rived from pure vision and the
ideas derived from touch that we know the length, breadth and depth of a
solid form. We have shown that the art of drawing is not an imitation,
but an expression of the artist's ideas of form; therefore all drawing
of forms that merely reproduces the image on the retina, and leaves
unconsulted the ideas of touch, is incomplete and primitive, because it
does not express a conception of form which is the result of an
association of the two senses; in other words, it does not contain an
idea of the object's relief or solidity. And all teaching of drawing
that does not impress upon the student the necessity of combining the
sense of vision with that of touch is erroneous, for it is thereby
limiting him to a mechanical task, viz. the tracing of the flat image on
the retina, which could be equally well done by mechanical means, or by
photography alone.

[Illustration: FIG. 4.]

In most of the schools of Europe and America it is true that great
stress is laid upon the importance of giving life-like relief to
drawings, but the method by which the students are allowed to get the
relief is by employing the sense of vision only. Tracing the silhouette
of the figure as minutely as possible, they then fill it out with
inner-modelling, which also is done by vision alone, for the lights and
darks of the original are copied down as so many flat patterns fitted
together and gradated like a child's puzzle, and are not used merely as
indication by which to "feel" the depth of the object. Such a procedure
is as if in drawing a brick of which three sides were visible, one were
first to draw the entire contour (fig. 4, a), the subtle perspective of
which he might get correct with some mechanical apparatus or by infinite
mechanical pains, and then fill up the interior with its "shading" (fig.
4, b). The method would be plainly laborious, unintelligent and
unedifying, and in drawing the most complicated foreshortened forms of
the human body it would seem still more illogical. That this principle
of instruction does not help the student to grasp the three-dimensional
character properly can be proved by the twenty-minute studies of the
average student who in his fourth year has won a gold medal for an
astounding piece of life-like stippling. They are still unintelligent
contour tracings, as if of cardboard figures, with a few irrelevant
patches of dark here and there within the silhouette.

But high modelling th