expressed by form more directly than by anything else. And it is
interesting to notice how some of the world's greatest artists have been
very restricted in their use of colour, preferring to depend on form for
their chief appeal. It is reported that Apelles only used three colours,
black, red, and yellow, and Rembrandt used little else. Drawing,
although the first, is also the last, thing the painter usually studies.
There is more in it that can be taught and that repays constant
application and effort. Colour would seem to depend much more on a
natural sense and to be less amenable to teaching. A well-trained eye
for the appreciation of form is what every student should set himself to
acquire with all the might of which he is capable.

It is not enough in artistic drawing to portray accurately and in cold
blood the appearance of objects. To express form one must first be moved
by it. There is in the appearance of all objects, animate and inanimate,
what has been called an #emotional significance#, a hidden rhythm that
is not caught by the accurate, painstaking, but cold artist. The form
significance of which we speak is never found in a mechanical
reproduction like a photograph. You are never moved to say when looking
at one, "What fine form."

It is difficult to say in what this quality consists. The emphasis and
selection that is unconsciously given in a drawing done directly under
the guidance of strong feeling, are too subtle to be tabulated; they
escape analysis. But it is this selection of the significant and
suppression of the non-essential that often gives to a few lines drawn
quickly, and having a somewhat remote relation to the complex appearance
of the real object, more vitality and truth than are to be found in a
highly-wrought and painstaking drawing, during the process of which the
essential and vital things have been lost sight of in the labour of the