has the best white blotting-paper I know; and the pencils there are a dream. I am sure the directors of that firm are Drawers; for they always give you two pencils, one hard for doing noses, and one soft for doing hair.
When you have selected your committee and the 
Fig. 1 speeches are well away, the Drawing begins. Much the best thing to draw is a man. Not the chairman, or Lord Pommery Quint, or any member of the committee, but just A Man. Many novices make the mistake of selecting a subject for their Art before they begin; usually they select the chairman. And when they find it is more like Mr. Gladstone they are discouraged. If they had waited a little it could have been Mr. Gladstone officially.
Fig. 2 As a rule I begin with the forehead and work down to the chin (Fig. 1).
When I have done the outline I put in the eye. This is one of the most difficult parts of Drawing; one is never quite sure where the eye goes. If, however, it is not a good eye, a useful tip is to give the man spectacles; this generally makes him a clergyman, but it helps the eye (Fig. 2).
Now you have to outline the rest of the head, and this is rather a gamble. Personally, I go in for strong heads (Fig. 3).
Fig. 3 I am afraid it is not a strong neck; I expect he is an author, and is not well fed. But that is the worst of strong heads; they make it so difficult to join up the chin and the back of the neck.
The next thing to do is to put in the ear; and once you have done this the rest is easy. Ears are much more difficult than eyes (Fig. 4).
I hope that is right. It seems to me to be a little too far to the southward. But it is done now. And once you have put in the ear you can't go back; not unless you are on a very
