real life! Whatever there may be defective here, however, as regards the true foundation of happiness, is surely not attributable to the art itself; but to the necessity under which too many labour, of courting public favour, and sometimes of sacrificing the dignity of their profession to its pecuniary success.
Nor is it an object of desirable attainment to women in general, that they should study the art of painting to this extent. Amply sufficient for all their purposes, is the habit of drawing from natural objects with correctness and facility. Copying from other drawings, though absolutely necessary to the learner, is but the first step towards those innumerable advantages which arise from an easy and habitual use of the pencil. Yet here how many stop, and think their education in the graphic art complete! They think also, what is most unjust of drawing, that it is only the amusement of an idle hour, incapable of producing any happier result than an exact fac-simile of the master's lesson. No wonder, that with such ideas, they should evince so little inclination to continue this pursuit on leaving school. For though it is a common thing to hear young ladies exclaim, how much they should like to sketch from nature, and how much they should like to take likenesses, it is very rarely that we find one really willing to take a hundredth part of the pains which are necessary to the attainment even of mediocrity in either of these departments. That it is in reality easier, and far more pleasant, to sketch from nature, than from another drawing, is allowed by all who have made the experiment on right principles; which, however, few young persons are able to do, because they are so seldom instructed in what, if I might be allowed the expression, I should call the philosophy of picture-making, or, in other words, the relation of cause and effect in the grouping and general management of objects,
