Permit me in the first place to [1]declare the disappointment of any [2] student, who opens this book with the idea of finding "wrinkles" on how to draw faces, trees, clouds, or what not, shortcuts to excellence in drawing, [3] or any sort of explanations so popular with the drawing masters of our grandmothers and still dearly loved by a large number of people. [4] No good can come of such methods, for there are no short cuts to excellence. But help of a very practical kind it is the aim of the following pages to give; although it may be necessary to make a greater call upon the intelligence of the student than these Victorian methods attempted.

It was not until some time after having passed through the course of training in two of our chief schools of art that the author got any idea of what drawing really meant. What was taught was the faithful copying of a series of objects, beginning with the simplest forms, such as cubes, cones, cylinders, and [5] etc. [6] (an excellent system to begin with at present in danger of some neglect), after which more complicated objects in plaster of Paris were attempted, and finally copies of the human head and figure posed in suspended animation and supported by blocks, &c. In so far as this was accurately done, all this mechanical training of eye and hand was excellent; but it was not enough. And when with an eye trained to the closest mechanical viaccuracy the author visited the galleries of the Continent and studied the drawings of the old masters, it soon became apparent that either [7] his or their ideas of drawing were all wrong. Very few drawings could be found sufficiently "like the model" to obtain the prize at either of the great schools he had attended. Luckily there 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 [8] 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.

[9] In writing upon any matter of experience, such as art, the possibilities of misunderstanding are enormous, and one shuddering 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; [10] whereas art deals with ideas of a similar mental texture, which words can concretely suggest. (1 )However, there are a large number of people who, although they cannot viibe 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.  (2) 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. (3) 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 with, that they refuse to have anything to do with it. (4) Whereas, if they only took the trouble to find out something of the point of view of the modern artist, they would discover new beauties they little suspected.

A singular fatality has ruled the destiny of nearly all the most famous of Leonardo da Vinci's works. [12] Two of the three most important were never completed, obstacles having arisen during his life-time, which obliged him to leave them unfinished; namely the Sforza Monument and the Wall-painting of the Battle of Anghiari, while [13] the third the picture of the Last Supper at Milan, has suffered [14] unnecessary injury from decay and the repeated restorations to which it was recklessly subjected during the [15] 17teenth and 18teenth centuries. Nevertheless, no other picture of the Renaissance has become so well-known and popular through copies of every description.

[16] Vasari says, and rightly, in his Life of Leonardo ": that he laboured much more by his word than in fact or by deed", and the biographer evidently had in his mind the numerous works in Manuscript which have been preserved to this day. To us, now, it seems almost inexplicable that these valuable and interesting original texts should have remained so long unpublished, and indeed forgotten. It is certain that during the XVIth and XVIIth centuries their exceptional value was highly appreciated. This is proved not merely by the prices which they commanded, [17] but the exceptional interest has been attached to the change of ownership of merely a few pages of Manuscript.

That, notwithstanding this eagerness to possess the Manuscripts, their contents remained a mystery, can only be accounted for by the many and great difficulties attending the task of deciphering them. [18] The handwriting is so peculiar that it requires considerable practice to read even a few detached phrases, much more to solve with any certainty the numerous difficulties of alternative readings, and to master the sense as a connected whole. Vasari observes with reference to Leonardos writing: [19]. The aid of a mirror in reading reversed handwriting appears to [20] researchers available only for a first experimental reading. Speaking from my own experience, the persistent use of it is too fatiguing and inconvenient to be practically advisable, considering the enormous mass of Manuscripts to be deciphered. And as, after all, Leonardo's handwriting runs backwards just as all Oriental character runs backwards—that is to say from right to left—the difficulty of reading direct from the writing is not [21] understandable. This obvious peculiarity in the writing is not, however, by any means the only obstacle in the way of mastering the text. Leonardo made use of an orthography peculiar to himself; he had a fashion of amalgamating several short words into one long one, or, again, [22] he would quite arbitrarily divide a long word into two separate halves; added to this there is no punctuation whatever to regulate the division and construction of the sentences, nor are there any accents—and the reader may imagine that such difficulties were almost sufficient to make the task seem a desperate one to a beginner. It is therefore not surprising that the good intentions of some of Leonardo’s most reverent admirers should have failed.

You are about to enter upon [23] one of the most useful, and, when rightly pursued, one of the most interesting studies in the whole circle of science. If, however, you, like many a misguided youth, are under the impression that the study of grammar is [24] dull yet necessary, and a matter of little consequence, I trust I shall succeed in removing from your mind all such false notions and ungrounded prejudices; for I will endeavor to convince you, before I close these lectures, that this is not only a pleasing study, but one of real and substantial utility; a study that directly tends to adorn and dignify human nature, and meliorate the condition of man. [25] The trump of the warrior and the clangor of arms no longer echo on our mountains, or in our valleys; "the garments dyed in blood have passed away", and of elevating man to his proper rank in the scale of intellectual existence;—of that learning which lifts the soul from earth, and enables it to hold converse with a thousand worlds. In pursuing any and every other path of science, [26] I will discover the truth of these remarks and feel its force; for you will find, that, as grammar [27] is critical in reading and writing, a knowledge of it is indispensable: and should you not aspire at distinction in the republic of letters, this knowledge cannot fail of being serviceable to you, even if you are destined to pass through the humblest walks of life. I think it is clear, that, in one point of view, grammatical knowledge possesses a decisive advantage over every other branch of learning. Penmanship, arithmetic, geography, astronomy, botany, chemistry, and so on, are highly useful in their respective places; but not one of them is so universally applicable to practical purposes, as this. In every situation, under all circumstances, on all occasions;—when you speak, read, write, or think, a knowledge of grammar is of essential utility.

Doubtless you have heard some persons assert that they could detect and correct any error in language by the ear, and speak and write accurately without a knowledge of grammar. [28] Now your own observation will soon convince you, that this assertion is incorrect. A man of refined taste, may, by perusing good authors, and conversing with the learned, acquire that knowledge of language which will enable him to avoid those [29] glaring errors that offend the ear; but there are other errors equally gross, [30] . Believe me, therefore, when I say, that without the knowledge and application of grammar rules, it is impossible for any one to think, speak, read, or write with accuracy. From a want of such knowledge, many often express their ideas in a manner so improper and obscure as to render it impossible for any one to understand them: their language frequently amounts, not only to bad sense, but non-sense. [31] In other instances several different meanings may be affixed to the words they employ; and what is still worse, is, that not [32] unfrequently their sentences are so constructed, as to convey a meaning quite the reverse of that which they intended. Nothing of a secular nature can be more worthy of your [33] attention, than, than the acquisition of grammatical knowledge.

The demand for tulips of a rare species increased so much in the year 1636, that regular marts for their sale were established on the Stock Exchange of [34] Amsterdam,  Rotterdam, Harlaem, Leyden, Alkmar, Hoorn, and other shops. Symptoms of [35] gambling now became, for the first time, apparent. The stock-jobbers, ever on the alert [36] for a new speculation dealt largely in tulips, making use of all the means they so well knew how to employ, to cause fluctuations in prices. At first, as in all these gambling mania, confidence was at its height, and every body gained. The tulip-jobbers speculated in the rise and fall of the tulip stocks,[37] and made large profits when importing from cheaper countries and selling lower than market rates. Many individuals grew suddenly rich. A golden bait hung temptingly out before the people, and one after the other, they rushed to the tulip-marts,[38] like roaches sifting through refuse. Every one imagined that the passion for tulips would last for ever, and that the wealthy from every part of the world would send to Holland, and pay whatever prices were asked for them. The riches of Europe would be concentrated on the shores of the Zuyder Zee, and poverty banished from the favoured clime of Holland. Nobles, citizens, farmers, mechanics, sea-men, footmen, maid-servants, even chimney-sweeps and old clothes-women, [39] rejected tulips. [40]  (1) People of all grades converted their property into cash, and invested it in flowers. (2) Foreigners became smitten with the same [41] frenzy; and money poured into Holland from all directions. (3) The prices of the necessaries of life rose again by degrees: [41] houses and lands, horses and carriages, and luxuries of every sort, rose in value with them, and for some months Holland seemed the very antechamber of Plutus. (4) The operations of the trade became so extensive and so intricate [42] when it was found necessary to draw up a code of laws for the guidance of the dealers. Notaries and clerks were also appointed, who devoted themselves exclusively to the interests of the trade. The designation of public notary was hardly known in some towns, that of tulip-notary usurping its place. In the smaller towns, where there was no exchange, the principal tavern was usually selected as the “show-place,” [43] where high and low traded in tulips, and confirmed their bargains over sumptuous entertainments. These dinners were sometimes attended by two or three hundred persons, and large vases of tulips, in full bloom, were placed at regular intervals [44] upon the tables and sideboards for their gratification during the repast.