with the dramatic truth of the whole,
(technically called the lines of a composition.) He must also
consider the color, and disposition of light and dark masses in his
design, so as to call attention to the principal objects,
(technically called the "effect.") Thus, to recapitulate, the
painter, in his first conception of his picture, will have to combine
three qualities, each subordinate to the other;--the intellectual, or
clear development, dramatic truth, and sentiment, of his
incident;--the construction, or disposition of his groups and lines,
as most conducive to clearness, effect, and harmony;--and the
chromatic, or arrangement of colors, light and shade, most suitable
to impress and attract the beholder.{6}

{6} Many artists, chiefly of the schools not colorists, are in the
habit of making their designs in outline, leaving the colors and
light and shade to be thought of afterwards. This plan may offer
facilities; but we doubt if it be possible to arrange satisfactorily
the colors of a work which has been designed in outline without
consideration of these qualities.

Having settled these points in his mind, as definitely as his
faculties will allow of, the student will take pencil and paper, and
sketch roughly each separate figure in his composition, studying his
own acting, (in a looking-glass) or else that of any friend he may
have of an artistic or poetic temperament, but not employing for the
purpose the ordinary paid models.--It will be always found that they
are stiff and feelingless, and, as such, tend to curb the vivacity of
a first conception, so much so that the artist may believe an action
impossible, through the want of comprehension of the model, which to
himself or a friend might prove easy.

Here let the artist spare neither time nor labor, but exert himself
beyond his natural energies, seeking to enter into the character of
each actor, studying them one after the other, limb for limb, hand
for hand, finger for finger, noting each inflection of joint, or
tension of sinew, searching for dramatic truth internally in himself,
and in all external nature, shunning affectation and exaggeration,
and striving after pathos, and purity of feeling, with patient
endeavor and utter simplicity of heart. For on this labor must depend
the success of his work with the public. Artists may praise his
color, drawing, or manipulation, his chiaroscuro, or his lines; but
the clearness, truth, and sentiment, of his wor