[Illustration:  Plate XXII.

STUDY FOR DECORATION AT AMIENS “REPOSE” BY PEUVIS DE CHAVANNES

Note how the contours are searched for expressive forms, the power given to the seated figure by the right angle of the raised arm, and the contrast between the upright vigour of the right-hand figure with the softer lines of the middle one.

Photo Neurdein]

Before closing this chapter there are one or two points connected with the drawing of a head that might be mentioned, as students are not always sufficiently on the look out for them.

In our diagram on page 107 [Transcribers Note:  Diagram VI], let Fig. 1 represent a normal eye.  At Fig. 2 we have removed the skin and muscles and exposed the two main structural features in the form of the eye, namely the bony ring of the socket and the globe containing the lenses and retina.  Examining this opening, we find from A to B that it runs smoothly into the bony prominence at the top of the nose, and that the rest of the edge is sharp, and from point C to E quite free.  It is at point A, starting from a little hole, that the sharp edge begins; and near this point the corner of the eye is situated:  A, Figs. 1, 2, 3.  From points A to F the bony edge of the opening is very near the surface and should be looked for.

The next thing to note is the fact that the eyebrow at first follows the upper edge of the bony opening from B to C, but that from point C it crosses the free arch between C and D and soon ends.  So that considering the under side of the eyebrow, whereas from point C towards B there is usually a cavernous hollow, from C towards D there is a prominence.  The character of eyes varies greatly, and this effect is often modified by the fleshy fulness that fills in the space between the eyelid and the brow, but some indication of a change is almost always to be observed at a point somewhere about C, and should be looked out for.  Any bony prominence from this point towards D should be carefully constructed.  Look out for the bone, therefore, between the points CD and AF.

Never forget when painting an eye that what we call the white of the eye is part of a sphere and will therefore have the light and shade of a sphere.  It will seldom be the same tone all over; if the light is coming from the right, it will be in shade towards the left and vice versa.  Also the eyelids are bands of flesh placed on this spherical surface.  They will therefore partake of the modelling of the sphere and not be the same tone all across.  Note particularly the sudden change of plane usually marked by a fold, where the under eyelid meets the surface coming from the cheek bone.  The neglect to construct these planes of the under eyelid is a very common fault in poorly painted eyes.  Note also where the upper eyelid comes against the flesh under the eyebrow (usually a strongly marked fold) and the differences of planes that occur at this juncture.  In some eyes, when there is little loose flesh above the eyelid, there is a deep hollow here, the eyelid running up under the bony prominence, C D. This is an important structural line, marking as it does the limit of the spherical surface of the eyeball, on which surface the eyelids are placed.