DRAWING.

The light of the lamp is sufficient for anyone who defines. All the side of the model that is not illuminated is called the shadow side; beginners should not choose this position as it requires skill and experience. The light should be slightly forward to show a very broad profile. These types of figures should be completed thoroughly, meaning the shadows should be well rendered with reflections turned by properly applied strokes. On the front right, a student is modeling after the antique. This study can be considered a way of drawing suited for sculptors; it is executed by hand and sketched on soft clay. See Sculptural Plates.

Bottom of the Plate.

Fig. 1, 1, 2, 3, 4, 5, Plan of the room where one poses to draw.

• A, the table on which the model is placed.
• b, a basin full of water to receive drops from the lamp smoking below.
• c, c, c, c, c, benches or tiers where artists sit.

CCC, benches for Sculptors; this is occupied by those modeling from nature, but in their absence, the drawers take over.

• d, footrests for the turned benches.
• e, space between one bench and another.
• a, bench for those defining within the recess.

BRUSH FOR PROPORTIONS.

iiij, stove.

a, a poetic outlet closed during the time one defines after lighting it, to receive only the sole and identical light from the window k, which opens at eight feet.

11, rooms.

1, furniture.

2, vehicle.

o, room for other exercises.

2. Bench supports.

• a, the table.
• a, its foot or stand on which it can turn in all directions, so that the artists can be more comfortably placed, facilitated by their most advantageous position.

c, the benches.

b, the bench of Sculptors.

d, d, d, d, footrests of the benches.

PLATE I.

Fig. I, Pencil holder.

1. e, ray.
2. Pencil.
3. Blending stump, it's a rolled piece of chamois strongly feathered; soft at the end and pointed towards the extremities. It's used to unite and combine all pencil strokes prepared for shadows and semi-tones of a figure, lightly like a brush, on all hatchings, and strong strokes with daring pencil touches; this method of defining is quick and well imitates the softness of flesh.
4. Defining pen.
5. Wedge for sharpening the pencil.
6. Compass. It should not be used for defining heads or figures, but merely to satisfy perpendicular or parallel lines found in subjects concerning architecture. Human figures are suitable for defining with Indian ink or bistre.

Brush.

2 Brushes set in a, fur, piece of wood or ivory.

93. Water pot.

10. Pad for diluting bistre ink.

No. 2. Drawing.

12. Rule to trace objects whose surfaces are straight lines.

13. Easel or original holder.

• a, the foot.
• bb, the rod with holes on its upper part.
• c c, the arms.
• d, screws that place the arms at the most convenient height in the holes of the rod.
• e, rope to increase the Drawing.

ff, pins that attach the drawing to the rope.

14. Stool for those who define according to the box.

I. Mobile platform on which one places the model.

2. Capital of the stool, pierced in the middle by a hole where the rod of the platform passes.

3. Rod that turns the platform on itself;

3 it's pierced with holes on the lower part;

4. Pin that lifts the rod & the platform, being seated in different holes.

5. Table for controlling the rod, 8, which serves as a pivot for the pin.

15. Portfolio on which one defines, on the lap, as seen in the vignette.

Planche t.

• 16. a, b, c, d, frame for reduction; this frame is a naturally rectangular well & divided at will into a number of equal compartments, formed by threads or lines very fine, attached to dividing points marked on the four rules placed on sides a, b, c, d, a, d, a. This instrument is used for reduction. It is lighter in a picture where one does not see traced lines.

17. I. Measure aided in a given size n p q r, to be made in this size by lines on the sketch in as many squares as the sketch is occupied, being weights of these threads, these figures which trace exactly in each of these squares, corresponding to those of the original, the same parts contained in all those drawings; it can be used, for such reductions, with an instrument called a pantograph.

See the following Plate.

PLANCHE III

Description of the Lithograph or Pantograph, newly known monkey, consistent improvement & perfected by Caup & invoking B^[or C & M M.

The royal academy of Sciences for the infrastructure My in Mathematics.

This instrument is composed of four ebony or boxwood rods: there are two large and two small. The two large A B, A C, are hinged at one of their ends by a rod that passes over them, allowing more or less freedom; the base of this rig is curled, & moves a wheel, from a foot vanishing fig. I, which supports the table & lends it to all movements. The two other rules L M, & N are attached around the middle of each of the large ones, & they are joined by the other end; in such a way that these four rules always form a parallelogram, however one maneuvers the instrument.

The two large rules, and one of the small ones, each carry a box placed halt & by means of which the dotted lines, in this box holes are pierced with cylindrical fur at the side, where they place alternately three things to have, a point to caliper, fog. 7, a cannon, fog 8; in which log or pony-crayon whose height & basis of him itself, following the unevenness of the plan on which we worked, & finally, a support, fog. 9; who will guide within the table, & of which the top is cylindrical to enter one of the boxes, if it is the support that serves as a fixed point, & around which the instrument turns.