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MANUFACTURER OF SUPERFINE WATER COLOURS TO HER mw

MAJESTY & THE ROYAL FAMILY
Has the gratification to announce *kal^^kermaMjs^Colour-Bo^^am^foloims wm^di^tmguished and selected by the Executive
SOLD IN CAKES AT THE FOLLOWING PRICES.
Scarlet . Permanent White, in pots 1
Ultramarine . 1 Artificial Ultramarine . Chinese White . 1
Ultramarine Ash . 0 Orange Vermilion Prout’s Black .
W'arm Sepia . 1
VictoriaLacBlue
! Burnt ..
Lake.. 1 : Scarlet, in saucers . 1
!i Cadmium Yellow
Plalina Yellow Cobalt . Fine Chinese Gold, in
Imperial Permanent lilue,
Gallstone . Chinese Ink .. lj. 6if. & 2 shells - . . . 9d. & 1
equal to Ultramarine in
Tint . 0 I Lake, Crimson
Lemon Yellow Prepared Black for In-
Bumont’s Blue . . 0 Lake, Scarlet . . I Silver, in shells
Intense Brown Lake, Purple .. Permanent White Liquid, Gold, Silver, and.Copper 0
Smalt . 0 Pink Madder .. I Royal Purple .
Guimet’s Ultramarine .. 0 Rose Madder .. 0 Brown Madder „ in
lfly'ng .. .lj. Oil. & 2i
bottles.. j Gold Size, in pots . 1
Carmine . 0 Is. & 2 Bronze, in packets Is. to 5
lrom
Intense Blue . Chinese White, do.
Burnt Carmine . 0 Drench Blue . . Indian Y'ellow.. Carmine, in powder .... l
Sepia
lndiau .
Black ..
Dahlia Carmine . 0 ' Ultr
Dittoamar ine,....in saucers,
Pale Flake White, do . 1
Permanent Crimson .. .. 0
Extra Madder Lake .... 0 6 s. and £
Permanent White ,1 6 Prout's Brown, do . 1 1 saucers . from 1

Liquid Cement, do. lj. & 2 | Fine Chinese Gold, in

Purple Madder . 0 Gamboge
ALL AT ONE SHILLING PER CAKE. Varley’s Orange
Burnt Sienna Mineral Blue Raw Umber
Ackermann’s Yellow Green Bice
Burnt Umber Roman Ochra .... Neutral Tint
Ackermann’s Green Chrome Yellow, Nos. 1, Green Verditer Neutral Tint
Antwerp Blue Ilooker’s Green, 1 Naples Yellow
Indigo F Venetian Red
Vandyke Broun
Azure Blue Olive Green
Bistre 2, and 3 Indian Red Saturnine
Swedish Red
Sap GreenOchre Chinese Vermilion,
Blue Black Cologne Earth Orange Chrome Y'ellow Lake
Italian Earth Payne’s Neutral
Grey Tint Transparent
Ochre Yellow
Blue Verditer Deep Prussian Blue Prussian Blue .... Crimson
Italian Pink Varley’s Grey
British Ink Dragon’s Blood Purple .... Warm Grey White
Dutch Pink Prussian Green
Brown Ochre .... Ackermann’s
Brown Pink Emerald Green, 1 and 2 King’s Yellow Red Ochre .... Purple Grey
Lac Yellow Orpiment
Ochre
Bronze EgyptianGreen
French Brown IvoryLake
Black- Yellow
Red Orpiment .... Dark Green
Burnt Italian Earth Full Red Raw Sienna .... Warm Green York Brown
Lamp Black
Burnt Roman Ochre
Light Red
All these Colours may he had in Half-Cakes
at Half-Price.

REPOSITORY OP ARTS, 191, REGENT STREET. W.

■i*l« 1 ^

IS^-g.2 -O
 HEADS,
EMINENT ARTISTS,

on

DRAWN FROM NATURE.

BY MONSIEUR JULIEN, PROEESSOR OF DRAWING IN THE MILITARY SCHOOL, PARIS.

LITHOGBAPHED BY THOMAS FALRLAND.

LONDON:

AY. IAENT & Co. (Late II Bogue), 86, FLEET STBEET.

 INSTRUCTIONS TO ACCOMPANY

JULIEN’S PROGRESSIVE STUDIES OF HEADS.

|T is universally admitted tliat in tlie art of Drawing more is acquired by practice than by theory, and that practice combined with observation
and reflection is the only means by which knowledge can be obtained. It is, however, obviously of the utmost importance that the
learner should commence and proceed on distinct principles ; and that the examples which he proposes to imitate should possess those
qualities which wrill suitably facilitate his progress, strengthen his judgment, and form his hand to a proper style.
The system endeavoured to be illustrated in the accompanying Plates, by a progressive course of figures, is that essential method
of decidedly determining the relative bearings of all the most conspicuous points in a geometrical manner, before proceeding with details,
as is indicated in the early examples by dotted lines ; nothing is arranged or recommended in the copying of the present subjects, but upon
principles which can be equally and truly applied to the delineation of the real objects, and therefore the learner may rely with certainty
on the foundation these will become for subsequent practice.
In the Human Pace and Pigure, correctness of form is unquestionably the principal point to he aimed at ; to accomplish this
the learner, in his first exercises, should become well acquainted with all the parts of a Pace before he attempts the entire head ; and, in
studying each and every part, to make himself well acquainted with its proportions and appearances — in its height, length, and, every other
dimension. In order to succeed in this, he cannot too often contemplate his original ; he should therefore place it directly before him, examine
it carefully and deliberately, observe the position and proportion of all the leading points, both with regard to themselves and to each other.
It will be highly beneficial to the beginner, and render the use of the pencil easy, and enable him to acquire a full command of hand,
to draw his faces the size of life at his commencement ; for having attained the power of drawing their forms in distinct dimensions, he will find
smaller ones much easier ; whereas, commenciijg with smaller, will not so well qualify him to delineate those of the natural size, and especially as
the fulness of the scale requires more study, and gives better opportunities for the thorough understanding of the details and the modelling of the
respective forms. The learner should commence with the imitation of the features singly, in many different views and positions ; and after
becoming able to draw the parts separately with accuracy, then to undertake the entire face, beginning with a profile. Having mastered this,
the full face may then occupy his attention ; and in this a few mechanical rules will assist him : as, for instance, in attempting the entire
face he may first describe an oval, somewhat narrower towards the bottom than at the top, when he is at liberty to draw, or suppose to be
drawn, a perpendicular line down the middle, which serves as a guide for the situation of the nose and mouth ; this line is to be crossed by
others, on which are placed the nostrils, mouth, and chin. In every variety of position the existence or supposition of these lines is of great
service to the learner, as they enable him to place the features much more accurately than could be done without an adherence to them ;

always remembering that in every case the lines on -which the eyes, nostrils, mouth, and chin are placed, must perfectly correspond with each
other, and be always at right angles -with the perpendicular line supposed to be drawn through their centre : the continuance of this method
will more readily produce accuracy, and undoubtedly render the practice more easy and agreeable to the beginner.
To ensure further success, the student must habitually accustom himself to patience and diligence; first essays are almost always
rude and incorrect, and therefore he should not form any estimate of his own ability from his early attempts ; a little judicious practice will
remove many difficulties, and he who proceeds deliberately, and makes correctness and truth of imitation his principal aim, will not fail to
acquire a superior knowledge of the Human Pace, and gain the habit and power of delineating it with certainty, and from which he can with confidence

proceed to the study of the Human Pigure, as progressively represented in that part of the present work which is devoted to its illustration.*

_ THOMAS FAIR LAND.

similar Yolume devoted entirely to “ The Human Figure,” Lithographed by Mr. Fairland from Drawings by Mons. Julien, designed as a Companion to this Work, may also be bad.
.
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Published by D Itogue 86 .Fleet 5-reet Printed, ly M&.N Pantart

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Published by D Bogus 86 Pleet Street
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Published tv D Bcpue 6r:'. 71- Printed, by M 6c N Haute".
Tho? Pairbnd. lithofi Published. by D BojSue 56
Printed By M & N Hantia;
86, Fleet Street.
Printed by M&N.Hanhart
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Tho 5 Fail-land lifhoj. Published bvP Bo£ue 86. Fleet Street
Published by D Boone fl6 Fleet Street Printed, by M ic P Hanharl
Tho“ Tarland litbog Printed By M &H PianTi:
Published ~by I Bogus 06 Tleet Street
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Published t’/ i 3o$as.86-?tet Street.
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'PnLlishfid "bfD IBogue 06 Uecf Street

by M N Hi
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 R . ACKER MANN’S
sot»uip»i! ©mmey IF©® msm mah ®if widieio ®IF AML
19 1, REGENT STREET. W.
TERMS OF SUBSCRIPTION.
0r
FIRST-CLASS DRAWINGS. — 10 Guineas a-Year; 6 Guineas Half-Year; 3 Guineas Quarter.
,, „ 8 Guineas a-Year; 5 Guineas Half-Year; 2 Guineas Quarter.
.» 11 5s. a-Week for Drawings under 5 Guineas, and five per cent on any Drawing exceeding the above amotm
SECOND-CLASS DRAWINGS.— 4 Guineas a-Year; 2 Guineas Half-Year; 1 Guinea Quarter.
,, ,, 2s. 6d. a-Week, taking at a time One or Two Drawings to the value of Two Guineas.
Separate Drawings by the Week, according to the value of the Drawing.
The Drawings to be Excltanged as often as required. All Subscriptions to be paid in Advance.
Subscribers by the Week to leave a Deposit, the value of the Drawing.
Drawings Damaged to be paid for. Carriage Expenses to be paid by the Subscriber.

R. Acltermann’s Moist Colours in Saucers and Tubes for Out-Door Sketching

Arc more particularly recommended for their brilliancy and ready mixture, and superior to all others of this kind, a3 they do not rub up when washed
over by other Colours, which has been a great complaint by most Artists of those hitherto introduced. Sold separate or in Tin Japan Boxes, of different
Prices, with Cups and Bottles.

R. Ackermann’s Prepared Genuine Cumberland Black-Lead PENCILS,

OF DIFFERENT DEGREES OF HArqNESS AND DEPTH OF SHADE.
EBB Extra Black and double thick in lead, for very bold Drawing
H A degree harder than the Genuine Cumberland Lead, and used gene¬ FF Fine Pencils for Drawing, used by Artists, Drawing- Mast er, &c.
rally by Artists for Outlines.
Tin Two degrees harder, and used by Architects. (double thick in lead.)
B Black for Shading, used by the same.
IHH Three degrees harder, and used by Architects, Engineers, Surveyors,
&c. fee. BB A deeper black for Shading than B.
HB Hard and black for Shading.
F Fine Pencils for Drawing, used by Artists, Drawing-Masters, and
EHB Extra hard and black, and thick in lead.
Pupils.
except BBB . i
The various Letters .. 0 6 BBBB . i
BBBBB . 2
EHB and FF . 0

E. ACKKRMA.NN begs to impress upon Artists, and others using Lead Pencils, that he pays the utmost attention to the quality of the Laid, so that those
requiring them may rely upon haring the very best article that can possibly be manufactured.

REPOSITORY OF ARTS, 191, REGENT STREET. W.

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