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CONTENTS

I. INTRODUCTION II. DRAWING III. VISION IV. LINE DRAWING V. MASS DRAWING VI. THE ACADEMIC AND CONVENTIONAL VII. THE STUDY OF DRAWING VIII. LINE DRAWING: PRACTICAL IX. MASS DRAWING: PRACTICAL X. RHYTHM XI. RHYTHM: VARIETY OF LINE XII. RHYTHM: UNITY OF LINE XIII. RHYTHM: VARIETY OF MASS XIV. RHYTHM: UNITY OF MASS XV. RHYTHM: BALANCE XVI. RHYTHM: PROPORTION XVII. PORTRAIT DRAWING XVIII. THE VISUAL MEMORY XIX. PROCEDURE XX. MATERIALS XXI. CONCLUSION

APPENDIX✦

INDEX

LIST OF PLATES

I. SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES II. DRAWING BY LEONARDO DA VINCI III. STUDY FOR "APRIL" IV. STUDY FOR THE FIGURE OF "BOREAS" V. FROM A STUDY BY BOTTICELLI VI. STUDY BY ALFRED STEPHENS VII. STUDY FOR THE FIGURE OF APOLLO VIII. STUDY FOR A PICTURE IX. STUDY BY WATTEAU X. EXAMPLE OF XVTH CENTURY CHINESE WORK XI. LAS MENINAS. BY VELÁZQUEZ XII. STUDY ATTRIBUTED TO MICHAEL ANGELO XIII. STUDY BY DEGAS XIV. DRAWING BY ERNEST COLE XV. FROM A PENCIL DRAWING BY INGRES XVI. STUDY BY RUBENS XVII. A DEMONSTRATION DRAWING AT THE GOLDSMITHS' COLLEGE XVIII. STUDY ILLUSTRATING METHOD OF DRAWING XIX. ILLUSTRATING CURVED LINES XX. STUDY FOR THE FIGURE OF "Love" XXI. STUDY ILLUSTRATING TREATMENT OF HAIR XXII. STUDY FOR DECORATION AT AMIENS XXIII. DIFFERENT STAGES OF THE PAINTING FROM A CAST (1) XXIII. DIFFERENT STAGES OF THE PAINTING FROM A CAST (2) XXIV. DIFFERENT STAGES OF THE PAINTING FROM A CAST (3) XXIV. DIFFERENT STAGES OF THE PAINTING FROM A CAST (4) XXV. ILLUSTRATING SOME TYPICAL BRUSH STROKES XXVI. DIFFERENT STAGES OF THE SAME STUDY (1) XXVII. DIFFERENT STAGES OF THE SAME STUDY (2) XXVIII. DIFFERENT STAGES OF THE SAME STUDY (3) XXIX. DIFFERENT STAGES OF THE SAME STUDY (4) XXX. A STUDY FOR A PICTURE OF "ROSALIND AND ORLANDO" XXXI. ILLUSTRATIONS FROM BLAKE'S "JOB" (PLATES I., V., X., XXI.) XXXII. ILLUSTRATIONS FROM BLAKE'S "JOB" (PLATES II., XI., XVIII., XIV.) XXXIII. FÊTE CHAMPÊTRE XXXIV. BACCHUS AND ARIADNE XXXV. LOVE AND DEATH XXXVI. SURRENDER OF BREDA XXXVII. THE BIRTH OF VENUS XXXVIII. THE RAPE OF EUROPA XXXIX. BATTLE OF S. EGIDIO XL. THE ASCENSION OF CHRIST XLI. THE BAPTISM OF CHRIST XLII. PORTRAIT OF THE ARTIST'S DAUGHTER XLIII. MONTE SOLARO, CAPRI XLIV. PART OF THE "SURRENDER OF BREDA" XLV. VENUS, MERCURY, AND CUPID XLVI. OLYMPIA XLVII. L'EMBARQUEMENT POUR CYTHÈRE XLVIII. THE ANSIDEI MADONNA XLIX. FINDING OF THE BODY OF ST. MARK L. FROM A DRAWING BY HOLBEIN LI. SIR CHARLES DILKE LII. JOHN REDMOND, M.P. LIII. THE LADY AUDLEY LIV. STUDY ON BROWN PAPER LV. FROM A SILVER POINT DRAWING LVI. STUDY FOR TREE IN "THE BOAR HUNT"

LIST OF DIAGRAMS

I. TYPES OF FIRST DRAWINGS BY CHILDREN II. SHOWING WHERE SQUARENESSES MAY BE LOOKED FOR III. A DEVICE FOR ENABLING STUDENTS TO OBSERVE APPEARANCES AS A FLAT SUBJECT IV. SHOWING THREE PRINCIPLES OF CONSTRUCTION USED IN OBSERVING MASSES, CURVES, AND POSITION OF POINTS V. PLAN OF CONE ILLUSTRATING PRINCIPLES OF LIGHT AND SHADE VI. ILLUSTRATING SOME POINTS CONNECTED WITH THE EYES VII. EGG AND DART MOULDING VIII. ILLUSTRATING VARIETY IN SYMMETRY IX. ILLUSTRATING VARIETY IN SYMMETRY X. ILLUSTRATING INFLUENCE OF HORIZONTAL LINES XI. ILLUSTRATING INFLUENCE OF VERTICAL LINES XII. ILLUSTRATING INFLUENCE OF THE RIGHT ANGLE XIII. LOVE AND DEATH XIV. ILLUSTRATING POWER OF CURVED LINES XV. THE BIRTH OF VENUS XVI. THE RAPE OF EUROPA XVII. BATTLE OF S. EGIDIO XVIII. SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY XIX. SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY XX. THE ARTIST'S DAUGHTER XXI. THE INFLUENCE ON THE FACE OF DIFFERENT WAYS OF DOING THE HAIR XXII. THE INFLUENCE ON THE FACE OF DIFFERENT WAYS OF DOING THE HAIR XXIII. EXAMPLES OF EARLY ITALIAN TREATMENT OF TREES XXIV. THE PRINCIPLE OF MASS OR TONE RHYTHM XXV. MASS OR TONE RHYTHM IN "ULYSSES DERIDING POLYPHEMUS" XXVI. EXAMPLE OF COROT'S SYSTEM OF MASS RHYTHM XXVII. ILLUSTRATING HOW INTEREST MAY BALANCE MASS XXVIII. PROPORTION

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THE PRACTICE AND SCIENCE OF DRAWING

I