exactness, or the drawing which is fundamental to such a picture will
not be true.

Such men as Gerome and Alma-Tadema plan their pictures most carefully,
and so did Paul Veronese, and it requires a thorough and practical
knowledge of perspective.

But this is not the place to teach you perspective. It is a subject
which requires special study, and whole volumes are given to the
elucidation of it. In a work of this kind anything more than a mention
of the bearings of perspective on painting would be out of place. If
you do not care to take up seriously the study of perspective, avoid
attempting to paint any subjects which call for it; or, if you do care
to study it, get a special work on that subject, give plenty of time
to it, and study it thoroughly.

=Foreshortening.=--In this connection I may speak of something which
is akin to perspective, yet the very reverse of it. As its name
implies, foreshortening means the way in which anything seems
shortened or in modified drawing as it projects towards you; while
perspective is the manner in which lines appear as they recede from
you. Like aerial perspective, the best way to study foreshortening is
to study nature, not rules.

Perspective can be worked out by rule, foreshortening cannot. Pose
your model, or if it be a branch of a tree, or anything of that sort,
place yourself in the proper position with reference to it, and then
study the drawing _as it appears_, thinking nothing of _how it is_;
make your measurements, and place your lines as if there were no
problem of foreshortening at all, but study the relations of lines,
of size, and of values, and the foreshortening will take care of
itself.

After all, foreshortening is only good drawing, and a good draughtsman
will foreshorten well, while a bad draughtsman will not. Therefore,
learn to draw, and don't worry about the foreshortening.

CHAPTER XIX

LIGHT AND SHADE

=Chiaroscuro.=--A few words about chiaroscuro will be useful. This is
a term of great importance and frequent use with artists and writers
up to within the last thirty or forty years. It has of late become
almost unused. The reason for this was explained in the chapter on
"Values." Nevertheless, it is well that the student should know what
the word meant, and still means. Although he may hear and use it less
frequently than if he had lived earlier in the century, the pictures,
certa