Chapter 2

In times so uncommon, so big with events,So hard on the poor, and so hurtful to trade,So fruitful with bunches of catchpenny-gents,When fortunes immense by Gass-lights are made,When Tunnels are carried quite under the Thames,And Hampstead and Highgate are each to be bor’d,When ev’ry Profession is teeming with schemes,And Cattle are free from the murrain insur’d;A plain honest Tradesman who keeps out of debt,Whose name is not seen in the London Gazette,May linger unnoticed, his labours unknown,Till Puff or Advertisement gives him theTon.Now be it thus known to all Persons of Fashion,And others of Rank, Pretension, or Station,Or Box Lobby Loungers, or rich plodding Cits,Who live by their acres, or exist by their wits:And so it be known to the few who have spiritAnd means to call forth the exertions of merit—Who kindly bestow their time and attentionOn the labours of Art and the works of Invention:ThatFancy, a Goddess by Artists respected,In thePlaceofRathbonehas aTempleerected,And thither her Vot’ries are ask’d to repair,To lounge away time, or drive away care;There pleasing politeness invites at the door,Whose mystical Number isThirtyandFour.TheTemple’s interior byFancyis grac’dWith efforts of Art, and productions of Taste;Where Science and Genius have happily blendedThe things which forshewand foruseare intended;There the Ladies will beautifulWork Tablesfind,OrPlateaus, orCabinets, form’d to their mind,Bedeck’d withMedallions, or finish’d withBorders,And varnish’d and polish’d according to orders;Writing Desks,Netting Boxes,Tunbridge Tea Caddies,For the Beaux prettyHousewives, andScreensfor the Ladies;Collections ofPrints, and newPublications,WithDrawingsandSketchesof latest new Fashions;Designs rich and various, each fancy to suit,OfFigures, ofInsects, ofFlowers, and ofFruit,OfCattle, ofTrees, and ofSongstersthat warble,With Articles fashion’d to imitateMarble;Transparenciesfitted to look like stain’d glass,AndBlindswhich the long-fam’d Venetian surpass;RichBordersandPapersfor Walls or Partitions,AndOvalsandCirclesfor Mathematicians;For the soft billet-douxPens,PaperandInk,And Ladies of Taste maydyewith thePink;There Soldiers withTrophiesmay gladden their souls,And Sailors may quickly arrive at thePoles;There Ladies withColoursmay heighten their graces,And Loungers withBronzemay replenish their faces;In the best-finish’d stateBristol Boardsare prepar’d;And there may be found each description ofCard,For the Lady who visits, or to parties invites,AndCardsfor the Clubs both at Brookes’s and White’s.In short, at thisTemplethe Public will meetWith Articles fanciful, useful, and neat,Which there will in tasteful profusion abound,And FULLER and FULLER will always be found.

PLATE I.STUDIES.

PLATE I.

STUDIES.

PLATE II.STUDY.

PLATE II.

STUDY.

PLATE III.STUDY.

PLATE III.

STUDY.

PLATE IV.STUDY.

PLATE IV.

STUDY.

PLATE V.STUDY.

PLATE V.

STUDY.

PLATE VI.NEAR KNOWLE, WARWICKSHIRE.

PLATE VI.

NEAR KNOWLE, WARWICKSHIRE.

PLATE VII.NEAR BROMLEY, KENT.

PLATE VII.

NEAR BROMLEY, KENT.

PLATE VIII.STUDIES.

PLATE VIII.

STUDIES.

DINAS MAWDDWY, NORTH WALES.ON THE BARMOUTH ROAD, NORTH WALES.PLATE IX.

DINAS MAWDDWY, NORTH WALES.

ON THE BARMOUTH ROAD, NORTH WALES.

PLATE IX.

NEAR BIRMINGHAM.NEAR LLANBERIS, NORTH WALES.PLATE X.

NEAR BIRMINGHAM.

NEAR LLANBERIS, NORTH WALES.

PLATE X.

PLATE XI.NEAR HAMPTON-IN-ARDEN, WARWICKSHIRE.

PLATE XI.

NEAR HAMPTON-IN-ARDEN, WARWICKSHIRE.

NORTH WALES.NEAR KNOWLE, WARWICKSHIRE.PLATE XII.

NORTH WALES.

NEAR KNOWLE, WARWICKSHIRE.

PLATE XII.

PLATE XIII.NEAR LEICESTER.

PLATE XIII.

NEAR LEICESTER.

PLATE XIV.NEAR LLANFAIR, NORTH WALES.

PLATE XIV.

NEAR LLANFAIR, NORTH WALES.

PLATE XV.NEAR LLANFAIR, NORTH WALES.

PLATE XV.

NEAR LLANFAIR, NORTH WALES.

PLATE XVI.ON BROMLEY HILL, KENT.

PLATE XVI.

ON BROMLEY HILL, KENT.

PLATE XVII.ON DULWICH COMMON, SURREY.

PLATE XVII.

ON DULWICH COMMON, SURREY.

PLATE XVIII.DOLBADARN TOWER, NORTH WALES.

PLATE XVIII.

DOLBADARN TOWER, NORTH WALES.

PLATE XIX.LLANFAIR CHURCH, NORTH WALES.

PLATE XIX.

LLANFAIR CHURCH, NORTH WALES.

PLATE XX.STUDY.

PLATE XX.

STUDY.

PLATE XXI.STUDY.

PLATE XXI.

STUDY.

PLATE XXII.BIRCH.

PLATE XXII.

BIRCH.

PLATE XXIII.ELM.

PLATE XXIII.

ELM.

PLATE XXIV.POLLARD WILLOW.

PLATE XXIV.

POLLARD WILLOW.

PLATE XXV.OAK.

PLATE XXV.

OAK.

PLATE XXVI.BEECH.

PLATE XXVI.

BEECH.

PLATE XXVII.ASH.

PLATE XXVII.

ASH.

PLATE XXVIII.ASTON HILL, NEAR BIRMINGHAM.

PLATE XXVIII.

ASTON HILL, NEAR BIRMINGHAM.

PLATE XXIX.BRIDGNORTH BRIDGE, SHROPSHIRE.

PLATE XXIX.

BRIDGNORTH BRIDGE, SHROPSHIRE.

PLATE XXX.PART OF KENILWORTH CASTLE.

PLATE XXX.

PART OF KENILWORTH CASTLE.

PLATE XXXI.HAMPTON-IN-ARDEN, WARWICKSHIRE.

PLATE XXXI.

HAMPTON-IN-ARDEN, WARWICKSHIRE.

PLATE XXXII.NEAR LLANFAIR, NORTH WALES.

PLATE XXXII.

NEAR LLANFAIR, NORTH WALES.

NO. 1.NO. 2.PART OF KENILWORTH CASTLE.PLATE XXXIII.

NO. 1.

NO. 2.

PART OF KENILWORTH CASTLE.

PLATE XXXIII.

NO. 3.NO. 4.PART OF KENILWORTH CASTLE.PLATE XXXIV.

NO. 3.

NO. 4.

PART OF KENILWORTH CASTLE.

PLATE XXXIV.

NO. 1.NO. 2.A STUDY.PLATE XXXV.

NO. 1.

NO. 2.

A STUDY.

PLATE XXXV.

PLATE XXXVI.STUDIES.

PLATE XXXVI.

STUDIES.

PLATE XXXVII.OLD BUILDINGS, HASTINGS.

PLATE XXXVII.

OLD BUILDINGS, HASTINGS.

PLATE XXXVIII.OLD BUILDINGS, LAMBETH.

PLATE XXXVIII.

OLD BUILDINGS, LAMBETH.

PLATE XXXIX.MORNING—VIEW OF WINDSOR CASTLE.

PLATE XXXIX.

MORNING—VIEW OF WINDSOR CASTLE.

PLATE XL.EVENING—VIEW OF CONWAY CASTLE.

PLATE XL.

EVENING—VIEW OF CONWAY CASTLE.

PLATE XLI.HAZY MORNING.

PLATE XLI.

HAZY MORNING.

PLATE XLII.MID-DAY.

PLATE XLII.

MID-DAY.

PLATE XLIII.A HEATH—CLOUDY EFFECT.

PLATE XLIII.

A HEATH—CLOUDY EFFECT.

PLATE XLIV.SNOWDON, NORTH WALES.

PLATE XLIV.

SNOWDON, NORTH WALES.

PLATE XLV.COTTAGE NEAR NORTH FLEET, KENT.

PLATE XLV.

COTTAGE NEAR NORTH FLEET, KENT.

PLATE XLVI.LANE AT EDGBASTON, NEAR BIRMINGHAM.

PLATE XLVI.

LANE AT EDGBASTON, NEAR BIRMINGHAM.

PLATE XLVII.AN EFFECT AFTER A STORM—VIEW ON THE COAST NEAR HARLECH, NORTH WALES.

PLATE XLVII.

AN EFFECT AFTER A STORM—VIEW ON THE COAST NEAR HARLECH, NORTH WALES.

PLATE XLVIII.TRANSIENT EFFECT—VIEW IN BATTERSEA MARSH.

PLATE XLVIII.

TRANSIENT EFFECT—VIEW IN BATTERSEA MARSH.

PLATE XLIX.DOLBADARN TOWER, LLANBERIS LAKE, NORTH WALES.

PLATE XLIX.

DOLBADARN TOWER, LLANBERIS LAKE, NORTH WALES.

PLATE L.PONT ABERGLASLYN, NORTH WALES.

PLATE L.

PONT ABERGLASLYN, NORTH WALES.

PLATE LI.HASTINGS FISHING-BOATS RETURNING ON THE APPROACH OF A STORM.

PLATE LI.

HASTINGS FISHING-BOATS RETURNING ON THE APPROACH OF A STORM.

PLATE LII.SHEEP-SHEARING—A VIEW IN SURREY.

PLATE LII.

SHEEP-SHEARING—A VIEW IN SURREY.

PLATE LIII.MORNING—FISH-MARKET ON THE BEACH, HASTINGS.

PLATE LIII.

MORNING—FISH-MARKET ON THE BEACH, HASTINGS.

PLATE LIV.TWILIGHT—WARWICK CASTLE.

PLATE LIV.

TWILIGHT—WARWICK CASTLE.

PLATE LV.MORNING—ETON COLLEGE.

PLATE LV.

MORNING—ETON COLLEGE.

PLATE LVI.NOON—LLANELLTYD VALE, NORTH WALES.

PLATE LVI.

NOON—LLANELLTYD VALE, NORTH WALES.

PLATE LVIIPART OF BATTLE ABBEYThis subject is selected, as being the most simple, both in its design and colouring, that could well have been fixed upon: still, however, it will be necessary to give a description of the tints used, viz.—The sky is coloured with indigo alone; the clouds with indigo mixed with light red; the distance, indigo finished with the same colour, and a little lake; the building is washed over with indigo, light red, and a little gamboge; and the shadowed parts of it with indigo and lake, finished with Vandyke brown and a little indigo. The greens in the foreground are composed of indigo, burnt sienna, and gamboge, finished with Vandyke brown.

PLATE LVII

PART OF BATTLE ABBEY

This subject is selected, as being the most simple, both in its design and colouring, that could well have been fixed upon: still, however, it will be necessary to give a description of the tints used, viz.—The sky is coloured with indigo alone; the clouds with indigo mixed with light red; the distance, indigo finished with the same colour, and a little lake; the building is washed over with indigo, light red, and a little gamboge; and the shadowed parts of it with indigo and lake, finished with Vandyke brown and a little indigo. The greens in the foreground are composed of indigo, burnt sienna, and gamboge, finished with Vandyke brown.

PLATE LVIIIVIEW IN SURREYIs intended as a contrast to the foregoing Plate, producing, by the effect of a dark sky, a strong light upon the principal object. The colours for the sky are composed of indigo, lake, and ivory black; the distance, indigo finished with the same colour and a little lake. That part of the cottage where the light is strongly reflected, is yellow ochre, with a little burnt sienna mixed in the richer tones; the roof is black and lake, with a little burnt sienna, finished with the same; the shadows and the grey tint upon the timber, indigo and Indian red; the road, with indigo and Indian red also, which is finished with Vandyke brown and lake. The greens for the bank and the bushes are indigo, burnt sienna, and gamboge, completed with indigo and brown pink, and a few touches of Vandyke brown.

PLATE LVIII

VIEW IN SURREY

Is intended as a contrast to the foregoing Plate, producing, by the effect of a dark sky, a strong light upon the principal object. The colours for the sky are composed of indigo, lake, and ivory black; the distance, indigo finished with the same colour and a little lake. That part of the cottage where the light is strongly reflected, is yellow ochre, with a little burnt sienna mixed in the richer tones; the roof is black and lake, with a little burnt sienna, finished with the same; the shadows and the grey tint upon the timber, indigo and Indian red; the road, with indigo and Indian red also, which is finished with Vandyke brown and lake. The greens for the bank and the bushes are indigo, burnt sienna, and gamboge, completed with indigo and brown pink, and a few touches of Vandyke brown.

PLATE LIXEFFECT, MORNINGMorning Effect should be produced by sparkling and catching lights. A scene on the banks of a river is here intended to produce the effect, while the clear reflection of the different objects in the water gives stillness to the scene; and the people crossing in the ferry-boat to market is an incident which materially tends to stamp the character and elucidate the effect of the picture. The sky tints are composed of indigo, lake, and a little gamboge, gradually softened in with light ochre towards the horizon; the upper part of the sky is finished with a little ultramarine; the water washed in with the same tints as the lower part of the sky; the distance, indigo and a little light red; the trees and bank, in the second distance, indigo and Indian red, re-touched in the lights with light ochre and gamboge; the shadows upon the house, indigo and Indian red; the light side, light ochre; the foreground trees, bank, and weeds are worked in with a grey composed of indigo, Indian red, and brown pink, finished with the same three colours, preserving some quite white for the sparkling lights, which are to be carefully filled up with gamboge and indigo; the bark of the trees, indigo and Indian red; the whole of the foreground finished with indigo and burnt sienna, heightened up with Vandyke brown.

PLATE LIX

EFFECT, MORNING

Morning Effect should be produced by sparkling and catching lights. A scene on the banks of a river is here intended to produce the effect, while the clear reflection of the different objects in the water gives stillness to the scene; and the people crossing in the ferry-boat to market is an incident which materially tends to stamp the character and elucidate the effect of the picture. The sky tints are composed of indigo, lake, and a little gamboge, gradually softened in with light ochre towards the horizon; the upper part of the sky is finished with a little ultramarine; the water washed in with the same tints as the lower part of the sky; the distance, indigo and a little light red; the trees and bank, in the second distance, indigo and Indian red, re-touched in the lights with light ochre and gamboge; the shadows upon the house, indigo and Indian red; the light side, light ochre; the foreground trees, bank, and weeds are worked in with a grey composed of indigo, Indian red, and brown pink, finished with the same three colours, preserving some quite white for the sparkling lights, which are to be carefully filled up with gamboge and indigo; the bark of the trees, indigo and Indian red; the whole of the foreground finished with indigo and burnt sienna, heightened up with Vandyke brown.

PLATE LXEFFECT, MID-DAYAs the light is required to be broad, an open scene appears well calculated to produce the effect; and a Corn-field is made choice of. The colours for the sky are indigo and lake; the foliage in the distance, indigo and Indian red; the corn-field, yellow ochre, finished with yellow ochre and Vandyke brown; the bushes in front, indigo, Indian red, and brown pink; the road, light red; the foreground finished with Vandyke brown.

PLATE LX

EFFECT, MID-DAY

As the light is required to be broad, an open scene appears well calculated to produce the effect; and a Corn-field is made choice of. The colours for the sky are indigo and lake; the foliage in the distance, indigo and Indian red; the corn-field, yellow ochre, finished with yellow ochre and Vandyke brown; the bushes in front, indigo, Indian red, and brown pink; the road, light red; the foreground finished with Vandyke brown.

PLATE LXIEVENING. VIEW OF WINDSOR CASTLEThe upper part of the sky is coloured with indigo, lake, and a little gamboge, gradually softened in with light ochre as it descends, and toward the horizon with light red. The Castle is laid in with a warm tint of indigo and light red, then shaded lightly with indigo and lake. The different greens in the woods are composed of indigo, burnt sienna, and gamboge, varied as required; the shadows in the nearer parts, indigo and burnt sienna; the water with the same colours. The trees in the foreground are indigo and burnt sienna, and the finishing touches with Vandyke brown. The whole of the foreground and wood glazed with brown pink.

PLATE LXI

EVENING. VIEW OF WINDSOR CASTLE

The upper part of the sky is coloured with indigo, lake, and a little gamboge, gradually softened in with light ochre as it descends, and toward the horizon with light red. The Castle is laid in with a warm tint of indigo and light red, then shaded lightly with indigo and lake. The different greens in the woods are composed of indigo, burnt sienna, and gamboge, varied as required; the shadows in the nearer parts, indigo and burnt sienna; the water with the same colours. The trees in the foreground are indigo and burnt sienna, and the finishing touches with Vandyke brown. The whole of the foreground and wood glazed with brown pink.

PLATE LXIITWILIGHT. VIEW OF HARLECH CASTLE NORTH WALESThe grey tint in the sky is composed with indigo and Indian red, and the horizon is coloured with light ochre; the distant mountains with indigo, finished with the same, mixed with lake, and a little Venetian red on the light sides; the nearer mountains, indigo, lake, and Venetian red; the Castle, with the same; the rocks and foreground, lake, ivory, black and burnt sienna; the greens, burnt sienna, gamboge, and indigo; the trees, indigo and burnt sienna, heightened with spirited touches of Vandyke brown.

PLATE LXII

TWILIGHT. VIEW OF HARLECH CASTLE NORTH WALES

The grey tint in the sky is composed with indigo and Indian red, and the horizon is coloured with light ochre; the distant mountains with indigo, finished with the same, mixed with lake, and a little Venetian red on the light sides; the nearer mountains, indigo, lake, and Venetian red; the Castle, with the same; the rocks and foreground, lake, ivory, black and burnt sienna; the greens, burnt sienna, gamboge, and indigo; the trees, indigo and burnt sienna, heightened with spirited touches of Vandyke brown.

PLATE LXIIIWINDThe general tone of colour is a silvery grey, upon which the effect of the piece most materially depends; the sky, indigo and Indian red throughout, with a little warm tint upon the edges of the clouds; the distance, indigo, gradually adding Indian red towards the middle and foreground; the Mill, with the same colour, glazed lightly with Vandyke brown; the heath, indigo and burnt sienna, with clear touches of lake and a very little indigo for the bloom of the wild flowers, etc., finished with Vandyke brown.

PLATE LXIII

WIND

The general tone of colour is a silvery grey, upon which the effect of the piece most materially depends; the sky, indigo and Indian red throughout, with a little warm tint upon the edges of the clouds; the distance, indigo, gradually adding Indian red towards the middle and foreground; the Mill, with the same colour, glazed lightly with Vandyke brown; the heath, indigo and burnt sienna, with clear touches of lake and a very little indigo for the bloom of the wild flowers, etc., finished with Vandyke brown.

PLATE LXIVRAINThe clouds, indigo and Indian red, finished with indigo and lake, and a few touches of light red, subdued with a little indigo on the edges of the clouds; the distance, with the same grey colour as the clouds; the bright greens, burnt sienna, indigo, and gamboge, glazed with Vandyke brown; the gipsey tents are lightly coloured with lake and a little black, and varied with a few clear tints.

PLATE LXIV

RAIN

The clouds, indigo and Indian red, finished with indigo and lake, and a few touches of light red, subdued with a little indigo on the edges of the clouds; the distance, with the same grey colour as the clouds; the bright greens, burnt sienna, indigo, and gamboge, glazed with Vandyke brown; the gipsey tents are lightly coloured with lake and a little black, and varied with a few clear tints.

PLATE LXVCALM. HASTINGS FISHING-BOATSThe blue sky is coloured with indigo and a little lake; the clouds, with indigo and Indian red; the sea, indigo, gamboge, and a little lake; the boats, sails, etc., with a grey tint of indigo and Indian red mixed, glazed with Vandyke brown and burnt sienna; the figures shaded with the same grey as the boats, and coloured as may be required.

PLATE LXV

CALM. HASTINGS FISHING-BOATS

The blue sky is coloured with indigo and a little lake; the clouds, with indigo and Indian red; the sea, indigo, gamboge, and a little lake; the boats, sails, etc., with a grey tint of indigo and Indian red mixed, glazed with Vandyke brown and burnt sienna; the figures shaded with the same grey as the boats, and coloured as may be required.

PLATE LXVISTORM. VIEW NEAR HASTINGSThe colour of the clouds is composed with indigo, lake, and black; the warmer parts, indigo and light red; the sea, indigo and Vandyke brown; the rocks laid in with indigo and Indian red, and enriched with tints of lake, Vandyke brown, and burnt sienna, finished with a few decided touches of Vandyke brown.

PLATE LXVI

STORM. VIEW NEAR HASTINGS

The colour of the clouds is composed with indigo, lake, and black; the warmer parts, indigo and light red; the sea, indigo and Vandyke brown; the rocks laid in with indigo and Indian red, and enriched with tints of lake, Vandyke brown, and burnt sienna, finished with a few decided touches of Vandyke brown.

PLATE LXVIICLOUDY EFFECT. DISTANT VIEW OF CARNARVON CASTLEA mixture of indigo, lake, and black for the clouds; distance with indigo and lake; and the middle distance, indigo, lake, and brown pink; the rocks and foreground are shaded with lake and black; the lights varied with a little yellow ochre, also with indigo and lake mixed; the green, indigo and burnt sienna, glazed with brown pink.

PLATE LXVII

CLOUDY EFFECT. DISTANT VIEW OF CARNARVON CASTLE

A mixture of indigo, lake, and black for the clouds; distance with indigo and lake; and the middle distance, indigo, lake, and brown pink; the rocks and foreground are shaded with lake and black; the lights varied with a little yellow ochre, also with indigo and lake mixed; the green, indigo and burnt sienna, glazed with brown pink.

PLATE LXVIIIMISTY MORNINGThe sky is laid in with indigo and Indian red, softened with light ochre toward the horizon; the whole of the trees, water, bank, etc., are first worked in with a tint composed of indigo, Indian red, and a little brown pink, afterwards glazed with brown pink, indigo, and burnt sienna, as the warmth or coldness of the objects may require.

PLATE LXVIII

MISTY MORNING

The sky is laid in with indigo and Indian red, softened with light ochre toward the horizon; the whole of the trees, water, bank, etc., are first worked in with a tint composed of indigo, Indian red, and a little brown pink, afterwards glazed with brown pink, indigo, and burnt sienna, as the warmth or coldness of the objects may require.

PLATE LXIXAFTERNOON EFFECT. VIEW IN SURREYThe warm tint in the sky is composed with indigo, light red, and yellow ochre, adding more ochre towards the sun; the clouds, indigo and Indian red, tinged with a little yellow ochre; the whole of the landscape laid in with indigo, Indian red, and brown pink, and glazed with brown pink, Vandyke brown, and indigo; the sheep, shaded with indigo and light red mixed, and tinted with light ochre.

PLATE LXIX

AFTERNOON EFFECT. VIEW IN SURREY

The warm tint in the sky is composed with indigo, light red, and yellow ochre, adding more ochre towards the sun; the clouds, indigo and Indian red, tinged with a little yellow ochre; the whole of the landscape laid in with indigo, Indian red, and brown pink, and glazed with brown pink, Vandyke brown, and indigo; the sheep, shaded with indigo and light red mixed, and tinted with light ochre.

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