The best colours are those sold in boxes, properly mixed with gum, which, rubbed on a tile, and diluted with water in the brush, flow readily, and are very clear : those commonly used will be found properly placed and named in the cases alluded to. Nothing will contri bute more towards obtaining correctness in drawing, than a free and unembarrassed conduct of the black-lead pencil and port crayon, which should not be held too pear the points, nor should the rule and compasses be employed, except in mak ing admeasurements and drawings of architecture ; when copying from any given subject, it will greatly expedite the progress to imagine the picture or drawing divided into squares, and the paper in an equal number; by this means the true situation of each figure, within these imaginary squares, may be trans ferred to the same imaginary squares on the paper. A more mechanical method to copy in the same size as the original, or to reduce or enlarge the copy, is, to draw real lines across each, forming an equal number of exact squares, and num bering them throughout so as to corres pond: threads stretched across a picture instead of lines must be less injurious to it, and ought to be preferred. The penta graph is an useful instrument, invented for enlarging or reducing the outlines of pictures, drawings, prints, or plans, or copying them from the original size. In drawing from nature, much circumspec tion should be used in choosing the spot whence the view is to be seen, as a few feet or yards often make an essential difference in the beauty of the groupes and individual objects; a gentle elevation should be preferred, whence the eye may embrace a large circumference ; then fix ing upon some certain points, imagine several perpendicular lines, and marking an equal number on the paper, let the horizontal line intersect them; the objects to be represented are thus obtained as in the method of copying by squares. Every peculiarity of the landscape must he caught with avidity, the declination of lines, the apparent lessening of objects, the species of the trees, the tendency of the broken fragments on the edges of clouds, and the movements of the foliage and branches by the wind ; the seasons should also be observed, as the lights vary greatly,with them, and the colouring es sentially. Raging billows, waterfalls, and clouds discharging rain, offer many particulars for minute observation, and the shadows of passing clouds have a beautiful effect, when chasing each other over the sides of mountains, or are spread like a veil over a large tract of country. In making the lights and shades of a landscape, it must never be forgot ten, that, whatever place the sun may be in, the light can fall but one way, and that all the difference possible in the shades are their degrees of strength between morning, evening, and noon, and their strength at either extreme of the day, compared with the meridian ; as they are very short at that period, and often inter mixed with strong reflected light, expe rienced artists always prefer morning and evening, as productive of those gold en and purple tints, which catch upon ob jects half buried in deep shadow, and give a beautiful effect to the landscape. Claude Lorrain was almost the only painter, who thought himself equal to re presenting the sun, and the silvery effect of its beams upon water ; that he suc ceeded to admiration must be acknowl edged, but it is extremely doubtful whe ther his pictures will ever be equalled : it is, however, certain, that the attempt has failed in every modern instance. As one step towards imitating the brilliancy of the orb of day, it has been the custom to suppose the sun just beyond the boun dary of the picture, by making the sky clear and light on that side, and gradual ly fading thence through the landscape. As this method is founded upon just prin ciples, the young artist may safely adopt it, though not as an indispensable rule ; for the light breaking through clouds, and luminating the centre or front of a view, has an excellent effect, especially if that spot is animated by human figures or cattle. When a building, whether a modern or ancient edifice, is the principal object, the light should be thrown de cidedly on it, though that on the sides of clouds next to the sun must be brightest. But as that may be considered too at tractive of the attention from the build ing, the atmosphere ought to be rather dark and tempestuous ; because, if there are few clouds, the light distributed on the globules of moisture floating in the air will overpower even the direct rays of the sun on an opaque body. In shading circular bodies, the light side ought not to cut hard upon the next object, but be softened into it in a slight degree ; the brightest light succeeds, then the shading gradually deepens about three quarters through, after which the extremity catch es a reflected light, and the outline blends with the tint behind it ; in the same manner foliage, the edges of hills, &c. should combine with the light or shade behind them. In representing the angles of houses, the strongest shades must he next the light, whence they de cline and become lighter : in this case, and in every particular relating to archi tecture, it will be most proper to draw from the works of the best masters, and finally from reality, as it is almost impos sible to describe the consequence of every little light and shade projected from „the ornaments. Contrast, when artfully con trived, is the true secret of producing re lief; for instance, a plain light surface will not relieve from the paper ; but if the same surface has part of its depth shad ed, as if placed obliquely, it assumes solidity : thus, if too deeply darkened objects are connected, they will appear on the same line ;- but if a faint light, de rived by reflection from some neighbour ing substance, is thrown upon the most distant, it will detach itself, and give an idea of separation from the other : hence it follows, that shade should always be opposed to light throughout a landscape, but in that judicious manner pointed out by nature, whose operations in this case must be closely examined and ascertain •ed, as they are often so faintly and capri ciously performed as to elude an eye tin •accustomed to accurate observation : let it be remembered, besides, that her con trasts are never violent and glaring, ever declining in force with the dis tance of the objects ; those in the front of a view require the most attention, as, every part being near, they become per fectly distinct, and must be represented with the strongest colours suited to the substance.
There are some other rules proper in drawing ; particularly, if a flower is to be copied from nature, it is usual to begin with the centre, proceeding thence with -the leaves composing it to the extremi ties, which method enables the student to lay them one above another,in the cor rect and beautiful manner they are dis posed by the Great Author of all things. In. colouring those fascinating objects, infinite skill is required in blending their tints so as to keep each clear !and bright. In observing birds, it will be found that the feathers of the head are smallest, whence they proceed to the tail in five ranges. In this instance, and in draw ing animals, every precaution cannot- be too closely attended to, which will give their true characteristics.
Having completed the necessary in structions for drawing by the improve ment of a native genius, or inclination for the study of the fine arts, which is known to be inherent in some, and utterly un known to the majority of mankind, we shall next notice what may be termed Mechanical drawing, which is indispen sable in many pursuits, and amusing to all, whose time might be less profitably employed. To draw plans, maps, and fi gures of new inventions well, geometry and perspective must be thoroughly un derstood, particularly if elevations and sections of buildings are attempted : to proceed regularly, the free use of the black pencil ought to be attained, after which the use of Indian ink with afire pen should be acquired, with a facility of draw ing lines either with or without a ruler, particularly curves beyond the range of a small compass : to those are to be added the doctrines of light, shade, and reflec tion, and an easy, careless method of sha ding, which is readily accomplished, if in struments of any kind are to be copied, as they may be placed in the most favoura ble light at pleasure. Taste is out of the question in this branch of the art, merely suited to the architect, the phi-. losopher or mathematician, and the geo grapher. Young ladies of fortune, and persons fond of pleasant employment, may derive information from the follow ing modes of proceeding in copying, • tracing, &c. &c.
Tracing paper is readily made by taking a sheet of very thin silk, or other and rubbing it over gently with some sof substance, filled with a mixture of equal parts of drying oil and oil of turpentine,' which, suspended and dried, will be fit for use in a few days, or it may be had at any of the 'colour shops. Lay this trans parent material on the print or drawing to he transferred, and with a sharp black lead pencil trace the outlines exactly as they appear through the paper. If more permanent or stronger lines are wished, Ink mixed with ox-gall will be necessary to make it adhere to the oiled suiface.
Tracing against the light : there are two methods ; one to lay the print, &c. flat against a pane of glass, with thin paper over it, when the lines appearing through it are to be followed by the lead : the other is more convenient, and consists of a frame inclosing a squave of glass, sup ported by legs, on which the paper is laid as before, and a candle placed behind the glass. A pen and ink may be used in this manner, but they cannot in the former instance.
Another method of using transparent _pa per. Take a piece of the size required, and rub it,equally over on one side with black lead reduced to a powder, till the surface will not readily soil a finger, then lay a piece of white paper,with the black ed paper and leaded side next to it, un der the print, and securing them firmly together with pins at the corners, pro- ceed to trace the outlines with a blunt point, and some degree of pressure,, which will transfer the lead to the clean paper precisely in the direction the point passed over the print : this may be cor rected with the black-lead pencil, and cleansed of any soil by the crumbs of stale bread.
Copying drawings, E.. fc. with Axed mate rials. Hub a thin piece of paper tho roughly and equally with fresh butter, and after drying it well by a fire, cover it with black-lead, as before-mentioned, tar with carmine, lamp-black, or blue bice, on the side which received the butter. When the operation has so far succeeded, as that the colour will not ad here to any substance passed over it, lay the coloured surface on white paper, the print on it, and trace the subject through 'with a point, as above.