Dt awing the Figure. 



The study of the human figure has always beere 

 considered by artists as the most important part of 

 the art. It is the most difficult, and is by many 

 considered as contributing the most of any ta 

 general improvement ; though there are some wha 

 carry this idea to too- great an extent, saying, that 

 a person who can draw the human figure well can 

 draw every thing besides* But this, it is well 

 known, is not the case ^ there being many artists 

 who can draw the figure very well who cannot 

 draw landscape nor architecture* To draw any 

 thing well requires a particular study. The study 

 of the figure, however, includes all the finest prin- 

 ciples of the art ; and when the eye of the student 

 has been accustomed to copy faithfully all the mi- 

 nute circumstances which constitute the character 

 of a figure, and to attend to the innumerable beau- 

 ties and graceful forms which it presents, he will 

 be better qualified to pursue with advantage every 

 other branch of the fine arts. 



In learning to draw the human figure, it is ne- 

 cessary to begin with each of the parts- separately, 

 and after sufficient practice in that way, to proceed 

 to put them together in the complete figure* 



The head being the most important part of the 

 human body, it should be studied first. For this 

 purpose, the student should copy the best drawings 

 he can procure of the eye* mouth, nose, and ear, 

 separately and on a large scale ; and of these, a 

 front view, profile or side view, oblique view, &c. 



The best materials for drawing these, as well as 

 all other parts of the figure, is black chalk, or black 

 lead j the former may be used either upon white 



