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Lairesse, Gérard de; Bowles, Carington [Editor]; Dufresnoy, Charles-Alphonse [Editor]
Bowles's Principles of Drawing: Forming A Complete Drawing Book ; Illustrated With A Curious Collection of Examples, Beginning With An easy and simple Method, calculated to Convey Instruction to Young Minds ; By which they may acquire The Art without the Assistance of a Master. Every Branch of Drawing is contained in this Book ... Elegantly engraved on Sixty Folio Pages of Copper Plates, All From The Original Drawings of the most approves Masters. To which ist prefixed, An Introduction To Drawing: Containing Rules and Directions for the Choice of Instruments and Materials, and how to apply and manage them. With easy and proper Lessons for the Young Student — London, [ca. 1793]

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https://doi.org/10.11588/diglit.25606#0009
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PRINCIPLES OF DRAWING.

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I LIGHTS

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Begin your shading at the top, proceed downward, and go
through the whole of it with a faint Ihade before you give the
finiihhjg to any particular part.
A balance should be preserved between the lights and shade's,
they serve for an opposition to one another a broad Jigiit muss
theresore be accompanied with a broad shade y a fainter jio-ht
with a fainter shade.
Light objedts mud have a sufficient slrength of sliadow to
sustain them, and dark bodies mull be relieved by a mass os
light behind. Without this opposition, objects will adhere
to the ground, or slick to one another; but by distributino-
lights and shadows to advantage, they are loosened and set
free, and receive a strong relievo.
Those objedts or parts of objedts which come forwarded: to
view, muss have strong and smart oppositions, and the highest
finishing : those that are designed to be thrown further ofs,
musf be made slill weaker, and less dislindh lhnature, objedts
appear distindt or confused, according to their nearness or dis-
tance: the features of a face, or foids of a garment, are not
distinguishable the length of a slreet; and the innumerable
leaves of a distant plantation, look like one confused mass. A
more accurate, or slighter finishing, gives to objedts a relative
dominion over each other as to their distances : the heightening
of one, chases another further from the sight whichls not so
minutely and strongly penciled.
Give to every objedt such lights as are most proper to its
supposed situation.. In the open air, when the sun shines sull
upon objedts, the lights must be strong and bold, and the sha-
dows dark : if the sun is obscured by clouds, the light is more
equal and universaJ, but not so strong and warm, and the
shad.s must be fainter and more sweet. Artificial Jiaht
tinges the objedt with its own colour, and occasions laro-e
shadows with bold extremities. Elementary Jio-ht is pure and
more generally diffused, and the shadows st produces are
lofter. The projedfing parts of objedts that are nearest to the
light, catch it fir st, are brightest, and produce sliades upon the
lower parts. Consider from what point, and in what di-

redtion.the light salls upon the objedt, and place all your lights
and sliades according to that diredtion : if it falls perpendicu-
lar upon a man, the top of the head is then lighted:, the
shoulders in the next degree so, and the lower part gradually
darker : the cavities and parts that bend inwards, not receiv-
ing any diredt rays, are darkest of all, and the colours are lost
in them. The full force of the principal light is to be only in
one part, and ought not to be crosted or interrupted with little
shadows; A sudden brightness is seen, and many ressedtions
and smali tints are produced> when the force of light strikes
upon silks, sattins, vestels of silver, copper, or upon other glit-
tering obiedts.
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The very extremity of the shadowed side os objedts is sel-
dom the darkest of all, because it almost always receives a re-
ssedlion of light from adjacent bodies. Ressexes are scarce
sensible, except in the shadowed parts. All refledted light is
supposed to carry with it part of the colour of the body which
ressedts it, so that those places which receive this light have
.their own colour mixed or tinged with the other. Much skill
and accuracy is often required in management of the reflexes,
; as the same place many times receives them from different ob-
jects differently coloured. Every circumstance of the colour^
light, and position of each figure, and what effedt each has
upon the other, is to be considered, and nature pursued in all
the variety of mixtures.
Nature gives a vast variety of appearances in light and shade,
a curious observer of them is rewarded with high delight; and
the artist with much improvement. The sky always gradates
one way or another : the rising and setting sun exhibit it with
astonishing beauty and perfedlion. ‘T he variety of forms and
colours remedied in water, from the sky and clouds, from trees,
houses, and other objedts, are exceeding beautiful to behold.
Accuilom yourself to consider the disserent effedls of. light
failing upon objedts, its various and delightful softnings and
modulations in the shades, or parts which are more or less
deprived of the rays ; your judgment will this way be best in-
formed by your senses, how to represent these pleasing appear-
ances : the proper management of which makes one of the
great divisions or branches of painting.

FIRST LESSON.

A

P FIRST LESSON


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-N all arts and sciences, the learner begins with the most
Ample principles. The knowledge of the alphabet is an intro-
duftion to the grammar; and an ability to imitate the forms
of dilrerent lines, (it is no matter of w hat shape, so that they
are exadtly imitated,) is the foundation of drawing after every
kind of objedt. ,
In the fit st lesson the scholar is presented with many lines of
different kinds for his imitation, P'iz. Perpendicular lines
marked A; that is, a line falling diredily on another, so as to

make equal angles on each side. C, horizontal lines which
pass from one point to another without any deviation. D, ob-
lique lines, converging or approximating one way, and diverg-
ing or continually increasing their distance the other way.
E, parallel lines which are every where equidistant from each
other; at F, two semicircles are drawn from points assumed
in the lower line, and the upper line being a tangent to both
of them, proves the truth of its being drawn parallel. Ex-
amples are also given of varigus sorts of curved and twining
lines, &c.
B 2 SECOND

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