TH E A R T

S K E T C H ING F R O M “

N AT U R E

TH O M A S RO W B CYI H A M
’

A UTH OR O F T H E ART O F L A N D S C A PE PA I N T I N G I N W TER L R

A C O O S

W"tie Twe n ty S e v e n [lia s z rcilz o n s éy

'
‘
-

TH OM A S L . R 0 IVB O TH A M
’

R e v is e d by

S U S AN N . C A R TE R
Pr z fl e zfia l of M e Wo m a n s ’
A r t S e iz e d , C o op e r U n io n
' '

N E \V Y O R K

G . P . P U TNA M ’
S SONS

1 82 1nF TH AV E N U E

1 878
 C O PY RI HT
G BY

G . P . PU TN AM S S O N S
’

1878
 ’

PR E F A C E TO T HE A M E R I C A N E D ITI O N .

TH E Art M anuals of wh ic h t h is o n S k e tch

,

i ng from N ature is th e first hav e had a larg e

.

and conti nu e d sal e i n E ngland Am o ng t h e

.

many diffe re nt books o n such subj e cts as th e s e

tr e at o f it is di fficul t to d e cid e which is e ntitl e d
,

to t h e pr e fe r e nc e but stud e nts of Art who are

’
s e parat e d from the ordinary m e ans of g e tti ng
i nformatio n o n its practical d e tails hav e alwa ys ,

sought to gain hints and m e thods through works

of this class .

I t has b e e n wis e ly said that any syst e m of

,

gov e rnm e nt was b e tt e r than non e and th e s e ,

’

wo rds appl y w e ll to drawing and painting R e g .

ular ways of work of almost any approv e d kind

’
,

are capabl e i n practis e d hands of r e nd e ring t h e

though ts and fe e lings of an artist which a m e d

,

le y of m e thods cannot d e v e lop .

Th e bo o ks which m ak e u p th i s s e r ie s are all

4 PR E F AC E .

b y skilful paint e rs and th e rul e s th e y lay down

are safe and practical I t is a qu e stion o f
.

m e thods wh e th e r o ne painting ought to b e so

,

skilfully carri e d out that t h e brush should n e v e r

again touch t h e canvas ; or wh e th e r glaz e s or .

scumblings should b e r e sort e d to ; or solid or

‘

tra nspar e nt colors b e us e d in shadows B ut as .

all roads l e ad to R om e so any compl e t e styl e

,

of work thoroughly mast e r e d we b e li e v e to b e

,

capabl e of producing satisfactory r e sults .

Th e books which are int e nd e d to b e publish

e d I n this s e ri e s are all w e ll d e v e lop e d syst e ms
,

of th e ir own kind ; and th e b e ginn e r who will

care fully follow ou t th e proc e ss e s r e comm e nd e d
cannot fail if h e or s h e hav e any natural aptitud e
,

for such study to gain a good fou ndation which

, ,

will th e n o nly n e e d practic e and obs e rvation o f

e ffe cts i n good pictur e s to amplify to any r e sult

of which t h e tal e nt of t h e p e rson e mploying

“

th e m may b e capabl e I n r e ading ov e r th e s e

.

littl e rul e s th e E ditor has b e e n struck with th e

,

fact that many hints are dropp e d through th e

pag e s which would mak e a v e ry cursory e xam
inat io n of th e m sugg e stiv e to e v e n an a e com
 PR E F A C E . 5

p lish e d paint e r D iffe r e nt sch ools o f art hav e

.

th e ir o wn m e rits and though simplic i ty of tr e at

,

m e nt g e ts to b e mor e and mor e e st e e m e d th e ,

furth e r th e stud e nt go e s on what e v e r b e h is ,

syst e m ye t o ne way of worki ng i n e vitabl y

,

throws light o n oth e rs and so e ach t h us h e lps

, .

S inc e i nt e r e st and study of art in its various

'

branch e s has b e com e s o commo n of lat e it is

, ,

h op e d that th e s e books though th e y ar

,e o nly
e l e m e nt a ry may s e rv e to put many p e rsons i n
,

a good dir e ction o f thought and of e x e cution

'

I n e diting th e m a v e ry fe w po ints and modi

,

fic at io ns hav e b e e n sugg e st e d which are simpl e

mat te rs of fact and do not touch t h e proc e ss e s :

laid down ; or wh e n th e E ditor has imagi n e d

that c e rtain principl e s w e r e too firmly ass e rt e d ,

s h e has mad e t h e sugg e stion that e min e nt artists

hav e som e tim e s h e ld contrary opinions in ord e r

to pr e v e nt t h e stud e nt from s e ttling down into .

a bigot e d b e li e f in his own m e thods which e x

e rie nc e and facts do not j ustify
p .

S USAN N . C R
A TE R .

NE W Y c RR , DEC EM BE R, 1 87 7 .
 PR E F A C E .

M ANY stu de n ts p oss e ssing a c e rta i n d e gr e e of

’

sk i ll in t h e u s e of th e l e ad p e nc i l and c h alk are

'

for want Of acquaintanc e w ith t h e n e c e ssar y

rul e s e nt i r e ly at a loss wh e n att e mpt i ng to com
,

m e nc e a land scap e sk e tch fro m natur e ; t h e

principal di ffic ulti e s th e y e x p e r i e nc e b e ing to
, .

d e t e rmin e wh e r e to b e gin a sk e tch and ho w

,

much of t h e subj e ct b e for e th e m th e y ought to

includ e within th e limits of th e pap e r .

Att e ntio n to th e pr e c e pts contain e d In th e fol

lowing pag e s will it i s hop e d cl e ar away th e s e
, ,
“

, ,

and man y oth e r di fficulti e s that obstruct th e

,

e ssa
y of t h e sk e tch e r .

T h e short cours e of i nstructio n laid do w n is

pur e l y e l e m e ntar y and confin e d to line ar sk e tch
,

i ng Th e l imits of this littl e work do not admit

.

/
of th e i nt roduction of th e mor e advanc e d stag e s
.
8 T
-

of coloring and i ts co m pl e x manipulations

,
'

Th e s e how e v e r are r e nd e r e d t h e l e ss n e c e ssary

, ,

h e r e as th e y hav e b e e n alr e ady fully e nt e r e d

,

i nto and e xplain e d i n two works c omprising ,

portio ns of t h e s e ri e s to whic h th e pr e s e n t
tr e atis e b e lo ngs fi O ne of th e s e writt e n by t h e
"
,

Author of this book in conj unction with h i s ,

son tr e ats of th e e l e m e ntary portion of land

,

scap e painting in wat e r colors and i n t h e oth e r

- -

t h e subj e ct is conti nu e d through its advanc e d

stag e s by M r Aaro n Pe nl e y Wh o has laid down

.
, ,

i n a full cl e ar mann e r all t h e d e tails of color ,

ing and t h e rul e s for its manipulation W It h

, ,

which it is r e quisit e for t h e landscap e sk e tch e r -

to b e com e acquaint e d .

Th e i nstruction att e mpt e d to b e conv e y e d in

’
t h e following pag e s is t h e r e sult of many y e ars
’
activ e practic e of th e Author s profe ssio n and
his hop e s will b e r e aliz e d if h e should b e h e r e
by I nstrum e ntal in ass is t ing t h e stud e nt in his
'

e nd e avor to acquir e t h e pow e r of S k e tching “

from N atur e .

7
T h e Art o f L an sc ap e Pai n t i n in
" “
d C o l o rs, g V V
at e r-

by wb m
,

T and T L R o o th a

y m by y
. . . .

A S st e o f W at e r C o l o r PaI nt I n g Aaro n Pe n l e
-
.

w y d by m
,

G P Pu tna s S o n s
’
Th e s e ill sh o rtl b e i ssu e . . .
 C O NT E NT S

A R T O F S K E T C H IN G F R O M N A TU R E

O F T H E H O R I Z O N T A L L I NE

D IS T A N C E O F T H E P IC T U R E

TH E E " TE N T O F T HE P I C T U R E H O R I Z O N T A LL Y

T H E V E R T IC A L L IN E

P P
RO ER P O S I T I O N F O R T H E H O R IZ O N TA L LI N E

O F T H E U P H I L L V I EW
-

O F T H E D O W N H I LL V IE W
-

ON TH E RE P R E S E N T A T I O N O F H O R IZ O N T A L S T R AI G H T

L IN E S

OF L IN E S O B LI Q U E To TH E P LAN E OF TH E P IC T U R E

C I R C U L A R O B J E C TS

O N T H E C H O IC E O F S U B J E C T

C OM P O SI TI O N O F LI N E S A N D F O R M S

LI G H T A N D S H A D E
 TH E A R T

SK E T C H IN G FR OM N ATU RE .

IN th e
i
bri e f cours e of instruct i o n propos e d i n
i

th e f o llo win pag e s t h obj e ct is to l e ad t h e

g e .

stud e nt to a succ e ssful r e sult b y t h e s i mpl e st

m e ans . Th e rul e s are f e w ; but if car e full y
stud i e d th e y w i ll b e found applicabl e to e v e ry
,

Obj e ct occur r i ng i n ordinary e xp e r i e nc e and it

'

is hop e d that th e y w i ll b e d e e m e d plain and ih

t e llig ib le A multiplic i ty of t e chnical t e rms and
.

proli x e xplanatio ns has b e e n purpos e ly avoid e d .

as th e e nd a i m e d at m ay b e attain e d w i thout
th e m but th e r e are som e t e rm s which it may -

b e r e quisit e to e xpl ain as th e y fr e qu e ntl y and

,

n e c e ssarily occur in t h e cours e of th e s e p re c e pts .

‘
T h e s e t e rms are , ,
 f “
f
I ZQ
.

S K E I C H ING
’ ‘

F ROM N ATU R E
"

Th e Pictur e
Th e C e n tr e Pictur e
'

commonlyo f th e ; ,

b ut e rron e ously call e d t h e point o f ,

S ight .

Th e D istanc e of th e Pictur e
"

Th e B as e Lin e
Th e H orizontal Lin e
Th e V e rtical Lin e .

For th e sak e of r e nde ring th e s e instructions

mor e cl e ar and p e rspicuo us we shall re c ap itu ,

lat e a fe w of t h e g e n e ral pri n cipl e s of li ne ar

‘

p e rsp e ctiv e This r e cap i tulation will b e rapid

.

and concis e ; touching only upo n thos e mor e

important points which are in fact indisp e nsibl e
i n succ e ssful S k e tching from natur e ; and we
also p urpos e to e xplain t h e ge n e ral t e rms giv e n
abov e . I n fact o u r obj e ct is rath e r to r e call to
,

t h e r e co ll e ction of t h e l e arn e r c e rtain principl e s

and m e thods with whic h we suppos e him alr e ady

—
acqua i nt e d th e study Oft h e e l e m e nts of lin e ar
,

p e rsp e ctiv e b e ing ind e e d t h e v e ry first proc e ss

to which t h e a tt e ntion should b e dir e ct e d i n hi s
introdu ctio n to t h e art of draw1ng .

All obj e cts which pr e s e nt th e ms e lv e s to th e

'
 S K E TC H N G I FR O M N ATU R E .
T
"

13

e e i n a landscap e s u Ch as hous e s tr e e s wat e r

y , , , ,

fi e lds mountains & c can b e faithfull y drawn

, , .
,

i n corr e sponding and similar outli n e s u p On a '

plan e surfac e .

F o r if a pi e c e of glass b e h e ld v e rt i cally at a
prop e r distanc e b e tw e e n t h e e ye and t h e pro
pos e d land scap e so that th e part int e nd e d to b e
,

drawn can b e s e e n th ro u gh it it is e vid e nt that

/
,

a tracing of th e appar e nt outlin e s of all O bj e cts .

’

so s e e n thr o ugh th e glass can b e mad e upon its

surfac e b y t h e u s e of any instrum e nt which
, ,

wh e ncar e fully guid e d ov e r th e appar e nt outlin e

of th e obj e cts would l e av e by m e ans of color
, ,

or any oth e r substanc e t h e trac e s O f its pat h , .

As it is impossibl e to adopt this proc e ss i n

drawing from natur e t h e mat e rial o n which th e
.
-

outlin e is th e n mad e b e ing a no n transpar e nt -

,
—
m e dium that is pap e r it is cl e ar that sk e tch
,

ing can b e onl y e ffe ct e d by a distinct ap p re

h e ns io n of t h e re al forms of t h e O bj e cts th e m
s e lv e s and of thos e appar e nt forms u nd e r
,

which th e y are pr e s e nt e d to t h e e ye i n th e ir
diffe r e nt positio ns i n t h e landscap e .

N ow all th e s e Obj e cts hav e th e ir r e al outlin e s

'
I 4 OF TH E IZ
H O R O NTAL L N E I .

compos e d e ith e r o fstrai ght line s or o f curv e d "

,

lin e s or of both which e i th e r may b e irr e gular in

.
,

th e ir r e latio n to e ach oth e r or may follow c e r ,

tai n giv e n laws and conditio ns I f th e latt e r b e .

"

t h e cas e th e s e laws are

, for th e most part O f
, ,
-

such a simpl e charact e r as to admit of b e ing

e asily compr e h e nd e d and wh e n onc e th e prin
c ip le s which we shall by and by e num e rat e
, are ,

mast e r e d and und e rstood t h e stud e nt will find , ,

i n th e r e pre s e ntatio n of mor e compl e x forms of

outl i n e an I ncr e asing facil i ty as his j udgm e nt
, ,

b e com e s mor e matur e d and his e ye m or e cor

,

re ct .

OF TH E H OR I ZONTAL LI NE .

If a sp e ctator w e r e plac e d i n a flat hor i zontal

pla i n t h e wat e r or ground whi c h h e would
,

have i n v i e w b e for e him would app e ar to r i s e

from t h e s pot o n which h e stood t h e limit of ,

th a t ris e b e ing d e t e rmin e d by a cl e ar and w e ll

d e fin e d straight lin e call e d th e fiomz om al line
'
‘
.
,

This will at o nc e b e u nd e rstood In t h e e xampl e ,

of th e s e a or of a lak e b e tw e e n which and

, ,
 DI STAN C E OF TH E I U
P C T RE .

th e sky no O bj e ct i s suppos e d to in t e rv e n e .

T his horizo ntal lin e — o r ( as t h e word

"
impli e s )
—
this boundary li e s e xactly opposit e t o t h e '

rang e of t h e e ye wh e n th e sp e ctator, in movi ng ,

round f rom l e ft to right or from right to l e ft ,

look s b e for e him i n a dir e ctio n n e ith e r abov e

nor b e low t h e natural plan e of his v isio n I t is
.
.

important that t h e l e arn e r should ha ve a C l e ar

and distinct appr e h e nsion of what this hor i zon
tal lin e is b e caus e it is to this l in e t hat e v e ry
o th e r lin e i s r e fe rr e d and that by its m e ans t h e
‘

ac c u rac y o f t h e dr a wing is s e cur e d

’
'

.
.

DI STANC E OF TH E I
P C TU R E .

I n Fig I a landscap e is suppos e d to b e v i e w

.
.

e d from t h e spot mark e d E and that th e sp e c

tator is d e sirous of r e pr e s e nting o n t h e plan e of
his pap e r a c e rtai n portio n o f th e sc e n e as s e e n
b y him from this point That p ortio n C onsti .

t u te s his z e al pictur e .

H e r e th e r e for e aris e s th e first qu e st i o n that

, ,

f
Th e w dl or z o rz z
’

m is n o th i n gm o re th an th e p arti c i p l e

t b d
“
o f th e G re e k v e rb signif i
"
'

'
n
y g o o un .
16 I
D STANC E .
OF T H E I U
P C T RE .

of d e t e rmining how much O f th e la nds e ap e o r -

t h e O bj e cts h e is vi e wing should b e contain e d ,

within h 1s propos e d pictur e .

Th e d istanc e of t h e pictur e — o r dis t an c e of ,

'

t h e e ye from t h e plan e of t h e pict ur

‘

e
( which is
t h e sam e thing e ans t h e distanc e i
) m ,
-
nt e rv e
’
ning b e tw e e n t h e sp e ctator s position and that ,

po i nt o n t h e grou nd dire c tly in fro n t of him

,
.
,

wh e re th e pictur e which h e is about to mak e

, ,

ought prop e rly to C omm e nc e U pon t h e choic e .

of a prop e r and j udicio us distanc e t h e b e au t y o f ,

,

his Work w i l l in a gr e at m e asur e d e p e nd .

S uppos e t h e lands c ap e t o b e vi e w e d fr om t h e'

.

poi nt E (F ig I ) th e n that portio n of th e sc e ne

.
,

which t h e e ye can e asily tak e in without mov ,

i ng t h e h e ad and without th e slight e s t strain u p

,

on t h e O ptic n e rv e will co nstitut e t h e p ictur e

,

f rom that p oint This siz e is v e ry important to

.

O bs e rv e, for if t h e h e ad is t u rn e d e ith e r to th e
r i ght or t h e l e ft a ne w pictur e is mad e through
, ,

t he chang e of focus — and t h is is a dis t inc t lo n

—
,
.

v e ry o ft e n misund e rstood from wh e nc e aris e s

ap an o ram lc V i e w inst e ad of th e art is t ic p ic tu re
i

t h e draughtsman had i nt e nd e d t o produc e

"

, .
IS E" TE NT OF TH E I
P C TU R E H O R I ZO NTALLY .

N ow u nd e r th i s
, C o ndit IO n , th e
sp e ctator W lll
find that h e do e s not distinctly Se e th e ground
imm e diat e ly b e for e him but that h e obtains a
,
.
'

p e rfe ctly e as y V i e w of it only at som e distanc e .

from his position at E It is t h e s pac e i nclud e d

.

b e tw e e n t h e point E ( wh e r e h e is plac e d ) and ,

t h e suppos e d point allud e d to and h e r e mark e d ,

S th a
, t e stablish e s th e r e quir e d distanc e of th e
pictur e that is th e distanc e of th e e ye from th e
,
‘

propos e d pi ctur e For i nstanc e le t S b e that

.
,

point on th e ground imm e diat e ly in fro nt of th e

e
y e ,and if through S a straight lin e b e sup

pos e d to b e drawn p e rp e ndicular to t h e distanc e

,

E S this lin e will pass through a nd d e t e rmin e

,

t h e for e most obj e cts of t h e propos e d p 1c tu re ,

and th e r e for e at this lin e t h e pictur e must com

Th e nc e .

TH E E " TE NT O F TH E PIC TU R E H OR I Z O NTALLY .

Th e
n e xt proc e ss is to d e t e rmin e how
along this lin e t h e V i e w should e xt e nd to
right and l e ft of t h e point S .

Pac e th e distanc e fro m E to S .

 E " TE NT O F -

TH E I U
P C T RE H OR I ZO NTALLY .
‘

19

S uppos e it to prov e tw e lv e pac e s .

Plac e a mark at S a glov e or stick or any , , ,

obj e ct that may b e distinctly s e e n from t h e posi

t ion E th e n walk s ix pac e s from S in t h e
dir e ction S D and t h e re l e av e anoth e r visibl e
,

mark ; als o s ix pac e s from S to B wh e r e a ,

th ird mark should b e plac e d All th e O bj e cts .

s e e n b e tw e e n th e marks at B and D w i ll co n
s t it u te t h e int e nd e d pictur e as vi e w e d from t h e
,

po i nt E th e lin e s drawn at B and D p e rp e n

dic u lar t o B S D b e ing t h e sid e s of t h e pictur e
'

If it b e obj e ct e d that from t h e natur e of th e

,
.
\

ground this p ri ncipl e could not in som e cas e s

,

b e carri e d out it will at le ast b e admitt e d that

,

t h e stud e nt may mak e hims e lf thoroughl y ac .

u aint e d w i th it b first practicing o n plac s

q y ,
e

O ff e ring no O b stacl e to his att e m pts ; and h e

will thus soon b e e nabl e d to form a prop e r
j udgm e nt as to t h e distanc e and boundari e s o f
,

his pic t ur e u nd e r any circumstanc e s wh at e v e r

, .

I t must how e v e r b e O bs e rv e d that this

‘

, , ,

forms t h e e x tz e me li mit of th e p i ctur e lat e rally

f
.

Any portion of th e vi e w may b e tak e n within -

,
“

that i s e x e mplifi e d in th e Frontispi e c e

of this b 66k .
20 I
TH E V E RT C AL L N E I

TH E I
V E RT C AL I
L NE .

That an accurat e notion of th e v e rtical lin e

may b e obta i n e d th e plan e of th e pictur e must
,

b e s upp os e d to b e p e rp e ndicular to t h e hori zon

tal plan e .

I f a straight lin e b e drawn from t h e s p e c ta

’
tor s e ye p e rp e ndic ular to this plan e of t h e
,

pictur e that lin e will fall upon th e p lan e a t a

,

point i n t h e horizontal l i n e dir e ctly opp osit e to

t h e e ye In Figs I and 2 C i s this p oint and
. .
, ,

it is call e d th e c e m re of t h e pictur e or C e ntr e of

‘
,

V ie w . I n r e fe r e nc e to th e e ye of th e sp e ctator ,

e v e ry s t ral h t lin e e r e ndic u lar to t h e plan e of

g p p
t h e pictur e app e ars to conv e rg e towards this

poin t or c e ntr e Th e lin e which drawn from

.
,

t h e e ye of t h e sp e ctator d e t e rmi n e s this c e ntr e

,

C is call e d t h e ve fl z m l Zz fle I t Is a straight lin e

’ '

, .

through S p e rp e ndicular to th e horizontal lin e

, ,

and t h e bas e of th e pictur e and in Figs I and .

2 1s i s r e pr e s e nt e d by t h e line E C
'

.
 T HE VE RTI C AL LI NE . 2 1

I n Fig 2 th e lin e s and p oints b e for e de sc rib

.
,

e d are furth e r illustrat e d and to impr e ss th e m

cl e arly o n th e m i nd of th e stud e nt we re c ap itu ,

lat e th e m as th e y are e x e mplifi e d in this figur e

,
.

E is call e d th e point of sight or plac e of t h e ,

c e ntr e of vi e w or c e ntr e O f th e pic

'

th e .

tur e b e ing t h e point o n th e hor i zontal lin e H

‘

17 imm e diat e ly opposit e to t h e e ye

, .

( This p o int C must not b e mistak

-

e n for t h e

c e ntr e of t h e pap e r i t b e ars no su ch m e an i ng ,

f o r It 15 ma r k e d occasionall som e what rath e r to

y
t h e r i ght or to t h e l e ft of t h e middl e o f th e
, ,

horizo ntal lin e but In all cas e s i t i s t e rm e d th e

c e ntr e of V i e w or c e ntr e of th e pict ure )
"
“
,

E D th e bas e lin e e qual In l e ngth to E C

, ,

S th e point on t h e grou nd i mm e diat e ly o p

,

p o s it e t h e foot of t h e sk e tch e r as C I s oppo s it

, e

to his e ye
E S t h e v e rtical l i n e
,
— th e l e ngth o f which Is
e qual to t h e suppos e d or known distanc e of
, ,

t h e e ye from t h e c Om m e nc e m e nt of t h e pictur e

at S It is n e c e ssary to e xplai n that E is n ot

. i

t h e r e al o s itio n of t h e e and that it is

‘

p y e re
-

,
 THE I
VE R T C AL L NE I . 23

for m to draw h l ngth of h

'

qu IS It e
p e lz e e t e e t e

v e rtical lin e E S upon th e pap e r and as this ,

cannot al ways b e don e with conv e ni e nc e be lo w

t h e bas e lin e as i n Fi
,
g I it
. may
, b e drawn
d e af/e,as sh own i n Fig 2 ; th e only limitat i on
.

b e ing in this case that th e e xt e nt of t h e bas e

lin e B D is d e t e rmi n e d by E C , not as in Fig .

I by E S a s th e spac e from S to C is allow e d

, ,

for th e h e ight of th e e ye abov e t h e grou nd .

’

Th e u S e o f this v e rtical lin e i s th e sam e

t
,

wh e th e r it b e drawn abov e or b e low th e c e ntr e

24 TH E VE T R I C AL I
L NE .

of vi e w C and i t i s sho wn i n th e two positions ,

in Figs I and 2 m e r e ly b e c aus e i t is fr e q ue nt

.
,

ly mor e conv e ni e nt to m ark th e po i nt E abov e ,

than it would b e to plac e i t b e lo w t h e hor i zon ,

tal lin e .

U pon t h e l e ngth of th e v e rtical lin e E C de

p e nds t h e j ust and natural r e pr e s e ntation o f
obj e cts I f it b e t o o short th e y will ap p e ar u n
. ,
,

satisfactory and mor e or l e ss distort e d

, .

Th e following e xampl e will illustrat e th e truth

of this stat e m e nt ( Fig .

A block of wood or ston e ( Fig 3 ) is to b e re .

pr e s e nt e d at diffe r e nt distanc e s ; it has a S quar e

bas e and is s e e n i n a po s ition i n which its Sid e s
,

are obliq u e to t h e plan e O f t h e pictur e — se e n ,

In fact , from both points u nd e r th e s am e cir

,

c um s tanc e s i n all r e sp e cts as r e gards surround

i ng obj e cts e xc e pt that th e p e rp e ndicular

,
‘

distanc e of th e sp e ctator fr o m th e bas e lin e

B D is much l e ss i n o ne than in t h e oth e r .

I n Fig 3 NO I th e distanc e O fth e point of

.
, .
,

V i e w from which t h e Sp e ctator s e e s t h e

,
ston e ,

is onl y half t h e l e ngth of th e bas e lin e E D

that is o fE C in Fig
( ,
.
2 6 R
P O PE R I I
POS T ON F O R TH E

s e n te d . He
nc e th e sk e tch e r m us t consid e r
F irst wh e th e r h e hims e lf and t h e O bj e cts h e
,

is about to r e pr e s e nt are o n l e v e l gro u nd , o r

n e arly so .

I f th e vi e w b e on a plan e ne arly l e v e l t h e ,

horizontal lin e may b e drawn at about o ne fifth -

or o ne fourth o f th e h e ight of that s p ac e o fhis

'

pap e r which i s i nt e nd e d for t h e pictur e ( Fig .

F IG .
4 .

wh e th e r th e ground b e un dulating
S e c o ndly , ,

or wh e th e r t h e obj e cts b e V i e w e d fro m a car [

 H OR I ZO NTAL LI NE . 2 7

ria or
e from t h e low e r windows of a building
g , ,

or any similar mod e rat e e l e vation .

I n th iS Tfi Se fth é h oiiz o ntalli ne may b e plac e d

" '

at about o ne third th e h e ight ( Fig

-
.

F IG .
5 .

fi wh e th e r t h e sc e n e ry b e mountainous
lly
, ,

with a lak e or wh e th e r t h e obj e cts b e vi e w e d

from som e e onsz cle mele e l e vatio n
'

I n this cas e le t him cho os e a pos i tio n that w i ll

i

c ommand a good v i e w O f th e sc e n e and p re ,

v e nt c lo se r and mor e i mm e d i at e obj e cts from

e
2 8 H OR I ZO NTAL LI NE .

conc e aling any portion of th e re m o te d is tanc e

’

and though th e h e ight of th e h o rlz o ntal lin e in

this cas e m ay some lz m e s b e a littl e mor e th an
’

half t h e h e ight of t h e pap e r according to th e ,

e l e vation attain e d by th e sp e ctator to co m mand

th e vi e w ye t it is d e sirabl e not gr e atl y to e xc e e d
,

’
this oth e rwis e what is call e d a bird s e ye
,
“ -

V ie w will b e th e cons e qu e nc e ( Fig .

I n t h e follow i ng e xampl e t h e horizontal lin e

,

i s drawn at n e arly Ralft h e h e ight of th e pap e r .

F IG . 6 ,
 OF TH E U P H LL
-
I I
V E W. 29

W e may h e re incid e ntally obs e rv e that as a , ,

g e n e ral rul e th e sk e tch e r will find it advanta

,

e o u s aft e r hav ing drawn a faint horizontal lin e

g , ,

at its prop e r h e ight to asc e rtain by holding up

, ,

his p e ncil hor i zontally on a l e v e l with his e ye ,

what obj e ct o r fi n d of cm olye e l app e ars o n that

'

, ,

point of th e horizontal lin e imm e diat e ly b e for e

him ; t h e island fo r i nstanc e i n t h e abov e
, ,

sk e tch H e may b e gi n his drawing by re p re

.

s e nting s u ch obj e ct at that poi nt and proc e e d

-

ing right and l e ft o n t h e sam e l e v e l to t h e e x

,
"

t re m it ie s of h is pict ur e Thi s will gr e atl y assist

"

in guiding th e d e lin e atio n of th e r e maind e r .

OF TH E U P H LL
-
I I
V EW .

All horizon tal plan e s a e a z 7eg to asc e nd if ,

—fifi 7f
°

th e y lie b e low t h e ho rizontal lin e and to de ,

s c e nd if th e y lie abov e it vanish or m e rg e i n .

-

t h e horizontal lin e
-

S o also all parall e l s e ts of

.

horizontal straight line S not parall e l to th e hor i ,

z o nt al l i n e H f
’
app e ar to d e sc e nd if th e y lie
'

z , ,

abov e it or asc e nd if th e y lie b e low it to som e

, , ,

point it th e /horizon tal lin e ; in which po i nt th e y

3 0 OF THE U P H LL
-
I I
V EW .

conv e rg e or van i s h Th u s i n pa i nt i ng th e s e a
i

.
,

and sky are consid e r e d horizontal plan e s and ,

we hav e alr e ady i nstanc e d th e ir appar e nt m e e t

i ng in t h e horizo ntal lin e So a .gain in re p re ,

—
s e nting th e int e rior of a room t h e floor and
c e iling ( if flat and parall e l to o ne anoth e r ) ap
p e ar to approach e ach oth e r and would if 1n , ,

de finit e ly produc e d m e e t or vanish i n t h e hori

,

z o nt al l in e of t h e sp e ctator as th e ir commo n
,

van i sh i ng lin e
.

B ut suppos e t h e ground b e for e t h e positio n

at E ( Fig I ) to form an inclin e plan e inst e ad of
.

a horizo ntal o ne ; a plan e inclining upwards

f rom t h e bas e lin e at som e known or suppos e d
,

angl e . I n this cas e such an inclin e d plan e will

m e e t t h e plan e of t h e pictur e in a lin e abov e
t h e horizo ntal lin e h e nc e th e r e will b e two van
is h ing lin e s o n th e pap e r — o ne wh e r e b y to de
,

lin e at e obj e cts o n t h e horizontal surfac e ; th e

oth e r by which t o draw thos e situat e d on t h e
'

i ncli n e d plan e
.

Th e following diagram will mak e this cl e ar .

I n this figur e ( Fig . E D i s t h e bas e lin e

\

H H t h e c o mm o n horizontal or vanishing lin e

 OF TH E -
I
U P H LL V E W , I .
3 1

C th e c e ntre of vi e w i n that vanishing lin e

L L t h e vanishing lin e of t h e asc e nt and C
t h e c e ntr e of V i e wi n that vanishing lin e .

F IG .
7 .

I t IS O bv i ous that in proportio n to th e l e ss or

,

gr e at e r i nclinatio n o f th e suppos e d plan e th e ,

lin e L L w i ll b e n e ar e r to or mor e distant from

, ,

t h e ho rizontal vanishing lin e L] H Tow a rds

,

som e po i nt o r p o ints i n this lin e L L th e re p

’

re s e ntat io ns of all r i ght lin e s parall e l t o t h e sur

fac e of t h e asc e nt must b e drawn as is s e e n

'

( Fig 8 ) in t h f ll d t s t h ruts in th road '

. e e e re e e , e ,
u
3 2 OF TH E U P H LL
-
I ‘

I
V EW
‘

and low e r lin e s In th e wo od e n pal

li n e s of th e brick w all and thos e ,

lin e s of th e ho u s e which are hor i ,

FIG . 8 .

z o nta l and also p e rp e ndicular to th e plan e of

t h e pictur e are drawn towards t h e vanishing
,

point C in th e horizon tal lin e H H

34 O F TH E D O W N H LL
“

-
I V I EW
p lan e having
, t h e n e ar e r e nd sup ort e d so as to
p ,

b e i nclin e d at an angl e u nd e r which t h e plan e is

y e t V isibl e and le t a bystand e r hold a straig h t
ru le r v e rt ic all at a small distanc from t h
, _

y , e e

n e ar e r e dg e it will th e n b e fou nd that t h e low

e r and mor e r e mot e e dg e of t h e plan e will ap
p e ar high e r o n t h e rul e r than th e n e ar e r o ne ,

t h e lo w e r e dg e b e i ng s e e n at a t h e up e r e dg e
p ,

at 5 M e r e ly howe v e r to draw two horizontal

.
, ,

and parall e l lin e s across th e pap e r for t h e pur . .

pos e of r e pr e s e nting a d e sc e nding plan e by t h e

s p ac e b e tw e e n th e m alon e without t h e assis ,

tanc e of oth e r lin e s in contrast w i th th e m would ,

b e impossibl e but wh e n e v e r t h e d e sc e nding

plan e is vi sibl e th e e ffe ct O f d e sc e nt can b e
,

r e adily conve y e d by m e ans of au xiliary li n e s o n‘

t h e surfac e O fthat plan e assist e d by a j udicious

, “

u s e of light and shad e .

Again —
, le t t h e sk e tch e r suppos e himse l f o n
a hill d e sc e nding dir e ctly from him and that a ,

yard or two in advanc e of him a lin e is drawn

across th e r oad parall e l to his position and ,

anoth e r lin e a fe w yard s furth e r down parall e l

“

to th e first ; it would b e fo und ; o n h o lding a

'
 OF TH E D OW N H I LL V I E W
-
.
3 5

ncil upright at a littl e distanc e from t h e

pe e ye ,

so as to app e ar to cut both lin e s and on looking

’

at th e m with o ne e ye clos e d that t h e low e r lin e

,

of t h e d e sc e nt w ould cross t h e p e ncil transv e rs e

ly at a h igh e r p o int than would t h e up p e r and
'

n e ar e r lin e
.

I n this e xampl e ( Fig I O ) th e sp e ctator is

.
,

suppos e d to b e On s uéh a hill having th e van i sh

i ng l in e L L O f t h e d e sc e nding plan e and th e
6 ,

horizontal vanishing lin e H H i n th e ir prop e r

p o sitions. Th e n all lin e s on th e d e sc e nding
,
—
plan e or paralle l w i th it as th e timb e r t h e
, ,
3 6 ON T II E R EPR E S E NTAT I ON .

OF

marks of t h e wago n w h ee ls & c -

,
—t e n d to ward s
th e vanishing lin e L L whil e t h e horizontal ,

lin e s of th e hous e and wall t e nd i n th e dir e ctio n

of t h e h o riz o ntal lin e and if produc e d to that
'

limit wo uld conv e rg e and t h e r e b e lost I n thi s

, .

e xampl e t h e low e r e xtr e mity of t h e

, d e sc e nt is
e vid e ntly — as according to t h e pri ncipl e laid
,

—
,

down it ought to b e
, high e r o n t h e plan e o f
,

t h e pap e r than t h e upp e r o ne .

O N TH E R E PR E S E NTAT O N O F H O R I I ZO NTAL STR AI GH T

I
L NE S

W H E TH E R P A R ALLE L, P P
ER E ND I C U L AR , O R O B LI Q U E , TO TH E P
LANE

OF TH E P I C TU R E .

A fie rz z onlal right lin e has with r e sp e ct to

’

t h e plan e of t h e pictur e o ne of thr e e position s

"

, :

I t i s e i th e r parall e l to it or obliqu e to i t or p e r , ,

e ndic u lar to it T h e following Supposition Will

p .

e xpla i n w hat i s m e ant by th e se thr e e r e lat i ons

of a hor i zontal lin e
Le t t h e stud e nt suppos e hi m
.
3

s e lf sitt i ng with
h is back against o ne of t h e walls Zo fa re c tangu
lar room Th e wall op posit e to him i s parall e l
.
 HO R I ZO NTAL LI NES .
37
to that b e h i nd him and cons e qu e ntly to th e ,

plan e of his pictur e i n that position Th e two .

th e plan e of th e drawing and all Lo m z onml righ t ,

lin e s on thos e two walls are also p e rp e ndicular

to that plan e and will app e ar to t e nd towards a .

point imm e diat e ly opposit e to his e ye fi ‘

F IG . I I .

I I t e hor i zontal li n e
H H( Fig ) is h or
. l e ve l

of his sight C th e po i nt oppos i t e his e ye and

‘

, ,

Th i s c o n ve r e n c e w d g i hi g p i t o fl i n e s to ar s a v an s n o n

g d m
,

a s app i th
e ars t t i n i f e t h re t re a n 3 s e s o e ro o a I 2,

y d iffi l t t b l i f m d i y
, ,

an d 4 in F ig i I I s ve r cu o e e ve ro or n ar
b tud t w il l fi d t h fit b y th
,
.
,

o se rvati Thon t
e th s e n n e ru o e

i m pl m g d g
.
,

s p
e i e xt f h
e r t t i e n y d o h l i s u n o ne e e an o n a
k nott d t i g w i th th
s rn k t i t b i y d t h no an e n
‘

e pp e o os e s e e

t i g i m dt
,

if t h th d ft h
e r e n t i t th s rn o ve o re s a a ns
e o o
g e s e

w y
li ne s I
c
3
w h i h F ig d m t t
,
d
2, 4 h
.
,
ill
I I
anfi
f —d
'

[
t
E
h t
e
t b t ,
e

o n s ra e s
l i t
.
n a
D ITOR
o

.
e ru e in re a ,
3 8 O N THE AI
R E PR E S E N T T O N O Ff

th at point towards whic h all ho ri zontal righ t

lin e s o n t h e wall s A and B app e ar to slan t ;
-

th ough in re ality th e y are p e rp e ndicula rto t h e

wall at C .

Th e lin e s I and 2 wh e r e th e c e iling and t h e

,

—
sid e walls m e e t and 3 and 4 t h e low e r lim it o f
, ,

t h e walls as w e ll as t h e horizontal lin e s of t h e

,

door and its pan e ls are i n that position of t h e, ,

sp e ctator all p e rp e ndicular to t h e plan e of th e

,

opposit e wall and th e r e for e to t h e plan e of th e

,

drawing .

Th e r e pr e se ntation upon t h e plan e of t h e ,

.

pap e r of a horizontal st ra i ght lin e ought to b e

, ,

car e fully and distinctly appre h e nd e d Th e e f .

f e c t s of t h e proj e ction or drawing O f th e s e dif

f e re nt positions of t h e horizo ntal straight lin e
may b e und e rstood from t h e following diagrams
and e xplanations Le t a straight lin e b e plac e d
li o rie o m ally lefo re i/
.

‘
ie S
ig/i i and i n a dir e ction ,

p e rp e ndicular to th e v e rtical plan e ; but le t it b e

a lit tl e abov e or a littl e b e low t h e l e v e l of th e
, ,

e ; it will app e ar as ifp e rp e ndicular to t h e

’

e
y
ground ( S e e Fig
. .

Thus C is t h e poi nt opposit e th e e ye I and

 H OR I Z O NTAL LI NE S .
39

2 r e pr e s e nt a stra i ght lin e h e ld imm e di at e ly

abov e or b e low th e l e v e l of th e sight at C Th e
w
.

lin e will I s e e m to t h e e e to b e r e ndic u

y e
p p
lar to th e ground ; th e al te ratio n b e ing In fact , ,

t h e appar e nt diminution of t h e lin e as to it s

l e ngth N ow if it b e plac e d abov e t h e l e v e l a s

.
, ,

b e for e and b e r e mov e d to th e right o r l e ft i t

, ,

will app e ar as In Fig I 3 . .

F IG . 12 .

F IG . 13 ,
F
4 0 O N TH E R E PR E S E NTAT O N O F I
And if b e lo w th e le ve l of t h e s ight i t will ap ,

p e ar to t ak e such a dir e ction as this

F IG ; 1 4 .

B ut if o n
r i ght or l e ft O fth e e ye and on a
th e ,

e i e e l le ve l and e ith e r O bli u e or p e rp e nd i cular

f
p y ,
q
to th e plan e O fth e pictur e it will fall in to t h e ,

hor i zontal lin e thus ,

And lastly if i t b e plac e d imm e diat e ly oppo

, ,

s i t e to th e e ye th e proj e ction will b e a point ;

,

t h e e nd as it w e r e alon e b e ing v i sibl e

, , .

Th e s e conditions may b e illustrat e d by placing

o n a tabl e a port folio i nto t h e upp e r l e af O f
,

which is fix e d a long p e ncil stick p e rp e ndic u -

,

lar to th e plan e O ft h e l e af Le t th e low e r e dg e

.

O ft h e fol i o b e e v e n w i th t h e e dg e s O ft h e tabl e .
,

as th e lin e a 5 i n th e d i agram .
4 2 O N TH E R E PR E S E N AT O N O F T I
tabl e and app e arj to b e much lo ng e r than
,

s e e n in t h e ir origi nal position .

F IG . 1 7 .

This diagram ( Pig I 7 ) e xe mplifi e s th e hor i

.

z o ntal right lin e as s e e n parall e l and p e rp e n

dic u lar to t h e plan e O f t h e pictur e ; two O f
t h e thr e e r e lations ascrib e d to it Th e lin e s so .

’
parall e l are a 5 and a e ; t h e lin e s so p e rp e n
’
dic u lar are a b a e and t h e stick f
, ,

’
Th e appar e nt incr e as e O f dim e nsion O f a a ,

wh e n rais e d from its horizontal positio n hav i ng ,

b e e n shown t h e mann e r O f de t e rmi nin g t h e

,

l e ngth O f this sid e O f th e folio wh e n lying flat

, ,

is as follows
F IG . 1 8 .
 H OR I ZO NTAL LI N ES .
43

H aving drawn ( Fig 1 8 ) th e h orizontal lin e

'

through t h e c e ntr e O f V i e w C and th e e dg e O f ,

t he folio parall e l to it and having mark e d t h e ,

c e ntr e O f V i e w as at C s e t O ff C E o n t h e hori ,
-

z o ntal lin e at a distanc e from C e qual to th e

,
'

suppos e d distanc e O f th e e ye from th e point C .

I t has b e e n laid down a s a rul e that t h e distanc e

O f th e e e fro m t h e Ce ntr e C should b e e qual
y
to t h e width O f t h e pictur e ; but i n drawin g a .

s in le o é e e l a M arle r distanc e will su ffi c to

g .
j , e

show th e princi pl e O f construct i on .

From th e point ato th e lin e a é mak e 5 g ,

shor te r S id e s O f t h e folio
'

e qual to o ne O f th e

j oin aC a C and draw a straight lin e fro m g to

, ,

r
’
E c u tt ing b y b C i n e and draw e a p aralle l to 6 g
i
, ,

’ ’
cut tin g a C i n a t h e n a a e 6 will b e th e re p re
.

’
s e ntat io n O f t h e l e af lying o n t h e tabl e and a a ,

will b e th e app are ra l e ngth O f that s i d e O f th e

‘

f O liO I f t h e point E w e r e transpos e d to th e

ol/
.

z e r s i d e O f t h e c e ntr e C th e n 6 g inst e ad O f , ,

b e i ng mark e d towards t h e right hand from 6 ,

must b e s e t O ff fro m a to wards t h e l e ft hand ,

,

and th e re s ult will b e th e sam e

-

.
 OF I
L NES OBL IQU E TO T H E

OF I
L N ES O B L I Q U E TO TH E ‘

PLANE
’

O F : TH E

PI C TU R E .

Th e third r e latio n r e mains to b e e xplain e d ;

nam e l y that O f horizontal stra i ght lin e s O bliqu e
,

to t lie plain O f th e picture

i
.

I f t h e folio with O ne l e af r e ma i ning flat and

,

t h e oth e r v e rtical b e mov e d e v e r so slightly

, ,

but obliqu e ly from t h e positio n in which we

’
hav e consid e r e d it t h e li n e s a a 6 e and t h e
, , ,

stick f will no long e r t e nd towards t h e c e ntr e

,

O f vi e w C but Will b e com e O bliqu e to th e plan e

,

of th e pictur e and hav e oth e r vanishing points

,
-

in th e sam e horizontal lin e but approachi ng to , ,

or r e c e ding from C according to t h e d e gr e e O f

,

inclination O f b e and 5 cl to th e plan e O f t h e

pictur e .

Th e position O f th e s e van i shing points w i ll

d e p e nd upo n t h e d e gr e e at which t h e horizon
tal straight lin e s are inclin e d to t h e p ic tu re Fo r
‘

if th e lin e s b e p e rp e ndicular to t h e plan e O f t h e

pictur e , we hav e s e e n that C th e c e ntre O fv i e w , ,

is th e van i shin g poi nt for all such lin e s I f th e . .

lin e s b e parall e l to H ff t h e vani sh i ng point ,

w ill b e at an infinit e distanc e from 0 H e nc e .

 PL AN E O F TH E P I C TU R E .
4 5

i t is e vid e nt that t h e vanishi ng point will r e t i re

from C as th e a ngl e O ft h e giv e n lin e with t h e
,

horizontal lin e b e com e s small or as its angl e at ,

E with E C b e com e s gr e at e r .

O n th e s e principals t h e law O f t h e var i tion a

O fthis van i shing point may b e d e t e rmin e d .

First le t th e angl e mad e b y th e giv e n inc lin

,

e d lin e b e half a right angl e This cas e is e x

"

e m lifie d In F 1
p g 2 i n which t,h e lin e s O ft h e
g a

b le ridge c h im ne y wind ow & c stand at an

‘

, , , , .
,

angl e e qual to half a right angl e or with ,

t h e h or izo ntal li n e I n th is C as e t h e vanishing

.

points o n bot h s id e s are V and V th e e x tr e m

, , ,

it ie s o ft h e s e micircl e V E V
’

S e condly ; le t t h e inclinatio n o f th e lin e s to

t h e horizontal lin e andto e ach oth e r b e re re
,
p ,

s e nt e d by t h e angl e s O f a r e ctangular and hori

z o nt al block O f sto n e simil a r to that r e pr e s e nt
,

e d b
y N O 2 F i g
.
3 ,wh e r.e t h e v an i
,s h in
g points ‘

are consid e rabl

y b e yo nd t h e limits O f t h e pic
ture o r pap e r an i nco nv e ni e nc e O f co nstant
, ,

’
occurr e nc e wh e n a p rop e r a islaae e is us e d fo r
t h e r e pr e s e ntatio n O ft h e O bj e ct but w h i ch t h e ,

following e xp e di e nt is calculat e d to obv i at e

“

.
4 6 I
O F L N E S O B LI Q U E TO T
‘

HE

Th e bas e lin e th e horizontal l in e the c e ntre

, ,

O f vi e w and th e v e rtical lin e b e ing drawn as

,

b e for e also t h e n e ar v e rtical e dg e (a 6) O f t h e

,

block proc e e d th u s
, .

M a k e C E O nt h e v e rtical lin e e qual to s ay

, , , ,

t h e prop e r distanc e O f t h e e e f C
y ro m ( which ,

dist a nc e may b e mor e but n e v e r le ss fth an th e

,
'

e xtr e m e dim e n s i ons O ft h e pict u r e wh e th e r it b e,

F IG . 1 9 .

high e r than wid e or wid e r than high ) and con

, ,
 PLAN E O F TH E P C TU R E
-

I .
47

struct th e right angl e L E M i n such a mann e r

that both th e poi nts L and M may fall withi n
t h e limits O f t h e pap e r as s e e n i n t h e figur e
, .

Th e n t h e point E will b e t h e re pr e s e ntativ e O f

t h e tru e plac e O f t h e e ye and t h e points L and ,

M th e r e pre s e ntativ e s o f th e tru e v an i shi ng

po i nts which would b e r e sp e ctiv e ly o n t h e hor
, , ,

iz o nt al lin e produc e d e qual to thr e e tim e s C M

,

"
o n that sid e of C and thr e e tim e s C L on t h e
,

O th e r ; wh ilst t h e tru e plac e O f t h e e ye On t h e ,

v e rtical lin e produc e d upwards would b e e qual ,

to thre e tim e s C E .

Produc e E C TO th e b a s e lin e also b i s e ct th e

"

right angl e L E M to x x will b e th e vanish

i ng point O f th e diagonal O f t h e squar e block ;
draw 6 96 Through L and M draw lin e s ( any
.

l e ngth ) parall e l to E C .

Tak e any small O p e ning O f t h e compass and ,

mark th e spac e O ffr e p e at e dly from C to t h e bas e

lin e or e v e n b e low i t if n e c e ssary ; and if any
.

, ,

po rtion O fth e O bj e ct to b e drawn r e ach e s abov e

t h e horizon do t h e sam e also from C t o E ( or
,

high e r if r e quir e d ) I n this e xampl e th e whol e

, .

O ft h e O b j e c t is be low t h e horizon N umb e r thos e

'
’

.
4 8 I
O F L NES O B L
‘

I Q UE TO TH E
"
'

di visions from C downwards as in th e figur e , ,

and if r e quir e d upwards from C in a simila r

, , ,
'

mann e r .

Tak e i n th e compass as many O fth e s e divisions

as mak e o ne le ss than th e numb e r O f tim e s C E
is contain e d i n th e tru e distanc e O f t h e e ye i n
this e xampl e it is contain e d thr e e tim e s th e r e
for e tak e two divisions from t h e v e rtical lin e ;
and mark th e m O ff downwards ( and i f ne c e s ,

sary upwards ) from L and M

S n oclio iae e aok of l/
,

’
z ose divis io ns info as m an
y
’ ’
e
gn al p arls as C E is oo nia ine a in Me irne a is

inthis cas e and numb e r th e m as in th e

‘
z anoe , 3
figur e .

N ow if from any point ( a) a lin e b e drawn i n

,

t h e dir e ction O f t h e two corr e sponding points o n

t h e divid e d lin e s it will t e nd towards t h e tru e

,

but inacc e ssibl e van i shing point as r e quir e d .

Thus a lin e drawn from t h e upp e r corn e r O l

t h e v e rtical e dg e ( 6) through t h e points 2 and 2 ,

on t h e l e ft hand will t e nd towards t h e tru e Van

,

is h ing point O f that lin e and which is also th e '

vanishing point for all horizont al lin e s on th e

l e ft sid e O f t h e O bj e ct A lin e fro mth e low e r
.
50 OF I
L NES O BL I QU E TO TH E

n e c e ssary po i nts b e in g with i n th e boundar i e s o f

t h e pap e r ; and thus is obviat e d t h e difficult
y
arising fro mth e vanishing points b e ing inac c e s
'

sibl e o n th e plan e O f th e pap e r .

A littl e practic e will e nabl e th e sk e tch e r in ,

d e t e rm i ning his lin e s to di s p e ns e w i th points

,

and t h e rul e r altog e th e r e xc e pt wh e r e occasion

,

ally th e u s e O f a p e ncil may b e d e sirabl e to draw

a straight lin e with su ffi ci e nt accuracy .

If t h e a ngl e s form e d by th e original lin e s ( as

t h e r i ght a ngl e s form e d in this cas e by t h e sid e s

O f th e bl ock ) b e gr e at e r or l e ss than a right

‘

angl e a cas e O f fr e qu e nt occurr e nc e all that is

, ,

r e quir e d will b e to draw L E a nd E M inclin e d

to t h e v e rtical lin e E C at angl e s e qual to t h e
giv e n angl e s.

I n th e e xampl e inFig 2 0 t h e ho ri zontal lin e s

.
, ,

forming th e wood Work in front O fth e building

-

and thos e O f th e roof are O bliqu e to th e plan e

,

O f t h e p ic tu re and hav e a t e nd e ncy to points

'

consid e rab ly b e yo nd t h e limits O f th e pap e r

but t h e diffi cult y i s m e t by th e rul e alr e ady laid
down in r e fe r e nc e to Fig 1 9 and is h e r e e x
, .
,

e m p lifie d i n applicatio n to a p i ctorial O bj e ct .

 PLA NE O F TH E P C TU R E I . 51

F IG . 20 .

Th e bliqu e lin e s O f th e gabl e are r e pr e s e nt

O ,

e d accord i ng to th e i r angl e O f obl i qu i t and

, y
th e i r pos i t i o n i n r e lat i o n to th e plan e O f th e p i c
tur e but for g e n e ral sk e tch i ng purpos e s it w i ll
b e su f fici e nt t o draw diagonals as i llustrat e d in
F ig . 2 1 .
52 I
O F L NES O B L I QU E TO TH E

F IG .

I n this d i agram ( F i g or in a ny s i m i la r
.

Sk e tch to W hich t h e rul e s O f i ts constructio n

apply th e l i n e s O f t h e uns e e n parts O fth e stru e
,

ture which are h e r e dott e d may b e lightly put

, ,

i n with a p e nc i l so that wh e n th e visibl e lin e s

,

and surfac e s are firml y r e pr e s e nt e d th e light ,

l i n e s may b e e ffac e d Th e Ve rtical and ho r i

.

z o nt al l i ne s a e
, a o og & c
, , b e i ng d e t e rm i n e d
, .
,

by th e pr e c e ding rule s and diagonals a g e o

, , ,

& c b e ing drawn p e rp e ndiculars are rais e d on

.
, ,

th e ir int e rs e ctions at x or ; that i n front b e i ng

 PLAN E O F TH E P C TU R E I .

d e t e rmin e d by t h e assum e d h e ight O fth e gabl e ,

as x f ( or th e h e ight O f t h e ap e x O f th e p e d i
m e nt if th e r e b e o ne ) D raw t h e O bliqu e lin e s
, .

e
f and fg .

I f t h e roof proj e cts as it do e s i n Fig 2 0

, .
,

produc e outwards t h e horizontal li ne s O fth e walls

and th e ridg e O f th e roof t o t h e appar e nt e x
t e nt as at e I and draw a lin e from I towards
,

t h e prop e r vanishing point which will giv e t h e

,

point 2 NO W produc e th e low e r lin e s a 3 and

.

o 4 making a 3 e qual to e I th e n a li n e from

w
,

3 to ards t h e Sam e vanishing p oint will giv e t h e

point 4 and th e j unction O f I 4 and 2 3 will giv e

diagonals int e rs e cting at o wh e nc e a p e rp e ndic
,

ular is rais e d m e e ting t h e lin e ff produc e d at

, ,

5 and I 5 and 2 5 are t h e O bliqu e lin e s O f t h e

proj e ct i ng roof .

Thus in th e construction O f this figur e e v e ry

n e c e ssary point is fou nd w i thin t h e limits of th e
pap e r although th e sam e r e lations could at onc e
,

b e e stablish e d b y m e ans O ft h e vanishing points

.
,

if r e quisit e .

Th e struct ur e r e pr e s e nt e d in Fig 2 2 may b e .

draw n ac e o rding to i nstructions giv e n in r e fe r

inc e to F ig 1 9 . .
.

1 3
54 O F LI N E S O B L
’

I QU E TO TH E

F IG . 22 .

T h us as b e for e le t C E b e e qual to o ne third

, ,
-

Of th e tru e distanc e O ft h e e ye and t h e distanc e s

,

O f L and M r e sp e ctiv e ly e qual to o ne third O f -

t h e distanc e O f t h e tru e vanishing points fro m

t h e c e ntr e O f vi e wC .

Thr ough t h e corr e sponding n umb e rs 3 and 3 ,

or 2 and 2 i n th e lin e s drawn through M E

, ,

and L r e sp e ctiv e ly draw lin e s which M ill t e nd

,
’

to th e t iu e vanis h ing p o int O f t h e hor i zontal

 PLANE O F TH E P C TU R E I . 55

lin e s O fth e wall in which thr e e op e nings or

,

windows with th e ir pi e rs are to b e r e pre s e nt e d

, ,

according to th e ir prop e r scal e O fr e lation .

This is usually e ffe ct e d by drawing a lin e from

a or i parall e l to t h e horizontal lin e
, o n which ,

t h e g e om e trical m e asur e s O ft h e pi e rs and win

dows are mark e d O ff f rom a or b which e v e rmay ,

b e adopt e d B ut i n inis cas e a confusion O f

.

lin e s would e nsu e from th e adoptio n O f such a

cours e an inconv e ni e nc e which may b e obvia
t e d b y drawing from o a lin e o n O f any l e ngth

and p arale ll to that run ning through 2 and 2

b e low M L and by th e n markin g th e w i ndows
,

and pi e rs upon it in th e ir proportionat e ge o m e t

ric al widths f rom o to 25 Th e n a lin e drawn
.

’
from x th ro u gh th e corn e r O fth e wall at a to
'

m e e t that through 2 2 b e low L M at y giv e s

, , ,

a point at y towards which lin e s fro m all th e di

,

visions o n o x may b e drawn divid i ng th e upp e r ,

lin e O f th e wall as s e e n i n th e figur e ; from

,

which divisions p e rp e ndiculars may b e dro pp e d ,

show i ng t h e proportio nat e diminutions O f t h e

widths O ft h e p ropos e d windows .

Agai n le t a n on a 5 b e th e h e ight O f th e
-
"
'
56 PLAN E OF I
TH E ) P C TU R E .

i ndows
i

low e r lin e O ft h e W ground andro m t h e

f ,

le t n 0 b e th e h e ight O f th e springing O ft h e arch

'

from th e bottom O ft h e windows and o o th e ,

h e ight from th e chord to th e ap e x O f t h e arch ,

and from th e s e points n o 75 d raw lin e s towards ,

t h e v an is h ing p o int O f t h e lin e is a; this

’
by
'

crossing t h e p e rp e ndiculars will d e cid e t h e ,

h e ights O ft h e windows Th e point for t h e ap e x

.

O fe ach arch may b e found by m e ans O f diag

o nals .

C I R C U LAR O B J E C TS .

Among t h e circular O bj e cts which may i n t h e ,

cours e O fe xp e ri e nc e pr e s e nt th e ms e lv e s to t h e
,

sk e tch e r p e rh aps fe w would caus e h im m o re

,
.

e m b aras s m e n t i n th e ir d e lin e atio n than a mill

wh e e l whi c h fwh e n vi e w e d obliqu e ly ( and i t i s

,

s e ldom r e pr e s e nt e d oth e rw i s e ) pr e s e nts an ,

e llipt i cal or oval form Th e drawi n g how e v e r

. . ,

O f t h is O bj e ct will b e r e adily e ff e ct e d by t h e fol

lowing appl i cat i o n O fth e for e going rul e s .

Le t a o i b e t h e v e rtical diam e t e r O f t h e
\

w h e e l th e n according to t h e pre c e ding rul e s

, ,
58 C I RC U LAR OBJ E C TS .

f will cut g 0and o i i n two po i nts through ‘

which t h e curv e must b e d e scrib e d and touch

'

i ng th e straight lin e s at t h e points e o and f .

Th e wh e e l b e ing an ov e rshot wh e e l th e low e r ,

portion is not v i sibl e S hould how e v e r t h e

.
, ,

e ntir e w h e e l b e s e e n t h e low e r points for t h e

,

curv e will b e o n th e diago nals imm e diat e l y

b e n e ath th e oth e rs as shown in t h e figur e
,
.
.

Th e stud e nt may hav e r e cours e to s imilar

,

m e ans for drawing th e C i rcular arch e s O fa ston e

b ridg e .I t s e ldom how e v e r happ e ns that a
, ,

bridg e O f this kind is a d e sirabl e O bj e ct i n a

landscap e u nl e ss p e rhaps i n t h e distanc e or i n
, ,

t h e middl e distanc e O f th e pictur e ,Arch e s . ,

how e v e r are fr e qu e ntly found i n associatio n

,

with t h e m ost romantic fe atu re s o fnatur e such

'

f o r ins tan c e
. as that n e ar Ab e rystwith call e d th e
, ,

D e vil s B ridg e and many oth e rs

’

, .

S om e O fth e ston e bridg e s in t h e l ak e distr i cts

O fC u mb e rland and W e stmor e land are e xtr e m e
'

ly pictur e squ e Th e y are O f v e r y rud e con

.

structio n b e i ng i n many cas e s form e d only O f

,

loos e ston e s fo rt h e passag e O fsh e e p and h e rds

ov e r small str e ams ; it i how e v e r
'

O f cattl e s .
,
 C I R C ULAR O BJ EC TS .
: 59

from th e i r v e ry rugg e dn e ss that th e y d e riv e th e ir

int e r e st surrou nd e d as th e y fr e qu e ntly are b y
,

sc e n e ry O fmuch grand e ur Th e sk e tch b e low .

affords a sp e cim e n O f this kind O f simpl e and

pictur e squ e bridg e ; it is thrown ov e r a small
str e am flowing into W e st W at e r o ne O f th e ,

most pict ur e squ e O fth e C umb e rland lak e s .

“

F IG . 24 .

Th e su bj e ct O f th e frontisp i e c e i s S tockl e y .
“

B e ck ,
"
i n C u m b e rland which i n combinat i o n
, ,
OO C I RC U LAR OEJ E C TS .
’

with a portio n of th e mou ntai nou s district ami d

«

which it is situat e d forms a p assag e O fland

‘

scap e Sc e n e r y that in pictorial int e r e st can sca rc e

ly b e surp a ss e d I t is only in W al e s i n S c o t
.
,
“

land and in t h e lak e districts O f E ngland that

, ,

such combinations are m e t with Thi s and .

,

O t h e r si m ila r sk e tch e s are int r oduc e d h e r e only ,

to afford to th e stud e nt e xampl e s O fthis class O f

sc e n e ry and to illustrat e th e s e l e ction and tr e at
,

m e nt O f a sk e tch .

F IG . 2
5 .
 O N TH E
'

C H O IC E OF S U BJ E C T
. 61

Th e rud e bridg e form i ng th e subj e ct O f Fig .

2 5 cross e s o ne O f th e str e ams that flow from

S nowdon . I t is n e ar B e ddg e l e rt ; and S O pic
tu re s q u e is it from e v e ry point O fV i e w that no ,

sk e tch e r go e s into th e n e i ghborhood in wh i ch

i t is situ at e d without making a drawing from it
, .

ON TH E C HO C E I OF S U BJ E C T .

As th e s trict e nd O four instructions h e r e is to

assist t h e s ke t ch e r i n gaining a facilit y in simpl y
d e lin e at i ng r e al O bj e cts and co m binations O f
obj e cts it is d e s i rabl e that it should b e und e r
,

stood that this is O nly th e first st e p towards

l e arning to draw from n atu r e An e as y rapid , ,

and d e cid e d m ann e r O fsk e t ching i s to b e ac qu ir

e d o nly by practic e It i s an acqu i s i t i o n e ss e n
.

tial to e xc e ll e nc e i n all th e o th e r artistic qual i :

ti e s to which it s e rv e s as a basis th e r e for e it

would b e h e r e altog e th e r out O fplac e to propos e
a discussion on color manipul ation and all thos e
, ,

qu e stions O f fe e lin g and e x e C u t io n which , ,

b rought forward at so e arly a p e riOd O fprogr e ss ,

w ould o nlys e rve to div e rt t h e stud e nt from th e

"

.
62 ON TH E C H OIC E
‘

OF S U BJ EC T
.

attainm e nt O fth e pow e r O f d e aling With th e s e

e ff e ctiv e ly h e r e aft e r Th e s e su bj e cts are e nt e r
.

e d upon in th e ir prop e r plac e s i n t h e s e ri e s to

,

which this littl e book b e lo ngs I

.
>¢

It is ho w
, e v e r n e c e ssary that th e sk e tch e r b e
,

assist e d in th e cho i c e O f subj e ct matt e r Th e .

e x e rci se O fa littl e j udgm e nt in this r e sp e ct will

r e nd e r his progr e ss agr e e abl e to hims e lf and his

works pr e s e ntabl e to o tlie rs TO b e g i nn e rs th e
.
,

gr e at pr e c e pt O fo ne O ft h e most accomplish e d
O f our liv 1ng landscap e paint e rs is to stud y “
-

—
,

littl e bits , a pr e c e pt which will apply e qually

to sk e tching as to painting .

Among t h e subj e cts forming th e woodc uts

which illustrat e th e s e instructions th e r e are ,
'

ma ny which might s e rv e as initiatory e ssays ;

and oth e rs O f various d e gr e e s O fprogr e ss e v e n
-
,

to co m positions which might b e work e d up into

drawings and paintings O f consid e rabl e b e auty .

All artists hav e som e p e culiarity in th e ir m e thod

O f sk e tching and rapid and broad sk e tch e s are
fr e qu e ntly int e lligibl e only to thos e who mak e
th e m O ne of th e b e st qualiti e s how e v e r O fa
.
, ,

Pu th am
’
s S e ri e s o f Art H an db o o ks .
 '

ON TH E C H O IC E O F S U BJ E C T . .

sk e tch is that it should not o nly r e fr e sh t h e

,

m e mory O ft h e artist but should b e Sugge stiv e

,

and int e lligibl e to e v e ry o ne .

W ith a littl e e ducatio n th e e ye wil l discov e r

,

mat e rial for study e v e rywh e r e London and i ts .

e nv i rons abound with subj e cts O f pictur e squ e

-

b e auty H ampst e ad H ighgate t h e banks and

.
,

wharv e s O ft h e Tham e s down e v e n to t h e NO I C ’

e v e ry suburba n locality ; all t h e gr e e n lan e s ,

and t h e co mmons with which th e y communi

cat e abound with mat e rials which may b e
,

wrough t into pictur e s O f th e high e st d e gr e e O f

i nt e r e st Th es e are t h e localiti e s which hav e
.
/
'

c o nt rib u t e d t o form many O f t h e b e st O f our

landscap e paint e rs ; and so it is e ls e wh e r e ;
-

th e r e is no spot in t h e country S O e ntir e ly di

v e st e d O fpictur e squ e characte r as not to supply ,

to t h e cultivate d tast e subj e ct matt e r for an in -

t e re s t ing pictur e I n confirmation O f this it is

.
,

O nly n e c e ssary to look arou nd our e xhibitio ns ,

to s e e num e rou s works O fgr e a t b e auty and in

t e re s t p roduc e d from mat e rials i n th e ms e lv e s
,

appar e ntly e xtr e m e ly slight .

H av ing iade hims e lf mast e r p fth e principl e s

n
-
64 ON TH E I
C HO C E OF SU B J E C T .

h e r e laid down t h e sk e tch e r might s e l e ct fo r

,
"

comm e nc e m e nt som e S i ngl e O bj e ct such as t h e ,

quaint O ld gabl e i n Fig 2 0 A subj e ct lik e this

“

. .

is suffici e ntly good to b e drawn from vario us

points O fvi e w and it sho u ld b e studi e d in such
,

a mann e r that at any subs e qu e nt p e riod a col

, , ,

Or e d drawing might b e mad e from it Pig 1 . .

‘

e x e mplifi e s a compositio n O flak e and mountai n

sc e n e ry in wh ic h t h e e xpr e ssion O ft h e p e ncil is

'

su ffici e nt to S how t h e r e latio n O f th e O bj e cts ,

Through th e middl e distanc e to th e for e ground ,

t h e touch is gradually str e ngth e n e d and t h e ,

most d e cid e d and dark e st lin e s app e ar i n t h e

n e ar e st parts O ft h e vi e w Th e Wat e r is l e ft
n e arly whit e This sk e t ch is as slight as it w e ll
.

can b e to b e w ork e d out into a subs e qu e nt fin

,

is h e d pictur e Fig 4 forms an e xtr e m e ly simpl e

. .

subj e ct a winding riv e r with a boat a fe w tr e e s

, , ,

and a distant spir e ; th e r e i s mor e than m e r e

O utlin e but still no mor e than may b e grac fu lly
,

e ff e ct e d b
y t h e p e nci l and i n Fig 5 wh e re i n .
,

t h e churc h tow e r is t h e
-
promi n e nt O bj e ct t h e , .

plac e O ft h e su n would caus e t h e amou nt o f

s h ade wh ic h giv e s forc e to t h e s ke tc h Th e
\
'

. .
66 C o M PO sITI O N OF LINE S AN D F O RM S .

spirit O fcompos i t i on i s vari e ty but in ord e r

‘‘ f

that t h e whol e may b e with e as e and with pl e as

,

u re to t h e sp e ctator compr e h e nd e d in o n e V i e w
, ,

it is n e c e ssary that all th e minor parts b e so

harmoniz e d as to form o ne w e ll balanc e d whol e -

consisting O fa fe w promin e nt mass e s or group

i ngs which according to t h e principl e law O f
, ,

composition must b e div e rsifi e d i n magnitud e

,

and form . O ne O f th e s e mass e s should b e

tr e at e d as t h e principl e and th e oth e rs d e p e nd
,

e nt upon it and contributiv e to it ; but i t i s

n e c e ssary that th e y b e distinct i n app e aranc e
a nd plac e alt h ough all coincid e nt in r e sp e ct O f
,

t h e propos e d s e ntim e nt W hat e v e r form may.

.

b e d e t e rmi ne d on i t i s n e c e ssary to guard

, ,

against a fix e d r e gularity an e quality and re -

p e tition O fparall e l r e ctilin e ar and circular forms

, ,

— ind e e d what e v e r b e t h e g e n e ral outlin e O f

,

th e s e mass e s it must n e ith e r b e too r e gular

, ,

nor on t h e oth e r hand too much brok e n th e

, ,

continuity must rath e r b e slightly indic at e d than

absolut e ly and s e nsibly d e t e rmin e d And in .

ord e r that nothing may b e wanting t h e various ,

com p o n e nts should pr e s e rv e an e v ide nt re lat io n

'

f
 I I
C O M POS T ON O F I
L N E S AN D F O R M S . 69

among e ach oth e r ; th e y should b e as s o c iate d f

in such a mann e r that non e may app e ar e ntir e ly

d e tach e d t h e larg e r mass e s b e ing brok e n and
,

re li e v e d by th e minor and subordinate parts“

sho wing a whol e S O w e ll balanc e d that no o ne ,

part can b e abstracte d without t h e d e fici e ncy

b e ing at o nc e fe lt .

I f we turn to th e frOnt is p ie c e and consid e r ,

t h e dispositions O bs e rv e d i n that composition ,

we shall s e é that t h e positions O f t h e principal

O bj e cts are not t h e r e sult O f m e r e chanc e b u t ,

that th e y are bro ught into thi s combination

from a particular point O f V i e w which is d e t e r ,

min e d as most favorabl e in this cas e to p ic tu r

e squ e compos i t i on Th e principal fe atur e s in
.

vi e w are th e bridg e th e str e am and t h e moun

,

tain B y t h e e mphas is with which th e bridg e

.

i s tr e at e d it is brought forward to th e e ye as a
,

principal O bj e ct ; b ut it do e s not n e v e rth e l e ss . ,

oc c upy th e c e ntr e O ft h e composition nor do e s ,

t h e str e am flo w in a dir e ct cours e down t h e

.
'

c e ntre O ft h e drawi ng nor t h e mountain ris e to

‘

a con e e quidistant from both sid e s Th e s e dis .

positions are e ffe c te d with a V i e w to avoid that

’ '
7 O L I GH T AN D S H AD E .
‘

balanc e d formality against which we hav e cau

t io ne d t h e l e arn e r Again with r e sp e ct to t h e
.
,

arch it contrasts with t h e irr e gular shap e s Of

,

t h e rocks and ston e s lying n e ar it and no two

O fth e s e are O flik e form Th e lin e s d e scriptiv e
.
,

O ft h e d e sc e nt O ft h e mounta i n n e c e ssarily t e nd
,

i n o ne dir e ction but a formal parall e lism is ‘

avoid e d and t h e lin e s are modifi e d by light and

,

shad e . I n artificial O bj e cts parall e ls n e c e ssarily

,

O ccur as in buildings O f all kinds

, but such
lin e s and parts are rath e r indicat e d than harshly
forc e d upon th e e ye ; and by t h e aid O f light
,

and shadow th e y are r e duc e d to pur e r br e adth

,

and harmony .

I
L GH T AN D SH A DE .

I n an outlin e sk e tch i t is found that outlin e

,

alon e is inad e quat e to t h e r e pre s e ntation O f an

O bj e ct i n r e li e f; it cannot giv e substanc e nor '

d e fin e r e lativ e distanc e s so as to maintain t h e

O bj e cts inth e ir prop e r plac e s W e hav e urg e d
.

t h e n e c e s s ity O fj udicious s e l e ctio n O f subj e ct

matt e r and we hav e now to O bs e rve that h o w , ,

 I
L GH T . AN D S H AD E .
7 1

w e ll so e v e r th e subj e ct may admit O f composi

tion i t i s ye t n e c e ssary that it b e e ffe ctiv e in its
,

light and shadow ; for it gr e atly d e p e nds upon

t h e happy or unskilful distribution O fth e s e lights

and darks wh e th e r a compositio n will app e ar

,

c onfus e d and brok e n or agr e e ably u nit e d into

,

o ne harmonious whol e Th e r e are tim e s wh e n

.

t h e most commonplace m at e riaL m ay strik e us

as b e autiful whil e conv e rs e ly t h e most charm ,

ing sc e n e ry may b e com e void O fi nt e r e st Th e

'

matt e r O ffact r e pr e s e ntations O fth e br e adth of

a m e ridian light and t h e s a m e passag e s O f
'

landscap e vi e w
,

e d u nd e r t h e shad e s O f e v e ning ,

affe ct th e fe e lings Ve ry diffe r e ntly I n th e lat

-

t e r th e r e is a charm which op e rat e s e v e n upon

,

minds l e ss susc e ptibl e O f impre ssion from th e

.

b e auti e s O fnatur e : and if it b e n e c e ssary to

cultivat e a discrimination e v e n with r e sp e ct to
d e gr e e s O fth e b e autiful how much mor e ne c e s
,

sary is it to aim at acq uiring t h e pow e r O f con

fe rring i mportanc e upon and i nv e sting with ,

d e e p int e r e st any slight subj e ct matt e r which

,
-
'

we may hav e to tr e at This is aft e r all t h e

.
, ,

t e s t O f t h e m ast e r—t h e pow e r O f giving b y

‘

,
7 2 I
L GH T AN D gS H AD E .

me ans i udiCiO us light and s had e , i mportan ce

to mat te r comparativ e ly insignificant Th e ge n .

e ral p rin c ip le act e d upo n by all artists isto dis

'

pos e t h e lights and shad e s O fth e ir Work in t h e

mann e r b e st suit e d to t h e tr e atm e nt th e y pro
po se fo rth e i r work I f we turn to Fig 5 we
. .
,

find a dark mass r e ar e d against a light sky and

i mm e d i at e ly su pport e d b y shad e d O bj e cts O f ,

diffe r e nt d e gr e e s O f d e pth and r e p e titions O f

,

dark in th e for e ground with v e ry littl e chang e ,

this arrang e m e nt O flight and shad e might b e

adapt e d to a gr e at vari e ty O fcombinat i ons .

Th e S i mpl e st form O fe ff e ct is t h e oppositio n

O ftwo mass e s I f th e subj e ct b e dark as a
.
,

building or a group O ftr e e s it will b e r e li e v e d ,

by a light S k y ; if it b e light t h e sky will b e ,

dark e r Thi s simpl e Opposition we m e ntio n i n

. ,

ord e r t o O bs e rv e that i n e v e ry pictorial compo

,

s it io n it pr e vails i n th e gr e at mass e s and through

out t h e d e tails but th e p rinc ip le is conc e al e d

I ><

i n proportion as t h e work is succ e ssful E v e ry .

dark must b e r e li e v e d b y light and e v e ry light ,

must t e ll against a dark this is a law O fnatural

Ars e st arte m c e l are .
74 I
L GH T AN D SH A DE .

ntir e plan e ; and dim inis h ing t O a point at th e

'

opposit e e xtr e mity O fth e horizon .

I n a light pictur e a simpl e and agr e e abl e e f

,

fe c t is produc e d by placing t h e principl e dark or

most substantial point o n t h e right or l e f t in t h e

for e ground and by app roaching from this point
,

towards th e bas e O ft h e pictur e a n d t h e horizon

with graduat e d ton e s brok e n and vari e d accord
ing to th e kind O fO bj e cts introduc e d .

Th e e xampl e s O f light and shad e h e r e re c

comm e nd e d are e xtr e m e ly sim pl e and a
knowl e dg e O fth e m will pr e par e t h e stud e nt fo r
an acquaintanc e with dispositions O f gre ate r
compl e xity .

TH E E ND .
 G P PU T N A M S
.
’
SONS,
1 8 2 F ft h i Ave nu e ,
"

N e w Y o rk .

Y i i
H A DN A D c t on ary o fDat e s , re l at n g t o al l A g e s an d Nat o n s, i i
i MI IC T
.

fo r U n v e rs al R e fe re nc e B y B E NJ A N V N E N Th e n e w ( 15 111)
l l
. .

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l l
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addit io na p age s in c u ding A m e ric an To p ic s an d a c o p io u s B io grap h ic al

x By y l
,

I nde G u t nam , A M
. I n o n e ve r large vo u me o f m o re
. P P .

th an p ag e s Pi r ce

l
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H a f R u ssia
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e v e r p u b ish e d l
Th is is t h e m o st iab e b o o o f re f
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Th e as t E ng ish e dit io n o ft h e o rig ina wo r is give n e nt ire , t o ge th e r l a nd re

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is narve lo u s fo r it s fu ne s s and ac c u rac y. No go o d ib rary c an disp e nse with t h is
I
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D y
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PU TNAM ( F
r P A M ) Th e W ’
o rld s Pro gre ss A ic tio n ar of

l l l l
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, . . .

D ate s ; b e ing a C h ro no o g ic a A p h ab e t ic al R e c o rd o f E s se n tia

an d

F ac t s in t h e H isto r y o ft h e l
W o r d and th e ro gre ss o fS o c ie t , fro m th e P y
C re atio n t o th e P re s e nt Tim e A ne w e dit i o n , c o n tinu e d to 18 7 2 In
lm m l l
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0 0 0 0 0 0 0 0 0 0 0

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"
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l ll l l l
. . . .

l
I t h as b e e n p d s o as t o fac i itat e ac c e ss t o th e arge st am o u nt o f u s e f in
“
ann e u
fo rmat io n in t h e fi s ma e st p o s s ib e c o m p ass .
" -
B u alo C o u ri e r.

LOSSI NG ( B J ) A Hi y f E g d f m t h
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P ri d Ti m l l
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"
C ol .
—
le g e C o u ran t .

IR VI NG ( W ASH I NGTON) L fe o fGe o rg e W ash n gt o n The n e w i i

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M o u nt Ve rno n E dit io n , giving th e c o m p e te W o rk in t wo h an ds om e

o c tavo vo um e s , fu y i u strate d with l
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—Th e o ne vo u m e l .

l
p o p u ar e ditio n , c o n de n se d, wit h p late
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l l l x ;
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fo r sc h o o and p o p u ar u se Large 12m o , c o th e tra 2 50

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Sch oo E ditio n 2 25
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'
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F irs t W rit e r u p o n A m e r ic a s n o b e s t h e ro
" '

l .
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A m h e rs t S tu de n t .
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or th e B e g nn ngs of E n gl sh H ist o ry E i i i B y ll a S Armitage
l x
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16m o , c o th e tra $51 00

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I t is in de e d n o e as y t as t o m a e a sh o rt h ist o ry ac c u rat e , an d at ,t h e s am e t im e k l ll
in t e re st in g
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‘

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m ic ro s0 0 p ic e am in at io n wo u d p ro b ab y d is c o s e flaws in t h is b o o ; b u t we c an
t e s t ify t h at it h as b e e n c o m p o se d wit h c are , an d aft e r c o n s u t at io n o f t h e b e s t

k
au t h o rit ie s a n d, m o re o v e r, b y n o m e an s t h e
in t e re st in g b o o t o re ad "
S c h o o l G u ardian .
—
e as t o f it s m e rit s, t h at it is a m o s t
.
l .

PUTNAMS SERI ES or SC HOOL HI STORI ES ’

.

H ist o ry of E n gIan d For J u n io r C asse l s By L S CHM IT Z LL D

ll l
‘

. . .
, . .

With I u stratio n s and H is to ric a M ap 16m o , $1 00

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y writte n
’
D r S c h mitz s vo u m e is s e ns ib .
"
A th e n ce u m .

D r S c h m itz h as th e p e n o fa re ady w rite r H e h as th e art o f c o m p re ss ing w h at h e

l l
“
.

l l l
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l
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is att rac t iv e y illu st rate d, an d a c ap ital h isto ric a map o f t h e B rit i s h I s ands adds t o
it s va e
u
"
Natio n al S c h o o lm as te r
-

it By S UTH L D IS
.

H s ory of Sc ot l an d ER AN M E NZ E With H isto ric al

l
. .

M ap 16 m o , c o t h $1 00
ll ll l k l
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Th is w e d an d b o u n d sc h o o b o o h as b e e n w ritt e n o n o ne o ft h e b e st m o de s ,
p rint e
—
-

l
an d is adap te d fro m o ne o ft h e m o st re iab e o fo u r h is t o rie s t o wit , S ir lV alt e r S c o t t s
l l
‘

Ta e s o fa G randf at h e r
"
W e h av e no it t e sat isfac t io n in re c o mm e nding it t o t e ac h
. .

e rs and p are nt s t h ro u gh o u t t h e c o u t ry
n "
Gre e n o c k Te le g rap h -

it By CHM T ll
. .

H s ory of Gre e c e . L . S I Z , LL D . . I u s trat ed with M ap .

75
l l —k l k l
Th is itt
tim e t o c o me
y e
"
wo r is i e y t o b e th e H isto r
S c h o o lm ast e r
of G re e c e fo r j u nio r l
c asse s fo r so m e

k l l l
. .

x ll
Th e w o r b e fo re

k
is a v a u ab e additio n t o o u r sc h o o h ist o rie s o f Gre e c e , an d it
us
b e ars a c h arac t e r s o me w h at u niq u e in t h at it is a re iab e h ist o ry fo r j u nio r c ass e s
A n e c e e nt fe at u re in t h is wo r is t h at a c o nt inu at io n is giv e n in t h e ap p e ndi fro m
‘
,
l l lx .

k
t h e date wh e re t h e h isto ry c e as e s

l l
146 t o t h e ac c e ss io n of K ing G e o rg e , in 18 6 2
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, ,

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—
.

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s or o ran c e . By S ER AN M E NZ I E s . _ I u strate d with M ap .

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 T H E H O M E E NC YC L O PfE D IA
O P B I O G R APH Y , H I S TO R Y , LI T E R AT U R E ,
C H R O NO LO GY AN D E S S E NTI AL F AC TS .

C O M P RI S E D I N T W O , PA RTS
Pr ic e in C l o t h $ 9 5 0 ; in h a lf M o ro c c o $ 14 5 0
P
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S O LD S E AR ATE LY O R TO GE TH E R .

P A R T I

W PR O G R E S S
’
TH E O RLD S
A Di i
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H s to ry to Au gu st , 1 8 7 7 W th C h ro no l o g c al Tab l e s B o grap h c al
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and a C h art o fH i sto ry, ’

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M R M B I N IN H TI NH S N D E ITITIES U IT E S
TH E SA 8 8 1 51 1 67 . A E IC A .

TH E SA E F O TH E EG N G OF IS "
HEA E AND H RO E AND H ER

U N I TE D S T T E S T S T TI STI S I S N I E S I ST
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P A R T I I

TH E C Y C L O P E D IA O F / Z
B IO G R A PH Y
A RE C O R D OF TH E LI VE S OF E M IN E N T MEN
’

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Ne w e d t ii o n , re v se i d an d c o n t nu e i d to Au gu st , 1877. iig O c tavo , c o n ta n n

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I H AN NAH TH UR S T O N A S t o ryt o f A m e ri c an L lo i
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BAY ARD TAY LOR S TRAVELS

’
.

E L D O R A D O ; o r, A dv e n t u re s in t h e Pat h o f E mp i re

( M i a d C a if n ia) m $ H u h o d e dition l l $1 50
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Two p ate s,
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i l l ii
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il i y y
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It Is in a arg e m e asu re au to b io grap h ic a
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—
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to trav e an d h owj to e n o it, b u t h e e ce s In g iv i ng e n te rtain m e n t h is n arra

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[ AN D O F T H E SA R A C EN ; i
P c t u re f Pal e s t in e ,
l l
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As ia M in o r, S ic i y , W ith x2 m o , $ 2
ho d l e dit io n
an d S p ain . two p ate s . H o u se .

NO R TH E R N T R AV E L Summe r an d W i nt e r P c t u re i
l l
. s
S w e de n , D e n m ark , an d L ap W ith
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l an d. two p ate s
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l
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mo , $ 2
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.
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dire c tio n , an d s e e s an d h e ars p re t t m u c h all th at is wo rth s e e i ng an d h e ar

"
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.
’

Sy r ac u s e 9o u rna l .

BY -
W AY S OF E U R O PE .
‘

I2 m o , $ 2 . H o use h o l d e di
al so

A Fami iar Le
W in te r
l Lak e Lago da
tte r to B e twe e r
th e R e ade r .

P
A C ru se i on
l .

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Eu ro p e an d A s ia
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l y l l
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F ro m e rp ig nan to M o n ts e rrat
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Th e R e p u b ic o f th e Th e G rand C h artre u s e Th e Kyfi h an se r am

i P l
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re ne e s . .

its Le ge n ds , A We e k at C ap ri A Trip to I sc h a Th e Land o f ao i Th e

l
Is and o fM add a e na l
In th e Te u to b e rge r F o re s t Th e S u ab ian Alp
.
.

.
.

.
.

BAYAHD TAYLOR S C OMPLETE WORKS

’
.

T H E C O M PL E T E W O R KS OF BA YAR D TA YLOR
l P l i l l
.

vo ume s .
’
In fif
te e n e op e s e d tio n , c o th , $3 0 . H o u se h o d e di

I I IE T R A V E LS , se
p arat e , te n vo lume s, $ 22 .
5 0 . H o u se
l o ld e ditio n c o

" ’
J S e nt p ort - p aid, on re c e i t f
p q p r ic e ,
by
’
G P PUTNAM S
. . SONS; PU BLI SHERS
 J us t . P u b l is h e d

FOR R E F E R E NC E L I B R AR I E S , A ND F AM I L Y O S IQ
'

THE LIBRARY ATLAS,

C o ns sting i of 100 Map s of Mo d e rn , H it
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Ge o grap h y, an d 4 Astro no mi c al C h art s, w th de i sc rip tive

Le tt e r p re ss b y B ryc e , C
-
i
o ll e r
,
an d S c h m tz , i
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H al fm o ro c c o , ne at

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A m o st e xh au st ve i and c o m p re h e ns i ve wo rk o f re fe re nc e .

It give s , b ro u gh t d o wn t o th e l at e st d at e all th e i nf i
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re nde r it i
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’
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S O NS ,

1 8 2 F ifth Av e nu e ,
N e w Y ork .
 B o sto n Pu b lic Lib rary
C e ntral Lib rary C , o p le S
y q u are

D iv isio n o f
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Fin e A rts D e p artm e nt

Th e D at e D ue C d
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Pl e as e do no t re mo ve c ar d s f ro m t h is

p o c ke t