not
understand the mental form stimulus that the direction and swing of a
brush stroke can give. These and many things connected with expression
can best be studied in line work.

Let the student therefore begin on the principles adopted in most
schools, with outline studies of simple casts or models, and gradually
add light and shade. When he has acquired more proficiency he may
approach drawing from the life. This is sufficiently well done in the
numerous schools of art that now exist all over the country. But, at the
same time (and this, as far as I know, is not done anywhere), the
student should begin some simple form of mass drawing in paint, simple
exercises, as is explained later in the chapter on Mass Drawing,
Practical, being at first attempted and criticised solely from the point
of view of tone values.

[Illustration: Diagram II.

SHOWING WHERE SQUARENESSES MAY BE LOOKED FOR IN THE DRAWING ON THE
OPPOSITE PAGE]

[Illustration: Plate XVI.

STUDY BY RUBENS FROM THE COLLECTION OF CHARLES RICKETTS AND CHARLES
SHANNON

A splendid example of Rubens' love of rich, full forms. Compare with the
diagram opposite, and note the flatnesses that give strength to the
forms.]

From lack of this elementary tone study, the student, when he approaches
painting for the first time, with only his outline and light and shade
knowledge, is entirely at sea. With brushes and paint he is presented
with a problem of form expressions entirely new. And he usually begins
to flounder about, using his paint as much like chalk on paper as
possible. And timid of losing his outlines, he fears to put down a mass,
as he has no knowledge of reducing appearances to a structure of tone
masses or planes.

I would suggest, therefore, that the student should study simultaneously
from these two points of view, beginning with their most extreme
positions, that is, bare outline on the one side and on the other side
tone masses criticised for their accuracy of values only in the first
instance. As he advances, the one study will help the other. The line
work will help the accuracy with which he observes the shapes of masses,
and when he comes to light and shade his knowledge of tone values will
help him here. United at last, when complete light and shade has been
added to his outline drawings and to his mass drawing an intimate
knowledge of form, the results will approximate and the two paths will
meet. But if the qualities appertaining to eit