quity, particularly those who executed the majestic Apollo Belvedere, and the marvellous works called the Elgin marbles. The progress of the young artist's studies in drawing or designing, ought to be founded upon a graduated scale. Individual nature, at the commencement of his studies; select, as he proceeds, and, when he attempts originality, idealized according to the precepts of Reynolds, and the practice of Phidias. SECT. I.-OF THE PROPER MATERIALS AND outlines are to be sketched in by the black les pencil, so that any part which is not correct ma be easily obliterated by the Indian rubber. Whe the sketch is as correctly done with the pencil asisin the student's power, he is then to draw carefully his outline with the crow or duck-quill pen, and diluted ink or seppia. After this he is to dis charge the pencil lines, by rubbing it gently with the crumb of stale bread or Indian rubber. The pigment used for this purpose is either Indi ink, or seppia, which is a pleasanter warne INSTRUMENTS FOR DRAWING, AND THE MAN- color, and softer in execution. By rubbing the NER OF USING THEM. The first step towards attaining a proficiency in drawing, is the study of geometry and perspective. Geometry is the science of extension, quantity, or magnitude abstractedly considered, and demands the greatest attention from the scientific artist. Perspective is that branch of optics which teaches how to represent objects on a plain surface, in the manner wherein they appear under the peculiarities which arise from distance and height. A knowledge of these two branches of science may be said to form the fundamental part of drawing; and, when beginning, the learner must furnish himself with proper materials and instruments; such as black fead pencils of different degrees of hardness; crayons of black, white, and red chalk; crow or duck-quill pens; Indian ink or seppia: as also with drawing-boards, rules or straight edges, and compasses; drawing-boards for fastening the paper upon, so that it may not shift, and likewise for straining it, to prevent the colors, or the washes of tint, when laid wet upon the paper, from causing it to swell so as to dry uneven. The simplest of these latter requisites is made of a deal board glued together to its proper width and length, strengthened with a piece rabbeted on at each end, to prevent warping. The paper may be fixed down upon this board with pins, wafers, or sealing wax, or it may be strained with paste or glue in the following mauner:-First wet the paper well with a sponge, omitting the edges, which should be turned up about half an inch in width on every side; apply a small quantity of good paste or glue all round on the under side, and press the paper down upon the board with a cloth, rubbing it well with your nail, or the smooth handle of a knife to secure it. In the process of drying, the paper, which had expanded and blistered up much when wet, will contract, and (the edges being fixed immoveably) will strain quite flat and tight, and will be much fitter for drawing upon than when loose. But the best drawing boards are made with a frame and a moveable panel, upon which the paper is simply put wet, and then forced into the frame, where it is confined by wedges or keys at the back. This strains equally well, without the trouble of pasting, so that it may be dried at the fire; it also looks better. The young student must accustom himself to hold the pencil or port-crayon further from the point than he does a pen in writing, which will give him a better command of it, and render his lines or delineations more free and bold. For Indian ink or seppia drawings, the first up with soft water on a plate, or palette of earthen ware or marble, they may be made of any quired degree of strength, and used in the quil or steel pen like common ink. Having got the outline clear and correct, the next step is to shade the work properly, eithe by drawing fine strokes with the pen in a manos which is called hatching, and of which the fis engravings were imitations, or by washing in the shadows, and softening them into the lights w camel-hair pencils, and tints of Indian inkor seppia. As to the rule and compasses, they a very rarely to be used, except in architectural geometrical drawings, or in measuring the pr portions of figures, after they are drawn, to prove whether they are correct or not; or, finally, the delineation of fortifications and linear pe spective. Chalks and crayons are managed a similar manner, except that the lights and shades are drawn with the material dry, and hatched and softened into one another, in th same way.` cons SECT. II. OF DRAWING LINES, SQUARES, C CLES, AND OTHER GEOMETRICAL FIGURES. The first practice of a learner should be toda straight and curved lines, with ease and freed upwards and downwards, inclined to the g and left, or in any required direction. Today lines inclining to the right, or quite horizo he must hold his elbow close to his side writing; when perpendicular, the elbow be removed to about seven inches from the s and when inclined to the left, at a very rable distance, according to the degree wh the angle forms. A good practice, illustrative this precept, is for the student to draw by has a series of equilateral triangles, with a perpen cular line drawn from the apex; and a row various-formed right angled triangles, with hype thenuses, bases, and perpendiculars of van dimensions. He should also learn to draw hand, squares, circles, ellipses, and other geon trical figures: for as the alphabet or a knowled of the letters of a language is an introduction grammar, so is geometry to drawing. The practice of drawing these simple eleme tary figures, till he becomes master of them, enable him to imitate, with ease and accuracy many forms both in nature and art, which composed thereof. Four general precepts rules may here be laid down: 1. Never let t student he in a hurry, but always make hims master of one figure before he goes on to another the advantage, and even the necessity of t practice will appear to him as he proceeds. le should accustom himself to draw all his fig |