there be in their work. The commonplace painter will paint a commonplace
picture, while the form and colour will be the means of stirring deep
associations and feelings in the mind of the other, and will move him
to paint the scene so that the same splendour of associations may be
conveyed to the beholder.

[Illustration: Plate VII.

STUDY FOR THE FIGURE OF APOLLO IN THE PICTURE "APOLLO AND DAPHNE"

In natural red chalk rubbed with finger; the high lights are picked out
with rubber.]

But to return to our infant mind. While the development of the
perception of things has been going on, the purely visual side of the
question, the observation of the picture on the retina for what it is as
form and colour, has been neglected--neglected to such an extent that
when the child comes to attempt drawing, #sight is not the sense he
consults#. The mental idea of the objective world that has grown up in
his mind is now associated more directly with touch than with sight,
with the felt shape rather than the visual appearance. So that if he is
asked to draw a head, he thinks of it first as an object having a
continuous boundary in space. This his mind instinctively conceives as a
line. Then, hair he expresses by a row of little lines coming out from
the boundary, all round the top. He thinks of eyes as two points or
circles, or as points in circles, and the nose either as a triangle or
an L-shaped line. If you feel the nose you will see the reason of this.
Down the front you have the L line, and if you feel round it you will
find the two sides meeting at the top and a base joining them,
suggesting the triangle. The mouth similarly is an opening with a row of