Note at which points under the chin the line of the neck starts ; and be particularly careful that the little bay made by the outline of the chin, the neck, and the shoulder at B should be the counterpart of that space in Nature.

Then observe the sweep of the back line of the neck and its relation to the ear and jaw. Find under which point of the jaw the centre-point of the neck falls (E).

Draw the collar-bones, and see that the nature of the triangle contained between the collar-bone, the mastoid muscle (which always falls from behind the ear to the centre of the body), and the shoulder line is like the model's (that is, the trapezius muscles at C), and that the whole mass [36] of the neck is just in its proportion to the head ; and when you are satisfied that it is right in every respect, proceed to the rounding of the shoulders (D).

The success of your whole figure will depend upon the care you bestow on these parts.

They are the real key to its action and proportion. If these points of the shoulders (D) are too far from or too near to the centre line of the body, necessarily the whole figure will be either too wide or too narrow across. To make sure of these points, divide up the line of the shoulder. On the right we have the end of the collarbone plumbing under the chin to settle for us the length of the line from the neck. Now with it compare the length from B to D, and to make doubly sure see that the shape left on the background is satisfactory.

On the left compare the length of the sweep of the outline of the trapezius (C), from the point where it converges and meets the collar-bone (F), with the length of the line that curves from that point to D ; then with the comparative height and relative positions and slope of the shoulders indicated by the horizontal line across the neck. Make sure, too, that the shape left is correct in form, and in proportion with the head and with the neck.

These detailed instructions may seem to you [37] tedious, but I assure you, you will not regret getting them at your finger-ends.

When you have thoroughly grasped this part of the lesson and know how to apply it, you will have mastered what is considered one of the most difficult problems to contend with-the placing of the head on the shoulders.

In a subsequent lesson reference is made to this problem. I advise you to make a special study of it, not only when you are actually drawing, but at all times. Whenever you find a convenient opportunity of observing people, make a mental note of the setting of their heads on their shoulders, and accustom yourself to looking at the background shapes left between their face, neck, and shoulders ; it will aid your memory, and increase your power of observation and your knowledge.

Let us now return to our drawing. Find under which points of the shoulders the armpits fall, and compare the depth of the passages between the collar-bones and the armpits.

Then indicate the pectoral markings in their places relative to the armpits. A line connecting them should run fairly parallel to the collar-bones. Ascertain and mark the position of the centre line of the body between the pectoral markings. Then measure the length of the space to the navel, taking the head and neck as your standard. The three markings, the two pectoral and the navel, make a triangle which varies in its nature according to the character and action of the torso, and is [38] always the key to its movement. Sometimes acute when the body is upright or thrown back, it is more obtuse when the body is seated or bent forward, as in the torso Belvedere. Follow the central abdominal marking to its base, and take care that the curve of the whole central line from the neck to the base of the torso is closely followed.

Draw the inner line of the left arm; compare the length of the part of that line between the armpit and the highest point of the passage lying between the arm and the body. Compare the length of that background space and draw it in freehand; and it will leave for you the exact direction and form of the upper arm and the side of the torso, and will clearly indicate the position of the left hip.

Then pass on to the right side, making careful use of the shape of the background lying between the outline of the torso and the raised arm, and refer to the upright line on the background in seeking the exact direction of the outline.

Before going further, indicate all the internal markings.

Note that, the body being contracted on the left side and extended on the right, the lines radiate from the crease and the hip on the left, so that the pectoral marking and the edge of the fixed ribs on the right are higher than their counterparts on the left, but that the hip on the right is considerably lower than that on the left.[39] The extended line of the torso on the right is the answering shape to the contracted side (on the left) in this position of the model.

Now the left arm. The tip of the thumb, which is in a line with the nose, and the wrist, which is opposite the point of the shoulder D, determine for us the length of the hand. The background shape lying between the face, shoulder, and arm will leave for us its relative position.

The pit of this background shape is on a horizontal line with the right pectoral marking. Then we find that the elbow is in a line with the angle of the ribs. That gives us the thickness of the arm, between those two points at H, and the correct proportion of the whole arm to the body.

We now draw the right arm, and with it the upper right leg, for the arm rests on the leg, and the outline of the one reacts on the other. We must see that the mass of the hip contained within the inner line of the arm and right base of the torso is of the shape and proportion of the model, and that the point of the thumb falls where indicated by the line I. We thus have the length of that arm.

The width of the deltoid is now easily found. The outer line will follow quite naturally, depending, of course, on your knowledge of its anatomy, and your grasp of the character of the model ; for anatomy gives you the generalised form only. Your personal observations will help you to [40] realise its specific character, and that again will be materially aided by a careful reference to the silhouette.

Draw the shape of the whole passage of background left between the legs, as a freehand drawing, in proportion to the parts already done. You need not hesitate to measure and plumb. This will help you to find that the left knee plumbs under the elbow. And in drawing the outer line of the left leg, be careful that the whole of the shape J on the background is realised.

The indications on the Plate will point out how to proceed with the legs.

Of the vertical lines on the Plate, only the one on the extreme right was actually to be seen in the background. The others are imaginary plumbed lines, the use of which you will always find of great help in establishing the exact relative positions of each part of the body.

Now the feet.

The perspective lines of the stage on which the model was posed are, and should always be, drawn, as well as the block on which the left heel is raised. These are rigid lines, and will indicate for you the relative positions of the feet. Wherever such lines or similar features occur on the ground or the background, make them an essential part of your drawing, and it will help you to get the feet planted.

It will be of some assistance to you while constructing your figure, and particularly in going over the ground a second time, to indicate all decided shadows, marked half-tones, and internal drawing, the better to judge your proportion and prove the correctness of your outline.

VI.