DRAWING THE FIGURE. 391 



often preJLidiciul, by the iiidiiieient works it multi- 

 plies without number. But let Raphael be copied 

 by skilful engravers, let a young artist profit by 

 his labours, and works without dignity and ex- 

 pression will soon become intolerable to him ; he 

 will perceive to wiiat an elevation tlie excellence 

 of the art can raise him. 



<' The way to avoid mediocrity, is by the study 

 and imitation of beautiful productions ; or, in 

 want of them, of the most finished translations that 

 have been made from them ; for so we may call 

 beautiful prints. Let a young draughtsman study 

 the heads of Raphael, and he will not see without 

 disgust the soi'did figures of indifferent painters. 

 But if you feed him with insipid substances, he 

 will soon lose the taste necessary to relish great 

 excellencies. In the one case he will advance 

 firmly in his career : in the other he will conti- 

 nually totter, and even not be sensible of his own 

 weakness." 



Having copied frequently the parts of a face, he 

 is next to proceed to the entire head ; drawing 

 first a front view, then a profile, a three-quarter, 

 and so on ; varying it in every possible direction, 

 till he is thoroughly acquainted with the appear- 

 ance of all the principal lines in every situation. 

 In making these studies, he should be contented at 

 first with drawing mere otitlhies, as they are by far 

 of the most importance ; and it should be remem- 

 bered in general, that to make a good outline is 

 always the most desirable attainment. 



The student should now accompany his lessons 

 by making observations on good casts and living 

 models; but more particularly the former, as indi- 

 vidual nature is seldom fine, and there is danger of 



c c 4 



