porcelain, furniture, lace and needlework, costume, gold and silversmiths' and metal-work generally. For those who care to pursue these subjects in a wider field, the following works may be recommended:-Owen Jones's "Grammar of Ornament," or L. Forman Day's text-books of "Ornamental Design."

Ex. 25.

Sky, Sea, and Ships.

A GLANCE at many pen-and-ink drawings will show that the sky is often represented merely by а straight line. (Ex. 20). Geographically speaking, the horizontal or skyline is that which divides the sky from the sea or land. As a matter of fact, it is impossible for the pen-andink artist to deal properly with the sky; it is out of his sphere. Hence he generally indicates it by drawing white paper to repreThere is considerable The student should

a horizontal line and allowing the sent the rest, or by putting in tint. difficulty in dealing with the clouds. understand cloud forms, as the cirro-cumulus, etc., with their modifications. For artistic purposes the clouds, if represented, should be usually grouped in masses, and not scattered all over the sky (Ex. 9). An interesting sky is usually called a cloudscape, but if it is at all complicated the best of pen-and-ink artists leave it alone-many of them, indeed, in such a case resort to the somewhat mean artifice of tint, a few representative lines, or compromise by falling back on the simple horizontal line. The direction of the streaks of rain should be noted (Ex. 23), and such phenomena of nature as fogs are best treated in black and white after the

manner of Exs. 11, 19 and 24. A simple sunset sky is comparatively easy to represent by a few simple lines near the horizon. Of course, where there are bright clouds or sunrays, it is necessary to make the sky dark enough in order that they may have their proper value; in such a case, the highest light should always be put in first. A mass of white (Ex. 20) suffices for sunshine, and moonlight is fairly well depicted after the manner of Ex. 24.

Where a river scene is depicted, the conventional habit is to bring in a white sail and its reflection. Water is not difficult to represent (Exs. 6, 9, 15, and 25); but in studying it the artist must remember that he must allow for the reflection of the sky and the objects on land, and the power of refraction (or the way the course of light varies when it passes from the atmosphere into something else) possessed by water. An artist rarely represents the shadow proper of an object-say a boat-on water. He is content with giving its reflection (Exs. 6 and 27). Reflections in perfectly smooth. water appear always the same depth below as the height of the object above the surface of the water (Ex. 15); in other words, the boat or other object in such a case should appear as if exactly reversed downwards below the surface of the water. Should the water be rough, the reflection is elongated or drawn out along the surface of the water, indistinct and dotted-looking (Ex. 15). Wet

Ex. 26.

sand reflects objects in the same way as the surface of smooth water.

For drawing marine subjects, the student should naturally understand ships and the sea;

he should make his studies about dockyards, wharfs, seacoasts and cliffs. Unless not only the construction of boats, but the effect of the water and wind on them, is a familiar matter to the draughtsman, no amount

Ex. 27.

of hints will avail. Rain (Ex. 25), wind, fog (Ex. 26), choppy seas, snow, and the like are in the main only suggested. The study of such phenomena in nature is the best lesson possible.

Trees, Rocks, Grass, Fields, Etc.

THERE are any amount of artifices by which the pen artist may represent natural objects. Tricky methods are not to be systematically adopted, although a resort to such is often called "style." For drawing trees some botanical knowledge is useful. The usual practice is to study them without their leaves; as a matter of fact, the pen artist ignores the leaves and draws the stem, unless he is designing a Christmas-card or some special floral decoration; otherwise, suggestion and not detail is sufficient. Anyone who looks at a tree in Nature will find that it masses more or less pyramidally in branches or leaves. It is the same with a number of trees. All that the pen artist can do with any effectiveness is to draw their general shape as they appear at first sight (Ex. 28 and 29.) He must remember, however, that a tree is not to be made to look flat. Beginners have a lamentable tendency to forget that there are branches of the tree they may be drawing coming towards them. Such branches are the most difficult to draw, more especially if the tree or trees are in the foreground of your picture; even in Nature the trees in the distance look flat, and should be so drawn in pen and ink.

Rocks and masses of earth are unlike water, rain and wind-fixed. Besides, they are very varied in form, and the utmost that can be done is to indicate them. It is a good thing to know something about the causes and composition of rocks, just as it is a good thing for figure draughtsmen to know something about the anatomy of the