a beautiful line, such as a profile,
nothing could be more suitable than a silver point. As a training to the
eye and hand also, it is of great value, as no rubbing out of any sort
is possible, and eye and hand must work together with great exactness.
The discipline of silver-point drawing is to be recommended as a
corrective to the picturesque vagaries of charcoal work.

A gold point, giving a warmer line, can also be used in the same way as
a silver point, the paper first having been treated with Chinese white.

[Sidenote: Charcoal.]

Two extreme points of view from which the rendering of form can be
approached have been explained, and it has been suggested that students
should study them both separately in the first instance, as they each
have different things to teach. Of the mediums that are best suited to a
drawing combining both points of view, the first and most popular is
charcoal.

Charcoal is made in many different degrees of hardness and softness, the
harder varieties being capable of quite a fine point. A chisel-shaped
point is the most convenient, as it does not wear away so quickly. And
if the broad side of the chisel point is used when a dark mass is
wanted, the edge can constantly be kept sharp. With this edge a very
fine line can be drawn.

Charcoal works with great freedom, and answers readily when forceful
expression is wanted. It is much more like painting than any other form
of drawing, a wide piece of charcoal making a wide mark similar to a
brush. The delicacy and lightness with which it has to be handled is
also much more like the handling of a brush than any other point
drawing. When rubbed with the finger, it sheds a soft grey tone over the
whole work. With a piece of bread pressed by thumb and finger into a
pellet, high lights can be taken out with the precision of white chalk;
or rubber can be used. Bread is, perhaps, the best, as it does not
smudge the charcoal but lifts it readily off. When rubbed with the
finger, the darks, of course, are lightened in tone. It is therefore
useful to draw in the general proportions roughly and rub down in this
way. You then have a middle tone over the work, with the rough drawing
showing through. Now proceed carefully to draw your lights with bread or
rubber, and your shadows with charcoal, in much the same manner as you
did in the monochrome exercises already described.

All preliminary setting out of your work on canvas is usually done with
charco