ONE SHILLING.

PRICE

N13.

HANDBOOK
*

of

LI

GHT AX D

:<

HAD

E,

WITH ESPECIAL REFERENCE TO

ODEL

RA

\Y

G.

BY

MRS.

MERRIFIELD,

HONORARY MEMBER <>T TFIE ACADEMY OF FINE ARTS AT BOLOGNA,

AUTHORESS OF " ANCIENT PRACTICE OF PAINTING,"
" ART OF FRESCO PAINTING," " DRESS AS A FINE ART," ETC.

NUMEROUS ILLUSTRATIONS.

TWELFTH EDITION.

GEORGE

RO

MANUFACTURING
64,

WNEY

ARTISTS'

&

CO.,

COLOURMKN,

OXFORD STREET, AND PRINCES HALL, PICCADILLY,

LONDON.

HANDBOOK
OF

LIGHT AND SHADE,

WITH ESPECIAL REFERENCE TO

MODEL DRAWING.

BY

MRS. MERRIFIELD,
HONORARY MEMBER OF THE ACADEMY OF FIXE ARTS AT BOLOGNA,
AUTHORESS OF "ANCIENT PRACTICE OF PAINTING,"
"ART OF FRESCO-PAINTING," " DRESS AS A FINE ART," ETC.

NUMEROUS ILLUSTRATIONS.

TWELFTH

EDITION.

LONDON:

GEORGE ROWNEY AND COMPANY,

MANUFACTURING ARTISTS' COLOURMEN,
52,

RATHBONE PLACE, AND

29,

OXFORD STREET, W.

LONDON
HENDERSON, RAIT, AND SPALDING, GENERAL PRINTERS,
3

&

5,

MARYLEBONE LANE,

VV.

CONTENTS
PAGE

The Preface

Introductory Remarks

Lesson

1.

General Principles

2.

Of the Light under which objects are viewed, and

of their

Shadows

10

3.

The Cube

4.

The same

5.

The same

21

6.

The same

23

7.

The same

24

,,

8.

Aerial Perspective

25

,,

9.

The Prism and

26

,,

10.

The Pyramid

29

11.

The Cylinder

30

12.

The Sphere

33

13.

The

14.

The Cone

15.

The Perspective

16
(continued)

Oval, or

20

Inclined Plane

Egg Shape

36
37

of

Shadows

39

42

Conclusion

A 2

PREFACE.

Stimulated by the impulse given

to art education

by

the establishment of the Department of Practical Art,

and

of Schools for

connection with

it,

Elementary and Model Drawing in

thousands of persons are

now

learn-

ing to draw systematical, where one formerly learnt. But

there are thousands who, though desirous of learning,
are unable to avail themselves either of private tuition

or of the facilities offered

Government

Schools.

by the State

of attending the

These persons have recourse to

books for the art-education they would otherwise

obtaining.

Manuals

in

of linear-drawing, technical works

on landscape and figure-painting, in

colours, attest,

fail

by the numerous

oil

and

in water-

editions through

which

they have passed, the demand which exists for this

description of literary labour,

who

and the number

of persons

are eager to take advantage of the facilities thus

offered of cultivating the imitative arts.

Among

the numerous works of the class referred to,

PREFACE.

vi

it

is

believed that, though

many

give instructions for

drawing correct perspective outlines of

there

is

different objects,

no work extant which expressly

Light and Shade incidental to these

method

The

of giving

present

them proper

little

to supply this want,

work

is

relief

treats of the

objects,

by

this

and the

means.

intended, in some measure,

and the Authoress now

offers it to

the public, in the hope that the lessons contained in

will be

It

found both useful and

may

it

practical.

be necessary to mention that the instructions

contained in the following pages pre-suppose the power

of drawing correct outlines of

knowledge

of linear perspective.

Brighton, June

25th, 1854.

common

forms, and

INTRODUCTORY REMARKS.

The

proper distribution of the Light and Shade of an

object,

not to mention that of the whole picture,

ways a subject
it is

rendered

still

Yet a

object.

young

of perplexity to the

little

more

so

by the

attention will

student,

show that Light and

as easily understood as the principles

difficulty experienced

and

local colour of the

Shade are amenable to certain fixed laws, which

The

is al-

of

may be

perspective.

by beginners, and that which

sometimes renders the subject extremely complicated,

lies

in distinguishing

what portion

Shade discernible on an object

actually belonging to

it,

owing

ing objects.

its

would be
is

from the surround-

the just discrimination of these points

depends the power of giving on a

representation of an object.
of the

it

form, and that which

to reflection, received

On

Light and

to be considered as

and without which

impossible to distinguish
entirely

is

of the

flat

surface a true

The pictorial arrangement

Light and Shade requires the exercise of a larger

amount

of skill,

and a knowledge

of

what painters

call

INTRODUCTORY REMARKS.

Vlll

" effect ;" upon this part of the subject

proposed to

The

treat.

it is

not

now

observations contained in the

following pages will be limited to a concise explanation

of the principles of

Light and Shade as developed by

common

by

day-light,

artificial light,

and by candle or

sunshine,

upon simple geometrical

solids,

the extent to which this Light and Shade

by

reflection.

easily attained

elucidated
trations,

As

is

and

of

modified

these objects will be best and most

by the

aid of illustrations, they will be

by numerous drawings on

stone.

The

illus-

however, are not intended to supersede the use

of models,

on the contrary,

it is

recommended

that,

while studying the general principles here laid down,

they should be verified in every case by reference to the

white models.

These should be

in a convenient situation,

a proper light.

set

up

for the purpose

and should be studied under

HANDBOOK
OF

LIGHT AND SHADE.

LESSON

I.

GENERAL PRINCIPLES.
Form

is

developed by means

of

light

without these every object would appear

All colour

a deprivation of light

is

several objects of the

and shade

flat.
;

same shape, some

therefore, if

of which are

coloured and some white, are situated similarly with

regard to the light, the white objects will be lighter

than the coloured ones.

Every
light

is

solid

opaque body has one part on which the

brightest,

strongest, the

and one part on which the shade

is

other parts being of an intermediate

tint.

The intermediate
because

it

is

tint

is

called

the

middle

tint,

equally removed from the extreme light

and the extreme dark.

The intermediate

tint

may

half light, the middle tint,

be subdivided into the

and the half dark.

(Fig. 1,

PI. 1.)

The middle
object, the

tints

occupy the largest portion of the

extreme light and dark being limited to a

very small space.

HANDBOOK OF

10

The

brightest part of an object will be that on which

the light falls directly.

The brightest part is called the high light.

The shadow side of an object will be that which

is

opposite to the light.

The shadow side is not synonymous with the shadow.

The extreme dark of a rectilinear object will be found
generally close to the extreme or high light.

The shadow thrown by a white

object

is

darker than

the darkest side of that object.

In an opaque

solid

bounded by

extreme light will be found a

edge on the light

side,

little

circular lines

distance from the

and the extreme dark a

from the edge on the dark or shadow

distance

the

little

side,

while on the intermediate part, the shade will melt

gradually into the light.

LESSON II.
OF THE LIGHT UNDER WHICH

OBJECTS ARE

VIEWED, AND OF THEIR SHADOWS.

Objects are viewed under three

kinds

namely, sun-light, ordinary day-light,

light

and the

effect varies

under one or other of these

As

and

of

light,

artificial

according as they are seen

lights.

a general rule, the brighter the light the stronger

and more

distinct is the shade

in ordinary day-light

the shadows are less distinct, and in dull weather they

are scarcely visible.

When

lighted

by a

single light opaque objects can

LIGHT AND SHADE.

11

be illuminated on one part only, the space situated on

the side not lighted

is

said to be in shadow

on the ground, or on another

object

obscured by an opaque

light is

the space

from which the

solid, is

called

the

shadow.

Shadows

analogous in form to the body by

are

which they are

dicular
figure

is

a straight

is rectilinear,

The shape
outlines,

and

of a perpen-

the shadow of a rectilineal

line,

that of a sphere

shadows

of
is

shadow

cast; thus the

is

is circular.

on their

discernible only

modified by the form of the surface on

which they are thrown.

In sun-light the source

and

at so great a distance,

parison

with

the

parallel,

and

of such

objects

luminous rays which

be

of illumination (the sun) is

fall

lighted

it,

the

that

on our globe are supposed to

The higher

the shorter will be the shadows

when

by

as such they are always to be treated

in daylight scenes.

evening,

magnitude in com-

the sun

the source of light,

morning and

thus, at

low, the shadows are long,

is

while as the sun rises the shadows become shorter, and

are shortest at noon.

In summer, when the sun

attains greater altitude, the

shadows

at

noon are not

so

long as at the same hour in winter, when the rays

strike

more obliquely and the sun

horizon.

is

nearer

the

to

There are certain places within the tropics at

which the sun

a stick be

set

is

sometimes

vertical, so that if at

upright in the ground

it

noon

will cast

no

shadow.

Where

several

straight

lines

are parallel to each

HANDBOOK OF

12

other the shadows thrown

by

these lines

upon a

zontal plane will also be parallel to each other,

hori-

and the

perspective representations of these shadows will con-

verge towards the same accidental points as the per(See

spective representations of the lines themselves.

Lesson

XV.)

If the shadow thrown

by other

and

objects,

from the
*

it

is

or tower

pillar,

a wall,

carried along the surface of these

is

terminated by the ray which, proceeding

seat of light, touches in its passage to the

ground the upper edge

shadow.

solid object is intercepted

such as a fallen tree or

objects,

or a house,

by a

In Fig.
is

2,

cast first

PL

The

1,

body which throws the

the shadow of the cylinder

upon the ground, then, ascending

the wall of the house,

terminates.

of the

it

crosses the

oblique line,

roof,

where

it

A B, shows the direction

of the ray of light.

The

perspective of shadows will be treated in a sub-

sequent lesson.

From

artificial

light the rays

diverge equally all

round.
If

more than one

will have as

artificial light

many shadows

be present, objects

as there are lights

and, as

these shadows frequently intersect each other,

it

comes very

shape,

difficult to distinguish

and, consequently, to represent them.

their

true

be-

The same thing

takes place, but in a lesser degree, in the day-time,

when

the light

is

admitted by more than one window

in the latter case, however, the light being

more equally

diffused, the effects of the cross-lights are not so pal-

LIGHT AND SHADE.

13

Objects seen under these

pable to the casual observer.

circumstances also want that

lucid

and

intelligent

arrangement of light and shade, and breadth of

which are

essential to pictorial representations.

be understood, then, that when

objects

effect,

It will

are

be

to

represented in light and shade, they must be illumined

by one

light only.

We have now to
When

the sun

is

speak of the situation of the light.

the illuminating body,

it is

always

above our heads, and the shadows are in consequence

This, which

thrown downwards.
also the

who

the natural,

most agreeable disposition of the

most convenient.

as the

is

close

light, as well

by

It is imitated

up the lower windows

of

is

their

painters,
studios,

admitting the light only from above.

In an out-door
part, in

the

effect

an in-door

the sky will be the brightest

effect the brightest light will fall

floor.

Independently of

its

height, the situation of the sun

with regard to the spectator

It

may

is

If

it be- behind

left,

before or be-

him, the illuminated side of

objects will be presented to him,

it

continually changing.

be on the right hand or the

hind him.

If

on

and

will

want shadow.

be before him, the shadow side of the objects will

be next to him, and the picture will want light.

If,

on the other hand, the place of the sun be more or

less

either

on the right or the

left,

bright light and extreme

middle

tint,

a picture.

there will not only be

shade,

but a

breadth of

the most favourable conditions for

It will be understood that these

making

remarks do

HANDBOOK OF

14

not apply to landscape painting, particularly with respect to sunsets, in

which the light

the shadow side of objects

is

is

and

in the sky,

turned towards the spec-

tator.

From

the above observations

the choice of a proper light

will be apparent that

it

a subject of great im-

is

portance to the painter.

The terms breadth and

repose have been mentioned

in these pages, and, as they frequently occur in works

of art,

By

it

will be proper to explain them.

breadth

is

meant the introduction

of large masses of light

to a

number

and shade, in contradistinction

of small lights, which distract the attention

of the spectator,

When the

into the picture

and break up the

effect.

masses of light and shade are harmoniously

arranged and balanced, the

effect

of

repose

ob-

is

tained.

The preceding
studied,

When
may

and

observations

their truth tested

should

by

be

carefully

close observation.

they are become tolerably familiar, the student

proceed to draw from models.

white in colour and without polish.

These should be

The most simple

of the geometrical solids should be selected, the recti-

linear figures

first,

and then the

curvilinear.

Of

this

kind are the cube, the parallelopiped, the prism, the

pyramid, the cylinder, the sphere, the egg, and the cone.

As
air,

these solids are not supposed to be suspended in the

something must be placed under them by

ground.
tint, or

The ground may be

dark, but

it

way

of

either white, of a middle

should not have a shining surface.

LIGHT AND SHADE.

As

15

the models are not placed in a vacuum, they must

have a background placed at a small distance behind

them.

colour,

be either white, of a middle

tint,

but the surface should be of one uniform

dark,

or

may

This, also,

and not

polished.

Neither should

it

be creased

A sheet of white pasteboard, or tinted draw-

or folded.

ing board, or a black board will answer the purpose

extremely well.

The

colour of the background should

be frequently changed, and the same model should be

set

before

backgrounds, and

different

effects carefully noted, until the

them

familiar with

the

student

that he could

different

become

is

so

draw them almost

from memory.

In order

to study the effects of light

actually belong to the

duced by

model from those which are pro-

reflection, before

precaution
all objects

beginning to draw, another

necessary, namely, to

is

and shade which

remove to a distance

that will either intercept the light from the

model, or cast reflections upon

it.

Let the student now proceed

to study

from the

solid

object, and " set the model "

in the present

in

in the lesson, then taking

the

manner described

his seat at a

moderate distance,

make

examination,

with as

and

much

him, after a careful

good a copy of

expedition.

tide wait for

what

as

let

case a cube

it

He must recollect that "time

no man," that while he

is

thinking

to do the sun is travelling his daily journey

east to west,

and

as he can,

from

and that the shadows change more rapidly

than he can transfer them to paper.

Two

hours

is

utmost limit of time for one sitting before a model

the
less

HANDBOOK OF

16

would be
it is

If the drawing

better.

completed, or

sitting,

is

interrupted before

could not be completed at one

if it

when again resumed

should be at the same

it

hour, ai^d under the same arrangements with regard to

the admission of the light and the disposal of the back-

ground.

From
it is

it

will be seen that

very desirable to acquire an expeditious manner of

working

aim

the foregoing observations

and, in drawing from models,

at obtaining a

finished drawing.

drawing

may

good

effect

better to

than at making a highly

If a true effect be produced, the

be worked up at

leisure, or,

be infinitely preferable, the original

finished

it is

copy made from

may be

As

it.

what would
left,

and a

a general rule, a

sketch from nature should never be touched after being

completed.

The

materials

may

be tinted cartridge paper of

various colours, the smooth side of which should be used,

and black and white

pencil because

it

Chalk

chalks.

is

preferable to

does not shine.

LESSON

III.

THE CUBE.
Fig. 3,

PL

an ordinary

1.

In

this figure the cube is placed

table, in a direct line

on

with the course of the

light,

which enters by one window, from which the sun-

shine

is

window being
The cube stands upon a

excluded, the lowest edge of the

a few inches above the table.

piece of dark

common

pasteboard.

sheet of white

17

LIGHT AND SHADE.

drawing board

is set

up

at

some

little

This

to serve as a background.

is

distance behind

one of the most

simple conditions, as regards light and shade, in which

The

an object can be represented.

is

that which

fore in

is

most exposed

high light

than the

side,

the top

though

to its influence, it is there-

is less

brilliantly illuminated

receives light

still

it

side next the light

from the

of a light middle tint.

window.

The background

The square

side next the eye is in half shadow, or half

dark, the

ground on which the cube stands

while the shadow thrown on

all

is

this is therefore the

is still

by the cube

it

is

darker,

darkest of

It will be ob-

extreme dark.

served that the extreme light and the extreme dark

make up but very

small portions of the picture, the

So far

principal part consisting of the middle tints.

the gradations of light and shade are evident even to

an unpractised eye.

now

proceed to notice the

gradations which are less evident, and which, in fact,

are rarely discernible, except

by an eye

to

which long

observation has given greater powers of perception.

is

It

the power of distinguishing these minor, and, to the

casual observer, imperceptible gradations, which

stitutes the artist,

con-

and these powers are always most

clearly developed in those

who

are the closest observers

of nature.

Pupils at

first

find

much

difficulty in distinguishing

them, even when pointed out by their instructors, but

their powers of observation may be much strengthened

and improved by the knowledge

of a

few simple laws

of optics.

HANDBOOK OF

18

"We have said that nature has no other means

distinguishing solid objects than
is

and a dark by a

Now,

ground behind the white cube

is

were

it

optics

we should have some

cube from

its

In order

ground.

It

is

and shade

by a

us see

let

dark,

how

this

The white back-

bears upon the subject before us.

tint as the model, that

light

contrasted

a light object, for instance,

light one.

by

of

same

so nearly of the

not for another law of

relieving the

difficulty in

found, therefore, that

to give greater force to a brilliant light, it

appears to be bounded by dark, which, though apparent

to the eye,

in fact,

is,

known not

to exist, but

must have a place in the picture in order

representation

look at Fig.

was white,

is

the

of

to give a true

Let the reader now

object.

The background, which we have

here represented shaded.
The dark
with the bright

effect of contrast

eye) in such a

manner

(first

longer visible, but on removing the pencil

Now
Here

cube.

but in the

let

this,

it
it

when

will be

no

will again

us look at the shadow side of the

also there is a

first

the

shutting one

as to hide the high light,

the dark on the background which met

tint

is

To prove

light.

the student hold up his pencil

appear.

said

3.

against the high light does not really exist, but

let

which

shadow on the background,

case the dark

is

brought closely and

firmly up to the light, whereas, in the present instance,

a light appears between the dark side of the cube, and

the shadow on the background.

dark

is

an optical

optical illusion.

In the

first

case, the

illusion, in the second, the light is

The second

case

is

an

to be proved like

LIGHT AND SHADE.

the

first,

when

it

by holding up the

pencil so as to hide the cube,

will be seen that the

the same uniform

background

and that the

tint,

next the dark side of the cube

and separate

light

is,

in fact, of

and shade are

the light on the background

the effect of contrast;

relief,

19

is

necessary to give

Although

from the ground.

it

these effects do not really exist in nature, they

form a part of every true

must

pictorial representation of it

the great object in painting

for

is

not

represent objects

to

they really are, but as they appear to the eye to

as

may

This

it

be.

be further illustrated by reference to the law

of contrast discovered

by M. Ohevreul, namely,

'

'

When

two tones of the same colour are juxtaposed, the

will appear lighter,

and the dark darker than

it

light

really

is."

Let the pupil now take two sheets

same

colour, but

of different tones, that

than the other, and cut them in two.

called

A. A' (Fig.

close together

of paper of

4),

and the dark B.

is,

one darker

Let the
B'.

light be

Place A.' B.'

on a white wall, an A. B. at a

little dis-

tance on the same wall, A.' near A, and B. near

On

retiring to a distance

lighter than A.,

contrast

But
of

is

and

it

B.' darker

greatest at the edge

more

white

brilliant

B\

will be seen that A.' appears

this is not all, the white

the

than B, and that the

where A.' and B.'

background

will appear

and

between

join.

around

B. B.' than in the corresponding space between A. A'.

Eeturning now

to

the

cube,

it

will

that the dark on the side next the eye

where

it

meets the

light.

is

be observed

most intense

This gives firmness and great

relief.

b 2

HANDBOOK OF

20

The moonlight
from

sketch, Fig. 1,

PI.

2,

which was

recollection, will afford another illustration of the

When

effect of contrast.

the finger was held so as to

conceal the moon, at the time the effect was observed,

the cloud on the horizon was seen to be of a uniform

tint, instead of

being darkest under the moon, as repre-

sented in the sketch, but the dark tint appeared again

on removing the

We shall here

finger.

give another illustration, for which

M.

are also indebted to

duced by contrast.

we

Chevreul, of the effects pro-

Fig. 2 represents ten gradations

between white and black.

Each gradation

occupies

the same space, and the darkest part of each

shade

appears to be at the edges where the darker unite with

If a hole be cut in a piece of paper

the lighter shades.

the size and shape of one of the gradations, and laid

upon

it, it

will be seen to be all of the

degree of darkness
is

same tone or

the apparent darkness at the edge

therefore merely the effect of contrast.

There

is

also

another peculiarity attending this figure, namely, that

it

appears to represent a grooved surface like that of a

fluted

It

pillar.

is

necessary to be aware of the

deceptive nature of these appearances in order to re-

present

them

correctly.

LESSON
THE CUBE

IV.

(Continued).

Now, without removing the cube let

us change our seat, so that we see the side furthest from
Fig. 3, PI. 2.

LIGHT AND SHADE.

21

the light and opposite to that which was most strongly

illuminated in Fig.

the side next the eye

third side

is

The

3.

is

top receives the high light,

in half shadow,

still

darker than the second, while the shadow

on the ground represents the extreme dark.

also

be observed that the side next the shadow

where

it

meets the square

side,

cuts the light top

there

where

is
it

M.

It will
is

and that the

darkest
latter is

and darkest where

lightest at the point of meeting,

the rule of

and the

and the background.

it

According to

Chevreul, exemplified in the last lesson,

another reason

why

the shadow side

is

darkest

meets the square, namely, because this part

nearer to the eye of the spectator

for

it is

is

another law

shadows are strongest near the eye, and

of optics that

that they decrease in strength

tion to their distance.

This

and intensity
is

the

first

in propor-

rule of aerial

perspective.

In order

to relieve the cube in Fig. 3

from the white

background, the latter must be represented of a middle

tint

where the high light comes against

be made very light where

it

it,

and

it

must

meets the shaded sides of

the cube, the light on the background next the darkest

side of the cube being equal in brightness,

though not

in extent to that on the top of the cube.

LESSON
THE CUBE
Fig. 4, PI. 2.
face or side

student

is

is

V.

(Continued).

A cube, of which the

square or principal

placed broad to the light, the place of the

to the right of the cube, with his back to the

HANDBOOK OF

22

Here

light.

shade

is

on the

from the
not

is

the

because

relieve

the dark

stands,

this

is

ground, according to
side is darkest

In

cube.

it

meets the

order

in

this case

In order to detach

latter

is

made

lighter

it

it

shaded parts and blended

both

from the

round the

side of the picture, the light being

close to the

to

and on that

light,

nearest the spectator

background, the

side opposite

made a little lighter near the

M. ChevreuTs rule (p. 18). This

where

points are identical.

up

on the

cast

from the ground on which

side

side

is

it is

and behind the

spectator,

part which

ground represents the

view the shadow thrown by the cube

this

visible,

shadowed

on the side which recedes

top, the second

spectator, while the

In

dark.

will be seen that the first gradation of

it

off

brought

gradually,

while the portion of background which comes against

the edge of the square in high light
tint

without this arrangement

tinguishable, nor

would

it

it

is left

of a

middle

would not be

have proper

dis-

relief.

The student is now requested to compare the three

cubes, when it will be seen that in the first two the
light

introduced on the side of the object

is

the other, the light

first

arrangement

because

it is

falls full in front of

is

infinitely

more agreeable

but, in

the cube.

The

not

only

preferable,

to the eye, but because

it

enables us to introduce a small portion of extreme

dark in the shadow.

The

first

arrangement also enables us more easily to

produce the qualities called breadth and

of large masses of middle tint.

repose,

by means

23

LIGHT AND SHADE.

LESSON
THE CUBE
Fig.

shall

now

(Continued.)

In the three preceding views of the

1, PI. 3.

cube, the figure

VI.

was placed upon a dark ground

place the

first

and second

we

figures on a white

ground, in order to show what effect this has upon the

The

general light and shade.

occasioned

by the white ground

of the square side,

up by

reflection

is

is

difference

that the lower part

which faces the

spectator,

lighted

is

from the white ground, and that

darker at the top

consequently,

There

principal

than

the

it

is,

bottom.

a strong light on the ground adjoining the

bright light on the side

reflection.

this,

The same remarks

also, is

partly due to

occur, also, with regard

to the second cube on the white ground, Fig. 2.

principal difference

the ground

is

is,

lighted

tion of the side in

that in the latter, the

up

in the

The

shadow on

middle by the

reflec-

shadow and the ground.

This leads us to observe, that the light and shade of

objects are modified, not only

by the

they are placed with regard to the

position in which
light,

but also by

reflection.

We also learn that the

on their edges
tion

darkest parts of shadows are

the middle being lighted

from surrounding

objects.

up by

reflec-

HANDBOOK OF

24

LESSON
THE CUBE
Figs. 3

and

4, PI. 3.

VII.

(Continued).

In the preceding examples, a

white background has been placed behind the cube

now be changed

will

will also be placed

for a black one,

on a dark ground.

case the principal shades

it

and the model

In

were on the

thje

former

object, in the

present they are on the ground and background, for

the part which in the

first

appeared dark, when con-

trasted with the light background,

now

appears light

In

middle tint contrasted with the dark background.

other respects the same general principles prevail
little

light is reflected

from the light

on the dark ground on the

side of the cube

side next the light.

stream of lighter tint also separates the dark shadow

on the ground from the darker background, and the

shadow

The

itself is

last

two

lighted

reflection in the centre.

figures represent a light object against a

dark background; the

background.

up by

first five

There are no

a light object upon a light

other

means found

in

nature by which objects can be relieved.

These cubes

also serve to illustrate the axiom, that

that light appears brightest which

is

surrounded by the

To be satisfied of this truth,

observe how much brighter the

greatest quantity of shade.

it is

last

only necessary to

two figures appear than the

others.

It is

on

this

principle that dark backgrounds are so frequently put

to portraits^; the contrast of the flesh tints with the dark

ground which surrounds them gives great brilliancy

the former.

to

LIGHT AND SHADE.

LESSON

25

VIII.

AEEIAL PERSPECTIVE.
The

parallelopiped so nearly resembles the cube, in

its effects

of light

and shade, that it is unnecessary to give

separate figures of

it.

There

is,

however, one obser-

vation with regard to this figure that

it

will

be im-

portant to notice.
It frequently happens that a long range of buildings,

or a street, or a flat

pavement situated

at right angles

or obliquely with regard to the spectator, has to be re-

Now,

presented.

mense distance

from the im-

as the rays of the sun,

of the seat of light, are supposed to be

they will strike with equal force along the

parallel,

whole range of the building or

street,

represent the building or street along

yet
its

if

we were

to

whole range as

we should do
size by distance,

equally illuminated, or equally obscured,

wrong.
but,

by

Objects not only decrease in

the intervention of the atmosphere, become less

distinct,

and the further they are removed the more

they are influenced by the atmosphere.

ticularly observable in towns,

the haze

is

par-

and in the morning, when

frequently so great as to assume the cha-

is

racter of a fog.
is

This

As

the general colour of the atmosphere

supposed to be blue, distant objects lose

much of their

and assume more or less of a grey tint, and

the details become less distinct, until they are totally lost
local colour,

in the distance.

This

effect

can be easily represented

with colours, but with chalk or pencil

The

effect

it

is

different.

has to be rendered by means of light and

HANDBOOK OF

26

shade only, and the student must endeavour, in looking

at nature, to separate these

from

colour.

The

effect

of

the atmosphere which envelopes the object will be to

make

the shades of distant objects appear lighter, and

the lights of objects equally illuminated

vivid

by the sun

less

therefore in representing a long range of build-

ing, or wall, or flat pavement,

which

retires

from the

eye as in sunshine, a light shade or tint will be passed

over the more distant part, and gradually
light as

it

approaches the eye.

the building

is

lost'

For the same

in the

reason, if

to be represented as in shadow, the

shades will be stronger near the eye, and the more distant parts seen through the vapour will be fainter.

It

must, however, be distinctly recollected, that lights are

less

modified by distance than shadows.

The same
sentation of

effect

takes place with regard to the repre-

ground

retiring

from the eye, the more

tant parts of which are less distinct.

stood once for

all,

dis-

It will be under-

that in all these cases, objects are

supposed to be equally illuminated, and not seen under

those transient effects

which one part

is

is

common

in showery weather,

by

strongly illuminated, while the rest

enveloped in shade.

LESSON

IX.

THE PRISM AND INCLINED PLANES.

Fig.

1,

PL

observations

5.

upon

Triangular prism.
aerial perspective

If the previous

have been under-

27

LIGHT AND SHADE.

stood, there

The

figure.

be

will

difficulty in

little

on the right hand

light in this plate

on the triangular end

raises the figure

On

The shadow

from the ground.

shadow

that which

is

the inclined plane, which

shadow

will be perceived,

or most elevated part,

is

it

distant edge

it

been laid

its

into the

change effected in the

inclination with regard

If the parallelogram

flat

had

would have been no

on the ground, the more

would have been further removed from the

more shading would have been

eye, and, in consequence,

necessary to

in half light, a little

(as in the cube), there

had

nearest the eye.

approaches the eye. The

to represent the

to the eye of the spectator.

shadow

tri-

the strong-

and blending gradually

appearance of the object by

been vertical

is

is

is

beginning at the extremity,

half light, or middle tint, as

object of this

falls

the shadow on the opposite side

angular in shape, and darkest at the edges

est part of the

shading this

make

it

look

flat

in its present state

it

intermediate, and only a small quantity of shade

necessary to give
observations

it

inclined plane

and the

2,

is raised,

the more

it

must be shaded.
is

steeper than in Fig. 1,

side is visible instead of the light.

darkest part of this side

light, especially at the

by

these

the less shading will be required,

the inclined plane

and the shadow

eye,

From

a proper elevation.

is

will be understood, that the higher the

flatter it is,

In Fig.

The

it

is

is

that which joins the

lower angle, which

and the other edges

of the

shadow

is

next the

side appear light

contrast with the dark background.

Fig. 3

is

another view of the prism.

In

this figure

HANDBOOK OF

28
one of the long sides

and the upper ridge

in shadow,

is

terminates with a line of light where

ground; below
it

shadow, which

this is the

The

meets the triangular end.

triangular end

is

it

cuts the backis

darkest where

lightest part of the

next the shadow side of the parallelo-

gram.
Fig.

A hollow octagonal prism,

1, PI. 6.

as seen

by

The three
sides next the eye will be easily represented by attending to the foregoing rules. The five other sides, as seen
from within, will require a little explanation. The two
a person standing opposite one of

next the light are shaded a

white rim

the middle

its sides.

little at

crossed diagonally

is

angular shadow, which, however, as

must not be
the eye.

the top next the

it is

by a

more

tri-

distant,

so

dark as the shading on the side nearest

The

other two sides, being opposite the light,

are strongly illumined, especially at the top.

Lower down they

are a

little

darker, in order to give

The shadow touches three

relief to the light edge.

sides

in the present position of the prism.

Fig. 4, PI.

6.

lying obliquely on

hexagonal prism of pasteboard

The high light

Next to that is

its side.

side that is lying upwards.

est side, the darkest part of

the eye and on the edges

tant end.

On

which

it is

the third side

is

is

is

on the

the dark-

on the end nearest

lighter at the

more

dis-

a strong reflected light,

by the white ground. The shadow joins

this side, and the extreme dark is along the line of
junction.
The shape of the shadow must be carefully
expressed. The further end of the prism is relieved from
the ground by a little bright light.
thrown on

it

LIGHT AND SHADE.

We

now

There

return

is

end next the

the

to

29
spectator.

shadow, softened upwards from the

little

edges of two sides, and a dark outline to the third.

They

by the bright light on the ground.

shadow also marks the lines dividing the

are relieved

little

The

sides.

shaped

triangular

part

The

on which the figure

side

shadow, strongest at

the light falls on the

peculiar

is

of

effect

other

this

lying has a

part of

figure

further

the

this side.

owing

is

to

its

semi-transparency.

LESSON

X.

THE PYRAMID.
Fig. 3, PI.
planes,

and

to

pyramid

than

occupies

of

put

must be

the

shadow

less

on

the

on

inclined

pyramid,

treated, observing,

the
plane,

diminishing

top

therefore, look

much

shadow

is

it

because the
a

to

must be

it

will be required

light of the side in

the high light,

and

middle
to

surrounded

than

lighter

to obtain a true effect,

point,

make

it

it

will,

is,

and,

really

so represented.

stand out in proper

4.

on the edge next the

tint,

to

give vigour to

the other edge,

which

cuts the dark background, look sufficiently light,

Fig.

the

of

but a small space, in comparison with the

mass of dark by which

little

pyramid are inclined

sides of the

as such they

however,

vertex

The

6.

and

relief.

The same remarks

apply

with

little

30

HANDBOOK OF

The

variation to the lower pyramid.

and the other

in middle tint,

give proper

relief,

little

front

is

side in shadow.

light

now
To

must be added on

the edge next the shadow side, which must be darkest

next the light edge.

LESSON

XI.

THE CYLINDER.
The

PI. 7.

those

now
"We

lines.

which
It

figures hitherto described are rectilinear,

represented are bounded

to be

by curved

begin by the cylinder, the outline of

shall

consists partly of straight lines, partly of curves.

may

be useful to compare the octagonal prism with

the cylinder.

In the former,

it

will be seen

neither the extreme light nor the extreme dark

that
is

on

the edge of the figure, but both are situated near the

junction of the sides with the centre face

edge on the one side

is

the extreme

not so light as the high light,

the extreme edge on the other side

the extreme dark.

The reason

is

not so dark as

for both is the

same

the outer edges of these planes are not only further

removed from the eye

of the spectator, but they receive

the light obliquely, and therefore they are neither so

bright nor so dark as the nearer edges.

The same thing

takes place, in a less

in the cylinder, the surface

affords

marked degree,

of which, being round,

no sharp contrasts of light and shade, as in the

hexagonal or octagonal prism.

The extreme

light

and

LIGHT AND SHADE.

31

the extreme dark in both are situated at a small distance from the edge on each side.

The

place of the ex-

treme light and extreme dark varies according to the

light

under which the figure

When
shadow

viewed.

the light enters on the left hand, so that the

parallel with the horizontal line,

is

on the

tator being placed

light

is

left of

the figure, the extreme

and extreme dark may be arranged

namely, a

removed from

little

these two extremes, both light

the spec-

as in Fig.

1.,

From

either edge.

and shade radiate on each

they unite almost imperceptibly, and produce

side, until

the effect of roundness.

The

space beyond the extreme dark

flected light

this is frequently

is

warmer

called the re-

in colour than

the rest of the figure.

Fig.

When

2.

the

cylinder, placed as

viewed by a person standing opposite to

it,

above,

is

the extreme

light is closer to the edge, the extreme dark near the

centre

by

this

arrangement more than one-half of the

figure is in shadow.

The

further the spectator removes towards the right,

the further does the extreme dark appear to advance,

till

at last it will

assume the appearance of Fig.

3.

Let us now place the cylinder on a sheet of white

paper, and set up a dark background behind it.
The
spectator, being seated to the right of

in Fig. 4.

make

effect

of the dark

will see

background

it

is

as

to

the reflected light on the shadow side appear

stronger

stands

The

it,

is

and the
to reflect

effect of

the white paper on which

it

on the lower part of the cylinder,

HANDBOOK OF

32

which

up

lights

it

while the extreme dark, instead of

extending from the top to the bottom, nearly disappears

before

occasioned

by

arrangement

this

thrown by the cylinder on

flected

upwards,

light

reflected

is

Another variation

reaches the bottom.

it

or,

the

shadow on

The

we should say

perhaps,

strongest

that no

on the cylinder immediately adjacent

this part of the cylinder

light

shadow

dark

to the white paper is also re-

shadow; consequently there

to the

is

reflected

is

more

little

than the other.

on the top of the cylinder

is

on the part next the shadow side of the

cylinder.

To draw

by sketching the shadow

of a cube, and within that draw part of an oval, which
Do not forget to make it lightis the required shadow.
est in the middle, and darkest next the eye.
Fig.
is

the shadow, begin

a cylinder, whose longest diameter

1, PI. 8, is

lying parallel with the spectator

the light.

In Fig.

2,

the figure

being next the spectator.

contrast of light

This

and dark

is

the end receives

the end

lies obliquely,

now

is

dark.

Here the

distinctly seen in every

part, also the difference in the intensity of the

between the part nearest the eye and that which

distant.

The

similarity in the

tribution of the light

fail to

occasions

The

most

this figure

dis-

and

The

be observed.

difference is sufficiently accounted for

surface of the one

is

arrangement and

and shade between

the hexagonal prism cannot

shadow

by the rounded

and the angularity of the

other,

which

some decided contrasts of light and shade.

chief difficulty lies in imitating exactly the re-

LIGHT AND SHADE.

When

fleeted light.
it is

seen against a dark background,

more vivid than when opposed

in the

first

case

really

is.

As

it

by

appears,

a rule,

33

it

to a light one,

and that how

may appear, it is

bright soever the reflected light

The

tint.

it

considered that one-half

of the figure is dark, the other light

darker than the middle

darker than

contrast,

may be

and

always

method

best

of de-

termining the true tone of the reflected light will be to

have recourse to our former experiment of holding up

the pencil so as to hide the extreme dark, and,

first

shutting one eye, compare the reflected light with the

shadow on the other

seen that there
ject without

is

It will thus be

side of the dark.

no part of the shadow

some degree

The

of shade.

an ob-

side of

true way, then,

of beginning to shade a cylinder will be as in the dia-

gram.

[Fig. 3.]

If to this

commencement, on

paper, the dark shade be added a

the edge, and the white a

tinted

distance from

little

distance from the other

little

edge, the effect of roundness will be attained.

reflected light will appear

by employing

more

The

brilliant, if contrasted

a dark background.

LESSON XII
THE SPHERE.
PI. 9.

The

partly circular
straight

sphere

is

lines

surface of the cylinder,

and partly
and curves

flat

the

it

we have
is

bounded by

peculiarity

that every part of the surface

is

seen, is

of

the

bounded by
c

HANDBOOK OF

34
curved

lines equally

by
is

be called

possibility

viewed,

it

there

no part of

is

it

which can

way

and, in whichever

flat,

it

presents on every side a perfect circle to

the spectator.

It follows, also,

from these observations,

that there can be no flat tints of light or shade, or

sudden variations of tone on a sphere, and that the

high light must be diminished to a round
necessary to bear in

sphere

when drawing

representation depends

mind
it,

these

because

upon

It

spot.

is

properties

of

the

truth

of

the

the

their being observed.

Having placed the sphere and arranged a suitable

ground and background, begin by drawing a perfect
Next,

circle.

settle

the place of the high light, the

extreme shade, and the shadow.

sphere

as has

is,

The high

been just observed, a circular spot

from which the light radiates equally

extreme dark

always opposite this

is

on a

light

all

The

round.

light,

and a

dia-

meter drawn through the high light to the opposite

edge will pass through the middle of the extreme dark,

which

always at right angles with this

is

form of the extreme dark

but a

little

way

or

will also divide

two equal

the place of the shadow therefore

opposite the high light,

The

into

circle.

shadow thrown by the sphere on the ground

background

dark.

The

a curve corresponding,

within the circumference of the

The same diameter

parts the

is

line.

(See Fig.

and

is

parallel with the extreme

1.)

observations relative to the intensity of the

reflected light
also to that

on the dark side of the cylinder, apply

on the sphere.

In drawing the

latter

LTGHT AND SHADE.

figure,

may

it

be commenced

with regard to

Figure

2.

Fig.

3.

the

A sphere

as

was recommended

and

cylinder,

35

as exemplified in

on a white ground with a light

The sun

background, seen by sun-light.

is

very high,

and the shadow consequently smaller than the sphere,

and very

distinct.

Fig. 4.

The
The

light

is

figure

sphere floating in a dark background.

ordinary daylight and nearly horizontal.

is

seen by a person standing some

distance to the right of

in

it,

so that the light resembles

form that of the moon in the wane.

dark

little

The extreme

nearly in the centre, and takes the curved

is

form of the

The

surface.

reflected light is strongly

marked.
Fig.

with

PI. 10.

1,

dark

sphere on a white ground and

background.

The

spectator

placed on the left of the sphere, the light

diffused,

is

now
more

and the shaded part now assumes a crescent

form, and

is

by

lighted

is

darkest in the upper part, the lower being

reflection

from the white ground.

The

bright light on the ground separates the shadow from

the background, and a

little

shadow on the ground

to

the left of the sphere, gives relief to the light part of

the ball.
Fig.

2.

sphere, floating on a dark background,

and placed opposite the

in front of

it.

light, the spectator

The high

and radiates equally

all

light

is

now

standing

in the centre,

round, becoming fainter as

approaches the edges, until

it is lost

it

in a light shade

c2

HANDBOOK OF

36

which gradually deepens until

tint

edge,

which

In

ground.

unites

with

softly

dark

the

view the shadow

this

reaches

it

is

the

back-

behind,

and,

consequently, invisible.

LESSON

XIII.

THE OVAL, OR EGG SHAPE.

The

oval so far resembles the sphere that every part

of the surface is curved, but the curves are not every-

where equal.
other,

It is longer in one direction than the

and one end

is

frequently larger than the other.

In the present case the large end

is

rounder, the small

end more pointed.

When
is

the oval

is

laid

on

its side,

and the large end

presented to the spectator, the appearance

The smaller end resembles

a sphere.

is

that of

rather the cone

than the sphere.

Let the oval be now

Fig. 3.

end on a light ground, and before a

and with a

light background,

side light like the other figures, the spectator

being placed towards the

half

up on the small

set

left.

One

half

the

of the figure will be covered with shade,

right

becoming

gradually lighter at each end, especially the lower end

which receives

reflected light

The extreme dark

is

from the white ground.

placed at a small distance from the

edge, as in the cylinder, and

its

like the outline of the figure.

shape

The high

slightly curved

The background being

light, the darkest part of the general

the top.

is

light is of the

shade

is

towards

same shape

as the

37

LIGHT AND SHADE.

extreme dark, and

is

similarly situated on the opposite

or light side.

Fig.

Now

4.

place

the oval on a light ground,

before a dark background, and observe the difference in

The upper

the light and shade.

now

part of the figure

the lighter, and the extreme dark

is

on the lower

and more pointed end, the lowest part being the

whence the shade becomes gradually
until at last

it is

is

darkest,

fainter as

it rises,

nearly lost in the light at the upper

end.

LESSON XIV.
THE CONE.
Fig. 2,
(i.e.

PL

When

11.

the cone

is

placed upright

with the vertex pointing upwards), the general

treatment as regards

its

light

and shade

will be

on the

principle of the cylinder, with this difference, that the

extreme dark

is

most intense at the vertex, and from

this point it gradually

width.

The stream

becomes
of

high

lighter,
light,

and

which

increases in
is

at

some

distance from the edge, is equally intense throughout

its

length,

and

diffuses itself gradually in a pyramidical

form, spreading at the base, and tapering towards the

vertex.

Were

it

not for the contrast with the strong

dark shade from the vertex and the dark background,

the light would be less brilliant towards

because this part

on account of
it

really

is.

is

the

vertex,

further removed from the eye, but

this contrast it appears

more

brilliant

than

HANDBOOK OF

38

When

the cone

placed on a white ground, and

is

before a dark background,

by the

receives a modification

ground on the lower

the

form of the shade

of the white

reflection

Fig. 3 represents a cone

part.

thus situated, as seen by a person placed in front of

The extreme shade

at the top,

form

now

light

is

unchanged.

is

nearly in the centre, darkest

and considerably

The

the base.

is

it.

lighter as

approaches

it

smaller in quantity, but

little

bright light on

its

the

ground, to the right of the figure, helps to relieve

from the ground and to define the shadows

ground

darker on the

is

left,

it

the back-

in order to give effect,

by

contrast, to the light.

When

Fig. 4.

the vertex of the cone

presented

is

to the spectator, the outline of the figure is circular,

and there

is

a bright spot of light in the centre, from

which radiates a stream or

line of light

intenseness diminishing in proportion

circumference,

its

to its distance

from the

centre.

In a similar manner

two streams of intense dark radiate

centre,
light,

towards the

and these two

lines of dark,

from the

also

with the line of

space between the two lines of extreme shade

but the shade

gradually

where

The

divide the circle into three equal parts.

it

is

strongest at the

diminishes

towards

centre,

whence

meets the dark pyramidal shadow.

other side of the two dark lines (radii) the

the light,

and

the

light,

dark,
it

circumference,

the

diminishes rapidly in intensity, until

is

it

gradually

On

the

shadow

loses itself in

increasing

brilliancy, is at last concentrated in the stream of

in

high

LIGHT AND SHADE.

Turning now our attention from the

light.

and shade

tion of light

ment may be
to the

39

just described, another arrange-

observed, which, however,

namely, that one half of the

first,

and the other

to be in shade,

The shadow

distribu-

is

subservient

circle

appears

in light.

pyramidal, somewhat lighter in the

is

middle and strongest at the point nearest the eye.

When

the ground

is

white, a

little

shade tint will

be found where the light part of the cone meets the

ground

without this there would be no

relief.

LESSON XV.
PERSPECTIVE OE SHADOWS.
PL 12. Although the shape of the shadows thrown
by several of the figures has been incidentally mentioned in the course of these pages, yet the

would be incomplete without a few

little

work

directions for the

projection of shadows of rectilinear objects, as well

sun-light

as

by

candle-light.

by

This subject should

properly be included under the head of perspective

seldom treated in elementary works, a few

but, as

it is

of the

more simple and obvious examples, with the

rules they are intended to illustrate, are

now added

in

the hope that they will be found useful.

"
that

When
is

the sun

to say,

is

when

in the

same plane

the picture

were continued indefinitely

it

is

as the picture,

so placed that if it

would cut the sun in

the centre, the direction of the shadow of a vertical

LIGHT AND SHADE.

40
line

on a horizontal plane

will be a line parallel with

the horizon, and the luminous ray which touches the

top of a vertical line will determine the length of the

shadow."
Fig.

In the present example the sun

1.

the picture, as

left of

evident from the front line of

is

The rays

the shadow being horizontal.

direction of the line

upper angle
is

A B.

of the object

The ray which touches the

C meets

the ground at B, and

and C

their extremities converge, like the

This

retiring lines of the figures, in the point of sight.

is

the

fall in

the limit of the shadow in that direction.

are parallel, and

on the

is

the most simple distribution of light and shade, as

well as one of the most effective, and as such

generally been selected in this

little

work

it

has

exam-

for the

model drawing.

ples of

When

the sun

proceed as follows

:Draw

Fig.

2.

of sight P,

shadow

is

in front of the spectator

the horizontal line and point

and draw in perspective the

Mark a

be defined.

is to

whose

object 0,

point, S,

which

is

to

represent the sun high above the horizon, from S drop

a perpendicular

to the horizontal line.

lines of

an

A, 0, D,

of the object 0.

indefinite length

the lower angles

a, c, d,

From S draw

through the upper angles

From B draw

lines

of the object 0.

through

These

three lines will intersect the former in 1, 2, 3

1, 2, parallel

2,

3,

P, to the vanishing point of 0, D,

shadow

The

with the base line of the object

is

bounded by the

rule

is

as follows

lines a,

c,

last

draw

a, c,

and

d.

The

c, d, 3, 2, 1, a.

LIGHT AND SHADE.

"

When

the sun

is

41

behind the plane of the picture,

of the shadow,

as in the present case, the direction

thrown by a perpendicular

upon

line

horizontal

point the foot of the

surface, has for its vanishing

upon

perpendicular, dropped from the centre of light

the horizon

and the luminous

ray,

which passes from

the centre of light to the top of the perpendicular line,

whose shadow

is

required, always determines the length

of the shadow."

Fig. 3.
spectator,

If the place

sun

the

of

and consequently in front

place of the sun

behind

is

of the picture, the

must be below the horizontal

line,

Now

draw

and the

solid

instead of above, as in the former example.

the horizontal line, the point of sight

object O.

sun as

S represents in
did in the

it

but

last,

on the horizontal

it is

shadow

now below

as in the last example,

proceed to draw the

by drawing

the upper angles A, 0, D, of the object

from the lower angles, A', G\

intersect each other in a,

a line

is

c, d.

D\

a,

from

and

to S,

These

lines

through

c, a,

to B.

From

lines

drawn

to P, as the vanishing point of the side

Draw

a horizontal line through

A, C.

furthest line of the shadow.

c,

the hori-

Raise a perpendicular to

Now

line.

this figure the place of the

zontal line instead of above.

the

d, will

The

c,

d, as

the

direction of the line

be more apparent the further

is

removed

to

the left of B.

"We have now

to speak of candle

light

shadows.

For the reasons before mentioned, the higher the

is

placed the better will be the

effect.

light

42

HANDBOOK OF
In the following example

are placed all

objects

Lines are to be drawn from the

round a candle.

candle S, touching the upper corners of the objects.

then to be dropped to the foot of the

perpendicular

is

candlestick.

Lines drawn from this point, touching

the lower angles of

former

lines,

This process,

and
it

the objects, will intersect the

so give the true shape of the shadows.

will be observed, is like the other

the

difference is in the respective size of the luminaries,

the rays of the

sun,

from

its

appearing parallel, while the

immense magnitude,

candle, from

dimensions, admits of objects placed

seen simultaneously.

It

is

The

round

it

small

being

almost unnecessary to

observe that the objects must be

spective.

all

its

first

drawn

in per-

point of sight in the following figure

corresponds with S.

CONCLUSION.
If the

preceding

examples

studied, the learner will have

light
cal

and shade incident

solids,

They

from which

are, to the painter or

It

other forms

are derived.

draftsman, what the letters

the

them everywhere, and under

may

carefully

more simple geometri-

of the alphabet are to the writer

detects

been

become familiar with the

to the
all

have

observing eye

all disguises.

be as well to mention a few of these deriva-

tive forms, partly

by way

of explanation,

and partly

with a view to suggest to the student future objects of

study.

LIGHT AND SHADE.

The cube and

43

parallelopiped are the model on which

houses, boxes, books, beds, chairs,

The

of furniture are formed.

and various

articles

may

triangular prism

be discerned in the roofs of houses, in nights of

stairs,

in tents, in desks.

Hexagonal prisms in the

cells of bees.

Octagonal prisms in columns.

In

steeples

In

round

and

obelisks are discerned the pyramid.

towers,

stems and branches

men and

columns, the bodies and limbs of

bottles,

and

of

trees,

animals, in

some vegetables, we recognize the

in

cylinder.

The sphere can be

detected in the heads of children

in globes, lamp-glasses, bowls, domes, fruit

such

as

apples, oranges, peaches, nectarines, apricots, cherries,

currants, grapes,

In the heads

such as onions.
eggs, in
such

and vegetables
of adults, in

fruit

as

plums, nuts, grapes, dates, gooseberries, and in gourds

and cabbages

To

and

Germany, extinguishers and sugar

loaves, various species of flowers

apple,

fig,

blackberry
of

oval.

the cone are referred the tops of certain towers

France

in

may be traced the

of fruit, the pine-

pear, raspberry, strawberry, mulberry,

and of

roots, carrots, parnsips,

and

and turnips

some kinds.

The person who can draw

accurately the

mentioned simple geometrical forms,

little difficulty

any

in

making a

of the objects in this

list.

will

above-

have but

correct representation of

The

true principles on

which the expression of the form by means of light

LIGHT AND SHADE.

44

and shade

is

based having been learned from the white

models, the natural colours of

no longer be found perplexing

arising

power

the real objects will

;

and the

gratification

from the consciousness of having acquired the

of

drawing from nature will amply compensate

for the labour

and time bestowed on

the diligent student have

made some

the acquirement of " the form of

universal

language,

it.

Thus
progress

expression

which bears the

will

of

in

same relation

towards visible objects that writing does to thought."

HENDERSON, RAIT, & SPALDING,

AND

5,

MARYLEBONE LANE, LONDON, W.

"PRIZE MEDALS AWARDED."

Exhibition or all Nations, 1851,

Prize Medal.

Universal Exhibition, 1855, Two Pkize Medals.

International Exhibition, 1862, Two Prize Medals
Dublin International Exhibition, 1865, Prize Medal.

Paris

Paris Universal Exhibition,

1867,

Two

Medals

Silver

Lyons Universal Exhibition, 1872, Two Silver Medals

Philadelphia International Exhibition, 1876, Prize Mkpai
Paris Universal Exhibition, 1878, Prize Midal.

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..39

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Arabic

Prepared Ox-Gall, large

small
,,

Water Colour McGuilp

all

?J

the above are made, price 6d. each.

------

per bottle
)?

pot

bottle

GEORGE ROWNEY &

CO. '3

EMPTY
JAPANNED TIN WATER COLOUR BOXES,
WITH PALETTE

FLAPS.

(See Woodcut^ page 3.

EMPTY WHOLE PAN BOXES.

each.
s.

To

contain

d.

or 2 Pans

Pans

4
6
8

10
12

16
18

20
24

EMPTY HALF-PAN BOXES.

To

contain 8 Half-pans

....

10
12

H
16
18

20
24

10

EMPTY MOIST TUBE BOXES.

( See

To

contain 12 Tubes
15

20

) 1

24

30

Woodcut, page

6. J

-----......

d.

7
-

The above can be

f.

fitted to

any arrangement desired

12

ro

DRAWING PAPERS.
HAND-MADE.
H P signifies
N
R

signifies
signifies

Hot Pressed, and has a smooth surface.

Not Hot Pressed, and has a finely grained surface.
Rough, and has a coarsely grained surface.

Hot Pressed Paper is mostly used for Pencil Drawing.

Not Paper is used for Water Colour Drawing, and general
Rough for very Bold Drawing and Sketching.

purposes.

WHATMAN'S DRAWING PAPERS.

Surface.

Per Sheet.

Size,

d.

Demy
Medium
Royal
Super Royal
Imperial

Elephant

Columbier
Atlas

Double Elephant
Antiquarian

H P&N
H P&N
H P, NT, & R
H P&N
H P, N, & R
H P&N
H P &N
H P&N
H P, N, & R
H P& N

20
22
24
27

by 15I

in.

0
0
0

7l
?>

j>

li
28I

5)

)>
>>
>>

*i
3

I9{
22

0
0
0

24

26
27
30^

>

34i
33*

I*

5
5

Per Quire.

s.

d.

0
3
0 4
0
5
0 7
0 9
0 9
0 15
0 15

O 10
4 0

9
3

0
0

WHATMAN'S EXTRA THICK DRAWING PAPERS.

Weight.
Per Ream.

Surface.

Royal

H P, N,

Imperial

H P, N,

Ditto
Ditto
Double Elephant

N
H P, N,

&

&
&
&

R
R

VELLUM DRAWING
OF

Per Sheet.

Per Quire.

d.

Or.

s.

d.

70
90

0
O

6
8

0 II
0 14

no

0 17

140

210

13

s.

PAPER, SEAMLESS.

DELICATE TINT. 9TOUT> AND VERY SMOOTH SURFACE. MANUFACTURED

EXPRESSLY FOR ILLUMINATING.

Per Sheet.

Size.

Royal

Imperial

24

in.

30

in.

by 19
by 21

in.

in.

Transfer and Tracing Papers.

j.

d.

to

Per Quire

s.

d.

0150

119

SOLID

SKETCH

BLOCKS

WITH AND WITHOUT

The Blocks
form

a solid

consist of a

number of

CASES.

sheets of paper, compressed so as to

mass, each sheet of which

is

to be

knife underneath the uppermost one, and passing

by inserting

separated
it

Tht

round the edge.

cases contain a pocket for carrying the sketches and place for pencil.

MADE OF WHATMAN'S ROYAL

70LB3.

32 Surfaces.

Imperial

inch,

i6mo
Imperial i6mo

90lbs.

Blocks.
E; ch.

Size.

321110

Royal

AND IMPERIAL

by

3^

PAPERSBlocks
with
Cases.
Each.

s.

d.

s.

d.

9
10

3T

9
6

9
6

Imperial 6 mo

14

T
/

Royal

10

Royal 8vo
Imperial 8vo
4-to

5
-

il

Imperial

4-to

14

Imperial

3mo

20

12

Half Royal
Half Imperial

18

10

13

16

20

14

SOLID SKETCH BLOCKS, WITH & WITHOUT CASES.

MADE OF WHATMAN'S IMPERIAL

AND DBLE. ELEPHANT

140l_BS.

210i_BS.

PAPERS.
32 SURFACES.

SOLID
BLOCKS.

SIZE.

S.

Imperial

i6mo

Each

7 inches by

Double Elephant i6mo

Imperial 8vo

Imperial 6m
Double Elephant 8vo
Imperial 4-to
Imperial 3mo

10

J>

12

H
20

Double Elephant 4^0

Half Imperial

>!

>>

d.

10
16

0
0

19

22

6
i

12
15
18

12

>

?>

d.

10

18

20

s.

Each

J>

J)

BLOCKS
WITH CASES.

SOLID SKETCH BLOCKS, WITH & WITHOUT CASES.

MADE OF THICK MACHINE-MADE TINTED CRAYON PAPERS.
32 SURFACES.

SOLID
BLOCKS.

SIZE.

S.

Imperial 321110

Each

inches by 3^

BLOCKS
WITH CASES

d.

S.

Each

d.

Royal

i6mo
Imperial i6mo

55

)j

?>

Royal 8vo Imperial 8vo

?>

5{

10

>>

10

9
6

Imperial

6m

14

Royal 4to
Imperial 4to
Imperial

44

>>

14

20

31110

Half Royal
Half Imperial

9^

18

n|

20

14

9
11

11

0
$

SKETCHING PORTFOLIOS.
WITH JAPANNED TIN FRAME FOR SECURING THE PAPER IN USE, AND
WITH POCKET TO CONTAIN THE SKETCHES & A SUPPLY OF PAPER.

----12,, n9-

Imperial Svo
Royal 4to
Imperial 4to
Half Royal
Double Elephant 4to
Half Imperial

11 inches by 7

15

19
18
22

,,

12
I2|

15

Each

60
n

12

15

SKETCH BOOKS.
made of Whatman's hand-made drawing papers.
Half-bound, Cloth Sides, Roan tacks, Gilt.

Forty Lea%c&.

TO FASTEN WITH ELASTIC BAND.

Imperial 321T10

Imperial

Demy

i6mo

Medium 8vo

1?

10

>>

Imperial 8vo

Demy 4-to
Medium 4to

9*
ioj

4_to

11}

Super-Royal 4to

13

Imperial 4to

The above

are

made

of

+i

75

?>
i

10

"Hot-pressed" paper, unless "not"

>>

+4

>

8vo

Royal 8vo

Royal

Each

5 inc hes
-

is

specially ordered.

POCKET SKETCH BOOKS.

MADE OF HOLLINGWORTH'S

fine

drawing papers.

Quarter-bound, with " Sketches" in gold mediaeval characters on the cover.

Cloth sides, Roan Backs, and Elastic Band.
Thirtv-six Leaves.

s.

Royal i6mo

$\ inches by 4^

Royal 8vo

S\

Each

d.

'4

BLACK LEAD PENCILS.

PRIZE MEDAL AWARDED INTERNATIONAL EXHIBITION 1862.

GEORGE ROWNEY &

CO.'S

IMPROVED DRAWING PENCILS.

Neatly got up

in

Polished Cedar, in order to prevent the lead dust adhering

to the Pencil,

HH
HHH
HHHH
HB

BB
BBB
BBBB

Hard

for

Harder

and consequently

soiling the fingers.

Sketching

BBBBBBB

for Outlines

Very Hard for Architects

Extra Hard for Engineers
Hard and Black

Very Broad and

Black Lead
Firm for Ordinary Drawing
Very Firm and Double
Thick Lead

FF

Black for Shading

Softer and very Black
Extra Soft and Black
Black,
Softer and Very

EHB
DEHB

Extra Hard and Black

Ditto, ditto, extra

Thick

Lead

Double Thick Lead

2S. per dozen.

Messrs.

Rowney &

Co.

have every confidence

IMPROVED DRAWING PENCILS

to

moderate price and superior quality being

the

notice

sufficient

in

recommending

of the

to give

their

Profession, their

them a decided

pre-

ference with the public.

ROWNEY'S EVER-POINTED DRAWING PENCILS.

H. HB, B

Each degree

is

& BB.

polished in a different colour, 6d. each

Leads only,

2s. per dozen.

Cases containing Four Pencils,

The
resist

fault of all Pencils of this description

the pressure necessary in drawing.

defect and are exceedingly light in the hand.

2s. per

Case.

has been hitherto their inability to

The above

Pencils are free from this

*5

GEO.

ROWNEY

& CO.'S

PENNY DRAWING PENCILS.

With the view of enabling the working classes to avail themselves of the
advantages presented by the many Schoois of Design and Classes recently
opened for the instruction of Drawing in its various branches, and to supply
themselves with good materials at a low price, Messrs. R. Sc Co. have devoted
their attention to the production of a Penny Drawing Pencil, of a quality
The Pencils are manufactured of Four
sufficiently good for general purposes.
Hard, Middle, Soft, and very Soft, in poiished and coloured Cedar.
Degrees

H
HB
B

BB

Hard,

in plain Cedar, poiished

Middle, coloured red
,,
Soft, coloured dark red
Very Soft, coloured black ,,

Each Pencil

G.

is

stamped in

ROWNEY

Is.

41

Silver, thus

per doz-

GEORGE ROWNEY& C9"

& CO.'S HALFPENNY PENCIL.

In Polished and Stained Cedar, stamped in Gold, thus

"G.

ROWNEY

& CO."

6d. per dozen

CUMBERLAND BLACK LEAD DRAWING

MANUFACTURED

PENCILS.

BY

GEORGE ROWNEY & COMPANY.

OF THE GENUINE PLUMBAGO

OR PATENT COMPRESSED

LfcAD

OF THE

FOLLOWING DEGREES

HH
HHH
HHHH
HB

F
B

BB
BBB

EHB
FF
DEHB
BBBB

Hard
Harder
Verv Hard
Extr'aHard
Hard and Black
Middling Degree
Black for Shading
Verv Black for ditto
Soft' Broad Lead
Extra Hard and Black
Very Fine
. .

^
;

..I

doz

..

..

...
\

>

6s. per doz.

i6

GEORGE ROWNEY

& CO.'S

BRUSHES FOR WATER-COLOUR DRAWING.

SABLE HAIR PENCILS.

03E

DOME-POINTED.
RED.
s.

Red and Gold Tie

Large eagle
Small eagle

55

55

Extra large swan

Blue

Large swan
Middle swan
Small swan

Magenta
Green
Red

Extra small swan

Extra large goose

Large goose

Goose
Small goose
Large duck

Duck
Crow

Blue

Green
Red

55

each

55

55

>5

55

9
o

O
o

>5

?5

55

>5

55

8
i

5'

55

55

55

15

55

55

O
o

55
55

Red Sab

1>

)>

prices of

S.

iS

5)

55

Miniature

BROWN.

55

9 5

5 J

The

d.

es

15

on y are fluctuatin

o
o
o

17

RED OR BROWN SABLE BRUSHES.

IN

GERMAN

OR TIN

SILVER

2.

Round

or Flat

s.

10

d.

s.

4-

:?

,,--23
The

HANDLES,

Red Sable
Red Sable Brown Sable Brown .Sable
German Silver, in Tin. in German Silver.
in Tin.

6.

POLISHED

QUALITY

FINEST

in

AND

FERRULES,

prices of

Red Sables only

0
I

9
1

s.

s.

0
I

4
are fluct uating.

0
3

BRUSHES.

Extra Small

Full

Swan

Quill

Camel

2d. each.

Goose Camels

3d. each

FRENCH CAMEL HAIR BRUSHES

d.

Small Crow

Crow
Duck

each

Large Duck
Small Goose

Goose

Assorted Ties

2
-

Large Goose Extra Small Swan

Small Swan
Middle Swan Large Swan
Extra Large Swan

Red and Gold Ties

Green

Magenta

Blue

Red

Green

5
8

10
o

FRENCH CAMEL HAIR

FLAT

Mo

Each

d.

o
0

OR

TIN

IN

ROUND.
No, 4
5

5
I

Each

SKETCHING UMBRELLAS.
Paragon
Frames.
Each.

Cane Ribs
Each.

Made

of Brown
Ditto, with Fan
Made of Brown
Ditto, with Fan

Holland, length of ribs 28* inches

Joint, length of ribs 28^ inches
Holland, length of ribs 32 inches Joint, length of ribs 32 inches

With Bamboo

Sticks, 2s

3d. extra

s.

d.
<

s.

11

10

13

d.

PORTABLE SKETCHING EASELS, IN CASE.

Ash,

feet or 6 feet

Mahogany,

or

Walnut- Wood,

5 feet

cath

s.

d.

9
6

THE GERMAN SKETCHING SEAT AND EASEL

COMBINED.
ADAPTED FOR EITHER OIL OR WATER COLOUR SKETCHING.
Price

each.

THE EASEL. OPEN.

The same

principle

CLOSED.

has been adapted for the use of Ladies, and is equally

With extra strong leather
13s. od. each.
Price

serviceable and portable.

seats, 3s. od. additional.

Square Seat,

With

similar to above Illustration, without the Easel

Price 1 is. 9d. each.

extra strong leather seats 3s. ad. additional.

20

JAPANNED WATER BOTTLES.

FOR CARRYING

SUPPLY OF WATER FOR SKETCHING, WITH CUPS TO FIT ON THE

PALETTE OR BOX.
No.

,,

t.

Round, Small Size

2.

,,

3.

4.

,,

,,

6.

7-

..

Middle
Large

..

..

..

..

..

..

..
..

..

..

S.

each

..

,,

..

..

Oval, plated inside, Small

..

..

..

Large

..

..

..

..

..

..

..

..

..

..

Imitation, plated inside, Small

,,

..

..

..

,,

,,

,,

La rge

t*

Flat Oval

..

25
40

..

..

TOURISTS' SKETCHING BAGS

MADE OF SATEEN, AND ARRANGED TO HOLD SKETCHING BLOCK. COLOUR BOX

WATER BOTTLE SKETCH BOOK. BRUSH POUCH,

Imperial 8vo.,
Imperial 6mo.,

ii inches

15

Royal

4to.,

12%

Imperial

4to

15

,,

by

8 inches
8

,,

10
,,

11

ETC.

each

28
29
2

GETTY CENTER LIBRARY

3 3125 00800 4992

ROWNEY &

GEO.

CO.'S

TREATISES ON THE FINE ARTS.

Price each.

*HINTS ON SKETCHING FROM NATURE. Part I. N. E. Gkeen

*HINTS ON SKETCHING FROM NATURE. Part II. N. E. Green
*HINTS ON SKETCHING FROM NATURE- Part III. N. E. Green
GUIDE TO FIGURE TAINTING IN WATER COEOURS. Sydney
Whiteford

...

...

..

S.

I).

...

...

T.

*
.

GUIDE TO SKETCHING FROM NATURE. Leonidas Clint M ii.es

PRINCIPEES OF PERSPECTIVE. Henry Lewis, A
GUIDE TO WATER COEOUR PAINTING. R. P. Noble
HINTS FOR SKETCHING TREES FROM NATURE, IN WATER
COLOURS. Thomas Hatton
GUIDE 'TO OIL PAINTING. Part I. J. S. Tempi .eton
P..

...

...

GUIDE TO OIL PAIN TING. Part II. (Landscape from Nature.) A.

GUIDE 'TO EIGH T AND SHADE DRAWING. Mrs. M. Merrifield
GUIDE TO PENCIL AND CHALK DRAWING. G. Harley

GUIDE TO PICTORIAL ART.

GUIDE
GUIDE
GUIDE
GUIDE
GUIDE

TO
TG
TO
TO
TO

Clint-

H. O'Neii

PICTORIAL PERSPECTIVE.

FIGURE DRAWING.

G. E.

Green

B. R.

Hicks

FLOWER PAIN TING in Water Colours. G. Rosenberg

PAINTING ON GLASS. H. P.ielfield
MINIATURE PAINTING AND COLOURING PHOTOGRAPHS.
...

ON THE MATERIALS USED

IN

nishing and Cleaning Pictures.

'

...

...

<

Templeton

J. S.

PAINTING, with Remarks on VarCharles

M artel

...

GUIDE TO ANIMAL DRAWING. C. H. Weigali

GUIDE TO ILLUMINATING AND MISSAL PAINTING.

W. and

G.

.AUDSLRY

...

\.^...-"^%*-Jfjgv

$jr* *ifwSSSF
<

'

T*&"*

'^iSsf^S
2

Sydney T. Whiteford

and

Ditto, with additional Chronio-Lithograph Illustrations, cloth, gilt

THEORY OF COLOURING.

J.

Bacon

GUIDE TO PORCELAIN PAINTING.

Ditto.

Illustrations, cioth

With additional

gilt

GUIDE TO MODELLING AND THE PRINCIPLES AND PRACTICE

OF SCULPTURE. With Illustrations. By George Halse
PRACTICAL MANUAL OF HERALDIC ILLUMINATION. F. J. Baigknt
and

C. J. Russell.

PRACTICAL GUIDE
*

Demy

'TO

8vo, cloth

SCENE

and

gilt

PAIN TING.

Three Parts hound

in

.%"*
F.

one, cloth

Lloyds.
and

'

Cloth and

gilt, 5s.

"SC

'*

gilt

...

10