The following hints, tending to further the tyro's progress in the delightful art of drawing, will not I trust prove unacceptable to such of your readers as are interested in the subject. For my own use I epitomized various directions relative to sketching, when I met with them in Gilpin's "Three Essays on Picturesque Beauty," and I shall feel particularly happy should my attempt at condensing much artistical matter from that interesting volume prove useful to the amateur: the professor undergoes a regular, severe, but essential course of study in that beautiful art, which is to purchase for him fame and emolument; but he who takes up his pencil merely for pastime, will do well to regulate its movements by a few rules, not cumbrous to the memory, and of easy application.—It is my intention briefly to state the object of Gilpin's first and second essays; from the third I have deduced those rules for sketching which appeared most obviously to result from the tenour of his observations:—

Essay 1st discusses the difference between actual and picturesque beauty; smoothness is usually allowed to enter into our ideas of the former, but roughness, or ruggedness is decidedly essential to the latter: for example—The smooth shaven lawn, the neatly turned walk, the classic marble portico, &c. &c. are beautiful; but the ruined castle, the chasmed mountain, the tempestuous ocean, &c. are picturesque, i.e. with appropriate accompaniments; for, after remarking that the sublime and beautiful are, with many persons, the divisions of the picturesque, our acute observer of nature adds, "sublimity alone cannot make an object picturesque," it must in form, colour, or accompaniment, have some degree of beauty to render the epithet just. "Nothing can be more sublime than the ocean, but wholly unaccompanied it has little of the picturesque." It should also be remembered that objects of rough and careless contour, as the worn cart-horse, and the tattered beggar (neither of them laying claim to an iota of sublimity) please better in a painting, than the sleekest racer, and the most finished belle of the Magazin des Modes.4

Essay 2nd treats of travelling, as far as it regards the picturesque, which is to be sought in natural, and sometimes artificial, objects; these will constantly present themselves to the observer under all the varieties of light and shadow, and the different combinations of colour, form, and accompaniment, sometimes producing whole landscapes, but more frequently only beautiful parts of scenery. The curious and fantastic forms of nature are not subjects for the pencil,—and the draughtsman will endeavour to depict animate as well as inanimate objects. The utility and amusement of travelling, are also considered in this essay, and hints thrown out for the improvement of barren and disagreeable country, by the observation of lights and shadows, tints of the season, distances, &c., with a recommendation to supply, if possible, every hiatus of nature, by the imagination of all that is needed to render her perfectly picturesque. (An ingenious idea; but, alas! mountains will not always rise in a marsh, forests wave over a sterile heath, nor lakes and rivers adorn a wheat-field. This essay, however, is worthy the perusal of travellers even, who never touched a pencil.)

Essay 3rd treats of sketching from nature from whence are deduced the following

Rules

1. Every landscape should have a leading subject; a rule too much neglected even by superior artists.

2. Get the object, or subject you design to copy, into the best point of view.

3. Landscape consists of three general parts:—fore-ground, middle or second-ground, and distance; in sketching foreground, it is a good rule to have some part of it higher than the rest of the picture. (Vide Rule the 7th.)

4. Mark the principal parts, (or points) of your landscape on paper, that you may more readily ascertain the relative distances and situations of the others.

5. Pay attention to the character of your subject; mingle not trivial with grand details.

6. One landscape must not be crowded with circumstances sufficient for two or more.

7. It is sufficient to give the principal feature of what you essay to represent; as a castle, abbey, bridge, &c.; but its accompaniments may (and to make a picture, should) be often different. The fore-ground of a drawing must be the artist's own; and it should be ample, since an extended distance, and a narrow fore-ground is always awkward and bad in a picture—N.B. Taste and observation will direct the student to select for his fore-ground, clusters of trees, pieces of rock, or the fragments of ruined fabrics, &c., according to the nature of his subject.

8. On the accurate observation of distances the beauty of landscape depends; be careful therefore to get them correct at your outset, and to keep them so, by shading lightly with pen or brush your black-lead sketch, (should the parts be complicated,) whilst the view is before you, or fresh in your memory.

9. The hand should be accustomed to the touch of various kinds of trees, though in a mere sketch, little variety is required; the distinction, however, between full foliaged, and straggling, branchy trees must be preserved, for both are necessary even in a sketch, and the artist should therefore be prepared to represent them.

10. The artist must attend to the composition, and the disposition of his subject. By the composition may be understood the objects with which he composes his view; by the disposition, their picturesque and tasteful arrangement.

11. Figures, must be such as are appropriate to the scene; thus, history in miniature is bad, because a landscape is in itself a subject sufficient for the employment both of pencil and eye; therefore historical figures in a view, are lost and out of place.

12. Birds may be introduced with good effect, if thrown into proper distance; to represent them near is absurd: ruins and sea views are the best subjects in which they can appear.

13. Effect is to be produced best, by strong contrasts of light and shade both in earth and sky; but the student's taste must determine where these shall fall, and though the contrasts should be strong, yet gradation, in both, must be observed.

14. A predominancy of shade has the best effect; and light, though it should not be scattered, must not be drawn, as it were, into one focus.

15. The light, in a picture, is best disposed when the fore-ground is in shadow, and it falls in the middle; but this rule is subject to many variations. Light should rarely be spread on the distance.5

16. It is useful to know, that the shadows of morning are darker than those of evening; also, that when objects are in shadow, their light (as it is then a reflected light,) falls on the opposite side to that on which it would come if they were enlightened.

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The Mirror of Literature, Amusement, and Instruction. Volume 12, No. 322, July 12, 1828

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THE DRAUGHTSMAN; 3 OR, HINTS ON LANDSCAPE PAINTING

OBSERVATIONS ON, AND RULES FOR, SKETCHING

Rules

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