Exercise X. · 2

[201] What is usually so much sought after under the term “freedom” is the character of the drawing of a great master in a hurry, whose hand is so thoroughly disciplined, that when pressed for time he can let it fly as it will, and it will not go far wrong. But the hand of a great master at real work is never free: its swiftest dash is under perfect government. Paul Veronese or Tintoret could pause within a hair’s breadth of any appointed mark, in their fastest touches; and follow, within a hair’s breadth, the previously intended curve. You must never, therefore, aim at freedom. It is not required of your drawing that it should be free, but that it should be right: in time you will be able to do right easily, and then your work will be free in the best sense; but there is no merit in doing wrong easily.

These remarks, however, do not apply to the lines used in shading, which, it will be remembered, are to be made as quickly as possible. The reason of this is, that the quicker a line is drawn, the lighter it is at the ends, and therefore the more easily joined with other lines, and concealed by them; the object in perfect shading being to conceal the lines as much as possible.

And observe, in this exercise, the object is more to get firmness of hand than accuracy of eye for outline; for there are no outlines in Nature, and the ordinary student is sure to draw them falsely if he draws them at all. Do not, therefore, be discouraged if you find mistakes continue to occur in your outlines; be content at present if you find your hand gaining command over the curves.

[202] If you can get any pieces of dead white porcelain, not glazed, they will be useful models.

[203] Artists who glance at this book may be surprised at this permission. My chief reason is, that I think it more necessary that the pupil’s eye should be trained to accurate perception of the relations of curve and right lines, by having the latter absolutely true, than that he should practice drawing straight lines. But also, I believe, though I am not quite sure of this, that he never ought to be able to draw a straight line. I do not believe a perfectly trained hand ever can draw a line without some curvature in it, or some variety of direction. Prout could draw a straight line, but I do not believe Raphael could, nor Tintoret. A great draughtsman can, as far as I have observed, draw every line but a straight one.

[204] Or, if you feel able to do so, scratch them in with confused quick touches, indicating the general shape of the cloud or mist of twigs round the main branches; but do not take much trouble about them.

[205] It is more difficult, at first, to get, in colour, a narrow gradation than an extended one; but the ultimate difficulty is, as with the pen, to make the gradation go far.

[206] Of course, all the columns of colour are to be of equal length.

[207] The degree of darkness you can reach with the given colour is always indicated by the colour of the solid cake in the box.

[208] The figure a, Fig. 5., is very dark, but this is to give an example of all kinds of depth of tint, without repeated figures.

[209] Nearly neutral in ordinary circumstances, but yet with quite different tones in its neutrality, according to the colours of the various reflected rays that compose it.

[210] If we had any business with the reasons of this, I might, perhaps, be able to show you some metaphysical ones for the enjoyment, by truly artistical minds, of the changes wrought by light, and shade, and perspective in patterned surfaces; but this is at present not to the point; and all that you need to know is that the drawing of such things is good exercise, and moreover a kind of exercise which Titian, Veronese, Tintoret, Giorgione, and Turner, all enjoyed, and strove to excel in.

[211] The use of acquiring this habit of execution is that you may be able, when you begin to colour, to let one hue be seen in minute portions, gleaming between the touches of another.

[212] William Hunt, of the Old Water-colour Society.

[213] At Marlborough House, among the four principal examples of Turner’s later water-colour drawing, perhaps the most neglected is that of fishing-boats and fish at sunset. It is one of his most wonderful works, though unfinished. If you examine the larger white fishing-boat sail, you will find it has a little spark of pure white in its right-hand upper corner, about as large as a minute pin’s head, and that all the surface of the sail is gradated to that focus. Try to copy this sail once or twice, and you will begin to understand Turner’s work. Similarly, the wing of the Cupid in Correggio’s large picture in the National Gallery is focussed to two little grains of white at the top of it. The points of light on the white flower in the wreath round the head of the dancing child-faun, in Titian’s Bacchus and Ariadne, exemplify the same thing.

[214] I shall not henceforward number the exercises recommended; as they are distinguished only by increasing difficulty of subject, not by difference of method.

[215] If you understand the principle of the stereoscope you will know why; if not, it does not matter; trust me for the truth of the statement, as I cannot explain the principle without diagrams and much loss of time.

[216] If you can, get first the plates marked with a star. The letters mean as follows:--

a stands for architecture, including distant grouping of towns, cottages, &c. c clouds, including mist and aerial effects. f foliage. g ground, including low hills, when not rocky. l effects of light. m mountains, or bold rocky ground. p power of general arrangement and effect. q quiet water. r running or rough water; or rivers, even if calm, when their line of flow is beautifully marked.

From the England Series.

a c f r. Arundel. a f l. Ashby de la Zouche. a l q r. Barnard Castle.* f m r. Bolton Abbey. f g r. Buckfastleigh.* a l p. Caernarvon. c l q. Castle Upnor. a f l. Colchester. l q. Cowes. c f p. Dartmouth Cove. c l q. Flint Castle.* a f g l. Knaresborough.* m r. High Force of Tees.* a f q. Trematon. a f p. Lancaster. c l m r. Lancaster Sands.* a g f. Launceston. c f l r. Leicester Abbey. f r. Ludlow. a f l. Margate. a l q. Orford. c p. Plymouth. f. Powis Castle. l m q. Prudhoe Castle. f l m r. Chain Bridge over Tees.* m q. Ulleswater. f m. Valle Crucis.

From the Keepsake.

m p q. Arona. m. Drachenfells. f l. Marley.* p. St. Germain en Laye. l p q. Florence. l m. Ballyburgh Ness.*

From the Bible Series.

f m. Mount Lebanon. m. Rock of Moses at Sinai. a l m. Jericho. a c g. Joppa. c l p q. Solomon’s Pools.* a l. Santa Saba. a l. Pool of Bethesda.

From Scott’s Works.

p r. Melrose. f r. Dryburgh.* c m. Glencoe. c m. Loch Coriskin. a l. Caerlaverock.

From the “Rivers of France.”

a q. Chateau of Amboise, with large bridge on right. l p r. Rouen, looking down the river, poplars on right.* a l p. Rouen, with cathedral and rainbow, avenue on the left. a p. Rouen Cathedral. f p. Pont de l’Arche. f l p. View on the Seine, with avenue. a c p. Bridge of Meulan. c g p r. Caudebec.*

[217] As well;--not as minutely: the diamond cuts finer lines on the steel than you can draw on paper with your pen; but you must be able to get tones as even, and touches as firm.

[218] See, for account of these plates, the Appendix on “Works to be studied.”

[219] This sketch is not of a tree standing on its head, though it looks like it. You will find it explained presently.