,a ,,treatise ,,on ,,landscape          
,,painting ,,in ,,water ,,colours ,,by  
,,david ,,cox                           
,,with ,a ,,foreword                    
,,by ,a4 ,l4 ,,baldry                   
,,edited ,,by ,,geoffrey ,,holme        
,,london3 ,,the ,,studio1 ,,ltd41 #dd   
,,leicester ,,sq41 ,w4,c4 #b            
,,mcmxxii          ,,foreword ,,by ,a4  
,l4 ,,baldry      ,when an artist is    
beyond question a master of his craft it
 is always  particularly interesting to 
hear what he has to say about the       
principles  by which his art is         
controlled and the methods he employs in
 his  practice4 ,it is1 of course1 in   
his work1 in the things he creates1 that
  he gives the complete expression of   
his convictions and that the full       
product of his experience is embodied1  
but by the aid of words he is  able not 
only to declare the intention by which  
his expression has been  directed but   
also to explain the technical processes 
which have enabled  him to arrive at his

 results4 ,his creed1 once set down in  
writing1 is  made permanently available 
for the guidance of all who study his   
work  and seek to realise his purpose2  
the statement of his methods becomes an 
enduring record to which those who come 
after him can refer when they  wish to  
understand the manner of his production4
    ,in this way1 indeed1 the           
educational value of the master's       
precepts is  maintained indefinitely4   
,even after his personal and living     
influence  has been withdrawn his       
authority persists and his teaching     
remains  active1 because in all its     
essentials it is still within the       
student's  reach4 ,fashions in art may  
vary from time to time1 but its         
fundamental  principles do not change   
and the exposition of these principles  
which  has served one generation is just
 as helpful to another4    ,therefore1  
such a book as this 8,treatise on       
,landscape ,painting and  ,effect in    
,water ,colours1 from the first         

rudiments to the finished  picture10 by 
,david ,cox1 deserves as ready an       
acceptance to-day as it  received when  
it was first published more than a      
century ago4 ,david ,cox  is justly     
counted among the greater ,british      
masters--that can scarcely  be          
disputed--he was also a teacher of very 
wide experience and he knew  well how to
 enable others to profit by the         
knowledge he had accumulated4  ,it was  
the fruit of this experience that he    
gathered in his 8,treatise10  and it was
 in response to a demand from the people
 who were best able to  judge the       
quality of his teaching that he         
undertook the preparation of  the book4 
8,the urgent and repeated solicitations 
of many of his pupils10  he says in his 
foreword1 8have induced the author of   
this work to submit  to the public those
 results which are the result of many   
years' study1  and which may guide the  
student in the selection of appropriate 
effects  of nature1 adapted to the      

different characters of landscape       
composition40    ,that in referring to  
8urgent and repeated solicitations0 he  
was not  using a mere figure of speech  
is likely enough1 for in those days     
plenty  of people wanted to be taught   
and the master who knew his business was
  very much in request4 ,drawing and    
water-colour painting were reckoned as  
elegant accomplishments which formed a  
necessary part of a polite  education1  
and there was not only a host of        
amateurs who were ready to  learn but a 
number of professional students as well 
with a real desire  to become proficient
 in a new and attractive form of        
practice in which  art patrons and      
collectors were showing themselves to be
 much  interested4 ,the official type of
 art school with which we are familiar  
to-day was almost non-existent--or at   
all events there were few such  places  
available for the amateur--so the       
private teacher had to supply  the      
deficiency and to assume a position of  

considerable responsibility4  ,however1 
it cannot be disputed that he filled    
this position in a way  that brought him
 credit and that what he had to do was  
done with marked  efficiency4           
,certainly1 the students then had       
privileges which we to-day can justly   
envy4 ,they were extraordinarily        
fortunate in their teachers1 for they   
were able to obtain instruction from    
some of the greatest masters whom  this 
country has produced4 ,turner1 ,de      
,wint1 ,cotman and ,david ,cox1 and     
many other men of distinction who were  
their contemporaries were  actively     
engaged in teaching during some part of 
their lives and by  their genius and    
experience they raised greatly the      
standard of popular  taste and fostered 
a feeling for art in social circles4    
,moreover1 by  their practice and       
precept they developed the new art of   
painting in  water colours from a       
tentative and timid form of expression  
into  something splendidly robust and   

full of brilliant possibilities4    ,it 
may1 perhaps1 seem a matter for regret  
that an artist of rare  capacities1 like
 ,david ,cox1 should have apparently    
wasted in the  drudgery of teaching so  
much of the time which he might have    
employed to  advantage in following his 
profession as a painter4 ,but by his    
work as a  drawing-master he not only   
created a public which learned          
eventually to  show an effective        
appreciation of his productions1 but he 
also helped on  a movement which was of 
benefit to others as well as himself4   
,if the art  in which he excelled had   
been taught only by the less competent  
men it  would scarcely have secured so  
quickly such a large measure of         
recognition2 it was the ability of the  
teachers to prove how great were  its   
possibilities that ensured its          
acceptance and established its          
authority4    ,still1 it must be        
admitted that many of these men whom we 
now rank as  masters became teachers    

from necessity rather than choice4 ,at  
the end of  the eighteenth century it   
was often difficult for a young artist  
to earn  a living2 pictures fetched low 
prices and the demand for them was      
uncertain1 so he had to seek out other  
sources of income4 ,teaching1  badly    
paid as it was1 was a very real help and
 the man who could secure  a good       
connection in schools and among private 
pupils was able to  maintain himself    
while he was waiting to find buyers for 
his works4 ,if  the patrons failed to   
appear he remained a teacher to the end 
of his  days1 counting himself fortunate
 if he was able to hold his own against 
the competition of younger men who were 
ready to oust him from his  place4      
,david ,cox was decidedly one of those  
who were forced into teaching by        
circumstances1 for he was born of humble
 parents and had from early life  to    
make his way in the world by his own    
exertions4 ,he had during his  childhood
 some small amount of art training and  

when he was barely  seventeen he began  
to work as a scene-painter1 first in    
,birmingham1  where he was born1 and    
afterwards in ,london4 ,but even then he
 was a  serious student of nature with  
ambitions to become a landscape painter1
  and soon after he came to ,london he  
took the opportunity to get some        
lessons from ,john ,varley in           
water-colour painting4 ,in this new art 
he  made such satisfactory progress that
 he gave up his theatrical work1        
devoting himself1 instead1 to landscape 
painting and teaching4 ,even then  he   
was only twenty-two and he had still    
much to learn to fit himself for  the   
career on which he was entering2 but so 
assiduous was he in his  study of nature
 and so consistent in his effort to     
acquire a full  command of technical    
processes that he was able at the age of
 thirty--in  #ahac--to secure election  
as a member of the ,society of ,painters
 in ,water  ,colours4 ,this election can
 be taken as evidence that he was       

already  regarded by his fellow-artists 
as a man of some distinction in his     
profession4 ,but the same year brought  
other evidences of his growing  success1
 for it saw his appointment as          
drawing-master in the ,military         
,academy at ,farnham1 and also the issue
 of the first parts of his  8,treatise  
on ,landscape ,painting10 in which he   
was able to talk about the  8repeated   
solicitations0 of his pupils and to     
imply that his position as  a teacher   
was one which justified him in speaking 
with authority about  matters of        
technical practice4    ,yet1 with what  
he might regard as a fairly established 
place in the  world he was by no means  
relieved from his struggles for         
existence4 ,he  had advanced1 it is     
true1 beyond the stage when he was glad 
to get a  couple of guineas a dozen for 
the drawings which he sold to dealers1  
but  his smaller works still fetched    
only a few shillings and a large one not
  more than five or six pounds4 ,it was 

necessary for him to work very hard  and
 to practise the strictest economy to   
maintain himself and his wife  and      
child1 and it was impossible for him to 
do without the earnings  which teaching 
brought him4 ,it was probably for this  
reason that in  #ahad1 when he gave up  
his post at the ,military ,academy      
because he felt  the work there to be   
unsuited to him1 he left ,london and    
settled in  ,hereford1 where teaching   
engagements in schools and private      
families  were plentiful and where he   
was able to take in pupil-boarders4     
,at ,hereford he remained for nearly    
fourteen years1 but he visited ,london  
annually and he made periodical         
sketching excursions to different parts 
of the ,british ,isles and occasionally 
abroad4 ,eventually he returned to      
,london and lived at ,kennington until  
#ahda1 when he moved once again1  this  
time to ,harbourne1 a suburb of his     
native town1 ,birmingham1 where  he died
 in #ahei4 ,slowly but surely he built  

up his reputation1 more  slowly still he
 increased his income and added to his  
savings1 but it  was not until his final
 departure from ,london that he was able
 to free  himself from his              
responsibilities as a teacher and to    
devote the whole  of his energies to    
painting4    ,indeed1 the move to       
,harbourne was made partly to obtain    
leisure for  practice in oil painting1  
as he had conceived a somewhat sudden   
desire  to acquire a mastery of that    
medium4 ,he had used oils many years    
before1  but for sketches rather than   
finished pictures2 the ambition to      
achieve  more in this direction came to 
him about #ahci1 when he made the       
acquaintance of ,w4 ,j4 ,muller and     
watched that extraordinarily skillful   
painter at work4 ,cox1 who was then a   
man of fifty-six1 became a sort of      
pupil of the younger artist and accepted
 hints from him with  characteristic    
humility--he is reported to have said on
 one occasion  during a technical       

demonstration1 8,you see1 ,mr4 ,muller1 
,i can't paint40    ,however1 if such a 
remark were justifiable in #ahci1 it was
 certainly  subject to considerable     
modification very few years later1 for  
,cox1 once  started in the right        
direction1 developed quickly into an oil
 painter of  unquestionable distinction4
 ,he never1 perhaps1 reached quite the  
same  degree of proficiency which he had
 attained in water colours1 but he did  
work which was worthy of him and he     
added many fine canvases to the  series 
which generation by generation has been 
built up by the masters  of ,british    
landscape4 ,fortunately1 he did not     
devote the whole of his  time to pursuit
 of new methods1 indeed1 to this final  
period of his life  belong some of the  
greatest of his water-colour            
paintings--possibly  practice with oils 
heightened his keenness of vision and   
increased the  strength with which he   
handled the more delicate medium1 and no
 doubt  freedom from distractions       

enabled him to work more deliberately   
and with  closer concentration4    ,if  
,cox's career is judged by the          
conventional money standard it would be 
scarcely possible to say that he        
achieved success1 for at no time were   
his earnings large--he is said to have  
only once received #ajj for a           
picture--and the small competence which 
he amassed in his later years  would    
have seemed merely poverty to anyone    
less modest and  simple-minded4 ,but if 
he is measured by the true standard1 of 
accomplishment1 he can be reckoned as   
successful in the highest degree4  ,his 
paintings are distinguished by an       
exquisite perception of the great  facts
 of nature and by a consistent          
significance of interpretation1 they    
have a most attractive individuality1   
and their technical mastery is          
exceptionally convincing--they put him  
definitely among the leaders of  the    
,british school4 ,as a teacher he had a 
wide and wholesome influence  because he

 sought to impress upon his pupils his  
own sincere belief that  nature is and  
always must be the right source of an   
artist's  inspiration1 and because he   
tried to make them devout and serious   
students like himself4    ,it was       
essentially from the standpoint of the  
landscape painter that he  approached   
his teaching4 ,his 8,treatise0 was      
intended to guide the  student 8in the  
selection of appropriate effects of     
nature10 or in other  words1 to point   
the way to a proper understanding of    
nature's  subtleties4 ,cox did not      
believe in an easy and convenient       
formula2 he  did not use one himself and
 he had no wish to impose it upon       
others4 ,in  this his attitude was      
partly temperamental and partly1 no     
doubt1 due to  the fact that1 unlike    
many of his contemporaries1 he did not  
spend his  earlier years in learning the
 conventions of the topographical       
draughtsman--he was a translator and an 
interpreter1 not merely a  copyist1 and 

although his interpretation was         
eminently a true one1 its  truth        
appeared in his realisation of the great
 fundamentals1 not in the  laborious    
statement of local trivialities4 ,he    
expressed this himself on  one occasion 
when the committee of the ,water-,colour
 ,society had  complained that some     
paintings of his were 8too rough0--he   
wrote1 8,they  forget that these are the
 work of the mind1 which ,i consider    
very far  before portraits of places40  
,this faith that painting should be the 
work of the mind1 and of a mind  so     
stored with impressions of nature that  
it would be able infallibly to          
recognise what was the way in which each
 aspect of nature should be  treated1 is
 very clearly demonstrated in his       
8,treatise40 ,read between  the lines of
 its practical advice the book1 indeed1 
is an eloquent  assertion of a master's 
creed1 and as such it is instructive not
 only to  the student who wishes to     
profit by its technical hints but also  

to the  judges of art who are anxious to
 appreciate the principles of which     
,david ,cox and his greater             
contemporaries were masterly exponents4 
,there is much in the text that explains
 these principles and defines the       
manner in which they should be applied4 
,for instance1 when ,cox dwells  upon   
8the necessity of becoming thoroughly   
acquainted with1 and of  obtaining a    
proper feeling of1 the subject10 and    
when he says that 8the  picture should  
be complete and perfect in the mind     
before it is even  traced upon the      
canvas10 he is simply advocating that   
first and most  vital essential in all  
artistic effort1 accurate and           
intelligent  observation4    ,again1    
when he insists that 8in the selection  
of a subject from nature  the student   
should ever keep in view the principal  
object which induced  him to make the   
sketch10 and adds that 8the prominence  
of this leading  feature in the piece   
should be duly supported throughout2 the

 character  of the picture should be    
derived from it2 every other subject    
introduced  should be subservient to it2
 and the attraction of the one should be
 the  attraction of the whole10 he is   
only pointing out the necessity for     
orderly and logical design4 ,his        
arguments1 too1 that the sentiment of   
the subject should be reflected in the  
manner of its treatment1 that  8such    
force and expression should be displayed
 as would render the  effect1 at the    
first glance1 intelligible to the       
observer10 and that the  right relation 
should be scrupulously maintained       
between the leading  object in the      
composition and the less prominent      
accessories1 are wholly  inspired by the
 belief that a sense of balance and     
proportion are as  indispensable to the 
student as the power to see and to think
 about what  he sees4    ,further1 what 
he has to say about the need for        
exactness in the  preparatory stages of 
a painting is most significant1 as it   

shows how  much importance he attached  
to systematic accomplishment and steady 
progression from one stage of the work  
to another4 ,but here also the          
foundation must be observation--the     
student 8must possess a clear           
conception of his subject0 because upon 
that depends the perfection of  his     
outline1 and 8it will be necessary for  
him to be particular in his  designation
 of the outline0 because only in that   
way will he be able to  proceed to his  
own satisfaction and convey a definite  
and correct idea  to the observer4 ,cox 
very rightly claims that 8he who devotes
 his time  to the completion of a       
perfect outline1 when he has gained this
 point1  has more than half finished his
 piece3 while the author of a slovenly  
outline creates for himself an infinity 
of trouble1 in order to avoid           
additional errors in the colouring of   
his subjects3 and after all his         
efforts1 finds it impossible to produce 
a picture perfect in any one  part10 and

 he adds some valuable suggestions as to
 the way in which this  perfect         
outline--by which he means simply       
certainty and expressiveness  of        
draughtsmanship--should be obtained4    
,always1 however1 he asserts that  the  
way to success lies only through        
persistent endeavour and unfailing      
consistency of purpose--8if the mind be 
fixed and sincere in pursuit of  the    
art1 difficulties will be easily        
surmountable3 they will rather  quicken 
than damp the desire for improvement10  
and 8the accomplishment  of one task    
will only give additional stimulus for  
the performance of  another0 are        
essential articles in the creed which he
 professed and  practised throughout his
 life4    ,in fact1 he regarded art as  
the intellectual result of a visual     
exercise  and to obtain this result he  
prescribed a rigorous discipline4 ,his  
teaching is all the more worthy of      
attention now because it provides an    
antidote to the sloppy conventionalism  

which is poisoning much of the  art of  
to-day4 ,there were no affectations     
about ,david ,cox1 and the poses  of our
 modern artists of the 8advanced0 school
 would have seemed to him  particularly 
offensive4 ,yet1 he was himself a       
pioneer1 and in some ways  a rebel2 but 
in breaking new ground he was seeking to
 make progress by  overcoming the       
difficulties of art and his rebellion   
was against  limitations which he knew  
to be unreasonable4 ,his book is proof  
enough  that he would have had no       
sympathy with reactionaries who make a  
pretence of primitive simplicity so that
 they can shirk the labour of  learning 
their craft2 and all that he has        
included in it shows that to  him that  
art only was right which was earnest1   
sincere1 and honest1 and  unquestioning 
in its worship of nature4               
,a ,,treatise                           
,,on                       ,,landscape  
,,painting and ,,effect                 
,,in                                    

,,water ,,colours3            ,,from    
,,the ,,first ,,rudiments1 ,,to ,,the   
,,finished ,,picture4                   
,,with                                  
,,examples                              
,,in                     ,outline1      
,effect1 and ,colouring4                
,,by                                    
,,david ,,cox4                          
,,london3  ,,printed ,,for ,,and        
,,published ,,by ,s4 ,,and ,j4 ,,fuller1
 at the ,temple of ,fancy1  ,,rathbone  
,,place2 ,and sold by ,messrs4          
,,longman1 ,,hurst1 ,,bees1 ,,orme1 and 
,,brown2  ,,herwood1 ,,neely1 and       
,,jones2 and ,,gale and ,,curtis1       
,paternoster-,row1 ,,ackermann1         
,strand1 and by all ,booksellers in     
,town and ,country4                     
#ahac4                                  
,,price #gs4 #f;d4       ,facsimile of  
the cover of the original edition1      
published in #ahac          ,,to ,,the  
,,public,a      ,in an age when the     
patronage extended to the ,fine ,arts   

bears a full  proportion to the growing 
expansion of the human mind1 and when   
our  ,national ,taste is no longer put  
out to nurse1 an apology for the        
publication of a new ,work1 tending to  
the still more complete  elucidation of 
principles not yet perfectly understood1
 and giving  greater facilities to the  
labours of the young ,artist1 will      
scarcely be  considered necessary4 ,if  
an excuse were sought for1 however1 the 
,publishers would confidently point to  
the acknowledged eminence of the        
,author of the production which they    
have the honour to propose to the       
notice of the world2 to the new and     
interesting principles which it will    
develope2 and to the extent and         
excellence of the examples with which it
  will abound4 ,to an enlightened and   
liberal public1 possessing ability to   
discriminate1 and spirit to reward      
talent1 it is unnecessary to urge any   
additional claims to their attention and
 support4    ,the abilities of ,,mr4    

,,cox1 as a ,painter in ,water ,colours1
 have been long  established2 and his   
knowledge of ,effect is equal to that of
 any ,artist  of which the age can      
boast4 ,his ,pencil ,drawings are of the
 boldest  style2 and the ,etchings1 in  
imitation of ,lead ,pencil and ,chalk1  
which  will be found amongst the        
examples appended to this ,work1 will be
 marked  by a peculiar character of     
fidelity1 and derive an additional value
 from  the circumstance of their being  
executed by himself4--,in the first of  
these ,sketches1 the most simple        
principles of the ,art will be exposed2 
and the advancement of the young        
,student will be accomplished by their  
gradual progression to subjects more    
interesting in their detail1 and of     
greater difficulty in their execution4  
,in the progress of the ,work1 the      
,author will introduce a variety of     
imitations of his ,drawings1 in ,sepia  
and ,colours1 from all the most         
striking ,effects in ,nature2 the       

,plates from which will be executed by  
the first ,aquatinta ,engraver in       
,london2 and the subjects appropriated  
to  this department of the ,work will be
 so selected1 as to display an  unusual 
variety of the most picturesque ,scenes 
in ,england and ,wales4    ,the         
diversity and character of these        
,examples1 combined with the sound  and 
simple instruction which will be found  
in these ,numbers1 will render  it a    
most desirable object of study1 not only
 to the fashionable  ,amateur1 but to   
the young ,artist whose disposition and 
ambition urge him  on in pursuit of     
professional eminence4 ,all speculative 
and uncertain  theories will be cast    
aside1 to make room for tried rules and 
solid  principles2 the object of the    
whole being gradually to conduct the    
,student1 by the most direct paths1 to  
the highest point of practical          
excellence3 and the ,proprietors feel   
the most confident anticipations of  the
 brilliant success which will crown this

 ,undertaking1 from the  consciousness  
that a ,work1 better qualified to       
establish those ends  which it professes
 to keep in view1 is not to be found    
amongst the  productions of contemporary
 genius4          ,a ,,treatise ,,on    
,,landscape ,,painting ,,and ,,effect   
,,in ,,water ,,colours ,,by ,,david     
,,cox,b      ,,advertisement4    ,the   
urgent and repeated solicitations of    
many of his ,pupils have induced  the   
author of this ,work to submit to the   
,public those remarks which are  the    
result of many years' study1 and which  
may guide the ,student in the  selection
 of appropriate effects of ,nature1     
adapted to the different  characters of 
,landscape composition4    ,in his      
choice of the examples to elucidate     
these ,observations1 he has  been guided
 by a wish to lay before the ,learner1  
as far as the limits of  the ,work would
 admit of such illustrations1 some of   
the most striking  effects1 where       
incident combines with ,nature to give  

expression and  vigour to each scene4 ,a
 more satisfactory elucidation of this  
rule will  be afforded in the examples  
appended to the subsequent pages4       
,,general ,,observations ,,on           
,,landscape ,,painting4    ,the         
principal art of ,landscape ,painting   
consists in conveying to the  mind the  
most forcible effect which can be       
produced from the various  classes of   
scenery2 which possesses the power of   
exciting an interest  superior to that  
resulting from any other effect2 and    
which can only be  obtained by a most   
judicious selection of particular tints1
 and a  skilful arrangement and         
application of them to differences in   
time1  seasons1 and situation4 ,this is 
the grand principle on which pictorial  
excellence hinges2 as many pleasing     
objects1 the combination of which       
renders a piece perfect1 are frequently 
passed over by an observer1  because the
 whole of the composition is not under  
the influence of a  suitable effect4    

,thus1 a ,cottage or a ,village scene   
requires a soft and  simple admixture of
 tones1 calculated to produce pleasure  
without  astonishment2 awakening all the
 delightful sensations of the bosom1    
without trenching on the nobler         
provinces of feeling4 ,on the contrary1 
the structures of greatness and         
antiquity should be marked by a         
character of awful sublimity1 suited to 
the dignity of the subject2  indenting  
on the mind a reverential and permanent 
impression1 and  giving1 at once1 a     
corresponding and unequivocal grandeur  
to the  picture4 ,in the language of the
 pencil1 as well as of the pen1 sublime 
ideas are expressed by lofty and obscure
 images2 such as in pictures1  objects  
of fine majestic forms1 lofty towers1   
mountains1 lakes margined  with stately 
trees1 rugged rocks1 and clouds rolling 
their shadowy forms  in broad masses    
over the scene4 ,much depends upon the  
classification of  the objects1 which   
should wear a magnificent uniformity2   

and much on the  colouring1 the tones of
 which should be deep and impressive4   
,in the selection of a subject from     
,nature1 the ,student should ever keep  
in view the principal object which      
induced him to make the sketch3  whether
 it be mountains1 castle1 groupes of    
trees1 corn-field1 river  scene1 or any 
other object1 the prominence of this    
leading feature in  the piece should be 
duly supported throughout2 the character
 of the  picture should be derived from 
it2 every other subject introduced      
should  be subservient to it2 and the   
attraction of the one1 should be the    
attraction of the whole4 ,the union of  
too great a variety of parts tends  to  
destroy1 or at least to weaken the      
predominance of that which ought  to be 
the principal in the composition2 and   
which the ,student1 when he  comes to   
the colouring1 should be careful to     
characterise1 by throwing  upon it the  
strongest light4 ,in his attention to   
this rule1 however1 the  ,student must  

be particular not to fall into the      
opposite extreme1 by  suffering the     
leading object of his composition so    
fully to engross his  attention as to   
render him neglectful of the inferior   
parts4 ,because  they are not to be     
exalted into principals1 it does not    
follow that they  are to be degraded    
into superfluities4    ,all the lights  
in a picture should be composed of warm 
tints1 except  they fall on a glossy or 
reflective surface2 such as laurel      
leaves1  glazed utensils1 etc41 which   
should be cool1 and the lights small1 to
  give them a sparkling appearance3 but 
care must be taken not to  introduce a  
cold colour in the principal light1     
which1 as already  mentioned1 should be 
thrown upon the leading feature of a    
picture1 as it  conduces to destroy the 
breadth that should be preserved2 while 
on the  contrary1 the opposition or     
proximity of a cool to a warm colour    
assists  greatly in giving brilliancy to
 the lights4 ,if the picture1 for       

instance1 should have a cool sky1 the   
landscape ought to be principally       
composed of warm tints2 as contrast of  
this description tends to the  essential
 improvement of the general effect4     
,all objects which are not in character 
with the scene should be most  carefully
 avoided1 as the introduction of any    
unnecessary object is sure  to be       
attended with injurious consequences4   
,this must prove the  necessity of      
becoming thoroughly acquainted with1 and
 obtaining a proper  feeling of1 the    
subject4 ,the picture should be complete
 and perfect in  the mind1 before it is 
even traced upon the canvas4 ,such force
 and  expression should be displayed1 as
 would render the effect1 at the first  
glance1 intelligible to the observer4   
,merely to paint1 is not enough2  for   
where no interest is felt1 nothing can  
be more natural than that  none should  
be conveyed4    ,finally1 it may be     
observed1 that it is only by a due      
attention to each  distinct part1 and by

 a skilful combination of all1 that the 
whole can  be effective and delightful4 
,,on ,,outline4    ,the young draftsman 
who is ambitious of future eminence must
 be close in  his attention to those    
minute points which1 skilfully combined1
  constitute the excellence of the      
painter4 ,in the outset1 it will be     
necessary for him to be particular in   
his designation of the ,outline1  for   
the perfection of which1 he must possess
 a clear conception of his  subject2    
otherwise1 be his genius what it may1 he
 will wander wildly1  without either    
promoting his own satisfaction1 or      
conveying a definite  or correct idea to
 the observer4 ,too little attention has
 generally been  paid to this point1 by 
,students3 they are too apt to appear   
disconcerted  and discouraged1 when the 
task wears a complexion of difficulty4  
,a clear and decided ,outline possesses 
a manifest superiority over an          
imperfect or undecided one1 inasmuch as 
it renders unnecessary those  continual 

references to ,nature or to copy1 which 
must be had recourse  to1 where the     
,outline is defective4 ,he who devotes  
his time to the  completion of a perfect
 ,outline1 when he has gained this      
point1 has more  than half finished his 
piece2 while the author of a slovenly   
,outline  creates for himself an        
infinity of trouble1 in order to evade  
additional  errors in the colouring of  
his subjects2 and after all his efforts1
  finds it impossible to produce a      
picture perfect in any one part4 ,to    
attain proficiency in the art of        
pencilling1 the ,student is recommended 
to practise ,drawing from the casts of  
the antique1 by which study he  will    
acquire a growing facility in the       
designation of fine forms1 as  well as a
 more correct and decided mode of       
outlining4 ,the ,pupil will  also find  
his progress greatly accelerated by the 
dedication of his  leisure moments to   
copying objects of still life--a        
practice which will  be found replete   

with advantage1 when he studies         
combinations of  subjects for           
compositions of landscape scenery4      
,in tracing the distinct objects of a   
landscape1 it is recommended to  attend 
more particularly to the general forms  
than to detail3 for  example1 in        
sketching a mountain1 it will be        
sufficient to describe the  extreme     
,outline1 without descending to the     
diversified and numerous  ridges which  
may appear2 for although these uneven   
divisions arrest the  attention of the  
,student1 when engaged in tracing the   
particular form of  the eminence1 they  
are lost to the eye which embraces1 at  
one view1 the  whole of the scene4 ,a   
greater degree of minuteness1 however1  
ought to be  observed in the ,outline of
 the fore-ground of a picture1 where the
  features of the object assume a more  
specific appearance1 shewing  decided   
forms1 and obtruding all their          
diversities of shape upon the  view4 ,to
 obtain excellence in this respect1 it  

will be necessary to make  correct      
drawings from ,nature1 of weeds1 plants1
 bark of trees1 and such  objects as    
usually constitute the foreground of a  
landscape4    ,the ,student must first  
commence with perpendicular1 horizontal1
 and  diagonal lines1 to give the hand  
that freedom and certainty which are    
necessary4 ,the ,drawing must be        
strongly marked in the shade and        
foreground of the subject1 but more     
delicately in the lighter parts1 and  as
 the distance gradually increases4 ,due 
attention to this cannot fail  to give  
the true spirit and perspective4 ,the   
,plates of this ,work should  be copied 
in regular succession1 and any bad line 
that may be made  should be entirely    
expunged2 for all effort to rectify1 by 
retouching1  will only give the piece a 
scratched and indecisive appearance1 and
  consequently will cause confusion and 
mistakes in the colouring4    ,any      
little failure must not be made the     
source of discouragement2 and in  case  

the ,student should not have succeeded  
altogether so well as could  be wished1 
in the first attempt1 he ought by all   
means to persevere  until completely    
successful2 carefully endeavouring1 in  
his renewed  efforts1 to avoid the same 
errors4 ,this mode will assuredly be    
followed  with far greater improvement  
than can possibly attend hasty          
transitions  from one subject to        
another1 without producing perfection in
 either4    ,the best and surest method 
of obtaining instruction from the ,works
 of  others is not so much by copying   
them1 as by drawing the same subjects   
from ,nature immediately after a        
critical examination of them1 while they
  are fresh in the memory4 ,thus they   
are seen through the same medium1 and   
imitated upon the same principles1      
without preventing the introduction  of 
sufficient alterations to give          
originality of manner1 or incurring  the
 risk of being degraded into a mere     
imitator4    ,if the mind be fixed and  

sincere in pursuit of the ,art1         
difficulties  will be easily            
surmountable3 they will rather quicken  
than damp the  desire for improvement2  
for it is only where talent is required 
that  ,genius can be active4 ,the       
accomplishment of one task will only    
give  additional stimulus for the       
performance of another4 ,increasing     
pleasure  will naturally flow from      
progressive improvement4 ,the mind will 
ever be  busily and pleasingly employed2
 for 8the effect of every object that   
meets a ,painter's eye may give him a   
lesson40      ,,on ,,light ,,and        
,,shade1 ,,and ,,effect4    ,it is here 
that the ,art begins to display its     
varied and inexhaustible  beauties1 and 
to reward the patient and improving     
,student4 ,the outline  being completed 
in the manner prescribed by the         
foregoing instructions1  ,,light and    
,,shade1 and ,,effect1 should be studied
 in sepia or ,indian ink1  by which a   
clearer conception of each will be      

acquired than if practised  in colours2 
the variety of the latter tending to    
perplex the mind1 and  to divert it from
 the main object4 ,colouring is a       
distinct and  subsequent branch1 and is 
only to be learnt by long and minute    
observation of the diversified tints and
 hues of ,nature4 ,the principle  of    
,light and ,shade1 on the contrary1 is  
established by theory4 ,this  subject   
has already been so admirably treated   
on1 that it will be  impossible to give 
a better insight into it than is        
contained in the  following passages    
extracted from a celebrated ,work4      
8,shadow is a diminution of light       
occasioned by the interposition of some 
opake body1 which receiving and         
intercepting the light that should be   
cast on the plane it is placed on1 there
 gives a shadow of its own form3  for   
light being of a communicative nature1  
diffuses itself on every  thing not hid 
from it1 particularly on every thing    
that is plain and  smooth2 but where    

there happens the least elevation1 a    
shadow is  produced which exhibits the  
figure of the illumined part on the     
plane4    8,the diversity of luminaries 
occasions a difference of shadows2 for  
if  the body that illumines be larger   
than the body illumined1 the shadow     
will be less than the body4 ,if they be 
equal1 the shadow will be equal  to the 
illumined2 and if the luminary be less  
than the object1 the  shadow will be    
continually enlarging as it goes farther
 off4    8,from what has been observed  
we draw this conclusion3 that the same  
object may project shadows of different 
forms1 though still illumined on  the   
same side2 the sun giving one form1 the 
torch or lamp another4    8,the sun     
always makes its shadow equal to the    
object2 that is1 projects  it           
parallel-wise4 ,it is certainly of      
consequence to observe these rules      
precisely1 and not take the rules for   
candles1 lamps1 and the like1 in  lieu  
thereof4    8,the shadow of objects     

given by a torch or lamp is not         
projected in  parallels1 but in rays    
proceeding from a centre3 whence the    
shadow is  never equal to the object1   
but always larger2 and grows larger as  
it  recedes further4    8,to find a     
shadow1 two things are supposed1 viz41  
light and body4 ,light1  though quite   
contrary to shadow1 is yet what gives it
 its being2 as the  body1 or object1 is 
what gives its form and figure4 ,to     
conceive the  nature of shadows more    
clearly1 and render the practice more   
easy1 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   
body2--the rule being  common to the    
sun1 torch1 etc41 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
 caused by the sun are made in          
parallels4    8,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  line
 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    8,all given shadows 
must appear darker than that part of the
 object not  illumined1 for this        
reason--those parts of objects not      
illumined receive  the reflection of the
 brightness around them2 while the      
shadow given can  receive no reflection 

but from the object in shade40          
,having thus given the origin of ,light 
and ,shade1 it will be necessary  next  
to proceed to give some idea of the     
various effects of ,nature1 and  the    
class of scenery suitable to each       
effect2 as the great merit of a  picture
 depends on the most appropriate ,effect
 given to each scene4    ,abrupt and    
irregular lines are productive of a     
grand or stormy ,effect2  while serenity
 is the result of even and horizontal   
lines1 where no  roughness or           
intersections appear1 to invade the mild
 harmony of beauty4    ,morning ,effect1
 for instance1 may be displayed in any  
composition the  form and character of  
which are pleasing to the eye--where the
 pendent  forms of trees1 combined with 
other objects1 communicate to the mind a
  delightful impression2 and a similar  
observation will hold good with  respect
 to ,mid-day1 which may be produced in  
various situations3 but  owing to the   
great glare of light in such ,effects1  

hay-fields1  corn-fields1 or any busy   
scene on rivers1 etc41 are suitable for 
the  ,effect1 and as regards ,evening   
and ,twilight4 ,such ,effects being     
calculated to convey to the mind        
impressions of grandeur1 the            
composition should be studied1 to       
produce such an ,effect2 and the        
,colouring ought to be perfectly in     
unison with the peaceful repose or  the 
gloomy majesty which controls the scene4
    ,a flat country1 on the marshy banks
 of a winding river1 should be seen     
beneath a grey1 clouded sky4 ,the       
transient effect adapted to such a      
landscape is produced by the fleeting   
lights of the sunbeams1  struggling1    
between the interstices of the blowing  
clouds4 ,the old  ,pollard ,willow is   
strictly characteristic of this scene1  
being  indigenous to countries of this  
description2 and its situation in the   
landscape might be such1 as to carry the
 eye through all the various            
meanderings of the stream4    ,in       

landscapes which may have been selected 
solely with a view to the  display of   
some particular object1 and which are   
low1 and1 on the whole1  less prolific  
in interest1 and less gratifying to the 
eye1 than others  might have been1 an   
additional feature of interest should be
 thrown into  the sky1 to aid1 by the   
contrast it would afford1 the effect of 
the  whole1 which otherwise might appear
 unsatisfactory2 taking care1 at the    
same time1 not to invade or to injure   
the prominent character of the  picture4
 ,on the other hand1 however1 where the 
scene itself is naturally  full of      
interest1 the picture will of course    
admit of a less beautiful  and imposing2
 sky3 although in this case1 as in the  
former1 due  attention should be paid1  
to support the character of the whole4  
,at the  same time it ought to be fully 
explained1 that these observations must 
be understood as by no means intended to
 confine the exertions of the  ,student 
entirely to the particular subjects     

which have been chosen for  illustration
 in the various ,effects of this ,work2 
as it will be obvious1  in drawing from 
,nature1 the ,student will find subjects
 very different1  equally adapted to    
this purpose2 and in his selections from
 the objects  which may present         
themselves to his notice1 he will of    
course find1 in  his own taste1 a guide 
which will be more or less correct1 in  
proportion  as he has cultivated and    
refined it4      ,,method ,,of ,,laying 
,,on ,,the ,,tints4    ,it will be      
necessary that the ,pupil should be     
provided with good hair  pencils1 sepia 
or ,indian ink1 and saucers to mix each 
separate shade in2  also paper strained 
upon a proper drawing-board4    ,the    
outline being made very correct1 the    
,pupil will mix up three or four        
different shades1 according to the      
number of distances there may be in  the
 copy1 and carefully match them to each1
 commencing with the sky1 and  keeping  
the drawing-board a good deal sloped1   

which will assist the tint  to follow   
the pencil in the part where he is at   
work4 ,he will also be  particularly    
careful always to lay it on clear to the
 outline4 ,after he  has gone over the  
sky1 in all the principal parts1        
sufficient to produce  the effect1 he   
will next proceed to lay in all the     
shades1 or masses of  shadow1 which     
usually form the general effect of the  
composition2  beginning always with the 
third distance in the landscape2        
afterwards  the second or middle        
distance2 and then working the          
fore-ground in the  same way4 ,it ought 
to be observed as an invariable rule1   
that the pencil  should be tolerably    
full of colour1 in order that it may    
float1 which  will give clearness to the
 work4 ,after having gone over the whole
 in the  shadows1 the ,learner will mix 
a tint something lighter than each      
shadow1  which must be used upon the    
lights in blending the dark into the    
lights1  such as in fractured stone1    

brick1 broken plaister1 etc41 and in    
those  parts of trees where it is       
required to break the shadows into the  
light  branches by small touches2 which 
will give a finish to the appearance of 
the drawing1 and soften or blend        
together any parts which may appear too 
abrupt4 ,in the finishing1 a dark shade 
should be mixed up1 with which  those   
parts in the shadows which require to be
 marked out in the outline  may be      
finished up2 and a proper depth should  
be given to the dark  parts3 but care   
should be taken not to use this dark    
tint in any bright  light1 as it would  
render the part harsh1 and unpleasant to
 the eye4    ,it must be observed1 that 
in putting on all tints or shadows the  
,student  must accustom himself to      
working with his board straight before  
him2 and  in laying on his tints1 must  
be particularly careful to begin by     
laying  them close to the outline1 and  
not by repeated touches1 or dragging the
  pencil backward and forward in a timid

 manner1 without any decided  method--a 
fault that is chiefly owing to the      
outline not being made  correct2 for    
where the ,pupil has made a correct and 
decided outline1 all  timidity vanishes1
 and he will work with spirit and       
freedom4 ,the reverse  is the cause of  
so many failures in the commencement of 
the ,art4      ,,on ,,colouring4    ,the
 effect having been studied in ,sepia or
 ,indian ink1 in the ,colouring  of his 
subject the young ,student should be    
particularly attentive to the           
adaptation of his colours to the        
composition and effect of the piece4    
,in ,morning and ,evening effects we    
naturally look towards the light  which 
at those periods of the day is marked by
 a mild beauty which  gratifies and     
attracts1 yet divested of that dazzling 
noontide  effulgence which weakens and  
repulses1 the eye4 ,those objects which 
are  seen against the strongest light   
must wear a neutral tint1 which may be  
termed negative harmony2 for were they  

to be garbed in the rich and  full-dress
 liveries of ,nature1 the influence of  
the lustres behind them  would in a     
great measure be rendered nugatory1 and 
the effect weak and  full of error3 on  
the contrary1 in the representation of  
broad sunshine  or mid-day1 those parts 
of the piece which are visited by1 but  
not seen  against1 strong lights1 will  
admit of a rich and beautiful harmony of
  colour1 without doing violence to     
truth1 or infringing on the economy of  
,nature2 and this may be called positive
 harmony1 or a picture of colour4       
,every tint should be laid on with      
clearness and decision1 so that the     
object may receive its proper tone at   
the first touch of the hair  pencil2 nor
 is less skill required in the choice   
and appropriation of  the colours1 which
 should be diversified as much as is    
consistent with  the unison necessary to
 the production of harmony4 ,objects    
which are  exposed to the light require 
a higher finish and more glowing warmth 

of  colour than those which are shrouded
 in shade2 while the minutest parts  of 
the former ought to be touched with the 
utmost care1 so as to render  visible   
and striking all that the broad and     
bright radiance of the sun  may be      
supposed to develope4 ,the latter will  
admit of a less laboured  and less      
perfect delineation4 ,in the lights of a
 picture1 attention to  this rule is    
indispensable1 where it is necessary to 
distinguish1 with  so much correctness  
of detail1 those very objects which in  
shadow would  permit that intimacy of   
union which would almost make them      
appear as  one4    ,the light aerial    
tints should be laid on the remotest    
parts of a  picture1 gradually          
brightening into more rich and decided  
tones as they  approach the nearer and  
more prominent objects2 taking care to  
preserve  the same atmosphere throughout
 the picture4          ,,temple ,,of    
,,fancy,c          ,in times so         
uncommon1 so big with events1        ,so

 hard on the poor1 and so hurtful to    
trade1      ,so fruitful with bunches of
 catchpenny-gents1        ,when fortunes
 immense by ,gass-lights are made1      
,when ,tunnels are carried quite under  
the ,thames1        ,and ,hampstead and 
,highgate are each to be bor'd1         
,when ev'ry ,profession is teeming with 
schemes1        ,and ,cattle are free   
from the murrain insur'd2      ,a plain 
honest ,tradesman who keeps out of debt1
      ,whose name is not seen in the    
,london ,gazette1      ,may linger      
unnoticed1 his labours unknown1         
,till ,puff or ,advertisement gives him 
the ,ton4        ,now be it thus known  
to all ,persons of ,fashion1      ,and  
others of ,rank1 ,pretension1 or        
,station1      ,or ,box ,lobby          
,loungers1 or rich plodding ,cits1      
,who live by their acres1 or exist by   
their wits3      ,and so it be known to 
the few who have spirit      ,and means 
to call forth the exertions of merit--  
,who kindly bestow their time and       

attention      ,on the labours of ,art  
and the works of ,invention3      ,that 
,,fancy1 a ,goddess by ,artists         
respected1      ,in the ,,place of      
,,rathbone has a ,,temple erected1      
,and thither her ,vot'ries are ask'd to 
repair1      ,to lounge away time1 or   
drive away care2      ,there pleasing   
politeness invites at the door1         
,whose mystical ,number is ,thirty and  
,four4      ,the ,,temple's interior by 
,fancy is grac'd      ,with efforts of  
,art1 and productions of ,taste2        
,where ,science and ,genius have happily
 blended      ,the things which for shew
 and for use are intended2      ,there  
the ,ladies will beautiful ,work ,tables
 find1      ,or ,plateaus1 or ,cabinets1
 form'd to their mind1      ,bedeck'd   
with ,medallions1 or finish'd with      
,borders1      ,and varnish'd and       
polish'd according to orders2           
,writing ,desks1 ,netting ,boxes1       
,tunbridge ,tea ,caddies1      ,for the 
,beaux pretty ,housewives1 and ,screens 

for the ,ladies2      ,collections of   
,prints1 and new ,publications1         
,with ,drawings and ,sketches of latest 
new ,fashions2      ,designs rich and   
various1 each fancy to suit1      ,of   
,figures1 of ,insects1 of ,flowers1 and 
of ,fruit1      ,of ,cattle1 of ,trees1 
and of ,songsters that warble1          
,with ,articles fashion'd to imitate    
,marble2      ,transparencies fitted to 
look like stain'd glass1      ,and      
,blinds which the long-fam'd ,venetian  
surpass2      ,rich ,borders and ,papers
 for ,walls or ,partitions1      ,and   
,ovals and ,circles for ,mathematicians2
      ,for the soft billet-doux ,pens1  
,paper and ,ink1      ,and ,ladies of   
,taste may dye with the ,pink2          
,there ,soldiers with ,trophies may     
gladden their souls1      ,and ,sailors 
may quickly arrive at the ,poles2       
,there ,ladies with ,colours may        
heighten their graces1      ,and        
,loungers with ,bronze may replenish    
their faces2      ,in the best-finish'd 

state ,bristol ,boards are prepar'd2    
,and there may be found each description
 of ,card1      ,for the ,lady who      
visits1 or to parties invites1      ,and
 ,cards for the ,clubs both at          
,brookes's and ,white's4      ,in short1
 at this ,,temple the ,public will meet 
,with ,articles fanciful1 useful1 and   
neat1      ,which there will in tasteful
 profusion abound1      ,and ,,fuller   
and ,,fuller will always be found4      
,illustration3 ,,plate ,i4    ,,studies4
    ,illustration3 ,,plate ,,ii4        
,,study4    ,illustration3 ,,plate      
,,iii4    ,,study4    ,illustration3    
,,plate ,,iv4    ,,study4               
,illustration3 ,,plate ,v4    ,,study4  
,illustration3 ,,plate ,,vi4    ,,near  
,,knowle1 ,,warwickshire4               
,illustration3 ,,plate ,,vii4    ,,near 
,,bromley1 ,,kent4    ,illustration3    
,,plate ,,viii4    ,,studies4           
,illustration3 ,,plate ,,ix4    ,,dinas 
,,mawddwy1 ,,north ,,wales4    ,,on     
,,the ,,barmouth ,,road1 ,,north        

,,wales4    ,illustration3 ,,plate ,x4  
,,near ,,birmingham4    ,,near          
,,llanberis1 ,,north ,,wales4           
,illustration3 ,,plate ,,xi4    ,,near  
,,hampton-,,in-,,arden1 ,,warwickshire4 
,illustration3 ,,plate ,,xii4    ,,north
 ,,wales4    ,,near ,,knowle1           
,,warwickshire4    ,illustration3       
,,plate ,,xiii4    ,,near ,,leicester4  
,illustration3 ,,plate ,,xiv4    ,,near 
,,llanfair1 ,,north ,,wales4            
,illustration3 ,,plate ,,xv4    ,,near  
,,llanfair1 ,,north ,,wales4            
,illustration3 ,,plate ,,xvi4    ,,on   
,,bromley ,,hill1 ,,kent4               
,illustration3 ,,plate ,,xvii4    ,,on  
,,dulwich ,,common1 ,,surrey4           
,illustration3 ,,plate ,,xviii4         
,,dolbadarn ,,tower1 ,,north ,,wales4   
,illustration3 ,,plate ,,xix4           
,,llanfair ,,church1 ,,north ,,wales4   
,illustration3 ,,plate ,,xx4    ,,study4
    ,illustration3 ,,plate ,,xxi4       
,,study4    ,illustration3 ,,plate      
,,xxii4    ,,birch4    ,illustration3   

,,plate ,,xxiii4    ,,elm4              
,illustration3 ,,plate ,,xxiv4          
,,pollard ,,willow4    ,illustration3   
,,plate ,,xxv4    ,,oak4                
,illustration3 ,,plate ,,xxvi4          
,,beech4    ,illustration3 ,,plate      
,,xxvii4    ,,ash4    ,illustration3    
,,plate ,,xxviii4    ,,aston ,,hill1    
,,near ,,birmingham4    ,illustration3  
,,plate ,,xxix4    ,,bridgnorth         
,,bridge1 ,,shropshire4                 
,illustration3 ,,plate ,,xxx4    ,,part 
,,of ,,kenilworth ,,castle4             
,illustration3 ,,plate ,,xxxi4          
,,hampton-,,in-,,arden1 ,,warwickshire4 
,illustration3 ,,plate ,,xxxii4         
,,near ,,llanfair1 ,,north ,,wales4     
,illustration3 ,,plate ,,xxxiii4        
,,no4 #a4    ,,no4 #b4    ,,part ,,of   
,,kenilworth ,,castle4    ,illustration3
 ,,plate ,,xxxiv4    ,,no4 #c4    ,,no4 
#d4    ,,part ,,of ,,kenilworth         
,,castle4    ,illustration3 ,,plate     
,,xxxv4    ,,no4 #a4    ,,no4 #b4    ,a 
,,study4    ,illustration3 ,,plate      

,,xxxvi4    ,,studies4    ,illustration3
 ,,plate ,,xxxvii4    ,,old ,,buildings1
 ,,hastings4    ,illustration3 ,,plate  
,,xxxviii4    ,,old ,,buildings1        
,,lambeth4    ,illustration3 ,,plate    
,,xxxix4    ,,morning--,,view ,,of      
,,windsor ,,castle4    ,illustration3   
,,plate ,,xl4    ,,evening--,,view ,,of 
,,conway ,,castle4    ,illustration3    
,,plate ,,xli4    ,,hazy ,,morning4     
,illustration3 ,,plate ,,xlii4          
,,mid-,,day4    ,illustration3 ,,plate  
,,xliii4    ,a ,,heath--,,cloudy        
,,effect4    ,illustration3 ,,plate     
,,xliv4    ,,snowdon1 ,,north ,,wales4  
,illustration3 ,,plate ,,xlv4           
,,cottage ,,near ,,north ,,fleet1       
,,kent4    ,illustration3 ,,plate       
,,xlvi4    ,,lane ,,at ,,edgbaston1     
,,near ,,birmingham4    ,illustration3  
,,plate ,,xlvii4    ,,an ,,effect       
,,after ,a ,,storm--,,view ,,on ,,the   
,,coast ,,near ,,harlech1 ,,north       
,,wales4    ,illustration3 ,,plate      
,,xlviii4    ,,transient                

,,effect--,,view ,,in ,,battersea       
,,marsh4    ,illustration3 ,,plate      
,,xlix4    ,,dolbadarn ,,tower1         
,,llanberis ,,lake1 ,,north ,,wales4    
,illustration3 ,,plate ,l4    ,,pont    
,,aberglaslyn1 ,,north ,,wales4         
,illustration3 ,,plate ,,li4            
,,hastings ,,fishing-,,boats ,,returning
 ,,on ,,the ,,approach ,,of ,a ,,storm4 
,illustration3 ,,plate ,,lii4           
,,sheep-,,shearing--,a ,,view ,,in      
,,surrey4    ,illustration3 ,,plate     
,,liii4    ,,morning--,,fish-,,market   
,,on ,,the ,,beach1 ,,hastings4         
,illustration3 ,,plate ,,liv4           
,,twilight--,,warwick ,,castle4         
,illustration3 ,,plate ,,lv4            
,,morning--,,eton ,,college4            
,illustration3 ,,plate ,,lvi4           
,,noon--,,llanelltyd ,,vale1 ,,north    
,,wales4    ,illustration3 ,,plate      
,,lvii    ,,part ,,of ,,battle ,,abbey  
,this subject is selected1 as being the 
most simple1 both in its design  and    
colouring1 that could well have been    

fixed upon3 still1 however1 it  will be 
necessary to give a description of the  
tints used1 viz4--,the sky  is coloured 
with indigo alone2 the clouds with      
indigo mixed with light  red2 the       
distance1 indigo finished with the same 
colour1 and a little  lake2 the building
 is washed over with indigo1 light red1 
and a little  gamboge2 and the shadowed 
parts of it with indigo and lake1       
finished  with ,vandyke brown and a     
little indigo4 ,the greens in the       
foreground are  composed of indigo1     
burnt sienna1 and gamboge1 finished with
 ,vandyke  brown4    ,illustration      
,illustration3 ,,plate ,,lviii    ,,view
 ,,in ,,surrey    ,is intended as a     
contrast to the foregoing ,plate1       
producing1 by the  effect of a dark sky1
 a strong light upon the principal      
object4 ,the  colours for the sky are   
composed of indigo1 lake1 and ivory     
black2 the  distance1 indigo finished   
with the same colour and a little lake4 
,that  part of the cottage where the    

light is strongly reflected1 is yellow  
ochre1 with a little burnt sienna mixed 
in the richer tones2 the roof is  black 
and lake1 with a little burnt sienna1   
finished with the same2 the  shadows and
 the grey tint upon the timber1 indigo  
and ,indian red2 the  road1 with indigo 
and ,indian red also1 which is finished 
with ,vandyke  brown and lake4 ,the     
greens for the bank and the bushes are  
indigo1 burnt  sienna1 and gamboge1     
completed with indigo and brown pink1   
and a few  touches of ,vandyke brown4   
,illustration    ,illustration3 ,,plate 
,,lix    ,,effect1 ,,morning    ,morning
 ,effect should be produced by sparkling
 and catching lights4 ,a  scene on the  
banks of a river is here intended to    
produce the effect1  while the clear    
reflection of the different objects in  
the water gives  stillness to the scene2
 and the people crossing in the         
ferry-boat to  market is an incident    
which materially tends to stamp the     
character and  elucidate the effect of  

the picture4 ,the sky tints are composed
 of  indigo1 lake1 and a little gamboge1
 gradually softened in with light  ochre
 towards the horizon2 the upper part of 
the sky is finished with a  little      
ultramarine2 the water washed in with   
the same tints as the lower  part of the
 sky2 the distance1 indigo and a little 
light red2 the trees  and bank1 in the  
second distance1 indigo and ,indian red1
 re-touched in  the lights with light   
ochre and gamboge2 the shadows upon the 
house1  indigo and ,indian red2 the     
light side1 light ochre2 the foreground 
trees1 bank1 and weeds are worked in    
with a grey composed of indigo1  ,indian
 red1 and brown pink1 finished with the 
same three colours1  preserving some    
quite white for the sparkling lights1   
which are to be  carefully filled up    
with gamboge and indigo2 the bark of the
 trees1  indigo and ,indian red2 the    
whole of the foreground finished with   
indigo  and burnt sienna1 heightened up 
with ,vandyke brown4    ,illustration   

,illustration3 ,,plate ,,lx    ,,effect1
 ,,mid-,,day    ,as the light is        
required to be broad1 an open scene     
appears well  calculated to produce the 
effect2 and a ,corn-field is made choice
 of4  ,the colours for the sky are      
indigo and lake2 the foliage in the     
distance1 indigo and ,indian red2 the   
corn-field1 yellow ochre1 finished  with
 yellow ochre and ,vandyke brown2 the   
bushes in front1 indigo1 ,indian  red1  
and brown pink2 the road1 light red2 the
 foreground finished with  ,vandyke     
brown4    ,illustration                 
,illustration3 ,,plate ,,lxi            
,,evening4 ,,view ,,of ,,windsor        
,,castle    ,the upper part of the sky  
is coloured with indigo1 lake1 and a    
little  gamboge1 gradually softened in  
with light ochre as it descends1 and    
toward the horizon with light red4 ,the 
,castle is laid in with a warm  tint of 
indigo and light red1 then shaded       
lightly with indigo and lake4  ,the     
different greens in the woods are       

composed of indigo1 burnt sienna1  and  
gamboge1 varied as required2 the shadows
 in the nearer parts1 indigo  and burnt 
sienna2 the water with the same colours4
 ,the trees in the  foreground are      
indigo and burnt sienna1 and the        
finishing touches with  ,vandyke brown4 
,the whole of the foreground and wood   
glazed with brown  pink4                
,illustration    ,illustration3 ,,plate 
,,lxii    ,,twilight4 ,,view ,,of       
,,harlech ,,castle ,,north ,,wales      
,the grey tint in the sky is composed   
with indigo and ,indian red1 and the    
horizon is coloured with light ochre2   
the distant mountains with indigo1      
finished with the same1 mixed with lake1
 and a little ,venetian red on  the     
light sides2 the nearer mountains1      
indigo1 lake1 and ,venetian red2  the   
,castle1 with the same2 the rocks and   
foreground1 lake1 ivory1 black  and     
burnt sienna2 the greens1 burnt sienna1 
gamboge1 and indigo2 the  trees1 indigo 
and burnt sienna1 heightened with       

spirited touches of  ,vandyke brown4    
,illustration    ,illustration3 ,,plate 
,,lxiii    ,,wind    ,the general tone  
of colour is a silvery grey1 upon which 
the effect of  the piece most materially
 depends2 the sky1 indigo and ,indian   
red  throughout1 with a little warm tint
 upon the edges of the clouds2 the      
distance1 indigo1 gradually adding      
,indian red towards the middle and      
foreground2 the ,mill1 with the same    
colour1 glazed lightly with ,vandyke    
brown2 the heath1 indigo and burnt      
sienna1 with clear touches of lake  and 
a very little indigo for the bloom of   
the wild flowers1 etc41  finished with  
,vandyke brown4    ,illustration        
,illustration3 ,,plate ,,lxiv    ,,rain 
,the clouds1 indigo and ,indian red1    
finished with indigo and lake1 and a    
few touches of light red1 subdued with a
 little indigo on the edges of  the     
clouds2 the distance1 with the same grey
 colour as the clouds2 the  bright      
greens1 burnt sienna1 indigo1 and       

gamboge1 glazed with ,vandyke  brown2   
the gipsey tents are lightly coloured   
with lake and a little  black1 and      
varied with a few clear tints4          
,illustration    ,illustration3 ,,plate 
,,lxv    ,,calm4 ,,hastings             
,,fishing-,,boats    ,the blue sky is   
coloured with indigo and a little lake2 
the clouds1 with  indigo and ,indian    
red2 the sea1 indigo1 gamboge1 and a    
little lake2 the  boats1 sails1 etc41   
with a grey tint of indigo and ,indian  
red mixed1  glazed with ,vandyke brown  
and burnt sienna2 the figures shaded    
with the  same grey as the boats1 and   
coloured as may be required4            
,illustration    ,illustration3 ,,plate 
,,lxvi    ,,storm4 ,,view ,,near        
,,hastings    ,the colour of the clouds 
is composed with indigo1 lake1 and      
black2 the  warmer parts1 indigo and    
light red2 the sea1 indigo and ,vandyke 
brown2  the rocks laid in with indigo   
and ,indian red1 and enriched with tints
 of  lake1 ,vandyke brown1 and burnt    

sienna1 finished with a few decided     
touches of ,vandyke brown4              
,illustration    ,illustration3 ,,plate 
,,lxvii    ,,cloudy ,,effect4 ,,distant 
,,view ,,of ,,carnarvon ,,castle    ,a  
mixture of indigo1 lake1 and black for  
the clouds2 distance with  indigo and   
lake2 and the middle distance1 indigo1  
lake1 and brown pink2  the rocks and    
foreground are shaded with lake and     
black2 the lights  varied with a little 
yellow ochre1 also with indigo and lake 
mixed2 the  green1 indigo and burnt     
sienna1 glazed with brown pink4         
,illustration    ,illustration3 ,,plate 
,,lxviii    ,,misty ,,morning    ,the   
sky is laid in with indigo and ,indian  
red1 softened with light ochre  toward  
the horizon2 the whole of the trees1    
water1 bank1 etc41 are first  worked in 
with a tint composed of indigo1 ,indian 
red1 and a little brown  pink1          
afterwards glazed with brown pink1      
indigo1 and burnt sienna1 as  the warmth
 or coldness of the objects may require4

    ,illustration    ,illustration3     
,,plate ,,lxix    ,,afternoon ,,effect4 
,,view ,,in ,,surrey    ,the warm tint  
in the sky is composed with indigo1     
light red1 and yellow  ochre1 adding    
more ochre towards the sun2 the clouds1 
indigo and ,indian  red1 tinged with a  
little yellow ochre2 the whole of the   
landscape laid  in with indigo1 ,indian 
red1 and brown pink1 and glazed with    
brown pink1  ,vandyke brown1 and indigo2
 the sheep1 shaded with indigo and light
 red  mixed1 and tinted with light      
ochre4    ,illustration                 
,illustration3 ,,plate ,,lxx            
,,rainbow ,,effect4 ,,westminster       
,,abbey1 ,,from ,,battersea ,,marsh     
,the sky with indigo1 lake1 and gamboge1
 taking care to soften the edges  of the
 rainbow with clear water2 and when     
perfectly dry1 colour the  outer        
extremity of the rainbow with red2 then 
soften in with it a  yellow1 which will 
produce an intermediate tint of orange4 
,while the  yellow is wet1 run in a     

blue1 which will give a green between   
the two  colours2 and under the blue1 a 
little lake must be softened in4 ,the   
tints upon the bushes on the opposite   
side of the water are varied with       
gamboge1 burnt sienna1 and indigo2 the  
water1 the same tint as the sky2  the   
barge1 lake and black1 finished with    
,vandyke brown4    ,illustration        
,illustration3 ,,plate ,,lxxi           
,,moonlight ,,effect4 ,,view ,,on ,,the 
,,thames    ,the blue in the sky with   
indigo and lake1 subdued with a little  
gamboge2  the clouds tinted with light  
red and indigo mixed2 the distance1     
water1  trees1 etc41 worked in with a   
grey composed of indigo1 lake1 and      
gamboge1 and glazed with brown pink2 the
 barge1 with a clear tint of  lake and  
black1 glazed with ,vandyke brown1      
finished with a few smart  touches of   
the same4    ,illustration              
,illustration3 ,,plate ,,lxxii    ,,snow
 ,,scene4 ,,view ,,in ,,sussex    ,the  
sky is first coloured with indigo and   

,indian red2 afterwards1 in  parts1 with
 indigo alone4 ,the whole of the        
landscape is shaded with  indigo and    
,indian red1 finished with ,vandyke     
brown and brown pink2 the  sheep1 with a
 warm grey of indigo and light red1     
tinted with yellow  ochre4              
,illustration      ,,footnotes3    ,a   
,reprinted from the cover of the        
original edition1 published in #ahac    
,b ,reprinted from the original edition1
 published in #ahac    ,c ,reprinted    
from the cover of the original edition1 
published in #ahac