THE PAINTERS' AND GLAZIERS' GUIDE.

PART II.

points, there will be nothing too high, or too low, too wide, or too narrow, or wrongly inclined or curved; all proportions will agree with the original, and the effect of the whole will be certain.

Plate XLV. is a composition intended for a transparent blind, but as it continues the directions on colouring it is inserted in this place, as a subject for a water-colour drawing. The mass of land in the foreground must first be sketched lightly with the form of the figures and trees. This sketch must be drawn as near to the size as possible, but yet left so light, and the outline sufficiently broken and free, as to admit of any alteration that may be required. When the drawing is more finished, the second mass must be sketched in the same way, taking great care to keep the building upright. The masses of foliage must be sketched with freedom, taking care to preserve the form of the outline, without caring for the markings of the different kinds of foliage: the distance must then be sketched very lightly. When the whole of the first sketch is finished, examine it in every part, to see if the masses, buildings, &c. are of the proper size; and if they are not, make them so. It is at this period of a drawing that corrections can be made without injury, and with little trouble; whereas if the student finishes one part before he has properly drawn the whole, he may have to do the whole again for that which would have been a very trifling alteration if done at the proper time. When the first or sketchy outline is completed, begin at the foreground again, and mark upon each object distinctly, taking care to keep the outline towards the light very thin, and the parts in shade strong and spirited. The distance, if the sketch is pretty accurate, will scarcely need touching, as it cannot be left too light. As in the two preceding drawings, the sky must be coloured first, by mixing a little prussian blue and lake: the latter colour should be used very sparingly, only just enough to take off the raw tint of the blue. The large brush must be well filled with colour, and the edges kept wet by making hatches or strokes along the top, about an inch in length; and when the space at the top is quite filled up, commence another layer of touches: these may have a little more water mixed with the colour, as it always gets paler as it approaches the horizon. The next layer should be done with water only, and

TRANSPARENT BLINDS.

Plate XLII.

TRANSPARENT BLINDS.

Plate XLIV

CHAP. V.

TRANSPARENT BLINDS.

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The second subject will require more care. The Gothic ruin will afford an excellent opportunity of shewing the effect of the varied tints. The sky should be bright, and the water should partake of the same colour; letting it shew the reflection of the trees, and the white sail of the boat on its surface, as seen in the copy: the distant mass of trees must be kept very light. The strong colouring must be reserved for the ground on which the ruin stands; and the fore ground, the weeds, &c. round the broken stones, will afford an excellent opportunity for the young student to practise the effect of scraping out.

The third sketch is a view on the Wye. The trees over the cottage must be produced as directed in Plate XLIV. The water will partake of the green hue of the surrounding objects. The fir tree, and the whole of the fore ground, should be kept dark, to throw the other masses to a greater distance.

In the marine view the sky is brought down to the horizon, without much clouding, in order to shew the effect of the gradation of tints on the sky at the setting of the sun. The top must be blue and lake, worked down to the centre of the picture quite thin. The second tint is lake alone, and this is met by the tints of yellow ochre, began on the horizon, where the sea view terminates. The sea, in the extreme distance, must partake of the colour of the sky, and become darker as it approaches the fore ground. The castle will afford an excellent opportunity of shewing the varied tints.

Architecture is not a fit subject for transparent blinds; the masses are too dark and heavy: it is sometimes introduced with good effect in libraries, long rooms, or galleries, where it can be seen from a distance. Where it is required it will be found best to introduce picturesque ruins and broken columns, something in the style of the fifth sketch in this plate.

The most pleasing style, and that best adapted for drawing rooms, where the blinds are subject to the closest inspection, is the sixth

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