A GUIDE 
 
 PICTORIAL PERSPECTIVE 
 
 BENJAMIN R. GEEEN, 
 
 Author of " Illustrations of Perspective." 
 
 PRICE ONE SHILLING STITCHED, 
 OR ONE SHILLING AND SIXPENCE BOUND IN CLOTH. 
 
 LONDON 
 
 GEORGE ROWNEY AND GO., 
 
 51, RATHBONE PLACE. 
 
A GUIDE 
 
 TO 
 
 PICTORIAL PERSPECTIVE. 
 
 Wiiii numeroug JUustrations. 
 
 BY 
 
 BENJAMIN R. GREEN, 
 
 AUTHOR OF " ILLUSTRATIONS OF PERSPECTIVE;" THE "FOLDING DRAWING 
 MODELS," (conjointly WITH MR. JAMKS FAHEY); 
 AND MEMBER OF THE NEW SOCIETY OF PAINTERS IN WATER COLOURS. 
 
 The Student in Painting needs far more broad and general rules to guide him in 
 delineating the boundaries of objects, than particular ones for their details; rules 
 applicable to the whole may be easily applied to the parts. 
 
 PRICE ONE SHILLING. 
 
 LONDON : 
 
 PUBLISHED BY GEORGE ROWNEY AND CO., 
 51, RATHBONE PLACE. 
 1851. 
 
BIRMINGHAM : 
 PRINTED BY E. C. OSBORNE, BENNETT'S HILL. 
 
CONTENTS. 
 
 Page 
 
 Introduction 5 
 
 Chapter 
 
 I. — Appearances oe Objects 8 
 
 II. — Definitions — Positions of Lines 9 
 
 Parallel — Perpendicular — Inclined 10 
 
 Horizontal Line — Prime Vertical Line 11 
 
 Seat of the Eye — Vanishing Point 12 
 
 III. — Relative Situation of the Spectator and Object to be 
 
 Drawn from — 
 
 1. — Height &c. of the Eye with relation to the Object — 
 
 Vanishing Lines 13 
 
 2. — Distance of the Object from the Spectator 17 
 
 3. — Positions of the Sides of the Object to the Spectator — 
 
 Eorms of Buildings, &c 18 
 
 IV. — The Parallel and Oblique Views of Objects compared 20 
 V. — Parallel View of Objects 23 
 
 Roof Lines — Ascents — Descents 23 
 
 Interiors 26 
 
 VI. — Oblique View of Objects 27 
 
 "VII. — Objects having more than Pour Sides 30 
 
 VIII. — Curved-lined Objects 33 
 
 Concluding Remarks 38 
 
 Summary of Principles contained in the Guide ; 41 
 
DIRECTIONS TO BINDER. 
 
 To face 
 
 Plates. Pages 
 
 1 Definitions, &c 10 
 
 2 Appearances of Objects 13 
 
 3 Place of the Eye 15 
 
 4 Parallel and Oblique Views 21 
 
 5 Parallel View 24 
 
 () Parallel View continued 25 
 
 7 Oblique View 27 
 
 8 Oblique View conYmJte^/ 29 
 
 9 Objects having more than four sides 31 
 
 10 Curved-lined Objects 34 
 
INTRODUCTION. 
 
 The following pages have been written with immediate 
 reference to the wants of the amateur and the professional 
 student. To the former, it is hoped, it will give a complete 
 insight into the nature of Perspective, and its application 
 to objects generally, as well as afford him additional 
 facilities in sketching from nature, and of delineating from 
 memory any simple form ; to the latter, it will supply such 
 a summary of the leading principles of the science, and 
 their application, as shall prepare him at a future period 
 of his studies for the better comprehension of the nature 
 and laws of vision, and theory of intersecting planes, con- 
 stituting the basis of perspective, and those details of 
 practice essentially necessary to the completion of the 
 studies of the pamter. 
 
 Our first efforts at imitation are naturally directed to 
 such objects as are immediately around us ; but it not 
 unfrequently happens that the diminutive size of these 
 in-door objects, as compared with buildings in a landscape, 
 causes their forms or boundary lines to vary with every 
 movement of the aye whilst sketching them, and is con- 
 sequently productive of great perplexity to the student. 
 Hence the necessity of a treatise, pointing out the appli- 
 cation of rules to such objects, as also to enable him, in 
 
 B 
 
6 
 
 INTRODUCTION. 
 
 the numerous cases where definite rules will not apply, to 
 test the general truth of his outline by a knowledge of the 
 laws governing the appearances of all bodies. 
 
 It unfortunately happens that in most elementary treatises 
 on perspective, designed for the youthful student, as well 
 as the adult, it has been a custom with writers to introduce 
 the subject either with a description of the perspective 
 plane and theory of vanishing lines, the nature of which 
 cannot at the outset be comprehended, or to encumber 
 his subject with a multiplicity of geometrical terms and 
 figures, of only a few of which he has any positive need in 
 practice ; — unmindful that the ardent temperament of the 
 votary of the Fine Arts is least of all fitted for calm 
 reflection or patient investigation. 
 
 In the outline of the science which follows, the per- 
 spective plane is altogether omitted, as well as all theore- 
 tical matter not absolutely essential for the comprehension 
 of the rudiments of the science, from the writer's conviction 
 that in the endeavour to elucidate a few simple truths by 
 a too premature recourse to imaginary planes and systems 
 of rays, the student wearies of the theme, and at length 
 turns from it in distaste. On the system adopted in this 
 treatise, mathematical accuracy in the application of the 
 rules is not aimed at, for the simple reason that no advantage 
 could possibly result from its observance ; for the painter, 
 whilst sketching, can no more keep his eye rigidly confined 
 to one spot, than he can the eye of the spectator who views 
 his performance. Hence the futility of the artist in seeking 
 to discover the angle of inclination of a building, the dis- 
 tance of what is termed the picture, and the precise situa- 
 tion of remote vanishing points. His compasses should 
 
INTRODUCTION. 
 
 7 
 
 be in his eye, and if the inteUigent spectator recognizes 
 the truth of his representation, the end is accomplished. 
 With the architect the case is far otherwise ; his combina- 
 tions exist only in his plans and elevations ; every consi- 
 deration becomes to him of paramount importance ; he has 
 no alternative but to avail himself of all the resources of this 
 elegant art, to give to the creations of his fancy all the 
 truth and reality of a drawing from the actual object. 
 
 The plane of the picture, and the theory of vanishing 
 lines, will be found fully described in the Illustrations of 
 Perspective,"* by the author of these pages, a work expressly 
 adapted for the painter, and in which every subject needful 
 for the student (not contained in this Guide") will be 
 found fully treated of Technicalities, as far as practicable, 
 have been studiously avoided ; and such objects selected 
 for illustration as are to be met with in every dwelling, so 
 that reference can be had to nature on the spot ; and the 
 student cannot be too early and too frequently urged to 
 examine, compare, and judge for himself. 
 
 * Published by Messrs. Rowney and Co. 
 
8 
 
 Chapter I. 
 APPEARANCES of OBJECTS. 
 
 On viewing any object except a sphere, we find its 
 appearance not only differing from the actual form, but 
 varying with every change of position. Thus we have a 
 variety of objects represented in the following plates, in 
 which Ave observe lines in them seemingly tending upwards, 
 downwards, or sideways, which we know in reality to be 
 perfectly level, others apparently converging towards cer- 
 tain points, though parallel ; again, surfaces equi-distant in 
 nature, approaching each other and diminishing as their 
 distance from us encreases, and circular forms appearing 
 as ellipses or merging into right lines ; but so familiar are 
 their appearances as there represented, that we recognize 
 in each one the object intended. Now the chief end of 
 drawing is to give such a representation of an object that 
 it may convey to the eye as nearly as possible the same 
 appearance as that of the object itself. Accustomed, how- 
 ever, as we are from childhood to the exercise of our sense 
 of sight, so intuitive may be said to be its results, that 
 we are rarely led to enquire into the differences subsisting 
 between the forms and appearances of objects, or to 
 acquaint ourselves with the causes of such changes. Thi^ 
 
DEFINITIONS. 
 
 9 
 
 investigation, nevertheless, constitutes the basis of all cor- 
 rect drawing, since we are thereby enabled to deduce the 
 rules for our guidance in the pictorial representation of 
 objects. We shall, therefore, after a brief summary of the 
 principal definitions, proceed to consider the circumstances 
 under which objects are seen. 
 
 Chapter II. 
 DEFINITIONS. 
 
 Frequent misconceptions having arisen in treatises on 
 perspective, from the incompleteness of a few definitions 
 relative to lines and angles, from the conventional terms 
 and figures applied to them, we shall briefly enumerate, in 
 this place the most essential points to be observed in 
 connection with them. 
 
 The positions of lines abstractedly considered are three : 
 viz.. Horizontal, Vertical, and Oblique, as shewn in plate 1. 
 But their positions to each other, also three in number, 
 are distinguished by the terms. Parallel, Perpendicular, 
 * and Inclined, — terms, it will be seen, different in their 
 
10 
 
 PARALLEL LINES. 
 
 signification from the former three, though too often con- 
 founded with them. 
 
 Parallel lines are such as are equi-distant from each 
 other in every part, whether they be horizontal, vertical, or 
 oblique. Lines are said to be perpendicular to each 
 other when they meet or intersect so that the angles on 
 either side are equal to each other, and these angles being 
 right angles, the lines are also said to be at right angles to 
 each other : it will be seen by the illustration that the 
 perpendicularity of the lines is mutual, and that an oblique 
 line may be perpendicular to another oblique line. Lines 
 INCLINED to each other are those which meet or intersect 
 at an angle greater or less than a right angle. In illus- 
 tration of the above terms, the front edges of the flight of 
 steps in the same plate would, in nature, be parallel to each 
 other, but at right angles to the upright edges, in the same 
 manner that the treads of each step are parallel to each 
 other, but perpendicular or at right angles to the sides and 
 fronts. The walls of an apartment are at right angles to 
 the floor. In the pyramidal roof, all the lines or edges as 
 well as the surfaces are oblique to each other. Mention 
 being frequently made in perspective works of the position 
 of lines and surfaces to the eye or to the spectator, to which 
 the above terms of Parallel, Perpendicular, and Inclined, 
 could not strictly apply (especially in reference to the 
 former, — seeing that the eye is considered as a point,) 
 a classification analogous to the above may be adopted in 
 its stead. Thus, a line or surface may be said to be square 
 to the spectator, in lieu of parallel when seen of its full 
 size, and so situated as to preserve its true shape and * 
 
DEFINITIONS. 
 
 [Plate 1. 
 
ERRATA. 
 
 Page 11, line 6, for fig. 2, PI. 2, read fig. 3, PI. 3. 
 /, 14, // 2, for PL 2, read PI. 1. 
 // 16, // 2, /or PI. 2, r^ac? PI. 3. 
 
 l!^otc, — The "Folding Drawing Models," from which a few of the 
 illustrations which follow have been selected, are published in series 
 at one, two, and three guineas each ; and singly from 7s. Cd. 
 
HORIZONTAL AND VERTICAL LINES. 11 
 
 proportions ; it need not, however, to this end be directly 
 fronting us. Again, a line or surface is said to go direct 
 from the spectator, or be at right angles to us, when not 
 inclined to the horizon, or to either side Of this descrip- 
 tion, consequently, are all level surfaces, as the Chess- 
 board and Jig, 2 in plate 2 ; also the fronts of the buildings 
 in the " Street View" and the walls of the Interior," which 
 only apparently incline towards each other, they being in 
 nature parallel. If we stand with our back against one 
 side of a room of the ordinary form, the side opposite would 
 be square to us, the floor, ceiling and two remaining sides 
 going off direct. 
 
 The walls of the Observatory" exhibit the most familiar 
 example of surfaces oblique to the spectator; next to these 
 may be instanced roofs, which are also inclined to the 
 horizon. 
 
 Horizontal Line. 
 
 The Horizontal Line is a level line crossing the 
 drawing from side to side, the exact height of the eye, and 
 corresponding with our horizon or line of distance, and in 
 a marine view with the junction of sky and ocean. The 
 height of it on the drawing will depend upon the nature of 
 the view to be represented. 
 
 Prime Vertical Line. 
 
 The Prime Vertical Line, occasionally used, is a line 
 at right angles to the horizontal line, crossing it imme- 
 diately in front of the eye. 
 
12 
 
 VANISHING POINT. 
 
 Seat of the Eye. 
 
 The Seat of the Eye is a point formed upon the draw- 
 ing hy the intersection of the above lines, and is commonly 
 bnt erroneously called the " Point of Sight.'' In theory 
 this Point" is designated the Centre of the Picture, whilst 
 the Point of Sight" is the term applied to the eye of the 
 sketcher ; it is a point, therefore, at some distance out of 
 the drawing. 
 
 Vanishing Point. 
 
 A vanishing point is a point on a drawing towards which 
 any line tends^ or into which two or more lines converge. 
 
APPEARANCES OF OBJECTS. 
 
 [Plate 2. 
 
13 
 
 Chapter III. 
 
 RELATIVE SITUATION of the SPECTATOR and 
 THE OBJECT TO BE DRAWN FROM. 
 
 1. — Height etc. of the Eye with relation to the 
 Object — Vanishing Lines. 
 
 By the above title is understood whether the object 
 viewed is above, below, in front, or on either side of us, 
 all of these conditions may be comprised ; as in the case of 
 an Interior {plate 3) ; but they will apply generally to 
 buildings in a landscape, furniture and miscellaneous arti- 
 cles. Let us then suppose ourselves stationed upon level 
 ground, or at a moderate elevation, and the object before us 
 to be one of considerable height, as the view of the Royal 
 Observatory, {plate 2), and we find the upper lines of the 
 building tending downwards towards the horizon ; if, on the 
 other hand, the subject be one lying below the eye, as the 
 lines of a railway, we shall find the lines, equally the repre- 
 sentative of horizontal lines with the fomier, tending up- 
 wards in the drawing towards a point on the horizontal line 
 or level of the eye, called their vanishing point. It will be 
 seen that these lines, unlike the above, tend to the same 
 point on the horizontal line ; for the reason that lines 
 parallel to each other have a common point of convergence 
 
 B 2 
 
14 
 
 HEIGHT OF THE EYE ETC. 
 
 or vanishing point. This important j^rinciple is most 
 striking on viewing the Chess-board, {plate 2) which has a 
 number of lines running parallel to each other; and as this 
 article is usually seen upon a table, the lines going off from 
 the spectator will, apparently, incline upwards, and meet 
 in the same point, on the horizontal line. Again, on 
 looking down a long straight street, (see figure 3), we see 
 the upper lines of the houses apparently descending, and 
 their bottom lines ascending, according to their situation 
 above or below the eye ; the lines here being at the sides 
 of the drawing. 
 
 In all the above cases we have limited ourselves to the 
 consideration of horizonlal lines in buildings going off 
 direct (or at right angles) and oblique to the spectator, being 
 those which chiefly concern the painter ; but retiring lines 
 in objects, however situate in respect of us, have the pro- 
 perty of invariably seeming to tend in the direction towards 
 ivhich the eye is bent. 
 
 The view of Edinburgh from the Calton Hill furnishes a 
 striking illustration of this truth, differing from the pre- 
 ceding from the fact of our looking on the city from an 
 eminence, thereby causing the horizontal line to be situate 
 high up in the drawing : this line being invariably found 
 on a level with the eye, when we ascend it appears to rise 
 with us. As the upper lines of the Observatory seemed to 
 descend, from the circumstance of our being on level 
 ground, so in the present case the corresponding lines of 
 the buildings appear to ascend. 
 
 It will be observed that in the Street View the obliquity 
 of the lines is governed by their proximity to the horizontal 
 line, the inclination becoming less and less as they ap- 
 
i 
 
PLACE OF THE EYE. 
 
 [Plate 
 
VERTICAL LINES. 
 
 15 
 
 proacli it : this brings us to the consideration of Vanishing 
 Lines. 
 
 Vanishing Lines 
 
 are the lines on which the vanishing points alluded to are 
 situate, hence the necessity for them on the drawing ; but 
 they are also highly important to the student, as governing 
 the appearances of surfaces. 
 
 Having spoken only of lines in buildings, our attention 
 has now to be directed to the surfaces on which these lines 
 appear, which, as will doubtless have been surmised, are 
 subjected to similar changes in their appearance, and seem- 
 ing tendency in the direction towards which the spectator 
 is looking, as the lines themselves. Thus in the Street 
 View, the fronts of the houses seem to approach each other 
 as they recede, tending inwards towards the prime vertical 
 line, whilst the ground appears to rise upwards towards 
 the horizontal line. This tendency of the ground to in- 
 cline apparently upwards in the drawing is very remarkable 
 in the view of Edinburgh, owing to the great elevation given 
 to the horizon ; but Interiors exhibit the most complete 
 elucidation of the principle, the ceilings presenting in addi- 
 tion a level surface above the eye, which has the semblance 
 of inclining downwards ; (for instance, the Interior in plate 
 3, from Da Vinci's celebrated picture of the Last Supper.") 
 It will be here observed, by the way, that the upper and 
 lower side lines, uniting the walls with the floor and ceiling 
 in this example, going off direct from the eye, are common 
 to both surfaces. 
 
 If we now select any objects nearly level witli the eye, 
 
16 
 
 VANISHING LINES. 
 
 and having a number of flat surfaces of correspondent size 
 at various distances, {seejigure 3 plate 2), it will be seen 
 that as these surfaces approach the horizontal line their 
 depths apparently contract, becoming narrower and nar- 
 rower, so that when a surface is even with the eye, (in other 
 words coincides with the horizontal line), as the top of the 
 desk in the same figure, it disappears, or as it is termed, 
 vanishes, leaving only its edge visible ; hence the horizon- 
 tal line is said to be the vanishing line of level surfaces, 
 seeing that as they approach it they gradually seem to les- 
 sen, and finally disappear therein. There is one important 
 circumstance to be remarked consequent upon the above 
 variation in the appearance of these surfaces, viz., that the 
 inclination or obliquity of their edges (when not parallel 
 to the horizon) necessarily varies with the height of the 
 surface. Thus in Jig. 3 it will be seen that the inclination 
 of the sides of the shelves is greatest when they are far- 
 thest removed from the horizon, and vice versa. An effect 
 analogous to what we have just described, in reference to 
 surfaces bounded by right lines, will be observed to take 
 place with the Flower-stand, where we have a succession of 
 circles situated horizontally; viz., the several ellipses which 
 represent them will be seen to contract as they approach 
 the horizon, the lowest one being fullest and roundest, the 
 middle one materially less so, whilst the curvature of the 
 uppermost one, from its being even with the eye, is entirely 
 lost. 
 
 Having determined the situation of objects in reference 
 to the horizontal line, we have next to determine their 
 situation in reference to the prime vertical line, and 
 thereby fix their place in respect of the seat of the eye, or 
 
DISTANCE OF THE OBJECT ETC. 
 
 17 
 
 point formed by their intersection. For this purpose the 
 attention of the student is called to the representation of a 
 Book and a Hoop, (see plate 3), at different distances from 
 the eye, and he will remark the analogy which they bear to 
 figures 3 and 4 in the preceding plate ; the prime vertical 
 line in this case being the vanishing line for upright sur- 
 faces at right angles to the spectator, as the horizontal line 
 in the former for level surfaces. This will be rendered 
 manifest if, while looking at the example in question, we 
 turn the book half round, so that the prime vertical line 
 is brought into the horizontal jDosition. These two vanish- 
 ing lines, having fixed places upon the drawing, will suffice 
 for all the ordinary purposes of the sketcher, indeed they 
 govern all others, and are the only ones introduced into the 
 plates ; for, owing to the predominance of level surfaces in 
 artificial objects, and next to them of upright ones, surfaces 
 oblique to the eye, as the roofs of buildings, are never met 
 with but in connection with one or other of the above, 
 consequently the lines bounding them are common to 
 both, and will have the same vanishing points. 
 
 2. — Distance of the Object from the Eye. 
 
 Daily experience has familiarised us with the fact that 
 all objects appear to diminish according to their remoteness 
 from the spectator ; hence the smallness of the further 
 edge of the Chess-board, and of the distant arch of the 
 railway, and the far side of the apartment {plate 3). Such 
 are amongst the most obvious effects of the above principle 
 
18 POSITIONS OF THE SIDES OF 
 
 as regards lines and surfaces square with the eye. But, 
 once admitted, its consequences take place in every degree 
 of distance ; and to its operation is to be traced every 
 variation in the form of a surface inclining off from the 
 spectator, the lessening of the parts as they recede neces- 
 sarily causing the lines to tend towards each other. The 
 Chess-board is a remarkable illustration : here we have a 
 number of compartments perfectly uniform in size and 
 figure in the real object, and not only do the several 
 transverse rows of squares diminish as they recede, from 
 the closing in of their side lines, but each separate square 
 exhibits variations in form corresponding with that of the 
 board. 
 
 3. — Positions of the Sides of the Object to the 
 Spectator. 
 
 Lastly, we have to consider the positions of the sides of 
 the object in reference to the spectator. It will, however, 
 be necessary previously to take into account the ordinary 
 forms of buildings and other objects. These may be 
 classed into, 1st, buildings, &c. of the ordinary square 
 form, having their sides at right angles to each other; 
 2ndly, objects having more than four sides ; 3rdly, curved- 
 lined objects. It is scarcely necessary to observe that by 
 far the greater number of objects fall under the first of 
 these divisions, and as it will be seen m the sequel that 
 the correct delineation of the objects comprised under the 
 second division may be most easily effected by referi'ino- 
 
THE OBJECT TO THE SPECTATOR. 
 
 19 
 
 them to the square form, it is to that class our attention 
 will be chiefly directed. It will be readily admitted that 
 the position of an object to the eye may be varied almost 
 to infinity, yet there are but two positions which can be 
 considered as distinct in kind from each other. Thus, in 
 plate 4 are represented different views of the same small 
 object : in the two upper views, one side is square to the 
 spectator, preserving its true form and proportions; and 
 the adjoining side, being at right angles to the former, goes 
 off direct from the spectator. In the lower view, an angle 
 or corner is towards us, and both sides are oblique to the 
 spectator. To one or other of these two positions every 
 object we can conceive (bounded by right lines) may be 
 referred ; either one side will be square to, or both sides 
 oblique to the spectator. 
 
 The former position of the object is termed the Parallel 
 View, its level lines in the near side retaining their parallel 
 position to each other and to the horizon ; while the 
 other position is denominated the Oblique View, all the 
 lines (not upright) being oblique. The Chess-board, the 
 Interior and the Street View are all examples of objects in 
 the Parallel view ; the Observatory, of one in the Oblique 
 view. Before selecting different varieties of objects singly 
 and combined comprehended under one or other of these 
 two classes, it will be desirable to compare them with each 
 other, in order to exhibit more prominently the charac- 
 teristics of each. 
 
20 
 
 Chapter IV. 
 
 The parallel and OBLIQUE VIEWS 
 CONSIDERED. 
 
 The Tea-chest selected for the special illustration of the 
 two positions of objects described in the preceding section 
 is of the cubic form — the form chiefly characteristic of 
 buildings and other right-line objects, which have for the 
 most part their lines and surfaces at right angles to each 
 other ; and however irregular the external forms of many 
 objects, they are more or less referable to this simple 
 geometrical solid. The length merely of the lines can 
 obviously be of no moment, for if the form of the object 
 be extended vertically, by placing one cube over another, 
 or laterally, by placing them side by side, the relative 
 positions of their boundary lines remain unaltered. The 
 parallel view is distinguished from the oblique view from 
 the circumstance of there being only one vanishing point, 
 and that point the seat of the eye ; whereas in the oblique 
 view there are always two vanishing points ; again, by the 
 direction of the sides of the object to the spectator. Thus 
 the parallel view includes two out of the three positions 
 of surfaces to the spectator enumerated in Chapter ii., viz., 
 those square to the eye, and those going direct from it ; 
 in the former case the surface retains its true form and 
 
PARALLEL AND OBLIQUE VIEWS. 
 
 [Plate 4. 
 
PARALLEL AND OBLIQUE VIEWS ETC. 21 
 
 proportions (and hence it is oftentimes designated the 
 geometrical view) ; in the latter, being seen sideways, it 
 appears greatly foreshortened. In plate 4, two represen- 
 tations of the Chest are given in the parallel view, 
 shewing that it is by no means necessary that the object 
 should be opposite to or facing us ; it may be situate at 
 either side, as when other objects occupy the central space 
 in the drawing. It is essentially necessary to be clear on 
 this head. In the front row of squares in the Chess-board 
 {plate 1) each square, taken separately, is in the parallel 
 view no less than the board itself ; yet they differ most 
 materially in appearance solely from difference of situation, 
 some of them fronting us, others being at the sides. 
 
 Turning now our attention to the lower view of the 
 Chest, it will be seen that in consequence of that side going 
 off from the eye which in the preceding figure was square 
 to it, the top and bottom lines previously represented as 
 horizontal now become oblique, converging to a point 
 upon the horizontal line at some distance out of the 
 drawing ; and consequent upon this change in the position 
 of the object, the retiring lines of the shaded side converge 
 to a second vanishing point to the right of the seat of the 
 eye, which last point is not now required. 
 
 The student will be careful to note that the lower retiring 
 lines in all three of the views are considerably more oblique 
 than the upper ones, being more remote from the hori- 
 zontal line. 
 
 The true direction of the retiring lines having been 
 found, it only remains to determine the depths of the 
 retiring sides, in order to the completion of the form of the 
 object ; but unfortunately the rules of perspective for 
 
22 
 
 PARALLEL AND OBLIQUE VIEWS ETC. 
 
 marking off distances on receding lines are inapplicable in 
 sketching from nature, and the student must depend for 
 his guide on comparing the apparent width of the receding 
 side with the width of the side square to the eye, bearing 
 in mind that by giving too great a depth to the upper 
 surface, the appearance of flatness will be destroyed. 
 
 The view of the building in Hyde-Park, introduced at the 
 bottom of the plate, offers a familiar example of the oblique 
 view. Vast as is the scale of this structure, and multi- 
 tudinous as are its parts, there are no more than two 
 vanishing points required for the direction of its lines. 
 The three tiers of walls exhibit very forcibly the conver- 
 gence of the side lines to their respective points. 
 
23 
 
 Chapter V. 
 PARALLEL VIEW. 
 
 On glancing over the objects represented in plate 6, 
 it will be perceived that the rules laid down in the preceding 
 chapter for delineating the simple form of the tea-chest, in 
 the parallel view, apply equally for the representation of 
 the main form or body of each of them, as these consist for 
 the most part of horizontal or vertical lines, the difference 
 being in the addition of certain portions sloping to the 
 horizon; and as in out-door objects, such parts are chiefly 
 to be met with in the roofs of buildings, w^e shall proceed 
 to consider what may be termed 
 
 Roof Lines. 
 
 These parts of a building are often a matter of much per- 
 plexity to the student, but if he will only be careful to note, 
 in the first place, the position of the body of the building 
 to the eye, (whether in the Parallel or Oblique view) and in 
 the second place, remember that the lines which are parallel 
 to each other must ever have the same vanishing point or 
 point of convergence, the difficulty will cease. In the first 
 and second illustrations at the head of the plate, two ordi- 
 
24 
 
 ROOF LINES. 
 
 nary forms of roofs are given, and the buildings being in 
 the parallel view, the point of convergence in the slanting 
 lines will be on the prime vertical line. Produce, therefore, 
 the near side until it intersects this line, and make the off 
 side {a) tend to the same point, or simply draw the line (a) 
 tending inwards towards the other one, the inclination 
 increasing with that of the roof itself In the other cottage, 
 the row of lines in the roof wOl, by the same principle, con- 
 verge to a point on the prime vertical line, and the apex be 
 situate upon the central one. It is seldom necessary 
 actually to mark this point upon the drawing ; their true 
 place being kept in view, the hand will soon acquire the 
 power of drawing such lines, taking the true course. The 
 articles of furniture introduced in this place are examples 
 that, notwithstanding the irregularities in their outlines, (of 
 constant occurrence with such objects) the observant eye 
 will quickly perceive, that the same principles we have 
 described are in operation for the bearing of the different 
 points or general tendency of the lines, and for the diminu- 
 tion of the receding parts. The dotted lines in both 
 examples shew the method of finding the place of the feet, 
 such imaginary lines materially assisting the eye in deter- 
 mining such points. The Terrace steps, in so far as it 
 regards the oblique lines, is but another variety of the two 
 first examples in the plate, their vanishing point being 
 situate in the prime vertical line, and the same principle 
 applies to ascents generally when in the Parallel view. 
 
 Having shewn the application of the principles of per- 
 spective to the representation of single objects, it will be 
 necessary in the next place to consider forms in combi- 
 nation. 
 
PARALLEL VIEW. 
 
 [Plate 5. 
 
PAEALLEL VIEW. 
 
 [Plate 6. 
 
 I 
 
ROOF LINES. 
 
 25 
 
 The Oblique view is generally preferred to the Parallel 
 for buildings in a landscape, especially if detached, not 
 only from the circumstance of the lines presenting a more 
 pleasing contrast to the eye, but as exhibiting the propor- 
 tions and the dispositions of their parts to greater advan- 
 tage. When, however, the buildings are principal, and 
 extend to the sides or front of the drawing, as in plate 6, 
 the Parallel view is best adapted. 
 
 We have seen that when any number of lines in an 
 object are parallel to each other, they converge to the same 
 point ; this fact is so manifest, when ( as in the Chess-board, 
 2:)late 1 ) the lines lie near to each other, — that the merest 
 tyro in the art can scarcely fail to observe it, no less than 
 with the lines of the mouldings and windows &c. in the 
 facades of the houses in the "Street View," {plate 2.) 
 With the Tea-chest however, where the lines parallel to 
 each other, as the above ones, are at some distance apart, 
 their true direction would be less apparent. But when the 
 lines of which we have been speaking are actually at oppo- 
 site sides of the drawing, as we find them to be in figure 
 1, plate 6, the apparent course they take would be as 
 difficult for the untutored eye to discover, as their actual 
 position to each other. But the mere fact that the buildings 
 are all in the parallel view, relieves us at once of our diffi- 
 culty, since the retiring lines must all tend to the seat of the 
 eye ; as for instance, the lines of the wall to the left of the 
 pavement in front, and of the ballustrade, in common with 
 the lines seen within the archway. The Terrace steps fur- 
 nish an example of a descent or lines in a drawing inclining 
 downwards, the treatment of which would correspond to 
 that observed with the ascending steps in the preceding 
 
26 
 
 INTERIORS. 
 
 plate, only that the point to which the slanting lines would 
 incline on the prime vertical line would be helow the 
 horizon. 
 
 Interiors. 
 
 In interiors preference is always given to the Parallel 
 view, especially where, as in historical subjects, the back- 
 ground is of secondary interest, and variety in the lines is 
 less called for. In the Cartoons of Raffaelle we find the 
 expression of the subject heightened by the simple char- 
 acter of the architecture ; the lines of the buildings con- 
 sisting for the most part of horizontal and vertical lines. 
 
 In the class of domestic subjects, and portraiture, it is 
 seldom that (besides the floor) more than a portion of the 
 end of a room and of one side are introduced, rarely the 
 ceiling : hence, as in the plate, the Seat of the Eye is the 
 vanishing point for lines in the floor, for carpet patterns 
 and articles of furniture against the sides, or otherwise in 
 the parallel view. 
 
27 
 
 Chapter VI.* 
 OBLIQUE VIEW. 
 
 The appearance of the simple cottage-roof in the Oblique 
 view is shewn in plate 1, the course of the lines corres- 
 ponding Avith those in the moveable part of the Embroidery- 
 frame and the lid of the Work-box. An open writing-desk, 
 a swing dressing-glass, and a music-stand furnish other 
 familiar examples, the principle being the same whatever 
 the inclination of the surface ; the top and bottom lines 
 tending to one of the two vanishing points upon the hori- 
 zontal line, and the others to a point at some distance 
 directly over it. It has not been judged necessary to intro- 
 duce in the drawing the lines in which such points would 
 be situated, as it would necessitate the introduction of new 
 vanishing lines solely for them ; but if the student will, as 
 directed with figures 1 and 2 in the preceding plate, make 
 the off-edge {a) slightly incline towards the other one, the 
 representation will be true to the appearance in nature. 
 The row of tiles in the cottage-roof, running parallel to 
 each other in nature, would in the same manner require to 
 be made slightly converging as they ascend towards the 
 ridge. 
 
 In order to determine the true situation for the ridge of 
 the roof, diagonals may be advantageously resorted to. 
 
28 
 
 OBLIQUE VIEW. 
 
 The use of these lines in finding the apparent centre of a 
 surface of the ordinary square form, preparatory to drawing 
 the middle line, is shewn in the Tea-chest, [flats 4) ; and 
 on the same principle, in the example before us, it will be 
 seen that the place for the line passing down the middle of 
 the end of the Cottage is obtained, upon which the point of 
 the gable will always be found. To insure accuracy, the 
 end of the Cottage should be completed without the roof, 
 as from its projection it will necessarily hide from view the 
 nearest sloping lines. The sides of the Work-box inclining 
 inwards, the corners could not be represented by upright 
 lines, but each of them will have a different inclination, 
 which must be drawn by hand ; — for the lid, proceed as for 
 the cottage-roof; the lines forming the partitions would be 
 drawn to the vanishing points on the horizontal line with 
 the top and bottom lines. The top of the small Cabinet 
 being only partially open, gives a case of a descending sur- 
 face, like the oif-side of the cottage-roof ; the lines of the 
 sides w^ould in consequence converge to a point below the 
 Horizontal line, directly under the vanishing point. The 
 top and bottom line of the doors of the cabinet being level, 
 would tend to points on the horizontal line, to be deter- 
 mined by producing the lower ones until they intersect 
 it : these lower lines should be carefully drawn in by the 
 eye, and then the upper ones, tending to the point found as 
 above. The same method would be adopted in representing 
 the open doors of an apartment, as also a folding screen. 
 
 Plate 8 represents two views of the same building, a Vil- 
 lage Church, taken from the " Folding Drawing Models,"-^ 
 
 * Sold by Messrs. Rowney and Co. 
 
OBLIQUE YIEW. 
 
 [Plate 8. 
 
OBLIQUE VIEW. 
 
 29 
 
 and is one of the class of subjects so frequently selected by 
 the amateur. The upper one exhibits the main features of 
 the building as a preparatory sketch, without buttresses, 
 spire and accompaniments ; and hence it is better adapted 
 for exhibiting the course of the oblique lines. Although 
 this portion of the building consists of three or more parts, 
 the inclined lines, with the exception of the roof-lines, tend 
 only to two points in the horizontal line, like the lines in 
 the oblique view of the Tea-chest, {plate 4) ; indeed the 
 lower ones can seldom be traced, being concealed by the 
 broken ground, weeds, &c. The roof-lines present the 
 chief difficulty, but if the instructions given in the fore- 
 going page have been clearly comprehended, the opera- 
 tion of the principle for the double roof and the roof of 
 the porch will be easily traced : it may suffice to observe, 
 that the two vanishing points for these lines lie imme- 
 diately over the vanishing point for the side of the building. 
 In the lower view, the sloping surfaces of the corner but- 
 tresses and of the spire are oblique to the spectator, but, 
 from their small size, their forms may be safely drawn in 
 by the eye. 
 
 c 
 
30 
 
 Chapter VII. 
 
 OBJECTS HAVING MORE THAN FOUR 
 SIDES. 
 
 In out-door objects, these consist for the most part of 
 the towers of castles, those flanking gateways of the tudor 
 period, church-spires, and the light ornamental structures 
 in pleasure grounds, as summer-houses, alcoves, &c. The 
 number of their sides generally vary from six to eight; 
 and it has been customary in delineating them to resolve 
 them into four-sided figures, by producing two or more 
 of their sides, as in the following diagram; 
 
 then proceeding as before 
 
OBJECTS HAVING MORE THAN FOUR SIDES. 31 
 
 But in free-hand drawing this practice may be dispensed 
 with; it will be advantageous, however, (with the former 
 especially) to keep in view the analogy between them and 
 the square, as it will be seen that there are many lines 
 common to both figures to which the same rules apply. 
 
 The parallel view is usually preferred to the oblique view 
 for single objects of this class, as offering more contrast in 
 the lines, with greater simplicity; also as rendering their 
 form more evident to the eye. On examining the first of 
 the above diagrams, disposed towards the spectator as 
 figures 1 and 2 {plate 9), it will be seen that there w^ould 
 be three vanishing points, one being the seat of the eye, 
 viz., that for the lines in the dark side of the Towers and 
 edges to right and left of the Table, whilst two of the oblique 
 sides, being opposite and parallel to the other two, would 
 form vanishing points on the horizontal line ; also these sides 
 being equally inclined in nature to the spectator, the points 
 of convergence would be equally distant from the seat of 
 the eye. In figure 2, one of these vanishing points for the 
 sides of the table (oblique to the spectator) comes into the 
 plate at the left-hand comer, the other one being situated 
 at the same distance from the seat of the eye at the oppo- 
 site side, and therefore easily found, if required for greater 
 accuracy. The castellated building {figure 1 ) being situated 
 considerably to the left of the spectator, and representing 
 only a portion of the entire subject, the seat of the eye does 
 not come within the plate. 
 
 The Summer-house, another illustration selected from 
 the " Folding Drawing Models," is an example of a six- 
 sided building, and as on referring to the diagram there 
 are no sides at right angles, or going direct from the spec- 
 
32 OBJECTS HAVING MORE THAN FOUR SIDES. 
 
 tator, the seat of the eye is not wanted in drawing the roof 
 and sides of the building, but only for the lower portion or 
 platform which is square. The lines of the receding sides 
 would tend to points on either side of the seat of the eye, 
 and as in the former case be equally distant therefrom. 
 
 The above forms often meet the eye in the oblique view 
 when in connection with buildings so situated, in which 
 case some of the sides will have the same vanishing points 
 as the building itself The " Concertina*' is in the oblique 
 view, so that the row of parallel lines contained in it 
 would, so situated, gradually lessen as they recede from 
 the eye, together with the line forming the end of the 
 object, thereby causing the diminution observable in the 
 off side of it. 
 
33 
 
 Chapter VIIL 
 CURVED-LINED OBJECTS. 
 
 The appearance of curved lines has been already alluded 
 to in Chapter L, where it was shewn that they have, equally 
 with right lines^, the property of seeming in nature to tend 
 towards the point to which the eye of the spectator is 
 bent ; and thus, if situated horizontally to, incline towards 
 the horizontal line, or if vertically (-and at right angles to 
 the spectator) towards the prime vertical line. But there 
 is another property necessarily resulting from the above 
 one, viz., inequality of curvature; the same curved line 
 appearing in one point of view round and full, at another 
 nearly straight. 
 
 The curved lines we have to consider are chiefly those 
 of the circle in the horizontal position, the sections of it 
 occurring in arches, and the pointed arch, forming a dis- 
 tinct class of curved lines. 
 
 As the rules of perspe<itive do not apply to the delinea^ 
 tion of curved lines as of right ones, the student has been 
 usually directed, when representing a circle in perspective, to 
 enclose it within a square ; then to draw the diagonals and 
 other lines, so as to form a number of intersections upon 
 the circumference, commonly to the number of eight. Fig. 
 1, pL 10, shews the method of finding four of these points, 
 
34 
 
 CURVED-LINED FIGURES. 
 
 a J b, c and d, for the top of the Table ; afterwards by drawing 
 this square figure as it would appear when horizontal, 
 the curve of the ellipsis may be described passing through 
 the corresponding points of intersection. This method, 
 however, is too circuitous to be put often in practice by 
 the amateur, or even the artist ; but the knowledge of the 
 simple fact that every circle viewed perspectively is an 
 ellipsis, at once suggests a method of assisting the eye in 
 correcting any manifest inaccuracy in the figure : as, for 
 instance, drawing a horizontal line midway between the 
 near and off edge of the Table, and the figure being a 
 regular one, the curves on each side will be precisely 
 similar ; in the same manner also a vertical line being 
 drawn through the middle of the former one would divide 
 it in the opposite dii;ection, when the two sides would 
 perfectly coincide. 
 
 The Table {figure 1) being at some distance below the 
 eye, a considerable portion of its surface comes into view, 
 giving to the further end the appearance of rising in the 
 drawing, after the manner of the Chess-board {plate 1.) 
 The upper circle of the Dumb-waiter, {plate 11), exhibits 
 the appearance the top of the table would assume when 
 brought near the level of the eye, its width contracting, 
 and the curvature of the ellipsis at the near and distant 
 parts approximating to straight lines. 
 
 The Bird-cage being an object usually seen at some 
 elevation would present an appearance the reverse to that 
 of the Table, the under side coming into view whilst the 
 three ellipses, formed by this portion and the circles above, 
 v/ill be observed to get fuller and rounder as they are 
 further removed from the level of the eye. The Round 
 
ARCHES. 
 
 35 
 
 Tower furnishes an example of circular lines situate both 
 above and below the horizontal line, the curvature of 
 which we find gradually disappearing as they approach, 
 and becoming rounder and fuller as they recede from it. 
 In round towers, where no roof is visible, it is of importance 
 to keep in view that the upper corners, representing por- 
 tions of an ellipsis, must always appear rounded, never 
 angular. 
 
 The common representation of the ring of the planet 
 Saturn shews the appearance of circles situated one within 
 the other in the same plane, and having one common 
 centre. The space between the circles will always appear 
 greatest at the extremes of the ellipsis, the diameters at 
 this part undergoing scarcely any diminution, whereas 
 the other diameters vary with eveiy change in the place 
 of the object, as shewn in the Dumb-waiter. The above 
 effect is always observable with the rims of wheels viewed 
 sideways ; but one of the most pleasing illustrations of the 
 principle is to be seen in the windings of a stream or 
 pathway. 
 
 Arches. 
 
 In representing arches forming any part of a circle we 
 are drawing the ellipsis upright instead of horizontal, as 
 will be evident from the close similarity between the curved 
 lines in the Dumb-waiter {plate II) and those forming the 
 arches of the Bridge beneath ; it is, therefore, only neces- 
 sary to divide, as before, each arch into two equal parts by 
 means of upright lines, then to make the curve of the off side 
 correspond with that of the near one. When the arches are 
 
36 
 
 ARCHES. 
 
 semicircular, by completing the ellipsis we have at once 
 the reflection of them in the water, as they would be 
 similar forms reversed. But in delineating arches by the 
 above method, there is one circumstance requiring parti- 
 cular attention, viz., finding the centres of the arches for 
 the place of the key-stones. This is ordinarily effected by 
 enclosing each semicircle within part of a square, then 
 drawing the diagonals, and through their intersection an 
 upright line, as shewn in the arch of the Bridge in outline, 
 to the right ; thus giving us the perspective centre by a 
 process similar to that for the end of the Cottage {plate 7.) 
 But this circuitous method can be readily dispensed with, 
 considering how small is the variation between the actual 
 centre of the ellipsis and the apparent centre of the arches 
 in the case before us, since it is only necessary to set off 
 points a little to the left of each of the upright lines and we 
 have the places of the respective centres. On examining 
 the arch of the Bridge in outline it will be perceived that, 
 besides the difference in size between the two halves, as 
 indicated by the dotted lines, there is also a variation in 
 their curvature, the nearest half being fuller- and rounder 
 than the other, from its including a larger portion of the 
 ellipsis. This variation is very trifling when the figure is 
 near the eye, as in the example, but becomes considerable 
 when the arch is much elevated and seen sideways. The 
 fan-light of a door, shewn in the outline {Jig. 3) to the right 
 of the Bridge, presents a familiar illustration of this effect 
 of the arch; the dotted line designating, as in the former 
 case, the middle line, and with the other one shewing that 
 notwithstanding the semicircle appears considerably dis- 
 torted, it still forms a portion of the ellipsis. 
 
i 
 
 I 
 
 I 
 
ARCHES. 
 
 37 
 
 Pointed arches, so frequently to be met with in the 
 beautiful remains of this country, offer excellent studies 
 for the pencil, but are among the most difficult of execu- 
 tion, owing to their exquisite symmetry of form. For these 
 arches however, no aid can be derived from the figure of 
 the ellipsis ; the eye only can be assisted in delineating the 
 curvature of their sides by drawing vertical lines from the 
 summits. For the diminution of the arches as they recede, 
 draw lines passing through the summits and bases of the 
 two nearest converging to a point in the horizontal line. 
 
 c2 
 
38 
 
 CONCLUDING REMARKS. 
 
 The extent of subject which may be comprised within 
 the limits of the paper is determined by what the eye can 
 take in with ease, when looking in one direction. On 
 commencing the sketch of a building or other object in the 
 parallel view, draw first the side square with the eye ; next 
 set off the height of the horizontal line, and draw the 
 retiring lines furthest removed from it; lastly, mark the 
 depth of the side : but, if the object be in the oblique 
 view, draw first the nearest upright line of the building, 
 upon which set off the height of the eye ; then proceed 
 as before. 
 
 The rules for the proportioning of figures in a scene, 
 and those relating to shadows thrown from objects, are 
 seldom needed by the painter ; indeed the few occasions 
 in which they could be advantageously applied would be 
 scarcely commensurate to the time so consumed. In the 
 distribution of the light and shade on objects, principles 
 only can guide the student, since no rules can define the 
 precise amount of shade to be given to the different parts, 
 but the following general rules may be found serviceable. 
 
 The idea of projection is chiefly conveyed by giving 
 
CONCLUDING REMARKS. 
 
 39 
 
 sharpness and precision of touch to the near parts, and 
 tenderness to those remote. Thus, throughout the illus- 
 trations, it will be observed that the darkest touches are 
 applied to the parts nearest the eye, but as they recede and 
 diminish, so they become weakened — the parts approxima- 
 ting to one uniform tint. As the light is usually made to 
 fall towards the front of the object, so its shadow on the 
 ground would appear to go off from the spectator, and in 
 agreement with the above principle, will be darkest where 
 it commences. 
 
 It has been justly remarked that we often learn what is 
 right by witnessing the errors of the inexperienced ; we 
 shall therefore conclude this brief essay by adverting to 
 such as are almost invariably committed in the first efforts 
 to sketch from nature. It will be remembered that in 
 every instance we have to ascertain first the course or 
 direction of the lines ; seccmdly, their terminations, or in 
 other words, the depths of the retiring sides : for the former 
 of these, the rules we have given suffice ; for the second, 
 the pupil must mainly depend on his eye. Unfortunately 
 however, there is so much difficulty with the untutored eye 
 to see that lines converge when the mind is conscious that 
 they are parallel in nature, and that a certain space upon 
 the drawing may really represent a space of twice or thrice 
 its extent, that it is absolutely necessary from the very out- 
 set that a knowledge of the principles of perspective should 
 go hand in hand with the pupil's powers of vision, so that 
 they may mutually assist each other. A very little practice 
 in drawing lines in the various positions pointed out in 
 plate 1 would enable the merest tyro to give a tolerable 
 outline of any simple object placed before him, say, for 
 
40 
 
 CONCLUDING REMARKS. 
 
 example, a small square box : but, depending on his eye 
 alone, he will probably produce a sketch somewhat resem- 
 bling the one beneath. 
 
 The true place of the retiring lines is shewn by the 
 dotted lines, the false direction given resulting from what 
 has been stated above, viz., the pupil drawing the lines as 
 he sees them, without reflecting that his eye being uncul- 
 tivated, he cannot see them rightly. Through a disregard 
 of one of the simplest rules of perspective, the farther 
 side of the box is actually represented wider than the 
 near one ; whilst from the excess of depth given to the 
 top of the box, the character of flatness is entirely lost. 
 The few precepts contained in this Guide, if carefully 
 studied, will efiectually prevent the repetition of these or 
 similar inaccuracies, for, in fact, they are the sources of all 
 others. 
 
41 
 
 SUMMARY OF PRINCIPLES CONTAINED IN 
 THIS GUIDE. 
 
 Objects altel' in appearance by change of position. 
 
 The boundary lines of objects oblique to the spectator 
 invariably appear to tend in the direction towards which 
 the eye of the spectator is bent. 
 
 Lines square to the eye do not alter their course, but 
 are represented parallel to the original lines ; they, how- 
 ever, diminish in size as their distance increases. 
 
 Lines going direct from or at right angles to the spec- 
 tator converge to the seat of the eye. 
 
 Lines oblique to the spectator, if horizontal in nature, 
 will converge to points in the horizontal line, but if oblique, 
 to points above or below that line. 
 
 Lines parallel to each other and not square to the eye 
 converge to the same point on the drawing. 
 
 Every circle, viewed either sideways or obliquely, takes 
 the form of an ellipsis. 
 
GEO. ROWNEY & Co, 
 
 MANUFACTURING ARTISTS' COLOURMEN, 
 
 51, RATHBONE PLACE, 
 
 WATER-COXiOlTR PAINTING. 
 
 Water Colour painting; has of late years attracted so much attention, as to 
 become one of the most important branches of the Fine Arts in this country. 
 Such great advances of the British Artists in this mode of painting, has 
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 Colours. 
 
 Messrs. Rowney and Co. have great pleasure in calling the public atten- 
 tion to their Water Colours in cake, the brilliancy and permanency of which 
 are not to be surpassed by those of any other manufacturer. 
 
 MOIST WATBXt COI.OURS. 
 
 For the sake of greater freedom and effect, this mode of preparing Water 
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 on with a thick body. A further improvement has been made by Messrs. R. 
 and Co. in preparing the 
 
 BIOIST WATER COIiiOVRS IN TUBS. 
 
 The mode of preparing these colours renders them a most valuable improve- 
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 They will keep any length of time without drying up or spoiling, as do most 
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 much deteriorates from their purity and brilliancy, is rendered impossible, by 
 the Colours being kept separate, and only so much as is required at the time 
 being placed on the palette. 
 
2 
 
 The following is a list of the various Colours, with their prices attached 
 for either. 
 
 HALF CAKE AND aUARTER CAKES, 
 
 vftke same quality at proportionate prices t 
 
 Ultramarine 21 
 
 Deep Rose 7 
 
 Pure Scarlet 
 
 Carmine 
 
 Burnt ditto I 
 
 Mars Orange y 
 
 Smalt 
 
 Purple Madder 
 
 Gallstone » 
 
 Cadmium Yellow 
 
 Madder Lake, or Pink Madder . . 3 
 
 Intense Blue 3 
 
 Lemon Yellow 2 
 
 French Ultramarine 2 
 
 " Violet Carmine 2 
 
 Cobalt Blue 2 
 
 Azure Blue 2 
 
 Crimson Lake 
 
 Scarlet ditto 
 
 Indian Yellow 
 
 Sepia 
 
 Warm ditto 
 
 Madder, Brown 
 
 Permanent White . . . 
 
 Mars Yellow 
 
 Scarlet Vermilion 
 
 Permanent Blue 
 
 Chinese White 
 
 y 1 6 
 
 Purple 
 Ditto Lake 
 Vermilion 
 Indian Red 
 Venetian Red 
 Light Red 
 
 Burnt Roman Ochre 
 Red Lead or ) 
 Orange Mineral I 
 Orange Urpiment 
 Chrome, 1, 2, 3, 4 
 King's Yellow 
 Naples Yellow 
 Gamboge 
 Italian Pink 
 
 Is. each. 
 
 Brown Pink 
 Yellow Lake 
 Yellow Ochre 
 Italian ditto 
 Roman ditto 
 Brown ditto 
 Raw Umber 
 Burnt ditto 
 Raw Sienna 
 Burnt ditto 
 Vandyke Brown 
 Bistre 
 
 Cologne Earth 
 Payne's Grey 
 Neutral Tint 
 
 Ivory Black 
 Lamp ditto 
 Blue ditto 
 Indigo 
 
 Prussian Blue 
 Antwerp Blue 
 Blue Verditer 
 Emerald Green 
 Verdigris 
 Olive Green 
 Hooker's Green, 
 
 I and 2 
 Prussian Green 
 Sap Green 
 Flake White 
 
 COZ.OUR BOXES, 
 
 IN GREAT VAEIETF, 
 
 Fitted with Whole, Half or Quarter Cakes, and other Requisites for 
 Drawing, from 2s. to about £10 10s. 
 For particulars see Catalogue. 
 
 THE ARTIST'S POCKET ZLNIFE. 
 
 Messrs. R. & Co. have had manufactured expressly for them, by one of the 
 first Sheffield makers, a KNIFE of the finest quality, especially adapted for 
 the use of Artists. *It is not larger than an ordinary pocket knife, and coutains 
 
 A Palette Knife ; A Fine Blade ; 
 
 A File for Sharpening Pencils or Chalk ; 
 
 An Erasing or Scraping Blade. 
 
 Price 5s. 
 
 Or with the addition of a Screw for drawing the corks of Varnish Bottles, 
 
 price 7s. 
 
3 
 
 COLOURS PREPARED FOR PAINTING ON GLASS, 
 
 AS USED FOU THE DISSOLVING VIEWS 
 
 AT THE ROYAL POLYTECHNIC INSTITUTION, 
 
 Invented and Manufactured by 
 
 GEORGE ROWNEY & Co., 
 
 51^ RATHBONE FIiACB^ Z. O IT D O IT. 
 
 The following Testimonial from C. Smith, Esq., the Artist engaged by 
 the Royal Polytechnic Institution, tvill sufficiently indicate the value of the 
 above Colours: — 
 
 *' Messrs. Rowney & Co. 
 
 " October 29th, 1848. 
 
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 I am, Gentlemen, yours truly, 
 
 "CHARLES SMITH. 
 
 "30, Tavistock Street, Covent Garden." 
 
 This invention places the Art of Painting on Glass within the power of 
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 ration of Varnish Colours placed difficulties in the way of the most practised 
 Artist. In addition to which, the time saved by this New Process is con- 
 siderable, and the beauty and clearness of the Painting is much increased. 
 
 LIST OF THE COLOURS. 
 
 (prepared in metallic tubes.) 
 
 Crimson , 5 
 
 Scarlet 5 
 
 Orange 1 
 
 Opaque Black 1 
 
 Blue 1 
 
 d. 
 
 
 s. 
 
 
 
 
 I 
 
 
 
 
 1 
 
 
 
 
 1 
 
 
 
 "Warm Brown 
 
 , 1 
 
 
 
 Intense Brown 
 
 1 
 
 d. 
 
 
 
 
 
 Varnish, Is. per Bottle. 
 Box of the above, containing Palette and Brushes, 258. 
 
4 
 
 GEO. EOWNEY & CO.'S 
 IMPROVED DRAWING PENCILS, 
 
 NEATLV GOT UP IN POLISHED CEDAR, 
 
 In order to prevent the Lead Dust adhering to the Pencil, and consequently 
 soiling the fingers. 
 
 To sell at 3</. each, or 2s. ^d, per Dozen, 
 
 Extra Letters (such as hitherto sold at Is. each), ^d, each, or 
 56-. per Dozen. 
 
 H — Hard for Sketching , . . . . . .v 
 
 HH — Harder for Outlines 
 
 HHH — Very Hard for Architects .... 
 HHHH — Extra Hard for Engineers 
 
 HB— Hard and Black 
 
 B — Black for Shading ...... 
 
 BB — Softer and very Black . ... 
 
 E — Eirm for Ordinary Drawing .... 
 
 EXTRA LETTERS, MOST CAREFULLY PREPARED. 
 
 EHB— Extra Hard and Black 
 
 DEHB— Ditto ditto, Extra Thick Lead . 
 EE — Very Eirm and Double Thick T>ead 
 BBB — Softer and very Black Double Lead 
 
 3f/. each, 
 y or 2s. 
 per Dozen. 
 
 BBBBBBB— Very Broad and Black, for large hold Pencil 
 Drawings. 
 
 Qd. each, 
 or 5 s. 
 per Dozen. 
 
 Is. each 
 or 10s. 
 per Dozen. 
 
 BY APPOINTMENT 
 
 TO HER MAJESTY'S STATIONERY OFFICES AND SCHOOLS OF DESIGN. 
 
 Messrs. G. R. and Co., in submitting these Pencils to the public, call 
 pai'ticular attention to their elegance, cheapness, and above all, their superior 
 quality. Among others, Testimonials have been received from the following 
 Artists, &c. 
 
 T. M. Richardson, 
 
 Member of the Old Water Colour Society ; 
 Frederick Goodall, 
 James E. Doyle, 
 David Cox, Jun., 
 
 Member of the Old Water Colour Society ; 
 George Harley, 
 
5 
 
 Mr. RONCIMAN, 
 H. WORSLEY, 
 
 J. Syer, 
 
 A. C. Burgess, 
 
 Samuel Lines, of Birmingham; 
 J, H. Hammersley, 
 
 Head Drawing Master of the Government School of 
 Design^ Manchester ; 
 Frederick Richard Pickersgill, a.r.a., 
 William Brocas, of Dublin; 
 William Gawin Herdman, 
 
 Secretary/ of the Society of ArlSy Liverpool ; 
 Claude L. Nursey, 
 
 Head Master of the Government School of Design^ Belfast ; 
 George Hemans, 
 
 Chief Engineer to M. G, Railway ; 
 H. O. Neil, m.s.i.a., 
 John Noblet, Cork ; 
 John Brenan, Cork; 
 George Barnard, 
 
 Head Drawing Master of Rugby School ; 
 George R. Lewis, 
 
 B. MuLRENIN, A.R.H.A., 
 
 The late Thomas B. Richardson, 
 H. W. Hulme, 
 G. Petrie, 
 
 Vice-President of the Royal Hibernian Academy ; 
 M. O. Connor, 
 J. Howard Burgess, Belfast; 
 Robert ^B. Stopford, Cork; 
 WiLLfAM Wall, Dublin; 
 J. Davidson, 
 
 Member of the New Water Colour Society. 
 
 CAUTION. 
 
 The Public are respectfully requested to observe that the name of 
 " George Rowney and Compy'^ is stamped on each Pencil ; as their unpre- 
 cedented success has induced other manufacturers to imitate them in their 
 outward appearance, as the means of selling an inferior article, to the injury 
 of the character established by Messrs. R. and Co. for their Pencils. 
 
6 
 
 EOYAL ACADEMY CRAYONS, 
 
 MANUFACTURED ONLY BY 
 
 GEO. EOWNEY & CO., 
 
 The great desideratum in Black Drawing Chalks is to obtain a material that will 
 work freely and pleasantly without coarseness or grit, having great depth of colour 
 in the softest degree, and a more delicate shade of black for the harder degrees. 
 
 The Royal Academy Crayons possess these properties to a degree far beyond 
 any other Crayons hitherto manufactured, being perfectly free from grit, working 
 smoothly and freely, like the Italian Chalk ; and while possessing equal depth with 
 the Conte Crayons, have all the delicacy and fineness of a Black Lead Pencil. 
 
 The Royal Academy Crayons have met with very general approval, and have 
 been adopted by all the Schools of Design and Drawing Academies in which they 
 have been introduced. 
 
 The following Testimonials, selected from among numerous others, are 
 respectfully submitted. 
 
 Government School of Design, Somerset House, 
 "June 1, 1850. 
 
 " Mr. Herman presents his compliments to Messrs. Rowney, aud begs to thank them 
 for the specimen sent of their Academy Crayons, which he has for some time past been 
 in the habit of using for Sketching, for which they are particularly adapted, and has, 
 therefore, great pleasure in testifying to their merits." 
 
 "46, Great Camden Street, Camden Town, 
 " May 11th, 1850. 
 
 " Mr. R. W. Buss has tested the Black Crayons manufactured by Messrs. Rowney 
 and Co., and can state with confidence that the preparation is a decided improvement 
 upon the well-know French Conte Crayons, as the Black Crayons of Messrs. Rowney 
 and Co. are deep in colour, free from grit, and work as smoothly as Black Italian 
 Chalk, which latter quality Mr. Buss finds of great importance in liis classes for 
 Drawing from Nature Delicate half-tints are also more easily obtained by means of 
 these Crayons than by the Conte Chalks." 
 
 From H. O'Neil's Guide to Pictorial Art. 
 
 " The Royal Academy Chalk works very like the Italian, but is better in colour. 
 This is the cheapest and best Chalk in use." 
 
 Manufactured by Messrs Rowney and Co., 51, Mathbone Place, London, and 
 sold by all Stationers and Artists' Colourmen. 
 
 Boxes containing One Dozen of Assorted Degrees price Os. 6d. 
 
 Ditto ditto Three Dozen (One Dozen each Hard, Middle & Soft) Is. 6d. 
 
 COZiOVRED SWISS CRAITONS, 
 
 In every variety of Shade and Tint. 
 
 CONTE AND OTHER CKAZiKS, 
 
 For Academy Studies, in Black and White. 
 
GEO. KOWNF.Y & CO.'S 
 
 By this novel process, Water Colour Drawings, Oil Paintings, 
 Crayon Drawings, &c., may be represented with such accuracy that the 
 most practised eye is deceived. The Impressions presenting the Touch, 
 Colour, and Effect of the Originals from which they are taken. 
 
 THE FOLLOWING ARE 
 
 EXHIBITING AT THE CRYSTAL PALACE, 
 
 AND MAY BE HAD OF THE PUBLISHEHS, 
 
 51, RATHBONE PLACE, 
 
 Mounted like the Original Draivings, 
 
 "THE ORIGIN OF 
 THE GUELPH AND GHIBELLINE FACTIONS." 
 
 After r. R. Pickersgill, Esq., A.R.A., 
 Price 10.5. 6d. 
 
 Subtle she was, and rich, — 
 
 Eich in a hidden pearl of heavenly light, 
 
 Her daughter's beauty ; and too well she knew 
 
 Its virtue I Patiently she stood and watched ; 
 
 Nor stood alone — but spoke not, — In her breast 
 
 Her purpose lay ; and, as a youth passed by, 
 
 Clad for the nuptial rite, she smiled and said, 
 
 Lifting a corner of the maiden's veil, 
 
 " This had I treasured up in secret for thee. 
 
 This hast thou lost !" He gazed and was undone I 
 
 Forgetting — not forgot — he broke the bond, 
 
 And paid the penalty, losing his life 
 
 At the bridge foot ; and hence a world of woe ! 
 
 Rogers a Italy. 
 
 Giovanni Buondelnionte was on the point of marrying an Amidei, when a 
 widow of the Donati family made him break his engagement in the manner 
 here described. 
 
 The Amidei washed away the affront with his blood, attacking him at the 
 foot of the Ponte Vecchio, as he was coming leisurely along on his white 
 palfrey ; and hence many years of slaiiuhter. 
 
 [over. 
 
8 
 
 The lady was of the Ghibelliue party, and her lover of that of the 
 Guelphs. From the latter family is descended 
 
 HER MOST GRACIOUS MAJESTY. 
 
 W£STIM[XNSTS:R ABBEV, from the PARK.," 
 
 After E,. P. Noble, 
 Price 7s. 6d, 
 
 «'XiAK.E OF XiUCERNZS." 
 
 After T. M. Richardson, 
 
 (Member of the Society of Painters in Water Colours), 
 Price 105. Qd, 
 
 ''SZ^ESPXNa AI7I» WAKINGS 
 
 After J. H. Mole, 
 (Member of the New Society of Painters in Water Colours), 
 Price 5s. 
 
 "THE LESSON," 
 
 After J. H. Mole. 
 Price OS. 
 
 ''The FRENCH FISHERMAN'S DAVaKTER," 
 
 After W. Lee, 
 (Member of the New Society of Painters in Water Colours), 
 Price 5s. 
 
 ''THE GXiEANERS," 
 
 After "W. A. Robinson, 
 Price 5s. 
 
 ''CI.AINES CKVRCK, 
 
 WITH THE 
 
 MAXiVERN KIXiZiS IN THE DISTANCE,*' 
 
 After R. P. Noble, 
 Price 5s. 
 
 The small Subjects, a Specimen of which is given in the Illustrated 
 Catalogue of the Exhibition, are from a series of Twelve, from Drawings 
 bg R, P. Noble, — price Is. each. 
 
 GEO. ROWNEY & CO., 
 
 INVENTORS, PRINTERS, AND PUBLISHERS, 
 
 51, RATHBONE PLACE, LONDON. 
 
'^-8/9T83 
 
[Printing in Colours continued.'] 
 MESSRS. R. & CO. HAVE ALSO PUBLISHED 
 
 ''CZiAINES, NEAR WOXtCBSTER," 
 
 After R. P. Noble. Price 5s. 
 
 ''lESAST lyiAIiZiZNa, XLENT," 
 
 After R. P. Noble. Price 5s. 
 
 Ill progress and will shortly be published, Twelve small Subjects, after E. A. Good all, 
 ZiOCAZi AND ARCKITECTURAZi VISWS ; 
 And Six small Subjects, 
 RUSTIC FiaURES, 
 
 After G. Wells. 
 
 Several other subjects will be published from time to tim.e, from Drawings by the 
 most celebrated Artists. 
 
 THE FOLLOWING WORKS ON THE 
 
 fmt Mb 
 
 ARE PUBLISHED BY MESSRS. ROWNEY CO. 
 
 GUIDE TO WATER COLOUR PAINTING. By R. P. NOBLE. With an Illus- 
 tration in Colours. 4th Edition. S/ itched, Is. Qd. Bound, 2s. 
 
 GUIDE TO OIL PAINTING. By J. S. TEMPLETON. 7th Edition. Stitched, Is. 
 Bound, Is. 6d. 
 
 GUIDE TO PENCIL AND CHALK DRAWING. By G. HARLEY. 3rd Edition. 
 
 Stif cited, Is. Bound, . Is. Qd. 
 GUIDE TO PICTORIAL ART. By H. O'NEIL. 4th Edition. Stitched, Is. OJ. 
 
 Bound, 2s. 
 
 GUIDE TO LEVELLING AND SURVEYING. By W. PEASE. Price Is. 6d. 
 GUIDE TO PICTORIAL PERSPECTIVE. By B. R. GREEN. With numerous 
 
 Illustrations. Price Is 
 GREEN'S ILLUSTRATIONS OF PERSPECTIVE. A new Edition. 12s Bound. 
 
 Size, 12 by 9. 
 
 LITHOGRAPHIC DRAWING BOOKS. 
 
 GAVARNI'S RUSTIC STUDIES OF FIGURE. Six Plates, at2s. each. Size21byl5. 
 RUSTIC FIGURES. By J. C. HICKS. Six Plates, at Is. each. Size, 15 bv 11. 
 CATTLE AND RUSTIC FIGURES. By H. B. WILLIS. Six Nos. at 2s.'66^. each, 
 
 or 3s. Of/, on ludia puper. Size 15 bv 11. 
 STUDIES FROM THE PORTFOLIOS OF VARIOUS ARTISTS. 
 
 Parti. Six Plates. By G B.'VRnaiii). Size, 21 by 15, .. 9s. 
 „ 2. „ By H. B. Willis. „ .. 9.s-. 
 
 „ 3 „ ByJ. Syer. „ .. 9.S-. 
 
 SYER'S RUSTIC SCENES. lu Six Numbers. Size, 10 by 7. Is. eact No. plain, 
 
 or Is 6^/. with tint. Sine^le Proof Sheets, 24 plates, on large paper, Gd. each. 
 SYER'S PROGRESSIVE DRAWING BOOK. Six Numbers, 6^/. each. Size9by5i. 
 SYEK'S ELEMENTARY DRAWING BOOK. Six Nnwibers, Is. each. Size 10 by 7. 
 SYER'S RIVER SCENES AND SHIPPING. Six Numbers, 2s. each. Size, 15 bv 11. 
 HARLEY'S FIRST LESSONS IN LANDSCAPE. Nine Numbers, Is. each. 
 
 Size, 11 l)v 7. 
 
 ELEMENTARY STUDIES OF TREES. By G. BARNARD. First and Second 
 
 Series, comprisinj? 9 Nos., 2s. each. Size, 15 bv 11. 
 LABY'S RUSTIC FIGURES AND LANDSCAPE. Six Plates, Is, each. Size, 15 
 
 by 11. . .