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CONTENTS

• INTRODUCTION
• DRAWING
• VISION
• LINE DRAWING
• MASS DRAWING
• THE ACADEMIC AND CONVENTIONAL
• THE STUDY OF DRAWING
• LINE DRAWING: PRACTICAL
• MASS DRAWING: PRACTICAL
• RHYTHM
• RHYTHM: VARIETY OF LINE
• RHYTHM: UNITY OF LINE
• RHYTHM: VARIETY OF MASS
• RHYTHM: UNITY OF MASS
• RHYTHM: BALANCE
• RHYTHM: PROPORTION
• PORTRAIT DRAWING
• THE VISUAL MEMORY
• PROCEDURE
• MATERIALS
• CONCLUSION
• APPENDIX

LIST OF PLATES

• I. SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES
• II. DRAWING BY LEONARDO DA VINCI
• III. STUDY FOR "APRIL"
• IV. STUDY FOR THE FIGURE OF "BOREAS"
• V. FROM A STUDY BY BOTTICELLI
• VI. STUDY BY ALFRED STEPHENS
• VII. STUDY FOR THE FIGURE OF APOLLO
• VIII. STUDY FOR A PICTURE
• IX. STUDY BY WATTEAU
• X. EXAMPLE OF XVTH CENTURY CHINESE WORK
• XI. LOS MENENAS. BY VELAZQUEZ
• XII. STUDY ATTRIBUTED TO MICHAEL ANGELO
• XIII. STUDY BY DEGAS
• XIV. DRAWING BY ERNEST COLE
• XV. FROM A PENCIL DRAWING BY INGRES
• XVI. STUDY BY RUBENS
• XVII. A DEMONSTRATION DRAWING AT THE GOLDSMITHS' COLLEGE
• XVIII. STUDY ILLUSTRATING METHOD OF DRAWING
• XIX. ILLUSTRATING CURVED LINES
• XX. STUDY FOR THE FIGURE OF "Love"
• XXI. STUDY ILLUSTRATING TREATMENT OF HAIR
• XXII. STUDY FOR DECORATION AT AMIENS
• XXIII. DIFFERENT STAGES OF THE PAINTING FROM A CAST (1)
• XXIII. DIFFERENT STAGES OF THE PAINTING FROM A CAST (2)
• XXIV. DIFFERENT STAGES OF THE PAINTING FROM A CAST (3)
• XXIV. DIFFERENT STAGES OF THE PAINTING FROM A CAST (4)
• XXV. ILLUSTRATING SOME TYPICAL BRUSH STROKES
• XXVI. DIFFERENT STAGES OF THE SAME STUDY (1)
• XXVII. DIFFERENT STAGES OF THE SAME STUDY (2)
• XXVIII. DIFFERENT STAGES OF THE SAME STUDY (3)
• XXIX. DIFFERENT STAGES OF THE SAME STUDY (4)
• XXX. A STUDY FOR A PICTURE OF "ROSALIND AND ORLANDO"
• XXXI. ILLUSTRATIONS FROM BLAKE'S "JOB" (PLATES I., V., X., XXI.)
• XXXII. ILLUSTRATIONS FROM BLAKE'S "JOB" (PLATES II., XI., XVIII., XIV.)
• XXXIII. FÊTE CHAMPÊTRE
• XXXIV. BACCHUS AND ARIADNE
• XXXV. LOVE AND DEATH
• XXXVI. SURRENDER OF BREDA
• XXXVII. THE BIRTH OF VENUS
• XXXVIII. THE RAPE OF EUROPA
• XXXIX. BATTLE OF S. EGIDIO
• XL. THE ASCENSION OF CHRIST
• XLI. THE BAPTISM OF CHRIST
• XLII. PORTRAIT OF THE ARTIST'S DAUGHTER
• XLIII. MONTE SOLARO, CAPRI
• XLIV. PART OF THE "SURRENDER OF BREDA"
• XLV. VENUS, MERCURY, AND CUPID
• XLVI. OLYMPIA
• XLVII. L'EMBARQUEMENT POUR CYTHÈRE
• XLVIII. THE ANSIDEI MADONNA
• XLIX. FINDING OF THE BODY OF ST. MARK
• L. FROM A DRAWING BY HOLBEIN
• LI. SIR CHARLES DILKE
• LII. JOHN REDMOND, M.P.
• LIII. THE LADY AUDLEY
• LIV. STUDY ON BROWN PAPER
• LV. FROM A SILVER POINT DRAWING
• LVI. STUDY FOR TREE IN "THE BOAR HUNT"

LIST OF DIAGRAMS

• I. TYPES OF FIRST DRAWINGS BY CHILDREN
• II. SHOWING WHERE SQUARENESS MAY BE LOOKED FOR
• III. A DEVICE FOR ENABLING STUDENTS TO OBSERVE APPEARANCES AS A FLAT SUBJECT
• IV. SHOWING THREE PRINCIPLES OF CONSTRUCTION USED IN OBSERVINGMASSES, CURVES, AND POSITION OF POINTS
• V. PLAN OF CONE ILLUSTRATING PRINCIPLES OF LIGHT AND SHADE
• VI. ILLUSTRATING SOME POINTS CONNECTED WITH THE EYES
• VII. EGG AND DART MOLDING
• VIII. ILLUSTRATING VARIETY IN SYMMETRY
• IX. ILLUSTRATING VARIETY IN SYMMETRY
• X. ILLUSTRATING INFLUENCE OF HORIZONTAL LINES
• XI. ILLUSTRATING INFLUENCE OF VERTICAL LINES
• XII. ILLUSTRATING INFLUENCE OF THE RIGHT ANGLE
• XIII. LOVE AND DEATH
• XIV. ILLUSTRATING POWER OF CURVED LINES
• XV. THE BIRTH OF VENUS
• XVI. THE RAPE OF EUROPA
• XVII. BATTLE OF S. EGIDIO
• XVIII. SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY
• XIX. SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY
• XX. THE ARTIST'S DAUGHTER
• XXI. THE INFLUENCE ON THE FACE OF DIFFERENT WAYS OF DOING THE HAIR
• XXII. THE INFLUENCE ON THE FACE OF DIFFERENT WAYS OF DOING THE HAIR
• XXIII. EXAMPLES OF EARLY ITALIAN TREATMENT OF TREES
• XXIV. THE PRINCIPLE OF MASS OR TONE RHYTHM
• XXV. MASS OR TONE RHYTHM IN "ULYSSES DERIDING POLYPHEMUS"
• XXVI. EXAMPLE OF COROT'S SYSTEM OF MASS RHYTHM
• XXVII. ILLUSTRATING HOW INTEREST MAY BALANCE MASS
• XXVIII. PROPORTION