264 



THE POPULAR EDUCATOR. 



and their extent, until, as we ascend to life and intelligence, 

 we make the further discoveries that difficulties arise of a fresh 

 nature, and that it will be indispensable to direct our attention 

 to other branches of knowledge to help us in our efforts. It 

 must be admitted that the human figure is the most interesting 

 and sublime study in Nature. Whilst other objects are only 

 represented for the sake of their forms, in this case the forms 

 must be made srfbservient to, and are employed to represent, 

 the intentions of the mind. Therefore, it is not only the power 

 of imitative drawing that is necessary, but the ability to adapt 

 that power to purposes of a much higher grade than those which 

 relate to form only. Here is the reason why different men 

 profess different branches of art. If the practice of art depended 

 upon the 'power of imitation only, no one who is sufficiently 

 skilful with his pencil need confine himself to one especial 

 study ; but that which makes art valuable, and at the same 

 time difficult, is something which extends beyond the practice 

 of mere imitation. Mark the various expressions so commonly 

 seen in many countenances, betraying more meaning than words 

 can give. A look of sympathy or of anger is read at once, and ho 

 who receives it hesitates not a moment in realising its intended 

 meaning, although not a syllable has been uttered. Who has 

 ever yet succeeded in portraying that divine look that Christ 



which the power of mere imitation can never overcome, and 

 which oblige us to seek farther for assistance in branches of 

 knowledge which do not immediately belong to drawing, but 

 which must have an important influence in our ultimate success. 

 The knowledge necessary to assist us in drawing the human 

 form is derivable from many sources ; the first and most 

 important is that of anatomy. We have in the last lesson 

 directed the student where he may conveniently obtain informa- 

 tion upon this part of the subject. We propose now to give 

 him some directions how he is to apply it. We advise him to 

 study the skeleton first, and make himself familiar with the 

 names of the bones, and their several protuberances, and the 

 way in which they are connected with each other, either by ball 

 and socket, as in the hip-joint, or in the form of a hinge, as in 

 the elbow and knee. He would do well to make a drawing of 

 the skeleton, and then from the plates and descriptions cover it 

 with the muscles, as in Figs. 122, 123, being very particular to 

 notice their origin, insertion, and their use. Two or three 

 hours of persevering study in this way will do more for him 

 when he comes to draw from casts, or from life, than months of 

 labour from copies without it. In short, if he relies on copies 

 only, it is more than doubtful if ho will ever do anything at all 

 satisfactory; and should his ambition lead him to design for 



east at Peter, expressive of all that had gone before in their 

 fellowship with each other, of all that related to their sufferings 

 and trials, both past and present, reminding Peter of his pro- 

 fessions, and telling him of his weakness ? And though not a 

 word was said, Peter understood its meaning so thoroughly, 

 that " he went out and wept bitterly." It is very evident that 

 to be able to represent such a scene as this, a very high standard 

 of that which is comprehended by the power of drawing must be 

 attained. We can see where it extends, but we cannot see its 

 limits. 



To explain the exact kind of knowledge capable of affording 

 assistance to the draughtsman in every case would indeed be 

 very difficult. To sum it up in a few words, we may say, all 

 is useful that helps us to understand the construction of the 

 object to be drawn ; and, in animal life, how the various 

 impulses of the mind and will command the action of the body. 

 It ought to be the desire of every one who wishes to perfect 

 himself in the particular branch of art which he has chosen, what- 

 ever it may be, to seek out every kind of information that can 

 assist him in his object. We will instance one case only to 

 illustrate the rest. The flower-painter, to gain any position at 

 all in the art, must know something of botany, which teaches 

 him the construction of flowers and their classification. With 

 such an auxiliary as botany, will not his work be more satis- 

 factory, and will he not be less likely to overlook many facts 

 connected with his pursuit which would be deemed indispensable 

 by a competent judge ? Therefore there are latent difficulties 



himself, with the intention of employing his work for any art 

 or decorative purpose, he would be totally at a loss without a 

 knowledge of the anatomical construction of the body, and he 

 has no business to feel any surprise if he fails. These remarks 

 must not discourage ; on the contrary, we hope they will induce 

 all to seek the readiest and shortest way to attain the requisite 

 qualification. We must bear in mind that this branch of art is 

 a very different matter to that which includes trees, houses, or 

 ornament. The body is subject to such constant changes of 

 position that it is impossible to omit those instructions which 

 relate to and explain its construction and development. The 

 arm in one position is very different when that position is 

 changed. The same limb in repose is completely altered in 

 action, and, in order to overcome the difficulties arising from 

 these changes, the construction of the limb must be understood. 

 There are those whose ambition goes no farther than copying 

 copies for mere amusement. These need not trouble themselves 

 beyond following the system of arrangement, about which we 

 have said so much in our early lessons, applicable to objects of 

 still life; because they have then only to copy straight and 

 curved lines that is, to treat the subject as composed only of 

 such lines. Now we feel that if we leave our pupils, especially 

 those who have to employ figure-drawing for useful and practical 

 purposes, with no further instructions than those which will 

 enable them to imitate a printed lithograph, we should fail in 

 our duty. Therefore we proceed, with all who are disposed to 

 accompany us, regardless of difficulties and discouragements, 



