In most of the schools of Europe and America it is true that great stress is laid upon the importance of giving life-like relief to drawings, but the method by which the students are allowed to get the relief is by employing the sense of vision only. Tracing the silhouette of the figure as minutely as possible, they then fill it out with inner-modelling, which also is done by vision alone, for the lights and darks of the original are copied down as so many flat patterns fitted together and gradated like a child's puzzle, and are not used merely as indication by which to "feel" the depth of the object. Such a procedure is as if in drawing a brick of which three sides were visible, one were first to draw the entire contour (fig. 4, a), the subtle perspective of which he might get correct with some mechanical apparatus or by infinite mechanical pains, and then fill up the interior with its "shading" (fig. 4, b). The method would be plainly laborious, unintelligent and unedifying, and in drawing the most complicated foreshortened forms of the human body it would seem still more illogical. That this principle of instruction does not help the student to grasp the three-dimensional character properly can be proved by the twenty-minute studies of the average student who in his fourth year has won a gold medal for an astounding piece of life-like stippling. They are still unintelligent contour tracings, as if of cardboard figures, with a few irrelevant patches of dark here and there within the silhouette. But high modelling that would make for illusion of reality is not the first aim of draughtsmanship, nor have the best draughtsmen employed it save by exception. Michelangelo, Ingres, Holbein and Rembrandt have shown us that it is possible to give sufficient relief with a mere outline drawing. Again, the desire for salience often blunts the student's sense of the real character of the forms he is rounding out. So his elaborately modelled portrait may look very "life-like," but when compared with the original it will generally be seen that the whole and each of the individual forms of the drawing lack the peculiar character of those of the original. It is by carefully watching for the character of each fresh variety in figure and feature that great draughtsmen have excelled, and not by "life-like" relief, or even a sophisticated exposition of anatomical details at the expense of character. Can it be seriously maintained that a masterly sudden grasp of true formal character can be developed in a student by a system in which he patiently spends many days and weeks in stippling into plastic appearance one drawing which has originally been "laid in" by a mechanical process?