measuring both his figures and his animals. Students who desire to follow out the higher branches of figure drawing would do well to consult Mr. John Marshall's "Anatomy for Artists," Mr. J. A. Wheeler's "Book of Anatomy," Sir C. Bell's "The Anatomy and Philosophy of Expression," J. C. Lavater's "Physiognomy," or Le Brun's "Passion of the Soul."

Ex. 20.

Costume and Drapery.

THE delineation of costume correct in all its details is mainly a matter for the fashion artist, who draws from a model of the material itself, after the manner of the student of freehand drawing. It has already been recommended as a good plan to draw the human skeleton, then draw it covered with muscles and flesh, and then with clothing. The artist proper is not expected to draw in every detail of an elaborate production by a costumier—say by Worth, of Paris. What he has to do is to draw his idea of any costume or clothing-how the whole "get-up," as it were, strikes him. The pen-andink artist very properly does not bother himself about details in this respect; his object is to represent costume and drapery by lines which explain and give the action of the body underneath.

The student who follows the plan laid down in these pages of comparing the result of what he attempts to represent with the manner in which competent draughtsmen represent the same or a similar thing will soon discover that he has many alternatives. Different artists have different methods of disposing their lines, and it is open to every artist to invent new methods for himself. The clothing in Exs. 2, 10, 14, 16, 19, 24, and 26 exhibits a variety of expedients in technique. One artist may use tint,

another outline, another silhouette, another shading, and other varieties of treatment in the use of line and wash.

For costumes of a historical or fancy character the artistillustrator who has not the material in front of him must seek his models from some of the numerous publications which deal by illustration and description with these subjects, such as the works of Planché or other historian of

Arrangement, Invention, Composition,

Grouping.

WHEN We talk of a design we usually mean a figure or subject drawn in outline, without relief being expressed by light and shade. The word "design" is frequently used in the sense of a "study" or "sketch;" that is to say, either the first draft of the picture about to be drawn, or some sketch intended to aid in the composition of a drawing. All penand-ink artists and painters make "studies," or "sketches," or "impressions." They may be backgrounds, foregrounds, faces, figures, trees, plants, animals-anything, in fact, which is meant ultimately to find its way into some drawing or other. Not a few of the pen artists of to-day, the gifted amongst the others, are desperate "cribbers" or appropriators of the work of others. They may plagiarise a background or a foreground, a figure or a face, a bit from this drawing and a bit from that. In fact, it is possible by judicious "cribbing" for one who cannot draw a line to make a respectable drawing with a pair of scissors and paste. Such an amalgam or patchwork picture would be made up of bits-a figure from here, a background from there, and so on-clipped from different men's drawings, then pasted together, and either first transferred by tracing to another sheet of paper or reproduced, as it is, by process engraving.

The novice, it may again be mentioned, who bewails his incapacity must not imagine that a finished pen-and-ink drawing is everything that it seems. Pen-and-ink artists usually work from studies, and quite commonly they

introduce into their drawings, not one, but several items originally drawn by other artists. Men must naturally base their work to some extent upon that which has gone before, and hence the meanest of aspirants may accordingly take heart of grace. It is equally open to the novice as the pen-and-ink artist of established reputation to glean the illustrated papers-Continental, English, Americanand to provide himself with photographic reproductions of Academy, the different National Gallery and Salon pictures. If he is not a genius, and lacks the independence and the originality to make all his studies from Nature or his own. invention, he will possibly imitate and copy; in doing so he may console himself, because it would not be an easy matter to find any considerable number of pen-and-ink artists who do not do the same systematically. There are pen-and-ink artists of repute who could not draw decently a chair, if you put one in front of them, and furnished them with pencil and paper. Others, apart from the assistance given to them by their "studies" or their scrap-books, would be unable to draw a face, or a figure, or a room, or a landscape, or anything else showing artistic quality. It is a great advantage to be able to do without such subsidiary aids, but, on the other hand, there is no disguising the fact that scarcely one pen artist in a dozen, in the earlier stages of the work certainly, has ever succeeded in being his own inventor and draughtsman at the same time.

Sir Joshua Reynolds, speaking of painters-and the remarks apply to pen artists also says: "When they conceived a subject they first made a variety of sketches, then a finished drawing of the whole, after that a more correct drawing of every separate part-head, hands, feet, and pieces of drapery; then they painted the picture, and, after all, retouched it from life. The pictures thus wrought