men are easily first. As a matter of fact, the modern school of Pen Drawers in England and America is largely an echo of the achievements of their foreign fellow-artists. But all of the artists named have their copyists and imitators.

Drawing.

It is not the purpose of this book to teach the elements of drawing. One of the best methods of acquiring the art has been fully set forth, but for those who do not prefer to follow that track, schools are at hand where the ordinary rules may be learned. All training in drawing resolves itself in the early stages into a vigorous practice of straight and curved lines. Outline drawing is an attempt to represent on a flat piece of paper the form and shape of any "copy" or object that may be set before the student. The great thing is to secure correctness of eye and expertness of hand. How to introduce shading or shadow is the next step. There are numerous publications specially designed to afford, in an understandable way, information on these branches. Thus, what is called the "South Kensington Drawing Book," published in series by Blackie and Sons, and selected by Mr. Poynter, R.A., Director of the Science and Art Department, is excellent. Each section takes up a different subjectfreehand, model-drawing, the hands, feet, head, face, perspective, shading, landscape, and so on-all are drawn in every variation, so that the student has no lack of guidance. Excellent as these 66 aids" are, many of our competent artists allege that the severe training of the Royal Academy Schools, and the course of instruction prescribed by the Science and Science and Art Department at Kensington, besides stifling originality in the student, does not result in the "bringing out" of much first-class talent. This, if true, is the best incentive to the beginner who is

most

loath to work, or attempt to work, independently and direct from Nature. The constant use of a drawing-board, a T-square, and a pair of compasses, however excellent for securing proficiency in a mechanical draughtsman, cannot be nearly so useful as the student's own direct efforts. By trying to draw in this way he is trusting to his eye and intellect, and developing his powers of observation. academical system is merely learning by rote and routine.

The

To study drawing from the model-living or lay-is excellent practice. Any passer-by in the street, or any occupant of a room, is a model to the observant student. It is, of course, difficult to draw from the human model at first. One means of progressing in this branch of work is to procure wooden models and charts from any dealer in artist's materials. The lay model may be posed according to any attitude it is desired to depict.

Skill in the technical work of drawing must by no means be under-valued. The great aim for the beginner is to cultivate the power of expressing his subject in as few and meaning lines as possible. Amateurs are fatally fond of muddling their work and their paper by scores of lines where a few only are wanted. Many of our best black-andwhite artists themselves are not so skilled in technique as most people imagine; if they had waited until they had become perfect executants in this respect, they possibly would have been mute and unheard of yet. They compromise by simply borrowing or appropriating what they themselves are unable to draw. It may be a background, or a foreground, or figures, or animals—anything, in fact. They know where to find what they want, and many of them do not scruple to help themselves. Anyone who keeps his eye on the illustrated periodicals of different countries will soon observe this widespread. It is only fair,

indeed, to warn beginners that many fine pen-and-ink sketches are not exactly what they seem. Trickery, nevertheless, is not to be commended. It destroys individuality in every case where it is carried too far; in others, it is often the making of the draughtsman. A careful examination of the work of many painters and artists, soon reveals the fact that their technique would not establish any reputation for them; frequently it is some other feature the work possesses which attracts attention to it, such as wit, vulgarity, or specialism of one sort or another. These "secrets of the prison house" are communicated mainly with the view of preserving the courage of the beginner.

Later, under suitable headings, special details will be given on the important subjects here dealt with.

Painting, Etching, Pen-Drawing, and Photography.

IT has already been explained that as Nature has no lines, what the artist does is to make a form bounded by lines of any object which he sees in the natural world. Now, a picture or sketch, besides being composed of lines,may be composed of masses. For instance, in a painting, although lines are used at first to "block in" or make the rough preliminary sketch in pencil or crayon, the artist gets rid of them when he puts on his colours. The pencilsketch acts as a guide. The object then is, like Nature, to present a scene which has no lines, and to render the form of the subject by masses cf colour and hues. But in a penand-ink drawing, or an etching, or a photograph, the work appears in monochrome, or only one colour-the variations of black-and-white (Ex. 9). In such cases it would be impossible to represent a natural object in masses or spaces of colour. It is necessary to do the best you can with the black-and-white medium at your service. A pen-and-ink drawing, an etching or a photograph, could not show us the scarlet blush on a child's cheek or the blue of the sky— such can only be suggested by an adroit use of black and white. In Ex. 9 the sky is possibly blue. The painter would represent it in a gradation of blue colours; the blackand-white artist, not having a palette of colours, can only hint at it. Thus, in this respect, pen-and-ink drawing has its drawbacks and limits.