The works of John Ruskin . Fig. 2 straighter at the bottom and more bent at the top, Fig. 6,or straighter at the top and more bent at the bottom,Fig. 7. We will do so as delicately and cunningly as we can,so that for some distance there is scarcely any perceptibleinterval between the lines. Yet the two resulting forms,Fig. 6 and Fig. 7, are completely distinct from each other. Now these are each of them main types of a vast group RUDIMENTARY SERIES : INSTRUCTIONS 247 of forms of beautiful shields. I have cast an example ofFig. 6, from the north aisle of Westminster Abbey, drawnhalf size, my pa
The works of John Ruskin . Fig. 2 straighter at the bottom and more bent at the top, Fig. 6,or straighter at the top and more bent at the bottom,Fig. 7. We will do so as delicately and cunningly as we can,so that for some distance there is scarcely any perceptibleinterval between the lines. Yet the two resulting forms,Fig. 6 and Fig. 7, are completely distinct from each other. Now these are each of them main types of a vast group RUDIMENTARY SERIES : INSTRUCTIONS 247 of forms of beautiful shields. I have cast an example ofFig. 6, from the north aisle of Westminster Abbey, drawnhalf size, my paper not being large enough, in R. Ifnext time you go to London you look at William deValences shield in the first chapel on the south side of. Fig. 3 the choir, you will see an entirely exquisite example ofFig. 7; we will study the lines by which they are limitedpresently,2 but first observe that hitherto we have thoughtof shields only as flat things. Now they are never flat,but rounded, often considerably; therefore to draw themrightly, we must both arch the upper edge, and slightlyshade the surfaces, as in Figs. 8 and 9. 15. And now we have to lay our first wash of colour—a 1 [Fig. 3 here is a woodcut from Ruskins drawing.] 2 [See § 18, pp. 250 seq.] 8 THE RUSKIN ART COLLECTION ave business, respecting which, please observe the follow-g points:— I wish you at once to learn to manage two differentnds of pigments. One, pure water-colour, to be laid so wet that it will run. The other, smoothly mixed body-colour, which must beread like mortar. Turners heraldic drawing, R. 14, and his sepia sketch trees, R. 300, are faultless examples of the first, and hisoire drawings generally of the second, as applied to pur-ees of the
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