shade. The character of our line should
be sympathetic with the character of our subject as far as possible, and
sensitive to its differences of character and surface, since it is in
this sensitiveness that the expressive power and peculiar virtue of
line-drawing consists.

[Illustration (f036): Lines of Characterization.]

A feather, a lily, a scallop shell, all show as an essential principle
of their form and construction the radiating line; but what a different
quality of line would be necessary to express the differences of each:
for the soft, yet firm, smooth flowing curves of the feather fibres no
line would be too delicate; and the lily would demand no less delicacy,
and even greater precision and firmness of curve, while a slight
waviness, or quiver, in the lines might express the silken or waxy
surface of the petals; while a crustier, more rugged, though equally
firm line would be wanted to follow the rigid furrows and serrated
surface of the shell. The leaves of trees and plants of all kinds, which
perhaps afford the best sort of practice in line-drawing at first,
present in their varieties of structure, character, and surfaces
continual opportunities for the exercise of artistic judgment in the
choice and use of line.

The forms and surfaces of fruits, again, are excellent tests of line
draughtsmanship, and their study is a good preparation for the more
subtle and delicate contours of the human form--the greatest test of
all. Here we see firmness of fundamental structure (in the bones) and
surface curve (of sinew and muscle), with a mobile and constantly
changing surface (of flesh and sensitive skin). To render such
characteristics without tending to overdo either the firmness or the
mobility, and so to become too rigid on the one hand, or too loose and
indefinite on the other, requires extraordinary skill, knowledge, and
practice in the use of line. I do not suppose the greatest master ever
satisfied himself yet in this direction.

[Illustration (f037): Pen Drawing of Fruit.]

[Degree and Emphasis]

When we have settled upon our quality of line and its _degree_--thick or
thin, bold or fine--we shall be met with the question of _emphasis_, for
upon this the ultimate effect and expression of our drawing or design
must largely depend. In the selection of any subject we should naturally
be influenced by the attractiveness of particular parts, characters,