Although the modern Italians have both _traire_ and _trarre_, they use _delineare_ still in the sense of artistic drawing, and also _adombrare_. The Greek verb [Greek: graphein] appears in English in "graphic" and in many compounds, such as photograph, &c. It is worth observing that the Greeks seem to have considered drawing and writing (q.v.) as essentially the same process, since they used the same word for both. This points to the early identity of the two arts when drawing was a kind of writing, and when such writing as men had learned to practise was essentially what we should call drawing, though of a rude and simple kind. Even in the present day picture writing is not unfrequently resorted to by travellers as a means of making themselves intelligible. There is also a kind of art which is writing in the modern sense and drawing at the same time, such as the work of the medieval illuminators in their manuscripts. (X.) _The Art of Drawing._--Rather than attempt here a historical survey of the various so-called "styles" of drawing, or write a personal appreciation of them, it seems of greater use to give a logical account of drawing as an art, applicable to all times and countries. Reference to the teaching of drawing will be occasionally given rather to illustrate the argument than with a view to its being of practical use. At the outset a distinction must be made between drawing as a means of symbolic or literary expression and drawing as the direct and only means of expressing the beauty of form. If Pharaoh wants to have it known that a hundred ducks were consumed at one meal in his court, he employs a draughtsman to register the fact on a frieze by picturing a row of cooks occupied in preparing the hundred ducks. The artist in this case does not represent the scene as he must have known it in the kitchen, with all its variety of movement and composition (as an early Greek vase painter conceived the interior of a vase factory), but all he does and is required to do is to give the sufficient number of figures and ducks. The more uniform the figures the greater will be the effect of number. Drawing has been employed here to tell a story, and it succeeds in so far as it tells the spectator plainly what could be told, perhaps less conveniently, in words. It matters not whether the figures and objects be feelingly rendered and harmoniously composed. So, to-day, a child, or any one who has a simple trick of symbolizing figures and objects in nature, can describe any event or moral by this process, provided the plot be not too elaborate to be expressed by a scene, or series of scenes, enacted by dumb symbolic figures. It is plain that the amusing pictures in _Punch_ or _Fliegende Blätter_ would be none the more amusing if they were done by the hand of Michelangelo, nor would the mystic designs of Blake be more full of meaning if drawn by Rembrandt, for in neither case do these works depend upon any subtle rendering of