Whittock, Nathaniel: The Oxford Drawing Book, Or The Art Of Drawing, And The Theory And Practice Of Perspective: In A Series Of Letters Containing Progressive Information On Sketching, Drawing, And Colouring Landscape Scenery, Animals, And The Human Figure: With A New Method Of Practical Perspective: Detailed In A Novel, Easy, And Perspicuous Style, For The Use Of Teachers, Or For Self-Instruction. Embellished With Upwards Of One Hundred And Fifty Lithographic Drawings, From Real Views, Taken Expressly For This Work (Oxford , London, 1825)

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No. 2. represents respect, veneration, and admiration, expressed both by the fea-
tures and by the position of the hand on the bosom.
Plate LXVI. is a head from a picture by Fuseli, introduced here as the last of the
profile heads that will come under our notice. The hair, you observe again, all springs
from one point, and terminates in wavy ringlets. The directions given for Plate
LXIV. apply to the subject before us.
Plate LXV1I. is a fine head from the passions, by Le Brim, representing bodily
pain. In drawing the outline of this three-quarter face, remember the divisional lines
first pointed out, as they will greatly assist you. The light, shade, and back ground,
are formed as before directed; but you must take care to preserve the reflected light
between the lower part of the cheek and the dark shade of the neck.
Plate LXVI IT. is a drawing from the statue of Venus de Medicis, one of the finest
productions of the ancient sculptors. This head, as well as Plate LXVIX. is drawn
with red chalk, which will work with as much ease as the pencil or black crayon, if
you procure the best French chalk, and take care that it is soft and pleasant to the
touch.