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action, swell, and make the extremities of the spines of the shoulder blades, called the tops of the shoulders, appear indented or hollow. The shoulder blades following the elevation of the arms, their bases incline at that time obliquely downwards. If the arms be drawn down, put forward, or pulled backwards, the shoulder-blades necessarily vary their positions accordingly. These particulars can only be learned by an attentive study of anatomy and of the living model; by which means the student becoming acquainted with the circumstances which attend every action he will be able to form an idea how they ought to be expressed.

When the cubit or fore-arm is bent, the biceps has its belly very much raised, as shown in the left arm. The like may be observed of the triceps when the arm is extended, as shown in the right arm. The straight muscles of the abdomen appear very strong when arising from a recumbent posThose parts of the great serratus muscle which are received in the beginnings of the oblique descending muscle immediately below, are very much swelled when the shoulder on the same side is brought forwards; the serratus muscle then being in action in drawing the scapula forwards.

ture.

The long extending muscles of the trunk act alternately in walking. If the right leg bears the weight of the body, and the left is advancing as on tiptoe, the last-mentioned muscles of the back, on the left side, will be tumefied on the other side about the region of the loins, and so

on the other side.

The trochanters, or outward and uppermost heads of the thigh bones, (see the skeleton in the plate of Anatomy,) vary in their positions in such a manner as that no precise observations can explain their several appearances; but a careful study of the living model, placed in action, must be carefully attended to. If either thigh be extended, as when the whole weight of the body rests on that side, the glutæus or buttock-muscle presents a very different appearance from what it offers at another time, or when in repose; but if the thigh be drawn backwards, that muscle becomes still more tumefied.

When the whole leg is drawn upwards and forwards, and at the same time the foot is inclined inwards, the upper part of the sartorius muscle appears, rising very strong. In other positions of the thigh that muscle makes a furrowing appearance in its whole progress.

If a man be on tiptoe, the extending muscles of the leg, which are situated on the fore-part or the thigh and those of the foot, which compose the calf of the leg, appears very strongly, and the long perænous makes a considerable indentation or furrowing at that time in its progress on the outside of the leg. Many other remarks might be made on this subject; but an attentive study of nature will render them unnecessary. Indeed we beg leave to refer the reader for further illustration, to the plates and article ANATOMY.

SECT. X.-OF THE EFFECTS OF THE PASSIONS IN GENERAL.

When the student has thus made himself master of the various attitudes and muscular

exertions of the human body, it will be necessary for him next to study the effect of the passions upon the limbs and features. The passions, says Le Brun, are motions of the soul, either upon her pursuing what she judges to be for her good, or shunning what she thinks hurtful; and commonly, whatever causes emotions of passion in the soul, creates also some action in the body. It is therefore necessary for a painter to know which are the different passions of the soul, and how to delineate them.

Le Brun has been extremely happy in delineating many of the passions, and the young artist cannot study any thing better than the examples which he has left us of them; and of which we have given a copy in plate VI. However, as De Piles justly observes, it is absurd, as well as impossible, to pretend to give such particular demonstrations of them, as to fix their expression to certain strokes, which the painter should be obliged to use as essential and invariable rules. This, he very properly says, would be depriving the art of that excellent variety of expression which has no other principle than diversity of imagination, the extent of which is infinite. The same passion may be finely expressed several ways, each yielding more or less pleasure in proportion to the painter's understanding and the spectators' discernment.

Although every part of the face contributes towards expressing the sentiments of the heart, yet the eye-brow is the principal seat of expression, and that wherein the passions principally indicate themselves. It is certain, says Le Brun, that the pupil of the eye, by its fire and motion, very well shows the agitation of the soul, but then it does not express the kind or nature of such an agitation; whereas the motion of the eye-brow differs according as the passions change their nature. To express a simple passion, the motion is simple; to express a mixed passion, the motion is compound: if the passion be gentle, the motion is gentle; and if it be violent, the motion is so too.

We may observe farther, says he, that there are two kinds of elevation in the eye-brows: one, in which the eye-brows rise up in the middle-this elevation expresses agreeable sensations, and it is to be observed that then the mouth rises at the corners: the other, in which the eye-brows rise up at the ends, and fall in the middle; this motion indicates bodily pain, and then the mouth falls at the corners. In laughter, all the parts agree; for the eye-brows, which fall towards the middle of the fore-head, make the nose, the mouth, and the eyes follow the same motion. In weeping, the motions are compound and contrary; for the eye-brows fall towards the nose and over the eyes, and the mouth rises that way. It is to be observed also, that the mouth is the part of the face which more particularly expresses the emotions of the heart: for when the heart complains, the mouth falls at the corners; when it is at ease, the corners of the mouth are elevated, and when it has an averSion, the mouth is protruded and rises in the

middle.

'The head,' says De Piles, 'contributes more to the expression of the passions, than all the

other parts of the body put together. Those separately can only show some few passions, but the head expresses them all. Some, however, are more peculiarly expressed by it than others: humility, by hanging it down; arrogance, by lifting it up; languor, by inclining it on one side; and obstinacy, when, with a still and resolute air, it stands upright, fixed, and stiff between the two shoulders. The head also best shows our supplications, threats, mildness, pride, love, hatred, joy, and grief. The whole face and every feature contribute something; especially the eyes, which, as Cicero says, are the windows of the soul. The passions which they more particularly discover are pleasure, languishing, scorn, severity, mildness, admiration, and anger; to which we may add joy and grief, if they did not proceed more particularly from the eyebrows and mouth: but when these two passions fall in also with the language of the eyes, the harmony will be wonderful.

But though the passions of the soul are most visible in the lines and features of the face, they often require the assistance also of the other parts of the body. Without the hands, for instance, all action is weak and imperfect; motions, which are almost infinite, create numberless expressions: it is by them that we desire, hope, promise, call, send back; they are the expressive instruments of threatening, prayer, horror, and praise; by them we approve, condemn, refuse, admit, fear, ask; express our joy and grief, our doubts, regrets, pains, and admiration. In a word, it may be said, as they are the language of the dumb, that they contribute not a little to speak a language common to all nations, which is the language of painting. But to say how these parts must be disposed for expressing the various passions is impossible, nor can any exact rules be given for it, both because the task would be infinite, and because every one must be guided in this by his own genius and the particular turn of his own studies.'

SECT. XI.-OF THE PARTICULAR EFFECTS OF THE DIFFERENT PASSIONS ON THE FEATURES. Notwithstanding the justice of the preceding observations of De Piles, yet Le Brun has given such an accurate description of the particular effects of the passions on the human features, as must be of essential service to all who wish to attain proficiency in any of the arts of design. We therefore subjoin it, not only as an illustra tion of his drawings, copied in plate VI. but as containing a set of general rules to the student for depicting the various passions of human

nature.

1. Attention. The effects of attention are to make the eye-brows sink, and approach the sides of the nose; to turn the eye-balls towards the object that causes it; to open the mouth, and especially the upper part; to decline the head a little, and to fix it without any other remarkable alteration. See plate VI, 1.

2. Admiration.-Admiration causes but little agitation in the mind, and therefore alters but very little the muscles of the face. Nevertheless the eye-brows rise, the eyes open a little more than ordinary; the eye-balls, placed equally be

tween the eye-lids, appear fixed upon the object: the mouth half opens, but occasions no sensible alteration in the cheeks. Ibid. 2.

3. Admiration combined with Astonishment · The motions that accompany this mixed expression are scarcely different from those of simple admiration; except, that they are more lively and more strongly marked. The eye-brows are more elevated, the eyes more open, the eye-balls removed farther from the lower eye-lid, and more steadily fixed: the mouth more open, and all the muscles in stronger action.

4. Veneration.-Admiration begets esteem, and esteem, in a high degree, produces veneration, which, when it has for its object something divine or beyond our comprehension, occasions the face to decline, and the eye-brows to bend downward. The eyes become almost closed and fixed, and the mouth is shut. These motions are gentle, and produce but little alteration in the other parts of the face. Ibid. 3.

5. Rapture. Although rapture has occasionally the same object as veneration, only viewed in a different manner, yet its motions and characteristics are different. The head becomes inclined to the left side, the eye-balls and eye-brows rise directly up; the mouth half opens, and the corners are also a little turned up; while the other parts remain in the natural state. Ibid. 4.

6. Desire. This passion brings the eye-brows togetner, and protruded towards the eyes, which are more open than ordinary. The eye-balls are inflamed, and place themselves in the middle of the eyes. The nostrils rise up, and contract themselves towards the eyes; the mouth opens, and the spirits, being in motion, give a lively glowing color to the whole countenance. Ibid. 5.

7. Joy. Very little alteration is perceived in the faces of those who feel within themselves the sweetness of this passion, or of joy mixed with tranquillity. The forehead is smooth and serene; the eye-brows without motion, elevated in the middle; the eye pretty open, and with a laughing air; the eye-balls lively and shining; the corners of the mouth turned up a little; the complexion lively, and the cheeks and lips red. Ibid. 6.

8. Laughter. That kind of laughter which is produced by joy mixed with surprise, makes the eye-brows rise towards the middle, and bend towards the nose; the eyes become almost closed, and are sometimes wet with tears, which make no alteration in the face. The mouth, half open, shows the teeth; the corners of the mouth, drawn back, cause a wrinkle in the cheeks, which swell so as to partially close the eyes; the nostrils open, and all the face is of a red color. Ibid. 7.

9. Acute Pain. Acute pain occasions the eyebrows to approach one another, and to rise towards the middle; the eye-balls are concealed under the eye-brows, the nostrils rise and wrinkle the cheeks; the mouth half opens and is drawn back, and all the muscles of the face are agitated in proportion to the violence of the pain. Ibid. 8.

10. Simple Bodily Pain.-This degree of suffering produces proportionably the same motions as the last, but in a less violent degree. The eye-brows do not approach so close, nor rise so much; the

eye-balls appear to be fixed upon some object; the nostrils rise, but the wrinkles in the cheeks are less perceptible; the lips are farther apart towards the middle, and the mouth is half open

11. Sadness. The dejection whicn is produced by this affection of the mind, makes the eye-brows rise towards the middle of the forehead more than towards the cheeks. The eyeballs appear perturbed, the white of the eye becomes yellowish, the eye-lids are drawn down and a little swelled. All about the eyes becomes livid, the nostrils are drawn downwards, the mouth is half open, its corners being drawn down, the head carelessly droops on one of the shoulders, the face becomes of a heavy color, and the lips pale. Ibid. 9.

12. Weeping. The alterations occasioned in the human countenance by weeping are very evident. The eye-brows sink down towards the middle of the forehead; the eyes are almost closed, and are wet and drawn downwards towards the cheeks. The nostrils swell, the muscles and veins of the forehead appear, the mouth is closed, and the sides thereof are drawn down making wrinkles on the cheeks: the under lip, pushed out, presses the upper one; all the tace becomes wrinkled and contracted, and its color is red, especially about the eye-brows, the eyes, the nose, and the cheeks. Ibid. 10.

13. Compassion. That lively attention to the misfortune of others, which is called compassion, causes the eye-brows to sink towards the middle of the forehead; the eye-balls to be fixed upon the object of its attention; the sides of the nostrils next the nose to be a little elevated, forming wrinkles in the cheeks; the mouth to be open; the upper lip to be raised and thrust forwards; the muscles and all the parts of the face to be depressed, and turned towards the object which excites the sentiment. Ibid. 11.

14. Scorn. The motions of this feeling are lively and strong. The forehead becomes wrinkled, the eye-brows knit, the sides of them next the nose sunk down, and the others much risen. The eyes are widely open and the eye-balls in the middle: the nostrils rise and are drawn towards the eyes, forming wrinkles in the cheeks. The mouth closes, its sides are drawn down, and the under lip is protruded beyond the upper. Ibid. 12.

15. Horror.-A despised object sometimes excites horror, and then the eye-brows become knit, and sink considerably more than in the last instance. The eye-balls, placed at the bottom of the eyes, are half covered by the lower eye-lids; the mouth is half open, but closer in the middle than in the sides, which, being drawn backwards, make wrinkles in the cheeks; the face becomes pale, the eyes livid, whilst the muscles and vains are strongly developed. Ibid. 13.

16. Terror, or Fright. The violence of these sensations, which are not synonymous, although Le Brun has so classed them, as the former may be the result of certainty and durable, while the latter is sudden and often evanescent, alter all the middle parts of the face. The eye-brows rise in the centre, their muscles are strongly developed, swoln, pressed against each other, and depressed towards the nose, which is drawn up as well as

the nostrils. The eyes are very open, the upper eye-lid hidden by the eye-brow, the white of the eye encompassed with red, the eye-balls fixed toward the lower part of the eye; the lower part of the eye-lids swell and become livid, the muscles of the nose and cheeks enlarge, and the latter terminate in a point towards the sides of the nostrils. The mouth is very open, and its corners become very apparent; the muscles and veins of the neck stretch; the hair stands ou end; the color of the face, that is, of the end of the nose, the lips, the ears, and round the eyes, becomes pale and livid; and all the muscles appear strongly marked. Ibid. 14.

17. Anger. The effects of this passion show its nature. The eyes become red and inflamed; the eye-balls staring and sparkling; the eye-brows sometimes elevated, and at others depressed equally; the forehead much wrinkled, as also the space between the eyes. The nostrils open and enlarged; the lips compress, the under one rising over the upper, slightly opens the corners of the mouth, and gives the appearance of a cruel and disdainful grin. Ibid. 15.

18. Hatred, or Jealousy.-The expression of the two passions is so very similar that Le Brun classes them together. They wrinkle the forehead, and the eye-brows become depressed and knit; the eye-balls are half hidden under the eye-brows, and turn towards the object of hatred, appearing fiery and animated; the nostrils are pale, open, more marked than ordinary, and drawn backward so as to cause wrinkles upon the cheeks; the lips are so compressed as to show that the teeth are firmly closed; the corners of the mouth are drawn back, and much sunk; the color of the face becomes partly inflamed and partly yellowish, and the lips pale or livid. Ibid. 16.

19. Despair. As despair is extreme, so are its expressions. The forehead becomes wrinkled from the top to the bottom; the eye-brows bend down over the eyes, and press each other on the sides of the nose; the eyes become fiery in their expression and full of blood; the eye-balls are disturbed, and concealed beneath the eye-brows, sparkling and wandering. The eye-lids are swoln and livid, the nostrils large, open and raised. The end of the nose turns down, the muscles, tendons, and veins, become swoln and stretched. The upper part of the cheeks becomes large; the muscles protrude; the mouth drawn backwards is more open at the sides than in the middle; the lower lip swells and turns outwards. The sufferers gnash their teeth, foam and bite their lips, which are pale, as is the rest of the face; the hair becomes straight and stands on end. Ibid. 17.

To these rules the student will do well to add Charles Bell's Anatomy of Expression, published expressly for artists upon the same subject; and, as has been so often insisted on, to pursue an attentive study of nature.

SECT. XII.-OP THE DISTRIBUTION OF LIGHT

AND SHADE.

After the student has made himself master, in a tolerable degree, of drawing figures correctly in outline, his next endeavour should

be to shade them properly. It is this portion of the art which gives the desired effect of substance, form, distance, and distinction, to whatever bodies he endeavours to represent, whether animate, or inanimate.

The best rule for performing this is, to consider from what point, and in what direction, the light falls upon the objects which he proposes to delineate; and to make all his lights and shades fall according to that direction throughout the whole work. That part of the object must be lightest which has the light most directly opposed to it. If the light falls obliquely upon the picture, he must make that side which is opposite to the cause the lightest, and that side which is farthest from it the darkest. If he be drawing the figure of a inan, and the light is placed above the head, then the top of the head will of course be the lightest, the shoulders will have the next degree of light, and the lower parts be less illumined as they are removed from the cause. That portion of the object, whether the figure be naked or dressed, or whether it be a building which stands farthest out or nearest to the eye, must be made lightest, because it is nearest to the light; which loses so much of its brightness by how much any part of the object recedes; because those parts which project, hinder the lustre and full brightness of the light from striking on the receding parts.

Titian used to say, that he knew no better rule for the distribution of light and shadow, or, as the Italian critics call this department of the art, chiaro-scuro, than the observations that may be drawn from the lights, shadows, and reflexes of a bunch of grapes. Satins and silks, and all other shining stuffs, have certain glancing reflections, exceedingly bright where the light falls strongest. The like is seen in armour, brass pots, or any other glittering metal, where a sudden brightness appears in the centre of the light, which discovers the shining nature of the body depicted. The principal light should be thrown on the principal figure, and an equal balance must be kept between the lights and shades throughout the whole.

The outlines must be faint and almost imperceptible in such parts as receive the light; but where the shades fall the outline may be stronger, but must never be too evident, as there is no such thing as outline in nature. Another effect of nature to be observed is, that as vision becomes weaker by distance, so must the objects appear more or less defined according to the places which they occupy in the picture; those which are very distant, faint and undefined; those which are nearer, and in the foreground, clear, strong, and accurately defined.

However, so much of this important portion of the art depends upon the artist's own feelings and perceptions, that better directions for its acquire ment cannot be given, than to study with attention the works of those masters who are reckoned the most successful in its uses, and to follow them and their mistress-nature, as guides.

SECT. XIII.-OF DRAPERY. Drapery is the art of clothing figures, and disposing the drapery or clothing properly

and elegantly upon them. In this department of the art many things are necessary to be observed. 1. The eye must never be left in doubt as to the object before it; but the shape and proportion of the limb, or portion of the figure, which is covered by the drapery, must appear to be beneath it; or at least so far as art and probability will permit. This is so material a consideration, that the best artists draw the naked figure first, and throw the drapery properly about it afterwards. 2. The drapery must not be too loose about the figure, but should so flow round and adhere to it, that the latter may seem unencumbered and have a free motion. 3. The draperies which cover those parts which are exposed to great light, must not be so deeply shaded as to seem to pierce them, lest by the too great darkness of their shades, the limbs should look as if they were broken. 4. The great folds must be drawn first, and then divided into lesser ones; and great care must be taken that they do not cross one another improperly. 5. Folds in general should be large and few; this must be guided, however, by the quality and quantity of the stuffs of which the drapery is composed. The quality of the persons depicted must also be considered in their drapery; if ancient legislators, orators, or philosophers, their robes should be large and ample; if clowns, countrymen, or slaves, short and of coarse materials; if ladies, or nymphs, light and soft. 6. The garments should be adapted to the body, whose motions they should follow, and the closer the garments sit to the body the narrower and smaller must be the folds. 7. Well-imagined folds give spirit to any kind of action, because their motion implies a motion in the principal limb, which seems to act forcibly upon them, and makes them more or less stirring as the action is more or less violent. 8. An artful complication of folds in a circular manner greatly assists the effects of foreshortening. 9. All folds consist of two shades and no more, which may be turned with the garment at pleasure, shadowing the nearer side deeply and the outer more faintly. 10. The shades in silk and fine linen are very thick and small, requiring little folds, and a light shadow. 11. Observe the motion of the air or wind, in order to draw the loose apparel all flying one way; and draw that part of the garment which adheres closest to the body, before you draw the looser part which flies off from it: lest by drawing the looser part first you should mistake the position of the figure, and thereby place it wrong. 12. Rich ornaments, when judiciously and sparingly used, will sometimes contribute to the beauty of draperies; but such ornaments are below the dignity of heavenly figures, whose grandeur should be derived from their characteristic forms and expressions, whether of countenance, attitude, or attire, rather than from the earthly vanity of rich stuffs or glittering ornaments. 13. Light and flying draperies are proper only to figures in rapid motion, or blown upon by the wind; but in a calm place, and free from violent action, their draperies should be large and flowing; that by their contrast, and the fall of their folds, they may bear the appearance of grace and dignity. See further under PAINTING.

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SECT. XIV. OF DRAWING LANDSCAPES, BUILD-
INGS, &c.

Of all the branches of art, this is the most generally useful and necessary; because it is what every man may have occasion for at one time or another. To be able, on the spot, to take the sketch of a fine building, a curious relic of antiquity, or a beautiful prospect of any curious production of art, or uncommon appearance in nature, is not only a desirable accomplishment, but an agreeable and useful amusement. Rocks, mountains, fields, woods, rivers, cataracts, cities, towns, castles, houses, fortifications, ruins, or whatsoever else may present itself to view on our journeys or travels, in our own or foreign countries, may be thus brought home and preserved for future use either in business or conversation. On this part, therefore, more than ordinary pains should be be

stowed.

All drawing consists in measuring visible objects accurately with the eye. In order to facilitate this operation, the student should fancy, in his own mind, that the subject he is delineating is divided into squares of imaginary lines. We say imaginary lines, because though engravers and others, who copy with great exactness, divide both their copy and the original into an equal number of squares, yet this is a method not to be recommended; since it imposes shackles upon the learner, from which he will find it difficult to emancipate himself, particularly when he comes to draw from nature, where such artifices will not avail him.

When colors are used in drawing, they should be managed with caution and judgment; it being

DRAWING SLATE, in mineralogy, black chalk. Its color is grayish black. Massive. Lustre of the principal fracture, glimmering; of the cross fracture, dull. Fracture of the former slaty, of the latter fine earthy. Opaque. Streak same color and glistening. Very soft. Sectile. Easily frangible. It adheres slightly to the tongue. Specific gravity 2.11. It is infusible. Its constituents are-silica 64.06, alumina 11, carbon 11, water 7.2, iron 2.75. It occurs in beds, in primitive and transition clay-slate, also in secondary formations. It is found in the coal formation of Scotland, and in most countries. It is used in crayon-painting.

DRAWL, v. n. From draw. thing in a slow, driveling way.

To utter any

Then mount the clerks, and in one lazy tone Through the long heavy page drawl on.

Pope.

Now sec him launched into the world at large;
If priest, supinely droning o'er his charge,
Their fleece his pillow, and his weekly drawl,
Though short, too long, the price he pays for all.

Cowper.
MRS. DAN. Then, I suppose, it must have been
Mr. Dangle's drawling manner of reading it to me.
Sheridan.

DRAY, n.s.
DRAY'CART,
DRAY HORSE,
DRAY MAN,
DRAY PLOUGH.

Sax. nag, of the same origin as DRAW, which see. The car on which beer is conveyed; the horse attached, and the driver.

disgusting to see colored or tinted drawings, wherein the reds, greens, and blues are laid on without regard to truth or harmony. It may be urged, by those who execute them, that nothing is greener than grass, nor bluer than the sky; but it should be considered, that nature employs such a multitude of little shadows, and such an endless variety of different tints, intermixed with her broadest colors, that the harshness of the original hue, or local tint, is thereby corrected, and the effect of the whole very different from a upon white paper. raw and unbroken color laid

Though the artist should have recourse to the study of nature, in preference to that of a master, for a knowledge of coloring, yet it requires some judgment to know what part of nature is to be studied, and what to be avoided; in short, selecThe student, in coloring, tion is necessary. should examine with attention, that of old walls, broken and stained by time and weather; old thatch, old tiles, rotten wood;-in short, all objects which are covered with moss, stains, and tints of various kinds; wherein he will find all the principles of the picturesque and agreeable .n coloring. Such things as these should be copied with every possible care, and all objects of a decided uniform color should be as carefully avoided. This has ever been the practice of all the great masters who have excelled in this delightful part of the art; and examples of drawing landscapes from nature according to the foregoing precepts have been often given.

To conclude, in order to attain any considerable proficiency in this sort of drawing, a knowledge of PERSPECTIVE is absolutely necessary. See that article.

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DRAYTON (Michael), an eminent English poet, born of an ancient family in Warwickshire in 1563. His propensity to poetry was extremely strong from his infancy; and we find most of his principal poems published by the time he was about thirty years of age.-It appears, from his poem of Moses's Birth and Miracles, that he saw at Dover the famous Spanish armada, and it is not improbable that he was engaged in some military employment there. He was patro nised by several persons of consequence: particularly by Sir Henry Goodere, Sir Walter Aston,

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