According to legend, Veronica was one of the women who met Jesus on the way to Calvary; and, as he was sinking, overpowered by fatigue, offered him her handkerchief to wipe the sweat from his brow; when the divine features were impressed upon the cloth. The picture has been frequently reproduced both in painting and engraving. The picture herewith reproduced is from the painting of Gabriel. Max, a German artist, born 1840.

Poses by Lucy Harris, under direction of E. V. Sheridan, especially for Werner's Magazine.

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[Photographs by Newman, N. Y.]

PERFECT illustrative pose is not only expressive of and illustrative to the text, but has dramatic pictorial value, and conforms in outline and intent. to laws of physical expression. Such poses WERNER'S MAGAZINE submits herewith. If you plan to reproduce these pictures, remember that only as the spirit is caught and again embodied, will the result be satisfactory. The task is easiest, if the lines be read by one artist, a curtain lifting at each illustrated line to show a model draped and posed in tableau. The reader who would in her own person reproduce these instants of rest, must be able to reproduce also that transition of action which in each case built up the moment pictured-a far more difficult task.

Exact reproduction of drapery is seldom possible. Gravitation takes care of drapery, its effect being modified by swing of action. By the disposition of drapery suggestion of rest or action is heightened. Bear in mind, in the draping of any pose, a few general rules, and be always ready to recognize exceptional occasion. Folds of stuff, beautiful in themselves, are suitable dramatically only when they seem part of or occasioned by the pose, or the action which climaxed in the pose. They are of value pictorially when the beauty of their line enhances the harmony of the pose, adding to that suggestion of true and sure balance of all parts which is a chief factor in the artistic worth of the pose. Do not allow folds about the feet to obscure a suggestion, at least, of the disposition of the feet, and of the balance and poise of the figure upon the feet. That just adherence of the pose to the great principles of poise and balance, which is its artistic value, should never be contradicted or obscured in effect by the arrangement of drapery. A pose wherein the weight of the body is supported on one foot permits a relaxing of the unsupported side, shoulder and hip on unsupported side falling slightly, shoulder and hip of supported side being correspondingly higher. Any effect of drapery which builds up the relaxed shoulder is a mistake; any which suggests a slipping

from the dropped shoulder, or emphasizes the easy bend of the knee on the unsupporting side, becomes part of the artistic effect of the picture.

No part of the picture should be obscure, and wonders of effect can be accomplished by disposition of light. The final result for these "Rock Me to Sleep" poses should be of light falling upon the left side of the figure, thrown from the right side, a little in front. All other light effects are subordinated to this. Often a light thrown from behind the figure upon the back of the figure a little to one side, will bring out translucency of material and detail of outline, which will at once add to the pictorial and dramatic value of the pose. The presence of such light must, of course, not betray itself, nor in any way interfere with the effect of side lighting, already mentioned.

There should be no difficulty about "holding" these poses. Study the pictures carefully. Assure yourself of the disposition of the weight of the body. Level shoulders imply weight on both feet. Balance on the relaxed side is usually restored or helped by the slight tip of the head to the supported side. Gesture is usually made on the supported side. If the head falls to the unsupported side, swing of body or out-reach of gesture on the other side restores balance.

Much of the draping can be done before the instant of complete adjustment to the spirit of the pose. Such drapery as depends for effect upon move toward the pose (as in Pose I), must take care of itself at the last moment, and usually does. Before the final instant the model for Pose I stands balanced on both feet-arms hanging, the cloak, supported on the left shoulder, falling over the left arm. When the arms are uplifted, the cloak swings back, freeing the arm, its fall from the shoulder modified (as happens naturally) by the outstretched arm.

Not all readable text can be illustrated by poses. An illustrative pose can present only an instant of rest. Unless the action illustrative of the text offers such moments of rest, which shall in themselves be of picture value, and illustrative value too, the text is not suitable for illustration by posing. Stanzas IV. and V. of "Rock Me to Sleep" are examples of text alive in action for the reader, but destitute of material for illustrative posing.

The model must be of type and personality sympathetic to the text. She must be patient, responsive, and trained in laws of expression. Model and teacher must study text together, that lines most suitable for illustrations may be selected and general plan settled. Transition from pose to pose must be studied and practiced and the selected moment of rest brought to such perfect compliance with law that it is independent of impulse or chance. This is at once the most interesting and longest part of the work. Thereafter each pose is draped. The model is now ready for the camera. The photographer dictates lighting and selects view of each pose. Variety and pictorial effect may demand changes in fall and disposition of drapery, but never in pose itself, nor should disposition of light or drapery interfere with a suggestion of progression from pose to pose. Mechanical details settled for the camera, the text is read, quietly, the model responding in action. This is the crucial moment, for now for the first time all elements in illustrative posing are focused for result, and the precious and elusive "spirit" of the text shines forth to be fixed in picture.

So precious is this spirit that, at the instant when the pose is most fully vitalized by its power, the picture should be "taken" even though, as often happens, at that special moment a bit of drapery flies out of place, a lock of hair slips, or light shifts. It is truly a rare triumph of preparation, efficiency and luck, when the spirit leaps to life unaccompanied by some mechanical fault. Pictures resulting from such moments are worshipful indeed. Yet, when in that now far-off moment before the camera a spirit, really alive, vitalized for a splendid instant, a body responsive in every fibre, the public looking now upon the pictured pose will know good work and will care.