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THE ANTIQUE.
affections and passions, he has obtained a correctness of eye and steadiness of hand which he would have vainly sought in any other way.
We now come to the shading of the figure, and some attention is required in placing it so that part of it may be in shadow and part (two-thirds) in light ; and the window, which should face the north, and consequently unaffected by the sun, situated at such a height as to produce a shadow as long as the figure is high.
In the chapter on Outline, reference was made to its becoming modified under the influence of partial light. Indeed, we are now no longer to consider the outline as such, but merely as the boundary of the shadow ; and so great is this modification and blending of parts, that it is a common expression that no outline is to be seen in nature.
The plan which will most assist the beginner is that of laying in the broad shadows, as in Plate 7, fig. 2, with a dark flat equal tint, after having outlined them correctly. This will greatly assist in judging of the comparative depth of the half- tints, and can be readily darkened or lightened as occasion may require. This will act as a register ; and some such guide is necessary to one unaccustomed to the work, for without it he will be surprised to find how weak every part of the drawing will look, and will feel discouraged in having to go over the whole of it again.
Discouragement should be cheated away by every possible means, for although the pursuit is in itself delightful, the road which leads to it is necessarily tedious ; and as the hand cannot work well unless the mind is in good humour, whatever tends to irritate it should be avoided ; and this is the reason why so much stress is laid on the Pupil following a given plan ; not that the advanced Student cannot obtain an equally good drawing without it, but that he may be carried through the first stages by the surest steps, and at the same time be made thoroughly acquainted with its principles.
If tinted paper is used, the high-lights may now be put in sparingly with white chalk, confining them as much as possible to spots. (Plate 7, fig. 2.) The lights are required in this stage of the drawing as an additional guide for the half-tints, on which depends in a great measure the beauty of the drawing, as the shading must not approach too near them, the color of the paper being allowed to represent the more delicate tints.
If the paper is white, a back-ground may be made of a flat half-tint. A figure on white paper requires a tint behind it, otherwise the lights lose their value, the shadows their delicacy, and therefore the figure its relief. This tint should be darker
