DOI Page / Citation link:
https://doi.org/10.11588/diglit.20658#0042
28 ENLARGING, 8cc.
the lower must be their situation, and more faint their shades, till they mingle with the horizon,
where they become lost to view. 10. Water has very different appearances : when it is calm
and stilt, it reflects the light strongly, and must therefore have little or no shade: and if it be re-
quired to be represented as reflecting a strong light, the adjacent parts must have some shade,
in order to form the contrast. When violently agitated, it is to have some very deep and broken
shades; and other parts striking against rocks, ships, or other objects, are to have a black and
white contrasted shade, to represent the foaming of the water. (See plate 38 and 39.) Lastly,
to attain a perfection in this part of the art, the learner must he acquainted with the principles
of perspective, delivered in Book V. without which he will never be thoroughly able to give ob-
jects their due size, according to their distances.
It is necessary that the student be cautioned against falling into an error too prevalent among
artists, viz. that of making their objectssn the piece rise higher, the farther they are removed from
view which makes the landscape appear as if it was situated on the side of a hill, on the bottom,
of which the artist took his station. These pieces always have an ungraeeful appearance, not to
mention the/absurdity of the idea, and how seldom such a view occurs in nature. When this is,
however, the case, the learner is to draw his piece in this form; for he can never err while he
follows that great mistress of perfection, JSiature.
Lesson IX. Of Enlarging and Contracting.
When the learner is able to imitate a print, or drawing, with tolerable accuracy, of the same size
with the original, it is necessary that he know how to make his drawing of a less or greater size
than the copy he imitates; as he will often have occasion to draw from pieces,where the figures are
as large as the life, and he mav sometimes wish to take a drawing of a miniature. There are several
methods of varying the size of a drawing from the original, most of them too puerile and mechani-
>cal to deserve the attention of an artist: the three following are all that can be safely recommended
as worthy of his notice. 1. By the pantograph :—this instrument, with its application, lias been
sufficiently described in the first chapter of this Book : it muse, however, be remembered, that its
use properly belongs to the mathematical and mechanical parts of drawing. It is a very unwieldy
and improper instrument for an artist of genius. 2. The second method of reducing a figure or
drawing, is by the help of a camera obscura. T$y the aid of this article, objects can be reduced only,
but. not enlarged. A piece of landscape, with all the objees therein, as men, trees, houses, cattle,
&c. is very clearly and accurately represented from nature itself, on the glass of th'm instrument,
or on a sheet of white paper, placed in a proper situation, according to the form of this instrument,
and method of using it: for this implement is fitted up in different shapes and sizes by the opticians,
to whose province 1 leave its description and method of use, which is generally very simple. It
mav be proper to observe, that though in general this instrument is not adapted to give the exact
representation of objects on plane surfaces, yet it very beautifully displays the images of all real
objects before it, in their proper colours, particularly if they be illuminated by the rays of the sun :
•and this it does according to the rules of perspective. The other and most generally used method
of both enlarging and contracting, is to divide both the original piece and copy into a certain num-
ber of squares, or parallelograms, by perpendicular and transverse lines, making as many of each in
the original as in thespacedesigned forthecopy, and numbering the correspondinglines alike. Then
observe through what parts of each square the different lines run in the original, and draw similar
lines
the lower must be their situation, and more faint their shades, till they mingle with the horizon,
where they become lost to view. 10. Water has very different appearances : when it is calm
and stilt, it reflects the light strongly, and must therefore have little or no shade: and if it be re-
quired to be represented as reflecting a strong light, the adjacent parts must have some shade,
in order to form the contrast. When violently agitated, it is to have some very deep and broken
shades; and other parts striking against rocks, ships, or other objects, are to have a black and
white contrasted shade, to represent the foaming of the water. (See plate 38 and 39.) Lastly,
to attain a perfection in this part of the art, the learner must he acquainted with the principles
of perspective, delivered in Book V. without which he will never be thoroughly able to give ob-
jects their due size, according to their distances.
It is necessary that the student be cautioned against falling into an error too prevalent among
artists, viz. that of making their objectssn the piece rise higher, the farther they are removed from
view which makes the landscape appear as if it was situated on the side of a hill, on the bottom,
of which the artist took his station. These pieces always have an ungraeeful appearance, not to
mention the/absurdity of the idea, and how seldom such a view occurs in nature. When this is,
however, the case, the learner is to draw his piece in this form; for he can never err while he
follows that great mistress of perfection, JSiature.
Lesson IX. Of Enlarging and Contracting.
When the learner is able to imitate a print, or drawing, with tolerable accuracy, of the same size
with the original, it is necessary that he know how to make his drawing of a less or greater size
than the copy he imitates; as he will often have occasion to draw from pieces,where the figures are
as large as the life, and he mav sometimes wish to take a drawing of a miniature. There are several
methods of varying the size of a drawing from the original, most of them too puerile and mechani-
>cal to deserve the attention of an artist: the three following are all that can be safely recommended
as worthy of his notice. 1. By the pantograph :—this instrument, with its application, lias been
sufficiently described in the first chapter of this Book : it muse, however, be remembered, that its
use properly belongs to the mathematical and mechanical parts of drawing. It is a very unwieldy
and improper instrument for an artist of genius. 2. The second method of reducing a figure or
drawing, is by the help of a camera obscura. T$y the aid of this article, objects can be reduced only,
but. not enlarged. A piece of landscape, with all the objees therein, as men, trees, houses, cattle,
&c. is very clearly and accurately represented from nature itself, on the glass of th'm instrument,
or on a sheet of white paper, placed in a proper situation, according to the form of this instrument,
and method of using it: for this implement is fitted up in different shapes and sizes by the opticians,
to whose province 1 leave its description and method of use, which is generally very simple. It
mav be proper to observe, that though in general this instrument is not adapted to give the exact
representation of objects on plane surfaces, yet it very beautifully displays the images of all real
objects before it, in their proper colours, particularly if they be illuminated by the rays of the sun :
•and this it does according to the rules of perspective. The other and most generally used method
of both enlarging and contracting, is to divide both the original piece and copy into a certain num-
ber of squares, or parallelograms, by perpendicular and transverse lines, making as many of each in
the original as in thespacedesigned forthecopy, and numbering the correspondinglines alike. Then
observe through what parts of each square the different lines run in the original, and draw similar
lines