No. 1.  Blocking out the spaces occupied by different masses in charcoal.]

[Illustration:  Plate XXVII.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT
STAGES

No. 2.  A middle tone having been scumbled over the whole, the lights are painted into it; variety being got by varying the thickness of the paint.  The darks are due to the charcoal lines of initial drawing showing through middle tone.]

[Illustration:  Plate XXVIII.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT
STAGES

No. 3.  The same as the last, but with the shadows added; variety being got by varying thickness of paint as before.]

[Illustration:  Plate XXIX.

SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT
STAGES

No. 4.  The completed head.]

In the chapter on line work it was stated that:  “Lines of shading drawn across the forms suggest softness, lines drawn in curves fulness of form, lines drawn down the forms hardness, and lines crossing in every direction atmosphere,” and these rules apply equally well to the direction of the brush strokes (the brush work) in a painting.

#The brush swinging round the forms suggests fore-shortening, and fulness of form generally, and across the forms softness, while the brush following down the forms suggests toughness and hardness, and crossing in every direction atmosphere#.  A great deal of added force can be given to form expression in this way.  In the foreshortened figure on the ground at the left of Tintoretto’s “Finding of the Body of St. Mark,” the foreshortened effect helped by the brush work swinging round can be seen (see illustration, page 236 [Transcribers Note:  Plate XLIX]).  The work of Henner in France is an extreme instance of the quality of softness and fleshiness got by painting across the form.  The look of toughness and hardness given by the brush work following down the forms is well illustrated in much of the work of James Ward, the animal painter.  In his picture in the National Gallery, “Harlech Castle,” No. 1158, this can be seen in the painting of the tree-trunks, &c.

The crossing of the brush work in every direction, giving a look of atmosphere, is naturally often used in painting backgrounds and also such things as the plane surfaces of sky and mist, &c.

It is often inconvenient to paint across the form when softness is wanted.  It is only possible to have one colour in your brush sweep, and the colour changes across, much more than down the form as a rule.  For the shadows, half tones and lights, besides varying in tone, vary also in colour; so that it is not always possible to sweep across them with one colour.  It is usually more convenient to paint down where the colours can be laid in overlapping bands of shadow, half tone and light, &c.  Nevertheless, if this particular look of softness and fleshiness is desired,