The Elements of Drawing, in Three Letters to Beginners

18

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

19

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. See, however, Note 1 (#x6_x_6_i115), in Appendix I.

20

The plates marked with a star are peculiarly desirable. See note at the end of Appendix I. The letters mean as follows:—

a stands for architecture, including distant grouping of towns, cottages, etc.

c clouds, including mist and aërial 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.

From the Keepsake.

From the Bible Series.

From Scott's Works.

From the Rivers of France.

21

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.

22

See, for account of these plates, the Appendix on "Works to be studied."

23

See Note 2 (#x6_x_6_i117) in Appendix I.

24

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

25

It is meant, I believe, for "Salt Hill."

26

I do not mean that you can approach Turner or Dürer in their strength, that is to say, in their imagination or power of design. But you may approach them, by perseverance, in truth of manner.

27

The following are the most desirable plates:—

If you cannot get one of these, any of the others will be serviceable, except only the twelve following, which are quite useless:—

1. Scene in Italy, with goats on a walled road, and trees above.

2. Interior of church.

3. Scene with bridge, and trees above; figures on left, one playing a pipe.

4. Scene with figure playing on tambourine.

5. Scene on Thames with high trees, and a square tower of a church seen through them.

6. Fifth Plague of Egypt.

7. Tenth Plague of Egypt.

8. Rivaulx Abbey.

9. Wye and Severn.

10. Scene with castle in center, cows under trees on the left.

11. Martello Towers.

12. Calm.

It is very unlikely that you should meet with one of the original etchings; if you should, it will be a drawing-master in itself alone, for it is not only equivalent to a pen-and-ink drawing by Turner, but to a very careful one; only observe, the Source of Arveron, Raglan, and Dumblane were not etched by Turner; and the etchings of those three are not good for separate study, though it is deeply interesting to see how Turner, apparently provoked at the failure of the beginnings in the Arveron and Raglan, took the plates up himself, and either conquered or brought into use the bad etching by his marvelous engraving. The Dumblane was, however, well etched by Mr. Lupton, and beautifully engraved by him. The finest Turner etching is of an aqueduct with a stork standing in a mountain stream, not in the published series; and next to it, are the unpublished etchings of the Via Mala and Crowhurst. Turner seems to have been so fond of these plates that he kept retouching and finishing them, and never made up his mind to let them go. The Via Mala is certainly, in the state in which Turner left it, the finest of the whole series: its etching is, as I said, the best after that of the aqueduct. Figure 20 (#x3_x_3_i178), above, is part of another fine unpublished etching, "Windsor, from Salt Hill." Of the published etchings, the finest are the Ben Arthur, Æsacus, Cephalus, and Stone Pines, with the Girl washing at a Cistern; the three latter are the more generally instructive. Hindhead Hill, Isis, Jason, and Morpeth, are also very desirable.

28

You will find more notice of this point in the account of Harding's tree-drawing, a little farther on.