Digitized by the Internet Archive in 2014 https://archive.org/details/britishdrawingboOOwhit THE BRITISH DRAWING-BOOK: OR, THE ART OF DRAWING WITH ACCURACY AND BEAUTY, CONTAINING A SERIES OF PROGRESSIVE LESSONS ON DRAWING LANDSCAPE SCENERY, MARINE VIEWS, ARCHITECTURE, ANIMALS, THE HUMAN FIGURE, &c. &c. A COMPLETE SYSTEM OF PRACTICAL PERSPECTIVE. LONDON: PUBLISHED FOR THE PROPRIETOR Pi ice Te'i Sliitlings and Sixpence. Sears, Printer, Ivy Lane, St. Paul's. THE YOUTH'S PROGRESSIVE DRAWING-BOOK. LESSON I. The great utility of the Art of Drawing to every class of society, is now generally acknowledged, but it is only a few years back that it was considered as an art only required by painters, draughtsmen, or drawing masters, and by the latter class of artists taught to ladies and gentlemen as an elegant accomplishment con- nected with genteel education. As the commerce and manufactures of England increased, the immense variety of articles produced by the mechanic and artisan, required new and elegant forms, ornaments, and patterns, and many persons engaged in the potteries, cotton, and silk manufactories, paper stainers, and numerous other trades requiring embellishment, found the great necessity of obtaining a knowledge of the art of drawing; the books written upon this subject were of little use to the working classes of society, as they were only written for ladies and gentlemen, and the examples and observations could only be appreciated by those that were liberally educated. Since that period, many excellent works have been published on the art of drawing, tending to a more general diffusion of the art, but still considering it rather as an accom- plishment than a necessary part of a common education. It is the intention of the Author of this work to place such plain rules and examples before the student, that any person that can read may learn to draw. One of the bars to an extension of this art, hitherto, has been the expense of materials ; good black lead B THE YOUTHS pencils, of various degrees of hardness, or chalk, are generally put into the hands of the learner. If he is in circumstances to afford to cut away a shilling or two in pencils every lesson, he not only loses his money, but his time in sharpening the pencil ; nor is this the only evil of pencil drawing for learners, they can easily rub out the lines they have formed ; this creates a careless habit, and, even in drawing with the pencil, all teachers that wish their pupils to use their mind to direct their fingers, will deny them the use of Inbian rubber. In pencil or chalk drawing, expensive paper is also required. Expense cannot mar the progress of any person that may wish to study the lessons in this work; all the materials he will require is a common steel pen, or pens, ink, and paper that will bear ink,— this being more particularly a Pen and Ink Drawing Boo k. If the learner has been taught to write with freedom, he will need no instruction as to the manner of sitting or of holding the pen ; the paper should be placed on an inclined board, slanting like a desk, which may be raised or lowered to the height required by placing books under it. The learner, while drawing, should sit in that part of the room where the light will come from the left, that the shadow of the hand may not be thrown upon the paper. It may be necessary to state, that the learner should sit in an upright, easy position, taking care to keep his body from the edge of the desk or table, the pressure is not only injurious to health, but confines the arm, while, by keeping an erect position, the arm, wrist, and fingers, are quite at liberty, and the touch becomes firm and free. Thus far, drawing and writing are the same, but the student will find a material difference in the lines used in drawing by referring to No. I., in Plate 1 ; he will see three black, upright lines, they are all of an equal thickness, and are drawn with a ruler; this sort of line can never be used in picturesque draw- ing; if he refers to No. 2, he will see three upright lines, these are formed by placing two points opposite to each other, thus, then filling up the space between them with short lines or dots, as seen in fig. 2, in the PROGRESSIVE DRAWING-BOOK. 3 cut ; this sort of line is used for every picturesque subject that can be placed before the learner, » | and he must not proceed to practice either of the figures till he can draw lines with facility in ! this manner ; he will find at first some difficulty in placing the dots exactly opposite each other, but he must not, in his early attempts, place them too far from each other, nor must he [ confine himself to upright lines. At No. 3, he will find lines running even with the bottom of . l a the paper, or as if lying on the ground; these are also measured by dots, and filled up with short, broken lines. At No. 5, the lines are drawn together to form a square, the dots are placed at the corners, or, as we shall hereafter call it, at the angles of the square, and the lines drawn to each angle: the lines hitherto have been all straight lines, but, at No. 6, they are bent to form an arch; here, a point is made in the centre of the arch, and two others at an equal distance from it, thus: The line, instead of being drawn straight from one point to the other, is curved thus : if the student refers to No. 4, he will find a double line: this is of no consequence " N \. # . in picturesque drawings, and is frequently made useful when the learner can V draw with spirit and freedom, and is merely mentioned here lest the learner should \ , conceive it was a fault. The student must practise the formation of lines of dif- . • ferent lengths upon waste paper, till he can form the squares at No, 5 with correct- ness and rapidity : half an hour's application will be sufficient to enable any person to make the first step in the art of drawing, and though it may appear a trifling attainment, he will find, as he proceeds, that the beauty of a drawing, in a great degree, depends on the freedom and character of the outline. When the student has sufficiently practised the lines, he may proceed to employ them in drawing the simple figure at No. 7. In drawing figures, it will be advisable to have ink in two small cups ; the ink in one cup 4 THE YOUTH ? S should be black and bright, and that in the other should be made very pale, by being diluted with water, so that when an outline is made with it upon paper it may be just perceptible; with the pale ink commence making points for the stone basement, the outline of which forms a square, which draw very lightly; of course it cannot very easily be taken out, nor will there be a necessity for it, for, if drawn incorrectly, another point can be made, and the outline can be re-drawn ; it will certainly be better to carefully judge the distance with the 'eye, and to be careful that the points are properly placed at equal distances from each other, so that there maybe no occasion to alter the outline; but if it should require altering a dozen times with the pale ink, it will be of no consequence when the dark ink is used upon it. When the square is properly drawn, draw the lines forming the stones in the same manner, first, placing points at proper distances: the student will now begin to see the use of the free, broken line, that he has taken so much pains to acquire. If the outline of the square had been formed with four hard lines, by the use of a ruler, it would have been impossible to break it at intervals for the purpose of drawing the breaks of the stones at the angles, all would have been hard and unpleasant to the sight. The student will find the large, square tablet, upon the stone basement, is only a repetition of No. 5. The outer square of the tablet is formed, first, by placing points at the angles with the pale ink, and drawing the outline from one point to another ; this process must be repeated on the two inner squares : the curved line at the top must be drawn by placing a point exactly over the centre of the square tablet, at the properdist ance from it ; then place points at equal distances from the point over the centre, and draw a curved line from one point to the other, passing it through the centre point. When this is properly drawn, and corrected with the pale ink, it must be allowed to get quite dry, then, with a fine nibbed pen, make a bold, free out- line, with the dark ink over the pale lines which are most correct, taking care to make the breaks in the stones PROGRESSIVE DRAWING-BOOK. 5 as seen in the drawing. No. 8, is the outline of part of an ancient stone cross. In drawing No. 7, every part of the drawing was equally near to the eye ; but, in the drawing now under consideration, the student is sup- posed to be standing in that position that he can see two sides of the square stones, consequently, the angle that projects will be nearest to the eye, and that part of any object that approaches nearest to the eyemust always be drawn first ; the learner will therefore commence with the middle line, making two points to show the length of the whole of the subject, from the ground to the top; this line must be slightly drawn with pale ink, then pro- ceed to draw the short outline of the base of the cross, letting every part of the base be finished with the pale ink before proceeding to draw the square stones above them, with the exception of the centre line already drawn. When the base is finished, make points on the centre line to show the height of the stones, and also points to show the thickness of the stones on each side of the centre line. When the whole is drawn with the pale ink, and properly corrected in every part, proceed to draw the proper outline with black ink, preserving all the breaks and the markings as seen in the copy. When the outline is formed, the student may proceed to put the stones in shade, as seen at No. 9 ; this is done by merely drawing a succession of short lines all over the part to be put in shade with the dark ink ; they should not be long, hard lines, drawn slowly, but short lines, begin- ning at the top from left to right, holding the pen freely in the fingers, and using a light, wavy motion, which is much easier acquired than described in writing. The first and second row of lines will appear thus:— they will never run together if done freely, or if they do by accident it is of no consequence, as the blot || III ||| can easily be converted into a break in the stone; this is done in the dark part of the lower II III j|K stone of the cross in the copy. The student must be careful to imitate all the markings on the .W subject before him as near as he can; it may not be of any great consequence in the present in- stance, but all persons that wish to draw with correctness should imitate the slightest mark they 6 THE YOUTH S see in the drawings set before them to copy from; they will, by this means, acquire a habit of measuring by the eye, and discriminating minute objects, which will be of the utmost service when they come to draw from real objects. No. 10 is an outline of part of a wall terminating in openings called battlements; thus, when the tower of a church is finished in this style of building, it is said to be an embattled tower. This subject is too simple to require going into minute detail of the mode of drawing it. Of course the upright lines are formed first, and the three sides of the square of the battlements; the stones are then drawn all with the pale ink: with the dark ink go over the corrected outline; the projecting stones throw a light shadow over the face of the wall; the shade is formed by a row of short lines as seen in the copy. No. 1 1 is a very familiar subject, a chimney with two chimney-pots. The student will find that he can see two sides of the chimney, and, as before observed* he will begin with the centre line, because it approaches nearest to the eye. The chimney-pots are round ; the tops of them must be drawn with a curved line, but they are made more round by means of the light and shade upon them. The student will find, by referring to the chimney that is covered with tiles, that the darkest shade is not at the edge of the subject, as in flat subjects, but at some distance from it; this is the case in all round- shaped figures, as may be seen by the annexed cut; it would be proceeding too far upon the art of disposing of light and shade, to enter upon the reason why round objects have this appearance, but the student will be fully informed on the subject in future lessons, for the present it will be sufficient for him to know that it is so. The shade upon the chimney-pots, and also upon the chimney, is formed with a succession of short lines, as in No. 9, a little varied, according to the shape of the stones of the building. No. 12 is a small bell turret, frequently seen surmounting the gables of village churches, or ancient almshouses. It is a very pleasing subject; commence by drawing the line at the bottom of the drawing, taking care to have it the proper length; then make points PROGRESSIVE DRAWING-BOOK. 7 for the two upright lines forming the outline of the building. Be very exact in finding the centre of the space between the two lines, which may always be easily measured if the student cannot trust his eye. The most ready way is, to cut a narrow slip of paper, place it "on the drawing, and make a mark the distance on the paper; then fold it, and the fold will give the exact centre. Those that have compasses will of course use them for the same purpose ; but all the remarks throughout this work are intended for the benefit of those who desire to acquire knowledge at as little expense as possible. When the centre is found, place a dot to mark the apex or point of the roof, and draw lines from this point to the upright line forming the outline of the building. Then, to give the thickness of the roof, draw two stronger lines ; let them project beyond the outline of the wall, and upon these lines draw the edge of the tiles. Next proceed to draw the arch, beneath which the bell is placed ; in this case the upright lines are drawn first, taking care to mark their heights accurately by points; then make a point in the centre for the height of the arch, and draw curved lines from it to the upright lines. Commence marking the stones, by drawing those round the arch. If the student observes the copy, they are not hard, square stones, as if just fresh from the mason's hand, but stones that have become rugged by time: thus, they should appear broken at the edges. The same remark will apply to the larger stones of the building. The beam upon which the bell is hung must then be drawn, and also the rope, wheel, and bell. The juvenile student may find some little difficulty in drawing the bell, bnt if he draws a light, strait line from the middle of the top of the bell to the centre of the clapper, and then mark the size of the bell on each side of the line, both at the middle and the bottom of it, the curved lines can then be darwn without difficulty, and the outline is finished. It can then be marked with the black ink, taking care to make spirited thick touches on the darkest parts of the drawing. No. 13 is a drawing of a square tower, with a small belfry window, and part of the roof of a church ; the student that has drawn the chimney and the cross at No. 9, will require little direction 8 THE YOUTHS in drawing the outline of this easy subject; two sides of this tower are seen, and the juvenile student will ob- serve that the lines at the top of the building run in a slanting direction from the centre line of the drawing to those on the outside ; this is caused by the spectator being supposed to view the building standing, opposite to the corner of it, instead of standing directly in front, as was the case in the preceding subject. When a drawing is taken of any building, so that two sides of it may be seen, it is said to be in perspective : the meaning of this term will be explained in the next lesson. LESSON II. The learner will find by the subject selected for the second lesson, that we have given him credit for thoroughly understanding and practising all the subjects in the first; if he has not done so, he will find some difficulty in drawing the subject now before him. The flat wooden bridge over the river appears a more complicated subject than it will be found to be, if the student proceeds regularly ; all subjects, however complicated they may appear, consist of many different parts, which, if taken separately, would be thought very simple drawings, and it is only because the learner has no system to commence and proceed upon, that the difficulty is not surmounted. In the first place, always begin with the base of the picture, which, in this case, is a flat expanse of water; two or three thin broken lines, running even with the bottom of the picture, will show the width of the water in the front, and a very slight line will show the distance. When these lines are sketched, make points for the large upright posts that rise above the surface of the river, drawing the outline of the centre post first, and then those on each side of it. PROGRESSIVE DRAWING-BOOK. When the posts on the side of the bridge next the spectator are drawn, draw the flat beam which is thrown across the top of the post, then draw the supporters that spring from the posts to the bottom of the beam, next draw the upright posts that are attached to the beam, which carries the flooring of the bridge; take care to place them at proper distances, and make them all the same height, without measuring them other- wise than being careful in placing points. When the uprights are drawn from the rails that they support, without troubling yourself about those seen on the further side of the bridge, next draw the masses forming the banks on each side of the river, always beginning with the lowest mass, and gettin * a broad correct out line of that, with as much care as if the whole drawing consisted only of that mass. The mass on the right bank consists of slanting earth ; commence by drawing the bottom of the bank ; observe how it runs up- wards from the base of the picture, to about the centre of the post, and that the top runs downwards towards the bridge ; get the outline of this mass correctly ; the markings upon it, or the light and shade, are of no consequence ; it is the outline alone that is required in this stage of the drawing. Next, draw the outline of the weeds and foliage upon the bank ; draw the outline of this mass very lightly ; there only remains part of a wall, which springs from the bank, the outline of which being drawn, proceed to draw the opposite bank, which is formed by two large pieces of rock, one abov? the other ; draw the outline of the lowest stone first, and also the small mass of earth, which forms the foreground of the picture, then the upper stone and the bridge is connected with the banks on either side. The student will observe that he has only drawn the outline of one side of the bridge, he must now draw the outlines of the posts which support the other side of the bridge ; we can only see two of them ; be careful in marking their distance from the posts pre- viously drawn ; make a straight line upon the water, and from that draw the uprights, and then the sup- porters as far as they can be seen ; then draw the posts which support the railings, taking care not to draw 13 THE YOUTH'S the outline through the railings of that side of the bridge previously drawn ; next draw the railings, and the board forming the flooring of the bridge, and the outline is complete. In all future drawings, never begrudge the time spent in drawing a correct outline of the various masses of the picture : if the student was the finest colourist in the world, it would not atone for incorrect drawing : light and shade or colour are the dress, but the drawing is the body, and if that is badly formed, the dress to the eye of taste only makes the deformity more conspicuous. When the outline is correctly formed with the pale ink, proceed to make it out spiritedly with the dark ink, giving bold, decided touches, on the dark side of the posts, and the masses forming the banks, and a light outline on those parts toward the light; the shade in the posts and rails of the bridge nearest the eye, must be in bold, dark lines, running parallel with each other, but not at all stiff ; the lines on the posts and rails farthest from the eye, must be finer and closer together ; the touches on the water are all drawn even with each other, as still water is always level. A few lines must be drawn, to show the reflection of the posts on the water, and also the reflection on the dark side of the bank. The rushes on the foreground are formed by placing the pen firmly on the ^ paper, and drawing it off quickly, so that the lines may terminate in a point, thus : \ out ^ ne °^ tne sma ^ masses of foliage should be made with a touch, as if forming a num ^ er °^ sma ^ na ^ circles in succession ; but the learner will, in a lesson or two, be ^^^^^^^ properly introduced to the elements of foliage; in the mean time, he may be fairly left to ^S^—^ exercise his own judgment in copying the little foliage in this subject. The drawing b ( eneath the bridge is the head of a fishing-boat, and a part of a barge being on shore, near Blackwall. Tlie posts and rails, and the stone pier, shut out the view of the river. Commence the PROGRESSIVE DRAWING-BOOK. 1! drawing with the pier, which is that mass of stones to the right of the palings ; then draw the two large stones in the foreground, and the low wall behind them ; upon this wall draw the two thick posts, which support the rail running through them, and also the palings ; then draw the bank upon which the boat is placed. Commence drawing the end of the boat with the timber that runs up the centre ; then draw the curved outline on each side ; on this outline mark the proper divisions for the boards, and also on the outline of the timber in the centre, and from these points draw curved lines for the boards ; the small portion of the barge must then be drawn, and the outline is finished : it may then be drawn with the black ink, taking care to let the lines for the shade run as they do in the copy. In the first lesson the term perspective has been used, and it will be necessary to inform the juvenile reader what perspective is. If he looks at the drawing of the front of the house, immediately over the chimney, he will observe that it is quite flat ; all the lines are even with the eyes of the spectator, who, to see the building in this point of view, must be standing at some distance, directly opposite the door in the centre of the building ; and if he stands in this position, it is quite impossible to see the sides of the house. When a drawing is made of the front of any object only, it is called an elevation ; by referring to the drawing of the chimney, beneath the elevation of the house, the student will see two sides of it; but, in this case, instead of the sides all running flat and even with the eye, they appear in a slanting direction, running downwards from the top of the upright line, which forms the angle of the building: the stones and bricks are also drawn in the same direction. In a future lesson the learner will be fully informed why the lines run downwards ; but he will now perfectly comprehend the difference between the drawing of an elevation of a building, or a building drawn in perspective. If you can see only the front of an object, it is an elevation; if you can see the front and the side, it is perspective. And the term used in the first lesson may be ex- 12 THE YOUTH'S plained by the drawings under consideration, viz., picturesque subjects. If the reader will Iook at the elevation of the house, he will find that it is drawn with straight hard lines ; but though it shows the extent of the front, and would do as a plan for a builder, it is not a pleasing subject for a picture, on the contrary, the chimney, with all its roughness, its variety of surface, makes a much more interesting subject, and as it makes a better picture, is called a picturesque subject. There is no reader of taste but would prefer a drawing of the crumbling ruins of an ancient abbey or castle, to that of a modern unornamented building. The learner need not trouble himself to draw T the elevation, it is merely introduced in this lesson as an example of a drawing that is not picturesque. LESSON III. Plate 3 contains four pleasing subjects; the first is a view of an ancient bridge over the moat mat formerly surrounded a magnificent palace at Eltham, in Kent, erected in the reign of King Henry III. The principal remains of the palace, at the present time, are the great hall, and part of the garden walls ; the hall is said to have been built in the reign of Edward II., and the bridge, the subject of the drawing, about the same period, 1314. This ancient bridge makes a very picturesque drawing ; the student will per- ceive that it is not a mere elevation, but a drawing in perspective, taken from the ground which was formerly covered with water. Commence this drawing by forming the pier between the arches of the bridge : this by itself would b e a very easy subject, and, as before observed, the learner should consider every part a separate lesson. When the pier is drawn, make dots upon the light outline, where the arches spring; then draw the flat pier, on which also mark the place where the arch springs, which is partly covered with a mass of ivy ; next draw the line which goes over the arches, and above that the parapet : exactly in PROGRESSIVE DRAWING-BOOK. 13 the centre, between the two piers, make a clot to shew the height of the arch, and draw a curved line from it to the points on the two piers ; the other arch must be formed in the same manner, as far as it can be seen, part of it being hid by the wall, and post and rail in the foreground. It would be merely repeating what has been said on all the other subjects, to describe the lines forming the stones ; suffice it to say, that the student should imitate the copy as closely as possible ; the stones with which this bridge is built, have been exposed to the weather upwards of five hundred years, and it cannot be supposed that they are very smooth, or that the mortar has not become loose and dropped from the stones. The artist can only shew this effect by making the lines loose and ragged ; stiff hard lines, either on the outline or on the stones, would spoil the drawing. The thickness of the pier beneath the arch, must next be drawn, and the marking correctly copied. The ivy which grows very luxuriantly at the top of the bridge, is only formed in outline. The student may have some difficulty in producing the leafy outline ; but if he holds the pen freely, and makes a succession of touches like the letter m, he will, with a little practice, be able to copy the outline of the foliage in this drawing. The tub and birch broom are introduced in this lesson to vary the subjects, as the author has found by experience, that change is pleasing to juvenile students, and that they like to draw objects that are most familiar to them. But little direction will be required in this subject; the outline of the tub is first drawn lightly, then the hoops ; the staves are formed afterwards. Take care to get a correct drawing of the upper part of the tub. The juvenile student will observe, that though the tub is round, the upper part here appears oval shaped ; this is because we see the circle in perspective, which will be explained in a future lesson. The small drawing over the door in this place, is introduced not only to shew the effect of fine lines, which of course require a fine pen, but also to direct his mind to the earliest style of architecture, viz. that used by the Druids, not only in Britain, but in various parts of the world, long previous to the establishment 14 THE YOUTH S of Christianity in this country; it is called a tolmen, or "hole of stone;" and it was considered highly conducive to the future welfare of an infant, to be passed through an aperture beneath the stone : this super- stition prevails even to the present time in Cornwall, where the original of this drawing is placed : it is an immense oval stone, placed on the points of two natural rocks, so that a man may creep under the stone between the supporters, through a passage, about three feet wide by as much high. The stone is supposed to weigh upwards of seven hundred tons. From its being found in the parish of Constantine, in Cornwall, it has obtained the name of the Constantine Tolmen. In drawing subjects of this kind, it will always be ad- visable to commence by drawing the largest mass nearest the eye; this would be the right supporter of the Tolmen ; be careful in drawing all the breaks, and adhering to the natural form, otherwise the drawings of objects of this sort would be of no value, as they would not describe the place; next draw the left supporter, and lastly the stone : draw the parts in shade with fine lines, as they appear in the copy, and let the dark touches be applied when the first shade is dry. The street door is a pleasing subject, and as the student has been so fully informed how to raise uprights and form squares, by placing points opposite to each other, he will have little difficulty in copying this drawing : care must be taken that the points are drawn so faintly, that they may not appear in the angles of the squares when the subject is finished. LESSON IV. • Plate 4 contains four easy subjects as practice for the learner, previous to his commencing larger drawings. The pump will require very little direction ; the lower part must be drawn, then the long upright line nearest the eye; next the two outside lines before the panels are formed; the spout and handle of the pump must then PROGRESSIVE DRAWING-BOOK. 15 be drawn: let the lines forming the shadows be drawn freely, with a wavy line; this effect is produced by a tremulous motion of the fingers, whiledrawing the lines with the pen ; the panels are drawn with darker lines than the shade; the strong touches on the spout, the handle, and the post are given, when every other part is finished and quite dry. The cottage will require some attention on the part of the student ; but as it is composed of variousparts, each of which has formed a subject of a previous drawing, there will be no necessity for redescribing them. Commence the cottage with that line of the building nearest the door; be careful in getting it upright,for if it is not so, the cottage will appear falling down; next draw the outline farthest from the door: it will be seen that this line is much shorter than the line nearest the eye, and the line at the bottom forming the ground and the line of the roof both join it ; next draw the door and the window ; then the window projecting from the roof, the gable end of the. house must then be drawn and the shed which is attached to it ; when the whole is correctly drawn in faint outline, care being taken that the building is upright and that one part is not too large for the other, proceed to put up the dark parts in shade ; you will see by the copy that fine lines would be quite out of place in a subject of this sort, they must be short lines formed regularly but with freedom ; the dark touches under the roof, penthouse over the door, and the window, must be applied with spirit and effect. The small drawing under the pump is another vestige of Druidical architecture, it is called a cromlech ; they are supposed to have been places of worship. This cromlech is called Coeton Arthur, or Arthur's Quoit, and stands about three miles from the Parish of Newport in Pembrokeshire, it consists of four upright stones, each about seven feet high, upon three of which rests an immense stone eighteen feet in length and nine feet in width. The subject is too simple to require any direction, it is introduced as a good subject for practising fine lines, and also to make the student acquainted with the earliest kind of architecture. The small marine view 16 THE YOUTHS under the cottage contains a number of pleasing subjects, which may be produced as separate drawings or grouped as they appear here. LESSON V. We now enter upon larger subjects; plate 5 is a representation of the remains of a Roman aquaduct or water course, carried upon arches across the Duro, a river in Spain ; it is introduced in this lesson as an easy subject to practise long upright lines and curves of arches : it will be necessary in the first place to notice the directions in which the lines at the base and top of the aquaduct run. If a rule was applied to the lower end of the piers, and a line drawn for some length out of the picture, and another line was drawn from the top of the arches and continued till it touched the other, it would terminate in a point, this point is in perspective called the point of sight, and it will demonstrate the necessity of the learner becoming acquainted with the elementary rules of perspective before he can draw even a simple subject like this with correctness. The intelligent student will no doubt observe the barren and naked appearance of the foreground, and the unbroken mass of light upon the building, and he will see how necessary it is to acquire a knowledge of the principles of light and shade before he can produce a pleasing representation of any object. We shall have to refer to this plate in a future lesson, when a similar subject is under consideration. LESSON VI. Plate VI.— Boats on shore. Commece this pleasing subject by drawing the stern of the small boat; make points at the keel and at the angles of the stern, and take care that they are placed at equal distances from the point at the keel next ; draw the outside of the boat, taking care to mark with a point the correct PROGRESSIVE DRAWING-BOOK. 17 distance between the stern and the head; from the outer angle of the stern draw a light curved line to the stern according to copy, there is no occasion for attending to the breaks in this line made by the rowlocks, they will be formed afterwards, all that is required is to get the true shape of the boat ; next draw another curved line even with the first, this will shew the thickness of the side of the boat; the student will observe by looking at the copy, that the lines for the boards forming the side of the boat all curve in the same direction as the upper line. The outline of the left side of the boat must then be drawn, and afterwards the projection upon it, and the inside of the boat ; it will then be ready for the strong ink ; draw all parts of the boat with spirit, but take care to let the lines be fine on the light side of every object, and bold and free on the parts in shade. If the small boat is drawn correctly the student will find no difficulty in drawing the large boat, as the outline is very simple ; the lines which form the cliff in the distance must be drawn finely and with faint ink, this will produce a much more beautiful effect than it is possible to produce in printing, as in that process the ink must necessarily be of one colour ; the touches upon the beach should be spirited, but few, or they will break the mass of light which is so necessary to give value to the dark boat. LESSON VII. Trees form the most beautiful ornaments of landscape scenery ; they are generally considered very difficult to execute, yet if proper attention is paid to the rules laid down in this lesson it will be found that trees may be drawn with as much facility as any other objects. Foliage is formed by lines drawn in a semicircular or angular form, according to the character of the tree, and it will be proper to well study and practise the objects in plate 7 ; the first subject is a circular figure D IS THE YOUTHS formed with a succession of small semicircles, the inner points of which all turn towards the centre; this figure should be practised by making a point, and drawing larger or smaller circles round it, till circles of any size may be drawn with facility, they must at first be drawn slowly and with great care, but half an hour's practise will enable the student to draw round figures with this semicular touch with rapidity and correctness, and this once attained, he will never afterwards find any difficulty in drawing the outline of trees in any subject. The next figure in this plate is an oval, and immediately above it are two circles, blended with each other; the next is three, and the last figure in the upper row is a number of small rounds drawn together, which here form a small mass of foliage, and the student will clearly perceive that if these were drawn smaller and in different directions he could easily form masses of leaves of any size. The second row of objects in this plate represent angular or pointed shaped leaves, the first is a round figure drawn with pointed leaves ; to form this, make a point and draw round it, taking care to make the inner points all direct towards the centre ; at first the student will find he will make hard notches like the teeth of a saw, but when he gets used to the touch he will be able to produce curved lines terminating in a point, and simple as these subjects may appear, it is for want of practising them in the early lessons on drawing that many persons after years of practise cannot produce a pleasing effect in foliage. The next object is a star, formed by large spear headed leaves, these are drawn from a point in the centre ; the subjects given here are only inserted to direct the attention of the learner to the sort of figures required, he can on waste paper draw them larger or smaller, or vary their shape at pleasure, all that is required is the attainment of the touch so that he may produce masses of foliage upon trees of different character. The remaining subjects are examples of the pointed leaves ; the first after the star is the touch for rushes and grass, which the learner will now be able to produce with ease, the next is a branch with spear shaped leaves, the branch is formed first in a curved direction, and the centre line of Plate ] i. PROGRESSIVE DRAWING-BOOK. 19 leaves drawn from it, and then the sides ; the large rose leaf shews how regularly the fibres of foliage are formed. The principal line is that in the centre from which all the others are drawn and the outline of the leaf formed with notches, all the other figures in this plate are repetitions of the angular touch, and the learner that has practised the circles will be surprised at the ease with which any of them may be produced, and, as before observed, he need not confine himself to the figures in this plate, but copy any that come under his notice after he has attained the circular and angular touch. LESSON VIII. The student will in this lesson enter upon the rudiments of the art of perspective, which is justly considered the grammar of drawing, as all subjects are governed by its rules; to make the instructions generally useful, we will suppose a person desirous of commencing his first drawing by attempting a representation of a square tower and cottage, and it is probable he would produce something like that seen at b in plate 8, and though this may be considered a caricature, it is quite as correct as the drawings of many persons that have been taught from copies, without being taught the rules of perspective when they first attempt to draw from nature, There is no intelligent person that could look at this sketch and not pronounce it incorrect, if he was asked to give the reason for this judgment he would reply, "that it woiald be impossible for a person standing on the ground to see the flat roof of the tower, that the lines in both cottage and tower run in various directions, that the figure of the man was out of proportion with the buildings, as he is much too tall to enter either of the door- ways, &c," and though the person pronouncing this opinion might not have it in his power to say how those errors should be altered, still his judgment would be correct, as every part of the drawing is out of perspective, 20 THE YOUTH'S and contrary to their appearance in nature; and the object of our enquiry is, whether there are any certain rules by which objects can be drawn upon a small or large scale, as they appear to the eye in nature ; to shew the effect of a knowledge of perspective, the same subject is shewn at a, where all the objections made to the first sketch are removed, the lines of the tower and cottage, and the height of the figure appear in true perspective. Before we apply the figures, points, or lines in drawing objects, it is necessary that the juvenile reader should become acquainted with the names of each, so that his mind may not be confused when he comes to apply them. If points are made at a and b, and the space filled up with a straight line, thus : a b this would in drawing be called a right line or a direct line, if the line bends thus : it is called a curved line. All lines that run at equal distances from each other thus : ^whether curved or straight, are called parallel lines. A line forming the bottom of the picture running directly across it, is called the terrestial line, or the ground line. A line rising directly from it, pointing upwards, is an upright, or as it is more properly called a perpen- dicular line. By referring to plate 8, at d two lines will be found running in opposite directions, that even with the bottom of the page is said to run in an horizontal direction, that which is upright, a perpendicular direction ; where these lines meet, they form a right angle, the point where any two lines meet form an angle, Dut if the lines are at a great distance from each other, like those at e, they form an obtuse angle, if the lines are close to each other, as at P,(they form a sharp point where they meet each other,) this is an acute angle, the square at g is formed by four outlines of equal length at rght angles with each other. The diagram at c shews PROGRESSIVE DRAWING-BOOK. 21 the lines commonly used in perspective drawings; the square board is supposed to contain the paper to be drawn upon, the line a b, is called the base or ground line of the picture, the line which runs across the board ending at p, is the horizontal line, the point at a is called the point of station, it is the spot where the person is sup- posed to stand when he is looking at any object in nature ; the point o, on the horizontal line is the point of sight; that at p is the point of distance. In a future lesson the use of these lines and points will be explained, but the juvenile student will find it much to his advantage to become acquainted with the names given to the lines and points before he practically applies them, as the terms will then be understood, and create no confused ideas when the mind should be wholly engaged upon the drawing he may be at work upon. LESSON IX. The picturespue subject selected for this lesson, given in plate 9, is a view of the ancient buildings that stood in Fleet Street, at the corner of Chancery Lane ; they escaped the great fire of London, and were taken down about forty years ago; they are not only interesting, as shewing the style of building in the leading thoroughfares of London, in the reign of Charles I. and II., but from the history of the houses themselves. The largest building in the centre of the picture, was the Harrow Tavern, a celebrated place of meeting of the profligate wits in the reign of Charles II., the house next door was the habitation of the celebrated Izaack Walton, whose Treatise on Angling is so well known, he resided in this house and carried on trade as a draper, in the year 1624. The buildings are excellent subjects to exercise the talents of the learner, they appear complicated, but if each part is taken separately, will not be found so in practise ; commence with the outline of the house on the right side of the plate, draw the post which first supports the angle of the buiding, 22 THE YOUTH'S then the large tran verse beam, and afterwards all below it, next the square windows above, take care to let the lines run in the direction they appear in the copy. In drawing the Harrow Tavern, commence with the lower story, draw a very faint outline of the various parts, so that it may be easily altered if required, be careful not to draw too large, make every story a separate drawing, by completely finishing the lower story before commencing another ; the outline must be left free, so that the beams, figures, and the windows, may appear ancient and crumbling. The dark touches under the windows must be bold and effective ; the student will perceive that the lines which runs across the different buildings all run in a slanting direction ; we shall have to refer to this subject again in a future lesson on perspective. In the mean time, the learner can practise either the whole or parts of the buildings, to acquire a bold, decided touch, and also to practise measuring by the eye, by placing points to ascertain the distance of one object from the other, as directed in the preceding lessons. LESSON X. The student that has practised the elements of foliage, given in Plate 7, will now proceed to draw the trunks and branches of trees. By referring to Plate 10, he will find five specimens of different trees, the largest is the hollow stem of a willow, which far outgrew the usual dimensions of this species of tree. This venerable remain stood near Sherborne in Dorsetshire, till it was blown down by the hurricane of 1837. The hollow of the stem was large enough to shelter a cow. This great space was not entirely produced by decay. The boys of the neighbourhood were continually increasing it with their knives, and in some instances, by making a bonfire within the tree. .Commence drawing this subject by drawing the outline of the bank upon Plate 17. PROGRESSIVE DRAWING-BOOK. 23 which it stood ; draw very lightly, so that the outline may not interfere with the touches for the grass and mshes. Proceed in the same way with the stem of the willow, commencing from the bottom, taking care to draw the outline correctly with a free, sketchy line, so that it may easily be formed in the rough bark of the tree. The light branches must next be drawn ; be careful to observe the direction they take, as they vary in every kind of tree. Put the dark parts of the tree in shade, with continued series of lines, as before directed; then go over those parts of the stem that are light with short jagged lines, running in the direction of the outline, giving the appearance of rough bark. The student will see by the copy that the lines must be crossed in parts; the darkest touches are given in the hollow of the tree, and on the sides of the branches that are in shade. The grass and rushes are merely the touch of the lower subjects of Plate 7. The water is formed by straight lines, broken at intervals to show the ripple. The large tree in the centre of this plate is the trunk of a beech; the bark of this tree is smooth, and shows very slight lines, running in a direction parallel with the edges, as shown in the plate. The third subject is the trunk of an elm; this is also hollow, and partly stripped of its bark. In all these subjects the student will observe that there is no hard lines, nothing stiff or angular; even the tallest pine trees, whose trunks seem perfectly upright, will be found to curve gracefully when correctly drawn ; in fact, nothing can be more out of nature, than the trunk of a tree drawn with a hard perpendicular line; yet it is a common error with many persons who have practised drawing for years. The two small subjects are inserted to show that trees may be drawn upright, and yet the stem and branches curve. The studeut will find no difficulty in copying the subjects in this plate; but he will find them of great use in future lessons : he should therefore draw them either with pen and ink, or pencil, till he can produce them with facility. 24 THE YOUTH'S LESSON XI. The subject for this lesson is taken from a sketch by Morland ; and the student will easily perceive how much can be done with a few touches of the pen, provided the outline of the object is drawn correctly. Com- mence the drawing with the animal standing up ; draw a very light outline of the whole of the figure, and be particularly careful in keeping the form of the head ; it will be of no consequence if the learner has to draw half a dozen outlines before he attains correctness, provided he keeps them light and sketchy; as the touch showing the rough coat of the ass will go over it, and blend with it. The features of the animal must next be correctly drawn ; the whole may then be put in shade with a free, bold touch, as seen in the copy. No direction will be requisite for the animal lying down, The herbage on the ground is formed as in the examples in Plate 7. LESSON XII. The cow seen in Plate 12, is copied from a sketch of an eminent Flemish painter named Cuyp. Unlike Morland, both his sketches and paintings were remarkable for their high finish and elaborate execution ; and it was to show the contrast in the two masters, that these lessons follow each other. In copying this subject, the learner must be careful in keeping the outline very light : commence with the head of the cow, and do not proceed with any other part of the animal till you are satisfied with the outline of the head ; then draw the line Plate 19. PROGRESSIVE DRAWING-BOOK. 25 extending from the back of the head to the lower part of the back ; the neck and legs must then be drawn. The whole may then be put in shade, with the exception of the strongest lights, as seen in the copy, The lines for the shade must be finely but freely drawn, and made to curve a little, according to the form of the outline. In the dark parts, lines are drawn across the first shade, and dark spirited touches for the darkest parts, given with a broad-nibbed pen. LESSON XIII. Plate XIII. contains a number of sketches of parts of animals to form the subject of this lesson, They are inserted to show the student how to commence sketching animals from nature. Take any part that is most favourable, and proceed as rapidly as possible ; it matters not to the student that would practise sketching from life, what part presents itself, First draw the outline, then observe the parts that are most in shade in- dicate the shadow with a few lines, and give a bold touch in the darkest part ; and then, if the position is favourable, proceed to draw other parts of the animal. Nothing but accurate observation and practice will enable the student to excel in drawings of this kind ; but almost any person will find sketching animals from life a more easy and agreeable task than they could previously imagine. LESSON XIV. The student that has practised the four last lessons, will find little difficulty in drawing the cart-horses in Plate 14. As in all other animals, commence drawing the head; then the outline of the back to the tail ; next the outline of the neck, and under part of the body ; then the legs. Care must be taken that every part is 26 THE YOUTH'S ■well proportioned, before the definite outline is made; by referring to the plate, the student will find that however coarse or wide apart the lines may be which form the shade, that every line is made to curve a little, to give roundness to the various parts of the body and limbs. The lessons now given on drawing animals, will suffice to enable the learner to draw any animal suf- ficiently well to form objects in a landscape ; and for this purpose, the rugged coat of the ass, the bony form of the cow, and the rough cart-horse, are more picturesque than the elegant form of the race-horse, or other animals in high condition. LESSON XV. There are few subjects that can be selected as an early lesson in picturesque architecture, that possess more historical interest than the ruin depicted in Plate 15, representing the remains of the building where the beautiful, the learned, and pious Lady Jane Grey was born and educated. The square tower still remains which contained the apartments appropriated to her use. These ruins formed part of the buildings of Brad- gate, a mansion of the Lords Grey of Groby, situated in a secluded valley, about four miles from the town of Leicester. It would be foreign to our purpose to enter into the history of this singularly gifted and unfortu- nate lady ; but for the information of our juvenile readers, we will briefly state, that she was the most learned female of her time ; and that on the death of King Edward the Sixth, she was, greatly against her own inclina- tions, obliged by her father, and other relatives, to assume the throne, and was proclaimed Queen of England, in opposition of themore legitimate title of QueenMary. The country declaring in favour of the latter, Jane was committed to theTower,and was beheaded during the reign of the vindictive and sanguinary Queen Mary. Plate 20. " A PROGRESSIVE DRAWING-BOOK. 27 The student will observe that the lines running across the tower, all appear to run downwards, in different directions, on each side of the tower ; and he will find it the same on the building at the side of it. The lines all run either to the point of distance, or to the point of sight, which are always placed on the horizontal line, as was shoAvn in the diagram c, in plate 8. The horizontal line as there stated is always the height of the eye of the spectator, let him stand where he may. In the drawing in Plate 15, the horizontal line would be drawn about the height of the wall, as that is only six feet high. There will be no occasion to remark on the foreground or trees in this lesson, as they have been so fully treated in the previous lessons on trees and foliage. LESSON XVI. Before we proceed further, it will be necessary for the student to become practically acquainted with the rules of Perspective. Hitherto the forms of the buildings selected as lessons in this work have been so simple, that without any knowledge of perspective, the intelligent student might copy them without com- mitting any glaring error ; but in those that will follow, it is necessary to have more precise information. The student is aware that he has been instructed to form an upright or perpendicular line, by placing one point exactly over each other; and in sketching from nature, or copying a picturesque drawing, a line formed in this way would be sufficiently correct ; but in architectural drawing, where every part must be drawn to scale, the true perspective will greatly depend on the first upright line, and is therefore necessary to raise a perpen- dicular line with mathematical precision. How this is effected will be seen at the diagram a, in plate 16. H you wish to draw a perpendicular on the base line, place the point of one leg of the compasses at any distance 28 THE YOUTHS you please from the point where you wish to make the perpendicular, and let the other leg extend a short distance on the other side of this point ; then draw faintly a part of a circle as described by the dotted lines in the diagram ; then measure the same distance from the point on the base line on the other side, and again draw part of a circle, and the two curved lines will intersect or cross each other. A line drawn from the point on the base line, exactly through these intersections, will be a true perpendicular, and will be right angles with the base line. The lines at b, are inserted to show what we mean when we make use of the terms upright, inclining - , or flat lines. The diagram at d, shows the cause why objects diminish in size the further they are removed from the eye. As we shall have to refer to this diagram at a future time, it is not necessary or convenient to burthen the memory of the student by describing it at the present time. The figure at c, describes a semi or half- circle ; it is introduced to show the student how angles are measured. In common conversation, a person in describing a hill, an ascending road, or a plank placed to get on board a vessel, will explain his meaning by stating, that it forms an angle of so many degrees ; but the person who is unacquainted how angles are measured by degrees, must still remain in total ignorance on the subject, A circle once formed, no matter what its size, is divided by mathematicians into 360 equal parts, measured on the circumference ; each of these parts is called a degree. The point where the leg of the compasses is placed, while the other leg describes the circumference, is called the centre of the circle ; and a straight line drawn from the circumference, directly through the centre, is called the diameter of the circle. This divides it into two equal parts, and as one part is sufficient for our purpose, we have given the semi or half circle. The line c drawn from the centre, is at right angles with the diameter. The line d inclines from a right angle, as seen on the circumference, 20 degrees. The line e describes an angle of 70 degrees; and the student will see at a glance, that a board placed at PROGRESSIVE DRAWING-BOOK. 29 SO degrees would be much easier to ascend, than one placed at an angle of 50 degrees ; and that if it was an angle of 40 degrees, he could not ascend a plain board, but must have the assistance of steps, as in the ladder, which may be ascended with safety at an angle of 10 degrees. It may be necessary to remark, that trie quadrant of the circle is separated into divisions of 10 degrees, to avoid a multiplicity of figures. For astro- nomical purposes, each degree is divided into sixty minutes, and each minute into sixty seconds. A line drawn from one part of the circumference to another, like the line at b, is called a chord, and the same space between the line and the circumference is called an arc ; thus the space a is an arc of 90 degrees, inclosing an arc of 90 degrees. Angles of any number of sides may be found, by calculating the degrees on the circle. Thus, suppose a five sided angle was required, it will only be necessary to find the fifth of 360, which is 72. Draw- five chords of 72 degrees within the circle, and you have an angle of five sides. If you require an octagon or angle of eight sides, divide 306 by 8, and the number of degrees will be 45; draw eight chords of 45 degrees within the circumference, and the octagon will be obtained. Having detailed and explained most of the geometrical terms which are used in Perspective, we will proceed at once to the practical part of that highly useful art, commencing with the method of putting flat subjects in perspective. At the diagram marked e, the student will find a stone about two yards square ; he will first have to measure any space according to the scale representing two yards upon the base line, and make points at either end ; then draw lines from these points to the point of sight in the centre of the horizontal line ; then draw a line parallel to the base line, on any part of the plain, between the two lines drawn to the point of sight, and it will give that side of the square nearest the eye. This line is marked c in the diagram ; from the end of this line at c, draw a line to the point of distance, and it will intersect the lines drawn to the point of sight at o: at this intersection draw another line parallel to the base, and you have the true perspective of the square. 30 THE YOUTH'S The diagram at f shows the same square put in perspective, when placed in a slanting direction from the point of sight, and also when placed opposite to it at a greater distance from the base line, a a is the base line ; c b the horizontal line; b the point of sight; c the point of distance. We shall have to refer to this diagram again when treating on the proper place for the points of distance. The diagram marked g, shows a number of black and white squares, put in perspective ; to get them all, it is only necessary to measure the first one on the base line, as the student will see by referring to the diagram, that diagonal lines drawn from the angle of the first square, will give the base of the next, and so on in suc- cession for any number of squares. LESSON XVII. The student will observe that we have, in order to render the lesson more pleasing, introduced a variety of objects. The subject selected for this lesson (Plate 17), is the church, situated within the walls of Porchester Castle, in Hampshire. The church is dedicated to St. Mary, and is one of those ancient buildings usually called Saxon. It is not unlikely that some parts of this venerable fabric may have existed long previous to the Norman conquest, as the great tower of the castle was undoubtedly a Saxon building: but the greater part of the present church was erected in the reign of Henry I., who founded on the spot a monastery of Austin or Black Canons, in 1153 ; and the ornaments both of the interior and exterior, were most likely the workman- ship of that period ; and the western entrance is an excellent specimen of that style of building called Anglo-Norman, and that of an early period. In drawing- this subject, according to the rules of perspective, it will be necessary to place the horizontal line about the height of the capitals of the columns on each side of the PROGRESSIVE DRAWING-BOOK. 31 west door. In drawing this subject, the artist stood opposite to the perpendicular line that is nearest the eye, and consequently none of the lines of the building could be drawn to the point of sight, but must be drawn to points of distance : on either side of it, these points could not be shown in a drawing of the size on so small a space ; but the learner can easily discover where they are placed, by drawing a long horizontal line, and then draw a line from the roof of the nave of the church, till it intersects the horizontal line, and the place where they cross or intersect each other, is the place where the point of distance should be placed. A line drawn from the light side of the lower part of the roof of the tower to the horizontal line, will give the distance on the other side of the point of sight, both of which points will be found to be a considerable distance out of the picture. These points accurately ascertained, proceed by drawing the perpendicular line nearest the eye ; then the slightly projecting buttresses. The lines forming the top and bottom of the buttresses are all drawn to the left hand distance point; the courses of stones, in fact every line that runs across the west front and the light side of the transept, and the tower, all are drawn to the same point, while all the lines of the building that are in shade, are drawn to the point on the right hand side, whether above or below the horizon. The roof of this building is nearly covered with ivy. It is merely small touches of the round figure given in Place 7. shaded in parts, with a succession of dark touches. The student will recognize in this subject the character of the Anglo- Norman style of architecture ; and if ajbuilding comes under his observation having semicircular headed win- dows, broad but slightly projecting buttresses, semicircular or horse-shoe shaped doorways, formed with a suc- cession of highly ornamented mouldings, he may fairly conclude that it was erected soon after the Norman conquest, as this style of architecture prevailed from that time to the end of the reign of Henry the Second, in- cluding a period of 123 years. 32 THE YOUTH S LESSON XVIII. The style of architecture that succeeded the Norman, had its origin in this country, and is therefore called by architects the early English style. In this style of architecture, the semicircular windows are disused. The openings for the windows are lofty and narrow, and terminate in pointed arches, the shape of a modern lancet ; and for this reason they have obtained the name of lancet windows. It will not be advisable for the student to attempt to draw either of these subjects contained in Plate 18, at the present time ; they are inserted here merely to contrast with the Anglo-Norman style of architecture ; and we shall have to refer to them when we remark upon Gothic windows. LESSON XIX. The subject selected for this lesson is an ancient wharf on the River Ouse. The learner will be able to put this subject in true perspective, by drawing the horizontal line about half the height of the doorway : this line must of course be taken beyond the picture. A line drawn from the lower part of the roof and the base of the columns, will intersect or cross each other on the horizontal line where the intersection takes place ; mark the point of distance : the student has already been informed, that all the lines running parallel with the base of the building, must run to this point ; and he has only to ascertain the height of the column or side of the door or window nearest the eye, and he can easily find their upper and lower lines, by drawing them to the Plate 24. PROGRESSIVE DRAWING-BOOK. 33 point of distance marked on the horizontal line. The student will observe, that more care is taken in finish- ing this subject than in others that have preceded it ; the lines are finer, and the light and shade are not so strongly contrasted as in the subjects previously given ; every part is more defined, but at the same time the greatest freedom of touch must be retained. The tiling on the roof is sunk in parts and raised in others. The touches of foliage upon the tiles must be accurately copied ; the front of the building, if it Avas new, would show a flat, white surface ; but time has taken the mortar from between the stones, and has corroded the face of the masonry ; all this must be shown by touches as seen in the copy. The columns that support the projecting roof are circular ; the learner will find by referring to the plate, that the darkest part of the shade upon them is not taken to the outline, but is left a short distance from the centre ; the lighter part left on the side of the column that is in shade, shows the reflected light from the front of the building. The open building on the left side of the drawing is an elevation; the lines run even with the eye. This part of the drawing is not in dark shade like the end of the building in perspective ; neither is it quite light, like the front of the warehouse between the columns ; it is a colour between light and shade, which in drawing is called the middle tint, and it is this tint which generally occupies the greatest space in a drawing. There are more gradations of tint in drawings that are coloured, than need be introduced in those produced with the pen and ink or pencil ; but the learner will find that it will be necessary in many cases to make the middle tint a little darker or lighter in particular parts, these are called half tints. The lower part of the boards in the subject of this lesson are a half tint lighter than the upper part of the building ; and they have a more pleasing effect than could be produced by one uniform tint. F 34 THE YOUTH'S LESSON XX. In order to prevent the possibility of a mistake, as to taking the horizontal line beyond the picture. Plate 20 is introduced in this place. All the objects to be drawn in perspective, are inclosed by the thick black lines forming a square. The dotted line a b is the horizontal line, and those letters also indicate the points of distance ; and the student will see by referring to the plate, that the lines are parallel to the base of the wall with the doorway, fig. 1. The block of stone beneath the horizon, and the thin column that is so much above the horizon, all run to the point on the horizontal line at a or b. The student may naturally ask whether the artist that draws from a building, uses the ruler to ascertain the places of those points and lines; he does not, but the rules are familiar to him, and he applies them in his mind, though he may not absolutely draw the lines. The architectural draughtsman in all cases uses the ruler, and, of course, he forms all the lines and points to which the attention of the learner has been directed in the preceding lessons. LESSON XXI. In accordance with the request of many of our juvenile pupils, Plate 19 contains sketches of parts of horses. The style of outline used for smooth-skinned animals should be like the bare outline of the hind quarters of a racer, the first object represented in this plate. The lines for the shade should run the same way, and be quite as close together as in the subject beneath it. The other objects are all sketches from nature. Without reference to beauty or deformity, the draughtsman has not only to depict the symmetry or elegance of an animal,— his office is to give a faithful portrait of the object before him, be it what it may. Plate 26. PROGRESSIVE DRAWING-BOOK. 35 LESSON XXII. The diagrams in this lesson are intended to show the learner how the ground plan of a church or hall may be put in perspective. The diagram, fig. I, shews the ground plan of a hall, 24 feet wide and 42 feet long, having four pairs of columns, at equal distances from each other, on either side of the hall. If the learner chooses to make a scale to measure this ground plan, he will find we have taken a sixteenth part of an inch to a foot, and that there are three feet in each square. The division of ground plans by scale will form part of our directions to the architectural draughtsman ; the dimensions are given for the information of adult students. When the ground plan is drawn, draw a base line a b, and place a point for the point of sight at c ; then from the lines of the ground plan draw lines to the point of sight ; this done, from the angle at b draw a diagonal line to the point of distance, which is not shown, but which would be upon the horizontal line, if that line was extended far enough. The learner will see by referring to the plate, that the diagonal line crosses all the lines drawn to the point of sight ; and if lines parallel to the base are drawn at each intersec- tion, it will give the perspective of 8 squares of the ground plan. Another diagonal line, drawn from the angle where the 8 squares terminate, will give 8 more. The squares might be measured by this means for an immense distance ; in this case we only require six squares to make up the fourteen, and the whole of the ground plan is in perspective. It will be easy to mark the base of the columns on the ground plan, on the corresponding squares of the perspective, plain. Fig. 3 shows the method of putting a circle in perspective : a square is first drawn and divided into compartments ; in this figure it is divided into sixteen. The circle is drawn in this square touching every side of it, crossing the compartments at equal distances ; let one side of 36 THE YOUTH S the square form a base line a, then as before directed, draw lines to the point of sight on the horizontal line, and a diagonal line across them to the point of distance ; this will give the square at b, and the intersections of the diagonal line with the lines drawn to the point of sight will show the perspective of the divisions. Form the circle on the perspective plain, making it pass through each division as in the square below, and the circle will be seen in perspective. Fig. 3 is merely a repetition of fig. 1. Reversing the objects here, the blocks are made to hang from the ceiling; but it will be seen that they each occupy a square, measured in the same way as if drawn upon the ground plan. Figs. 4 and 5 show the usual way of inclosing semicircles and arches in squares ; and also the way in which the squares are divided, to draw the objects contained within them in perspective. Fig. 6 is a spiral line called a volute ; it is merely inserted here to make the juvenile learner acquainted with the figure. Its use, and the way in which it is produced, will be shown in our remarks on Greek and Roman architecture. LESSON XXIII. The pleasing subject selected for this lesson is a sketch on the beach at Hastings. The learner that has fully studied the preceding examples, will at a glance observe, that the natural horizon (that is, the line formed where the sky and water appear to touch each other), is placed much higher in the picture than it ought to be, if the horizontal line is always the height of a man's head. The observation would be correct, if the sketcher was standing on level ground, or as it is called in perspective, on the same plane ; but in the marine drawing under consideration, Plate 23, the sketcher was standing on an eminence, which, of course^ PROGRESSIVE DRAWING-BOOK. 37 increases the height of the horizon. The great beauty of a picture depends upon the determining of the height of the horizontal line with correctness ; and we shall in a future lesson enter more fully into the subject. The objects forming the foreground of this subject are all so easy, that they require no remark. The learner must attend to the lines forming the sea, and he will find that the lines forming the waves are much stronger and wider apart, and the curves much larger, as they approach the foreground. The juvenile student will find that the hull of the vessel in the extreme distance is not visible ; this is caused by the figure of the world we inhabit. We cannot enter into a subject of this kind in a treatise on drawing, but it was necessary to mention it, to show the juvenile learner that the omission of the hull of the ship was intentional. LESSON XXIV. Plate 24 is from a sketch made on the Kentish coast, near Dover, taken the day after a violent storm. During the height of its rage, a French merchant vessel was wrecked upon the rocks; and its masts, spars, and part of the cargo were scattered in every direction upon the rocky beach. However melancholy the loss of property, the wreck formed a picturesque drawing, and it is introduced as the subject for this lesson in con- nexion with the preceding lesson, to show the curves forming the weaves of the sea when in a greater degree of agitation. The student will commence this drawing by making a faint outline of the mass of rocks near the ship ; then sketch a faint outline of the hull of the vessel, and the broken rocks near it ; the sea, and the distant mass of the chalk cliff must be also faintly sketched either with pencil or pale ink. As soon as the true form of the different masses is obtained in a free, sketchy outline, commence the definite drawing at the sky; 38 THE YOUTH S let the curved lines forming the clouds be unbroken, but of different sizes and forms; but in all cases light and delicate. If the flat tint of the sky is intended to be dark, the lines are drawn close to each other; if light, as in the drawing under consideration, they are wide apart; but should in both cases be as fine as possible. The sky finished, proceed with the chalk cliffs in the distance ; the markings on this mass must be fine, and with a light-coloured ink. The smooth water running into the bay, is drawn with slightly undulating lines, close to each other. The waves that approach the foreground with light curved lines, formed stronger and darker as they approach the beach, leaving white spaces between them to show the breakers. The hull of the ship must then be drawn in a middle tint, formed with short lines, running in the direction of the timbers of the vessel, The dark touches are added afterwards : be particularly careful with the masts and rigging ; let the lines for the ropes be firm and decided, as they will spoil the whole effect of the drawing if they appear broken or stiff. The objects in the foreground require attention, and finish, but their forms are so simple, that they will be easily drawn by students that have practised the preceding lessons. LESSON XXV. Many beautiful specimens of ancient architecture and sculpture are mouldering in secluded parts of Great Britain, which have escaped the search of most diligent antiquaries. The subject selected for this lesson was an elegant chapel, erected by some of the ancestors of the Lee family, at Quarrendon, near Ayles- bury in Buckinghamshire. The monuments in the chancel are much mutilated, but have been exceedingly beautiful. The whole is now in ruins, and forms a picturesque subject for the learner to exercise his talents, Plate 29. PROGRESSIVE DRAWING-BOOK. 39 in producing a good drawing with the pen and ink or pencil, and also in putting an interior in perspective. The learner will find that the point of sight in Plate 25 is in the chancel, immediately under the second light of the window. Having found this point, the student will ascertain the proper height and distance of the wall above the arches on either side; another line drawn from the springing of the arches, will show the upper members of the columns supporting the arches. All these lines will run downwards towards the point of sight; the line drawn from their base will run upwards. This has been frequently stated before ; but we have never had so good an opportunity of showing it as in this subject. The walls on either side bound the view, and there will therefore require no points of distance. The student must in copying this drawing draw the perspective of the arches as nearly as possible by the eye ; there is a rule for drawing them which will be fully detailed in a future lesson. The learner will observe the touches on the walls, showing the cracks and uneven surface ; no touch should be made without an object. The lines forming the boarding of the roof shoulfl all run as they would in the grain of the wood in nature ; the masses of foliage should be drawn with spirit, and the dark touches added with a broad-nibbed pen. The style of architecture of this interesting ruin will be noticed in a future lesson. LESSON XXVI. The author of this work has endeavoured to draw the attention of the juvenile student gradually from one subject to another, so that he may feel the necessity for further information before it is presentedto his notice by the teacher : thus, in the previous lessons we have stated, where the horizontal line is placed in 40 THE YOUTH'S • the subject immediately under consideration, but have given no positive rules for the true height of the horizon in all cases that can come under the student's notice. This important position of the art of drawing and per- spective will form the subject of this lesson. If the juvenile reader of this work pays a visit to the sea coast, and turns his face towards the sea, he will observe that in the extreme distance the water and sky seem to meet and blend together; this is the natural horizon : thus we frequently read of the sun rising above the horizon, or sinking beneath it, or in stormy weather, that clouds obscure the horizon. In the first of the small subjects in Plate 26, a man is seen standing in the foreground of the picture, looking towards the centre ; the line a that runs across the picture represents the natural horizon ; and no matter how distant or how numerous the objects that may be presented to his view, if they are not taller than himself they will all come below this line. Thus, the man and boy seen in another part of this picture— the head of the man in the distance is the same height as that of the figure in the foreground, the boy being shorter, is below the horizon. If there was a regiment of soldiers, their heads would all be on a level, if they stood on a flat surface, or to use the terms of perspective, on the same plane ; and as this is the case, the student on viewing any point or drawing representing a level street, where the figures in the distance are drawn walking and riding above the heads of the figures in the foreground, will conclude that the painter was not sufficiently acquainted with the art of perspective. This unnatural effect, which is very common among artists, that in other respects rank highly in public estimation, arises from their placing the horizon too high ; this will be seen by referring to the second subject in Plate 26. In this the same figure is placed in the foreground, but the horizontal line is placed far above his head, and consequently, if it was possible for him to see the sun rise, it would appear to be rising above a high wall. In this subject every object is correctly drawn to the point of sight a on the horizontal line, and yet the most unpractised eye will at Plate 30. PROGRESSIVE DRAWING-BOOK. n once detect that there is something wrong in the perspective ; the objects all appear as if placed on a steep ascent ; the top of the square block to the right of the figure as seen, though it is much higher than the man, and the distant figures are walking over those in the foreground : all these errors are caused by placing the horizontal line too high. The third square in Plate 26 shows the effect of the horizontal line being placed too low ; here the figure is sitting on the ground, the true horizon is still the height of his eye, but the perspective plane is too circum- scribed to produce a pleasing effect ; many prints that are published at the present time have this defect. Buildings in perspective where the horizon is placed too low, decrease too rapidly, like the block of stone seen to the right of the figure in this example. This error is often made in drawing the interior of rooms, the con- sequence is that the ceiling occupies the greatest portion of the picture, and the ground plane is so contracted that furniture and other objects become confused and obscured. The remarks made upon the three drawings will be sufficient to convince any intelligent reader that the first is the most natural, and therefore the most pleasing height of the horizon. In sketching from nature, the learner will always be able to determine the height of the horizon, by placing a stick parallel with his eyes, at about a foot distant from them ; by this means, he can easily see all the objects as they would appear if the natural horizon was clearly before him. The fourth compartment in Plate 13, shows the only use of placing the horizontal line near the top of the picture: here the draughtsman is supposed to be placed on an eminence, and viewing the objects as a bird would see them while flying over them. Drawings of this kind are called birds-eye view's, and are very useful when the ground plan of an extended space is to be accurately defined: in the subject before us, the house and the pleasure-ground, with its various divisions, can be plainly seen ; but it may be more properly called a ground plan than a picture. Fortifications are always drawn in this manner, so that the various parts may be seen at one view. g 42 THE YOUTHS LESSON XXVII. Plate 27 contains a sketch of a sow and pigs, after Morland ; the animals are skilfully grouped. The learner that has carefully copied the preceding lessons, will find little difficulty in producing the drawing before him ; he must proceed as before directed, that is, by sketching a faint outline of the animal nearest the eye, taking care to have it the proper size ; proceed in the same way till the whole group is properly sketched, He may then proceed to make a distinct, dark outline, and add the markings on the animals as seen in the copy. LESSON XXVIII. The learner may remember that we informed him that the Church at Porchester, Hampshire, Plate 17, was an early specimen of Anglo-Norman architecture. The beautiful doorway selected as the subject for this lesson is a specimen of the latter style of Norman architecture, when the pointed arch began to be blended witfT saracenic ornament. There has been great controversy among architects as to the origin of the pointed are%; it would be an unprofitable use of time, even if the nature of this work would allow it, to enter the field of research upon so unimportant a subject ; but it is almost impossible to view the disposition of the ornaments in connexion with the pointed arch in this doorway, and not suppose that it was the work of a Crusader* who had been familiar with oriental architecture. V- PROGRESSIVE DRAWING-BOOK. 43 Every line in this subject is so distinct, and the principal mass is so broad, that the student will require but little direction in drawing this doorway. First draw the horizontal line, which in this subject will be as high as the lower part of the third panel of the door ; of course no part of the line need be seen in the drawing. When the horizontal line is drawn, commence with the upright line that is nearest the eye, which in this subject is the centre line of the lower part of the buttress; when the height is determined, fix the point of distance on the horizontal line, and towards that draw the slanting stones that project over the upright lines ; of course, all the lines that run parallel with the base of the building, run to the point of distance ; and in drawing the faint outline of this drawing, a rule may be used for every part, even for the courses of stones forming the front wall ; but care must be taken when the dark outline is formed, so to break and vary every part that no trace of the use of the ruler may be seen, and yet every part appear in true perspective. In drawing the doorway, commence with the columns on each side of it, taking care to get them the proper height and thickness, then draw the small pointed arch, then the large horse-shoe arch: take care to keep the distance between the two arches complete in every part. Commence the smallest zig-zag ornament by drawing the first angle over the centre of the pointed arch, and continue them on each side of it till they come to the projecting stones above the columns ; then form the larger zig-zag, and they will give the admeasurement of the other ornaments. It is in subjects of this kind that the pen and ink may be used to the greatest ad- vantage ; the lines may be drawn finer and with more spirit than by any other means, and at the same time a greater depth of shade be obtained. The student will see the effect of a dark middle tint opposed to strong shade, both on the buttress and on the door. The shadow on the aperture in the wall for the small-grated window, is purposely left in the darkest shade to enable the student to contrast it with the effect given on the door and the dark side ef the buttress. The discriminating observer will see that the window bein^ further 41 THE YOUTHS removed from the eye of the spectator, the shadow should not appear so dark as it does on the buttress. The learner will make his drawing look better than the copy, if he makes the lower part of the shade of the recess in the wall much lighter. LESSON XXIX. The pleasing subject selected for this lesson is from a painting by Stephen Taylor, the justly celebrated animal painter. The learner will find subjects of this sort well adapted for his first essay in sketching animals from nature : the woodcocks and the hare are supposed to be just taken from the basket, and thrown carelessly upon a dresser. Commence the drawing with one of the birds ; first sketch the head, then the outline of the body, and finish with the wings and legs ; let no part appear stiff and hard; the outline must be very loose, or it would be impossible to convert it into the appearance of feathers. Proceed with the other bird and the hare in the same way ; then proceed to form the lines with a fine pen, let them run in accordance with the outline upon different parts of the birds, and also for the fur upon the hare ; the lines must all be fine, even in the darkest parts ; the depth of shade is produced by drawing the lines very close together. The straw will require free, bold touches, taking care not to make too many of them ; the lines should not be continued of the same thickness their whole length, but made to end in a point; this is easily done if the pen is filled with colour; press rather hard upon it when first applied to the paper, and bring it off lightly. It is difficult to describe this touch in writing, but the learner will find little difficulty in practice. Plate 34. PROGRESSIVE DRAWING-BOOK. 45 LESSON XXX. In this lesson the animals are introduced as the appropriate figures of the landscape. Plate 30 will be found one of the most pleasing subjects that has been presented to the notice of the learner ; there is no part of this drawing that the student has not produced separately in the preceding lessons, and he will therefore have little difficulty in connecting them in the drawing under consideration. Commence with the stump of the large tree in the foreground ; draw with freedom and correctness merely from the outline, the markings on the stump must be left for the last touches. Sketch the cows, and also a line or two for the water, then the high bank and the centre mass of trees ; the distant foliage and mountains must be carefully drawn with the light ink, as they will require no dark touches upon them. Having drawn the whole of the outline, commence finishing upon the trees in the centre ; by sketching that part of the mass in the strongest light, the student will find that it is formed of a succession of angular leaves, described in Lesson 7 ; he must use his taste and judgment in clustering them together, so that they may form pendant branches, and not lumpy, unsightly masses ; between these branches mark that part of the tree that is in middle tint with a continuation of short lines, like those seen upon the distant foliage in the plate before us, taking care to leave the edges of the leaves forming the light mass clear and distinct; with this touch go over every part of the mass in shade, then draw the trunk and connecting branches. The mass of trees are now in light and middle tint, and only require the shade to give life and spirit to the whole ; this is given by going over the darker parts of the mass with the touch for foliage, as shown on the light parts of the tree. The learner will find it is by this touch he can vary the form of the trees, by taking the leaves in some places beyond the outline of the mass ; by this means the 46 THE YOUTHS edges will become light and airy : nothing can be worse than hard, lumpy masses of foliage, looking like puddings piled upon each other. The learner will find when he commences sketching from nature, that he will be liable to run into this error, unless he proceeds as directed in this lesson. The water is merely a succession of lines running in an horizontal direction, leaving lights for the reflection of the cows; the animals are so simple they require no remark : the dark cliff must be shaded with spirit, first putting the whole in middle tint, with long, free lines drawn closely together, and the darkest touches added with a broad-nibbed pen, with black ink ; the stump of the tree is the foreground must be finished in every part. The light rushes seen in the water and at the foot of the tree are taken out with the point of a penknife, after every other part is finished. LESSON XXXI. Students that have practised the preceding lessons may now commence sketching from nature and they will find it a far more pleasing study then copying drawings. The subject selected to show the style of sketching is a picturesque Bridge and Waterfall, Plate 31. The student will see that the masses are sketched slightly, the outline alone is distinct; the light and shade are formed with a few lines, sufficient to indicate the shadows at any future time when a finished drawing is required. We shall have to refer to this drawing again in a future lesson ; it is merely inserted here to show the student how slight a sketch will be sufficient to depict picturesque scenery when the outline is correct. PROGRESSIVE DRAWING-BOOK. 47 LESSON XXXII. As we shall shortly proceed with the drawings of the various styles of Gothic architecture, it will he necessary to inform the learner how to put arches into perspective, which he will be able to effect by practising the diagrams in Plate 32. The lower diagram shows a range of semicircular arches, drawn to admeasurement, and put in perspective ; the height of the arch is eight feet from the base line ; the height of the walls or piers which support the arches are six feet ; the width between the piers is four feet : in this diagram we see one arch in elevation and three in perspective. In order to produce this figure, we must first form a scale of the same dimensions as that in the plate marked d. The student will find that it contains twelve divisions of equal length ; each of those divisions represent a foot ; and it is by this scale the diagrams in this plate are measured. Proceed first to draw the base line e, and upon this line measure sixteen feet, that being the space occupied by the four arches ; then draw the horizontal line a b : proceed to draw the first perpendicular line, forming the pier for the support of the arch in elevation ; this line is at right angles to the base, is six feet high, and may be measured by the length of six divisions on the scale; then measure four feet on the base, making a point at the fourth foot, from this point raise another perpedicular of six feet ; draw a line from the top of one uprigh tt o the other parallel with the base, then add two feet more to the height of the upright lines, and connect them by another line, forming the top of the square. The spring of the arch froni the top of the pier is two feet ; the centre may be found by measuring two feet upon the line drawn from the top of one pier to the other. Place one leg of the compasses upon the centre and the other on the top of the pier, and trace the semicircle to the top of the opposite pier, and the arch in elevation is complete. 48 THE YOUTH'S Having drawn the pier and the arch in elevation, the student will find the semicircle formed in the square divided by diagonal lines ; an upright line is then drawn through the centre of the square, and also a line drawn through the centre parallel with the base ; another line is drawn parallel with the base, crossing the intersection of the semicircle and the diagonal lines. The use of this division of the arch will be seen presently. The student must now determine the height of the horizontal line, which in this drawing is formed at a b ; the point of sight is at A ; the point of distance b. Proceed to measure the width of as many arches as are required on the base line e, according to scale ; then from the base of the line of the pier in elevation nearest the eye draw a line to the point of sight, this will give the base of all the arches in per- spective. Lines drawn from the top of the pier and the divisions of the arch to the point of sight, will show the height and divisions of the whole of the arches : then draw lines from the points of admeasurement on the base line e to the point of distance b, and where these lines cross the line running to a, is the true perspective dis-« tance between the piers. In this diagram we have only drawn three arches, but the intelligent student will easily perceive, that by extending the base line e, and repeating the admeasurement upon it, that any number of arches required might be drawn with the same ease and certainty. We have now got the height and width of the space between the piers, and the squares for the arches. In drawing the semicircular arch in elevation the bow pen was used, but this cannot be used on the arches in perspective to find the semicircle. The squares must be divided as the square in elevation, and the arch be described by drawing it by hand through the inter- section. ^The diagram at c is a repetition of the diagram just described, with the exception that the arches are pointed and spring from the base instead of springing from piers. In a future lesson we shall show the manner in which arches of any shape may be formed, but when seen in perspective, they are all drawn according to the rule given in this lesson. PROGRESSIVE DRAWING-BOOK. LESSON XXXIII. The subject selected for this lesson (Plate 33), is the head of a pointed arched window, in the third, or decorated style of English architecture : it is introduced for the purpose of enabling the student to put the arch and the work within it in perspective, according to the rules laid down in the preceding lesson. We shall have to refer to Plate 33 when we enter upon the description of this style of building. LESSON XXXIV. Plate 34 contains a sketch of a stile and bridge near Eyde, in the Isle of Wight. It is drawn very loose and free ; the dark touches are given with spirit, In the preceding lessons we have avoided the intro- duction of human figures, that the student might not have his mind encumbered with too many subjects at onetime; but he is now so far advanced in the art of drawing landscape, picturesque architecture, and per. spective, that it becomes necessary to enter upon the study of the human figure, so that animation may be given to the various scenes which the learner may attempt to sketch from nature. The student will commence this drawing as he has been directed in buildings, viz. with the first upright objects nearest the eye, which are the posts on the side of the bridge; then with the posts which support the rails of the stile ; then draw the stones forming the bridge ; next the limbs of trees that form the hand-rails, and the rails of the stile. Pro- ceed to draw the figure of the boy upon the upper rail, by first sketching the oval of his head; place touches for the eyes about the centre of the oval, and a touch for the nose and mouth at equal distances below the H 50 THE YOUTH'S eyes: the learner need not be very particular about the formation of the features. In sketching figures from nature, the slightest indications of them will be sufficient; if he attempts to produce likeness, it is another branch of the art of drawing, and will require much study of the anatomy of the human head ; but for pic- turesque figures to enliven a landscape, a slight knowledge of the proportions of the human figure will suffice. Having drawn the head of the boy, cover it with his hat ; then draw the arm, hand, and the outline of the frock ; then draw the leg and foot. This is a very easy figure, and the student will find that by taking every part separately in the first outline, as though he was only going to make a drawing of that part of the figure, and afterwards connecting them with the dark outline, but little difficulty in drawing rustic figures, in whatever position they may be placed. LESSON XXXV. We are now about to enter upon a new and important branch of the Art of Drawing, viz. the human figure. In several of the preceding lessons it has been shown how necessary a knowledge of the proportions of the human figure is to landscape and architectural draughtsmen. As a matter of amusement, this branch of drawing is most interesting, as being the highest point of art to which the student can aspire, While to the mechanic and artisan, who are employed on works of decoration, &c, this knowledge is indispensable. It may be necessary to remark, that to the artist who intends making portrait painting a profession, it will be necessary for him to study the anatomy of the human figure, as exhibited in the bones and muscles. There are many cheap and good works now published which will assist him in the attainment- -of this knowledge ; and Plate 38. PROGRESSIVE DRAWING-BOOK. 51 he should endeavour to make himself acquainted with the names and forms of the bones and muscles, before he attempts to draw the human figure. It is to the want of this information, which may be easily attained, that so many persons fail as portrait and historical painters. The study of anatomy would occupy too much time for persons that merely require a general knowledge of the proportions : certain rules have been laid down, which will in a great degree supply the place of anatomical knowledge. The rule as applied to the human head will be found in Plate 35 : the front face in this plate is commenced by drawing the outline of the head ; this is oval, or rather the shape of an egg, it being round at the top, and rather smaller at the lower part of the chin ; the oval is then equally divided by a perpendicular line marked a a ; this line is divided into four equal parts and parallel lines from each part drawn across the oval. By referring to the diagram, the learner will find that the first space is occupied by. the hair; that on the upper eyelids, is placed upon the centre line ; and that, the nose and ears occupy the third space. The fourth division is subdivided into two parts ; the one containing the covering of the upper jaw, beneath the nose and the upper lip : the lower division contains the under lip and the chin. By this means the distance between each feature may be ascertained ; and by again dividing the oval by upright lines, the comparative width will be seen— thus, the nose and mouth occupy the division marked No. 3, the eyes an equal space, 2 and 4. It is not to be supposed that every head that can come under the reader's notice will accord strictly with this rule, but it will apply generally ; or that in drawing the human head, either from a plate, plaster cast, or from nature, that it is necessary to divide the outline according to this diagram, it is only necessary that he should have the rules in his mind. Thus the learner, when he has made half a dozen drawings of various heads accordingto this rule, will ever after recollect that the eyes are in the middle of the head ; that the ears and nose are of the same length; and that the side face in Plate 35, is merely an exemplification of the same rules seen in profile. 52 THE YOUTH'S LESSON XXXVI. The subject selected for this lesson is the ancient gateway called West Gate, the principal entrance to the City of Canterbury. It is, perhaps, the most perfect building of the kind in the kingdom ; the upper part is still used as the city prison. The gateway is between two lofty circular towers ; it is embattled, portcullised, and machecollated. The embattlements are the openings on the top of the tower, through which its defenders hurled their missiles, or shot their arrows upon the besiegers. The portcullis was a grate spiked at the bottom to let fall in case of surprise ; it was let down through grooves in the stone-work of the gate. The portcullis is now removed. The church to the right of the gate is called Holy Cross ; it is an ancient building, and adds much to the picturesque effect of the entrance to this ancient city. In drawing this subject, commence with the round tower nearest the eye ; let the touches to represent the stones curve a little ; and in marking the darkest shade, take care to soften it off, by making the lines a little wider apart towards the edge, otherwise the towers will lose their rotundity and appear harsh at the outline. Thelearner is by this time so well grounded in the rudiments of perspective, that the rules applicable to this subject need not be pointed out. The lines forming the sky should run parallel to each other in a wavy direc- tion. This may be easily effected by a tremulous motion of the hand. If the lines were drawn quite straight they would appear hard, and would not contrast with the hard lines of the architecture. V Plate 40. PROGRESSIVE DRAWING-BOOK. 53 LESSON XXXVII. The artist that is desirous of depicting bold romantic scenc^v. will find ample employment for his pencil in the coast scenery of England. The subject selected for this Lesson, Plate 37, forms the loftiest part of the chalk cliffs at Dover, and is not only interesting as a picturesque object, from its gigantic height and bold outline, but from the poetical and graphic description given by Shakspeare. " Here's the place !— Stand still !— How fearful and dizzy 'tis to cast our eyes so low !" "The crows and choughs that wing the midway air Show scarce so gross as beetles : half way down Hangs one that gathers samphire ; dreadful trade ! Methinks, he seems no bigger than his head ; 1 The fishermen that walk upon the beach Appear like mice ; and yon tall anchoring bark Diminished to her cock, her cock a buoy Almost too small for sight: the murmuring surge, That on the unnumbered idle pebbles chafes, Cannot be heard so high. I'll look no more, Lest my brain turn, and the deficient sight Topple down headlong." The view in Plate 37 is taken from the sea at high water. The outline of the cliff will be easily drawn, and also very light indications of the shape of the clouds. It will also be necessary to draw a faint outline of 54 THE YOUTHS the waves, so that they may be made to keep flowing in one direction, and yet not present a disagreeable ■aniformity. The shadows on the cliff must be drawn with fine lines, drawn in various directions, according to the breaks in the chalk. The lines should all be of the same thickness, but drawn close together, when the tint is required to be darker. The sky will require very careful handling ; commence with the darkest mass of clouds nearest the outline of the cliff: draw it with fine lines, close to each other, with dark ink ; do not take too much ink in the pen, as the mass will be spoiled if the lines run into each other • draw the lines quite up to the light outline ; but take care that there is no hard edge, or that the clouds are not uniform in their appearance : this would spoil the aerial effect of the drawing. The second and third masses are drawn like the first, but with lighter ink, and the lines rather wider apart. Commence the sea at the horizon ; (and here we may observe the true horizontal line as seen in nature ;) let the lines for the clouds and the sea be nearly alike at first, that they may seem to blend together. Strengthen the line as it advances nearer the fore-ground ; make it slightly wave at first, and then draw tasteful curves : where the pale outline of the waves has been previously drawn, make the dark touches on the waves very bold as they approach the fore-ground : the lights are left by drawing the lines widely apart. The round, dark rocks in the fore-ground are made very dark, to throw back the cliff and the distant headlands, upon which is seen the tower of Folkstone church. The whole of this subject will require great attention, to keep the various masses in the proper tint, so that the eye may be satisfied with the whole, and not be diverted to any particular part, and that one tint may harmonize with the other : this is what artists call breadth in a picture. We shall have to refer to this Plate again in our concluding remarks on aerial perspective. Plate 41. PROGRESSIVE DRAWING-BOOK. 55 LESSON XXXVIII. P late 38 contains an outline and a finished drawing of part of the human face. The learner will see that a few touches will suffice to produce the outline, but it will be necessary to draw it very faintly with the pencil before the ink outline is drawn. Commence with the upper eyelid ; get that the proper size and form; then the lower lid ; take care to draw them the proper distance from each other ; then connect them by draw- ing the pupil of the eye. Do not attempt to draw any other part of the subject till you are quite satisfied the eye is con-ect. The nose, as will be seen by the Plate, commences at a point even with the upper eyelid. Be careful to draw the outline of the nose the proper shape and length. The nostril will not extend beyond the outer part of the lower eyelid. The learner will find this properly explained by the diagrams in Plate 35. Put this subject in shade by commencing with the dark part below the eyebrow : let the lines be fine and close together, increasing in thickness as they approach the darkest part. The learner will see by the copy that the lines forming the shade curve, to give roundness to the more projecting parts of the face, and that they do not terminate abruptly, but are softened off by leaning lighter on the pen as it approaches the end of the line, as directed in the formation of grass or rushes. The dark touches under the nose, and the pupil of the eye, are given with a broad nibbed pen and the blackest ink. LESSON XXXIX. The subject selected for this lesson is a pleasing study of swans, from a painting by Taylor. These beau- tiful birds are frequently introduced in aquatic scenery with the most pleasing effect. The outline of the 56 THE YOUTHS swans is so simple, that it Mould be superfluous to describe the mode of drawing them. They require but little shade, but that must be given with taste, so that the lines may imitatefeathers. The mass of trees be- hind the swans must be kept in middle tint. The student will perceive that the light parts of this mass are not white, but of a grey stone, to give value to the white swans. The markings and foliage of the tree in the foreground must be as dark as possible, but at the same time free and distinct. Many artists, to get a strong, dark effect upon the fore-ground of their pictures, make large, blots of dark colour, paying no regard to the forms of the objects ; but a moment's reflection will convince the reader that such a practice must be incor- rect as all the objects in the fore-ground must of course be considered near to the sight of the draughtsman, and every object will appear distinct, and requires to be accurately and forcibly drawn. LESSON XL. The diagrams contained in Plate 40 will be found interesting to all persons that wish to become good architectural artists ; but to the mechanic and architectural draughtsman, they are indispensably necessary. We have given various drawings of arches of different shapes, and have directed the learner to copy the drawings placed before him. This lesson will enable him to form arches of any shape and size for himself. No. 1, is an equilateral arch. To produce this arch, form a triangle, and place one foot of the compasses in the angle on the base line, and extend the other foot of the compasses to the opposite angle on the base, then form a curve, and it will be found to touch the upper angle, giving one side of the arch. The other side is formed by reversing the compasses. Plate 43. PROGRESSIVE DRAWING-BOOK. 57 No. 2, is a lancet arch. This is drawn, of any size or shape, by placing a point on the base line, upon which place one foot of the compasses, and extend the other to the extent of the opening required for the springing of the arch : from this point draw a curve to the point in the centre given as the height of the arch, and one side of it is produced : then place the compasses on the opposite point and draw another curve to the centre, and the arch is complete. No. 3, the Saracenic arch. In this case the points are not placed upon the base, but upon a parallel line, at some distance above it. In the lancet arch, the points were placed without the arch ; here they are within it. Place the leg of the compasses upon one of the points on the upper line, and proceed to draw a curve from the base to the height required ; then shift the compasses to the opposite point and draw another curve, and the intersection of the curves will give the apex of the arch. Fig. 4, is the horse-shoe arch. This figure is frequently used in the Anglo-Norman style of architecture ; it is drawn by placing the point for the centre at a proper distance beyond the base line. Fig. 5, is the flat or Tudor arch ; it obtained this name from being introduced into English architecture dur- ing the reign of the Tudors, when the last, or perpendicular style of Gothic architecture prevailed. This arch, as may be seen from the diagram, is drawn from four centres. The width and height of the arch must first be determined ; then place a point on the base, at a proper distance from the springing of the arch, and draw the quadrant of a circle : the larger the quadrant is, the higher will be the arch. Through the point forming the centre of the quadrant, draw a line ; place one foot of the compasses upon this line, and the other on the termination of the quadrant. The true curve will be easily ascertained, by altering the compasses ac- cording to the distance required ; but the second centre must be upon the line drawn through the first. When you have ascertained the centre, draw the curve from the end of the quadrant to the apex of the arch, and one side 58 THE YOUTHS of the flat arch is produced, The other side is produced exactly in the same manner, merely reversing the process : the dotted lines are merely drawn to prove the correctness of the diagonal lines upon which the centres are placed, as the slightest difference in the lines would prevent the sides of the arch being the same size and form. Fig. 6. The same diagram is repeated. This arch is less curved than Fig. 5, which arises from the quad- rant being smaller, the first centre being placed at a short distance from the springing of the arch. By prac- tising this, and the diagram Fig. 5, the learner will thoroughly understand the principle upon which arches of this kind are formed ; but, where the space will allow of it, either in a building or design, the higher the curve the more graceful the arch will appear ; thus, in the diagrams under consideration, Fig. 5 is more graceful than Fig. 6. Fig. 7 is an Ogee arch. This, as will be seen by the diagram, is formed with four centres. The size and shape of the Ogee may be varied at pleasure, according to the distance of the centres from each other on the base line. In Fig. 8, the concave and convex, or, the round and the hollow, curves of the arch, are both of a size, this is the most usual form of the Ogee arch. Fig. 9 is a semicircle, which has already been described. PROGRESSIVE DRAWING-BOOK. 59 LESSON XLI. Plate 41 contains various studies of human eyes. Fig. 1 is an eye. Look directly forward, the learner will see by the Plate that parts of the eye may be shown between imaginary lines, in order to preserve the proportions of this feature of the face in the mind. The whole eye is divided into three parts ; the centre containing the pupil, the spaces on either side of it the v/hite of the eye, and the extremities of the eyelids. In this subject the learner will see how necessary it is fo the pen and ink draughtsman, the line engraver, and engravers on wood, to allow the lines to curve, so that the rotundity and projection of the several masses may be shown. Fig. 2 is the outline of the lower part of the face drawn according to the diagram in Plate 35. Fig. 3 is the profile of an eye properly finished, with the exception of the light speck which is always seen on the pupil of the eye, which gives life and spirit to it, and should never be omitted either in drawing or painting : it is purposely omitted in this subject, to contrast it with the other drawings where the light is seen. Fig. 4 is an eye turned upwards, either in pain or sorrow. This effect is produced by only allowing about two-thirds of the pupil of the eye to be seen below the upper eyelid, and a considerable part of the white of the eye to be seen below the pupil. Fig. 5 is an eye looking downward from an eminence. The observations on the proper curvature of the lines made on Fig. 1, will apply to all the other examples. 60 THE YOUTH'S LESSON XLII. Waltham Abbey is a village in Essex, about 12 miles from London, and there are few places so rich in pic- turesque objects or historical interest. Of the Abbey but a small portion remains; viz., the nave, which is exceedingly perfect, and is one of the finest specimens of Anglo-Norman architecture to be seen near the Metropolis. A convent was originally founded upon this spot by the standard-bearer to Canute, the Dane, who swayed the sceptre of England in the year 1018. This convent boasted the possession of a part of the true cross, or of a cross of peculiar sanctity, which was said to be endowed with the power of working miracles. Harold, the son of Earl Godwin, yielded to the superstition of the period, and attributed his recovery from the palsy to the miraculous power of this cross. Harold, who was a favourite, and brother-in-law of Edward the Confessor, obtained from that pious monarch a grant of certain lands for the endowment of an Abbey, and under the superintendence of the active Harold, this magnificent structure was erected ; part of which, as before observed, remains to the present time. This is one of the buildings which was known to be erected before the Norman conquest, and was, therefore, called Saxon ; but it so immediately preceded that event, and as the workmen employed upon the building were Normen, it may be more fairly attributed to the Norman than the Saxon style of building. Harold, who died so gloriously at the battle of Hastings, contending for the freedom of England against the Norman William, was buried in Waltham Abbey. The gateway and bridge, of which an accurate representation is given in Plate 42, is still standing. It was probably erected about the time of Edward III. It exhibits two pointed arches, with remarkably bold mouldings : the corbels are two demi-angels holding shields, containing the royal arms. The student by this time ought to be well PROGRESSIVE DRAWING-BOOK. 61 acquainted with the mode of producing a drawing of this kind in true perspective: it is introduced to show a good specimen of the ancient pointed arch, as applied to doorways. The gateway was originally stone, but has been in many parts repaired with brick ; it will be necessary, therefore, for the learner to describe both materials by separate markings, and to attend to the crumbling and fissures produced by time. The touches on the gateway, particularly those parts in shade, should be.bold and dark ; the objects in the distance drawn with fine lines, with a lighter ink. LESSON XLIII. The learner will find that there is no part of the human figure more difficult to draw than the arms and hands ; the bones and muscles are so numerous, and vary in their appearance with every movement, that it requires great care to depict them with correctness and spirit. Drawings of this kind, like other objects, will become easy if simplified. It will be advisable for the learner to commence with the open hand, with extended fingers, the first subject in Plate 43. First draw the outline of the principal mass, which is the hand and wrist, without meddling with the fingers or thumb ; draw them very lightly, and be careful to observe the length and form of every curve, and take care that every line is a curve, however slight. If the learner slightly observe the line proceeding from the bottom of the hand to the little finger, it may, at first sight, appear a straight line, but examine it attentively and it will be found to be a curved line, rather indented near the centre, showing the bend in the hand; if the line had been a straight, hard line, this could not have been shown at all. Having drawn the outline of the wrist and hand correct ly, proceed with the thumb, observing at what part of the hand 62 THE YOUTH'S the line, forming the lower part of the ball of the thumb terminates ; then draw the upper part of the thumb, taking care not to make it too long ; next proceed with the first finger, commencing at the lower joint : by making every part a separate drawing the mind is not confused, as it would most likely be if a learner attempted to draw the outline of the whole at once. (The adult reader will excuse the common names used in describing the parts of the human figure, but it would be useless, to use anatomical terms to youthful students who could not comprehend them.) Having drawn the outline of the hand, proceed to put it in shade, by going over the lines on the dark side with a broad nibbed pen with darker ink ; and even in doing this the learner may show his taste and judgment, by making the dark lines thicker in one part than the other, which he will find done in the example at the lower end of the joints ; the lines forming the shade must be drawn finely, and made to curve gracefully to give roundness to the flesh. The hand and part of the arm in the centre of Plate 43, leaning upon a stone, is supposed to be supporting the weight of the body, consequently all the muscles are strained. Commence this drawing with the outline of the arm, ending at the wrist ; next draw the thumb, carefully observing every bend ; then proceed with the first finger, measuring its true proportions by the part previously drawn ; proceed in the same way with the rest of the fingers, and the outline will be complete ; then draw the stone, and proceed to put the whole in shade as before directed. After the minute direction given with the preceding subjects, the learner may be left to his own guidance in drawing the arm and hand grasping the club, merely remarking that the largest masses in any subject should be drawn first, and proceeding to draw the next in size, till every part is drawn. The hand bearing the letter will require no direction; the hand holding the pencil will require some care, but must be drawn in the way directed in the larger subjects. It will be advisable for the learner to practise all the examples in this lesson, not only the size they appear in the Plate, but also upon a larger scale, taking care to keep the same proportions. And as we have touched upon so many subjects in this little work, PROGRESSIVE DRAWING-BOOK. G3 the examples upon the parts of the human figure cannoc be increased without extending the limits laid down for the completion of the book ; but the learner can supply this deficiency by asking any friend to place his hand in a particular position for a few minutes, and the student will be most pleasingly surprised at finding that he will be able to copy nature as easily, or even with more ease, than he can copy a print, if he proceeds according to the method laid down in this lesson ; and he will acquire more knowledge of the principles of light and shade by copying one object from nature, than by copying from twenty drawings. LESSON XLIV. There may be some readers of this work who may naturally inquire our reason for passing from one subject to another, that have no apparent connexion. The answer to such inquiries is, that, in a long experience in teaching, the author has found that the human mind delights in variety, and that whatever is natural is proper. If a youth was trammelled with a long series of diagrams upon perspective, or made to devote his attention exclusively to the study of the human figure, the task would become dry and irksome ; but when the mind is relieved by frequent change it recurs to past lessons with more avidity, when there is a necessity for his doing so; and as it is the business of the artist to be able to draw the form of any object that may be presented to his sight, by measuring one part with another, it is equally profitable, and he is steadily pursuing his studies, whether he is drawing the form of a man, an animal, a house, or a tree. 64 THE YOUTH'S The subjects selected for this lesson, Plate 44, are two old houses, situate nearly opposite Newington Church, on the left hand side of the Kennington road, proceeding from London. They are good specimens of the general style of the tradesmen's houses in London, previous to the great fire in 1666 ; and when their form, and the materials with which they were built, are taken into consideration, we need not be astonished at the extent of that conflagration ; nor, at the present time, have we any reason to lament it, as it regards the destruction of the great mass of wooden buildings, with little more architectural beauty than is presented in the example before us: however, to use a technical phrase, they present, at the present day, what an artist would call a picturesque bit, and stand very convenient for any of our metropolitan readers who may desire to draw them from the spot. As if in mockery of these ancient buildings, tall modern edifices have sprung up on each side of them, looking down with contempt on the humble dwellings below them, making, by contrast, the low appear more diminutive. In sketching this subject from the spot, or from the drawing, it will be necessary to commence with the object nearest the eye, which is the barrel on the pavement; the pilaster which supports the facia of the modern shop window must then be drawn, and the outline of the small pilasters above it. We have now a perpendicular line, upon which the various objects that touch it may be measured : commencing from the barrel, the first line that touches the pilaster is the eaves of the roof, and the second line the ridge of the roof. Having ascertained their proper distance from each other, draw from both a slight line to the point of distance, which is, of course, out of the picture. The student that is well grounded in the rules of perspective contained in the foregoing lessons, will not have this trouble; he will have this point in his mind, aud will observe whether the perspective rules he has been taught agree with the real view before him; it will then be PROGRESSIVE DRAWING-BOOK. 65 demonstrated to his sight, that the lines of all objects viewed sideways terminate in a point, and he will observe the admeasurement of this termination on any upright line on the adjoining building. Having made these remarks on the commencement of the drawing, we may safely leave the learner to complete it without further assistance ; he will, of course, take care to keep the character of the ancient building, by avoiding hard lines ; the new buildings will require hard lines, which may even be ruled if more convenient to the learner. LESSON XLV. The three side faces in Plate 45 are inserted to show what the term character means, as applied to the contour of the face. The countenance of every person we see may be classed under one or other of the faces before us. The first is an angular face ; the second is a concave face ; and the third is an upright face. When the student attempts to copy from the human face, he must first consider under which class the head immediately before him belongs ; he will then proceed to draw the outline, taking care to preserve the character of the class. The features in each will be found to be placed at the same distance from each other, according to the rule previously laid down. GG THE YOUTHS LESSON XLVI. Fig 1, Plate 46, is an ancient temple of the earliest architecture. The Drudical structures were generally composed of single stones, placed upright, to support a stone laid across them. This is the style of the celebrated temple on Salisbury Plain, called Stonehenge, the history of which is lost in remote antiquity. The learner will likewise observe in this subject how figures on the same plane appear in perspective, if the horizon is placed the proper height. In this subject the head of the most distant figure is on a level with the head of the figure in the foreground, and not placed considerably higher, as is commonly seen even in modern pictures. In the few subjects given in this work, illustrative of the Saxon or Anglo-Norman style of architecture, the columns have been too small to show the sort of capitals by which the shafts of the columns, used in the Nor- man buildings, were terminated. Fig. 2, is a Norman capital from Waltham Abbey. Fig. 3, is a highly wrought capital of the latest Anglo-Norman style. The original of this beautiful specimen is in Bloxham church, Oxfordshire. In Gothic architecture, there was no regularity observed in the form or ornaments of the capitals as there is in Greek and Roman architecture, (as we shall, in a few lessons, have an opportunity of showing.) In some of the Norman buildings, where the shafts or pier is large and heavy, it is surmounted with a beautiful capital, more delicately ornamented than the Corinthian capital. This is the case in the Lady Chapel of Canterbury cathedral ; while, in other instances, shields, arms, banners, armour, and Cavetto, or Hollow. PROGRESSIVE DRAWING-BOOK. 67 human figures, are employed to decorate capitals, with a boldness and effect never attained in Grecian architecture. Fig. 4, is an ornament often found decorating the circular Norman arch. Fig. 5, is the interesting arch so commonly used in Anglo-Norman architecture. The intersections of this arch are supposed to have given the idea of the pointed arch. Fig. 3. This Plate we shall have to refer to in a future lesson ; it is the termination of a canopy in the style of Gothic architecture, called the florid style, from its exuberance of ornaments. It has been thought necessary to close our description of the Anglo-Norman style of Gothic architecture, by giving these details of parts of buildings ; there is no necessity for describing how they are drawn ; the learner that has practised the preceding lessons will find little difficulty in copying them from the objects themselves, if they come under his notice, and none at all in copying them from the Plate. LESSON XLVII. The spirited drawing of the head of an Italian greyhound is from a beautiful picture by Tailor. The hair of this animal is thin and sleek, and the muscles of the body are distinctly marked. This is an excellent lesson for practising regular series of fine curved lines, to give roundness in shade, and preserve the clearness of form in the darkest parts of the animal. Commence this drawing with the outline of the skull, which terminates at the 68 THE YOUTH'S eye ; observe carefully all the indentations. It will be seen, in this head, that the eyes are placed nearly in the middle of the face. Proceed to draw the outline of the nose and mouth, letting it terminate at the end of the lower jaw. The beautiful curves forming the neck must then be formed, and then the outline of the ears. It cannot be too often impressed upon the mind of the student, that the outline of every subject is the principal part of the drawing; that, in drawing animals, or the human figure, no after care will atone for a bad outline; and that, however elaborately finished, the drawing will still be defective; while, on the con- trary, if the outline is correct, and the features properly placed, the picture will be good, though the work upon it is but trifling. There is considerable knowledge of light and shade used in this picture. The palings are kept in a light tint ; the back of the dog, with its face towards the railings, is in a strong middle tint, giv- ing relief to the mouth and nose of the greyhound. The strongest light is concentrated upon its forehead and neck, while the dark touches under the ear. upon the back of the neck, bring every part of the head away from the back ground: thus the greyhound stands distinct, and, in the painting, appears to be starting from the frame by which it is inclosed. LESSON XLVIII. The rabbits in Plate 4b are copied from a picture by Morland : the painting is one of the happiest efforts celebrated painter. After having, in the last and many preceding lessons, entered so fully upon drawing t line, it will only be necessary, in this lesson, to direct the learner's attention to the disposition of the li Plate 51. PROGRESSIVE DRAWING-BOOK. 69 the two animals ; on the light rabbit, he will find them long, fine, and close together, curving according to the shape of the animal. The rabbit with its head towards the hutch, is dark and woolly ; here the lines are drawn very short, and close to each other, varying in different parts, to give the effect of stubby hair. It will be seen, that the whole is in a dark tint, to give value to the head of the rabbit eating the carrot; but, in order to make this animal come forward in the picture, it is not only necessary that the parts upon which the light falls should be whiter than any other part of the picture, but that the dark should also be equally strong. This effect is obtained by the dark markings on the body of the rabbit, and also by the strong dark lines of the parts in shade. The painter of this picture was the painter of nature in every form; the carrot, the weeds, the straw, the hutch, with its bits of leather for hinges, were all subjects of as much importance as the rabbits, and painted with as much truth and effect ; it was this care of every part that rendered his pictures so valuable. The juvenile learner who wishes to sketch from Nature, may learn from this subject that even a picture may be made from a rabbit-hutch, if it is accurately drawn. LESSON XLIX. This is the last lesson upon rock scenery that we shall present to the learner's notice. The subject of Plate 49 is a view of Black Gang Chine, in the Isle of Wight, one of the most rugged and picturesque spots upon the coast of that singularly beautiful island ; the masses of crumbling rock, intermixed with earth, on either side of the chasm, are upwards of five hundred feet high. A stream of water is constantly running in the cavity which 70 lii^ YOUTHS faJls over a projecting ledge into a basin about seventy feet beneath it. This view was taken during the height of summer, when the stream was very low, and the fall was consequently trifling ; but in rainy weather it must have a grand effect. This spot obtained its name from a gang of smugglers, who secreted their contraband stores in the cavities and clefts of the rocks : the smugglers, from their continually working in the night, were called the black gang,— hence the term Black Gang Chine. In drawing this subject, either from the Plate or from Nature, the learner must commence with the mass of rocks nearest his eye ; draw a faint outline correctly, keeping the character of the rock. After drawing the mass upon which the strong light falls, draw the mass over which the water falls, and then the hill above it. r lhe lines must vary in their direction, according to the broken masses they represent. LESSON L. There are two distinct kinds of architecture used in the erection of churches, palaces, courts of justice, and other public buildings ; one known by the general name of Gothic Architecture, has, in the preceding lessons, frequently been brought under the notice of the student. Gothic architecture, as we have before observed, is divided by English writers into various styles ; viz., the Saxon or Anglo-Norman, of which good specimens have been given in Plates 17, 18, 28, 33, 36, 42, 46. The early English, the decorated and perpendicular styles, these are well defined, and we shall add to the lessons already given, specimens of each, sufficient for the student to distinguish one from the other. PROGRESSIVE DRAWING-BOOK. Ti The most ancient, as well as the most prevailing, kind of architecture, is that brought to perfection in the various cities of Greece, when that country was in its highest degree of power and civilization, and is therefore called Grecian Architecture It would occupy more space than our limits would allow, and for students in gene- ral be a useless occupation of time, if we entered minutely into the history of architecture ; but as it is absolutely necessary for every person, who has a taste for the arts, to be able to distinguish and name one part of a building from the other, we trust that the few lessons on architectural drawing we are now commencing will enable the student to do so. We are told in the Bible that Cain built a city ; hence we learn both the time and place where architecture had its origin. Asia was therefore the birthplace of architecture. Babylon and Ninevah, and other cities, were erected by the decendants of Noah. We have no remains or accounts of the style of building used in that remote age; but we have numerous remains of Egyptian architecture, which, for the most part, consist of gigan- tic columns, piled to a considerable height, formed of square stones placed one upon the other, decreasing in size as they ascend, and terminated with a broad, flat stone, to better enable them to support the architrave, or stones that reached from one column to the other. The early structures of the Greeks were probably erected after the manner of the Egyptians ; but when the several states of Greece rivalled each other in their progress of civi- lization, — when commerce produced riches and the love of the arts, — architecture became defined ; one style grew out of another ; but exact proportions were assigned to each, founded upon such accurate principles, that suc- ceeding architects of every country have in vain attempted to improve upon them. These styles are called the five orders of architecture, and are arranged as follows : — The Tuscan, the Doric, the Ionic, the Corinthian, and the Composite. Drawings of the several orders will be given in future lessons; but it will be necessary 7? THE YOUTH'S for the student to commence with attaining a knowledge of the names and forms of the several mouldings used in Grecian architecture : these will be found in Plate 50. They are there so correctly defined, that they require no direction for drawing them ; their use will be shown in the succeeding lessons. LESSON LI. Fig. 1, Plate 51, is an example of the Tuscan order of architecture. This is the least ornamented of any of the orders. The lower part of the column is called the base. This consists of a square block, named the plinth, above which is a torus. The height of the column is seven times its diameter, measuring from the base. The student will observe, that the upper part of the column is smaller than the base; it diminishes gradually one- eighth of a diameter. Near the upper end of the column is the bead, called an astragal; the top of the column is called the capital. The whole mass of stone above the capital, in this or any of the other orders, is called the entablature, which is in all cases divided into three parts,— the architrave, frieze, and cornice. Fig. 2, is a specimen of the Doric order; this is a very ancient order ; all the early Grecian temples are built with Doric columns ; the height of the column has varied at different periods. The temple at Peastum, a building still standing, the date of which, from its great antiquity, cannot be ascertained, the columns are but four diameters in height ; at an after period the column was raised to six diameters, as in the temples of Minerva and Theseus, at Ath ens. This appears to be the proper height of the Doric column : if only four diameters high, it is heavy PROGRESSIVE DRAWING-BOOK. 73 and inelegant ; if raised to six diameters, it is a stately column, preserving all the appearance of strength without being cumbrous. In Roman buildings there are examples of Doric columns measuring eight diame- ters, which are in most cases followed by architects of the present day ; but the effect is bad ; the taper column appears to require more ornament than the solid dignity of the order allows, and the capital appears too small for the length of the column. Vitruvius, a celebrated writer on architecture, informs us, that the Doric column was improved by Ion, who built a Doric temple to Apollo, and, to render it "more agreeable to the eye, he gave six diameters to the column ; being guided therein by the example of nature, which has given to the height of man six times the length of his foot." The ancient specimens of this order have no base, the lower end of the column resting on the floor or on a pedestal. The capital is formed by an ovolo, or quarter-round moulding, above which is placed a flat stone, or tile, called the abacus. The first member of the entablature is called the architrave ; this extends to the annulet. The second part of the entablature is the frieze; this extends from the annulet to the first square projection: the different mouldings that project beyond the frieze form the cornice. The reader will find by referring to the Plate, that both the Tuscan and Doric columns are plain ; but in many of the early examples the columns were fluted, like the part of a Doric column at Fig. 4. This was clone when greater ornament was required, not that the flutings were useless, they were found very convenient as resting-places for the spears or weapons of the warriors who went to the temples for worship. The ornaments on the frieze of the entablature are called triglyphs ; they are supposed to be ornaments formerly intended to hide the joists which were laid upon the architrave: the small gutue, or drops, are supposed to represent the large heads of nails, intended to prevent the joists from drawing in too much by the incumbent weight. Before the learner proceeds further in this style of drawing, he must make himself familiar with the names of every part of the columns and entablatures of the Tuscan and 74 THE YOUTHS Doric orders, and he will find nothing aid the memory so much as drawing them a number of times. The Tuscan example is drawn with a ruling-pen and a ruler ; the Doric, in the ordinary picturesque style to which the student has been accustomed. He can, in both instances, proceed in the way most agreeable to himself. The columns in the examples are divided, as we could not give their height, and, at the same time, show the members of the entablature distinctly ; but the learner, in practising the orders, will of course give the height of the columns according to their diameters. LESSON LII. The mouth is that feature of the face that is most difficult to portray; the slightest alteration of the curva- ture of the line formed between the lips when they are closed, gives a different expression to the whole face; and the extremes of mirth or grief are shown by merely making the end of the line vary in its termination : if turned upwards, a laughing expression will be given to the mouth, if downwards, it will appear sorrowful. .The examples giveu in Plate 52 will show the mouth in various positions. The largest figure in this Plate is an outline, and a drawing in light and shade of a mouth taken from a mask of Cromwell. The student will observe, that the line formed between the lips takes the shape of an ancient bow but slightly curved ; this is caused by the pressure of the lips, and is said by physiognomists to denote determination, perseverance, and Plate 56. PROGRESSIVE DRAWING-BOOK. 75 courage, and it is certain Cromwell was possessed of those qualities in an eminent degree : and the student will understand the difference of expression if he draws a mouth with the same nostrils and mustachios above it, lips of the same thickness, and tuft beneath them, but alters the curve to the shape of the line drawn immediately beneath the mouth in light and shade, instead of determination he will perceive mirth approaching to folly, — the high-minded leader of a charge of cavalry will dwindle into a drunken dragoon. The other Figures of this Plate are inserted to exhibit the mouth in different characters ; but the student will make but little progress in drawing the human head if he confines himself to copying prints or drawings ; he will make more progress in drawing from a plaster figure in a week, than in copying drawings for a year : and casts from the finest ancient and modern statues are now sold so cheap by the Italians, that carry them about the streets for sale, that they are within the reach of the humblest reader of these Lessons. LESSON LIII. The sporting scene in Plate 53 is from a celebrated painting hy Morland ; it is introduced as the subject for this Lesson to complete our observations upon drawing the horse. In the preceding Lessons, the horses were rather picturesque than beautiful ; in this drawing we have both qualities. The student will observe the graceful curve of the lines, to show the form of the muscles of the animal in action. In drawing the horse, care must be taken to preserve the outline unbroken, making it very fine at the light parts, and thick and spirited in the parts in shade. 7h THE YOUTHS We have, in the preceding Lessons given such minute directions for the commencement and progress of draw- ings of this kind, that a repetition would be superfluous. LESSON LIV. Plate 54 contains two specimens of the latest style of Gothic architecture ; viz., the perpendicular style, so called from the mouldings, pannels, pearings, and mullions, all running in a perpendicular direction, and not w T aving or branching as in the decorated style. Buildings in the perpendicular style were introduced into England in the early part of the reign of Henry the Sixth, and very beautiful specimens were produced in every part of the kingdom. The civil contests between the rival houses of York and Lancaster, known by the name of the war of the roses, from one party taking the white and the other the red rose as a badge of distinction, threw England into the most dreadful confusion for many years ; during this time architecture, and every other use- ful art, was in abeyance ; the demon of destruction animated each party ; and it was not till peace was restored by the union of the two houses, in the reign of Henry the Seventh, that the arts revived. Henry the Seventh was the great encourager of the perpendicular style ; and the chapel erected by his order at the west end of Westminster Abbey, which still retains his name, is both, in the interior and exterior, one of the finest speci- mens of this elaborate style of architecture. The door-way in Plate 54 is from a building at Winchester. The tower is the upper story of the beautiful tower of the Chapel of Magdalen College, Oxford, which was built at the time Wolsey was a member of that college ; nothing can be more beautiful than the proportions of this Plate 58. PROGRESSIVE DRAWING-BOOK. 77 tower, or more chaste and appropriate than the ornaments. The student that has practised the various arches given in Plate 40, and the windows in Plates 18 and 33, will have no difficulty in drawing these subjects, either architecturally or in the picturesque style of drawing : they are made the subject of this Lesson to make the learner acquainted with the distinctive marks of this style of architecture. > LESSON LV. We shall close the lessons on Gothic architecture by giving, in Plate 55, a drawing of an elegant, decorated door-way, as the specimens previously placed before the learner consisted of windows. This beautiful subject contains the buttress, arch, niche, finials, crockets, and corbels, peculiar to the decorated style ; it would be an insult to the learner's understanding to point them out to him. This subject is a happy mixture of architec- tural and picturesque drawing, and is the style most useful and pleasing for those that study drawing merely as an amusement. The architectural draughtsman that has to produce drawing for the builder to work from, must of course, give every member with the greatest accuracy and the nicest admeasurement. As this is the last specimen of Gothic architecture we shall introduce to the notice of the learner, it may be beneficial to him to have a brief recapitulation of the dates of the different styles, so that he may be able to de- termine with tolerable accuracy the date of any Gothic building that may come under his notice. First : The Anglo-Norman, commonly called the Saxon style, was introduced to this country before the Nor- 76 THE YOUTH'S man conquest; indeed, there can be but little doubt that the Saxons, as well as the Normans, copied the remains of Roman architecture to be found in various parts of Britain, and more profusely in Gaul. The clumsy circular pier, with its plain capital, is an humble imitation of the Tuscan or Dorlic column, and much such a column that a person, unacquainted with the principles upon which the Tuscan column is formed, would make at the present time. The Saxons were never famous for their architecture ; and, provided they could form an arched entrance, they were not particularly anxious about the elegance of its proportions. The Normans, on the con- trary, were an active people, who formed large communities, and early became famous for their architectural taste ; there can be no doubt but Edward the Confessor called in their assistance at the original building of Westminster Abbey, as Harold did at Waltham Abbey. Thus, the style may be said to flourish from 1040. to the end of the reign of Henry the Second, 1189, about a century and a half The best specimen of the Norman style in London, is the tower of London, the Church of St. Bartholomew the Great, Smithfield, and the entrance to the Temple Church. Second : The early English. This is a style peculiar to this country, and prevailed from 1 189 to the end of the reign of Edward the First, 1307. Third: The Decorated, or Florid Style, was the style which prevailed from 1307 to the Death of Edward the Third, 1377. Fourth: The Perpendicular Style, which reached from the reign of Richard the Second to the latter end of the reign of Henry the Eighth, 1547. After this period, the discovery of the art of printing opened the door to vari- ous branches of knowledge; the history, manners, and customs, of the Greeks and Romans became familiar to all. The taste for Grecian architecture was introduced before its principles were well understood,and the incongruity Plate 59. PROGRESSIVE DRAWING-BOOK. 79 of mixing the Grecian and the Gothic were discovered. The buildings of the time of Elizabeth, and her suc- cessor, were of this character ; but as the architects did not confine themselves to any style, they sometimes produced a building that was picturesque ; — this is called the Elizabethan Style, and is much in vogue at the present time, and is the kind of architecture selected for the New Houses of Parliament. A specimen of the Elizabethan Style will be given after the Lessons on Greek and Roman architecture. LESSON LVI. The heads in Plate 56 are inserted to give the learner an idea of the position of the head in the delineation of character. The profile and outline of an old man, shows the sedateness of age. The full face is looking directly forward, steadily, but without vivacity. The head beneath them is that of a young man whose attention is sud- denly engaged,— his body is turned one way and his head another; the whole has the character of sprightliness and animation. The large head is that of a clergyman, partaking of both steadiness and vivacity. It is well- judging the position, according to the character, that shows genius in a portrait painter; if an artist has to depict a judge, he would introduce a grave and still position ; if he wished to portray a favourite comic actor, he would paint him in an easy, lively position, and both would be in character. THE YOUTH'S LESSON LVII. We shall conclude the Lessons on parts of the human figure with the drawing of feet in various positions, as seen in Plate 57 ; they must be commenced and finished as directed in the drawing of hands ; the lines of the shade must curve gracefully, and end lightly, so that they may be thinner the nearer they approach the light part of the muscle. In this, as in every other part of the figure, it will be advantageous to draw from a cast, which may be placed in a variety of positions, and the light and shade more accurately seen than is possible to be shown in a drawing, without more labour than is usually spent in drawings for learners to copy from LESSON LVIII. As the Lessons in this Work are intended to benefit every class of the community, it is necessary that the- cabinet maker and upholsterer should be shown furniture in perspective, nor need the learners of other profes- sions complain that a Lesson is devoted to this purpose, as the rule by which the articles of furniture drawn in Plate 58 are put in perspective, will apply to any other moveable article. The learner is already aware that the horizontal line is always the height of the eye of the spectator, let him stand where he may ; of course, the imaginary line, in a room, would be about five feet above the floor, and Plate 61. PROGRESSIVE DRAWING-BOOK. bl the point of sight upon the line is exactly opposite the eye of the spectator. By referring- to the chair and stool in Plate 58, the lines running to the point of sight will show distinctly how both articles of furniture are put in perspective, but they are placed so nearly parallel with the eye of the spectator, that one side of them appears in elevation, consequently all the lines are drawn to one point ; but, in the second Figure, there are three articles of furniture, — a square, pillar and claw table, a Grecian couch, and a window-stool ; these are all placed upon the same plane, but present different angles to the eye of the spectator, as they are all in different positions. It is quite clear that the eye could not take in all the objects at the same time, and it will therefore be necessary to make different visual points for each article. We will commence with the table: — Having drawn the horizontal line, draw lines from the angles nearest the eye to the point of sight previously determined on the horizontal line ; this will give the width of the table ; then, from the angle of the table nearest the eye, draw a line to a point placed at pleasure on the horizontal line ; the point so placed cannot be drawn at any determined point of distance, but is called the accidental point, as its situation on the line is occasioned by the accidental placing of the furniture in such a position, that the lines cannot be drawn to the regular points of sight or distance. This will be found to be the case with the couch ; which, though standing on the same plane as the table, is still seen at a different angle, and lines drawn from the ends and sides will not terminate in the same points on the horizontal line as those drawn from the table. The learner will easily understand the term accidental point, if he puts the elevation of a square in perspective, one-half of which is seen in the diagram, Plate 58, below the stool and chair. Here the spectator is supposed to stand immediately in front of theobject, and the lines run to points of distance on each side the point of sight ; M THE YOUTH'S but let the spectator remain in the same place, and alter the position of the square, and it would be impossible for the lines to run to the points of distance, though they must still terminate in points on the horizon, which points are called accidental points. LESSON LTX. Plate 59 contains drawings of the Ionic order, in which the volute is a prominent figure. The largest draw- ing in this Plate is the capital and entablature of the Ionic order as found in most of the ancient temples built in this style of architecture. The shaft of the Ionic order is much more delicate than the Doric column It is in general eight diameters in height, and in some cases eight and a half. This, like the Doric column, is said to be invented by Ion, who, as before, formed the proportion of the column upon the proportions of the human figure, intending the Ionic to represent feminine grandeur. " He likewise added a base in imitation of a shoe, the volutes, like locks of hair, hanging on each side, while the capital was ornamented with fruits or flowers, and the flutings on the shaft were rough, to resemble the folds or plaits of a matron's garment." As much of the beauty of the Ionic capital depends upon the volute, the spiral diagram is inserted to show the reader the principle upon which it is drawn. First draw a straight line in an horizontal direction ; then, placing one leg of the compasses upon the line, draw a semicircle, one side of which mark 2, having previously marked the centre 1, as seen in the drawing ; then, placing one foot of the compasses in 2, extend the other the dia- PROGRESSIVE DRAWING-BOOK. 83 meter of the semicircle, and draw another semi below the line. Then remove one foot of the compasses to No. 1, and extend the other to the outer termination of the semi last drawn, and proceed to describe another above the line; by thus making 1 and 2 the centres alternately, a spiral line of any length maybe drawn. The entablature of the Ionic differs materially from the Doric, but it is divided in the same manner into architrave, frieze, and cornice. The small drawing above the spiral diagram, is an Ionic capital, executed in the modern style: this is said to have been invented by Michael Angelo ; it has a very beautiful appearance ; and as the volutes project from the angle of the abacus, viewed every way they have the same appearance. The drawing in the middle of the Plate is a profile of the base of an Ionic column. LESSON LX. The beautiful subject in Plate 60 is introduced as^a lesson upon fine lines. It represents part of the ruins of St. Andrew's Priory, attached to Rochester Cathedral, and is a fine specimen of Norman work. There will be no necessity to repeat the instructions upon drawing the outline of this subject, but the student must be careful to keep the lines forming the markings on the front of the building distinct from each other, so that no part may have the appearance of a blot. The lines must be drawn with regularity, and yet with freedom, and the crumbling character of the building well preserved. THE YOUTH S LESSON LXI. The use of the volute is not confined to architectural subjects, but is applied to scroll ornament, as may be seen in the specimen in Plate 61. It is impossible, in a work of this sort, to give many specimens of arabesque orna<- ment, as they are only useful to mechanics that are employed in the manufacture of ornamented furniture. To the gold and silversmith, upholsterer, carver and gilder, ornamental painters, and others, this species of drawing will be found of the greatest service : it can be easily executed by any person that has studied the preceding Lessons. In drawing this, and all similar subjects, the centre of the subject to be ornamented must be found ; draw a faint upright line, and at the end of it proceed to draw the first small spiral which ends with an open leaf ; there will be no necessity for drawing the volute on so small a scale, but the principle of it must be kept in mind, or the whole will be mishapen. Then draw the ornament that proceeds from the leaf, from which the large spiral appears to spring. It will now be necessary to draw a strait line in an horizontal direction from the upright line in the centre, and on the long line ioWa a volute, very faintly, according to the size of the whole required. This will be an unerring guide for graceful form, and the ornament can be varied according to the pattern ; or, if he can invent, in accordance with his own taste, taking care to reduce the size of the ornament as he approaches the centre. The student will easily perceive that, in the drawing before him, only half the ornament is given; in pattern-drawing it is seldom necessary to give more, as one side must be exactly like the other ; and when one side is accurately drawn, the other can be traced from it with much more ease and correctness than it is possible to produce by the eye, unassisted by the tracing. Plate 63. PROGRESSIVE DRAWING-BOOK. S5 LESSON LXII. The outline figure contained in Plate 62 will show, at one view, the names of the several parts of the five orders of Grecian architecture. They will be found of great use in enabling the reader to understand architec- tural descriptions, and to describe with accuracy the different parts of a building. The capital, in this draw ing, is the Corinthian, (the most beautiful of the five orders,) but the flat stone placed above the leaves, forming the covering to the capital, is called the abacus in all the orders ; and though the members of the entablature vary in the different orders, the general arrangement and terms used to describe them applies to each : the same pedestal may be used for all the orders. LESSON LXIII. Plate 63 contains a sketch of the temple of Neptune, which, with two others, are now standing near the village of Pesti, in the Kingdom of Naples; near this spot stood a magnificent city, called Psestum by the Romans. This temple was considered a very ancient building by writers that have been dead more than two thousand years, and even to them its origin was mere conjecture ; it is a grand specimen of the earliest Doric architecture. The proportions of this temple are so beautiful, that they can seldom be deviated from, 86 THE YOUTH S even in modern buildings, without injury. The temple exists at the present time in as perfect a state as it appears in the Plate, but in complete solitude, and far out of the usual track of travellers visiting Italy. LESSON LXIV. Plate 64 contains the capital of the composite order, which is composed of the Acanthus leaves of the Corin- thian, and the bold Volute of the Ionic capitals ; and from this blending of the two orders it attained its name. This union of two orders has a noble effect, and gives an idea of strength as well as beauty. It was much used at Rome when that city was in the height of its splendour, and the most beautiful specimens of it are still to be found in the triumphal arches, and other remains of the imperial city. We have now endeavoured to give the learner some idea of the five orders of architecture, but it would require a volume of much larger bulk that the present to give the rules for drawing them, which it is necessary for architectural draughtsmen to become acquainted with ; all that is necessary for the student, that learns drawing as an amusement or a branch of education, to know respecting the five orders, will be found in the preceding Lessons. The student that intends to practise architecture as a profession, must, of course, have recourse to other works, containing more detailed directions and examples. Plate 65. PROGRESSIVE DRAWING-BOOK. 87 LESSON LXV. Plate 65 contains a whole length figure of Hercules, from an antique statue, parts of which have before come under the notice of the learner. We have drawn the figure in outline, that the shape of the muscles in every part of the figure may appear clearly. It has not been deemed necessary to multiply the examples of the human figure, for reasons before given ; viz., that the student will learn much quicker and better by drawing from plaster casts than from prints ; all that he can learn from the latter is, the disposition of the lines forming the light and shade, so that he may show the variation of the surface ; but this knowledge he has attained in drawing other subjects, that do not require such great accuracy of outline, but equal delicacy in finishing, and he is already prepared to draw from the cast, which is only one step removed from drawing from nature. LESSON LXV1. In a former Lesson the student was informed that, after the reign of Henry the Eighth, in consequence of the introduction of the art of printing, learning became more diffused ; classical books, which, before the Reforma- tion, were known only to a few of the learned prelates or monks, were printed and diffused through the kingdom, and a taste created for the arts as they existed in the most flourishing period of Greece and Rome. Imitations of the five orders were introduced in the erection of the mansions of the nobility ; but they were intermixed with portions of Gothic architecture, forming a mass, which, in many instances, was picturesque, and which, B8 THE YOUTH'S from its general introduction during the reign of Queen Elizabeth, has obtained the name of Elizabethan archi- tecture. The taste for this style of building exists at the present time, and this is the style of the New Houses of Parliament. Plate 66 contains a sketch of part of a house in this 'style of architecture, and the student will easily perceive that the ornament, columns, &c, are not to be found in any era of Gothic architecture. There is nothing in the drawing of this subject which requires remark; it is only introduced to give the learner an idea of what is the meaning of the term Elizabethan Architecture. LESSON LXVIT. To render the instruction as complete as the limits of the work would allow, the different styles of drawing have been explained to the reader as the Lessons proceeded, and we have but two more that it will be necessary to notice. Plate 67 contains a drawing of an open architrave, or parapet, in what is called the style of Louis the Fourteenth. To many of the readers of this work it may be unnecessary either to describe the style, or to mention the king from whom it takes its name ; but as this gorgeous style of ornament is now the prevailing fashion, it may be interesting and useful to a numerous class of readers, who are not so familiar with history, to give a brief description of its origin. Louis the fourteenth, King of France, succeeded his father in 1643, and died 1715. During his long reign every state in Europe was making rapid strides in civilization and refinement. Louis, who aimed at Plate GG. Plate 67. PROGRESSIVE DRAWING-BOOK. 69 founding a new empire in Europe, was, in the latter part of the sixteenth century, the grand patron of arts. Invention was taxed to the utmost to devise new ornaments for the decoration of his palaces. He founded a Royal Academy of painting and sculpture, rewarding liberally painters and engravers of every nation, and the talent of the world found a resting-place in Paris under the protection of the Grand Monarch ; for this title was universally granted to Louis the Fourteenth, not only by the French, but by the surrounding nations. And it was during the reign of this luxurious despot that the style of decoration was carried to the highest pitch of extravagance, both in design and expense ; all the rules of art heretofore known were despised ; decoration was piled upon decoration, till the apartment groaned beneath the weight of ornament. Furniture, plate, and jewellery, were ornamented with the same profusion; and any person, engaged in a business that requires splendid decoration, will find thousands of patterns among the French prints, published about 1710, which are to be found at the dealers in old prints. This style requires a knowledge of every species of drawing, particularly great facility in scroll work. The subject selected for this Lesson is not an elaborate specimen of this style, but is sufficiently gorgeous to give the reader an idea of its grandeur. LESSON LXVIII. Before we close this series; of Lessons it will be necessary to place before the reader a specimen or two of rustic figures. Plate 68 is from a painting by Morland ; the figures are very naturally grouped, and therefore pleasing. Whole- length rustic figures require the same attention to proportion as the finest models from the antique. The student N 90 THE YOUTH S that has attended to the Lessons on drawing the human figure, will find no difficulty in copying this subject ; he must take care to keep every part free and bold, and let the faces preserve their rustic character : the fewer touches used in their execution, provided they are correctly placed, the better the drawing will appear. LESSON LXIX. The sea at its topmost swell, beating with fury against the lofty cliffs which tower above in sullen majesty, is one of the grandest and most picturesque scenes that can come under the notice of the artist. The subject of Plate 69 is a shipwreck off Tynemouth ; it is introduced here to show the effect of contrast. The bold cliff upon which the light-house stands is shown out distinctly by the heavy clouds at the back of it, while the black mass of the wreck is sufficiently dark to keep the clouds at a proper distance. The observations made in the preceding Lessons will inform the student how the waves and spray are produced ; it may be necessary to remark, that in all marine subjects the waves increase in size and force as they approach the eye, and that nothing is more disagreeable to the sight than waves following one another in uniform succession. Plate 69. Plate 70. PROGRESSIVE DRAWING-BOOK. 91 LESSON LXX. This Lesson on scroll Work is introduced to give the reader some idea of what is called the Grotesque Style- heads of satyrs, griffins, lions, and other animals, are attached to foliage and scrolls, and by tasteful combinations made to produce picturesque ornament, which should always be in some degree connected with the use of the article they are intended to embellish. LESSON LXXI. Plate 71 contains another group of rustic figures, copied from Morland. These kind of figures will be found exceedingly useful in the foreground of landscape scenery, as they can be drawn light or dark to suit the gene- ral effect of a picture; care must betaken that the proper figures are introduced. For instance, however pictu- resque the group of gipsies, given in Plate 68, may be, they would be out of place upon a lawn in front of a nobleman's mansion, while they would be very picturesque inhabitants of a green lane. LESSON LXXII. Plate 72 is a view of Woburn Abbey, Bedfordshire. This subject is not selected as the closing Lesson to this little work for picturesque beauty, but from its combining architecture, foilage, water, and bold foreground. 92 THE YOUTH'S PROGRESSIVE DRAWING-BOOK. in one subject ; and we shall conclude our instructions by endeavouring to show the student the method we should use in sketching this subject from nature. First, observe the most favourable position for showing the architectural beauty of the building; having, as in the present case, determined upon giving a direct elevation, place yourself directly in front of the building, getting as far from it as the ground in front will allow, so that you can still discern the style of architecture ; then observe the height that a line, drawn directly from your eye towards the building, would appear if drawn upon it, by comparing the doors and windows of the lower story by the height of this line, their true elevation will be obtained. Draw the centre of the building first, and then one of the wings. In sketching any architectural subject, it will be quite sufficient to sketch one window in every story correctly, the remainder may be merely indicated by lines, to show their number and distance from each other. It is the same with columns ; it is quite sufficient to sketch the capital of one of them, so that the style of architecture may be known, the remainder may be merely indications. It is this previously-attained knowledge of architectural mouldings that enables the artist to sketch so quickly. Having sketched the house, draw a free outline of the masses of trees on each side of it, taking care to mark the vari- ation in their character ; next observe if the lawn in front is flat or undulating. Sketch the reflection in the water. This sketch will be sufficient, and the drawing may be made at leisure, but it will always be better to make the drawing while the scene is fresh in the memory, as the sketch cannot give the character of the colouring and general effect ; these must be supplied from recollection, if the drawing be not made upon the spot. Plate 72. 6m -68^3 GETTY RESEARCH INSTITUTE 111111111 3 3125 01311 3440