k will alone affect
the many.

The action of each figure being now determinate, the next step will
be to make a sketch in oil of the whole design; after which, living
models, as like the artist's conception as can be found, must be
procured, to make outlines of the nude of each figure, and again
sketches of the same, draped in the proper costume.{7}

{7} There is always difficulty attending this very necessary portion
of the study of the picture; because, if the dresses be borrowed or
hired, at this period they may be only wanted for a few hours, and
perhaps not required again for some months to paint into the
picture.--Again, if the costume have to be made, and of expensive
material, the portion of it seen may be sufficient to pin on to a lay
figure, without having the whole made, which could not be worn by the
living model. However, with all the larger or loose draperies, it is
very necessary to sketch them first from the living model.

From these studies, the painter will prepare a second sketch, in
outline, of the whole, being, in fact, a small and hasty cartoon.{8}

{8} Should the picture be of small dimensions, it will be found more
expeditious to make an outline of it on paper the full size, which
can be traced on to the canvass, keeping the latter clean. On the
contrary, should the painting be large, the outline had better be
made small, and squared to transfer to the canvass.

In this last preparation of the design, the chief care of the student
will be the grouping, and the correct size and place of each figure;
also the perspective of the architecture and ground plan will now
have to be settled; a task requiring much patient calculation, and
usually proving a source of disgust to the novice not endowed with
much perseverance. But, above all, the quality to be most studied in
this outline design will be the _proportion_ of the whole work.

And with a few remarks on this quality, which might appropriately be
termed "constructive beauty in art," we will close this paper on "the
Design," as belonging more properly to the mechanical than the
intellectual side of art; as being rather the slow growth of
experience than the spontaneous impulse of the artistic temperament.
It is a feature in art rather apt to savor of conventionality to such
as would look on nature as the only school of art, who would consider
it but as the exponent of thought and feeling; while, on the other
hand, we fear it likely to be studi