frame, and I shall never forget the laugh of a doctor when his eyes lit on my first attempt at drawing the figure with the surface muscles exposed. I learned a lot from that laugh, or rather from the remarks with which he tried to excuse his merriment.
A builder might let fall a few helpful remarks concerning the drawing of the steeple of a church. "Rather a steep steeple," said one when looking at a sketch of the village street made by a young friend of mine.
And the carpenter might possibly remark that there was something very peculiar with regard to the chair on which the lady (of your drawing) is sitting.
When drawing a vase on a table, the glass round which a model has clasped his fingers, the tankard on the sideboard, the porch under which mine host is welcoming or dismissing the guest, turn the paper upside down and regard it from an 'upside down' point of view. This is a most useful way of correcting things with two sides alike, and probably you will notice that the vase bulges rather lower on one side than the other, that the glass veers to one side and its stem is not quite straight, that the handles of the tankard do not balance, that the posts of the porch are leaning acutely in two different directions.
Another method of correction. If you have drawn a vase and feel that it balances badly, draw a line down its centre and measure from the central line to the outside edges, then note whether the measurements agree.
Bear in mind, however, that these are corrective devices. Never begin drawing with mechanical aids of the kind. Always draw freely. Make your correction afterward. If you are not very severe with yourself on this point, you will find yourself depending on these measuring systems. And overmuch measuring maketh an artist brainless.
Another excellent corrective is to hold the drawing at arm's length, or, better still, place it near the model (on a chair or on the floor), then resume the position from which you are making your study.
