u... Jana... I. “lam“... ‘5“mda4m 1*~-J.:‘(~ -p . .itau {L F gmfia: .lv ‘ 5’1 wwmmflw. _. ‘ . V @311? \ has .u.,&:x\c¥ £13..» .‘ .. , .. Lfiév i. \£fi§.fi¥}ua: 2; fl! “4334.? K i . . l e“ ”:- ' ‘0 ,.Z.“{ -. L‘,,.« '5‘ 5“" \ 1,,” T H E ‘ DRAUGHTSMAN S ASSISTANT) .' o R, \ DRAWING MADE EASY R .“RsWHEREINR The PRINCIPLES of the ART are laid down 1n a familiar Manner, _ IN TEN LESSON-1S; "f’ y. .R 0 Under the folloWing HEADS, 1222. I. Of the FEATURES and LIMBS. ' 6. Of LAND's CAPES. .2J0f PROFILES and OVALS. ' 7. Of PERSPECTIVE 3. OEWHnLR-FIGUREsR ' 7 8. Of Enlarging and Contraéling. 4. Of DRAPERY‘.‘ "" 7 9. Of the IMIT‘ATION of LIFE. ‘5. OfLIGHTand SHADE; l 10. Of HISTORY. , ‘ Illuf’crated by- a great Variety of EXAMPLES neatly Engraved. W I T H An Introdué’cory TREATISE on the UTILITY of the ART , A N D . " An AP P END I X, containing OBSERVATIONS on DESIGN as well in “ regard to Theory as Praétice. \ By Me AUTHOR oftée ARTIST’s ASSISTANTV .LW ' I ., I L O N D O N: Printed for, and Sold by, T. KITcHIN, Engraver, N° 59. Holbom-Hillg M. DCC. LXXII, '31 '(. 3 ) r/J/J I “q," 1‘ v ,. famwm#%$£%%#%&# wmnwa ta._ *X’K' 9* r warms araaeaaefiw Mam ,CTHE ‘ ‘ DRAUGHTSMANkASMSTANT; O R). —D.R'AW1NG MADE EASY. ‘ ., , M ,. ‘w‘a‘éx‘fiv ‘ ‘ ,g . h i IN'IRtjoticarort _ ceived in the Mind, the Imitation of Nature or Art, or the Copy ofa Pitfture, in which by Out-lines and Shadows, in their Symetry and Proportion well executed, the Copy feems to appear as if it were the real Objeél: defired. ‘ ' This pleafing and entertaining Art improves the Mind, re'frefhes and . flrengthens the Memory ; the Artift feeing and retaining the Forms ofObjec‘ls ‘ . more perfectly than any one unacquainted with it: it alfo enables him to form - , , g the clearefi Conceptions, without which the mofl laboured Defcriptions would “' be found deficient. ' . ’ < By this Art we; have preferved to us Views of Antiquity, and Objeé’cs far _ difiant as if prefent; the uncommon Appearances of. Nature, or the pleafing ' , Refemblance of our Anceflors, or others, for many Generations pafi, without \ ”i which they muf’c have been long fince buried in Oblivion. ‘ i We may perceive that Nature feems to inculcate a Fondnefs for Drawing even in Youth, by the Delight they take in Piétures, Prints, &c. it being a kind of univerfal Language, which {peaks to the Eye, and conveys an Idea. .underflood by every Nation and People on the habitable Earth. The Draughtfman may at Pleafure take Sketches-of any delightful Appear- “ ances in the Works of Nature or Art, either in his own, or any: foreign Country, and bring them home for his future Ufe or Infpeétion. With this Accomplifhment the Nobility and Gentry can judge of Defigns before ex- ecuted, and fpare themfclves the Mortification of Delay, and the additional Expenee of future Alterations. / D R AW I NG is the Reprefentation of any Objeé’r feen, ‘ofiIdeas con- 1" A 2 There . 66 g . / [,7 1ra0V7‘7’297'/7 ? / ’7,«/ 127, [Q , I }(“:f§1"1::)(‘ Mcmeuvag ('4'1) \ ererisfifcarce any Art or Profeflion to which Drawing is not a ufeful and“ i T ‘ $66 aryAflifiant, the Painter, Carver, Statuary, Engraver, Chafer,'Mathe— jm'atfici‘an, Architect, Navigator, Gardener, Weaver, Embronderer,Whitefmith, ,, and indeed every Workman Whofe Advantage in Trade may depend on Variety and Beauty; as by the Help of it he can delineate his Defigns, and'improve thEm to his own Fancy, and the Satisfaction of his Employers; and hereby thew what he intends to execute without Expence, or being beholden to. another. In a Word, it is Pity to valuable a Branch of Education {hould ever be neg- lected, as many by excel-ling in this Art have arrived at Perfeétion in their re- fpeétive Profefiions and Employments, and have diftinguilhed themfelves by Works of Ingenuity, which, have met with the Sanction and Encouragement of the judicious Part of Mankind. We need not mention the Injury done to Youth by the Negleéi: of this delightful Study, and how greatly many in riper Years lament the want of it as a Lofs to themfelves and Families.. No wonder then it fhould be deemed one of the chief Accomplilhments in human Life, and ‘ as fuch thought worthy even of Royal Patronage, in the Inflitution of an Academy for the Encouragement of this ufeful Study, and the Incorporation of. ‘ . a Societfif Britifh Artifls for the fame and .other like laudable Purpofes -, as well as e honourable Regard paid to it by thofe generous Lovers of their Country the Society of Arts, Manufaétures and Commerce, in all of which a fpirited Emulation is excited among the Proficients in this Art, by Premiums given to fuch as produce the molt correct and perfeé’r Deligns or Imitations, and which Premiums are adiudged at the Difcretion of a {cleft Committee, in each of the refpeétive Bodies. "I‘is with Regret that we have teen in many Works of this Nature, Rules for the Attainment of this Art, to full of Difliculties as fometimes to difcourage the Learner from proceeding: for'Ini’truétion {hould be given not on a bare Suppofition of its Efficacy, but on the {urer Balls of known and repeated Ex- perience, which alone can enfure its Succefs. As we have however purpofely defigned this Work for the ufe of young Beginners, and given Direé’rions in the plainefi Manner we were able, we hope they will be found eafy to praétife, and if attended to with Care and Perfeverance by the Pupil, we have Reafon to exPegtgéhey will fully anfwer all the valuable Purpofes for which this Work is inten . ‘ . GENERAL \GENERAL INSTRUCTIO’INS’.‘ I. NDEAVOUR to improve the Mind with the Beauties of the moth excellent Paintings, and Prints, taking Notice of the Harmony of their feveral Parts, as well as of the Reafons for the Difpofition of the Lights and Shades: this 'will by Degrees improve the Ideas to a Pitch of Excellency, and make the. Praétice eafy and familiar ; as the Hand will be more ready to execute thofe Objeéts the Mind has fo clearly conceived. The ufe of this Attainment is vifible in many Gentlemen, who, tho’ not able to execute, yetby accufiom- ing t‘hemfelves to this Study become excellent Judges, or as they are with great Propriety fiiled Connaifléurs, in the polite Arts of Painting,-Engraving, 8m} &c. It will alfo be of great Service to the Pupil to attend to the Reafons afligned for the Merits or Defeéts of the Performance, as‘ fuch an Enquiry will greatly for- ward him in his Study. I‘would therefore earnefily entreat him to embrace every Opportunity of fuch friendlylnformation, as the Benefit he will reap in ‘ Praélice will amply reward his Labour, and qualify him for any Profeflion in which he may hereafter engag‘e. ' , 2. Take particular Notice of the Original you intend to draw from, obferving whether the Figures. or Objeas be upright, or incline to the right or left; taking. Care that every Part in the Copy has the-fame Direétion, which may be eafily difcovered by frequently revifing yourESketch, and comparing it attentively with. the Original. A‘ careful Obfervance of this by young BEginners will mend- their Judgment, and in Time enable them to proceed with increafing Pleafure.. \ MATERIALS for DRAWlNGv. Charcoal, cut in long Slips. Black Lead Pencils. \ Crayons of black, white, and red Chalka A Forte-Crayon. ' at Indian Ink. +~ Camel’s Hair—Pencils; _ Fitches. C 'Crow-quill Pens. ’ A Ruler and'a Pair of CompallEs._ s _ ' " PARTICULAR (fl ) am a flair _. PARTICULAR INSTRUCTIONS, with EXAMPLES. » E f‘nall. now proceed to therLefl'ons, in regard to which the Learner is here particularly defired to perfect himfelf thoroughly in the Praéticc of the firit Lefibn, in its feveral Branches, before he attempts the Second, and fo of the Second before he meddles with the Third, not endeavouring to become Matter of the whole at once, which will only ferve to perplex his Ideas, and weary himfelfin the Purfuit of what he will never by this‘ Means be likely to attain; whereas by proceeding ‘gradually from one Leflon to another in the ‘ Order they here fiand, the Rules will be found much more eafy and praflicable, and confequently the Study infinitely more pleafing and engaging. LESSON I. Of drawing tbe Introdué’z’ory Liner, will) Me Feature: and Limb ‘ flparate/y. IRST endeavour to imitate perpendicular or upright Strokes, and then Horizontal or Parallel Lines, but without ufmg the Ruler, and if Care be taken few Examples of this Sort will do. When you can do this well, proceed to-the curved and twining Lines, obferving carefully their different Inclinations. And when you can with Eafe perform thefe, proceed to draw the Out-lines of the Features of a Human Face, as the 'Eyes, Nofe, Mouth and Ears; and from them to the Limbs or Parts of the Body, as the Arms, Hands, Legs, Feet, &C. See Plate 1. * , N. B. The above muf’t be but faintly fketched, fo as to be eafily rubbed down with Bread, in order to make the neceifary Alterations before finifhing. LESSON II. Of Profiles and Ova/r. AVING become Mailer Of the former, you may then and not before . attempt the Profile or Side Face, being very careful to obferve the Pro- portion of the feveral Parts to each other; after this the Full or Oval Face, ob- 4 filming (' 7‘ ) ferving fiill‘the Bearing: of every Feature’with refpeét to the rcft, and keeping the Proportions as exa as pofiible. After proceeding with reat Care in the above, you may begin the Qut-line of. the Body, as in Plate 1%. ‘ ~ L Earsso N III. Of Whole-Figures, with the Proportion: ondDiineryion: of (the Human Body- F on thorough Examination you find yourfelf acquainted with and can I eafily imitate the different Features, and Parts of the Body, you may then begin the Figure in manner following. Sketch the whole very lightly with your Pencil or Charcoal, then examine the Proportion of the different ’ Parts, rubbing down with Bread, and altering where neceilary; and when ' you have brought it as near as poffible to your Original, proceed to finifll the Figure with the Crow-quill Pen and Indian Ink, beginning with the Head, next the Shoulders, then the Body, after which the Arms and Hands, then the Hips, Legs and Feet, taking Care to correé‘c in the finifhing any Errors in the Pencil-Sketch, the Remains of which will be eafily rubbed out with Bread. N. B. Ufe no Compafles till after a very minute Infpeé’tion with the Eye, and then if the Fault cannot be difcovered, a proper Application of them to- Copy and Original will greatly aflift the Pupil in the perfeé’ting this Branch—7 Having by clofe Attention. and Praé’tice fo far improved his Ideas as to be able to compleat a Figure in Out-lines, we {hall in the next Leflbn infirué’t him in the Drapery or Cloathing ; but before we quit the Subjeé’c we are here treating, of, we think it neceifary in this Place to give him The Proportion: and Dimerfionr of the fiverol Ports ofitho - Human Body, » - & - H E befl Method of afcertaining thefe is to raife a Perpendicular on the Place you intend for the Middle of the Figure, and divide it into Heads, and from fuch Menfuration form a Scale, to regulate the proper Dillances from any one Part of the Body to another: but as it has been more common to divide the Figure into ten Parts, we have (tho’ we do not fo well approve of this Method} iven an Example of both of thefe, together with the following Rules for. the Illuftration ofeéach refpefiively. And firl’c of The Proportion ofo Figure divided into Eight Hoods. See Plate 111.. THE Length of the Head (or firi’r Divifion of the Figure) is from the Crown or Top of the Head to the Bottom of’the Chin. « A Line ruled. through the Second Divifion will direflly crofs the Paps of the- Brealls. .7 The: . - ( 8 l .The Third Divifion will fall jufl over‘ the Navel. . - The Fourth acrofs the Privities, and is exaétly the Middle of the Figure. ' The Fifth croires the Middle of the Thigh. The Sixth is juft below’the Bend of the Knee. The Seventh falls at little below the Calfof the Leg. The Eighth extends to the Bottom of the Heel. Obferve alfo that when the Arms are extended at full Length in a dire’a: Line, the fullExtent from the End of the Middle Finger of the Right Hand to that of the Left is exaflly the Length of the Figure ; from the Middle of the Collar Bone to the End of the Middle Finger meafuring jufl four Heads, viz. The Firft to the Bend of the Shoulder, the Second to the Elbow, the Third to ' the Wrifl, and the Fourth to the Fingers End. From Shoulder to Shoulder in a Man ofcommon Size, meafures exaé’tly two Heads; but we can give no preeife Standard for the Breadth of the Limbs, which vary according to the Bulk of the Perfons, and the Movement of the Mufcles. ‘ > 7776 Proportion of angure dz'via’eo'z'flto T672 Parts. See Plate I I I. ' THE Firi’c of thefe Divifions extends from the Crown of the Head to the under Lip. -‘ The Second a little below the Collar Bone ; and a Line drawn through this Part ofthe Figure, will pafs over the Middle of the Shoulders. The Third Divifion will make a Line jult below the Paps of the Breal’r. The Fourth will reach jui’t below the Navel. The Fifth, which is the Middle of the Figure, directly acrofs the Privities.‘ The Sixth will pats over the lVliddle of the Thighs. The Seventh erotics the Bend of the Knee. The Eighth direétly through the Calves of the Legs. The Ninth reaches half Way from the Calf, to the Bottom of the Heel, which determines the Tenth and laltDivilion of the Figure. The Pupil will find the foregoing Rules ofinfinite Advantage: we would advife him therefore to give them due Application till they become {trongly im- preli'ed on hisfiMind, as they will enable him to judge of the Produétions of .Nature in the Formation of the Human Body, and to compare the diflerent antique Statues in drawing from the Life': butCare mull be taken that too {triét an Obl‘ervance of the preceding Dimenfions may not deflroy that Variety of Com- pofitions f0 abfolutely neceflary; nor will the Prefervation of the fame Propor— tion be always allowed in the Subjeé’r, which the ingenious Mr. Hogarth in his Chapter of Proportion very judicioufly remarks in his Obfervations upon the celebrated Statue of the 4201/0 Belvidere in the following Words: “ May be I ~6annot throw a fironger Light on what has been faid hitherto of Proportion than by animadverting on a remarkable Beauty in the film/lo Belz'iderc, whicli hath given it the Preference even to the A’ntz’nom; I mean a Super-addition of Greatnefs to at lead as much Beauty and Grace as is found in the latter. 4' In . . AF‘EKMFLW‘ - , \zr: '1‘ ' ’l-f J " I I V I t (9) - In the fame Apartment at Rome are feen together thefe two Mailer-pieces of Art, where in viewing the flniinou: the SpeEtator’is filled with Admiration ; the Apollo firikes him with Surprife ; and, as Travellers exprefs themfelves, with an Appearance of fomething more than human, which they are of courfe , always at a Lofs to defcribe, and the Eifeé’t of this is they fay the more afionifh— ‘ ing, as the Difproportion upon Examination is evident to a common Eye.” Anatomy toe Foundation of‘iDeyigIz. ANATOMY is a Knowledge of the Parts of the Human Body; but no more is needful to Painters than that which relates to the Bones, and the principal Mufcles that cover them. For the Solidity of the Body, and Strength of the Members, Nature (like a _ wife Mother) has furniflfed us with Bones, to which {he has fixed the Mufcles, which are continually performing their exterior Agency, in drawing them whither {he pleafes, the Meafures of Length are determined by the Bones, and thofe of Bignefs by the Mufcles. There is an abfolute Necefiity to be thoroughly acquainted with the Forms and Joints of the Bones, becaufe the Dimenfions are oftenaltered by Motion -, and likewife to underfiand the Office and Situation 30f the Mufcles, fince the moft {hiking Truth in Defign depends upon them It is by the Help ofthe Mufcles that the Bones are moved (as they of themfelves are motionlefs). The Mufcles by their Origins are flattened to a Bone, which they were never intended to flit, and to another Bone by their Infertions, which they draw when they pleafe towards their Origin. Every Mufcle has its oppofite Mufcle; when one acts the other yields; the aéting Mufcle {wells and con— traéts next to its Origin, while the other which obeys, dilates and relaxes. The largefi Mufcles cover the largefi Bones; as they are moved with the greatel’t Difficulty, they are aflil’ted by other Mufcles, which are defigned for the fame Oflice, and thereby the Force of Motion is increafed, and the Part made more apparent. As it is indifpenfably necelfary. that the Pupil {hould have fome Knowledge in Anatomy, it being the fundamental Part of Delign, and enables us to dif— cover the Beauties of the Antique; we would therefore earneflly recommend the Student to pay fome Attention to it, as [0 much of it as is neceflary for Draughtfmen is very eafily retained. L E S S O N IV. Of DRAPERY. AVING drawn the Out-line of the Figure you want to cloath, faintly With Charcoal, whifking out the faulty Part with a Handkerchief, till the Figure appear in the Attitude and Proportion of the Original, fketch the B , Out-line ( 10 r) Out-line of our Dra er li htl with the feveral Folds, rememhring that they muflt no); crofs eiichy otfier.y,Due R‘egard mui’t likewife be had to the Quality of the Drapery; as Stuii's and Wt’mllen Cloth are more harfh than Silk, which is always flowing and eafy. Remember that the Drapery mui’rnot {tick too clofe to the Body, but let it ‘feein’ to flow eafy about it, and yet appear fo that the Motion of the Figure be free and natural. ,Be careful that the Dra- pery {uppofed to be blowri by a Breeze of Wind all How one Way, and draw the Parts. next the Body before thofe which fly off. The Garments muft always bend with the Figure, and if you make the Drapery 'almoi’r clofe to the Body .the fmaller mutt be the Folds, and if quite clofe there mutt be no Folds, but only a faint Shadow, to. repre’fent the Bend of that Part of the-Body which it covers. We would advife the Student to take every Opportunity of Improve- ment in this ufeful Branch, by remarking the Folds as they appear in the Dra- ‘pery of Gentlemen and Ladies, according to their fevcral Pofitions, by this ,uner- ring Rule of Nature; and hereb the Learner will greatly heighten his own Ideas, and give a fuperior Exceli’ence to his Work. We have given a few Specimens in the Plates annexed. Thus far mav ferve to give the Young Draughtfman a general Idea of Dra- pery, but that he may not be at a Lofs in perfecting himfelf in this necefl'ary Branch of the Art, we have here fubjoined the following more particular In- ‘i’truétions, viz. 'I. Be careful to avoid overcharging your Figure with a Superfluity of Dra- er . ' p 2): Let as much of the Form of the Body as poflible be lhewn underneath it. ‘ 3. When the Draperies are large throw them into as few Folds as you can, and let thefe be large and graceful. 4. On the contrary, let thofe which are clofe to the Body and fhort, be loofened by {mall Foldsjudicioufly placed, which will be the means of avoiding that Stifinefs, which for want of this Caution appears, when the Drapery is made to fit too firait, and makes the Figure feem as if wrapped round with a Bandage, inflead of being gracefully cloathed. ' 5. When much Drapery is required, let the greater Part (if poflible) be thrown into Shadow. 6. Obferve that the Folds which fall in the Light mul’c have fuch {oft and tender Shadows, as may make them fit hollow from the Body, and not feem to girt too clofely to it. . yfblLet the Folds be properly contrai’ted, and avoid {trait Lines as much as po 1 e. 8. A judicious Repetition of Folds in a circular Form greatly contribute to charaéterife a fore-fhortened Limb. 9. In fixed Attitudes let the Drapery appear Iikewife motionlefs (unlefs ex- pofed to the Air.) But the Drapery of Figures moving with great Agility, fhould feem to play as if agitated by the Wind, but in’Proportiou only to the Velocity of the Figures in Motion. “7: t r n )‘ We {hall now conclude this Subjeét with one ufeful Caution, viz. Let the Pupil be careful how he fludies Statues, and remember that the belt of them are only Memorials ‘of thofe great Artills, whofe Lives were {pent in endeavouring to exprefs their own Idea of Perfeétion, which varied according to the different Talte of each, and the Nature of the Materials upon which they wrought: and let it be likewife remembered, that there is a StiEnefs (which fhould be {ludi- oufly avoided) in a Copy (even tho’ a correé’t one) made after the firiefl Statue, which will never convey any Idea but that of a Statue,‘ whereas there is fuch aFreedom obfervable in the Imitations of Nature, as evidently diflinguiflxes them. from thofe taken either from Marble or Plaifler. LESSO‘N V. Of ngbt and Shade. AVING out-lined the Folds, and the other Parts of Drapery, you may nextattempt the Shadowing of your Figure, obferving the following Method. . Shadow the Drawing with the Pencil or Pen; in which great Care is re- quired. Firlt obferve from which Side the Light comes in, which ifnatural ought to be from the Right or Left; for when the Light comes in the Middle, it is called an artificial Light, as proceeding from {ome artifical Luminary, as a Candle, Lamp, &c. &C. Lay your Shadesrather faint at firf’t, fo that you may heighten them at Pleafure where neceflary. Remember that your Shades mull be all on the fame Side of the Figure, that is to fay, ifthe Right Side of the Face be in Shade, lo mull the fame Side ofthe Body, Arm, Leg, Sic. Your Shades mull all be faint as they approach the Light, the Strength gradually decreafing towards the Extremities, to prevent a 113th Appearance, ‘as that is a never-failing Sign ofa bad Workman. A Stump made of Paper or Glove-leather rolled hard and cut almoft to a. Point like a Pencil is ufeful (ifyou Shade with the Pencil, Red Chalk, or Cray— ons) to blend the Shades, and {often them into each other, as alfo where they appear too flrong to weaken them with the aforefaid Roll. By examining Nature you will improve your Ideas in Light and Shade, as well as in Out-— lines, and be enabled to form a right Judgment of the Truth of your Draw»- mg. N. B. The Indian lnk may be prepared for a few difl‘erent Shades, by rubb~ ing it more or lefs in Water on a Marble Stone cut in Hollows? for that Put- pole, referving one of the Hollows for the Water. ‘ in) LESSON‘VI. 0f ‘Drezwz'ng Lanafiaper, 86C. I'l’WHIS Part ofdrawing will give the Student arrinexhauflibleFund of- Amufe— ment, from the Variety of pleating Subjeé’ts which Nature c‘onflantly af- fords for his Obfervance and Imitation. And in order to improve in this delightful Study, the bell: Method is to adhere to the foregoing Rules with Re: ard to the Human Body, by beginning with the molt limple Objects, as the %ut~lines of Cottages, Trees, 8m. We {hall therefore give a few Examples in each with their proper Shades, but would advife the Pupil not_to be too hafiy in the Shadowing before he is perfeét in the Out-line, and as it is impoflible he {hould excel in Landfcape without fome Knowledge of Perfpeé‘twe, We {hall in the next Leflbn give fome Directions fuitably illuflrated with Problems, as a neceffary Auxiliary to the Praé’titioner, which will arithe fame 'I ime prevent his being impofed on by faulty and incorreét Originals, where the Igno- .rance of Perfpeé’tive makes the whole Landfcape appear unnatural and dil- terted. ‘ L E S S O N VII.) 0f Peijjfieflzive. HE firfi Thing necefi'ary to learn, before we proceed to the Problems, I is an Explanation of the feveral Technical Terms ufed in the Practice of this Art: and thefe are as follow“. The Bafe or Fundamental Line is the Bottom of the Drawing, or that Part of ' titreSGround on which the Perfon is fuppofed to fiand, looking towards the Point 0 ight. A Perpendicular is an upright Line with refpeé’c to any Part of the Bafe. Parallel Lines are equidifiant from each other, as the Horizon to the Bafe. The Horizon is the molt dii’tant Part where the Clouds feem to touch the Earth, and limits the Sight. - The Point of Sig/9t is that Part of the Horizon where all the Vifual Rays ' center. l/zyilal Rays are Beams of Light conveying the Likenefs of any Thihg to the Sight, and the Knowledge thereof to the Mind. Points of Dj/lame are fet off on the Horizontal Line, at equal Diflances on each Side of the Point of Sight. Diagonal Links are thofe drawn from the Points of Dif’tance to the End of the Bafe Line. 1 The v ( I 3 l The Abrz'a’gmmt 0f the Square is the Line where the Diagonals crofs the Vifual Rays, and mull always be parallel to the Bale; this is only ofoe when the Sight is limited by a Perpendicular, as the End ofa Church or Room. The foregoing Terms are illultrated in Plate IV. Fig. I. The Point ofDirefi View is when the Object is feen in Front, as a Houf'e, 15cc. or a Geometrical Elevation railed from a Ground-plot, comprehending an equal Space on both Sides the Point ofSight. The Point of Oblique View is when the Objeét is feen fideways ; for Inflance, a View of a Canal with fome remarkable Buildings, when the Perfon drawing the {aid View, is placed on the Bafe Line oppofite to thetBuildings, (0 that the Ray of Light may be more oblique, and the Buildings lefs fore-thortened, and appear to greater Advantage. - ‘Accidental Points are thofe where Objeéts end in the Horizontal Line, not in the Points of Sight or Diflance, ferving for Streets, Houl'es, Chairs, 85c. taking different Direétions. ‘ Ic/mograpby is a Plan or Ground-Plot to be raifed in Perfpeétive. Scenagmpby is bringing any Thing railed in Perfpeé’tive from an Ichno raphic Plan, to its proper Proportion, that all Objeé‘ts may be diminilhed in a liture the fame as in Nature. The Art ofPerfpe&ive being conflruf‘ced on Geometrical Principles, it may . be necellary to demonllrate the following introduflory Operations. ’ s 1. From a Point in a given Line 1—2 to raife a Perpendicular. See Fig. II. Plate IV. With the Ruler drawthe given Line 1—2, then with one Foot of, the Com- pafl'es in 2. and extending them to rather more than half the Length of the Line [—2, (trike the Arch 3. 4. and with the fame Extent of the Compaflies fet one Point in 3, and defcribe the Arch 5. 6. and then without altering the CompaWes, fet one Foot in 7, and {weep the Arch‘8. 9. next rule through the Points 3. 7. to interfeé’c the Arch 8. 9. at 105 and draw the Line from to to 2, which is the Perpendicular required. 2. To raife a Perpendicular upon A. it being the Center of the given Line -A. B. 3. See Fig. Ill. Plate IV. ‘ Divide the Bafe Line B C into two equal Parts, then extend the Cdmpaflés to any Difiance greater than A B or A C, and with one Foot in B {weep the Arch de, then with the fame Extent of Compall'es, let one Foot in C, and {weep the Arch f g, and from the Interfeétion of the two Arches at I), draw a Line to the Center of the Bafe Dine at A, and you have the Perpendicular required. 3. To draw a Line parallel to, or equidifiant from another given Line E. F. See Fig. IV. Plate IV. Extend the Compalfes to the Diflance of the Parallel required, then with one Foot in any Point of the Line given, as in G, {weepthe Circle H. 1. Again, without altering the Compafies, Is: one Foot in another Point, as in ff and e cribe (14) 'b theCircle L. M. then rule the Line T. C. touching the outward Parts, iii; tewo Circles, and you will then have the Parallel to the Line given. ' .. 4. To bifeé’t or divide a given Line, C. D. into two equal Parts. See Fig. V, Plate IV. ' ta en with our Com allies an ' Dii’tance greater than half the given Ligivgiceel‘l with on:I Foot of tgem in C). to defcribe the Arch E. E. and with-. out altering the Dillance, {etting one Foot In D? {weep the Archl. F. and thefe Arches will interfeét each other in the Pomts I. K. which Jomed by a Perpendicular will crofs C. D. in the middle-Point L. . 5.‘ Having three given Points not in a rightLine, how to turn a Circle through them. See Fig. VI. Plate IV. Three Points being fixed as at D. E. and F. proceed to join them by the right Lines D. E? and E. F. then by Fig. V. bifeé’t the Line D. E. with the Line G. H. which being done divide the Line E. F. with the Line I.‘K. and from the Middle K. where thefe Lines center, extend your Cotnpaffes to D. and‘fweep the Arch D. E. F. P. I, 6. A fure W'ay of drawing an Oval. _ See Fig. VII. Plate IV- Divide the given Line G. H. into four equal Parts; one Foot of the Com-« 'palIes being fet in I. defcribe a.Circle E. E- Without altering the Extent of the‘Compaffes from K, {wee-p the Circle F. F. then extend the Compafles ontr in K, and {weep the Arch L. L. With the fame Extent {et one Foot in I. and turn the Arch M. I‘VI. the Interfeétions mulli be united by a Perpendicular from N to 0. then proceed with one Foot of the Compafles in N. to defcribe the Arch P. P. and with the fame Extent of Compaffes {et one Foot in O. and. turn the Arch T. T. 7. Another certain Method. See Fig. VIII. Plate IV- Rule a given Line A. L. then place one Foot of the Compaffes in C. and de- fcribe the Circle F. F. then with the fame Extent of Compall'es on the Line A. Lit] the fuppofed Point O”. defcribze the Circle P. P. and through the Points, Q Q where the two Circles interfeét, rule the Perpendicular K. T. then hav- ing one Foot of the Cornpaffes iEt in K. extend" the other f0 as to {weep the Arch. B. B. to the lower Extremities of the Circles; then Without altering the Com- pahes, fet one Foot in T', and’ turn the Arch U. U. to join the upper Extre— mines. By the preceding Examples it is evident that an Oval of any Form or Size may be'coni’truéted at Pleafure, only obferving always to fet the Compafles at an equal Difiance from the given Line A. L. on the Perpendicular K. T. . _ .. g ' .Pr‘aflfml as (-. 15 ) Prafiz'cal Examples 2'72 Peiflmfiiw. To draw a Square Pavement in Perfpeétive. See Fig. IX. Plate IV. 1 V SUppofing you have a Piece of Pavement confilting of 64. Pieces of Marble, each a Foot Square, your full Bufinefs is to draw an Ichnographical Plan, which is thus performed: . _ ‘ ‘ An exact Square being made to the Size of your intended Plan, proceed to divide both Horizon and Bafe into eight equal Parts, and from each Divifion in the Bafe to its oppofite Point in the Horizon rule perpendicular Lines, and divide the Sides into the fame Number, ruling acrofs from Point to Point parallel Lines ; f0 that of Courfe your Pavement will be divided into 64. Square Feet; as the eight Feet in Length being multiplied by the eight in Breadth, produce the Number of Pieces contained in the whole : then rule from Corner ’ l to Corner Diagonal Lines, and you will have your Ground-plot as in the fame i F i’gure. - Now to throw this into Perfpeé’tive, draw another Square as before direéted ; and divide the Bafe Line only into eight equal Parts: fix your Point of Sight at _ F. in the Center of the Horizon G. H; then to every Divifion in the Bafe D.Xar,{«;4mdma4¢& .. E. rule Lines from the fame Point: and proceed torule Diagonals from D. Mr 2.75237 1 to H, and from G. to E to anfwer fholFin the Ground-plot and you will then . ’ D 3'1 2f- ‘ chd to the Trian le D. E. F. and tom the Point LW ’ ' ~’ where the Line D.F. is interfeaed by the Diagonal G. . to the oppofite‘lntern ' feétion K. where the Line E. F. is interfeéted by the Diagonal D. Pig-M“ " rule a Parallel Line, which is the Abridgment of the Square. 1 From the refl of .the Lines .which go from the Bafe to the Point of Sight through the Points which are interfeéied by the Diagonals, rule Parallel Lines, and you will then have yourfquare Pavement laid in true Perfpecftive as in Fi . X. Plate lV.[ 7594’ («3 M0W— V/wac'o Ms we, , PfivflcV/a/‘o —~ /¢¢ t/fi/Q/QZ /2:<}1 2,3. To find the Height and Proportion ofObjeéts appearing above the Horizon on a fuppofed Plane. See Fig. XI. Plate lV. Having your horizontal Line ruled A. B. proceed with fixing your Point of Sight as at N ; and marking the Place of your nearefl Pillar by a Dot at the Summit or Top as at C, and another at the Bafe as atD. Then rule a Line from C. to N, and another from D. to N. and thefe two Lines give the Height of any Number of Pillars : for Inftance, would you have your Pillar at E, fix your Dot for the Bafe, then meet the Diagonal D. N. at F, by ruling aParallel . line, and to the Diagonal C N rule the Perpendicular F G, which Perpendi- cular {hews the Height of the Pillar required at E. Or, wouid you have a‘Pillar; a ' placed at Hfobferve .the foregoing Direétions ; ruling the Pai’allels HI and 'K L, and the Perpendiculars IM and L 0 will thew the required-'Heights’ and Dii’tances. ' _ I In l l ( ( :6 > . "‘ ' ' ‘ n/findin the Diameter at an particular Dii’cances, you are to he guided by thaltnearefigthe Bafe; as for Exaymple, fuppofe your neareft Pillar D R to be ten feet in Height and one in Diameter, interfefl from Bottom to Top in two .equal Parts, and upon the Bafe of the Pillar fet ofl" one of them from .the Pom: of , Sight N to the Diameter R, then rule a Line to the Pom: of Sight fromzkw, and you will have on the refpeétive Bafes the 'I hicknefs of each Pillar. The preceding Rule exemplified in Objeéts beneath the Horizon. See Fig. XII. Plate 1V. Having ruled the Horiztontal Line A B, fix the Point of Sight as at C ; then according to your Judgment, make a Dot for the Peer of your Ft%ire as at D, and another for the Head as at B? then rule a Line from C to , and from s 0,4 4w- C to E, and thefe two Diagonals will them the true Height of any Number of ‘fwf “I , ~ % Figures that can he wanted. Make Dots for the Place of the Feet of any Figure 'H/“(Z/W’m‘aéw‘ '62) where you would have them fland, as at F, G, H, I, and K : now to know the V ”W .. £32312“ Height of each refpeétively, draw Parallel Lines from the Dots F, G, H, I, ' and K, to the Diagonal C D; then raife Perpendiculars from the Points where .' .E pi @flfigfi/we Parallels interfeét this Diagonal at L Q , M R, N S, O T, and P U, and ,~ M (4- 4 . I , i \ 4922/5 (45’ ¢( Vim (6%), ‘ awn-ff the Perpendicular L Q_ ihews the Height of the Figure at F, as does M R of l3 ~ fies? ,‘g that at G, N S of that at H, O T ofthat at I, and P U of that at K. a”; 4‘ . Note, You will be obliged always to fix the Height of one Figure as at D E, ' 2%“ With order to find the Size ofthe reit, and the Point of Sight may be placed at any Diflance you pleafe, from the firfi fuppofed Figure on the Horizontal Line. .uut—rv—sv w“ v-e . 2 ‘-‘ ,7 i A" " r/J/12{m .‘ W, 6: Ks @fiflwfl From a Line given to form a Square. See Fig. XIII. Plate IV. fig, 77 i'/flj -/_—————L If ’ /‘ ”1%.” A Rule your Bafe Line of any Lenoth you plcafe, as atA B, then raife Per~ fi/Zd /‘A¢pendiculars (as in Fig. 11.) from Abto C, and from B to D; next take with :flgv/zab [fig/‘4‘“ /your Compafi’es the Length from A to B, and fetting one Foot in A, turn the , fig ‘ (#52:; Arch EF; then with the fame Extent of Compafles, fet one Foot in B and a 3 - "i ' defcribe the Arch G H; laftly, rule a Line from I to K, touching the outward _ .fi/Zj/L'/~;f‘M (/0 Parts of the two Arches where they interfeét the Perpendiculars, and you have \ s v the Square required. - J, / “(cg/£155 E ‘ ,) ,1, ,, , A; . . l fleas/41% 4;» ff?” ‘ :2“ From a given Line to form a Parallelogram. See Fig. XIV. Plate IV. F (o'er £11101) itch . I //” , a! ’ ~ . ‘ Rule a given Line of the Length re uircd as at A B the T P m , ,. 1,2,” s so pus , . q ' n rat e a erpen * ”Z (/61 dtcular at A, and anothen‘at B, (as in Fig. ll.) and on them fet off the proper $562th “’9” 2““ HCiglitst, as A13 and B D 5 join C D with a Line, and your Parallelogram is m) //(£$ «3:2: “’mP ‘7 e' ' ' m £222 /fi 010445 "“ F I G, ‘ W (”714/ KLZW 0/7 cf“ tic/207‘ tr 07 5 % ué’ilz 63/ {4;}: s'Kn def/2‘s t/‘Ot‘zoflv/za' flflgééZ/(CZZ éfl {fig/e37 f”: /5)25). _ " ' ~ ‘ / j * ( '17 ) F I G. XV. Plate IV. In this Figure we have attempted to {hew how to drawwith Certainty, that Curved Line, which Mr. Hogarth in his ingenious flnalyfi: has fiiled the Lina ofBeauty. There has however been an Objection raifed by fome, that he has ‘ omitted the Rule whereby this truly u/Z’ful Line may be found: For which, 'Reafon, and.in order to enforce the Study of it, we have given ,this Figure, not as an Infult upon that celebrated Aurhor, (whofe Meaning is very clear) but as aLine well deferving of Attention, beingof itfelf fingle and eafily‘ ' drawn; and as we are defirous of following the Method of that great Artif’c, in the Explanation of our Ideas by the melt familiar Objects, we here inform the Student, that it may be plainly feen in that well-known Amufen‘ent of the. School-Boy, ‘a fix pointed Star; in which the contrafted Halves of‘any two oppofite Points give the Line which is with great Propriety {tiled tbe Line lngeauty, \ \ To execute a Direét View. See Fig. I. Plate V. If you would draw a Direé’c View of a Houfe and Wall, or, in other VVords, a Geometrical Elevation to be 'raifed from a’Plan or Ground-Plot. By a Scale made according to the Dimenfions of the Building, Firl’c rule. the Bafe Line A A above the Plan B B at any Height you pleafe. Then ereét Perpendiculars at C and D for the. Extremities of the Houfe, alfo from the Windows marked in the Plan ef, gb, it, Im, 720, which will give the Breadth of all the Windows. Rule thefe Perpendiculars faintly with Black-Lead. Hav- ing done this, fuppofe the Bottom of the Parlour or Ground-Floor Windows to be 3 Feet above the Bafe Line A A, take OH? with your CompalTes 3 Feet from the Scale, and transfer that Meafure from p to g at each End of the Houfe. Then fuppofing the Parlour. Windows to be 5.; Feet high, fet off that Mea- ‘fure from the Scale, and transfer it to the Extremities from g to 7'. Then if the Diflance from the Top of the Parlour Windows to the» Bottom of thofe on the Firf’t Floor be 5 Feet, take it as before from the Scale, and fet it 0H“ at each End from r to 5. Then fuppofe the Chamber Windows to be 5% Feet high, transfer that Difiance from the Scale from 5 to t, at each End. Next fuppofing from the Top of the Firfi Floor or Chamber Windows to the Bot- tom of the Corniée to be 3 Feet, take 3 Feet from the Scale as before, and fet of? that Dillance at each End from t .to u. Then if the Cornice be 1»; Foot high, meafure it ofi‘ from the Scale, and transfer it to each End from u to w. Lafily, Suppofe the Roof to be 3 Feet from the Top of the Cornice, fet of? 3 Feet at each Endkfrom w to x, then rule faintly with your Pencil the Parallels qq, r r, 5 5, tr, .u u, ww, x x, and you have the Height and Breadth of all the Windows, &c. which having outlined, rub out the Parallels and Perpendiculars with Bread, and fetting of? 6 Feet, the fuppofed Height of the Wall, rule the Line from A to Y at each End, and the Work is ready for lhading. ' C e To erflmmMi-Lst. , . To draw an Oblique View. See Fig. II. Plate V. Firft rule the Horizontal Line D E, and if the molt remarkable Object be on the Left-himd as at C, having taken your Station on the Bafe Line as at G, from that Place raife aPe'rpendicular G I, which at the Point of Sight K will interfeét the Horizon; and to find the Roof and Bafe of the - ' principal Building C, rule the Diagonals L K and M K. ' N. B. Obferve whether the Profpeé't before you make :1 Curve, which if it fhould, be careful to make the fame in your Copy, whether it be direét or oblique. . To draw a View wherein are Accidental Points. See Fig. III. Plate V. Suppofe a large Building in which is feen two Fronts, taking different Directions as in this View : fix your Station at A about the Center of the Bafe Line, after which rule the Horizontal Line B C, then fix upon that your Points of Sight D and E, and rule firf’t the Diagonals E H and E I, and you may draw Diagonals from the Point of Sight D to F, G, and K, &c. that they may take their proper Directions towards their refpeétive Points of Sight. Accidental Points feldom intervene where there is but a final] Difiance, as “in Canals, Groves, Noblcmen’s Seats, &c. which are to be drawn by the {triéteft Rules of Perfpeétive. But when the Profpecl; is extenfive it mull include every Thing an’alagous thereto; but as this requires fuch an infinite Number of Accidental Points, you had better not attempt them till your Ideas are farther improved and your Judgment more firengthcned ' LESSON VIII. Of Enlarging and Contraflzizg. Fig. IV. and V. Plate V. WITH your Compaffes divide your Original into anyNumber of Squares, and with your Pencil rule from Side to Side, and from Top to Bot- tom ; then divide your Paper into the fame Number of Squares bigwer or lefs than the Original you intend to enlarge or contract: and you may Clo prevent Miliakes number the Squares both in the Original and Copy, as they are done in the Plate. This done, place your Original before you, and draw Square by Square, that is to fay, make the fame Parts as are contained in one Square of your Original fall into the fame Square of your intended Copy, and by doing this with Care, you will make the one exaé‘cly correl'pond with the other in due Symmetry and Proportion. Then outline your Suhjeét with Indian Ink, and rub out tge Marks of the Pencil with Bead, and {0 proceed to lhading. \ LESSON L SE S S O N 1X3 Of tée Imitation of life. S we have-already given particular Dire&ions for drawing the Human Body, from Piélures, Prints, and fuch like inanimate Orioinal‘s, we {hall here add a few Infirué’tions'in regard to the Imitation of Life. b Firft then, chufe the Perfon you are to draw from, to be of an hanfome Shape and good Proportion, as this will confirm your Ideas, and illuflrate the Rules before-mentioned. - ‘ ' _ Secondly, Place the Perfon in the molt natural and eafy Polition, always avoiding, in your early Praétice, the cepying of ungraceful or diflorted Atti— tudes, which ferve only to give the young Praélitioner a wrong Bias, and render him incapable of forming a jufl and proper Conception of the natural Beauties and Grace's of the human Form. Thirdly, Begin as before direéted with a flight Sketch with your Charcoal of the main leading Strokes o‘r Outlines, which having done correé’rly, pro- ceed to finifh with your Pencil. Fourthly, Take particular Notice of the Mufcles as they occur; as this will i give a Refemblance of the Perfon in the Outline, if correétly obferved, before on {hadow it. Fifthly, In drawing a Likenefs, great Care is necellary to e‘xprefs the Paf- lions in the liveliefi IVIanner, and this is done by minding the Difpofition of every Feature, with peculiar Nicety. This being by far the mofl diflicult Part the upil has to learn, we would advife him not to be too hafly to attain 'it before he has made a thorough Proficiency in the eafier and more practicable Branches of Drawing; nor would we, on the other Hand, difcourage the Efforts of Genius, which in the Purfuit of any Art or Science, are mofi certainly truly laudable, and have been "frequently attended with the deferved Succefs; \ all that we mean to inculcate by this Caution, is not to afpireall at once, ,or- by too hafiy Strides, to Perfeélion, but rather to afcend progreflively the ne- cefl'ary Steps which lead towards it. ' C2 LES- I“ U 2 .5 i s (120.; J L E18 3' o~ N X. 7,0fHIST0RY. ‘ ' HE Student has in this Branch the whole Art of Drawing, as it were, blended together; and when he has {0 far gained his Point, as to draw compleatly the, Human Body, this will be the moft delightful Employment that can be imagined. For the Choice of Subjects he need never be at a Lofs, as his own or his Neighbour’s Families will furnifh him with Abundance. « Books will likewife greatly aiiifl: him, particularly the Sacred Hiflory, which is replete with an inexhaufiible Fund of Events, above all others worthy to be recorded, and therefore: moll: deferving his ferious Attention. To this we may add the Hiflory of our own Country, wherein the illufirious rAé’tions of ancient Heroes, as well as thofe of our Contemporaries, and par- ticularly our gallant Officers Military and Naval in the laf’c War, afford ample Matter for the Exercife of the ingenious Artif’r. As to Beafls, Birds, Flow:- ers, Fruits, Plants, 8:0. we think it wholly unneceffary to give any Directions Concerning them, as the Subjects we have already difcuiled are by far the mofl- ‘ ufeful, and he who can {draw a human Figure correé’rly, is fufliciently qualified for every other Branch of this noble Art; but as the experienced Draughtfman may fometimes chufe to vary the Objeét of his Study, which, when perfect in Anatomical Subjects, he may do with Safety; wehave given a few Examples of Beafls, Birds, Shipping, 85¢. for his farther Entertainment and AmufeJ ment. ' APPEN- fimtws-§-m§u§,,.fi§=.{§“{§.x,fi%ui-fi2{3.i}m$-ifijfi aging} Wmmmwmmmm ‘ dies: APP P E ND I X,_ Contaz'rzzhg Jame drigf Oéfirwtz‘om on DESIGN, as well in Regard ‘ to Theory as Prafiz'be. “ HE Theory of Defign is only to be acquired by fiudying the heft I Authors who have laid down the fcientifical Rules forIthe Attainment of this Art. By a found Knowledge in the Theory of Defign, thofe who are unable to draw the molt fimple Objeé’rs may be enabled to give their Opinion ' upon the Performances of the belt Mafiers ,; in this Cafe, Theory being de- tached from Praétice, is equally confidered and diftinguifhed by the Epithet of Taf’te. There is another lVIethod of acquiring Taite ; which is by frequently examining good Pictures, in the Prefence of thofe who are ef’reemed ,Connoif- feurs in the Art, who generally pafs their Judgment without Referve. Theory, [in this. Senfe of the Word, has been hitherto the greatefi Support of Painting; for had Tafle been confined to Pra€tice only, we {hould not be able to find fo many invaluable Pieces in the Cabinets of Princes and other Encouragers of Art, and who could not perhaps have been permitted by their Avocations to have acquired any Tafle for this polite Art, fo that Painting of Courfe would have found no Patronage. - ' The Praétical Part of Defign is produced only by a frequent Application of £16 Hand, accompanied with the Underflanding in the Imitation of various orms. Thofe Objeé’ts, whether Perfons or Places, which we have but a tranlient View of, are in the Memory like Sketches of Charcoal upon Paper, which the Whifking of a Feather will entirely deface; how then {hall the unaccuflomed Hand perform its Funé’tion when the Object is not inculcated in the Mind, and can in a fhort Time retain only a confufed Idea of its Refemblance? This is therefore an infallible Proof that the only‘Way to attain Perfection is to blend Praétice with Theory. From what has been already faid, it is plain that the Conveyance of the Similitude of Objeéts is only to be obtained by an unwearied Application. 6 - The r — i . , . \ . ‘ -. . i - ;. . . . e ' '- " - ‘2‘ ,. I «, -rs.n. < as ,l <:.-' W, o. , ,4. ea .1r‘ ..- ’ “1‘ , "ye-1,} - .3”, ~. JQVBE‘W; V.,._. 4 - v? ., L’t » 1 22 1 The Hand by Praé’cice acquires a Facility which gives Freedom, and we mutt correé’r that Freedom byJudgment. Pleafe to obfcrve, that we do not here mean by judgment that Exertidn of the Underflandh ~ that is necell‘ary to compofe an hifiorical Pié’ture, but relates only to Proportion, it being nothing uncom- , man for one 'Who IS a good Praé’cica l l)1aughtfman to be entirely incapable of Empofing, which we think {hould be with the utmol’: Propriety afcribed to the. emus V‘s/ova 07412;}; Wazoo/um; a 2;: . 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