s desired, such as one sees when a
muscle is in violent action, or in the tendon above the wrist or above
the heel in the leg, or generally where a bone comes to the surface, in
all these cases the brush work should follow down the forms. It is not
necessary and is often inadvisable for the brush work to show at all, in
which case these principles will be of little account. But when in
vigorously painted work they do, I think it will generally be found to
create the effects named.

Drawing on toned paper with white chalk or Chinese white and black or
red chalk is another form of mass drawing. And for studies it is
intended to paint from, this is a quick and excellent manner. The
rapidity with which the facts of an appearance can be noted makes it
above all others the method for drapery studies. The lights are drawn
with white, the toned paper being allowed to show through where a darker
tone is needed, the white (either chalk or Chinese white) being put on
thickly when a bright light is wanted and thinly where a quieter light
is needed. So with the shadows, the chalk is put on heavily in the darks
and less heavily in the lighter shadows. Since the days of the early
Italians this has been a favourite method of drawing drapery studies
(see illustrations, page 260 [Transcribers Note: Plate LIV]).

Some artists have shaded their lights with gold and silver paint. The
late Sir Edward Burne-Jones was very fond of this, and drawings with
much decorative charm have been done this way. The principle is the same
as in drawing with white chalk, the half tone being given by the paper.

Keep the lights separate from the shadows, let the half tone paper
always come as a buffer state between them. Get as much information into
the drawing of your lights and shadows as possible; don't be satisfied
with a smudge effect. Use the side of your white chalk when you want a
mass, or work in parallel lines (hatching) on the principle described in
the chapter on line drawing.

X

RHYTHM

The subject of Rhythm in what are called the Fine Arts is so vague, and
has received so little attention, that some courage, or perhaps
foolhardiness, is needed to attack it. And in offering the following
fragmentary ideas that have been stumbled on in my own limited practice,
I want them to be accepted only for what they are worth, as I do not
know of any proper authority for them. But they may serve as a stimulus,
and offer some lines on which t