pression. Just as a fragment of
good sculpture pleases the connoisseur without any reference either to
the whole original or to its spiritual significance, fine drawing can
appeal to the lover of nature independently of indirect considerations.

What is the content of pure drawing? It is held by some that drawing or
monochrome can suggest colour, and many people, some consciously, others
unconsciously, attempt to represent in drawings the colours of figures
and landscape. It seems a strange aberration to argue that by different
intensities of the one colour various other colours can be suggested: it
would not be more unreasonable to maintain that E flat and F could be
suggested by striking the note G with varying strength. Now the
draughtsman employs various intensities of his monochrome as light and
shade by which to give roundness to his forms. But if on the same
drawing he uses the same means in his attempt to express colour, a
conflict would be at once set up between that which makes for form and
that which would make for colour, and the result would generally be a
confusion. Again, let one attempt to give red hair to a monochrome
drawing of a man, and if the red be plain and unmistakable to all who
are not the artist's accomplices, then the artist has succeeded;
otherwise it is bootless to treat of colour and colour values (which of
course must depend upon the existence of colour) in monochrome. Apart
from theory, if we examine the drawings, etchings and monochromes of
great artists, where do we find them attempting to give colour or colour
values? The hundreds of costume studies by Rembrandt might have been
done from white plaster models, and there are only a few exceptions
where a man has, for instance, a black hat or cloak. But in these few
instances the "colour" tone is applied with such discretion that the
true representation of the form is scarcely, perhaps only theoretically,
impaired: they certainly have gained nothing in colour value because no
specific colour is manifest in them. In Rembrandt's, Claude's or
Turner's drawings of landscapes the formation of the country, the
architecture, &c., is expressed by line, light and shade, and enhanced
by shadows cast from clouds and trees. If, in the drawings of masters,
we should find objects darker or lighter than their position in the
light would warrant, they have value (perhaps not quite a legitimate
one) for balancing the composition as a flat pattern. They we