bodies; that only the adult's head and body balance in nice proportion—that is, the head is neither too large nor too small for the body.
But the face never occupies the entire space of the head, as young artists often seem to imagine that it does.
Look at the size of the crown of the head, at the back and the sides thereof, and do not spread the forehead right up to the crest of the head.
Note also the beautiful balance of the head on the neck, the neck on the shoulders.
The indenting curve at the base of the skull is not level with the jaw—but see !—it is a little below the level of the ear and on a line with the nostril.
The neck is full of interesting drawing. There is the full curve of the throat, and the shorter and stronger curve from the base of the back of the skull to the nape of the neck and the spine. The large bones of the vertebrae, which we can feel with the tips of our fingers, resemble, as the French word chainon has it, the links of a chain.
Two large muscles (mastoid) often attract our attention when the head is twisted aside. Extending from behind the ear to the forepart of the collar-bone, they are always more strongly developed in a boy than in a girl, and in a man than in a woman. These you can feel at the root of the neck and the forepart of the throat by twisting your head right and left; and they form a cup-like depression when your head is straight.
The neck, you will notice, is so strengthened with muscle and bone that it rises like an small pillar from a very solid base.
A girl's neck is slender, a boy's equally thin, but more muscular. A woman's neck is full of entrancing curves; a
