It is interesting to trace in the history of an indigenous art the development of drawing that shall ultimately express ideas of three-dimensional form. Prof. Emanuel Loewy, in his _Rendering of Nature in Early Greek Art_, demonstrates how the early Greek sculpture (and that of all primitive peoples, children and ungifted artists) shows an aversion from depth. Their reliefs are of the flattest description, almost raised contours, and their figures in the round have at first only one aspect, or flat façade, so to speak, then three and four aspects, and finally at the date of Lysippus the figures are fully rounded out, and the members project at liberty in all directions. Then for the first time Greek sculpture showed a complete conception of the body's corporeity (_Körperlichkeit_). The primitive artist, however well he may be _intellectually_ aware of the three dimensions of an object, does not fully apprehend its true aspect as offered to the eye from one point of view. Following this conclusion, it is easy to see also in the drawing of the early Greeks, children and so on, the same lack of idea of the third dimension. The figures on the vases of the "finest period" (about 475 B.C.), despite occasional foreshortenings, have, when considered as representations of solid forms, a papery appearance. They have not half the draughtsmanship shown by the latter period of the vase industry, where the figures, though careless, stereotyped and ill-composed, come forwards (to use Prof. Loewy's description of later sculpture), go backwards, twist and turn in space in a manner which cannot be excelled. The reproductions in figs. 1, 2, 3 will illustrate the development. The primitive draughtsman is at first bound by the silhouette. Later, he desires to fill out the interior, but this cannot be done without in great part modifying his contour lines, because they are generally merely indications of the disappearing and reappearing inner modelling, i.e. of the figure's third dimension. Finally, the draughtsman in full possession of a feeling for the corporeity of the object will determine his contour entirely from within, a procedure which is the exact opposite to that of his first beginnings. He conceives the length, breadth and depth of an object and all its parts as solid wholes. To him a body in violent foreshortening is as easy as a simple profile, and, though it may not be as attractive, it is perhaps more interesting because its contours are more bound up with, and dependent upon, the inner modelling; in other words, it has more depth. The draughtsman's idea of a form in nature is not a "flat idea," but one containing three dimensions. This idea he seeks to express either by line alone or by light and shade. If an artist has not a three-dimensional "grasp" of forms, and, like a child, confines himself to the primitive tracing of the silhouette, his compositions may be of excellent flat pattern, and equal to any of the designs of ancient