DOI Page / Citation link:
https://doi.org/10.11588/diglit.18975#0049
PREFACE
11
for vanity's sake, and always badly. The best books to
put into its hands are those illustrated by George Cruik-
shank or by Richter. (See Appendix/) At about the age
of twelve or fourteen, it is quite time enough to set youth
or girl to serious work ; and then this book will, I think,
be useful to them; and I have good hope it may be so,
likewise, to persons of more advanced age wishing to know
something of the first principles of art.
4. Yet observe, that the method of study recommended
is not brought forward as absolutely the best, but only as
the best which I can at present devise for an isolated
student. It is very likely that farther experience in teach-
ing may enable me to modify it with advantage in several
important respects; but I am sure the main principles of
it are sound, and most of the exercises as useful as they
can be rendered without a master's superintendence. The
method differs, however, so materially from that generally
adopted by drawing-masters, that a word or two of explana-
tion may be needed to justify what might otherwise be
thought wilful eccentricity.
5. The manuals at present published on the subject of
drawing are all directed, as far as I know, to one or other
of two objects. Either they propose to give the student a
power of dexterous sketching with pencil or water-colour,
so as to emulate (at considerable distance) the slighter
work of our second-rate artists; or they propose to give
him such accurate command of mathematical forms ^ as may
afterwards enable him to design rapidly and cheaply for
manufactures. When drawing is taught as an accomplish-
ment, the hrst is the aim usually proposed; while the
second is the object kept chiefly in view at Marlborough
House/ and in the branch Government Schools of Design.
6. Of the fitness of the modes of study adopted in those
* [Below, pp. 222, 224.]
B So also in architecture : see Two § 28.]
3 [Then the seat of the Science and Art Department, afterwards transferred to
South Kensington. On the general subject of the Department's methods, see the
Introduction to Vol. XVI.]
11
for vanity's sake, and always badly. The best books to
put into its hands are those illustrated by George Cruik-
shank or by Richter. (See Appendix/) At about the age
of twelve or fourteen, it is quite time enough to set youth
or girl to serious work ; and then this book will, I think,
be useful to them; and I have good hope it may be so,
likewise, to persons of more advanced age wishing to know
something of the first principles of art.
4. Yet observe, that the method of study recommended
is not brought forward as absolutely the best, but only as
the best which I can at present devise for an isolated
student. It is very likely that farther experience in teach-
ing may enable me to modify it with advantage in several
important respects; but I am sure the main principles of
it are sound, and most of the exercises as useful as they
can be rendered without a master's superintendence. The
method differs, however, so materially from that generally
adopted by drawing-masters, that a word or two of explana-
tion may be needed to justify what might otherwise be
thought wilful eccentricity.
5. The manuals at present published on the subject of
drawing are all directed, as far as I know, to one or other
of two objects. Either they propose to give the student a
power of dexterous sketching with pencil or water-colour,
so as to emulate (at considerable distance) the slighter
work of our second-rate artists; or they propose to give
him such accurate command of mathematical forms ^ as may
afterwards enable him to design rapidly and cheaply for
manufactures. When drawing is taught as an accomplish-
ment, the hrst is the aim usually proposed; while the
second is the object kept chiefly in view at Marlborough
House/ and in the branch Government Schools of Design.
6. Of the fitness of the modes of study adopted in those
* [Below, pp. 222, 224.]
B So also in architecture : see Two § 28.]
3 [Then the seat of the Science and Art Department, afterwards transferred to
South Kensington. On the general subject of the Department's methods, see the
Introduction to Vol. XVI.]