do a Pen in Writing; which will give you a better Command of it, and contribute to render your Strokes more free and bold. The Ufe of your Pencil is to draw the first Sketches or Out-lines of your Piece, as any Stroke or Line that is amifs, may in this be more easily rubb'd out than in any other thing; and when you have made your Sketch as correct as you can with the Pencil, you may then draw carefully the best Out-line you have got, with your Crow quill Pen and Ink; * after which you may discharge the Pencil-Lines by rubbing the Piece gently with the Crumb of ftale Bread. Having thus got your Out-line clear, your next Work is to fhade your Piece properly (for which I fhall give you more particular Directions in another Leffon) either by drawing fine Strokes with your Pen where it requires to be shaded, or by washing it with your Hair Pencil and the Indian Ink. As to your Rule and Compaffes, they are never, or very rarely, to be used, except in measuring the Proportions of your Figures after you have drawn them, to prove whether they are right or not; or in Houses, Fortifications, and other Pieces of Architecture See the Proportions of a Human Body, Leffon VII.

Of drawing Lines, Squares, Circles, and other regular and irregular Figures.

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AVING got all thefe Implements in readiness, your firft Practice muft be to draw ftrait and curve Lines, with Eafe and Freedom, upwards, downwards, fideways to the right or left, or in any Direction whatfoever. You muft alfo learn to draw by Command of Hand, Squares, Circles, Ovals, and other Geometrical Figures; for as the Alphabet, or a Knowledge of the Letters, is an Introduction to Grammar; fo is Geometry to Drawing. The Practice of drawing thefe fimple Figures till you are Master of them, will enable you to imitate, with greater Eafe and Accuracy, many things both in Nature and Art. And here it will be proper that you

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• The Ink made use of for this Purpose must not be common, but Indian Ink which is much fofter than the other, and does not runs by mixing it with Water it may be made of any Degree of Strength, and ufed in a Pen like common Ink.

take one Piece of Advice, and that is, never to be in a Hurry. When we walk flowly, we walk fecurely; but if we run, we are in Danger of ftumbling or falling. Be fure therefore to make yourself perfectly Mafter of one Figure before you proceed to another; the Advantage, and even Neceffity of this, will appear as you proceed. If you turn to the Plate which correfponds with this Leffon, you will find many Examples, all which I would have you imitate with great Care; for it is Practice more than Precepts that must teach you the Art of Drawing; and from time to time I will direct you. Two Obfervations more may be proper with regard to Drawing: One is, that the Pupil accuftom himself to draw all his Figures very large, which is the only Way of acquiring a free bold Manner of defigning; the other is, that he practife Drawing till he has gained a tolerable Mastery of his Pencil, before he attempts to fhadow any Figure or Object of any kind whatever.

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LESSON III.

Of Light and Shade.

FTER you have made yourself in fome measure perfect in drawing Out-lines, your next Endeavour must be to shade them properly. It is this which gives an Appearance of Substance, Shape, Distance, and Distinction, to whatever Bodies you endeavour to reprefent, whether animate or inanimate. Your best Rule for doing this, is to confider from what Point, and in what Direction the Light falls upon the Objects which you are delineating, and let all your Lights and Shades be plac'd according to that Direction throughout the whole Work. That Part of the Object must be lightest, which hath the Light most directly oppofite to it; if the Light falls Sideways on your Picture, you must make that Side which is oppofite to it lightest, and that Side which is fartheft from it darkest. If you are drawing the Figure of a Man, and the Light be plac'd above the Head, then the Top of the Head must be made lighteft, the Shoulders next lightest, and the lower Parts darker by Degrees. That Part of the Object, whether in naked Figures, or Drapery, or Buildings, that ftands fartheft out, must be made the lighteft, because it comes nearest to the Lgiht; and the Light lofeth fo much of VOL. I.

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its Brightness, by how much any Part of the Body bends inward, because thofe Parts that stick out, hinder the Luftre and full Brightnefs of the Light from ftriking on those Parts that fall in. Titian us'd to fay, that he knew no better Rule for the Distribution of Lights and Shadows, than his Obfervations drawn from a Bunch of Grapes. Sattins and Silks, and all other fhining Stuffs, have certain glancing Reflections, exceeding bright, where the Light falls ftrongeft. The like is feen in Armour, Brafs-pots, or any other glittering Metal, where you fee a fudden Brightnefs in the Middle, or Center of the Light, which difcovers the fhining Nature of fuch Things. Obferve alfo, that a ftrong Light requires a strong Shade, a fainter Light a fainter Shade; and that an equal Ballance be preferv'd throughout the Piece between the Lights and Shades. Those Parts which muft appear round, require but one Stroke in fhading, and that fometimes but very faint; fuch Parts as fhould appear deep or hollow, require two Strokes across each other, or fometimes three, which is fufficient for the deepeft Shade. Take care alfo to make your Out-lines faint and fmall in fuch Parts as receive the Light; but where the Shades fall, your Out-line must be ftrong and bold. Begin your Shadings from the Top, and proceed downwards, and ufe your utmost Endeavours both by Practcie and Obfervation to learn how to vary the Shadings properly, for in this confifts a great deal of the Beauty and Elegance of Drawing. Another Thing to be obferv'd is, that as the human Sight is weaken'd by Diftances, fo Objects must seem more or lefs confus'd or clear according to the Places they hold in the Piece: Thofe that are very diftant; weak, faint, and confus'd: thofe that are near and on the foremost Ground; clear, ftrong, and accurately finish'd.

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LESSON IV.

Of drawing Flowers, Fruits, Birds, Beafts, &c.

Would have you proceed now to make fome Attempts at drawing Flowers, Fruits, Birds, Beafts, and the like; not only as it will be a more pleafing Employment; but as I think it an eafier Tafk than the drawing of Hands and Feet, and other Parts of the human Body, which require not only more Care, but greater Exactnefs and nicer Judgment. I

have very few Rules or Inftructions to give you upon this Head; the best Thing you can do is to furnish yourself with good Prints or Drawings by way of Examples, and with great Care and Exactnefs to copy them; a few fuch are here laid before you by way of Specimen, which you will do well to beftow fome Study and Pains upon before you proceed any farther. If it is the Figure of a Beaft, begin with the Forehead, and draw the Nofe, the upper and under Jaw, and ftop at the Throat. Then go to the Top of the Head and form the Ears, Neck, Back, and continue the Line till you have given the full Shape of the Buttock. Then form the Breast, and mark out the Legs and Feet and all the fmaller Parts. And laft of all finish it with the proper Shadows. It is not amifs by way of Ornament to give a small Sketch of Landskip, and let it be fuitable and natural to the Place or Country of the Beaft you draw. Much the fame may be faid with regard to Birds.

LESSON V.

Of drawing Eyes, Ears, Legs, Arms, Hands, Feet, &c.

As S to the drawing of Eyes and Ears, Legs and Arms, you will have very little more to do than to copy carefully the Examples which are given you in thefe Plates. But the Actions and Poftures of the Hands are fo many and various, that no certain Rules can be given for drawing them, that will univerfally hold good. Yet as the Hands and Feet are difficult Members to draw, it is very neceffary, and well worth while, to bestow fome Time and Pains about them, carefully imitating their various Poftures and Actions, fo as not only to avoid all Lamenefs and Imperfection, but also to give them Life and Spirit. To arrive at this, great Care, Study, and Practice are requifite; particularly in imitating the best Prints or Drawings you can get of Hands and Feet, (fome pretty good Eaxmples of which you have at the End of the Leffons in Plate 4, 5 and 6 ;) for as to the mechanical Rules of drawing them by Lines and Measures, they are not only perplex'd and difficult, but alfo contrary to the Practice of the beft Mafters. One general Rule however may be given (which is univerfally to be obferv'd in all Subjects) and that is, not to finish perfectly at fuft any fingle Part, but to

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fketch out faintly and with light Strokes of the Pencil, the Shape and Proportion of the whole Hand, with the Action and Turn of it; and after confidering carefully whether this firft Sketch be perfect, and altering it wherever it is amifs, you may then proceed to the bending of the Joints, the Knuckles, the Veins, and other fmall Particulars, which, when you have got the whole Shape and Proportion of the Hand or Foot, will not only be more eafily, but also more perfectly defign'd.

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LESSON VI.

Of drawing Faces.

HE Head is usually divided into four equal Parts. 1. From the Crown of the Head to the Top of the Forehead. 2. From the Top of the Forehead to the Eyebrows. 3. From the Eyebrows to the Bottom of the Nofe. 4. From thence to the Bottom of the Chin. But this Proportion is not conftant; thofe Features in different Men being often very different as to Length and Shape. In a well-proportion'd Face, however, they are nearly right. To direct you therefore in forming a perfect Face, your firft Bufinefs is to draw a compleat Oval, in the Middle of which, from the Top to the Bottom, draw a perpendicular Line. Thro' the Center or Middle of this Line draw a diameter Line, directly across from one Side to the other of your Oval. On these two Lines all the Features of your Face are to be plac'd as follows. Divide your perpendicular Line into four equal, Parts: the first must be allotted to the Hair of the Head, the fecond is from the Top of the Forehead to the Top of the Nose between the Eyebrows; the third is from thence to the Bottom of the Nofe, and the fourth includes the Lips and Chin. Your diameter Line, or the Breadth of the Face, is always fuppofed to be the Length of five Eyes, you must therefore divide it into five equal Parts, and place the Eyes upon it fo as to leave exactly the Length of one Eye betwixt them. This is to be understood only of a full front Face; for if it turns to either Side, then the Distances are to be leffen'd on that Side which turns from you, lefs or more in Proportion to its Turning. The Top of the Ear is to rife parallel to the Eyebrows, at the End of the diameter Line; and the Bot

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