27S TllK A.MKKll AN MONTHLY [Oct., 



ilisclosinu b«'auty in uiaiiy perfect hairs trajeahlc in tlieir courso 

 direct from tlie base of the bulb, embetlded in the foUicle, and 

 emerging? from the cuticle above. In cutting a section of such 

 delicacy it would be imj) >ssible to avoid slicing throufrh a hair 

 or two diagoiially, thus leaving the tops of some, the ends of 

 others; this result or defect, is a feature of signific^int interest 

 from an art point, faithfully copied it gives life and character. 

 In a diagram, the imperfection, by compari.xon with perfect 

 hairs, might be remedied, the mutilated parts " restored ;" but 

 such an interference destroys at once thegra])hic quality of the 

 picture, adding nothing to its s-cientific interest. Absolute ac- 

 curac}' in depicting what is presented may, however, in some 

 cases, be qualified, and truth evolved by a kncnvledge of the 

 structure as it should appear, particularly in cellular tissues, in 

 close contact. In such cases the artist ought to be cognisant of 

 elementary forms, as arranged under contiguous pressures, and 

 the position of spherical, oblong, or cubical elastic cells, as af- 

 fected by juxtaposition in, over, or under spreading layers. 

 Coupled with the perspective of such conditions, this facilitiites 

 progress. In opaque subjects, under binocular vision, where the 

 rotundity of a reticulated surface fades in dimensions, and 

 shadow, in different lines, this abstract knowledge is important, 

 and should be acquired, as many objects could not be effec- 

 tively rejiresented without its study — always keejting to gen- 

 eral ajtpearances ; it is an ability which removes difficulty in 

 unravelling the disposition of parts, especially under high pow- 

 ers ; when sections are cut either too thin, slightly oblique, or 

 disrupted by the knife, the mechanical interferences of parts 

 when understood, may be restored The functions of an artist, 

 cognisant of a condition of antecedent" may be fairly exercised 

 in the j»rogress of a drawing, Init it must never trench ui>on ab- 

 solute truth and discrimination in treatment — a drawing may 

 be ruined in a moment by a false line involving impossibility 

 ot structure ; to a critical eye. this is fatal. In fine work, deal- 

 ing with malpositions, shrinkage of ti.ssues, disseverances and 

 pseudo-appearances — inevitable even in the finest preparations 

 — the utmost judgment is required. 



The effect of a micro.scopical drawing is enhanced by its in- 

 clusion in a circle — surrounded by a black margin — forming a 

 square. The size of the circle is important — it may be too 



