, his
business is with the effect of this inner man on his outward appearance.
And it is necessary for him to have that intuitive power that seizes
instinctively on those variations of form that are expressive of this
inner man. The habitual cast of thought in any individual affects the
shape and moulds the form of the features, and, to the discerning, the
head is expressive of the person; both the bigger and the smaller
person, both the larger and the petty characteristics everybody
possesses. And the fine portrait will express the larger and subordinate
the petty individualities, will give you what is of value, and
subordinate what is trivial in a person's appearance.

The pose of the head is a characteristic feature about people that is
not always given enough attention in portraits. The habitual cast of
thought affects its carriage to a very large degree. The two extreme
types of what we mean are the strongly emotional man who carries his
head high, drinking in impressions as he goes through the world; and
the man of deep thought who carries his head bent forward, his back bent
in sympathy with it. Everybody has some characteristic action in the way
that should be looked out for and that is usually absent when a sitter
first appears before a painter on the studio throne. A little diplomacy
and conversational humouring is necessary to produce that
unconsciousness that will betray the man in his appearance.

How the power to discover these things can be acquired, it is, of
course, impossible to teach. All the student can do is to familiarise
himself with the best examples of portraiture, in the hope that he may
be stimulated by this means to observe finer qualities in nature and
develop the best that is in him. But he must never be insincere in his
work. If he does not appreciate fine things in the work of recognised
masters, let him stick to the honest portrayal of what he does see in
nature. The only distinction of which he is capable lies in this
direction. It is not until he awakens to the sight in nature of
qualities he may have admired in others' work that he is in a position
honestly to introduce them into his own performances.

* * * * *

Probably the most popular point of view in portraiture at present is the
one that can be described as a "striking presentment of the live
person." This is the portrait that arrests the crowd in an exhibition.
You cannot ignore it, vitality b