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A very superior person, reviewing the charming volume upon The Art of Silhouette, by Desmond Coke, speaks of the collecting and study of the silhouette as a quirk, and of the author as quirky. Such an attitude would, of course, apply to all and any art, if we take the stand towards the activities of man, say, of a university youth stepping on to a London platform at the beginning of his self-inflicted literary career, and doggedly determined to maintain a high reputation for knowingness from the beginning. It is like the fresh and delightful lads whom we impose upon our editorial friends as reviewers, to find them patronizing our masterpieces as quite nice. It is all very delicious and amusing. But in what tense can the silhouette be deemed a quirk ? Let us see. The art of painting begins inevitably with drawing-with expression by means of the point-the result: line. This every teacher and academy realizes and has to realize. More; every great school of painting has evolved from it. But this use of the point, or drawing, soon reaches its limitations; and the brush demands mass, or perhaps it is more correct to say that mass demands the brush. The floating of masses on to canvas or paper, with its edges holding the outline of the form, is silhouette. Silhouette, in other words, is the basis of all mass impressions; without a sense of silhouette we can utter no large and sublime moods. Yet, strange to say, the small part given to silhouette in the teaching of the art of painting in academies-indeed, more often the utter lack of it-has always struck me as extraordinary. To begin with, the student should learn to utter the thing seen in mass as early as he is taught the point. Otherwise it is as though one expected to handle an orchestra by mastering the shrill possibilities of the tin whistle. It is, by consequence, small wonder that our critic speaks of the silhouette as a quirk. As a fact, he who does not master the silhouette can never utter vast and majestic impressions in painting. Cotman, one of the supreme masters of watercolor, employed the silhouette for his masses in landscape with a skill and a beauty of handling which is the despair of the student. Yet, the moment one comes to think of it, how rare are the painters of the first rank who have not founded their mastery upon it I Nevertheless I have heard even artists ask: What is a silhouette? ... -T. P.'s Weekly, Vol. 23

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