so as to unite a number of parts into a perfect and pleasing whole.
Perspective is the first step in this branch of philosophy, but the nature and effect of light and shade, with the proportions and relations of different objects, and harmony, that grand feature of beauty, must all have become subjects of interest and observation, before we can hope to sketch successfully; and especially, before we can derive that high degree of intellectual enjoyment from the art of painting, which it is calculated to afford. Yet all these, by close and frequent attention, may be learned from nature itself, though an early acquaintance with the rules of art will greatly assist the understanding in this school of philosophy.
Amongst the numerous mistakes made by young people on the subject of drawing, none is a greater hinderance to their efforts, than an idea which generally prevails, that not only drawing itself, but each different branch of the art, requires a natural genius for that particular study. Thus, while one excuses herself from drawing because she has no genius for it; another tells you, that although she can draw landscapes with great facility, she has no genius for heads. Now, if genius be, as Madame de Stael informs us, "enthusiasm operating upon talent," I freely grant that it is essential to success in this, as well as every other art. You must not only learn it, but you must absolutely love it, was the frequent expression of a very clever master to his pupil. And it is this very love, which of itself will carry on the young student to any point of excellence, which it is desirable for a woman to attain.
It is true, there are greater difficulties to some than to others; just as the eye is more or less acute in its perceptions, or the communication between that and the hand more or less easy. Yet, with the same amount of genius
