through his draperies to give them this sense.

As will be explained later, in connection with academic drawing, it is
eminently necessary for the student to train his eye accurately to
observe the forms of things by the most painstaking of drawings. In
these school studies feeling need not be considered, but only a cold
accuracy. In the same way a singer trains himself to sing scales, giving
every note exactly the same weight and preserving a most mechanical time
throughout, so that every note of his voice may be accurately under his
control and be equal to the subtlest variations he may afterwards
want to infuse into it at the dictates of feeling. For how can the
draughtsman, who does not know how to draw accurately the cold,
commonplace view of an object, hope to give expression to the subtle
differences presented by the same thing seen under the excitement of
strong feeling?

[Illustration: Plate V.

FROM A STUDY BY BOTTICELLI

In the Print Room at the British Museum.]

These academic drawings, too, should be as highly finished as hard
application can make them, so that the habit of minute visual expression
may be acquired. It will be needed later, when drawing of a finer kind
is attempted, and when in the heat of an emotional stimulus the artist
has no time to consider the smaller subtleties of drawing, which by then
should have become almost instinctive with him, leaving his mind free to
dwell on the bigger qualities.