DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.42850#0025
GROUP OF FIR TREES, DRAWN FROM NATURE.
THIS plate is extremely simple in character, consisting- only of a group of Fir Trees, the like of
which may he met with in almost every belt or plantation of the same species. It was drawn upon
the spot, and selected for the clear manner in which the light and shadow were developed, giving to each
branch, or portion of it, an individuality peculiarly its own, and yet so expressed as to favour breadth of
effect and harmony in the entire group. Such “ bits ” or “ studies ” require but little time to produce,
although nothing can he more useful or profitable than a sketch-book filled with sketches of the different
classes of trees.
I much recommend the practice of carefully and freely drawing each tree with the blacklead pencil,
especially with reference to the main stems, noticing well their direction or inclination from the perpendicular,
and how the several lines affect each other in giving a graceful disposition of form, because it is only by
a due observance of these combinations that an impression of elegance and refinement can be conveyed.
It is a matter of importance to the general effect, that the bearings of the principal lines should be studied
and remarked upon. For instance, it is as well to note, if the perpendicular stem of one tree be accompanied
by that of another that is taking an angle or curve in a certain direction, what influence the change of
line has upon the eye; whether it is, or is not, too abrupt; or if the two compose so agreeably as to give a
pleasing effect. I like much to linger before groups of trees, young or old, whether clothed or not clothed
with foliage, and by change of position to see the many varieties of forms they take, and which of the many
would produce the most pleasing composition. There is real pleasure in this—much to be learnt and
much to be put in practice. Lessons may be had in many localities whence lessons could scarcely be
expected to be gleaned, and our daily converse with a commonplace scene may be thus fraught with
increased interest and pleasure.
The ability to draw naturally leads to observation of detail and generalisation, it being evident that
this cannot be exercised without a corresponding reflection upon everything presented, as to construction,
growth, character, and use. How far this is desirable, every one must judge for himself. I can only say
that to myself the enjoyment is beyond expression; and often, when walking over what would be considered
a monotonous and dreary plain, with a canopy of dull, leaden clouds, I am struck with beautiful undulating
lines, varieties of tone and tint, with receding distances and aerial perspective, that produce much to be
admired, thought upon, and studied. The infinitude of Nature demands the highest mental exercise and
the perfection of Art, and we only are to blame if we do not see in her every phase something (I would
rather say everything) from which to glean instruction, and to derive contemplative pleasure.
In writing thus, it must be clearly understood that the motive is to lead others to exercise a similar
attention to Nature in her generality, and not to suppose that it is only upon scenes of grandeur and
acknowledged loveliness that our admiration should be called forth. Doubtless the character of suclr
favoured spots is calculated, from its exquisite combinations, to arrest the attention of the most unobservant,
but it is also from every description and feature of landscape, as well as from various accidental groupings
of figures, cattle, trees, buildings, vessels, &c., that the lover of Nature and drawing should derive constant
delight combined with instruction. Something can be gathered from all we see, if the information conveyed
be really sought for.
In commencing the outline of the present group of trees, the central stem should be drawn first,
noticing carefully the direction of inclination from a perpendicular line. This must be correct. After this,
give the stem nearest to it to the right, placing a dot at the proper distance for the bottom, and another
for the top. By this plan the lines cannot fail of being in true position. The tree to the left must follow,
by placing the dots both for the bottom and central part of the stem at its junction with the lower cluster
THIS plate is extremely simple in character, consisting- only of a group of Fir Trees, the like of
which may he met with in almost every belt or plantation of the same species. It was drawn upon
the spot, and selected for the clear manner in which the light and shadow were developed, giving to each
branch, or portion of it, an individuality peculiarly its own, and yet so expressed as to favour breadth of
effect and harmony in the entire group. Such “ bits ” or “ studies ” require but little time to produce,
although nothing can he more useful or profitable than a sketch-book filled with sketches of the different
classes of trees.
I much recommend the practice of carefully and freely drawing each tree with the blacklead pencil,
especially with reference to the main stems, noticing well their direction or inclination from the perpendicular,
and how the several lines affect each other in giving a graceful disposition of form, because it is only by
a due observance of these combinations that an impression of elegance and refinement can be conveyed.
It is a matter of importance to the general effect, that the bearings of the principal lines should be studied
and remarked upon. For instance, it is as well to note, if the perpendicular stem of one tree be accompanied
by that of another that is taking an angle or curve in a certain direction, what influence the change of
line has upon the eye; whether it is, or is not, too abrupt; or if the two compose so agreeably as to give a
pleasing effect. I like much to linger before groups of trees, young or old, whether clothed or not clothed
with foliage, and by change of position to see the many varieties of forms they take, and which of the many
would produce the most pleasing composition. There is real pleasure in this—much to be learnt and
much to be put in practice. Lessons may be had in many localities whence lessons could scarcely be
expected to be gleaned, and our daily converse with a commonplace scene may be thus fraught with
increased interest and pleasure.
The ability to draw naturally leads to observation of detail and generalisation, it being evident that
this cannot be exercised without a corresponding reflection upon everything presented, as to construction,
growth, character, and use. How far this is desirable, every one must judge for himself. I can only say
that to myself the enjoyment is beyond expression; and often, when walking over what would be considered
a monotonous and dreary plain, with a canopy of dull, leaden clouds, I am struck with beautiful undulating
lines, varieties of tone and tint, with receding distances and aerial perspective, that produce much to be
admired, thought upon, and studied. The infinitude of Nature demands the highest mental exercise and
the perfection of Art, and we only are to blame if we do not see in her every phase something (I would
rather say everything) from which to glean instruction, and to derive contemplative pleasure.
In writing thus, it must be clearly understood that the motive is to lead others to exercise a similar
attention to Nature in her generality, and not to suppose that it is only upon scenes of grandeur and
acknowledged loveliness that our admiration should be called forth. Doubtless the character of suclr
favoured spots is calculated, from its exquisite combinations, to arrest the attention of the most unobservant,
but it is also from every description and feature of landscape, as well as from various accidental groupings
of figures, cattle, trees, buildings, vessels, &c., that the lover of Nature and drawing should derive constant
delight combined with instruction. Something can be gathered from all we see, if the information conveyed
be really sought for.
In commencing the outline of the present group of trees, the central stem should be drawn first,
noticing carefully the direction of inclination from a perpendicular line. This must be correct. After this,
give the stem nearest to it to the right, placing a dot at the proper distance for the bottom, and another
for the top. By this plan the lines cannot fail of being in true position. The tree to the left must follow,
by placing the dots both for the bottom and central part of the stem at its junction with the lower cluster