ent attempted. What students should do is to
form a habit of making every day in their sketch-book a drawing of
something they have seen that has interested them, and that they have
made some attempt at memorising. Don't be discouraged if the results are
poor and disappointing at first--you will find that by persevering your
power of memory will develop and be of the greatest service to you in
your after work. Try particularly to remember the spirit of the subject,
and in this memory-drawing some scribbling and fumbling will necessarily
have to be done. You cannot expect to be able to draw definitely and
clearly from memory, at least at first, although your aim should always
be to draw as frankly and clearly as you can.

[Illustration: Plate LIV.

STUDY ON BROWN PAPER IN BLACK AND WHITE CONTE CHALK

Illustrating a simple method of studying drapery forms.]

Let us assume that you have found a subject that moves you and that,
being too fleeting to draw on the spot, you wish to commit to memory.
Drink a full enjoyment of it, let it soak in, for the recollection of
this will be of the utmost use to you afterwards in guiding your
memory-drawing. This mental impression is not difficult to recall; it is
the visual impression in terms of line and tone that is difficult to
remember. Having experienced your full enjoyment of the artistic matter
in the subject, you must next consider it from the material side, as a
flat, visual impression, as this is the only form in which it can be
expressed on a flat sheet of paper. Note the proportions of the main
lines, their shapes and disposition, as if you were drawing it, in fact
do the whole drawing in your mind, memorising the forms and proportions
of the different parts, and fix it in your memory to the smallest
detail.

If only the emotional side of the matter has been remembered, when you
come to draw it you will be hopelessly at sea, as it is remarkable how
little the memory retains of the appearance of things constantly seen,
if no attempt has been made to memorise their visual appearance.

The true artist, even when working from nature, works from memory very
largely. That is to say, he works to a scheme in tune to some emotional
enthusiasm with which the subject has inspired him in the first
instance. Nature is always changing, but he does not change the
intention of his picture. He always keeps before him the initial
impression he sets out to paint, and only selects from na