effect of directing the eye to the principal in a breadth of light illumined by the morning sun from the right. The treatment of such a simple subject, in order to produce a happy effect, ought to be in agreement with the calm and bright character of the scene.

the directions previously given, as simply as possible, without any markings which are not essential to form or cha

In Fig. 31, the shades are given with a few light tints, the power being confined to the foreground, which has the

Fig. 32 represents the abbey partially illuminated, the broad shadows being occasioned by a stormy atmosphere; a gleam of sunshine is therefore thrown on the upper por tion of the building; and to prevent the chief light from becoming an isolated spot, a few subordinate lights are

cast on the ground in two places, and a little in the sky; these lights also sustain the principal, and preserve an agreement with natural, though accidental, effect. Such a mode of treatment, as exhibiting a more complicated style, would be esteemed superior to that of the preceding sketch.

Fig. 33.

Fig. 33 represents the abbey in a breadth of half-tint and shade, as opposed to the bright glow of the setting sun, which, without disturbing the mass, glances on a few projections, and causes a reflected light on the ground, which breaks the monotony that would otherwise predominate.

The treatment of the subject in this manner would exhibit a dependence on boldness of opposition, and would be appreciated in proportion to the ideas which might be excited of the calm grandeur of the scene.

The difference of treatment exemplified in these several effects, is not more striking than that which may be

EVENING.

produced in landscape composition, by the taste or judgment of the artist. The piece may be delineated in a formal, a picturesque, or a beautiful style. For instance, suppose a scene to consist of a rustic bridge, beneath the arch of which a rivulet murmurs along its pebbly bed; above and beyond the bridge, on the opposite side of the river, a cottage embosomed in trees; on the near side, a road or broad pathway winding to the bridge; and numerous wild plants enriching the bank of the rivulet and the foreground. This simple rural scene can be drawn with such minute attention to all the regular forms, as to excite an idea that the workmen had just completed the buildings. The trees can be drawn with formal observance of stem and foliage; the water can be drawn so as to seem flowing along; the banks represented smooth, as if recently mowed; the pathway neatly swept, and all in a breadth of light, or rather as if the light operated equally on all parts of the subject. This would be acknowledged a likeness of the spot, but at the same time it would be considered as extremely tame and insipid.

The same scene could be drawn in a free and bold style, without descending to the use of so much precision and minuteness. The trees could be drawn as if gently agitated by the wind, and the smoke from the cottage chimney passing amid the foliage. A ray of light could illume part of the bridge and the cottage, in a pleasing breadth and form, which could be relieved by a deep-toned hill in the rear; the pathway and the banks could be drawn with a wild intricacy; the rivulet could be given as sparkling amid the stones, over and around which it meandered; and the foreground could be touched with abruptness and spirit, corresponding with the character of the subject. This also would be recognised as a representation of the scene; but the infusion of what might be termed the picturesque, would excite attention and produce applause.

The same scene could be drawn with a graceful sweep of line, and contrast of light and shade, interesting from its truth and beauty. The trees could be luxuriantly projecting their branches over the cottage; the rivulet could be gently winding along, reflecting the bridge and objects

above; the sky could be serene, enlivened by fleecy clouds; the banks could be enriched with plants of the showy kind, in conformity with the scene; the pathway could be graced with groups of elegant females and their companions enjoying a rural walk; the whole could be adorned with accessories so judiciously arranged as to cast a charm over the scene, giving to it that variety which causes the eye to pass from object to object with increasing delight. This scene, would also be recognised as faithful; but its representation of any particular spot would be forgotten amid the assemblage of pleasurable sensations which the characteristics of the beautiful would excite in the mind of a spectator. These examples of the various styles may assist in impressing upon the mind of the student how much will depend on taste and judgment in representing the most commonplace view from nature.*

*Mr Hay, in his work on Harmonious Colouring, from which we have already presented a quotation, mentions, for the benefit of those young mechanics who are studying ornamental design with a regard to their professions, that, after becoming acquainted with the principles of perspective and light and shade, attention should be directed to the study of the best examples of ancient and modern ornament that can be procured. "But flowers," he proceeds to say, "are your best practice, as you will now have obtained freedom of execution. To those who have gained a facility in copying the beautiful forms which prevail in the vegetable kingdom, and who have had such instructions in the use of watercolours as may enable them to copy individual flowers with ease, I would recommend the acquirement of a thorough knowledge of the laws of harmonious colouring. They will then be able to group and arrange flowers in the most agreeable and effective manner in regard to colour, as their previous experience must have taught them to accomplish in combination of form.

Dr Ure says, that the modes in which taste is cultivated at Lyons deserve particular study and imitation in this country. Among the weavers of the place, the children, and all persons busied in devising patterns, much attention is devoted to every thing in any way connected with the beautiful, either in figure or colour. Weavers may be seen in their holiday leisure gathering flowers, and grouping them in the most engaging combinations. They are continually suggesting new designs to their employers, and are thus the fruitful source of elegant patterns.' Hence the French flower patterns are remarkably free from incongruities, being copied from nature with scientific precision.

All these facilities for the improvement of our fancy manufactures are within the reach of the most humble. The pursuit of such a course of study as I have endeavoured to point out, would not only augment their sources of innocent pleasure, but lead them to other instructive pursuits. The youth, in searching for the most graceful and picturesque plants in nature's most profuse and wildest productions, would be naturally led to commence the study of botany; for he would then have some interest in the inquiry. And it may be easily imagined with what avidity the more advanced would add to his knowledge of that pleasing science, or the gratification he would derive from the study and practice of horticulture.

I need scarcely point out the advantages to be derived from the cultivation of