employed by modern pen draughtsmen, but it is only one of many resources, and is used with nice discrimination. At times a cross-hatch is very desirable and very effective,—as, for example, in affording a subdued background for figures having small, high lights. A very pretty use of it is seen in the tower of Mr. Goodhue's drawing, Fig. 8. Observe here how the intimate treatment of the roofs is enhanced and relieved by the foil of closely-knit hatch on the tower-wall, and how effective is the little area of it at the base of the spire. The cross-hatch also affords a satisfactory method of obtaining deep, quiet shadows. See the archway "B" in Fig. 9. On the whole, however, the student is advised to accustom himself to a very sparing use of this expedient. Compare the two effects in Fig. 9, Some examples of good and bad cross-hatching are illustrated in Fig. 10. Those marked "I" and "J" may be set down as bad, being too coarse. The only satisfactory cross-hatch at a large scale would seem to be that shown in "N," where lines cross at a sharp angle; and this variety is effectively employed by figure illustrators. Perhaps no better argument against the necessity for thus building up tones could be adduced than the little drawing by Martin Rico, shown in Fig. 11. Notice what a beautiful texture he gives to the shadow where it falls on the street, how it differs from that on the walls, how deep and closely knit it all is, and yet that there is absolutely no cross-hatching. Remark, also, how the textures of the walls and roof and sky are obtained. The student would do well to copy such a drawing as this, or a portion of it, at least, on a larger scale, as much can be learned from it.

FIG. 11	MARTIN RICO

Methods of Tone-Making I have shown various methods of making a tone in Fig. 12. It will be observed that Rico's shadow, in Fig. 11, is made up of a combination of "B" and "C," except that he uses "B" horizontally, and makes the line heavy and dragging. The clear, crisp shadows of Vierge are also worthy of study for the simplicity of method. This is beautifully illustrated in the detail, Fig. 13. It would be impossible to suggest atmosphere more vibrating with sunlight; a result due to the transparency of the shadows, the lines of which are sharp and clean, with never a suggestion of cross-hatch. Notice how the lines of the architectural shadows are stopped abruptly at times, giving an emphasis which adds to the brilliancy of the effect. The drawing of the buildings on the canal, by Martin Rico, Fig. 14, ought also to be carefully studied in this connection. Observe how the shadow-lines in this drawing, as in that previously mentioned, are made to suggest the direction of the sunlight, which is high in the heavens. An example of all that is refined and excellent in pen technique is the drawing by Mr. Alfred Brennan, Fig. 15. The student would do well to study this carefully for its marvellous beauty of line. There is little hatching, and yet the tones are deep and rich. The wall tone will be found to be made up similarly to "A" and "H" in Fig. 12. The tone "B" in the same Figure is made up of lines which are thin at the ends and big in the middle, fitting into each other irregularly, and imparting a texture somewhat different from that obtained by the abrupt ending of the strokes of "A." This method is also employed by Brennan, and is a very effective one. A good example of the use of this character of line (unknitted, however) is the drawing by Mr. Leslie Willson, Fig. 16. The irregular line "C" has good possibilities for texture, and the wavy character of "D" is most effective in the rendering of shadows, giving a certain vibration to the atmosphere. "E" and "F" suggest a freer method of rendering a tone; while "G" shows a scribbling line that is sometimes employed to advantage. The very interesting texture of the coat, Fig. 17, is made with a horizontal line having a similar return stroke, as may be noticed where the rendering ends. There are times when an irresponsible sort of line is positively desirable,—say for rough foreground suggestion or for freeing the picture at the edges.

FIG. 12	C. D. M.

FIG. 13	DANIEL VIERGE

FIG. 14	MARTIN RICO

FIG. 15	ALFRED BRENNAN

FIG. 16	LESLIE WILLSON

Outline I have invariably found that what presents the chief difficulty to the student of pen and ink is the management of the Outline. When it is realized that, by mere outline, one may express the texture of a coat or a tree or a wall without any rendering whatever, it will be seen that nothing in pen drawing is really of so much importance. Notice, for example, the wonderful drawing of the dog in Fig. 34. Again, if a connected line had been used to define the corners of Railton's buttresses in Fig. 7 all the texture, would have been destroyed. Instead of this he has used a broken outline, sometimes omitting it altogether for a considerable space. On the ledges, too, the lines are broken. In Rico's drawing, Fig. 11, all the outlines may be observed to have a break here and there. This broken line is particularly effective in out-door subjects, as it helps to suggest sunlit atmosphere as well as texture.

FIG. 17	DRAWING FROM A PHOTOGRAPH

Architectural outlines, however, are not particularly subtle; it is when we come to render anything with vague boundaries, such as foliage or clouds for example, that the chief difficulties are encountered. Foliage is an important element of landscape drawing and deserves more than passing consideration. To make a successful rendering of a tree in pen and ink the tree must be first well drawn in pencil. It is absolutely impossible to obtain such a charming effect of foliage as that shown in Mr. Pennell's sketch, Fig. 18, without the most painstaking preparation in pencil. The success of this result is not attributable merely to the difference in textures, nor to the direction or character of the line; it is first of all a matter of good drawing. The outline should be free and subtle so as to suggest the edges of leafage, and the holes near the edges should be accented, otherwise they will be lost and the tree will look solid and characterless. Observe, in the same drawing, how Mr. Pennell suggests