binations. They are continually suggesting new designs to their employers, and are thus the fruitful source of elegant patterns.' Hence the French flower-patterns are remarkably free from incongruities, being copied from nature with scientific precision.

All these facilities for the improvement of our fancy manufactures are within the reach of the most humble. The pursuit of such a course of study as I have endeavoured to point out, would not only augment their sources of innocent pleasure, but lead them to other instructive pursuits. The youth, in searching for the most graceful and picturesque plants in nature's most profuse and wildest productions, would be naturally led to commence the study of botany, for he would then have some interest in the inquiry. And it may be easily imagined with what avidity the more advanced would add to his knowledge of that pleasing science, or the gratification he would derive from the study and practice of horticulture.

I need scarcely (continues this writer) point out the advantages to be derived from the cultivation of flowers by those engaged in designing ornamental patterns. The productions of a well-managed flower-garden to such would be, in my opinion, of more real utility, as objects of study, than the contents of the Louvre. In those productions of nature they will find the most exquisite beauty and elegance of form, and, even in single flowers, the most perfect combinations of colouring.

In saying that the study of such subjects is of more utility to the ornamental designer than that of those great works of art which have been the admiration of ages, I do not mean to undervalue the benefit that any one, and especially the artist, may derive from studying works of this description. I am aware that 'the eye -has its principle of correspondence with what is just, beautiful, and elegant, and that it acquires, like the ear, an habitual delicacy, and answers, with the same provisions, to the finest impressions. Being therefore versed in the works of the best masters, it soon learns to distinguish true impressions from false, and grace from affectation.' I have therefore not the least doubt that those who have risen to some degree of eminence as ornamental designers, would reap great benefit in attaining a knowledge of the various styles and subtleties of colouring, by carefully studying and copying, in masses of colour alone, the best works of art to which they can get access, and applying these arrangements to the particular figures of their patterns."

LIGHT AND SHADE-TINTING.

In every scene, during the presence of light, some parts fall immediately under the effect of the light, while others are thrown into shade. In art, advantage is taken of this mixture of light and dark parts, not only for the facility with which it enables the draughtsman to separate the parts of a scene, but for the agreeable effects which may be produced by the judicious association and distribution of the light and shade. In the representation of a round object, it is only by a careful disposition of the light upon the convex part, and the truth of the attendant reflected light and shadow, that the appearance of roundness is communicated. The means by which the effect of light and shade are to be produced by tints, are now to be described. First, with regard to the preparatory steps in the process.

Provide the best hard drawing-paper, which may be had of various size and substance. For subjects in which minute and fine delineation is required, the paper should be smooth on the surface; but when the subject is of a rural character, in which all the shagginess of nature is to be introduced, the paper should be of a rough description, for roughness of surface in such a case will assist in giving truth to the representation. Drawing-papers have frequently a greasiness of surface, which prevents a tint from being spread with evenness; the slightest infusion of gall into the water with which the tint is made, will remedy the defect; or the surface of the paper may be sponged with the gall and water before fastening it on the drawing-board.

A few camel-hair pencils must be provided; say two flat inch tins, to distribute a tint over a large space; two swan-quills, to wash in smaller spaces; and two hen-quills, to pick in minute parts. The qualities of these denominations of hair pencils are various. A bad one is far worse than a bad pen; with this it may be possible to write, but with a bad pencil every effort will be foiled. A proof of the quality may be made in the following manner, prior to purchase: When dipped in water, if it spring into a line with the quill, and retain its point, select it; if it spread into two or more points, reject it; and observe, that it is not requisite for a pencil to be touched two or three times on the edge of a vessel containing water, nor to be passed between the lips, since these might give a point to a bad one. Provide also a few small delf saucers, in which to mix the tints, and two cups or glasses, to contain water; one to be preserved pure, and the other in which the pencils are to be washed,

The tints may be made according to taste: from Indian-ink, a black; bistre, a brown; or neutral tint, a grey: they are alike capable of communicating smoothness and spirit. With reference to further advancement in the art, it is proper to state, that the light and shade of a landscape in the neutral tint, is a basis on which the hues of nature in their yariety may at a future time be added. The light and shade in bistre is rich in mass, powerful in touch, and susceptible of giving transparency with a high degree of finish.

It may be observed, that the relief of an object depends on the just arrangement of the light, the due management of the half-tint and shade, with the proper introduction of the shadow.

Fig. 14 represents three rude stones full in the light, the line A showing the direction in which it falls. The shade-side of two, and the end of the third, show a play of light toward the lower parts, which is to be observed in nature. The shadow is marked stronger beneath, while that which is cast on the inclined stone is strongest at the base of the upright stone, and becomes lighter as it falls on the varying surfaces of the others.

Fig. 15 represents an acorn dislodged from its cup. The illumination is from the left, and falls on the rotundity of the acorn, the greatest light being on the most prominent part. In this case, a slight portion of halftint is placed along the upper edge, while the under side gradually approaches through half-tint to shade, and then softens into reflected light on the lower edge, which contributes to the character of smooth roundness, the power of the shadow beneath assisting in giving effect to the object. The light operates in the same

manner on the cup, being cast on the advancing part of the hollow; its shade is cast on the receding part opposed to the light, on the same principle that the exterior of the cup is treated, while the shadow relieves the half-tint, as in the previous instance. These plain and circular objects are introduced to call the student's attention to such natural objects, in which it may be there observed how admirably the lights and shades are intermingled with half-tints, so as to obviate all harshness or violent opposition, while the shadows give a due effect, harmonising the whole, and rendering the minutiae worthy of the closest investigation.

tint.

Suppose you have made a sketch of such an object, at least six times the size of fig. 14, and that it is fastened down on the drawing-board; a few small saucers, and two vessels containing pure water, on the right hand near the pencils, with the window on the left, so that the sunshine does not fall on the drawing-board: Let a tint be made, according to the previous directions, from either of the cakes before mentioned, and of any strength the student may think proper. Mix it well with the pencil to be used, and always let that be rather larger than might seem to be required-say, a swanquill. The pencil is properly charged for use when it has been stirred into the tint and gently touched, or passed two or three times on the edge of the saucer. This must be done carefully, because, if the pencil contain too much tint, there is a difficulty in spreading it neatly, and the edges will be hard. If the pencil contain too small a quantity, it will be impossible to spread the fint. If the space be large, it will require a little experience to keep the pencil equally charged with the Whatever may be the tint chosen, it must be washed ever all the parts which do not receive the light. Thus, with the pencil charged with tint, as before described, commence at the top of the perpendicular stone, fill in the form, and proceed by slow motions downwards, so as to keep the floating or lower edge of the tint consantly being acted upon by the pencil, while it is distnbuting the tint neatly to the shapes required. The pencil must not be returned to repair omissions, as that would destroy the evenness of tint; the parts should be washed in with correctness at the first. The pencil may then be carried across the shadow to the shade of the flat stone and its shadow on the ground, with attention to the edges; then the upper surface of the diagonally placed stone, with its shade and shadow. If these spaces be well washed in, they will appear of one uniform power of tint. When it is perfectly dry, strengthen the tint in the saucer by an addition of colour from the cake; this increase of power to the tint must be judged of by experience in its application over the tut first washed in. If the subject be examined, it will appear to consist of three gradations of tint; that which has been spread is the first, as on the upper surface of the diagonally-placed stone; the second gradation of tint appears on all the other shaded parts; and the third gradation is confined to the shadows. It may be noticed, that, if too much colour is added to the first tint, it would produce a harsh effect; and if too little is added, the effect would be deficient: in either case, the due gradation would not be observed. Experiments may be made on a piece of paper, till the proper strength of the tint has been ascertained; it may then be applied to the shades and shadows as before, but omitting the upper surface of the diagonal stone. When this is perfectly dry, the tint must be again strengthened to the third gradation of power, with the same precautions as before; and with it wash in the shadows, keeping the edges of this tint rather within the boundaries of the preceding.

Mass, Half-Tint, and Shade.-Suppose such a scene as fig. 11 to have been sketched, and you are disposed give effect to the outline by a few tints. Consider under what circumstances of light it has been seen in ature, or under what circumstances it might be seen. Image it an evening effect, the sun having descended behind the broad mass formed by the castle and trees;

these, on different broken surfaces, constituting the second plan; beyond which is a mid-distance, terminating in water and remote hills; the foreground composed of a rude mass, with rock and bushes interspersed. With this outline you are presumed to be familiar, and will perceive that, by placing the light behind the principal objects, an opposition will be established that must give a character to the whole. Thus, the principal will be in half-tint; the light brightest behind the castle, and gradually subdued along the distance; the foreground powerful, so as to relieve the half-tint of the principal, and oppose the distance; thus the gradations or keeping will be preserved, and effect given to the subject.

Attempt the subject, first on a small scale, to become acquainted with the process, and afterwards on one much larger, for improvement. With the first gradation of tint, as in the preceding cases, commence at the top of the tower, and proceed downwards by slow movements, so as to preserve the outline, sweeping the pencil round the masses of foliage, and covering all the second plan; continue the wash over the foreground, except the edge where the pieces of rock are situated; these may be omitted, to relieve the mass from the second plan. When the tint is dry, make the second gradation of strength, and wash over again the trees and the ground on which they are situated. Then begin on the left on the foreground, and wash over the mass till within a little of the lights which were left untouched with the first wash. In these lights, and in repetitions of wash towards them, be careful not to let any perpendicular shapes appear, any promiscuous irregularity of form will better express ruggedness of surface. When this is dry, reduce a little of the first tint with water, and wash in the distant hills; then reduce the tint yet more, and with it wash in the space for the sky. As this may represent clouds, an even tint is not of material consequence; the pencil, therefore, should have less tint in it than usual. Begin at the angle on the left hand, and wash over the space, leaving such parts untouched as fancy may select, occasionally touching the extreme point of the pencil in the pure water, so that the tint may become still weaker as it approaches the part just above the castle. If this be well done, whatever may be the forms left untouched in the sky, the appearance will be that of a light or tender tint, getting gradually weaker in a diagonal direction towards the chief light behind the castle.

In this state the drawing would exhibit some effect, and might receive any additional washes or touches that may be suggested by the taste or the judgment of the student. After obtaining a knowledge of the distribution of the tints in their gradations, let the subject be drawn again considerably larger, and now investigate the general principle which regulates the proposed effect, and reflect on each particular part of the process, so as to comprehend the motive for every application of tint. When the tints are washed in, let the drawing be placed at some distance, where it can all be seen at once, without the surrounding objects interfering with the view. At this due removal, which is regulated by the size of the drawing, the gradations of distance, and the keeping, will more clearly show their correctness or inaccuracy. If the drawing be large, the flat tints on the second plan will tamely express masses of foliage, or the union of many trees; and the castle will require some characteristic markings. The black-lead pencil may be used upon the tint to indicate a variety of form on the building, or to separate the mass into trees of various heights, and these will serve as guides for the introduction of repetition of wash or touch. This proceeding implies finish, and may be carried to the extent dictated by the judgment of the student; but it must ever be borne in mind, that breadth of effect is injured by every addition that disturbs a mass. Variety may be introduced, so as to attack a monotonous space or mass, without destroying it. Whenever it appears that more is required to com

plete the drawing, and the improvement is not suggested by a glance, desist immediately; put the drawing aside, and engage on something else. In a few days, on recurring to the subject, it will be seen with a fresh eye; new ideas will arise; a little will be added, or a little power will be reduced, so as to effect an improvement which no straining of the faculties in the former instance could have produced. A drawing may thus be subjected to frequent revision, and retouched as an advance in taste shall direct.

Suppose such a subject as fig. 10 be sketched, for the purpose of study, in breadth of light, the opposite of the last effect: let a tint be made less powerful than the first gradation-such a tint as might represent clouds that were not gloomy-and with it wash over the space for the sky, preserving the forms of the trees, and softening off the tint in a diagonal direction, so as to leave the light along the horizon, with the greatest breadth on the right. When dry, repeat a few washes on the angle towards the left and along the top, so as to produce a gradation of power from the top to the horizon, and it will give the effect of retiring or keeping. If the tint has not been washed in with evenness, endeavour to convert any conspicuous form into a cloud, by picking or filling in on its edges a corresponding tint, so as to make it form part of another more appropriate shape. Then, with that power of tint, considered as the first gradation, commence at a part not so high as the gable of the cottage, upon the trees, with an irregular form, distinct from a straight line, and continue the tint over the trees beneath, to the line of ground on which the cottage stands. Begin again at the lower part of the base beneath the cottage, and wash in the tint up to where the ground line before mentioned joins the boundary of the subject, and continue to wash in the tint, in agreement with the form of an indicated path to the cottage door, and so across to the mass of foreground and bush on the right. When all is perfectly dry, make the second gradation of power in tint, and wash over the lower portion of the trees close to the cottage, with the space before washed in, observing not to let it approach the edges of the previously washed tint, lest the shapes should appear harsh, particularly on the bush opposed to the light horizon. It must be observed, that the power which was required to separate masses in outline, ceases to be proper on the application of tint, as there is no decided outline in nature. With the tint of the second gradation, wash in the door, the window, the shade of the roof with its shadow, and the shade side of the chimney. Then, with the third gradation of power, wash in the foreground and the lower part of the bush, with the precautions before mentioned. When dry, place the drawing at a due distance, according to its size; and observe, if the effect be that of a cottage in a mass of light, that the gable end cannot properly receive the same degree of illumination as the roof and the side where the window is; it will therefore be proper to wash over it a tint that will keep it in its place. You must reflect, that, as the light is concentrated, by the illumination from the right being poured upon the cottage, its relieving mass of half-tint will be lighter than on other occasions; therefore, a tint lighter than the clouds will be sufficient to detach it from the brighter side, without destroying the mass of light in which the cottage is placed. As in the case of the preceding subject, any repetition of wash or touch that may seem to be required should be added, being careful to preserve the intended effect. A little practice will teach that the trees should be diversified with tender tints, so as not to destroy the mass of light; that the distant sea should be washed with a tint to relieve it from the horizon; that the ground on which the cottage stands may be broken or enriched with characteristic forms; and that the foreground may be touched with a power that shall judiciously detach it from the second plan.

In the examination of drawings, during the progress of retouching, if a part appear too light, or another part too dark, so as to produce the effect of spottiness, cover

such part with the fingers, and imagine the appearance with any proposed alteration; if an improvement be suggested, at once adopt it, and examine again; always paying attention to preservation of the masses, on which both simplicity and effect depend. A drawing should be ascertained to have one principal light, while the subordinate lights diminish in brilliancy, in proportion as they are removed from the principal. Masses of shade should decrease in power of tint, conformable to their degrees of remoteness. These are essential to keeping and effect. Making-out or marking more than the respective distances require, touches which are inappropriate, or harshness of any description, are all departures from the principles of the art, and deviations from natural appearances. Although effects may be observed in nature at variance with these rules-suc for instance, as light scattered equally on the foreground and the mid-distance, or the whole scene being beneath a glare of sunshine, or in shade by the clouded state of the atmosphere-yet these are effects unsuited for pies torial delineation, because they are deficient in what constitutes beauty and attraction in the art.

You may have observed how essential a sky is in giving effect to a drawing. The great variety of forms, lights, half-tints, and shades, the storm, the distant falling shower, and other incidental effects, which the atmosphere presents to the view, should always be regarded with attention, not only because advantage may be taken of such diversity for powerful contrast, but because a well-arranged sky is a beautiful portion of a landscape. The repetition of tender washes over each other may be justified only in the endeavour to obtain that tenderness and delicacy of tints which are conducive to faithful representation of clouds; for continuing to wash the same tint in successive applications, will produce an effect that is termed woolly, from its being deficient in that sharpness or spirit which is obtained by a few decided tints applied in just gra dations. These varieties may be adapted to the nature of the scene, and may, by their judicious contrasts of form and tint, contribute very materially to the general effect of a subject, as in a stormy sky, bright horizons, and beams of light. The effect of moonlight may readity be given by strong tints, softened off in the circular direction of the moon, and repeated till the gradation is obtained; then give a wash over the whole sky. Take out the clouds to a half-tint by dabbing, and take out the moon to the clean paper, with crunibs of bread. A few catching lights on the clouds near the moon may be taken out, but made less bright than the moon.

HUMAN FIGURES.

A knowledge of drawing the human figure is to be gained by a careful study of the outlines of the different parts composing the trunk, limbs, and members. Au such integral portions of the human figure, if time and other circumstances permit, may be first studied frota casts conveniently placed on the table, so as to give a facility to the hand in this department of sketching.* It must, however, be borne in mind, that exercises of this nature, under the guidance of a master, do not ob viate the necessity for studying the human figure from life; neither do they supersede the acquisition of a knowledge of figure-drawing on a small scale, for the purpose of ornamenting and giving effect to a scene from nature. The introduction of human figures is s considerable utility in drawing a landscape, in order to serve as a scale by which a spectator may know the probable measurements of objects near which the figures are situated; figures also give animation to a scene, and, by the touches of light or of dark which they justifiably offer, communicate valuable relief to a mass, or assist in the keeping of the subject.

There are several well-known rules with respect to the drawing of human figures; they are as follows:

* Stucco casts of figures and their subordinate parts may to had from different manufacturers of models of this descriptio in London, Edinburgh, and other large towns.