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which is preferred by many, is, by adapting a scale to the size of the original, and then forming another, larger or smaller than the former, as you intend your copy to be; and then by taking the proportions and distances which are most prominent, with a pair of compasses, according to the first scale, lay them down upon the canvas or paper according to the second." The use of scales is absolutely necessary in laying down maps, roads, plans of estates, &c. where true distances are required.-See the plate.

OF DRAWING FIGURES.

The study of the human figure has always been considered by artists as the most important of the art, and is often called by way of eminence, the figure. It is the most difficult, and upon the whole, contributes most to general improvement. But some have carried this idea to too great an extent, saying, that a person who can draw the human figure well, can draw every thing else; though this, it is well known, is not the case: there being many artists who can draw the figure very well, who cannot draw landscape nor architecture. To draw any thing well, requires particular attention to that class of subjects to which it belongs. The study of the human figure, however, includes all the finest principles of the art; and when the eye of the student has been accustomed to copy faithfully all the minute circumstances which constitute the character of a figure, and to attend to the innumerable beauties and graceful forms which it presents, he will be better qualified to pursue with advantage every other branch of the fine arts.

In learning to draw the human figure, it is necessary to begin with each of the parts separately, and after sufficient practice in that way, to proceed to put them together in the complete figure

The head being the most important part of the human body, it should be studied first. For this purpose, the student should copy the best drawings he can procure of the eye, mouth, nose, and eur, separately, and on a large scale; and of these, a front view, profile or side view, oblique view, &c. A piece of soft charcoal may be made use of, for first slightly sketching in the general form, which must afterwards be gone over and corrected with the black-chalk, or black-lead. The false lines of the blacklead may be removed by the Indian-rubber; but we would recommend to be as sparing as possible of this, as it is more improving to endeavour to draw every thing corrected and decided at once, and not trust to the being able to erase the lines which are wrong.

The shadows may be laid on by drawing parallel curve-lines, according to the situation of the part, crossing them occasionally, and softening them in with more delicate lines, where necessary

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All the parts of a human figure are composed of curved surfaces; no straight lines are ever admissible; but every line should have a graceful turn; and it is this circumstance particularly that occasions the study of the figure to give so much freedom of drawing.

Care should be taken that no lines ever cross each other at right angles, as this gives a disagreeable net-like appearance; neither should the crossings be too oblique, as then they are confused: a proper medium will be acquired by the study of good drawings or prints: in general, however, crossing should be avoided as much as possible. Sometimes the shadows are rubbed in, or their edges are softened with a stump, or dubber, which is a full-haired pencil cut down to a stump; this is a very expeditious way, and produces a fine effect; but it should be used with discretion, as it is better to execute the shadows in a clear and regular manner by soft lines.

Care should be taken not to make the lines harsh and hard, like those of an engraving; they should be softer and more mellow.On this account, drawings are much better to learn from than prints, as, by copying the latter, the student is very apt to acquire a dry and hard manner. But we particularly caution him to avoid copying with the pen all the lines in engravings used for the shadows, which some, who have not been accustomed to see good drawings, are apt to do. Many productions of this kind have been executed with an immensity of labour, and have been thought very fine by those who had but little knowledge of the art; yet artists and good judges always consider them as very disgusting, and lament to see so much patience and labour misapplied.

In copper-plate engravings, there are no other means of producing shadows but by lines, at least with an equal effect; but this arises from the nature of the process; and in drawing, which is of a very different nature, there is not the same necessity for them. In general it should be observed, that the less labour there appears in any drawing, the better it is; and that though every possible pains should be taken to make drawings or paintings excellent, yet this labour should be always disguised as much as possible, and the whole should appear as if executed with the greatest ease.

Having copied frequently the parts of a face, he is next to proceed to the entire head; drawing first a front view, then a profile, a three-quarter, and so on; varying it in every possible direction, till he is thoroughly acquainted with the appearance of all the principal lines in every situation. In making these studies, he should be contented at first with drawing mere outlines, as they are by far of the most importance; and it should be remembered

in general, that to make a good outline, is always the most desirable attainment. The student should now accompany his lessons by making observations on good casts, and living models; but more particularly the former, as individual nature is seldom fine, and there is danger of copying what is bad, and acquiring false ideas of beauty.

By these exercises he will have acquired some facility in handling his pencil, and he will be thus prepared for the study of the whole figure. But before he can proceed to this with advantage, we would recommend to him not to neglect the study of anatomy.

But it is not necessary for him to study anatomy as a surgeon, nor to make himself acquainted with all the nerves, veins, &c.— It is sufficient to study the skeleton, and the muscles which cover them, and of these, he should most particularly make himself familiar with those muscles which most frequently appear, and come into action. For this purpose, he should procure plaster cast of the anatomy of the human body, and consult treatises written upon the subject; and if he have opportunity, it will be proper afterwards to attend dissections and lectures on anatomy. He should also use every possible opportunity of making observations on the actions of the muscles in nature, under the influence of different passions. Being thus thoroughly prepared, he will be enabled to draw the human figure with great advantage, and he will make a more rapid progress than he could have done without these previous studies.

Symmetry, or proportion, will be best learned by copying after the antique statues, of which plaster casts may be easily procured. Nature does not appear to have been solicitous to perfection in the production of individuals. Parts of individuals are frequently as beautiful as possible, but a complete whole is never to be met with. The practice of the ancient Greek statuaries was, to select from various individuals the most beautiful parts, and by combining them, to produce figures more perfectly beautiful thau Nature ever presented.

In drawing from plaster casts, a good deal depends upon chusing a proper view, and placing the model properly with regard to the light, which should always come in obliquely from above, as it generally does in the day-time. If a candle be used, it should be so high as to cast the light downwards upon the model. The light should only come from one part, as cross-lights will distract and spoil the shadows.

After the student has with labour and zeal gone through these studies, and acquired a facility of drawing the human figure in every possible situation, and under every variety of form and circumstance, a great deal remains for him still to do, before he can be considered as an artist. He has as yet conquered only

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