■and coal shovel, in the Forain, are particularly suggestive from this view-point. The Le Roux is given in order that our text-book may include an example of landscape, and also that the pupil may realize that drawing is frequently a matter of the right line in the right place. As we said in Chapter XIII, just as we studied the matter of the naso-labial line, and the orbicular muscle, one should study the direction of the wickers of a trash basket, so the artist has studied here the characteristic lines of tree trunk, foliage, hillside, and grasses. If you will study a city street or a shipyard in the same spirit—that is, search for the characteristic lines—you will be able to make a drawing which, even though it lacks■
{ 145} [Illustration: Illustration from the _Paris Illustré_. An example of combined use of outline, parallel lines and solid black, with very little crosshatch. Mainly interesting because of the introduction of still-life objects, which hint at subjects suitable for practice. The novice would do well to select a group of similar objects and endeavor to render them in a similar manner.]
■artistic finish, will have a certain graphic value; and for this very reason (we mean, to show that outline may be graphic) we purposely introduce into this chapter the Paul caricatures, consisting mainly of outlines, like those we gave in our first chapters, and we bid you harp upon them with the fact ever in your mind that they are not arbitrary, but each line stands for some prototype in nature; and that we may go a little farther in the analyzation of the face, we publish some models in relief in which the planes of the face are brought out. These planes were considered in Chapter VII, and you must■
{ 146} [Illustration: Illustration from _Paris Illustré_. Pen drawing, by M. Luque, evidently from an instantaneous photograph, containing all the elements of pen drawing without crosshatch. This has been reduced too much; the shadows in the building seem black because the lines have run together. In the original illustration the lines on the building were separated, and the effect was one of gray, which is the right tone for shadows seen at a distance on a clear day. The outlines of the clouds were probably drawn with an unbroken line, and after they were engraved were rouletted on the plate, and hence print as a series of dots.]