,a  ,,practical ,,treatise  ,,on        
,,composition1 ,,light ,,and ,,shade1   
,,and ,,colour4     ,,printed ,,by      
,,william ,,wilcockson1 ,,rolls         
,,buildings1 ,,fetter ,,lane4           
,illustration      ,,the ,,use  ,,of ,a 
,,box ,,of ,,colours1  ,,in ,a          
,practical ,demonstration on            
,,composition1 ,,light ,,and ,,shade1   
,,and ,,colour4  ,illustrated by ,plain 
and ,coloured ,examples4  ,,by  ,,harry 
,,willson1  ,,author ,,of ,,fugitive    
,,sketches ,,in ,,rome1 ,,venice1 ,,etc4
            ,,london3                   
,,published ,,by ,,tilt ,,and ,,bogue1  
,,fleet ,,street1           ,,for ,,the 
,,proprietor1           ,,charles       
,,smith1 #cd1 ,,marylebone ,,street1    
,,piccadilly4                           
,m4,,dccc4,,xlii4     ,entered at       
,stationers' ,hall4     ,,preface4      
,,between those works on ,art which are 
too costly1 or too old to be useful     
now1--those1 which are too comprehensive
 or prolix--and those1 which teach      

nothing1--it was suggested to the       
,author1 that an investigation and      
simple arrangement of the ,principles on
 which he has hitherto successfully     
taught1 with useful results1 would form 
a ,practical ,treatise1 calculated to   
abridge the labours and shorten the road
 of the ,student1 by its available      
suggestions4     ,,contents4            
,page            ,,prefatory            
,,remarks2--,,composition1 ,,applied    
,,to ,,painting  #a            ,,of     
,,angular ,,composition                 
#i            ,,of ,,the ,,circular     
,,form ,,in ,,composition               
#ab            ,,light ,,and            
,,shade--,,its ,,application ,,to       
,,painting         #ae            ,,on  
,,colour                                
#cj            ,,of ,,the ,,three       
,,primitive ,,colours                   
#cc            ,,on ,,general ,,nature  
#ci            ,,on ,,rules             
#de            ,,on ,,copying           
#dg            ,,on ,,the ,,light ,,and 

,,shade ,,of ,,colour2 ,,and ,,reflexes 
#eb            ,,harmony ,,and          
,,contrast                              
#fa            ,,effect1 ,,accident1    
,,relief1 ,,and ,,keeping               
#fc            ,,dexterity ,,and        
,,affectation                           
#fh            ,,of ,,backgrounds       
#ga            ,,on ,,water-,,colour    
#gc            ,,of ,,tints             
#ge            ,,reference ,,to ,,the   
,,plates ,,on ,,colour                  
#gf            ,,description ,,of ,,the 
,,plates                            #gh 
,,composition4   ',,genius is the power 
of making efforts4'  ,erroneous         
opinions1 once formed1 seldom fail to   
affect the taste of a man's character   
through his whole life4 ,it is1         
therefore1 of the utmost necessity that 
his conduct be rightly directed4  ',art 
will not descend to us1 we must be made 
to reach and aspire to it4'  ',the great
 art to learn much1' says ,locke1 'is to
 undertake a little at a time4' ,and    

,dr4 ,johnson has very forcibly         
observed--',that all the performances of
 human art1 at which we look with praise
 or wonder1 are instances of the        
resistless force of perseverance3 it is 
by this that the quarry becomes a       
pyramid1 and that distant countries are 
united by canals4 ,if a man were to     
compare the effect of a single stroke   
with a pickaxe1 or of one impression of 
a spade1 with the general design and    
last result1 he would be overwhelmed    
with the sense of their disproportion2  
yet those petty operations1 incessantly 
continued1 in time surmount the greatest
 difficulties2 and mountains are        
levelled1 and oceans bounded1 by the    
slender force of human beings4  ',it is1
 therefore1 of the utmost importance1   
that those who have any intention of    
deviating from the beaten roads of life1
 and of acquiring a reputation superior 
to names hourly swept away by time1     
among the refuse of fame1 should add to 
their reason and spirit the power of    

persisting in their purposes2 acquire   
the art of sapping what they cannot     
batter2 and the habit of vanquishing    
obstinate resistance by obstinate       
attacks4'  ,to the many1 of different   
ages1 of different pursuits1 of         
different degrees of advancement1 who   
may take up this work1 it will be       
difficult to address myself1 as the mind
 requires instruction adapted to its    
growth2 but ,i trust to being enabled to
 protect industry from being misapplied4
  ,to such as desire to shorten the path
 to excellence1 and to whom rules appear
 as the 'fetters of genius1' from mere  
impatience of labour1 if their studies  
be not well directed1 they will1 just in
 proportion to their industry1 deviate  
from that right way1 to which1 after all
 their exertions1 they will have to     
return at last4 ,it will be time enough 
to destroy the bridge when we have      
attained the shore4 ,to render our      
efforts effectual1 they must be well    
directed2 and the student will          

ultimately triumph over those rules     
which before restrained him4  ,begin    
wrong1 and you are no sooner under sail1
 than under water6  ,when a difficulty  
presents itself1 attack it as though you
 meant to overcome it1 and the chances  
are you succeed4  ,do not fancy that you
 have1 or that you want1 that illusion1 
inspiration2 but remember ,art is to be 
acquired by human means2 that the mind  
is to be expanded by study2 and that    
examples of industry abound to show the 
way to eminence and distinction4 ',he   
must of necessity1' says ,sir ,joshua   
,reynolds1 'be an imitator of the works 
of other painters4 ,this appears        
humiliating1 but is equally true2 and no
 man can be an artist1 whatever he may  
suppose1 on any other terms4 ,for1 if we
 did not make use of the advantages our 
predecessors afford us1 the art would be
 always to begin1 and consequently      
remain always in an infant state4' ,and 
we shall no longer require to use the   
thoughts of others when we have become  

able to think for ourselves3 ',genius is
 the child of ,imitation4'  ,there are  
no excellencies out of the reach of the 
rules of art--nothing that close        
observation of the leading merits of    
others1 nothing that indefatigable      
industry cannot acquire4 ,refinement in 
the practice of rules brings all under  
its dominion2 and1 'as the art advances1
 its powers will be still more and more 
fixed by rules2' and1 'unsubstantial as 
these rules may seem1 and difficult as  
it may be to convey them in writing1    
they are still seen and felt in the mind
 of the artist1 and he works from them  
with as much certainty as if they were  
embodied upon paper4 ,and that it is by 
being conversant with the inventions of 
others that we learn to invent4 ,the    
mind becomes as powerfully affected as  
if it had itself produced what it       
admires4' ,an habitual intercourse1 to  
the end of our lives1 with good and     
great examples1 will invest our own     
inventions with their splendid          

qualities2 and if we do not imitate     
others1 we shall soon be found imitating
 ourselves1 'and repeating what we have 
before often repeated2 while he who has 
treasured the most materials1 has the   
greatest means of invention4'  ,it by no
 means appears to me impossible to      
overtake what we admire and imitate--or 
even to pass it4 ,he 'has only had the  
advantage of starting before you1' while
 pointing the way has shortened our own 
labour4 ,life must henceforth become    
longer2 because we now1 more than ever1 
gain time by the experience of others3  
we pass on from that to our own1 until  
every thing in nature1 judiciously      
directed1 becomes subservient to the    
principles and purposes of ,art4        
,again1 ',i very much doubt1' says ,sir 
,joshua1 'whether a habit of drawing    
correctly what we see will not give a   
proportionable power of drawing         
correctly what we imagine4' ,but        
practice must always be founded on good 
,theory2 for mere correctness of drawing

 is1 perhaps1 nearly allied to          
mechanical2 blending it with the        
imaginative alone1 in composition1      
constitutes its pretensions to genius2  
but confidence in the one produces      
boldness in the other4  ',all rules     
arise from the passions and affections  
of the mind1 and to which they are all  
referrible4 ,art effects its purposes by
 their means4'  ',years1' says a modern 
author1 'are often spent in acquiring   
wealth1 which eventually cannot be      
enjoyed for want of those stores of the 
mind1 that should have been laid up in  
youth1 as the best solace of declining  
age4 ,the most moderate power of making 
a sketch from nature would have been a  
valuable attainment1 when leisure and   
opportunity threw them among scenes they
 could but half enjoy in consequence4'  
,besides1 true ,taste does every thing  
in the best way at the least expense1   
while the want of it often appears in   
unmeaning decoration at a vast outlay4  
',a man of polite imagination1' says    

,addison1 'feels greater satisfaction in
 the prospect of fields and meadows than
 another does in the possession of them3
 it gives him a kind of property in     
every thing he sees2 so that he looks on
 the world1 as it were1 in another      
light4'  ,when a ,painter walks out1 he 
receives at every glance impressions    
that would entirely escape others1 upon 
sensibilities refined by habits of      
observation ,the art of seeing things as
 they appear is the art of acquiring a  
knowledge of drawing them4 ,indefinite  
observation and defective memory are    
improved in the utmost degree by this   
faculty of seeing things well defined4  
,besides1 most ,sciences are capable of 
receiving great assistance from drawing4
  ,the road is familiar to the practised
 painter1 whose many stages he has      
passed through so often1 and he seldom  
thinks of revisiting the earlier tracks 
of it when he has set up his study at   
the farther end2 therefore1 it behoves  
us to come back1 and lead the pupil     

through those early stages of it1 until 
we welcome him at the end1 and he       
becomes as familiar with the way as     
ourselves4 ,the lowest steps of a ladder
 are as useful as the highest4          
,,composition1 in drawing1 is the art of
 disposing ideas1 either from hints     
taken from nature1 or from our own      
minds2 of arranging them1 with a view to
 subsequently dividing them into light  
and shade2 and arraying them with       
judicious colour4 ,it is the art of     
graphically telling a story1 and should 
be so contrived1 that the principal     
objects we would impress the minds of   
others with1 should hold that just place
 in a picture1 in relation to the minor 
or auxiliary parts1 that may at once    
impress the mind1 and convey our object 
to the view of the spectator4  ,to      
compose well1 it will be necessary for  
the student to diligently consult the   
compositions of others2 zealously       
enquiring where the best are to be      
found1 among the numerous instances that

 exist both in pictures and prints1 that
 he may carefully avoid those that would
 mislead him in his research1 and attain
 his object by consulting only those    
that have merited the approval of the   
best judges1 and have come down to      
posterity as the best examples for his  
imitation4 ,by adhering to this plan1 it
 will readily become such matter of     
habit with him1 that a comparatively    
short interval of time will force upon  
him the conviction that he is in the    
right path to future success4 ,it were  
useless to add how many have began1 and 
how many have failed1 for want of this  
precaution at setting out4 ,a splendid  
and fascinating effect1 or a beautiful  
display of colour1 or something or other
 that the artist has dexterously        
contrived to invest his work with1 is   
generally the cause to which this       
failure is ascribable2 while in the end1
 our own sympathies with a composition1 
correct in its management1 appeal to the
 feelings and judgment at once4  ,in the

 first place1 much knowledge of         
perspective is not necessary to the     
student3 the leading principles are all 
that are required1 at setting out4 ,as  
he goes on1 it will be time enough to   
extend his enquiries4  ,secondly1 a good
 manner of drawing the parts1 or objects
 represented in a picture1 with         
accuracy4  ,thirdly1 reference to the   
best compositions of others will enable 
him to compare and combine them4        
,fourthly1 to render some subservient to
 others1 by a skilful distribution of   
,light and ,shade4  ,exercise the memory
 on various parts of objects1 till you  
draw them well3 the means of connecting 
them will gradually occur1 until the    
whole is united4 ,the constant practice 
of this method will lessen the          
difficulty at every step1 until it      
becomes a habit of the mind1 and is     
rendered as easy to grasp a whole scene1
 as before it was the parts4 ,the       
fleeting nature of effects of cloud or  
sunshine passing before us1 leave no    

time to meditate them2 therefore1 to    
impress the memory with them is the only
 resource left4  ,the single glance of  
an eye has been found sufficient to     
catch the passing expression of         
character1 and fix it on the memory1    
when that memory has been strengthened  
and matured by repeated efforts3 so     
evanescent are the features of things   
and forms that pass us by1 that         
observation--discriminative             
observation--assisted by habits of      
memory1 alone can fix them in our ideas3
 no single expression of the human      
countenance remains long enough to paint
 it by any other means4 ,when the memory
 has been thus exercised1 the slightest 
hint will be sufficient to fire it4     
,this may account for the expression1   
'that artists see things where nobody   
else can find them6' ,it is an improved 
perception that catches resemblances    
from almost ideal forms4  ,the most     
general forms of nature are the most    
beautiful4 ,an enlarged comprehension   

sees the whole object at once1 without  
minute attention to details1 by which it
 obtains the ruling characteristics1 and
 imitates it by short and dexterous     
methods4 ',science soon discovers the   
shortest and surest way to effect its   
own purpose2'--by an exact adequate     
expression1 and no more1 adjusts the    
whole4 ,the laziness of highly finishing
 the parts1 has been justly called the  
'laborious effects of idleness3'        
excessive labour in the detail1 is      
always pernicious to the general effect1
 frittering it away2 and1 while you     
deceive yourself that you are acquiring 
art1 your pursuit will end in mechanics1
 in default of more extended views--the 
,art of seeing ,nature6  ,to copy well1 
or even tolerably1 is all that most     
amateurs ever arrive at3 to draw from   
nature1 originally1 seems placed out of 
the reach of all1 but those who devote a
 great part of their existence to it2   
and yet1 to copy nature1 is a goal that 
all would reach if they could6 ,try it1 

and behold the miserable production that
 is the result6 without a previous      
devotion to its laws4  ,instead of for  
ever copying1 it will be found of more  
importance to be continually exercising 
the memory4 ',a mere imitator or        
copyist1' says ,dagley1 'dare not lose  
sight of his model1 lest he should lose 
himself6'  ,in sketching from nature1   
always survey the object at every point 
the nature of the ground will permit1 as
 it prevents the disappointment arising 
from having completed your work1 and    
afterwards seeing it from a point that  
would have given you greater advantages4
  ,whenever a pencil or pen is at hand1 
practice continually the perpendicular1 
horizontal1 and diagonal lines2 then    
strike circles out1 or any other flowing
 lines1 which practice will eventually  
give that flow to the hand which is     
understood by freedom4 ,when power is   
acquired over these1 their combinations 
form ,drawing1 in all its picturesque   
varieties4 ,it is in the power of all to

 attain these forms and essential parts 
of drawing1 with the same1 or more      
facility1 than the forms of writing are 
acquired4  ',no object you can place in 
your picture1 can possess its proper    
value1 unless it is in its proper       
place2--out of that place1 it can only  
create disorder4'  ,the size of a       
figure1 or any other object1 should     
denote the distance at which it is      
situated3 so should the colour of it    
retire in the same proportion4  ,the eye
 should be distant from the picture     
twice the length of it4  ,the most      
natural point of sight1 is the level of 
a man's eye1 standing up2 which should  
be the line of the horizon1 or where the
 sky meets it4 ,all mountains should    
rise above that line4  ,if a figure be  
placed on the bottom line of the        
picture1 it should be the natural size1 
and all others diminish as they recede1 
in an exact proportion to their         
distance1 care being taken that they    
never have the appearance of going up   

steps2 all buildings1 trees1 c41 being  
governed by the same rule4 ,thus the    
second figure or object1 being the same 
distance from the first as the first is 
from the eye1 presuming them both to be 
of the same size in nature1 the second  
will appear half the size of the first2 
and1 if the third be removed the same   
distance from the second1 it will appear
 two-thirds less2 and so on they will   
diminish in equal proportion4 ,at twice 
the distance1 it will diminish          
three-fourths2 and at one-third more1 it
 will lose five-sixths2 and so retire   
progressively1 never varying the point  
of sight4 ,one eye only should be open1 
in order to reduce all objects to one   
point of sight2 the objects immediately 
in front1 receiving alone the highest   
finish1 that all may appear to have     
ground to stand on4 ,if you look at     
nature with both eyes1 you will never   
obtain the same relief upon a flat      
superfice4  ,the horizontal line should 
never be placed at half the height of   

the picture1 but always above or below  
it4  ,in drawing a room1 or the nave of 
a church1 place the centre of it on one 
side1 and never in the middle2 and      
nearer the bottom than the top4 ,observe
 the same rule with the figures4 ,one   
side should be in light1 while the other
 is in shadow4 ,the heads or parts of   
figures on the shadowed side should     
catch the light2 while1 to balance the  
mass1 the dark groups should be placed  
on the light side4 7,see plate #a1 fig4 
#a47  ,so1 in drawing any single object1
 always place it sufficiently on one    
side1 to procure a greater space above  
it1 than beneath2 and more repose on one
 side than the other4 ,this principle   
should never be lost sight of1 for even 
in portraits it has a bad effect4  ,to  
produce pictorial effect1 in composing  
landscape1 the lines should be of       
unequal length1 forming acute and obtuse
 angles4 ,neither should they be        
vertical or horizontal with the sides or
 bottom of the square1 but always       

diagonal1 the distant horizon and lower 
streaks of the bases of the clouds      
excepted1 which should be contrasted1 by
 the upper parts of the clouds being    
round4 ,broken banks and spreading roots
 of trees will effect this4 ,an         
exception1 in buildings and             
architecture1 something reverses this   
rule1 from the lines being perpendicular
 and horizontal1 in which case1 the     
shadows must be diagonal4 ,when a wall1 
for instance1 is straight1 a wheel1 or  
circular object is generally placed     
against it1 to reverse the lines by     
apposition4'  ',objects1 whether they   
consist of lights1 shadows1 or figures1 
must be disposed in large masses and    
groups1 properly varied and contrasted1 
that1 to a certain quantity of action1 a
 proportioned space of plain ground is  
required2 that light is to be supported 
by sufficient shadow1 and that a certain
 quantity of cold colours is necessary  
to give value and lustre to the warm4'  
,observation of the best pictures will  

convey those proportions to the mind1   
much better than the most profound      
demonstration1 'that the eye may not be 
distracted by a multiplicity of objects 
of equal magnitude4'  ,grouping1 in     
composition1 involves in its            
arrangement1 a combination of the parts1
 so that they form an agreeable and     
well-defined whole1 in which it is      
essential sometimes to employ the       
strongest contrasts2 on the other hand1 
if the forms be too much scattered1 they
 will distort the harmonious combination
 that is the greatest beauty of art4    
,all accessories may be included in the 
principal group1 so that they contribute
 to the general breadth4 ,opposition to 
regular forms is essential2 this        
opposition is called ,relief4 7,see art4
 ,light and ,shade47  ,we may derive    
hints in composition from almost every  
sort of combination4  ,variety and      
intricacy have many excellencies1 when  
managed with skill1 as they exert the   
imagination of the beholder4            

',simplicity1' says ,sir ,joshua        
,reynolds1 'when so very inartificial as
 to seem to evade the difficulties of   
art1 is a very suspicious virtue4'      
,simplicity might often better deserve  
the name of penury4 ',i do not1 however1
 wish to degrade simplicity from the    
high estimation in which it has been    
ever justly held4 ,it is our barrier    
against that great enemy to truth and   
nature1 affectation6 which is ever      
clinging to the pencil1 and ready to    
drop in and poison every thing it       
touches4'  ,perseverance1 in laborious  
application to acquire correctness1     
should always be preferred to a splendid
 negligence of manner4  ,illustration3  
,composition ,plate ,i4 ,c4             
,hullmandel's ,patent  ,the frequent    
practice of covering down1 veiling1 or  
concealing an object or figure1 because 
they cannot draw it1 and doing that so  
inexpertly as not to escape detection1  
is frequently observable in the works of
 modern artists2 such as clothes1       

baskets1 c41 thrown across a horse1 to  
conceal its deformity2 unnecessary or   
affected drapery over a figure2 a cow1  
half buried in weeds and dock-leaves1   
that its shapeless legs may not be seen1
 c41 with many other artifices to evade 
difficulties3 to such he says1 ',if     
difficulties overcome make a great part 
of the merit of art1 difficulties evaded
 can deserve but little commendation4'  
,it is by no means an object with me1   
neither has this work pretension to the 
form of a regular treatise 7too often   
prolix and abstruse in their            
investigations71 but ,i would endeavour 
to bring together such useful hints as  
occur to me in its progress1 as         
practically useful1 without confining   
myself to the regularity or connexion of
 a lengthened dissertation1 and seeking 
only to accomplish the end by explaining
 the means of contending with           
difficulties where they are likely to   
occur4   ,,of ,,angular ,,composition4  
,that the angular form is one of the    

best adapted to composition1 at least in
 landscape1 is indisputable2 the        
diagonal line dividing the whole into   
two halves1 gives the largest space for 
the distribution of light and shade1 as 
well as extent for the design4  ,when   
the whole composition is placed on one  
side1 a single object--but stronger in  
colour than the rest--placed at the     
opposite side1 will generally be found  
sufficient to balance all on the other1 
however complicated or extensive in its 
details it may be4 7,plate #a1 fig4 #a47
  ,more repose and softness is obtained 
by uniting the composition with the     
darker shadows of the clouds1 than by   
opposition4  ,on the other hand1 an     
harmonious and agreeable whole is often 
achieved by bringing the line of the    
clouds in an opposing angle to the line 
of the landscape1 the principal figures 
being then mostly placed at the opposite
 side of the mass of the composition4   
,the first plan embraces an advantageous
 union of the parts with the greatest   

breadth that can perhaps be obtained1   
while the other frequently produces a   
dexterous effect by the opposition of   
colour4  ,a long stretching swamp1 a    
bog1 or line of sandy waste1 marshes1 a 
broken heath1 the distant sea or        
sand-bank1 with nothing but its straight
 horizon1 are the sweetest morsels to   
good painters2 for when nature has done 
nothing1 they must do all2 and1 with    
these difficulties to contend with1 it  
is something surprising to see the most 
broad and beautiful productions result  
from so barren materials by investing   
them with the all-controlling powers of 
chiaroscuro1 by a careful inspection of 
their natural colours1 the forms of     
their lights and shadows1 and above all1
 the shapes and masses of the passing   
clouds2 but variety and simplicity      
should ever be their leading principle1 
and grandeur is sure to be the result4  
,matter1 seemingly incapable of form2   
wide extents of pathless and unbroken   
sterility1 of nakedness and desolation1 

will become beautiful and masterly      
arrangements on these conditions3 the   
torn1 and ragged1 and scattered         
fragments of the clouds in their wild   
and rushing fury over the sea1 with its 
inexhaustible changes and endless       
variety of colour1 are the objects      
painters often choose1 from their very  
seeming nothingness1 to invest with the 
beau ideal of art4  ,the extremes of    
simplicity in composition1 should not be
 attempted by ,tyros2 the long-practiced
 and master hand alone can accomplish   
that1 which in others1 would appear     
affectation4  ,the most powerful        
impressions are produced by the simplest
 construction4 ,the chief interest      
confined to a very small portion of the 
work1 and the larger space left in so   
much repose as will give value to1 and  
dignify the subject1 that should at once
 meet the eye and engage our energies2  
investing their accessories with their  
due portion of interest2 taking care    
that the expression of the principal    

action of the picture is agreeably      
supported by their subordinate quality2 
that the object desired is obtained1 to 
the exclusion of all others1 and that   
its episodes be in character4  ,in the  
arrangement of figures1 ,mr4 ,burnet1 in
 his ,hints on ,composition1 says1 'the 
heads and hands1 the seats of action and
 expression1 are often referred to each 
other for the completion of form or     
extension of light1 beyond which a      
strong point is required1 as a link of  
communication between the figures and   
the background4 ,by making this point   
the strongest of a secondary group of   
objects1 either from its size1 lights1  
or darks1 the eye is carried into the   
most remote circumstances1 which become 
a part of the whole1 from the principal 
group being made to depend upon such    
point for the completion of its form1   
the extension of the light1 or the      
repetition of colour4' ,thus1 in        
,vandyke we often see the luminous      
points of his picture referring to each 

other in the form of a losenge1 composed
 of the heads and hands1 the collar1    
ruffs1 the hilt of a sword1 c41 while   
all the other parts are absorbed in dark
 or half shade1 and making the form of  
his composition complete1 but differing 
something in their force and attraction3
 strong light and dark coming in cutting
 contrast at a single point1 places the 
subordinate lights and darks in their   
proper situations2 at the same time1    
these points should always be           
characteristic of meaning to the        
composition4 7,plate #a1 figs4 #e1 #f47 
,nothing will teach you to compose a    
picture like sketching1 however         
slightly1 the different groups you      
encounter in walking about2 never be    
without a little book for this purpose1 
as the merest draught will1 when you are
 composing1 apply itself to your picture
 better than any thing that may be      
suggested4 ,i have invariably found this
 the best resource4 ,take first the     
exact outline1 shape1 and position of   

the figure1 and afterwards the          
expression of what he is doing1         
carefully noticing the shadowed parts1  
and dividing them boldly from the light2
 the half-tints may be blended with     
comparative ease2 therefore make as few 
lines as possible1 never encumbering    
them4 ,that part of the figure which is 
foreshortened will have the greater     
number of folds1 while that which is    
not1 will come out plain and bold4 ,such
 memoranda will always have a look of   
reality over every other means of       
obtaining it4  ,it is not unfrequently  
the case that1 in the progress of a     
work1 a number of circumstances1 partly 
the result of thought1 partly of        
accident1 may occur2 therefore1 entire  
reliance on the first sketch is not     
always to be depended on2 at the same   
time1 the various improvements that     
suggest themselves1 do not always       
interfere with the carrying out our     
first conceptions1 and still securing   
the same treatment with which we        

commenced4  ,a repetition of forms can  
only be diverted by opposing lines being
 brought in somewhat strong contrast    
against them2 and1 if possible1 between 
their recurrence4 7,plate #b1 fig4 #a47 
,in copying1 draw various lines across  
the original1 and the same on the paper 
the copy is to be made on4 ,begin with  
the centre1 and draw towards the sides2 
the objects represented will be neither 
too large nor too small by this means4  
,i have said1 that variety and intricacy
 have many charms4 ,in passing over our 
embellished lands1 with all the         
advantages our country affords in       
landscape objects1 we cannot but observe
 this infinite variety in the ,english  
oak1 the birch1 the ash1 the abele2 the 
magnificent white poplar1 with its large
 and beautiful leaves2 the beech1 the   
elm1 the stately horse-chestnut1 c42    
their great diversity of foliage and    
bark2 their distinct peculiarities of   
colour and form2 the oriental plane1 the
 hazel1 sycamore1 the maple2 especially 

where the landscape-gardener was never  
heard of1 when the universal and        
monotonous green of summer gives place  
to the glowing hues of ,october and     
,november1 the best months of all1 from 
the large portion of pearly grey that   
pervades all nature at that time1 and   
from which are brought out1 as from a   
background of the softest neutrals1 the 
umbrageous1 rich1 bitumen-looking       
browns1 deep crimsons1 reds1 and golden 
colours of the leaves1 c4   ,,of ,,the  
,,circular ,,form ,,in ,,composition4   
,circular composition is another of the 
best forms1 and most easily adapted for 
the arrangement of light and shade2 as  
it generally possesses receding hollows 
for the reception of the shadows1 and   
graduated projections for the lights to 
rest on4 7,plate4 #a1 fig4 #d47  ,taste 
is the discriminating power of selecting
 good from bad2 and this is attainable  
by enquiry3 there is neither instability
 nor uncertainty in its rules2 so long  
as you have the good sense to place all 

'inspiration' out of the question6      
,nothing is so pernicious as that       
illusion of the mind4  ,grace1 in my    
opinion1 consists of lines flowing1 more
 or less1 into the ellipsis--free of    
constraint and affectation4 ,raphael1   
for instance1 was all grace2 ,parmegiano
 degenerated into affectation4  ,in     
pictorial economy1 the repetition of the
 same lines1 and often of the same      
forms1 assist and support each other2 as
 necessarily as repetition of colours in
 painting4 ,this extension of the same  
thing is frequently indispensable1 both 
in preventing the individuality of form1
 and1 when well broken up by opposing   
lines1 adding materially to the seeming 
negligence and irregularity that carries
 with it so great a charm4 7,plate #a1  
fig4 #d47  ,the luminous spots or lights
 in a picture1 frequently explain the   
form of its composition4  ,in this      
repetition of lines and forms1 the      
ground may be made to run one way1 the  
line of buildings another1 the figures  

another1 the horizon another1 the forms 
of the trees a different one1 and the   
shapes of the clouds may describe       
another3 all these may have their       
repeats2 yet will they all seem to form 
and tend1 though apparently all         
irregularity1 to an agreeable           
arrangement we sometimes see in nature1 
and an harmonious whole1 however        
intricate1 without confusion4 ,the      
investigation of the means pursued by   
,salvator ,rosa will explain this       
fascinating system4 7,plate #a1 figs4 #b
 and #g47  ,in contemplating the best   
regulated works of art1 either in       
pictures or prints1 by always being     
careful to ascertain the forms by which 
their effects are produced1 is one of   
the best means of arriving at this      
object ourselves4 ,even a few memoranda 
of the ground plans1 as an architect    
would say1 or the form of the line on   
which the bases stand1 will be found    
useful in enabling us to do this4       
7,plate #a1 fig4 #c47  ,the eye must be 

all observation1 and the mind all       
reflection2 and it can scarcely fail to 
become influenced by the advantages to  
be derived from this practice4  ,it is  
to the almost thinking sensibility1     
subtleness1 and feeling of the          
beautifully and wonderfully constructed 
human hand1 that every thing done with  
it1 so far outstrips all mechanical     
means of imitating it6 ,it is with this 
solely and alone1 that fine ,art is1    
ever was1 and ever will be1 identified4 
',the cleverness and sensibility of the 
hand1' says a beautiful and masterly    
writer in the ,quarterly ,review1 'is   
quite as essential as inventive genius4'
 ,speaking of our showy and elaborate   
park-gates at ,hyde ,park ,corner1 'what
 men call the police station--in the    
language of the gods1 the triumphal     
arch6' and1 comparing it with the bronze
 net-work and foliage of ,verrochio1    
'which seems to grow and spring like    
living vegetation1' he says1 'these are 
capital ,brummagem1 and nothing more4'  

',grasped by the man1 the tool becomes a
 part of himself2 the hammer is pervaded
 by the vitality of the hand4 ,but in   
the work produced by the machinery of   
the founder there can be nothing of all 
this life6 ,what does it give you8      
,correct1 stiff patterns1 all on the    
surface4 ,whatever is reproduced in form
 or colour by mechanical means1 is      
moulded--in short1 is perpetually       
branded by mediocrity--,brummagem art6  
,and1 like the music ground by the      
barrel-organ1 you never hear the soul of
 the performer--the expression and      
feeling1 qualities1 without which1      
harmony palls upon the ear4'  ',even in 
engraving1 the best judges all declare  
that1 so far from benefiting art1 the   
harm it has done has been incalculable1 
substituting a general system of        
plagiarism in place of invention4'      
',what will not be the result of the    
means of multiplying the metallic basis1
 and fixing the fleeting sunbeam1 which 
are now opening upon us by means of     

chemical science8 ,steam-engine and     
furnace1 the steel plate1 the roller1   
the press1 the ,daguerreotype1 the      
voltaic battery and the lens1 are the   
antagonist principles of art2 and so    
long as they are permitted to rule1 so  
long must art be prevented from ever    
taking root again in the affections of  
mankind4 ,it may continue to afford     
enjoyment to those who are severed in   
spirit from the multitude2 but the      
masses will be quite easy without it4'  
',whilst we triumph in the results of   
machinery1 we must not repine if one of 
those results be the paralysis of the   
imaginative faculties of the human      
mind4'  ,of all the application of      
mechanical means to effect the purposes 
of art1 their contrast1 with the        
operations of the hand1 is as the       
stiffness and weight of death1 compared 
with life1 freedom1 and vitality4       
,,light ,,and ,,shade4                  
----,shadows1 to-night1           ,have 
struck more terror to the soul of       

,richard           ,than can the        
substance of ten thousand soldiers      
,armed in proof4   ,,the inexhaustible  
and unceasingly varying beauties of art 
begin to develope themselves most when  
the study of ,light and ,shade          
commences2 and the student is amply     
recompensed for the time he has devoted 
to obtaining a knowledge of correctness 
in outline4 ,it is now that he sees     
,nature with other and improved         
vision--with clearer conceptions of her 
character--in her sunny and joyous      
revellings1 as in her vast and awful    
sublimity4  ,drawing gives form2        
,colour1 its visible quality2 and ,light
 and ,shade1 its solidity4  ,if the     
necessary form of a figure1 or any other
 object1 be not agreeable to the eye1   
its whole appearance may be so altered  
by a skilful management of its light and
 shade1 as to become at once the        
contrary by judicious arrangement4  ,in 
arranging the light and shade of a      
sketch ,i intend to paint1 ,i usually   

take a piece of grey1 or neutral paper1 
place the highest light at some point of
 sufficient interest 7for the high light
 in a picture always seems to say1      
',come and look at me1 to see what ,i am
 about6'7 and gradually lead it away1   
diffusing its rays1 as it were1 into the
 half light1 or the half shade1 and so  
on1 until it is wholly lost in the      
darkest point2 then1 with white paint1  
or chalk1 proceed to mark all the       
immaterial lights1 on parts of the      
figures1 or other objects1 as they occur
 in the design1 as conductors of the    
more luminous one1 into the shade1 as   
repeats1 to prevent its singleness of   
appearance1 gradating until they are    
carried out of the work2 like light     
'collected to a focus by a lens1 and    
emitting rays1' as in plate #b4 ,the    
judgment being principally exerted in   
judiciously placing the repeats1 one1 or
 more1 of these lesser lights must1 of  
necessity1 be of the same colour as the 
principal4  ,sudden transitions1 by     

producing too much effect1 the lights   
being too light1 and the darks too dark1
 produce a hard1 dry1 a staring1 and a  
vulgar appearance1 for want of          
neutralizing their qualities1 and       
bringing the parts more in union with   
each other4 ,this overwrought manner is 
principally the cause of that common    
look so identified with the modern      
,french school1 the effect of too much  
relief4  ,on the other hand1 nothing but
 flatness and insipidity is the result  
of too softly blending and uniting the  
light with the shadow1 and the parts    
with one another1 without that          
distinction and solidity constituting   
the arrangement that should bring the   
near and the remote together1 in the    
treatment of the intermediate relations4
  ,light should be so skilfully woven   
into the shadow1 as not to prejudice1   
but assist its depth by its intrusion2  
this is of most essential consequence4  
,it is not necessary that the light     
should come in at one side of the       

picture1 nor pass out at the other1 as  
has been asserted4 ,it is1 perhaps1     
better to attach ourselves to no        
particular theory3 few theorists are    
good painters2 their works1 in general1 
bear a contradictory proportion to the  
opinions set forth in their             
speculations4  ,sketching light and     
shade from nature 7with a single colour1
 or a stump71 teaches us to profit by   
every circumstance1 natural or          
accidental4 ,and these sketches1 studied
 at home1 teach us1 in turn1 at once to 
compose1 and to extend the sphere of our
 observation2--it carries us to the     
doctrine of probable possibilities2 and 
invests the meanest subject with        
attraction2 the most infinite variety   
becomes simplicity upon these terms4    
,the light and shade of a picture should
 never bear the same proportions2 it    
should1 in all instances1 differ        
materially in quantity2 a repetition of 
forms should always bear a different    
proportion in size1 the one having a    

decided superiority over the other1 or1 
the inevitable consequences will be1    
confusion4  ,unconnected lights and     
shadows1 that are too much defined1 will
 have a bald1 a chequered1 or           
draught-board appearance4  ,in sketching
 from nature1 ,i usually commence by    
rubbing in the effect first1 and adding 
the details1 or features of the scene1  
afterwards2 mostly beginning with the   
centre1 or else the point of sight1 and 
working outwards1 and upwards1 and      
downwards1 to the sides of the picture4 
,but this can only come of extensive    
practice1 or1 at least1 a power of      
grasping the whole at once4  ,i have    
said that the first and principal part  
of art is ,composition1 or placing      
things together appropriately2 the      
situation1 motion1 and expression of the
 figures2 their shapes1 and lights1 and 
shadows1 according4 ,a perfect outline  
is of most consequence1 and can only be 
acquired by study4 ,next to this1 the   
situation1 colour1 and quantity of      

shadows2 these being infinite1 may be   
variously managed4 ,at the same time1 it
 requires much more observation and     
study to shade a picture1 than to merely
 draw the lines of it4 ,no fixed rule   
can be given for this2 but1 after having
 got the outline free and flowing1      
endeavour1 by various trials1 on other  
bits of paper1 to leave the masses of   
shadow and light broad1 so as to convey 
an appearance of space and extent4 ,in  
the infinite gradations of shade1 and   
the blending of them1 nature has no     
determined law4  ,objects out of doors1 
which receive the general light of the  
sky1 and where the surrounding air gives
 light on all sides1 will look          
altogether different from the same      
objects drawn and shaded in a room1     
which would give dark shadows where in  
nature there are none4 7,plate #c1 fig4 
#b47  ,without shadows1 the forms of    
things would be unrevealed4  ,at        
different times of the day1 objects will
 give shadows quite different in size   

and form1 corresponding with the course 
of the sun4 ,the difference of your own 
shadow exemplifies this1 as well as the 
variation of the shadows in your room4  
,direct your attention to the difference
 of the shadows thrown by candle-light2 
this luminary being smaller than the    
object placed against it1 would make a  
figure1 cut from a card1 two or three   
inches high1 give a shadow on the wall  
the size of life4  ,place any object in 
the sun1 and turn it round to the north1
 south1 east1 and west1 at different    
periods2 and1 observing the difference  
of shapes in the shadows1 will be found 
excellent practice4  ,placed in certain 
directions1 the form of every thing may 
be inferred from its shadow4  ,the      
shadow of a person arriving1 on an open 
door1 will1 if the sun is behind him1   
distinguish to the inmate the comer's   
identity4  ,shadow is most articulate   
and defined when the light is brightest1
 by reason of the contrast formed by the
 light2 and will always1 under these    

circumstances1 appear much stronger than
 it is2 though it is not so strong1 in  
reality1 as shadow in cloudy weather1   
from its being more equalized with the  
light4 ,shadow is only1 more or less1 by
 comparison with the brightness of the  
light4 ,this is best explained by making
 a room dark by degrees1 and holding up 
some object against the light as it     
diminishes1 until it is quite dark4     
,the light of the sun always reflects a 
shadow equal to the object which it     
projects on a parallel plane4 ,the sun  
being larger than the body illumined1   
throws a shadow less than that body4 ,on
 the contrary1 the light of a candle1   
being less than the object reflected1   
produces the contrary effect1 the shadow
 increasing as it retires1 not in       
parallels1 but in rays1 thrown by the   
light4  ,the figure and shape of a      
shadow is strictly defined by the form  
of the object producing it2 as light    
occasions the existence of shadow4 ,an  
excellent and well-turned remark is made

 by some writer on the subject1 who     
says1 ',it must be observed1 that there 
are two points to be made use of3 one of
 them1 the foot of the light1 which is  
always taken on the plane the object is 
placed upon2 the other1 the luminous    
body1 the rule being common to the sun1 
torch1 c4 with this difference1 that the
 sun's shadow is projected in parallels1
 and that of the torch in rays1 from the
 centre1 as before mentioned4 ,but as   
all objects on earth are so small in    
comparison of the sun1 the diminution of
 their shadows is imperceptible to the  
eye1 which sees them all equal1 neither 
broader nor narrower than the object    
that forms them4 ,on this account1 all  
the shadows made by the sun are made in 
parallels4'  ',to find the shadow of any
 object whatever opposed to the sun1 a  
line must be drawn from the top of the  
luminary1 perpendicular to the plane    
where the foot of the luminary is to be 
taken2 and from this1 an occult line1 to
 be drawn through one of the angles of  

the plane of the object2 and another1   
from the sun to the same angle4 ,the    
intersection of the two lines will      
express how far the shadow is to go4    
,all the other lines must be drawn      
parallel hereto4'  ,the next thing to be
 considered is1 an appropriate effect of
 light or shadow1 to be given to the    
scene1 or object1 treated4  ,calmness   
and serenity are the result of          
horizontal lights1 or shadows2 while the
 contrary is the effect of oblique1 or  
abrupt and irregular2 such as are seen  
in the stormy effects of ,salvator      
,rosa1 c4  ,the sky and clouds are often
 resorted to for effect1 when the       
landscape does not admit of sufficient4 
,again1 less imposition thrown into the 
sky1 will repose the landscape1 when it 
happens to be invested with sufficient  
interest of itself4  ,extending the     
repose of a work1--by throwing into the 
general mass of shadow a number of      
objects that may appear of the least    
consequence to the development of its   

story1 and bringing those which should  
be most prominent boldly forth into the 
light1 by projecting their forms from   
the hollows of the shadows1 that may    
appear to teem with a multitude of      
mysterious forms1 while the cutting     
edges and sharp lights of those         
projections come out in sunshine1       
depending solely on their vigorous      
division1--is one of the greatest       
difficulties in composition1 and is     
principally rendered so by the necessity
 of adapting its sympathies to the      
subject we would place before the       
beholder--by its agreeable disposition  
and management2 at the same time        
preserving the utmost singleness of     
intention and simplicity1 by avoiding   
confusion1 and supporting its breadth by
 the shapes of the masses of one and of 
the other4 ,a very small portion of the 
light1 striking some object placed in   
the shadow1 will carry the light into   
it2 while some point or figure1         
enveloped in shade or dark local colour1

 will be sufficient to convey the       
obscure parts into the luminous1 and    
preserve the balance of the whole4      
7,plate #c1 fig4 #b47  ,the most        
complicated outline may by this means be
 reduced to the broadest effect of light
 and shade4 ,and simple and palpable as 
this principle may seem1 it may be      
pursued until the artist is enabled to  
conceal entirely the art by which it is 
effected2 until he feels that which he  
could not perhaps explain1 but may paint
 in a language that all may read4  ,sir 
,joshua ,reynolds speaks of ',that      
breadth of light and shadow1--that art  
and management of uniting light to      
light1 and shadow to shadow1 so as to   
make the object rise out of the ground  
in the plenitude of effect4'  ,outline  
is cold and determined in its           
appearance1 and would seem so though    
drawn with vermilion2 and1 from its     
being defined1 carries away all idea of 
space and extent with it4 ,the greater  
the absence of outline1 the greater will

 be the breadth4 ,where there is a      
necessity for much outline1 large masses
 of it must be collected into broad     
portions of the shadows and lights1     
which should be well diversified in     
their forms4 7,plate #e47  ,where light 
joins darkness1 the light and dark are  
most intense at their junction1 arising 
from affinity of contrast4 ,it is not   
necessary to enter into the phenomena of
 vision to prove the existence of any   
thing that will be found in this work1  
its details being drawn from every-day  
observation4  ,light and ,shade should  
always1 ,i think1 partake of the        
character of the subject3 a fte         
champetre should not be enveloped in the
 gloom of shadowy obscurity1 any more   
than a storm piece should be clothed in 
the glories of sunshine4  ,when the     
composition consists of a number of     
objects1 the best way is to single out  
those that should most attract1 by      
giving them the highest quality of the  
light2 while whole portions may be      

disposed of by connecting them in broad 
masses of the secondary light1 and      
further uniting them with the trees1    
buildings1 or any other objects that    
occur1 to extend its quantity2 while the
 masses of shadow are formed by the     
union of other several parts1 the light 
mingling with and intersecting the      
shade1 until the whole present an       
harmonious breadth4 ,but to achieve     
this1 so that the parts take agreeable  
forms--sustaining and supporting1 and   
giving value to each other--is perhaps  
the chef-d'oeuvre of the arduous        
arrangement of light and shade4 7,plate 
#b1 fig4 #e47  ,if we require a large   
space for repose1 by getting the light  
at one or other side of the picture1 the
 light should of necessity possess some 
striking quality1 to compensate so great
 a sacrifice of space2 while a multitude
 of less important objects may find a   
mysterious locality in the reposing     
mass4 7,plate #b1 figs4 #a1 #b47  ,in   
some of ,rembrandt's etchings1 a very   

small but brilliant point of light is   
carried through the composition1 by the 
softest gradations1 into the intense    
depth of shadow1 by striking the tops   
only of the figures1 parts of           
architecture1 c41 until completely lost4
 ,the principal light must never be     
placed in the centre1 but either on one 
side or other4  ,a single mass of light 
will have the greatest force when       
brought in immediate contact with a dark
 background3 so will a dark object tell 
with equal power when opposed to the    
strongest light4 ,so a figure1 clothed  
in black and white1 and placed on one   
side of the foreground1 will focus all  
the other lights and shadows1 which will
 immediately keep their places in the   
picture--so they be less in strength4   
,in proportion to the number of forms in
 the composition1 this rule may be      
equally applied to a group1 if it agree 
in its outline1 and does not disturb the
 masses on which it depends for repose4 
,if the picture be generally light1 or  

the greater part in half tint1 a single 
object or point of dark will be often   
found sufficient to key the             
whole1--placed at the opposing angle on 
the side opposite the darkest part4     
,the outline of an object we would bring
 most forward should come out cutting   
and strong from its surrounding shadow1 
while the other masses will retire in   
proportion to the absence of the        
opposition of density employed in       
preventing their approach4 ,it may not  
be impossible that these few words      
convey the impression of what we mostly 
intend4  ,the small and immaterial      
lights1 catching the edges of objects   
carried into the shadow1 are of the     
greatest usefulness in giving depth and 
intensity to it1 while they assist the  
work by carrying the communicating      
medium through it4  ,carrying the shadow
 across the middle of the subject is    
attended with many advantages2 among    
which are1 bringing the foreground into 
extreme vigour2 furnishing ourselves    

with greater facilities in getting away 
the background2 and more readily        
obtaining distance and repose by        
blending the horizon with the clouds2   
while the figures are brought up in     
cutting relief against it4 7,plate #c47 
,a mass of landscape in middle          
tint--such as a broken common1 fields1  
clumps of foliage1 c4--sweeping across  
the picture at a third1 or little more1 
its height from the bottom1 with a bold 
tree or group printing its dark form on 
the lightest part of the sky1 and       
lifting itself from a bright sunny bank 
laid on the bottom edge of the design1  
carried on by a dark object or two1 with
 cutting lights and intense shadows in  
the weeds1 stones1 c41 of the foreground
 to support it1 the clouds graduating   
upwards from the horizon and mingling   
with the middle space at the opposite   
side of the principal group1 seems to   
have been a favourite arrangement with  
,gaspar ,poussan1 ,cuyp1 and many of the
 ,dutch1 as at present it is with       

,turner1 and many of the                
modern1--offering great advantages from 
the numerous scenes in nature for ever  
opening to our view through the broad   
masses of shadow1 flung from the passing
 clouds across the country1 and         
possessing every variety of tint1       
sobered and covered down by the extent  
and transparency of the shadows1 while  
the brilliant lights come out with all  
the vigorous warmth the sun invests them
 with4  ,a walk into the fields1 or     
across a heath1 can scarcely be taken1  
when the clouds are floating along1     
without an effect corresponding with    
this being seen4 ,a part of the         
principal group will sometimes be in    
light while the rest is in deep shadow1 
or may appear so from the different     
colours of the trees2 in which case1 it 
will blend more gently with the sky1 and
 more intensely focus the depth of      
shadow1 if the lighter colour be        
interposed between it and the sky1      
losing a little of its force1 but       

gaining harmony and union1 together with
 the advantage of carrying the warm     
colour of the foreground up into the    
foliage1 and extending it more gradually
 through the clouds4  ,three lights1    
differing in strength--the centre one   
the strongest--and placed at different  
angles1 has universally been found an   
agreeable arrangement4 ,this mode may be
 always pursued with a certain degree of
 success4 ,the etchings and drawings    
after this manner are very              
numerous1--perhaps from its easy        
management4  ,as our senses are carried 
through the varieties of a tale1 so the 
eye must be diverted from any particular
 object in a picture1 by judiciously    
absorbing or bringing into notice the   
accessories necessary to complete the   
composition1 without disturbing it1 or  
prejudicing the principal4 ,an          
harmonious intimacy with all the parts1 
and the means of that intimacy rendered 
as imperceptible as possible1 will      
absorb hardness in the masses1 and give 

distinctness and articulation to that   
which should predominate in acute       
solidity1 all disjointed and unconnected
 appearances being carefully guarded    
against4 ,different arrangements of the 
same subject will be found the best     
means of exemplifying this4  ,the shadow
 of a cloud may accidentally be thrown  
over the greatest distance1 while a     
sunbeam may suddenly illumine the middle
 space or foreground3 the distance then 
would be the darkest part of the        
picture4 ,or a gleam of light may rest  
upon the distant mountains1 while the   
middle space and foreground may be in   
shadow2 then the case would be reversed1
 the greatest spread of light occupying 
the farthest distance4 ,even this       
arrangement has succeeded with some4    
,the highest defined light will be that 
which comes boldest off the darkest part
 of the ground4 ,all others will        
decrease in proportion1 as they mingle  
with the ground4 ,and1 as the aforesaid 
light is pure1 so the darks will appear 

darker than they are4 7,plates #e1 #f47 
,that part of a body in light will be   
the brightest that is nearest to the    
luminary4 ,in the theory of light1 it   
often happens there are double and      
treble reflexes1 which must be stronger 
than single ones1 and the shadows of    
course proportionally faint4 7,plate    
#d47  ,in proportion as reflected lights
 are thrown upon a darker or lighter    
ground1 will their appearance be more or
 less brilliant4 ,we deduce from this1  
that all those reflexes1 that brighten  
up and play so harmoniously among the   
obscurity of shadows1 must be in        
proportion to the strength of the light 
that occasions them4 7,plate #d47  ,the 
light made to graduate too softly1 by   
means of the half-tint1 into the shadow1
 unless some part be boldly and         
cuttingly opposed to the other1 will    
have a tame and insipid appearance1     
however sharp and forcible other        
portions of the work may be4 7,plates   
#c1 #d47  ',fulness of effect is        

produced by melting and losing the      
shadows in a ground still darker than   
those shadows3 whereas relief is        
produced by opposing and separating the 
ground from the figure2 either by light1
 or shadow1 or colour4' 7,plate #c1 fig4
 #b47  ,any thing intercepting the line 
of light upon an object1 will render its
 shadows soft1 and its lights           
beautifully blended4  ,accidental       
shadows are those occasioned by objects 
interposed between the light and the    
surface reflected on4 ,natural shadows1 
those which the light connects with     
every opaque body4 7,plate #d1 consists 
of natural and accidental shadows47     
,the outline of the shadow should       
partake of the forms1 at its edges1 of  
the character of the surface receiving1 
as well as the one giving it4  ,in many1
 otherwise1 excellent pictures of       
,claude's1 the sun is placed at1 or near
 the point of sight3 so that all the    
shadows1 running from that point1 almost
 mechanically carry the eye into the    

picture4 ,whatever of good may proceed  
from this arrangement1 its purpose is   
too easily detected2 and it has an      
artificial effect4  ,da ,vinci says1    
',the appearance of motion is lessened1 
according to the distance1 in the same  
proportion as objects diminish in size4'
  ,open the side of a book against the  
light1 and observe the gradations of    
shadow on the leaf4  ,if you turn half a
 sheet of paper up against the light 7in
 the manner of the book71 it will       
explain1 by its shadows on the parallel 
part1 the phenomena of half or          
demi-tint4  ,in any body that has many  
indentures1 there will be many shadows  
and their grades3 that body will have a 
greenish hue over its superfice1 where  
the light falls on it4 ,to keep the     
colour of that light pure1 in this      
instance1 requires great management2 as 
the markings of the masses of foliage1  
c41 receiving the light4 ,and yet1      
without these markings1 or as it were   
carrying the shadow into the light1 it  

would look bald4 ,as this is done       
cleverly1 so it will have the effect of 
subduing the harshness of the lights2   
which not being in compact masses1 lose 
their force4  ,i often rumple a piece of
 paper1 to observe the infinite variety 
of its shadows4 ,and place a ball       
against the light1 on a white surface1  
and observe its gradations4 ,so1 if you 
roll up a sheet of white paper1 and lay 
it on a white surface1 against the      
light1 or make it stand up1 it will     
describe the gradations of a column4    
,it is a very excellent method to keep a
 solid square1 a solid sphere1 a        
cylinder or tube1 a cone 7make a paper  
one71 a cup1 c41 by you1 and place them 
in various directions in the light1     
making various memoranda of their       
lights1 shadows1 and reflexes1 in one   
colour4 ,by this means1 light and shade 
will soon become familiar1 and the task 
get easier at every trial4  ,a piece of 
white paper folded several ways1 and    
laid on a table against the light1 will 

reveal all the different degrees of     
shade4 ,then1 observe the highest light 
and the deepest shade1 with their       
gradations4  ,observe1 in a room with   
one window1 having chairs1 tables1      
sofas1 c4 in it1 where and how their    
shadows fall4 ,this will assuredly lead 
the mind into the mysteries of light and
 shade1 which must end in knowledge4 ,at
 the very least1 the power to see things
 as they are6  ,to render bodies in     
sunshine1 the shadows must be dark1 and 
marked strongly and distinctly1 and the 
lights extended and broad4 ,so1 in-door 
objects have equally strong shadows1    
with the lights and shades distinctly   
divided and precise4 ,all should1 as a  
peremptory rule1 receive the light from 
above4 ,the light should come in from a 
sufficient height to give a shadow on   
the ground the same length as the object
 is high4  ,if any projection occurs on 
a plain on which a shadow is thrown1 the
 shadow takes the form of the           
projection1 as it passes it2 but1 if it 

ends upon it1 the shadow will be shaped 
by the object that flung it1 still      
qualified by the section of the         
projection4 ,the rough surfaces of many 
things would describe the same in a     
lesser degree4  ,light objects1 as they 
retire1 become darker2 and dark ones1   
lighter2 but light ones are seen at a   
greater distance than dark4  ,the       
darkest opposing object brought up      
against the most retiring1 should not   
extend itself to the edges of the       
picture1 but let the half tints creep   
in1 to bring the light down with more   
effect--diffusing it more extensively4  
,the shadow on the ground on which it is
 thrown1 should be darker than the      
object projecting it2 and1 if the object
 be round1 a reflected light will be    
found on the edge where it joins the    
shadow1 as in a column4  ,i placed a    
chair in the shade1 and the sun's       
reflection threw a shadow from it6  ,the
 light of every body is qualified by the
 ground that surrounds it4  ,breadth is 

acquired by blending the light parts of 
the figures with the light of the       
ground2 and the same rule will apply to 
the shadows4  ,when the ground of the   
picture is mostly dark1 the lights1 in  
my opinion1 should take some one or     
other good decided form in composition1 
in their developement1 as their meaning 
is only to be explained by themselves4  
7,plate #d47  ,if a single light or     
luminous mass be surrounded on all sides
 by a dark ground1 one or more of its   
edges should be strong and cutting2 and 
if a dark centre be placed on a light   
ground1 if the same management be not   
observed1 it will look like a hole4     
,leonardo says ',the ground which       
surrounds the figures in any painting1  
ought to be darker than the light part  
of those figures1 and lighter than the  
shadowed part4'  ,great beauty is       
obtained by laying the shadowed part of 
an object against a darker ground2 the  
light receiving increased brightness    
from this arrangement1 and the softness 

of the shadow on the light side being   
nearly imperceptible1 gives great relief
 and beauty4 ,this mode is much resorted
 to in the management of portraits1     
while it equally applies to landscape4  
,most repose is obtained by placing a   
light group or object on the light side 
of the picture1 and dark objects on the 
dark side1 as no interference of the one
 or the other then occurs to disturb the
 masses2 but the effect will be less    
than when carried the one into the      
other1 and the difficulty of uniting the
 two parts become greater4  ,in some of 
the best works of ,ostade1 and many of  
the ,dutch school1 a dark figure or     
group is brought out from a darker      
background1 with great brilliance1 and  
even force1 when the colour of the one  
is cold1 and the other warm4            
,corregio's management of light and     
shade placed him in the highest sphere  
of this department of the art4  ,an     
object or figure1 having a dark and a   
light side1 the dark side being opposed 

to the light part of the ground1 and the
 light side coming off the darker part1 
will have great effect4  ,when a dark   
body terminates on a light ground1 it   
will detach itself4 ,if a round object1 
it will not carry its light to the      
extremity of its outline1 but finish in 
a half shade1 darker than the ground4   
,a large mass of light in the middle of 
the picture1 surrounded by shadow1 is a 
rule2 and1 when reversed1 has an equally
 imposing effect4 7,plate #b1 fig4 #e47 
,the largest division of the light and  
the dark parts of a picture1 so they    
differ in quantity1 will of necessity   
produce the greatest breadth2 but the   
extent and magnitude of that breadth    
will be entirely qualified by the       
judicious management employed in        
producing a union between them4  ,one   
greatly approved method of producing    
this effect is1 by bringing the light up
 to a brilliant focus1 and absorbing the
 shadows into the darkest obscurity2    
while the larger portion of the work is 

pervaded by the half light and the half 
dark1 as well as their shadows by strong
 local colour2 while those in the shadow
 should come out sharp and distinct4    
,the vigour of the light will dissolve  
all chance of influence in the half     
tints2 while the extreme depth of the   
shadow1 carried perhaps to a little     
excess1 will gather up and absorb all   
the subordinate shadows4 7,plate #a1    
figs4 #e and #f47  ,marking1 with a     
stump and bit of black lead1 when we are
 abroad1 the principal points1 in       
sketching from nature2 and noticing in  
what manner those points refer to1 and  
assist each other2 tracing their        
effects1 and ascertaining the laws that 
bring them harmoniously1 or by contrast1
 together1 is the best method to be     
pursued for the arrangement of our own  
ideas in composing4 ,sketches so        
obtained1 should be preserved as models 
to exercise the invention by4  ,a more  
distinct idea of light and shade is best
 obtained by the use of one colour only1

 as many only tend to perplex the eye1  
and divert the attention from the great 
object that should be distinctly kept in
 view4  ,in laying on the tints 7of one 
colour only71 the method to be pursued  
is as follows3--,mix the separate shades
 in separate saucers1 three1 four1 or   
five1 as may be required2 keep the board
 you have previously strained the paper 
on inclined at moderate elevation1 that 
the colour may flow freely2 lay in the  
sky first2 the farthest distance next2  
then all those masses of shadow which   
principally influence the division and  
interest of the picture2 working        
downwards to the foreground from the    
middle distance1 using a large brush1   
filled with colour1 to produce clearness
 and transparency4 ,then proceed to     
delicately touch upon the lights1 in    
order to blend them with the shadows1   
that they may not appear too abrupt1 as 
well as to break down their asperity1   
and prevent the work looking bald4 ,now 
a darker shade than any should be mixed 

up1 to put in the markings of the       
foliage and foreground1 rocks1 or       
whatever the composition may consist of4
 ,lay the whole on with freedom and     
boldness2 and1 if any parts require     
strength1 they may be lightly floated   
over again1 when quite dry4  ,do not    
disturb the surface of the paper more   
than can be avoided2 and endeavour to   
keep all the tints even1 or flat1 in the
 first instance1 without attention to   
the details4 ,always mind to take up    
enough of the colour at once to cover   
down the space intended1 without        
sweeping it contrary ways4 ,thick rough 
paper is the best4  ,the power of making
 large masses of flat tints1 commonly   
comes of great practice2 it is1         
therefore1 necessary that this          
difficulty is conquered1 before         
attempting to blend them4  ,the use of  
that important thing1 in the hands of an
 artist1 the sponge1 must be taught and 
seen to be understood4  ,the most       
forcible arrangement in the composition 

of light and shade is1 where it is      
spread and diffused1 until reaching the 
strongest point2 which point1 opposed   
immediately to the most retiring part1  
and clothed in strong colour1 will have 
the effect of balancing and combining   
the most complicated forms1 that1 but   
for this method1 had been all confusion4
  ,if a sketch be too outliny1 it will  
want solidity2 if too much filled in1 it
 will be heavy4  ,do not let the lights 
be too scattered1 or too equal1 lest the
 struggle for precedence be observed4   
,when clouds are interposed between the 
sun and the object1 the shadows will be 
soft1 and their terminations almost     
imperceptible4  ,illustration3 ,light   
and ,shade ,plate #b  ,c4 ,hullmandel's 
,patent4   ,illustration3 ,light and    
,shade ,plate #c   ,illustration3 ,light
 and ,shade ,plate #d   ,illustration3  
,light and ,shade ,plate #e4            
,illustration3 ,light and ,shade ,plate 
#f4  ,in conclusion1 the concentration1 
the diffusion1 or the contrast of light 

and shade1 is best understood from a few
 blots made from the pictures of those  
great masters1 who strike us as having  
excelled most in this department of the 
art1 carefully preserving their         
arrangements1 and applying them to our  
own compositions1 until we feel and     
think like them4 ,and a very little     
practice1 in pursuing this method1 will 
place the student in as quick a habit of
 effecting it1 as of writing down his   
thoughts1 together with the immeasurable
 advantage of snatching from ,nature her
 faultless effects of chiaroscuro--let  
them be as fleeting as they may--and the
 lights and shades of our own minds will
 influence the effect they have on the  
minds of others4  ,is there not         
practical wisdom in commencing every day
 with the steady effort to make as much 
of it as if it were to be our whole     
existence8 ,if we have duties to        
perform1 in themselves severe and       
laborious1 we may enquire if there be   
not some way by which to invest them    

with pleasant associations8 ,how many   
men find their pleasure in what would be
 the positive horror and torment of the 
indolent1 whose inefficient and         
shrinking spirit recoils from these     
tasks as insupportable burdens8  ,in    
exact proportion as you have cultivated 
your taste and education in this1 as in 
all other things1 will be your happiness
 and enjoyment in your productions4  ,in
 a work of this nature1 tautology is not
 altogether unavoidable1 as that which  
occurs in one division of it1 equally   
applies to another4  ,i shall revert to 
the subject of light and shade again1   
under the head of its application to    
,colour4     ,,on ,,colour4   ,,colour1 
perhaps1 is one of the most expressive  
languages we possess--the easiest       
understood by all4  ',style in          
painting1' says ,sir ,joshua ,reynolds1 
'is1 the same as in writing1 a power    
over materials1 whether words or        
colours1 by which conceptions or        
sentiments are conveyed4  ',when an     

opportunity offers1 paint your studies1 
instead of drawing them4 ,this will give
 you such a facility in using colours1  
that in time they will arrange          
themselves under the pencil4  ',if      
painting comprises both drawing and     
colouring1 and if1 by a short struggle  
of resolute industry1 the same          
expedition is attainable in painting as 
in drawing on paper1 ,i cannot see what 
objection can justly be made to the     
practice1 or why that should be done in 
parts which may be done altogether4     
',of all branches of the ,art1          
,colouring is the least mechanical4' ,we
 cannot measure colour by lines as we   
can drawing4  ,art is not a thing merely
 to be admired1 and with which the      
spectator has nothing to do1 however    
much he may suppose it3 he has perhaps1 
unconsciously1 as much to do with it as 
it may have to do with him4 ,a man1     
wholly regardless of art1 will remember 
having seen a picture twenty years ago1 
when shown him again3 its influence on  

his memory1 his taste1 or his passions1 
could alone effect this4  ',colouring1' 
says ,mr4 ,burnet1 'must either add to1 
or diminish the effect of any work upon 
the imagination2 it must add to it by   
increasing1 or diminish it by destroying
 the deception4' ,and he farther quotes 
this passage from ,addison3 ',we cannot1
 indeed1 have a single image in the     
fancy that did not make its first       
entrance through the sight2 but we have 
the power of retaining1 altering1 and   
compounding those images1 which we have 
once received1 into all the varieties of
 picture and vision that are most       
agreeable to the imagination4'  ',we can
 form no idea of colouring beyond what  
has an existence in nature4 ,from this  
source all our materials must be drawn4'
 ,and again3--',the artist must never   
forget that the mind is composed of     
ideas received from early impressions1  
from perceptions frequently occurring1  
and from reflections founded on such    
perceptions4 ,painting can reach the    

mind only through the medium of the eye1
 which must be gratified sufficiently to
 interest it in the communication4'     
,there should always exist a            
corresponding feeling between the       
subject and the manner of treating it4  
,the student should at least make       
himself acquainted with the leading     
principles of every variety of art2     
because1 'that which would be applicable
 to one style1 would1 in some measure1  
be destructive to another4' ,it matters 
nothing how low the branch or particular
 walk he has chosen2 for it will acquire
 quite another accent from his          
acquaintance with the higher1 whose     
powers of fascination will in time      
imperceptibly infuse something of their 
own dignity into his works4  ,something 
of this infusion has come down from the 
greatness1 the grandeur1 and severity of
 the ,roman and ,florentine schools1    
through all varieties they have passed1 
to the modern4 ,to reach this1 however1 
the mind must habituate itself to become

 quite 'disdainful of vulgar criticism1'
 before it can well feel a congenial    
sympathy with these high latitudes1 as  
well as having to unlearn much it has   
acquired4  ,there are many excellencies 
in painting not at all compatible with  
each other1 and that should never occur 
together--not even to gratify that      
fastidious disposition that is          
dissatisfied with every thing short of  
perfection3 lightness would seem to want
 solidity1 while precision will have    
dryness and hardness4 ,the excellencies 
of others frequently corrupt ourselves3 
just as one coat1 however well made1    
will not adapt itself to two persons1   
any more than their talents will blend  
with and lessen our defects4  ,there is 
no particular style or branch of art1   
that the student may be in pursuit of1  
that does not possess some excellence or
 other--that is not alone1 or at all1   
perhaps1 to be found in the great manner
 of the ,roman or ,florentine schools of
 colour3 in composition1 breadth and    

arrangement 7particularly of light and  
shade71 and masterly treatment of       
colour1 the ,flemish and ,dutch1 as will
 our own school1 furnish sufficient     
instances4  ,light and shade1 colour1   
novelty1 variety1 contrast1 and even    
simplicity1 all become defects in their 
excess6--the spirit of the rules by     
which they are regulated is to be more  
observed than their literal sense4 ,it  
will generally be found sufficient to   
preserve this spirit of their laws      
alone1 to which our ideas may be        
proportioned and accommodated4  ,colour1
 in my opinion1 is as useful in         
composition as lines3 a few colours1    
scientifically woven together1 will form
 agreeable composition of themselves4   
,warm and cold colours1 with their      
gradations and contrasts1 lights and    
shadows with theirs1 agreeing with and  
opposing each other1 all struggling     
together 7but that struggle unseen--the 
art concealed67 to the accomplishment of
 one object--the sweetness of harmony   

and union of the whole to one end4      
,,of ,,the ,,three ,,primitive          
,,colours4   ,,the ,three ,primitive    
,colours are the basis of a perfect     
system1 and may be reduced1 in order of 
degradation1 into perfect black4 ,their 
communion comprehends all other colours2
 and their effects1 under the influence 
of light and shade1 make pictures4      
,yellow is the light2 ,red1 the medium2 
and ,blue1 darkness2--colours of        
themselves1 that cannot be produced by  
the mixture of any other4  ,hayter says1
 in his ,compendium3                    
',secondly--,yellow1 red1 and blue      
contain the sole properties of producing
 all other colours whatsoever1 as to    
colour1 by mixtures arising entirely    
among themselves1 without the aid of a  
fourth4  ',thirdly--,because1 by mixing 
proper portions of the ,three           
,primitives together1 black is obtained1
 providing for every possible degree of 
shadow4  ',fourthly--,and every         
practical degree of light is obtained by

 diluting any of the colours1 as above  
producible2 or1 in oil painting1 by the 
mixture of white paint4  ',fifthly--,all
 transient or prismatic effects can be  
imitated with such coloured materials as
 are of the ,three ,primitive ,colours1 
but only in the same degree of          
comparison as white bears to light4     
',sixthly--,there are no other          
materials1 in which colour is found1    
that are possessed of any of the        
foregoing perfections4                  
,,yellow4           ,yellow and ,red    
make ,orange1                           
,,orange4           ,orange and ,green  
make ,olive1                    ,,olive4
                      ,,red4            
,yellow and ,blue make ,green1          
,,green4           ,orange and ,purple  
make ,brown1                    ,,brown4
                      ,,blue4           
,red and ,blue make ,purple1            
,,purple4           ,green and ,purple  
make ,slate1                    ,,slate4
   ',these nine colours are all that are

 distinguished by integral names4       
',thus it will be seen1 that ,yellow1   
,red1 and ,blue produce--first1 ,orange1
 ,green1 and ,purple2 and these produce 
,olive1 ,brown1 and ,slate1 making nine4
  ',yellow1 ,red1 and ,blue1 make       
,black4  ',and this is the compendium   
and whole of the system of the          
degradation of colours into ,black1 or  
perfect darkness4                       
',,warm ,,effect is produced by         
',white1 ,yellow1 ,orange1 ,red1        
,purple1 ,indigo1 ,black4               
',,cold ,,effect is produced by         
',black1 ,indigo1 ,blue1 ,green1        
,yellow1 ,pale ,yellow1 ,white4'        
99       99       99       99       99  
,the ,three ,primitive ,colours1 by the 
endless varieties of their solvents1    
regulate1 more or less1 the whole       
economy of a picture2 and the abundant  
stores of nature are faithfully imitated
 by their agency4 ,thus1 the ,primitives
 being red1 blue1 and yellow1 the       
colours produced by their combination   

are purple1 orange1 and green2 these1 in
 their turn1 may be extended to every   
tint that exists4 ,the junction of the  
,three ,primitives absorb all1 and form 
neutral tint1 which1 by the addition of 
quantity1 produces black4  ,all the     
contrasts are rendered from the same4   
,and here it may not be out of place to 
remark how men will devote themselves to
 many idle pursuits that return them    
nothing1 while a little study of the    
noble theory of colour would enable     
them1 without pushing the matter far1 to
 bring to their firesides reminiscences 
of their travels1 or1 otherwise1 spots  
endeared by circumstances1 together with
 a thousand other agreeable             
associations4 ,they would learn in time 
to look at nature through the medium of 
art1 and find a delightful interest in  
it they never anticipated2 while every  
hour so spent would more and more       
exercise and mature the judgment4  ,a   
knowledge of the natural chalks1 or     
colours of black1 white1 and red1 is    

indispensably necessary4 ,so1 a perfect 
acquaintance with the ,three            
,primitives1 blue1 red1 and yellow1 is  
of equal consequence2 that blue and     
yellow are brought together by red2 and 
that all mixtures are the scientific    
result of the union of these three1 no  
two of which will produce the third4    
,the result of the mixture of any two   
gives the contrast to the absent        
one3--as red and blue1 producing purple1
 is the opposite to yellow2 blue and    
yellow make green1 the contrast to red2 
red and yellow1 producing orange1       
contrasts blue2 the three1 blended      
together1 gives us black3 neutral tint  
is the result of the same mixture4 ,a   
perfect knowledge of mixing tints1 from 
this scale1 will produce all the        
compounds necessary to art1 and their   
admixtures may be varied ad infinitum4  
,the neutral tint mentioned may be so   
varied1 as to act in perfect union as   
the shadow to any one of the colours    
composing it4  ,the modes or systems of 

obtaining these results of colour1 as   
practised by the greatest schools1 are  
exceedingly different4 ,sir ,joshua     
,reynolds says3 ',they may be reduced to
 three4 ,the first may be called the    
,roman manner1 where the colours are of 
a full and strong body1 such as are     
found in the ,transfiguration4 ,the next
 is that harmony which is produced by   
what the ancients called the corruption 
of colours1 by mixing and breaking them 
till there is a general union in the    
whole3 this may be called the ,bolognian
 style4 ,the last manner belongs        
properly to the ornamental style1 which 
we call the ,venetian1 being first      
practised at ,venice2 but it is perhaps 
better learned from ,rubens4 ,here the  
brightest colours possible are admitted 
with the two extremes of warm and cold1 
and those reconciled by being dispersed 
over the picture1 till the whole appears
 like a bunch of flowers4  ',as it is   
from the ,dutch school the art of       
breaking colour may be learned1 so we   

may recommend here an attention to the  
works of ,watteau1 for excellence in the
 florid style of painting4  ',to all    
these manners there are some general    
rules1 that never must be neglected4    
,first1 that the same colour which makes
 the largest mass be diffused1 and      
appear to revive in different parts of  
the picture2 for a single colour will   
make a spot or blot4 ,even the dispersed
 flesh-colour1 which the faces and hands
 occasion1 requires a principal mass1   
which is best produced by a naked       
figure4 ,but where the subject will not 
allow of this1 a drapery1 approaching to
 flesh colour1 will answer the purpose2 
as in the ,transfiguration1 where a     
woman is clothed in drapery of this     
colour1 which makes a principal to all  
the heads and hands of the picture4 ,and
 for the sake of harmony1 the colours1  
however distinguished in their light1   
should be nearly of the same simple     
unity in their shadows2 and to give the 
utmost force1 strength1 and solidity to 

the work1 some part of the picture      
should be as light1 and some as dark as 
possible4 ,these two extremes are1 then1
 to be harmonized and reconciled to each
 other4 ,pure black1 in these instances1
 is opposed to the contrary extreme of  
brightness4  ',if to these different    
manners we add one more1 that in which a
 silvery grey1 or pearly tint1 is       
predominant1 ,i believe every kind of   
harmony that can be produced by colours 
will be comprehended4 ,to see this style
 in perfection we must again have       
recourse to the ,dutch school1          
particularly to the works of the younger
 ,vandervelde1 and the younger ,teniers1
 whose pictures are valued by           
connoisseurs in proportion as they      
possess this excellence of a silver     
tint4  ',which of these different styles
 ought to be preferred1 so as to meet   
every man's ideas1 would be difficult to
 determine1 from the predilection which 
every man has to the mode which is      
practised by the school in which he has 

been educated2 but1 if any pre-eminence 
is to be given1 it must be to that      
manner which stands in the highest      
estimation with mankind in general1 and 
that is the ,venetian style1 or rather  
the manner of ,titian1 which simply     
considered as producing an effect of    
colours1 will certainly eclipse1 with   
its splendour1 whatever is brought in   
competition with it4'  ,in landscape    
painting1 the routine of placing one    
colour by the side of another according 
to any known or understood systems1 is  
not so imperative as when applied to    
historical painting1 and where the      
manner and effect of any particular     
school is to be produced4  ,to institute
 a comparison between all who have      
excelled in colouring1 would be useless 
here1 differing so entirely4 ,but of    
,tone3--,the rich1 and the mellow1 and  
the silvery grey1 are cared most for1 as
 regards this expression4 ,it involves  
all colours in its meaning1 as well as  
the depth and power of the light and    

shade1 when divested of colour4 ,it is  
frequently produced after the picture is
 painted1 by glazing or toning over it  
until the required depth and expression 
of colour is obtained1 and mostly adding
 richness1 splendour and variety4 ,in   
water colour it is highly and           
essentially prized4  ,a beautiful       
quality of tone is obtained from drawing
 on grey or coloured paper1 with black1 
white1 and red chalks1 the colour of the
 paper supplying the middle tint1 7which
 should always pervade the largest      
space74 ,it is likewise an admirable    
principle to adopt in water colour1 as  
it qualifies the whole appearance of the
 work1 and the student will proceed with
 greater certainty4  ,of the situations 
in which a colour appears most          
beautiful1 ,leonardo says1 ',black is   
the most so in the shade2 white1 in the 
strongest light2 blue and green in the  
half tint2 yellow and red in the        
principal light2 gold in the reflexes1  
and lake in the half tint3' and 'the    

lighter a colour is in its nature1 the  
more so it will appear when removed to  
some distance2 but with dark colours it 
is quite the reverse4'  ,some colours   
are rather unsociable1 and1 not mixing  
well with others1 are best used by      
themselves1 producing the required tint 
by glazing one over the other4  ,when   
any transparent colour is laid over an  
opaque one1 or another of its own       
quality1 it produces a mixture different
 to either of those that compose it2 as 
lake over blue gives purple2 yellow on  
blue produces green1 and so on4 ,in many
 cases this is a superior method to that
 of mixing them at once to the colour   
desired4  ,white is the receiver of all 
colours2 black of none4  ,any single    
colour appears most beautiful and       
brilliant when near the same colour1 but
 not having so much density in it4      
,observe how colours are blended or     
contrasted in the plumage of birds1 the 
wings of butterflies1 c4  ,the shifting1
 blending1 and comparing a number of    

coloured cards1 has always been found a 
useful and amusing way of instructing   
children in a knowledge of colours4     
,different coloured pieces of glass held
 up against a landscape1 will serve to  
show1 through their medium1 the         
varieties of hot and cold effects4      
,certain colours impart value to others1
 principally by contrast2 thus1 the     
brilliant and rich glow of an autumnal  
evening is rendered most intense when   
the dark brown and neutral masses of    
foliage are brought up against it3 it is
 only to their relative situations that 
they owe their power4  ,that part of a  
white object which is nearest to a dark 
one1 will appear the whitest1 and the   
less so as it is removed from it4 ,the  
same occurs by a dark one4  ,all colours
 will appear most perfect in themselves 
when contrasted with their opposites--a 
green against red2 blue against yellow2 
black against white1 c4  ,where one     
colour terminates on another1 that is   
its contrast1 there will be greater     

strength exhibited at the junction than 
in the middle4  ,great darkness is only 
obtained by the opposition of bright    
light1 and bright light by contrasting  
it with density of shadow4  ,colours    
should recede in proportion to the size 
of objects1 as they retire from the eye4
  ,too frequent a repetition of the same
 colour will produce monotony2 so will  
too much contrast4  ,contrasts in       
colouring must be used with great       
caution1 or the absence of all keeping  
will be the result4 ,at the same time1  
the beauty of a colour is only fully    
developed by being placed by the side of
 its opposite1 or the one from which it 
is farthest removed4  ,if the blacks in 
a picture are kept firm and decided1    
they clear up the general effect1 and   
give lightness and buoyancy to the whole
 work4  ,a colour is often left single1 
and standing by itself1 in some         
principal object2 in which case1 it is  
so contrived1 by its density1 or some   
other quality1 to bring together and    

harmonize all the rest4  ,if colours are
 not placed in harmony with each other1 
they must be in contact with such as    
give them value2 as red against a cold1 
or green against a warm colour4 ,in     
short1 the grand principle1 in all its  
constituent parts1 simply amounts to    
this4  ,the strongest darks1 brought in 
contact with the strongest lights1      
increase their brilliance1 by giving to 
the lights the utmost force and         
clearness they can receive4  ,richness  
of colouring can only be adopted when   
the general tone of the picture is      
sufficiently dark to support it4  ,all  
colours retire in proportion to their   
negative or neutral character2 and as   
they develope themselves1 gradually     
approaching to their brightest point1 so
 they reach the prominent parts of the  
foreground4  ,rich1 warm1 and deep      
shadows1 will support the strongest     
colours2 and if the browns are kept     
cool1 the greys and cold colours retain 
their purity better4 ,the colours that  

unite the hot and cold parts of a       
picture require the nicest judgment3    
thus1 white and black may be brought    
together by grey1 7grey being made of   
white and black72 blue and red1 by the  
interposition of purple1 7purple being  
formed of blue and red47  ,the larger   
the mass employed of neutral and obscure
 colours1 the greater will be the force 
and illumination in the clear ones1     
which1 being in their natures most      
attractive1 should always be employed in
 parts intended to create the greatest  
sensation4     ,,on ,,general ,,nature4 
,,the magic of art does not consist in  
an exact resemblance of an object3--',an
 exact resemblance1' says ,sir ,joshua1 
'may be even disagreeable4 ,the effect  
of figures in wax-work1 for instance1 is
 disgusting to the eye accomplished to  
judge of ,fine ,art1 yet it approaches  
reality4 ,we are pleased1 on the        
contrary1 by seeing ends accomplished by
 seemingly inadequate means2 but to     
express distances on a plain surface1   

softness by hard bodies1 and particular 
colouring by materials which are not    
singly of that colour1 produces that    
magic which is the prize and triumph of 
,art4 ,the power of a few well-chosen   
strokes1 which supersede labour by      
judgment and direction1 produce a       
complete impression of all that the mind
 demands in an object2 we are charmed   
with such an unexpected happiness of    
execution1 and begin to be tired with   
superfluous diligence1 which1 in vain   
solicits an appetite already satiated4' 
,we do not desire those who look on our 
pictures to suppose them real men and   
women1 or that they are real landscapes2
 but to admire the art through the means
 by which it is performed4  ,i have     
always observed the most exact          
imitations of nature to be peculiarly   
within the sphere of the illiterate and 
uninformed2 and the more debased and    
vulgar the mind1 the more will it admire
 such productions4 ,on the other hand1  
,fine ,art has its own peculiar modes of

 imitating ,nature and of deviating from
 it1 for the attainment of its own      
purpose--',nature to advantage dressed3'
 the great end of ,art is to make an    
impression on the imagination and the   
feelings4 ,the imitation of nature      
frequently does this2 sometimes it      
fails1 and sometimes else succeeds4 ',i 
think1 therefore1' says ,sir ,joshua1   
'the true test of all ,art is not solely
 whether the production is a true copy  
of ,nature1 but whether it answers the  
end of ,art1 which is to produce a      
pleasing effect upon the mind4'  ,of the
 contracted ideas of high-finishers1 ,i 
think excessive labour is excessive     
weakness1 and vigour can never come from
 such a source3 making every brick of a 
house appear1 has nothing to do with the
 harmony of the architecture2 nothing is
 so monotonous as these detail and 'bit 
painters2' their works1 taken           
collectively1 are universally effectless
 and good for nothing2 it is1 at best1  
overwrought ingenuity--not ,art4 ,the   

combinations must be generalized2 some  
object in the foreground may partake of 
this quality of finish1 but if other    
parts of the composition be not         
proportionably slighted1 there will be a
 want of general harmony4 ,no separate  
part should possess any preponderance   
sufficient to absorb the interest of the
 rest4 ,an analogous combination will   
alone invest the whole with the charm it
 conveys collectively1 and infinite     
labour is saved4 ,the high excellencies 
of painting belong invariably to        
harmonious combinations4  ,we frequently
 observe in the best works1 the great   
effect produced by slightness1 which1 by
 a sort of magic1 at a distance1 assumes
 complete forms3 this is scarcely ever  
the effect of chance or accident1       
however it may be made to appear so1 but
 the result of deep and matured study1  
and a steady attention to the general   
effect1 produced1 perhaps1 by a few     
happy scratches1 and is 'more laborious 
to the mind than the highest finishing  

would be1' accomplishing the purpose    
intended by a seemingly intuitive       
perception of what was required1 and    
communicating a lively and vigorous     
impression to the minds of others by the
 energies of their own4 ,extreme labour 
seldom fails to produce heaviness1 while
 that fascinating lightness of effect is
 universally occasioned by the absence  
of it4 ,the slightest and most          
undetermined manner of treatment often  
succeeds in producing the best general  
effect1 which effect is as often wholly 
defeated in the attempt at finishing and
 blending the colours and details4 ,some
 morsel or other is beautifully         
preserved1 but the whole is lost4  ,the 
general effect of the stars is all      
order--all repose2 but the means by     
which this effect is produced is nowhere
 to be traced6  ',the highest style has 
the least common nature in it3' ',good  
sense is not always common sense4'  ',we
 may depart from ,nature for a greater  
advantage4 ,nature is frequently narrow 

and confined in her principles1 and must
 as frequently be departed from4        
,pictures should be painted to give     
pleasure1 and every object which stands 
in the way of that pleasure must be     
removed6'  ,rubens thought the eye      
should be satisfied above all other     
considerations2 he1 therefore1 painted  
his reflects stronger than ,nature would
 warrant2 thereby producing harmony from
 contrast and variety4  ,reynolds1      
speaking of ,claude ,lorraine1 says1    
',claude ,lorraine was convinced that   
taking nature as he found it seldom     
produced beauty3 his pictures are a     
composition of the various draughts     
which he had previously made from       
various beautiful scenes and prospects4'
  ,the harmony proceeding from contrast 
and variety of colour is more           
conspicuous in the landscapes of        
,rubens1 and the gorgeous colouring of  
the landscapes of ,titian1 than in      
,claude--'departing from ,nature for a  
greater advantage6' ,as in the          

moonlights of ,vanderneer1 the pictures 
of ,cuyp and ,both1 and our own glorious
 ,wilson1 ,gainsborough1 c4 ,in choosing
 from among these great manners1 we must
 lean on the observation of ,reynolds1  
when he says1 ',an artist is obliged for
 ever to hold the balance in his hand1  
by which he must decide the value of    
different qualities2 that when some     
fault must be committed1 he may choose  
the least4'  ,there is1 beyond all      
doubt1 a grandeur in general ideas1 that
 the narrow conceptions of individual   
nature can never attain to4  ,any       
subject1 however mean or degraded in    
itself1 but painted on a great          
principle1 will acquire splendour and   
dignity from association4  ',look at    
,nature6 ,nature is the true school of  
,art6' is the universal cry of the      
vulgar and uneducated4 ,but before their
 perception is capable of even seeing   
,nature1 as it is spread out before     
them1 they will have much to acquire of 
,art3 for although ,nature is before    

their eyes1 to them it is a closed book6
 ,this is no new position1 for1 says    
,sir ,joshua1 ',if our judgment is to be
 directed by narrow1 vulgar1 untaught1  
or rather ill-taught reason1 we must    
prefer a portrait by ,denner1 or any    
other high finisher1 to those of ,titian
 or ,vandyck2 and a landscape by        
,vanderheyden to those of ,titian or    
,rubens2 for they are certainly more    
exact representations of ,nature4 ,if we
 suppose a view of nature represented   
with all the truth of the camera        
obscura1 and the same scene represented 
by a great artist1 how little and mean  
will the one appear in comparison of the
 other1 when no superiority is supposed 
from the choice of the subject4'  ,and  
again1--',amongst the painters1 and     
writers on painting1 there is one maxim 
universally admitted and continually    
inculcated4 ,imitate ,nature is the     
invariable rule2 but ,i know none who   
have explained in what manner this rule 
is to be understood3 the consequence of 

which is1 that every one takes it in the
 most obvious sense1 that objects are   
represented naturally when they have    
such relief that they seem real4 ,it may
 appear strange perhaps to hear this    
rule disputed2 but it must be considered
 that1 if the excellence of a painter   
consisted only in this kind of          
imitation1 painting must lose its rank1 
and be no longer considered as a liberal
 art1 and sister to poetry--this        
imitation being merely mechanical1 in   
which the slowest intellect is always   
sure to succeed best6 for the painter of
 genius cannot stoop to drudgery1 in    
which the understanding has no          
part2--and what pretence has the art to 
claim kindred with poetry1 but its      
powers over the imagination8 ,to this   
power the painter of genius directs his 
aim2 in this sense he studies ,nature1  
and often arrives at the end1 even by   
being unnatural1 in the confined sense  
of the word4 ,the grand style of        
painting requires this minute attention 

to be carefully avoided1 and must be    
kept as separate from it as the style of
 poetry from that of history4 ,poetical 
ornaments destroy that air of truth and 
plainness which ought to characterize   
history2 but the very being of poetry   
consists in departing from this plain   
narration1 and adopting every ornament  
that will warm the imagination4  ',the  
,italian attends only to the            
invariable--the great and general ideas 
which are fixed and inherent in         
universal ,nature2 the ,dutch1 on the   
contrary1 to literal truth1 and a minute
 exactness in the detail1 as ,i may say1
 of ,nature modified by accident4 ,the  
attention to these petty peculiarities  
is the very cause of this naturalness1  
so much admired in the ,dutch pictures1 
which1 if we suppose to be a beauty1 is 
certainly of a lower order1 that ought  
to give place to a beauty of a superior 
kind1 since one cannot be obtained but  
by departing from the other4'  ,with the
 most practised hands1 in painting from 

,nature on the spot1 the hue and        
character of the artist will frequently 
pervade all his efforts to paint nothing
 but what he sees spread out before him2
 and his system1 prevailing even to this
 extent1 has this advantage1 that       
accustomed as he is to consider ,nature 
generally1 his performance may resemble 
,nature more at another time than that  
one he painted it at6 as ,nature seldom 
looks the same two hours together4  ,the
 simple music of a bird may as well be  
compared to the most refined            
compositions of the ,italian school1    
that requires the most industrious      
efforts to reach3 both originate in     
,nature1 but the latter is ',nature to  
advantage dressed4'  ,nature1 the best  
source we can go to for instruction1 is 
'always at hand6'--'but ,nature herself 
is not to be too closely copied4 ,there 
are excellencies in the art of painting 
beyond what is commonly called the      
imitation of ,nature4 ,a mere copyer of 
,nature can never produce any thing     

great2 for the works of ,nature are full
 of disproportion4' ,it is the beau     
ideal of the mind alone that reaches    
this great end4 ,it is comparing our    
observations on ,nature1 that enables us
 to acquire this ideal perfection4 ,it  
is to skill in selection1 and the       
separating her beauties from her        
defects1 that qualifies us to reach this
 grand acquisition1 which cannot be     
reduced to practical principles2 but1 by
 being enabled to discover those        
defects1 we learn the art of supplying  
her wants4 ',correcting ,nature by      
herself--her imperfect state by her more
 perfect1'--'and ,nature denies her     
instructions to none who desire to      
become her pupils4'  ,young people1 and 
even men and women1 who make            
respectable1 and often very excellent   
copies from the works of others1        
frequently show me their 'sketches from 
,nature2'--,oh1 if ,nature could see    
them--for1 to say they are in general   
perfectly frightful1 is to use the      

gentlest expression4 ,i invariably      
trace1 in these productions1 their      
individuality is the cause of their     
unsuccess2 and the incapacity to even   
see ,nature generally1 which must be    
necessary before they can paint her so4 
,thus to abstract as it were her        
beauties1 and to form one general idea  
of them1 in that abstract1 is to enlarge
 the sphere of our understandings1 and  
invest our works with that intellectual 
grandeur which alone lifts them above   
the efforts of common minds1 by the     
nobleness of conception1 and a higher   
degree of excellence3 while the student 
may be assured that his reputation will 
become permanent and universal1 from    
this system of contemplating ,nature in 
the abstract1 and ennoble all he        
undertakes4 ,his picture will have a    
mental effect over all that is          
mechanical4  ,dr4 ,johnson has most ably
 explained the hypothesis1 so much urged
 by his friend1 of the necessity of     
generalizing our ideas of ,nature1 when 

he says1 ',it is not to examine the     
individual1 but the species2 to remark  
general properties and large            
appearances3 he does not number the     
streaks of the tulip1 nor describe the  
different shades of the forest2 he is to
 exhibit in his portraits of nature such
 permanent and striking features1 as    
recall the original to every mind2 and  
must neglect the minuter                
discriminations1 which are alike obvious
 to vigilance and carelessness4'  ,the  
idleness of laborious finish1 opposed to
 the overwhelming majesty of breadth1   
cannot be better explained4     ,,on    
,,rules4   ,,rules are not principles3  
,polite learning is only a more specious
 ignorance3 it may do something to make 
a connoisseur1 but will never make a    
practical painter2 while a little       
knowledge of principles will go farther 
to make a connoisseur6  ,a foreign      
philosopher says1 ',a thinking man is a 
depraved animal4' ,both rules and       
principles are the healthy results of   

thought1 notwithstanding4--,condensation
 and simplification--shorter methods1   
and conclusive deductions1 are among the
 results obtained from them4  ',there   
are rules for the conduct of the artist1
 which are fixed and invariable4 ,the   
arts would lie open for ever to caprice 
and casualty1 if those who are to judge 
of their excellencies had no settled    
principles by which they are to regulate
 their decisions1 and their merits or   
defects were to be determined by        
unguided fancy2' which1 in the end1     
would deprive art of its existence4     
,reynolds says1 ',whatever is done well 
is done by some certain rule1 otherwise 
it could not be repeated4'  ,rules1     
pursued beyond their intention1 become  
the fetters of the mind3 among          
architects for instance--whose very     
profession should be a matter of light  
and shade--,i have never known1 nor     
heard of one in my life1 who ever       
obtained even the veriest mediocrity in 
painting1 however otherwise talented4   

,this can only be attributable to their 
adherence to the rigidity of their rules
 in their details1 beyond their general 
intention4  ,much should oftentimes be  
conceded to the suggestions of strong   
inclination in an ingenious and         
intelligent mind1 whose impulses are    
irresistible1 and which any peculiar    
method would only clog and fetter1 by   
thwarting its particular turn--which1   
after all succeeds best its own way2 and
 arrives at the same end by its own     
impulses4 ,rules apply more properly to 
such as are not invested with these     
powers3 or1 with the same incentives1   
have not the strength4     ,,on         
,,copying4   ,a ,,system of copying1 or 
rather borrowing from the works of      
others1 some point1 'from which the     
imagination may rise and take flight1'  
is a manner commonly pursued by our best
 painters4 ,this method is that of      
really making it our own1 by judicious  
efforts1 without the risk of the        
imputation of plagiarism1 which ,i shall

 endeavour to make appear4  ,by the     
contemplation of what is good in others1
 'a sense of the higher excellencies of 
art will by degrees dawn on the         
imagination2 at every review that sense 
will become more and more assured1 and  
the artist will then find no difficulty 
in fixing in his own mind the principles
 by which the impression is produced2   
which he will feel and practice1 though 
they are perhaps too delicate and       
refined to be conveyed to the mind by   
any other means4'  ,sir ,joshua1        
speaking of the great examples of ,art1 
says1 ',these are the materials on which
 ,genius is to work1 and without which  
the strongest intellect may be          
fruitlessly or deviously employed4 ,by  
studying these authentic models1 that   
idea of excellence which is the result  
of the accumulated experience of past   
ages1 may be at once acquired2 and the  
tardy and obstructed progress of our    
predecessors may teach us a shorter and 
easier way4 ,the student perceives at   

one glance the principles which many    
artists have spent their whole lives in 
ascertaining2 and1 satisfied with their 
effect1 is spared the painful           
investigation by which they came to be  
known and fixed4'  ,the greatest        
painters are continually making such    
memoranda as may be called copying1     
either from the works of antiquity1 or  
those of their cotemporaries4           
,beginning with nothing1 we must borrow 
until we can pay the debt4  ',the       
sagacious imitator does not content     
himself with merely remarking what      
distinguishes the different manner or   
genius of each master2 he enters into   
the contrivance in the composition1 how 
the masses of lights are disposed1 the  
means by which the effect is produced1  
how artfully some parts are lost in the 
ground1 others boldly relieved1 and how 
all these are mutually altered and      
interchanged1 according to the reason   
and scheme of the work4 ,he admires not 
the harmony of colouring alone1 but     

examines by what artifice one colour is 
a foil to its neighbour2 he looks close 
into the tints1 examines of what colours
 they are composed1 till he has formed  
clear and distinct ideas1 and has learnt
 to see in what harmony and good        
colouring consists4 ,what is learned in 
this manner from the works of others    
becomes really our own1 sinks deep1 and 
is never forgotten4  ',if the excellence
 of a picture consists in its general   
effect1 it would be proper to make      
slight sketches of the machinery and    
general management of the work4 ,those  
sketches should be kept always by you   
for the regulation of your style4       
,instead of copying the touches of those
 great masters1 copy only their         
conceptions4 ,instead of treading in    
their footsteps1 endeavour only to keep 
the same road4 ,labour to invent on     
their general principles and way of     
thinking4 ,possess yourself with their  
spirit3 and work yourself into a belief 
that your picture is to be seen and     

criticised by them1 when completed4     
,even an attempt of this kind will rouse
 your powers4' ,again--',but as mere    
enthusiasm will carry you but a little  
way1 what ,i propose is1 that you should
 enter into a kind of competition1 by   
painting a similar subject1 and making a
 companion to any picture that you      
consider as a model2 place them together
 and compare them carefully1 and you    
will detect the deficiencies in your own
 more sensibly than by any other means  
of instruction4 ,the true principles of 
painting will mingle with your thoughts1
 which will be certain and definitive1  
and sink deep into the mind4 ,this      
method of comparing your own efforts    
with those of some great master1 is     
indeed a severe and mortifying task2 to 
go voluntarily to a tribunal where he   
knows his vanity must be humbled1 and   
all self-approbation must vanish1       
requires not only great resolution1 but 
great humility6 but it is attended with 
this alleviating circumstance1 which    

abundantly compensates for the          
mortification of present disappointment1
 every discovery he makes1 every        
acquisition to knowledge he attains1    
seems to proceed from his own sagacity1 
and thus he acquires confidence in      
himself1 sufficient to keep up the      
resolution of perseverance4 ,and we     
prefer those instructions which we have 
given to ourselves1 from our affection  
to the instructor4'  ,the perception of 
errors shortens the road to truth4      
',cease to follow any master when he    
ceases to excel4' ,avoid that narrowness
 and poverty of conception which attends
 a bigoted admiration of a single       
master6 ,we will suppose 'those         
perfections which lie scattered among   
various masters1 are now united in one  
general idea1 which is henceforth to    
regulate his taste and enlarge his      
imagination1 extending his capacity to  
more general instructions1 he must now  
consider the art itself as his master4  
,at all times1 and in all places1 he    

should be employed in laying up         
materials for the exercise of his art1  
to be combined and varied as occasion   
may require2 seeking only to know and   
combine excellence1 wherever it is to be
 found1 into one idea of perfection2 and
 employing the most subtle disquisition 
to discriminate perfections that are    
incompatible with each other4 ,the      
habitual dignity which long converse    
with the greatest minds has imparted to 
him1 will display itself in all his     
attempts1 and he will stand among his   
instructors1 not as an imitator1 but a  
rival4 ,the more extensive your         
acquaintance is with the works of those 
who have excelled1 the more extensive   
will be your powers of invention2 and1  
what will appear still more like a      
paradox1 the more original will be your 
conceptions4'  ,again3--',by the        
devotion with which many study a        
particular master1 they acquire a habit 
of thinking the same way2 therefore1 let
 his faults always be your best         

instructors4'  ,the firm1 correct and   
determined pencil of many of the ,dutch 
masters1 cannot be too strongly         
recommended for imitation4 ,i speak of  
the mechanism of painting3 the          
expression1 force and energy they gave  
to their works1 from the decision of    
touch and handling1 which enabled them  
to give that look of nature and         
freshness of reality to their studies1  
that forms so great an excellence in    
their performances4 ,the study of       
,ostade1 ,teniers1 and many others of   
that school1 cannot fail to enrich our  
own works with variety of invention1 and
 'those who have not looked out for     
themselves in this manner from time to  
time1 have not only ceased to advance   
and improve1 but have invariably gone   
backward1 from being left without       
resources2' and having gathered nothing1
 have nothing to work upon--from an     
inability to infuse into their own works
 what they have neglected to learn from 
the contemplation of the works of       

others4 ,it places you under the        
guidance of your own judgment and       
discretion by comparison with the best  
efforts of others2 it enables you 'to   
criticise1 compare1 and rank their works
 in your own estimation1 as they        
approach to1 or recede from1 the        
standard of perfection which you have   
formed in your own mind--but which those
 masters themselves have taught you to  
make1 and which you will cease to make  
with correctness when you cease to study
 them4 ,it is their excellencies which  
have taught you their defects1 and you  
will1 henceforth1 be your own teacher4' 
,be cautious against the 'imaginary     
powers of native genius1 and sufficiency
 in yourself1 which seldom fails to     
produce either a vain confidence or a   
sluggish despair1 both equally fatal to 
all proficiency4  ',study1 therefore1   
the great masters for ever3 study nature
 attentively1 but always with those     
masters in your company2 consider them  
as models which you are to imitate1 and1

 at the same time1 as rivals with whom  
you are to contend2' and you will       
insensibly come to feel and reason like 
them1 and find taste imperceptibly      
formed in your own mind4  ,by the       
industry of the hand you will acquire   
good manner1 but it is to the industry  
of the mind you will be indebted for any
 solid reputation4  ',he who does not   
know others1 knows himself very         
imperfectly4'  ,wrongly directed        
industry is a dangerous delusion4 ,too  
much copying will1 on the other hand1   
greatly tend to impair our mental       
exertions1 render them servile and      
mechanical1 and confine1 at the most1   
our aspirings to a very limited sphere1 
while it is utterly at variance in      
establishing any claim of our own to    
originality or distinction4 ,studying   
the genius of a fine work of art1 its   
general forms1 its combinations1 its    
chiaroscuro1 its colour and effect2 and 
with all these on our minds1 going home 
and making a companion to it1 is a noble

 and lofty aim1 frequently attended with
 entire success4 ,this excellent        
practice1 diligently persevered in1 at  
length brings our sympathies into a     
corresponding train of ideas with those 
we would emulate2 and if we cannot reach
 them in their various excellencies1 so 
we succeed in lighting our torch at     
those glorious beams of old1 our        
advances are at least entitled to that  
respect they universally meet with4 ,an 
abject imitation is of all things that  
,i should avoid4 ,but that reading of1  
and conversing with a picture1 that     
almost places us under a delusion1      
during the time we are under its        
influence2 that associating our feelings
 and ideas--that blending of our        
aspirations with the master mind that   
thought and wrought so well1 is the     
surest hemisphere in which we can hope  
to think and paint like them4 ,the      
student's perceptions become annealed by
 the influence of the charm that invests
 him3 he aspires to a higher latitude of

 excellence3 he beholds before him the  
ripest fruit on the topmost palm1 and he
 knows the principles and the laws by   
which he can reach it1 and does reach   
it1 by the agency of1 and the gradual   
developement of the simple rules he     
commenced with4  ,it often happens1 and 
it is my opinion1 that a careless       
scribbler1 who dashes at everything1    
stands quite as good a chance of        
becoming original1 as the most careful  
copyist ever will2 after the very first 
attempts1 too much precision stands     
sadly in the way of boldness1 freedom   
and dexterity4 ,after being enabled to  
draw with some degree of accuracy1      
mannerism will invariably be the result 
of the extreme care so universally      
recommended by most writers on the      
subject2 and hence that excess of it we 
daily observe2 for it requires but a    
very common-place observer1 on entering 
an exhibition1 to point to a picture and
 name the painter at the same moment3   
presuming he had ever seen a work by the

 same artist before4  ,reynolds says of 
copying1 ',i consider general copying as
 a delusive kind of industry2 the       
student falls into the dangerous habit  
of imitating1 without selecting1 and of 
labouring without any determinate       
object2 as it requires no effort of the 
mind1 he sleeps over his work1 and those
 powers of invention and composition    
which ought particularly to be called   
out1 and put in action1 lie torpid and  
lose their energy for want of exercise4 
,how incapable those are of producing   
anything of their own who have spent    
much of their time in making finished   
copies1 is well known to all who are    
conversant with our art4'     ,,on ,,the
 ,,light ,,and ,,shade ,,of ,,colour3   
,,and ,,reflexes4   ,,colour is called  
in aid of ,light and ,shade1 to dress   
and ornament it2 but not to distort and 
disfigure it4  ,extending either the    
light or shadow by means of colour1 is  
perhaps one of the best ways of         
combining both4  ,breadth of light and  

shade may involve many colours in its   
arrangement1 so they are divided into   
imposing masses2 variety of colour is   
often necessary to explain the          
localities of a work2 and1 that they may
 not appear confused1 light colours     
should be sociable with light colours2  
and dark ones with others of equal      
density3 their repetitions invading each
 other throughout the chain4  ,great    
intimacy of union1 in the colour of the 
lights1 will likewise produce breadth2  
so as to make a large and connected mass
 appear1 at a little distance1 as one   
graduated light4  ,colours may stand    
either for colours or shadows2 so that  
they be of sufficient density1 and      
sufficiently opposed to light ones4     
,but1 if you do not depend on the colour
 of the picture for effect of light and 
shade1 much less intensity of colours   
will be sufficient4  ,the strongest     
colours are sometimes most successfully 
employed in uniting the light with the  
shade4  ,in the conduct of light1 ,i    

conceive the objects which receive its  
influence1 should1 of all things1 as    
much as possible1 partake of the colour 
of that light1 as seeming more like an  
extension of it1 and looking more       
natural3--thus1 in a church1 all the    
parts receiving the light from a painted
 glass window1 would partake of its     
varieties of colour4 ,the rising and    
setting of the sun turns all to gold1 by
 the same alchymy1 while it acts as an  
uniting link in carrying the colour     
through the picture3 these1 in their    
turn1 throw their radiating reflects in 
a thousand other directions1 keeping up 
and sustaining the communicative        
principle of the whole--imparted by the 
primitive cause and its agency4  ,the   
colouring of a picture should always be 
in harmony with its light and shade4    
,the lights will require to be          
overcharged with colour1 if the shadows 
are too heavy and loaded2 on their      
transparency depends the beauty of both4
  ,the shadows must be darker than the  

shadowed sides of the objects which     
project them2 for the reason explained  
in the article on ,light and ,shade4    
,the masses of light should be of warm  
colours1 yellow or red1 supported by    
blue or grey in the shadows2 a very     
small proportion of which will generally
 be found sufficient4  ,the real colour 
of an object is only seen in the light4 
,all shadows should partake1 more or    
less1 of the colour of the light4 ,that 
shadow will appear the darkest that is  
surrounded by the brightest light4  ,the
 nearer a colour is to the eye1 the     
purer it will appear2 arraying itself as
 it retires1 with the colour of the air 
interposed between it2 consequently1 the
 purest colours should only occur in    
foregrounds1--where the shadows1 for the
 same reason1 would likewise be darkest4
  ,the colour of a light will be stopped
 at the part where any reflex reaches   
it4 ,we see mountains covered with snow1
 at sunset1 from the effulgence of its  
rays1 make the horizon appear all on    

fire4  ,distant mountains appear more   
deeply blue1 according to the extent of 
the azure of the air interposed between 
them and the eye4 ,all masses in the    
distance partake1 more or less1 of this 
quality4  ',the vapours mixing with the 
air1 in the lower region near the earth1
 render it thick1 and apt to reflect the
 sun's rays on all sides1 while the air 
above remains dark2 and because light   
7white7 and darkness 7black7 mixed      
together1 compose the azure that becomes
 the colour of the sky--which is lighter
 or darker1 in proportion as the air is 
more or less mixed with damp vapours4'  
,shadows produced by the redness of the 
setting sun1 will be blue2 from the     
reflexes of that part of the air not    
illumined by its rays4  ,if the sun is  
overcast1 the lights will be general2 so
 will the shadows4 ,if the sunbeams     
burst out1 and strike the objects in a  
landscape1 the shadows will then be dark
 in proportion to the lights4 ,the      
brilliant edges of the clouds all assist

 the general illumination2 and all      
objects in the light1 will participate  
of their colour from reflexion4 ,on the 
contrary1 those parts not included in   
the range of rays1 remain the colour of 
the air4  ,the air partakes less of the 
azure of the sky as it approaches the   
horizon1 being more remote from the sun 
than that part of it above our heads1   
which receives a larger portion of its  
rays4 ,the horizon will be light1 while1
 in ascending to the meridian1 it       
becomes1 from this cause1 deeper and    
bluer4 ,so the nature of all colours    
diminish in proportion as density of air
 is interposed between them and the eye4
  ,reflected colours1 thrown from1 and  
upon1 equal angles1 will be the         
strongest3 the most distinct1 being     
produced by the shortest ray4  ,no      
reflected colour will have the          
brilliance of a direct one4 ,for1 if a  
reflected light from a blue object be   
thrown on a yellow one1 the result would
 be green3--green being composed of blue

 and yellow4 ,this circumstance refers  
to most mixtures4  ,it only happens to  
those colours which are on a level with 
the eye1 that their gradation is in     
proportion to their distance4 ,as to    
those of elevation1 they are influenced 
by the quality of the air they are seen 
through4  ,colours1 whose nearest       
approach is to black1 as they retire    
into distance1 partake most of the azure
 of the air3--and those colours most    
dissimilar to black1 preserve their     
proper colour as they recede4 ,the      
golden lights on distant mountains or   
fields will best explain this4 ',the    
green1 therefore1 of the fields will    
change sooner into blue1 than yellow or 
white1 which will preserve their natural
 colour at a greater distance than that1
 or even red4'  ',it may happen that a  
colour does not alter1 though placed at 
different distances1 when the thickness 
of the air and the distance are in the  
same inverse proportion4'  ,masses of   
shadow carry the strongest part of their

 colour to the greatest distance2 as    
when trees appear thick together1       
accumulating the shadow on each other1  
they become darker by multiplying those 
shadows4  ',the darker a mountain is in 
itself1' says ,leonardo1 'the bluer it  
will appear at a great distance4 ,the   
highest part will be the darkest1 being 
more woody2 because woods cover a great 
many shrubs and other plants1 which     
never receive the light4 ,near the tops 
of those mountains1 where the air is    
thinner and purer1 the darkness of the  
woods will make it appear of a deeper   
azure than at the bottom1 where the air 
is thicker4'  ',in general1 all objects 
that are darker or lighter than the air 
are discoloured by distance1 which      
changes their quality1 so that the      
lighter appears darker1 and the darker  
lighter4'  ,colours are more or less    
entirely lost at a great distance from  
the eye1 according to the purity or     
density of the air through which they   
are revealed1 or as they are more or    

less elevated from the earth1 merging as
 they retire into a general grey1       
occasioned by the quantity of the       
intervening air4 ,in countries where the
 air is thin1 colours are discernible at
 great distances1 but still tinged with 
the colour of that air4  ,the darkest   
colours1 in distance1 will be most of   
all impregnated with the colour of the  
air4 ,so will the strongest real or     
accidental shadows4  ,colours and       
outline are best defined on objects     
placed out of the strong light of the   
sun1 and its reflexes4 ,in sunshine1    
both are operated on by refraction1     
which occasions that chaotic            
indistinctness so painful for the eye to
 dwell on long together4  ,every body1  
on which light falls1 reflects a part of
 it back again4 ,any thing red1 held    
before a looking-glass1 gives back a    
portion of its own colour with great    
vividness2 as a glass would throw the   
sun's ray on a wall4  ,the real colour  
of polished surfaces are lost in the    

colour of the light that falls on them4 
,this likewise applies to all metals4   
,all smooth or shining surfaces repel   
the light they receive1 throwing their  
reflexes on any thing opposed to them4  
,polished surfaces1 as in plate or      
armour1 do not show their real colours4 
,the reflected colours of the sun or air
 that shines on them confuse their own4 
,rough surfaces1 on the contrary1 retain
 their natural colours most4  ,suppose  
the sun to equally illumine two sides of
 a street1 as it passes its centre1 and 
on one side is a red house1 and opposite
 to it a white one1 the white one would 
be impinged with the reflection from the
 action of the light on the red one3    
thus1 all proximity of colours affect   
each other1 in the light1 in the manner 
of reflexes1 declining as they recede4  
,the reflected lights in folds of silk  
draperies illustrate this phenomenon    
best4  ,compare the shadows thrown on   
different colours with each other1 by   
placing a number of coloured materials  

in a dark place1 the colours of shadows 
being regulated by the objects giving   
and receiving them4  ,examine well the  
colours in the shadows of flowers2 they 
present the most excellent combinations4
  ,all colours1 as at night1 may be lost
 in that of the general shadow1         
presuming it dark enough to destroy all 
reflexes4  ,colours reflected on by     
their opposites will become neutralized2
 as green against red1 purple against   
yellow1 c4  ,the shadows on all objects 
partake of the colour of the light1 or  
are qualified by other lights throwing  
their reflects into them4  ,the         
lightness or darkness of shadows are    
entirely regulated by the colour of the 
objects on which they fall4  ,an object 
painted in a light colour will be more  
or less light1 according to the strength
 of its shadow1 from the consequences   
attending opposition4  ,so a light      
figure1 laid upon a light background1   
but differing in colour--as a warm      
object on a grey sky--assists1 in the   

greatest degree1 the preservation of the
 breadth4 ,opposition of colour is1     
perhaps1 of most use under these        
circumstances4  ,colours on the figures 
or parts brought into notice by         
opposition may be sometimes applied with
 sufficient depth and intensity as to   
advantageously take the place of shadows
 or darks4  ,light and shade may be     
produced by the influence of colours    
alone1 judiciously applied2 the reds and
 yellows supporting the lights1 while   
the blues1 greys1 and cold colours form 
the retiring portions1 or such as would 
otherwise be in shadow4  ,suppose a     
picture1 composed of one part shade and 
the other light--the light being warm1  
and the shadow composed of cold         
colours--a red or warm-coloured figure  
laid against the shadowed side1 and a   
blue one brought out from the light1    
would1 in addition to possessing the    
greatest force of colour1 have a        
spirited and imposing effect4 ,but the  
contrary treatment would possess the    

greatest breadth and repose2--a dark    
figure laid on the mass of shadow 7a    
point of which1 being darker than the   
rest1 would gather it together71 and a  
light one on the light1 having a point  
still higher in colour than the ground4 
,rich1 deep1 and warm shadows are       
required to support strong coloured     
lights4 ,so1 strong colours are equally 
useful in focussing the shadows1 or in  
giving them variety4  ,that beautiful   
diffusion of riel and fluctuating pearly
 reflections1 that play equally over the
 surfaces of the strongest colours1     
shadows1 and lights1 in the tenderest   
hues and forms1 and with which all      
nature appears invested1 should engage  
our deepest attention and enquiry1 as   
their properties so softly blend and    
break down the harshness and influence  
of positive colour1 and the asperity of 
opposing tints1 by tempering them with  
their airy and luminous sweetness4  ,if 
the general harmony or hue of a picture 
is warm1 the deepest shadows should be  

warm also2 while the strongest colour1  
being brought into the middle space1    
will serve to connect both the light and
 the shadow4 ,indian red1 in most       
instances1 should be the mixing medium1 
using cold colours sparingly1 and only  
where they are wanted as a foil2 as the 
greens of trees are set off from the    
rich brown shadows1 producing a splendid
 effect1 and bringing the hot and cold  
colours into harmony4  ,colours1 forming
 the middle tint and shadows1 should    
always be warm2 though the light may be 
cold1 the effect will be beautiful4     
,warm shadows will support the strongest
 colours4  ,i generally observe that    
,titian1 ,rubens1 and the best          
colourists1 use their reds in the       
shadows1 at once to support and give    
them brilliance2--for when it happens   
that the shadows of a picture are wholly
 made up of warm colours1 the effect is 
sure to be splendid1 though the lights  
are cold2--considering red1 perhaps1 too
 strong a colour to interfere with the  

light1 at the risk of destroying its    
breadth4 ,their manner was often that of
 deepening the colour as it lost or     
absorbed itself in the background4      
,every object receiving the light of the
 sun1 receives likewise the general     
light1 producing two shadows1 the       
darkest one being occasioned by the sun4
  ,when the horizon is tinged with red  
by the rays of the setting sun1 the     
distant shadows1 being blue or azure1   
mingling with the red1 produces purple4 
,the air between the earth and the sun1 
when it rises or sets1 invests all      
objects with a degree of obscurity1     
which is whiter on the earth than       
towards the zenith4  ,when the vapours  
descend to the earth at sunset1 all     
objects that the sun's rays do not reach
 become confused and dark2 but those    
that are tinged with its light will     
appear of the colour of that light1 and 
distinctly marked in their outlines1    
though surrounded by obscurity4  ,the   
magnificence of the setting sun1 gilding

 with its rays the slopes of mountains  
and tops of forests1 towns1 villages1   
and waters1 while all below is lost in  
deep brown1 grey1 and purple masses1 has
 ever been a favourite subject with     
painters of all schools4  ,the inferior 
or lower parts of all objects1 when the 
air is thickest on the earth1 will      
appear farther from the eye than the    
tops4  ,in looking down from an eminence
 on a street or town when the air is    
thick1 the tops of the buildings will be
 darker1 more distinct and articulate   
than the objects placed at the bottom1  
which1 being filled with air1 the tops  
come off it 7as a ground7 with more     
decision4  ,when the sun is veiled by   
clouds1 in a landscape1 the trees       
receiving a general light1 the darkest  
parts will be the lowest4  ,although the
 trees and fields may be of the same    
colour1 the trees will always seem      
darker than the fields1 from their      
quantity of shadow1 notwithstanding     
every blade of grass has its shadow4    

,the tops of all mountains will be more 
clearly defined than their bases1       
becoming more and more so as they rise  
into the thinner and purer regions of   
the air2 and1 as they still rise to     
their highest summits1 the more they    
develope their form and colours4  ,all  
buildings will appear darker at the top 
than the bottom1 from the lower parts   
being surrounded with thicker air of a  
lighter colour4  ,buildings1 or other   
objects1 seen through a fog1 only       
develope those sides which are reflected
 on by the sun2 the other parts remain  
the colour of the fog4 ,beautiful       
combinations of silvery grey and golden 
reflections1 on foliage1 windows1 boats1
 water1 c4 may be made under these      
circumstances4 ,as the outline becomes  
confused or lost1 so the objects seen   
through it acquire magnitude4 ,the fog  
and the object being both near the eye1 
its density will occasion the object to 
appear at a great distance4  ,objects of
 all sorts1 seen through rain1 have an  

indistinct and undetermined outline1    
sometimes becoming greatly confused4    
,if the observer is placed between the  
sun and a cloud of dust or smoke1 they  
will appear dark4 ,if they are seen     
between the sun and the eye1 they will  
be light and transparent4 ,this equally 
applies to the effects produced by fog4 
,some artists represent water very dark 
or very light4 ,it can neither be darker
 nor lighter than the surrounding       
objects which occasion its shadows4  ,if
 water is muddy or thick1 the shadows of
 a bridge or boat would be projected on 
it1 as it would be on the ground4 ,but  
if1 on the contrary1 the water is clear 
and transparent1 all reflections are    
formed in it1 as they would be in a     
looking-glass1 and no lateral shadows   
occur4  ,how much bluer the sea appears 
from on board ship than it does from the
 shore2 because1 at sea1 the blue of the
 waves is reflected on the eye4  ,all   
objects in the distance1 which are near 
a river or water1 will appear less      

distinct than those that are remote from
 it4  ,all distances should have their  
outlines confused and unfinished1 while 
foreground objects should be bold and   
determined4  ,objects appear most remote
 that are divested of their outline1 as 
in ,turner's pictures--giving the idea  
of space and largeness4  ,of the beauty 
of reflexes1 ,da ,vinci says3 ',if you  
mean the proximity of one colour should 
give beauty to another that terminates  
near it1 observe the rays of the sun in 
the composition of the rainbow1 the     
colours of which are generated by the   
falling rain1 when each drop in its     
descent takes every colour of the bow4' 
,displaying the various colours that    
compose either the light or the shade1  
or lights and darks1 that are to stand  
as such1 into large and subtly          
interwoven portions1--the blending and  
the opposition of hot and cold colours1 
and of light with dark1 together with   
strict attention to their strength and  
relations 7for the most discordant and  

opposite properties will produce        
harmony1 under certain circumstances and
 arrangement71 so that the masses of    
light and shade1 and the breadth of the 
whole1 are not disturbed1--are the      
leading circumstances that should engage
 the anxious attention4     ,,harmony   
,,and ,,contrast4   ,,harmony1 as in    
,nature1 is the agreeable accordance of 
the various colours that form the parts 
of a scene into a whole2 divested1 in   
their dispersion1 of their harshness by 
the everywhere surrounding atmosphere3  
this may be tested by holding a piece of
 silk1 the exact colour of the grass at 
our feet1 up against a field1 when the  
field will become grey in comparison4   
,the exact degree of strength1 or of    
tone1 greatly tend to reconcile the     
harmony of a picture4  ,harmony consists
 more in the power of bringing colours  
together1 than in the mere arrangement  
of the colours themselves4  ,burnet1 in 
his excellent ,treatise1 says--',when a 
picture is composed of the two extremes 

of hot and cold1 we are certain of      
having employed the whole strength of   
the palette2 and1 if judiciously used to
 assist the chiaroscuro1 an harmonious  
union will be kept up between these     
opposite qualities1 more forcible and   
splendid than by the intervention of    
middle tint2' but immediately after he  
adds--',in producing variety and        
contrast1 we ought never to lose sight  
of that imperceptible harmony arising   
from the union of two colours in        
producing a third1 composed of both4    
,whether this be founded on any law     
existing in optics1 or is merely the    
result of that sympathy which one colour
 has to another in producing harmony1 we
 know not4'  ,any colour too often      
repeated1 will destroy its value in     
proportion to its repetition2 but a     
continuation of the same colour carried 
with tact through the picture1 from the 
highest light to the deepest shade1 and 
strongly relieved by some colour of a   
different nature1 produces the beautiful

 effect so admired in the ,dutch and    
,flemish sketches of ,vandyke and       
others2 arising from the rich brown     
gradations1 brought up to a 'high pitch'
 of red or yellow1 or yellowish white1  
and subdued by a little cool grey1      
merging into blue or green4  ,strong    
colours are generally more usefully     
applied in supporting the general whole1
 than by being employed on the more     
prominent parts of it4 ,they are equally
 useful in focussing the shadows1 or in 
giving them variety4  ,if the mixture of
 many colours be unharmonious and       
disturbed1 perplexity and confusion will
 be the result4  ,when the general      
character of a picture is of a cool     
grey1 its influence upon the eye is of a
 very agreeable description1 from its   
tender and soft transitions2 but its    
spirit is roused into energy at once by 
the introduction of a warm colour2      
increasing1 by its opposition of        
character1 the harmony of the whole4 ,a 
red cloak on a figure crossing a field  

will explain this4  ,in ,du ,fresney ,i 
find we 'are not to let two hostile     
colours meet without a medium to unite  
them4' ,notwithstanding which1 we see   
the contrary practised with the greatest
 success2--blue brought against red1 for
 instance1 the value of each increasing 
as they antipathize4  ,the hot and cold 
colours--the balancing power produced by
 their combinations--the arrangement    
that gives to every object its place and
 value1 are the principal circumstances 
that should engage the attention1 when  
contemplating the works of the best     
colourists1 or on gazing at a scene in  
,nature4  ,if the colouring of a picture
 is too harmonious1 it will want        
solidity4     ,,effect1 ,,accident1     
,,relief1 ,,and ,,keeping4   ,,in       
,effect1 the means are widely different 
indeed which lead to the same result6   
,rembrandt1 with his concentrated light 
and wide diffusion of shade--,rubens1   
and his school1 with his splendid       
extension of light and of               

colour--,vandyke1 with the ,dutch and   
,flemish painters--,titian--all arrive  
at the same end1 although by the most   
opposite means4 ,some aim at a          
particular effect2 others at a general  
one1 proceeding from different          
combinations1 and different views and   
ideas4 ,all effects should be consistent
 with the subject treated4 ,the effect  
will be more or less bad as the parts   
which are to constitute it are more or  
less scattered or diffused4 ,masses of  
light1 supported and brought out by     
masses of shadow1 are the surest means  
of producing it4 ,effect is procured by 
the strongest opposition1 and sometimes 
by the reverse4 ,arrangement and        
,expression is1 in historical           
composition1 much the same thing that   
,effect is in landscape-painting4 ,on   
the other hand1 particular effects      
mostly arise from circumstance4 ,sudden 
and startling effects are not           
unfrequently produced by a piece of     
charcoal on brown or grey paper2        

beautiful ones by the simple operation  
of the black lead pencil or stump1 until
 we trace it up to the whole range of   
the palette1 in the most splendid and   
magnificent efforts of colour4  ,every  
part of a picture should occasion       
pleasure in detail6 ,if we are          
fascinated with the colour of the       
highest or prevailing light1 the most   
anxious care should be exercised that   
its influence does not destroy our      
admiration of the others3 to avoid this 
prejudice1 the principal light1 or      
colour of it1 should not be so          
influential as to prevent the eye being 
gently led away from it1 by the         
repetition of a softer grade of its own1
 to others of a less imposing quality3  
that must of necessity be there1 to give
 value to1 and influence the importance 
of the principal4  ,effect consists in  
either lights and shadows1 or colours1  
so massed and blended in their          
arrangement1 as to produce breadth4     
,the greatest power of ,effect is often 

produced from the most simple materials4
 ,all the force of the palette1 and all 
the strength of the master1 is not      
unfrequently called into action by no   
other materials than a straight horizon 
meeting the sky1 supported by an        
undulating line or two2 and exemplifying
 the most scientific manoeuvres in the  
management of breadth1 and in diversity 
of colour1 on which the eye loves to    
dwell1 and repose from the fatigue      
occasioned by a repetition of forms4  ,a
 dark object1 placed against the most   
retiring or lightest part of the        
picture1 while it acquires all the      
startling effect to be derived from     
great force1 and is a resource so much  
adopted by the greatest                 
landscape-painters1 often1 in my        
opinion1 destroys the whole keeping of  
the work4 ,bringing such strong objects 
up against the sun1 was the great vice  
of ,claude2 ,cuyp and ,both managed it  
better1 but certainly not always with   
success4  ,,keeping is a term in art    

which implies that every object and     
colour should be in its place2--the     
object1 its exact space to stand on1 and
 the colours in strict harmony and      
accordance2 each possessing the exact   
strength which belongs to its situation 
in the picture4  ,,relief1 and          
occasionally ,,chiaro-,,scuro1 which1 by
 its arrangement of light and shade1    
describes the necessary forms that are  
to be revealed3 this may likewise be    
effected by light and dark colours      
alone1 or by opposition of colours and  
sharp contrasts4  ,the highest point or 
mass of the light1 from which the       
gradations radiate1 should be kept very 
pure1 allowing as little of the shade   
tint to insinuate itself as possible4   
,if the lights of a picture are few1 it 
will mainly contribute to its breadth   
and repose3--if many1 or scattered1 the 
result will be confusion4 ,i say1 to    
keep the leading mass of light pure and 
clean1 should employ our deepest        
attention4  ,when the attention is to be

 fixed to a particular object1 the      
degree of power given to the accessories
 will alone establish its degree of     
consequence3 but it must not be wholly  
insulated2 those accessories1 being the 
medium of its own importance1 must      
contribute all to assist it to its      
place1 without weakening its force or   
imparing its character2 as the middle   
tints find their value and clearness    
only by the strength of the lights1 and 
the depths of the darks4  ,pictures1    
painted in a 'light key1' possess many  
advantages3--  ,great breadth of ,effect
 is produced by placing the principal   
mass of shadow on1 or rather immediately
 under1 the horizon2 graduating upwards 
into the clouds1 and downwards1 in a    
long angle1 to a broad light on the base
 line2 on which a figure or any other   
object1 however small1 but darker than  
the rest1 being placed1 will produce an 
effect that has become extremely popular
 of late4 ,this is equally applicable to
 landscape or sea pieces2 and was a     

favourite arrangement of ,a4            
,vandervelde4 ,when the picture is      
mostly made up of half tint1 his manner 
was to throw all the power of the       
palette into his figures2 bringing them 
out strong1 dark1 and cutting on the    
foreground2 and1 in the retiring groups1
 diminishing the force as little as     
possible2 keeping the shadows flat1 and 
a little weaker in colour4 ,this        
management produces one of the most     
powerful daylight effects1 though not so
 rial2 but the sacrifice of the last is 
as nothing to the want of the former4   
,atmospheric effect is scarcely missed  
when the whole is on so light a key1 as 
the quantity of half tint employed      
renders it4  ,most of the ,dutch        
landscape painters seem universally     
agreed on this arrangement1 as having   
that beautiful contrast of force and    
softness we so often see in coast       
scenes1 and leaving so large a space as 
two-thirds of the picture for the       
luminous forms of the clouds4  ,broken  

heaths1 road scenes1 corn-fields1 boats 
on the water1 with their forcible and   
deep shadows1 fishermen on the sands1   
all readily adapt themselves to this    
manner2 which1 likewise1 from the light 
tone that pervades the whole1 requires  
the strongest opposition and contrast of
 colour--so that the colours be carried 
well through the picture2 that is1 if   
the ground be warm1 a figure in blue    
placed in the foreground may be carried 
out by being repeated in the blue of the
 water1 and so into parts of the sky1 c4
 ,and1 on the other hand1 if the ground 
be cool grey1 as in a river scene1 the  
boats may be yellow1 and the figures    
red1 carried up and diffused into the   
warm lights of the sky1 or striking on  
the sandy shore and distant buildings1  
and even reaching the birds in the      
air--all will help to convey the colours
 through the work4  ,in working out this
 system1 let the lights be bright1 and  
their shadows strong and forcible1      
keeping the middle tints tender1 airy1  

and delicate4 ,a few trials on this plan
 will soon convince the student of the  
beauty and real look of daylight it has 
over many others4  ,in examining the    
works of ,cuyp1 when the picture is     
painted on a light key1 he is sure to   
make use of very strong colour1 to clear
 up and give vigour to the whole1 in his
 figures2 serving1 at the same time1 to 
invest the general mass with air1       
breadth1 and extent4  ,rembrandt thought
 it of more consequence to paint light1 
than the objects seen by it4  ',titian's
 great care was to express the general  
colour1 to preserve the masses of light 
and shade1 and to give1 by opposition1  
the idea of that solidity which is      
inseparable from natural objects4 ,when 
these are preserved1 though the work    
should possess no other merit1 it will  
have1 in a proper place1 its complete   
effect2 but where any of these are      
wanting1 however minutely laboured the  
picture may be in detail1 the whole will
 have a false1 and even an unfinished   

appearance1 at whatever distance1 or in 
whatever light it can be shown4 ,it is  
in vain to attend to the variations of  
tints1 if in that attention1 the general
 hue is lost1 or to finish ever so      
minutely the parts1 if the masses are   
not observed1 or the whole not well put 
together4 ,and those who will examine   
into the artifice1 will find it to      
consist in the power of generalizing1   
and the shortness and simplicity of the 
means employed2' and in fixed           
principles1 our general ideas           
predominating over our individual4      
,rubens1 in his splendid manner1        
involved all the schools--,roman1       
,dutch1 and ,venetian6 yet1 with all    
this magnificence and variety1 possessed
 repose4  ,,accident4--,accident often  
comes in aid of invention4 ,in nature1  
all objects by daylight are equally     
illumined2 the painter has1 therefore1  
always found it necessary to avail      
himself of accident1 whenever it may    
occur3 shadows1 in particular1 reflected

 upon one object by another2 large      
floating masses of light or shade thrown
 across a mountain1 a flat country1 or  
an open sea1 by the passing clouds as   
they sail by2 flashes and streaks of    
light1 as they struggle from between    
them1 c41 are all adapted to work out   
the general effect4 ,where the forms of 
a composition are insufficient1 this is 
the usual resource1 these accessories   
generally supplying grandeur and        
elevation to the scene4 ,all catching   
lights should be laid hold of with equal
 tenacity4 ,the clearing off of a shower
 is particularly favourable to this     
useful auxiliary4     ,,dexterity ,,and 
,,affectation4   ,a ,,contemptible      
species of affectation in the form of a 
dashing dexterity--used1 in most        
instances1 to confuse and mystify bad   
drawing1 conceal ignorance of           
principles1 and all the higher          
excellencies a painter should have      
studied and brought to aid his work--has
 been so widely diffused of late1 that a

 notice of this splashing attainment may
 not be out of place in a work of this  
kind4 ,i have heard of 'snatching a     
grace beyond the reach of art1' but     
could never comprehend its meaning4  ,it
 is 'natural to be more captivated with 
what is brilliant than with what is     
solid1 and to prefer splendid negligence
 to painful and humiliating exactness4' 
,mere novelty and peculiarity1 having no
 other merits1 when it ceases to be new1
 it ceases to have value4  ,that which  
is solely addressed to the eye1 is      
certainly inferior to that which is     
addressed to the imagination4  ,if too  
much indulgence is given to peculiarity1
 mannerism will be sure to be the       
result6  ',a facility in composing1 a   
lively and masterly handling1 are       
captivating qualities to young minds3   
they endeavour to imitate these dazzling
 excellencies1 and1 after much time     
spent in the frivolous pursuit1 find1   
when too late1 the difficulty of        
retreat2 and there is scarce an instance

 of return to scrupulous labour1 after  
the mind has been deceived by this      
fallacious mastery4 ,by this useless    
industry1 whilst boys1 they have arrived
 at their utmost perfection2 they have  
taken the shadow for the substance2 and 
make the mechanical felicity the chief  
excellence of the art1 whilst it is one 
of the most dangerous sources of        
corruption4 ,they wish to find some     
shorter path to excellence1 and hope to 
obtain the reward of eminence by other  
means than those1 which the             
indispensable rules of art have         
prescribed4 ,but whatever the force of  
genius may be1 there is no easy method  
of becoming a good painter4'  ,there is 
no mechanism in painting2 for those1 who
 by a clever handling1 possess this     
quality to the greatest perfection1 are 
rarely found to excel in the higher     
realities of art4  ,it is to the        
whole--the absolute and entire          
impression--the disposition of pictorial
 matter and auxiliaries1 that imply     

ability and power in their treatment4   
,do not let the love of novelty induce  
you to leave the beaten path of         
excellence2 for all endeavours to       
surprise and please by that which is    
uncommon or new1 will be attended with  
defeat2 a matter1 oftener the result of 
idleness and caprice1 than the striking 
effect of a mind well-regulated and     
devoted to study4  ,style1 manner1      
handling1 are for the most part matters 
of tact1 distinguishing one painter from
 another1 quite as much as one man's    
manners are known from another's4 ,where
 the inferior and subordinate pursuit of
 skill in handling or execution is aimed
 at1 it tends universally to form a     
mannerist2 and this is the greatest evil
 of our time4 ,instead of elevating the 
mind to the quality of the whole1 it    
degenerates into an abject and curious  
species of imitation of the parts1 or of
 some one thing in particular the artist
 feels he can do cleverly2 sacrificing  
to this 'industrious idleness1'         

correctness of drawing1 character1      
expression1 and elevation of style4 ,in 
a word1 it is mechanics1 and not art6   
,grandeur1 sublimity1 simplicity1 all   
fly from this one evil4  ,style         
comprehends the whole of a picture1 in  
all its mysterious or simple            
workings--its moral character--its      
elevation1 or its degeneracy4           
,decision1 spirit1 and freedom of       
execution and expertness of handling1   
opposed to feeble uncertainty1 have     
great charms1 in common with all        
excellencies2 yet1 so delusive is this  
species of fascination1 that it becomes 
imperious to be guarded against it4 ,the
 end must not be sacrificed to the      
means6     ,,of ,,backgrounds4   ',,one 
of the principal and most important     
parts of painting1 is the nature and    
quality of backgrounds2' from which any 
round or solid body is to detach itself2
 and this may be so contrived that both 
may be of the same colour2 'because the 
convex sides of solid bodies do not     

receive the light in the same manner as 
the ground does1 being lighter or darker
 than the ground4'  ,different colours1 
or degrees of light in the background1  
can alone separate the object from it4  
,they will become more detached as they 
differ from the colour of the object to 
be relieved4  ,the greatest relief is   
acquired by a ground of a neutral1 or   
undetermined colour4 ,but the object    
that is to stand out from it1 depends   
wholly on its light and shade for       
relief4  ,according to the ground which 
surround colours1 they will appear      
different to their natures4 ,flesh will 
look palest on a red ground3 and a pale 
colour1 redder on a yellow ground3 and  
so on1 always deriving their character  
from the surrounding one4  ,if any      
object in a composition does not        
sufficiently assert its place1 instead  
of heightening the colour of it1 it is  
generally more advisable1 as the case   
may be1 to subdue the power of its      
background4  ,the outlines of figures   

should be sketched with either the      
shadow-colour1 or the colour of the     
ground1 on which they are laid2         
strengthening them according to their   
situations4  ,a very useful resource1 in
 painting1 is often to look at your     
picture in a looking-glass1 whose       
reflection is a copy of the picture2 and
 the picture1 being a copy from nature1 
a kind of analogy is established3 they  
are both on even superfices1 and both   
give the idea of something beyond their 
superfices4 ,in viewing your picture in 
this manner1 keep one eye shut3 seeing  
from both eyes surround the objects too 
much4  ,looking at your picture through 
the medium of a glass1 blackened on one 
side1 will1 in divesting it of colour1  
show only its light and shade4 ,this is 
a capital way of ascertaining if the    
latter is right4  ,in painting1 it is a 
good plan to leave all you can to the   
imagination6 it is flattering to the    
beholder2 it gives him latitude for the 
exertion of his own mind2 and he will   

supply1 better than you1 what you       
wanted1 entirely to his own             
satisfaction--and1 of course1 to yours3 
deprive him of this1 and you seldom fail
 to imbue him with apathy4 ,his         
imagination assumes characters and forms
 of its own2 you have set it painting3  
he finishes your picture1 and is happy1 
because he has had something to do with 
it2 and he will not quarrel with you1   
lest he should blame himself4  ,painting
 should possess 'brilliancy without     
gaudiness1 solidity without harshness1  
truth without familiarity1 and sweetness
 without insipidity2 all conjoined in   
the greatest breadth of colour4'  ,if a 
work possess the known and admitted     
excellencies of painting1 although in   
the smallest and most moderate degree1  
it will have the peculiar appearance of 
looking well1 which the want of them    
would quite invest with another         
character4 ,the faults of a great mind1 
capable of the greatest beauties1 will  
never appear to have a vulgar origin4   

,it is just possible a picture may      
possess no defects1 nor any beauties2   
but he who thinks entirely for himself1 
will give to his work an appearance of  
originality2 he will be consistent with 
himself6 even faults will appear with   
some lustre in those to whom they are   
quite natural4  ,in conclusion1         
jealously endeavour to ascertain if any 
thing has been admitted1 or omitted1    
that1 consistent with these rules1 may  
prejudice the general harmony of the    
work in the ensemble4  ,if ,i have made 
use of any contradictory observations1  
it was because ,i was impressed with the
 usefulness of their application to the 
principle described2 in which matter ,i 
may take shelter under the noblest      
authorities of the ,italian1 ,english1  
or ,french1 who have written on art4 ,i 
likewise trust ,i have said nothing the 
student will have to unlearn4  ,in a    
word1 the grandest1 the most exalted    
principle requires no more time to      
become master of than the lowest and the

 worst6 ,and1 ',as no school ever       
excelled the ,dutch--combining in itself
 all the excellencies of the            
,italian--painters should go to the     
,dutch and ,flemish schools to learn the
 art of painting1 as they would go to a 
grammar-school to learn languages4'--',a
 close examination of their works will  
give us that experience of the          
principles on which they wrought1 in a  
very short space of time1 which cost    
them ages to ascertain4  ',the frequent 
allusions which every one1 who treats of
 any art1 is obliged to make to others1 
in order to illustrate and confirm his  
principles1 sufficiently show their near
 connexion and inseparable relation4'   
,however1 ',the great business of study 
is to form a mind1 adapted and adequate 
to all times1 and to all occasions2 to  
which all nature is then laid open4'    
',the highest point of art is to conceal
 itself3 and the very praises we lavish 
on works that are 'true to nature1' only
 prove the perfection of art4'  ,i have 

taken up the art as ,i found it in the  
practice of the most approved methods3  
nor have ,i attempted to support any    
paradoxes for the sake of novelty4      
,theories herein investigated1 and many 
rules here laid down1 many loose and    
scattered suggestions and successful    
results1 that 'pass current from one to 
another1' ,i have endeavoured to place  
in the readiest manner before the       
student1 that they may become           
immediately available to his purpose1 or
 occasionally refresh his memory1       
without caring whence they may be       
derived4 ,even in the collecting of     
disjointed materials1 a structure is    
formed every way calculated to abridge  
his labours and shorten the road1       
however carelessly thrown together2 and 
will1 in all probability1 stimulate him 
to further investigation4  ,improve     
every hour1 and the mind will become    
variously enriched by systematic study3 
it will look through ,nature with a     
discriminating power1 even to her       

minutest productions1 but with a        
refinement of taste and skill of        
selection that will reject all that is  
unworthy4 ,when small pretension finds a
 welcome1 it usually arises from        
ignorance in those who patronize4 ,these
 persons1 in their turn1 generally pay  
the penalty their errors or conceit     
bring upon them4  ,,the ,,author ,,of   
,,this ,,work ,,teaches ,,upon ,,the    
,,principles ,,therein ,,demonstrated4  
,,on ,,water-,,colour4   ,,as the object
 of this work was1 in the first         
intention1 initiatory1 ,i shall conclude
 it by addressing a few words to the    
student in water-colour painting2--the  
more especially as water colour embraces
 so many advantages1 and as there is no 
elevated rank in art that it does not   
involve in its capabilities4  ,after    
soaking and laying the paper1--an       
operation that must be seen to be       
learned1--and assuming you have         
proceeded to the colouring1 it will be  
essential that you use two palettes1 or 

tiles2 set one with the colours required
 separately1 not allowing them to run   
together2 then take sufficient colour up
 in the brush from each1 and mix the    
tints on another1 kept a little wet that
 they may mix well together2--cleaning  
this tile1 as occasion may require1 to  
make fresh tints on4  ,in the management
 of the greys1 allowing the colours to  
run into one another1 will produce many 
accidental and useful tints4  ,when too 
much colour has got on the paper1 dip a 
thick short-haired brush in clean water1
 and wash into the paper with it1 with  
sufficient force to blend them more1 and
 remove the superfluous colour4 ,if this
 method be not found sufficient1 take a 
sponge1 with very little clean water in 
it1 and pass it lightly over1 which will
 remove all hard edges1 and greatly     
assist the atmospheric effect3--if this 
too much generalizes the colours1 supply
 the sharp markings1 as may be required1
 with a fine pointed sable1 in their    
positive colours4  ,this method is not  

only the quickest way of bringing a     
drawing into a finished state1 but adds 
materially to its transparency and      
solidity2 and may be done at any period 
of the work4  ,a good master of the     
sponge will make several drawings1 while
 one may be done with the brush alone4  
,the colour will remove most easily when
 the surface of the drawing is          
previously wetted2 taking great care1 by
 keeping the sponge very clean1 that    
none of the green tints float into the  
sky4  ,one colour laid over another1 to 
produce the required tint1 is in most   
cases better than mixing the tint at    
once1 as it tends more to procure that  
'internal light' so desirable in        
water-colour painting--taking care the  
under colour is dry before the other is 
floated over it2 and always allowing for
 the density of the colour beneath      
qualifying the hue of the one laid over 
it4 ,thus1 blue laid upon yellow1       
produces green2 green over red1 grey2   
and so on4  ,the slightest quantity of  

prepared ox-gall will make the colours  
wash free from grease2 triflingly       
reducing the brilliancy1 but fixing the 
wash more permanently4  ,flatness of    
tint is a matter of great consequence1  
and of equal difficulty2 and is         
considered a great excellence1 as the   
clearness and beauty of the gradations  
mainly depend on it4 ,all mechanical    
means to produce it will betray         
themselves2--regulated by any such      
principle1 a blue sky would become a    
tea-tray6 ,nature distinctly rejects all
 that is mechanical3 skill alone will   
enable the student to overcome this     
difficulty1 in addition to observing its
 process by a professor4  ,meditate well
 the mixture before applying it2 then   
dash it on with the greatest            
decision1--always at once1 and not      
backwards and forwards1 and the greatest
 clearness will be the result4  ,the    
greater the diversity of colour1 from   
the transparency of most colours in     
water1 so much more will be its         

resemblance to nature4  ,wiping out the 
lights1 such as the foliage of trees1 or
 any other forms required1 is performed 
by first wetting the part or form to be 
taken out1 with the brush--applied as it
 would be in painting--and1 after the   
gloss on the water has subsided1 with a 
clean piece of cotton rag or the pocket 
handkerchief1 folded on the fore finger1
 the colour intended to be removed must 
be whisked out with some smart degree of
 force3 and in the event of the light   
not coming out clean and sharp enough   
7from perhaps being too dry71 the       
application of the ,india-rubber to the 
part will effect it4 ,the colours       
intended are then laid over the parts so
 wiped out4     ,,of ,,tints4   ,,making
 good ,tints has ever been a matter of  
extreme difficulty1 great perseverance1 
and too often entire loss of time2 and1 
in the event of success occasionally    
attending the student's exertions1 it is
 a thousand to one he never gets them   
twice alike2 for that which is done by  

accident cannot be repeated4 ,the very  
difficulty attending them1 from want of 
knowledge of those colours that blend   
well and harmonize in their natures1 and
 the many requisite to charge the memory
 with1 renders them so easily forgotten1
 that few but professors ever achieve   
the object sought4  ,to obviate         
this1--to save the student's time1 that 
he may devote the more to the attainment
 of his pursuit1--that he may be enabled
 to tint a drawing in half an hour1 when
 he would have spent three in making a  
good tint or two 7presuming his         
capability to do it at all71--induced   
the ,author of this work1 at a          
considerable outlay of time and expense1
 to form a ,,box ,,of ,,tints1 in       
permanent cakes1 ready at once for use1 
and all the necessary purposes of       
landscape or other painting1 and for    
sketching from nature without           
inconvenience or difficulty4  ,as       
water-colour painting has experienced so
 much revolution of late1 arising from  

its extensive capabilities1--the best   
drawings1 or rather water-colour        
paintings1 being produced by the balance
 of opaque and transparent              
colours1--those tints and mixtures that 
are found most useful in oil-painting1  
and most wanting in water1 has engaged  
his particular attention4  ,he has      
confided the making them solely to ,mr4 
,charles ,smith1 of ,marylebone-street1 
,piccadilly4 ,the tints are expressed on
 the cakes in numbers1 which have       
reference to the coloured plates4 ,in   
addition to which the following colours 
are those mostly used3--  ,indigo2 to   
which may be added cobalt and ,french   
blue4 ,indian red4 ,venetian red4       
,purple lake4 ,madder lake4 ,vermilion4 
,burnt sienna4 ,raw sienna4 ,yellow     
ochre4 ,gamboge1 ,brown pink4 ,raw      
umber4 ,vandyke brown4 ,ivory black4    
,,reference ,,to ,,the ,,plates ,,on    
,,colour4  ,plate #g4--,the sky is laid 
with tint ,no4 #aj2--the walls and      
foreground are covered down with ,no4   

#a1 varied here and there with burnt    
sienna2--the tiles and roof with ,no4   
#d2--tints #f1 #g and #h are mixed      
together1 varied and floated over for   
the cool greys2--the figure1 ,indigo and
 ,no4 #aj2 vermilion1 ochre and burnt   
sienna4 ,the greens are composed of     
indigo1 gamboge and burnt sienna1 with  
brown pink4 ,the gallery is tint ,no4   
#f1 floated over ,vandyke brown4 ,cobalt
 and ,vandyke brown in the hollows4     
,plate #h4--,the sky is done with ,no4  
#i1 and thin cobalt floated over3 the   
horizon with ,no4 #d1 varied with       
,venetian red3 the orange brought down  
into the trees1 and worked together with
 gamboge2 the shadowed parts of which   
are put in with ,no4 #g--repeated in the
 bases of the clouds4 ,no4 #i is worked 
into the cool greys of the middle space4
 ,the greens are varied with indigo1    
burnt sienna1 gamboge and brown         
pink2--the brightest lights with yellow 
ochre3 foreground with ,no4 #e4  ,plate 
#i4--,the sky ,french blue and          

madder-lake2--distance with ,no4 #a1    
heightened here and there with          
ochre2--middle space worked in with #i  
and #h--the greys with ,no4 #g4 ,cobalt 
in the hollows2 warmed1 in parts1 with  
,no4 #d4 ,boats done with ,no4 #i1      
strengthened with ,vandyke brown2--the  
water slightly washed with ,no4 #e1     
varied with the same and indigo2--steps 
and railing with ,nos4 #a and #e4       
,plate #aj4--,the sky is washed with    
indigo and madder-lake1 kept grey       
towards the horizon2--the distant       
buildings with ,nos4 #g1 #h2--,no4 #g is
 mixed with burnt sienna for the greys  
of the trees3 the greens are composed of
 indigo1 burnt sienna1 raw sienna1      
,venetian red1 and gamboge2--the gravel 
with ,no4 #e1 a little burnt sienna1 and
 white2--the shadows with ,no4          
#g2--;figures with positive             
colours2--foreground slightly washed    
with ,no4 #a1 varied with ,no4 #e2--the 
pedestal with ,no4 #e1 varied at the    
base with ,nos4 #f and #i4  ,plate      

#aa4--,the sky1 indigo and madder lake3 
the clouds varied with ,nos4 #h and #i1 
and floated over with cobalt3 the warm  
lights with yellow ochre and burnt      
sienna2--horizon with cobalt and        
indigo2--the sands with ,no4 #a1 shaded 
with #b and #f2--the mill with ,no4 #a1 
lightly floated over with ,no4 #f1 and  
touched in parts with ,no4 #c2--the     
foreground brought down with brown      
pink2--the mill1 on the left1 painted   
into with ,vandyke brown1 ,indian-red1  
and ,no4 #e2 the lights with ,no4 #d1   
and roof with ,no4 #c2 the sail1 ,indian
 red and ,vandyke brown2 figures1 cobalt
 and vermilion1 subdued with ,no4 #f4   
,plate #ab4--,the walls and pavement    
floated down with ,no4 #a1 and toned    
over with ,no4 #f2--the architectural   
markings with ,no4 #f and cobalt1 with a
 little ,no4 #i in the darkest parts1 to
 give them point2--hollows of the arches
 with ,no4 #i1 and ,no4 #g worked       
in2--the window is all laid in with     
positive colours1 brought down on the   

figures1 which are subdued with ,no4    
#f2--the altar1 banners1 priests' robes1
 books1 c41 with chrome and white3 their
 shadows with ,no4 #c2--the curtain with
 ,vandyke brown1 ,venetian red1 and     
burnt sienna4  ,and here ,i cannot but  
express how much the arts and the public
 are indebted to the highly inventive   
genius of ,mr4 ,hullmandel1 for his     
numerous inventions and improvements in 
lithography2 having1 in a few years1 by 
the most determined perseverance1       
industry1 and singleness of purpose1    
brought the first hard1 dry1 and        
uncertain drawing on stone1 through all 
its various improvements1 until the     
introduction of the now well-known      
printing of the tint with modified      
lights2 to which we are indebted for the
 many beautiful productions that have   
appeared of late2 and thence to the     
extraordinary invention1 now dawning on 
us1 of making a painting on stone1 from 
which an impression is procured that may
 scarcely be articulated from a sepia   

drawing3 enabling painters to multiply  
their sketches ad infinitum1 instead of 
being confined1 as before1 to the merely
 practiced pencil draughtsman4 ,the     
plates of this work are indebted to his 
invention4     ,,description ,,of ,,the 
,,plates4   ,,after what has been said  
already1 a lengthened description of the
 plates would be unnecessary4  ,plate   
#a--;,has been described in reference to
 the article on ,composition2 as ,plates
 #b and #c have1 in the one on ,light   
and ,shade4  ,plate #d4--,the ,porch of 
,chartres ,cathedral1 has been referred 
to under the inquiry into accidental    
,shadows4  ,plate #e4--,the ,temple of  
,jupiter ,tonans1 and the ,forum of     
,nerva1 have been noticed in like       
manner3 as has likewise ,plate #f1 an   
ancient ,wine-store in the ,rhtian      
,alps4  ,plate #g4--;,here are the      
extremes of hot and cold4 ,the strongest
 colours are placed in the darks1 from  
which they derive all the power of the  
palette1 while the point is preserved by

 the figure in red4 ,a warm light1      
surrounded by warm tints1 has the       
greatest brilliancy when ably supported 
by the intervention of a cold one4 ,the 
cool grey centre is repeated in the     
hollow of the door1 the lower part of   
the figure1 and carried out by the blue 
of the sky2 while the warm colours are  
dispersed and diffused on the wooden    
gallery1 the walls1 the ground1 and     
gathered up by the rich red of the      
woman's gown and the warm brown of the  
figure behind2 the dark colour of which1
 being laid on the dark background1     
helps the woman into her forward        
position2--the warm colour1 projected by
 the red gown1 is again carried up by   
the cap and brown of the figure behind  
into the balcony1 tiles1 c41 until1     
after mingling in every possible way    
with the cool greys1 it escapes by the  
walls2 spreading its influence every    
where1 and investing the greens of the  
vine and the foreground with its        
character4 ,the high light on the wall  

is repeated on the linen1 carried across
 by the figure in the gallery1 and      
brought down by the figure and flowers  
in the foreground4 ,the general tone of 
the work is warm2--the blues1 greys and 
greens are used as a foil to give value 
to the warm colours1 the shadows and    
middle tints3 the greys are glazed warm1
 to preserve the richness of the general
 effect throughout4 ,the reds and blues 
are combined of colours possessing the  
properties of each4 ,the quantity of    
warm and cold colours are to be         
principally observed--the union of one  
part with another--preservation of the  
breadth1 and the general harmony4       
,plate #h4--;,a ,,view ,,in             
,,belgium4--,the disturbed and heavy    
clouds sweeping across the country are  
kept of a low1 subdued1 but warm grey2  
intersecting the distant trees1 and     
invading the middle space1 until it is  
found among the greens of the foliage   
and grass of the foreground2 the stones1
 the chalky road1 c41 ending in the     

darks of the figures4 ,the warm lights  
are scattered over the tops of the trees
 and sunny browns of the middle space   
and foreground1 repeated in the lower   
part of the sky1 and brought forward in 
the foliage and grass on the left2 while
 the reds are gathered up in the        
branches and stems of the trees1 and    
brought to a point in the figure on the 
right3--the white of the chalky road is 
carried into their trunks1 the rock1 and
 up into the clouds by the birds4 ,the  
breadth is divided into two wedge-shaped
 forms1 carried at an angle across the  
work1 and up into the bank and trees on 
the left2 opposed by the long stretching
 line of the horizon and round forms of 
the clouds and foliage1--balanced by the
 mass of rock on the other side4 ,the   
harsh opposition of the cutting-lines of
 the foreground serves to attract the   
eye1 while it reposes the distance4     
,plate #i4--;,in this example1 the      
darkest dark being of a warm brown1 is  
brought up1 by contrast1 against the    

half dark in the distance1 which is of a
 cold grey3 it is then carried up into  
the dark markings of the houses1 the    
roofs at the sides1 and repeated on the 
right2 brought down by the scaffolding  
over the steps1 and woven throughout    
into the cool greys of the half shade1  
occupying nearly two-thirds of the      
subject1 and carried1 by the reflections
 of the boats1 into the grey of the     
water and the blue of the sky2--the     
density of the barge1 deepened by       
positive colour1 clearing up all the    
half tints4 ,the highest light1 near the
 centre1 is gradated along the distant  
buildings1 and repeated in the warm red 
and yellow lights1 catching at different
 intervals on the houses1 until lost in 
the water4  ,plate #aj4--,,st4          
,,james',s ,,park ,,and ,,the ,,horse   
,,guards4--,this view was taken from the
 side of the ,column1 looking from the  
steps towards the ,treasury4 ,the two   
great masses1 thrown at the boldest     
angle across the picture1 the opposing  

lines broken up and varied by the round 
forms of the trees1 and cutting it      
nearly in half1 are divided between the 
bustle of the middle distance and the   
repose of the sky1 the steps1 the       
terraces1 and the base of the           
column2--the colours employed in one    
division are made to invade the province
 of the other1 until all are placed by  
the bright red of the soldier's dress   
and darker markings of the figures in   
the foreground1 repeated here and there 
as uniting links1 and carried through by
 the figures in the distance2 while the 
communicating principle is sustained    
between the reds1 blues and yellows1 by 
the colour of the sky and distant       
buildings being composed of all three4  
,plate #aa4--,,mills ,,on ,a ,,sea      
,,coast4--,the large and varied portion 
of shadow1 principally thrown into the  
wild uproar of the scudding clouds1 is  
gathered together1 and focussed by the  
strong and positive colour in the mill  
on the left1 the stranded vessel1 the   

horizon1 the figures and dark markings  
in the foreground2 and brought gradually
 down by the half shade into the cliff1 
the cottage1 and the principal mill2 and
 again carried up1 by the agency of its 
primitive cause1 to the highest parts of
 the clouds4 ,the highest light is      
gathered up on the wall of the cottage1 
repeated in the accidental light on the 
retiring mill1 the horizon1 the figures 
on the sands1 the birds in the air1 c41 
until it comes down to the chalky rocks 
and stones1 mingling with the weedy     
greens of the foreground2 the blues are 
carried down by the figures1 and on     
which the reds are centred1 and repeated
 in the unities of the tiles1 collecting
 its force in the retiring mill1 and    
insinuating itself into the distant     
figures1 the sail and flag of the       
vessel1 until lost in the warm colours  
of the clouds4 ,the middle tints are    
kept much of the same strength to       
sustain the breadth1 while the dark line
 of the horizon is graduated upwards and

 downwards for the same purpose4 ,the   
shadow on the steps in the cliff is     
brought up against the light on the     
cottage to give it point2 and the       
quantity of half shade that pervades the
 work is gathered up by the depths of   
the darks4 ,this effect was observed at 
,cayeux1 in ,normandy4  ,plate          
#ab4--,,the ,,chancel ,,of ,a ,,flemish 
,,church4--,in this instance a number of
 positive1 harmonizing and opposing     
colours1 are thrown together and        
collected in the middle space2 diffused1
 and carried out1 by the intimacy of the
 union of their attributes1 in the      
figures1 the altar1 the banners1 c41    
forming a cone of colour surrounded and 
reposed by warm grey4 ,the greys are    
lost and found among the browns1        
insinuating themselves into the recesses
 and tracery on the walls1 and every    
where influencing the warm colours4 ,the
 figures1 in red and blue1 are placed in
 the gallery to disturb the form of the 
cone3 while the highest light of the    

window intersects the deepest dark1     
which is repeated in the hollow of the  
porch1 cutting the arch at the side4    
,illustration3 ,plate #g  ,illustration3
 ,,pl4 ,,viii  ,illustration3 ,plate #i 
,illustration3 ,pl4 ,x4  ,illustration3 
,pl ,,xi     ,,harry ,,willson',s       
,,general ,,landscape ,,tints4          
,no4 #a4--;,for foregrounds1 and many   
parts of           landscape2           
architecture2 sands2 roads1 banks1      
lights of buildings 7distant or near71  
shoal-water1 corn-fields3--generally    
useful from           its low brownish  
hue4            ,no4 #b4--;,for many of 
the above purposes2 and1 being          
deeper in tone1 adapted for shadows to  
,no4 #a4            ,no4 #c4--;,darker  
parts of foregrounds1 banks1 broken     
earth1 waves1 bark1 timber1 rocks1      
coasts1 c41           useful in         
buildings and architecture4 ,may be     
beautifully and usefully varied with    
white4            ,no4 #d4--,lights of  
mountains1 rocks1 trees1 distant        

masses of foliage1 figures and animals  
in light1           autumnal tints in   
warm skies and                          
sunsets2--applicable to most purposes of
 warm           light1 and to vary      
greens with4            ,no4 #e4--;,for 
almost every part of landscape or       
buildings2 rich lights of earth in      
sunshine2           interiors1          
drapery2--applicable to numerous        
purposes1 near or distant1 and to mix   
with and           vary other colours4  
,no4 #f4--;,for skies in cloudy weather1
 and shadows           of               
clouds2--various pearly greys are       
produced by           its mixture with  
blues and lake4 ,mixed with burnt       
sienna1 it produces different degrees of
 warm           browns4            ,no4 
#g4--;,for shadows to mountains1 distant
 clumps           of foliage1 drapery1  
c41 for mixing with general             
shadows3 renders many beautiful tints by
 blending           it with lakes blues 
and browns1 especially with             

burnt sienna4            ,no4 #h4--,used
 alone1 in rocks1 bark of trees1 and    
many useful purposes2 assumes a variety 
of browns           when mixed with     
burnt sienna2 and different greys1      
when added to the blues4            ,no4
 #i4--,useful in clouds1 warm shadows1  
earth1           mould2--mixed with     
cobalt1 makes a good tint to            
vary other greys4            ,no4       
#aj4--;,for skies in fine weather1 and  
to vary           shadows of distant    
hills1 and otherwise useful in          
subduing retiring parts of drawings4    
,,charles ,,smith',s1 ,,late ,,smith    
,,warner',s1   ,,superior ,,improved    
,,moist ,,water ,,colours1  ,suitable   
for sketching from ,nature1 which retain
 their moisture for a length of time1   
freely and readily give their full force
 without the usual delay attending the  
,cake ,colours2 they dry instantly on   
paper1 and are free from mildew or      
cracking4   ,c4 ,,smith',s ,,water      
,,colours1 ,,finely ,,prepared ,,in     

,,cakes4                                
4 s4 d4            ,ultramarine         
#a  #a    #j           ,burnt ,carmine  
#g    #j           ,carmine             
#e    #j           ,gall ,stone         
#e    #j           ,smalt               
#e    #j           ,purple ,madder      
#e    #j           ,pink ,madder        
#c    #j           ,intense ,blue       
#c    #j           ,intense ,brown      
#c    #j           ,french ,blue        
#c    #j           ,lemon ,yellow       
#c    #j           ,cobalt              
#b    #j           ,sepia               
#a    #f           ---- ,warm           
#a    #f           ,scarlet ,lake       
#a    #f           ,crimson ,lake       
#a    #f           ,purple ,lake        
#a    #f           ,brown ,madder       
#a    #f           ,indian ,yellow      
#a    #f           ,white1 warranted    
permanent      #a    #f   ,c4 ,,smith',s
 ,,permanent ,,moist ,,white1  ,so      
celebrated for its permanency and       
harmless nature1 being quite free from  

lead2 useful as lights upon ,tinted     
,paper1 without ever losing its         
brilliancy of ,colour4  ,all the        
following ,one ,shilling per ,cake4     
,gamboge           ,yellow ,ochre       
,roman ,ochre           ,yellow ,lake   
,king's ,yellow           ,italian ,pink
           ,pale ,chrome           ,deep
 ,chrome           ,orange ,chrome      
,raw ,sienna           ,burnt ,sienna   
,brown ,pink           ,red ,lead       
,vermilion           ,light ,red        
,venetian ,red           ,indian ,red   
,dragon's ,blood           ,antwerp     
,blue           ,prussian ,blue         
,indigo           ,verditer             
,raw ,umber           ,indian ,lake     
,cappah ,brown           ,burnt ,umber  
,vandyke ,brown           ,bistre       
,cologne ,earth           ,byrne's      
,brown           ,neutral ,tint         
,payne's ,grey           ,british ,ink  
,ivory ,black           ,blue ,black    
,lamp ,black           ,sap ,green      
,prussian ,green           ,emerald     

,green           ,verdigris             
,olive ,green           ,hooker's       
,greens           ,varley's ,orange     
---- ,dark ,green           ---- ,warm  
,green           ---- ,warm ,grey       
---- ,purple ,grey           ----       
,neutral ,tint  999999 ,the above       
,colours kept in ,powder1 ,bladders1 and
 ,crude state4   ,,willson',s           
,,practical ,,landscape ,,tints4  ,c4   
,smith1 being of opinion that a ,set of 
,practical ,landscape ,tints were       
required1 apart from the above positive 
,colours1 engaged the services of the   
,author of this ,work to assist in      
forming them1 which is intended to      
accompany his instructions for their    
use1 already printed4 ,see page #hc4    
,they are now ready1 and can be had by  
themselves1 in a box1 price #abs42 or1  
with ,sixteen other general ,colours    
added1 inclusive of ,french ,blue1 ,pink
 ,madder1 ,cobalt1 c41 #a3 #fs4   #cd1  
,marylebone ,street1 ,piccadilly1 the   
end of the ,quadrant1 ,regent ,street1  

,london4   ,,water ,,colour1 ,,fitted   
,,up ,,in ,,boxes1 ,,etc4               
4 s4 d4   ,mahogany ,slide ,box1 with #f
 ,colours and ,brushes           #j   #f
    #j   ---- #ab ,ditto                
#j  #ab    #j   ---- #ah ,ditto         
#j  #ah    #j   ---- #bd ,ditto         
#a   #d    #j   ,mahogany ,lock ,box1   
with #ab ,colours1 ,brushes1 c4         
#j  #af    #j   ---- #ab ,colours1      
,drawer1 c4                             
#a   #j    #j   ---- #ah ,ditto         
#a   #g    #j   ---- #bd ,ditto         
#a  #ab    #j   ,mahogany ,lock ,box1   
with #ab ,colours1 ,slab1 ,glass1 c4    
#a   #a    #j   ---- #ab ,colours1      
,drawer1 c4                             
#a   #f    #j   ---- #ah ,ditto         
#a  #ae    #j   ---- #bd ,ditto         
#b   #b    #j   ,mahogany ,best ,box1   
with #ab ,colours1 ,glass ,slab1 c4     
#a  #ab    #j   ---- #ah ,ditto         
#b  #ab    #f   ---- #bd ,ditto         
#c   #c    #j   ,mahogany ,best ,box1   
with #ab ,colours1 ,chalks1 c4          

#b   #b    #j   ---- #ah ,ditto         
#c   #c    #j   ---- #bd ,ditto         
#c  #ac    #f   ,rosewood ,best ,box1   
with #ab ,colours1 ,brushes1 c4         
#b  #ab    #f   ---- #ab ,colours1      
,chalk1 c4                              
#c   #c    #j   ---- #ah ,ditto         
#d  #ad    #f   ---- #bd ,ditto         
#e   #e    #j   ,inlaid ,rose and ,satin
 ,wood ,boxes1 #ab ,colours1 c4         
#d  #aj    #j   ---- #ah ,ditto         
#e  #aj    #j   ---- #bd ,ditto         
#f   #f    #j   ,mahogany ,miniature    
,desk1 with #ab ,colours1 ,brushes1 c4  
#b   #b    #j   ,portable ,ditto1 ,extra
 ,colours                            #d 
#d    #j   ,boxes and ,cabinets fitted  
up with every requisite for             
,painting in ,oil and ,water1 from #f   
#fs4 to           #bj   #j    #j        
,mahogany ,boxes1 fitted up with ,oil1  
,powder and ,body     ,colours          
,mahogany ,boxes of ,liquid ,colours1   
for ,velvet and ,poonah     ,painting   
,mahogany ,boxes1 with ,slab and ,indian

 ,ink   ,mahogany and ,tin ,boxes1 with 
,chalks c41 complete   ,tin ,boxes      
fitted up with ,moist ,colours1 c4      
,,superior ,,hair ,,pencils ,,and       
,,brushes1  ,made of the ,finest ,sable 
,hair1 ,camel's ,hair1 c41 by the most  
perfect ,english and ,french artists4   
,the largest possessing the ,fine       
,elastic ,points of the smallest1 and   
with the advantage of containing a much 
greater quantity of ,colour4     ,red   
and ,brown ,sable ,hair ,pencils        
,camel ,hair and ,fitch ditto    ,sable 
and ,camel ,hair ,pencils for ,miniature
 ,painting    ,sable and ,camel ,hair   
,writers    ,french ,hog and ,goat ,hair
 ,tools1 round and flat    ,sable1      
,fitch1 and ,camel ,hair ,tools1 round  
and flat    ,badger ,tools1 for         
,blending1 c4    ,badger1 ,fitch1 ,hog1 
and ,camel ,hair ,brushes1 round and    
flat1 for varnishing    ,a variety of   
,french ,sable1 ,camel ,hair1 and other 
,brushes    ,water ,colour ,softeners   
,ivory ,cases1 to protect the points of 

,hair ,pencils    ,large ,hair ,pencils1
 for washing in clouds1 c4              
,proutonian ,sables1 the largest ever   
made4   ,c4 ,,smith',s ,,indelible      
,,coloured ,,inks1  ,,rembrandt',s ,,and
 ,,prout',s ,,favourite ,,tints ,,for   
,,pen ,,sketching1 c4  ,sketches made in
 these ,inks can be made ,drawings1     
coloured over at any time without fear  
of disturbing the ,original ,sketch2    
particularly adapted for ,prout's       
,architectural ,subjects1 such as the   
elaborate work of ,churches1            
,cathedrals1 and ,buildings of ,venice1 
c4   ,c4 ,,smith',s ,,pure ,,cumberland 
,,lead ,,pencils1  ,,equal ,,to ,,any   
,,made4            ,f         ,for      
,general ,use           ,,ff            
,bold ,sketching           ,,hb         
,middle ,shade           ,b             
,shading           ,,bb        ,black   
,shading           ,,bbb       ,extra   
,shading           ,,hhhh      ,finest  
,lines           ,,hhh                  
,engineering           ,,hh             

,architecture           ,h         ,fine
 ,outline  ,common ,pencils for         
,schools1 ,pocket-,book ,pencils1       
various4 ,also1 ,mordan's1 ,brookman and
 ,langdon's1 and ,dobbs's ,pencils4     
#cd1 ,marylebone ,street1 ,piccadilly1  
the end of the ,quadrant1 ,regent       
,street1 ,london4   ,,solid ,,sketch    
,,books4  ,with ,compressed ,leaves1    
made of thin and thick ,white1 ,drab1   
,yellow1 and ,grey ,drawing ,papers1    
forming a solid packet of thirty or     
forty leaves1 each of which can be      
easily separated from the others by the 
introduction of a pen-knife underneath4 
,,wove ,,and ,,cartridge ,,drawing      
,,papers4            ,demy              
#bj by #ae           ,medium            
#bb -- #ag           ,royal             
#bd -- #ai           ,super ,royal      
#bg -- #ai           ,imperial          
#cj -- #ba           ,colombier         
#cd -- #bc           ,atlas             
#cd -- #bf           ,double ,elephant  
#dj -- #bf           ,antiquarian       

#eb -- #ca           ,extra ,antiquarian
  #ef -- #dj  ,emperor1 the largest size
 paper1 #fh inches by #dh inches4       
,rough1 ,extra-thick1 ,tinted1 and ,hot 
pressed ,papers1 ,drawing ,cartridge    
,papers1 for ,architects1 c41 ,crayon1  
,tinted1 ,london and ,bristol ,boards1  
,english and ,french ,tracing ,papers1  
to #fj in4 by #dj in4   ,,harding',s    
,,new ,,drawing ,,paper1  ,made pure and
 perfectly free from any chemical agency
 that will tend to fade the ,colours or 
alter their ,tint4 ,recommended to those
 who paint with ,body ,colours1 c4   ,c4
 ,,smith',s ,,materials ,,for           
,,sketching ,,in ,,water ,,colours4     
,compressed ,paper1 in ,packets         
,sketching ,books of all kinds          
,sketching ,folios and ,portfolios      
,albums and ,scrap ,books     ,sketching
 ,books1 with ,boxes attached           
,sketching ,desks for the ,neck         
,parlour's ,patent ,sketching           
,instrument and ,camera ,lucidas        
and ,obscuras     ,desks1 with ,colours1

 c41 for ditto     ,stands and ,tables  
for ditto     ,camp and other ,seats for
 ,sketching     ,japanned ,tin ,boxes1  
with ,moist ,colours1 ,cups1 ,bottles1  
c41 for ,sketching     ,fixed ,sketching
 ,inks and ,reed ,pens     ,ditto1 in   
,cases for ,travelling1 c4     ,drawing 
and ,sketching ,boards     ,liquid      
,sepia1 for ,drawing     ,leather       
,cases1 for ,colours1 ,brushes1 c4      
,creta ,lvis ,crayons1 or different     
,colours that work dry       or with    
water     ,portable ,cases1 containing a
 ,seat1 ,book1 ,box1 c4 for             
,sketching     ,artists' ,umbrellas1 to 
shade the sun     ,seat and ,table      
combined1 for ,sketching     ,india     
,rubber ,water ,bottles     ,india ,ink 
of the finest quality1 warranted genuine
   ,c4 ,,smith',s ,,superior ,,new      
,,drawing ,,boards1  ,for straining     
thick or thin ,drawing ,paper more      
efficiently1 and much more easily1      
without pasting or cutting2 also fitted 
up with ,colours1 ,brushes1 ,saucers1 c4

   ,c4 ,,smith',s ,,materials ,,for     
,,sketching ,,and ,,painting ,,in ,,oil 
,,colours4      ,prepared ,paper and    
,millboards1 for ,sketching from        
,nature1 c4     ,prepared ,panels and   
,cloths1 and ,tickens on or off frames  
,tin ,boxes for ,oil ,colours1 c4       
,portable ditto for ,sketching     ,oil 
,colours in ,cakes and ,bottles 7see    
,wilson's ,letter7     ,tin ,oil ,cups1 
and ,cups for ,washing ,brushes         
,steel1 ,ivory1 and ,horn ,palette      
,knives     ,mahogany and ,satin ,wood  
,palettes     ,bladder ,colours1 ,powder
 ,colours1 and ,raw ,colours     ,rack1 
,folding1 and ,upright ,easels     ,desk
 and ,table ,easels     ,nut1 ,poppy1   
,linseed1 and ,drying ,oils     ,mastic1
 ,copal1 and ,spirit ,varnishes         
,turpentine ,gold ,size1 ,asphaltum and 
,m',guelph     ,glass1 ,stone1 and      
,earthen ,slabs and ,mullers     ,maul  
or ,rest ,sticks     ,charcoal and ,pipe
 ,clay     ,bladder ,colour ,nobs       
,oil ,box and ,easel combined     ,c4   

,smith's new invented ,telescope        
portable ,cane ,easels1       extremely 
light1 for ,sketching     ,compressed   
,oil ,papers for ,sketches   #cd1       
,marylebone ,street1 ,piccadilly1 the   
end of the ,quadrant1 ,regent ,street1  
,london4   ,,new ,,camera ,,obscuras4   
,for ,sketching1 so contrived1 that any 
person with a slight knowledge of       
,drawing can use them without           
difficulty1 straining the sight1 or     
previous practice4 ,the images1 being   
reflected on paper1 require nothing more
 than tracing their outlines4           
,,miscellaneous ,,materials4            
,mathematical ,instruments     ,dividers
 and ,compasses     ,tee ,squares and   
,triangles     ,flat1 ,parallel and     
,stationer's ,rulers     ,tracers1      
,erasing and ,pen ,knives     ,drawing  
,pins and ,indian ,glue     ,crow       
,quills and ,pens     ,deal and         
,mahogany ,clamped ,boards     ,boxes of
 ,juvenile ,colours1 c4     ,conte's    
,black1 ,white1 and ,red ,chalks        

,vancouver's ,cement for mending ,china 
,black ,lead ,powder1 and ,crayons for  
,stumping     ,best ,italian ,black1    
,white1 and ,red ,chalks1 in ,crayons   
and ,pencils     ,lithographic and      
,french ,chalks     ,cabinet ,saucers in
 ,cases     ,indian ,rubber and ,sponge 
,black ,lead1 in ,cakes1 for            
,mezzotinting     ,indelible ,marking   
,ink1 for ,linen     ,ox ,gall1 in ,pots
 and ,liquid     ,gold and ,silver1 in  
,shells1 ,saucers1 and ,leaves          
,gold1 ,silver1 ,copper1 and ,green     
,bronzes     ,ivories for ,miniature    
,painting     ,gum ,water for ditto1 c4 
,leather1 ,paper1 and ,cork ,stamps     
,improved ,holders and ,portcrayons     
,harding's ,silver ,crayon ,holders     
,oriental ,tinting ,paper     ,white and
 ,coloured ,tissue ,paper     ,sponge   
,pencils   ,c4 ,,smith',s ,,new         
,,invented ,,water-,,colour ,,cream4  ,a
 ,m',guelph1 or ,medium1 for using with 
,water-,colours1 either transparent or  
semi-opaque1 for obtaining opaque masses

 of colour or glazing4 ,drying slower   
than water1 and not so fluid1 enables   
the touch to be preserved where required
 without hard ridges4            ,soft  
,swiss and ,french ,crayons             
,harding's ,lithographic ,drawing ,books
           ,sketches1 ,tinted ,paper1 c4
           ,fixing ,liquid for ,chalk   
,drawings1 c4           ,varley's and   
,hayter's ,perspectives                 
,cooper's ,studies of ,cattle           
,modelling ,tools           ,leather and
 ,paper ,pencil ,cases           ,finest
 ,quality ,indian ,ink           ,best  
,clear ,vellum           ,ink ,stones   
and ,saucers           ,slabs1 ,tiles1  
and ,palettes in great variety          
,ivory and other ,pencil ,racks         
,glass ,frames for ,tracing             
,graining ,combs           ,photogenic  
,materials           ,patterns for      
,irregular ,lines           ,fixing     
,liquid for ,chalk ,drawings1 c4        
,new ,perspective ,parallel ,rulers     
,prout's ,hints on ,light1 ,shadow1 c4  

---- ,figures for ,landscapes1 c4       
,merime's ,oil ,painting                
,cawse's ditto           ,howard's      
,sketcher's ,manual           ---- on   
,colour           ,laporte's ,studies of
 ,trees  ,a great variety of ,juvenile  
,lithographic ,drawing ,books of        
,landscapes1 ,animals1 and the ,human   
,figure1 and other ,popular ,works on   
,drawing and ,painting4   ,,shade',s    
,,drawing ,,and ,,perspective ,,models4 
,for the practice of young students in  
obtaining a knowledge of the first      
rudiments of ,perspective ,drawing1     
,light and ,shade1 c4 with numerous     
illustrations explanatory of the        
infinite variety of useful ,drawing     
,studies they are capable of forming    
together4 ,to be had complete in boxes1 
price #ajs4 #f;d4 and #a #as4  ,a       
variety of ,miniature ,models of        
,churches1 ,cottages1 ,castles1 c4 c42  
lent out for the use of early in-door   
,landscape ,students1 as a substitute   
for ,nature4  ,wholesale1 ,retail1 and  

for ,exportation4  ,october1 #ahda4     
#cd1 ,marylebone ,street1 ,piccadilly1  
the end of the ,quadrant1 ,regent       
,street1 ,london4     ,j4 ,d4           
,,harding',s ,,works1  ,,published ,,by 
,,tilt ,,and ,,bogue4   ,,harding',s    
,,drawing ,,book1 #ahda4 ,sketches in   
,sepia and ,chalk1 partly original and  
partly selected4 ,six ,nos4 #cs4 #f;d4  
each2 half morocco1 #bds4  ,,sketches   
,,at ,,home ,,and ,,abroad1 containing  
more than ,sixty ,views1 tinted in      
imitation of the ,original ,drawings4   
,imperial folio1 half-bound morocco1 #f4
 #fs4  999999 ,this splendid work has   
been entirely drawn on ,stone by ,mr4   
,,harding himself1 and printed under his
 immediate inspection4 ,the resemblance 
to the ,original ,sketches is complete1 
and each ,subject may be considered as a
 bon fide and first-rate ,drawing4      
,,elementary ,,art3 ,,the ,,use ,,of    
,,the ,,lead-,,pencil ,,advocated ,,and 
,,explained4 ,new ,edition4 ,imperial   
#dto4 cloth1 price #b4 #bs4  999999 ,the

 object of this work is to teach the    
young ,student and the ,amateur1 by the 
practical use of the simplest 7but most 
valuable7 instrument in art--the        
,lead-pencil--how they may study ,nature
 and acquire ,art with the certainty of 
eventual success1 and also to furnish   
them with assistance to which they may  
continually refer in the absence of     
their ,master4 ,the work is illustrated 
by ,twenty-eight ,lithographic ,drawings
 by ,mr4 ,,harding1 and he has followed 
as nearly as possible the course which  
his experience in actual instruction has
 suggested to him4  ,,harding',s        
,,drawing ,,book1 #ahcg4 ,each ,number  
of this ,work contains ,four ,studies1  
including in the whole a great variety  
of subjects4 ,the whole are printed on  
,india ,paper1 price #cs4 each ,part2 or
 #bas4 neatly half-bound4  ,,harding',s 
,,drawing ,,book1 #ahch4 ,a ,series of  
advanced ,studies1 printed in ,mr4      
,,harding',s new tinted style4 ,imperial
 #dto4 ,six ,nos4 #cs4 each2 or1 neatly 

half-bound morocco1 #bas4  ,,harding',s 
,,portfolio4 ,twenty-four               
highly-finished ,sketches1 tinted in    
exact imitation of the ,original        
,drawings4 ,half-morocco1 price #bas42  
or1 coloured1 #cas4 #f;d4  ,,harding',s 
,,early ,,drawing ,,book1 consisting    
entirely of ,elementary ,studies for    
,beginners4 ,six ,nos4 #as4 #f;d4 each2 
or1 bound in cloth1 #ajs4 #f;d4         
,,new ,,and ,,popular ,,drawing-,,books1
  ,,published ,,by ,,tilt ,,and ,,bogue4
   ,,prout',s ,,microcosm2 or ,artist's 
,sketch-,book of ,groups of ,figures1   
,shipping1 and other ,picturesque       
,objects4 ,by ,,samuel ,,prout1         
,f4,s4,a4 ,printed in tints4 ,imperial  
#dto4 ,six ,nos4 #ds4 each1 or1 neatly  
bound1 #bds4  ,,prout',s ,,elementary   
,,drawing ,,book of ,landscapes1        
,buildings1 c4 ,six ,nos4 #as4 #f;d42   
cloth1 #ajs4 #f;d4  ,,sketch ,,book ,,of
 ,,shipping ,,and ,,craft4 ,by ,w4 ,m4  
,,grundy4 ,in ,progressive ,studies4    
,six ,nos4 #as4 #f;d42 cloth1 #ajs4     

#f;d4  ,,andrew',s ,,progressive        
,,drawing ,,book ,,of ,,flowers4 ,six   
,nos4 coloured1 #as4 #f;d42 cloth1 very 
neat1 #is4  ,,barraud',s ,,studies ,,of 
,,animals4 ,lithographed by ,,fairland4 
,six ,nos4 large #dto4 #cs42 or         
coloured1 #es4  ,,julien',s ,,studies   
,,of ,,heads4 ,selected or ,drawn from  
,nature4 ,six ,nos4 #bs12 cloth1 #ads4  
,,worsley',s ,,little ,,drawing ,,book4 
,easy ,studies in ,landscapes1 ,houses1 
c4 ,fourteen ,nos4 #f;d42 or two vols1  
cloth1 #ds4 each4  ,,zeitter',s         
,,studies ,,of ,,animals ,,and ,,rustic 
,,groups4 ,six4 ,nos4 #as42 cloth1 #gs4 
#f;d4  ,,the ,,little ,,sketch ,,book4  
,very easy ,studies in ,landscapes1     
,figures1 c4 ,by ,g4 ,,childs4 ,new and 
improved ,edition1 ,fourteen ,nos4      
#f;d42 or in #b vols1 cloth1 #ds4 each4 
,,fairland',s ,,juvenile ,,artist4      
,figures1 ,landscapes1 and ,shipping4   
,eight ,nos4 #as42 or cloth1 #hs4       
,,cooper',s ,,studies ,,of ,,animals4   
,eight ,nos4 #bs42 or #afs4 bound4      

,,lessons ,,in ,,flower ,,painting4     
,drawn and coloured after ,nature1 by   
,,james ,,andrews4 ,six ,nos4 #bs4      
#f;d42 cloth gilt1 #afs4  ,,fairland',s 
,,drawing ,,book ,,of ,,the ,,human     
,,figure4 ,in a ,series of ,progressive 
,studies4 ,twelve ,nos4 #bs42 or #b     
vols1 cloth1 #abs4 each4  ,,child',s    
,,elementary ,,drawing ,,book4 ,studies 
from ,nature1 in ,progressive ,lessons4 
,eight ,nos4 #i;d42 cloth1 #gs4 #f;d4   
,,harley',s ,,landscape ,,drawing       
,,book4 ,six ,nos4 #as42 cloth1 #gs4    
#f;d4  ,,phillips' ,,familiar ,,life4   
,etchings of ,figures1 ,groups1 c4      
,three ,nos4 #as4 #f;d4         99      
99       99       99       99           
,transcriber's ,notes3  ,obvious        
punctuation errors repaired4  ,text uses
 both development and developement4     
,contents1 #ga changed to #gj           
7,,of ,,backgrounds     #gj7  ,page #ac1
 ,park-corner changed to ,park ,corner  
7park-gates at ,hyde ,park ,corner7     
,page #eb1 invole changed to involve    

7light and shade may involve7  ,page    
#gh1 ,jupitor changed to ,jupiter       
7,temple of ,jupiter ,tonans7