Smith, Thomas [Hrsg.]: The Art Of Drawing In Its Various Branches: Exemplified In A Course Of Twenty-Eight progressive Lessons, Calculated To Afford Those Who Are Unacquainted With The Art, The Means Of Acquiring A Competent Knowledge Without The Aid Of A Master ; Being The Only Work Of The Kind In Which The Principles Of Effect Are Explained In A Clear, Methodical, And At The Same Time Familiar Style. Illustrated With Coloured Designs And Numerous Wood Engravings (London, 1827)

6 3

LESSON XVII.

On Marine Drawing.

The study of marine drawing is attended with greater
difficulties than the other departments of landscape paint-
ing, not only on account of its not being always in the
power of students to draw from nature, but also, because
the representation of water in a state of agitation (as is
always the case, more or less, with the sea), is really
more difficult than that of trees, rocks, buildings, $rc.,
for this simple reason, that, while the latter objects
remain continually in a state of perfect tranquillity, and
thereby allow of their being sketched with the utmost
correctness, the former is constantly changing;, never

j O O'

remaining for the shortest moment in the same form,

and never again appearing exactly in the form it has

once assumed, rendering it impossible ever to make a

correct sketch, even of a single wave, much less of a

considerable part of the sea, which is required to make

a drawing. In such a case as this, all that the student

can do is to continually observe the motion of the waves,

the various indentations of their surfaces, together with

the different forms they break into, till he shall have

learnt them, as it were, off bv heart.

%/

The first subject that we shall offer to the student’s
attention is a view of the sea-coast. Having drawn the
outline, the student will mix up the tint No. 1 ; then
beginning with water only at the top of his drawing, he
will keep adding more and more of No. 1 as he gets