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PEN DRAWING 
 
 AND PEN DRAUGHTSMEN 
 
Digitized by the Internet Archive 
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 https://archive.org/details/pendrawingpendra00penn_2 
 
PEN DRAWING AND 
 PEN DRAUGHTSMEN 
 
 THEIR WORK AND THEIR ME 
 THODS A STUDY OF THE 
 ART TO-DAY WITH TECH 
 NICAL SUGGESTIONS 
 BY JOSEPH PENNELL 
 
 LECTURER ON ILLUSTRATION AT THE 
 SLADE SCHOOL UNIVERSITY COLLEGE 
 
 MACMILLAN AND COMPANY 
 
 LONDON AND NEW YORK 
 
 MDCCCXCIV 
 
COPYRIGHT 
 
 BY 
 
 JOSEPH PENNELL 
 18S9 
 
 First Edition printed i88q ; Second Edition printed iSgp 
 
TO 
 
 A. W. DRAKE 
 W. LEWIS FRASER 
 CHARLES PARSONS 
 RICHMOND SEELEY 
 
 FOUR MEN WHO SHOULD BE 
 HONOURED FOR THEIR EN- 
 COURAGEMENT OF PEN DRAW- 
 ING AND PEN DRAUGHTSMEN 
 IN AMERICA AND ENGLAND 
 
 I 
 
 DEDICATE THIS BOOK 
 
PREFACE TO THE FIRST EDITION 
 
 W \0 PULAR illustration is the product of the nineteenth century. It has never 
 been treated seriously., and to-day it covers such a wide field and is so many- 
 
 sided that it is impossible to discuss more than one of its phases at a time. 
 
 The best illustrators are as conscientious in their profession as the best painters or 
 sculptors. But with the enormous growth of., and demand for., illustration., draughts- 
 men have appeared who care nothing at all for their art, whose only desire apparently 
 is to produce more than any one else, and who threaten, owing to the cheapness and 
 rapidity with which they work and the avidity with which certain publishers seize 
 upon the results, to drag illustration down to their own low level. I have 
 
 endeavoured to show what a high standard the best illustration reaches, and to 
 
 give, for purposes of study, the most notable examples from all over the world. 
 
 I am afraid my book may not appeal very strongly to the book-lover, since in it 1 
 have transgressed many of the established laws of book-making, and thought more of 
 facing the text with the appropriate illustration than of the size and shape of the 
 page. In some cases the actual appearance of the drawing as book decoration is very 
 unpleasant to me. But it was a case of sacrificing either practical examples for study, 
 or else here and there the decoration of a page. If the book is to have any value, it 
 must be of use to the student ; therefore, in certain places I have not kept to traditional 
 forms. I object as much as any one to the meaningless and senseless dotting of pictures 
 over the margin and their eccentric arrangement in the text, and I think it will be 
 realised that necessity, and not eccentricity, has occasioned any placing of the cuts in 
 other than the true decorative form. 
 
 It is also because the book is intended primarily for the student that I publish 
 much work that has been seen before, gathered from every available source and put 
 together, I hope it will be found, not in a haphazard manner, but as carefully as 
 possible. Many artists have been consulted in the selection; to many others it will 
 probably be a surprise to see their drawings here ; 1 think there are very few whom, 
 from ignorance of their work, I have omitted. I have not included examples of very 
 original men like Manet and 'Jean Beraud, for, though I admire their work as the 
 supreme expression of individuality and originality , it is only of value from the man 
 
PEN DRAWING 
 
 viii 
 
 who produces it, and the copy by the student is worse than worthless. And for the 
 same reason examples of many well-known comic draughtsmen will not be found ; their 
 reputation is based on their wit and humour which cannot be imitated, while the student 
 can learn nothing from their technique. I trust the critic may not be obliged to point 
 out that I have forgotten any well-known pen draughtsmen or important pen drawings 
 published during the last half-century , within tvhich time pen drawing has taken rank 
 as a separate art. If I have unwittingly overlooked any one, I shall be only too glad, 
 if I am allowed the chance, to insert or describe his work on a future occasion. The 
 spelling of some of the names of lesser known artists may be questioned, while there is 
 at least one man whose nationality may be wrongly given. But when artists them- 
 selves spell their names in three or four fashions, I cannot be expected to know 
 which is right ; I have tried to use the most common form. And when they are 
 continually changing their nationality , one cannot tell to what country they really 
 
 Where old reproductions have been used it has not been for cheapness, but because 
 these reproductions were the best made at the time the drawings were published, and 
 because if I had commissioned — and Messrs. Macmillan were willing to order — 
 drawings from artists of established reputation, it is extremely doubtful, even for 
 this purpose, if they would have surpassed the best work they had already done, and 
 my object has been to show their best work. While in the making of the book I have 
 had the interest and enthusiasm, generosity and encouragement of the leading publishers 
 with very few exceptions, these few to my great surprise have come altogether from 
 France, and I have no hesitation in saying that they have prevented my including 
 either any work of certain artists or that which I specially desired. 
 
 Many critics and literary men have allowed themselves to be carried away in praise 
 of drawings which artists cannot respect, and have even devoted volumes to the work of 
 men and women whose names are not in the following pages. But my book is technical, 
 and unless a drawing possesses technique I care not a jot or a tittle for its intellectual, 
 social, or spiritual qualities. Without technical merit such work is useless for study. 
 I have made no endeavour to estimate the value of the drawing of the artists represented, 
 nor to claim for them any place among the immortals . I believe much of the work will 
 live and will be known as long as there is any real love for art. But since all the 
 greatest men here represented, with one or two exceptions, are living and working to-day, 
 it is impossible to form any estimate of the place they will occupy in the future, nor is it 
 my business to do so. 
 
 In the preparation of the book, instead of having, as in most cases, authorities to 
 consult and acknowledgment to make for information gained from them, I can only say 
 that there are no authorities on my subject, this indeed being one of my reasons for 
 writing. No works of importance j so far as I have been able to discover, have been 
 written upon pen drawing since the introduction of process which has made it into a 
 
 ' the text of this book zvas entirely finished befiore Prof. E. Knaufpt's articles on illustration began to 
 appear in the Art Amateur in 1889. 
 
PREFACE TO THE FIRS E EDEEION 
 
 IX 
 
 separate and distinct art. However, I have deep acknowledgments to make to artists,— 
 the real but usually unconsulted and ignored authorities, — to publishers, and, above all, 
 to my wife. 
 
 This book, which is the outcome of Mr. Richmond Seeley's offer to publish a small 
 handbook on pen drawing, would never have appeared in its present form, had not Mrs. 
 Pennell devoted much time to the writing from my dictation of the text. She has managed 
 all the correspondence in connection with it, and relieved me of the drudgery of the work. 
 Without her aid and encouragement, the almost insurmountable difficulties, altogether 
 unforeseen but encountered at every step, could not have been overcome. 
 
 I must next thank Messrs. Macmillan, especially Mr. Frederick Macmillan , for 
 their generosity in' allowing the illustrations to be so complete, for their permission to 
 use or reproduce drawings which have appeared in their publications, and for their 
 willingness to reject process block after process block, the most imperfect of which perhaps 
 not half a dozen people in the world would have criticised. 
 
 The Century Company, my friends and patrons — for publishers to-day are the 
 greatest art patrons who ever lived, — have freely lent me all the drawings I wanted 
 from their unrivalled collection. In this matter I am particularly indebted to Mr. 
 Charles F. Chichester, the assistant treasurer, and Messrs. A. W. Drake and W. 
 Lewis Fraser, the art editors. 
 
 Mr. David Douglas of Edinburgh has lent me the plate by Amand- Durand 
 after Mr. George Reid. Messrs. George Routledge and Sons have also contributed 
 the blocks after Randolph Caldecott engraved by Mr. Edmund Evans. Messrs. Harper 
 have given me permission to use the two drawings by Messrs. Abbey and Parsons from 
 She Stoops to Conquer ; and Mr. Charles Parsons, the late head of their Art Depart- 
 ment, was good enough to select drawings and have electros under his supervision made 
 from them in New Fork. Messrs. Carrere and Hastings undertook the printing of an 
 edition of Eluni s drawing from their book on the Ponce de Leon Hotel ; while Messrs. 
 Cassell, Charles Scribner s Sons of New Fork, Bradbury, Agnew and Co., and R. 
 Seeley and Co., have furnished me with editions and plates and blocks frotn their 
 different publications. As to the great mass of French, German, Italian, and Spanish 
 work, with the exception of original drawings, it was obtained through the Electrotype 
 Agency, the proprietor of which, Mr. D. G. Nops, has on several occasions gone to 
 much trouble in obtaining certain electros, as well as in other matters. 
 
 But after all there would be no illustrated publications were it not for artists and 
 engravers, and from them I have received directly more sympathy and substantial 
 assistance than I ever could have expected. It is useless to specify the many interesting 
 letters I have received from all quarters of the world. But when in several cases 
 
 these letters have been accompanied by original drawings as freely given as they have 
 been gratefully accepted, I hardly know how duly to acknowledge the kindness. On 
 commissioning Martin Rico to make a drawing, he gave me with it another quite as 
 important — the one which begins the chapter on his work — simply, as he put it, as a 
 petit souvenir. Casanova, refusing to make a drawing at any price, sent instead what 
 he called a little sketch ; it appears as a full-page photogravure. I must also specially 
 
 b 
 
X 
 
 PEN DRAWING 
 
 acknowledge my indebtedness to Messrs. Alfred Parsons, E. A. Abbey, IVirgnian, IV . 
 
 L. Wyllie, George Reid, David Murray, Mackmurdo and Horne, Harry Eurniss, 
 Linley Sambourne, and the artists of Pick-Me-Up ; while I must at least refer to the 
 kindly aid and interest of Adolf Menzel, Vierge, Dantan, Mme. Lemaire, Messrs. W. 
 
 M. Rossetti, Howard Pyle, Charles Keene, and J. G. Legge, the latter having attended 
 to many diffcult business details for me in Paris. But the list is endless. 1 have 
 already tried to thank each individually ; I am glad to be able to thank again all 
 collectively . 
 
 Messrs. Dalziel with the greatest possible generosity- — a generosity which can only 
 be appreciated when I say that these drawings were lent solely for the purpose of 
 endeavouring to surpass their own wood -engravings, in which I have succeeded — 
 furnished me with the original drawings by Sir Erederick Leighton, Messrs. E. M. 
 Brown and Poynter, which were published in their Bible Gallery. Messrs. Dalziel 
 and Swain have not only given me much invaluable information about the greatest period 
 of English illustration with which they were so intimately associated, but Mr. Swain 
 has also furnished me with the photographic negative from which the Sandys plate 
 was ?nade. As to the photo -engravers who have been particularly successful in the 
 reproduction of drawings, I have sought to give them due credit where their work 
 appears. 
 
 I have not space to mention all the collectors 1 have bothered, all the collections 
 I have waded through; but 1 must at least allow myself the pleasure of again thanking 
 Mr. y. P. Heseltine for lending me the drawing by Frederick IValker, Mr. Edmund 
 Gosse for his book plate by Mr. Abbey, and Mr. Hall for the drawing by the same 
 artist from She Stoops to Conquer. The authorities of the British and South 
 Kensington Museums will probably remember me as one who has given them an 
 immense amount of muscular exercise in the mere carting of bound magazines ; the 
 fact that they not only never rebelled, save on one occasion in the British Museum, 
 but were willing to aid me by other thaji physical means, calls for my very best 
 thanks. 
 
 I must also explain that when I say that American printing is the best, 1 refer 
 especially to magazine work — that is the rapid printing of large editions. But this 
 would not be true in speaking of the printing of a book like this. Messrs. Clark have 
 taken the greatest possible pains with it, and have been completely successful. I do not 
 believe it could have been better printed anywhere. 
 
 Westminster, August 1889 . 
 
PREFACE TO THE SECOND EDITION 
 
 / T is always a delight and a pleasure to bring out a new edition of a book. It 
 is sometimes a triumph^ a positive proof., in the case of a purely technical work like 
 this, that one' s point has been proven, one' s arguments accepted. 
 
 But apart from this, a new edition affords one the opportunity to correct blunders 
 and fill up omissions. 
 
 In the first edition the ?nis takes were 7nany, in facts, not in theories, and there were 
 ynore notable artists 07nitted than ad77iitted, almost. However, no 07ie pointed these things 
 out, and it has been left for 7ne to correct and amplify 772y facts, and hunt up new and 
 old draughts77ien. 
 
 I have seen no reason to change 77iy views regarding the old 7nen. Since the first 
 edition of this book appeared I have revisited the Print Rooms of abnost all the great 
 Galleries, and I find that I was right; and I wish for stro7iger argU77ients than cheap 
 sneers and poor sarcasm fro7n ano7iymous writers to prove that I was wrong. I said, 
 and I still say, that Purer, Rembrandt, Bellini, and Holbein were the greatest pen 
 draughts77ien a77iong the old 777en, though at tbnes Mantegna, Botticelli, Car7nagnola, 
 and, upon a few rare occasions, Raphael, when he took the trouble, approached the7n. 
 But none of tlmn equalled the best men. Later on Van Eyck, Jan Wierix, and Cana- 
 letto 77iade so77ie atte777pts, 77iostly in the wrong direction. And with Breughel began, I 
 hnagine, the sche77ie of producing bad work for the edification of an ignorant and 
 ad7niring public. 
 
 One charge 7nade against the book was that it was written by a working pen 
 draughtsman. But since its appearance all intelligent art criticis7n has co7ne to be 
 written by artists in F^ngland and, to a great extent, in France also ; while the fact 
 that I a777 bri77ging out a new edition shows just the effect of the e7ivy, spite, and malice 
 of those who railed against it, whose chief cause of complaint was that they never 
 thought of writing the book themselves. Several other people, however, at once proceeded 
 to do so; and sbice 1889 one large treatise has appeared by Mr. C. G. Harper, English 
 Pen Artists, in which he has done 777e the ho7iour of imitating the form and get-up of 77iy 
 own so closely that it might be taken for an appendix by a7iy one who was co7npletely 
 ignorant of the subject. Mr. Hamerton has also reprinted his Encyclopaedia Britannica 
 articles on Drawing and Engraving, and Mr. Hutchinson has issued Some Hints on 
 Learning to Draw. 'There has also been the usual output of 7nonographs on little and 
 big people, 7nanuals which should completely educate the artless, and all that sort of thing. 
 On the other hand. Col. Waterhouse published a tnost useful and interesting treatise 
 
PEN DRAWING 
 
 xii 
 
 on The Photographic Reproduction of Drawings, in which mechanical engraving is 
 most practically and intelligently treated. Mr. Gleeson White' s chapter on Drawing 
 for Reproduction in Practical Designing is also most sensible and instructive ; while the 
 Ex Libris and the Books about Books series both contain volumes on Illustration. In 
 France., Les Arts de Reproduction has been issued., but it is not of much value., being 
 overburdened with the author s., M. Jules Adeline' s., own drawings., which are quite 
 artless. 
 
 A series of articles, signed by various people, in the Studio, have been full of 
 practical information. In America Professor Ernest Knaufft has been writing on Pen 
 Dr'xnemg for years : in fact, his articles began to appear before this book was issued, 
 but unfortunately I never saw them at the time. Therefore, whether the result of my 
 book or not, a literature of Illustration has arisen during the last four years ; and, if it 
 progresses in the future at the same rate, threatens to assume alarming proportions. 
 Charles Scribner s Sons have also published two volumes on French and American 
 Illustrators — they are, however, rather more pretentious than practical. 
 
 It would be impossible for me to individually thank all the artists who have 
 specially made or lent zvork for this edition. The interest in it, I may say, has 
 been universal among artists, and there are but three men to whom I have applied who 
 have refused to lend or make drawings for it ; their absence, if conspicuous enough to be 
 noted, is at their own request.'" 
 
 It has been pointed out to me by one or two reviewers that the work should 
 be arranged in some sort of alphabetical or chronological sequence. No one wishes 
 more than myself that this could be done, but to fit the drawings on the pages in that 
 excellent manner would require at least twice the space, and it is impossible. Again I 
 think I was right in not giving much space to illustrated daily journalism. 'The men 
 to-day who illustrate at one moment for the Daily Graphic, have their drawings printed 
 the next in the monthly magazines. Good work looks well anywhere, and the best style 
 for the daily is often the best for the monthly. I know that very elaborate drawings 
 cannot yet be printed on a rapid newspaper machine, but that this will be possible before 
 long I do not doubt. Many men represented here have developed a style which prints 
 well anywhere. . 
 
 / have really tried to be as broad and as liberal as I could. I do not think that 
 Spanish illustration is the final expression of art ; nor yet do I pin my faith to the 
 methods practised by Mr. Morris and his fellow arts- and craftsmen. Both may be 
 equally good — they sometimes are ; because one form of expression is right, the other is 
 not necessarily wrong. 
 
 1 have also included the English work of thirty years ago, because it seems to me 
 to have been the most interesting period of English illustration . I think this chapter is 
 almost complete, and nearly all the examples have either never been published hitherto, 
 or else are from photographs of the drawings on the blocks made before they were 
 engraved. In this matter I have to thank personally for innumerable favours almost 
 every one of the artists whose work appears in the chapter. 
 
 ' Messrs. Charles Shannon, Professor Herkomer, and Charles Ricketts. 
 
PREFACE TO THE SECOND EDITION 
 
 xiii 
 
 The magnificent Danish and Norwegian work I was quite unacquainted with^ and 
 probably should have remained so had it not been for the kindness of Mr. II. L. 
 Brakstad., Mr. William Archer., and Frans Ilendriksen., who., by the loan of some 
 books., and by referring me to others, have enabled me to make this one of the most 
 iynportant sections of the volume. 
 
 In the German Chapter I was greatly helped by Dr. Hans Singer of the Dresden 
 Museum, and also by Messrs. Obach and Company ; and greatly hindered by the official 
 red-tapism of the Berlin Gallery, in which Dr. Lippmann appears to be hopelessly 
 entangled. The proprietors of Fliegende Blatter have, in this case, broken their usual 
 rule and granted permission for me to use their blocks, to the great improvement of this 
 special chapter. From all German artists and publishers I have received nothing but 
 kindness and assistance. It has been the same in America and England, but then that 
 was what one would naturally expect. 
 
 From France have come long-winded promises of support, which have amounted to 
 nothing ; gushing letters which have been nothing but gush ; and vows of all sorts, 
 which I am sure those who made them had not the slightest intention to carry out. 
 But what would you ? It is thus they order these matters in France. Still the chapter 
 is fairly complete, and most of the omissions are not due to any fault of mine. 
 
 I must also thank Professor Colvin, Mr. Lionel Cust, and Mr. Austin Dobson for 
 much valuable assistance ; and Lord Battersea, Mr. Fairfax Murray, and Mr. G. L. 
 Craik for the loan of drawings. Most of the illustrations, however, have been 
 obtained directly from the artists themselves . 
 
 There is much less text in this edition than in the other. The drawings, I do not 
 think, can hurt any one. My object is to help artists only, and I know that they will 
 appreciate — or at any rate they did appreciate — the opportunity of being able to see much 
 of the best pen work ever done in the world between the covers of one book. 
 
 That artists did care for the first edition is very flattering to me, and I hope they 
 may continue to do so. I have omitted the Chapter on Architectural Pen Drawing, for 
 I see no reason why it should be considered separately. With the mechanical and 
 technical delineation of architecture I have nothing to do. Mr. Phene Spiers' 
 Architectural Drawing covers this ground much better than I could. And the aim 
 of the best men who draw architecture is to be as artistic as possible, therefore those 
 who draw architecture are placed with other artists, not apart from them. I must 
 again thank Mr. Frederick Macmillan for his sympathy and assistant e in preparing 
 the new edition, which is really a new book ; Mr. S. llutt and his assistants for carrying 
 out many details ; arid Messrs. Clark for consenting to adopt forms in their printing 
 which they strongly objected to on the score of tradition, and congratulate them on the 
 great improvements in their already excellent press-work made during the last four 
 years. As for the artists themselves, they have made the book. I have endeavoured 
 to thank individually all who have helped me, as well as their publishers ; now 1 
 would thank them collectively ; and, personally, 1 am awfully thankful that the book is 
 finished. 
 
 JOSEPH PENNELL. 
 
 London, \th April 1 894. 
 
CON r E N r s 
 
 LIST OF ILLUSTRATIONS 
 INTRODUCTION ..... 
 
 PEN DRAWING IN THE PAST 
 
 Gentile Bellini 
 
 Titian ..... 
 SOAIE COMPAR.VTIVE HE.VDS : OLD AND NEW 
 Remiirandt .... 
 Durer’s “Apollo” 
 
 PEN DRAWING OF TO-DAY- 
 
 SPAN ISII AND ITALIAN WORK 
 
 M.vriano Fortuny 
 
 Daniel Vierge .... 
 
 G. Favretto .... 
 
 J. F. Raffaelli .... 
 
 A. Montalti .... 
 Antonio Fabres 
 
 Louis Galice and Ferrand Fau 
 Martin Rico .... 
 
 E. Tito ..... 
 
 A. Casanova y Estoracii 
 
 B. Galifore .... 
 
 The Later Spaniards and Italians . 
 
 PEN DRAWING IN FRANCE 
 J. L. E. Meissonier 
 Edouard Detaille 
 
 E. Dantan .... 
 
 P. G. Jeanniot .... 
 
 •AGE 
 
 xxi 
 
 I 
 
 5 
 
 I 2 
 
 »3 
 
 1 6 
 
 2 2 
 
 25 
 
 29 
 
 37 
 
 40 
 
 44 
 
 45 
 
 46 
 
 48 
 
 50 
 
 51 
 
 5S 
 
 59 
 
 62 
 
 63 
 
 67 
 
 75 
 
 78 
 
 80 
 
 82 
 
XVI 
 
 PEN DRAWING 
 
 PEN DRAWING IN FRANCE, continued — 
 
 lAGI! 
 
 Madeleine Lemaire . . . . . . . . 84 
 
 V. A. POIRSON ......... 85 
 
 F. Lunel ......... 86 
 
 E. Duez .......... 88 
 
 Henri Pille ......... 89 
 
 J. L. Forain ......... 90 
 
 Maxime Lalanne ........ 92 
 
 Ulysse Butin ......... 94 
 
 Drawings of Sculpture ....... 96 
 
 A. Robida . . . . . . . 102 
 
 H. Scott . . . . . . . 103 
 
 Mars . . . . . . . . 106 
 
 A. LANgoN . . . . . . 107 
 
 A. Lalauze . . . . . . . . . 108 
 
 M. de Wylie . . . . . . . . 1 10 
 
 Caran D’Ache . . . . . . . . 112 
 
 A. Willette . . . . . . . . . I 14 
 
 A. F. Gourget . . . . . . . . . 1 1 5 
 
 Eugene Courboin . . . . . . . . ri6 
 
 Marttn-C.\rlos Schwabe or Carloz Schwabe . . . . I 18 
 
 E. Grasset . . . . . . . 124 
 
 Georges Rochegrosse . . . . . . . 126 
 
 M. DE MyRBACH . . . . . . . . . 127 
 
 Boutet de Monvel ... . . . . . . 128 
 
 Godefroy . . . . . . . . . 129 
 
 Jules Jacquemart . . . . . . . 131 
 
 Louis Morin . . . . . . . . . 134 
 
 Henri Riviere . . . . . . . . . 135 
 
 Felix Vallotin . . . . . . . . . 136 
 
 H. Gerbault . . . . . . . . . 137 
 
 J. B. Corot . . . . . . . . . 138 
 
 P. PUVIS DE CHAVANNES . . . . . . . 1 39 
 
 j. Bastien Lepage . . . . . . . . 140 
 
 Surand . . . . . . . . . . 14 1 
 
 I’.VUL Renouard. . . . . . . . . 142 
 
 Louis Leloir 
 
 144 
 
CONTENTS 
 
 XVII 
 
 PEN DRAWING IN FRANCE, co7itimied- 
 E. Marty 
 M. Rexoir 
 Steixlen 
 
 GERMAN WORK . 
 
 Adolf Menzel . 
 
 L. Meggendorfer 
 W. Dietz 
 H. SCHLITTGEN . 
 
 L. Vox Nagel . 
 
 Robert Haug axd Hermaxn Luders 
 A. Oberlaxder . 
 
 Albert Richter axd other Artists ix “Uxiversum 
 A. Stuck I 
 Ludwig Marold 
 Fraxz Stuck 
 Max Klixger 
 A. Hexgeler 
 Wilhelm Leibl . 
 
 Hermaxx Vogel 
 
 DUTCH, DANISH, AND OTHER WORK 
 J. Hoyxek yax Papexdrecht 
 P. DE Josselix de Joxg 
 Jax A. Toorop . 
 
 Paul Koxewka . 
 
 Haxs Tegxer 
 H. J. ICKE 
 
 The Illustrators of “Ude og Hjemme” 
 
 Erik Werexskiold 
 
 PEN DRAWING IN AMERICA 
 
 Edwix a. Abbey .... 
 
 Regixald B. Birch .... 
 
 H. F. Farxy ..... 
 Howard Pyle . . . . ■ 
 
 C. S. Reixhart . . . . • 
 
 Arthur B. Frost, Frederick Remixgtox, E. W. 
 Arthur B. Frost — Caricatures 
 
 Kemble 
 
 M 5 
 
 146 
 
 147 
 149 
 157 
 
 162 
 
 163 
 
 164 
 
 166 
 
 167 
 1 69 
 172 
 
 175 
 
 1 76 
 
 177 
 
 1 80 
 182 
 1 84 
 186 
 1 89 
 
 193 
 
 194 
 
 195 
 
 196 
 
 197 
 204 
 207 
 215 
 2 1 7 
 225 
 229 
 
 231 
 
 232 
 
 235 
 
 236 
 241 
 
 c 
 
PEN DRAWING 
 
 PEN DRAWING IN AMERICA, continued — 
 Otto H. Bacher and W. L. Drake . 
 C. Dana Gibson. 
 
 Allen C. Redwood 
 Alice Barber .... 
 L. Rasmussen .... 
 Robert Blum .... 
 W. L. Taber . ... 
 
 F. S. Church .... 
 Alfred Brennan 
 
 A. E. Sterner .... 
 Frederick Lungren 
 Harry Fenn .... 
 E. L. Weeks, Peter Newell . 
 
 Kenyon Cox .... 
 T. de Thulstrup 
 
 Wyatt Eaton .... 
 W. T. Smedley .... 
 Architectural Illustrators . 
 
 PEN DRAWING IN ENGLAND . 
 
 Introduction .... 
 
 Sir George Reid 
 
 T. Blake Wirgman 
 
 Walter Crane .... 
 
 J. D. B-YTten .... 
 
 Alfred Parsons 
 
 Linley Sambourne 
 
 Harry Furniss .... 
 
 George du Maurier 
 
 Charles Keene .... 
 
 Reginald Cleaver 
 
 J. Bern.ard Partridge . 
 
 A. C. Corbould .... 
 W. L. Wyllie .... 
 Randolph Caldecott . 
 
 Walter Sickert 
 
 I'AGH 
 
 242 
 
 244 
 
 246 
 
 247 
 
 249 
 
 251 
 
 254 
 
 255 
 
 256 
 
 259 
 
 260 
 
 262 
 
 263 
 
 264 
 
 266 
 
 267 
 
 268 
 
 270 
 
 273 
 
 283 
 
 31 I 
 
 312 
 
 315 
 
 316 
 
 317 
 
 321 
 
 324 
 
 326 
 
 328 
 
 330 
 
 332 
 
 334 
 
 335 
 
 336 
 
 339 
 
 L. Raven Hill . 
 
 340 
 
CON'l'EN'rS 
 
 XIX 
 
 PEN DRAWING IN ENGLAND, continued — 
 
 TACK 
 
 W. G. Baxter ......... 342 
 
 C. E. Brock ......... 344 
 
 Aubrey Beardsley . . . . . . . . 345 
 
 R. A. Bell ......... 350 
 
 W. Rainey . . . . . . 352 
 
 W. Dewar . . . . . 353 
 
 A. S. Hartrick and E. J. Sullivan . . . . . 354 
 
 George Thomson . . . . . . . . 356 
 
 K.\te Greenaway . . . . . . 357 
 
 Hugh Thom.son, Herbert Railton, Holland Tringham . . . 358 
 
 T. S. C. Crowther . . . . . 361 
 
 Edgar Wilson ......... 362 
 
 J. F. Sullivan . . . . . . . . . 365 
 
 Phil M.\y ......... 366 
 
 Miss C. D. M. Hammond ....... 369 
 
 Maurice Greiffenhagen and Fred Pegram . . . . . 371 
 
 William Small . . . . . . . . 372 
 
 The Birmingham School . . . . . . . 374 
 
 Miss R. M. M. Pit.man ........ 378 
 
 Laurence Housman . . . . . . . . 379 
 
 H. R. Millar ......... 380 
 
 F. H. Townsend . . . . . . . . 381 
 
 Percy Kemp ......... 382 
 
 PEN DRAWING FOR BOOK DECORATION ..... 383 
 
 MATERIALS FOR PEN DRAWING . . . . 415 
 
 TECHNICAL SUGGESTIONS FOR PEN DRAWING .... 423 
 
 REPRODUCTION OF PEN DRAWINGS . . . • 43 ' 
 
 HOPES AND FEARS FOR PEN DRAWING ..... 443 
 
 INDEX . . . . . . . . . 451 
 
LIST OF ILLUSTRATIONS 
 
 PAGE 
 
 E. A. Abbey. “Every penny that folly pays to pride.” — Goldsmith’s Deserted Village. 
 Photogravure plate by the Swan Electric Engraving Company, from the unpublished drawing 
 lent by the artist ........ Frontispiece 
 
 1. R. A. Bell. A design made specially for the title-page. Reproduced by Waterlow & 
 
 Sons, Limited ......... Title-page 
 
 2. Gentile Bellini. Drawing of a Turk made at Constantinople. Process block by the 
 
 Swan Electric Engraving Company. From the original drawing in the Print Room, 
 
 British Museum . . . . . . . . . .12 
 
 3. Titi.\n. Landscape. Process block ; unsigned. From the Gazette des Feau.v-Arts, vol. 
 
 XXV. 1882, p. 239 . . . . . . . . .14 
 
 4. M.\xlme Lal.4NNE. La Forte St.-Antoine, Amsterdam. Process block ; unsigned. From 
 
 Hollande d Vol dOiseaie, par H. Havard, Quantin, p. 237 . . . • I 5 
 
 5. Albert Durer. Study for a figure. Process block; unsigned. From Life of Dii?'cr hy C. 
 
 Ephrussi, Quantin, p. 177 . . . . . . . .16 
 
 6. Vandyke. Plead of a child. Process block ; unsigned. Y rom Antoine Vandyke ; Sa Vie ct 
 
 son Qkuvre, par Jules Guiffrey, Quantin, p- 59 . . . ■ • .17 
 
 7. D. G. Rossetti. Study of a head. Woodcut by J. D. Cooper. From the English Illus- 
 
 trated Magazine., 1884, p. 38 . . . . . . . .19 
 
 8. Louis Desmoulins. Portrait of Georges Ohnet. Process block ; unsigned. From La 
 
 Vie Moderne, vol. vi. 1885, p. 354 . . . . . . . 19 
 
 9. Louis G.\lice. Portrait of Mme. Madrazo. Process block ; unsigned. From the same, 
 
 vol. vii. 1885, p. 57 . . . . . . . . .20 
 
 10. Vandyke. Plead of Snyders. Process block ; unsigned. Yxom Antoine Vandyke, etc., \i. y e,. 20 
 
 11. Louis Desmoulins. Portrait of M. Jundt. Process block ; unsigned. From La Vie Moderne, 
 
 vol. vi. 1884, p. 324 . . . . . . . . .21 
 
 12. Rembrandt. Head of an old man. Process block; unsigned. From Gazette des Beaux- 
 
 Arts, vol. xxxii. 1885, p. 498, ....... 22 
 
 13. Re.mbr.\ndt. Landscape. Process block ; unsigned. From the same . . .22 
 
 14. Rembr.\ndt. The Unfaithful Servant. Process block; unsigned. From L’Art, vol. xix. 
 
 1879, P- 126 .......... 23 
 
 1 5. Rembrandt. Pen and ink study, a pig lying down. Process block ; unsigned. From 
 
 Rembrandt j His Life, His IVork, and His Time, by ^mile Michel, translated by Florence 
 
 Simmonds .......... 24 
 
 16. Rembrandt. Sketch of pig lying down. Process block ; unsigned. From the same . 24 
 
 17. Rembrandt. Study of a boy. Process block ; unsigned. From the same . . 24 
 
 d 
 
XXll 
 
 PEN DRAWING 
 
 I'AGE 
 
 1 8. Durer’s “Apollo.” Process block by the Swan Electric Engraving Company. From the 
 
 original drawing in the Print Room, British Museum . . . . .27 
 
 19. Mariano Fortuny. A man reading. Process block ; unsigned. From /.’Mr/, vol. xxv. 1 88 1, 
 
 p. 141 . . . . . . . . . . -39 
 
 20. Daniel Vierge. Drawing made for Pablo de Segovie, par Francisco de Quevedo, Leon 
 
 Bonhoure, p. i. Process block by Gillot ...... 40 
 
 21. Daniel Vierge. Drawing made for Pablo de Segovie, p. 40. Process block by Gillot . 41 
 
 22. Daniel Vierge. Process block ; unsigned. ¥xom Pablo de Segovie . . .43 
 
 23. G. Favretto. Study. Process block ; unsigned. From Gazette des Beaux- Arts, vol. xxx. 
 
 1884, p. 89 . . . . . . . . . .44 
 
 24. J. F. Raffaelli. Homme du Peiiplc. Process block ; unsigned. From the same, vol. xxix. 
 
 1884, p. 337 .......... 45 
 
 25. A. Montalti. Pen drawing on lined paper. T\ Tiritl, T\. Process block by Fratclli 
 
 Treves of Milan. From Cera ima Volta, by Luigi Capuana, Fratelli Treves . . 47 
 
 26. A. Fabres. a Roman peasant. Process block by Angerer & Gdschl of the illustration 
 
 printed in the first edition of this book. From L'Art, vol. xxiii. 1880, facing p. 22 . . 49 
 
 27. Louis Galice. Sketch. Process block by Michelet. From La Vie Afoderue, vol. vi. 1884, 
 
 p. 61 1 . . . . . . . . . . .50 
 
 28. Ferrand Fau. Figures. Process block by Michelet. From the same, vol. vii. 1885, 
 
 p. 262 ........... 50 
 
 29. Martin Rico. A corner of St. Mark’s. Process block by Waterlow & Sons, Limited. 
 
 From a drawing made for this book . . . . . . .51 
 
 30. Martin Rico. A Study. Process block; unsigned. From La Vie Mode 7 'ne, vol. i. p. 569 52 
 
 31. Martin Rico. A Study, Venice. Process block by Waterlow & Sons, Limited. Drawn 
 
 for this book . . . . . . . . . -53 
 
 32. Martin Rico. A Venetian canal. Process block ; unsigned. From La llustracion 
 
 Espauola jy Auiericana, vol. xxiii. 1879, p. 292 . . . . . -55 
 
 33. Martin Rico. Reminiscence of Seville. Process block; unsigned. From the same, vol. 
 
 xxiii. 1879, p. 292 ......... 57 
 
 34. E. Tito. Piazetta di Santa Marta. Pi'ocess block ; unsigned. From vol. xxxv. 1883, 
 
 p. 218 . . . . . . . . . . .58 
 
 35. A. Casanova y Estorach. Study. Process block by Yves & Barret. From the same, vol. 
 
 vi. 1876, p. 2 1 7 . . . . . . . . . -59 
 
 36. A. Casanova y Estorach. A monk. Process block ; unsigned. From the Paris 
 
 Illustree, 1882 .......... 60 
 
 37. A. Casanova y Estorach. Two monks. Process block by Gillot. From LG Art, vol. xviii. 
 
 1879, P- 31 • • • • • • • • • .61 
 
 38. B. Galifore. Study of a t^easant’s head. Process block; unsigned. From Libraire de 
 
 HArt . . . . . . . . . . .62 
 
 39. Josfi M. Marques. Flebrew Type. Process block; unsigned. From La llustracion 
 
 Artistica, 29th May 1893 ........ 64 
 
 40. Fontanesi. Landscape Study from Nature. Process block; unsigned. From H Lllus- 
 
 trnzione Ltalia 7 ia, i6th October 1892. . . . . . . 65 
 
 41. Fontanesi. Study from Nature, Landscape and Cows. Process block; unsigned. From 
 
 the same . . ....... 65 
 
 42. Gallegas. Musicians. Process block; unsigned. From La Ihcstracio 7 i Artistica, 15th 
 
 August 1882, p. 5 1 5 . . . . . . . . .66 
 
LIST OF ILLUSTRATIONS xxiii 
 
 PAGE 
 
 43. Aranda. A Woman. Process block; unsigned. From the Revue lllustree, ist March 
 
 1885, p. 47 . . . . . . . . . .66 
 
 44. J. L. E. Meissonier. Card Players (Les Deux Jouers). Wood block engrav'ed by H. 
 
 Lavoignat. From Lc Magazin Pitiorcsqiic, No. 357, 1848, p. 167 . . . 75 
 
 45. J. L. E. Meissonier. Le Bon Cousin. Process block by Angerer & Gdschl, reproduced 
 
 from Les Contes Remois, third edition, 1858, p. 39 . . . . .76 
 
 46. J. L. E. Meissonier. L’Enfant Intrepide. Process block by Angerer & Gdschl. From 
 
 the same, p. 165 . . . . . . . . .76 
 
 47. J. L. E. Meissonier. De Par le Roi. Process block by Angerer & (fdschl. From the 
 
 same, p. 35 • • • • • • • • • -77 
 
 48. J. L. E. Meissonier. Les Cincj Layettee. Process block by Angerer & Gdschl. From 
 
 the same, p. 3 . . . . . . . . . -77 
 
 49. Edou.vrd Detaille. Figure from UAIerfe. Process block by Yves & P>arret. From 
 
 EArt, vol. xiv. 1878, p- 33 . • • . . • • .78 
 
 50. E. Dantan. Corner of a studio. Process block by Angerer & Gdschl, reproduced from 
 
 the block by Yves and Barret, published in the first edition of this book. From the same, 
 vol. xxii. 1880, facing p. 166 . . . . . . . .81 
 
 51. P. G. Je.VNNIOT. Kiosque at night. Process block; unsigned. From La Vie Moderne, 
 
 vol. V. 1883, p. 2 . . . . . . . . .82 
 
 52. P. G. Jeanniot. Soldiers drilling. Process block; unsigned. From the same, vol. v. 1883, 
 
 p. 284 . . . . . . . . . . .83 
 
 53. Madeleine Lem.mre. La Marchande de Violettes. Process block by Angerer & Gdschl, 
 
 reproduced from the first edition of this book. From the Catalogue of the Societe 
 dAquarel/istes Fran^a/s, 1888 ........ 84 
 
 54. V. A. PoiRSON. A Study. Process block ; unsigned. From La P7e Jl/oderne, vo\. v\. p. 6 ;^6 85 
 
 55. F. Lunel. La Seine h Paris. . . . Le Lavoir aux Chiens. Process block by Gillot. From 
 
 \.ho Revue Iliustn'e, vol. vii. 1893, p. 1 5 i . . . ■ . .86 
 
 56. F. Lunel. A Study. Process block. From La Vie Moderne, vol. i. p. 568 . . 87 
 
 57. E. Duez. Girl in a boat. Process block ; unsigned. From \\\o Paris lllusiree, 1883 . 88 
 
 58. Henri Pille. Le Commencant de la Rosiere. Process block by Michelet. From the same, 
 
 July 1885 .......... 89 
 
 59. J. L. Forain. Woodcut engraved by Florian. From the Revue Illustree, ist h'ebruary 1890, 
 
 p. 135 . . . . . . . . . . -91 
 
 60. Maxime Lal.anne. Zutphen. Process block ; unsigned. From Havard’s p. 88 . 92 
 
 61. Maxime Lalanne. Kampen, Eglise St. Nicholas. Process block; unsigned. From 
 
 the same, Quantin, p. 112 . . . . • . ■ .92 
 
 62. Maxime Lalanne. Roermond, Vue du Marchd. Process block ; unsigned. From the 
 
 same, p. 17 . . . . . . . • • -93 
 
 63. Ulysse Butin. Au cabaret. Process block reproduced by Angerer & Gdschl from the 
 
 first edition of this book. First published, as a process block by Yves & Barret, in 
 L’Art, vol. xiii. 1878, facing p. 54 . . . . • • -95 
 
 64. St. Elme Gautier. lui Genie des Arts. Process block reproduced by Angerer »S: Gdschl 
 
 from the first edition of this book. First published, as a process block by Yves & Barret, in 
 EArt, vol. X. 1877, p. loi ........ 96 
 
 65. L6on Gaucherel. Sarpedon. Process block by Yves & Barret. From vol. x. 1877, 
 
 p. 104 97 
 
 66. Marie Werer. Petes d’A/iges. Process block ; unsigned. From the same, vol. xxviii. 
 
 1882, p. 35 
 
 99 
 
XXIV 
 
 PEN DRAWING 
 
 PACE 
 
 67. Ringel D’Illzach. Head of De Lesseps. Drawing in crayon and ink on lined paper. 
 
 Process block; unsigned. From the same, vol. xx.wiii. 1885, p. 8 . . . loi 
 
 68. A. Robida. a caricature. Process block ; unsigned. From Vingtieme Siecle. Published 
 
 by M. Decaux, Paris, 1883, p. 249 . . . . . . .102 
 
 69. H. Scott. Clock tower of Chantilly. Process block; unsigned. From La Vie Moderne, 
 
 vol. V. 1883, p. 402 . . . . . . . . .103 
 
 70. H. Scott. Pierrefonds. Process block. Reproduced by Angerer & Gdschl from the first 
 
 edition of this book. First published in La Vie Moderne, vol. iv. 1884, p. 148 . . 105 
 
 71. Mars. Pierrot blanc et Pierrette noir. Process block; unsigned. From Za Vie A/odeme, 
 
 vol. v. 1883, p. 136 ......... 106 
 
 72 & 73. A. Lan^on. Cats. Process blocks; unsigned. From the same, voL ii. 1881, p. 
 
 523 ........... 107 
 
 74. A. Lalauze or Louis Leloir. Study of a figure in pen and pencil. Process block by 
 
 Yves and Barret. From Li Art, vol. xxxvi. 1884, p. 62 . . . . .109 
 
 75. M. DE Wylie. Twilight. Pi'ocess block. Reproduced from the first edition of this book 
 
 by Angerer & Gdschl. Fii'st published in La Vie Moderne, vol. v. 1883, p. 309 . . i 1 1 
 
 76. Caran D’Ache. Un Oncle a Heritage. Process block by Michelet. From Revue lllusirce, 
 
 1st October 1890, p. 249 . . . . . . . .113 
 
 77. A. Willette. Le Pierrot. Process block ; unsigned. From the same, 1st April 1889 . 114 
 
 78. A. F. Gourget. Jeune Hiver. Process block; unsigned. From Z« Vie^Moderne, vol. vi. 
 
 p. 689 . . . . . . . . . . .115 
 
 79. Eugene Courboin. L’Enfant Terrible. Key process block by Michelet. From the Revue 
 
 Illustree, 15th May 1889, p. 422 . . . . . . .117 
 
 80. Carloz Schwabe. Key block of a design for a cover. Reproduced by Verdoux, Ducourlioux 
 
 & Huillard. From Le Reve by Emile Zola . . . . .119 
 
 81. Carloz Schwabe. Process block; unsigned. From the same, facing p. 208 . .120 
 
 82. Carloz Schwabe. La Nativite. Process block, by Verdoux, Ducourlioux & Huillard. 
 
 From the Revue Lllustree, December 1890, facing p. 380 . . . .121 
 
 83. Carloz Schwabe. Tailpiece. Process block ; unsigned. From Z^ by Emile Zola . 122 
 
 84. Carloz Schwabe. L’Etoile des Bergers. Process block by Verdoux, Ducourlioux & 
 
 Huillard. Yrom Xht Revue Iliusfree, December 1890, p. 381 . . . .123 
 
 85. E. Grasset. Les Fetes de Paris. Process block by Gillot. From L'Art et Lildce, 20th 
 
 November 1892, p. 217 . . . . . . . . .124 
 
 86. E. Gr.vsset. Les Fetes de Paris. Process block by Gillot. From the same, 20th 
 
 November 1892, p. 206 . . . . . . . . .124 
 
 87. E. Grasset. “Un Duel Judiciaire.” Key process block; unsigned. From the Paris 
 
 lllustree, ist June 1885 . . . . . . . . .125 
 
 88. Georges Rochegrosse. Pendant le Bal. Process block by Michelet. From the same . 126 
 
 89. M. De Myrbach. La Fete de Nieully. Process block by Michelet. From the Revue 
 
 Illust 7 'ce, 1st July 1885 ......... 127 
 
 90. Boutet de Monvel. Process block ; unsigned. Yxoxa. Cha}iso 7 is de France pour les Petits 
 
 Fra 7 iqais . . . . . . . . . .128 
 
 91. Boutet DE Monvel. Title. Process block ; unsigned. From the same . . .128 
 
 92. Godeeroy. a tourist. Process block by Michelet. From the Revue Lllustree, ist June 
 
 1890, p. 449 
 
 129 
 
LIST OF ILLUSTRATIONS xxv 
 
 TACi: 
 
 93. Jules Jacquemart. Landscape. Process block ; unsigned. Vvom La Vie Afoiiente, \o\. 
 
 ii. p. 180 . . . . . . . . . .130 
 
 94. Jules Jacquemart. Italian helmet of iron repousse, chased and ornamented with 
 
 damascenings of gold (i6th century). Process block by Gillot. P'rom nilistoire de 
 Mobilier, p. 309 . . . . . . . . . .131 
 
 95. Jules J.\cquemart. Arm-chair of wood, carved and gilded and covered with tapestry ; 
 
 subject from La Fontaine's Fables. (Collection of M. Double.) Process block by Gillot. 
 
 From the same, p. 118 . . . . . . . . .132 
 
 96. Jules Jacquemart. Drinking vase, in silver-gilt repousse, partly in silver German work, 
 
 early i6th century. (Museum of the Louvre.) Process block by Gillot. From the same, 
 p. 345 . . . . . . . . . . .132 
 
 97. Jules J.\cquemart. Sideboard, with “Coombe” front of rose and violet wood, decorated 
 
 with bronzes chased by Caffieri. Period of Louis XV. (Collection of Sir Richard Wallace.) 
 
 Process block by Gillot. From the same, p. 57 . . . . . • i 33 
 
 98. Jules J.\cquemart. Ivory Cabinet, with chased gold mountings. Indian work. (Former 
 
 Sauvageof collection, Louvre.) Process block by Gillot. From the same, p. 229 . 133 
 
 99. Louis Morin. Process block ; unsigned. Yxom. L' Art ct L' Idee, 20th April 1892, p. 245 134 
 
 100. Louis Morin. Venice. Woodcut ; unsigned. From the Revue Illustree, ist January 
 
 1892, p. 54 .......... 134 
 
 101. Henri Rivi^;re. Silhouette. Process block by the Swan Electric Engraving Company. 
 
 F rom Lcs Premiers Illustree . . . . . . . • 1 3 5 
 
 102. Felix Vallotin. A Burial. Woodcut by the artist. Yxoxw II Art et F Idee, \e)\.\. 117. 136 
 
 103. H. Gerbault. The Serenaders. Process block ; unsigned. Yxoxxx Yixo. Revue Illustree, ist 
 
 June 1890, p. 449 . . . . . . . . .137 
 
 104. J. 15 . Corot. Landscape. Process block; unsigned. From La Vie Moderne, vol. ii. p. 
 
 104 ........... 138 
 
 105. P. Puvis DE Chav.VNNES. Swineherd. Process block; unsigned. From the same, vol. i. 
 
 p. 261 . . . . . . . . . . .139 
 
 106. J. Bastien Lepage. Process block; unsigned. From the same, vol. vi. p. 213 . . 140 
 
 107. SUR.\ND. Les Mercenaries de Carthage. Process block; unsigned. From the same, vol. 
 
 vi. p. 329 . . . . . . . . . .141 
 
 108. Paul Renouard. Process block ; unsigned. From the same, vol., v. p. 268 . . 142 
 
 109. Paul Renouard. Bal sur la Sc^ne de I’Eden, Theatre aux Tuilleries. Process block; 
 
 unsigned. I'rom the same, vol. vii. p. 157 . . . . . .143 
 
 I 10. Louis Leloir. Study of a figure. Process block; unsigned. From II Art, vol. xxv. 
 
 1886, p. 365 .......... 144 
 
 111. E. Marty. A I’Opera. Process block; unsigned. From La Vie Moderne, vol. iv. |). 
 
 453 ........... 145 
 
 1 1 2. M. Renoir. Elle Valasit. Process block; unsigned. From the same, vol. v. p. 707 . 146 
 
 I 1 3. Steinlen. Marche des Dos. Process block; unsigned. From Dans la Rue, by 
 
 Bruant. (Published by Marpon & Flammarion) . . . . .147 
 
 II 4. .Steinlen. Tailpiece. Process block ; unsigned. From the same . . . 14S 
 
 I I 5. .-\. Menzel. Sentinel on duty. Process block from a pen drawing on stone; unsigned. 
 
 From Uniforms of the Army of Frederick the Great, published in Lcs Maitres Moderncs, 
 
 Menzel, p. 8 . . . . . . . . . .157 
 
 1 1 6. A. Menzel. Drum-major. From the same, p. 9 . . . . . .158 
 
 1 17. A. Menzel. .Studies of costume. From the same, p. 10 . . . . .159 
 
XXVI 
 
 PEN DRAWING 
 
 PACE 
 
 1 1 8. A. Menzel. Portrait of Karl von Winterfeldt. Process block by the Swan Electric 
 
 Engraving Company. From The Heroes in Peace and War of Frederick II. . .160 
 
 1 19. L. Meggendorfer. Triumphe de Renaissance. Process block by the Swan Electric 
 
 Engraving Company. Yvoni Fiiegende Blatter, No. 1897, p. 184 . . . 162 
 
 120. W. Dietz. Revellers. Process block ; unsigned. Yrom Ktinst fiir Alle . . .163 
 
 1 2 1. W. Dietz. Portrait. Woodcut by Gehrig. Y xom. Fliegende Blatter . . .163 
 
 122. H. Schlittgen. Head of officer. Process block; unsigned. From Fin Erster uud cin 
 
 Letzter Bal, by Hacklander, Carl Krabbe, p. 2 . . . . . .164 
 
 123. H. Schlittgen. At Trouville. Process block; unsigned. From Troiroille, by F. W. 
 
 Hacklander, Carl Krabbe, p. 25 . . . . . . . .165 
 
 124. L. VON Nagel. The Influenza. Process block by Albert. From Kunst fiir AUc, 
 
 April 1892 . . . . . . . . . .166 
 
 125. L. VON Nagel. Group of cavalry. Process block ; unsigned. Yxoxa Fliegende Blatter . 166 
 
 126. Robert Haug. Saluting an officer. Process block; unsigned. From Fin Schloss in den 
 
 Ardennen, by F. W. Hacklander, Carl Krabbe, p. 93 • • • • .167 
 
 127. Hermann Luders. A Review. Process block by Angerer & Goschl. From Ein 
 
 Soldatenleben, etc., by H. Liiders, Deutsche Verlags Anstalt, p. 167 . . .168 
 
 128. A. Oberlander. Heading. Process block by the Swan Electric Engraving Company. 
 
 Yxoxxi Eliegende Blatter . . . . . . . . .169 
 
 129. A. Oberlander. The Doctor. Woodcut by Roth. From Oberliinder’s collection of 
 
 sketches . . . . . . . . . .170 
 
 130. A. Oberlander. Neptune hailing a steamship. Process block; unsigned. From 
 
 Flicge 7 ide Blatter . . . . . . . . .171 
 
 1 3 1. Albert Richter. Small drawing. Process block ; unsigned. From Universiun . 172 
 
 132. Albert Richter. Small drawing. Process block ; unsigned. From the same . . 172 
 
 133. Albert Richter. Small drawing. Process block ; unsigned. From the same . • i ?3 
 
 134. A. Stucki. a cup. Process block by Meisenbach. Yxoxx\ Das Deutsche Zinuner,Q. YY\x\X\ 174 
 
 135. Ludwig Marold. Sketch, three girls. Process block; unsigned. Yxoxxv Zwischen Zwei 
 
 Regen, by F. W. Hacklander, Carl Krabbe, p. 49 . . . . .176 
 
 136. Franz Stuck. Process block ; unsigned. Yxoxxx Eliegende Blatter, No. 2257, p. 163 . 177 
 
 137. Fr.vnz Stuck. Death of the Emperor William. Process block by the Swan Electric 
 
 Engraving Company, from a reproduction by Meisenbach. Published in Eliegende 
 Blatter . . . . . . . . . . .178 
 
 138. Franz Stuck. Puck driving a Centaur. Process block ; unsigned. Yxoxx\ Kunst fiir Alle, 
 
 ist January 1894 ......... 179 
 
 139. Max Klinger. Eine Liebe. Process block ; unsigned. Reproduced by Wilhelm Hoffmann, 
 
 Dresden . . . . . . . . . .181 
 
 140. A. Hengeler. Fire in the Village. Process block; unsigned. From Fliegende Blatter, 
 
 No. 235 1, p. 61 . . . . . . . . .182 
 
 141. A. Hengeler. Fire in the Village. Process block; unsigned. From the same, p. 62 . 183 
 
 142. Wilhelm Leibl. S. Kizzenbuch. Process block by Angerer & Goschl. From Kunst 
 
 fiir Alle, January 1892 . . . . . . . . .185 
 
 143. Hermann Vogel. Landscape. Process block ; unsigned. From t\\e Revtie Illustree, ist 
 
 August 1889, p. 107 . . . . . . . . .186 
 
 144. Hermann Vogel. Cortesia. Process block ; unsigned. From the same . .187 
 
 145. Hermann Vogel. Salon, interior. Process block; unsigned. From the same, ist 
 
 September 1889, p. 159 . . . . . . . . 188 
 
LIST OF ILLUSTRATIONS xxvii 
 
 PAGE 
 
 146. J. Hoynek van Papendrecht. De Markt te Endrcliecle. Process block; unsigned. 
 
 Yxom Elsevier, February 1891, p. 197 . . . . . . -193 
 
 147. P. DE JOSSELIN DE JONG. Dan Vocht Zig Soms nect de Knechts. Process block; 
 
 unsigned. From the same, August 1891, p. 145 . . . . . 194 
 
 148. Jan a. Toorop. The three brides. Process block; unsigned. From Kunst fiir Al/e, 
 
 November 1893. ......... 195 
 
 149. Paul Konewka. Silhouette. Process block ; unsigned. Source unknown . .196 
 
 150. Hans Tegner. Process block; unsigned. From Ludvig Holberg's Comedies (Pojesen’s 
 
 Jubilee edition) . . . . . . . . . .197 
 
 1 5 1. Hans Tegner. Woodcut engraved by F. Hendriksen. From the same . . .198 
 
 152. Hans Tegner. Woodcut engraved by A. Bork. From the same . . . 199 
 
 153. Hans Tegner. Process block ; unsigned. From the same .... 200 
 
 154. Hans Tegner. Study of two heads. Woodcut by F. Hendriksen. From the same . 201 
 
 155. Hans Tegner. Landscape. Woodcut by F. Hendriksen. From the same . . 202 
 
 156. Hans Tegner. Figure. Process block ; unsigned. From the same . . . 203 
 
 157. H. J. ICKE. A merry fellow. Process block by Angerer & Goschl. Two printings. 
 
 From the original drawing, after the painting by Frans Hals in the National Gallery, 
 Amsterdam .......... 205 
 
 158. Hans Nicolas Hansen. Fra St. Hans Hospitalet i Briigge. Process block by Angerer & 
 
 Goschl. Reproduced from Ude Og Hjemme, 30th April 1882, No. 239, p. 372 . . 207 
 
 159. Hans Nicolas Hansen. P. Schram som Don Bartholo. Process block by Angerer & 
 
 Goschl. Reproduced from the same, 2nd April 1892, No. 235, p. 330 . . . 208 
 
 160. Albert Fdelfelt. Gruppe af en Gudstjeneste I der Nylandske Skasrgaard. Process 
 
 block by Angerer «S: Goschl. Reproduced from the same, 25th December 1881, plate to 
 No. 221 .......... 209 
 
 1 61. Frants Henningsen. The Foster Mother. Process block by Angerer & Goschl. 
 
 Reproduced from the same, 23rd December 1883, No. 325, p. 141 . . . 210 
 
 162. Frik Henningsen. Study of a child. Process block by Angerer & Goschl. Reproduced 
 
 from the same, i ith November 1883, No. 319, p. 66 . . . . .211 
 
 163. O. A. Hermanson. Monkeys. Process block by Angerer & Goschl. Reproduced from 
 
 the same, 19th January 1892, No. 226, p. 218 . . . . . .212 
 
 164. To.m Petersen. Landscape. Process block by Angerer & Goschl. Produced from the 
 
 same, 12th August 1883, No. 306, p. 549 . . . . . .213 
 
 165. Frik Henningsen. Fisherman and boys. Process block by Angerer & Goschl. Re- 
 
 produced from the same, iith December 1881, No. 219, p. 127 . . . 213 
 
 166. Thor Lange. Russisk Mandstype. Process block by Angerer & Goschl. Reproduced 
 
 from the same, 27th August 1882, No. 256, p. 573 . . . . .214 
 
 167. Frik Werenskiold. Woodcut. Fngraved by F. Hendriksen. From Asbjornsen's Folk 
 
 and Fairy Tales . . . . . . . • • .215 
 
 168. Fdwin a. Abbey. Book plate. Process block by A. & C. Dawson. From original 
 
 drawing lent by iMr. Fdmund Gosse . . . . . . .226 
 
 169. Fdwin A. Abbey. She Sloops to Conquer. Process block by Angerer & Goschl. From 
 
 the plate published in the first edition of this book, made from the original drawing by 
 permission of Messrs. Harper Brothers, lent by Mr. Hall . . . . . 227 
 
 170. Regin.\ld B. Birch. ixom Little Lord Fauntleroy. Process block ; unsigned . 229 
 
 1 7 1. H. F. Farny. An Indian chief. Process block by A. & C. Dawson. From original 
 
 drawing lent by the Century Co. of New York. Published in smaller size in the 
 Century Magazine . . . . . • • • .230 
 
PEN DRAWING 
 
 xxviii 
 
 PACE 
 
 172. Howard Pyle. The Parson coming down the street driving his flock. Process block; 
 
 unsigned. From Harpefs Alagazme, December 1890, No. 487, p. 75 . . . 232 
 
 173. Howard Pyle. Drawing from the Wonder Clock. Process block by the Moss Engraving 
 
 Company . . . . . . . . . -233 
 
 174. Howard Pyle. The Cock Lane Ghost. Process block; unsigned. From Ha 7 pC 7 -^s 
 
 Magazbie., August 1893, No. 519, p. 331 . . . . • . 234 
 
 175. Howard Pyle. “Cards and gaming were features.” Process block; unsigned. From 
 
 the same, May 1890, No. 480, p. 854 ....... 234 
 
 176. Charles S. Reinhart. Drawing from Their Pilgri 7 nage. Process block by the Franklin 
 
 Electro Co. Y xom Ha 7 pe 7 ^s Mo/ttJily, 1886 . . . . . - 235 
 
 177. Arthur B. Frost. A discussion. Process block by Louis Chefdeville. From the original 
 
 drawing lent by the Century Co. of New York. Published in smaller size in the 
 Cc 7 itury Magazme . . . . . . . . .237 
 
 178. Frederick Remington. A cpestion of brands. Process block by Louis Chefdeville. 
 
 From the original drawing lent by the Century Co. of New York. Published in smaller 
 
 size in the Ce 7 itii 7 'y Magazbte . . . . . . . .238 
 
 179. E. W. Kemble. Boiling sugar cane. Process block by Louis Chefdeville. From original 
 
 drawing lent by the Century Co. of New York. Published in smaller size in the Century 
 Magazine .......... 239 
 
 180. A. B. Frost. Our Cat Eats Rat Poison. Process block; unsigned. From Ha 7 pC 7 ^s 
 
 Mo 7 ithly, 1881. . . . . . . . . .241 
 
 181. W. H. Drake. Tea-set of Martha Washington. Process block ; unsigned. YxomXhe Cent 7 t 7 y 
 
 Magazme, April 1889, p. 840 ........ 242 
 
 182. W. H. Drake. Washington’s Inkstand, Candlestick, Snuffers, etc. Process block; 
 
 unsigned. From the same ........ 242 
 
 183. Otto H. Bacher. Tibetan Idol. Process block ; unsigned. From the same, January 1891, 
 
 p. 354 . . . . . . . . . . .243 
 
 184. Otto H. Bacher. Shrine for the old Bell of St. Patrick. Process block ; unsigned. From 
 
 the same, May 1889, p. 119 . . . . . . . . 243 
 
 185. C. Dana Gibson. “He promenaded the long verandahs, debutantes leaning on his arms.” 
 
 Process block ; unsigned. From the same, August 1892 .... 244 
 
 186. C. Dana Gibson. “ In his feigned eagerness.” Process block ; unsigned. From the same, 
 
 January 1894, p. 361 . . . . . . . . . 245 
 
 187. Ai.len C. Redwood. “Howdy Boys, Howdy!” Process block. From the same, 
 
 December 1890, p. 284 ......... 246 
 
 188. Alice Barber. A music lesson. Process block by the Moss Engraving Company. 
 
 From Harper's Yoimg People, 1888 . . . . . . .247 
 
 189. L. Rasmussen. The Golden Doorway. Process block. From the same, August 1892, 
 
 p. 721 . . . . . . . . . . . 248 
 
 190. Robert Blum. Portrait of Joe Jefferson. Process block by Angerer & Goschl. From 
 
 the original drawing. Published as a woodcut in ScribneT^s Mo 7 ithly . . .250 
 
 1 9 1. Robert Blum. Alcazar. Process block, reproduced from the first edition of this book by 
 
 Waterlow & Sons, Limited. First published in Florida, The Ainerica 77 Riviera . . 253 
 
 192. W. L. Taber. The sinking of the Japanese ships. Process block ; unsigned. From the 
 
 Cc 7 itu 7 y Magazme, April 1892, p. 850 ....... 254 
 
 193. F. S. Church. A Study. Process block; unsigned. From Scrib/ier's Magazine, vol. xiv. 
 
 P- 747 • 
 
 255 
 
LIST OF ILLUSTRATIONS xxix 
 
 PAGE 
 
 194. F. S. Church. Young Sandpipers. Process block ; unsigned. From the same, vol. xiv. 
 
 p. 751 • • • • • ■ • • • • -255 
 
 195. Alfred Brenn.\n. Illustration for story. Process block; unsigned. From the drawing 
 
 lent by the Century Co. of New York. Published in much smaller size in S/. Nicholas . 257 
 
 196. Alfred Brennan. Stairway at Chantilly. Process block by the C. L. Wright Gravure 
 
 Co. From Harper’s ll/onihly, 1887 . . . . . . .258 
 
 197. A. E. Sterner. No pertinacity. Process block; unsigned. From Ha?'pcr’s Magazine, 
 
 No. 497, October 1891, p. 810 . . . . . . . . 259 
 
 198. Frederick Lungren. Illustration for story. Process block; unsigned. From original 
 
 drawing lent by the Century Co. of New York. Published in much smaller size in St. 
 Nicholas . . . . . . . . . .261 
 
 199. H.ARRY Fenn. Hall-way of his house. Process block ; unsigned. From the Magazine 
 
 of Ari ........... 262 
 
 200. E. L. Weeks. “Hadji” the Cavalier and his Arab Horse. Process block; unsigned. 
 
 From Harper’s Magazine, No. 522, November 1893, p. 822 . . . . 263 
 
 201. Peter Newell. A Christmas Allegory. Process block; unsigned. From the same, No. 
 
 524, January 1894, p. 326 ........ 263 
 
 202. Kenyon Cox. One of twelve figures holding signs of the Zodiac. Process block ; unsigned. 
 
 From the Century Magazine, August 1892, p. 721 . . . . . 264 
 
 203. Kenyon Cox. Figure from photograph. Process block by Louis Chefdeville. From 
 
 original drawing lent by the Century Co. of New York. Published in much smaller size 
 in the Ce 7 itury Magazt 7 te . . . . . . . .265 
 
 204. T. DE Thulstrup. The “Kazatchok” or Cossack Dance. Process block; unsigned. 
 
 From Harper’s Magazi 7 ie, June 1889, p. 21 . . . . . . 266 
 
 205. Wyatt E.ATON. Drawing of a relief. Process block by the C. L. Wright Gravure Co. From 
 
 the Century Afagazine, January 1889 ....... 267 
 
 206. W. T. Smedley. “ The scarecrow raised his eyes, deep, sad, unreproachful.” Process 
 
 block; unsigned. From Ha 7 per’s Magazi 7 ie, No. 482, July 1890, p. 259 . . 268 
 
 207. W. T. Smedley. “ The Yacht rounded-to off the Casino.” Process block ; unsigned. From 
 
 the same. No. 483, August 1890, p. 419. . . . . . . 269 
 
 208. C. Graham. Chateau d’Amboise. Process block ; unsigned. From the same. No. 493, 
 
 June 1891, p. 95 . . . . . . . . .270 
 
 209. F. DU Mond. Part of the town of Corfu. Process block; unsigned. From the same. No. 
 
 507, August 1892, p. 355 . . . . . . . 270 
 
 210. H. D. N1CHOLL.S. Mouchrabiyehs, in the Old Quarter, Cairo. Process block; unsigned. 
 
 From the same. No. 497, October 1891, p. 669 . . . . . .271 
 
 21 1. H. Hawley. Chateau de Chambord Lucarne et Cheminee. Process block; unsigned. 
 
 From the same. No. 493, June 1891, p. 93 . . . . . .271 
 
 212. Ford Madox Brown. Elijah and the widow’s son. Process block by A. & C. Dawson. 
 
 From the original drawing owned by Messrs. Dalziel. From this drawing a woodcut, made 
 by them, was published in their Bible Gallery ...... 284 
 
 213. Frederick S.\ndy.s. Studies for A 77 ior Mundi. Process block by Angerer & Goschl. 
 
 From a photograph by Frederick Hollyer. Lent by Lord Battersea . . .286 
 
 214. Frederick S.\ndys. A 77 wr Mundi. Process block by Angerer & Goschl. From a 
 
 photograph by Frederick Hollyer. The woodcut published in \.ho Shilling Magazine lor 
 April 1865 was done from this study. Lent by Lord Battersea .... 287 
 
 215. Frederick Sandys. Process block by the Swan Electric Engraving Company. From the 
 
 original drawing on the wood block lent by Geo. L. Craik, Esq. . . . .288 
 
 e 
 
XXX 
 
 PEN DRAWING 
 
 I'AGIv 
 
 216. Sir Edward Burne Jones, A.R.A. The Parable of the Boiling Pot. Process block by 
 
 the Swan Electric Engraving Company. From the original unpublished drawing lent by 
 
 Sir Edward Burne Jones ... ..... 290 
 
 217. D. G. Rossetti. Miss Siddal. Process block by Angerer & Goschl. From a photograph 
 
 of the original drawing in the South Kensington Museum, No. 491 . . . 292 
 
 218. D. G. Rossetti. Palace of art. Woodcut engraved by Dalziel. From Tcnuyson's Poems. 
 
 Illustrated, 4to, p. 113. Macmillan & Co. ...... 293 
 
 219. D. G. Rossetti. Palace of art. Electrotype of the above woodcut . . . 293 
 
 220. Sir J. E. Millais, R.A. A study for “Ophelia.” Process block by Angerer & Goschl. 
 
 From the original unpublished drawing in the possession of the author . . . 294 
 
 221. J. Mahoney. Process block by Walker & Boutall. From the original drawing, by 
 
 permission of Fairfax Murray, Esq. ....... 295 
 
 222. J. Mahoney. Process block by Angerer & Goschl. From the original drawing in the 
 
 possession of the author . . . . . . . . .296 
 
 223. F. Walker, A.R.A. The Fishmonger. Process block by Angerer & Goschl. From the 
 
 original drawing on the wood at the South Kensington Museum, No. 1072 . . 297 
 
 224. William Small. Process block by Angerer & Goschl. From the original drawing in 
 
 the possession of the author . . . . . . . .298 
 
 225. G. J. PiNWELL. Process block by the Swan Electric Engraving Company. From the 
 
 original drawing in the possession of the author . . . . . .299 
 
 226. Sir Frederick Leighton, P.R.A. Samson at the Mill. Process block by Angerer & 
 
 Goschl. From the original drawing in the Art Library, South Kensington Museum. 
 
 From this drawing a woodcut, by Messrs. Dalziel, was published in their Bible Gallery . 300 
 
 227. Charles Green. Process block by Walker & Boutall. From the original drawing, by 
 
 permission of Fairfax Murray, Esq. . . . . . . .301 
 
 228. A. Boyd Houghton. Process block by Angerer & Goschl. From the original drawing 
 
 in the possession of the author ........ 302 
 
 229. A. Boyd Houghton. Process block by Walker & Boutall. From the original drawing, 
 
 by permission of Fairfax Murray, Esq. ....... 303 
 
 230. Sir John Gilbert, R.A. Charles I. while playing golf on the Leith Links receives news of 
 the breaking out of the Irish Rebellion. Wood block engraved by O. Lacour. From 
 The Histoty of Golf a Royal and Ancietit Game. Edited by Robert Clark, F.R.S.E., 
 
 F.S.A. Scot. . . • . . . . . . . . 304 
 
 231. E. J. PoYNTER, R.A. Daniel’s prayer. Process block by Walker & Boutall. From the 
 
 original drawing owned by Messrs. Dalziel. From this drawing a woodcut, made by them, 
 was published in their Bible Gallery ....... 305 
 
 232. W. Holman Hunt. Process block by Angerer & Goschl. From a steel engraving. 
 
 First published in Days of Old by the author of fohn Halifax., Ge?itleman . . 306 
 
 233. J. W. North, A.R.A. Holford Glen. Process block by Angerer & Goschl. From the 
 
 original drawing. First published in the English Illustrated Magazine, 1888, p. 38 . 307 
 
 234. F. Shields. Process block by Angerer & Goschl. From a photograph of the original 
 
 drawing. First published in Defoe’s Plague ...... 308 
 
 235. Burgess, E. W. “St. Simeon Stylites.” Process block by Angerer & Goschl. From a 
 
 photograph by Frederick Hollyer of the original drawing ..... 309 
 
 236. S. Solomon. Love, Sleep, and Dreams. Process block by Angerer & Goschl. From a 
 
 photograph by Frederick Hollyer of the original drawing . . . • .310 
 
LIST OF ILLUSTRATIONS xxxi 
 
 PAGE 
 
 237. Sir George Reid, P.R.S.A. Montrose. Process block by Angerer & Goschl. From the 
 
 original drawing. First published in a Memoir of the late G. P, Chalmers^ K.S.A., of 
 which 1 20 copies were printed . . . . . . . .311 
 
 238. T. Blake Wirgm.\n. Sketch of Reynolds’s portrait of Mrs. Smeaton. Process block ; 
 
 unsigned. From the original unpublished drawing, lent by the artist . . .312 
 
 239. T. Bl.ake Wirgman. FI. H. Armstead at work. Process block ; unsigned. I'rom the 
 
 original drawing, by permission of the Century Co., lent by the artist. This drawing in a 
 smaller size was engraved on wood in the Century Magazine^ as an illustration to Some 
 English Sculptors, 1882 . . . . . . . . • 313 
 
 240. Walter Cr.ane. Process block ; unsigned. From the original drawing . . .314 
 
 241. J. D. Battem. “ The enchanted palace opened and made a passage for the Genie.” Process 
 
 block by Waterlow & Sons, Limited. From the original drawing. First published in 
 The Story of the King’s Son, Fairy Tales from the Arabian Nights. J. M. Dent & 
 
 Co., 1893 . . . . . . . . . .316 
 
 242. Alfred Parsons. Marston Sicca. Woodcut by J. D. Cooper. F'rom the English 
 
 Illustrated Magazine, 1885, p. 275 . . . . . . . 317 
 
 243. Alfred P.vrsons. Initial letter. Woodcut by E. Schladitz. F’rom the same, 1884, 
 
 p. 478 . . . . . . . . . . .317 
 
 244. Alfred Parsons. Field thistle. Woodcut by J. D. Cooper. F'rom the same, 1884, 
 
 p. 169 . . . . . . . . . . . 3>7 
 
 245. Alfred Parsons. An old garden. Process block ; unsigned. Yrom Harper's Christmas 
 
 Number, 1887 . . . . . . . . . .318 
 
 246. Alfred P.arsons. Title-page to She Stoops to Conquer. Process block by Angerer & 
 
 Goschl. 1 -leproduced from the plate by Amand-Durand, made from the original drawing 
 by permission of Messrs. FFarper Brothers . . . . . • 3 W 
 
 247. Linley Sambourne. a water baby. Process block by A. & C. Dawson and woodcut 
 
 by J. Swain. From Water Babies,'^. 109. Macmillan & Co. . . . .321 
 
 248. Linley Sambourne. A lobster. Woodcut by J. Swain. From the same, p. 162 . 322 
 
 249. Linley Sambourne. Worth cultivating. Process block by A. & C. Dawson, from the 
 
 original drawing. A woodcut of the same drawing was published in Punch, 24th Dec. 
 
 1887 ........... 323 
 
 250. H.VRRY Furniss. Portraits. Woodcut ; unsigned, and process block by Waterlow & 
 
 Sons. Yxom English Illustrated Magazine, 1884, pp. 12 and 13 . . . 324 
 
 251. FFarry Furniss. Education’s I'rankenstein. Woodcut by J. Swain. From Punch’s 
 
 Almanac (or 1884 . . . . . . . . -32 5 
 
 252. George du AIaurier. Right of Translation. Woodcut by J. Swain. F'rom Punch 
 
 for 7th Jan. 1865 ......... 327 
 
 253. Charles Keene. “ Little Chickmouse,” etc. Woodcut by J. Swain. F'rom the same for 
 
 24th Sept. 1864 ......... 328 
 
 254. Charles Keene. Process block by A. & C. Dawson. F'rom the original drawing in the 
 
 possession of the author . . . . . . . . .329 
 
 255. Reginald Cleaver. “A farewell Cheer from the Irish Benches,” and “The Reception of 
 
 the Home Rule Bill in the House of Lords at i.ioa.m.” Process block by Waterlow 
 & Sons, Limited. F'rom the original drawing lent by the artist, first published in the 
 Daily Graphic .... ..... 330 
 
 256. Reginald Cleaver. Division on the Home Rule Bill in the House of Lords. Process 
 
 block by Waterlow & Sons, Limited. F'rom the original drawing lent by the artist. 
 
 F'irst published in the Daily Graphic . . . ■ ■ ■ • 33 > 
 
XXXll 
 
 PEN DRAWING 
 
 I'AGE 
 
 257. J. Bernard Partridge. Process block by Angerer & Goschl. From the original 
 
 drawing lent by the artist. First published in Punch . . . . - 33 - 
 
 258. J. Bernard Partridge. Process block by Angerer & Goschl. From the original 
 
 drawing lent by the artist. First published in Proverbs in Porcelain, by Austin Dobson . 333 
 
 259. A. C. COREOULD. A willing Convert. Process block ; unsigned. From Punch, 22nd 
 
 January 1887, p. 40. Lent by the proprietors ...... 334 
 
 260. W. L. Wyllie. Black Diamonds. Drawing from his picture of the same name, with brush 
 
 and jjen. Process block by Angerer & Goschl. Reproductions of this drawing have 
 also been published in catalogues and Cassell’s Magazine of Art . . . . 335 
 
 261. Randolph Caldecott. Cat waiting for a mouse. Woodcut by Edmund Evans. From 
 
 The House that Jack built. Routledge & Sons . . . . . -336 
 
 262. Randolph Caldecott. The Mad Dog. From The Mad Dog. Woodcut by Edmund 
 
 Evans. Routledge & Sons . . . . . . . - 337 
 
 263. Randolph Caldecott. The Stag. Woodcut by J. D. Cooper. From yEsop's I'ables. 
 
 Macmillan & Co. ......... 337 
 
 264. Randolph Caldecott. The Fox. Woodcut by J. D. Cooper. From the same. 
 
 Macmillan & Co. ......... 338 
 
 265. Randolph Caldecott. The Lamb. From the same . . . . -338 
 
 266. Randolph Caldecott. Some Round Hats. Woodcut by J. D. Cooper. From the 
 
 English Illustrated Magazine, 1886, p. 415 . . . . . . 338 
 
 267. Walter Sickert. Portrait of George Moore. Process block by Waterlow & Sons, 
 
 Limited. From the original drawing. First published in the Pall Mall Budget . . 339 
 
 268. L. Raven Hill. Process block by A. & C. Dawson. From the original drawing lent by 
 
 the artist .......... 340 
 
 269. L. Raven Hill. Manning, Fishmonger. Process block by A. & C. Dawson. From the 
 
 original drawing lent by the artist . . . . . . .341 
 
 270. W. G. Baxter. Process block by Dalziel. From Ally Slope/ s Half-Holiday. Lent by 
 
 Gilbert Dalziel, Esq. ......... 343 
 
 271. C. E. Brock. Epping Hunt. Process block by Waterlow & Sons, Limited. From 
 
 Hood's Humorous Poems, p. i. Macmillan & Co. ..... 344 
 
 272. C. E. Brock. “Last Sunday week at 2 p.m. that cod was picking me.” Process block 
 
 by Waterlow & Sons, Limited. From the same, p. 123. Macmillan & Co. . . 344 
 
 273. Aubrey Beardsley. Decorated border. Process block ; unsigned. From Malory’s 
 
 Morte d' Arthur. J. M. Dent & Co. ....... 345 
 
 274. Aubrey Beardsley. The Lady of the Lake telleth Arthur of the sword Excalibur. 
 
 Process block ; unsigned. From the same. J. M. Dent & Co. . . . 346 
 
 275. Aubrey Beardsley. The Peacock Girl. Process block; unsigned. Yxosw Salomie by 
 
 Oscar Wilde. Elkin Mathews & John Lane ...... 347 
 
 276. Aubrey Beardsley. Process block by the Swan Electric Engraving Company. From 
 
 the original unf>ublished drawing lent by the artist ..... 348 
 
 277. R. A. Bell. La Belle Dame Sans Merci. Process block by Waterlow & Sons, Limited. 
 
 From the original drawing. First published in Sylvia’s Journal . . . -350 
 
 278. R. A. Belt.. Orplieus and his Lute. Process block by Waterlow & Sons, Limited. 
 
 From the original drawing. First published in the English Illustrated Magazme, No. 112, 
 January 1893, P- 238 . . . . . . . . -351 
 
 279. W. Rainey. The Holmbury Smash. Process block; unsigned. From the Strand 
 
 Magazine . . . . . . . . . .352 
 
LIST OF ILLUSTRATIONS xxxiii 
 
 I’AGE 
 
 280. W. Rainey. “ Netta and Ughtred had strolled out together.” Process block ; unsigned. 
 
 From the same . . . . . . . . . - 352 
 
 281. W. Dewar. Process block by Waterlow & Sons, Limited. From the original drawing 
 
 lent by the artist. First published in the Strand Magazine . . . -353 
 
 282. A. S. Hartrick. Process block by the Swan Electric Engraving Company. From the 
 
 original drawing lent by the artist. Published in the Daily Graphic . . -354 
 
 283. E. J. Sullivan. Process block by the Swan Electric Engraving Company. From the 
 
 original drawing lent by the artist . . . . . . -35 5 
 
 284. George Thomson. A Jury. Process block by the Swan Electric Engraving Company. 
 
 From the original drawing lent by the artist. First published in the Pall Mall Budget . 356 
 
 285. K.ate Greenaway. Wood block, engraved by Edmund Evans. From Mayor’s Spelling 
 
 Book ........... 357 
 
 286. Kate Greenaway. Wood block, engraved by Edmund Evans. From the same . . 357 
 
 287. Hugh Thomson. A Group on Horseback. Process block by Waterlow & Sons, Limited. 
 
 From Our Village, by Miss Mitford, p. 60. Macmillan & Co. . . . -358 
 
 288. Herbert Railton. Old Houses on Exe Island. Process block by Waterlow & Sons, 
 
 Limited. From Coaching Days and Coaching IVays, by W. Outram Tristram, p. 134 . 358 
 
 289. Herbert Railton. Rue Aux Juives. Process block by Waterlow & Sons, Limited. 
 
 From a drawing made specially for this book . . . . . -359 
 
 290. Holland Tringham. Cologne Cathedral. Process block ; unsigned. From The World 
 
 of Romance, Cassell & Co. ........ 360 
 
 291. T. S. C. Crowther. “Truth.” Process block by Waterlow & Sons, Limited. From the 
 
 original drawing. First published in the Daily Graphic . . . . .361 
 
 292. T. S. C. Crowther. R. T. Reid, Q.C. Process block by Waterlow & Sons, Limited. 
 
 From the original drawing. First published in the Daily Graphic . . .361 
 
 293. Edgar Wilson. Fortis Cadere, Cedere non potest. Process block by Waterlow & Sons, 
 
 Limited. From the original drawing lent by the artist. First published in the Butterfly, 
 
 No. 3, p. 261 .......... 362 
 
 294. Edgar Wilson. Yarns from an Ironclad. Process block by Waterlow & Sons, Limited. 
 
 From the original drawing lent by the artist. First published in the Butteifly, No. i, p. 18 363 
 
 295 - J- F- SULLiV.'tN. The British Working Man — His notions on graining. Process block ; 
 
 unsigned. From Fun ......... 364 
 
 296. J. F. Sullivan. A Free Lunch. Process block by Waterlow & Sons, Limited. From 
 
 the original drawing lent by the artist. First published in Bick-me-Up . . -365 
 
 297. Phil M.\y. A Reminiscence of the Pelican. Process block ; unsigned. Yxom Phil May's 
 
 Annual ........... 366 
 
 298. Phil May. The Old Parson. Process block by Waterlow & Sons, Limited. From the 
 
 original drawing. First published in Pldl May's Annual .... 367 
 
 299. Phil M.W. “What’s the Row ?” Process block ; unsigned. ¥vom Phil May's Annual 368 
 
 300. C. D. M. H.^MMOND (Miss). Process block by Waterlow & Sons, Limited. From the 
 
 original drawing lent by the artist. First published in St. PauPs, March 1894, p. 1 4 . 369 
 
 301. Fred Pegr.\m. Portrait of Moffat P. Linder. Process block by L. Chefdeville & Co. 
 
 From the original drawing lent by the artist ...... 370 
 
 302. Maurice Greiffenhagen. Process block by Waterlow & Sons, Limited. From the 
 
 original drawing lent by the artist . . . . . . • 3?i 
 
 303. William .Small. Process block by Angerer & Goschl. From the original drawing . 372 
 
 304. WiLLl.\M Sm.\LL. Process block by Angerer & Goschl. From the original drawing . 373 
 
XXXIV 
 
 PEN DRAWING 
 
 lAGE 
 
 305. E. H. New. North Front, Heron Court. Process block by A. & C. Dawson. From the 
 
 English Illustrated Magazine, No. 114, March 1893, p. 379 . . . . 374 
 
 306. A. J. Gaskin. The Goloshes of Fortune. Process block by L. Chefdeville & Co. From 
 
 Hans Andersen’s Stories and Fairy Tales, 1893 (ist Series), p. 81. Geo. Allen . . 375 
 
 307. A. J. Gaskin. What the old man does is always right. Process block by L. Chefdeville 
 
 & Co. From the same (2nd Series) . . . . . . -37 5 
 
 308. L. F. Muckley. The modest rose puts forth a thorn. Process block by A. & C. Dawson. 
 
 From the original unpublished drawing lent by the artist ..... 376 
 
 309. E. H. New. Portrait of Herbert New. Process block by Waterlow & Sons, Limited. 
 
 From the original unpublished drawing lent by the artist . . . . -377 
 
 310. R. M. M. Pitman (Miss). Process block by Waterlow & Sons, Limited. From the 
 
 original drawing lent by the artist . . . . . . -378 
 
 31 1. Laurence Housman. Heading. Process block by Waterlow & Sons, Limited. From 
 
 Goblin Market by Christina Rossetti, p. 56. Macmillan & Co. .... 379 
 
 312. Laurence Housman. Process block by A. & C. Dawson. From the same, p. 14 . 379 
 
 313. Laurence Housman. Process block by A. & C. Dawson. From the same, p. i 5 . 379 
 
 314. H. R. Millar. Process block by Waterlow & Sons, Limited. From the original drawing 
 
 lent by the artist. First published in The Romance of the World. Cassell & Co. . 380 
 
 315. F. H. Townsend. Silence. Process block by A. & C. Dawson. From the original 
 
 drawing lent by the artist. First published in . . . .381 
 
 316. Percy Kemp. They met again. Process block by Angerer & Goschl. From the original 
 
 drawing lent by the artist. First published in Pick-me-Up, March 1894 . . . 382 
 
 317. Albert Durer. Angels carrying the Crown. Process block; unsigned. From Life of 
 
 DUrerhy Ephrussi, Quantin, p. 194 . . . . . . -385 
 
 318. Albert Durer. St. George and the Dragon. From the same, p. 203 . . -385 
 
 319. Alfred Parsons. The Hawk. Decoration for St. Guido by Richard Jefferies. Woodcut 
 
 by J. D. Cooper. From the English Illustrated Magazine, 1885, p. 186 . . . 386 
 
 320. Alfred Parsons. The Swallow. From the same, p. 181 . . . . 387 
 
 321. Hugh Thomson. Title; A Morning in London. Process block by Waterlow & Sons, 
 
 Limited. From the same, 1887, p. 365 ....... 388 
 
 322. Louis Davis. Tail-piece. Process block by Waterlow & Sons, Limited. Used as head- 
 
 piece in the 1887, p. 245 . . . . . 388 
 
 323. Heywood Sumner. Head-piece. -Woodcut; unsigned. From the same, 1885, p. 718 . 389 
 
 324. A. C. Morrow. Tail-piece. Woodcut by O. Lacour. From the same, 1886, p. 498 . 389 
 
 325. Henry Ryland. Head-piece. Process block by Waterlow & Sons, Limited. From the 
 
 same, 1888, p. 629 ......... 390 
 
 326. Heywood Sumner. Tail-piece. Process block by A. & C. Dawson. From the same, 
 
 1885, p. 718 . . . . . . . . . -390 
 
 327. Henry Ryland. Llead-piece. Process block by Waterlow & Sons, Limited. From the 
 
 same, 1888, p. 210 ......... 391 
 
 328. Heywood Sumner. Tail-piece. Process block by Waterlow & Sons, Limited. From the 
 
 same, 1887, p. 373 • • • • • • • • • 39i 
 
 329. Louis Davis. Head-piece. Process block by Waterlow & Sons, Limited. From the 
 
 same, 1888, p. 524 . . . . . . . . . 392 
 
 330. E. Grasset. Head-piece, landscaire. Process block ; unsigned. From Baschet’s illustrated 
 
 Salon Catalogues ......... 393 
 
 331. E. Grasset. Introductory head-piece. Process block by Gillot. From the same . 394 
 
LIST OF ILLUSTRATIONS 
 
 XXXV 
 
 I'AGE 
 
 332. F. Bracquemond. Tail-piece. Process block; unsigned. Y xom Gazette dcs Beaux- A?'ts^ 
 
 vol. x,xix. 1884, p. 420, etc. ........ 394 
 
 333. Heywood Sumner. We have no Souls, etc. Process block by Waterlow & .Sons, Limited. 
 
 Yrom Yac English Illustrated Magazi?ie, 1887, p. 298 . . . . -395 
 
 334. Franz Stuck. Process block; unsigned. From Stuck’s Cartes and Vignettes, published 
 
 by Gerlach & Schenk ......... 396 
 
 335. Franz Stuck. Speisenkarte. Process block ; unsigned. From the same . . 397 
 
 336. Franz .Stuck. Speisenkarte der Allotria. Process block; unsigned. From Kunst fiir 
 
 Alle, November 1892 ......... 398 
 
 337. Otto Greiner. Cantate Montag, Leipzig 1893. Process block; unsigned. From 
 
 Zeitschrift fiir Bilderkunst, October 1893 ...... 399 
 
 338. Otto .Seitz. Process block; unsigned. From Eigene Ilaard, 23rd January 1893, p. 61 . 400 
 
 339. J. S.YTTLER. Process block by C. Schrieber. From Uber Land und Mcer, October 1892, 
 
 p. 3 . . . . . . . . . . .400 
 
 340. H. Illingworth Kay. A design for a title-page. Process block; unsigned. From 
 
 Poems hy Richard Garnett. Elkin Mathews & John Lane . . . .401 
 
 341. Henry Ryland. Forget not yet. Process block by Waterlow & .Sons, Limited. From 
 
 \S\^ English Illustrated Magazine, February 1894, p. 522 . . . . 402 
 
 342. Alfred Parsons. Title; Shakespeare’s Country. Woodcut by J. J. Cocking. From 
 
 the same, 1885, p. 271 . . . . . . . . . 403 
 
 343. Herbert P. Horne. Diana. Process block by Walker & Boutall. From the Century 
 
 Guild Hobby-Horse, 1888 ........ 404 
 
 344. Herbert P. Horne. Initial F. Process block by Walker & Boutall. From the 
 
 same . . . . . . . . . . .405 
 
 345. H. L. Bridwell. Initial M. Process block by Louis Chefdeville. From original drawing 
 
 lent by the Century Co. of New York. Published in smaller size in the Century 
 Magazine . . . . . . . . . .405 
 
 346. E. Unger. Head-piece. Woodcut ; unsigned. From Universum . . . 406 
 
 347. H. L. Bridwell. Initial .S. Process block by Louis Chefdeville. From original draw- 
 
 ing lent by the Century Co. of New York. Published in smaller size in the Century 
 Magazine .......... 406 
 
 348. George C. IL\ite. Heading. Process block by Waterlow & Sons, Limited. From the 
 
 original drawing lent by the artist. First published in the Daily Graphic, 12th November 
 1890 ........... 407 
 
 349. H.\BERT-Dys. Initial A. Process block by Pettit. From the Alphabet of Habert-Dys . 407 
 
 350. F. Bracquemond. Initial D. Process block ; unsigned. From Gazette des Beaux-Arts, 
 
 vol. xxix. 1884, p. 420 ......... 408 
 
 351. E. Unger. Tail-piece. Woodcut; unsigned. From Universum. . . . 408 
 
 352. G. Wharton Edwards. Heading. The violoncello of Jufrow Rozenboom. Process 
 
 block; unsigned. From the Century Magazine, March 1893, p. 643 . . . 409 
 
 353. Habert-Dys. Tail-piece. Process block; unsigned. From EArt, vol. xxxvi. 1884, 
 
 p. 195 . . . . . . . . . . . 409 
 
 354. W.XLTER Crane. Page of decorative lettering. Process block by Waterlow & Sons, 
 
 Limited. Yxom Ym English Illustrated Magazine, 1885, p. 628 .... 410 
 
 355. Howard Pyle. Heading. Process block; unsigned. From Harper's Magazine, March 
 
 1893, No. 514, p. 547 • ■ • • • • • ■ .411 
 
 356. How.vrd Pyle. Melancholia. Process block; unsigned, h'rom the same, March 1893, 
 
 No. 514, p. 547 • • • • • • • • • .411 
 
XXXVl 
 
 PEN DRAWING 
 
 FACE 
 
 357-358-359. P. Renouard. Cock-fight. Process blocks unsigned. From La Vie Modcrne, 
 
 vol. iii. 1882, p. 845 . . . . . . . . .412 
 
 360. Walter Crane. Plead and tail pieces. Process blocks by Walker & Boutall. From 
 
 drawings designed for Messrs. R. & R. Clark . . . . . .413 
 
 361. Habert-Dys. Head-piece. Process block by Pettit. From Li Art, vol. xxxvi. 1884, 
 
 p. 194 . . . . . . . . . . .414 
 
 362. F. eu Mond. Tail-piece. Process block ; unsigned. From Harpc 7 ''s Magazine, January 
 
 1893, Nc. 512, p. 312 . . . . . . . . . 4'4 
 
 363. William Morris. Page of the Kelmscott press edition of Caxton’s Golden Legend. Type, 
 
 border, and initials designed by William Morris. Printed at hand press on Kelmscott 
 Press paper . . . . . . . . .to face 4 1 4 
 
 364. A. Edelfelt. Study of a head. Woodcut by Charles Baude .... 437 
 
 365. Albert Durer. Big Horse. Woodcut by R. Paterson. From the Etiglish Illustrated 
 
 Magazine, 1885, p. 20 . . . . . . . . . 438 
 
 366. Albert Durer. Big Horse. Process block by A. & C. Dawson. From print in 
 
 British Museum .......... 439 
 
 Note . — Many of the plates and blocks being unsigned, I am unfortunately unable in certain cases to give the 
 engravers who reproduced them credit for their work. There are also a few illustrations to which the date of publication 
 is not appended. This is due to the fact that either original drawings were sent me by artists or publishers without date 
 or title, or else examples were selected from unsigned and undated collections of proofs. 
 
 ERRATA. 
 
 Page 242, line 5, for Kipling’s “ Stories of Child Lifef read “ fungle Book." 
 „ 316, „ 6, “ Launcelot, Speed,” “ Launcelot Speed.” 
 
 hill T) 9 -> “ Anderson,” “ Andersen.” 
 
PEN DRAWING & PEN DRAUGHTSMEN 
 
 INTRODUCTION 
 
 T here are three reasons why I wish to write of pen drawing 
 at the present time. The first is because I believe that, just as 
 none but the physician is allowed to speak with authority on 
 medicine, none but the scientist on science, so only the man who has made 
 and carefully studied pen drawings should have the right to speak 
 authoritatively of them. Only the writing on art by one who has technical 
 knowledge of it is of practical value, and I think this explains why it is, 
 that of the many books on art written of late years, so few are of real use 
 to the artist. Such volumes as Lalanne’s Treatise on Etchi?ig, and some 
 parts of Ruskin’s Elements of Drawing, are indeed the exceptions. 
 
 This leads me to my second reason for writing : the very unsatisfactory 
 manner in which pen drawing has hitherto been treated. The principal 
 critics of the day hold their own estimation of contemporary and earlier art 
 in all its many branches to be the only right one, and abuse every other as 
 vitally at fault ; while it is the tendency of many modern writers so to 
 enlarge upon the divine mission, the intellectual value, the historical 
 importance of art in the past, as to belittle contemporary work, and to ignore 
 altogether technique, which is as great to-day as in any former time. 
 Without the nearest possible individual approach to technical perfection, 
 according to the standard of the age in which it is produced, art work 
 cannot be of value as a whole, although in parts it may be instructive. 
 
 If often this belittling of contemporary art is to be expected, it is 
 unwarranted when extended to pen drawing, which, as a distinct art, 
 belongs only to the last few years. This fact has been so completely over- 
 looked that in treatises accepted as authorities, pen drawing in its modern 
 
 B 
 
2 
 
 PEN DRAWING 
 
 development has not received the attention it deserves. This is true even of 
 Mr. Hamerton’s chapter on the subject, though it must be remembered that 
 T/ie Graphic Arts was published in 1882, before pen drawing had developed 
 to any extent in England ; probably also this chapter was written at a much 
 earlier date. Looking in The Graphic Arts, I find that not one of the pen 
 drawings is reproduced by any intaglio process of photo-engraving, and it is 
 the development of photo-engraving, side by side with pen drawing, that 
 has brought the latter to its present perfection. 
 
 Of course the pen drawings or sketches of Albert Diirer, of Da Vinci 
 and Raphael, of Michael Angelo and Titian, in fact of every old master, and 
 above all of Rembrandt, are unquestionably instructive and interesting and 
 curious. Of the drawings of several of these men I shall speak further on. 
 As a rule, however, the drawings of the old masters are but memoranda, the 
 adjuncts of another art. To-day pen drawing is not only an art in itself, but 
 one which, as well as painting in oils, requires its own technical perfection. 
 It may be objected that the old men often made elaborate pen drawings. 
 So they did ; just as Rossetti elaborated with his pen or pencil until one 
 wishes he had put the same time and infinite amount of work that went to 
 his illustrations of Tennyson, and copies of his pictures, for example, into his 
 beautiful pastels. True, in the end he succeeded in getting what he wanted, 
 but he was not an intelligent technician ; like the old masters, he did not in 
 the modern sense know how to make a pen drawing. 
 
 With a certain class of writers on art I am not here concerned, since to 
 them eloquent writing is of more importance than honest criticism, and 
 their ignorance of the technique of any art is only equalled by their ability 
 to write on it. There have been men, however, who have sought to treat 
 pen and ink drawing technically, and the third reason for my writing is that 
 some of these writers, who call themselves pen draughtsmen, have evidently 
 the very smallest knowledge of their subject. One such manual states on 
 cover and title-page that pen and ink drawing is commonly called etching, 
 showing at once to what manner of audience it is addressed, viz. people who 
 draw with pen and ink on antimacassars and call it etching, and who are 
 continually asking what is the difference between a pen drawing and an 
 etching anyway.^ If Mr. Hamerton and Mr. Ruskin have not been able to 
 show this elementary difference, it would be not only presumptuous, but a 
 
 ^ The Master of the Architectural School of calls a perspective etched in brown ink. Other 
 the Royal Academy also falls into this careless architects are continually talking of a drawing 
 mistake. On page 4.7, paragraph 143, of his being etched when they mean it is drawn in pen 
 Architectural Drawing, writing of pen drawings, and ink. 
 he illustrates his matter by reference to what he 
 
INTRODUCTION 
 
 3 
 
 great waste of paper on my part to quote their words. However, for the 
 benefit of such people, to whom it probably will be information, I may say 
 that pen drawing is, was, and ever shall be, drawing with a pen, and nothing 
 else. As to etching, it is a method or engraving on a metal plate with 
 which I am not here concerned. 
 
 Neither do I propose to make this a treatise on drawing. For one 
 must know not only something of art, but all that one can find out for one’s 
 self about drawing, before good work can be done with the pen. Strange as 
 it may seem to the crowds who are actually flooding the world with pen 
 drawings, the same qualities which go to make a good pen drawing are 
 indispensable to the production of a good etching. The only advantage is, 
 that instead of having a treacherous material to work with, you have the 
 simplest possible. This being so only proves the great difficulty of really 
 drawing well with the pen. 
 
 When one sees pen and ink copies of woodcuts, of oil paintings, of 
 anything and everything, all worked out with an awful and reverent, but 
 utterly misplaced and wasted fidelity, one best realises that pen drawing, like 
 etching, is one of the most facile, least understood, and most abused of the 
 arts. 
 
 I do not believe with one of the few men who have already written of 
 pen drawing that he or any one else can, in a book, “ teach drawing in 
 Indian ink, upon principles so easy and progressive that individuals may 
 attain this pleasing amusement without the aid of a master ” ; or indeed, 
 unless the student has great ability, with his aid. But I am not without 
 hope that the pen drawings published here will show many, who are pleased 
 to call themselves pen draughtsmen, that they are without the faintest idea 
 of the aims, objects, and limitations of the art ; as well as bring to the 
 notice of amateurs, collectors, critics and print-sellers, a healthy, vigorous, 
 flourishing craft which is being developed and improved in all its branches, 
 and owes nothing whatever to their fostering care or encouragement. 
 
 For examples, I have selected the best work, so far as I have been able 
 to find it, of all schools, and not merely of one narrow French, English, 
 Italian, German, Spanish, or American method, the merits or shortcomings of 
 which one would be unable to point out without using this comparative plan. 
 
 Mr. Hamerton has called pen drawing a “ simple process,” and some 
 people may unwisely suppose, therefore, that a simple process implies an easy 
 and trifling form of art. To the incipient artist encouraged by the financial 
 success of pen drawing hacks, I would only say : unless you feel that pen 
 drawing is something to be reverenced, something to be studied, something 
 
4 
 
 PEN DRAWING 
 
 to be loved, something to be wondered at, that you are the motive power 
 behind the pen, and that you must put all your individuality and character 
 into your work, you will never become a pen draughtsman. And you 
 should be prouder to illustrate the greatest magazines of the world, thus 
 appealing to millions of readers, than to have your drawings buried in the 
 portfolios of a few hundred collectors. For I believe that, in these days, 
 artists, who show their work to the people through the press, are doing 
 as did the masters of other days, who spoke to the people through tlie 
 church. 
 
PEN DRAWING IN THE PAST 
 
PEN DRAWING IN THE PAST 
 
 O F pen drawing in the past I shall say but little, for the simple reason 
 that there is little to be said, that is, from my standpoint : the 
 making of pen drawings for illustration and reproduction. No 
 artist would study the old masters, with a very few exceptions, notably 
 among the old Dutchmen and Germans, for the technical qualities of pen 
 drawing. As painters now look to Titian and Velasquez, Rembrandt and 
 Franz Hals, so men in future times will look back to some of the pen 
 draughtsmen of to-day as not only the early, but the great masters of 
 the art. It is not necessary to do more than to point out the scope and 
 aim of pen drawing as it existed among the great artists of other days, in 
 order to emphasise its far wider scope and higher aims among the men 
 of the present. A knowledge of its immaturity in the past helps one to 
 the appreciation of its development in our own time. 
 
 It must be understood, however, that if the pen drawing of the old 
 masters was undeveloped in comparison with the work of to-day, it was simply 
 because with them there was no call for it as an art apart. It was quite 
 perfect for the purpose they wished it to serve. Since in engravings on 
 wood and steel all the pen quality of a drawing was lost, when they wanted 
 to reproduce their work autographically, they etched. What Mr. Hamerton 
 says generally of pen drawings, is really applicable only to theirs : they were 
 “ sketches of projects and intentions.” They are to be studied, of course, 
 for their composition and arrangement, suggestion of light and shade, and 
 rendering of the figure, of which I have no intention to speak, since in these 
 matters pen drawing is subject to the same laws as any other art ; but 
 for pure technique these pen memoranda, as a rule, have little to teach the 
 modern draughtsman. 
 
 That the old masters made great use of the pen is well enough known. 
 
PEN DRAWING 
 
 One cannot go to any of the galleries of the world without seeing many 
 of their pen drawings, which are interesting in relation to the pictures 
 of which they were the germs, and as records of strong impressions and 
 ideas vigorously and simply put down. And here let me insist again that, 
 while one may make notes and sketches as they did, and study their 
 marvellous facility and vigour in so sketching, such sketches are not, as 
 many modern art critics and artists consider them, pen drawings. This is 
 proved at once by the very different methods used by these same masters 
 in their etchings, to which the pen drawings of to-day are equivalent. 
 But their pen sketches, or rather memoranda, really were for them very 
 much what instantaneous photographs are for the modern artist — suggestions 
 and notes of action and movement, suggestions which when adopted, and 
 notes which when taken, from the camera, nearly always resulting in the 
 ruination of the artist, while the photographer struts abroad glorying in 
 his greatness. By all means the old sketches should be studied. But it 
 is the veriest affectation nowadays to imitate them literally. 
 
 If the artists of to-day were not possessed of such external aids as 
 photography, they would probably excel all old masters in sketching — 
 always excepting Rembrandt, though Whistler in his etchings is quite the 
 equal of Rembrandt. The modern artist has many aids and adjuncts which 
 the old men knew nothing about, and which make the work of to-day much 
 more true and accurate and scientific than that of any other time. But 
 because of his dependence on these aids, the modern artist has lost much of 
 the old facility in sketching. What I say applies even to colour. And if 
 a man with the gifts of Titian were to appear to-day, he would surpass 
 Titian himself, just as Corot surpasses all the old landscapists. 
 
 Michael Angelo, Da Vinci, and Raphael often made the first sketches 
 for their pictures with pen and ink : sketches full of character, which have 
 lately been made better known by Braun’s autotypes and numberless photo- 
 graphs. Botticelli’s delicate and refined illustrations for the Divina Commedia, 
 though drawn in with sympathetic silver point, were gone over with pen 
 and ink. 
 
 Landscapes by Titian, with little villages or houses in the middle 
 distance, have a delightful suggestion of picturesqueness ; but it is curious 
 to compare these with modern pen and ink landscapes by Rico or Vierge, 
 for example. Titian’s, the honest critic must admit, suffer when comparison 
 of their technical points is made. A drawing of a Turk by Gentile Bellini 
 in the British Museum can, for beauty of modelling with a pen and 
 delicacy of handling combined with simplicity, be advantageously studied 
 
PEN DRAWING IN THE PAS'I' 
 
 9 
 
 by the pen draughtsmen of to-day. It shows what the old men might have 
 done with a pen. 
 
 There are pen studies of horses and carriages hy Velasquez, very simply 
 and strongly suggested. But it is unnecessary to go through the list of all the 
 masters whose drawings have been preserved. It is endless, and, differing 
 as the drawings do in character, they are nearly all alike in being mere notes 
 or records of facts ; or if, as rarely happens, carried out, they are, save in 
 few more than the cases I have mentioned, valueless for study of technique. 
 That is, to the student, who should learn that the greatest care and not 
 the utmost freedom of touch should he his aim. While one may rave over 
 these early drawings, one should no more recommend their technique to the 
 beginner than feed a baby with champagne. There are ideas enough to 
 he learned from them, and sometimes the best and strongest work of the 
 artist is to be found in his pen drawings. 
 
 The pen draughtsman will study to best advantage such old work as 
 Holbein’s Dance of Death, and beautiful designs for metal work, many of 
 the originals of which may be found in the British Museum ; Albert 
 Diirer’s and Israel von Aleckenen’s metal engravings; Rembrandt’s etchings; 
 the lovely Renaissance decorative head and tail pieces. Diirer, having no 
 perfect process by which to reproduce his work, apparently put little delicacy 
 of line into his wonderful drawings for the wood-cutter, and delicacy is all 
 that is lacking to make them in technique equal to the drawings of to-day. 
 That h e could draw delicately is shown by his etchings and engravings, 
 every one of which is worthy of reverent study. That he did not, only 
 proves that he understood the limitations of wood-cutting. This want, 
 however, added to a certain archaic decorative feeling that pervades all his 
 engraved work, makes it affectation for an artist to-day to model his style 
 on that of Diirer. 
 
 But, on the other hand, nothing could be nearer perfection for an artist 
 of a northern country to study than Rembrandt’s etchings of out-of-door 
 subjects, especiallv his little views of towns. Even Mr. Ruskin gives 
 this advice in his Klenients of Drawi/ig. Rembrandt’s etchings have so 
 manv of the same qualities as pen drawings that, I feel certain, had he 
 lived in our age, he would not have etched so much, hut would have made 
 innumerable pen drawings, for the same reason the best pen draughtsman of 
 to-day, who could etch if he chose, once gave me. Why, when he could 
 have his drawings reproduced perfectly, should he use a nasty, dirtv process, 
 which is successful more hv good luck than good management.? You can 
 see by reproductions in the Gazette des Beaux-zJrts how well Rembrandt’s 
 
 c 
 
lO 
 
 PEN DRAWING 
 
 simpler etchings, as well as Vandyke’s, are rendered by process blocks from 
 clean wiped prints. Many of Rembrandt’s etchings come very well without 
 any wiping.^ Collectors now appreciate old etchings for their rarity, but 
 when they were made, they were sought for because of their perfect repro- 
 duction of the master’s work. There were then no fancy prices attached to 
 Rembrandt’s etchings,^ or, in his time, to Meryon’s either for that matter. 
 They were sold for a few pence, as are our best illustrated magazines. 
 
 There is a little of the modern feeling and go in some of Tiepolo’s 
 drawings. Claude’s landscape sketching in pen and ink is also marked by 
 more of the modern spirit. Both these artists used washes of bistre or sepia 
 in their pen drawings. But to this I see no reason to make objection. I am 
 no purist in art, and therefore no advocate for “ pure pen drawing.” I think 
 it more important to give a desired effect, no matter how, than to limit the 
 means by which it is to be obtained. 
 
 The development from Claude and Tiepolo, through Paul Huet and 
 others, onwards to our time, could be easily traced. Doubtless many 
 pages could be filled were I to follow this growth in detail, and ample 
 opportunities would be afforded to discover my omissions and praise my 
 discoveries. But I do not think it worth while, since it is in its maturity, 
 rather than in its making, that pen drawing is most interesting. And 
 besides, as I have said, the introduction of photo-engraving had so much 
 to do with its development that there seems to be but one step from the 
 old “ sketches of projects and intentions ” to the modern comparatively 
 perfect work. 
 
 The history of the development of pen drawing and the history of the 
 development of photo-engraving are two distinct subjects, neither of which 
 do I propose to treat. Sir H. Trueman Wood in his Moder?i Methods oj 
 Illustrating Books devotes a chapter to mechanical processes, in which he 
 gives the bare facts about photo-engraving. I think it more than likely 
 that the processes he mentions were used in France and America before 
 they were ever attempted in this country, though Mr, Fraser of the Century 
 says the first really successful process was Woodbury’s in England. How- 
 ever, the first successful reproductions which appeared in any English 
 magazine, I have found in Once a Week, and they were taken from French 
 periodicals. 
 
 ^ For reproductions of Rembrandt’s etchings Rembrandt, Michel-Hachette, 92, and Heinemann, 
 by process, sec Les Artistes Celebres ; Rembrandt, 93. 
 
 par Emile Michel, Paris ; Librairie de V Art, - Save “ The Hundred Guilder ” and some 
 1886; and D aheitn, 'L&x'^zic, Sept. 1888, Also others. 
 
PEN DRAWING IN THE PAST ii 
 
 There are, on the other hand, innumerable histories and biographies of 
 the great and lesser masters of all times from Giotto to the man who died 
 yesterday, all of whom have helped to develop pen drawing. But until 
 about the year 1880 pen drawing did not begin to flourish as an art in itself. 
 Before this no artist, except as an experiment, would have his work repro- 
 duced by these, then, only partially developed processes. The drawings of 
 the old masters, when reproduced at all, were drawn on wood and then cut 
 all to pieces, and this method was continued until a very few years ago, 
 when photography was made use of to transfer the image of natural objects 
 on to the wood. Thence it was only a step to photograph the pen or other 
 drawing on to the block, the original work remaining untouched. The last 
 step of all is the photographing of the pen or other drawing — with pen 
 drawings alone I am of course here concerned — on to a sensitised block, 
 gelatine film or zinc plate, or other substance, from which a mechanical or 
 process engraving is made. It is this development of process which has 
 made pen drawing into a distinct art, equal in importance to etching. 
 
 Throughout this volume I use the word process to express the repro- 
 duction of a drawing. It is the word used by artists, and therefore the 
 right one. 
 
PEN DRAWING IN THE PAST 
 ILLUSTRATIONS 
 GENTILE BELLINI 
 
 DRAWING OF A TURK MADE AT CONSTANTINOPLE 
 
 T he modern method of pen drawing is best seen in the work of 
 Gentile Bellini. I do not mean to say that he was the first to 
 use the pen to produce a separate and distinct form of art ; but, 
 whether he used a pen or a point, until Chodowiecki, his drawings were 
 unrivalled. I should not commend the drawing for its handling ; we 
 have improved on that, but Bellini seems to have been one of the few 
 among the ancients who cared for pen drawing for its own sake. 
 
PEN DRAWING IN THE PASl' 
 
 13 
 
 TITIAN 
 
 I SHOW this drawing by Titian, and with it a little sketch in Holland 
 by Maxime Lalanne, tor the purpose ot comparison. I am quite aware 
 that it will be thought absurd on my part to compare the study for a 
 great picture, which this may have been, — I confess I do not know for what 
 picture it was a study, it indeed it was ever used, for I cannot recall any of 
 Titian’s pictures in which the composition recurs, — with an apparently slight 
 and trivial drawing by Lalanne. I know it will at once he said that the hand 
 of a greater man and a larger and broader mind is shown in a pen drawing 
 which, like Titian’s, can give a rocky toreground with a great tree, a middle 
 distance with a town and woods, a lake stretching away to a mountainous 
 horizon, and above all, a hne cloud effect. I would he the first to admit 
 this, if the drawing by Titian expressed, with the same simplicity and 
 meaning of line, a result as artistic as that of the drawing by Lalanne. 
 But this is certainly not the case. 
 
 Before analysing Titian’s drawing, I must do that which will seem 
 gratuitous. I must make an apology for it by saying that I do not believe 
 Titian ever intended it to be shown. And because Titian was one ot the 
 greatest, if not the greatest Italian painter who ever lived, there is absolutely 
 no reason why we should bow down and worship everything that came from 
 his hand. Though the composition is suggestive and may have been of 
 great value to the artist, the actual lines are worthless tor study. They are 
 careless and trivial from one end of the drawing to the other. To come 
 down to details, the idea ot the tree trunk which comes out towards us is 
 veiT well given, although there is in it absolutely no feeling for line. But 
 it grows out of a meaningless blot at the bottom and disappears at the top 
 in meaningless scrawls which common sense tells us are meant tor foliage. 
 Compare it for a moment with the young tree by Lalanne ; ^ note how 
 gracefully the growth ot the tree is indicated, and the way in which Lalanne 
 shows the direction of the prevalent wind in Holland, which causes the tree 
 to bend and its branches to grow on the side away trom it. Then in Titian’s 
 drawing it is impossible to tell where the rocky toreground ends and the 
 
 ^ La Porte Saint-Antoine, Amsterdam. La Ilollande a Vol d'Oheau, Henry Ilavard, Decaux, and 
 Quantin, Paris. 
 
PEN DRAWING 
 
 14 
 
 water of the lake begins, even though the lake lies far below. Everything 
 is clumsily obscure. In Lalanne’s this is shown in the clearest manner with 
 about one-third the number of lines Titian has used. In the Titian there 
 are blots in the water, and you cannot make out the construction of the boat. 
 In the Lalanne this is plain enough ; you can even see the different colours 
 
 in which his boat is painted. Look at the careful and yet slight indication 
 of the roadway leading back to the towered gate. But can any one tell me 
 what the cross-hatched, scrawled-in hill on the right of Titian’s is composed 
 of? Titian’s middle distance of a town, woods, and a house under the trees 
 on the opposite side of the lake has the handling of a small child, while 
 the perspective is all out. In Lalanne’s, note how every line has a purpose, 
 how beautifully the shadows are given on the houses, how the little blots all 
 have a meaning, while Titian’s are due to pure carelessness. There is quite 
 as much suggestion in Lalanne’s pure white paper sky, as in Titian’s laboured 
 clouds. I know that any person can see these things. But the point I wish 
 to emphasise is that students are bidden, and do study drawings like this of 
 
PEN DRAWING IN THE PAST' 
 
 15 
 
 Titian’s ; because he was a great master of colour, he is supposed to be a 
 great master of everything ; but Lalanne, who was an equally great master 
 as a pen draughtsman, is ignored because he is a modern and rarely painted. 
 And I want to insist in the strongest manner that this, and all other drawings 
 of Titian’s I have ever seen — and I have gone through almost all the great 
 galleries, — are simply of no value whatever for the study of technique. I 
 repeat what I have already said that neither pen drawing nor landscape 
 painting was then developed, or had even become an independent and 
 separate art of any great importance. I do not for a moment assert that 
 Titian could not have made a fine pen drawing. I only say that, judging 
 from his drawings which we possess, he did not. 
 
 Note. — For other Lalannes, see Illustrations to Chapter on French Pen Drawing. 
 
i6 
 
 PEN DRAWING 
 
 SOME COMPARATIVE HEADS: 
 
 OLD AND NEW 
 
 By using these heads I thought it possible to compare the old work with 
 
 the new, even though 
 grouping together 
 two or three difl'erent 
 countries and periods, 
 in order to explain 
 more easily the differ- 
 ence between ancient 
 and modern methods. 
 
 Commencing with 
 Durer ; we all know 
 what he could do with 
 a pen from his designs 
 and decorations, so re- 
 fined as to be models 
 for use to - day, and 
 from his woodcuts, for 
 whether he drew these 
 with a pen, pencil, or 
 brush is of very little 
 importance since the 
 results resemble pen 
 drawings on the block. 
 But when we come 
 upon a drawing like 
 this, of which he must 
 have been proud or 
 he would never have 
 signed it, we find at 
 once, exquisite though the drawing is and fine as is every line in it, that 
 Diirer had not a knowledge of the wealth and depth of colour which can 
 
p 
 
PEN DRAWING IN THE PAST 
 
 be obtained with a pen. 
 By comparing it with tlie 
 drawing by Rossetti this 
 becomes apparent, even 
 though the Rossetti has 
 lost very much in tlie 
 wood - engraving. The 
 lines in the Diirer are of 
 course far liner than those 
 in the Rossetti, hut the 
 latter suggests lar more 
 colour and is much more 
 freely handled than the 
 earlier drawing of Diirer. 
 Neither of these drawings 
 was intended for reproduc- 
 tion, and the Diirer no 
 more resembles his etch- 
 ings than the Rossetti re- 
 sembles his designs which 
 were put on the block. 
 
 That a man like Van- 
 dyke, for example, could 
 draw with a pen is shown 
 most conclusively by the accompanying head of a child, though, of course, 
 in his day such a drawing could never 
 have been reproduced; hut to-day it 
 could he, as indeed it has been perfectly. 
 
 Even the chalk work in it comes admir- 
 ably. However, the head of Mme. 
 
 Madrazo by Galice, though not to he 
 compared with it in knowledge of form 
 or in beauty of line, in some ways shows 
 plainly the advances we have made techni- 
 cally. While all of Vandyke’s shadows 
 are made, or at any rate have been repro- 
 duced in nearly pure black, Galice’s, being 
 drawn with a line pen, give variety to the y 
 whole, and allow him to concentrate his 
 blacks where he wants. Vandyke has 
 scattered his blacks all over. Nevertheless 
 his drawing is but another proof that the 
 old men could have drawn with a pen 
 
20 
 
 PEN DRAWING 
 
 had there been any necessity 
 for it. 
 
 I have liad a process made 
 from Vandyke’s etcliing of 
 tlie head of Snyders and it 
 is upon his etchings tliat 
 Vandyke’s reputation as a 
 black-and-white man rests. 
 I have placed with it two 
 heads by F. Desmoulins 
 from La Vie Mo(knu\ which 
 I think anv one must ad- 
 mit are quite equal to 
 Vandyke’s work, and yet 
 utterly different. The 
 smaller drawing is as full of 
 character and the modelling 
 as well given as in the Van- 
 dyke ; in the larger one the 
 
 feeling of flesh is far more completely 
 carried out than in the Vandyke, while 
 the hair, moustache, and imperial, some- 
 what similar in both, are vastly better 
 rendered by Desmoulins. Here is a man 
 who, I venture to say, is almost unknown, 
 and yet in black and white he has surpassed 
 Vandyke with his world-wide reputation. 
 However, Vandyke has had but a hand- v 
 ful of followers ; Desmoulins, whether the 
 fact is known to newspaper editors or not, 
 is the man who commenced the drawing 
 of portraits in pen and ink for illustrated 
 journalism. Vandyke gave to a few of his 
 friends a most interesting gallery of his 
 contemporaries ; Desmoulins has given the 
 
PEN DRAWING IN THE PAST 
 
 21 
 
 whole world a most artistic rendering of many great and little Frenchmen, 
 and has influenced a vast army of pen draughtsmen ol whom he still 
 remains the master. 
 
 These drawings also demonstrate another fact : we moderns have 
 advanced very little, if at all, in merely getting a likeness. But we have 
 made great strides in technical execution in the drawing of portraits. It 
 any one will dispassionately compare the manner in which Vandyke has 
 dotted and stippled the light side of the face of Snyders, and lined the 
 shadows without reference to the modelling, with the very simple yet 
 suggestive line of Desmoulins, he will And that Desmoulins has carried his 
 subject further and rendered the head more completely with an expenditure 
 of probably half the time and labour. The actual time and labour given to 
 a drawing is of course of no importance. But if one can show a good result 
 produced simplv, it cannot but be an advantage. 
 
 / 
 
REMBRANDT 
 
 Rembrandt, great in every way, shows his knowledge of the limitation of 
 every art by his admirable and right work in it. The etching of the old 
 man’s head here given is a perfect study for a pen sketch. It is as free as it 
 can be, and yet every line is put in carefully. The most positive proof that 
 Rembrandt would have been a pen draughtsman had he lived to-day is the 
 fact that this head reproduces charmingly by process. Compare it with the 
 head of the master in the Unfaithful Servant, the full-page pen drawing, and 
 note that though every line in the latter is put down with a purpose, and 
 there is in it none of the wild scrawling so visible in Titian, it is without 
 the delicacy and refinement shown in the two etchings. It is only a note to 
 be used in a picture or an etching, and I am sure is not a work upon which 
 Rembrandt would have wished to base his reputation. 
 
 As I have said of other men, Rembrandt knew perfectly the limitations 
 of pen drawing in his day and he respected them. When he wanted the 
 quality which now is to be had in pen drawing, he etched, and in his 
 simple etchings, which are not dependent on dry point, he obtained this 
 quality, though of course they possessed a certain softness which no process 
 has yet been able to give. No man among the ancients is greater than 
 Rembrandt as an etcher, but Whistler in his etchings of Old London is even 
 greater than Rembrandt. Therefore, if you wish a simple style good for all 
 times, you will find it in many of these landscape and figure subjects of 
 Rembrandt’s. But for work of to-day, and Rembrandt gave the things that 
 were about him, the student would learn more from the work of Whistler. 
 
yX'ft r*. 
 
24 
 
 PEN DRAWING 
 
 It seems to me that this study of a boy by Rembrandt is one of 
 his most modern and careful. But 
 
 it is only necessary to compare 
 even this with a dozen drawings 
 done at the present time given 
 in other parts of the book to see 
 what advance we have made ; 
 
 the pen work is good as far as 
 it goes ; very good, somewhat 
 like Keene’s delightful sketches 
 for his Punch pictures. That 
 Rembrandt thought this no more 
 than a sketch, though an ex- 
 cellent sketch, is at once proven 
 from the drawing and etching: of 
 the two pigs. In the pen draw- 
 ing of the pig lying down, there 
 is certainly the germ of the etch- 
 ing, and there is just as certainly 
 the most perfect expression of the 
 fact that Rembrandt knew what 
 could be and could not be done 
 in his day with a pen. How 
 enormously we have progressed, 
 any one may see by noting the 
 fact that now the delightfully 
 delicate etching reproduces quite 
 as well as the rather primitive, 
 though excellent pen drawing. 
 
 
PEN DRAWING IN THE PAST 
 
 25 
 
 DURER’S “APOLLO” 
 
 DRAWING IN PRINT ROOM, BRITISH MUSEUM 
 
 Neither the Print Room of the British Museum, nor any other great 
 gallery, contains a more interesting drawing than this Apollo by Diirer. 
 It is well enough known and has been reproduced before. Its interest 
 for curators, collectors, and art historians arises from its resemblance, not 
 only to Durer’s Adam, but to Jacopo de’ Barbari’s treatment of the same 
 subject. 
 
 Aly reason for reproducing it, however, is quite different. It is, in 
 the first place, executed with perfect freedom ; a study made as one might 
 make it to-day, without thought, apparently, of the engraver or wood- 
 cutter. But this want of thought is only apparent ; for the word Apollo is 
 written backward, showing conclusively that it was done for the engraver. 
 And still more interesting is the fact that between the legs, around one 
 arm, and in the hair, are distinct marks of pencil or silver or some other 
 metal point having been used in the roughest but most ordinary fashion to 
 trace it on to another sheet or, more probably, block or plate. No notice, so 
 far as these most important facts are concerned, has ever, I believe, been 
 taken of this drawing. And yet, whenever I have asked engravers or 
 illustrators or art editors of intelligence to look at it they have at once 
 agreed with me that this is an original design made by Diirer for engraving, 
 carried out in his usual fashion, that the lines in the study were simplified 
 by the wood-cutter, and that the flesh and background were cut by the 
 engraver without any reference to the lines of the original. 
 
 On the other hand, it is known that this drawing never was engraved. 
 This possibly is the very reason for its existence. How do we know that 
 Diirer did not destroy those studies for his engravings, carried out, every- 
 body now knows, mainly by other people, as soon as they were engraved 
 in metal or cut on wood That it was intended for engraving is proven 
 absolutely by the Apollo being written backwards. 
 
 Again, Mr. Sidney Colvin maintains that lead pencils were not known 
 to Diirer, and that this tracing is of later date. But I do not know that the 
 
 E 
 
26 
 
 PEN DRAWING 
 
 tracing on the drawing has been made with lead, it may he silver, rusty iron, 
 or any sort of metal that would leave a mark ; and every one who has had 
 to trace drawings knows that the simplest way to make a tracing, not in 
 reverse, is to go over it with something that leaves a mark which can he 
 rubbed out afterwards, because a line is left and one knows just how much 
 one has traced. Otherwise it is necessary constantly to lift up the drawing 
 — often shifting it — to see how much has been done. 
 
 Therefore it seems to me that here is one — possibly the only one — of 
 Durer’s original drawings in preparation for the wood-cutter or his own 
 engraving. And as such I have, I believe, for the first time discussed 
 from this point of view, one of the most interesting possessions of the 
 British Museum. The lines in the sky are done with the utmost free- 
 dom ; and yet they are so laid down that any intelligent wood- cutter 
 could simplify them so as to produce a sky that would print. And one 
 should note though Diirer did draw, in this instance, with a freedom and 
 a delicacy quite absent from his woodcuts, that these qualities are absent 
 from them, is his misfortune not his fault. 
 
 The glory or mirror which frames the word Apollo is quite 
 characteristic ; but when we come to the flesh all is different. The 
 outlines of the figures, background, and less important parts were most 
 likely traced on the block or plate by assistants ; and he then filled in, 
 simplifying or adding to, the important figures in just the fashion he 
 wished, on the block, all of this being cut to pieces, which was the 
 course pursued by Cruikshank, Dore, etc., until the introduction of 
 photography. 
 
 I have simply discussed Diirer in this way as a practical working 
 illustrator, working as all other illustrators worked ; and, great as are his 
 designs, I believe they were produced in very much the ordinary fashion. 
 
 The reproductions of this drawing and the Bellini have been made 
 by the Swan Electric Company, and are most interesting examples of the 
 Ives method (the blocks were made by Mr. Ives himself) of reproducing 
 line drawings by the half-tone process. The advantages of this are too 
 self-evident to need any comments. 
 
SPANISH AND ITALIAN WORK 
 
PEN DRAWING OF TO-DAY 
 
 SPANISH AND ITALIAN WORK 
 
 P EN drawing as an art in itself belongs to the nineteenth century, 
 especially to the last quarter. Mr. Hamerton, who in his Graphic 
 Arts gives a brief sketch of its history, says : “ Fortuny, the Spanish 
 painter, introduced a new kind of pen drawing which has been followed by 
 Casanova and others of the same school, and which has had some influence 
 outside of it, as well as upon the practice of etching.” 
 
 But when he wrote, though but ten years ago, the real significance of 
 this new kind of pen drawing had not been brought to his notice. For the 
 truth is, in Fortuny’s day pen drawing was revolutionised ; he, Madrazo, 
 Rico and Vierge in Spain, Menzel and Dietz in Germany, Lalanne and De 
 Neuville, following Aleissonier, in France, with the new method of photo- 
 engraving to help them, may be said to have made it tbe art it now is. 
 
 oil have but to place a drawing of Meissonier’s, Fortuny’s, or Menzel’s 
 by one of Rembrandt’s or Raphael’s to realise how completely modern 
 pen draughtsmen have broken away from the old limitations, and shown 
 that the pen can be used for something more than the mere sketching of 
 projects and intentions. Pen drawing is a painter’s process, and nearly all 
 these artists were, or are, painters as well as pen draughtsmen. 
 
 Fortuny’s chief innovation in methods was the use of short broken 
 lines, or rather, possibly, the substitution of the spot of lines, for the line 
 itself, the use of these spots of lines to indicate the mass of shadow, the 
 omission of a definite outline, and the suggestion of that outline, by means 
 either of the background, or the modelling inside the figure itself. Mr. 
 Hamerton says that Fortuny preferred short lines probably because he 
 wanted to get variety, and because he saw nothing in nature “ that could 
 be fairly interpreted by a long line.” But a far more likely reason is that 
 he found with short lines he could model and break up the mechanical look 
 
32 
 
 PEN DRAWING 
 
 often given by long conventional lines — though all lines are conventional. 
 Fortuny’s drawings are full of the most delicate modelling ; his figures, 
 instead of being simply and strongly suggested as in the pen sketches of the 
 old masters, are as carefully worked in as if with a brush, and their strength 
 is increased rather than lessened by this care. Mr. Hamerton asserts that 
 the apparently “ coarsest pen drawings are usually the work of great artists ; 
 the delicate and highly-finished are usually the work of amateurs, or else of 
 workmen who are paid to imitate engravings for the purpose of photo- 
 graphic reproduction.” True as this was in a certain sense, it shows that 
 Mr. Hamerton did not foresee the development of photo-engraving, and it 
 is misleading, since nothing could be more delicate and less suggestive of 
 engraving than the drawings of Fortuny. They are moreover full of the 
 most wonderful brilliancy. It was in Africa that his eyes were opened to 
 the strong effects of light and shade under a hot sun, and the desire to 
 reproduce these effects had much to do with his breaking away from 
 academical traditions to originate and develop new methods. 
 
 One cannot study too long, too carefully, or too lovingly, the un- 
 fortunately few examples of his work which Fortuny has left to us. These 
 are to be found scattered in the illustrated papers of France and Spain, for 
 which he occasionally worked. Poor as were at first many of the re- 
 productions, mostly wood-engravings, they stood out from the other work, 
 just as one of his pictures will when, by chance, it makes its way into an 
 exhibition. His drawings may also be found reproduced in some of the 
 lately published lives of the artist, notably in that by Davillier, his great 
 friend. Here and there in other of Davillier’s books are a few of Fortuny’s 
 drawings of bronzes and of Spanish and Moorish trappings. The wood- 
 engraved reproductions, however, are not to be studied, for fine as a few 
 are, notably Leveille’s of the portrait of M. D’Epinay in the fashion of 
 Goya’s time, the feeling of pen and ink work is in them cut out to a great 
 extent. It is best to see direct reproductions or the photogravures that 
 have been made. It may be asked. How is one to know the difference 
 between wood engravings and process reproductions This is difficult to 
 explain. In the former there are little dots and engraved lines which can, 
 after some practice, be detected, at times only through the magnifying 
 glass ; while the fine grey lines made with a pen are nearly always much 
 harder and broader.^ Fortuny lived a little too soon for the processes by 
 
 1 This difFerence can easily be seen by com- given in the explanatory chapter, “ Some Com- 
 paring the drawing by Rossetti, which is a wood- parative Heads : Old and New.” 
 
 engraving, with the other heads done by process. 
 
SPANISH AND ITALIAN WORK 
 
 33 
 
 which his followers have profited. Otherwise there would doubtless have 
 been a still greater number of beautiful pen drawings as well as fine 
 reproductions from them. As it is, many of the process reproductions give 
 his drawings a rough and hard look, which the photogravure reproductions 
 in Davillier’s Life prove most conclusively to have been the fault of the 
 undeveloped process. 
 
 I have spoken as if Fortuny was the leader of the new movement in 
 Spain. There is very little doubt that he was ; but he gave his time almost 
 entirely to painting, and though his few published drawings prove him to 
 have been a master, he did not devote himself to the development of pen 
 drawing to the same extent as did some of the other men who worked with 
 and around him. However, Fortuny is known to the whole world as a pen 
 draughtsman, but, owing to the persistent way in which black and white 
 work has been ignored by critics and artistic associations, especially in 
 England and America — notwithstanding the fact that it is the only healthy 
 art developed in the nineteenth century, — the names of the men who have 
 made illustration what it now is, and whose work is studied by intelligent 
 illustrators the world over, are absolutely unknown even to the many who 
 are flooding the world with pen drawings. And yet, men who have studied 
 Rico, Fortuny, and Vierge, are thought to be masters, and their work is 
 praised as being original, when originality is the last merit they would claim 
 for it. 
 
 As a landscape pen draughtsman, there is not and has not been in any 
 country or time a stronger man than Martin Rico. Though it may be 
 information to many, Rico, co-worker with Fortuny, is living to-day, still 
 producing those beautiful pen drawings of the canals of Venice and the 
 palaces of Spain which are the admiration of all who know them. He is 
 almost faultless as a draughtsman, and can on white paper with pen and ink 
 catch the sunlight of a Venetian day and the glitter and transparency of a 
 moving, shimmering canal. He understands the true limitations of his art 
 and never goes beyond them ; he knows just where to put a blot of colour 
 and where to leave it out. With his wonderful facility, he can do what 
 seems an impossibility : fill a piece of white paper with modelling, and 
 make a brilliant black with six grey lines. Everything he touches glitters 
 and shines with sunlight, and there is not one superfluous stroke in his 
 drawing ; neither is a necessary line omitted. How true he is only those 
 can realise who have reverently studied him in the countries alone adapted 
 to glowing, glittering, out-of-door pen work — that is in Spain, Italy and 
 Southern France, Africa and the East. Abortive attempts to imitate this 
 
 F 
 
34 
 
 PEN DRAWING 
 
 great master are almost daily made by people ignorant of his work, of the 
 scope of pen drawing, and the reasons for a brilliancy that does not exist 
 north of Southern France and Italy. It is perfectly true that on a summer 
 day some of the little whitewashed villages of England and many towns 
 in the United States, especially in the south, are not without the brilliancy 
 best reproduced by the methods of Rico. But how much better it is for 
 the English artist, in a country where these effects are the exception and not 
 the rule, to strike out in a new direction for himself, as has been done, for 
 example, by Alfred Parsons and Sir George Reid, two of the very few Britisli 
 landscape pen draughtsmen of originality. Rico’s work is very difficult to 
 find. Many of his original drawings are never reproduced, but are bought 
 up immediately by collectors to be given an honourable place in their 
 galleries. I have seen a number in New York. A few have been repro- 
 duced in U Arty La Ihistracioji Lspahola y A?7jericana, and La Vie Moderne. 
 
 I think one of the Spaniards who should be ranked with Fortuny and 
 Rico, and indeed above them, as a pen draughtsman and illustrator, is 
 Vierge, a man who has all the draughtsmanship of Fortuny and Menzel, 
 the colour and brilliancy of Rico, the grace and beauty of Abbey, the 
 eccentricity and daring of Blum, Brennan, and Lungren ; in a word, a 
 man who, in the few short years of his working life, has proved himself 
 one of the greatest illustrators who ever lived. I rank Vierge thus above 
 Fortuny and Rico because he has devoted himself more entirely to black 
 and white work. 
 
 He flashed out upon the artistic world in a few drawings in La Vie 
 Moderne, Le Monde lUustre, the Spanish papers, and The Century (then 
 Scribner s Monthly') ; in many books, some comparatively commonplace, 
 but one, the most brilliantly illustrated work ever published, which illness, 
 however, prevented him from finishing. Before the illustrations for Pablo 
 de Segovie were all made, his right side and right hand were paralysed, and 
 he lost the power of speech. But when a man is as great as Vierge, his 
 career is only checked, not stopped, by a misfortune that would have killed 
 another less strong. A few months after this attack, we find him learning 
 to draw by painting with his left hand — and painting with a cleverness 
 unknown outside of this group of Spaniards. Even the French were so 
 struck with this astonishing marvel, as they called it, that in the papers of 
 that time are to be found drawings of Vierge sitting out of doors, beginning 
 to paint with his left hand. Now he is slowly regaining the use of the 
 right, but still works with the left. 
 
 Vierge seems to have learnt everything and to have mastered that 
 
SPANISH AND ITALIAN WORK 
 
 35 
 
 cleverness, or the knowledge of how to use one’s ability, which is 
 indispensable to good pen drawing, an art only for so-called clever men — 
 men who are interested in their work and who, to attain their ends, are 
 ready, if necessary, to use other than conventional methods, or to get other 
 than commonplace results by ordinary means. If the pen draughtsman 
 who thinks he has discovered some new method looks in that wonderful 
 book, the history of Pablo de Segovie^ he finds that Vierge discovered it 
 long before him, and can give him a few new hints into the bargain. 
 You cannot examine the smallest drawing in his masterpiece of illustration 
 without seeing how much study prepared the way for its brilliancy and 
 grace. 
 
 Such an infiuence did this book have upon French pen drawing, that 
 after its publication an entire school of pen draughtsmen following Vierge 
 appeared, and their work was more clever than that of any other draughts- 
 men, though it did not equal the drawing of their master. Among these 
 men are Ferrand Fan, L. Galice, V. A. Poirson, and F. Lunel. Their 
 drawings can be seen in the early numbers of La Vie Moderne^ a complete 
 file of which is to be found in the South Kensington Museum. At the 
 present time, however, this paper is artistically worthless. The youngest 
 generation of American illustrators too have discovered Vierge, and 
 American illustration reeks with pitiful imitators who have appropriated 
 almost all of his mannerisms. 
 
 Daniel Vierge must not be confounded with his very talented but less 
 brilliant brother, who signed his name S. Urrabieta, while Vierge always 
 omits the Urrabieta and simply signs himself D. Vierge. His brother 
 died recently. 
 
 In the Fortuny group, for originality Casanova must be given a very 
 high place — indeed, one almost equal to that of Fortuny himself. I have 
 not seen any large photogravures,^ or even any very good reproductions of 
 his drawings. They could hardly be engraved on wood, and in the more 
 or less rough and almost cruel reproductions tor the Salon Catalogue and 
 in French illustrated papers they necessarily lose enormously. The best 
 are in L' Art. But even in the poorest reproductions can be seen the 
 exquisite modelling of a monk’s head or a woman’s hand, the wonderful 
 sparkle of a tiny jewel. His delicate grey lines would be lost in any 
 ordinary attempt at a wood engraving. 
 
 ^ See also Pablo de Segovia, T. Fisher Unwin, ^ Also see Les Premieres, the French theatrical 
 London, 1892. For this edition Vierge completed journal, Paris lllustre, etc. 
 
 his series of designs. ^ See the one published in the first edition of 
 
 this book. 
 
36 
 
 PEN DRAWING 
 
 In the list of the Spanish- Italian school of figure draughtsmen, 
 Madrazo, Fabres, and a host of others, hold a high rank. But to describe 
 their work in detail would be endless repetition. There is nothing to do 
 but to study it for one’s self To-day the Spanish and Italian illustrated 
 papers are full of the work of imitators of the greater men who revolu- 
 tionised the whole art of France and Italy — work with which the pages 
 of these papers glitter and sparkle and glow, though it is without the 
 originality of Fortuny, Casanova, and Vierge. 
 
 To speak of an Italian school separately would be impossible, since all 
 alike these children of the sunlight, as they might be called, spend their 
 winters in Paris, Rome, or Madrid, in the life schools or doing nothing, 
 while in summer they find their work out of doors in Spain, Southern 
 France, Italy, or Africa. Senzanni, whose decorative compositions are most 
 charming and graceful, Paolocci, Chessa, Scoppetta, Fabbi, all have a style 
 and character which is well worth study, although it has been founded on 
 that of the great Spaniards. Men like Ximenez, Michetti, Tito, Favretto, 
 Raffaelli, Gomar, Montalti, whether born in Italy, Spain, or France, as 
 artists can hardly be said to have any nationality. The sun is their god, 
 and Fortuny and Rico are his prophets. Another reason for not speaking 
 separately of Italian pen drawing is, that the greater number of Italian 
 papers and books are so badly printed that the principal pen draughtsmen 
 strive to get their work into French publications, which are not only better 
 made, but appeal to a much larger audience. 
 
 The work of the Spanish school may still be a problem to critics who, 
 though they admit its brilliancy, think it all wrong and stupefying because 
 of its contradiction to their preconceived notions of art, it never seeming to 
 occur to them that perhaps their notions, and not the methods criticised, 
 are at fault. But all those with technical knowledge and broad opinions 
 have recognised new masters in these innovators whose influence has 
 continued steadily to increase. 
 
SPANISH AND ITALIAN WORK 
 
 ILLUSTRATIONS 
 
 MARIANO FORTUNY 
 
 T he full name of Fortuny is Jose-Maria-Bernardo, but as he dispensed 
 with the greater part ol it, we may as well follow his example. He 
 was born in 1838 at Reus, a little town in the province of Tarragona, 
 where he lived until the age of fourteen years, attending the village school. 
 Then his grandfather proposed that they should start out to seek their 
 fortunes, and they footed it to Barcelona. I make these hare statements 
 about Fortuny’s early life, simply because I wish to show, first that Fortuny 
 was born years after Menzel and Meissonier, and secondly, that, though 
 this would seem as if from the beginning he had been influenced by them, 
 as were all northern artists, he most probably knew nothing about their 
 work until he went to Rome in 1857. 
 
 But there, when studying in the Academy, in the course of the ordinary 
 academical training he most likely, as his biographer Yriarte, who knew him 
 well, says, came under the influence of the followers of Overbeck. I have 
 not the slightest doubt that these Germans possessed examples of Menzel, if 
 indeed at the German embassy or some of the Roman libraries was not to 
 be found a complete set of his already published drawings, which certainly 
 must have been making a profound sensation among the students of that 
 time ; while Meissonier’s Contes Rthnois was just issuing from the press. 
 Fortuny, not having yet worked out a style of his own, doubtlessly was 
 influenced by the drawings of these two men, the like of which had never 
 been seen before. The chances are, drawings by Fortuny showing this 
 influence might somewhere be found. But war breaking out between 
 Spain and Alorocco, Fortuny went off with a Royal Commission to paint 
 on the spot. 
 
 It was here in Morocco his eyes were opened to the wonderful effects 
 
38 
 
 PEN DRAWING 
 
 of light and shade — effects which Menzel and Meissonier had never seen, 
 and had therefore never tried to render. Just as Meissonier, influenced by 
 all the old men who, as far back as Bellini, had produced pen drawings 
 which were wonderfully fine, was the first to take up pen drawing and 
 seriously work at it to express his ideas — why I do not know unless 
 because of an innate love of the medium; so Fortuny, when he got to 
 Africa and back again into Spain, discovered that here was a method by 
 which he could give not only modelling, but the brilliancy of sunlight as 
 well. Though he lived too soon for the processes which have enabled his 
 followers to improve on his methods, at the same time we owe the inspiration 
 of all the brilliant work of the modern Spanish school to him. 
 
 Fine as is this drawing, I cannot help thinking that those by Fabres 
 and Blum, which also are in this book, made years afterwards for process 
 and with a full knowledge of the means to be employed and the results to 
 be obtained, are of more value to the student ; because there is in this 
 design of Fortuny’s the freedom of a master which in the student would 
 merely lead to carelessness, while the background and the floor are worked 
 over so much that, without a vast amount of intelligent hand-work, no 
 process block could reproduce the lines. Knowing some of Fortuny’s 
 
 original work, I fancy that in this block a great many of his delicate 
 greys have been lost. Had he lived later I have no doubt he would have 
 somewhat modified his style, as Vierge has done, to meet the require- 
 ments of process. Just as in the Blum drawing one can see the texture of 
 the coat with its great buttons and silk lining, the sheen of the breeches and 
 the polish of the boots, so one can study these same indications of texture in 
 the Fortuny block. But when you come to the face you find that it is 
 almost impossible to follow the lines, they having been made probably with 
 grey ink, the back of a quill pen, or anything to be had, without thought of 
 reproduction. The effect is right, but one cannot altogether commend the 
 means by which it has been obtained ; in fact the drawing was done for 
 study and not for reproduction. But if this is all we have, we ought to 
 be only too thankful for a drawing which has had so much influence on 
 pen work. 
 
 This block shows Fortuny’s methods as well as could any other 
 reproduction. There are photogravures in Davillier’s Life^ but they are 
 scarcely important enough to use again. Among the other well-known 
 reproductions are the engraving by Leveille, which does not show the 
 work at all ; a very good process block in the Magazme of and other 
 blocks in U Art and La Vie Moderne^ and in Davillier’s books. Beyond 
 these I know of very few published examples of Fortuny’s work. I have 
 no doubt he made hundreds of drawings, but they would probably be found 
 in the portfolios of his friends. 
 
DANIEL VIERGE 
 
 
 As Menzel is responsible for the development ot pen drawing in Germany and 
 England, so is Vierge for the present style and the great advance in technique 
 of draughtsmen in Erance, Italy, Spain, and America. I know that Vierge 
 falls apparently under Sir Joshua Reynolds’ condemnation of superficial clever- 
 ness. But when a man draws with Vierge’s knowledge and adds to it his 
 skill in handling, his work is something vastly more than clever, although 
 every line might seem to deserve this condemnation. Because Vierge is 
 followed by a number of men in Erance, Italy, Spain, and America, who, if 
 they lack a certain amount of his inventive cleverness, have added to it much 
 that is original of their own, — although I admit they would never have worked 
 after his manner had he not led the way, — a certain number of critics, and 
 artists too, jump to the conclusion that anybody can do this sort of work. Yet 
 the fact remains that the number of these clever men has not increased, nor 
 have any other draughtsmen been able to supersede them. They in their turn 
 have had their imitators, men without the slightest knowledge of the means 
 used by Vierge to obtain his elTects, but no one, even among Vierge’s imme- 
 diate followers, has yet succeeded in surpassing him. 
 
G 
 
42 
 
 PEN DRAWING 
 
 Vierge doubtless owed much to Fortuny and much to Gigoux, that 
 early and little-known Frenchman of this century. The greater part of his 
 work, and certainly the most characteristic, is done with pen and ink, and, 
 like Fortuny, he uses the pen to fill his drawings with delicate modelling. 
 But however much he learned from his great countryman, he brought to 
 his work a strength, a delicacy, and a character that were all his own. 
 From the beginning there was no mistaking it for that of any other 
 draughtsman. Not that it is in the least mannered ; in looking over the 
 pages of Pablo de Segovie one is struck with the entirely different methods 
 used in the many drawings. With this cleverness of technique one finds 
 the most perfect modelling in the tiniest figures and faces, the most artistic 
 rendering of architecture, the most graceful suggestions of landscape ; and 
 the assured touch of the master stamps each and every drawing with 
 individuality. 
 
 To get the refinement given in the beautiful little cuts from Pablo de 
 Segovie, it is necessary to make one’s drawings very large and yet at the same 
 time to work with the greatest amount of delicacy. There is next to no 
 cross-hatching except in Vierge’s later work done since his illness, and 
 therefore his drawings can be reduced to almost any extent without the 
 lines filling up. Still, in the volume of Pablo de Segovie, the blocks were 
 almost too small to do full justice to his work, as any one can see by 
 comparing them with the larger reproductions here given. Then, again, 
 when he wishes to get a rich colour, he uses a positive black, in the 
 reproduction of which there is apparently no change, although it is a 
 perfectly well-known fact that the whites of any reproduction grow whiter 
 and the blacks blacker as the size decreases. Another quality to be noted 
 in his work is the amount of colour suggested without the use of it. Many 
 of Vierge’s later drawings are marred by the introduction of large splotches 
 of pure black — neither put in with a feeling for decorative balance nor colour 
 effect. This can be most plainly and unfortunately seen in the English 
 edition of Pablo. Again, too, he has used tint backgrounds, and Vierge him- 
 self ordered them to be used and not the photo-engraver, as some of his 
 would-be critics and exploiters assert. 
 
 There is really very little to be said about Vierge’s drawings, except 
 to advise the student to study them in the most thorough manner, and to 
 remind him that their cleverness and apparent freedom are the result of 
 years of the hardest study, and, in each drawing, of days and sometimes 
 weeks of the most careful work. After all I have said, it is almost useless 
 for me to repeat that the effects of light and shade in Vierge’s designs, 
 being intended for Spanish or southern subjects, are of course utterly out 
 of keeping in drawings made in England. But the cleverness, the skill, 
 is never out of keeping, and the nearer it can be approached, the better 
 for the pen draughtsman and the art of pen drawing. 
 
G. FAVRETTO 
 
 This is only a simple study trom 
 one ot Favretto’s pictures, it is 
 useful as showing how much 
 colour can be suggested with very 
 little work. Any one can see 
 that the figures stand in front of 
 a bright, sunlit, glittering wall, 
 and yet there is no work in it at 
 all. The plant, which tells so 
 well against this wall, the bright 
 colours of the flowers, and the 
 still more brilliant tints of the 
 kerchief about the girl’s neck, 
 are all rendered charmingly, to 
 any one who can feel them, in 
 this little pen study. To me it 
 is just as much Favretto’s work 
 as one of his Venetian paintings. 
 The only thing to be regretted 
 is that we shall never have any 
 more of it. Favretto died a few 
 years ago. 
 
J. F. RAFFAELLI 
 
 Raffaelli’s drawing is an excellent example of a simple direct, straight- 
 forward rendering of a head. The greater part of it, I should say, was 
 drawn with a quill. The hony formation ot the head is remarkably well 
 rendered, and yet, as it should he, in the simplest manner possible. Notice 
 how Raffaelli has drawn the tassel by a Hat mass, and still made it look 
 round, and kept its proper relation and form. Notice too how the stubby 
 heard and the lines of the ftce are drawn to show the growth of the heard 
 and the direction of this growth, and to express the construction ot the 
 face ; and only one set of lines is used. Raffaelli’s work is very like 
 Herkomer’s. Indeed it is much more like German work than Italian. 
 Raffaelli is a naturalised Frenchman. 
 
A. MONTALTI 
 
 Montalti’s drawing is from Cera iina Volta, a book of Italian fairy tales 
 published by the Fratelli Treves of Milan in 1885. The whole book is a 
 proof of the possibilities of pen work on grained paper, which is described 
 in the Chapter on Materials. There is no possible comparison to be made 
 between Montalti’s drawing and the head of De Lesseps by Ringel.^ That 
 is a pure exercise in the rendering of a low relief ; this is an example of 
 artistic decoration applied to book illustration. Not only does it illustrate 
 a passage in the story, but it is given with the greatest amount of decorative 
 feeling, and in a style which goes to prove that there is no reason why we 
 should be dependent on the decorative methods of other times. Conven- 
 tional forms, of course, are the property of the whole world. It may be 
 argued that there is no meaning in this decoration. Neither to me — and 1 
 am sure I speak for all artists who have any honesty in their opinions — is 
 there meaning in nearly all decoration except that of pleasure in the beauty 
 of the design itself. We may be told in Smith’s Classical Dictmiary, or in 
 any of those useful cribs much affected by the intellectual artist, that such 
 and such mysterious swirls and scrawls mean life and immortality, but we 
 are not impressed by this hidden meaning ; we only look to see if the line 
 is gracefully drawn. 
 
 Montalti’s decorations at the side and top of his drawing are graceful. 
 They may have been derived from old iron - work or from his inner 
 consciousness. The result is pleasing and restful. The white circle 
 behind the girl may be a swirl of life or the bull’s eye of a target ; it 
 really is a proof that Montalti is an illustrator who knows the requirements 
 of his art. He has used this white circle for his mass of light which 
 draws attention to the figure of the girl ; the figure of the piping shepherd 
 is his great black, and the positive black and white really neutralise each 
 other. It also may be said that the half-decorative, half-realistic daisies 
 at the bottom of the drawing are out of place : nothing is out of place in 
 art if the result is good, and it is nobody’s business but the student’s how 
 it is obtained. 
 
 The drawing was made on the Fratelli Treves’ tinted paper, on which 
 I have worked, but at that time it was not so good as the Papier Gillot. 
 The original paper can he seen in places where the mechanically-ruled 
 horizontal lines are visible. The positive blacks in the decoration, for 
 example, were probably put in with a pen first, as well as in the figure and 
 the flowers, which no doubt were done with both pen and brush. Having 
 gotten in his darks, Montalti scraped with an eraser or penknife the light 
 round the shepherd, and thus made a lighter tone by means of cross- 
 hatching, bringing out a perpendicular line in the white. He then 
 
 1 See French Illustrations. 
 
SPANISH AND ITALIAN WORK 
 
 47 
 
 obtained his high lights by scraping with much more force, and removing 
 all the tint from the paper, as in the circle and in the white blots of the 
 
 decoration. In some places he very probably used Chinese white, because 
 you will otten find in working on this paper that after scraping it, it 
 you again attempt pen work, you will he sure to get blots. The drawing 
 cannot he reduced very much in size, while to obtain any hut mechanical 
 results is difficult. 
 
ANTONIO FABR^:S 
 
 This is not only a masterpiece of feeling for pen work, but a remarkable 
 example of reproduction. Published in V Art a few years ago, and drawn 
 in 1879 in Rome, of course under the influence of Fortuny, this drawing 
 not only surpasses anything Fortuny himself did, but has exerted an 
 enormous influence on pen drawing. I have no hesitation in saying that 
 Fortuny never made a drawing which can approach it for technique, 
 although any one comparing it with the Man Reading on another page will 
 see a great similarity. Fortuny has just as carefully studied the man’s 
 embroidered coat as Fabres has the peasant’s breeches. But Fahres’ 
 rendering of the texture of the coat, the vest, and the trousers of the 
 peasant, reproduces much more perfectly than Fortuny’s work, and this is 
 the point to be noted. Again, Fabres’ head is better than the Fortuny, and 
 he has boldly drawn the hands which Fortuny shirks. To me, at least, 
 his rendering of the whole is more successful than Fortuny’s. But Fortuny, 
 being the original man, is responsible for Fabres, just as Fabres is for half 
 the French and American illustration of to-day. 
 
 How is this drawing done ? The greater part of it, including the 
 most delicate modelling of the head and hands and legs — in fact everything, 
 but part of the hat and coat and a little of the hair, is drawn with a pen. 
 The coat and all the hair may have been drawn by a pen by dragging it in 
 various directions, allowing all the ink to run into a blot, and then lifting 
 some of it off with the finger or with blotting paper. The hat most likely 
 was drawn with a brush or with an inked thumb, the background with 
 both. On these flat tints, the rouletted effect, that is the effect of wash, 
 has been produced by a roulette in the hands of a photo-engraver who is an 
 artist. But this example is the most successful result I know of a very 
 unreliable experiment on the part of the draughtsman. With any but a 
 most skilful artistic workman, the result is certain failure. I am very sorry 
 that the photo-engraver’s name is not on the print. I should be glad to 
 give him full credit for his surprising success. The printing of such a 
 drawing is extremely difficult. Do not imagine that the apparently wildly- 
 scrawled background is composed of nothing but wild scrawls. It is 
 indication and suggestion, every bit of which is put down with a purpose. 
 Notice how the background grows out of the deep shadows of the coat, 
 and how the wash and pen work are combined in the shadows between the 
 legs ; how the wash work in places is reinforced by pen work, as on the 
 left side near the coat sleeve, and how wonderfully the effect has been 
 reproduced. There are other drawings by Fabres in U Art^ notably a 
 photogravure of a Moor with a gun over his shoulders. But I do not 
 think any of them compare with this. 
 
 1 Also see Iliatracion Artistica. 
 
H 
 
LOUIS GALICE AND FERRAND FAU 
 
 These charming little drawings give a good idea of the work of two 
 followers of Vierge. The drawing in both is excellent, but it is easy to 
 see that the artists, who would probably be the first to admit it, are inspired 
 by their great master Vierge. The work of men of this school can be seen 
 in Paris Illustre, Les Pre?nieres lllusfrh, Le Monde Illustre ; in fact, they 
 are the pen draughtsmen of France to-day. But I have given so much 
 space to the master that it would be only repetition, beautiful as is their 
 work, to dwell upon his followers. 
 
MARTIN RICO 
 
 ' Owing to 
 the interest 
 which Rico 
 has taken in 
 this book I am 
 able to publish, 
 not only two of 
 his well-known 
 jj! drawings, but two 
 ■ new ones which he 
 has made expressly 
 for me. These are 
 the corner of St. 
 Mark’s on this page, 
 and the study of 
 Venice on page 53. 
 The other two, origin- 
 ally published in La Ilus- 
 tracion Espatiola y Ameri- 
 cana^ have been known to 
 me for years, and I have re- 
 produced them here because I 
 consider them two of the best 
 pen drawings Rico ever made. 
 The great beauty of Rico’s 
 work is the grace of his line, 
 and the brilliancy and strength 
 ot light and shade which he ob- 
 tains with comparatively little 
 work. Not only is there not a 
 y superfluous stroke in his drawing, 
 hut each line is used, either singly, 
 to express or, together with others, 
 to enforce certain effects he wishes 
 to give. In bright sunlight, the char- 
 acteristic of Italy and Spain, all his 
 drawings and paintings are made. In 
 
From La Vie Moderne. 
 
Study, Venice. 
 
 Original drawing executed for this book. 
 
54 
 
 PEN DRAWING 
 
 the little tower, the fact of sunshine is not more evident than the actual 
 position of the sun directly behind the spectator, shown by the direction of 
 every line which goes to make up a shadow. Notice how he has con- 
 centrated his only pure black in the two open windows near the centre of the 
 drawing ; and yet, he has relieved this black by bits of pure white, in one 
 window by the flowers trained across it, in the other by the charmingly- 
 placed patches of sunlight just behind the half-closed shutter and on the 
 rich decorations which he has indicated and which we know so well on 
 many Venetian windows. Notice too the light, giving such value to the 
 darks on both sides of it, which shows through the crack between the 
 window-frame and the shutter ; see how the light and shade are managed 
 on the little shrine and on the wall and window under it, and the way in 
 which the light on one wall is carried into the shadow on the other by the 
 arrangement of the foliage. Everything is toned up from these two blacks ; 
 there is not another pure black of importance in any part of the drawing. 
 The effect is thus concentrated and your eye attracted, as he meant it 
 should be, to the very centre of the composition. You should also study 
 the manner in which he works out to the edges of the drawing, leading 
 you into it by the most delicate and graceful lines. His architecture is 
 only hinted and suggested, but so thoroughly does he know his Venice that 
 an architect could work from his suggestions, while for an artist they are 
 simply perfect of their kind ; the capitals, the decorated mouldings running 
 around the buildings, the under side of the cornice, the little shrine, the 
 balcony with its pots and vines and awning, are all well indicated. Bits of 
 these things in nature were of course as dark as his two windows, but he 
 knows, and every one who wishes to make a good drawing should learn, 
 that force must be reserved for one particular point and blacks must not be 
 scattered, it an effective whole is to be produced. 
 
 Rico’s knowledge of the necessity of concentration is specially notable 
 in the drawing of the Canal with a gondola, in which the inside of the 
 felze, or cover of the gondola, is the only pure black ; but it is so 
 skilfully managed with little touches of white, suggestions of the carving, 
 the window on the opposite side and the lamp, that you do not see it is a 
 pure black, for your eye is carried at once to the keynote to the whole 
 picture — the large door which is really not so black as the gondola, but, 
 because there are here no opposing whites, it seems, as Rico intended, much 
 blacker. 
 
 In all his drawings Rico invariably breaks his long straight lines ; in 
 each, however, in a different manner. The long mouldings in the little 
 tower are broken by shadows and by foliage ; in the corner of St. Mark’s, 
 pigeons not only add grace, but take away from the monotony which would 
 otherwise, unavoidably, be too prominent in this part of the drawing, and 
 even the water-spout helps to serve the same purpose. In the Canal, the 
 
From La llustracion Espanola y Americana, 
 
56 
 
 PEN DRAWING 
 
 gondolas, sandolas, and other boats carry out the straight lines and break 
 them at the same time, while the suggestion of foliage and the balustrade 
 are done as no one ever did them before Rico ; in the Reminiscence of 
 Seville, the carved balcony, beautiful in itself, would become monotonous 
 were it not relieved by the drapery thrown over it, by the keynote of black 
 supplied in the head of the leaning figure, and by the stone pine farther 
 along. Note how thoroughly the effect of a glittering hot wall is given by 
 the shadow of one drain-pipe, and how rightly the grille with the flower- 
 pots leads into the drawing. 
 
 The amount of expression Rico gets in his rendering of reflections in 
 water, always drawn in a very simple manner, is wonderful. There is 
 absolutely no black in them, except where, as in the Canal, I think it 
 is the result of bad reproduction. And yet the suggestion of the effect 
 of a Venetian Canal is right. Here is a point I wish to note ; these 
 drawings are not intended to be pictures or records of transient effects ; 
 they are line drawings made in brilliant sunshine. Do not try to imitate 
 them in countries where the effects they give do not exist. 
 
 As to the reproduction, the blocks are as good as I can get them and 
 give an excellent idea of the drawings. There is a certain rottenness about 
 some of the lines which is not in the originals, but their relative value is 
 almost right. The lines which appear very fine are really so, and were 
 drawn either with a very fine pen or the back of the pen Rico was using. 
 The drawings are scarcely reduced. They were made in bluish-black ink 
 on white smooth Whatman paper, and, as far as I can make out, with 
 very little pencil work, though I have seen Rico making very elaborate 
 pencil drawings to be inked over. He, however, is a master and can do 
 what he wishes ; but for the student it would be very foolish to attempt 
 such drawings without preliminary pencil work — even with it, he can 
 hardly hope for such results. I know of no better models than these, 
 but it must be remembered that in process blocks many of the blacks 
 come from the filling up in the printing, and that all lines thicken some- 
 what in reproduction. 
 
 To realise the great development of pen drawing it is only necessary 
 to place the drawings of Rico by the side of Braun’s reproductions of 
 Canaletto’s pen work. Rico’s are as much in advance of Canaletto’s as 
 his were of the drawings of every one of his predecessors. Both artists 
 are true ; but Rico shows how much more we have learned to express by 
 pen drawing. 
 
 The drawing of the corner of St. Mark’s has been very well reproduced 
 by Waterlow and Sons. It was a difficult piece of work, but they have 
 succeeded in keeping the character of the original. 
 
I 
 
 From La Ilusti-acion Espanola y Americana. 
 
E. TITO 
 
 Ti TO is one of Rico’s cleverest pupils. He has the power of seeing things for himself, and 
 though he works in Venice, where Rico draws and paints, he chooses different subjects, and 
 his figures are drawn much larger and made more important than Rico’s. Looking at 
 this drawing, though one sees at once whence its inspiration is derived, it is also evident 
 that, though Tito works out his drawings in the manner of his master, his subjects are all 
 his own. 
 
'■/ 
 
 A. CASANOVA Y ESTORACH 
 
 Casanova is one of those men who seem to he always amusing themselves with their 
 drawings and experimenting, making a dainty suggestion in one place or elaborately 
 working out a figure in another, jotting down notes or trying a pen in the most fascinating 
 manner on the margin of the paper, and always wandering about over the drawing just 
 for pleasure. But if the student should endeavour to imitate this freedom and to wander 
 in this way before he has gone through the necessary training, his results will probably 
 not be so satisfactory to himself or to the public. For Casanova has told me it takes 
 him a long time to make a drawing, and I can well believe it. 
 
 The large process of the monks is from one of his pictures, and the smaller is 
 apparently made for his own enjoyment. One can say really very little about the way 
 such work is done, but I should imagine it was taken up and worked on, a little here 
 and a little there, just when Casanova was in the humour, part of it done with a fine 
 pen, part with a quill, part with his fingers ; in fact it is doubtless all experimenting, 
 but the experimenting of a man who is almost certain of the results he will obtain, 
 
 I do not publish his drawings so much as examples of pen work to be studied, since 
 it would be almost impossible even to copy him, but rather to show the command over 
 the pen of one of the most accomplished of the modern school of Spaniards — men who 
 have something to say and who say it in a fashion of their own. 
 
 Casanova is not an illustrator but a painter who cares very little about the reproduction 
 of his drawings. He knows that no process save photogravure is yet able to render them. 
 

for the fineness of his lines and the greyness ot his ink make it impossible at the present 
 time to reproduce his work and print it with type. But it is the work ot just such 
 experimenters which advances the technique ot the art and its reproduction. Had it not 
 been for Meissonier we probably never should have had good tacsimile wood-engraving. 
 Vierge no doubt has done more than any one else to develop process. Casanova is one 
 
62 
 
 PEN DRAWING 
 
 after whom wood-engravers and process -workers struggle in vain, but this 
 struggle in the end will perfect wood-engraving and process, until we have 
 reproductions which will be as good as photogravures and yet may be printed 
 with type. The art workmen who look ahead are those who are really of 
 service in the world, the workmen, that is, who understand the methods of 
 the past and can make use of their valuable qualities, but who at the same time 
 live in the present and make improvements. 
 
 B. Galifore has carried out the Casanova tradition and improved on it ; 
 there is a feeling of largeness about his work that is very interesting. 
 
THE LATER SPANIARDS AND ITALIANS 
 
 63 
 
 THE LATER SPANIARDS AND ITALIANS 
 
 There is very little to add on the subject of Spanish and Italian pen 
 work. No new men of great ability have appeared since this book was 
 first published ; while some of the elder workers are dead or have stopped 
 drawing with a pen. 
 
 This method of expression, which was genuine and spontaneous with 
 Fortuny, Casanova, Rico, and Vierge, apparently was but a fad and a fashion 
 with their followers, successors, and imitators ; while even the masters 
 themselves, like Rico and Casanova, have virtually ceased to produce black 
 and white work, or, like Vierge, rarely make pen drawings any longer. 
 Vierge, it is true, may, at any moment, return to the medium in which 
 he achieved his greatest success, but at present he seems to work less 
 with the pen than in wash. I made the statement, in my comments on 
 the drawings of Vierge in Mr. T. Fisher Unwin’s edition of Pablo, that he 
 habitually used a glass pen. I find, upon further inquiry, that he did not 
 make the designs for Pablo with that uncanny instrument, and that he 
 only used glass pens until he broke the batch with which he was supplied, 
 and never replaced them. Still, when I first met him, he was using these 
 pens, and seemed to like them. 
 
 One cause for the decline of pen drawing in Spain and Italy is the 
 revival of wood-engraving in those countries, where it is almost universally 
 used to-day in the illustrated papers. Methods in art are a fashion. 
 Pen drawing was the fashion ten years ago. Though the men who 
 started it were genuine enough in their love for it, the art was encouraged 
 by editors mainly because of its cheapness in comparison with engraving 
 which, as an art and a business, was seriously, from the financial stand- 
 point, injured ; but of late engravers have taken, after the fashion of 
 Air. T. Cole, to photographing pictures, for which, of course, they pay the 
 artist little or nothing, on to the block, cutting them, and thus there is 
 even less expense to the publisher than is incurred by commissioning an 
 artist to make a drawing in pen and ink, and getting a photo-engraver 
 to reproduce it. I have found but one Rico in the Spanish papers lately, 
 and that was engraved on wood. This renaissance of wood-engraving has 
 been fatal to pen drawing and mechanical reproduction in Spain and Italy. 
 
64 
 
 PEN DRAWING 
 
 For it is the rarest thing to find an editor intelligent enough to appreciate 
 two opposing forms of expression at the same moment ; especially when, as in 
 this case, the proprietor’s pocket is involved, the result is the survival of the 
 cheapest. That the wood-engraving is good is a mere detail, only it proves 
 
 that Spanish artists still care for good art. 
 Pen drawing, I believe, will be revived 
 again in the countries which have pro- 
 duced so much good work, so many 
 good men, and have so greatly influenced 
 the world. 
 
 Jose M. Marques’ “ Hebrew type ” 
 retains much of the Fortuny or the 
 Fabres style of short broken lines in the 
 background ; but there is more modelling 
 in the arm and face — and successful re- 
 production of it too — than in the earlier 
 work. The rendering of texture in the 
 drapery is better than Fabres, there is less 
 attempt at cleverness, and more success 
 altogether. The example shows that 
 along the same lines of cleverness and 
 brilliancy of handling set up by the 
 Spaniards, we are advancing. 
 
 How great the change in rendering 
 landscape has been since the ten short 
 years of Rico’s brilliant period must be 
 evident from these two “ studies from 
 nature ” by Fontanesi. Instead of sug- 
 gesting colour by contrast by white 
 paper, it is suggested here completely 
 by tone, and about as truly as in a 
 reproductive etching, certainly quite as 
 elaborately. In the first, there is sunlight, though not much of it. The 
 cows are well enough drawn, the girl is commonplace ; but the change 
 in style from the Rico — the individuality, a very good thing — will be 
 observed. Even more strongly, will this desire to break away from the 
 Spanish masters of sunlight be seen in the first of these studies, which 
 might have been made at Fontainebleau, — possibly it was, — but had Rico 
 drawn it, we still would have seen the sunlight of the South as in a well- 
 known design in the first volume of La Vie Moderne, of the Porte Guillaume 
 at Chartres. One would never imagine that Rico’s subject had been found 
 near Paris, but rather in the south of Spain. And, on the contrary, 
 if Fontanesi’s work was done in the south of Spain, it was certainly 
 
 
THE LAl'ER SPANIARDS AND EEALIANS 
 
 65 
 
 produced under the direct influence of the Barhizon scliool, and is lienee 
 much worse ; tor even if Rico’s drawing of Chartres was mannered, it 
 was himselt, and not the result of a fashion. But fashion rules all hut 
 the artist, and he is a rare being. Still the drawing is graceful, light, 
 and breezy, and worth study. 
 
 K 
 
That another and a 
 freer style has been in- 
 troduced into Spanisli 
 work is shown by this 
 study by Gallegas. It 
 is more ot a sketch, 
 and yet there is in the 
 shadows more attempt 
 at modelling, and more 
 true rendering by the 
 engraver ot this attempt 
 than formerly. The 
 play of light on the 
 old flute-player’s head 
 and shoulders is ex- 
 cellent. 
 
 Aranda and, I be- 
 lieve, Simonetti still 
 carry on the Fortuny 
 tradition ; but they 
 
 have not produced enough 
 work, or rather illustrated — so 
 far as I have seen — important 
 enough books to give them the 
 standing they probably deserve. 
 When the modern Spanish or 
 Italian painter takes up a pen, 
 even if he be as individual in 
 paint as Segantini, he becomes 
 absolutely commonplace. But 
 as modern wood -engraving is 
 the thing in Spain and Italy to- 
 day, as mysticism is in France, 
 and sham mediaevalism is in 
 England and America, independ- 
 ent and original men, working 
 in any save the style of the 
 moment, are not much in evi- 
 dence. So, unknowingly, I may 
 have been unjust ; I may have 
 omitted some Spaniards and 
 Italians whose work I should 
 only be too glad to include. 
 
PEN DRAWING IN FRANCE 
 
PEN DRAWING IN FRANCE 
 
 I T used to he the fashion to speak ot French drawings as tricky. I am 
 not quite sure what this may mean, but I am certain that in French, 
 as in Spanish design, dull mechanical work was done away with, and 
 brilliant handling took its place. To France we owe altogether the idea 
 of getting great artists to put good work, their best work, into book 
 illustration ; that is, the plan ot getting good men to draw on the wood for 
 the engraver ; but after these drawings were put upon the blocks they had 
 to be cut. And to Pingland and Bewick belongs the art of wood-engraving. 
 In 1830 France possessed great, if not her greatest artists, England her 
 best wood-engravers ; and it was the international artistic union of the two 
 countries about 1835, which enabled French publishers to issue a series 
 of books, that in some ways have never been equalled since. Cumer’s 
 edition of Paid et P^irgimc and La Chaumicre Indienne illustrated by Huet, 
 Jacque, Isabey, Johannot, and, above all, Meissonier ; engraved mainly by 
 Andrews Williams, C. and J. Thompson, and Orrin Smith, though Best, 
 Breviere, Lavoignat, and Leveille among others worked on it, as an 
 example of united work by many hands has never been surpassed in any 
 country. And though Meissonier’s Contes Rthno/s and Menzel’s Frederick 
 are greater works, they are but the outcome of Cumer’s Paul et Virghik\ 
 and would never have been undertaken without his incentive. He owes, it 
 is true, his inspiration to Johannot’s Roi de Boheme^ to Gigoux’s Gil Bias, 
 and the other illustrated works which immediately preceded it, but the 
 Paul et Virginie is as great an advance upon these books as they were 
 upon those which preceded them, the work of the printers of Lyons. It is 
 from the French books of 1835 that modern illustration springs. Bewick, 
 Clennell, and the Thompsons invented wood-engraving; Aleissonier, 
 Jacque, Gigoux, and T. Johannot drawing for the engraver; and it was this 
 
70 
 
 PEN DRAWING 
 
 union of artists who could draw, and engravers who could engrave, 
 that made the French book of 1835 to 1845 possible. Although Menzel 
 was quick to perceive the possibilities of the art, he owed his inspiration 
 to France, and his first work was engraved by Frenchmen ; and although 
 England contributed the engravers, the really great English illustrated 
 books did not appear till after those of France, but when they did appear, 
 in landscape work at least, they equalled, if they did not surpass, the 
 French. While I believe that the Penny Magazine was almost the first 
 illustrated journal issued,^ it did not by any means, in artistic excellence, 
 approach Le Magazin Pittoresque, which contains Meissonier’s Deux "Jouers^ 
 engraved by Lavoignat, a block which for drawing and engraving it 
 would be hard to improve upon to-day. At the same time that the 
 great Spaniards were beginning to be famous, Detaille and De Neuville 
 appeared in France, to carry on the work of illustration. They studied 
 under Meissonier, and in De Neuville’s Coups de Fusil one notes the 
 influence of Les Contes Remois. 
 
 Even before Meissonier, Paul Huet had already given signs of the 
 coming change. But his drawings were not really appreciated until after 
 his death, when they were looked upon as revelations and purchased by the 
 State. Rousseau, when he took a pen, was too careless, or I suppose some 
 would say too old-masterish, to care about line, but he managed his blacks 
 effectively in his wood interiors. Millet, too, worked with a pen, especially 
 a quill, not exactly as the old men did, but still with simplicity, making 
 a few lines tell a whole story. Dore, of course, produced hundreds and 
 probably thousands of pen drawings ; but I suppose it is now almost 
 universally admitted that his facility killed his art, as it eventually killed 
 him. Not only this, but the greater part of his work, was done for the 
 engraver. 
 
 Looking at great men like Meissonier, Menzel, and Vierge, one is 
 struck by the fact that their original work is expressed by pen drawing. 
 With the majority of Frenchmen, pen drawing has been the means of 
 giving the public an artistic rendering of their pictures in black and white. 
 It has also been used in this way in England, but, as a rule, in anything 
 but an artistic manner, De Neuville and Detaille and hundreds of others 
 drew in pen and ink with the adjunct of wash, not that the pen was to 
 them of any special importance ; it simply happened to be the medium 
 that was the fashion. Their sketches were really a working-out of the 
 old projects’ and intentions’ scheme. With the introduction of photo- 
 
 ^ Commenced in 1832. The Olio of the same date was also good. 
 
PEN DRAWING IN FRANCE 
 
 71 
 
 engraving, the publication of L' Art and the Saloji Catalogues, and the 
 coming of the Spaniards, the latest change in favour of process began in 
 France. The Frenchmen, luckily, were able to adapt their style to the new 
 requirements. 
 
 In De Neuville’s well-known drawings of war subjects, as in Meissonier’s 
 work, there is the most careful modelling, obtained by simple and direct 
 means, and the utmost refinement. Mr. Hamerton devotes much space to 
 justly praising his Coups de Fusil, published by Charpentier, but to praise 
 De Neuville and to omit Detaille is to slight an artist who is no less 
 brilliant as a pen draughtsman. And to write of these two men and omit 
 Jeanniot was an inexcusable oversight. 
 
 In my estimation Jeanniot is the leading French pen draughtsman. 
 He has of course painted, but he is more of a pen draughtsman than a 
 painter, and therefore should be here ranked above these two better-known 
 men who, owing to the magnificent series of photogravure reproductions 
 of their paintings published by Goupil, have acquired a widespread 
 popularity. Jeanniot has devoted himself almost exclusively to illustrating 
 the magazines, and showing the French life of to-day. I hardly know 
 where or when he began to draw, but the first numbers of La Vie Moderne 
 are filled with examples of his work. Exactly the same can be said of 
 Adrien Alarie and Renouard, who are known in England through the 
 Graphic. Indeed, the Graphic, as it admits, is at the present moment very 
 much dependent on the drawings of these men. Of late most of the work 
 of Renouard, however, is in chalk and pencil. Mars also has done much 
 tor English papers, with his rendering of life on the sea-shore, and his 
 charming children and their fashion-plate mothers. 
 
 At one time, in almost every number of La Vie Moderne, was to be 
 seen work which, though the artists’ names might be unknown to us 
 outside of Erance, was clever and marked with originality. The same can 
 be said of an innumerable host in Paris Illustre, Le Petit pfournal pour Rire, 
 La V te Partstenne, L' Illustration, Le Monde Illustre, Revue Illustree, Le 
 Courrier Franfais ; or if you look any week in books which bear the little 
 card Vent de Paraitre, you will probably find in their pages some exquisite 
 little gem by a man you never heard of before. Almost every Erench pen 
 draughtsman has made the books and papers of the day — whether big or 
 little, comic or serious, important or frivolous — beautiful and worthy of 
 study. The early volumes of La Vie Moderne and L' Art are the best 
 masters that any pen draughtsman could have. 
 
 It would really be much easier to name the French artists who cannot 
 
72 
 
 PEN DRAWING 
 
 draw with a pen than those who can. However, among the better-known 
 draughtsmen I might mention Duez, whose brilliant sketches transfer 
 scenes from the theatre to the pages of the theatrical papers; Jean Beraud, 
 who makes wonderful interiors with effects of light and shade ; Maurice 
 Leloir, who has given us a new Sterne; Auguste Lanpon, whose drawings 
 of animals have an enormous amount of strength and vigour; Lucien 
 Gautier, who can make a bronze statuette or a marble group with the sun- 
 light glowing on it and its soft reflected shadows, real for us in U Art; 
 Bracquemond, the etcher, whose head and tail pieces are charming, while 
 his little sketches are as wonderful as Japanese work; Ringel, the modeller, 
 who seems able to do anything, and whose drawings alter his own plaques 
 are the most clever that have ever been made ; H. Scott, who was a 
 delightful architectural draughtsman ; E. Adan, who renders his own 
 pictures charmingly; Rochegrosse, Mme. Lemaire, Edmond Yon, Robida, 
 who is very popular both as a caricaturist and an artistic traveller ; Brunet- 
 Debaines, who was one of the first to show Englishmen what pen drawing 
 for process-reproduction should be ; Habert-Dys, who draws an initial or 
 the border of a page with most effective brilliancy by means of almost pure 
 blacks and whites; graceful swallows flit about chimney-pot initials, 
 Japanese dolls tumble all around the text, perfect oriental feeling pervades 
 his head and tail pieces, and all his work is suffused with his own 
 personality. 
 
 There is one Erenchman who stands apart from all these men, and 
 who is the landscape pen draughtsman of Erance. This is Maxime 
 Lalanne, who has recently died full of honours, if not of years. Without 
 his beautiful drawings Havard’s Hollande would be veritably dead as the 
 cities of the Zuyder Zee. • His bird’s-eye views have made them live 
 again. Eor quick, bright, strong, incisive work, for getting at the essence 
 of a thing with sharp, short, brilliant strokes, perhaps no one can equal 
 him. The only possible drawback to his work is that there is too much 
 Lalanne in it. He knew, if anything, too well what he was going to do. 
 He can hardly be called mannered, because a mannered man usually cares 
 nothing for nature with its variety and subtlety, while Lalanne really did 
 care and makes you feel that he cared. I may perhaps best explain what I 
 mean by saying that Rico in his work seems to ask, “ Is this the way a tree 
 or a bit of water ought to look ? I think it is”; while Lalanne in his is 
 more positive : “ This is the way the tree or bit of water looks ; I know 
 it,” he seems to say. He is almost too sure of himself 
 
 In speaking of Erench pen drawing one cannot help noticing that a 
 
PEN DRAWING IN FRANCE 
 
 73 
 
 few years ago it was the fashion in Paris to draw with the pen tor repro- 
 duction — a fashion, as I have said, started hy the Spaniards, then living 
 there. The work of the French artists, although not so clever as that of 
 the Spaniards, was almost all good, simple, and careful. But at the same 
 time the leading attraction of the French magazines and journals was the 
 fact that week after week Vierge, his brother or his followers, or other 
 Spaniards and Italians, contributed, as they still continue to do, the most 
 striking drawings. But since the introduction of the Guillaume and 
 Meisenbach processes much of this work has been given up, and only those 
 artists who care for line and the quality to be gotten with a pen still 
 produce pen drawings. What has given that which is known as French 
 art its reputation with art students and art lovers, is the fact that it is not 
 French art at all, but the art of the whole world; for there is not the 
 slightest doubt that the work of the greatest artists of the day is to be seen 
 at one time or another in Paris, which has therefore become the art 
 metropolis. The Salon is really the broadest and most varied exhibition in 
 the world, and far less French than the Royal Academy is English. 
 
 Almost every French pen draughtsman to whom I have referred is a 
 well-known painter. If you take up to-day a Salon Catalogue,^ you find it 
 full of charming pen drawing reproductions, pictures in themselves. Of 
 these I have given several as examples. Indeed, the list of the greatest 
 pen draughtsmen is, as I said of the Spaniards, the list of the great 
 painters. The fashion of illustrating catalogues commenced, I believe, in 
 France, and grew and developed there under the care of LI Art ^ Lc Gazette 
 cles Beaux Arts, and the publishers of the Salo?i Catalogue, until its influence 
 has made itself felt, even in England, though here very little of the French 
 feeling has been retained. The French work is done for the sake of the 
 drawing ; the English catalogue is but an inartistic reading book for the 
 artless. There have been some exceptions. Some good drawings have 
 been made for English catalogues, just as of late years the Salon Catalogues 
 have been given over to less able draughtsmen, for this reason : at the 
 present moment many of the best-known artists are having their paintings 
 reproduced by a mechanical tone process. In some ways this is un- 
 fortunate for pen drawing; in others it is fortunate, since it helps to confine 
 pen drawing to its proper sphere, which is not the reproduction of tone, 
 
 ^ I want to make an exception of the Catalogue ruins them. The Catalogue for 1888 is not very 
 tor 1887, which is very bad. Some of the much better. The most artistic cheap French 
 drawings may have been good, but over them Catalogue published, as far as 1 know, is that of 
 has been put a grey tone which gives them a the Societ'e d' Aquarellistes. Now (1893) the 8 alo}i 
 uniform cheap look, and, in nearly every case. Catalogue is beneath contempt. 
 
 L 
 
74 
 
 PEN DRAWING 
 
 but of line only. The publication of U Art and these catalogues not only 
 created a school of French pen draughtsmen, whose sole work it was to 
 reproduce other men’s art, but, so powerful was its influence, that it 
 produced a few English artists, who for a time did very fine work of the 
 same kind, but of them I shall speak in the English Chapter. It is owing 
 to the same influence that the finest catalogues ever issued have been 
 published in America, and that in that country catalogue-making and 
 advertising have become a fine art. 
 
 If the healthy black and white art, which is the art of the nineteenth 
 century, is put into advertisements, catalogues, the daily and weekly 
 papers, journals and magazines, and the people really appreciate, under- 
 stand, and care for it, as they do in Erance, Germany, and America, 1 
 believe it is doing just as much good as pictures buried away in churches, 
 which they look and wonder at through the eyes of a guide-book or of a 
 religious art teacher, and the beauties of which seeing, they do not perceive, 
 and the meaning of which hearing, they do not understand. 
 
 My many sins of omission and commission I hope may be, to some 
 extent, overlooked, in this edition. Among the new illustrations will be 
 found the work of the comic, humorous, and fin de siecle people, as well as 
 those who are in the full swing of the latest movement, the mysticists, the 
 symbolists, the disciples of the Rose Croix. 
 
 Note.- — That there are no examples of the work of Louis Legrand, Lautrec, Ibels, and a few others 
 is not my fault ; in seeking to procure them, it was my mistake and misfortune not to trust to myself, 
 but to rely upon friendly promises of assistance which came to nothing. 
 
PEN DRAWING IN FRANCE 
 
 ILLUSTRATIONS 
 J. L. E. MEISSONIER 
 
 T hough Meissonler and Menzel were born about the same time, 
 there is no doubt that Meissonier was the first of modern illus- 
 trators, that is the first of moderns to make complete pictures on 
 
 the wood in line, which were cut in fiicsimile, either by the Englishmen 
 who, following Charles Thompson, went to France, or by the Frenchmen 
 like Breviere and Lavoignat who studied with them. The most important 
 book produced about 1B35 was Cumer’s edition of Paul et Virginie and 
 La Chaiimiere Indienne issued together, with more than one hundred drawings 
 by Meissonier, although it also contained many notable designs by Paul 
 Huet, Isabey, Jacque, and others. At the same time Meissonier was 
 contributing work to Lc Magazin Pittoresqut\ and a little later Lcs Deux 
 'Jouers appeared in that journal ; this drawing even to-day in many ways 
 is an excellent example of 
 the electrotype here printed. 
 
 drawing and engraving, as may be seen from 
 
 
 (AVCICNAT 
 
76 
 
 PEN DRAWING 
 
 From the Paul et Virginie there is no doubt that Menzel obtained Ids 
 knowledge of the possibilities of wood-engraving. But to Meissonier and 
 the Romanticists must be given the credit of inventing modern illustration, 
 
 and to the English engravers the credit of cutting their drawings, as nearly 
 as they could, not to look like steel engravings which were the fashion, but 
 like the designs made on the blocks by the artists. Meissonier’s most 
 important work, however, was not done until 1858, when his illustrations 
 
 to Les Contes Rhnois appeared, engraved by Lavoignat and Leveille. This 
 book has never yet been surpassed, it is the perfection of drawing and 
 engraving on wood, and considering, that save the others to which he had 
 contributed, some years earlier, nothing approaching it had been done, 
 Meissonier must be acknowledged to be the inventor of modern design as 
 
PEN DRAWING IN FRANCE 
 
 77 
 
 Bewick is the inventor of modern wood-engraving. These drawings from 
 
 the Contes Remois are the best things that Meissonier ever produced ; and 
 in refinement and careful study no one has yet improved on them. How 
 
 much better they were than the engravings we shall never know. But 
 the engravings from them are to-day the standard which one should follow 
 for the decoration of the printed page. Naturally they are somewhat lost 
 here, as they were specially intended for a much smaller page. 
 
EDOUARD DETAILLE 
 
 Nothing has been more of a surprise to me in preparing this book than to 
 find how comparatively few pure pen drawings have been made by two men 
 so well known for black and white work as De Neuville and Detaille. I 
 have not forgotten that I have said I care little whether a drawing is 
 pure pen work or not, and there are many drawings in the book where 
 
PEN DRAWING IN FRANCE 
 
 79 
 
 wash is used with the pen work. Nothing, however, but a pure pen 
 drawing can be reproduced with so little labour and without hand work. 
 These two men studied under Meissonier before the coming of process, 
 and they drew on the wood ; therefore, though their work was well 
 reproduced, it made very little difference whether there was a wash in 
 it or not. During the last twenty years, in which their reputation has 
 been made, and De Neuville unfortunately has died, though they have 
 done a vast amount of work for reproduction- — -in fact, almost all their work 
 was intended for this purpose, — it has been for reproduction by photo- 
 gravure, either in colour or in black and white, from their paintings and 
 not from their line drawings. 
 
 The accompanying drawing by Detaille is a sketch of the principal 
 figure in the picture called U Akrte, and though it was exhibited, as are 
 hundreds of his and De Neuville’s drawings, it is nothing more than a 
 sketch of projects and intentions, and no better than many of the old men 
 could have done it. The drawing itself is good, and the action and 
 movement of the man and horse are very well expressed. But it is filled 
 with careless blots and smudges. It is the sketch of a master, primarily 
 done for his own use, though he is willing to show it. A glance at the 
 work of Jeanniot or Haug and Liiders will show that Detaille’s drawing is 
 a work for study, theirs are works for exhibition. Having followed the 
 methods of fifteen or twenty years ago, and having met with success in 
 other ways, he has never paid the necessary attention to the essentially 
 modern illustrative methods. From his standpoint there is no reason why 
 he should. He paints for reproduction, and in the reproductions published 
 by Goupil, from the cheapest to the most expensive, his work is rendered 
 very well. No one to-day knows more about painting for reproduction 
 than Detaille. He is one of the men who have given up pen drawing 
 because their wash drawings can be mechanically engraved equally well. 
 In his great work, U Armee Frani^aise^ there are scarcely any pen drawings 
 at all. 
 
E. DANTAN 
 
 This drawing shows a consummate mastery of technique in a man who has 
 given the world very little pen drawing — at least very little that I have 
 been able to find. Of course in the original picture the greatest cleverness 
 was manifested in the scheme of light, the posing of the figures, and the 
 arrangement of the different parts. But to suggest this cleverness in pen 
 and ink without over-elaboration is quite as wonderful. The reserving of 
 blacks here, as in all other good drawings, will be noted. But the great 
 feature is the rendering of the greys, and especially the flesh tints of the 
 model in the foreground. You feel instinctively the difference between the 
 relief on which the sculptor is working, the little coloured figure, the 
 model herself, and the cloth which carries the light from the relief down 
 her arms on to the box where she is sitting. All of this is produced by 
 the most simple means, and yet the different surfaces are perfectly suggested. 
 It cannot be said there is any great cleverness in the handling ; the drawing 
 itself in places might be much better. The model’s hands and one of the 
 sculptor’s are probably not up to those in the picture. But this drawing 
 should be studied mainly for its suggestion of colour, and for the very 
 careful and, at the same time, very artistic manner in which Yves and Barret 
 have engraved it. The skilful use of cross-hatching has contributed in 
 many places to the successful rendering of the character of the different 
 surfaces. And yet in some of the most difficult passages, notably in the 
 model herself, there is none of this hand work ; the whole effect is entirely 
 due to the artist. But right alongside the model, look at the delicate way 
 in which Dantan’s name is engraved. It might be remarked that this is 
 too trivial to notice ; but it is such apparent trivialities that make the 
 difference between good and bad work. 
 
 The outlines of the figure on the relief are somewhat rough and hard. 
 I think they should have been cut down and thus softened. The hardness 
 is probably due to a defect in the block. As it is, the outlines catch one’s 
 eye unpleasantly. As to the rendering of the canvases in high light above 
 the relief, the plaques and reliefs on the wall which runs at right angles 
 to it, at the left hand of the drawing, I think the surfaces and the colour 
 and texture suggested are worked out, though unobtrusively, as well as the 
 principal motive in the picture. But every part of this drawing is worthy 
 of the most careful and thorough study. 
 
 Dantan assures me that the drawing is his own work, and, as I have 
 said, it is simply wonderful that a man who has shown so little pen work 
 should get such perfect results. I have no doubt that he is responsible 
 in a great measure for the careful engraving, and therefore it is almost 
 presumptuous of me to offer any criticism upon it. This drawing is but 
 another proof of what I have asserted : if an artist can reproduce his own 
 picture in pen and ink artistically, he produces not only a valuable record 
 but a new work of art. It is to this drawing, as much as to the picture 
 itself, that Dantan owes his fame.^ 
 
 ^ For work of this class Emile Adan’s Ferryman's Daughter and Autu?nn should be seen. 
 
M 
 
P. G. JEANNIOT 
 
 Jeanniot’s work 
 comes perfectly well 
 by process. By the 
 simplest means he ob- 
 tains the most satisfac- 
 tory results. Take this 
 little drawing of the 
 boulevards at night 
 with a kiosque ; the 
 effect of the light 
 which comes from it, 
 the light of the shop 
 windows, and their reflections on the wet asphalt, are given as well as 
 if the drawing was made in wash. There is no over- elaboration and 
 unnecessary work. The tones are suggested in a remarkable manner. Of 
 course they are all wrong, but they give the right effect. In fact, the little 
 drawing which heads this page should be carefully studied; it is easy to 
 see that there are too many black splotches which may have been greys in 
 the original, but have, through careless reproduction, come as blacks in the 
 block. 
 
 Then take the drawing of the soldiers drilling. Randolph Caldecott 
 never did a better dog than the one standing in the foreground looking at 
 the officer, while the recruit close by is simply the thing itself Look at 
 the character in the awkward squad, in all the spectators, in the officers. 
 The houses in the background, however, are careless. They might have 
 been suggested much more artistically with very little more work. But 
 the figures are altogether delightful in their suggestion of character, and 
 every line shows careful thought. 
 
 Jeanniot has illustrated an almost endless succession of books and 
 papers. La Vie Modeme, La Revue Illustrk^ etc. etc. The book by which 
 his work has been made most widely known is, of course, the Dentu edition 
 of Tartarin de Tarascon, which contains a vast number of pen drawings. 
 
r L 
 
MADELEINE LEMAIRE 
 
 I AM not yet sure whether I should 
 have selected this charming figure of 
 a flower-girl, or one of Aladame 
 Lemaire’s studies of flowers, which 
 she renders with more colour and less 
 work than even Alfred Parsons, 
 though I cannot think she gives as 
 much attention to the delicacy of 
 each individual form and the expres- 
 sion of its growth. But there is no 
 doubt whatever to her right to a place 
 as a figure draughtswoman. There is 
 a refinement of drawing and render- 
 ing of colour in a simple unaffected 
 manner in her work, which is delight- 
 ful. Madame Lemaire’s designs are 
 only notes of her pictures, but notes of 
 a most artistic sort. The principal 
 qualities to be studied in her work 
 are the simplicity of line and the 
 grace of handling. 
 

 Good clean 
 line work, sim- 
 ply and directly 
 employed, ex- 
 cepting in the 
 trees, which are 
 niggled. Poir- 
 son is a follower 
 ot Vierge, hut 
 an intelligent 
 one ; he uses 
 his blacks 
 rightly. There 
 is a little me- 
 chanically pro- 
 duced tint on 
 the hgures. 
 
 — O- - I 
 
 ^4 Wt- 1 
 
 ' G'li 
 
F. LUNEL 
 
 Fine exam- 
 ples of splat- 
 ter work and 
 mechanical 
 tint, as well 
 as excellent 
 portraits of 
 places. 
 
 

N 
 
 HENRI PILLE 
 
 A CLEVER and amusing character sketch in a Erench provincial town, burlesqued somewhat 
 and fidl ot carelessness in drawdng, hut tuller ot action and observation. 
 
90 
 
 PEN DRAWING 
 
 J. L. FORAIN 
 
 Decorated, sent on a special mission with Paul Bourget to America, 
 written about by Daudet, Forain may certainly be said to have arrived. 
 How much of all this is due to his subjects, how much to the legend which 
 goes with them, how much to his skating on the thinnest of thin ice, which 
 bends and cracks almost to the suppression of the papers in which his 
 illustrations appear, is not my alfair. All I am concerned with is how 
 much art there is in his power of omitting lines, in his concentration of 
 effect, in his ability, as Daudet has said, de resume}\ dans iin geste, et dans 
 line phrase^ a la fran^aise, vingt pages^ not only of criticism, hut an epocli 
 of fashions, morals, and immorality. 
 
 His simplicity of line and his power of expression with that simple 
 line are wonderful. Still at present I feel that he has carried the simplicity 
 of the Japanese, from whom all this is derived, too far. His line at times 
 has become really meaningless and without beauty : not that it ever had 
 much of the latter quality. But, while one may love the line, equally 
 simple, of Hokusai, one is bored with that of Forain, though one wonders 
 at the result he gets with his apparently clumsy method. Forain 
 deliberately ignores all flexibility of line ; each seems put down with an 
 unyielding point, and yet the result is amazing. He uses much wash, 
 chalk, or crayon in his work, which comes well enough by process, even 
 in the daily papers. I have preferred to show one of his important 
 drawings, exquisitely engraved by Florian, in which Forain has used all 
 sorts of mediums ; and yet one can note perfectly the pen, the wash, and the 
 chalk, so well has the engraver preserved each characteristic. Forain has 
 illustrated much for G/7 Bias, L’Echo de Paris, Figaro, The New York 
 Herald, Le Courrier Fran^ais, and other papers. Volumes of his designs 
 have been printed, among which are Album de Forain, Fa Comedie Parisienne, 
 Fes temps difficile s. Nous, Vous, Fux,' etc. 
 
 Though he is a master of design as well as of execution, he is a 
 delusion and a snare to any one not so brilliant as himself ; and any one as 
 clever would be but another Forain, and one is enough. His carelessness 
 is, however, as easy to imitate as his excellence is difficult, and his imitators 
 are numberless. 
 
92 
 
 PEN DRAWING 
 
 MAXIME LALANNE 
 
 
 To my mind, at least, Lalanne was one of the most exquisite and refined 
 illustrators of architecture who ever lived. His ability to express a great 
 
 building, a vast town, or 
 ~ ,-~s a delicate little landscape, 
 
 has never been equalled, 
 I think, by anybody but 
 Whistler. To a certain 
 extent he was mannered ; 
 so was Rembrandt ; 
 Whistler is the only man 
 I know of who is not. 
 The three little drawings 
 which I have given show 
 Lalanne’s style very well, 
 I do not know what was 
 the size of the originals ; in Havard’s Hollande the illustrations are repro- 
 duced in many different sizes, but I think 
 the small ones like these are the most 
 successful. The student will find the 
 book extremely useful. 
 
 Lalanne probably acquired his refine- 
 ment of handling in the production of 
 his innumerable delicate etchings. It is 
 scarcely necessary to analyse his drawings 
 here, as I have considered one of them in 
 an earlier chapter, and all are characterised 
 by the same simplicity and refinement of 
 
 expression, the same directness of execution. There is in them great 
 knowledge of architecture, but this knowledge is not aggressive. The 
 Portfolio contained many examples of Lalanne’s work, among others 
 sketches in Rouen and illustrations for Mr. Hamerton’s Paris. His 
 etching of Richmond and the Thames, which appeared in the Portfolio., 
 
 
 
PEN DRAWING IN FRANCE 
 
 93 
 
 is the most exquisite example of Itis work I have seen in any English 
 periodical. Nearly the same results could be obtained with pen and ink. 
 
 The books which Lalanne illustrated are numberless. He did a 
 great deal for Ouantin, I believe. His work can be found in back 
 numbers of U Art and nearly all the French magazines and periodicals, for 
 he was a most prolific draughtsman. But perhaps the best, certainly the 
 most complete, example of his work is Havard’s HolUmde. 
 
94 
 
 PEN DRAWING 
 
 ULYSSE BUTIN 
 
 It may be wondered why I give so much space to a drawing which is 
 apparently crude and very like the projects and intentions of the old men. 
 Simply to show the difference. The old work either is in pure outline, 
 or if modelling is attempted, it is done in the most conventional manner. 
 Here you have no outline, but, on the contrary, a masterly sketch in 
 which the suggestion of modelling and the feeling for light and shade 
 are remarkable in their strength and character. Notice how the figure 
 of the girl is suggested under her dress, and the simple yet excellent 
 rendering of her hair, and the difference between her face and that of 
 the man sleeping beside her. Of course this is rough work if you like, 
 and the reproduction is less than the size of the original drawing. But 
 though the work is put in strongly and boldly, it is not done carelessly, 
 and it is most interesting to see the way in which a man like Butin works. 
 Note, too, that none of the lines are done with unnecessary coarseness in 
 hopes that they will reduce into the proper relations with other light ones, 
 but all are drawn apparently with a big quill pen. As I have said, I show 
 this drawing more to mark the contrast between modern sketching of 
 projects and intentions and old work of the same sort. It was published 
 in 'UArt. 
 
/ 
 
DRAWINGS OF SCULPTURE 
 
 In looking over the catalogues of different art exhibitions, which are perhaps 
 the only places where are to be found pen drawings of sculpture with any 
 pretence to artistic rendering, one is struck by one of two facts. Either the 
 sculptors have not made the drawings themselves, or else they have produced 
 slight and trivial renderings of their own often very beautiful work. The 
 chief cause for this is that many sculptors out of France, singular as it may 
 seem, cannot draw ; that is, they cannot make a drawing of any artistic value. 
 Of course in Paris this is not so often the case. A man who has gone 
 
o 
 
98 
 
 PEN DRAWING 
 
 through the Beaux- Arts is almost always able to draw. But in other 
 countries it is the exception when the sculptor can. And again, it is 
 extremely difficult to give with a pen, either with simple lines or com- 
 plicated drawing, the real feeling of marble, terra-cotta, or bronze. 
 
 The consequence is that the majority of French sculptors, when they 
 wish an artistic rendering in pen and ink of their work, not infrequently employ 
 one ot the three draughtsmen whose work I have here given to do it for 
 them. Let us take the large drawing by St. Elme Gautier, after the high 
 relief by Mercie, over one of the doorways of the Louvre. Mercie is a 
 painter as well as a sculptor, his painting often being seen in the Salon^ 
 and he realises the difficulty of giving with pen and ink the effect of a 
 newly-modelled relief which has none of the marks of time, or the interesting 
 smudges and breaks and fractures which save the artist much work and lend 
 charm to the results. But from new work you have to draw sharply and 
 cleanly, depending upon nothing but your ability to draw correctly, taking 
 the utmost care with every line, and yet avoiding that liny mechanical look 
 which you will find at once in your drawing unless you are very skiltul. 
 One cannot call this drawing of Gautier’s very artistic, but it is a clean, 
 sharp rendering of the subject, and as such is a good study. 
 
 Contrast it for a moment with these heads of angels by Marie Weber. 
 She has got all the modelling and the effect of the surfaces and the rendering 
 of light and shade without a single outline, though Gautier’s work is almost 
 altogether outline. But a drawing like this could not be made unless the 
 draughtsman was quite Gautier’s equal. Notice how, though she indicates 
 the lights and shades and the darks in the mouths, she has concentrated her 
 blacks on the base on which the heads stand. And yet you will find little 
 blacks all over the drawing, which is one of the most delightfully artistic 
 renderings of sculpture I have ever seen. Other of Marie Weber’s drawings 
 are to be found in UArt, but none that are as fine as this one. 
 
 Half-way between Gautier’s and Marie Weber’s work comes this 
 drawing of Teucer by L. Gaucherel, which is an excellent combination 
 of their two methods — of Gautier’s firm bold outline in the light part of the 
 figure, and of Weber’s delicate modelling in the shadows. The effect 
 has been obtained without a single pure black, just as, of course, there was 
 no black in the figure itself. 
 
 Lastly, the head of De Lesseps by Ringel is an example of the work of 
 a man who can model as well as he can draw, and draw as well as he can 
 etch. Not only have his series of medallions of contemporary Frenchmen 
 been most original in their conception and true in their execution, but the 
 drawings are in no way inferior, and made a profound sensation a few years 
 ago upon their publication in UArt. They are drawn on the Papier Gillot, 
 and the cross-hatch, the double tone which increases the light, can be seen 
 all over the side of the face, while the pure whites are obtained in the manner 
 
100 
 
 PEN DRAWING 
 
 I have described in another chapter. It is, of course, quite possible that 
 some of my critics will remark that this is not a pen drawing at all. I am 
 quite well aware of this. There may not be a single pen line in it, though 
 I think there is pen work in the hair. The darks are put in with a crayon. 
 But as I wish to give an example of pen work on this tinted paper, even 
 though it consists of only a few lines, and as this is one of the finest examples 
 to be had, I think it best to give it, since I am sure it will be useful to 
 students. By means of this tinted paper one can get nearer to the effect 
 of a relief or an entire figure than can be done in any other way, except by 
 wood-engraving, or by direct process from the relief or statue itself without 
 the intervention of any engraver. 
 
 Among Americans, Blum, Wyatt Eaton, Kenyon Cox, and Brennan, 
 by a process of his own, which I believe did not turn out very successfully, 
 have made some interesting drawings of sculpture which may be seen in the 
 Century. But by process or wood-blocks from the statue or relief itself a 
 more telling result may be had, because sculpture depends not on lines but 
 on surfaces, and by translation into line it loses enormously. 
 
A. ROBIDA 
 
H. SCOTT 
 
 I DO not know it this 
 artist was a Frenchman. 
 
 But he lived in France, 
 and his work always ap- 
 peared in French peri- 
 odicals. I presume, 
 therefore, he is one of 
 the many Frenchmen of 
 English or foreign par- 
 entage, among whom 
 one at once recalls men, 
 at any rate with English 
 names, like Alfred 
 Stevens, Albert Lynch, 
 and many another. How- 
 ever, nowadays the only 
 artists living in a foreign 
 country, who think it 
 worth while to maintain 
 and even assert their 
 nationality, are Ameri- 
 cans, owing to the duty 
 of fifteen per cent with 
 which a beneficent government has seen fit to tax the works of art of 
 all who are not fortunate enough to be citizens of my great and glorious 
 country. 
 
 Scott devoted himself to the picturesque rendering of architecture. 
 He is not a master by any means, but he has done more of this work than 
 any one else in France. Looking at his drawing, I should say most 
 undoubtedly he was educated as an architect. In the headpiece, at Chantilly, 
 the drawing of the flat mansard roof is absolutely expressionless and without 
 character. It is impossible to tell whether it is of slate, shingle, or stone ; I 
 suppose it is slate, the material of which all French roofs are built. But 
 there is no reason why a man should make a long series of parallel lines 
 when a few, drawn with discretion, would have shown the material much 
 
104 
 
 PEN DRAWING 
 
 more plainly. The drawing, or at least the reproduction, contains a great 
 number of blacks, thus scattering his effects ; but its chief merit is its 
 expression of details which are very well rendered. 
 
 The large drawing of Pierrefonds is far more of a picture. The scraggy 
 grape vine in the foreground is atrocious and meaningless. But the light is 
 excellently carried up the long street leading to the chateau ; the chateau 
 itself is very well drawn, though there is but little light and shade in it, and 
 some careless cross-hatching on the towers. The masses of trees are very 
 wire-worky. Taken altogether, however, as an impressive representation of 
 a vast building dominating a small town, the effect is extremelv well given. 
 Scott has shown everything, from the sally-port to the tops of the towers, 
 from the great mansard-roofed mairie standing among trees on the left to the 
 little working-men’s cottages on the right, with great intelligence. The 
 roofs in all his buildings, save in the mansard of the mairie — and it might be 
 better — neither represent light or shade nor their materials. A simple 
 reference to the Rico or Blum drawing will show what I mean. The long 
 straggling lines on the left of the chateau, though they lead into the wood 
 and hill-side beyond, are confusing. But with the exception of these details, 
 and especially of the foliage, the mechanical treatment of which is to be 
 avoided, I think the drawing an excellent model for study. It is not given 
 with the cleverness of Rico’s work, an intelligent cleverness which very few 
 draughtsmen may hope to attain. But this style is one that can be acquired 
 and is very well adapted to northern countries, as there is no attempt to render 
 the brilliant glittering sunshine of the south. 
 
p 
 
MARS 
 
 Mars is evidently — I may use the term correctly in this case — a Jiom de 
 plume} But here I care little for the draughtsman’s personality, or sex 
 either for that matter. I am not even sure it Mars is a man or a woman. 
 But I am sure that as a caricaturist, rendering his drawings with an artistic 
 feeling far beyond any mere artless or slovenly caricaturing, as an illustrator 
 of fashion magazines, as a delineator of French Mg life, or as one who 
 produces charming children’s books. Mars stands alone, and his work is 
 recognisable anywhere. But there is frequently so much carelessness and 
 so much caricature in his drawings, which are intended to be serious, that it 
 is really difficult to find a good example of his work, though it appears 
 every week in the French papers. 
 
 However, a drawing like this of Pierrot blanc et Pierrette 7ioir shows 
 the character of one side of his work — the only side I find worth consider- 
 ing seriously — as well as it could be shown. There is nothing remarkable 
 about the drawing; it is most probably all chic; but it is filled with 
 graceful lines, and is specially characteristic as an example of his delightful 
 use of pure blacks and whites. It may look as if it were very simple to 
 silhouette a figure in either pure black or white, but it is really very difficult 
 to do it and still give any effect of roundness. It is this which Mars can 
 do so well. Of course several of the Germans — Schlittgen and Marold — 
 and Birch in America also draw in this way, but no one does it with the 
 grace and charm of Mars. On one side it is only a step from his drawing 
 to the German silhouette work, and on the other to the pure outline work 
 of Caran D’Ache. These drawings are nearly always printed with a wash 
 of colour. 
 
 1 His real name is Bonvoisin ; and he is, according to Louis Morin’s French Illustrators, very much 
 of a man. 
 
A. LANCON 
 
 Lancon’s drawing of cats is no doubt masterly. But in his pen drawings 
 there is very little or no attempt to render the texture of the fur ; it is the 
 modelling, the pose, the expression he has been trying for, and to me the 
 work, especially the side view of a cat, looks almost as if it were drawn from 
 a bronze of Barye’s. This may have been the case. But what 1 wish to 
 call special attention to is the fact that these drawings are made with the 
 double-line pen of which I have spoken, and you will see all through them 
 the three lines made at one stroke. Ot this I speak at length in the Chapter 
 on Alaterials. The two drawings are a practical example of the working of 
 the double-line pen, and as such are here given rather than as examples of 
 handling. 
 
io8 
 
 PEN DRAWING 
 
 A. LALAUZE 
 
 This little sketch by Lalauze shows that the clumsy lines without feeling 
 or character, used so much by many English and American illustrators, 
 can be avoided, and graceful sympathetic lines substituted for them. This 
 want of grace of line tells greatly in pen drawing. The excuse for the liny 
 line work of many illustrators is that it reproduces better, but I am sure 
 Lalauze’s and Louis Leloir’s drawings prove the contrary. Even Maurice 
 Leloir’s Sterne drawings are to me unpleasantly liny ; the lines are aggressive 
 all through them. In this connection I must insist that only too often 
 English and American photo-engravers are but mechanical middlemen, who in 
 many cases do not pretend to do their own work, while, in others, they are 
 so utterly ignorant of art they make no pretence to artistic reproduction. 
 When the reproduction becomes in the least difficult, they assure you that it 
 is quite impossible. The desire to produce really artistic work they do not 
 understand. But I hope this book may serve to show most conclusively 
 what may be done with process. 
 
 There is a considerable amount of chalk work in Lalauze’s drawing. 
 As I have not seen the original I cannot say whether the pen work was done 
 over the chalk, the chalk being used for an outline sketch ; but I think it 
 more probable the chalk was worked in with the pen to remove the liny 
 effect and to strengthen the pen work. 
 
 Lalauze’s etchings, especially his refined little illustrations in numberless 
 books, are perfectly well known. 
 
 Note. — I have lately seen this drawing also attributed to Louis Leloir. 
 
1 10 
 
 PEN DRAWING 
 
 M. DE WYLIE 
 
 The Wylie here represented I know nothing about, except that he has an 
 English name and is mentioned in the Saloji Catalogue as M. de Wylie. 
 
 His drawing of twilight is one of the most complete renderings in pen 
 and ink of tone-work I have ever seen. Pen and ink, of course I maintain, 
 is, like etching, the shorthand of art. But when a man can work out a 
 drawing of this kind, and give the most difficult effect of twilight even with 
 elaboration, there is no reason why he should not do so. This, however, is 
 the only successful example of complete tonality in pen and ink that I know. 
 The wire-work sky is very bad, and though the artist has given the right 
 effect in it, the work is aggressive ; the means and not the result first strike 
 your eye, and this in any case is wrong. But the masses of the trees and 
 the distance could not be given better in any other medium. There is an 
 enormous amount of work in the rich foreground, and in some of the deep 
 shadows under the trees ; the solid masses of black are disposed with the 
 greatest knowledge, and, unlike the sky, this part of the drawing does not 
 show the means employed, and the lines are not aggressive. Had the sky 
 been made twice as low in tone and the block hand-worked, it would have 
 been better as a whole. But there is very little, if any, hand-work in the 
 block. 
 
 The drawing is a wonderful example of the rendering of colour by 
 black and white, and an especially good study of tree masses. It was pub- 
 lished in La Vie Moderne. Some of FHix Buhot’s drawings from pictures 
 in L' Art approach, but I do not know any that equal it. 
 
CARAN D’ACHE 
 
 Caran D’Ache, whose real name is Emmanuel Poirie, is to-day probably 
 the most appreciated living caricaturist. His work contains all the essentials 
 of caricature. His drawings amuse the whole world. No one hut a blind 
 man would refuse to laugh at them. They are composed with the fewest 
 possible lines and these are arranged by a masterly technician. It is true the 
 drawings are commonly printed with a flat colour wash, or else in silhouette, 
 but he does not depend on this wash to hide imperfections of drawing. And 
 in addition to its other qualities nearly all his work possesses that local 
 colour, that quality of ridiculing notorieties to which the English caricaturist 
 makes everything else subordinate, with the result that in English, or in fact 
 Anglo-Saxon caricature, unless you happen to know the person or the subject 
 caricatured, you can scarcely ever appreciate the humour. Caran D’Ache 
 first came into public notice through the shadow pictures of the Chat Noir, 
 every one of which had a double meaning of the strongest kind. These 
 were silhouettes, and it is strange that silhouette work so well adapted to pen 
 drawing has been used so little. Since then he has continued to produce 
 either these silhouettes or caricatures in black or white or colour in the pages 
 of Figaro, U Illustration, and La Revue Illustree, and he is now devoting 
 himself more or less to illustrating books, among which are the Comedie du 
 your, ComLlie de Notre Lemps, and Les Courses dans N Anti quite. The idea 
 in this book is perfectly absurd, and the combination of the Parisians of 
 to-day going to Les Courses and the Elgin marbles running a race is simply 
 side-splitting, especially when it is worked out technically so well. There 
 is no doubt that we outsiders miss half the point, but nobody can fail to 
 roar while admiring the cleverness of Station de Centaures de la Compagnie 
 Generale ; the Heureux Fere, Neureuse Mere ; II y a du tirage ; Mile. Phryne ; 
 Dyeimer du Favori ; LI Arrhee, which is a masterpiece ; La Mere des 
 Gracches, with all the little Gracchi in Cab No. 1482; the arrangement of 
 the De Lesseps family of which he never tires ; and Le Mail du Prince 
 Apollo, where Apollo drives a four-in-hand, while President Carnot, as 
 Jupiter with the thunderbolts under his arm, is trying to control the Char 
 de N^tat. The book is filled with this absurd combination of Greek art 
 and modern Erench life, but it must be seen to be appreciated. It is 
 published by Plon, Nourrit, and Company. His latest works are Carnet 
 de Cheques, and Lhe Discovery of Russia. 
 
 I must refer every one to the Figaro Illustre for Christmas 1888. 
 This holiday number contained what I think is Caran D’Ache’s greatest 
 work, connnent on fait un chef - d’’ oeuvre. This series is one of his most 
 
 celebrated productions. The nephew and his uncle, the recovery of the 
 uncle and the collapse of the nephew are inimitable. 
 
Q 
 
114 
 
 PEN DRAWING 
 
 A. WILLETTE 
 
 Illustrator, editor, poet, politician, — in at least one of these roles Willette 
 is almost always in evidence in Paris. 
 
 Whether he resurrected Pierrot to found Le Pierrot his paper, or 
 whether Le Pierrot is but what it seems to be, the refuge for his creations, 
 I do not know. Willette, while he has employed almost all sorts of methods 
 and illustrated almost all the papers of Paris, as well as decorated the 
 hoardings of the capital with his designs, still seems best when he is 
 inventing new adventures for his favourite character, and showing us these 
 adventures by means of pen and ink. Simplicity is his dominant note. 
 Usually there is only the black cap of Pierrot, all the rest is white, as simple 
 as possible. The Pierrette is equally graceful. Through all his work 
 you see this bright joyousness, suggestion, and fun. 
 
A. F. GOURGET 
 
 If fashion-plate draughtsmen would only study renderings of costume like 
 this, something interesting might be made of a neglected opportunity. 
 
ii6 
 
 PEN DRAWING 
 
 EUGENE COURBOIN 
 
 CouRBoiN seems to me a master of simple direct line. This drawing is but 
 the skeleton (the key block) for a colour print, and yet it is quite as complete, 
 and, I think, even more expressive without the colour than with it. The 
 three characters are as finely rendered as they could be, though it is 
 usually well to get more variety and quality into the pen line. In this 
 case, where it is only intended as a guide, Courboin has rightly kept the 
 line very simple. Michelet has excellently reproduced these single lines, 
 which are most difficult to etch singly and print with the original delicacy. 
 
ii8 
 
 PEN DRAWING 
 
 MARTIN-CARLOS SCHWABE OR CARLOZ SCHWABE 
 
 Of all the modern men, Carlos Schwabe has “pushed” symbolism the farthest, 
 and the most seriously. He has probably had as much, or more, to do with 
 the present craze, or fad for mysticism, as suggested by religious or profane 
 motives, as any one else ; and he has expressed his ideas with such seriousness 
 of design and composition, such perfection of technique, that he has, within 
 the last few years, won for himself a place as a leading draughtsman, designer, 
 and illustrator, not so much because of his subjects as because of the brilliantly 
 successful way in which he has carried out his ideas and schemes. He is a 
 man who realises that he can take advantage of the modern developments 
 of printing and process, and yet, at the same time, fill his work with all the 
 decorative feeling of the Middle Ages. He is on the same intelligent level 
 in this matter as F. Sandys, Max Klinger, and Howard Pyle. 
 
 The drawings that I have chosen are taken from PEvangile de I’En- 
 fance, published in the Revue Illustree for 1890, and Le Reve by Zola, 
 and though, like almost all his work, intended to be printed with flat 
 washes of colour upon them, they are so well drawn that the mere key 
 block is as interesting as the final tinted print. 
 
 Schwabe, with the three other men whom I have named, realises that 
 mysticism and symbolism are not an excuse for, or means of, hiding bad 
 drawing, careless design, imperfect or untrained pen work ; and that a man 
 must know the drawings of the fifteenth century as well as the imperfect 
 woodcuts from them ; and that, finally, he must be an intelligent illustrator 
 and not an affected poseur^ and be up in all the modern requirements and 
 possibilities of reproduction and printing. He may introduce a modern 
 element into the most archaic subject without its seeming out of place, just 
 as the old men did, provided he does it seriously and knowingly, and not 
 with the object of impressing the unintelligent. 
 
 In these drawings Schwabe has made the shepherds into real characters. 
 He has worked out the details of their costumes in a decorative yet realistic 
 fashion. Decoration is not confused with modelling, and shadows are not 
 mixed up hopelessly with patterns. Not only are the draperies of his angels 
 
\’tfdauAfDucourli6UA A i^iuliord 
 
 
WMi: 
 
R 
 
122 
 
 PEN DRAWING 
 
 and saints big, simple, and massive, falling in noble lines, but there are 
 figures underneath, — and not a lay figure or clothes horse. Beauty and 
 refinement are in the faces, which are so charmingly and simply rendered ; 
 while the study of the ruinous old shed in La Nativitt\ and the village 
 street have been doubtless done from nature. Nor has he been satisfied 
 with the conventional hands bestowing their blessing, or cut-out stars 
 singing together ; while all around one may see in its proper place some 
 symbol or suggestion like the crude cross in the half-timbered work, or the 
 chalice in the roof. Then, too, how noble and dignified are the figures in 
 L’Etoile des Bergers, how simple the landscape, how well the grassy, weedy 
 foreground is suggested. 
 
 Schwabe’s most important work is Zola’s Reve, published by Flammarion 
 in 1892, in which some of his best work will be found. The cover is 
 charming, and contains, not only that amazing combination of decoration 
 in the passion-flowers, but of realism in the rendering of Beauvais 
 Cathedral, as well as the germ of much English work, which has been 
 praised for its originality. He has made, too, some most interesting 
 experiments in reproducing wash and chalk work. Most of the drawings 
 were made in colour, and the head and tail pieces are full of invention as 
 well as brilliantly carried out. Schwabe allied himself for some years with 
 the members of the Rose Croix, and for a year or so was the real backbone 
 of the brilliant, self-advertising band which included Aman-Jean, Atalaya, 
 Bethune, Grasset, Khnopff, Martin, Point, Leon, Toorop, and Vallotin. 
 Latterly, he has shown many of his drawings, notably the designs for Le 
 Reve, at the Champ de Mars. Some of these have been purchased by the 
 State for the Luxembourg. 
 
K. GRASSKT 
 
 be found in the chapter 
 on that subject. The 
 large drawing, “ Duel 
 Judiciaire,” is not only 
 one of the most hor- 
 ribly dramatic designs of 
 modern times, but an 
 excellent example of 
 good, direct, outline 
 work, accented with 
 touches of black in the 
 right place; the tree 
 drawing is weak, but all else is good. This is the key block for a 
 colour print. But it comes very well without the colour. 
 
 Illustrator, decor- 
 ator, architect, de- 
 signer, Grasset has 
 done notable work 
 in all these fields. 
 But above all, be is 
 an illustrator. His 
 earliest and most im- 
 portant book is Lcs 
 ^latre fils d' ylymon^ 
 produced by Ciillot 
 about i88i ; be has 
 also illustrated \dctor 
 Hugo, Flaubert, and 
 Paul Arene. These 
 two drawings are in- 
 tended for posters, in 
 the designing of 
 which he rivals 
 Cheret, Lautrec, and 
 Auriol. Examples 
 of his decoration will 
 
GEORGES ROCHEGROSSE 
 
 An excellent example of simple black and white line. Yet the men all 
 have character, the women beauty ; there is a feeling of lamp-light though 
 there is no effect of it. A most distinguished and very interesting drawing. 
 
M. DE MYRBACH 
 
 An intelligent direct rendering of a Paris fete, done with the right feeling 
 of an artistic reporter, everything is put down simply and well. And 
 the story is told in the fewest possible lines. 
 
BOUTET DE MONVEL 
 
 The delineator of child-life; never 
 have children been better observed, 
 more intelligently studied ; nor their 
 gestures, clumsy and graceful, more 
 simply and directly noted. He is 
 always decorative, and there is not 
 a line in his drawings without mean- 
 ing. He has contributed much to 
 St. Nicholas., and his best -known 
 books are Chansons et rondes pour 
 les petits enfants. Chansons de France 
 pour les petits fran^ais^ and Nos en- 
 fants. 
 
 % 
 
This artist is quite as amusing if not so realistic as Caran D’Ache. His style is 
 different and quite as original ; therefore he deserves a place. 
 
 s 
 

JULES JACQUEMART 
 
 One of the most curious facts in the history of process reproduction is that 
 some of the earliest blocks were almost as good as any made to-day. These 
 engravings by Gillot were done before 1879; and though more difficult 
 subjects can be reproduced, I doubt if better blocks could be produced by 
 Gillot to-day. There are two reasons for this : the perfect adaptability ot 
 these designs to process, and the pleasure the engraver must have taken in 
 bringing out the first important book illustrated by process. 
 
 Jacquemart is best known by his etchings, mainly of bric-a-hrac^ but 
 the drawings in UHistoire de Mohilier from which ail these engravings are 
 taken seem to me equally good. There is the same serious and successful 
 rendering of materials, the same study of the play of light on polished 
 surfaces, the same delight in the accurate drawing of complicated forms, and 
 an even more careful putting down of the right line in the right place, if this 
 is possible. Note the large sideboard; not only can one feel the coloured 
 marble top, the metal decoration, but also the actual cabinetmaker’s work. 
 And there is not a line too much or too little in the whole design; every 
 line, too, shows the construction, and yet all is in perfect light and shade. 
 The same is true of the richly-upholstered chair ; the detail is as accurate 
 as in a photograph, or, indeed, much more so, and as free as possible. 
 Then note the complete change in the handling of the carved cabinet. 
 
The metal feeling of the helmet with the play 
 of light on the raised surfaces, and the sparkle 
 and glitter on the vase. 
 
 And this sort of work did not exhaust 
 Jacquemart’s abilities; his rendering of land- 
 scape was masterly in pen and ink. No 
 matter what the subject, his illustrations were 
 as serious as his paintings ; and he was a big 
 enough artist to recognise that with a simple 
 medium one can produce great art; that illus- 
 tration is as important as any other branch of 
 art, and that a pen drawing is quite as 
 interesting it well done as a painting in oil. 
 
 
LOUIS MORIN 
 
 Properly speaking the design at 
 the bottom of the page is not a 
 drawing at all, but one of the 
 shadow pictures shown at the 
 Chat Noir. No doubt the original 
 was made with pen or brush and 
 ink ; but these shadow pictures 
 were, I believe, cut out of tin. 
 But this making of the picture 
 by cutting out the whites, that is, leaving the whites to produce it, — a silhouette 
 in white and not in black, is most interesting, and might be usefully employed 
 by many draughtsmen in many ways. 
 
 Louis Morin is an author as well as artist, and has illustrated many hooks of 
 his own. Among them are Jeannik, le Cabaret dii Pints sans Pin, Les Amours de 
 Gilles, Vieille Idylle^ and in these books and Les Bohemiens ot Felicien Champsaur he 
 is as graceful as Watteau and as delicate as Vierge, and yet he is himself 
 He also wrote French Illustrators for Scribner s. 
 
PEN DRAWING IN FRANCE 
 
 E35 
 
 HENRI RIVIERE 
 
 Riviere’s silhouettes for the Chat Noir are amazing, the reproduction even 
 seems the size of life, and all the figures are in motion. I have never seen 
 such a feeling of movement given in any form of art. There are others of 
 armies on the march hy himself, Pille, Morin, and Caran D’Ache, which 
 fairly frighten one with their sense of irresistible onward rush ; you feel, as 
 in this one, that you are in the presence of a vast multitude, you really hear 
 the sound of their foot-falls. Nothing more impressive has been done in art. 
 
136 
 
 PEN DRAWING 
 
 FELIX VALLOTIN 
 
 This is not a pen drawing at all but a woodcut. Vallotin is endeavouring 
 to resurrect the art of wood-cutting, and this is an example of his method 
 of work drawn and cut by himself. He also works out his designs in 
 lithography, and nothing could possibly be easier to reproduce by process. 
 In every case I imagine a pen drawing is first made on paper, the block 
 or stone. This is then cut, etched, or processed. 
 
 In his arrangements of blacks and whites he is most masterly ; in his 
 suggestion of retreating or advancing masses, too, he is very fine. Note the 
 three mourners in the centre ; you feel the character and shape of each, and 
 yet they are rendered by a single black mass. The way the whites, too, 
 cut into the blacks is skilfully managed. Vallotin’s work is published by 
 Joly on the Quai St. Michel, Paris, and each design is usually sold 
 separately. 
 
H. GERBAULT 
 
 An interesting example of silhouetting, both in black 
 and white, against the grey- tint background. The 
 figures are exceedingly well drawn, and the faces are 
 charmingly indicated in the simplest manner. A very 
 notable drawing — theatrical, but full of suggestions. 
 
 I 
 
J. B. COROT 
 
 Though Corot died before process was perfected, so great is this perfection 
 to-day, that his drawing comes perfectly by it, even if the artist had no 
 thought of reproduction in his mind, no knowledge of its requirements. 
 
P. PUVIS DE CHAVANNES 
 A GOOD example ot this master’s simple primitive style. 
 
J. Bastien Lepage. — A drawing ow papier Gillot, grained, scratch paper, showing much 
 skilful work on the part of the artist with knife, crayon, pen, and wash ; much intelli- 
 gent work by the photo-engraver in reproducing the quality and feeling of the drawing. 
 
M. SuRAND has in this design very successfully employed lithographic 
 crayon or chalk to produce his general tone, leaving his masses of figures 
 and sky white, then working in his detail with pen. There is no reason 
 why, on roughish paper, this method should not be used; for the results, 
 as in this case, may be striking. 
 
^ 3 ? 
 
 An illustrator 'who 
 treats as many sub- 
 jects as Renouard is 
 forced to, must ex- 
 press himself in dif- 
 ferent fashions. His 
 use of pure line and 
 complicated chalk 
 and grained paper 
 effects are absolutely 
 different. The de- 
 sign on this page is 
 pure pen work, the 
 other mainly chalk. 
 
 i 
 
LOUIS LELOIR 
 
 This Leloir must not be confounded with Maurice Leloir, the illustrator 
 of Sterne. This drawing is a most refined rendering of character. The 
 face has been put in so well for reproduction that the printed result is 
 more successful than any work I know of. And yet it is one of the 
 very few drawings by Louis Leloir that I have seen. Of course it is 
 nothing more, perhaps, than a sketch for a picture, but when a man can 
 make such a sketch he is a great master of pen drawing. The face and 
 hands cannot be too thoroughly and carefully studied. 
 
K. Marty. — This effect, a very successful experiment, has been obtained by making a uniform 
 tint all over the grained paper with chalk and pen, and then scratching out the drawnig. 
 
 u 
 
M. Renoir. — A curious example of what an artistic result can, in the 
 hands of a clever man, be made with an absolutely uninteresting and 
 clumsy line. It is, however, a difficult game to play, and is usually a failure. 
 
This artist has devoted himself almost altogether to Montmartre and 
 
 O 
 
 Belleville in Paris. He has shown how much pathos and dramatic feeling 
 there is to be obtained from the not very pleasant people of those quarters, 
 yet he has done it most artistically, and mainly in pen and ink. Some of 
 his drawings in pen and chalk, printed in Gil Bias Illustre in two colours, 
 are historic compositions, a proof that a tragedy can be rendered just as 
 well by the simplest medium as the most complicated. 
 

GERMAN WORK 
 
GERMAN WORK 
 
 I N Germany the greatest pen draughtsman is Adolf Menzel, who, in 
 point of age at least, takes precedence of almost all the modern men. 
 Like Meissonier, Fortuny, and Rico, he cut himself loose from 
 academical methods and traditions, and like them he had his eyes opened 
 to see in what a valley of dry bones he had been walking by going straight 
 to nature, though, at the same time, he may be said to be a direct descendant 
 of Holbein and Chodowiecki. Not only German pen draughtsmen, but 
 some of the most brilliant Americans, Englishmen, and Frenchmen owe 
 much to the study of his work. 
 
 A very old man — he was born in 1815 — Menzel still lives and 
 illustrates. His most famous illustrations are in the Life cmd Works of 
 Frederick the Greats Germania^ and La Cruche Casst\\ The drawings for 
 the Life, made on the wood, were given to the best Parisian engravers, 
 who were, at this date, 1839, engaged upon those amazing illustrated 
 books, which are the real triumphs of French drawing, engraving, and 
 printing. Cumer’s edition of Paul et Virginie and La Chaumiere Indienne 
 had just appeared ; and there is no doubt at all, as Menzel sent, or at 
 any rate confided a des graveurs parisiefis these drawings, that he was, like 
 all the world, tremendously impressed with the French books, in great 
 part engraved by Pinglishmen, after the designs of Gigoux, Jacque, 
 Johannot, Huet, Isabey, and, greatest of all, Meissonier; to whom must 
 be given the title, first of modern illustrators. But Menzel himself was 
 far from being satisfied with the results, for the reason that these engravers 
 reproduced everything in a mannered fashion, giving their idea and not 
 the artist’s of the original work. This utter subjection of the artist to a 
 mechanical and inartistic engraver is what ruined the work of many clever 
 young Englishmen twenty years ago. The preposterous notion of getting 
 
152 
 
 PEN DRAWING 
 
 the engraver’s and not the artist’s lines, although it must have been 
 disheartening to the latter, had at least the good effect of developing 
 wood-engraving, and photographic reproduction, all over the world. 
 
 Menzel was so discouraged at the results obtained by the French 
 engravers that the greater number of his drawings were afterwards given 
 to Germans whom he directed, who were artists enough to know that 
 they were nothing more than machines gifted with human intelligence 
 and artistic sensibility, that they should devote the whole of their skill, 
 under the artist’s direction, to the absolute subjection of themselves, in 
 order that they might perfectly reproduce his work. Even the best results 
 of this perfect subjection, as exemplified in America by men like Cole, 
 Whitney, Collins, Gamm, and Juengling, or Breviere, Leveille, and Lavoignat 
 in France, in facsimile line-work, are no better, save in that they are works 
 of art, than those of a photographic process when assisted by an engraver of 
 less ability, but still a clever man. Moreover, the saving of time by these 
 mechanical processes is enormous. Among the engravers who worked for 
 Menzel on the Life of Frederick the Great were Bentworth, Unzelmann, and 
 Albert Vogel. Menzel’s efforts to have his own work and not the engraver’s 
 given, produced not only a resurrection but a revolution in the art of wood- 
 engraving in Germany, and this revolution has spread wherever facsimile 
 wood-engraving is used. It was not invented, however, in Germany, but 
 in England, coming there by way of France. The use of wood-engraving 
 in this manner, though marvellous in the results produced, will soon become 
 a lost art ; but, unlike most lost arts, one we can very well dispense with. 
 With the present art of wood-engraving, that is the translation of tone into 
 line as practised by the really great wood-engravers of to-day in Germany, 
 France, and America, I am not concerned. I wish to emphasise the too 
 little known or too much ignored fact, that when we have a process which 
 will give automatically in a few hours exactly the same result the workman 
 obtains after weeks of toilsome and thankless drudgery, there is no reason 
 why we should not use it. I think I am quite right in saying with every 
 artist, excepting probably the reproductive and usually the more or less 
 mechanical and commercial etcher, that I look forward to the day when 
 wood and all other engravings will again hold the place they held in the 
 time of Dlirer, though I do not mean that we should blindly follow the 
 mechanical limitations and imperfections, which he so heartily deplored, 
 when all drawings that are not suited to them will be reproduced by 
 some mechanical process. Nobody has felt this more than Menzel, for his 
 first attempt to do without the wood-engraver is shown in his drawing on 
 
GERMAN WORK 
 
 153 
 
 stone for the lithographer, either to be directly reproduced, or, later, hy 
 photo - lithography. Many French critics have said that the German 
 wood-engravers reproduced his work perfectly. But any one who has 
 had drawings reproduced by wood-engraving knows that it is absolutely 
 impossible for the best wood-engraver to preserve all the feeling of the 
 original drawing, while of course the drawing itself is all cut to pieces, if 
 made on the block. 
 
 In his Frederick the Great^ Menzel, as is the case with all sincere artists, 
 really developed his talent and genius. He began a student, he ended a 
 master. No illustrator ever had a greater opportunity. In the Works of 
 Frederick the Great there are over two hundred illustrations by Menzel, 
 engraved by Unzelmann, Hermann Muller, Albert and Otto Vogel, and 
 this work in thirty volumes was published by the Academy of Sciences of 
 Berlin at the command of Frederick William IV. Nearly all the illustra- 
 tions had to be made of a certain size, rarely more than twelve centimetres, 
 and they were principally head and tail pieces. But into these Menzel has 
 put the greatest black and white German art of the century. For example, 
 each one of his little portraits, so full of character, is taken from an original 
 picture, or the most authentic source. We hear a great deal about painters 
 going to the Holy Land and the East to get the background for a more or 
 less unimportant picture, and how their paint-boxes and canvases go wrong. 
 But who hears of the hundreds and thousands of studies made for his 
 Frederick the Great by Menzel in the Berlin National Gallery; or, for that 
 matter, of the thousands of miles travelled, and the difficulties overcome hy 
 the artists of the principal illustrated magazines of the day ? Their object 
 is the result which they get, and not the belauding of themselves. 
 
 Almost every one who has had royalty for a patron has enjoyed great 
 liberality in some ways, but in others has had to endure almost as great 
 disadvantages. For many years Menzel’s work was lost in the thirty 
 volumes of the official edition. This work, to which the artist gave six 
 years of his life, and which he filled with his imagination and knowledge, 
 remained almost unknown to the world at large. Fortunately the Museum 
 at Berlin at length issued a special edition of Menzel’s drawings. Now his 
 work is almost as well known in France as in Germany, an exhibition of 
 it having been held in Paris. Master of his art, he recognises the fact that 
 Germany is not the country for brilliancy of effects, and he aims above 
 all at perfection of modelling and the expression of detail. 
 
 Dietz, to say nothing of a whole school of followers, is another of the 
 marvellous German draughtsmen. Within the last three or four years. 
 
154 
 
 PEN DRAWING 
 
 since the introduction of photo-engraving — and here and elsewhere under 
 this term I of course include photo-lithography — and what is known as the 
 Meisenbach process of reproducing wash drawings, an entire change has 
 been effected, notably in the pages of Fliege?ide Blatter^ and in the small 
 illustrated books either published in Munich by the proprietors of that 
 journal, or else illustrated by the artists who work for it. These men, 
 some of whom are not Germans, but Austrians and Hungarians, after 
 studying probably in the Munich Academy, started on the lines laid down 
 by Menzel and Dietz, and have already proved the possibilities of pen 
 drawing in rendering the latest fashion in gowns, and the pictorial quality 
 that lies hidden in a dress coat and a pair of patent-leather pumps. Their 
 work shows the development of a nineteenth century school, whose only 
 point in common with those of other ages is good drawing. There is in it 
 no affectation, or imitation, or endeavours to reproduce bygone methods ; 
 but it is a healthy growth brought about by men who feel and know that 
 the work of to-day can, in its own way, equal that of any other time, 
 and it is their aim to show this in a style of their own. Such books as 
 Hacklander’s TrouvB/e, Ein Erster U7ui ein Eetzter Ball, Fa?nilien Co?icert, hi 
 der Ardennen, In Damen coupe, Zwischen Zwei Regen, are, in their turn, like 
 the work of Menzel and Fortuny, influencing the whole world of pen 
 draughtsmen. 
 
 I consider the first of these younger men to be H. Schlittgen, an artist 
 whose improvement and march onward are simply marvellous. Instead of 
 improving backward, like so many illustrators, he is going forward with 
 every book. For the pictorial quality of German life in the nineteenth 
 century, one has only to look for his drawings every week in Fliegende 
 Blatter. His work is simple, direct, and right to the point, and everything 
 is drawn with a feeling for its artistic effect. Not a line is wasted. In 
 Hacklander’s Humoristische, there is on page 5 the study of an advocate, 
 which rivals in simplicity, directness, and expression, anything Randolph 
 Caldecott ever did, and the drawing is infinitely better. The drawing on 
 page 9 of a girl is almost perfection in its rendering in blacks and whites of 
 a modern dress, and no one has ever done anything as full of character as 
 his pompous German officers. For expression and colour, combined with 
 the least amount of work, nothing can be found to surpass the drawing on 
 page 1 9 of Trouville of the interior of a railroad carriage. 
 
 H. Albrecht’s work is almost as good as that of Schlittgen, but he 
 does not use his blacks and whites with the same strength and vigour. 
 This can also be said of F. Bergen, who, to my mind, puts rather too much 
 
GERMAN WORK 
 
 155 
 
 work in his drawings. One of the most independent of these Germans, 
 a man who works much more like a Frenchman or an Italian, is Ludwig 
 Marold. 
 
 Hermann Liiders and Robert Hang, followers of Lang, the battle 
 painter, do for the German soldier of to-day that which Menzel did for 
 the soldier of Frederick the Great’s time, and they have an advantage which 
 Menzel did not enjoy — direct reproduction. Their work is quite equal to 
 and much more varied than anything of De Neuville’s and Detaille’s. In 
 serious portrait- work, not made for publication, which could only have 
 been reproduced within the last few years, Leibl holds a remarkable place. 
 
 The mystic and symbolic movement — the fad of the moment with 
 most — has some genuine exponents in Germany ; chief among these is 
 Max Klinger, who, influenced no doubt by Bocklin and possibly by the 
 Pre-Raphaelites, was producing work of this sort long before sham 
 mysticism descended upon France, invaded in a Brummagem fashion the 
 English Art School, and hence became the thing in the United States. 
 There might be made a long list of these German Symbolists headed by 
 Stuck, the true and the false included ; and not least in importance must 
 be noted the comic ones, who in their way are as serious as the serious men 
 they burlesque. 
 
 Though Germans are traditionally supposed to be somewhat stolid 
 and phlegmatic, there is no doubt that they are the funniest of comic 
 draughtsmen. When the art of a nation is so expressive that one has 
 only to see to understand it, it becomes a universal language. Oberlander’s 
 and Busch’s drawings at a glance can be understood by the civilised, and, 
 for that matter, probably by the uncivilised world. Like much of Randolph 
 Caldecott’s work, there is nothing in Busch’s to study for technique. The 
 greater part of it is as slight as the funny and charming sketches Caldecott 
 put in his letters to his friends. Indeed, Busch’s work is a perpetual letter 
 to the whole world, which one who runs may read. You cannot look at 
 it without bursting into roars of laughter. The books which appeal to me 
 as much as anything Busch has done, though he has made thousands of 
 drawings, are Max and Moritz^ in which there is a colour wash over the 
 pen drawing, and riff's der Affe. Oberlander’s drawing, on the contrary, 
 is careful and serious. flis work has been, until recently, engraved 
 on wood, but many of these blocks, like the famous Bad Pen and the 
 Doctor, are equal to Menzel at his best. Oberliinder and Busch are only 
 two among a hundred comic draughtsmen. Whoever cares for the work 
 of these artists should study not only Fliegende Blatter^ but the little books 
 
156 
 
 PEN DRAWING 
 
 which are continually being published. Among the most brilliant of 
 these men are Hengeler and Meggendorfer. 
 
 Englishmen, and especially Americans, congratulate themselves con- 
 tinually on the cleverness of their pen draughtsmen and illustrators. But, 
 as a matter of fact, no cheap book or paper has ever been published in 
 America, or illustrated by English or American artists, that can he com- 
 pared with the German publications I have just mentioned. The sooner 
 therefore we get to know the work of German pen draughtsmen, carefully 
 studying it and applying it to our own country, or the country where we 
 may happen to be, — though this admission may be very damaging to our 
 own good opinion of our work, — the nearer will our books and papers 
 come to being, what we are pleased to think them, the best illustrated 
 publications in the world. It may be interesting to know that some of 
 those wonderfully illustrated books are published and sold for sixpence, 
 while the most expensive cost the enormous sum of a shilling. 
 
 Note. — Herr Max Liebermann was good enough to send me an original unpublished drawing, and 
 I was promised another from Herr F. von Uhde, but I regret to say that they came too late to be 
 inserted in this edition. 
 
GERMAN WORK 
 
 ILLUSTRATIONS 
 
 ADOLF MENZEL 
 
 
 'ENZEL’S pen work 
 began, I believe, with 
 his drawings tor the 
 lithographer, and though much 
 of his early design on the stone 
 is absolutely of no value to the 
 student, there is at least one 
 book illustrated in this way 
 with a pen and afterwards col- 
 oured, I think by hand, which 
 every student should know : 
 th is is his Uniforms of the Army 
 of Frederick the Great} produced 
 while he was occupied on the 
 History and the Life and Works 
 of Frederick, and Germania. 
 
 The drawings, those on pages 
 157, 158, and 159, are simply 
 studies of costume — indeed, 
 one might say, nothing more 
 than fashion plates which show 
 the cut of the clothes of Fred- 
 erick’s army, but such fashion 
 plates as had never before been 
 done in this world. Instead of 
 the ordinary stupid display of 
 mere costume without the 
 slightest artistic feeling for the 
 subject, every drawing is a 
 portrait of a model, and every 
 one of these models is, not a 
 lay figure to hang clothes on, 
 but a live man. The drawintr 
 
 ^ ^ O 
 
 of the sentinel shows the cut 
 of the front of his coat per- 
 fectly, and what more could you want ? the make of his gun, the 
 he carries 
 
 Wi: 
 
 ay 
 
 his accoutrements, and yet, though hut a fashion plate, note 
 
 ' Copy in British Museum. 
 
158 
 
 PEN DRAWING 
 
 that he is not stupidly standing just to show his coat, hut is plainly a 
 
 sentinel on duty, yawning with 
 the bored expression a man in 
 his position would probably 
 have. This or another model 
 can be seen in two or more 
 positions simply to show the 
 back or the side of the same 
 uniform, but always the prim- 
 ary idea is character, expression, 
 action, and not the mere per- 
 functory rendering of a coat. 
 Contrast this bored sentinel 
 with the conceited self-satisfied 
 swaggering trumpeter who, in 
 the original drawing on the 
 stone, will be found talking to 
 two or three of his compan- 
 ions. I should like to have 
 published a complete plate of 
 these uniforms, but the draw- 
 ings are so large, each figure 
 nearly as tall as the text of 
 this book, that the whole draw- 
 ing could not have been put 
 on the page without ruinous 
 reduction. Technically, I can- 
 not entirely commend either 
 of these drawings, because the 
 very strong and decided blacks 
 which one finds all over them, 
 in the knee of the sentinel, in 
 his coat and his hat, and in 
 the boots of the trumpeter, 
 were put in to take a colour 
 wash in the book, where they 
 do not tell so strongly as they 
 do here. But nevertheless, 
 much of Menzel’s work does 
 show this impatience with the 
 greying of tones, and a desire 
 to use pure black to get his effect at once and be done with it. If I 
 were merely criticising the drawings from the standpoint of the critic I 
 
GERMAN WORK 
 
 159 
 
 would have no right to object to certain technical details in such master- 
 pieces, since the effect is all right. But this slapdash manner of blotting, 
 as in the right boot of the trumpeter — not the clever blotting of the 
 Spaniards and Italians — cannot be commended for the student. With 
 him it would only he carelessness ; with a master like Menzel, it is an 
 impatience with details which he knows he can render if he wants to. 
 For a proof of this, look at the coat of the full-dress uniform of 
 Frederick. The gold lace is worked out as carefully as a mechanical 
 
 draughtsman would draw the parts of a machine, or a naturalist study 
 the wings ot a fly. Note how he has given the set of the coat, the hang 
 of the folds, expressed the colour and sheen of the silk, although the 
 actual colour was put on over it, and do not attempt to say he could not 
 draw detail when he wanted. Why, everything is even measured, and this 
 is only a bit of one of the enormous pages ; on the same page there are 
 details of hats and swords and of canes, even down to a measured drawing 
 of the weaving of a sash. But if Menzel were doing these things to-day, I 
 cannot help thinking he would get a better result, for two reasons, though 
 he now uses charcoal or chalk almost altogether : these were drawn on the 
 
PEN DRAWING 
 
 1 6o 
 
 stone with lithographic ink which is, first, a tedious and slow process, and 
 secondly, it is almost impossible to print lines as finely as they were made, 
 because, as any one who has tried it knows, lithographic ink blots easily, or 
 
 if it does not blot, the result is much thicker and harder and blacker on 
 white paper than the original drawing on the beautifully-toned stone. I 
 really wish to show them as models of expression and good drawing rather 
 than of technique. Personally, I prefer the delicate refinement of Abbey in 
 
GERMAN WORK 
 
 i6i 
 
 this sort of work to the brute strength of Menzel. Both men can draw 
 details ; but Abbey seems to love them ; Menzel, though he never slights 
 or draws them badly, apparently hates to be obliged to do them. 
 
 I do not want it to be thought that Menzel did not as a rule draw 
 details. When working for the wood-engraver he used the most marvellous 
 refinement of detail ; when working for himself, as the illustrator of to-day 
 works, he was bold and free as these drawings show. 
 
 The half-length portrait is not, as one might imagine, a reduction or a 
 steel engraving, but one of the subjects (Karl von Winterfeldt) in “The 
 Heroes in Peace and War of Frederick II.” engraved by E. Kretzschmar ; 
 not only a wonderful drawing, but apparently a magnificent effort of genuine 
 facsimile wood-engraving. The portrait has lost much of its original 
 delicate greyness. 
 
 I had hoped to have included some of the small engravings from the 
 designs for TA Works of Frederick the Great, and show most conclusively 
 that even if Menzel did not invent modern illustration, he has inspired most 
 of the men of to-day. But Menzel tells me that these drawings were made 
 with a hard pencil, and not with a pen, and therefore he does not wish 
 them included. 
 
 The study, the thought, the knowledge which have been put into these 
 small blocks are the same that went into his large works in oil, and he is 
 far more successful in black and white as a rule. But unless one feels, like 
 Menzel, that illustration is quite as serious as any other form of art, there is 
 very little use attempting it. Though hacks may flourish, and ignorant 
 editors do their best to debase and prostitute illustration and design, they 
 will have no effect on the work of Menzel and Meissonier, and the know- 
 ledge of these two great men must grow and have its true effect. 
 
 Y 
 
From Fiiegende Blatter. 
 
 L. MEGGENDORFER 
 
 An excellent burlesque of the Middle Ages, brought up to date and 
 aptly called the triumph of the Renaissance; it is a triumph of fun. 
 
W. DIETZ 
 
 The late Municli professor made any number of illustrations for Fliegende 
 Blatter. The design at the top of this page shows how well he was 
 able to carry out the feeling of the old Dutchmen with a handling all his 
 own, though it suggests both Menzel and Vierge. Still the barrels in 
 the foreground, the drawing of the grass, and the toned side of the house, 
 
 might have been much better rendered 
 with no greater work. But the group 
 of little figures is in power and com- 
 pleteness of expression equal to anything 
 in the book. And it is this power of 
 expression, combined with care in the 
 selection of each line, which marks the 
 modern German style of drawing. This 
 thought for line, which interests and fas- 
 cinates all artists, distinguishes the work 
 of these Germans from the equally simple 
 but utterly careless and thoughtless en- 
 graved line of men like Cruikshank, 
 Doyle, Leech, and their English followers. 
 
H. SCHLITTGEN 
 
 ScHLiTTGEN is the bcst known of all the German draughtsmen, and these 
 two drawings are fair examples of his style. To the simplicity of character 
 sketching of Haug and Liiders is added the use of pure strong colour, as in 
 the dress of the girl in the foreground of the large drawing. There is 
 very little to say, except that his work is very clever and has influenced the 
 pen draughtsmen of the world. The most superficial glance at it will show 
 where many illustrators of to-day have got their style. Notice the 
 charming grouping of the figures, and the action and movement which 
 pervade the whole drawing and which are given in very few lines. Notice, 
 too, the thoughtful placing of the little blacks and whites, their arrange- 
 ment against each other so as to tell with the utmost effect. Everything in 
 Schlittgen is studied and thought out in the most careful manner. 
 
 The large drawing is from Trouville ; the smaller one, which shows 
 most perfectly what might be called his serious caricature, is from Kin 
 Erster iind ein Letzter Ball, and is a wonderful rendering of that wonderful 
 creation, the German officer. 
 
 All the Hacklander books, from which these are taken, should be seen 
 and studied ; the price of each is a shilling, and they can be obtained at 
 Triibner’s in London. 
 
 ♦ 
 
c. 
 
 L. VON NAGEL 
 
 The many-sidedness of a skilfid illustrator is well shown by these two 
 absolutely dilferent drawings. 
 
 The grim humour of the Influenza fiend sweeping through a town is 
 only equalled by the amusing character sketching of the German general 
 and his staff. And though quite different in handling, both are very good. 
 
GERMAN WORK 
 
 167 
 
 ROBERT HAUG AND HERMANN LUDERS 
 
 None of the German publications and books, with the exception of Fliege?uie 
 Blatter and the little volumes, I have mentioned, illustrated by the artists 
 of that paper, have a very wide circulation among English-speaking people. 
 
 
 While nearly every German city of any importance possesses an art academy, 
 one at least having a world-wide reputation, it is rather strange that a greater 
 number of really good pen drawings are not seen. Though probably there 
 are innumerable Germans who do very good work with a pen, the tact 
 remains that but very few seem to care to, or do, get their work published. 
 I do not know if in Germany there exists a prejudice against the employ- 
 ment of a new man, as I regret to say there does in certain quarters in 
 England. However that may be, only the work ot the men here repre- 
 sented is seen to any great extent, and, interesting as it would be to discover 
 work done by the artist for study or practice, it is the object of this book 
 to show the work of men well known as illustrators. 
 
 As I have said, Hermann Liiders and Robert Haug are two most 
 notable followers of Menzel, and in the two small drawings here given — 
 all their drawings I know are small — can be seen most clearly their style of 
 work, which is very similar, and which consists of the greatest expression 
 
i68 
 
 PEN DRAWING 
 
 of character given in the fewest possible lines. Contrast the light dapper 
 officer in Liiders’s drawing of a review, in Ein Soldatenleben^ with the heavy 
 files which are passing. Although the drawing is almost in outline, you 
 can see the different quality of the cloth in the officer’s and in the privates’ 
 uniforms, and every soldier’s face has a character of its own, although it 
 may be given in only two lines. Notice the curve shown in the feet of 
 the advancing file — the curve which is always seen in any column of 
 marching men. To me, at least, the portraits of the Emperor, the Crown 
 Prince, and Von Moltke, are quite as complete and satisfactory as any 
 elaborate work in oil, and this small drawing contains as much character 
 and as much feeling for the artistic quality of line as any etching that was 
 ever produced. I know, of course, there would be more refinement in the 
 etched line, but these two drawings in their way are perfect. 
 
 The drawing by Haug of the cavalry passing is from Ein Schloss in den 
 Ardennen^ and of it, especially of his drawing of horses, exactly the same 
 things may be said as of Liiders’s work. Both of these books — and it may 
 here be noted that Em Soldatenleben is written as well as illustrated by 
 Hermann Liiders — should be known and studied, as well as Vierge’s Pablo 
 de Segovie and Abbey’s and Parsons’ Old So?igs, by all who wish for style 
 and care for the best results in pen drawing. These drawings were 
 reproduced in Vienna. 
 
From Fl'iegende Blatter. 
 
 A. OBERLANDER 
 
 Oberlander is always called a caricaturist, and he is a caricaturist in the 
 true sense of the word, for he shows in his drawings the humorous side of 
 his subject without aggressive exaggeration, and in a manner which interests 
 artists as well as people who have no knowledge of art. The caricaturist 
 who merely puts a little head, a big nose, or long legs to a figure, without 
 drawing it in a good technical style, and expects people to laugh at it, 
 although he may appeal to a vast inartistic public for a moment, because 
 this abomination somewhat suggests a notoriety or celebrity, cannot 
 permanently attract those who really care for art work. Can anything 
 be more wearisome than to go through either one of the histories of 
 caricature or a file of the political comic papers ? You turn over page 
 after page only to find the stupid portrayal of forgotten men and un- 
 remembered and trivial events. Without the legend accompanying them 
 they are unintelligible, and nearly always the events which led to the 
 publication of the picture are forgotten and all interest in the subject 
 has ceased. The man who puts down such trivialities and the public 
 who appreciate them are not much above the schoolboy who scrawls the 
 effigy of his schoolmaster on a hack fence. I do not mean to say for a 
 moment that all caricatures should be as elaborate as this example of 
 Oberliinder’s work. He and many another man can tell a story in half a 
 dozen artistically disposed lines. But a caricaturist who can work out a 
 drawing, and yet keep in it the comic and amusing element, possesses a power 
 given to few. 
 
 I care not for a minute if this is a portrait of a doctor in Berlin or 
 iMunich, or only of a model. The subject is of absolutely no importance, 
 
 z 
 
GERMAN WORK 
 
 171 
 
 but the way in which it is worked out is of the greatest value to artists. I am very 
 sorry that the drawing has been engraved on wood; though it has been very well cut 
 by Roth, in all of the darker parts the pen quality is lost in the wood-engraved line. But 
 as the drawing was most likely made on the block — at least I have never been able to 
 find out anything about the original — this was all 1 could give. However, what remains 
 of it, to my mind, reaches the high-water mark of caricature. 
 
 Any number of Oberlander’s drawings can be found in the German papers, from 
 which they are often taken by the periodicals of the whole world, as they can be 
 understood by every one without a story to explain them. 
 
 Neptune hailing a steamship is a good example of Oberlander’s burlesque of the 
 classical subject ; it is quite equalled, however, by the drawing of the primitive lover 
 on his way to greet his mistress, — or is it the returning of a devoted or erring husband.^ 
 
 .rw>‘ 
 
 
 
 
 IKR3’4mM 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 From Flicgende Bldtta\ 
 
172 
 
 PEN DRAWING 
 
 ALBERT RICHTER 
 
 AND 
 
 OTHER ARTISTS IN “UNIVERSUM” 
 
 While Fliege?ide Blatter and its artists are known everywhere, magazines 
 like JJ?iiversum, Kiinst fur Alle^ Felz zum Mee)\ Daheim, have little, if 
 any, circulation in English-speaking countries. And moreover, it is only 
 occasionally^ for a year or six months at a time, that these 
 magazines rise to the level of originality. It has been less a 
 surprise to find my own work in some of them than to dis- 
 cover good original drawings. 
 
 For though they borrow from 
 all sources, they rarely keep 
 up a high standard in work 
 done specially for them. I 
 have already referred to the 
 series of reproductions by 
 Angerer and Gdschl after 
 Rembrandt in Daheim^ where 
 they made an oasis in a desert 
 of commonplaceness ; in half 
 a ton of Felz zu?n Meer, there 
 is hardly a notable drawing 
 done by a German in pen 
 and ink ; but in U?iherswn, 
 at times straight away for a 
 year, one will find a number 
 of good drawings, and then 
 the magazine will degenerate, 
 only to be revived again. All through it, 
 however, there is good decorative work by 
 E. Unger, two of whose very characteristic 
 designs I have included in the Chapter on 
 Decoration. There is Scheyner who draws 
 like Hang, and Mandlick who works like 
 Schlittgen. But I think the most original of all the men who have 
 illustrated this magazine is Albert Richter, who draws landscape and 
 
GERMAN WORK 
 
 173 
 
 interiors, three of whose drawings are given on these pages. The expression 
 of detail in the carving over the open doorway and in the corner of the 
 room is very well rendered, while the bit of a • • 
 
 German town is extremely characteristic, the 
 German feeling being well kept. The drawings 
 are very slight, but despite this slightness there 
 is evident a great desire to show with the 
 simplest means the most picturesque aspects 
 of very commonplace subjects. In fact they 
 possess the true illustrative quality. 
 
 
GERMAN WORK 
 
 175 
 
 A. STUCKI 
 
 There is nothing more difficult to draw with a pen than low relief or 
 decoration, and while Jacquemart,^ with his books made rare by limited 
 editions, nearly always illustrated with etchings and therefore only for 
 collectors and amateurs, gained a great reputation for himself, this man 
 who can draw just as well and with as much feeling for light and shade 
 and colour and the play of reflections on polished surfaces, in which lay 
 Jacquemart’s great strength, is unknown because, though he treats the 
 same objects in the same manner, he draws them with a pen. The sole 
 difference is that he works for the people, and Jacquemart, though himself 
 an artistic man, catered to the collector who is usually unable to appreciate 
 his work technically. The chasing and the roundness and the metallic 
 feeling of this cup or chalice could not be better rendered by any other 
 medium. Lately, notably in the Century and Harper there have been 
 published drawings by Will H. Drake and Otto Bacher which are as good 
 as this.^ 
 
 ^ See Frencli Chapter for Jacquemart. 
 
 ” See American Chapter. 
 
LUDWIG MAROLD 
 
 Marold’s work possesses more of the cleverness of half a dozen Italians, 
 though it is not an imitation of any one of them, than that of any other 
 German I know. The drawing in the hands of the three girls is very 
 careless ; but the simplicity of the work combined with the strong bits of 
 colour and the character in the faces makes a whole which is very pleasing 
 and interesting, and which certainly has a style of its own. 
 
FRANZ STUCK 
 
 Stuck is one of the most bril- 
 liant of that coming band of 
 German mystics and symbolists, 
 which includes such men as 
 their master Arnold Bdcklin, 
 Max Klinger, Wilhelm Triib- 
 ner, Hans Thoma. They 
 are many-sided, like Sandys 
 alone, among Englishmen. 
 And like him they value good 
 drawing equally with mysti- 
 cism and romance. 
 
 Stuck began as a comic 
 draughtsman and designer of 
 menu and show cards, went on 
 to Fliegende Blatter, where his 
 designs for the months made 
 a great sensation. The De- 
 cember is one of them ; but 
 
 From Fliegende B Hitter. 
 
 his most powerful design for 
 that paper is probably his 
 “ Death of the Emperor Wil- 
 liam ” — a great composition, 
 finely and originally handled, 
 which I am glad to have the 
 chance to reproduce. Now 
 his work is more in colour and 
 in the round. Centaurs and 
 fauns are his delight, and he 
 loves to show the bright, gay, 
 joyous human life they led, 
 especially the fun they had. 
 And all through Fliegende Blatter 
 it is the pranks and scrapes of 
 Love that he draws. But there 
 is no end to his quaint, horrible, 
 grave, and gay inventions, and 
 it is a pleasure to turn to such 
 bright, good, new work. 
 
 From Fliegende Blatter, 
 
 2 A 
 
GERMAN WORK 
 
 179 
 
 His line is clean and simple, though in the background of the 
 Germany there is a dragged painty effect, obtained, I should think, with 
 a halt-dry brush or pen. This centaur driven by the Puck is done with 
 a brush, and the background is all wash, but that, now almost any work 
 can be reproduced, does not exclude it from this hook. The way in which 
 each line is used to express modelling and action should be noted quite as 
 much as the energy of the man-beast or abandon of the little imp. 
 
i8o 
 
 PEN DRAWING 
 
 MAX KLINGER 
 
 Though a younger man than Arnold Bocklin, Alax Klinger may he 
 almost ranked with him. Dr. Singer of the Dresden Museum has, at 
 Klinger’s request, lent me this drawing, which Klinger considers a 
 good example of his work. I am sorry that it is not more characteristic 
 of his serious work, where great beauty ot line and perfect handling are 
 employed in his renderings of romantic or classic subjects. 
 
 Klinger’s pen drawings are usually studies for his etchings, and these 
 pen drawings are carried out in a most masterly fashion. 
 
 Here, however, the humour of the German mystic asserts itself in a 
 most amusing fashion. The contrast between the ape-like half-blind old 
 person and the almost Pre-Raphaelite female is good ; why they both worship 
 before the decapitated heads I do not know ; it may be, however, that the 
 top hat is their shrine. The drawing is a burlesque of a function held 
 in Berlin, but it is quite too local to be intelligible. There is but one 
 example ot Klinger’s etched work that I have seen in England, his edition 
 of T'/ie Golden Ass of Apulehis in the South Kensington Art Library, and 
 in that book the etchings have lost much of the freedom of his pen work ; 
 but in the Print Rooms of Berlin and Dresden, especially the latter, his 
 finest work, both in drawing and etching, is to be found. Although his 
 subjects are almost invariably those of Holbein, he brings his work up 
 to date. One has always haunted me — a dance of death. A railway 
 train is rushing rapidly toward you ; the engine and carriages are most 
 carefully studied, the rails and the smoke make marvellous lines, the land- 
 scape is sombre, and, right in the foreground, Death has fastened himself 
 to the rail, — in a moment there will be a terrible accident. The idea is 
 as old as the world, the conception and execution the work of a man of 
 to-day. These drawings are, luckily, almost all owned by the great 
 galleries of Germany, as well as the portfolios of etchings, published in 
 very limited editions, made from them. 
 
A. HENGELER 
 
 The German serial comic illustration is usually more elaborately worked 
 out than the Erench, though the change from one scene to the next is 
 often much more abrupt. In the “ Uncle and his Nephew,” by Caran 
 D’Ache, the changes are gradual, subtle, almost imperceptible; or else, as in 
 “ Our Cat takes Rat Poison ” by Frost, the story becomes a romance 
 in many chapters. But in Hengeler’s “ Fire in the Village ” we have the 
 
 
 i 
 
 3 
 
 
GERMAN WORK 
 
 183 
 
 perfectly-told short story. There is a tire; a little smoke floats over the 
 church steeple, the ladder has been put up, the brave fireman mounts, the 
 admiration of his fellow-townsmen. The chief, who is not a superstitious 
 man, rushes under the ladder to beg his captain to command the firemen 
 to pump. Then, as the hoseman mounts higher, they do pump. That is 
 all ; hut how completely and pertectly it is told. Without a word of 
 explanation it will be universally understood : that is the art of comic 
 illustration. 
 
 t 
 
 to. 
 
184 
 
 PEN DRAWING 
 
 WILHELM LEIBL 
 
 I HAVE never seen the drawing from which this block was made. But I 
 have seen several pen studies by this artist ; and, though in many ways 
 unsatisfactory as the reproductions are, in fact impossible as the originals 
 are to reproduce, they are of such distinction and individuality that they 
 demand a place as the work of a master. 
 
 All Leibl’s pen drawings that I have seen were made on white or 
 tinted paper with very grey ink, reinforced with washes of the same, or 
 intenser tones. Consequently, when these are reproduced by process, a 
 great and unavoidable change takes place. Eirst, they become very much 
 darker all over, as it is impossible with black printing ink to render the 
 delicate grey of the paper ; then the grey ink work becomes much darker, 
 because the grey tone of the paper is under it, and it is impossible to 
 retain the silvery quality of the ink in any reproduction, though lately 
 I have seen some marvellous blocks after M. Sainton’s silver points by 
 the Swan Electric Company, printed in the Studio for 15th November 
 1893. The look of Leibl’s work is best kept, I imagine, on the left side 
 of the coat, where the grey watery ink lines may be easily studied, — 
 though they are much darker than in the original, — but in the head they 
 have been lost in the general mass. Still, the drawing of the head is 
 so line that the modelling, is expressed, even though the lines which 
 produced it, in many parts have disappeared. I do not think there is 
 much handwork on this block, which it seems to me has been admirably 
 reproduced by Angerer and Goschl. 
 
 This drawing is reproduced by the hall- tone process, and the lines 
 come in the tint, and a far truer and simpler effect is thus produced than 
 by any attempt at cleaning up the background and digging out the greys 
 between the lines, while the charcoal or crayon work around the hat is 
 retained. I believe, in very many cases, this half-tone method will supersede 
 the simple line, because the effect is just as true, and a blending, enveloping 
 tone is added, giving a result approaching — with good printing — an etching. 
 
 For other experiments in reproducing line drawings by half-tone 
 processes, Hartrick’s and Sullivan’s drawings in the English chapter should 
 be studied. 
 
2 R 
 
HERMANN VOGEL 
 
 Among all the foreign black and white men who now produce what is 
 
 known as French art, none is more interesting than Hermann Vogel. He 
 worked for some time on Fliegende Blcitte?-, and then, like Marold, Rossi, 
 Tofani, Myrbach, and ■ Vierge, found himself in Paris, The effect of 
 
lighting in the large drawing, “ Cortesia,” is excellent ; so too is the suggestion 
 ot colour. One is reminded, it is true, of several other men, but still the whole 
 is most interesting. 
 
 The interior of the “ Salon ” is very good, the grace of the woman, the way 
 the two men stand and sit, and the leaving of the walls white, though they are 
 in shadow, is most cleverly managed. The pictures on them are well suggested 
 and the furniture carefully studied; altogether this is a most simple and satisfactory 
 rendering of a difficult subject. Vogehs many-sidedness, an absolute necessity for 
 an illustrator, is shown in the landscape. There is the most careful feeling for 
 line in the study of the trees, in the wet muddy road, and in the general realism 
 of things ; and all his work is done with a frank, painter-like simplicity which 
 makes him a very excellent master to follow. 
 
 0 A 
 
DUTCH, DANISH, AND OTHER WORK 
 
DUTCH, DANISH, AND OTHER WORK 
 
 T here are probably good pen draughtsmen in Belgium, Austria, 
 and Russia. But the best -known artists ot all these countries 
 almost invariably leave their native land to live in Venice with 
 Van Haanen, or in Paris with Jan Van Beers, Munkacsy, and Chelminsky, 
 or in London with Alma Tadema. One feels as if even a country like 
 Austria, where the only large comparative exhibition ot black and white 
 illustrative work has ever been held, — most of its examples as shown in the 
 Catalogue, however, were very commonplace, — is out of artistic touch with 
 the rest of Europe. The trouble is that the illustrated hooks and papers — 
 the exhibition rooms of pen drawing — of these countries do not circulate 
 all over the world, as do those of Erance, Germany, England, and the 
 United States. Niccolo Masic, a H ungarian, I think, and Repine, a 
 Russian, are men whose pen work stands out in any illustrated catalogue. 
 In Masic’s there is a suggestion of Vierge. In Denmark and Holland 
 alone are there to be found original artists, who remain in their own 
 country, and publishers enterprising enough to bring out their drawings in 
 a decent fashion. Denmark possesses in Hans Tegner, who was at work 
 on his marvellous series of drawings for Holberg’s Comedies^ when the first 
 edition of this book was being prepared, a really great artist. In Denmark, 
 too, the silhouettes ot Paul Konewka were, so far as I know, first published. 
 In referring to nearly all illustrated catalogues, I also find that the 
 same pictures, which have been the admiration of the Salon^ travel around 
 with their accompanying reproductions, from one art centre to another. 
 Prom Holland comes a very fair monthly magazine called E/zcvi?\ While 
 H. J. Icke’s drawings after the old masters are amazing. 
 
 It would he impossible to write of pen drawing in Fhirope and 
 America without acknowledging the debt which all artists, who have 
 
192 
 
 PEN DRAWING 
 
 thought and worked and striven in their art, owe to the Japanese. All 
 know and try to study reverently the sketch-books, the drawings on silk, 
 the prints plain and coloured, all the decorative work of Japanese artists 
 which is so freely and beautifully rendered by the pen, or rather by the 
 brush. Whether these drawings are right according to instantaneous 
 photography is of small importance ; they are the most beautiful, the 
 most decorative, the most careful studies of birds and flowers, fish and 
 animals, ever made. I do not even pretend to know the styles, nor would 
 it be worth while to give a catalogue of the names of Japanese artists. 
 But I do know that one can learn more about art, decoration, and beauty 
 from a Japanese sketch-book, which can be bought at Batsford’s, High 
 Holborn, for half-a-crown, or at John Wanamaker’s, Philadelphia, for fifty 
 cents, than is often to be learned from a whole season of modern European 
 picture-galleries. In making this assertion I am sure I should have the 
 support of men like Habert-Dys, Felix Regamey, Alfred Brennan, 
 Frederick Lungren, and A. Fepere, as well as that of the commis- 
 sioners, appointed by the Japanese Government, who have just said, in 
 their report, that there is very little to learn in European art to-day. The 
 influence of these Japanese artists is becoming daily more and more 
 apparent. Whistler was possibly the first man to appreciate them, but 
 to-day there is a whole school who are guided by this work, the originals 
 of which they have never seen and the methods of which they but half 
 understand, A few others are studying the matter intelligently and working 
 out interesting results, — Edgar Wilson has probably been one of the 
 most successful. 
 
 But unless one can assimilate Japanese methods to one’s own require- 
 ments, in the manner of Brennan, LepHe, and Edgar Wilson, — that 
 is, unless one can engraft Japanese methods on European subjects, — it 
 is better simply to study their drawings as an old master’s pen work might 
 be studied. Otherwise the result would be a medley, neither Japanese nor 
 European, with about the value of a tea-chest made in Birmingham. 
 
 I have no intention, however, of attempting a detailed account or 
 analysis of Japanese drawing, for so different is it from European work 
 that it would require a volume apart, and several very able books on 
 Japanese art are to be had. 
 
 In the production and reproduction of brush or pen drawings, the 
 Japanese are hundreds of years ahead of us. Their ink is better than any 
 we have, their wood-cutters are far more sympathetic, reverent, and careful 
 than even the facsimile men of America, and their printing is excellent. 
 
DUTCH, DANISH, AND OTHER WORK 
 
 ILLUSTRATIONS 
 
 j. hoynp:k van papendrecht 
 
 P APP]NDRECHT’S work, like that of so many other men to-day, is interesting 
 more from its individuality and freedom than anything else. INen lour years ago, 
 when the first edition of this hook appeared, it would have been very difficult to 
 have found any one to reproduce the scrawling, though not had scrawling, tree line which 
 is its characteristic; to-day, or even in 1891, this came well enough. His arrangement of 
 white spots is good, but there might have been more care bestowed on the taces without 
 elaborating the work. 
 
 2 c 
 

 fi 
 
 lijv 
 
 W'P/ 
 
 fm 
 
 
 The swing and go of this man’s work are remarkable ; and it 
 is very interesting to note how well his freely -put- down lines 
 have come by process, and printed on the steam press. This 
 is a notable example of good reproduction from a perfectly 
 sketchy design. 
 
 
 -i 
 
 I 
 
JAN A. TOOROP 
 
 Herr Toorop is a Dutchman born in Java, hence the curious Piastern 
 feeling in his work, a note which is quite genuine. He is another of 
 the Rose Croix men ; and, like the rest of them, his work is dis- 
 tinguished by beauty of line and great care in handling, qualities which 
 would give “ The Three Brides ” distinction and make the work remark- 
 able without the mysticism, which I do not pretend to understand. 
 This is a very good example of the reproduction of line and wash by 
 the halt-tone process. 
 
196 
 
 PEN DRAWING 
 
 PAUL KONEWKA 
 
 Considering that Konewka has so beautifully shown the possibilities of 
 the silhouette, it is curious that he has not had an army ol imitators ; and, 
 save in Fliegende Blatter^ they have been but comparatively tew in number. 
 Still it is not so easy as it looks to space these charming arrangements in 
 black, — and that probably accounts for it. 
 
 Konewka has illustrated several books with silhouettes, notably, Faust ^ 
 Midsummer Night's Dream, and the Comedies of Shakespeare. 
 

 Hans Tegner has witli one set of drawings won a leading position as an 
 illustrator. His edition of Holberg’s Comedies makes him a tormidahle rival 
 to Menzel, and at times to Ahbey. That he has founded his style on these 
 two men is very evident. That in certain ways he has branched out tor 
 himself is equally certain. He has not sought, as so many men do, to 
 imitate their masters’ tricks and mannerisms, hut he has used what he 
 could in their work, and evolved a style ot his own. The large interior 
 
 
2 D 
 
I 
 
DUTCH, DANISH, AND OTHER WORK 
 
 203 
 
 full of figures is very reminiscent ot Abbey, but it is drawn with a firmer line 
 and more simply ; but 1 think it lacks the grace which the American would 
 have put into it. The two large heads 
 are altogether individual — Tegner’s own. 
 
 Again, in the bedside scene and in the party 
 crossing the fields one feels the influence of 
 Alenzel, but it is felt in a right sort of way. 
 
 The garden and the single figure of an actor 
 are all his own. I have included a large 
 number of Tegner’s drawings, not only 
 because he is absolutely unknown to artists 
 in England and America, but because the 
 Jubil ee edition of Holberg’s Comedies, for 
 which these drawings were made, is not 
 very accessible. And the more really good 
 work one can see, like this, the better. 
 
 Th ere are other phases of his work that I 
 possibly should have shown, but Tegner is so 
 many-sided a man — an indispensable quality 
 for an illustrator — that one would have to 
 include almost every drawing in the book ; 
 and this edition of Holberg’s is well worth 
 possessing. It was published in 1888 by 
 Bojesen of Copenhagen. Special attention 
 should be devoted to the beauty of the wood- 
 engravings, from the drawings of Tegner, 
 which have been executed by F. Hendriksen 
 and A. Bork. 
 
H. J. ICK^: 
 
 This artist has devoted himself to the copying of the old Dutchmen 
 in pen and ink, and with this medium he has produced results only 
 equalled by reproductive etchers like William Hole, or wood-engravers like 
 Timothy Cole. Herr IckCs originals are in many cases, until closely 
 examined, quite indistinguishable from etchings, as he makes his drawing 
 upon a tinted ground which gives the effect of a carefully-printed plate. 
 Some artists and critics who have seen his work, condemn it on the ground 
 of excessive cleverness of imitation, but certainly all good etchers are 
 open to the same charge ; while it is far easier to make a drawing on paper 
 like this, than to etch the same subject on copper, although exactly 
 the same lines would be used and they would be put down in the same 
 manner. If this drawing had been reproduced by Amand- Durand in 
 photogravure, I do not believe that any one could have proved that it 
 was not a genuine etching made on a copper plate ; and though Herr Icke 
 has a precedent, and might allege an excuse for this form of swindling, 
 I imagine he is too much of an artist and cares too much for his 
 work to practise it. 
 
 The reproduction by Angerer and Goschl of Vienna is also note- 
 worthy. The English firms to whom it was offered refused to attempt 
 it. The Austrians have been marvellously successful. 
 
 The drawing was in brown ink upon a brown tone. A block was 
 made of the lines of the drawing first — to get the drawing itself — then 
 another block produced, simply for the colour. These two were printed 
 together, one on top of the other, and a result has been obtained which 
 in the proofs is_ almost equal to the original drawing, and it reflects 
 great credit upon the skill of the Austrian engraving firm. A block like 
 this requires two printings, a fact which prevents its more general use. 
 

 THE ILLUS- 
 TRATORS OL 
 “UDE OG 
 HJLMML” 
 
 OST of the men who have contributed the drawings 
 to this journal are unknown as illustrators, though 
 several of them are widely known as painters. The 
 paper itself is, I fancy, almost unknown : certainly 
 until this year when 1 was shown several volumes of 
 it hy that profound practical student of all branches 
 of the Graphic Arts, Mr. H. L. Brakstad, I had never heard of it. 
 
 U/f og Hjefjunc {Far and Near) was published in Copenhagen by 
 F. Hendriksen who was also, I believe, the editor ; while the amazing 
 wood-engravings with which the early years are filled are almost entirely 
 from his hand. F. Hendriksen is such a great wood-engraver, that 
 were it not for the fact that he himself has ceased to strive to rival the 
 perfection of process, I should he tempted to withdraw my claims for 
 mechanical reproduction, at least in part ; but as Hendriksen has himself 
 become, I am told, a mechanical engraver, my assertions are, instead of 
 being disproven, strengthened. Never, I think, has there been a wood- 
 engraver who, apparently, so reverently and faithfully followed the lines 
 
r 
 
 2 E 
 
 A. 
 
210 
 
 PEN DRAWING 
 
 drawn by the artist ; never certainly has there been a wood-engraver 
 who has given the quality, the original look and feeling of these lines, 
 
 whether pencil, pen, or brush, more truly than Hendriksen. His power 
 of rendering the look of a medium is astounding. Many of the drawings, 
 like Tegner’s, are of theatrical subjects, and among these one of the most 
 
DUTCH, DANISH, AND OTHER WORK 
 
 21 I 
 
 notable is by Hans Nicolas Hansen, partially done in pencil ; possibly more 
 of it was done in this way than is at first apparent ; the work is bold, 
 manly, and direct. One is as sure it is a good portrait as that it is a good 
 drawing. The initial is also by Hansen. 
 
 A. Edelfeldt’s work, especially in colour, is well enough known, and 
 I reproduced one of his drawings in the first edition, but work so 
 distinguished and so full of character as this I had not seen till I came 
 
 
 across the Norwegian magazine. Though for directness it is surpassed 
 by Frants Henningsen’s, the sentiment of which is overpowering, and the 
 pathos heartbreaking but genuine; yet I imagine such a real work ot 
 art would not find a place in an English or American magazine, it is 
 too real, too well done. 
 
 Erik Henningsen’s work is more in the nature of study and is not so 
 complete, and at times it is hard and wiry ; but there is an immense 
 amount of action and go about it. Much of it, too, is possibly pencil, and 
 in just these points the engraver fails to entirely express the artist. 
 
Though many people draw animals, comparatively few do it well in 
 pen and ink. Madame Ronner and Lambert have used this medium, 
 but I certainly do not care much for their handling of line, however 
 accurate their drawing may be ; therefore it is a pleasure to find some 
 one who, like Hermansen, can do it well. 
 
 In landscape, too, much good work has been accomplished, and one 
 recalls instantly Frans Thaulow’s successes at the Salon in colour. 
 T. Petersen’s pen work is excellent if it does recall Abbey and Parsons. 
 
 I am not certain that the man’s head is by a Scandinavian, I rather 
 think it is the work of Liphardt who drew for Vie Moderne. At any rate I 
 think this drawing was once published in that paper. But I am sure it 
 is a wonderful example of Hendriksen’s skill as a wood-engraver. 
 
 I have no doubt there are many other illustrators in Denmark, 
 Holland, Norway, and Sweden, but I think it something to have merely 
 touched the matter even if better material, which I doubt, exists. 
 
 J 
 
 1 
 
 I 
 
 I 
 
 \ 
 
 \ 
 
 \ 
 
The artists from the North and from Germany are beginning to 
 exert a powerful inliuence all over the world, and so will the illustrators 
 
214 
 
 PEN DRAWING 
 
 once they are known, even if some of them have been influenced by our 
 better men. It is greatly to their credit that they know us, — it is not so 
 commendable on our part never to have seen any of their excellent designs. 
 
ERIK WERENSKIOLD 
 
 Werenskiold is a Norwegian who has evidently studied English methods. 
 His work will shortly be better known here, as Mr. H. L. Brakstad is 
 about to bring out a translation of Ashjdrnsen’s Folk and Fairy Fales, 
 which he has illustrated. 
 
PEN DRAWING IN AMERICA 
 
f 
 
PEN DRAWING IN AMERICA 
 
 I F Spain and France were the homes of pen drawing, then certainly 
 America is its adopted country. There the art has been developed 
 altogether within the last fifteen years, more especially within the last 
 ten. At one time American artists imitated the good English pen drawing 
 of some thirty years ago, much of which, as I have said, was executed for 
 the wood-engraver, and was therefore only known to them in the form of 
 engravings. But they ceased to do so as soon as they saw the work of 
 the Continent, which appeared in facsimile reproduction. The prin- 
 cipal American illustrators of the day unquestionably owe much to their 
 knowledge and appreciation of continental draughtsmen. Whom they took 
 as models depended much on where they studied. Many adopted, as have 
 Americans following any branch of art, what seemed best to them in each 
 of the dift'erent schools. Hence, though like Englishmen they have no 
 national art school comparable with the Eco/e des Beaux-Arts^ nor the 
 standard which such a school supplies, Americans have on the other hand, 
 what Englishmen have not, and, whether rightly or wrongly, rarely seek 
 to cultivate, an eclectic appreciation of good art whenever they see it, 
 no matter whence it comes. Any one, who has been at all out of 
 England, knows how really little good modern art of any foreign school 
 was to be seen in this country, until within the last year or so. 
 
 One American has taken Menzel as his model ; another Dietz and 
 the artists of Fliegende Blatter; a whole school now worships Fortuny, 
 Vierge, Rico, Casanova, and the other Spaniards, reverently but with 
 judgment at the same time ; while there are some artists who follow 
 Detaille and De Neuville, intelligently adapting French methods to their 
 own needs. At the moment, media3valism founded upon Birmingham, and 
 symbolism adapted from the imitators of Burne Jones are the fashion ; 
 
220 
 
 PEN DRAWING 
 
 while a mania for putting a circle of yellow paint round the head of a 
 model is quite the thing, and is considered to lend an increased value to, and 
 bestow religious significance upon, what would otherwise only be an 
 academy study ; the plan works well, but it has been tried before. These 
 men have in turn many imitators who, however, are without knowledge of 
 all the underlying principles of pen drawing. The principal credit for the 
 true development ot illustration must be ascribed to the intelligent support 
 which Mr. A. W. Drake, the art editor of the Century (then Scribner s 
 Monthly\ was the first to give to the group of young men who, about this 
 time, returned from a course ot several years’ study in Munich with the 
 idea of revolutionising art in America — then a not very wonderful thing to 
 do — by converting it to the school of Munich, especially to the school of 
 Dietz. Among the Munich men were William M. Chase, who made 
 some strong figure studies, Walter Shirlaw, who gave some of the most 
 artistic renderings of commonplace things ever produced in America, 
 Frederick Dielman and Henry Muhrman. A little later Reginald Birch 
 returned, and though he was heralded by less blowing of trumpets, he has 
 sustained and improved the reputation he made with his first drawings. 
 One of the latest books he has illustrated, L,ittle Lord Fauntleroy^ is probably 
 the best thing he has ever done. Every number of St. Nicholas is made 
 more interesting by his work. The infection quickly spread to what was 
 then Harper’s brilliant shop, working in or for which were such artists 
 as Edwin A. Abbey, Charles S. Reinhart, Howard Pyle, A. B. Frost. 
 The entire revolution was not altogether due to the Munich students. 
 But certainly they, together with the Centennial Exhibition, showed to a 
 vast number of Americans, among others to those artists who had never 
 been abroad, what foreign standards of technique really were. But even 
 long before this, the Harpers had been republishing Romola and other stories 
 with their original English illustrations, and this English tradition has 
 been exceedingly well carried out by Alfred Fredericks and W. L. 
 Shepherd in that magazine. 
 
 About the same time, or a little later, between 1877 and 1879, Alfred 
 Brennan and Robert Blum began to be known. They commenced to study 
 in Cincinnati to a certain extent under Frank Duveneck and H. F. Farny. 
 The latter is in many ways one of the most original, if erratic, of American 
 artists. He had then already produced some very good pen drawings 
 published in the Art Review, and he has added to his reputation by his 
 brilliant studies of Indians published in the Century and Harper s, and by 
 his illustrations for school-books, of which he has made something artistic. 
 
PEN DRAWING IN AMERICA 
 
 221 
 
 From Cincinnati, Blum and Brennan went to Philadelphia where, like 
 many another student, they received everything but encouragement to 
 continue in the way they had marked out for themselves. But they 
 found a friend in Stephen J. Ferris, who then, though he did not own 
 originals, had photogravures or reproductions of almost all the drawings of 
 Fortuny, Rico, and Boldini ; and through these he introduced them and 
 his son, Gerome Ferris, as he later did me — and for this I can never be 
 thankful enough to him — to an entirely new world, Ferris, Peter and 
 Thomas Moran, J, D, Smillie, and several others, by reproducing the pen 
 drawings and the pictures of the greatest men of the Continent for the art 
 books issued by Gebbie and Barrie, probably did as much to make known 
 the work of European pen draughtsmen to Americans as any one else. 
 However, even in the present state of international copyright, it is not 
 likely that any of these books will be seen in Europe. 
 
 Eerris was one of the first artists to practise etching on glass, as it was 
 miscalled — that is, drawing on a sheet of glass coated with collodion, which 
 had been exposed in a camera at a white wall and so turned a dark grey or 
 brown colour, and then varnished ; then on this plate a drawing was made 
 with an etching needle, a pen, or any sharp point, and the result was either 
 reproduced by photo-lithography or printed in a photographic printing- 
 press. It was work like this, done about ten or fifteen years ago, which 
 had an enormous influence in developing photo-engraving. Mrs. Elinor 
 Greatorex, in her illustrations of old New York, I believe used the same 
 process. Another man who made many experiments in other ways was 
 B. Day. Brennan, too, continually made discoveries in process work, in 
 which he was aided by the Cej^turys Art Department. But without the 
 assistance of Mr. De Vinne, the printer of the Century — a man who has 
 devoted his life to artistic printing and succeeded in it — comparatively little 
 advance would have been made. A glance at the magazines of 1876 will 
 prove this. 
 
 In New York, Blum and Brennan found instant recognition, and a 
 place for their work both in a sort of memorial to Fortuny and in the 
 Century (then Scribner s). Here they were joined by F. H, Lungren and 
 Kenyon Cox. From that day to this their work has contributed to 
 maintain the high position which the Century and St. Nicholas hold among 
 illustrated magazines. Much has been said about their originality. But 
 their real originality consists in their intelligent adaptation of the methods 
 of Fortuny, Rico, and Vierge, of the artists of Fliegende Blatter., and of the 
 draughtsmen of Japan, and in their production, under all these many and 
 
222 
 
 PEN DRAWING 
 
 opposing influences, of vigorous and charming pictures of their own. 
 Brennan most certainly was and is the master of this school of American 
 pen draughtsmen. 
 
 In 1878, I think, Abbey, who was then illustrating Herrick’s Poetns^ 
 came to England, and a knowledge of the country and things he had long 
 cared for started him on a brilliant career, and has carried him forward 
 until he is now the greatest English-speaking illustrator the world has ever 
 seen. For grace and refinement he ranks second to no one. In England 
 of the eighteenth century he is as much at home as Austin Dobson. He 
 can reconstruct its old rooms and village streets and fill them anew with 
 beauty and life. In his old furniture and bits of glass and silver ware he 
 rivals in fidelity and execution Jacquemart. And all of his work is in a 
 style that delights the purist. It is simple, honest, and straightforward. 
 So also is the drawing of Reinhart, who, about the same time as Abbey, 
 came abroad again — he having studied before in Germany — and, finding 
 his chance in illustrating a trip to Spain, began an equally brilliant career. 
 His work is always devoted to the things of modern life. He puts Mr. 
 Howells’ characters on paper with just that last touch of realism which an 
 illustrator can give better than the author ; while he has only lately finished 
 telling the world what he thinks about American sea-shore resorts and the 
 people who go to them. His drawings of France and England, done 
 boldly, directly, and vigorously, are life itself. Nothing better than the 
 work of these two men could be found for Englishmen and Americans to 
 study. One cannot but wish that Abbey too would give us a little more 
 of what is happening about him, instead of occupying himself almost 
 altogether with the people and things of other days. His editions of She 
 Stoops to Conquer and Herrick’s Poems have never been approached in 
 modern times. While the Comedies of Shakespeare, now in progress, leave 
 all would-be rivals far behind. 
 
 Howard Pyle has expressed in his pen work the quaintness of 
 American life in the colonial period, and, in Robin Hood, some beautiful 
 ideas ot a country he does not know. His Pepper and Salt, Otto oj~ 
 the Silver Hand, and other children’s books are as beautiful in their old 
 and quaint simplicity. He has revived and portrayed the life of the 
 Middle Ages better than any one else, and still he is at home in a 
 modern ballroom or the backwoods of America. 
 
 Harry Fenn has illustrated many books and magazines. He works 
 apparently with equal facility in all sorts of mediums. If he would 
 concentrate his power on something that he made distinctly his own, as 
 
PEN DRAWING IN AMERICA 
 
 223 
 
 he did with wash in Picturesque America^ he would hold a very high place 
 as a pen draughtsman. There is no one probably who has such perfect 
 command of his materials, and who, though often doing work which 
 cannot be interesting to him, is always sure of getting striking and, very 
 often, novel and artistic results. His drawings of interiors are models of 
 arrangement and knowledge of details, and very clever as a whole. His 
 work, as well as its reproduction, has vastly improved since he made the 
 illustrations for Picturesque America. 
 
 A. B. Frost and W. A. Rogers, who can be either funny or serious to 
 good purpose, have produced some of the funniest drawings, which rival 
 those of Fliege?j(ie Blatter in their technical work and humour — though very 
 different ; and, like them, are good because they are understandable in all 
 languages, and need no label to explain them. Of caricatures, pure and 
 simple, are to be mentioned those of Thomas Nast and M. A. Wolf, which, 
 however, have no technical pretensions. The same can be said of those 
 of Mat Morgan, F. Keppler, and a host of other caricaturists. J. A. 
 Mitchell, S. W. Van Schaick, W. H. Hyde, C. J. Taylor, are other comic 
 pen draughtsmen who really are clever. But to mention them all would 
 be to make a catalogue. Among the older men, of course, we have 
 Darley’s lithographed outline illustrations to Washington Irving, which I 
 suppose were done with a lithographic pen on stone ; but he started and 
 formed his ideas and settled his style long before the time of process. 
 Among the painters is Mr. Wyatt Eaton, who produced the noble head 
 of Lincoln, engraved by Cole, in the Century., and the drawings after Olin 
 Warner, also published in the Century; while another man who has done a 
 great deal of portrait work in the style of, though not equal to, Desmoulins, 
 is Jacques Reitch. 
 
 The only men of any note who have appeared in the last few years 
 are E. W. Kemble, whose delineations of old darkies and the wild west 
 are very lifelike, but often very careless ; Frederick Remington, whose 
 drawings of horses in action are wonderfully spirited ; and F. Childe 
 Hassam, whose work has certainly a character of its own ; while G. D. 
 Gibson has made a name for himself in the United States equal to 
 Du Maurier’s here. 
 
 Jessie M‘Dermott, Alice Barber Stephens, and Katherine Pyle draw 
 well, but have not illustrated other work, or done work of their own to 
 sufficient extent, to be given the place they would otherwise hold. The 
 same may be said of many other men and women — Thulstrup, Graham, 
 Zogbaum, Redwood, for example. But the great bulk of their work is 
 
224 
 
 PEN DRAWING 
 
 not done in pen and ink, and they do not seem to care for it more than 
 for other mediums. The drawings of the artists I have mentioned will 
 live long after the present generation. 
 
 So much of Alfred Parsons’ work is published in America that one 
 has come to think of him as an American. But of his pen drawings I 
 shall speak in the chapter on English work. Frank L. Kirkpatrick makes 
 excellent pen drawings ; but, painting almost altogether, one sees com- 
 paratively little pen work from him. And this is also to be said of 
 F. S. Church, who is strikingly original in his treatment of birds and 
 animals. L. S. Ipsen, — who, among other things, has recently published 
 some charming decorations, though the figures are not good, for Mrs. 
 Browning’s Poems ^ — George Wharton Edwards, and H. F. Bridwell have 
 given a decorative character to many of the books and magazines of 
 America, which places them second only to men like Habert-Dys. W. 
 H. Drake and Otto Bacher render arms and armour and many unpictur- 
 esque subjects in an original manner ; while Hughson Hawley, F. Du 
 Mond, and Camille Piton have devoted themselves to architecture. 
 
 In looking at pen drawing, or rather all illustrative work in America, 
 outside of the Harper, Century, and Scribner publications. Life and Wide 
 Awake, the process work in Puck, and a few of the art periodicals, it seems 
 as if the art editors of the various illustrated papers were trying to see 
 which one could fill his magazine or weekly with the worst and cheapest 
 drawings. One cannot but fear that unless there is another reaction like 
 that which followed the Centennial Exhibition, art in America will fall to 
 a lower level than it has ever held before. 
 
 Save in reproduction and printing, little progress has been made in 
 the last few years in America. Scarcely any new men have appeared ; but 
 the excellence of work has been maintained by those I have included in 
 this chapter, and a very few younger ones. Despite the attempts to 
 cheapen literature and art which are only too successfully evident on all 
 sides, America set up the standard of good work ; may she preserve it ! 
 
PEN DRAWING IN AMERICA 
 
 ILLUSTRATIONS 
 EDWIN A. ABBEY 
 
 T he fact that I have devoted more space to certain Spaniards, 
 Erenchmen, and Germans, and less to some ot the equally well- 
 known and important Englishmen and Americans, deserves, I 
 think, a word of explanation. Too many of Menzel’s drawings could 
 not be shown, nor could I give too many of Abbey’s. But while it is 
 the duty of every illustrator and every one who cares for illustration to 
 see all the work which Abbey produces — and it can be seen in the pages 
 of Harper s Monthly — and while every pen draughtsman should own the 
 charming Herrick, the monumental She Stoops to Conquer, the lovely Old 
 Songs, and the dainty ^liet Life, which have been reproduced by the best 
 modern mechanical and wood-engravers and printed in the most careful 
 manner, it is scarcely possible for any one to obtain the original editions of 
 Menzel’s work, and in many cases reproductions from these original editions 
 or new editions have never been published. Of the Uniforms of the Army 
 of Frederick the Great I know of only one easily accessible copy in England; 
 this one is in the British Museum, but very likely there may he a few more. 
 The case of Rico and Vierge is almost parallel; it is even more difficult to 
 find the drawings of many of the principal Spaniards than those of Menzel. 
 
 Abbey began in the wood-engraving office of Van Ingen and Snyder 
 in Philadelphia, and, like so many other illustrators, he learned the 
 mechanical part of his work in the daytime and studied art at night, to a 
 certain extent under Isaac L. Williams and in the Academy of Fine Arts. 
 But he soon went to New York and entered the office of Messrs. Harper 
 and Brothers, where he continued for several years, producing much work 
 in many different mediums for all of Messrs. Harper’s periodicals. Though 
 his early work was wanting in the grace and refinement which have now 
 
226 
 
 PEN DRAWING 
 
 placed him in a position without a rival among English-speaking draughts- 
 men, it was always remarkable for its quiet humour and its suggestiveness, 
 while his marvellous mastery of technique was quickly attained. Although 
 he has gained a knowledge of composition, a largeness of feeling, and a 
 
 completeness of expression with his years of practice, some of the drawings 
 in the Herrick are equal in many ways to his later work. As a whole, 
 however, his last book, the Old Songs, is infinitely finer than anything 
 he has yet done. His drawings have become so refined that no engraving 
 can reproduce every line in them. He has selected the two girls on the 
 sofa from She Stoops to Conquer, and it is interesting to compare this repro- 
 duction, which is probably better than any made from his work, with the 
 block in the magazine and the plate in his book ; I think it will at once be 
 seen that it contains more of the feeling of his drawing than either of the 
 others. 
 
228 
 
 PEN DRAWING 
 
 While the superficial qualities of Abbey’s work can be imitated by 
 any one, his rendering of the seventeenth and eighteenth centuries, which 
 he has reconstructed so wonderfully, will never be approached on the lines 
 he is following. His present position as an illustrator has been attained 
 and maintained simply by treating illustration, as it should be treated, as 
 seriously as any other branch of art. He is remarkable not so much for 
 academic correctness — as is Menzel, for example — but rather for his truth, 
 the beauty of his line and his power of expression. No illustrator has 
 realised more beautiful women or finer swaggering gallants, and no one has 
 placed them in more appropriate surroundings. He makes the figures real 
 for us because all the backgrounds and accessories are taken directly from 
 nature. 
 
 Any one can see for one’s self how drawing like this is produced ; a 
 more or less rough pencil-sketch is made on a sheet of very thin smooth 
 paper mounted on pasteboard, something like London board, and the com- 
 pleted subject, which he has in his mind before he touches the drawing, 
 gradually grows out of the models he has before him, and nature to which 
 he always refers ; and this is the only way in which great illustration can 
 be and should be produced. The book plate, the drawing for which Mr. 
 Gosse was good enough to lend me, is one of those numberless designs 
 Abbey is for ever making for his friends ; other examples of these charming 
 suggestive conceits may be found in the frontispiece of Mr. Ashby-Sterry’s 
 Lazy Mmstrel, Mr. Austin Dobson’s Sign of the Lyre, Miss Strettell’s Spanish 
 and Italia?! Folk-Songs , in many other books and catalogues of his friends’ 
 pictures. In the book plate for Mr. Gosse, the greys all over the drawing 
 are utterly lost ; no process or engraver could render them. But no matter 
 how much is lost, a vast amount of beauty remains. It has already been 
 very well engraved by Mr. }. D. Cooper, but the result is not better than, 
 if as good as, Messrs. Dawson’s photo-engraving. I suppose that one might 
 criticise the drawing for the apparent want of the old conventional 
 decorative feeling ; but when so much that is new and good can be found 
 in it, I think one ought rather to rejoice for what we have obtained and 
 not mourn over what has not been given. 
 
 Note. — After a rather careful examination ol the drawings and engravings in the Paris Exhibition 
 of the year (1889), I cannot help being conscious of the fact that I have not given Abbey the place 
 which he really deserves. Meissonier is the founder of modern illustration ; Menzel, Fortuny, Rico, 
 and Vierge have been its most powerful apostles, and among the cleverest men their influence will 
 never grow less. But while Menzel’s methods are obsolete, and Vierge’s style can only be attempted 
 by the most brilliant, any one can see that a new school is arising, and this is the school of Abbey, 
 who has at the present moment followers in every illustrating country in the world, men who are 
 seeking to carry out his method of brilliant drawing carefully and seriously execute.d. 
 
 American pen drawing, the Exhibition conclusively proves, is the best, and American process 
 reproduction the most sympathetic, and American printing the most careful ; and it is this harmonious 
 co-operation which has enabled Abbey to become not only, as I have written, the greatest English- 
 speaking illustrator, but the greatest living illustrator. 
 
 The Chicago Exhibition but confirms this. 
 
REGINALD B. BIRCH 
 
 Birch is one of those men who have studied abroad, and taken what they 
 have learned to America. Not only does he know how to draw well, but 
 he is familiar with the lite ot two continents. His drawings in the 
 beginning were Americanised Schlittgens, but, while he is quite as clever 
 as Schlittgen, he possesses, I think, more grace, combined with wider 
 knowledge of character. In the concentration of blacks, the drawing of 
 little Lord Launtleroy carried off to bed might suggest Vierge, but the 
 footman, the two housemaids, and the merest indication of the house- 
 keeper’s cap and one eye are thoroughly English, though the little lord 
 himself is completely American. The handling in this, as in all his work, 
 shows the greatest amount of expression obtained by the simplest and most 
 direct means. He scarcely ever uses models In his final work, but makes 
 his drawings from studies, tracing these on to Bristol board which he thus 
 keeps thoroughly clean ; consequently his work reproduces perfectly well. 
 
4 
 
 Tl 
 
PEN DRAWING IN AMERICA 
 
 231 
 
 H. F. FARNY 
 
 Farny’s drawing is an example of what is known among illustrators as 
 splatter work, which I have described in the Chapter on Technical 
 Suggestions. But it deserves a place far more because of its suggestion of 
 colour and the strong character of the face ; there is a figure, too, wrapped 
 up in the blanket. The decorative manner in which the shield and bow 
 are put in and balance each other is good, and the whole drawing is very 
 well put together. But I wish to call special attention to the way in 
 which the splatter tint is managed. The figure, apparently, was drawn 
 and then covered, probably with a piece of paper to protect it, and the 
 splattering done all over it. Everything outside the frame of the back- 
 ground was then painted with Chinese white and the drawing continued 
 on this ground when dry. The difference in the quality of the lines made 
 on the two grounds can easily be seen in the reproduction, in which the 
 Messrs. Dawson have been very successful in keeping this difference. 
 But in their process they do not seem able to get very fine single lines, 
 such as those in the lower part of the blanket which are rotten, though 
 there is no rottenness in the drawing. The feeling of the drawing, how- 
 ever, has been very well retained. 
 
/ 
 
 irom Harper’s Magazine. — Copyright, 1890, by Harper & Brothers. 
 
 HOWARD PYLE 
 
 A COMPARISON of these drawings with the block after Diirer will show on 
 what lines pen drawing is advancing. 
 
 The most superficial comparison of Pyle’s composition and handling 
 with Diirer’s proves what a careful student the nineteenth -century 
 American is of the sixteenth- century German. And intelligent study 
 of old work is absolutely necessary. That Pyle should do this in telling 
 and illustrating a mediaeval tale, merely proves his ability to saturate himself 
 with the spirit of the age in which the scenes are laid, and to give his work 
 the colour and character of the biggest man of that age. The entire figure 
 of Time, in the drawing from the Wonder Clocks is Diireresque. But the 
 figure of the small boy piping, although the lines of shadow are drawn in 
 the manner of the old Germans, is not German at all but nineteenth- 
 century American, and this is true of the tree in blossom and the stony 
 foreground. They are better than anything in Diirer, for the simple reason 
 that we know more about landscape than the Germans of his time. This 
 way of adapting the methods of an earlier generation to our own require- 
 ments is exactly what the old men did, and it is only by so doing art 
 advances. Pyle has preserved all that was good in their work, and yet kept 
 pace with modern technical and mechanical developments. The other 
 
PEN DRAWING IN AMERICA 
 
 233 
 
 drawings are from his colonial sketches and stories, and also there are two 
 decorations from a poem by Mr. Howells. The study of light now seems 
 
 From Pyle’s “ Wonder Clock.” 
 
 Copyright, 1S57» Harper & brothera. 
 
 to interest him ; and he adds interest to his subjects by effects always 
 carefully worked out. 
 
 2 H 
 
234 
 
 PEN DRAWING 
 
 Among the books by Howard Pyle which every student should know, 
 are Robin Hood, Pepper mid Salt, Otto of the Silver Hand, and the Wonder 
 
 Frum Harper’s Magazine. Copyri;;ht, 1893, by Harper & Brothers. 
 
 Clock. Many of the drawings are wanting to a certain extent in local 
 colour, a want only due to the fact that Pyle has, as far as I am aware, 
 
 never visited Europe. But in 
 technique they are far superior 
 to anything that has been done 
 in America, and, I hope it will 
 not be too presumptuous for me 
 to say, therefore to any modern 
 work of this sort. They are 
 carried out with a thoroughness 
 and completeness which give 
 them originality, even though 
 they preserve all the feeling of 
 the old work. They are almost 
 equal as decoration to Abbey’s 
 and Parsons’ realistic revivals, 
 and would be quite equal to 
 them did Pyle know Europe as 
 well. 
 
 From Harper’s Magazine 
 
 Copyright, 1890, by Harper & Brothers. 
 
From Harper’s Mngazine. Copyright, 1886, hy Harper A: Brothers 
 
 C. S. REINHART 
 
 It would be a mere waste of time on my part to try to praise or even to 
 criticise Reinhart at his best. He has been influenced both by Germans 
 and Frenchmen, with whom he has studied and among whom he has lived 
 for years. His drawings are notable for their simplicity, directness, and 
 freedom, often for their grace, and always for their character and expression. 
 There is probably no one else who, with such simple means, could so well 
 show the three American mothers in this drawing. He has concentrated 
 his attention on the faces, but he has not been slovenly in the costumes, 
 while his grouping is extremely pleasing. It is unnecessary to give more 
 examples of a man whose work is so characteristic and well known, and 
 should be studied by all who wish to produce good as well as realistic 
 renderings of the lile of to-day. His drawings for the last twenty years 
 have been seen in Harper where he has shown his ability to work in all 
 sorts of mediums. It is only of late he has in his black and white drawings 
 used a pen to any great extent. 
 
236 
 
 PEN DRAWING 
 
 ARTHUR B. FROST, FREDERICK REMINGTON, 
 
 E. W. KEMBLE 
 
 I GROUP these three men together, for not only is there great similarity 
 in their methods, but they seem to me the most distinctly American 
 illustrators we have. On the one hand, their work does not possess much 
 of that intense brilliancy and cleverness which is so characteristic of the 
 Spaniards ; nor, on the other hand, has it any of the slovenliness which 
 characterises so much English work of exactly the same sort. 
 
 In the three drawings you see that models have been used for all the 
 figures, though Remington’s has the photographic look which marks all 
 his work. But, as I have said elsewhere, there is no reason why a man 
 should not use photographs, if from them he can get good results. 
 
 The style of Frost’s work is, I fancy, that which the men of Fred 
 Walker’s time would have used, had they been transported to an American 
 town and taken enough interest in it to make a drawing of a subject like 
 that of Frost’s. Of course there is an exaggeration in all the figures ; they 
 are not so real as Remington’s, but then Frost’s indication of the men’s 
 clothes is much more true and carefully studied than Remington’s, while 
 Kemble, to a great extent, has ignored all details and only attempts the 
 large mass and long folds of the women’s simple garments. But in none of 
 them is there any of that everlasting machine-made cross-hatch. 
 
 Each of these drawings gives to an American a characteristic rendering 
 of country life : Frost’s of the middle states or the northern part of the 
 southern, Kemble’s of the extreme south, and Remington’s of the far west. 
 All will probably fall under the English critic’s ban because they are not 
 pretty or beautiful ; but they are more than this, they are real, and genuine 
 realism was the one quality lacking in the brilliant Englishmen of thirty 
 years ago. In Frost’s drawings I do not think there is a line which could 
 be omitted or anything that could be changed to its advantage. In all 
 th ree, the reserving of blacks is well managed. In Remington’s there is a 
 certain scrawl of meaningless lines over the grass which is found in nearly 
 all his work ; the drawing is not so well thought out as Frost’s, and it has a 
 mechanical look which is much more evident in this reproduction than 
 
. /r>/. 
 
r 
 
240 
 
 PEN DRAWING 
 
 ordinarily, because his drawings are usually reduced to a much smaller 
 size. The intelligent critic will of course ask what has become of the 
 cow’s other horn. My only answer is that I am sure I do not know. For 
 a man with such a thorough knowledge of animal anatomy this omission is 
 rather curious. His drawing of the men’s hands is not as careful as Frost’s 
 or Kemble’s. 
 
 Kemble’s drawing contains more of his good qualities and less of his 
 faults than almost any which I have seen. There is a very striking 
 difference in the rendering of the old Congo woman with her brilliant 
 shiny jet-black face — though in the drawing of it, by the way, there is 
 not a bit of black — and the tall statuesque mulatto who stands in front 
 of her ; the action of this figure is remarkably line. Rendering of types is 
 Kemble’s strong point, and his weak one is carelessness in detail, a careless- 
 ness which at its worst is positively aggressive. The mass of wire-work 
 to the left of the figures is thoroughly bad. It is incended for bushes 
 or grass, but, as line-work, is meaningless. The dress of the old woman 
 is also careless when compared with the delightful drawing in the 
 other woman’s gown. The sugar -pans and the brick oven are also 
 careless, and the smoke is really childish. I criticise Kemble because 
 he is such a remarkably clever draughtsman, and yet there would be no 
 use for students to copy imperfections which with him are but the result 
 of carelessness. With far less work he could in these details get a far better 
 effect. Compare the tree trunk in Frost’s drawing with the bushes in 
 Kemble’s and what I mean will at once be seen. 
 
 These drawings have been reproduced by Louis Chefdeville, and, like 
 all his reproductions, are in advance of the work of any other reproductive 
 engraver in England. He has not only reproduced the drawings ex- 
 cellently, but he has kept the quality of the line which each man uses. 
 The reason of this is not difficult to find. Mr. Chefdeville is an artist 
 and reproduces drawings in an artistic manner — that is, he seeks to 
 reproduce the character of the draughtsman’s work. His rendering of 
 separate lines is infinitely better than that of any other English photo- 
 engraver. 
 
ARTHUR B. FROST 
 CARICATURES 
 
 These are not models of technique — Caran D’Ache’s simple outline is 
 very much better — but the style is good enough for the purpose. They 
 are examples ot comic drawings which appeal to the whole world without 
 any label to explain them. The only title ever tagged on to them was 
 Our Cat Eats Rat Poison, which to any one with the slightest sense of 
 humour or drawing is all-sufficient. 
 
 2 I 
 
OTTO H/BACHER AND W. L. DRAKE 
 
 Both Drake and Bacher have done good work in other fields than the 
 delineation of still life. 
 
 Mr. Drake has made 
 some charming illus- 
 trations to Kipling’s 
 Stories of Child Life ; 
 and Mr. Bacher gained 
 his reputation twelve 
 or fifteen years ago 
 by his etchings. But 
 to-day I do not think 
 any artists are doing 
 better work than these 
 two men in rendering 
 the play of light on 
 old silver, on jewelled 
 caskets, on bronzes, 
 and on ivories. 
 
 Their drawing is as careful and accurate as Jacquemart’s, and the 
 developments of process have given them a chance which the Frenchman 
 
PEN DRAWING IN AMERICA 
 
 243 
 
 was unable to take advantage of, that of 
 rendering subtle detail and delicate play of 
 light and shade. These drawings are quite 
 equal to Jacquemart’s etchings, and one can 
 say nothing better of any one’s work than 
 that. 
 
C. DANA GIBSON 
 
 During the last four or five years only one American, C. D. Gibson, has 
 achieved an international reputation in pen drawing. The reason for this is 
 not difficult to understand. Mr. Gibson has had something to say and he 
 has said it. This expression of his own individuality has won him the right 
 to illustrate serials and complete articles, and unless an illustrator can make 
 an article or a story more interesting and attractive by his drawings, unless 
 he can add a personal note to it, he stands a small chance of success. 
 
PEN DRAWING IN AMERICA 
 
 245 
 
 Individuality means art, and though one may at times quarrel with Mr. 
 Gibson for repetition, he does not slight his work, but goes on studying, so 
 that one looks forward each month to his drawings with interest. Not only 
 has he countless artless imitators on both sides of the Atlantic, but Fifth 
 Avenue to-day is like an endless procession of Gibsons. Whether Gibson is 
 responsible for this, or whether Fifth Avenue is responsible for Gibson, I do 
 not know. The latter drawing has been partially reproduced by the 
 half-tone process ; most of the tone, however, has been cut away. 
 
ALLEN C. REDWOOD 
 
 Serious study and careful observation are the dominant char- 
 acteristics of Mr. Redwood’s work. Cleverness he despises, 
 seriousness is his aim. If at times one wishes he had not 
 elaborated to such an extent, one cannot say that this elaboration 
 is wrong. Only occasionally, one feels that he really must have 
 obtained his results long before he thought his work finished. 
 
r;c 3 II:irper ’3 Voons People. Cofyriglit, 1888, by ilnrper i Erotherj. 
 
 ALICE BARBERS 
 
 AIiss Barber’s work is a good example of careful honest drawing without cleverness ot 
 handling. She knows how to construct her hgures, and she puts them together very 
 well. There is a good colour scheme in her work, and the whole drawing is simple 
 and direct. The only thing to criticise is a cross-hatching in the floor which might 
 he omitted. The figure of the girl against the light thin curtain is specially well 
 drawn. Every one knows how difficult it is to give light clean work with a pen, and 
 in doing this Miss Barher has been very successful. She carries her work out more 
 thoroughly, with a real feeling for line and without over-elaboration, than anv American 
 woman I know of 
 
 1 Alice Barber Stephens. 
 

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PEN DRAWING IN AMERICA 
 
 249 
 
 L. RASMUSSEN 
 
 The amazing care for the rendering of detail shown by some men, who 
 have devoted themselves to the drawing of architecture, has never been more 
 elaborately exhibited than in this drawing ot the Golden Doorway at Chicago. 
 And though the whole effect comes near being spoiled by the absolutely 
 uninteresting, unintelligent sky and foreground, the doorway itself is worth 
 looking at, even if one is only lost in astonishment at the labour which goes 
 to make it up. 
 
 The effect of light, however, has been well rendered ; and the way in 
 which all the detail is expressed by shadows only, is most interesting. 
 
 2 K 
 
PEN DRAWING IN AMERICA 
 
 251 
 
 ROBERT BLUM 
 
 Fortuny lived a little too soon for the process work by which many of 
 his followers have profited. Among them all, there has been no more 
 careful and at the same time more brilliant student than Blum. This 
 drawing was done for reproduction, while Fortuny’s were not. It there- 
 fore possesses many qualities of value to the draughtsman which are absent 
 from the more original work of his master. In almost all Fortuny’s work 
 there are smudges and blots, and though these are artistically right, they 
 cannot be depended upon in any process - reproduction. The Fabres 
 drawing, however, is a most successful exception. Everything in this 
 drawing of Blum’s will come as nearly right as photo -engraving and 
 printing can make it. It would be impossible to render the face more 
 delicately than Blum has. Notice how he gets the colour of the hair 
 darker than the face by means of the fine lines under the modelling of 
 it, and how he gets the tone of the face down lower than the cravat and 
 shirt front ; and how well the legs are expressed, and every line goes to 
 show the form that is inside the breeches. I cannot help feeling that the 
 boots are somewhat too black, but this black is used to emphasise and 
 bring out the delicate lights all the way from his feet to the under side 
 of his hat. This is a contradiction to my advice not to use too many 
 blacks ; but at the same time it is a proof of my assertion that a man who 
 is a master of his art can do what he chooses. The lines which surround 
 the drawing and which in most men’s hands would be a meaningless 
 affectation of Fortuny’s searching for his forms and modelling, although 
 they are with Blum to a certain extent an affectation, — and I doubt if he 
 would use them to-day, — serve to bring the drawing out of the paper and 
 to connect the black of the coat with the white of the paper without 
 producing a hard crude line around it. Take these apparently careless 
 lines away and you will at once discover that the drawing becomes hard and 
 loses much in refinement. And just here I want to express another opinion. 
 This drawing may have been made from Joe Jefferson on the stage, or 
 studied in the studio, or done from a photograph. The fact that one 
 
252 
 
 PEN DRAWING 
 
 cannot tell how it was done is a proof of its excellence. If a man is com- 
 pelled to work from a photograph — and there are very few who can 
 without the fact being known at once, for it is much more difficult to 
 make a picture out of a photograph than one from nature — it is nobody’s 
 business how the work is done, nor would the use of a photograph detract 
 from the artistic value of the drawing. 
 
 Under this head come some of Blum’s drawings for Carrere and 
 Hastings’ descriptive pamphlet on the Ponce de Leon Hotel in St. 
 Augustine, Florida, the most artistic piece of architectural drawing and 
 hotel advertising combined I have ever seen. It is a book which should 
 be in the hand of every architectural draughtsman. The drawings, having 
 been made in the southern states of America, are rightly based on the work 
 of Rico. There is not an architectural draughtsman in the world who 
 could equal, or even come anywhere near them. Blum has given all the 
 architectural details with the utmost fidelity, and to them he has added an 
 artistic rendering while he has avoided all stupid results by means of 
 his delicate play of light and shade. Interest has been added by carefully- 
 drawn figures, and the trees and flowers are put in with a knowledge of 
 their form in nature and not evolved from the imagination of the archi- 
 tectural T square brain. 
 

 W. L. TABER 
 
 Mr. Taber has developed the uses of chalk and lithographic crayon 
 with pen work ; if he did not invent this combination, he at any 
 rate furnished the whole world with the idea. His drawing is 
 notable for its clean directness. His work reproduces admirably. 
 
F. S. CHURCH 
 
 Mr. Church’s work is not only notable for 
 
 j 
 
 its quiet humour, but also for the knowledge 
 of what will reproduce best. He has mastered 
 the method of making fine lines which will 
 stand alone and print well. And he uses 
 these delightfully delicate lines in a most 
 decorative fashion. These are two very typical 
 examples of his interesting drawings which 
 recently appeared in Scribner s Magazine. The 
 reproductions were made in New York. 
 
256 
 
 PEN DRAWING 
 
 ALFRED BRENNAN 
 
 Brennan’s work is unconventional and often startling. Much of it, of 
 course, is but an imitation of the Fortuny manner. His skill is shown in 
 his concentration of blacks, and in this drawing in his rendering of the 
 Chinese weapons, about which he probably knows nothing except what he 
 has learnt from museums ; he here impresses us with the idea of a com- 
 pletely toned drawing, though it is not a toned drawing at all ; he breaks 
 up great spaces of light or dark by either pure black or pure white — in fact 
 every line and touch is a triumph of technical skill combined with a 
 thorough command of his materials and resources. 
 
 The original was a huge drawing — a drawing which took as much 
 thought and time in execution and as much knowledge of composition as 
 would be required to make a water-colour or oil of the same size, and there 
 is scarcely a painter who has the technical ability to produce such a master- 
 piece. Because this man chooses to illustrate, his work, which the critic 
 does not understand, is dismissed with a line. Had he made a painting of 
 the same subject with the same amount of work in it, he would have been 
 known all over the world. As it is, he is only an illustrator, but for pure 
 cleverness there is no one who has ever surpassed him. 
 
 In the drawing of a stairway, which is a study in beautiful line, the 
 lines have all the character, the meaning, and the value of the best etched 
 line Whistler ever did. What could be better as a model for the architec- 
 tural student than this ? — if indeed the student could ever learn to work like 
 Brennan. The drawing is full of interest, vitality, and distinction. There 
 is nothing stupid and nothing photographic, and yet it was made from a 
 photograph. 
 
 Brennan’s decorative work is also filled with his individuality and 
 character, and though, to me, much of it is absolutely incomprehensible, it 
 is always striking and often beautiful ; it is taken from any motive which 
 he may happen to find around him, but instead of making a mere copy, he 
 adapts this motive to his own wishes and requirements. He has illustrated 
 several children’s books and nursery rhymes, and these, when at their best, 
 are, like his other work, technically unapproachable. Of course I know if 
 
258 
 
 PEN DRAWING 
 
 it had not been for the influence of Fortuny, Casanova, and Vierge, and the 
 Japanese, there might not have been a Brennan ; but his power is that of 
 filling his drawing with all sorts of opposing influences and producing a 
 uniform whole of his own. There is probably no one living who has a 
 greater knowledge of the requirements and limitations and possibilities of 
 process. With the thoroughness of the Middle Age craftsman, he has 
 studied the subject in a workshop. 
 
 From flarper’a Majjazine. 
 
 Copyright, 18S7, by Harper & Brothers* 
 
/ 
 
 A. E. STERNER 
 
 Messrs. A. E. Sterner and W. H. Hyde have, for some years, 
 in the Editor’s Drawer of Ha7-pers Magazine, been treating the 
 fashions and foibles of the country in a delicious manner. 
 Though their drawings are amusing, they are neither burlesques 
 or grotesques, nor yet mannered. They have shown the 
 humours of realism. Owing to an error I have not been able 
 to include an example of Mr. Hyde’s work. 
 
26 o 
 
 PEN DRAWING 
 
 FREDERICK LUNGREN 
 
 Lungren is the third of the quartette of Americans of whom I have spoken, 
 and though with them he was at first very much under the influence of 
 Fortuny, Vierge, and Rico, and though his work now has many of their 
 qualities, he has added to it, not only hy his study abroad in Paris, but by 
 uniting to the brilliancy of these Spaniards and of Frenchmen like Jean 
 Beraud some of the methods of Germans like Schlittgen. The consequence 
 is that while his work is in many ways suggestive of that of many men, it 
 is at the same time his own. 
 
 What is to be specially noted in Lungren’s work is the great power of 
 expression conveyed with very few and simple lines, as well as the striking 
 use of solid blacks, and the beauty of every line he uses. For example, in 
 the accompanying drawing he expresses a great field with no work at all, 
 excepting in exactly the right place, that is in the foreground, where he 
 shows the growth of the grass and the weeds just where it would be seen, 
 and the modelling of the ground which is given just in the right place to 
 connect the two figures together in a good but not obtrusive manner. 
 Notice too the use of pure blacks in the stockings and shoes of both children 
 and in the sash and ribbons of one, and how carefully the folds of the 
 drapery are rendered ; the faces of the little girls, though perhaps not very 
 interesting, are pretty and pleasing. The house among the trees is put in 
 so that every line tells, while the distant wood has been drawn with chalk 
 or crayon. The drawing itself was on smooth paper, but, as I have 
 explained, lithographic chalk not only comes by process, but holds fairly 
 well on this paper, which, though almost smooth, has a slight grain in the 
 surface. 
 
 This drawing was merely an illustration for a child’s story in St. 
 Nicholas., and yet it is worth more study and attention — and if anything but 
 an illustration would receive more — than a vast mass of the pictures painted 
 every year. 
 
HARRY FENN 
 
 It is always possible to render architecture picturesquely, even though it 
 may be the latest American device in Queen Anne or a city shop front, if 
 one only knows how, and Harry Fenn does. He not merely makes every 
 line tell something, but he uses a different line for each substance. Notice 
 how he gets the effect of the stairway with one line, the light wood of the 
 hall with another, and how well the old chair and chest, drawn with still 
 another, tell against it. The rug and the hangings are quite differently 
 handled, while the fireplace in the dining-room beyond is in line and 
 splatter work, the rest of the room in outline, which again varies the treat- 
 ment. There is not such brilliant and strong colour in this drawing as in 
 many of Fenn’s, but it is an excellent example of picturesque working-out 
 of a new, and therefore somewhat stiff interior, and, above all, of the use of 
 line to express, not only surfaces, but the construction of a building in the 
 best and simplest manner. Any number of Fenn’s drawings can be seen in 
 the American periodicals, especially in the Century. The interior is from 
 the Magazine of Art. 
 
 t 
 
From Harper’s Mnfrazlne. 
 
 Copyright, 1893, by Harper & Hrotbers. 
 
 E. L. WEEKS, PETER NEWELL 
 
 Comparatively tew Americans have made much use of papier Gi/lof or 
 even wash as a flat tone, though, as this book proves, these methods are 
 very generally employed. Weeks’ scratched paper work with the ink line 
 over it comes well, and so too does the wash and pen by Newell. 
 
KENYON COX 
 
 Kenyon Cox, I believe, com- 
 menced his illustrative work with 
 Blum, Brennan, and Lungren. 
 But on going to France he gave 
 up the methods which they thought 
 to be the only right ones, that is 
 those of intense brilliancy and 
 cleverness, and has devoted himself 
 to an entirely different manner of 
 working. 
 
 Here he shows an excellent way 
 of taking the photographic look out 
 of a photograph, only retaining those 
 features which give the character of 
 the subject and suppressing all 
 others. Thus the pose of the figure 
 is indicated with freedom and grace, 
 and the colour and texture of the 
 clothes are well expressed, while the 
 African type is self-evident. There 
 is no obtrusive cleverness, nor indeed 
 any cleverness of handling at all, in 
 the drawing, but there is a very 
 successful and serious attempt to 
 render a type, a pose, and a costume, 
 and the work can be thoroughly 
 commended as good, serious, and 
 honest, as well as for its non-photo- 
 graphic rendering of a photograph. 
 
 The other drawing is an excellent 
 rendering of sculpture from a photo- 
 graph — it is dignity and simplicity 
 itself. 
 
2 M 
 
Copyright, ldS9, by Harper & Brothers. 
 
 Prom Harper’s iMiigaziue. 
 
 T. DE THULSTRUP 
 
 This drawing should be studied for its simple rendering of 
 strong effects of dark against light. It is extremely cleverly 
 managed. 
 
WYATT EATON 
 
 Not only is this a good example of directness and freedom of line, with 
 scarcely any cross-hatching and certainly no mechanical work, of beauty of 
 modelling and suggestion of various surfaces, and of a man’s individuality 
 in his drawing, but it is a marvellous example of mechanical reproduction, 
 probably the best in the book. It was engraved by the C. L. Wright 
 Gravure Company of New York. Their aim is not, as I have found with 
 too many other mechanical engravers, to succumb before the slightest 
 difficulty, but, to use their own words, “ to reach the acme of perfection in 
 reproducing drawings,” and “ to give an absolute facsimile of the artist’s 
 work.” It is only by such endeavours that blocks like this can be 
 produced, that photo-engraving can advance at all. 
 
linn m ,| -tn - - i -- - ■ -| , -~ - — — — -^._-| 
 
 . From Harper’s Magazine. Copyright, 1890, by Harper & Brothers.' 
 
 W. T. SMEDLEY 
 
 For ten years or more Mr. Smedley has been recognised as a most 
 interesting illustrator, but he has never, like Abbey or Pyle, seemed to care 
 to confine himself to one medium — unless it is that he prefers wash to 
 line ; his wash drawings coming remarkably well by process. His work 
 is quite as American in character as Frost’s, and, I think, more free and 
 varied in execution. The types in both drawings are carefully studied, the 
 backgrounds well suggested, and the work is all carried out with an 
 apparent freedom which is the result of the hardest study. 
 
1890, by Harper & 
 
From Harper’s l\Ia{rnzine, 
 
 Cop 5 ’riglit, 1891, by Harper A Brotliera- 
 
 ARCHITECTURAL ILLUSTRATORS 
 
 Lollowing that pioneer who might almost be said to have invented the 
 artistic illustration of architecture in America, Harry Lenn, are a number 
 
 From Harper’s Magazine. Copyright, 1892, by Harper & Brothers 
 
PEN DRAWING IN AMERICA 
 
 271 
 
 From Harper’s Magazine. — Copyright, 1891, by Harper & Brothers. 
 
 placed. And this is the reason why 
 all architectural draughtsmen’s work is 
 so uninteresting to the artist. Either 
 the landscape is absurdly drawn, or else 
 it is out of relation or scale, and cut 
 about so as to show the house to what 
 is supposed to be the best advantage. 
 In these drawings, buildings, land- 
 scape, and details really are shown in 
 an interesting fashion, simply because 
 
 of much younger men who have 
 devoted themselves almost entirely to 
 drawing architecture. Among them 
 are C. Graham, Hughson Hawley, 
 H. D. Nichols, and F. du Mond. But 
 few of them are architects; all of them 
 have studied art, however, and recog- 
 nise that to draw a building well, it 
 is not absolutely necessary to be able 
 to put it up. They seize just the point 
 that most architectural draughtsmen 
 fail to grasp — that one should give the 
 most impressive view ol a building, 
 not the most commonplace ; that one 
 should give the building its due re- 
 lation to the others which surround it, 
 or to the landscape in which it is 
 
 From Harper’s Magazine. Copyright, Ibyl, by Harper <St Brothers. 
 
272 
 
 PEN DRAWING 
 
 they are not rammed down our throats. Mr. C. E. Mallow’s work was 
 the best done in England recently. But that was because he intelligently 
 studied the men who are represented in this book, and nature too. 
 
 But for style and distinction Mr. Burgess’ “ St. Simeon Stylites ” 
 in the English Chapter should be carefully examined. That is one of 
 the best architectural drawings I have ever seen. 
 
PEN DRAWING IN ENGLAND 
 
 2 N 
 
PEN DRAWING IN ENGLAND 
 
 I N all the countries of which I have spoken, and in America too, the 
 introduction of photo -engraving proved ot the greatest advantage to 
 the artist. It enabled him to work without considering a wood- 
 engraver, who would have to pick out with the utmost difficulty and care, 
 work which the artist did freely and sometimes in as many minutes as the 
 engraver would require hours or even days to reproduce. But the pen 
 drawings made by a brilliant band of young men for Once a Week, CornhiL, 
 Good IVords, the Sunday Magazine, and others — between about 1859 and 
 1865, degenerating towards 1875 — and for many books, especially the 
 illustrated edition of Tennyson’s Poems, the Arabian Nights, Dalziel’s Bible, 
 were the most important that have appeared in England. Nearly all, 
 however, were drawn on the block and consequently lost. That the pro- 
 prietors of Once a IVeek looked forward to the introduction of photo- 
 engraving, and probably endeavoured to foster it, is shown by the numerous 
 examples of mechanical processes which they published. 
 
 But in England, until French and American magazines proved the 
 artistic value, and not merely the pecuniary advantage, of pen drawing tor 
 process-reproduction, comparatively little attention was paid to it by draughts- 
 men. Even yet, but tew publishers have discovered anything beyond the 
 cheapness ot the invention. There have been, of course, notable exceptions. 
 The Portfolio, for which Brunet-Debaines and Lalanne did some of their best 
 work years ago, has always, more or less, for its small cuts used photographic 
 methods ot reproduction, and usually pen drawings have been made for this 
 purpose. The Magazine of Art has also employed photographic processes 
 tor years. But most of the English reproductions have been until lately of 
 inferior quality. The aim of the photo -engraver was towards cheapness 
 rather than excellence ; and artists could feel little satisfiction in the results 
 ot drawings reproduced in this way. For example. Punch preterred — till 
 
276 
 
 PEN DRAWING 
 
 very lately — wood-engravings, in which much was cut out of the drawings, 
 to process blocks, which ruined them altogether. But within the last tew 
 years several good reproductive processes have been brought out here, and 
 one photo-engraver, Mr. Chefdeville, a Frenchman, is doing work which 
 can scarcely be surpassed anywhere, though the work of Waterlow, the Art 
 Reproduction Company, the Typographic Etching Company, the Swan 
 Electric Company, among others, is now excellent, rivalling his. Many 
 drawings are, however, still sent to Vienna for reproduction ; while, as a 
 rule, English block printing does not begin to compare with American, 
 and without good press work you cannot have good results. 
 
 It is unfortunate that in England few leading artists now draw with a 
 pen. I have been repeatedly given to understand that this is because it is 
 the tendency of the English school to think more of colour than of line ; 
 and so pen drawing seems with the many to be thought of no account except 
 for a rapid unimportant sketch. If anything has to be done in a hurry, 
 “ Oh, make a pen sketch,” is suggested. Naturally, this manner of regard- 
 ing it has not been conducive to the progress of the art in England. 
 Though in this matter a healthy revival is beginning among the younger 
 men. There are probably still many English artists who agree with Mr. 
 Hamerton in his belief that “ one very great educational advantage of the 
 photographic process is that the public, which formerly looked upon real 
 sketches with indifference or contempt, as ill-drawn or unfinished things 
 unworthy of its attention, is now much better able to understand the 
 short-hand of drawing, and consequently is better prepared to set a just 
 value on the pen sketches of the great masters.” But it would be no great 
 comfort or satisfaction to men of to-day to believe that drawings, on which 
 they spend their lives, have no other merit than that of assisting the public 
 to appreciate work, not so well done technically, by artists four or five 
 hundred years ago, — that pen drawings, the real masterpieces of Meissonier, 
 Fortuny, and Menzel, are only helps to the understanding of the sketches 
 of old masters. Yet this publication of sketches has had disastrous results, 
 for the most childish, artless, and trivial things are printed with this 
 excuse, — sketches, so called, which are so bad that one wonders what 
 the editors are like who accept them, still more what is the public that 
 pays for them. But the success of certain papers and magazines to-day, 
 papers which publish good and bad sketches with equal impartiality, is 
 a proof that the public is quite, as is only natural, unable to distinguish 
 between excellence and rubbish, and, luckily for the editors, buys anything 
 placed before it. 
 
PEN DRAWING IN ENGLAND 
 
 277 
 
 When I speak of drawings made on the block, I cannot help touching 
 on another subject with which I have nothing to do in this book, namely, 
 drawing on wood with a pen or hard pencil for cutting. With the starting 
 of the publication of Once a Week, the editors or publishers of that paper 
 succeeded in drawing around them the most original draughtsmen who 
 probably ever lived in England. On the cover of each number it was 
 announced that its illustrators were Leech, Tenniel, Millais, H. K. Browne, 
 C. Keene, Wolf, and others. The word others on this title-page hides the 
 names of Fred Walker, G. J. Pinwell, A. Boyd Houghton, Luke Fildes, 
 Henry Woods, H. S. Marks, Cecil Lawson, J. Mahoney, E. Griset, J. M. 
 Lawless, Paul Gray, C. H. Bennett, Poynter, Holman Hunt, F. Madox 
 Brown, Du Maurier, W. Small, and F. Sandys.^ No paper, probably not 
 even the Vie Moderjze, ever had a more brilliant staff. Most of these artists, 
 seeing their wash drawings utterly ruined by wood and steel engravers, — all 
 the character being cut out of them, and the drawings themselves lost in 
 the process, — drew on the wood blocks with pen or pencil, thus compelling 
 the wood-engraver to follow their lines. Even with this method, much 
 was still cut out of the drawing, or put into it by the engraver. Thus it is 
 usually impossible to tell whether it was made with pen, pencil, or chalk, 
 or even which portions were washed. Therefore, while the drawings of 
 the men of the Vie Moderjie exist to-day, as well as their comparatively 
 perfect reproductions in the pages of the paper, in Once a IVeek, we have 
 neither the drawings nor their facsimile reproductions, but a translation 
 according to the wood-engraver. The loss of British black and white work 
 between the years 1850, and I should say about 1871J, can never be replaced. 
 Nor can it be too deeply deplored. I suppose what is left is better than 
 nothing, but it certainly is not the original work. It is the engraver’s idea 
 of what the original work should have been, and as his ideal was frequently 
 the steel plate, he treated the draughtsman as he liked ; and once the block 
 was finished there was no disputing him, or possibility of making changes. 
 
 The least known but perhaps the best pen draughtsman in Great 
 Britain to-day is Sir George Reid of Edinburgh. He can, in a pen drawing, 
 give the whole character of northern landscape, so different in every way 
 from that of the country of the great southern pen draughtsmen, while his 
 portraits contain all the subtlety and refinement of a most elaborate etching 
 by Rajon ; he seems to think Rajon and Amand-Durand the only men who 
 can interpret him. He not only understands the use of a pen, hut appar- 
 ently fears that no process except photogravure or etching can reproduce 
 
 1 For fuller description ot this work see explanatory chapter on these men. 
 
278 
 
 PEN DRAWING 
 
 his beautiful and reverent work, a fear which at the present day I do not 
 share with him. Abbey’s drawings are quite as delicate, if not so much 
 elaborated, and are well reproduced in Harpei'-'s, though their absolute fine- 
 ness is lost. It must not, however, be thought for a moment that 1 mean 
 to say any process for printing with type is equal to photogravure, which 
 gives all the richness and delicacy of the drawing, together with a softness 
 and fulness of colour, not possessed by it. It is to be regretted that Sir 
 George does not, by using process methods and coming out in some of 
 the larger magazines, take the place which so justly belongs to him as one 
 of the foremost pen draughtsmen of the day.’^ 
 
 An artist who easily stands at the head of his profession, as a landscape 
 pen draughtsman, in England, is Alfred Parsons. He can draw decorative 
 designs of flowers with all the grace and beauty with which Grinling 
 Gibbons could carve them, and no higher praise can be given. He wili, 
 with pen and ink, make a rosebud which one cares to keep far more than a 
 painting of the same subject by any other Englishman ; he will show you 
 a little valley farm down by the reeds in the river, a group of trees on a 
 hillside, or a wind-swept moor ; and of late he has begun to draw 
 figures ; while much of his work is so interwoven with Abbey’s that at 
 times you cannot tell one from the other. Though Parsons’ work is 
 imitated even to his signature, there is no one in England who can be 
 named with him. 
 
 It is curious to note the inability of English artists to translate their 
 own work into pen and ink, or to do anything outside the sphere of some 
 one art. The surest proof of this assertion is that a few years ago, when 
 English art was adequately represented in U Art, instead of the artists, as in 
 the case of many distinguished Erench painters, making their own drawings, 
 and thus giving their own ideas and adding the value of originality to the 
 reproduction of their painting, they allowed a clever young Scotchman, 
 Robert W. Macbeth, to do the work for them. He did it very well, and 
 by this practice has made himself the best reproductive etcher in England. 
 
 How little good pen drawing there has been till lately in this country 
 is shown in looking over Henry Blackburn’s catalogues, in which it is the 
 exception to find, from one end to the other, a pen sketch one would wish 
 to preserve. It may be said that English painters do not care to give more 
 than the merest rough notes of their pictures. But the truth is, to produce 
 a pen drawing requires great technical skill only to be obtained after careful 
 study and continuous practice. In England, and in the course of time the 
 
 ^ One of his drawings is reproduced by process in this edition, at page 3^ U 
 
PEN DRAWING IN ENGLAND 
 
 279 
 
 same thing will happen in America, a successful draughtsman as soon as he 
 finds he can make, if not a greater reputation, certainly much more money 
 by painting, gives up his drawing as if he were ashamed of it. The 
 difference in this respect between the English artist and a German like 
 xVIenzel needs no comment. Not only is the German artist willing to 
 produce black and white work, but glad to do so. The same can he said 
 of Abbey with his exquisite drawings, while Alfred Parsons and Sir George 
 Reid are exceptions in Great Britain. 
 
 Among the few breaks in the monotony of the long years of Air. 
 Blackburn’s catalogues are the drawings by E. J. Gregory, one or two by 
 Boughton, Colin Hunter, Herkomer, Charles Green, Sir J. D. Linton, 
 Cecil Lawson, and some strong heads by Erank Holl. But the only drawings 
 which really merit mention, as works of art in themselves, are those by T. 
 Blake Wirgman, done after his own pictures. He has really cared, and he 
 alone, and the result is his drawings stand out as by far the best that have 
 been contributed to Mr. Blackburn’s catalogues. 
 
 Hubert Herkomer is one of the very few men who have ever illustrated 
 their catalogues with drawings which have a value of their own. H is sketches 
 
 o a 
 
 of heads are full of character, strongly and simply put in, while his studies in 
 the Bavarian Highlands, though greatly elaborated and almost too large for 
 reproduction, are very successful. 
 
 Fred Walker made many pen drawings, hut unfortunately scarcely any 
 survive to he studied technically, having been drawn mostly on the block 
 for the wood-engravers, like the work of so many of the other artists of 0//ce 
 a IVeek. One very charming example of his drawing can be seen on the 
 wood at South Kensington, and is now for the first time, I believe, repro- 
 duced here. Another, probably the best he ever did, which has not, so far 
 as I know, been engraved before, is in the first edition of this book. He 
 died before the days of successful process-reproduction. I have been extremely 
 fortunate in obtaining from Mr. Fairfax Murray one of the only known 
 existing examples of that really great artist A. Boyd Plough ton, another 
 belongs to me, while Mr. Murray has also lent me a Mahoney and a Green. 
 
 Some of W. L. Wyllie’s drawings, notably those of the “ Toil, Glitter 
 and Grime of the Thames,” published a few years ago in the Magaxine of 
 Art^ are models for the drawing of boats and the suggestion of light and the 
 movement of water. If Whistler would only give us some pen drawings 
 like his etchings of thirty years ago, he woidd show himself to be as a pen 
 draughtsman what he was then as an etcher of old houses — the greatest 
 who ever lived. A process block from one of his first series of London 
 
28 o 
 
 PEN DRAWING 
 
 etchings would be a perfect study for a pen drawing. But his all too few 
 illustrations, or rather the blocks and prints from them, are most interesting. 
 
 Walter Crane’s beautiful decorative drawing, his book covers, his 
 designs, his initials, his head and tail pieces, in pen and ink, entitle him 
 to be ranked as the first English decorative draughtsman of the day ; 
 while Selwyn Image’s work is quite as striking and original, and a whole 
 army of younger decorative men and women have appeared since the first 
 edition of the book came out. 
 
 Although Du Maurier is probably the best known of the so-called 
 comic draughtsmen, his genius to-day lies rather in his wit and humour 
 and satire than in the technical excellence of his drawing. In the Court 
 and Society Review for November 23, 1888, he calls himself a pictorial 
 satirist, and this describes him perfectly. There is much for which we 
 must thank the creator of Mrs. Ponsonby de Tomkyns, but at the same 
 time it would be best for the student not to imitate his technique, since 
 Du Maurier to-day, in his desire to express his ideas, seems to care little 
 how he does it. He appeals far less to the art student than to the lover of 
 satire. His drawings are a sort of sermon which happens to be drawn, 
 instead of written with a pen. Every one, however, should study his work 
 in Once a Week of nearly thirty years ago. I can easily understand the 
 appreciative enthusiasm with which it was greeted by the critics of the 
 last generation. It then contained all and a great deal more than is claimed 
 for it to-day. 
 
 But the man who has, within the last few years, won for himself the 
 foremost position in British illustration is Phil May, who, while I was 
 writing this book, was quietly producing work which has since made him 
 famous all over the world. 
 
 Harry Furniss is an extremely clever man ; his drawings are full of 
 character and style, and frequently his slightest sketches are the most 
 interesting. His best work, I think, is found in his large drawings of 
 the Essence of Parliament and in his small ones of the different members. 
 Linley Sambourne’s drawings also are intensely clever, but so near being 
 mechanical that it would be impossible for any one to study from them 
 without becoming wholly so. In his work, however, as in that of many 
 another original man, the result is simply wonderful. Charles Keene’s 
 work in Punch was unfortunately nearly always engraved on wood and, 
 before I had seen his original drawings, had he not written and told me 
 that most of them were made with a pen, I never should have imagined it. 
 The originals were the best character drawings ever produced in England. 
 
PEN DRAWING IN ENGLAND 
 
 281 
 
 It is to be regretted that so much was lost in the cutting. Thirty years ago 
 one could tell much more easily how his drawings were made ; at the end 
 it was absolutely impossible, a fact which is not very battering to the art 
 of wood-engraving at the present time, as exemplified in the work of the 
 engravers for Punch. Therefore, excellent as are Keene’s drawings, it is 
 useless for the student to study the reproductions in Punch., which give no 
 true idea of the original work. 
 
 Cruikshank, Leech, and Phiz are responsible for the style, or rather 
 want of style, of too many English draughtsmen. They had genius, but 
 most of their followers have nothing but their weaknesses and imperfections 
 of technique. The latter forget that the drawings of the artists they imitate 
 were rarely done with the pen, and that if they were, it was only to be 
 reproduced by engraving or etching on wood or steel, mostly by other men, 
 and hence that the qualities of the pen work were cut out. It is a delight 
 to turn from the English so-called comic papers to FUegende Blatter., La Vie 
 Parisienne., or the American Life., in which not only is there wit and humour, 
 but a feeling for art not always to be found in English journals of the same 
 class. 
 
 In the case of Sir John Gilbert, who has done much good work, 
 freedom is the result of study ; but the exquisitely refined work of Birket 
 Foster is equally interesting, — and in a different fashion that of Harrison 
 Weir, who has always fought for process. The same freedom, however, 
 indulged in by a student would lead to meaningless blots and wild scrawlings, 
 though all of Sir John Gilbert’s blots and lines are put down with a purpose. 
 A far better man to study would be Mulready or Wilkie, some of whose 
 drawings are marvellous in their old-masterish feeling. A collection of 
 them is to be seen at South Kensington. However, were Mulready and 
 Wilkie living to-day, I believe they would utterly change their style. The 
 attempt at so-called freedom, which on the part of the student is nothing 
 but carelessness, is often sure to be his ruin. Look at the apparent freedom 
 of a man like Forestier and then try to imitate it. Far better would it be 
 for the student to follow the painstaking, careful lines of Tenniel in such 
 work as Alice in W onderland, for, though these drawings may have been 
 made in line with a hard lead- pencil, and the student will probably not 
 keep for long to Tenniel’s methods, he will at least learn from them that 
 pen drawing is not the easy slip-shod art he is pleased to think it. 
 
 The late Randolph Caldecott, separated from his humour and observa- 
 tion, shows very little technically to study. Unless a man has the genius 
 to make in half a dozen lines a drawing like that of the mad dog or the 
 
 2 o 
 
282 
 
 PEN DRAWING 
 
 cat waiting for a mouse, in which case he would he another Randolph 
 Caldecott, it would he useless for him to study these drawings. Caldecott 
 had enough genius to make him superior to technique. One can pardon 
 his faults and ask for more of his delightful work because of his humour. 
 
 It is just this pardoning that has such a bad influence on art, and has 
 made men, who really technically never studied their profession, its leaders. 
 The trouble is that because artists have good ideas, the fact that they cannot 
 express them technically is overlooked. No ideas can be expressed in a 
 really artistic manner without technique, which is nothing more than the 
 grammar of art. 
 
 Hugh Thomson, a very young man, who draws figure subjects ; Herbert 
 Railton, who is very clever and draws architecture ; and Gordon Browne, 
 whose Fairy Tales were excellent, and who seems to have the facility of 
 Dore, are three men who have devoted themselves almost exclusively to 
 pen drawing. But one cannot help being conscious that it is the demand 
 for photographic draughtsmen, rather than the real feeling for line, which has 
 sent them to pen drawing. Hugh Thomson’s best work is his decoration, 
 some of which is very effective. Herbert Railton, having been educated 
 as an architect, has probably better knowledge of architectural construction 
 than any other draughtsman. But one finds in his drawing, as in all 
 architectural sketching, a confusion between architectural and artistic lines. 
 His drawings have not the effect of being made from nature, though they 
 may be, while his architectural training asserts itself everywhere. This is 
 less Railton’s fault than that of the English system of architectural drawing. 
 
 G. P. Jacomb-Hood has made some notable drawings for I?i his Name^ 
 and beautiful decorative head and tail pieces for Mr. Lang’s translation of 
 Aucassm and Nicolette.' Frederick Barnard also has done some very clever 
 pen drawings, but he seems to have preferred, until lately, when he has 
 come out strongly in Harper other mediums for his black and white 
 
 work. 
 
 Finally, in summing up, I think that the examples in this book will 
 show most conclusively that, with the exception of Parsons, Reid, Phil 
 May, Greiffenhagen, Raven Hill, Partridge, E. J. Sullivan, and Charles 
 Keene to-day, the artists of the Continent and of America have paid 
 more attention to, and have been more successful in, pen drawing for 
 process-reproduction than artists in England. 
 
 1 have left this chapter virtually as it was written five years ago, but 
 among the illustrations will be found many changes both in addition and 
 omission. 
 
PEN DRAWING IN ENGLAND 
 
 ILLUSTRATIONS 
 
 INTRODUCTION 
 
 O NE of the most interesting periods of the art of illustration in Great 
 Britain is just drawing to a close. During the last half-century more 
 notable work has been produced here than in any other part of the 
 world. During the period from 1830 to 1855 the art somewhat languished, 
 though Harvey, Birket Foster, Harrison Weir, and Sir John Gilbert were 
 busy enough in the last decade. From 1855 to 1875 there was a season of 
 productiveness, if not so great in quantity as to-day, in quality incomparably 
 superior to anything done here until within the last two or three years. 
 
 For the publication of pen drawings made some thirty or forty years 
 ago, I feel that an explanation is needed. While pen drawing, owing to 
 photography, has advanced in all other countries, there is no doubt that in 
 England its most interesting period was just before photographic repro- 
 duction was invented. Very good work was being done everywhere at 
 the same time. Aleissonier was following up the traditions of 1830 in 
 France, when those marvellous masterpieces of illustration were produced, 
 and a little later Menzel was hard at work in Germany. This was the 
 outcome really of the genius of Bewick, for had not Charles Thompson gone 
 to France and introduced wood-engraving, and found artists ready to work 
 with and for him, modern illustration might still be an affair of the future. 
 To Bewick, therefore, is primarily due the great advancement in the 
 graphic arts accomplished in the nineteenth century; he was the first of 
 modern illustrators. In Italy and Spain at this period, no one was doing 
 pen work of any special importance. But the Pfnglishmen who illustrated 
 Once a JVeek^ Ihe Cornhill, Good U^ords^ the Sunday and Shilling Magazines^ 
 and the early numbers of The Graphic and Punchy have had, even in our 
 days of development both in wood-engraving and in process, no worthy 
 successors working for English periodicals. The consequence is that I 
 am obliged to publish drawings by these men or else to ignore the best 
 period of Pfnglish work. However, it is not an unpleasant task. 
 
 In some cases I have found that the original drawings were preserved 
 or photographed through the interest the engravers took in their work, and 
 also because, realising the uncertainties of wood-engraving, they feared the 
 drawings might be spoiled and no record of them left. The case of the 
 Dalziel Bible is different. Messrs. Dalziel commissioned all of the risinv 
 young artists to produce a senes of drawings. But the work turned in was 
 difficult to do full justice to on the wood block; Messrs. Cassell about the 
 same time brought out their Dore Bible, and it was almost impossible for 
 any one to rival Dore’s popularity and productiveness. Messrs. Dalziel, 
 
“The Widow’s Son,” Dalziel’s Bible. F. Madox Brown. 
 
 i 
 
PEN DRAWING IN ENGLAND 
 
 285 
 
 looking ahead and seeing that photography would be used to transfer 
 drawings to the block for engraving, finished a certain number and put 
 the others aside for twenty years, and their Bible Gallery did not appear 
 until 1880, when the drawings were photographed on to the block and 
 engraved, the original work thus remaining untouched. And now, 
 fourteen years later, I have the admission from Messrs. Dalziel that they 
 themselves consider the process-reproductions from these drawings much 
 more satisfactory than their own wood-engravings. This, in connection 
 with the fact that Mr. W. J. Linton has devoted the ripest years of his 
 life to reproducing the masterpieces of wood-engraving, not by new wood- 
 engravings, but by process blocks and plates, is the strongest proof that 
 I, at any rate, desire, not that facsimile wood-engraving is a failure, but 
 that it is a waste of time, labour, and skill, provided the drawing is 
 made with as much attention to the requirements of process as the old 
 men devoted to the requirements of wood-cutting, for a skilled craftsman 
 to compete with a mechanical yet accurate invention. Mr. Marcus Stone 
 tells me that he believes his illustrations to He Kjiew He was Right, by 
 Trollope, made in 1868 and 1869, were the first pen drawings produced 
 in England, all of which were drawn on paper and transferred to the block 
 by means of photography. 
 
 With the Pre-Raphaelites a dignity was given to the art which it had 
 never possessed before, and which is not half enough appreciated yet. In 
 this the leaders were undoubtedly Sandys and Rossetti, though to Ford 
 Madox Brown is 
 of the movement. 
 
 This design by him is carried out with the careful reverence for line 
 which is so characteristic, not of the men before Raphael’s time, but of 
 the Germans of Diirer’s age, though without slavish imitation of any one. 
 Not only is every detail, save the very funny chicken in the foreground, 
 well drawn, but the feeling for the various substances and the differing 
 texture of the garments is well given. Contrast the heavy robe of the 
 Prophet with the lighter stuff' of the widow’s cloak and the grave-clothes 
 of the boy ; note the difference, although the tone is very nearly the same, 
 between the Prophet’s garments, the steps, the shadow, and the widow’s 
 gown, and the delightful difference of handling in each. Every part 
 is worked out with the feeling not only for light and shade, but for line. 
 One can see that Madox Brown took the greatest interest in the making of 
 this drawing, in rendering a subject of the past with the technical 
 knowledge of the present — the true and right spirit in which all art work 
 should be produced. 
 
 Though for my own purpose I should prefer the cleverness of a man 
 like Fabres, a cleverness which is amazing and which in a southern subject 
 I would unquestionably follow, to the student I would recommend this 
 
 generally awarded the credit of being the originator 
 
Studies for Amor Mundi. The original on opposite page, another drawing on the block, was made and engraved 
 
 from a photograph by Frederick Hollyer. 
 
From photograph of original drawing by Frederick Hollyer. 
 
 F. Sandys. 
 
From original drawing. 
 
 F. Sandys. 
 
PEN DRAWING IN ENGLAND 
 
 289 
 
 drawing quite as highly as the one by Fahres. EJowever, the eftects of 
 strong light, which exist in the East, have not been rendered by Madox 
 Brown so truly as by Fahres. This probably comes from the tact that 
 Fahres worked from nature, Madox Brown in the studio. But the 
 delicate suggestion of bits ot light telling against the dark on the steps, 
 the wooden stand relieved against the stairs, the relief of the heads 
 against the white walls, and the delightful way in which the shadow ot 
 the little bird flying to its brick nest is studied, make the drawing equal 
 to the work of Rico or any of the Spaniards and Italians ; though it is not 
 so realistic, it is carried out far more thoroughly than any ot their 
 drawings, and in it the peculiarly English artistic idea ot telling a whole 
 story is expressed, not in an aggressive, but in the right spirit. Notice how 
 the light from the lamp in the little upper chamber is carried down the 
 light side of the post to which the rope that serves as banister is attached, 
 down the rope itself, on by the widow’s gown into the most carefully- 
 studied interior ot the living room. The contrast between the delicate face 
 of the child, the severe head of the Prophet, and the agonized expression ot 
 the widow is completely rendered. The subject could not be treated in a 
 more satisfactory manner in any other medium. 
 
 By publishing these illustrations from Dalziel’s Bible, I hope I may 
 show, not only my appreciation of them, but that the methods ot forty 
 years ago were adapted to the requirements of to-day. There are certain 
 details ot line which will not reproduce, but I believe Madox Brown 
 would have changed them had he known what was wanted. 
 
 It is alleged that it was not Frederick Sandys who revived illustration 
 in the manner of the Germans of the flfteenth and sixteenth centuries, 
 but that this revival, on the contrary, was due to the Pre-Raphaelites, 
 and more especially to Saul Solomon, all of whom were themselves 
 influenced by Menzel and Meissonier. But however this may be, there 
 is no doubt that Sandys surpasses in technique all the artists ot the best 
 period ot Phiglish draughtsmanship. His designs may not have possessed 
 from their subjects that elevation of ideas which was so markedly the 
 characteristic ot the Germans, and which was the outcome of the spirit 
 ot their age. But there is no question that technically many parts ot this 
 drawing are quite equal to Diirer’s work; while others are expressed in 
 a manner absolutely unknown to Diirer. There is a feeling of colour 
 throughout which Diirer never attempted on the wood, because he knew it 
 could not be retained in the cutting. 
 
 I admit that in the first edition the photogravure from the block in 
 certain particulars is not as satisfactory as the wood-engraving of the same 
 drawing by Swain, because it was made from an old negative taken from 
 the drawing on the block. It shows the colour of the block, which Sandys 
 never intended, and, owing to this or to the ink not having been uniformly 
 
 2 p 
 
p'rom unpublished drawing, 
 
 Sir E. Burne Jones, 
 
PEN DRAWING IN ENGLAND 
 
 291 
 
 black or having run, the lines are blurred to a certain extentd The 
 negative too has faded, and many of the lines of the undergrowth about 
 the middle of the right side of the drawing were apparently confused in 
 the drawing, though they were corrected when cut. But I published the 
 plate because, with all these imperfections, I was not afraid to have it 
 compared with the wood block in the Shilling Magazine for 1H65. The 
 wood block shows the drawing in the manner in which Sandys and Swain 
 wished it to appear; the reproduction shows it exactly as it was drawn 
 on the block. Had the drawing been made on a piece of white paper, 
 and could I have obtained that white paper, the result would have been 
 perfect, because no one has ever drawn better for process than Sandys. 
 I do not say that it would have been an improvement on the wood- 
 engraving, but it would have been reproduced autographically with inh- 
 nitely less labour, and would have given Sandys’ actual lines without the 
 intervention of another hand.- 
 
 Among the men whose work for engraving I have not previously 
 included is, to begin with, Rossetti. When I said in the Introduction that 
 I wished Rossetti had not elaborated with pen or pencil in his drawings, I 
 referred more especially to the drawings from his paintings which have been 
 photographed and published in rather large size. For technically these do 
 not compare for a minute with his illustrations of Tennyson, particularly 
 those in the Palace of Art ^ drawn on the block and cut to pieces. Mr. 
 William Michael Rossetti kindly olfered to lend me a set of negatives which 
 were rather generally thought to have been made from the drawings on the 
 wood before they were cut, as in the case of the Sandys drawing. But the 
 slightest examination of the photographs shows them to have been made 
 merely from preparatory studies before the drawings were put on the wood, 
 and their publication would be most unfair to Rossetti. Nor would it be 
 fair to show as an example of his work the illustrations in the Prince's 
 Progress and the frontispiece to the Parly Italian Poets, which give no idea 
 of their exquisite refinement. The only drawing I know of which may 
 have been made for engraving is the portrait of his wife, which was never 
 cut, and can be seen at South Kensington, and this monument of his skill 
 and his art has here been reproduced truly and well for the first time. He 
 can hardly be considered an illustrator, though he did make so marvellous 
 a success in the Tennyson. But even in it, there is but one drawing — the 
 first illustration to the Palace of Art engraved by Messrs. Dalziel — really 
 worthy of the extravagant praise lavished upon it ; and the original block, 
 together with an electro from it, is here printed. How much is 
 lost by electrotyping can be seen at once — how much was lost by the 
 engraver will never be known. It would be the greatest waste of 
 
 1 Sandys himself has told me that the wood block was badly prepared. 
 
 - The block in this edition (page 287) is made from the original study. 
 
From original drawing. 
 
 D. G. Rossetti. 
 
PEN DRAWING IN ENGLAND 
 
 293 
 
 time to draw in such a manner and on such a scale in these days of process. 
 That Rossetti and Dalziel did produce their result calls for all praise; a repetition 
 of it would be laborious and misplaced affectation. 
 
 Sir E. Burne Jones has been good enough to lend me an original unpublished 
 drawing in somewhat the style of Rossetti, and it has been excellently reproduced 
 by the Swan Engraving Company. 
 
 The work of other men in the pages of the magazines I have referred to was 
 engraved by Messrs. Swain and Dalziel, I doubt not with the greatest possible 
 fidelity of line, but the actual quality of the line, that is the quality given by pencil, 
 brush, or pen, is in nearly every case lost. Therefore, though these magazines 
 
 Wood. Electro. D. G. Rossetti. 
 
 and I'he Cornhill and Good Words collections of proofs should be seen and known 
 by all students, it is really useless to publish any of the blocks as examples of pen 
 drawing. But as engravings, the series of Parables by Sir J. E. Millais, especially 
 the Good Samaritan, published in Good Jtdrds^ April 1863, and the Lost Piece of 
 Silver, in September of the same year, are enough to make any man’s reputation. 
 I have been most fortunate in obtaining an original unpublished drawing by 
 Millais — his study for the “Ophelia.” One of these men who, to my mind, is 
 much less well known than he deserves to he, is J. Mahoney, whose drawings 
 in the Sunday Magazine for November i, 1867, and Alarch i, 1868, are, even as 
 wood -engravings, equal to anything that has ever been done in England ; the 
 engravings by Whymper from Mahoney’s drawings in Scrambles amongst the Alps 
 
From unpublishcit drawing. 
 
PEN DRAWING IN ENGLAND 
 
 295 
 
 should also be seen. Two reproductions by process from original drawings 
 are, however, included. 
 
 Fred Walker is considered by the older men ol to-day to be one 
 
 of the greatest illustrators who ever lived. His sidyjects were always 
 
 interesting, his sentiment popular, and his drawing exceedingly graceful. 
 But owing to the fact that he worked before process, as well as to the 
 
 methods employed by English wood-engravers, he was limited in certain 
 
 ways in using the pen. For this very reason the results he did obtain 
 are the more surprising. 
 
 From original drawing. J. Mahoney. 
 
 The sentiment in his pictures is very charming, hut in this drawing, 
 as in so many others, it is neither true nor real. The colour and line and 
 composition are most admirable, hut in his time such a drawing could not 
 be reproduced. 
 
 The English engraver of Fred Walker’s time seems to have 
 endeavoured to compel him and Pinwell and Keene and Du Maurier and 
 their fellow-draughtsmen, even when they were at the height of their 
 success, to draw lines which he, the engraver, could cut in the easiest 
 manner. The consequence is that it is impossible to tell whether many of 
 the drawings were done with a pen, a pencil, or a brush. I know it will 
 at once he said that most of them were not done with a pen at all hut with 
 a brush, that is with the sensitive point of a very fine brush such as the 
 
PEN DRAWING IN ENGLAND 
 
 297 
 
 Japanese use. They were also worked on with a lead -pencil, pen, and 
 brush, but in the engraved result, in the majority of cases, you cannot tell 
 which line was made with a pen, which with a brush, which with a pencil ; 
 
 From original drawing on wood. F. Walker, A.R.A. 
 
 and I say that such a subjection of the artist to the engraver is utterly 
 wrong. It is not that the wood-engraver could not cut almost every line 
 
 2 
 
298 
 
 PEN DRAWING 
 
 that Fred Walker ever drew, but the fact is that he did not engrave it so as 
 to show the actual means used to produce it. Wood-engraving can do 
 almost everything, and even this drawing of Fred Walker’s could he 
 engraved on wood. But when we have a mechanical process like photo- 
 engraving which will produce, in as many hours as the wood-engraver would 
 
 From original drawing. William Small. 
 
 have to take days, an equally artistic and true result, there is no reason why 
 we should not use it. This is one of the cases where science has rightly 
 come to the aid of art. It is all very well for certain artists, who are not 
 illustrators, to say that another man can render your work better than a 
 machine; in a line drawing, in which you do not want any one’s ideas or 
 feelings but your own, no man can equal, though he may very materially 
 aid, an accurate machine in its reproduction. 
 
 Though the idea, the composition, and the lines in the drawings of 
 the men of Fred Walker’s day are all most charming, and though the 
 
PEN DRAWING IN ENGLAND 
 
 299 
 
 artists themselves considered the engraved results on the wood obtained 
 from them most admirable, any one who will take the trouble to compare 
 these engravings with the facsimile engravings, after Menzel, or with the 
 
 From original drawing. G. J. I’inwell. 
 
 work of some of the American engravers like Whitney and Cole, or 
 Frenchmen like Baude and Florian, or Englishmen like Paterson, will see 
 they are not admirable at all, hut give, instead of the actual quality of the 
 artist’s line, that which it was easiest to reproduce. The engravers may 
 deny this, but the comparison I suggest will prove at once the truth of 
 
300 
 
 PEN DRAWING 
 
 what I say. Though no one can think more highly tlian I do ot the endless 
 number of varied efects which Fred Walker obtained, I cannot help feeling 
 to-day that many of these are utterly unsuited to pen work, that they could 
 
 Samson,” Dalziel’s Bible. Sir F. Leighton, P.R.A. 
 
 have been gotten with far more ease with a brush, and that the reason Fred 
 Walker drew with a pen was not from any particular love of line but to 
 make for, or give to, the engraver lines to follow. One method some of 
 his fellow-draughtsmen very frequently used was to make the foreground. 
 
PEN DRAWING IN ENGLAND 
 
 301 
 
 or the part they wished accentuated, with a pen or hrush in line which the 
 engraver followed, while the hackground, in which of course they only 
 wanted flat tints, was done with wash which the engraver could cut as he 
 chose, often turning washes into line, or changing the direction of lines. 
 The advantage of working in this way was that, if the artist made a mis- 
 take on the wood, he simply went over it with wash on which he worked 
 with Chinese white, and the engraver made what he wished out of it. A 
 good example of this manner of working can he seen by looking over the 
 
 From original drawing. Charles Green. 
 
 reproductions from the Graphic, published in the Universal Review for 
 September 1H88 ; though I do not wish it to he thought that I can com- 
 mend anything which has yet appeared in this Review as good original 
 drawing, reproduction, or printing. But in the number 1 mention these 
 drawings, very much reduced, are all brought together and are therefore 
 more accessible than in the (Graphic. 
 
 I'here is another matter to which attention can he most easily called 
 here. In studying the handling in the clothes of the figures in almost 
 any of these drawings, especially those by William Small, Pinwell, 
 Houghton, and to a certain extent Herkomer and Macbeth, you find that 
 
302 
 
 PEN DRAWING 
 
 exactly the same line is used by all, and that this same line appears in Du 
 Maurier’s drawings to-day. Either these men became mannered in an 
 exceedingly short space of time, or else the engravers compelled tliem to 
 draw in this abominable, mechanical, cross-hatched manner.^ This same 
 touch can be found in Diirer and the old men. But it is not a fine 
 quality in their drawings. It is the expression of a mechanical difficulty 
 
 From original drawing. A. Boyd Houghton. 
 
 which they could not surmount and which it is foolish for us to follow, 
 imitate, or commend to-day. And so also I believe the growth of this 
 cross-hatch work, twenty or thirty years ago, which has been mistaken to 
 be a good style by so many draughtsmen, was not at all the fault of the 
 draughtsmen but of the wood-engravers. And the reason for the position 
 which Fred Walker holds among these men is, not so much because his 
 drawings were better than theirs, for I do not think they were, but because 
 he was more independent and refused to draw in this mechanical manner, 
 although even in his work you sometimes see it cropping up wherever the 
 engraver could put it. It is really the independence of his work and not 
 
 ^ Mr. Birket Foster tells me that frequently the near like elaborate steel plates as the engraver could 
 lines were the engraver’s and not the artist’s at all ; make them on the wood, 
 that many of his simple wash drawings came out as 
 
PEN DRAWING IN ENGLAND 
 
 303 
 
 the excellence ot the style itself, which has given Fred Walker the place 
 he holds — and this is the surest proof that if one wants to succeed in illus- 
 tration, one has simply got to do something tor one’s self. 
 
 From original drawing. A. Boyd Houghton. 
 
 It may be a surprise to many to hnd Sir Frederick Leighton included 
 among pen draughtsmen, and 1 have no doubt I shall he told that this 
 is not a pen but a brush drawing. But when a man makes a drawing as 
 
304 pen drawing 
 
 notable, — technically so remarkable, — -conveying such an idea of strength and size 
 and power, and showing conclusively what may be done with a brush used as a pen, 
 it ought to be known. 
 
 Dickens was a magnificent field for Charles Green, one of whose drawings 
 is reproduced, Fred Barnard, and others. While that original genius, A. B. Houghton, 
 stands quite alone. 
 
 E. J. Poynter’s drawing of Daniel’s Prayer was made for Dalziel s Bible. It 
 
 Cl:irk's Iliitory of Golf. Sir John Gilbert, R.A. 
 
 differs from Sir Frederick Leighton’s and that of Ford Madox Brown in being 
 carried out in the most complete manner all over, and in resembling in the handling 
 a clean wiped print from an etched plate. Had I made a copper plate from 
 it and printed that with retroussage, 1 do not believe that any one could have 
 told it from an etching. The drawing of Daniel and the figure in the background 
 are excellent, and the careful way in which the detail has been all worked out is 
 something remarkable. The result is extremely good; it is indeed by far better than 
 any pen drawing made before Gigoux’s time, for of course to Menzel this style of 
 drawing is largely due, and Mr. Dalziel has told me he bought copies of Menzel’s 
 drawings and gave them to the artists who were then at work on his Bible. But, 
 
2 R 
 
3o6 
 
 PEN DRAWING 
 
 though this drawing of Poynter’s is a wonderful example of careful 
 honest work, I cannot conscientiously say that its style is a good one for 
 a student to follow. The same effect could have been produced in wash 
 with one-tenth the time and labour. 
 
 This was the commencement of the reaction against translative 
 wood -engraving. These lines of course had to be followed by the 
 engraver, and when it is remembered for a moment that the engraver had 
 to cut the whites out between these lines, some estimation of the difficulty 
 of the task can be formed. And when it is considered that the process 
 
 From Days of Old. Holman Hunt. 
 
 block from the original drawing from which this impression is printed 
 was made automatically, I think it shows most conclusively what strides 
 mechanical reproduction is making. As to the reproduction itself, the 
 lines nearly all over have thickened appreciably, and in some places 
 they have filled up, because the drawing was made on yellowish-toned 
 paper and in parts in a very grey ink, and having been made twenty-nine 
 years ago, it has also probably faded to a certain extent. I think a French, 
 and I am quite sure an American process block from the same drawing 
 would have given these grey lines, which in a few places have been entirely 
 
From original drawing. T. W. Nortli, .\.R.A. 
 
3o8 
 
 PEN DRAWING 
 
 omitted, and in other places have thickened perceptibly or become rotten. 
 But the principal thing I want to show is that it is possible to reproduce a 
 drawing like this simply and easily by process, giving the character and 
 
 feeling of the work, whicli 
 this block certainly does ; while 
 the engraving ot it on wood, 
 line for line, is an almost 
 impossible task with really 
 no better results. For, as I 
 have shown, in the woodcut 
 you do not have the lines 
 but the effect produced by 
 cutting round them; in the 
 process block you have the 
 lines themselves reproduced just 
 as they were drawn. 
 
 Of the rest, there are 
 Holman Hunt, J. D. Watson 
 with his great delicacy; Gordon 
 Thomson ; J. W. M‘Ralston’s 
 illustrations to Mrs. Craik’s 
 novels ; T. Morton, who was 
 good yet sketchy ; R. Barnes ; 
 Saul Solomon ; Basil Bradley ; 
 A. Murch ; while the work 
 of G. J. Pinwell, Sir James D. 
 Linton, and the later men is 
 to be found in the early volumes 
 of The Graphic. 
 
 Frederick Shields has 
 lent me a photograph from 
 one of his designs for Detoe’s 
 Plague., which is almost Rembrandtesque in its feeling of light and 
 shade. 
 
 It would be most interesting to publish examples of all this work ; 
 though it was not done for process, if the original drawings could have 
 been obtained, but in many cases they could not have been rendered satis- 
 tactorily by photo -engraving, not through any fault of the process but 
 because the artists worked without knowledge of it, while the reproductions 
 of the engravings themselves would only prove the possibilities of process 
 for reproducing wood-engravings, and nothing about the drawings. There- 
 
310 
 
 PEN DRAWING 
 
 fore, interesting as it would be, and difficult as it is for me to resist showing 
 them, to do so is not within the limits of this book. Those which have 
 been included in this edition are mainly from original drawings, mostly in 
 private collections, which the owners or artists have kindly allowed me 
 to use. 
 
 From photo of drawing by Frederick Hollyer. 
 
 S. Solomon. 
 
SIR GEORGE RELD 
 
 Sir George Reid’s pen work contains all the subtleties and refinements of a 
 most delicate etching. He is one of those exceptional draughtsmen who 
 can combine breadth with delicacy, who can elaborate a drawing on a piece 
 of paper no larger 
 than his block — for 
 his drawings are 
 mostly done the same 
 size as their repro- 
 ductions, — and yet 
 obtain valuable results 
 without niggling. 
 
 The great feature of 
 his work is its 
 wonderful delicacy, 
 its suggestion of 
 colour. Of all the 
 men whose designs I 
 have shown he is the 
 only one who succeeds in obtaining such delicate effects and yet makes his 
 drawings the size he wishes to have them printed. However, the enormous 
 difficulty of doing so must be apparent to every one, and he rarely makes any 
 more pen drawings. Those he has already given to the world, however, are 
 sufficient to secure his reputation as a pen draughtsman. 
 
 Sir George Reid tells me that he makes a pencil drawing from nature, 
 then from this works out an elaborate study in pen and ink of the proposed 
 size of its reproduction. This of course accounts for his remarkable certainty 
 in his drawings. I cannot conscientiously advise any one to follow his 
 methods, however, because they are too difficult. But if you can draw in 
 his manner and succeed as he does, there is absolutely no reason why you 
 should not. He seems to have no trouble in getting his figures and land- 
 scapes just the way he wants them, for he draws landscapes as well as 
 portraits, and with them has illustrated three or four books. It is true that 
 some of Parsons’ work is very little reduced, but Parsons does not strive for 
 very delicate lines, many of which could not be reproduced perfectly except 
 by photogravure ; though with a little more breadth of drawing and 
 strength of line, I believe Sir George Reid could obtain exactly the same 
 effect more easily by reduction. Du Maurier’s drawings also are very nearly 
 the same size as their reproductions. But then, in comparison, there is no 
 fine work in them. As I have mentioned elsewhere, the photo -engraver 
 tells you your work must be reduced to get fineness ; here is the most 
 positive refutation of such statements. But if with process and reduction 
 one can obtain these effects, I see no objection to doing so. Certainly it is 
 sensible to take advantage of every means at one’s disposal. Turn to the 
 Blum drawing for example ; it was not very much larger than the block in 
 the American chapter. But it was originally intended for a much greater 
 reduction, and yet, because the drawing was intelligently made, it comes 
 well with or without reduction. 
 
 From original drawing. Sir George Reid, P.R.S.A. 
 
T. BLAKE WIRGMAN 
 
 These drawings by Blake Wirgman differ as much in style as in subject, 
 but are alike in their mastery of method. The portrait of Mrs. Smeaton 
 alter Reynolds, though apparently knocked off, is full of knowing suggestion 
 of the modelling and colour of the original. In the other, of Mr. Armstead, 
 he has expressed himself by line. Dantan in his drawing of a similar subject 
 shows colour, Wirgman uses almost pure line, by which, however, he gets 
 the modelling and suggestion of colour and indicates the surfaces. He makes 
 the fewest lines tell with the greatest effect. This drawing and others of 
 English sculptors, engraved on wood and much reduced, appeared in the 
 Century some few years ago. 
 
WALTER CRANE 
 
 Walter Crane has furnished me with this design as a characteristic 
 example of his illustrative work. His manner of working is to make with 
 lead-pencil or chalk a more or less elaborate study of his subject, with a 
 great and very proper idea of its decorative motive, on a piece of paper of 
 the proposed size of the final drawing. He then makes a tracing from this 
 and works it out in pen and ink. The drawing was scarcely larger than the 
 reproduction. There is nothing gained by reducing his work ; in fact I 
 think the nearer the original size it is reproduced the better it comes. 
 
 The feeling of long sweeping lines and the suggestion of modelling in 
 the drawing are very fine. But when we look at the lines of which the 
 drawing is composed, and compare them with the work of men whom 
 Crane considers to be the ideal draughtsmen, we find that, in his reverence 
 for them, he seeks to perpetuate even the defects and imperfections which, 
 had they been able, they would have been the first to overcome. These 
 defects were really due to the undeveloped stage of engraving and printing, 
 when there were endless mechanical difficulties which the woodcutter and 
 the printer could not surmount. But in the preservation of the defects ot 
 these early draughtsmen Crane seems to be quite as faithful as in his admir- 
 ation of their perfections. Again, when we compare his cross-hatching and 
 shadow lines with the work either of the early Italians or of Diirer for 
 example, we find that he does not work with the care for each individual 
 line which characterised all their autographic drawing, that is, their etched 
 work or their work engraved on steel, which, and not the woodcutting, is 
 equivalent to the pen drawing of to-day. This can be most clearly seen in 
 the woman’s face or the shading of the man’s back. The general effect is 
 quite right, but the student who followed the lines would most certainly 
 come to grief Crane’s decorative feeling is also very fine and he gives 
 good colour effect. 
 
 He has repeatedly told me and seems to think that process cannot 
 reproduce his work, though he finds this reproduction satisfactory. Nothing 
 could really be easier to reproduce by process than his drawings were it not 
 that he uses a very poor ink, sometimes for his shadows, getting in the 
 result, notably in the shadows on the armour which express the modelling 
 of the man’s back, instead of the grey he wants, a black line, the true 
 quality of which can only be obtained by the most minute, laborious, and 
 careful hand-work, either in process or woodcutting, though this work 
 could be avoided if he were to adopt either the line of Diirer or the style of 
 the pen draughtsmen of to-day. For example, Howard Pyle’s work shows 
 admirably what I mean. As it is. Crane’s drawings cannot be reproduced 
 without this elaborate and, I cannot help thinking, useless expenditure of 
 time on the part of the wood-engraver or the photo-engraver.’ 
 
 ' For other work by Walter Crane, see Cliapter on Decoration. 
 
From original drawing. 
 
 J. D. BATTEN 
 
 Mr. Batten has devoted himself almost altogether to legendary and 
 fairy art. He has a keen appreciation of humour, and is very intelligent 
 in his handling; and his illustrations have been justly appreciated. There 
 are some others of dwarfs, fays, and demons in the Celtic and other fairy 
 stories he has illustrated, but I have not been able to obtain the use of 
 them from Mr. Batten’s publishers. Launcelot, Speed, and H. J. Ford 
 have also given much time to fairy lore, but their work is not so dis- 
 tinguished as that of Mr. Batten. 
 
ALFRED PARSONS 
 
 
 Alfred Parsons is a man who has transgressed almost every law of pen 
 drawing. There is no shorthand about his work, there is no suggestion in 
 line ; but he has with a pen succeeded where every one else has failed. His 
 pen work has the richness and fulness of 
 colour and the delicacy of execution of an 
 etching, combined with the most artistic 
 elaboration that could be obtained with a 
 colour medium. When a man can success- 
 fully carry pen drawing to this perfection 
 of completeness, there is no reason why 
 he should not, provided the result is, as 
 with Parsons, artistic. With other men, 
 however, it is usually laboured and over- 
 worked. 
 
 !HE manner in which he has arrived 
 at this complete mastery of pen 
 drawing is simply by regarding 
 it as no less serious a medium 
 than any other, by studying the light and 
 shade in his subject as in the drawing at 
 Long Marston, by seeking for tone and 
 colour where other men only strive for 
 line. Note the drawing of the distant 
 trees, the curves of each leaf in the fore- 
 ground plants in all the drawings, and the individuality which he puts into 
 

 i 
 
 
 From Harper’s I^Ingazine. 
 
 Copyright, 1887, by Harper & Brothers. 
 
320 
 
 PEN DRAWING 
 
 the stem and leaf and blossom of every plant he draws. His drawings of 
 plant forms are also full of decorative feeling. He is a perfect combination 
 of decorator and illustrator ; if he gives you an eighteenth-century initial, 
 you may be sure it has been obtained from the best authority, just as you 
 know, if you are a botanist, that his flowers are right. But work like 
 Parsons’ can only be produced by the most careful study from nature, and 
 in no other fashion. As a general rule, I consider Rico’s methods much 
 better, and in a certain sense they are more difficult to follow, because Rico 
 has the mind of a great analyst, and the analytical faculty is probably rarer 
 than that of selection and complete rendering. But Parsons possesses this 
 latter quality, as well as that of decoration, to a greater degree than any 
 other man living, and the possession of such ability gives him a place apart. 
 As to the drawings themselves, they are made on smooth Whatman paper 
 with inks more or less diluted with water. Their great feature is not the 
 cleverness with which they are done, but the truth with which everything 
 is drawn, and the marvellous manner in which difficulties hitherto considered 
 insurmountable by pen draughtsmen have been conquered. 
 
 The photogravure from She Stoops to Conquer^ reproduced by Amand- 
 Durand,^ is the best example of decorative realism that I could possibly show. 
 The shield and the lettering might be the work of a decorator of Goldsmith’s 
 day. But no one has ever made such exquisite studies of roses as those which 
 surround and build up this most original title. The flowers grow and stretch 
 across the design with all that feeling for curves and direction which the old 
 men rendered by a single line. Parsons’ work contains these lines, but they 
 are hidden among the flowers, and each spray and each flower and each leaf 
 is worked out in a manner unknown before our time. 
 
 First edition, and block on previous page. 
 
 1 
 

 
 
 LINLEY SAMBOURNE 
 
 When I said in the Introduction 
 to the English Chapter that Sam- 
 bourne’s work was almost mechan- 
 ical, I did not wish to say any- 
 thing that Sambourne or any one 
 else could object to, for I ad- 
 mire his drawings very much. 
 But the peculiarity of his style is 
 that it seems to be founded on 
 mechanical drawing, that is on the 
 
 Process Block by Dawson. 
 
 sharp, clean-cut lines of engineering 
 or architectural work. As his 
 drawings are always more or less 
 conventional, and seldom, it ever, 
 wholly realistic, this is perfectly 
 allowable ; and that he should get 
 such remarkable results using such 
 peculiar handling is all the more 
 notable. On looking over his 
 original drawings I find that a 
 certain amount of this mechanical 
 look is gotten by the engraver ; tor 
 example, the angular lines surround- 
 ing eyes and mouths are enormously 
 intensified, and while of course these 
 lines do exist in the drawings them- 
 selves you do not feel them as you do 
 in the reproductions. Sambourne, 
 working almost always for and with 
 Mr. Swain, knows the result he is going to obtain, hut one of his 
 
 2 T 
 
322 
 
 PEN DRAWING 
 
 drawings engraved by some one else would probably not have this excessive 
 Sambourne look, which is the only thing I can call it. The process 
 block of the water baby compared with the woodcut shows this at 
 once, though the actual changes in detail — in the reeds and the water, for 
 example — were put in by Sambourne on the wood before it was cut ; but 
 the hardness in the dragonfly’s wings and the very wooden lines in the 
 woodcut are due to the engraver. The actual loss in the quality of the 
 line is visible all over ; I can feel it everywhere. That the process block 
 is really not vastly superior to the woodcut in the pen quality is not owing 
 
 to a defect in the process, but entirely to the fact that the ink used in the 
 original drawing was weak and pale. Sambourne knew this perfectly well, 
 for he offered to go over the lines. But the comparison could not then 
 have been made with fairness to Mr. Swain. As it is, I find the process 
 block the more pleasing of the two reproductions. 
 
 Of Sambourne’s composition, which is always good, his drawing of 
 the lobster and the small boy looking at it, from the Water Babies^ is a 
 characteristic example of another phase of his work — that is his com- 
 bination of human figures and animal forms, often very grotesque. This 
 large lobster drawing was done in such poor ink it would not have come 
 by process. Though Sambourne uses but one female type, there is much 
 grace and beauty in it combined with fine decorative feeling. The pages 
 of Punch are filled with such drawings. The tail-piece is a characteristic 
 example. It would be almost useless for the student to copy his work, 
 
PEN DRAWING IN ENGLAND 
 
 323 
 
 because, owing to this conventional treatment, he would only obtain an 
 exceedingly weak Sambourne, 
 
 His drawings, to use an illustrator’s phrase, are sure to make a hole in 
 the page. His effects are almost always novel and catch your eye and 
 interest you, even though the subject is very local. This is as it should be, 
 for if a drawing is done in an interesting manner the subject is of minor 
 importance. But it is for the pleasing fantastic medley which he produces 
 in an impossible book like the PVater Babies^ or in his social and political 
 allegories in Punchy filled with good drawing, that Sambourne’s work 
 interests the whole world, whether the local subject is understood or not. 
 
HARRY FURNISS 
 
 Of all the artists of Punch, the only one 
 who habitually attempts caricature is 
 Harry Furnissf But in his large draw- 
 ings, called for some unknown reason 
 cartoons, there is shown, especially in the 
 one he has sent me to represent his work, 
 the absolute want of all the qualities 
 which I have noted in those of Ober- 
 lander. Frost, and Caran D’Ache. For 
 you must be an Englishman to appreciate 
 it, and you must have been on the spot 
 and thoroughly in the swing at the time 
 the drawing was made to understand it, 
 while the work of the German, American, 
 and French caricaturists does not alto- 
 gether depend upon time or nationality. 
 
 Even the most delightful drawing which 
 
 I know Furniss ever to have produced, the burlesque 
 of Pears’ Soap, was unintelligible to any one who 
 had not seen the advertisement. This drawing ot 
 Education’s Erankenstein, interesting as it is, will 
 really explain what I mean. It is not done for all 
 the world, but for a small section of the British 
 public. In Eurniss’ smaller drawings, two of which 
 I also show, and in his Parliamentary sketches, there 
 is much more cleverness of handling, while there is 
 no doubt that they give the character of their 
 subjects. They look as if models had been used for 
 them, but they also depend in almost every case, no 
 matter how well they are drawn, on something ex- 
 ceedingly local. The consequence is that although 
 one appreciates Eurniss’ great talent, at the same 
 time unless one is thoroughly in with his public one 
 cannot see the point of his drawings, which in 
 themselves are not sufficiently amusing to make 
 one laugh. 
 
 The 1 arge drawing could not be satisfactorily reproduced by process, 
 neither could the small ones. Eurniss was working in each case for the 
 wood-engraver and therefore did not consider the quality of his ink and 
 paper. I have tried process with the lower figure on this page, but the 
 woodcuts are better because the ink was not good. Eurniss does at times 
 work tor process, and then shows that he understands its limitations. 
 
 ^ Since this was written, Mr. Furniss has left the staff of Punch. 
 
GEORGE DU MAURIER 
 
 This drawing was published in 1865, and I only chose it because it was 
 one of the first which specially appealed to me when studying Du 
 Maurier’s work in Punch. I might have shown a hundred others just 
 as delightful, but all different. And yet with these drawings, at times 
 published in the same number or even on the opposite page, we find the 
 Du Maurier of to-day whom I am utterly unable to understand. In saying 
 this, I refer to his use of a mechanical cross-hatch to express almost all 
 sorts of surfaces and of one type of face, and to his conventional and 
 mannered drawing of landscape. But it seems to me that in the beginning 
 his mannerisms must have been imposed upon him by the engravers, 
 though now they are to be found in all his drawings. Du Maurier 
 did not commence as a comic draughtsman. There is no comic element, 
 no humour, in his early drawings, for that matter, nor in many of his 
 later ones. But every artist would wonder at his technique, his ex- 
 pression, and the grace he got out of the very inartistic dresses of the 
 last generation. No effect seems to have been impossible to him. He 
 has tried in his early drawings to render daylight and nightlight, he 
 worked in all sorts of styles. There is one set of drawings in Punch in 
 which you find Du Maurier burlesquing the Pre-Raphaelite movement so 
 seriously as to be almost Pre-Raphaelite himself. In this series he is as 
 good as any of the German comic symbolists; but he is, in this series, quite 
 as English as they are German. In the early days of Puiich he was pre- 
 eminently a technician. He cared hardly at all for the story he was 
 telling, hut he cared infinitely for the way in which he told it. Du 
 Maurier possessed the power of showing beauty in the most commonplace 
 and really uninteresting subjects. It is almost impossible to analyse this. 
 One has simply got to feel it for one’s self in the delightful way in which 
 the absolutely uninteresting folds of the woman’s gown are worked out, 
 in the suggestion of modelling in the man’s trousers, and in the study of 
 light and shade on the polished leather of the lounge. 
 
 H is work of to-day can be reproduced perfectly by process without the 
 least trouble, and I should imagine, from the look of the wood-engravings 
 in Pune]]., that the old work — a drawing like this, for example — would 
 have come equally well, in fact much more truly than by wood-engraving. 
 Within a short time his drawings have been reproduced almost entirely 
 by process, not only in the pages of Punch but in the illustrations to his 
 stories printed in harper s Magazine; for Mr. Du Maurier is now almost 
 as well and favourably known a novelist as illustrator. 
 
CHARLES KEENE 
 
 There are very few men in this world about whose work every one has a good word 
 to say. But Charles Keene was and deserved to be one of the few. His style was 
 always excellent, his subjects interesting or amusing, and he always strove to improve 
 on his own methods. No draughtsman in England reached such a high standard, 
 maintained it, and continually tried to improve it. I am not even certain whether the 
 drawing at the top ot the page was made with a pen, for the pen quality has been 
 entirely cut out of it. But I have seen so many exactly like it done with a pen that 
 I think it probably was. At any rate it is an example of very good line-work, of the 
 study of character in the two figures, the modelling of the ground, and the suggestion 
 of distant landscape. There is absolutely no reason why I should have selected this 
 particular drawing. Those which have appeared in Punch during the last few weeks 
 of his life are equally good, if not better; and indeed the last thirty years of Punch 
 are a record of Keene’s efforts to produce the best character sketching in the best 
 possible manner. His methods were those of extreme simplicity and directness of work. 
 
PEN DRAWING IN ENGLAND 
 
 329 
 
 thought in composition, attention to modelling, and care in arrangement. Owing to the 
 fact that he used grey ink, always drawing for the engraver, washes here and there, and 
 introduced pencil work, no process save photogravure will give a better result than the 
 wood-engraving by Mr. Swain. 
 
 The other example has never been published before, and shows the man’s work done 
 some twenty -live or thirty years ago — the real Keene — which never could have been 
 properly cut on wood, though it now comes perfectly by process. It is one of the most 
 interesting drawings in the book. It shows exactly what Keene would have done had 
 any one been able to reproduce him. 
 
 From original drawing. 
 
 2 U 
 
From original drawing. 
 
 REGINALD CLEAVER 
 
 The limitations of timely, newsy drawing and quick engraving, and rapid 
 printing, necessary in the production of a daily illustrated paper like the 
 Daily Graphic^ have been felt by a set of young artists in England, and they 
 have adapted their work to meet these limitations. Mr. Reginald Cleaver 
 has succeeded in evolving a style which renders his subject well, engraves 
 well, and prints well. 
 
 His drawings come almost as well in the pages of a rapidly-printed 
 newspaper as here. 
 
 Mr. Cleaver seizes the telling points of an event, concentrates them, 
 and puts them down in the simplest and most direct manner. It is, 
 however, rather unfair to single out Mr. Cleaver, when, in other ways, 
 Mr. T. S. C. Crowther, Mr. Boyd, Mr. Johnson, to name no more, 
 have so well shown that, given the ability to produce good work, and an 
 
PEN DRAWING IN ENGLAND 
 
 331 
 
 interest in journalism, the artistic correspondent now, for the first time, has 
 a chance to show what he can do. In tlie near future all newspapers will 
 be illustrated ; and it will be interesting to note if they follow on the 
 successful lines of the Daily Graphic^ or seek to develop new means and 
 methods. For the would-be newspaper illustrator there could not be a 
 safer man to study than Mr. Cleaver. 
 
 From original drawing. 
 
J. BERNARD PARTRIDGE 
 
 Since the first edition of this 
 book appeared Mr. Partridge 
 has won for himself a leading 
 place in English illustration, 
 both by his Punch work and 
 his book illustration. The 
 drawing ol the Italian is very 
 good in expression, especially 
 the face and hands ; but I think 
 it a pity he added the meaning- 
 less lines in the background. 
 The other drawing from Austin 
 Dobson’s Proverbs in Porcelain 
 is very graceful. One thing to 
 be specially noted about Mr. 
 Partridge’s work is the clean 
 sharp manner in which it re- 
 produces. It is almost improved 
 by reproduction. 
 
 From original drawing. 
 
From original drawing. 
 
A WILLING CONVERT 
 
 First Man [lighting up ). — “ See those three girls over there, Jack ? each of ’em has Thirty Thou. ! ” 
 
 (Jack Hardup thinks he remembers having heard some Bishop vi'as in favour of tolerating polygamy, and wishes it would become fashionable.) 
 
 A. C. CORBOULD 
 
 Ff.w men have enough individuality to resist new movements, nearly every one being 
 influenced by some new phase or fad of the moment; but Mr. Corbould has been true 
 to English tradition in subject and handling, and if one may not altogether like his 
 technique, one must admit that he tells a story well and simply, and also that his work 
 engraves or processes perfectly. 
 
W. L. WYLLIE 
 
 When one considers the extreme picturesqueness of river life, especially of 
 life on a river like the Thames, it is very remarkable that pen draughtsmen 
 have not turned it to more profitable account. On the Thames, however, 
 the reason for this neglect may be because Wyllie has made it so completely 
 his own. This drawing, done largely, freely, and boldly, mainly with a 
 quill pen, shows, not only his command of the pen, but his knowledge of 
 the construction of boats, the movement and swing of the water and the 
 effect of sunlight shining through the bright but misty and smoky 
 atmosphere of the river. The quill and brush have both been used. 
 Where the roulette work is seen, it indicates his greyish brush-marks. 
 
RANDOLPH CALDECOTT 
 
 I THINK there is probably no one who has been so unjustly treated, by 
 having been given a place to which he had no claim, as Randolph Caldecott. 
 I believe I am right in saying he wished to succeed as a painter, a sculptor, 
 and perhaps as a serious illustrator. As a modeller he was a success. Some 
 of his beautiful little low reliefs are not halt so well known as they deserve 
 to be. As a painter he was a complete failure. As a serious illustrator, he 
 either servilely copied the men working about him, or else, as in many of 
 his horses and other subjects, borrowed from Menzel without approaching 
 him. His so-called character sketching in Italy and America was either 
 characterless or caricature, and even the best of this work in Folk is 
 
 technically of no value to the student. But there is a side to his drawing 
 which, though it has been almost altogether ignored, is really the only side 
 to be considered by the student. This is his power of showing expression 
 i and action by a few lines, often by a 
 
 single line of his brush used as a pen. 
 There is no one in England who has 
 ever equalled him in this respect, 
 and I very much doubt if any one 
 anywhere ever surpassed him. I do 
 not see how it would be possible to 
 give with fewer lines the intense 
 expression of the cat stealthily ap- 
 proaching the mouse. But curiously 
 enough, although there are several 
 other cats in Fhe House that yack 
 Built, there is not one which comes 
 near it, unless perhaps I except the 
 cat worried by the dog on page 15, 
 in which, however, the dog is characterless, while the intense expression 
 which characterises the cat I give is wanting in all the others. 
 
 Again, has anybody ever given such a delightful absurdity as this of 
 the dog who, to gain some private ends, went mad and bit the man ? It is 
 the concentration of action and expression. Could anything be finer than 
 the two dots for eyes which glitter with madness, or the aimless expression 
 of the fore paws and the undecided pose of the whole body You have not 
 an idea in which direction the dog will spring, but you are very sure you 
 ought to get out of the way. The coloured plate on the opposite page is 
 very good, but what could be more inane than the absolutely vacant expres- 
 sion of the young man in the background ? The whole arrangement is 
 
 
 
 
 
PEN DRAWING IN ENGLAND 
 
 337 
 
 excellent, but there is no reason why, when a man tries to elaborate a 
 
 
 
 ,/e 
 
 ' V' I 
 
 L — 
 
 
 drawing, he should put in the houses in so 
 careless and slovenly a manner. The big 
 dog too, on page 14, sitting among broken 
 pots and plates is good, but Caldecott simply 
 could not work out a foreground. When 
 a man draws plants and flowers and grass, I 
 at once compare him with Alfred Parsons ; 
 if he cannot give them so well as Parsons, it \ 
 
 is useless for the student to turn to his work. *' 
 
 These drawings of course were done 
 with a brush used as a pen, in sepia or some 
 other liquid colour, a method which, as far 
 as I can see, was merely a fad. Unless the 
 printing is in brown, as in the picture-books 
 and Msop’s Fables, it is impossible to give 
 any idea of the work. It cannot be repro- 
 duced in its proper value, and absolutely the only object in using this 
 brown ink to-day would be to make work for engravers and colour-printers 
 like Messrs. Cooper and Edmund Evans. The latter has reproduced, as far 
 as I know, all the colour-work of Caldecott, with whom his name has come 
 to be very closely associated. The work of Caran D’Ache is done with a 
 pen in black ink, and the flat colour washes, which he, like Caldecott, uses, 
 are lithographed or processed. The work is far simpler and the colours 
 seem to keep in their right places with a great deal more ease. 
 
 It would be almost impossible to give a better idea of bounding tree 
 
 motion than in this stag from the 
 iEsop, with the whole of Scotland 
 stretching away behind him, 
 though probably the lines in the 
 shadow were better in the original 
 drawing. Then look at the 
 happy fox after he has fooled the 
 stork, and the innocent young 
 lamb, probably just before he 
 entered on his discussion with 
 the wolf. Take this lamb especi- 
 ally ; technically I cannot conceive of anything more innocent and child- 
 like ; it would be simply absurd to attempt to copy such a drawing, and 
 yet everything you want is in it. It shows Caldecott’s marvellous power 
 in expressing a whole story in a few lines, technically worthless, in his 
 hands perfect. But the minute he went beyond this expression in pure 
 outline, only to be surpassed by the cleverness of handling of Caran 
 
 2 X 
 
338 
 
 PEN DRAWING 
 
 D’Ache, he began to fall off. Note the action and go of these Three 
 Round Hats. The first figure and horse are good, the boy on a pony is 
 indifferent, the third man and horse and the landscape are absolutely bad ; 
 
 for when he began to elaborate, Caldecott was not able to express with 
 many lines what he could indicate with one. If a man can express so 
 much in one line as he did, he is really great ; no one can follow him. If 
 you have the same ability, you can do the same thing ; if you have not, 
 your imitation is sure to be artless and valueless. I know it will be said 
 that there are cases in which Caldecott drew figures and elaborated landscape 
 well ; perhaps there are, but they are the very rare exceptions, and even 
 in these exceptions his work cannot be compared with that of a man like 
 Charles Keene, for example. What I want to show is every man’s best 
 work, and what I have shown is, I think, Caldecott’s. 
 
From original drawing. 
 
 WALTER SICKERT 
 
 Mr. Sickert’s study of George Moore is not only an excellent portrait, 
 but a very careful study of lighting. The shadow on the left cheek has 
 come too dark, otherwise the reproduction is admirable. The light on 
 the hair was obtained by scratching away the ink with an eraser. 
 
From original drawing. 
 
 L. RAVEN HILL 
 
 Mr, Hill is a man of many moods. He has studied all methods 
 and all styles, as yet he has not settled on one for himself. The 
 baby certainly owes its inspiration to the Japanese, but the obser- 
 vation is as true and intelligent as the handling is direct and simple. 
 In the other there are reminiscences of Keene and of Forain, as 
 well as of Deal. But the composition is his own, and it is excellent. 
 The characters of the dealer and his “ client ” are well rendered ; 
 the architectural features are well put together ; and the glimpse 
 up the street adds interest, but does not detract from the story. 
 Colour is indicated, and form, as in the fish, is carefully attended 
 to. Mr. Hill, I believe, does not work to a great extent from 
 nature, or even models, but depends on his memory and his obser- 
 vation, and in his work they do not fail him. 
 
From original drawing. 
 
342 
 
 PEN DRAWING 
 
 W. G. BAXTER 
 
 England, a few years ago, possessed a comic draughtsman without ever 
 knowing it. If one heard Baxter’s name mentioned, it was only with the 
 prefix vulgar ; for the commonplaceness, the vulgarity, or the triviality of a 
 paper covers all its contributors, no matter what the merit of their con- 
 tributions. 
 
 Baxter was allowed to die unknown and unrecognised by artists, 
 though I imagine he was the delight of millions. 
 
 Baxter succeeded in accomplishing a wonderful performance. What 
 share he had in the creation of Ally Sloper, whose parentage and early life 
 are shrouded in mystery, I shall not pretend to decide. He saw Sloper 
 grow and develop under his hands ; he attracted an audience of admirers, 
 and he kept them, — a most difficult feat. Now that Sloper has become an 
 established institution the retention of his followers is easy enough. The 
 great mass of them, however, I fear, know nothing of Baxter. 
 
 Had Baxter simply been a caricaturist, I am afraid I could not have 
 felt much interest in him ; for I must admit that, as a general thing, I do 
 not care much for this form of expression, unless technically it has something 
 outside the subject to commend it. 
 
 Baxter’s work, however, is strongly composed and excellently carried 
 out. Nothing could be more difficult than to bring in, week after week, 
 the same characters, put them in new situations, and make them appeal to 
 the people, — for Baxter was the people’s artist more than any one else has 
 ever been. And yet the handling of the design must appeal to a painter. 
 
 In this drawing there are but two details which seem to me out of 
 harmony with the whole. Towzer is a little amazing from his prominence, 
 and so is the striped bathing shirt in the other corner. But it must be 
 remembered that every detail in, not only this drawing, but all Baxter’s 
 Sloper work — and all renderings of Sloper — has a mystic and symbolic 
 meaning which it would tax a Rose Croix person to fathom, and is only 
 to be comprehended by his constant followers. 
 
 This block was printed in Ally Sloper s Half -Holiday^ and it printed 
 well, — a paper which, probably, is not exactly considered by its publishers 
 to be a model of the typographic art. 
 
C. E. BROCK 
 
 E ICARCELY a month passes, certainly not a publishing season, 
 1 without the appearance of some new man, some new illustrator. 
 i Mr. Brock has come out with Hood’s Humorous Poems. His 
 drawing can scarce be called original, — there are many reminiscences in it, 
 — but his humour, dramatic action, and his arrangement are quite his 
 own. H is sense of illustration is good, and is well shown in the concentra- 
 tion on the black horse and black cap of the huntsman in the title ; 
 possibly this is exaggerated, but it is a good sort of exaggeration. In the 
 other drawing, “ The Supper Superstition,” the story is extremely well told 
 with movement and go. There are several other drawings in the book 
 quite as good; enough of them to prove that Mr. Brock has something to 
 say for himself, besides showing how well he has studied other people. 
 
AUBREY BEARDSLEY 
 
 The very limited number of drawings which 
 Mr. Beardsley is said to have produced makes 
 their perfection of execution all the more re- 
 markable. Though artists may be struck with 
 a man’s earliest work, and though the creator ot 
 it may, and frequently does, never produce any- 
 thing better, one usually waits until he is dead, 
 or discouraged, before any visible sign of appre- 
 ciation is granted him. 
 
 But whether Mr. Aubrey Beardsley’s work is 
 appreciated or despised — and my only fear is that 
 he will suffer from over-appreciation and enthu- 
 siasm — his work shows decisively the presence 
 among us of an artist, whose illustration is quite 
 as remarkable in its execution as in its invention : 
 a very rare combination. It is most interesting 
 to note, too, that though Mr. Beardsley has drawn 
 his motives from every age, and founded his styles 
 — for it is quite impossible to say what his style 
 may ultimately be — on all schools, he has not 
 

PEN DRAWING IN ENGLAND 
 
 347 
 
 been carried back into the fifteenth century, or succumbed to the limita- 
 
 tions of Japan ; he has recognised that he is living in the last decade of 
 the nineteenth century, and he has availed himself of mechanical repro- 
 duction for the publication of his drawings, which the Japs and the 
 
348 PEN DRAWING 
 
 Germans would have accepted with delight had they but known of it. 
 
 Is/Ir. Beardsley has recognised that decoration means, not the production 
 ot three or four hue stock designs, and the printing of these in books, to 
 which they have no earthly relation, on a hand-press ; but that decoration 
 
 From original unpublished drawing. 
 
PEN DRAWING IN ENGLAND 
 
 349 
 
 should be the individual and separate production of designs which really 
 illustrate or decorate the page for which they were made, and that the 
 artistic value of such designs is not lessened by the fact that they are quite 
 as well, if not better, printed by steam than they have ever been by hand. 
 
 Although in all of Mr. Beardsley’s drawings which I have so far seen 
 there are signs of other men’s influence, I know no reason why this influence 
 should not be apparent it the inventor of what we may consider the type is 
 a worthy man to imitate. Some of his head and tail pieces, notably one of 
 men in armour, seem to me, in execution as well as design, quite equal 
 to the best flfteenth-century work. Then, too, his little landscapes are 
 altogether delightful : though they are conventional in the right sense, 
 they are not imitations. But most interesting of all is his use of the single 
 line, with which he weaves his drawings into an harmonious whole, joining 
 extremes and reconciling what might be oppositions — leading, hut not 
 forcing, you properly to regard the concentration of his motive. In his 
 blacks, too, he has obtained a singularly interesting quality, and always 
 disposes them so as to make a very perfect arabesque. 
 
From original drawing. 
 
 R. A. BELL 
 
 Of all the younger men who have been more or less influenced by the 
 so-called decorative revival, no one is more interesting than Mr. Bell. 
 
 Lie designs simply, straightforwardly, and well, suiting his style to his 
 subject. His treatment of the landscape in “ La Belle Dame sans merci ” 
 is, I think, as good as it can be, and his spacing and arrangement of blacks 
 in this drawing and in the title most masterly. Mr. Bell has designed 
 many book plates which are altogether charming. 
 
Orpbeu5 vltb bis lute mMe \rce 3 
 /\nd the me>unte'>ll7 t°ps freeze 
 Bow themselves when h^ ct(d 3il7j 
 To his music plevnts ajid flowers ^ 
 Ever spruiT^-. as sun arrd showers 
 
 From original drawing. 
 
W. RAINEY 
 
 Mr. Rainey unites 
 in his work the best 
 traditions of the 
 older men with the 
 most modern de- 
 velopments intro- 
 duced by the 
 younger. The two 
 figures are charm- 
 ingly worked out, 
 while the landscape 
 is delightfully sug- 
 gested. In the 
 other design there is much decorative feeling in the arrangement, while 
 the train is drawn with intelligent realism. 
 
r 
 
 From original drawing. 
 
 W. DEWAR 
 
 I HAVE only seen two of Mr. Dewar’s drawings, but this one is good 
 enough to make any man’s reputation, and I am glad to have the chance 
 of including it. The design is ably rendered, full ot character and go, 
 and is, therefore, well worth study. 
 
 2 z 
 
From original drawing. A. S. Hartrick. 
 
 A. S. HARTRICK AND E. J. SULLIVAN 
 
 These two men, starting on the Daily Graphic^ have lately had their work 
 printed in the Pall Mall Budget^ though I do not think either of these 
 drawings appeared in that paper. Both are notable for their understanding 
 of what will print well. Mr. Sullivan has possibly more love for the 
 medium and more sense of line, while Mr. Hartrick possibly expresses 
 himself better in wash. But the reproductions are specially noteworthy as 
 showing what admirable results can be obtained from line drawings by the 
 half-tone process. They are the work of the Swan Engraving Company. 
 
From original drawing. K. j. Sullivan. 
 
From original drawing. 
 
 GEORGE THOMSON 
 
 This drawing was made on the spot, from life, is an excellent character 
 study, and a proof that good results can be obtained from the most un- 
 promising subject. It was published originally in the Pall Mall Budget^ 
 and is a good example of the best sort of illustrated journalism. It was 
 made in pen and wash, and has been most faithfully reproduced by the 
 Swan Company; their success with half-tone is surprising. 
 
KATE GREENAWAY 
 
 Miss Greenaway has produced, I believe, but little work in black and 
 white ; even these drawings, published in Mavors Spelling Book^ were 
 printed in brown ; and, though possessing all the characteristics of this 
 most deservedly popular artist, seem to call for a wash of colour. I 
 feel them to be more like key blocks, though good ones, for every line 
 has a meaning and is rightly put down. They are engraved on wood 
 by Edmund Evans, who has reproduced almost all her work. 
 
HUGH THOMSON, 
 HERBERT RAILTON, 
 HOLLAND TRINGHAM 
 
 Mr. Thomson has in many ways improved enormously since I wrote about him 
 before, especially in lightness of handling, and in understanding of the require- 
 ments of process. There is, and probably always will be, a mannerism about 
 his work, a souvenir of 
 Caldecott, whose work of 
 the same sort, Thomson 
 has long since surpassed ; 
 
 Caldecott was no doubt the 
 original man, Thomson the 
 clever student ; a student 
 of a tradition which he 
 has improved on. 
 
 Mr. Railton, until 
 lately, when he has taken 
 a new start, giving up the 
 pen, has retained his popu- 
 larity and remained where 
 he was. He has the same 
 great merits that I praised, 
 and the same grave defects. 
 
 He has only, however, to 
 look around him to see 
 the enormous influence 
 that he has had on con- 
 temporary illustration. 
 
From original 
 unpublished drawing. 
 
360 
 
 PEN DRAWING 
 
 The most interesting of his imitators is Holland Tringham, who is 
 now working in a style for himself. This drawing of Cologne Cathedral 
 is excellent, and though it is doubtful if Mr. Tringham ever saw Cologne, 
 he has made good use of his material, probably a photograph. The 
 Cathedral is intelligently drawn, and the town is well put in. 
 
 In speaking of this imitation and stealing of ideas and execution from 
 which Railton has suffered, possibly more than any one, I cannot help 
 pointing out that those few editors who will encourage one man because 
 he imitates another, and will publish that imitation because it is cheaper 
 than the original, are a disgrace to journalism, swindling the public, in 
 order to put a few more pounds in their own pockets and in the coffers ot 
 their proprietors. 
 
 As to the illustrators who aid them, they are beneath contempt. 
 
T. S. C. CROWTHER 
 
 Several young men have grad- 
 uated from the Graphic School 
 on to that paper ; among them 
 is Mr. Crowther, whose por- 
 traits, by their character 
 directly rendered, their sim- 
 plicity of line which allows 
 them to print well on a rapid 
 steam press, prove him to be 
 a draughtsman well fitted for 
 daily illustrated journalism. 
 But, like all good men, his 
 work is not spoiled by being 
 printed carefully, nor is it 
 much improved. This is as it 
 should he ; it is not necessary 
 to draw down to a penny paper 
 nor up to a shilling magazine. 
 Work should he good, and 
 look right wherever it is printed. 
 Naturally, under some circum- 
 stances, elaboration is out of 
 place, but want of elaboration 
 does not mean want of art. 
 
 3 A 
 
 From original drawing. 
 
EDGAR WILSON 
 
 Mr. Wilson proves conclusively, with these two drawings, that decorative 
 work need not be conventional, — although the summing up of the con- 
 ventions of all time is to be found in all good work. The arrangement 
 of big sweeping lines is very fine. Although Mr. Wilson is learned in 
 Japanese art, there is no undue obtrusion of it here. 
 
From original drawing. 
 
THE BRITISH WORKING MAN.— HIS NOTIONS ON GRAINING 
 
 Then I saj ‘ Wornut^ I says ; and you makes it werry dark and turns “ Then I up an’ I says ‘ Marble' I says. Then you paints 
 the twiddles upsey-down ! And there’s yer wornut.” it black and shies a hegg at it, and there’s yer marble ! ” 
 
From original drawing. 
 
 A Free Lunch. — Old Grumpmudgcon . — Look here, young woman, T ordered steak and chips ; not this stock dish of yours 
 which you're handing round to everybody. Polly the hVa'ttress . — Stock dish ? Old Grumpmudgeon. — Yes. Sheep's eyes and mashed. 
 
 J. F. SULLIVAN 
 
 AIr. Sullivan is absolutely individual, his humour is spontaneous. One 
 can revel in his dra-wings and their side-splitting legends, hut the technical 
 study of them would he disastrous to any student, save for simplicity and 
 directness, in which qualities they are probably the best by any Englishman. 
 
PHIL MAY 
 
 No man in England has had so great an influence on modern illustration as 
 Phil May. It is very easy to account for this, — no man is easier to imitate 
 superficially, no man more difficult to follow really, so keen is his apprecia- 
 tion of character, so subtle his delineation of it. But his style of handling 
 has been universally borrowed. The contrast of white and black, the backing 
 up of thin lines by masses of strong ones, and his knowing simplification of 
 drapery, — these methods have been almost universally appropriated. But 
 
 
From original drawing. 
 
368 
 
 PEN DRAWING 
 
 his power of drawing and his sense of humour are unrivalled. Nothing 
 more amusing could be imagined than the legend to “What’s the Row.?” 
 However, in this it seems to me he has carried his simplification too far. 
 But the “ Old Parson ” is almost perfect. While the “ Reminiscence of 
 the Pelican ” adds faithful portraiture to its many other merits. Yet the 
 portraits are not insisted upon, they are in their right places, while the 
 use of line and solid colour is most knowing. 
 
 “ Wot’s the row lip the Court, Bill?” 
 
 “ Boh Smith was kissing my wife, and ’is old woman caught him.” 
 
MISS C. D. M. HAMMOND 
 
 It is very curious that women 
 who are artists have not more 
 generally taken to illustration ; it 
 is just possible, however, that it 
 is because illustration is not so 
 easy as it seems. No longer can 
 the out-of-work painter tumble 
 into it, unless he tails very low 
 indeed, in illustration, that is. 
 M iss Hammond (and her sister 
 too) has taken up the art as 
 a profession, and she has learned 
 the secret ot drawing tor repro- 
 duction. Her work comes ex- 
 tremely well by process, is in 
 fact improved by it. It is very 
 curious that more women have 
 not made the designing of fashion 
 plates their study. Menzel and 
 Meissonier have shown that this 
 can be done with distinction, hut 
 the photographers are their only 
 followers. 
 
 From original ilrawing. 
 
 
 3 
 
From original drawing. 
 
MAURICE GREIFFENHAGEN AND FRED PEGRAM 
 
 It is extremely interesting to have the cliance of comparing the handling 
 of virtually the same sort of subject by such accomplished technicians as 
 Pegram and Greiffenhagen. 
 
 Both have chosen a single figure. Both these figures are lit up by 
 artificial light — here the similarity ends. The methods used are absolutely 
 different, and the results obtained totally unlike each other. This expression 
 of individuality is just what makes pen drawing, and, in fact, all art, so 
 interesting. 
 
From original drawing. 
 
 WILLIAM SMALL 
 
 Two studies, one for a drawing and the other made at the Langham 
 Sketching Club. 
 
 Th ere are few people to-day, save Mr. Small and some others of the 
 older men, who could carry out a design with such exquisite feeling, 
 to say nothing of making a study like this ; or, if any one could make 
 such a study, he would at once consider it to be a finished work. 
 
 But in the sixties illustration was a more serious profession, which 
 artists were encouraged by intelligent editors to follow ; not discouraged 
 by unintelligent proprietors. Whether one can improve a brilliant study 
 like this by repeating and elaborating it, possibly in another medium, is 
 doubtful ; but it proves at any rate the interest in their work and the 
 desire to make that work as good as they could which animated the men 
 who preceded us. The other example, the costume model, is a study at 
 
PEN DRAWING IN ENGLAND 
 
 373 
 
 the Langham. The style of both resembles the early Keene’s, Whistler’s, 
 and Du Maurier’s. Who was the inventor of this style I do not know. 
 But I do know that no more individual and interesting method or 
 expression has ever been employed in England ; it might almost be called 
 a national style. 
 
 The drawings have not come very well, for the ink is faded and the 
 paper has greyed with time ; and, besides, process was unknown, wood- 
 engravers were unable to follow these lines, and the drawings were made 
 purely for the love of the thing. 
 
 From original drawing. 
 
^0- V« ^ 
 
 
 THE BIRMINGHAM SCHOOL 
 
 I AM very glad to have the opportunity of including the work of several 
 leading members of what has been called the Birmingham School. 
 
 These artists have set up a standard for themselves, and are endeavouring 
 to follow out their beliefs. 
 
 Their theory of work is, I believe (though after all it is but the scheme 
 of Morris and Crane), that all illustration must be decoration — i.e. conven- 
 tional. That it must harmonise in colour and in line with the type, and that 
 it must be printed simply and naturally with it. That all realism — and by 
 this term I believe all mechanical improvements are excluded — is out of 
 place in a book. That pictures, which they hold are not decorative, that 
 is conventional, in black and white are to be kept in portfolios or hung 
 on walls. That all work should be so drawn that it can be printed on 
 hand-made paper, without overlays or other aids. And finally, that the 
 decoration is but a part of the page of no more importance than the type, 
 and that to the spacing of the type and placing of the blocks the greatest 
 care should be given. 
 
 Having placed these limitations on themselves, they have gone to 
 work in their own way, and one sees the results. 
 
x-jG ' 
 
I'roni original drawing. 
 
PEN DRAWING IN ENGLAND 
 
 377 
 
 I respect their sell-restraint in so limiting themselves, hut what is 
 gained I fail to see, or how a work of art can be anything but decorative 
 — if it is a work of art — whether conventional or not, 1 cannot under- 
 stand. There is great danger of mannerism and monotony. Some of 
 the blocks, notably these by Messrs. New and Muckley, reproduced by 
 Waterlow and Sons, are very much better printed here than they ever 
 were before, owing to decent overlaying. While the process -repro- 
 ductions, really well and carefully done by M. Chefdeville, have made 
 another thing out of Mr. Gaskin’s designs for Anderson's 'Tales, which 
 were not so satisfactorily reproduced before. 
 
 From original drawing. 
 
MISS R. M. M. PITMAN 
 
 Miss Pitman’s sense of colour and line is excellent, her drawing of 
 detail is remarkable, the study of hands is careful. 
 
 Then, too, she arranges her subjects well. This theme of Apollo 
 is as old as the world, and yet her rendering of it is quite new ; and 
 while she can draw with great care and elaboration when necessary, 
 she can also suggest with style, directness, and simplicity, as in the 
 horses, while there is much movement and lightness in the clouds. 
 Her feeling for big lines is good, and it is not too much like the Japanese; 
 the way in which the subject has been placed in the great field of black 
 produces a most pleasing sensation of delicacy. Altogether Miss 
 Pitman, who is one of the youngest of English illustrators, is one 
 of the most interesting ; she has something to say in her own way, 
 and she is rapidly learning to say it. 
 
LAURENCE HOUSMAN 
 
 Mr, Housman cares for the books he illustrates, and cares for the illustra- 
 tions with which he decorates them. The arrangement of his pages in 
 'I'he Goblin Market proves this ; and though at times one may find him 
 too archaic, possibly striving too much after the primitive woodcut, still 
 the result is interesting. His little text designs, head and tail pieces, 
 are very charming, and one feels that he has studied Calvert and Blake 
 intelligently. 
 
From original lira wing. 
 
 H. R. MILLAR 
 
 Mr. Millar, a student of Vierge, has adapted that master’s methods to 
 Ids own requirements ; and though one notes the influence of the great 
 Spaniard, Mr. Millar does not follow him blindly, but with intelligence, 
 and such a method always produces good results, as in the drawing. 
 
F. H. TOWNSEND 
 
 It is always interesting to publish the work a man considers to be his 
 best. It is the fashion, however, to assert that an artist never knows 
 when he has done a good thing. I do not believe in following this 
 fashion ; certainly, I think the above one of the best drawings Mr. 
 Townsend has made. It is interesting, because of his painter-like handling, 
 both in touch and colour. The fat grey line should be noted. 
 
From original drawings. 
 
 PERCY KEMP 
 
 Mr. Kemp has proved conclusively that sport is no enemy of art, and he 
 has treated the most modern of sports in a most masterly and yet most 
 amusing fashion. In many ways the work is quite equal to that of Caran 
 D’Ache. To find other examples one must mainly hunt for them in Cycling. 
 
 
PEN DRAWING FOR BOOK DECORATION 
 
PEN DRAWING FOR BOOK DECORATION 
 
 E GENTLY certain artists have 
 sought to separate the conven- 
 tional decoration of books from 
 their pictorial illustration, and to treat 
 each as a distinct art, or rather to con- 
 sider the former to be a fine art, the latter 
 a nuisance. Though, in a measure, the 
 illustrator has become divorced from the 
 decorator, there is no real reason for this separation. In the early age of 
 book decoration, I believe the decorator 
 and illustrator worked together, and were 
 in the best examples one and the same 
 man. No one would ever deny that 
 Holbein, or whoever illustrated many 
 of the beautiful books of the fifteenth 
 and sixteenth centuries, was not both \l 
 decorator and illustrator ; if the work 
 was not actually done by the same hand, 
 it was the product of the same mind. 
 
 No one but a master of anatomy, of 
 figure drawing, could have produced 
 the figures which are interwoven in 
 the decoration of almost all these 
 works. I refer, not to the pictures 
 inserted in the text, in the initial 
 letters or in the margins, but to the 
 conventional decorative figures themselves. Neither do I mean to say 
 that Holbein did all the work with his own hand ; I would as soon 
 
 assert that he drew and cut all 
 sketched it and touched it up. 
 
 his wood blocks, hut he invented it. 
 And as with Holbein, so with the 
 3 D 
 
386 
 
 PEN DRAWING 
 
 
 
 iL 
 
 other great book decorators in the past, 
 whose names have mostly been forgotten as 
 their work was probably ignored when it was 
 produced. 
 
 But while I have no intention of endeavour- 
 ing to separate the illustrator and the decorator, 
 since I believe no such separation should be 
 recognised, there is a distinction between 
 drawings which, while they ornament the 
 text, are specially intended for its elucidation, 
 and those which, though they may illustrate 
 the text, are intended primarily to ornament 
 the page according to conventional rules. Of 
 these latter I propose to speak here. Of the 
 drawings reproduced in other chapters, there 
 is not one which would not be a decoration 
 in any book ; many I now give are illustrative ; 
 and yet a certain difference in motives and in 
 treatment, even when conventional laws are 
 set aside, is apparent. 
 
 The old MSS., the missals, and early printed 
 books were treated very much as are modern 
 illustrated publications. The MSS. were made 
 rich with ornament, sometimes confined to a 
 very elaborate initial letter, sometimes extend- 
 ing down the margins, and they also contained 
 many pictures wholly realistic in treatment, 
 either placed in the page very much as are 
 the cuts in our magazines, or else so inter- 
 woven with the ornament as to be almost 
 inseparable from it. And so it was with 
 the early printed books. At times the text 
 was enclosed in a border of graceful spirals 
 or purely conventional forms ; at others it 
 enclosed a picture ; often picture and orna- 
 ment were not to be separated. Beautiful, 
 however, as many of these designs were, 
 after they had served their purpose in 
 
PEN DRAWING FOR BOOK DECORATION 
 
 the book for which they were designed, they were 
 cut into pieces and used with as much disregard of 
 beauty and fitness as is shown by any present-day 
 cliche dealer. These MSS. and books, therefore, are 
 a mine to the modern illustrator, but it is a mine 
 which I do not intend to work. In the first place, 
 those in which the most beautiful examples occur 
 were either printed in colour, or afterwards coloured 
 by hand, and were not meant to be seen in black and 
 white, consequently when one does reproduce them in 
 black and white the efiect is frequently extremely poor. 
 Such use of old decoration which has no mechanical 
 relation to modern printing, instead of being praise- 
 worthy, really calls for all the condemnation which 
 I have lately heard devoted to what is known in this 
 country as American work — that is, work in which 
 the artist, the engraver, and the printer have striven 
 together, as they did of old, to produce beautiful and 
 appropriate results, such as are to be seen in the books 
 of Abbey and Parsons and of Howard Pyle. Modern 
 work of this kind, however, is really no more American 
 than it is French or German ; look, for example, at 
 Leloir’s Sentimefital journey or Manon Lcscaut^ or at 
 Poirson’s Vicar of Wakefield, from which I regret to 
 say I have been unable to show examples, not finding it 
 possible to obtain the necessary permission from the 
 publishers. This old work was mainly conventional 
 or symbolical ; to-day we have found that realistic 
 drawings decorate a page as well as geometrical forms, 
 and that a flower by Alfred Parsons or a vase by Jules 
 Jacquemart is quite as decorative as the illustrations 
 in any old missal, and infinitely superior to the realistic 
 decoration which the old men themselves used. 
 
Mornine: in London. 
 
 A second reason for not giving examples of old book decoration 
 is that, even when not coloured, it was drawn on the wood and 
 seldom engraved by the artist himself, and therefore, to a certain 
 extent, was not autographic. Of course drawing on the wood in the 
 time of Diirer and Holbein, especially when intended for the decor- 
 ation of the text, was more or less conventional, as a reference to the 
 etched work of the same men will show. The artist, when working 
 for the engraver, could, by drawing less freely, do much to help 
 him to obtain accurate results and to lighten his labour. As we 
 are often reminded, artists and craftsmen then worked together. 
 Books were produced entirely by art workmen in a workshop, a 
 beautiful example of which remains to-day in the Plantin Museum 
 at Antwerp, with its typefounding rooms, its artists’ designing 
 rooms and designs, its printing presses, and its “ hutches ” for tame 
 authors and artists and proof-readers ; it was the house, the home. 
 
and the workshop of the publisher. But, save that publishers 
 and authors and artists do not live on the premises, the same 
 state of affairs, carried out in a much broader manner than even 
 Plantin would have thought possible, will be found in many ot the 
 great publishing houses to-day. However, because we see the 
 business details and the shoppy working of such firms, and because 
 they have produced results undreamed ot by Diirer or Plantin, only 
 the beautiful side of whose work survives, we younger men are 
 told by unsuccessful engravers, visionary dreamers, incompetent 
 middlemen, or mediocre illustrators, that we must go back to 
 the time of Diirer, that we must give up our improved printing 
 presses, our process work, our overlays, and our art tor the people, 
 made by the people and enjoyed by the people, and return to 
 the work which was made only tor the tew and given to the 
 few — to the fine illustrated volumes intended rather as curiosities 
 for presentation to popes and kings and nobles, than books which 
 the people, or even artists, should ever see. It this is to be, 
 why should we stop with the Renaissance, with the decorative 
 work of Rome, with those mummy cases ot P-gypt which show 
 how much more the Greeks knew about painting than Giotto, 
 or why should we look at the beauty of Greek art at all ? Why, 
 the reasoning of these people would carry us back to painting 
 
39 ° 
 
 PEN DRAWING 
 
 ourselves blue and drawing with a burnt stick on the walls of 
 a cave. 
 
 The great difference between the conditions of early and 
 modern bookmaking is too often lost sight of, and yet, without 
 understanding it, it is impossible to justly value the great develop- 
 ment accomplished in illustration and decoration within the last 
 few years. The old illustrators attempted the same scheme of 
 illustration as that which is carried out to-day ; they would have 
 used the same realism had it been possible — or the same idealism, 
 whichever you choose to call it, for I suppose it is universally 
 admitted that between idealism and realism of the highest kind 
 there is no difference ; — they arranged their pages in the same 
 manner, a manner which is praised in their work and condemned 
 in ours ; but they had not the same technical knowledge or the 
 same mechanical facilities. To begin with, the methods of the 
 printers of the fifteenth century could not be applied to the 
 large editions of to-day. The old books, which either were care- 
 fully chained in one place or were the rare possessions of the great 
 of the earth, could be decorated to any extent ; their size was 
 not an important consideration. But if the books of to-day — 
 intended for wide circulation — were equally decorated, with 
 every page of text enclosed in a border as in books of the fifteenth 
 
PEN DRAWING FOR BOOK DECORA I'lON 
 
 391 
 
 and sixteenth centuries, they would be so swollen as to he almost 
 entirely unmanageable. This is a fact regretted by a select few, 
 though even if the old methods could be applied to modern editions, 
 they would not equal those now adopted. We are told much about 
 Caxton and Diirer, Holbein and Plantin. But were these men living 
 to-day, instead of looking back to Gutenberg and MS. illuminators 
 who were their predecessors, they would use steam presses and avail 
 themselves of every appliance of mechanics, science and art, as they 
 did in their own day, thus placing themselves far in advance of their 
 time and their contemporaries. The draughtsman to-day who is 
 most in sympathy with Diirer is he who adapts his work to the 
 methods of Theodore de Vinne in New York or the Guillaume 
 Freres in Paris, or the Constables and Clarks of Edinburgh. It 
 is owing to the progressive men who have not spent their time 
 lamenting the past and mourning present degeneracy, hut have 
 always sought to advance, that the world has developed at all. To 
 have the inventions and improvements of to-day called bad because 
 they were mechanical impossibilities three hundred years ago is 
 rubbish ; and it is on such rubbish that modern art is nourished. 
 
 For a time, especially about the beginning of this century, it 
 seemed as if the art of book decoration was dormant. There was. 
 
it is true, what was accepted as decoration, but it was really desecra- 
 tion. Old books were borrowed from unreservedly and their designs 
 used without the least sense of fitness or proportion, as has always 
 been done however by the cheap and nasty publisher and printer. 
 The cheap editor is a product of this century I imagine — and 
 especially of the last few years. A publisher would not have 
 hesitated to embellish a cook-book with head and tail pieces from 
 the Divine Comedy. He employed decorators — really desecrators 
 — to scrawl all over the inside and outside of his book covers, and to 
 spread themselves unrestrainedly on the pages in the most obnoxious 
 manner. This sort of thing came to a crisis in the Books of Beauty. 
 The consequence was that many draughtsmen in disgust gave up all 
 attempt at decoration. But within the last few years a new impetus 
 has been given to the decoration of books, — using the term to 
 express the distinction I have pointed out, — and it is to this modern 
 work that I will pay most attention, since it alone, having been 
 done for reproduction by process, comes within my present scope. 
 
 The principal conventional motives were very early evolved in 
 every country ; we have, as a rule, endeavoured to make little or no 
 advance upon them, and they are still accepted as standards only 
 admissible of slight changes. This, however, is far from meaning 
 that all that is possible to-day is to copy what has already been 
 done. No matter how conventional the treatment or what the 
 motive, the decoration should have some relation not only to the 
 size and shape of the page, but to the subject of the text. If we 
 surround our pages with designs of the sixteenth century — as some 
 draughtsmen still do and would have all others do — which have 
 no relation to the text, it is not decoration but senseless display. 
 Diirer’s designs for the Missal of Maximilian might be appropriate 
 to a nineteenth-century prayer-book, but there must be a great 
 lack of ideas on the part of the nineteenth-century illustrator who 
 cannot work into sixteenth-century forms nineteenth-century feeling. 
 It is always wise to go to Diirer, to Meckenen, to Mantegna, or to 
 
any of the illustrators of the 
 fifteenth and sixteenth centuries 
 for motives, but to literally copy 
 their designs and to print them 
 on a modern page reveals an absolute sterility ot invention or a 
 conservative servility which is disgusting. The accompanying 
 cuts of the two little angels carrying the crown and St. George 
 and the Dragon show how admirably some of Durer’s work 
 would be adapted to many ot our needs ; hut on looking 
 through Howard Pyle’s Otto of the Silver Hand, one finds the 
 little tailpieces there have much the same motives and are 
 carried out in much the same spirit, and yet are altogether 
 original in subject, while they are reproduced mechanically with 
 an ease which would have surprised Diirer. There is probably 
 no draughtsman as successful as Howard Pyle in working in 
 the manner of the sixteenth -century artists, always, however, 
 adding something distinctly his own. His mediaiwal tales have 
 given him good reason to adhere to the old models. The hook 
 I have just mentioned would not have been so appropriately 
 illustrated with designs less conventional in treatment and more 
 modern in feeling ; the full pages, though reproduced by 
 process, look like old wood blocks ; the head and tail pieces 
 at a glance might he mistaken for Durer’s. But that Pyle knows 
 how utterly out of place these designs would he in books relating 
 to other periods is proved by the very different methods he 
 employs for other subjects. His Pepper and Salt gives an excellent 
 idea of the great extent of his knowledge and his perfect understand- 
 ing of the limitations and possibilities of the decoration of a page. 
 
 3 E 
 
An equally good example of the perfect 
 use of old methods engrafted on modern work 
 is to be found in the cover — too large to be 
 reproduced here — of any number of the Mun- 
 chener Kalender. In it again all the old feeling is preserved, and 
 yet we find the proper adaptation to modern requirements in the 
 coat of arms, the eagle, and the emblems of the printer by whom it 
 is issued. But still, I cannot help saying that, from my standpoint 
 at any rate, such schemes of decoration as those by Grasset are even 
 more appropriate. In his work we have, in the first place, the old 
 decorative line in the borders, in the centre are the charming little 
 suggestions of a picture carried out exactly in the way the old men 
 would have done it, realistic figures and landscape being given in a 
 shape which accords with, and decorates and illustrates the page at 
 the same time. A realistic picture can be just as decorative as any 
 
number of conven- 
 illustrations of the 
 seem more conven- 
 because tecbnical 
 them less freedom 
 I say and I maintain 
 earthly reason, save 
 hide-bound tradition 
 which prevents the 
 producing decora- 
 The designs are not 
 are perfectly appro- 
 and they prove 
 produce decoration 
 lation to the nine- 
 well as to the Cata- 
 SaloJi which he was 
 the decorative illus- 
 century artists had 
 their time. The 
 ventionalism and 
 is to be found in al- 
 But because, if I 
 
 tional lines. The 
 earlier illustrators 
 tional to us, simply 
 conditions allowed 
 than is now possible, 
 that there is no 
 narrow, conservative, 
 or inability to draw, 
 modern man from 
 tion of this sort, 
 only well drawn, but 
 priate in tbeir places, 
 Grasset’s power to 
 which has some re- 
 teenth century as 
 logue of the Paris 
 illustrating; just as 
 trations of sixteenth- 
 some relation to 
 mixing up of con- 
 realism in decoration 
 
 most any old book. 
 
 may so express it, realism prevails in the 
 decorative work of Alfred Parsons, though he is able to draw 
 flowers as no one else ever drew them, and to fill his page with 
 the mingling of decoration and realism that Dlirer never dreamt of. 
 
396 
 
 PEN DRAWING 
 
 though his every line is 
 as beautiful as Diirer’s, 
 are we not to use it, 
 not to study it ? As 
 far as I can see, the 
 only reason why it 
 should be considered 
 not altogether right is 
 because it is produced 
 to-day, and because there 
 is no one else in the 
 world who can do any- 
 thing like it. It is in- 
 teresting to compare the 
 block after Parsons in 
 the English Chapter 
 with the designs by 
 Walter Crane worked 
 out in such a different 
 spirit. The organic 
 lines in the latter are 
 very beautiful, but the 
 Parsons plate, and also 
 the heading I?z Shake- 
 speare’s Country, show 
 there is another and 
 newer way of decorative 
 drawing which I, for 
 my part, think a great 
 deal better and more 
 appropriate to books 
 published to-day. The 
 examples of Crane’s 
 work are two of a series 
 of designs made, not for 
 any special books, but 
 for Messrs. Clark, that 
 is for trade purposes. 
 Fine as all are, they 
 have, with the excep- 
 tion of two, absolutely 
 no relation, as far as I 
 can see, to the work of 
 
 From Stuclc’s Cartes and Vignettes^ published by Gerlach and Schenk. 
 
PEN DRAWING FOR BOOK DECORA'EION 
 
 397 
 
 the printer, the engraver or the publisher, and a design should 
 explain itself to any one. On the other hand, in his Echoes 
 of Hellas^ he has really carried out his splendid ideas of decora- 
 tion, while the design is appropriate. I simply want to point 
 out that he seems to object to applying modern life and 
 feeling to decoration. I am here referring only to his pen 
 drawing. The only notable examples in which he has suc- 
 ceeded in doing this are the old cover of St. Nicholas and the 
 cover of the Chants of Labour. But even in them there 
 is a conventionality for which I do not admit the necessity. 
 
 
 From Stock’s Cartes and Vignettes, published by Gerlach and Schenk. 
 
 I do not consider that conventional or geometrical 
 lines are more decorative than any others; and this. 
 Parsons’ work proves, as also does that of men like 
 Caran D’Ache and Rochegrosse and Alars, who work 
 the lite of to-day into their initials and decorations 
 instead of trying to copy old conventionality. 
 Look at the swallow by Habert-Dys, or the tailpieces by Unger, and the designs 
 by Stuck. 
 
 Franz Stuck is not only a mystic and a comic draughtsman, but a man who turns 
 
398 
 
 PEN DRAWING 
 
 his undoubted talents to very practical purposes. Menus and invitations, 
 show cards and advertisements he produces in such numbers that one would 
 be bored with them if it were not for their unceasing variety. Bad drawing 
 does not struggle with mediasvalism ; and he prefers the latest process 
 development to the earliest woodcut imperfection. 
 
 Otto Greiner’s work shows how impossible it is for the German to get 
 away from the Diirer tradition. No matter how modern the greater part 
 of the design is, the general arrangement is quite as traditional as the helmet 
 which Diirer himselt copied from the Memorial Stone in the local church- 
 yard. 
 

 
 
 
 wlp 
 
 ^f^ii 
 
 
 
 
 
 
 
 
 
 
 
 s 
 
 
 
 
 
400 
 
 PEN DRAWING 
 
 The silhouetting of white on black is not an easy matter, hut Otto Seitz has accom- 
 plished it well, carrying out in process the traditions of the early printers, like Radholt ; 
 producing in this way very interesting results. 
 
 J, Sattler, too, has been most amusing in this way. 
 
 Otto 
 
PEN DRAWING FOR BOOR DECORATION 
 
 401 
 
 3 f 
 
402 
 
 PEN DRAWING 
 
 ^OTQQCTIOC V6C the trued intent 
 Qp^^uch. at-ruxh asJAave meant 
 TTIy (Sreat tTauauL <so dLadlY ufoerzt 
 ^ c/or-^et not '(fit 
 
 S'o-r6et 'not wet oohen first 6efi> 
 fy/d £fhe coeary Life /e hnouj sine 
 
 _ _ Loearx Life Ye hfiouj sinee uinerv 
 
 cfhesuLt.Che seruiee none teLL cam 
 t/or^et not i^eC 
 
 <for^t~iuot<{et the 6reat assays 
 S/heer-ueL lor-onfi ane-scornfuL ix>a(s 
 S/he fia^nfuL /DauBnce^ on. cieLoo{s, 
 
 ^ ^ t^or^et not (et 
 
 tforfet not then thine oion anproued 
 dhe cohieh. so Lon^ hath, thee so LouecL 
 Xhhose steadfast factto i^et never rncved 
 ^ X' ^tOT^et not wet 
 
 (Jl'hc/h.crrnad ~tuixat . 
 
 t/ordet not! 0 fbrdeC not thus 
 ffipoo tend ado /ixtCh been, and cs 
 ahe-rntfid ChciX rxeuer meant amoss 
 tdorfiSet not <^ec 
 
ACH number of the E?iglish Illustrated Magazhie 
 always contained reproductions of old work and 
 new designs which were appropriate to, and specially designed for, 
 the articles they decorated/ Among them I cannot help mention- 
 ing — though they are not drawn in pen and ink — several by A. 
 C. Morrow for articles on different industries ; these were most 
 decorative and most appropriate, and I only regret they were not 
 done in pen and ink, so that I might use them. Caldecott and 
 Herbert Railton and Hugh Thomson, the two latter in their 
 Coaching Ways and Coaching Days^ have produced head and tail 
 pieces which were most appropriate, as well as good in design. But 
 the best decorative work in the English Illustrated is to be seen in 
 many drawings by Alfred Parsons, Hey wood Sumner, and Henry 
 Ryland. To my mind Heywood Sumner’s illustrations to his 
 article on Undine are the most beautiful decorations it has yet 
 published. And if all of his drawings are worked out in a more 
 quaint than decorative style, they often convey the ideas of the 
 life, character, and feeling of the time and country he was illus- 
 trating or decorating, though sometimes, notably in The Besom- 
 Maker^ he seems to have striven only to perpetuate the imperfections 
 and crudities. 
 
 A set of men in England who have persistently set themselves 
 up solely as conventional decorators are the artists of the Century 
 Guild, and three of their designs they have kindly lent me. 
 Selwyn Image, Arthur Mackmurdo, and Herbert Horne are the 
 
 1 I refer to this Magazine when it was published by Messrs. Macmillan. 
 
PEN DRAWING FOR BOOK DECORATION 
 
 405 
 
 best known of these men who, I know not why, refuse to make use 
 of any of the adjuncts with which science has in our time furnished 
 the book-maker. The full-page drawing of Diana is so remarkably 
 
 well done that one sees, if it were not that 
 Herbert Horne refuses to make himself compre- 
 hensible to the ordinary mortal, he might easily 
 do much more good in the world and fill a far 
 wider sphere than the narrow niche in which he 
 deliberately places himself. It would be difficult 
 to explain in what way art is served by using bad 
 paper ; and from the standpoint of printing illustra- 
 tions, the paper of the Hobby-Horse is thoroughly 
 bad, handmade papers of all sorts being unsuitable for the printing of 
 pen drawings, or any illustrations printed from blocks, in fact. The 
 initial by Horne is of equal value with that by Bridwell given farther 
 on, but it is no better. The tailpiece also is extremely good, that is, 
 the spaces are well kept. It may have some hidden meaning; to me, 
 however, its only meaning is the beauty of line. Nor do I understand 
 the printing of the Hobby-Horse page ; it is very good as a mass, but very 
 bad for practical purposes, that is, for reading. In many of the decorative 
 designs, notably the cover by Selwyn Image, I fail to grasp the significance 
 or to discover any relation to any age ; and certainly, if Diirer was right, 
 the Hobby-Horse men are all wrong. I prefer to believe that a man like 
 Albert Diirer, whose work was understood by the people of his age, or 
 Parsons, whose work is understood 
 by those of to-day, really does 
 more good than one whose de- 
 signs can only be made intelligible 
 by a continual reference to the 
 history of symbolism. 
 
 Th ose who have strong faith 
 in the degeneracy of modern art 
 often contend that we cannot make 
 purely decorative initials equal to 
 those of the men of the sixteenth 
 century. That the initials of the 
 old men were very beautiful and 
 very decorative no one would be 
 foolish enough to deny. 
 
 Moreover, that in the original 
 drawings there was far more re- 
 finement than could be given in the woodcuts, we know from the little 
 blocks with the drawings on them, for one reason or another left uncut. 
 
and now to be seen in the Plantin Museum, In delicacy of execution 
 this work is very much akin to modern pen drawing, and would be reviled, 
 was its existence known to them, by those who now can find praise only 
 for the really excessively bad reproductions of that early period. Indeed, 
 there is no better proof of the fact that, before the days-’ of process, much 
 of the draughtsman’s work was lost in the cutting than a comparison 
 between these drawings on the block and the printed initials of the same 
 date, while the realistic treatment in the original drawing also shows that 
 
 much of the old conventionalism 
 was due to the limitations ot 
 the woodcutter. But that the de- 
 signing of initials is not a lost art 
 is demonstrated by reference to the 
 initials by Bridwell, designed for 
 and published in the Century Maga- 
 zine, two of which the Century 
 Company have allowed me to re- 
 produce, as well as those by the 
 Century Guild artists to which I 
 have just referred. They are quite 
 equal to any initials ever designed. 
 The actual drawing in Bridwell’s 
 lines might in places be somewhat 
 firmer, but it must be admitted 
 that some of Diirer’s work of this 
 kind is about as slovenly as possible. Take Bridwell’s letter S, for an 
 initial to decorate an article on nature, or more especially on a pine 
 
 
 
 S 
 
wood, could anything be more appropriate ? And it is utterly and 
 entirely different in motive from the other ; one is classic, while the 
 other shows the tree motive of the Japanese. 
 
 I have not published any Japanese designs because they are not 
 appropriate to a European work, not having been designed for it. But 
 it is quite as admissible to use Japanese as classical motives, if we can 
 adapt them to our purpose. Neither have I given any ot the Europeanised 
 Japanese of Felix Regamey who, of course, did so much to introduce this 
 style to Western illustrators. His work to me is always purely that of a 
 
 European who attempts to be Japanese, and not the 
 engrafting of European ideas on Japanese motives. 
 MONO all the men who have used Japanese sug- 
 gestions, there is not one who has yet succeeded 
 better than Habert-Dys. I con- 
 fess I do not like the circular form 
 of this design, because it is im- 
 possible to properly build it into 
 the type, and though I grant, from 
 this point of view, it is imperfect, 
 it contains so many beautiful lines 
 and so many good qualities that 
 I do not hesitate to use it. An- 
 other method ot work adopted 
 by Habert-Dys is his decorative 
 treatment ot birds. He most 
 probably got his idea from Gia- 
 comelli, but he has improved on 
 it and has added the Japanese 
 feeling to the whole composition. 
 
PEN DRAWING 
 
 408 
 
 which has been copied all over the world. F. S. Church too has worked 
 out this idea, but I do not think really as well as Habert-Dys. The 
 little drawings of a cock-fight by Renouard are as Japanese as they can 
 be, but yet no Jap would have drawn them exactly like this. They are 
 as French as they are Japanese. 
 
 JRECT copying is, I insist, always 
 bad, but in the initial and the tail- 
 piece by Bracquemond there is most 
 skilful combination of German and 
 Japanese, while the whole result is 
 French. 
 
 Not only the time but a country’s 
 national characteristics can be perfectly 
 easily expressed in book decoration. 
 The two designs by E. Unger are 
 as German as they possibly can be. 
 A good deal of the tree drawing is 
 A- // "'M bad and careless, though much of this 
 
 may be due to the woodcutting, for 
 it was drawn on wood. But the 
 spaces are well filled, there is absolutely no mistaking the Munich model 
 who has posed for the figure. The same can be said of the drawing by 
 Walter Crane for the Chants of Labour, to which I have already called 
 attention, where the workman is most characteristically an Englishman, 
 and where the whole space is better filled than in the example of Unger’s 
 work, and the design is a great deal more appropriate, for Unger’s was 
 made to be used as a headpiece in U?iiversum very much in the same 
 manner as Walter Crane’s designs were drawn for Messrs. Clark. 
 
 I have said nothing as yet about decorative lettering. The pages of 
 MSS. and early printed books are 
 often held up as models, but effect- 
 ive as they are from a decorative 
 standpoint, they are only too fre- 
 quently extremely difficult to read, 
 and, whatever books may have 
 been to their owners in the fif- 
 teenth and sixteenth centuries, they 
 to-day are intended above all to be 
 read. Those who believe decora- 
 tion must be primarily useful, can- 
 not but admit that a legible page 
 
 • C C 11 1 • * * 
 
 IS or rar more value than a beauti- 
 ful page which is unreadable. The MSS. are often, simply in their 
 
lettering, far more beautiful than any printed books. But the men who 
 are held up to-day as masters of hook decoration were only too ready to 
 sacrifice this beauty in order to make use of the invention of printing, and 
 by it to save time and labour. The profession of the scribe was doomed 
 from the moment the first printed book was published. Just as the 
 illustrators after Gutenberg recognised the folly of having the text, which 
 accompanied their drawings, cut on wood instead of being set up in type. 
 
 3 
 
jHC£ wiisn^imiV loYboJing' Littl Jiclj 
 
 |Lj|Don ki'5pkf£c! wor Id ,tb wil", 
 
 Wl tin ,m ocean , saKfIn. aip 
 
 Sve ts/tr I'aqia or j^lowcr did if”: 
 
 wktn '|fom cour^liss lij'CsTrst Jid^fow 
 
 Ittom wriliiin^ worms about i\s roofs bilow, 
 
 I^m oLrdgon.- rk<ixp£S tkat clasp ihs j-ossil ^cm, 
 Ltar loves jruii',c^ k uman j'lowtrs aroio. 
 
 ^1, t''T£. *^kou^kfs Wtn^e dk inj amon^’ ifs brincKiS h 
 e^till |i.rtiji:^£j l^*^tau1^5 poTtnl' ipilk 
 Cast T'£-cas1' in ntsirsi Sqppit moqldi 
 
 '2k rou^k deatk c$ckan^&,d birtks 1VaAj|oirmiu^a//. 
 
 ^^was pictqrsc! ktTt - W'tii Dou^ks oufspTlKaci m.Tt> 
 ^lo 55 omtcl witk ^afi upontke Ays swart* jAe., 
 T^itk glot. in^ words 'lor j'ru! f, tkat cool or ^lov/ 
 c/1 s A day, I i kg. kav/gs tkeir skadows ckase. 
 
 nr\f7( /.A (/?///, 
 
 
 IC , 
 
 
From Harper’s Magazine. 
 
 Copyright, 1893, by Harper & Brothers. 
 
 so it would be useless tor the illustrator of the modern magazine 
 to seek to return to the methods ot the first printers. There is 
 not much doubt that a book with all the lettering reproduced 
 from the MSS. would be much more trying for readers than a 
 book with all the text set up in type. However, for an occa- 
 sional page or for a title page, the artists’ lettering instead of 
 the ordinary type is very charming. Walter Crane works, 
 probably to a greater extent than any one else, in this manner. 
 But I do not altogether like his lettering ; it is nearly always 
 the same, it is not easy to read, and I do not think it is well 
 spaced. Compare the sameness of his or Heywood Sumner’s 
 lettering with the infinite variety used by Alfred Parsons, or 
 Howard Pyle, or Alfred Brennan. The latter vary their letter- 
 ing to suit their text, and this Walter Crane and Heywood 
 Sumner never do. Nor do they even draw it carefully. 
 Though they believe type and decoration to be of equal 
 importance they slight the lettering. 
 
 From Harper’t Magazine. Copyright, 1893, by Harper & Brothers. 
 
412 
 
 PEN DRAWING 
 
 Many examples of good conventional decorative work I cannot give, 
 simply because they were designed for pages of a certain size and shape, and 
 therefore would not be seen here in its proper relations, and justice could 
 
 not be done to it. I can, however, refer 
 the student to almost all American artists 
 or other draughtsmen who contribute to 
 American magazines. Reginald Birch 
 has done much work which is filled with 
 the feeling of the German Renaissance, 
 in him developed by study in Munich. 
 Ludwig S. Ipsen has brought his know- 
 ledge of Celtic art to the decoration of 
 American books, where, however, one feels it to be a foreign element. 
 Roger Riordan’s designs for stained glass ought to be mentioned in this 
 connection, for, reproduced in black and 
 white, they become beautiful page de- 
 corations. George Wharton Edwards’ 
 decorative pen work is frequently very 
 good, though it is not always very original. 
 
 It would be an unpardonable omission 
 to leave out Elihu Vedder, the greatest 
 American decorator, in some ways the 
 greatest decorator of modern times, if 
 I were concerned with all forms of book 
 decoration. But I am only treating of 
 pen work, and Vedder seldom works with a pen, nor is his brush work 
 carried out with the pen feeling. In France the late Paul Baudry did 
 some very fine book decoration, but, as far as I know, his life was not 
 
 devoted to this work, of which he has left compara- 
 tively few examples. Much the same can be said of 
 Luc Ollivier Merson, whose drawings from his paint- 
 ings are very decorative in feeling. In Germany 
 there is an endless number of draughtsmen who use 
 the work of Diirer to a greater or less degree, copy- 
 ing it without the least attempt to adapt it to the 
 special subjects they are illustrating. But I cannot 
 attempt to give a complete list of the decorators 
 for the simple reason that all illustrators are decor- 
 ators. 
 
 Decoration is appropriateness, and it really makes 
 no difference whether it is realistic or conventional, 
 so long as it improves the appearance of the page. But at the same 
 time I consider the modern thoroughly developed realistic work in its 
 
PEN DRAWING FOR BOOK DECORATION 
 
 413 
 
 best form superior to that of the old men, because it shows most 
 plainly the advances we have made in knowledge and technique. 
 However, I cannot conceive how any liberal-minded person can 
 fail to appreciate the fine qualities contained in the two drawings 
 of birds by Habert-Dys and Herbert Horne, one done with all 
 the feeling of the nineteenth century, the other, good as it is, 
 but a copy of the sixteenth. Both are equally decorative. 
 
 Nowhere for a moment will such a statement be questioned, 
 except in this country. But here, within the last thirty years, 
 people have been continuously taught to believe that book decora- 
 tion, like all other art work, to be artistic must have a spiritual, 
 moral, social, political, literary, or sixteenth-century value, while 
 beauty of line and perfection of execution have been subordinated 
 to these qualities ; as a result the many pay no attention to the 
 real artistic merits or defects of a drawing, but simply consider 
 it from an entirely inartistic standpoint. The excuse is the 
 elevation of the masses and the reformation of the classes. Art 
 
will never accomplish either of these desirable ends, its only function being to give 
 pleasure, but this pleasure will be obtained from good work produced in any fashion. 
 If the work is equally well, or, as usually happens, better done in a modern style, 
 it will give more pleasure to a greater number, simply because it will be far more 
 widely understood. 
 
 At the moment of going to press Mr. William Morris has lent me a page of 
 his type and decoration. The effect is very beautiful, having regard to the limits 
 within which Mr. Morris chooses to work. 
 
 i 
 
 From Harper’s Magazine. Copyright, 1893, by Harper & Brothers. 
 
 
OF THADUENT OF OUR LORDE, 
 
 HE tyme of thaduent or comyng of 
 our lord in to this world is halowed 
 in holy chirche the tyme of iiii wekes 
 in betokeiwng of iiii dyuerse comx 
 ynges, C The i was whan he came 
 and apierid in humayn nature and 
 flessh* The ii is in the herte and 
 conscyence. The iii is at the deth. 
 The iiii is at last Jugement. The last 
 weke may vnnethe beaccomplissed. 
 For the glorye of the sayntes whiche shal be yeuen at the last 
 comyng shal neuer ende ne fynysshe* And to this signyfy/- 
 aunce the first responce of the first weke of aduent hath iiii 
 verse to rekene C Gloria patri & filio for one to the reporte of 
 the iiii wekis, and how be it that there be iiii comynges of our 
 lord, yet the chirche maketh mencionin especial but of tweyne, 
 that is to wete, of that he came in humayne nature to the world, 
 and of that he cometh to the Jugement & dome, as it apperith 
 in thoffyce of the chirche of this tyme. And therfor the fas-' 
 tynges that ben in this tyme, ben of gladnes and of joye in 
 one partie, & that other partie is in bitternesse of herte. By 
 causeof thecomyngeof ourlorde in our nature humayne, they 
 ben of joye and gladnes. And by cause of the comyng at the 
 ^ day of Jugeme nt they be of bitternes and heuynes. 
 
 S towchyngthe comyng of our lord in our bodyly 
 flessh,we may considre thre thynges ofthis com^ 
 yng. That is to wete thoportunyte, the neces^ 
 syte & the vtylyteC! The oportunyte ofcomyng 
 is taken by the reson of the man that first was 
 vanquysshyd in the lawe of nature of the default 
 
 of the knowledge of god, by whiche he fyll in to euyll errours, 
 & therforehewasconstraynedtocryeto godC Illuminaoculos 
 meos, that is to saye, lord gyue ly ght to myn eyen. After cam the 
 lawe of god whiche hath gyuen commandement in which he 
 hath ben overcome of Impuissance, as first he hath cryed ther 
 is non that fulfilleth, but that comandeth. For ther he is only 
 taught but not delyuerd fro synne, ne holpen by grace, and 
 therfore he was constrayned to crye, ther laketh non to comande 
 

MATERIALS FOR PEN DRAWING 
 
MATERIALS FOR PEN DRAWING 
 
 A 
 
 S I have said before, the making of a pen drawing is the simplest 
 process possible. Only four things are absolutely necessary — that 
 is besides the rather indispensable qualification, ability. First, a 
 piece of white paper ; second, a hard lead-pencil, with its adjuncts, a very 
 sharp knife and a rubber; third, a pen ; and fourth, a bottle of ink. 
 
 First, as to the paper : the photo-engraver will tell you that the only 
 paper to be used is hard white Bristol board, which undoubtedly is 
 excellent, and can be worked on more freely with less practice than any 
 other paper. When I say with less practice, I mean you must have just 
 about the same amount of preparation as a great violinist has before he 
 ever appears in public. The comparison is not out of place, for there are 
 not more great pen draughtsmen to-day than there are great violinists. 
 But Bristol board is at times very cumbersome to take about with one ; 
 
 when it is more than two sheets in thickness it will not roll without 
 
 breaking. Though I know every photo-engraver will declare that my 
 advice will “ drive him mad,” I can recommend several other kinds of 
 paper on which good results can be had. As to whose Bristol board you 
 use, it is of no particular importance. Goodall’s is excellent, but as good 
 
 is made by Pierre and Sons, and other firms. I have heard that Reeves’ 
 
 mounting board is also good. You must only be careful to get a board 
 which is uniformly hard, and has been well dried, and through the surface 
 of which the pen will not cut as it does sometimes on badly made boards. 
 With good Bristol board, a good pen, and great practice, you ought to be 
 able to draw as freely in any direction as with a needle on an etching 
 plate. But you cannot do this after six weeks’ or even six months’ work. 
 The chances are you will never be able to. It is interesting to know that 
 
 3 H 
 
4i8 
 
 PEN DRAWING 
 
 Vierge uses Bristol board. You can see the trade mark, Bristol A. L., in a 
 garter, a very well-known mark, shining through a drawing on page 64 of 
 Pablo de Segovia (Unwin’s edition), a book which no one who cares almut 
 pen drawing should fail to possess. 
 
 Probably the next easiest paper to draw on with a pen is London 
 board, which I believe is Whatman paper pressed into sheets. It is usually 
 very good, but you must be very careiul to get it from a reliable dealer, or 
 you will be sure to find soft places. I have always had mine from New- 
 man in Soho Square and have found it excellent. However, any thin 
 smooth paper, mounted and pressed, is extremely good, and if you go to 
 Robertson and Co., Long Acre, they will mount and press it for you better 
 than any one I know of. Turnbull’s tablets made in this way are, so far 
 as I have tried them, good, cheap, and reliable. 
 
 The next paper I might mention is one against which I know photo- 
 engravers will and do exclaim, that is good, hard, smooth writing-paper 
 without any lines or water-marks. Why they object I do not know, as 
 either they or the artist, after the drawing has been made, can with a little 
 care mount the paper, thus making it as solid as Bristol board. The 
 results are certainly equal to those to be obtained on Bristol board. I have 
 made many drawings on this paper. Moreover, a great convenience is that 
 in making a tracing from an original sketch in which you may wish to 
 preserve its fresh feeling, you can fasten a sheet of thin hard corre- 
 spondence paper over your original sketch, and the paper being so thin, you 
 can see the drawing right through and work on the top of it. Lalanne 
 and many others used paper of this kind. 
 
 Another paper is good hard Whatman paper with a slight grain. 
 The photo- engraver will object to this too, but in the reproduction the 
 result is a broken line, which, in the case of old houses, gives a richness to 
 be had in no other way. This is a point on which most writers on art 
 would give very explicit and elaborate directions. But all I shall say is, if 
 you use Whatman paper, get whatever kind or quality suits you best. It 
 is all very hard to work on at first, because the pen catches in the inter- 
 stices of the grain, splutters and drags over the paper, and often runs into it, 
 making a great blot very difficult to erase. I find Newman’s art tablets, 
 which consist of Whatman paper pasted on both sides of a stiff board, 
 excellent. You can work on both sides and then split the tablet down the 
 middle. It may be well to note that to remove blots, or to tone down 
 lines that are too hard, a very useful instrument is a razor; though there is 
 a French eraser with a curved blade, made for working on papier Gillot, 
 
MATERIALS FOR PEN DRAWING 
 
 419 
 
 which is still better. The simplest plan, however, is to paste a piece of 
 
 paper over the blot, and to join the lines at the edges. A neater way is 
 
 to cut a somewhat larger hole in the paper and paste a piece on from the 
 back. 
 
 White crayon papers are used most cleverly by Frenchmen, like 
 Ulysse Butin and Lhermitte, and by Americans, especially by Taber and 
 Lungren ; while Reinhart works on Bristol board in the same way. Part 
 of the drawing, which is usually large and bold, is put in with ordinary 
 lithographic crayon, or crayon conte, some of the blacks often with a brush, 
 and the delicate work with a pen. The grain, or crayon, leaves ridges, 
 
 which of course reproduce white. No attempt must be made to use 
 
 stumps, or to get an even tone by filling up these accidental whites. The 
 result is like a charcoal drawing with pen work on it. 
 
 There are various sorts of grained paper, papier Gillot, the most 
 popular being that with a horizontal line, which may be taken for the 
 middle tone, as on a grey toned paper; on scratching this with a sharp 
 knife either before or after you have drawn on it, a vertical line in white 
 appears under, doubling the lightness of the light tone ; this may be again 
 scratched into pure white. There are three difiiculties in using this paper. 
 One is that the effect of these accurately drawn lines in the paper is always 
 more or less mechanical; another, that the drawing cannot be reduced in 
 size very much without blurring and indistinctness ; and the third is that 
 there is a great tendency to blots. This paper has been most successfully 
 managed by Vierge, some of whose drawings made on it, and reproduced 
 in Le Monde Illustre^ are, like all his other work, the wonder and despair of 
 every artist. Adrien Marie and Montalti have also used it very cleverly, 
 and on it Adolt Ringel can perfectly reproduce his own bronzes. I have 
 tried enough just to know how difficult and unsatisfactory the paper is. It 
 is to be had from almost all the French photo-engraving houses in Paris, 
 and from Newman’s in Soho Square. There are numerous varieties; some 
 have dots, some lines, and some chalky surfaces on which you draw, or try 
 to draw, and then lighten your drawing by scratching through it. You 
 can also wash with colour and scratch through it. Sandham in America 
 uses this paper to a very great extent. Personally I do not care for 
 drawings made on it, with the exception of those of Vierge, who seems to 
 have succeeded perfectly with it as with everything else he puts his hand 
 to. Some of the drawings in Pablo de Segovia seem to have been made on 
 paper of this kind, though the white lines may have been cut through by 
 the engraver, but of this I shall speak later. However, such draughtsmen 
 
420 
 
 PEN DRAWING 
 
 as Rico and Abbey use ordinary white paper. The even mechanical grain 
 used as a background to many drawings is not put on by the artist, but 
 by the photo -engraver. The artist indicates with a blue pencil the place 
 where he wishes it to be applied, and the engraver puts it in. Often a 
 very good effect may be obtained in this way. 
 
 Of the second necessary, a hard lead-pencil, all I shall say is that you 
 will want it, as well as a rubber ; why, I shall explain farther on. 
 
 With the pen as with the paper, it is a case of finding out what suits 
 you, and then using it. But I do not think the photo-engraver will object 
 to any sort of pen. Half a dozen different kinds are often useful in the 
 same drawing. The most useful all-round pen I know of is Gillott’s 
 Lithographic Crow Quill, No. 659, which, when once you have mastered 
 it, can be used with the utmost freedom for anything, from the boldest to 
 the most delicate line. It is almost like a living thing ; it springs and 
 responds to every impulse of your hand, and is vastly more pleasant than 
 the dull heavy etching needle. There are many other crow quill pens, but 
 they are all cheap, and, my experience is, very nasty. A J pen is very 
 useful at times. In fact any pen you like is serviceable, and what you 
 ought to use. An ordinary sharp school pen is as good as anything you 
 can have. A quill pen works beautifully on Whatman paper in any 
 direction, no matter how you hold it, and you can almost wash with the 
 back of it, using it as a brush. Vierge, who has used everything, and men 
 who have made pen and ink copies of Corot’s pictures in order to get 
 something of their softness, have used a double-lined pen, but of this I have 
 had no practical experience. Sometimes a quill pen will wear so that you 
 can make this double line with it. The author of the Fjxcellency of the Pen 
 and Penal, published in 1668, recommends “pens made of a raven’s quill, 
 which will strike a more neat stroke than the common quill,” but for the 
 truth of this I cannot answer. I have endeavoured to use various sorts of 
 stylographic and fountain pens, which theoretically are perfect. But I 
 have found that, unless charged with a very watery writing fluid which is 
 sold with them, but would not answer for reproductive pen drawing, they 
 are practically useless. It is a pity that makers cannot produce a fountain 
 pen which an artist could use. A reed pen is often most useful, and 
 Perry’s auto -stylo, which makes large square touches like a brush, is 
 delightful. But the longer I work the less important seem to me to be the 
 tools so long as they serve my purpose — the more important the care one 
 should bestow on each line of every drawing. 
 
 Only lately, in trying to find out what ink a certain pen draughtsman 
 
MATERIALS FOR PEN DRAWING 
 
 421 
 
 used, I was told it was a profound secret. And yet by the aid of a photo- 
 engraver and the caretul analysis of a corner of one of his drawings, in 
 fifteen minutes there was no great difficulty in discovering that it was 
 Winsor and Newton’s liquid lamp black, which is sold at sixpence or a 
 shilling a bottle. Of such stuff are made most of the secrets of art. To 
 know what good ink is, and then to get it, means ease in drawing and 
 success in reproduction. I suppose in this regard I am in the same 
 condition as all other pen draughtsmen, each of whom thinks he has the 
 best ink. I might as well give at once the name of the ink I use, and 
 which of course I believe cannot be equalled. It is Higgins’ American 
 Drawing Ink, which can be obtained from many stationers and artists’ 
 colourmen. There is no ink equal to it, for half a dozen reasons. First, it 
 is put in a sensible flat bottle almost impossible to upset. It has a cork 
 with a quill running through it which forms a handle, and thus keeps your 
 fingers clean, prevents the cork from dropping into the bottle, keeps the 
 ink off anything on which you may lay the cork, so beautifully is it 
 balanced, while there is a pen-wiper attached. I know of no other ink tor 
 artists which is put up in so sensible a manner. Every one who draws 
 knows how much ink usually goes on one’s clothes and surroundings. As 
 the quill in the cork reaches to the very bottom of the bottle, every time 
 you pull it out, you stir the ink, so that there is no necessity to shake up 
 the bottle, and the ink over yourself, as so frequently happens. Another 
 advantage is that the bottle is filled with ink, and not with dirty water and 
 a solid sediment which settles at the bottom, if it is left alone for half an 
 hour. I’his ink is just as good at the last drop as when you open the 
 bottle. I never knew but one photo-engraver to complain of it. It is jet 
 black without shine, flows freely, and never clogs the pen. In short, 
 from the time you open the bottle until you have put all its contents on 
 paper, you have no reason to find fault with it. It is made in two qualities, 
 waterproof and not waterproof. 
 
 Encre de Chine Liquide is very good, hut I do not think it equals 
 Higgins’ ink. Liquid lamp black is a dead black and has no shine, and 
 therefore reproduces well. Winsor and Newton’s, Newman’s,^ and in fact 
 all made artists’ inks I have tried, have this fault: the ink sinks to the 
 bottom of the bottle, leaving a dirty grey liquid. The makers will tell you 
 
 1 Mr. Mills of Newman’s has been, at my suggestion, making many experiments. Their ink is 
 now very much better. 
 
 P.S . — At the present, if it will do any one any good, I may say I am using Bourgeois’s Encre de 
 Chine Liquide, and once you get the vile cork out the ink is excellent. 
 
422 
 
 PEN DRAWING 
 
 that an advantage of their ink is that it will wash ; but what the artist 
 wants primarily is to make, not a wash, but a black and white pen and ink 
 drawing. Of course, theoretically, India ink is excellent. But it not only 
 shines, which is unsuitable for photo-engraving, but it is very tedious to 
 grind it down for yourself, and almost impossible to keep it a uniform 
 black. Almost all the preparations I know of are abominable. Brown 
 inks are very pretty to look at, but of course are utterly worthless for 
 reproduction, because the delicate brown tone is all lost, and your drawing 
 is nearly always printed in black, not in brown. 
 
 I do not think there is any other recommendation to be made, except 
 to insist on the fact that good materials must be used if good results are 
 wanted. But enough materials to make several pen drawings can be had 
 for half-a-crown. 
 
TECHNICAL SUGGESTIONS FOR PEN DRAWING 
 
TECHNICAL SUGGESTIONS FOR PEN DRAWING 
 
 M ost writers on any branch of art begin by laying down definite 
 laws for working. Mr, Hamerton in his Etchijig and Etchers says 
 that the great value in an etching depends upon the etcher’s own 
 individuality in his method of work. He then goes on to give, in the most 
 clear and lucid manner, directions for making an etching. 1 have faithlully 
 followed Mr. Hamerton’s suggestions, and I know into what quagmires 
 they have led me ; not from any fault of his, but simply because his methods 
 were not suited to my needs. I therefore know by experience that a man 
 must work in his own way ; that what is good for one is simply artistic 
 death for another. 
 
 One of the truest old artistic saws is that art can be learned but not 
 taught. Therefore I do not intend to give infallible laws or directions on 
 the subject of pen drawing, I only wish to make suggestions which are the 
 result of a considerable amount of experience. But the study of good work 
 is really of more practical value to the student than suggestions, and to show 
 a series of examples of the best is the reason for the publication of this 
 book. 
 
 Theoretically, it is very easy to take a piece of white paper, a pen, and 
 any kind of ink, and draw away. This is really what the old men did, not 
 minding blots or anything else, so long as they suggested the idea at which 
 they aimed, and very charming are many of the sketches they produced in 
 this manner. But now, pen and ink drawing is another thing. 
 
 I might start by saying, though it sounds as if I were trying to make 
 a bull, that the best way to make a pen drawing is to make a pencil drawing. 
 Whoever can make a good pen drawing without a preliminary pencil sketch 
 of more or less importance, may set himself up for a genius, and be 
 congratulated on his ability to avoid much drudgery. For convenience’ 
 
 3 I 
 
426 
 
 PEN DRAWING 
 
 sake it will be better to suppose that my readers are not geniuses, and after 
 all I shall only be ranking them temporarily with men like Fortuny and 
 Rico. I know a study by Fortuny ot a man draped, in which may he seen 
 under the drawing, not only the nude figure, but the anatomy as well, 
 drawn in pencil which has never been rubbed out. I have seen Rico on 
 the canals of Venice making a pencil drawing more elaborate than the 
 work which was to succeed it. In UArt, vol. i., 1884, p. 63, there is an 
 unfinished pen drawing by Louis Leloir, which is the strongest proof of 
 what I say on this subject. One side is worked out with pen, the other is 
 in the preliminary pencil. The pencil has all the care and reverence of a 
 hard-working but brilliant student, and the pen, the freedom of an accom- 
 plished master, who knows he has a good foundation and goes ahead. 
 Ruskin tells the student to make outlines with a hard pencil, and also 
 that a drawing should be, not only free but right. Other men, Blum and 
 Brennan, I have been told, never make a preliminary pencil sketch. It 
 is to be hoped the reader is, but to be feared he is not, as clever as they are. 
 
 The best way is to make a careful sketch with a hard, an H, or HH 
 lead-pencil on the sheet of paper on which you intend to make your pen 
 drawing, in which case, in order to save the surface of the paper, only out- 
 line your shadows. In fact, make the sketch in outline as much as possible, 
 as it must be rubbed out afterwards, and much rubbing will spoil the 
 surface and grey the ink. Or make the drawing just as you want it on 
 another sheet of paper, and then transfer it by means of black transferring 
 paper, or else, as I suggested, use thin correspondence paper. When this 
 is done, go to work with your pen. It would be well to study from 
 masters of pen drawing, but you must remember, if you study from repro- 
 ductions, to choose only masterpieces, and that these, unless they are the 
 same size, do not look like the original drawings, and even if they are the 
 same size, much delicacy, refinement, and greyness of line has been lost. 
 In this book several of the most important drawings are reproduced exactly 
 the size they were made, and can therefore be followed line for line. As 
 a rule, however, the drawings are very much reduced, and you are conse- 
 quently not looking at the drawing as it was made, but at the reproduction 
 the artist wanted you to see. Therefore it must be borne in mind that the 
 artist made his drawing, not necessarily crude, but with the lines farther 
 apart than you see them, because, if these drawings have to be reduced 
 very much, the spaces between the lines are so diminished that, unless the 
 printing is very careful, as in the best American magazines and books, you 
 have, instead of the delicate grey drawing you expected, a dirty black mass. 
 
TECHNICAL SUGGESTIONS EOR PEN DRAWING 
 
 427 
 
 owing to the ink filling up the spaces between the lines and to the lines 
 themselves running together. 
 
 I hope it will be understood that this is not a manual for beginners, 
 and that I am not concerned with such questions as, “ How do you draw 
 trees?” or, “ How do you make bricks?” You go to nature and draw 
 them as laithlully as you would if you were drawing with a pencil or 
 painting in oils. As to light and shade, colour and tone, pen drawing is 
 subject to the same laws as crayon drawing, pencil drawing, and etching. 
 There is, therefore, no necessity for my going into detail on the subject. 
 
 You must remember that if you want a sharp line, your work must be 
 perfectly black, and must stand out clean and alone on the paper. If you 
 want to get a grey, you will not succeed by putting water in the ink, but 
 by making the lines light — I mean fine and separate. This is the general 
 rule to follow. Of course a master will grey his lines, and run them 
 together, and make a tender grey where the student would make but a 
 muddle, and in fact do all sorts of things that I might say should not be 
 done, ’^"ou will also find that if you put one solitary line in the sky to 
 mark the outline of a cloud, it will come out in the reproduction three 
 times as strong as you intended it to, for the simple reason that though four 
 or five light grey lines may stand up together, one will not, and will have 
 to be thickened in the type-metal by the photo-engraver. Of course in a 
 photogravure you can get the lines as fine as you choose to make them. 
 In drawing your foreground, do not make it too coarse under the impres- 
 sion that it will be brought by reproduction into proper relations with the 
 delicate distance. It probably will always remain coarse. Though there 
 are few things to be remembered in connection with pen drawing, these 
 few that I have mentioned, such as keeping the lines apart, not getting too 
 many blacks, are of the utmost importance. But these are things which 
 must be remembered in any sort of drawing, if you want a good result. 
 
 The size of pen drawings for reproduction is a matter of experience 
 and personal liking. It is not, as the photo-engraver insists, necessary to 
 make the drawing one-third or one-half as wide again as the block is to be. 
 Of course if your drawing is to fill exactly a certain space, you will have to 
 shape it to fit in. But in most magazines or books the space is made to 
 suit the drawing, and all the art editor need do is to reduce the longest side 
 of the drawing to fit his page, and the type will come in around it. As to 
 size, for example I believe in many cases Mr. Parsons’ drawings are exactly 
 the same, or very slightly larger than their reproductions, a contradiction — 
 also proven in this book — to the photo-engraver’s oft-repeated statement 
 
428 
 
 PEN DRAWING 
 
 that drawings must be reduced in order to get fine work. On the other 
 hand, I have frequently seen drawings by Brennan which filled a sheet of 
 Whatman imperial paper, and were reduced — and beautifully — to five 
 inches the longest way. But for general advice, it would probably he 
 wisest for the draughtsman to make his drawing twice the width of the 
 intended reproduction.^ 
 
 There are many devices adopted by every clever pen draughtsman, 
 which to the purist are very shocking. As, for example, in putting on in 
 two minutes a flat tone with a brush, which will afterwards he rouletted 
 by the photo-engraver, or by indicating with a blue pencil those portions 
 of a drawing which should be reinforced by a mechanical dotted tint put 
 over the drawing by the photo-engraver. It is really a question of getting 
 what is wanted in five minutes or in five hours. Often, too, one finds that 
 the distance comes entirely too strong, and will have to be toned down by 
 a skilful engraver. Frequently the engravings of French drawings will he 
 cut all over in this way, and are thus given a soft grey misty effect, often 
 very beautiful. Nearly all the better pen drawings in Harper s and the 
 CeJitury are hand-worked, as it is called, by skilful engravers. All fine 
 work must be cut at the edges if you do not want it to look hard and 
 rough. 
 
 The thumb is a very useful auxiliary in pen drawing. By inking 
 your thumb, and pressing it on the paper, you can often get a strong rich 
 effect, the lines on the skin being marked on the paper, and reproducing 
 beautifully. 
 
 In Fortuny’s work are to be found dear delightfully- smeared dirty 
 blotches, a trial to the purist, but a joy to the artist, since their value and 
 expression are always just right. 
 
 A foreground, old walls of houses, can be richly varied very beautifully 
 by taking a tooth brush, dipping it in ink, and then running a match stick 
 under it, and splattering the necessary parts of the drawing, stopping the 
 others out with paper. The most charming effects are to be had in this 
 way. But any one who goes into pen drawing, will learn all these and 
 more devices in a very short time if he has any facility for it. But he 
 will also learn that pen drawing is an art which requires as much skill 
 and experience on the part of the artist as etching does, and though less 
 treacherous, and much more simple in its actual mechanical operation, is 
 also much less dependent on accidental effects than etching. But the great 
 
 ^ I think now, in 1894, that as soon as the draughtsman knows what he is about he had better make 
 the size it best pleases him. 
 
TECHNICAL SUGGESTIONS FOR PEN DRAWING 
 
 429 
 
 thing to remember is, not to try to draw everything under the sun with a 
 pen, but only those things which by simplification lend themselves easily 
 and naturally to it. I have already said, you must know how to draw 
 before you can make a pen drawing, and after you have learned to draw, 
 you must be able to arrange the most simple lines in the most artistic 
 manner, or else you will never be a great pen draughtsman. It is just 
 this want of artistic feeling for line that makes a man, who may be a 
 great painter, say “Oh, scribble it down anyway,” with a bad drawing as 
 the result. While if you take a pen drawing by a great master you will 
 find that, though it may look as if it was scribbled down hurriedly and 
 hastily, it is done with the greatest care. 
 
 I hope none of my readers would he so foolish as to follow the calmly- 
 given advice of Mr. H. R. Robertson, to copy woodcuts or steel engravings 
 of any subjects except those done with the pen, and never then if you can 
 help it. As Mr. Hamerton says: “There is a wide distinction in every 
 art between possibility and prudence. A delicate line engraving may be so 
 closely imitated with a fine pen that few people, at a little distance, would 
 at the first glance detect the difference ; but no artist who knew the value 
 
 of his time would waste it in such foolish toil.” The only sensible course, 
 
 if you must copy, is to copy pen drawings of the greatest pen draughtsmen, 
 if you can see the originals; if you can only see their reproductions, to 
 remember that these have been reduced. For a man to say that pen 
 drawings are obtained in two distinct methods, one by a few lines drawn 
 slowly, the other by many lines drawn rapidly, and then to cite Rembrandt 
 as a man to he studied for the second method, is to suppose that everybody 
 is an embryo Rembrandt. Had photo-engraving been invented when Mr. 
 Ruskin wrote his Rlemcnts of Drawhig, he never would have made the 
 mistake of advising the draughtsman to cover quickly a space of paper 
 
 with lines, without troubling himself as to how they are made, and then 
 
 to place other sets of lines on top of them. Certainly the man who can 
 with one set of lines get the exact grey, which according to Mr. Ruskin is 
 to be produced with many sets, will he not only doing a much more artistic 
 piece of work, but saving much time. The consequence is, if one wishes 
 to get a grey he should cover his paper with straightish lines, troubling 
 himself infinitely to draw them very carefully. 
 
 As a matter of fact, what you want to do is to take the French advice 
 and, no matter how good a draughtsman you may be, go slowly at first in 
 order that you may go fast in the end. 
 
REPRODUCTION OF PEN DRAWINGS 
 
REPRODUCTION OF PEN DRAWINGS 
 
 P EN drawings may be reproduced in two radically different ways. 
 First, by what is commonly known among artists as photo- 
 engraving or process, for printing with the type in hook, magazine, 
 or newspaper ; and secondly, by photogravure on a copper or other plate, 
 tor printing like a steel plate or etching. These two processes may be 
 subdivided, the first into innumerable methods, and the second into a dozen 
 or more. In the first, the object is to make a relief block, as 1 have said, 
 tor printing with type ; and in the second, to produce an engraved plate 
 tor printing separately. The examples in this volume are all produced by 
 the former method. 
 
 In the photo-engraving, the drawing is photographed and then directly 
 etched into a zinc plate, or, after numerous processes, finds itself on a gelatine 
 or some other film, the film in relief with the drawing sunken in it. From 
 this film a casting is made, from which electros may be taken in relief just 
 exactly like type. The production of this result would be neither clear 
 nor interesting to any but a photo-engraver or a photographer. It would 
 require a whole book to be explained, as it has been, and very well, in 
 Modern Methods of Book Illustration^ Hhe Photographic Be production of Draw- 
 ings^ by Col. Waterhouse, and other treatises on the subject. 
 
 Photogravures are similarly produced by photographing the drawing 
 on to a copper plate, which is then bitten more or less in the same manner 
 as an etching, and worked up afterwards with a graver, or by building up a 
 plate in a bath on a gelatinous film. The result resembles an etching closely. 
 
 Reproduction is a purely mechanical process, but so important as to 
 be destined almost entirely to supersede all but the best wood-engraving, 
 and all other sorts of reproductive art. In it no human intelligence comes 
 between the drawing and the result to any great degree, although intelligent 
 
 3 
 
434 
 
 PEN DRAWING 
 
 aid can always be given. For example, it is almost impossible for a wood- 
 engraver to cut the delicate grey lines of many a pen drawing. It is equally 
 impossible for the photo-engraver to reproduce them mechanically. But 
 their intelligent co-operation, added to the accuracy of the process, will 
 give the desired effect. I mean the fine line which the wood-engraver 
 cannot cut by himself, and which is so fine that if reproduced accurately 
 it will scarcely stand on the process block, can he cut down to the required 
 fineness on the relief block by the wood-engraver, or by the photo-engraver, 
 if he is artist enough to do it. 
 
 Mr. Hamerton sets forth the great economy of process-reproductions 
 as one of their chief advantages. “ It so happens,” he writes, “ that nothing 
 we can draw reproduces quite so perfectly as a clear black ink line on 
 perfectly smooth white paper, and in consequence of this the art of drawing 
 with the pen has suddenly become the principal means of disseminating 
 artistic ideas when economy is an object.” But it is very doubtful whether 
 a cheap photo -engraving is really much cheaper than a cheap woodcut. 
 The latter will look better, as it is almost impossible to print a cheap 
 process block. Publishers should reject all but the best reproductions by 
 photographic processes. Otherwise they only lead to carelessness and the 
 ruin of the artist’s drawing. 
 
 Of course it would do the pen draughtsman no harm, but rather an 
 enormous amount of good, to not only study with the photo -engraver 
 before he sets himself up as a draughtsman, but also whenever his work 
 is being reproduced. No explanation will supply the criticisms which 
 an intelligent photo -engraver will make on a novice’s drawings, that is 
 criticising them with a view to their reproduction. Unless men to-day 
 are willing to come out of their luxurious studios — as some of the best do 
 — and go down to the dirty shop of the photo-engraver and try experiments, 
 or intelligently consult with him, we shall never have really artistic work- 
 men and thoroughly good results. 
 
 There are certain processes by which results resembling pen drawings 
 are produced. Prepared surfaces of paraffin, or other materials from which 
 a cast can be made, are laid on plates of blackened brass or other metal, 
 and you draw with a sharp point through the film of paraffin, and a cast 
 is taken from the drawing so made. The result is very like a sharp pen 
 drawing. But there are two great difficulties to be surmounted : one is 
 that reduction is impossible, and the drawing must therefore be the size 
 of the desired print ; and the other is that the mechanical process is much 
 harder to learn than drawing with a pen, and entirely different. The 
 
REPRODUCTION OF PEN DRAWINGS 
 
 435 
 
 technical difficulties are really so great as to be scarcely worth the trouble 
 of overcoming. They have been mastered, however, with some very 
 good results by Herkomer and Dawson, the inventor. Randolph Caldecott 
 also tried this process ; and the late Kent Thomas did some extraordinary 
 things with it. I believe it is excellent for the drawing of maps. The 
 latest development is the reproduction of line drawings by the hall-tone 
 process ; by this method, as the Blum drawings show, the softness and 
 fulness of a rich print are given, while thin lines keep their proper place 
 and do not become so prominent as in an ordinary line block. 
 
 Since the introduction of photo-lithography, it has not been necessary 
 for an artist who is a draughtsman to become a skilled lithographer in 
 order to have his line drawings reproduced on stone. For though he 
 should understand the process, there is no more reason why he should 
 give his time to it than that he should reproduce his own drawings by 
 photo-engraving. Intelligent supervision of reproduction is one thing ; 
 unintelligent waste of time over mechanical details is quite another. 
 
 The real advantage of mechanical reproduction can be easily explained. 
 Unless the artist draws expressly with the thought of the woodcutting of 
 every single line he is making, no wood-engraver can follow him. It will 
 be said that the draughtsmen on wood of Diirer’s time did this ; but it 
 really is not likely that they often did. So tedious, so difficult, and so 
 laborious is this manner of working that, not only is it an exploded theory 
 that Durer cut his own blocks, but I believe he scarcely ever even drew on 
 the wood. It is more probable that he made the studies which we possess 
 to-day, that these studies were traced or enlarged or reduced on to the 
 block by his pupils, or by the woodcutter himself, that the design was then 
 touched up by Durer and cut by the engraver. It is impossible otherwise 
 that he could have produced such an amount of work. I say this as a 
 practical illustrator, knowing perfectly well the time which must have 
 been given to one of these drawings. Besides, this was the course the 
 old men always adopted in their other art work ; they had a shop full of 
 clever young students, whose hands and brains they used whenever they 
 could. If Durer, the typical illustrator at any rate of the Middle Ages, 
 drew every line for the woodcutter with a handling utterly different from 
 that which we see in all his etchings, the lesser men who surrounded and 
 followed him and would have been influenced by him, did nothing of the 
 sort. They made their drawings on the block with the greatest care, in 
 inks of different degrees of blackness, and with beautifully arranged lines, 
 and the wood-engraver cut the blocks without the slightest feeling for the 
 
436 
 
 PEN DRAWING 
 
 artist’s work. It might very reasonably be asked why did I not then use 
 more of the old drawings ? Because, made on the wood-blocks, they were 
 cut all to pieces, the engravers not following the artist’s lines, but en- 
 graving lines which were easy to cut, ignoring all but the main ideas of 
 the design, and being, I maintain, incapable, slovenly, or slipshod, and 
 not to be compared for a minute to the engravers who have been developed 
 since the time of Bewick. When they did follow the original lines, it was 
 only because the artist drew expressly for them, as did the English draughts- 
 men of thirty years ago. Everything I say can be proved by a reference 
 to the spoiled wood-blocks, the only evidence we have, but all we need, in 
 the Plantin Museum. These drawings were made on the block in exactly 
 the same way as the draughtsman works on paper to-day. But I have not 
 used them for two reasons : they could not be reproduced without infinite 
 labour, since they are spoiled blocks, and, having been made three hundred 
 years ago, are faded ; and, moreover, they are no better than work done to-day. 
 
 It may be objected that I have elsewhere stated one must draw 
 specially for reproduction. But the requirements in this case are even 
 at the present moment the simplest, and may be done away with in the 
 future ; nothing is necessary but a reasonably clean line, good ink and 
 white paper. The reason that a certain number of examples throughout 
 the book are cut on wood is not that process was unable to reproduce them, 
 but either that the engravings were made before the time of process or 
 that the artists were too indifferent as to the quality of their ink or paper. 
 There is not a single wood-engraving in the book from which a process 
 block could not be made so cleverly that it would be impossible to tell, 
 were they placed side by side, which was the original block and which the 
 process. The photo-engraving, however, is really superior to the wood- 
 engraving for this reason : there are not a dozen engravers who can equal 
 the best process. The work of J. D. Cooper, Paterson, Swain, and 
 Hendriksen, I have shown ; that of Whitney, Cole, and Collins can be 
 seen in almost any number of the Century. Cole’s marvellous reproduction 
 of the head of Lincoln after a drawing by Wyatt Eaton in the Scribner 
 collection of proofs from that magazine, now the Century., should be men- 
 tioned in this connection ; and I now give a wood -engraving by the 
 Erenchman, Charles Baude. These men, and probably a few others, are 
 the only engravers who can equal process. 
 
 Cole’s Lincoln gives Wyatt Eaton’s drawing because it was drawn for 
 him ; hut the portrait by Wyatt Eaton reproduced by process in the 
 American Chapter is far more freely drawn, and there is no wood-engraving 
 
REPRODUCTION OF PEN DRAWINGS 
 
 437 
 
 about it. The engraving by Baude after Edelfeldt is most remarkable. 
 Any wood-engraver can show the actual lines, this being the easiest thing 
 possible to do, so long as there is not too much fine cross-hatching in 
 the drawing. But few can give the pen quality of the line, which is 
 
 extremely difficult. The men to whom I have referred can. So, too, 
 could some of Meissonier’s and Menzel’s engravers and some of the 
 English engravers of thirty years ago, though none ever surpassed the 
 work of Baude. But the minute even Baude comes to the elaborate 
 cross-hatching, the delicate greys, or the pencil marks in the drawing, 
 he meets an insurmountable harrier. I say most unhesitatingly that 
 marvellous as is his wood-engraving, I much prefer to it the process 
 blocks after Louis Leloir and Lalauze in the French Chapter. 
 
 But suppose that none of this cross-hatching, these delicate greys or 
 
PEN DRAWING 
 
 438 
 
 pencil marks existed in the drawing, and that the wood-engraver could cut 
 a perfect facsimile in line and in feeling ; it is a crying shame to put an 
 
 
 artist of such consummate ability to doing the work a machine can accom- 
 plish equally well in as many hours as he would take days. There is no more 
 false subjection of art to mechanism in the adoption of process than there 
 was in the substitution of movable types for block types, in the develop- 
 
REPRODUCTION OF PEN DRAWINGS 
 
 439 
 
 ment of woodcutting in the time of Durer, in the resurrection made hy 
 Bewick, in the famous white line loved hy Mr. Linton, in the use of the 
 
 steam press, or in any other development. Why, if we had not made use 
 of these improvements and hundreds of others, we would not even have 
 been apes and winkles ! The minute that any real and true improvement 
 is introduced and shown to be an improvement, we are blind and fools not 
 
440 
 
 PEN DRAWING 
 
 to adopt it. It is not its cheapness which gives value to process ; neither 
 is it the inability of wood-engraving to obtain the same results — a great 
 engraver almost can ; but it is the fact that unless this great artist wishes 
 to display his power, it is useless to compel a wood-engraver — a vastly 
 different person from a woodcutter — to toil and slave for a result in which 
 a machine so often surpasses him. In a word, this book is merely an 
 exhibition of the best possible pen drawings I could obtain and the best 
 possible mechanical reproductions of them. It is a plea for pen drawing 
 and an exposition of process. 
 
 These two prints of Diirer’s Big Horse will show the difference in the 
 two methods of reproducing the same engraving better than any amount of 
 written explanation. The first example is a wood-engraving by Paterson. 
 A careful comparison of it with the photo -engraving by the Dawsons, 
 entirely a mechanical reproduction, on the following page, will make clear 
 the points wherein the photo -engraving fails and the wood-engraver has 
 succeeded. But the failures of the mechanical photo-engraving have been 
 less than those of the skilled craftsman, and the results obtained by photo- 
 graphy are truer than those obtained by the wood-engraver ; the block 
 mechanically reproduced under the supervision of Alfred Dawson, without 
 any handwork on it at all, has much more of the feeling of Diirer’s work 
 than Paterson’s engraving. The reason for this is simple. The lines are 
 directly and automatically reproduced by photography, while each one has 
 to be re-made by the wood-engraver. The photo-engraver has reproduced 
 the actual lines of Diirer ; the wood-engraver has had to cut around and 
 produce new ones for himself, which never can be perfectly done. The 
 Dawsons’ block contains no more lines than Paterson’s engraving, — in fact it 
 does not contain as many, for Paterson has added some that do not exist 
 in the original, and patched up certain imperfections in the original plate, 
 giving in consequence a certain wooden feeling to his block and not the 
 look of metal lines, but this the Dawsons have reproduced in their block, 
 which therefore comes nearer to the original engraving. These differences 
 between the wood-engraving and the process block can only be appreciated 
 by students, though they should be by collectors. To feel them, a long 
 study of the cuts will be necessary, and an examination of the blocks and 
 a comparison with the original is the only way in which they can be 
 appreciated. The reproduction of a line engraving by wood -engraving 
 is one of the most difficult operations possible ; the reproduction of a line 
 engraving by photo-engraving is really absurdly easy. 
 
 To have properly shown the absolute difference between these forms 
 
REPRODUCTION OF PEN DRAWINGS 
 
 441 
 
 of reproduction and the original, as well as the manner in which they vary 
 from it, I should have given prints from the Diirer plate. This being 
 impossible, I have tried to point out how they differ from each other. 
 But even though I have explained that the plate by the Dawsons^ is 
 mechanically reproduced, I have no doubt that many people will speak 
 of it as an etching and call the process blocks woodcuts. This wilful 
 ignorance on the part of critics and the public would do no special harm, 
 if it were not that certain publishers and artists are taking advantage of it 
 at the present time to palm off mechanically reproduced plates as etchings, 
 attaching a fictitious value to them, thus perpetrating a fraud. A careful 
 study of the different quality of line and the different points in which the three 
 plates fail and succeed, is the only way in which one can distinguish between 
 an etching and a photogravure, a process block and a wood-engraving. 
 
 In all my references to old work, I have mainly used the name of 
 D iirer, but I do not mean to imply that Diirer was the only illustrator 
 in the past. I could have proved what 1 wished as well by reference to 
 other artists or engravers on steel or wood or copper — to the work of Lucas 
 Van Leyden, Mantegna, Martin Schongaur, Lucas Cranach, Hans Holbein, 
 the Venetians, Botticelli, or even Claude. But just as Adolf Menzel in 
 Germany is the embodiment of modern pen drawing, in fact of modern 
 illustration, so is Albert Diirer of illustration in the past. The motives 
 of other days have been given up; the motives of to-day have replaced 
 them. Which are the greater and which the lesser, I have no intention 
 of discussing. As to technique, of far more importance, it is now infinitely 
 better, and I do not hesitate to maintain that if Diirer were alive to-day, he 
 would do twice as good work as he ever did. For Diirer had to draw 
 directly for the engraver, and then he was not sure of getting the results 
 he wanted ; the modern illustrator draws for himself. 
 
 Neither have I given another example of that oft-trotted-out Egyptian 
 brick stamp, nor turned up as a trump the everlasting playing card, nor 
 quarrelled over the original Saint Christopher. Indeed, I have purposely 
 omitted all this old work, and begun where the usual authority leaves off. 
 For I hold that if writers would only pay some slight attention to what 
 is going on around them, and stop disputing over the unknowable and 
 undiscoverable in the past, they would at least collect data which would 
 serve as a basis for historians of art in the future. Pen drawing or 
 illustration, the art of to-day, has so fiir been quite as much ignored as 
 wood-engraving was in its early stages of development. The illustrators of 
 the Middle Ages worked for the people; so do the illustrators of to-day. 
 
 ^ See first edition. 
 
 3 L 
 
HOPES AND FEARS FOR PEN DRAWING 
 
HOPES AND FEARS FOR PEN DRAWING 
 
 I HAVE tried to show what pen drawing is, and in conclusion I should 
 like to state my great hopes, and greater fears, for the future of the 
 art. I have already pointed out that pen drawing is supposed to be 
 despised by almost everybody but a few artists and art editors, some ot the 
 latter having given it recognition simply because of its cheapness for repro- 
 duction, I hope therefore to see an art, which is looked down upon to-day 
 by the same people who despised etching until Mr. Hamerton opened their 
 eyes to its true value, put in its proper place — that is, in equal rank with 
 etching. 
 
 A good etching is only a successful pen drawing after all. The 
 qualities of softness, richness, and mistiness can be given by a master of pen 
 drawing, and reproduced in photogravure so cleverly, as to deceive the 
 most accomplished art critic. Smudges, accidental foul biting, and a 
 thousand other things that go to make the value of the state of an etching 
 by Whistler, Haden, or Meryon, can be obtained in ten minutes by a 
 clever man with an old tooth brush and a rough-skinned thumb, while the 
 drawing, the only autographic and valuable part of the production, is 
 exactly the same, and the tone, the softness, and effect of any unwiped 
 plate can be produced by a good printer for a few pence extra. It is really 
 for blemishes and defects, accidental or intentional on the part of the very 
 thoughtful artist, that the collector prizes its rare first state. The value 
 attached to the print from an etched plate is fictitious ; the value of a pen 
 drawing is real. The pen drawing is the artist’s work ; the etching is only 
 a print from it, often not satisfactory to the artist, for though he sees just 
 what he wants on the copper-plate, neither he nor the printer can get it 
 from the plate to the paper. With the etching, as with the pen drawing, 
 there is only one person who can own the original. A print from a photo- 
 
446 
 
 PEN DRAWING 
 
 gravure ot a pen drawing is really of as much value as the print from an 
 etching. The only difference is that in nine cases out of ten the etching is 
 a failure, the photogravure a success. The collector may own the single 
 pen drawing, but he hardly ever troubles himself to buy the original 
 copper-plate which is owned by the dealer, and which — and not the print 
 from it — is the real equivalent to the pen drawing.^ But so ignorant are 
 some amateurs and collectors that they pay high prices for artists’ proofs of 
 photogravures and autotypes, which cannot even boast of rarity, and are 
 only better than prints inasmuch as an early pull of any plate is of course 
 sharper and clearer, and therefore better, than a later one. I have heard 
 the intelligent collector persuaded into paying j^2o for an etching which 
 was quite without artistic merit, and which in a few years will sell for 
 20S. ; while, for a guinea or so more, he had a gorgeous frame thrown in, 
 which, he was assured, he only got at that price because all the other 
 subscribers were having exactly the same thing ! 
 
 To value a work of art only for its rarity is a feeling with which I 
 have no sympathy. But it is strange that collectors should not see that an 
 original drawing which they can own and preserve, and which need not be 
 duplicated if they do not wish it, is of more value according to their own 
 standard than a print, which five hundred or fifty thousand other people can 
 own, and over which they have no control. They are in fact influenced 
 by dealers who publish almost all the etchings, and are not willing to 
 encourage the work which would bring them comparatively small profit. 
 
 In a recent conversation with a dealer, he admitted my facts to be 
 perfectly true, but in the next breath he said he would fight against them 
 so long as he continued in the print business. For the simple reason that 
 he could purchase an etched plate for the same amount of money he would 
 have to pay for a good pen drawing ; that if the plate proved popular, he 
 could sell thousands of proofs from it, some of which, containing cabalistic 
 and inartistic scrawls, would bring ten times more than others which only 
 contained the artist’s signature, while these would sell for twice as much as 
 the ordinary plain prints ; the plain prints themselves being probably quite 
 as good as the first pulls from the plate, because the artist now steels his 
 plate the moment it is finished. Exactly the same result could be obtained 
 by the dealer buying a pen drawing, having a photogravure made from it 
 
 ^ Of course the pecuniary value of a work of else can duplicate it is, as Mr. Will H. Low says, 
 art is, like that of other things, determined by the “ essentially vulgar, and when exercised in the 
 law of supply and demand ; but apart from this, domain of art excessively so.” But then Mr. Low 
 the mere ambition to own a thing because no one is an artist and not a collector. 
 
HOPES AND P'EARS FOR PEN DRAWING 
 
 447 
 
 and selling the prints. I know that this result is to he had with absolute 
 certainty, while every etching ordered by a dealer is an uncertain specu- 
 lation. Still, if dealers would go to the leading pen draughtsmen of the 
 day, they would be as sure to get good drawings as they are now certain of 
 getting bad etchings from artless etchers. All that is needed is a little 
 exploiting, but dealers will never do this for themselves. For all business 
 — and etching is no longer an art, but only a business and a trade — is con- 
 ducted on the most short-sighted principles — principles which are rapidly 
 running it into the ground. But until nothing more can he made from 
 etchings, though the market is flooded with them, dealers will refuse to 
 turn their attention to anything else. I know, as I have said, that if pen 
 drawing can be made to seem worth the financial attention of dealers, the 
 result will be, mainly, more money in their pockets. But still, with so 
 many good pen draughtsmen now at work, it may show the public that 
 there is at the present moment a healthy, flourishing art. However, some- 
 body must compel the dealers to take up pen drawing, if it is to be taken 
 up by them at all, for they will never do so of themselves. 
 
 The objection most art editors find to pen drawing is, that it is not 
 understood by the masses. I have made many pen drawings, not only in 
 the house, but among the people, and I have heard from them more 
 expressions of pleasure in a pen drawing, both while it was being made and 
 after it was finished, than I have ever heard given to a pencil or a wash 
 drawing. The reason is easy to explain. In pen drawing the details, the 
 windows of houses, the delicacy of trees or the study of a figure half an inch 
 high, are all worked out carefully, lovingly, and artistically, while in wash 
 drawings these details may he only suggested, and to the average mortal 
 artistic suggestion is absolutely meaningless. 
 
 That children like pen drawings needs no proof The success of 
 Randolph Caldecott’s,^ Kate Greenaway’s, Adrien Marie’s, and Reginald 
 Birch’s drawings, — whether they have a slight wash of colour or not is of 
 no consequence, — answers all arguments to the contrary. Of course, as the 
 educated child grows up, its innate ideas of art are so tjuickly suppressed 
 that in the end had drawings are not infrequently preferred to good. It is 
 only wonderful that any one cares in the least for drawing. 
 
 That some people do, however, is proved by the popularity of maga- 
 zines like the Century and Harper s, and of illustrated weeklies like he 
 
 ^ Some people say children do not appreciate I was, or who knows anything about children, 
 Randolph Caldecott’s work. But any one who need not be told that such a statement is not 
 was a child when his books began to come out, as true. 
 
448 
 
 PEN DRAWING 
 
 Monde lllustre and Fliegende Blatter. As far as I know, the utterly inar- 
 tistic and pseudo - comic papers, which are usually illustrated by pen 
 drawings, have the largest circulation of any illustrated English periodicals 
 — Ally Sloped s Half-FLoliday , for example, though I ought to add that, 
 technically, the late Mr, Baxter’s rendering of Ally Sloper was excessively 
 clever. 
 
 Newspapers which really appeal to the masses, and in which there is 
 never mention of the word art, are beginning to use pen drawings, some of 
 which are not bad, though the majority are atrocious. A few of the 
 portraits and little sketches that have appeared in the Ball Mall Gazette are 
 good, but frequently they have been remarkable only for their artlessness. 
 But it is in newspapers that my greatest hopes and fears for the future of 
 pen drawing lie, I hope that some great inventor like Walter or Hoe^ may 
 turn his attention — as I believe he will — to artistic newspaper printing. If 
 he does he will kill every magazine. For just as literary men are only too 
 willing to work for the newspapers, so would the pen draughtsman be, if 
 he could get his work well printed. And this would merely mean bringing 
 art to the people, where we are told it was in Italy some hundreds of 
 years ago. For just as the people are said to have gone to church to see 
 their art, so many now seek for everything, art included, in the newspapers. 
 But I fear that when this comes to pass, the second state of art will be 
 worse than the first, unless the newspaper office is revolutionised and an 
 art editor introduced. For the news editor would very likely accept what- 
 ever came to hand. 
 
 Not only can an illustrated newspaper be printed daily, but more than 
 one is published to-day. The New York Daily Graphic and the Paris 
 Charivari are examples. The last time I saw the New York Graphic., 
 however, it was still suffering under the disadvantage of not having any 
 good men to work for it.^ Instead of employing good artists, it was con- 
 tent with cheap-looking work, just as the average newspaper, instead of 
 getting a staff of men whose writing would give literary value to its 
 columns, employs people whose special aim seems to be to write stupidly 
 and to enlarge upon the power of journalism — i.e. of themselves. That 
 
 ^ In fact, in a recent conversation with Mr. De demand for good illustrated newspapers he will be 
 Vi line of New York — the man who has done more able to print them, 
 to obtain the best results from artists’ drawings 
 
 than any one else, and whose work comes nearer ^ It has since ceased to appear. The London 
 satisfying artists than that of any other printer — he Daily which has taken its place, is a success ; and 
 said he had been making experiments continuously the work of several members o^" its staff will be 
 for the last few years, in order that when there is a found in the body of this book. 
 
HOPES AND FEARS FOR PEN DRAWING 
 
 449 
 
 their power is great, owing to the ignorance of tlie puhlic, is unfortunately 
 unquestionable. And for this reason, with the general use of drawings in 
 papers, they would be able to bring art down to the same level to which 
 they too frequently debase literature. In the illustrated daily of the 
 future, the plan that will have to be pursued is this : all sorts of illus- 
 trated news must be reproduced by the Meisenhach or other process from 
 photographs ; slight sketches could be made by clever men in three or 
 four hours, and reproduced in time to appear in the next, or possibly the 
 same, day’s paper ; more important work must he delayed several days or a 
 week, but still the daily would be much ahead of the weeklies with its 
 news. 
 
 My greatest fear is only that such a paper would be an instant and 
 phenomenal success, and that its managers would make their fortunes and 
 then, like those of other papers started by a brilliant set of young artists, 
 engravers, and journalists, become merely stockholders, pocket the profits, 
 and allow the paper to fall to a lower level than that of the publications 
 it was going to improve. It is just this, one fears for pen drawing in every 
 direction. The difficulty of keeping to a very high standard is shown in 
 U Art which has very noticeably gone down during the last few years. 
 The only consolation is that pen drawing eventually ruins the people who 
 use it by abusing it. Our Continent^ an American publication, which 
 started with the most brilliant prospects, was wrecked exactly from this cause ; 
 it began to publish nothing but poor pen drawings and quickly came to 
 grief. Papers which do continue to improve week by week and month 
 by month are the Century^ Harper's^ Fliegeiide Blatter. Unless there is an 
 art editor who can draw to himself a clever staff of artists and keep them, 
 an illustrated paper can neither go on, nor maintain the position it has 
 reached. 
 
 There is an enormous demand for pen drawing growing daily, and 
 though the supply apparently equals it, pen drawing as an art is not 
 advancing. There are a few artists who really care for it in itself, and 
 endeavour with each new drawing to make sometliing of value, hut 
 outside of the larger magazines in which their work usually appears, they 
 apparently make no impression on the majority of pen draughtsmen who 
 are filling books and papers with artless drawings. Any one who will 
 look back, especially through the European magazines and the Century., will 
 see that some of the very best pen drawings were made between 1879 and 
 1883, before this vast army of scribblers had sprung up and found that 
 their wretched work was of value to people as ignorant as themselves. 
 
 3 ^ 
 
450 
 
 PEN DRAWING 
 
 Just as architects are wanted to restore or ruin whatever little beauty is 
 left in the world, so this ever-increasing army of pen draughtsmen, one 
 might think, is wanted to lower the standard of pen drawing and turn it 
 farther and farther away from its legitimate end. 
 
 Because so many pen drawings are now made, it has been said that 
 for artists who work in pen and ink “their only chance of relative im- 
 mortality is a reputation won in some other department of art.” A 
 sufficient answer to this assertion is to be had in the drawings of four men 
 — to mention no more, — Fortuny, Rico, Menzel, and Vierge, which will 
 be known so long as there is any love for art. It might as well he said 
 that because thousands of artless pictures are painted and exhibited every 
 year, a good painter, in order to be remembered, must make his reputation 
 as a sculptor or an architect. 
 
 Though it seems as if Mr. Hamerton and Mr. Fladen have shown 
 people the beauty and true province of etching, only to make the fortune 
 of print -dealers and to set on pinnacles men who transgress every law 
 governing etching as a fine art, yet at the same time, etchers like 
 Whistler, Haden, and Buhot occasionally produce plates which prove 
 the beauty and province of the art have not been entirely forgotten. 
 In like manner there is a strong saving remnant among pen draughtsmen, 
 and upon it hopes lor the future of pen drawing can safely rest. But if 
 good pen drawing is to be confined to these few men, and elsewhere to 
 be used as a medium for disseminating the cheapest and worst art, the out- 
 look is dark enough. Whether the few will leaven the whole is doubtful. 
 But they certainly will never be swallowed up entirely, and their work, 
 like all good art, will live. 
 
INDEX 
 
 Abbey, Edwin A., ix., x., 34, 161, 197, 212, 220, 
 222, 225, 226, 227, 228, 234, 268, 277, 279, 
 387, 420 
 
 Academy of Fine Arts, Philadelphia, 223 
 Adan, E., 72, 80 
 Adeline, M. Jules, xii. 
 
 ^Esop's Fables, Caldecott’s illustrations for, 337 
 Albrecht, H., 154 
 Album de Forain, 90 
 
 Alice in Wonderland, Tenniel’s illustrations for, 
 281 
 
 Ally Sloped s Half-llolidat, 342, 448 
 Alma Tadcma, L., 191 
 Amand-Durand, ix., 277 
 Aman-Jean, i 22 
 
 Andersen's Fairy Talcs, A. J. Gaskin’s illustrations 
 for, 375, 376 
 
 .-\ngercr and Goschl’s process work, 172, 184, 204 
 Arabian Nights, the, illustrated, 275 
 Aranda, 66 
 Archer, William, xiii. 
 
 Armstead, H. H., Wirgman’s drawing of, 312, 
 
 313 
 
 Art criticism, worthlessness of inartistic, 34 
 Art critics, praise given by, viii., ix. ; teaching of, 
 I ; indifference to black and white of, 33 ; on 
 the Spanish school, 36 ; importance attached 
 to thoughts of, 38 ; on French art, 69 ; English, 
 236 
 
 Art patrons, publishers as, ix. ; royalty as, 153 
 Art Reproduction Company, 276 
 Art Review, the, 220 
 Asbjornsen’s Folk and Fairy Tales, 2 i 5 
 Atalaya, 122 
 
 Aucassin and Nicolette, Jacomb-Hood’s illustra- 
 tions for Lang’s translation of, 282 
 Auriol, 124 
 
 Bacher, Otto H., 175, 223, 242, 243 
 
 Barber, Alice, Miss. See Stephens 
 
 Barnard, Fred, 304 
 
 Barnes, R., 308 
 
 Barye, A. L., 107 
 
 Batten, [. D., 316 
 
 Battersea, Lord, xiii. 
 
 Baude, Charles, 299, 436, 437 
 
 Baudry, Paul, 412 
 
 Baxter, W. G., 342, 343, 448 
 
 Beardsley, Aubrey, 345, 346, 347, 348, 349 
 
 Beaux-Arts, Ecole des, 98, 219 
 
 Bell, R. A., 350, 351 
 
 Bellini, Giovanni, xi., 9, 12, 38 
 
 Bennett, C. H., 277 
 
 Bentworth, 152 
 
 Bchaud, Jean, vii., 71, 260 
 
 Bergen, F., 1 54 
 
 Besom - Maker, The, illustrated by Heywood 
 Sumner, 403 
 Best, 69 
 Bethune, 122 
 
 Bewick, T., 69, 77, 283, 439 
 Bible, Dorc, the, 283 
 
 Bible Gallery, Dalziel’s, x., 283, 289, 304 
 Birch, Reginald, 106, 220, 229, 412, 447 
 Birmingham School, 374 
 Blackburn, Henry, his catalogues, 278, 279 
 Blake, William, 379 
 
 Blum, Robert, ix., 34, 38, too, 104, 220, 221, 
 251, 252, 264, 426, 435 
 Bocklin, 155, 177 
 Boldini, J., 221 
 Books about Books, scries, xii. 
 
 Books of Beauty, 392 
 Bork, A., 203 
 Botticelli, xi., 8, 441 
 
452 
 
 PEN DRAWING 
 
 Boughton, G. H., 279 
 Boyd, 330 
 
 Bracquemond, Felix, 72, 394, 408 
 Bradbury, Agnew, and Co., ix. 
 
 Bradley, Basil, 308 
 Brakstad, H. L., xiii. 
 
 Braun’s autotypes, 8, 56 
 
 Brennan, Alfred, 34, loo, 192, 220, 221, 222, 
 256, 257, 258, 264, 41 1, 426, 428 
 Bretofi-Folk, Caldecott’s illustrations for, 336 
 Breughel, xi. 
 
 Breviere, 69, 152 
 
 Bridwell, H. L., 224, 405, 406 
 
 Brock, C. E., 344 
 
 Brown, Ford Madox, x., 277, 284, 285, 289, 304 
 Browne, Gordon, 282 
 Browne, H. K., 277, 281 
 
 Browning, Mrs., Poe?ns, Ipsen’s illustrations for, 
 224 
 
 Brunet-Debaines, A., 72, 275 
 Buhot, Felix, iio, 450 
 Burgess, E. W., 272, 309 
 Busch, W., I 5 5 
 Butin, Ulysse, 94, 95, 419 
 
 Caldecott, Randolph, ix., 82, 154, 155, 281, 
 282, 336, 337, 338, 358, 403, 435, 447 
 Calvert, 379 
 Canaletto, xi., 56 
 
 Caran D’Ache (Emmanuel Poirie), 106, 112, 
 129, 135, 182, 241, 324, 337, 382, 397 
 Carmagnola, xi. 
 
 Carrcre and Hastings, ix., 252, 253 
 Casanova y Estorach, A., ix., 36, 61, 62, 63, 219, 
 258 
 
 Cassell and Co. (Limited), ix., 283 
 Caxton, 391 
 
 Centennial Exhibition (Philadelphia, 1876), 
 influence on American artists, 220, 224 
 Century Art Department, 220, 221 
 Century Company, the, ix., 406 
 Century Guild, artists of, 403, 406 ; Hobby-Horse, 
 405 
 
 Century Magazine, 10, 34, 100, 175, 220, 221, 
 223, 224, 262, 312, 406, 428, 436, 447, 449 
 Century publications, 224 
 
 ePera una C olta, Montalti’s illustrations for, 46 
 Chants of Labour, cov'cr by Crane, 397, 408 
 Chase, William M., 220 
 Chat Noir, shadow pictures of, 112, 135 
 Chefdcville, Imuis, 240, 276, 377 
 Cltelmonsky, J., 191 
 
 Chcret, 124 
 Chessa, 36 
 
 Chichester, Charles F., ix. 
 
 Chodowiecki, D. N., 151 
 Church, F. S., 224, 255, 408 
 Clark, R. and R., 391 ; excellence of printing 
 ol, X., xiii. ; Crane’s designs for, 396, 413 
 Classical Dictionary, Smith’s, 46 
 Claude, 10, 441 
 Cleaver, Reginald, 330, 331 
 Clennell, 69 
 
 Coaching M^ays and Coaching Days, Railton and 
 Thomson’s illustrations for, 403 
 Cole, T., 63, 152, 204, 223, 299, 436 
 Collins, R. C., 152, 436 
 Colvin, Prof., xiii. 
 
 Constable, T. and A., 391 
 Contes Remois, 69, 70, 76, 77 
 Cooper, J. D., 228, 337, 436 
 Corbould, A. C., 334 
 
 Cornhill, The, 275, 283, 293 ; collection of proofs, 
 
 293 
 
 Corot, 8, 138, 420 
 
 Coups de Fusil, De Ncuville’s illustrations for, 
 70, 71 
 
 Courboin, E., 116, 117 
 Court and Society Review, 280 
 Cox, Kenyon, too, 221, 264 
 Craik, G. L., xiii. 
 
 Craik, Mrs., M‘Ralston’s illustrations for novels 
 by, 308 
 
 Cranach, Lucas, 441 
 
 Crane, Walter, 280, 314, 315, 374, 396, 408, 
 410, 411, 413 
 
 Crowther, T. S. C., 330, 361 
 Cruikshank, George, 26, 163, 281 
 Cust, Lionel, xiii. 
 
 Cycling, 382 
 
 Da Vinci, 2, 8 
 
 Daheim, 10, 172 
 
 Daily Graphic, Hew York, 448 
 
 Daily Graphic, xii., 330, 331, 354 
 
 Dalziel Brothers, x., 275, 283, 285, 293 
 
 Dance of Death, Holbein’s, 9 
 
 Dantan, E., x., 80, 312 
 
 Darley, F. O. C., 223 
 
 Davillier, Baron, Life of Fortuny, 31, 32, 38 
 Davis, Louis, 388 
 
 Dawson, A. and C., 228, 231, 276, 435, 440, 
 441 
 
 Day, B., 221 
 
INDEX 
 
 453 
 
 Deal, 340 
 
 D’Epinay, M., Fortuny’s portrait of, 32 
 
 De Chavannes, P. Puvis, 139 
 
 De Foe’s Plague, 308 
 
 De Jong, P. de Josselin, 194 
 
 De Lesseps, Ringel’s drawing ol head of, 46, 98 
 
 De Monvel, Boutet, 128 
 
 De Neuville, A., 31, 70, 71, 78, 79, 155, 219 
 
 De Vinne, T. L., 221, 391, 448 
 
 De Wylie, M., 1 10 
 
 Denis Duval, Fred Walker’s illustrations for, 
 
 304 
 
 Desmoulins, Louis, 20, 21, 223 
 Detaille, F., 70, 78, 79, 155, 219 
 Dewar, W., 353 
 
 Dickens, Charles, illustrations for his books, 
 
 304 
 
 Dielman, F., 220 
 
 Dietz, W. (Diez), 31, 153, 154, 163, 219 
 Divine Comedy, Botticelli’s illustrations for, 8, 
 
 392 
 
 Dobson, Austin, xiii., 222 ; Proverbs in Porcelain, 
 
 332 
 
 Dore, G., 26, 70, 282, 283 
 Douglas, David, ix. 
 
 Doyle, R., 163 
 
 Drake, A. W., ix., 175, 220 
 
 Drake, Will H., 224, 242 
 
 Drawing and Engraving, P. G. Hamerton, xi. 
 
 Du Maurier, G., 223, 277, 280, 295, 302, 31 i, 
 326, 327, 373 
 
 Du Mond, F. B., 224, 271, 414 
 Duez, F., 72, 88 
 
 Diirer, Albert, xi., 2, 9, 16, 19, 25, 27, 152, 232, 
 285, 289, 302, 315, 385, 388, 389, 391, 392, 
 393 > 395. 398. 405. 4°6, 41 1, 435 > 43^, 439 > 
 440, 441 
 
 Duvencck, F., 220 
 
 Early Italian Poets, frontispiece by 
 Rossetti for, 291 
 
 Faton, Wyatt, 100, 223, 267, 436 
 Echoes of Hellas, Crane’s illustrations for, 397 
 Fdelfclt, A., 2 1 1, 437 
 Edwards, G. W., 224, 409, 412 
 Ein Erster und ein Letzter Ball, i 54 ; Schlittgcn’s 
 illustrations for, 164 
 
 Ein Schloss in den Ardennen, 66 ; Liiders’ illus- 
 trations for, 168 
 
 Ein Soldatenleben, by Liiders, 1 68 
 Elzevir, 191 
 
 English Illustrated Magazine, the, 403 
 
 Etching, difference between pen drawing and, 3 ; 
 old masters’, 8 ; Diircr’s, 9 ; \^andykc’s, 19, 
 20 ; why appreciated by collectors, 10 ; Rem- 
 brandt’s, 10, 22 ; Whistler’s, 22, 279 ; influence 
 of pen drawing on, 31 ; jacquemart’s, 175; 
 Lalannc’s, 92 ; Lalauzc’s, 108 ; drawing on 
 glass miscalled, 221 ; Hamerton’s directions for, 
 425 ; pen drawing compared with, 445, 446 ; 
 financial value of, 447 ; conditions of the art 
 to-day, 450 
 
 Evans, Edmund, ix., 337, 357 
 Ex Libris, series of books, xii. 
 
 Fabbi, 36 
 
 Fabres, A., 36, 38, 48, 49, 64, 251, 285 
 
 Familien Concert, \ 54 
 
 Farny, H. F., 220, 230, 231 
 
 Fan, Ferrand, 35, 50 
 
 Faust, Konewka’s, 196 
 
 Favretto, G., 36, 44 
 
 Felz zum Meer, 172 
 
 Fcnn, FTarry, 222, 262, 270 
 
 Ferris, Gcromc, 221 
 
 Ferris, Stephen ]., 221 
 
 Fijfs der Afe, illustrated by Busch, 155 
 
 Figaro, 90, 1 1 2 
 
 Figaro Illustre, 1 1 2 
 
 Fildcs, Luke, 277 
 
 Flicgende Blatter, xiii., 154, 155, 163, 166, 167, 
 169, 172, 177, 186, 196, 221, 223, 281, 448, 
 4+9 
 
 Florian, 299 
 Fontanesi, 64, 65 
 Forain, j. L., 90, 340 
 Ford, H. J., 3 1 6 
 Forcstier, A., 281 
 
 Fortuny, M., 34, 35, 36, 37, 38, 39, 42, 48, 63, 
 64, 151, 219, 221, 228, 251, 258, 260, 276, 
 426, 428, 450 
 
 Foster, Birkct, 281, 283, 302 
 Fraser, W. Lewis, ix., 10 
 
 Frederick the Great, Life and IHorks of, illustrated 
 by Menzel, 69, 1 5 1, 225 ; Uniforms of the Army 
 of, illustrated by Menzel, 157 
 Fredericks, Alfred, 220 
 
 Frost, A. B., 182, 220, 223, 236, 237, 240, 241, 
 268, 324 
 
 Furniss, Harry, x., 280, 324, 325 
 
 (jai.ice, Louis, 19, 35, 50 
 Galiforc, B., 62 
 Gallcgas, 66 
 
454 
 
 PEN DRAWING 
 
 Gamm, A., 152 
 Gaskin, A. J., 375, 377 
 Gaucherel, L., 98 
 Gautier, Lucien, 72 
 Gautier, St. Elme, 98 
 Gazette des Beaux-Arts, 73 
 Gebbie and Barrie, 221 
 Gerbault, H., 137 
 
 Germatiia, illustrated by Menzel, 151, 157 
 Giacomelli, J., 407 
 Gibbons, Grinling, 277 
 Gibson, C. D., 223, 244, 245 
 Gigoux, 42, 69, 1 5 1, 304 
 Gilbert, John, Sir, 281, 283, 304 
 Gil Bias, Gigoux, 69 ; Forain’s illustrations for, 
 90 ; Steinlen, 147 
 Gillot, 131 
 Giotto, 1 1, 389 
 
 Goblm Market, Laurence Housman’s illustrations 
 for, 379 
 Godefroy, 129 
 Gomar, 36 
 
 Good Words, 275, 283, 293 ; collection of proofs, 
 
 293 
 
 Gosse, Edmund, x., 228 
 Goupil and Co., 71, 79 
 Gourget, A. F., 1 1 5 
 Graham, C., 223, 271 
 Graphic, The, 71, 283, 301, 308 
 Grasset, 393, 394, 395 
 Grasset, E., 122, 124, 125 
 Gray, Paul, 277 
 Greatorcx, Elinor, Mrs., 221 
 Green, Charles, 279, 300, 304 
 Greenaway, Kate, Miss, 357, 447 
 Gregory, E. ]., 279 
 Grciffenhagcn, M., 282, 371 
 Greiner, Otto, 398, 399 
 Griset, E., 277 
 Guillaume Freres, 391 
 Guillaume, process, 73 
 Gutenberg, 391, 409 
 
 Habert-Dys, j. a., 72, 192, 224, 397, 407, 408, 
 409, 413, 414 
 
 Macklandcr, Trouville, etc., 154; tIu!?ioristische , 
 I 54 ; books, 164 
 Madcn, F. Seymour, 445, 450 
 Ilaitc, G. C., 407 
 Half-tone process, 184 
 Hall, J. F„ X. 
 
 Hals, Franz, 7 
 
 Hamerton, P. G., xi., 2, 3, 7, 10, 31, 32, 276, 425, 
 429, 434, 445, 450 ; Etching and Etchers, 425 ; 
 Graphic Arts, 2, 31 ; Paris, 92 
 Hammond, Miss C. M. D., 369 
 Hansen, Hans Nicolas, 207, 208, 21 i 
 Harper and Brothers, ix. 
 
 Harper, C. G., English Pen Artists, xi. 
 
 Harper's Monthly, 175, 220, 224, 225, 235, 259, 
 277, 282, 326, 428, 447, 449; office, 220, 
 225 ; publications, 225 
 Hartrick, A. S., 354 
 Harvey, 283 
 Hassam, F. Childe, 223 
 Haug, R. 79, 155, 164, 167, 172 
 Havard, H., La Hollande a Vol d'Oiseau, Lal- 
 anne’s illustrations for, 13, 72, 92, 93 
 Hawley, Hughson, 224, 271 
 Heads, some comparative, 16, 21 
 He Knew He was Right, Marcus Stone’s illustra- 
 tions for, 285 
 
 Hendriksen, F., xiii., 203, 207, 210, 212, 436 
 
 Hengeler, A., 156, 182 
 
 Henningsen, Erik, 21 1 
 
 Henningsen, Frants, 210, 21 1 
 
 Herkomer, Hubert, xii., 45, 279, 301, 435 
 
 Hermansen, 212 
 
 Herrick, Poems, Abbey’s illustrations for, 222, 
 225, 226 
 
 Heseltine, J. P., x. 
 
 Hill, L. Raven, 282, 340, 341 
 Hoe, R., 448 
 Hokusai, 90 
 
 Holbein, xi., 9, 151, 385, 388, 391, 441 
 Holberg’s Comedies, 191, 197, 203 
 Hole, William, 204 
 Holl, Frank, 279 
 
 Hood’s Poe?ns, C. E. Brock’s illustrations for, 
 34 + 
 
 Horne, Herbert P., x., 403, 404, 405, 413 
 Houghton, A. Boyd, 277, 279, 301, 303 
 House that “Jack built. The, Caldecott’s illustra- 
 tions for, 336 
 Housman, Laurence, 379 
 
 Howells, W. D., Reinhart’s illustrations for his 
 books, 222 ; Howard Pyle’s, 233 
 Huet, Paul, 10, 69, 70, 75, 151 
 Hunt, W. Holman, 277, 306, 308 
 Hunter, Colin, 279 
 
 Hutchison, 8 o 7 ne Hints on Lea?-ning to Draw, xi. 
 Hutt, S., xiii. 
 
 Hyde, W. H., 223, 259 
 
INDEX 
 
 455 
 
 Ibels, 74 
 
 Icke, H. J., 191, 204, 205 
 Image, Selwyn, 403, 405 
 In Damcn Coupe, illustrated, 154 
 In His Kume, Jacomb-Hood’s illustrations for, 282 
 Ink, 421, 422 ; used by Rico, 56 ; lithographic, 
 160 ; brown, 337, 422 ; Higgins’ American 
 drawing, 421 ; Winsor and Newton’s lamp 
 black, 421 ; Encre de Chine Liquidc, Newman’s, 
 Winsor and Newton’s, India, etc., 421, 422 
 Ipsen, L. S., 224, 41 2 
 
 Irving, Washington, Barley’s illustrations for his 
 books, 2 1 3 
 Isabey, 69, 75, i 5 1 
 Italian and Spanish Work, 31-66 
 Ives’ method, 26 
 
 Jacomb-Hood, P. G., 282 
 Jacque, 69, 75, 151 
 
 Jacquemart, J., 130, 131, 132, 133, 175, 222, 
 242. 243, 387 
 
 Japanese art, influence of, 192 ; motives and 
 designs of, 407, 408 
 Jeanniot, P. G., 71, 79, 82, 83 
 Jefferson, Joe, Blum’s drawing of, 250, 251 
 Johannot, 69, 151 
 Johnson, 330 
 
 Jones, Burne, 219, 290, 293 
 Journalism, Desmoulins’ influence on, illustrated, 
 20 ; power of, illustrated, 449 
 J uengling, J. F., 152 
 
 Kay, H. Illingworth, 401 
 
 Keene, Charles, x., 24, 277, 280, 281, 282, 295, 
 328, 338, 340, 373 
 Kemble, E. W., 223, 236, 239, 240 
 Kemp, Percy, 382 
 Keppler, F., 223 
 Khnopff, I 22 
 
 Kipling’s Ju?igle Book, Drake’s illustrations for, 
 242 
 
 Kirkpatrick, Frank L., 224 
 Klinger, Max, 118, 155, 177, 180 
 Knaufft, Prof. Ernest, xii. 
 
 Konewka, Paul, 191, 196 
 Kretzschmar, E., 16 1 
 Kunst fur A lie, 172 
 
 L'ArmEe pRANqAlSE, Detaille’s illustrations 
 for, 79 
 
 VArt, 34, 35, 38, 48, 70, 71, 72, 73, 93, 94, 98, 
 1 10, 278, 449 
 
 U Echo de Paris, 90 
 L'llistoire de Mobilier, 131 
 U Illustration, 71, 112 
 La Caricature, 102 
 La Chau mi ere Indienne, 69, 75, 151 
 La Com'edie de Notre Temps, illustrated by Caran 
 D’Ache, 1 1 2 
 
 La Comedie dll Jour, illustrated by Caran D’Ache, 
 1 1 2 
 
 La Comedie Parisienne, 90 
 La Cruche Cass'ee, illustrated by Menzel, 151 
 La I lust radon Art is tic a, 48 
 La llust radon EspaJiola y Americana, 34, 51 
 La Revue Ulus tree, 71, 82, 112, 118 
 La Tie Moderne, 20, 34, 35, 38, 64, 71, 82, 1 10, 
 2 1 2, 277 
 
 La Tie Parisienne, 71, 281 
 
 Lalanne, Maxime, i, 13, 14, 15, 31, 72, 92, 93, 
 275 ; Treatise on Etching, i 
 Lalauze, A., 108, 437 
 Lambert, 2 1 2 
 Lan^on, Auguste, 72, 107 
 Lang (German painter), 155 
 Lautrec, 74, i 24 
 Lavoignat, 69, i 52 
 Lawless, J. M., 277 
 Lawson, Cecil, 277, 279 
 
 A-tzv Minstrel, J. Ashby-Sterry’s, Abbey’s drawing 
 for, 228 
 
 Le Charivari, 448 
 
 Le Courrier Fran^ais, 71, 90 
 
 Le Magazin Pittoresque, 70, 75 
 
 Le Monde Illustr'e, 34, 50, 71, 419, 448 
 
 Le Petit Journal pour Eire, 71 
 
 Le Pierrot, 1 1 4 
 
 Le Reve, 118, 122 
 
 Leech, J., 163, 277, 281 
 
 Legge, J. G., x. 
 
 Lcibl, W., 155, 184 
 
 Leighton, Frederick, Sir, x. 300, 303, 304 
 Leloir, Louis, 108, 144, 426, 437 
 Leloir, Maurice, 72 
 Lemaire, Madeleine, Mine., x., 72, 84 
 Leon, 122 
 
 Lepage, Bastien, 140 
 Lepere, A., 192 
 
 Les Artistes Celebres, Rembrandt, 10 
 Les Arts de Reproduction, xii. 
 
 Les Courses dans V Antiquit e, illustrated by Caran 
 D’Ache, 1 12 
 
 Les Deux Jouers, Meissonier, 75 
 Les Premieres, 35, 50 
 
456 
 
 PEN DRAWING 
 
 Les Quatre fils d’vlymon, i 24 
 Les teffips difficiles^ 90 
 Leveille, A., 32, 69, 152 
 Lhermitte, Leon, 419 
 Librairie de P Aj't, 10 
 Life, New York, 224, 281 
 Ligrand, Louis, 74 
 
 Lincoln, W. Eaton’s drawing of head of, 223, 
 
 436 
 
 Linton, J. D., Sir, 279, 308, 439 
 Linton, W. J., 285 
 Liphardt, 212 
 Lippmann, Dr., xiii. 
 
 Lithography, Menzel’s drawing for, 157, 158, 
 160; change effected by introduction of photo-, 
 I 54, 435 ; Darlcy’s outline drawings reproduced 
 by, 223 
 
 Little Lord Fauntleroy, Birch’s illustrations for, 
 220, 229 
 
 Low, Will H., 446 
 
 Luders, Hermann, 79, 155, 164, 167 
 
 Lunel, F., 35, 86, 87 
 
 Lungren, Frederick, 34, 192, 221, 260, 261, 264, 
 419 
 
 Lynch, Albert, 103 
 
 M‘Dermott, Jessie, Miss, 223 
 M‘Ralston, J. W., 308 
 Macbeth, R. W., 278, 301 
 Mackmurdo, A. H., x., 403 
 Macmillan & Co., viii., ix. 
 
 Macmillan, Frederick, ix., xiii. 
 
 Madrazo, Mme., Galice’s drawing of, 19 
 
 Madrazo, R., 31, 36 
 
 Magazitte of Art, 38, 262, 275, 279 
 
 Mahoney, J., 277, 279, 293, 294, 296 
 
 Mallow, C. E., 272 
 
 Mandlick, 172 
 
 Manet, Edouard, vii. 
 
 Manon Lescaut, Leloir’s illustrations for, 387 
 Mantegna, xi., 392, 441 
 Marie, Adrien, 71, 419, 447 
 Marks, H. S., 277 
 
 Marold, Ludwig, 106, 155, 176, 186 
 
 Marques, Jose M., 64 
 
 Mars, 71, 106, 397 
 
 Martin, 122 
 
 Marty, E., 145 
 
 Masic, Niccolo, 191 
 
 Materials for pen drawing, 417 
 
 Max und Moritz, Busch’s illustrations for, 155 
 
 May, Phil, 280, 282, 366, 367, 368 
 Meckenen, Israel von, 9, 392 
 Meggendorfer, L., 156, 162 
 Meisenbach process, 73, 154 
 Mcissonicr, J. L. E., 31, 37, 38, 61, 69, 70, 71, 
 75 , 76, 77, 79, GL '61, 228, 276, 283, 289, 
 369, 437 
 
 Menzel, Adolf, x., 31, 34, 35, 37, 38, 75, 151, 
 152, 153, G 4 , 155, > 57 , >58, 159, '60, 161, 
 163, 167, 197, 203, 219, 225, 228, 276, 279, 
 283, 289, 299, 304, 336, 369, 437, 441, 450 
 Mercic, M. J. E., 98 
 Merson, Luc Ollivicr, 412 
 Mcryon, C., 10, 445 
 Michael Angelo, 2, 8 
 Michel, Emile, Rembrandt by, 10 
 Michetti, 36 
 
 Midsummer Night's Drea?n, Konewka’s, 196 
 Millais, John E., Sir, 277, 293, 294 
 Millar, H. R., 380 
 Millet, Jean Francois, 70 
 Missal of Maximilian, 392 
 Mitchell, J. A., 223 
 Montalti, A., 36, 46, 47, 419 
 Moore, George, portrait of, by Walter Sickert, 
 339 
 
 Moran, Peter, 221 
 Moran, Thomas, 221 
 Morgan, Mat, 223 
 Morin, Louis, 134, 135 
 Morris, William, xii., 374, 414 
 Morrow, A. C., 389, 403 
 Morten, T., 308 
 MSS. and Missals, 386 
 Muckley, L. F., 376, 377 
 Muhrman, Henry, 220 
 Muller, Hermann, 153 
 Mulready, W., 281 
 Milne hener Kalender, 394 
 Munkaesy, M. de., 19 1 
 Murch, A., 308 
 Murray, David, x. 
 
 Murray, Fairfax, xiii., 279 
 
 Museum, Berlin, edition of Menzel’s drawings 
 issued by, 153 
 
 Museum, British, x. ; old prints in, 9 ; Uniforms 
 of the Army of Frederick the Great in, 225 
 Museum, Plantin, 406, 436 
 
 Museum, South Kensington, x. ; illustrated papers 
 in, 35 ; original blocks in, 279 ; Mulready’s 
 drawings in, 281 ; Rossetti’s drawing of his 
 wife in, 291 
 
INDEX 
 
 457 
 
 Myrbach, 127, 186 
 Mysticism in art, i 5 5 
 
 Nagel, L. Von, 166 
 
 Nast, Thomas, 223 
 
 New, E. H., 374, 377 
 
 AVot York Herald, 90 
 
 Newell, Peter, 263 
 
 Nichols, H. D„ 271 
 
 Nops, D. T., Electrotype Agency, ix. 
 
 North, J. W., 307 
 
 Oberlander, a., 155, 169, 170, 1 7 1, 324 
 Old masters, pen drawings by, 7-15 ; sketches of 
 projects and intentions, 7 ; comparison between 
 their etchings and pen drawings, 8 ; comparison 
 of Butin’s methods with those of, 94 ; relation 
 of modern to pen drawing of, 276 
 Old Songs, Parsons’ and Abbey’s illustrations for, 
 168, 225, 226 
 
 Oyice a Week, lo, 275, 277, 279, 280, 283, 393 
 Otto of the Silver Hand, Pyle’s illustrations for, 
 222, 234 
 
 Our Continent, 449 
 Ov'erbeck, J. F., 37 
 
 Pablo DE SlCOriE, illustrated by Vierge, 34, 
 35, 42, 63, 168, 419 
 Pal/ Mall Budget, 354, 356 
 Pall Mall Gazette, 448 
 Paolocci, 36 
 
 Paper, Papier Gillot, 46, 98, 140, 263, 419 ; 
 Fratclli Treves’ tinted, 46 ; grained, 46, 419 ; 
 Whatman, 56, 320, 418, 428 ; London board, 
 418 ; Bristol board, 229, 417, 418 ; Pierre & 
 Sons’, and (ioodall’s Bristol board, 417 ; Reeves’ 
 mounting board, 417 ; crayon, 419 ; Robertson 
 & Co.’s, 418 ; Newman’s London board and 
 art tablets, 418 
 
 Parables, Sir J. E. Millais’ illustrations for, 293 
 Paris Exhibition, drawings and engravings at 
 (1889), 228 
 Paris, Hamerton’s, 92 
 Paris lllustr'e, 35, 50, 71 
 
 Parsons, Alfred, ix., x., 34, 84, 212, 224, 234, 
 278, 279, 282, 311, 317, 318, 319, 320, 386, 
 387. 395> 396, 397, +03, +05, 4> L +27 
 Parsons, Charles, ix. 
 
 Partridge, B., 282, 332, 333 
 Paterson, R., 299, 436, 440 
 Paul et Yirginie, C timer’s, 69, 75, 151 
 
 Pegram, Fred, 370, 371 
 
 Pen drawing, no authorities on, ix., i ; modern 
 development of, 2, 10, 11 ; 11 . R. Robertson 
 on, 3 ; difference between etching and, 3 ; 
 aims of, 4; in the past, 7-27; Spanish and 
 Italian, 31-66 ; a painter’s process, 31 ; For- 
 tuny’s innovation in, 31 ; ignored by critics, 
 33 ; an art for clever men, 34 ; German, 149- 
 188 ; Menzcl’s influence on, 149 ; French, 
 67-147 ; original work expressed in, 70 ; a 
 fashion in Paris, 73 ; used in illustrating cata- 
 logues, 73 ; of sculpture, 96-101 ; example of 
 tonality in, iio; English, 275-382; in Once 
 a Week, 275 ; best period in England of, 283 ; 
 American, 219-272 ; Dutch, Danish and other 
 work, 189-215; Japanese, 191, 192; archi- 
 tectural, 270-272 ; for book decoration, 383- 
 414; materials for, 417-422; technical sug- 
 gestions for, 425-429; things to be remem- 
 bered in, 427 ; size of, 427 ; devices in, 428 ; 
 proper subjects for, 428 ; models for, 429 ; 
 reproduction of, 433-441 ; art of, to-day, 441 ; 
 hopes and fears for, 445 ; etching compared 
 with, 445, 446, 447 ; financial value of, 446 ; 
 objections made to, 446, 447 ; for newspapers, 
 448, 449 ; demand for, 449 ; future of, 449, 
 450 
 
 Pen and Pencil, Excellenc-^ of, 3, 420 
 
 Pennell, Mrs. E. R., ix. 
 
 Penny Magazine, 70 
 
 Pens, used by Raffaclli, 45 ; used by Casanova, 
 59 ; used by Butin, 94 ; double line, 107, 
 420 ; brush used as, 300 ; used by Wyllie, 
 335 ; Gillott’s lithographic crow-quill. No. 
 659, J., and quill, 420 ; stylographic and 
 fountain, 420 ; Perry’s auto-stylo, 420 
 
 Pepper and Salt, Pyle’s illustrations for, 222, 234, 
 
 393 
 
 Petersen, T., 212 
 
 Phiz, 281 
 
 Photo-engravers, of Fabres’ drawing, 48 ; Ameri- 
 can, 108 ; English, 108, 276 ; size of drawing 
 suggested by, 311, 427; paper recommended 
 by, 417, 418 ; value of criticism by, 434 ; co- 
 operation with wood-engraver, 434 
 
 Photo-engraving, influence on pen drawing of, 2, 
 31, 70, 154; history of, 10 ; aids to develop- 
 ment of, 22 1 ; of Dantan’s drawing, 80; advan- 
 tage to the artist of, 275 ; Dawson’s, 228, 231 ; 
 drawings made for, 251; best example of, 267 ; 
 inks suitable for, 421 ; object and methods of, 
 433 ; economy of, 434 ; superiority to wood- 
 
458 
 
 PEN DRAWING 
 
 engraving of, 435, 436, 437 ; compared with 
 wood-cutting and photogravure, 440, 441 
 Photo-lithography. See Lithography. 
 Photography, aid to artists of, 8 ; applied to repro- 
 duction of pen drawings, ii, 152, 276, 282 ; 
 artistic use of, 236, 256, 264 
 Photogravure, reproductions of Fortuny’s drawing 
 bji 33 > of Fabres’ drawing, 48 ; of Detaille’s 
 and De Neuville’s work, 71 ; advantages of, 
 277 ; of Sandys’ drawing compared with wood- 
 cut, 289 ; object of, 433 ; how made, 433 ; 
 compared with photo- engraving and wood- 
 cutting, 441 ; real and fictitious value of, 
 446 
 
 Pick-Me-Up, artists of, x. 
 
 P icturesque Atnerica, Fenn’s illustrations for, 223 
 
 Pille, Henri, 89, 135 
 
 Pinwell, G. J., 277, 295, 299, 301, 308 
 
 Pitman, Miss R. M. M., 378 
 
 Piton, Camille, 224 
 
 Plantin, 389, 391 
 
 Point, 122 
 
 Poirson, V., 35, 85 
 
 Ponce de Leon Hotel, descriptive pamphlet of, 
 ix., 252 
 
 Portfolio, The, 92, 275 
 Poynter, E. J., x., 277, 304, 305 
 Pre-Raphaelites, the, 285 
 
 Pre-Raphaelite movement, Du Maurier’s bur- 
 lesque of, 326 
 
 Prince's Progress, The, Rossetti’s illustrations for, 
 291 
 
 Printing, American, x. ; R. & R. Clark’s, x., xiii. ; 
 of process blocks, 56; comparison of American 
 to English block, 276 ; De Vinne’s, 221 ; of 
 old work, 386 ; early and modern, 387 ; of 
 Hobby-Horse, 405 ; of photo -engraving and 
 photogravure, 433 ; of illustrated newspapers, 
 448 
 
 Process, reproduction of Vandyke’s and Rem- 
 brandt’s etchings by, lo ; influence on pen 
 drawing of, 10; meaning of, ii ; advantages 
 of, 32, 152, 275, 321, 322 ; value of drawings 
 made for, 38 ; printing of, 56 ■, Vierge’s in- 
 fluence on, 61 ; paintings reproduced by, 73 ; 
 jeanniot’s work adapted to, 82; possibilities of, 
 108, 304, 306 ; English, 276 ; English draughts- 
 men who have worked for, 282 ; reproduction 
 of old woodcuts, 292, 293 ; compared to 
 woodcuts, 321, 324; Furniss’ work for, 3245 
 Brennan’s knowledge of, 258 ; economy of, 
 434; processes resembling pen drawing, 434; 
 
 requirements of, 435 ; true value of, 440; for 
 newspapers, 449, 450 
 Puck, 224 
 
 Punch, 24, 275, 280, 281, 283, 322, 323, 324, 
 326, 328, 329, 332 
 
 Pyle, Howard, x., 118, 220, 222, 232, 233, 234, 
 268, 315, 387, 393, 41 I 
 Pyle, Katherine, 223 
 
 Quantin, 13, 93 
 
 Ouiet Life, Abbey’s illustrations for, 225 
 
 Radholt, 400 
 
 Raffaelli, J. F., 36, 45 
 
 Railton, Herbert, 282, 358, 359, 360, 403 
 
 Rainey, W., 352 
 
 Rajon, Paul, 277 
 
 Raphael, xi., 2, 8, 31, 285 
 
 Rasmussen, L., 248, 249 
 
 Redwood, A. C., 223, 246 
 
 Rcgamey, Felix, 192, 407 
 
 Reid, George, ix., x., 34, 277, 279, 282, 
 
 311 
 
 Reid, R. T., Q-C., T. S. C. Crowther’s portrait 
 of, 361 
 
 Reinhart, C. S., 220, 222, 235, 419 
 Reitch, J., 223 
 
 Rembrandt, xi., 2, 7, 8, 9, 10, 22, 24, 3 1, 92, i 72, 
 429 
 
 Remington, Frederick, 223, 236, 238 
 Renoir, M., 146 
 
 Renouard, Paul, 71, 142, 143, 408, 412 
 Repine, 191 
 
 Reynolds, Joshua, Sir, 38, 40, 312 
 Richter, Albert, 172, 173 
 Ricketts, Charles, xii. 
 
 Rico, Martin, ix., 8, 31, 33, 34, 51-57, 58, 63, 
 64, 65, 72, 104, 151, 219, 221, 225, 228, 252, 
 260, 320, 420, 426, 450 
 Ringel d’lllzach, 46, 71, 98, 419 
 Riordan, Roger, 412 
 Riviere, Henri, 135 
 
 Robertson, H. R., Pen Drawing by, 3, 429 
 Robida, A., 72, 102 
 
 Robin Hood, Pyle’s illustrations for, 222, 234 
 
 Rochegrosse, G., 72, 126, 397 
 
 Rogers, W. A., 222 
 
 Roi de Boheme, Johannot’s, 69 
 
 Ronner, Madame, 212 
 
 Rossetti, D. G., 2, 19, 285, 291, 292, 293 
 
 Rossetti, W. M., x., 291 
 
INDEX 
 
 459 
 
 Rossi, 1 86 
 Roth, 171 
 Rousseau, J., 70 
 
 Routledge, George, and Sons, ix. 
 
 Royal Academy, 73 ; Architectural School of, 2 
 Ruskin, John, 2, 3, 426 ; Elements of Dratving, 
 
 9 ’ +29 
 
 Ryland, Henry, 390, 391, 402, 403 
 
 St. Nicholas, 128, 220, 221, 260, 397 
 Salon, 73 
 
 Salon Catalogue, 35, 71, 73, iio, 395 
 
 Sambourne, Linley, x., 321, 322, 323 
 
 Sandham, H., 419 
 
 Sandys, F., xi., 118, 177, 277, 283 
 
 Sattler, J., 400 
 
 Scheyner, 172 
 
 Schlittgen, H., 106, 164, 172, 229, 260, 285, 
 286, 287, 288, 289 
 Schongaur, Martin, 441 
 Schvvabe, Carlos, 118-123 
 Scoppetta, 36 
 
 Scott, H., 71, 103, 104, 105 
 Scrambles amongst the Alps, Mahoney’s illus- 
 trations for, 293 
 
 Scribner’s, Charles, Sons, ix., xii. ; Monthly 
 [Century), 220, 221, 223, 255 ; publications, 
 224 ; collection of proofs, 436 
 Sculpture, drawings of, 96 
 Seeley and Co., ix. 
 
 Seitz, Otto, 400 
 Senzanni, 36 
 
 Shakespeare' s Comedies, Konewka’s, 196 ; Abbey’s, 
 222 
 
 Shannon, Charles, xii. 
 
 She Stoops to Conquer, Abbey’s and Parsons’ 
 illustrations for, ix., x., 222, 225, 226, 319, 
 320 
 
 Shepherd, W. L., 220 
 Shields, F., 308 
 Shilling Magazine, 283, 291 
 Shirlaw, Walter, 220 
 Sickert, Walter, 339 
 
 Sign of the Lyre, Abbey’s illustrations for, 228 
 Simonetti, 66 
 Singer, D. Hans, xiii. 
 
 Small, William, 277, 298, 301, 372, 373 
 Smeaton, Mrs., Wirgman’s drawing of portrait of, 
 
 312 
 
 Smedley, W. T., 268, 269 
 Smillie, J. D., 221 
 Smith, Orrin, 69 
 
 Snyders, Vandyke’s head of, 20, 21 
 
 Societe d' Aquarellistes Franqais, Catalogue of, 
 
 73 
 
 Solomon, Saul, 289, 308, 310 
 Spanish and Italian Folk-Songs, Miss Strettell’s, 
 Abbey’s illustrations for, 228 
 Spanish and Italian Work, 31-66 
 Speed, L., 3 1 6 
 
 Spiers, R. Phene, Architectural Drawing, xiii. 
 Steinlen, 147 
 
 Stephens, Alice Barber, 223, 247 
 Sterne, Leloir’s illustrations for his books, 72, 
 108, 144 ; Sentimental fourncy, Lcloir’s illustra- 
 tions for, 387 
 Sterner, A. E., 259 
 Stevens, Alfred, 103 
 Stone, Marcus, 285 
 
 Stuck, Franz, 177, 178, 179, 396, 397, 398 
 Stucki, A., 174, 175 
 Studio, The, xii. 
 
 Sullivan, E. J., 282, 354, 355 
 Sullivan, J. F., 364, 365 
 Sumner, Heywood, 389, 391, 395, 403, 41 1 
 Sunday Magazine, 275, 283, 293 
 Surand, M., 14 1 
 
 Swain, Joseph, x., 289, 291, 293, 321, 322, 329, 
 
 436 
 
 Swan Electric Company, 26, 184, 276, 293, 
 
 356 
 
 Taber, W., 254, 419 
 
 Tartarin de Tarascon, Jeanniot’s illustrations for, 
 82 
 
 Taylor, C. J., 223 
 
 Technique, value of, ix. ; importance of, 1 ; in 
 drawing of portraits, 21 ; influence of Vierge 
 on, 42 ; Fabres, 48 ; advanced by experi- 
 menters, 61 ; its absence from Caldecott’s and 
 Busch’s work, 155 ; Menzel’s, 157 ; Dantan’s 
 mastery of, 80 ; Du Maurier’s, 280, 326 ; of 
 English draughtsmen, 281 ; of Sandys’ com- 
 pared with Diirer’s, 289; Sambourne’s, 321 ; 
 Abbey’s command of, 226 ; progress in, 232 ; 
 Brennan’s, 256 ; suggestions for, 425-429 ; to- 
 day, 441 
 
 Tegner, Hans, 191, 197-203, 210 
 Tcnniel, J., 277, 281 
 
 Tennyson, Poems of, Rossetti’s illustrations for, 
 2, 275, 291 ; Palace of Art, 291 
 Tlianlow, Frans, 2 i 2 
 Thoma, Hans, 177 
 I Thomas, R. Kent, 435 
 
460 
 
 PEN DRAWING 
 
 Thompson, C., 69, 283 
 Thompson, J., 69 
 Thomson, George, 356 
 Thomson, Gordon, 308 
 Thomson, Hugh, 282, 358, 388, 403 
 Thulstrup, T. de, 223, 266 
 Tiepolo, 10 
 
 Titian, 2, 7, 8, 13, 14, 15, 22 
 
 Tito, E., 36, 58 
 
 Tofani, 186 
 
 Toorop, Jan A., 195 
 
 Townsend, F. H., 381 
 
 Treves, Fratelli, 46 
 
 Tringham, Holland, 358, 360 
 
 Trouville, Schlittgen’s illustrations for, 154, 164 
 
 Triibner and Co., 164 
 
 Triibner, Wilhelm, 177 
 
 Twefttietb Century, Robida’s, 102 
 
 Typographic Etching Co., 276 
 
 Ude OG HjeMME, the illustrators of, 207 
 
 Unger, E., 172, 397, 406, 408 
 
 Universal Review, 301 
 
 Utiiversum, 172, 408 
 
 Unzelmann, F., 152, 153 
 
 Urrabieta, S. (Vierge), 35 
 
 Vallotin, Felix, 122, 136 
 Van Beers, J., 191 
 Van Eyck, xi. 
 
 Van Haanen, C., 191 
 
 Van Ingen, and Snyder, 225 
 
 Van Leyden, Lucas, 441 
 
 Van Papendrecht, J. Hoynek, 193 
 
 Van Schaick, S. W., 223 
 
 Vandyke, 10, 19, 20 
 
 Vcdder, Elihu, 412 
 
 Velasquez, 7, 9 
 
 Vicar of Wakefield, Poirson’s illustrations for, 
 
 387 
 
 Vietit de Paraitre, 71 
 
 Vierge, Daniel, x., 8, 31, 33, 34, 35, 36, 38, 39, 
 40, 42, 50, 61, 63, 70, 73, 85, 134, 163, 186, 
 191, 219, 221, 225, 228, 258, 260, 380, 419, 
 420, 450 
 
 Vogel, Albert, 152, 153 
 Vogel, Hermann, 186, 187, 188 
 Vogel, Otto, I 53 
 
 Walker, Fred, x., 236, 277, 279, 295, 297, 298, 
 300, 302, 303 
 Walter, John, 448 
 
 Warner, Olin L., 223 
 
 Water Babies, Sambournc’s illustrations for, 321, 
 322, 323 
 
 Waterhouse, Col., The Photographic Reproduction 
 of Drawings, xii., 433 
 Waterlow and Sons, Limited, 56, 276, 377 
 Watson, J. D., 308 
 Watteau, 134 
 Weber, Marie, 97 
 Weeks, E. L., 263 
 Weir, Harrison, 281, 283 
 Werenskiold, Erik, 215 
 
 Whistler, J. M‘N., 8, 22, 92, 192, 256, 279, 
 373 . 4+5. 45 ° 
 
 White, Glceson, Drawing for Reproduction, xii. 
 Whitney, J. H. E., 152, 299, 436 
 Whymper, Edward, 293 
 M'^ide Awake, 224 
 Wierix, Jan, xi. 
 
 Wilkie, D., Sir, 281 
 Willette, A., 1 14 
 Williams, Andrews, 69 
 Williams, Isaac L., 225 
 Wilson, Edgar W., 192, 362, 363 
 Wirgman, T. Blake, x., 279, 312 
 Wolf, M. A., 223, 277 
 
 Wonder Clock, The, Pyle’s illustrations for, 232, 
 
 234 
 
 Wood, H. Trueman, Methods of Illustrating Books 
 by, II, 433 
 Woodbury process, 10 
 
 Woodcuts, Diirer’s, 16 ; of Fortuny’s drawings, 
 32, 33 ; difference between process and, 33, 
 321, 324 ; of Menzel’s work, 161 ; in Once a 
 Week, 277 ; in Dalziel’s Bible Gallery, 304 ; 
 in English magazines before process, 293 ; of 
 Sandys’ drawing compared with photogravure, 
 291 ; ot Rossetti’s work, 291 ; compared with 
 process blocks, 304, 308 ; of Keene’s drawings, 
 326 ; of Furniss’ drawings, 324 ; of Sam- 
 bourne’s work, 321 ; draughtsman’s work lost 
 in early, 405 ; Paterson’s, of Diirer’s Big 
 Horse, 438, 440 ; compared with photo- 
 engraving and photogravure, 438 et seq. 
 Woodcutters, difficulties and limitations of early, 
 315, 405, 438 ; of Diirer’s work, 435 
 Woodcutting, Menzel’s influence on facsimile, 
 161 ; development and future of, 152; in 
 greatest period of English pen drawing, 283 
 et seq. ; compared with process and mechanical 
 reproduction, 284, 321 ; in Diirer’s time, 435 
 Wood-engravers, of Menzel’s work, 152, 153, 
 
INDEX 
 
 461 
 
 437 ; labour of, 275 ; of Putick, 326 ; of 
 Fred Walker’s time, 295, 296, 297, 437 ; 
 of Japan, 192 ; of Tegner’s drawings, 203 ; 
 
 Wright, C. L,, Gravure Company, 267 
 Wyllie, W. L., X., 279, 335 
 
 conventionality of work drawn for, 388, 435 ; 
 
 XiMENEZ, 36 
 
 co-operation of photo-engraver with, 387 
 Wood-engraving, revival in Spain and Italy, 63 ; 
 in Punch, 275, 283, 323, 326 ; reproduced by 
 process, 285 ; commencement of reaction 
 against translative, 306 ; compared with photo- 
 
 Yon, Edmond, 72 
 
 Yriarte, C., Life of Fortuny, 37 
 
 Yves and Barret, 80 
 
 engraving, 284, 321 
 Woods, Henry, 277 
 
 ZoGBAUM, R. F., 223 
 Zzuischen Zwei Regen, 154 
 
 THE END 
 
 Printed by R. & R. Clark, Edinburgh.