This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1883 edition. Excerpt: ...they are asleep) cannot be studied in the deliberate manner in which a professional grown-up model is studied. Wild animals, again, are difficult things to draw, because they cannot be depended upon to retain the same position for any length of time. It is in these cases that an artist who has exercised his memory has an enormous advantage over one who is merely a good academic draughtsman. I will now turn to the question of how to represent objects which are meant to appear in motion, as a man walking, running, or striking, a horse galloping, etc. I do not intend to investigate the laws of motion, nor to point out the muscles which are brought into action by violent movement, but simply to analyze the appearance to our sense of vision of these various actions. In drawing inanimate objects which are at rest, that which is apparent to the eye really exists, and therefore by drawing what you see, you will be mathematically correct; but even this apparent truism does not hold good in every case. For example, take the usual pictorial method of representing a star, which, although astronomically incorrect, gives the impression a bright star produces on our organs of sight, and is therefore the proper method. Seen through a telescope the planets become round disks, and the brightest fixed stars mere points, and there can be no doubt of the non-existence of any radiation; and yet the appearance of it is so constant that the terms "star-shaped," "star-fish," etc., are always used to designate objects of this form; and it is quite consistent with the soundest principles of art to represent what appears to be, rather than what is. When we come to consider moving objects, we find plenty of contradiction between what appears to be...