conception of its plastic value. It will be noticed that at the pelvic spine I did not take my pencil off the paper ; the line comes into the modelling, makes a sharp-pointed loop, returns on itself during two-thirds of its length, again makes an acute angle, and continues to express the fall away of the flexible forms of the external oblique. The indication of the iliac spine is really a calligraphic note made about it. Of course the top profile was drawn as I describe it, from right to left. The reason for this is the order of representation chosen, an order partly based on the appearance from the particular point of view, and partly based on the relative importance of the real constructional facts. As usual, the shape and position in space of the pelvic mass is the most important thing ; but in the present circumstances it is thrown back to what we may call the third perspective plane, the first being taken up by the feet and legs, the second by the thighs, the third by the pelvic mass. The rest of the body can be classed as falling more or less into a fourth plane already much less important ; the drawing can be treated in a more summary way on this fourth plane without harming the general aesthetic effect. In this particular composition the decorative point of interest is the shape of the pelvic mass.
Because of this placing of the. interest, I instinctively insisted on the amusing calligraphy of the iliac spine. This handling, compared with the summary treatment of the deltoid—decoratively less important—affords an example of change of method adopted in various parts of the same drawing according to the decorative needs of the particular spot. We noticed this type of variation when discussing, on p. 235, the Degas drawing reproduced in Fig. 74. No part of my drawing (Fig. 100) was elaborated, for it was the work of five minutes at the 'Académie de la Grande-Chaumière5 in Paris. Slightly more detailed than the rest are the feet,
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