DOI Page / Citation link:
https://doi.org/10.11588/diglit.19953#0050
48 DRAWING FROM THE LIVING FIGURE.
PLATE XVI.
Plate XVI. would give the proportion of a child about
twelve years of age, which at this period would average
about six and a half heads in height.
Plate XV. represents a girl about sixteen years of age.
This period approaches maturity.
The form begins to be decided, and the proportion
would be about seven heads.
The Frontispiece represents the full-grown female figure.
The form is now fully developed, and it has reached its
full height and proportion of seven and a half heads.
As these figures have all been drawn from life for this
work, it will be a useful lesson to place a model in the
same attitude, and use the instructions already given in
application to the drawing to be made.
Drapery and objects of still life are also most useful,
as they form, by their character, light and shade, and
colour, collateral aids as objects of study, to be brought
into the picture, and to give interest, carrying out the idea
by their appropriate introduction. They also lead the pupil,
by easy degrees, to a knowledge of perspective. Perspec-
tive is now—thanks to our landscape painters—divested
of the mystery and complication that have hitherto formed,
in many cases, great hindrances to its acquirement; and
although at first in itself it is a dry study, a knowledge
of its principles is essentially necessary, and it becomes
PLATE XVI.
Plate XVI. would give the proportion of a child about
twelve years of age, which at this period would average
about six and a half heads in height.
Plate XV. represents a girl about sixteen years of age.
This period approaches maturity.
The form begins to be decided, and the proportion
would be about seven heads.
The Frontispiece represents the full-grown female figure.
The form is now fully developed, and it has reached its
full height and proportion of seven and a half heads.
As these figures have all been drawn from life for this
work, it will be a useful lesson to place a model in the
same attitude, and use the instructions already given in
application to the drawing to be made.
Drapery and objects of still life are also most useful,
as they form, by their character, light and shade, and
colour, collateral aids as objects of study, to be brought
into the picture, and to give interest, carrying out the idea
by their appropriate introduction. They also lead the pupil,
by easy degrees, to a knowledge of perspective. Perspec-
tive is now—thanks to our landscape painters—divested
of the mystery and complication that have hitherto formed,
in many cases, great hindrances to its acquirement; and
although at first in itself it is a dry study, a knowledge
of its principles is essentially necessary, and it becomes