the
movement and light and shade effect of a position quite accidentally
seen.

The whole effect of lighting and of line, the grouping and the pose,
resulted purely from the musician's desire to get a good light on his
music. There was no need to add to it. It was simply necessary to
recognize the charm of it, and to represent that charm through it as
frankly as it could be done.

[Illustration: =Sketch of a Flute Player.= _D. Burleigh Parkhurst._]

=Posing the Model.=--Let the character of the model suggest the pose.
If you have a scheme for a picture, choose a model whose personality
will lend itself naturally to the occupation or action natural to that
scheme. Then follow the suggestion which you find in the model. Some
rearrangement will always be necessary if you do not use as a model
the same person who originally gave you the idea for the picture.
Every human being has a different manner. You cannot hope for exactly
the same expression in one person that you found in another. But put
the model as nearly as you can in the same situation and pose, and
then when the model eases from the unnatural muscular balance into the
one natural to him, you will find the idea taken from your first
observation translated into the characteristics of your present model.

Never try to place a model in a pose which he can only hold by an
unnatural strain. You will not get a satisfactory result from it.
Study your model; see what poses he most naturally falls into, and
then take advantage of one of these, and arrange your picture with
reference to it.

Never attempt to represent a character in your picture by using a
model of a different class or type from it; you will not be successful
either in painting a lady from a model who is a peasant, nor in
painting a peasant from a model who is a lady. The life and occupation
and thought common to your model will get into your painting of her;
and if that is not in accordance to the idea in the picture, your
picture will be false. The dress, no less than the pose and
occupation, must be such as is natural to your model. The accessories
of your picture must befit the character you wish to paint; otherwise
your model becomes no more than a lay figure.

Take note of the characteristics which are peculiar to your model, and
use them; do not change them nor idealize them. Rather paint them as
they are, and make them a vital part of your study of the subject.
This is the best you can do