The Crown of Wild Olive Part 71

_f r._ Ludlow.

_a f l._ Margate.

_a l q._ Orford.

_c p._ Plymouth.

_f._ Powis Castle.

_l m q._ Prudhoe Castle.

_f l m r._ Chain Bridge over Tees.*

_m q._ Ulleswater.

_f m._ Valle Crucis.

_From the Keepsake._

_m p q._ Arona.

_m._ Drachenfells.

_f l._ Marley.*

_p._ St. Germain en Laye.

_l p q._ Florence.

_l m._ Ballyburgh Ness.*

_From the Bible Series._

_f m._ Mount Lebanon.

_m._ Rock of Moses at Sinai.

_a l m._ Jericho.

_a c g._ Joppa.

_c l p q._ Solomon's Pools.*

_a l._ Santa Saba.

_a l._ Pool of Bethesda.

_From Scott's Works._

_p r._ Melrose.

_f r._ Dryburgh.*

_c m._ Glencoe.

_c m._ Loch Coriskin.

_a l._ Caerlaverock.

_From the "Rivers of France."_

_a q._ Chateau of Amboise, with large bridge on right.

_l p r._ Rouen, looking down the river, poplars on right.*

_a l p._ Rouen, with cathedral and rainbow, avenue on the left.

_a p._ Rouen Cathedral.

_f p._ Pont de l'Arche.

_f l p._ View on the Seine, with avenue.

_a c p._ Bridge of Meulan.

_c g p r._ Caudebec.*

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

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

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

LETTER II.

SKETCHING FROM NATURE.

MY DEAR READER:--

The work we have already gone through together has, I hope, enabled you to draw with fair success, either rounded and simple ma.s.ses, like stones, or complicated arrangements of form, like those of leaves; provided only these ma.s.ses or complexities will stay quiet for you to copy, and do not extend into quant.i.ty so great as to baffle your patience. But if we are now to go out to the fields, and to draw anything like a complete landscape, neither of these conditions will any more be observed for us. The clouds will not wait while we copy their heaps or clefts; the shadows will escape from us as we try to shape them, each, in its stealthy minute march, still leaving light where its tremulous edge had rested the moment before, and involving in eclipse objects that had seemed safe from its influence; and instead of the small cl.u.s.ters of leaves which we could reckon point by point, embarra.s.sing enough even though numerable, we have now leaves as little to be counted as the sands of the sea, and restless, perhaps, as its foam.

In all that we have to do now, therefore, direct imitation becomes more or less impossible. It is always to be aimed at so far as it _is_ possible; and when you have time and opportunity, some portions of a landscape may, as you gain greater skill, be rendered with an approximation almost to mirrored portraiture. Still, whatever skill you may reach, there will always be need of judgment to choose, and of speed to seize, certain things that are princ.i.p.al or fugitive; and you must give more and more effort daily to the observance of characteristic points, and the attainment of concise methods.

I have directed your attention early to foliage for two reasons. First, that it is always accessible as a study; and secondly, that its modes of growth present simple examples of the importance of leading or governing lines. It is by seizing these leading lines, when we cannot seize _all_, that likeness and expression are given to a portrait, and grace and a kind of _vital_ truth to the rendering of every natural form. I call it _vital_ truth, because these chief lines are always expressive of the past history and present action of the thing. They show in a mountain, first, how it was built or heaped up; and secondly, how it is now being worn away, and from what quarter the wildest storms strike it. In a tree, they show what kind of fortune it has had to endure from its childhood; how troublesome trees have come in its way, and pushed it aside, and tried to strangle or starve it; where and when kind trees have sheltered it, and grown up lovingly together with it, bending as it bent; what winds torment it most; what boughs of it behave best, and bear most fruit; and so on. In a wave or cloud, these leading lines show the run of the tide and of the wind, and the sort of change which the water or vapour is at any moment enduring in its form, as it meets sh.o.r.e, or counterwave, or melting sunshine. Now remember, nothing distinguishes great men from inferior men more than their always, whether in life or in art, _knowing the way things are going_. Your dunce thinks they are standing still, and draws them all fixed; your wise man sees the change or changing in them, and draws them so--the animal in its motion, the tree in its growth, the cloud in its course, the mountain in its wearing away. Try always, whenever you look at a form, to see the lines in it which have had power over its past fate, and will have power over its futurity. Those are its _awful_ lines; see that you seize on those, whatever else you miss. Thus, the leaf.a.ge in Fig. 16. (p. 291.) grew round the root of a stone pine, on the brow of a crag at Sestri, near Genoa, and all the sprays of it are thrust away in their first budding by the great rude root, and spring out in every direction round it, as water splashes when a heavy stone is thrown into it. Then, when they have got clear of the root, they begin to bend up again; some of them, being little stone pines themselves, have a great notion of growing upright, if they can; and this struggle of theirs to recover their straight road towards the sky, after being obliged to grow sideways in their early years, is the effort that will mainly influence their future destiny, and determine if they are to be crabbed, forky pines, striking from that rock of Sestri, whose clefts nourish them, with bared red lightning of angry arms towards the sea; or if they are to be goodly and solemn pines, with trunks like pillars of temples, and the purple burning of their branches sheathed in deep globes of cloudy green. Those, then, are their fateful lines; see that you give that spring and resilience, whatever you leave ungiven: depend upon it, their chief beauty is in these.

[Ill.u.s.tration: FIG. 17.]

[Ill.u.s.tration: FIG. 18.]

[Ill.u.s.tration: FIG. 19.]

So in trees in general and bushes, large or small, you will notice that, though the boughs spring irregularly and at various angles, there is a tendency in all to stoop less and less as they near the top of the tree.

This structure, typified in the simplest possible terms at _c_, Fig.

17., is common to all trees, that I know of, and it gives them a certain plumy character, and aspect of unity in the hearts of their branches, which are essential to their beauty. The stem does not merely send off a wild branch here and there to take its own way, but all the branches share in one great fountain-like impulse; each has a curve and a path to take which fills a definite place, and each terminates all its minor branches at its outer extremity, so as to form a great outer curve, whose character and proportion are peculiar for each species; that is to say, the general type or idea of a tree is not as _a_, Fig. 17., but as _b_, in which, observe, the boughs all carry their minor divisions right out to the bounding curve; not but that smaller branches, by thousands, terminate in the heart of the tree, but the idea and main purpose in every branch are to carry all its child branches well out to the air and light, and let each of them, however small, take its part in filling the united flow of the bounding curve, so that the type of each separate bough is again not _a_ but _b_, Fig. 18.; approximating, that is to say, so far to the structure of a plant of broccoli as to throw the great ma.s.s of spray and leaf.a.ge out to a rounded surface; therefore, beware of getting into a careless habit of drawing boughs with successive sweeps of the pen or brush, one hanging to the other, as in Fig. 19. If you look at the tree-boughs in any painting of Wilson's, you will see this structure, and nearly every other that is to be avoided, in their intensest types. You will also notice that Wilson never conceives a tree as a round ma.s.s, but flat, as if it had been pressed and dried. Most people, in drawing pines, seem to fancy, in the same way, that the boughs come out only on two sides of the trunk, instead of all round it; always, therefore, take more pains in trying to draw the boughs of trees that grow _towards_ you, than those that go off to the sides; anybody can draw the latter, but the foreshortened ones are not so easy. It will help you in drawing them to observe that in most trees the ramification of each branch, though not of the tree itself, is more or less flattened, and approximates, in its position, to the look of a hand held out to receive something, or shelter something. If you take a looking-gla.s.s, and hold your hand before it slightly hollowed, with the palm upwards, and the fingers open, as if you were going to support the base of some great bowl, larger than you could easily hold, and sketch your hand as you see it in the gla.s.s, with the points of the fingers towards you, it will materially help you in understanding the way trees generally hold out their hands; and if then you will turn yours with its palm downwards, as if you were going to try to hide something, but with the fingers expanded, you will get a good type of the action of the lower boughs in cedars and such other spreading trees.

[Ill.u.s.tration: FIG. 20.]

Fig. 20. will give you a good idea of the simplest way in which these and other such facts can be rapidly expressed; if you copy it carefully, you will be surprised to find how the touches all group together, in expressing the plumy toss of the tree branches, and the springing of the bushes out of the bank, and the undulation of the ground: note the careful drawing of the footsteps made by the climbers of the little mound on the left.[220] It is facsimiled from an etching of Turner's, and is as good an example as you can have of the use of pure and firm lines; it will also show you how the particular action in foliage, or anything else to which you wish to direct attention, may be intensified by the adjuncts. The tall and upright trees are made to look more tall and upright still, because their line is continued below by the figure of the farmer with his stick; and the rounded bushes on the bank are made to look more rounded because their line is continued in one broad sweep by the black dog and the boy climbing the wall. These figures are placed entirely with this object, as we shall see more fully hereafter when we come to talk about composition; but, if you please, we will not talk about that yet awhile. What I have been telling you about the beautiful lines and action of foliage has nothing to do with composition, but only with fact, and the brief and expressive representation of fact. But there will be no harm in your looking forward, if you like to do so, to the account, in Letter III. of the "Law of Radiation," and reading what it said there about tree growth: indeed it would in some respects have been better to have said it here than there, only it would have broken up the account of the principles of composition somewhat awkwardly.

Now, although the lines indicative of action are not always quite so manifest in other things as in trees, a little attention will soon enable you to see that there _are_ such lines in everything. In an old house roof, a bad observer and bad draughtsman will only see and draw the spotty irregularity of tiles or slates all over; but a good draughtsman will see all the bends of the under timbers, where they are weakest and the weight is telling on them most, and the tracks of the run of the water in time of rain, where it runs off fastest, and where it lies long and feeds the moss; and he will be careful, however few slates he draws, to mark the way they bend together towards those hollows (which have the future fate of the roof in them), and crowd gradually together at the top of the gable, partly diminishing in perspective, partly, perhaps, diminished on purpose (they are so in most English old houses) by the slate-layer. So in ground, there is always the direction of the run of the water to be noticed, which rounds the earth and cuts it into hollows; and, generally, in any bank, or height worth drawing, a trace of bedded or other internal structure besides.

The figure 20. will give you some idea of the way in which such facts may be expressed by a few lines. Do you not feel the depression in the ground all down the hill where the footsteps are, and how the people always turn to the left at the top, losing breath a little, and then how the water runs down in that other hollow towards the valley, behind the roots of the trees?

Now, I want you in your first sketches from nature to aim exclusively at understanding and representing these vital facts of form; using the pen--not now the steel, but the quill--firmly and steadily, never scrawling with it, but saying to yourself before you lay on a single touch,--"_That_ leaf is the main one, _that_ bough is the guiding one, and this touch, _so_ long, _so_ broad, means that part of it,"--point or side or knot, as the case may be. Resolve always, as you look at the thing, what you will take, and what miss of it, and never let your hand run away with you, or get into any habit or method of touch. If you want a continuous line, your hand should pa.s.s calmly from one end of it to the other, without a tremor; if you want a shaking and broken line, your hand should shake, or break off, as easily as a musician's finger shakes or stops on a note: only remember this, that there is no general way of doing _any_ thing; no recipe can be given you for so much as the drawing of a cl.u.s.ter of gra.s.s. The gra.s.s may be ragged and stiff, or tender and flowing; sunburnt and sheep-bitten, or rank and languid; fresh or dry; l.u.s.trous or dull: look at it, and try to draw it as it is, and don't think how somebody "told you to _do_ gra.s.s." So a stone may be round and angular, polished or rough, cracked all over like an ill-glazed teacup, or as united and broad as the breast of Hercules. It may be as flaky as a wafer, as powdery as a field puff-ball; it may be knotted like a ship's hawser, or kneaded like hammered iron, or knit like a Damascus sabre, or fused like a gla.s.s bottle, or crystallised like a h.o.a.r-frost, or veined like a forest leaf: look at it, and don't try to remember how anybody told you to "do a stone."

As soon as you find that your hand obeys you thoroughly and that you can render any form with a firmness and truth approaching that of Turner's and Durer's work,[221] you must add a simple but equally careful light and shade to your pen drawing, so as to make each study as complete as possible: for which you must prepare yourself thus. Get, if you have the means, a good impression of one plate of Turner's Liber Studiorum; if possible, one of the subjects named in the note below.[222]

If you cannot obtain, or even borrow for a little while, any of these engravings, you must use a photograph instead (how, I will tell you presently); but, if you can get the Turner, it will be best. You will see that it is composed of a firm etching in line, with mezzotint shadow laid over it. You must first copy the etched part of it accurately; to which end put the print against the window, and trace slowly with the _greatest_ care every black line; retrace this on smooth drawing-paper; and, finally, go over the whole with your pen, looking at the original plate always, so that if you err at all, it may be on the right side, not making a line which is too curved or too straight already in the tracing, _more_ curved or _more_ straight, as you go over it. And in doing this, never work after you are tired, nor to "get the thing done,"

for if it is badly done, it will be of no use to you. The true zeal and patience of a quarter of an hour are better than the sulky and inattentive labour of a whole day. If you have not made the touches right at the first going over with the pen, retouch them delicately, with little ink in your pen, thickening or reinforcing them as they need: you cannot give too much care to the facsimile. Then keep this etched outline by you, in order to study at your ease the way in which Turner uses his line as preparatory for the subsequent shadow;[223] it is only in getting the two separate that you will be able to reason on this. Next, copy once more, though for the fourth time, any part of this etching which you like, and put on the light and shade with the brush, and any brown colour that matches that of the plate;[224] working it with the point of the brush as delicately as if you were drawing with pencil, and dotting and cross-hatching as lightly as you can touch the paper, till you get the gradations of Turner's engraving. In this exercise, as in the former one, a quarter of an inch worked to close resemblance of the copy is worth more than the whole subject carelessly done. Not that in drawing afterwards from nature, you are to be obliged to finish every gradation in this way, but that, once having fully accomplished the drawing _something_ rightly, you will thenceforward feel and aim at a higher perfection than you could otherwise have conceived, and the brush will obey you, and bring out quickly and clearly the loveliest results, with a submissiveness which it would have wholly refused if you had not put it to severest work. Nothing is more strange in art than the way that chance and materials seem to favour you, when once you have thoroughly conquered them. Make yourself quite independent of chance, get your result in spite of it, and from that day forward all things will somehow fall as you would have them. Show the camel's-hair, and the colour in it, that no bending nor blotting are of any use to escape your will; that the touch and the shade _shall_ finally be right, if it cost you a year's toil; and from that hour of corrective conviction, said camel's-hair will bend itself to all your wishes, and no blot will dare to transgress its appointed border. If you cannot obtain a print from the Liber Studiorum, get a photograph[225]

of some general landscape subject, with high hills and a village, or picturesque town, in the middle distance, and some calm water of varied character (a stream with stones in it, if possible), and copy any part of it you like, in this same brown colour, working, as I have just directed you to do from the Liber, a great deal with the point of the brush. You are under a twofold disadvantage here, however; first, there are portions in every photograph too delicately done for you at present to be at all able to copy; and secondly, there are portions always more obscure or dark than there would be in the real scene, and involved in a mystery which you will not be able, as yet, to decipher. Both these characters will be advantageous to you for future study, after you have gained experience, but they are a little against you in early attempts at tinting; still you must fight through the difficulty, and get the power of producing delicate gradations with brown or grey, like those of the photograph.

Now observe; the perfection of work would be tinted shadow, like photography, _without_ any obscurity or exaggerated darkness; and as long as your effect depends in anywise on visible _lines_, your art is not perfect, though it may be first-rate of its kind. But to get complete results in tints merely, requires both long time and consummate skill; and you will find that a few well-put pen lines, with a tint dashed over or under them, get more expression of facts than you could reach in any other way, by the same expenditure of time. The use of the Liber Studiorum print to you is chiefly as an example of the simplest shorthand of this kind, a shorthand which is yet capable of dealing with the most subtle natural effects; for the firm etching gets at the expression of complicated details, as leaves, masonry, textures of ground, &c., while the overlaid tint enables you to express the most tender distances of sky, and forms of playing light, mist or cloud. Most of the best drawings by the old masters are executed on this principle, the touches of the pen being useful also to give a look of transparency to shadows, which could not otherwise be attained but by great finish of tinting; and if you have access to any ordinarily good public gallery, or can make friends of any print-sellers who have folios of old drawings, or facsimiles of them, you will not be at a loss to find some example of this unity of pen with tinting. Mult.i.tudes of photographs also are now taken from the best drawings by the old masters, and I hope that our Mechanics' Inst.i.tutes, and other societies organized with a view to public instruction, will not fail to possess themselves of examples of these, and to make them accessible to students of drawing in the vicinity; a single print from Turner's Liber, to show the unison of tint with pen etching, and the "St. Catherine," lately photographed by Thurston Thompson, from Raphael's drawing in the Louvre, to show the unity of the soft tinting of the stump with chalk, would be all that is necessary, and would, I believe, be in many cases more serviceable than a larger collection, and certainly than a whole gallery of second-rate prints. Two such examples are peculiarly desirable, because all other modes of drawing, with pen separately, or chalk separately, or colour separately, may be seen by the poorest student in any cheap ill.u.s.trated book, or in shop windows. But this unity of tinting with line he cannot generally see but by some especial enquiry, and in some out of the way places he could not find a single example of it. Supposing that this should be so in your own case, and that you cannot meet with any example of this kind, try to make the matter out alone, thus:

Take a small and simple photograph; allow yourself half an hour to express its subjects with the pen only, using some permanent liquid colour instead of ink, outlining its buildings or trees firmly, and laying in the deeper shadows, as you have been accustomed to do in your bolder pen drawings; then, when this etching is dry, take your sepia or grey, and tint it over, getting now the finer gradations of the photograph; and finally, taking out the higher lights with penknife or blotting-paper. You will soon find what can be done in this way; and by a series of experiments you may ascertain for yourself how far the pen may be made serviceable to reinforce shadows, mark characters of texture, outline unintelligible ma.s.ses, and so on. The more time you have, the more delicate you may make the pen drawing, blending it with the tint; the less you have, the more distinct you must keep the two.