tistic drawing is not
obvious at first, nevertheless there is a certain analogy of motion,
since the hand passing down the teat draws the milk downwards. The word
_trait_ is much more familiar in connexion with art as "les traits du
visage," the natural markings of the face, and it is very often used in
a figurative sense, as we say "traits of character." It is familiar in
the English _portrait_, derived from _protrahere_. The ancient Romans
used words which expressed more clearly the conception that drawing was
done in line (_delineare_) or in shade (_adumbrare_), though there are
reasons for believing that the words were often indiscriminately
applied. Although the modern Italians have both _traire_ and _trarre_,
they use _delineare_ still in the sense of artistic drawing, and also
_adombrare_. The Greek verb [Greek: graphein] appears in English in
"graphic" and in many compounds, such as photograph, &c. It is worth
observing that the Greeks seem to have considered drawing and writing
(q.v.) as essentially the same process, since they used the same word
for both. This points to the early identity of the two arts when drawing
was a kind of writing, and when such writing as men had learned to
practise was essentially what we should call drawing, though of a rude
and simple kind. Even in the present day picture writing is not
unfrequently resorted to by travellers as a means of making themselves
intelligible. There is also a kind of art which is writing in the modern
sense and drawing at the same time, such as the work of the medieval
illuminators in their manuscripts. (X.)

_The Art of Drawing._--Rather than attempt here a historical survey of
the various so-called "styles" of drawing, or write a personal
appreciation of them, it seems of greater use to give a logical account
of drawing as an art, applicable to all times and countries. Reference
to the teaching of drawing will be occasionally given rather to
illustrate the argument than with a view to its being of practical use.

At the outset a distinction must be made between drawing as a means of
symbolic or literary expression and drawing as the direct and only means
of expressing the beauty of form. If Pharaoh wants to have it known that
a hundred ducks were consumed at one meal in his court, he employs a
draughtsman to register the fact on a frieze by picturing a row of cooks
occupied in preparing the hundred ducks. The artist in this case does
not represent