Product Synopsis

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1857 edition. Excerpt: ... precisely the same in form and in relative position, only all topsy-turvy. Then, whatever you can see, from the place in which you stand, of the solid objects so reversed under the water, you will see in the reflection, always in the true perspective of the solid objects so reversed. If you cannot quite understand this in looking at water, take a mirror, lay it horizontally on the table, put some books and papers upon it, and draw them and their reflections; moving them about, and watching how their reflections alter, and chiefly how their reflected colours and shades differ from their own colours and shades, by being brought into other oppositions. This difference in chiaroscuro is a more important character in water painting than mere difference in form. When you are drawing shallow or muddy water, you will see shadows on the bottom, or on the surface, continually modifying the reflections; and in a clear mountain stream, the most wonderful complications of effect resulting from the shadows and reflections of the stones in it, mingling with the aspect of the stones themselves seen through the water. Do not be frightened at the complexity; but, on the other hand, do not hope to render it hastily. Look at it well, making out everything that you see, and distinguishing each component part of the effect. There will be, first, the stones seen through the water, distorted always by refraction, so that if the general structure of the stone shows straight parallel lines above the water, you may be sure they will be bent where they enter it; then the reflection of the part of the stone above the water crosses and interferes with the part that is seen through it, so that you can hardly tell which is which; and wherever the reflection is darkest, you...