Care must be alfo taken to make the outlines faint and small in fuch parts as receive the light; but where the fhades fall, the outline must be ftrong and bold. The learner muft begin his fhadings from the top, and proceed downward, and ufe his utmost endeavours both by practice and obfervation to learn how to vary the fhadings properly; for in this confifts a great deal of the beauty and elegance of drawing. Another thing to be obferved is, that as the human fight is weak ened by distance, so objects muft feem more or lefs confufed or clear according to the places they hold in the piece: Thefe that are very diftant, weak, faint, and confused; thofe that are near and on the foremoft ground, clear, ftrong, and accurately finished. See Examples, in Plate CXXI.

SECT. XIII. Of DRAPERY.

In the art of clothing the figures, or cafting the drapery properly and elegantly upon them, many things are to be observed. 1. The eye muft never be in doubt of its object; but the fhape and proportion of the part of limb, which the drapery is fuppofed to cover, muft appear; or at leaft fo far as art and probability will permit and this is' fo material a confideration, that many artists draw firft the naked figure, and afterwards pnt the draperies upon it. 2. The drapery muft not fit too loose to the parts of the body: but let it feem to flow round, and as it were to embrace them; yet fo as that the figure may be eafy, and have a free motion. 3. The draperies, which cover thofe parts that are expofed to great light muft not be fo deeply fhaded as to feem to pierce them; nor fhould thofe members be croffed by folds that are too ftrong, left, by the too great darkness of their fhades, the members look as if they were broken. 4. The great folds must be drawn first, and then ftroked into leffer ones: and great care must be taken that they do not crofs one another improperly. 5. Folds in general fhould be large, and as few as poffible. However, they must be greater or lefs according to the quantity and quality of the ftuffs. of which the drapery is fuppofed to be made. The quality of the perfons is alfo to be confidered in the drapery If they are magiftrates, their draperies ought to be large and ample; if country clowns or flaves, they ought to be coarse and short; if ladies or nymphs light and foft. 6. Suit the garments to the body, and make them bend with it, according as it ftands in or out, ftraight or crooked; or as it bends one way or another; and the clofer the garments fits to the body, the narrower and fmaller must be the folds. 7. Folds well imagined give much spirit to any kind of action: becaufe their motion implies a motion in the acting member, which feems to draw them forcibly, and makes them more or less stirring as the action is more or lefs violent. 8. An artful complication of folds in a circular manner greatly helps the effect of fore-fhortenings, 9. All folds confift of two fhades, and no more; which may be turned with the garment at pleasure, thadowing the inner fide deeper, and the outer more faintly. 10. The fhades in filk and fine linen are very thick and finall, requiring little folds and a light shadow. II. Ob VOL VII. PART II.

ferve the motion of the air or wind, in order to draw the loofe apparel all flying one way; and draw that part of the garment that adheres clofeft to the body, before you draw the loofer part that flies off from it left, by drawing the loose part of the garment first, you should miftake the po fition of the figure, and place it awry. 12. Rich ornaments, when judiciously and fparingly used, may fometimes contribute to the beauty of dra peries. But fuch ornaments are far below the dignity of angels or celeftial figures; the grandeur of whofe draperies ought rather to confift in the bold. nefs and nobleness of the folds, than in the quality of the stuff or the glitter of ornaments. 13. Light and flying draperies are proper only to figures in great motion, or in the wind: but when in a calm place, and free from violent action, their draperies fhould be large and flowing; that, by their contraft and the fall of the folds, they may appear with grace and dignity. Examples of drapery are given in Plate CXXII. See farther under PAINTING.

SECT. XIV. Of DRAWING LANDSCAPES, BUILD

INGS, &C.

Of all the branches of drawing, this is the moft useful and neceffary, as it is what every man may have occafion for at one time or another. To be able, on the ipot to take the fketch of a fine building, or a beautiful profpect; of any curious produc tion of art, or uncommon appearance in nature, is not only a very defirable accomplishment, but a very agreeable amufement. Rocks, mountains, fields, woods, rivers, cataracts, cities, towns, caf fles, houfes, fortifications, ruins, or whatsoever elfe may prefent itself to view ou our journeys or travels, in our own or foreign countries, may be thus brought home and preferved for our future ufe, either in bufinefs or converfation. On this part, therefore, more than ordinary pains should be bestowed.

All drawing confils in nicely measuring the dif tances of each part of the piece by the eye. In order to facilitate this, let the learner imagine in his own mind, that the piece he, copies be divided into fquares. For example: Suppofe a perpendicular and a horizontal line croffing each other, in the centre of the picture you are drawing from: then fuppofe alfo two fuch lines crofing your own copy. Obferve in the original, what parts of the defign thofe lines interfect, and let them fall on the fame parts of the fuppofed lines in the copy : We fay, the fuppofed lines, because though engravers, and others who copy with great exactnefs, divide both the copy and the original into many fquares, as in Plate CXII. yet this is a me thod not to be recommended: as it will be apt to deceive the fearner, who will fancy himfelf a tolerable proficient, till he comes to draw after na ture, where thofe helps are not to be had, when he will find himfelf miferably defective.

Black lead is the most proper material for drawing the outlines of landscapes, which are best executed with this alone and thould not be gone over afterwards by the pen, which, unless it be very ju dicioully managed, generally gives an apearance of hardness.

Indian ink alone fhould be used for the fhadows till the ftudent has advanced very confiderably; nor till then should colours of any kind be used. It is natural for the beginner to be defirous of producing pictures and making coloured drawings; but nothing is more hurtful than the practifing this too early. The first thing to be learned is, to draw forms correctly; next, the mode of fhadowing objects truly; then the general light and fhadow of a drawing, and, with this, good compofition. All this is best learned by using black lead, black chalk, white chalk, Indian ink, and thefe feparately or combined, according to the progrefs the ftudent has made.

When colours are used, it should be with great caution and judgment. It is very difgufting to fee coloured drawings where the reds, greens, and blues, are laid on in the moft violent manner, without any regard to harmony. It will be faid by thofe who execute fuch uncouth daubings, that nothing can be greener than grafs, nor bluer than the fky; but they should confider, that nature employs fuch a multitude of little fhadows, and fuch a variety of different tints intermixed with her colours, that the harshness of the original colour is corrected, and the effect of the whole is very different from a raw and diftinct colour laid upon white paper. A fingle diftinct colour is always bad in a landscape; and the tints thould always be varied and broken in every part. Though we fhould have recourse to the ftudy of nature, in preference to any mafter, for the ftudy of colouring, yet it requires fome judgment to know what part of nature is to be ftudied, and what is to be avoided; for in nature herfelf, there are many parts which are bad, and to copy them would do more harm than good. The student in colouring muft examine, with every poffible attention, the colouring of old walls, broken and ftain ed by time and the weather, old thatch, old tiles, rotten wood; in fhort, all objects which are covered with mofs, ftains, and tints of various kinds; there he will find all that is moft perfect and har monious in colouring. Let him copy thefe with every poffible care, and avoid as bad all objects which are of a uniform decided colour. This has been the practice of all the great masters who have excelled in this captivating part of the art. In fhort, after learning the first principles of drawing, he cannot foon have recourfe to nature; he will obtain from her the materials for acquiring

DRA

* DRAWINGROOM. z.. [from draw and room.] 1. The room in which company affembles at court.-What you heard of the words fpoken of you in the drawing-room was not true: the fayings of princes are generally as ill related as the fayings of wits. Pope. 2. The company affembled there.

*To DRAWL. v. n. [from draw.] To utter any thing in a flow, driveling way.

Then mount the clerks, and in one lazy tone Through the long heavy page d' awl on. Pope. *DRAWN. [participle from draw.] An army

every fpecies of excellence, in a greater degree than from the works of the firft mafters. The study of thefe, however, will greatly abridge hi labour, and it should go hand in hand with draw. ing from nature.

To draw a landfcape from nature, let the learner take his ftation on a rifing ground, where he wil have a large horizon; and mark his tablet into 3 divifions, downwards from the top to the bottom; and divide in his own mind the landicape he is to take, into thrce divifions also. Then let him tura his ace directly oppofite to the midst of the horizon, keeping his body fixed, and draw what is directly before his eyes upon the middle divifion of the tablet; then turn his head, but not his body, to the left hand, and delineate what he views there, joining it properly to what he had done before; and, laftly, do the fame by what is to be feen upon his right hand, laying down every thing exactly both with refpect to distance and proper tion. Examples are given on Plate CXXIII. The best artists of late, in drawing their landfcapes, make them fhoot away one part lower than another. Thofe who make their landscapes mount up higher and higher, as if they stood at the bottom of a hill to take the profpect, commit a great error: the beft way is for the artift to get upon a rifing ground, make the neareft objects in the piece the higheft, and thofe that are farther off to ihoot away lower and lower, till they come almost level with the line of the horizon, leffening every thing proportionably to its diftance, and obfervirg alfo to make the objects fainter and lefs diftin&t, the farther they are removed from the eye. He must make all his lights and fhades fall one way, and let every thing have its proper motion: as trees fhaken by the wind, the small boughs bending more, and the large one lefs: water agitated by the wind, and dafhing againft fhips or boats; or falling from a precipice upon rocks and ftones, fpirting up again into the air, now gathered with the winds: now violently condenfed into hail, rain, and the like: Always remembering, that whatever motions are caufed by the wind must be made all to move the fame way, becaufe the wind can blow but one way at once.

To conclude, in order to attain any confiderable proficiency in this fort of drawing, a knowledge of PERSPECTIVE is abfolutely neceffary; fee that article.