“Let you see my work!” cried the painter in agitation. “No, no! it is not perfect yet; something still remains for me to do. Yesterday, in the dusk,” he said, “I thought I had reached the end. Her eyes seemed moist, the flesh quivered, something stirred the tresses of her hair. She breathed! But though I have succeeded in reproducing Nature’s roundness and relief on the flat surface of the canvas, this morning, by daylight, I found out my mistake. Ah! to achieve that glorious result I have studied the works of the great masters of color, stripping off coat after coat of color from Titian’s canvas, analyzing the pigments of the king of light. Like that sovereign painter, I began the face in a slight tone with a supple and fat paste--for shadow is but an accident; bear that in mind, youngster!--Then I began afresh, and by half-tones and thin glazes of color less and less transparent, I gradually deepened the tints to the deepest black of the strongest shadows. An ordinary painter makes his shadows something entirely different in nature from the high lights; they are wood or brass, or what you will, anything but flesh in shadow. You feel that even if those figures were to alter their position, those shadow stains would never be cleansed away, those parts of the picture would never glow with light. “I have escaped one mistake, into which the most famous painters have sometimes fallen; in my canvas the whiteness shines through the densest and most persistent shadow. I have not marked out the limits of my figure in hard, dry outlines, and brought every least anatomical detail into prominence (like a host of dunces, who fancy that they can draw because they can trace a line elaborately smooth and clean), for the human body is not contained within the limits of line. In this the sculptor can approach the truth more nearly than we painters. Nature’s way is a complicated succession of curve within curve. Strictly speaking, there is no such thing as drawing.--Do not laugh, young man; strange as that speech may seem to you, you will understand the truth in it some day.--A line is a method of expressing the effect of light upon an object; but there are no lines in Nature, everything is solid. We draw by modeling, that is to say, that we disengage an object from its setting; the distribution of the light alone gives to a body the appearance by which we know it. So I have not defined the outlines; I have suffused them with a haze of half-tints warm or golden, in such a sort that you can not lay your finger on the exact spot where background and contours meet. Seen from near, the picture looks a blur; it seems to lack definition; but step back two paces, and the whole thing becomes clear, distinct, and solid; the body stands out; the rounded form comes into relief; you feel that the air plays round it. And yet--I am not satisfied; I have misgivings. Perhaps one ought not to draw a single line; perhaps it would be better to attack the face