It is neither necessary nor desirable to make elaborate and carefully shaded drawings from a posed model; an equal number of hours spent in copying and analyzing the plates of a good art anatomy, supplemented with a certain amount of life drawing, done merely with a view to catch the pose, will be found to be a more profitable exercise, for it will make you familiar with the principal and subsidiary proportions of the bodily temple, and give you sufficient data to enable you to indicate a figure in any position with fair accuracy. I recommend the study of Nature because I believe that such study will assist you to recover that direct and instant perception of beauty, our natural birthright, of which over-sophistication has so bereft us that we no longer know it to be ours by right of inheritance--inheritance from that cosmic matter endowed with motion out of which we are fashioned, proceeding ever rationally and rhythmically to its appointed ends. We are all of us participators in a world of concrete music, geometry and number--a world, that is, so mathematically constituted and co-ordinated that our pigmy bodies, equally with the farthest star, throb to the music of the spheres. The blood flows rhythmically, the heart its metronome; the moving limbs weave patterns; the voice stirs into radiating sound-waves that pool of silence which we call the air. "Thou canst not wave thy staff in air, Or dip thy paddle in the lake, But it carves the bow of beauty there, And ripples in rhyme the oar forsake." The whole of animate creation labours under the beautiful necessity of being beautiful. Everywhere it exhibits a perfect utility subservient to harmonious laws. Nature is the workshop in which are built _beautiful organisms_. This is exactly the aim of the architect--to fashion beautiful organisms; what better school, therefore, could he have in which to learn his trade?