STAC 
 AN N fc A 
 
 teurs 
 
 LOUISE JOPLINO, R.B.A, 
 
 With a Preface by 
 
 SIR WiLLIAM BLAKE RICHMOND 
 
 LONDON : 
 
 GEORGE ROWNEY & CO.
 
 HINTS TO STUDENTS 
 AND AMATEURS. 
 
 BY 
 
 LOUISE JOPLING, R.B.A. 
 
 WITH THE PREFACE BY 
 
 SIR WILLIAM BLAKE RICHMOND, K.C.B., R.A. 
 
 PUBLISHED BY 
 
 GEORGE ROWNEY & CO., 
 
 AKTISTS' COLOURMEN AND PENCIL MAKERS, 
 LONDON, W.
 
 HUNT, BARNARD & CO., LIMITED. 
 LONDON AND AYLESBURY.
 
 TO 
 
 1bcr 
 
 <aueen Hleyanfcra, 
 
 BY WHOSE 
 
 GRACIOUS PERMISSION THIS LITTLE BOOK 
 
 IS RESPECTFULLY 
 
 DEDICATED. 
 
 1001887
 
 CONTENTS. 
 
 CHAP. PAGE 
 
 PREFACE BY SIR W. B. RICHMOND, K.C.B., R.A. vii 
 
 I . 10 
 
 II. BLACK AND WHITE . .... 15 
 
 III. OIL PAINTING . . . . -37 
 
 IV. WATER COLOURS . . . . .46 
 V. PASTEL .... .54 
 
 VI. PHOTOGRAPHY 57 
 
 VII. SKETCHING FROM NATURE . . -58 
 
 VIII. MODELLING ... .62 
 
 IX. ANATOMY ...... 64 
 
 X. PERSPECTIVE 74
 
 PREFACE. 
 
 THIS is a charming little book. Brightly written, 
 poignant with enthusiasm, and full of excellent teaching, 
 it is sure to fulfil its purpose : to stimulate the amateur, 
 and encourage the art student novitiate to serious 
 study, hard, and, perhaps sometimes, dry work. 
 
 Reading it reminded me pleasantly of my youth, 
 when all the problems with which it deals were so new 
 to one, when the veil was not drawn, and the limitations 
 were undiscovered. For it seemed so sweet and easy 
 then ; each item of progress pointed to a decade, and 
 it seems centuries since the passionate longing for more 
 knowledge, more system, more " light," drew one on 
 and on with an almost fantastic glitter of possible 
 planets to explore, and fresh stars to discover. This 
 is one of the charms of Mrs. Jopling's book : it is so 
 fresh ; not in the least pedantic or puzzling, or remote ; 
 there is not an alarming page or a discouraging sentence, 
 and yet the noble art of delineation, drawing, and 
 painting, and the accessories to them, are treated 
 reverently as of importance, and not dismissed as things 
 with which " genius" has no need. Genius being one 
 of the most deadly pitfalls to the right development of 
 the artistic temperament, which, apt to be over emo- 
 tional, unrestrained, and vagarious, needs traveaux 
 force to preserve, anyhow, a little sanity. Yes ! True ! 
 But not real, only sham genius is such, and though it 
 may be perhaps too much to claim for genius that it 
 is the power of taking pains, we may safely, I think, 
 conclude that genius, without taking pains, is not 
 unlikely to end in mental break-up. 
 
 Of course ! there is no receipt for the Artist, for his 
 making, everyone knows that ; but there are traditions 
 
 vii
 
 viii PREFACE. 
 
 of practice which only the foolish will think it advisable 
 to throw aside, that their tiresome, wearying "ego" 
 may shriek discordantly, or shock abominably, or 
 advertise by productions of monstrosities or "freaks." 
 A very dangerous fashion, a sign of decadence, and one 
 which this healthy, sensible book may tend to arrest 
 in the minds of young people too apt to catch at floating 
 stars thinking they are planets. 
 
 The title is very modest, " Hints to Students and 
 Amateurs." The book contains much more than that ; 
 it may be a reminder even to the older practitioner of 
 his earlier ideals, perhaps sincerer moments than 
 these are of his cleverer days when experience has 
 made things too easy, or to seem so anyhow ; perhaps, 
 too, it may make him put on his pinafore and begin 
 again. Anyhow, it made me feel like that. 
 
 Yes ! Craftsmanship is more than half of art, much 
 more than half. How much more durable is the fine 
 craftsman's work than the illiterate experimentor's in 
 a last " squib " or sham thunder made by fireworks. 
 
 It is the insistence of good craftsmanship which 
 appeals from every page of Mrs. Jopling's book that 
 makes it valuable, especially at this moment of 
 " synthetic " rubbish. 
 
 Someone once wrote : " Stars appear dim behind 
 fireworks." True ! But happily we know that the 
 stars are there, and presently the fireworks, their glare 
 and smell of powder and chemicals, will go, and we 
 shall see the stars again, and enjoy the sweet scent of 
 flowers, and be the purer and the better for both ; 
 perhaps contrast comes in. Anyhow the great masters, 
 more than stars, the planets in our system, are there, 
 and likely to remain ; their methods, too, are respected, 
 their vision applauded, their intelligence undisputed. 
 Thank Heaven there is nothing" new " in Mrs. Jopling's 
 book ; indeed, it is delightfully old-fashioned and 
 " commonplace," but so is the Latin Grammar, and 
 so is it that two and two make four, and black is 
 not white ; and so is " you must learn to walk before 
 you can run." All admirable truisms, which dexterous
 
 PREFACE. iX 
 
 paradox-mongers invert, and people think it very 
 clever to do so but it is only of a kind not difficult to 
 attain, and is as a bubble easily burst. 
 
 Into the hands of young people this book is sure to 
 find its way, and be profitable. There is a good deal 
 of excellent advice, sensible advice corrective of " fads," 
 and I, an " old chap " as I was called the other day 
 and I am, it is true have read it, not only with pleasure, 
 as written by a very old friend a friend who has been 
 comrade with many masters but with profit. It 
 makes me wish to go again to school. 
 
 May 26, 1911. W. B. RICHMOND.
 
 HINTS TO STUDENTS AND 
 AMATEURS. 
 
 CHAPTER I. 
 
 IT is with great diffidence that I, a labourer in the 
 field of art, stretch out a helping hand to those fellow- 
 workers who, for want of a little timely encourage- 
 ment, are apt to become disheartened. They forget, 
 whilst they cross the Slough of Despond, that beyond 
 them is the firm ground where Progress has her fair 
 abode. I want to impress this upon them, and my 
 only apology for doing so, is, that I have been assured 
 that my experience may help others ; those others 
 who, from force of circumstances, cannot enjoy the 
 advantages that are nevertheless so accessible to the art 
 student ; and those also who, living far away in the 
 country, have no means of obtaining any art education. 
 I am writing this little book not only to aid students, 
 but also as a help to that large class which is popularly 
 known as " amateurs."
 
 HINTS TO STUDENTS AND AMATEURS. II 
 
 In using the word " amateur " I intend it to signify 
 its original meaning, viz., " a lover." We have cor- 
 rupted it in these days, as we English have a habit 
 of doing to so many of our words, for the want Of the 
 restraining influence of a recognised authority, such 
 as the " Academic des Belles Lettres " in France. 
 When we speak now of an amateur it is, I fear, in a 
 slight tone of contempt, for we associate the word with 
 incompetence, and we are led to do so because the 
 work of the amateur usually betrays his want of know- 
 ledge. Now it is this knowledge alone which makes 
 the difference between the professional and the amateur. 
 
 In every line of life in which success is aimed at, 
 an apprenticeship has to be served, of many hours 
 and days of hard work. Art is not exempt from this 
 law, and however small may be the talent one possesses, 
 it can be increased tenfold by cultivation. 
 
 A Professional very often has made his start in life 
 with a lack of money, and an Amateur has been burdened 
 with too much. 
 
 Walter Savage Landor in his Conversations makes 
 one of his characters say, " that poverty and wit use 
 the same grindstone." This is partly true, for poverty 
 very often brings out talents that would otherwise 
 have lain dormant, and as wealth carries no spur " to 
 prick the idle intent of a man," it often happens that 
 in the race for honours it is the poorer ones who 
 carry off the prizes. Nevertheless, the kingdom of 
 art is open to all comers, and you can enter into it, 
 even though you were as rich as Croesus. It is only 
 the want of training that marks the difference between 
 the Professional and the Amateur. 
 
 The Professional knows he can achieve nothing 
 without he thoroughly studies and masters the calling 
 he has embraced. 
 
 The Amateur is rather given to imagine that what 
 he calls his " talent," or his gift, or his genius, is enough 
 to carry him over all difficulties. Were he to become 
 a doctor, lawyer, or scientist, he would have to pursue
 
 12 HINTS TO STUDENTS AND AMATEURS. 
 
 the usual curriculum of study long before he was fitted 
 to put his knowledge into practice. It is the same 
 with art. It requires as much hard work and learning 
 as any other profession. Even if not continued in 
 later life, I consider that drawing and painting ought 
 to form a part of every child's education, just as much 
 as reading, writing and arithmetic. No special gift is 
 requisite. All the better if one possesses it, but it is 
 not necessary. 
 
 Sometimes I hear it said, "It is of no use my 
 learning. I am too old." To these despairing ones 
 I would say, " Bear in mind the proverb, ' It is never 
 too late to learn.' ' In learning the art of drawing 
 when you are beyond the pale of childhood, you bring 
 to your task a judgment far more matured. Your 
 mind has more strength to command the eye and hand 
 to do their part, and your will to succeed is greater. 
 You have already learnt the value of time, and its 
 brevity, which youth finds so difficult to realise. History 
 tells us of many painters who commenced their artistic 
 career when they were no longer quite young. John 
 Philip, our English " Spanish painter," was a notable 
 example of this. I have heard that up to the age 
 of thirty he followed the trade of house painter. And 
 I myself commenced to learn the rudiments of my 
 profession at the age of three-and-twenty, heavily 
 handicapped as I was at the time by my duties of wife 
 and mother. However, I had plenty of time for each 
 and all, but of course I had to work much harder than 
 a younger woman need have done. Besides the hours 
 spent from ten to four at my master's (M. Chaplin's) 
 studio, I joined a class that commenced in the summer 
 time at seven a.m., and where we drew from the un- 
 draped figure. Very pleasant it was to start out in 
 the early morning, when Paris was waking into life 
 and activity, finishing her daily toilet with the help 
 of the picturesque men in blouses, who dipped their 
 long brooms into the streams of fresh, pure water that 
 ran along the gutters, and swept the streets and pave-
 
 HINTS TO STUDENTS AND AMATEURS. 13 
 
 ments of the impurities and stains with which the 
 preceding day and night had defiled them. In the 
 evening I studied my anatomy at home. In the winter- 
 time the same class worked by gaslight from seven 
 to ten p.m. I would have given much if all this had 
 happened in my girlhood, particularly as I had to 
 leave off studying sooner than I had originally intended 
 in order to support myself and my two children. Still, 
 one is always learning, and one's studies are only ended 
 when Death knocks at the door. So you see, one can 
 commence late ; although it is far better to do so early 
 in life, when one's mind is in a receptive state, and 
 one's fingers are in a plastic condition. 
 
 Drawing is not at all a useless accomplishment, as 
 I have so often heard it described. It strengthens 
 many of our faculties notably, memory and obser- 
 vation. The former is essential if we wish to paint 
 well. We can achieve nothing without its use. For 
 instance, it is impossible to look at our object, and 
 paint it, at one and the same time. What we really 
 do is to look at it first, and then, relying upon our 
 memory, we reproduce it as accurately as it is possible 
 for us to do. The more retentive our memory the 
 more perfect is our drawing. As to our power of obser- 
 vation, learning to draw trains it, and renders it keener. 
 And this alone ought to secure for art a permanent 
 place in every scheme of education. 
 
 At present, it is considered in most fashionable schools 
 not as a necessity, but as an " extra." 
 
 If we want another plea in its favour, let us only 
 reflect how much our enjoyment of life is intensified 
 by the power of justly appreciating the beauties of 
 form, and the glories of colour, that are contained in 
 this beautiful world of ours, and which many of us, 
 though we " have eyes, see not." 
 
 Cultivate, then, your love of art, for you may rest 
 assured that it is not waste of time. 
 
 Do not exclaim, as many do, " What is the use of 
 my trying ? I shall never succeed." You never will
 
 14 HINTS TO STUDENTS AND AMATEURS. 
 
 if you listen to and act upon the advice of " Mr. Do 
 Nothing." Read Marcus Aurelius, and he will give 
 you better counsel. Listen to what he says : "Be 
 not disgusted, nor discouraged, nor dissatisfied, if 
 thou dost not succeed in doing everything according 
 to right principles, but when thou hast failed return 
 back again." Herein lies the secret : return back 
 again, and again, until you do succeed. 
 
 What I have been most struck with in amateurs 
 is their want of courage. I may be reminded of the 
 proverb that " fools rush in where angels fear to tread." 
 I do not think it applies in this case. Amateurs are 
 not necessarily fools, and, I can assure you, we pro- 
 fessionals are very far from being angels. Therefore 
 I say to you, Be not afraid. Remember, that very 
 often, " Our doubts are traitors, and make us lose the 
 good we oft might win, by fearing to attempt." 
 
 What I would prefer to see is a little of that vaulting 
 ambition, which even if it does " o'erleap its selle," 
 and falls on " t'other side," is better than the possession 
 of prudence that counsels to venture nothing, and to 
 be content with winning nothing. 
 
 About your capacity or genius for drawing, no one 
 knows what they are capable of doing until they try. 
 A gardener will tell you that by cultivation he can 
 convert the poorest flowers of the garden into beautiful 
 ones. 
 
 But you will say, perhaps, that the little seed of 
 genius must first exist, otherwise cultivation is useless. 
 Well, what is genius ? A Celtic Triad describes it, 
 or rather its three primary requisites, as "an eye that 
 can see nature, a heart that can feel nature, and bold- 
 ness that dares to follow nature." Are these so very 
 rare ? 
 
 And it was Balzac who told us that genius consists 
 in an infinite capacity for taking pains. Surely this 
 lies within the reach of all. 
 
 Leonardo da Vinci judged a man, whether he 
 possessed a talent for drawing or not, by the amount
 
 BLACK AND WHITE. 15 
 
 of his perseverance ; and if I might adapt a French 
 saying, " De 1'audace ; encore de 1'audace ; et tou jours 
 de 1'audace ! " I should use the word perseverance in 
 a similar manner. 
 
 What I propose to do in this little brochure is to 
 give you a few hints as to the different materials you 
 can work in, and for this purpose I commence with the 
 least difficult, viz. : Black and White. 
 
 The least difficult only because you will have no 
 problem of colour to distract you from the dispassionate 
 study of pure form and light and shade. 
 
 CHAPTER II. 
 BLACK AND WHITE. 
 
 IN black and white there are many styles of drawing, 
 although generally, the term is only applied to illustra- 
 tion work where pen and ink, or, a wash of Indian 
 ink, or lampblack, and Chinese white is used, and 
 applied with a brush. 
 
 We shall have to deal first with charcoal drawings. 
 
 No more fascinating medium can be found with 
 which to translate quickly on to paper the outline 
 of a beautiful head ; a time study ; a happy 
 disposition of lines in a landscape, or an idea for 
 a picture which one is longing to put into a concrete 
 form.
 
 l6 HINTS TO STUDENTS AND AMATEURS. 
 
 The paper that takes charcoal the best is called 
 papier Michelet, and you can buy it for a penny the 
 sheet. In Paris a similar is called papier Ingres, and 
 there it only costs one halfpenny. 
 
 This cheap paper is far better for making charcoal 
 studies on than one that is dearer. The marks are easily 
 obliterated by a piece of bread, and as a paper it is 
 much less greasy in texture than the dearer sorts. 
 When you can do good drawings that require little 
 effacing before finishing, then you can use better 
 paper. 
 
 Frenchmen excel in the use of charcoal, especially in 
 landscape studies. Ordinary charcoal is easy to get at 
 four sticks a penny. You can get many varieties, from 
 sticks an inch thick in circumference to those of a much 
 smaller make. These latter are made chiefly in Paris, 
 and are called " Fusain a tilleul." They are made from 
 the tiny branches of the lime-tree. 
 
 For black chalk you ask for " Contt a Paris." There 
 are three degrees, No. I being the hardest. In using 
 chalk you must have a crayon-holder, or you can get 
 chalk cedar pencils. 
 
 For doing red-chalk drawings, it is much better to 
 use what the French call " sanguin." It is the stone 
 in its pure state, and is of a much better colour than the 
 composition usually sold under the name of red 
 chalk. 
 
 For stump drawings you get little bottles filled with 
 "Powdered Stumping Chalk," or you scrape some 
 black chalk (No. 3 degree) to a powder, and apply 
 it to your drawing with the aid of little stumps of 
 twisted paper made expressly, and sold by the dozen. 
 These can be got in several different sizes. 
 
 You will also require a small piece of chamois leather 
 or a leather stump. These will take off the charcoal 
 or chalk in places which you wish lightened. 
 
 For obliterating, a piece of stale bread made into 
 a little pellet is the best thing you can use. It must 
 be in the state that is the happy medium between fresh
 
 BLACK AND WHITE. 17 
 
 and stale ; for if used too fresh it will make your 
 drawing greasy, and if too stale it will crumble and 
 be useless, and only scratch your paper. 
 
 With bread you produce the effect that is called 
 stippling. This is a fascinating but useless accom- 
 plishment. The young student is apt to devote many 
 hours and days to a process which when done only 
 serves to make his drawing look pretty, and he forgets 
 the main object for which he is striving, viz., to get 
 what he draws in perfect proportion. 
 
 Drawing in pencil is excellent practice, as it teaches 
 you accuracy. 
 
 The less rubbing out your drawing requires the better 
 it looks. 
 
 For line drawing, the pencils marked F or H, of either 
 single or double letters, are the best. 
 
 For drawings in lead used with the stump, get the 
 pencils marked B, BB, and BBB. 
 
 These can be carried to the perfection of finish. 
 The old masters did a great many of their drawings 
 in silver point, and it has lately become fashionable 
 again amongst our modern men. Great accuracy is 
 necessary, and your drawing looks better if all the lines 
 take the same direction and do not cross each other. 
 For this, an especial paper with a slightly glazed 
 surface is the best to use. 
 
 For making rapid sketches whilst travelling, the 
 note-books, with paper prepared for the use of the 
 metallic pencil, used with an ordinary lead one, is 
 delightful to work upon. Your drawing does not 
 smudge, and your sketch remains clear and accurate 
 for years. 
 
 For pen-and-ink drawing, tiny steel pens called crow- 
 quill are used. 
 
 Charles Keene, the world-famous draughtsman for 
 Punch, told me he preferred the Waverley pen to work 
 with, as by it he could get both fine and strong 
 strokes at will. Cardboard is the best material to work 
 upon.
 
 l8 HINTS TO STUDENTS AND AMATEURS. 
 
 For reproduction, printers prefer a specially-prepared 
 highly-glazed surface. 
 
 The brush is mostly used by the men who style 
 themselves " black-and-white " artists. 
 
 If you work in black with the brush, leaving your 
 paper for the white, you will find Vandyke brown and 
 indigo make a very good tone. Get these colours in 
 water-colour tubes. You can buy specially-prepared 
 ink, but I find this not half so easy to manipulate, 
 as it is apt to stain the paper. If working with 
 Chinese white, get it in the tube instead of in a 
 bottle. 
 
 Use a japanned or earthenware palette, and work 
 with the best water-colour sable brushes. If you are 
 lucky enough to obtain those made by the Japanese, 
 all the better. They are delightful. The point is so 
 beautifully prepared, that with it you can get the 
 finest strokes of a pen as well as the broadest. Each 
 brush is mounted on a small cane of bamboo, whilst 
 another portion fits on over the point and protects it, 
 so that you can carry it about with you without fear 
 of its getting damaged. 
 
 Be very careful to do as little as you possibly can to 
 a drawing, but let that little be correct. 
 
 Too much work when your medium is only black 
 and white is apt to make your work heavy. 
 
 It must never be forgotten that a drawing, i.e., a 
 black and white, is only a suggestion after all. It is 
 something to remind you of some other thing which is 
 alike but different ; inasmuch as your subject contains 
 very often all the colours of the rainbow, whereas your 
 drawing only contains two, or, more correctly speaking, 
 no colour at all. 
 
 Form and purity of outline is what you must strive 
 for. Go to the National Gallery or British Museum, and 
 study the drawings by old masters. The King has at 
 Windsor the most beautiful ones by Holbein. 
 
 It is a lesson to an artist to observe how much may 
 be conveyed by very slight means.
 
 BLACK AND WHITE. IQ 
 
 Each line of the pencil is eloquent, and there is not 
 one stroke that we could dispense with. Very good 
 photographs of these can be seen and purchased at 
 the South Kensington Museum. 
 
 I generally find that amateurs are afraid of leaving 
 white spaces. They make their whole drawing look 
 too black, so that instead of a head suggesting a white 
 skin we have a carefully modelled study, that had it 
 only Ethiopian characteristics would pass very well for 
 the likeness of a negro. 
 
 Unless your background is distinctly white, and per- 
 ceptibly more so than the highest light in your face, I 
 should always advise you to put your background in 
 in the tone that it really is. 
 
 A background, you must remember, is as much an 
 essential part of your picture as your head. . 
 
 This does not apply to sketches or pure suggestions, 
 but only when you wish to make your drawing very 
 elaborate. 
 
 This elaboration in every detail is good practice 
 before you start in oils or water-colour, and for this 
 purpose you will find drawing with the stump more 
 useful to you. You are better able with it to suggest 
 colour, reflected lights, modelling, etc. For drawings 
 that are mere suggestions, and for sketching, I should 
 recommend the point. 
 
 For drapery I should make use of both. 
 
 In fact, for all stump drawings the point must be 
 used to accentuate the form of features, hair and folds 
 of drapery. 
 
 It is a wise thing to keep your drawings and date 
 them. 
 
 You will then be able to observe whether you are 
 really making progress or not. If you wish to set 
 them, i.e., to fix the charcoal on the paper so that it 
 cannot easily rub off, dip them quickly and dexterously 
 into a flat dish of milk. The French use a fixatif some- 
 thing simpler than the one you require for pastel, and 
 this is sprayed on the drawing through a tube,
 
 2O HINTS TO STUDENTS AND AMATEURS. 
 
 Care must be taken not to do it too near the drawing, 
 or it may become a hopeless smudge. The palm of the 
 hand or a piece of paper should be experimentalised on 
 first, and the liquid should only be allowed to touch the 
 drawing when it is at a sufficient distance to fall upon 
 the paper like a thin mist. In doing stump drawings 
 you will find bread a delightful tool. In drawing a 
 head where light curly hair strays into the deep shadows, 
 nothing suggests it better than bread. 
 
 For simple studies and sketchy effects, grey-toned 
 paper is very good. 
 
 You need only put in all the dark strokes with your 
 black chalk ; your grey paper suggests the half tints, 
 and white chalk will give you your high lights. Char- 
 coal is unsurpassable for commencing your studies, 
 whether they be in chalk, pencil, oil, or water-colour. 
 
 It has the merit of being easily effaced by bread, 
 and also that when your outline is completed to your 
 satisfaction you can flick off, with a large-sized rag, 
 all the loose charcoal, without obliterating the lines 
 that you have traced on your paper or canvas, and 
 which remain for you as a guide when you commence to 
 draw with your chalk, pencil, or brush. 
 
 For purposes of study, in choosing a model, if you 
 are a beginner, it is better to select either an old man 
 or old woman. They sit quieter, as a rule, for their old 
 blood lends itself to repose sooner than the warm, 
 excitable blood of youth. 
 
 There is more, also, of what we call " drawing " in 
 a face where Age, the destroyer, has been at work 
 upon the tissues, and has left more plainly visible the 
 form of the muscles and the shape of the bones of the 
 skull. 
 
 If none of your friends be willing to sit to you 
 and you will find few friendships capable of standing 
 this test should you live near a village you are certain 
 of finding many aged folk, who had they lived in the 
 days of Rembrandt and Titian would have been im- 
 mortalised on canvas,
 
 BLACK AND WHITE. 21 
 
 I met a wonderful old woman of ninety-four one 
 summer at the seaside, who was never better pleased 
 than when an artist was sitting in her neat little cottage 
 and making a sketch of her. She would tell you with 
 great pride that her portrait had been taken by some 
 gentleman, and had gone to " Lunnon town." 
 
 When you have secured your model, put him in a 
 good light in which you can have the shadows strongly 
 denned. 
 
 Let the light come from as high up as possible, for 
 the higher your light is the better are your shadows 
 massed. 
 
 To obtain this with an ordinary window, cover the 
 lower half with a shawl or thick covering to exclude 
 the light. 
 
 A low window circumscribes the space in which you 
 can work, as the light comes in at an angle of forty-five 
 degrees, and can only fall full upon your model 
 within a certain space, part of which space you 
 yourself are obliged to occupy. 
 
 Unless, indeed, you have three windows in your room. 
 You can then use for yourself the nearer window, and 
 place your model within the light of the further one. 
 The centre window must be completely darkened. 
 Your room must be large, or you can seldom draw a 
 full-length figure, as you are bound to be twice or three 
 times the length of the model away from it, in order 
 to accurately judge of its porportions. 
 
 A local builder can with little trouble or expense 
 extend your window into the roof if your room be 
 on the top floor. In building a real studio, you must 
 remember that the higher your light is the further 
 away from the window you can place your model. 
 
 If your studio must be only an ordinary living-room, 
 then choose one where no sun enters, at any rate during 
 working hours. A north-east or east is the next best 
 light, as the sun soon rises above the level that would 
 disturb you in your room. If, as often happens in 
 country houses, all the windows face south, then
 
 22 HINTS TO STUDENTS AND AMATEURS. 
 
 make a thin paste of flour and water mixed with a 
 little size, and apply it with a brush to your window. 
 This will exclude the sun without affecting the light. 
 
 Common Epsom salts dissolved in a little water and 
 put on in a liquid state, when dry gives the appearance 
 of frosted glass, and looks better, perhaps, than the 
 paste. Or yet again, milliner's silver paper. 
 
 Paintings done in a south light doctored in this 
 manner, have a warmer and more luminous effect than 
 those done in the light of the cold north. 
 
 When studying, always do things exactly life size. 
 It gives an air of meanness and weakness if done slightly 
 under the size of life. 
 
 Should you wish to do a small drawing, do it frankly 
 half the size of life, and in this case the head and face 
 ought to measure about four inches. 
 
 Try to look upon a head whilst you are drawing 
 it as a square, or block of marble, and at each curve 
 that composes it as made of several short, straight lines. 
 When you have completed your drawing, it is easy to 
 find your curves within the angles of your straight 
 lines. In this way you will have grander and bolder 
 curves, and will get into your drawing what the French 
 call " style." My master used to continually impress 
 upon me to " dessiner carriment." 
 
 You may tell me that " the line of beauty is a curve ; " 
 and so it is. But to be really beautiful, your curve must 
 have strength in it. The least suspicion of weakness 
 detracts from its true beauty. 
 
 By drawing a square first, you can the more easily 
 get a perfect circle, should you wish to get one without 
 the aid of a compass. 
 
 There is a story told of Giotto and Pope Boni- 
 face VIII., who hearing of his marvellous skill as a 
 painter, sent a messenger to him to desire his presence 
 at Rome. On interviewing Giotto, the man wished 
 for some proof of his skill in order to be quite certain 
 that Giotto was indeed he of whom he came in search. 
 
 The artist took up his pencil, and with one movement
 
 BLACK AND WHITE. 23 
 
 of his hand described on a sheet of paper a circle so 
 perfect that the cautious man's doubts as to his identity 
 were immediately set at rest. 
 
 The Italians crystallised this story into a proverb, 
 and to this day when they wish to describe the perfect 
 rotundity of an object, they exclaim, " E piu tondo 
 che I'O di Giotto." 
 
 I am sure he must have drawn his circles first as 
 squares. 
 
 When you have thoroughly studied the outline of 
 a head, look at the form of the shadows. You will 
 find that each shadow has a distinct shape of its own. 
 Those formed by the hollow of the orbit of the eyes ;
 
 24 HINTS TO STUDENTS AND AMATEURS. 
 
 that under the nose ; and those about the mouth and 
 chin. 
 
 If the head is half in light and half in shade, the 
 shadow on one side of it will have quite a distinct and 
 important form, according to the shape of the features 
 which project. 
 
 Get thoroughly acquainted with the form of the head 
 in every position, and then study the masses of the 
 shadows. 
 
 The outline and the shadows are the principal points 
 in the head. When you want to go further and study 
 the features, get those casts of Michael Angelo's 
 David, that are to be bought separately in divisions 
 of eyes, nose, and mouth, and draw them over and 
 over again, until you feel that you have learnt them 
 by heart. 
 
 Do not forget to alter their position, so that the light 
 falls upon them in a different manner each time. 
 
 This will give you an endless variety, so that you 
 will not feel tired of your work. For this is a thing 
 studiously to be avoided. Enthusiasm is life to the 
 artist's work, and must be kept up at any cost. If you 
 are feeling at all weary put down your pencil, leave 
 your drawing, and if you are a musican go to the piano, 
 and play through the last new morceaux, or sing your 
 favourite song. 
 
 It is astonishing with what freshness you will return 
 to your work, and how your difficulties will have taken 
 to themselves wings during your absence. 
 
 After you have massed in your shadows, and made 
 your head look as if it could see and speak, without the 
 aid of any line to express the details of the features, 
 proceed to the features themselves. 
 
 Be very careful not to put in any detail that you 
 do not see, simply because you know it to be there, 
 and do not let any one line interfere with the value 
 of your masses. You will soon find out how little is 
 needed sometimes to express a feature. 
 
 The same with the hair. Do not put in every line.
 
 BLACK AND WHITE. 25 
 
 Study first the great masses of the lights and shades, 
 and add only what lines are absolutely necessary to 
 the completion of the hair. 
 
 Study the values contained in your shadows. 
 
 I mean by that to notice where they are darker in 
 parts, where they are of a middle tone, and where they 
 are lighter. 
 
 I find students are so fond of putting in the extreme 
 darks in the shadow sides, such as the nostrils, and 
 within the ear, as clearly as if they were on the side 
 that is fully illuminated with light. 
 
 Now this is an impossible thing, for shadow would 
 not be what it is, unless it obliterated the details that 
 we see so clearly in full light. 
 
 I remember being struck with this in my student 
 days, when one of my fellow-workers carefully put in 
 a man's eye on the shadow side of his face, when it 
 was quite impossible to distinguish it. When the master 
 came to correct her work he obliterated her beautiful 
 eye with a touch of his thumb, saying, " Never paint 
 what you do not see." 
 
 In the same way with your background ; put it in 
 as you see it. According to the way the object that 
 you are painting is lighted, your background in parts 
 will appear of a darker or lighter hue. 
 
 It is never of one tone. 
 
 You will find that on the lighter side of the head 
 the student has to insert an outline which does not 
 exist. The background itself is often the only outline. 
 By observing the variety of tone in even the simplest 
 background, we get that pleasant diversity of dark 
 and light which we see in nature, and which 
 prevents our drawing looking as if it were cut out 
 all round by a pair of scissors, and laid on a sheet 
 of paper. 
 
 There is a story told of Sir Joshua Reynolds, that 
 one of the many unsuccessful artists who called upon 
 him, offered to "do his backgrounds for him." 
 
 " No, no," said Sir Joshua, " I wouldn't mind letting
 
 26 HINTS TO STUDENTS AND AMATEURS. 
 
 you paint my portraits, but I will do my own back- 
 grounds, thank you ! " 
 
 I tell you this story only to illustrate the fact of 
 how important a background is. 
 
 If it cannot make a picture good it can certainly 
 mar one. Above all things let your background be 
 modest. 
 
 It should know how to efface itself. 
 
 Like the garlic in a salad, it ought to be there, 
 but you mustn't perceive it. 
 
 In painting a portrait you must always remember 
 that when we look at our living model we have a sense 
 of his surroundings, but no actual perception. You 
 must so paint the background that it must in no way 
 interfere with what we wish to be the chief interest 
 of the picture, such as the head is in a portrait. 
 
 Whilst you are painting your background, let your 
 model be before you, so that by constant comparison 
 you run no danger of making your lesser value equal 
 to your greater. For as you paint the background you 
 look at it more intently, and perceive it more accurately, 
 in consequence, than you do the head, which may 
 become of lesser value than you mean it to be in your 
 picture. 
 
 Whatever object you put in your background, you 
 must be careful to paint it as if there were air between 
 the actual surface of the canvas and the thing painted. 
 If you have painted a figure, the spectator ought to be 
 made to feel, if he got into the picture, as Alice did 
 through the looking-glass, that he could walk between 
 the figure and the background. 
 
 Unless, of course, the figure is painted leaning against 
 a wall or door, and then the contrary feeling has to be 
 excited. 
 
 I want you to remember that when you are learning 
 to draw, you must see, not only with your outward 
 eye, but with that of your inner one " the mind's 
 eye." 
 
 You must thoroughly understand what you see
 
 BLACK AND WHITE. 27 
 
 before you set the hand, which is the mind's inter- 
 preter, to do its work. 
 
 I have actually seen workers putting futile, meaning- 
 less strokes upon their paper, " just to fill it in," they 
 say, whatever that may mean. 
 
 And then they wonder why the copy is not like the 
 original. They might as well expect to draw were they 
 blind, as to learn with the eyes of their mind wilfully 
 shut. 
 
 The French painter, Couture, used to say, " Look 
 five minutes at your model, and one at your drawing." 
 This is a golden rule to remember. Get what you are 
 looking at well by heart before you attempt to put it 
 down. And never put a stroke on your paper without 
 you thoroughly understand its meaning, and know why 
 you have put it there. 
 
 Nevertheless, occasionally get into the habit of giving 
 an instantaneous look, just raising your lids and down 
 again. Whatever has struck you most in that cursory 
 glance, you may be sure, is the right thing to insist 
 upon in your drawing. In that one moment you 
 would have had time only to see the most important 
 thing in the head or landscape that you are doing. 
 
 To cultivate your memory, sit before some object, 
 whatever you wish to represent, be it a flower, 
 vase, piece of sculpture, etc., study it well, note 
 every detail mentally, and then, covering it over, 
 proceed to make a faithful copy of it. You will be 
 astonished to find how easily you will be able to do this 
 after a few trials and failures. Another excellent method 
 of cultivating quickness of eye is to look out of your 
 window and observe ob]ects passing by. Directly they 
 are out of sight, draw what you remember of them, 
 and nothing more. It may be only the line of a 
 back, the outline of an arm, or the carriage of a 
 head. 
 
 Done in this manner, these incomplete details will all 
 have the impress of truth stamped upon them, and in a 
 very short time you will find you will be able to observe
 
 28 HINTS TO STUDENTS AND AMATEURS. 
 
 and reproduce whole figures. This will help you very 
 much in composing pictures. 
 
 In these lessons of observation, truth only must be 
 your guide. 
 
 Caricaturists, by the very nature of their work, depend 
 entirely upon the faithfulness of their observation and 
 memory. Were they seen to carry about a sketch- 
 book, men would flee from them, and they would then 
 have no subjects to caricature. 
 
 My lamented friend, Carlo Pellegrini, who used to 
 draw the caricatures of celebrities for Vanity Fair, 
 under the pseudonym of " Ape," studied his victims 
 whilst they themselves were quite unconscious that 
 their little peculiarities were all being mentally photo- 
 graphed on to the keen brain of " Ape." 
 
 If the celebrity to be taken off were a member of the 
 House of Commons, Pellegrini would go to the Strangers' 
 Gallery and note every gesture, expression, and attitude 
 of his man. Occasionally, in puzzling cases, he would 
 make a memorandum on his thumb nail or his shirt 
 cuff. 
 
 I wonder, by-the-by, if his washerwoman knew the 
 value of the strokes that she obliterated in her wash- 
 tub. 
 
 When Pellegrini had his portrait thoroughly visualised, 
 he committed it straight on to the paper, with direct 
 touches, which never required any alteration. 
 
 In my School of Art I used to give my pupils a time 
 study once a week. 
 
 By a " time study " I mean a subject done in a given 
 time. 
 
 A charcoal life-sized head is'drawn from the model in 
 the space of one hour, or a rapid painting is blocked in. 
 
 This is sufficiently long, as it is necessary to keep up 
 the excitement and enthusiasm, and a longer time would 
 only exhaust these. 
 
 By this quick time-work the salient points of the 
 model are seized and noted. All details disappear, and 
 the chief characteristics of outline and proportion are
 
 BLACK AND WHITE. 
 
 2 9 
 
 perforce accentuated in order to ensure a resemblance. 
 This accustoms students, when painting a portrait, to 
 look for the most important points. 
 
 In drawing a head looking down, the nose and mouth 
 must be placed much lower than the ear. The opposite 
 is the case with a head looking upwards. 
 
 The same system is carried out in making a sketch 
 from the old masters. A small canvas about 8 by 10 
 may be used. Never mind how large the picture is, it 
 
 can all be contained in miniature on your small canvas. 
 The sitting can extend from one hour to the whole 
 of the day that the gallery is open to students. On 
 no account must the sketch be touched a second day. 
 This practice does as much good as mere slavish 
 copying does harm. It forces the student to decide 
 quickly upon the essentials. The beauty of the work 
 as a whole impresses one, because there is no time to 
 get lost over every little unimportant bit of detail,
 
 3O HINTS TO STUDENTS AND AMATEURS. 
 
 The student has all the time he is working to be con- 
 stantly occupied with the whole, comparing one portion 
 with another until he gets his small replica to give an 
 impression of all the qualities of line and colour that 
 the great original possesses. 
 
 This ought to be done once a month by students, and 
 more often would be still more beneficial, as anything 
 that induces them to visit the National Gallery is good. 
 
 The mere society of the works of the grand men is in- 
 spiring, and one's intelligence is unconsciously educated. 
 
 These time studies teach us to look for and produce 
 the " general effect " of our subject, and according to 
 Reynolds, " wherever this is observed, whatever else 
 may be neglected, we acknowledge the hand of a Master." 
 
 Now I want to show you how to correct yourself if 
 circumstances prevent you going to a School of Art or 
 obtaining a master. 
 
 Here I shall be reminded, perhaps, that he who teaches 
 himself has a fool for a master. 
 
 This, like many proverbs, is a sophism. 
 
 We are all of us capable of teaching ourselves. 
 
 Get a master to help you if you can, but if it be im- 
 possible to do so, go on learning and you will find you 
 must improve. 
 
 The master very often only acts as a sort of moral 
 whip, to urge you on when you are lagging by the way. 
 
 Make up your mind to do without this, and be as 
 severe with yourself as the strictest master would be. 
 
 You see I quite expect you to make mistakes, but 
 even these will teach you, and you can make them 
 stepping-stones to your ultimate success. Whenever 
 you make a fault, and know it, you must rub it out 
 instantly. 
 
 The eye must not be allowed to accustom itself to an 
 ill-drawn line or a false bit of colour. 
 
 If it be allowed to do so, you lose your perception 
 of truth. 
 
 That is why what we call a fresh eye is of such value. 
 
 Some one, no matter who, coming suddenly upon a
 
 BLACK AND WHITE. 3! 
 
 drawing, sees with an eye whose rectitude has been un- 
 tampered with, and is able to detect at once the 
 wrong line, or the inharmonious tint. He could not 
 tell you, perhaps, how to alter them, that is for you 
 to find out. 
 
 It is of no consequence whether your critic be of 
 cultivated taste or not. 
 
 If your drawing be really right it will look so, and 
 you can defy criticism ; but if it appear wrong to some 
 other than yourself, be very sure that it is in reality so. 
 
 I am now talking of your superficial faults, to which, 
 however patent they are to others, you yourself may 
 be totally blind. 
 
 For your more subtle faults, and which, perhaps, you 
 are not sufficiently advanced to see, ask the advice of 
 some one you know and have confidence in, and 
 follow it. 
 
 Respect a friend if he possess the faculty of perceiving 
 your errors, but beware how you listen to the ignorant 
 flattery of an incompetent person. There is no greater 
 obstacle to success than this. 
 
 Be satisfied only with the praise of a master of his 
 art. 
 
 It requires a higher intelligence to discover merits 
 than it does to perceive faults. 
 
 You yourself can cultivate the fresh eye of your 
 sometimes unpleasantly candid friend, by leaving your 
 drawing and turning your attention to something totally 
 different for a space of five or six minutes. When you 
 return to it, stand at a great distance, and looking 
 at it as if it were some one else's work, search for the 
 faults and correct them. 
 
 If you criticise yourself severely once every hour 
 in this manner, you will find that you have an excellent 
 master. 
 
 When you are resting, never keep your drawing in 
 front of you and gaze at it in an absent-minded manner. 
 You are not resting then ; you are only accustoming 
 your eye to imperfection. If you are tired, change
 
 32 HINTS TO STUDENTS AND AMATEURS. 
 
 your occupation for a few minutes. It will be a far 
 greater refreshment to the mind than idleness. 
 
 The best self-corrector you can have is the use of the 
 looking-glass. Take a hand mirror, not to look at your- 
 self but at your drawing, and study its reflection. You 
 will instantly see where you are wrong, whether you 
 have drawn one eye higher than the other, or if the 
 mouth be placed exactly where it ought to be in relation 
 to the eyes, etc. 
 
 The object being reversed in the glass, you see it as 
 it were in a -fresh light. 
 
 Leonardo da Vinci calls the mirror the painter's best 
 friend and counsellor. 
 
 Another way is to hold your drawing upside down. 
 
 You can thus more easily detect inaccuracies of 
 drawing. 
 
 When you want to erase your mistakes always use 
 bread a day old, in the way I have already indicated 
 for charcoal work. It cleans instead of soiling your 
 paper, as indiarubber so often does. 
 
 An excellent thing, and one to be constantly practised, 
 is to redraw from memory, on any stray sheet of paper, 
 the subject that you were engaged on a few hours 
 previously. 
 
 Then compare your memory sketch with your drawing. 
 
 This is the best way of testing if you have thoroughly 
 understood what you were working at, and whether 
 your mind has been as occupied with it, as your fingers 
 have been. 
 
 A bad habit we are apt to fall into is our imitation 
 of ourselves. 
 
 Whatever are the defects or the graces of our person, 
 we are constantly reproducing them in our drawing. 
 
 This, as you can well imagine, tends to monotony in 
 composition. Try to cure yourself of it by honestly 
 seeking to portray the individuality of the model who 
 is sitting to you. 
 
 Measurement, I suppose, ought not to be suggested 
 to the art student.
 
 BLACK AND WHITE. 33 
 
 In fact, it is scarcely practicable, so much perspective 
 is there in a head. 
 
 Still, I have promised you some hints, so if you find 
 it very difficult to hit off by the eye an exact life-sized 
 head, you may take a sheet of notepaper and hold 
 it close up to your model's face, making a mark with 
 your thumb or pencil at each place where the corner 
 of the eye and that of the mouth touch the paper. 
 
 You then mark these measurements on your 
 paper, and from these two points you ought to put 
 in the rest of the features in their exact position. 
 
 A very celebrated painter taught me this method. 
 
 To get at correct proportions that cannot be managed 
 in this way, hold your pencil out perpendicularly at 
 arm's length, and mark where the top of your pencil is 
 level with a given point, say, the top of the forehead. Then 
 place your thumb on a line with any other point, the 
 mouth, perhaps, or the chin, and, holding your thumb 
 securely on the spot, turn your pencil round in a hori- 
 zontal position, and see where this length comes to 
 across the centre of your face. Measure your own 
 drawing in a similar manner. You see in this way 
 you get the width of the face in comparison with its 
 length. Anything you draw can be continually tested 
 by these means. 
 
 As a rule, the length of a face is the same as the hand. 
 In drawing a full-length figure, if you cannot succeed 
 in making your figure stand well, it is good to use a 
 plumb-line, i.e., a line weighted at the bottom with 
 lead. Hold it at arm's length in front of your model 
 at a good distance, the further off the better. Note 
 which parts of the figure cross or touch the line of your 
 string. Then put it to your drawing, and if you find 
 any difference between that and your model you may 
 be sure that it is your drawing which is incorrect. 
 
 People who assert that they know nothing about 
 painting, are continually making the remark that they 
 think it so wonderful that a round object can be repre- 
 sented on a flat surface.
 
 34 HINTS TO STUDENTS AND AMATEURS. 
 
 If they had studied the principle of shadows, they 
 would understand that in reproducing a rounded object, 
 and painting the shadows on it, it would be quite im- 
 possible to make it look otherwise than round. 
 
 Rays of light travel only in straight lines. Starting 
 from a centre, they spread out in all directions. 
 
 Let us imagine that we are painting a ball. 
 
 The surface of the ball nearest the light will receive 
 and reflect the greatest amount of it. The rest of the 
 ball gradually recedes from the light, and receives, 
 therefore, less and less of it, as the rays strike the surface 
 obliquely. 
 
 Then comes a portion of the ball which receives no 
 light, as the ray of light passes by it. Here there is the 
 deepest shadow. Between that and the extreme 
 boundary line we get a reflected light, i.e., light refracted 
 or thrown back from surfaces adjacent. 
 
 In painting a head, we must never forget that it is a 
 round surface, and we must look for our deepest shadows 
 and our reflected lights as if it were a ball. 
 
 If we always remembered this, our heads would never 
 have the appearance that they sometimes do of having no 
 backs to them. In painting a nose full face, the shadow 
 and reflected light must be well studied. 
 
 Beginners in drawing an eye, seldom give the necessary 
 thickness to the upper lid, when drawing it in profile. 
 
 Note how far the lid is from the eye-ball.
 
 BLACK AND WHITE. 35 
 
 The word " Tone " is often made use of, and in the 
 artistic jargon of the day it holds a conspicuous position. 
 Now you will say, " What is tone ? " We seem to have 
 taken it in the first instance from the sister-art Music, 
 as in the same way we have borrowed, or rather 
 Mr. Whistler has done so for us, the words " harmony," 
 " nocturne," and such-like phrases. 
 
 Now, tone in painting is described by a lexicographer 
 " as the harmonious relation of the colours of a picture 
 in light and shade. The term is often used to qualify, 
 or as synonymous with, depth, richness, and splendour. 
 It has also been more recently used to denote the 
 characteristic expressions of a picture as distinguished 
 by its colour. In painting, to tone down a picture is 
 to soften its colouring so that a subdued harmony of 
 tint may prevail, and all undue glare be avoided." 
 
 This is his explanation of the term. 
 
 I think, for my own part, the word " tone " is used 
 by the critics principally in relation to harmony in 
 colouring. 
 
 When all the colours in a picture are of relative value, 
 and none are too crude nor too quarrelsome with those 
 in juxtaposition with them, then we say the picture 
 is of a good tone. 
 
 The use of grey generally ensures this, provided that 
 it be not of a cold quality. 
 
 I cannot too often insist that every child should be 
 taught drawing. I have heard mothers say, " It makes 
 their backs round stooping over their drawing." 
 
 Now this is exactly what they need not do. Every 
 nursery ought to contain a straight easel (not one on 
 the slant) and a large blackboard with plenty of sticks 
 of white chalk. 
 
 On wet days the Nurse or Governess need not be at 
 their wits' end as to " how to amuse the children." 
 The Blackboard will do it for them. 
 
 The embryo artist must be taught to stand to his 
 work, and to manipulate his hand entirely from the 
 shoulder, and not from the elbow,
 
 36 HINTS TO STUDENTS AND AMATEURS. 
 
 Curves or circles could be drawn with both hands 
 simultaneously. 
 
 Let the pupil stand away from his work at intervals 
 and compare his drawing with the object he is copying. 
 The exercise he gets in this way will prevent his getting 
 tired by standing.
 
 OIL PAINTING. 
 
 37 
 
 CHAPTER III. 
 OIL PAINTING. 
 
 PAINTING is simply drawing in colour. 
 
 Unless you draw well you cannot expect to paint well. 
 However true and beautiful your sense of colour may be 
 per se, it will look weak and without vigour unless you 
 furnish it with a good backbone of sound drawing. 
 
 The great French painter Ingres used to aver that 
 " Good drawing is probity in art." 
 
 In painting the head, draw it first carefully on your 
 canvas in charcoal. 
 
 When the outline is as correct as you can get it, flick 
 the loose charcoal off, and go over the lines with a
 
 38 HINTS TO STUDENTS AND AMATEURS. 
 
 pencil, or red chalk. The latter is preferable, as the 
 colour better assimilates with the flesh tones. 
 
 Be very certain of your drawing before you commence 
 to paint, and you will save yourself afterwards a great 
 deal of unnecessary trouble. It is not easy to make 
 corrections in oil paint, unless one is thoroughly master 
 of the material. The colour is apt to become dirty, 
 and it is difficult to restore it to its pristine purity. 
 Endeavour to get at once the right tone of colour, 
 and put it on your canvas in exactly the right 
 place. 
 
 The larger your palette is the better. You will then 
 have plenty of room on it for mixing your colours. 
 
 In M. Chaplin's atelier, where I was taught, we were 
 given what was called "The Rubens Palette," i.e., the 
 colours we had to use were similar to those Rubens 
 painted with, and they were arranged on it in the same 
 order. There is a palette of the great master in some 
 museum abroad, preserved just as he left it after a 
 day's work. 
 
 The look of a palette after it has been worked upon, 
 is always a source of interest to an artist. 
 
 From it a man's style of work can so often be 
 pictured. An artist's palette has quite as much in- 
 dividuality in it as his handwriting has. 
 
 I must say, however, that the mere using of a palette 
 like Rubens' had no magical effect upon our colouring. 
 
 We all had to learn from the great teacher, Experience, 
 who, as Carlyle says, " demandeth high wages, and is a 
 hard taskmistress, but she teacheth like none other." 
 
 It does not seem to me to matter much how you do 
 a thing, provided you do it well. To reach the summit 
 of the hill Excellence there are many paths, and each 
 person chooses the way which seems to him the best. 
 
 So it is with art. Each master works in his own 
 particular way. 
 
 John Philip never used any brown. He composed 
 that colour with burnt sienna and ivory black. 
 
 Frank Holl omitted black from his list of colours,
 
 OIL PAINTING. 39 
 
 and used Vandyke brown and French ultramarine 
 instead. 
 
 In the use of few or many colours, there is also a 
 great variety of opinion. Some men, like the Belgian 
 painter Alfred Stevens, glory in using a very full palette. 
 " J'aime une palette riche," he used to say to me. 
 
 Others, and amongst these may be counted men cele- 
 brated for their colouring, like to restrain themselves in 
 their use of a variety of colours. They love to discover 
 all the potentialities that exist in one primitive colour, 
 blended in greater or lesser degree with any other. 
 
 Place your colours on your palette as best pleases you, 
 but I should advise you to do so with a certain method. 
 If the colour you want is always in the same place, your 
 brush will mechanically find it for you. 
 
 I will give you a list of the colours as I use them, in 
 rotation from right to left of the palette : Scarlet vermi- 
 lion, flake white, French Naples yellow, yellow ochre, raw 
 sienna, burnt sienna, Indian red, pink madder, crimson 
 madder, cobalt, ultramarine, Vandyke brown, Cassel 
 earth, and ivory black. 
 
 Raw umber might be added with advantage to one's 
 palette. 
 
 These colours are more than sufficient to paint the 
 figure with. 
 
 For landscape, you may require Antwerp blue and 
 chrome yellow and emerald green. In the use of the two 
 latter you must be very careful, as contact with the air 
 oxidises them and turns them black. Prussian and 
 Antwerp blue are apt to fade, or fly as we term it. 
 Cadmium yellow is a good substitute for chrome, but 
 it is not so strong. 
 
 Learn to paint without any medium whatever. You 
 will find your difficulties much more easily overcome if, 
 in the first instance, you accustom yourself to do without 
 its fallacious aid. 
 
 In Paris I never used anything, but as I find the 
 colours prepared in London are mixed with less oil, and 
 consequently of a thicker subsistence than those sold in
 
 40 HINTS TO STUDENTS AND AMATEURS. 
 
 Paris, I sometimes use a mixture of half turpentine and 
 half oil. This will make your brush move more easily 
 over the canvas when you are drawing in your head. 
 
 For this take a fine-pointed camel's-harr brush, and go 
 steadily over your lines of red chalk, always remembering 
 never to omit testing them again from nature, and do 
 not merely make a tracing over your drawing. 
 
 Use a little burnt sienna and French ultramarine, or 
 any colour that you like, provided it be not opaque. 
 
 If the head be at all in shadow, rub in the shadows 
 thinly with some transparent mixture, such as blue and 
 burnt sienna, in order to give a certain amount of 
 rotundity to your head. This will help you in deciding 
 where to place your highest light, which is generally on 
 the roundest part of the forehead and cheek bones. 
 On the lip and bridge of the nose you will perceive it 
 also. Sometimes if the hair is very brilliant, as in an 
 old woman's head with a quantity of grey hair, the 
 light would be highest there. 
 
 It is for you to find it out. Don't think of any general 
 rule, but look, and put the highest light where you see that 
 it falls on the head that you are painting. 
 
 Fill your brush with plenty of colour. The light part 
 of the head ought always to be painted on thickly. 
 
 Try and get it exactly the right colour with plenty of 
 white, a little yellow, and a little red. It depends upon 
 the head you are painting what yellow and what red to 
 mix. 
 
 Put it boldly on in exactly the right place, and leave it 
 there. Don't touch it again if you can help it. 
 
 To get the proper warm tone of your high lights, com- 
 pare them with a white collar or handkerchief. Beginners 
 are apt to get the light parts of their head too sickly in 
 tone. Don't forget that you are trying to paint trans- 
 parent flesh, with warm blood coursing through it. 
 
 To arrive at the exact value of tones, i.e., to give to 
 each separate touch its due share of importance in relation 
 to another one, you must compare each tone with every 
 other whilst you are painting, and this you must con-
 
 OIL PAINTING. 41 
 
 tinually do if you wish your head to assume the appear- 
 ance of a complete whole. 
 
 If it were possible to paint a picture straight through 
 without stopping, you would have the perfection of 
 painting. 
 
 This I want you to bear in mind always, as it will 
 prevent your putting down meaningless touches. 
 
 Each touch should express something of the modelling 
 of the face. 
 
 If done quickly, a portrait has more truth and life in 
 it, because the effect of the whole has never been lost 
 sight of. 
 
 This is why a sketch has so often such charm in it. 
 
 Directly one sees the labour that has produced the 
 picture, half its fascination has gone. 
 
 The great art is to hide one's art. 
 
 When you have got your highest light well placed, turn 
 your attention to where your strongest dark will be. This 
 mix with transparent colour, keeping it rich in tone not 
 dirty, whatever you do. Do not use at first in the shadows 
 any of the opaque colours, such as white or the lighter 
 yellows. Neither make your shadows too hot in tone, as 
 if they are they will tend to make your high lights look 
 cold. Blue, either cobalt or ultramarine, mixed with 
 warmer colours, tends to keep them cool. Now, having 
 the deepest dark and the highest light of your head on 
 your canvas, you must paint the rest of it in relation to 
 these two. You have plenty of colours on your canvas, 
 so work away with them, never forgetting that you must 
 model your head, i.e., produce on your flat surface a 
 rounded object. 
 
 Always take great care that whatever background you 
 put in it is always there before you. Your back- 
 ground affects your head to a great extent. 
 
 If your background is painted without relation to the 
 head, the latter, however well painted, will look false. 
 
 Note especially how the head relieves against it, in 
 which part, for instance, it is lighter than the background, 
 and in others where it is darker.
 
 42 HINTS TO STUDENTS AND AMATEURS. 
 
 I can give you no cut-and-dried recipes for mixing your 
 colours. 
 
 As well ask a poet what words he would choose to 
 clothe his ideas in ; or, to give you a more homely simile, 
 to expect a cook to tell you the exact quantity of salt or 
 pepper she puts into each dish to give it the right 
 savour. 
 
 This mixing of colours you must find out for yourself, 
 as indeed we must most things in this world. 
 
 An eminent Occulist has stated that more men aie 
 colour-blind than women. This no doubt arises from 
 the fact that girl children have their colour sense exer- 
 cised by the variety of tints that are employed in their 
 several articles of attire. 
 
 Now for men in their different avocations it is the 
 more essential that they should not be colour-blind, 
 especially those following the profession of sailors and 
 railway signal-men. The learning to paint at an early 
 age, accustoming the boy to differentiate tints, would 
 prove invaluable in later life. 
 
 Remember that in whatever you do it is you yourself 
 who have to do it and not your master. Your own indi- 
 viduality must imbue your work. 
 
 You cannot give to the world anything but what is in 
 you. Poetry, music, and painting are only the visible 
 expressions of one's inward feelings. 
 
 In painting a head you must never forget that you are 
 drawing it, although you do it in colour instead of in black 
 and white. The latter is but modelling in one colour and 
 the former in many. 
 
 The truth of a thing must always impress us, 
 and that you can only give by perfection in your 
 drawing. 
 
 In making corrections or alterations on your oil paint- 
 ing when it is dry enough, there is a delightful loose- 
 textured white chalk called " crate." It never scratches 
 the surface, and is easily washed off. A piece of common 
 whitening would answer the same purpose, but it crumbles 
 more readily, and is not so convenient to hold.
 
 OIL PAINTING. 43 
 
 For brushes, use either round or flat hog's hair ; the 
 larger the better. For fine work and small details and 
 delicate drawing you can get small hog's hair, which 
 you can manipulate as easily as you can a sable. This 
 latter is to be used at first only for drawing in. 
 
 It is unwise for the student to use sables for anything 
 else until he is quite au fait with his brush work, as the 
 quality of smoothness they easily obtain for the artist 
 is detrimental to him in the earlier stages of his work. 
 
 There are some brushes called " Fan-shaped," arranged 
 very thinly in a semicircle. These are delightful to use 
 in giving finishing touches to an animal's coat. Many 
 German painters use brushes with handles two or three 
 feet long. Hogarth is supposed to have done so too. 
 Anyway, if you like to use them, you will find it is 
 splendid training for freedom of hand. 
 
 For studies, I think single primed canvas the best. 
 It is easier to work on. If you want your painting to 
 look very solid, then get your canvas doubly primed. 
 A canvas of a very fine texture is charming for 
 delicate work. Then there is a coarse twill which 
 is well adapted for landscapes and seascapes. 
 
 For sketches, there is a paper prepared with oil, 
 which you can buy in blocks like that made for water 
 colour, and there is a brown cardboard called millboard. 
 
 For finished outdoor sketches there is nothing nicer 
 than pine wood or oak. You can buy them any size you 
 wish, by the dozen, to fit a walnut sketching-box, and 
 if you live in the country your local carpenter can easily 
 prepare them for you. They want to be smoothly 
 planed, about one-eighth of an inch in thickness. Care 
 must be taken that the wood is well seasoned, so that 
 it does not warp. 
 
 It is as well to be provided for outdoor sketching with 
 a palette that has hinges in the centre, so that it can 
 double up, and the paint being thus protected it can 
 easily be carried about, without fear of the thousand 
 and one accidents that are liable to happen to an un- 
 covered palette.
 
 44 HINTS TO STUDENTS AND AMATEURS. 
 
 You will want also a dipper containing a little tur- 
 pentine and oil, as colours often dry too quickly in the 
 open air, and it is difficult, when this happens, to get 
 along as fast as we should like. 
 
 Rapidity in sketching is a thing to cultivate, as nature 
 does not keep the same face on for long together. After 
 being used to a steady studio light, we find the instability 
 and fickleness of open-air light very puzzling. But it is 
 capital practice, and prevents our being a slave to the 
 conventional effect of light and shade. 
 
 I cannot impress upon you too strongly to keep your 
 palette and brushes clean. If at the end of your day's 
 work you have lumps of paint left upon your palette, take 
 each colour off separately with a palette knife and place 
 them in a soup plate. Pour water on them until they are 
 covered. This keeps them from the dust and air, and 
 whenever you want them again, either on the following 
 day or a week after, you will find their condition un- 
 altered. After you have taken off the colour that you 
 wish preserved for another day, scrape off with a palette 
 knife all the rest of the paint still left upon your palette, 
 and rub it perfectly clean and dry with a little turpentine 
 upon a piece of rag. If you clean your palette directly 
 you have done with it, you will find no difficulty what- 
 ever ; but if you leave it untouched for a few hours, 
 or, worse still, until the next day, you will find it no 
 easy task to get off the dry paint, and in the effort 
 to do so you will perhaps spoil the look of your palette 
 by making little notches in it with your knife. 
 
 This applies equally to your brushes, which are easy 
 to wash if attended to at once. 
 
 A little soft soap and lukewarm water will cleanse 
 them. 
 
 If you find it difficult to take out all the paint, rub 
 your brushes about in the palm of your hand, and then 
 when quite clean rinse them out in cold water, which 
 will prevent their getting too soft. 
 
 Your camel's-hair brushes you must treat more 
 tenderly. They must not be rubbed in the hand, and
 
 OIL PAINTING. 45 
 
 care must be taken to leave them pointed after drying, 
 otherwise they become useless to draw with. 
 
 Sometimes people are affected by the smell of oil 
 paints. The lead of which some of them are composed 
 enters into the system, and gives pains that are known by 
 the name of painters' colic. It affects also the muscles, 
 paralysing them occasionally. 
 
 The way to obviate these unpleasantnesses is to have 
 your room well ventilated. 
 
 Tobin's ventilators are excellent to bring fresh air into 
 a room, but it is more important that the used-up air 
 should be carried out of it. To do this a ven- 
 tilator must be put into the outer wall close to the ceiling. 
 If this is attended to you will never suffer from any ill 
 effects. 
 
 A basin of water takes away the mere smell of the 
 paint, which is often so disagreeable to some people.
 
 46 HINTS TO STUDENTS AND AMATEURS. 
 
 CHAPTER IV. 
 
 WATER COLOURS. 
 
 ABOUT water colours, I find it easier to preach than to 
 practise, but this I think we all do about a great many 
 things. 
 
 However, I have had lengthy talks with many " potent, 
 grave, and reverend seigneurs," and the gist of our 
 conversations I will retail to you. 
 
 For my own part, I cannot offer you a better guide 
 than simplicity. 
 
 Do the thing you wish to do simply and boldly, and 
 give it the impress of your own mind. 
 
 The way in which another person works is only 
 valuable because it is his way. As soon as you copy 
 it, in you it becomes valueless, and an expert can with 
 facility distinguish the copy from the original. 
 
 The French and Spanish school of water-colour painters 
 in which there are many famous disciples, notably 
 Mendoza and Fortuny follow this plan of painting, 
 simply and directly from nature. Being thorough 
 masters of their craft, they arrive at an effect in the 
 simplest and most facile manner. Hence much of their 
 work possesses the great charm that a hurried sketch 
 exercises, that of being vividly fresh, and painted " au 
 premier coup." 
 
 They know, you see, what they want to paint, and 
 do it. 
 
 But there is another style of water colour, whose 
 fascination consists in the result having been arrived 
 at in a more subtle and laborious manner. 
 
 It is essentially an English school, and its great 
 apostles were the ever-lamented Frederick Walker, and 
 a man less known but of even more original genius
 
 WATER COLOURS. 47 
 
 named Pinwell. The method of this work is entrancing, 
 and these men thoroughly carried out the precept that 
 " artis est celare artem." 
 
 Walker used a moderately fine-grained paper. He 
 first damped it thoroughly, and then with a large hog's- 
 hair brush, similar to those used for oil, he spread on 
 a mixture, the consistency of thin cream, composed of 
 large quantities of Chinese white, with a little cadmium 
 and black, the colour of the whole being a warm grey. 
 Before it dried on the paper it was rubbed well into the 
 surface by the finger, protected by a soft linen rag. 
 When this was done, and an even surface produced, it 
 was allowed to dry for three or four days at least. 
 When thoroughly dry, he painted his picture on it in 
 pure transparent colour. 
 
 This method requires great knowledge and savoir faire 
 on the part of the painter. 
 
 No second thoughts, which are so often considered 
 best, are advisable, as once the work of obliteration 
 commences the ground gets disturbed, and mixing 
 too freely with the surface results in muddiness. 
 
 There is another method which is excellent, and this 
 is painting on glass. It is done in this way : 
 
 Take your paper, draw in the outlines of your subject 
 in colour, and then let it get thoroughly soaked by 
 allowing it to remain in a bath all night. Then put 
 it, wet, on to a sheet of glass, and whilst in this state 
 paint in your atmospheric effects, letting the colours 
 blend one into another. 
 
 Keep the edges of your paper moist by repeated 
 spongings. 
 
 When you are ready for the finishing details, mount 
 your paper, and work on it in the usual manner. 
 
 Many amateurs are under the impression that you 
 cannot obliterate in water colour, that mistakes once 
 made are ineradicable. 
 
 This is far from being the case. 
 
 It is quite as easy to alter as it is in oils, and water 
 colour has the advantage over it of never getting ipto,
 
 48 HINTS TO STUDENTS AND AMATEURS. 
 
 a mess, or in that condition which is described as 
 " tacky," and which is so heart-breaking for the 
 tyro in oils. 
 
 A hog's-hair brush can do wonders in the way of 
 erasing, and so can a sponge. 
 
 Then there is the knife, carefully and delicately used 
 so as not to destroy too much of the paper. 
 
 .If you damp with a brush any particular spot you 
 wish taken out, and then wipe it with a piece of clean 
 linen rag or blotting-paper, or better still indiarubber, 
 you will attain your object. Sometimes in painting 
 hair you want some fine light lines to stray over your 
 background : take a steel drawing pen, dip it in water, 
 and then make your line, and wipe it dry with a rag. 
 
 The best brushes for blending your colours are broad, 
 flat camel's-hair. 
 
 For sky effects, damp your paper thoroughly, and put 
 your colours on strongly and rather dryer than your 
 moist surface, in order to avoid too much running. 
 Then exhaust the moisture by using one of the large, 
 flat brushes, without water, and continually kept dry 
 by wiping it on blotting-paper. Very small sponges 
 fastened on to sticks can be obtained for sky work. 
 
 Hog's-hair brushes are very useful for putting in 
 foliage and grasses. 
 
 The Fan-shape brushes, consisting of only a few thin 
 hairs, are the best ones for the purpose. 
 
 A sponge dipped in colours and managed with dex- 
 terity, gives charming unforeseen touches, with surprising 
 effects of finish, without the labour usually necessary. 
 
 To draw a fine line easily on the paper, dip your brush 
 into a pot of ox-gall before applying it to the colour. 
 Some painters habitually put a little ox-gall into their 
 water. It causes the colour to flow more easily. 
 
 For sky effects, distances, and middle distances, paint 
 them always on a wet surface, otherwise they will be hard 
 and painty, and will give no sense of atmosphere. 
 
 Endeavour always to avoid mixing your colours on 
 the palette.
 
 WATER COLOURS. 49 
 
 The three primitive colours, viz., red, blue, and yellow, 
 put on separately on a wet surface, produce in blending, 
 a beautiful opalesque tone. 
 
 Turner and De Wint painted in this way all their 
 most bewitching effects. 
 
 If you study Turner's water-colour drawings, which 
 can be seen at the Tate Gallery, you will understand 
 what I mean. 
 
 Your shadows you must always keep very transparent ; 
 the opacity of your light will then make your object 
 look solid. 
 
 If you want sun in your sky, tone your paper with 
 yellow ochre ; or should you wish to suggest great heat, 
 as in Eastern skies, use cadmium very delicately. 
 
 For faint, far-away distances, use blue, but as on 
 your yellowed sky it may, and probably will, look 
 green, use with it a homoeopathic dose of Chinese white 
 not enough, remember, to suggest body colour. 
 
 You can, if you like to enhance the brilliancy and 
 transparent depth of your shadow, use with your colour 
 a little of what is called " glass medium." 
 
 When body colour is used, be careful to avoid making 
 your drawing appear cold, which the use of it so often 
 produces in landscape sketching. 
 
 A story is told of a painter who, to avoid this, used 
 to put on his canvas a lump of yellow ochre, exclaiming 
 while he did so, " Stay there, my friend, until you 
 become white." 
 
 This illustrates the fact that everything in painting is 
 a question of degrees of tone. 
 
 You may paint in as high a key or as low a key as 
 you like, provided it is all in keeping. If the proper 
 values are kept your picture will look true. 
 
 Learn to paint with as simple a palette as you can, 
 i.e., using few colours. 
 
 You will in this way find out the potentiality that 
 each colour possesses, and you will discover all the 
 charm that lies hidden away in grey neutral tones. 
 
 Any further elaboration in the schemes of colour you
 
 50 HINTS TO STUDENTS AND AMATEURS. 
 
 wish to produce can be better evolved by the adept 
 than the tyro. 
 
 Be very sparing in your use of emerald green, which, 
 as well as cadmium, has a fatal tendency to turn black, 
 i.e., to get oxidised by exposure to the air. 
 
 Cobalt and indigo are both good blues. 
 
 Of yellows, there are ochre, Indian yellow, raw sienna, 
 and gamboge. 
 
 This latter is chiefly used as a glaze over yellow 
 ochre to give a sunny, luminous effect. I have already 
 told you, I think, that cadmium must be sparingly 
 used. 
 
 Of the reds, you can use alizarin, rose madder, Indian 
 red, or Venetian red and vermilion. Of browns, burnt 
 sienna, brown madder, Vandyke brown, and sepia. 
 Olive green is a good colour. Black is useful, chiefly 
 for grey tones. It seldom conveys the impression of 
 black when used alone. 
 
 There are so many tones and colours in black. The 
 " black as my hat " expression conveys the impression 
 of the deepest depth of black one can arrive at ; but 
 we see at once the fallacy of this idea when we are 
 asked the question, " What is blacker than my hat ? " 
 and we are told when we give up the riddle, " A hole 
 in it." A black hat reflects so much light on its shiny 
 surface, that by the side of a hole in it into which no 
 rays of light penetrate, the hat appears and has to be 
 painted quite grey. 
 
 To make a black, burnt sienna and French ultramarine 
 are a good mixture. 
 
 For strong effects of light and shade in Eastern 
 interiors, for example, where a pervading warmth of 
 tone is desired- make use of the three primitive colours 
 yellow, red, and blue. 
 
 Damp your paper and then wash it over boldly with 
 yellow ochre. 
 
 After that is dry, give it a wash of Venetian or light 
 red. 
 
 Let it again dry, and give it a last wash of blue,
 
 WATER COLOURS. 51 
 
 This gives a delightful tone on which you can paint 
 your picture. 
 
 The portions which you wish white, damp with 
 a wet brush, dry with blotting-paper, and then take 
 your indiarubber and rub off any tone that may 
 be left. 
 
 You will find that your exposed paper shows 
 brilliantly white. 
 
 If you wish to get a delicate high light, or a line of 
 white, make use of bread instead of indiarubber. 
 
 You can always ret rid of any colour that you wish 
 to change by rubbing it off your paper with a wet hog's- 
 hair brush, the same as those used for oils, and then 
 applying blotting-paper to absorb the liquid colour. 
 Sometimes in painting a water colour, one wishes a 
 portion of the paper to be smoother than another for 
 the face, for instance. Rub the part carefully with 
 No. o sandpaper, or a rounded agate stone, and you 
 will get a surface as smooth and polished as ivory. 
 
 Try to make up your mind at first as to the strength 
 of your different washes, and put them in at their 
 right degree of depth at once. 
 
 They are apt if painted over and over again, to become 
 muddy, especially when brown is used. 
 
 For beginners to learn to put on washes with certainty, 
 let them take a sheet of paper, divide it into equal 
 squares with a pencil, and then, after damping the 
 paper, fill in each division with a wash of any tint or 
 strength, varying them continually. 
 
 Wash from right to left. 
 
 See that your tint is perfectly even, and does not 
 exceed the limits of its own boundary. 
 
 The liquid will be apt to settle at the bottom of your 
 square. Before it has a chance of drying, take a dry 
 brush, run it along the edge and it will suck up all 
 your extra water, and your square ought then to look 
 perfectly flat and even all through. 
 
 These washes must be done on an inclined plane 
 such as the top of a school desk affords.
 
 52 HINTS TO STUDENTS AND AMATEURS. 
 
 A variety of tints from one colour may be used on 
 the same paper, graduating from light to dark. 
 
 Some people think it a good plan to make a black 
 and white sketch of their subject, which they keep near 
 their picture as a guide for the effect they are seeking 
 for. 
 
 It is a good test, as a rule, for a picture to translate 
 well into black and white. 
 
 Gustave Dore understood better the monochromed 
 side of nature than the coloured one. The French used 
 to say of him that he drew with his brush and painted 
 with his pencil. 
 
 For your paper, always use Whatman's hand-made. 
 It is by far the best. You can get it specially prepared 
 in blocks of any dimensions. 
 
 These are useful if you wish to do a quantity of 
 rough sketching ; but if you wish to do a drawing that 
 will take some time, and you do not want to be inces- 
 santly troubled with the puckering of your paper when 
 it gets damped, you must have your paper stretched. 
 This can be done on canvas, or a panel of wood 
 made expressly for the purpose. The paper is simply 
 pasted on. It is much nicer to Work on in this way, 
 and it ne"ver puckers. 
 
 You can always buy good water-colour paper mounted 
 on cardboard, which you can cut to any size, and which 
 does admirably for sketching or studies. The conveni- 
 ence of these cardboards is their portability and the 
 small space they take up when one is travelling. 
 
 You must be careful to keep your paper in a dry 
 place, as it easily mildews. Spots appear on its 
 surface, but only after you have commenced your 
 painting, and then they are impossible to get rid 
 of. In buying paper, it is best to test it by passing 
 a brush full of water over it. If no spot appear, 
 then it is sound, and the paper will be none the 
 worse for its wetting. The different qualities of 
 paper to buy, depends upon the subject you wisji 
 to paint,
 
 WATER COLOURS. 53 
 
 If for a rapid outdoor sketch, roughly-grained paper 
 helps to give a finished effect, and for buildings, stone 
 walls, and shops, it is very effective. 
 
 For very highly-finished drawings, the absence of 
 grain in the paper is preferable, as its presence would 
 destroy the illusion we wish to preserve. 
 
 There is a rougher sort made, excellent for painting 
 flowers on. 
 
 Another paper that water-colourists affect is called 
 Cattermole sugar-paper. It is similar to the paper that 
 sugar cones are encased in. 
 
 Curling-paper, which has a whitey-brown tone about 
 it, pasted on cardboard makes capital boards for 
 sketching. The tone of the paper shows through and 
 has a good effect, particularly in slight body-colour 
 sketching. 
 
 Old paper, provided the damp has not touched it, 
 is far better than new, on account of the absence of the 
 size used in its preparation, which time has caused to 
 evaporate. 
 
 There is good paper for sketching called " Creswick," 
 after the celebrated landscape painter, and of two kinds, 
 Rough and "Not." 
 
 For highly-finished work there is antiquarian paper. 
 
 Hand-made paper is always the best, but there is a 
 very good machine paper called " Harding."
 
 54 HINTS TO STUDENTS AND AMATEURS. 
 
 CHAPTER V. 
 
 PASTEL. 
 
 PASTEL is pure colour ground up with gum-water to 
 make it slightly adhesive. It is made into small sticks, 
 and the colours chromatically arranged in smaller or 
 larger boxes, containing from about a dozen to seven 
 hundred and fifty. 
 
 It is an excellent intermediary between black and 
 white and the more difficult and exacting mediums of 
 oil and water colours. 
 
 It is an easier method as far as the mere colour goes, 
 as it never gets " tacky," nor does it sink in after the 
 second coating and become " dead." 
 
 But, for all that, to do it well one must know how to 
 draw. 
 
 This is the chief difference between a good or a bad 
 pastel, whether it is, or is not well drawn. 
 
 Colour often hides a multitude of sins of drawing, 
 but in nothing is it less efficient in doing so than in a 
 pastel. 
 
 A badly-drawn pastel gives one at once the effect of a 
 vulgar " plum-box " advertisement, whilst a well-drawn 
 pastel, with its purity of colouring, strikes one as an 
 impress of truth and vitality. 
 
 For practising on, there is a paper sold rather like 
 sandpaper. Its gritty surface serves as a ground for 
 the pastel powders to cling to. When you do a really 
 important work, get specially-prepared canvas, which 
 is mounted in the ordinary way. This to the touch is 
 like soft velvet, and is infinitely pleasanter to work 
 upon. 
 
 On occasions its tint being of a beautiful neutral 
 tone it serves as a background ; only when so used
 
 PASTEL 55 
 
 care must be taken not to soil it, as the greasy stain 
 which the pastel chalk leaves is very difficult to 
 erase. 
 
 Of course one's outline in such a case must be abso- 
 lutely perfect, requiring no alterations, otherwise " good- 
 bye " to your canvas background. 
 
 The best pastels to use are the very soft ones. You 
 can get a box with about fifty different tints, for in 
 pastel you require a multiplicity of shades of one colour. 
 Mixing colours, as one does in oil paint, is unknown. 
 You require many strokes or layers of various pure 
 colours to compose the one you wish to produce. 
 
 In the first instance you draw your subject a head, 
 let us say in any one warm tint, either red or brown. 
 You then fill, in the rest of the face and hair with the 
 warmest crude colours, exaggerating every tone. After 
 that you lay in your greys and all the other colours 
 that are necessary in order to produce the look of flesh. 
 It will be fatal to the result you wish to obtain if you 
 commence with greys. You will get a cold tone which 
 will pervade your pastel, and which nothing can get 
 rid of. 
 
 At your first sitting, your victim's head will look 
 like a Red Indian's illumined by an orange sunset. Never 
 mind, work in your greys, and you will get cool, trans- 
 parent skin, underneath which the warm life-blood is 
 coursing. The same with the hair make it warm 
 underneath, and put your gray lights on afterwards. 
 
 Try and avoid too much rubbing in of your colour. 
 Superimpose one tint upon another lightly. They will 
 mix sufficiently, and the general effect in the end is far 
 better. In rubbing in, you get your colours into a 
 greasy paste, upon which it is difficult to get any other 
 tint to hold. In fact, you lose the grit, the resistance 
 in your ground, which is so essential to pastel drawing. 
 In commencing your head in this fiery manner, be 
 careful to obliterate all traces of it. Your reds must only 
 be seen through your grays, and not left alone in their 
 crudity. I find students are afraid to obliterate their
 
 56 HINTS TO STUDENTS AND AMATEURS. 
 
 warm colours, forgetting they are only intended as 
 groundwork. It is as unpleasant to see too red a pastel 
 as too cold a one. The only places where your vivid 
 crimsons may be left are in the nostrils, corners of 
 eyes, and mouth. This gives a vitality to the intense 
 depths you wish to produce. 
 
 I have been often asked whether pastel will last. The 
 other day I saw one beautiful in colour and quite un- 
 injured in any way. I looked at the date, 1790. This 
 speaks for itself. There is in Venice a beautiful pastel 
 by Vandyke. In the Louvre one has many master- 
 pieces in good preservation. 
 
 It is wiser, particularly if your pastel drawing has to 
 make a journey, after you have finished it, to set it before 
 framing it. You can buy a liquid prepared especially 
 for this purpose. Directions for using it will be upon 
 the bottle. The liquid has to be sprayed through a 
 tube similar to one used for scent. Take great care to 
 stand a sufficient distance from your drawing, so that 
 the moisture will disperse itself upon it like an impal- 
 pable dust. I find beginners so often put too much 
 liquid on by standing too close, and then their drawing 
 gets smudged. By touching a part carefully with the 
 tip of the finger you can judge whether it is sufficiently 
 set. You can spray it many times, until you get the 
 desired result. By setting it, however, I find the whole 
 tone is slightly lowered your whites are never quite 
 so brilliant afterwards. This you can remedy by 
 retouching the portions you consider have been too 
 much lowered in tone. The setting a pastel, unlike 
 the finishing varnish on an oil painting, never prevents 
 your working on it again. 
 
 However, you can dispense with any fixatif, if you 
 frame your pastel with the glass placed on the surface, 
 taking care to allow of no space between the pastel 
 and the glass. No amount of shaking will disturb the 
 powder as long as the glass remains intact.
 
 PHOTOGRAPHY 57 
 
 CHAPTER VI. 
 
 PHOTOGRAPHY. 
 
 PHOTOGRAPHY is an expensive amusement to the 
 amateur, who cannot cope with the professional in 
 making it pay by selling his productions. Still, it is 
 a most delightful and engrossing pursuit, and to the 
 artist is of incalulable advantage in photographing his 
 picture when finished, and also in photographing it 
 whilst in process of being done. The faults of his 
 drawing and composition proclaim themselves with 
 unerring exactitude, and he is forced in consequence 
 to get rid of the defects the unflattering lens has given 
 prominence to. 
 
 If the drawing be good on the canvas, it will look 
 lifelike when reproduced by photography. 
 
 I know an artist, an R.A., who when he paints a 
 landscape takes the precaution of causing to be photo- 
 graphed the identical spot he is going to portray, and 
 he is never satisfied unless nature and his own work 
 when photographed give the same effect. 
 
 Sometimes, provided the camera is all ready for use, 
 an effect of drapery is useful to seize and retain. So 
 many transitory beautiful arrangements of line are lost 
 for ever unless photography with its " artful aid " 
 comes to the rescue. Do not, however, be persuaded 
 to call in its help for portraiture. It is a delusion and 
 a snare. Under no circumstances can you get rid of 
 the conscious uneasiness which pervades the unhappy 
 victim of photographic experiment. Hence the " stiff " 
 portrait. Besides, a photograph is never quite true 
 in drawing ; the feature nearest the lens is always 
 too large. Looking at a profile, one sees at once how 
 disproportionate is the size of the ear to the rest of 
 the features.
 
 58 HINTS TO STUDENTS AND AMATEURS. 
 
 CHAPTER VII. 
 
 SKETCHING FROM NATURE. 
 
 THERE is no more delightful occupation in the world, 
 provided there be not much wind, nor many flies, nor, 
 what is far worse than all, children strangers to baths 
 and pocket-handerchiefs who come, as a Yankee would 
 express it, " sni fling around." At these moments you 
 feel it had been better had you never been born. 
 
 But outside these discomforts, and given a bright, 
 fresh day, with just enough elasticity in the air to 
 enable one to feel a pleasure in living, the delight of 
 working in the open air is most invigorating. How 
 beautiful is the sky with its ever-changing panorama 
 of fleecy clouds, which tell sometimes dark against the 
 blue ether or sometimes bright as the lightest white 
 on our palette. 
 
 Anon there is a gray sky, with a pearly warmth in 
 its tone that makes us despair of ever rendering its 
 exact hue, guiltless as it is of anything cold or raw. 
 
 And then the sunsets ! Can any mere black fluid, 
 such as ink, convey to you all I should like to say about 
 the glorious wealth of colour nature spreads before us 
 with a lavish hand for our delight ? Where else can 
 we see such opalescent hues, such tender pinks, fading 
 into palest greens and blues ? And sometimes, by the 
 side of still waters, when our eyes are satiated with 
 the radiance of the perfect colouring above, we cast 
 them down, and lo ! the wonder of it ! in the bosom 
 of the lake beneath us we have a reflex of it all, more 
 tender and more beautiful still. 
 
 It is despairing work attempting to reproduce some 
 of the loveliness of this beautiful world the world that 
 God saw was good with morsels of ground earth and
 
 SKETCHING FROM NATURE. 59 
 
 bits of mineral, yet the mere trying to do so _is a "joy 
 for ever." 
 
 Truly, work is a heaven-sent blessing, and when it 
 falls in such pleasant places as a landscape painter's 
 does, he has cause to be eternally grateful. 
 
 Now to descend to the practical part of it. Any 
 colour-shop will fit you out for a sketching expedition. 
 I find the large walnut boxes for oil, containing panels 
 of wood, or a frame for fastening pieces of canvas on, 
 the best. 
 
 There is a strap which you can pass round your waist, 
 which relieves the weight and prevents its tumbling off 
 your lap. You can use the box without an easel, the 
 lid holding your board at a proper angle. With this 
 containing all the paints you want, an umbrella with 
 a long spiked handle, and a camp-stool, you can spend 
 many happy hours. 
 
 Fix upon the exact spot you wish to do, and if you 
 are in doubt as to how much will come on to your 
 canvas, make an opening in a piece of cardboard 
 your own visiting-card will do leaving on all four sides 
 a narrow strip as frame, and look through this on to 
 your landscape. 
 
 Just what you see through that and no more you 
 must put on your canvas, as that is all that actually 
 meets your eye at one time. 
 
 Sketching must, to be worth anything, be done alia 
 prima that is, every touch must be put down as you 
 wish it left. 
 
 You cannot return to a spot to finish a sketch. 
 
 The sky you left blue one day perhaps is an iron 
 gray the next, and the whole landscape in consequence 
 has changed its tone under its influence. To see this 
 exemplified at its clearest, watch the sea on a stormy 
 day. One moment it is indigo blue, black, and sullen, 
 then a gray-green steals over it, which gives place in 
 its turn to a murky drab. Sometimes the sea-line tells 
 dark against the sky, and again it is just the reverse. 
 All these things have to be studied, and the moment
 
 6o HINTS TO STUDENTS AND AMATEURS. 
 
 desired only depicted. Many sketchers make the 
 mistake of painting effects that could not exist at 
 the same moment. 
 
 I find it a good plan in painting a large landscape 
 which could not be done under many days, of making a 
 small sketch of it under the effect I wish to paint, and 
 then I always have this by me as a reminder of my first 
 intention. Nothing in this world is more difficult to 
 fight against than " the being led away," and in nothing 
 is it more disastrous in its consequences, at least to an 
 artist, than in landscape painting. 
 
 In doing a sketch pure and simple, do it and leave it. 
 Never patch it up, and try to finish it when your land- 
 scape is no longer before you. 
 
 A sketch half finished from nature will have more 
 merit in it to the person who knows, than the same 
 one tidied up and finished out of nothing but " your 
 own head." 
 
 You would not dare to finish a copy of an old master 
 without the original before you. 
 
 As a form of amusement, copying may be freely 
 indulged in, but the student must not imagine that he 
 is really learning anything when he sets himself to 
 reproduce mechanically the thoughts of another. 
 
 As well might a would-be poet sit down and tran- 
 scribe the verses of a laureate, and fondly imagine 
 that he is developing his own latent talents. No ! 
 Art is only art when it is creative, and to be a creator 
 you must be self-reliant. At the same time, in your 
 upward progress you must study well what others have 
 done before you. 
 
 As our great master in Modern Painters writes, " Every 
 great man is always being helped by everybody, for his 
 gift is to get good out of all things and all persons." 
 
 For this reason I like my pupils to spend at least one 
 day a month at the National Gallery, and whilst there 
 to do a sketch in colour of a picture, noting as they 
 do so the principle of its composition and its scheme 
 of colour. In this way they learn the effect of things,
 
 SKETCHING FROM NATURE. 6l 
 
 and insensibly develop the art of composition. They 
 understand how to express themselves, when, later on, 
 they also have something to say. 
 
 To further this latter end, I used to give a subject for 
 composition once a month on which the pupils could 
 try their " 'prentice hand." 
 
 There is a very good game I forget what it is called 
 in which the players have a sheet of paper and a 
 pencil, and they draw an historical subject without 
 giving it a title. The other players have to guess the 
 subject. 
 
 It often happens that a person thoroughly devoid of 
 all art training is better able to give us an idea of his 
 meaning than one who knows how to draw accurately 
 the anatomy of a figure. 
 
 The reason of this is because the former has a more 
 dramatic mind. He is better able to see in his inner 
 eye the attitudes and gestures certain people would 
 assume under given circumstances. 
 
 This faculty is called visualising, and is of immense 
 help to an actor or artist. Whether we are born with 
 it or not, we ought all of us to try and develop it. I used 
 to give in my school of art a subject once a month, which 
 the pupils had to illustrate without any external aid. 
 It taught them to develop their feeling for composition 
 of line, and also their perception of the harmonies of 
 colour.
 
 62 HINTS TO STUDENTS AND AMATEURS. 
 
 CHAPTER VIII. 
 MODELLING. 
 
 EVERY painter ought to learn to model, and every 
 sculptor ought to be able to draw on the flat from the 
 living figure. 
 
 A figure painter, after translating his idea into a 
 concrete rounded form, will the better understand how 
 to make his figure look round and solid on a flat surface. 
 
 The sculptor, by drawing his figure from every point 
 of view, will be able to see how his study will strike 
 the beholder. 
 
 There is a very good substance for beginners called 
 ." Plasticine," on which they can try their 'prentice 
 hand. It has the merit of keeping moist and being 
 clean to work with. 
 
 Nothing, however, beats the material of which we 
 are said to be composed. 
 
 The plastic nature of clay is most sympathetic to 
 the worker, but it has the drawback of having to be 
 constantly kept moist, otherwise it dries up and cracks. 
 
 It can be obtained through any artists' colourman. It 
 is best kept in an ordinary large-sized wooden box, 
 which, if lined with tin, will keep the clay moist. It 
 will require watering at intervals. 
 
 If you want to seriously study modelling and are 
 too far from an art school, it is more convenient to 
 get a stand for your sitter, which has a revolving top. 
 In this way you can turn your model round to any 
 view of him you wish to study. 
 
 You must also have a stand with a revolving top 
 on which to work your clay, so that you need never 
 move from where you are working. 
 
 You will require, in order to prevent your clay turn-
 
 MODELLING. 63 
 
 bling down, an upright piece of wood on which is 
 nailed another piece across somewhere about the posi- 
 tion of the broadest part of the head. This must be 
 securely nailed to your revolving board. 
 
 For a figure, lead piping can be used, both for 
 the spine and for the arms and legs, as this can be 
 bent into any position required. At a colour shop 
 you can obtain these little mannequins ready made. 
 
 Modelling tools and a caliper will be required. 
 This latter is a wooden compass which is useful for 
 taking measurements.
 
 64 HINTS TO STUDENTS AND AMATEURS. 
 
 CHAPTER IX. 
 ANATOMY. 
 
 IF you wish to draw well, you must certainly understand 
 a little about anatomy. 
 
 The knowledge of it will prevent you making glaring 
 faults, and it will teach you if your drawing of a figure 
 look incorrect to understand why it be so. 
 
 You will also find it a great help in composing your 
 pictures. 
 
 It will do you no harm to study anatomy thoroughly, 
 but you must be very careful not to put too much of 
 your knowledge into your pictures. 
 
 The great thing, remember, is to hide all evidences of 
 the mechanism of your art. 
 
 An artist deals only with nature, as far as form goes, 
 in her most superficial state. 
 
 I once asked a celebrated surgeon, whose talent with 
 his brush put him outside the pale of amateurism in the 
 sense in which the word is generally understood, whether 
 his knowledge of anatomy helped him at all in his 
 drawing. " On the contrary," he said, " it puts me 
 out." 
 
 You see by this what you have to avoid. Your too 
 intimate knowledge of the subject is apt to affect your 
 treatment of what is only seen by the eye. 
 
 The same rule applies to perspective. Your know- 
 ledge of the forms and colours of objects must be second 
 to your observation of them, i.e., of what is seen by 
 the eye only. 
 
 The artist's province is only to paint what he sees. 
 
 Even in the most imaginative pictures, everything 
 depicted must bear a certain look of familiarity to the
 
 ANATOMY. 65 
 
 eye, otherwise it would be voted unnatural, and so lose 
 its power of appealing to the spectators. 
 
 We ought to know the form of the skeleton, and be 
 able to draw it pretty accurately from memory. 
 
 The knowledge of it will teach us to judge whether 
 the model is in good proportion or not, and will enable 
 us to correct what is faulty in nature. 
 
 The relative size and position of the muscles is most 
 important. 
 
 Without a certain knowledge of how they act, you 
 will find it difficult to place your figures in motion. 
 
 There are people who have a gift of depicting action 
 without a knowledge of anatomy like the Japanese, 
 for instance. But then it must be remembered 
 they have the human form much more often before 
 them with little or no garments to impede their 
 study of it, and their eyes get insensibly accustomed 
 to the right lines. 
 
 The Greeks had many more facilities than we have in 
 the present day, for not only did they constantly see 
 the nude before them, but they saw it in its most perfect 
 state, from the training it received through public games 
 and athletic exercises. 
 
 The first thing an artist ought to learn by heart is 
 the true proportions of the human figure. 
 
 I will give you a few important rules to remember. 
 
 The Greeks considered a small head to be a beauty, 
 and in all their statues typical of mere beauty they 
 divide the human figure into eight heads, and this 
 gives a certain dignity and grace. 
 
 If a full-length be divided into more than eight heads 
 it will only suggest weakness and disproportion. 
 
 For figures requiring a display of greater strength, one 
 should never put more than seven and a half heads. 
 The difficulty in England is to get a model of proper 
 proportions. The generality of English people are only 
 seven heads in height, or even six and a half. Their 
 chief defect lies in the shortness of the thigh-bone or 
 femur, and one recognises the work of artists who have
 
 66 HINTS TO STUDENTS AND AMATEURS. 
 
 not studied anatomy by the figures depicted in their 
 pictures having very long bodies and abnormally short 
 legs. 
 
 Professor Marshall gives us in his " Table of Propor- 
 tions " the rules for a figure of a little more than seven 
 heads and a half. Your figure may be any size, from 
 one inch or less to six feet or more, but whatever length 
 you make it you must remember to subdivide it into 
 seven divisions and a half, or eight. 
 
 The head will take one entire length always from the 
 vertex or crown to below the chin. Hence it is we 
 call our lengths " heads," for by the head we can always 
 measure and test the accuracy of our divisions. 
 
 If you are drawing from the life you can test the 
 relative measurements of your study on the model. 
 
 To do so, you must stand about 12 or 18 feet off, 
 for a full length, and holding your pencil vertically, 
 extend your arm to its fullest extent, measure from 
 the top of the head to the chin, and place the end of 
 your thumb at the point where the chin comes on 
 your pencil. Take this for your standard length, and 
 still holding your thumb in position and your arm 
 stiff, proceed to the other measurements on your 
 figure. 
 
 Then you test your own work by the length of the 
 head you have drawn ; however small or large it is, 
 it must be relatively correct. 
 
 It is better to shut one eye whilst measuring, as the 
 pencil has to be held up on a line with the eye. 
 
 By holding your pencil horizontally you get your 
 correct widths. 
 
 The highest average gives six and a half times the 
 length of the foot in the length of the whole body. 
 
 The second length, or head, which will extend from 
 the chin to the lower end of the sternum or chest- 
 bone, a little below the level of the nipples. 
 
 The third part reaches from the sternum to the top 
 of the hip, and comes a little lower than the elbow- 
 joint.
 
 ANATOMY. 67 
 
 The fourth ends at the lowest portion of the trunk, 
 exactly on a line with the wrist. 
 
 Always remember that the head and trunk can be 
 divided into four divisions, of which the head is exactly 
 one-fourth. 
 
 The fifth division comes to a little above the knee- 
 joint. 
 
 The sixth to the angle that the muscle of the calf 
 makes at its greatest width, and the seventh at the 
 ankle-bone. 
 
 This will leave half a head for the rest of the body 
 from the ankle to under the foot. 
 
 These measurements, if remembered, will help you 
 immensely in putting your figure into proper propor- 
 tions. 
 
 You will also want to know the. proper lengths for 
 your arms and legs. 
 
 You will find that in the man, the top of the arm 
 commences at a little above the half of the second head, 
 and that in a woman it comes at exactly the half, 
 measuring from the top of the head ; the elbow comes 
 to a little above the third division, and the wrist to 
 just a little above the fourth, whilst the tip of the 
 second finger comes to about four and three-quarters. 
 
 Measuring from the top of the arm, the upper part 
 takes a little less than one and a half, to the wrist a 
 little less than two divisions and a half, whilst the 
 whole of the arm and hand takes about three divisions 
 and a quarter. 
 
 Now the leg takes about four heads, or divisions, 
 from the socket of the thigh-bone to the heel, or base 
 of the foot, and is divided in the centre by the knee-joint. 
 The socket is not shown externally, but is just about 
 one-fourth of a division higher than where one can 
 see the head of the thigh-bone. 
 
 I will give you the names of the bones, which it is as 
 well to be conversant with. 
 
 The skull, which comprises the head and face ; 
 
 The spine, or spinal column, as it is called, starting
 
 68 HINTS TO STUDENTS AND AMATEURS. 
 
 from the skull to a little below the top of the thigh- 
 bone ; 
 
 The ribs, twelve in number, are attached behind to 
 the spinal column ; in front the first seven join the 
 sternum or chest-bone, and these are called the true 
 ribs ; the five next are shorter, and three of them are 
 attached to the seventh rib by what is called costal 
 cartilage ; and the two last, being unattached in front, 
 are named floating ribs. 
 
 To the sternum is attached also the collar-bones or 
 clavicle, which extend to the scapula or shoulder-blades 
 and to the humerus, or large arm-bone. 
 
 Then we have the pelvis, which contains and protects 
 in its hollowed centre all the soft lower portions of the 
 body which we commonly speak of as " our interior." 
 
 On to the pelvis the large thigh-bone or femur is 
 attached. 
 
 In the arms we have the large bone, the humerus, 
 which constitutes that portion of the arm from the 
 shoulder to the elbow. 
 
 Medical students make it the subject of a joke, and 
 ask, " Why is it named the humerus ? " " Because 
 the funny-bone is situated in it." 
 
 As a matter of fact we have no funny-bone. That 
 unpleasant sensation which we call hitting our funny- 
 bone, is caused by contact with the nerve which crosses 
 the bone at about the elbow. 
 
 The ulna is in the lower portion of the arm, and is 
 one of the two bones which compose the forearm. 
 
 The elbow is at one extremity of it, and at the other 
 is the little round end we call the wrist-bone, which we 
 find on the same side as our little finger. This bone, 
 the ulna, works with a hinge-like movement on the 
 humerus. 
 
 The radius is an extremely interesting bone. It works 
 with a rotating movement on the humerus, and is joined 
 to one of the small bones which constitute the wrist 
 proper. On a line with the thumb, when the arm is 
 extended with the palm upwards, the radius will be
 
 ANATOMY. 69 
 
 found to be parallel with the ulna ; but when the palm 
 is turned downward, the movement causes the radius 
 to cross over the ulna. 
 
 This movement you can watch on your own arm. 
 
 There are eight little bones which form the wrist, 
 and these are called the bones of the carpus. 
 
 Then come the five metacarpal bones, which form the 
 hand. 
 
 The phalanges, or finger-bones, are five in number, 
 and they are sub-divided into three portions, excepting 
 the thumb, which contains only two. 
 
 The large thigh-bone is called the femur, and is 
 inserted at its upper portion into the ilium. At its 
 lower it joins only the larger bone of the leg, which is 
 called the tibia, and where the shin-bone is situated, 
 and these two bones are protected at the knee-joint 
 by a small bone called the patella. 
 
 The tibia, starting from the knee-joint, is the inside 
 bone of the lower leg. 
 
 The fibula is a much smaller bone attached to the 
 tibia, running very nearly its whole length. 
 
 Both these bones are attached to the small bones of 
 the foot, of which there are seven, the tarsus bones, and 
 from these again start the five phalanges which form 
 the rest of the foot, and which correspond to the same 
 bones in the hand. 
 
 The big toe plays the part of the thumb, and has one 
 bone less than the other four. 
 
 It is much more powerful than the thumb of the 
 hand, as is also the phalange of the little toe. 
 
 The three middle ones play but an unimportant part 
 in the construction of the foot, and in course of time, 
 with the development of the two outer ones, could be 
 dispensed with altogether. 
 
 The muscles are a much more complicated study, 
 and cannot be learned without diagrams, which are not 
 in the purpose of this book to give. 
 
 I can only advise you, if you do not care to study 
 the subject seriously, to learn at any rate the muscles
 
 7O HINTS TO STUDENTS AND AMATEURS. 
 
 of the throat, which in doing portraits will be of immense 
 value to you. 
 
 A head well set upon the shoulders adds much to its 
 dignity and grace. 
 
 At the South Kensington Museum library you can get 
 any book on anatomy you like to look at. For home 
 study I should recommend Mr. Sparkes', which is by 
 far the simplest and most artistic I have seen. 
 
 Of course, if you wish to draw whole-length 
 figures, drawing from the life or undraped model is 
 imperative. 
 
 You will never thoroughly understand how to make 
 a figure sit or stand without doing so. For landscape 
 painters it is not so essential. 
 
 Many people find it a very difficult thing to make a 
 figure stand upright, or, when placing it in a difficult 
 position, to make it preserve its equilibrium. 
 
 There is always this to be remembered, that the 
 central line of gravity must always remain in the centre 
 of the body, i.e. with the equal parts of the weight 
 distributed on each side of it. 
 
 If more is to the one side than to the other the figure 
 must tumble down. 
 
 In a figure standing straight up, the central line of 
 gravity will be all down the centre of the body, and 
 exactly between the two ankle-bones. 
 
 In making your figure stand upon one leg, the line 
 of gravity will be in the centre of that leg. 
 
 If a man carry a weight which influences one side of 
 his body only, he has to force the opposite side over 
 the central line of gravity, in order to equalise the 
 weight on each side of the line, otherwise the undue 
 preponderance of the weight that he carries would cause 
 him .to topple over. 
 
 This is best exemplified by an amusing trick, which 
 consists of placing your shoulder and one foot close 
 against the wall, and then trying whilst in that position 
 to lift up your other foot. 
 
 You would find that you could not do it, because you
 
 ANATOMY. 71 
 
 have not equalised the weight on each side of your 
 centre of gravity. 
 
 In representing the motion of walking the reverse has 
 to be studied, in order not to let your figures look as if 
 they were standing still, for motion is described as the 
 perpetual loss and gain of equilibrium. 
 
 There is not much variation from the perpendicular, 
 however, to be observed in the slow movements of a 
 gentle walker, but in the runner, who extends his legs at 
 wide angles, the upper part of his body is thrown well 
 forward to maintain as much as possible an equal 
 amount of weight on each side of the line of gravity. 
 
 In drawing a figure standing on one foot, you will 
 be forced to curve the upper part of the body in order 
 to adjust the weight. 
 
 The shoulder on the same side of the foot that bears 
 the body will be found to be always lower than the 
 other side, and the line of gravity will run through the 
 centre of the neck and the centre of the foot which 
 bears the weight. 
 
 In studying the positions of figures, it is well 
 to remember that a graceful variety in corresponding 
 members is always more pleasing than when the two 
 are placed exactly in line. 
 
 The most flexible part of our spine is between the 
 lower ribs and the pelvis. This can be moved practi- 
 cally in every direction. 
 
 Each action of one member which places it out of 
 line forces the others to be equally inexact. 
 
 For instance, supposing the head to be bent on one 
 side so as to take this angle ^ - " , the shoulders 
 naturally take the angle so " ---^ , and these again 
 force the lines of the hips to be in the exactly opposite 
 angle, repeating, indeed, the inclination of the head. 
 
 Whichever leg the body rests upon, the hip that side 
 will be the highest and the hip and knee of the other 
 leg will be lower. 
 
 Now if we turn the figure in profile and study the line 
 of gravity, we find that it starts from the centre of the
 
 72 HINTS TO STUDENTS AND AMATEURS. 
 
 head in a line with where the ear is attached to the 
 skull, passes through the centre of the spine at the 
 neck and head of the upper arm, then the centre of the 
 head of the thigh-bone, the patella or knee-joint, and 
 the arch of the foot. 
 
 It does not touch the end of the thigh-bones and 
 lower bones of the leg, but passes just in front of them, 
 and is in considerable advance of the ankle-bone. 
 
 The natural position of the leg, therefore, from the 
 ankle upward is a little forward. 
 
 The line of the toes does not extend beyond the 
 furthest point of the ribs. 
 
 A writer on anatomy asserts that after maturity a 
 woman's bones and muscles often assume a higher 
 development, while the same parts in men not infre- 
 quently become smaller and weaker. He gives no reason 
 for this. One would have imagined that women's 
 muscles being less used than men's, would have sooner 
 atrophied. 
 
 The same authority says that the hands of women 
 are more flexible than the hands of men ; of finer pro- 
 portion in the animal scale and capable of greater 
 exactness in their use. 
 
 Hands and feet ought not to be too small. When 
 they are, they denote weakness. 
 
 In drawing a hand it is interesting to notice the 
 beautiful curve that the outline of the tips of the fingers 
 make, also the curve of the separate joints. No two 
 are placed exactly in the same line. 
 
 The toes ought to take the same curve, but very 
 often in badly formed feet, the big toe extends beyond 
 the second, which completely destroys its beauty. 
 
 Then notice that the inner and outer muscles of 
 the leg do not correspond, i.e., where they join the 
 bone, one side is always higher or lower than the other, 
 so giving that variety which is the essence of beauty. 
 
 Even the ankle bones, which to a casual observer look 
 opposite to each other, are entirely differently placed. 
 The inner one is higher up and further forward than
 
 ANATOMY. 73 
 
 the outer, the one being above the instep and the other 
 below. 
 
 The ear is considered difficult to place in the right 
 position. In profile, it is often either too low, or too 
 high, or too far away from the nose. 
 
 It is generally the length of the nose, and a straight 
 line drawn across the cheek from the root, and another 
 from the base of the nose will give you its position on 
 the head. If placed higher than it ought to be, it 
 gives the impression that the owner posseses only a 
 small amount of brain. 
 
 A brainy individual will have the ear low down. 
 
 The ear is rather an index to the character of the 
 other appendages. If it is fine and delicate, the hands 
 and feet will be so likewise, and, if the opposite, you 
 may expect to find coarse members. 
 
 The top of the ear ought to incline towards the head. 
 An animal nature will have the upper part standing 
 well away from the skull. 
 
 The eye, the window of the soul, is a most important 
 feature to study. 
 
 So many beginners give it no room to move under 
 the lids. They give no thickness to them. 
 
 In drawing a head, full face, one ought to leave the 
 length of an eye between the eyes. As a rule, a man 
 has no feeling for art whose eyes are close together. 
 
 The centre of the face and head is usually placed in 
 the pupils of the eyes or a little below. In infants it 
 would be above the eyebrows, as the child's face in 
 proportion to its head is much smaller than in the 
 adult. 
 
 In women who are given to much romance, the 
 medium line would be through the upper eyelid. 
 
 These are little points that you will find useful to 
 remember when you wish to paint subject pictures, and 
 which one is apt to forget when one attempts to master 
 the whole science of anatomy.
 
 74 HINTS TO STUDENTS AND AMATEURS. 
 
 CHAPTER X. 
 PERSPECTIVE. 
 
 PERSPECTIVE to the draughtsman is what grammar is 
 to the writer, both necessary adjuncts to production. 
 
 I should advise you, whenever feasible, to attend 
 lectures on perspective, or to get a master to give you 
 lessons, as practical demonstration will teach you more 
 in ten minutes than you could acquire by an hour's 
 reading. As a rule, by the time you are able to paint 
 pictures, you will find that your eye has been suffi- 
 ciently trained to enable you to copy what you see 
 without the aid of the knowledge of perspective, but 
 in composing pictures a little knowledge is absolutely 
 necessary. 
 
 You would often find it difficult to express your 
 thoughts clearly. Knowing the primary rules of 
 perspective will help you immensely. 
 
 When you have learnt perspective by book, a 
 very good way to perfect yourself in it is to copy 
 accurately what you see of a room through a looking- 
 glass, or to choose one of the panes of glass of any 
 window, and draw with liquid white on the glass the 
 landscape or street view you see through it. In tracing 
 the view exactly, you cannot go wrong, and the memory 
 of this test is a great help to you. 
 
 When you are drawing on an opaque piece of paper 
 and the landscape before you has no boundary such as 
 the framework of the glass affords, you can, however, 
 make yourself a fictitious frame by cutting a square 
 or oblong piece out of an envelope, and holding it up 
 between your eyes and the spot you wish to draw. 
 Through the empty space you see the amount of land- 
 scape that your picture will include. 
 
 The perspective of objects, means the manner in 
 which they are seen by our eye. 
 
 This is often, in apparent opposition to what the
 
 PERSPECTIVE. 75 
 
 thing seen actually is, so that sometimes we must 
 forget our knowledge of it in order that we may represent 
 the object only as it appears to us. This is our 
 western idea of art. 
 
 The Japanese do not consider themselves bound by 
 any rules. They place their personages and draw 
 their buildings to suit their design. So far do they 
 carry out their consistency in this respect, or rather 
 their inconsistency, that our photographic lens dis- 
 pleases them. They are busily employed in inventing 
 one that will represent objects as they are, and not 
 as they appear. 
 
 Now there are two kinds of perspective we must 
 notice ; that of line, and of colour. 
 
 The former can be taught you, but the latter, which 
 is known as aerial perspective, can only be acquired 
 by observation and experience. 
 
 Linear perspective teaches you to draw the form of 
 any object correctly, and aerial perspective to paint 
 the proper distance between each object. 
 
 For instance, you might draw the objects perfectly 
 correctly as far as the pure outline goes, still, if you 
 did not give, as well, the aerial perspective, your objects 
 in the background would touch those in the foreground, 
 and you would not be able to properly detach them. 
 
 It is most important that you should understand this 
 principle for portrait painting, for you ought to make 
 us feel that your head is completely round i.e., that 
 it has a back to it, as well as a face, and that one might, 
 were it possible, get into the canvas and walk all round 
 between the head and the background. 
 
 When you hear some one complaining that their head 
 will insist upon sticking to the background, it shows 
 that they have no knowledge of aerial psrspective. 
 
 If you give the tones in your background as much 
 value as those in your head, you are wrong, because 
 you have not given us the perspective of colour. 
 
 You must paint the air that is between the head 
 and the background, and you must remember that,
 
 76 HINTS TO STUDENTS AND AMATEURS. 
 
 in consequence of this very air, all lines and colours are 
 stronger in the foreground, and as they recede from 
 the eye are fainter. 
 
 A child who has no experience to teach him, or much 
 reasoning power to reflect, imagines that everything he 
 sees is quite close to him ; within his reach, in fact. 
 
 The child's crying for the moon is quite natural. He 
 sees what he imagines to be a beautiful silver ball within 
 reach of his little hands ; naturally he would like to 
 have it to play with, and no doubt in his baby mind 
 he thinks his mother very hard-hearted for not giving 
 it to him. 
 
 If he had only come into the world armed with as 
 great a knowledge of perspective as is his knowledge 
 of suction, he would spare himself many disappoint- 
 ments. 
 
 This theory of the child's want of knowledge of the 
 first principles of perspective is practically demonstrated 
 in the case of a man blind from his birth, who, under- 
 going an operation at mature age, receives his sight. 
 
 His first impressions are, that he can touch every- 
 thing he sees, and he can form no idea of how many 
 steps it will take him to get to any object. 
 
 His power of vision, you see, is in its infancy ; a little 
 experience teaches him quicker than all the books that 
 were ever written on the subject. 
 
 There are two lines used in perspective that we must 
 know the names of, viz., the horizontal and the vertical. 
 The horizontal, as its name indicates, corresponds to 
 the horizon, the line that divides the earth from the 
 sky. 
 
 You will best understand it when you face the'ocean. 
 
 The line dividing the sea and sky is the horizon. 
 
 Now this horizon is always on the same level with 
 our eyes. We cannot under any circumstances get above 
 or below it. 
 
 If we sit down upon the shore, the horizon apparently 
 sinks down with us, and our eye travels along the surface 
 of the water, which takes up a comparatively small
 
 PERSPECTIVE. 77 
 
 space between the shore and horizon ; just the height 
 we are sitting, in fact. 
 
 If we climb up to the top of a very high cliff, and 
 look towards the horizon, it has apparently mounted 
 with us, and we look down upon a vast expanse of sea. 
 
 Every straight line and curve that is above the 
 horizon comes down to it, provided they are not parallel 
 with it, and we see under all objects. 
 
 We see above all objects placed under the horizon, 
 and their straight lines and curves follow the same 
 rule. 
 
 When objects are on a level with our eye, viz., on the 
 horizon line, all their curves become parallel with the 
 horizon, and they appear perfectly straight. 
 
 You can test this for yourself by holding a penny 
 on a level with your eye, at about the distance of a 
 yard, and then looking at it, when placed above or 
 below the level of your eye. 
 
 The vertical line is one at right angles with the horizon. 
 
 The point of sight, or what is often called the vanish- 
 ing point, is the spot that is exactly opposite to our 
 eye. 
 
 We have to be very particular as to where we intend 
 to place this, either in our landscape or interior, as to 
 this point all the lines on either side have to converge, 
 from either above or below the horizon. 
 
 It must come exactly on the horizon, either in the 
 exact centre, or to the right or left of it, according to 
 the feeling of the artist. For an interior, about one- 
 third of the height from the base of the picture, is a very 
 good position to place the horizontal line. 
 
 If I tell you how to put a square in perspective, you 
 will be able, by its use, to draw correctly many other 
 objects, such as chairs, tables, &c. 
 
 There is, first of all, the geometrical plan, giving you 
 the square in all its proportions as it really exists, 
 
 Then the perspective plan showing us, how a square 
 looks to the eye, as seen at any place under the horizon, 
 or over it.
 
 70 HINTS TO STUDENTS AND AMATEURS. 
 
 When a square is seen on a level with one's eyes on 
 the horizon, in fact it becomes one single line. 
 
 Placing it under the horizon we choose our point of 
 sight, P, to which, remember, all our lines must con- 
 verge. 
 
 We draw the lines from A to B, for the base of our 
 square. 
 
 We then draw the lines from A to P, and from B 
 to P, which give us the sides of our square. 
 
 To get at the exact place where the fourth line, or 
 line farthest from us comes requires a different process. 
 
 We make use of points of distance, which are points 
 placed outside the picture on a line with the horizon. 
 
 To determine where to put these points, take double 
 the distance of the width of your picture, and measure 
 it out on either side, starting from the point of sight 
 on the horizon. 
 
 Say that your picture is a block of paper a foot in 
 width, and that your point of sight is in the centre. 
 
 You will find that your distance points are placed two 
 feet to the right, and two feet to the left of your point 
 of sight, making the whole line four feet in length.
 
 PERSPECTIVE. 
 
 79 
 
 This is an easy way of finding the distance points. 
 
 You can do it in a more correct and complicated 
 manner, by using a pair of compasses and studying the 
 accompanying diagram. The square represents your 
 picture. Draw your horizontal line, and place on it 
 your point of sight. Through this point draw a vertical 
 line, which will determine the centres of your circles.
 
 8o HINTS TO STUDENTS AND AMATEURS. 
 
 Now take your compasses and describe No. I circle, 
 by placing one of the points of the compass on the 
 point of sight and the other on the farthest corner of 
 your square. This circle represents the largest extent 
 one can take in when one's eyes are fixed upon the 
 point of sight, and is styled the base of the cone of 
 rays. This circle gives us the width for making 
 our circles No. 2 and No. 3, which we produce 
 from their respective centres. Where these two circles 
 cut the horizontal line we place our distance points. 
 The length from these points to the point of sight 
 determines the size of circle No. 4, which, cutting our 
 vertical line, gives us the distance the spsctator ought 
 to stand from the picture. 
 
 You will see that the distance points are not in reality 
 placed at as great a distance from the point of sight 
 as I have directed you to do, and in theory this of 
 course is correct, but practically the further off the 
 distance points are placed, the pleasanter and less abrupt 
 is the perspective of objects in your picture. 
 
 In composing a picture, it is better to allow one's 
 subject to influence one as to the position of these 
 points. 
 
 In drawing a square of a picture in perspective, 
 we take a line from B to the left-hand distance point, 
 and from A to the right-hand, and we find that in 
 their progress they cut the "first two upward lines we 
 drew. 
 
 If we draw a horizontal line between these two points, 
 which we have marked a and b, we get the line we are 
 seeking, viz., the furthest side of our square. 
 
 Where the first two lines cross each other will be 
 the centre, marked 0. This method entails your having 
 a great deal of space on either side of your canvas, 
 supposing your paper or canvas be of a very large size, 
 and this sometimes is impossible to get. 
 
 A similar result to the above is obtained by taking 
 one-fourth of your distance line, which you will find 
 is exactly above A and B, and then drawing a line from
 
 PERSPECTIVE. 
 
 8l 
 
 that to the fourth portion of your base line on the side 
 nearest to it. You see it intersects in exactly the 
 same place, thus: 
 
 You cannot always place the ruler on your canvas, 
 nor can you often get one the required length, so you 
 can make your lines by means of a fine string or strong 
 thread, which you can attach to the edge of your canvas 
 by a drawing-pin. 
 
 You will find it perhaps useful to know how to put 
 a room into perspective. Your knowledge of the square 
 will help you in this. 
 
 Now I have drawn you an interior of a room, which 
 I have made twenty-five feet in width, twenty feet in 
 height, and thirty feet deep. 
 
 For you to do it yourself, take your inch measure, 
 call each eighth of an inch one foot, and draw a line 
 for the base of your room representing twenty-five feet. 
 You will find that it will be just three inches and one- 
 eighth. 
 
 For your upright line, or height of your room, make 
 it two inches and a half. 
 
 To find the depth of the room, you will do as you 
 did with the square. 
 
 First, you must make your horizontal line, which you 
 know will be at the level of your eyes. We will say 
 five feet as a convenient height, which will make it on 
 your plan five-eighths of an inch.
 
 82 
 
 HINTS TO STUDENTS AND AMATEURS.
 
 PERSPECTIVE. 83 
 
 Now you put your central point of sight where you 
 like, provided it be on the horizon line. 
 
 In this instance we will measure off one inch and 
 two-eighths from the right side of wall, so that we 
 place the point of sight ten feet within the room, nearest 
 the right wall. 
 
 Now we will put the ceiling and the floor in, other- 
 wise we shall not be able to get our further wall. 
 
 We draw lines from the four corners, A, B, C, D, 
 to the central point. 
 
 We then extend the horizontal line on each side, 
 and place the distance points. In this instance I have 
 purposely placed the distance points nearer to the point of 
 sight or vanishing point. You are thus enabled to see 
 more of the surface of your floor. 
 
 Our room being thirty feet deep, we have to get the 
 length in perspective. 
 
 To do this, we extend the base line of our picture to 
 the right, and we measure from C thirty feet, or, in 
 this instance three inches and three-quarters of an 
 inch. This will bring it to E. 
 
 From E to the left-hand distance point draw a line, and 
 where this cuts the line C to P at / will be the other 
 end of the room. 
 
 From the point / draw a horizontal line to the opposite 
 line D to P. Then your inner wall is easily made by 
 making two uprights, until they touch the lines A to P 
 and B to P, and then making a horizontal line across. 
 
 Now we want to put a door, two windows, and a 
 fireplace in, for our room at present looks more like 
 the interior of a box. 
 
 Too many lines are apt to confuse you, so you shall 
 have the same interior in No. 2, with only the lines 
 that are necessary to show you how to put in your 
 door and windows. 
 
 Now we must first make up our minds as to what 
 height and width we require them. 
 
 We will put the door on the left-hand side and the 
 windows on the right, and our mantelpiece in the centre.
 
 8 4 
 
 HINTS TO STUDENTS AND AMATEURS. 
 
 JL33J IHOI3 
 
 C\J 
 
 o: 
 
 z 
 
 o: 
 o 
 
 o:
 
 PERSPECTIVE. 85 
 
 We will begin with the latter. 
 
 Let us make an old-fashioned fireplace, seven feet 
 high and five feet wide. 
 
 Find the centre of your base line, and take it up to 
 point of sight. 
 
 This will give you the centre of the floor of the opposite 
 wall, where you are going to put your fireplace. 
 
 Measure off two feet and a half on either side of your 
 central point on the base line. Take these lines up to 
 your point of sight. 
 
 These will give you your five feet across for the 
 width of your mantelpiece. Carry two uprights 
 from the floor of opposite side where the two lines 
 cross it. Measure seven feet off on left-hand edge 
 of wall and from thence draw a line to the point of 
 sight. 
 
 Where this line cuts your upright on the left-hand 
 side will be the height for your fireplace. 
 
 Now for the door on your left hand. 
 
 We will place it exactly in the centre of the wall, 
 and make it nine feet in height. 
 
 We measure off too feet more on our left-hand side, 
 and draw a line from thence to our point of sight. This 
 gives us our height. Now we will make it six feet 
 wide ; our room being thirty feet long, we shall have 
 twelve feet on one side of the door and twelve feet 
 on the other. 
 
 Now to get twelve feet within the left-hand side of 
 the wall, we measure off twelve feet on the base line 
 of room, starting from the left-hand corner. From that 
 point we take a line to the distance point on the left, 
 and where this line cuts the wall will be one side of the 
 door. 
 
 We then measure six feet more on our base line, and, 
 proceeding in the same manner, we find the exact width 
 of door. Two uprights from the floor to the top of 
 door will complete it. 
 
 Now for our windows. We will make them three feet 
 from the ground and nine feet high, and six feet within
 
 86 HINTS TO STUDENTS AND AMATEURS. 
 
 the picture, four feet wide each, and a space of ten 
 feet dividing them. 
 
 To do this we act in precisely the same way as we 
 did for the door, only utilising the right-hand distance 
 point instead of the left. 
 
 We measure three feet off right wall, and from thence 
 draw a line to point of sight. Measure nine feet above 
 that, and do the same. This gives us the height of the 
 windows. 
 
 To get our first line of six feet within the room, we 
 measure three-quarters of an inch on our base line from 
 the right-hand corner towards the left, and so on with 
 the other measurements required of four, ten, and 
 four feet, bringing them all to our right-hand distance 
 point. 
 
 Now we will put a chandelier in the centre of our 
 ceiling, and it shall hang down eight feet deep into the 
 room. 
 
 First we have to find the centre of the room, which 
 we do by drawing two diagonal lines from each corner, 
 and where they cross we shall get our centre. 
 
 We next find the centre of the top line of our room 
 (A, B, Interior No. i), which we can do either by measure- 
 ment or by ruling a line from our point of sight, through 
 the centre of the ceiling, and on beyond until it cuts 
 A, B. 
 
 From this last point draw a straight line downwards 
 the distance of eight feet. 
 
 This will be eight feet on the outside plane of your 
 picture. 
 
 To get the right perspective for this length in the 
 centre of the ceiling, draw a straight line from the 
 extreme end of the eight feet to the point of sight, and 
 then draw another straight line down from the centre 
 of ceiling to this line, and where they touch will give 
 you the required length in its proper perspective. 
 
 Now that you have your room, you will no doubt 
 want to put some people into it. 
 
 To get at their required heights, you have only to
 
 PERSPECTIVE. 87 
 
 measure off on the outside plane of your picture, either 
 five feet ten inches, or six feet, according to the size 
 of your personages, and then, from wherever you place 
 these measurements on base line, draw two straight 
 lines to your point of sight, as we previously did with 
 the door. 
 
 Avenues of trees are done in the same manner. 
 
 A capital illustration of the rules of perspective you 
 will find, on standing on a bridge crossing the railway. 
 The rails that start from the spot where you are standing 
 are actually so many feet apart. As you look along 
 them, and they come up to the level of your eyes, they 
 apparently touch each other until they vanish quite 
 out of sight. This they do at the point of sight, and 
 this is why it is often called the vanishing-point, or 
 point where the perspective lines of objects vanish out 
 of sight. 
 
 As I have already told you by means of the square 
 you can put any object into perspective, such as a chair 
 (the seat of which forms a square), a table, &c., &c. 
 If your table or other object is round, you turn it into 
 a square whilst drawing it in perspective, and then it 
 is very easy to round the corners off. 
 
 This that we have been doing is parallel perspective ; 
 called so because two of its Jines are parallel with the 
 line of the horizon. It is quite the easiest to do. 
 
 In sketching outdoor buildings or interiors, you 
 will often require to put objects into angular per- 
 spective. 
 
 I can show you this best by putting a diamond- 
 shaped square into perspective for you (page 88). 
 
 You will notice that none of its four lines are 
 parallel with the horizon. You only make use of 
 the point of sight to find the centre of your diamond. 
 All other lines are taken on to your distance points 
 on either side. 
 
 Now for the square, chair, or table, in oblique per- 
 spective. 
 
 I will suppose that the size of the top of your
 
 88 
 
 HINTS TO STUDENTS AND AMATEURS. 
 
 dining-room table is repre- 
 sented on our plan. 
 
 I place the geometrical plan 
 of our table under the line of 
 the base of our picture, as far 
 away from it as we wish the 
 table to be within our picture, 
 and in exactly the inverse angle 
 to which we wish it to be ; as 
 if, in fact, the base line were 
 a looking-glass and we reflected 
 the table in it. We can make 
 our table any size we wish, and 
 place it in any position. 
 
 I will name the four corners 
 A, B, C, D. 
 
 I draw four upright lines 
 from each corner to the base 
 line, and then carry them along 
 to the point of sight. To 
 make it clear, I have drawn 
 each line with a different 
 pattern. 
 
 Now we must use our com- 
 passes. The one with a point at 
 one end and pencil at the other 
 you will find the best. 
 
 Take the measure of the 
 corner of table marked A to 
 where the upright intersects 
 the base line. Place the point 
 of the compass on the base 
 line at A, and making this 
 the stationary one describe the 
 fourth of a circle with the 
 pencil end from the corner 
 marked A towards the right 
 until it again touches the base 
 line. 
 
 From this take a line to 
 left-hand distance point.
 
 PERSPECTIVE. 
 
 8 9 
 
 u 
 
 I 
 
 LJ 
 Q. 
 CO 
 
 u. 
 
 a 
 
 ui 
 a 
 
 ca 
 o 
 
 03 
 <
 
 90 HINTS TO STUDENTS AND AMATEURS. 
 
 Where this intersects the A line will be one of the 
 corners of your table. 
 
 Do the same with B line, and you get the further 
 corner of table in perspective. 
 
 Then take C in a similar way, and you find your 
 right-hand upper corner, and with D you get your 
 lower right-hand corner. Draw lines from point to point 
 and you have the top of your table in oblique perspec- 
 tive. 
 
 Some artists in painting portraits have made use of 
 two points of sight, one for their sitter and another for 
 their background ; but this practice is not to be com- 
 mended, as it gives an air of falseness to the picture. 
 
 In the composition of figures, the horizontal line is 
 generally placed just under the throat at the top of 
 the sternum, or chest bone. 
 
 Needless to say, one need follow no fixed rule about 
 where this line is placed, as long as one puts all objects 
 in one's picture under the influence of the one point of 
 sight, wherever its position. There must be a certain 
 harmony in one's pictures, as there is in nature, from 
 whatever position one looks at them, and as you are 
 bound to place your point of sight opposite to the 
 level of your eye, you will generally find in figure com- 
 position that it is always in the same place. 
 
 In painting a head, however, it is better to place the 
 horizontal line a little lower than it actually is in nature, 
 as it adds to the dignity and apparent height of the 
 sitter if the head appear to be above that of the 
 painter. 
 
 This is why we make use of a platform, where we 
 can always obtain this result whether our model is 
 standing or sitting. 
 
 For a man, this is a golden rule make him higher than 
 yourself, look up to him ; for a woman, let her be on 
 your level, or very slightly higher ; and in painting a 
 child's portrait, take care to let the child look up to 
 you, letting the eyes be a very little below your point 
 of sight.
 
 PERSPECTIVE. QI 
 
 This gives the idea of size, which otherwise, in only 
 painting a head, would be difficult to suggest. 
 
 In composing a picture, make a definite sketch on a 
 small canvas, and to this you can apply the rules of 
 perspective. 
 
 When you have it perspectively correct, you can 
 draw horizontal and vertical lines on your sketch, 
 making a network of small squares with either black 
 or white chalk or threads of cotton. 
 
 Supposing you have divided its length into ten one- 
 inch squares and its width into six. 
 
 Put the same number of squares on to your larger 
 canvas, and copy on to it the sketch of your picture. 
 
 You will find that you have your small sketch 
 accurately and easily magnified twice or any number 
 of sizes you wish. 
 
 I have already mentioned that in landscape painting, 
 it is a good thing to cut the inner portion of a visiting 
 card out, leaving an edge all round to frame the black 
 space. This defines what the student can see at a 
 glance from one point. Many are distracted when they 
 sit down to make a sketch, at seeing too much. They 
 attempt the impossible task of painting more than 
 they could naturally see. 
 
 Rays of vision proceeding from the eye, take the 
 form of a cone i.e., they start from the single point 
 of the eye, and spread out in all directions, but their 
 limit is circumscribed always by the subject we wish 
 to paint. 
 
 The nearer it is to the eye, the less space the rays of 
 vision take, and the further off the distance is, the 
 wider the base of our cone becomes. 
 
 It must be thoroughly understood, that if we put on 
 our canvas whatever lies beyond the circumference of 
 this cone, we paint more than we can see at one given 
 moment, and the result is confusion. 
 
 It is always best to train yourself to see correctly 
 without extraneous aid. Draw your object as you see 
 it, and afterwards test it by the rules of perspective.
 
 92 HINTS TO STUDENTS AND AMATEURS. 
 
 In this way your eye will be insensibly trained to see 
 correctly. 
 
 Before commencing your day's work, draw from 
 memory the previous one. You will then be able to 
 know how much you have digested and what you 
 have learnt. 
 
 I am afraid, after all, I have given you but few hints. 
 But then there is no royal road to art. There is only 
 the old-fashioned one of hard work. 
 
 What I chiefly wish to do in writing this little 
 book is to encourage young people in the pursuit of 
 art, and if I have given any of you a helping hand, 
 I am richly repaid. 
 
 HUNT, BABNABD & CO., LTD., PBINTKBS, LONDON & AYLE8BUBT.
 
 PRIZE MEDALS 
 
 AWARDED . . 
 
 EXHIBITION OF ALL NATIONS, 1851, PRIZE 
 MEDAL. 
 
 PARIS UNIVERSAL EXHIBITION, 1855, Two 
 PRIZE MEDALS. 
 
 INTERNATIONAL EXHIBITION, 1862, Two PRIZE MEDALS. 
 DUBLIN INTERNATIONAL EXHIBITION, 1865, PRIZE MEDAL. 
 PARIS UNIVERSAL EXHIBITION, 1867, Two SILVER MEDALS. 
 LYONS UNIVERSAL EXHIBITION, 1872, Two SILVER MEDALS. 
 PHILADELPHIA INTERNATIONAL EXHIBITION, 1876, PRIZE MEDAL. 
 PARIS UNIVERSAL EXHIBITION, 1878, PRIZE MEDAL. 
 PARIS UNIVERSAL EXHIBITION, 1889, SILVER MEDAL. 
 PARIS EXHIBITION, IQOO, GOLD MEDAL. 
 
 FRANCO-BRITISH EXHIBITION, IQOS, DIPLOMA OF HONOUR AND 
 GOLD MEDAL. 
 
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 Ivory Black, and Emerald Green. 
 
 *Any Colour may be replaced by any other, and the difference ! price charged or 
 
 allowed for.
 
 GEORGE ROWNEY & CO.'S 
 *JAPANNED TIN SKETCH BOXES. 
 
 f. s. d 
 I6-HALF-PAN BOX O 12 6 
 
 Gamboge, Chrome No. i, Yellow Ochre, Raw Sienna, 
 Burnt Sienna, Vermilion, Light Red, Indian Red, 
 Crimson Alizarin, Burnt Umber, Vandyke Brown, 
 Madder Brown, Cobalt, Prussian Blue, Emerald 
 Green, and Ivory Black. 
 
 I8-HALF-PAN BOX O 14 6 
 
 Gamboge, Chrome No. i, Yellow Ochre, Raw Sienna, 
 Burnt Sienna, Indian Red, Light Red, Vermilion, 
 Madder Brown, Crimson Alizarin, Rose Madder, 
 Vandyke Brown, Burnt Umber, Ivory Black, 
 Cobalt, Indig-o, Emerald Green, and French Ultra. 
 
 20-HALF-PAN BOX * O 16 3 
 
 Gamboge, Chrome No. i, Yellow Ochre, Raw Sienna, 
 Burnt Sienna, Chrome No. 3, Light Red, Vermilion, 
 Madder Brown, Crimson Alizarin, Rose Madder, 
 Ivory Black, Vandyke Brown, Burnt Umber, Cobalt, 
 Indigro, Permanent Blue, Prussian Blue, Emerald 
 Green and Viridian. 
 
 24-HALF-PAN BOX O IQ 3 
 
 Gamboge, Yellow Ochre Lemon Yellow, Chrome 
 No. 2, Raw Sienna, Burnt Sienna, Light Red, Indian 
 Red, Vermilion, Chrome No. 4, Crimson Alizarin, 
 Rose Madder, Madder Brown, Burnt Umber 
 Vandyke Brown, Sepia, Cobalt, Permanent Blue, 
 Indigo, Prussian Blue, Emerald Green, Viridian, 
 Neutral Tint, and Ivory Black. 
 
 *Any Colour may be replaced by any other, and the difference in price charged or 
 
 allowed for.
 
 GEORGE ROWNEY & CO.'S 
 *JAPANNED TIN SKETCH BOXES. 
 
 WITH FOLDING PALETTES, FITTED WITH MOIST TI T HES. 
 
 Whole tube 
 boxes fitted. 
 
 S. d. 
 .. 15 
 
 Half tube 
 lioxes fitted . 
 
 s. d. 
 099 
 
 12-Moit Tube Box Htted with ... 
 
 Gamboge, Yellow Ochre, Chrome No. 1, Chinese White, 
 
 Light Red, Vermilion, Crimson Alizarin, Burnt Sienna, 
 
 Permanent Blue, Prussian Blue, Burnt Umber & Ivory Black. 
 15 Moist Tube Box 110 13 
 
 Gamboge, Raw Sienna, Yellow Ochre, Chrome Xo. 2, 
 
 Light Red, Burnt Sienna, Vermilion, Crimson Alizarin, 
 
 Madder Brown, Sepia, Lamp Black, Cobalt, Prussian 
 
 Blue, Burnt Umber, and Chinese White. 
 -'0 Moist Tube Box I 10 18 6 
 
 Gamboge, Yellow Ochre, Chrome No. 1, Chrome No. 3, 
 
 Raw Sienna. Burnt Sienna, Chinese White, Light Red, 
 
 Vermilion, Orange Vermilion, Crimson Alizarin, Rose 
 
 Madder, Ivory Black, Sepia, Burnt Umber, Cobalt, 
 
 Prussian Blue, French Ultramarine, Emerald Green, and 
 
 Viridian. 
 24- Moist Tnbe Box 1 17 1 2 
 
 Gamboge, Yellow Ochre, Brown Ochre, Aureolin, Indian 
 
 Yellow, CKrome No. 4, Light Red, Indian Red, Vermilion, 
 
 Scarlet Vermilion, Crimson Alizarin, Rose Madder, Madder 
 
 Brown, Burnt Umber, Vandyke Brown, Warm Sepia, 
 
 Cobalt, French Ultramarine, Prussian Blue, Emerald Green, 
 
 Ivory Black, Terra Vert, Viridian, and Chinese White. 
 SO-Moist Tube Box 2 12 6 190 
 
 Gamboge, Yellow Ochre, Naples Yellow, Roman Ochre, 
 
 Lemon Yellow, Indian Yellow, Orange Cadmium, 
 
 Aureolin, Light Red, Indian Red, Vermilion, Scarlft 
 
 Alizarin, Crimson Alizarin, Rose Madder, Madder Brown. 
 
 Brown Ochre, Vandyke Brown, Warm Sepia, Burnt 
 
 Umber, Cobalt, French Ultramarine, Prussian Blue. 
 
 Neutral Tint, Ivory Black, Emerald Green, Viridian, Olive 
 
 Green, Chinese White, Cceruleum, and Ultramarine Ash. 
 
 *Any Colour may be replaced by any other, and the difference in price charged or 
 
 allowed for. 
 
 8
 
 GEORGE ROWNEY & CO/S 
 ARTISTS' RUBBER. 
 
 ROAYNEY'S ARTISTS' RUBBER is made of the best vulcanized 
 
 rubber ; erases pencil marks cleanly and quickly, 
 id. zd., 3d., 5d. and gd. pieces are kept in stock. 
 PRICE BY THE LB. ?s. 6d. 
 
 Ro wney's Extra Soft Pliable Rubber. 
 
 Red or Grey, stamped 
 With a capital "R," excellent for 
 erasing pencil marks without 
 injuring the paper. 
 
 id.. 2d., 3d., 4d., 6d., & i s. pieces 
 kept in stock. 
 PER LB. 55. od. 
 
 REAL GOLD & SILVER PREPARATIONS FOR 
 
 ILLUMINATING, HERALDIC PAINTING, 
 
 &c. 
 
 -Gold Cake in China Pan. 
 
 LIQUID GOLD IN BOTTLE (real) 
 Ditto Aluminium ditto (ditto) 
 Ditto Silver ditto (ditto) 
 
 GOLD, SOLID CAKE, in China pan .. 
 
 Aluminium, ditto ditto 
 
 Silver ditto ditto ... 
 
 GOLD SHELL, double quantity, No. 
 Ditto ditto single ditto ,, 
 Ditto ditto half ditto ,, 
 
 Ditto ditto green, single ditto .. 
 
 Silver Ditto 
 
 Aluminium ditto 
 
 GOLD SAUCERS, No. i 
 
 Ditto ditto ,, 2 
 
 Ditto ditto ,, 3 
 
 ('.old Shell. 
 
 each
 
 GEORGE ROWNEY & CO/S 
 BRISTOL BOARDS. 
 
 Per Board. 
 
 ^QAJ^X size 
 
 Foolscap ... isi-in. by i 
 Demy ... ... iSi-in. ,, i 
 Medium . . 2oJ-in ,, i 
 
 i Ply. 3 Ply. 4 Ply; 6 Ply. 
 s. d. t. d. s. d. s. d. 
 2i ... 2 ... '3 ... 4...0 6 
 4i ... o 3 ... o 5 ... o t ... c 9 
 6} ... O 4 ... o 6 o 8 i o 
 
 Royal 22i-in. ,, i 
 
 7$ ... o 5 ... o S ... o 10 ... i 4 
 
 WHATMAN BOARDS FOR WATER-COLOUR 
 PAINTING. 
 
 (G. Rowney and Co.'s make). 
 
 Thick Mounting Boards covered with Whatman's Paper on one Side. 
 Hot Pressed, Not or Rough Surfaces 
 d. 
 
 i Half Royal i8-in. byni o 5 
 
 Halflmperial 2i-in. ,.140 7 
 
 Royal 23-in. .. 18 o q 
 
 Imperial 2g-in. ,,21 i 2: 
 
 i6mo Imperial 7-in. by 5 
 8vo Royal 9-in. ,, 5 
 Svolmperial lOj-in. ,, 7 
 4to Royal i i-in. ,, 9 
 4to Imperial i4-in. ,,io 
 
 PACKETS OF 
 
 TINTED CARD 
 
 WHITE OR 
 BOARDS. 
 
 For Pen and Ink Drawing. 
 EACH PACKET CONTAINS SIX CARDS. 
 
 Size. Size. 
 
 Penny Packet 6-in. by 3f Sixpenny Packet i2-in. by 9$ 
 
 Twopenny ,, 7f-in. ,, 4$ Shilling ,, i4^-in. ,, ioi 
 Threepenny,, 9f-in. ,, 9 
 
 Per Box- 
 Boxes containing twelve cards various shapes for painting on is. od. 
 Ditto six cards ditto os. 6d. 
 
 SUPERFINE WHITE OR TINTED 
 MOUNTING BOARDS. 
 
 Size. 
 
 Royal 
 
 Imperial 
 
 Atlas 
 
 Double Elephant 
 Double Imperial.. 
 Antiquarian 
 
 22^-in. by 18 
 28i-in. 
 
 33-in. 
 
 38-in. 
 
 42-in. 
 
 Per Board. 
 
 4 Ply. 6 Ply. 8 Ply. 
 i. d. s. 'd. s. d' 
 
 O 4 ... O 5 ... O 7 
 
 o 5 ... o 7 ... o 9 
 
 6 9 
 
 "There are 10 different tints in s ock of 4 and 6 sheet Royal and Imperial only. 
 Nos. 19 and 27 tints only can be made in all sizes up to Double Imperial.
 
 SOLID SKETCH BLOCKS 
 WITH AND WITHOUT CASES. 
 
 The Blocks consist of a number of sheets of paper, com- 
 pressed so as to form a solid mass, each sheet of which is to 
 be separated by inserting- a knife underneath the uppermost 
 one, and passing it round the edge. The Cases contain a 
 pocket for carrying the sketches and place for pencil, as shown 
 in the above illustration. 
 
 Whatman Blocks. *' Thick Paper.'* Series a6 & ay. 
 
 (Imperial 90 Ibs. and Royal 60 Ibs). 
 These are kept in three surfaces" Not," " H.P." and 
 
 Each containing 24 Sheeis. 
 
 Imperial 32010 ... ... s-in. 
 
 Royal i6mo ... ... ... 5^-in. 
 
 Imperial i6rno... ... . . 7-in. 
 
 Royal 8vo ... .. ... 9-in. 
 
 Imperial 8vo ... .. ... lo-in. 
 
 Imperial 6mo ... ... i4-in. 
 
 Royal 4to ... ... iii-in. 
 
 Imperial 410 ... i4-in. 
 
 Half Royal ... ... i8-in. 
 
 Half Imperial ... ... 2o-in. 
 
 Size. 
 
 X 
 X 
 
 3* 
 
 4* 
 
 X 
 X 
 
 5i 
 
 X 
 
 7 
 
 X 
 
 7 
 
 X 
 
 9 
 
 X 
 
 10 
 
 X 
 
 ii* 
 
 X 
 
 14 
 
 Rough." 
 Series a6. Series 7 
 Blocks with 
 Blocks. Cases 
 
 Each. 
 
 Each. 
 
 s. 
 
 d. 
 
 s. 
 
 d. 
 
 
 
 9 
 
 I 
 
 5 
 
 I 
 
 o 
 
 I 
 
 9 
 
 I 
 
 3 
 
 .. 2 
 
 3 
 
 I 
 
 9 
 
 3 
 
 o 
 
 2 
 
 3 
 
 4 
 
 o 
 
 3 
 
 o . 
 
 5 
 
 3 
 
 3 
 
 o . 
 
 - 5 
 
 3 
 
 4 
 
 6 . 
 
 .. 6 
 
 9 
 
 6 
 
 6 . 
 
 .. 10 
 
 6 
 
 9 
 
 3 
 
 14 
 
 3
 
 GEORGE ROWNEY & CO.'S 
 RING-BOUND SKETCH BOOKS. 
 
 Whatman's Paper Ring-bound Sketch Books. 
 
 SERIES A35. 
 Imperial 32mo. 
 
 
 CONTAINING 30 LEAVES. 
 
 Roval 16mo. 
 
 5i-in. 
 
 41 
 
 Pocket Size. 
 
 7-in. 
 
 ,. 4 
 
 Imperial 16mo. 
 
 7-in. 
 
 
 
 
 
 Imperial 8vo. 
 
 10-in. 
 
 - 2 
 
 Roval 4to. 
 
 H-in. 
 
 ., 9 
 
 Each. 
 
 s. d. 
 
 9 
 
 1 
 1 
 1 3 
 
 3 
 
 
 The convenience of this method will be readily appreciated by all when Sketching. 
 The leaves can be turned riyht back without injuring the binding, and will thus take 
 only half the space of an ordinary book. 
 
 Cartridge Paper Ring-Bound Sketch Books* 
 
 Each. 
 
 CONTAINING 36 LEAVES. 
 
 5-in. by3J 
 
 7-in. ,, 5 
 
 9-in. 5J 
 
 10-in. ,, 7 
 
 11-in. 9 
 
 14-in. ,,10 
 
 SERIES A36. 
 
 Imperial 32mo. 
 Imperial ]6mo. 
 Royal 8vo. 
 Imperial 8vo. 
 Royal 4to. 
 Imperial 4to. 
 
 There will be no loose sheets flying about when windy. Any of the leaves may be 
 detached without loosening the remaining ones. There is no increase of price. 
 
 .?. d. 
 
 6 
 
 1 
 
 1 3 
 
 2 
 
 2 6 
 
 3 
 
 Whatman Board " Ring- Bound Sketch Books. 
 
 SERIES Aj4. 
 
 Imperial 16mo. 
 Imperial 8vo. 
 Imperial 4to. 
 
 Each. 
 
 CONTAINING 8 LEAVES. 
 
 s. d. 
 
 7}-in. by 5i 1 3 
 
 lOi-in. .I 7J . 2 
 
 14-in. ,,10 3 6
 
 BLACK LEAD PENCILS. 
 
 PRIZE MEDAL AWARDED, 
 INTERNATIONAL EXHIBITION, 1862. 
 
 5^ 
 
 MANUFACTURED BY 
 
 No. 800. Improved Drawing- Pencils, round, price 2d. each, 
 red, black, or natural polished, stamped in 
 silver " George Rowney & Co.," made in the 
 following 15 degrees : 
 
 H Hard for Sketching. 
 
 HH Harder for Outlines. 
 
 HHH Very Hard for Architects. 
 
 HHHH Extra Hard for Engineers. 
 
 HHHHHH . Hardest. 
 
 HB Hard and Black. 
 
 B Black for Shading. 
 
 BB . Softer and very Black. 
 
 BBB Extra Soft and Black. 
 
 BBBB Softer and very Black. Double Thick Lead. 
 
 BBBBBBB Very Broad and Black Lead. 
 Firm for Ordinary Drawing. 
 
 FF Very Firm and Double Thick Lead. 
 
 EHB Extra Hard and Black. 
 
 -DEHB Ditto., ditto., extra Thick Lead. 
 2s. od. per dozen. 
 
 No. 805. Victoria Drawing Pencil, round, with round lead, 
 natural polished, stamped in silver, made in 6 
 degrees : H, HH, HB, F, B and BB. 
 2d. each, or is. 6d. -per dozen. 
 
 No. 820. Penny Drawing Pencil, made in six degrees 
 HB, B, BB, F, H and HH. 
 
 i id. -per dozen. 
 
 Pencil Manufacturers to His Majesty's Stationery Office and 
 Schools of Art.
 
 GEORGE ROWNEY & CO. 
 
 PENCIL 
 MAKERS. 
 
 To H. M. 
 
 THE KING. 
 
 BY APPOINTMENT. 
 
 GEORGE ROWNEY & CO.'S 
 DIANA DRAWING PENCILS. 
 
 "DIANA" DRAWING PENCILS. 
 
 Polished yellow, Hexagon, stamped in gold on two sides : 
 
 GEORGE ROWNEY &c Co. ^OMUjfactuA&ld LONDON 
 
 "DIANA" DRAWING PENCIL %< HB 
 
 Made in all degrees, from 6 H to 3 B. 
 3d. each or 26 per dozen net. (7 B, 4d. each.) 
 
 Diana Copying Pencil, round, polished yellow, stamped in gold 
 on two sides : 
 
 GEOBGE KOWNEY & Co. ^taMu^actuAeM LONDON. || 
 
 6o-wpzeMed ^zo/pftite 36 "DIANA" COPYING PENCIL 
 
 3d. each or 2 6 per dozen net. 
 14
 
 GEORGE ROWNEY & CO.'S 
 FINEST RED SABLE HAIR BRUSHES. 
 
 IN SEAMLESS ALBATA FERRULES, POLISHED CEDAR HANDLES. 
 
 FINEST QUALITY. 
 
 "Red Sable "Red Sable 
 
 2. 
 
 3 
 
 4- 
 
 o. 
 
 Round. 
 Each 
 s. d. 
 
 Flat. 
 Each. 
 s. d. 
 
 O T 
 
 9- 
 10. 
 ii. 
 
 12. 
 
 *Red Sable 
 Round. 
 
 Red Sable 
 Flat. 
 
 Ei 
 
 ich. 
 
 Each. 
 
 j. 
 
 d. 
 
 s. d. 
 
 I 
 
 6 . 
 
 i 4 
 
 2 
 
 2 
 
 .. i 6 
 
 2 
 
 9 
 
 ..20 
 
 3 
 
 6 . 
 
 ..28 
 
 4 
 
 6 . 
 
 33 
 
 . 6 
 
 o 
 
 ..40 
 
 *The price of Red Sables is fluctuating. 
 
 15
 
 GEORGE ROWNEY & CO.'S 
 TREATISES ON THE FINE ARTS. 
 
 No. of In ordering it is sufficient to mention the number which Price 
 
 Guide. is attacked to each book. s . d. 
 
 1 Hints on Sketching from Nature. Part I. By N. E. Green. Illustrated 
 
 by the Author. z7th Edition ... ... ... ... ... ... 1 
 
 2 Hints on Sketcking from Nature. Part II By N. E. Green. Illustrated 
 
 by the Author. 24th Edition . . . . . . . . . . ..10 
 
 3 *Hints on Sketeking from Nature. Part III. By N. E. Green. Illustrated 
 
 by the Author. 3151 Edition .. .. .. .. .. ..10 
 
 4 Guide to Landscape Animal Drawing. By N. E. Green. With numerous 
 
 Illustrations by the Author. 4th Edition.. .. .. ... ..10 
 
 5 Guide to Portrait Painting from Life in Oil Colour*. By F Haynes. 6th 
 
 Edition . . . . . . . . . . . . . . . . ..10 
 
 6 Guide to Figure Painting in Water Colo an. By Sydney T. Whiteford. 
 
 gth Edition . . . . . . . . . . . . . . ..10 
 
 7 Guide to Sketeking from Nature in Water Colours. By /,. C. Miles. 
 
 With numerous illustrations by the Author, gth Edition.. .. ..10 
 
 8 Principles of Perspective. By Henry Lewis, B.A. 2ist Edition .. ..10 
 
 9 Guide to Water Colour Painting. By A'. P. Noble. With an illustration 
 
 in colours. 32nd Edition .. .. .. .. .. ..10 
 
 10. Hints for Sketeking Trees from Nature, in Water-Colours. By 
 
 Thomas Hatton. I3th Edition. Illustrated. .. .. .. ..10 
 
 11. Guide to Oil Painting. Parti. ByJ.S.remflrton. 57th Edition.. ..10 
 
 12. Guide to Oil Painting. Part II. (Landscape from Nature). By A. Clint. 
 
 3znd Edition .. ... .. _. _ ... ... ..10 
 
 13. Guide to Ligkt and Skade Drawing. By Mrs. M. Merrificld. With 
 
 illustrations. i5th Edition .. .. .. .. ..10 
 
 14. Guide to Pencil and Ckalk Drawing. By G. Harley. With illustrations. 
 
 l6th Edition . . . . . . . . . . . . . ..10 
 
 16. Guide to Pictorial Perspective. By B. R. Green. With illustrations. i4th 
 
 Edition .. .. .. ... .. .. .. .. ... 1 
 
 17. Guide to Figure Drawing. By G. E. Hicks. With illustrations, nth 
 
 Edition . . . . . . . . . . . . . . . . ..10 
 
 18. Guide to Flower Painting in Water Colours. By G. Rosenberg. With 
 
 illustrations. i8th Edition .. .. ... .. .. ..10 
 
 19. Guide to Painting on Glass. By H. Bielfeld. 7th Edition ... 
 
 20. Guide to Miniature Painting & Colouring Photographs By /. .V. 
 
 Ttnifleton. i jth Edition .. .. ..'..10 
 
 21. Guide to Animal Drawing, By C. ff. Weigall. With numerous illustrations. 
 
 i3th Edition .. .. ... .. .. .. .. ..10 
 
 23. Tkeory of Colouring. By /. Bacon. With illustrations in Colour*. I7th 
 
 Edition.. .. .. .. .. . .. 10 
 
 24. Guide to Porcelain Painting. By S. T. Whiteford. With illustrations by 
 
 the Author. 7th Edition .. .. .. .. .. ..10 
 
 25. Guide to Modelling & the Principles & Practice of Sculpture. By George 
 
 Halse. With illustrations. 6th Edition .. .. . ... ..10 
 
 26. On tke Materials used in Painting, with remarks on Varnishing and 
 
 Cleaning Pictures. By Charles Martel. 6th Edition .. .. ...10 
 
 27. Manual of Colours, skewing tke Composition and Properties ky Artiits* 
 
 Colours. With experiments on their Permanence. By//. Seward, F.C.S., 
 
 5th Edition .. .. ... .. .. .. .. ..10 
 
 28. Guide to Etcking: Its Principles and Practice. By W. G. Shrubsole. With 
 
 illustrations. 3rd Edition ... ... .. .. ... 1 
 
 29. Guide to Pastel Painting. By /. L. Sprinck With Illustrations in Colours. 
 
 jth Edition ... .. .. ... .. .. .. ..10 
 
 30. Guide to Landscape Figure Drawing By N. E. Green. With illustrations 
 
 by the Author. 4th Edition .. .. .. .. ... ...10 
 
 31. 'Practical Manual of Painting in Oil Colours. By Ernest Hareux. 
 
 Parti. Still Life, Flo^vers, Fruit and Interiors. Illustrated. 6th Edition 1 
 
 32. t Practical Manual of Painting in Oil Colours. By Ernest Hareux. 
 
 Part II. Landscape and Marine. Illustrated. 6th Edition .. ..10 
 
 33- Practical Manual of Painting in Oil Colours. By Ernest Hareux. 
 
 Part III- Figures and Animals. Illustrated. 5th Edition .. ... 1 
 
 34. Practical Manual of Painting in Oil Colours. By Ernest Hareux 
 
 Part IV. The Art of Making: a Picture. Illustrated. 3rd Edition .. 10 
 
 35. Black & White. A Manual of Illustration. By Steven Spurrier. With 
 
 numerous illustrations by the Author .. .. ... .. . . 1 9 
 
 36. Trees 6" Tree Drawing. By Edward C. Clifford, R.I., R.D.S. With 
 
 numerous illustrations by the Author .. ... ... .. ..10 
 
 The three Parts bound in one, cloth and gilt. 5s. fThe four parts bound in one, cloth. 5s 
 
 16