THE POPULAE EDTJCATOB. 



disposition of these lines in some cases all straight, in some all 

 curved, and in others straight and curved united that makes up 

 the representation of the object before us. Their lengths, their 

 positions, their curvatures or bondings, and the manner in which 



they are connected with each other, combine to represent the 

 various forms which nature and art so abundantly furnish. The 

 question then narrows itself to the consideration how are we to 

 treat these lines ? 



We will begin by a caution, and direct the attention of the 

 student to the pernicious and unsatisfactory way which many 

 pursue when drawing a line. They begin, we will say, at the top 

 (Fig. 5), a, and make a seriesof continuous scratches uutil they have 

 reached the supposed end at b. Now here, at the outset of our 

 instructions, let us endeavour to impress upon the student that 

 euch a mode of procedure is fatal to anything like success in 

 drawing. . They who follow this practice depend upon the 

 advantage of being able to rub out their failures, and try again 

 and again, with very creditable perseverance, until they arrive 

 at something like the line they wish for; but when the subject 

 is a complex one that is, one made up of innumerable lines and 

 curves and this scratching and rubbing-out process is repeated, 

 it cannot be surprising 1 if we should see the unfortunate beginner, 

 labouring under despair and excitement, throw the whole aside 

 in disgust, being fully persuaded in his own mind that he will 

 never be able to make any progress whatever. They who 

 follow this plan generally say drawing is exceedingly difficult, 

 and that it requires genius or natural talent to enable any one 

 to succeed. We therefore earnestly desire to impress upon all 

 who hope to draw well not to allow themselves to fall into a 

 method which we must again call most pernicious and un- 

 satisfactory. To draw a single line requires the same care 

 and judgment as a combination of any number of lines ; each 



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lino must bo drawn cleanly, and with a knowledge beforehand 

 of its proper position. The same principle that regulates 

 one regulates the whole ; it is only a repetition of that prin- 

 ciple according to the number of lines in the drawing. We 



wish particularly to impress this idea upon the mind of the 

 student. 



To draw a line at random, without a previous arrangement, 

 trusting more to good luck than to skill for its being correct, 

 and leaving out all consideration or inquiry as to its fitness 

 until it is drawn, is the most discouraging practice that can be 

 followed. Let the student make up his mind, before he attempts 

 to draw the line, where it is to begin, and where it is to end. 

 Take a single line for an example (Fig. 6). Let it be supposed 

 it is to begin at a and end at b ; make a point where it is to 

 begin and another where it is to end, and follow this practico 

 invariably, whatever the subject may be, and whatever may be 

 the number of lines that compose it. If the line be too long to 

 draw at once without leaving off, mark any number of points in 

 the direction between the two points a and b, and mark those 

 points first which are nearest the extremes (the order of the 

 letters in Fig. 6 will explain this), ending with those near the 

 centre. When these points are properly placed so as to be in a 

 straight direction, join a, to c by one continued and carefully 

 drawn line that is, without leaving off (observing what haa 

 been already said about the position of the pencil) ; then draw a 

 line from c to e, from e to d, and from d to b, as in Fig. 7. By 

 this process of marking in the distances where there is a com- 

 bination of lines, we overcome one, if not the greatest, difficulty 

 in free-hand drawing. There are other helps for placing lines 

 correctly, all of which will be noticed in their due course. This 

 method of drawing a line must be practised over and over again 



Fig. 



until it is accomplished. Then in the same way draw lines in a 

 horizontal position, as in Figs. 8 and 9 ; then again inclined 

 lines, as in Figs. 10 and 11, 12 and 13. 



As we have said that all objects are to be represented by 

 straight and curved lines, we will present a simple combination 

 of these lines as an illustration of our system, when the utility 

 of placing points to mark the positions and distances will be 

 evident, for by this process we obtain that which one word will 

 express, the arrangement of the drawing. It is this an-angement 

 of the places wlwre the lines are to be drawn that we would 

 earnestly impress upon the learner the necessity of repeatedly 

 practising, for upon this will depend the power of producing a 

 correct and satisfactory draiving. 



Figs. 14 and 15 may appear to be only a piece of scribble, yet 

 they contain all that is necessary for the purpose of illustrating 1 

 our meaning. First, then, observe the position of a with regard 

 to b (Fig. 14), and their distance from each other, find place 

 points to correspond, as a and b in Fig. 15 ; and also the posi- 

 tions of the other characteristic points respectively I with 

 regard to a being in a direct line with a and b, c with regard 

 to I and a ; also d perpendicular with c, and so on ; e and g on 

 the same level, e being perpendicularly under I, i under /, and 

 k somewhat below the position of i under g. When all these 

 characteristic points and distances are determined, then, as in the 

 drawing of a simple line (as before explained), join these points 

 by lines straight and curved as in the example, Fig. 14, pro- 

 ducing the result as in Fig. 15. Eespecting the importance of 

 this fundamental principle, we cannot too earnestly impress it 

 upon the mind of the pupil, and recommend him to practise it 

 frequently. 



