stance from Art in order to the
better understanding of Nature, no man, be he ever so wise, can, by the
drawing-book plan, do much to smooth the way of study.

All that another mind could do for us by way of teaching Art would be to
save us time,--first, by its experience, in anticipating our failures;
second, by its trained accuracy, to correct our errors of expression more
promptly than our afterthought would do it,--and to systematize our
perceptions for us by showing us the relative and comparative importance
of truths in Nature. In the first two respects, which are merely
practical, the drawing-book, if judiciously prepared, might do somewhat to
assist us; but in the last and most important, only the experienced and
thoughtful artist, standing with us before Nature, can give us further
insight into her system of expression. A good picture may do a little, but
it is Nature's own face we need to study, and that neither book nor
picture can very deeply interpret for our proper and peculiar perception.

In the practical part, again, the drawing-book can give us no real
assistance in regard to color. And thus the efficacy of it is reduced to
the communication of methods of drawing in white and black. This Chapman's
book does to the best purpose possible under the circumstances, in what is
technically termed the right-line system of drawing,--that is, the
reduction of all forms to their approximate geometrical figures in order
to facilitate the measurements of the eye. Thus, it is easier by far to
determine the proportion which exists between the sides of a triangle
formed by the lines connecting the three principal points in any figure
than any curvilinear connections whatever. The application of the
rectilinear system consists in the use, as a basis of the drawing, of such
a series of triangles as shall at once show the exact relation of the
points of definition or expression to each other; but the successful
application of this depends much on the assistance of the trained eye and
hand of a master watching every step we make.

When we leave this section of the "American Drawing-Book," we leave all
that is of practical value to the young artist. The prescription of any
particular mode of execution is always injurious, (if in any degree
effective,) for the reason that the student must not think of execution at
all, but simply what the form is which he wants to draw, and how he can
draw it most plainly and promptly. Dec