In drawing a room, or the nave of a church, place the centre of it on one side, and never in the middle; and nearer the bottom than the top. Observe the same rule with the figures. One side should be in light, while the other is in shadow. The heads or parts of figures on the shadowed side should catch the light; while, to balance the mass, the dark groups should be placed on the light side. (See [plate 1, fig. 1.])
So, in drawing any single object, always place it sufficiently on one side, to procure a greater space above it, than beneath; and more repose on one side than the other. This principle should never be lost sight of, for even in portraits it has a bad effect.
To produce pictorial effect, in composing landscape, the lines should be of unequal length, forming acute and obtuse angles. Neither should they be vertical or horizontal with the sides or bottom of the square, but always diagonal, the distant horizon and lower streaks of the bases of the clouds excepted, which should be contrasted, by the upper parts of the clouds being round. Broken banks and spreading roots of trees will effect this. An exception, in buildings and architecture, something reverses this rule, from the lines being perpendicular and horizontal, in which case, the shadows must be diagonal. When a wall, for instance, is straight, a wheel, or circular object is generally placed against it, to reverse the lines by apposition.'
'Objects, whether they consist of lights, shadows, or figures, must be disposed in large masses and groups, properly varied and contrasted, that, to a certain quantity of action, a proportioned space of plain ground is required; that light is to be supported by sufficient shadow, and that a certain quantity of cold colours is necessary to give value and lustre to the warm.' Observation of the best pictures will convey those proportions to the mind, much better than the most profound demonstration, 'that the eye may not be distracted by a multiplicity of objects of equal magnitude.'
Grouping, in composition, involves in its arrangement, a combination of the parts, so that they form an agreeable and well-defined whole, in which it is essential sometimes to employ the strongest contrasts; on the other hand, if the forms be too much scattered, they will distort the harmonious combination that is the greatest beauty of art. All accessories may be included in the principal group, so that they contribute to the general breadth. Opposition to regular forms is essential; this opposition is called Relief. (See art. [Light and Shade].)
We may derive hints in composition from almost every sort of combination.
Variety and intricacy have many excellencies, when managed with skill, as they exert the imagination of the beholder.
'Simplicity,' says Sir Joshua Reynolds, 'when so very inartificial as to seem to evade the difficulties of art, is a very suspicious virtue.' Simplicity might often better deserve the name of penury. 'I do not, however, wish to degrade simplicity from the high estimation in which it has been ever justly held. It is our barrier against that great enemy to truth and nature, affectation! which is ever clinging to the pencil, and ready to drop in and poison every thing it touches.'
Perseverance, in laborious application to acquire correctness, should always be preferred to a splendid negligence of manner.