appearances that in the fulness of time was evolved, and has had a very
great influence on modern art. This form of drawing is based on the
consideration of the flat appearances on the retina, with the knowledge
of the felt shapes of objects for the time being forgotten. In
opposition to line drawing, we may call this Mass Drawing.

The scientific truth of this point of view is obvious. If only the
accurate copying of the appearances of nature were the sole object of
art (an idea to be met with among students) the problem of painting
would be simpler than it is, and would be likely ere long to be solved
by the photographic camera.

This form of drawing is the natural means of expression when a brush
full of paint is in your hands. The reducing of a complicated appearance
to a few simple masses is the first necessity of the painter. But
this will be fully explained in a later chapter treating more
practically of the practice of mass drawing.

[Illustration: Plate X.

EXAMPLE OF FIFTEENTH-CENTURY CHINESE WORK BY LUI LIANG (BRITISH MUSEUM)

Showing how early Chinese masters had developed the mass-drawing point
of view.]

The art of China and Japan appears to have been more [influenced by this
view of natural appearances than that of the West has been, until quite
lately. The Eastern mind does not seem to be so obsessed by the
objectivity of things as is the Western mind. With us the practical
sense of touch is all powerful. "I know that is so, because I felt it