DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.25606#0014
IO
PRINCIPLES OF DRAWING.
EIGHTH LESSON.
RULES FOR DRAWING AFTER MODELS OR STATUES.
jA^LWAYS choose a north light, is posiible, because it is
Ready and most equally difFused. Darken with the shutters all
the windows of the room but one, and darken the lower
part of that window. The light contracted in this manner,
and only admitted at an altitude above the position of the
figure, will make the shadows distinCt, and shew every part of
it to advantage. If you are constrained to a window which
has a south aspeCt, a transparent sash of oil’d paper will mo-
derate the light, and take off the glare.
Sit at a distance from the model, in proportion to its size ;
so far that you may see the whole of it at once, which may
be essected at a distance about twice or three times its magni-
tude. Seat yourself in such a manner, as to bring your eye
upon a level with the sigure.
NINTH
The observations heretofore laid down, are applicable to
this branch of drawing, to urge the most material of them
i. Copy after good originals. 2. Mark out all the pans
before you begin to shadow. 3. Make the contours in great
pieces, without taking notice of the little mnscles and other
breaks. 4. Observe every stroke as to its perpendicular, pa.
rallel, and distance; and particularly so to compare, and op.
pose the parts that meet upon, and traverse the perpendicu.
lar, as to form a kind of square in the mind, which is the
great and almost the Only rule for producing a just andexad
copy. 5. Carefully regard not only the model you are copy,
ing after, but also the parts you have already drawn ; there
being no possibility os perserving stridl justness in your per-
formance, but by comparing and proportioning every part
to the sirst.
LESSON.
DIRECTIONS FOR COPYING AFTER PAINTINGS.
P
LACE your piClure in a good light, by which is meant,
not only an even steady light, as directed in the former arti-
cle, but also the proper light for the picture, that it may fall
thereon either on the right or left side, agreeable to the lights
and shadows in the painting. Seat yourself at a proper dis-
tance from it, to see the whole picture at once. 1. Observe
nicely what objeCt is placed in the middle of the picture ;
mark nightly the middle of your paper, and give it the same
situation. 2. Observe the principal objeCts on the left and
on the right side, how they are placed and ranged ; sketch
their rough form very stightly in the same disposition and
proportion, till all the principal parts are marked on your
paper in their proper places. 3. The expression or supposed
character and circumstances of every objeCt in the picture,
must be well studied and imprinted on your mind : its atti-
tude, posture and gescure preserved in your copy ; and those
parts be particularly noticed, by which the aCtion and senti-
ment are represented in a strong and lively maimer. 4. As
the whole composition ill011 Id be stightly sketched before you
begin to ftnisti any part for the snading, you sliould go on
with the whole together with a faint {hade, before you finish
any part. Many directions are given in the preceding essay
for the lights and (hades.
A common method of adjusting the distances, the situation
and proportion of every objeCt, agreeable to the picture, is to
divide it into little squares, and then to divide the paper for
the copy into the same number of squares, and to draw in
them what is correspondent to each square. This is a sure
method to enlarge or reduce a draught with exaCtness ; but if
the student accustom himself to praCtise by the help of these
squares, he will certainly slint and confine his judgment;
let him rather help it by imaginary lines, than cramp it by
real ones. Let him conceive in his mind a perpendicular and'
an horizontal line interseCting each other in the middle of the
picture, and observe what objeCts are crosted by them ; arid
then suppose two such lines crosting his paper, in order to
give those objeCts a fimilar situation. In like manner the si.
tuation and proportion of all the chief parts throughout the'
picture may be constdered, by imagining other lines traversing
them, and dividing as it were the several parts of the painting
into small squares. The primary qualification in the art of[
drawing, is a readiness of comparing and measuring by the
eye all the parts of a composition, and an ability to express
them with boldness and justness. This esiential accomplislij
ment is to be acquired by habit and application.
The proportion, form and magnitude of objeCts, their &
munition in size and lustre, are governed by the rules os per-!
speCtive. A knowledge in the practical part of that science,
will greatly advance the pupil’s judgment, .and sacilitate his
practice ; and this knowledge may be attained with surpriz-'
ing ease, by consulting that plain and familiar treatise, the
Jesuit’s PerspeCtive, transsated by Ephraim Chambers.
TENTH LESSON.
FOR DRAWING LANDSCAPES OR
L-T
JL JLAVING fixed your station, and determined what ex-
tent of view to delineate, draw the horizontal line faintly,
and mark it into three divisions, then divide in your mind the
jandscape in three divisions likewile. Sketch the middle divi-
sion first, then that on the left hand, asterwards that on the
right. Observe, 1. What objeCts fall under one another, and
mark them on your paper accordingly. 2, What objeCts range
on a level with each other between the two tides, and place
them parallel in your draught. 3. Remark what objeCts are
RURAL SCENES AFTER NATURE.
seea through the intervals of other particular objeCts, and give
them the same apparent situation. 4. Endeavour to sketch all
the objeCts in their proportional magnitudes and distances;1
they gradually diminish as they are farther removed from the;
eye, and it is this dimunition with gradual softenings and in*;
dist in Chiess, which gives distant objeCts their remote appear*11
ance. There are certain infallible rules in perspeCtive for the
management of this important article. 5. Make all your
lights and sliades sall one way.
- -11in m,,, ... m6, Mll r,
31ufl PuMiQieti.
London: Printed for the Proprietors, BOWLES and CARVER, at their Map and Print Warehouse. „
No. 69, St. Paul’s Church Yard.
I. PRACTICAL PERSPECTIVE ; or, an easy method of representing Natural ObjeCts according to the Rules of Art, applied anilj i
exemplified in all the variety of cases; as landscapes, gardens, buildings of divers kinds, their appendages, parts and furniture; with rules
for the proportion and petition of figures, both in draught and relievo ; also the manner of conducting the shadows produced either by
natural or artisicial luminaries, and practical methods of drawing after nature, when the process of rules are not understood. A work highly
necessary for painters, engravers, architects, and others concerned in designing. The whole illustrated with 150 Copper-plates. Written
in French by a JESUIT os PARIS. Translated by E. Chambers, F. R. S. If you would proceed immediately to the praCtice of
(6 perspeCtive, without engaging in the intricacies of the theory, the Jesuit’s PerspeCtive will answer your purpose.” Wolsrus in Element. (
Mathes. Tom. ii. p. 1048. Seventh Edition, quarto, bound. Price fi. is.
II. PRACTICAL GEOMETRY; or, a new and easy method of treating that art: whereby the praCtice os it is rendered plain and
familiar, and the student is directed in the most easy manner, through the several parts and progrestions of it. Very useful to painters/
engravers, architects, &c. Illustrated with 82 copper-plates. Translated from the French of Monsieur Seb. le Clerc, The sixth edition,, ^
lamo. bound. Price 5s.
PRINCIPLES OF DRAWING.
EIGHTH LESSON.
RULES FOR DRAWING AFTER MODELS OR STATUES.
jA^LWAYS choose a north light, is posiible, because it is
Ready and most equally difFused. Darken with the shutters all
the windows of the room but one, and darken the lower
part of that window. The light contracted in this manner,
and only admitted at an altitude above the position of the
figure, will make the shadows distinCt, and shew every part of
it to advantage. If you are constrained to a window which
has a south aspeCt, a transparent sash of oil’d paper will mo-
derate the light, and take off the glare.
Sit at a distance from the model, in proportion to its size ;
so far that you may see the whole of it at once, which may
be essected at a distance about twice or three times its magni-
tude. Seat yourself in such a manner, as to bring your eye
upon a level with the sigure.
NINTH
The observations heretofore laid down, are applicable to
this branch of drawing, to urge the most material of them
i. Copy after good originals. 2. Mark out all the pans
before you begin to shadow. 3. Make the contours in great
pieces, without taking notice of the little mnscles and other
breaks. 4. Observe every stroke as to its perpendicular, pa.
rallel, and distance; and particularly so to compare, and op.
pose the parts that meet upon, and traverse the perpendicu.
lar, as to form a kind of square in the mind, which is the
great and almost the Only rule for producing a just andexad
copy. 5. Carefully regard not only the model you are copy,
ing after, but also the parts you have already drawn ; there
being no possibility os perserving stridl justness in your per-
formance, but by comparing and proportioning every part
to the sirst.
LESSON.
DIRECTIONS FOR COPYING AFTER PAINTINGS.
P
LACE your piClure in a good light, by which is meant,
not only an even steady light, as directed in the former arti-
cle, but also the proper light for the picture, that it may fall
thereon either on the right or left side, agreeable to the lights
and shadows in the painting. Seat yourself at a proper dis-
tance from it, to see the whole picture at once. 1. Observe
nicely what objeCt is placed in the middle of the picture ;
mark nightly the middle of your paper, and give it the same
situation. 2. Observe the principal objeCts on the left and
on the right side, how they are placed and ranged ; sketch
their rough form very stightly in the same disposition and
proportion, till all the principal parts are marked on your
paper in their proper places. 3. The expression or supposed
character and circumstances of every objeCt in the picture,
must be well studied and imprinted on your mind : its atti-
tude, posture and gescure preserved in your copy ; and those
parts be particularly noticed, by which the aCtion and senti-
ment are represented in a strong and lively maimer. 4. As
the whole composition ill011 Id be stightly sketched before you
begin to ftnisti any part for the snading, you sliould go on
with the whole together with a faint {hade, before you finish
any part. Many directions are given in the preceding essay
for the lights and (hades.
A common method of adjusting the distances, the situation
and proportion of every objeCt, agreeable to the picture, is to
divide it into little squares, and then to divide the paper for
the copy into the same number of squares, and to draw in
them what is correspondent to each square. This is a sure
method to enlarge or reduce a draught with exaCtness ; but if
the student accustom himself to praCtise by the help of these
squares, he will certainly slint and confine his judgment;
let him rather help it by imaginary lines, than cramp it by
real ones. Let him conceive in his mind a perpendicular and'
an horizontal line interseCting each other in the middle of the
picture, and observe what objeCts are crosted by them ; arid
then suppose two such lines crosting his paper, in order to
give those objeCts a fimilar situation. In like manner the si.
tuation and proportion of all the chief parts throughout the'
picture may be constdered, by imagining other lines traversing
them, and dividing as it were the several parts of the painting
into small squares. The primary qualification in the art of[
drawing, is a readiness of comparing and measuring by the
eye all the parts of a composition, and an ability to express
them with boldness and justness. This esiential accomplislij
ment is to be acquired by habit and application.
The proportion, form and magnitude of objeCts, their &
munition in size and lustre, are governed by the rules os per-!
speCtive. A knowledge in the practical part of that science,
will greatly advance the pupil’s judgment, .and sacilitate his
practice ; and this knowledge may be attained with surpriz-'
ing ease, by consulting that plain and familiar treatise, the
Jesuit’s PerspeCtive, transsated by Ephraim Chambers.
TENTH LESSON.
FOR DRAWING LANDSCAPES OR
L-T
JL JLAVING fixed your station, and determined what ex-
tent of view to delineate, draw the horizontal line faintly,
and mark it into three divisions, then divide in your mind the
jandscape in three divisions likewile. Sketch the middle divi-
sion first, then that on the left hand, asterwards that on the
right. Observe, 1. What objeCts fall under one another, and
mark them on your paper accordingly. 2, What objeCts range
on a level with each other between the two tides, and place
them parallel in your draught. 3. Remark what objeCts are
RURAL SCENES AFTER NATURE.
seea through the intervals of other particular objeCts, and give
them the same apparent situation. 4. Endeavour to sketch all
the objeCts in their proportional magnitudes and distances;1
they gradually diminish as they are farther removed from the;
eye, and it is this dimunition with gradual softenings and in*;
dist in Chiess, which gives distant objeCts their remote appear*11
ance. There are certain infallible rules in perspeCtive for the
management of this important article. 5. Make all your
lights and sliades sall one way.
- -11in m,,, ... m6, Mll r,
31ufl PuMiQieti.
London: Printed for the Proprietors, BOWLES and CARVER, at their Map and Print Warehouse. „
No. 69, St. Paul’s Church Yard.
I. PRACTICAL PERSPECTIVE ; or, an easy method of representing Natural ObjeCts according to the Rules of Art, applied anilj i
exemplified in all the variety of cases; as landscapes, gardens, buildings of divers kinds, their appendages, parts and furniture; with rules
for the proportion and petition of figures, both in draught and relievo ; also the manner of conducting the shadows produced either by
natural or artisicial luminaries, and practical methods of drawing after nature, when the process of rules are not understood. A work highly
necessary for painters, engravers, architects, and others concerned in designing. The whole illustrated with 150 Copper-plates. Written
in French by a JESUIT os PARIS. Translated by E. Chambers, F. R. S. If you would proceed immediately to the praCtice of
(6 perspeCtive, without engaging in the intricacies of the theory, the Jesuit’s PerspeCtive will answer your purpose.” Wolsrus in Element. (
Mathes. Tom. ii. p. 1048. Seventh Edition, quarto, bound. Price fi. is.
II. PRACTICAL GEOMETRY; or, a new and easy method of treating that art: whereby the praCtice os it is rendered plain and
familiar, and the student is directed in the most easy manner, through the several parts and progrestions of it. Very useful to painters/
engravers, architects, &c. Illustrated with 82 copper-plates. Translated from the French of Monsieur Seb. le Clerc, The sixth edition,, ^
lamo. bound. Price 5s.