This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1922 Excerpt: ...flat, always remembering that an outline is ever varying in its colour and direction or movement, ever losing itself behind, or coming in front of, another part; that it is at one time nearer to the eye than at another; that one muscle is crossing over another, and sometimes over and round the body, and that they are not all hanging down the figure like a lot of ropes, which would give an equal projection of outline throughout, and which, if modelled in relief, would mean that the entire outline, to be a correct copy, must be an equal distance or height from the background at every point. Imagine the monotony and crudity of such a work, and the uselessness of the most careful modelling on the surface within such an outline It must not, however, be thought that in relief work drawing is confined to the outline only, for there is much and very important drawing required in the detail on the surfaces, even though in a very low relief this is quite subtle, so much so that it is only to be seen when placed in certain lights. A relief should be worked in the light in which it is intended ultimately to be seen, when this is possible, and when it has been designed for some particular place and not done merely as a study for practice. Even in the latter case you should, when working upon it, place it so as to get the light and shadow as you wish them; although it is advisable to change the position of your work from time to time, during progress, viewing the different effects under different lights. It will be found that under one light, that which was a shadow has become a light, and vice versa; but the shifting of your work from one place to another, at diffeient times, will enable you to model such parts as could not be seen in the previous lighting. Ultimately ...