ing as one built upon a groundwork of clear lines till it is finished. It's the same kind of thing with red chalk—it mustn't be taken out: rubbing with the finger is all right. In fact you don't succeed with any process until you find out how you may knock it about and in what way you must be careful. Slowly built-up texture in oil-painting gives you the best chance of changing without damage when it is necessary.
Burne-Jones.
CXXVIII
The simpler your lines and forms are the stronger and more beautiful they will be. Whenever you break up forms you weaken them. It is as with everything else that is split and divided.
Ingres.
CXXIX
The draperies with which you dress figures ought to have their folds so accommodated as to surround the parts they are intended to cover; that in the mass of light there be not any dark fold, and in the mass of shadows none receiving too great a light. They must go gently over, describing the parts; but not with lines across, cutting the members with hard notches, deeper than the part can possibly be; at the same time, it must fit the body, and not appear like an empty bundle of cloth; a fault of many painters, who, enamoured of the quantity and variety of folds, have
encumbered their figures, forgetting the intention of clothes, which is to dress and surround the parts gracefully wherever they touch; and not to be filled with wind, like bladders puffed up where the parts project. I do not deny that we ought not to neglect introducing some handsome folds among these draperies, but it must be done with great judgment, and suited to the parts, where, by the actions of the limbs and position of the whole body, they gather together. Above all, be careful to vary the quality and quantity of your folds in compositions of many figures; so that, if some have large folds, produced by thick woollen cloth, others being dressed in thinner stuff, may have them narrower; some sharp and straight, others soft and undulating.