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The Practice and Science of Drawing

was just enough modesty left for him to realise that possibly they
were in some mysterious way right and his own training in some
way lacking. And so he set to work to try and climb the long uphill
road that separates mechanically accurate drawing from artistically
accurate drawing.
Now this journey should have been commenced much earlier, and
perhaps it was due to his own stupidity that it was not; but it was
with a vague idea of saving some students from such wrong-
headedness, and possibly straightening out some of the path, that
he accepted the invitation to write this book.
In writing upon any matter of experience, such as art, the
possibilities of misunderstanding are enormous, and one shudders
to think of the things that may be put down to one's credit, owing
to such misunderstandings. It is like writing about the taste of
sugar, you are only likely to be understood by those who have
already experienced the flavour; by those who have not, the
wildest interpretation will be put upon your words. The written
word is necessarily confined to the things of the understanding
because only the understanding has written language; whereas art
deals with ideas of a different mental texture, which words can
only vaguely suggest. However, there are a large number of people
who, although they cannot
be said to have experienced in a full sense any works of art, have
undoubtedly the impelling desire which a little direction may lead
on to a fuller appreciation. And it is to such that books on art are
useful. So that although this book is primarily addressed to
working students, it is hoped that it may be of interest to that
increasing number of people who, tired with the rush and struggle
of modern existence, seek refreshment in artistic things. To many
such in this country modern art is still a closed book; its point of
view is so different from that of the art they have been brought up