fairly simple idea of what is happening to the spinal column, just how much lateral deviation it is undergoing, just how much rotation, just how much back-and-forward flexion. It is from such a clearly conceived starting-point that we must build up the arrangement of the other parts of the trunk. If we are drawing a back view and can see the backbone line, so much the better ; if not, we must imagine it, hold it ever in our mind's eye, and adapt all other rhythms to its primal
one. Thus, and thus only, shall we obtain unity of rhythm and intention. I cannot insist enough on this point, hardly ever sufficiently realized. Draughtsmen too often draw from and by the front of the figure alone.
To break off suddenly in the middle of a work on drawing, in the middle of a chapter mainly consecrated up to now to the detailed examination of a pen drawing by Rembrandt of a female nude, thus to break off and enter into an examination of architecture, more especially ogival, may, at first sight, seem to be the height of inconsequence and incoherence. None the less I am doing it after mature reflection, and with a clearly defined thesis in view ; I am doing it here because I can conceive of no better moment for developing a thesis which, far from being a side issue of the present gospel, is
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