The Crown of Wild Olive Part 66

'I write in the greatest haste, it being the hour of the Corso, and I must go and buffoon with the rest. My daughter Allegra is just gone with the Countess G. in Count G.'s coach and six. Our old Cardinal is dead, and the new one not appointed yet--but the masquing goes on the same.'

(Letter to Murray, 355th in Moore, dated Ravenna, Feb. 7, 1828.) 'A dreadfully moral place, for you must not look at anybody's wife, except your neighbour's.'

[185] See quoted _infra_ the mock, by Byron, of himself and all other modern poets, _Juan_, canto iii. stanza 86, and compare canto xiv.

stanza 8. In reference of future quotations the first numeral will stand always for canto; the second for stanza; the third, if necessary, for line.

[186] _Island_, ii. 16, where see context.

[187] _Juan_, viii. 5; but, by your Lordship's quotation, Wordsworth says 'instrument'--not 'daughter.' Your Lordship had better have said 'Infant' and taken the Woolwich authorities to witness: only Infant would not have rymed.

[188] _Juan_, viii. 3; compare 14 and 63, with all its lovely context 61--68: then 82, and afterwards slowly and with thorough attention, the Devil's speech, beginning, 'Yes, Sir, you forget' in scene 2 of _The Deformed Transformed_: then Sardanapalus's, act i. scene 2, beginning 'he is gone, and on his finger bears my signet,' and finally, the _Vision of Judgment_, stanzas 3 to 5.

[189] _Island_, iii. 3, and compare, of sh.o.r.e surf, the 'slings its high flakes, shivered into sleet' of stanza 7.

[190] A modern editor--of whom I will not use the expressions which occur to me--finding the 'we' a redundant syllable in the iambic line, prints 'we're.' It is a little thing--but I do not recollect, in the forty years of my literary experience, any piece of editor's retouch quite so base. But I don't read the new editions much; that must be allowed for.

[191] _Island_, ii. 5. I was going to say, 'Look to the context.' but am fain to give it here; for the stanza, learned by heart, ought to be our school-introduction to the literature of the world.

'Such was this ditty of Tradition's days, Which to the dead a lingering fame conveys In song, where fame as yet hath left no sign Beyond the sound whose charm is half divine; Which leaves no record to the sceptic eye, But yields young history all to harmony; A boy Achilles, with the centaur's lyre In hand, to teach him to surpa.s.s his sire.

For one long-cherish'd ballad's simple stave Rung from the rock, or mingled with the wave, Or from the bubbling streamlet's gra.s.sy side, Or gathering mountain echoes as they glide, Hath greater power o'er each true heart and ear, Than all the columns Conquest's minions rear; Invites, when hieroglyphics are a theme For sages' labours or the student's dream; Attracts, when History's volumes are a toil-- The first, the freshest bud of Feeling's soil.

Such was this rude rhyme--rhyme is of the rude, But such inspired the Norseman's solitude, Who came and conquer'd; such, wherever rise Lands which no foes destroy or civilise, Exist; and what can our accomplish'd art Of verse do more than reach the a waken'd heart?'

[192] _Shepherd's Calendar._ 'Coronation,' loyal-pastoral for Carnation; 'sops in wine,' jolly-pastoral for double pink; 'paunce,' thoughtless pastoral for pansy; 'chevisaunce' I don't know, (not in Gerarde); 'flowre-delice'--p.r.o.nounce dellice--half made up of 'delicate' and 'delicious.'

[193] Herrick, _Dirge for Jephthah's Daughter_.

[194] _Pa.s.sionate Pilgrim._

[195] In this point, compare the _Curse of Minerva_ with the _Tears of the Muses_.

[196] 'He,'--Lucifer; (_Vision of Judgment_, 24). It is precisely because Byron was _not_ his servant, that he could see the gloom. To the Devil's true servants, their Master's presence brings both cheerfulness and prosperity;--with a delightful sense of their own wisdom and virtue; and of the 'progress' of things in general:--in smooth sea and fair weather,--and with no need either of helm touch, or oar toil: as when once one is well within the edge of Maelstrom.

[197] _Island_, ii. 4; perfectly orthodox theology, you observe; no denial of the fall,--nor subst.i.tution of Bacterian birth for it. Nay, nearly Evangelical theology, in contempt for the human heart; but with deeper than Evangelical humility, acknowledging also what is sordid in its civilisation.

THE

ELEMENTS OF DRAWING

IN

THREE LETTERS TO BEGINNERS

WITH ILl.u.s.tRATIONS DRAWN BY THE AUTHOR

PREFACE.

It may perhaps be thought, that in prefacing a Manual of Drawing, I ought to expatiate on the reasons why drawing should be learned; but those reasons appear to me so many and so weighty, that I cannot quickly state or enforce them. With the reader's permission, as this volume is too large already, I will waive all discussion respecting the importance of the subject, and touch only on those points which may appear questionable in the method of its treatment.

In the first place, the book is not calculated for the use of children under the age of twelve or fourteen. I do not think it advisable to engage a child in any but the most voluntary practice of art. If it has talent for drawing, it will be continually scrawling on what paper it can get; and should be allowed to scrawl at its own free will, due praise being given for every appearance of care, or truth, in its efforts. It should be allowed to amuse itself with cheap colours almost as soon as it has sense enough to wish for them. If it merely daubs the paper with shapeless stains, the colour-box may be taken away till it knows better: but as soon as it begins painting red coats on soldiers, striped flags to ships, etc., it should have colours at command; and, without restraining its choice of subject in that imaginative and historical art, of a military tendency, which children delight in, (generally quite as valuable, by the way, as any historical art delighted in by their elders,) it should be gently led by the parents to try to draw, in such childish fashion as may be, the things it can see and likes,--birds, or b.u.t.terflies, or flowers, or fruit. In later years, the indulgence of using the colour should only be granted as a reward, after it has shown care and progress in its drawings with pencil. A limited number of good and amusing prints should always be within a boy's reach: in these days of cheap ill.u.s.tration he can hardly possess a volume of nursery tales without good woodcuts in it, and should be encouraged to copy what he likes best of this kind; but should be firmly restricted to a _few_ prints and to a few books. If a child has many toys, it will get tired of them and break them; if a boy has many prints he will merely dawdle and scrawl over them; it is by the limitation of the number of his possessions that his pleasure in them is perfected, and his attention concentrated. The parents need give themselves no trouble in instructing him, as far as drawing is concerned, beyond insisting upon economical and neat habits with his colours and paper, showing him the best way of holding pencil and rule, and, so far as they take notice of his work, pointing out where a line is too short or too long, or too crooked, when compared with the copy; _accuracy_ being the first and last thing they look for. If the child shows talent for inventing or grouping figures, the parents should neither check, nor praise it. They may laugh with it frankly, or show pleasure in what it has done, just as they show pleasure in seeing it well, or cheerful; but they must not praise it for being clever, any more than they would praise it for being stout. They should praise it only for what costs it self-denial, namely attention and hard work; otherwise they will make it work for vanity's sake, and always badly.

The best books to put into its hands are those ill.u.s.trated by George Cruikshank or by Richter. (See Appendix.) At about the age of twelve or fourteen, it is quite time enough to set youth or girl to serious work; and then this book will, I think, be useful to them; and I have good hope it may be so, likewise, to persons of more advanced age wishing to know something of the first principles of art.

Yet observe, that the method of study recommended is not brought forward as absolutely the best, but only as the best which I can at present devise for an isolated student. It is very likely that farther experience in teaching may enable me to modify it with advantage in several important respects; but I am sure the main principles of it are sound, and most of the exercises as useful as they can be rendered without a master's superintendence. The method differs, however, so materially from that generally adopted by drawing-masters, that a word or two of explanation may be needed to justify what might otherwise be thought wilful eccentricity.

The manuals at present published on the subject of drawing are all directed, as far as I know, to one or other of two objects. Either they propose to give the student a power of dexterous sketching with pencil or water-colour, so as to emulate (at considerable distance) the slighter work of our second-rate artists; or they propose to give him such accurate command of mathematical forms as may afterwards enable him to design rapidly and cheaply for manufactures. When drawing is taught as an accomplishment, the first is the aim usually proposed; while the second is the object kept chiefly in view at Marlborough House, and in the branch Government Schools of Design.

Of the fitness of the modes of study adopted in those schools, to the end specially intended, judgment is hardly yet possible; only, it seems to me, that we are all too much in the habit of confusing art as _applied_ to manufacture, with manufacture itself. For instance, the skill by which an inventive workman designs and moulds a beautiful cup, is skill of true art; but the skill by which that cup is copied and afterwards multiplied a thousandfold, is skill of manufacture: and the faculties which enable one workman to design and elaborate his original piece, are not to be developed by the same system of instruction as those which enable another to produce a maximum number of approximate copies of it in a given time. Farther: it is surely inexpedient that any reference to purposes of manufacture should interfere with the education of the artist himself. Try first to manufacture a Raphael; then let Raphael direct your manufacture. He will design you a plate, or cup, or a house, or a palace, whenever you want it, and design them in the most convenient and rational way; but do not let your anxiety to reach the platter and the cup interfere with your education of the Raphael. Obtain first the best work you can, and the ablest hands, irrespective of any consideration of economy or facility of production. Then leave your trained artist to determine how far art can be popularised, or manufacture enn.o.bled.

Now, I believe that (irrespective of differences in individual temper and character) the excellence of an artist, as such, depends wholly on refinement of perception, and that it is this, mainly, which a master or a school can teach; so that while powers of invention distinguish man from man, powers of perception distinguish school from school. All great schools enforce delicacy of drawing and subtlety of sight: and the only rule which I have, as yet, found to be without exception respecting art, is that all great art is delicate.

Therefore, the chief aim and bent of the following system is to obtain, first, a perfectly patient, and, to the utmost of the pupil's power, a delicate method of work, such as may ensure his seeing truly. For I am nearly convinced, that when once we see keenly enough, there is very little difficulty in drawing what we see; but, even supposing that this difficulty be still great, I believe that the sight is a more important thing than the drawing; and I would rather teach drawing that my pupils may learn to love Nature, than teach the looking at Nature that they may learn to draw. It is surely also a more important thing for young people and unprofessional students, to know how to appreciate the art of others, than to gain much power in art themselves. Now the modes of sketching ordinarily taught are inconsistent with this power of judgment. No person trained to the superficial execution of modern water-colour painting, can understand the work of t.i.tian or Leonardo; they must for ever remain blind to the refinement of such men's pencilling, and the precision of their thinking. But, however slight a degree of manipulative power the student may reach by pursuing the mode recommended to him in these letters, I will answer for it that he cannot go once through the advised exercises without beginning to understand what masterly work means; and, by the time he has gained some proficiency in them, he will have a pleasure in looking at the painting of the great schools, and a new perception of the exquisiteness of natural scenery, such as would repay him for much more labour than I have asked him to undergo.

That labour is, nevertheless, sufficiently irksome, nor is it possible that it should be otherwise, so long as the pupil works una.s.sisted by a master. For the smooth and straight road which admits unembarra.s.sed progress must, I fear, be dull as well as smooth; and the hedges need to be close and trim when there is no guide to warn or bring back the erring traveller. The system followed in this work will, therefore, at first, surprise somewhat sorrowfully those who are familiar with the practice of our cla.s.s at the Working Men's College; for there, the pupil, having the master at his side to extricate him from such embarra.s.sments as his first efforts may lead into, is _at once_ set to draw from a solid object, and soon finds entertainment in his efforts and interest in his difficulties. Of course the simplest object which it is possible to set before the eye is a sphere; and practically, I find a child's toy, a white leather ball, better than anything else; as the gradations on b.a.l.l.s of plaster of Paris, which I use sometimes to try the strength of pupils who have had previous practice, are a little too delicate for a beginner to perceive. It has been objected that a circle, or the outline of a sphere, is one of the most difficult of all lines to draw. It is so; but I do not want it to be drawn. All that his study of the ball is to teach the pupil, is the way in which shade gives the appearance of projection. This he learns most satisfactorily from a sphere; because any solid form, terminated by straight lines or flat surfaces, owes some of its appearance of projection to its perspective; but in the sphere, what, without shade, was a flat circle, becomes, merely by the added shade, the image of a solid ball; and this fact is just as striking to the learner, whether his circular outline be true or false. He is, therefore, never allowed to trouble himself about it; if he makes the ball look as oval as an egg, the degree of error is simply pointed out to him, and he does better next time, and better still the next. But his mind is always fixed on the gradation of shade, and the outline left to take, in due time, care of itself. I call it outline, for the sake of immediate intelligibility,--strictly speaking, it is merely the edge of the shade; no pupil in my cla.s.s being ever allowed to draw an outline, in the ordinary sense. It is pointed out to him, from the first, that Nature relieves one ma.s.s, or one tint, against another; but outlines none. The outline exercise, the second suggested in this letter, is recommended, not to enable the pupil to draw outlines, but as the only means by which, una.s.sisted, he can test his accuracy of eye, and discipline his hand. When the master is by, errors in the form and extent of shadows can be pointed out as easily as in outline, and the handling can be gradually corrected in details of the work. But the solitary student can only find out his own mistakes by help of the traced limit, and can only test the firmness of his hand by an exercise in which nothing but firmness is required; and during which all other considerations (as of softness, complexity, &c.) are entirely excluded.

Both the system adopted at the Working Men's College, and that recommended here, agree, however, in one principle, which I consider the most important and special of all that are involved in my teaching: namely, the attaching its full importance, from the first, to local colour. I believe that the endeavour to separate, in the course of instruction, the observation of light and shade from that of local colour, has always been, and must always be, destructive of the student's power of accurate sight, and that it corrupts his taste as much as it r.e.t.a.r.ds his progress. I will not occupy the reader's time by any discussion of the principle here, but I wish him to note it as the only distinctive one in my system, so far as it is a system. For the recommendation to the pupil to copy faithfully, and without alteration, whatever natural object he chooses to study, is serviceable, among other reasons, just because it gets rid of systematic rules altogether, and teaches people to draw, as country lads learn to ride, without saddle or stirrups; my main object being, at first, not to get my pupils to hold their reins prettily, but to "sit like a jackanapes, never off."

In these written instructions, therefore, it has always been with regret that I have seen myself forced to advise anything like monotonous or formal discipline. But, to the una.s.sisted student, such formalities are indispensable, and I am not without hope that the sense of secure advancement, and the pleasure of independent effort, may render the following out of even the more tedious exercises here proposed, possible to the solitary learner, without weariness. But if it should be otherwise, and he finds the first steps painfully irksome, I can only desire him to consider whether the acquirement of so great a power as that of pictorial expression of thought be not worth some toil; or whether it is likely, in the natural order of matters in this working world, that so great a gift should be attainable by those who will give no price for it.

One task, however, of some difficulty, the student will find I have not imposed upon him: namely, learning the laws of perspective. It would be worth while to learn them, if he could do so easily; but without a master's help, and in the way perspective is at present explained in treatises, the difficulty is greater than the gain. For perspective is not of the slightest use, except in rudimentary work. You can draw the rounding line of a table in perspective, but you cannot draw the sweep of a sea bay; you can foreshorten a log of wood by it, but you cannot foreshorten an arm. Its laws are too gross and few to be applied to any subtle form; therefore, as you must learn to draw the subtle forms by the eye, certainly you may draw the simple ones. No great painters ever trouble themselves about perspective, and very few of them know its laws; they draw everything by the eye, and, naturally enough, disdain in the easy parts of their work rules which cannot help them in difficult ones. It would take about a month's labour to draw imperfectly, by laws of perspective, what any great Venetian will draw perfectly in five minutes, when he is throwing a wreath of leaves round a head, or bending the curves of a pattern in and out among the folds of drapery. It is true that when perspective was first discovered, everybody amused themselves with it; and all the great painters put fine saloons and arcades behind their madonnas, merely to show that they could draw in perspective: but even this was generally done by them only to catch the public eye, and they disdained the perspective so much, that though they took the greatest pains with the circlet of a crown, or the rim of a crystal cup, in the heart of their picture, they would twist their capitals of columns and towers of churches about in the background in the most wanton way, wherever they liked the lines to go, provided only they left just perspective enough to please the public. In modern days, I doubt if any artist among us, except David Roberts, knows so much perspective as would enable him to draw a Gothic arch to scale, at a given angle and distance. Turner, though he was professor of perspective to the Royal Academy, did not know what he professed, and never, as far as I remember, drew a single building in true perspective in his life; he drew them only with as much perspective as suited him. Prout also knew nothing of perspective, and twisted his buildings, as Turner did, into whatever shapes he liked. I do not justify this; and would recommend the student at least to treat perspective with common civility, but to pay no court to it. The best way he can learn it, by himself, is by taking a pane of gla.s.s, fixed in a frame, so that it can be set upright before the eye, at the distance at which the proposed sketch is intended to be seen. Let the eye be placed at some fixed point, opposite the middle of the pane of gla.s.s, but as high or as low as the student likes; then with a brush at the end of a stick, and a little body-colour that will adhere to the gla.s.s, the lines of the landscape may be traced on the gla.s.s, as you see them through it. When so traced they are all in true perspective. If the gla.s.s be sloped in any direction, the lines are still in true perspective, only it is perspective calculated for a sloping plane, while common perspective always supposes the plane of the picture to be vertical. It is good, in early practice, to accustom yourself to enclose your subject, before sketching it, with a light frame of wood held upright before you; it will show you what you may legitimately take into your picture, and what choice there is between a narrow foreground near you, and a wide one farther off; also, what height of tree or building you can properly take in, &c.[198]

Of figure drawing, nothing is said in the following pages, because I do not think figures, as chief subjects, can be drawn to any good purpose by an amateur. As accessaries in landscape, they are just to be drawn on the same principles as anything else.

Lastly: If any of the directions given subsequently to the student should be found obscure by him, or if at any stage of the recommended practice he finds himself in difficulties which I have not provided enough against, he may apply by letter to Mr. Ward, who is my under drawing-master at the Working Men's College (45 Great Ormond Street), and who will give any required a.s.sistance, on the lowest terms that can remunerate him for the occupation of his time. I have not leisure myself in general to answer letters of inquiry, however much I may desire to do so; but Mr. Ward has always the power of referring any question to me when he thinks it necessary. I have good hope, however, that enough guidance is given in this work to prevent the occurrence of any serious embarra.s.sment; and I believe that the student who obeys its directions will find, on the whole, that the best answer of questions is perseverance; and the best drawing-masters are the woods and hills.

FOOTNOTES:

[198] If the student is fond of architecture, and wishes to know more of perspective than he can learn in this rough way, Mr. Runciman (of 40 Accacia Road, St. John's Wood), who was my first drawing-master, and to whom I owe many happy hours, can teach it him quickly, easily, and rightly.

THE

ELEMENTS OF DRAWING.

LETTER I.

ON FIRST PRACTICE.