Chapter 8

Indeed all stooping, sitting, or kneeling figures should have space enough allowed them to stand up in. They should not, in short, look as if they had been put into those attitudes in order to pack them into the picture.

The mannerism of introducing figures too large for the canvas originated probably with the old Germanmasters of the Albert Durer school. With them, however, it was not a mannerism but a habit contracted by wood-engraving.

In those early days the graving tools were very rude and coarse; moreover, the blocks were small, hence it became imperative to design the figures as large as possible; and the habit thus acquired spread to drawings and pictures.

When, on the other hand, the figures are too small, the picture generally looks stagey, as if the artist had taken his composition from some genteel comedy-scene at a theatre. Cases frequently occur where it is desirable to keep the figures small, as in a caravan march across the desert, or in a procession moving down a cathedral nave.

In the one case it is desirable to give an idea of the boundless waste of sand, and in the other the architecture of the cathedral is probably more interesting than the individual action of the priests composing the procession, and therefore the figures should be very small for the canvas.

As to theactualdimensions of the figures in historical or “genre” subjects, there is only one size which I think objectionable, and that is rather smaller than life. Figures of four and a half or five feet high seldom look well. Half life-size, or rather more, is a very good proportion, and any size below this, down to the microscopic figures of Breughel or Meissonnier, is equally good.

In my former lectures on composition, I gave you several examples of the kind of mental analysis which ought to be brought to bear on every subject you wish to design. It will, I think, be unnecessary to go through all this again, as you are, I trust, more skilled in the art of composition than you were five years ago.

Nevertheless it may not be unprofitable to some of you, if I work out again one or two of my old subjects. One of the themes I selected was from Exodus:—

“When Moses was grown, he went out unto his brethren, and looked on their burdens, and he spied an Egyptian smiting an Hebrew, and he looked this way, and that way, and when he saw that there was no man, he slew the Egyptian.”

The subject to be the first part of the quotation, that is, where Moses is watching the Egyptian smiting the Hebrew.

Very well. Now there are two distinct centres of interest in this subject. One is the brutal treatment of the Hebrew by his taskmaster, and the other is the indignation of Moses. Under any circumstances, it would be advisable to sacrifice one of those centres of interest to the other; but the context absolutely prohibits all idea of uniting the three figures together in one group. Moses was certainly not visible to the two men. We must, therefore, allow a considerable space between the figures, and the question now arises: Which is to be our foreground group?

Either mode of treatment seems to me equally good, but supposing I fancy making the Moses the principal figure in the picture, how am I to express what is passing in his mind? The other two figures will be in violent action, therefore it will be well to represent Moses in a quiet attitude, but with an expression of concentrated indignation about him.

I just hastily sketch an erect figure (any indication of a human figure will do) to represent Moses. I have some ideas floating in my mind about making him clutching at his dagger, and about the expression I will throw into his eyes, and so on; but, for the present, I leave all this alone, and occupy myself with the general arrangement of the picture.

I find that with my erect figure of Moses, it will be better to make the picture an upright one, and it will be necessary to make him in hiding, or partly concealed by some building, otherwise he would be in full view of the Egyptian, and I should not be in keeping with the word “spied” of the text. I, therefore, put in a line or two to represent a building behind which he might be hiding.

Now for the two men. I don’t at present elaborate the group at all.

I think the most natural reading is to suppose the Israelite on the ground, having fallen under his burden, and the Egyptian standing over him, and beating him; but for the present, I make a kind of scrawl which might mean any thing. I do not quite likethe place I have put it in; I rub it out, and shift it. I am better pleased with the place now, but the group looks too large; I rub it out again, and make it smaller. Now I find the Moses is not quite in his right place, I shifthimabout until I get him right; and here let me point out the great advantage of a rough indication at first. Had I drawn my principal figure carefully, with all the expression I meant to convey, I should have hesitated about rubbing him out, and my composition would eventually have suffered.

Designing a subject is like drawing a figure. In figure-drawing you do not begin (at least you ought not) with sketching the eyes, nose, and mouth. It is sheer waste of time to do so, as the chances are ten to one in favor of your having to shift the head or to alter its inclination. You make a simple oval with a line down the centre to indicate the inclination, and then you go on with the rest of the figure. If you have to change the head, you can do so in two or three strokes. The same method applies to the hands and feet. Students will often draw the fingers and toes, and when the master comes round he finds that the hands and feet are in their wrong places, and the work has to be done again. Never begin the detail of a figure until you feel sure that every thing is in its right place, and that the general proportions are correct. In the same way, in composition never begin to elaborate the figures until youfeel sure that your groups are in their right places and of the proper size.

To return to our subject. I will suppose now that I have got my figures where I want them to be. I can go ahead now in all confidence. I can try various attitudes for my striking and prostrate figures. I can try different modes of giving to Moses the kind of expression I wish him to have. I stick to the ground plan of my design, and also to the general features of the arrangement, but I select my details as I go on.

Now let us suppose that I have elected to take the other view of the subject. In this case the picture would be reversed; that is, the struggling figures would be in the foreground, and the Moses behind. I proceed always in the same manner. I make a very rough indication of my two figures, an indication which need not define either arms, bodies, or legs, but which gives me an approximate idea of the size and general shape of the group. This being done, it remains to place the Moses. It is clear I must not put him very far off, or his action and expression would be lost. On the other hand, I must not place him very near, or the interest would be equally divided between him and the other figures.

I might perhaps, by merely introducing his head with a pair of angry eyes glaring at the Egyptian, do something which would be original and telling; and in this case, with the head only seen, he might bequite close to the struggling group. All these different versions of the subject should be carefully considered before I finally adopt any one of them; but when once I have made my choice, I ought to stick to it. There will be plenty of modifications to carry out in the individual action of the figures without again disturbing the general arrangement of the picture.

Another of my old illustrations of the reasoning an artist ought to bring to bear on his subject, was “The Return of a Crusader.” Now here the first question which suggests itself is: Where shall we place our returning warrior? On the road, catching a first glimpse of his home? on his threshold? or fairly inside his house and surrounded by his family?

Something may be said in favor of all three readings, but if we place him at a distance on the road he will be alone, or at best accompanied only by a retainer or two, and we shall lose the best and most pathetic element in the subject.

If we place him inside the house and surrounded by his family, we shall certainly avoid the objection to the first treatment, but I think that the best moment to choose is when he has just crossed his threshold, with the open door behind him.

Admitting that we place him here, our first and most obvious idea would be to make him the centre of a group, his wife clinging to his neck, his children to his legs, his old dog licking his hand,and the ancient retainer blubbering for joy in a corner. On second thoughts, however, it might strike us that this treatment would be a little theatrical; it would savor too much of thetableau vivant. Could not something more true to nature (and therefore better) be devised?

Let us remember that our crusader has not been away for merely a month or two on a foraging expedition; he has been away for years. The boy he left has become a young man; the infant a young girl, and she, of course does not remember him at all. Time and the sun of Palestine have also changedhimgreatly; his ruddy British complexion has vanished, his hair is grizzled, his polished armor is rusty, and hardly holds together.

Then again his arrival is totally unexpected. He has not (as a more modern warrior would have done) telegraphed to his wife to expect him by the next train. All these causes tend to make it probable that on presenting himself on his own threshold, there would be a short period of uncertainty, of suspense, and of hope in the air, before he would be fully recognized. With the daylight at his back, his face would be in the shade, which would be an additional reason for his wife not rushing into his arms at once. Her face would, of course, be in the full light, and ought to express a yearning, eager hope. This expression would be difficult to depict, but all emotional expressions which are not downright sensationalaredifficult.

It is very likely that in this, as in the other example I have given you, I might, when I came to the actual execution of the picture, adopt a different moment of time and a different treatment to the one which at present seems best to me.

My object in giving you these illustrations is not so much to recommend this or that particular mode of treatment, as to show you how you ought to examine a subject from every point of view before committing yourselves to one particular reading.

In the prize for design which is associated with my name, I purposely gave a whole day (or one third of the time allowed) for the competitors to examine the subject in all its aspects, so as not to commit themselves hurriedly to a treatment of which they might repent when it was too late. For finished pictures, taking three months to paint, one third of the time would be too large a proportion to spend in making up one’s mind about the general arrangement; but even in this case I think that more time might often be advantageously devoted to the design and less to the execution than is generally done.

I cannot refer to these sketches without expressing my great satisfaction at the progress made within a very few years. Some of you probably recollect the first competition, and will doubtless agree with me that not only are the prize sketches greatly superior to those of the first year or two, but the general average is also very much higher.

Now I don’t suppose that (taking the average) you are a much cleverer set of students than your predecessors of six years ago, and therefore the marked improvement of which I have been speaking is due entirely to your attention having been drawn to the very important, and I may add attractive, study of composition.

Although a great advocate for this study, I cannot say I approve of sketching clubs as usually constituted. Experienced painters may perhaps join them with impunity; their evening’s contribution is always a faint echo of something they have done fifty times before, but no good can come of any young artist cudgelling his brains to produce something original in two hours.

I don’t think a professor of music would approve of his pupils meeting once a fortnight to improvise something on a given subject.

The result would be a farrago of stolen melodies and borrowed passages which could not lead to any good. He who had the best memory and the cleverest execution would carry off the honors of the evening.

The original genius, if there happened to be one present, would be nowhere.

The same kind of thing would happen in a sketching club; the thoughtful and fastidious members would become discouraged, and perhaps give up composition altogether.

I think that friendly artistic gatherings are not only very enjoyable but very useful. A man who systematically keeps aloof from all his colleagues, generally deteriorates; but the object of these gatherings should be the interchange of ideas, and not the production of crude, hasty sketches.

An historical or figure painter ought, in addition to his knowledge of the human frame, to study the connection between mind and expression, and to steer a middle course between the facial monotony of Giotto, Orcagna, and the early masters, and the grotesque grimacing of the Mantegna school. The works of Lebrun and Lavater on facial expression are ridiculous and useless; indeed, nature is the only book we ought to consult if we wish truly to depict the effects of anger, fear, love, and all the other human passions. Instead, therefore, of extending my observations in this direction, I will return to the proper object of my lecture and give you a few more hints about the arrangement of a picture.

Many artists, in designing historical or what I call historical incident pictures, prefer oblique to parallel perspective. There are reasons for and against this practice, and I am far from condemning oblique perspective in every case; but I think that, speaking generally, the simpler method is preferable. Oblique perspective has the merit of being more picturesque and less formal; but, on the other hand, it is less easily understood, and although perfectly correct, often gives a figure-picture a lop-sided look.

In every picture, the horizon should be either above or below the centre of the canvas, and not bisect it into two equal portions. This is evident enough in landscape-painting, but the reasons for observing this rule in figure-pictures (particularly in those where the scene is the interior of a room, and no horizon is visible) are not so obvious.

Practically, however, it will almost always be found desirable to place the horizon considerably below the centre.

Similarly the point of sight (which in parallel perspective would, of course, coincide with the vanishing point) should not be in the centre of the picture, unless, indeed, the subject happens to be one of the severest kind.

It should be nearest to that side of the picture from which the light comes.

Suppose the figures in a picture to be lighted from the left of the spectator, and that the picture is hung in its proper light. You would not stand exactly opposite the centre of the canvas to get a good view. You would naturally place yourself a little on the side whence the light comes. Hence it is desirable that the point of sight should also be on that side.

Where the perspective is parallel, the eye is not at all shocked when the point of sight is fairly out of the picture.

Indeed, in pictures which represent a small area,the effect is more agreeable when the lines converge toward a point outside.

In the determination of all these points, as also in settling the height of your horizon, you must allow yourselves to be guided by the nature of your subject.

What is right in one case is wrong in another.

In a “Prometheus Bound” you might with great propriety place your horizon below the picture altogether. Here, quite at the bottom of the canvas, you see the peaks of high mountains; the real horizon would therefore be a long distance below.

It would not be impossible to suggest subjects where the horizon should be above the picture, but I have probably said enough to show that exceptional subjects must be exceptionally dealt with.

Beginners (when they have a subject of several figures to paint) will often find it of great assistance to make a small clay model of the whole design, and to clothe their little figures with rags of different shades, until they get an effect which they think will do. The figures would be mere rough clay sketches, just enough to give an idea of the proportions and attitudes. The rags should be wettedwith clay water, and then the folds when dry will become quite stiff, so that the figures can be moved about without disturbing the arrangement of drapery.

This plan is particularly applicable whenever the scene of the picture is a confined room or cell, with a strong concentrated light.

Over the board on which your little figures are standing, you put an empty box or packing case, and you cut a hole in the side of the case, to represent the window. If you find the light on your group too concentrated, you can enlarge the hole, or cut a small aperture on the opposite side, so as to diffuse the light. In lamp or fire-lit subjects, this “maquette” method is most valuable. You admit no daylight into the box, but you place a small lamp or night-light wherever you wish the fire to be, and you have nothing to do but to copy the effect.

You must, of course, bore a small spy-hole at the point of sight.

In my early days in Paris, whenpictureswere painted, and not single figures for the market, almost every young artist had his little puppet-show, into which he was continually peeping during the progress of his work. Some of the pictures thus painted were badly composed, some were clumsily executed, some were crude in color, but all had a truthful look about them as far as light and shade were concerned.

The real shadows, the reflected light, and the half-tones were all in their right places and of the right value.

When a man has been painting pictures for twenty or thirty years, he knows pretty well what his effect ought to be under certain conditions. He knows when he may venture to copy the effect of light on the model before him, and when he must depart from it, but the beginner has no experience to guide him, and I would strongly recommend him to try the little clay figures. The whole group of say ten figures could be modelled in two days. The legs of those which are to be clothed in flowing drapery need, of course, not be indicated at all, and the roughest approximation to nature in the attitudes is all that is necessary, provided effectonlyis wanted. Of course, if you wish to studydraperyfrom your small figures, you will have to elaborate them with greater care, and probably have to make them larger than would be convenient for the other purpose.

Another advantage of pursuing this method is that it gives a little practice in modelling, and I think that every figure-painter ought to be able to give expression to his ideas in clay just as well as on canvas. There is no necessity for his learning to work out detail in the clay; he need never model nose, eyes, or mouth, and still less fingers and toes, but he ought to be able to give proportion and action to a small clay figure, just as easily as he would sketch with charcoal on a sheet of paper.

Before I have done with my little clay figures, I think it right to caution you against relying too implicitly on the effects of light and shade of your miniature figures. They are intended to serve as aids, but not as models to be servilely copied. When copied too closely, the shades are generally too black, and there is an absence of half-tones, which gives rather a harsh look to the picture.

An ingenious fellow-student of mine improved on the method by rigging up a light semi-transparent canvas box instead of the wooden one. He cut the usual opening to admit the light, and the canvas sides of the box let in just daylight enough to take away all unnatural blackness from the shadows. It may be asked: Why have a box at all? Why not model the little figures, clothe them, and put them on your studio table? In the first place, the light you require for your picture may be dissimilar to the light of your studio; and, secondly, one of the principal advantages of the box system is that the sides of the box represent the sides of the hall or room of the picture, so that you see at a glance how the shadows of the groups are cast, you see which portions of the figures stand out dark, and which light, against the background. In short, you get a much more complete idea of what you propose painting than you could possibly manage in any other way.

For out-of-door subjects, where the light ought to be generally diffused, this method is altogether inapplicable,but for any prison, catacomb, or cloister scene, it will be found extremely useful.

In a composition of several figures, you will, after arranging your groups, often find large portions of the ground or floor space unoccupied. Don’t be in a hurry to fill up these spaces with unmeaning accessories. They are sometimes most valuable, as giving rest to the eye, and ought often to be preserved. At any rate, they ought never to be filled up promiscuously with objects which do not assist in telling the story.

I remember when I was a student we had a stopgap always ready in the shape of a pot of some sort or other. If Joseph was being sold by his brethren, and there was an awkward corner in the foreground, we would put in a water-pot. The Egyptian merchants who bought him would be sure to carry large pots with them. If Æneas was escaping from Troy with his father on his back, there would certainly be a large amphora in the corner, supposed to be too heavy for him to carry. The captive Jews could not wail by the waters of Babylon without a whole set of pots occupying the nooks and corners of the composition.

Now, an Oriental water-jar or an Etruscan vase may be beautiful objects and nice things to paint, but this is no reason why they should be invariably used as stop-gaps. In a subject like Hagar in the desert, the empty water-bottle is an essential elementin the story; or again, in Rebecca at the well, you may paint pots to your heart’s content, but in subjects where they are out of place it is best to refrain if you possibly can. All stop-gaps are very objectionable; and if I mention this particular kind, it is because it is the one usually resorted to. I do not by any means wish to imply that you are to leave a disagreeable vacant corner unoccupied, but whatever you put in it, whether it be some cast-off cloak, fruit, or flowers, dog or cat, or even the irrepressible jar, it ought not to look as if it had been purposely put there to fill up a hole. Doubtless itwouldbe put there with that intention, but the artifice ought not to be readily detected.

My main object to-night has been to impress upon you that in designing figure-subjects you are not to take the first commonplace ideas which may occur to you, but to reason your subject out, and select whatever treatment you think most telling.

By so doing, you are on the only true high-road to originality.

There is a kind of originality, or rather eccentricity, which may be easily enough attained by ignoring the natural laws of action, of light, and of color; but I am speaking of originality united with excellence. This, I am convinced, is seldom (if ever) attained by sitting idle and waiting for some happy thought to turn up. You must use your brains constantly, from the first charcoal sketch down to the finishing-touches on the Exhibition walls.

Before closing this course of lectures, I should wish to disclaim any desire of imposing my individual opinions upon any of you. Like every one who has thought a good deal about painting and painters, I have formed my own ideas, and have, I think, expressed them pretty freely; but it would be quite contrary to my theory of free thought in art that you should accept as proven all the opinions I have expressed. Art (as I have already observed) is not a science. I cannot take up the white chalk and prove to you byx+ythat my views are right and all others wrong. What would become of our friends the critics, if this could be done?

But although all assertions on art must be mere expressions of individual opinion, it appears to me that the professor of such a many-sided art as painting is better employed in giving his honest convictions (whether they coincide or not with the prevalent opinion of the day) than in prudently confining himself to dry history or hazy æsthetics.

THE END.

PUBLICATIONS OF G. P. PUTNAM’S SONS.

Method of Learning to Draw from Memory.ByMadame E. Cave. From 4th Parisian Edition, 12mo, cloth 1 00

⁂ “This is the only method of drawing which really teaches anything. Mme. Cave * * * renders invaluable service to all who have marked out for themselves a career of Art.”—Extract from a long review in the “Revue des Deux Mondes,” written byDelacroix.“It is interesting and valuable.”—D. Huntington,Pres. Nat. Acad.“Should be used by every teacher of drawing in America.”—City Item, Phila.“We wish that Madame Cave had published this work half a century ago, that we might have been instructed in this enviable accomplishment.”—Harper’s Mag.

“It is interesting and valuable.”—D. Huntington,Pres. Nat. Acad.

“Should be used by every teacher of drawing in America.”—City Item, Phila.

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Method of Teaching Color.ByMadame Cave. 12mo, cloth 1 00

⁂ This work was referred by the French Minister of Public Instruction to a commission of ten eminent artists and officials, whose report, written byM. Delacroix, was unanimously adopted, indorsing and approving the work. The Minister thereupon, by a special decree, authorized the use of it in the French normal schools.“I cannot too highly commend these volumes. They are a perfect god-send to all students.”—Annie J. Kirk,Chicago.

“I cannot too highly commend these volumes. They are a perfect god-send to all students.”—Annie J. Kirk,Chicago.

Methode Cave,pour apprendre a dessinerjuste de mémoire d’aprés les principesd’Albert Dureret deLeonardo da Vinci. Approved by the Minister of Public Instruction, and by Messrs. Delacroix, H. Verbet, etc. In eight series, folio, paper covers. Price $2 25 each. Shaded Models for more advanced students from 75 cents to $3 00 per plate.

N. B.—The Crayons, Paper, and other articles mentioned in the Cave Method may be obtained of any dealer in Artists’ Materials.

Linear Perspective.ByHenry Hodge, of the Winchester School. 4to, boards 75

“I find this work excellently suited to my needs.”—A. Colin,Scientific Training School, New York.

Pottery: How it is Made, Its Shape and Decoration.ByGeorge Ward Nichols. Practical instructions for Painting on Porcelain and all kinds of Pottery, with vitrifiable and common oil color; with a full bibliography of standard works upon the Ceramic Art, and 42 illustrations. 12mo, boards 1 25

“Attractive, practical and suggestive. * * * We commend it most heartily to all who take any interest in the subject of Pottery.”—Boston Traveller.

Perspective.The Theory and Practice of Linear Perspective, applied to Landscapes, Interiors, and the Figure, for the use of Artists, Art-Students, etc. ByV. Pellegrin, M.S.A., Professor at the Military School of St. Cyr. 12mo, with chart 1 00

“I can say nothing but good of this little book.”—Prof.F. L. Vinton,School of Mines, Columbia College.“Comprehensive, and contains all that the student requires.”—Virginia Granbery,Prof. of Drawing, Packer Institute, Brooklyn.“The most practical work on the subject I have seen.”—M. Morse,Prof. of Drawing, New York.“Thoroughly scientific and thoroughly practical.”—Susan V. Carter,Prin. School of Design, Cooper Union, New York.

“I can say nothing but good of this little book.”—Prof.F. L. Vinton,School of Mines, Columbia College.

“Comprehensive, and contains all that the student requires.”—Virginia Granbery,Prof. of Drawing, Packer Institute, Brooklyn.

“The most practical work on the subject I have seen.”—M. Morse,Prof. of Drawing, New York.

“Thoroughly scientific and thoroughly practical.”—Susan V. Carter,Prin. School of Design, Cooper Union, New York.

Conversations on Art Methods.ByThomas Couture. Translated from the French, byS. E. Stewart. With an introduction byRobert Swain Gifford. 1 25

“Mr. Couture was not only an artist, but the sharpest literary critic of his day. It is safe to say that no volume of the size contains so much of value for the artist-student as this handsome little volume, so admirably translated by Mr. Stewart.”—Chicago Inter-Ocean.“A most readable and entertaining work.”—Commonwealth.“Couture talks with charming freedom on all subjects—on the critic, on woman, on the recent school of art, on the great old masters, on the divine art. It is all delightful.”—Hartford Courant.“The simple way in which the book is written gives a pleasure to its perusal, which the translation has well succeeded in preserving.”—Art Interchange.“The work is thoroughly fascinating, and will be warmly welcomed and eagerly read by all.”—Boston Transcript.“The book itself is of rare value. The faithful, spirited translation is in such good English that it might be taken for an original work.”—Newport Daily News.“It is amusing to the general reader, and it is of great practical value to the art student. M. Couture’s manner is conversational and familiar, so that when, as he often must, he deals with the technicalities of his subject, he is never dry or obscure.”—Worcester Spy.“Very curious and suggestive are Couture’s ideas about the old masters and the modern French painters. The great point in all his book is to impress on artists that they should dare, above all things, to be themselves.”—New York Times.“A volume so characteristic, so entirely stamped with the individuality of the writer, that those who know him recognize his peculiar expressions, his eccentricities of manner, and almost seem to see his familiar gestures through its pages. * * * It should be in the hands of every student, and many besides artists will find a charm and a pleasure in reading it. It will take an important place in art literature.”—Catholic World.“We heartily recommend the book to all who are seeking to cultivate their artistic perceptions, whether as practical artists or connoisseurs.”—Christian Union.“Artists cannot fail to derive many valuable suggestions from this work, even though they do not agree with some of the radical ideas of the author, and to all who are interested in art it will prove of much interest.”—Boston Post.“M. Couture has laid bare, in these ‘Conversations,’ the whole theory and practice of painting. The philosophy of the delightful art is made clear, and the application of obvious principles is so precisely defined that the student can be at no loss to comprehend the groundwork of his art.”—New Orleans Picayune.“This fascinating little book is thrice welcome. It is important to the practical painter, valuable to the connoisseur and cultivated art-critic, and interesting to the general reader. It is the work of an artist with his pen as well as with his brush; the composition forming a beautiful and artistic poem rendered in the most rhythmical prose. We close this book with regret, it is a rare treat, and we feel assured no one will read it once without turning to it again and again.”—Robinson’s Epitome of Literature.

“A most readable and entertaining work.”—Commonwealth.

“Couture talks with charming freedom on all subjects—on the critic, on woman, on the recent school of art, on the great old masters, on the divine art. It is all delightful.”—Hartford Courant.

“The simple way in which the book is written gives a pleasure to its perusal, which the translation has well succeeded in preserving.”—Art Interchange.

“The work is thoroughly fascinating, and will be warmly welcomed and eagerly read by all.”—Boston Transcript.

“The book itself is of rare value. The faithful, spirited translation is in such good English that it might be taken for an original work.”—Newport Daily News.

“It is amusing to the general reader, and it is of great practical value to the art student. M. Couture’s manner is conversational and familiar, so that when, as he often must, he deals with the technicalities of his subject, he is never dry or obscure.”—Worcester Spy.

“Very curious and suggestive are Couture’s ideas about the old masters and the modern French painters. The great point in all his book is to impress on artists that they should dare, above all things, to be themselves.”—New York Times.

“A volume so characteristic, so entirely stamped with the individuality of the writer, that those who know him recognize his peculiar expressions, his eccentricities of manner, and almost seem to see his familiar gestures through its pages. * * * It should be in the hands of every student, and many besides artists will find a charm and a pleasure in reading it. It will take an important place in art literature.”—Catholic World.

“We heartily recommend the book to all who are seeking to cultivate their artistic perceptions, whether as practical artists or connoisseurs.”—Christian Union.

“Artists cannot fail to derive many valuable suggestions from this work, even though they do not agree with some of the radical ideas of the author, and to all who are interested in art it will prove of much interest.”—Boston Post.

“M. Couture has laid bare, in these ‘Conversations,’ the whole theory and practice of painting. The philosophy of the delightful art is made clear, and the application of obvious principles is so precisely defined that the student can be at no loss to comprehend the groundwork of his art.”—New Orleans Picayune.

“This fascinating little book is thrice welcome. It is important to the practical painter, valuable to the connoisseur and cultivated art-critic, and interesting to the general reader. It is the work of an artist with his pen as well as with his brush; the composition forming a beautiful and artistic poem rendered in the most rhythmical prose. We close this book with regret, it is a rare treat, and we feel assured no one will read it once without turning to it again and again.”—Robinson’s Epitome of Literature.

WORKS ON ART.

LEARNING TO DRAW;or, the Story of a Young Designer. ByViollet le Duc. Translated byVirginia Champlin. Octavo, with 130 illustrations. 2 00

A work full of practical suggestions, not only for the student of art or of decorative designing, but for students and teachers in other departments. The author’s theories of the art of teaching are both original and practical.

ART SUGGESTIONS FROM THE MASTERS.Selected from the Works of Artists and Writers on Art, with Reference to their Practical Value for Art Students. Compiled bySusan N. Carter, Principal of the Woman’s Art School, Cooper Union. 1 25CONVERSATIONS ON ART METHODS.ByThomas Couture. Translated from the French, byS. E. Stewart. With an Introduction byRobert Swain Gifford. 1 25 /

CONVERSATIONS ON ART METHODS.ByThomas Couture. Translated from the French, byS. E. Stewart. With an Introduction byRobert Swain Gifford. 1 25 /

Contents: Elementary Drawing—Elementary Principles of Drawing from Nature—The First Principles of Painting—The Occupation of a Young Painter first Commencing his Art—Elements of Composition—Introduction to High Art—On Drawing in its most Beautiful Expression—The Portrait—Confession—The Times in which we Live—The Critic—A Review of the Schools for more than Thirty Years—The Golden Medium—Jean Goujon—Monsieur X—Eugene Delacroix—Decamps—On Painting—Titian—The Sketch—On Composition—Simplicity in Composition—Exaltation—Originality—A few Words on Antique Art—On French Art—Prudhon—The Fathers of their Country—My Master Gros—Is Art Superior to Nature?—Divine Art—Adieu.

“This fascinating little book is thrice welcome. It is important to the practical painter, valuable to the connoisseur and cultivated art critic, and interesting to the general reader. It is the work of an artist with his pen as well as with his brush, the composition forming a beautiful and artistic poem rendered in the most rhythmical prose. We close this book with regret; it is a rare treat; and we feel assured no one will read it once without turning to it again and again.”—Robinson’s Epitome of Literature.“Very curious and suggestive are Couture’s ideas about the old masters and the modern French painters. The great point in all this book is to impress on artists that they should dare, above all things, to be themselves.”—New York Times.“A volume so characteristic, so entirely stamped with the individuality of the writer, that those who know him recognize his peculiar expressions, his eccentricities of manner, and almost seem to see his familiar gestures through its pages. * * * It should be in the hands of every student, and many besides artists will find a charm and a pleasure in reading it. It will take an important place in art literature.”—Catholic World.“We heartily recommend the book to all who are seeking to cultivate their artistic perceptions, whether as practical artists or connoisseurs.”—Christian Union.

“Very curious and suggestive are Couture’s ideas about the old masters and the modern French painters. The great point in all this book is to impress on artists that they should dare, above all things, to be themselves.”—New York Times.

“We heartily recommend the book to all who are seeking to cultivate their artistic perceptions, whether as practical artists or connoisseurs.”—Christian Union.

PUBLICATIONS OF

G. P. PUTNAM’S SONS.

ART, GENERAL AND TECHNICAL.

ART HAND-BOOKS (PUTNAM’S SERIES OF).Edited bySusan N. Carter, Supt. of Woman’s Art School of Cooper Union:

“We can, from personal knowledge, recommend them as excellent hand-books for amateurs.”—Christian Union.“The rules and principles they lay down are safe and practical guides to the student.”—N. E. Journal of Education.

“We can, from personal knowledge, recommend them as excellent hand-books for amateurs.”—Christian Union.

“The rules and principles they lay down are safe and practical guides to the student.”—N. E. Journal of Education.

ART SUGGESTIONS FROM THE MASTERS.Selected from the works of artists and writers of art, with reference to their practical value for art students. Compiled bySusan N. Carter, Principal of the Woman’s Art School, Cooper Union. 12mo, cloth extra $1 25

“Full of good advice, and of interest and importance to students, artists, and lovers of art.”—N. Y. Herald.“A good idea, deserving of success. The volume is made up of artistic and often brilliant selections.”—Philadelphia Times.

“Full of good advice, and of interest and importance to students, artists, and lovers of art.”—N. Y. Herald.

“A good idea, deserving of success. The volume is made up of artistic and often brilliant selections.”—Philadelphia Times.

CAVÉ(E.)Method of Learning to Draw from Memory.From fourth Parisian edition. 12mo, cloth 1 00

“This is theONLY METHOD OF DRAWING WHICH REALLY TEACHES ANYTHING. Mme. Cavé * * * renders invaluable service to all who have marked out for themselves a career of art.”—Extract from a long review in the Revue des Deux Mondes, written byDelacroix.A work full of practical suggestions, not only for the student of art or of decorative designing, but for students and teachers in other departments. The author’s theories of the art of teaching are both original and practical.“It is a valuable, carefully-prepared work, full of practical hints and suggestions from one who had attained preëminence in his special field of work.”—Chicago Tribune.

“It is a valuable, carefully-prepared work, full of practical hints and suggestions from one who had attained preëminence in his special field of work.”—Chicago Tribune.

LUKIN(John)The Young Mechanic; Practical Carpentry. Containing directions for the use of all kinds of tools, and for the construction of steam-engines and mechanical models; including the art of turning in wood and metal. By the author of “The Lathe and its Uses,” etc. Authorized reprint from the English edition, with corrections, etc. Illustrated. Small 4to, cloth extra 1 75

“A valuable book, eminently useful to beginners, and suggestive even to the experienced and skilful.”—Albany Journal.

——Amongst Machines.“The Boy with an Idea Series.” By the author of “The Young Mechanic.” Embracing descriptions of the various mechanical appliances used in the manufacture of wood, metal, and other substances. Profusely illustrated. 8vo, cloth 1 75

“A book of wondrous fascination, written in a clear, bright, pointed style. A volume to be commended above a dozen stories.”—Boston Traveller.

——The Boy Engineers; What they did and How they did it. A book for boys. Fully illustrated. 8vo, cloth extra 1 75

“Practical, suggestive, and full of interest.”—St. Louis Globe-Democrat.

——The Amateur Mechanic’s Workship.A treatise, containing plain and concise directions for the manipulation of wood and metals; including casting, forging, brazing, soldering, and carpentry. By the author of “The Young Mechanic.” Sixth edition. Illustrated. 8vo 3 00NICHOLS(Geo. Ward, author of “Art Education Applied to Industry.”)Pottery: How it is Made, its Shape and Decoration. Practical instructions for painting on porcelain and all kinds of pottery with vitrifiable and common oil color; with a full bibliography of standard works upon the ceramic art, and 42 illustrations. 12mo, boards 1 25

NICHOLS(Geo. Ward, author of “Art Education Applied to Industry.”)Pottery: How it is Made, its Shape and Decoration. Practical instructions for painting on porcelain and all kinds of pottery with vitrifiable and common oil color; with a full bibliography of standard works upon the ceramic art, and 42 illustrations. 12mo, boards 1 25

“Attractive, practical, and suggestive. * * * We commend it most heartily to all who take any interest in the subject of pottery.”—Boston Traveller.

PELLEGRIN(V., M.S.A., Professor at the Military School of St. Cyr.)Perspective. The Theory and Practice of Linear Perspective, applied to Landscapes, Interiors and the Figure, for the use of Artists, Art Students, etc. 12mo, with chart 1 00

“We know of no work on the subject in which so much invaluable material is condensed.”—Prof.Thompson,of Rensselaer Institute, Troy, N. Y.“I can say nothing but good of this little book.”—Prof.J. L. Vinton,School of Mines, Columbia College.“Comprehensive, and contains all that the student requires.”—Virginia Granbery,Prof. of Drawing, Packer Institute, Brooklyn.“The most practical work on the subject I have seen.”—M. Morse,Prof. of Drawing, New York.“The idea of the work is excellent.”—S. Edward Warren,Boston.“Thoroughly scientific and thoroughly practical.”—Susan N. Carter,Prin. School of Design, Cooper Union, New York.

“We know of no work on the subject in which so much invaluable material is condensed.”—Prof.Thompson,of Rensselaer Institute, Troy, N. Y.

“I can say nothing but good of this little book.”—Prof.J. L. Vinton,School of Mines, Columbia College.

“Comprehensive, and contains all that the student requires.”—Virginia Granbery,Prof. of Drawing, Packer Institute, Brooklyn.

“The most practical work on the subject I have seen.”—M. Morse,Prof. of Drawing, New York.

“The idea of the work is excellent.”—S. Edward Warren,Boston.

“Thoroughly scientific and thoroughly practical.”—Susan N. Carter,Prin. School of Design, Cooper Union, New York.

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