The Crown of Wild Olive - John Ruskin (ereader with android .TXT) 📗
- Author: John Ruskin
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Draw first only two or three of the leaves; then larger clusters; and practise, in this way, more and more complicated pieces of bough and leafage, till you find you can master the most difficult arrangements, not consisting of more than ten or twelve leaves. You will find as you do this, if you have an opportunity of visiting any gallery of pictures, that you take a much more lively interest than before in the work of the great masters; you will see that very often their best backgrounds are composed of little more than a few sprays of leafage, carefully studied, brought against the distant sky; and that another wreath or two form the chief interest of their foregrounds. If you live in London you may test your progress accurately by the degree of admiration you feel for the leaves of vine round the head of the Bacchus, in Titian's Bacchus and Ariadne. All this, however, will not enable you to draw a mass of foliage. You will find, on looking at any rich piece of vegetation, that it is only one or two of the nearer clusters that you can by any possibility draw in this complete manner. The mass is too vast, and too intricate, to be thus dealt with.
You must now therefore have recourse to some confused mode of execution, capable of expressing the confusion of Nature. And, first, you must understand what the character of that confusion is. If you look carefully at the outer sprays of any tree at twenty or thirty yards' distance, you will see them defined against the sky in masses, which, at first, look quite definite; but if you examine them, you will see, mingled with the real shapes of leaves, many indistinct lines, which are, some of them, stalks of leaves, and some, leaves seen with the edge turned towards you, and coming into sight in a broken way; for, supposing the real leaf shape to be as at a, Fig. 7., this, when removed some yards from the eye, will appear dark against the sky, as at b; then, when removed some yards farther still, the stalk and point disappear altogether, the middle of the leaf becomes little more than a line; and the result is the condition at c, only with this farther subtlety in the look of it, inexpressible in the woodcut, that the stalk and point of the leaf, though they have disappeared to the eye, have yet some influence in checking the light at the places where they exist, and cause a slight dimness about the part of the leaf which remains visible, so that its perfect effect could only be rendered by two layers of colour, one subduing the sky tone a little, the next drawing the broken portions of the leaf, as at c, and carefully indicating the greater darkness of the spot in the middle, where the under side of the leaf is.
This is the perfect theory of the matter. In practice we cannot reach such accuracy; but we shall be able to render the general look of the foliage satisfactorily by the following mode of practice.
Gather a spray of any tree, about a foot or eighteen inches long. Fix it firmly by the stem in anything that will support it steadily; put it about eight feet away from you, or ten if you are far-sighted. Put a sheet of not very white paper behind it, as usual. Then draw very carefully, first placing them with pencil, and then filling them up with ink, every leaf, mass and stalk of it in simple black profile, as you see them against the paper: Fig. 8. is a bough of Phillyrea so drawn. Do not be afraid of running the leaves into a black mass when they come together; this exercise is only to teach you what the actual shapes of such masses are when seen against the sky.
Make two careful studies of this kind of one bough of every common tree—oak, ash, elm, birch, beech, &c.; in fact, if you are good, and industrious, you will make one such study carefully at least three times a week, until you have examples of every sort of tree and shrub you can get branches of. You are to make two studies of each bough, for this reason—all masses of foliage have an upper and under surface, and the side view of them, or profile, shows a wholly different organisation of branches from that seen in the view from above. They are generally seen more or less in profile, as you look at the whole tree, and Nature puts her best composition into the profile arrangement. But the view from above or below occurs not unfrequently, also, and it is quite necessary you should draw it if you wish to understand the anatomy of the tree. The difference between the two views is often far greater than you could easily conceive. For instance, in Fig. 9., a is the upper view, and b the profile, of a single spray of Phillyrea. Fig. 8. is an intermediate view of a larger bough; seen from beneath, but at some lateral distance also.
When you have done a few branches in this manner, take one of the drawings, and put it first a yard away from you, then a yard and a half, then two yards; observe how the thinner stalks and leaves gradually disappear, leaving only a vague and slight darkness where they were, and make another study of the effect at each distance, taking care to draw nothing more than you really see, for in this consists all the difference between what would be merely a miniature drawing of the leaves seen near, and a full-size drawing of the same leaves at a distance. By full size, I mean the size which they would really appear of if their outline were traced through a pane of glass held at the same distance from the eye at which you mean to hold your drawing. You can always ascertain this full size of any object by holding your paper upright before you, at the distance from your eye at which you wish your drawing to be seen. Bring its edge across the object you have to draw, and mark upon this edge the points where the outline of the object crosses, or goes behind, the edge of the paper. You will always find it, thus measured, smaller than you supposed.
When you have made a few careful experiments of this kind on your own drawings, (which are better for practice, at first, than the real trees, because the black profile in the drawing is quite stable, and does not shake, and is not confused by sparkles of lustre on the leaves,) you may try the extremities of the real trees, only not doing much at a time, for the brightness of the sky will dazzle and perplex your sight. And this brightness causes, I believe, some loss of the outline itself; at least the chemical action of the light in a photograph extends much within the edges of the leaves, and, as it were, eats them away so that no tree extremity, stand it ever so still, nor any other form coming against bright sky, is truly drawn by a photograph; and if you once succeed in drawing a few sprays rightly, you will find the result much more lovely and interesting than any photograph can be.
All this difficulty, however, attaches to the rendering merely the dark form of the sprays as they come against the sky. Within those sprays, and in the heart of the tree, there is a complexity of a much more embarrassing kind; for nearly all leaves have some lustre, and all are more or less translucent (letting light through them); therefore, in any given leaf, besides the intricacies of its own proper shadows and foreshortenings, there are three series of circumstances which alter or hide its forms. First, shadows cast on it by other leaves—often very forcibly. Secondly, light reflected from its lustrous surface, sometimes the blue of the sky, sometimes the white of clouds, or the sun itself flashing like a star. Thirdly, forms and shadows of other leaves, seen as darkness through the translucent parts of the leaf; a most important element of foliage effect, but wholly neglected by landscape artists in general.
The consequence of all this is, that except now and then by chance, the form of a complete leaf is never seen; but a marvellous and quaint confusion, very definite, indeed, in its evidence of direction of growth, and unity of action, but wholly indefinable and inextricable, part by part, by any amount of patience. You cannot possibly work it out in fac simile, though you took a twelvemonth's time to a tree; and you must therefore try to discover some mode of execution which will more or less imitate, by its own variety and mystery, the variety and mystery of Nature, without absolute delineation of detail.
Now I have led you to this conclusion by observation of tree form only, because in that the thing to be proved is clearest. But no natural object exists which does not involve in some part or parts of it this inimitableness, this mystery of quantity, which needs peculiarity of handling and trick of touch to express it completely. If leaves are intricate, so is moss, so is foam, so is rock cleavage, so are fur and hair, and texture of drapery, and of clouds. And although methods and dexterities of handling are wholly useless if you have not gained first the thorough knowledge of the form of the thing; so that if you cannot draw a branch perfectly, then much less a tree; and if not a wreath of mist perfectly, much less a flock of clouds; and if not a single grass blade perfectly, much less a grass bank; yet having once got this power over decisive form, you may safely—and must, in order to perfection of work—carry out your knowledge by every aid of method and dexterity of hand.
But, in order to find out what method can do, you must now look at Art as well as at Nature, and see what means painters and engravers have actually employed for the expression of these subtleties. Whereupon arises the question, what opportunity have you to obtain engravings? You ought, if it is at all in your power, to possess yourself of a certain number of good examples of Turner's engraved works: if this be not in your power, you must just make the best use you can of the shop windows, or of any plates of which you can obtain a loan. Very possibly, the difficulty of getting sight of them may stimulate you to put them to better use. But, supposing your means admit of your doing so, possess yourself, first, of the illustrated edition either of Rogers's Italy or Rogers's Poems, and then of about a dozen of the plates named in the annexed lists. The prefixed letters indicate the particular points deserving your study in each engraving.[216] Be sure, therefore, that your selection includes, at all events, one plate marked with each letter—of course the plates marked with two or three letters are, for the most part, the best. Do not get more than twelve
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