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CONTENTS

Preface xi Four Things to Look for When Identifying Value

Introduction Structure on a Form 71
Various Methods for Applying Value 73
Exercises for Promoting a General-to-Specific
Essential Skills and Approach 79
Information 3 Controll ing Some Variables of Value Structure 81
WHAT EVERY STUDENT SHOULD KNOW ABOUT DRAWING
The Illusion of Space and Depth
Sighting and the Use of a Sighting Stick 3 on a Two-Dimensional Surface 81
Why Use Sighting? 3 Methods for Indicating Space and Depth 81
Guidelines for Sighting 3 Different Kinds of Space 85
Applications of Sighting 5
Transferring Sighting Observations to a The Technique of Scaling to Determine
Drawing Surface 13 Accurate Size Relationships 88
Establishing Scale Successfully 88
The Principles of Composition: The Process of Scaling 90
Theory Versus Application 14
General Guidelines for Scaling 94
Review of Some Simple Definitions 15
Visual Principles of Composition 17 Creating an Effective Still Life 97
Variable Compositional Elements to Consider 21 What Kinds of Objects Should Be Included? 97
Using a Viewfinder: What Does It Do for You? 22 Additional Considerations for Still Liles 99
General Guidelines Concerning Composition 24 The Meaning of Still- Life Objects 100
Thumbnail Studies as a Method for Exploring Using Photographic References 102
Composition 32

The Golden Section 35 Spatial Thinking and

What Is the Golden Section? 36 Visualization 105
Constructing a Golden Rectangle 37 THE ESSENTIAL PRINCIPLES OF PERSPECTIVE DRAWING
The Fibonacci Series 39
An Introduction to Perspective 105
Line Variation and Sensitivity 42 What Is Perspective? 105
Working from General to Specific 42 Different Types of Perspective 105
The Medium and Surface 42 Basic Principles of Linear Perspective 108
What Is Meant by "Sensitive" Line? 42 Perspective and Sighting 108
Achieving Line Variation and Line Sensitivity 43 Limitations of Linear Perspective 109
Different Kinds and Functions of Line 50 Recommended Sequencing for Maximum
Straight-Line Construction 59 Comprehension 109
Planar Construction 61 Suggestions for Effective Perspective
Drawing 110
Working with Value Structure 63 Perspective Materials List 112
A General-to-Specific Approach to Building
Value Structure 64 The Terminology of Perspective 113
Using Value to Establish an Effect Primary Working Terminology 113
or a Mood 66 Related Terminology 114
Value and Texture 68 Additional Useful Terminology 115
_j vii
viii ~ ONTENTS

The Process of Dividing a Form 140

Perspective and Cubes 115
Applications for the Use of Regular
Constructing a Cube in One-Point Perspective 115
and Irregular Divisions 141
Constructing a Cube in Two-Point Perspective
Based on Estimation of Cube Depth in Relation Inclined Planes in Perspective 142
to Cube Height 116 Auxiliary Vanishing Points and the Vertical Trace 143
Estimating Cube Depth in Two-Point Perspective 120
Geometric Solids and Transparent
Using Perspective Grids 120 Construction 146
Constructing a Gridded Ground Plane in One-Point What Is Transparent Construction? 146
Perspective 121 Establishing the Cubic Connection 146
Constructing a Gridded Ground Plane in Two-Point
Perspective 121 Three-Point Perspective 148
Constructing a Form in Three-Point
Increasing Complexity in the Perspective
Perspective 151
Environment 124
Multiple or Sliding Vanishing Points 124 Suggested Perspective Exercises 153
Cube Multipl ication 127
Cube Division 129
Essential Drawing
Constructing Ellipses in Principles in Relation
One-Point and Two-Point Perspective 131 to the Human Figure 164
The Eight-Point Tangent System for Ellipse
The Human Figure 164
Construction 131
Why Study the Human Figure? 164
Major and Minor Axes, Distortion, and Fullness
Classroom Etiquette When Drawing
of Ellipses 132
from a Model 166

Advanced Perspective The Process of Sighting in Relation

to the Human Form 166
Techniques 135
Comparative Proportions in the Male
Taking Perspective to the Next Level 135 and Female Figure 172

Mathematically Precise Cubes Gesture Drawing or Rapid Contour

in Two-Point Perspective 136 Drawing 175

Constructing a 30°/60° Cube Based on the Height Seeing Is the Key 176
of the Leading Edge 136 Using Axis Lines 177
Constructing a 45°/45° Cube Based on the Size Keeping It Simple 177
of the Base Square 137 Setting the Pace 178
First Alternative Method for Constructing Working from the Inside Out 178
a 45°/45° Cube 138
Enhancing the Illusion of Volume and Space
Second Alternative Method for Constructing
in the Human Form 178
a 45°/45° Cube 139
Line Variation in Figure Draw ing 178
Using Measuring Lines for Equal and Unequal Scaling Techn iques in Figure Drawing 179
Divisions of an Area 140 A General -to-Specific Approach to Form
Setting Up the Measuring Line 140 and Value in Figure Drawing 180
 CON T ENT~ ix

An Introduction to Portraiture 182 Drawing with Color Media 231

Common Errors 182
Colored Pencils 231
General Guidelines for Locating Facial Features
and Other Landmarks 184 Student-Grade Colored Pencils 232
The Features and Other Significant Aspects Artist-Grade Colored Pencils 232
of Portraiture 187 Building Your Colored Pencil Collection 233
An Alternative Viewpoint in Portraiture 196 Colored Pencil Accessories 234
Advantages and Disadvantages of Working
Mapping the Figure in Space 198 with Colored Pencils 235
Drawing the Figure in an Observed Environment 198 Colored Pencil Papers 235
Using Straight- Line Construction 199 Colored Pencil Techniques 236
Creating Visual Paths of Movement 199 Resolving Some Limitations of Colored Pencil 237

The Figure and Anatomy 201 Pastels 238

Artistic Anatomy Versus Medical Anatomy 201 Student-Grade Pastels 239
Anatomy Reveals Itself 203 Artist -Grade Pastels 239
Major Bones of the Human Skeletal Structure 208 Pastel Pencils 241
Bony and Other Landmarks in the Figure 210 Pastel Accessories 241
Additional Information About the Human Advantages and Disadvantages
Skeletal Structure 215 of Working with Pastels 244
Superficial Muscles of the Human Figure 218 Pastel Papers and Substrates 244
Anatomical Terminology 224 Pastel Techniques 245
Basic Working Procedures 246

Color Theory and Oil Pastels 247

Application 225 Student-Grade Oil Pastels 248

Artist-Grade Oil Pastels 248
Color plate section follows page 256
Building Your Oil Pastel Collection 249

Understanding Color 225 Oil Pastel Accessories 249

Advantages and Disadvantages of Working
Color Terminology 225
with Oil Pastels 251
The Seven Color Contrasts 227
Oil Pastel Papers and Substrates 251
Color Harmony and Color Chords 229
Oil Pastel Techniques 252
The Spatial and Volumetric Effects Basic Working Procedures 254
of Color 229
Some Final Thoughts About Working
Value and Color 229
with Color 255
Temperature and Color 230
Intensity and Color 230
Volume and Color 230 Developing Ideas, Resolving
Problems, and Evaluating
Hints for Observing and
Results 257
Recording Color 230
Value in a Color Drawing 230 Ideation: Generating Ideas 257
Intensity in a Color Drawing 231 Imaginative Thinking and the Brain 257
Complements in a Color Drawing 231 Imagination, Creativity, and Brainstorming 258
~ ON TENTS

Additional Materials for Drawing and Related

Diagnosing Problems in Your Work 258
Processes 292
Inaccurate Proportional, Scale, or Shape
Relationships 259 Transfer Techniques Combined with Drawing 299
Multiple Perspective Eye Levels 260 Photocopy and Laser Print Transfers 299
Foreshortening Inaccuracies or a Lack Acrylic Medium Transfers 303
of Foreshortening 260 Lazertran Transfers 304
Flat and Restricted Line Work 261
Details or Specifics at the Expense of the Larger
and More General Underlying Forms 261 Appendix: Contemporary Art 308
Scaling Inaccuracies in Relation to Perspective A Gallery of Drawings 308
Principles 262
Color plate section follows page 352
Lack of Volume or Timid Value Structure in
Three-Dimensional Forms 262
Overly Generalized Drawing 262 Joe Bief 308
Substituting Recipes or Formulas for Dustan Creech 312
Careful Observation 263
Bailey Doogan 314
Unintentionally Ambiguous Space 263
Dan Fischer 317
Rigid or Pristine Drawings Lacking
a Sense of Process 263 Sangram Majumdar 320
Disregard for or Poor Composition 263 Antony Micallef 324
Chloe Piene 326
Intentions Versus Results 264
Discovering Disparity 264 Ben Polsky 328

Descriptive Feedback 264 Jon Rappfeye 332

Interpretive Feedback 265 Robert Schultz 336

The Importance of Critiques 266 Jenny Scobel 339

Group Critiques 266 Joseph Stashkevetch 343

Individual Critiques 267 Armin Mersmann 346
Julia Randall 349
Key Questions for Critiquing Work 267
Daniel E. Greene 349
Questions Regarding Composition 267
Questions Regarding Drawing 268 Lilian Kreutzberger 349
Questions Regarding Figure Drawing 269 Rob Womack 349
Questions Regarding Perspective 270
Nathan Heuer 350
Questions Regarding Color 271
Aneka Ingold 350

fan Ingram 351

Drawing Materials Zaria Forman 351
and Processes 272
Juan Perdiguero 352
Media and Materials for Drawing 272
Traditional and Nontraditional Drawing Surfaces Glossary of Art Terms 353
and Substrates 272 Bibliography 368
Traditional and Nontraditional Drawing Media 282 Index 370
PREFACE

T
he teaching of drawing as a fundamental discipline for Organization and Content
developing artists is of paramount concern to me, as
anyone who is familiar with my first book, The Art of The book is organized in terms of both direct studio ex-
Teaching Art: A Guide to Teaching and Learning the periences that are necessary for a solid and thorough
Foundations of Drawing-Based Art, will know. The sig- two-dimensional foundation education and supplemen-
nificance of the foundation experience for students of tal information that facilitates and informs the drawing
visual art cannot be overstated. The quality of this in- experience. Throughout the book, I emphasize the culti-
troductory experience has the power to broadly influ- vation of observational skills, increased sensitivity, tech-
ence a student's long-term attitude toward his or her nical refinement, critical thinking, and knowledge of
education in the arts . And, in considering all the vari- materials. More than 500 illustrations (including many
ables involved in this foundational experience, no high-quality student drawings) are provided with cap-
factor is more important than the teacher. She or he has tions that clarify the primary technical, formal, and/or
the capacity to create an atmosphere of wonder, confi- conceptual concern of each piece.
dence, and enthusiasm for the experience of learning, Chapter One addresses drawing experiences that are
or to create an atmosphere of dread, defeat, and dis- broadly applicable to any subject matter. Included are
couragement. As the facilitator of the learning experi- sighting methods for observing and recording relative
ence, the instructor's knowledge base, communication proportions, the relationship between parts and the
skills, self-confidence, preparedness, and enthusiasm whole, and an explanation of how and why sighting
for teaching are vital to a positive experience for both works; a comprehensive outline of fundamental compo-
the students and the instructor. sitional concerns including a discussion of viewfinders
Drawing Essentials: A Complete Guide to Drawing and the ways in which they aid composition, the visual
is designed to support instructors' efforts in making principles of composition, compositional variables, and
this foundational experience a rich and satisfying one the significance of thumbnail studies; a discussion of the
for students. As an introductory text for beginning Golden Section as an organizational and compositional
drawing students, Drawing Essentials is a no-frills, device and its relationship to the Fibonacci Series; tech-
nuts-and-bolts approach that addresses foundation- niques for creating meaningful line variation that com-
level drawing based on the classic model of highly at- municates form, volume, and space (including
tuned observational drawing. Unlike some drawing straight-line and planar construction); guidelines for
textbooks, Drawing Essentials does not specifically ad- observing and addressing tonal or value structure and
dress contemporary art movements or the history of how to use a general-to-specific method of tonal devel-
drawing, nor is it focused on extensive experimenta- opment; methods for developing space and depth on a
tion. While I consider these issues to be an important two-dimensional surface using achromatic media; scal-
and vital part of any art student's educational experi- ing techniques for determining consistent size relation-
ence, my primary focus is on essential foundational ships and placement of multiple forms in a spatial
experiences that provide a rich context for more ad- environment; and considerations for creating and light-
vanced and experimental explorations of drawing and ing an interesting and instructive still life arrangement.
related disciplines, and that help to clarify the rela- Chapter Two introduces perspective drawing with
tionship of drawing to both contemporary and histori- an emphasis on understanding perspective at an intro-
cal paradigms for the creation of art. ductory level. It demystifies this often-intimidating sub-
Drawing Essentials thoroughly addresses the three ject and is presented in a sequential manner so that each
drawing subcategories that are most important at the new area of investigation builds naturally on prior infor-
foundation level-basic drawing (non-subject-specific), mation to maximize comprehension. Both technical and
figure drawing (including anatomy), and perspective freehand perspective are introduced with an emphasis
drawing-explaining clearly and in depth the elements on the significance of a "perfect" cube as the geometric
that are essential to depicting form and space on a two- basis for creating a wide variety of forms and structures
dimensional surface. It is unique in that it clearly and that define and describe space and volume. Following a
thoroughly explains and illustrates key studio experi- discussion of the importance of proficiency in perspec-
ences that are not, in my estimation, satisfactorily fleshed tive and a list of relevant materials, tools, and vocabulary
out for students in other drawing textbooks. terms, concise instructions are given for one- and

_j xi
xii ~REFAC E

two-point cube construction and estimation of cube evaluating one's own work as well as evaluating the work
depth. An understanding of basic cube construction of others. Suggestions are made for identifying technical
provides the building blocks (quite literally) for in-depth and formal problems that repeatedly surface in founda-
investigations of gridded planes in both one- and two- tion-level work, with guidance provided for identifying
point perspective; multiple or sliding vanishing points and diagnosing what ails a drawing and what remedies
and when to use them; cube multiplication and cube di- will facilitate progress and improvement. Both group
vision; and the accurate construction of ellipses. and individual critiques are considered, citing the
Chapter Three, an elaboration of Chapter Two, ex- unique aspects and advantages of each. Key questions
plores more advanced perspective techniques. Topics for critiquing are provided to help guide the process of
include constructing mathematically precise cubes; identifying strengths and weaknesses in one's own work
using measuring lines for equal and unequal divisions of and the work of others. These questions are organized
an area; creating inclined planes such as stairways, roof- into categories such as composition, drawing, figure
tops, and box flaps; drawing geometric solids derived drawing, perspective, and color.
from cubes; transparent construction as a method for Chapter Seven provides an extensive discussion of
drawing a variety of cube-based objects; an introduction drawing materials and elaborates on both traditional and
to three-point perspective; and a series of perspective ex- non-traditional drawing media, drawing papers, and
ercises based on both observation and invention that other substrates. Included are instructions for alterna-
offer opportunities for a more creative exploration of tive processes that can be combined with drawing, such
both technical and freehand perspective. as photocopy or laser print transfers and Lazertran
Chapter Four applies basic drawing principles to the transfer processes that expand the experience of draw-
unique challenges presented by the human form, intro- ing. Numerous drawings and mixed media work by ad-
ducing information vital to studying and drawing the vanced students and widely recognized contemporary
figure. Included are guidelines for classroom etiquette artists are provided.
when drawing from a model; the application of sighting An Appendix features the work of more than 20 con-
in relation to the human figure; a comparison of male temporary artists whose studio practice is centered on
and female proportions; key elements of gesture draw- drawing and whose work both reinforces and expands
ing; consideration of volume and space in relation to the upon the traditional definitions of drawing. Some work fo-
figure; an in-depth discussion of portraiture; exercises cuses on representation and observationally based drawing,
for "mapping" the figure in an observed spatial environ- while other work explores expressive and/or interpretive
ment; the importance of artistic anatomy in the study of approaches to the practice of drawing. A brief discussion of
the figure; and a comprehensive outline and discussion the conceptual emphasis of each artist's work provides a
of significant skeletal and muscle structure that forms framework for understanding his or her intentions.
the basis for understanding artistic anatomy. Rather than rely primarily on illustrations by histori-
Chapter Five addresses both color theory and the cal masters and some contemporary artists, I've chosen to
use of color media in drawing. Beginning with an ex- include many illustrations created by students at all levels
ploration of fundamental color theory, the chapter pro- who have studied at Kendall College of Art and Design.
gresses to an in -depth investigation of color drawing Students of drawing have many resources for viewing the
media, specifically colored pencils, soft pastels, and oil work of established artists, but, for the beginning student,
pastels. Each medium is discussed individually with in- a textbook full of masterworks can be intimidating and
formation regarding the characteristics of the medium, even discouraging. To see what other students can accom-
information regarding student-grade and artist-grade plish using this book as a course of study establishes more
materials, tools and accessories for working with the accessible goals based on the work of peers. This edition
medium, advantages and disadvantages inherent in also provides powerful examples of what more advanced
working with each medium, suitable papers and other students can accomplish with a strong foundation draw-
substrates, and techniques and processes specific to ing background. Additionally, there are carefully selected
each medium. Over fifty full-color illustrations accom- drawings by historical masters and contemporary artists
pany the text to clarify the concepts being presented. throughout the book whose work highlights the accom-
Chapter Six begins with a discussion of the process plishments of the masters and the significance of drawing
of generating ideas and continues with a discussion of in contemporary studio practice.
 PREFAC~ Xiii

This edition reflects my belief that drawing is the Twenty-two artists and examples of their work are
backbone for nearly all of the visual arts. Whether it is featured in the Contemporary Art: A Gallery ofDrawings
used as an end unto itself or as support for other forms of appendix. The appendix in the third edition has been ex-
expression (painting, printmaking, sculpture, illustra- panded to include new work by Nathan Heuer and the
tion, story boards, furniture design, industrial design, addition of four new artists and their work-Aneka
interior design, architectural blueprints, advertising Ingold, Ian Ingram, Zaria Forman, and Juan Perdiguero.
design, etc.), the ability to draw is an invaluable skill and Ninety-eight works are featured, including thirty-two
drawing is an exquisitely expressive medium. new works in full color.
In choosing the artists featured in Contemporary Art:
A Gallery of Drawings, I am especially interested in pro-
New to This Edition viding examples of a variety of traditional and experi-
mental media, techniques, and substrates, a range of
I have updated the book throughout, making numerous subject matter, and various strategies employed in the
changes and additions that are mostly image-based. In expression of ideas. This variety includes drawings made
response to suggestions from both students and instruc- from direct observation, drawings that rely on photo-
tors who use the second edition of Drawing Essentials, I graphic sources, drawings that explore expressive inter-
have included nineteen new works from historical mas- pretation, drawings that engage with imaginative
ters to illustrate a number of key concepts. This includes invention, drawings that are dependent upon color
nine additional masters' works in Chapter One, one in media, and drawings that utilize color as a secondary or
Chapter Two, seven in Chapter Four, and two in Chapter supportive component, as well as achromatic drawings,
Five. mixed media drawings, and more. There is so much
Chapter Four, with a continued emphasis on the work to choose from , and it is a daunting task to narrow
figure and artistic anatomy, includes additional talking my options to a manageable number of artists and their
points in relation to the skeletal structure and its impact work. I hope you enjoy the work featured in A Gallery of
on the human body. These talking points help students Drawings.
to understand the skeletal structure more thoroughly as For the first time in this third edition, I am including
well as helping them to compare and contrast various (when possible) the name of the instructor with whom
components of the skeleton and their specific functions. a student worked when I use a student drawing as an il-
Recognizing similarities and differences in the structure lustration. In earlier editions of Drawing Essentials as
and function of various parts of the skeleton takes the well as The Art of Teaching Art, the majority of the student
experience of studying artistic anatomy beyond simple work I used was drawn by students in my classes. As the
memorization and helps to create a curiosity concerning structure of programs at Kendall transformed over the
the presence and function of anatomy in our own bodies. years and enrollment continued to expand, additional
A good amount of the student work included through- faculty were hired and multiple sections of courses were
out Drawing Essentials is created by students in founda- offered, providing me with much more great student work
tion-level courses. In acknowledging the positive impact to use in subsequent editions. I am grateful for the access
of strong foundational skills on the work of more mature I have to all of the student work created under the instruc-
artists, I also continue to include the work of advanced tion of my colleagues. In those instances where no in-
undergraduate students in our BFA programs as well as structor is noted, either the instructor is unknown or I
graduate students in our MFA programs. Individual was the instructor.
drawings by contemporary artists, some well-known and This third edition of Drawing Essentials is the culmi-
others lesser known, can also be found throughout Draw- nation of thirty-four years of teaching experience and
ing Essentials. I think it is beneficial for both students and represents my passion for all that drawing is, my love for
instructors to experience a variety of work from diverse teaching and learning, and my desire to assist both stu-
sources in providing visual examples as companions to dents and instructors in their pursuit of excellence.
text. In Chapters One through Seven, there are seventy- Without question, the student of drawing embarks on a
two new works included. Some of these new works re- life-changing journey of great challenge, reward, and
place works from the second edition, while other new personal responsibility. I hope this book enriches your
works expand upon the existing illustrations. travels all along the way!
xiv ~AEFACE

Acknowledgments Community College; Scott Wakefield, Community Col-

lege of Aurora; Ben Willis, Arizona State University; and
Many people have encouraged, supported, and assisted two anonymous reviewers. Your feedback and support
me in preparing the third edition of Drawing Essentials. are invaluable.
Thanks to my dearest friends- Daniel Dauser, Many thanks to the following galleries, museums,
Stephen and Anna Halko, Patrick Foley, Barbara Corbin, foundations, and individuals who granted me permis-
Gypsy Schindler, Pam Potgeter, and Linda Burton-for sion to reproduce artists' works at no cost: Ann Nathan
your love, your friendship, and your support. Gallery, Chicago; Byrneboehm Gallery, Grand Rapids,
Thanks to my students, without whom there would MI; Derek Eller Gallery, New York; Etherton Gallery,
be no book. All of you inspire me most to share my expe- Tucson, AZ; Goff and Rosenthal Gallery, New York;
rience of teaching and my passion for drawing. From Greg Kucera Gallery, Seattle, WA; jeff Bailey Gallery,
first-year students to seniors, from undergraduate to New York; The ). Paul Getty Museum, Los Angeles;
graduate students, it is your work that breathes life into LaFontsee Galleries, Grand Rapids, MI; Von Lintel
my words. Gallery, New York; and Richard Grant, Executive Director
Thanks to my colleagues at Kendall College of Art of the Richard Diebenkorn Foundation, for your generous
and Design from whom I have learned so much over the permission to reproduce drawings by Richard Diebenkorn.
years, especially my colleagues from the drawing and Thanks to Manfred Maier, author of Basic Principles of
printmaking programs. I am grateful to be surrounded Design, for providing permission to reproduce student
by people who share my passion for teaching and who work from the School of Design in Basel, Switzerland. I am
somehow find time to continue making art in the midst grateful to all of you for your generosity.
of all that you do: Stephen Halko, Marie! Versluis, Gypsy Special thanks to all of the professional artists who
Schindler, Danielle Wyckoff, Patricia Constantine, graciously provided permission for the use of their work,
Devin DuMond, Sarah Weber, Taylor Greenfield, and including Michael Alderson, Kelly Allen, Ralph Allured,
Sarah Knill. I value your commitment to your students joe Biel, Matthew Boonstra, Sandra Burshell, jay
and your colleagues. Special thanks to former President Constantine, Dustan Creech, Bailey Doogan, Stephen
David Rosen for providing me with release time to work Duren, Dan Fischer, Zaria Forman, Dan Gheno, Damian
on this third edition. Goidich, Daniel E. Greene, Tracy Haines, Stephen
Thanks to my editor, Richard Carlin, for guiding me Halko, Linda Lucas Hardy, Nathan Heuer, Marianna
through the revision process, and to Emily Schmid and Heule, Aneka Ingold, Ian Ingram, Kiel johnson,
Meredith Keffer, editorial assistants, for answering all of Kristopher jones, Lilian Kreutzberger, Margaret Lazzari,
my questions and for patiently listening to me. Thanks Sangram Majumdar, Seth Marosok, Taylor Mazer,
to all of the people at Oxford University Press who have Armin Mersmann, Antony Micallef, Lance Moon, Rian
assisted me in so many ways and have shared my desire Morgan, juan Perdiguero, Chloe Piene, Ben Polsky, Leah
for the highest quality results, including Micheline Fred- Gregoire Prucka, julia Randall, jon Rappleye, joshua
erick, Production Editor, and Frederick Burns, Copy Risner, Annie Murphy-Robinson, Alan Rosas, Phil
Editor. Scally, Gypsy Schindler, Robert Schultz, jenny Scobel,
Thanks to those of you in academia who took the Steven Spazuk, joseph Stashkevetch, Scott Van Der
time and energy to provide comments and feedback as Velde, and Rob Womack.
reviewers: Barbara Giorgio-Booher, Ball State Univer- Thanks to my siblings, Rick, Craig, and Lisa. While
sity; Michael Dixon, Albion College; Patricia Fox, Great we may view the world through very different lenses,
Basin College; Margaret Griffith, Rio Hondo College; your support is something I can always count on.
Anne Hoff, College of Southern Nevada; Cheryl Finally, and most importantly, love and gratitude to
Knowles-Harrigan, Atlantic Cape Community College; my partner, Courtny, and my son, Logan. Your pa-
Treelee MacAnn, Coastal Carolina University; Susan tience and support during the revision process has
Moss, Fort Lewis College; Charles jason Smith, Carteret been such a gift! I couldn't have done it without you .
DRAWING ESSENTIALS
INTRODUCTION

s a practice that has been a significant aspect charcoal on reconstructed plank walls from slave-era

A of art making for centuries, drawing is de-

fined in an increasingly fluid way in post-
modern and contemporary culture, embracing
dwellings, or Sol Lewitt's wall drawings that are exe-
cuted by others based on his instructions, or the work
of Jennifer Pastor, Mary Borgman, and Wangechi
traditional practices of drawing as well as more ex- Mutu, all of whom draw on Mylar, or Jenny Scobel's
perimental and pluralistic practices. Drawing, along graphite drawings on gessoed panels that are sealed
with other disciplines, is responding to the increas- in wax, a substrate and material typically associated
ing dissolution of discipline-based boundaries as with painting.
evidenced in the work of many contemporary artists Drawing is sometimes defined in terms of materi-
and in the structure of many BFA and MFA pro- als or media so that drawing material on any surface,
grams around the country. Consequently, drawing paper or not, is defined as a drawing. But how do we
continues to stand in both tradition and innovation, define drawing material? There is no question that
depending on the artist's desire. charcoal, graphite, conte, and ink are drawing materi-
This duality of tradition (based on historical no- als, although they often show up as elements in work
tions of drawing) and innovation (based on contem- from other disciplines. What about ink washes? On
porary notions of drawing) is, in my experience, one paper, they are considered drawings. Does this mean
of the hallmarks of a successful drawing program and that watercolor executed on paper is also a drawing
forms the basis for the drawing program at Kendall medium? If not, why not? Is it because of the aspect of
College of Art and Design. Drawing is offered as a color that is integral to watercolor?
concentration in both the BFA and MFA programs Drawing is sometimes defined as achromatic
and provides support courses to both fine arts and or monochromatic, lacking any significant use of
applied arts programs throughout the college. Initial color. This particular definition discounts the pri-
course work in the undergraduate drawing program mary role that color can play in drawing and does
provides students with strong fundamental skills and not take into account the use of colored pencil, soft
experiences rooted in tradition, while intermediate pastel, oil pastel, and other color media that are of-
and advanced course work progresses toward a broad ten used in the context of drawing. Consider Julie
working definition of drawing that supports students Mehretu's oversized works on paper that explode
whose technical emphasis is more traditional as well with color, Elizabeth Peyton's colored pencil and wa-
as students who wish to expand on or work outside of tercolor drawings, the mixed-media color drawings
a traditional definition of drawing. of Jockum Nordstrom and Shahzia Sikander, Steve
Regarding the definition of drawing, it is increas- DiBenedetto's vibrant colored pencil works on paper,
ingly difficult to clarify what is or is not a drawing in or Amy Cutler's gouache on paper drawings. There
artworks that do not fit cleanly within narrow defi- are many examples of artists working in drawing who
nitions or clearly defined discipline-based boundar- incorporate color as a significant element.
ies. In fact, it is often easier to determine what is not Drawing has historically been thought of as inti-
a drawing. Although the definition of drawing as a mate or small in scale, although we know that this
material practice is fluid and embraces both tradi- is no longer a valid characterization. Drawings have
tiona! definitions and revised contemporary ones, exploded in scale, in part because paper manufactur-
there remain obvious instances where works are not ers are producing larger sheets and oversized rolls of
drawings-for example, oil paint on canvas. high-quality paper that allow for large-scale works,
But still we grapple with definition. Drawing is and in part because they have been liberated from the
sometimes defined as any work on paper that is not traditional paper substrate. Some examples of draw-
specifically photography or printmaking. But con- ings that move outside of the frame and emerge from
sider the work of Whitfield Lovell, who draws with beneath protective glass include Toba Khedoori's

_j
2 ~ TR O DU C TI ON

wall-size graphite drawings, the large-scale drawings twenty years. These new works demonstrate the rich-
of Los Carpinteros (a Cuban collaborative group), ness and complexity of the medium of drawing and its
and Robert Longds ongoing series of wall-size char- central position in the artistic process, and catapult the
coal and ink drawings on paper. In some cases very Museum's collection into an unequaled position for
large paper pieces hang freely on the wall, while in contemporary drawing:' Selections from the collection
other instances the paper is mounted on wood or a were featured at MOMA in a major 2009-2010 exhibi-
stretched canvas backing for additional support. tion titled Compass in Hand.
Finally, how do we characterize the work of South It is clear that contemporary drawing is alive and
African artist William Kentridge? His beautiful and well and receiving considerable critical attention
evocative charcoal drawings (with occasional pas- as a force to be reckoned with in contemporary art,
sages of red or blue soft pastel) are executed on paper particularly in the hands of the upcoming genera-
and recorded on film/video as they shift and change tion of younger artists. Recent books and exhibitions
through additive and subtractive processes, result- dedicated to the drawing practice of established and
ing in both finished and framed drawings as well as emerging contemporary artists are highlighting the
hand-drawn animated films. The drawings become significance of drawing in the twenty-first century,
films; the films are a record of drawings. including the work of Michael Borremans, Robert
Many contemporary art organizations, exhibitions, Longo, Amy Cutler, Julie Mehretu, Damien Hirst,
and publications, such as the Drawing Center in New Gerhard Richter, Jenny Saville, Rachel Whiteread,
York City, Drawing Now: Eight Propositions (Museum Anthony Goicolea, Marcel Dzarna, Ethan Murrow,
of Modern Art, 2002), Vitamin D: New Perspectives Vija Celmins, William Kentridge, Tracy Emin, Sophie
in Drawing (Phaidon Press, 2005), and Vitamin D2: Jodoin, Odd Nerdrum, and many more.
New Perspectives in Drawing (Phaidon Press, 2013), Within my own practice as an artist and a teacher,
increasingly interpret drawing as broadly as possible, I believe in the significance of introductory experi-
encompassing both draftsmanship and experimental ences that acknowledge and embrace the technical
art to emphasize the complexity, variety, innovation, and formal traditions of drawing, ultimately provid-
and relevance of the practice of drawing in contem- ing the context for a broader scope of contemporary
porary art. Some of the materials and supports that drawing practices. Students benefit from exploring
comprise this expanded definition of contemporary both objective observation and subjective interpreta-
drawing include graphite, charcoal, ink, watercolor, tion, with emphasis on the interdependence of process
gouache, pencil, crayon, conte, acrylic, felt-tip pen, and product. At more advanced levels there is a broad-
colored pencil, marker, gunpowder, ballpoint pen, oil, ened exploration of drawing that includes alternative
latex paint, carbon paper, chalk, soft pastel, correction and mixed-media drawing processes as potential ele-
fluid, cut paper, wax, gesso, silverpoint, carbon, used ments in the advanced investigation of drawing as a
motor oil, paper of all kinds (including gessoed paper, vehicle for personal expression. Drawing thrives as an
tracing paper, vellum, Mylar, newspaper pages, craft independent discipline, as an element of mixed-media
paper, found paper), photographs, photocopies, raw investigation, and as a vital resource for the investiga-
wood, painted or prepared wood, acetate, blackboard, tion of other disciplines.
cardboard, walls, and canvas. It is my hope that the third edition of Drawing
In 2005, the Museum of Modern Art in New York Essentials will provide a resource for any student who
announced the acquisition of the Judith Rothschild is passionate about learning to draw. I am confident
Foundation Contemporary Drawings Collection, com- that the instruction and guidance offered here pro-
prising nearly 2,600 drawings by more than 640 ma- vides a solid foundation for further investigation of
jor and emerging artists toward the achievement of its drawing and related disciplines at both a personal and
goal to assemble "the widest possible cross section of advanced level.
contemporary drawing made primarily within the past -d.a.r.
Essential Skills and Information
What Every Student Should Know About Drawing

Sighting and the Use form in space, you must make the translation yourself.
The process of sighting provides a great method for
of a Sighting Stick making this translation easily and effectively.
orne of you have been introduced to sighting,

S and some of you have not. Even for those of you

who have been introduced to this method of
observation, students often acknowledge that they go
GU IDELINES FOR SIGHT ING
A sighting stick is the basic tool for the process of sight-
through the motions of sighting without really ing. I recommend using a 10" to 12" length of Vs" dowel
understanding what they are doing and why it works. stick. Suitable alternatives include a slender knitting
In this situation, sighting provides little assistance to needle, a shish kebab skewer, or a length of metal cut
you and may simply contribute to a sense of frustration from a wire clothes hanger. Your sighting stick should
and confusion. A basic understanding of the principles be straight. I discourage the use of a drawing pencil
of sighting goes a long way in helping you to embrace as a sighting stick simply because the thickness of
and use the process to your advantage. the pencil often obscures information when sighting.
A more slender tool interferes less with observing what
is being drawn. However, in the absence of a more suit-
WHY USE S IGHTING?
able tool, a pencil will suffice. Some people like to add
Many of you have found that you are shining stars color to their sighting stick so that it is visually distinct
when it comes to copying photographs or working from what they are observing.
from other existing two-dimensional sources. But you It can be helpful when learning how to sight if you
may be confounded when you discover that drawing initially practice making your observations from a
from observation of three-dimensional forms does projected image or an enlarged print of a still life or a
not yield the same results, the same degree of accuracy figure. If you choose to do this, the two-dimensional
to which you are accustomed. It is helpful to under- image you are sighting should be large enough to see
stand why this occurs. with ease and should be positioned on a wall far enough
Drawing or representing a three-dimensional object away from you so that you can fully extend your arm.
on a two-dimensional surface requires in essence alan- Sighting from two-dimensional information is much
guage translation. The language of two dimensions is easier than sighting from three-dimensional informa-
different than the language of three dimensions in that tion because the image is already in a two-dimensional
three dimensions have depth, occupying space both up language. Once you begin exploring sighting in rela-
and down, side to side, and forward and backward. You tion to actual three-dimensional objects, you will rec-
must observe the three-dimensional form and trans- ognize the increased complexity.
late it into a language that will be effective on a two- Because the objective of sighting is to translate ob-
dimensional surface, such as a piece of drawing paper. served information into a two-dimensional language, all
When you draw from an existing two-dimensional of your sighting observations will take place in an imagi-
source, such as a photograph, the translation from nary two-dimensional plane that is parallel to your face.
three dimensions to two dimensions has already been It may be helpful to imagine that a pane of glass is float-
made for you. But when you are referring to the actual ing directly in front of your face at arm's length. If you
_j 3
4 LE_RAWING ESSENTIALS

are looking straight ahead, the pane of glass is parallel to

your face. If you are looking up to make your observa-
tions, the pane of glass tilts along with your head andre-
mains parallel to your face. If you are looking down, the
pane of glass again tilts along with your head. It is always
parallel to the plane of your face. This imaginary pane
of glass represents your picture plane or your drawing
surface, and all of your measurements and observations
will take place in this two-dimensional plane.
Always keep your arm fully extended and your el-
bow locked when sighting. This establishes a constant
scale, which is especially important when you are sight-
ing for relative or comparative proportional relation-
ships. You can rotate your sighting stick to the left or
right, but you cannot tip your stick forward or back-
ward. This is especially tempting when sighting things
that are foreshortened. You can reinforce keeping the
sighting stick within the two-dimensional pane of glass
by imagining that if you tip the stick forward or back-
ward, you will break through the pane of glass. It is also
helpful to close one eye when sighting, which further
reinforces the translation to a two-dimensional lan-
guage by using monocular vision (one eye) that flattens
what you see rather than binocular vision (two eyes).
If more than one object or a still-life arrangement
of multiple objects is to be drawn, you must begin by
establishing which object will serve as your point of
reference or unit of measure. Ideally it should be an
object that you can see in its entirety and that can
Figure 1-1. Student work. Jennie Barnes. The apple in the foreground of this
be visually broken down into at least two observable
simple still-life arrangement, boxed in to show relative height and width, is an
relationships-height and width (Figures 1-l and l-2).
effective unit of measure.
When working with the human figure, the head serves

Figure 1-2. Student work. Jennie Pavlin. The

extensions of the beet (root and stalks) are
extraneous to the main body of the form, and
so are initially excluded in sighting the height
and width relationship.

CJ /
 ESSENTIAL SKILLS AND INFORMATIOIIl_j 5

as a good unit of measure (Figure l-3). In instances

where the head is not visible or is partially obscured,
another unit of measure will need to be established.
When sighting, you are often dealing with what I
refer to as "landmarks:' A landmark is any point on
any form that you can find or refer back to over and
over again, a point that is identifiable. Landmarks
usually occur at places where different parts of a form
meet or come together (also called points of articula-
tion), or where there is a sudden directional change
found along the edge or surface of a form, or where
forms meet or overlap. It will not necessarily have a
name and will not necessarily appear to be a signifi-
cant part of the object being drawn, but it will be an
easily identifiable reference point (Figure l-4).

APP LI CAT IONS OF SIGHTING

There are three essential uses for sighting that aid in
observing and recording information accurately. The
first deals with relative or comparative proportional
relationships, the second deals with angles and their
relationship to verticals and horizontals, and the third
deals with vertical and horizontal relationships be-
tween various points or "landmarks:'

First Application: Sighting for

Relative Proportions
Before beginning the actual sighting process, it is
helpful to observe the form(s) you wish to draw (ide- Figure 1-3. Student work. Gypsy Schindler. The head as a
ally through a viewfinder) and do a delicate gesture unit of measure is sighted from farthest points left to right and
drawing based on what you see. This helps to "break farthest points top to bottom.

Figure 1-4. Student work. Lea (Momi) Anton io.

Numerous landmarks in this still·life drawing,
which do not have a particular name for
identifying them, are indicated by gray dots.
6 LE_RAWING ESSENTIALS

Figure 1-5. Student work. Kirk Bierens. The

body of the wine glass has been chosen as a
unit of measure. Horizontal lines show the
height of the unit of measure in relation to the
entire still life.

the ice'' of a blank piece of paper and gives a sense of placing the tip of your thumb on the sighting stick so
how the objects being referred to will occupy the pa- that it corresponds visually with another part of that
per surface. More information on using a viewfinder form, you are able to make a relative measurement
is found later in this chapter. of the distance between any two parts or points. By
In beginning the actual sighting process, remem- understanding this simple procedure, you can ap-
ber that your point of reference should be sighted ply sighting techniques in a number of ways to help
and drawn first (Figure l-5). By aligning one end of you attain greater accuracy in your drawings. When
the sighting stick visually with one part of a form and sighting for relative or comparative proportions, be-
gin by sighting to establish the relationship between
the total width of the form (distance from farthest
left to farthest right point) and the total height of
the form (distance from highest to lowest point)
(Figure l-6). For example, you can sight the width
of a fruit or vegetable or a bottle at its widest point
by extending your sighting stick at arm's length and
recording the distance from one edge to the other
through the placement of your thumb on the stick.
( Keeping your thumb in position on the sighting
stick, rotate the stick to a vertical position and ob-
serve how many times the width of the form repeats
itself in the height of the form. You can then main-
tain this same relationship in your drawing, regard-
less of how large or small you choose to represent the
object on your drawing surface. I recommend that
you sight what you perceive to be the smaller mea-
surement first, and then compare that smaller mea-
surement to the larger measurement. Remember to
begin the process by observing what you wish to use
Figure 1-6. Student work. Emily LaBus. The body of the beet, as your unit of measure.
which serves as the unit of measure, is isolated from the root Begin to visually break the object down, if it is
and the stalks that are added later. Vertical lines show the more complex, into component parts, sighting the
width of the unit of measure in relation to the entire still life. size relationships between different parts. Work from
 ESSENTIAL SKILLS AND INFORMATIOIIl_j 7

Figure 1-7. Student work. Lea (Momi) Antonio. The lamp has
numerous parts, making it more complex than other forms.
The relative simplicity of the base of the lamp, with a clearly
defined width and height, is helpful in defining the proportions
of the rest of the lamp. The broken line indicates half the
height of the unit of measure.

general to specific, observing and recording the larger,

simpler relationships first before attending to more
detailed information (Figure l-7). When sighting,
sight from one landmark to another whenever pos-
sible. Develop your drawing using the size relation-
ships that you observe (Figure l-8). Sighting can be
applied horizontally, vertically, or diagonally. These
same size relationships can be observed between an
object or part of an object and other objects or their
parts. In this way, it is possible to maintain an accurate
size relationship between all the component parts of a
more complex form or between the various individual
forms found in a complex still life.
Foreshortening can be especially challenging
since it is often recorded with a significant amount
of inaccuracy and distortion. This is because our
experience or knowledge will often override what is
visually presented before us. For example, a bottle
lying on its side can provide a foreshortened view
that measures wider from side to side than it does
in length from top to bottom (Figure l-9). Because
of our experience of the bottle as an object that is

Figure 1-9. Student work (detail). Laura Gajewski. In this Figure 1-8. Student work. Sheila Grant. The garlic bulb in the
foreshortened view, the height and width of the bottle are foreground is the unit of measure. Its height in relation to each
nearly the same. The height of the bottle would be nearly individual form in the still life is shown. Broken lines indicate
twice the width if the bottle was not foreshortened. half the height of the unit of measure.
Another random document with
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The Project Gutenberg eBook of Illustrations of
Political Economy, Vol 6 (of 9)
 This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
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laws of the country where you are located before using this
eBook.

Title: Illustrations of Political Economy, Vol 6 (of 9)

Author: Harriet Martineau

Release date: February 10, 2024 [eBook #72923]

Language: English

Original publication: London: Charles Fox, Paternoster-Row,

1834

Credits: Emmanuel Ackerman, KD Weeks and the Online

Distributed Proofreading Team at https://www.pgdp.net
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*** START OF THE PROJECT GUTENBERG EBOOK

ILLUSTRATIONS OF POLITICAL ECONOMY, VOL 6 (OF 9) ***
 Transcriber’s Note:
The volume is a collection of three already published
texts, each with its own title page and pagination.
Minor errors, attributable to the printer, have been
corrected. Please see the transcriber’s note at the end of
this text for details regarding the handling of any textual
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The image of the blank front cover has been cleaned
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Any corrections are indicated as hyperlinks, which will
navigate the reader to the corresponding entry in the
corrections table in the note at the end of the text.
 ILLUSTRATIONS
OF
POLITICAL ECONOMY.

BY
HARRIET MARTINEAU.

MESSRS. VANDERPUT AND SNOEK.

THE LOOM AND THE LUGGER.--Part I.
THE LOOM AND THE LUGGER.--Part II.

IN NINE VOLUMES.

VOL. VI.

LONDON:
CHARLES FOX, PATERNOSTER-ROW.
MDCCCXXXIV.

LONDON:

Printed by William Clowes,

Duke-street, Lambeth.
 CONTENTS.

MESSRS. VANDERPUT AND SNOEK

CHAP. PAGE CHAP. PAGE
1. Morning 1 6. News from 90
Home
2. An Excursion 21 7. A Night's 108
Probation
3. Family 42 8. News at Home 124
Arrangements
4. Wise Men at 56 9. Close of a brief 132
Supper Story
5. Going 81
Northwards

THE LOOM AND THE LUGGER.--Part I.

CHAP. PAGE CHAP. PAGE

1. Taking an Order 1 5. Morning Walks 63
2. Giving an Order 16 6. A Night Watch 92
3. Dumb Duty 26 7. Hear the News! 113
4. An Afternoon Trip 45

THE LOOM AND THE LUGGER.--Part II.

CHAP. PAGE CHAP. PAGE

1. The Coopers at 1 5. Hate and Hand- 78
Home bills
2. Matters of Taste 19 6. Investigations 109
3. Chance 43 7. Prospective 132
Customers Brotherhood
4. Grief and 63
Dancing
 MESSRS.
VANDERPUT AND SNOEK.

A Tale.
BY

HARRIET MARTINEAU.

LONDON:

CHARLES FOX, 67, PATERNOSTER-ROW.

1833.
 PREFACE.

In planning the present story, I was strongly tempted to use the

ancient method of exemplification, and to present my readers with
the Adventures of a Bill of Exchange, so difficult is it to exhibit by
example the process of exchange in any other form than the history
of the instrument. If, however, the transactions of Messrs. Vanderput
and Snoek should be found to furnish my readers with a pretty clear
notion of the nature and operation of the peculiar kind of currency of
which this Number treats, I shall readily submit to the decision that
the present volume has little merit as a specimen of exemplification.
Though the working of principles might be shown in this case, as in
any other, it could not, I think, be done naturally in a very small
space. If I had had liberty to fill three octavo volumes with the
present subject, an interesting tale might have been made up of the
effects on private fortunes of the variations in the course of the
Exchange, and of the liabilities which attend the use of a partial and
peculiar representative of value. As it is, I have judged it best to
occupy a large portion of my confined space in exhibiting a state of
society to which such a species of currency is remarkably
appropriate, in order that light might be thrown on the nature and
operation of bills of exchange by showing what was being done, and
what was wanted by those who most extensively adopted this
instrument into their transactions.
In case of any reader questioning whether Dutchmen in the
seventeenth century could advocate free trade, I mention that the
principle has never been more distinctly recognized than at a
remoter date than I have fixed, by countries which, like Holland, had
little to export, and depended for their prosperity on freedom of
importation. Every restriction imposed by the jealousy of those from
whom they derived their imports was an unanswerable argument to
them in favour of perfect liberty of exchange. As their herrings and
butter were universally acknowledged to be the best herrings and
butter in existence, and yet were not enough for the perfect comfort
of the Dutch, the Dutch could not resist the conclusion, that the less
difficulty there was in furnishing their neighbours with their
incomparable herrings and butter, in return for what those
neighbours had to offer, the better for both parties. The Dutch of the
seventeenth century were therefore naturally enlightened advocates
of the free trade.--Whether their light has from that time spread
among their neighbours equally and perpetually, my next Number
will show.
 CONTENTS.

Chap. Page
1. Mourning 1
2. An Excursion 21
3. Family Arrangements 42
4. Wise Men at Supper 56
5. Going Northwards 81
6. News from Home 90
7. A Night's Probation 108
8. News at Home 124
9. Close of a brief Story 132
Messrs. VANDERPUT & SNOEK.
 Chapter I.
MOURNING.

During the days when the prosperity of the United Provinces was
at its height,--that is, during the latter half of the 17th century,--it
could hardly be perceived that any one district of Amsterdam was
busier than another, at any one hour of the day. There was traffic in
the markets, traffic on the quays, the pursuit of traffic in the streets,
and preparation for traffic in the houses. Even at night, when the
casks which had been piled before the doors were all rolled under
shelter, and dogs were left to watch the bales of merchandize which
could not be stowed away before dark, there was, to the eye of a
stranger, little of what he had been accustomed to consider as
repose. Lights glanced on the tossing surface of the Amstel, as
homeward-bound vessels made for the harbour, or departing ships
took advantage of the tide to get under weigh. The hail of the pilots
or the quay-keepers, or of a careful watchman here and there, or the
growl and bark of a suspicious dog, came over the water or through
the lime avenues with no unpleasing effect upon the wakeful ear,
which had been so stunned by the tumult of noon-day as scarcely to
distinguish one sound from another amidst the confusion.
One fine noon, however, in the summer of 1696, a certain portion
of the busiest district of Amsterdam did appear more thronged than
the rest. There was a crowd around the door of a handsome house
in the Keiser's Graft, or Emperor's-street. The thickly planted limes
were so far in leaf as to afford shade from the hot sun, reflected in
gleams from the water in the centre upon the glaring white fronts of
the houses; and this shade might tempt some to stop in their course,
and lounge: but there were many who were no loungers flocking to
the spot, and making their way into the house, or stationing
themselves on the painted bench outside till they should receive a
summons from within.
 The presence of one person, who stood motionless before the
entrance, sufficiently explained the occasion of this meeting. The
black gown of this officer, and his low cocked hat, with its long tail of
black crape, pointed him out as the Aanspreeker who, having the
day before made the circuit of the city to announce a death to all who
knew the deceased, was now ready to attend the burial. He stood
prepared to answer all questions relative to the illness and departure
of the deceased, and the state of health and spirits of the family, and
to receive messages for them, to be delivered when they might be
supposed better able to bear them than in the early hours of their
grief. Seldom were more inquiries addressed to the Aanspreeker
than in the present instance, for the deceased, Onno Snoek, had
been one of the chief merchants of Amsterdam, and his widow was
held in high esteem. The officer had no sooner ended his tale than
he had to begin it again;--how the patient's ague had appeared to be
nearly overcome; how he had suffered a violent relapse; how the
three most skilful French apothecaries had been called in, in addition
to the native family physician; how, under their direction, his son
Heins had opened the choicest keg of French brandy, the most
precious packages of Batavian spices in his warehouse, for the sake
of the sick man; how, notwithstanding these prime medicaments, the
fever had advanced so rapidly as to prevent the patient from being
moved even to the window, to see a long expected ship of his firm
come to anchor before his own door; how he seemed to have
pleasure in catching a glimpse of her sails through the trees as he
lay in bed; but how all his endeavours to live till morning that he
might hear tidings of the cargo, had failed, and rather hastened his
end, insomuch that he breathed his last before dawn.
Among the many interrogators appeared a young man who was
evidently in haste to enter the house, but wished first to satisfy
himself by one or two questions. He wore the dress of a presbyterian
clergyman, and spoke in a strong French accent.
"I am in haste," he said, "to console my friends, from whom I have
been detained too long. I was at Saardam yesterday, and did not
hear of the event till this morning. I am in haste to join my friends; but
I must first know in what frame the husband,--the father,--died. Can
you tell me what were the last moments which I ought to have
attended?"
The officer declared that they were most edifying. The patient's
mind was quite collected.
"Thank God!" exclaimed M. Aymond, the divine.
"Quite collected," continued the officer, "and full of thought for
those he left behind, as he showed by the very last thing he said. He
had most carefully arranged his affairs, and given all his directions in
many forms; but he remembered, just in time, that he had omitted
one thing. He called Mr. Heins to his bed-side, and said, 'my son,
there is one debtor of ours from whom you will scarce recover
payment, as I never could. Meyerlaut has for many months evaded
paying me for the last ebony we sold to him. Let him therefore make
my coffin.--Stay!--I have not done yet.--You will, in course of nature,
outlive your mother. Let her have a handsome coffin from the same
man; and if it should please Heaven to take more of you, as our
beloved Willebrod was taken, you will bear the same thing in mind,
Heins, I doubt not; for you have always been a dutiful son.'"
"This is the way Heins told you the fact?" asked Aymond. "Well,
but were these the last,--the very last words of the dying man?"
Heins had mentioned nothing that was said afterwards; so the
divine pursued his way into the house with a sad countenance.
Instead of joining the guests in the outer apartment, he used the
privilege of his office, and of his intimacy with the family, and passed
through to the part of the house where he knew he should find the
widow and her young people. Heins met him at the door, saying,
"I knew you would come. I have been persuading my mother to
wait, assuring her that you would come. How we have wished for
you! How we----"
Aymond, having grasped the hand of Heins, passed him to return
the widow's greeting. She first stood to receive the blessing he
bestowed in virtue of his office, and then, looking him calmly in the
face, asked him if he had heard how God had been pleased to make
her house a house of mourning.
"I find dust and ashes where I looked for the face of a friend,"
replied the divine. "Can you submit to Heaven's will?"
 "We have had grace to do so thus far," replied the widow. "But
whether it will be continued to us when----"
Her eyes filled, and she turned away, as if to complete her
preparations for going forth.
"Strength has thus far been given according to thy day," said
Aymond. "I trust that it will be thus bestowed for ever." And he gave
his next attention to one whom he was never known to neglect; one
who loved him as perhaps nobody else loved him,--Heins's young
brother, Christian.
Christian had suffered more in the twelve years of his little life than
it is to be hoped many endure in the course of an ordinary existence.
A complication of diseases had left him in a state of weakness from
which there was little or no hope that he would ever recover, and
subject to occasional attacks of painful illness which must in time
wear him out. He had not grown, nor set a foot to the ground, since
he was five years old: he was harassed by a perpetual cough, and in
constant dread of the return of a capricious and fearful pain which
seldom left him unvisited for three days together, and sometimes
lasted for hours. When in expectation of this pain, the poor boy could
think of little else, and found it very difficult to care for any body; but
when suffering from nothing worse than his usual helplessness, his
great delight was to expect M. Aymond, and to get him seated
beside his couch. Aymond thought that he heard few voices more
cheerful than that of his little friend, Christian, when it greeted him
from the open window, or made itself heard into the passage,--'Will
you come in here, M. Aymond? I am in the wainscoat parlour to-day,
M. Aymond.'
Christian had no words at command this day, He stretched out his
arms in silence, and sighed convulsively when released from the
embrace of his friend.
"Did I hurt you? Have you any of your pain to-day?"
"No; not yet. I think it is coming; but never mind that now. Kaatje
will stay with me till you come back. You will come back, M.
Aymond."
When the pastor consented, and the widow approached to bid
farewell to her child for an hour, Christian threw his arms once more
round Aymond's neck. His brother Luc, a rough strong boy of ten,
pulled them down, and rebuked him for being so free with the pastor;
and little Roselyn, the spoiled child of the family, was ready with her
lecture too, and told how she had been instructed to cross her hands
and wait till M. Aymond spoke to her, instead of jumping upon him as
she did upon her brother Heins. Christian made no other reply to
these rebukes than looking with a smile in the face of the pastor, with
whom he had established too good an understanding to suppose
that he could offend him by the warmth of an embrace.
"I am sorry you cannot go with us, my poor little Christian," said
Heins, who had a curious method of making his condolences
irksome and painful to the object of them. "I am sorry you cannot pay
this last duty to our honoured parent. You will not have our
satisfaction in looking back upon the discharge of it."
"Christian is singled out by God for a different duty," observed the
pastor. "He must show cheerful submission to his heavenly parent
while you do honour to the remains of an earthly one."
Christian tried to keep this thought before him while he saw them
leaving the room, and heard the coffin carried out, and the long train
of mourners, consisting of all the acquaintance of the deceased,
filing away from the door.--When the last step had passed the
threshold, and it appeared from the unusual quiet that the crowd had
followed the mourners, Christian turned from the light, and buried his
face in one of the pillows of his couch, so that Katrina, the young
woman who, among other offices, attended upon him and his little
sister, entered unperceived by him. She attracted his attention by the
question which he heard oftener than any other,--'the pain?'
"No," answered the boy, languidly turning his head; "I was only
thinking of the last time----" Either this recollection, or the sight of
Katrina's change of dress overcame him, and stopped what he was
going to say. The short black petticoat, measuring ten yards in width,
exhibited its newness by its bulk, its plaits not having subsided into
the moderation of a worn garment. The blue stockings, the neat
yellow slippers had disappeared, and the gold fillagree clasps in the
front of the close cap were laid aside till the days of mourning should
be ended. While Christian observed all this, contemplating her from
head to foot, Katrina took up the discourse where he had let it fall.
 "You were thinking of the last time my master had you laid on the
bed beside him. It will always be a comfort to you, Christian, that he
told you where he was departing."
"He did not tell me that," said the boy; "and that is just what I was
wondering about. He said he was going, and I should like to know if
he could have told where."
"To be sure he could. He was one of the chosen, and we know
where they go. So much as you talk with the pastor, you must know
that."
"I know that it is to heaven that they go, but I want to know where
heaven is. Some of them say it is paradise; and some, the New
Jerusalem; and some, that it is up in the sky among the angels. But
do all the chosen know where they are going?"
Certainly, Katrina believed. The dying believer was blessed in his
hope. Christian was not yet satisfied.
"I think I shall know when I am dying," said he. "At least, I often
think I am dying when my pain comes in the night; but I do not know
more about where I am going then than at other times."
Katrina hoped his mind was not tossed and troubled on this
account.
"O, no; not at all. If God is good to me, and takes care of me here,
he will keep me safe any where else, and perhaps let me go about
where I like. And O, Kaatje, there will be no more crying, nor pain! I
wish I may see the angels as soon as I die. Perhaps father is with
the angels now. I saw the angels once, more than once, I think; but
once, I am sure."
In a dream, Katrina supposed.
"No, in the broad day, when I was wide awake. You know I used to
go to the chapel before my cough was so bad; as long ago as I can
remember, nearly. There are curious windows in that chapel, quite
high in the roof; and I often thought the day of judgment was come;
and there was a light through those windows shining down into the
pulpit; and there the angels looked in. I thought they were come for
me, unless it was for the holy pastor."
"But would you have liked to go?"
"Yes: and when the prayer came after the sermon, instead of
listening to the pastor, I used to pray that God would send the angels
to take me away."
Katrina thought that if Christian had lived in another country, he
would have made a fine martyr.
"I don't know," said the boy, doubtfully. "I have thought a great deal
about that, and I am not so sure as I used to be. If they only cut off
my head, I think I could bear that. But as for the burning,--I wonder,
Kaatje, whether burning is at all like my pain. I am sure it cannot be
much worse."
Katrina could not tell, of course; but she wished he would not talk
about burning, or about his pain; for it made him perspire, and
brought on his cough so as to exhaust him to a very pernicious
degree. He must not talk any more now, but let her talk to him. He
had not asked yet what company had come to the funeral.
Christian supposed that there was every body whom his father
had known in Amsterdam.
Yes, every body: and as there were so many to drink spirits at the
morning burial, her mistress chose to invite very few to the afternoon
feast. Indeed her mistress seemed disposed to have her own way
altogether about the funeral. Every body knew that Mr. Heins would
have liked to have it later in the day, and would not have minded the
greater expense for the sake of the greater honour.
"I heard them talk about that," said Christian. "My mother told
Heins that it was a bad way for a merchant to begin with being
proud, and giving his father a grand funeral; and that the best honour
was in the number of mourners who would be sure to follow an
honest man, whether his grave was filled at noon or at sunset. My
mother is afraid of Heins making a show of his money, and learning
to fancy himself richer than he is."
Katrina observed that all people had their own notions of what it
was to be rich. To a poor servant-maid who had not more than 1000
guilders out at interest----
"But your beautiful gold chain, Kaatje! Your silver buckles! I am
sure you must have ten pair, at the least."
"Well, but, all this is less than many a maid has that has been at
service a shorter time than I have. To a poor maid-servant, I say, it
seems like being rich to have I don't know how many loaded ships
between China and the Texel."