41. The next boy, we may suppose, is a conchologist, and asks me to draw a white snail-shell for him! Veiling my consternation at the idea of having to give a lesson on the perspective of geometrical spirals, with an "austere regard of control" I pass on to the next student:—Who, bringing after him, with acclamation, all the rest of the form, requires of me contemptuously, to "draw a horse."
And I retreat in final discomfiture; for not only I cannot myself execute, but I have never seen, an outline, quite simply and rightly done, either of a shell or a pony; nay, not so much as of a pony's nose. At a girls' school we might perhaps take refuge in rosebuds: but these boys, with their impatient battle-cry, "my kingdom for a horse," what is to be done for them?
42. Well, this is what I should like to be able to do for them. To show them an enlarged black outline, nobly done, of the two sides of a coin of Tarentum, with that fiery rider kneeling, careless, on his horse's neck, and reclined on his surging dolphin, with the curled sea lapping round them; and then to convince my boys that no one (unless it were Taras's father himself, with the middle prong of his trident) could draw a horse like that, without learning;—that for poor mortals like us there must be sorrowful preparatory stages; and, having convinced them of this, set them to draw (if I had a good copy to give them) a horse's hoof, or his rib, or a vertebra of his thunder-clothed neck, or any other constructive piece of him.
43. Meanwhile, all this being far out of present reach, I am fain to shrink back into my snail-shell, both for shelter and calm of peace; and ask of artists in general how the said shell, or any other simple object involving varied contour, should be outlined in ink?—how thick the lines should be, and how varied? My own idea of an elementary outline is that it should be unvaried; distinctly visible; not thickened towards the shaded sides of the object; not express any exaggerations of aërial perspective, nor fade at the further side of a cup as if it were the further side of a crater of a volcano; and therefore, in objects of ordinary size, show no gradation at all, unless where the real outline disappears, as in soft contours and folds. Nay, I think it may even be a question whether we ought not to resolve that the line should never gradate itself at all, but terminate quite bluntly! Albert Dürer's "Cannon" furnishes a very peculiar and curious example of this entirely equal line, even to the extreme distance; being in that respect opposed to nearly all his other work, which is wrought mostly by tapering lines; and his work in general, and Holbein's, which appear to me entirely typical of rightness in use of the graver and pen, are to be considered carefully in their relation to Rembrandt's loose etching, as in the "Spotted Shell."
44. But I do not want to press my own opinions now, even when I have been able to form them distinctly. I want to get at some unanimous expression of opinion and method; and would propose, therefore, in all modesty, this question for discussion, by such artists as will favor me with answer,[65] giving their names:—How ought the pen to be used to outline a form of varied contour; and ought outline to be entirely pure, or, even in its most elementary types, to pass into some suggestion of shade in the inner masses? For there are no examples whatever of pure outlines by the great masters. They are always touched or modified by inner lines, more or less suggestive of solid form, and they are lost or accentuated in certain places, not so much in conformity with any explicable law, as in expression of the master's future purpose, or of what he wishes immediately to note in the character of the object. Most of them are irregular memoranda, not systematic elementary work: of those which are systematized, the greater part are carried far beyond the initiative stage; and Holbein's are nearly all washed with color: the exact degree in which he depends upon the softening and extending his touch of ink by subsequent solution of it, being indeterminable, though exquisitely successful. His stupendous drawings in the British Museum (I can justly use no other term than "stupendous," of their consummately decisive power) furnish finer instances of this treatment than any at Basle; but it would be very difficult to reduce them to a definable law. Venetian outlines are rare, except preparations on canvas, often shaded before coloring;—while Raphael's, if not shaded, are quite loose, and useless as examples to a beginner: so that we are left wholly without guide as to the preparatory steps on which we should decisively insist; and I am myself haunted by the notion that the students were forced to shade firmly from the very beginning, in all the greatest schools; only we never can get hold of any beginnings, or any weak work of those schools: whatever is bad in them comes of decadence, not infancy.
45. I purpose in the next essay[66] to enter upon quite another part of the inquiry, so as to leave time for the reception of communications bearing upon the present paper: and, according to their importance, I shall ask leave still to defer our return to the subject until I have had time to reflect upon them, and to collect for public service the concurrent opinions they may contain.
Transcriber's note:
Chapter II is missing in the original.