illustrate one that is at any rate logical, and that may serve as a
fair type of line drawing generally.

The appearance of an object is first considered as a series of contours,
some forming the boundaries of the form against the background, and
others the boundaries of the subordinate forms within these bounding
lines. The light and shade and differences of local colour (like the
lips, eyebrows, and eyes in a head) are considered together as tones of
varying degrees of lightness and darkness, and suggested by means of
lines drawn parallel across the drawing from left to right, and from
below upwards, or vice versa, darker and closer together when depth is
wanted, and fainter and further apart where delicacy is demanded, and
varying in thickness when gradation is needed. This rule of parallel
shading is broken only when strongly marked forms, such as the swing
lines of hair, a prominent bone or straining muscles, &c., demand it.
This parallel shading gives a great beauty of surface and fleshiness
to a drawing. The lines following, as it were, the direction of the
light across the object rather than the form, give a unity that has a
great charm. It is more suited to drawings where extreme delicacy of
form is desired, and is usually used in silver point work, a medium
capable of the utmost refinement.

[Illustration: Plate XX.

STUDY FOR THE FIGURE OF LOVE IN THE PICTURE "LOVE LEAVING PSYCHE"
ILLUSTRATING A METHOD OF DRAWING

The lines of shading following a convenient parallel direction unless
prominent forms demand otherwise.]

In this method the lines of shading not being much varied in direction
or curved at all, a minimum amount of that "form stimulus" is conveyed.
The curving of the lines in shading adds considerably to the force of
the relief, and suggests much stronger modelling. In the case of
foreshortened effects, where the forms are seen at their fullest,
arching one over the other, some curvature in the lines of shading is of
considerable advantage in adding to the foreshortened look.

Lines drawn down the forms give an appearance of great strength and
toughness, a tense look. And this quality is very useful in suggesting
such things as joints and sinews, rocks, hard ground, or gnarled
tree-trunks, &c. In figure drawing it is an interesting quality to use
sparingly, with the shading done on the across-the-form principle; and
to suggest a difference of texture or a straining of the form. Lines of
shad