artistic intention of each individual artist, this fact must not be
taken as an excuse for any obviously faulty drawing that incompetence
may produce, as is often done by students who when corrected say that
they "saw it so." For there undoubtedly exists a rough physical standard
of rightness in drawing, any violent deviations from which, even at the
dictates of emotional expression, is productive of the grotesque. This
physical standard of accuracy in his work it is the business of the
student to acquire in his academic training; and every aid that science
can give by such studies as Perspective, Anatomy, and, in the case of
Landscape, even Geology and Botany, should be used to increase the
accuracy of his representations. For the strength of appeal in
artistic work will depend much on the power the artist possesses of
expressing himself through representations that arrest everyone by their
truth and naturalness. And although, when truth and naturalness exist
without any artistic expression, the result is of little account as art,
on the other hand, when truly artistic expression is clothed in
representations that offend our ideas of physical truth, it is only the
few who can forgive the offence for the sake of the genuine feeling they
perceive behind it.

[Illustration: Plate VI.

STUDY IN NATURAL RED CHALK BY ALFRED STEPHENS

From the collection of Charles Ricketts and Charles Shannon]

How far the necessities of expression may be allowed to override the
dictates of truth to physical structure in the appearance of objects
will always be a much debated point. In the best drawing the departures
from mechanical accuracy are so subtle that I have no doubt many will