he first even in this early stage; and you will
be able to judge of the accuracy of your blocking out by whether or not
it does suggest the original. If it does not, correct it before going
any further, working, as it were, from the general impression of the
masses of the head as seen a long way off, adding more and more detail,
and gradually bringing the impression nearer, until the completed head
is arrived at, thus getting in touch from the very first with the
likeness which should dominate the work all along.

[Illustration: Plate LI.

SIR CHARLES DILKE, BART.

From the drawing in the collection of Sir Robert Essex, M.P., in red
conte chalk rubbed, the high lights being picked out with rubber.]

There are many points of view from which a portrait can be drawn--I
mean, mental points of view. And, as in a biography, the value of the
work will depend on the insight and distinction of the author or artist.
The valet of a great man might write a biography of his master that
could be quite true to his point of view; but, assuming him to be an
average valet, it would not be a great work. I believe the gardener of
Darwin when asked how his master was, said, "Not at all well. You see,
he moons about all day. I've seen him staring at a flower for five or
ten minutes at a time. Now, if he had some work to do, he would be much
better." A really great biography cannot be written except by a man who
can comprehend his subject and take a wide view of his position among
men, sorting what is trivial from what is essential, what is common to
all men from what is particular to the subject of his work. And it is
very much the same in portraiture. It is only the painter who possesses
the intuitive faculty for seizing on the significant things in the form
expression of his subject, of disentangling what is trivial from what
is important; and who can convey this forcibly to the beholder on his
canvas, more forcibly than a casual sight of the real person could
do--it is only this painter who can hope to paint a really fine
portrait.

It is true, the honest and sincere expression of any painter will be of
some interest, just as the biography written by Darwin's gardener might
be; but there is a vast difference between this point of view and that
of the man who thoroughly comprehends his subject.

Not that it is necessary for the artist to grasp the mind of his sitter,
although that is no disadvantage. But this is not his point of view