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-The Project Gutenberg eBook of Treatise on landscape painting in
-water-colours by David Cox, by David Cox
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: Treatise on landscape painting in water-colours by David Cox
-
-Author: David Cox
-
-Editor: Charles Geoffre Holme
-
-Contributor: A. L. Baldrey
-
-Release Date: July 31, 2021 [eBook #65962]
-
-Language: English
-
-Character set encoding: UTF-8
-
-Produced by: Chuck Greif and the Online Distributed Proofreading Team at
-             http://www.pgdp.net (This file was produced from images
-             available at The Internet Archive)
-
-*** START OF THE PROJECT GUTENBERG EBOOK TREATISE ON LANDSCAPE PAINTING IN
-WATER-COLOURS BY DAVID COX ***
-
-
-
-
-                        A TREATISE ON LANDSCAPE
-                     PAINTING IN WATER COLOURS BY
-                               DAVID COX
-
-                            WITH A FOREWORD
-                            BY A. L. BALDRY
-
-                       EDITED BY GEOFFREY HOLME
-          LONDON: THE STUDIO, LTD., 44 LEICESTER SQ., W.C. 2
-                                MCMXXII
-
-
-
-
-FOREWORD BY A. L. BALDRY
-
-
-When an artist is beyond question a master of his craft it is always
-particularly interesting to hear what he has to say about the principles
-by which his art is controlled and the methods he employs in his
-practice. It is, of course, in his work, in the things he creates, that
-he gives the complete expression of his convictions and that the full
-product of his experience is embodied, but by the aid of words he is
-able not only to declare the intention by which his expression has been
-directed but also to explain the technical processes which have enabled
-him to arrive at his results. His creed, once set down in writing, is
-made permanently available for the guidance of all who study his work
-and seek to realise his purpose; the statement of his methods becomes an
-enduring record to which those who come after him can refer when they
-wish to understand the manner of his production.
-
-In this way, indeed, the educational value of the master’s precepts is
-maintained indefinitely. Even after his personal and living influence
-has been withdrawn his authority persists and his teaching remains
-active, because in all its essentials it is still within the student’s
-reach. Fashions in art may vary from time to time, but its fundamental
-principles do not change and the exposition of these principles which
-has served one generation is just as helpful to another.
-
-Therefore, such a book as this “Treatise on Landscape Painting and
-Effect in Water Colours, from the first rudiments to the finished
-picture,” by David Cox, deserves as ready an acceptance to-day as it
-received when it was first published more than a century ago. David Cox
-is justly counted among the greater British masters--that can scarcely
-be disputed--he was also a teacher of very wide experience and he knew
-well how to enable others to profit by the knowledge he had accumulated.
-It was the fruit of this experience that he gathered in his “Treatise,”
-and it was in response to a demand from the people who were best able to
-judge the quality of his teaching that he undertook the preparation of
-the book. “The urgent and repeated solicitations of many of his pupils,”
-he says in his foreword, “have induced the author of this work to submit
-to the public those results which are the result of many years’ study,
-and which may guide the student in the selection of appropriate effects
-of nature, adapted to the different characters of landscape
-composition.”
-
-That in referring to “urgent and repeated solicitations” he was not
-using a mere figure of speech is likely enough, for in those days plenty
-of people wanted to be taught and the master who knew his business was
-very much in request. Drawing and water-colour painting were reckoned as
-elegant accomplishments which formed a necessary part of a polite
-education, and there was not only a host of amateurs who were ready to
-learn but a number of professional students as well with a real desire
-to become proficient in a new and attractive form of practice in which
-art patrons and collectors were showing themselves to be much
-interested. The official type of art school with which we are familiar
-to-day was almost non-existent--or at all events there were few such
-places available for the amateur--so the private teacher had to supply
-the deficiency and to assume a position of considerable responsibility.
-However, it cannot be disputed that he filled this position in a way
-that brought him credit and that what he had to do was done with marked
-efficiency.
-
-Certainly, the students then had privileges which we to-day can justly
-envy. They were extraordinarily fortunate in their teachers, for they
-were able to obtain instruction from some of the greatest masters whom
-this country has produced. Turner, De Wint, Cotman and David Cox, and
-many other men of distinction who were their contemporaries were
-actively engaged in teaching during some part of their lives and by
-their genius and experience they raised greatly the standard of popular
-taste and fostered a feeling for art in social circles. Moreover, by
-their practice and precept they developed the new art of painting in
-water colours from a tentative and timid form of expression into
-something splendidly robust and full of brilliant possibilities.
-
-It may, perhaps, seem a matter for regret that an artist of rare
-capacities, like David Cox, should have apparently wasted in the
-drudgery of teaching so much of the time which he might have employed to
-advantage in following his profession as a painter. But by his work as a
-drawing-master he not only created a public which learned eventually to
-show an effective appreciation of his productions, but he also helped on
-a movement which was of benefit to others as well as himself. If the art
-in which he excelled had been taught only by the less competent men it
-would scarcely have secured so quickly such a large measure of
-recognition; it was the ability of the teachers to prove how great were
-its possibilities that ensured its acceptance and established its
-authority.
-
-Still, it must be admitted that many of these men whom we now rank as
-masters became teachers from necessity rather than choice. At the end of
-the eighteenth century it was often difficult for a young artist to earn
-a living; pictures fetched low prices and the demand for them was
-uncertain, so he had to seek out other sources of income. Teaching,
-badly paid as it was, was a very real help and the man who could secure
-a good connection in schools and among private pupils was able to
-maintain himself while he was waiting to find buyers for his works. If
-the patrons failed to appear he remained a teacher to the end of his
-days, counting himself fortunate if he was able to hold his own against
-the competition of younger men who were ready to oust him from his
-place.
-
-David Cox was decidedly one of those who were forced into teaching by
-circumstances, for he was born of humble parents and had from early life
-to make his way in the world by his own exertions. He had during his
-childhood some small amount of art training and when he was barely
-seventeen he began to work as a scene-painter, first in Birmingham,
-where he was born, and afterwards in London. But even then he was a
-serious student of nature with ambitions to become a landscape painter,
-and soon after he came to London he took the opportunity to get some
-lessons from John Varley in water-colour painting. In this new art he
-made such satisfactory progress that he gave up his theatrical work,
-devoting himself, instead, to landscape painting and teaching. Even then
-he was only twenty-two and he had still much to learn to fit himself for
-the career on which he was entering; but so assiduous was he in his
-study of nature and so consistent in his effort to acquire a full
-command of technical processes that he was able at the age of thirty--in
-1813--to secure election as a member of the Society of Painters in Water
-Colours. This election can be taken as evidence that he was already
-regarded by his fellow-artists as a man of some distinction in his
-profession. But the same year brought other evidences of his growing
-success, for it saw his appointment as drawing-master in the Military
-Academy at Farnham, and also the issue of the first parts of his
-“Treatise on Landscape Painting,” in which he was able to talk about the
-“repeated solicitations” of his pupils and to imply that his position as
-a teacher was one which justified him in speaking with authority about
-matters of technical practice.
-
-Yet, with what he might regard as a fairly established place in the
-world he was by no means relieved from his struggles for existence. He
-had advanced, it is true, beyond the stage when he was glad to get a
-couple of guineas a dozen for the drawings which he sold to dealers, but
-his smaller works still fetched only a few shillings and a large one not
-more than five or six pounds. It was necessary for him to work very hard
-and to practise the strictest economy to maintain himself and his wife
-and child, and it was impossible for him to do without the earnings
-which teaching brought him. It was probably for this reason that in
-1814, when he gave up his post at the Military Academy because he felt
-the work there to be unsuited to him, he left London and settled in
-Hereford, where teaching engagements in schools and private families
-were plentiful and where he was able to take in pupil-boarders.
-
-At Hereford he remained for nearly fourteen years, but he visited London
-annually and he made periodical sketching excursions to different parts
-of the British Isles and occasionally abroad. Eventually he returned to
-London and lived at Kennington until 1841, when he moved once again,
-this time to Harbourne, a suburb of his native town, Birmingham, where
-he died in 1859. Slowly but surely he built up his reputation, more
-slowly still he increased his income and added to his savings, but it
-was not until his final departure from London that he was able to free
-himself from his responsibilities as a teacher and to devote the whole
-of his energies to painting.
-
-Indeed, the move to Harbourne was made partly to obtain leisure for
-practice in oil painting, as he had conceived a somewhat sudden desire
-to acquire a mastery of that medium. He had used oils many years before,
-but for sketches rather than finished pictures; the ambition to achieve
-more in this direction came to him about 1839, when he made the
-acquaintance of W. J. Muller and watched that extraordinarily skillful
-painter at work. Cox, who was then a man of fifty-six, became a sort of
-pupil of the younger artist and accepted hints from him with
-characteristic humility--he is reported to have said on one occasion
-during a technical demonstration, “You see, Mr. Muller, I can’t paint.”
-
-However, if such a remark were justifiable in 1839, it was certainly
-subject to considerable modification very few years later, for Cox, once
-started in the right direction, developed quickly into an oil painter of
-unquestionable distinction. He never, perhaps, reached quite the same
-degree of proficiency which he had attained in water colours, but he did
-work which was worthy of him and he added many fine canvases to the
-series which generation by generation has been built up by the masters
-of British landscape. Fortunately, he did not devote the whole of his
-time to pursuit of new methods, indeed, to this final period of his life
-belong some of the greatest of his water-colour paintings--possibly
-practice with oils heightened his keenness of vision and increased the
-strength with which he handled the more delicate medium, and no doubt
-freedom from distractions enabled him to work more deliberately and with
-closer concentration.
-
-If Cox’s career is judged by the conventional money standard it would be
-scarcely possible to say that he achieved success, for at no time were
-his earnings large--he is said to have only once received £100 for a
-picture--and the small competence which he amassed in his later years
-would have seemed merely poverty to anyone less modest and
-simple-minded. But if he is measured by the true standard, of
-accomplishment, he can be reckoned as successful in the highest degree.
-His paintings are distinguished by an exquisite perception of the great
-facts of nature and by a consistent significance of interpretation, they
-have a most attractive individuality, and their technical mastery is
-exceptionally convincing--they put him definitely among the leaders of
-the British school. As a teacher he had a wide and wholesome influence
-because he sought to impress upon his pupils his own sincere belief that
-nature is and always must be the right source of an artist’s
-inspiration, and because he tried to make them devout and serious
-students like himself.
-
-It was essentially from the standpoint of the landscape painter that he
-approached his teaching. His “Treatise” was intended to guide the
-student “in the selection of appropriate effects of nature,” or in other
-words, to point the way to a proper understanding of nature’s
-subtleties. Cox did not believe in an easy and convenient formula; he
-did not use one himself and he had no wish to impose it upon others. In
-this his attitude was partly temperamental and partly, no doubt, due to
-the fact that, unlike many of his contemporaries, he did not spend his
-earlier years in learning the conventions of the topographical
-draughtsman--he was a translator and an interpreter, not merely a
-copyist, and although his interpretation was eminently a true one, its
-truth appeared in his realisation of the great fundamentals, not in the
-laborious statement of local trivialities. He expressed this himself on
-one occasion when the committee of the Water-Colour Society had
-complained that some paintings of his were “too rough”--he wrote, “They
-forget that these are the work of the mind, which I consider very far
-before portraits of places.”
-
-This faith that painting should be the work of the mind, and of a mind
-so stored with impressions of nature that it would be able infallibly to
-recognise what was the way in which each aspect of nature should be
-treated, is very clearly demonstrated in his “Treatise.” Read between
-the lines of its practical advice the book, indeed, is an eloquent
-assertion of a master’s creed, and as such it is instructive not only to
-the student who wishes to profit by its technical hints but also to the
-judges of art who are anxious to appreciate the principles of which
-David Cox and his greater contemporaries were masterly exponents.
-
-There is much in the text that explains these principles and defines the
-manner in which they should be applied. For instance, when Cox dwells
-upon “the necessity of becoming thoroughly acquainted with, and of
-obtaining a proper feeling of, the subject,” and when he says that “the
-picture should be complete and perfect in the mind before it is even
-traced upon the canvas,” he is simply advocating that first and most
-vital essential in all artistic effort, accurate and intelligent
-observation.
-
-Again, when he insists that “in the selection of a subject from nature
-the student should ever keep in view the principal object which induced
-him to make the sketch,” and adds that “the prominence of this leading
-feature in the piece should be duly supported throughout; the character
-of the picture should be derived from it; every other subject introduced
-should be subservient to it; and the attraction of the one should be the
-attraction of the whole,” he is only pointing out the necessity for
-orderly and logical design. His arguments, too, that the sentiment of
-the subject should be reflected in the manner of its treatment, that
-“such force and expression should be displayed as would render the
-effect, at the first glance, intelligible to the observer,” and that the
-right relation should be scrupulously maintained between the leading
-object in the composition and the less prominent accessories, are wholly
-inspired by the belief that a sense of balance and proportion are as
-indispensable to the student as the power to see and to think about what
-he sees.
-
-Further, what he has to say about the need for exactness in the
-preparatory stages of a painting is most significant, as it shows how
-much importance he attached to systematic accomplishment and steady
-progression from one stage of the work to another. But here also the
-foundation must be observation--the student “must possess a clear
-conception of his subject” because upon that depends the perfection of
-his outline, and “it will be necessary for him to be particular in his
-designation of the outline” because only in that way will he be able to
-proceed to his own satisfaction and convey a definite and correct idea
-to the observer. Cox very rightly claims that “he who devotes his time
-to the completion of a perfect outline, when he has gained this point,
-has more than half finished his piece: while the author of a slovenly
-outline creates for himself an infinity of trouble, in order to avoid
-additional errors in the colouring of his subjects: and after all his
-efforts, finds it impossible to produce a picture perfect in any one
-part,” and he adds some valuable suggestions as to the way in which this
-perfect outline--by which he means simply certainty and expressiveness
-of draughtsmanship--should be obtained. Always, however, he asserts that
-the way to success lies only through persistent endeavour and unfailing
-consistency of purpose--“if the mind be fixed and sincere in pursuit of
-the art, difficulties will be easily surmountable: they will rather
-quicken than damp the desire for improvement,” and “the accomplishment
-of one task will only give additional stimulus for the performance of
-another” are essential articles in the creed which he professed and
-practised throughout his life.
-
-In fact, he regarded art as the intellectual result of a visual exercise
-and to obtain this result he prescribed a rigorous discipline. His
-teaching is all the more worthy of attention now because it provides an
-antidote to the sloppy conventionalism which is poisoning much of the
-art of to-day. There were no affectations about David Cox, and the poses
-of our modern artists of the “advanced” school would have seemed to him
-particularly offensive. Yet, he was himself a pioneer, and in some ways
-a rebel; but in breaking new ground he was seeking to make progress by
-overcoming the difficulties of art and his rebellion was against
-limitations which he knew to be unreasonable. His book is proof enough
-that he would have had no sympathy with reactionaries who make a
-pretence of primitive simplicity so that they can shirk the labour of
-learning their craft; and all that he has included in it shows that to
-him that art only was right which was earnest, sincere, and honest, and
-unquestioning in its worship of nature.
-
-
-
-
-                              A TREATISE
-                                  ON
-                     LANDSCAPE PAINTING and EFFECT
-                                  IN
-                            WATER COLOURS:
-          FROM THE FIRST RUDIMENTS, TO THE FINISHED PICTURE.
-
-                                 WITH
-                               EXAMPLES
-                                  IN
-                   _Outline, Effect, and Colouring_.
-
-                                  BY
-                              DAVID COX.
-
-                                LONDON:
-PRINTED FOR AND PUBLISHED BY S. AND J. FULLER, _at the Temple of Fancy_,
-RATHBONE PLACE; And sold by Messrs. LONGMAN, HURST, BEES, ORME, and BROWN;
-HERWOOD, NEELY, and JONES; and GALE and CURTIS, Paternoster-Row, ACKERMANN,
-          Strand, and by all Booksellers in Town and Country.
-
-                                 1813.
-
-                           PRICE 7_s._ 6_d._
-
-   Facsimile of the cover of the original edition, published in 1813
-
-
-
-
-TO THE PUBLIC[A]
-
-
-In an age when the patronage extended to the Fine Arts bears a full
-proportion to the growing expansion of the human mind, and when our
-National Taste is no longer put out to nurse, an apology for the
-publication of a new Work, tending to the still more complete
-elucidation of principles not yet perfectly understood, and giving
-greater facilities to the labours of the young Artist, will scarcely be
-considered necessary. If an excuse were sought for, however, the
-Publishers would confidently point to the acknowledged eminence of the
-Author of the production which they have the honour to propose to the
-notice of the world; to the new and interesting principles which it will
-develope; and to the extent and excellence of the examples with which it
-will abound. To an enlightened and liberal public, possessing ability to
-discriminate, and spirit to reward talent, it is unnecessary to urge any
-additional claims to their attention and support.
-
-The abilities of MR. COX, as a Painter in Water Colours, have been long
-established; and his knowledge of Effect is equal to that of any Artist
-of which the age can boast. His Pencil Drawings are of the boldest
-style; and the Etchings, in imitation of Lead Pencil and Chalk, which
-will be found amongst the examples appended to this Work, will be marked
-by a peculiar character of fidelity, and derive an additional value from
-the circumstance of their being executed by himself.--In the first of
-these Sketches, the most simple principles of the Art will be exposed;
-and the advancement of the young Student will be accomplished by their
-gradual progression to subjects more interesting in their detail, and of
-greater difficulty in their execution.
-
-In the progress of the Work, the Author will introduce a variety of
-imitations of his Drawings, in Sepia and Colours, from all the most
-striking Effects in Nature; the Plates from which will be executed by
-the first Aquatinta Engraver in London; and the subjects appropriated to
-this department of the Work will be so selected, as to display an
-unusual variety of the most picturesque Scenes in England and Wales.
-
-The diversity and character of these Examples, combined with the sound
-and simple instruction which will be found in these Numbers, will render
-it a most desirable object of study, not only to the fashionable
-Amateur, but to the young Artist whose disposition and ambition urge him
-on in pursuit of professional eminence. All speculative and uncertain
-theories will be cast aside, to make room for tried rules and solid
-principles; the object of the whole being gradually to conduct the
-Student, by the most direct paths, to the highest point of practical
-excellence: and the Proprietors feel the most confident anticipations of
-the brilliant success which will crown this Undertaking, from the
-consciousness that a Work, better qualified to establish those ends
-which it professes to keep in view, is not to be found amongst the
-productions of contemporary genius.
-
-
-
-
-A TREATISE ON LANDSCAPE PAINTING AND EFFECT IN WATER COLOURS BY DAVID
-COX[B]
-
-
-ADVERTISEMENT.
-
-The urgent and repeated solicitations of many of his Pupils have induced
-the author of this Work to submit to the Public those remarks which are
-the result of many years’ study, and which may guide the Student in the
-selection of appropriate effects of Nature, adapted to the different
-characters of Landscape composition.
-
-In his choice of the examples to elucidate these Observations, he has
-been guided by a wish to lay before the Learner, as far as the limits of
-the Work would admit of such illustrations, some of the most striking
-effects, where incident combines with Nature to give expression and
-vigour to each scene. A more satisfactory elucidation of this rule will
-be afforded in the examples appended to the subsequent pages.
-
-
-GENERAL OBSERVATIONS ON LANDSCAPE PAINTING.
-
-The principal art of Landscape Painting consists in conveying to the
-mind the most forcible effect which can be produced from the various
-classes of scenery; which possesses the power of exciting an interest
-superior to that resulting from any other effect; and which can only be
-obtained by a most judicious selection of particular tints, and a
-skilful arrangement and application of them to differences in time,
-seasons, and situation. This is the grand principle on which pictorial
-excellence hinges; as many pleasing objects, the combination of which
-renders a piece perfect, are frequently passed over by an observer,
-because the whole of the composition is not under the influence of a
-suitable effect. Thus, a Cottage or a Village scene requires a soft and
-simple admixture of tones, calculated to produce pleasure without
-astonishment; awakening all the delightful sensations of the bosom,
-without trenching on the nobler provinces of feeling. On the contrary,
-the structures of greatness and antiquity should be marked by a
-character of awful sublimity, suited to the dignity of the subject;
-indenting on the mind a reverential and permanent impression, and
-giving, at once, a corresponding and unequivocal grandeur to the
-picture. In the language of the pencil, as well as of the pen, sublime
-ideas are expressed by lofty and obscure images; such as in pictures,
-objects of fine majestic forms, lofty towers, mountains, lakes margined
-with stately trees, rugged rocks, and clouds rolling their shadowy forms
-in broad masses over the scene. Much depends upon the classification of
-the objects, which should wear a magnificent uniformity; and much on the
-colouring, the tones of which should be deep and impressive.
-
-In the selection of a subject from Nature, the Student should ever keep
-in view the principal object which induced him to make the sketch:
-whether it be mountains, castle, groupes of trees, corn-field, river
-scene, or any other object, the prominence of this leading feature in
-the piece should be duly supported throughout; the character of the
-picture should be derived from it; every other subject introduced should
-be subservient to it; and the attraction of the one, should be the
-attraction of the whole. The union of too great a variety of parts tends
-to destroy, or at least to weaken the predominance of that which ought
-to be the principal in the composition; and which the Student, when he
-comes to the colouring, should be careful to characterise, by throwing
-upon it the strongest light. In his attention to this rule, however, the
-Student must be particular not to fall into the opposite extreme, by
-suffering the leading object of his composition so fully to engross his
-attention as to render him neglectful of the inferior parts. Because
-they are not to be exalted into principals, it does not follow that they
-are to be degraded into superfluities.
-
-All the lights in a picture should be composed of warm tints, except
-they fall on a glossy or reflective surface; such as laurel leaves,
-glazed utensils, etc., which should be cool, and the lights small, to
-give them a sparkling appearance: but care must be taken not to
-introduce a cold colour in the principal light, which, as already
-mentioned, should be thrown upon the leading feature of a picture, as it
-conduces to destroy the breadth that should be preserved; while on the
-contrary, the opposition or proximity of a cool to a warm colour assists
-greatly in giving brilliancy to the lights. If the picture, for
-instance, should have a cool sky, the landscape ought to be principally
-composed of warm tints; as contrast of this description tends to the
-essential improvement of the general effect.
-
-All objects which are not in character with the scene should be most
-carefully avoided, as the introduction of any unnecessary object is sure
-to be attended with injurious consequences. This must prove the
-necessity of becoming thoroughly acquainted with, and obtaining a proper
-feeling of, the subject. The picture should be complete and perfect in
-the mind, before it is even traced upon the canvas. Such force and
-expression should be displayed, as would render the effect, at the first
-glance, intelligible to the observer. Merely to paint, is not enough;
-for where no interest is felt, nothing can be more natural than that
-none should be conveyed.
-
-Finally, it may be observed, that it is only by a due attention to each
-distinct part, and by a skilful combination of all, that the whole can
-be effective and delightful.
-
-
-ON OUTLINE.
-
-The young draftsman who is ambitious of future eminence must be close in
-his attention to those minute points which, skilfully combined,
-constitute the excellence of the painter. In the outset, it will be
-necessary for him to be particular in his designation of the Outline,
-for the perfection of which, he must possess a clear conception of his
-subject; otherwise, be his genius what it may, he will wander wildly,
-without either promoting his own satisfaction, or conveying a definite
-or correct idea to the observer. Too little attention has generally been
-paid to this point, by Students: they are too apt to appear disconcerted
-and discouraged, when the task wears a complexion of difficulty.
-
-A clear and decided Outline possesses a manifest superiority over an
-imperfect or undecided one, inasmuch as it renders unnecessary those
-continual references to Nature or to copy, which must be had recourse
-to, where the Outline is defective. He who devotes his time to the
-completion of a perfect Outline, when he has gained this point, has more
-than half finished his piece; while the author of a slovenly Outline
-creates for himself an infinity of trouble, in order to evade additional
-errors in the colouring of his subjects; and after all his efforts,
-finds it impossible to produce a picture perfect in any one part. To
-attain proficiency in the art of pencilling, the Student is recommended
-to practise Drawing from the casts of the antique, by which study he
-will acquire a growing facility in the designation of fine forms, as
-well as a more correct and decided mode of outlining. The Pupil will
-also find his progress greatly accelerated by the dedication of his
-leisure moments to copying objects of still life--a practice which will
-be found replete with advantage, when he studies combinations of
-subjects for compositions of landscape scenery.
-
-In tracing the distinct objects of a landscape, it is recommended to
-attend more particularly to the general forms than to detail: for
-example, in sketching a mountain, it will be sufficient to describe the
-extreme Outline, without descending to the diversified and numerous
-ridges which may appear; for although these uneven divisions arrest the
-attention of the Student, when engaged in tracing the particular form of
-the eminence, they are lost to the eye which embraces, at one view, the
-whole of the scene. A greater degree of minuteness, however, ought to be
-observed in the Outline of the fore-ground of a picture, where the
-features of the object assume a more specific appearance, shewing
-decided forms, and obtruding all their diversities of shape upon the
-view. To obtain excellence in this respect, it will be necessary to make
-correct drawings from Nature, of weeds, plants, bark of trees, and such
-objects as usually constitute the foreground of a landscape.
-
-The Student must first commence with perpendicular, horizontal, and
-diagonal lines, to give the hand that freedom and certainty which are
-necessary. The Drawing must be strongly marked in the shade and
-foreground of the subject, but more delicately in the lighter parts, and
-as the distance gradually increases. Due attention to this cannot fail
-to give the true spirit and perspective. The Plates of this Work should
-be copied in regular succession, and any bad line that may be made
-should be entirely expunged; for all effort to rectify, by retouching,
-will only give the piece a scratched and indecisive appearance, and
-consequently will cause confusion and mistakes in the colouring.
-
-Any little failure must not be made the source of discouragement; and in
-case the Student should not have succeeded altogether so well as could
-be wished, in the first attempt, he ought by all means to persevere
-until completely successful; carefully endeavouring, in his renewed
-efforts, to avoid the same errors. This mode will assuredly be followed
-with far greater improvement than can possibly attend hasty transitions
-from one subject to another, without producing perfection in either.
-
-The best and surest method of obtaining instruction from the Works of
-others is not so much by copying them, as by drawing the same subjects
-from Nature immediately after a critical examination of them, while they
-are fresh in the memory. Thus they are seen through the same medium, and
-imitated upon the same principles, without preventing the introduction
-of sufficient alterations to give originality of manner, or incurring
-the risk of being degraded into a mere imitator.
-
-If the mind be fixed and sincere in pursuit of the Art, difficulties
-will be easily surmountable: they will rather quicken than damp the
-desire for improvement; for it is only where talent is required that
-Genius can be active. The accomplishment of one task will only give
-additional stimulus for the performance of another. Increasing pleasure
-will naturally flow from progressive improvement. The mind will ever be
-busily and pleasingly employed; for “the effect of every object that
-meets a Painter’s eye may give him a lesson.”
-
-
-ON LIGHT AND SHADE, AND EFFECT.
-
-It is here that the Art begins to display its varied and inexhaustible
-beauties, and to reward the patient and improving Student. The outline
-being completed in the manner prescribed by the foregoing instructions,
-LIGHT and SHADE, and EFFECT, should be studied in sepia or Indian ink,
-by which a clearer conception of each will be acquired than if practised
-in colours; the variety of the latter tending to perplex the mind, and
-to divert it from the main object. Colouring is a distinct and
-subsequent branch, and is only to be learnt by long and minute
-observation of the diversified tints and hues of Nature. The principle
-of Light and Shade, on the contrary, is established by theory. This
-subject has already been so admirably treated on, that it will be
-impossible to give a better insight into it than is contained in the
-following passages extracted from a celebrated Work.
-
-“Shadow is a diminution of light occasioned by the interposition of some
-opake body, which receiving and intercepting the light that should be
-cast on the plane it is placed on, there gives a shadow of its own form:
-for light being of a communicative nature, diffuses itself on every
-thing not hid from it, particularly on every thing that is plain and
-smooth; but where there happens the least elevation, a shadow is
-produced which exhibits the figure of the illumined part on the plane.
-
-“The diversity of luminaries occasions a difference of shadows; for if
-the body that illumines be larger than the body illumined, the shadow
-will be less than the body. If they be equal, the shadow will be equal
-to the illumined; and if the luminary be less than the object, the
-shadow will be continually enlarging as it goes farther off.
-
-“From what has been observed we draw this conclusion: that the same
-object may project shadows of different forms, though still illumined on
-the same side; the sun giving one form, the torch or lamp another.
-
-“The sun always makes its shadow equal to the object; that is, projects
-it parallel-wise. It is certainly of consequence to observe these rules
-precisely, and not take the rules for candles, lamps, and the like, in
-lieu thereof.
-
-“The shadow of objects given by a torch or lamp is not projected in
-parallels, but in rays proceeding from a centre: whence the shadow is
-never equal to the object, but always larger; and grows larger as it
-recedes further.
-
-“To find a shadow, two things are supposed, viz., light and body. Light,
-though quite contrary to shadow, is yet what gives it its being; as the
-body, or object, is what gives its form and figure. To conceive the
-nature of shadows more clearly, and render the practice more easy, it
-must be observed, that there are two points to be made use of: one of
-them, the foot of the light, which is always taken on the plane the
-object is placed upon; the other, the luminous body;--the rule being
-common to the sun, torch, etc., with this difference, that the sun’s
-shadow is projected in parallels, and that of the torch in rays, from
-the centre, as before mentioned. But as all objects on earth are so
-small in comparison of the sun, the diminution of their shadows is
-imperceptible to the eye, which sees them all equal, neither broader nor
-narrower than the object that forms them. On this account, all the
-shadows caused by the sun are made in parallels.
-
-“To find the shadow of any object whatever opposed to the sun, a line
-must be drawn from the top of the luminary, perpendicular to the plane
-where the foot of the luminary is to be taken; and from this, an occult
-line to be drawn through one of the angles of the plane of the object;
-and another, from the sun to the same angle. The intersection of the two
-lines will express how far the shadow is to go. All the other lines must
-be drawn parallel hereto.
-
-“All given shadows must appear darker than that part of the object not
-illumined, for this reason--those parts of objects not illumined receive
-the reflection of the brightness around them; while the shadow given can
-receive no reflection but from the object in shade.”
-
-Having thus given the origin of Light and Shade, it will be necessary
-next to proceed to give some idea of the various effects of Nature, and
-the class of scenery suitable to each effect; as the great merit of a
-picture depends on the most appropriate Effect given to each scene.
-
-Abrupt and irregular lines are productive of a grand or stormy Effect;
-while serenity is the result of even and horizontal lines, where no
-roughness or intersections appear, to invade the mild harmony of beauty.
-
-Morning Effect, for instance, may be displayed in any composition the
-form and character of which are pleasing to the eye--where the pendent
-forms of trees, combined with other objects, communicate to the mind a
-delightful impression; and a similar observation will hold good with
-respect to Mid-day, which may be produced in various situations: but
-owing to the great glare of light in such Effects, hay-fields,
-corn-fields, or any busy scene on rivers, etc., are suitable for the
-Effect, and as regards Evening and Twilight. Such Effects being
-calculated to convey to the mind impressions of grandeur, the
-composition should be studied, to produce such an Effect; and the
-Colouring ought to be perfectly in unison with the peaceful repose or
-the gloomy majesty which controls the scene.
-
-A flat country, on the marshy banks of a winding river, should be seen
-beneath a grey, clouded sky. The transient effect adapted to such a
-landscape is produced by the fleeting lights of the sunbeams,
-struggling, between the interstices of the blowing clouds. The old
-Pollard Willow is strictly characteristic of this scene, being
-indigenous to countries of this description; and its situation in the
-landscape might be such, as to carry the eye through all the various
-meanderings of the stream.
-
-In landscapes which may have been selected solely with a view to the
-display of some particular object, and which are low, and, on the whole,
-less prolific in interest, and less gratifying to the eye, than others
-might have been, an additional feature of interest should be thrown into
-the sky, to aid, by the contrast it would afford, the effect of the
-whole, which otherwise might appear unsatisfactory; taking care, at the
-same time, not to invade or to injure the prominent character of the
-picture. On the other hand, however, where the scene itself is naturally
-full of interest, the picture will of course admit of a less beautiful
-and imposing; sky: although in this case, as in the former, due
-attention should be paid, to support the character of the whole. At the
-same time it ought to be fully explained, that these observations must
-be understood as by no means intended to confine the exertions of the
-Student entirely to the particular subjects which have been chosen for
-illustration in the various Effects of this Work; as it will be obvious,
-in drawing from Nature, the Student will find subjects very different,
-equally adapted to this purpose; and in his selections from the objects
-which may present themselves to his notice, he will of course find, in
-his own taste, a guide which will be more or less correct, in proportion
-as he has cultivated and refined it.
-
-
-METHOD OF LAYING ON THE TINTS.
-
-It will be necessary that the Pupil should be provided with good hair
-pencils, sepia or Indian ink, and saucers to mix each separate shade in;
-also paper strained upon a proper drawing-board.
-
-The outline being made very correct, the Pupil will mix up three or four
-different shades, according to the number of distances there may be in
-the copy, and carefully match them to each, commencing with the sky, and
-keeping the drawing-board a good deal sloped, which will assist the tint
-to follow the pencil in the part where he is at work. He will also be
-particularly careful always to lay it on clear to the outline. After he
-has gone over the sky, in all the principal parts, sufficient to produce
-the effect, he will next proceed to lay in all the shades, or masses of
-shadow, which usually form the general effect of the composition;
-beginning always with the third distance in the landscape; afterwards
-the second or middle distance; and then working the fore-ground in the
-same way. It ought to be observed as an invariable rule, that the pencil
-should be tolerably full of colour, in order that it may float, which
-will give clearness to the work. After having gone over the whole in the
-shadows, the Learner will mix a tint something lighter than each shadow,
-which must be used upon the lights in blending the dark into the lights,
-such as in fractured stone, brick, broken plaister, etc., and in those
-parts of trees where it is required to break the shadows into the light
-branches by small touches; which will give a finish to the appearance of
-the drawing, and soften or blend together any parts which may appear too
-abrupt. In the finishing, a dark shade should be mixed up, with which
-those parts in the shadows which require to be marked out in the outline
-may be finished up; and a proper depth should be given to the dark
-parts: but care should be taken not to use this dark tint in any bright
-light, as it would render the part harsh, and unpleasant to the eye.
-
-It must be observed, that in putting on all tints or shadows the Student
-must accustom himself to working with his board straight before him; and
-in laying on his tints, must be particularly careful to begin by laying
-them close to the outline, and not by repeated touches, or dragging the
-pencil backward and forward in a timid manner, without any decided
-method--a fault that is chiefly owing to the outline not being made
-correct; for where the Pupil has made a correct and decided outline, all
-timidity vanishes, and he will work with spirit and freedom. The reverse
-is the cause of so many failures in the commencement of the Art.
-
-
-ON COLOURING.
-
-The effect having been studied in Sepia or Indian ink, in the Colouring
-of his subject the young Student should be particularly attentive to the
-adaptation of his colours to the composition and effect of the piece.
-In Morning and Evening effects we naturally look towards the light
-which at those periods of the day is marked by a mild beauty which
-gratifies and attracts, yet divested of that dazzling noontide
-effulgence which weakens and repulses, the eye. Those objects which are
-seen against the strongest light must wear a neutral tint, which may be
-termed negative harmony; for were they to be garbed in the rich and
-full-dress liveries of Nature, the influence of the lustres behind them
-would in a great measure be rendered nugatory, and the effect weak and
-full of error: on the contrary, in the representation of broad sunshine
-or mid-day, those parts of the piece which are visited by, but not seen
-against, strong lights, will admit of a rich and beautiful harmony of
-colour, without doing violence to truth, or infringing on the economy of
-Nature; and this may be called positive harmony, or a picture of colour.
-
-Every tint should be laid on with clearness and decision, so that the
-object may receive its proper tone at the first touch of the hair
-pencil; nor is less skill required in the choice and appropriation of
-the colours, which should be diversified as much as is consistent with
-the unison necessary to the production of harmony. Objects which are
-exposed to the light require a higher finish and more glowing warmth of
-colour than those which are shrouded in shade; while the minutest parts
-of the former ought to be touched with the utmost care, so as to render
-visible and striking all that the broad and bright radiance of the sun
-may be supposed to develope. The latter will admit of a less laboured
-and less perfect delineation. In the lights of a picture, attention to
-this rule is indispensable, where it is necessary to distinguish, with
-so much correctness of detail, those very objects which in shadow would
-permit that intimacy of union which would almost make them appear as
-one.
-
-The light aerial tints should be laid on the remotest parts of a
-picture, gradually brightening into more rich and decided tones as they
-approach the nearer and more prominent objects; taking care to preserve
-the same atmosphere throughout the picture.
-
-
-
-
-TEMPLE OF FANCY[C]
-
-
-    In times so uncommon, so big with events,
-      So hard on the poor, and so hurtful to trade,
-    So fruitful with bunches of catchpenny-gents,
-      When fortunes immense by Gass-lights are made,
-    When Tunnels are carried quite under the Thames,
-      And Hampstead and Highgate are each to be bor’d,
-    When ev’ry Profession is teeming with schemes,
-      And Cattle are free from the murrain insur’d;
-    A plain honest Tradesman who keeps out of debt,
-    Whose name is not seen in the London Gazette,
-    May linger unnoticed, his labours unknown,
-    Till Puff or Advertisement gives him the _Ton_.
-      Now be it thus known to all Persons of Fashion,
-    And others of Rank, Pretension, or Station,
-    Or Box Lobby Loungers, or rich plodding Cits,
-    Who live by their acres, or exist by their wits:
-    And so it be known to the few who have spirit
-    And means to call forth the exertions of merit--
-    Who kindly bestow their time and attention
-    On the labours of Art and the works of Invention:
-    That FANCY, a Goddess by Artists respected,
-    In the PLACE of RATHBONE has a TEMPLE erected,
-    And thither her Vot’ries are ask’d to repair,
-    To lounge away time, or drive away care;
-    There pleasing politeness invites at the door,
-    Whose mystical Number is _Thirty_ and _Four_.
-    The TEMPLE’s interior by _Fancy_ is grac’d
-    With efforts of Art, and productions of Taste;
-    Where Science and Genius have happily blended
-    The things which for _shew_ and for _use_ are intended;
-    There the Ladies will beautiful _Work Tables_ find,
-    Or _Plateaus_, or _Cabinets_, form’d to their mind,
-    Bedeck’d with _Medallions_, or finish’d with _Borders_,
-    And varnish’d and polish’d according to orders;
-    _Writing Desks_, _Netting Boxes_, _Tunbridge Tea Caddies_,
-    For the Beaux pretty _Housewives_, and _Screens_ for the Ladies;
-    Collections of _Prints_, and new _Publications_,
-    With _Drawings_ and _Sketches_ of latest new Fashions;
-    Designs rich and various, each fancy to suit,
-    Of _Figures_, of _Insects_, of _Flowers_, and of _Fruit_,
-    Of _Cattle_, of _Trees_, and of _Songsters_ that warble,
-    With Articles fashion’d to imitate _Marble_;
-    _Transparencies_ fitted to look like stain’d glass,
-    And _Blinds_ which the long-fam’d Venetian surpass;
-    Rich _Borders_ and _Papers_ for Walls or Partitions,
-    And _Ovals_ and _Circles_ for Mathematicians;
-    For the soft billet-doux _Pens_, _Paper_ and _Ink_,
-    And Ladies of Taste may _dye_ with the _Pink_;
-    There Soldiers with _Trophies_ may gladden their souls,
-    And Sailors may quickly arrive at the _Poles_;
-    There Ladies with _Colours_ may heighten their graces,
-    And Loungers with _Bronze_ may replenish their faces;
-    In the best-finish’d state _Bristol Boards_ are prepar’d;
-    And there may be found each description of _Card_,
-    For the Lady who visits, or to parties invites,
-    And _Cards_ for the Clubs both at Brookes’s and White’s.
-    In short, at this TEMPLE the Public will meet
-    With Articles fanciful, useful, and neat,
-    Which there will in tasteful profusion abound,
-    And FULLER and FULLER will always be found.
-
-[Illustration: PLATE I.
-
-STUDIES.]
-
-[Illustration: PLATE II.
-
-STUDY.]
-
-[Illustration: PLATE III.
-
-STUDY.]
-
-[Illustration: PLATE IV.
-
-STUDY.]
-
-[Illustration: PLATE V.
-
-STUDY.]
-
-[Illustration: PLATE VI.
-
-NEAR KNOWLE, WARWICKSHIRE.]
-
-[Illustration: PLATE VII.
-
-NEAR BROMLEY, KENT.]
-
-[Illustration: PLATE VIII.
-
-STUDIES.]
-
-[Illustration: PLATE IX.
-
-DINAS MAWDDWY, NORTH WALES.
-
-ON THE BARMOUTH ROAD, NORTH WALES.]
-
-[Illustration: PLATE X.
-
-NEAR BIRMINGHAM.
-
-NEAR LLANBERIS, NORTH WALES.]
-
-[Illustration: PLATE XI.
-
-NEAR HAMPTON-IN-ARDEN, WARWICKSHIRE.]
-
-[Illustration: PLATE XII.
-
-NORTH WALES.
-
-NEAR KNOWLE, WARWICKSHIRE.]
-
-[Illustration: PLATE XIII.
-
-NEAR LEICESTER.]
-
-[Illustration: PLATE XIV.
-
-NEAR LLANFAIR, NORTH WALES.]
-
-[Illustration: PLATE XV.
-
-NEAR LLANFAIR, NORTH WALES.]
-
-[Illustration: PLATE XVI.
-
-ON BROMLEY HILL, KENT.]
-
-[Illustration: PLATE XVII.
-
-ON DULWICH COMMON, SURREY.]
-
-[Illustration: PLATE XVIII.
-
-DOLBADARN TOWER, NORTH WALES.]
-
-[Illustration: PLATE XIX.
-
-LLANFAIR CHURCH, NORTH WALES.]
-
-[Illustration: PLATE XX.
-
-STUDY.]
-
-[Illustration: PLATE XXI.
-
-STUDY.]
-
-[Illustration: PLATE XXII.
-
-BIRCH.]
-
-[Illustration: PLATE XXIII.
-
-ELM.]
-
-[Illustration: PLATE XXIV.
-
-POLLARD WILLOW.]
-
-[Illustration: PLATE XXV.
-
-OAK.]
-
-[Illustration: PLATE XXVI.
-
-BEECH.]
-
-[Illustration: PLATE XXVII.
-
-ASH.]
-
-[Illustration: PLATE XXVIII.
-
-ASTON HILL, NEAR BIRMINGHAM.]
-
-[Illustration: PLATE XXIX.
-
-BRIDGNORTH BRIDGE, SHROPSHIRE.]
-
-[Illustration: PLATE XXX.
-
-PART OF KENILWORTH CASTLE.]
-
-[Illustration: PLATE XXXI.
-
-HAMPTON-IN-ARDEN, WARWICKSHIRE.]
-
-[Illustration: PLATE XXXII.
-
-NEAR LLANFAIR, NORTH WALES.]
-
-[Illustration: PLATE XXXIII.
-
-NO. 1.
-
-NO. 2.
-
-PART OF KENILWORTH CASTLE.]
-
-[Illustration: PLATE XXXIV.
-
-NO. 3.
-
-NO. 4.
-
-PART OF KENILWORTH CASTLE.]
-
-[Illustration: PLATE XXXV.
-
-NO. 1.
-
-NO. 2.
-
-A STUDY.]
-
-[Illustration: PLATE XXXVI.
-
-STUDIES.]
-
-[Illustration: PLATE XXXVII.
-
-OLD BUILDINGS, HASTINGS.]
-
-[Illustration: PLATE XXXVIII.
-
-OLD BUILDINGS, LAMBETH.]
-
-[Illustration: PLATE XXXIX.
-
-MORNING--VIEW OF WINDSOR CASTLE.]
-
-[Illustration: PLATE XL.
-
-EVENING--VIEW OF CONWAY CASTLE.]
-
-[Illustration: PLATE XLI.
-
-HAZY MORNING.]
-
-[Illustration: PLATE XLII.
-
-MID-DAY.]
-
-[Illustration: PLATE XLIII.
-
-A HEATH--CLOUDY EFFECT.]
-
-[Illustration: PLATE XLIV.
-
-SNOWDON, NORTH WALES.]
-
-[Illustration: PLATE XLV.
-
-COTTAGE NEAR NORTH FLEET, KENT.]
-
-[Illustration: PLATE XLVI.
-
-LANE AT EDGBASTON, NEAR BIRMINGHAM.]
-
-[Illustration: PLATE XLVII.
-
-AN EFFECT AFTER A STORM--VIEW ON THE COAST NEAR HARLECH, NORTH WALES.]
-
-[Illustration: PLATE XLVIII.
-
-TRANSIENT EFFECT--VIEW IN BATTERSEA MARSH.]
-
-[Illustration: PLATE XLIX.
-
-DOLBADARN TOWER, LLANBERIS LAKE, NORTH WALES.]
-
-[Illustration: PLATE L.
-
-PONT ABERGLASLYN, NORTH WALES.]
-
-[Illustration: PLATE LI.
-
-HASTINGS FISHING-BOATS RETURNING ON THE APPROACH OF A STORM.]
-
-[Illustration: PLATE LII.
-
-SHEEP-SHEARING--A VIEW IN SURREY.]
-
-[Illustration: PLATE LIII.
-
-MORNING--FISH-MARKET ON THE BEACH, HASTINGS.]
-
-[Illustration: PLATE LIV.
-
-TWILIGHT--WARWICK CASTLE.]
-
-[Illustration: PLATE LV.
-
-MORNING--ETON COLLEGE.]
-
-[Illustration: PLATE LVI.
-
-NOON--LLANELLTYD VALE, NORTH WALES.]
-
-[Illustration: PLATE LVII
-
-PART OF BATTLE ABBEY
-
-This subject is selected, as being the most simple, both in its design
-and colouring, that could well have been fixed upon: still, however, it
-will be necessary to give a description of the tints used, viz.--The sky
-is coloured with indigo alone; the clouds with indigo mixed with light
-red; the distance, indigo finished with the same colour, and a little
-lake; the building is washed over with indigo, light red, and a little
-gamboge; and the shadowed parts of it with indigo and lake, finished
-with Vandyke brown and a little indigo. The greens in the foreground are
-composed of indigo, burnt sienna, and gamboge, finished with Vandyke
-brown.]
-
-[Illustration]
-
-[Illustration: PLATE LVIII
-
-VIEW IN SURREY
-
-Is intended as a contrast to the foregoing Plate, producing, by the
-effect of a dark sky, a strong light upon the principal object. The
-colours for the sky are composed of indigo, lake, and ivory black; the
-distance, indigo finished with the same colour and a little lake. That
-part of the cottage where the light is strongly reflected, is yellow
-ochre, with a little burnt sienna mixed in the richer tones; the roof is
-black and lake, with a little burnt sienna, finished with the same; the
-shadows and the grey tint upon the timber, indigo and Indian red; the
-road, with indigo and Indian red also, which is finished with Vandyke
-brown and lake. The greens for the bank and the bushes are indigo, burnt
-sienna, and gamboge, completed with indigo and brown pink, and a few
-touches of Vandyke brown.]
-
-[Illustration]
-
-[Illustration: PLATE LIX
-
-EFFECT, MORNING
-
-Morning Effect should be produced by sparkling and catching lights. A
-scene on the banks of a river is here intended to produce the effect,
-while the clear reflection of the different objects in the water gives
-stillness to the scene; and the people crossing in the ferry-boat to
-market is an incident which materially tends to stamp the character and
-elucidate the effect of the picture. The sky tints are composed of
-indigo, lake, and a little gamboge, gradually softened in with light
-ochre towards the horizon; the upper part of the sky is finished with a
-little ultramarine; the water washed in with the same tints as the lower
-part of the sky; the distance, indigo and a little light red; the trees
-and bank, in the second distance, indigo and Indian red, re-touched in
-the lights with light ochre and gamboge; the shadows upon the house,
-indigo and Indian red; the light side, light ochre; the foreground
-trees, bank, and weeds are worked in with a grey composed of indigo,
-Indian red, and brown pink, finished with the same three colours,
-preserving some quite white for the sparkling lights, which are to be
-carefully filled up with gamboge and indigo; the bark of the trees,
-indigo and Indian red; the whole of the foreground finished with indigo
-and burnt sienna, heightened up with Vandyke brown.]
-
-[Illustration]
-
-[Illustration: PLATE LX
-
-EFFECT, MID-DAY
-
-As the light is required to be broad, an open scene appears well
-calculated to produce the effect; and a Corn-field is made choice of.
-The colours for the sky are indigo and lake; the foliage in the
-distance, indigo and Indian red; the corn-field, yellow ochre, finished
-with yellow ochre and Vandyke brown; the bushes in front, indigo, Indian
-red, and brown pink; the road, light red; the foreground finished with
-Vandyke brown.]
-
-[Illustration]
-
-[Illustration: PLATE LXI
-
-EVENING. VIEW OF WINDSOR CASTLE
-
-The upper part of the sky is coloured with indigo, lake, and a little
-gamboge, gradually softened in with light ochre as it descends, and
-toward the horizon with light red. The Castle is laid in with a warm
-tint of indigo and light red, then shaded lightly with indigo and lake.
-The different greens in the woods are composed of indigo, burnt sienna,
-and gamboge, varied as required; the shadows in the nearer parts, indigo
-and burnt sienna; the water with the same colours. The trees in the
-foreground are indigo and burnt sienna, and the finishing touches with
-Vandyke brown. The whole of the foreground and wood glazed with brown
-pink.]
-
-[Illustration]
-
-[Illustration: PLATE LXII
-
-TWILIGHT. VIEW OF HARLECH CASTLE NORTH WALES
-
-The grey tint in the sky is composed with indigo and Indian red, and the
-horizon is coloured with light ochre; the distant mountains with indigo,
-finished with the same, mixed with lake, and a little Venetian red on
-the light sides; the nearer mountains, indigo, lake, and Venetian red;
-the Castle, with the same; the rocks and foreground, lake, ivory, black
-and burnt sienna; the greens, burnt sienna, gamboge, and indigo; the
-trees, indigo and burnt sienna, heightened with spirited touches of
-Vandyke brown.]
-
-[Illustration]
-
-[Illustration: PLATE LXIII
-
-WIND
-
-The general tone of colour is a silvery grey, upon which the effect of
-the piece most materially depends; the sky, indigo and Indian red
-throughout, with a little warm tint upon the edges of the clouds; the
-distance, indigo, gradually adding Indian red towards the middle and
-foreground; the Mill, with the same colour, glazed lightly with Vandyke
-brown; the heath, indigo and burnt sienna, with clear touches of lake
-and a very little indigo for the bloom of the wild flowers, etc.,
-finished with Vandyke brown.]
-
-[Illustration]
-
-[Illustration: PLATE LXIV
-
-RAIN
-
-The clouds, indigo and Indian red, finished with indigo and lake, and a
-few touches of light red, subdued with a little indigo on the edges of
-the clouds; the distance, with the same grey colour as the clouds; the
-bright greens, burnt sienna, indigo, and gamboge, glazed with Vandyke
-brown; the gipsey tents are lightly coloured with lake and a little
-black, and varied with a few clear tints.]
-
-[Illustration]
-
-[Illustration: PLATE LXV
-
-CALM. HASTINGS FISHING-BOATS
-
-The blue sky is coloured with indigo and a little lake; the clouds, with
-indigo and Indian red; the sea, indigo, gamboge, and a little lake; the
-boats, sails, etc., with a grey tint of indigo and Indian red mixed,
-glazed with Vandyke brown and burnt sienna; the figures shaded with the
-same grey as the boats, and coloured as may be required.]
-
-[Illustration]
-
-[Illustration: PLATE LXVI
-
-STORM. VIEW NEAR HASTINGS
-
-The colour of the clouds is composed with indigo, lake, and black; the
-warmer parts, indigo and light red; the sea, indigo and Vandyke brown;
-the rocks laid in with indigo and Indian red, and enriched with tints of
-lake, Vandyke brown, and burnt sienna, finished with a few decided
-touches of Vandyke brown.]
-
-[Illustration]
-
-[Illustration: PLATE LXVII
-
-CLOUDY EFFECT. DISTANT VIEW OF CARNARVON CASTLE
-
-A mixture of indigo, lake, and black for the clouds; distance with
-indigo and lake; and the middle distance, indigo, lake, and brown pink;
-the rocks and foreground are shaded with lake and black; the lights
-varied with a little yellow ochre, also with indigo and lake mixed; the
-green, indigo and burnt sienna, glazed with brown pink.]
-
-[Illustration]
-
-[Illustration: PLATE LXVIII
-
-MISTY MORNING
-
-The sky is laid in with indigo and Indian red, softened with light ochre
-toward the horizon; the whole of the trees, water, bank, etc., are first
-worked in with a tint composed of indigo, Indian red, and a little brown
-pink, afterwards glazed with brown pink, indigo, and burnt sienna, as
-the warmth or coldness of the objects may require.]
-
-[Illustration]
-
-[Illustration: PLATE LXIX
-
-AFTERNOON EFFECT. VIEW IN SURREY
-
-The warm tint in the sky is composed with indigo, light red, and yellow
-ochre, adding more ochre towards the sun; the clouds, indigo and Indian
-red, tinged with a little yellow ochre; the whole of the landscape laid
-in with indigo, Indian red, and brown pink, and glazed with brown pink,
-Vandyke brown, and indigo; the sheep, shaded with indigo and light red
-mixed, and tinted with light ochre.]
-
-[Illustration]
-
-[Illustration: PLATE LXX
-
-RAINBOW EFFECT. WESTMINSTER ABBEY, FROM BATTERSEA MARSH
-
-The sky with indigo, lake, and gamboge, taking care to soften the edges
-of the rainbow with clear water; and when perfectly dry, colour the
-outer extremity of the rainbow with red; then soften in with it a
-yellow, which will produce an intermediate tint of orange. While the
-yellow is wet, run in a blue, which will give a green between the two
-colours; and under the blue, a little lake must be softened in. The
-tints upon the bushes on the opposite side of the water are varied with
-gamboge, burnt sienna, and indigo; the water, the same tint as the sky;
-the barge, lake and black, finished with Vandyke brown.]
-
-[Illustration]
-
-[Illustration: PLATE LXXI
-
-MOONLIGHT EFFECT. VIEW ON THE THAMES
-
-The blue in the sky with indigo and lake, subdued with a little gamboge;
-the clouds tinted with light red and indigo mixed; the distance, water,
-trees, etc., worked in with a grey composed of indigo, lake, and
-gamboge, and glazed with brown pink; the barge, with a clear tint of
-lake and black, glazed with Vandyke brown, finished with a few smart
-touches of the same.]
-
-[Illustration]
-
-[Illustration: PLATE LXXII
-
-SNOW SCENE. VIEW IN SUSSEX
-
-The sky is first coloured with indigo and Indian red; afterwards, in
-parts, with indigo alone. The whole of the landscape is shaded with
-indigo and Indian red, finished with Vandyke brown and brown pink; the
-sheep, with a warm grey of indigo and light red, tinted with yellow
-ochre.]
-
-[Illustration]
-
-
-FOOTNOTES:
-
-[A] Reprinted from the cover of the original edition, published in 1813
-
-[B] Reprinted from the original edition, published in 1813
-
-[C] Reprinted from the cover of the original edition, published in 1813
-
-
-
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