Plan Graphics for the Landscape

Designer With Section Elevation and

Computer Graphics 3rd Edition Tony
Bertauski
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 THIRD
EDITION

Plan Graphics for

the

Landscape Designer
with Section-Elevation and Computer Graphics
Tony Bertauski
 THIRD EDITION

Plan Graphics for

the

Landscape Designer
with Section-Elevation and Computer Graphics

Tony Bertauski
Trident Technical College
For information about this book, contact:
Waveland Press, Inc.
4180 IL Route 83, Suite 101
Long Grove, IL 60047-9580
(847) 634-0081
info@waveland.com
www.waveland.com

Copyright © 2019, 2007, 2003 by Tony Bertauski

10-digit ISBN 1-4786-3726-9

13-digit ISBN 978-1-4786-3726-4

All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or
transmitted in any form or by any means without permission in writing from the publisher.

Printed in the United States of America

7  6 5 4 3 2 1
 Contents

Introduction   vii
Acknowledgments   viii

1 The Landscape Design Process

and Presentation Graphics · · · · · · · · · · ·   1
Landscape Designers’ Communication Tools· · · · · · 1
Hand Drawings Are Still Relevant · · · · · · · · · · 2
Presentation Graphics· · · · · · · · · · · · · · 3
The Design Process · · · · · · · · · · · · · · · 6
Summary · · · · · · · · · · · · · · · · · · 15

2 Tools  · · · · · · · · · · · · · · · · · · 17
Drawing Surface · · · · · · · · · · · · · · · 18
Paper · · · · · · · · · · · · · · · · · · · · 19
Printing· · · · · · · · · · · · · · · · · · · 20
Drafting Tape · · · · · · · · · · · · · · · · · 22
T-Square · · · · · · · · · · · · · · · · · · 23
Triangles· · · · · · · · · · · · · · · · · · · 25
Pencils· · · · · · · · · · · · · · · · · · · 25
Lead for Mechanical Pencils · · · · · · · · · · · 26
Pencil Sharpener· · · · · · · · · · · · · · · · 27
Sandpaper Block · · · · · · · · · · · · · · · 28
Erasers · · · · · · · · · · · · · · · · · · · 28
Eraser Shield· · · · · · · · · · · · · · · · · 29
Markers and Ink Pens · · · · · · · · · · · · · · 30
Circle Template· · · · · · · · · · · · · · · · 32

iii
iv  Contents

Compass · · · · · · · · · · · · · · · · · · 33
Beam Compass· · · · · · · · · · · · · · · · 34
Scale· · · · · · · · · · · · · · · · · · · · 35
Ames Lettering Guide · · · · · · · · · · · · · 37
Dry Cleaning Pad · · · · · · · · · · · · · · · 37
Brush · · · · · · · · · · · · · · · · · · · · 38
Protractor· · · · · · · · · · · · · · · · · · 38
Curves · · · · · · · · · · · · · · · · · · · 38
Parallel Glider · · · · · · · · · · · · · · · · · 39
Summary · · · · · · · · · · · · · · · · · · 39

3 Line   · · · · · · · · · · · · · · · · · · 43
Line Quality · · · · · · · · · · · · · · · · · 43
Free Hand vs. Straight Edge · · · · · · · · · · · 44
Line Weight · · · · · · · · · · · · · · · · · 48
Summary · · · · · · · · · · · · · · · · · · 54

4 Lettering· · · · · · · · · · · · · · · · · · 55
The Art of Lettering · · · · · · · · · · · · · · 55
Guidelines to Good Lettering· · · · · · · · · · · 56
Lettering Styles· · · · · · · · · · · · · · · · 64
Summary · · · · · · · · · · · · · · · · · · 67

5 Symbols · · · · · · · · · · · · · · · · · · 69
The Basic Elements of Symbols · · · · · · · · · · 71
Drawing Symbols · · · · · · · · · · · · · · · 77
Symbols Reflecting Plant Material· · · · · · · · · 80
The Role of Symbols in the Design · · · · · · · · · 95
Adding Shadows to Symbols· · · · · · · · · · · 102
Summary · · · · · · · · · · · · · · · · · · 108
Symbol Appendix· · · · · · · · · · · · · · · 110

6 Ground Plane   · · · · · · · · · · · · · · 121

Textures Representing the Ground Plane · · · · · · 121
Textural Drawing Techniques· · · · · · · · · · · 124
Ground Plane Components · · · · · · · · · · · 131
Summary · · · · · · · · · · · · · · · · · · 144
Ground Plane Textures Appendix · · · · · · · · · 145
 Contents v

7 The Plan Drawing   · · · · · · · · · · · · · 149

Plan Drawing Elements· · · · · · · · · · · · · 149
Plan Drawing Layout· · · · · · · · · · · · · · 154
Labeling · · · · · · · · · · · · · · · · · · 163
Plant List · · · · · · · · · · · · · · · · · · 171
Sketches and Details· · · · · · · · · · · · · · 172
Summary · · · · · · · · · · · · · · · · · · 172

8 Color   · · · · · · · · · · · · · · · · · 175
Colored Pencils· · · · · · · · · · · · · · · · 175
Markers · · · · · · · · · · · · · · · · · · 183
Summary · · · · · · · · · · · · · · · · · · 188

9 Section Drawing   · · · · · · · · · · · · · 191

Vertical Elements· · · · · · · · · · · · · · · 192
Locating a Section Drawing on the Plan Drawing · · · 192
Section-Elevation · · · · · · · · · · · · · · · 195
Summary · · · · · · · · · · · · · · · · · · 207

10 Computer Graphics   · · · · · · · · · · · · · 209

A Brief History of Computer Graphics· · · · · · · 209
When to Make the Switch to Computer Design · · · 210
Advantages of Landscape Design Software · · · · · 211
Imaging Software· · · · · · · · · · · · · · · 212
The Imaging Process and Techniques· · · · · · · · 213
Creating the Ground Plane with Imaging · · · · · · 223
Plan Drawing Software· · · · · · · · · · · · · 228
Three-Dimensional Modeling · · · · · · · · · · 232
Plant Database· · · · · · · · · · · · · · · · 232
Cost-Estimator Software · · · · · · · · · · · · 238
Printing· · · · · · · · · · · · · · · · · · · 238
Software Products· · · · · · · · · · · · · · · 239
Summary · · · · · · · · · · · · · · · · · · 240

Appendix A Portfolio 243

Project Files· · · · · · · · · · · · · · · · · 243
Photography· · · · · · · · · · · · · · · · · 244
Copying the Plan Drawing · · · · · · · · · · · 246

Appendix B Student Design 247

Preliminary and Master Plans · · · · · · · · · · 248
Master Plans· · · · · · · · · · · · · · · · · 260

Index 267
 Introduction

With the advancement of computers, drafting skills have dropped in demand. Design software has
made it quick and easy to draw a design and make revisions. This is certainly the case with large, com-
mercial landscape designs that often go through many changes. Software has made changing a design
into a very simple, quick process that would require long hours of redrawing for a hand-drafted design.
However, there are still many landscape designs drawn by hand and embraced by many landscape
architects and designers as an art form. Drawing is closely related to art, which itself is a designing pro-
cess. Thus, learning an artistic approach to creating a design helps support one’s understanding of the
design process. In this book, students learn to develop a successful, functional landscape design with a
loose, aesthetic appeal that will communicate to the client effectively as well as artistically.
Many students come to an introductory landscape design class knowing very little about the design
process, not to mention how to draw. To assume that they know what a T-square is and how to use it
would be a mistake. Because many of the tools and techniques are simple, they are often overlooked for
explanation. An introductory class has to start with the very basics so that students can build on the fun-
damentals in advanced classes. These skills are taught by instructors providing demonstrations and stu-
dents completing exercises. However, a thoroughly illustrated guide would help students work without
the assistance of the instructor, catch up on assignments they have missed, and also serve as a reference.
Much of the feedback I have gotten from students has been for a good drawing text for class. Much
of the drawing instructions are provided in the lab by the instructor with personal feedback. However,
a text that students can refer to would greatly improve assignments done outside of class in addition to
preparing students for the next class. In essence, what many students wanted was a clear guide show-
ing how the tools work, how to create symbols and textures, and a stepwise approach from start to
finish in the design process.
This book starts at the beginning of the landscape design process and proceeds with a simplicity that
will help beginning students. It also serves as a reference for symbols and textures, and provides students
with the skills needed to create an aesthetically appealing plan drawing that communicates effectively.

vii
viii  Introduction

New in This Edition

Since the second edition, I have made note of techniques or concepts that students have difficulty
grasping and areas I’ve felt need to be expanded, clarified, or included. I’ve added text and illustrations
within each chapter, as well as:
• Tips on working with digital copies
• Additional drawing techniques for line, lettering, and texture
• An expanded symbol library
• Updated computer design techniques and products
• Additional color development examples

This edition includes additional student drawings at the end of the book illustrating many good (and
some bad) techniques. This is to give you a concise overview of examples that implement the content
of this text.
Best of luck!

Acknowledgments
The author would like to thank those who made this book possible, including the following reviewers:
Anne Spafford, North Carolina State University; Karen Midden, Southern Illinois University; and Patricia
Lindsey, North Carolina State University. Also Doug Hihn, Monet’s Gardens in Charleston, for all the
time, insight, and drawings he volunteered. Thom Hood, Good Earth Inc., who has been unselfish with
his time for input. All the students who have given invaluable feedback and drawings. Mack Fleming
and Sharon Coke of the Horticulture Program at Trident Technical College, who have been integral to its
success. Tom Riccardi at Visual Impact software for allowing the use of software. And my wife, Heather,
who has always supported this project; and my kids, Ben, the builder, and Maddy, the storyteller, who
have kept things fun.
 1
The Landscape
Design Process and
Presentation Graphics

Objectives
• Understand the role of presentation graphics in the landscape design process
• Identify the different phases of the landscape design process
• Understand the ultimate goal of landscape design

Landscape Designers’ Communication Tools

Before discussing graphics in a landscape design, let’s examine the purpose of the designer’s drawings.
A landscape designer sketches ideas, draws plans, and in some cases creates elevated drawings in order
to get his or her ideas across clearly to the audience. Most of the time, designing typically occurs in
the form of a plan drawing. A plan drawing is a two-dimensional drawing of the design viewed from
a bird’s-eye view, directly overhead. Above all else, the plan drawing serves as a tool to communicate
the designer’s ideas.
A copy of the plan drawing will be given to the client and the installation contractor. The client is
the person(s) paying for the design services; the landscape contractor is the company implementing
the ideas. The landscape contractor may or may not be affiliated with the designer. Therefore, the plan
drawing has to be clear and concise as well as accurate.
Sketches, section drawings, or computer images may accompany the plan drawing to present a more
detailed portrayal of vertical design elements. Sketches and elevations often convey the visual aspects
of a design to clients better than plan drawings.

1
2  Chapter 1

Hand Drawings Are Still Relevant

In the age of computer graphics, are hand-drawn landscape design still relevant? That’s a legitimate
question. Computer-automated design programs can illustrate plans efficiently. Chapter 10 discusses
those potential tools. Choosing whether or not to use a computer depends on numerous factors, includ-
ing volume and scope of work, clientele expectations, and the designer’s computer skills. There are
certainly situations in which computer designing is the superior method. However, computers have not
rendered hand-drawn designs obsolete.

Initial Investment
Numerous computer programs can develop landscape designs (a summary of programs can be found
at the end of chapter 10). The upside is primarily the savings in time. The learning curve and cost,
however, varies widely. A professional landscape designer could easily spend thousands of dollars in
hardware, software, and training. And that’s before they ever sell their first design.
The initial investment for hand drawing is the cost of a pencil and a piece of paper. Designs, particu-
larly residential designs, can easily be sold with a reasonable investment of time plus a few dollars in
lead and paper.

Design Process
There’s an organic flow when designing by hand, an intimate relationship between the pencil in your
hand and lines on the paper. Some designers even start their design process by sketching ideas before
sitting down at the computer. Beginning students often develop design skills more quickly by hand draw-
ing their ideas.
Ideas are simpler to express. The curving flow of a bedline is easy to develop with a pencil. Translating
that with a line tool on the computer can be restrictive and difficult. This free-flowing nature that
accompanies hand drawing, in my experience, is a much more effective means to learn how to design.

Artistic Presentation
Some designers prefer the artistic expression of a hand drawing. It reads like a work of art that is some-
times framed and hung on the wall. It is more time-consuming than computer-automated design, but
the end result often carries a more personal touch.
The ability to draw well also implies a certain degree of skill. A designer may be very talented and
proficient using the computer, but a complete lack of drawing skills may hamper their perceived ability.
Even an introductory art class or landscape design class can avert an unjust assessment of one’s design-
ing skills.

Simplicity
There may come a time when a designer needs to invest in computer design. This may be solely due to
volume of work. He or she just can’t keep up with the time demands of hand drawing. However, the
designer may not have the computer aptitude to make the transition or the time to invest in training. He or
she may also find the ideas are just too hard to express on a computer when a pencil can do it in seconds.
In these cases, hand drawings can still be rendered and subcontracted to graphic designers to translate.
 The Landscape Design Process and Presentation Graphics  3

Volume of Work
As previously mentioned, volume of work often dictates the need for computers. Designers committed
to ten jobs a month or more would not be able to keep up with the demand by hand drawing plan
designs. Computer-automated designs are quick to draw and easy to edit. They can be e-mailed for
review and estimates produced with a touch of a button.
However, small businesses can easily employ hand-drawn techniques for a few jobs a month with-
out investing in expensive hardware, software, and training. Designs can be worked out with pencil
together with the client or other designers at the office. The ability to draw implies a certain degree of
design aptitude, and ideas can always be easily expressed as long as there’s lead in the pencil. On the
other hand, infrequent use of computer software does not allow the designer to become sufficiently
familiar with the commands needed to express an idea as simple as creating a curved line, and the flow
from idea to design is broken.

Presentation Graphics
Clear, accurate plan drawings, whether hand-drawn or computer-generated, are used to sell the project
to the client. The landscape contractor, on the other hand, just wants a clearly labeled plan to follow.
A well-organized plan drawing is easy to read and looks professional. A plan drawing created with
fully developed presentation graphics can present a concept with few words. A professional plan relays
the overall design to the observer quickly and effectively with symbols and textures. Anyone, regardless
of background, can look at a fully developed plan drawing and get a feel for the type of plants and the
texture of construction materials in the design (Figure 1-1a-d).
Plan drawings that rely heavily on verbal descriptions take more time and effort to understand, and
the potential to convey the overall design concept is compromised. Compare this statement to advertise-
ments. The visual impact of billboards and magazine inserts communicates a message instantaneously.
Graphics present a message visually, rather than through a lengthy description, and convey the message
to us quickly and effectively. The graphically developed plan drawing is efficient in the same way.

Does Every Plan Have to Be Presentation Graphics?

The degree of graphical development is based on the designer’s need. Certainly, presentation graphics
take more time to complete and will not be feasible for every project. For instance, a small-scale free-
lance designer may simply sketch plan ideas with circles and lines on tracing paper for a steady client or
a small job where he or she doesn’t need to sell the project. On the other hand, if a drawing is intended
for a proposal or bid that will be presented to an owner or a board of directors, the designer will want
to make a professional impression on the audience and spend the extra time on graphics and color.
It certainly is up to the discretion of the designer, but the advantage of learning how to render
presentation graphics is having a skill that makes the designer more marketable. Also, efficiency will
develop over time and the quality of even quick sketches will improve dramatically.
This text will be addressing the development of plan drawings intended for presentation and there-
fore will provide instruction to create a presentable format and artistic graphics.

Graphics Only Tip Box: Presentation Graphics Are

Aid Presentation Not a Substitute for Good Design
Keep in mind that although presentation graph- The ultimate goal is NOT to draw a pretty
ics are visually interesting, the ultimate goal of a picture. A successful design is one that is
landscape designer is to create a functional design functional as well as aesthetically appealing.
4  Chapter 1

(a)

(b)

Figure 1-1 Presentation Graphics. Presentation graphics improve the readability of the
design. (a) Preliminary plans graphically undeveloped; (b) presentation plans
developed.
 The Landscape Design Process and Presentation Graphics  5

(c)

(d)

Figure 1-1 Presentation Graphics (continued). (c) Preliminary plans graphically

undeveloped; (d) presentation plans developed.
6  Chapter 1

with properly selected plants, in addition to a visually appealing one. A good landscape design addresses
the need for changes established during the analysis. Any artist can draw a stunning portrait of a land-
scape design. But with little background in horticulture, this drawing may be functionally deficient, with
shade plants growing in full sun. A good drawing does not necessarily make a good design.
However, presentation graphics can help sell the design and enhance the designer’s professional reputa-
tion. People are often excited by a great drawing and often associate a good design with drawing ability.
Impressive presentation graphics look good in a portfolio and appear professional. They are also more
effective at communicating the overall design.

The Design Process

Although this text will focus on the devel-
opment of presentation graphics, a brief
overview of the design process is impor-
tant to become acquainted with the steps a
designer takes in order to arrive at the final
drawings. Whereas other texts go into great
detail on the theory of design, this text will
dwell mostly on drawing. The purpose of
this section is simply to familiarize you with
the process of drafting and sketching and
when presentation graphics are utilized.

Client Interview
The design process begins with meeting
the client, which may be a couple looking
to landscape their residence or a group of
people wishing to landscape a commercial
property. The interview allows the designer
to understand the wishes of the client. It’s
also an opportunity to present a portfolio of
design work to the client to gain their trust
and confidence. The portfolio will contain a
collection of drawings and pictures of past
work. Obviously, drawings that are well
developed are more likely to communicate
to the client a sense of professionalism and
pride in the designer’s work. At this point
in the design process, presentation graph-
ics can help sell the designer to the client,
especially if it is being bid against other
designs. Several types of plan drawings are
developed during the design process and
not all of them are intended for presen-
tation. Sketches are rough drawings that
help the designer work through the design
process and are not typically intended for Figure 1-2 Analysis. A graphic analysis of the
presentation. strong and weak points of a site
used to develop an effective plan of
action.
 The Landscape Design Process and Presentation Graphics  7

Site Inventory and Analysis

Following the interview is the site inventory and analysis (Figure 1-2). Inventory is observing and record-
ing what is already on site. From this information, the strong and weak points of the landscape are ana-
lyzed. The analysis establishes what changes must be made for the design to be functionally sound, such
as screening out unsightly areas or facilitating circulation. All of these ideas are worked out through rough
sketches and outlines.

Concept Plan
The concept plan is sometimes referred to as a functional diagram or bubble diagram (Figure 1-3).
The concept plan starts with the site inventory and analysis and explores various approaches to organize
the beds, screens, turf, sidewalks, entertainment areas, and so on in a number of ground plane designs.
These alternative ideas are typically explored
through a series of rough sketches. This step
establishes the functionality of the design and
provides the backbone for building the rest of
the design.

Preliminary Design
The ideas from the analysis and concept plan
are brought together to form a preliminary
design (Figure 1-4). The preliminary design has
a more detailed approach than the analytical/
concept phases. Plants and hardscapes (non-
living material) are drawn to scale and begin
to form the design. It focuses on objects, not
specific plant material, to form the elements
that shape the design.
The preliminary design is presented for
review to get feedback and approval to con-
tinue on with the master plan. In some cases,
it is developed for presentation to sell the
design. In this case, the visual appeal of pre-
sentation graphics helps communicate the
design concept. Smaller companies that
design/build may not include this step in the
presentation. In this case, a preliminary design
may be a sketch to help work through differ-
ent ideas and arrive at a master plan.

Master Plan
The master plan is the final detailed plan
drawing (Figure 1-5). The term master plan
can have various meanings, depending on the
designer. In some cases, it is a detailed design
without any specific labels and only communi-
Figure 1-3 Concept Plan. A preliminary cates the overall design concept. In this case,
drawing that organizes the ground the designer would use a planting plan (see
next section) to label symbols for installation.
plane.
8  Chapter 1

Figure 1-4 Preliminary Design. Following the analysis and concept plan, the preliminary
plan arranges plants’ symbols in an organized ground plane without
necessarily labeling anything.
 The Landscape Design Process and Presentation Graphics  9

Figure 1-5 Master Plan.A completely detailed illustration of the layout of all plant and
hardscape material.
10  Chapter 1

(a) Groundcover
planting detail.

(b) Specimen
planting detail.

(c) Tree slope

planting detail.

Figure 1-6 Construction Detail. Specification of installation techniques for the master plan.
 The Landscape Design Process and Presentation Graphics  11

In other cases, the master plan is also used by the landscape contractor as the planting plan to install
the design.
If the designer uses the preliminary design as the presentation graphic, then the master plan may
sometimes be less graphically developed. However, the master plan will be presented to the clients if
the preliminary design has not.

Other Plans and Drawings Included in a Design

Construction details are drawings that specify construction techniques (Figures 1-6a-c). These serve
as legal documents for installation and construction. They may include, but are not limited to, planting
techniques of trees and shrubs, spacing of groundcover plants, paver construction, fence detail, or post
installation. These serve more as a legal document for contractors to follow during installation.
Planting plans are plan drawings that consist of simple symbols and labels that specify exact plant
placement (Figure 1-7). Keep in mind that some designers, especially freelancers and smaller compa-
nies, combine the master plan with the planting plan.
Layout plans show the measurements for ground plane areas, such as beds and sidewalks.
Grading plans, also called contour plans or topography maps, show the slope of the land. Contour
lines are drawn to show existing and proposed changes to the project. Contour changes are mostly
used to promote surface drainage but may also be used to create a visual effect, such as the installation
of retaining walls or planting berms.

Figure 1-7 Planting Plan. Used by the landscape contractor to install the plants used in
the final design. (Drawn in AutoCAD by Sandy Plance)
12  Chapter 1

Irrigation plans are a schematic of the layout and parts needed for the irrigation system (Figure
1-8). Other drawings include sketches, sections, or perspectives of the proposed design to help the
client better visualize the design ideas (Figure 1-9a and Figure 1-9b). Chapter 10, on computer graph-
ics, includes figures that illustrate how imaging software can be used to develop photographs of the
project site with three-dimensional visual effects (e.g., Figure 1-10a and Figure 1-10b). This is a great
advantage; unlike sketches, sections, and perspectives, the realism of the drawing does not depend on
the designer’s ability to draw. Instead, an actual photo of the design is presented.

Figure 1-8 Irrigation Plan. A separate plan that presents the specifications for the
installation of an irrigation system. (Drawn in AutoCAD by Sandy Plance)
 The Landscape Design Process and Presentation Graphics  13

(a)

Figure 1-9a Plan Drawing and Cut Line. The section view is indicated by the cut line. The
arrows indicate the viewing direction shown in the illustration below.

(b)

Figure 1-9b Section-Elevation. The designer’s interpretation of the plan drawing. This
elevated view gives the client an idea of the plan. (Drawn by Sarah Thornby)
14  Chapter 1

(a)

Figure 1-10a Before Imaging. This is the original photo.

(b)

Figure 1-10b After Imaging. This is the graphic designer’s interpretation of the plan,
created using imaging software. (Created by Nate Dubosh)
 The Landscape Design Process and Presentation Graphics  15

Summary
The design process determines how plan graphics are developed. In some instances, drawings help the
designer work through ideas to achieve a final design. These sketches serve the designer as a way to
explore and organize ideas. Other drawings serve as blueprints and legal documents for installation.
Drawings that are presented to clients can help the designer communicate the design concept and ulti-
mately sell the design. Well drawn, fully developed plans promote a sense of professionalism and build
a positive reputation. However, the drawing is not the ultimate goal of the design process but, rather,
the design itself.

Key Words
analysis a preliminary stage in a landscaping project in which the strong and weak
points of the landscape are assessed.
bubble diagram see concept plan.
client the person, couple, or committee rendering the services of a landscape
designer.
concept plan a drawing of the ground plane organization that establishes the functionality of
the design.
construction details drawings that specify construction techniques.
functional diagram see concept plan.
imaging software a computer program utilized to render a picture of a design.
irrigation plans drawings used to lay out and specify elements of an irrigation system.
landscape contractor a company that installs a landscape design.
layout plans drawings that show the measurements for the layout of the ground plane.
master plan a detailed final plan drawing in which all plantings are labeled and hardscape
materials are specified.
perspective a sophisticated drawing rendered from a ground-level viewpoint to illustrate
vertical elements in a realistic approach utilizing the horizon line and a vanish-
ing point.
plan drawing a two-dimensional bird’s-eye view of a design drawn from directly overhead.
planting plans a plan drawing that shows exact plant placement.
preliminary design a refinement of the concept plan drawing that focuses on objects, not specific
plant material; plants and hardscapes are drawn to scale and form the ele-
ments of the design..
section an illustration technique used to portray a side view of the vertical elements of
a design by establishing a cut line (see example in figure 1-9 and Chapter 9).
site inventory observing and recording what is already on site.
sketches rough drawings to illustrate the elements of a design.
 2
Tools

Objectives
• Learn about the drafting tools and materials used to draw plan drawings
• Understand techniques of using the basic tools required for the beginning design student
• Learn tips and techniques for using drafting tools
Although much of the landscape plan is freehand drawing, drafting tools are necessary to be efficient
and accurate. Drafting tools make it easy to draw horizontal and vertical lines, circles, and duplicate
angles; locate points on the plan; and efficiently erase mistakes. Also, since the master plan, planting
plan, or layout plan will be used to locate material during installation, it is equally important that the
plan be drawn to scale so that it reads correctly like a blueprint.
While there are many great tools for drafting, beginning students don’t need to purchase all of them
to get started. This chapter will present the basic tools used to draw landscape designs. Please note that
essential tools will be noted as required for beginning students to get started, while other tools will be
noted as additional tools that can be helpful but are not necessarily required for the beginning student.

Essential Tools
Drawing surface—smooth, with straight edge Leads for mechanical pencils—4H, 2H, H, HB, 2B
Paper— tracing paper, vellum, Mylar®, grid paper, bond paper Pencil sharpener
Drafting tape Erasers—plastic or Pink Pearl®
T-square Circle template
Triangles—45/90 and 30/60 Compass
Pencils—wooden graphite drawing pencils (4H, 2H, H, HB, 2B) Scale—architect and/or engineer
lead-holders Carrying tube
mechanical pencils (0.5 and 0.7 mm)

17
18  Chapter 2

Drawing Surface (Essential)

Any table can serve as a drawing surface as long as it has two important characteristics. The first is
a smooth surface with no cuts or bumps. Any irregularities in the drawing surface will show through
to the paper and ruin lines (Figure 2-1). The second is a straight edge to slide a T-square along and
draw horizontal lines (Figure 2-2). If the drawing surface has a square corner (90 degrees) with straight
edges across the top and down the side, then the T-square can be used to draw vertical lines that are
perpendicular to the horizontal lines.

Figure 2-1 Drawing Surface. Rubbing an art stick over a piece of paper on the drawing
surface reveals its smoothness, which can affect the quality of drawing.
(a) Drafting table; (b) kitchen table.

Figure 2-2 Table Edge. Square corners and straight edges are important to draw
horizontal and vertical lines with a T-square and triangle.
 Tools  19

Drafting tables are the preferred

drawing surface for many designers
because tools can be stored in the
tray at the bottom edge of the table
and the desktop can be raised, low-
ered, or tilted for comfort (Figure
2-3). Some drafting tables have a
drafting mat covering the drawing
surface to protect it. Drafting desk-
tops that are portable are also an
option (Figure 2-4).

Figure 2-3 Drafting Table.A drawing table with a

smooth surface and adjustable height and
angle.

Figure 2-4 Portable Drafting Table. A drawing

surface can be easily transported.

Paper (Essential)
There are several kinds of drafting paper (Figure 2-5). Tracing paper, sometimes called trash paper,
onionskin, or bumwad, is a thin, translucent paper used to sketch ideas. It is a low-quality paper sold
in rolls 12″ to 36″ wide that comes in white, yellow, or buff and is often placed over the site plan to work
out different designs during the initial analysis or concept plan phases. It is the least expensive paper
and lots of it should be kept on hand.
20  Chapter 2

High-quality paper is preferred

for the final draft because it has
better reproduction quality and lon-
gevity. Vellum paper, or rag vellum,
is translucent and can be placed
over previous drawings to trace. It is
more expensive than tracing paper
and can be purchased in individual
sheets or in rolls. Vellum is primar-
ily used for lead drawings because
ink does not erase easily.
Mylar® is a registered trademark
owned by DuPont Teijin Films for
specific types of stretched polyes-
ter plastic sheeting. Used generi-
cally, the word “mylar” refers to a
high-quality drawing medium that is
actually a thin sheet of plastic draft-
ing film. It is heavier than vellum and
has better longevity and reproduc-
tion quality. It often comes with a
glossy side and a rough (matte) side. Figure 2-5 Paper. Trash, or tracing, paper used to
Drawing is done on the rough finish. work out ideas and take notes; vellum
Mylar is expensive and is primar- paper, high-quality paper used for lead
ily used for ink drawings because drawings; Mylar®, high-quality film used
it can be erased easily with an ink for ink drawings.
eraser. Plastic lead can be used on
mylar with minimal smudging.
Grid paper has non-photo blue lines laid out in squares over the paper. The grid can be used to draw to
scale because the size of the boxes is consistent. For instance, the boxes may be 1/8″ wide and tall, which
would be convenient if the scale of the plan were 1/8″ = 1′. The grid lines will not show up on a print.
Some designers like to use grid paper in preliminary
drawings because it is easier to assess the scale. Tip Box: High-Quality Paper
Bond paper is standard-weight paper, like Vellum is primarily used for lead drawings.
that used in home printers. It is primarily used
for copies rather than the actual drawing. Mylar® is expensive and is primarily used
for ink drawings.

Printing
A blueprint, by definition, is “any carefully designed plan.”Blueprinting, however, as it was originally
done, produced a negative copy of the original with white lines on a blue background, thus the name
blueprint. The original blueprinting process is no longer used to produce copies.
Although losing favor, diazo production is still done, but much less frequently. Diazo copies utilize
ultraviolet light and ammonia vapor to produce blueline or blackline prints that are true reproductions
with the prospective line color on a white background. The color of the line was mostly a preference of
the designer.
However, the title of blueprinter is now being replaced by reprographer because reprograph-
ics—the digital reproduction of plans—is the most common form of printing. Reprographics, also
 Tools  21

Tip Box: Grid Paper Is Very Convenient

Grid paper is worth the slight increase

in cost. The nonreprographic lines make
scaling quick and easy. The lines also
provide limitless guidelines for drawing
and lettering.

Tip Box: Carrying Tubes

Drawings are easily, safely transported if

they are rolled up and inserted into car-
rying tubes. Use either a professional
carrying tube made of plastic with a
carrying strap or a simple, inexpensive,
heavy cardboard postal tube.

Begin rolling the drawing facing out at

the edge opposite the title bar. This way,
the title bar will be visible on the outer-
most layer and the curl of the unrolled
plan will remain flat against the table. To
avoid smudging, wrap a blank sheet of
paper around the rolled drawing before
inserting it into the carrying tube.
22  Chapter 2

referred to as xerographics (xero- means “dry” and graphy- means “write”) is preferred because,
even though the equipment is expensive, it is more efficient and there is no need for dangerous chemi-
cals. The original drawing is scanned and saved into the computer system as a digital file that can be
printed at any dimension.
Copies, often referred to as prints, are
given to the client and the contractor. The Tip Box: Test Print
original should be kept by the designer in Take your plan drawing to make a test print to
storage and not handled on site. Copies are see how well your lines show up on the print in
often obtained at a blueprinting company comparison to the original.
that specializes in reproducing architectural
plans, although printing technology has
improved so much that quality prints can be obtained at commercial copy stores such as FedEx Office
and Copy Max. In most cases, a copy will be printed on bond paper, but if high-quality paper is needed,
blueprinting companies can print on vellum or mylar.

Cost of Black and White vs. Color

Generally, a black and white copy is all that most projects will require. For a full sheet (24″ × 36″), a
bond paper copy will cost only a few dollars. Color prints are occasionally required for presentations. In
this case, a designer would make a black-and-white copy of the original design to further develop with
colored pencils or markers. A full-color scan of the finished product could then be printed in full color.
With today’s reprographics, the quality of the copy is very good and reasonably priced.

Uploading for Copies

Large-format printers are big and expensive. Most designers will take their projects to a reprogra-
pher, or blueprinter, to provide affordable copies as needed, avoiding the overhead of equipment and
supplies. Most companies provide pick-up and delivery services, although some reprographic vendors
require the designer to drop off and pick up the project.
One advantage to computer designing is the ease of submitting drawings for printing. Designs-in-
progress can be printed on a standard office printer for review, typically reduced to fit on 8.5″ × 11″
paper. The finalized project file can be submitted online to a reprographer to print at scale (full page,
24″ × 36″). Many companies provide same-day printing and delivery. At the very least, the designer will
have to pick up the prints when the job is completed.

Drafting Tape (Essential)

Low tack drafting tape and drafting dots are used to anchor the corners of the paper onto the design
table (Figure 2-6). Dots are packaged on a strip of paper that is rolled inside a box that dispenses them
from one end as the paper strip is pulled from the other.
A small roll of masking tape can be used
as well, although it tends to be very sticky
and can rip the corners. Another disad- Tip Box: Dulling Sticky Tape
vantage to using regular masking tape is it To dull excessively sticky tape and avoid tearing
tends to roll over as the T-square is pulled the corners of the paper, pick up some lint on the
over it. If the tape is too sticky and is ripping sticky side by applying the tape to your clothing
the corner of the paper, dull the adhesive and peeling it off, or rub the adhesive side in the
side with lint from your clothing or rub each palm of your hand or on your forehead.
piece in the palm of your hand or on your
forehead to pick up the oil from your skin.
 Tools  23

Figure 2-6 Drafting Dots.

Dots (top) or tape (bottom)
is used to anchor the
corners of the drawing.

T-Square (Essential)
The T-square provides a guide for a horizontal line anywhere on the page by placing the head of the
T-square on the edge of the drafting table and sliding it up and down (Figure 2-7). Consistent horizontal
and vertical lines can be quickly drawn
with this tool. Placing the head of the
T-square across the top of the table
provides a guide to draw vertical lines.
Wooden T-squares have 1/2″ clear
plastic Plexiglas® strips on the drawing
edge. Steel T-squares have ruler mea-
surements engraved on the straight
edge and are commonly used by
engineers.
The T-square is especially helpful
if the plan is removed from the table.
When the plan is again placed on the
table, it can be aligned to the original
working position.

Figure 2-7 T-Square. Wooden (above) and steel

T-squares.
24  Chapter 2

Holding the T-Square

When drawing a line on the
T-square, hold the head firmly
against the table with the nondraw-
ing hand (Figure 2-8).

Squaring the Paper

In order to draw horizontal lines par-
allel with the bottom and top of the
paper, the paper must be squared to Figure 2-8 Holding the T-Square. Hold the head
the T-square (Figure 2-9). First set firmly with the nondrawing hand.
the T-square on the drafting table
with the head firmly against the side edge. Now place the paper on the straight edge so that it conforms
along the entire length. Now tape the corners of the paper in place. Be sure to smooth out all bubbles and
wrinkles when taping down the paper.
Drafting tables can have a mobile straightedge parallel rule attached to the table edge, which looks
and functions like a T-square but slides up and down on cables (Figure 2-10).

Figure 2-9 Squaring the Paper. Square the Figure 2-10 Parallel Rule. A horizontal bar
paper to the T-square so that may be attached to the drafting
drawn lines will be parallel to table that slides up and down
the edge of the paper. like an attached T-square.
 Tools  25

Triangles (Essential)
There are two standard triangles:
45/90-degree and 30/60-degree
(Figure 2-11). Triangles are made of
transparent material to see the paper
underneath and they come in differ-
ent sizes. They are very handy as a
straightedge because of their smaller
size, and they provide a 90-degree
corner to draw square corners.
Triangles can be used in con-
junction with the T-square to draw
vertical lines (see Figure 2-2).
With the T-square in place, put the
Figure 2-11 Triangles. A 45/90-degree triangle (left)
square corner of the triangle on
the T-square to draw a vertical line and a 30/60-degree triangle (right) for
along its edge. The triangle can also drawing angles and straight lines.
be used to draw lines at a 30-, 45-,
or 60-degree angle from a base line.
There are also adjustable triangles
that can be set to various angles.

Pencils (Essential)
Any of the following tools can be used to draw with lead.
• Drawing pencils are wooden pencils without an eraser at the end (Figure 2-12). They are a
convenient way to draw and are inexpensive and easy to handle.
• Lead-holders operate like a mechanical pencil but hold larger sticks of lead (typically 2 mm and
up) that can be sharpened to a fine point and used to draw very sharp lines (Figure 2-13). Lead-
holders are versatile because it is easy to switch leads of different hardness.
• Mechanical pencils are sized to hold various thicknesses of lead (from 0.3 – 0.9 mm) and do
not need to be sharpened (Figure 2-14). Because the lead is thin, it tends to break when too
much pressure is applied, especially when it is smaller than 0.5 mm.

Figure 2-12 Pencils. Various leads are used to draw lighter or darker lines.
26  Chapter 2

Lead for Mechanical Pencils (Essential)

For the beginner, the great advan-
tage to using lead is that it is very
forgiving. Mistakes can be easily
corrected. The disadvantage is weak
reproduction, especially if lines are
too light. Beginning students should
test-print their drawings to learn
how to draw line weights with good
reproduction quality.
Lead comes in degrees of hard-
ness and softness. H lead is hard
lead that draws thin, lighter lines
and is often used for general draw-
ing. A number before the H indi-
cates the degree of hardness; the
higher the number, the harder the
lead. The advantage to harder lead Figure 2-13 Leads. Narrow sticks of drawing material
is that it maintains a sharp point and (usually graphite) are loaded into lead-
does not smudge. 4H is used for holders (pictured) or mechanical pencils.
guidelines and 2H is often used to
draw details and sometimes letters.
B lead is softer lead that draws
thicker, darker, heavy-weight lines.
The higher the number before the
B, the softer the lead. Because it
is softer it smudges easily, and a
wooden drawing pencil requires
frequent sharpening. HB is used to
draw shadows and create contrast,
and is sometimes used for general
drawing. Occasionally, 2B is used,
but it should be used with caution
because it smudges so easily. A piece
of smooth tracing paper placed
under the drawing hand will shield Figure 2-14 Mechanical Pencils and Lead. Lead
the drawing from hand movements hardness and thickness can be varied.
that will smear the soft lead.

Types of Lead
Standard leads are made of graph-
ite. Plastic leads are used to draw
on mylar film to avoid smudging.
Tip Box: Commonly Used Leads
4H, 2H, H, HB, and sometimes 2B are
the pencil leads must commonly used.
 Tools  27

Tip Box: Mechanical Pencils Are Very Convenient

Mechanical pencils (at left in photo) are easy to use

and keep a quality tip. A designer will only need a few
mechanical pencils (usually 0.5 mm and 0.7 mm) loaded
with either H or 2H lead for most of their design needs.
Drawing pencils (at right in photo) need frequent sharp-
ening to keep consistent, quality lines.

Non-photo Blue Pencil (Additional)

The lines and writing made with a non-photo blue pencil do not show up on a reprographic print. It is
useful for drawing lettering guidelines or writing comments on the original plan.

Pencil Sharpener (Essential)

Keeping pencil lead sharp is important, so have a quality pencil sharpener on hand for wooden draw-
ing pencils. Lead-holders also require a lead pointer to sharpen the 2-mm pencil leads (Figure 2-15).

Figure 2-15 Lead Pointer. A tool designed to sharpen the 2-mm leads used in a lead-holder.
28  Chapter 2

Additional Tools
Non-photo blue pencil Ames lettering guide
Sandpaper block Drafting dry cleaning pad
Erasing tools—stick eraser, electric eraser, ink eraser, kneaded rubber eraser Brush
Eraser shield Protractor
Markers in assorted colors—round-tip, chisel-tip, pigment liners Curves—flexible, French
Ink pens in assorted colors—0.5-, 0.8-, and 1.0-mm thickness Parallel glider
Beam compass

Sandpaper Block (Additional)

A sandpaper block is a small,

narrow pad of fine sandpaper
sheets mounted on a narrow piece
of wood with a handle. It is used
to keep a sharp point on the thick
leads used in lead-holders and also
to sharpen drawing supplies such
as charcoal, pastel, or crayons that
do not fit into a conventional pencil
sharpener (Figure 2-16).

Figure 2-16 Sandpaper Block.

Erasers

Essential Erasers
With any eraser, be careful when erasing lines drawn with soft lead because they smear and cause a
smudge spot that is hard to remove (see eraser shield). Plastic erasers, which are commonly white, are
frequently used to erase lead (Figure 2-17a). As lead builds up on plastic erasers, it can be washed off
to prevent it from smudging the paper. Also, cutting the eraser with a knife can sharpen the edges. Pink
Pearl® erasers with a beveled edge are a perennial favorite among artists and offer smudge-free erasing.
 Tools  29

(a)

(b)

Figure 2-17 Erasers. (a) Various erasers (starting left, moving clockwise): stick, kneaded
rubber, and plastic. (b) An electric eraser rotates a stick eraser at high speed.

Additional Erasers
A stick eraser is a cylinder of eraser material used in a hand-held, retractable holder for more control
(Figure 2-17a). An electric eraser holds a stick eraser and spins it at high speed for effortless, efficient
erasing (Figure 2-17b). Not only do electric erasers save wear on your hand but also will reduce the
smudging that can happen with larger block erasers. Ink erasers are embedded with a solvent to erase
ink. They are often a blue or yellow color and work as well as a handheld block eraser or an electric
eraser. Kneaded rubber erasers can be molded into shape like putty (Figure 2-17a) and used to lift the
soft lead dust from a line, which would otherwise smudge, before using a hard eraser. Kneaded erasers
are great tools to cautiously dab onto a line that has been drawn too dark or to lift off excess lead and
lighten a line without erasing it. However, be careful! This can cause inconsistent line weights.

Eraser Shield (Additional)

A thin, flexible metal template with various holes—called an eraser shield—can be used to mask other
lines that are not being erased (Figures 2-18a and b). This is especially helpful when erasing a line that
is very close to other lines. Without the shield, the other lines would be smudged. Although it is not
an essential tool for beginners, it is so inexpensive that it is worth including it in a set of drawing tools.
30  Chapter 2

Figure 2-18 Eraser Shield. A thin metal plate

used to cover lines that are not
intended to be erased.

Markers and Ink Pens (Additional)

Markers and ink pens may be used in addition to lead, although they are not required for the begin-
ning student. They provide excellent line quality. The contrast of black lines on white paper creates
a very clean and legible document. Be sure
the ink is dry before moving tools across
it. Wet ink will smudge and ruin a drawing.

Markers
Round tips are great for heavyweight lines.
Chisel tip markers are good for drawing
wide lines (Figure 2-19).
Professional felt-tip marker sets have
markers with a tip on both ends (Figure
2-20). One end has a fine tip that can be
used for detail. The other end is a chisel tip
that can be used to draw 1/4″ lines or lines
only 1/8″ wide. Some professional markers
come with interchangeable tips in a variety
of line widths.

Figure 2-19 Marker Tips. Round tip (left) and

chisel tip (right).
 Tools  31

Figure 2-20 Professional Marker. Fine writing tip (left end) and chisel tip (right end).

Ink Pens
Technical pens are fitted with hollow metal tips, or nibs, and an ink reservoir (Figure 2-21a). The
nib tips come in various diameters, measured in millimeters, to produce different line weights (Figure
2-21b). In the past, technical pens were relatively expensive but have become much more affordable
and easier to use. Today’s pens utilize ink cartridges rather than a reservoir, thus avoiding the mess of
refilling the reservoir from an open bottle. Pens are held upright and used with light pressure when
drawing (Figure 2-22). Sets include pens with nibs sized from very narrow (0.10 mm) to wide (2.0 mm),
although only a few are essential (i.e., 0.5, 0.8 and 1.0 mm).
Pigment liners are fiber-tip markers that come in sets offering a range of line widths (Figure 2-21c).
Similar to technical pens, they are relatively inexpensive and disposable. Unlike technical pens, the tips
of liners tend to flatten on one side and should be rotated when drawing to maintain a consistent line
width. Five-pen sets are available that include tips ranging from .005 mm to .08 mm.

(a) (b)

(c)

Figure 2-21 Technical Pens and Felt-Tip

Liners. (a) Technical pens can
be refilled with ink. (b) The
nib tips of technical pens are
sized to a specific line width,
measured in millimeters.
(c) Professional double-ended
felt-tip liners are disposable.
32  Chapter 2

Figure 2-22 Drawing with Technical Pens. Technical pens should be held upright at a
90-degree angle to the paper.

Circle Template
(Essential)

A circle template is used to draw

circles of various sizes (Figure 2-23).
The diameter of the circles on the
template usually measure in a range
from 1/16″ to 2-1/2″, although
larger-sized templates are available.
It is a very valuable tool for quickly
drawing circles to scale.

Figure 2-23 Circle Template and Compass. Tools used

to draw circles.
 Tools  33

Tip Box: Drawing Bedlines

Large circle templates can be used

to draw smooth bedlines with a
very nice flow by using the circles
to connect various arcs.

Compass (Essential)
A compass is used to draw large circles. This is a tool with a sharp-pointed leg to anchor in the center
of the circle and another leg with a short piece of lead or a mechanical pencil at the end. When the
compass is twirled around the point, the lead draws the circle (Figure 2-24).
The width between the two legs is adjustable, often by means of a knob near the top. Circles can be
drawn to scale by holding the compass legs to the scale and adjusting the distance between the point
and the lead to equal the radius of the circle (see Tip Box: Drawing Circles to Scale).
A compass extender bar can be attached to the compass leg to draw larger circles. The bar simply
clips onto the leg of the compass to widen the arc.

Figure 2-24 Compass. Anchor the sharp

end of the compass in the
center of the circle.
34  Chapter 2

Tip Box: Drawing Circles to Scale

Hold the compass up to the scale to adjust the

radius (half the diameter of the circle). If the
scale were 1/8″ = 1′, then this compass would
draw a circle with a radius of 15′ (30′ diameter).

Tip Box: Sharpening Compass Lead

Sharpen the lead by flattening

one side against scratch paper
or a sandpaper pad. Mount
the lead with the sharpened
side facing the pointed leg of
the compass, as shown.

Beam Compass
(Additional)
Many large-scale plans will require
points that exceed the limits of
a compass. This is especially true
when drawing base maps. A beam
compass is a tool that can draw
points the length of a full sheet
(Figure 2-25). It is designed as a flat
bar mounted with two sliding com-
ponents—one with an anchoring
point and the other with lead. The
components can be adjusted along
the bar and locked in place.

Figure 2-25 Beam Compass.

 Tools  35

Scale (Essential)
A scale is a ruler with units that represent feet in the plan drawing (Figure 2-26). It is critical to use it
properly so that the plan drawing is accurate. There are two types of scales: architect and engineer.
An architect scale is based
on unit divisions of an inch
(Figure 2-27). For instance,
the plan may be drawn so that
every 1/4″ is equal to 1 foot.
Many designs drawn with an
architect scale use 1/8″ scale =
1 foot, although it will depend
on the scope of the project
and the size of the paper. The
nice thing about working with
increments of an inch is that a
ruler can be used if an architect
scale is not available.
An architect scale can be
confusing to use at first because
it utilizes unit measurements
running in both directions. It is
marked in increments of an inch
starting on the left side of the
scale and running to the right,
as well as increments of an inch
starting on the right and run- Figure 2-26 Scales. Engineer (top) and architect (bottom).
ning to the left. For instance,

Figure 2-27 Architect Scale. Units of an inch; 1/8″=1′.

36  Chapter 2

you will find the 1/8″ measurement on the left side of the scale. Every increment is 1/8″ wide, but only
every fourth increment is numbered. If you start at the “0” mark and count every line going to the right,
you will find the “4” is on the fourth 1/8″ increment. On the right side opposite of 1/8″ is the 1/4″ scale.
Notice it is double the increment of 1/8″. Since it is double 1/8″, every other line will be used as the 1/4″
increment. To use the 1/4″ scale, start at the “0” and go left along the scale. Notice that every other line is
longer and numbered running left.
When measuring lines that are less than 1 foot, the incremental block that comes before the “0”
is used (Figure 2-28). If drawing a 3.25-foot line using a 3/4″ scale, the line would extend three 3/4″
increments to the right of the “0”; the remaining 0.25′ would be measured and drawn using the smaller
increments to the left of the “0.”

Figure 2-28 Architect Scale. Smaller marked increments left of the “0” mark measure
lines that are a fraction of a foot. The line drawn above represents a 3.25′ line.

An engineer scale is based on decimal scale divisions of an inch (Figure 2-29). The 10-scale has 10
evenly spaced increments per inch, the 20-scale has 20 increments per inch, and so on. In most cases,
each increment equals one foot. Therefore, if using a 10-scale, where every inch has 10 increments, the
scale is 1″=10′.

Figure 2-29 Engineer Scale. Decimal scale divisions per inch.

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The flitting had been attended with considerable expense. Some
new things had to be got for Knowe Park. The children were growing
up, and the boys were, like all healthy boys, “heavy” on their clothes;
and besides, Mr. Barrie was a liberal contributor for the maintenance
of ordinances and the erection of the new church.
Mrs. Barrie, seconded by her faithful Bell, stuck to her thrifty
practices and household duties, whilst at the same time she took
great interest in all that concerned the church, and by her good
sense and motherly counsel quietly did much useful work. She made
Mr. Barrie her first worldly care, and this enabled him to overtake his
arduous duties timeously and efficiently.
Bell was as constantly diligent as ever, working away in the house,
amongst her live stock, and in getting the garden up to her standard.
When the winter evenings set in, she kept stitching away, trying to
keep the boys all right; for that was her special department, as Mrs.
Barrie attended to the girls’ attire. The wires for knitting stockings
were nimbly plied at all spare hours; and as she could read and knit
at the same time, she became well up in Free Church matters, as
she got a “look of the newspapers” in the evening. She paid little
attention to the general news, but perused with great interest “a’thing
about kirks.” She also read with much care all the Free Church
magazines.
When November term came, Mrs. Barrie, as she had generally done,
put into an envelope Bell’s half-yearly wages, or “fee” as Bell called
it, and handed the parcel to Bell.
There was an understanding between them that there
was to be no “speakin’ at the ‘speakin’ time,’” that is, RATHER
no asking Bell if she was “stayin’.” Mrs. Barrie had TOO
done this for the first three years, but Bell beseeched MUCH.
her not to do it again,—“she couldna bide it; if she
wasna gaun to stop, she wad gi’e plenty warnin’.” And although
Bell’s fee had been increased more than once, she had never asked
an advance, nor had Mrs. Barrie ever told her of it beforehand;
indeed, the payment of the fee seemed to be the most trying part of
the intercourse between Mrs. Barrie and Bell, from the strange
feeling that some fine natures have when money matters are
referred to. Not only was there little said on such occasions, but Bell
felt at a loss for words to thank Mrs. Barrie for raising her fee. She
seldom got past “it’s far ower kind—far ower kind, ’deed is’t.” And
Mrs. Barrie felt the same difficulty, for her reply rarely exceeded, “It’s
not that, Bell; I wish”—Then she passed on to some other subject,
and both seemed to be relieved, and to enter afresh on another six
months’ unclouded intercourse.
On this occasion, however, Mrs. Barrie was surprised at Bell’s
troubled look, and more so at her words.
“Mrs. Barrie,” said Bell, handing her back the money, “I canna tak’ it,
and I daurna tak’ it. Dinna be angry at me, an’ oh, mem, dinna press
me. This has been a heavy half-year on ye, an’ if I daur’d offer ye
what little I hae, I wad gladly gi’e a’ my ‘stockin’ fittie;” for an old rig-
and-fur stocking was Bell’s purse, and she kept it for safety in the
bottom of the case of the kitchen clock, covered up with an old dirty
dusty wrapper, the only regularly dusty thing in her kitchen.
Mrs. Barrie thoroughly appreciated Bell’s generous thoughtfulness,
and although she was put about by it, she tried to keep this from
Bell.
“Bell,” said Mrs. Barrie, “you’re exceedingly kind, it’s very thoughtful
indeed of you; it’s just like yourself. But I’m thankful to say that there
is not the slightest need for your perplexing yourself about us, for
we’ve enough and to spare, so please say no more about the matter;
but thank you very much, Bell, all the same.”
Bell was loth to yield, and only did so after repeated pressing. Mrs.
Barrie left the kitchen, and had hardly sat down in the parlour, when
Bell came in, and laying a one-pound note on the table, said:
“Ye’ve countit wrang, mem, if you please; ye’ve gi’en me a pound
ower much.”
“No, Bell, not too much,” said Mrs. Barrie; “too little if you like, but not
too much. You told me just now it had been a heavy half-year with
us. What has it been to you? You have done two women’s work.”
 “No’ me, Mrs. Barrie, no’ me. I have a gude place,
“TWICE an’s no oppressed nae way. Twae women’s wark?—
BLESSED. pity their men or their mistresses! It’s nae wark at a’;
” naebody meddles wi’ me; I dae as I like.”
“Because you always like to do well, Bell.”
“I wish I did,” said Bell, and was leaving the room, when Mrs. Barrie
said: “Take the pound with you, Bell.”
“No, Mrs. Barrie; excuse me, mem,” said Bell. “I never disobeyed ye
before, but I will not take that pound—I could not take it.”
“Do what you like with it, Bell, but pray take it away; it’s yours.”
Bell lifted it, and said, “For His cause.” Her fee had been a
consecrated thing in her mind for some time, and seeing Mrs. Barrie
had declined it, Bell, with great comfort to herself, apportioned it
between the Building, Sustentation, and Mission Funds of the Free
Church; with the exception of one pound, with which she bought
“Alloa yarn,” and knitted cosy under-garments for the whole
household, herself excepted. She did this at odd times, almost by
stealth; and on New-Year’s day, when each inmate was wishing Bell
a happy New Year, she put into their hands the cosy clothing, saying,
“That’s your hansel;” but in the case of Mrs. Barrie it was varied by,
“That’s pairt o’ yon pound.”
Bell’s cookery is a subject I cannot handle as it should be handled. I
have occasionally heard her tell of the regular winter Sabbath-day
dinner as follows:
“There’s nothing beats a sheep’s head. We hae ane every Sabbath;
it’s cheap, and very handy. There’s this gude thing about it, it needs
little watchin’, and disna gang wrang wi’ ower lang boilin’: cleek it on,
an’ get it fair through the boil, then cleek it up so as it’ll no’ boil ower
an’ pit oot the fire, an’ ye may lock the door an’ gang a’ to the kirk,
an’ come oot when you like. It disna matter for an hour or twa, either;
’deed it’s a’ the better o’ plenty o’ the fire—especially if ye hae a
handfu’ o’ the ‘blue pat-pea’ in’t, an’ plenty barley. Then what’s like
the broth on a cauld day? An’ then there’s the tongue for the bairns,
an’ the head for the big folks. I like the feet best mysel’ [that’s like
you, Bell]; an’ the broth’s grand next day—they’re a denner
themsel’s.”
In cooking potatoes Bell could boil them till they were
ragged in the “jackets,” but “mealy” all through; bake AFTER
them in the oven with their skins on, so that with a little MEG
salt butter they were like eggs, and “suppit” as eggs DODS.
are; fry them till they were “delicious;” beat and brown
them with a little milk so as to render them a satisfying meal.
Moreover, with the addition of a little dried fish, cod or ling, eggs or
odd scraps, she made such dainty dishes as I cannot get
reproduced. Possibly the potato disease may account for this.
I can speak from experience of her wonderful success with salt
herrings,—“food for a king,” as Mr. Taylor used to say,—and am
tempted to speak of her stews and “hashes,” and haggises and white
puddings; for these were never too rich, but palatable, digestible,
and tempting, and often they were made out of what modern cooks
would put aside as unfit for family use. Out of common pot barley
she made a delightful pudding, that beat rice pudding hollow. But I
must not make this a cookery-book.
I asked Bell for some receipts on one occasion.
“There’s nae receipt about it, Mr. Martin,” said she; “just gang richt
aboot it, an’ ye canna miss. It’s just as easy as A-B-buff when ye’re
into the way o’t.”
“Just so, Bell; but how do ye get into the way o’t?”
“Tuts, Mr. Martin,” said Bell playfully, “that’s no’ a man-body’s parish;
and as the sayin’ is, ‘Hunger’s gude kitchen;’ altho’, in ma way o’
thinkin’, there’s as muckle, if no’ mair, lies wi’ the cook as wi’ the
flesher,—it are thae.”
Bell had always on hand what cooks call “stock,” on which she could
fall back as occasion required for soups and gravies.
On a bitterly cold day, a Mr. Kirkwood called at Knowe Park by the
desire of a Colonel Gordon, to make inquiries as to his relationship
to Mrs. Barrie, whose maiden name, as already stated, was Mary
Gordon.
Mr. Barrie was from home, and the family dinner was, in Bell’s
phrase, an “offpit;” and Mrs. Barrie, knowing this, expressed her
regret that she could hardly ask Mr. Kirkwood to join them at their
homely meal, as the chief dish was plain potato-soup.
Mr. Kirkwood’s face brightened at the familiar name, which reminded
him of his early home; for he had been abroad for over thirty years,
and had only recently returned to Scotland to spend the evening of
his days.
“Potato-soup!” said he; “ah, that recalls old times. If it is not
presuming on your hospitality, I would like immensely to renew my
acquaintance with a very old favourite.”
“With great pleasure,” said Mrs. Barrie, as she showed him into the
parlour.
It would be unjust to call Mr. Kirkwood a gourmand,
POT-LUCK. but he was an epicure, fastidious in culinary matters,
and an authority in gastronomics. He was
accordingly helped to the soup. One spoonful brought a smile, partly
of surprise, but quite as much of delight, to his face; the second
confirmed the favourable verdict, and the contents of the plate soon
disappeared.
He looked at Mrs. Barrie, slightly moved his plate, and said
hesitatingly, “May I presume?”
“Most certainly,” said Mrs. Barrie. “I’m so pleased that you relish the
soup; it is quite the weather for doing so.”
Plate number two was more leisurely emptied, with certain
appreciative motions of the lips and face, and he again cast a
lingering look towards the tureen, and said: “Excuse me, madam, I
assure you that I never tasted any soup equal to this, although my
knocking about the world has familiarized me with nearly every sort
and every style of cookery. It’s superb; it’s simply magnificent. Would
it be outraging the laws of politeness?” He had again slightly lifted
his plate. Mrs. Barrie was greatly pleased, and served out plate
number three with her happiest smile, for the table was now a merry
one.
When the third plate was finished, she jocularly refilled the soup
divider, and, looking toward him, said, “Do allow me.”
Mr. Kirkwood, who was in great good humour, said: “You are very
kind, and I feel as if I could relish more, but we must draw the line
somewhere, so no more, thank you. But pray, Mrs. Barrie, may I ask
if your cook would favour me with the receipt?”
“I don’t think there’s any,” said Mrs. Barrie.
“Then may I see your cook?”
“We have only one maid-of-all-work,” was the reply.
“Then she’s a treasure. May I see her?”
“Certainly;” and Bell was called in.
Mr. Kirkwood rather confused Bell by abruptly asking, “How ever did
you make this magnificent soup, cook? I never had anything equal to
it.”
Bell saw that he was in earnest, and that Mrs. Barrie seemed in
great spirits, so she at once said:
“It’s just ordinary pitattie soup, but the day I had a ham bone, an’ the
stock was gude; an’ ma way is aye boil the pitatties separate, then
pour them, then beat them, or as we ca’d ‘champ’ them, and add
them to the stock, and steer and mix them weel, an’ be sure that
baith them an’ the plates is hett.”
“Ordinary soup!” said Mr. Kirkwood; “that’s a matter of opinion; my
idea is that it is the ne plus ultra.”
“The what?” said Bell “What kind o’ apples?”
“Ask this young gentleman,” said Mr. Kirkwood, looking to James;
“he’s doubtless a Latin scholar. My translation is ‘the top of the tree,’
‘the head sheaf,’ the ‘never was beat,’ the crême-de-la-crême;” and
Mr. Kirkwood left in great spirits, warmly thanking Mrs. Barrie and
Bell, both of whom were much amused by the little incident.
James gave Bell the literal translation of ne plus ultra, viz. “nothing
more beyond,” “nothing better,” not a little proud of having been
called in as interpreter.
Mrs. Barrie, knowing that Bell was well acquainted with
her family history, told her that Mr. Kirkwood had been THE AULD
making inquiries about her father, at the request of SCOTTISH
some Colonel Gordon, and asked Bell if she knew KAIL
BROSE.
anything about the Colonel or Mr. Kirkwood.
Bell said no, but that Dan Corbett was coming to see about
something in the afternoon (it was to kill the pig, but Bell was too well
bred to put it so plainly), and she would ask him, as he “kenn’d a’ the
folk round aboot; and Dan will be divertit when I tell him that Mr.
Kirkwood said oor pitattie soup was like his game fowls, for he spake
o’ them as ‘never was beat,’ an’ ‘the top o’ the tree.’ I’ve been thinkin’
that he micht mean that they were half pitattie soup, and half ‘cockie-
leekie.’”
After Dan’s immediate work was over at Knowe Park, he was a good
deal surprised when Bell asked him to “come in and get a cup o’ tea,
for it was a cauld nicht, an’ she wantit to speak to him aboot twa or
three ither things;” and he was even more astonished when Bell sat
down with him. He had the diffidence sometimes so strongly
developed in an outcast, and it was with difficulty that he was
persuaded to draw even his chair near the table. What had taken
Bell to be so gracious he could not think, nor could she. There was a
something that had led her to look on Dan of late with pity, then with
interest, then with a desire to try “an’ mak’ something o’ the puir
creatur’;” and to-night she actually went the length of saying, “As it
was very stormy ootside, he micht smoke in the kitchen if he wad
blaw the smoke up the chimney as much as he could.”
Dan’s first remark after tea was over, and after he had gauged the
angle at which to deliver the smoke into the chimney, was, “I think
ye’ll find Knowe Park fit ye fine, but I canna comprehend what gar’d
Mr. Barrie leave the auld manse.”
Bell tried to explain the matter, but the points were far too fine for
Dan’s rough-and-ready way of reasoning, and he said:
“I wad ’a been very sorra if I had been him. The Government as ye
speak o’ wasna meddlin’ wi’ him, and he was weel likit; an’ they say
this new kirk is takin’ a heap o’ siller. I wad ’a bidden in the auld ane.”
“He couldna dae that for his principles, although we a’ left the auld
manse, as ye ca’d, wi’ a heavy heart;” and Bell spoke to Dan at
considerable length about the Disruption, and the family, and brought
in “wee Nellie” and her death, and her grave in the old kirkyard very
touchingly.
“Aweel,” said Dan, “I think ye were the mair fules to leave. Maister
Walker’s a nice man, but so is Mr. Barrie; and for a’ I can see, the
tane is exactly the same as the tither. Wad Mr. Barrie no gang back
yet?”
“Never,” said Bell warmly; “ye may as weel try to lift the milkin’ stane
o’ Dumbarton!”[27]

[27] The name given to an enormous mass of rock, which

according to local tradition fell from the Castle rock into the
cow park of primitive Dumbarton. One or more women who
were milking their cows are said to have been smothered by
it: if that is the case, the guide may safely assert that their
bodies are there yet, as the “milking stone” will weigh
thousands of tons.

As Bell said this, Dan’s pipe dropped out of his

DUMBART cheek, and he gave a nervous start; his only eye
ON. fixed itself on Bell with more than usual firmness,
and he said, “What do ye ken about the milkin’ stane
o’ Dumbarton?”
“I come frae Dumbarton; sae does Mrs. Barrie: did ye no’ ken that
afore, Dan?”
“No me,” said Dan; “hoo could I ken’d till ye tell’t me? I never thocht
on the matter at a’; it was nae business o’ mine.”
“Oh,” said Bell, “the mistress was a daughter, the only daughter, o’
Mr. Gordon o’ the Grainaries.”
Dan rose in intense excitement, and said, “Preserve me, I maun
awa’ Bell; dinna speak to me ony mair about that, I canna bear’t the
noo. Oh, let me gang! let me gang!”
Bell was astonished at Dan’s sudden excitement, and could see no
reason for it; so, recollecting about Mr. Kirkwood, she said, “Sit doon
a minute, an’ I’ll tell ye a farce that happen’t the day.”
She then told about the potato-soup, and said, “You that ken’s a’ the
folk in the country-side, can ye tell me onything about that Mr.
Kirkwood? He’s been lang abroad, about India or some o’ thae
places.”
Dan, who was now a little quieter, sat down and said, “That’ll be him
that’s bocht ‘Strathgowan.’ I’ve seen him. He has some braw dougs:
he has a mastiff that I think could fecht ma Burke, an’ he’s no’ easy
bate.”
“By the bye,” said Bell, “he was speirin’ about Mrs. Barrie’s father.”
Bell said this without thinking, and Dan again started to his feet.
“I beg your pardon, Dan, but what makes ye sae wild
GENERAL when I speak o’ auld Mr. Gordon? There’s naebody
SHIP. here that ye need care for, an’ there’s something on
yer mind, but I canna contrive what it is. Whatever
is’t, Dan?” said Bell, and she tried all the kitchen doors, to show him
that they were closely shut; then she added, “Sit doon, Dan, an’
gather yersel a wee, for I promised to the mistress to speak to you
about Mr. Kirkwood.”
Dan swithered and writhed about a little, fixed his single eye on the
kitchen door, twirled his bonnet in his hands, but at last he sat down,
and looked thoughtfully in the fire.
“That’s wiselike, Dan; that’s like yersel’, Dan,” said Bell
encouragingly; “they say that ye were the best watcher o’ a kirkyard
in the county, and ye’re no’ gaun to start at naething. Weel, as I was
saying, this Mr. Kirkwood was here the day, for to obleege some
Cornel Gordon that’s come hame frae India, and that wants to ken
about the Gordons o’ the Grainaries, an’ if Mrs. Barrie was ane o’
them.”
Dan, still looking at the fire, said, “Div you ken a’ thing about Mr.
Gordon? I never kent till this moment he was Mrs. Barrie’s father.”
I stated in my first chapter that Mrs. Barrie never referred to her
father’s changed circumstances, and had asked Bell never to speak
of them in Blinkbonny, so that Dan’s question was a poser. She took
a very red face, and said, “A’thing, Dan? a’thing?” then going nearer
him she whispered, “I ken about the brandy, an’ tobacco, an’ salt, an’
as I see you ken tae, we can speak freely about it; but mind never
breathe the thing to ony ither mortal whatsomever about Blinkbonny.”
“But,” said Dan, “did ye ever ken wha put the brandy an’ things
there?”
“No,” said Bell, “not me; how could I? It never was ken’d, an’ likely
never will be ken’d.”
“Bell,” said Dan, looking steadily in her face, “I ken, I ken a’ about it,
but there’s no anither livin’ man that I ken o’ kens that bit o’t but
mysel’; an’ Bell, for your life dinna tell onybody that I tell’d ye. Never
let on to leevin’ about it.”
Dumbarton Castle. (Page 197).
There was a long pause. Bell was thinking the matter over, and had
more than once been asked by Dan to promise never to “breathe the
thing.” At length she said solemnly, “I’ll never mention your name
unless I’m sure it’s to benefit Mrs. Barrie; but she said something
about a brother that this Cornel Gordon had, that had been a wild
man in his young days, and that he had written to the Cornel that if
ever he had it in his power he was to mind Mr. Gordon o’ the
Grainaries, for this brither hadna dune fair someway wi’ him. I think I
understand it a’ noo. This brither’s been are o’ them that hid the
smuggled goods in Mr. Gordon’s cellar,—ane o’ them that the
excisemen just missed by their boat ‘whummlin’ [i.e. capsizing] at the
milkin’ stane, an’ the smugglers got a’ safe away; an’ although the
judges kent fine that worthy Mr. Gordon wasna to blame, and didna
pit him in the jail, the excise office wadna forgi’e a farden o’ the fine,
and puir Mr. Gordon was a harried, ruined man wi’ it an’ the law
expenses, an’ the trial, an’ the scandal o’ the thing. The folk said that
it was a cousin o’ his, that they used to ca’ ‘the Duke o’ Gordon’ for a
nickname, that put the brandy an’ stuff in the grainaries, for he kent
the place fine, but he never could be laid hands on after. I see’t a’
noo.”
Dan remained silent for some time, then said, “Ye may say that, Bell;
ye ken’d a’ noo,—a’ but one thing, an’ that is (but for your life dinna
come ower’t), I helpit to row the boat that the ‘Duke’ escapit in.”
Bell’s mind was still considering the matter. “I wonder,”
said she, speaking to herself, “if this Cornel Gordon is WHEELS
a brother o’ the ‘duke’s,’ as they ca’d him? an’ if he’s WITHIN
no marriet an’ rich? an’ if he means to mak’ up for his WHEELS.
brither’s ill usage o’ the auld folk by giein’ a’ his siller to
Mrs. Barrie? If I thocht that, I would gi’e Mr. Kirkwood something that
wad astonish him mair than the tattie-soup. D’ye ken, Dan, that I’m
upliftit, fair upliftit—it looks that like the thing?”
Bell’s glee communicated itself to Dan. “If that was to be the way o’t,”
said Dan, “noo that the thing is lang past an’ gane, an’ they surely
canna meddle me for only rowin’ a boat” (Dan, Dan, only? well, let it
pass), “I micht tell the ‘duke’s’ brither what I kent; but he’s a cornel,
an’ thae sodgers are terrible ill at the smugglers.”
Bell and Dan agreed to say “nothing to nobody” on the subject, until
they were quite sure that they could forward Mrs. Barrie’s interest by
doing so; and although some time elapsed before an opportunity
occurred of clearing this affair up, the maintenance of strict secrecy
was enforced by Dan on every occasion on which he saw Bell, by a
significant motion of his arm, accompanied by, “Mind yon, Bell—Eh,
Bell, mind yon!”
While Bell went about her work as heretofore, there was a strong
undercurrent of thought constantly winding itself round Dan’s
connection with Mrs. Barrie’s father’s misfortunes, or round Mr.
Kirkwood and Colonel Gordon, and they got all mixed up, until she
was quite in a maze. Many a time did she lay down the stocking she
was knitting, and sit idle, thinking the matter over and over; but
somehow she could never think it out, it only got more twisted and
ravelled. Many a time after such a “brown study” did she rouse
herself with an impatient gesture, and resume her knitting, saying
almost angrily, “This is ridic’lus. I’m fair donnert [stupid]; I’ll gi’e ower
thinkin’ aboot it.”
Many a sleepless hour it caused her, and as her first call in the
morning was paid to Daisy, she unburthened her mind to the
unconcerned cow.
“Daisy,” she would say, “my pretty lady, I’m fair
bamboozled [utterly confused]. I’ve hardly sleepit a THE HOME
wink the nicht; that mixty-maxty business o’ Dan an’ BUDGET.
the Grainaries an’ the Cornel has been bizz-bizzing
[hum-humming] in my head. If I could but see Cornel Gordon his
lane [alone] I could pit it a’ richt; for ye see, Daisy, James is a big
laddie noo, an’ he wants to be a minister, an’ that tak’s a heap o’
siller; an’ Mary’s gettin’ a big lassie, an’ needin’ music lessons; for ye
ken, Daisy, a’ young folk, espesh’ly a’ young women folk, should get
some music putten into them. Then there’s Lewie, he’s in Latin
a’ready; and Flora, she’s in the tenpenny book; an’ wee Gordie.
—’Deed he’s no’ that wee, but I like to ca’ him wee when he disna
hear me.—He’s gotten on the kilt, an’ he’ll no’ be lang before he’s
upsides wi’ Flora at the schule [school], for he’s gaun to be a grand
scholar. He’s a feckfu’ [very spirited] laddie, Gordie; he’ll show them
a’ a dance yet. An’ what bothers [troubles] me, Daisy, is whare’s the
siller to come frae? If I could just hae a quiet crack wi’ the Cornel, I
think I could let him ken hoo he could do a great deal o’ gude wi’ his
siller; for ye ken, Daisy, a’ the auld men that comes hame frae India
for guid an’ a’ bring wi’ them bow-sackfu’s [large sacks full] o’ siller.”
It is difficult to transcribe intelligently Bell’s conversations with Daisy
—they were conveyed in the very broadest Scotch. I can only
account for this on the ground that Daisy was not only a patient
listener, and never asked the meaning of any unusual word or
phrase, but that she was also of the very best and purest Ayrshire
breed, and was therefore sure to prefer the native Doric of the land
of Burns.
Bell was sorely tempted to open her mind to Mrs. Barrie on this
subject, but it was the one topic Mrs. Barrie had strictly enjoined her
never to allude to. During her first year’s service in Mrs. Barrie’s, Bell
had once or twice unwittingly made some references to it, and these
had been the only occasions on which Mrs. Barrie showed temper
towards her. The manifestation of unutterable abhorrence which
these provoked made Bell so studiously avoid everything that had
the slightest chance of recalling it, that neither in Mrs. Barrie’s
hearing, nor in her conversation with others, did she ever speak of
Dumbarton or her early association with it; and this may account for
Dan’s astonishment at hearing her refer to the “milking stone.”
A strong interest in the Barrie family took hold of Dan,
and although he had few opportunities of showing it, “FULL
he hit on one, the most unlikely, considering the kind of MANY A
man he was, that could almost be conceived, but one GEM.”
which went as directly to their hearts as it did credit to
Dan’s.
When Bell paid her early spring visit to Nellie’s grave, to “sort” it after
the winter’s storms, carrying with her the first bunch of snowdrops,
for which she had watched anxiously, she was surprised to find that
some fresh plants were blooming there already.
She asked Guy if he had done this. He had not. When she got home
she asked all the inmates of Knowe Park if they had planted them;—
they had not. She ran over in her mind every likely person, and
asked as many as she came into contact with. All answered, No. It
was only after getting Guy to watch very strictly, for other flowers had
been added besides those she saw first, that she found out that it
had been done by Dan.
Bell was amazed. “O’ a’ the folk in the world, Dan was the last
onybody wad a’ thocht on. Mr. and Mrs. Barrie could never guess
him. There’s mair gude in the craitur than ever I thocht. I like Dan.
Noo when I think on’t, I’m awfu’ glad that it was Dan.”
As soon as Mr. Barrie heard of it, he called at Dan’s house. This was
the first time a minister had ever been in it. Dan was a reckless,
brave man, utterly indifferent about religion, and when he saw Mr.
Barrie enter his house he got very uncomfortable—he felt the power
of at least the presence of goodness, and what conscience he had
waxed warm within him.
Mr. Barrie saw this, and knowing the way to Dan’s heart, began first
to talk of his dog, then of his ferrets, until Dan felt more at ease, and
even offered to give Mr. Barrie a young bull-dog, which Dan thus
described:
“He’s pure bred, an’ the vera picture o’ Burke there; an’ his mither,
auld Nancie that’s noo deid an’ gane, was the finest o’ her kind in
Britain.”
“Then you miss old Nancie, Dan?”
“Miss her! miss her, Mr. Barrie!” said Dan, now quite at his ease; “I
can hardly get ower her death.”
“Dan,” said Mr. Barrie, grasping his horny and by no means clean
hand, “I loved my wee Nellie; and Mrs. Barrie and all of us thank
you.” Here Dan started and said, “Oh!” but Mr. Barrie still pressed his
hand and spoke on. “Yes, Dan, and we love you for loving her; and,
Dan, wee Nellie would like to meet you in heaven to thank you
herself.”
Here Dan started and said, “Me in heaven, Mr. Barrie! me in heaven
—that’s what she’ll never see.”
“Why, Dan, why? Nellie’s Saviour wishes you—yes,
you—to get there, and the angels would sing a loud “THE OLD,
welcome over you; for as truly as you miss your OLD
Nancie, or we loved Nellie, as certainly as Burke likes STORY.”
you to make of him, so true is it that our Heavenly
Father wants you to come to Him; just as you are—wild, careless,
sinful, bad as you think your life has been. There’s a kind friend up
there,” said Mr. Barrie, pointing upwards, “has commanded me to tell
you this good news to-day. Believe it, Dan—believe it.”
Dan was unable to say more than, “Is that a fact? Sent you to tell me
that? I can hardly think that can possibly be—an’ yet you’re a man o’
your word; but it’s no’ easy believin’t.”
On the floor of the dirty cottage the two knelt down, and so simple
were Mr. Barrie’s words, and so single was his heart, that it may
safely be said they prayed together.
Mr. Barrie handed Dan half a pound of tobacco, although he had
very great difficulty in persuading him to accept it; Dan was almost
stubborn in his refusal. Mr. Barrie, however, got him to take it, and
just before leaving kindly advised him to pray for himself;—“just plain
words—only say what you think, and ask whatever you feel you
need, but be sure and do it at once.”
Dan said nothing,—it was all strange to him,—but when Mr. Barrie
went away, he thought over it, and smoked over it, and ultimately
resolved to have a crack with Bell about it, for she could understand
him better. And many a chat they had, but Dan could not be
persuaded to go to the Free Church.
“I micht try the ‘auld kirk,’ it was mair the puir folk’s kirk, for they tell
me that they’re awfu’ folk for seekin’ siller in the Free Kirk; an’ I’ve
kent Mr. Walker langest, an’ he’s a hamely kind o’ man—but we’ll
see.”
So will we in an early chapter.
 CHAPTER X.
INCIDENTS IN BLINKBONNY.

“Oh! many a shaft at random sent

Finds mark the archer little meant!
And many a word at random spoken
May soothe or wound a heart that’s broken.”

Sir Walter Scott.

T HE energy of the Free Church had been a subject of special

dislike to Miss Park; and when she heard that Mr. Barrie called
on Dan, and that Bell, for whom before the Disruption she had a
great respect, was on such intimate terms with him that she actually
allowed him to sit in her kitchen, and even tried to make a Free
Churchman of him, she was exceedingly bitter in her remarks on the
subject.
One day Mr. Walker chanced to call, and she expatiated to him on
the burning shame she felt at such ongoings.
“The Free Church folks must be hard up for supporters when they
have to go to such a worthless vagabond and try to make a Christian
of him. It’s a disgrace, a scandal—it’s sacrilege!” and much to the
same effect.
Mr. Walker not only did not sympathize with her, but spoke very
firmly to her for thus traducing the very first principles of Christian
charity, and said that the “plucking of such brands from the burning
was the grandest work the Church could undertake.”
“Then why did you not do it?” said Miss Park.
Mr. Walker pled guilty to having been remiss in discharging such
duties, but said that he would try to amend, and that he would see
Dan soon.
He told her that it was not an easy matter to meet every case. “For
instance,” said he, “I was calling a fortnight ago on a man; he said he
was in great distress, both of mind and body, ‘just real ill—just real,
real ill, every way, temporally and spiritually—a’ wrang, body and the
ither way; an’ to add to my troubles, my landlord—the sweep o’er
there—has warned me out o’ his house, for altho’ I aye paid him his
rent, plack an’ farthin’, when I was weel, I’ve fa’en behind this half-
year, an’ I’m just fair despairin’, just awfu’ bad.’ I advised him to cast
all his cares, of every kind, temporal and spiritual, cares of mind,
cares of body, cares of estate, on his Maker, and ask His guidance.”
“I have just now returned from visiting him, and to-day
I found him in grand spirits, although not, in my “IT’S AN
opinion, so much improved in health as to account for ILL WIND.”
his being so very cheerful. ‘Well,’ said I, ‘how do you
feel to-day?’ ‘Eh, sir!’ said he, ‘yon was a grand advice ye gied me a
fortnight ago, just an awfu’ grand advice. When you went out I just
did as you told me: I cast a’ my care o’ a’ kinds, baith for this world
an’ the next, a’ my care about mysel’ an’ fam’ly, indeed a’thing,
where ye tell’d me;’ and, he added, with a very hearty voice, jerking
his thumb in the direction of his landlord’s house, ‘eh, man! the
sweep’s deid; he’ll no’ bother me again. So, ye see, it’s a grand thing
to tak’ gude advice; an’ hasna’ Providence been kind, kind?’”
I can recall a visit I paid to a widow shortly after her husband’s death.
He was a well-informed, active, abstemious man, but had a very
violent temper, and was more easily put into a towering passion than
any man I ever knew. On the slightest provocation, often on none, he
would say the snellest [most biting], sharpest things. He was a
fireside theologian, well read in the old divines, and an extreme
Calvinist, for he came of a Cameronian stock, and was a Pharisee of
the Pharisees as touching every jot and tittle of church law and form.
I knew the household well, and whenever I appeared, Mrs. Gray
welcomed me. She was a quiet, industrious body, and had been to
him a good wife under very difficult circumstances. She had got
through with her work amongst her cows for the night, but had still on
the rough worsted apron of nappy homespun wool, called a “brat.”
She told me familiarly to take a chair, and sat down herself in an old
high-backed arm-chair, which stood close to the chimney cheek.
There were two or three cushions on it, highest at the back: it looked
an uncomfortable seat, but it enabled her to rest her feet on the floor,
so that her posture was half leaning backwards and half sitting. She
filled her pipe, for smoking was not unknown amongst the women-
folks round Blinkbonny, but instead of lighting it by a spunk, she
pushed it into the “ribs” of the kitchen fire, and left it there for a
second or two. Whilst she was preparing for her favourite
“weakness,” I referred to her late husband as mildly as I could,
speaking of his infirmity of temper as now no more to him, as it really
had been a source of “great tribulation.”
She withdrew the pipe from the fire, and put it in her
mouth. Some burning sparks were now and again THE
falling from it on to her brat, but this did not seem to SPEERIT
annoy her, she “dichtit” [wiped] them quietly down her OF
sloping figure, and said after a few “draws,” “‘Deed ay, MEEKNES
S.
it just shows ye”—here she took a few more draws in
silence—“that the grace o’ God will bide wi’ a man that nae ither
body can bide wi’,”—another silent draw or two,—“for I haena the
slichtest doubt but that Tammas is in heaven;” some strong draws
followed, as the profuse smoke testified,—“but he was ill to thole [put
up with] here. I had my ain adaes [to do] wi’ him, for he was just a
very passionate man; but ae part o’ the white robe he has on noo will
be the speerit o’ meekness.”

An elder in one of the Blinkbonny churches was a very reserved,

silent man, almost afraid to hear the sound of his own voice. He was
an undertaker, and was on one occasion employed at a funeral. The
company had met, but the minister did not turn up,—a very unusual
thing, for clergymen are most attentive on such occasions.—(His
absence was caused by the breaking down of a gig when he was on
the way.) The father of the dead child whispered quietly into the
undertaker’s ear:
“Just pit up a prayer yersel’, Mr. Sommerville, if you please.”