THE ART

FIGURE DRAWING
CONTAINING

PRACTICAL INSTRUCTIONS FOR A COURSE OF STUDY

IN THIS BRANCH OF ART.

CHAELES H. WEIGALL,
OF THE QUEEN'S COLLEGE, LONDON, AND MEMBER OF THE NEW SOCIETY OF PAINTERS
IN WATER-COLOURS.

2&attfj Seventeen Illustrations,

DRAWN ON WOOD BY THE AUTHOR, AND ENGRAVED BY WALTER G. MASON.

FOURTH EDITION.

&rs profaat arttficem.

LONDON:
WINSOR AND NEWTON, 38, RATHBONE PLACE.
1852.

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 THE ART
or

FIGURE DRAWING:
CONTAINING

PRACTICAL INSTRUCTIONS FOR A COURSE OF STUDY

IN THIS BRANCH OF ART.

BY

CHARLES H. WEIGALL,
OF THE QUEEN'S COLLEGE, LONDON, AND MEMBER OF THE NEW SOCIETY OF PAINTERS
IN WATER COLOURS.

21Httfj Seventeen Illustrations,

DRAWN ON WOOD BY THE AUTHOR, AND ENGRAVED BY WALTER G. MASON.

FOURTH EDITION.

%xs probat artiftcenu

LONDON:
WINSOR AND NEWTON, 38, RATHBONE PLACE,
Artists* Colour fHakers, fcg Special Appointment, to f£cr f&ajestg,
ano to tynncz mbzxt

1852.
 :

LONDON
Printed by Schulze and Co., 13, Poland Street.
 PREFACE.

There have been many works published on Landscape

Painting containing the results of the experience of the
best masters in this delightful branch of Art, and many
also on Figure Drawing, but the latter for the most part
on too extensive a scale, and in too expensive a form, to be
generally available. A requirement, which has long been
felt, is now being supplied; and there is already published,
at a moderate price, a series of valuable Elementary Works
on Landscape Painting and Perspective, by Mr. Penley
and the Messrs. Rowbotham, which may be perused with
great advantage by the Artist as well as the Amateur.
The Author indulges the hope, that the following brief
work on Figure Drawing may be equally useful ; and that,

although it is not to be expected that all which may be

required to make a figure draughtsman will be found in
its pages, sufficient information may be given to facilitate
 PREFACE.

self-instruction ; and that, at least, there is nothing that

will place any impediment in the way of the pupil who
may have the benefit of a master's attention.
In the Rules and Illustrations, all minuteness and
complexity have been as much as possible avoided; as

the Author has always found, in his experience, the most

valuable information was that contained in the simplest
form.

13, MICHAEL'S PLACE, BROMPTO]\T ,

MARCH, 1852.
 THE ART
or

FIGURE DRAWING.

LINES.

The power of making a line is of paramount importance.

In all pencil or chalk drawing, the shading and finishing
are but a repetition of lines, and if one line cannot be
made with an equal pressure of the pencil throughout,
the evenness of tint necessary to produce the appearance
of shadow cannot be arrived at : one line in a mass of
shading, uneven in its form or colour, interrupts the
continuity necessary to produce the proper effect; and
although we find that a certain amount of mechanical
dexterity in handling the pencil is not difficult to be
attained, its necessity is not sufficiently insisted upon in
the first instance. Neither must it be forgotten, that
when we leave the pencil for the use of the brush, we
8 LINES.

only change one instrument for another; the power

acquired in the first instance will be our aid throughout
our future practice.
The first step in drawing should therefore be to make
a line. Let us then proceed to consider the best method
of its production. A line is either straight or curved.

The mode of drawing curved lines will be explained here-

after. In the case of a straight line, its place and length

being determined, the student should make a mark, the
point from whence it is to proceed, and another where it

is to terminate, and, placing the hand so that it can com-

mand the line from point to point, he should pass the
pencil a few times between them, until he feels that he

can make the line with certainty and precision. When

such a line can be made, with facility, something has
been attained ; a certain amount of connexion between the
mind and the hand has been established, and the latter is

prepared to become the instrument of the former.

In drawing the figure, a firmer and more careful line

is required than in drawing landscape; it requires also

more careful observation and comparison ; and, should the

taste of the pupil hereafter incline to Landscape Drawing,
the command of hand acquired in this previous practice

will be found of great assistance.

 PROPORTION. 9

PROPORTION.
When we consider the variation to which the human
form is subject in different parts of the globe, it seems
difficult, at first, to find the standard in which beauty
consists.

The consent of ages has been given to that established

by the Greeks, and found in those works of that great

people which remain to us.

In them we find all that can realize the idea of beauty
to our minds, the symmetry of the whole, and the fitness

and the adaptation of the parts being that from which

nothing can be taken away, and to which nothing can be
added ; this standard seems indeed to be a test of truth
in all matters of Art relating to the beau-ideal of human
form. We have, however, not always to represent the
perfection of form ; and it is quite evident that no rule
can be given that will answer to the countless varieties,

national or individual, that come before our daily experi-

ence ; but as all these are departures from the acknowledged

standard, a knowledge of that first obtained would enable
us the more readily to detect them, and see wherein the
difference lies. The short and squat figure of the Lap-
lander, or the tall and muscular figure of the Caffre

or Patagonian, could, by a reference to rule, be satisfac-

torily given on paper, by the number of heads or spaces

the figure was divided into, according to the scale to be
found in this work.
10 PROPORTION.

The physiognomical distinctions between nations is also

easily observable, so that we could tell at a glance the

Arab from the Chinese, or the Negro from the European,

and refer these differences to the given standard. The
small eyes obliquely set in the head, the raised eyebrows,
and the broad flat nose, would enable us to mark the
Chinese ; and the retiring forehead, the skull rising
behind, the projecting jaws, flat nose, large nostrils, and
the ears placed high up on the head, would point out the
Negro : and our appreciation of the peculiarities of each,

or of any other, would be obtained by the reference we

insensibly make to the standard upon which our taste
has been formed.
It requires, however, a nicer shade of discernment
to ascertain wherein the difference lies in the physi-
ognomy of individuals of the same nation, or of those
with whom we mix in our daily intercourse ; but to the
Artist accustomed to observe and to note any deviation
from the principle of proportion, the angle formed with
the eyes and mouth, a little more acute or obtuse, the
chin advancing or retiring, the high or low forehead, give
at once an idea of individuality by these variations, or
departures from the standard of proportion.
From the analysis and measurement of the finest

Greek statues, it is to be gathered that if the grand or

heroic was intended to be represented, the figure exceeded
8 heads ; and if the graceful and youthful were the sub-
ject, the proportion was less than 8 heads and more than
 \ :

PROPORTION. 11

7 : the average seems therefore to be between these

measures. Leaving out all the more minute fractional
divisions into which the human figure has been resolved, I

shall commence by dividing it into 8 heads, as the most

simple rule, and one that seems to comprise the essentials
of all others that have been given. This will divide the
figure thus

PliATE I.

Heads.

From the crown

chin • ......
of the head to the bottom of the

. 1

From the bottom

From
or breast bone .......
of the chin to the top of the sternum,

the top of the sternum to the bottom . .

\

\
From

From
navel ........
the bottom of the sternum to just above the

just above the navel to the commencement of

the lower limbs . . . . -
.

From the
middle of the thigh ......
commencement of the lower limbs to the

From
knee ... .....
the middle of the thigh to the bottom of the

From

From
ankle ........
the bottom of the knee to the small of the

the small of the ankle to the sole of the foot .

\

Heads . . . . .8
 ; J

12 PROPORTION.

LENGTH OF THE ARM.

Heads.

From

From
pits .........1
the top of the shoulder to opposite the arm-

thence to the elbow joint . . .

^

From the elbow joint to the wrist . . . .

1
From the wrist to the end of the longest finger .
|

The arms hanging down by the side, and having the

fingers extended, would reach to the middle of the thigh.

If the arms were extended at right angles with the

body, the width across, from the tip of the longest finger
of the one hand, to the tip of the longest finger of the
other, would be equal to the length of the figure, or

8 heads.
The width of the neck across is half a head.
The width to the setting on of the shoulders, is one
head and a half.

The width across the shoulders is two heads ; this will

also form an equilateral triangle with the navel.

Under the arm-pits it is one head and a half.

Across the waist one head and a quarter.

The width of the top of the thigh is three-quarters of
a head

And that of the top of the knee is half a head.

That of the bottom of the knee is also half a head.
PROPORTION.
14 PROPORTION.

Across the calf is two noses and a half, or § of a head.

Across the small of the ankle is one nose, or £ of
a head.
The hand is | of a head in length, and the length of
the middle finger is equal to half the hand.
The Ancients allow one-sixth of the whole length of the
figure for the length of the foot, rather less than more.

This scale of proportion would answer for a fine model

six feet in height; therefore all more than 8 heads
would increase the appearance of tallness, and all below
that proportion would tend to give the appearance of
shortness.
 PROPORTION. 15

PLATES II. and III.

BACK VIEW OF THE FIGURE— WIDTH.

Heads.

Across the neck ......

Across the widest part of the head above the ears 4

Across the shoulders .....

Across the setting on of the shoulders
2
li

Across the waist

Across the hips ......
. . li
li
Across the middle of the thigh
Across the top of the knee
Across the bottom of the knee
....
....
. .
1
1
h
1
Across the small of the ankle one nose, or 4
BACK VIEW OF THE FIGURE.
SIDE VIEW.

PLATE III.
18 THE FEMALE FIGURE.

PliATE IV.

THE FEMALE FIGURE.

The height of the female figure may be reduced into

the same number of divisions as those of the male figure.

The widths of the different parts will be found to vary

considerably.

The head measures f of a head in the widest part.

The width of the neck is half a head.

The width across the shoulders is one head and a half.

The width of the waist one head and ^th.

The width across the hips is two heads.
The width across the middle of the thigh is three-

quarters of a head.
The width across the top of the knee is two noses and
a quarter.

The width of the bottom of the knee is half a face.

The width across the calf is two noses and a quarter.

The width across the small part of the ankle is one nose.
The thickness of the foot, measured across the instep,
is one-third of its length.
THE FEMALE FIGURE.

PliATK IV.
20 THE FOOT.

PliATE V.

THE FOOT.

The length from the heel to the ball of the great toe,

is two-thirds of the length of the foot.

The length of the great toe, not including the ball, is

one-fifth of the length of the foot.

The width of the foot, at its widest part, is equal to two-

fifths of its length.
THE FOOT.

PLiATE V.
22 THE HAND.

PLATES VI. and VII.

THE HAND.

The length from the wrist to the tip of the middle

finger is | of a head.
From the wrist to the division of the fingers is one
half of the hand.

The thumb is one quarter of the head, or equal to 1

nose in length.
It will be well to observe, for the direction of the pupil,
that the natural position of the upper arm, is at an angle
outwards, and that of the lower arm inwards ; so that, in

a figure at perfect ease, the hands would approach each

other in front.
The same observation applies to the lower limbs, which
incline inwards from their junction with the body.
The fingers also have an inclination inwards towards
the middle of the hand : the second finger is straight.

In closing the hand, the thumb, the first, third, and

fourth fingers converge towards the second finger.

The muscular action of the foot is so much destroyed

by the habit of wearing shoes, that it has lost its natural
action ; but in nations accustomed to leave the foot as
free as the hand, it has the power of grasping an
object with firmness. It has the same construction as the
THE BACK OF THE HAND.

PIRATE VII.
 DIFFERENCE OF PROPORTIONS IN THE SEXES. 25

hand, and the same inclination of the to'es, and the same
natural inclination inwards, when raised from the ground,
either before or behind, as in the action of dancing.

These natural inclinations inwards are owing to the

setting on or peculiar articulations of their several joints,

which the pupil will find explained for him in the course

of his anatomical study.

Women in general are shorter than men, and the pro-

portional widths of each also differ. The neck of the woman
is said to be a trifle longer, and set farther back, or more
upright than in man. The shoulders are much narrower,
across ;
and, the hips being much wider, the lower limbs

have, in consequence, a greater inclination inwards. The

lower limbs are larger, and the hands and feet smaller.
The muscles are less visible, consequently the lines, which
form the contour of the body, flow much more gently and
smoothly into each other than in man, giving the appear-
ance of grace, beauty and softness.
In infancy the brain is large in proportion to that of the «

adult. The upper part of the head corresponds to this in-

crease, the frontal bones particularly being much larger at

this period of life ; the jaws are not yet fully developed, but
the exuberance of the adipose membrane or fatty covering

on the cheeks and all over the body and limbs, the fine-
ness of the skin, and the clearness and transparency of
its colour, give to this age a beauty peculiar to itself.

In old age the muscles are wasted, and the skin losing
26 PROPORTIONS AT DIFFERENT PERIODS.

its contractile power hangs in folds and wrinkles. The

body becomes attenuated, and the lines of the figure are

angular and rigid ; and there is no longer the spring and

elasticity that distinguish the movement of youth. But
every age has its beauty ; Nature is perfect in all her

works, and each period of life, when it comes under the

pencil of the Artist, is equally a subject of interest to him,
and comes in for its full share of admiration. It has
been held that the forms of women and children are

much more beautiful than those of men but is not

; this

notion derived rather from association than reality ? To

the infant belong the ideas of innocence, gentleness and
hope ; and to woman, these and many other associations
mental and physical ; and to both, their dependence on
man for protection and support. It appears to me,
therefore, that their real beauty will be found in their
adaptation to the purposes for which they were created.
In an infant, the centre of the figure is found to be at

the navel. The proportions of a child, two or three years

old, will be found to average five heads, of which three
will be allowed for the upper part of the figure, and two
for the lower : for a child of about six years, 6 heads ;

and about this period of life the limbs become thinner.

At the age of sixteen, about 7 heads ; at which period
the figure begins to take its proper proportion of half
for the body, and half for the lower limbs ; it then
increases in its regular proportion to its full development.
 THE FRONT FACE. 27

PIRATE VIII.

FOR THE FRONT FACE.

In reading the following pages, it must be carefully

remembered, that by an oval is meant, not an ellipse, but

the outline of a well-shaped egg. In the figure of Plate
VIII., the greater diameter bisects the oval, and the
small diameter would be the straight line drawn at right
angles to the larger one, through a point distant about ^
of its length from the extremity towards the broad part
or end, and equal to j of the larger diameter.
First then draw an oval, and make its greater diameter;

this is called the facial line ; divide this line into 4 equal
parts, these parts will represent the divisions of the front

face, as follows :

From the crown of the head to the commence-

ment of the forehead, or from where the hair
commences . . . . . .1st.
From thence to the root of the nose . . 2nd.
From thence to the bottom of the nose . . 3rd.

From thence to the bottom of the chin . . 4th.

This last part divided into 2 equal parts, will deter-

mine the bottom of the under lip.
THE FRONT FACE.
 THE FRONT FACE. 29

Divide the upper portion into 3 parts, and this

will give the opening of the mouth . . 1st.

The depth of the upper lip . . . . 2nd.

The space between the upper lip and the nose 3rd.

The width of a lip from the point of the under lip will
give the commencement of the chin.
The ear is equal to the length of the nose, and parallel
to it. Just above the ear is the widest part of the head,
equal to 1 face, or | of a head.
The eye is about -^-th of this measure.

The space between the eyes is equal to the width of an

eye ;
therefore, by dividing the line into 5 parts, we shall

determine the size and situation of the eyes, and the space
between them.
If lines parallel to the larger diameter were drawn
from the corner of the eye on each side of the nose, they
would give the width of the nostrils ; so that the nostrils

are the width of an eye.

The mouth is a trifle wider than an eye.

 ;

30 THE EYE AND THE EAR.

PliATE IX.

The full eye is divided into 3 equal parts, and the middle

one is occupied by the pupil ; of the profile eye the pupil

occupies one third part in breadth, as seen in the given

example.
The ear. Its situation has been described in the plates
of the face. It is half its own length, in the widest part

if it be divided into 3 equal parts, the middle division

will be the size of its orifice.
THE EYE AND THE EAR. 31

PliATE IX.
32 THE NOSE AND THE MOUTH.

PliATE X.

The division of the front nose into 3 equal parts, gives

the width of the middle nose, and that of each wing.

The front month, divided into 4 equal parts, shows the
centre of the lips, and the points of the greatest fulness
both of the upper and under lip.

PliATE X.
 ;; ;

THE PROFILE HEAD. 33

PliATE XI.

FOR THE PROFILE HEAD.

First draw a vertical line, equal in length to the height

of the intended head ; and then draw two straight lines

at right angles to it, at its extremities ; these two hori-

zontal lines will touch the top of the head and the lowest
point of the chin respectively. Divide the vertical line
into 4 equal portions :

The first of these parts marks the vertical distance

between the top of the head, and the front roots of the
hair
The second, that from the hair to root of the nose,
(between the eyes)
The third, the length from thence to the bottom of the
nose
The fourth, that from the bottom of the nose to the
bottom of the chin.
Bisect this fourth portion; and the point of bisection
deteraiines the lower point of the under lip.

Again ; divide this last part (i.e. from the nose to the
front of the under lip), into 3 portions ;

The lowest portion determines the thickness of the

under lip.

The next above determines the thickness of the upper

hp.
D
 ;

34 THE PROFILE HEAD.

The uppermost, which is rather longer than the

middle one, determines the distance between the nose

and the upper lip.

These points being determined on the vertical line,

next draw between the horizontal lines, but touching

only the lower one, an oval, the larger diameter of

which, being vertical, is to be equal to the length of the

vertical line from its top to the point marking the opening
of the mouth or the top of the upper lip ; and its lesser

diameter equal to § of the larger ; and let it be placed,

so that the extremity of its lesser diameter may touch
the vertical line a little above the point marked for the
roots of the nose. If this oval be carefully drawn, it will,

in its course, pass somewhat behind the front opening of

the mouth and the middle of the upper lip, and through
the commencement of the chin under the lip ; it will

determine the angle of the under jaw (not its course)

and it will pass through the centre of the ear.

Again : from the point on the vertical opposite the

upper lip, draw a straight line perpendicular to the
vertical) and meeting the oval; the bisection of this
straight line will give the commencement of the upper
iip.

Again : the projection of the nose before the vertical

is nearly equal to the distance from the bottom of the nose
(where it intersects the vertical), to the opening of the
mouth.
THE PROFILE HEAD. 35
36 THE PROFILE HEAD.

Again : the vertical dividing the nose equally, the

width of the wing of the nose is equal to its projection
in front of the nostril.

Again : if a straight line, parallel to the vertical, be

drawn, somewhat behind the wing of the nose, and inter-

secting the oval below the under lip, the point of inter-
section is the commencement of the chin.
Again : the length of the mouth is equal and parallel
to the projection of the nose before the face.

Again : the length of the ear is equal to that of the

nose, and its place is found by its centre being in the
oval (distant at the length of 2 noses from the facial line),

and by its being parallel with the nose, and at the same
distance from the top of the head as the nose is.

Again : the highest part of the head lies immediately

over the top of the ear.
Again : a line drawn from the middle of the forehead
to the middle of the chin will give the inclination of the

eye, the position of which is further determined by the

top of the eyelid being opposite the root of the nose.
Again: if upon the straight line, drawn from the
middle of the back of the ear to the middle of the fore-
head, an equilateral triangle be drawn, its vertex deter-
mines the point of the chin.
 EXPRESSION. 37

EXPRESSION.

Before we quit this part of our subject, it may be well

to introduce some few remarks on the changes to which
the human countenance is subject, when under the in-

fluence of the passions or emotions which belong to our

nature. I do not mean to limit expression to its phy-

siognomical characteristic. Passion affects every member
of the body, and each part of it requires the closest

observation of the artist in its successful representation.

How much does the clenched hand and the muscular

rigidity of the whole figure assist the expression of the
face, in giving the character of deadly revenge or of power-
fully-suppressed emotion ! How do the softly-flowing lines
and easy pose of the figure aid the gentle smile and placid
look, in the expression of benevolence or sympathy ! But
we are now to treat of the face only; and as we are
accustomed to regard that as the index of the mind, and
as it is that part of the figure less constrained by habit
and education, and, moreover, as it is there the organs are

placed which are in immediate communication with the

senses that feed the mind whence these passions have
birth, it seems natural that we should find in the modifi-
tions of its outward form traces of the workings taking

place within.
In persons who are denied the gift of speech, and in
38 EXPRESSION.

savage people whose language is barren, or, lower still in

the scale of creation, in brute animals, which have no lan-

guage beyond the modification of a sound, the expression
of passion is observable in every part of their frame ; but
in civilized nations, having a copious language through

which they are taught to express their wants and wishes,

words supply the place of action, and gesticulation is

controlled and kept dormant, until, on a sudden impulse

being given, the restraint of habit and education is thrown

aside, and Nature proclaims herself.

Sorrow. All the muscles of the face are relaxed, the

head inclines forward, the eyebrows raised towards the
middle of the forehead, the eyelids droop, the pupil of
the eye is raised, the corners of the mouth are lowered,

and, from the laxity of the muscles, the proportion of the

face between the eye and mouth is lengthened. The same
characteristics may be observed in pity, dejection, and
melancholy.
Joy, This passion or emotion is principally expressed

by the vivid eye, the mouth slightly open and its corners
elevated. Its modifications may be considered as content,
cheerfulness.

Pain. The eyebrows are contracted, the forehead

wrinkled, the mouth slightly opened, and its corners
depressed. These characteristics belong also to anguish

and despair.
 ;

EXPRESSION. 39

Anger. The head is raised, the eye glares, the eye-

brows are contracted, the lips compressed, the veins of
the head swollen, and the muscles of the face rigid.
Revenge, hatred, rage, and fury, may be classed with
this passion.

Fear. The eyes are opened widely, and directed towards

the object that excites the emotion ; the white being visible
above the iris. The eyebrows are raised, the forehead

wrinkled, the mouth open, and the hair stands on end.

Astonishment, horror, and terror, have also this ex-

pression.

Contempt. The head is raised, and slightly turned from

the exciting cause. The eye is half-closed, the pupil

lowered, and directed towards the object, the lips raised

at the corners, more particularly on one side, and the

nose wrinkled.
Its relatives are derision, scorn.

Laughter. The corners of the mouth are extended and

raised, the upper portion of the cheeks raised, so as

almost to close the eyes, which become sparkling, the

corners of the eyelids being turned up and wrinkled
the nose also is wrinkled.

All the features aid in expression, but some more than

others. If the rest of the face were covered, the eye with

its brow would go far in expressing all the softer emotions

of our nature ; it speaks to us in intelligible language the
40 METHOD OF OUTLINE.

sentiments of love, sympathy, pity or joy; while, in the

more fierce and stormy passions by which we are agitated,

the mouth and nose are called into action, and contribute
their full share in giving to these passions expression.

METHOD OF OUTLINE.

It being supposed that the pupil has now made himself

acquainted with the proportions which the different parts
of the figure bear to each other, and that he is about to
commence a drawing from a copy, he must first consider
the quantity of the surface or paper he intends it to

occupy, and making a mark for the top, and another for

the bottom of the work, he must endeavour to obtain the

general character of the subject, and without paying too
much attention to details ;
sketching as much as possible

in straight lines and angles, and leaving out some small

parts rather than putting too many in, or making them
too prominent.
In Plate XII., Fig. 1, these principles of the first

sketch are shown. The curved lines are produced upon

straight ones, the points and degree of curvature being
thus more easily determined. The eye is very likely to
be deceived by the roundness or fulness of the muscles,
and the outline frequently drawn as if it were swollen,
as in Plate XIII., Fig. 2. In making the curve, observe
 METHOD OF OUTLINE. 41

at what part there is the greatest deviation from the

straight line ; make a dot at such place, and draw your
curve through it thus (Plate XII., Figs. 1 and 2) :

PliATE XII.

FIG. 1.

In other cases it will be best to draw them first in

rectilineal angles, as in Fig. 3, and to make the curves by-

taking off the points ;

by the adoption of these methods,
a certainty of hand is acquired, and freedom and vigour
given to the drawing. The student should not neglect
to pay attention to anatomy ; it is the foundation of
knowledge in this branch of art ; it assists to explain, and
enables us to judge of proportion and disproportion : for
 METHOD OF OUTLINE. 43

this purpose he should procure a plaster anatomical figure,

which can be had at a reasonable rate from any of the

plaster-figure moulders. From this figure the names
and situation of the muscles, with their uses, origin and
insertion, may be learnt, with the aid of any work of
reference on the subject.*
We have spoken, in the preceding pages, of the im-
portance of acquiring a facility in making a straight line
between two given points ; and we will now suppose the
pupil to be acquainted with the proportion which the
different parts of the figure bear to each other, and
that he has had some practice in copying. He should
now proceed to draw " from the round," as it is termed,
that is to say, from plaster casts.

The drawing should be made in all cases conveniently

large, and charcoal may be used instead of the pencil for

sketching the work in, as in making large lines it obeys

the hand more readily than the pencil does. The marking
should be as lightly made as possible, as it may then be
easily removed or dusted off with the handkerchief. The
work should then be corrected with the chalk ; and the
shadows should be put in, with a repetition of lines

crossing and recrossing each other, until these lines

are lost in an even tone of gradation from the dark to

the lights of the figure.

* The pupil is referred to a most useful little work by Mr. Warren,

 :

44 DRAWING FROM THE LIVING FIGURE.

The next step will be the copying, in colour, from

pictures of established reputation, and care must be taken
that, in so doing, time be not lost in making a servile
copy of every part of the picture, the attention being given
to the arrangement of colour, to the quantities of dark
and light, and to the principles upon which the picture is

composed — in fact, to the making a careful analysis, to

the best of the pupiFs ability, of the work before him.

PliATE XIV.

DRAWING FROM THE LIVING FIGURE.

In drawing from nature, the model being first placed in

the position in which it is intended to be represented,
proceed according to the principles above described
first, mark on your paper the proportion and place
it is to occupy thereon; having found the centre, or
principal division, make a small mark, and then make
other divisions to give the situation and proportion of the
different parts. Hold the pencil at arm's length before
the eye, and observe what parts of the figure fall upon the
line perpendicularly, horizontally, or obliquely. A little

nervousness will, no doubt, at first be experienced, but

this will soon wear off. The greatest difficulty will be
found in the drapery, as this is constantly changing, even

with the breathing of the figure ; first, then, sketch those

lines of it which explain or give the action ; then take any

 DRAWING FROM THE LIVING FIGURE. 45

portion that comes well, and do as much as your time will

allow. The principal folds can always be so nearly ar-

ranged, that, after the first sketch is obtained, they may

be carried on with confidence. It is the accidental

forms that are so valuable to be adopted as they arise. In

Plate XIV. is shown the method of obtaining the first

sketch from nature. In this it will be seen that the

general character is obtained without reference to the
detail. The angularity of the lines also is marked, with
their different bearings, perpendicularly, horizontally, and
obliquely; and which are always well to be left in until you
have established the accuracy of your drawing. In the
next plate is shown the outline finished, and a reference
to the two will prove how easily the detail is engrafted

upon a sketch made with due attention to first principles.

PliATE XV.

In the Frontispiece and Plates XV. and XVI., the

proportions of the figure observable at the different

periods of life will be found. It has been before men-

tioned that in childhood the head is larger, as compared
with that of the adult, and the different members of the
body are shorter and thicker, as compared in their

length, than is found to be the case in the matured

figure.
DRAWING FROM THE LIVING FIGURE.

PLATE XIV.
DRAWING FROM THE LIVING FIGURE. 47

PLATE XV.
48 DRAWING FROM THE LIVING FIGURE.

PliATE XVI.

Plate XVI. would give the proportion of a child about

twelve years of age, which at this period would average

about six and a half heads in height.
Plate XV. represents a girl about sixteen years of age.
This period approaches maturity.
The form begins to be decided, and the proportion
would be about seven heads.
The Frontispiece represents the full-grown female figure.

The form is now fully developed, and it has reached its

full height and proportion of seven and a half heads.

As these figures have all been drawn from life for this

work, it will be a useful lesson to place a model in the

same attitude, and use the instructions already given in

application to the drawing to be made.

Drapery and objects of still life are also most useful,

as they form, by their character, light and shade, and

colour, collateral aids as objects of study, to be brought

into the picture, and to give interest, carrying out the idea

by their appropriate introduction. They also lead the pupil,

by easy degrees, to a knowledge of perspective. Perspec-

tive is now —thanks to our landscape painters — divested
of the mystery and complication that have hitherto formed,
in many cases, great hindrances to its acquirement ; and
although at first in itself it is a dry study, a knowledge
of its principles is essentially necessary, and it becomes
DRAWING FROM THE LIVING FIGURE. 49

PLATE XVI.
50 DRAWING FROM THE LIVING FIGURE.

interesting when applied in practice to the subject in hand

by the truthfulness of its laws.

It seems strange that landscape painters should neglect

so much the drawing of figures and of animals, as in most

cases they use them merely when they require spots of

colour. It is allowed that they give great interest to a

landscape painting, but they are often not sufficiently

well drawn to enable the observer when the attention is

directed to them to make out what they are meant for.

It surely cannot take away from the proper effect of a

landscape to have animal life portrayed with something

like a resemblance to the objects intended to be repre-
sented, although no doubt, if too minutely finished, they

may become so prominent as to take too large a share in

the interest of the picture, and so destroy its effect as a land-
scape. To observe the proper medium should be the aim
of the student, and it may not be out of place to offer a
few observations on this subject. Figures, then, for

the landscape painter, should be drawn with attention to

all their leading points of character, preserving breadth
by the omission of all small parts and without coming so
forward as to interfere with the general effect, which they
are employed only to assist. There can be no injury to
the general effect by correct drawing being given to
them. In the pictures of the old masters we find animals
and figures beautifully drawn and painted, and no injury
sustained by the picture ; on the contrary, increased interest
 DRAWING FROM THE LIVING FIGURE. 51

is given : and indeed, in many instances we find the land-

scape and figure painters combining their talents in the

same work with the most successful result.

The pupil, who commences with landscape drawing,

may, if care be not taken in the commencement, acquire a
looseness of hand that will be prejudicial to him in figure
drawing. The suddenly terminated and accented line

which the landscape draughtsman is in the habit of using,

though commonly resorted to by the figure draughtsman

in sketching his first ideas of general form in groups,
and even in single figures, must be adopted with the
utmost circumspection by the student; and it must be
borne in mind that the peculiar charm in such lines
results from the perfect mastery exhibited in their group-
ings and proportions. This mastery is brought about by
long practice ; and even these peculiar appearances of
facility are so many proofs that the master hand, which
accomplished them, had been early tutored in the more
severe, but at the same time simpler, manner of line.

The master, in using the pencil in this manner, may be

said to paint with it. The best line for the pupil to

adopt, is the pure simple line of equal pressure through-

out ; such we find in the beautiful outlines of Flaxman,
such we find in the still more beautiful delineations on
the antique vases, those models upon which he formed his
taste.

In the character of finished outline subjects, such as we

52 CONCLUSION.

now find in many published works, there is a departure

from the method adopted by the Greeks ; the difference

between them is that the modern school use a line of
twofold quality where a thicker and a thinner portion are
intended to represent the shaded and lighted side of the
object ; and this may stand as its apology.

CONCLUSION.

Having now gone through the proportions of the

figure, and directed the student's attention to the method
considered advisable to be pursued in the continuation of
this study, little remains to be added. The theory of
drawing is comprised in a very small compass. To make
the accomplished draughtsman, practice and experience
are required; all the teacher can do is, to direct the

practice ; and the best result is obtained when the pupil

is taught to think for himself, and form by experience
his own conclusions.

Drawing, like writing, is an imitative art ; letters are

first formed, then combined into words, and those words

form the means of explaining our requirements and
communicating our ideas.

In drawing, we produce the resemblance of objects ; the

combination of these objects represents circumstances,
 ;

CONCLUSION. 53

and realises to the mind the pictures formed thereon by

the poet or historian.
All rules are formed from practice ; and while some
are content to bound their knowledge by received rules,

others, with more praiseworthy courage, think for them-

selves, and form theories upon their own practice, or
that of others.

A pupil should never rest satisfied with copying from

the works of others, however beautiful they may be, any
more than a person, who has been taught to read or write
should be content in always using the words or sentences
that have formed the examples on which he has been

instructed.

It is to be supposed that the best models in both cases

have been placed before him, in order to the formation of
his taste ;
and, as in language we can only use words that

are to be found in its Dictionary, so in drawing we can

only copy some object that has had a previous existence
it is the arranging, comparing and combining, in both
cases, upon which we found our claims to originality, and
by which we form our estimate of past ages, and by which
too we ourselves shall be judged in ages to come.

END.
 :

LONDON
Printed by Schulze and Co., 13, Poland Street,
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 Ullttfltrattii

LIST OF COLOURS AND MATERIALS,

FOR ©KAWIWi
AND

WATER-COLOUR PAINTING,
MANUFACTURED AND SOLD BY

WINS OR AND NEWTON,

38, RATHBONE PLACE,

LONDON.
 —
WINSOR AND NEWTON,

38, RATHBONE PLACE.

—
M03CST WATBE G £ V 3£L S.

Winsor and Newton's Moist Water Colours retain, from processes

and treatment known only to themselves, their solubility and damp-
ness for an unlimited period, and a box of them, though laid aside for

two or three years, will be found, when required again, equally moist
and serviceable as when purchased ; these qualities are preserved to
the fullest extent in the hottest climates, and they are on this account
particularly adapted and recommended to parties going out to INDIA,
as the dry cake colours, from the atmosphere and heat there, generally

break up and crumble into small pieces, when they are of course
useless : this never occurs with the Moist Colours.
In sketching from Nature, and when depicting transient and
evanescent effects, the advantages of the Moist Colours must be
evident, as from their readiness of application, colour is at once
produced, which, by the old and tedious method of rubbing the dry
cake was impossible, and not unfrequently the effect, and with it the
thought, of the artist, had vanished before the material could be
obtained. It is this quality indeed which at once brought Moist
Colours into note, and which was, and is, the great cause of their
popularity with the artist, who, with the evidence of his works
before him, produced by their means many years ago, still use them
as his only materiel.
The colours are placed in thin porcelain pans, in form and size

similar to the usual dry cakes, and they are afterwards enclosed in
tin-foil for security. When required for use, the foil is removed
from the pans ;
they then present a surface of colour, which is at
once obtainable in large or small quantities, by the application of a
wet brush. It is strongly recommended to keep the colours in the
japanned tin sketching boxes, which are exceedingly light and
portable, and of the most convenient form for use ; the double flaps
 —

WINSOR AND NEWTON, RATHBONE PLACE. 3

of the boxes serving as palettes, on which (being japanned ivith flat

or dead white) the tints are readily mixed.

Seventeen years' experience has now tested the powers and quali-
ties of Winsor and Newton's MOIST COLOURS, and the very
large and rapidly increasing demand, as well as the very flattering
Testimonials received by them from Continental and English Artists,
are evidences of the high estimation in which they are held.
Among the many artists of eminence who have expressed their
approbation by written Testimonials, are the following gentlemen :

C. Stanfield, Esq., R.A. T. Rowbotham, Esq.

T. Uwins, Esq., R.A. S. Lover, Esq., R.H.A.
G. Jones, Esq.. R.A. H. Bright, Esq.
D. Maclise, Esq., R.A. G. Lance, Esq.
J. P. Knight, Esq., R.A. W. Brockedon, Esq.
D. Roberts, Esq., R.A. J. J. Jenkins, Esq.
J. Constable, Esq., R.A. J. W. Wright, Esq.
W. Daniell, Esq., R.A. G. Chambers, Esq.
W. Etty, Esq., R.A. W. Havell, Esq.
D. Morrison, Esq.
J. D. Harding, Esq. G. F. Angus, Esq.
J. Martin, Esq. J. Turnbull, Esq.
E. W. Cooke, Esq. W. Hawkins, Esq.
C. R. Stanley, Esq. W. Mac kay, Esq.
R. R. Reinagle, Esq. R. J. Burfield, Esq.

ALSO THE FOLLOWING

MEMBERS OE THE OLD AND NEW WATER-COLOUR SOCIETIES.—

J. Nash, Esq. W. C. Smith, Esq.

F. Nash, Esq. C. Davidson, Esq.
F. Tayler, Esq. J. Chase, Esq.
H. Gastineau, Esq. H. Jutsum, Esq.
V.Bartholomew, Esq. T. L. Rowbotham, Esq.
W. Hunt, Esq. J. M. Youngman, Esq.
W. Evans, Esq. E. Corbould, Esq,
T. M. Richardson, Esq. G. Howse, Esq.
W. A. Nesfield, Esq. A. H. Taylor, Esq.
G. A. Fripp, Esq. G. S. Shepherd, Esq.
A. D. Fripp, Esq. A. Penley, Esq.
E. Duncan, Esq. B. R. Green, Esq.
C. Bentley, Esq. H. Pidgeon, Esq.
H. Warren, Esq. J.H. Mole, Esq.
J. Fahey, Esq. Miss Steers.
E. H. Wehnert, Esq.
 WINSOR AND NEWTON,

WINSOR AND NEWTON'S

MOIST WATER COLOURS.
W7NSOH & Ar&fTT+oJVS
fMOIST COLOl
k

38/?ctfA£>oTie JPla.ce,
JLfO MJ> OJV.
VJkJV. J3MOW2V.

Extract from Mr. Harding's Work, " The Principles and Practice of

Art."

" The Art of Painting in Water-Colours has been greatly assisted by

improvements in the preparations of the pigments; the greatest ad-
vantage, however, has been the introduction of Moist Colours, which,

I believe, are a French invention, but greatly improved by Messrs.

Winsor and Newton."

.GIST OF CO£OTr£,8 AID gRXCBS.

Price Is. each.

Antwerp Blue Lamp Black

Bistre Light Red
Burnt Sienna Neutral Tint
Burnt Roman Ochre Naples Yellow
Brown Pink Olive Green
Blue Black Prussian Blue
Burnt Umber Prussian Green
Brown Ochre Payne's Grey
Chrome Yellow, 1, 2, and 3 Raw Sienna
Cologne Earth Raw Umber
Dragon's Blood Red Lead
Emerald Green Roman Ochre
Gamboge Sap Green
Hooker's Green, No. 1 Terre Verte
Hooker's Green, No. 2 Vandyke Brown
Indigo Venetian Red
Indian Red Vermillion
ItalianPink Yellow Ochre
Ivory Black Yellow Lake
[Continued.
 RATHBONE PLACE.

MOIST WATER COLOURS, continued.

Is. fid. each.

Sepia Mars Brown

Warm Sepia Mars Yellow
Roman Sepia Crimson Lake
Brown Madder Scarlet Lake
Constant White Purple Lake
Chinese White Scarlet Vermillion.
Indian Yellow

2s.

Cobalt Blue.

3s. each.

Green Oxide of Chromium Pink Madder

Lemon Yellow Rose Madder
French Blue Intense Blue

5*. each.

Mars Orange Ultramarine Ash

Pure Scarlet Carmine
Burnt Carmine Gallstone
Smalt Cadmium Yellow
Purple Madder Orange Vermillion

21s.

Genuine Ultramarine.

MOIST WATER COLOURS IX PATE XT COLLAPSIBLE TUBES.

A new preparation of Moist Water Colours, particularly adapted for

large works, as any quantity of colour can be immediately obtained, thus
affording additional facilities for rapidity and increased power; these
colours present a range of pigments, which, in brilliancy and similarity of
manipulation, much resemble Oil Colours.
The Prices are the same as the Moist Colours in Pans.
 WINSOR AND NEWTON,

^ AJ? Til §KETCH3OT©> BOXES.

Filled with Moist Colours.

(The following arrangements of colours are selected from those most in

use by the first Water Colour Artists.)

3 Cake BOX, "No. 1. — (Light and Shade Drawings on Tinted Paper.)

containing Sepia, French Blue, and Chinese "White,
Price 9s.

6 Cake Box, ~No. 1. — (Assorted for Landscape.)

containing Gamboge, Raw Sienna, Venetian Red,

Crimson Lake, Prussian Blue, and Vandyke Brown.
Price 10s.

Ditto, No. 2. — (Landscape and Figures.)

containing Vandyke Brown, Indigo, Cobalt,

Crimson Lake, Light Red, and Indian Yellow.

Price lis. M.

8 Cake BOX, 3^0. 1.— (Landscape.)

containing Gamboge, Yellow Ochre, Burnt Sienna,
Light Red, Crimson Lake, Cobalt, Indigo,

and Vandyke Brown.

Price 13s. 6d.
 RATHBONE PLACE. 7

8 Cake BOX, No. 2. — (Landscape and Figures.)

%
containing Yellow Ochre, Light Red,
Scarlet Vermillion, Rose Madder, Cobalt
Madder Brown, Vandyke Brown, and Prussian Blue.
Price 16s.

10 Cake BOX, No. 1.— (Landscape.)

containing Gamboge, Yellow Ochre, Burnt Sienna,
Venetian Red, Crimson Lake, Vandyke Brown,
Olive Green, Neutral Tint, Cobalt, and Indigo.
Price 16s.

Ditto, No. 2. — (Landscape and Figures.)

containing Yellow Ochre, Indian Yellow,
Burnt Sienna, Light Red, Vermillion, Rose Madder,
Cobalt, Prussian Blue, Vandyke Brown,
and Olive Green.
Price 18s.

12 Cake Box, No, 1.— (Landscape.)

containing Brown Pink, Vandyke Brown, Indigo,

Neutral Tint, Cobalt, Crimson Lake, Indian Red,

Vermillion, Burnt Sienna, Light Red, Yellow Ochre,
and Gamboge.
Price 18s. 6d.

Ditto, No. 2. — (Landscape, Figures, &c.)

containing Gamboge, Indian Yellow, Raw Sienna,
Burnt Sienna, Light Red, Scarlet Vermillion,

Rose Madder, Purple Lake, Vandyke Brown,

Brown Pink, Indigo, and French Blue.
Price £1. 2s. 6d.
 8 WINSOR AND NEWTON,

14 Cake BOX, No. 1.— (Landscape.)

containing Cobalt, Indigo, Neutral Tint,
Emerald Green, Brown Pink, Vandyke Brown,
Madder Brown, Crimson Lake, Indian Red,
Light Red, Burnt Sienna, Indian Yellow,
Yellow Ochre, and Gamboge.
Price £1. 2s,

Ditto, No. 2. — (Landscape, Figures, &c.)

containing Indigo, French Blue, Neutral Tint,
Emerald Green, Olive Green, Vandyke Brown,
Madder Brown, Purple Lake, Rose Madder,
Scarlet Vermillion, Light Red, Indian Yellow,
Yellow Ochre, and Gamboge.
Price £1. 5s. 6rf.

16 Cake Box, No. 1. — (Landscape, Figures, &c.)

containing Lemon Yellow, Gamboge, Indian Yellow,
Yellow Ochre, Burnt Sienna, Light Red, Vermillion,
Rose Madder, Purple Lake, Madder Brown,
Vandyke Brown, Olive Green, Emerald Green,
Payne's Grey, Indigo, and Cobalt.
Price £1. 8s. 6d.

Ditto, No. 2. — (Flowers, Landscape, &c.)

containing Gamboge, Indian Yellow, Gallstone,

Chrome No. 1, Vermillion, Indian Red, Pure Scarlet,

Rose Madder, Carmine, Burnt Carmine,
Vandyke Brown, Ivory Black, Olive Green,
Emerald Green, Indigo, and French Blue.
Price £2. 2s. 6d.
 RATHBONE PLACE. 9

18 Cake Box. — (Landscape, Figures, Flowers, &c.)

containing Lemon Yellow, Indian Yellow, Gamboge,
Yellow Ochre, Burnt Sienna, Light Red, Vermillion,
Rose Madder, Purple Lake, Brown Madder,
Olive Green, Vandyke Brown, Emerald Green,
Payne's Grey, Indigo, Cobalt, Raw Sienna,

and French Blue.

Price £1. 13s. 6d.

20 Cake BOX. — (Complete for Landscape, Flowers, Figures, &c.)

containing Lemon Yellow, Gamboge, Indian Yellow,

Yellow Ochre, Chrome No. 3, Vermillion, Light Red,
Indian Red, Rose Madder, Carmine, Purple Madder,
Vandyke Brown, Sepia, Brown Pink, Sap Green,
Emerald Green, Indigo, French Blue, Smalt,

and Cobalt.
Price £2. 7s. 6d.

N.B. For any colour in the foregoing lists another may be substituted, and if the colour
selected is higher or lower in price, the difference added or deducted.

lirillEI) MOIST CO&OTTB. BOXES.

(with palette flaps.)

To contain 3, 4, 6, 8, 10, 12, 14, 16, 18, 20, 22, or 24 cakes.

Boxes for Moist Colours made to order, to hold any number oi cakes,
and on any plan, to suit the artist's convenience.

Japanned Water Bottles, with double cups, for holding water in Sketching

from Nature, the cups being attached to the Moist Colour Boxes.

Japanned Copper Water Bottles, with plated insides.

Large size ditto ditto

Extra large size ditto ditto

Water Cups, or Dippers, japanned, various.

10 WINSOR AND NEWTON,

© ® l ® y ^
. in Cakes and Half Cakes.

WHOLD CAKES. HALF CAKES,

Is. Each. 6d. Each.

WHOLE CAKE.
HALE CAKE.

Antwerp Blue Lamp Black

Bistre Light Red
Burnt Sienna Neutral Tint
Brown Pink Naples Yellow
Blue Black New Blue
Burnt Umber Olive Green
British Ink Orpiment
Brown Ochre Prussian Blue
Burnt Roman Ochre Prussian Green
Chrome Yellows, 1, 2, Payne's Grey
and 3 Raw Sienna
Cologne Earth Raw Umber
Dragon's Blood Roman Ochre
Emerald Green Red Lead
French Green Red Ochre
Gamboge Red Chalk
Green Bice Sap Green
Hooker's Green, No. 1 Terre Verte
Hooker's Green, No. 2 Vandyke Brown
Indigo Venetian Red
Indian Red Vermillion
ItalianPink Verdigris
Ivory Black Yellow Ochre
King's Yellow Yellow Lake
 RATHBONE PLACE. 11

WATER COLOURS, continued.

WHOLE CAKES, Is. 6d. HALE CAKES, 9d,

Sepia Mars Yellow
Warm Sepia Crimson Lake
Roman Sepia Scarlet Lake
Brown Madder Purple Lake
Constant White Chalon's Brown
Chinese White Black Lead
Indian Yellow Scarlet Vermillion

Mars Brown

WHOLE CAKES, 2s. HALE CAKES, Is.

Cobalt Blue.

WHOLE CAKES, 3s. HALE CAKES, Is. 6d.

Green Oxide of Chromium Pink Madder

Lemon Yellow Rose Madder
French Blue Intense Blue

WHOLE CAKES, 5s. HALE CAKES, 2s. 6d.

Mars Orange Ultramarine Ash
Pure Scarlet Carmine
Burnt Carmine Gallstone
Smalt Cadmium Yellow
Purple Madder Orange Vermillion

WHOLE CAKES, 21s. HALE CAKES, lOs. 6d.

Genuine Ultramarine.

Winsor and Newton beg to invite attention to their Stock of Mahogany

and Rosewood Water-Colour Boxes, elegantly fitted, embracing every
variety, from 4s. to £10.
12 WINSOR AND NEWTON,

PERMANENT CHINESE WHITE,

THE MOST ELIGIBLE

WHITE PIGMENT
FOR WATER COLOUR

PAINTERS.

In Bottles or Tubes, Price Is. 6d. each.

The White Oxide of Zinc is pronounced by the highest chemical

authorities to be one of the most unchangeable substances in nature.
Neither impure air, nor the most powerful re-agents, affect its whiteness.
It is not injured by, nor does it injure, any known pigments.
It has long been pointed out by chemists as a most desirable substance
body could be imparted to it ; but
for the Artists' use, provided sufficient
until lately the want of this necessary quality rendered it unavailable.
In Winsor and Newton's preparation, termed Chinese White, this
desideratum has been attained. The Chinese White, by combining body
and permanency, is rendered far superior to those whites known as
" Constant" or as " Permanent" Whites; and not having their clogging
or pasty qualities, it works and washes with freedom.
The great body it possesses gives it the property of drying on paper of
the same tone as it appears when first laid on, and thus, when used, either
alone or in compound tints, it does not deceive the Artist like other
whites, by drying up three or four tones higher than when wet.
The Chinese White is peculiarly available in mixing with any of the
Water Colours in use, and particularly with the Moist Colours, thereby
forming at pleasure an extensive range of body colours of a very superior
kind.
The following Paragraphs are extracted from Mr. Harding's
" Principles and Practice of Art."
" When the Oxide of Zinc, which is prepared by Winsor and Newton under the name of
'Chinese White,' was first put into my hands, some years ago, I applied to one of my
friends, whose name as a chemist and philosopher is amongst the most distinguished in
our country, to analyze it for me, and to tell me if I might rely on its durability the
;

reply was, that if it would in all other respects answer the purposes I required of it, I
had nothing to fear on account of its durability."
"This is an invaluable pigment." "It is hardly possible to overrate the value of
'Opaque While' in Water Colours when judiciously used."
 RATHBONE PLACE. 13

LIQUID COLOURS AND MEDIUMS,

(Sulphate of Barytes.)

This is an extremely white pigment, but does not possess the body of
Chinese White ; it is generally used for high lights, &c., in Landscape
and Miniature Painting.
Price Is. 6d. the Bottle.

Prepared for the use of Water Colour Painters.

Messrs. Winsor and Newton are the only Manufacturers who have
succeeded in bringing this rich pigment to a state fit for the Water Colour
Painter's use.
Price Is. 6d. the Bottle.

PROIT'S LIQUID BROWAT.

A BEAUTIFUL TRANSPARENT BROWN FOR WATER COLOURS.
Price Is. 6d. the Bottle.

H H ID) IS E. H IB IL II IB IE © W SJ H H IK.
For Outlines or for Sketching.
This rich and permanent Ink is found to be of great service to the
Architectural Artist, as the outline, or ornamental design, drawn with it
(even if the Ink be diluted with water to the palest tint), is not, when
dry, effaced by continual washings.
Price Is. 6d. the Bottle.

WATER COLOUR MEGILP.

Invented and Prepared by Winsor and Newton, for the use of Water
Colour Painters.

A most desirable medium, imparting additional depth, brilliancy, and

transparency in Water Colour Painting, improving the working of the
colours, and preventing them running one into another.
Price 2s. the Bottle.

GO £ t? 3R, £ K S S £ I Q tT D 3l OX &A£L
This limpid Extract possesses all the strength and properties of
the Gall as it is usually sold in the paste state, but is deprived of its
unpleasant qualities.
Price Is. the Bottle.

Price : small size, 6d. ; middle ditto, 1,9. ;

large ditto, Is. 6d. the Bottle.
14 WINSOR AND NEWTON,

CUMBERLAND LEAD DRAWING PENCILS,

MANUFACTURED BY

WINSOR AND NEWTON,

AT

"THE NORTH LONDON COLOUR WORKS,"

KENTISH TOWN.

WINSOR and NEWTON beg respectfully to call the especial attention

of Amateurs, Artists, Architects, Engineers, Surveyors, &c, to their

Drawing Pencils, which are manufactured of the purest Cumberland

Lead, warranted to be perfectly free from grit.

These Pencils are unrivalled for depth, uniformity, richness of

colour, firmness, and delicacy of tint ;

they are remarkable for the

varieties of hardness and evenness of texture, their ready and complete

erasure, and the truth and certainty to which they are made to answer to

the degree or letter they represent, from the HHHH. Pencil for Architect

or Wood Engraver's outline, to the BBBB. for the broadest and deepest

tones required in Pencil-Drawing.

H. Moderately hard (used for light Sketching) .

HH. A degree harder (for Outlines and fine Drawing)

HHH. Very hard (for Architectural Drawing)
HHHH. Extremely hard (for Engineering, or Drawing on Wood)
FF. Used for Light Shading
F. Fine Drawing (firm) /CO
HB. Hard and Black (deeper shade than F.)

EHB. Same as HB., with thicker lead

B. Black (for Shading, or for free Sketching)

BB. Softer ditto (for deep Shading)

BBB. Intensely Black (for extra deep Shading), broad lead, Is. each.
BBBB. Same as BBB., with very broad lead, Is. 6d. each.
 RATH BONE PLACE. 15

PATENT LEAD DRAWING PENCILS,

(SECOND QUALITY DRAWING PENCILS.)

MANUFACTURED OF COMPRESSED PREPARED PLUMBAGO.

HHH. Very hard \

HH. Hard
H. Rather hard
F. Free working
....... >
( Each.
HB. Hard and Black
B. Black for Shading

BB. Soft and Black

BBB. Very Black (jd. ea.

BBBB. Very Broad Lead and Black . . . . 9d. „

BBBBBB. Very Thick Lead and Black Is. „

These Pencils possess nearly all the best qualities of the old genuine
Cumberland Lead. They are well adapted for Drawing Masters, Schools,
and Students.

Mil. Jr. d. ha&dx^&'s beawii®. EBaxr giols.

Manufactured by WINSOR and NEWTON, with

BRQCKEDON'S PATENT PURE CUMBERLAND LEAD.

Winsor and Newton beg respectfully to call the attention of Artists,

Amateurs, Architects, Engineers, Surveyors, &c, to the Drawing Pencils
which they manufacture of Brockedon's Patent Pure Cumberland Lead,
particular sorts of which have been selected by Mr. Harding, and with
which they are supplied, by that gentleman's permission : to the Pencils
thus manufactured, Winsor and Newton have authority to attach Mr.
Harding's name.

Sold in Cases, containing a Set of Six Pencils, of various thickness

of Lead.

Price 3s. the Set.

16 WINSOR AND NEWTON,

WHATMAN'S DRAWING PAPERS.

(of the BEST QUALITY.)
Size.
Demy . 20 in. by 15
Medium . 22 , ,
17
Royal . 24 , ,
19
Super Royal . 27 , ,
19
Imperial . 30 , ,
21
Columbier 34 , ,
23
Atlas . 33 , 26
Double Elephant 40 , 26
Antiquarian . 52 , 31

These Papers are also kept Hotpressed for Pencil Drawing.

EOT WMISIE (Q®M)TO§o

Whatman's Drawing Paper, Imperial size (30 in. by 21), thick I

weighing 901bs. to the ream. \

Ditto, extra thick „ llOlbs. „

Ditto, very thick „ 1401bs. „
and rough
Ditto, ditto, „ 1401bs. „
Ditto, Double Elephant, thick
Ditto, Double Elephant, extra thick
Harding's Pure Drawing Paper, stamped " J. D. H.'
r

Ditto ditto extra thick ditto

Imperial Drawing Cartridge
Ditto Engineer's thick Cartridge
Ditto ditto thin ditto
Log Cartridge.

GO&OtmEB AWB CEATOl JPAEEO&S.

Imperial Crayon Papers, extra stout, including a great variety of Tints, adapted for Pencil,

Chalk, and Crayon Drawing, as well as Tinting and Sketching in Water Colours.

MACHINE MADE CRAYON PAPERS.

Imperial, Size 30 in. by 21.
Ditto ditto, hand made, adapted for Academy Drawing and
Water Colours.
Pattern Books, containing samples of all the Tints in Stock, upwards
of 40 in number, and to which numbers are affixed for the purpose of
ordering, may be had on application.
 RATHBONE PLACE. 17

FINEST FRENCH SABLE BRUSHES.

Mate 0obuc JPafwtftig*

BROWY SABLE HAIR.

Domed Points.
THE BRUSHES DESCRIBED ARE ALL THE SAME SIZES AS THE
ENGRAVINGS.

Messrs. Winsor and IVewton solicit especial

attention to their Stock of Water Colour Sable
Brushes, which will he found most Complete,
and of the Best Quality. They are selected with
great care from the stocks of the best makers
in Paris.
18 W1NS0R AND NEWTON,

WATER COLOUR BRUSHES.

Red or Brown Sable Hair.

IN GERMAN SILVER FERRULES, WITH POLISHED EBONY HANDLES.

FLAT OR BOUND.

The Engravings show various sizes of the Brushes, to which numbers

are attached, the remaining sizes can be readily determined from them,

No. 6 being the largest, and No. 1 the smallest, either in flat or round.
 RATHBONE PLACE. 19

WATER COLOUR BRUSHES.

FINEST BEOWM SABLES.
LARGE SIZES.

In German Stiver Ferrules, with long Polished

Ehony Handles.

Round.

No. 1. No. 1.
2. 2.
3. 3.
4. 4.
5. 5.
6. 6.

The Engravings represent a No. 4 Round and a No. 3 Flat

Brush. The other sizes being in proportion, larger or

smaller.

In Tin Ferrules, Black Polished Handles.

Flat or Round.

No. 1. No. 6.
2. 7.
3.
4.
5.

These Brushes are the same in size and form as the

Sables in German Silver Ferrules. See previous page.

N?4 N?3
20 WINSOR AND NEWTON,

laT^ @®L®tym
FOR SKIES, WASHES, AND LARGE WORKS.

A— Large Bound Wire-

bound Brush, made of
Siberian Hair, a most use-
ful Brush where large
washes of colour are re-

quired.

B. —Large Flat Brush in

Tin, made of Dyed Sable
Hair, suitable for skies,

foregrounds, and large

works.

RED SABLE BRUSHES.

IN aUILL.

Large Swan Quill

Middle ditto

Small ditto
Extra Small ditto
Goose Quill
Duck ditto

Crow ditto

Pigeon ditto, for Lithography

These Brushes correspond in size

and form with the Brown Sables,
as represented on page 17.
 RATHBONE PLACE. 21

Goose Quill.

Crow Quill.

Superfine Camel Hair Pencils, assorted

Ditto, ditto, Goose, Duck, or Crow
Ditto, ditto, small Swan Quill
Ditto, ditto, large Swan Quill

jrmiBisrGia sniBismiiAEr HtAnm ib m tu s mt is s,

TIED WITH SILVER WIRE.

Large Swan Quill Goose Quill

Middle „ Duck „
Small „ Crow „

These Brushes correspond in Sizeand Form with the Sables in Quill.

See page 17.
22 WINSOR AND NEWTON,

SOLID SKETCH BOOKS.

These Books consist of a number of sheets of paper, compressed so as to

form an apparent solid substance each sheet can, however, be immediately
;

separated, by passing a knife round the edges of the uppermost surface.

Winsor and Newton's Solid Sketch Books are all made of stout and extra
thick Drawing Papers, as being better adapted for Water Colour Painting
than the ordinary papers generally used. A large stock and great variety
are constantly kept, containing the papers used by the most eminent artists,
including Mr. Harding, Mr. Dewint, Mr. Copley Fielding, &c. &c.

Solid Sketch Books made of any paper, and to any required size, on the
Shortest Notice.

SOX, XI) 8EETGH BOOKS,

Half-bound, with leather backs, pocket for the sketches when removed
from the block, and a place for pencil.

WHITE PAPER.
16mo. Imperial 7 inches by 5
8vo. ditto 10 7
4to. ditto 14 10
ditto 20 14
8vo. Royal 9 H
4to. ditto m 9

TINTED PAPER.
16mo. Imperial 7 inches by 5
8vo. ditto 10 „ 7
4to. ditto 14 „ 10
I ditto 20 „ 14
 RATHBONE PLACE. 23

SOLID SKETCH BOOKS, continued.

BLOCKS WITHOUT BINDING.

WHITE PAPER BLOCKS.
16mo. Imperial 7 inches by 5
8vo. ditto 10 „ 7 .

4to. ditto 14 „ 10
£ ditto 20 „ 14 .

8vo. Royal 9 5£ .

4to. ditto Hi „ 9 .

TINTED PAPER BLOCKS.

16mo. Imperial 7 inches by 5

8vo. ditto 10 7 .

4to. ditto 14 „ 10
i ditto 20 „ 14 .

SKETCHING FOLIOS.
WITH JAPANNED TIN FRAMES, FOR HOLDING DOWN THE DRAWING
PAPER SECURELY, HALF-BOUND, LEATHER TUCK, AND POCKET FOR
CONTAINING THE LOOSE SKETCHES AND RESERVE OF PAPER.

8vo. Imperial 11 inches by 7£

4to. Royal 12 „ 9J
4to. Imperial 15 „ 11
£ ditto 22 „ 15
24 WINSOR AND NEWTON, RATHBONE PLACE.

MISCELLANEOUS.
Portfolios Liquid Carmine

Sketch Books of all sizes, white Burnishers, various shapes

or tinted Scrapers

Bright's Landscape Crayons Erasers

Chalks of every description Reed Pens

Crayons ditto Ox Gall, in Pots
Creta Levis Pencils Pearl Cement
Mahogany Drawing Boards Sponge
Deal ditto Ivory Palette Knives

T Squares Ivory Pencil Rests

Mathematical and Drawing In- Crow Pens
struments of all kinds Indian Glue
China and Earthenware for Ar- Br ockedon's Carbon Crayon
tists Porte Carbons for ditto
Sketching Stools Mordan's Leads for ever-pointed
Sketching and Studio Easels Pencil Cases, marked H. M.
Sketching Seats and S.

Prepared Ivories for Miniatures Gold, Silver, and Copper Bronzes

Pencil, Brush Cases, and Pouches Indian Ink, various
India Rubber Liquid Indian Ink
Gold and Silver Shells Stumps, Leather, Paper, and
Harding's Lesson Desks Cork, in great variety

AND EVERY REQUISITE FOR DRAWING AND PAINTING.

WINSOR AND NEWTON

MANUFACTURE ALL THE
M1TBE11X.8 B.E QtJlD^ED I'M 01% %A1WW1N®>,
OF WHICH
A DISTINCT ILLUSTRATED CATALOGUE
IS PUBLISHED, AND MAY BE HAD, ON APPLICATION, AT

38, RATHBONE PLACE, OXFORD STREET.

London : Printed by Schulze and Co., 13, Poland Street.

/
 WORKS PUBLISHED BY WIN SOU A1VD XFWTO\.

Eighth Edition, Price \s.

THE ART OF
LANDSCAPE PAINTING IN WATER-COLOURS.
BY THOMAS ItOWBOTHAM,
AND THOMAS L. ROWBOTHAM, JUN.
Eighth Edition, Price Is.

A SYSTEM OP WATER-COLOUR PAINTING.

BY AARON PENLEY,
BEING A SEQUEL TO MR. ROWBOTHAM's BOOK AS ABOV^E.

Eleventh Edition, Price Is.

THE ART OP SKETCHING PROM NATURE.
BY THOMAS ROWBOTHAM.
Smitf) Efomt^&tx Illustrations,
BY THOMAS L. ROWBOTHAM, JUN.,
Engraved on Wood by Dalziel.

Third Edition, Price Is.

THE ART g
PORTRAIT PAINTING IN WATER-COLOURS.
BY MRS. MERRIFIELD.
Seventh Edition, Price Is.
INSTRUCTIONS IN THE ART OF
LANDSCAPE PAINTING IN OIL-COLOURS.
Fourth Edition, Price Is.

THE ART OF
PORTRAIT PAINTING IN OIL-COLOURS.
BY HENRY MURRAY.
x
Third Edition, Price Is.
THE ELEMENTS OP PERSPECTIVE
ILLUSTRATED BY NUMEROUS EXAMPLES AND DIAGRAMS
BY AARON PENLEY.

Third Edition, Price \s.

ARTISTIC ANATOMY OP THE HUMAN FIGURE
BY HENRY WARREN.
OBitf) EfoentflsGfrree Illustrations,
Drawn on Wood by the Author, and Engraved by
Walter G. Mason.

Just Ready, Price Is., with Illustrations.

THE ART OP MINIATURE PAINTING
BY CHARLES W. DAY.

WI S
AR
^ sold
And .^?fry
D WKWTOW,
all
38, RATHBOIVE PLAC*
Booksellers and Artists' Colourmen