage of the Elm a dull or bright green ? 13. Describe the Wycli Elm. On the Beech, Lime, and Birch. NO. 1. Describe the characteristics of the Beech. 2. Is it considered a picturesque tree ? 3. What colour and appearance has the trunk ? 4. Is the shade of the Beech dense ? 5. Describe the Lime. 6. What distinguishes the blossoms ? 7. Has the trunk any peculiarities ? 8. What is the Birch sometimes called ? 9. Are there two kinds ? 10. Describe the foliage. On the Walnut, Sycamore, and Plane. NO. 1. Describe the general appearance of the Walnut. 2. What tree does it resemble in its branches ? 3. Is it an English tree? 4. What colour are its leaves ? Shape of its fruit ? 5. Is the Sycamore a fine tree ? 118 FOLIAGE AND FOREGROUND DRAWING. NO. 6. What shape are its leaves ? 7 . Describe its blossom and seed. 8. Where is the Plane much planted ? 9. What peculiarity has the bark ? 10. What difference is there between the Sycamore and Plane in foliage and fruit or seeds ? On the Sweet or Spanish Chestnut, Horse C lestnut, and Poplar. NO. 1. What is the general appearance of the Spanish Chestnut ? 2. Where is it seen to the greatest advantage ? 3. Is the foliage remarkable ? 4. What is the trunk noticeable for ? 5 . Is the Horse Chestnut formal or picturesque ? 6. What colour does the foliage take in autumn ? 7 . When do the blossoms appear ? 8. Where does it form a fine avenue ? 9. Describe the general appearance of the Lombardy Poplar. 10. What is supposed to be its chief beauty ? 11. What is the shape of the leaves ; and how is the ap¬ pearance of the foliage best imitated ? On the Aspen or Trembling Poplar, Abele, and Blach Poplar. no. 1. Describe the difference between the Aspen and the Lombardy Poplar. 2. What is the peculiar character of the foliage ? 3. What is the colour of the leaves and bark ? 4. Why is the Abele sometimes called the White Poplar ? 5. Describe the Black Poplar. QUESTIONS. 119 NO. 6. When do the catkins appear, and what colour are they ? 7. What do you consider catkins are ? On the White Willow, Weeping Willow, ancl Osier. NO. 1. Why is this Willow called Scilix alba ? 2. In what form is this Willow generally seen in Eng¬ land ? 3. What is meant by Pollard ? 4. Mention the trees that in general opinion will best bear being made into pollards. 5. What is the shape and colour of the foliage of the White Willow ? 6. Why is the Weeping Willow so called? 7. Where is it supposed to come from ? 8. In what form is the Osier generally seen ? 9. What is the colour of its foliage ? 10. What the general direction of the touch for its leaves ? 11. Is it used in any manufacture ? On the Hazel, Blade Alder, and Maple. NO. 1. What is the Hazel-tree commonly called? 2. When grown as underwood, what is it called ? 3. Is the wood used for any important purpose ? 4. At what time do the catkins of the Hazel appear ? 5. Where is the Alder seen to most advantage ? 6. Why is it often called Black Alder ? 7. What other leaf does the Alder resemble ? 8. What peculiarity is there observable in the catkins of the Alder ? 9. In what form 4s the Maple generally seen in this country ? 120 ■FOLIAGE AND FOEEGEOUND DEAWING. NO. 10. Is there any tiling to observe about the branches and shoots ? 11. In what other countries is the Maple of far more im¬ portance ? On the Hawthorn and Blackthorn, or Sloe-tree. NO. 1. By what other name is the Thorn known in common ? 2. In what form is the Thorn most seen ? 3. Is the foliage to be imitated by a convex or concave touch ? 4. How is the fruit of the Thorn named ; and, when ripe, what colour is it ? 5. What other name has the Blackthorn ? 6. Is it a tree or shrub ? 7. Ho its leaves or flowers appear first ? On the Stone Bine, Scotch Fir, and Spruce Fir. NO. 1. Of what country is the Stone Pine a characteristic feature ? 2. What is the general form of the tree ? 3. What kind of Pme is indigenous to this country? 4. Where is the Scotch Fir seen to the greatest advan¬ tage ? 5. How does the foliage grow ? 6. What colour is the foliage ? 7. What colour is the trunk ? 8. How are the cones placed ? 9. WTiat tree makes a pleasing contrast with the Pine ? 10. What form is descriptive of the Spruce Fir? 11. How do the branches grow ? QUESTIONS. 121 On the Cypress, Cedar, Larch, and Yew. NO. 1. What other tree does the Cypress most resemble in general shape ? 2. What are the chief differences to be observed ? 3. Is it common in this country ; or where is it most found ? 4. What kind of foliage has it ? 5. What general tone is the colour 6. How would you describe the Cedar ? 7. What is there remarkable in its branches and foliage ? 8. How are the cones placed ? 9. What colour are they ? 10. What shape is the Larch ? 11. Is there any great difference between the branches, the sprays, and the foliage of the Larch and other Fir-trees ? 12. Is the Larch indigenous to this country ? 13. What other tree is the Yew like ? 14. Where is it generally found ? 15. How does the trunk grow ? On the Elder, Mountain Ash, and Palm. NO. 1. Where is the Elder generally found ? 2. When do the blossoms appear ? 3. What colour are they ? 4. What is the colour of the fruit ? 5. What colour is the foliage ? 6. What other name has the Mountain Ash ? 7. W hat colour is the fruit ; and when does it appear ? 8. In what countries is the Palm best studied ? 9. Describe the way in which the leaves grow. FOLIAGE AND FOREGROUND DRAWING. 122 On the Roily and the Box. NO. 1. How do you distinguish the Holly ? 2. What is characteristic of the Holly ? 3. What colour is the foliage ? 4. Is the Box more seen as a shrub or tree ? 5. Is the wood used for any particular art ? On the Introduction to Foreground Plants. NO. 1. What qualities are essential in plants, to make them effective in the foreground ? 2. When seen in large quantities, what plants or flowers most affect the landscape ? 3. What class of plants is particularly associated with forests or heaths ? 4. What should we hear in mind when we introduce plants conspicuously in the foreground ? On the Vine, Honeysuchle, and IIop. NO. 1. In what class of plants do artists place the Vine, Honeysuckle, and Hop ? 2. Where is the Vine seen to the greatest advantage ? 3. What plants serve as good contrasts of colour to the grape ? 4. In what countries are vineyards least suited for pictures ? 5. How do the branches of the Vine grow ? 6. What other foliage does that of the Vine some¬ what resemble ? 7. By what other name is the Honeysuckle known ? 8. Why do artists find it useful to study the Honey¬ suckle ? QUESTIONS. 123 NO. 9. Was this flower known or used by the ancients ? 10. At what time of the year do its leaves and blossoms appear ? 11. What is the general colour of the foliage ? 12. Is the Hop found wild? 13. At what time of the year are the flowers picked ? 14. Does it furnish much incident to the artist ? 15. Are its clusters copied as an ornament ? On the Ivy, Bramble, Bryony, and Nightshade. NO. 1. When is the Ivy useful, and when objected to by the artist ? 2. Describe the shape of its foliage. 3. What colour are its leaves ? 4. If its foliage does not change in colour, or fall, by what name would you call the plant ? 5. When do its blossoms appear ? 6. What is meant by local colour ? 7. What is the Bramble also called ? 8. Describe the general appearance of the plant. 9. When does the fruit appear ? 10. What are the Bryonies conspicuous for ? 11. What colour are the berries ? 12. Describe the Nightshade, its foliage, blossoms, and berries. On the Jasmine, Virginian Creeper, and Passion Floiver. NO. 1. Is the Jasmine a wild or cultivated plant ; and where generally found ? 2. Is the Virginian Creeper indigenous, or naturalized ? 124 FOLIAGE AND FOREGROUND DRAWING. NO. 3. What time of the year does the foliage change, and into what colours ? 4. What is it that causes the Passion Flower to be so beautiful an object to study ? o. What colour is the fruit, when ripe ? 6. Where does it come from ? On Fruit Trees. NO. 1. How are Fruit-trees distinguished from Forest-trees ? 2. What kind of Fruit-tree is sometimes important for its size and grace, and where ? 3. Describe the general appearance of the Pear and Apple. 4. Is the blossom of the Apple beautiful, and why? 5. Is the Fig a native tree ; and where does it come from ? 6. Describe its leaves, and their colour. 7. Is the Mulberry a native tree ? 8. Where is it most common, and how cultivated ? 9. What are its leaves used for ? 10. What other foliage do they resemble ? 11. What English tree does the Olive resemble in the colour and shape of the leaf ? 12. What colour and shape is the fruit; and what is the principal use of it ? 13. Where is the Aloe seen to most advantage ? 14. Describe the height, general appearance, and colour of the blossom. On Corn and Corn Plants, Grass, and Hedge Plants. NO. 1. What plants are meant, in England, by the word “ Corn ” ? QUESTIONS. 125 NO. 2. Describe the general appearanco of Wheat, Barley, and Oats. 3. Name some of the wild flowers that sometimes may be found in Corn. 4. Why does the artist put these in his drawings ? 5. What herb or plant is the most generally diffused ? 6. At what time has grass the most character ? 7. What change of colour takes place in Grass when made into hay ? 8. When does the hay harvest take place ? 9. Describe the difference in appearance between Grass and young Corn. On Furze, Heath, Broom, Harebell, and Thyme. NO. 1. What other names are given to Furze ? 2. Is the bloom striking in appearance; and what cele¬ brated botanist greatly admired it ? 3. After what plant are waste lands sometimes called ? 4. Where is Heath so plentiful as to affect the colour of the landscape ? 5. What plant is also common on sandy wastes ? 6. What delicate little blue flower is sometimes found on heaths ? 7. What small sweet-smelling plant affects the colour of banks and hill-sides, and is much noticed by poets and artists ? On the Ferns. NO. 1. Name the most generally diffused Fern. 2. Describe the appearance of the Male Fern. 3. Name some few of the most common Ferns that are introduced by artists. 126 FOLIAGE AND FOREGROUND DRAAVING. On the Toad Flax, Mallow, Foxglove, Burdock, Coltsfoot, Sorrel, and Feeds. NO. 1. What road-side plants are of sufficient importance to be introduced into the foregrounds ? 2. Why is the Foxglove so often painted by artists ? 3. In what respect does the Coltsfoot differ from other plants ? 4. What time do its blossoms appear ? 5. Does the Sorrel blossom affect the colour of the field ? 6. What time does it appear ? 7. Are Reeds often introduced into pictures ? On the Comfrey, Figwort, Brook-Lime, Bulrush, and Hemlock. NO. 1. Name a fe\v large water plants suitable for fore¬ grounds . 2. Describe the Comfrey. 3. What is it that is peculiar in the FigAVort 4. Describe the Bulrush. • 5. Describe the difference betAveen reflection and shadow. 6. To what class of plants does the Hemlock belong ? On the Meadow-Sweet , Bur-reed, and Bog-Fose. NO. 1. What kind of flowering plant is the Meadow-Sweet ? 2. What associations are connected with it ? 3. When does the blossom of the Meadow-Sweet ap¬ pear ? 4. Why is the Burreed called branched ? 5. What other name has the Dog-Rose ? QUESTIONS. 127 NO. 6. What is the fruit called ? 7. Describe the difference between Hips and Haws, and name the shrubs they each grow on. On the Iris, Willow-Herb, Rush, Teasel, and Bindweed. NO. 1. What country has adopted the Iris as its emblem ? 2. Are there two kinds ; and what characterizes them ? 3. Where is the Willow-Herb usually seen ? 4. Name a striking peculiarity in Rushes. 5. Is the Teasel a conspicuous plant, and why ? 6. By what other name is the Bindweed more gene¬ rally known ? 7. What colour is it; and when does it appear ? On the Water Plantain, Loosestrife, Water Lily, Flowering Rush, Forget-me-not, and Water Arrowhead. NO. 1. Describe the appearance of the Water Plantain. 2. The Forget-me-not. 3. Is the Forget-me-not equally prized in other countries, and by what name ? 4. What flower growing in the water is generally con¬ sidered the most beautiful ? 5. About what time of the day does the Lily close ? 6. Is there another kind, and of what colour ? 7. What other name has the Flowering Rush ? 8. What has caused the name of the Water Arrowhead ? On the Burdoclc, Thistle, He,tile, and Butcher’s Broom. NO. 1. Why is the Burdock so much studied by artists ? 2. What is the colour of the green ? 128 FOLIAGE AND FOREGROUND DRAWING. NO. 3. How can it be best studied ? 4. What is the general form of the plant in blossom ? 5. Is there any peculiarity in the seed ? 6. When are such common plants as the Thistle and Nettle introduced ? 7. For what is the Butcher’s Broom remarkable ? On the ’Primrose, Pandelion, Plantain, Water Pock, Horned Poppy, Stonecrop, Sfc., fyc. NO. 1. From what circumstance has the Primrose derived its name ? 2. What peculiarity is noticeable in the common Dande¬ lion ? 3. Describe the appearance when the seeds are ripe. 4. Is the Water Dock a handsome plant; and what garden plant do its leaves resemble ? 5. Where is the Horned Poppy found ? 6. What causes such diminutive plants as the Stone- crop to be noticed by the artist ? BBADBUBT, ASKEW, & CO., PBINTEES, WHITE EE IAE8, In Imperial 8 vo, doth extra, gilt edges, price 21s. THE THEORY AND PRACTICE OF LANDSCAPE PAINTING IK WATER-COLOURS. ILLUSTRATED BY A SERIES OF TWENTY-SIX DRAWINGS AND DIAGRAMS IN COLOURS, AND NUMEROUS WOODCUTS. BY GEORGE BARNARD, PROFESSOR OF DRAWING AT RUGBY SCHOOL; AUTHOR OF “ FOLIAGE AND FORE¬ GROUND DRAWING,” “SWITZERLAND,” “STUDIES OF TREES, ETC. LONDON: GEORGE ROUTLEDGE AND SONS, THE BROADWAY, LUDGATE. 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