It will not probably be advisable to clothe these figures in their respective national costumes; such a mode of treatment would be incompatible with a grand style of decoration. It will, nevertheless, be quite allowable to vary their features and complexion according to the nationality they represent, and to give them something, either flowers, fruit, grain, or produce, which will help to identify them.
Having got thus far, we may begin to map out our groups on the cartoon.
We do not engage models until we have approximately decided on the various attitudes we wish our figures to assume.
Some must be standing, some sitting, and very possibly some kneeling or reclining. We try these various attitudes on the cartoon, sketching them in very lightly with soft charcoal. We transfer and shift them about until we get an harmonious and pleasant arrangement of line, not too symmetrical, and yet sufficiently so to give an air of grandeur and repose to the work. These figures need not, of course, be more than indicated, but they ought to be tolerably correct in proportion, and the attitudes should be natural, or at any rate possible.
It is here that a knowledge of anatomy is especially useful to the young artist. When a man has been drawing figures for forty years he ought to draw the human form very much as he forms the letters of the alphabet when writing; but until long experience has given him this kind of facility, he will find his studies of anatomy and proportion of the greatest benefit to him. He will save many a long and profitless morning’s work from a model, and save his pocket too.
It is when the cartoon is in this state of progress—that is, when the size of the figures, the general arrangement of the different groups, and their relative position have been settled approximately—that it is so desirable to hoist it up to its place on the wall. Any alteration can be made now much easier than later; certain figures or even whole groups may want to be shifted a few inches, certain actions modified, the line of heads may require revisal, and so on; and it is obvious that what can be done now with a few lines of charcoal, would at a later period involve a great amount of rubbing out and a great waste of labor.
Having at last decided on the proportions and positions of the various groups and single figures, we may now begin to work from the living model; and here it may perhaps not be out of place if I give you some advice about the selection of your models.
I would strongly advise you to engage those who are intelligent and apt, rather than those who may be better proportioned, but who are stiff and awkward. What you want in the present stage of your work is natural and graceful action, and with some models it is hopeless to struggle in this direction.
When I was a student in Paris, there were some three or four models who were so intelligent (and I may say so artistic) that they naturally put themselves into the attitudes wanted, and even suggested and assumed other positions which were often adopted by the artist.
In violent and spontaneous action suitable for battle pictures these models were invaluable, and the decline of many a great reputation in historical painting dates from the death of these humble assistants, some of whom could neither read nor write. I am afraid the race is extinct, but even in the present generations of models some are far superior in artistic feeling to others. In our present cartoon, however, we do not require any violent action; all we need is perfect ease and dignity.