FOREWORD 



ii 



knowledge, just as electrical power is generated and 

 stored. Turner is perhaps the great instance of this 

 memorizing power. He has been proved to have incor- 

 porated from memory in his later pictures facts of nature 

 used and recorded by him in drawings that he had made 

 twenty years before and never seen again. And so the 

 student who is drawing, say, a moving horse must seek, 

 unconsciously, in the stores of his memory, and must be 

 able without further thinking — when seeing a new move- 

 ment he has no time to think — to set down the turn of 

 knee or pastern, the twist or tautness of a muscle. Do 

 not run away with the idea that no drudgery is needed 

 too as grammar, or that Mr. Luard is unable to draw 

 with untiring precision as well as untiring observation. 

 He has a whole volume, which I have seen, embodying 



his own studies of anatomy and recording not only most 

 precise details of bone, muscle and sinew, but the sheer 

 mechanics of their pull and play. Without this also 

 these drawings could never have been made. The 

 importance of study, of memory, and of knowledge, 

 which is memory stored, is so great, particularly where 

 movement is concerned, that I should like to close with 

 a quotation from Mr. Clausen's " Lectures on Painting." 

 " Some years ago," he writes, " that great artist, 

 Mr. Watts, was good enough to give me some advice. 

 I was speaking of the difficulty of doing something I 

 was trying to do, because I could not get a model to 

 pose, and I said, ' Of course, one has to rely on memory.' 

 ' Yes,' he said, ' memory is a good thing, but there's a 

 better. I asked what that was. ' Knowledge,' he said." 



Martin Hardie. 



