^pisg^ggpF -^pgggE: 91. If the interest of the student has been excited-
and his attention bestowed upon what has been already said, and so earnestly urged upon him, and he has mastered the examples of the head, hand, and foot, already given, he will experience but little difficulty in drawing any form or figure that he may attempt. When it is said that he possesses the capacity to draw a figure, it should not be understood, thereby, that he is capable of that careful elaboration, or minute exactness, in lines or details, that is only acquired by long practice, and repeated acts 5 but, he will be able to express the general form, proportions, and action, of his model: he will be able, thence, to
90. After having required the devotion of // g0 jjjuçh tjme an(| study to the delineation of the head, hand, and foot, the figure, as a whole, might appear of sufficient relative importance to demand a larger space than will be devoted to it, at this time. It should be remembered, that these elementary instructions are inductive and preparatory to that more concise consideration and study of the anatomical construction of the human frame, essential to those who aspire to the attainment of excellence in the higher branches of art, which do not strictly belong to the mere rudiments of drawing. Until the mind and hand have been schooled to act harmoniously together, until the broad principles of design are first developed to the understanding of the pupil, and he is made to feel wants beyond those of the beginner, it is not only useless, but even prejudicial to his advancement, to confuse his mind with theories and treatises, which he can not fully understand, nor practically apply. To talk to him of bones and muscles, before he has attained sufficient command of hand and eye to draw, with at least some degree of facility, more simple forms and objects, is like pitching one, headlong, into a deep and rapid current, to teach him to swim.
uescend to the parts and details: he will be able to do this upon fixed and certain principles, which, if properly understood, appreciated, and applied, will never mislead him.
92. Let the pupil now attempt to draw the outline of this first example of the full figure, without having recourse to measurement, and without reference to other rules of proportion, than such as may be suggested by the careful observation of the figure before him, and by precisely the same method by which he has drawn the head, hand, and foot, separately. He will see, at a glance, that a perpendicular line, drawn from the upper lip, would intersect the point where the
instep joins the leg 5 and, having decided upon the height of the figure, he has already a certain basis, and starting points. Next, observe well the relation of the parts, proportions, and character of the general contour of the figure to this imaginary perpendicular line. The drapery takes one continued sweep, slightly modulated, by the form of the figure, from the heel to the left shoulder; which line, if farther extended, would touch the outline of the forehead, intersecting the assumed perpendicular line on the nostril: this gives, also, the direction of the head. The
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