“To find a shadow, two things are supposed, viz., light and body. Light, though quite contrary to shadow, is yet what gives it its being; as the body, or object, is what gives its form and figure. To conceive the nature of shadows more clearly, and render the practice more easy, it must be observed, that there are two points to be made use of: one of them, the foot of the light, which is always taken on the plane the object is placed upon; the other, the luminous body;—the rule being common to the sun, torch, etc., with this difference, that the sun’s shadow is projected in parallels, and that of the torch in rays, from the centre, as before mentioned. But as all objects on earth are so small in comparison of the sun, the diminution of their shadows is imperceptible to the eye, which sees them all equal, neither broader nor narrower than the object that forms them. On this account, all the shadows caused by the sun are made in parallels.
“To find the shadow of any object whatever opposed to the sun, a line must be drawn from the top of the luminary, perpendicular to the plane where the foot of the luminary is to be taken; and from this, an occult line to be drawn through one of the angles of the plane of the object; and another, from the sun to the same angle. The intersection of the two lines will express how far the shadow is to go. All the other lines must be drawn parallel hereto.
“All given shadows must appear darker than that part of the object not illumined, for this reason—those parts of objects not illumined receive the reflection of the brightness around them; while the shadow given can receive no reflection but from the object in shade.”
Having thus given the origin of Light and Shade, it will be necessary next to proceed to give some idea of the various effects of Nature, and the class of scenery suitable to each effect; as the great merit of a picture depends on the most appropriate Effect given to each scene.
Abrupt and irregular lines are productive of a grand or stormy Effect; while serenity is the result of even and horizontal lines, where no roughness or intersections appear, to invade the mild harmony of beauty.
Morning Effect, for instance, may be displayed in any composition the form and character of which are pleasing to the eye—where the pendent forms of trees, combined with other objects, communicate to the mind a delightful impression; and a similar observation will hold good with respect to Mid-day, which may be produced in various situations: but owing to the great glare of light in such Effects, hay-fields, corn-fields, or any busy scene on rivers, etc., are suitable for the Effect, and as regards Evening and Twilight. Such Effects being calculated to convey to the mind impressions of grandeur, the composition should be studied, to produce such an Effect; and the Colouring ought to be perfectly in unison with the peaceful repose or the gloomy majesty which controls the scene.
A flat country, on the marshy banks of a winding river, should be seen beneath a grey, clouded sky. The transient effect adapted to such a landscape is produced by the fleeting lights of the sunbeams, struggling, between the interstices of the blowing clouds. The old Pollard Willow is strictly characteristic of this scene, being indigenous to countries of this description; and its situation in the landscape might be such, as to carry the eye through all the various meanderings of the stream.
In landscapes which may have been selected solely with a view to the display of some particular object, and which are low, and, on the whole, less prolific in interest, and less gratifying to the eye, than others might have been, an additional feature of interest should be thrown into the sky, to aid, by the contrast it would afford, the effect of the whole, which otherwise might appear unsatisfactory; taking care, at the same time, not to invade or to injure the prominent character of the picture. On the other hand, however, where the scene itself is naturally full of interest, the picture will of course admit of a less beautiful and imposing; sky: although in this case, as in the former, due attention should be paid, to support the character of the whole. At the same time it ought to be fully explained, that these observations must be understood as by no means intended to confine the exertions of the Student entirely to the particular subjects which have been chosen for illustration in the various Effects of this Work; as it will be obvious, in drawing from Nature, the Student will find subjects very different, equally adapted to this purpose; and in his selections from the objects which may present themselves to his notice, he will of course find, in his own taste, a guide which will be more or less correct, in proportion as he has cultivated and refined it.
METHOD OF LAYING ON THE TINTS.
It will be necessary that the Pupil should be provided with good hair pencils, sepia or Indian ink, and saucers to mix each separate shade in; also paper strained upon a proper drawing-board.