The Atlantic Monthly, Volume 02, No. 09, July, 1858

The American Drawing-Book: a Manual for the Amateur, and a Basis of Study for the Professional Artist. Especially adapted to the Use of Public and Private Schools, as well as Home Instruction. By J.G. CHAPMAN, N.A. New York: J.S. Redfield. 4to. pp. 304.

Drawing-books, in general, deserve to be put into the same category with the numerous languages "without a master" which have deluded so many impatient aspirants to knowledge by royal (and cheap) roads. A drawing- book, at its very best, is only a partial and lame substitute for a teacher, giving instruction empirically; so that, be it ever so correct in principle, it must lack adaptation to the momentary and most pressing wants of the pupil and to his particular frame of mind; it is too Procrustean to be of any ultimate use to anybody, except in comparatively unimportant matters. It is well enough for those who need only amusement in their drawing, and whose highest idea of Art is copying prints and pictures; but for those who want assistance from Art in order to the better understanding of Nature, no man, be he ever so wise, can, by the drawing-book plan, do much to smooth the way of study.

All that another mind could do for us by way of teaching Art would be to save us time,—first, by its experience, in anticipating our failures; second, by its trained accuracy, to correct our errors of expression more promptly than our afterthought would do it,—and to systematize our perceptions for us by showing us the relative and comparative importance of truths in Nature. In the first two respects, which are merely practical, the drawing-book, if judiciously prepared, might do somewhat to assist us; but in the last and most important, only the experienced and thoughtful artist, standing with us before Nature, can give us further insight into her system of expression. A good picture may do a little, but it is Nature's own face we need to study, and that neither book nor picture can very deeply interpret for our proper and peculiar perception.

In the practical part, again, the drawing-book can give us no real assistance in regard to color. And thus the efficacy of it is reduced to the communication of methods of drawing in white and black. This Chapman's book does to the best purpose possible under the circumstances, in what is technically termed the right-line system of drawing,—that is, the reduction of all forms to their approximate geometrical figures in order to facilitate the measurements of the eye. Thus, it is easier by far to determine the proportion which exists between the sides of a triangle formed by the lines connecting the three principal points in any figure than any curvilinear connections whatever. The application of the rectilinear system consists in the use, as a basis of the drawing, of such a series of triangles as shall at once show the exact relation of the points of definition or expression to each other; but the successful application of this depends much on the assistance of the trained eye and hand of a master watching every step we make.

When we leave this section of the "American Drawing-Book," we leave all that is of practical value to the young artist. The prescription of any particular mode of execution is always injurious, (if in any degree effective,) for the reason that the student must not think of execution at all, but simply what the form is which he wants to draw, and how he can draw it most plainly and promptly. Decision of execution should always be the result of complete knowledge of the thing to be drawn; if from any other source, it will assuredly be only heedless scrawling, bad in proportion as it is energetic and decided.

The chapter on Perspective is full and well illustrated, and useful to architectural or mechanical draughtsmen, may-be, but little so to artists. There are, indeed, no laws of perspective which the careful draughtsman from Nature need ever apply, for his eye will show him the tendency of lines and the relative magnitude of bodies quicker than he can find them by the application of the rules of perspective,—and with much better result, since all application of science directly to artistic work endangers its poetic character, and almost invariably gives rise to a hardness and formalism the reverse of artistic, leading the artist to depend on what he knows ought to be rather than on what he really sees, a tendency more to be deprecated than any want of correctness in drawing.

The book contains chapters on artistic processes and technical matters generally, making it a useful hand-book to amateurs; but all that is really valuable to a young student of Art might be compressed into a very few pages of this ponderous book. To follow its prescriptions seriatim would be to him a serious loss of time and heart.

The New American Cyclopaedia. A Popular Dictionary of General Knowledge, Edited by GEORGE RIPLEY and CHAS. A. DANA. Vol. II. New York: D. Appleton & Co. 8vo.

We have spoken so fully of the purpose and general character of this work, in noticing the first volume, that it is hardly necessary for us to speak at length of the second. In a rapid glance at its contents, it appears fully to bear out the promise of the first. We have noticed a few omissions, and some mistakes of judgment. It is, perhaps, impossible to preserve the gradation of reputations in such a work; but a zoologist must be puzzled when he sees Von Baer, the great embryologist, who made a classification of animals, founded on their development, which substantially agrees with that of Cuvier, founded on their structure, occupy about one tenth of the space devoted to Peter T. Barnum; however, we suppose, that, as Barnum created new animals, he is a more wonderful personage than Von Baer, who simply classified old ones. These occasional omissions and disturbances of the scale of reputations are, however, more than offset by the new information the editors have been able to incorporate into most of their biographies of the living, and not a few of those of the dead. Many persons who were mere names to the majority of the public are here, for the first time, recognized as men engaged in living lives as well as in writing books. Some of these biographies must have been obtained at the expense of much time and correspondence. Samuel Bayley, the author of "Essays on the Formation of Opinions," is one of these well-known names but unknown men; but in the present volume he has been compelled to come out of his mysterious seclusion, and present to the public those credentials of dates and incidents which prove him to be a positive existence on the planet.

The papers on Arboriculture, Architecture, Arctic Discovery, Armor, Army, Asia, Atlantic Ocean, Australia, Balance of Power, Bank, and Barometer, are excellent examples of compact and connected statement of facts and principles. The biographies of Aristotle, Aristophanes, Augustine, Ariosto, and Arnold, and the long article on Athens, are among the most striking and admirable papers in the volume. As the purpose of the work is to supply a Cyclopaedia for popular use, it is inevitable that students of special sciences or subjects should be occasionally disappointed at the comparatively meagre treatment of their respective departments of knowledge. In regard to the articles in the present volume, it may be said that such subjects as Astronomy and the Association of Ideas should have occupied more space, even if the wants of the ordinary reader were alone consulted. But still, when we consider the vast range and variety of topics included in this volume, and the fact that it comprehends a dozen subjects which a dozen octavos devoted to each would not exhaust, we are compelled to award praise to the editors for contriving to compress into so small a space an amount of information so great.

1

It is probable that most of the gravestones upon which this heathen formula is found are not of an earlier date than the middle of the fourth century. At this time Christianity became the formal religion of many who were still heathen in character and thought, and cared little about the expression of a faith which they had adopted more from the influence of external motives than from principle or conviction.

2

This inscription is not of earlier date than the fourth century, as is shown by the words, Inter sancios,—referring, as we heretofore stated, to the grave being made near that of some person esteemed a saint.

3

Compare an inscription from a heathen tomb:– C. JVLIVS MAXIMVS ANN. II. M. V.

4

Other names of this kind were Deogratias, Habetdeum, and Adeodatus.

5

This name is given by the French Canadians to the bobolink or rice bunting. It is an old, I believe an obsolete, French word, and means "braggart."

6

Vida de Juan Facundo Quiroga, etc., por Domingo F. Sarmiento. Santiago, 1845.

7

Thus the Monagas, the late rulers of Venezuela, are accused of denuding their country of specie in order to accumulate a vast treasure abroad in expectation of a rainy day.

8

Since the above was written, we have heard of the adoption of an expedient identical with that of Quiroga, under similar circumstances, and with the same result. The detector was, however, an English seaman, now captain of a well-known steam-vessel, who forming part of a crew one of whom had lost a sum of money, broke off ten twigs of equal length from a broom, and distributed them among his shipmates, with the same observation as was used by the Argentine chief. Two hours later he examined them, and found that the negro steward had shortened his allotted twig. The money was restored.—The coincidence is instructive.