may be, never moves or stands or sits, in these degenerate days, with exactly the same freedom as when draped; action or pose is always different--not so much from a sense of mental constraint as from the unusual liberty experienced by the limbs, to which the muscular action invariably responds when the body is released from the discipline and confinement of clothing. "The picture having been thus determined, the model is called in, and is posed as nearly as possible in the attitude desired. As nearly as possible I say, for, as no two faces are exactly alike, no two models ever entirely resemble one another in body or muscular action, and cannot, therefore, pose in such a manner as exactly to correspond with either another model or another figure--no matter how correctly the latter may be drawn. From the model the artist makes the careful outline, in brown paper, a true transcript from life, which may entail some slight corrections of the original design in the direction of modifying the attitude and general appearance of the figure. This would be rendered necessary, probably by the bulk and material of the drapery. So far, of course, the artist's attention is engaged exclusively by 'form,' 'colour' being always treated more or less ideally. The figure is now placed in its surroundings, and established in exact relation to the canvas. The result is the first true sketch of the entire design, figure and background, and is built up of the two previous ones. It must be absolutely accurate in the distribution of spaces, for it has subsequently to be 'squared off' on to the canvas, which is ordered to the exact scale of the sketch. At this moment, the design being finally determined, the sketch in oil colours is made. It has been deferred till now, because the placing of the colours is, of course, of as much importance as the harmony. This done, the canvas is for the first time produced, and thereon is enlarged the design, the painter re-drawing the outline--never departing a hair's breadth from the outlines and forms already obtained--and then highly finishing the whole figure in warm monochrome from the life. Every muscle, every joint, every crease is there, although all this careful painting is shortly to be hidden with the draperies; such, however, is the only method of insuring absolute correctness of drawing. The fourth stage completed, the artist returns once more to his brown paper, re-copies the outline accurately from the picture, on a larger scale than before, and resumes his studies of draperies in greater detail and with still greater precision, dealing with them in sections, as parts of a homogeneous whole. The draperies are now laid with infinite care on to the living model, and are made to approximate as closely as possible to the arrangement given in the first sketch, which, as it was not haphazard, but most carefully worked out, must of necessity be adhered to. They have often to be drawn piecemeal,