Drawing From Nature

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DRAWING FROM NATUKE

A SERIES OF
PROGRESSIVE INSTRUCTIONS IN SKETCHING,
TO WHICH ARE APPENDED
lectures
oit
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beliberffr
at JUijjbij
School.
ILLUSTRATED BY EIGHTEEN COLOURED PLATES, AND NUMEROUS WOODCUTS.
BY
GEORGE BARNARD,
PROFESSOR OF E HAWING AT RUGBY SCHOOL; AUTHOR OF "THE THEORY AND PRACTICE OF LANDSCAPE PAINTING IN
WATER-COLOURS," "FOLIAGE AND FOREGROUND DRAWING," "SWITZERLAND," ETC.
NEW
EDITION.
LONDON:
GEORGE ROUTLEDGE &
SONS,
NEW YORK:
416
THE BROADWAY, LUDGATE.
BROOME STREET.
MDCCCLXXYII
LONDON
SONS, AND TAYLOR, I'RINTEl
BREAD STREET HILL,
VEEN VICTORIA STREET.
:
WtfiEnYCFJSER
CONTENTS.
INTRODUCTION
CHAPTER
I.
ELEMENTARY PRACTICE
CHAPTER
II.
TREES
18
CHAPTER
III.
FOREGROUND STUDIES
89
SECT.
I.
II.
III.
IV.
V.
VI.
VII.
VIII.
COTTAGE HOMES.
SHRUBS AND GARDEN HEDGES.
LANE AND HEDGE PLANTS.
THE ROADSIDE.
THE HEATH OR COMMON.
MEADOW GRASSES AND FIELD FLOWERS.

CORN FIELDS.
THE STREAM AND
ITS
BORDERS.
CHAPTER
IV.
LECTURES AND MISCELLANEOUS PAPERS

I.
II.
III.
IV.
V.
VI.
VII.
DRAWING FROM NATURE IN PUBLIC SCHOOLS.

HINTS ON GENERAL STUDY.
USE OF WATER COLOURS.
FIVE MINUTES' SOLITUDE WITH A GLASS OF WATER.
THE ART OF LITHOGRAPHY.
THE STUDY OF ROCKS.
MODERN PAINTERS AS TEACHERS.
167
CONTENTS.
CHAPTER
V.
PAGE
SYLVA EVELYN'S COUNTEY
223
CHAPTER
VI.
FOREST OF FONTAINEBLEAU
241
CHAPTER
VII.
REMINISCENCES OF THE VACATION
CHAPTER
248
VIII.
AN EXPLANATION OF ALPINE TEEMS

CHAPTER
263
IX.
AN ALPINE SKETCHING TOUE

CHAPTER
ARTISTIC EFFECTS
X.
AND INCIDENTS OF TRAVEL

CHAPTER
AN OUTLINE OF A TOUR
CONCLUSION
284
IN
....
295
XI.
THE PYRENEES
'.'
.'307
340
LIST OF PLATES.
PLATE
I.
II.
Foreground Plants (coloured plate)
Examples of Touch
for
Frontispiece
Oak and Ash
to
face page 18
Ditto
ditto
Elm and Beech
IV.
Ditto
ditto
Birch, Poplar, Willow,
V.
Ditto
ditto
Scotch Fir, Spanish Chestnut, Larch, and Plane
III.
'
VI. Brush Practice

VII.
Ditto
VIII. Group of
in
ditto
30
and Thorn
68
141
Trees
166
Game
576
182
192
X. Ash, "Warkworth Castle

XI. Scotch Fir, Pont d'Espagne, Pyrenees
E'er
Sepia
IX. Spanish Chestnut, Valley of Aoste
XII.
56
.
.198
202
de Cheval
XIII. The Eagle Rock, Glen Sligachan, Skye
206
XIV. Les
210
Ottleys,
XV. Chene de
Havre de Gosselyn, Serk
Sully, Fontainehleau (coloured plate)
XVI. The Matterhom
S!50
XVII. The Jungfrau from above the Staubbach

XVIII. The Aiguilles Verte and
241
Dm
from the base of the Mer de Glace
292
298
LIST OF WOODCUTS.
Inscription Plate.
1.
Lilies of
Heading, Title (Potentilla and Ground

Ivy)
and Water Dock
2.
First Sketch, Post
3.
Roadside Sketching (Pyrenees)
4.
Heading (Bryony)
61.
62.
63.
3 to 16.
7 to 20.
Touches of Foliage
,,
,,
. ,
, .
....
....
....
Valley.
PAGE
104
60.
Lane and Hedge Plants
14
66.
15
67.
16
68.
oouy
106
110
....
Red-berried Bryony
11?
lglitsliaue
114
White Bindweed
White Garden-Lily
116
\V
;tc>12.
the.
NO.
yo.
..n
11 7
119
The Roadside
123
126
23.
Elm
24.
Wych Elm
25.
Beech
..
Foliage
,,
......
23
70.
26
71
28
'
r
73.
30
74.
The Heath or
The Marten
Geese on
32.
Spanish Chestnut Foliage

34. Horse Chestnut
,,
35.
Horse Chestnut Blossom
38.
Weeping Willow
41.
Maple
Hawthorn
....
....
....
....
,,
133
136
ommon
Field
139
"' Corn Fields
140
43
149
156
78.
44
Plane
,,
Plane and Sycamore Leaves
33.
Hay
131
it'
40
41
31.
Hare- Bell
rê
Birchen Implements
'omi
Rabbit and Ferret with herns
37
29.
<
E lowering Rush, &c

Salmon Traps, Conway
45
80.
46
81.
48
82.
49
83.
Water Lily
oO
....
84.
Reeds and Starlings
51
BO.
56
86.
Rugby School
Rugby Boys (Football)
61
88.
l.Wass 01
63
89.
The Evelyn Woods
67
91.
Squirrels
92.
Route de Chailly
Figures by the Wayside
Bergschrund
Wengern Alp
166
167
158
160
179
8/.
....
....
43.
Stone Pine, Coast of Genoa
42.
Scotch
Larch Foliage
47.
Cypress, Cedar, and
48.
Date Palm, Coast of Genoa
50,
51.
Fir,
Leith Hill
Elder
Broom and Furze
Leaves of Cherry
Vine Foliage
54. Cottage Homes
Yew
Foliage
.
93.
76
80
95.
96.
Marjelen See
81
97.
Aiguille de
83
98.
Monte Rosa, from

Pic du Midi
84
101.
Holly (Winter)
193
241
243
222
and Oak (Fontainebleau)
94.
56.
<xe
73
53.
The Garden Hedge
71
52.
55.
atei
90.
69
45.
46.
\\
00.
102.
,,
.
Charmoz
....
Peasants of Les Landes
Bathing at Biarritz
Les Eanx Chaudes
Stable of a Spanish Posada
Man and Donkey
Bagneres de Bigorre
Pyrenean Peasant
Moonlight, on the Luke of Lucern e
.
105.
106.
107.
265
284
295
304
"
'
the Val Anzasea
262
263
....
306
310
314
319
321
324
329
339
340
RAWING
mean
The habit
upon sound
taught
principles,
proportion to the development

of close
observation, with the exactness
required in the practice of this
art,
is
as
To accomplish
as other branches of education.
mere pastime,
moment, and
to
for the neglect of
allowed to plead
would
be,
"a want
and dexterity
this,
however,
must not be treated
whim
of the
which a deficiency of talent or the urgency
more than
sufficient excuse.
What youth
Greek?
The answer
taste" for Latin
of
they are indispensable
elevate and refine his
It
be followed or not, according to the
of other studies, is considered a

is
no
drawing be pursued with the same devotion, and with the
essential that
same opportunities
in
educates not only the eye and hand, but
materially assists in strengthening the mind.

it
contributes
the intellectual powers.
ol'
or
these studies of men's thoughts and actions
own mind and
language, enabling
him
to
speak and act
like a true gentleman.
Dr.
strictly
Temple says
human
"
neither mathematics nor physical
part of our nature
comes from intercourse with other minds.

perpetual spur to the whole
store of
human
knowledge, that which
the moral,
science touch the
the fact being that all education really

.
That which supplies the
race to continue incessantly adding to our
refines, elevates,
and does not merely educate
nor merely the intellectual faculties, but the whole man,
communion with each
other,
and the highest study

B
is
that
is
our
which most
DRAWING FROM NATURE.
promotes
communion.
this
That study will do the most, which most
mind with noble
familiarizes a boy's
thoughts, with beautiful images, with
men have done and
the deeds and the words which great
and
said,
all
others
have admired and loved."
Drawing
wants,
in a
language intelligible to
bona
much
also does
of this,
and adds that which mere abstract study
the power of accurate observation, and the

To
all.
own
the fruit of his
tide study,
observation, and of his
as well as of the training of his hand,
manipulation.
of
must not be a
It
another a mere
ability to express the result
Drawing must be
effect this,
to the pupil
own
thoughts,
and the dexterity and grace of
his
parrot-like imitation of the ideas or language
repetition without sense or reflection: this
but co] lying, the preliminary practice before
we
is
not drawing,
arrive at the Art of Draiving
from Nature.
Nothing
lias
such
tendency to weaken not only the dexterity of the hand
but the power of accurate observation, as the habit of copying hastily and
To
carelessly the ideas of others, without referring continually to the reality.
prevent this indiscriminate and ape-like repetition and misdirection of energy,
copying should be used only as a means of acquiring the power of handling
That once attained, the pupil should begin
the instrument.
simplest forms from real objects.

lines,
object
let
him take a
;
position in
let
which the
him look
and
at
let
wood
trace
he will succeed in producing

transparent medium.
in every position
which
all sides, let
cube will appear the same as in the
upon
it
him from
and by an
previously traced on the glass
draw the
shown him, together with the
with
crayon of hard soap the
that point.
Then
him hide the cube with
and then, having lowered and raised
place the paper on the table,
drawn
real
or paper for the glass, let
at arm's length,
ideas with
to
can draw straight
through a transparent plane, such as a sheet
it
him
edges of the cube as they appear to
it
lie
After he has closely examined the solid form on
of glass in a frame,
piece of
soon as
fact, as
a perspective drawing of a cube be
itself.
drawing
In
effort of
it
it
substitute a
by holding
several times, let
memory draw
him
the form he has
with a moderate amount of care and attention

it,
almost as accurately as
it
appears on the
cube and circle thus truly and carefully studied,
and reasoned upon,
will produce clear
and determinate
to lay a foundation of exactitude in drawing,
remove one of the causes of obscurity
in simple ideas,
and will also
which Locke
tells
us
INTRODUCTION.
"seem
of ideas,
is
greatly developed and strengthened
young draughtsman's endeavouring,

from recollection
it
solid forms will
in this
manner
become inseparable in
A rapid communication
between the
real objects at once bridged over
after a little practice, the
many
will, in
instances, be
and he
exists
Ce
n'est
little
que
le
also esta-
is
between copying and drawing
wdiile the true artist will find that,
more agreeable and complete than that of
when he
this opinion,
says that
often to express in a few lines well put together
worth a
outset.
memory, and hand
eye,
"
premier pas qui coute, " say the French, and
think
attempts to draw from nature
my
having
As
the reader will perceive,

I
my
for too long a
time directed
have since sketched
for a
I
which
difficulties
my
first
many
abroad, I do not believe any one cost
pupils assisted and encou-
my
so
long afternoon's work.
first
attention to mere copying.

affair
complicated subjects, both at
me
my
doubt not were increased
attempt was a very simple
much
my
yet,
home and
real labour, elicited so
and despairing exclamations, or produced in
sighs
it is
trouble to render this formidable "premier pas" as short and
easy as possible, and I have sometimes found
though
of
intelligible."
raged by a description of some of the difficulties which attended
by
writing.
drawing helps
what a whole sheet
make
paper in writing would not be able to represent or

"
will afterwards greatly
power of communicating his thoughts by drawing-
Locke again confirms us in
man
by the
object, to
ideas of the connexion of lines and
his mind,
and the great gulf which so often
blished,
an attentive study of any
after
by having clearly understood the subject from the
benefit
from
weakness of memory."
to be either dull organs, slight impressions, or
Memory, the storehouse
draw
many
eyes so poor a result
I should mention, that at the time of
making
it
could copy the most elaborate lithographs with such success, that partial
judges pronounced
original.
my
imitations, not only equal, but even superior to the
shrewd master and sincere
friend,
however, declared sufficient
time had been spent in what has been denominated
one fine summer's afternoon he desired
and go up the banks of the Thames

without a sketch from Nature, even
round
me
to take
to Putney,
if it
"
laborious idleness," and
my
sketching materials
with injunctions not to return
were merely a post with a rope tied
it.
I sallied out, feeling
very
much
as a
boy who cannot swim must do upon
being thrown into deep water, without corks, or even any one
B 2
to
hold up his

chin, foi I
had never drawn from
in which
The disconsolate way
real objects before.
wandered up and down the banks, abounding with
rich
and
picturesque subjects, such as old boats, ships breaking up, mills, bridges, trees,
and water-plants,
is
deeply im-
still
my memory.
pressed on
these objects
thought too
Some
others not suffi-
difficult,
ciently picturesque
so that at last,
down
in sheer desperation, I sat
my
fore the very object
This
suggested.
first
had
with
me,
my
be-
master had
sketch would
have been accomplished with

difficulty
of
doubtless saw, but
friend
explained a
less
made
little
it
of the
practical use of perspective; but the
mental discipline
valuable, for
my
it
underwent was
my
lowered
pride in
neat copies, and taught
see Nature for the future with

lity, if
now
of a subject.
Now, presumptuous
and scorn nothing."

of a creation
which has been declared
as regards Art, both to
only,
which
reject
in our opinion are
perfect,
mind with beauty,
The great
objects,
or the scene
In
object of Art
convey
is to
we
choose and
to the spectator
which has impressed the
effects
reality,
the eye discriminates without
effects, as shall best
sublimity, or repose.
nothing,
and those
fitted for representation.

;
select
are surely quite at liberty,
most
effort.
moment,
we
those
dif-
choice
to scorn the least portion
select
combine such forms, colours, and

the inspiration of the
is
and
begin to select from our earliest childhood

our being conscious of any
it
my
The eloquent author
nothing-,
reject
as
alluded to the
experienced in
ficulty I
"'Modern Painters" teds us we are "to
to
humi-
not with love.
I just
of
me
figure
moved by
aitist's
passion,
and
presenting for the instant a striking and powerful idea of the emotion, passes
through innumerable variety of positions, one of which only can be seized and
INTRODUCTION.
That most suited
portrayed.
As an
rejected.
moved by
we
chosen
must be adhered
it
which
other.
In a group
and action
is still
and the most apparently
to sketch the entire scene,
must
the result of study, and study,
fie
says, "
Joshua Reynolds
to be successful, must, as Sir
graphic than any words,
hidden in the
lie
upon and nurtured
till
artist's
How many
awaiting
fruitful tree
that subjects
more
if
Though
sketched,
it
is
cultivated,
lie
encased like the young

Unless, however,
unfold.
may
it
more
interesting, pictures
to
not unfrequently occur
striking,
grouped figures more
than those ultimately chosen, have been passed by, or
naturally disposed
even
due season
its
power of selection has been
this
to his present need,
the mere sketch becomes a finished work,
and thus the germ of many a future picture may
bud of a
more
evidently ideas
folio,
more suited
rejected, for the time at least, while others,
The
be well directed."
in this education is the experience of others.
pencil or coloured sketches equivalent to notes with the pen, but far
are dwelt
one
and once
to.
of judicious selection
most useful guide
and choose the
it,
rule holds good in landscape painting
selected from
must be
The power
reject
to the colour of the draperies,
The same
accessories.
single point
the others are
find that this doubled-up position does not give the idea
a similar emotion, selection of position
more necessary, even

trifling
select,
and they remain in that position as long as in the opposite,
we
but
of motion or speed, therefore
of figures
convey the truth we
to
instance of this selection, a racehorse at full speed doubles
his legs under him,
outstretched
condemned
for ever to the
obscurity of the artist's
folio.
only natural that he should give the preference to the brush
rather than the pen, yet, in addition to the hasty strokes of his favourite
instrument,
a certain portion
should not be neglected, as
of word-painting is a valuable auxiliary,
of a few notes, circumstances
and
traits
escape him in the lapse of years, but

associated with
How
him
in the
earnestly have
have been
left
us
of character that
when
must otherwise
highly interesting to those
who
are
of Nature.
of us longed for a truthful diary of the passing
thoughts and feelings of great men, and

as
is
same ardent worship
many
and
not only enables the artist to recal, by means
it
how
carefully have
we
cherished such
certain that they are faithful transcripts of the
man, and not made up portraits
for
exhibition
What
lessons to the Art-
student are the sketches and studies for a single great picture, and
how much
DE AWING FROM NATURE.
r;
he
from
learns
the
artist's
and
corrections, elaborations,
and corrected manuscripts of Pope and Gray can be
in Art as the seared
the young poet.
advanced
It is
common remark among
indeed a
in their profession to feel the difficulties of
experience, that
he
selections, as
These are as valuable
follows the one idea through each succeeding stage.
one
to
visit
studio of an
the
to
students sufficiently
acquiring skill without
eminent painter
one
fair
examination of his studies, of his rejected and adopted ideas, with a few
explanations
kindly
from himself,
far
is
means advise a habit
more
Let
exhibition of his finished productions.
it
instructive
than a whole
be understood that I by no
of indiscriminately sketching every scene, or combination
may
of light and shade, or colours, that
These
present itself to the student.
sketches and notes, to be valuable, must be well defined and carefully made,
Even
or they will prove as useless to himself as unintelligible to others.
some
of Turner's folios of loose studies are so utterly unconnected, that not
even his most ardent worshippers are able to find any clue to his idea
I
remember, when young, once travelling in the diligence from Paris
Geneva
in
company with an amateur, who
greatly astonished
me by
to
inces-
santly filling his note-book with rough sketches, in coloured crayons, of every
object,
no matter of what nature, that we passed upon the
we reached Geneva
no
real
road.
the book was about as valuable as so
meaning being attached
to
any single scrawl
was a habit of indiscriminate sketching
as bad
By
the time
much waste
paper,
the only thing acquired
as a person talking inces-
santly without communicating a single idea.
The general
desire for a glance behind the scenes
the course of a great
artist's
idea from the
his mental vision to the time
when,
a completed work, have induced
by
year.
In the case of
can scarcely be expected
many
the
moment when
anxiety to trace
it first
flashed before
stood before
him
artists to exhibit their sketches
year
finally
embodied,
it
a living painter of historical or poetical subjects this

;
but
it
is
most instructive to examine the sketches
and studies of Raphael, Michael Angelo, and other old masters that have been
preserved.
first
Could the most successful works be traced in
this
manner
to their
conception, they would often be found to result from an idea, an incident,
an effect of only a moment's duration, but which, falling on a well-prepared
mind, and wrought out by a hand trained to convey an impression, however

transient,
have
laid the foundation of a true
work of
art.
Many
artists are
INTRODUCTION.
incapable of explaining the process through which their picture arrived at

maturity.
Wrought up and
which led
to the
by the excitement of genius, the
carried on
result are forgotten
nor could
we expect
steps
or desire that
a Turner or a Landseer should stop in his glorious career, even to assist
the neophyte in Art by the history of his progress.

are but a few steps
safely
on the
first
up the ladder
round.
of
fame
It belongs to those
who
to aid the novice in placing his foot
Such, however genuine their devotion to Art, are
not so likely to have forgotten the difficulties they encountered in their search
after truth,
nor the points at which they most
helping hand.
felt
the need of a friendly
study of parts, before attempting whole subject; fkecision and firmness thus
the hani) exercised before
acquired
foliage difficult to render truly
Drawing from nature plants selected according to prominence in a picture
general character dependant on outline, in trees on disposition of trunk and
branches study of detail merged in general f,f fect -turner an elaborate
copyist characteristics of each tree to be strictly rendered; these varied by
climate and soil lithographic examples suited for copying resemblance of art
and poetry freedom and delicacy of drawing valued by painters uf antiquity
apelles giotto examples of foliage, figs. 1 to 10 - shading, figs. 11 to 14
brush sometimes superior to pencil flat and gradated tints, plate vi. highest
lights left in correct forms studies with full and moderately dry brush
examples of foliage in sepia, plate vii.
HE
design of this work being to assist
immediately from Nature,
all
found most successful at Rugby and elsewhere.

of Nature to observe and execute,
planation.
who have
have endeavoured
is
a desire to draw
to explain the
system
To teach the young student
an object worth much care and ex-
have therefore taken the practice step by
the simplest lines and touches, imitating as far as the
step,
beginning with
somewhat perverse
nature of wood-cutting will permit, the freedom and dexterity of a trained

hand.
have already found by the large amount of success of former works,
that the pupil
may
be
much
assisted
by previous
careful study of the different
ELEMENTARY PRACTICE.
pans before the
by step
step
in
is
an express
As
entire object is attempted.
known than
likely to be better
train, so the
the road that
is
patiently trod
that over which one
examination of Nature in detail in this
greatly to increase the knowledge of the whole
whirled
is
effort
observation, mind,
tends
and hand
working in unison.
all
In careful studies of
this kind, there will be so
much
life
and
reality that
every observer, whether educated or not, will at once perceive that the artist
is
Such a
well acquainted with the subject he has been treating.
In addition to
worth a good deal of patient labour.

in detail gives precision
copying
and firmness
which
acquired,
is
are,
to the hand,
result is
the study of objects
and a habit of
distant portions of a picture.
however, some objects so multitudinous in their parts and so
changeable in their position and form, that something more than
adherence to the rules of copying

foliage,
whether of
At
common.
me
end.
artist's
that great assistance can be rendered
Do
or
not
let
trials to
me
for
study,
him by
my
of the field
and
experience has taught
a well-considered method,
be an effectual means of arriving at the desired
be misunderstood.
any theory
humble plants
the more
young
a strict
Foremost among these stands
required.
is
trees, shrubs, or
this point in the
proved by repeated
method
faithful
afterwards of the greatest use in rendering the
is
more elaborate tones of the middle and

There
this,
In no way would I substitute this
What
drawing from Nature.
I advocate
is,
that
before the student begins that course of study, he should so educate and train
his
hand that
quality
strokes, touches,
and strength can be
higher powers of the
mind
and
tints in
executed
free
to
every direction and of every
by the
hand
alone,
leaving
embrace more important points.
the
Not
pretending to a knowledge of botany, I have simply viewed trees and plants
with a painter's eye
treating
the unscientific observer.
them
Artists
as parts of a picture,
have
little
to
and
as they affect
do with many plants which
interest the botanist, their attention being directed to the general appearance
in the following pages I have therefore selected only such objects as are at
once the most
common and
distinct in character, or those
practice in their graceful forms.
which
afford
cipal rules of botany, or perhaps I should rather say accurate observation
acquaintance with Nature,
is
good
certain knowledge, however, of the prin-
necessary, that the student
may
and
readily recognise
each tree and plant, not merely by the leaf and blossom, but by the structure
10
and arrangement of
when
transgressed
portions of
is
parts.
its
He
cannot be a faithful or effective delineator
without some acquaintance with geology, that
of Nature
representing the
depends
branches, and the
way
this
size or disposition of the
which the smaller shoots or twigs grow and the
in
This careful study of character, upon which the truth of
expand.
leaves
and plants,
in trees
on the trunk or stem, then on the
first,
laws be not
its
rocks or fractures in
The general character of an object
them near the foreground.
obtained from the outline, or outside form
first
of
stratification
drawing depends, must not degenerate into a timid and servile imitation of
details
and when once the important parts are introduced, those not required
must be observed by a few broad strokes or glazings.
for effect
Turner
may be quoted
and minute study

though
as
Our
an encouraging example to the young
celebrated
in this close
from his early days he was an elaborate copyist of Nature,
knowledge was melted into
later all this
a blaze of coloured light or
the obscurity of deep shade, and he often sacrificed
much
of the truth of detail
to experiments in colour frequently intelligible only to himself.
Undoubtedly
the most important and ornamental objects in landscape are trees and plants,
but the great difficulty of representing foliage too often deters students from
attempting scenes of which they form the chief attraction.
of lessening
desirous
directions for practice,
this
by supplying
obstacle,
which may
lead,
my
am, therefore,
with a few
pupils
when followed by subsequent
course with Nature, to a true and vigorous style in drawing foliage.
having a character of
its
much
it
may
tree in full leaf in the height of
appearance from
its
autumn
variety occurs in the
circumstances
soil
to
three, for
and climate
an immense
its
or
discernible.
is still
same kind of
tree
when planted
is
growing under different
size,
its
same
species
in close vicinity to other
more observable
the oak in favourable situations spreads
and grows
soil,
presents a very different
branches are smaller and weaker, while
The influence of
others
summer
a forest oak, for instance, differs greatly from the
growing in a group of two or

trees, its lateral
be modified by climate,
or winter aspect, yet as the trunk and ramification
of the branches remain unaltered, the species
Much
tree
own, must be represented characteristically, and
individuality preserved, however

season.
inter-
Each
its
in
height
some
is greater.
trees than in
broad limbs on every
side,
increasing in spread more than in height,
whilst on craggy rocks and exposed to blighting winds,
it
becomes diminutive
11
The elm,
and shrubby, scarcely overtopping the underwood.
and lime
ash,
shoot up more rapidly and attain to a far greater height, but do not adapt
The way
themselves with equal readiness to unfavourable situations.
which each
tree
grows from the ground must be particularly noticed
the roots be prominent or not, the trunk,
if
bark, if rough, smooth, twisted or straight
size in proportion to the
divided near the base
the
the distance of the branches from
stem or to the mass of leaves
the trunk or ground
in
whether
manner and place where they separate from the trunk;
the ground, the
make with
much
their
the angles which they
the general growth
and direction of the
twigs and leaves, whether the latter divide into small clusters and admit
much
those of the ash, or mass together in greater numbers like the
light, like
Leaves which group closely together, as the beech, elm, lime, &c. are
elm.
capable of receiving greater breadth of light and shade than those of the birch,
weeping-willow and others; these the student should

randa of the time of year when the autumnal
of the various changes
which take place
When
found very useful.
draw the whole
tree
tree,
and
made himself acquainted
thus
as well as the kind of touch
and growth of the
will hest represent the shape
leaf,
which
he should proceed to
from Nature, commencing with a light outline, not only
chief masses
of the
tree,
Memo-
attempt.
in the course of the seasons will be
the student has
with the general character of each
first
appear on each
tints
of light
and shade of the
foliage,
but also a correcl
sketch of the trunk, and the direction of the principal branches, whether seen
or not,
when
In drawing
finished.
he should remember that
foliage,
him aim
possible to copy minutely each small spray, but let
it
is
not
at the general
resemblance, and his previous copying of twigs and small branches will give
great facility
to
his execution
accurate and rapid
pensable to good tree drawing, as without

the necessary idea of capability of motion
it,
execution being indis-
or with too laboured a touch,
is lost.
When
the tree
is
finished
the position and direction of the larger branches should be discernible amongst
the thickest foliage
of place,
made
and in Art,
these
to
may
be ascertained in Nature by a slight alteration
produce the same
effect,
a little thinner or semi-transparent,
indicated.
some
of the foliage should be
and the colour of the branch be
The branches thus seen give lightness
to
the tree
the student
must, however, beware of showing the stem and branches too completely, as
this
would make them appear
all
on the side nearest
tin 1
spectator,
whereas
12
they .should be placed in the midst of the foliage, sometimes even hidden by
the lower masses of leaves, but near the outside, and top more distinctly shown.
The
just perspective
of
and
though
branches,
always be considered essential
difficult
some should
preserve, should
to
forward, others retire,
project
others, again, be placed nearly parallel to the plane of the picture.
In
colour they are generally darker than the foliage, with the exception of the
and aspen, and when in the shadow of green
birch, beech,
considerably of their tone.
some degree be
tint
The
indicated, even in pencil
as in colours.
In the extreme distance the character of trees
may
distinguishable by their general form, which
In the examples or headings to
which they grow on the sprays,
many
bough
of
shown
in plates.
is
it
of the
trees,
in
the leaves of eacb, and the
II. III.
by
on stone
for
the
is
readers
who
more complete training
The
derived.
for practice
also
it is
the
drawn by him-
scale.
To
all
be gained
those of
my
possess real artistic feeling, no apology need be offered for the
that will be found in this volume, for the true
and the true poet are one in sentiment,
according to their gifts and
in
their
mode
differing
beautiful effect, rendering the descriptions
These charming
many
a lovely form or
and
pencil of double use, for verse, as Sir Philip
prose in knitting up the memory."
from each other only
of expression.
fragments of poetry will also bring to remembrance
illustrations with the
Sydney
says,
" far
pen and
exceedeth
To the painter who may be unable
a time to seek Nature herself, the exquisite word-painting of his

artist,
litho-
of the student in Drawing.
on a large
foliage in every direction
quotations from our poets

artist
been
IV. and V. showing the touch of the principal
this is perfectly understood, facility in its application will
by drawing
in
but to explain to him
leaf,
intention of the author to publish a series of larger examples
When
way
trees at a greater distance has
and having more freedom, are better suited
trees,
only
are not placed before the student to be copied,
utterly impossible to copy a tree leaf
graphic examples, Plates
is
flat tint.
are given, hut the general appearance of a
most important
The woodcuts
be given with a
the manner in which the character of each touch
self
may
and chalk, by a broad or general
put on with long strokes, and the shadow afterwards added in the same
manner
as
leaves, partake
difference of local colour in foliage
for
brother
the poet, comes as a pure and life-giving refreshment, whilst in their
turn the
artist's
the true poet.
faithful delineations of
Nature convey
like
enjoyment
to
ERFECT
mastery over the hand, and
much
great delicacy of touch, were as
more valued hy the painters
or
antiquity as
by those
of
modern times
and,
if
of
we may
credit the following anecdote, were possessed
Apelles
made
a journey from
pressly
On
an extraordinary degree.
to
to
visit
arrival
his
It
the island of Cos to Rhodes, ex-
another
celebrated
he found
he might write his
piece of canvass that
of his
stroke
Protogenes.
painter,
the latter absent from home,
but was ushered by a domestic into the

that
hy the great
said that he
is
name.
studio,
artist's
Apelles approached a
stood on the easel, and with one
hand produced a
line
of such
excprisite
imme-
delicacy and finish, that Protogenes, on his return,
declared Apelles
diately
could have
left so
had been
importance attached by
another instance,
is
artists
if
efforts
and practice
of all ages to this portion of
study.
This"
equally necessary
and can only be the result of repeated
Let the student begin with the simplest
lines
is
in the elementary exercises.

lines,
exercise, until the difficulties are entirely overcome.
make
of
one were wanting, of the
perfect control of the hand, this facility of execution,

to the skilful delineation of trees,
none other
The well-known
characteristic a tuken of his visit.
the Italian painter, Giotti,
there, as
and practise well each
The hand can generally
and curves in some directions with more ease than
in others;
corresponding freedom
should be
but as foliage grows in
positions, a
all
obtained with the pencil, before elaborate drawings are attempted.
Taking,
therefore, Fig. 1 to begin with, the student should first sketch a light
boundary
line of
an oval form, and then make strokes
centre,
and increasing in strength
lines are slightly curved,
touch.
round
it,
radiating from the
In Fig.
2,
the
and more difference made in the strength of the
In Fig. 3 the application of these curved lines with their corre-
sponding parts
point
all
to the outer termination.
of a
may
leaf,
be traced
the
other
together they give a form which
part
io
like the
being hidden in the general mass
the
BBAWING FEOM NATUKE.
14
extremities of leaves, which

are always
more
Fig.
by
against the sky, or are relieved by shadow,
Fig.
1.
this series of touches,
light falls
show
easily seen than the
is
supposed
undivided by shadow.
No
to
The space enclosed
other portions.
Fig. 3.
2.
he a mass of leaves, on which the
particular foliage
is
some variation they form the touch
exercises, but with
The
as the elm, ash, walnut, chestnut, &c.
attempted in these
of
many
trees,
such
and
trees
oak, sycamore, thorn,
with concave or jagged leaves, recpiire a different touch, such as Fig.

is
a boundary line
in a contrary
made with concave
touches,
and these and
4,
which
Fig. 5, being
direction to those hitherto practised, should be copied until
the pupil has acquired a power of drawing the foliage of such trees.
should be
rather than recede
and
to effect this the outline
on the side opposite the

conies.
In Fig.
are carried
Care
taken that the whole mass of leaves represented should project
G,
light,
the touches
outwards
to
must have more strength
thus indicating the direction in which
commence
the right or
as before, from the inner part,
left,
it
and
thus showing the direction taken
by the
it
&c;
foliage of the beech, lime,
if
15
the touch
will give the leaves a corresponding character.
is
Fig. 7.
and shrubs being more upright than that of
The
trees, the
foliage of
bushes
touches should generally
the same direction, or slightly varying on

Fig. 8. .Strokes placed nearly parallel,
perpendicular.
short and thick,
Fig. S.
Fig. 7.
be drawn in
made
give the usual appearance of the leaves of
firs,
all
sides from the
and pointing upwards,
which grow on the upper
side of the branches; these are not difficult to execute, but they should be
drawn
in
masses and about the same length, for the edges of these tints
Fig. W.
give the form of light and shade.
Fig. 10.
If the touches are too
much
they will appear rather like individual leaves than clusters of

short
wavy and
of the poplar
birch.
Fig.
separated,
foliage.
The
zig-zag touch in Fig. 9 imitates the angular and upright leaf

or in the reverse direction the hanging foliage of the
10.
weeping
These strokes give the general direction of the weeping
willow, the long leaves of which
hang nearly perpendicular
to the
earth
16
they are slightly curved, but enclose no large mass of

is
light,
as the foliage
thin and scattered.

Figs.
11,
12,
13,
and
14,
and transparency
clearness
show the
in shading.
practice
By
which
is
necessary to give
using the power of increasing or
diminishing the depth of tone, and varying the direction of the strokes, to
correspond in some degree with the character of the foliage in the last figure,
may
the shade
right shape,
be drawn in such a manner that the light shall be
and very
little
outline
to give the shape of leaves in the
is
required to finish
mass of shadow
Fig. 13.
it.
It is
left of
but the extremities should
Fig. 14.
be drawn with attention, the character there appearing distinctly marked.

these studies have to be repeated
thought
sepia, as
is
it
the
unnecessary
advisable to explain
its
when
As
the student takes up the brush, I have
use by a few observations and examples, in
given in Plates VI. and VII.
To become aware
of the
power possessed by the instrument he
In
many
respects the brush
a great step.
is
is
handling
superior to the pencil, and
EL E M E NTAKY PR ACT ICE.
when
certain difficulties in the
17
management, which meet him
The
overcome, he will find himself amply repaid.
are
in the outset
facility
with which
an outline in pencil can be produced compared with the difficulty of combining form with light, shade, and colour with the brush, tempts the pupil
and
to study too entirely with the former,

for the colour
and with
it
He
he sees in Nature.
trust far too
much
memory
to his
should early take the brush in hand,
study to maintain a correct outline, and he will find that after a
certain course of patient practice, success will follow.
Flat tints, such as Plate VI. Figs. 1 to
time
it
would take
might show the
more
skilfully
to>
will be
opposed
graduated or varied, as Figs.
with pencil or chalk
7, 8,
and
carefully produced at the
The hand
9.
and yet varied edge
commencement,
when
more-
can,
the forms
or with the
first tints,
utterly
is
to Nature.
One important
first tints
mind
point to bear in
left
put on
is
the form of those portions of the
white to represent the highest

;
because
if
the
first
tint
lights,
and also the form of
represent the natural colour of
the object, such as a mass of foliage, the light should in most instances
the convex outline, or outside, but
if it
is
the second tint or
first flat tint,
Now,
it is
well
known
loss of correct
in trying to recover
in Plate VI. be
it.
made
left
on
is
of the
that very delightful qualities of tone are
obtained by floating on abundance of colour, but this
expense of a great
fall
shadow that
being put on, then the attention must be drawn to the convex forms
drawing, and
I should rather
is
much time
recommend
frequently at the
is
afterwards spent
that such studies as those
early in the pupil's progress,
and a perfect command
of the brush, either in a full or moderately dry state, obtained.
amount
and
to the tints
found infinitely superior to an unsupported outline, which
paper which are

the
effect
colour of the object, instead of a neutral gray,
real
over, be trained to give a definite
when thus
can be laid in a tenth part of the
6,
produce the same
of skill in the manipulation of his
Plate VII. and the following pages of this
With
instruments, he will
this
find
in
work abundant opportunities
for
practising his art, and acquiring the touch necessary to indicate the character
of all parts of the foreground, whether
having thus studied Nature close

facility,
at
it
be
hand and
foliage, plants, or rocks
in detail, he will
and have more enjoyment when he takes pencil in hand
a sketching tour.
C
and
have gained
to
make
CHAPTER
ON
II.
TREES.
" Much ran they praise the
trees so straight and high

The sailing pine, the cedar proud and bill,
The vino prop elm, the poplar never dry,
The builder oak, sole king of forest all
The aspen, good for staves the cypress, funeral.
The laurel, meed of mighty conquerors
.
And
poets sage
the
fir
that weepeth
still,
The willow, worn uf forlorn paramours,

The yew, obedient to the bender's will,
The birch for shafts, the sallow for the mill,
The myrrh sweet bleeding of the bitter wound,
The warlike beech, the ash for nothing ill.
The fruitful olive, and the plantain round,
The carver holm, the maple seldom inward sound."
SPEKSEIt.
THE
A K Quercus
" Those green robed senatprs of
Tall Oaks."
Robur.
mighty woods,
Keats.
OF EVELYN AND GILPIN AS TO PICTURESQUE CHARACTER ROOTS, DIFFICULTIES OF, AFFECTING GROWTH OF BRANCHES SIR T. DICK LAUDER CHEN E DE
SULLY OAKS WITHOUT LOWER BRANCHES DESTITUTE OF TRUE CHARACTER FOLIAGE, COLOUR
PRECEDENCE OF THE
OAK OPINIONS
MOSS US ON OAK POLLARDS REMAINING GREEN

MITFORD - OAK-FELLING.
OF
USES
OF OAK-BARK, GALLS, ETC. MISS
T)REOEI)ENCE
(able of trees
by
given
rally
gene-
artists
the Oak, our national
and
that
mark
think
to
tree,
deserves
of distinction,
on account
e
it
the
in
is
of
its
great
trunk, spreading, sinuous
dant foliage, as well as for

its
extreme longevity.
Oak;
it
has
vigorous
Vigour
is
expressed in every portion of a healthy
youth, vigorous prime, and vigorous
old age.
It
ISIGHTON BHDS
is in
OAK.
!!.
19
Oak becomes
the last of these three stages that the
with age the picturesqueness of
to artists, for
Writers on forest
and on the picturesque,
trees,
the suitability of the
Oak
object in a picture.
Two
Gilpin, advocate
pen when
lie
to form,
of the
says:
from
differ
artists
"Thus
his
Majesty's Eorests and Chases be stored
let his
deer and cattle under
for the feeding of
to
most celebrated of the former, Evelyn and
with this spreading Tree, at handsome intervals, by which grazing
improved
as
whether singly or in groups, the principal
and Evelyn almost creates a picture with
strongly,
it
the most attractive
appearance greatly increases.
its
them
may be
benignly visited
by the gleams of the sun and adorned with the distant landskips appearing
through the frequent glades and
vallies."
Gilpin also expresses his opinion very decidedly:
ornament of a foreground, spreading from

and
foliage, rich
with some autumnal
"The Oak
side to side
its
In a distance,
tint.
is
the noblest
tortuous branches
also, it
appears with
equal advantage, forming itself into beautiful clumps, varied more in shape,
and perhaps
has
its
in colour,
The chestnut
vator.
than the clumps of any other
tree.
The pine
of Italy
beauty, hanging over the broken pediment of some ruined temple.

of Calabria
The elm, the
consecrated by adorning the foregrounds of Sal-
is
ash,
but no tree in the forest
and the beech, have

is
adapted to
all
all
their respective beauties,
the purposes of landscapes liko
the English Oak."
Yet
in
Oak being
spite of these opinions,

"
and Gilpin's
oft
confessedly the most picturesque tree in
modating in composition,"
Spanish chestnut, stand
parts of a picture.
Poets, again,
tribute to the beauty
of this
general think
in
artists
far before
it
quoted sentence, of
itself,
that the elm,
in the facility with
the.
and most accomash,
or
which they form
have not been backward in offering their
tree
in
its
venerable old age, and
Spenser
gives a beautiful description of

"
A huge Oak
Still clad
dry and dead.
with reliques of
Lifting to heaven
its
its
trophies old,
aged, hoary head,
Whose foot on earth hath got but feeble hold.

And half disbowelled stands above the ground,
"With wreathed roots and naked arms,
And trunk
The
roots, as
all
rotten and unsound."
mentioned by the
quote Gilpin again:
"Whether
poet, often
it
show above the ground, and,
to
be a malady or not, the heaving of the
c 2
20
ground
roots above the
is
The trunk
very picturesque."
huge
is
feet
in proportion
on an average
to its height, which, according to Loudon, does not exceed
fifty
the branches, which mostly grow in a horizontal direction, are spreading,
and often of great
knotty, tortuous,
"Shire Oak," for example, so
extent.
called because the rain drops from its branches into three shires, measures
ninety feet from bough-end to bough-end, and

to be capable of shading
Sir
by the
Thomas Dick Lauder
and twisted appearance of Oaks growing on rocky
character in the
every direction, require a starlike or radiating

it
thus
touch.
Large horizontal arms, thickly
"
with crooked branches, terminating in clubbed, abrupt twigs, and closely
with
covered
smooth,
glossy leaves forming the richest foliage, irregularly
swelling into the boldest outline
and departs more or
diversity,
we know
This
of in vegetable Nature."
Oak, though always sufficiently evident, admits of some
character of the
or
are twisted like the larger limbs,
being principally at their extremities, and the leaves, growing
foliage
The last-mentioned writer describes

set
by Mr. Hatton
of opinion that the difficulties encountered
The smaller branches and twigs
ground.
in
is
calculated
is
thirty-five horses.
roots in their efforts to spread affect the branches, thus accounting
for the knotty, gnarled,
the
two hundred and
less
two or three
in groups of
almost horizontal direction, but
from
for
its
normal
state
from a sapling
if
when growing
singly,
then the branches project boldly in an

it
is
surrounded by other
branches have a decided tendency upwards towards the light and
trees,
its
air.
As an example
of this growth,
and
at the
interest, the author has introduced in the
a celebrated
Oak
called the
The lowest branch

stretches out
to,
"
Chene de
same time an object
of great
paper on Fontainbleau, a study of

Sully'' in the
of this fine tree, although
much
Yallon d'Egremont.
mutilated by time,
still
a considerable distance, having in all probability found an
opening in a horizontal direction
but several great limbs
higher up
are,
immediately on separating from the trunk, contorted upwards, thus modifying' to a certain degree the general character.
There are
many
other Oaks
in this noble forest growing entirely devoid of branches for the greater part
of their height
though
it
may
amongst the most conspicuous
reach
Oak character than

The
foliage is
a massive
grouped
column of
in star-like
Le Pharainond, which,
is
the height of one hundred
feet,
has no more of the
stone.
and spreading
tufts.
Gilpin describes
THE OAK.
of an
the genuine bark
Oak
distinguish any part of
to
to be of
21
an ash colour, though
from the mosses that overgrow
it
is
difficult
for
no Oak,
it
it,
suppose, was ever without a greater or less proportion of these picturesque
appendages*
When
not
in
of the whole
Oak
a
the masses of light and shade are well defined, and
leaf,
full
to
difficult
imitate with
concave
angular touch
or
Among
displays great variety.
the
roundness
"In spring the budding
mass must, however, be preserved.
neighbouring Oaks the bud of one
is
tender green> of another almost yellow, of a third an ochre brown, per-
haps nearly inclining to red
harmoniously with
accord
leaves
summer
in
is
season,
the
yet each of these, as

of
tint
its
which occasionally make
mingling the early spring
thus
retain
the approach
their leaves green
"such
are generally
of winter
all
The colour
of the
in
with the more matured
In autumn the tones become rich and deep,
and uniform garb of summer.
until
opens, will probably
their appearance late
tints
varying from yellow ochre to the richest madder

tree
it
neighbour.
sometimes enlivened by the yellower
cool green,
shade of young shoots
the
the leaves cling to the
indeed, Evelyn mentions pollards that
winter, but he qualifies
as are sheltered in
warm
it
by
stating that they
corners and hedgerows."
With
the exception of evergreens, the foliage of Oaks alone can with propriety
be introduced into sporting subjects.
The great extent
which Oaks
to
which every part of the
tree
interesting to the landscape

<
>ak-barking, are
striking,
himself.
among
because
Of
We
are cultivated,
and the numerous uses
Collecting acorns and
painter.
gall-nuts,
of
all,"
is
the
felling of the
giant
Miss Mitford gives so pleasing, and even

it
to
applied, give rise to various incidents highly
and
the most prominent of these, though perhaps the most
"last scene
this
scription that with

"
is
am
tempted
to
conclude
these,
monarch
artistic a de-
remarks upon the Oak.
had nearly threaded the wood, and were approaching an open grove
of magnificent
Oaks on the other
gales burst on our ears, the deep
side,
when sounds, other than
of the nightin-
and frequent strokes of the woodman's axe,
and, emerging,
we
twenty of the
finest trees lay stretched
discovered the havoc which that axe had committed.
every shape and form of devastation
on the velvet
turf.
Above
There they lay in
some, bare trunks stripped ready for the
timber carriage, with the bark built up
in
long piles at the side; some, with
DRAWING FKOM NATUKE.
22
the -spoilers busy about them, stripping, hewing, hacking
noble branches, their brown and fragrant shoots
majestic
corpses, the slain of to-day
The young
who were
lads
notes
frightened
silent, as
if
sang faintly and
a requiem.
Ah
and
are
as he gave the final strokes
and yet overmastering the
overthrowing that thing of
wedge
noiseless
saw
life
Now
to
direct
its
course
it
giarrt of the
After
was that
and how
woods, conquering and
now
a few
See
slow,
fall
heroic form
he
how
the branches tremble
Another stroke of the huge hammer on
and solemn, and awful
commonly esteemed
bath, could not
tree will fall
more movements of the
the wedge, and the tree quivers, as with a mortal agony
its
asunder.
attitude
has passed half through the trunk,
and then a larger wedge.
the trunk begins to crack.
How
it
round the root
and the woodman has begun to calculate which way the

drives a
falls.
scene of
have just hewn round the
the effect of that supple and apparently powerless saw, bending
is
like a riband,
Hark how
few low,
at the very
how grand an
Into
thrilling operation.
young man thrown,

wonderful
who were
conscious that death was
trunk with those slaughtering axes, and are about to saw

ail it is a fine
of battle.
field
interruptedly a
we
here
tree that they are felling; they
murder; the very
they were alive
stripping the bark, the very children
nightingales
like
others, with their
the grove was like a
picking up the chips, seemed awed and
around them, the
all fresh as if
it is
'
How
shakes,
like to
reels,
human
and
death in
Caesar in the Capitol, Seneca in the
more sublimely than
that Oak."
THK ASH,
THE ASK F:
"
us
there the parent
spreads
rim
rises
talf root,
tlic
rock
lifts its loft;
With twinkling motion
And
the
it
graceful boughs
its
Excelsior.
'
Amid
Grey as the stone to which

Half trunk, the young Ash
And
And
23
the s
lifts
sllLlkrs its rattling tufts
"
i-GAINST FIXE Sl'ECIMEXS AT NETLEY AND

HAUNTS OF FARME
JGHT FOLIAGE USEFUL IN A PICTURE, BUT
BOLTON ABBEYS NOT PICTURESQUE
FALLING BEFORK AUTUMNAI :ints fixe colou: OF STEM.
ASH, FAVOURITE
As
oak
the
the
is
Hercules of our Woods,

so the
Ash
Venus,
to
is
called the
for it is
inferior
none in height, grace-
fulness of form, or
gance of
adding
where,
its
where
its
favourite haunt
much beauty
overhanging
cliff,
to
now
the
scene.
with
It
its
soft
its
warm
light
is
cultivated land,
met
elegant foliage,
ruin.
oftener seen to perfection in such scenes as these than in
owing
to the prejudice
cause, against the droppings from

A r ery
to Vie
green relieving the
monotonous colouring of rocks or the sober gray of some old
The Ash
is
clinging with half-covered roots
and breaking) with
the otherwise too abrupt line, or
the mountain stream,
is
branches hang gracefully over the water,
with in every romafttic glen and glade,

to a steep
ele-
Though seen every-
foliage.
often lopped of all
its
its
which
exists,
leaves, in
whether with or without
consequence of which
it
is
lower branches, presenting to the eye a distorted,
mangled stem, with a bushy head of
foliage.
An
object of this kind
may
be
useful in a picture to indicate with truthfulness the presence of cultivation,
but for
tire
Ash
in its beauty, artists
must seek sputs either
as yet
untouched
24
by man, or already forsaken by him,
Ash Conns
marked addition
In mountain scenery
as
Xetley and Bolton Abbeys, where the
beauty of the
to the
ruins.
appears to peculiar advantage, waving
too, " it
slender branches over some precipice, which just affords
up between
footing, or springing
hardy
spirit
which
crevices of rocks
trees, it
which
it
happy emblem
of the
subdued by fortune's scantiness."
will not be
The form and general appearance of the Ash

situation in
its
sufficient for its
it soil
In woods, where
grows.
is
it
naturally affected by the
has to contend with
other-
usually rises with a clean, straight stem to a great height before the
head begins to expand, the side branches, when thus situated, decaying and
being thrown off at an early period from want of room and
of woods, or
when planted
generally carrying up a leading stem,
On
air.
unencumbered by other
singly or
it
the verge,
trees,
though
throws out numerous side branches.
Unlike the oak, the Ash does not increase in picturesqueness with old age,
"
the foliage becomes rare and meagre, and
loosely, often start
away
its
in disagreeable forms.
branches, instead of hanging
In short, the Ash often loses
grandeur and beauty in old age, which the generality of
that
trees,
and
particularly the oak, preserve to a late period of existence."
The branches
keep close
at first
to the
trunk and form acute angles with
it
Out as they strengthen, they generally take an easy sweep, and the separation
of the leaves corresponding with the lightness of the spray, the whole forms an
elegant drooping foliage, and

its
pendant branches
The
the.
foliage does not
separated into
little
is
very useful in composition, carrying off with
heaviness of other
combine
clusters or
in
trees.
such large masses as that of the elm, but
bunches
of showing the character of the stem
this separation gives
and branches more than
is
an opportunity
most other
in
trees.
The leaves
are late in appearing,
and generally
fall
early in the autumn,
seldom arrayed in that glorious garb assumed by other denizens of the wood,
but
dying in sober russet brown.
The colour
of the stem
is
fine
gray,
frequently relieved by the various yellows and light greens of lichens and
mosses.
The
which
Ash
leaf of the
be considered as
is
is
a beautiful combination of curved lines, and
long ellipse with pointed terminations.
necessary
to
make
these
curved
lines
freely
The
in
may
careful practice
every
direction,
THE SERVICE.
is
service
of great
drawing
in
all
25
kinds
other
of
foliage
employed on these elementary studies before the complete

In this practice the pupil should notice that
when
time
is
well
tree is attempted.
the stroke
drawn back
is
towards the centre, the curve should be the same as the outward form, and the
touch darker at the outside.
by
of the leaves, and
imagine the other
This increase of force gives relief to the tips
diminution towards the centre, allows the mind to
its
where they are mingled together and are
parts,
After the pupil has acquired facility in these practices,
bough or
indicate the outline of a
hand
a light, free
boundary
large cluster of leaves,
line
a guide,
as
less distinct.
him proceed
to
sketching in with
consisting of larger or smaller parts of ovals.
line,
The touch may now be given with a

boundary
first
let
certain degree of freedom,
but sometimes
allowing the
still
leaves
using the
to
project
beyond, and again withdrawing them within, and permitting the touch to fade
away
in the
mass of
leaves.
Care should be taken not to loop the touch,
as this has a very unnatural appearance, nor yet
towards the centre, as this causes a harsh

of the group.
An
entire branch
may now
fully sketched with a light outline

at
lie
is
same time the
the
line,
to
make
be attempted, and should be care-
forming the general boundary
line,
giving
and shade; the shadow should
direction of the light
put in with care and attention to the form of the lights
now added with
the darkest part
and destroys the perspective
The
left.
outline
varied strength, according to the light and shade, and the
branches vigorously defined with a sharp clear touch
sometimes they
may
be nicely imitated by commencing from the thickest part, and allowing

the touch to die
away towards
the extremities.
THE SERVICE Pyrus

The
true Service
is
found in England both as

to
be
much
foliage is
its
a native of the south of Europe, but

a tree
It is
It is
is
also to be
not of sufficient importance
like the ash.
it
is
as well to
as
the
mention the principal
decidedly smaller and not so graceful in the ramification
branches; the
distinction,
and shrub.
by those who study drawing from Nature, but
sometimes thought
differences.
of
noticed
Domestica.
fruit,
about as large as a small plum,
and remains long on the
tree.
is
also an important
2f>
THE fflMUlmm
Campestris.
" Enormous Elm-tree boles did stoop and lean
Upon
Hip
dusky brushwood underneath
Their broad curved branches, fledged with clearest giccn

New from it.-, silken sheath."
Tennyson.
MASSIVE BRANCHES BREADTH OF LIGHT AND SHADE IN FOUAGE TOUCH EASY DIFFERENCE
IX DRAWING ACCORDING To SEASON FINE EXAMPLES AT ETON AND KUGBY PATBIARCH OF
THE VILLAGE.
to a greater height than
most of
companions,
its
and possesses
many
of
the attributes of beauty.
With the mention

Elm,
there
memories
arise
the
of
avenues, splendid parks and manorial
England, forming in
of old
its
of the
stately
homes
associations
striking contrast with the graceful ash.
Some
trees,
writers object to the
Elm
holding a principal
on the plea of want of decided character,
that an Kim,
when rough and
old,
may
one,
mistaken
easily be
The object of the present work being
to
direct
to
the principal
and distinctive features of each
in
summer and
also
characteristics in the
such
The limbs
;
leaves
in
tree,
the.
both
winter,
for
picturesque
far as to say
an oak.
student's attention
when
fully clothed
hope to point out
Elm, decided enough to prevent the possibility of any
more
of the
Elm
divide early from the trunk,
and are generally
the trunk does not increase in size near the ground.
excellent for
are
of
among
error.
massive
is
when bare
place,
even going so
its
The
foliage
breadth of light and shade, forming round masses, which
easily imitated than those of
most other
trees.
The
sniallness of the
THE ELM.
27
leaves in proportion to the size of the tree, and their loose appearance, give
Elm, notwithstanding the large clumps of
to the
The leaves grow along the whole length

oval form to the mass,
foliage, a natural lightness.
and give somewhat of an
of the twig
and the distance between the branches of
this
tree,
combined with their not projecting
laterally so far as those of the oak, &c.
make
many
to
its
height appear greater than
remark that the fulness of
when
season,
mode
seen and copied, and
all
requires
it
by means of
some degree modified
to the smallest twigs
up
can
to select only
some discrimination
those which are the most important, keeping

as possible,
will not fail
the height of the
till
shoots appear, and the leaves attain
of his study will be in
and branches even down
thus, in winter the trunk
be
midsummer
the second or
their full size, so the
The student
others.
foliage gradually increases
aerial perspective as
differing degrees of strength or colour.
much
In spring
the breaking out of the tender green leaves materially alters the appearance
of the twigs and extremities, the thickening visibly increasing day by day;
still
the trunk and branches can be nearly
opening leaves are added.
In
full
all
completed before the buds and
slimmer, the foliage being more massed
and the branches and trunk in some parts entirely hidden, consequently
drawing a tree
in
when
the foliage
are darkened
are turned,
t
he
frost
is
season, they
at this
drawn the
and finished
first
The colour
in
summer
beautiful
and
and branches
to
be a gradual thinning of the
foliage, until
winds of autumn produce sudden havock.
of the foliage
admirably with the olive

into a dark
decaying into a
delicately sketched in,
but before the wane of the year begins, the scales
and there appears
and
must be
visible portions alone of the trunk
is
tint
a tender green in
of
and rather brownish glossy green, and

Tn March or April the
rich, clear yellow.
bloom of a dark crimson colour,
about the size of a nutmeg.

than that of the oak, cracking
ing lighter with age.
which contrasts
spring,
the early oak leaves, changing, however,
The bark
when
in the
in colour
autumn
out
form of a spicated ball
a darker
is
in
Kim throws
and colder brown
old into irregular long pieces, and becom-
The Elm groups remarkably
well,
owing
to the frequent
gaps between the branches, which relieve what would otherwise be too heavy
in the
broad masses of foliage.
of this
It
is
ree
may
Some
line
examples
for
study in the grouping
be seen in the playgrounds of Eton and Rugby.
a favourite tree for planting singly
on some uncultivated patch of
28
ground, cither
at
generally attains
the entrance or centre of a village, and in such situations

a greater size
to
triangular piece of grassy ground
the character of patriarch of
and age than

so
place,
the.
village children pursue their sports
Planted on
usual.
frequent in our hamlets,
and generation
it
the.
assumes
after generation
of
under the sheltering arms of "The old
Elm-tree."
THE WYCH, OE MOUNTAIN ELM
Ulmns Montano.
iOMMON
ELM
ON TKUNK-
\VI
SCOTLAND.
This
is
a large and
beautiful tree, with

|
wide-spreading pen-
iP* dant branches, which
hang much more negligently

an those of the common Elm
the foliage also
is
requires a bolder touch.
bark
is
not very different, though perhaps a
The trunk
lighter in colour.
is
and
larger,
The.
little,
frequently covered
with large excrescences, which, though not so disfiguring as tin
mormous wens on the
hand
their
it
is
rende
to
sometimes
branches,
difficult
although
lime> require a
skilful
they
distinguish
to
often
droop
this
as
tree
much,
and judicious
At
introduction into a sketch successful.
distance,
from the beech; but

do
not
turn
up
at
the,
the.
extremities, like those of the beech.
The
its
foliage is rich, neither
branches, while, the head
The
clumpy nor heavy, owing
to the
wide spread of
generally finely massed.
bold, yet graceful character of the
facility afforded
foliage,
is
Wych
Elm, combined with the
by the greater separation of the branches and largeness of the
should cause the young student
to
notice this tree.
The trunk ami
THE WYCH, OK MOUNTAIN ELM.

branches
may
its
general figure
arrange the quantities truly, for

side, it will
common Elm,
be more shown than in the
importance in determining
they are of
for
much
but care should be taken to
want of
there be a
if
29
foliage
on the nearer
not appear round, but have the head thrown over to the other side
of the trunk,
and the general balance of the
tree will be lost
for
although the
firm hold that the roots take of the ground prevents the necessity of that
strict attention to
counterpoise that would be observed in a stationary figure,
yet a certain degree of balance
may have
tree
a good effect
On
agreeable.
is
when
mountain stream, and evidently supported by

level ground,
to
its
root
but in a park or more
have the head so
While speaking of the general appearance
perpendicular.
the
would not look natural
it
wild and rocky ground a
projecting from crags and hanging over a
Mountain Elm,
in an avenue or park,
the squared, cut off appearance of
from the ground
is
all
we should always bear

the
from the
far
of trees, such as
in
mind that
tranches about five or six feet
not only exceedingly unnatural, but unpicturesque, and
occasioned by the sheep and cattle, that are sure to crop off
foliage in their reach, thus producing a formal
all
and ungraceful
is
the twigs and

outline.
This
the artist endeavours to avoid by taking advantage of accidental breaking or
decay of the limbs, or by the perspective causing the branches near

to
appear higher, while those farther

This tree
attain
is
a native of the Lowlands of Scotland, and though
such perfection in the Highlands,
to
handsome
tree in those
scenery in which
it is
regions,
It is a subject of regret to
at
Hampton Court and Bushey

was
last
fine
May
still
very
it
does not
common and
adding greatly to the beauty of the rocky
There
are,
however, some fine specimens
Park, and one of these, hanging over the iron
covering the ground around
it
with
its
green blossoms.
example may be found near the Church at Kenilworth, and,
nearer London, in Cashioburv Park there
Elms.
is
landscape artists that so beautiful a tree should
so little cultivated in England.
Another
hand
found.
lie
gate,
at
off are lower.
is
a magnificent avenue of
Wych
30
THE BEECH
Fragus SylvcUica.
CONFLICTING OPINIONS
BRIGHTNESS OF BARK, AUTUMNAL TINTS PARTICULARLY FINE BUENHAJJ

BEECHESBRANCHES LONG AND PENDANT STRATIFIED FORM OF FOLIAGE.
There
is
more diversity
of opinion respecting the
beauty of the Leech than

that of any othei English
Evelyn
tree.
speaks
and handsomest of
with their well furnished and glistering leaves,

forty feet distance,
and though unpropitious
of Selborne also declares
whether we consider
trees,
graceful pendulous boughs

it
with an
artist's eye,
The branches are
nesses.
In
full leaf it is
its
it
to be
it
"
fantastically wreathed
other,
in composition, but to a real
following
is
it
and even on the
And
tree
use.
spot, in
has disgusts."
He
wanted
"
!
little-
lint
s.
is
which
tree,
rather
is
always
more lenient
to
it
admirer of the beech such qualified praise as the
"We
mean not
In distance,
contrast,
it
is
it
to repudiate
It
even the
has sometimes
its
preserves the depth of the forest,
frequently a choice accompaniment."
he concludes by particularly recommending

is
view
to
of
has the appearance of an overgrown
it
anything but satisfactory.
its
made up
tree,
and disproportioned, turning
heavy, luxuriant Beech in picturesque composition.
beauty and oftener
forest
all
and running often into long unvaried
equally unpleasing
what lightness
at
glossy foliage, or
its
who might be thought
"rather a displeasing
This bushiness gives a great heaviness to the
bush.
a deformity
when planted
grass, are of all the
the most lovely of
smooth rind or bark,
" whilst Gilpin,
thinks
awkwardly among each
and
weary shepherd.''
rest 'most refreshing to the
White
to corn
our
and noble shades,
trees
ig
of
one of the largest
as
it
it
"where
a thick,
heavy
Plate
THE BEECH.
31
however, the opinion of modern painters were consulted
If,
found to
beauty
differ greatly
from Gilpin's
for there
the trunk, roots, and dower branches, the
in
would be
it
certainly great picturesque
is
colour of which
is
says, " a dingy olive,") often beautifully varied
charming gray, (though Gilpin
with rich mulberry brown spots of lichens and mosses, which sometimes
encircle the trunk, giving the rotundity with great distinctness.
remarkably
free
from
we
strata-Kke foliage,
catch bright glimpses of the clear, thin bark
stem ascends tapering towards the

attractive to the idle or
and
sky.
This bright,
enamoured swain, whereon
such an extent
to
Others are
such picturesque blemishes, and then, through the
all
that
this carried,
is
moss
in
bark
the
as
is
most
to try his skill in carving
Hue
who value
away
or lichen, are driven
have been seriously
trees
injured by these vulgar attempts at fame, and artists,
touch of Nature, whether
thin
the faintest
in despair at the
mutilated aspect of the poor victim.
In spring, there
ami
earlier
a transparent delicacy of tender green on
is
and
woods.
The leaves are
tree are
the decaying hues of
Beech,
its
thin,
in
summer
leaves,
all declivities;
its
In no
than in the gulden
beautiful
to the brightest orange,
then to glowing
brown, in which state the leaves generally
to a russet
remain on the tree through the winter.
and
of a deep, shining green.
autumn more
changing from green
foliage
and eventually
red,
its
the rich colour of the buds visibly affects the tone of the
still,
It is particularly partial to hill sides
characteristic beauty adds
much
to forest
and secluded
scenery.
Underneath
roots
its
pendant branches
burrows the wild rabbit or
does not flourish beneath
it
instead,
altogether solemn and quiet,
fox.
'
dim
rest
the
we have
its
is
amongst
its
so complete that grass
a short dry moss.
religious light
" Where the broad Beech
deer, or
stately
The shade
" is
The tone
is
shed around
ample shade displays
or,
" The grey, smooth trunks distinctly shine
Within the twilight of
Gray loved
and
to
it,
and makes
it
their distant shades."
the favourite resort of
"
fame unknown.''
" Here at the foot of yonder nodding Beech,
That wreathes its old fantastic roots so high,
His listless length at noontide would he stretch,
And pore upon the brook that babbles by."
the youth to fortune

In one of his
Horace Walpole, Gray gives an excellent descrip-
letters to
Burnham
tion of that characteristic spot,
from Stoke Pogis.
"
common)
lane, a forest (the vulgar call it a
spy no
for I
human
and precipices
thing in
mountains,
true, that
is
it
people
who
love their necks as
and crags that give the eye

Both vale and
hill are
much
as
all
but myself.
it
clouds, nor are the declivities quite so

hills as
Beeches, situated about four miles
have, at the distance of half a mile through a green
my
own, at least as good as
It is a little
so,
chaos of mountains
do not ascend much above the
amazing as Dover
much
do
as I
pleasure as
if
Cliff,
may
but just such
venture to climb,
they were more dangerous.
covered with most venerable Beeches (almost every one
being pollarded) and other very reverend vegetables, that, like most other
ancient people, are always dreaming out their old stories to the winds,
'
And
as they bow their hoary tops, relate

murmuring sounds, the dark decrees of Fate
While visions, as poetic eyes avow,
Cling to each leaf, and swarm on every bough.'
In
"
At
the foot of one of these squats me, and there grow to the trunk for
a whole morning.
Adam
like
With
The timorous hare and
commonly do
gambol around me
think he did not
rise to
there."
respect to the principal points to be noticed in the drawing of this
the branches are slender in proportion to their length, they separate
nearly horizontally from the trunk, bend
and turn up again
length,
touches
downwards
at the extremities.
groups, but continue along the
much
sportive squirrel
had an Eve, but
in Paradise before he
read Virgil as I
tree,
twig,
as they spread over the
for the greater part of their
The leaves do not form
large
and should be represented in short
whole
surface, the
mass of
The waved or
foliage is not
strata-like
form of
CLOSELY RESKMRI.ES REECH, BUT FOLIAGE MORE PICTURESQUE USED FOR GARDEN
HEDGES
divided, the shade being complete.
the foliage should be marked.
THE HORNBEAM Carpinus

El'I'j
KG FOREST
In England, the Hornbeam

spreading tree than the beech
form
more picturesque
is
its
foliage,
Betuhis.
ETYMOLOGY.
much
smaller, but proportionately
leaves, being serrated
though
its
and
less
more
polished,
disposition in horizontal tiers
is
THE LIME, OR LINDEN TREE.

very similar.
Indeed, the distinction between the two trees
nice for the purposes of Art,
spreading.
33
It bears
particularly
pruning so
well, that
if
the beech be
it
is
is
frequently used for garden-
hedges, being then planted with great regularity, and interlaced;

in this condition, the artist has but
very
common
Forest.
of
its
Its
wood
both as a stunted or polled
etymology, Mr. Twining says,

tor the
to do with
little
tree,
almost too
stunted or very
of course,
The Hornbeam
it.
derived from the great use
is
is
and also as bushes in Epping
made
yoke of oxen.
THE LIME, OR LINDEN TEEE

"
When
To
was a boy,
it
was
all
Tilia Europcea.
my joy
rest in its scented shade.
When
the sun was high, and the river nigh,
When, floating along like a winged song.

The traveller bee would stop,
And choose for his bower the Lime-tree

And drink to the last sweet drop."
flower,
Barry Cornwall.
COLOUR AND LUXURIANCE OF LEAVES FORMS FINE AVENUES FRAGRANCE OF BLOSSOMS

DELIGHTFUL SHADES FORMAL IN YOUTH GREAT SIZE WHEN ALONE CELEBRATED LIMES
SOMETIMES MISTAKEN FOR PLANE LINN./EUS.
This
is
a stately
in size
and beauti-
resembling the elm
ful tree,
and general appear-
ance, but of a
more formal
and conical shape.
The
branches are not so large,

nor do they divide in so marked a manner from the
trunk as those of the elm, and this prevents their

being seen so well.
The
more pendent, and the whole appearance of the

shelving than
in
the above-mentioned
tree.
leaf
linger, broader,
is
foliage
The colour
closer
and
and more
of the leaves
is
34
pale green with
soft
luxuriance
a large
however, renders
be placed, with good
branches are allowed to sweep
down
The Lime forms a grand avenue,
as at
lawn, where
cattle.
may sometimes
It
its
several fine
of polled
Limes leading
colour and form of the
by a
Cashiobury Park near
of our country churches
at
dewy eve
distil their
odours"
affect the general
more than those of the elm, and may be
foliage
lighter green,
much
ascribed, and
and a somewhat more pendent
stroke.
of the partiality generally evinced to the
Lauder only gives expression
says, " Before leaving the Lime-tree
we have with
to the feelings of
we may
its
It is to
sheltering
Lime
be
to
is
many when he
notice the delightful associations
from the recollection of the days of our youth, when, in
it,
many an hour
looking
have avenues
these fragrant blossoms and the luxuriant shade afforded by
arms, that
on a
to the principal porch.
The blossoms "which
indicated
Many
avenues.
effect,
ground uninjured
to the
Hampton Court Palace
Watford, also at Bushey Park, the windows of
down
and their great
it,
This same luxuriance,
grouping well, as the masses of light and
less capable of
it
shade become too heavy.
by
of yellow in
proportion
the peculiar characteristic of the Lime.
is
of listless idleness,
we have
sheltered ourselves beneath
its
impenetrable shade, and, stretched out on the turf below, have listened to the
mingled
hum
of the million of bees
which busily collected the honey from
fragrant flowers, whilst no other sound was heard in the
occasional sudden, though rare, twitter of the
cooing of the amorous ringdove
and when
summer
skimming swallow,
all
was
silent
air,
its
but the
or the distant
on the earth, save
the gentle cropping of the nibbling sheep, or the distant lowing of the kine
from the shallows of the

I
river,
whither the raging heat had driven them."
have already mentioned that when young, or indeed up
to
an age of
perhaps sixty or seventy years, the Lime has a formal appearance, with
variation in
its
Cashiobury Park
masses of
;
but
let
foliage,
as
is
some accident
the case with
many
occur, such as the breaking
a large branch, or the removal of a neighbouring tree, they then
charming
When
little
of those
at
down
of
present
pictures.
planted on some village green, and
its
branches protected from injury
by being trained young, the growth of the Lime becomes very remarkable,
its
character in such instances seeming to undergo a complete change.
The
branches spread out parallel with the ground to considerable distances, and
THE LTME, OR LINDEN TREE.

supported, as they often are, by numerous props,
the gigantic banyan tree
it
35
some resemblance
bears
of the East, the similarity of appearance
to
being
sustained by the custom of the inhabitants to loiter about and even carry on
more common
and
history
Germany than
in
trees are
much
England, several being famous in local
in
that
like
poetry,
in
Such
welcome shade.
their various occupations beneath its
under which
preached the doctrines of the Reformation
Martin
or that
Luther stood and
huge
tree
Fribourg,
at
which commemorates the victory of the Swiss over Charles the Bold, in
This tree
1476.
but a Lime-tree, older
old,
is
yet,
supposed
planted a thousand years ago, stands at no great distance from
trunk thirty-six
The Rev.
feet in
C. A.
"
in Evelyn's time,
about with
steps, all
He
it."
many
At Chalouse,
hundred persons
tables
sitting at
ease
formed only of the boughs,
trees described
by
to
branches, capable
its
it
had a fountain
set
which they ascended by
kept so accurately and so very thick that the sun never looked into
mentions another famous Lime
gave a distinctive name to the town.
numerous stone columns bearing
Loudon
and has a
in Switzerland," says he, " there stood one
under which was a bower composed of
of containing three
it,
circumference.
Johns mentions several remarkable Lime
different authors.
have been
to
tells
huge, limbs
were supported by
This tree was
inscriptions.
still
in existence,
1838, the trunk being eighteen feet in
us in his Arboretum, in
diameter, and beneath
Neustadt, in Wirtemberg, which
at
Its
broad shadow the people of Neustadt were, like the
its
many
men
of former generations,
trees
having sprung up in the crevices and hollows of the bark, furnishing a
who came
supply to those
accustomed
to sit
to sit
An
my
is
eat fruit
beneath the shelter of the old
This great variety of character in

circumstance,
and
frequently the
trees,
liable to confuse persons
who
instance of this want of close observation
gooseberry
tree.
result
of local
are otherwise
keen observers.
my
notice in one of
came under
sketching tours, and will perhaps serve to explain the difficulty which
exists in distinguishing the species of tree
from a distance.
Travelling in Nassau, and following as nearly as I could Sir Francis Head's

"
Footsteps of an Old Man,"
plane
than
tree,
its
was struck with
his description of a remarkable
growing in the village of Frauenstein.
castle attracted
immense plane
tree,
my
He
says
"But what more
attention in the village of Frauenstein,
was an
the limbs of which had originally been trained almost hori-
D 2
36
zontally, until, unable to support their
by a
tree,
own
Under
scaffolding of stout props.
weight, they were
shadow
the parental
now maintained
of this venerable
the children of the village were sitting in every sort of group and attitude
many
one or two of their mothers, in loose deshabille, were spinning,
were leaning against the upright
people,
and a couple of asses were
scaffolding,
enjoying the cool shade of the beautiful foliage, while their drivers were
getting hot and tipsy in the wine-shop, the usual sign of which
the branch of a tree affixed to the door-post.
As
celebrated tree of Frauenstein, before which I
now
quit
it
until I
had informed myself of
its
had
is
in
Germany
often heard of the
stood, I resolved not to
history."
Sir Francis
Head then
describes his search for the history of this beautiful tree, in a sort of dooms-
day book
as large as a church Bible,
sessed
to see
by the
village,
to be a Lime, a fact evident
castle,
out,
and being anxious
and
it
to a careful observer
proved after
all
from the leaves
owed
their
name
is
that the ancestors
to a Linden-tree
growing near
for almost all his beautiful works.
indicates its leaves
rather bolder, and the
strata.
its
Legend of the
Grindling Gibbons, the famous carver, used the wood of the
The touch which

is
it
interest attached to the Lime,
of the great Swedish botanist
Lime
enough
the "
an examination of the limbs and trunk.
Another circumstance of
their dwelling.
sought
tree, I
it
not the sole attraction pos-
is
but having sketched the
and draw any extraordinary
alone, without
and abstracts from
His legend
great Plane-tree of Frauenstein."
form.
The trunk
is
is
not unlike that for the beech, but
masses of foliage are not disposed so
subject to
wens
or rough swellings,
which
much
it
in
disfigure
THE BIRCH.
THE BIECH
Of
forest trees
the
37
BetiUa Alba.
" Most beautiful

Lady of the woods."
Coleridge.
DELICATE
FOLIAGE
SILVERY
BARK
SHORT ZIGZAG TOUCH
PERFECTION
VARIOUS USES FAVOURITE WITH POETS.
IN
HIGHLANDS
small
triangular
light
leaf,
airy
and a rounded, but scattered
foliage,
head, are
the
most noticeable points
in this elegant tree,
common throughout
Britain.
which happily
It is
is
deservedly a
favourite both with poets and painters, being full
of the most beautiful contrasts.
The
foliage
diversity of light
and shade, the colour of the sky
being indeed generally perceptible through the whole of
The
silvery whiteness of the bark exceeds that of
approaching nearest to
it.
It is
beautifully varied
spots near the division of the branches,
any other
by
rich
tree,
is
frequently
much
varied in
mulberry brown
its
becomes very
direction near the ground.
Gilpin
remarks that the delicate forms and silvery stems of the Weeping Birch
generally
marked with brown, yellow, and
silvery touches,
which
picturesque, as they contrast agreeably with the dark green
But only the stem and larger branches have

is
it.
the beech
and by rings of darker colour in many
parts of the trunk; these increase towards the root; the trunk
rough, and
is
much
not sufficiently large or clustered to give
" are
are peculiarly
hue of the
this varied colouring
foliage.
the spray
of a deep brow n."
The sprays
are long,
on alternate sides
and the leaves grow some distance from each other
this joined
with their triangular shape causes a short zig-
zag touch to be the truest for their imitation.
The Birch grows best and has
38
the finest effect
to
it
varied and heavier trees, being too light
nourishes in the Highlands of Scotland, where
It
itself.
mingles with the mountain ash and aspen.
With
although
much
these trees, differing so
does not afford
it
and branches
or
when mingled with
group well by
weeping
will
much
always give
in character,
relief of light
well contrasted
its foliage,
but,
the stem
a striking character, the latter often hanging
it
when
considerable length, and
mountain stream, or
it is
and shade in
their tips are laved in a clear
reflected in the translucent waters of the Scottish lakes,
this graceful tree well deserves the poetical
name
"
of
the lady of the woods."
now much more than
Painters from Nature travel and study
formerly, fre-
quently locating themselves for whole months on the borders of some wild
lake, or in
some lonely spot
to find
have
how
lost.
Thus the Birch
as
more favoured
in the
who
is
it
were of the wealth of
localities,
it is
astonishing
Highlands of Scotland becomes
to the in-
studying them and their habits, a most
The stronger stems
important feature.
are the rafters of the cabin
they are
pinned down on the roof of heather, and their silvery sheen in such
situation contrasts well Avith

carts,
the
barrows, and baskets are
forming
many
a study
of withies of twisted
specimens are
it
left
on
all
all
of the Birch,
Sledges,
and are very picturesque,
the cordage used in the Highlands
and
Birch;
standing,
surrounding purple and brown.
made
wet day, with the introduction of a rustic boy or
Almost
lass {vide page 40).
that
in
other beauties arise, and seem to recompense them for those they
habitants, and to the artist
also
when thus deprived
them
subjects which surrounded
as
when other
the Birch
sows
trees are cut
itself,
down,
it is
if
is
made
only a few
not wonderful
should form a large proportion of the copse-wood both in England
and Scotland.
The
allusions of the poets to this tree are very numerous, each
endeavouring to bestow on
it
more beautiful name.
THE WALNUT.
THE WALNUT
IV.)
Juglans Regia,
Her timber is for various uses good

The carver she supplies with useful wood.
She makes the painter's fading colours last.
A table she affords us, and repast.
E'en while we feast, her oil our lamp supplies,
The rankest poison by her virtue dies."
'
Cowlev.
CHARACTERISTICS, STRENGTH
BI
HEAVIER
AND MASSI VENESS FEW SMALL TWIGS TOUCH KESEMBLING ASH,

WALNUTS AT HEIDELBERG PICTURESQUE IN ENGLAND.
LAKGE
The
general character of the
Walnut
strength and mas-
is
siveness,
with
thick,
wide-
spreading limbs and lofty well
The branches
balanced head.
are almost as bold as those of
some measure
the oak, and in
atone
foliage
nut, of all trees,
early loss
are lighter
of
The "Wal-
the one possessing the fewest
is
and sprays
to
interfere
The bark
the larger branches.
The leaves
their
by their beautiful ramification,
small twigs
but deeply furrowed.
for
and of
is
drawing
in
light in colour,
warmer hue than those
already described, contrasting well with the dark tints of the elm and beech,
somewhat resembling those

touch.
The
of the ash, but should be imitated with a heavier
foliage is late in appearing,
and
Gilpin and Selby both agree that the

alone, whilst
Evelyn advocates
its
falls
beauty contributes
in the
much
is
first frost
is
carried between the
neighbourhood of Heidelberg, where
to the
autumn.
of
most picturesque standing
being planted in avenues, and mentions the
great extent to which the cultivation of this tree
and Maine, especially
with the
Walnut
landscape.
its
Thus again he says:
Neckar
massive
"They
40
render most graceful avenues to our country dwellings, and do excellently
near hedge-rows; but had need be planted
at
forty or fifty feet interval, for
they affect to spread both their roots and branches.
extends from Heidelberg to Darmstadt

so
by another ancient
care of them,
ride
for
and that
many
is
The Bergstrasse which
law, the Borderers were obliged to nurse

chiefly for their
ornament and shade,
.so
fruit
some instances
in farmyards,
as
a.
to
an immense
and about
size.
cottages,
and
In England
its
rich
it is
it
for
man may
and the shade."
seen in great luxuriance in the walks about Interlaken, where
up and take
miles about that country under a continued arbor, or
walk; the traveller both refreshed with the
in
Walnuts
entirely planted with
elo.se
It is also
has attained
frequently met with
colour harmonises well with
rustic buildings.
The Walnut
as
it
less
is
liable to be torn
anchorage.
It is believed that this tree has
of the Romans,
who
called
from acorns and beechmast.

of the
and
up by tempests than other
possesses a remarkably strong tap-root which affords
same order
for the strength
it
"
it
trees,
powerful
been in England since the time
Juglans," or Jupiter's nut, to distinguish
The hickory
this as well as the
and tenacity
tree of
Walnut
of its timber.
BIRTHEN IMPLEMENTS.
is
North America
is
greatly valued for
it
another
its
nuts,
THE SYCAMORE.
THE SYCAMORE A cer
41
Pseudo-Platan
bright.'
GLOWING AUTUMNAL TINTS RESISTS BENDING EFFECT OF SEA WINDS

WELL IN COLD COUNTRIES HONEYDEW BLACK FUNGUS ON LEAVES EXAMPLES AT
KENILWORTH DIFFERENCE OF LEAF WHEN COMPARED WITH PLANE.
IMPENETRABLE SHADE
I!"WS
The
Maple
great
Sycamore
ing to
is,
or
accord-
Gilpin,
"
grander and nobler tree
than the smaller maple,
wants elegance
but
it
it is
coarse in proportion
to
its
bulk.
It
forms,
however, an impenetrate shade, and often rewell
ceives
masses of
light,
Its
has a species of roughness very characteristic.

it
peels off in large flakes like the plane's, to
a near resemblance, having patches of
which
that
its
"
are often picturesque."
Lauder
deep green hue well accords with
browns and dingy reds
mixed
of the
different
also says,
grove, to
artists
it
is
its
autumnal
itself it
it,
is
smooth, but
in other respects, bears
hues, seams, and
cracks,
with the feeling of an

In
grand and massive form

tints
artist,
summer
and the
harmonise well with the other
which they give a
One circumstance connected with

by
In
which
the spring tints are rich, tender, glowing, and harmonious.
colours of the
contrasted
bark has not the furrowed roughness of the oak, but
fine
depth of tone."
the Sycamore should not be overlooked
almost the only tree that can resist the
effect
of the sea
42
and maintain
breezes,
Sycamore
is
upright position and natural form near the
its
consequently
much
planted on our coasts, and should
picture form an exception to the general rule of
making
The
sea.
in a truthful
away from
trees slope
the ocean.
Miss Pratt remarks that "the winds of high

it
is
hills also leave
it
unhurt, and
therefore often to be seen by the door of the cottage or farmhouse stand-
ing in exposed situations, while on mountains in the North of Europe
common
It
tree.
Germany and
on a tolerable
grows
the ssa-shore,
very huge
size,
common
It is so
Bishop Mailt enumerates
among
it
and rapidly
England,
in
a large
to
often disfigured
In
autumn
Plants and Ferns
pink
Britain
in
girth.
"
saw
row of Sycamores
to
The Sycamore
which
Lauder
The leaves
of
touch by a sweet substance

as an exudation of the leaves
much
injured
by
the foliage of the Sycamore
also,
the
attract
is
at first
scattered around the tree
In some seasons
one year the author of "Flowering
in
notice
in
of
which almost every
who
those
was
leaf
rarely observed
never more attractive than in the early spring,
the young tender green foliage

scales,
to
not truly wild,
by a black fungus, which gives the leaves the appearance
thus disfigured, so as
"
size
in
had large drops of ink scattered upon them.
these spots are very abundant, and
when
is
it
Plants growing beneath the tree are frequently
the dropping of the sweet liquid.
plants.
feet
to the
houeydew, which recent naturalists regard
of having
from a young shoot
though
the trees which adorn the vales and groves
clammy
the Sycamore are often rendered
is
lea.
Sycamores have sometimes attained
themselves.
rising
that,
mentions one that measured above seventeen
called
it is
plentiful throughout
is
Switzerland, in the North of Poland and Lithuania, attaining

soil a
a goodly tree."
of upland or
Norway by
in
is
shooting forth, and
envelop the handsome lobed
by every gust
way, the more sober red of the
of wind.
when
leaf,
When autumn
gradually ripening
winged seed
as well as the varied hues of the foliage, are also very ornamental
deepening tints of the wood."
It is at this
the small
are just being

is
on
its
vessels,
among
the
season of the year that the author
has frequently admired some fine examples growing close to the wall of the
Tilt-yard,
Kenilworth Castle, where they harmonise extremely well with
that
part of the ruin called the Watergate.
The decaying autumnal tones
of the
Sycamore Maple
in
England can give
THE SYCAMORE.
us, after
woods
all,
North America,
in
They
43
but a faint idea of the glorious array of colours presented
by
which the AVhite and Scarlet Maple abound.
in
are represented there as
showing some of the richest colours of the
rainbow, and as too intense and too suddenly contrasted to be pictorial.
more lovely must the Scarlet Maple appear
in
spring,
when
Far
has deep red
it
flowers and slender rosy leaf stalks and branches contrasted with the tenderest
green of the opening buds.
The pupil should pluck

can
arise,
they
and compare
it
a leaf from a
may have been thought
difference.
The
leaf
of the
while that of the plane
is
alike,
Sycamore
leaf,
and he
when
side
with a plane
Sycamore
in bloom,
though apart
a
marked
and unequally
serrated,
by side there
five-lobed.
is
when no mistake
will find that
is
more deeply indented, with a very remarkable
angularity about the sides of the final lobe.
The leaves
of the
are imitated with a free, angular,
oak character in some respects, but
disposition of the branches and twigs.

of green flowers,
the whole foliage.
As
there
is
in
much
is
the general
autumn change
with some persons a difficulty

it
in
are drooping clusters
when abundant, somewhat
between the plane and the Sycamore,
and seeds of both.
worth while
to
winged
of that
hue
to notice the
The seeds which
and have been thus described

" The branching Sycamore that veils
His golden shoots in dark green scales,
Which
still,
Each pair
Its
as on the fabric goes,
to each succeeding
produce
in a
shows
transverse line,
That step by step they all combine

To frame by constant interchange,
Of
cross-like forms a gradual range."
to
in distinguishing
blossoms
Those of the Sycamore are very conspicuous, and
the touch and character of the foliage.

in pairs,
The blossoms
which appear about May, and
seeds of a crimson colour, giving,
and concave touch, partaking
differing
are perfected
affect
hang
14
THE PLANE
Platanus Oricntalis and
Occidentalism.
oad leaved Plane-trees in Unix eoloni
ehed delightful walks."
South
INTRODUCE^ BY LORD
FIRST
BARK
ABLE TO
BACON
ANGULAR LEAF THAN SYCAMORE
f.
PEELS OFF- PALE FOLIAGE LARGER AND MORE

LIVE IN THE SMOKY ATMOSPHERE OF LONDON.
The
first
of
trees
this species are said

to
duced
planted at
have been intro-
England and
into
Verulam by Lord
The Occidental Plane
Bacon.
became common soon

introduction
and
is
planted.
tinction
between the two species consists
more deeply indented than those
The Plane
its
is
of the
of
the
after the
Oriental,
now more
generally
The
chief dis-
artist's
in the leaves of the Oriental being
American Plane.
not so regular and formal as the sycamore in
its
growth, and
branches spring more frequently from the lower part of the stem.
bark
is
of a light ash colour,
leaving the light
and very apt
wood exposed, thus
to scale
The
off in irregular patches,
pleasantly breaking the sameness of tint
in the stein with brighter touches of colour.
Loudon recommends
as a "
it
upon a lawn, where there
is
room
handsome
tree to stand singly or in groups
to allow its lower branches,
which
stretch
themselves horizontally to a considerable distance, to bend gracefully towards

the ground and turn
tree is the
which
head.
is
up
their extremities.
combination which
it
Indeed, the characteristic of this
presents of majesty and grace, an expression
produced by the massive and yet open and varied character of
In this respect
it is
superior to the lime."
its
THE PLANE.
The greater freedom
of the
often falls with good effect
otherwise
The
lie
in too
45
head allows the
light to flicker through,
upon the lower masses
is
the pale colour of
foliage,
its
neither contrasts nor harmonises with the green of other trees.
The
mellow
tints agree well
leaf resembles that of the sycamore,
considerably larger (see cut).
become very conspicuous
with the
The seed-vessels
as the leaves
fall.
indeed there
is
warm hues
which
Late in the
of autumn.
though rather more angular and

are round prickly balls,
which
common
in the
This tree
squares and parks of London, being less injured by a
most others
it
which would
of foliage,
heavy shadow.
chief objection to the Plane
year, however, its
and
one that contrives
is
very
smoky atmosphere than
to thrive in the
dense neigh-
bourhood of Cheapside.
The
foliage
is
much
like that of the
sycamore already described, although
perhaps more marked from the freer separation of the branches and from the
leaves being oftener seen complete, owing to their greater size.
must
therefore be broader, sharper,
and the masses of
over the tree, affording less massive light and shade.
foliage
The touch
more
scattered
46
THE SWEET OR SPANISH CHESTNUTFagus

HIVAL TO
freqc
Till'.
IS
<i.\K
WTY
r.l
MA.II>1'Y
\NIt
KINK
MT.iTMKNS
ITALIAN VALLEY?
IN-
Wool)
UTT'I.K
Castanea.
FLOWEilS
NOT
CON-
spicuo
Tuts
and
tine
statt ly
which combines
tree,
the
strength
the
of
oak with the elegance of

the ash,
jred
is
many
by
formidable
con-
rival
to
our "monarch of the woods."

Lander,
agree
Selby,
and
classing
in
Bosc
all
them
to-
gether as equal in picturesque
'1
The
effect.
"As an ornamental
Its
tree the
beautiful leaves, which are never attacked by
on the trees
till
A group
of
.Mr.
An
old Chestnut standing alone
1>
from his work.

Italy,
the
seen of this tine
"On
transition
the
tree, that
am
Four
the
fir
but
it
grown
to other
lead
abrupt and
to
the varieties
borrow the passage
from
Switzerland to
striking: forests
of wild
on the sides of the mountains, or give interest
tine
distinct
is
massing of their
characters
may
foliage,
he observed.
cases a low tree, with a rounded and spreading head,
a large and full
produces a superb
feeling
artistic
induced
crossing the passes which
nearer scene by
of their growth.
and which hang
unsupportably monotonous."
of vegetation
Chestnuts either replace the

t<>
is
Twining has described with such strong

are to
insects,
young "Chestnuts forms an excellent background
trees; but a Chestnut coppice
which
very late in the autumn, mass better than those of the oak,
and give more shade.

effect.
latter (Rose) savs
Chestnut ought to he placed before the oak.
apple-tree.
and the variety

It
is
in
some
somewhat resembling
Elsewhere the bole has huge dimensions,
bears very diminutive branches, the tree having been reduced, either bv
THE SWEET OR SPANISH CHESTNUT.

lopping or by the decay of the wood,
to
times, however, grotesquely irregular in shape,
some sheltered and favoured

rises to a lofty
mountains
it
someIn
tree,
being a most handsome specimen of the
whilst on the rocky and precipitous slopes of the
becomes the low and spreading
either
and not unpicturesque.
situations of the valleys, the Spanish Chestnut
and spreading
vegetation of those parts
47
a mere trunk without limbs
tree before
mentioned,
or assumes the character of a mere bush."

It
will thus appear that in
the Alps and Pyrenees,
picturesque
it
is
the
who valued
Salvator,
it
has
tree
for
it
mountainous countries, and on the slopes of
much
irregularity,
another reason,
produced by the action of storms on

or withering a portion of the tree.
portion to the quantity of foliage
which sometimes take a

ance.
The
radiate
so
summer
to a
to
leaves
strikingly as
a pleasant
and
large
those
is
off a
effect
branch,
are large in pro-
divided into deep wide furrows,
and give the trunk a twisted appear-
long, collected into bunches, but do not
of the
moderately
ami savage
the wild
wood, tearing
The trunk and branches

the bark
viz.
brittle
its
spiral direction,
are
and becomes exceedingly
most frequently introduced in his pictures by
cool
Their colour
horse chestnut.
green,
and
in
the
is
in
autumn they turn
golden yellow, so that they form an agreeable and conspicuous contrast
many
others in that declining season.
more marked than that
for
as those of the horse chestnut,

affect the general
the
ash.
The touch
The flowers
is
are
firmer,
longer,
and
not so prominent
and being green and pendent, do not so much
touch and colour.
48
HORSE CHESTNUT
"
JEsculus Hippocastanuu.
Horse Chestnut, foremost of the wood

his lengthening germs protrude,
To dare
Dark, clammy, hard, prepared the first

To hear the enlivening call, and burst,
With foliage cleft and spiral bloom,

The cerements of that living tomb."
Bishop Mast
FORMAL
IN SHAPE BUT
HANDSOME
IN
AVEN ES BRILLANCY OF AUTUMN COLOURING BLOSSOM

T
DIFFICULT TO INTRODUCE IN A PICTURE.
This
cannot
be
called a picturesque
tree, its
shape being
very formal, but the
broad masses of f'oliage,although too defined
ami unbroken
be agreeable to
to
grand and majestic
avenue or
in groups,
of this at Biberich
on the Rhine.
But we have
accessible instance
avenue, and in spring

gratifying to
when
see that this
planted in the gaps
in
Bushey Park
made by
in
flower
full
avenue
away the brandies
it
so well
is
still
down
is
visited
folks,
young
at
in
It
an
is
trees being
Whitsuntide
or broken short off near the roots,
of others in their
enjoyed by the crowd of holiday

the flowers and foliage.
and much more
by thousands.
preserved,
fall,
and being
they formed a mass of beautiful ruin, rather melancholy
all
finer
Four years ago
the high winds.
several of the finest trees were blown

tearing
magnificent effect of the Horse Chestnut
of the
in
full
to witness,
blossom
but greatly
who, with the deer, soon cleared away
HORSE CHESTNUT.
The trunk
from the
summer
in
in general is well shaped, but
being greenish in tone.
foliage,
is
by the
early changed
mingled with ochre and sienna
frosts of
4!)
is
much
not
autumn, when
in the
in a landscape.
Indeed there
is
is
it
becomes richly
May
of
illustration, but difficult to introduce
hardly a tree in
white, that appears well in a picture
sent
it
tints.
The pyramidal flowers which appear about the end

taken singly, as
varied in colour
The sombre hue of the leaves
full
are beautiful
with good effect
when
bloom,
the blossom
the mass of white required to repre-
with any degree of truth becomes too glaring to harmonise with the
rest of the
landscape.
would therefore advise the young
avoid the introduction of those trees whose blossom

spring subject, or to wait until they have assumed
is
artist either to
so striking, into his
more sober and
tree-like
aspect.
Evelyn, however, speaks more favourably of this
add
are large, tine,
The Horse Chestnut
"
his opinion.
its
regular parabola.
it
its
that I venture to
in
the spring.
It
is
growth,
head into
In the spring
produces long spikes of rich
and
tree
is
tree, so
a tree of singular beauty, the leaves
and palmated, and appear very early
naturally uniform in
always forming
is
beautiful
is
said to have
into
This
flowers.
a native of the East, and
Europe
in
been brought
1610, at which
time also the laurel was intro-
duced into the English gardens,
But we have reason

that this tree
was brought from
Constantinople, and
nizen
of
ffl
to believe
made
a de-
England, almost
an
hundred years before the above

mentioned period.
Chestnut
is
The Horse
very proper to be
planted for avenues or walks
but
it
is
leaves falling off early in the autumn.
objected to by
But
it
some on account
of
should be considered that
its
it
DRAWING FROM NAT V HE.
50
shoots out proportionably earlier in spring, which, together with

flowers,
makes
an ornamental and desirable
it
The Sweet
Spanish
or
its
and the Horse Chestnut
Chestnut
beautiful
tree."
are
widely-
separated in the eyes of the Artist and Botanist, although they are sometimes
confused by the public.
The former
dom and
is
decidedly the most picturesque
wildness of
and grand
its
tree,
associated
growth with rocks, mountains, and
while the latter
is,
from
its
stately
all
by the
that
is
free-
savage
and pyramidal form, more
appropriately placed on the lawn or in the park.
The
foliage is imitated
with a bold touch, somewhat like that of the
Spanish chestnut, but radiating more directly from centres, as several
leaflets
spring from one stalk.
THE LOMBARDY OR COMMON PO PL A R Pop ulus Dilatata.

Shoots up
its
spire
" The Poplar there

and shakes its leaves i' the sun
Barry Cornwall.
Fantastical."
TOXICAL
FORMPLEASANT VARIETY GREAT
SUPPLENESS
WAVED SHORT
STEM
OF
LEAVES
TRIANGULAR
TOUI H.
Tins species of Poplar, although not introduced

into this country until the last century, has so
marked and peculiar

so
much
stood
when
Its
a character,
cultivated, that
the Poplar
conic
form
its
branches
stem, and
is at
is
and has been
generally under-
mentioned.
distinguishes
other deciduous trees

of
is
it
it
from
all
in general the direction
very acute angles from the
some authors consider
its
claims to
picturesque beauty as slight, on account of this
formal shape, but Gilpin mentions one recom-
and of
mendation that
it
possesses, that of yielding to every breath of air
waving from top
to
bottom in gentle sweeps, or as Leigh Hunt expresses

Whirl, like
" The Poplar's shoot,

feather waves from head to
foot,"
it,
THE ASPEX
returning to
its
original shape
at different distances
TREMBLING POPLAR.
Oil
when
from the spectator,
51
In groups of three or more,
at rest.
and
certainly picturesque,
is
it
pleasantly varies the more rounded forms of other trees.
The stem
is
very
rough and irregularly marked, generally in old trees having deep divisions
corresponding to the intervals between the roots.
The leaves
waved
It has
and placed on alternate sides of
are almost equilateral triangles,
the twigs, with their points upwards

short touch.
may
they
be imitated with a zig-zag or
In early spring the foliage
no very decided masses of
light
a tender yellow green.
is
and shade.
THE ASPEN OR TREMBLING TOPLAE
Tre ma In.
Pojtulns
" When Zephyrs wake,

The Aspen's trembling leaves must shake."
HARDYRINGS OX STEMLONG
FOOTSTALKS TO LEAVES ELLEN'S ISLE IMPATIENT OF PRUNING

TREMBLING LEAVES.
CHARACTERISTIC tree and a hardy native of
England and
mountain
Scotland,
ash
sembling the
and
with the
associating
birch,
and
slightly
re-
latter.
The stem
is
straight, the
bark smooth, and
generally of a light gray, though not so glossy

as the beech,
becoming darker towards the
root;
sometimes varied with rings of a brown shade,
which when well drawn give

strike
pendulous
towards
perpendicularly, on long, slender,
flat
rich green, the under surface being

for the leaves
rather
out
the
at
extremities.
footstalks
much
stiffly
their
it
rotundity.
The
but become
first,
The leaves hang
colour
is
lighter than the upper.
dull but
The touch
should be firmer and darker than for those of the birch.
Selby states that "it
is
excellent in contrast with other trees, forming
frequently an interesting object
ofi
the
E 2
wooded
slopes of Highland scenery.

adorning in Scotland the margins and hanging woods of
Upon Loch
lochs.
Katrine,
it
the exclusion of the other trees, the classic
The Aspen has been found by

or as
Evelyn quaintly remarks,
artists generally find
it
most beautiful
of the
islet
Lady
of the Lake."
tree cultivators to be impatient of pruning,
"lie takes
have his head cut
to
ill
off/'
so that
in all its native beauty.
The one distinguishing
the
its
mingles with the birch, and clothes, almost to
characteristic of this tree yet remains to be noticed
trembling motion of
its
leaves,
which has perhaps made

So
favourite with poets than with painters.
the slightest breeze, that they have been by
it
easily indeed do they
some considered
as
a greater
move with
an emblem of
perpetual motion, whilst two of our great descriptive poets have chosen the
rare instants of repose in the
times pervades
Aspen
"
Is
as typical of the intense calm
Thus Thomson
all nature.
perfect
calm that not
breath
heard to quiver through the closing
Or rustling turn the many trembling

Of Aspen tall."
THE ABELE
which some-
says,
\voo<ls,
leaves
Populus Alba.
" The green woods moved and the light Poplar shook
Its silver
TALL WITH ROUNDED
is
leaves."
HEAD LIGHT GRAY BARK DOWNY WHITE
This species of Poplar

trunk
pyramid of
is
tall,
spreading
tree,
ON UNDER SIDE UK LEAF.
with a rounded head.
covered with a smooth light gray bark, and the
the under side of the leaf
is
very conspicuous.
The
The
downy whiteness on
foliage
is
more dense than
that of the poplars already described, though not sufficiently so to catch such
masses of light as the elm, &c.
THE COMMON" OR WHITE WILLOW.
THE BLACK PCTLAR

LEAVES LESS NOTCHED THAN" OTHER SPECIES
Populus Nigra.
FOLIAGE
DIFFICULT TO RENDER IN LIGHT AND
SHADE CATKINS.
Attaining a great
height, the
Black Poplar
with thick and brilliant coloured
is
also a large
The
foliage.
and handsome
tree,
leaves are heart-shaped, less
notched at the edges than the other species, green and smooth on both sides,
producing sparkling and ever varying
lights, as
they flutter in the slightest
breeze.
These same lights are too transient

attempt to reproduce the
his labour
The
foliage
red,
leafless
for the
painter,
which pleases the eye
is
late in
and wore he
lights,
with no decided
to rest the eye.
expanding, but the short thick catkins, deeply tinged
which appear beforehand, have a very ornamental
branches.
to
in nature, the result of
would inevitably be speckled and broken
mass of shade, on which
witli
effect
Some specimens
effect
on the
of this poplar are to be seen forming a
handsome group near Richmond.
THE COMMON OR WHITE WILLOW

" Willows
in
And shade
Salix
twigs are fruitful and osiers have their use

for shvr\<
am] food for flocks produce
"
GEOpGIl
FOUND N E A R WATER OLD STUMPY WILLOWS Most PICTURESQUE
When
A /ha.
s,
Book
POLLARD!
II.
OPHELIA.
untouched by the pruning knife of the planter or the bill-hook of the
hedger, this tree grows to
handsome
Scotland, and, according to Selby, forms

in a landscape,
when growing
in
size
a
"
in the
North of England and
beautiful and interesting feature
an appropriate
situation,
of a river, the margin of a purling brook, or in one
such as on the banks

of our low sheltered
54
haughs, with
its
an
silvery plume-like foliage giving
air of grace
and lightness
to the landscape."
may
"Whether Willows nourish hest near the water, or not,

question.
It
Mr. Twining,
almost always found in their neighbourhood
is
" their
appearance
is
water, that Art has often adopted
generally so
them
as a sign
much
be an open
and
to quote
connected with that of
wherewith
mark
to
the course
of a stream, river, or canal, where these objects are concealed from view."
Those Willows which are allowed

growth peculiar
than too
trees,
to them,
much
seem
straightness
its
dition,
no other
defect, as light
in the branches,
It is the old
in the arrangement of the leaves.
with
run up with that rapid lightness of
to
to present
stumpy and hollow Willow,
thin and shaggy head, which finds, notwithstanding
an honoured place
in the foreground,
its
and doubtless owes
in the composition to those characteristic peculiarities which, in
constitute its ugliness, but distinguish
other
tree,
it
shattered conits
usefulness
some measure,
manner from every
in a striking
thus proving that character may, where variety
preferable to elegance
and elegant
and a loose irregularity
is
wanting, become
itself.
Coinciding as artists generally do with these ideas of the necessity of

character to give variety,
state, is
the trunk, as well as to form

reflect
not surprising that the Willow, in
is
it
a favourite tree with them.
it,
and
it
all
old, it
its
polled
has a tendency to divide in
kinds of angles with the placid streams that
adds greatly to their beauty.
Unlike the weeping willow,

for ages
When
made us
familiar with
Shakespeare's description.
AVillow thrusting
indigenous to our island, and poets have
image, though none have equalled in beauty
Mr. Thorne, in his rambles by the Avon, says,
trunk across the stream reminds us of Ophelia's death
its
"
it is
its
'
is a Willow grows ascauut the brook,

That shows his hoar leaves in the glassy stream
There
;'
a gust of wind raises the under side of the leaves to view, and we. then perceive
the exquisite correctness of the term
" that deformity,
the.
unlopped
the Pollard Willow,
trees
hoar
'
is
and not being an
artist,
he adds,
as ostrich plumes.''
will be struck not only with the correctness of the
term "hoar," but with the great poet's
which he could
"
wear their feathery branches graceful
The thoughtful student
in
;'
not so frequent as in most rivers, but
skill in seizing the
only natural manner
attract our notice to this peculiarity of the
under sides of
55
THE COMMON" OR WHITE WILLOW".
Willow
the
namely, the reflection of their hoariness in the glassy
leaves,
stream.
Mr.
Thome
with other
gives us yet another pleasing picture of the Willow, mingled
and as
trees,
skilful
comprehensive ideas of truth,
word-painting assists in
"
on the Avon, called Hatton Eock.

against the fleecy sky
trees
its
side
is
Willows and
stony bed,
tall
high and steep bank, raising
its
brow
edge of the stream.
the ear with a quiet melody.
From
trailing brambles.
high stem of the abele rises above
alders, that fringe the
filling
mind with
covered with an intricate variety of the lesser
and underwood, hazel and thorn, and the long
the base of the bank the
the
filling
quote his description of a romantic spot
I will
The
its fellows,
the
river rolls over a
As you make your way along
the foot of the rock, at every slightest bend a fresh and grateful change
before you.
Now
the light feathery
Willow
glitters against the
is
deep green of
the alder beyond, the silvery leaves of the white poplar tremble all over with
the slight breeze, that moves not a leaf of the oak beside
from beneath the overhanging bush, and
The touch
for the foliage
less variety in its direction,
plumy appearance.
The colour
effect,
more
is
it,
a kingfisher darts
quickly followed by his mate."
must be longer than
which
producing a silvery
dark full-toned
is
for that of the ash
when
the
it
rather darker, and
doubtless have noticed the

Perth.
has
is
contrasted with some
whole mass, including the
shadows, will in this case appear lighter than the tree behind
lie
it
a pale ashy green, or warmish gray green,
especially
foliage, as that of the alder,
with the twigs, will
will assist in giving the light feathery or
is
handsome group
rough.
Many
of these trees
of
it.
my
The
bark,
readers will
on the KSouth Inch
at
56
DRAWING FKOM NATURE.
THE WEEPING WILLOW.
"
Shadowy
So elegantly
itly
Salix Bahylonica.
trees that lean
o'er the water's brim."
FOLIAGE DIFFICULT TO RENDER -LEAVES LONGER AND AT GREATER INTERVALS THAN

COM MON
WILLOW TEARS ON LEAVESASSOCIATIONS.
> ^^^^^^
^20^ '^fT^=^^^ ^'
M
/^W^^
'
This
is
^ iee
not an easy
draw
Jugular
\m\
0Jm^\
tf
w "WWiJ
k
\
f-
mass of
light,
mal, and
the branches
and
Wi<
tion
of
Few
real artists will agree
he praises
it
The head
"as
it
is
to
avoid
tree,
but the branches being very long and diverging in
The colour
is
a light yellowish green.
rounded, and takes
is
all
approach the ground
The leaves agreeing with the pensile character
of the tree, arc
Even Gilpin owns
common
that this
not suited to associate "with sublime subjects, such as ruins of abbeys
tree
is
and
castles,
but
it
adds to the beauty of humbler scenes, as some romantic
footpath bridge, which
hangs
stiffness.
with Gilpin, when
longer and placed at greater intervals on the twigs than those of the
Willow.
to
difficult
very picturesque
of the tree
directions, the foliage should gradually diminish as they
or water.
for
close
vary with truth the direc-
-i,
perfect contrast to the poplar."
appear,
leaves are apt to look for-
'
may
it
nan 8']n g masses of
\?
well,
however simple and
its
it
half conceals, or
some glassy
pool, over
streams of foliage."
"
We
pass a gulf in which the Willows dip
Their pendant boughs, stooping as
if
to drink."
which
it
Plate
IV.
1I1GHT0N BROS
THE OSIER.
Howe
mentions a
though immaterial
to
to
circumstance, forming a
the painter,
"
that the
the pensive, drooping appearance of
its
fertile
theme
branches, weeps
the poet,
for
Weeping Willow,
addition
in
drops of
little
water, which stand like fallen tears upon the leaves."
The
story of the accidental introduction of this tree into England,
and
Weeping Willows from Pope's famous
tree
the subsequent rapid increase of

at
Twickenham,
is
well
known.
Another celebrated Willow, that which
overshadows the tomb of Napoleon at
them
all,
innumerable descendants.
St.
Helena, has,
These, with
one of great antiquity, give a degree of interest

lack
if
if
many
we may
believe in
other associations,
to the tree
which
it
would
considered merely in an artistic point of view.
THE OSIEESalix
Viminalis.
This most familiar example of the humbler class of Willows

valuable for
all
generally planted by the side of rivers

called " osier
hotts "
or
" aits."
noted for this species of Willow.
especially
common Willow,
the same, but more upright.
is
and streams, or on small islands
The Thames and the Cam

The leaves
are long
green, covered underneath with a white hoaiy down.
shoots of the
is
purposes of basket making and other wicker work, and
are
especially
and narrow, of
a bluish
They appear not unlike
planted upright in regular rows.
The touch
is
58
THE HAZEL
Corylus Avellana.
"
As
And
see,
yet unclothed, the Hazel tree
The coppice
; ami depend
whose clustered rows
first fruits
In russet drops,
closed in part, in part disclose

Yet fenced beneath their scaly shed
Still
The pendent anther's yellow head."
HAZEL COPPICES
SOMETIMES
CCTURESQUERICH AUTUMN TINTSHARBINGER

CATKINS CHARCOAL BURNING.
Plantations
where the
same
size,
SPRING -
OF
and
trees
woods,
are of the
do not yield good
subjects for the artist, unless
$--
they occur on hold projecting

surfaces or broken ground
but thus situated, with some

difference
in
age
the
distance of the trees, there will be variety in the light and shade.
and
It
is
therefore of importance, in depicting such scenes, to have in the foreground
some incidental break,
either in the outline or colour.
of America this unpleasing
monotony
is
In the vast forests
sometimes happily broken by an
old decayed tree or projecting rock, contrasting in strong relief with dark
masses of shade.
or a broken
bank
When,
in addition to these objects,
we
find a fallen trunk,
partially covered with fern or broom, with a rushing torrent,
such a sppt forms an excellent foreground to a picture, whilst the distant

forest
and rounded forms
of the
wood
will
Hazel coppice there are many opportunities

in picturesque attitudes, while the rich
to the general
harmony
of colouring.
In the
increase the variety.

for the introduction
autumnal
of figures
tints greatly assist
and add
THE HAZEL.
One
59
of our favourite poets has described such a scene

" Even now, mcthinks,
see the
The tangled brake, green
Where on
bushy del!,
sunny glade,
lane, or
a sunshine holiday
strayed,
Plucking the ripening nuts with eager glee,

Which from Hazel boughs hung temptingly."
The Hazel presents the appearance

that of a tree, owing to the
has, however,
is
been known
grow
to
bushy shrub rather than
of a large
thrown up by the
of .suckers
the height of thirty
to
root
The
feet.
warm
beneath
tree
darkish green, slightly
autumn they
in
downy
it
the colour of the leaves
downy
above, but paler and more
take a rich yellow
when
the clusters of nuts,
This tree flourishes on
with white
tinge, spotted
it
bark-
rough and of a light colour, but on the young branches and suckers
assumes a bright russet

is
number
and remain
late
en the
than the surrounding
foliage.
tint,
seen, are lighter
hill-sides, especially if the soil
Gilpin
be rather moist,
a prominent part of
many
happiest manner, and tufting and fringing the sides of
many
a ravine, often
says:
"The
Hazel, besides
making
The Hazel
presents us with very picturesque stems and ramifications."
considered the
harbinger of
when
spring,
pendent
its
powdered flowers and crimson-tipped buds adorn the

charcoal afforded
by
this tree
is
much used
in the
grove in the
of
tassels
leafless
is
downy
boughs.
The
manufacture of crayons
for the artist.
The process of charcoal-burning

situations.
is
Copse-woods are suffered
Surrey, for instance
and carried on
interesting,
to
grow
for fifteen or sixteen years,
first
at last the copse
builds his hut, and
the whole assumes
is
if
sold, the
man who
he has, as
is
picturesque
and even then some of the
larger trees are spared, so that the whole hill-side
When
in
some parts of the country
in
is
not entirely denuded.
to convert
is
most generally the
it
into charcoal
case, a family,
somewhat the appearance of an emigrant's encampment.
Nearly in the centre of the wood a round space
is
cleared, then with a
number
of long thin poles the charcoal-burner builds- a gigantic cone supported
smaller sticks, placed at intervals
down
the
sides
the whole
roofed
is
by
in
with sods cut from the heathy common, turned root upwards and considerably
overlapping each other.
Sometimes a small aperture
side as a vent for the smoke, but
outside the tent.
most generally
Within, the ground
is
till
is
left
on the leeward
cooking, &c.
cleared and
is
performed
strewn with
fine
dry

sand, the bed
reared on the side opposite the hatch-door, shelves are slung
is
or nailed in various directions
a chest or
two
is
Soon the man
complete.
woman
hard at work, felling away at the copse, while the good
is
then introduced, with pots,
is
pans, tubs, broken chairs, &c, and the manage
primitive triangle, lights a
and busies herself
boils
tire,
things straight.
in setting all
raises
pot either for washing or cooking,
plank
hung
is
to
the
lowest branch of a neighbouring tree, to which the fowls soon find their
way;
for be
it
Huge
night.
known
this time solid, pile
by
side
in
fire
When
unequally.
wood
raised,
is
screen of
wind, the
the
Eeynard prowls about these woods every
that Master
stacks of
are presently formed,
which
woven straw
would draw
all
is
is
conical,
and
windward
or brushwood, as, if left unsheltered from
all
one side and the wood be burned
to
complete, live coals are dropped into a hole
the centre, and soon great volumes of
smoke ascend from the
pile.
left
The
encouraged or subdued by opening or stopping vents in various places,
fire
is
and
for forty-eight
about
and another
carefully protected on the
it,
hours the burner or his mate
on the
or even
top,
is
seen incessantly hovering
enveloped in the wreathing smoke, and anxiously
watching the, operation on which the successful or unsuccessful result of his
When
labour depends.
sufficiently
burned the vents are
poured over
it,
and the whole smoking, steaming mound
this
is
state
it
very picturesque scene, with the
sun streaming through the
trees,
and
last
all
stopped, water
left
to
cool.
rays of the
lighting the wreaths of
In
autumn
smoke
into
rich salmon or crimson tints, while other parts remain of a dull cool gray,
scattered
gleams
falling
on
the
golden
fern
or
crimson
shoots
of
the
surrounding underwood, while perchance some old scathed oak stretches his
ragged arms over the whole, with an angry flush on his hoary head
ravages that have been committed around him.
at
the
THE ALDEK.
THE ALDER A
61
mis Glutinosa.
ONE OF THE LARGEST OF WATER LOVING TREES BANKS OF THE MOLL AND FI No HORN TRUNK
BLACKFOLIAGE LIKE BEECH BUT BROADER SCARLET COLOUR OF BUDS AND YOUNG SHOOTS
PRODUCES GOOD CHARCOAL FOR GUNPOWDER.
The Alder
from
is
not so
known
gi'iuT.illy
as
J^^-*SS~
frequent
its
^-^^t^^L^^l
"
might
occurrence
be supposed.
It
-%\
âs^
one of the
is
^^^ss^^SL
largest
and most picturesque of our water
loving
trees,
name
its
of
vicinity
with a rich
is
and
front
supposed
is
for
to fifty
sometimes stands
it
same
in clumps, rising from the
damp
and
singly, but
as
more
closely
dwindles
it
to a
more frequently grows
associated with
mere stunted shrub.
and the dank cool marsh, the limpid brook, the
pool,
in the " cool green
shadowy
specimens of the Alder.
spots
it
It is
Cowley says
"
water
in a
dry
by the standing
deep flowing stream,
we must seek
river nook," that
With such
full
If planted
the finest
has become identified, and
dense shade and deep green foliage well harmonise with the
scene.
^Sl
-v
'
than even the willow or poplar.
.situations
elevated position,
root or stool.
The Alder may be considered

or
the
situations,
occasionally exceeds sixty feet in height, but the average
soil, it
from forty
such
In
water.
derive
to
predilection
its
its
surrounding
It loves the
purling streams, ami often hv
Beneath the Hoods, ami wantons with the
Gilpin
us that
tells
"
He who would
see the
Alder in perfection must
follow the banks of the Mole, in Surrey, through the sweet vales of
and Mickleham.
sluggish stream
The Mole
;
is
far
but what beauty
from being a beautiful river

it
possesses
is
Dorking
it is
a quiet
greatly owing to the Alder,
62
which everywhere
fringes its banks,
and
many
in
places forms very pleasing
scenes."
Patriotic
Lander assures us that
Xot only with tranquil
"
but with that of a wilder and more stirring

the deep glens and ravines of Scotland,
is
such as
river scenery,
is to
be found amidst
this tree associated.
The Mole nny
cast,
doubtless furnish the traveller with very beautiful specimens of the Alder, but
we venture
nowhere will the
to assert that
tree
be found in greater perfection
than on the wild banks of the river Findhorn, and
tributary streams,
its
where, scenery of the most romantic description prevails."
The trunk
liarity,
ater, are
is
but the leaf
much
is
leaf of the Alder,
it
name
of the
broader, and the colour darker.
is
when they
not so
much
The
are
difference will be noticed.
seen, has a longer foot-stalk
will be
terminating point of the hazel

It
the
not unlike that of the hazel in general appearance, but
examined by comparing the woodcuts, considerable
The
it
their long shoots sweeping the surface of the
something like those of the beech, and the foliage has the short wavy
line of that tree
leaf
of the foliage, has given
tint
The branches, with
Black Alder.
w
almost black in colour, rough, and cracked, and this pecu-
is
added to the deep
serrated, but
is
without the
more
ribbed.
has also catkins of two different shapes, which will not be mistaken for
those of the hazel, nor yet for clusters of nuts.

"
very beautiful
the sap begins to
and buds seen

scarlet.
This
rise,
effect
produced by the spray of the Alder, when
is
towards the end of winter, for then the young shoots
at a distance give a colour to the tree

is
peculiarly rich
when
almost approaching to
the trees happen to be blended, as
we
have seen them, with the pine woods on some distant bank, where they
contrast with the dark green of the
The Alder
is
much
for the charcoal burners,
charcoal for
revealing
gunpowder
wood
wood thus prepared

cool green copses.
firs."
cultivated in copses, and cut every five or six years
and
is
particularly prized
for this
purpose
it
of the colour of a deep
is
by those who prepare
the
cut into lengths and peeled,
madder
red,
and the stacks of
are sometimes quite striking objects in the depths of the
THE MAPLE.
THE MAPLE
G:3
Acer Campestre.
FOUND PRINCIPALLY IN" HEDGES SOMETIMES A HANDSOME TREE GILPINVARIETY AND EARLY
APPEARANCE OF AUTUMN TI NTs RICH COLOURING OF BRANCHES AND SHOOTS CALENDAR OF
;
AUTUMN TINTS OF VARIOUS
TREES-.
Tins humble and diminutive tree is
common
in our
hedges and thickets, but
is
generally reduced
by the
hedger
of the
doming
vies
is
to the
size
thorns
and
sloes,
and ornaments the hedge,
one of the
itumn mi
first
its foliage.
his species
may
show
to
Hand-
be seen on
the banks of the Wansbeck, near Morpeth,
and other parts of Northumberland.
Gilpin styles
though a common bush," and goes on
to
seen stands in the churchyard of Boldre, in the
enough, he chose to be buried
shadows his
at
is
Maple undergoes
in
New
tree,
lias
lie
Curiously
Forest,
the loot of this very tree, and
autumn forms
the earliest sylvan beau that
is
it
now
over-
weary of
of a naturalist of the changes
good guide to the
its
summer
dress to ochrey shades, then trying a deeper tint,
orange vest
"an uncommon
last resting-place.
The following description from the journal

that the
it
say that the largest Maple
" It
eolourist.
suit; first shifting its
and
lastly,
assuming an
thus setting a fashion that ere long becomes the garb of
all,
except the rustic oak, which looks regardlessly at the beau, and keeps
its
verdant robe unchanged.
Soon tired of
his sober neighbour ash, throws
with
to
all
his
peers
the
next
its
new
this,
the
Maple takes
a pattern
from
gaudy trim away, and patiently awaits

change.
"When
first
the
Maple begins
autumnize the grove, the extremities of the boughs alone change
their
64
colour, but all the internal
which gives
to
and more sheltered parts
retain their verdure,
still
the tree the effect of a great depth of shade, and displays
The
advantageously the light lively colouring of the sprays."
what
and
like that of the
As
and there
with their
which,
shoots,
among
sycamore
is
leaf is
rich colour, gives
them
marked character
the foliage of our shrubs.

the change of colour in the foliage of trees
who study Nature
for
is
very interesting to those
the purpose of representation, either with the pencil
or the brush, a kind of calendar has been added of the different tints
by various
trees
assumed
towards the end of September.
The leaves of the Maple change

to a
some-
a ruggeduess in the branches
first
of all to
an ochrey yellow, then
deeper tone.
Ash,
tine
lemon yellow, soon
falling,
and leaving bunches of seeds of a
brown hue.
Hornbeam, bright yellow.

Elm, generally orange, but with some irregular patches of bright yellow.
Hawthorn, tawny yellow, but greatly modified by tones of deep reddish

brown, and brilliant clusters of
lit
up by the evening
The old thorns
berries.
in
Bushey Park, when
sun, are most gorgeous in autumn.
Hazel, pale ochrey yellow, with browner shades for the clusters of nuts.
Sycamore, a dull brown.
Oak, yellowish green.

Horse-chestnut, a great variety of beautiful rich tones, from pale yellow
to bright
crimson orange.
Beech, also finely varied in colour, but more of a maroon colour than
the chestnut.
Cherry, most diversified
maroon, and purple.
and charming in
Leaves of
same time from beneath the

form an admirable study
all
tree,
lor the
tints,
these colours
yellow,
artist.
red,
crimson,
be picked up at the
when arranged on
and,
young
may
a table at home,
THE HAWTHORN.
Go
THE HAWTJft >BjSt Crataegus
O^jacanthcu
" The- Whitethorn bush,

;
GENEKAL FAVOUKITE
leaning stile bends low
OFTEN PICTURESQUE, TRTO?K ESPECIALLY so

HEDGES CIIAIIM IXU ASSOCIATIONS HED
BLOSSOMS
As
fpi.
much importance
when viewed
near at hand,
WHITE
h>.
may perhaps
a tree, our general favourite
not be of
but
111
AGE
OLD
IN
HIM:
in the landscape
its
twisted trunk
and branches, with some small portion of

age,
and
its
straggling roots, amongst
foli-
which the
deer and sheep love to herd, give variety to the park

or hill-side.
takes
an
When
elegant
well grown, and of middle age,
picturesque
with
form,
falling
depending branches, and makes an important
slightly
As years
accessory to the beauty of English scenery.
pass over
to
allow of
its
in
is
it,
the head becomes too round and matted
prominent place
in
some measure atoned
fur
occupying
think, this detect
it
or
even then, we
picture, but
by the characteristic knotting
and twisting of the trunk.

Sir
Thomas Dick Lauder
favourite
native trees
shadows under
its
forms, as if to
gaze at
it
"
foliage,
growing under the
its
is
We
eloquent in the praise of
have seen
it
or shooting from
image
shelter,
white blossoms,
it
in
fantastic
we have seen
strength."
When
covered with
most
indicates the season of the year better than
these generally appearing towards the end of
sometimes useful
below
though not the shade, of some stately oak,
embodying the idea of beauty protected by

its
most
their sides, with
the deep pool
in
one of his
this,
hanging over rocks, with deep
May.
In a hedge-row
breaking the monotonous expanse of country
trees,
it
is
and when
blended by distance gives a rich and unrivalled charm to English landscapes.

F
DRAWING FROM NATUEE.
66.
Among
from Shakespeare and Spenser down
poets,
Hawthorn
present day, the
ciations connected with
coming summer, and
of
it
have perhaps influenced even

were
artists to allow it
viewed with regard
strictly
it
to the writers of the
ever been a favourite, and the pleasant asso-
lias
its
train of
charms and
dreamy
joys,
qualities, which,
colour and composition, ought to he
to
denied.
The touch
of the foliage
more acute and angular than that of the oak,
is
not allowing such a broad mass of light and shade.

cool green colour, varied in
which
it is
autumn by
The
foliage
is
of a dark
the bunches of bright red berries with
adorned.
THE BLACKTHORN
Prunus Spinosa.
FLOWERS APPEAR BEFORE LEAVESEARLIEST OF BLOSSOMS
Of much
less
importance
to
REASON'S
FOR NAME.
the artist than the hawthorn, the Sloe
may
be more properly termed a thorny and crooked shrub, the flowers of which
appear in April before any of the leaves.

a
certain degree
of
Blackthorn spray, when

the
for
interest,
its
We
snowy blossoms.
'
It is
this fact
which gives
lovers of wild flowers
all
black, woody, leafless
may wander
it
welcome the
boughs are whitened with
forth to see
them even
as early as
March, when winds are blowing, and whirling the few dried leaves which
are yet
There
which strewed the pathway of the country
the multitude
of
left
wood.
is
a wild music
among
in graceful motions, while the thrush
accompaniment.
no flowering
tree or
country people
thorn
Young
for its
name
by the
flowers.
It
acquiring
ing
it is
is
its
in the
cold
and blackbird are singing
up from among dry
enlivens the wood,
to the rich
leaves, but as yet
Old
save the Blackthorn.
winds of March black winds, and say that the Black-
because
enough
winter.
shrub
call the
so called,
is
flowers peep
the boughs, as they bend downwards
it
flowers at that season;
but there
dark wood of the boughs, contrasted
March
is,
is
reason
too, as
it is,
however, called in villages a Blackthorn
very frequent in our woods, coppices, and hedges, gradually
leaves in April and
May,
clad in delicate verdure."
so that
The
when
the flowers are disappear-
leaves are long
not grow in clusters like those of the hawthorn.
and
serrated,
and do
THE STONE
STONE PINE
'
And
still
PINE.
6;7
Pinus Pima.
the Pine, Ions haired and dark and
In lordly right predominant o'er
tall.
all.
Much
they admire that old religious tree,

With shaft abov the rest, up shooting free,
And shaking, when its dark locks feel the wind.
Its
wealthy
fruit,
with rough mosaic rind,"
Leigh Hunt.
RAVENS A IN.'
BRANCHES BEAUTY OF
3IIARACTERISTIC TREE OF ITALY
YOUNfi
This
DECAY
OF LATERAL
the most characteristic
is
and nourishes in
tree of Italy,
great luxuriance on the deep
sandy hanks of
of
Kavenna
but,
soil,
in
is
is
rarely
for
like
some degree
England
naturalised, though in
it
by
" It is not indi-
our
to
the cedar,
famous
are
their beauty.
genous
or
rivers,
The Stone Pines
the seashore.
more than
a puny,
half formed resemblance to the

The, soft
Italian Pine.
clime
of Italy alone gives birth to the
true picturesque Pine.

it
always
suggests
broken porticoes, Ionic

arches,
fragments
of
pillars,
old
There
ideas
of
triumphal
temples, and
variety of classic ruins, such as in Italian
landscapes
it
Pine promises
picturesque beauty, and does not, like
indication of
its
future form.
commonly
adorns.
little in its
most of the
fir
The Stone
infancy as regards
species, give early
DEA.WING FROM NATURE.
68
"
In
its
youth
dwarfish and round headed, with a short stem, and has
is
it
rather the shape of a full

until
Its
lengthening stem
much from
deviates
and above
or
any
grown hush than
has attained maturity that
it
all
commonly assumes an
other lines difficult to imitate.
If,
parts
its
hue
warm, reddish, and
in
beauty
its
colour
breaking into acute angles, like

a
flowing
line,
for the
many
by an assemblage
The
artist.
some
we
countries,
of the Pine species,
of small masses.
form, instead of
is
it
moulded
is
"When we
is
into
see an ash
the practice
are apt to think that no tree with a head placed on a
long stem can be beautiful
forms of beauty,
is
yet, in Nature's hands,
easily
effected."
To the
which can mould so many

artist
this
circumstance
particularly acceptable, as, from the absence of all lateral branches, he
often enabled to introduce

like leaves of this,
should
lie
is
Weymouth
foliage rivals the
its
or elm from which the lateral branches have been stripped, as

in
that as the
The hark
lines.
its
species, except the
a deep gray green, and
is
is,
liable to peel off in patches, thus pro-
ducing a roughness of stem effective

trunk
very graceful,
is
which, standing out on
of the stem, break the continuity of
is
not
seldom indeed
It
of the Stone Tine
smoother than that of any other tree of the Pine

Pine
is
accidentally, either the stem
lateral branches decay they generally leave stumps,
various
it
sweep than common, that sweep
Another beauty
be graceful.
fails to
easy sweep.
a straight line, hut that gentle deviation
of the larger branches take a larger
seldom
and
of an increasing tree,
picturesque form developes rapidly.
its
it
into the foreground of a picture.
and the Scotch
fir,
is
The sheath-
which stand upright on the branch,
imitated by a series of short strokes, care being taken to avoid too
great regularity in their arrangement, which

of the masses of foliage.
would destroy the rounded form
Scotch Fu\
Spanish Chestnut
THE SCOTCH
FIE
SCOTCH FIRPmmm
SPREADING Willi:
OF FIR SPINES-
69
Sylvestris.
;auty
in
incur..
JOUR
LING
FIVE YEARS-
our only
This,
indigenous
Pino,
very
general
Eng-
throughout
land and Scotland,

latter
country
vast
in
still
forests,
space to spread
than
set
it
the larch
trunk being
not
unfrequently bent or twisted near

the
as
t(
an
and as
this
is
a character best suited for pictures,
have chosen,
ustration of this tree, a group growing on the south side of Leith
Hill, Surrey,
overhanging an old road where the gradual wasting away of the
sandy banks has caused one Fir to

portion of the stem
becomes
fall
bare,
against the others.
When
the lower
and the head remains clothed with
dusky green canopy, contrasting admirably with the yellowish red of the
bark, there
character of
is
scarcely a
its
mure picturesque
youth and bears
with more irregularity
in
growth, for
its
tree.
It
loses entirely the taper
great resemblance to the stone pine, but
frequently some straggling limb
remains, shooting from the lower part of the trunk, the whole according well
with the wild scenes in which
it
is
most often found, towering,
as
it
dor.-.
70
amid the sublimest parts of the Scottish
Highlands.
There
are
some
magnificent specimens growing in the vicinity of King's House, in the Pass
enough in themselves
of Glencoe, that are
than one day in
which contains McNab's

from the
One
grave.
growth of
accidental
stem, and fallen
artist to pass
more
Others, equally striking, rise
another
across
and wounded each

shows the grave
to the spot
shall see a sight
other,
and
to strangers,
of these
united.
The veteran McNab, vim
disinclined to believe
with this observation
you
an uncommon event, as
when two branches have chafed
trees,
last
at
is
interesting
from the main
severed
seemingly not
particularly
is
branch,
large
has frequently occurred in other
them
tempt an
the rocks and falling waters around Killin, and on the small island
among
it
to
uncomfortable looking inn:
its
"
:
Now,
sirs,
for
this,
he ushers
step this way, and
you
shall not see again in the three kingdoms."
In forests this Pine assumes a very different though not utterly unpicturesque appearance
and attain
Sir T.
to a
the side branches are fewer
much
the stems are straighter
greater height.
Hick Lauder has drawn a charming and
solemn grandeur of a pine
truthful picture of the
"At one time we found
forest.
ourselves wan-
dering along some natural level under the deep and sublime shade of the
heavy
pine-foliage,
which appear
to
upheld high over head by the
form an endless colonnade
our footsteps, the very sound of which
is
tall
massive columnar stems,
the ground, dry as a floor beneath
muffled by the thick deposition of
decayed spines with which the seasons of more than one century have strewed
it
hardly conscious that the sun
which
its
influence
insects that are dancing in
ground begins
to
swell into
its
from the fragrant resinous odour
the continued
beams over the tops

and here
hum
of the
of the trees.
arid there the
clouds of
Anon
the
continuity of
broken by a broad rush of light streaming down through some vacant
is
space,
and brightly illuminating
form, which, rising from a
darker masses behind
it,
a single tree of
little
knoll,
huge dimensions, and of grand
stands out in
bold relief from the
where the shadows again sink deep and fathomless
the red and gray stems, whilst Nature, luxuriating in the light that
gladdens the
heath
up, save
hillocks,
shade
among
is
exhaling, and
is
bells,
little glade,
pours forth her richest Highland treasures of purple
and bright green
bilberries,
and
trailing whortleberries, with tufts
of ferns, and tall junipers irregularly intermingled.
And
then,
amidst the
THE SCOTCH
that
silence
the
prevails,
red deer stag
leading his whole herd behind
man, he
him
and
FIR.
comes carelessly across the view,

as his full eye catches a glimpse of
throws up his royal head, snuffs up the
halts,
the ground with his hoof, and then proudly
moves
off
gale,
indignantly beats
with his troop amid the
glistening boles."
The hark
is
frequently cracked in scales of a gray colour towards the root,
but becomes redder and smoother higher from the ground.

colour are
much
brown
rich
increased by age,
The
colour.
When
the hark
These varieties in
deeply furrowed and
is
of a
roots,
almost every
unlike those of
other tree, wander in a direction nearly horizontal, accom-
modating
themselves
scanty depth of
they
soil
found
are
to
in
the
which
and as the
tree advances in age, they fre-
quently appear above the surface
ground,
the
of
therefore
woody than those

The
and are
much more tough and

of other trees.
composed
foliage is
numerable sharp-edged
which
every
fall
of inleaves,
fifth
year;
they are arranged spirally on

the branches
a
pairs,
within
When
young-,
in
scaly sheath.
they are of a bright hue, hut

afterwards assume a bluish
probably on
form
not
allowing
scope for the
influence
peculiar
much
tint,
account of their
of the solar rays.
The leaves
approach the perpendicular, are rather curved, and grow on the upper sides
of the
branches, the
the foliage
may
latter
being frequently seen
be given with the addition of a
below.
little
The colour
lake, red, or
of
madder

to a cool
green.
may
It
bo added, that the
above the shoots of the current year
cones
are generally
in
pairs
their colour varies, being sometimes
yellowish or red, though more frequently of a purplish green.
Miss Twamley
refers pleasingly to the

'
Scotland, namely, the
two
most usually met with in
trees
gloomy Pine and bonnie birch"
' The lofty Fir crowns Scotland's
Nor
hills,
recks the winter's Wast
His root clings firmly to the rock,

I .ike an anchor stout and fast.
The Pine
And
The
king of Scottish woods
is
the
fairest
queen oh
form the
who is she
kens
forest
The. bonnie birchen tree."
SPKIJCE
Fl R-t-Pmiiw
Albks.
" There towering Pirs in conic forms appear.
And with
a pointed spear divide the skies."
Prior.
GRACEFUL SWEEP OF BRANCHES REGULARITY OF FORM AND SAMENESS OF COLOUR DISTASTEFUL

T<> ARTIST SALVATOR ROSA
LEAVES DEPENDING FROM BRANCHES.
TflE Spruce Fir
the Scotch
fir,
conical in. form, and considered
is
its
by many handsomer than
lower branches sweeping gracefully on the ground, and
gradually decreasing towards the head in
tiers
of regular foliage
But these
very qualities, regularity of form and sameness of colour, render the Spruce
Fir,
when
flourishing and luxuriant, an object of lesser value to the artist.
In the elevated and exposed situations

scenery,
it
"Sometimes
so often
the
branches, and
is
occurs,
tree,
we
shattered
find
it
which, especially
by some accident, has
scathed and ragged.
among broken stumps, has
in
among Alpine
assuming a more picturesque form.
lost
many
of
its
feathery branch here and there,
often an admirable effect."
Lauder describes, with
true artistic feeling, the effect of the Spruce Fir in Alpine scenery, in the
following passage: ""What can be more truly sublime than to behold, opposed
to the intensely blue ether, the glazed
white summits of Mont Blanc, or the
THE LARCH.
73
Jungfrau, rising over the interminable forests of Spruce Firs, which clothe the
bases of the mountains, whilst sonic gigantic specimens, as those
noticing, rise in groups
broken, and
among
maimed by tempests
brilliant prismatic
many
the rocks before us,

their
dark
forms
of
we have been
them
opposed
shivered,
to
the
all
hues of some immense gorgeous glacier."
Salvator Rosa has introduced the Spruce Fir with excellent effect into some
of his
most sublime compositions.
The branches spread out

first
nearly parallel with the ground, and
laterally,
bending downwards, curve slightly upward towards their extremities.
may
smaller sprays
from the branches.
be indicated by
The leaves
contradistinction to the Scotch
TU
are
short,
and depend from the branch, in
LA RC KPuius
Larh
HEIGHT EIGHTY TO ONF. IlI'Mifru n

OROWING
N PLANTATIONS UNINTERESTING TO THE POET
UNDERNEATH FRESH AND GREENi
i
The
succession of curves slightly deviating
fir.
NATIVE OF ALTS AND APENNINESDUl

WELL IX HIGH LATITUDES LARCH
AND PAINTER LONG GRAY MOSS
I'
THE
Larch
native of
tin'
is
Alps
and Apennines, and

>wson their steeps
in characteristic
when
unimpeded
vigour
rarely,
among
and
in
seen
growth,
of
strength
if ever,
uncontrolled
its
in
character
our island,
the fastnesses of our Highland
grounds
at
Dunkeld.
There, mi the
Craig-y-Barns and the lonely corries

ike of
.
in
At
hoi,
planted
important service to the
14,000 acres with this
artist
tree,
public as well as to his
74
only since about 1725 that the Larch has been introduced into
It is
heirs.
Scotland and England, and
which appears
tree
at
and other
told
were the original
and
exotics,
under such
transplanted into the open garden, where
with the vigour natural to the

from the height of eighty
than any other
to
its
soon began to thrive and grow
feet,
grows
it
and
is
thus
thrives in higher regions of the air better
tremendous passage from
affords a
many fathoms
is
known
to
below,
is
do,
hanging over rocks

After
feet.
it
is
cliff to
cliff;
while the cataract, roaring
seen only in surges of rising vapour."
have a most vivid recollection of sketching such rough and precarious
bridges in the 'Via Mala, where, after the remarkably
by
they were
by the Alpine peasant, and thrown athwart some yawning chasm, where
felled
hothouse
native Alpine regions
and precipices which have never been visited by human
it
was shown two
discipline,
upwards of one hundred
of its consequence
tree
the}'
In
tree.
"The Larch
described by Gilpin:
some time received
for
sicken
being found to
treatment, but
ago,
was
which
popular account, that were brought from Italy with
plants, according to the

trees
Dunkeld some years
feet high,
about eighty or ninety
fine trees,
orange
modify the appearance of many of our wild
When
barren hills in Scotland.
what was thought of a
interesting to notice
is
it
likely to
(called
rain
"
Fon
the
on the Alps,
") that fell
warm wind accompanied

1839, and swelled the
in
mountain streams, these Larch trunks had taken the place

swept
bridges,
away by
the
impetuous
of the more, solid
They were
torrents.
far
more
picturesque to sketch than easy to cross.
In England,
plantations,
tassels
full
of
leaf,
the Larch
size of a
" It
pleasing.
of the tree,
be a useful, bid
in the
Its
branches
and
little
decorated as
spring,
a painter's tree,
it
then
is
by the pink
than to the painter.
must have viewed
must he acknowledged
shows,
not
clothed in a foliage of a vivid, lively green, perhaps
think,
especially
is
Afterwards, but before our deciduous trees are in
to the casual observer
shrub,
appearance,
is
may
forms a variety us regards colour in our woods and
blossoms.
Wordsworth,
says,
it
especially
its
more pleasing
he
Larch
the
when young,
though,
when looked
in
spring
(for
boughs
dignity even
at
but
it
with the
it
the Larch,
that
as
singly,
it
it
artist's
it
eye,
when
has outgrown the
some elegance
a tree
has none) have
when
till
in
form and
than any other
is
less
nr.
variety in
attains its full growth.
tin'
youth
THE LARCH.
Leaves
'
cannot be said
it
to have,
75
and consequently
it
affords neither shade
nor shelter.
In spring, the Larch becomes green long before the native trees
and
green
is
whenever
it
it,
its
when
all
of a
spiritless
so peculiar
vivid, that, rinding nothing to
and
cqnies forth
a disagreeable speck
other trees are in their pride,
unvaried yellow
distinguished from
it
and
is
in
winter
it
In summer,
produced.
is
hue
of a dingy lifeless
is
still
harmonize with
in
autumn,
more lamentably
every other deciduous tree of the forest, for they seem
only to sleep, but the Larch appears absolutely dead."

This
poet's
is
plantations
description
the
of
Larches make in
appearance
our
but surely, had he studied them in their native habitat, he would
have been more lenient in his judgment.
The stem
at
its
is
straight,
and
from the
rising perpendicularly
commencement, but decreases more rapidly than
root, is
that of the
fir.
thick
The
branches are long, slender, rather curved and pendant, tending more towards
the
perpendicular
drooping
as
they approach the summit.
.suiting the delicate foliage
The trunk
is
more completely seen than
The Larches
covered with long gray moss.
alluded to by Byron were covered,
The spray
which depends from
when
in
most
is
light
and
it.
trees,
in the forest
and
is
sometimes
near (Jrindelwald
the author sketched them, with long
festoons of gray moss, presenting a most singular appearance.
The touch
inclining
in
for the foliage
should be a succession of nearly parallel strokes
an oblique direction from the spray,
and occasionally rather
curved or waved.
The Larch, though deciduous,
The pasture under these
is
not entirely divested of leaves in winter.

is
always fresh and green, owing to the
fertilizing nature of the leaves, aided
perhaps by the light which permeates
trees
the foliage.
Gilpin
boards.
tells
us that
many
of
Raphael's pictures were painted on larch
DRAWING FBOM NATUKK.
THE CYPKESS
r:i
(;rr,Ai;
cuNie
i.
Cvprcssus Sempcrvirens.
Dark tre. still

The only eonsta
win
i:
I,
iers' grief is fled,
if the dead."
mm hum;
LOMBARD!" t-orLAR CEMETERIES SCUTARI.
The
a
Cypress
is
flame-shaped,
tapering, cone-like
tree,
with upright
branches, growing
close to the stem,
bearing a striking
esemblance
lardy poplar,
sible,
and
it
tapers with
great
regularity, beginning
sharp and delicate point.
The summit
is
conical.
Lom-
the
if
compact,
When
posstiff,
perfect,
low down and terminating
in
sometimes jagged and forked.
group of Cypresses presents considerable irregularity of appearance,
some bearing diverging branches

old trees,
have but
a.
like the
yew. whilst others, particularly the
scanty cluster of foliage at the top, the lower part
presenting a mass of hare matted branches.
The
more
to
only,
foliage has a very close texture,
The hark
is
dark and fibrous.
which gives firmness and precision
to the
outline of the tree.

It
occurs frequently on the coast of Genoa and in the neighbourhood of
Florence.
It is
sometimes planted in our cemeteries, and forms the constant
and often only ornament of Turkish burial-grounds, particularly of that

Scutari,
where
place of
many
it
now waves
its
an English hero.
melancholy branches over the
at
last resting-
77
THE CEDARPinus
Cedms.
" In the midst
Cedar spread
lii.s
dark green layers of shade."
Tennyson.
beauty of foliage movement of branches classical

trunk often divided foliage more tufted than other
majesty, strength, and longevity
and scriptural associations

firs
cones.
This truly majestic

a
"lasting
tree."
been well described by Gilpin as the type of
tree has
Its
whole appearance
is
one
of strength,
majesty, and
longevity.
Strutt remarks that there
indicative of
its
Each branch
is
something in the
is
perfect in
its
Cedar remarkably
foliage is very beautiful.
form; the points of the leaves spread upwards
whole upper
in little tufts, feathering the
air of the
The
comparatively immortal nature.
branch, and drooping
.surface of the
in graceful curves towards the extremity; whilst the colour exhibits a dark
and
green, harmonizing with the blue tint of the pine
fir,
and the gloomy,
dusky hue of the cypress.

It is said to possess
a peculiarity in raising
described by Mrs. Franklin
its
boughs, which
is
elegantly
" The Cedar thus, when halcyon summer shines,

Graceful to earth its pendant bough declines
lint when mi Libanus the snows descend,
To meet the weight, its rising branches bend."
;
This last attribute, whether really possessed by the Cedar or not,

too fertile in
romantic ideas
fine allusion to
it
to
be overlooked by poets, and Southey
"
It
was
Cedar tree
That woke him from' the deadly drowsiness

Its broad round spreading branches, when they
:
The snow,
And
rose
standing
upward
in a point to
in their strength erect,
Defied the baffled storm."
heaven,
felt
is
one
lias
78
The grandeur and beauty

classical
and Scriptural
Cedar lead us to associate
of the
subjects,
and Martin has introduced
it
with
it
into several
of his loftiest conceptions.
The trunk
is
sometimes divided into several large limbs, rising per-
pendicularly, and
from these the lateral branches spring at right angles.
The
and shadows
lights
lie
in
unequal strata or
layers,
and should be
decidedly indicated, the cast shadows also being distinctly marked.
The
foliage
is
difficult to describe,
but
it
may be
of short curved lines generally pointing upwards.

little tufts
than that of other
The cones
colour
imitated by a succession
It is
more
in the
form of
firs.
are few in number, but conspicuous from their bright
warm
they are placed perpendicularly on the upper part of the branch.
THE YEW.
Taxus Baccata.
" This solitary tree a living thing

Produced too slowly ever to decay,
Of form and aspect top magnificent
To be destroyed." Wordsworth.
!
NEXT IN LONGEVITY TO CEDAR VILLAGE CHUKCH YARDS FAVOURITE WITH POETS REASONS
FOR CULTIVATION IN' OLDEN TIMES GARDEN HEDGES WIDE SPREAD OF BRANCHES FOLIAGE
GROWING IN PARALLEL ROWS.
Next
to the cedar, the
Strutt, "
it
Yew
is
the longest lived tree, indeed, according to
can scarcely ever be said to
out from the old and withered stock."

to the cedar, but,
owing
duced by
into
artists
to its inferior
die,
new
shoots perpetually springing
In appearance also
size,
their compositions,
and
and
it
effect, it is
is
bears resemblance
not so often intro-
therefore almost entirely
monopolized by their brethren the word-painters, who have presented

mind's eye
many
of sombre hue, the slow growth and gradual decay of
well with the feelings called forth by the locality.

this
to the
interesting pictures of village churchyards with their
yews
which harmonize
so
Gray has immortalized
kindred association in lines too well known to require quotation.
THE YEW.
"When our national weapons
Yew
was highly esteemed,
tree
facture of the
as
and
and
plant
to
our churchyards,
manu-
it
being
there for the convenience and use of the townsfolk
it
and anything but beautiful
in their aspect
by aged Yews,
in form,
and there
something impressive in the thought that although the cottage
crumbling
decay, the tree will outlive
to
many
lived
if
and
There
'
the
Borean
great
it
has in
may
had battled
blast
my
at
struggle
retaining
for in vain,
Miller's
cottage door, hut
The Yew
for
now
is
making
clipping,
oldest
when
it
is
cultivated
well
left
other trees had
lost all."
would rather not have

of a rustic
gardens
in
suited, as
of the
Yew
to
natural growth,
its
it
porch with
form
to
evergreen
grows thick, and bears
to the cattle,
straight,
is still',
and short
who browse on
length
at
in proportion to its
these, if left
cover with their umbrageous
shade a large space of ground," and are frequently closely intertwined.
trunk and branches are deeply grooved

is
thin,
and peels
off
closely arranged in a double
every year.
artist.
The touch
that for the cedar,
may
be noticed.
and forty
feet.
and
its
the bark, which
The leaves
is
The
of a rich reddish
are small
row on the twigs; the cup-like
in colour of a bright scarlet, are not
by the
its
numerous branches spring nearly
horizontally from within a very short distance of the ground
unmolested, annually elongate, and
brown,
well,
garment which the
a good background or screen for trees of a lighter foliage
"The trunk
leaves.
man
if.
however, said to be very unwholesome
bulk, and,
many
description
would prefer the shade
principally
which purpose
green
the
while so
poetical
the rose and honeysuckle training over
hedges,
be
probability out-
all
stands grandly amid the pale budding vegetation,
it
windy
But notwithstanding
is,
as
were proud of having resisted the wear and tear of winter so
it
in
Yews
it.
more changes than the
labourer's dwelling, seeing
in the district.
it
for the
circumstance that
this
to
the cottage doors at Abinger arc overshadowed
ot
dark and funeral
as
in
the
lulls,
villagers.
Many
is
is
it
Yew
Selby attributes the general frequency of
customary
bows and
supplying the best wood
mentioned weapon
first
79
of defence consisted of
and narrow,
berries,
although
sufficiently conspicuous to be represented
for the foliage
may
be rather more distinct than
peculiarity of growing in parallel rows on the twigs
The general height attained by the Yew
is
between thirty
80
THE DATE PALM Phc

IMKTIMKS
Flll'N'n
'LTIVATEB FOR LA> Kit FESTIVAL DECAY OF LOWER LEAVES

LEAVES TEN TO
ELYE FEET LONG FORESTS IN BARBARY.
KUROl'J
FORMING INEQUA
I'IKS
Dactylifi
ON
'1
Tins
tree,
though a native of
Asia and Africa, and as such

inadmissible to this series,
is
sometimes seen
It
in
Europe.
lias
been naturalized in Spain,
and
is
occasionally found even
in the south of
France and in
Italy.
The examples
are
in the plate
some on
sketched from
the coast of Genoa; the
Palm
being there cultivated for the

sake of
its
leaves,
which are
preserved with great care, and

sent to
Rome,
for the Easter
festivals of the
lic
Roman
Catho-
The leaves on
Church.
the stem decay so soon that
they are rarely seen, though

at
the
graceful
straight
covered, particularly near

scales,
formed by the
when
grown,
full
crowned with
has
its
verdant
they
form
tuft.
Its
stem
is
and
cylindrical,
and
summit, with numerous prominences like thick
leaf stalks of former years.
the
crown
"A
grove of Date
trees,
appearance of numerous elegant columns, each

capital,
with
shafts
beautifully
wrought."
The
THE MOUNTAIN ASH, OR ROWAN TREE OF SCOTLAND.

which are from ten
leaves on the summit,
gracefully back,
and form
twelve feet in length, bend
to
a kind of canopy.
of each leaf should first be
The spine
81
marked, and the
added
leaflets
afterwards.
MOUNTAIN
ASH, OR
ROWAN TREE OF SCOTLAND
Pyrus Aucuparia.
"
How
clung the
And through
Rowan
the
to the rook,
folia-.-
With narrow leaves and
showed
his
head
berries red."
CLASSED WITH ASK, THOUGH DIFFERENT IN GENUS GROWING BEST ALONE AND IN COLD CLIMATES
PLEASING EFFECT IN HIGHLANDS BRILLIANT BERRIES.
This
botanically
tree,
speaking,
different
is
quite
genus from
the ash, but, having
some resemblance
the
latter,
in
the
leaf,
artist
writers on trees
unfrequently
them
Rowan, however,
best alone, for
it
is
if
not so large nor elegant as the
times
it
is
The
succeeds
dwindles, as
"
Inured to cold and nigged
the hardy inhabitant of the northern parts of this island.
Some-
found in softer climes
by
stunted growth, that
Highlands
it
It
Gilpin gives an excellent description
of this tree, evidently a favourite with him.

it is
not
class
together.
ash.
screened or shaded by other higher trees,
were through envy, to insignificance.
scenes,
common
to
especially
it
it
it
generally discovers,
does not occupy the situation
becomes a considerable
covered with dark
but there
pines and
tree.
waving
G
it
There, on
birch,
which
its
In the Scottish
loves.
some rocky mountain

cast
solemn gloom
DBAWING FROM NATURE.
82
over the lake below, a few Mountain Ashes, joining in a chimp and mixing
with them, have a
fine
effect
some
proportion, they add
happily blended and not in too large a
if
most picturesque furniture with which
of the
the sides of those rugged mountains are invested."
In autumn, this tree asserts

instead of shrivelled seed
amongst mountains,
is
it
its
individuality, bearing clusters of red berries
Though
vessels.
its
most natural situation
is
often planted in pleasure grounds and shrubberies,
for the sake of its brilliant berries.

It
may
be introduced with truth into sketches of Highland scenes, being
frequently planted
protect
them from
by
superstitious inhabitants close to their dwellings, to
The leaves
witchcraft.
are smaller than those of the ash,
the touch must not be so marked, nor the branches so long.
The Rowan
is
not without
admirers among our greatest poets, for
its
Wordsworth says :
" The Mountain Ash
No
eye can overlook,
when 'mid
a grove
Of yet unfaded trees she lifts her head,

Decked with autumnal berries, that outshine
and ye may have marked
Spring's richest blossoms
;
By
a brook side or solitary tarn,
How
she her station doth adorn
Glows
at her feet,
and
all
the pool
the gloomy rocks
Are brightened round her.
THE ACACIA
RARELY SEEN TO PERFECTION
IN"
ENGLAND FOLIAGE AND BLOSSOMS GRACEFULSEPARATED
TOUCH
Among
lie
in
to perfection in
character of the ash, has not
branches, which are
green,
BRITTLENESS
elegant pendent trees the Acacia
seldom or never seen

of the
Robinia pseudo Acacia.
its
foliage,
stiff
which
is
and when allowed
and
OF WOOD.
must not be
England.
its
This
forgotten,
tree,
though
it
is
although partaking
gracefulness, either in the trunk or
irregular in their lines.
Its
claims to beauty
particularly light and elegant, of a beautiful lively

to
grow unlopped, feathers gracefully down
ground, forming a pleasant object for park or lawn, especially
when
to the
covered
with white blossom?, though nut properly included in our British sylva.
The
THE ELDER.
foliage does not
more
83
form into such large masses as that of the ash, but
rather
is
like the birch in character.
The leaves being
along the
set
small
make
branches,
The bark,
imitating them, to separate the touch.
it
in
desirable,
differs greatly
too,
from
the ash, being rough and dark in colour.
This tree
is
when
beautiful only
in its prime,
the extreme brittleness of the wood,
is
it
and uninjured, and
scarcely ever passes through one unscathed or unshorn of

its
is
rare appearance
anywhere but
in avenues to public baths,
and
is
from
the Continent the tree
is
it
Hence
beauty.
even there
much
it
planted
then kept polled into rounded masses.
THE ELDEK
II ART)
its
pleasure grounds, and
in
On
never to be depended upon.
as,
unable to stand against a storm,
Sambucus
Niger,
THOROUGH LY
EARLY
IN
DOMESTICATED FOLIAGE USEFUL TO ARTIST PROMINENCE OF BLOSSOMSLEAF DEEP PURPLE BEKRIES BRANCHES SPRINGING NEAR GROUND.
"XT
This
shrubby tree
will
and
grow
nourish where fruit

v
trees will not,

is
and
common, almost
universal, in cottage
gardens, hedge rows,
"',\V
^llL^
and
ruins.
tlee
'
It is in fact a
aiK ^ Se ^
human
*'S
thoroughly domesticated
*"
nin:i ^
n England
habitation, although I have seen
far
it
from
in the
si
wildest valleys of the Pyrenees, where
me
to
added
to
to
streams.
it
have the richest scarlet berries instead of black, and

the brilliancy
Its quiet
but
it is
greatly
and gaiety of the valleys of the Gane and other
warm
green
is
very useful to
the,
artist,
well with the colours of old farm-houses, or moss covered barns.
yards again
appeared
it
combining
In farm
very common, and as the wide-spread blossoms are sufficiently
DRAWING FROM X ATT RE.
84
large to have a place in such scenes, they are frequently introduced, as they
help to
mark
the early summer, and give an English character to the picture,
while in hay-making subjects their cream or lemon-coloured tones are an

agreeable variety to the gray green of the
largely used
by Cox and
others.
hay
"When colour
In this way they have been

is
used,
it
must be observed
that the flowers are not pure white, but tinged with Naples or
The
leaves are
till
June
shown
among
the deep purple or
late in
lemon yellow.
the earliest which appear, but the blossoms are not seen
inky-coloured berries may,
autumn, hanging among the decaying
resembles that of the ash in shape, but
is
if
leaves.
deeper in colour.
desirable,
The
be
foliage
The branches,
however, are very different, frequently springing from near the ground in
vigorous shoots.
FURZE
AN* L1
BROOM.
FRUIT TREES.
85
FRUIT TEEES.
FRUIT TREKS UNINTERESTING TO ARTIST SIZE OF WILD CHERRY BRILLIANT AUTUMN TINT OF
LEAVES PEAR TREE RESEMBLING ELM IN GROWTH MULBERRY ROUNDED IN FORM APPLE
STUNTED OAK FIG TREE COMMON
SOUTHERN EUROPE OLIVE SIMILAR
TREE RESEMBLING
IN FORM TO WILLOW, FOLIAGE GRAY GREEN, NOT PICTURESQUE.
IN
Fruit-trees are so often found near rustic dwellings and are so intimately
connected with rural scenery, that
and characteristic
points.
uninteresting to the
artist,
it is
necessary to notice their most striking
In general their growth
tortuous and irregular,
is
but peculiarly adapted to the purpose of supporting
their luscious burdens, the only exception being, perhaps, the wild Cherrytree,
which
in
Switzerland, Germany, and
handsome and graceful appearance.

height,
frequently presents a
it
grows
and having a well-formed and pleasant coloured Lark,
very agreeably
many
Scotland
In Switzerland
with
the
chalets
and surrounding
objects,
incidents of figures with ladders, baskets, poles, &c.
foliage turns
to
a rich crimson,
and a few of the
to
it
great
associates
giving
rise
to
In autumn the
fallen leaves
afford
an
excellent study (see vignette).
LEAVES OF CHERRY.
Next
in size
comes the Pear, which
is
not easily distinguished from a
badly grown elm, and but for the singular curves assumed by
its
branches,
86
it
would scarcely bear the character of
The
fruit-tree.
sprigs are very
numerous, and consequently not easily drawn.
The Mulberry, though described by Evelyn

and very proper for walks and avenues,"
many more
with
tree,
branches,
beautiful as any elm,
bearing foliage,
all
a rounded, clumsy appearance.
"
as
lower and heavier than that
is
It is often to
and giving the
tree
be met with in the gardens
and pleasure-grounds of England, and in the north of Italy and the southern
Tyrol
it is
very common.
There
polled, to cause
it is
shoots and green leaves within reach
needless
add that in
to
condition
this
is
it
it
to
throw out vigorous
who keep silkworms
of those
The
the leaves are stripped off as fast as they grow.
leaf is as large
broad as that of the lime, but more resembles a healthy elm
The Apple-tree in trunk and branches

oak than any
other,
but spreading
its
(<
may
group
and
and stunted
like a gnarled
it is
planted,
branches to a considerable distance over the ground.

artistic
is
leaf.
seldom rising above the buildings near which
August and September, many an

collectin o
more
is
it
extremely unpicturesque, as
be seen beneath
its
In
boughs,
fragrant stores, the wide projected heaps
Of Apples, which the lusty handed year

Innumerous o'er the blushing orchard shakes."
The bark of most
rougher and darker than that of forest
fruit trees is
with the exception of the cherry, which has a lighter and smoother
trees,
skin, something like the birch.

It
would scarcely be necessary
mention the Fig-tree,
to
depicted English scenes, though even here

excellent effect
lighter
when
creepers.
of the plane
of
an ordinary
a foot in diameter, and
The
its
Europe
a silvery gray green.
warm
gray colour.
very
common, and
there
is
slightly resembling those
dingy.
to the
willow
the trunk
often
is
much
the branches are irregular and tortuous, and the foliage

It is not
masses of light and shade in

of a
is
the stem sometimes exceeding
and angular in shape,
the colour of the green
tree,
it
fruit-tree,
The Olive bears some resemblance
is
the artist merely
interwoven branches frequently hanging to the
leaves are large
divided in the old
if
deeply lobed leaves have an
trained against a cottage wall, and mingling with the
In the south
attains to the size of
ground.
its
its
a picturesque tree, there being no great

scattered foliage
the bark
is
In the south of Europe, the Olive-tree
fibrous
is
and
cultivated
87
THE VINE.
in large plantations, and gives a very peculiar appearance to the landscape
where
it
abounds.
Its leaves
green,
have that dark and sombre
and when the wind
stirs
tint
surfaces to view, they look like a stream
of their dark boughs.
which we generally
call olive-
the foliage, and raises their white under

of light, floating
amid the gloom
Often, too, the bright skies of a southern
summer
are
spread over the scene, where groups of Olive gatherers, with skins embrowned,
and eyes
is
of
dark and
soft radiance, are scattered
not unlike the willow, although shorter
third the length of the
around the
trees.
The
leaf
the fruit green, and about one-
leaf.
VINE
Vitis.
" Depending Vines the shelving caverns screen

With purple clusters blushing through the green."
VINE, CHIEF OF BEAUTIFUL CLIMBERS
PERFECTION
IN ITALY
CONTRASTED WELL WITH GOURD
TRELLISES.
graceful
ground.
and natural frames
to
figures
in
the
fore-
The bright-eyed, olive-skinned daughter of Italy leaning over her
Vine clad balcony, or the pretty blushing English maiden peeping forth from
88
DE AWING FROM NATURE.
her bower of honeysuckle, are familiar subjects in every
main point
of interest never suffers, but
The
artist's folio.
by a
certain
degree of care and truthfulness being bestowed upon the accessories.
Fore-
most amongst these stands the Vine, with

and twining
Though
tendrils.
rather enhanced
is
rich clusters of fruit,
its fine leaves,
so useful
embellishing English
in
scenes,
ornamenting the cottage windows or porch by varying the lines and colour,
it
is
or
is
There, where nature and art
seen in Italy to the greatest advantage.
favour
luxuriant growth,
its
on rustic
trailed
The gourd
blossoms and
is
trellis
it
hangs
its
graceful festoons from tree to tree,
Work, or even over the surfaces of rocks.
frequently trained with the Vine, and with
fruits contributes
much
large yellow
its
to the variety of colour.
In Germany and France, the Vine, being cultivated with great formality,
and trained
an object
is
twisted and irregular in the
The leaves
:
way
in
which
it
twines round
the branches are long and flexible like those of a bramble, or
supporting themselves
serrated
no more picturesque than a raspberry bush.
to short stakes, is
The stem
when near
they also present
much
at other times rich in tone,
purple clusters are
and broken surfaces

Lance painted
trees,
by means
of tendrils like a pea.
are large-lobed, sometimes nearly entire but generally
ripe,
fine
much
variety in colour, being often pale and downy,
more especially
in
autumn
when
the luscious
they form with their deep maroon and golden tones

connecting links of colour between objects such as
so beautifully.
To imitate the
foliage,
the touch should be
rather angular and star-like, partaking of the oak character, but fuller in form
and warmer
in colour.
90
Section
I.
COTTAGE
HOMES.
HOME DESCRIBED RUSKIN ON ROOFS THE PORCH

AND RUSTIC LIFE BEES KITCHEN GARDEN ORCHARD.
INFINITE VARIETY OF SUBJECTS COTTAGE
CREEPERS
near views or foreground
all
Very
GAINSBOROUGH
study than
often, indeed,
none deserve more careful
subjects.,
rustic dwellings of our peasantry,
tlie
and their
accessories.
they are not mere foregrounds, but constitute in themselves
complete pictures.
The eye
them, that
is
so content with the infinite variety
and
it
needs no distance, or
the
mountain or horizon
home, and
study
to
Our English
suffices,
if
does,
it
interest connected with
smallest
and the eye returns again
to
peep of blue
dwell on the cottar's
all its details.
cottage
in general a scene
is
perhaps the most interesting of any, for
humble comfort, which
of
Irish huts lack entirely
many
too
it
presents
of the Scotch
and
being indicative only of wild, picturesque discomfort,
acceptable to the artist certainly, as affording excellent subjects for his brush
and
but awakening in the
pencil,
essentially English
my
as I turn over
home
folios
none of the pleasurable and
spectator
am
feeling.
sensible of
an embarras de
of cottage scenes, for I find so
many
richesses,
sketches
all
am
uncertain which to choose.
The accompanying heading, however, represents a
favourite cottage, with the
suited to illustrate the present subject, that I
inmates of which
And
in
facility
I
here I
became acquainted
may mention
mixing
freely with
have heard people
in one of
my
sojourns in the country.
that their occupation gives to artists a great
the peasantry.
really anxious,
have even thought when
from charitable motives, to make the
acquaintance of their poor, complain of the difficulty they found in winning

their
confidence, that
they might
succeed
occasionally use a sketch-book, and through
an invitation
At
to enter the cottage, that
present, however, there
business
is
is
are built of various
its
were they
to
carry and
friendly introduction receive
they would otherwise visit unasked.
nothing to
with the outside, where there
The walls
better
is
call us
over the threshold; our
abundance
to
occupy
us.
coloured bricks, patched with plaster and
COTTAGE HOMES.
The old weather-beaten roof
seamed with wood noggins.

pf
mossy with
partly of thatch
tiles,
chimney
91
composed bartly
is
and crowned with an overhanging
age,
study
or two, in themselves a perfect
blackened tops, often
the
innocent of chimney-pots, are contrasted with the brighter coloured bricks

below, unless, as
frequently the case, they are hidden by the embracing
is
arms of the climbing rose and jasmine.

less
mass near
but even this
is
in
These chimneys have often a shape-
formed by the oven so essential to cottage economy
their base,
some measure atoned
for
by luxuriant clumps of
stone-
crop and houseleek, which do their best to clothe with beauty of colour the
unsightly form.
among
Then there
the creepers, there
diamond panes and

item, the porch.
is
the
are,
and
flower-pots,
Though not
little
old
the projecting
lastly,
windows nestled
garret
window
below, with
though not the
least
its
in
small
important
entirely agreeing with a celebrated author in his
unlimited admiration of porches in town as well as country, every one must

love the cottage porch, nestling in between the out-jutting chimney and house,
and sheltering the door from sun, wind, and

union
inmates to
sit
What
rain.
porch between the open air and snug
this
is
and work,
read,
and
rest, or
a pleasant bond of
interior,
enabling the
enjoy the sunshine and air with the
repose of home.
This particular porch seems in
and bright red
Mr. Euskin, in one of his
artists will agree
am
" I
is
little
lectures, delivered at
home, with
sure that all of
all
cottage architecture,
it
and
you must readily acknowledge the charm which
and over again have paused
Has
solid roof
with the following remarks.
imparted to any landscape by the presence of cottages
delighted
its
Edinburgh, dwells, and with
on the important part the roof plays in
reason,
most
itself
covered with hillocks of houseleek and gay stonecrop.
tiles
the
at
wicket-gate of
and you must over
some cottage garden,
by the simple beauty of the honeysuckle porch and
window.
latticed
ever occurred to you to ask the question, what effect the cottage would
have upon your
feelings if
in a nest of
straw or
colouring of russet
making
it
it
had no roof? no
which the
of the thatched slope, in
little
the rough shelter of
tiles
there
visible roof, I
its
mountain
were nothing but a
flat
look like a large packing-case with windows in
the rarity of such a sight would
mean;
if
instead
upper windows are buried deep, as
make you
feel it
slates
or
warm
leaden top to
it ?
I don't
to be beautiful
it,
think
on the
92
contrary,
you think over the matter, you
if
will find, that
owe, and ought to owe, a great part of your pleasure in
and
it,
imagery of literature which
in all the inexhaustible
the conspicuousness of the cottage-roof,
to
cottage itself to
its
which
covering,
more roof than anything
at
the door
nor
much
you, so
bank
its
The very soul
roof;
much
indeed not so
the whitewashed
it
is
there
a profound, yet evident reason for
is
the
cleft in
it-
essence and meaning of
that mainly wherein consists
its
shelter
that wherein
the rocks, or bower in woods.
coverlid of close thatch that
in its thick impenetrable
interest
heavy eaves, deep cushioned with green
of the cottage
most completely from a
it differs
the subordination of the
the rude fragments of stone set for steps
of its
And
moss and golden stonecrop.
are in
scenery,
founded upon
leaves, in nine cases out of ten, really
is
nor
is
any other picturescpieness of the building which
as the gray
this feeling.
It
else.
walls nor the flowery garden
to
you actually do
all cottage
its
It is
whole heart and
hospitality are concentrated."
Besides the principal roof there are always sure to be
with roofs as varied as their uses

lowest of
all,
To return
one
am
outhouses,
little
the shed for the cow, another for tools, and,
the roughly-thatched pigsty.

to the porch,
from which we have strayed considerably.
In the
describing there are two benches, one used as a seat, the other as
a rest for a couple of tubs, at which the blind mistress of the cottage busies
herself,
being thus able to perforin her household duties, and yet
enjoy the
warm
sunshine and
soft air, as well as the society of old
always makes a point of hopping down to talk

red and yellow bricks, and round
the
to her.
The
floor is tiled
hang hunches
walls
and
feel
Mag, who
with
and
of radish
cabbage-seed to dry, while on an old bench at the outside stand several tubs
with choice plants growing in them.
This part of the cottage alone, with the
garden path composed now of
and then of
steps,
or two and a peep of the lane beyond,

there
is
subject
the
for
little girl
the
who
makes
assists the blind
sketch-book,
her blue
through the pocket-hole, displaying
level ground, with a figure
good foreground study.
Then
capital
dame, feeds the
gown
a reddish
pigs, &c.
neatly rolled up
brown
petticoat,
and passed
an orange
silk
handkerchief crossed over her bosom.
So much
beautiful,
for the cottage itself.
only some
of
Its
ornaments are extremely varied and
which can be mentioned
here.
The vine
clings
COTTAGE HOMES.
93
lovingly to the rough cottage wall, hiding with
and clusters of purple grapes, aught that
tendrils,
handsome
its
is
leaves, lithe
misshapen or ugly, and
twining round the window-frames with a grace that belongs to nature only.
In drawing a vine trained over a cottage, care must be taken to show the
contorted and irregular stem
has a good
much
a branch seen occasionally through the foliage
These branches extend
effect.
apparent diminution in
angular, and the colour a
The honeysuckle
warm
to a considerable distance,
The touch
size.
for the
foliage
without
should be
green.
a creeper that seems to be peculiarly the " tree of the
is
cottage and the poor," with
elegantly formed blossoms and quiet tinted
its
foliage.
Then
suckle
there
when
much more
the jasmine, a
is
trained
ornament wherever
weaves
it
grows
it
than the honey-
flexible plant
around any support, and
itself
is
a graceful
" The deep green of whose unvarnished leaf

Makes more conspicuous and illumines more
The bright profusion
More important
of her scatter' d stars.
colour, although
in
unattractive in
Virginian Creeper, the autumnal tints of which range

yellow
to
maroon
the deepest crimson and
around the gable ends of the cottage,
it
and as
its
is
the
frequently climbs
it
affords the artist
blossom,
from the brightest
many
opportunities
of varying the tones of his study.
Very
its
often,
mingled with these creepers, grow the deep crimson rose and
pale sister; these in favourable
the chimney that the
situations overtop the roof,
smoke seems
to issue
and so encircle
from a bower of
roses.
Their
blossoms then meet with a further contrast in the plants of the roof and wall,
The
the bright-leaved houseleek and red-eyed stonecrop.

biting stonecrop, as
it
is
June, and enlivens with

wall.
The
leaves,
called,
its
from
its
acrid taste
the yellow
bitten, flowers
which grow alternately up the stem, are small and
prostrate, afterwards rise a foot or
artist in
latter,
in
masses of golden flowers the most barren roof and
of a pale sea-green hue, often tinged with red,

first
when
more
breaking the monotony of a large

"
in height.
roof,
thick,
and the stems, wmich are

It is
at
useful to the
both in form and colour, and
spreads a mantle bright
Like cloth of gold, or silver white
Powdered with spots of garnet red."
94
There
is
a white species, which
who showed
that he felt the beauty
Landscape, and thought
it
more common on the rocks
is
Gainsborough was the
than about English dwellings.
and
no disgrace
of Scotland
English painter
first
own
fitness for representation of our
homes and our
to people our
lanes with
simple artless poverty, for he was able to unite grace and harmony with the
everyday
life
We
of our rustic peasantry.
painter of wonderful power, one
who
had indeed before
Hogarth, but his genius led him to delineate the darker side of
and dens of a great
as displayed in the bye-streets
beauty and pure atmosphere of a country
to the
say but
him an
unfit
example
for the student,
and
Fighting, with Dogs,"

"
Blue Boy," or
who wish
to
"
draw
workers.
With
all this
real genius, that
"
Girl at the Cottage-door,"
had
:
a sweet humility
also generosity
towards
into
all
favourites with the bees,
to
make
whose hives
clump of
many
(a
most
fellow-
identical.
combine beauty with

is
a pleasant posy,
utility
and are
at the
are sure to be found in
fine fruit trees,
in
his
generally a plot of sweet
same time
some sheltered
behind grow peas, beans, cabbages, &c, while the cottage
with them, yield
as his
he possessed patient industry, a quality so inseparable
no wonder he thought them
old-fashioned flowers, such as
in a
full
Boys
his designs.
Nature
and gentleness towards
garden, thus in the front, near the windows, there
"
from nature, and no one has surpassed the airy
The cottager often endeavours
embosomed
nature,
Of Morland we can
Market Cart," without dwelling on such
faithfully
excellent gift for a student)
nook
life.
human
Mrs. Grahame," are well worth the earnest study of those
said of him, that he
It is
a wonderful contrast
and ingenious delicacy which Gainsborough threw
grace
from
city,
but Gainsborough's pictures are
His
of refinement and conscientious work.
"
time
and constant repetition make
his facile style, vulgar taste,
little, for
his
could point a moral with his brush
itself
stands
which, with incidents connected
a subject to the painter.
The cherry-tree
for instance,
with here and there a rustic urchin perched among the boughs and the more
sedate on ladders gathering
its
crimson
fruit.
AND GARDEN HEDGES.
Section II. SHEUBS

LA HUIIXUM
There
are
LILAC
HOLLV
BOX
some shrubs that are
and perfumed hedge-rows peculiar

in
an
artist's
Holly, Box,
ACANTHI'S
IVY.
our island, that they demand a place
to
collection of foreground plants:
of these the
Laburnum,
Lilac,
The Laburnum does not grow
and Privet are the principal.
spontaneously in England as
Austria,
GOURD
PRIVET
so intimately associated with the flowering
does in the mountain forests of Germany,
it
Hungary, Switzerland, and
Italy,
but
is
common
in
plantations
and shrubberies, where shine

" Laburnum's drops of pendent gold,
Sweet Lilac's many colour'd bloom."
In some parts of Scotland the

of
its
blossoms
is
English gardens.
turesque, and the
richer
The shape
colour
Laburnum
than when
of
of the
its
flowers
cultivated
head
foliage
is
more
freely
and the colour
with greater care in our
spreading,
irregular,
and
pic-
smooth, shining, pleasant green.
96
In Italy
in the
it
bears
same way
The Lilac
is
name
tire
it
throws up from
It is
With
care,
its root, it
of
however,
it
it is
as
flowers,
as,
from the
can be trained into a tree of

cities better
of the smaller kinds will also bear clipping into
Cowper says
spikes
varieties of the
now white,
sanguine, ami her beauteous head
With purple
many
" Various, in array,
Now
it
May.
presents the appearance of a
Besides the white and purple Lilac there are
latter colour, for
which
very hardy, bears the smoke and dust of
than many shrubs, and some

hedges.
in
name
naturally far less of a tree than the laburnum,
large flowering shrub.

feet high.
from the month
as our hawthorn receives the popular
numerous suckers
twenty
of Maggio,
pyramidal as
now
set
if
Studious of ornament, yet unresolved

Which hue she most approved, she chose them all."
The Holly
with angular thorned

{Ilex Ayuifolia), a beautiful evergreen,
lawns and shrubberies

a great ornament to
would look baie an
all
evergreens
in winter, when without the pleasant
Lark,
it in Wottou
Evelyn describes a beautiful effect produced by
leafless.
up
spring
beeches
"
the
leaves and bright scarlet berries,
is
Under
is still remarkable for fine Hollies.
the
together in one oi
innumerable Hollies, which growing thick and close
a very beautifu
and
round,
year
the
all
is a viretium
which
woods next the meadow

sight
when
97
Among
the leaves of the taller trees are fallen.
greens which enrich our home-horn store, there
is
all
none certainly
the natural
to
be com-
pared to our Holly, so spontaneously growing here in this part of Surrey.

I
at our curiosity
have often wondered
difficulties, to the
after foreign plants
and expensive
neglect of the culture of this vulgar hut incomparable tree,
whether we will propagate

"
'
for use
it
and defence or
for sight
hedge of Holly, thieves that would invade,
Repulses like a growing palisade,
Whose numerous
As
And
leaves such orient greens invest

"
deep Winter do the Spring
in
then he bursts forth with the following
" Is there,
oft ??u.squoted enthusiastic eulogy.
under heaven a more glorious and refreshing object of the kind than
an impregnable hedge of about four hundred
and
which
five in diameter,
can show in
Court (thanks to the Czar of Muscovy)
armed and varnished
its
arrest.'
at
the
leaves,
feet in length,
my now
any time of the
taller
nine feet high,
ruined gardens at Says

year, glittering
standards at
with
orderly distance,
blushing with their natural eoral?"
Although
" From every hedge
is plueked by eager hands

The Holly branch, with prickly leaves replete,
And
it
a mistake to imagine the Holly invariably as a shrub
is
and climate
soil
fraught witli berries of a crimson hue,"
and there
Selby
is
it
has been
known
may
us that
he, it
ever the Holly

tints
around
in a congenial
a group of that height in a lane at Wotton.
tells
" in
natural woods, and especially in the deep glens and
rocky denes of our northern

scenery
to attain the height of forty or fifty feet,
it.
is
never
districts,
however beautiful and
to receive
fails
present to intermingle
Oft have
we
an additional
its
life
diversified the
and charm wher-
glossy foliage with the various
stood and lingered in our walks to watch and
admire the bright and fleeting lights produced by our favourite evergreen,
as
moved by
like
it
the gentle zephyr
its
polished leaves have reflected in diamond-
coruscations the rays of light, as they penetrated the recesses in
grew, at the same time that
its
rich dark green foliage,
by
which
force of contrast,
gave an additonal value to the paler tints of the mountain ash, hazel, and
various shrubs that grew around
The dark and glossy
it."
foliage reflects the lights
and the blue colour of the
98
The branches
sky.
are bolder
and more waved than the thorn, and the stem
smoother and lighter coloured.
Box 'Burns
The
sempervirens)
than twelve or fifteen
height
rarely
attains
The trunk
feet.
England
in
thick,
is
a greater
to
compared with the

size
the
of
the bark
is
tree,
yellow-
on the young-
ish
but
shrubs,
be-
comes rough and
v
!
^^^^KSfî
VfWi
1
\j)
"*
glay
Ssu
'
as
ad ~
aso
The leaves
vances.
s^fllllt^
/s^l*-^
are persistent,
green
exposed to the
if
to
we may judge by
where few
It
"
says, "
Sylva" he
box)
" for
now
Such
exist.
ranks next to the holly
He
to
that in winter should behold
foliage being very

Its
renewal.
close,
most diminutive form
It
is
wood by
The
valuable evergreens,
some
of our highest hills
some new
or enchanted country,
any spot of England
flower-beds, in
of its
it,
divers miles in circuit, might without the least violence to imagina-
"
The
now,
with whole woods of these two last sorts of trees" (yew and
Eternal spring and
shade.
it is
names from
importance, as in his
in
it
fully
Boxlev in Kent and Box
are
among our
have equalled
tion easily fancy himself transported into

tor if in
when
deep glossy
other trees.
the various places that have derived their
and in Evelyn's time seems
in Surrey, clad
fine
have been formerly much more abundant than
trees of the species
Hill in Surrey.
and of a
when shaded by
green
The Box seems
light,
and
yellowish
of
which capacity
it is
'
summer
Tis here
all
the year.'
"
admits of marked divisions of light and

is
that which
much
it
assumes as a border
to our
esteemed, though requiring frequent
connected with art and artists through the great use made
engravers.
Common
Privet
is
much branched twiggy
greenish ash colour, dotted with numerous points.
It
shrub, with a bark of a

thrives better even than

the
lilac
in
towns, and forms nearly
all
S9
the hedges
of our
squares
and
gardens.
It
abounds in the country, and adorns the garden of many an humble
cottager in
in winter
summer with
with
its
not closely trimmed
The heading
its
sweet-scented spikes of small white flowers, and
grape-like clusters of black, glossy, round berries
and when
forms one of the prettiest of hedge rows.
it
of this section represents a Privet hedge with
shoots and unpruned twigs,
which separates
many
luxuriant
very favourite cottage garden
from a wild and beautiful common.

Here, on one of the Avarmest exposures a handsome gourd climbs rampant,
making golden with
its
brilliant
blossoms the bank and neighbouring hedge,
and reminding every one who has travelled
in Italy of the
sunny Val d'Aoste,
the trellises of the coast of Genoa, or the markets of glorious Venice,

its
gorgeous fruit meets the eye on every
to the artist that its
dying before he
sets,
side.
where
ever a subject of regret
It is
magnificent blossom, expanding with the rising sun but

bids defiance to the purest
cadmium and most
skilful
handling.
The Acanthus
also has
won
its
title
attention from the hint Callimachus

its fine foliage
the
to share the artist's
admiration and
Corinthian architect received from
and although only found indigenous
in southern climes
under favourable circumstances, adorn an English garden.
may,
DRAWING FHOM NATURE.
100
COMMON
lYX.Hahra
Helix.
Hit
cell
An
oak-tree's shadow, cloud-like
Upon
the spot where stood the
The chambers
goat
is
all
ltar high
are open to the
feeding where the pray ing knell
The daisy
Where the
in his
grandeur dwelt,
uhanga the hard
ist
h -art
RuBKRr NlCHOLLS
The
Ivy, with
poets a fruitful
subject of pleasurable
picturesque ornament,
in
England
for
often too luxuriant indeed
it
to,
whether building or
tree,
much
of
for tbe painter,
clings
it
and then presents nothing
but an undefined mass of dark green.

the student must introduce only so
artists
most abundant and luxuriant
apt to bide tbe outline of whatever
as
is
and
association,
is
In such cases
of the creeper as will serve to vary
the colour and interest of his sketch without interfering materially with the
Ivy that has not attained to the
outline.
full
height of
it
it
is besl
ceases to cling
completely changes in character, and begins to flower and grow busby.
leaves
to
support
its
suited for artistic purposes, for this reason, that as soon as
become
what
is
Who
less lobed,
and often bear more resemblance
to
generally considered as the regular form of the Ivy

that has travelled at
all
in
his
native land has
Tbe
elm leaves than

leaf.
not seen in his
excursion on foot or on horseback ivied ruins, churches, and old halls glowing
in the rays of the departing sun, which,
artistic feeling,
have made him long
have remained imprinted on his memory

for effects is of the greatest
if
to carry
he be an
away a
for years
artist
sketch,
?
importance to a landscape
or possessed of
and
failing that,
retentive
artist,
memory
and he should
AND GARDEN HEDGES.
SH11UBS
by
to strengthen this faculty
endeavour
determination to abide by the effect
10L
practice, as well as cultivate a steady
be a good one) which
(if it
struck
first
him, or he will weaken the results by endeavours to introduce into his picture,
beauties incompatible with, because differing from, his
The
effect to
away
stored
first
intention.
be represented once decided on, the whole subject should be
in the
mind, remaining there like a
fine
photograph complete and
unchangeable, ever ready for inspection whenever the mental eye
upon
Of
it.
like completeness the sooner
the unity of his subject
danger
is
he
when
is
delivered from
the sketch
is left
all
profit
As
my
by
illustrative of this,
my
experience, I will mention
artist
some circumstances attending
early sketches from nature.
brilliant sunshine greeted
my
first
look out on the day which
I rose early,
spot destined to be the scene of
my
had
anxious to secure a side
being easier to represent and more picturesque
light, as
being met with
effect
and in the hope that some young
determined to devote to this sketch, and
to
temptation to endanger
imminent, the picture gradually fades in the mind's eye and cannot
a second time.
one of
turned
in a half finished state such
be renewed, as chances are greatly against the same
may
is
course the sooner the artist can reproduce the scene with the
when drawn.
The
morning's labours had been pointed out
me, as the coach passed rapidly along the road, in the gloaming, a few
evenings before
indeed,
the daylight effect was therefore
thought
it.
An
old ruined hall
new
and enchanting,
to me,
was the principal object
it
had
evidently once been of considerable importance, as the remains of architectural
The highly ornamented window-frames, broad
embellishment bore witness.
stone mullions, the fanciful, yet massive, brick chimneys surmounting the
gable ends and
now
ancient moat, more than half

coarse grass
tall
covered with Ivy, flourishing and thick, together with the
and weeds,
all
filled
up with rubbish and overgrown with rank
told of days of prosperity
and comfort now
long-
past.
The surrounding wall was broken down, and the attempts

with old stumps of
trees, furze
keep the cattle
were more picturesque than
of
out,
bushes, indeed anything that

efficient.
at repairing
would serve
to
luxuriant growth
Ivy covered a multitude of unsightly apertures and festooned the windows,
most of which were boarded up.

and near
this particular
window
<
hie only
still
contained a few panes of glass,
the Ivy was all withered, and the dead leaves
102
and stems clinging round made
complete contrast to the vivid green of the
There were no signs of habitation, unless the fact of the rusty gate
rest.
being locked and the lock appearing comparatively
an
new could
suggest such
idea.
After some consideration of the light and shade, the direction in which
was moving, or rather the
the sun
course
embellishments which remained

the requisite distance
at
I
would take place
alteration that
examined with care the
of the day, I
as
it
is
details
always easier
when they have been
my
then withdrew to a situation from which
first
the
in
of the architectural
draw these parts
to
studied close at hand.
eye could embrace the whole
subject easily, and sat down, choosing a spot where a group of cattle under
an old ash formed a good foreground.
Soon
my
my
study grew beneath
hand,
conveying, although as yet but in broad washes, with more success than usual
the bright and cheerful features of the scene, the rich and varied grays of the
old weatherbeaten
stones
now almost approaching pure
of brown,
tones
madder, and indigo, then verging into russets by the addition of yellows, the
whole continually enlivened by patches of lichens of every shade, from cool

green to the richest citrine
all
these contrasted well with the cheerful green
of the foliage, the brilliant blue of the sky
formed a most harmonious whole

character of
an
effect
regarded
My
my
each bore a part, and together
at least, so
it
seemed
me
the sunny
my
not only upon
work, but
on the satisfaction with which
it.
fancy,
as
wrought, made
many
excursions
into
dream
and gallant wooer, with troops of archers and bold huntsmen
mind's eye
saw
one
at
moment
land.
buxom dame, with maiden
peopled the ruined hall with wealthy squire and

fair
to
combined with the actual sunshine of day, had
feelings,
and
in
my
the revival of dances round the May-pole,
with jelly shouts and out-door sports in the true style of merry old England,
and
at
the next witnessed the Christmas games
hunt the
slipper,
and
fifty
joyous sports
kissing beneath the mistletoe,
which
might have had their day in
the capacious kitchen of the old building.
Then
means
thought
How
to
myself, what a capital thing
it
would be
one might restore and embellish the old
hall,
to
have ample
and
call
back
the hearty days of yore, keeping open house for troops of retainers, while
hospitality without limit should be the rule of the house,
and cousins, even
SHRUBS AND GARDEN HEDGES

to thp fortieth degree,
should always find a scat
103
my
at
board, a flagon of old
October, and a cut at the round of beef at their service.
In fact
suppose some of the charming interiors of Cattermole or Haghe
restoring
assisted in
the old hall, while Washington Irving and Frederick
Taylor contributed the figures that enlivened the exterior.
Happy
enjoyment of these bright fancies
in the
my
day sped away, and
the decline of light, with some lowering clouds, betokening an approaching
me
change of weather, gave
the
first
hint to break
of an
the adjoining village, for the house
me
my
camp, and seek in
who had
invited
suit
me
found his pretty cottage, and received a kindly welcome from
my
and
to call
up
acquaintance
refresh myself beneath Ins roof
whenever
it
might
to do so.
I easily
old friend, a complete original in his way. antiquarian, poet, and enthusiast.
He
me
soon engaged
happened
gave, discoursed eloquently on

that
money
who
those
the root of
is
possessed
much
full
I,
my
of
course
which we
of
visions of all the
power
it
enjoyments, while he took for his theme
its
and seemed scarcely inclined
all evil,
of the " filthy lucre," as he called
any good or great
retain
the
lively conversation, in
in a
speak of wealth, and
to
qualities
they must
all,
to allow that
could possibly
it,
according to his theory,
be ere long poisoned under the shade of the dread upas-tree, Gold.
AVhen
at length I rose to depart
a short distance, adding, " I
may
he observed he would accompany me.
examples
find
to illustrate
my
theory on
our way."
The night was dark
drizzling rain
to the
splendid sunshiny day.
ruined
hall,
my
the scene of
Presently
chilly feeling
opportunity of inquiring, what
he.
could
walked on
tell
had succeeded
found we were approaching the
morning's studies; but
As Mr. G
the surrounding gloom!
and a
I
me
how
dreary
in silence
il
looked in
seized the
of the former history of the
building; he did not answer, but strode rapidly forward for about a hundred
yards, when, he suddenly stopped.
"
History
'
"
he
suppose; an honest
that's the course
who owns
reach
all
said, "
man
nothing particular,
lived there
first,
much
they take; but do you want
the fair acres stretching
like that of other places. I
then a miser, and next a spendthrift,

to
know who
away down
lives there
now?
further than the eye
can
DRAWING
104
You
"
there
"
don't
mean
FliOM NATUBE,
to tell me," I exclaimed, " that the present
Come
confess
back,"
my
was
my
home and
curiosity.
get out of the disagreeable rain
The wind howled, and the
shutters creaked and groaned as they flapped to and
and
ruin.
The moon
at
this
moment
fro,
was
old boards and
telling of desolation
struggling through the clouds, cast a
glimmering light on the building, and
have mentioned as containing

in a
lives
and again we passed the house, though
his reply,
desire to reach
almost too strong for
faint
owner
to
my
surprise, at the
window
few panes of glass the head of an old
man
white nightcap appeared gazing into the darkness.
My
friend
turned after
drew me
appeared, showed
itself at
venture to speak again
an explanation.
on,
and our footsteps sounded on the pathway; we
few paces, and again the head, which had
till
the casement.
for
minute
This happened repeatedly.
we were once more on our way, when
dis-
did not
demanded

"
There,
my young
said Mr.
friend,"
wealth than you could count in a day
he
is
105
man who owns more
" is a
master of
round, and what do you think of his share of happiness
and
jailer
all this fair
He
is
country
both prisoner
he cannot leave his prison except by stealth, and he has to keep
anxious watch and ward over hoards of gold ready at any

themselves wings and
of his sleep for
many
And
away.
fly
may
we, you
nights to come
moment
to
make
be sure, have robbed him
he will watch and dread the robbers
Farewell, and let this
our footsteps have conjured up in his imagination.
be a lesson to you."
I
was
an impressionable
at
and
age,
could not bear to revisit the spot for

for
my return home
drew
it
so near as to force
or relinquish altogether the completion of
However,
The
went, but found
were
tints of nature
it
me
my
and when
and
felt
an actual disgust
delighted
in.
So
at
the
my
feelings so
of the house
first
and
its
warm and glowing
laid aside the
merely black and white, which
day
scenes connected with
sketch, I
it
seem
now
to
my
colour-box,
effect before
me, that
had before
made one
in chalks,
recalls the dreary desolate character
dismal occupant the old miser to
one, the coloured
time
imbued with the
colours
coloured sketch and
to this
mind.
day proved gloomy.
resume
sombre hues of memory, combined with the present

I
my
at last the
either to go again immediately
picture, the
utterly impossible to
different
all so
did indeed dwell on
many days
my mind
while the
again love to dwell on, but the fairy
belong to the realms of fancy, while the
other ranks as a representation of the sad truth of
life.
LANE AND HElHiE PLANTS.
when
there are times

artist
times
when
the
itself to
mind
exhilaration suits neither the frame nor the
repose
of an
a period, a lane
most acceptable scene that could
often the
is
only foreground
ottering
eve,
At such
absolutely necessary.
is
that shuts out all extended views
present
107
studies,
studies
which,
being near at hand and clearly defined, require no effort to receive into the
yet leave there a pleasant impression of form and colour.
mind
country lane, with hedges
untrimmed, with high ground on the one
left
and a broken or sloping bank with a sunny aspect on the
side,
other, offers a
most tempting wilderness of climbing and creeping plants, among which the
wood and lane may
smaller and more delicate denizens of the
nestle.
peep at the blue distance between the high banks only gives additional value
to the
loveliness
the feet of the
bramble,
the
framework that encloses
of the
formal than the road
is
often found
unwary one
now
it
&c.
it.
rises half
pathway,
too,
less
way up the bank, and
amid the straggling branches of
are entangled
bryony,
dog-rose,
while
his
eye
is
resting
in
pleasing
meditation on the distant village spire of which he has caught a glimpse
Anon
from his temporary elevation.
stones or planks, as the very rustic
become necessary
for
the
obtained
from
picturesque
ours, too,
can boast.
lane,
Such a circumstance
and landscape
painter,
to
cattle,
innumerable incidents
interest.
where
for the
There
is
figure
may
view of
distant
little
&c. ford
a lovely scene of this description
Kenil worth,
enhances the
are sometimes termed,
dryshod over the
cross
while waggons, horses,
affords
and many
Borrow Lane,
ruins
wooden bridges
foot-passenger
stream that flows across the

through.
the path dips so abruptly, that stepping-
favourite
common
be
the
of
from which diverge some of the most charming lanes that England
Rocky Lane, near Dorking,
where the
for instance,
strata of green
sandstone jut out and are overhung with choicest specimens of creeping and
climbing plants, the

theii
is
warm
deep fresh green.
colour of the rock forming exquisite contrasts with
For studies of roots and
all
kinds
of fern, there
the long and shady lane leading to Sutton, a lovely walk to one of the
most picturesque villages in Surrey.

into the depths of the earth
Then there
under overhanging
is
Rooty Bank, which dives
-hazel bushes,
has been a landslip from the higher ground above,
and where there
now overhung and
fringed
with rich garlands of woodbine, ivy, potentilla, hart's tongue, and ferns.
Indeed, so abundant are the plants that -row in hedges, that
it is
difficult
108
to confine the attention to a single one long
and yet more so
beauties,
repay,
and every painter
llowers with
to study
enough
to
them with the minute
will agree
notice
particular
its
care they
would well
with Miss Pratt when she says,
" of all the
which summer with a lavish hand graces our pastoral scenery,
filling the air
with fragrance and covering the earth with beauty, none are
more generally
attractive than the wild climbing plants of the hedges.
most numerous towards the
are
By
autumn.
latter part of the
summer
interweaving their slender boughs
flowers, or with berries
no
with foliage and
covered
beautiful, or, as in the wild clematis,
less
They
or the beginning of
crowned
with their light and feathery seeds, they hang about the trees and bushes, and
very materially to that aspect of richness and beauty which the
contribute
As
landscape presents at this part of the year.

so
slender and yielding that they would
the stems of these plants are

the weight
sink under
of their
flowery clusters or their numerous leaves, or be shattered to pieces by the
winds,
if
by their
they did not And support from other plants, we see them hanging
tendrils, or
bending their stems into the most graceful twinings, and
clothing the trunks of aged trees with an abundant verdure, the dark glossy
green of which contrasts with their gray lichen covered trunks, or with the
brighter tints of that
mossy canopy which overhangs them."
The Hop (Humulus

England, though
forming to
lessly
and
many
lupulus)
in
it is
it
trees,"
covering
and in autumn with
them
in
weeks
rough, very long, and twists round any support near
fibre it does not cling too closely,
in
to the artist,
whether
It
troduced from Flanders.
By
following curious old distich
is
after.
it.
those
who support
the
The stem
Having
little
The leaves
would appear a matter
plant was originally indigenous
this
its foliage
of seeds
but hangs in graceful festoons.
are stalked, rough, three or five lobed, and serrated.

of doubt
cultivation
summer with
scaly clusters
curious
its
flowers appear in July and the seeds ripen about six

is
of
article
most valuable
is
of our hedges " a most beautiful appendage, twisting care-
round the branches of
flowers,
au important
is
wild state that
its
to
England
or
in-
the latter supposition, the
sometimes quoted
" Turkeys, Carp, Hops, Pickerel, ami Beer
Came
According
because
when
to
it
Pliny,
into
the
England
term
all in
"
one year."
Lupulus
grew among young willows
"
it
was
given
proved,
to
the
Hop
by twining round

them and checking
growth,
their
109
destructive as a wolf in
as
flock
of
sheep.
In
its
cultivated state
it
has a decided advantage in picturesque appearance
over the vines of France and Germany, the poles being higher and more
freedom allowed
poles,
seeds.
and
in the
growth of the plant, which frequently overtops the
and hanging down,
During the hop
incidents,
and three
at a
when
spreads
large
into
clusters
harvest, the grounds furnish
of
many
russet coloured
picturesque groups
the vines, being severed from the root, are borne two
time to the spot where busy
women and
children are employed
picking the clusters into bins and baskets.

" Of old and young
mingled
The village maid, the

The hop ground seek
train,
village swain.
;
unfix ami lay
In prostrate rmvs the frequent stay
Round whieh,
aspiring like the vine's
lathe tendrils, creeps and climbs and twines,
With many
Our British
scaly pendent drop,
vine, the twisted
Picked from the
lithe
and
Hop,
spiral bind,
Which round the lofty hop-pole twin'd,

The scaly fruit is stor'd within
The chamber of the ample bin.'
'
To an
artist the
hop garden
whether the bines wave
is
indeed rich in subjects of grace and beauty,
in festoons high over
head or curve low almost
to the
ground, while the blossom, somewhat resembling the grape but more beautiful
and varied in
and
clusters, is
its
lighter in the
air.
more exposed
It is true that its
to the sight,
hanging, in
fact, freer
pale green or russet colour, so
little
varied from that of the leaves, does not afford the same rich contrast of colour,
but the eye dwells with pleasure on the more delicate harmonies of grays and
Then
greens so suitable to the cooler sides of England.

formality of the alleys
is
children with their huge bins and baskets, and
and oxen of Italy
witli half-clothed peasants
are covered with the rich juice, yet

of picking
women
picking time the
if
we miss
the uncouth wains
trampling the grapes
we have now and then
till
they
merry group
nearly smothering some luckless stranger in the hop-bins
until he pays his footing.
When
a figure artist has thus acquired the privi-
ledge of studying the scene he will soon
younger children abounding, here and there

or richer tinted
in
abundantly broken by troops of men, women, and
till
it
his
may
note-book, studies of the
be in gaily coloured cloaks
garments sitting amongst the baskets
in the
shade
perhaps
110
with a gipsy
the vistas
tent, fire
down
and cooking going
make
the busy alleys
some elder beguiling the time, and
on, -while the sloping gardens
a characteristic background.
all
unconscious of her
taste,
with
Perhaps
has woven a
garland of the fragrant clusters round the head of some rosy urchin or twined
a shelter above the sleeping babe in
its rustic
a subject for a Collins or a Frith.
But we must pass on
basket cradle; thus supplying

to another of our
climbing plants, the
Perhaps among
all
the creeping plants that grace
our lanes and hedges
bine.
Its
where
its
its
rival
garden bower, and much does
it
it
no more universal
or
it
in our affection that
twining shoots enable
is
beauty and fragrance associate
minds with the wild

advantage of
there
Common Honeysuckle
favourite than the
to
we
rose,
and
transplant
it
it
has so
to
Woodin our
far
the
our gardens,
surround the rustic porch and seat or
ornament them with
its
rich coloured
and
elegantly formed blossoms, which, without presenting to the painter any very
Ill

conspicuous outline or connected mass of colour, add
warmth
general
Artists
of the hue.
considerably
tones very
rich
find these
useful
much
grace of form in
many
of the climbing wild plants, but
in
There
preventing the colours of their figures from appearing as single spots.

is
the
to
we doubt
whether any have been made so much use of in ornamenting our architecture
as this, the
in their
example in introducing
by copying the form of the flower
sculpturesque stage.
for
set us the
Greeks having
friezes
few of the flowers have on
in
its
it
ornament
as an
early
this account
and more
been selected
our heading as seen climbing about the rustic porch, for in this position
when
they are more easily studied than
scattered in beautiful but wild pro-
fusion over our lanes and hedges.
The Woodbine
is
By
one of the earliest leafing plants we have.
the end
of February reddish green leaves an inch long appear on the stems, finding
no companions save the light green
formed blossoms appear in June,
elder shoots.
filling the
air
pale but elegantly
Its
with a delicious perfume
it
climbs to a considerable height upon trees and bushes, and from thence hangs
its
Mason thus
describes
it
to
Her wreaths
In
this situation
difficult to paint
is
it
hues and leaves of
young
often described
by the
poet, but artists find
it
very
and interwoven plants and shrubs; with flowers of
climbing, overhanging,
" The Woodbine wild,

hang on b;invn boughs remote
of flowery perfume."
ami bushes covered with a rich confusion of creeping,
trees
every breath of air
The
breeze.
That hives
all
summer
long trailing shoots which wave to and fro in the
poet
all
all
shapes, with wreaths and tendrils flung about
very beautiful to look
or inexperienced artist with
which
to
at,
but not subjects
commence
for
by
the
his study of nature.
Let him become, by patient representation, well acquainted with the form and
colour of one or two flowers and leaves and the
turn,
and he
will be better able to
Another handsome hedge-creeper

dioica),
its
spray
is
artist's
is
the
at the
in
Red-berried
graceful leaves and tendrils rendering
hop and so placed
way
which the
group and arrange the whole
head of
this portion of
it
tit
tendrils
in masses.
Bryony (Bryonia
companion
our work, while
to the
single
here given as an excellent and easily found object for the young
study.
It
seldom climbs high, but throws long vine-like
festoons

rough leaves and small greenish-white flowers from stem to stem with
great
The rapid
luxuriance.
growth of
this plant
we have
botanical name, and
another
that
sequently
increases
the
so
student
example that
the
daily
by
signified
is
its
scarcely
con-
fast,
should draw
he
com-
selects
pletely at one sitting, finding out

single
leaves,
flowers, or tendrils
more
carefully afterwards.
to finish
The stem
is
angular and rough, the leaves large,
and the red berries become conspicuous as the

leaves
fall off in
autumn.
" The sealloped Bryony mingling round the bowers,

Whose, fine bright leaves make up the want of
flowers."
There
is
one fact connected with climbing plants
mentioned by a writer on wild

myself observed, and that
artists in
is
flowers,
of
which
have
some consequence
to
Some twining
these Pre-raphaelite days.
plants follow the apparent course of the sun, and
turn around the
supporting stem
from
left
to
common Black
with the
right.
This
Bryony
of our woods, which, with its shining heart-
is
the case
shaped leaves and small green flowers,

in
may be
seen
any wood during the summer months climbing

over the hedges and
Other plants, as
trees.
the large white bindweed or convolvulus, twine
contrary to
Botanists
the
will
from right
sun, or
be
aware that
tendency of every plant

individual of the
is
species.
the
to
left.
peculiar
constant in each
'
Thus the
large
bindweed, wherever found, always turns one

R TD-BERR Ff>
I
BRYONY
way and
never see their position reversed."
the
Black Bryony
the.
other;
we
This Black Bryony (Tamus communis)

climbs far higher than the red-berried species
113
the leaves also are smooth, and
resemble those of the bindweed in shape.
Found amongst the

or Traveller's
bryonies, but rising to a greater height,
Joy {Clematis
with the lighter green of 'the other creepers.
It
is
very
hedges of those counties where chalk or limestone abounds
numerous, of a greenish white hue with a strong perfume.
May
away, decking the hedges in
far
is
the Clematis,
Vitalba), its dark green foliage contrasting well
June with
or
its
common
in
the
the blossoms are

It
may
be seen
blossoms, and holding
the sti-onger plants near, by the twisting leaf-stalks, which serve as
itself to
In the early part of winter
tendrils.
spicuous, and as they
become
soiled
its
snowy
tufts of seeds are very con-
by wind and weather they look
like
masses of cobwebs.
Now, though
far
from having exhausted the catalogue of climbing plants
that attract the eye, and
drawn with
care
plant of the
the
title
when pear
and attention^
artist,
let
the forepart of the picture should be
us turn for variety
to.
a favourite hedge
the Foxglove (Digitalis purpurea), which indeed merits
of the
" Wild
chieftain of the wayside flowers,
O'erlooking all that grow around,

But loving most the wooded bowers,
Where
Doubtless owing to
and
it is
its size, fine
in perfection found."
pyramidical spike of rich-coloured blossoms,
also to the precision of its bell-formed flowers, the
Foxglove
generally
is
considered by artists as one of the handsoniest and most effective of wild

Its tall stem, finely-shaped leaves,
flowers.
or white freckled bells, render

for the foreground.
and spike of large purple crimson
a striking object, both in form and colour,
it
It is generally to be seen
in hilly or rocky situations, in
the skirts of woods, and amongst the bushes and fern of the heath or
The flowers
stalk
are about
when decaying
top of the stalk.
two inches
long,
and are
the lower bells drop off
first,
from three to four
Foxglove
is
Thomas
more
common.
on the same side of the

leaving a few only at the
Should the main stem be injured the side shoots become
more luxuriant, and form a scattered but larger

to
all
feet high,
by some imagined
Miller, than
to
whom
carefully, objects to the
cluster of flowers.
and flowers in June and July.
It
grows
The name
be a corruption of Folk's or Fairy's glove.
no one writes better or has studied nature
Foxglove being called purple; now we have

I
DRAWING PROM NATURE.
114
many
flowers inure truly called purple, such as the
bluebell,
all
in the
differing
quantities
is
indeed a very indefinite colour with
is
more frequently used,
posed of blue,
light red,
to
red,
little
yellow, thus light red and blue
says
it
e,
we must thus be permitted
it.
Its heart
and
according
to
its
festoons of a tine deep
elegant
Tyas,
it
the
is
foliage twice a
only plant
war.
It
currant, but
root,
are
injurious
if
which smells rather
duces a sensation of bitterness
eaten.
It
called
is
like a potato,
to the palate
which
is
the
in
our
bears scarlet
which look very pretty and tempting from their resemblance
because the
com-
a gray
The moister and more shady
leaves form
climate that sheds and reproduces
garden
the more abundantly grows the Nightshade.
a spear-shaped
berries,
it
has not a dash of purple about
bryony and nop.
in;
in
make
should be called a deep red or rich crimson, and cannot
when he
agree with Miller
Purple
as the tones they use are generally terriaries,
and a
it
violet, the
but with artists the word gray
all,
having a slight mixture of yellow
doubt whether
monkshood, the
blue mixing with red.
of
to the
Bittersweet
on being chewed pro-
succeeded by sweetness.

It flowers in
June, July, and August
115
month
in the latter
the flowers and
mingle, and the given and yellow of the half ripe fruit are
berries begin to
prettily contrasted with the brilliant scarlet of the fully matured.
The common Guelder-rose, or Wayfaring-tree (Viburnum Lantana),

thick branching shrub,
common
and chalk
prevail.
June,
ample heads of white flowers
by
flat,
It
grows to the height of four
to eight feet,
and bears in
at the ends of the stems, succeeded
and
berries, first green, afterwards red,
is
England where limestone
in the hedges of
The
finally black.
leaves are large,
broad, opposite,
much
wrinkled, veined, of a
serrated at the
edges,
and very downy on the underside; they become in
autumn
One
"
a fine deep-red colour.
doubtless from the cottony appearance
February these
its
of
common names
its
young
attract the attention of the country
above the branches of the
by a
of
roundish, heart-shaped form,
Though
expanded.
when
downy covering
May
with dust, and by
gives
it
which
in time displays
As
the foliage
the appearance of being covered
the large compact clusters of white flowers are fully
a sober-looking shrub, yet
branches of glossy
its
early as
thorn and other plants, each surmounted
leafless
the strongly-veined leaves and opening buds of the cluster.

its
As
rambler, for they stand
small, close, button-like tuft of a gray-green hue,
gradually unfolds,
Cotton-tree,
is
shoots.
are of a
fruit
it
bright
is
most
enough
brilliant
autumn,
in
scarlet,
gradually
changing as they ripen into purplish black, and distinguishing themselves from
our other wild berries by growing in
flat
some
scarlet, whilst others are
fruits in the cluster of
The Dog-rose
a nosegay of
its
(Rush.
glowing
Canina)
buds arranged
It is to be
with
all
in wreaths to
found
all
the favourite
is
clusters, as well as
by having
dark as
way
into the cottage-parlour, or
its
lovely
child.
its
over England, and
its
charming blossoms are connected
the bright but evanescent joys of summer.
There are two varieties
and
from three
and leaves
six
feet
high, with
garden-rose, only smaller.
many
ornament the flaxen curls of some pet
of Dog-rose; the earliest to flower bears pink blossoms,

to
jet."
flower of June, and
blossoms, contrasted with the deeper pink
delicately-tinted
of those of the sweet-briar, finds
compact
reddish-brown stems
is
a thick bush,
like the
In the other and later blossoming kind, the stems
more purple, and the flowers
are a
most beautiful creamy-white, while
the buds are oval in shape, and
when
streaked with a deep red, as found
are
occasionally, they are exceedingly lovely.

t
The rose-bush
often grows on open

sandy heaths, mingling
its
roses with the wild
on the chalky banks of Kent

row, and in
autumn
it
its brilliant scarlet fruit, called " hips,"
gay, mingled with bunches of haws,
Tossing
is
its
thyme and other heath-flowers
thrives so well, as to form a good thick hedge-
and the black glossy
makes
the country
berries of the privet.
pure white bells over the thorny stems of the former shrub
the large white
Bindweed (Convolnil us Sepimn),
a great favourite with the

artist,
forming
gar-
lovely
lands with
its
graceful arrow
shaped leaves
and the chalice like
shape
of its pure but
Though very common
fragile flowers.
it
also
is
large white bells,
The
moist grounds.
called
in the
hedges
found about rivers and streams, or other
which are
by country people "old man's nightcap," are
not exceeded
by any blossoms
and beauty of
outline.
in whiteness of tint
often
It
drooping willow-tree, festooning

large flowers, or
it
lightly with its
wanders over the green bank, or
almost covers some

traveller
creeps over the
it
little
rill,
might plunge his
so that the heedless
foot
unexpectedly into
the midst of the hidden waters.
The study
of such fragile plants as this, which,
from their beauty and refinement of

colour,
require
much
form
and
time to carefully delineate,
and which are also often found
in their greatest
luxuriance by the dusty road-side or in other in-
convenient places, requires some consideration.

plucked, they fade directly
of their
charm
If
besides, a great portion
consists in the form
and position
of
hang from the firmer support

the leaves and tendrils as they climb round and
is to cut the branch or spray
way
best
The
shrubs.
other
or
dog-rose
the
of
LANK AND HEDGE PLANTS.
away from
the hedge, and carry
study, place
giving
it
in the
window
117
When
in
your room or
and well watered
thus
so as to take a favourable light,
some judiciously selected background of gray or greenish-tinted
it
paper.
carefully home.
a glass or vase filled with sand
in
it
you can arrange
firmly held,
it
If possible,
come upon
the light
let
without the inter-
it
vention of glass, as the delicate

tones are materially degraded by
the added colour.
Thus preserved,
many
days, the larger
it
will last
buds opening each morning, and

the less formed increasing every
day, and
making
a charming gar-
land round the window, or even

over the mantelpiece.
The AVhite Garden-lily can be

same way, but the
treated in the
greater
causes
blossom
firmness of the
it
be easier to study.
to
White
flowers are better outlined
with a
fine
brush and gray colour
than with the pencil, as the least

grit or
roughness of touch
is
de-
trimental to their purity and de-
When
licacy.
to
add that
say gray,
mean
with
a judicious
three
primitives
blue and rose
oughl
tone
made
mixture of the
thus
cobalt,
madder, or crim-
son lake, then add a
little
yellow
ochre or Indian yellow, sufficient

to
take away the purple hue and give
to
suit
tendency
the
to
tone
of
the
blossom:
it
warmth.
some, like
This
may
be modified
the Lily, require a decided
richness and warmth, others, as the convolvulus, or white rose,
being more transparent, are grayer in colour.
18
Contrasting well with the delicate convolvulus, are the large broad leaves
and bright pinkish

It
is
to
flowers of
lilac
the
common Mallow {Malva
syhestris).
be found everywhere in the south of England, and the leaves, when
young, are large, of a bright green, and very handsome, but soon become
ragged and gray in
tint.
divided into seven lobes.
Their general appearance
The flowers have
darker veins and centre, growing usually in

easily be represented in a sketch without
It flowers in
largest
round, but they are
pink in colour, with
lusters of three or four,
and can
showing too much botanical study.
Height, two to
June and July.
Another of our
is
five petals,
three, feet.
and handsomest hedge plants
is
the
Mullen
(Verlascum), the leaves of which somewhat resemble the foxglove, but are
more conspicuous from
their grayish colour
and silvery down.
The blossom
has a striking appearance, being a regularly tapering spike rising almost as
high as the foxglove, and closely studded with delicate yellow flowerets contrasted prettily with purple stamens.
The young
artist
more important hedge

teristics
will
not lose time in making careful studies of these
plants, for
when
well acquainted with
their
charac-
few touches will indicate them sufficiently to help to form a useful
foreground to his picture.
The Common Bramble

fruticosus)
acquainted
and
is
plant
with
is
tin 1
so
or Blackberry
country
is
deserving
of
and
least
at
in art so useful
rustic scenes, that
more individual
an has yet been directed to
(Rubtis
those
recognise
common, and
;ssory in our lanes

jt
even
that
it
The rough and ragged growth

their thorny arching stems catching hold of everything that
attention
by the
of the
comes
student.
plants,
in contact
with them, and their long curved suckers give wildness to the landscape, and
may
be introduced into thickets, rough uncultivated
hedges.
While young
its
stem
is
of a pale green
assumes a deep purple with a gray or bluish
autumn, with
its
rich
in the foreground
and deep-coloured
and
it
would be
tinge,
spot's
of
colour, but
ground, and
with age
and the whole plant
it
in
berries, assists us to introduce figures
difficult to
enumerate the number of land-
scape pictures which owe their names to some incident connected with this
well
known
plant.
when, thrusting
its
The Bramble
is
useful and
maybe drawn
with good
effect
leafy shoots, through the interstices of a park paling or over
20
a rough wall,
it
which
diversifies the line
is
it
The leaves
desirable to break.
are picturesque, consisting of hve leaflets, the upper sides of a dark green,
The pinkish
while beneath they are white and downy.
The
appear in July and August.
fruit ripens in
There are yet three hedge-plants
them
loveliest of
white, gauzy flowers
September and October.
be enumerated,
to
the
and
sweetest
perhaps, though, unless they grow in such masses as
all
very available to the
to affect the colour of the foreground, not
artist.
" The melancholy Hyacinth, that weeps

All night and never lifts an eye all day,"
is
one of these.
It is
banks as visibly
woods, in
sun;
it
sometimes found
to affect their
fact of
in such quantities along
The Hyacinth
hue.
any spot where the
soil
has a pleasant perfume, but not
is
an
is
moist ami
sheltered
inhabitant
shaded
powerful as the
nearly so
of
from the
culti-
vated species.
Of
and primrose-banks much has been written, both
violet
and poetry.
these beauties.
Who
not enjoyed her
"
cheering us
spring,
Its
pale,
knows, or has
that
vulgaris)
all
is
one
When
Miss
word-painting of
any love
the
of the
for
earliest
country, has
lanes of
all
in masses
her dreamy
on the shel-
Surrey are in April bright with Primroses
found growing
such
in
they
may be
abundance,
it
blooming flowers
with promises of summer, and
thickly do they crowd on the banks, that

ful.
prose
Pre-raphaelite
clear-tinted, star-like form, clusters
The
tered bank.
exquisite
in
country matters,
Going a-Violeting," and description of a primrose-bank
The Primrose (Primula

of
favourite writer on
her
think, in
Mitford, excels, I
joys.
my
In the former,
so
gathered in hands-
affords
the
artist
valuable opportunity of giving yellow light in great masses, often desirable

in the foreground.
This flower has lately become as great a favourite with
has with our poets, and
artists as it
we
rarely see a water-colour exhibition
without a careful and charming representation of

Clare's
description
characteristic
of
the
Primrose
of the plant, that
quote
and
it
it
on the walls.
its
favourite
here
" Welcome, pale Primrose, starting up between

Dead matted leaves of oak and ash, that strew
the wood and meadow through,
'Mid creeping moss and ivy's darker green.
The every lawn
How much
How sweet
thy presence beautifies the ground

thy modest unaffected pride
haunts
is
so
LANK AND HEDGE PLANTS.

warm wood
(ilows on the sunny bank and
Ami where
121
'
side
thy fairy flowers in groups are found,
The schoolboy roams enchantedly along,

Plucking the
with a rude delight
fairest
While the meek shepherd stays
To
moment on
gaze a
his simple song,
the pleasing sight
O'erjoyed to see the flowers that truly bring
The welcome news
With
the
these two flowers,
peasant-children
of
of sweet returning spring.
Hyacinth and Primrose, massed together,
the
Barbison,
the
in
of
forest
make
Fontainebleau,
wreaths, affording a charming combination of colour, the deep rich blue of
the Hyacinth with
the pure
yellow
clear
"With these
Primrose.
the
of
wreaths they adorn their favourite cow, and gravely parade the animal thus
honoured, up and down the shady lane, where the
very pretty
The incidents
to
which lanes and
may
Many
Mary Howitt has drawn
of
between
it
banks
high
with
clothed
How
and
fixed
pendent
prickly holly, the
there
is
the pollard oak
coral'
still
here,
of
filling,
ture has
Colour
labourers
it
how
life!
still
As soon
the
as
on
the
hedges,
the old and
or
its
is,
frost
how
all,
form
in
uniform,
'hedger and
And
natural
bright
and
delicate
and
how
various,
!
Sculp-
painting
way, the lane

roots of
ditcher,'
and
orange
the birds,
for
the
snow,
its
how melancholy
grubbing up the
veritable
haw
imagination, and
gives
deep
loveliest
as
bright
the
the
encrusted with
it
my
round
a stray hip or
white and pure
beautiful
effect
in
broom,
smell of
weeds and the gorse
tall
holly, 'blushing
satiating to the mind, above
repairing
comes
frost,
How
always the same

is
limit
is
every branch
hoar
defined as carved ivory.
along
this
through the delicate tracery;
delicate congelations
'
oh
summer
bramble, and
the
cart-track,
and
furze,
for their
the
a berry here and there on the
who abound always
how
of
foliage
and
which fringes
stiffened in the hoar frost,
leaves of
now
lovely these banks are
mere narrow
fern,
crowned with luxuriant hedgerows, and famous

thyme.
id'
Let us turn to the picture
frost.
deep lane leads abruptly down the hill;
sinking
picturesque
be found under a hedge even in winter time, to say nothing
the beauty the hedge itself possesses in
"A
their hedges give rise, do not, however,
belong exclusively to the brighter seasons of the year.
group
procession has
little
effect.
is
alive
trees.
never.
with
Then
with leathern
DBAWING FROM NATURE.
L22
leggings and
his
bill-hook
gauntlet gloves,
Many
(how
from the ditches of our
different
by the
that dances merrily along
stroller's
with the thoughts to which the
senger to reach, dry-footed, the
which spans the
rustic bridge
crosses to the other
shoulder
the
of
into
for
dip
in
the
or
many an
floats
be remarked, for our pretty
to
its
the
stream
industriously-idle
urchin
his boats
and further
dammed up
to
in
on,
secure
Bather an ignominious end,
little
rivulet
but
it
is
under
it
may
only a very small branch
the noisy feathered
dances on, though we must no
still
from
stagnant pool, brilliant with duck-
thus ministers to the needs of
stream
pasis
overhanging beech-trees.
Further on again, and we come
that
there
sparkling and bright
out
trickles
it
weed, and alive with ducks, geese, &c.
it
the
little
partially
is
it
where the
lane,
Should
rise.
enable
the inhabitants to dip their pails from the large broad
the water, as
the cool green leaves of the
principal
given
stones which
1)
harmoniously
in
leading to the corn-field
trim row of cottages,
depth
sufficient
stone
chiming
has
babbling
suburban lanes
stile
dangles an impromptu fishing-rod,

front
scene
flat
from whence
side,
side,
pleasant
broad
such be the case, there are the
in
on his
country lanes possess the great additional charm of
brook or rivulet
of
hand, bearing
in
precious faggot, wherewith to increase the comforts of his home."
longer
bipeds;
the
accompany
it
rambles.
One more
autumn, and
incident that
I
will
arises
from
the
overflowing
conclude this long, rambling
of
golden
Just
before
stores
description.
the hedges begin to assume their many-coloured garb, and after the heavily
laden
waggons have been with
difficulty
dragged through the narrow lanes,
the hedges on either side are adorned with trailing
wheat, and these
Then what
tion of
foreign
fluttering
ornaments
ensues,
both
soon
attract
above and below;
neighbouring farm-yard are there, turned loose
and many a tempting
dragged down with
of
ears
birds of
all
oats,
rye,
and
descriptions.
the whole populalor
the
occasion,
by the
fowls,
becomes, on reaching terra firma. the prey of some grunting hog, to
whom
ear,
nothing comes amiss in the shape of plunder.
infinite labour
(See cut page 127.)
To those who observe and study
nature,
and who
wish to draw sonic portion of the beauties that they

encounter, there
along some
country Roachirfr, with a
unlimited time at their disposal.

of
incidents
shut us
oft'
and objects
for
They
study;
is
no better plan than
note-book
ami
will be sure to
and
although
in
saunter
pencil in hand-
and
meet with abundance
modern
railroads
have
from observing more than the general features of the country
124
we
pass with sc
we
find the
much
rapidity,
same picturesque
when we
still,
down
stroll
studies as ever.
Tiiose
a country road,
whose study
particularly directed to the figure, will be continually at
more
is
work noting down
the variety of costumes, actions, and grouping of the peasants
they
that
meet.
By
the wayside, while rambling in the Pyrenees and Switzerland,
my
often been tempted to stop short in
various roadside
groups
have met.
rough
the
haymakers
Thus, the bright-looking
of the Oberland, the hunters of the Grisons,

of the Pyrenees, in their
have
landscape studies and sketch
and the wild-looking shepherds
sheepskin
coats,
overhanging bonnets, or
slouching hats, leading their singular sheep and goats, and fine dogs, have
my
arrested
attention
while the neighbouring Spanish peasants or trampers,
with
with their mules gaily adorned
rich-coloured
trappings,
and
rugs,
grotesque skins of wine, have equally proved attractive,
when
them reposing by the roadside during the heat
day, in the shade
of
some overhanging rock
rock, to lend
and
it
is
been
quite
thus
sufficient
study the
that artists
Academy
Pioyal
many
to
a vivid
many
valuable hints that they would
We
It
as
the
it
well
have only to look at the walls of

Phillip,
Ansdell,
and others have
and popular picture.
The market-place,
artist.
how
some more
aside from
they have unconsciously made,
secure
see
me
turn
to
momentary glimpses, and how they have furnished the nucleus
seized such
of
refreshing
pictures
search for in vain at other times.

the
torrent bursting from the
coolness all around, and induce one to stop.
have
expedition to
distant
of the
frequently having the
pine,
some charming spring or mountain
addition of
These
or wild
have seen
is
there
again,
we
is
an inexhaustible source of beauty
see the heart of the
for the
country displayed quite bare
were, while the feelings of the actors are so earnestly engaged, and
various
the addition
costumes
of
sought
insight into the manners of
require
the
out
and brought into contrast
produce of the country,
the
finished
artist,
the
for
country,
to
study
combine
all
and
such
its
life.
to
these,
These
rapidly-moving
requires the full and perfected power of the painter
but in our
country, and with the limited ability of a student, the Roadside

excellent source
of
study, not of
life
moving and passing
too
with
us an
give
scenes
all
incidents
own
is
sweet
a most
rapidly to
THE ROADSIDE.
draw, but of that quieter, less confused
is
many
thus that
has been sketched
125
and
that appertains to it;
life,
it
a picturesque group of gipsies, tinkers, or rustic labourers,
and
more
in harvest-time
especially, the temptation to
and draw the gleaners returning with their sunny burdens, or the
stop
wains, and peasants at their labour, are so numerous, that
patience of any one accompanying an artist
would
it
try the
he had not the same feeling
if
for art.
But
the
at present
young
student,
drawn
easily
must leave the consideration
work being
this
dents,
the
for
instruction
and point out some of those
of these
moving
inci-
and encouragement of
striking,
less
but more
with which the foreground of such pictures
subjects,
The heading
enriched.
chiefly
may be
shows a sand-bank, overhung
of this section merely
with^ brambles, and other creeping plants, forming a nook for some of the
many
wild flowers and plants, the importance
heeded were they not pointed

cliffs,
with the additional
habitants
passer-by
make
the
sand
would
always
and should he be tempted
on a subject appareijtly
Still the
which
and
its
the
its
pretty
their
the
in-
of
attention
give sufficient time
a
to
has bestowed
labour he
water plants of the stream and the graceful
own
and should a stray plant of
embrace the dusty hedge,
to
sickly and choked appearance,
roadside has
and
to stop
rarely regret
bryony try
or bright-leaved
by
them by
so insignificant.
It is true that the luxuriant
proves,
which might pass un-
however, of these sandy
attract
climbers of the lane hedges are wanting here
bindweed
pf
colour,
attached to
interest
martins,
careful study, he will
The
out.
how
class of plants
utterly
it
is
it
quickly
out of place.
growing so well no where
else,
in their season grace the travel-stained wayfarer's path with their foliage
flowers.
First in importance
known
among
for the obstinate
these, stands the
manner
in
thing they come in contact with.

not only on account of
for its
boldest
its
size,
which
It is
its
Burdock {Arctium
a very important plant to the
being the largest native leaf
marked character and general

and simplest foregrounds.
lappa), well
burs attach themselves to any-
distribution,
The
student,
we
artist,
possess, but
thus forming one of his
however,
must not often
introduce more than one complete plant into his sketch, though occasionally
a
few stray root-leaves are admissible.
These root-leaves, from their great
size,
126
constitute the most striking feature in the Duck.

little
affected
balls
of
general
seed,
tint.
though small compared with the
The form
It flowers all
feet.
of the plaid
is
and
shadows
form
To
this,
cast
this
a cool <>reen
foliage,
slightly
vary the
When
through the summer.
circumstances render sketch-
may
he carefully placed in a
from the variety of position of the heart-shaped leaves, the
by one
good subject
leaf
on another, and the foreshortening necessary, will
for study.
illustration has
stem ami the
is
pyramidal, and the height about three
ing in the open air impossible, one of the plants

pot,
Their colour
by autumn; but the dull purple flowers, and afterwards the
been added the
ribs of the leaves,
first
slight outline of the leading
show ing crudely the way
in
which an
artist
portions out the group.
The Teazel {Dipsacus
sylvestris
and during the winter months
"
is
there
common
is
than the chaffy bristly heads of this plant.

stout stems nearly six feet high,
in cleansing ceilings, that
may
we wonder
plant in the roadside hedg<
scarcely an object
Hundreds
s,
more conspicuous
of them, standing on
be seen looking so like the brooms used

not to hear the cottager call the plant,
" woodbroom ; " the large leaves united at their base form a hollow,
which serves
THE ROADSIDE.
hold the ruin or dews, and
td
bath."
dining
flowers
It
latter part of
grayish
its
this
reason
is
sometimes called
July and August.
The Nettle (Urtica

with
fc >r
the
dioica),
erect
leaves,
forms an agreeable relief to the
broad foliage of the Colts-
flat
foot (Tussilago
far/am), the
first
plant that springs from marl or
limestone
and
rubble,
spreads
with remarkable rapidity
itself
The
over oar railroad cuttings.
flowers appear in March, before
the leaves
on a
a
stalk,
they are yellow, one
and soon change into
beautiful head of long white
cottony
" On
Mant
Bishop
hairs.
thus describes
it
down
scaly stem, with cottony
O'erlaid, its
Which
lemon colour'd crown
drooped
unclosed,
but
now
erect,
The
Coltsfoot bright develbpes; decked
(Ere yet the impurpled stalk displays
green leaves) with countless
Its (lark
Round
countless tubes alike in dye
Expanded."
It
the
is
are almost
as
however,
leaves,
which are of use
to artists
they
wide as the bur-
dock, but not nearly so long, and

are rather heart-shaped
gular.
They
numbers, and
large,
cluster
each
and anin
great
leaf
being
they allow of great breadth,
and can be distinguished by

few lines
the green
is
cool
and
fresh,
and contrasts well
witli
tl
128
colour
of the
the
earth, or
convex or rounded
a cup or plate
the general direction
still
reflects the cool tones of the
As pillow
The Viper's
Bug-loss
and bright blue
broad
its
for the harebell's sleepy
(Echium vulgare)
abounds
It
it.
older,
The
becomes
it
and
parallel to the ground,
soft leaves
head."
handsome shrub, with prickly
is
flowers, as brilliant in
exquisite contrast with
is
when
Calder Campbell says,
sky above.
" The downy Coltsfoot gave
foliage
amongst which they grow.
gray stones
when young forms
surface of the leaf
hue
as the furze,
and forming an
waste places; indeed, according
in
to Crabbe, the
"
blue Bugloss paints the sterile soil."
Miss Pratt thus pleasantly

beautify our waste
from
find
is
it
"
:
Among
We
and hue.
never
on the rich grassy meadow land, or among the lovely wild flowers
which border our streams,

the heap
sandy
or rise beneath the
of chalk, or sand, or gravel,
soil
of the neglected field
earth can find
room
to gather
raises its rich spire of blossoms.
and July
shadow of the
on the old wall or majestic
Its
high
but in places where
it
of Cambridgeshire and on the chalky
more than three

stem.
feet in height,
The colour of the
young buds
fully
cliff
proper season of flowering
but the author has often gathered
feet
on the
on the beach where, among the stones, a
it
; there
it
June
in
is
even in December, not rising
of its blossoms,
red tint of their long stamens, as beautiful as ever.
about two
But on
trees.
accumulated by the wayside
to its usual height, but with the rich purple
fields
which
flowers
the
not only one of the most striking
height, but one of the most beautiful in shape
its
it
little
describes
places, this plant
and the bright
The plant
is
usually
flourishes best, as in the

cliffs
of Dover,
it
sandy
sometimes
is
and the blossoms extend half-way down the
expanded flowers
are of a full rose colour.
is
of a deep blue, but the
The whole plant
is
very rough to the
touch."
The Greater Plantain (Plantago

coltsfoot,
is
still
leaves are deeply
major), though smaller than the dock
useful in varying the form and tint of the roadside.
marked with seven
ribs
they
all rise
from the
the spikes of green or brown flowers spring from the centre.
Toad Flax {Linaria
vulgaris)
is
a tall
root,
and
The
and
The yellow
showy plant with sulphur coloured
bios-
THE ROADSIDE.
soms .shaped
129
which appear during August and
like those of (lie .snapdragon,
September, and are useful in repeating in smaller quantities the yellow
The common Hemlock (Conium ma-eulatum) with
dress of a figure.
leaves
and
stem of purplish brown, spotted and striped with purple,
"
uncommon on
branched
upper
at the
and bearing
part,
Although the
and July.
The hollow stem
waste places.
foliage
its
feet high,
given, yet
it
elegant in form, and in some places the plant grows to a great
for
it
has this recommendation, that there
of the
Dandelion would be contrary
quoted above, thus remarks on

us,
is
when
scarcely a spot
where the introduction
The writer on wild flowers
to Nature.
"
lowly plant
them
treasure to
no grassy spot as unworthy of
its
who
all
is
with
or pressed
to the
even
green mead, sending
February, and assembling in
in
pebbly beach, or the crevice
It is often the earliest flower of the
stray blossom
It scorns
truly love flowers.
beauty, from church tower or garden wall,
shadowy woods or the rivers brink
of the pavement.
out
it
field,
the feet of gladsome children, on pasture land or sunny bank
treasure yet to
to the
mention the
while
it is
trodden over by the countryman as he passes through the
down by
to
to introduce a brighter yellow,
universality.
its
remarkably
is
very bright, and
though small
growing in quantities, often enables us
not
much
size.''
In our enumeration of roadside plants, we must not omit
Dandelion (Leontodon taraxacum),
dark
is
umbels of white flowers in June
of a dull
is
two or three
is
in the
its
multitudes by
April and May.

"
"
What
E'en when old Winter leaves Ids plash y slough,

The Dandelions, like to suns, will bloom
Beside some hank, or hillock creeping low,
Though each too often meets an early doom.'
a wealth to country children are the Dandelions, with their hollow
stalks linked into
the white
'
downy
chains
day
"
'
day with untiring eagerness,
The schoolboy's clock
which come as the flowers
meadow by
after
and with
balls
their profusion,
fall
till
in every town,'
away, and which
a strong gust arises
sometimes whiten the
and
scatters
them
far
and wide."
These are the principal flowers that greet the roadside
has
seldom
drawn
off to
much
time to examine them, as his
some incident occurring on the
road.
traveller,
attention
There
is
is
but he
continually
the road-mender
130
and stone-breaker seated astride on his heap of stones hammering away,

while his dog
lies
dozing on the jacket, which, with the stone bottle and hat,
There are the various pedestrians,
are his especial charge.

carriages
there
is
and
not yet completely in the
in those parts
now and then
and importance.
a stage-coach, with
In such parts there
veyance of the poor
the
waggon with
all
may
its
its
still
and
carts, gigs,
web
of railways,
accompaniments of
rattle
be seen the humble con-
load of merchandize in front and
hood behind, under which congregate the aged, the women, and children,
whose strength
is
not equal to the distance they have to go, and are therefore
glad to avail themselves of this old-fashioned conveyance, that creeps along

at the rate of three miles
Here and
an hour.
there, in spite of the innovations of civilization,
found an old roadside inn, almost as rural as

horses of which are feeding
farmers, with their
parting cup that
at
is
handed
and in a few more years
pictures of Cooper.
its
may
farm
the picturesque troughs or cribs
huge coats and capes, on stout old

to
them by the
Yes, these are charming scenes for an

ing,
with
ever,
their
artist,
its
be
the
jolly
cobs, stopping to drink
landlord's pretty daughter.
but alas
memory only
still
carts,
they are
will
fast disappear-
be kept alive by the
Section V.
HEATH AND COMMON' TRUE PAINTER'S GROUND, BUT FAST DISAPPEARING NEIGHBOURHOOD OF
REIGATEWALTON HEATH A DINGER COMMON FINE- LEAVED HEATH CROSS- LEAVED HEATHLING COLOUR OF HEATHER ON SCOTCH MOUNTAINS HAREBELL BROOM FURZE THISTLES-
THYME LAVENDER.
Few
people really understand
how much
the painter loves the open expanse,
broken ground, and varying incident of a Heath or Common.
It is there
he
can best observe the varied effects of light and shade as they chase each other
over the extended prospect, and, standing beneath the shelter of a group of
wild
firs,
may
see the overhanging storm-cloud throwing the mid-distance into
deep purple gloom, while the foreground

its
is
a rich treasury of colour, with
endless harmonies of russet, olive-gray, and gold given by the withered
heather, gorse,
and
fern,
mingled with the richest-coloured sand bonks, and
other accessories of a moorland scene.
Unfortunately for the
artist,
opportunities for studying these decrease with
fearful rapidity,
and these wild rambling grounds become fewer every day,
yielding to the
increasing
necessities
Hampstead Heath, the London
artist's
of an
overgrown population.
delight,
is
by encroaching bricks and mortar, nor does there appear

energy among those interested
to
Even
threatened to he overrun
sufficient
power or
save this precious ground from the builder.
DK AWING FKOM NATURE.
132
Thus, alas
the breezy parade, the contemplative
'.
secluded North End, with
its
and dale and picturesque
fir
cockney rows and suburban

materials for some railroad
and
still
copse, its verdant hill
its
clumps, must be cut and parcelled out into
away
or else carried entirely
villas,
;
grove, the lonely
fir
wild uneven ground,
and the poor
and what
artist,
is
to
furnish
of far
more
importance, the poor over-wrought, over-crowded mechanic, will be obliged to
go
still
farther off for a refreshing glimpse of Nature.
I well
remember with what
description of Hertford Heath,
interest I listened years ago to
by
broken sandbanks, towering Scotch

gorse,
many
with
my
transferred to
At
length,
a rare wild
even railed
common
firs,
flower,
of yellow
m my
appeared
and how
its
broom and rough
mind's eye already
paper.
when
made an excursion
felt
an enthusiastic
a true worshipper of Nature,
fully prepared
and accompanied by
to the desired spot,
off into
square
fields,
we found
it
chosen pupil,
levelled, ploughed,
and
with iron wire and sunk ditches, and we
almost angry that the joyous larks, as they mounted singing into the
heavens from the springing wheat, did not participate in our disappointment.
However, there
exist a
still
few choice spots where studies can be made of
broken ground, extended view, or secluded nook, where the rare gipsy may
yet pitch his camp, or the travelling tinker and broom-seller turn his poor
beast out for a night or two.
There are
many
such spots to be found in the
country about Reigate.
The town, but more
particularly
Eed
Hill,
may
be spoiled to the
eye by the inundation of ugly cockney cottages to which

subjected, but the country a few miles distant
chalk and
warm marly
suitable to the artist,
them
is
and though the bee-orchis,
interesting.
Gatton Park with
though
you
flat,
its
the growth of plants
ladies'-hair,
and other
If the Brighton railway be quitted at
noble trees;
rare
for pictures, their singularity
a delightful walk midst varied and beautiful scenery
lies before
artist's
has been of late
untouched, and the
still
are highly favourable to
abound there may not be available
flowers which
renders
soils
it
may
then mounting the
Merstham,
be taken through
hill,
Walton Heath
a wide expanse covered with heather, furze, and broom, which,
presents
many
rustic
bits.
Skirting the
common, sometimes
sheltered beneath overhanging banks and straggling trees,
hut of the broom cutter or the ash-hoop render.
may be found
the
THE HEATH, OR COMMON".
dresses, busied
and
men
among
an old horse or two,
if
brooms
piles of
barrels, carts, sheds,
and
pig-sties,
with
in all stages, furnish the artist
in their mstic
many
a study
favourite
is
Less
besides the
of having
on the
rapidly
the
is
straggling in winter
older trees,
been planted, there
increase,
fortunate
But
chalky knolls.
its hill
and dale
foliage
of all
being
spring,
is
apparently
regularity
their
an undergrowth
protected
oak scrub,
venerable,
and
which, from
which,
of
the
artist,
who
thus
though withered and
useful
foreground.
to the
feelings
Though entering
protest against this partial administration of the bill-hook, I should be
have the
trees
fir
grow a profusion
the
artist,
included
doom,
this
yet valuable as giving occasion for
magic, busily gathering the

large
in
for
baskets are
some sheltered
my
sony
underneath their shadow
of whortleberries, loo lowly a shrub to be singly of use to
many
berries are ripened, dozens of little lads
as the
firs
covered with brilliant foliage in summer;
is
loses
give
young
by the landowners.
chopped and hacked away unmercifully, with no regard
this is
commons my
and broad expanse.
have made themselves masters of great part of the high
firs
where,
evidence
little
that of Abinger, with
The Scotch
ground,
to
and
he must have a distance to his picture, he gains peeps of the blue horizon
through the trees crowning the
of
133
of faggots, the heather-covered roofs, the
The stacks
left
fruit,
a pretty group.
and
lasses
As soon
appear as
if
by
while the "toddling wee things" and the
in
spot under
the guard of the grand-
mother.
In the thickest of the
wood
there
shielded
is
from
saw-pit,
the
keen
north and east winds by

fresh
" outsides."
sawn
Here Master Wrong works
away
in
wet and
in
dry
weather, his diligence hav-
ing a visible effect on the
wood around
tree after tree
sacrificed as a roof or a floor
is
every one makes free with the
"
outsides
"
and odd
bits for
is
needed, while
shed or pigsty.
134

There an; wonderful hollow ways,
common
whether they have always
winding across and through our
too,
existed, or
whether some
water-
terrific
spout has hurst upon the higher land ages ago, scooping and scoring them
no one knows, hut now they are overgrown with oak-scrub,
out,
One
fern.
of the deepest of the wild glens skirts Parkhurst
a lovely hut rough path between sandy hanks
among whose
roots
burrow the cunning
stoats,
and
briars,
palings, forming
crowned with noble
trees,
while the squirrel leaps nimbly
in their branches.
And now
want
as great a
is
mention
one fault
its
here,
boon
to
favourite
common,
a lack of water, almost
There
to the artist as to the rustic inhabitants of the district.
King George's
a talk of bringing the water from the source at
head
my
having expatiated on the beauties of
justice recpures that I should
with trough before each cottage door;
but
this,
or
though
the want
the housewife, will not atone to the painter for
merry sparkling brook
Hill to a
great-
of the
shadowy pool overhung with pollard willows,
beneath which the cattle seek shelter from the noon-day heat.
Now
cinerea),
return to
to
foreground studies peculiar to heaths and open
the
The commonest
country.
of these
which may be known by
part of the stem.
This
The flowers
when
rustle
is
the Purple or Pine-leaved Heath {Erica
is
many drooping
its
the most frequent species
gathered, as
if
flowers covering a great
we
perfectly dry
Hampstead.
find at
it
grows luxuriantly
on the sandy hanks bordering the rough country roads that cross the common.
Its
masses of rich purple flowers form a good contrast with the yellow sand-
banks, and
its
warm, yet gray shadows, combined with the deep-toned greens
of the foliage, assist in giving value to the spots of gay sunshine that find
their
way through
light
from the sand lends
a few
stray
ragged
the twisted
roots,
while
influence in
its
sheep have
sought
abundance of warm
reflected
harmonizing the whole.

these
tempting
nooks,
Shoixld
we want
but the pencil of a Sidney Cooper to produce the most delightful pictures
of repose.
beautiful species
(Erica tetralix), well

into
head
at the top
abundant than the

as
it
which
prefers a
marked by
first,
of the
its
boggy
soil,
is
the Cross-leaved
Heath
delicate pink wax-like flowers, collected
stem.
third species
though botanically
is
perhaps
speaking not
belongs to another genus (Calhma communis),
still
more
heath at
commonly
called
all,
ling.
THE HEATH, OK COMMON.

It
resembles the
however, so closely in
erica,
of growth, and locality, that

other, while in Scotland
it
is
known
it is
its
135
as heather.
by one name
common
as the
more beautiful
Its foliage is
So
than that of the heath, resembling chenille.
mode
general appearance,
as frequently called
this plant
is
on
waste lands and open tracts of ground, that such places are called Heaths.
The flowers
are a pale reddish purple, very
young
along the
all
shoots.
" It
numerous and
flowers empurple the barren mountains of Scotland."

affecting the colour of his picture (for
it
by rounding the angles of the broken
remind him of the trouble
also
it
and
holds
it
its
its
prominent
where growing luxuriantly
gave him to wade through
climbed craggy Goat
fragrance as he
hills,
in this light, as
It is
can scarcely alter the form, save
crags), that
place in the painter's thoughts, though
small, growing
Highland
clothes the wild
Fell, or
wandered out
it
may
tangle of
its
of his path in
Glen Rosa or Glen Sannox.

Regarding
then in large masses, Ave find that
it
must be studied more
it
with the brush and varieties of tints than with any marked form.
extreme distance
of
retains
still
its
When
close
" decay's
these are
crimson lake.
recollection has
hand, the purple tint
at
autumn, when
prevail
my
none in
come
is
so
"
have passed over
ochre, burnt sienna,
generally
it
strong
near the truth as Robson.
yields to pink or purer red, though
effacing fingers
made with yellow
Heather
In the
purple hue, assuming under the influence
stormy clouds so dense a tone, that Southerners rarely paint
enough
in
it
cooler in colour
it,
orange tones
brown madder, and
and more ragged
in
appearance than the heath.

Sprinkled about on the common,
" On the swelling down, where sweet air stirs
The heathbell lightly, ami where prickly furze
Buds lavish gold,"
may
be seen the favourite bluebell of the
Harebell,
"that flower which the
poet,
more properly called the
Scotchman deems especially
dwelling on heath and moorland, raises
its
delicate
stem and bows
head, neither proudly defiant of storm, nor easily broken

like the elastic
spirit
of
some gentle woman, strong by
trembling before the tempest, but quickly after rising

as if
all
nought but sun and smiles had ever beamed upon
by
its
its
his
own;
its
gentle
violence
very weakness,
fresh
and vigorous,
it."
This elegant
136

flower lias move effect on
little
mind, however, than the sight,
the
scattered flowers can only be seen close at hand.
hang
delicate
Its
from the
lightly
stein,
for its
azure hells
the leaves are
long and narrow, the round root leaves soon

withering.
The Broom (Spartium scoparium),
al-
though not so generally diffused over the
common
some
as
other
plants,
still
is
abundant on heaths and banks, growing
to
a greater height than the furze, in favourable situations even reaching to eight or
nine
although
feet,
its
not exceed four or
general height does
The flowers
five.
and open, and grow along the
large
length
the
of
which,
shoots,
thickly together, present
f '/
are
entire
clustering
a brilliant mass
of yellow, almost hiding the bright ever.
Tin
i"li;i-'
more
is clearer,
yellow
ill'
the
Broom
dazzling, but not so glowing
HAREBELL.
as that of the furze.
mending
it
it
as a pleasant shade, says, "
intercepts the heat."
torical
and legendary
it
It is a favourite
seems
with
to
JNhss Kent, in recom-
embody
many
associations, but also for its beauty.
" 'Twas that delightful
when
the sunshine while
poets, not only for
its
his-
Wordsworth says
the Bi<
every steep,
Full flowered
ins of
Along the rop
gold;"
while Burns exclaimsgn lands reckon,
Their groves of
Where
Far dearer to mt
Wi' the burn
It is particularly partial to
the artist
owe
the "
the perfume,
bright be
ste
len o greein breckan,
the long
high banks, and
common.
part of Abinger
Broom."
many
a bright spot of colour does
bonny Broom."
For studies of the Broom, however, there

nearest sandy
?llow
;
Common,
is
Luxuriant specimens
called the Warren.
no need to go farther than the
may
be found on an elevated
(See cut, page 84.)
THE HEATH. OR COMMON.
137
It flowers in
June, and the seeds are lung pods of a dark brown colour.
Whenever
common
is
sketched, or a heath scene painted, there must the
Furze (Vlex Evropcea) be introduced,

flowers
such spots with
for it covers
golden
its
indeed few plants are more abundant or more brilliant, especially in
the merry
month
of
May,
peculiar flowering season, than
its
" The vernal Furze with golden baskets hung."

It
has also this great advantage to
that
artists,
rarely unadorned with a few blossoms
Of course
bloomless Furze."
spring and
It is a
warning
it
"
as
it
to
is
the never
bloom must be reserved
for the
shrub without leaves, but armed with
innumerable thorns, with which, doubtless, every one of

accpiainted, unless the poet's
year,
indeed Coleridge calls
the full blaze of
summer months.
may, without violence
it
any season of the
Nature, be introduced into his picture at
my
readers
is
already
to
"
approach
it
not,
For every flower has a troop of swords
Drawn
to
defend
it,'"
has come in time to save his fingers.

It is rarely
among
found in the highlands of Scotland, yet
Twamley
the AVelsh mountains, where, as Miss
sides of the cloud-capped hills with a robe of gold,
the purple gleaming heather." with which

is
it
common enough
is
says,
"
it
clothes the
broken only by patches of
forms a charming contrast.
It
essentially a native of temperate regions, extremes of heat or cold being
alike injurious to
it,
Linnauis's rapture, on
"
Sweden
and
in
first
seeing a
A common
is
unknown,
common
overgrown with
as the often told story of
covered with
fern,
it,
proves.
and rough
With prickly gorse, that, shapeless and deformed.

And dangerous to the touch, has yet its bloom,
And decks itself with ornaments of gold.
Sportsmen would perhaps
tell
us, that
the prickly gorse has yet another
good quality superior to richness of colour, that of forming one of the best
covers for foxes, for
'tis
here that Reynard has his strongest hold, the plants
growing so thick, and the roots and branches so strong, that

requires great perseverance to
other
one
is
make
commons, where "the nibbling

surprised to see
how rounded
it
sometimes
the cunning fellow leave his retreatflocks do stray," or rabbits are

all
On
numerous,
the clumps of Furze are eaten.
DRAWING FROM NATURE,
138
"There
always something exhilarating in the fresh breezy
is
English common, with

of noisy geese,
its
air
an
.if
strings of rosy-cheeked ragged children, its flocks
its
two or three scraggy horses and scrubby donkeys,
tall
its
furze bushes, with their rich golden garniture, that almost seems to glow from
snowy whiteness
the contrast with the
Add
the windmill,
to these
of the linen
hung
the snug public-house
them
across
with
its
to
dry.
old tree
and
swinging sign, the cottages huddled up in a corner opposite the pond, or
where the
loosely scattered
encampment
the
all
first
mud
enclosers reared their
be a wide one, and
if
it
be a
huts,
a gipsy
summer
evening,
and you have pretty much what combine
cricketers,
common,'
common
the
if
to
make up
'
England over."
The writer
of the above,
and
artistic feeling,
is,
at
complain of being that

canvas; there
is
not an
if
any
lie
artist,
is,
am
possessed of
certain,
a skilful word-painter; the only thing to
rate,
crowds loo many objects of interest into his
enough in that description
to
form subjects
fur halt a
dozen
pictures.
For the young student we
and
far
less decided,
add, that the colour of the Furze
is
richer
that of the broom, the green
is
being dull and gray in tone.
No common
is
complete without thistles for the poor man's
numerous and varied
ass.
and most
are these
" Insatiate
One
may
more intense and concentrated than
of the handsomest
is
the
thistle
Musk
:,
tyrants of the plain."
Thistle (Cardan* nutans)
the spines are
strong and prominent, and the flowers, which are large and of a reddish
purple, contribute their quota of colour to the landscape from
The stem
is
from two
to three feet in height,
very lowly flower, the
affects
flowers.
artist's
the
It
not,
its
but
its
pinkish purple
by
its
habit
of
clustering
in
an
considerable
general diffusion, not only over this country, but throughout
Europe, becomes of importance.

cliff,
commons with
however, large enough when taken singly to form
foreground plant;
masses, and by
to October.
Wild Thyme [Thymus serpyllum) sometimes
colour of the ground on our

is
May
and gray with cottony down.
It
grows equally well on the overhanging
the sunny bank, the mountain side, or barren heath, and
its
blossoms
ot
pale pink flowers at the base of some fragment of gray rock, the colour of
THE HEATH, OR COMMON.

which
is
broken by various tints of green lichen, form altogether an appro-
priate foreground to a lake or

in
fern
" Lassie
art to
139
mountain scene.
patches, aids the sentiment in
Innumerable
tending Sheep."
such
lines
Thyme, with
heather, gorse, or
a figure-subject as Landseer's
might be quoted from the
heighten the feeling so essential to the painter.
Thus,
sister
Shakspear's
often-quoted
know
bank whereon the Wild Thyme grows
;"
or
01
O'er fringed heaths, wide lawns, and mountain steeps
With
silent step the flagrant
Virgil has also associated the " steepy cliff
We may judge
ancients
when we
Thyma
creeps."
and flowering thyme."
of the importance of this sweet plant in the eyes of the

"
the lately published " History of Julius Caesar
read, in
(page 121), that thousands of oxen were sent every year to the neighbourhood
of Marseilles to feed on the
Speaking of Marseilles
Thyme which grew

1
may
add, that to
matisation of the vine and the olive
find another favourite of our gardens
sunny
cliff's
of the Genoese coast.
there.
that town
we owe
the accli-
while, journeying a little further east,
lavender growing
in
we
prolusion on the
These plants
arc
sum-
truly the offspring of
mer, for they revel in light and warmth, and
wither under the slightest breath of frosty autumn.

beautiful species are too minute to produce
much
The
rarer
and more
effect in pictures
the country,
is
a very
handsome
plant, and, fortunately for
plete without it;
and many a lovely picture
forest trees, their roots
the interest
moments,
which
for they
tints, in
summer
is
but
it
felt
in
But with
them by the painter
winter, fade, to a deep
bis
work on
increases
in
of
com-
dying
their
brown.
Fern-cutting
is,
is
during the
for
work,
is often,
figure to introduce into
various
not only thatched
forms a part of that most omnivorous animal's food.
ferns,
is
with most other
ferns, as
an occupation, the large fronds being used
cutter, stooping over his or her
and picturesque
scenery
then assume every shade of ochre, sienna, and even lake,
time, quite
fern,
over
artist, is
created by a group of noble
purposes, as litter for horses, for instance, while the pigsty
with
all
overgrown with the large Braken, among which wave
the antlered heads of the couching deer.

foliage,
Xo park
form a most effective foreground.
sufficient size to
the,
but the
Brakes, or Braken (Pteris aquilina), the commonest kind, growing
fern-
in the proper season, a suitable
woodland
thus describes the Braken and
its
scenes.
Mr. Newman, in
favourite habitats:
THE HKATH, OK COMMON.

" It is
the most abundant of our British ferns, there being scarcely a heath,
common, wood,
luxuriance
which
or forest, in
presence in great abundance

its
when growing
am
make
does not
it
appearance.
its
said to indicate poverty in the soil
is
in the vegetable
mould
Its
but, from
and in highly-
of woods,
manured gardens,
cultivated land
rather to be attributed to the effects of the plough and the
is
inclined to suppose that
hoc tban to any quality of the
which
fly
usual absence from rich
appears one of those truly wild plants
It
soil.
its
from man, and take refuge in wastes and wildernesses.
In size
it
is
extremely variable, being sometimes scarcely a foot in height, while at others

it
reaches an altitude of ten, and even twelve
every other description of

detected on the South
but of small size

it
size,
and hanging gracefully over them
They
is
it
usually present,
its
they
may
and instantly turn
be,
by the
are killed
to a
it
soil,
were,
delicate pinnules on the
The young fronds make
are extremely susceptible of cold, and
They
as
under these circumstances
it is
their
it
appearance in
by no means unusual
to see the earlier fronds, before their expansion, entirely destroyed

frosts of spring.
occurs on
it
and may often be seen climbing up,
a fern of exquisite beauty.
May.
In dry gravel
of Sussex.
the lower branches and underwood, resting
little twigs,
is
Downs
Although
while in thick shady woods, having a moist and rich
enormous
attains an
among
feet,
avoids chalk, and scarcely a plant can be
soil, it
by the
late
of autumn, however slight
first frosts
deep brown colour, but remain perfectly
undecayed, and frequently in an erect position during the whole winter."
The Hard Fern {Blechnum

throughout Great Britain.
gravelly soil
on chalk
It
it is
.sjiirun/)
is
rarely
almost as universally distributed
is
fond of moisture, and prefers clayey and
met with.
Mr.
Newman
remember having seen a specimen from the chalk

Surrey.
winter,
It
when
differs
its
from
the
braken by remaining persistent through the
bright glossy green leaves look very beautiful.
The Male Fern {Aspidum Filix-mas)

found in lane-hedges, where
crooks,
and when
common
centre,
its
fully developed,
making a
is
a large
handsome
plant, frequently
fronds, before they uncurl, resemble shepherds'
form a
graceful
principal spine of the fronds should
added in a
says he does not
of Kent, Sussex, or
hills
fine
natural
first
group of leaves rising from a

vase.
In
drawing
ferns, the
be sketched, and then subdivisions
series of short strokes.
Lower down on the bank glows the common Cuckoo
Pint, or, as
it
is
often
142
by children
called
Lords and Ladies
"
(Arum maculatum).
The broad bright
green leaves of this plant are general 1)' sprinkled with dark purple irregular
spots,
though their presence seems
to
they are frequently met with green.
depend upon the nature of the
The flower-stalk becomes
soil,
as
autumn
in
very conspicuous, being a thick spike of scarlet berries, remaining long after
the leaves have decayed away.
The pretty
all
little
Herb Robert (Geranium. Robertianum)
plant the
through the summer, and often enlivens our hedges with
and bright red and green

"
leaves,
Every one knows
when they would
its
flowers
pink blossoms
otherwise be devoid of
and most of us have bound
in the
nosegay
gathered in childhood from woods, and thickets, and green lanes, and
meadow
colour.
hedgerows.
It conies
we may
see
its
it
with the brilliant blue germander speedwell,
summer
the approach of
it,
to
tell
of
and before a flower has yet expanded on the bank,
beautifully cut leaves gleaming in the sun.
When
winter
is
approaching, and flowers are gone, and main' green leaves are turned brown,
this foliage
is
often
among
the few bright things
with a rich glow of crimson,

render
it
attractive.
heaps of stones with

singing
near
it
his
We
its
it
have
steins
seems not
in
and
to
are
September seen masses of

leaves,
left,
and, touched
it
covering large
and thought, as the robin
prelude to the winter, that
accorded well with each other."
that
need the addition of blossoms to
the hue
of
sat
sweetly
bird and leaf
VI. MEADOW GBASSES
Section
AND FLOWERS.
VARIETIES
(IF GRASS
IN'
DIFFERENT SITUATIONS FORM OF .SURFACE COVERED PRESERVED
CHARACTER AND THE IDEA OF QUANTITY WITHOUT MANNERISMRUSKIN ON GRASS CHANGE
OF COLOUR IX SUMMER, ALSO DIVERSIFIED BY FLOWERS DISTINCTIONS IN COLOURING OF
YOUNG CORN AND GRASS.
Before the young
artist
becomes ambitious, and while he
difficulty of imitating the least portion of Nature,
study,
and sketch the simple grass
of
is
the foreground
close at
hand
at his feet.
making thorough and
opportunities of
and
lie
At
le
still
feels the full
will do well to examine,
this period
he has abundant
practical researches into this portion
will find that
an intimate acquaintance with what
will assist, rather than prevent,
him afterwards from glancing
144
hastily over to the distant mountains, or soaring into the regions of the ever-
The eye that has learned
changing clouds.
"
the
mark, and the hand
to
sunshine which gilds the emerald blade," will
expanded sunbeam
exercise, be better able to portray the
distant hills
by
to trace
this
invigorating
as
falls
it
on the
and a previous study of the varied hues of the waving grass
power of appreciating the minute
will give a greater
difference in the outline
of the snow-capped mountain or distant group of trees.
An
early
and perfect acquaintance with so common a production, begets a
degree of modesty in walking with Nature, by proving the insufficiency of
our vaunted Art to deal with even the humblest of the great Creator's works,
and prevents the young
mannered
artist
from becoming
He
style of indication.
should
satisfied
study
with a certain easy

the different grasses
first
with their wavy bloom, separately, as they bend beneath his
feet
then as
they grow in countless multitudes, thickening into one green, extended mass.
He
will find that there
is
as
much
"
secondary colour more marked in
its
positive green
instantly changed
is
rays of light, and
"genial gold."
it
The
may
remarked
to be
though we say with the world that
grass
still
in colour, as in form, for
green,"
character
by the
be turned in a
is
and there may be no
than
this,
most
yet the
more powerful predominating
moment
into crimson, tawny, or even
British landscape painter especially,
ought
to
be well
acquainted with that which, although found in every European country, so
pre-eminently distinguishes his native
isles
and as there
is
no other plant
or herb so generally diffused throughout his country as grass, he
required to give some definite instruction respecting
it,
to
is
frequently
show with some
degree of understanding, what the hasty, apparently often thoughtless touches
intended to represent grass, do really mean.
Grass
is,
indeed, far too often carelessly
drawn
or caricatured
by
a con-
tinued repetition of clumps of three or four strokes radiating from one
and where
it is
the foreground of the drawing.
Now,
if
there were nothing but
grass growing in tufts without blossoms, and these were

in a
newly-mown lawn
or
hay meadow,
understood; but grasses have so

in
root,
intended to be abundant, these are scattered at random over
much
this style of
all
blades of
kept uniform, as
drawing might be better
character in themselves, and are found
such different situations, that more careful observation and drawing
required to
make
a faithful landscape-painter.
Grass covers the
is
fields, it is
PLATE
iBswsia
ip&jict-ot hh sEipxa,
otto ANW
^mmm,
VI.
MEADOW
and
true,
in
spring
may
it
ASSES AND FLOWERS.
(JK
be
form of one species from another
is
we
see each plant separately,
One
character of each.
grow
many
When
in the water.
perfected by blossom and seed, and
the surface of the earth without altogether lading
is,
that
it
clothes
The method of
form.
its
drawing the multitudinous shapes of leaves by arranging the larger lines
should
On
is finished,
little
by leading the eve

which
this outline,
the study
Thus the surface of the ground upon which
be indicated, the various
first
lines selected, which,
is
is
it
They
all.
pointing
in
in
always general and
general found
different
away
and disappears when
is
necessary to
straight or
some being more

must be made
mark
their shape at
slightly curved blades,

distinctly
marked than
they are allowed
firmer, until
into the undefined portion.
To explain
this
more
fully,
we
will suppose a tint laid
leaving in light the tuft of blades, or

variations,
faint,
lighter or darker, should be noticed.
it
bo
to
directions,
others; to effect this, the strokes

to die
and those
the blades should be drawn, and those which are relieved
only at these points that
are
hillocks correctly outlined,
first,
grows
it
into the picture, help the perspective.
by the masses beyond, whether by being

In fact
each
when we can
are then better able to perceive the distinctive
of the principal points about grass
must be here adopted.
the
to
sandy sea-shore, whilst
to the
descriptions fringe our blue streams, or even
of these different species
difference in the
some kinds are peculiar
but
mountain, others to the woodland, some
145
any
to distinguish
difficult
vice versa
on with
these tints,
will indicate the blades sufficiently for
spring,
if
brush,
executed with
but
for the
more
advanced seasons, when the variously formed blossoms become conspicuous,

it
will be better to select a complete
light
from a mass
studies
of Nature
grass, &o.
there
of blades,
contain
that
must be
isolated plant, either painting

it
altogether
multitudinous parts,
method
best express the character, while
and
representing
or
it
or
like
darker.
leaves
it
out
In
all
of trees,
system adopted, and one which shall
gives without peculiarity of
manner an
idea suggestive of innumerable quantity.
But when by study and practice the student becomes thoroughly acquainted
with the forms, he
may
venture to give a
some touches conveying
little
predominating
licence to his brush,
light,
like the
evening sun, often given by Turner with a dusky
may break up with
ease,
any monotony either of

L
roll
and with
rays of the rich
of yellow ochre, he
light, shade, or colour.
146

To
fire
his
mind with
him
poetic feeling, let
the modest grass
invested
has
what
see with
charm Ruskin
Consider what we owe merelv to the
"
Meadow-grass, to the covering of the dark ground by that glorious enamel
by the companies
fields
for a little
recognise in those words.
power of
all
time the thoughts of
summer
All spring and
silent scented paths, the rests in
the
and countless, and peaceful
of those soft,
Follow but forth
shepherd
noonday
the
by
and Hocks,
of sunlight
life
ought to
the walks
heat, the joy of herds
and meditation
life
in them,
is
The
spears.
all Ave
upon the
world, falling in emerald streaks, and failing in soft blue shadows, where else
it
would have struck upon the dark mould
or scorching dust
the pacing brooks, soft banks and knolls of lowly hills
overlooked by the blue line of lifted sea
smooth
or
Some
warmth
in evening
softening in their
fall
grasses are
crisp
lawns
thymy
pastures beside
slopes of
down
dim with early dew,
all
by happy
of barred sunshine dinted
feet,
and
the sound of loving voices."
more suited
than others.
for single delineation
Among
the most distinguishable are Wall Barley, the spikes of which are covered
with long bristles
somewhat
with
the
Fox
or Cat's-tail grass, a green, hard, round spike,
like a small bulrush,
its light
called the
downy
common
Annual Meadow-grass, which
among
little
in
is
common
the
indicating
the
expected in the earlier
different
hue
air are so
The
advance
striking change in
by the
the bank,
coming up
in
pavement, where the foot of the
all vegetation,
and pastures, and are useful
smoke and confined
save these will grow.
spring, on
we
tread on
it
daily,
This and the smooth-stalked Meadow-grass are very
winter."
in fields
a diminutive species
is
be met with everywhere, "for
of the old wall,
city
not so frequent as to eradicate
summer and
may
the mosses and stonecrops
clumps between the crevices of the
passenger
to
is
on every waste spot where a wild weed

roadside,
meadows, and the Vernal grass
in
The most common grass
flower.
for grass plats in towns,
where
unfavourable to vegetation, that no grass
alteration of form, as the plants approach maturity,
of
summer,
stages
is
of their
far
greater
growth, and
the colour of the mass,
than
is
one might
accompanied
have
by
some species assuming quite a
to others.
Thus the Scented Vernal Grass, with a compact head of blossoms, becomes
of such a yellow tint as
it
ripens, that
indicative of the circumstance
and
if
it
has suggested a botanical
name
the fields are painted at this period
MEADOW GRASSES AND FLOWERS.

with water-colours,
it
will be better not to begin with general
some moderately-broken
spring-like green, but with
raw sienna and
ochre, or
portions
left,
147
warmed with
blue,
washes of vivid
made with yellow
and here and there
lake,
down with
to be afterwards tinted
tints,
richer yellow
still
light
for
on
glancing over the extended surface of a field ready for the mowers, whole
may
patches
be noticed where the blossoms congregate so thickly that the
At
green blades can no longer be discovered.

panicles of flowers belonging to
green to every shade of purple
delicate
actual
what
colour,
innumerable
produced by shadows, the
over the bending and graceful forms

to
show the green
cooler tints will
leaves, or
and besides these differences in
shades,
lights,
and
tones
delicate
the least breath of wind as
of
effect
this season of the year the
species of grass vary from a light
other
are
passes
it
Should the motion be great enough
more glazed
stalk,
instead of the flowers, then
necessary to represent both the natural colour and the
lie
In these pre-raphaelite
reflection of the blue sky.
studies, the zealous student
has yet another assistant to relieve him from the monotony of green blades
of grass in the kindly
hand
of a prudent farmer,
species of grass in his fields,
white and purple blossoms.

scattered about the
when
a
meadows
golden hue to whole

tones, is far
be well
young
point
to
several
In
addition to these, there are
plentiful
enough
its
rich
plants
stray
to affect the colour of the
whole
Foremost amongst these stands the Buttercup, giving
seen in masses.
madder
who always mingles
and often adds the fragrant Clover, with
meadows
and the
more welcome
Sorrel, which,
to the
artist
out the following artistic
with
deep-red and
its
than the former.
distinction
It
may
between grass and
corn.
Grass,
when looked
at
close
at
hand,
is
brilliantly
green, but
observed in the distance, in consequence of the surface being but
little
when
below
the sight, the flowers and seed strike the eye more than the leaves, and tints
are presented varying from faded green to russet brown, diversified also
many
the colour of
examined with
of
the taller field flowers.
attention, appears less green near at hand,
effect of the reflection of the cool
in the distance,
because
little
generally
sown
Corn, on the
it
else
contrary,
by
if
because of the
sky tones on the broad blades
whereas,
presents a vivid green, generally bluer in tone than grass,
than the leaves themselves are seen.
in drills, the appearance of parallel lines

"
L 2
is
As
corn
is
now
evident, and causes
48
it
present a very different aspect from the thick
to
When
of corn are thrown into ridge
fields
sward of the meadow.
and furrow, the summit of the
ridge will he generally the greenest and most luxuriant in colour, and in wet
seasons the yellow tone of the
who would
It
com
particularly disliked
is
to
by the farmer,
wheat had a blueddack shade.
far rather his
may be
more
in the hollows or furrows is still
This yellowish colour
be remarked.
added, that
all
vegetation comes sooner to
its
natural colour
by
the influence of light and warmth, so that some difference in the tone of grass
when under
made
the shade of trees should be
be confessed, that
it
and
service in the grass-lands,
own
its
is
during the hay-harvest that he finds the
It is
then the colour most decidedly changes,
it
fullest exercise for his pencil.
each day bringing
however,
It must,
apparent.
the scythe that renders the artist the most effective
is
variation, while
busy groups of
figures with various
implements, carts and waggons with their teams, and the incidents that occur,
afford both figure
and landscape-painter the greatest employment.
In sketching hay-fields, we should notice that the mowers like the grass
to lean
from them, as
them.
The body
is
The grass
crooked.
it is
more
is
it
mower
of the
is
easily cut,
is
generally
much
left in
usually arranged in small heaps
artistic attitude is
Grass rapidly loses
when
it
its
to
have the
long narrow rows
and
light
behind
and the handle of the scythe
and the next day,
into haycocks, the delight of children
many an
and also
bent,
rustic lads
the day following

collected
if fine, it is
and
lasses,
by
whom
assumed, or group unconsciously formed.
by drying
vivid green
the colour changes least
ha? been dried more by the influence of the wind than sun
it
then
becomes a dull gray or russet green, made by the more modest yellows, or
The prevailing colour
with addition of reds or lakes.

alluded to by
Thomson
of the hay-field
is
" As
tliey
rake the green appearm;; mound,
wave along the mead,
Ana
drive the dusky
The
russet hay-enek rises thirk behind,
In order gay."
Cox has
often proved
be depicted.
It
is
indeed
how charmingly
a
pleasant
the well-laden waggon, crowned
some opening
traces of
its
by
in the lane, rustling
sight
hay-field on a
and subject
windy day may
for the
artist
when
group of merry urchins, appears through
among
progress on the foliage.
the over-arching boughs, and leaving
DRAWING FKlM NATURE.
150
Section VII. CORX-FIELDS.

BEAUTY OF HARVEST
DISTINGUISHING
FEATURES OF WHEAT, BARLEY, RYE, ETC. CORNCOCKLE,

AND OTHER FLOWERSHARVEST GROUPS.
SCABIOUS, BLUEBOTTLE, POPPY,
The
harvest
is
matter of such deep importance to
country in general, that no one could

scene the most
case
unpicturesque
before the harvest,
many
to
fail
This
world.
in the
is
being,
the
of a
if thriving,
deep
cool
green
verification of the old saying, "
but as they approach

the highest, in
good rye grows high," and wheat next
from the straw of wheat being stronger, and therefore bending

the ripening ear, there
actual height
The
anrl
ears of wdieat
bend
slightly
inclination
is
not so
would lead us
is
when
ripe
become
When
then not so brown, and as the corn
it
gives a varied appearance to the

it
and browner than the
richer
is
stalk
waved
field.
of
much
brown
this
the colour of the whole
corn
is
by gusts of wind,
sheltered from the

fur
Oats are very
difficult
to
the grains being separate and hanging loosely, do not admit
definition.
appearance
straw,
field,
parts.
Barley
is
much
quite ripe, hangs considerably, and the
palest,
over the
in portions
Where
Barley and oats are generally cut before wheat.

;
their
remains green longer, and these patches continue
a time quite distinct from the
represent well
beneath
between the two as
a breeze passes
more being seen of the
is
sun by trees or houses
difference
indeed,
less
to expect.
downwards.
increased,
much
and
wheat, barley, rye, or
Eye grows
species are easily distinguished.
incidents to
When young
rise.
green, very little difference can be discerned between

all
from being the
far
chiefly in the
which the reaping and carrying of the grain give
maturity,
the
of
were the
it,
a beautiful combination of colour greets the
eye, while during that season, the interest lies
oats,
welfare
the
an interest in
feel
in the
shorter in the straw
the
awns cause and require
touch which represents them.
ear,
when
a lengthened
The colour of Oats
is
the
and Wheat the deepest brown.
The flowers and weeds generally found among

annoyance
corn,
though a serious
to the farmer, contribute greatly to the variety of colour.
CORN-FIELDS.
The Corncockle (Agrostemma
151
githago), a fine flower of a reddish purple
June and July
hue, grows about two feet high, and flowers in
plant
the whole
The Scabious (Scdbiosa Arvensis)
covered with erect silky hairs.
is
is
another beautiful plant, growing about three feet high, with a close head of a
The Corn Blue Bottle {Gentaurea Cyanus)
bluish lilac colour.
is
elegant of the native species of Centaurea, and the brilliant blue of
petals
No
forms an excellent contrast with the vivid scarlet of the poppy.
arti-
colour can imitate the brilliancy of the blue of the outer florets of the
ficial
The colour
Cyanus.
Tyas
of preparation.
called
Cyanus
is
permanent, but
it
tells
employed
so great, that he
not so by any ordinary
always dressing himself in the
making garlands
his time chiefly in
fine
much
blue colour he so
a corn-held, half
admired.
had gathered. This plant has various names in

in Scotland
it is
though the most troublesome and

corn-field, are often useful to
the
fast
difficult to eradicate of all

artist,
different parts
enabling
him
it
the weeds of the
to repeat
some strong
from being isolated or
tints.
even more productive of picturesque groups than the
hay-field, the colouring being
sheaves, possessing a
last
escaping sleep,"
colour in the dress of a figure, and thus preventing
unconnected with other hues and
At
and in Kent Bluecap.
called Blue Bonnet,
" Poppies, which bind
is
of them,
buried amid a quantity of the heavenly
tinted flowers he
The harvest-held
is
to corn-flowers
of the country
mode
long as his favourite flower was to be found, and
fields as
he was found dead in
it is
us that, according to ancient fable, this plant
youth of that name, whose attachment
after a
seldom leaving the
by expression, and would be valuable
easily obtained
were
to the flower painter
was
the most
its
more
warmer and more

distinct
varied, the corn, in shocks
and
form than the hay, while rustic figures
in their different attitudes, with the younger portion seated, either
among
the
corn or keeping watch over the heap of many-coloured garments under the
shade of a
The
little
add much
to the richness of the picture.
an
artist
old
women
bent with age,
children scarcely able to walk, yet helping their mothers, and graceful
young
girls
Then
a
tree,
gleaners, too, are a rich treat for
bearing upon their heads sheaves of drooping
there
number
is
the Harvest-home, the wain with
its
ears.
golden burden, on which
of noisy, merry children have clambered, surrounded
and followed
152
by troops
and
its
of reapers, all in eager expectation of the
accompanying fun and
In England
before the
congregate
often happens
it
murderous
among
first
when
the harvest
of September, that
is
early
and pheasant
coming doom.
assist the student in giving character to
each species of corn, a few ears
have been carefully drawn from Nature, and are grouped

section,
and the grain cut
the partridge
the groups of sheaves, to feast on the ripe grain in fearless
security, all unconscious of their
To
coming Harvest-home
jollity.
at the
heading of this
with several of the most striking weeds of the cornfield.
appropriately the harvest scenes
we should
follow the
But
to finish
welcome sheaves
to the
old-fashioned barn where the corn lies secure from wind and rain, but where
other enemies
to
have been
still
pursue
it
such as
rats,
sportsman, and while the upper portion

pictures of
by
all
mice, &c.
for ages the gibbeting place for all
life
and
marauders.
security, serves to
is
The barn door appears
enemies of the farmer and
devoted to the most charming
show the penalty that must be paid
Section VIII.
" The current, thai with gentle
murmur
yli.l. s.
Thou know'st, being stopp d, impatiently duth rage

But when hid lun course is not hindered
With willing spurt
to the wild ocean."

"
The Twu Gen tlemen ok Verona."
THE AVON AND DR. ARNOLD WARWICK CASTLE THAMES FRUITFUL IN* WATER PLANTS
J.
RUSKIN
MOUNTAIN STREAMS FLOWERING RUSH, WATER PLANTAIN, AND
W. THORNE
WATER ARROWHEADWILLOW HERB IRIS MEADOW SWEET WATER LILY COMFREY, ETC.
WATER DOCK BUR REED HART'S TONGUE EVEKSHED's MILL POND RUSHES COMMON REED.
It
in
is
and on the borders of such streams
by our great
poet,
that
studies of plants, for
it
the
is
artist
finds
of plants that
as the one so beautifully described
the greatest variety of foreground
we
are thinking at present, rather
than of the more impetuous, or grand and majestic rivers of our

speare must surely have intended picturing his native river
above, for just such a stream
it
is
the Avon.
Even
but this
is
chiefly
due
to our
own Arnold
Shakethe
before reaching Stratford, as
wanders through the meadows round Rugby, an interest
river
isle.
when he wrote
is
attached to this
rather than to
its
picturesque
154
beauty
was across these banks
for it
that he leapt with his boys,
their house-leapings, their steeple-chases,
The stream
exercises.
still
is
small,
and watched
swimming matches and
and the country, Arnold
other
manly
calls "
unsur-
passingly dull."
But
it
is
fortunate for artists and students of Nature that they can find
and amusement
interest
adorn the smallest
calm
surface,
bell as
river's
where others find none.
in things
broken only by the ripple with
it floats
onward
many
bridge, furnish
these,
studies for the pencil
scenery, picturesque, but not grand.
noble
trees,
and on
its
its
but further on, the
It
fair
Fit scene for the artist in
which herds
which
of deer lie quietly
to place the "
That from the hunter's aim had ta'en

Did come, to languish."
if
he prefers an easier subject, a charming one
Stare Bridge, with our stream passing between
overhung by bushes and a lovely

glancing
and
through
but not
last
its
Avon joined
type of English
winds through Stoneleigh Park with
ash,
least, stately
is
its
for
Cliff
hand
close at
timeworn
with the shy, but
Warwick, with
the
a hurt,
its gray,
pendant branches, or Guy's
among
melancholy Jaques,
" As he lay along

Under an oak, whose antique root peeps out
Upon the hrook that brawls along this wood
To the which place a poor sequester'd stag,
Or
ami the foam-
delicate curves
banks there are magnificent specimens of ancient
oaks, under the broad shadows of

fern.
that
with an old water-mill, a sluice-gate, or wooden
by the Leam, passes through a country presenting a
its
The plants
bank, the reflections of skies, clouds and trees in the
in
Old
buttresses,
brilliant kingfisher
with
its
pretty mill,
noble towers reflected in the
broader expanse.
Then, as
greeted
we
saunter along on the soft turf by the river's margin, the eye
by a succession of cheerful landscapes.
soothing
murmur through
moment
slope so gently into
fertile
its
pastures,
is
The stream meanders with a

which
between banks
at
one
waters that the ripple from the faintest breeze
washes over the daisies that bedeck them, and the next
start
up
steep
and
broken, crowned with an old willow whose rugged roots bared by the winter's
floods,
are
now entwined by pink convolvulus and wild
picture charmingly reflected in the dark mirror below.
ivy, all
On
either
forming a
hand are
broad open lawns and sunny slopes, running into bosky hillocks, a farm-house
THE STREAM AND

two half concealed among
or
BORDERS
ITS
155
and the gray tower of the village
lofty trees
church, with a few irregular root-tops about
it,
and
beyond; these are features of the scene grouped
dark mass of foliage
bend of
differently at every
our playful stream, and with the blue sky and fleecy clouds above, they
many
a picture that
The Thames, however, may

of
scarcely possible to
name
affords.
it
It is
known however
the numerous rustic nooks, well

I
to
have selected for
heading a sketch from Caversham Bridge, as conveying an idea of this
beautiful stream with

traps,"
but there are
the magnificent old
humble and
or the
sedgy
its
many
"
banks, pollard willows, and picturescpue eel
other subjects to be found in strolling up
Manor House
Maple Durham with
at
truly picturesque water-mill, thought
best mill on the Thames.
weir close by
For a landscape-painter who wishes

ruption,
and
to escape for a
with
who
is
also quite
to study
an
artist in
and forgetting
sees just as he sees
it
and we have the authority of a

saying that here he may,
The young painter who
for awhile,
his easel in the
lights,
or
only to distinguish what
up unrestrainedly
watching
in the early
will do
this
any other
is
essential
to the teaching of Nature,
who will
dawn the changing
rich groves
dew
as he looks out over the river
glitter of the noon-tide
come and dwell here
effects of the
the deep thick shadows, and the pearly sparkling
power
fix
of,
reflected
he will find to be a far better guide than any connoisseur or picture-
dealer.
river,
to be the
atelier conventionalisms, try to represent
aiming
characteristic, giving himself
whom
by many
oriels,
from Nature without inter-
feeling, for
and without darkened windows or
atelier contrivances,
what he
banks
trouble and at small expense, bring his colours and canvas, and
little
air,
its
bays and
also excellent.
is
then in some of those delicious spots already spoken
open
its
few days from the smoky atmosphere of London,
Pangbourne or Streatly are admirable

writer,*
and
beauty
for the quiet
where sweet placid river-scenes may be studied.
artists,
my
with the Avon
fairly vie
banks and the abundant studies of water-plants that
its
make
does the heart good to look upon.
it
breaking mists,
the brightness and
from the shelter of the
the mellow radiance which the setting sun flings over trees and
and cloudless sky
and as
" the risin'
moon
begins to glowr," trace the
of chiaroscuro, of those marvellous combinations of light
which genius has sometimes been able

* G.
W.
to fix
and shadow
on the canvas, but which Nature
Thorne.
15G

ever
is
lavishing
with
hand before him who

see
he who will
do
is
unsparing
abroad to
this, will find
that the bounty of Nature
not yet
is
exhausted; that even in such unromantic spots as these, there are to

be found passages of river-scenery
still
unappropriated by any of our
admirable
and
landscape-painters,
unnoticed by the great painters of

old.
of
And
he will find also plenty
employment
We
in figures.
for his
cannot
sketch-book
quoting
resist
from another well-known lover of
Nature and
tion
upon
of
art,
borders.
its
"
Euskin,
a poetical
descrip-
stream and the plants

"
Patiently," says
eddy by eddy, the clear
green streams wind along their well-
known
beds,
and under the dark
quietness of the undisturbed pines

there spring up, year by year, such
company
know
of
joyful
not the like of
flowers
among
as
all
the
THE STREAM AND

blessings o
the earth.
crowded
clusters
It
was spring time,
manner
and there was the
too,
and
157
were coming forth
all
for all, but they
in
crushed
of strange shapes only to be nearer eacli other.
There was the wood anemone, star

nebulae
BORDERS.
was room enough
for very love; there
their leaves into all
ITS
after star closing every
by
oxalis, troop
now and
then into
troop, like virginal processions
of the Mois de Marie, the dark vertical clefts in the limestone choked up with
them
as with
and lovely
bells in
heavy snow, and touched with ivy on the edges
as the vine
sunny
places,
and ever and anon a blue gush of
and
more open ground the
in the
ivy
violets
vetch,
as light
and cowslip
and comfrey,
and mezereon, and the small sapphire buds of the Polygala Alpina, and the
wild strawberry, just
softness of deep,
a blossom
warm
edge of the ravine
murmur
the solemn
showered amidst the golden
two, all
or
amber-coloured moss.
of
beneath, mixed with the singing of the thrushes
on the opposite side of the

limestone, there
came out presently on the
I
its
waters rose suddenly from
among
valley, walled all along as
was a hawk
the pine boughs
it
was by gray
and
cliffs
of
slowly off their brow, touching them
sailing
nearly with his wings, and with the shadow of the pines flickering upon his
plumage from above
but with a
of
fall
and the curling pools of the green
a,
hundred fathoms under his
river gliding
breast,
and glittering dizzily beneath
him, their foam globes moving with him as he flew."
on the borders of such streams as those
It is
water-plants, which should
various
seeking
landscape-artist,
are
generally
The woodcut,
found.
Push (Butomus
represents three of these, the Flowering
Plantain
mentioned, that the
first
form part of the study of every truth-
(Alisma plantago), and Water Arrowhead (Sagittaria
Water
The Flowering Rush,
often called the
narrow sword-shaped
leaves, very sharp at the edges,
Gladiole,
page
umbellatus), the
is
156,
Water
sagittifolia).
a lovely plant with
and a
cluster of
fiite
rose-tinted flowers at the
summit
of its stem.
Pride of the Thames, and
when
grows in the neighbourhood of the water
iris
and white
easily
water-lily, a
surpassed.
it
branches in almost every stream.
plant,
its
its
leaves,
is
sometimes called the
combination of colour and elegance
The Water Plantain
on a branched stem.
It
is
much more
The leaves
The Water Arrowhead
are
is
in
form,
formed not
rearing
its
pointed, the flowers pink

a beautiful
white flowers forming a lovely contrast with
which are elegant
is
general,
the
and common
rich
green of
exactly resembling the head
of an
158
arrow.
It
the leaves
sometimes grows two or three

lie in
feet out of the water,
large masses on the surface of the stream.
but generally
It flowers in
July
and August,
While pointing out
may
that
we must
streams,
to the student of
Nature some of the simple studies
be found along the banks of the Thames, Avon, and such placid
not forget to mention that there are endless subjects of a
and salmon-traps,
ing, or picturesque weirs
by the
side of quieter rivers, an ancient gothic ruin of surpassing beauty
interest,
must
all
such as Tintern on the Wye, or Bolton Abbey in Yorkshire

be
to guide the
more advanced
young
artist in his earlier attempts.
to
our more tranquil streams
(Fpilobium Hrsutum)
is
plant bearing
the Great Hairy Willow-herb
large
madder-coloured nWers, succeeded by long
upright
spikes
split seed-vessels.
beautiful as they ever are with their rich verdure and
an additional
but these
students, our chief object at present being
left to
To return
or,
and
many
of
Our
rose
or
streams,
flowers, receive
ornament when, during July and August, this Willow-herb
grows there in profusion.
Most
meadows, and the streams and
of the rills
rivers
which
which wind
trickle
among our green
their silvery way, as well
THE STREAM AND
ornament
as the stagnant ditches, can then boast this
dance.
day,
this
150
ITS BORDERS.
in
more or
abun-
less
Often the purple blossom waving at a distance on a hot summer's
invites
the wanderer to
some
cool
sequestered
The stems of
spot.
Willow-herb are much branched, so that the plant has somewhat the
The
appearance of a shrub.
green
tint,
leaves, like
most downy
foliage, are of
a grayish-
and the large blossoms are reddish-purple.
The Water
Iris (Iris
pseudacorus)
the banks of the stream, and in
is
marshy
common
laud,
in the south of
England on
and the beauty of such scenes

is
greatly enhanced
during the months

of July
and August,
by
large bright
its
yellow
purple
or
flowers.
The leaves
are sword-shaped.
Meadow-
The
sweet {Spiraea ulmaria),
or la rcinc des
pres as
it
called
is
in France, is one of
our
loveliest
flowers,
and
wild
at the
same time a most

effective foreground
plant.
The stem
thick
leaves,
and crowned with a
head of creamy, or as William
poetically expresses
cluster
upright and red-tinted, with
is
handsome jagged
so
it,
Howitt
"foam-like flowers," which
close together, that
they permit the
artist to give the general colour with truth, and
harmonize admirably with the warm Cuyp-like

sunsets sometimes seen over our English meadows.
Their colours recall the delicate and varied yellows which then surround the
sun, while the associations connected with this plant are invariably suggestive
of
calmness and repose.
Crowded though
the flowers are, they are yet so
160
I)
light
HAWING FROM NATURE.
and feathery that the
their perfume, bids
wind
slightest
them nod and bow
ruffles
them, and while
gracefully before
it
wafts
it.
" The almond-scented Meadow-sweet, whose plumes
Of powerful odour incense
The odour here alluded

though in the open
It
flowers in
Water-lily
June and July, and may

in
is
green leaves, like the
and
in
the
shade
its
scenes.
of the
(if
meadows, surely the White
the waters
foliage,
and
there
something
is
sculpture-like blossoms and broad dark
" pallettes of fairy painters."
of
so for a room,
therefore be appropriately introduced
the empress
so truly imperial in the beauty of
much
combination of hay and hawthorn.
hay-making
meadow-sweet be the queen
(Nymphwa Alba)
the air."
to is very overpowering, too
air it is a delicious
by the margin of a stream

If the
all
it
certainly
It
is
delights in
far
more
still
effective
clustered in groups in such nooks, relieved by the shadows and

leaves, than if
it
its
waters
when
glossy
were scattered indiscriminately over the general surface of
THK STREAM AND

the water.
the spot
It
is still
is
BORDERS.
ITS
161
very abundant in the streams near Oxford, and on the Ouse
pointed out where intelligent Beau performed the friendly
afterwards immortalized in verse by his grateful master, Cowper.

lakes, too,
abound
to Professor
said, " retire
Loch Lomond, where, according
in Water-lilies, especially
Hooker, acres are covered with
its
below the surface of the stream soon
waxen
These,
flowers.
after noon,
to ramble
know
these alabaster vases,
that this
is
is
quite certain they close after the sun has lost
have
sung the praises of
Hemans
flower
this
many
not strictly correct, as
possible, however, that
folded above the water
it is
is
Those
by moonlight near streams decked with
lie
it
and remain there
during the night, rising again upon the waters early in the morning.
who have been accustomed
feat,
The Highland
some may
following
the
Many
power."
its
lines
of
sink,
them
and
it
poets
by Mrs.
are
"
How
beautiful thou art,
Thou
sculpture-like and stately river-queen,

Crowning the depths, as with the light, serene
01'
a pure heart.
" Bright Lily of the wave!

Rising in tearless grace with every swell,
Thou seem'st
Dwelt
as if a spirit
in
thy
The Yellow Water-lily {Ni/mphcca
meekly brave
cell."
lutca) is neither so laTge nor so beautiful
yet a fine flower, contrasting well with the white species
as the last, but
is
when they grow
together, as they frequently do.
stream
for
The blossom
The Brent
Lily sometimes rises higher than the white.
is
of the
Yellow
an excellent
little
the study of this and other water plants, which are there exceed-
ingly abundant, especially between Hanwell and Greenford.
The Comfrey {Symphytum

places and ditches,
is
officinale),
a large plant
The
well suited for foregrounds.
common
in
The leaves
white or purple in colour, and hang in two separate bunches.
rough and wrinkled, growing down the stem and waved at the edges
only from the root have stalks.
as high as three feet.
It flowers all
The Brooklime
watery
flowers are yellowish
are
tho?c
through the summer, and grows
{Veronica, Beccabimga), a littb plant
growing along with water-cresses and other inhabitants of running streams,

blossoms
in
conspicuous.
June and July, when

The Water Figwort
its
pretty blue
{Scrophularia.
plant which blossoms in July and August
star-like flowers
aquatica)
the stem
is
is
become
another river
square, bearing ovai
162
grow opposite each other; the
leaves that
above
neighbours
its
flowers,
The Water Hemlock
opposite separate branches.
too,
from
spring
masses of blossom have a greenish-white tone,
its
which appears cold when contrasted with the warm lemon-white
The Great Water-dock {Rumex hydrolapathum)
meadow-sweet.
mental
plant,
to the
stream as the burdock
is to
importance to merit
ground.
The stem
is
much
The
round heads, and appear in July.
flowers are collected in several distinct
Height from a foot
The Hart's-tongue (Scolojicndrium
vulgare)
loves the margin of streams or the

its
not of
attention, is useful in varying the fore-
round and much divided, the rootdeaves very long,
sword-shaped, and rather hollow.
adorns with
re-
bears a spike of flowers unmixed
it
The Branched Bur-reed (Sparganium ramosum), though
sufficient
orna-
handsome
The leaves
the burdock.
to
of the
as
is
the roadside, being a large
though very different in appearance
semble those of the horse-radish, and

with leaves.
little
(Circuta virosa) rises high
mossy stones by hidden
springs,
In the moat at Kenilworth Castle
long leaves.
and a
to a foot
half.
a remarkable looking fern, and
is
it
which
it
may some-
times be gathered two feet long.

It is not often that
we
predominate
many
find
on the banks of a stream
of these water-plants in the
small sheets of water, and ponds of
possess a greater variety.
country, being
remember
same spot
one plant and then another will
especially, first
recommended by the landlady
descriptions, generally
all
my
in one of
rambles through the
of the rustic inn
where
was
stopping to take a certain walk which she pronounced a very pretty one, the
termination of her rather numerous directions being
home through
Of course
the wood."
was not
"
by the mill-pond and
entirely successful in
my
endeavours to follow her instructions, but after various detours through woody
lanes, I at last
came suddenly on a more open
diverged, leaving a
little
triangular
spot,
where two country roads
corner of rough grass, and revealing a
placid piece of water fringed with luxuriant rushes and rank water-weeds, the
whole inclosed in a noble framework of beech and

silvery trunks
feet.
were reflected with wonderful
While yet gazing on the
Avater-mill
caught
my
ear,
for
scene,
lying,
the
as
it
ash-trees,
fidelity
click-clack
did,
of
escaped
my
notice.
Now,
a bustling
nearly hidden
beneath the bank, and overhung by an oak and clustering

first
whose gray and
in the mirror at their
the sound of a water-mill
is
little
from sight
hollies, it
had
at
ever welcome to
THE STREAM AND
ITS BORDERS.
163
a landscape-artist, fur whether overshot, as this was, or undershot,

a pleasing subject for a sketch.
is
almost certain to he, among
very position
Its
always
it is
engaging, nestled, as
is
warm
while from behind these starts up some steep bank to furnish a peep of
Though modest and unassuming
colouring.
once discovered, seldom
it
and surrounded by divers water-plants,
trees,
in character, the water-mill,
fails to excite interest,
and
in this instance
when
was not
it
Of the various buildings grouped
merely the mill that charmed the eye.
around, each possessed some claim to attention, being either picturesque in

or
itself,
position, dilapidated state, or peculiar adaptation to circumstance,
by
an additional object of interest
in
stone,
tilted cart, grind-
and a discarded wheel or two, and was, moreover, the favourite
Then
of the barndoor-cock.
its
there were
the
sluice-gates
resort
and water-course,
broken and disjointed wall, where gigantic willow-herbs and figworts
young
flourished, while, the gem, or choice bit for the
bridge
a projecting
into
roof of thatch, patched with
its
and green with moss, protected in some degree the
tiles,
with
Burrowing
the group.
bank was an old cart-shed gray with age;
this water-course,
over
stones, that led
down
to
the stream and formed the
was a
student,
with old dilapidated steps
broken
of
main entrance
rustic
millto the
miller's dwelling.
Surrounded by
which belongs
all
to the
these accessories,
it
off all intruders to a respectful distance,
cleared, leaving
it
its
speeds merrily on, and
much more
arms
if
off if
the sails of a windmill, and
it
hardly compensates
Perhaps
am
I
it
Rembrandt
for
move
if
it
all
has too
No
has too much.
is
objects
must be
little
my
the
am
biassed in
my
wind, and
busy favourite
of water
is
preference for the
utterly incapable of representing
motion in
but natural to prefer subjects that one has
The honour gained by the windmill
chance of portraying well.
in having assisted
and from which
incommoded with a superabundance
easily relieved.
water-mill by the fact that
at least a
air
vengeful arms warning
its
undisputed possessor not only of the earth beneath, but
also of the air above, sulkily refusing to
threatening to hurl
had none of the unapproachable
gaunt roaring windmill, with
to true
ideas of chiaroscuro, in
my
my
favourite
mill had charms enough to
make me
damage
it
inflicted
on
opinion,
hero
of
La Mancha.
At any
and sketch
rate, this particular

it,
and though unable
to seize
and depict
all
sit
down
the changeful lights
DRAWING
and shades that
around
flitted
it,
FROiM NATURE.
me
the setting sun behind
of the scene a rich golden light, heightening the effect of the
on the beech-trees, while
tints
which
scattered a few drops
to
needed
for
my
on a portion
a heavy rain-cloud in passing
left
dimpled the water, gusts of wind shook the
still
my
wet boughs of the old oak over

than
the
cast
mellow autumnal
me
head, supplying
with more moisture
Showers of leaves of every autumnal hue,
drawing.
from the palest lemon yellow to the most brilliant crimson, twirled merrily to
the ground and water, seemingly glad to have their glories illumined by the
warm
sun's
rays as they finally sank to rest.
Even
the dark cloud as
it
passed away threw a farewell smile on the scene, and glancing back in a
radiant fragment of rainbow, as
if to
say, "
and made me serve your purpose, setting

and shade
light
canvas, and
now behold me under
beware
though the
This,
you do me
'
first,
your
new
by
profited
my
gloom
and balancing your
trees
aspect, transfer
me
to
your
have
justice."
was not the
made the acquaintance
since
You have
off
last visit
of the old miller,
paid to the mill.
and held many a conversation
with him, as he smoked his pipe on the bench beneath the oak, on subjects
most remote from Art that can be conceived.
the
a view across the
pond
to
the mingled
This bench
willows and alders, and thence up a vista of fine beech-trees.

entirely the
this spot
him
in
charm of the landscape, however, that
for
though not wholly insensible
watching how the water holds on,
commands
mass of reeds and rushes, stunted
to
it,
there
for the
It
attracts the old

is
pond
not
is
man
to
a deeper interest to
extremely shallow,
is
and should the water run short when a busy time comes on, when housewives
want
flour
and pigs want barley-meal, the
fact is revealed
by a muddy margin
garnished with old pots and pans, broken spade-handles and rotten baskets.
As
look at him,
half regret that I have devoted myself so exclusively
to
landscape painting.
or
Hunt!
his
still,
jet
What
a capital study he would
black,
make
white hair, his somewhat hooked nose and expressive mouth

his burly figure
for
Gilbert
overhanging eyebrows, contrasted with
and appropriate costume, would
all
tell
these,
his
with
admirably in their
hands.
AVhile
we thus
sit
deeply engrossed in chat and work, the water-rats treat
us as mere stumps or part of the scene, for they nibble away at the water-flags
and rushes with the greatest
relish
and
in sou fiance
in
this
their favourite
THE STKEAM AND

locality
nor
is
ITS BOKDEKi
this preference theirs exclusively,
165
being shared by myself and
other artists for the fine studies of water-plants that
yields.
it
It is rare sport
waste water by the loose plank, and plunge into the thick
to cross the shoot of
bushes that skirt the pond, for there grow profusely the lovely meadow-sweet,
and
water-iris,
stately bulrush
lisingly out of reach in
the two
mud and
vainly endeavouring to cut or hook

(if
or clubbed heads,
their flowering
justifying the act
latter,
Many
water.
off,
with
and
my
however, stand most tanta-
an hour have
wasted in
knife tied to a stick,
some
desperation, and
at last, in sheer
by the assurance that possession of them was absolutely
necessary for the completion of a foreground, I have actually slipped off boots
and socks and
waded
fairly
to the capture.
a raid of this sort over the
pretty figure one cuts after
border for rushes, coots'-hests, or water-lilies
a pair of close-fitting black boots seem to encase the feet and legs, and a good
deal of time
is
lost in getting rid of the
and water-plantain do not cost

cpiite close
much
so
Common Rushes
steins
the top
places they grow
(Juncus Conglomcratm) grow in clumps of round, pithy,
bunches on the sides of these stems, near
their flowers are in
and the plants
clubbed spikes of flowers make
it
spring directly from the root.
August, remaining
graceful plant
is
from afar waving

"
till
the
its
The Bulrush {Junius
are generally devoid of leaves.
Palustris) can never occur too often for the artist
or six feet.
many
by the banks.
smooth
all
The flowering-rush
encumbrance.
trouble, as in
late
in
its
very conspicuous
It
the long narrow leaves
grows as high as six
the year unbroken
Common Reed
height and rich brown
feet,
and flowers
by the wind.
(Phragmites Communis), which appears
purple clustering feather, and attaining the height of
Patches of immense extent are formed of this plant.
eastern parts of England, and in
many
is,
in its season, carefully harvested,
counties for the various uses to which
number
of acquatic birds find a
may sometimes
common
birds.
of the lowlands of Huntingdonshire,
its
culms are applied.
home among
is
soil,
and even exported into the adjoining
An immense
these reeds, and sheltered there
be found the rare bearded titmouse, with
So much injury
five
In the
Cambridgeshire, and Lincolnshire, this reed constitutes the crop of the
and
in
Another
done by birds
many
of our more
to this valuable crop, that
the farmers of these reedy districts are compelled, during the autumn, to
despatch boats, with
men
carrying firearms, to scatter
them away.
Knapp,
166
who mentions
this circumstance, observes, that as
'
evening advances, one sees
crowds of starlings approaching from every quarter, in numbers that exceed

belief, to
pass the night on the reeds, upon which, after various arrangements
they alight in myriads, bearing down by their weight this flexible plant into
the water, and one sees large patches lodged and beaten
and though the guns
of the
flat
and spoiled
boatmen sweep them away by hundreds, the
survivors are so drowsy that they remain stationary, or rising, settle again
immediately over the bodies of
their
slaughtered
companions,
returning
evening after evening, not apparently diminished and in oblivion of the

carnage
of
the
preceding night."
assured this writer that they

in a night.
Hid among
name
down
when
the waving grass before
it
these
neighbourhoods
of these birds
the hapless starlings are roosting, he
him and
of windle-straw, which this grass had,
and was given because
of
the reeds, too, the fox lurks for his prey, and darting
out from his hiding-place, just
tramples
The farmers
commonly destroyed some bushels
bends
to the winds.
seizes his victims.
is still
The old
retained in some districts,
CHAPTER
IV.
LECTURES AND MISCELLANEOUS PAPEES.
Section I.DRAWING
"
it
extent tends to cultivate anil refine
jnler
IN PUBLIC SCHOOLS.
and beauty.
all
the emotions connected with the love
Dr. Temple's Evidence, Public Schools Commission.
considering the subject of teaching Drawing,
N"
JL
FROM NATURE
tliink that in the present state of civilization physical science to a very
to be
not so
now
generally admitted
an important part of education in public schools, the question
much what
a well-qualified master would wish to do, but rather
is
what
he can do in the time allotted to this branch of instruction.
The course
of study will of necessity differ materially from that thorough
Art training and skilfulness of hand absolutely necessary to form an
The
careful, regular,
and progressive method adopted
by copying elementary forms

to
stage
till
in
outline from the
flat,
passing from stage
the eye and hand are educated sufficiently to go to the round,
then by degrees from portions of the

statue,
artist.
in his case, beginning
added
to
an
human
figure to the perfect antique
intimate acquaintance with artistic anatomy, from the
108
bones to the outer muscles,
quite out of
is
the question, nor can
by elaborate
to teach the art
it
highly-finished copying, such as
or
encouraged in some of the schools of design
even be
Neither can we attempt
pursued to a certain extent and then relinquished.
we
find
for artisans, for a public school
has not the time for technical teaching.
As we do
to
make
not take the scholastic means which

neither do
artists,
we
we know
to be the best
expect the boys of our great schools to become
elaborate mechanical draughtsman or architects, or to proceed far in the
shown what
it
is
we may
more
Having thus
abstruse study of fortifications, unless intended for the army.
impossible for the drawing-master to attempt in our public
proceed to determine what ought to be his aim.
It is to
be
expected that, by the study of Drawing, the pupil will learn to appreciate
all
schools,
that
is
grand and beautiful in Nature, his eyes being opened to the magnificent
outlines of the mountains, his
and sunset, and in
mind
alive to the surpassing glories of sunrise
his unpretending sketchbook
of his past pleasures, which,
and a
World, are to himself a constant delight,
Some
any written journal.
of
my
knowledge of drawing has been
and that the habit

possible, has also
all
far
more
pupils have told
them
to
of drawing with the eye,
me
to the
interesting record than
that even their small
never-failing source of pleasure,
when no
use of the hand was
been a keen enjoyment to them, interesting their minds when
other amusements have failed.
they advance in
life,
to
dependence on picture
or reject.
he brings back the memorials
though they may be of no great value
This training should also enable them, as
judge of the excellence of Art, and prevent a servile

dealers, to dictate
How common
it
is
to
to hear one,
them what they
who
shall purchase
has himself no knowledge
of Art, value the pictures on his walls more, for the price given for them, or
on account of some famed collection whence they came, than

they afford him as works of genius.
educated
man
Is
curves for him, or
when
for
any pleasure
to expect that a liberally-
Such being our modest aim,

to
common
carpenter to draw a few lines or
talking to his paperhanger or upholsterer be dependent
on them without even being able
and how
much
That in describing the piece of furniture he requires he,
should not be obliged to send for a
to us,
too
should be able to express his ideas of form or colour with his
pencil or brush?
have.
it
employ
it
to give a blot of the colour

let
us see
he wishes to
how much time we have
to the best advantage.
allotted
DRAWING FROM NATURE

The time
to
IN PUBLIC SCHOOLS.
169
be devoted to Drawing will be, in general, about two hours
per week with the master, either at one sitting or divided, and from two to
four hours' preparation or practice, either with a junior master in class, or in
the pupil's
own
Much,
study.
the pursuit, and
much upon
of course, will
the study of Nature during the
for
depend on
leisure or taste for
the season of the year, more time being available
summer than the
The
winter.
large
proportion of drawing taught in a public school will, of course, be what

called free hand, or such as
is
is
dependent on the training of the eye and hand
but there will also be a portion of mechanical or measurement drawing, as

architecture and fortifications, neither of which
alone,
can be taught by lectures
even with the assistance of the black-board, nor by the exhibition of
diagrams or models
all
kinds of drawing not merely requiring careful training
of the eye to observe, but the proof of this in the execution of the hand.
This practice must be directed and watched by the vigilant eye of the master.
He
in
manner
alone can show the
moment
when
of executing the touch,
of practice will be
worth
far
more than corrections
of the
whole
finished.
Now, when numbers have

communicated
in
to
be taught,
much
same
has to be
information
say of twenty-five to thirty pupils,
classes,
course, as nearly as possible, of the

to
and detect looseness
stroke or a few words addressed to each pupil at the
copying, for a
The
proficiency.
all
being, of
great difficulty
is
keep possession of the pupils' whole powers of attention, so that no time

Consequently, the lecture or explanation
should be wasted in repetition.
must be
short, say fifteen
questions, addressed
minutes
first to
this to
be succeeded immediately by rapid
the youngest or least attentive, passing
by degrees
through the class upwards to those who are tolerably certain to answer
correctly.
Those who have not observed accurately or answered carefully are
brought close up to the diagram, black-board, or model, and the best answers
are
commended, the complete solution being
this,
given.
short time suffices for
the rest of the time being devoted to practice in copying from the
fiat,
or
from models, groups, &c.

It
is
difficult
also
drawing made from
which
is
it,
to
oblige the pupil to connect the reality with the
for to
draw
is
not to copy the production of another,
but repeating his ideas, as though one were to copy or trace the
characters and forms of an Egyptian inscription without
knowing
in the least
170
what they meant
but to draw
is
have the power of representing
to
real objects, beginning with those that are simple,
complex and
Now, the narrow end
fleeting.
therefore
it
to
is
of the
intelligibly
most
of drawing is
most
wedge
to the
mind by geometrical
successfully inserted into the pupil's

of demonstration
and progressing
forms, the easiest
be regretted that there
is
not some
elementary knowledge of plane geometry, or of the construction of geometrical

figures,
implanted in early education before entering a public school
they would be made familiar with the real shape,

plane surfaces, and
really
are,
if
it
also
would enable them
their conditions
certain of
to
figure,
childhood, and can
make
it
with
facility,
which
is
Let
Now. every one has seen
shown
this
from
and so much has every one, educated
or not, been trained to notice this line, that all can tell
free
for
us,
easily
an
if
object,
such as
a candle, be out of the upright, or a picture hang straight on a wall.
which hangs
this
represent objects as they
were better known.
instance, take a vertical line formed with a plumb-line,

to be perpendicular to the horizontal line.
by
and dimensions of
and stationary out of the perpendicular would
line
strike every
one as unnatural, and the same deviation from the truth constitutes one of
the marvels of the world in the Leaning Tower of Pisa.
Tlic truthfulness of lines parallel to each other, or equally distant, is easy
of demonstration,
facility is
and by drawing these sloping
from our infancy always practising
Drawing should teach us

direction,
it is
many
equally beautiful in
and downwards from
others.
much
may
be easier to
This leads on
and he who can
of this instruction by
means
half the pupils will be inattentive, of which
ago
among some
The
to the
class consisted of seventy,
"
I fear, are
Now,
in
one
forming
upwards
Now, the teacher may com-
of diagrams or the black-board
it
may chance
that
saw an instance many years
ladies attending the lectures of a fashionable drawing-master.
and
was complimenting the teacher on
apparent attention, to which he listened with impatience, replying,
them,
one way.
make
strike off lines
the class be too large or not under complete control,
if
are, indeed,
perpendicular line and of corresponding angles has
attained a fair step in observation and practice.
but
We
in writing, the sloping of lines in
although a line
that,
of right, acute, and obtuse angles
municate
in different directions, greater
given to the hand, and more precision to the eye.
not thinking at
ladies," he said, " I
all
wish you
about what they are doing

to
draw me
a line
"
their
Hall
we shall
of
see."
from your right hand
DRAWING FROM NATURE

downwards
drawn
at all
it
your
to
from the
We
left."
found, on
hand down
left
others will not think at
and copy him
examination, that twenty-five had
Thus some pupils don't
to the right.
all,
171
how
but look
their neighbour
is
listen
working
whilst others think hastily and often wrongly.
The next
PUBLIC SCHOOLS.
IX
step,
though simple,
in
is
very important
reality
is
it
to
convince the pupil that objects apparently diminish according to their distance
from the eye

spective, art
from the
flat,
this
is
in
is,
the study of perspective, and through
fact,
Now
connected with science.
and
call
per-
some people who copy well
drawing, have such a horror of the very word
that
perspective that they resolutely shut up their minds at once against any talk
upon
it
others, never
do very well without

to
recommend the
having
and
it;
took
draw from Nature, think that they can

the eloquence of Cardinal
all
Thus he described
study.
of representing on a
tried to
it
it
Wiseman
"Perspective signifies the art
surface objects which are supposed to be in different
flat
planes, or at varying distances, so as to give them,
by the gradation of pro-
portions and of colour, the appearance to the eye which they would
if
the combination of two elements, the one scientific, the other artistic
scientific consists of a disposition of the objects in their
and the
ratios geometrically determined,
have
Observe, accurate perspective requires
they were real substantial objects.
the
proper distances and
artistic or aerial perspective, in their
receiving the gradation and evanescence of tone which distance furnishes in

real Nature."
Now
to
the eye
comprehend
space,
conveying
is
all
so wonderfully contrived, as to receive
may
the visible matter which
to the
mind a
presented to the view.
is
work," and again that

perspective,
for their guidance.

is
"no
great painters
where the work
rudimentary, and where
bet us look
certain
convey
at fault, if
forms
it
to
some
great authority on art has
is,
as
it
its
ever
laws,
trouble themselves
always will be
we can expect no
about
drawing everything by the

in a
great painters,
without fear of trammelling ourselves, to examine the

perspective,
real
not of the slightest use, except in rudimentary
and very few of them know
eye," yet I say
then needed to
hand may be
paper, but the most practised eye and skilful
declared that "perspective
and
perfect idea of the geometric
The trained hand
few rules are not laid down
and cause the brain
appear within
public school,
we may
first
venture,
simple rules of
what the eve does and taking an enlarged drawing
172
of the pupil
and
show how
retina,
these
find
decreasing
the
as
same
objects of the
distances, send or reflect rays through the pupil
object
composed of three squared pieces of cardboard can be
The
very convincing to the young.

inches, placed about a
foot
is
first
from the eye
such squares, but placed at two
hut at different
size,
to the retina
from the
further
is
on
shall
diagram
made, and
easily
is
merely a square aperture of four

the second
feet distance
composed of four
is
and the
third
one of four
is
times such squares as the second, but placed at four feet distance
all
we
eye.
these will
how much
be seen through the small square aperture, thus proving
objects
diminish as they recede from the eye.
pane of glass
the
in
window
is
an excellent thing
represent the
to
transparent plane, but a sheet of glass in a frame, fixed at arm's length between
the object and the eye,
one eye should be shut,
for in
be
strictly represented in a
if
seen only on one
this the pupil should
must be kept
the head
drawing
for
you
eye, causes
to see
draw
steady,
drawing from a model of a moderate
possession of two views, one from each
side,
On
more convenient.
is
the principal outlines with a soap crayon
size,
and
the
more than can
instance, the square plinth of a vase
should be made rather larger to compensate for this
double view of the solid form.
As
it is
desirable always to refer to Nature or the real instead of models
may
or drawings, I find an excellent lesson
doors of a room
with this
we can show
be given from the double or folding
the apparent alteration in size that
takes place in objects according as they approach or recede from the eye.
The whole
of the door should at
be shut.
first
drawn complete, afterwards one half

open the other and cause the pupil
The door-case should be then
of the door
to
draw
it.
It
when
that
is
done, partly
seems ridiculous to reason
on such a simple thing, but those who perfectly understand perspective, and
have mastered this
artistic
such a propensity
than what
it
to
appears, that
of the door smaller
sink
it
below
pons asinorum, will permit
draw any
when
object the size that
some pupils
will
much
it
me
is
to say that there is
known
prefer
in the door-case, rather than raise
at the base, for to the
unthinking mind
it is
to be, rather
making that part

it
up above or
a greater effort to
believe that the apparently larger end will diminish, than that the end already
in has
been
made
too
small.
You
have, therefore, to
convince them,
by
repeatedly opening and shutting the door at different degrees, of the truth.
DRAWING FROM NATURE
IN
PUBLIC SCHOOLS.
173
of the simple problem that objects apparently diminish according to their
increase of distance from the eye.
After
attention
this, their
may
be directed
diminution of the sides of the room, to the maps that hang on the walls,
to
to the lines of the floor

at the
and the desks, and to the parallel
lines of the
great step
gained
is
when
a pupil
eye must influence the direction of
all
is
convinced that the position of his
the lines in the picture, so that any one
looking at the drawing ought to understand from what point
This
windows
end of the room.
is
My
worth much trouble.
draws from the
or
flat,
copies,
opinion
is,
was taken.
it
that so long as the pupil only
he never will comprehend
and
this,
is
it
necessary that drawing from the real or Nature should be carried on simul-
taneously with copying.
prefer changing the height of the pupil's eye to
raising or lowering the model,
and although asking the pupils
on a footstool and draw a
two from thence,
high stool or gallery,
is
line or
to
do
it
apt to cause irregularity in class,
to sit
down
standing, or from a
it
brings more lively
conviction that the horizon, in short, alters with the height of the draughts-
man, the point of sight depending entirely on the direction of his eye at the
moment
of beginning his sketch.
We may
talk about horizons
sea-shore, or climbing a
known would wander

themselves,
for a
back
hawk's
to
to ourselves,
what
"
line,
the sea and the

nice bath," or
and then good-bye
nest,"
dry perspective.
the horizontal
so
off to
"Ah, and have a
and horizontal
"
lines,
Again,
to all
we may
the point of sight
cliff,
In
my
eye, that's
sitting
on the
and they would say
"Oh, yes
a fine
to
cliff
means, as being opposite the eye on
"
is,"
know
hope of their ideas ever coming
and of course opposite the point of
where the sight
explain in a very satisfactory manner
and on asking an apparently quick lad where
and about
but the thoughts of some pupils that I have
cliff,
it
station.
have done
was, he has answered
catching in his shallow thought only
a portion of the idea.
Then when the eye has the power

to
have only one point of
governing point,
further to
is
sight,
of choosing
and
to
keep
and of changing
it
its direction,
constantly in view as the
perplexing to the erratic mind, and the pupil has
comprehend that
in
using models close at hand
it is
still
necessary, in
order to have a just idea of the true point, he must not only keep his head
still
but shut one eye.
Of course
in
drawing from more extended views
this
174
is
unnecessary.
of the
same
twelve inch cube
size fastened
on
diagrams, exactly the same

circle,
up
to
size,
is
an excellent model, and an iron wire
perpendicularly, with a series of cardboard
it
but with different figures on them, such as a
a triangle, a chessboard, &c. are extremely useful.
their apparent heights on
it
may
These
be
lifted
frame wire, and the pupil made to mark
to different heights within the

this
may
be done at the sides of the cube as
well, so that the pupil can then see that the top or side plane of the real
will only just be hidden
by the card plane in perspective.
Thus he
cube
will be
compelled to draw the side or retiring planes of the cube smaller than the
which
side
But no pains should be spared
faces him.
him
to teach
convey
to
the distant and diminished form to the upright wire or plane, and from thence
draw
it
same
size,
correctly
on the
flat
Two
surface or plane of his paper.
with angular pieces forming a slightly projecting
the sizes, though really equal,
remark
It is as well to
spectator and
it
and no other side can be
may appear
two
appear so different as to cause
much
study.
cube
to the pupil that as long as the plane of a
perfectly opposite the eye,
however much
cubes of the
roof, are useful, for
diminished, but
sides are seen, the lines
seen,
it
when viewed
which are
is
a true square,
is
at
an angle to the
retiring
must diminish
or converge.
Now
the position
of the paper
on which the pupil draws, being on the
desk below his eye and not perpendicular like the glass on which he traced
the object,
is
against his readily understanding that he has to put on
appearance of the real forms.

first
He
commit the form
has, in fact, to
when he looked
and above the horizontal
being the corner nearest the eye.

is
the
on paper.
The
most
important, as governing the disposition of the rest

of the cube below
it
memory,
at the object, is again
looking attentively at the reality, and then drawing
height at which his eye was
to
line,
it
then follows the proportion

the next line that
After the whole of the outline
is
is
drawn
drawn,
it
desirable that the shorter lines, such as those of windows, doors, &c. should
be added by the pupil, to show that he fully understands the direction of lines
above or below the eye
no shading
is
allowed, but the best drawing
by such of the elder pupils who have gained honours

sort of interest
decision, has
before.
and examination, and the master, who does not
many
opportunities of giving a hint even to those
draw from these elementary models.
is
selected
This produces a
interfere in the
who no
longer
DRAWING FROM NATURE
175
IN PUBLIC SCHOOLS.
These simple geometrical figures lead on to drawing from larger and more
picturesque models, such as a rustic water-mill, or a martello tower, built
from care fid drawings made on the spot, and coloured as nearly as possible
The
after Nature.
the
surrounding parts spoken
was chosen, and many
position
many
the
of,
given
hints
There are
accidental shadows, &c.

in
and sketches are shown
original studies
or
accessories
same time,
at the
why
reasons
respecting
such a
and shade,
light
excellent models published for use
teaching drawing, but as they are necessarily small in comparison with
the reality, and therefore afford
little
practice in reduction, I think
we should
go to Nature as soon as possible, though as most of the pupils will not
have studied colour,

as leaves
is,
and
perhaps, the ivy
well to give
is
it
fruit cast
them
objects in
leaf,
and
about the same shape as the
one
as
cast,
same may be done with a vine
which
is
can generally procure a real leaf of
they should be placed side by
leaf,
none, such
Of these the most simple
from Nature by Brucciani.
and
it
is
side.
worth while to point
The
out,
by
dividing the leaves, the importance of the centre vein or midrib, also the side
Two
veins.
knowledge
or three of such
and afterwards
perspective,
in
examples drawn
fully
of the forms that will be useful through
of apples on a bough,
pears,
in
front without
any
various positions in perspective, will give a

life.
Then
follow groups
plums, and a blackberry or bramble branch,
and fortunately there are
grapes, &c. for in a large class the tastes will vary,
innumerable and most improving examples
if
there
is sufficient
Among
time.
these would doubtless be small portions of the antique marbles, as an eye, ear,
mask, hand,
that
is
foot,
there being a breadth, simplicity,
and refinement
The pupil acquires
in these practices acuteness of perception
of touch, qualities which
pay some attention
abound
to the
mode
in all good
art,
of execution,
and practice must of course be given
and
exquisitely
to acquire a
way
in
shown by Mulready, should be

which the
good and
referred to
effective
human
we must
figure
method
were so
and explained in
stump can be worked
pencil, chalk, or
and delicacy
to gain these
and a certain portion of time
the different modes of shading, which in drawing the
the
in these
worth much time and study.
detail
to the greatest
advantage, and the effect obtained with sufficient precision and in the shortest
time, for in a public school the time
in these details
it
is
enough
to
is
far too short to allow
show
much
to be spent
the pupils, that while they have the
176
advantage of a master, some scholastic method must be adopted to express

themselves in
who
but he
art,
as well as in language.
not unusual to attach great importance to a man's being self-taught
It is
had the
either has not
benefit of the experience of others, or
refuses to avail himself of their example, labours under great disadvantages.
Some one has

giants,"
and
The moderns
"
said,
it
certainly
remains of Greek
art,
is
are but pigmies sitting on the shoulders of
so with regard to art, for without the magnificent

to
left
us in the Elgin Marbles, the noble works of
Michael Angelo, Raphael, Titian, and Dutch school, with
ment
we should indeed be
of materials,
Though
there
are few in
taste to study carefully the
in class lectures,
when
its
perfect
manage-
small.
public
school
who have
either the time or
antique, all these beauties should be pointed out
the best examples should always be on the walls, either
in the shape of casts from the antique, copies of the cartoons, or tine examples
which those who possess them
of the best masters,
Having these
lend.
are generally willing to
opportunities, and our views being
more particularly the
study of Drawing from Nature and the proper appreciation of
art,
we
are
fortunately not compelled to confine ourselves year after year to the study of
the same example in the

figure,
even though
it
flat,
may be
perhaps at best
a defective one, or to a single
To labour
the Discobulus.
months, giving
for
only two or three hours a week and a greatly divided attention, to bring to
perfection a single copy,
would just disgust the
and thrash out any little
pupil,
enthusiasm possessed before.
For those
piqiils
who
advanced
are sufficiently
have gone through the necessary training
in the
study colour, and
to
management
who
of the brush,
and have attained a good knowledge of the various pigments, their qualities
and
their
mixtures, there
is
ference to
the real or
doors or indoors.
which are
three or
five,
to reality
or gravel.
in
to
is
to
more amusing and instructive than
nothing
drawing from groups of objects or
still
life,
and here again
group Of leaves
in
may be thrown on
tints,
a sheet of paper, or
wished, on a tray in which
may
give the pre-
autumn, as the leaves of the cherry,
be found of beautiful and varied
These
Nature, something found at hand either out of
is
if
sprinkled a
few of these, say

a nearer approach
little
earth, sand,
be arranged so as to contrast well with each other
form and colour; the necessity of partly hiding the outline of some and
GROUP OF
GAMK
DRAWING FROM NATURE
177
IN PUBLIC SCHOOLS.
shadowing others may be shown, the whole being placed in sunlight
possible.
basket or two, placed on a piece of bass matting that shall hang

thus forming some variety in line and
table in front,
may
Picturesque subjects
study.
and buoys,
and
or walls,
If the
their tone.
just to
The great
tide.
difficulty
will arise, either
like a photographer's
room
in form or colour,
keeping are
too
but sheets of paper of varied tones
may
if
not
in
strictly
be chosen, and different quantities of light and shade thrown upon the
It
may sometimes
particular group,
composed by the
paint
be desirable to
and
late C.
Hullmandel, with boats, quays, &c. that he built
by
still
drew
life,
would point out such
may
a hare, pheasant, partridge,
as profitable,
much
flying, a
the study, at the end,
used,
it is
Lance
who
or
Hunt
so
often
from Nature by the
needless to say subjects of this
At Rugby,
or wild duck, with
perhaps the addition of a ginger
suspended as
his con-
others,
and put together these groups
as George
be found in endless variety.
fox, or goat, is
many
but with the desire once awakened to make the study of
drawing interesting as well

kind
collect
or in flowers, to those reproduced so beautifully
Misses Mutrie
At
Stanfield.
studied together.
For those who have more time to

of
for a
have seen most admirable and picturesque scenes
versaziones I have often met Turner, Stanfield, Collins, and
down and
objects.
and arrange a background
carefully after Nature, with backgrounds painted
all sat
and
show
eye passes beyond the group to the furniture
most likely some incongruity
and painted or prepared backgrounds
much
like the sand
left dry,
these groups will be found in the arrangement of the background
all
objects
the beach by the rising
made on
the difference
with
being wetted and part
it
the
&c. hanging on a wall or
thrown on the ground, which should be as much as possible

stones of a beach, part of
down
always a useful
light, is
be found also in genuine fishermen's baskets,
nets, old coats, caps, sou'-westers,
with
if
group composed of jars of various forms and culours, with a
jar,
very popular.
find dead game, as
hamper and matting, and
The head
mallard or two, with real reeds, fern, &c.

all
of a stag, bear,
and sometimes, when opportunity
the sketches are placed in a
affords, a gull
;
but whatever
room and examined by
the masters and the whole class, a few hints are given on each, and the most
successful singled out by vote of the class,
being the prize, besides the
Mat
some few marks or a reward
of having done the
best,
I should like,
178
of course, as a teacher of colour, to have
all
study made under the
this
pure light of heaven, the sunshine falling on the groups without the intervention of glass, and with a greater quantity of reflected colour and light
than can be obtained in a closed-up room with

this
we
would be impossible
and by other
As
duties,
find our compensation to a certain degree in the various sketching after-
noons
by
shadows.
artificial
its
in a class limited as to time
my
we have with
pupils
the senior
These are always exceedingly enjoyed
class.
and the romantic ruins of Kenilworth and the
stately
Warwick
have often shown how much unexpected power those have gained who have
steadily looked Nature in the face.
It
now only
remains, in these hurried notes of the system followed at
liugby, to add, that drawing has for

duties, for, as
manner,
it
it
some years formed
a part of the school
has been pursued as a real study and not in a dilettante
has heen judged by Dr. Temple to be entitled to at least a moderate
proportion of marks and classes, which assist those
advancement
These are given
in the school.
are exhibited,
first
in the
at
who
drawing school, and afterwards the most worthy
the great school at the Speech Day.
At Christmas,
mination of the work of the half-year.
At
also, there
is
in
an exa-
this time all the pupils are obliged
those that have just begun, from the simplest forms
to draw,
from the
around,
and those more
real,
gain them in their
Midsummer, when the drawings
advanced from such groups, &c.
as
have been
described.
In addition to these examinations, each

to
class
has a series of questions
answer in writing, without which no marks are obtained, however good
the drawings
may
be
the necessity to understand and answer these questions
causes the pupils to attend to the different courses of lectures that are given
in the evenings during the winter.
The
rule that every one
must exhibit
drawings from the real or Nature, obliges those among the pupils who are
inclined to indulge in laborious idleness and mere copying, to exert themselves
either
by studying from models
sketching excursions with the

evenings.
In
all
notwithstanding
these the
the
beauties of Nature
inculcated.
is
or groups,
or
by joining
in
the
various
master during the summer afternoons and
more advanced pupils

&c.
are
eager to take part,
and thus a love
of
the
attractions
of
cultivated,
and the requirements of Art are agreeably
cricket,
DRAWING FROM NATURE
IN PUBLIC SCHOOLS.
179
But as the master can always teach more by his example than he can by
Ii
is
words, and as every artist of any worth always becomes a pupil himself
when he
conies into the presence of all-powerful Nature, so I find that nothing
stimulates
my
pupils
more than
These I give in accounts of

executed copies of
my
my
sketches.
entering into and enjoying the

1
induced
me
to place
them
work would permit.
my own
difficulties
and experiences.
In these they take the greatest
little
These lectures also allow
afford ?.
irksomeness, hints on the
of the
relating
sketching tours, illustrated by large and freely
adventures that an
me
management
artist's
interest,
tour generally
an opportunity of giving, without

of their time or talent,
and
this has
in this book, with such illustrations as the nature
180
Section
II.
HINTS
ON GENERAL STUDY.
RUGBY, CHRISTMAS,
Tn a large
class,
subject to continual
i&56.
changes,
necessary at certain intervals to review the

ascertain the progress
made;
for
like
this
Rugby,
of
we have
steps
becoming, after a series of laborious
may be
is
without this careful revision we might be
in danger of forgetting the grand yet simple principles of True Art,
This imperfect result
it
taken, and to
efforts,
provided
and of
merely a school of careful copyists.

against,
some
in
degree,
by your
drawings being subjected annually, on the Speech Day, to the criticism of

persons of taste and judgment in Art
but
think
also advisable to call
it
your attention to the importance of Art in general, and likewise

of the principles
which form the groundwork of
all
my
to
remind you
instructions.
In England Art has hitherto occupied a lower position in our public

schools than in most parts of the Continent
an agreeable pastime, or
as
trifling
study, contributing
here
accomplishment
the
largely to
it
there
cultivation
it
has been treated as

takes rank at once
of the
taste
and the
improvement of the mind.

In
many
continental cities the universities have regularly endowed pro-
fessorships of Art, with associated galleries of casts, drawings, &c.
which greatly
facilitate study.
Mr. Wyse, an able advocate of Art, says,

should enjoy unless they appreciate
those
preliminary
studies
"
How
can Ave expect the public
and how can they appreciate unless
which lay the foundation of
taste,
and develop
the sense and value of artistic excellence, form a portion, according to their
respective
means and
position,
of their early instruction?
Take any one
grade of society you may, ascend up from the lowest school in the country to
the universities themselves, and you will find that England
is
distinguished
from the other civilized countries of the world by an almost general exclusion
of the culture and study even of the elements of Art."
But although Art may not yet occupy
in tins
country the position to which
HINTS ON GENERAL STUDY.

it
entitled,
is
many
Rugby
has a very different place at
it
when
years ago,
I first
formed this
class
181
and
to that
which
held
it
now acknowledged
is
it
here that drawing, especially from Nature, elevates the taste, educates the eye
to
observe, trains the
materially in
many
hand
which the eye has
to realize that
and aids every study while
professions,
seen, assists
it
interferes
with none.
Through the principles
and mathematics, and

and engineering
is
drawing
of perspective,
is
in fact, so necessary
is
to all professions,
it
gentleman cannot be said
Having spoken
to
have received a liberal education.
which
of the advantages
the principles of Art,
and indeed in
some knowledge of Art a
moderately elevated, that without
all situations
closely allied to geometry
essential in the studies of fortification, architecture,
we ought now
from an acquaintance with
arise
to consider
how you can most thoroughly
acquire those principles in the limited time which your other school duties
will allow.
class, to
I begin, therefore,
his eye the space

line,
by requiring each
line,
which he then proceeds
entering the
being done with attention very
commencement and termination
draw with a
to
little
sides of his paper, but in

pencil, or to
marking
of his drawing
off
no case
is
light but firm
rubbing out
himself in this practice by comparing the lines
hand
of
this
necessary; he assists
is
made with
the top, bottom, or
he allowed to resort to measuring with his
on a piece of paper, except as a
this training gives
Having acquired the power
hand.
first
between the beginning and end of an upright or horizontal
taking care to place the points at the
each
on
pupil,
copy with accuracy a simple diagram, teaching him to measure with
him
of
test of the accuracy
correctness of eye
and firmness of
drawing perpendicular, horizontal, or
other lines, he then proceeds to diagrams of square, angular, or irregular form,

still
comparing the
edges of his paper.
lines
which bound them with the upright or horizontal
His next attempt
is
with the boundary of real objects, and he

figures of large dimensions,
to connect the idea of these lines
now
thus he acquires the very important habit

intention.
to aid
At
learns to
of
making no
this stage the pupil begins to feel the
him when he
is
difficulties,
want
doubtful of the direction of a line
some knowledge of perspective, which, stripped of

matical
draw from geometrical
such as cubes, parallelograms, angles, globes, &c.
need not alarm him.
its
line without
of
an
some principle
he requires, in
fact,
geometrical and mathe-
Tt is scarcely
necessary to remind
182
you that the word perspective

and
view, and
spccto, to
is
composed of two Latin words,
per, through,
the art of drawing objects as they appear on a
is
transparent plane.
In a short discourse
can mention only one or two of the rules which
have found most useful
you
studies. I will refer
division of our folios,
to
my
to the
first
pupils
many
but in addition to our practical
clever illustrations in the elementary
by Hayter, Green, and
and
others,
as
you proceed
in the
study to the more elaborate works of Brook, Taylor, and Malton.
Now,
you must
first
impress upon
that, as regards perspective, the horizontal line is the
one
draw, as that at once determines the position of the spectator.
In choosing your point of view,

lowered
me
in reference to the great points of our study, let
your recollection
this line rises or falls as the
eye
raised or
is
but having once determined the position, the horizontal line becomes
the most important and fixed line in the picture
no horizon can be
seen, its place should be found
book or
surface, such as a
raising or lowering
it,
ruler,
you
and holding
it
even in a room where
by making use
parallel to the
will soon discover the height at
of a
ground
which
flat
then
appears
it
on the nearest perpendicular of the model or building you
as a horizontal line
are copying.
I will
placed
a
merely add that the horizon or horizontal
when about
appears naturally
line
one-third of the height of the picture from the base
line,
higher horizon giving the appearance of a raised position for the spectator,
and a lower, the
effect of a
You cannot be
are drawing
let
me
sketch by a person sitting on the sea-shore.
too particular about the principal lines of the subject
until these are correct
you must not begin
advise you to do one thing at a time, for
rule that our greatest
men
succeed.
Some
it is
pupils
to shade
by following
when they
you
and here
this simple
enter the class
are tempted to fly from subject to subject, folio to folio, contenting themselves
with copying slightly landscapes, rustic

sepia, or water-colours,
themselves no credit
of delight, reduce
it
to
and
in place of finding
to
kinds.
make
Such do
drawing an ever-varying source
we come
to the consideration of light
this part of the subject easier, I will divide
First, those
using chalk,
an irksome repetition of vague forms.
After the outline or form,
and
figures, cattle, horses, &c.
studying carelessly, and doing nothing well.
which naturally belong
to
any
and shade
shadows into two
solid object,
and which
fall
SFAN1SH
CHESTNUT,
T)
'
S T
HINTS OX GENERAL STUDY.
on that side of
it
which
incidence, or those
light,
183
turned away from the light; secondly, shadows of
is
which are caused by some other body that intercepts the
laving no dependence on the form of the surface on which they
be in
and
all
if
works the same breadth of

were
to define the
light
meaning
and shade that there
is
shadows
shadow by small portions
there are in
all
darker,
as a general rul
still,
compete with the
light,
reflections that are lighter,

,
no part of the
however low
and
reflection,
may
it
of light
be.
It is
cast
these
by the
by small
and although
shadows that are

bright, should
a truth which cannot

is
always more
of the
form of the light parts we
Oil-painting has in this respect a great advantage over water-
are leaving.
colours and chalk, that the lights are painted over the shadows, and
leave their forms more complete and attractive.

to the
works of Harding, Trout, and other
management
The
require
artists, for brilliant
examples of the
indefinite,
upon
in a
few
and which therefore
some previous acquaintance with Art, or systematic arrangement

Thus
effect.
difficulties to the student,
but are
encountered one by one

I
trust
Never take
will not allow
you
to
many
at the
same time the most beautiful portions
of
as separate studies,
and
their dif-
these difficulties will be greatly lessened by
you have acquired, of constant study from
walk without your note-book and

take a finished sketch,
remarkable, and assist your
to
moving water, and clouds present the greatest
trees,
They must be taken up
the habit, which
Nature.
thus
must, however, refer you
parts of landscape drawing the most difficult to touch
of a landscape.
ficulties
of light and shade.
words are those which are the most varying and
study with
make an
memory with memoranda
pencil, and, if time
outline of anything
you
will thus impress
Nature so thoroughly on your mind, that you will not be able
to bear
anything
unnatural or affected.
Gilpin was an ardent lover of Nature, and his works on Forest Trees are
of the greatest use to the
done much
any object than the dark, and in putting on
light parts of
we should always think
shadows,
however
be too strongly impressed upon the student, that the eye

attracted
Nature
in
of the expression breadth, I should say
that the light parts of a picture should not be divided or separated
portions of dark, nor the
but
fall,
There must
taking place on the light as well as the dark parts of an object.
to
artist.
diminish the
Harding
difficulties of
also,
Art
with his dexterous pencil, has
and perhaps among these aids
184
may mention
to the student, I
which
No
the elementary work of Foliage and Trees,
published for your use.

either living or dead, has approached Turner in representing the
artist,
ever-varying effects of light and shade, clouds and sunshine, mist, rain, wind,
and storm, and

respect,
and
finish
first
volume of
you
I entreat
more
and
study his works with the greatest attention
to
especially his early drawings, which, from the greater care
he bestowed on them, are best suited

"
Modern
Painters," written
to the student's use.
The
by Turner's eloquent advocate,
Euskin, will be found an excellent assistant in enabling you to appreciate
many
the
high qualities which abound in the works of this great
Although the human
figure is the highest
can have, the want of time from their
artist
my
prevented
many
other pursuits has hitherto
pupils here from having entered into
study and attention to which
is
it
entitled
artist.
and most ennobling study that an
still
with the systematic
it
you must not be ignorant of
Supposing, therefore, you are wishing to
a few of the most important rules.
sketch a figure, either from the cast or clothed nature, you must block out the
form in the simplest way possible
draw
taking the most prominent parts as points,
straight lines from point to point, until the
whole
block of marble on which the sculptor has commenced,

attitude
and general proportion
indicate the form
after
centre of gravity
something like a
you thus secure the
these having been gained, you should then
marking out the place where the
top of the head, you will find an upright line assist you
is
is
feet stand,
much
and the
in finding the
this line should be eight times the length of the head,
which
the proportion of the best antique figures.
across
line
proportions.
and
if
the
shoulders and the hips also assists in gaining the
Let there be bone, and well-formed bone, in
any of you
feel inclined to
all
go more deeply into the study,
with drawing the bones from Nature, then the anatomical
your
let
figures
him begin
figure, afterwards
introducing the skeleton in the complete outline.
The bones and muscles
men and
and plants, should be our
first
animals, the stems and
study
you gain
by beginning thus
will be real,
and
which character
power
at the
it
in
elementary parts, the knowledge which
for the future so incorporated
your mind., that you will find

will thus have the
branches in trees
always
at
with the subject in
hand and always
useful.
You
of giving to each object its appropriate character,
or individuality
is
only to be gained by a close and constant
HINTS ON GENERAL STUDY,

study of Nature, and should be carried through
and animals,
to trees, vases, &c.
185
all
your studies, from man
have found Tiney's maps of the bones and
muscles very useful in tracing the origin, insertion, and action of the muscles.
With regard
to the
management
of the chalk in shading,
you cannot have
better examples than those in the folios of Julien, Lascelles,
copying a few of these with
care,
you
will soon acquire the
Many
with such lines as shall not interfere with the shape.

prints in our shop
windows
and others
are pretty, but I do not wish
by
power of shading
you
of the French
spend much
to
time in copying them, as they might lead you into an affected and unnatural
style.
I prefer the studies
Collins,
and
Nature
is
when
beyond
infinitely
I see
by any
Nature, whilst
of
for
your imitation
but, as
convinced of your real progress
we have such
of foot-ball
sitters
your taste and pencil.
need not prevent us from studying from
fine atldetic
and
still
These, with rustic figures,
excellent.
for the exercise of
difficulty of finding
manly game
some
am more
however
copies,
form admirable subjects
The
all,
such studies as you have lately produced from groups of game,
&c. than
life,
of which indeed you seem fond of Cooper, Hunt,
These form excellent models
others.
figures in action
before us in your
hope you will follow up the clever sketches
you have made, by inducing a group of these excellent models
to
favour us by appearing in our study, wearing the costume of your different

houses.
I trust that
may
will not prevent the
effect.
have now spoken in a cursory manner of the various ways

gain information and
assistance in
recollect
that
amateurs,
who may have much
their tastes.
into
game
the excitement of seeing the
senior class from using their pencils with
these
Were
observations
are
in
the study of drawing.
addressed
to
class
of
inclination, but very little time, to
speaking to a body of
most of the subjects, and certainly
artists, 1
insist
which you
You
will
gentlemen
follow out
should enter more largely
on a severer course of study.
186
Section III. ON
I
propose
to
THE USE OF WATER COLOURS IN PAINTING.
employ
such
painting.
to about
I shall try to
questions which
First.
light,
may
All colour
eye as colour
on
you the best method of using your

the
facilitates
its
is
be as concise as possible, confining myself each time
you may
be put to you
is
made
all
at the
visible
full
and entire attention during
understand and
by
lie
surface, so that
able to answer any
Christmas examinations.
light
that which
the united effect of the substance looked
then the colour.
Classes in
materials, for
rapid acquirement of the art of
twenty minutes, but request your
that time, in order that
falling
to
knowledge greatly
time in these Evening
a portion of the
endeavouring to explain
we have two important
is
recognised by the
at,
and of the
considerations,
light
first
the
ON THE USE OF WATER COLOURS
Now
pure light
that
is
the sunlight is white
187
PAINTING.
IX
but with the prism, we can
divide a ray into seven different colours, called the spectrum, and
we
can, with
another prism, collect them together again, into a colourless or white ray.
now show you
I will
an oxy-hydrogen
means
the spectrum, by
This, of course,
light.
cannot always command, even in the day-time,

or divided ray of light, analyzed,
white light are

in
Well, there
we
the spectrum
and
violet, as
shown
All these are considered by philosophers as
AVe can combine the whole into white
primitive.
is
and you can see the colours composing pure
red, orange, yellow, green, blue, indigo,
the diagram on the walls.
throw two of them
light,
we cannot change them,
together, or absorb them, but
them
of this ingenious lamp, called
not so good as sunlight, but that
is
so
we must
consider
as primitive.
But our pigments
are wonderfully different.
considered primitive colours
approach the pure colours of

take the
light.
liberty of calling the
three all the others that
None
of
them can
lie
truly
they are but dull earths, and only distantly
we
However,
red, yellow,
and blue
artists
three primitive colours, because with these
find in the spectrum,
or divided ray of light,
can be formed.
Thus, red and yellow
purple
make
orange, yellow and blue green, and red and blue
but red, yellow, and blue cannot be made by mixing any other colours,
so they are, in
Now the
secondary
an
artistic sense, primitive.
colours produced
thus
we
we have
Again,
by mixing any two
of these primitives are called
obtain orange, green, and purple.

to notice that in painting, as in Nature, there are very
few pure secondary hues, and but rarely any primitive colour.
moment
where
spectrum?
red
shall
Blue we
we
find anything so pure as the colours
may now and then
and yellow scarcely ever
in
Think
we
for a
see in the
catch a glimpse of in the sky; but
any larger mass than a
too small to tell as pure colour in a landscape.
bird, a shell, or
With
blossom,
the secondary hues
we
succeed better, for "the waves of everlasting green," as Buskin calls grass, are
spread wide
fiver
the earth, and a purple distance
is
frequently contrasted
with the brilliant orange of sunset.
But
this gorgeous scale of colour will not serve the
scape painter, so
we must mix
making what we
will call tertiary colours.
purpose of the land-
the three primitives in different proportions,
188
Here begin the young student's
mixing
difficulties in colour, for this
apt to produce confusion, not only in the ideas, but on the paper,
we do
that in mixing our so-called primitives
not produce white light, as
do when we combine the divided colours of a ray of

a brown disagreeable tone,
muddier
is
we
but we make in fact
light,
much resembling mud, and
too
for, recollect,
the
more we mix the
it gets.
These tertiary colours, not being so striking in their appearance as the
more education
others, require
the
hand
The
the eye to enjoy, and more training of
of
to produce.
business of the water-colour student then
first
acquainted with his materials,
is
box
particularly his colour
become well
to
he will soon
perceive that there are no true primitives amongst the various pigments.
nearest approach to a perfect primitive
is
ultramarine blue, and that
rarely included in a landscape painter's box, being too expensive
apply to
this,
with the addition that
must be content
to take
is
it
not permanent
cadmium, although
it
reds, reddish
much
that
by a
little
study,
then for yellow we
its
regular order, beginning
pigments of the orange tone, then
browns, blues, and mixed greens.
modern box,
without
to those
has a slight tendency to orange.
should, however, examine our colour box in
with the yellows, then passing on
in the
but
difficult
After that comes carmine, as the truest red, but the same objections
to work.
We
and
The
is
There
we can
such a great variety
is
generally
mixing, which must be avoided, for mixing
make our
tint
many pigments
each perhaps having different tendencies, produces impure tones.
together,
warm
For instance, a pupil wants a
gray for clouds: he thinks burnt sienna
with cobalt will do, but finds the mixture has a dirty greenish hue, for besides
the red in burnt sienna, there
produces green of a dull hue

yellow, the mixture
is
is
much
yellow, which joined to the cobalt blue
with indigo, which has in
decidedly green
crimson lake, he gets rid of the yellow, and the mixture
Time
is
not
lost,
itself
a tendency to
with a purer red, like Indian red or

is
purple.
but decidedly gained, in ascertaining the tendencies or
bearing of the pigment you are using, and in order to discover these examine
with the greatest care and with some degree of method the nature of those
you employ.
Firstly, divest yourself of
given them by the colourman.
answer
to
them.
any reliance on the names that are
There are no pigments in your boxes that
Thus some yellows tend
to red,
some
to green,
some
to
an

indefinite
brown
in their composition that they closely approach orange,
name
be called orange, only that the
189
Again, some reds have so
opaque neutrality.
or
IN PAINTING.
much
yellow-
and had almost better
implies a mixture of a pure red and
yellow.
Others incline to brown, as brown madder
name
yellow, like purple madder, tend, as the
more
others,
pure, or with less
What
implies, to purple.
be more different, for instance, than Vandyke brown and brown madder.
can
One
tends to yellow, the other to red.
Now, none
of these affinities appear so conspicuous
when you
look at the
colour in the box unmixed, or even as a wash, but
when you mix
with each of them, then comes out their
thus the yellow in Vandyke
brown makes the mixture

If
green,
affinities
and the red in brown madder produces a purple.
you attempt without consideration
by mixing more
or stronger blue, then
The same with blues

and inclined
is
cobalt,
is
a fair green,
this natural inclination
one of the most useful blues,
mixed
its
is
slightly
Thus the time
when mixed with gamboge,
gamboge tending
way they want
Irishman's pig, the
to
to green
the
to go,
sure to
draw
occasion,
to
blue.
them, like
the
and they will go without trouble
but try to overcome them, and endless vexation will

is
arise.
well spent in becoming well acquainted with our pigments.
make one
crimson lake, with a very

again,
for then it
and black tending
If then the student require a tertiary colour that shall not be
him be
opaque
tone, scarcely blue.
affinities
Take therefore pigments suitable
or heaviness
overcome
slightly inclined to purple.
altogether a
Again, black shows
makes
to
comes muddiness and heavy colouring.
to green.
French blue
Indigo
a pure blue
gamboge and
brown madder, form
of the primitives subservient.

little
yellow ochre,
make a subdued purple
indigo, with a little red in the
a pleasing
muddy,
let
Thus, cobalt blue and

or gray
form of burnt sienna or
broken green, a tertiary
and so
on,
always
keeping in mind to mix together as few pigments as possible.
Should those taken not prove
right, let
him wash
all
out of the brush and
take others, thinking well, before he dips the brush in the box, of the character
of the
pigment he
is
going to use.
It
may seem
fanciful to notice respecting
the unequal quantities of the three artistic primitives, that

quantities in the real divided ray,
we
if
we
refer to the
shall find that they are also unequal, but
190
that the whole produces pure or white light

9,
green 11, blue 11, indigo
allied to
warmth and
most nearly related
As
as
this,
light,
and the other
23,
and shadow, make 46
yellow
5,
but will perceive that to examine the
parts.
of water-colours in earnest,
way you
a glance through the field-glass clears up
who has
many
as in
mountain climbing
a difficult path
great pleasure in smoothing the obstacles
you have
and dimi-
nishing the labour of the ascent, so once more to our footsteps.
a
of
of the laws of perspective,
little
any subject with
and
to
facility,
all
know how
and being able
you now wish
copy nature through the medium of
what
First, then,
the effect of very

overlaid
is
fine,
by transparent
produce the
to
make
Before
Understanding
walk.
to
a correct outline
to acquire the use of
new
materials,
colour.
a water-colour drawing
water-colour drawing
is
opaque, coloured particles, mingled with and sometimes
upon a white ground,
colours, which, being disposed
so modify the light falling

to
you
to climb, I conclude
you
tedious,
are to travel a little in advance,
enables you to take the shortest and easiest road
you begin
most
which are
four,
methods you must pursue
will not find a connected account of the
also a guide,
orange
and dwell with some degree of minuteness on the
you have taken up the study
If
9,
three, those that are
first
a strictly practical" lecture, I shall cut the theory
is
short as possible,
practice.
make up only
to coolness
however,
thus, red has
The
8, violet 16.
upon and being
reflected from the white surface, as
effect constituting the picture.
Now, although
say that some of the particles of colour are opaque,
the great majority of our pigments are transparent, and the white of the
paper ought to show through
more
all
or less.
This
is
very different from
distemper or body colour, or even oil-painting, in which
styles
we begin
with a large proportion of opaque white, mixed with the other pigments, and
afterwards use those that are more transparent.
House-painting, for instance,
I hear
any
of
my
is
almost
all
opaque painting, laid on
thickly,
these are sometimes called coats, but
when
pupils say they have laid on two or three coats, I
know
each layer hiding the preceding
that they are getting their drawing opaque instead of transparent (the great
beauty of water-colours), and hiding the white paper, which

than white paint.
the very
name
We
call
these
first
applications,
therefore,
is
far
better
washes, and
implies that they are broad and general, flowing freely, and
PAINTINi
l.\
101
thus allowing the particles of colour to dispose of themselves to the best

advantage.
The
paper
of these washes is intended to give a slight
first
it
has also the effect of making
it
look a
making
the dull dead whiteness of pure white paper,
Some
people say, "
and save
paper
it
this
all
"No;
say,
take the succeeding washes better
taking
outline,
warmed
not use a slightly
wash can be
away the
make
wash over white
the
secondly, because
of lead
loose particles
Thus,
modified.
ochre, gradually
we can begin one
and
it
After washes come

definite,
tints,
which
red or lake with
little
it
for the richer or
sienna.''
should describe as less extended, and
every one being put on with a carefully considered form, but
with a brush moderately
This gives firmness to the drawing, for with-
full.
out this precise and rather formal beginning the whole
Even
because this
part of the sky with yellow
the colour orange by mixing a
more vigorous colours of burnt or raw
fixes the pencil
lastly,
and when we come to the foreground we can change these
more
away
look more sunny.
it
or tinted paper at once,
prefer
to the white
because the wash of delicate colour damps the paper, making
first,
Why
trouble?"
warmth
transparent, taking
little
clouds, the softest part of a landscape, should
A good
to their shadows.
deal of time
is
is
apt to look thin.
have well defined edges
well bestowed in getting a
command
of the brush and the art of laying on washes or tints of colour.

First the
flat,
much
force or delicacy
of the
command
earliest infancy.
we
even wash or tint of one unmixed colour
then the gradated
beginning light or dark, and increasing or decreasing in strength until
tint,
all
is
reached.
This power
over the voice, which
The quality
know, the
first
we
of the voice
requisitions for a
may
all
be well compared to that
recognise at once from our
and a perfect command over

fine
singer,
evenness of the tone, or the regularity and gradation of the wash or

water-colour drawing, are the
first
lessons to
lie
learnt.
"What
degree of pleasure a single note of the Eolian harp gives, from
beginning to
may
its full
swell,
and
be taken up before the
maybe
it
its
faintest
laid on, gradually increased in
strength, then suffered to die away, while another colour

until
tint in
wonderful
has ceased, the one dying away as the other
strengthens in power; so one colour
first
dying cadence a second note in unison
in its
first
it are,
and the purity and
finally takes its place.
The advantage
may
be added to the
of this changing, without

any break
or contrast, from one colour to another in
by looking
diagram of the
at this
perceive the increase or diminution of each colour

gives place to crimson lake, and finally, being
delicate portion of lake to be
harmony with
washes of a sky*
first
shown with
seen
it, is
You may
easily
thus, yellow ochre gradually
left
out altogether, leaves a
The way
cobalt,
which colours
in
combine, passing from one pure colour through the various proportions to the
next in rotation,
is
beautifully
gradually changes to a pah

If
we examine Nature
much
without
indeed
it
difficulty,
1
,
shown
tin;
which
we
find in landscape.
shall be able,
blue
to
It is varied
from nearly purple
thus, light red with cobalt
is
As we approach
and red gains
in
tendency
more
black
to
any
the middle distance, blue diminishes in purity,
power and quantity, yet
Here again we begin
by
to the various
called gray
also a gray, but a neutral gray with very little
is
primitive.
we
are tones, artists are generally agreed to consider, having
or less yellow in addition
diluted
thus a pure yellow
sky and extreme distance
slight quantities of red of different purities,
grays,
spectrum
for the position of the primitives,
to assign the
the only primitive that
is
in
then a deep orange, and so on.
to perceive the
it
is
never seen so pure as blue.
mixture of yellow of some intensity,
producing tones in which we have to employ the madders, burnt sienna, and
Vandyke brown
and
liancy of the palette,
finally, in
we
the foreground, which requires all the bril-
use the richest orange and yellows
we
The
have.
mixture of these with blues gives us various shades of green so abundant in

landscape
we have
therefore in the near parts of the landscape
masses of the secondary colours, but generally modified

of the
many
mountain heather, the orange tones of the sea-beach or sandy shores
and banks, and the innumerable and ever changing shades of green on
and
large
such are the purples
grass.
foliage
These are always in harmony, being united by the most delicate
and charming
reflections
of the blues
and grays
of the sky
and the reds
of the general mass of the earth.
Having given you

colours, I
must leave
important, to
*
The
diagram
in this short
it
summary some
to future lectures
and
to
slight hints on the use of
your practice, always most
make you more thoroughly acquainted with them.
illustrations of this lecture being in colour

in outline
has been placed
at the
have not been reproduced, in their stead
head of the section.
;hton, bko.s
ASH,
WARKWORTH CAST
Section IV.
FIVE MINUTES' SOLITUDE WITH A GLASS OF WATEE.
" Parmi les couleurs artificielles le peintre doit connaitre cellcs qui ont amitie
ensemble (pour ainsi dire) et celles qui out antipathie il en doit savoir les valeurs
separement, et par comparaison des unes aux autres." Du Pile, Dialogue.
:
It
happened that
and desks, was
left
was
sitting alone at a table,
on which, among drawings
Thoughts which
a glass of water.
at times
come with
great rapidity, and pass as quickly through the brain, chanced in this short
me
space of time to become so vivid and expressive, that they appeared to
to
change into sounds, and from inarticulate sounds into murmurs and words,
expressing to
to ascertain
my
wondering ear pain and complaint,
I listened
with interest
from whence this unusual phenomenon proceeded, and
to
my
astonishment traced these sounds to the glass of water, which stood on the
table before me.
called to
it,
had not noticed
saw that
it
it
previously,
so
much
or
caused such a disagreeable-looking compound.
the
so that I
surface,
saw
but
wondered what could have thrown
arise
my
attention being
was exceedingly opaque, disturbed, and muddy,
frcm the polluted liquid a
it
into such a state,
Fixing
little
my
eyes
upon
sylph-like
form
dressed in floating robes of the softest material, and more dazzling white than
China's far-famed looms ever produced.
Unfolding a pair of tiny wings, she
DK AWING FROM NATURE.

the table by
alighted
uii
pleasant
summer
my
near an open window, through which
side,
" Where, winnow 'd by the gentle
Her
And
room
breeze stole into the
air,
silken tresses lightly How,
upon her brow so fair,

Like shadows on the mountain's snow."
fall
In a voice whose sound was as though the

shaken,
me
addressed
she
My
"
my
Professor, to tell the sad tale of
some
of those beings
whom men
and make me perform tasks

toil,
carrying light,
side, or to rest
air,
name
which
for
and space
now and then on
young and
my
nature
me
but leave
a stone
let
I rise,
Pure and innocent as
wrongs.
call
the valley bells were
lily of
Blanche of China, and
is
fair
me
treat
am,
like a slave,
Let other creatures
is unfit.
to rock
on a branch near your
me haunt
the sunny homes, the
craggy rocks, or disport myself on a waving spray, and I will promise to

sprinkle everything I touch with
driven by the wicked sprite

clouds,
myself
where
too.
can never rest

Painter
protect me, and leave
and
to display
warm
1
my
and
From such
light.
away
Ignorance, far
a
spots I have been
into the sky,
moment without
among
injuring them and
and enforce Nature's laws which
friend,
dance where the sunlight plays on the earth,
beautiful white robes unsullied, or to masquerade in
the
my
friends are so willing to lend me, though
of Fairy
Ochre Jaune or Cadminana thrown over
To those who know how
delight in helping those
me
safe to
mantles which some of
prefer to have those
me.
me
my
stand
me
life
named
who
to treat
appreciate
me
my
am
be banished to the shade or distance, for there,
and disturb the harmony of
my
of wings, she vanished, and, lo
never cold or distant, but
solid qualities
companions."
so pray do not let
I confess, I lose
Thus
my
temper,
saying, with a slight rustle
another took her place, like a
" Sapphire queen of the mid-May."
All beautiful she stood, in robes of lovely blue, and softly she whispered
her name, " Azura Cobalt."
Heaven-born, but cradled on the bosom of a
peaceful lake, her fame had already reached
constancy spread far and wide.
shady
vale, all
my
ears,
and praises of her
Air, sky, mountain, distant hill,
spoke of her sweet influence.
Of
seeks the shade, though a friend she loves one
and
far off
a retiring nature, she ever
who
shines like a crimson
own calm
flower reflected in Azura's
On
biiglit
may
evenings, she
lake
will
tempt her forth
Then
which she
together, as Litina
and positive
is
Though
loves.
Eed
torture
me
as
me up
into the trees, while a third pins
where every
though the
well
least hit forward
Azura's gentle voice, with a melancholy cadence,
in character.
ear.
Why,
they do
of
Litina in the splendour and
a warm-hearted little sylph,
my
"
warm glow
to earth, and, for a while
of opposite -natures, they agree
on
fell
down
again, she will dip
disguising her aerial nature, will join the

ostentation
to join her.
he seen soaring far away with Eosa Madder,
with whom, resting on banks of clouds, she will delight in the

the departing sun.
195
Painter
One
are these earthly
me
cruelly chains
foot will trample
on me.
maidens permitted
me down among moss and
In
these instances I
all
to
another drives
to a rock,
am
stones,
forced to
perform the work of Fraulein Azura, (who comes from Prussia), and Indigo
Pera,
whose manners and appearance are
mistaken
for
and heavy
dull
too
far
be
to
me."
This last taunt brought up from the turbid water the Indian maiden last
named, who exclaimed in good Hindostanee,

work, which
am happy
we make the green

in
and the
grass grow,
Nobody wants you
"
In spring, with
to say I enjoy.
trees flourish
autumn, when the leaves assume their glowing
I like his
of having been burnt,
Browns, and also
may
reckon
among my
With
out of sight, for
it
this request, to
Of
when
confessed, she
me
freely,
is
but
but a raw
who
Madders and
are rich,
and have
in that cold inhospitable
rather heavy and inclined to
is
Azura from
fault if she ever took the place of
was
the one
our aid
between the light-hearted sylph and the Indian
at all satisfy the Fraulein
resign her station
call to
immediately consented, she sank
forward in a lovely robe of greenish blue silk
was not her
my
ill-treated.
course, this altercation
maid did not
which
must be confessed that she
look black, and retire
do
are gay then
we
friends the
the de Grays,
extensive grounds, but for pity's sake do not put

place Sky."
to
dear Gambogee,
brother best, in spite of his showing traces
mix much with
we
tints,
our warm-hearted friends Senores Terra de Sienna;

uncultivated fellow, and
my
totally unfit
among her
Berlin,
who now
stept
she begged to say, that
Azura Cobalt,
it
for which, she
indeed she feared she should be obliged to
friends,
with
whom
she had always worked so
on account of aspersions thrown on her character of

o 2
late (she
having
196
been accused of being not only changeable
They must
panions to change).
it
would be
difficult to get
was universally allowed,
Now,
suit,
else to take
her, especially
as her character
was
said
he had
still
more reason
her place, though
when on
the water
this
easily seen through.
handsome looking fellow came forward, dressed
who
on without
but influencing her com-
herself,
some one
find
to complain,
in a rich coloured
as he
had by some
mischance, or by his early association with dyers, never received his proper
He
family name.
belonged to the ancient family of the Citrines, but had
always been called Mr. Brown Pink
Browns nor
warm and
on his
was
the Pinks, but
rich branch of the Greens.
side,
he was however neither related to the
in fact
I
much more
closely connected witli a
looked at him, and saw he had reason
and that there was a colour
complaint
for his
but I doubted
whether he would ever receive his right name, or even long continue
employment,
if
have
to
he could not prove his steadiness as well as usefulness.
Another vigorous youth then appeared in the colours of the Bed Indians,
a tribe
yet
who have always
who seem
well with the
lived in opposition to the family of Greens,
continually to
get
He was
other.
near them, one, I
strong,
settle alone
by himself
in nooks
and useful
willing,
weather to get into the clouds, and either
eject or forget his
and corners
apt in stormy
companions, and
he pleaded he had been much
used to good society, indeed introduced there by Copley Fielding
had not been asked out
so
much,
as
even destroying the property of others,
his place
but of
late
he had been accused of encroaching and
for bright weather,
however, confessed that he was
he,
inclined to separate himself from society
was not gay enough
and
suppose, contrasting
and
as
he liked a cloudy day, and
he feared Madder Brown had usurped
and occupation.
And now
arose
aside inhabitants
a confused
noise
from
all
the
misused and thrown-
of the glass, some, extravagantly dressed, like
Emeralda
Green, crying that they were worked too hard, and declaring that they were
only good for
illumination,
which was indeed
true,
for
they were
never
agreeable with any one, only putting everybody out, and getting out of temper
themselves.
neglected,
There were besides
and had had
all their
many who complained
from their homes and immediately carried away in a

allowed to be of any service
they had been quite
energies wasted, being thoughtlessly dragged

flood,
without being
they confessed, however, they had a secret

pleasure in thinking that they had
This was going too far for
used them so badly.
with
last
all
on the
left a stain
my
197
who had
lips of those
patience,
and wearied
at
used the most powerful spell I possessed, and
this turmoil, I
pronounced over the agitated waters the magical wôrds

'
System and Arrangement
The various beautiful colours then

side in their different families
and placing themselves
arose,
and connexions, became
at
side
the charms that they inherited from their great parent, the Sun.
all
messenger, the child of the Rainbow, the glorious Prisma, descended
them on a sunbeam
wave
living flash of light he flew."
wand they performed
of his
a magic dance,
most wonderful
beauty and harmony of the changes and grace of the movements
As
called the Spectrum.
the arrangement and figures of this
be interesting, I will endeavour to describe
it.
fairy,
for the
this
was
mazy dance may
Tiny beings of exquisite grace
and beauty, adorned with every hue of the rainbow, delighted

one moment, a
His
among
"
At
by
once endowed with
whose crimson robes shone
my
like the ruby,
eyes.
At
would stand
forth
" Child of
light,
her limbs are burning
Through the veil, which seems to hide them

As the radiant lines of morning
Through thin clouds ere they divide them."
Her attendant maidens,

like
to
around
her,
in
waving garments of the tenderest green,
heightening her beauty by the contrast.
admire the lovely group
lovelier.
The principal
a vaporous
it
figure,
float cloud-
Before I have time
vanishes, only to be succeeded
by another
still
decked in a glorious purple mantle, shone like
amethyst, until she and her attendants in their turn paled before
the light of one
whose
robes, too brilliant for
words
to describe,
were
" Starred with drops of golden rain."
Thus, with the most perfect harmony, some were content to retire to form,
as
it
were, a background to their friend, while she alone appeared in full
costume, and governed the whole,

It was, in fact, a
in their proper
all
eyes being, of course, directed to her.
kind of masquerade where no one could expect to appear
costume or colour long together
sometimes
quiet daylight
108
might help them, but sober shade would always disguise them
But
again.
the despotic magician, Sunlight, changed their gayest robes at will, sometimes
even obliging the most refractory to assume his livery

all
was displayed a code
in
it
of laws to prevent
while around and over

again,
'
the room.
open
filled
Note.
my
Those who
find that their best

fall to
the
air,
and
But hark
a tap at the
with graceful movements, a class of young ladies enters
It opens, and,
eyes
the glass of
lovely fairies where are they?
Is
it
muddy
water
is
still
there,
but
have bad much experience in teaching will frequently
and most carefully considered
the ground, and
make no impression on
mode
lectures or lessons apparently
the
memory
of their pupils
of Fuseli's fierce outbursts are treasured
of the art truths briefly uttered
by Constable
of conveying their ideas, will
be remembered, and form the clue to a large amount of sound information.
way how many
my
possible that I have been dreaming?
while some trivial expression, or fanciful
this
and
the occupation, station, and duties of each were for ever assigned them.
Sweet rainbow harmonies

door
them from disagreeing
or Turner
up
In
how many
The mind,
like the
beautiful sea anemone, has a perverse, but natural, tendency to reject entirely
nutrition presented in too great masses, so I have sometimes found that five
minutes might be well bestowed by addressing a youthful audience in a less

formal manner
an inclination
in
of a little
and the foregoing fragment
young
method and
is
the result of a wish to correct
colourists to waste both time
consideration.
and colours
for
want
SCOTCH FTP
POUT
KSPAGNt,, PYRENK
V. THE ART OF LITHOGRAPHY.
Section
(On the occasion
of this lecture, the walls
Rugby were hung round with

celebrated
amongst
masters,
199
of the
wen;
others
many by
at
Edwin
Sir
by Raphael,
sketches
original
Amongst more modern
Leonardo da Vinci, Rembrandt, Rubens, Reynolds.

examples of drawings were
room
drawing-class
and drawings made by the most
studies
Landseer, from the time
Thomas Lawrence,
w hen he was seven years old, some by Sir
Turner, Mul-
ready, Constable, Leslie, Harding, Prout, Bonnington, &c.)
As my
pupils progress in Art, and attain the power of taking faithful
notes from Nature,
is
it
made
desirable that they should be
in
more generally
useful, enabling
them
to multiply their sketches.
no way by which this can be done so well as by Lithography.
is
many
kind of chalk-drawing, such as
of
yield a large
number
must be done with

art
of copies.
We
art.
True,
either
Now, putting
lines
on
to
on copper or
away
all
the
steel
which
to the
and early practice
to
of wood-cutting
artists,
the
lines,
become an expert wcod-cutter,

as
not at
all
likely to
necessary to
art
of
a successful wood-cut.
it
requires
much
there are
Some
many
and clearness of pencilling
Wc
have also photography,
producing, by the action of light on exceedingly sensitive
surfaces, a representation of objects.
undivided
and
so that I consider the
on wood
requisite neatness of touch
make
lines
much more freedom
engage your attention.
or even amateurs, are capable of drawing
more who have not the

is
wood excepting the
a surface allows of
than paring or cutting away the substance from
or
but
and we have drawing on wood, but that must be followed by a most
drawn.
that
only
to,
as will, with chemical appliances,
and by a person altogether devoted
laborious process of cutting or taking
art
there
is
we have many other means of multi-
have engraving
infinite labour
Now,
This
you have been accustomed
on such a substance and with such materials
plying works of
some degree
may be made
acquainted with an art by which their newly-acquired power
attention
and expertness
This
in
is
entirely a chemical art, requiring
the
use
of
chemical agents,
and
employing the powers of manipulation rather than those of correct observa-
200
tion
and delineation
my
desirable for
painter, the sculptor,

as
many
of Nature, so that I turn to Lithography as an art
By means
pupils to become acquainted with.
and the architect are enabled
to
hand down
more
it
the
to posterity
The
fac-similes of their original sketches as they please.
of
artist
can
multiply his studies from Nature, and the amateur the fruits of his leisure
hours.
When
gave you the materials for the lithographic drawings now on the
table before me, I explained to
you the manner of using the chalks and
with the nature of the stone that
is
of Messrs. Hanhart's best printers,
paring for printing your
used.
who
sketches,
will go
inks,
me
have now brought with
one
through the process of pre-
and while he
is
proceeding with
his
manipulations, I will explain to you the various processes he employs, and

the difficulties
we have
In treating of any
to
art,
encounter before
we can ensure
we
honesty, to turn to the discoverer
ought, in
all
and give him due honour as being the pioneer.
when
difficult
the right path
the track
when
is
all is
beaten and the road

dark
from which
He
draw the following
much applauded by
his friends
To follow
not so very
is
made smooth; but
to discover
indeed the work.
is
Senefelder, the discoverer of Lithography,
persevering, and industrious.
success.
was a poor man, but
clever,
an interesting account of his invention,
left
His
facts.
work was a
first
and afterwards published
little
comedy,
his second attempt
barely paid the expense of printing, and he had to spend entire days watching
it
passing through the press
but this time was not wasted, as he became
thoroughly acquainted with the whole art of printing.
At
this period a natural
authors,
wish arose in his mind,
that printing was not
like to get the
money
ments with
casts
how he
and his publishers
of letter-press, and
kind of calcareous stone or
slate,
not
bill.
He
tried all
uncommon
bill for
his
manner
Then he used
Germany.
in
a
who was
plates of a
At
this stage
good surface (he
mother entered the room and desired him
the washerwoman,
of experi-
and etching on copper
stereotyping,
he happened to have a stone just prepared with
when
by the
could produce his work himself, and
plates covered with inks or varnishes, but in vain.
"polished/')
most poor
the printers earned, instead of that gained
author, so he began considering

so save his printer's
the wish of
Then he thought he would
so very expensive.
waiting for the linen.
He
says,
to write her a
says,
and
think

the exact words are touching
smallest
the
slip
of paper
and
instructive
hand, as
at
my
201
happened not
" I
exhausted by taking proof impressions from the stones

a drop of ink in the inkstand.
I
had nobody
As
black,
on the stone which
Some time
leisure.
stone,
when the
to
He
my
prepared ink
same way
away
to bite
and board, and
Thus the new
Now
bite in the
might not be possible
etching mixture to
first
lastly
by the common
apply printing ink
to
and seems
to
from
have
it."
first
then he applied the
printer's ball, then
by the leather and
effect of
stone with
so take impressions
it,
copy at
from the
what would be the
were to
if I
I could
this writing
by a
fine
roller as at present in use.
was invented.
art
before
to try
wipe
or to leave the writing in relief
printing ink to the stone,

cloth
it
to
wood engravings, and
as to
then put some of his
attempted
me
idea all at once struck
and whether perhaps
in the
it
was just going
after this, I
such a writing with

aquafortis,
ink prepared with soap, wax, and lamp-
had just polished, and from which
and
delay,
supply of the deficient materials,
for a
my
I resolved to write the list with
have even
nor was there even
would not admit of
the matter
house to send
in the
to
stock had been entirely
little
show you the
of printing, let
art
words the outline of the whole process.

chemical art not mechanical.
The design
stone like copper-plate engraving, nor
is
me
give you in a few
First understand
it
is
it
distinctly as a
not cut or engraved on the
elevated by the surrounding parts
being cut away like wood cuts, or bitten away in any considerable degree
by acids
the effect
is
produced by chemical
affinity rather
than mechanical
action.
The stone
is
a sort of calcareous slate found in
Germany, and
the banks of the Danube, about Kellheiin and Solenhofen

are found in horizontal layers
or spots
in
them, and also be
of
sufficient
thickness to resist the great
When
them
these drawings
some of you have done, the surface
to
is
and equal in
a fine polish or an
they should be uniform in colour, tolerably hard, have no veins
pressure put on
chalk
also along
these stone plates
of little thickness, êasily split
substance and quality, they also take with readiness

equal grain
used,
in taking impressions.
you have noticed a
fine grain
which
ink
is
used such as in
and when
is
polished,
is
exceedingly pleasant
draw upon.
I will
now
take these drawings which you have done, and prepare
them
-202
by aPPty m S a mixture
You
is
see
acts
it
gum and
of
by the greasy chalk
protected
acid
or ink,
Now we
will place
we must charge
it
it
in the press,
and
and
gum
and
this acid
more of
surface of the stone from receiving any
it,
this is called the etching mixture.
everywhere with the exception of those parts where the stone
from
in order to take impressions
with ink of a kindred nature from this
observe that the quantity of ink that
prevents the
these.
You
roller.
will
attracted from the roller will be in
is
exact proportion to that which has been put on the stone in the shape of
chalk or ink
but to prevent other parts of the stone from taking
we must keep wetting
roller,
it
from the
the whole stone with a soft sponge.
deal of care and dexterity, you see,
good
necessary in charging the stone in the
is
exact proportion, for the printer has to pass and repass the roller over some of
the darker parts, and leave others only lightly rolled over
away by a sharp and rapid motion any surplus
You
ink.
he clears the edges of the stone from any ink they

taking a sheet of
of
leather
flap
wooden
scraper,
Now
press,
He
being as
to
is
it
it,
is
notice that
attracted,
and now he draws the whole underneath
with
care,
and present
it
an equal
facility
of touch in
defects in the
the reverse
is
any direction
a chemical
it is
I will
art,
still
Another advantage that
that as no alterations can be
made
after the
thus
now
results
drawing
is
now
by washing
invisible, the
remains in the stone, and will again attract ink from the
the proper proportions.
same way that a looking-
the drawing entirely out with turpentine; and although

grease
difficulty
this will induce
glass assists the portrait-painter to see his production reversed.
give you a convincing proof that Lithography
this
to the artist as
it is
and that many parts which he drew with
show us our
and
shifting.
termed back-handed, are now right-handed, and
of use to
now
may have
will observe, the first thing, I dare say, that
practise, to gain
Lithography
he can even take
carefully on the stone, then the
it
which gives a great pressure without
which he drew
to
him
the
paper, he places
I take the impression off
Ins proof.
way
damped
will
roller in
from Lithography
complete,
it
is,
compels
us to proceed with caution, and causes us to be precise as well as firm in our

touches, putting on as
much
as possible at once, for all drawings that are
timidly or with repeated touches are not likely to print so well.

shall
now
works
request the printer to furnish
as a
remembrance
all
of
done
However,
you with an impression of these
of this short explanation of the art of Lithography.
THE ART OF LITHOGRAPH V.
203
Before I leave the subject I must call your attention to the beautiful
Chromo-lithographs that are around the room.
others,
and can hardly be distinguished
You
are
them
of
are very close
at a distance
from
originals.
aware that the word Chromo means colour; this
Lithography printed in colours to imitate the

laid
Many
drawings by Hunt, Cooper, Birket Foster, Eichardson, and
copies of tine
on by hand
but, as the varnishes
effect of
is
therefore
pure washes or tints
and pigments used must have some
consistancy given by a portion of opaque white mixed with them, of course
they are not nearly transparent, but are managed so as to alter and bring out
the effect by modifying as well as printing at once the exact tone.
The chalk drawing being done

by pressure
transferred
required.
These are
this, as
you
stone.
Now when
and etched,
By
all
to
tints,
and
also
any chalk or ink from attaching
single tone,
gum
with ink
the pure lights, and by gradating with fatty
by modifying them with the mezzotint
and
acid
itself to the
any transparent colour over the chalk drawing.
of the effect of Chinese white
by trying a
of tints
gum and
this flat tint, the size of the drawing, is filled in
will print with
stopping out with
chalks the
number
squared and the margin covered with
recollect, prevents
it
in the usual way, an impression of this is
other stones, according to the
is
so
tinted paper touched with white.
imitated
scraper,
much
but I think you will be satisfied
make your drawing look
like
one done on
204
Section VI.-
ON THE STUDY OF ROCKS.
ROCKS THE BONES OF THE EARTH BROKEN FRAGMENT TO BEGIN WITH LIMESTONE THE PAINTER'S
ROCK FIRST STUDIES AT HASTINGS EAGLE ROCK, GLEN SLIGACH AN CHOICE OF COMPANION
IN SKETCHING TOURS IMPORTANT THE " BLUIDY STAKE," HART-Y-CORRIE LOCH CORUISK
LOCH SCAVAIG BETTWS-Y-COED LES OTTLEYS, CHANNEL ISLANDS.
Perhaps
there
no portion of Nature that arrests the attention more
is
To the
universally than Rocks.
an additional
attraction, for
it
the bony framework of the earth has
artist,
reminds him of the interesting study he has
undergone when drawing the human figure

his imagination,
and without yielding the reins
structure to the muscles,
and the more
delicate
which, without hiding entirely the stronger
much
facilitated.
exercises with
so fortunate as to
The forms
of
of his pencil
flat,
and
if
so visibly
little
which he will have commenced
he must not
Even
know
at first
grace and
exposed to view,
of geology, his study
is
to the geometrical
his early practice,
him again and again
he does not succeed
much
adds so
induced to commence his
Rocks approach much more
simplicity of the outlines will entice
the
is
drawing by copying forms that appear
and should he be
vegetation to the drapery
lines,
The youngest student
beauty to the whole.

efforts in
to
he naturally compares Rocks to the bones, the earthy super-
and the
to the vigorous use
as well as in copying from
lose courage, but persevere.
before attempting large Rocks out of doors, the pupil will do well to
procure a mass of some Rock, such as limestone, and place
it
before
him on
a board on which has been laid a quantity of gravel, shingle, or sand from the
sea-shore.
Let the sunlight
He must
shadow.
fall fully
then copy
it
on
it,
so that
faithfully, first
casts a clear, well-defined
it
with the pencil, so that he has
nothing to attend to but the perspective of the mass.
Afterwards he must give
the light and shade with form and precise strokes
he will take care not to
confuse
it
with the local colour, nor allow any anxiety about the minor details
of texture or inequality of surface to interfere with the breadth of his composition, not failing also to notice the greater depth of the cast shadow.
sharp edged, fresh broken fragment of Rock, with unequal quantities and with
here and there a curve,
is
sure to cause
more variety
in his study
and
this
he
ON THE STUDY OF ROCKS.
may
by placing a spray of bramble, or some
increase, as well as the interest,
other plant, across
him
to help
made with
it,
and copying the
to attain
power
leaves, stalk,
and
their shadows.
In order
in handling the brush, all these studies should be
and sepia
that instrument
205
Brush
(see
a firm and decided edge to the different tints

difficulties (for dragging, gradating,
the proper flow of colour are at
Practice, Plate VI.), keeping
and
after
surmounting these
and leaving precise and varied forms with
first difficulties)
he will try to imitate and add
composition some of the smaller masses of stones lying about.
to the
frequently
made the group more approach
have
the reality of a mass of rock on
a beach by the addition of a shell or two of different colours, and a
Of
green or red-tinted seaweed.
course,
little
none of these studies have the whole
truth of Nature, and to study out of doors, on the beach or river's side,
much
better
is
but this cannot always be done, and these indoor groups have
at least the advantage of limiting the objects as well as the pupil's attention,
for the
to
young
what he
artist is apt,
will perhaps
when rambling
about, to grudge the time devoted
consider only a mere Rock,
overcome the
pline,
there are trees,

disci-
and made acquaintance with the
difficulties of the brush,
various pigments in his box, he will find
when
Having, by tins
mountains, and the ever attractive sea around him.
much
it
easier to
deal with the
detached masses on the seashore, with the sandy beach, and the wild waves
dashing into foam at their base

subjects,
and
are interesting,
will matter little
it
he will soon find he can get plenty of
what kind
and each has a character of
of
its
Pock he meets
with, for all
own, which must be faithfully
copied.
I
have suggested
appeared
so
much
coasts,
into
to
me
to
to
variety of form
where
it
coombs or
you the study of limestone
first,
for
it
has always
be more particularly a painter's Pock, possessing as
and
has rounded
colour,
from the chalky
lines, curves,
cliffs
and hollows, sometimes scooped out
step-like terraces, to the harder limestone
Hardness and solidity should have the
first
Pocks of Yorkshire.
consideration of the student, for
these qualities are extremely important to convey, and are not given so
by black cutting
does
it
of our southern
lines at the edges of forms,
much
but by a certain degree of firm
quality in the shading, and while this important attribute of Rocks
is
the
first
aim, the young student should not neglect to indicate the effects of weather,
and the appearance of the surface as affected by the
lichens, mosses,
and
206
vegetation which more particularly abound on this kind of Rock.

painter loves the limestone more particularly for
which ranges from the most
through
brilliant white,
the tints of gray, to
all
blue, not unfrequently also passing through the richest
yellow, streaky red, brown, and purply black.
But the
great variety of colour,
its
and warmest shades of
In the Pyrenees
was often
struck with the varied and harmonious tints of the marbles and crystalline
limestones by the river's side
much
for although colour is not so
seen in
unpolished surfaces, when these Kocks were wetted by the dash of spray,
their latent colour
was revealed
in astonishing beauty.
"When the pupil has
gained strength by this careful study of rocky character in small masses, what
an interesting
Derbyshire
field of
in
labour
Dove Dale
open
is
to
him
in the picturesque limestones of
especially, the Tors are so striking that
even those
that have no taste or knowledge of drawing are tempted to try their
Then the charming
imitating these forms.
with the singular vertical
met
all,
cliff's
called Scars,
with, are good illustrations of
hand
in
valleys and waterfalls in Yorkshire,
and the rugged masses often
mountain limestone scenery.
But, above
the chalky limestone has a peculiar charm for Englishmen, for round our
southern coasts
it
is
ever presented to us in striking forms, and
connected with our earliest history and poehy.

of that bold
landmark, Shakespeare's
Beachy Head and Flamboro' Head,

Needles?
Sometimes these
by the waves
in large
cliffs,
Cliff,
Who
indeed
"King Lear;"
immortalized in
or of those
is
does not instantly think

or
most picturesque masses, the
when undermined by
the sea, or scooped out
caves and hollows, and covered with
seaweed and
vegetation, form fine studies for the artist; and even in the rolling, undulating
form of downs, there

to
is
so
much
one of our finest English
character in the limestone, that has afforded
artists,
Copley Fielding, endless subjects
for the
display of his unrivalled power in portraying mist and distance with lovely
colour.
First studies
and
first
impressions are never entirely obliterated from the
mind, however numerous and varied
may
be the after scenes.
even serve to mould and influence the future man.
When
Rocks, and the importance of the careful study of them,
I fancy
they
speak to you of
recall the
first
lessons I received from Harding, from the Pocks of Hastings, the hints I
gained from him and from Stanfield on the beach.
The patience and the
masterly dexterity displayed by these great artists was
most important
PLATE
XIII.
OX THE STUDY OP ROCKS.

lesson to me, and thinking of
young
to the consideration of the
Fortunately,
go to
all
has caused
it
207
to devote
one of our evenings
study of this division of Nature.
will find opportunities for this occupation in every place
you
and whether you use the
artist's
me
pencil, chalk, or brush,
you
you cannot do wrong,
tending greatly to your improvement.
have placed before you
evening a sepia drawing of a very picturesque
this
group of granite rocks in Glen Sligachan,

(see Plate XIII.),
and
Isle of
as every one has to gain a
Skye, called the Eagle Eock
command
may
same
when
study, for
there
is
nothing to divert your attention from your
answer
I will
to brave all privations, as well as the
dashed
of Sleat
to
off to
Skye,
walk
in
what
difficulty I
for
it,
the luxuries and
Having one year determined
creature comforts of Skye will not enervate you.
the
is
be said to be the pick of Scotland for the
work, you will most likely work well.
rain,
with a careful
Scotland, you know,
study of such a mass of rock in a single colour.
country for Eocks, and Skye
of his brush before
to begin
difficulties of colouring, it is well
he attempts the
chance of an incessant down-pour of
Oban, from thence in a steamer up the lovely Sound
and on
Sligachan.
to
can well remember
my
first
the wild and romantic glen which leads up to Loch Coruisk, and
happened
had
to
the
resist
make up
parties to visit
impatience of the tourists
restless
to be at this solitary inn,
and who, not being
Loch Coruisk, or
to
artists,
to
ascend the grand Cuchullins
but I stopped short at this picturesque group, as I thought

the grandest subject I could find,
who
wanted
if I
began with
should never condescend to study with
patience a mere mass of Eock.
Many
of
you
often tell
me
your eight weeks holidays, so
you
really
that
I will
you can
find
wish to draw in earnest, go out with
rate with one
who has some
no time
he
it
will only cause
it
if
congenial mind, or at any
fishes, geologizes or botanizes,
and you sketch, perhaps you make up your minds

;
drawing during
other pursuit that will allow you each to pursue
his fancy undisturbed: suppose, for instance,
and then
for
give you a word of counsel about
you
to enjoy
to separate for a
day now
one another's company more in the
evening, and then with what satisfaction each will
show the
result
of his
labour; and thus you will both be stimulated to greater exertion, and each
be content to throw his whole energies into his pursuit whatever
and
for a time, if necessary,
be satisfied to be alone
On
this
it
may
occasion, as
be,
it
208

mind stood between me and
generally happens, I was alone, no uncongenial
summer
Nature, and during a long
Highlands and Skye.

that country, I think
Bocks.
Day
foaming
torrents,
me
after
rambled through the wildest part of the
Now as the rocky feature greatly preponderates

my mind got pretty well imbued with the character
day did
I sally
when
if
of
up the wild (Hen Sligachan, crossing
forth
which sometimes,
infinite trouble to recross
in
a storm broke on the mountains, gave
returned, rousing the magnificent red
deer on the majestic Ben-Blaven, or hearing his hoarse roar in such a wild
This
ravine as Hart-y-Corrie.
mind
is
highly artistic and poetic.
my
and studies
sketches
Highland friends
I recollect
is
the place to study Rocks, and the state of
ramble under a gloomy sky and moaning wind
after a long, solitary
It
in
tint,
and
have been counted by some of
my
puts feeling into every touch and
this
trip
as particularly faithful.
one walk and study in particular.
had been listening over
night to a most horrible story of a murder of one brother by another in Harty-Corrie at the foot of a huge rock called the
hunt
to
off
it
"
went, scrambling over the roughest of
streams,
Bluidy Stane," and determined
This proved excessively dull and heavy, but
up the next morning.
paths, through
into the blackest of peat bogs.
and squashing
dark-coloured
After about eight
miles of this I was pretty well exhausted, having lost myself more than once
and not having met a
single being to speak
At
to.
last I
caught sight of
my
Bock, a huge black mass standing in a deep-coloured pool under the shadow
of the high
cliffs
above,
down which dashed
oidy noise I heard, with the exception

the eagle -above
my
As
head.
my
at once, as
eye,
was drawing
slipped, I heard a
I
and
to
get a good position,
involuntarily thought of
my
most unearthly gasp or
sigh.
its
it
nothing.
On
produced, and
if
had trod on anything
repeating the step to

I
come
laughed at myself as
the softened leather of
my
some whitening
last night's story.
You
which
will believe
could be, the
tragedy being of course very prominent in
footstep to see
my
foot out of a water-hole into
say I was astounded, not knowing what
and
made the
of the sharp scream of
plunged through the peat bogs and amongst
the purply black tufts of heather
bones met
a small waterfall, and
now and then
like
my
mind.
a toad
discovered
it
All
had
me when
Bluidy Stane
I
looked at
or reptile, but
to the truth, the
boot in the sticky boghole.
"
it
"
my
saw
same sound was
was only the suck
of
ON THE STUDY OP ROCKS.
The diversion
thought, however, caused by this
in
overpowered by the solemn influences around
and dreariness of the
In the study before you,
was soon
required an effort to
it
spot.
have endeavoured
little incident,
and the extreme solitude
nie,
were so impressive, that
scent;
remain and make a careful sketch on the
of this wild ravine,
209
to give the desolate character
and the bones of a poor goat which had doubtless
fallen
over the precipice, and had been picked clean by the eagles, add to the savage-
Another of
ness of the surroundings.

is
Loch Coruisk, which
my
rocky studies, almost as gloomy,
buried in the bosom of majestic solitude, for the
lies
Cuchullin Hills, with their peculiarly deep gray hue,

shores.
its
suppose the tone of the lake
around and above
He
prose and verse.
and
it,
says," Loch Coruisk
and great gigantic
ridge above ridge
up immediately from
all
has been well described by Walter Scott both in
it
is
a deep, dark, solemn piece of
The margins
water of a peculiar leaden hue.

rocks
rise
caused by the colour of
is also
stones,
are
composed
still
of vast sloping
and these hard and herbless masses
rise
they blend with the higher sides and summits of the
till
mountains, seen only partially through the racking clouds, and seeming, so
unexpectedly do they appear

rolling
downwards.
at times
above you, as
The pervading colour
is
if
very act of
in the
an ashy brown, and there
only a vastness, but an air of volcanic desolation about them which
is
not
we have
not seen elsewhere equalled."
Should the student encounter a shower, as

scene
is
innumerable
sunbeams,
little silver
or,
Locks, precipitous
if
indeed highly probable, the
streams and torrents, which sparkle in the returning
changing with
play round and about
and
is
immediately changed: the mountain sides are then enlivened with
cliffs,
its
its
heat into floating clouds of vapour and mist,
rocks and
crags
and a wild sea are
in the
the visitor skirts these in a boat, and inspects
ravines and caverns, disturbing with his
note-book and pencil need never be
idle.
of the impression rocks and their study

varieties of forms
which he
and colours
to be
most
fantastic shapes.
also well studied at
some
Loch Scavaig,
of the
gun the numerous sea

I
his
have thus given you some idea
make on an
met with,
numerous
birds,
artist,
but there are such
that every one
may
choose that
likes the best.
Innumerable
artists
study in the locality that David Cox has made so famous,
Bettws-y-Coed, in North Wales; and scarcely any place can be better suited
P
210
Close by
for obtaining fine effects.
traps
and
weirs,
the Conway, with
is
its
numerous salmon
and the Leder, equally picturesque, with the
Moel Siabod towering above.
Again, sonic will
like
fine
outline of
study the highly
to
coloured masses of red sandstone in Arran, or the noble blocks of granite on
Dartmoor, or on the banks of the Dart, but

is
the
I
first
consideration,
in all
and must ever be kept
was much struck when
in the
what
is
most characteristic
in mind.
Channel Islands with some very singular
masses of rock, based on others of a different colour and more easily affected
by the action of the waves
they formed a line subject for the
have represented them here with the addition of a

distance.
(See Les Ottleys, Plate XIY.)
islands will well repay the
studies of all kinds
young
must
artist,
little
artist,
and
blue or gray to give
tour through these picturesque
and furnish him with innumerable
however, stay to dilate on their varied
not,
beauties but will conclude with quoting an eloquent passage from Ruskin,
who, speaking on the subject of rocky foregrounds, says,
we
are invariably taught
work
by
all,
of the great spirit of Nature
lowest as in the noblest objects

full
is
that
as deep
"
One
lesson, however,
or viewed,
that
the
and unapproachable in the
the Divine
mind
is
as visible in its
energy of operation on every lowly bank and mouldering stone, as in the
lifting of the pillars of
that
however approached
to
the
heaven and
rightly perceiving
settling the foundation of the earth
mind
there
is
and
the same infinity, the same
majesty, the same power, the same unity, and the same perfection manifest in
the casting of the clay as in the scattering of the cloud, in the mouldering of
the dust as in the kindling of the day-star."
211
Section VII.
INFLUENCE OF SOME OF THE MODERN PAINTERS.
TEACHING OF VARIOUS KINDS DIFFICULTY OF PASSING FROM PAINTING TO SPEAKING OR WRITING

TURNER'S EARLY CAREER AND PROGRESSIVE STYLE; IMPETUS HE GAVE TO LANDSCAPE
PAINTING SIR EDWIN LANDSEER'S INTENSE EXPRESSIVE POWER JOHN LEECH, TRUTH UNITED
TO GRACE AND HUMOUR
MULREADY, TALENTED MANIPULATOR
ON THE MANAGEMENT OF
CHALK
WILLIAM HUNT, FINE
SAMUEL PROUT, GREAT ARCHITECTURAL DRAUGHTSMAN
eoLOURIST
HARDING, GREAT KNOWLEDGE OF FOLIAGE
COX, AND THE SUGGESTIVE STYLE
AM> COMMAND OF PENCIL JOHN GILBERT AND ILLUSTRATIVE ART.
It
may
be thought that
my
address
scape-painters,
am
my
going beyond
vocation
venturing to
in
on the character and works of a few of the modern land-
class
and endeavouring
show what
to
they have had on the
effect
present state of Art-knowledge, and the practice of Art in public schools
but when I consider that many of you have been
and that you may soon quit Rugby, either
years,
Oxford or Cambridge, or
to pass at
bare utility of Art,
to the part
and
mind,
this in
to take in discussing even the
which
in the rejection of that
my memory
at
think that a
Keeping
place.
some
for
on your studies
an acquired taste in the support and
in exercising
encouragement of true Art, and

I shall trace, as far as
you may have
now
pupils
once into the busy world,
few remarks on this subject may not be out of
and looking forward
my
to carry
serves me, the
way
in
meretricious,
is
which a few of our
most eminent painters and men of mark have studied, and how
their
power
has been acquired, and shall thus endeavour to encourage you to pursue their
path as far as your other and more important duties will permit.
Now,
first
you must understand that
some men imparting knowledge

most
effective teaching is doubtless
in the short time allowed,
take teaching in
in one way,
some
by example,
by what they
for
old saying, "
by
clearly
voice,
his
Example
is
better than precept
example and
consider
him equally
practice,
to do.
so that
and yet not
a teacher,
best and
will gain
more
done before their eyes,
"
broad sense,
The
young men
see actually
than by long dry exhortations of what they ought
its
in another.
You
when
at all
by
all
know
man
the
teaches
his writings or
and often the best of teachers.
212
Now
advance
to
life,
Whatever information he has gained from
of Nature he treasures up, matures,
him
power
to
different manner.
when we
indeed
It is rare
when he
Kossuth
is
begins to
way
the one
fiy to
mode
express himself equally fully
that can pass indifferently even from

naturally,
whole
in
warm
any
find
man
man
he will
his full
forcible
Passing to our immediate subject,
and
own
his English
addressing his country-
irresistible.
we have
a remarkable instance in our
greatest of landscape-painters, Turner, of the extreme difficulty that there

in acquiring, not a
mere language, but an entirely
After a whole
pressing ideas.
and through the
colours,
skilful
life
for
Turner to render the same in writing or words, and
all
surprising that he entirely failed,
the Academy, in
making himself even
in
was impossible
it
therefore not at
it is
elected Professor of Perspective at
There
intelligible.
anecdote of his showing diagrams on this
is
of ex-
convey thoughts
manipulations of the hand,
when
mode
different
endeavours to
of
is
but although thus eloquent
when
cannot be gainsayed that
more
soul and feelings.
of elevated sentiments, expressing
magnificent, and derived from our purest sources

it
of deep thought
one language to another
which he can throw out
his language proved far
of study will leave
with his subject and become impassioned,
a wonderful example of a
in a foreign tongue,
his study
another and totally
in
himself with almost equal facility in a language not his
men
his
and reproduces in the way most easy
This exclusive devotion to one course and
less
always prac-
is
and throughout
his energy,
all
should be the one in which he best expresses his innermost
in,
thoughts and feelings.
to him.
man
very natural to suppose that the art a
it is
always endeavouring with
tising,
art,
and
is
a well-known
after landing himself in
an
inextricable confusion of from A's to B's and C's to D's, thoroughly breaking
down
and something
matical don.
Preacher
to
"
Meg
of the
same kind
Merrilies calls
and there
are
many
is
told at Oxford of a great mathe-
Domine Sampson
equally learned
in her rage a " Sticket
men who
are entirely unable
communicate by words or writing the thoughts that burn within them.

Education and early training have, you
direction of a man's industry
teaching, for he
and
talent.
and skies
know, much
to
do with the
this scholastic
was the son of a barber wdio lived near Covent Garden, and
began his career in the humblest of

tints
all
Turner had none of
all
ways.
for architects at half-a-crown
We
each
hear of him washing in
then as going to a kind
MODERN PAINTERS AS TEACHERS
213
somewhat
old gentleman's house and working all the evening for a
sum and
After this
a supper.
and shade
may
larger
and laboriously working,

engage in the
to
from modern hastiness, most amply
this reticence, so different
begun with
It
appears to
this apprenticeship
long to have been contented with mere

style
carefully
colour before he had thoroughly mastered drawing and light
repaying him in after years.

colourist has
him
see
some monotone, extremely cautious not
chiefly in sepia or
difficulties of
we
me
that every great painter or
and Turner, in
effects
seems
particular,
of black and white.
His
be divided into four different phases or periods, growing out of
each other.
he showed a severe, hard, and
First,
the greatest wish to be faithful
no idea beyond
thought
it
this.
to
literal
manner, in which
is
evident
Nature, probably at this time he had
Perhaps he did not understand
effect; or lie
may have
unnecessary, finding his whole powers required to represent form
accurately.
He had
careful
next
artist
example of Paul Sandby, whose drawings were
in this study the
and true in
lines,
with
washes and
flat
but
tints,
little
The
effect.
whose works had an important influence on Turner was Cozens,
whose best drawings
are remarkable for solemnity, serenity,
and breadth.
In
the Manchester Exhibition of 1857 there were examples of this artist which
illustrated the
power of the painter over these sources
same time showed no attempt

critic
on Art,
"
was
to
at that time
render
much
beyond the reach of
of effect, but
flat
washes and vegetable
tints; for as yet the draughtsman's practice in water-colours
the one, and his box to the other."
Turner
is
said to
he learned more from Cozens than from any other
at the
This, says an excellent
colour.
was confined
to
have acknowledged that

artist of the
time
and
Constable also praises the modest and unobtrusive beauties of his drawings.
After Cozens came Girtin, whose manner was also broad and simple
Girtin was linked
admiration and
by kindred
common
study,
style
and
spirit
associated with Girtin.
is
and as
with Cozens, so Turner, by
Not
to dwell too
long in our limited time on the progressive forming of Turner's style, I must
mention that he seemed
to take
up one
become thoroughly acquainted with
or
their uses
two colours
at
and
He
effects.
a time, and to
did not plunge
joyously into the mysteries of colouring without knowing anything about
it,
and suddenly find himself out of his depth, as some young friends of mine
214

Then comes
do.
his grand
mature
which nearly
stage, in
most beautiful water-colour drawings were done, such

the possession of Mr. AVindus, and are
At
in the
were in
hands of Mr. Fordham.
a later period of his long career he seems to have tried experiments in
colouring with
almost reckless liberty, often attaining, however, a wild and
poetical effect.
1
now
and
his finest
all
as those that
would
It is to the
middle period of Turner's
This will tend to elevate and refine your ideas of Art, and lead to a
study.
Turner's best and most
better appreciation of the endless beauties of Nature.
were made in Great Britain
careful studies
of his larger paintings
he appears, indeed, to have
England and
visited almost every county in
many
and works that
life
your attention, and none will better repay a careful and minute
direct
By
"Wales.
and, with these great advantages,
we have
yet another;
he
his will,
and a vast number of his sketches
left
to the nation
while Turner
for,
possessed this grand power of teaching and influencing Art and artists by his
brush and pencil, he has had the great good fortune to gain
of his thoughts, his feelings,
and
intentions, that
for
an exponent
most eloquent writer on Art,
Buskin, who, while Turner poured forth his soul and poetry in form and
colour,
I
translated and diffused
it
Thus
almost with equal force in words.
consider Turner and his works to have influenced, in the highest degree, the
artistic
mode
of studying from Nature,
and landscape-painters
ought to reverence him, fov he gave such an impetus

this
branch of Art that has placed
study, the figure
a long
life,
it
side
by
Many
more popular
side with the
and he must be regarded as having, by
his works, during
eminently assisted in raising the British school of painting to
present acknowledged character of supremacy both at
stood
in particular
to the appreciation of
home and
its
abroad.
of Turner's later productions are exceedingly difficult to be under-
by the young
artist
but
let
him
first
carefully study the earlier
works
of this great master, and he will then be better able to appreciate the wild
poetical beauty of those painted at a later period.
Bassing from Landscape Art to another branch, for which
my
hearers and pupils have a great predilection,
Drawing; and whom can

works appeal
Truthfulness
been termed
at
is
once to
name
all
will
so naturally as Sir
line.
He
is
know
now speak
fidl
of
well
Animal
Edwin Landseer, whose
Englishmen's hearts with
depicted in every
the greatest
irresistible
power?
our English Snyders, and has
dog-painter that ever existed; but be
is
almost
MODERN PAINTERS AS TEACHERS

equally successful in horses, stags, and indeed
see good
colour
we
and true drawing from Nature, correctness of form and appropriate
his handling
215
In his works
animals.
all
is
delicate
and
and he shows a constant and
graceful,
profound knowledge of animal character.
I place him, therefore, very high
amongst the masters who have, by their example and teaching, raised a love
of Art
and the study of Nature amongst us Englishmen.
interpreter
his dogs live
and breathe,
of his earlier pictures, such as the "
his horses snort
Landseer needs no
and pant, and in many
Old Shepherd's Chief Mourner," there
is
wonderful expression and deep pathos.

Listen to a description of this picture in the eloquent word-painting of
Ruskin
"
The exquisite execution of the glossy and
the bright, sharp touching of the green bough beside
wood
the
and expressive
clear
and the
of the coffin,
in
crisp hair of the dog,
it,
the clear painting of
folds of the blanket, are
the highest degree.
But the
language language
close pressure of the
dog's breast against the wood, the convulsive clinging of the paws,
dragged the blanket
off the tressel, the total
and motionless upon
its folds,
the fixed and tearful
motion or change in the trance of agony since the

coffin-lid,
fall
last
how unwatched
sleep
blow was struck on the
the quietness and gloom of the chamber, the spectacles, marking
the place where the Bible was last closed, indicating

life,
of the eye in its utter
marks that there has been no
the rigidity of repose which
hopelessness,
which has
powerlessness of the head, close
these
the departure, of
are all thoughts
him who
is
thoughts by which
how
now
lonely has been the

laid solitary in his
the picture
is
separated
once from hundreds of equal merit, as far as mere painting goes, by which
ranks as a work of high
art,
and stamps
have
less
man
of mind."
reason to call your attention to his beauties, because you
have, in the numerous folios around you, so

his works.
it
author, not as the neat imitator
its
of the texture of a skin or the fold of a drapery, but as the
But
at,
I consider these
many examples engraved from
have materially assisted the modern draughtsman
in seizing the best points of a horse or dog,
and
in linking together the real
with a true and graceful representation.
Although not a
painter,
and not influencing Art through the medium of
pictures or colour, perhaps no

taste
man
and enjoyment by the use of
Leech.
He was
has contributed so
his pencil as one
much
we have
indeed a most popular and truly-lamented
to
the general
just
artist
lost,
John
he was
216

well as admired by
loved as
he portrayed so truly, and yet with
for
all,
such grace and humour, the various passing events of
we saw even our
looked to his works
medium.
flattering
to
Leech a
I call
draw from Nature, and
am
fine
have possessed his most enviable
was he pleased so
universally.
rently so easily,
appeared as
it
example
We
talent,
First,
must
you
tell
who
feel
that, besides
of careful
revision of
first
depressed in their
having great natural
ideas,
sufficiently well expressed
I could
for his
and fashionable costume you can

and
points, he
istic
and
to
witty pencil
pencil
had
make
fastidious
is
wit in his
sufficient
one being
Leech had, above
taste.
his devotion to fashion
all
is
always correct
to give great point to his
pencil
But here
felt.
produced only by a witty mind
man
let
me
tell
well, to
so
is
wanted
Mere copying
felt.
we want
touch our feelings, and Leech was
much,
for his place will not
be
of Nature will not do
the poet, the
filled
these,
all
and the man
artist,
hunting-field
came
and
its
Moreover, the
caturist,
alike to his gifted
to
pencil.
Perhaps no
;
man
has ever sketched the
such an extent, that he must not be looked upon as a cari-
but as a
of the
the
and he ennobled the branch
real
draughtsman from Nature.
Turning from the study of Nature out of doors

training
various incidents, the sea-shore, and the drawing-room,
action and paces of a hunter so truly as Leech
he followed
as
and therefore we miss
again in a hurry.
scenes that he drew were, like Sir Edwin's, highly English and popular
all
you a
cannot show with his
what he has not seen and appreciated, any more than an author can
something more
him
legs,
five
see very well the form
his hits relished as well as
write thoughts that he has not

no,
Leech took immense

see several instances
Joined to this charming power of seizing the most character-
graceful.
jokes,
effort
encouragement of
even four arms, the action not having
a sound knowledge of the figure, and amidst
all,
it
studies from Nature, I
first
abilities,
such as horses with
rejected, or figures with three arms, or
been
on the paper without
hut, for the
In the late exhibition of his sketches
pains.
to
how
he drew so truthfully, and yet appa-
and without the horrors of painful correction

those amongst you
desire faithfully
room would wish
ought then to examine
his lines fell
if
through a most
who
for those
sure every one in this
when we
that
life,
failings represented
artist,
we cannot have
to the
more
quiet
self-
a better example of devotion and
patience, as well as first-rate talent, than Mulready,
who
has exercised a very
MODERN PAINTERS As TEACHERS.

beneficial effect
on our English school of drawing,
217
first,
and exquisite paintings (many of which the nation
and which are therefore always influencing the
possess,
wonderful chalk studies
secondly, by his
by his well-known
are so fortunate as to
taste of the public)
human
of the
figure
from
life,
decidedly the best
examples of the mode in which drawings should be
made, and the way
to
manage the chalk and stump,
inclined to be very unruly, and
As many
detract from the beauty of the drawing.
and therefore employ both

as well
useful
as
to
for these materials are
not used with dexterity are very apt to
if
you draw from
of
and Conti chalks,
Italian
examine one or two of
may
it
these
refined
me by
Mulready's now on the wall, as well as others lent
drawings of
various friends,
and afterwards those drawn on stone by Bonnington, Harding, and

I
must
also quote to you,
The old masters always employed
in their
adapted to the object they had in view,
down
first
thought, just as
it
The breadth and
first
if
stroke immediately gives to such
sketch something picturesque and massy
wished to arrest a rapidly-passing
effect in
happy, quickly-changing cast of drapery, or
them
forms.
some
on the other hand, they aimed
movement
the most delicate
while, at the
if desirable.
same
But
time,
if
they
Nature, to seize an accidental,

to
to
mark sharply and
distinctly
sure and distinct indication of
express in a portrait or study
and a
of forms,
pen was preferred, which allowed
the
character,
to unite the easy-flowing line with the

If,
desirous of noting
so easy, or the soft Italian black
is
softness of the
the material allowed of a high degree of finish,
the main features of
drawings the material best
they were
arose in the fancy, they usually chose the
red Italian chalk with which sketching

chalk.
others.
from a clever work on the Art Treasures of Great
by Dr. Waagen, some excellent hints on chalk drawing.
Britain,
"
casts,
be interesting
the outline, they generally took a silver point.
fine
play of surface within
On
paper covered with
a mixture of white-lead and pale yellow ochre, verdigris, or some red, such
a pencil marks but lightly and softly, and therefore allows of alterations and
improvements ad infinitum, and by pressing hard, marks decidedly that design
which the
artist finally prefers.
tribution of light
Indian-ink, with
and shade the

its
surely to their end.
elastic point
Or
if
full
and
their chief object
was the broad
dis-
camel's hair brush, dipped in sepia or

its
bold breadth, led most rapid])' and
In such drawings the outlines of the forms arc often not
218
indicated, but result only from the limits of the shadows;
same time
at the
to indicate the form, the use of the
more detailed marking
for a
a middle
tint,
it
was required
Lastly,
and shade coloured paper afforded them
of light
by the help of which they produced, with black chalk in the
shadows and white in the
On
of the parts.
when
pen was added.
very delicate gradation and a great relief
lights, a
account of
many
its
advantages this mode of drawing has
been very commonly used."

have thus turned your attention to the works of Mulready and to the
most perfect manipulations of the chalk
although
for
style,
it
is
not very
probable or even very desirable that pupils in a public school should devote
much time
to master all its difficulties,
refinement are highly necessary in
We
must now turn
to one
all
you should be aware that delicacy and
kinds of
art.
who, although he passed from among us some
time ago, exercised very great influence on the modern style of sketching from
Nature.
mean Samuel
Prout, one of the greatest and most picturescpie
draughtsmen of architectural subjects that has ever
He
pencil
so
lived.
possessed great knowledge, unbounded industry, and a most vigorous

there
much
many
works,
no drawing of old buildings that possesses so much
is
reality,
of
and
so
much
picturesque quality as
vitality
In his numerous
his.
which are around you, may be traced an intense love
.of
old
Gothic architecture, and his mode of handling was so admirably suited to

portray massive stone work crumbling into ruins, full of rents and fissures,
and covered with

for the
living
young
when
I could not
lichens,
student.
mosses,
My
and weeds, that
was a boy, and many a time, when
but wonder
has a great charm
it
studies were of his works, for he
firs't
how such
a delicate-looking
such a massive, vigorous manner
for at that age
was yet
have seen him drawing,
man
one
could have adopted

is
apt to think that
character should always correspond with the outward appearance.

I
fore
have wished that his style of sketching should influence you, and there-
have always placed before you his lithographic drawings,
great advantage of possessing

in this art
many
His
figures are
;
is
for
we have
the
works drawn by himself on stone
he was perfectly at home, and there
a manly boldness of touch that
a crowd
of his
is
freedom of execution and
perfectly refreshing.
admirably grouped, and
and, although they have
fill
somewhat
his streets
and markets with
of a stony look, they are broad
MODERN PAINTEES AS TEACHERS.

and simple
character and light and shade.
in
219
In foliage and vegetation
perhaps yon will think him heavy and ungraceful, but you must recollect
that these portions of the landscape were, in his w oks, always subservient
He
to architecture.
taught
much
while living, exhibiting also fine careful
drawings in water-colours, and with these and his vigorous drawings

stone he doubtless greatly advanced the
present
mode
on
looking at and
of
drawing from Nature.
now
Let us
mode
of colouring.
Hunt, the truest delineator of rustic boys and
Hunt was
sorrows.
any way, no
but, having chosen a
and
modest and confined
his fruit
was
at first
There was no subdivision of
He was
class of subject,
the best painter of
still
men
possessed
he carried
life
it
out to
we have
ever
most celebrated masters of the Dutch school.
His
pure water-colour, without any extra vehicle or body-colour;
he used more opaque colours and vehicles, but
latterly
also
William
and flowers are handled with a richness and power that
rival in every respect the
style
(if
various joys and
girls in their
straining after the talent that other
the utmost of his ability.

possessed,
speak
a fine example of what steady perseverance and perfect
devotion to one style and kind of art will do.

his time in
who
consider the works of another great master, one
possessed a most vigorous style and
still
covered them so
dexterously with delicate tones and washes, that the whole looks admirably
transparent.
it is
by
the
side,
and
way
There
in
is
one point in his works
wish you particularly
thus making, by their various combinations, every shade of secondary
tertiary colour.
After his lamented decease, there was in the exhibition
Old Water-colour Society a splendid example of
of the
to notice
which he placed small touches of pure primitive colour side
this in the basket of
flowers of a flower-girl; the blots of pure colour, placed in harmonious positions,
formed a most lovely composition of colours, and showed wonderful talent

the master.
and
Here, again,
we have many
subjects, as the folios to
which you have access contain many of
some of which he drew on stone
As
style,
who with
thought
intense
must mention
and indicative
Hunt, but his antithesis in manner,
a single blot of colour or dash of his brush suggests
and feeling than many with

love
his works,
himself.
of the greatest landscape painters in the broad
a pendant to
David Cox. one
in
opportunities of studying his style
of Nature,
lie
most careful elaboration.
and the devotion with which he studied
more
His
for fifty
220
summers
Bettws-y-Coed amongst the foaming rapids of the Conwav or
at
under the shadow of the heathery mountains, should surely be the admiration
of all students of Nature.
own
that were I addressing artists I should
long to dwell on this great example of the power there
in Art to convey
is
the most varied sentiment and subtle effects with no apparent effort
your case labour in Art conies
young amateurs
first,
and
must beware how
but in
I encourage
copy the manner without being able to approach the more
to
noble qualities of such a mind.
We
pencil,
another master of landscape, whose works, in colour and
still
mean Harding.
who had
one
those
so
have
have borne an important part in forming the modern

I should
benefited
who have gained
numerous, that
by
their
am
his instructions,
drawing
style of
speak of him with some reserve were

but his pupils,
I the
only
any
rate,
at
or,
knowledge of Art from himself or his works, are
quite sure all will admit they have been greatly
indebted to him.
Previewing Harding's works from some distance of time, and judging him
and
his teaching
divested of the prejudice which he doubtless experienced
whilst living, all must allow that his teaching, his pictures, and his published
works exercised a powerful influence on drawing; he
by one
admitted,
is
quite capable of judging (Ruskin), to have possessed a greater knowledge of

foliage
and tree-drawing than any other painter, with the exception of Turner
nor had we, at the period when he drew the

the Academy, in any
way comparable
best,
him
to
any one, either in or out of
in the masterly representation
he was equally strong, and his foregrounds are
of foliage.
In rocks,
admirable.
His command of the pencil was wonderful
also,
express more than most men, and
sharp edged rock,
is
" his
work
absolute perfection
with
it
he could
in near passages of fresh broken,
and the perfect freedom and
facility
with which his fragments were splintered and scattered was exceedingly
fascinating, for there
was truth
in every line without
colour he was also most admirable, and the rich
warmth and
most
any apparent
delicate grays of Harding's rocks, illustrated as they are
fearless,
firm,
sufficient
In
by the
and unerring drawing, render his wild pieces of torrent
shore the finest things, next to Turner, in English foreground-art."
had
effort.
lichenous and changeful
power and ambition
oil-painter, his skilful
handling and
at
one period of his
command
of all
life
manner
to
Harding
become a
fine
of material giving

him
great advantages
but with
was
after
and practised as was
his hand,
was, perhaps, to be regretted
all this talent it
much
that he latterly strained too
22
dash and rapidity, and masterly as
his eye, he
sometimes
into a too
fell
obviously pictorial arrangement of his subjects, which hi rendering apparent

the painter's
destroys for us
artifice,
the fashion with
some
has rendered to Art
modern
of the
but
much
would be
it
of the effect of his pictures.
critics to
It is
decry the services that Harding-
name any one who
difficult to
lias
laboured more energetically and successfully to advance the ability and tastes
of the public for drawing.
have yet to mention a style of Art which has of
influence in forming the general taste, I
by which passing events

For this
manner.
human
figure,
is
to the
all
to these
block of wood in a
first,
way
must be added rapidity

that
may
it
much
Without aspiring
but his strength
is
best
"
to
to
to
cut well."
and with his vigorous
of character, and profound study of costume,
fine,
forcible
an educated mind stored with costume and great power
of Elizabeth, he has done
Don
Drawing,
and
required the draughtsman with great knowledge of the
John Gilbert stands
multitude.
late exercised great
Serial Illustrative
are presented to the public in a pictorial
express passions and actions
points
mean
In
pencil, great
more particularly
to
convey them
these
all
knowledge
of the time
make Art popular and welcome
to the
be a colourist his exhibited works are very
shown
in his illustrations of Shakespeare
and
Quixote, and weekly contributions to the Illustrated News, where his
wonderful faculty of extemporising designs and rapidity of execution, rarely
making any previous

plate,
aided,
make him an
sketch,
and often occupying only three hours
might add many modern painters and teachers
by
some branch of
their devotion to
vation and appreciation of drawing
you who thus early

master the
studies
find the exercise of
page
to this list,
who have
Art, to spread abroad the culti-
but I must, for the present conclude.
To
in life have devoted a certain portion of your time to
difficulties of
by repeated
works have assisted
in
for a
invaluable aid.
Art I leave the consideration of following up your
efforts
to
and by taking
for
example those masters whose
form our present school of drawing, I trust you will
your talent produce a large increase in your enjoyment
Drawing from Nature.
CHAPTER
V.
SYLVA EVELYN'S COUNTKY.

"
Him no false distant lights, by fortune set,

Could ever into foolish wanderings get,
He measures time by landmarks, and lias fc
ig
wood, born with himself
old contemporary trees."
Cowley.
THOUGHTS OF AN ARTIST WHILE SKETCHING OLD MANOR FARM ABINGER COMMON LEITH AND
HOLMBURY HILLS ANCIENT DANISH AND SAXON REMAINS WOODLAND SOURCE THE EVELYN
WOODS SYLVA EVELYN, HIS LIFE AND TIMES FELLING TREES AT THE ROOKERY FORMER
GUNPOWDER MILLS AT WOTTON, FORGES AT THE HAMMER PHOTOGRAPHY NOT ALWAYS CORRECT.
NE
V.X
autumn evening
was
sitting
drawing before a group of picturesque
old beech trees, with twisted and gnarled roots, overhanging a broken
sand-bank near Wotton Place.
bad worked
to
make my work
some cows seeking

branches
study
the
I scarcely
artist, that,
had seen him
salutation, but,
having walked
inclined to chat, while he

in health
and seemed
painting
off his superfluous
smoked
my
barely lifted
"it's
for
which
to return his
animation, he evidently
Like
his cigar.
head
many
others
and strength and have not by discipline in early
difficulties of
began;
morning
start in the
intent
heard the approach of a young sportsman, who,
with dogs and well-filled bag, was returning from his day's shooting,
I
days,
from the heat of the day underneath the protecting
they grouped themselves so charmingly for an
on sketching them,
many
a group of cattle
This was just then fortunately presented by
complete.
shelter
at
now only wanted
patiently elaborating all the details, and
life
who
felt
rejoice
overcome the
drawing, he could not appreciate the interest of the occupation,
to pity
pity
me
it
for
is
my
inactivity.
so tedious.
away from morning
till
night,
"Yours
When
see
from week
to
is
a charming
you and other
art,"
he
artists
week, the same objects
224
from the same
.spot, till
the very grass
id
worn bare under your
feet, 1
often
wonder what your minds can be employed upon while your hands are
busy
Are you
really thinking of nothing but
the colour of a sand-bank, or of rendering
trees,
so
matching the green of your
what you
a spot of
call
pure sunlight on fallen leaves or gravel ?"

"
of
By no means,"
my
colours, with
my
so that
fall,
employed
are
paint,
my
and
to
the use
now
is
around the subject while
free to play
my
fingers
thoughts find time to wander to the history of the scene I
convey a reflex of these to
strive to
merely a photographic representation, devoid of
artist, least of all
people, should
it
" 'A primrose by a
all poetry.
be true that
river's
brim
yellow primrose was to him,
Ami nothing
me
past years of study have taught
animate the whole, and
canvas, not
Of an
something of composition, and how light and shade must
mind
my
"
I replied
more.
should acquaint himself with every tale or legend attached to
painter
the spot, and choosing the one best suited to his subject, should then aim at
embody
getting an effect in harmony, and proceed to
both the nature and the poetry of the scene

should
man
Of course
inseparable.
lie
it
is
always
brings to a subject and what he finds in
cultivated the mind,
his idea so as to convey
to the
beholder
it
indeed, they
but the more enriched and
amount
the greater will be the
apportion what a
difficult to
of beauty discovered.
Preconceived ideas exert an imperceptible sway over the strongest underIf a
standing.
find
them
man
look at Nature to find straight lines and angles, he will
he look
if
portrait painter
aims
for
who merely
than the photographer,

distorted
artist is
curves, curves
by a strained
or
stolid
presents a
expression)
For example, as a
will find.
lie
showing the mind of his
at
sitter in his face,
map
so
more truly
of the features (often
the intelligent landscape
ambitious of conveying something in his pictures infinitely beyond
the mere outline of the houses, the greenness of the foliage, or the clear blue
of the
He whose works
sky.
faithful detail
and elaborate
and cultivated
competent
perfect
in
feeling,
to judge.
answer to his ideal conception, presenting
finish,
combined with the poetry of an elevated
must rank high
in the
judgment
of those
who
are
Doubtless the Dutch and Flemish schools, the most
manipulation and
faithful
in
delineation,
though destitute of
sylva evelyn's country.
225
whom
sentimental beauty, will always please the great numbers to
with moss.
eyes, as a face, a cottage, or a bird's-nest
always be
catching also
view
Well," said
my young
and
prevent
me from
You had
feeling that I
better
at present," said
"
I,
come up
Shall
"
On
you
bring
my
no account
to think of
you are
and
right,
now and
have wasted
preciously out of
my
when
time
wish
then, for
could
when
humour with
"Angler" doesn't
I
go to bed."
Old Manor Farm, then, where
am
living
and breakfast with me, and we will have a walk and a
talk about this, the highest

"
am
day, I
to the
reflects
to posterity."
the reading of "Field Sports" and Walton's
myself,
"
all
mind
the
on the canvas, and thus
for ever
through your eyes
neither get a shot nor a nibble

all
it
friend, " I dare say
this capital country
all
moment when
happiest
tiie
in the countenance, fixes
most truly
hands down the statesman or the poet

"
their
But some there will
encourage and reward the rarer genius which records not merely
to
the features, but

itself
the idea of
means nothing more than an accurate copy of objects before
a picture
and most picturesque spot in Surrey."
gun and the dogs
"
inquired
change your whole ideas
for
my
friend.
one day,
for
dogs will lead
game, and even a fishing rod should be exchanged
for a
good
field-glass."
I
should mention that
and found that he

for
still
recognised in the speaker, Dobson, a former pupil,
possessed the habit of argument and apparent contempt
Art which had tasked
my
On
patience in his boyhood.
one occasion, when
corrected for careless, idle habits by the prophecy that he would never be an
artist,
he replied that
if
he thought he was likely to be one, he would hang
He was answered
himself at once.
that he might feel himself quite secure
against such a termination to his career, as he never could be an
now found my young
fellow out in this quiet place,
something of the mind of a painter, and,
if possible,
there was something besides Latin and Greek that
other
amusements
boisterous,
worth living
for
Having
cause
him
to
think that
was worth studying, and
besides shooting and
though manly, games of football and
artist.
determined to show him
cricket.
fishing,
and the
As he was always
very frank, I was sure to hear his opinions without reserve, and
could thus
administer the antidote on the spot,
bright
Dobson, and
sunny morning and early habits gave me the advantage of

I
had nearly completed
study of the porch of the old house
226
made
before he
his appearance.
After a hasty survey
good farmhouse breakfast of broiled ham, eggs, and
and bread (the
of cake
we
coffee,
provided by
latter really sweet),
down
sat
the
to
with various kinds
my
good landlady
then with cigar and pipe, which artists and sportsmen are wont to consider
how much
aids to digestion (though with
We
to look around.
truth I will not say),
capacious hearth, on which was blazing a
on one side
window
at his
the rafters and hams.
said
"
there
Londoners
to
is
so
much
they like
stormy night
with the
blast,
fine style
the
have
to
"This
gatherings of
my
room with
everything
is
children,"
new and
so
than the inner or best room.

;
and
assure
you that
it
swirls round
and rushing out

it
fire,
fir
toast
the large
singular
The wind
in
many
looks, rock
and the old diamond-shaped panes and casements
rattle
in
chimney nooks, bursting
up through the boards from
at the back,
necessary to keep on hat and great coat, for the
piercing on this high ground
thrown on the
warmed and
at the labours of
in the chimney, circling
the whole building, substantial as
felt
the vaults below, making

is
a favourite
is
amuse them
far better
it
wind then
in at the front door
cold
of huge beech logs, a settle
elbow to allow him a peep
round the old house in winter
roars merrily
a
fire
The smoke curled away above our heads
among
I,
leisure
chimney, and the farmer's old arm-chair in the opposite
in the
corner, with a little
the yard.
we had
sat in the quaint old-fashioned hall or kitchen, with its
such times another huge log
at
is
and the younger part of the family cheerfully add their
cones,
crackling holly, and laurel
sticks,
made, and as
elder wine
round the blazing hearth, each
all circle
is
tells
something interesting about the old place."
"This makes an excellent
interior for
an
artist,
the old farmer smoking his pipe, while his
dame
with a rustic figure or two

sits
by the
knitting
This kind
of the rush, dipped in grease, held in that curious iron stand.

of light
it
was used almost everywhere when
knew
the place
you
see
has to be changed in the pincers every few minutes, or else held in the
hand, both interruptions to quiet reading.
say
of
I first
light
it
is
itself,
far
more comfortable
and gives no trouble
for getting into

!
have heard many old people
bed by, because
In the chimney corner you
piece of rough bark that holds the store of dipped rushes,
it
may
goes out
see the
which are gathered
and stripped by the poor as the autumn warns them of the approach of long
evenings.
The
farmer's wife
buys them
in
bundles, and melting some
fat
SYLVA EVELYN'S COUNTRY.
them through
in a frying pan, passes
a trifling expense
candle,
of a
windows
I
in
shielding
wanted she indulges
is
with that quaint covered shade with two
it
" let
us leave
all
these details,
an antiquarian, and have a
make, anything of
stroll
which are
The capacious porch, with
it."
oak
its
little
chamber above
prophet's
tiny panes, half hidden in clusters of roses

caucarus, with
its
nn
we can
carved door,
pains taken
little
arms on the oval stone medallion over
to decipher a scarcely visible coat of
The
see- if
settles,
old iron loop handle and knocker, were noticed, and some
the doorway.
little
But come,"
interesting only to
about the place, and
at
in the luxury
thus protecting her light from the wintry gusts.
it,
concluded,
aitist or
but when more light
227
and thus has plenty of candles
it,
it
looked bright with
and honeysuckles,
its
while the
and the guelder rose grouped well
brilliant yellow balls,
about the base.
An
avenue of yew,
am
told,
once led from the porch to a side door in
the front garden, and just afforded a peep of the

taper spire of wood, and
with
its
some
fine
years ago,
to
its
walnut
when
in
which were
trees,
little
old-fashioned church,
the garden at the
either
blown
south
side
were
down some twenty
or cut
they must have both sheltered the building and contributed
picturesque
appearance.
The garden and orchard have
originally
been surrounded with a strong wall and moat; while a high mound, with
two much shattered but

or
watch tower,
fine old
as a light
seems to have, been a kind of keep
firs,
from thence would be visible
communicate an alarm from Holmbury and Ewehurst

But finding Dobson longing
for a
to
all
around,
and
Wotton and Dorking.
walk we started
for
Leith Hill, and
soon found ourselves on the breezy common, knee-deep in the bracken and
whortleberries,
and under the fragrant Scotch
which gradually led up
by some
easily believe the tales told
many
me
that his father
hundred horses heavily laden pass through them.
part of the
Aubrey,
common seemed
signifies
to justify the
name
fir
had often seen
The whole
fifty
of this
of Abinger, which, according
an eminence or rising ground, the upper part of the
parish being the most elevated spot in the county.

thick
years ago frequently
transported their goods from the southern coasts
London, one old cottager assuring
or a
to
who
Following a deep gully,
fir.
we coidd
of the old people, that these defiles were
traversed by smugglers,
to
to Leith Hill,
By
degrees
woods behind, then the straggling advanced posts of
trees,
we
left
and
the
finally
228
came out on the wild barren moor,

tower.
It
summit of which stands
at the
a square
was fortunately a splendid day. and the view over the wealds
Surrey and Sussex, and of the forest ridge, with the North and South
in the hazy distance,
was magnificent.
Artists,
however, look upon such an
extended panorama with very different ideas from those of the world
the former regarding
somewhat
it
of
Downs
in the light of a
map, while
at large,
to the latter it
presents all that constitutes a picture.

" There," said
What
my
most beautiful country
Rather
We
time
less distance
poor
some corner
"
But come,"
said
Though Leith
I,
I tell
Hill
the sea, and owing to

Hill
is
quite
my
talent,
attempt a
any other
London
besides.
friend."
Nature
bit of
little
A man
at a
the world enjoys
must be educated
faculty.
leeward side of this square tower, out of the
my
opinion about these high grounds of Surrey.
you
its
nearly one
being
highest,
thousand
broken face forming a more abrupt
as picturesque,
and
its
line,
above
feet
Holnibury
shoulders and quarries of sandstone,
with luxuriant heather and gorse, make
it,
perhaps, the
favourite
of the
Several fine pictures have been painted with this hill as a back-
artists.
ground and a glowing
cornfield in the foreground.
There
culty in introducing the cultivation of corn lands, with our

into these heathy pictures,
and imperfect farming.

in well,
" to the
the
is
to
like to look up.
in his appreciation of hills as well as
rough wind, while
paint that
miles of the
fifty
of
little
better suited to our ability
is
we almost always
looking down,
and a
and a good deal more
nook
or
down and
sit
?"
must be content
artists
you
don't
There you have everything;
in every direction,
"What more can you desire

"
why
"
companion,
can ba more glorious
which ought always
The
to
have an
rustic labourers, the sickle,
but the formality of the
against the artist; nevertheless,
drill
is
always a
air of negligence
and the gleaner come
and more modern machines
many
living
diffi-
modern machinery,
is
very
much
and studying amongst these
hills
do manage to make beautiful and truthful pictures of them.

"
But
let
me
tell
you
of former times,
when
these fine spurs of
hills,
jutting out on the fertile plains below, were the scenes of great excitement,
contrasting
with their present
stillness.
On Holnibury
Hill,
the
Saxon
chronicle states, were stationed the invading Danes, when, in 851, a battle took
place between
them and the Saxons under King Ethehvulf.
It is
thought that
SYLVA EVELYN
the dyke on the summit marks the
another
camp
these
hills, in
but this
229
the Danish camp.
on the ridge
distinctly traceable
above Coldharbour
COUNTRY.
site of
our
to
now somewhat hidden
is
left,
There
called Anstiebury,
Not
in woods.
the vale below, lies Ockley, or Okely, which derives
from the oak woods formerly abounding in
also
is
this part of Surrey,
from
far
its
name
and the Roman
road from Arundel, here called the Stane Street Causeway, passed through
it
before the time of railroads
ground
be interested in
its
it
was thought the
Walk down
from Brighton.
for the coaches
nicest piece of trotting

to Ockley,
and you
will
broad green, with the picturesque well in the centre, and
the smooth expanse of
Try also
round about.
village houses scattered
you can
if
find a molehill
on
you must know that the country people say
turf, for
there are none, and to this day attribute the absence of moles on the green,
while they abound
all
Saxons buried here
around, to the creature's dislike of the blood of the
one of their
after
with the Danes.
encounters
fierce
After ascertaining the truth of this assertion, I should advise you to search
Oakwood
out the quaint old building called
Chapel, which
buried in a
lies
hollow in the woods."
Having bidden adieu
my
to
friend with these parting instructions,
furnished him with an object for a good walk, I insensibly
mood
as I proceeded
on
my
return to lower ground,
fell
down one
vales diverging from Leith Hill towards the larger valley
Dorking
to Guildford.
and being now
wander on
am
into a
of the
and
dreamy
numerous
which runs from
never tired of this varied and extensive common,
alone, without an impatient spirit
by
my
side,
was
at liberty to
in the bright noontide sun,

" Where slowly stray those lonely sheep
Through the
Love you
foxglove's crimson bloom,
tall
And gleaming
of the scatter'd broom.
not, then, to list
The crackling
and hear
of the gorse flowers near,
Pouring an orange-scented tide
Of
fragrance, o'er the desert wide
Passing again under the ragged

oak, whortleberry, bramble,
and
fern,
"
?
amongst the undergrowth of scrubby
firs,
down an
broken banks, and glades of handsome
trees,
endless variety of
I
little glens,
found myself at one of
favourite spots, a rocky sandstone bank, overhung with beech trees,

roots of
which trickled
charming
little
so essential to a landscape artist being
stream.
somewhat
my
among the
That quiet frame of mind

disturbed, I left
my
sketch-
230
book unopened, and was
worn volume.
while
fain,
The following
rested, to solace
lines catching
my
myself with a well
seemed
eye,
to describe this
woodland source very truly:

"
traced a
brook to
little
its
well-head,
Where, amid quivering weeds, its waters leap

the earth, and hurrying into shadow creep
From
Unseen but vocal in their deep-worn bed.

Hawthorns and hazels interlacing wed
With roses sweet, and overhang the steep
Mossed banks, while through the leaves stray sunbeams peep,
on the whispering stream faint glimmerings shed."
And
A
not,
little pool,
which
half covered with the tiny white ranunculus and forget-me-
still left
enough of
dark mirror to
a placid
is
that artists are often seen studying in the cool refreshing shade
Following the
and noticing sundry old
rivulet,
for
former mills, one comes to a
till
lately, a gigantic old
rushing
down
oak,
much
this
which grew,
which had long withstood the gusts
slip.
opening out
to
who,
for the artist,
made
winding green lane by a
a sparkling
if
he
its
embankment
roots the
Of course
it
trees,
overflow
and
briars,
stones.
here to drink, for not only
them
This
is
is
now
course by
This, about
on the right side under
itself
such as lovers of the picturesque

old tree, and resting on
which
flock
the stream clear and shallow, but there are stones
to perch upon,
some high enough

for the tiniest
choicest spot of all the lane, however,
the entrance-gate of the
all its
a favourite resort for the birds
water wagtail dry, others low enough
The
magnificent trees,
unceremoniously crosses the lane, thus
of the rounded outside plank of an
two or three huge
an
humble garden, and again
of the mill-pond above.
creating a necessity for a rustic bridge,
made
its
accompanied through
would seem of sunning
wild festoons of dog-roses
in earnest, never lets such
now overhung with
gate,
stream, the
little
of all sizes for
is
show a picturesque cottage with
half way, tired
in,
wind
of
a note of the locality, and passing on, entered a
being closed up with bushes and
water.
and embankments
pond, and emptying the waters on the cottages below.
opportunity
wonderful
the valley from Leith Hill, but at last succumbed and pitched
was a subject
delight
sluices
it
larger pond, at the end of
headlong down the bank below, tearing up with

of the
the trees and
reflect
blue sky above, being added to the beauties here described,
Wotton Woods.
to
keep the
tail
of the
wren's neck to reach the

is
where
it
terminates at
Here the stream forms a
pretty

pond, overhung
little
l>y
a lovely ash,
231
and surrounded by rushes,
various water-plants, while upon a broken
bank stands
group of noble beeches, throwing their wild fantastic limbs
An
oak
lias
up under the protection
crept
encircled in their arms, proves by
its
indolent to carry out his
checks his
own
own
and
far
over the lane.
of their boughs, and,
becoming
how
has paid
stunted growth
for the protection afforded to it; like a
reeds,
in sylvan majesty a
young
artist,
dearly
it
who, too unskilled and
borrows from others, and thus
ideas, continually
powers.
Towards sunset the eye
is
caught by a mass of light breaking through an
opening caused by one of the giant beeches toppling over one windy autumn
day,
and
crashing and breaking
in its fall
neighbouring
The gap thus
tree.
left
away nearly
looked at
first
all
the boughs of a
very mournful, but Nature,
ever bent on restoring and beautifying, soon threw up a growth of vigorous
underwood, and with fresh shoots and hanging sprays, clothed a portion of the
naked trunks, yet not
into the
among
is
could wish the scene other than
and now he must be

it
is.
Forewalk overhung by the arching branches of more
wood
for the artist.
The fancy
gate opens
fine
which spring numerous clumps of glistening
the roots of
a delightful
much
so as to shut out the glorious sun
who
fastidious indeed
beeches,
holly.
This
of the architect might, without
exaggeration, imagine the boles of the grand old beech trees were the
clusters of pillars of
some magnificent Gothic
cathedral, such as St.
Ouen
at
Rouen, the interlacing branches meeting overhead reminding one continually
the
of the fretted roof
the trunks adds to
murmurs might be
the
very sunlight streaming through and curving round
resemblance;
while
the
wind with
its
plaintive
the rising and falling notes of the far-distant organ.
Others again, forgetting the works of men, consider these gigantic arches
as a forest portal,
and thus a beautiful and poetical picture has been painted
by one of our Abinger men, which has

charming walk,
planter, one
still
may
left
a lasting mark in Art.
From
this
swept and tended like a promenade in memory of the
descend with a scramble down the hill-side to the edge of
the hanging wood, where knotted and twisted roots form most curious festoons
growing among the decaying
on the sandstone rock, and where young
trees,
roots of their ancestors, altogether create
most interesting studies
for artistic
lovers of Nature; while the chequered shade beneath the wide-spread branches
of the beech invites to
most luxurious repose, and green and shady nooks
offer
232
noonday
shelter from the hottest

his return to
that
Wotton, and
we should
Here
sun.
I first
after his long walk, here
return to the spot on another day,
thing more about Wotton, and about
my
my
met
we met
when
young
would
It
happened,
however, that the next day, instead of being suitable for our projected
was pouring
of
it
and
wet, the day following the
as for those people
same
who had nothing
Guns were
gunpowder; dogs taught
to
beg
to do,
no
cleaned,
begged
every room smelt of
till
off
former studies of
indoors, theirs was
by the bystanders
melancholy circumstances we
pour passer
temps
le
"
settled,
indoors,
by a
Under these
and search
all
despatches,
of
series
and
oil
every device
time employed until night hid the incessant pour.
for killing
"
till
stroll,
even the ducks had had enough
skies to put in, no tones to gradate or figures to paint
a weary time indeed.
on
him some-
tell
hero, Sylva Evelyn.
friend
and settled
again,
meet
to
records for information about
the country.
"
Well,
to exist
"
sir,"
during
M as the sportsman's
all this horrible
Oh, very well indeed
sometimes
it
first
weather
salutation, "
good occasionally, you know,
if
you happen
to
of cabbage plants, apt to
"
if
Well,
there
is
is
I can't
make them
worth anything have
little
is,
it
starvation
have a weak digestion
and
the crowding
like
grow spindling
abortive, or
all
effect.
too great a fulness of ideas, to use a country simile,
every idea that
day or two
don't really dislike a break of a
prevents one getting out of breath, hurrying on too fast
gives time to think, and follow out an idea or an

is
how have you managed
?"
let
fair play."
say I see the fun of that
not a continual change, and
grow horridly moped and dull
indeed
won't
ideas
come
at
all
indoors."
"
my
Ah,
young
friend, that
shows you have been brought up
perhaps even when reading in the long vacation

together (to Bettws, for instance), where there
rainy day and jovial choruses in the evening.
with
my
sky,
we go back
be thinking of
the table.
true,
is
What
in a
crowd
generally good fishing on a
you asked me,
Well,
What
T
proceed
I
think
could
much
his character, as displayed in his Diary, lying there on
a different
life
and diary
you fellows go
But suppose, while
when sketching round about Wotton
Evelyn and
of Sylva
to the first question
five or six of
to Pepys's,
both perhaps equally
and faithfully delineating the character of the writer
but what
different
SYEVA EVELYNS COUNTRY.
men
the one
we may
(if
we
respect and the other
we
we
are all ready to forgive, as
it
"
is
'
it
of
my
Alpine friends
in his Diary
and
of
Evelyn
a weakness,)
trees,
never interfered with his duties, "hut we can
We
fulfilled.
admiration of his old ancestral house, although
says of
The weakness
despise.
call the intense love of his family, his house,
hardly see what duties Pepys ever
make some
233
live in
it
can enter into Evelyn's
might take
a great deal to
such a narrow valley.
Hear what he
my
Wotton, the mansion house of
father
my
(now
eldest brother's),
situated in the most southern part of the shire, and though in a valley, yet
upon part
really
of
Lyth
(Leith) Hill, one of the
for the prodigious prospect to
ancient, suitable to
he seen from
most eminent
those hospitable times, and
England
in
The house,
summit.
its
large
so sweetly environed
and
with
those delicious streams and venerable woods, as in the judgment of strangers

as well as Englishmen,
in the nation,
render
it
may
conspicuous.
abundance.
be compared to one of the most pleasant seates
and most tempting
will
It
say nothing of the ayre, because
universally given to Surrey,
speake
much
the
soil
known
to be
but
is
should
it,
were they
amongst the most natural, and until
this later
and universal luxury of the whole
nation, since
the most magnificent that England
afforded,
abounding
in such expenses,
and indeed gave one of the
examples of that elegancy since so much in vogue, and followed in the
managing of
"
pre-eminence
the
being dry and sandy
of the gardens, fountains, and groves that adorne
not as generally
first
person and a wanton purse to
for a great
has rising grounds, meadows, woods, and water in
Even
their waters
and other ornaments of that
before Evelyn's ancestors bought the house
note, being called in the
Domesday Book Adeton,
nature.'
and
or
estate
it
Wodeton,
was of some
modern
in
orthography Woodtown, a name apparently referring to the woodland character of the district,
though
has been surmised that the original appellation
it
might have been Woden's Town, from the name of the Saxon
deity,
Woden.
There are one or two other places in the neighbourhood, the names of which
have been thought

rustic lane),
to be of similar origin, as
Friday Street
from Frigga, the Saxon Venus; close by
is
(a
also
charming
little
Monday Farm,
evidently derived from Montag.

"
Wotton,
for it has
after the lapse of
grand old woods
all
many
around
centuries, still justifies its appellation,
the trees which
first
gave
it
the
name
234
DRAWING FHOM NATUKE.
have doubtless
and
taste
all
perished, and have even been succeeded by others perfectly
but woods
character,
different in
surround the family mansion.
still
feelings of the first possessor
large portion of the
may be
old character appears
some degree
in
thus an
The
but a
lost,
works do not
artist's
always remain as he leaves them, but sometimes change, their colours going
down
by the want of
in tone, or even being altered
picture restorers
storms, and the variety of taste of his descendants.
Wotton
part of the trees in the neighbourhood of
now
hollies,
a viretum
is
grandfather
Under
my
the beech spring
brother
up innu-
the year long, and a very beautiful sight
all
the leaves of the taller trees are
As an
my
which, growing thick and close together in one of the woods
next the meadow,
'
now beech where oaks
altogether beech, and where
has extirpated the beech there rises birch.
when
For instance, the greater

are
where goodly oaks grew, and were cut down by
'
almost a hundred years since, are
merable
presumption of
In a letter to Aubrey, Evelyn remarks, in reference to
formerly prevailed.
Wotton, that
skill or
Evelyn's country also must be greatly affected by time,
fallen.'
instance of the size of the oak, he mentions an oaken plank of
prodigious amplitude, cut out of a tree which grew on this estate, and had
been
felled
by
storm, he says
"
our
his grandfather's order.
Methinks that
'
forests,
when
I still hear,
that
sure
dreadful
late
November, 1703, subverted

trees,
so
am
that I
feel,
the dismal groans of
hurricane, happening on
many thousands
the 26th of
of goodly oaks, prostrating the
laying them in ghastly postures, like whole regiments fallen in battle by
the sword of the concpueror, and crushing
had above 2,000 blown down, several
mounds
roots
Also in referring to a destructive
all
that grew beneath them.
up by
of which, torn
their
of earth near twenty feet high, with great stones entangled
and rubbish, and
this almost within sight of
my
dwelling,
Myself
fall,
raised
among
the
now no more
Wotton (Woodtown), stripped and naked, and almost ashamed
to
own
its
name.'
"
However,
it is
well
known
that Nature requires
and
rejoices in a
change
or succession of trees, as well as of crops, for acorns are thickly planted every
year by thousandfold agencies in pine forests, and putting forth a shoot or two
then die for want of light and air
but when once the forest
is
cleared, the
tender stems spring up into vigorous oak saplings, fitted to replace the pines

which preceded them.
Also
if
a forest of oaks be cleared or burnt, instead of
oaks coming again, the cherry or another tree appears
and
for the naturalist
artist in
thus there
study
is
every change."
Chatting thus about Evelyn, we
could
ground that he describes so feelingly
not
but
wish
to
over the
go
and as the weather now
cleared,
and
a beautiful gleam of sunlight glanced through the clouds, promising a grand

sunset,
down
which
to
always see
if possible,
we
Here we found another
Wotton.
struck into the woods that lead

of the changes that
must always
await an old family estate, for a whole wood of the noblest beeches standing
on a sloping
hill,
grew, and long
and described by Evelyn as those under which the
known
to
me
as a fine old rookery,
were
hollies
falling fast
under
the merciless axe of the woodman, whilst the poor rooks, wheeling in circles
over them, lamented the destruction of their dwellings in the saddest of
The scene was somewhat
had
my
had
made
of these
in life
company with those we
the recollection of spots visited in

a study
we advance
painful, for as
mossy and lichen-tinted
we
love,
and many
and many
boles,
children enjoyed in the meantime on their pendant boughs
woodmen with
their mallets
and wedges,
all in full
element predominate, so the sketch-book was rapidly
action,
filled
made
cries.
treasure up
swing
but the
the artistic
with notes, though
while the branches creaked and groaned, and the whole mass crashed to the
earth with a shuddering thud, the wedges entering the hearts of the noble
victims,
my
heart also was sad, and 1 almost involuntarily thought of Sylva
Evelyn, and what he would have

principal streams
about
is
diversified
artificial aid
of
Turning away we followed one of the
felt.
which comes down the valley south
by many
little
falls
Wotton, and winding
from descending with the natural dip of the ground
harmony with the surroundings, and
fine old
of
and though any stream kept by
hanging woods on each
beautiful in autumn, were
now
side,
still
so of little
worth
with their varied
more lovely
is
always out
to the artist, yet the

tints,
always most
in the setting sun.
After having his interest in some degree awakened to the past,
panion was more inclined to
listen
when
visions have teemed in the brains of the
asked him,
many
been this favourite nook of old Evelyn's
painters
can
whose chosen
How many
"Who
have
let
my
com-
tell
what
spot has
their fancy
dwell on the fine true-hearted old Englishman retiring from the dissolute court
of Charles II. to his quiet ancestral
home
at
Wotton. solacing himself in the
236
society of his beloved daughter, his fatherly care of his tenantry
and his
plantations ?"
It is
indeed quite impossible, in a hasty sketch, to do justice to the
many
virtues of this excellent man, who, living in such troublous time and amidst
such a court, preserved his independence, and although a court favourite, no
him
royal or popular distinction or applause ever induced
swerve from the
to
conscientious and unbiassed discharge of his public duties.
It
was, notwith-
standing the character of the court, an age of literary giants, his contemporaries
comprising some of the brightest luminaries of this country
Dryden, Locke, Newton, and many

this
good man's
must read
life
Trees, called " Sylva,"
was our
first
his
know more
and
hist to introduce
an
Evelyn
art requiring a
with the power of seeing, with prophetic
dale,
now perhaps
be clothed with noble
to
of
stretching before
trees,
him
the product of
in
his
Evelyn took great delight in laying out parks and gardens
judicious planting.
friends as well as himself.
for his
to
memoirs and other works that on Forest
the
artistic feeling
eye, the future aspect of hill
naked grandeur, anon
Milton, Cowley,
Those who wish
the most interesting to the landscape-painter.
is
landscape-gardener
combination of true
others.
Besides Wotton and Sayes Court where
was the famous holly hedge through which Peter the Great took pleasure in
being trundled in a wheelbarrow, he designed Albury Gardens and Park, a few
miles from Wotton.
If,
his
as I believe,
own
it
is
true that an artist impresses on his
character, ought
we not
to find in these
work
the placid endurance and firmness under trial that Evelyn's
The character
of the
materials and in the
man
way
in those graceful hanging
will be
shown both
of treating
woods
it.
It
a portion of
charming solitudes traces of

life
displays?
in the choice of his subject or
may
be fanciful, but
of beech, with their
think
see
pendant boughs, adorning
each side of these valleys, something of Evelyn's suavity of manner
in the
sturdy gnarled trunks of those fine old oaks thai lead up to his house, his
power
of resistance to the frivolity of Charles's court
silver birch, his love for his
of
firs
mind
in the elegance of that
charming and accomplished daughter
and evergreens portray the repose and freshness of
the groves
his ever-youthful
and even those slender poplars swaying about in the
breeze, but still
ever pointing upwards, might they not also indicate the constant direction of
the good man's thoughts to a higher and a better world?
So, in reply to the
237
"What
question,
I answer, "
Each
embodiment
were an
thoughts while occupied on his picture?"
artist's
of these scenes as they engaged the pencil
and
of a thought of Evelyn's,
it
would occur
would seem an
a thoughtful
to
painter that agreeable autumnal tints and soft lights should picture the frame
of
mind delighting
life
of
of genuine English character
as one of the
most admirable portraits
and the birth-place, the nursery, the
and the death-place of
residence,
But, in short, the
in these scenes as life gently declined."
John Evelyn may be regarded
admirable
this
man
school, the
are alike consecrated
by
the purity of so perfect a model of moral worth and excellence.

But, waking
bored by
all
my pleasant
up from
and don't
this,
train of thought, "
how
see
game, a good gun, and a good dog, are interested in

"
in
Ah
that's it
it
T, "
Come," said
who only want
you,
you're
a good country for
all."
and nothing more."
"Stay!
You
Evelyn's
house,
want good gunpowder?
surely
and
country
for
on
So you are interested

streams
the
that
out
spring
from Leith Hill and join around Wotton (afterwards finding their way to
the
Thames by means
was made
in
England
of
;
the Mole
for
and the Wey), the
Evelyn says
in a letter to
first
gunpowder
Mr. Aubrey, dated
8th February, 1675, that on the stream near his house formerly stood
powder-mills
that invention
Flanders
mills,
by his
erected
into
who were
England, before which
we had
England
He
fifteen inches in
diameter
adds, that on this stream were set
for casting,
hammering
into plates,
Such a variety of mills on
a compass was not at that time to be
The
to
many
bring
our powder from
Wotton
at
woman's head
up the
Place,
and
last of these mills
gave name
Abinger, which to this day
from Gomshall
station,
to the pond, for the
present the pond
is
is
mill was,
converted into
all of
in
which
are
now
any other part of England.
Hammer.
On
approaching Wotton
dam and
most of those about

a
was
small street or hamlet in the parish of
see the remains of the

like
as she
brass mills in
narrow a brook and in so small
met with
to a
called the
you may
so
first
and cutting and drawing into
wire; also a fulling mill, and one for hammering iron

demolished.
all
first
one standing lower down towards Sheire, on blowing up, shot a
piece of timber through a cottage, taking off a poor

spinning.
very
the
and he also gives an account of the explosion of one of these
which broke a beam
states that
ancestors,
sluice-gates
here, overshot.
At
marsh, with singular-looking hillocks of
238
and rushes, and
tufted grass, reeds,
You can
snipes in winter.
worked,
for
it
is,
on turning up the earth
black ashes and clinkers.
yellow water, though
must
also easily see to
Here
nil
you, a capital place for
was
forge
around, you will find abundance of
also a ferruginous spring close by, with its
is
was ever found
I scarcely believe iron
abundance of wood and water
that the
tell
what an extent the
here,
but rather
around caused the forges and
all
powder-mills to be erected in this vicinity."

"
and
Well," said Dobson, "I can scarcely believe
about powder-mills
all this
forges."
"
What!"
was
made with such
are
somewhat
of Mr. Bray's opinion,
a mill at Wotton, or that
But
a view.
has
discovery
curious
"You
said T;
that there ever
can
occurred in
the.
you, that this very year, 18C4-, a
tell
confirmation
of
such
an
extraordinary
circumstance as powder-mills being allowed so near a house
importance as Wotton Place
house just finished, and which,
came upon the remains
caused
powder
I
suspected
is
close
How
to
by the
and
but
it
down
of
for the
side of the stream, the
also,
so
much
new
gate-
workmen
they affirm, of a layer of spoilt
such a deposit could have been made or
might have been
it
since
it
was, that in digging
thick.
extraordinary
is
may have been made
it
of a building,
gunpowder, four inches
who doubts
purchase of that place was
spoilt before the explosion, or
appears from
my
inquiries to be genuine
be merely powdered charcoal."
found afterwards that this subject of the powder-mills stirred up
a great
deal of interest in Dobson's mind, and that he spent several days in searching
about the neighbourhood of the various streams and old null dams
having given place
to a spade,
and
Meeting him one day
what he could be unearthing,
occupation, I ventured to remark that I hoped he had
gun
his
his dogs being greatly bewildered to
know
this
interesting
now more
pleasure in
at
the country and artistic pursuits.

"
Oh, well
well believe
why they do
yes
have found several
and
brass,
and
can
house
a great deal worse than that now, with a thousand times as
much
about the gunpowder-mills being placed close
look at Erich, ami what occurred there.
make nothing
of
me
as an artist.
time in such pursuits,

portrait or a
bits of iron
to the
all
view
when
But," continued he, "
Besides
I don't see
than
fear
you
to
knock me
can ever hope to do."
will
the fun of wasting
can get any photographer
for a shilling, far better
my
off a

"But," replied
what you have
what
is
"
seen,
good in Art
Well,
person
I,
is
"is there not a pleasure in expressing your
own language? Are you always
yourself in your
and do you wish always
adopt
better, I
it,
another person
to let
who always defended
man
to the
trouble,
ideas
you
you
tell
"if the idea of another
you know."
you were one of
those, if
the use of cribs at school, and I see you
yourself up with crutches of
"Oh, photographs
Dobson
that/' replied
and that saves
Ah, the boy was father
"
own
to trust another to tell
?"
know about
I don't
239
I recollect,
bolster
still
all sorts."
are no cribs, they are done
by the
sun, and are sure to
bo quite true, whereas sketches are very likely to be wrong."
"There you are quite mistaken there
what appears
possible,
and there
is
such a propensity
thought in this world, that there

laboriously idle persons more
granted that whatever
made
so
many
is
think
of,
feet,
when they
a photographer is true.
or concave
with
sitters in groups,
is
in
aid
This
it is
Any
all
it
is
mirror is
that lias
when
the accessories they can
one, at a glance, can at once detect
what a
size
they are
dis-
look at the
what distorted
of your fellows to place himself in a boxing attitude,

his
fist
aimed
at
you, then see
Look
like a leg of mutton.

it
of
for
it
any degree removed from one plane or
are placed nearer to you,
Ask one
Why
out.
the
to
every limb or extremity gets out of proportion
and photograph him with

comes
come
opportunely than the habit of taking
shown by
the figure
if
how
hoofs, in fact
rather
work and honest
shirk honest
to
nothing that has
is
and then photograph them.
tance, look
lies like truth, or
think that they are making good illustrations or pictures,
they place their models and
the imposition
nothing
is
Photographs are often the most incorrect things
to be truth.
like
Nature?
at
if
he likes the
no use trying
It is
size it
your face in a convex

to
arrange these
distorted groups into pictures; they won't compose."

" Well,
perhaps you are right
study or garden,
shall not do
apparatus like a showman.

think that the
what
I give,
but
at all
takes
do these groups in
march about with
is
buying of pictures,
to
the best
when he wants
he just says to somebody he knows,
want something
sure he pays a pretty round
if I can't
for I can't
any rate
at
But with regard
way my governor
Stanfield, or a Birket Foster,
them
sum
for
reliable,'
it.
He
'
my
my
still
a first-rate
I don't care
and he generally gets
it
to
did try to collect for himself
be
some
240
years since, and finding out a capital Chambers, had almost settled the price;
but in the night poor Chambers died, and when he went the
morning, and said he would have
how
it
the
was doubled
price
a man's works are valued after his death
"
"
!
first
thing in the
It's
wonderful
Then," continued Dobson,
"there's Johnson, of the Stock Exchange, he's got a capital collection;
he has made a
that proof
he
the
is
hit,
heads
he just goes in with
win tails
I lose;'
getting a capital collection.
way
and
a friend,
whoever
says,
'
loses pays,
Let us toss
and
so
an old
woman
for
by degrees
Or, perhaps, he wants something
of colour, to look at after dinner:
when
up
warm,
in
in a red cloak, or a
couple of cows and a bit of a pond; so he goes to the sale of a well-known

collector
you know, that has been well cracked up
one,
he buys there has not only got the

value,
and
it
about Art and
is
and
name, but the
sure to be a good investment.
So
and then whatever
collector's, to give it
think
know
pretty well
artists."
This fluent converse, after
my young
artist's
all
my
hopes of the
sportsman, quite astounded
his father's ideas about
Art
rather hasty, farewell, and saw
me
so,
for the future, I
him no more
effect of
leaving
my
him
eloquence upon
to follow his
own
bade him a courteous, but
in Sylva Evelyn's country.
CHAPTER
VI.
FOIJKST OF FONTAINEBLEATT.
VARIETY NECESSARY FOR THE STUDENT OAK AT FONTA NEBLEAU GRANDE ROUTE BEECHES
JUNIPERS ROUTE DE CHA1LLY GORGES NEAR IT BEAUTIFUL TREES TOO UNIFORM WANT
OF WATER GENERAL SCARCITY OF ANIMAL LIFE NO FALLING STREAMS OR MOUNTAIN M 1ST
OLD MONARCHS OF THE FOREST LITTLE IN PALACE FOR LANDSCAPE ARTIST COUR DES ADIEUX
NAPOLEON GORGE D'APREMONT VILLAGE OF HARBISON MUCH FREQUENTED BY ARTISTS
MAISON GANNE EBAUCHES RULES OF HOUSE BAS BREAU BRIGANDS' CAVE WOLVES ROSA
I
BON H EUR.
under various
brent circumstances being one of the objects of the present work, I
it
my
aim
to indicate
some of those places where
to the greatest advantage.

this
in our
own
Though
far
afford almost every
ago, I spent
ficent trees,
have made
can be pursued
from lacking opportunities
for
favoured land, where our forests, parks, and woods

variety of tree and shrub,
the student to add the freshness of novelty to his
summers
it
some time
still
folio.
it
is
desirable for
Therefore, a few
in Fontainebleau, celebrated for its
magni-
and have selected Plate XV. an Oak, as a type of the general
character of that forest in
its
wddest
K
glades.
As
contrast to
this,
the
242
vignette at page 243 represents one of the most striking features that meet
the eye of the traveller in France, a
"
grande route" traversing the
In former days of the diligence a " grande route
upon the
too disagreeably impressed
or for the beauties which
it
mind
traveller's
forest.
was too deeply and often
"
be easily forgotten,
to
possessed to be appreciated
but when, as in
the present instance, the road passes through an avenue of magnificent trees,
it offers
many
attractions to the student.
In Fontainebleau the eye
not
is
annoyed, as in other parts of France, by the predominance of a species of

poplar, stiff
more
and unpicturesque, though with
irregular than that of the
wide-spreading
trees, in great variety,
woodman, tower
to a lofty height,
stand interspersed
among sandstone
more
foliage
Lombardy poplar
trees,
the oak
picturesque beauty
the subject, that
escaped from the levelling axe of the
rocks of rugged and singular character,
are
delight the eyes of a builder
we
abound.
by those who have studied
told,
thrives best on clayey soils
here attaining a height of eighty or a hundred
rocks,
artist,
certainly the most important both in height and
and although we
it
is
and stem
opening out into lovely forest glades, or
whilst caves and gorges possessing great interest to the
Of the
diffused
on the contrary, grand,
and not on sand, we

feet,
while in some of the openings, or
find magnificent spreading oak trees,
see
it
with a girth that would
among
the
assuming the same character
Of such
that this tree possesses at Windsor, Packington, or Stoneleigh.
are
the Chenes de Sully, de Henri Quatre, &c.
The beeches
also attain
enormous heights, being drawn up by their
proximity to each other, but
compared with those

country.
at
fur variety
is
close
to
Knowles, renshurst, Wotton, and many others in
The white spreading poplar appears
of the forest, which
and colour are not
of form
in
many
places
to
bounded by
keep more to the
be
this
skirts
a wall of squared stones
loosely piled together, the gaps which frequently occur being occasionally
repaired with thin lathy palings;
in
fact,
just
so forcibly depicted in Burton's picture of the
Another
decay away,
tree that attains

is
the birch
picturesque than
among
no mountain stream
case in Scotland.
to a
such an inclosivre as was
Wounded
large size,
and
not even in Scotland can
the rugged rocks and
reflects
its
light
cliffs
and graceful
Cavalier.
is
apparently allowed to
it
be found more wildly
of the Bas Breau, though

foliage,
as
is
often the
243
FOREST OF FONTAINEBLEAU.
The
is
that presents the most
others, however,
tree of all
distorted forms
the juniper,
known
here rising to a height of from thirty to forty
and sombre canopy, the

spots
it
seems
latter affording a
to prefer,
The Route de
Chailly, like
light carriages, while

to escape
large
feet,
with a twisted tinted stem
most welcome shade in the arid
and reminding us of the account in Holy Writ of
the prophet sitting under a juniper
in the centre with
uncommon and
only in England as a low shrub, but
tree.
most
"
gvandes routes" in France,
is
paved
squared stones, having a road on either side for
now and then
the weary foot-passenger, in bis endeavour
from dust and beat, forms yet another path under the stately
R 2
trees.
244
The
sameness of the road
broken only by piles of hewn stones, placed
is
at intervals for the repair of the
deposited in regular stacks,
ramble
off into
all
many
one of the
middle track, or heaps of wood
very uninteresting to the

gorges,
and he
is
artist
certain to
for
but
fuel,
him
let
meet with great
variety of form, accompanied with the picturesque disposition of light and
shade so essential to a painter.

Perhaps, like
much
of too
too
many
many
other forests in France, Fontainebleau gives evidence
design, not only in planting, but in systematic cutting
so that
trees are kept to one size, too few suffered to reach a grand old age.
In addition to
this,
Fontainebleau has been so mapped and figured and cut into
paths by a most indefatigable cicerone, that a meditative Jacques would scarcely

choose to
beneath one of these vast oaks, as his reflections would be too
lie
by M. Denecourt inarching
often interrupted
file,
armed with hatchets, pickaxes,
by, his staff following in single
and pots of blue paint, wherewith
shovels,
to direct incipient taste, or rescue the thoughtless wanderer.
Artists are not
grateful for carefully-prepared, regular pathways, indications of the best points
of view, or for having the hugest rocks

letters,
and
most
figures painted in the
how one rock
directions to find
and
trees plastered over with arrows,
with
brilliant of blues, reds, or blacks,
looks like a
another like a walrus,
lion,
or toad
If,
of all
instead
sufficient
this,
of water
piece
could have
been formed, of
importance to give charaoter to some one part of the
would indeed have been a boon

small marsh
of
having
Franchard
it
is,
there
little
or
no
as
is
literally
pretension
to
forest,
none,
the
it
the
name
of water.
Yet, though
there
is
at
every turn
a great want of
we
are
met with evidence
in the forest.
life
Few
of man's work,
deer are ever seen, as they
hurry away at the least sound of a footstep, and do not contribute

the beauty of the landscape.
The
do not seem to belong to the
sheep, forlorn
forest,
being driven
home during
the day, and appearing only in the early morning or evening.

are.
not numerous, though
now and then
at all to
and dejected-looking animals,
a picturesque group
the heat of
Cattle, also,
may
be found
reposing under the shade of the rocks or trees, tended by a peasant in a blue
frock and slouched hat, vigorously plying his knitting needles.
of wafer
is
doubtless the reason of the scarcity of animal
life
The want
here, as the
FOREST OF FONTAINEBLEAU.
and herds have
flocks
hollows, prove most
The
be driven home in the evening to obtain a
to
all
when
supply, except after rain,
welcome
student, therefore,
the pools of brackish water, formed in the
to both birds
who
and
effects of
beasts.
resorts to Fontainebleau
find the falling streams or slatey rocks of
him
mountainous countries
but
must not expect
North Wales, nor any of the
will, nevertheless, see
monarchs of the wood, and the
in the fine old
245
much
to
aerial
to interest
least artificial portion of
the rocky forest.
There
not
is
much
in
the
palace to attract the landscape artist; such
interminable suites of rooms, courtyards, and trim parterres are generally very
fatiguing to a lover of simple Nature.
Adieux," where, at the foot
Napoleon said farewell

Elba,
is
and gardens, he
My
its
One
peculiar
its
court,
however, the " Cour des
old-fashioned
horseshoe
stair,
Old Guard, on the eve of his departure
to his
interesting from
fed the monstrous carp,
of
and quaintness.
associations
and given a glance
at the clipped
Having seen
and formal avenues
will do well to take his course at once to the forest.
walk was through the Gorge d'Apremont, more formidable in
first
sound than in
reality, for the ascent is
very gradual, the sandstone rocks on
either side presenting strange grotesque forms of considerable elevation,
the sides and crevices of which grow fine old oaks and birch.
French
artists,
from
Proceeding
along this gorge, I came upon a long straggling village, called Barbison,
to all
for
this,
known
being admirably suited for their sejour ; eagerly did I
seek for their favourite resort, the
"
Maison Ganne," being
hot, weary,
and
hungry.
There
is
no need
to look long
a tumble-down caleche standing in front,
and a bough of mistletoe suspended before the door,

hostelry, for
it is little
The entrance-hall combines

besides being aubergiste,
is
better
lie.
him
and quieter days, but the chief
artists,
while in an alcove, near the counter,
to be ever present in the scene
About the house there
room, or salle-a-mangcr, which
many
announce the
shop, parlour, and bedroom, for Pere Ganne,
also Spicier
stands his bed, thus enabling

best interests
sufficiently
more.
is
are
some signs of
its
where
his
having seen
interest to the visitant lies in the inner
profusely ornamented with the ebauches of
since risen to distinction.
Most industriously
idle
have these
gentlemen shown themselves, every panel of armoire, or fireplace has been

with groups of
filled
boards are
filled,
and landscapes, and as soon as the
figures, flowers,
the^>ere appears quite ready to supply
Of these groups, one
of flowers
by M.Diaz appeared
but others, over the fireplace, were more intelligible
and pretty Louise.
attracted
is
fire-
ones.
to be the
most valued
portraits of the pere, mire,
gigantic mastiff's head on the lowest panel of the door,

"
with the old inscription,

the eye
new
Cave canem,"
is
by curious whims and
well done
indeed, in every direction
Grotesque heads carved in
fancies.
the plaster of the bedrooms, landscapes daubed on the walls, and framed with
scrapes of the knife, whilst various dirty habits are proclaimed by the smudges
wiped on every available
of palettes
that,
with
due allowance
all
space.
May
for the necessity of
it
be said without offence,
whiling away a wet day, or
the exuberance of nonsense after a good dinner, these specimens of Art did
me
not impress
with a very exalted idea either of the talents or industry of
the occupants, nor was their value enhanced by the tale that some thousands
had been
of francs
The
artists residing
who propose
of those
by some not overwise Englishman
at
Maison Ganne appear
and hours, which
certain rules
The
offered
to
it
may
to
for the whole.
'
conform themselves to
be as well to mention for the benefit
study there.
cm
fraternity agree to rise about seven or eight, take a little cafe
lait
with a crust of bread, and having slung a havresack or poche, containing

a fragment of cold meat or sausage, with a huge
a small bottle of wine,
hunch of
bread,
provided by the good mere,
companion, the pipe, and
stroll off for
the day,
sure to be accompanied by an old dog

of artists as his profession.
who
again
till
eight,
Dress
is
rest,
little
away
till
noon,
when he
refreshes
a smoke, and examination of his bag, then to
and then home
work
to dinner.
perfectly uncontrolled, liberty of choice attaining in hot weather
to a degree of latitude,
has adopted the companionship
Depositing his bottle in some convenient rabbit-
hole or rocky shade, the student works
himself with
they light their invariable
some favoured member being
both as to quantity and quality, that
is
sometimes
astonishing to one fresh from the forms of civilized society.
profusion of beard appears to be cultivated, so
much
so as to
A great
have called forth
the poetic talents of one of their number, whose verses are appropriately
illustrated
and framed on the wall of the mile, the refrain being that at
Barbison the
artists "
portent des barbes de bisons."
FOIiEST OF FONTAINEBLF.au.
Barbison
and incidents
247
near to some of the finest scenery in the
lies
Bas Breau being most picturesque, while the
at
forest,
cliffs
de vue" afford an extensive prospect of the surrounding country

"
the rocks
and
"
and
point
in the
Vallon des Peintres" and Gorge de Neffleurs there are some of the largest
trees
in
the
In addition to these
forest.
the Brigands' Cave, a very
is
remarkable cavern, formerly the hold of a band that for some time harassed
the country round.
thirsty traveller
artists
by the
man on
aid of
this height levies his contributions
upon the
lemonade and wine, and sometimes entices la?y
from their work by his performances on the horn, and tales of his
encounters
with wolves, which he asserts
severe winters, as
many
as five having
still
make
been killed in
their
appearance
in
this vicinity lately.
Since the foregoing sketch was written, the interest of Fontainebleau has
been greatly increased by the residence in
its
vicinity of one of the
most
enthusiastic of Nature's students, in the person of the talented Eosa Bonheur.
The range
of this lady's study has
from the crowded Horse Fair
been as extended
to the placid lake
with
as
it
has been truthful,
cattle, or
the shepherd
All these are depicted with such vigour of brush and seized
witli his flocks.
with such boldness of action that would indicate a masculine rather than
a delicate feminine hand, and her works display so thorough a knowledge
of Art, with
so
intimate an
with Nature, that the present
acquaintance
century has produced none so altogether excellent.
In addition
home
to her out-of-doors study,
Mademoiselle Bonheur makes at
the most careful drawings of various pet animals kept in the numerous
paddocks around her
atelier;
and thus
it
is
no wonder that her pictures
should be so entirely satisfactory to the most competent

portraiture.
critic
In testimony of the appreciation of her great
of animal
talent,
Made-
moiselle Bonheur has lately received the insignia of the Legion of Honour,
and a charming anecdote

Eugenie
herself.
is
related
of its
presentation
by the Empress
CHAPTEll
VII.
REMINISCENCES OF THE VACATION.
In
ilie
Beige hinein,
in
das liebe Land,
Wand,
In der Berge dunkelschattige
In die Berge
Wo
liinein, in die
der Waldbach
tos't in
schwarze Schlucht,
wilder Flucht,
Hinauf zu der Matten warmduftigem Griin
Wo
sie bliihn,
Die rothen Alpenrosen."
VARIOUS WAYS OF TAKING NOTES

VALUE OF SKETCHES TRAVELLERS' STAMPEDO YOUNG
ETONIAN CHILLON, ETC. DIVIDED INTEREST IN PICTURE VALLEY OF ST. NICHOLAS AND
HARDING MATTERHORN HOW TO REPRESENT HEIGHT ZERMATT PANORAMA AT THE EIFFEL
ZMUTT SNOW STORMS CRETINS VALLEY OF FEE GLACIER RIVERS FRANZ ANDERMATTEN
MATTMARKSEE MARMOTS MONTE MORO SOLITUDE AT THE BELVEDERE BORCA MAGGIORE
ORTA GRESSONAY ITALIAN SIDE OF MATTERHORN HOSPICE OF ST. BERNARD DOGS FAITHFULNESS IN DESCRIPTION AND DELINEATION MORGUE FER DU CHEVAL.
HAVE
Where have you been
together a few of
me some
of
they
may
all
your general
to prepare for
summer, Mr. Barnard
know, has his own way of taking
travelling wish
better recall
to
make some kind
their past experiences.
met abroad had a very decided and

been careful
by putting
any better way.
Every one, as you
when
this
my notes and reminiscences of the tour, and bringing down

my sketches, for I do not know how to answer this kind and
flattering inquiry in
people
endeavoured this evening, gentlemen,
question,
Avith
to provide himself
short
with a
way
map
of
An
notes, for
most
memoranda by which
old gentleman
whom
of taking his notes, for he
had
of Paris, beautifully illustrated
with engravings of the most extraordinary buildings in their proper places.
His chief pleasure was to obliterate in the evening

the day, exclaiming with great gusto
He
" I've
done that
all
that he
had seen in
and that and that
!"
kept this blotted memento of his three days in Paris to exhibit to his
friends
on his return,
telling
of Paris in three days than I
me
exultingly that no doubt he had seen more
had during
all
my
different visits to
it.
Now

I
recommend
of
all
and
in sketches,
you
249
and preserve your notes
to adopt a different plan,
venture to say your friends will be more interested in
looking at pleasing chalk or water-colour drawings, than in staring at shapeless blotches of ink,
There
and hearing the oft-repeated boast of
" I've
done
country as Switzerland in the form of good careful drawings, which

sitting
it
down
more completely on your mind, and
to attack travellers, causing
them
met
were going
climb,
to
What
the cry.
ideas,
in this last journey with a striking instance of the
employment
"
is
this infectious disorder takes
are seen at the inn door,
can scenes thus hastily passed through have on the mind
sions,
I
and when
day
farthest in one
that sometimes seems
rush about from place to place like a
to
and when once the guides and mules

and
it
young Etonian near Monte Eosa.
Some
who
what impres-
want
of his
of such
an
companions
ascend the mountain, but as he did not like the fag of such a
to
was proposed that he should wait three days
Wait
do
in a
that in
same time the occupation
at the
away with the impatience
herd of wild horses in a stampedo
shall go first
is,
you invariably with every stroke impress
to sketch anything,
prevents your being carried
place,
!"
that
all
another advantage in treasuring up your reminiscences of such a
is
for
three days, " said he, " in such a small place
all that
while?
can't stay
anywhere but
them
at Zermatt.
What
in a large
on earth
am
town three whole
days."
Our young
thought, has certainly not fitted him to
friend's education, I
enjoy Switzerland, for setting aside the pleasures of walking and climbing
doubtless very great in their
the rocks
way
what has he left?
no enthusiastic search
you know,
for
new and
No
interesting study of
beautiful plants
and above
all,
as
an
to
convey by a few and vigorous touches the beauties of the wild scenes around
artist
I could not but think that if
he had acquired the power
him, what abundant occupation and pleasure he might have derived from
and what
satisfaction he
his return!
back the
is,
would have
felt in
showing them
to his friends
it,
on
In sketches you will find the merest scratch or touch brings
place, the people,
and everything that was said and done.
This
indeed, far the best kind of diary, just as with a few notes of an old air
" the scene recurs,

I
had often
and with
it all its
visited Switzerland
pleasures, but not all its pains."
in the course of
many rambles had become
acquainted with most of the well-known places, and had penetrated into
many
250
a secluded nook
High Alps,
new
Monte Eosa?
to
the long vacation,
was behind
my
and got
knapsack was
to
village
hand
at
rail;
had seen nothing
was
in despair; but
was quickly packed, and
it
and
rail
Stalden, as perhaps
you may perceive

on
diligence, thence
you
difficulty in a
different directions
which in
object,
in the sketches on the walls.
foot to Stalden, a picturesque little
there
it,
are aware,
is
a striking point at Neubriick.
placed at the junction of two valleys,
is
Now
view which has two distances, or points of
this is increased
whole
when they
left,
being
to the right of the foreground, the
Murray remarks,
thus united, and forms one picture.
is
is
to counteract
from the valley of Saas on the
on the interesting chalets
fall
there
interest in
separated by some large
are.
grand buttress of a mountain
this case is a
this division, the light is introduced
allowed to
was
off I
thence by boat to Yilleneuve, where I
one leading to Zermatt, the other to Saas and the Moro pass.
always
Not
it
walking-boots into order before rushing upon the mountains.
but just before reaching
sketch Chillon, while I inhaled energy with the fresh
)ne result of this rest at Chillon
To Visp by
the mountains, and was in pos-
in the race
Not seen the Matterhorn
my
remained two days

air,
Geneva was soon reached by
set.
among
favourite arose
session of public favour.
been
however, after Forbes and Wills had written on the
I found,
that a
that at the
head of every one of these valleys you need to speak German, while lower
down
up
Italian or
French
is
was not quite
fine in themselves,
make
The rocks on the
feature
of the
M.
After a long walk, I was unfortunate in
was raining hard, and, of
Zermatt
it
Sieller, the
whole
to
lie
landlord of the
About sunset he came up

Matterhorn
course,
I
Monte
Eosa,
me
"
my
no Matterhorn
expressed
seen.
to
left,
the snow-mountain in the distance appear
low, requiring great attention to the aerial perspective to convey
the real height.
Stalden
as picturesque as I expected
from Harding's grand picture, exhibited some time ago.
though
From
used, this I found to be the case.
to the valley of St. Nicholas
"
any idea of
first
the
view of
crowning
some disappointment
Wait a
little,"
was
to
his reply.
Monsieur, you've not yet seen the
come out now."
I went, and, looking
up the
valley, beheld far
above the highest
hills
and
lower clouds the wonderful peak, well described by Professor Forbes as beyond
comparison the most striking natural object he

obelisk of rock, nearly as high as
Mont Blanc.
had seen an inaccessible
When
now saw
it,
the veil of
THE
MATTERHO'RN
FROM UNDER
THE
RIFFELRERG
KKMIXrsCKXi.'KS
THE VACATION",
Oh'
gauze-like rain-clouds w as just floating away, leaving the craggy pinnacle tinted
with a most beautiful rose colour

not withdraw
set,
my
it
was indeed
" earth's
rosy star."
eyes from this astonishing revelation until
and a deadly gray
tint
had overshadowed the scene.
could
the sun had
Shall
confess,
under pain of being voted sentimental by those who never experienced such
a,
more inclined
sensation, that I felt
witnessing a
and
death,
possible, hopeless.
Still,
cry than to sketch
to
was
It
like
represent the effect on paper was, as near as
to
in order to have all the wonderful variety of tones
and changes in sky and mountain continually before me, I chose a bedroom at
the hotel facing the peak, from whence
could gaze and study at
One most absorbing question was the

In some of
my
ether.
had
marine, stippled on with the greatest care.

general air of coldness to
dark green
fir
see
my
drawings
make
trees will
richly
to
The
warm
result of this
was
to give
and although snow, gray rocks, and
was well
light ought to conquer all this, for
and
skies
into
resort to nearly pure ultra-
cool pictures with such blue skies, I
warm predominating
many glowing and
some idea of looking
also tried to give
had almost always
space, but to effect this I
aware that a
of skies.
recent pictures I had endeavoured to give, the intense depth
and purity of the
all times.
management
colour and
we do
Switzerland as well as
effects in
in other countries.
In one of
my
sketches I have attempted a lovely effect of the earliest dawn,
a time I enjoy much, and which
is
most
fruitful in ever-varying beauties.
sky was of a deep purple, approaching
would have been
to black
not
objectionable, but an indescribable
gradated into the delicate yellow morning
light.
gray pinnacle of the sword-cleft mountain,
lambent flame when touched by the
was slowly tinged with a pale
dusky hue, beautifully
Against this rose the cold
which became gradually
when
fine.
rose tone, until the pure clear daylight followed.
An
my
intense, purply tone
old Greek poet calls mountains or clouds
thus tinted "crocus robed," and
flame with
like a
saffron hues of the rising sun, then
first
The contrast of the lovely golden hues with the deep,

behind was wonderfully
The
a purple, mind, that
felt
that
if
could light up this
dull colours, I should indeed esteem that I
had not studied
in vain.
In
or
all
these views
Mont Cervin for
you cannot but perceive that the wonderful Matterhorn,

it
is
as often called the one as the
other is by
far the
252
most striking
It
object.
seems
very sky, and often towers
to pierce the
To convey something
above the clouds.
far
of this effect of altitude, I find it
necessary to keep the summit close to the top of the picture, nothing to attract
the eye being above
to
mountains.
it
This
without attending to this you cannot give great height
effect
also increased
is
such as chalets, low down near the base

finished in detail,
(that
is
is,
and with great
rather above the eye),
by placing
of interest,
and the sketch be well hung
force of colour,
some idea
objects
same time they are
If at the
line.
will then be gained of the strain that
occasioned by looking up to such magnificent heights.
One could ramble long about
the quaint old village of Zermatt, always
finding subjects of interest for the pencil, but the great excursion
Theodule pass and round Mont Cervin
after that the St.
some way or other up you must climb, or
taken, but
footsteps, a thing
of the Riffelberg,
most disagreeable to
are milked for a few

of the
If
travellers.
and climb through the rugged
you are leaving the
and
is
where a splendid panoramic view of the snow mountains
Kiffelberg,
last of the trees
and the
weeks in summer, there
Gorner Glacier below you.
is
fir
up the
is
on your
else return
you take the steep brae

forest
and
little chalets,
rocks, just as
where the cows
a fine view of the Matterhorn
This position has the advantage of
a characteristic foreground, the part of the picture most important to an
without which
it is
starting point,
and also forms a
not easy to give aerial effect or distance.
Now
subject appropriately.
seen
the route most
is
framework wherewith
sort of
artist,
This supplies a
to enclose the
on the Riffelhorn or Gorner Grat there
is
nothing
but the bare rock on which you stand.
little
hotel on the Eiffelberg offers a resting-place before ascending the
Gorner Grat, being the point from which most of the
Monte Eosa.
ascent of
Although, as
objects to enrich the picture, this
panorama of snow mountains.

with
numerous
its
although so
as the spot
much
glaciers,
is
have
Amongst
these are conspicuous
and the Matterhorn
artist
but
Mont
Blanc, did not strike
very fine"
"
me
could exercise his pencil or brush with effect
to stay longer than to recover breath, for

"
Monte Eosa,
I confess this situation,
indeed, while I sat there, I found most tourists thought
saying,
no foreground
a splendid ridge from which to view the
praised as finer than any round
from which an
tourists start for the
said, there are
down they
all
it
not at
all
necessary
rushed as hard as ever,
very fine"" the grandest thing I've seen by far"
REMINISCENCES UE THE VACATION.

" beats
Chamouni out and out
"
" let's get
back
253
dinner"
to
"
we'll try for
Zennatt, good table d'hote there, nothing up here in the clouds."

After a few hours had passed, and the setting sun had thrown his parting
beams over the distant peaks of the Oberland, lighting up

snowclad summits around
me
in his course the
with varied hues, from the palest yellow to the
deepest crimson, while the glaciers and valleys below were shrouded in the
deepest and
richest
of
reproduce this glorious
my memory
strongly on
purple
effect, it
tints,
thought that even
was quite worth while
by an attempt
to represent
My
it.
if
sketches are only
portions of this wonderful panorama, for you are aware that not
a
is
part of the panoramic
sixtli
could not
to impress the scene
view can be taken in one
picture.
more than
When
more
attempted the head has to be turned, consequently more than one point of
sight is taken,
There
is
and from
this a division of interest is sure to proceed.
charming excursion up the valley of Zinutt
chalets, built
on huge masses of rock, or crouching in their
tortoises
toads,
bridge
or
and curious wooden bridges occur
me
particular struck
in
little
One
at every step.
highly picturesque, spanning a fearful
as
with the grand peak of the Matterhorn towering above the other
ravine,
mountains.
think the old giant
fir
its
grandeur.
is
at first inclined
same height
to think that, as in the picture, they are nearly of the
mountain, they might detract from
Much,
tree the
Pinus Ccmhra, which
as the
of course, in such
a case, will depend on the truth of the aerial perspective.
saw that magnificent
add to
trees in the foreground rather
the height of the mountain than otherwise, although one
I first
picturesque
shelter, like great
In this valley
be soon
I trust will
introduced into this country.
As my object was
to see the
mountains from the valleys
I did not cross the fine pass of St. Theodule,
beauty.
spot,
It is
wo
or
sometimes dangerous
more
glaciers meet,
to
but heard
as
much
much
as possible,
of its sublime
be caught up there in snow storms
at
one
and a gentleman showed me one day several
portions of the bones of a party of poor peasants
who
all
perished at this
junction of the great glaciers; they had evidently been bewildered in a snow
storm, and did not
know which way
the valley so well, in fact
doubtless aware that looking
looking up
in one direction
to turn.
On my
return, I did not like
becomes rather tedious in the descent.
it
down
valleys or rivers
is
You
are
not so picturesque as
you turn away from the mountains, while
in the
254
of the best form
is
lost in
torrents of falling rivers
looking from above them, downwards.
appearance of objects in motion going from you
this the
when they
convey, than
draw a horse
is
With
they form conspicuous objects.
other,
much
are approaching
or bird, going from, or
is
more
why
artists'
difficult to
you can verify by trying
this
coming towards you
when added
the greater difficulty of representing anything below you,
an explanation
also,
Besides
to
to this
will serve as
it
sketches are generally taken looking upwards.
ascended the Saas valley the same day, to the village of Saas, making, as the
worthy cure Imseng
said, " a strong day's
was
startled
by hearing
a sort of
As
;"
for I
sketched on
my side
my feet,
hollow groan at
objects kneeling at
one of those hideous cretin

charity.
walk
AVhile thus employed, and quite absorbed in
magnificent waterfall.
a general ride. 1 consider
it
my way a
my work,
and turning, saw

and praying
for
better to place the relief one ought to
give to such poor creatures, in the hands of the cures, or in the boxes always
to
be found in the hotels
children especially should never be encouraged
The valley of
hands and beg.
to kiss their
very picturesque, and there
is
into the side-valley of Fee; here the glaciers
you on every
desert,
called
side.
There
the Jardin
is
it
known,
Saas, although little
is
a delightful excursion up a steep mountain
and snow mountains surround
also a beautiful little spot, like an oasis in a

is
even snperior
riches to the
for botanical
Jardin at Chamouni, but one has sometimes to creep between two glaciers
which approach each other

side.
you can touch the
so closely that
on each
ice
In the summer cows and goats are conducted over plank bridges and
moraines
to this
sketch
wdl not
as the
summits
verdant spot, for the grass
is
luxuriant.
am
afraid
my
give a complete idea of the wildness of this romantic spot,

of the
mountains were entirely hidden in vapour,
in
fact
the glaciers appeared descending out of the clouds.
grand
effect of resistless
power
from the blue vault of a large glacier
is
conveyed by the rush of a torrent
but as far as regards the
having their origin in glaciers are disappointing.

are all
muddy and
the
reflection
is
artist, rivers
bad, for they
opaque, being charged with the debris ground from the
rocks by the ever-moving glacier, and even

lake, like
Their colour
Mattmarksee
then there
is
in this
when
valley, there
at rest in a pool or small

it
no beauty of colour or
such a cold chid feeling produced, when
sitting-
long by their banks, or in the draught of waterfalls, that you must not expect
much
finish in
my
sketches of such subjects.
255
Moreover, the sense of hearing
required, as well as that of sight, to convey the full idea of these wild
is
impetuous
power
torrents, for as they
to roll along
them
chafe
immense
into irregularly
which every one who
blocks, or portions of rocks, and gradually to
rounded masses, with a hollow, rumbling
Alps will
visited the
lias
and
descend with great rapidity they have sufficient
recall as
noise,
one of the most
striking of natural sounds.
The Allelein
Monte Moro
glacier with the ascent of the
is
very
fine.
had a good and amusing guide here Frank Andermatten, the landlord of the
He had
Mattmarksee hotel on the Distel Alp.

over the
wooden
Moro pass on
chairs,
There were four old rickety
only one being an arm chair, improvised on the occasion.
They required twenty men,

was the
just brought a party of ladies
chaises a porteurs.
all
the serviceable ones of Macugnaga, and as
time four chairs had passed over, they thought
first
Frank was very
and Alpine
attentive to the ladies,
cries.
and having imbibed rather
could not part for the night without shaking hands

sitting at dinner, and, as I
ing, I
was included
had engaged him
uning, having pinned and tucked
Glacier,
we soon
desolate lake
to return with
there
by the
me
in the
morn-
started the party early the next
up the
ladies in four better arm-chairs,

fashion.
arrived at the Mattmarksee hotel.
enormous blocks of rock
glacier in former times.
We
Passing the Allelein
On
the borders of the
scattered around, one
lie
and Dr. Tyndall has measured
sketched
freely,
round as we were
all
We
in the ceremony.
and then took our way upwards, in Excelsior
it
right to hoist
handkerchiefs on to long poles, tied to the back of the chairs, coming
silk
in with a grand succession of jodeln
ni(
it
it
of
which
must have been deposited
wandered
all
the afternoon about
the mountain, trying to smoke out marmots, and to see into the economy of
the desolate chalets, built on the side of the mountain, and inhabited only
unfortunate pigs are brought up
also,
and fed upon the refuse of
the dairy and boiled thistles, so plentiful here that the Alp has
them.
All this was very amusing, but
sketch at
We
ice,
You must
few weeks in the summer, while the cows are kept up here.
for a
know poor
all,
though
I really
started the next
am
had an excuse,
morning by
and snow, not a very serious
sunrise,
pass,
its
name from
almost ashamed to say

as
it
was
too cold to sit
did not
still.
and climbed the Moro over locks,
though sufficiently fatiguing, while
250
Frank had about
me
thirty pounds' weight of
a fine long slope of snow,
my
the party descended the rocks in an hour.
summit
of
Monte Moro, but descended
The panorama
in
glissade,
with three
behind him, taking them just three minutes, while the gentlemen of
ladies
is,
He showed
goods on his back.
down which he had made a
my
of
to
did not stop to sketch on the
Macugnaga, in the VaT Anzasca.
Monte Rosa and the chain
of mountains from the Belvedere
opinion, one of the grandest, giving a comprehensive view of
mountains and of
of snow.
take their rise from the base of the vast
glaciers, that
wished to get a sketch here, so with some
over the huge
moraine that divides the principal
studying until
was
The huge towers of
oppressive.
fall,
and
and then the extreme solitude became

seemed
ice
to threaten to
overwhelm and crush me
in their fall to
scrambled
I sat all day,
glacier.
and depressed with a feeling
positively exhausted,
of incapacity for such grand scenes,
me, to
difficulty I
snow
fields
advance towards
an intruder on
as
their privacy.
While
my
sense of hearing was strained to catch the hollow roar of the
became keenly
distant avalanche, I
grasshoppers around me,
till
sensitive to the incessant chirp of the
at last the chirp-chirp, close to
my
and
contrasted with sunlight,
compared
when
it is
The
darkness
to total darkness,
experienced
little
The whiteness
by comparison.
is
itself
it
of
snow sinks
with the least speck of
and perfect
file.
shadow when
to
light,
is
light
stillness is so rarely felt, that
becomes oppressive.
inn at Borca, Osteria de Cacciatori, or
"
Les
Chasseurs,'.'
a curious place to select for repose after a fortnight's hard work
to
hammer
chisel of a stonemason's yard, to the coarse grating rasp of the largest
Everything
it
became
ears,
almost insupportable, the sound varying from the clink of the tiniest
comfortable, and the landlord justified the
chamois, marmot, and trout,
besides
name
of his inn
by
but
appears
I
found
treating
me
ornamenting the table with fresh
Mowers, a grateful sight after the rough inns to which I had been used.
The
Italian language being
obliged to have recourse to

Giotto's 0, at
last
my
it
me
was indebted
here,
I,
not being ready with
managed
it,
was
and by a modification of the far-famed
procured an egg, and by various
crowing, lowing, bleating, &c.
placed before
spoken
pencil,
to
sounds indicative of
have milk and various other things
the marmot's shrill whistle I could not imitate, but for

to
fortune, as
our landlord's dog had caught one before

it
reached
found
its hole.
it
something between calves head (being dressed
with the skin on) and boiled mutton, although the claw was too
rat's to
be touched by me.
and
well
is
known
as one of the boldest
much
like a
Lauener, was at table,
fine stalwart guide, Ulric
chamois hunters in Switzerland.
begged him to carve the dish, which he seemed thoroughly to enjoy.

All these reminiscences are connected with that
inn
at
Borca, and
many
find
of the
genial landlord-hunter, the good cook
woman
his wife.
The VaT Anzasca,

fine,
and
it
what
are the head,
will be eventually one of our tourists' chief roads
picturesque about Ponte Grande, but

leave
and the cleanly
his brother,
which Macugnaga and Borca
of
obscure mountain
little
others have equally pleasing recollections
have
valley I descended to the
my
it
is
is
very
especially
sketches are not here, so I will
down
this
Italian lakes, thinking a little change from
the
about
to say
it
some future
to
time.
Passing
continual climbing and descending would be agreeable.
The
view of Lago Maggiore
first
me, the shores having been made

telegraph wires
Still
there
is
after
an absence of years disappointed
artificial
with
villas,
a grande route, and
consequently the foreground part of the picture
mountains, far more congenial to the painter than the harsh
With Orta
of outline north of the Alps.

fine old
literal
air
and
sharpness
was again delighted, although the
tower on Isola Julia has given place to a formal college.
the island nearest Pella
not varied.
is
hazy warmth about the
the wonderfully beautiful
The
side of
yet occupied by the old Byzantine-looking church,
is
and forms the subjects of two of
my
sketches.
The
first is
taken from the
island and the latter from a boat, the rower of which, owing to a breeze,
quite enough to do to keep
it
steady.
The motion
under a broiling sun, and a long day of
fifteen
of the boat, while
hours, caused
me
had
drawing
rather a
severe feverish attack the next day or two.
My
boatman
told
me
he had had a nice customer a few days before
young Englishman, whom he had rowed about
whom, when demanded
his fare, he
had replied
for
an hour or two, and
fifteen
soldi,
to
a soldo being
about one penny, upon which the traveller put a sovereign into his hand.
He
stared.
content."
mind
"
Are you not
"Oh!"
the change
satisfied ?"
was the question.
"Ah,
yes, too
much
exclaimed the Englishman, suddenly enlightened, "never

put
it
into
your pocket."
The
soldi
had evidently been
258
supposed
shillings.
hinted that he need not expect any such mistake from
me, as this youth was most likely spending his papa's money and
After crossing the mountains to Varallo, so well know n
Monte and chapels containing costumed groups

Val
up
Sesia, a beautiful valley,
starting place for
Alagna
to
as large as
at the head.
own.
its
Sacro
followed the
life, 1
This
mv
for
is
an excellent
numerous excursions on the neighbouring mountains
discovering one or two of these
was indebted
to the directions
for
given in the
traveller's book.
From Alagna
and got a quiet
nificent subjects
I crossed the
rest at
Col d'Ollen, a fine wild pass, into the Yal de Lys,
Gressonay
fine trees, rocks,
St.
This
Jean.
a valley full of mag-
is
and grand snow mountains.
From thence
over two passes to Chatillon Val d'Aoste, then up the Yal Tournanche, with
which
was not much struck
until I arrived at Breuil, or the hotel just about
the chalets called Jumont, close to the foot of
The Matterhorn from
side to Zermatt.
Mont
this point
Cervin, on the contrary
is
even better suited to
give a grand idea of a craggy pinnacle of snow-covered rocks than seen from
Zermatt, although perhaps
it
may
not appear so singular and wild, for here
one can trace this noble mountain, rising

its
very base.
This
is
Tip
from the glaciers and valleys
Alp above
a study of early sunrise from an
and sonorous
inn, the cattle, with their musical
the highest grazing grounds.
From
look quite so impossible to climb
this side the
the
at
little
passing gradually to
bells,
mountain certainly does not
indeed, while I
was
there,
Mr. Hudson's
guide, an old veteran, ascended alone 12,000 feet, merely, as he said, to look
at
it.
When
accomplished,
work ever done

attempting
From
it
will be one of the toughest pieces of climbing
none but an old hand would,
Chatillon to Aoste, thence up the Great
with two American gentlemen,
At
peculiarities.
of
"
the hotel
them was- greatly
Oh,
it's
because
critturs, jist to
stranger,
"
think, ever
dream of
it.*
company
with their national
Aoste, while leaning out of the balcony, one
"Why
regretting his inability to draw.
should so like to take
show what
draw them
at
Bernard, in
St.
who much amused me
a state
off
some
so?" asked L
of these sad deformed
things have got to in the old world.
out for me, do,
and
I'll
give you as
many
Now,
dollars as
Since the ahnve was written the Matterhorn has been asoendecl from both sides, but
assured by Mr.
Whymper
you
1
that the north side, contrary to public opinion, will prove the easier.
am

like
''
It
recommending drawing
the art.
say that
to
sufficient
is
to you,
did not
but this would
effect the
have been
have been a desecration of
was much struck with the truly American
gentlemen describe the
259
indulge him.
avalanches at the
which these
style in
Wengern Alp had upon
them, and yet, perhaps, their words would give to their countrymen a more
vivid
idea
of the
I'll
he pine forest below,

pieces
And
"
"
than
truth
stranger," said one, "
a more polished description.
when
thought
j is t
said
yet,''
many
you,
tell
the
"
heard the furst avalanche
the whole
other, " 'twas
creation
Well,
from
fall,
was tumbling
to
no more to look at than a
barrel of Hour tipped over!"
Their opinion of our laws was expressed after this fashion

guess we've about the best laws in the world.
good, but the difference
is,
you cany yours out and we don't
In company with these gentlemen,
took a carriage to
that a mule to carry our luggage while
Hospice, on the Italian
At
side,
"
Well, I
Yours, perhaps, are
we walked,
becomes very rapid
St.
Eemi, and after
the
for
jist as
ours."
ascent
the
to
after leaving this
village
most precipitous part we turned round a huge rock, and came in
the
sight of the well-known lake, looking black as ever, and especially dismal
at
that
it,
still
moment,
as a violent
showing us
extremity of the lake
sound of the
arrival
of
to
this
the
far-famed
to
had
my
had made.
further
It is the
duty
is
it
was a subject
so
it
was the
found
visited the pass before, but I
pupils, that I again took
had just parted from
the
usher travellers to their rooms, and of course there
in
it
my
route.
the former occasion I ascended from Martigny
my
first
friends, in a broiling hot day,
pass
and
well the great heat in the valley, the gradual putting on of coat
I recollect
and cloak
At
Hospice.
soon heard the deep bay of the great dogs, and the
rung by the guides of earlier travellers to announce their
bell,
official
interesting to
we
storm of wind was drifting the snow across
intervals
the Clavandier, or Bursar, of the establishment.
no choice.
On
at
as the cold increased, then the getting off
by walking,
till
became gradually enveloped in
my mule
cloud, mist,
to
warm myself
and
sleet.
The
mule, smelling at last the well-known shelter, trotted on, and was soon lost
to sight.
The guide ran
after to catch him,
path alone, soon became bewildered and
snow
;
suddenly
lost,
broke through an icy
and
I,
being
left to
pick out
my
plunging knee-deep in the thick
crust,
and hung suspended over a
260
roaring torrent beneath, only supported by ray alpenstock across.
and
I to struggle out,
at last catch
many
of the hazy lights from the

1
was rather too
my
windows
little
of the Hospice.
and a large party of
late in arriving,
Glad waa
runaways, just as we came in sight

This time-
and gentlemen
ladies
we
entered the cheerful-looking
refectory, but our polite attendant comforted us
by the assurance that there
were just rising from dinner, or supper,
would be a second supper
must
those
tell
an hour.
in half
my
of
as
young
interesting pass, that the Hospice
friends
who have
not
visited
this
is
placed at the very highest point, close
to one extremity of the lake.
It is a
massive building of stone, well arranged
to resist the violent storms
has to withstand, and can accommodate about
seventy travellers with beds

all
it
and when we were there we found them nearly
Besides these, there are sometimes as
engaged.
hundred peasants lodged and fed in one

side,
was
built as a refuge in case of
customary
for all the
women
many
It is
used for
the
chapel, a long
corridor,
refectory and apartments
found the
first
and
offices
it
is
but
On
the
and on the second
In the
for visitors.
found
The basement
offices,
peasantry to sleep there.
occupied by stables, store-rooms, and the far-famed dogs.

are
as three or four
second house, on the other
an event which has twice happened
fire,
since the foundation of the establishment.

Avas
night,
party seated round a blazing
capacious
floor
first
floor
the
dining-rooms,
we
of huge logs
fire
and while
enjoying a good supper of soup, chamois, and other refreshments, we had the
additional pleasure of hearing
some agreeable music, both from some
brethren, and the lady visitors.
The pianoforte was
excellent
it
of the
had
lately
been presented to the Hospice by the Prince of Wales, who spent a night here
some years
since.
In the morning
sounds very
when
fine,
made acquaintance with
the faithful Victor died, and nearly
quite recovered the breed
muzzled,
months,
named
I.
one of the
finest
Pluto, another Turk, a
you must not suppose
French
that they go out
in a fancy dress clinging
print, or
whose deep baying
even carry
warm
Since the time
the dogs with him, they have
all
being
third, a
longed to bring away with me.
chubby boys
the dogs,
as they play about in these wild solitudes.
five years old,
fine
However
and black
young puppy
of ten
useful these dogs are,
by themselves, and bring home
little
on their backs, as represented in a
cloaks strapped round them, and
little
kegs
2G1
warmth.
of spirits to restore
Their chief use
is
going the rounds with the
In this
domestics or monks, after a storm, to discover the buried travellers.
they are very useful, and
whelmed, even when
down
in scratching
"Great
to
fifteen or
twenty
feet
in the direction they
and
truth,
is
smell those thus
that they can
said,
is
it
assist
lie.
prevailing," says the proverb, so
all
over-
beneath the snow, and greatly
my
is
it
duty
impress truth in Art upon you, by telling you of another picture that
It
false.
that of
is
Now
Horace Vernet.
ascent,
Keep
manner
well
This keeping
to the
in the
article
known
falling
off,
that Napoleon rode a
when
in a deep sleep,
of journeying, has been painted
to the truth, then,
by an
is
it
and was saved from
This, the true
and
trust to that for
truth holds good in
Times,
mule on the
by
making your sketches
many
his guide.
by Paul de
things
la Roche.
interesting.
was much struck
commenting on a description of the English
made
character by a well-known writer, and taking as an illustration sketches
without sufficient care or knowledge of the subject.

it
seems
you somehow or other short of the
to
is
Napoleon crossing the Alps on a white charger, by
It says, "
Yet meanwhile
truth, or rather beside
has been sacrificed to facility of arrangement and expression.
Truth
it.
one of
It is like
those clearly defined and highly coloured pictures of the Alps, or Swiss lakes
and towns, you buy on the
spot,
and which, you fancy, may
serve,
your memory
ten years hence; but they are really not a bit like the thing they stand
You know
it
you
for.
and that beauteous
see the coarseness of the presentment,
Nature never was so lackered and burnished up as in the picture before you.
That mountain was never so decidedly pink
The disappointment
is felt all
the mure,
that water so uniformly blue.
when you know
the scene well."
In the morning, notwithstanding the continued snow,
took a sketch of
the Morgue, or house where they place
all
the snow, a touching scene, as they
remain in the same position in which
they died
the mother with the babe in her arms
appeared to
as I
as
it
had
is,
to
still
the poor creatures found dead in
me
the same as long ago.
It
the
was very
sleeping group, all
difficult to get a sketch,
peep through latticed bars, and the interior was very dark
have placed
it
cold desolate region, the
dripping away
wood up from
before you.
snow
falling,
very miserably.
was glad
to hasten
down from
such
this
and the eaves of the hoary old Hospice
met a long
a distance of four leagues.
string
of horses,
carrying
262

I
wanted a sketch
still
or two, to complete
my
tour, of the magnificent
Valley of Sixt and the cul-de-sac called the Fer du Cheval
mended
me by my
to
several interesting Alpine books.
was not
all
at
this
disappointed
My
200 years
sketch
180
ago,
is
beings were overwhelmed by the
and bears an
inscription, promising, as usual, the
left is
raised in
prayers said for the souls of the poor people.
towers immediately over head, and

it
whether
this idea is aided
optical effect into
perpendicular
to you,
mountain
of a
of the event,
customary indulgence
The pinnacle
when one
is
for
of rock, on the
looking up for hours
cliff
which
by the constrained position of the head, or some
am
not qualified to enter, I cannot say
but the
appears at last actually to curve over, and threaten instant
then proceeded rapidly from Sixt to Geneva, where
me home
fortunate in getting such trains as brought
And now
from
easy to imagine the same thing likely to occur in an instant
together,
destruction.
fall
commemoration
The chapel on the
is
the
is
taken from a mass of fallen rocks, and on this very spot,
human
in the night.
right,
it
Gemmi
grandest amphitheatre, I think, I ever saw, superior even to the
Leuk.
was recom-
well-known author of
friend Mr. Alfred Wills, the
have only to hope that the sketches
and that these additional remarks
take the same tour yourselves, and that

seeing your sketches on your return.
was
in twenty-eight hours.
made may be
interesting
will enable you, if so inclined, to

I
may
then have the pleasure of
HFFICCLTY OF THOSE NOT Ai

\l PISE
SCENERY IN UNDERSTANDING TERMS IN USE
painter versus PEAK-CLIMBER ORIGINAL meaning OF ALP ALPINE CATTLE THE CHALET SNOW
ARTISTICALLY VIEWED
THE FON AVALANCHES
TOURMENTES OR WHIRLWINDS BAN FORESTS
COLOUR OF GLACIERS MORAINE GLACIER DES
BOSSONS PROFESSOR FORBES ON GLACIER MOVEMENT ICE TABLES MOULINS BERGSCHRUND
PROFESSOR TYNDALL's ADVENTURE IN
ARETE
CREVASSE
ICE CAVES
PASSING A COULOIR
SNOW BRIDGES OPINIONS ON ROPING SERAC'S.
RECOLLECT, some
before
Switzerland
and
its
wonders
familiar,
that
research have
travellers
generally
known
years since, long
Club had made
frequently
found myself at
and, although a vast
now made them
the Alpine
a loss as to the meaning of various terms and expressions
by the guides and
amount
to all
commonly used
of travelling
who have cnce
and
seen
264
among my
Switzerland,
may
pupils there
be
many who have
not yet "become
acquainted with the magnificent scenes and wonders of the Alps.
may
therefore, that a short time
such Alpine terms.
No mere
as a representation
in colour,
me
not consider
as being,
Although I have
for
amongst the Alps,
wished
explanation can give so vivid an impression
however rough
my own
brought before you a few of
for careful
little left
my
years found
have only climbed
may
be
and strength were spent
drawing
ought
who
as
to
mention Mr.
Eeilly,
much power
possesses so
Alpine Club
my
must begin
What
Alp?
highest
Why, we
describing generally
explain
that
in
Wengern Alp
all
is
common word
know what we
But every one seems
mountain peaks, therefore
is
it
is
as soon as the
number
of fine cattle,
to graze these
and as
it
as
the
is
is
What
to
use the
as
well
retained.
at
is
are,
an
the
really
term as
once
to
Thus the
season
up
tu the first
advances,
the
not one of the highest
The custom throughout
Alpine pastures in rotation
snow has disappeared, and the young
are sent from the villages
upwards
Alp.
think they
a wide stretch of mountain pasture opposite the Jungfrau
they continue there for most of the year.
Switzerland
one
name
even by an enthusiastic climber.
Switzerland the original meaning
supports a large
Alps,
it
have
these
this class,
summits and mountains in Switzerland, whereas the word
means a mountain pasturage.
Amongst
friends.
an old Rugbeian, and pupil in
definitions with the
Alps?
are
dinner-bell.
in using his pencil, that I mention his
an example of what can be done with

I
it
my
after
most of these descriptions are
sketches in the high Alps, there are others that
found in the notes or journals of

I
in climbing
made should be
welcome sound of the
will therefore understand that although
my own
in studying
for it is not surprising that,
hasty, or thrust aside with pleasure at the
drawn from
you must
high to obtain the views
a long day's walk of thirty or forty miles, the sketch then
You
have therefore
greatest pleasure
sufficiently
to paint, finding that if time
there was
it
scenic studies,* premising that
having been, a great summit climber.
ever
or
many
think,
be well spent in defining and illustrating
thus in the spring,
grass sprouts, the cattle
and lower pastures, and so mount
very highest pastures
never
being
occupied more than three or four weeks.

*
The author
regrets that he
is
unable to introduce (even as woodcuts)
that originally gave interest to this and the succeeding papers.
many
of the sketches
ALPINE TERMS.
The
life
He
imagine.
to
make
of the senner, or cowherd,
and
in solitude,
is
that to
have very
night's training,
them
me
little
little
meat he
else
for them.
they
move
tourist, after a
fort-
more hard walking and climbing than most
mind, I do not speak here of the guides,
good
and the
these peasants always have a pallid, half-nourished
doubt that almost any English
could do
than their milk, the
tastes but seldom,
who
eating very freely of good meat, and taking as
life,
may
has to collect the cows morning and evening, to milk them,
butter and cheese, and he liv es on
consequence
I
spent in making butter and cheese
not so charming and luxurious as some young people
is
poorest kind of cheese, and coarse bread
look.
is
265
live a
much
ot
very different
wine, &c. as
is
These cowherds are sometimes picturesque fellows, but when
about,
witli
(used in milking)
their one-legged stools
strapped
on to them, they have the drollest appearance.
The
cattle are
necks and gay
some on
this
what ease
handsome, and, with their large
collars, are quite
worth drawing.
Wengern Alp many
my
guide
collected
pocket, and then holding

as they are in this
way
it
round
bells fastened
I recollect
their
wishing to sketch
years ago, and was surprised to see with
them.
It
was by putting
out to them, as
treated with
salt,
if
his
hand
in
his
containing something, and,
they soon surrounded
us.
'When
266
my
had finished
how soon they
and wanted them no
sketch,
and
will go,"
oft'
fright.
This was entirely owing
a gadfly
this fly
off for miles
now
abrupt,
of the Alps
now
as
me one
day.
"
for
The
protracted.
often heard
poor has no breath
when
Ah,
and the
is a
the Alps.
"
he replied,
"
asked
man who
and indeed
course the
of
is
and
notes,
more extraordinary, but
is still
knew
first
sir,"
Vach.es
charming kind of melody, varying
consists of lengthened trills
it
for jbdelling
see
greatest
appearance or sound of
least
The Ranz des
jodel
in the
they stand also for hours on the glaciers or
cowherd's song, and when well sung

different districts
away
Now
"
lunger, he said,
tearing
buzzing sound he made, imitating
to a little
ice-eaves to avoid this plague.
in
all started,
their great torment,
is
one will send them
they
for
my
not
is
getting old and
is
so
guide to jodel
part
in
now
is
find very little
desire to jodel or sing in the awful solitudes of the Alpsj perhaps, however,
the exhilarating air with
on
my
The
German "Sennhiitte,
Chalet, or in
so as to
fit
has a low
to prevent
effect
a different
which the herdsman
into each other at the angles of the

flat
its
wooden
roof,
for
must say
the
resides,
is
extremities
building where they cross;
Some
the storing of hay, and this
disappointment to travellers
at
covered with shingles, and weighted with stones
being blown away by the wind.
however, only used
Now we
in
formed of trunks of pines, notched
a log-hut,
literally
it
young companionship may have
friends around me.
Chalets are,
of these
may
much
give rise to
in search of hospitality.
few words on the Snow which
grand mountains; when they are above 11,000
feet
lies
high,
constantly on these
it
is
rare to find a
spot uncovered with snow, except where the rocks are so perpendicular that
it
cannot rest upon them
and these dark
precipices,
contrasting with
its
unsullied purity and the purple sky, add greatly to the beauty of the scene.
As Alpine
tion, I
must
from
Nature
increased
used.
subjects with
tell
snow and
you some of the
under
this
when one has
ice
have occupied much of
Of course
aspect.
not yet acquired
The paper must not only be
and so
But how
feeble are our
filled
with
light,
means
all
these
a perfect
artists feel
difficulties
my
to
atten-
drawing
in
greatly
are
knowledge of the materials
white, but the different washes
must be mixed with considerable dexterity

so pure,
that
difficulties
and
tints
imitate a substance SO white,
transmitted and reflected, as driven
to represent the colours that
we
find in
snow.
Nature
ALPINE TERMS.
and when
obliged
2<;t
brilliant
and
peculiar effects of light
confess
the
most successful
to
efforts
arc
are
added
we
these,
t,o
are
but indications of our
intentions.
Perhaps the dazzling solid snow on the summit of a mountain or layers

on a mass of rock
is
the least
on tinted papers we
in sketching
difficult, for
can put the snow on with Chinese white, with a sharp and defined edge
we can
also pass a film
modify or warm the
or
wash
When
tones.
some colour over
of
the pencil alone
this white,
used the line should
is
be clear but firm, not ragged, or even with the broken
which we imitate the edges of

pupils, but
we may
just hear
rocks,
rough touch with
must not discourage
and thus
what an excellent judge
my
young
Nature and Art
of
thinks are some of the difficulties in depicting a snow-drift.

liuskin says
"
In the range of inorganic nature
doubt
if
any object
can be found more perfectly beautiful than a fresh deep snow-drift, seen under
warm
its
light.
curves are of inconceivable perfection and changefulness
Its
surface and transparency
haustible
variety
exquisite
alike
and inimitable
finish
its
light
the shadows
and shade of inexsharp,
and of
pale,
heavenly colour; the reflected lights intense and multitudinous, and mingled
with the sweet occurrences of transmitted
proach the majesty or loveliness of
it
yet
is
it
at least to suggest tin 1 preciousness of its forms,
mortal hand can ap-
possible,
by care and
skill,
and imitate the nature of
its
and shade."
light
At
great heights the
powder, and, as
it
snow does not
unknown
quite
in
The snow
there.
powerful as
all
fall
does not cling together,
which rages with great violence on the
the
No
light.
the plains,
is
and
in
lofty
when
deposited
ordinary w inds are in removing snow,
south wind, called the Fon,
which,
deserts of Africa, suddenly melts the
accompanied by warm rain causes
flakes
lad in a dry
disturbed by the wind,
summits, blowing with a fury
often, indeed,
thus swept away and
large
often
is
it
after passing
snow with
fearful floods
its
it
in
is
is
calm
perfectly
the valleys;
but
more particularly
over the hot
fiery breath,
and damage.
sandy
and when
Then
torrents,
usually almost hidden at the bottom of gorges, and crossed, without thought,
by springing from rock
to rock, are increased a hundredfold,
and carry away
everything in their course; trees are uprooted, and borne along in the boiling
flood
chalets, cattle, bridges,
and sometimes human beings, are swept away,
208
and huge rocks are frequently deposited on the

impassable.
one of these Fons
I tried after
roads, rendering
to pass the
them
quite
Simplon, generally
very good carriage road, and had to cross the torrent on a pine-tree instead
of a bridge, but could not resist taking a sketch of this
I have,
however, a most lively recollection of the hazards
picturesque scene.
I
then ran, and the
extraordinary incidents produced by the hot simoom.
The Avalanche
a mass of snow, which
is
falls
down
the mountains with
a noise like thunder, scattering death and destruction around.
avalanches are very beautiful
for
however, you were nearer you would cease to wonder,
If,
thousands of tons thus
trees
broken
houses
Forests are cut through, and great
once.
at
mower had been busy with
Then, again, the avalanche
moment's warning.
is
The vacuum created by the snow
rushing wind.
of
air,
haystacks sent whirling through the
air,
and
in
filled
Houses are unroofed,
trees torn
on a steep mountain, a very slight concussion of the
even speaking
a violent
instantly
is
up by the mots.
In
snow and atmosphere, and when the former hangs
certain conditions of the
accompanied by
torrents
which produces a perfect hurricane.
down an Avalanche
his scythe
and the inhabitants suffocated without a
are buried,
villages
by the rush
fall
off short, as if a gigantic
and
a distance
foam and silvery spray that you wonder what can cause
so gently in white
the awful sound.
At
they look like graceful waterfalls, descending
air is
and indeed guides sometimes caution
As Byron
such situations.
"
Ye Avalanches
Ye toppling
whom
sufficient to bring
travellers against
says:
crags of ice
a breath
draws down
In mountainous o'envhelming."
You can
how
therefore easily imagine
one Avalanche sets another going
the concussion of the air produced by
and thus with increasing power and awful
noise they rush into the valleys, where at length, after their wild and mighty
course, they lie
still
and dead, and
In particular states of the
air,
all is silent as
the grave.
Tounnentes, or whirlwinds,
arise,
and
the fine particles of snow, whirl them round and round, and letting
in bewildering masses,
moment.
friend once
about the summit of

head, the
bury the unfortunate traveller
saw
Tourmente
Mont Blanc
snow moving
at
least
of this
nature,
as quickly as I pass
150 miles an hour.
many
my
feet
lifting
them
deep
i'all
in a
which revolved
hand round
my
party of poor guides
ALPIXE TERMS.
2(39
were caught in a Tourmente of this kind, and becoming bewildered on the

St.
Theodule glacier were
when
happened
to
all lost, their
be at Zermatt.
character in passing a col above
my
a rock with
We
bell.
Gastein, and had to crouch
this
down behind
companion and guide, and was heartily glad when we were

and
able to creep on again,
Hospice
Bad
remains being found years afterwards,
was once caught in a Tourmente of
still
more when we heard the welcome sound
of a
then saw the use of the small solitary houses of refuge,
who
one that we passed having been gained by a number of poor travellers,
had burnt
the wood, even the fittings of the cabane, including the door, to
all
keep themselves
alive.
These Tourmentes
Lawinen
which
slip
surface
may
down from
and
only
is
it
be considered to belong to the kind called Staub-
avalanches, also to Schleich-Lawinen or slide avalanches,
or dust
inclined
The
become Schlag or Grund-Lawinen.
when
the sun begins to
to roll over
disturbance
avalanches
greatest
of the
and bound that they

fall
in
spring,
undermine the foundations on which the snow
but smaller avalanches are falling
few minutes.
In
many
rests,
In some places, such as the
the year.
all
steep sides of the Jungfrau, as seen from the

falling every
without
often
plains,
when they begin
Wengern
Alp, avalanches are
parts of Switzerland forests of
trees,
fir
planted above villages to protect them from injury, are religiously preserved,
a curse being pronounced against
Schiller
makes
Tell say
'
Pie
any one who would cut them down
Baume
Siehst
Du
sind gebannt
die Firnen
Die hoch bis in den
Tell.
das
die
ist
Wahrheit,
sich verlieren
die Gletscher, die des
Und uns
die Schlag
Nachts
so donnern,
Lawinen niedersenden.
ist's und die Lawinen batten langst

Den Flecken Altdorf miter ihrer Last
Verschiittelt, wenn der Wald dort oben
So
Als eine Landwehr, sich dagegen
We
thus
dort die weissen Horner,
Himmel
Das sind
Walther.
must now come
Glaciers (German,
to the greatest
Gletscher).
niclit
stellte.
and most sublime feature of the Alps
glacier
may
be described as a stream of
ice,
descending into the valleys of high mountain chains, fed by the snow which
occupies their tops, and
ridges.
What
it
loses
fills
at
supplied by the descent of
the hollows and clefts between their peaks and

its
lower end
by the increased temperature,
new masses from
the upper regions.
is
The snow
2/0
which
as
upon the summits and plateaux
falls
have
dry and loose powder.
said, a
converts this into a granular mass

the heat of the day
state the entire
transparent.
the high Alps
which
as the portion
is
is
at
first,
melted during
irregular rounded grains.
recrystallized in
is
of
The action of the sun gradually
In this
mass appears white and opaque, hut the separate grains arc
In the course of successive years, in consequence of repeated
thawings and freezings, the whole becomes consolidated into a seemingly solid
mass
to
of
he
when
hut
ice;
closely
examined
penetrated by innumerable
this
mass of
granules, closely compressed and cemented together

is
not so slippery as ordinary
fact of
for this reason a glacier
a subject of the greatest interest to the
ice,
above, nor on the rocks which are under and around
Rhone the
ice of the purest
clouds being at the time intensely

different times
and with
it,
for I
have seen
murky and
different glaciers,
dark.
It varies,
and the young
however, at
artist will find
transparent as
Photography, although very useful in giving the forms of masses of

in denoting the
for
which are pure blue
instance, parts
The inhabitants
medium
call
of the high Alps.
Neve
Firn, or
Glacier to the lower limbs of more solid

valleys.
The
firn
ice, fails
in
Nature are rendered
tint.
of the Alps have distinct terms for the various
snowy covering
unconsolidated part they
it
possible.
quantities of tone, or light and shade of different
either black or white, instead of a
cations of the
in the.
blue in the midst of heavy rain, the
very desirable to keep his colours and washes as
colours;
found
separate
does not appear to he dependent upon the tone of the shy or clouds
glacier of the
entirely
is
ice.
"With regard to the colour of

artist, it
glacier ice
and consists in
fissures,
in
ice,
modifi-
The upper granular and
French, and apply the term
which
stretch
down
occurs only at a height where the snow, which
into the
falls in
the
winter, does not entirely disappear in the course of the following year, while
that which falls on the lower glacier
is
summer, and never combines with the

Glaciers are exceedingly
600, and the extent covered
numerous
by them
almost always melted during the next
ice.
the Alps.
in
at
Some
00 square miles.
calculate
them
at
They vary from
a few square yards to acres and miles in extent, covering in some instances
whole
districts, filling
up entirely the elevated hollows and basins between the
peaks and ridges of the Alps, and sending forth arms and branches into the
ALPINE TERMS'.
271
inhabited valleys below the region of forests, and as far
winch corn
at
down
as the level
Glaciers are of different lengths and thicknesses.
will grow.
Professor Forbes calculated the Mer-de-Glace at 350 feet in depth.
and renovation
are undergoing a perpetual process of destruction
portions, descending into the valleys, are gradually dissolved
temperature which prevails
upon
particular winds, acts

it
abounds
in pools,
and
their surface;
traversed by
is
tion from every part exposed
the
to
rills
upper beds, the temperature of the earth

than that of
melts yearly
ice,
the bulk and height of the
many
is
feet
the middle of the day,
of water-
The constant evapora-
also,
which
small portion of
is
diminution in the
at all seasons greater
lower surface, reducing
its
which towards the end of the summer
glacier,
The vacancy thus caused
lowered and shrunken.
up from above by the winter's snow
filled
so that, in
produces great
air
by the increased
The summer sun, aided by
so low a level.
at
Glaciers
the lower
entirely
is
on the mountain
falling
tops,
on the whole upper region of the high Alps, and passing into the
down by
pressed
moves
progress
is
its
own weight;
thenceforth the ice-stream, like the river,
onward by day and
steadily
night,
even in the winter, though
Leaving the theory of the progression of glaciers and other points of
Perhaps the most striking thing
many
the pine forests, and,
over the bushes, which
who
has never before seen

ice
down
may
be
still
the continued motion of glaciers
much
is
in full
leaf.
most wonderful,
a part, of the surrounding rocks
moving on
believe they are
in a valley,
the mountain side, far below
advancing rapidly, push up the grassy
turf, or
squeeze
have gathered nuts from
bushes at Grindelwald glacier that would be covered
so
low down
and with the summer sun blazing
cornfields,
glaciers spread quite

if
one
to
such an immense mass of
meadows and
the midst of
overhead; for
scientific
touch upon some of the wonders visible to the least instructed
glacier, is the existence of

in
its
then slow.
interest, I will
eye.
and
valleys,
in
for
few hours.
Then
they look so massive,
and mountains, that you can hardly
at the rate of
two
to
three feet in twenty-four
hours.
comparison of
human
Poets and philosophers have delighted to compare the course of
human
I cannot resist quoting here Professor Forbes's fine

life to
"
life
to
a glacier
thai
of a river; perhaps a
still
apter simile might be
found
in
the
271'
Ileavemdescended in
history of a glacier.
womb
and conformation from the hidden
At
forth.
and
soft
first
ductile,
its
own, as an inevitable destiny urges
to
its fate,
barriers,
and
which
it
on
with opposing obstacles.
an unseen power
fix limits to
travels forward,
still
it
it
onward
its
its
its
movements,
beauty or value
weighty burdens devoid of
sparkling with gems or with ore.
On
Having
borne so proudly
aloft
into its elements,
it
dissolution
its
takes
all at
form; from the wreck of
its
is
surface
its
it
own
bears
often
masses,
precious
attained
greatest
its
fail
stoops into an
it
one by one, which
drops the burdens,
it
a conflict
renewed by
beauty and power, waste
its
predominates over supply, the vital springs begin to

of decrepitude
is
it
its
times
at
at length
width and extension, commanding admiration by
many
has made
it
yields groaning
it
scars of
not consumed.
is
it
its
Jostled and
career.
All this while, although wasting,
evaporates, but
mould
its
which brought
prescribed path, hedged in
seamed with the
the spoils which during the progress of existence
attitude
yet takes
acquires a character and firmness of
it
constrained by the crosses and inequalities of
by impassable
origin,
of the mountains
But as
inevitable.
is
it
it
had
resolved
once a new and lovelier and disembarrassed
members
it
'another, yet the same'
arises,
a noble, full-bodied, arrowy stream, which leaps rejoicing over the obstacles
which before had stayed
its
progress,
towards a freer existence, and a
and the
fertile
valleys
solidity
glacier are greatly increased
and immoveability of a
being frequently covered with debris, stones, gravel, and from large
its
rocks
and hastens through
union in the ocean with the boundless
infinite."
The apparent
by
final
being
medial
imbedded
Moraine, and
blocks of stones,
it
in
am
nothing
for
moving on
trying to recall
in the relative order in
my
impressions
which they struck
to find
cliffs
ice,
the
when
my
the surrounding masses,
have mentioned the word
and, placing these wonders
imagination, I count Moraines
One has
glaciers.
that at
their surface rough, tossed about
and, except
without
and seas of pure
when standing on
all
together.
amongst the most striking features of the

about the
glaciers,
hundreds of yards but immense
seems almost impossible that
yourself included, should be
Moraine, and
and on some
it;
seeing
first
sight one
in hillocks,
read so
is
much
disappointed
ploughed into
gullies,
covered with fresh fallen snow, or at very great heights,
purity
which might be expected
in
fields
of
ice.
Glaciers
ALPINE TEEMS.
273
mud, and often covered with
exhibit a surface of dirty white, soiled with
Such beds of
stones and gravel.

called
glaciers,
are
at their
sides,
Moraines
stone, dirt,
when running along them
The
and
or in the middle, medial,
lateral,
They
before the glacier, frontal or end Moraines.
manner:
and rubbish, common
edges of the glacier at
its
most
to
parallel lines
in
when pushed up
also
are formed in the following
upper extremity receive the
frag-
ments of rocks detached from the mountains around by the destructive

agency of moisture and
As
frost.
the glacier itself
this fallen rubbish goes along with
each succeeding winter, so that
forms
it
the glacier from one valley meets
and form one, running down
that of another, the Moraines from the two unite,
the centre of the united glacier, instead of along
can be seen exceedingly well in the
Rosa;
six or eight of these
its
margin
The Moraines remain upon
Monte
from
origin
its
by
it.
tin'
surface of the glacier,
and unless
after
On
very long or uneven course they are not dissipated or engulfed.
the
and
a remarkable pre-eminence,
contrary, however, the largest stones attain
the heaviest Moraine, far from indenting the surface of the

its
This
as before.
glacier descending
great
run side by side, each traceable to
the nature of the rocks composing
constantly descending,
nearly uninterrupted line from the
Whenever
top of the icefield to the bottom.
is
increased from behind by the debris of
it,
ice,
or sinking into
substance, rides upon an ice ridge as an excrescence, like a colossal back-
bone of the
Sometimes
glacier.
for giants, stretching
some hundreds
away
Almost every
mound
of debris, as
Moraine
Miage
Hall,
stone,
it
might
at
is
the Alice Blanche
who had
seen
much
monotonous
ice,
first
sight
that which
the
fit,
indeed,
with a breadth of
eighty feet above
fifty to
however, rests upon ice;
have ever studied
into
appears like a noble causeway,
and raised from
of feet,
level.
it
for leagues over
general
its
mound
not a
is
The most magnificent
appear.
descends
with the Glacier de
from the south side of Mont Blanc.
of the
wonders of the world, says of
it
Basil
" I
am
acquainted with but one other scene in the world which can pretend to rival
in natural magnificence the Glacier de Miage,
it
does appear to rush into the valley like
rock and
mean Niagara
;"
and indeed
grand cataract or torrent of
ice.
Scrambling amongst these Moraines

passing
across
glacier,
is
not
very
T
in
search
easy
of the picturesque, or in
work'.
Moraine
has
been
274
FBOM NATURE.
1ii;a\VI.\<;
members
described by one of the younger
human
a view to the dislocation of the
One word more on
Club
of the Alpine
up by Nature on
cartloads of scones, carefully piled
down
the motion of glaciers
they
movement and
move (pucker
in
seven
years'
containing 26,000
had
time
feet,
but was elevated above
it
glacier,
in
Aar
summer
in
in
fact,
it
2,184
Hugi noticed
glacier, relatively to
upon the
also erected a hut
advanced
feet.
originally buried under the
had become converted into
so that a large party
and Hugi have made some interesting expe-
He
the fixed rocks at the sides.
hut
sides
rate of progress of the glaciers.
loose blocks lying on the surface of the
numerous
with
the sides.
Professors Forbes, Agassiz,
riments on the
100,000
ankle."
than in winter, and the centre moves (pucker than the

appears to drag
"
as
scientific principles,
snow
of the
had not only been raised
the air
upon two pedestals
might have found shelter under
which
glacier,
mass of
granite,
w hich
tirn,
to the
surface,
or pillars
of ice,
it.
Perhaps the most striking instance of the progressive motion of glaciers
was furnished by the finding of the remains and clothes of the guides
summer
the
1
happened
to
and went across the
be there at the time,
morsels of the ladder, clothes, &c.
l,
relics
wrapped up,
as
usual in Switzerland, in coarse blue paper, part of a tumbler, and portions
which we hope
of a book,
to
intelligible
those
be able to decipher.
to
who may not have heard
these poor men, the three guides
ascending
Mont Blanc with
had calculated
bottom
at the
them about
who
To make
feet of
that,
perished about forty years ago,
when
snow
it,
away with an avalanche,
in a crevasse.
Professor Forbes
that, according to his rate of glacier motion, they
in forty years,
and he
that time, for one of
told
ought to arrive
Balmat that he should look out
for
Strange to
sax-
them was a
relation of his.
one of the bodies was recognised by the colour of his hair as the very
I
been
have mentioned a huge block of stone, that had

lifted
objects
it
up and
set
upon
a pedestal,
they are called Glacier Tables
more
this incident
must mention
of
Dr. Hamel, were swept
and buried under hundreds of
as
finding
glacier,
have since seen many interesting
such as parts of a metal lantern, a straw hat, the leg of a fow
in
of 18G2, at the bottom of the Glacier des Bossons at Chamouni,
relative.
in the course of years
and have often seen these curious

and the way
were, hoisted up on these pinnacles
is
in
which they become,
very curious.
When
single
ALPINE TERMS.
mass of ruck has
large
upon the
fallen
warm
the sun's rays and the
275
shade and protection from
glacier, the
which
rain prevents the ice on
melting, and while the surface around
supported on a pedestal, forming a table, like a mushroom on a

attaining a height of several
The
and the process recommences.

three feet of surface
by melting
phenomenon occurs when

upon the
As
ice.
not merely
of protecting
many
ascertained
An
weeks.
entire substance is
its
warmed
and gradually
it,
with water, are a source of
filled
hi >les,
travellers.
very
It is
blue water until
it
common
is
his
all
lose
thick, rests
ice,
through, and instead
sinks, forming a hole,
These pools,
amusement
great
to
young
send down an alpenstock into the beautiful
to
when
completely out of sight,
One
springs entirely out again.
with
pillar,
to
exactly opposite
which not unfrequently pierces the glacier entirely through.

or
stalk, often
off the
more than an inch
a small stone, not
melts the ice below
it
falls
has been
glacier
in as
from
absorbs the sun's rays with greater rapidity than
it
surface but
its
At length the stone
feet.
rests
it
gradually lowered the block remains
is
my
of
achievements burnt on
friends,
it,
by
its
it
soon,
however,
by
lost
its
buoyancy
an alpenstock,
getting hitched against the
sides.
Although these
and moraines seem the most desolate regions on
glaciers
the face of the earth, yet there
in
full
was a
we
life
is
my
guide said to
and activity
all
around; he immediately
glacier
swimming about
ilea
lifted disclosed the
same proof of
running over the surface of the
down one
Whilst studying on the
even in them.
life
glacier,
Gross Gldckner
me
me animals
that he could find
lifted a stone,
and there
quite merrily, and nearly every stone
There are
life.
glaciers,
little
streams of water
which sometimes make
their
way
round holes with a haul rumbling noise; on listening
of these
at
the apertures one hears a noise like that of a mill, on this account they are
There are also streams which are continually running under
called Moulins.
the glaciers, and during the whole

hears
them
rustling
These are generally

in
consequence
hundred
feet
support,
when
at
all collected in
eaten
is
summer
the traveller
and running below him
away
at
who
one stream at the foot of the
into
the source of
gives way,
tlir
and
falls
glacier,
which
vast dome-shaped arch, sometimes a
high, gradually increasing, until the constant

it
crosses the glaciers
the bottom of the azure clefts.
in with a crash.
Aiveiron, at Chamouni, and
at
thaw weakens
I
its
have seen such
Grindelwald.
I also
made
DRAWING
276
a study of a grand fallen vault

It
me
puzzled
FliOM NATURE.
summer
last
exceedingly to
imitate
of ice under the vault; the day
at
the glacier of
the intense
blue
was cloudy, and even
discover the origin of so pure a colour.
The
ice
is
of
Rhone.
the
the fragments
rainy,
nor could
when we
granular, and
scooped out holes with our alpenstocks the colour was greatly increased.
we
If
from
trace a glacier rapidly
commencement
its
Moraine, we find the following striking features
to
on the sloping side of a mountain becomes gradually changed
commences a settlement
there
ice,
Bergschrund in German
crevasse in the
the climber to
or upper glacier, as
therefore, the
forms,
it
falls
Neve and
shrinking away downwards,
or
(see heading)
called
first
grand
separates from the mountain or
it
make
long detours over steep slopes of snow or icy snow.
The quality of surefootedness, a mountaineer's
upon two
habits,
both easily acquired:
the ground, and bringing
on which the
for
into
In climbing, these crevasses are most formidable obstacles, and cause
rock.
"
Neve
the terminal
When the snow which
down
it
foot is to rest.
each footstep that this
do so
the chief advantage
though in some places
that the muscles, being
is,
the body
is
would be
made
is to
to
desideratum, depends
not merely in order to choose the ground
useful,
prepared for the precise exertion that

that the next step
first
that of lifting the foot well from
at once; secondly, that of observing the spot
It is
is
first,
wanted
is
it
is
requisite to
warned by the
at the
moment.
eye, are
If
maintain the hold of the ground, when otherwise
In the same way, a suitable slight
inevitable.
aware
be on rock worn smooth, an instinctive movement of
effort often
a slip
prevents
debris from slipping, but here the choice of the particular stone on which
the foot
ground
An
is
to rest
becomes important
is sufficient,
Arete,
when
and the process

of snow,
is
with habit the slightest glance
a ridge like the roof of a house, sometimes
is
with an ascent, and sometimes a plane

resembles the backbone of a
said,
given rise to the name.
fish,
it
also,
when
snow up on each
should imagine that this
side of a mountain, melting
assumes a somewhat consolidated form.
He who
should have a firm foot and steady head, for he looks

of steep slopes of snow,
or,
which
rocky,
somewhat
being sharp and jagged, and this has,
alternate action of the fierce winds, of the sun's heat,
the
at the
an almost unconscious one."
is
still
more
is
it
is
the result of the
and of the
and freezing
frost piling
it,
until
it
walks along the Arete
down thousands
of feet
trying, into clouds beneath his
ALPINE TEEMS.
It is
feet.
strange, but experience proves, there is a comfort in seeing something
even
to fall upon,
an immeasurable depth.
if it be. at
these Aretes are so extremely pointed

straddle across them,
to tracts
and hitch oneself
Sometimes,
and slippery, that one
The word Arete
along.
which may form a projecting ridge or
snow
or
ice,
am
told,
obliged to
also applied
is
buttress, of course at
and being sharp and jagged, are often chosen by Alpine climbers
to the
is
any
angle,
in preference
as giving better footing.
Mr. Leslie Stephen, in describing an Arete on the Weisshorn, says, "
was dreary work laboriously turning one rocky shoulder covered with big
only in order to
stones,
another rocky shoulder covered with big loose
see.
Imagine a fraction of a vast stony horizontal
stones just in front of you.
wilderness heaved into long parallel ridges, like a long ocean swell.
that this wilderness
had performed a miracle analogous
pavement of Glasgow astonished the Scotch divine
when
rose
it
up and smote him
that the whole mountain-top
At
fissures
in the face
was kept
in the Tyrol.
We
had trusted
by most
There
whisky toddy,
after his
will then
bad
was necessary
the bone
straddled
and
We
to climb.
I
have some, idea
repair."
and
guide
to lead
slopes, until
my
so,
of snow,
fortunately began to get
ridge
the
at
us over a mountain
we found
and up one of these Cheminees
top.
when we
sat
an
approaching snow-storm.
into the distant rocks,
in
a crevasse, if T
which un-
If caught in
assuredly lost; so after a pull at our solitary
took the lead and attempted to descend.
my
felt,
dim
upper surface was frozen into slippery

on
ice,
and
was not aware that the
after a
few steps I
fell
down
back, and began a rapid descent, which would have soon landed
had not been fortunately brought up by
After this I proceeded
it
There was nothing but
away
in an
he
ourselves under
friend cutting one of his hands to
stretching
we should have been most
high on the
in order to avoid a long detour,
slatey l'ocks,
did
fifty feet
years since with a young friend
never shall forget the blank dismay we
across the sharp
immense dome
one about
is
many
to another
fearful precipices
some stupendously percipitous
flask, I
in exceeding
to a faithless
from the head of one valley
this,
you
which are sometimes called Cheminees or Chimneys, and exceedingly
Breyent, and I recollect climbing one
led us
Suppose
by which the
to that
the summits of some ridges or mountains there are huge clefts or open
disagreeable they are to climb'.
col
It
loose
more cautiously by cutting
my
me
a projecting rock.
steps,
my
friend
and
27S
wretched guide following until we gained the rocks.

nearly as
afterwards as
may
could, hut, as
he
sketched the scene
imagined,
was
no
in
condition for drawing on the spot.
Couloir
mountain's
of
may
side,
be defined as a gully or steep slope of snow
forming the channel for
many
on the
shower of stones or masses
It is frequently quite a feat to pass one. of these active Couloirs
ice.
not
know when they may come bounding down,
droll
" It is
manner,
eye and foot to dodge some of

to
'these,
off a steep
It
rocky slope by a huge rock,

in
requires coolness and quickness of
set in
me by
to
motion higher up by
I
was
under some precipices,
fairly pelted
me
my
son.
terribly persecuted
a troop of goats,
on the rocks above, and when about to enjoy
cool pool
be careful oneself, and
was once very nearly bowled
ascending the Oherland Alp,
showers of stones, sent down upon

nn'
as Leslie Stephen says in his
and one ought
be in careful company, to escape accidents.
Another time,
does
always unpleasant to have the prospect of a few tons of
playing leap-frog about your ears."
ice
the
loose masses of rock or ice above are so easily set in motion, that one
who would
bath in a
delicious
by
follow
out from above, appearing
curious to see what I could be doing there.

Tyndall,
Dr.
in
relating
recent
and perilous adventure on the Viz
Morteratsch, gives an excellent description of the danger of passing a Couloir:
"
We
at length reached the point at
which
was necessary
it
to quit our
morning's track, and immediately afterwards got upon some steep rocks, which
were rendered slippery here and there by the water which trickled over them.
To our
right
was a broad
had been melted and

all
tied together at
next, then
all
my friend
was placed in
right.
il'I
which was once
time in
the following
thought
filled
with snow, but this
order
Jenni
We
led,
H. an intrepid mountaineer, then his friend L. and

L.
had had
little
front of Walter, so that
were
came
last of
experience of the higher Alps, and
any
false step
on his part might he
After descending the rocks for a time, Jenni turned, ami
instantly checked.
asked
this
Walter.
the guide
Couloir,
refrozen, so as to expose a sloping wall of ice.
it
pronounced
better to adhere to them, or to try the ice-slope to our

in
favour of the rocks, but he seemed to misunderstand
me, and tinned towards the Couloir.

" I
you
stopped him before he reached
are going
the slope
is
pure
ice.'
it,
and
said, 'Jenni.
you know where
279
ALPIXE TERMS.
He
"
replied,
'
know
it
Across this exposed portion
but the ice
quite bare for a few yards only.
is
snow which covers
cut steps, and then the
I will
the ice will give us a footing.
He
'
cut the steps, reached the snow, and descended carefully along it all
following him, apparently in good order.
upwards
turned, and looked
After a
little
He
men.
at the last three
time he
stopped,
said something about
keeping carefully in the tracks, adding that a false step might detach an
The word was
avalanche.
when
scarcely uttered
sound of
I heard the
behind me, then a rush, and in the twinkling of an eye
my
a fall
two friends and
their guide, all apparently entangled together, whirred past me.
suddenly
planted myself to resist their shock, but in an instant T was in their wake, for
their impetus
and thus
was
irresistible.
all five of
moment
afterwards Jenni was whirled
away
downwards with uncontrollable
us found ourselves rolling
speed on the back of an avalanche, which a single slip had originated.

"
When thrown down by the jerk of the rope, I turned promptly on my face,
my baton through the moving snow, seeking to anchor it in the
and drove
ice underneath.
collision
had held
it
when
firmly thus for a few seconds,
with some obstacle, and was rudely tossed through the
the same time being shot
AVe had in
fact
down upon me.
been carried over a crevasse
velocity causing us to be pitched
Both of us here
had
beyond
it.
lost
hit its lower edge
into
Jenni at
our batons.
our great
for a
see those in front of
half buried in the snow, and jolted from side to side by the ruts
Suddenly
uame
was quite bewildered
moment, but immediately righted myself, and could
they were passing.
air,
me
among which
saw them tumbled over by a lurch of the
avalanche, and immediately afterwards found myself imitating their motion.
This was caused by a second crevasse.
plunged right into
He
is
brave and manful
Jenni knew of
act,
its
existence and
but for the time unavailing.
over thirteen stone in weight, and he thought that by jumping into the
chasm,
He
it
strain
might be put upon the rope
sufficient to
was, however, violently jerked out of the fissure,
check the motion.
and almost squeezed
to
death by the pressure of the rope.

"
long slope was below us, which led directly downwards to
the glacier suddenly

the glacier
now
fell
was cut by a
rapidly borne.
in a declivity of ice
series of
At the base
brow where
of this declivity
profound chasms, and towards these we were
The three foremost men rode upon
the forehead of the
280
avalanche, and were
times
at
almost wholly immersed in
the moving layer was thinner behind,
the snow;
desperate energy drove his feet into the tinner substance underneath.
voice shouting,
descent.
'
Halt
Herr Jesus, halt
!'
was
kind of condensed memory, such as that described by people who
reasoned with preternatural clearness as I rushed along.
was too sudden, and the excitement too
ment
The
of terror.
brow which terminated
Here H. threw
his
guished, while
work was,
this gentler slope,
superficial
collision against a stone
on
my
arms
that
and we
pocket
all
my
in
when
of
bit
left
one,
it
flesh
removed from his hand
which
frost-bite,
watch-chain hanging round
its
It
is
travellers
go to
that
the
days.
neck, another portion
interesting to
know
that
owner, not having sunk in the snow
of these Couloirs on the Col de (leant that three

a
few years
since.
is
supposed, began to
down tremendous
They were descending,
slip,
and
save
rope
themselves.
should
It
always
all
three,
with one
precipices; the two other
held the rope in their hands instead of having

it
many
continued
my
the Arete, and to get along more easily took to the
the guides, were dashed
let
black welts
left
power of the metal.
down one
going
and unfortunately
who
Jsone of us suffered serious
experienced a tingling sensation over the hands,
unfortunate Englishmen perished
body,
us.
the watch itself was gone."
to the reflective
was
Couloir,
detach
itself
rope.
change of inclination, he brought the
the pressure of the rope had
the watch was afterwards found by
It
to
share
slight
by incipient
produced
found a portion of
owing
an instant
for
motion.
but Jenni's powerful strain made
Jenni had a
by
my
its
time being extin-
H. emerged from the snow with his forehead bleeding, but the
wound was
in
and regained
for the.
within a distance of the chasms over which, had we preserved
to rest
damage.
speed visibly
the avalanche, however,
My
our speed, a few seconds would have carried
like
more-
start,
permit of the develop-
resumed the pull upon the
infinitesimal
I fear,
hope
and struggled
belt,
difficult I
thought and
Our
less steep, the
to rest
his friend, all
Aided probably by a
felt at last.
whole
my
grasped
Finding this
myself.
in the
arm round
great, to
became
slope at one place
we thought we were coming
slackened, and
crossed the
His
only one heard during the
the.
have narrowly escaped drowning, took possession of me, and
over,
but
and Jenni rose incessantly, and with
is
be
it
01
guides,
secured around the
necessary to mention to young
round the body,
so
that
the
ALPINE TERMS.
281
can be used with both hands, when
alpenstock
almost any slide can be
prevented.
Crevasse
almost explained by
is
walking on a glacier in the form of

above an inch, sometimes forty or
name.
its
frequently descending to the bottom of the
700
800
or
walking
feet,
and the principal
from their occurrence.
arise
along a narrow ledge or steep
They
wide.
fifty feet
your
hill of ice,
glacier,
were cutting slowly up the
as the blast threatened every
of their
now on
of
glacier
side
by
a crevasse,
and your chance of
one of the most enterprising
Eeilly,
make any
the right,
to jerk
now on
the
left,
encountered
it
with great
difficulty,
our frozen toes and fingers out
who were about
guides,
progress at
perils
slope, clinging to
moment
when our
insecure hold,
gradually ceased to
steps,
danger
you some idea of the
of the Alpine Club, will give
We
sometimes of
depth
bounded on each
in attempting to cross one of these fearful chasms:

"
are often very deep,
would be small indeed.
life
The following description by Mr.
members
sometimes not
are
should slip while walking
foot
nothing could save you from falling into the abyss,

escaping with
met with when
is
and
difficulties
If
It
which
or cracks,
slits
fifty
feet
above,
and remained stationary, cutting
all,
but in vain,
axe broke through the thin crust of frozen snow,
each stroke the
for at
which bridged over an
enormous chasm, the extent of which we could not guess, as no external pecuneve betrayed the hollow which lay beneath.
liarity of the
working on
with nothing underneath; and we, although

to be in the
was
They
were, in fact,
thin crust of snow, tilted up to an angle of fifty-three degrees,
same
necessary, a step
which served me
the crust into empty space, and
for
handhold,
all,
my arm
plunged through
expected every instant that the
T certainly
whole surface which supported us

break through.
below them, appeared
fifty feet
on handling, without that tenderness which
position, for
weakened
we
In this agreeable position
as
it
froze
was with
for
steps,
would
half an hour, but
neither Croz nor Couttet could reach the limits of the crevasse, or find any
spot where the crust
and then,
recollected
as I felt
the
was
my
delicate
in descending, I lifted
sufficiently firm to afford
feet losing all sensation, in
tread
up
my
no one vehemently opposed.
which such
voice,
It
any hopes of crossing

a
ticklish
and suggested a
was time,
for
it
suspicious manner, and
ladder
retreat,
would require
a course
which
we had had nearly enough
282
of

and one of Couttet's hands was
it,
snow
with
but by excessive
frost-bitten,
were prevented.
results
evil
all
found the spot where we had been, fallen
in,
our
In
second
but were
unable
still
friction
we
attempt
judge
to
of the size of the crevasse."
Amongst
the wonders of the glaciers are Ice Caves, of the most magical,
fairy-like beauty.
an
ice floor
have walked in these caves, with an
my
under
feet,
and
so transparent that I could see at least a yard into
its
above me,
ice roof
on each side of me.
ice walls
The
was
ice
substance, which was
the most beautiful blue colour.
all of
Snow
bridges in and across crevasses are very wonderful
snow seems
the
to
cling together so much, especially in the soft or melting state, that one
is
able to cross over
is,
however, always better to
Mr.
Ball,
many
places that
would otherwise
the Alpine Guide, says that a practised
in
impassable
lie
it
roped together.
lie
mountaineer can
pass the Theodule 500 times without accident, and the 501st time he might
be
lost in a crevasse, as has
also say the same, for
when
happened once or twice on

traversing
occurred to the Puissian gentleman,
my
young
and
some time
was determined
this pass.
after the
might
sad accident
have a rope, which
to
guide, one of the Taugwalders, maintained to be quite unnecessary,
have no doubt he thought
gentleman on such a lady's
unmanly
it
pass.
some degree the
in a guide
But what happened
in a blinding snow-storm,
were caught
warned us
it
roped to a
to be
Before
and the party just before
track, as nearly as possible fell into a crevasse,
long
we
us, losing in
which they
to avoid.
Of the use
of the rope in real climbing I can say
little,
but quote the
highest authority, which the late most tragical accident on the Matterhorn
made doubly
has
interesting.
Mr. Alfred Wills, the President of the Alpine
Club, says, in his letter to the Times,

"
Young and inexperienced

this kind.
and hardly
important, but
less
is
should
neither go nor
Another warning, hardly
on expeditions of
similar undertakings,
climbers
valuable
against the
chiefly to
slackened rope,
be
taken
less distinctly uttered
those
the
who engage
best
friend
in
of the
climber, converted only ton easily into bis most insidious and dangerous foe!"
1
cannot
the accident
resist
:
quoting from
Air.
Whymper's most eloquent
letter
after
ALPIXE TERMS.
Poor Croz had
"
greater
283
and in order
axe,
was absolutely taking hold
security,
of
shoulders
it
is
act of turning
Hadow
my
belief that Croz, having
round
slipped,
fell
down
go
to
a step
done
on him, and knocked him over.
moment Hudson was dragged from
we heard
diately
Croz's exclamation,
as firmly as the rocks
shock came on us
out their
one by one, and
disappeared
sliding
endeavouring
hands,
was
moment
But
the rope broke
must leave
to
it
is
causes
glaciers
the
picturesque
was impossible
ice
moving downwards over an
to
divide,
When
confusion.
these
lit
and
they
then
on to
to
give
the
From
you a short
understand,
ice,
occasioned
irregular rocky bed,
toss about
are
backs,
to help them."
in
and
the
midway
in height,
feet
most interesting subject,
split,
precipice,
to
These are enormous blocks and masses of
Seracs.
and
us,
their
themselves
save
one other Alpine term which you might not
description of
by the
it
this
Douglas
F.
but imme-
For two or three seconds we
downwards on
Matterhorn glacier below, a distance of nearly 4,000

the
between
tight
from precipice
fell
moment
held, but the rope broke
Douglas.
F.
saw our unfortunate companions

spreading
the rope
We
man.
between Taugwalder and Lord
downwards
flying
Taugwalder and myself planted ourselves
would permit;
as on one
both,
in the
moment
at this
and Lord
his steps,
of their
was
said,
heard one startled
Hadow
All this was the work of a
after him.
immediately
have
two himself;
or
exclamation from Croz, then saw him and Mr.

in another
and putting his
movements
the
as I
Hadow
give Mr.
to
his legs,
From
one by one, into their proper positions.
feet,
Mr.
laid aside his
in
the
up with the
and
wildest
brilliant
which
most
sunlight,
the rays falling sometimes on them, and showing grand chasms and crevasses
of the
most intense blue,
beautiful.
these
before
know
supposed
to
not of any wild

to
wonder
this
of the Alps
more
be given them from the great likeness
a substance that the Swiss
them, namely, the lumps of curds
With
cheese.
trusting that
to you.
is
masses bear in shape
continually
make
The name
cowherds have
when broken up
somewhat hasty description
to
must conclude,
have made some of the most usual terms more
intelligible
CHAPTER
IX.
AX ALPINE SKETCHING
TOUR.
REAL'TY OF ART ADVANTAGES of Mm* AT. CRITICISMS CHARACTER INDICATED BY DRAWING

RIGHT COURSE TO DISCOVER TALENT GENERAL TREATMENT OF SUBJECT DUTCH PICTURES
PICTORIAL EFFECT POWER OF OBSERVING FARADAY NEWTON ALPINE CLUB OBJECT OF
PRESENT LECTURE ARTIST'S WALK, TEN MILES A DAY MONCH AND EIGHJER PREDOMINATING
EFFECT MATTERHORN, EXAMPLE OF BREADTH BRUNNEN, LAKE LUCERN, ETC. COLOUR INTENSIFIED BY MOISTURE GOATS AND PIGS KLAUSEN, SUSTEN PASS, STEIN ALP MEYRINGEN,
MURREN, JUNGFRAUJ STAUBBACH RESTIVE MULE MAR JELEN SEEALETSCH GLACIER.
AT
the time
awarded,
when
after briefly
you
a short account of
that these
founded on those principles,
must
feel
;
souk
studies which
These are now placed before you, and
believe in the reality of Art
ignorant
to exhibil
explaining the principles which have guided
I trust
sketches.
a prize for the best set of sketches from Nature
promised
during the summer,
to give
my
tour, illustrating
had
I
me
or inevitably
fail
who
was
made
will proceed,
in
my
work,
both by reference to
my
prove the practical utility of rules
examples
will
for
of the first importance that you should
it
is
from the very beginning of your practice you
that the rules of Art are no sham, invented to impose
but that those
also
upon the
teach must practice the principles they inculcate,
in their attempts.
The advantages
of such mutual reviews of our labours are manifold
the
AN ALPINE .SKETCHING TOUU.

most obvious, that we may become aware
in our studies,
285
the causes of success or failure
of
and that we may produce records of the steps of our progress,
thus encouraging the diligent to persevere, and stimulating the idle to exertion.
Let
me
advise you not to destroy your early sketches
exhibition, submit
them
freely to criticism.
bring them forward for
only by humble submission
It is
and
to comparison with others, and constant reference to our great
we can form
guide, Nature, that
a just estimate of our
own
infallible
powers.
Artists submit to this ordeal to a very trying degree in sending their
Academy
pictures for exhibition to the Royal
The
or elsewhere.
they undergo are often cuttingly severe, every weak point

notice, while
You, at any
even
should be done
to
excellence
praise
meet no unfriendly
rate,
is
criticisms
dragged into
sometimes grudgingly awarded.
is
All are anxious that justice
critics here.
each step in the right direction
rewarded by
is
corresponding
increase of marks, sometimes by a "first or second class ;" and this in addition
to the pleasant feeling
which accompanies successful
Another advantage we may mention

that character
is
indicated by handwriting,
with drawing, especially from Nature?

of a recognised form, and only
exertion.
there be truth in the assertion,
if
is
it
not more strikingly the case
"Writing
is
merely copying symbols
by minute shades of difference
in strokes
and
curves can character develop itself; while in delineating the features of a

landscape, symbols must be invented
at
the
moment
to
convey
to others the
impression produced upon us, and thus greater scope must be afforded for
indicating qualities of mind.
Supposing the spark of genius
to
be lying latent among us, we are surely
pursuing the right course to draw forth a manifestation of
we may
it;
and
as surely
that without steady persevering study, genius will exercise
assert,
rather a baneful than a beneficial
influence on
its
"Excelsior!''
possessor.
then, be our motto.

First, then,
it
would
lie
complete, waste of valuable time,
began bis sketch before he had formed some clear scheme

treatment of his subject, and with which
that beautiful
upon
too
harmony we
so
all
the parts
much admire
in
if
sidering
them
chiefly as a
means
artist
must combine to produce
nature; tor he
who depends
his mechanical skill in the representation of individual objects,
much upon what he imagines
an
for the general
and
relies
to be nice finishing of parts, without con-
to
enable him to produce a whole, will never
28G
be able to complete such a picture as the eye of taste can contemplate with
satisfaction.
Now we
have
to consider
what
it
is
that
makes sketches agreeable
not in reality the subject, but the treatment.
it is
There are subjects enough in
Switzerland, and most magnificent ones, as every one knows; but beautiful
pictures of the Alps are exceedingly rare, whereas Holland, one of the least
number
picturesque of countries, has furnished materials for a countless
works of
ought to draw correctly
common
light
objects, or the
but more than this
and shade belonging
we must
all
more even than the

learn to place the
spectator, with an adjustment of light
and
shall be true,
at the
same time
This
pleasing.
wholly independent of the objects introduced, and should never be
effect is
neglected, even in the slightest sketch
Wengern Alp would be nothing but

choice of pictorial
Of
necessary,
to each object
whole subject, before the
and shade and colour that
is
of fine
Forms, of course, we
It is pictorial effect that is wanting.
art.
the Jungfrau itself taken from the
huge
some
wall, unless represented with
effect.
course, such a country as Switzerland affords pictures the
most complete
beautiful, with effects all that the artist could desire; but, alas! these
and
appearances are but momentary, and while we open our
and colour
folios
boxes they frequently entirely disappear, and the very abundance of forms
and intricacy of
details
prevailing effect.
How
made the
And
eye
up
is,
then, to understand
what
we may reproduce
it
it
was that
at our leisure.
these evanescent splendours, the full value of the educated
among
is felt, for
store
it
subject so beautiful, in order that
here,
one
us from sufficiently recollecting the
prevent
important
by the aid of careful training alone can we trust our memory
effects so fleeting that
no
human hand can
transfer
them
to
to
paper
while they remain.
Few
people are aware'of the difficulty of the art of observation
to observe
properly, in the simplest of the physical sciences, requires a long and severe
training.
No
one knows this so feelingly as the great discoverer
said that he always doubts his
had made 3,000

until one final
every man's
gift,
Faraday has
observations, and he once told
me
that he
different experiments without arriving at the desired result,
and successful
wholesome lesson
own
trial
furnished the clue to the whole.
in this for the artist
observation, in
and but few men's actual habit
its
of mind.
There
is
strict sense, is
New ton
used
not
to
287
AN ALPINE SKETCHING TOUK.

say that,
it
any way
in
continued attention, of
from other men,
differed
lie
unbroken observation
faithful,
and he went up with a composed, orderly
entire,
strength and fineness of mind, more of
make
if
up with
skilful
and the whole be guided by sound
have given their leisure time
scientific
heights
all,
men
draw any number
of enterprise, of energy,
made easy
it
neither easy nor
for
of late,
purposes
artistic
and
last
who
many
few years have witnessed a
talent
expended
in exploring the
Switzerland has benefited -most
has been traversed in every direction, the
of access,
and the most
difficult
so comparatively simple, that those which, but a few years
now trodden even by
sidered impassable, are
common
construction of glaciers, the effects of
and these
&c.
is
had their devotees
most of them,
or perhaps
by these exertions
beaten paths
more
recpaires
to be called genius, to
most beautiful parts of the Alps,
to explore the
higher and less accessible parts of Europe.

largely
of
steps
rules, the result will he successful progress,
are investigating the
upon temperature,
amount
its
manipulation of the brush and pencil,
research and close observation have
not of course
had
air.
this be followed
('art ful
power
in his
It
foot.
what deserves
Exact, patient, honest, and delicate observation
vast
was
his ladder
a series of genuine observations, than to build or
of castles in the
but
it
the
feel of
passes rendered
were con-
since,
delicate
women.
proof has been given of the great interest taken in these researches
by the formation of the Alpine Club, an association of gentlemen engaged

for the greater part of the year in studious or sedentary pursuits in
and elsewhere, who
Long Vacation
to
craving with which
and
all
while their minds are
recur to
men
by climbing and expand
these rugged
are, at
ice
filled
their lungs
peaks they can gratify that
some time or another
exercise, for testing their steadiness anil
wonders of the
all
limbs
Among
air.
London
with eagerness the opportunity afforded by the
brace their
with the mountain
'exertion
seize
seized, for physical
powers of endurance,
with the most magnificent scenes, the marvellous
and glorious visions of snowy summits, which
world,
them afterwards
in the
crowded
labour at their vocation through long days of
city, refreshing
toil.
them
as they
Then follows the pleasure
of communicating their experience to their friends and the public; and

are the delightful papers
which are published from time
to the tourist fresh scenes of
Alpine
travel.
to
time,
many
revealing
DRAWING FROM
NATUJRE.
This natural desire to share pleasure or

amusement with others
the foundation of all our truly national sports.
fact,
and
but, while
we acknowledge the necessity
that for youthful frames exercise to
of action,
and that mere bodily exertion, however
diversified,
be sufficient to satisfy an intellectual and cultivated man.
one has his own favourite way of employing the mind

he who loves
The
and confess
miles
wish
to
same
the
hours
for
much
two or three evenings

it
on the
study.
The
my mind
add
my
in studying
The sketch
spot.
in
With
to associate
who
then,
it
carefully,
is
will
when
to
and
be worth while to spend
and working up one's sketches
Monch and Eigher
was
Ten
occupy
so exquisitely tinted,
may
carefully
is
the result of such
made and
effect
on
a few general
the sun again sank to the horizon, I was able
notes of colour, a third evening, most
artists of
artists,
wish
really
evening was sufficient to impress this transitory
first
equally beautiful, allowing
effect
it
of the
the next day the outline
washes laid
to
as those
Sometimes a beautiful sunrise
in settled weather so exactly repeated, that
of
and
amateurs, as well as
and not unfrequently a sunset
or
of the pencil
work, must be content to limit their excursions.
draw, ought to average per day.
one
more general use
Now
desire.
but a short walk, but quite as
is
artist,
and the principal object
as his pursuit,
obstacles to a
duty
Of course every
and the
to go with the intention of sketching,
is
who have
really
away
clear
its
will never
excursions.
thing
first
witli those
if thi^v
is to
summer
drawing
selects
art,
of this lecture
in your
in
the full extent of the bodily powers
should be encouraged, we must recollect that the mind has also

to perform,
is,
of cricket
our boat races and our fox hunts, are instances of this love of
football,
sympathy
Our games
me
to finish
my
fortunately similar and
effect.
some experience, you must be aware that the predominating
forms their principal
study, for they have passed through that ele-
mentary stage which now occupies you, the outline or even the light and
shade being but secondary matters when they contemplate painting a picture.
In this subject I was anxious to portray the fascinating but evanescent

effect of the last
gleams of the setting sun, as they strike the snowy summits
of the mountains, a
most
difficult
thing to attempt.
To bring out
or give
value to this most exquisite and fleeting light and colour, which change more
rapidly than the tints of the dying dolphin, the rest of the picture must
AN ALPINE SKETCHING TOUR.

be in shadow.
289
have therefore kept the whole of the foreground deep and
quiet in tone and unobtrusive in form, but passing upwards over the greenish
and purple grays of the

the glorious peaks,
worked sky,
in
lit
glaciers, the eye rests
up with a burst of rosy
which
have endeavoured
ultramarine.
to give
interest,
enhanced by a carefully
the space and air
all
The only pigment
to
accomplish this
Another study of the same time of day
is
the
could, although approaching darkness.

is
on the chief point of

light,
rising over a sea of pines, in
which everything
is
Matterhorn
kept subdued to heighten
the peculiar effect of moonlight struggling with the last rosy tints of the
setting sun
an example of breadth.
this is
away a portion
Unfortunately, the roseate tint cast by the sun takes
while that of the
light of the paper,
thus not quite true in

effects
scale.
am
moon remains white and pure
as this of deep twilight, or that of
They
produced.
are in a great
recollection, assisted
blot of colour.
practice,
by a
We
and many
all
my
often asked by
artificial
that
Monte Rosa by moonlight,
memory
the
and perhaps
much
is
ways have been invented
In order to become imbued, as
full of
arranged
my
are
a hasty
by
strengthened
to aid
only does the outline preserve the form of the subject for the
reminds him of the colour that accompanied
moonlight,
is
it
how such
measure the result of a carefully cultivated
faithful sketch of the outline,
know
pupils
of the
;
it
and not
artist,
but also
it.
were, with the wonderful beauty of
it
plan, this last year, to pass ten days, about
the
the harvest moon, on that most charming and romantic of Swiss lakes,
Lucerne, the choicest part of which
is
Brunnen, where
fortunately secured
a good bedroom, with' a balcony overhanging the lake.
One who has been
passionately fond
all his life of
the higher Alps might
be almost tempted from his allegiance by the exquisite

tins sojourn,
when
effects I
saw during
coasting under the huge perpendicular limestone
cliffs in
small boat, watching the glancing of the silvery beams on the waves, or looking
over to the snows of the
Rothhom
fire
of pines, kindled by
some men
in
boats collecting driftwood, casting a lurid gleam across the waters, and forming
a striking contrast with the pearly green moonlight.
The harmony
of the
scene was completed by the wild plaintive jodel of a solitary boatman.
Of course
I visited Tell's Chapel, of
which
in the midst of the forest of pines, but the latter

l"
took a sketch, and also one
was
more
difficult
subject
290
to
You
treat.
and brought
will observe I
have kept a broad mass of light on the clouds,
in contact with the greatest dark in the picture (the trees),
it
and
as these, being in themselves very deep in tone, could not be in light, they are
thrown into shadow, where the colour only heightens the
From Brunnen
Glarus
to
much
known
well
effect.
went up the Muotta Thai, the Pragel Pass, and Klon Thai
then through the Lint Thai to the picturesquely situated baths
of Stachelberg,
yet
frequented by Germans, French, and Swiss, but not
English tourists.
to
Perhaps this
may
be considered an
whom
advantage by some who sympathise with a young bank clerk,

at the table
of English
had
d'hote,
who
buildings,
when
out
gusted,
after
his
for
to see
holiday,
away by a
his appetite once taken quite
the bottom of his plate
at
he did not want
said
and declared that he had
England
print of the P>ank of
and on another occasion was exceedingly
climbing up the Col
de Balme, by being suddenly
Now,
Are you
sir!
The rememberance
twopence!"
of a good
he,
or
"
engine- driver told
little
all
It
a fine subject,
breaks the stride
same thing
me
of a fine locomotive.
the other day at

"
Rugby
Why,
engines
that
sir,"
continued
do you think such an engine as he would work well in a stopping

?
wear himself
out.
pace, picking
up
witli
to cope with
tempers as well as horses and women.
luggage train
fresh,
for
high-mettled racer to be stopped by a donkey or a wheelbarrow,
first-class
have their
mind
his
by uncongenial minds.
and, strange to say, I have heard the
with,
sir,
can hardly Wonder, then, that a painter,
when he has gradually wrought up

likes as little to be interrupted
way,
All the
monotonous drudgery took away
of his
You
enjoyment, poor fellow.
his
Bank! Bank! Bank!
for the
dis-
accosted
by some old City acquaintance, who had come up the opposite way,
"
met
any English, or pictures
he snorts, and
No,
sir,
He
likes to
his water
jibs,
come down
by the way
and rushes, and would soon
to Iiugby at a sharp
slapping-
he don't mind that drop cold and
but otherwise he takes the rest of his water, here and at London,
the chill
of coal.
Why,
off,
sir,
and
is
verv particular about his coke and his odd lunches
put such an animal on
to
shunting trucks for
month
on the Camden Station, and he would soon be in the hospital, with most
likely his constitution ruined."
Almost the only drawback

of
to the
gigantic cotton-mills built across
beauty of the Lint Thai
it,
is
the
number
taking advantage of the vast amount
AN ALPIXE SKETCHING
TOUK.
291
of water- power, but at the same time destroying the romance of the valley
meadows
colour also of the
the
and dresses
handkerchiefs
cotton
laid out
Todiberg tower beautifully over the
The eye
dry.
to
snowy peaks
these to where the
away from
led
however,
is,
and the
of the Glarnish
wooded
luxuriantly
Among
valley.
the waterfalls, the Fatschbach and Schreyenbach are the most striking.
latter
is
is
shown
lessened
my
by the superior height of the mountains beyond.
very
is
and
much annoyed by
was
this
my
The
importance
pictures, but its
This was taken
showery day, as you may perceive by the numerous clouds
in a
one
the foreground of one of
in
changed by hundreds of yards of red
is
sometimes
the continuance of cloudy or showery weather,
case here.
however, for artists to recollect that the varied effects produced
It is well,
by clouds on the landscape
The
are a great source of picturesque beauty.
form and situation of rocks,
cliffs,
and mountains are often revealed
true
by
to us
the shadows of clouds passing over them, and a patient study of Nature under
these circumstances
and rain
is
Even the obscurity caused by clouds
often desirable.
is
not without
its
beauty, whilst
we have
a rich compensation for this
shading of the tints with darkness, in their brightening by moisture

is
known every
well
colour wet
The climb one day up
me
Todiberg, took
chalets there,
others
twice as brilliant as
to the base of the glaciers,
nearly five hours.
had hoped
curds,
and black bread,
with hay, over the cowhouse, where

;
but when after two hours
of continuance,
and
thought
with such companions

five hours'
it is
when
it
again.
was
for as
it
which descend from the
After dining
was shown the low

to sleep
to rain heavily,
with four or
loft
five,
with every prospect
should be shut up in such a confined hole,
my courage
walk back
began
dry.
to be able to sleep at the
and spend the whole of the next day sketching.
upon abundance of milk,

filled
is
failed,
However,
and
I fairly
ran away, and Lad
my
got two sketches, one of which
is
from the summit of the Sand Alp.

In this climb
was amused, but annoyed by a
follow me, as they do most passengers, for salt

barrier shut
them
off.
Goats, you
must
flock of goats,
I
recollect,
was
wind coming, and
had
You have heard
and discomfort.
a
when
do not merely follow, but
leap from rock to rock over one's head, sometimes sending

stones, to one's surprise
which would
heartily glad
down showers
of
that pigs can see the
ridiculous instance of their capacity in this respect,
2i)2
for whilst sketching in the
pigs
came
They had seen the white ghosts
their sties.
knew
helow, and
From
of the
most beautiful sunshine,
all
at
once several stout
tearing along, squeaking and grunting to gain the
wind and
that
Stachelberg
wildest
of clouds rise
warm
retreat of
up from the valley
rain were to be expected.
took the pass of the Klausen, resting a night
one
at
places near the summit, called Urner Boden, and was
little
well repaid for any temporary discomfort, by a tine sunset,
and
twilight,
Then over the Susten, by the
sunrise, in a picturesque spot.
Stein
Alp
to
Meyringen.
From Meyringen
not very high,
the pass of the great Scheideck begins, which, although
At some
of beauties for the artist.
is full
sawmills, a few miles
from Rosenlaui, a magnificent view of the Wellborn and Wetterhorn with the
glacier,
may
At the
opens out.
distance of an hour, another equally fine picture
be obtained, just on the
grassy plain of some meadows.
flat
have
attempted to depict the astonishing blue of the glacier of Kosenlaui, the

loveliest
in
employed
all
in
their researches,
coloured flannel dresses, for adding a
Grindelwald, with
stopping,
its
and
little
party of the Alpine Club were

I
was
warmth
greatly indebted to their

to such a cold scene.
interesting glaciers, I passed this year almost without
being anxious to sleep at the Wengern Alp Hotel, opposite the
Jungfrau.
At Lauterbrunnen
took but a hasty look at the Staubbaeh, and
immediately struck up the hillside
on a grand
You
Switzerland for colour.
making
terrace, pleasing
will find that
most of
me
my
to Miirren, a
better than the
new
hotel, beautifully placed
crowded hotel
as I rather avoided the larger
and more frequented hotels below.
with which cockney
whether from London,
tourists,
along the level valleys, armed at

of poor
frail
human
nature,
in the valley.
sketches this year are from mountain heights,
is
all
The gravity
Paris, or A'ienna,
march
points for the refreshment or the support
sometimes amusing.
Never venturing
off the
beaten track, or more than a few hours from a comfortable resting place, they
yet take the greatest care to supply themselves abundantly with barrels and
gourds for drinking
chiefly, T
should suppose, for the benefit of the guides
and formidable alpenstocks, branded, from the chamois horn

bottom, with the names of the precipices they have scaled.
at the top to the
The crowds
beggars and girls selling carved toys, as remembrances of Switzerland,
about Lauterbrunnen and Grindelwald, are quite annoying.
They seem
ot
all
to
AX ALPINE SKETCHING TOUE.

think that no true Englishman ought to
these round his neck.
terbrunnen,
when
a group inarched before
and opera glasses from the
side,
a half-concealed smile, led
me
there
was Paterfamilias, with
complete, their long dresses
all
raising a
spots
made me
with
inter-
select
work above the
at
sitting
The constant
behind.
to the artist's ideas
While
study.
for
other, while the ever faithful guides,
the loaded horses
make
ruptions these apparitions
secluded
box of
deal
large
from the level road, flasks and gourds suspended from one
dust
of
armed with a gigantic alpenstock, chamois
horn and fringe of goats' hair

cloud
be without
rather longed for Leech's pencil one day at Lau-
daughters, each
four stalwart
29a
more
of the
falls
Staubbach, the continued sound of the Alpine horn, with the report of the
How
cannon, was at last very wearisome.
when one
snowy summits
the rocks and
The
is
different to the feelings raised,
hears a few unexpected notes, with their wonderful echoes, from
level terrace at
just the spot from
Murren along the edge
whence
to
of the Lauterbrunnen valley
watch the lovely Jungfrau wakening
glow of the morning or shrouding herself in the whitest of
first
night
or if one
more actively disposed,
is
path to Trachsel-Lauinen, to study the

granite rocks at
for letters,
more
truly,
One
base,
its
feels
more vividly when
lovely evening, after
at
dash down the rugged goat
Schmadribach with the glorious
round perhaps by the Capricorn
but always back again at night,
and
to
to the
veils
for
at
Lauterbrunnen
one sees more clearly, thinks
alone.
some hours of
solitary thought,
my
opened
window overhanging the deep blue gulf and watched the filmy clouds passing
over the
moon and
across the
were also beginning to

I
put out
my
spectre, witli
I felt
hand
arm
snowy breast
window
to close the
"
I
think,
it is
That shapes
me
after I
saw
it
was but
on the uprising cloud
mountains.
Ha
from the depths below
I started to see
outstretched, pointing
with Brutus when he exclaimed
A moment
of the Jungfrau, white clouds
arise in ghost-like pillars
upwards
as
an immense shadowy
like the ghost of Caesar.
who comes
here
the weakness of mine eyes,

this
monstrous apparition."
my own
shadow thrown by the
light
behind
simple representation of the spectre of the
294
DE AWING FKOM NATURE.
From
Miirren most delightful excursions can be
Schilthorn, and
also
and secluded
wild
spot,
As
know.
that I
the
to
perhaps containing more
was prevented by
made
heavy
beauty than any other
Tnterlaken and Kandersteg to cross the Gemini.

the fruits of
all
my labour for my
and finished by kicking
all
make
Here
mule, which had
slung over his back, took a restive

the packages
fit,
off,
a long detour by
was nearly losing
my
all
ran down
sketches and
the
fearful
pass,
and they narrowly escaped a
of 2,000 feet over the precipice.
fall
I finished
this
tour by a careful study of the beautiful
with the great Aletsch
glacier,
and found
we
ture representation of such scenes as

of the Fox,"
and the deep and
this little lake a
studies.
had the good fortune, whilst sketching,
of ice
cliffs
topple over, and
fall
Some
I lost a little
told
me
to see
"Voyage
the
intense
my
exaggerated in
one of these huge
a man-of-war had been
if
of the floating icebergs I found of most fantastic shapes,
time in pushing
stranded on the shore.
who
all
with
thousand fragments into the lake,
in a
with a roar like thunder, and raising a wave as

launched.
Marjelen See,
charming minia-
read of in McClintock's
brilliant blue of the ice,
green blue of the lake, has not, I believe, been at
and
snow from taking
of
fall
the short cut over the mountains, I was obliged to
effects
to the tup of the
extremity of the valley of Lauterbrunnen, a
was
not,
he got on one to
off
with
my
float
about the lake, until
The lady who wrote
and gave him a cold bath.
alpenstock some of
those
however, so venturesome as Dr. Tyndall,
"A
rolled
it
over,
Tour round Monte Bosa"
mentions these extraordinary shapes, and, with a graceful feeling for the
poetic, says, "
In one place, the broken
ice
appeared
form a kind of landing
to
place from the lake to the glacier, with rude steps and balustrades leading
up
to
the small deep blue caverns.
enchantment, was the fairy boat
But where,
and
complete this scene of
to
where the ice-queen,
to step forth
from those lovely caverns and descend the staircase ?" (See heading.)
I
concluded with
the grand panoramic view
from the summit of the
iEggishorn, which has been compared with that of the Gorner Grat
although
it
embraces more celebrated peaks, they are too
a striking picture.
From
now brought you back

this short description of
this point I turned
to England, I
an
artist's
my
face
far distant to
homeward
must here take
my
leave,
but,
form
and having
hoping that
tour will not have proved tedious to you.
CHAPTER,
X.
ARTISTIC EFFECTS AND INCIDENTS

OF TRAVEL.
Clouds, mists,
sry rocks,
Clouds of all ti
Confused, comi
Molten togethe
and emerald
turf,
dally inflamed,
sing thus.
Each lost in eai ;h, that man ellous array

Of temple, pall ice, citadel, s .nd huge
Fantastic poni]
In fleecy folds voluminous
without name,
e nwrapped."
W
NATURAL PHEJ OMENA OF SW1 TZERLAND- STUDENT TO BEGIN
E:
GI
MONT BLANC -AIGUILLE DE CHARMOZ- CLOUDLAND ROSY
S
LEAST AMBITIOUS SI
COMTRAVELLING
NUEslItAKLE
DOGS
T
ACCOMMODATION
MISTS FOREST ON F1KE STRANGE
ADVENTURE IN THE VAL ANZ
PANIONS VALUE OF A SKE
VALUE OF ARTISTIC
FTER
A-
as
our long vacation
we
we have met once more
we have shaken hands
clustered round the hospitable hall-fires,
of our adventures, aiding the descriptions
Our
and recounted some
by showing our various
alpenstocks, our knapsacks, and sketch-books are
trophies'.
now doubly endeared
296
us,
to
have
calling
speak, for
mind, as
to
passed.
It
they do, the different scenes through which

sketches you have
of the
is
we have had
whom
to determine to
made
that I have
now
we
to
should be awarded the prize
for the best set of four.
must congratulate you on the general excellence
which has gained the prize
set
of artistic
This
effect.
is
a quality which, after
is
by
sure to be greatly valued, not only
some
we
discourses, as
amount
good sound drawing,
is
but by the world in general.
be pronounced most correct, and
may
gain great honours, but yet
any sentiment
artists,
may
sketch, or even a careful drawing,
may even
of the whole, and the
particularly distinguished for a large
not touch the feelings or convey
well know, are only addressed to
the understanding, while others, not perhaps so talented, from having some
more intimate association with
ourselves, call forth our

"
and carry us along with the speaker.

whole world kin," and the power
striking
effect,
is
talent
to
be
One touch
highest
aspirations
of Nature
makes the
portray some pleasing incident, or
to
earnestly sought
for,
and
is
sure
to
be
greatly admired.
Having
fulfilled
awarded the
own
tour,
extended.
in
these
prize,
which you
I
promise this evening as regards your sketches, and
have also brought down some of the

will see,
by the map
do not, however, intend
railway days, with
become more
to
my
I
rare every
you a few
day
the
;
artistic effects,
to
before, you, has
recount
my
results of
my
been somewhat
adventures, for
really,
exception of smashes and crashes, these
must content myself with describing
so that I
and surely no country
in the world is better
suited than Switzerland for observing the ever-varying aspects of Nature.

It is there
of sunrise
we may contemplate with
a mountain, with all the inexhaustible
the
delighted eyes the infinite beauties
and sunset, of sunlight streaming through
phenomena
clouds, or from behind
of rain, storms, &c. while
impression produced by the grandeur of a chain
seen for the
first
time
is,
of lofty mountains
perhaps, one of the most forcible that the
mind
receives.
When
I first
any attempt
until
to
many days
went
to Switzerland, I recollect well
portray the
glorious
scenes
then
had, in some degree, familiarized
of the surroundings did I gain courage to
draw
how
hopeless I thought
opened to me, and not
me
forth
with the magnificence
my
pencil.
ARTISTIC EFFECTS
AND INCIDENTS OF TRAVEL.
Should any of you go again next summer
you
the
begin with
to
the
lower valleys and
to Switzerland, I
hills,
would advise
and gradually work up
One cannot well study small
grander mountains.
297
objects,
Montanvert or the Corner Grat have been
sublime peaks seen from the
Thus the Minister Thai comes well before Lauterbrunnen
enjoyed.
before the
With regard
Grimsel.
we
to lakes
end
for instance,
same way
in
the
to
gain the most
if
possible
Lucerne from the town,

but a young
commanding view
Thun
find that almost always the
highest mountains are at the head of the lake, so that

at the lowest
to
the
after
artist's
better to begin
is
it
Como and Maggiore
first
wish naturally
is
of the mountains, every other object
being secondary.
On
Mont
a bright day nothing can be more clearly and distinctly defined than
Blanc,
with
attendant mighty ranges,
his
cut
in
dazzling
snowy
the pure blue sky, and surrounded by countless smaller
brilliancy against
peaks appropriately termed Aiguilles, which, though of inferior altitude to
much
the great summits, add
present the most striking
grandeur of the whole.
to the
and peculiar features
from the icy base of the Mer de Glace
rise
Those which
almost precipitously
the Aiguille Dru, Aiguille Verte, and
Aiguille de Charmoz, are the most imposing, the latter
even appearing to
be out of the perpendicular and to threaten to topple over (see heading of this
section).
I recollect well
my
first
view of Mont Blanc, that monarch of mountains,
from a distance of eighty or ninety miles

glittering
and pinnacles of
fields
longing to
be there among them.
soul of something
and the sight of those glorious
and snow produced immediately a
ice
They make an impression upon the
supernatural, almost divine, and no language, spoken or
painted, can convey the magnificence
and sublimity of the scene.
Again, there are days in which the air around the mountains seems
of such
itself
hazy whiteness that the snow melts into the atmosphere, as
it
were dying away in the heavens, like the indistinct outline of a blight but
partially
remembered dream.
There are other days in which the fleecy clouds,
like light veils over lovely faces, rest
snowy summits
other ends.
tains,
so that
it
is
upon and seem
difficult to tell
to
mingle with the
where the one begins and the
Sometimes you look upon the clouds, thinking they are moun-
and then again the summit
itself
will
be
revealed in such far
off,
298
such
unnioving, icy grandeur, in
wonderful
distinctness
that
there
no
is
mistaking the mountain for the cloud.

It
is
how
surprising to see
long
Mont Blanc
and how long his snow-covered peaks glow
view behind the green range of the Jura,
and
it
seems that the sun has
the stars alone, and you
being over;
a few
Then the crimson
also are ready to
moments
to
day,
away,
warm, radiant
the
white
scene
summits
robed
upon them, the countenance
with rosy light," and

deep,
tints die
the glory of the
depart,
the sun were returning
if
" filled
is
of
sun has sunk from
the
the mountain to a companionship with
when suddenly and unaccountably
redden again as
Mont Blanc
left
retains the light
after
cold
the
tint,
of
gray gives place for
which again fades in the
deepening twilight.
Clouds and mists add wonderfully to the beauty of Alpine phenomena.
Sometimes when
all
the valleys are shrouded in mist,
in
beauty and sunshine.
as
smooth,
soft,
and white
we
find the
as the
down
of the eider-duck's breast, lie over
the whole lower world, and on ascending the mountain to
Verge
seemed
the mountain
to
down on an
look
mountains
have seen, on such occasions, an ocean of mist,
infinite
abyss
overhanging
its
of vapour,
where only
lower range like wooded islands, the
tops were visible, the
No
higher summits as glittering icy peaks and snowy pyramids.
can describe the extraordinary sublimity and beauty of the view.

sea of white mist in every direction, as far
a continent
as
the
colours stream athwart this sea of cloud,
you the beautiful sky,
which then
rolls in
clear
is
bracing atmosphere, the
like passing
from heaven
the
waves burnished
bright sun, and
to earth.
Cloudland, possessing mysteries of beauty that defy the
in
sea, like
Sometimes bright sunset
Going down into the mist again, and leaving behind
fire.
resplendent mountains,
level
and on the other
on the bosom of the
long smooth undulations of the ocean in a calm.
and tipped with
eye could reach, with
of mighty floating icebergs on the one side,
a forest promontory, with a slight swell
language
the
Such are scenes

skill of the
most
talented painter.
I regret
much,
for the
sake of the youthful part of
have no romantic accidents

escapes by
for
field
or flood.
them, never put
to relate,
Even
myself
in
in the
my
audience, that I
no surprising adventures, no hairbreadth
my
way
youth, as student, I never sought

of being
attacked by picturesque
K U
FRUM
THE.
BASH OF
HE
IY1ER
DE GLACE.
ARTISTIC EFFECTS AND INCIDENTS OF TRA.VEL.

banditti, or
wished to be taken prisoner by them in order to
299
with them in
live
My
wild caves in the mountains, like Salvator Kosa, until ransomed.
two
one or
perhaps, in
has,
some rather exorbitant innkeeper, and
my
although
Still,
bank note from England has
We
memory.
have seen some striking phenomena, one
and remains strongly impressed on
ago,
by
a very leisurely way, lulled to sleep
when we were roused by
woman
an old Italian
get
She seemed
in.
the musical bells of the mules
the stopping of the vehicle to

in great distress,
time began to wring her hands and cry, "Oh, oh!

Povefetta mia
find
enough
Foveretta mia
Italian to ask her
the whole forest
is
on
astir;
visible at
cutting
had
it
off;
fallen for
but the
was
up the
the
forest,
the
of
among
by digging
progress
its
summer had been
replied, "
We
it.
to
Alas
which
inhabitants were
the
trenches,
and so
long and hot, not a drop of rain

it
their
all
tall
roared around them, pursuing
the wild denizens before
managed
This fully awakened
it."
fir
its
own way.
trees,
Soon we
and most exciting
course in .rings and belts
sides of the mountains, devouring everything in its way,
away and crouching

in
The whole
months, so the flames had
fire
fuoco
II
let
some
burning houses; some had been vainly
their
out or stop
fire
through
after
for the first signs of the conflagration,
next village.
the
were in the midst of the
all
what was the matter, when she

lies
and
fuoco
II
some consideration
After-
and our road
fire!
some had escaped from
trying to beat the
it
"
I
and anxiously we watched
became
my
were travelling over the Appenines by night, and jogging on
in the diligence,
us,
effected
have not found the excitement of adventures, in the
many summer rambles
which occurred many years
in
ransom
was by
it
release.
course of
of
demanded, but
been
instances,
and driving
heard strange stories of wolves slinking
in the outhouses
amongst the sheep and
cattle, also bears,
no pleasant mood, one would think, but too frightened to attack anything.
Of course we were
slowly up the
hill.
far too interested to stop in the carriage,
The
rolling
and once or twice a burning

magnificent sight.
smoke and heat were
tree
fell
Sometimes the
fire
at the root of a tall pine, the
crashing across our road.
was a
It
would play amongst the lower shrubs
tonguedike flames licking up the bark as
dry, until like a devouring serpent they reached the branches
when
but climbed
at times almost stifling,
the whole would burst into flame
at
once,
it
and leafy
and explode like
got
top,
cannon
DRAWING FROM NATUBE.

musketry
or a volley of
leaving
we had time
it
much
book
the worst of
it,
quietly to run
up the bank
to light a soothing cigar
Of course
to
upon you the necessity
as I sometimes impress
recommend you
on the
think I could in
from memory.
it
Sometimes the love of adventure causes Alpine climbers

strange
and
droll
accommodation
their party during an
and we know
ascent
slept
that the large bands of
when
for
it,
have done
so,
The low
very sweet,
much
loft,
is
to
young Swiss
;
but
find
my
that
The
or
German
get less
and
loft,
students must
less inclined to
next day's studies always the
time
last
vowed
would
for
to avoid such romantic nonsense.
only three feet high, nearly
me
put up with
remarkably well on some hay in a
worse, perhaps very slight and hurried.

the future do
to
thus I have been told by a lady,
put up with such rough accommodation

try
your sketch
of having
spot, still I
do as I have done, draw
to
but before altogether
sketch was out of the question, and
at hand, ready for entering notes
this case
a con-
we passed
burning fragment.
at a
made
these occurring all through the forest
After a time
tinual roar.
filled
with hay (which although
very oppressive when stored in such small spaces), then
the rough, uncouth companions, the strong odour of the goats, cows, or pigs
underneath, or the smell of cheese or cheese-making, are enough to keep
awake
all
night
long.
Keuchatelois, which you
Agassiz lodged in
slept
for
in,
and
should
much
know Mas
a hole
between or under
weeks on the Aar
when he ascended
crawl
think
the hotel
and see the
rock, that
room enough
stars pass over the crevasse
him, in the morning being pulled out by the legs by the guide
and
Or, again, if only climbing

of Mr.
Whymper, with
peculiar temper of
of body,
Dead
stationary hut or tent of
Sea, or that of
earnest students of Nature
so also
Balmat.
but to cultivate the
of a painter, one requires less action

to the
to
above
company, the cleverly constructed tent
a waterproof bag to creep into
mind
and one turns
the shores of tlx
in
me
of the
which Mr. Wills
glacier, or that in
the Wetterhorn, where he had just
at length
lie
prefer
and more repose
Holman Hunt on
Hamerton on Loch Awe.
These are
were Atkinson in Siberia, and Catlin in
America, although their studies were made in a more roving or Arab-like

character.
In
all
these excursions one
anil fortitude are necessary
must endure
an
artist
a certain
particularly
amount
of trial
patience
must travel with those of
ARTISTIC EFFECTS
the same tastes, or be alone sometimes in utter solitudes.

this the best for quiet study, but then
it
301
I
one think
for
pleasant to return to friends in
is
the evening and have a chat over a fresh trout, a bit of chamois, and a glass
of wine.
have tried the companionship of a dog, but found him much in
my
the way, the creature with his impatience disturbing
known Alpine
up Mont Blanc, and one
attention.
well-
went with a party
traveller once told ine that a friend of his
of the guides asked leave to bring his
dog with
him, as he said that one that had been to the top of such a mountain would
This was refused, as they thought the dog-
be worth a good deal of money.
would be a great nuisance, and away they went without
Of course
it.
overtook them, though the guide protested he had ordered
it
soon
it
to be tied up.
Well, the dog was a trouble, he got between their legs and bothered them, and
they were obliged to throw him over
He was what
is
nose, sharp black eyes,
and a
As
lie
straighter,
till
at last
hung down behind
it
it
The
it,
it
up
traveller
ten times over, but he could not
was so dry and
at last the
poor brute dropped
dog
is
in the
his
mouth
it
at
as
it,
manage
it
so parched
it
be'
and lead him
to
climbers, he
it
to his
canvas
it
if
he
had
cold
the top he thought

oft'
he would have eaten

bit
it,
and
bit
it,
but
would not go down, and
is
still
more de
trop
whim
The Landscape Painter
he will then guide the spectator,
look at the subjects as they
Then indeed he may hope

ideas,
as
thoroughly imbued- and strongly impressed with Ins subject before
he can successfully transfer
and
the dog got
on him
in despair.
way amongst
hours of uninterrupted thought and study are desired.

has to
effect
when he reached
The dog rushed
his throat
If a
As
as usual.
had taken up a cold chicken with him

;
No
but he found he could not swallow a morsel, so he cut
a bit for the poor dog.
his
uncurl; and, curiously enough, as
had the same
air
may imagine
was, as you
The mountain
made him uncurl
it
as straight as a broomstick.
to
by degrees curled up again
towards the top of the mountain, the
on human beings.
bushy appendage gradually got straighter and
was ever before known

tail
by a very pointed
over the back.
on this dog
effect
this
he came down his
enough
stiffly
went up
Spitz dog's tail
he would eat
the crevasses.
curling
tail
atmosphere had an extraordinary

tail
all
called a Spitz dog, a kind distinguished
to
make him
and leave him delighted and
were regarded by himself.
sharer in his
instructed.
own
strong feelings

Every one who has travelled
when he happens
How
immediately
sphere of the past
it
knows the pleasure he experiences
all
him the
recalls to
If
'
at
meet with a view of some spot that he himself has
to
may even have
be a careful sketch he
it
visited.
scenes, the feelings, the very atmo-
the satisfaction
of pointing out the inn where he lodged, the hill he climbed, and the stream
he leaped
to these
he adds, in the excitement of the moment,
incidents and adventures that befell
had he been asked

have answered,
for
the
little
would very probably
he had forgotten
ago, that
all
Before he saw the sketch,
there.
a description of the place, he
was so long
it
him
about
all
it,
or
if
pressed have laboured through some languid statistical account of no interest

to a single
another
Watch him
person present.
sketch before
him
see
how
you have placed a
after
and when a thorough examination has refreshed
he has warmed at the sight of the once familiar scene,
power
faithful
his eye brightens as he recognises one spot after
you are sure
of expressing himself,
to
his
memory, and
he has a moderate
if
have secured
at least
one half
hour of agreeable reminiscences.
With
us artists also, the lapse of years and hard actual
to obliterate portions of our existence,
containing the sketches
folio
key
events,
to
made
till
at that
period,
may
recall, to
and there we find the
the
memory
The rough sketch that
of those
who have
one of the most beautiful spots in the valley of Anzasca

circumstances, and particularly sensations,
The intense heat
depict.
of the
all this
when
all
frail
to a
I
which
but to mine
it
it
brings
not possible to
is
August day, the exquisitely grateful shade
but energetic> strong-minded Englishmen take their
Monte Rosa, the
the
of
might be portrayed by a Turner's pencil
sketch after the lapse of

of
of that
all
I point
visited the place,
overhanging vines, the languor and total repose of Nature during
mid-day,
seem entirely
to turn over the
and circumstances, that ten minutes before we
sensations,
should have said were completely forgotten.

out to you
life
chance leads us
many
rival of
years, I
Mont Blanc
am
(in
not
but as
first
modern
siesta,
gaze at this early
struck by the grandeur

estimation), nor yet
structure which spans the torrent, but involuntarily
my
by
eye glances
rope across the old balcony, on which hang some articles of clothing.
had ascended and descended the long but beautiful pass of Barranca
Banio,
made
in fact a forced
march, and though in
despaired of finding a house to rest
in,
much need
to
of repose, almost
for the Chalet-like buildings
which
ARTISTIC EFFECTS
303
appeared so numerous from the summit of the pass were only
However
came
at last to a little village,
filled
with hay.
and by dint of numerous
inquiries,
a language composed of French, Italian, and dog Latin, I found a poor
in
my
me
gruffly denied
voice, that I
" If
by an
albergo, kept
little
first
ill-favoured
and scowling-looking man, who
admittance, but seeing by
humble
in the village."
kitchen hearth, for

torrents, and,
to pieces
my
what was
clothes were soaked with the
more annoying,
still
by scrambling over the
One
fire,
and who
most unceasingly, and inquired as

destination,
was introduced
I entrusted
my
to
morning.
the
in
my
boots,
My
first
of the swarthy fellows
who
Having
set this
was
rocks.
was painfully aware stared
as possessing the requisite skill
important
to return
them
train,
affair en
him
to
at
my
to
me
future
therefore
me
early
next turned
really in want.
mountain appetite caused
I should
snow and mountain
thought most curiously into
on his promising faithfully
supper, of which I
My
find
on the
fire
boots were completely cut
and rough slatey
glaciers
business then was to search out a cobbler.
were crowded round the
my
said,
can
common
eagerly drew near the
and
his tone,
think
fare,
at
by
finding
clothes, or
was an Englishman, he suddenly changed
the signore would be content with
him a bed
my
me
to eat
more than, on any other occasion,
have thought possible of the miserable supply of mouldy Indian
corn bread and dried hard pork sausages set before me.
seasoned
my
repast with a draught of very fair "vino d'Aste," and then declared myself
ready for bed, upon which
the
surly landlord, taking a candle, conducted
me, bootless as I was, across a bridge to an old broken-down house, up the

creaking staircase, and, traversing a long gallery on which numerous doors
opened, finally introduced
furnished.
me
that or nothing, I smothered
the
fellow set
withdrew.
into a deserted-looking chamber,
The bed was anything but
I,
down
the
my
disgust,
inviting
most meagrely
but, finding
and declared that
candle, and, gruffly wishing
it
it
was
me "Buona
half asleep already, and tired to death, threw off
clothing and soon found
was
" Sta
myself within the blankets, where
my
either
bene
;"
notte,"
upper
immediately
fell asleep.
After some time I

as
if
at the
woke with a
terrible suffocating feeling
somebody was keeping me down by main

same time exerting
all
the strength of
my
force.
about the chest,
I struggled violently,
lungs to shout for assistance;
304
At
but produced only hideous husky sounds.

released myself, and rushed to the
last,
door all was
by a great
dark.
Out
effort,
burst
upon
the gallery that overhung the roaring torrent, the door swinging behind me,
felt
my way
begun
to
along the loose
descend the
stairs,
and broken boards of the
when suddenly
and had
gallery,
was jerked
off
my
feet
by
MONTE ROSA FROM THE VAL ANZASCA.
thrown
rope
same moment
a wet
my
hand.
under the chin,

I
For
some moments
senses gradually returned,
find out
who
or
and hung violently on
my
received a slap on the face from something
what were
my
back, at the
that felt
like
lay on the ground half stunned.
As
ventured
assailants.
to
rise,
1
and listened
could distinguish
intently to
nothing
AM) INCIDENTS OF TRAVEL.
ARTISTIC EFFECTS
the
and foamed within
roared
torrent
moaned and sobbed through
common
and
my
missed
began
sense
and
footing,
resume
to
fell
few paces of me, and the wind
the valley
else
all
was
My
still.
functions, I
their
bottom of the
to the
305
courage
stepped forward,
stairs.
This time, however, I rallied immediately, and finding the door through
my
which
surly host
had
At
the
shouted and
side, I
and grope
which
my
men
At
last
and
me
gained
down
state
sleeping on the
my owu
I tried
one
the.
but in
stumbled
wdiose outcries and maledictions
floor,
room, which
recognised by the position of the
By
breath.
this
time
had a suspicion of
had taken possession
the case, namely, that nightmare
of
were locked
had occupied,
retreat.
to recover
after a careful
so,
foolishly I
two that
or
thought was
most precipitate
sat
real
One
it.
I decidedly
over two or three
caused
my own
but here fresh difficulties awaited me, for there were several
doors opening out upon

a third,
of
no purpose
the pitch darkness, hoping, at least, to find
gallery in
room again
the
locked on the other
all to
length, with desperate resolution, I ventured to reascend
along
bed,
me
led
kicked and hallooed manfully,
examination of the room by touch
had no means of getting a light
for
very
ventured to throw myself
once more on the bed, whence I was roused next morning by the landlord
without having
by ghosts
As
with
my
rest further disturbed
of pork sausages, or
descended the
and forcibly reminded
stoop,
voking
on
stairs,
my way
wet stocking dangling from
smile
as
me
thought
by the vision
of inquisitive bandits,
any more tangible messengers of
of
how
it,
my
to
hung
so
breakfast,
low as
a
to
evil.
clothes'
cause
line,
me
to
adventures of the past night, pro-
different
things
appear under different
lights.
My
breakfast was
company
in lest
my
I
of
better than
travelling muleteers,
my supper, my boots were repaired, the

whom the cautious landlord had locked
they should decamp without
companions
of
the
preceding
payment, looked more amiable than

night
and,
my
equanimity restored,
returned to the old house once more to take a sketch of the lovely scene
with
its,
to me, peculiarly interesting foreground.
CHAPTER XL
AN OUTLINE OE A TOUE IX THE FYEENEES.
pyrenees and alps bordeaux, its wini!s les landks, stilts frog concert bayonne,
bayonet first used biarritz, bathing pau terkace, view from
sunset effect
pyrenees, a barrier or wall cols ok ports outline of mountains cirques primitive team
les eaux chaudes impatient guide valley of gave, beauty of-val
flies col de toiites col de saucede- cauterets " les poitrinaires "pont d'espagnk
de gaube la chassis photographs luz cirque de gavarnie luohon "lovely
mountain lakes iiicii wind in por'i
" ma ad etta "
lose the
smugglers* cave
way -danger of bears hermitage back to luchon excitement at hotel pauls
england comparison of pyrenees and alps in pyrenees more abundant foliage,
Richer colour, atmosphere more misty and warmer climate not good for pedestrians
saddening effect of thick mists in valleys.
lac
i,
WILL
endeavour
evening to give you a sketch, and will
this
Outline of a Tour in the Pyrenees.
and colours than described by words, but

to
It will
be
a few words
still
call it
an
made more with a brush
may
assist
you
understand these cartoons, and enter into the feeling with which they
have been drawn
and
usefulness of the art that
Drawing adds
shall premise that

I
greatly to the
and thoughts, and
it
is
my
chief object
is
to assert the
teach.
power of explaining and
a language intelligible to all
to
illustrating events
the unlearned as
well as the learned, to the ignorant peasant as well as the most polished
inhabitant of cities
Mr. Murray has often told
spot, or at the time, are
always acceptable, and
me
that notes
made on
I find that sketches
the
made on
308
the spot are
words.
more appreciated, conveying' a more vivid impression than
still
wish, therefore, this evening, to encourage you
persevere in
to
sketching from Nature, while I explain where even a practised
when
difficulty, for,
much
he finds as
it
is
Nature, our
artist
finds
assure you
a very great pleasure in even a small measure of success,
when we turn away from
satisfactory to find that
is
reason for discouragement as you can.
However, there
and
trying to copy infinitely beautiful Nature,
efforts,
which appeared on the spot
become more valuable, increasing
in value
the perfection of
so weak, so futile, immediately
conscientiously made) as time
(if
passes.
It requires a
will
strong determination to surmount difficulties
always be too hot or too
paper or the colours of the wrong kind, and above

you, the time too short.
and
to paper,
know
the weather
cold, the subject too large or too small, the

all,
as every idler tells
have no magical means of transmitting pictures
full
well what
great
even a beginning; but remember a wise
resolution
man
it
requires to
make
never waits for opportunities,
but makes them, and perseverance will enable you to bring home memorials
which you may never
of scenes
expressed herself on this subject
young
ladies cannot
a master
and
am
see again.
:
" I
well-known writer has thus
have often heard the complaint that
draw from Nature, that they have never drawn without

sure that something
instruction pursued in our schools,
if,
must be wrong
after years of
in the system of
expensive lessons, after
the attainment of a degree of excellence in the art of copying almost equal

to that of the
master himself, numbers of young ladies
loiter
up and down
the promenades of Pau, wishing the lovely aspect of the scenes around
them
could be transmitted to their sketch books, yet never, even at the solicitation
of their parents, or the entreaties of their friends, being induced to attempt
much
even so
as an outline."
Having been long known
an enthusiastic student of the mountain
as
scenery of the Alps and Tyrol, I had often been asked
never visited the Pyrenees
"a
me, "which, though inferior in height, were

infinitely
more
how
it
was that
had
range of mountains," as one friend assured
diversified in colour,
far
more picturesque
in form,
and
and the verdurous beauty of their valleys
with the additional charm of abundance of wild, savage, and untrodden scenery
in
many
of the higher passes."
Another friend promised me
"
the finest study
AX OUTLINE OF
The only answer
woodman."
old Alpine traveller,
could give to those remarks was, that as an
Switzerland, and had
interest to examine, that

I
knew how
hardly
had also a suspicion that the mountain
rating and
more suited
requiring the use
those
to
determined
and
for this
came
of
Switzerland.
to,
to interest.
Its
the stranger almost as
its
of uncongenial cockneys,
do not in the least regret
day will take one
handsome quays,
Bordeaux, where there
to
vessels
and noble
forest of masts,
tells
feels that
us
how
largely our
man works and
here
impossible to visit Bordeaux without becoming
always
countrymen
prospers.
It is
stored in innumerable
is
barriques in vaults, or seen ranged on the spacious quays.
grown on a poor stony
is
is
river, strike
interested in its principal
source of wealth, that of the far-famed wine, which
produces the best wine
air of
and the presence of the
as Liverpool or London,
One
commerce.
atmosphere,
certainly rather more' tedious than to Switzer-
is
much
most glorious portions of
warm and misty
under the clearer and dryer
as
well
as
Union Jack on many of the

partake of
air
Having, however, been rather
Chamouni by crowds
as mountains, perhaps the
The journey
land, but a good long
much
a loop;
once to turn aside from the main shoal of travellers-
Pyrenees,
the
after
be better suited to invalids, or
to
inanimate Nature, should be depicted under a

like that
I confess
Alps was more invigo-
mind and body,
Pyrenees instead of the Alps.
the
visit
the decision
points of
warmer and more southern
of the waters.
harassed during a late visit to

I
me
to
fresh
myself away.
air of the
for the refreshment of
which appeared
many
so
still
to tear
season of professional engagements, than the

of the Pyrenees,
309
untouched by the axe of the
fir forests,
had been so accustomed, during the long vacation,
study and walk in
to
TOUB IN THE PYRENEES.
and the most picturesque of
of foliage,
soil
an
The vine which

accumulation of
sand and pebbles, apparently brought down to the Garonne by the torrents
from the Pyrenees.
towards the sea
is
the spot, and not

calling the wine,
The long tongue
by
that
Cicero to Ciceron, or our
why
of land stretching north from
the wine being
of claret.
Why
French
London
for altering
to
Londres
known by
that
some English should
which glows around Bordeaux,
find great fault with the
but
Medoc
called
Bordeaux
name on
persist in
do not know.
claret, I
AVe
the spelling of names, such as

this
we
are apt to call conceit,
should we then show our ignorance by calling wine grown at Medoc,
or exported from Bordeaux,
by the name
of claret,
which
is
perfectly
unknown

to the French.
citrine
suppose
same reason that we
for the
artists call a
greenish
pigment by the extraordinary name of brown pink.
It is curious to
think
how
closely a soil producing such treasures borders
on the barren Landes, which begin close to the strip of laud called M^doc.
I
Bordeaux
left
to the dreary,
earliest:
for
Bayonne by the
rail,
and a few miles soon brought me
and apparently interminable wastes of Les Landes.
youth
had
felt
From my
the wish to visit these sandy deserts and morasses.
After the deserts of Africa
think those of the Landes take the greatest
possession of the youthful mind
and
if
the camel, the ship of the desert,
be absent, we have instead the Landais peasant, with his

which, to a boy, are almost as interesting.
not only enabled to stalk over
the
By
the
stilts
or echasses,
aid
of these they are
prickly bushes, and
avoid the incon-
LKS LANDES.
venience of
filling
their
shoes with
afforded by the even surface of the
stuck into the ground forms a sort of

stockings
being,
all
the day through.
sand, but they gain
They cany
soil.
stool,
and on
an
elevation
a long pole, which
they can
it
The Landais peasant
is
rest,
have given you
with a few of his ill-conditioned sheep

ance's as
they go to market.
peasants in a retired nook in
and here there
is
employed blazing
inore
to
have
In another sketch
a
and knit
a primitive-looking
and the long woolly sheepskin that he wears does much
the singularity of his appearance.
not
when
to increase
sketch of one stopping
chat with some acquaint-
have shown some of these
pine wood, with their tubs, oxen, wain, &c.
appearance of society, for you
may
see
figure
or scoring the bark of one of the pine trees, while another
AN OUTLINE OF A TOUE
is
collecting
to
know
the
THE PYBENEES.
common broom,
branches, pinned
down
311
from an incision previously made.
resin
It
pleasing
is
sands are gradually becoming
that these vast deserts of shifting
Large portions of them have been sown with seed
cultivated and profitable.

of the
IN
the plants of which were covered over with

to
keep the sand from shifting
pine
amongst these were
introduced seeds of the Pinus pinaster, which gradually have grown up and
The pine soon becomes very
supplanted the broom which protected them.

valuable for the resin and tar which
almost
all
trunk
the resin flows
the cut; this process
and
down
and
this,
repeated
is
strange to say,
yet,
down
the larger trees are blazed or scored

is
the bark removed
by
the tree has been entirely scored round,
till
not killed.
is
it
the lower part of the
caught at the bottom of the stem
moments from
small trough, fashioned in a few
pass through the
inhaling the sharp aromatic odour of the pines, you will notice that
forest,
in
As you
produces.
it
Tar
made from
also
is
the roots
and thick portions of the stem.
was informed, by the proprietor of a large
owing
American war,
to the
all his
tract of these forests, that
produce, namely, resin,
and wood, had
tar,
greatly increased in value, and that Les Landes were not after
Although the main portion of Les Landes
property.
artist
who
alone in his rambles feels this more keenly than others
prodigious noise in the world
studying
namely,
was truly amazed.
The
frogs.
was returning
to
first
my
time
is
but
generally
filled
with
had become
The stems
less distinct against the distant forest,
and although the branches and
relieved against the purple clouds
had charmed
me
so
much
or standing erect like
all
was not with that
it
solitary
at
once
heron;
feet.
I
Thus
heard
sheep
his
I
stilts,
firs
foliage
clear outline
From time
shepherd upon his
herbage and bushes at his
dreamy mood, when
of the gray
in the earlier sunset.
had caught the silhouette of
in the
frog
after
tender bluish light, into which the eye penetrates
without giving the forms of objects.
tree,
lonely auberge
lovely sunset, the twilight was gradually deepening into gloom,
the air was
still
a most
heard
some
still
make
of these marshes have innumerable inhabitants, and such as can
concert
such bad
and morasses near the sea-shore which impress one
desert, there are lagunes
powerfully with their extreme solitude, and perhaps an
much
all
an arid and sandy
is
to
time
which
my
were
already lost
was sauntering along
call,
like
eye
leaning against a
"Who
are
in a
you?"
312
repeated
times
several
this
from
height
not the
beggars
it
It
no exaggeration
is
The sound
description.
when shut up
French Revolution
by the
forced
It
it
difficulty
or six
five
and
forth
was a
this
was
the concert
myself speak.
at
It is
loud enough to disturb and harass
however, amused
It,
like a scene in
he crawls upon
when
pushed
you
One
life.
it;
off
and before the
little
me
evening shades advance, and the
bully.
"Who
The chorus
on, carrying
into waves,
warm glowing sun
It reverts to the
more
but as the
declines to the horizon,
its rays,
mingle in form and
mind
is
wonderfully
but the endless monotony of these deserts, never broken
and the
for the
until a
sandy shores and vast expanse of
noiseless solitude of all around, so different
the ceaseless wash of the wave on the shore,

loneliness
joins in,
one through this desert track
colour with the stretches of the distant sandy plains, the
by storms
you
are
all is still.
and long golden and crimson clouds, tinged with
impressed with the scene.
order
time very much.
perhaps, the lonesome solitude has been fully realized
the boundless ocean
first
fellow finds a stone, with
seated he calls out,
by a big
ponds, in
the
for a
and then conies the grand uproar,
"
thrown among them, when
Again the railway engine rushes

before,
is
to be out all night thrashing
Who are you?" till he is

" Who are you
Who are
is
to hear
by
Then burst
was a complaint of the poor peasants that they were
nobility
seemed quite
stone
when
say, that
in their houses half-a-mile off
that their lords might sleep.
some
to
would have been quite impossible
to
hoarse.
duck-like quacking of our English frogs, but a sort of rattle that

all
people
and
rattling
around a deafening uproar perfectly astounding
all
frog concert.
its
was immediately responded
some very
others, of different tones,
make one
ocean in the greatest calm
if
reflects
from
possible feel the
on
its
bosom the
ever changing hues of the sky and clouds, but the dull gray coloured sand
of the Landes, save in
On
heavens above.
some stagnant morass, reciprocates but
the strand
monsters of the deep, the
we pick up
life
as the
with which
it
the beach gives a
wave
we
fish that
of the
approach the shore, and even the shell that
abundance of
recedes, all recall to our thoughts the
teems.
little
likewise picture to ourselves the living
The murmur
more cheerful turn
also of the tiniest
to the
wave
as
it
breaks on
thoughts than the sough of the
heated air through the branches of the withered pine, and the distant
bearing, as
we
believe, its
numerous crew, conveys
to our
minds
sail
far different
AN OUTLINE OF A TOUK
ideas to the solitary being
against the
we
THE PYRENEES.
IN
away on
stalking
see
or leaning
had some
arrived at Bayonne,
was completely
difficulty in procuring a bed, as the hotel
with Spaniards.
filled
the Citadel, which, though considered very strong, did^not interest
I visited
me
stilts
liis
fir tree.
But leaving the Landes and their dreamy thoughts,
where
313
so
much
Adour below Bayonne, where Wellington
as the
This
Peninsular war.
passage
is
among
undertaking, which will almost rank
may
It
the
crossed in
by Colonel Xapier a stupendous
styled
the prodigies of war.
be worth while to mention that
the.
bayonet was invented near
Bayonne, by a Basque regiment which, having run short of powder, assaulted

the Spaniards opposed to
them by
by
sticking the long lances, usually carried
The French subsequently
Basques, into the barrels of their muskets.
the
fastened the bayonet outside the muzzle of the musket, and greatly astonished
our soldiers by using
it,
having
after
fired
a volley upon them.
This occurred
about the beginning of the 17th century;
The markets, always

and scenes of
life
interesting to
the picturesque dresses of the
women, who wait the

rush with
full
caused
me
made me
lively
arrival of the boats with fresh sardines,
Some very
a long trot after
through the town.

Paris
the various produce, costumes,
speed through the town, uttering a
gay trappings, carrying sacks of large
fern,
froiri
Basque peasants, and the
the fish-women in Newhaven.

in
me
which they present, were here rendered more
But the
them
fir
shrill
and immediately
picturesque old men, with mules

cones,
and charcoal covered with

they cried their goods
and fatigue of the long journey from
sigh for the refreshing sea breeze,
and
soon found myself on
the top of a diligence on the road to Biarritz, five miles distant.

the custom to ride these en cacolet, that
of
the,
and
back of a horse or
ass,
have been told that
jumped
to their seats at
it
is,
It
used to be
by occupying a pannier on one
while the other
is filled
side
with a Basque paysanne,
required some dexterity to mount, for unless both
the same moment, the equipoise was destroyed.
however, with a good road,
by
fish-
cry resembling that of
to get a sketch as
great heat
attractive
and active
it
seemed hardly
likely that
many would
Now
ride in
that manner, nor did I see any but single lasses on their panniers.
I
its
had heard much of Biarritz and
bathers en
toilette
dt
fsavti,
and
it?
its
rolling waves,
promenades
and
and perforated rocks,
if its
picturesque beauty
314
somewhat spoiled by
is
Here
it is
building, there
much
still
is
cannot exist
they are positively frightened
at
overlooked on every
The
Cote Napoleon.
extending between
fantastic forms,
favour, as the
when
There,
being
may
base of the
The scene
is
in woollen
you meet
in
is
in its
all
the bathers, the custom
their costume de bain before
very French and very
friend;
ladies,
hats,"
trousers
so says
curious.
covering
and
it
was necessary,
force,
however, seem
be dipped in head
for, as
in
"The
feet,
it
and overappeared
to
some stalwart fisherman,
the waves
roll in
from the Bay of
they have to keep up a succession of leaps to
it
is
very amusing sight on a rather rough day
popping up and down
to prefer
first,
the
Mr. Murray; but
had either a professional bather
see the rows of bathers
In
of the space
be seen floating about like mermaids, being supported on bladders,
avoid being overthrown, and
then
it
hollowed out by the waves into
promenade
of both sexes to
that every lady
Some
they
alone.
such a situation that
in
The smallness
the tide serves for bathing,
Biscay with considerable
to
it
gregarious race, and like to jostle in a crowd.
shadowed by broad brimmed
some
left
the narrow semicircular strand
is
cliffs,
and the Villa Eugenie.
casks, or gourds, attired
or
promenade
favourite
the
they enter the water.
me
a stranger.
and she may be frequently seen bathing on the
side,
French are
for visitors
ladies
amuse
the idea of being
Even the Empress Eugenie has her palace placed

is
to
evident that the French love and live for society, without
being carried
as
till a
they meet the waves;

large
wave comes, and
afterwards being held floating about while the
AN OUTLINE OF A TOUR IN THE PYRENEES.

waves wash over them.
more
me
to be
a gentleman.
For
This appeared to
lady, as a plunge off a boat

retired spot, a dive
is for
and a swim, there
The woodcut gives a general view
is
of
almost as luxurious for a

those, however,
a good place called

Biarritz,
who
like a
Le Yieux
Port.
of the
with the palace
Empress Eugenie.
I did not, however,
therefore
come
amongst these
to lounge
made my way back
to
Bayonne
idlers,
but to study, and
from thence the railway passes by
In
Orthez, celebrated for the victory by the British over the French in 1814.
Duke
this battle the
The remains
only wound.
wish that
of Wellington received
had arranged
what appears
and sketch
it,
but
have been his
and tower made me
of a very picturesque bridge

to stop
to
passed on to Tau.
need scarcely remind you that Tau was the ancient capital
kingdom
were
fail
interest with us to its
I to
invalids during the winter
On
mountains look
for
many
it
is full
so loftily
of interest, but
Tau, however, owes
its
principal
years been the chief place of resort for
the genial climate and the
can be there found render

residences.
This chateau
enter into details.
having
which stands
tine old castle
a ridge overlooking the river (lave.
time would
little,
Navarre and Beam, and was the birthplace of the good
of French
king Henri IV. who was born in the
upon
the
of
numerous comforts that
perhaps one of the most charming of winter
the terrace there

clearest at sunset,
a magnificent promenade
is
while the line of vine-clad
the distant
lulls is
painted
against the evening sky with that distinctness of outline which renders every
tree,
one might almost fancy every
more lovely
is
it
to
leaf,
visible
upon
their summits.
Still
study the mountains towards Bayonne, along which the
rays of the setting sun are glancing
they are tinged with
all
the glories of
the sky, and their very forms are so melted into air that at times one can
The eye marks harmonious changes,
hardly be distinguished from the other.
from the faint blue line of the distance down

of the
woods and
Gave beneath
fields that
this
charming
to the richer
and deeper purples
compose the varied banks of the serpent-like

river,
bathed
in
broad expanse
of gold,
forming a beautiful contrast.
The colours
us,
of evening in this climate
but while they
last
they are also
may
" All
From
be more evanescent than with
much more
its
varied and intense.
hues
tho rich sunset to the vising star.
Their magical variety
diffuse.
" BVROK.
DRAWING PROM NATURE.

Even
snow on the
the
distant mountains, though
still
retaining
its
purity,
partakes of the colouring of the scene, so that sometimes, on looking up, you
suddenly behold them wrapped
in a
mantle of pale roseate madder
deepens into stronger tones, changes even to crimson, then
then this
to gold, passing
into the palest yellow, until one peak after another loses the parting radiance
and
of the sun,
all
are again clothed
that cold blue, and colder white,
in
which has been well described by a distinguished
when
aspect of death
more
feeling of
an
traveller as resembling the
the spirit has but just departed.
artist
" Parting
whom
Dies like the dolphin,
a painter caii do little
and admire, treasuring up
He
effect.
and with
'else at
memory
his
in
aids himself in this great effort
kind of short-hand of
a rough outline he fixes
clay
He
wash
to
in,
moment
such moments than silently stand
by taking rapid notes of the forms,

symbols
letters, figures, or
memory an
with these and
mind; thus the
effect,
even with the hastiest colours, would be
then as
gray."
firmer the chief beauties in his
still
photographs the scene, as
able
all is
the most striking points of the
lover of Nature studies to imprint on his
attempted
also says, with
each pang imbues
With a new colour as it gasps away.

The last still loveliest, till 'tis gone and
Of course
Byron
than he generally showed
which
if
he
confusion.
all
were, complete and entire at the most favour-
it
soon as
possible he
opens out these
hasty notes
adding here and there, and perhaps blotting in examples of the colours and
Not Only
tones.
thus,
takes again his favourite walk

and, studying part
One can
whole.
rected,
become
at
home.
is
beautiful,
by part
was
occurs with only some fresh beauty, he
his note-book
with additional treasures
know and
too
appreciate the
well believe that thoughts thus studied, ripened, and cor-
him
of the Pyrenees distant
should commence
my
in painting his picture
some twenty-five
impatient to
sit
trees
had
miles,
to arrange
studies of this noble range, of which
mountain and valley would be new

far
is filled
in detail, he learns to
and while sauntering under the magnificent
what manner
every
effect
at last of inconceivable service to
The view from the park,
in
when
as in this favoured and settled climate,
but,
evening after evening the same
to me.
down and take
First,
must
tell
you,
sketch of the mountains
AN OUTLINE OF A
from this great distance
at
all
they were too far
comparable to that from the terrace
notes from various friends,

that
make
settled to
from one to the other.
time,
and take three

cols in passing
divisions of
could not hastily run over
travels merely to see
he has to spend days where the cursory observer spends only
all
be wasted.
I therefore
had to
was beautiful and picturesque, and choose these three
that
centres of interest.
First,
my
cloven summit, claimed
it,
for
On my way
to
the
means,
it
valley from
Luz
"
to the
Next
had heard much of
its
base.
interest,
have
its
beaut)',
its
and
name has something
very
the bears
should
also
come down."
Les Eaux
see
should study the beautiful and romantic
Cirque de Gavarnie
lovely vicinity.
Its
the vale by which
grand object of
Chaudes and Bonnes.
reject
different
the magnificient Pic du Midi d'Ossau, with

attention.
of that of the whole valley up to

attractive in
its
my
two or three connecting
was well aware that
minutes or hours, or his time would
and
had obtained a few
must occupy more time than one who
artist
the country
much
nor was the panoramic view
Berne.
country, nor yet take even the shortest of Mr. Murray's tours,
the whole
an
off,
at
well acquainted with the country, so
three general
of interest, with
valleys or points
for
who were
317
THE PYRENEES.
JN
T.OUll
Luchon
and, lastly, finish off with
you that by the Pyrenees
to explain to
only those mountains that divide France from Spain
for,
mean
notwithstanding
the expression of Louis XIV. after a certain event, that there were no more
Pyrenees, I can assure you that they
two hundred and eighty
You
by
see
will
much
of
mountains
road,
from
is
remarkable for
these
hundred
of
in
marked
my
direction,
its
about
in a straight line
some places
fifty
miles across.
from near Bayonne to
route, which,
you
wall-like form, indented
observe,
will
This range
by gaps or Ports,
which give passage between France and Spain.
high passages,
Bayonne
which answer
scenery
and being
their general
have
extreme east or west;
to the
and are a very remarkable
of this picturesque country for future exploration.
as they are called,

are, besides
it
miles,
map
this
Perpignan, and on
leaves
exist,
still
between the two countries, stretching
barrier or wall
to the
to
St.
five
carriage-roads
in
the chain,
There
lying
all
and through one of the lower passes a
Sebastian, has lately been
carried.
The
rail-
Ports,
Cols of Switzerland, though generally higher, present
great grandeur, rising on each side in perpendicular walls of two
to three
hundred
feet high.
In consequence, however, of the Pyrenees
318
lying further 30uth than the Alps, and of their vicinity to the sea, there
much
snow and
less
ice
remarkable and very interesting feature

"
"cirques" or
"
oules
is
than on the Alps.

Pyrenees
in the
They
name.
their local
is
is
basins
the
are situated in the trans-
verse valleys, lying between the buttresses of the principal ranges, and are
generally surrounded on three sides by lofty walls of rock, opening into the
The scenery
valley by a narrow gully.
sublimity with great pastoral beauty.
of these einpies
One
is
peculiar, uniting
these, called
of
the Cirque de
Gavarnie, generally considered the grandest, has the additional beauty of a

fine waterfall,
which
supposed
is
Having sketched out

what hasty
this
to be the highest in
not sorry that
it
coupe, as there
was necessary
had the
seeing the manners of
1 little
me
for
best
the
collars
crowded
Les Eaux Chaudes.
to
to sit beside
coachman with
hung about with
One
and look
little
I'll
of our leaders
"Ah!
at us.
have you
ha
was
the driver up above the
his
drolly-harnessed horses.
see such old-fashioned teams, with
to
tinkling bells, and loose rope harness,
allowing the horses to trot about in every part of the road before they
to their work.
some-
diligence,
view of the country, and had the amusement
thought in these railroad times
immense
map, and made
breakfast, I secured a place in an excessively
coming from the railway-station, and going
of
Europe.
my
scheme, looked at
!" said
had the impudence
settle,
to turn quite round,
our Jehu, "you have forgotten something,
teach you to remember," and with that he administered a
severe cut with his whip.

I
had heard much of the great beauty of the
first
view of the Pic du
Midi near Sevignac, but a heavy shower and continued
my
enjoying
circumstances.
this,
or
stopping to
sketch.
Thus an
clouds
artist
is
prevented
governed by
passed therefore at once to Les Eaux C'haudes, losing also
At Les Eaux
one or two
tine forests
by the way from the increasing darkness.
C'haudes
got
study; but, this place being wedged in a narrow goige,
and the hotel

to
a fair
full
of
invalids,
and also very uncomfortable,
walk up the lovely Val d'Ossau
to Cabas.
bursting forth out of the granite close to
its
determined
passed by the hot springs,
junction
with
the
limestone.
This outbreak of hot sources near the points of contact of granite, or trap-
peau rocks,
this
is
of usual occurrence
among
the Alps and Pyrenees.
enjoyed
walk exceedingly, although sorely hurried by an impatient young guide,
AN OUTLINE OP A
whom
was obliged
to
TOUli IX
check when
he should be back again in two hours.

that rate, for
at
pent rester
artist,
want
meme
ami indeed
this lovely valley
to see the
cinq minutes."
it is
muddy,
"No,"
This was
not
of
pool,
when
in
when
able tones arc seen.

is
or sky above,
and
to
are
the
great
at
beauty,
all
like
glacier rivers of the Alps, but are of the

like the beryl or ckrysoprase.
it,
to be
to the
deepest
of the water of the little lakes
uninfluenced by the surrounding rocks,
have some independent source of colour.

1
up and down
strolled
richly tinted marble rocks, the most remark-
seeming
Gave struck me the most,
walk
fresh beauties.
the Pyrenees
Then again the colour
perfectly marvellous,
shall not
the sort of guide for an
the rays of the sun shine through
shadow of the
"I
he replied, "Monsieur
foaming torrents, which are not
cold, leaden-coloured
the foam,
said,
-'Oh,"
most exquisite and delicate pale green colour,
From
country."
preferable to be without one.
The chief distinguishing points
31!)
overheard him telling a friend that
more than once, always finding
transparency, ami colour of the

the
THE PYRENEES.
think.
The charming
Not merely was the water with
its
320
numerous
rocks,
but so rich and varied were the colours of the
beautiful,
falls
and the enormous boulders of marble, limestone, and
when
slate,
heightened by moisture, that a far greater mellowness of hue was produced
than we see in Switzerland.
and velvet
Upon
tufts of the greenest
these rocks, lovely
moss were frequently
knolls of grass
little
and
seen,
their crevices
were made purple by the deep-coloured gentian, and a thousand other flowers,
not only interesting to the botanist, out affecting and enriching the colour of
Over the bed of the roaring
the moss.
torrent are sometimes seen the elegant
branches of the birch, drooping like the weeping willow
known
well
More
lovely scarlet berries.
mountain
with
ash,
equally beautiful
gray trunk.
in
rarely
but
seen,
more
still
its
pendant and gorgeous clusters
its
glossy foliage,
Beyond and
these
above,
the elder, with
its
white blossoms, and another kind with
of yellowish
clusters
striking,
was the
the noble beech,
waving branches, and varied

rose
shelving
and woody
silver
heights,
clothed with the gloomy pine, the young trees shooting up fresh and vigorous,
while the gray and storm-shattered trunk of the old shewed the ages that the
forest
had remained untouched by the hand of man.
Far above
these
all
Were seen the summits of the mountain range, sometimes tipped with the
eternal snow,
and the heaven ascending
which appear
walls,
inaccessible,
save to the wild izzard, or to the floating eagle which wheels his happy flight
the highest heavens.
In about two hours, which

to linger if not to sketch, I
is
four,
from the wish
This solitary
Gabas.
village
little
the last in France, and being the only place where one can stop to study
the
Pic
du Midi,
Unfortunately
two
little
inns.
determined
up with rough
put
to
was persuaded by
my
The
got very
first
night
guide
to
little
and Spanish muleteers kept up such a noise
my room
the kitchen, which was divided from

I
made
could easily have
arrived at
all
not
all,
for
the
floor
of
my
principal stable, the braying of mules,
other noises,
sleeping.
smells,
sleep,
for
worst
of
the
the shepherds
around me, especially in
and themselves
laid to rest.
room being immediately over the

and the lowing of oxen, with various
and annoyances, prevented me
The vibration of the boards was
the mules brayed I was glad to take
accommodation.
the
only by a thin partition, that
heartily wished their wants were all supplied,
This was
take
my
for
a long
time from
so remarkably strong, that
feet off the floor.
when
In the morning
D HAWING FROM NATURE.
322
I explored the
dark cave-like
stable,
which was partly hewn out
around, and presented a scene never to be forgotten
Lewis or
of the rocks
subject worthy of
There were the mules feeding away, with their rough pack
Phillip.
saddles and gay rugs on their backs, while the Spaniards
and were quietly reposing
had unrolled others
men
Strange wild-looking
in a corner.
might have been banditti from the other side of the
frontier,
who
too,
were seen
emerging from dark recesses, or standing about in those picturesque attitudes
The principal
natural to Spaniards.
part of their merchandise appeared to be
wine, held in the customary pig- skins, which were either standing against the
walls, or
hanging on pegs, whilst one of the
requires practice
the bottle
is
men was
solacing himself with
This manner of getting a draught
a drink from a smaller kid-skin bottle.
held above the head, and allowed, or forced
with a gentle squeeze, to squirt into the mouth from a distance of a few
an
inches,
if
it
affair of considerable difficulty to those
you do not take care when you

is
close
not accustomed to
On
sure to inundate your neck and clothes with strong red wine.
entering the kitchen I
surrounding the
fire
was equally pleased with the costume
there
for
it,
your mouth to swallow or get breath,
of the group
was the landlady with her crimson hood folded
on the top of her head, and on which she always placed a spare napkin, her
short
full
Around
of massive
petticoat
the blazing
wood
fire
travellers, wdiile the walls
Spain,
folds,
and her
black velvet jacket.
close
were seated men, women, and children, evidently
were hung with the black velvet conical hats of
and the woollen mantles worn by
travellers of that country.
Bioux Artiques,
I spent six days in this picturesque village, visiting the
study the Pic du Midi, three times, a view of which heads this section
in every direction there are abundant materials for the
drew the shepherds, with
their dogs.
me much
was
milk
told, to furnish
I frequently
artist.
for the
shepherds and
Their bonnets of brown cloth, and general appearance, reminded

of the Scotch peasant, but the colouring
was
of the whole figure.
During
my
little to
the effect
frequent and solitary rambles I had a good

I wanted, above
deal of chat with the peasants and hunters.
about the bears from which the whole valley
who had
and the
far richer,
frequent addition of a broad crimson sash contributed not a
hunter
to
but
amongst which three or
their long-woolled sheep,
four goats are always kept, I
killed a fine bear only three
is
named.
w eeks
7
before
I
;
all,
to
hear
once found a
he said
it
was
quite
and that the
fat,
pound
was good
it
He had
would
eat it if I
offered
"
him and
to
would assure him
and
he found
so
as sixteen francs a
it.
companion
his
"
more
ascertained, is
very-
he said
of this good wine,
little
bear,
being
its
was
it
would do him no harm.
it
on the contrary, dipped in a
at all bad,"
much
as
eaten the whole of the bear, and
a sponge-cake
good.
was very valuable,
323
rheumatic pains, but he did not speak of
for
applied to the head.
I said
fat
THE PYRENEES.
IN
lie
Oh, no,"
it
is
not
profitable
than a wolf, although the government gives a reward for the death of the
but not for that of the bear
latter,
to
the
supposed to feed upon
generally
beef,
it,
and
was
the hunters also carry the wolf round
and levy contributions.
farmers
different
and
fruits
also told that he always skins the
taking the skin off with
claws most
his long
found the bear was
roots, as well
as
mutton and
animal before he eats

cleverly
however,
he
sometimes carries a cow right away.
One
way
of
as to
my
was a picturesque
studies
make
always have a large
at night they
which had
rock,
a good cavern, and which was inhabited by
and
tire,
if
fallen in such a
some shepherds
a bear or wolf
come crawling
about after the sheep, the faithful dogs rush out, and the shepherd snatches
a blazing brand from the
subject,
and
if
sailing across the

startled mules, the
throwing his
But
fiery
moon, the
return to Les
large
firelight
I intend painting this
many
much
clouds
dogs rushing after the rascal, and the shepherd
to quit this
charming
my
place, to leave
picture.
untouched
many
magnificent pines and pleasing groups of figures, and
The
promenades, and above
all
on every
Eaux Bonnes.
to Les
frequented bathing-place
high mountains
majestic Pic de Ger.
night, with
glancing on the frightened flock and
Eaux Chaudes, and afterwards
This latter
de-sac, with
the intruder.
weapon, you will have some idea of
was obliged
a lovely scene,
fire to fling at
you can imagine a beautiful moonlight
situated in a sort of cul-
is
above
side,
collection of hotels
all
which towers the
and lodging-houses with the
the incessant whip-cracking of the fantastically
dressed equestrians, were not at
all to
my
taste,
occurring just at sunset put the climax to
and the table d'hote dinners
my
impatience, so I took
my
leave with a guide and horse for Pierrefitte.
We
passed the very picturesque Col de Tortes, and later in
another called
Col de Saucede.
At
Pierrefitte I
v 2
the
day
took a sketch of a very
324
picturesque old church, and could plainly see that the country and valley
about
St.
valleys
Savin and Argelez abounded in beauty, but the weather in these
was
so oppressive,
or two I again turned

valleys, irrigated
my
for the
and the heat

face to
they
inflict stings
hands
in the shape of
are,
an
and intent
all
my
can have
to get rid
flies,
was a donkey
of.
on his work,
thought
found they had stung
tormented, I saw a group pass, which in spite of

it
is
had
which remained apparently
As
the face and eyes, causing most severe annoyance.
that of insects,
is
he necessarily
eyes and the white paper, harassing the sight
thought they never settled upon me, but
laugh
a study
kinds before, but in the Pyrenees was yet another
hundreds of small yellow
motionless between
artist
as
upon him which take days
made acquaintance with
after
In these hot scorchirg
sake of the maize, or sweltering in white vapour
after rain, about the greatest plague that

for occupied as his
intolerable, that
so
the mountains.
my
in a cart, with a queer old
was
me
all
sitting thus
ill-humour made
man and
over
his
boy.
appeared the poor brute had. like myself, suffered from this plague,
me
It
for his
THE PYRENEES.
IN
323
kind master had furnished him with a very respectable pair of trousers
fore legs, leaving
to
him
when
put something in the pockets
stuffed in one, a
clay's
On
my
had not forwarded
reached the well placed
luggage as he had promised.
myself to write a terse and vigorous epistle in what
Wellington French, and gave
it
my
astonishment quietly perusing
at all
le
tiouvez
discomposed
the desired
effect,
vous,"
bien
c'est fort,
fort,"
my
at
my
I therefore set
might
Duke
call
letter,
said
my
and intensely enjoying the contents.

" est-ce
I,
of
hands of a returning coachman.
into the
through the yard again, I saw him to
After a few minutes, passing
Monsieur,
for his
customary
arriving here I found that the landlord
This was no small vexation, as can easily be imagined
"Comment
is
it
worn, he had most considerately
first
walk and sketching,
village of Cauterets.
at Pierrefitte
As
tail.
mouthful of hay.
After a very long
mountain
with his
to protect his others
"Mais non,
mal eorit?"
replied he with the coolest impudence, not
sudden reappearance.
may add
the letter had
luggage arriving at ten o'clock that night.
The Hotel de France was perhaps the best
much
at this
frequented place,
the salle-a-manger and other rooms overlooking a pretty shady garden,
filled
with idlers sipping their coffee or smoking their cigars, while some lively
Spanish pedlars, with their showy rugs and
The
in
fair invalids, or " poitrinaires,"
scarfs, tried to
who use
tempt them
costumes and crinolines, and their frequent changes of morning,
their
promenading, dining, and ball-dresses, made
it
quite evident to
me
enormous round-topped cases with which they travel were not
what they had
large for
were so
masquerading
the table
more sunsets
dresses,
d'hote
in
to contain.
Some
that the
at all too
of the riding costumes, indeed,
even without the Avhite linen masks which were worn
fanciful, that
to protect the fair faces
at
to buy.
the waters, are most extravagant
from the burning sun, they looked to
me more
like
The time consumed
than an out-of-door costume.
being more than two hours, I determined to lose no
this
most unsatisfactory way, but
to
start
by day-break
the next morning.

It
is,
believe,
supposed
necessary
largely,
and one lady apologized
appetite
to
for
consumptive
friend
of
mine
she was consumptive indeed as to entremets
coup, n'est ce pas, Monsieur
Mais,
mon
patients
for
"
;
to
eat
her voracious
Je mange beau-
Dieu. je suis poitrinaire
"
and a
326
landlord of one of these
hotels assured
me
in a plaintive tone, that the
continual drinking of the waters, and the bathing,
As
that he could hardly provide enough.
was
made people
so hungry,
from long exposure
suffering
to the sun of the previous day, I resolved to take a guide with
two horses
the Lac de Gaube, one of the most charming excursions in the Pyrenees.
guide would fain have

objected, as
made me take a
these fellows consider
disgrace, however, do
to be seen walking, that the last fifty yards before
it
Gaube he threw himself on the top
reaching the Lac de
the imminent risk of crushing
and
third horse for himself, but to this I
was but a short morning's ride; such a
it
my
folios, in
of
my
luggage, at
order to appear before the cabane
arrive in proper style, cracking his ridiculously
On
ornamented whip.
another occasion I had engaged a stout fellow with his mule to carry
luggage, which weighed rather over thirty pounds,
himself behind
it,
to
The
leaving
me
to trudge after
him
Cascade Cerizet, over which during the morning

the road winds amidst charming
trees,
is
my
when he very soon put

Passing the
in the dust.
a very beautiful rainbow,
and moss-grown
rocks, until
reaches
it
the Pont d'Espagne, a wooden bridge, high above the stream, the road which
leads into Spain being carried over the Col de Marcadou, a pass abounding
The upper
in wild and savage scenery.

and,
when
waterfall
is
here exceedingly beautiful,
seen with the slanting rays of the evening sun across
a fine subject for the
back again
to
To reach the Lac de Gaube
artist.
it,
furnished
was obliged
the Pont d'Espagne, and begin a steep and rugged
abounding in splendid
The Lac de Gaube
ascent,
bits for study.

is
reached in an hour;
of emerald tinted water.
As
the sea, and consequently
much
a night or two, and
to turn
my
first
it is
a lovely though lonely basin
this wild spot is nearly six

cooler, I
determined
if
thousand
feet
above
possible to rest here
inquiry was about a bed in the
little
cabane.
This secured, I turned with pleasure to contemplate the exquisite mirror

at
my
feet.
The sun was shining
brightly,
magnificent Vignemale were reflected in

breeze that glanced along
its
its
and the snowy peaks of the

glassy waters.
Every
surface altered the colour and effect
slight
at times
the reflection was so complete that one could hardly distinguish the image
from the
came over
in
its
reality.
was never
this lovely lake;
pure depths,
it
tired
encircled
reminded
me
of studying the
varied
effects
by magnificent mountains,
that
reflected
of the constant changes in a beautiful
eye.
was indeed the eye of the whole
It
much
tained
study for a painter.
THE PYRENEES.
IN
and although small, con-
picture,
This
melancholy catastrophe some years ago.
young Englishman and
married a month, were in the wretched
hride, not
by some accident
pushing
in
off
was the scene of
spot
fair
327
and descending
raised to their
were dense
excessive heat nearly

suffered
when
my
sleepless.
always came close
d'Espagne,
its
eyes,
and
the
heard a great rush of
to the ground.
How
soled,
living all
found on inquiry
this took place they
wished I had been looking out
at the clear
moon, and had seen picturesque Bruin prowling about.
now
by
to
obliged
my
Cauterets, once
This
visitors.
many
people
arrangements to break up
more
time
that
to
their
mix with the
had seen
was
talk
at
made,
trials,
always carry with me, and
and that when
bear,
the cabane.
to
one such night
window, which was close
had been disturbed by a
that they
which
tea,
On
for
then breakfasting,
was struck by a coup de
time on the simplest of food and

use at night
Pont
two days with swelled face and inflamed
for
horses past
the
at
worked here
lake
then thunderstorms every evening, and
fogs,
the time.
all
the
his
tomb
little
All this study was not without
drawings of both these points.

for frequently there
memory.
to
cascade
magnificent
to
is
early mornings close
six days, passing the
in
fell
The
bride threw herself in after him, and both were drowned.
on the shores of the lake
and
fishing-boat,
little
from the precipitous shores he
a
his
all
my
lively,
of "
was
camp, and descend again

chatty invalids and other
La Chasse,"
of which,
like
Lac de Gaube, they expressed the
the
greatest admiration.
"
ardour for
This
nation,
Lac de Gaube,
the
large
La Chasse
"
makes them mighty hunters
and especially in costume.
peak, a
fully
equipped
had seen one of these
I
;
in imagi-
tourists
at
he had a black velvet cap, with a
heavy highly ornamented whip, with immense rosettes in
crimson tied over one shoulder, over the other a magnificent French horn,
on which to sound the onset or proclaim the victory, light yellow slippers,
with long scarlet
I forget
tn
ribbons bound and crossed like Malvolio's up the leg
whether he had spurs,
the face of the
his horn
but, alas
like children
fall,
lint in
there
On
general they are worn.
shouting, cracking
was no echo
his whip,
I often
and
at
he rushed
last
thought how
blowing
much more
the French are than either the English or Spaniards
Think
328
men
of one of our quiet business
thus
It
of the Alpine
explained by the
all
is
honor of
Qub
and acting
dressed
the
solitude
French
always
express.
With
at
this fervour for "
Cauterets,
when
La Chasse," they sometimes
get taken
Chasse a l'Ours," several had committed themselves to follow

opportunity, and " do
first
or
The
die."
ladies
and entreated their husbands and friends not
were particularly excited,
to
hazard their lives in so
du Midi, they reported that they had seen a
Pic
the
La
up the
it
Strange to say, as a party rode up the next day to
an encounter.
serious
Once
in.
there had been great talk at the table d'hote about "
bear on the
large
above them, and a hunt was at once arranged, with abundance of
rocks
chasseurs
guides
and
porters
They had a grand day
back.
carry
to
;
firing
and bring the bear
provisions,
away, and blowing horns, and a
magnificent pic-nic lunch, but no bear was seen or found.
afterwards
It
leaked out that the bear was one of the hunters, dressed in a real bear's
skin,
and
money
From
castle
was arranged by himself and comrades
this party
up
to the English
Lord Elgin was

in 1804.
also confined here,
From Lourdes
agreeable of the baths.
exceedingly hot
a cheerful and
" Coustous,"
far
the Black Prince, having been
by the French king John,
great bathing place, having
went
when he was
of
It is situated in a valley, and, in
my
There
opinion,
is,
is.
however,
shaded promenade in the middle of the town, called the
The town
is
side,
which some
horses, asses,
which
is
crowded
well watered by numerous canals and streams,

mills, this place being
beautiful marbles obtained in the valley of
of the uses to
busy town and
being the most lively and
too hot to be agreeable in July.
some of which turn paper, and others marble
many
as part of his ransom.
returning from the East
to Bagneres de Bigorre, a
the reputation
with houses, shops, and cafes on each
in the evening.
sight
little
Cauterets I descended the valley again, and visited the picturesque
of Lourdes, formerly the property of
yielded
for the
put a
to
in their pockets, as they were rather dull.
of these
and pigs repair
to
Campan.
canals are put, affords
them twice a
day,
and
noted
Another
many
a droll
after
wading
knee deep are refreshed by water being thrown over their backs with a
wooden scoop
At
this they enjoy exceedingly.
Bigorre I had an agreeable change by meeting several people I knew,
IN
329
THE PYRENEES.
and amongst others the very talented chemist and photographer, Mr. Maxwell
Lyte,
who kindly gave me
number
interesting points of the Pyrenees.

far
of his beautiful photographs of various
With
from thinking they interfere with an
map
just as a
does, perhaps not
such acknowledged
of a picture
there
skill
is
the
much
best of
regard to these, I
artist,
may
say that,
I consider that they assist,
when they
more, even
are done with
them cannot convey the sentiment
no light and shade, and above
all
no
colour.
EAGNEIIES DE BIGORRE.
I cannot resist quoting here

" Passing,"
Pyrenees.
help thinking
is
discarded.
peaks, the
valleys
pictures
vapid are
some remarks from Mr. Weld's work on the

"
amidst these glowing colours, I could not
all representations, of
the Pyrenees
when
colour
Photography makes you acquainted with the outline of the
swelling domes, the folds
but
how
he says,
how
of the
hills,
and the curves of the
short of the glowing reality are those monotonously
Nature, everywhere adorned with harmonious lines,
is
brown
gorgeously
arrayed in the Pyrenees, and scenes of beauty in those mountains can never
be adequately and truthfully represented without colour."
330
An
excursion
is
frequently
made from Bagneres de
du Midi de Bigorre
of the Pic
Bigorre to the summit
a fine mountain, from which
a magnificent
is
view, and also to the interesting mountain baths of Bareges, the waters of
which appear
There the Government has two
to be exceedingly efficacious.
large military hospitals for the cure of soldiers
wounds
Luz
are speedily healed

is
by the use
for it appears that
gunshot
of these waters.
an interesting old town, with a very ancient church, which belonged
to the Templars,
surrounded by a wall, with battlements.
In
this
church a
portion was set apart for the proscribed race called Cagots, and I saw a small
door by which alone they were allowed to enter.

that the Cagot
human
of a hill,
is
St.
and noted
fine stone bridge
Over
leper,
this bridge
having been frequented by the Emperor and Empress.
has been presented to the inhabitants by the Emperor.
you enter the beautiful valley
way,
Then "The Chaos," a
interesting.
It is a
of the
Pyrenees.
charming, and would detain an
is
all its beauties.
as
are aware, I dare say,
Sauveur, a handsome bathing-place, perched on the side

for
containing some of the finest scenery of the

half
You
and was not allowed communication with other
beings.
Near Luz
was a
Gedres, a village
long time to
artist a
distance
short
Gave de Gavarnie,
on,
is
study
exceedingly
wonderful confusion of huge masses of rock, and looks
though a mountain had tumbled
to
pieces.
One
fallen
mass forms a
natural bridge, through which the river rushes and roars, and
" Doth with
A
I
in the
and the green lichen which covered them.
little
inn
at
the torrents
had
so long
much
As
swelled,
feet.
wished
it
There are
down the
many
Far above
Gavarnie, with
I established
the
myself
for
many
hours, I found
difficulty in reaching the foot
walls of which dashed a water-
of these cirques in the Pyrenees, but
this is generally considered the grandest

fine ledges of
to see.
had rained hard
and had great
of this magnificent amphitheatre,
of 1,300
Cirque de
Gavarnie, and immediately took a stroll to the Cirque,
distant about three miles.
fall
make
thunder everlastingly."
in the distance, towered the wonderful
Breche de Roland, which
all
his eternal motion
like
sketched several views here, being particularly pleased with the rich
colour of the rocks,

all,
sound
the great height of the rocks, the
snow, with the strange and romantic Breche de Poland, make
AX OUTLINE OF A TOUR
THE PYRENEES.
IN
The
a combination of savage grandeur rarely equalled.

is
a gigantic cleft in the
and
Breclie de
Roland
mountainous walls separating France from Spain,
reported to have been
is
331
made by
the brave Paladin Roland, with his
trusty blade "Durandal," to open a passage in pursuit of the Moors.
when
a rough and hazardous climb in early spring

I stopped at Gavarnie several
my
which
friend Mr.
We
of the country.
My
My
point
last
much
It is
ice.
days studying, aided by the knowledge
and sketched several times in the Val d'Ossone
friend
is
his usual quarters are at Gavarnie,
interest
is
Packe (who has published an excellent guide) possesses

visited
and neighbourhood.
there
study was
of
known
very well
the Pyrenees, but
in
which he considers the point
Luchon and
its
of greatest
neighbourhood,
approached by the charming valley D'Aure, and the Col called the Hour-
Luchon
quette d'Aspin.
is itself
a beautiful
gardens and promenades for the bathers

in the
forth
August
of the
town, with very agreeable

to see
morning with gay hoods and long gray
early
always hot, lying as
this place is
glare
full
little
was curious
it
sun,
issuing
In
cloaks.
does in a basin exposed to the
it
and I soon found
them
desirable
it
to
mount again
to
a cooler atmosphere, and therefore ascended to Lac d'Oo, and sketched there
two days
things
to
finding the sleeping accommodation very rough indeed, and other
match.
had intended climbing
still
higher, to the
but after engaging a guide was prevented by a dense

a careful study of the Lac d'Oo, which
on a
fine day, the various
fog.
Lac Glace,
I got, however,
of a lovely green blue colour,
is
and
shades occasioned by the reflections of the rocks,
the waterfalls, and delicate rays of sunlight along the surface, form a beautiful
picture.
One
of the
half an hour
most charming walks from Luchon
is
you pass the picturesque border tower
to the
Val de Lys
after
of Castel Vieilh, perched
on a projecting crag, and then crossing the river at Pont Ravi, leave the road
to the Port de
The whole
reminded
Venasque, and enter the gorge, out of which the Lys rushes.
of this little valley abounds in bits for the artist's pencil,
me
continually of
beautiful basin at
last,
and
Lymouth
is
in
there shut in
a magnificent cirque, the centre of which

this is a gorge called the
walk
to
Lac d'Oo.
Here
Trou d'Enfer
I
Devonshire
is
by
lofty
finished
it
and
it
expands into a
mountains, forming
by a cascade.
from whence there
is
Above
a fine Alpine
was driven from sketching by the gathering
332
clouds
magnificent thunderstorm,
of a
that
fine
did
My
Luchon.
not the
least
was now
study
last
whole
the
which was
effect of
so
the drenching I got before reaching
regret
my
be made, for
to
gone, so I arranged with a lady and
gentleman to
time was
visit
almost
the famous
Port
de Venasque, get a glimpse of the Maladetta mountain, and just pass into
The night was stormy, and
Spain.
guides and landlord said

as
was
it
better,
my
would just
at
four
safe
day
and the weather
last chance,
thought
was not a
it
o'clock
blew down upon
difficulty in
keeping
a charming sight
the year, and
my
still
reached at last
named, because a party

the
and
very heavily,
lakes or tarns,
little
encumbered with many
the sun was shining fiercely.
one was purply black,
rate; however,
The
snow.
strong
had the greatest
In a recess of the mountain I came upon
feet.
four
me
was
it
were here overwhelmed in
poor tinkers
morning both
any
After a good fagging walk
a cavern, called the Trou des Chaudronniers thus

of nine
the
an hour or two appeared
after
stroll off alone.
the ascent to the Port began, and a hard climb
gusty wind
in
for ladies, at
These
frozen
over a great
part
of
although
floating blocks of ice,
lakes were wonderful for colour,
little
another steel-gray, the others like sapphires,
and
encompassed by rocks of the richest yellow and roseate hues, reminding
all
me
of precious jewels set in chased gold.
Standing in a niche of the rocks, to avoid being jerked into one of the
tarns
by the gusts of wind,
many
times did I say to myself, "
only
my
the choicest corner of
zaging
my way
Now
down
but myself,
folio,
could do nothing in the
am come
way
so far
of sketching
must
But the wind was imperative, threatening
a sketch at all?"
to
up
to
my
the
the
precipice
memory,
Port,
or
left
gigantic
it
so
blow not
committing the scene
for the last
the
like
rocks
a
force.
threw myself against
on the ground, or otherwise
shred
of
paper.
had
weather on the mountains, but as

not expect such a blast.
verb,
"
now
been
it
it,
almost
should have been blown away
warned indeed, that
it
was wild
seemed tolerably quiet below,
realized the truth
He who
with
it
but was obliged to cling to
of the Pyrenean
In the Port when the wind rages, the father waits not
nor the son for his father," and, "
Zig-
climb.
wedge-like opening,
another Breche de Ptoland, I could hear the wind roaring through
tremendous
have
I not
to
for
has not been on the
did
pro-
his son
sea,
or in
An outline of a tour
the
knows not the power
during a storm,
Port,
got under the huge
creeping
along,
which
could touch on each
at
Then
had time
to take in the
called,
from
the desolation spread around
its
it,
which break through
among deep
until lost
it;
"The Maladetta."
its
There was the
and dreary
and from
ridges
some gigantic black
hang down the shattered
glaciers
They seemed
ravines and gulfs.
air,
summit and
Its
are covered with everlasting snow, with the exception of
peaks,
on the Spanish
rocks.
grand scene before me.

utterly barren
feet high,
could not, nor
little
and crouch down under the shelter of a mass of
enormous mountain,
200
least
but stay a moment
side,
Stooping and
God."
of
precipices,
indeed could scarcely breathe, so I had to descend a

side,
333
the Pyrenees.
in
me
to
of a
sides
most
extraordinary colour, whether owing to their position, or to a dense cloud
and thunderstorm which overhung the whole.

and blasted
Altogether
I
pines,
struck
it
me
had ever witnessed.
as one of the wildest
as they
came
and thought
a fallen rock,
dog
devour me, but a
to
hash out of a red bowl
and
cloaks,
"
picturesque.
bsst of
it."
this,
whole.
did not stay
Out rushed
him
down came
and
off,
thought,
of
" I
squirting
its
and a good
the
saw a cabane under

huge Pyrenean
in
wood on
went
to the
am
the ground, the various arms,
made
in the rock,
fairly in for
civil,
it,
so I
the whole very
must make the
me some wine
offering
but, as the drinking of this in trickling streams
always sure to end in

a cup
fire
They proved, however, veiy
of their bottle
the
crouched two bandits, eating some stew or
hung on pegs stuck
Well,"
sure
at last
to fly below, for I
followed calling
fire
the
had
descried smoke.
man
Over the
smugglers' cave.
hats,
You may be
hand, or were blown away in turn
to
of
but dashed away with charcoal, chalk, or brush,
or chalks,
storm and darkness, and
livid
look
and most weird-like scenes
almost expected the witches to fly across on the
.1
wings of the rapidly approaching storm.

to cut pencils
Lower down were scanty
adding to the miserable
greatly
cigar,
down my
neck,
declined,
out
was almost
preferring
which they accepted of me, made us firm
friends.
I
found they had seen
my
friend
Spain by the Port more than once.
them
as to another Port or pass
Mr. Packe, as he had travelled into
Having obtained some
back again,
ceeded in finding the Col, but when just
I started
at the
summit
on
I
my
directions from
return.
T suc-
was again overtaken
334
by the storm, and most unfortunately

I
went on and
on, descending a
sometimes having
valleys,
wider owing to the
made me suspect
these
into a dense forest.

to sleep in
in the darkness
and uproar.
which every moment became
cross torrents,
to
At
rain.
my way
lost
most perilous path into one of the wildest of
encountered herds of mules grazing, and
last I
was again in Spain, but
now began
still I
went
on,
to think seriously that
and plunged
I should have
and come into much closer contact with bears than I wished
it,
neither house nor sign of habitation could I see.
a young peasant driving a cow

tion of hearing that I
him where
asking
my
had quite mistaken
my
Greatly to
relief, I
had the
I was, I
met
satisfac-
way, and that I was in Spain,
and had no chance of seeing Luchon that night, or indeed any town or
"Where
place.
mountain with
fire,
are
"
and you had better come with me."

withered pine, and show
"Oh, no!"
said he, "that
cow
as
"Up
good fellow?"
into
the
under a rock, and there I shall kindle a good
to this old
my
you going, then,
this cow, to sleep
me
No," said
the
would scarcely
way
do,
to
I, "
rather tie your
some house
cow
or cabane."
since at the root of that tree
good as mine was killed and devoured by a huge bear only two
nights ago, and her skin was taken off as well as a butcher could have done
it,"
"
Oh, ho
that
if
is
where they might
let
you
to a
and
sleep."
him and
contentedly along with
ceremony
come
the case, turn back again with
"Well," said the youth, "I do
you."
know
As
me and
of a hermitage about
I will repay
an hour
his cow,
at last, like the valiant
wading across streams without any
Black Knight in
"
Ivanhoe,"
cabane beside a ruined chapel, and there the good
we
Before
my
go supperless to the bed that they prepared
They took a
sat
down with me,
friendly glass of wine,
inquiring into
and smoked some
tunately I had purchased of the smugglers, and

telling of
most romantic encounters with
&c. &c. all of

to describe
tired,
for
me
supper was finished every one within reach had come
two Spanish douaniers
which
than
I just
the landlady
had
must beg you

to
draw them.
my
cigars,
we passed
did
woman made
mess of French beans and potatoes, and by good luck some one had a
so that I did not
off,
night was fast approaching I trudged
trout,
in haste.
in,
and
adventures.
which
for-
a pleasant hour,
bears, wolves, banditti, smugglers,
to imagine, for I
have no more time
Feeling myself intensely sleepy and
threw myself on the bed, and slept soundly until called by

at
three o'clock
in
the
morning.
Although quite dark, we
were obliged
get
to
up,
we had
for
THE PYRENEES.
IN
us
before
and a long walk back again into France,
Col,
bad
and paid
secured,
accompanied me
feet,
order to save a place I
My
diligence.
my
powers
gown tucked
keep up with them
to
reached Luchon
and bis
guide
and
up,
the
scarlet petticoat, cane
after
five
up the
Merrily
crags, tasking
and a half we
hours
gone just a quarter of an hour
diligence
sister
di'essed
girl,
and a bright orange handkerchief on her head.
did she and her brother bound over the rocks, and
all
climb over a
fatiguing
in
she was a very pretty Spanish
in a black velvet jacket, blue
sandals on her
in
for,
Luchon
to
335
gentle-
man's name had been called over and he had been reported absent.
outcry and rejoicing arose
when
much
ecstasy, table d'hote friends
The guides were
and calmed down a
down
so,
went up
little, I
in the
hand
at
the
for
Mais vraiment
casse" la
her
jambe
my
my bedroom
for
souffert
j'ai
to
change
all
my
on the bed, which had been
my
night shirt expanded, with
attitude, slippers, candle,
and matches
In rushed the chambermaid
pour vous
Ou
que
je suis
my
boots,
charmee de vous
avez vous
Taking
voir."
all
"
all
Oh
passe le nuit?
this as
meme
it
was
bonne main into her hand, and bequeathed
parting
which had suffered in the
sole almost
Having taken some
sympathising chambermaid.
round,
travel-
vous n'avez pas tombe dans une crevasse done, pas
meant, I slipped
to
to
recreant wanderer.
Monsieur, combien
Great
landlord in
received orders to go and search the
most inviting manner, was
arms outstretched in desponding
having received congratulations
Here another scene awaited me,
stained dress.
turned
me
at the hotel
delighted.
who had
recalled
crevasses in the glaciers for
showed myself
as
breakfast, I
much
was
as
my
so fortu-
nate to secure the last place in another diligence, and, travelling day and
night through Paris, arrived safely in London.
,
am
often asked
by
them with Switzerland

offending those of
my
friends
but
friends
and those who certainly are
"
who have
fear
who
many
years' study
with the Pyrenees.
My
for
Amoureux
des Pyrenees,"
des Alpes."
each has heauties of
of the Alps I
first
so I should run great risk of
are said to be "
Amoureux
They should not be compared,

after so
not visited the Pyrenees to compare
by doing
its
own, and even
confess myself greatly delighted
impression was, that the forms were not so
wild and striking; hut there are ample charms and graces in the colour to
33b
compensate
and
there
if
ordinary glacier, there
with their autumnal
There
all
valleys
greater variety
must add
but
Switzerland,
summits
the
to
tints,
much
not so
is
snow, nor the wild and extra-
and shrubs, and
of trees
these,
greatly to the beauty of the landscape.
something fatiguing and monotonous in the incessant
indeed
is
through
is
southern countries, the
in these
fir
not so in the Pyrenees, for from the
is
it
shrubs and trees
are constantly changing, giving to the general aspect far richer colour
and
Thus the beech and birch are very abundant about
more varied forms.
Les Eaux Chaudes and Les Eaux Bonnes, and in addition to these, we find
some smaller
the
berries,
and
trees
and colour
lines
known
two kinds, one with
elder of
white blossoms, such as

the
well
shrubs,
their
for
such as the mountain ash, with
colour,
of
richness
of
common
is
the
scarlet
the
hill-side
most,
clusters of scarlet
the
berries,
other with
The shrub that
England.
in
beauty and
great
its
affects
undoubtedly the box
is
which here grows almost large enough
come the
in importance,
and
of plants
variety
be called a
to
After
tree.
and wild clematis, with a great
hazel, the alder,
forming in spring a perfect delight
flowers,
these
an
to
enthusiastic botanist like Mr. Packe.
Perhaps one
more
to
much
forests
picturesque wildness
many
there
not so
is
meadows
cultivated
There
from highly
transitions
in Switzerland
but there
more
also
is
variety,
life
for
it
is
well
known
that
birds
is
is
for
that
do
not
not inhabit, forests of trees that do not shed their leaves, pre-
admits
ferring foliage that
sunny
as
throughout.
more appearance of
like, or will
rocks,
and shrubs are deciduous, and the consequence
of the trees
is
struck by sudden
and
the
light,
and bushes that
are placed
on the
sides of hills.
One
variety
of
my
chief objects in visiting the
of colour in
Switzerland, where the atmosphere
does not harmonize well.
hazy warmth
of
entire absence of
Pyrenees was to obtain more
combination with mountain
colour,
is
so pure
and
effects
In the Pyrenees, where there

this
snow and
difficulty
ice,
is
Owing
vanishes.
the whole picture
than
is
is
more
more mist and

to
in
the
make
into
harmonious pictures; and although
scending into the valleys add to
its
blue
almost
harmony,
for
are
not
glaciers
de-
although snowy summits add to the wildness of the subject, they

easy to
found in
clear that the landscape
singularity, they increase the difficulty
AN OUTLINE OF A TOUH IN THE PYRENEES.
a great preference for pictures with
Most persons have
of representation.
rich
and warm colouring, and subjects
found in the Pyrenees than
Now
must
mountains
their
was surprised
an
of
privilege
old
my young
few words to
more frequently
be
amongst
campaigner
the
friends on the preservation of
in the Pyrenees.
walking powers whilst
full
you that
can
these
for
Switzerland
in
the
take
to say a
3ol
mentioned
have
to
encounter no pedestrians nor any guides walking,
to
every one throwing himself on horseback as often as possible, and very lew
indeed going
than
further
At Les Manx Bonnes,
a,
would
carriage
found a guide
Porte and Col de Saucede to Pierrefitte
another were
who
although there were a hundred

" in that
and at
climate,"
gasconading fellows
first I
show
to
crack their detestable whips.
how they dashed
to see
amongst the
could
horse
me
but he assured
climb.
that he
walking
'"None could do
rode.
and
expedition,
it,"
he
said,
attributed this to the great desire of these
with
off
the
ladies, exhibit
was always enough
It
their finery,
my
excite
to
and
spleen
past a poor pedestrian like myself, and threw the
dust in his eyes, or entered with great eclat

sensation
or
roll
walk with me over the Col de
who would undertake
only two
the
to
idlers
the
at
hotels,
creating a
into the villages,
always on
being
guides
the
horseback.
I began,
to find
it
pumping
however, after two or three long walks
these steamy valleys,
in
very different from the Alps, where four or

tin;
fatiguing.
fresh
mountain
In the Pyrenees
it
air
is
into
one's
lungs,
hours' climbing,
five
invigorates
the digestion becomes disordered by the heat, and the system
by the
air,
essential to
when
an
it
be on foot
he
to climb a rock, or turn right or left,

to choose the best point of
mode
is
blows across the arid plains of Spain.
artist to
of examination
view
instead of
impossible to walk with the same comfort;
is
more
at liberty to
away from the beaten
for his subject
in fact,
almost
move
about,
track, in order
is
it
not braced
It is
only by this
study that he becomes well acquainted with the
or
details.
An
accomplished writer has lately stated
a pedestrian tour, that I

is
am tempted
to
so
fully
the
quote Ins words.
"
advantages of
After
all,
no way of seeing even the least portion of Nature like visiting
font.
Horseback has
its
unquestionable advantages, but

z
it
has
its
there
it
on
draw-
338
backs.
my
my
came because
'I
besides
horse would come,'
John Gilpin; but the negative
horse
must be
couldn't,'
true
of
couldn't conic because
magnificent view over
both sides of the coast that rock must command, which
above you, but shuts out

trace out
But you
all
are on horseback,
and there
tying up your horse, and remounting;
yonder bank of
olives,
you
growth
can
your eye longs
and so you leave
bound your
in
delight
is
Between
some unknown
path, springs
fern-
These questions
the terrace your horse could not approach, the
probability,
all
he
if
is it
be the Asplenium septentrionale, hitherto only pictured
it
must remain unanswered

wall, he
On
unvisited.
it
what
in books, or mythically reported as inhabiting Borrowdale
horseman,
to
the trouble of alighting,
see a strange bright flower
the chinks of the wall, which

like
is
but ten paces
is
promontories which
the
a rider
'
What
all.
many
of
true
is
proposition,
And
would not on any persuasion.

and a
also a sketcher
him, and makes his mountain
much
naturalist, misses
way amidst many
equally important to draw in the early morning,
when
the
so
Mould
that
regrets."
It
is
the effects of light
and shade are the most charming, and when the coolness of the mountain
enables
air
valuable
study without
one
to
the
artist,
to
as the
so
much
fatigue
warm glowing
tints,
the
landscape into a whole picture, with the most harmonizing

these
is
temptations
often
induced
walk
to
to
is
in the
tell
effect.
stop for the
middle of the day, when of course
you, prejudicial to health.
up
night
in
the
little
also
melt the
use the best or cooler times for his study, the
need not
hottest, and, I
as possible,
to
evening
at that time,
I arranged, as
Under
artist
it
is
much
cabanes or posadas to
avoid this loss of time, and thus sometimes remained for four or five days
in very solitary places
is
often a
for
after
the
whip crackers have departed there
most charming solitude and poetical
effect,
accompanied of course
with rather rough living and lodging.

Doubtless the most agreeable and healthful time to
would be the winter
or early spring,
when
also there
visit
the Pyrenees
would be more snow
on the mountains, the absence of which greatly diminishes their grandeur.

Again, the Pyrenees are subject, during the month of July more particularly,
to
dense fogs
and while they
lasted,
my
banks of the Gave were very depressing.

the fog lifted
itself,
walks under the trees or by the
One could now and
just catch a glimpse of the
summit
then,
when
of the mountains,
make any
but not long enough to
no
even a morsel of blue sky

of
as
sing
bushes, or
made me
the
" Is
ask,
French
penetrate
some
all
of
and
fogs
sun;
could see
along the valley, could
whole chain seeming
glorious sunshine,
to the other,
of space
not
"
?
mark the
the
with
It
country,
next
the
mountains again, and
solitary
cloud sleeping in
watch the more rainy clouds rolling themselves about the
base of the mountain, and then vanishing
the
the
sorrowful.
if
England
However,
melancholy.
one
effect
sad,
would spring from a group
few notes, and suddenly stop as
brilliant
crevasse, or
the gloom
bird
this the joyous south, or foggy
say,
morning came a
be seen.
to
was motionless and
the air
339
There was consequently no
sketch.
no light and shadow
distance,
THE PYRENEES.
IN
to
all
this
stretch
was charming.
itself,
and bask
After
i'n
the
pale white light spread from one side of the horizon
and the heart dilated
in
the contemplation of the immensity
"
When
a soft
and purple mist
Like a vaporous amethyst,
Or an
air dissolved star
Mingling light and fragrance far,

From the curved horizon's bound
To the point
of heaven's profound,
Fills the overflowing sky,
And
the plains that silent
lie
Underneath."
Thus
beg to take
my
leave of you, and hope I have not
long an Outline of a Tour in the Pyrenees.
PYRENEAN PEASANT.
drawn
too
MEANS AND ACCESSORIES.

CONCLUSION.
N
J-
Work
concluding this
must say
a few words, from a purely practical
point of view, on some of the difficulties experienced
when studying
Nature, especially as the foregoing instruction has been principally addressed

to
amateurs and young
artists rather
than to those who by daily intercourse
with the Schools of Art in London and elsewhere have already acquired the
necessary information.
The time has long gone by when the painter
make
his
of Nature
was content
notes on the backs of letters or in writing, with a
scratches to assist his
more lengthened,
memory
earnest,
the study of Nature has become so
and accurate, that some moveable
whence
to
make
made
of
nothing
brown
his choice
for
this
slighter
study
is
purpose than the sketching umbrella,
holland, for this will not affect the tone of the paper by any
transmitted colour
serviceable size
better
is
in
his sketch.
During the summer months, and where varied and

required,
much
shelter has been
found necessary in order to render the student independent

of a spot from
to
few hasty
it
will
should also be as light and portable as the requisite

allow.
This, screwed
sometimes pinned down with guy ropes
to
on
to
render
its
it
lengthened pike, and

still
more
steady, can
be planted firmly in the ground, and enables the student to remain undisturbed
when
his position
a passing shower.
is
invaded by the sun, and keeps him dry in
But when longer
sittings
and closer
many
stud}' are required,
341
CONCLUSION.
when
the mountain side, the grand but chilling glacier, or even the
forest
glade
necessary; for constant study at

of the year,
to
indicate
camp on the very

form
its
of a tent that seems
Against the
spot for action.
not convenient, for the artist requires
is
up before him, and thus the
picture to stand
for his
l-Diini
light
reduced by the canvas, and certainly the moveable square hut
and
is
very comfortable,
really
a finished picture has
if
These huts are made so that the whole
the spot,
and transported
in
fight cart
and,
as
may
is
is
much
painted on
lie
to
too
preferable,
be taken to pieces
they are furnished with one or
two large plate-glass windows -with good shutters, they can be locked up
night and
is
seasons
dweller with Nature, a soldier of Art ready for warfare with
has been urged that
it
name
all
the changes of
shelter from
indeed something in the mere
is
the elements, pitching his

tent
times of the day, and during
all
work without adequate
killing
is
There
weather.
damp
scene of labour, the tent or moveable wooden hut
the
is
left
quite secure.
stove and
little
a.
warm
at
rug or carpet adds
greatly to the comfort during the sharp keen winds of the early spring, or
when
his
the artist has been tempted by the rich tints of the woods to lengthen
stay far into the autumn, while doubtless the winter
snow
is
likely to
be painted more patiently under such advantages.
The most portable

means
or
too
is
a three-legged stool, but this
prefer an air cushion or shawl
when sketching
hank, unless
however,
seat
luxurious.
much more
in
comfortable and
or near a town
1
As
to
paper,
it
the fold-up stool
tetter for ladies.
convenient stool and easel combined, called after Pvne
almost necessitates a lad to carry
not by any
is
thrown on a rock
is,
There
is
also a very
but
is
he aw, and
it
it.
should be thick and well stretched on a light board, or
the well-known block of several sheets saves trouble and
is
very compact.
I he moist colour-box, either in pans or in tubes to be squeezed out on

a palette,
by
is
of course the best
the palette.
well
often forgetting, in
and wash
and do
Then
even
oil
painters are tempted to adopt
it
superior ease and freedom from the trouble of setting and unsetting
its
it,
remember the
my
my
brushes
well
knowing
in the
first
year
painted in
oil
from Nature,
fatigue after a long day's work, to unset

;
and when in bed, having

the misery that
would
morning, what a weary hour
it
to
my
palette
rouse myself, get up,
result from its being neglected.
took to prepare a good palette
D HAWING FROM NATURE.
:U2
of tints for a fine day's
work
sketching at
and
The water
may
one
is
to
lie
find
times does,
good working
in
bottle
should be
impossible to proceed
converts, for
one would at a gun or a
as
order,
its
at the night before,
with boiled water before starting, for
filled
many
oneself in
where not a drop of any kind
situation
the Corner Grat one day
was plenty
but, as there
it
water-colour has
tackle, but this takes only a few minutes.
On
got.
vexatious to find
No wonder
But even water-colours want looking
least.
to see that they are
fishing-rod
how
because the paint was not dry
had foolishly forgotten mine;
and the sun shone
of snow,
fiercely,
as
it
some-
managed, by means of the black cover of a sketch-book,
to
get a supply melted.
little
dissolved gum, a few drawing pins, a bottle of white, a small
note-book, &c,
make
nearly
all that
required
is
reduction of sketches to a very small

a wise
and careful
In conclusion,
inconvenience
when
can only say that
foregoing pages, the
way
in
Rugby School and London, ami
tin
in a
moment both example and
have endeavoured
hi'
shall
"
and continued demand,
Landscape Painting
have
have not always the advantage of
who have
to
practise
in
com-
may
he
much conveyed
he found abundance of examples
felt
not so
much
success, however,
its
fit
Water Colours,"
to the
this
approval, by a very
to
spend
far greater
instructor to those
master, and as an aid to
time to give
it
in
encouraged
time in rendering this more elementary work
To ensure
lie
with his hand and voice, as supplying
precept, yet there
plan was followed, and as the public has stamped
schools,
to trace, in the
for study.
In a former work, called
large
and thus
trust that, although the best instruction
work throughout which there
and clear directions
of his materials,
travelling.
has been taught for twenty-five years
it
that an artist can give must always

at
and, though deprecating the
should advise the student, by
which the study of Drawing should
menced, ami the method by which

in
number
limit the
selection, to
much
save himself
size,
many
who
in public'
study of Drawing.
will be necessary on the part of the student
private diligently and
earnestly, with
full
concentration of
thought and powers, and in public schools that the masters should honestly
give the study a chance, in proportion to
a liberal education.
its
acknowledged importance
in
INDEX.
Abei.e, silvery foliage
Barn-door, the farmer's ornaments
52.
of,
Abinger common, 227.

Acacia, graceful foliage
of,
and
Bayonne, picturesque markets

Bear, value
the, 99.
Accommodation, rough, unsuitable
for
quiet
Beech,
in
of,
autumn
Bergschrund,
Alder, associated with water, 61.
of,
Alpine Sketching Tour, 284.
at, 314.
Bindweed, graceful form of
Club, advantages of the, 287.
Birch, delicate foliage

i
Applctree, artistic groups in orchards, 86.

Arete, description of an. 276.
of,
Black board or Diagrams, use
Mdlle Rosa,
Bonheur,
284.
to seize,
to be cultiva-
its
residence
colour
in
England, 98.
119.
of,
Branched
51.
Athletic sports, excellent for study of figure,
Bur-reed,
useful
in
varying
Avalanche, the, destructive power

the,
of,
268.
and Dr. Arnold, 153.
of,
tion
of,
why
so called, 269.
Barbison, and the students "f the
Ganne," 245.
necessary practice with,
17.
Bryony, (black) distinctions from " red ber-
328.
Forest, the,
artist of, 136.
a mis-nomer, 190.
Brush, handling of the, 205.
177.
Bagneres de Bigorre, charming but hot situa-
Ban
the, 330.
Brooklime, 161.
Broom, value to the
Brown Pink,
Background, arrangement
fore-
ground. 162.
Breche de Poland, savage grandeur of
Avon,
Fon-
common, picturesque growth and
Bramble,
useful in composition, 24.

of,
near
wines, 309.
Brakes or Bracken, 140.
23.
foliage, practice for, 25.
Aspen, characteristics
170.
of,
tainebleau, 247.
Bordeaux, and
Box, formerly more abundant
ted, 296.
of,
(lower, 116.
Poplar, flickering light on, 53.
thoughts of the, while sketching, 224.
Ash, favourite haunts
and
leaf
37.
of,
Highlands, 38.
Blackthorn, earliness of blossom, 00.
the, 199.
power
276.
characteristic bathing on the beach
Biarritz,
Alpine Cattle, worth drawing, 265.
Artistic effect,
a.
effects to be studied at,
tine
43.
Alp, definition of the term, 204.
Art of Lithography,
occasioned by
difficulties
Bettws-y-Coed,
reality
31.
Belvedere, solitude at the, 256."
American Maple, glorious colours
Artist,
of,
Charmoz, extraordinary form of
the, 297.
An
313.
at,
Pyrenees, 323.
tints
conflicting opinions on, 30.
study, 300.
Aiguille de
at
82.
Callimachus the Corinthian,
Acanthus,
for, 152.
Bathing costumes and appetite of invalids
ried," 113.
"Maison
(red
pupil. Ill
berried)
excellent
practice
for
INDEX.
Bulrush, handsome clubbed spikes
165.
of,
Cottage Garden, the, 94.
Burdock, careful study of outline, 120.
Homes, picturesque adjuncts
of, 91.
variety of subjects in, 90.
drawing from,
Casts, advantages derived from
Torch, the, 92.
Couloir, definition of the term, 278.
Cedar, majestic beauty
Dr. Tyndall's adventure in passing
77.
of.
Chalet, the, described, 266.
Chalk, on the
management
Cox, David, and the suggestive style, 219.
217.
of.
Chasse, La, devotion of the French
Cheminee,
to,
descending from
slide in
Cherrytree,
autumn
brilliant
327.
Cretins, 254.
Crevasse, danger experienced by Mr. Reilly in
277.
a,
tint of leaves,
Criticism, advantages of, 285.
85.
Chinese White, misuse
of.
Cube, twelve-inch, an excellent model, 173.
194.
Chromo -lithography, explanation
Cuckoo
of process,
and
Pint, brilliant leaves
berries
of,
141.
203.
Cirque de Cavarnie, magnificent amphitheatre
Cypress, description
76.
ot,
of the, 330.
Cirques, peculiar to the Pyrenees, 318.
Dandelion, useful in introducing yellow, 129.
Clematis, perfumed blossom of the, 113.
Date Palm, on the Coast of Genoa, 80.

Drawing, character indicated by, 285.
Cloudland, effects
298.
in,
Cobalt, employed for aerial effects, 194.
Colour, examination
by prism,
of,
freehand, definition
187.
by moisture, 291.
made visible by light, 186.
intensified
proportion
the
of
different
and Nature, 169.
true aim
in
flat
of,
168.
of,
168.
Dog-rose, two varieties of
prismatic spectrum, 190.
169.
in Public Schools, 167.
from the
practical use
lays
of,
from Nature
common,
115.
how
tertiaiy,
to
produce
washes and tints

Colours,
affinities
of,
Dogs, Great
clear, 189.
Bernard, 260.
St.
undesirable travelling companions, 301.
191.
and tendencies
of,
to
be
'
Door, an open, a useful study of perspective,

172.
examined, 188.
Dutch Pictures,
harmonic arrangement of, 197.

indiscriminate mixing of, to be avoided,
in,
arrangement of
skilful
effect
286.
188.
proportion in landscape of
Eaux Bonnes,
Education, Dr. Temple on,
the secondary, 187.
predominance in Nature
the tertiary,
Effects, retentive
'
Elder,
at, 318.
1.
to be cultivated for,
Elm, character
Abinger, 133.
of,
useful to artists,
27.
Emerald Green, only
important in sketching
to be used
in
illumi-
nation, 196.
tour, 207.
Evelyn Woods,
CVaclusion, 340.
only
of,
of, 26.
groups well,
studies to be found on the, 138.
Companion, choice
homely character
83.
Comfrey, well suited for foregrounds, 161.
Cupving,
memory
111.
187.
Coltsfoot, fine shape of leaves, 127.
Common,
Pes, gay
Chaudes, Les, hot springs
the, 192.
of,
Sky, 207.
company at, 323.
Eagle Rock, Glen Sligaehaii,
the primary, 187.

primitive,
preliminary
to
study of the
Eye, position
the, 231.
of,
influencing direction of
all
real, 176.
Corn Bluebottle, lovely blue of
the, 151.
Faithfulness in description
Corncockle, 151.
Corn, (Wheat, Oats, and Barley,
distinctive
attributes of, 150.

Cornfields, beautiful combination of colour in,
150.
Cottage, ornamental creepers of the, 93.
and delineation,
261.
of, romantic wildness of the, 254.
Per du Cheval, magnificent rocks near the,
Fee, Valley
262.
Ferns, an effective foreground, 140.
INDEX.
Ferns, the hard and male, 141.
handsome in Southern Europe,

on sketching, 184.
Figtree,
C45
Hand, command
mastery over,
86.
Figures, hints
Five minutes' solitude with a glass of water,
to be acquired early, 181.
of,
13.
Handling, acquired by copying, 2.

Harding, J. D., masteily handling of foliage
'
and rock, 220.
193.
Flies,
annoyance
Flowers, white, tints
Hart's-tongue, favourite haunts of the. 162.
117.
for,
Flowering-rush, colour and elegance

Foliage, calendar of
touches
Harebell, delicate grace of the, 135.
while sketching, 324.
of,
autumnal
157.
of,
Hart-y-Corrie, study
in,
Harvest-home, subjects
tints of, 64.
208.
for the artist in, 151.
Hawthorn, charming associations with,
for, 14.
65.
Fon, devastation caused by the, 267.
Hay, colour
Forest of Fontainebleau, 241.
Hayfields, artistic groups to be found in, 148.
scarcity of water
animal
Hazel, used for charcoal, 59.

coppices, 58.
exciting beauty of
fire,
and
244.
life in,
Forest on
at various stages, 148.
of,
Foxglove, favourite of the
Heath, cross-leaved, 134.
299.
a,
favourite
the,
artist, 113.
varied opinions on colour of the,
ground
studying
oi
artist, 131.
purple or line-leaved, beautiful colour
114.
Frog concert, deafening uproar
of
312.
a,
of,
Furze, or Gorse, where to be introduced with
134.
Heaths, Surrey, 132.
how
Height,
effect, 137.
Gainsborough, and rustic
to represent, in mountains, 252.
Hemlock, elegant in form, 129.

Herb Robert, delicate beauty of,
figures, 94.
Gave d'Ossau, charming surroundings of
the,
and berries
foliage
Gemmi, accident on
Gilbert, John,
and
142.
Holly, beautiful evergreen, 96.
320.
of, 97.
Honeysuckle, connected with rustic porches,
the, 294.
&c,110.
illustrative art, 221.
Glacier des Bossons, discovery of remains in
Hop-garden, picturesque subjects to be foun
in, 109.
the, 274.
poetical description of
by Professor
a,
Hop, graceful
foliage of,
108
Horizontal, the, or governing line, 182.
Forbes, 271.
rivers, colour of, 254.
Hornbeam,
tables, formation of, 274.
Horse-chestnut, blossom
Glaciers, colour
of,
similarity to beech, 33.

of,
49.
massive foliage
270.
Hunt, Win.
Goats, annoyance occasioned by, 291.
Gourd, gorgeous blossom and
fine foliage of,
great
the
in
of, 48.
management
colour, 219.
Hyacinth, wild, affecting colour of banks, 120.
99.
Grande
Itoute, at Fontainebleau, 242.
Grass, colours to be used
when drawing,
of colour
difference
147.
between young
Ice,
pure blue colour
of,
270.
Ice caves, beautiful transparent blue colour
corn and, 147.
on the manner of representing, 144.

Great
St.
Indian red, qualities
Bernard, Hospice of the, 259.
Greater Plantain, description
of,
Influence of
Groups, in colour, hints for making, 176.

of still
life,
with accessories,
painters, on
the, 211.
Introduction,
77.
1.
Guelder Rose, downy foliage of the, 115.
Iris,
Ivy, picturesque
first
196.
some of the modern
Gunpowder
mills,
of,
Indigo, out of place in the sky, 195.
128.
English, at Wotton,
water, locality to find, 159.
when
least luxuriant, 100.
237.
Junipers,
Hall, the ruined,

*
Hammer,
mi.
varied aspects
magnificent size
of,
at
Fontaine-
bleau, 243.
of,
105.
Abinger, derivation of the name,
Laburnum, beauty
in Scotland
of, 95.
Lac de Gaube, varied and lovely colour of
237.
Ekud, exercised before attempting Nature,
9.
326.
the.
346
INDEX.
Moonlight, on the Lake of Lucerne, 289.
Lac d'Oo, lovely green-blue colour of the, 331.

j
Landes, Les, interesting phenomena

Landseer,
Edwin,
Sir
310.
of,
for
first-rate
animal
Moraine, the, description
how produced,
Moulins,
expression, 214.
Lanes, charms of country, 121.

studies to he found
Larch, peculiarities of the, 75.

plantations
Mullen,
Lecture, length
John,
Leech,
of,
of,
86.
resemblance of leaves to foxglove,
118.
to a class, 100.
Mulready,
Wm.
manipulation
united to
faithful delineation
exquisite
332.
of,
Mulberry, rounded form
of, 73.
Lavender, on the coast of Genoa, 139.
Bernard, 261.
Pyrenees,
the
in
tarns,
colouring
107.
in,
St.
275.
ash, perfection of, in Highlands, SI.
Mountain
Lane and hedge plants, 106.
272.
of,
Morgue, the, at the Great
devotion to
and
art,
skilful
216.
of,
grace and humour, 215.
Holmbury
Leith and
Nettle, gray colouring
Hills, 228.
Light and shade, management
Nightshade (woody),
182.
of,
Note-book, use
Lilac, varied colour of the, 96.
Lily (white garden),
how
draw and
to
127.
of,
brilliant berries of, ]14.
to student,
of,
83.
Notes, various ways of taking, 248.
colour,
j
117.
Oak, colour of
Lime, beauty of blossom, 34.

general appearance
Ling, or heather,
how
foliage, 21.
Gilpin and Evelyn on the, 19.
of, 33.
sometimes mistaken
precedence
for plane, 36.
of, 18.
the, at Fontainebleau, 242.
to study, 135.
!
Lithography, a chemical
discovery
artist's
Oaks, remarkable, 20.
art, 202.
Observation,
200.
of,
explanation of process, 201.

the best
means
of
showing the
use of examples
Loch Coruisk, savage beauty

pojslar, conical
Old Manor Farm,
in, 12.
value to the artist
Lombardy
of,
di, aerial effect at,
Osier, places to study, 57.
50.
Channel Islands, singular masses
of rock, 210.
257.
Outline, correct, highly important, 1S2.

of a
Mallow, handsome leaves of the, 118.

Maple, variety of autumnal tints
in the Pyrenees, 307.
of, 63.
Painter, versus Peak-climber, 264.

Parts, study
294.
124.
Pear-tree, resemblance to
Elm,
Perspective, definition
171.
sunset,
of,
Weld
Photography, Mr.
roseate glow on the, 289.
dawn and
of, 9.
Pau, magnificent view from the terrace
place, excellent for study of costume,
Matterhorn, late fearful accident on the, 283.
at,
315.
85.
on, 329.
often incorrect, 239.
Pictorial effect, highly important, 286.
251.
Picture, divided interest in, 250.
the Italian side of the, 258.
Mattmarksee,
Meadow
Plane, distinctions from Sycamore, 45.
the, desolate scenery of, 255.
grasses
sweet,
and
fine
field flowers, 143.
warm
tint
of
Means and
accessories in sketching, 340.
Mill pond, the, charms
of,
163.
magnificent
panorama around,
on study
of,
112.
of,
116.
Point of sight, meaning of term, 173.
Pont d'Espagne, wild scenery around

Port, another
of,
the, 326.
useful to artist, 151.
word
for Col, 317.
de Venasque, fearful wind in the, 332.
297.
Monte Rosa, by moonlight,
of, 44.
fragile, hints
Poppy, colour
Models, rustic, 174.

Blanc,
peeling bark
Plants, climbing, varied direction
blossoms,
159.
Mont
Tour
'
Marjelen See, romantic glacier forms at the.
effects of
86.
of,
Orta, Lagod', sketching in a boat on the, 257.
Maladetta, savage desolation of the, 333.
the,
sus-
the, 225.
Olive, peculiarities
199.
209.
of,
form
of,
Ottleys, Les,
Market
and
Newton and Faraday's remarks

on, 286.
touch, 203.
Maggiore, Lago
of accurate
difficulty
tained, 286.
|
289.
Practice, elementary,
8.
347
INDEX.
Primrose,
useful
introducing
in
light
in
common,
useful for hedges, 99.
Prout, Samuel, vigorous architectural drawing
Stampedo,
St.
72.
of,
320.
travellers', in Switzerland, 249.
Nicholas, valley
and Harding's
of,
picture,
25 -
218.
of,
Spruce Fir, picturesque only in decay,

Stable at Gabas, picturesque interior
Tnasses, 120.
Privet,
Prussian Blue, useful in depicting water, 196.
Pyrenean Shepherds, picturesque costume
of,
Stonecrop, on rustic buildings, 93.
Stone Pine, perfection

Stream, the, and
322.
Pyrenees and Alps, compared and contrasted,
its
in Italy, 67.
of,
borders, 153.
Streams, our northern, beauties
158.
of,
Student to attempt easy subjects at
335.
colouring of the, 336.
Subject, general treatment
Spanish side
Sunset, effects on the
of,
334.
versus Alps, 308.
Monch and
on the study
effects,
wall-like form of the, 317.
Sycamore, autumnal tints

Reed, common,
thick shade
Remains, ancient Punish and Saxon, around
of,
of,
297.
Kigher, 288,
316.
phenomena of,
Switzerland, varied natural
graceful feather of the, 105.
first,
285.
of,
296.
42.
of, 41.
Sylva Evelyn's country, 223.

his
Leith Hill, 229.
life
and times, 232.
Reminiscences of the Vacation, 248.

Riffel, the,
Rivers,
panorama from,
252.
Teaching of various kinds, 211.
Pyrenean, great beauty of colour
of,
319.
handsome form
Teazel,
Tent or hut, necessary
Roadside,
figures
in
fruitful
the,
and
in-
cidents, 123.
Rock, broken fragment, an excellent study, 204.

Rocks, on the characteristics
on the study
Roofs, importance
205.
235.
wild,
colour
of,
of,
139.
sometimes affecting
of,
important, 17.
Tourmentes or Whirlwinds, remarkable speed

of,
lovely blue colour
of,
musk, description
Toad-flax, colour of, 128.

at,
Roping, Alpine authorities on, 282.

glacier
the, picturesque bits on, 155.
Thistle,
Thyme,
Tints, form
91.
Rookery, the, felling trees
Rosenlaui,
prolonged study, 300.
pictures, 139.
204.
of,
of,
of,
Thames,
126.
of,
for
of
268.
Trees, individual character
the, 292.
of,
10.
to be studied in various localities, 241.
Route de Chailly, Fontainebleau, 243.
Turner, impetus given to Landscape Art by,
Rushes, common, 165.
214.
our greatest landscape-painter, 212.
Sandbank, varied colour

Scabious found
among
125.
of,
picturesque beauty
Seracs,
71.
Use of water-colours
in rainting,
Val Anzasca, adventure
in the, 302.
Vine, chief of beautiful climbers,
Service, the, description
25.
of,
Shrubs and Garden Hedges,

Sketch, difficulties of
95.
Sketches, pleasure to be derived from, 249.
Smugglers near Port Venasque, 333.
Water-Arrowhead,
artistically viewed, 206.
bridges, aid afforded by, 282.
storms on the
of,
128.
first, 4.
302.
a,
87.
colour of foliage, 88.
Vipers Bugloss, peculiarities
Walk, artist's, limited,

Walnut, characteristics
of
on the, 186.
of, 69.
meaning and derivation of the term,
value
213.
5.
283.
Snow,
of,
corn, 151.
Scotch Fir, colour of bark and foliage,
Selection, essential,
Turner's style, the four phases
St.
Theodulc, 253.
Spanish Chestnut, among the Alps and Pyrenees, 47.

of, 46.
Spectre of the Mountains at Murren, 293.
of, 39.
characteristic
foliage
157.
Water-colour drawing, definition of, 190.

Water Dock, handsome in appearance, 1 62.
Figwort, 161.
Hemlock,
majesty
2S8.
162.
Lily, fine blossoms of, 160.
yellow, 161.
of,
INDEX.
Water Plantain, description
of,
Woodlaud
157.
Source, the, 230.
Wayside, studies by the, 130.
Wych Elm,
Weeping Willow, rendering of foliage, 50.

Willow, common, colour and touch for, 55.
Yew, longevity
resemblance to Beech, 28.
of the, 78.
picturesque in age, 53.
Willow-herb, great hairy, lovely
in
woods or
E.
Zermatt, picturesque subjects
Zmutt, Valley
marshes, 158.
CLAY, SON,
AND TAYLOR.
of,
at,
252.
253.
PRINTERS) BREAD STREET HILL, LONDON.
GETTY RESEARCH INSTITUTE
iimmnmnii
3125 01360 7714
3
.!

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DRAWING FROM NATUKE

PROGRESSIVE INSTRUCTIONS IN SKETCHING,

TO WHICH ARE APPENDED

ILLUSTRATED BY EIGHTEEN COLOURED PLATES, AND NUMEROUS WOODCUTS.

THE BROADWAY, LUDGATE.

MEADOW GRASSES AND FIELD FLOWERS.

LECTURES AND MISCELLANEOUS PAPERS

DRAWING FROM NATURE IN PUBLIC SCHOOLS.

SYLVA EVELYN'S COUNTEY

REMINISCENCES OF THE VACATION

AN EXPLANATION OF ALPINE TEEMS

AN ALPINE SKETCHING TOUE

AND INCIDENTS OF TRAVEL

Foreground Plants (coloured plate)

Oak and Ash

Elm and Beech

Birch, Poplar, Willow,

Scotch Fir, Spanish Chestnut, Larch, and Plane

VI. Brush Practice

X. Ash, "Warkworth Castle

IX. Spanish Chestnut, Valley of Aoste

XIII. The Eagle Rock, Glen Sligachan, Skye

Havre de Gosselyn, Serk

Sully, Fontainehleau (coloured plate)

XVI. The Matterhom

XVII. The Jungfrau from above the Staubbach

from the base of the Mer de Glace

Heading, Title (Potentilla and Ground

and Water Dock

First Sketch, Post

Roadside Sketching (Pyrenees)

Lane and Hedge Plants

Spanish Chestnut Foliage

Horse Chestnut Blossom

"' Corn Fields

Rabbit and Ferret with herns

E lowering Rush, &c

Reeds and Starlings

The Evelyn Woods

Stone Pine, Coast of Genoa

Cypress, Cedar, and

Date Palm, Coast of Genoa

Broom and Furze

Monte Rosa, from

and Oak (Fontainebleau)

The Garden Hedge

Peasants of Les Landes

the Val Anzasea

proportion to the development

observation, with the exactness

required in the practice of this

as other branches of education.

for the neglect of

must not be treated

which a deficiency of talent or the urgency

taste" for Latin

they are indispensable

elevate and refine his

be followed or not, according to the

of other studies, is considered a

drawing be pursued with the same devotion, and with the

educates not only the eye and hand, but