Fig. 19.
Fig. 18 affords an exemplification of the outline of part of a "cornice" belonging to the Tuscan order. Let us slightly analyze the supposed proceedings of the pupil in delineating this. Suppose Fig. 19 to be the rough sketch as first attempted. On examining the copy as given in Fig. 18, the pupil will at once perceive that the proportions are very incorrect; thus, the distance between the two upper lines, as at d, is too little, the fillet being too narrow; again, the point c, which regulates the extent of the curve from a, is too far from a, while the line c c´ is too near the line d; the space between c c´ and the line below it is too wide, and the line f is not perpendicular, but slopes outwards towards f; the distance between the line f g and the one immediately above it is also too narrow by at least one-third. Again, the point h, where the portion of the circle begins, is too near the point f; the line i is also too near that of f g; the outline of the curve is not correct, it being too much bulged out near the point k; the line n is not straight, and that marked m is too far from the extreme end of the line. The pupil has here indicated a method of analyzing her proceedings, comparing them with the correct copy, which she would do well, in her earlier practice, to use pretty frequently, until she is perfectly at home in correct delineation of outlines. It may be objected that this analysis is hypercriticism utterly uncalled for, from the simplicity of the practice; but let it be noted that if the pupil is not able, or unwilling to take the necessary trouble to enable her to draw simple outlines correctly, how can she be prevented, when she proceeds to more complicated examples, from drawing difficult outlines incorrectly? We hold that if a thing is worth doing at all, it is worth doing well; and how can a pupil do a thing correctly, unless from correct models or rules? and how can she ascertain whether she is following them, unless by careful comparison and examination? How often are the works of painters and artists found fault with, from the incorrectness of outline, and the inconsistency of measurement observable, which might be obviated by a more careful attention to the minute details, but are too frequently spurned at by aspiring artists; but of which, after all, the most complicated picture is but a combination? Thus the outline in Fig. 19 presents all the lines and curves found in Fig. 18, but the whole forms a delineation by no means correct; and if a pupil is allowed to run from simple lessons without being able to master them, then the foundation of the art is sapped, and the superstructure certainly endangered. Correct outlining must be attained before the higher examples of art can be mastered.
Fig. 20.
Fig. 20 is an outline sketch of the ornament called a quatre-foil, frequently met with in architectural and artistic decoration. It will be a somewhat difficult example to execute at first, but it affords good and useful practice.
Fig. 21 is part of the arch and mullion of a window.
Fig. 22 is an outline sketch of a Gothic recess in a wall.
