DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.20658#0027
OF DRAWING.
13
opposite direction, the other half may be drawn. An ellipse, or oval, of any required eccen-
tricity, may be made by fixing the sliders nearer together, or farther apart; for the nearer they
are together, the nearer will the ellipse approach to the form of a circle ; and the farther they are
distant from each other, the greater will be the eccentricity of the ellipse : the two sliders always
representing the two foci of the ellipse drawn. And it must be noted, that the sliders are always
to be made fast by means of the screws attached thereto, when the instrument is used.
The rule for drawing lines tending to a center at a great distance, is an instrument used only in
the practical parts of the mathematics. There are several forms of this instrument invented by
mathematicians : it is, however, seldom or never used in the arts here treated of.
The spiral compasses are used fordrawing spiral lines, when required, with mathematical accuracy'.
The perspective compasses are of use in that art, and will be mentioned under that head.
CHAP. II.
GENERAL DIRECTIONS FOR THE ATTAINMENT OF THE ART OF DRAWING.
IN drawing and painting (as in many other arts), more is to be gained hy practice than theory.
In those arts, a strict attention to the productions of the ablest masters, joined to a constant imi-
tation of their excellencies, can alone produce a good artist. Some rules, both particular and ge-
neral, are however necesaiy ; the former to introduce the learner to the elements of these subjects,
and the latter to serve as a constant guide and companion through every part of his practice.
1. The learner should carefully endeavour to obtain a true and correct outline of his piece. The
outline sives the shape and proportion to his figure; and if it be not perfectly consonant to the
rules of symmetry and proportion, shades and colours will serve only to increase the deformity.
Therefore students, instead of vying with each other who shall be the most expeditious, should
rather labour to gain the purest and most correct outline ; instead of striving who should produce
the brightest tints, imitating the quality of different sorts of drapery, so as to make them appear
real: their ambition should direct them to excel in disposing their-drapery in the most graceful
folds, and giving the greatest dignity to the human form.
The student, who thus makes correctness his principal aim, will gain a superior knowledge of
the human figure, acquire an habit of exactness and precision, which will characterize and im-
mortalize his productions, and, in fine, will at length be capable of giving that grace and beauty
to his figures, which is seldom attained by modern artists.
2. In the learner's first exercises, he should never attempt a whole figure, till he be thoroughly
master of every part. He must, therefore, at first, copy the parts of objects, dwell upon each
part, and never begin a second part till he be thoroughly acquainted with all the proportions of
the first: namely, the height, length, and every other dimension : in order to which, he cannot
contemplate his original too often : he should therefore place it before him in an advantageous
position; examine it carefully ; contemplate each part, and observe the proportion of every figure,
and every conspicuous part, both with regard to the whole and to each other.
; i. It is necessary to avoid haste, and to guard against that common error of what is called a mas-
terly handling of the chalk or pencil, until there be at least a considerable proficiencjr. The learner
should, however, avoid being terrified, if he find his progress somewhat impeded. An observation
of the lives and practice of the most eminent artists will afford him encouragement. When they
E conceived
13
opposite direction, the other half may be drawn. An ellipse, or oval, of any required eccen-
tricity, may be made by fixing the sliders nearer together, or farther apart; for the nearer they
are together, the nearer will the ellipse approach to the form of a circle ; and the farther they are
distant from each other, the greater will be the eccentricity of the ellipse : the two sliders always
representing the two foci of the ellipse drawn. And it must be noted, that the sliders are always
to be made fast by means of the screws attached thereto, when the instrument is used.
The rule for drawing lines tending to a center at a great distance, is an instrument used only in
the practical parts of the mathematics. There are several forms of this instrument invented by
mathematicians : it is, however, seldom or never used in the arts here treated of.
The spiral compasses are used fordrawing spiral lines, when required, with mathematical accuracy'.
The perspective compasses are of use in that art, and will be mentioned under that head.
CHAP. II.
GENERAL DIRECTIONS FOR THE ATTAINMENT OF THE ART OF DRAWING.
IN drawing and painting (as in many other arts), more is to be gained hy practice than theory.
In those arts, a strict attention to the productions of the ablest masters, joined to a constant imi-
tation of their excellencies, can alone produce a good artist. Some rules, both particular and ge-
neral, are however necesaiy ; the former to introduce the learner to the elements of these subjects,
and the latter to serve as a constant guide and companion through every part of his practice.
1. The learner should carefully endeavour to obtain a true and correct outline of his piece. The
outline sives the shape and proportion to his figure; and if it be not perfectly consonant to the
rules of symmetry and proportion, shades and colours will serve only to increase the deformity.
Therefore students, instead of vying with each other who shall be the most expeditious, should
rather labour to gain the purest and most correct outline ; instead of striving who should produce
the brightest tints, imitating the quality of different sorts of drapery, so as to make them appear
real: their ambition should direct them to excel in disposing their-drapery in the most graceful
folds, and giving the greatest dignity to the human form.
The student, who thus makes correctness his principal aim, will gain a superior knowledge of
the human figure, acquire an habit of exactness and precision, which will characterize and im-
mortalize his productions, and, in fine, will at length be capable of giving that grace and beauty
to his figures, which is seldom attained by modern artists.
2. In the learner's first exercises, he should never attempt a whole figure, till he be thoroughly
master of every part. He must, therefore, at first, copy the parts of objects, dwell upon each
part, and never begin a second part till he be thoroughly acquainted with all the proportions of
the first: namely, the height, length, and every other dimension : in order to which, he cannot
contemplate his original too often : he should therefore place it before him in an advantageous
position; examine it carefully ; contemplate each part, and observe the proportion of every figure,
and every conspicuous part, both with regard to the whole and to each other.
; i. It is necessary to avoid haste, and to guard against that common error of what is called a mas-
terly handling of the chalk or pencil, until there be at least a considerable proficiencjr. The learner
should, however, avoid being terrified, if he find his progress somewhat impeded. An observation
of the lives and practice of the most eminent artists will afford him encouragement. When they
E conceived