THE SCIENCE OF HAPPINESS 



to draw these characters, there is no reason why, with 

 proper effort, he should not learn to draw others in end- 

 less variety. 



Of course it does not follow that everyone could 

 learn to draw really well. But, on the other hand, it is 

 surprising to observe, in any drawing class, how many 

 pupils attain to practically the same stage of efficiency. 

 In the art schools everyone becomes a fairly good tech- 

 nician. Not all reach the goal with the same ease, of 

 course; but all do attain a fair measure of technical 

 skill if they persevere. It is amazing to contemplate 

 the acres of canvas, every square foot showing high 

 technical efficiency, that are exposed each spring in such 

 exhibitions as that of the Paris Salon. Not one in 

 ten of the artists that exhibit here has any profound 

 artistic inspiration; not one in ten has any message to 

 give the world, or will ever paint a memorable picture. 

 Nine in ten of them have all their art in their fingers 

 and none in their brains; but their mastery of the 

 mere grammar of the craft is all the more startling for 

 that, and the more inspiriting to the man who, possess- 

 ing soul-pictures, needs but the training of the hand to 

 be able to make them tangible. 



If, then, you feel that it would give you pleasure to 

 paint, do not be debarred from making the effort for 

 fear that you will not attain full mastery. Your effort, if 

 intelligently directed, and faithfully pursued, may lead 

 to far better results than you would dare predict ; and 

 if, on the other hand, your output should in the end 

 prove but mediocre, it will be no crime to have added 

 one more to the large company of artisan-artists. If you 



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