X.

XI.

XII.

When the face is lowered, as in Plate IX., the space between the brow and the eye is shortened, [45] the tip of the nose is nearer the mouth, and the chin cuts well into the neck ; and as the ear is raised, the back line of the neck is thereby lengthened. The brows and mouth, overlaying somewhat convex surfaces, curve upwards, and a greater mass of hair is seen above the face.

FIG.7

The converse of all this is seen in Plate X. when the face is upturned.

The mass of hair is smaller above ; the eye is further from the brow ; the tip of the nose is nearer under the eye ; the brows and mouth curve downwards. The ear is lowered ; and consequently the neck is extended in front and contracted behind, and one sees somewhat below the chin.

FIG.8

CONSTRUCTION AND PLACING OF THE EYE

The accompanying set will illustrate my points, but I would strongly advise you, after having considered this lesson, to copy whenever you can the beautiful drawings of heads by Holbein. Your knowledge of the drawing of the face and its features will be materially increased thereby.

The first in the set is a rough diagram of the construction of the eye ; and I have made it because the student, judging by his average drawing and painting, seems to forget that the lids open and [46] shut over a globe. Still less does he appear to perceive that the pupil is a superposed swelling on the ball of the eye, and that therefore the lids are widest apart at the point where the pupil is seen, except of course where it is turned to either corner of its setting. But even in the corners of the eye its fullness makes itself felt.

Be careful in drawing the eye in the full face that the inner corners are in a line with each other at their respective distances from the bridge of the nose, whatever inclination may be given to the head ; and that they run in a fairly parallel line with the other features. I say fairly because as I shall point out presently, few faces are symmetrical. But for the purpose of this part of the lesson we must imagine a certain regularity of the features we are considering.

XIII.

A very common failing, not only on the part of the beginner, is to show too much of the further eye in the nearly profile and less-than-three-quarter faces for foreshortened passages always appear wider than they actually are. Not enough is allowed for the setting back of the eyes behind the bridge of the nose. The way to correct this tendency is, first of all, to believe your own eyes (which is not so very easy when we think we know better) ; to remark the actual distance (if any) between the pupil and the part of the nose that cuts across the eye, the actual space between the nose and the outline of the cheek, [47] and similarly by the mouth, not forgetting to nearly close your eyes, and thus reducing the whole of the side of the face beyond the nose to the flat.

But you will no doubt say the model moves, and this shifting of the face makes you uncertain. I can sympathise with you, but to make certain, let the space beyond the point of the nose be your guide.

Plate XIV. may help you to realise this aspect ; but you should study this problem at first hand from nature. The upright edge of the book indicated assists one to fix the curves and tendency of the lines of the face.

XIV.