DRAWING. 
ticular influence on the muscular system, 
certain deterniinate attitudes follow each 
sensation of the soul, and it is the muscles 
which express their energy ; in sleeping or 
quiescent bodies, they are not obtruded on 
the view, but when their action is excited 
by some pleasing or horrible cause, they 
become tense, or relax, and are partially 
very prominent; the laocoon, and several 
of the single figures of gladiators, are good 
studies for the muscles ; indeed the modern 
brethren of the latter, of pugilistic cele- 
biity, might afford many useful hints of 
manly exertion : it should be recollected, 
that the most violent emotions of the fe- 
male sex do not produce tlie same appear- 
ances in their muscles as is observable from 
similar causes in men, it would therefore 
be very improper to shew them as promi- 
nently ; in addition, persons in the lower 
ranks of life ought to be represented more 
muscular than the members of the highest 
orders of the community. (See article 
Muscles in Anatomy). 
Drawing of Drapery follows ; in this par- 
ticular we are in a great measure compelled 
to have recourse to the ancients, as how- 
ever convenient our modern habits may be, 
they are decidedly ungraceful opposites to 
the tasteful clothing of antiquity ; for this 
reason every beautiful example from that 
pure source ought to be studied, carefully 
distinguishing the light, airy dresses of the 
heathen deities, and angels, of more recent 
conception, and their almost transparent 
folds clinging through motion to their forms, 
from those intended expressly to cover na- 
kedness, and preserve the person from the 
ill effects of cold air, observing, besides, 
the particular shapes of garments, charac- 
teristic of the Jewish, Grecian, or Roman 
nations. 
Many statuaries have erred in represent- 
ing their figures as if clothed in wet linen, 
in order to shew the contour of the limbs 
to greater perfection; but this absurdity 
carries its own conderhnation with it. It 
must be obvious to the most superficial ob- 
server, that the texture of drapery shoqld 
be suited to the inner or outward habit, 
and its richness, or the reverse, to the situa- 
tion of the party represented: to deter- 
mine this point with accuracy, it will be 
proper to read such works as describe the 
official and other habits of ancient times, 
and compare their descriptions with antique 
statues and paintings ; the ornaments and 
insignia of the rich and powerful may be 
known by the same means. 
In drawing of fine linen, the folds should 
be made delicate, inclined to angles, and 
numerous or otherwise, according to the 
disposition of the habit on the body, where 
it is confined by a girdle or broach, they 
are multiplied and in lines, but those should 
neither be parallel nor disposed like rays : 
the reflected and transparent lights are par- 
ticularly pleasing in this material, nor are 
the shades ever deep and harsh. In clothes 
made of wool, care must be taken to shew 
it fine on the rich, and coarse on the poor ; 
in either case the folds should be large, and 
by no means numerous, partly.cylindrical 
in their form, sometimes angular, and at 
others waved, the lights must not be very 
strong, but the 'shades deep, and the re- 
flected lights faint, if the colour of the dye 
is dark. Silks fall into the least graceful 
folds of any material used in clothing, it 
will be best, therefore, to draw them from 
reality, endeavouring to catch the most na- 
tural, and copying with great attention the 
brilliant edges which are their characteris- 
tics, and the numerous reflections occasion- 
ed by the gloss on the inferior projections. 
Jewels and ornaments of gold, embroidery, 
&c. will at times be useful, but (here are no 
rules applicable to the drawing of them. 
In the general disposition of the drapery, 
the posture of the figure and of the limbs 
must uniformly be consulted, they must ac- 
cord, or there can be no otlier effect than 
stiffness in the person represented. Dra- 
pery gently agitated by the wind, in run- 
ning or flying figures, has a good effect 
when it is made to flow in one direction, 
and not too much extended ; the lights re- 
quire great care, and should be directed on 
the most rotund parts, and those must not 
be crossed by dark shade, or the limbs 'or 
body so treated will appear broken. 
Lest it should be supposed, the foregoing 
rules are rather calculated for a person in 
some degree acquainted with the art of 
drawing, than one beginning with the first 
rudiments, we shall descend to still further 
minutiae. 
Wlien a picture highly varnished, a draw- 
ing in brilliant colours, or glazed print, is 
to be copied, it should be placed in a re- 
clining position, that the light may not glare 
on it and confuse the eye ; if the painting is 
large, the distance should be proportionably 
increased, so as to enable the copyist to 
see the whole at once. After marking the 
spaces between the features, and the dif- 
ferent parts of the body, the outlines must 
be faintly sketched, and if the subject con- 
