fused together. Nothing is so characteristic of bad modelling as "gross
roundnesses." The surface of a sphere is the surface with the least
character, like the curve of a circle, and the one most to be avoided in
good modelling.

In the search for form the knowledge of anatomy, and particularly the
bony structures, is of the utmost importance. During the rage for
realism and naturalism many hard things were said about the study of
anatomy. And certainly, were it to be used to overstep the modesty of
nature in these respects and to be paraded to the exclusion of the
charm and character of life, it would be as well left alone. But if we
are to make a drawing that shall express something concrete, we must
know something of its structure, whatever it is. In the case of the
human figure it is impossible properly to understand its action and draw
it in a way that shall give a powerful impression without a knowledge of
the mechanics of its construction. But I hardly think the case for
anatomy needs much stating at the present time. Never let anatomical
knowledge tempt you into exaggerated statements of internal structure,
unless such exaggeration helps the particular thing you wish to express.
In drawing a figure in violent action it might, for instance, be
essential to the drawing, whereas in drawing a figure at rest or a
portrait, it would certainly be out of place.

[Illustration: Plate XXVI.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT
STAGES

No. 1. Blocking out the spaces occupied by different masses in
charcoal.]

[Illustration: Plate XXVII.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT
STAGES

No. 2. A middle tone having been scumbled over the whole, the lights are
painted into it; variety being got by varying the thickness of the
paint. The darks are due to the charcoal lines of initial drawing
showing through middle tone.]

[Illustration: Plate XXVIII.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT
STAGES

No. 3. The same as the last, but with the shadows added; variety being
got by varying thickness of paint as before.]

[Illustration: Plate XXIX.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT
STAGES

No. 4. The completed head.]

In the chapter on line work it was stated that: "Lines of shading drawn
across the forms suggest softness, lines drawn in curves fulness of
form, lines drawn down the forms ha