al impression to the exclusion of the tactile or touch sense that by
the association of ideas we have come to expect in things seen. An
increased truth to the character of appearances has been the result,
with a corresponding loss of plastic form expression.

On pages 66 and 67 a reproduction of a drawing in the British Museum,
attributed to Michael Angelo, is contrasted with one in the Louvre by
Degas. The one is drawn from the line point of view and the other from
the mass. They both contain lines, but in the one case the lines are the
contours of felt forms and in the other the boundaries of visual masses.
In the Michael Angelo the silhouette is only the result of the
overlapping of rich forms considered in the round. Every muscle and bone
has been mentally realised as a concrete thing and the drawing made as
an expression of this idea. Note the line rhythm also; the sense of
energy and movement conveyed by the swinging curves; and compare with
what is said later (page 162 [Transcribers Note: Sidenote "Curved
Lines"]) about the rhythmic significance of swinging curves.

Then compare it with the Degas and observe the totally different
attitude of mind in which this drawing has been approached. Instead of
the outlines being the result of forms felt as concrete things, the
silhouette is everywhere considered first, the plastic sense (nowhere so
great as in the other) being arrived at from the accurate consideration
of the mass shapes.

Notice also the increased attention to individual character in the
Degas, observe the pathos of those underfed little arms, and the hand
holding the tired ankle--how individual it all is. What a different tale
this little figure tells from that given before the footlights! See with
what sympathy the contours have been searched for those accents
expressive of all this.

[Illustration: Plate XII.

STUDY ATTRIBUTED TO MICHAEL ANGELO (BRITISH MUSEUM)

Note the desire to express form as a felt solid thing, the contours
resulting from the overlapping forms. The visual appearance is arrived
at as a result of giving expression to the mental idea of a solid
object.]

[Illustration: Plate XIII.

STUDY BY DEGAS (LUXEMBOURG)

In contrast with Michael Angelo's drawing, note the preoccupation with
the silhouette the spaces occupied by the different masses in the field
of vision; how the appearance solid forms is the result of accurately
portraying this visual appearance.

_Photo Levi_]