This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1895 edition. Excerpt: ...notices a darkness or shadow falling down the side of the nose, under the upper lip, brows, chin, where the hair is curling or parting, where the check is rounding away from the light, etc. He has first to consider the general sweeping lines of the figure--his knowledge of the pose and proportions of the skeleton will aid him enormously in this. A model in marble is, of course, perfectly rigid, and copying it only is of little value to those who desire to represent the living, moving figure. In drawing from the living figure the student first marks on his paper the place and proportion of space his copy is to occupy. The usual custom is to hold up the pencil between the model and the eye, shutting the other eye. As you measure with one eye, you dot off points on the paper to mark the measurements. The model is placed usually about 20 feet away, and, of course, the effect of placing the eye at different heights relative to the figure is to produce different results. The student may begin by drawing a straight perpendicular line down the centre of his paper, and across this horizontal lines to denote the waist, knees, etc. If it is a draped figure he will roughly indicate the drapery. In working out the details he will experience a tendency to make the head of the figure too large, the legs too short, and the feet too small. The feet are generally much larger in proportion to the human figure than most people imagine. In the matter of the thicknesses of the joints and minute parts of the body or clothing, rules of perspective are useless to the artist; he must trust to his own observation of the model before him. Although the older school of artists set much store by the classical figure, the modern student is taught to regard mainly the...