But there is a more evident and cogent reason for the study of the nude before draping it. Drapery hangs free from certain supports. Let us consider a standing figure simply draped with a fairly soft material. The folds will hang free from the shoulders behind to the heels, will hang free unless slightly pushed out by the buttocks. If the figure stoops forward the folds will only hang free from the buttocks to the heels ; along the back the drapery will lie close and very possibly foldless. Now surely it is evident that before we can draw the surfaces of suspension and their edges from which the folds take nascence, we must be able to draw the underlying nude. Not only that, but we must be able carefully to construct the rhythmic relation between the placing of, say, the shoulder surface of suspension and the buttock surface which perhaps pushes out and modifies the direction of the folds. But this means nothing else than knowing how to draw the nude, it is the eternal refrain of this book. When you are a master of plastic rhythmic relation you are a great draughtsman. If you ignore the establishment of rhythmic relationship between the several parts of your work, however little you may deviate from the rhythmic placing that you might have conceived but did not, your work becomes negligible, does not count. Skill or tidiness or both may deceive the ill-advised critic, but will deceive him only ; the- clever brush-work of a Sargent will remain clever brush-work, while the painting of Manet remains to be respected in spite of its many shortcomings ; Manet remains as a personality without whom one can no longer write the history of the development of art, because he brought to art a novel study of the fundamental rhythms of natural appearance. Sargent dealt out to us the brush-trickery of an illustrator, fitted out with much superficial theft from the aforesaid Manet. If the surfaces of suspension of your drapery are not carefully co-ordinated in their
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