It is not to be supposed that able draughtsmen work, or need ever have worked, consciously in this manner. It is, indeed, the virtue peculiar to the artist, as interpreter of form, that he instinctively comprehends the real elemental character of complex forms, whilst the majority of people (on the showing of their own drawings) entertain but confused or _no_ ideas of them. It is because a good drawing reduces the chaos of ideas supplied by the raw material of nature, to one intelligible manner of seeing it, that all lovers of nature welcome it with joy. It is this process of discovery and interpretation that marks the essential difference between art and mechanical drawing or reproduction. Art gives intelligible ideas of the forms of nature, mechanism attempts to reduplicate their aspects. There are some who hold that drawing is not exclusively a matter of interpreting form, but that great artists have their own "personalities" which they infuse into their work. They will ask, How is it otherwise to be explained that two equally good draughtsmen will invariably make different drawings of the same figure? Is it not for the same reason that one man will divide up a row of eight marbles into groups of four, and another into five and three? The subjectivity of experience governs the different conceptions that good draughtsmen will form of the same object. Accordingly as a draughtsman feels form so will he draw it, and it is only because our sense apparatuses are more or less similarly constituted that we can understand and appreciate one another's conceptions.