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large ones less : water agitated by the wind, and dashing againstships or boats; or failing from a precipice upon rocks or stones,spirting up again into the air, and sprinkling all about: clouds alsoin the air, now gathered with the winds: now violently condensedinto hail, rain, and the like : Always remembering, that whatevermotions are caused by the wind must be made all to move thesame way. For further particulars on this and the other parts ofdrawing, see Painting .
XL Of Mechanical Drawing, or Copying.
There are various methods by which those who are ignorant of Jthe art of drawing mav copy very accurately the outlines of pic-turv-s, prints, and drawing; and these methods are often useful totho-e who can draw, and to engravers, when either great expedi-tion, or great accuracy, is required ; though none of them shouldever be used by one who is learning to draw.
Tracing against thf. Light. Hold the drawing you wishto copy against one of the panes of the window ; or have a paneof glass put in a frame, and titled up like a music-stand, with acandle behind it. Lay your paper over the drawing, and yon w illsec ail the lines of the original distinctly through it, by whichmeans you can easily trace them with a pen, or black-lead pencil.
To make Tracing-paper. Mix together equal parts of oilof turpentine and drying-oil, and with a rag rub it evenly oversome fan or tissue-paper, or any other very thin paper. Hang itby to dry for a day or two, and it will be tit for use. Lay thisover the print or drawing sou want to copy, and you will seeevery line dbtinctly through, so that you can go over it with theblack-lead pencil. If you wish to do it in ink, you must mix alittle ox’s gall with the ink, to make the paper lake it, which itwould not ottierwise do on account of the oil.
To Make Camp-paper. Take some hard soap, mix it withlamp-black; make it into the consistence of a jelly with water ;with this, brush over one side of your paper, and let it dry. Whenyou use it, put it betw een two sheets of dean paper, with its blackside downwards; and with a pin, or stick with a sharp point, draw orwrite what you please upon the clean paper; and where the tracerwas touched, there will bean impression upon the lowermost sheetof paper as if it had been written or drawn with a pen. It may bemade of any colour, by mixing w'ith the soap, black lead, vermi-lion, &c.
Stenciling. Lay the print or drawing you wish to havecopied over a sheet of paper, and with a pin or "needle prick, all theoutline over with holes, through both the papers. Then take theclean paper with the boles made in it, and lay it upon the paperyou wish to have the design transferred to, and dust it over withthe powder of charcoal in a small muslin bug; the dust will pene-trate through the holes, and leave a correct copy of the originalupon the paper. This pricked paper will do again for anv num-ber of copies. This is very useful for ladies wriio work flowersupon muslin.—The method of enlarging and contracting bvscpiares. Divide the sides of your original with a pair of compassesinto any number of equal parts, and rule lines across with a black-lead pencil from side to side, and from top to bottom. Thenhaving your paper of the size you intend, divide it into the samenumber of squares, either larger or less, as you would enlarge orcontract it. Then placing your original before you, draw, squareby square, the several parts, observing to make the part of thefigure you are drawing fall into the same part of the squares in thecopy as it does in your original. To prevent mistakes, numberthe squares both of the original and copy. This method is muchused !>v engravers. To prevent the necessity of ruling across theoriginal, which in some cases may injure it, take a square pane ofcrown glass, and divide its sides, aiui also its top and bottom, intoequal parts: then for each division draw lines across the glass withlamp-black ground with gum water, and you will divide the glassinto squares. r l lien lay the glass upon the original which youwish to copy, and having drawn the same number of squares uponyour paper, proceed to copy into each square on your paperu hat appears behind each corresponding square of the glass, In-teudof a glass, an open frame with threads stretched across will answerthe same purpose.
'I hf. Pf.ntagraph. The pentagraph is an instrument, bymeans ot which one may copy, enlarge, or reduce, the outlines ofany picture, print, or drawing. It may be had at most mathemati-
cal instrument-makers, and is extremely useful for copying plans,maps, and other complicated figures.
Transparencies 1 he effect of this kind of draw ing, whichhas lately become very fashionable, though by no means a moderninvention, is very pleasing, if managed with judgement, particularlyin tire and moonlights, wline brilliancy of light and strength ofshade are so very desirable. The very great ex pence attendingthe purchase of stained-glass, and the risk of keeping it secure fromaccident, almost precludes the use of it in ornamenting rooms;but transparencies tonn a substitute nearly equal, and at a very smallexpence. The paper upon which you intend to draw must befixed in a straiuing-lrame, in order that you may lie able to place itbetween you and the light, when you see occasion in tile progressof your work. After tracing in your design, the colours must belaid on in the usual method" of stained drawing. When the tintsare got in, you must place your picture against the window, on apane of glass framed for the" purpose, and begin to strengthen theshadows with Indian ink, or with colours, according as the effectrequires, laying the colours sometimes on both sides of the paper,to give greater force and depth of colour. The last touches forgiving final strength to shadows and forms, are to be done withivory-black, or lamp-black, prepared with gmn-water, as there isno pigment so opaque and capable of giving strength and decision.When the drawing is finished, and every part has got its depth ofcolour and brilliancy, being perfectly dry, you touch very care-fully with spirits of turpentine on both sides those parts winch areto be the brightest, such as the moon and fire ; and those parts re-quiring less brightness, only on one side. Then lay on immedi-ately with a pencil a varnish, made by dissolving one ounce of Ca-nada balsam in an equal quantity of spirit of turpentine. You mustbe cautious with the varnish, as It is apt to spread. "When the var-nish is dry you tint the flame with red lead and gamboge, slightlytinging the smoke next the flame: the moon must not be tintedwith colour. Much depends upon the choice of the subject; andnone is so admirably adapted to this species of effect as the gloomyGothic ruin, whose antique towers and pointed turrets finely con-trast their dark battlements with the pale yet brilliant moon. Theeffect of rays passing through the ruined windows, half-choked withivy ; or ot a lire among the clustering pillars and broken monu-ments of the choir, round which are figures of banditti, or otherswhose haggard faces catch the reflecting light: these afford a pe-culiarity of effect not to be equalled in any other species of paint-ing. Internal views of cathedrals also where windows of stainedglass are introduced, have a beautiful effect, The following is avery easy method of draw ing and shading objects, 'l ake a sheetof the thinnest, or w hite-brown paper, and brush it over with oilof turpentine, which will immediately render it transparent •.then, after drying the paper in the air, strain it upon a frame, andfix it against the "object you design to draw : this done, place rightbefore it a piece of wood with a hole in it, fit for one’s eye to lookthrough, and as you meet any outlines of the object on the trans-parent paper, trace them over with a pencil; by which means youwill obtain the just proportion, and true representation of any objectin its outlines. To render this still more pleasing, observe thetracings of your draught, w herever the shades are, and mark themwith your pencil; for all the art in the world can never dispose ttieshades so regularly, as one may touch by this method; but theshades must be drawn quickly after the outlines are drawn, not atdifferent times, because the sun instantly changes them. Here ob-serve, as in certain objects you will have fainter, stronger, anddarker shades, in your remarks of them, to take such memoran-dums as may direct you howto finish them with Indian ink, orother colour", w lien you sit down to complete your work. To thisend the be-t wav before you trace out yourobjrrt, is to preparethree shells or gallipots of Indian ink, mixed with common water,viz. one of a very taint black, one of a middling black, and one ofan intense black," numbering them 1, 2,3 ; and as you make yourobscuration on the shades of your object, mark upon your draughtthe same numbers as they happen to appear, so that afterwards youmay finish witli certainty, in this regard the transparent paperis of great use ; for, being laid upon any paper or print in a loosesheet, all the lines will be seen so perfectly through it, that youmay copy them w ith the greatest ease; and if the print or picturelie "done by a good master, you can see which lines are strong,which solt," and how to innntate them. Some prefer to the trans-parent