SONS IN DRAWING. 



201 





Fig. 120. 



and difficulties. In tho same way that the skeleton establishes 

 the proportion and construction of tho body, so in like manner 



does the skull, In- it- [, ii:.iriti.'< of character and 



form, assist us to define and classify peoples, nations, and 



. and also to decide upon 



different intellectual capa- 

 bilities. All must have noticed 

 how very diflerent tho size of 

 the human cranium or brain- 

 caso is, when compared with tho 

 face, to that of tho brute crea- 

 tion; and also that tho head 

 If, comparatively speaking, 

 undergoes very little change 

 from growth : likewise that the 

 brain almost reaches maturity 

 at a very early period, and conse- 

 quently the head of tho infant 

 is considerably larger in pro- 

 portion to its body than when 

 it has arrived at manhood ; the 

 cause of this is to be attributed 

 to the brain only, in which there 

 is less development, in propor- 

 tion, than there is in tho growth 

 of the body. Tho face increases, 

 but not to the same extent as 

 the limbs and other parts. We 

 remark in the infant head the 

 smallness of the bones of the 

 nose, the shallow jaw, and the 

 elongated form of the head, 

 having tho brain-case largo and 

 projecting considerably behind. 

 The roundness of tho child's 

 face is to be attributed to 



the incompleteness of the lower part, which, as the teeth grow, 

 expands from a greater extension of the jaw ; when in old age 

 the teeth have fallen out, and the face has contracted again, 

 it resembles in many respects that of the child, excepting for 

 the falling in of the 

 lips and tho wrinkling 

 of the skin. Thus as 

 the child grows the face 

 becomes elongated, and 

 the proportionate dif- 

 ference between the 

 length of the face and 

 the depth from the 

 forehead to the back of 

 tho head is less strik- 

 ing. The characteris- 

 tic difference in the 

 human head between 

 the Grecian standard, 

 as usually seen in an- 

 cient sculpture, and 

 that of the negro.exists 

 in the facial line. (See 

 Fig. 120.) Draw a lino 

 from the lower part of 

 the ear to the closing 

 of the teeth in front, 

 and from thence draw 

 another to touch the 

 outer projection of 

 the forehead; this last 

 line is called the facial 

 line, and the two to- 

 gether form the facial j /'' 

 angle the angle at a. IS 

 The more acute this ? Fig. 121. 

 angle is, the nearer it a 

 approaches that of the 



lower animals ; the most desirable angle, as characteristic of the 

 higher powers of intellect, judgment, capability, and wo include 

 beauty also, is that of about 80. The Grecian sculptors, in 

 representing their gods, reached 90. the right angle, and in 



tome instances they went even beyond this. We will not enter 

 into any argument as to whether this modification of the facial 

 angle indicated greater strength of mind and wisdom: it cer- 

 tainly has not been found to represent the standard of excel* 



lence in man. An the facial 

 angle formed by these two lines 

 decreases, so we approach th 

 negro, and when it is farther 

 diminished we descend to the 

 projecting jaws and smaller 

 brain of the brute creation. 

 (See Fig. 121, the facial angle 

 of the cow.) These remark* 

 are merely hints for the pupil, 

 showing him the course he 

 is to pursue in studying the 

 human head. To go into a 

 classification of the skulls of 

 various tribes and nations, and 

 point out the remarkable dif- 

 ferences between them, is not 

 our immediate object ; to show 

 there are these varieties, and 

 to establish a standard as a 

 base of construction, is all that 

 is necessary : we leave our 

 pupils to discover these differ- 

 ences for themselves, and re- 

 sume our more legitimate sub- 

 ject the method of drawing 

 them. Now before we say 

 anything about the proportions 

 of the head and face, we wish 

 to make a few observations 

 upon the kind of drawing which 

 belongs to the human figure 



more than any other subject, and which will become more evident 

 as wo proceed. In drawing the human form, the term outline must 

 bo used in a far wider sense than that in which it is generally 

 considered when it relates to inanimate objects or ornaments. 



Within the boundary 

 line of any portion of 

 the human form, be it 

 face or limb, there is 

 as great an amount 

 of character and form 

 to be expressed as in 

 the outward or mar- 

 ginal line itself, and 

 we cannot consider any 

 one to be proficient 

 who has not the power 

 fully to represent it. 

 The foreshortening* 

 and projections of the 

 body, and the unequal 

 surfaces upon every 

 part, arising from mus- 

 cular action, as they 

 press forward towards 

 the eye, require an 

 amount of anatomical 

 knowledge which any 

 one who attempted to 

 draw them, without 

 possessing, would soon 

 discover to be indis- 

 pensable. To confine 

 our practice to the 

 mere outline of the 

 numan figure, would 

 give but a small idea 

 of what is meant by 

 drawing it ; children 



do no more than this. To represent an advancing limb, or an 

 uneven surface when placed directly before us, is quite another 

 affair to that of representing the surface or limb when it is 

 turned a quarter round, and is seen in profile. To acquire this 



