113 files changed, 14784 insertions, 0 deletions

diff --git a/.gitattributes b/.gitattributes
new file mode 100644
index 0000000..6833f05
--- /dev/null
+++ b/.gitattributes
@@ -0,0 +1,3 @@
+* text=auto
+*.txt text
+*.md text
diff --git a/32320-8.txt b/32320-8.txt
new file mode 100644
index 0000000..9b7691e
--- /dev/null
+++ b/32320-8.txt
@@ -0,0 +1,4324 @@
+The Project Gutenberg EBook of The Art of Illustration, by Henry Blackburn
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art of Illustration
+       2nd ed.
+
+Author: Henry Blackburn
+
+Release Date: May 10, 2010 [EBook #32320]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF ILLUSTRATION ***
+
+
+
+
+Produced by Marius Masi, Chris Curnow and the Online
+Distributed Proofreading Team at http://www.pgdp.net.
+
+
+
+
+
+
+
+
+
+
+THE ART OF ILLUSTRATION.
+
+
+  [Illustration: "THE TRUMPETER." (SIR JOHN GILBERT, R.A.)
+
+  (_Drawn in pen and ink, from his picture in the Royal Academy, 1883._)
+
+  [Size of drawing, 5-1/2 by 4-3/4 in. Photo-zinc process.]]
+
+
+
+
+  The Art of Illustration.
+
+            BY
+     HENRY BLACKBURN,
+
+  _Editor of "Academy Notes," Cantor Lecturer on Illustration, &c._
+
+            WITH
+  NINETY-FIVE ILLUSTRATIONS.
+
+
+       SECOND EDITION.
+
+
+           LONDON:
+  W. H. ALLEN & CO., LIMITED,
+   13, WATERLOO PLACE, S.W.
+
+            1896.
+
+
+
+
+         PRINTED BY
+  WYMAN AND SONS, LIMITED,
+        LONDON, W.C.
+
+
+
+
+            DEDICATED TO
+       SIR JOHN GILBERT, R.A.,
+    ONE OF THE PRINCIPAL PIONEERS
+  OF BOOK AND NEWSPAPER ILLUSTRATION.
+
+
+
+  [Illustration: (PEN-AND-INK DRAWING FROM HIS PICTURE, BY MR. CHARLES
+  COLLINS, 1892.)
+
+  [Photo-zinc process.]]
+
+
+
+
+PREFACE.
+
+
+The object of this book is to explain the modern systems of Book and
+Newspaper Illustration, and especially the methods of drawing for what
+is commonly called "process," on which so many artists are now engaged.
+
+There is almost a revolution in illustration at the present time, and
+both old and young--teachers and scholars--are in want of a handbook for
+reference when turning to the new methods. The illustrator of to-day is
+called upon suddenly to take the place of the wood engraver in
+interpreting tone into line, and requires practical information which
+this book is intended to supply.
+
+The most important branch of illustration treated of is _line drawing_,
+as it is practically out of reach of competition by the photographer,
+and is, moreover, the kind of drawing most easily reproduced and printed
+at the type press; but wash drawing, drawing upon grained papers, and
+the modern appliances for reproduction, are all treated of.
+
+The best instructors in drawing for process are, after all, the
+_painters of pictures_ who know so well how to express themselves in
+black and white, and to whom I owe many obligations. There is a wide
+distinction between their treatment of "illustration" and the so-called
+"pen-and-ink" artist.
+
+The "genius" who strikes out a wonderful path of his own, whose
+scratches and splashes appear in so many books and newspapers, is of the
+"butterfly" order of being--a creation, so to speak, of the processes,
+and is not to be emulated or imitated. There is no reason but custom
+why, in drawing for process, a man's coat should be made to look like
+straw, or the background (if there be a background) have the appearance
+of fireworks. No ability on the part of the illustrator will make these
+things tolerable in the near future. There is a reaction already, and
+signs of a better and more sober treatment of illustration, which only
+requires a _better understanding of the requirements and limitations of
+the processes_, to make it equal to some of the best work of the past.
+
+The modern illustrator has much to learn--more than he imagines--in
+drawing for the processes. A study of examples by masters of line
+drawing--such as Holbein, Menzell, Fortuny or Sandys--or of the best
+work of the etchers, will not tell the student of to-day exactly what he
+requires to know; for they are nearly all misleading as to the
+principles upon which modern process work is based.
+
+In painting we learn everything from the past--everything that it is
+best to know. In engraving also, we learn from the past the best way to
+interpret colour into line, but in drawing for the processes there is
+practically no "past" to refer to; at the same time the advance of the
+photographer into the domain of illustration renders it of vital
+importance to artists to put forth their best work in black and white,
+and it throws great responsibility upon art teachers to give a good
+groundwork of education to the illustrator of the future. In all this,
+education--_general education_--will take a wider part.
+
+The ILLUSTRATIONS have been selected to show the possibilities of
+"process" work in educated, capable hands, rather than any _tours de
+force_ in drawing, or exploits of genius. They are all of modern work,
+and are printed on the same sheets as the letterpress.
+
+_All the Illustrations in this book have been reproduced by mechanical
+processes, excepting nine_ (marked on the list), which are engraved on
+wood.
+
+Acknowledgments are due to the Council of the Society of Arts for
+permission to reprint a portion of the Cantor Lectures on "Illustration"
+from their Journal; to the Editors of the _National Review_ and the
+_Nineteenth Century_, for permission to reprint several pages from
+articles in those reviews; to the Editors and Publishers who have lent
+illustrations; and above all, to the artists whose works adorn these
+pages.
+
+     H. B.
+
+  123, VICTORIA STREET, WESTMINSTER.
+
+     _May, 1894._
+
+
+
+
+CONTENTS.
+
+
+                                                                    PAGE
+  CHAPTER I.--INTRODUCTORY                                             1
+
+  CHAPTER II.--ELEMENTARY ILLUSTRATION                                15
+
+    Diagrams--Daily Illustrated Newspapers--Pictorial _v._ Verbal
+      Description.
+
+  CHAPTER III.--ARTISTIC ILLUSTRATIONS                                40
+
+    Education of the Illustrator--Line Drawing for
+      Process--Sketching from Life--Examples of Line Drawing.
+
+  CHAPTER IV.--THE PROCESSES                                         102
+
+    "Photo zinco"--Gelatine Process--Grained Papers--Mechanical
+      Dots--"Half-tone" Process--Wash Drawing--Illustrations from
+      Photographs--_Sketch_, _Graphic_, &c.--Daniel Vierge.
+
+  CHAPTER V.--WOOD ENGRAVING                                         182
+
+  CHAPTER VI.--THE DECORATIVE PAGE                                   197
+
+  CHAPTER VII.--AUTHOR, ILLUSTRATOR, & PUBLISHER                     211
+
+  STUDENTS' DRAWINGS                                                 223
+
+  APPENDIX                                                           233
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+[_The copyright of all pictures sketched in this book is strictly
+reserved._]
+
+                                                                    PAGE
+  "The Trumpeter." Sir John Gilbert, R.A.              (_Process_)    vi
+  Swans. Charles Collins                                    "         ix
+  "Ashes of Roses." G. H. Boughton, A.R.A.                  "          5
+  "Badminton in the Studio." R. W. Macbeth, A.R.A.          "          6
+  "A Son of Pan." William Padgett                           "         11
+  "Home by the Ferry." Edward Stott                         "         12
+  Man in Chain Armour. Lancelot Speed                       "         14
+  "Greeting." The Hon. Mrs. Boyle                           "         15
+  Diagrams (5)                                              "      19-32
+  View above Blankenburg                                 (_Wood_)     38
+  The Curvature of the World's Surface                      "         39
+  "Tiresome Dog." E. K. Johnson                        (_Process_)    43
+  "Frustrated." Walter Hunt                                 "         44
+  "On the Riviera." Ellen Montalba                          "         46
+  "Landscape with Trees." M. R. Corbet                      "         47
+  "An Odd Volume." H. S. Marks, R.A.                        "         49
+  "A Select Committee." H. S. Marks, R.A.                   "         50
+  "The Rose Queen." G. D. Leslie, R.A.                      "         52
+  "Finding of the Infant St. George." C. M. Gere            "         56
+  "A Ploughboy." G. Clausen                                 "     59, 61
+  "Blowing Bubbles." C. E. Wilson                           "         65
+  "Cathedral, from Ox Body Lane." H. Railton                "         69
+  "By Unfrequented Ways." W. H. Gore                        "     70, 71
+  "Adversity." Fred. Hall                                   "     73, 75
+  "A Willowy Stream." Maud Naftel                           "         76
+  "Twins." Stanley Berkeley                                 "         79
+  "The Dark Island." Alfred East                            "         80
+  "A Portrait." T. C. Gotch                                 "         83
+  Sir John Tenniel. Edwin Ward                              "         87
+  The Rt. Hon. John Morley. Edwin Ward                      "         90
+  "Nothing venture, nothing have." E. P. Sanguinetti        "     92, 93
+  "On the Terrace." E. A. Rowe                              "         94
+  "For the Squire." Sir John Millais, Bart., R.A.           "         97
+  "The Stopped Key." H. S. Marks, R.A.                      "        100
+  Nymph and Cupid. Henry Holiday                            "        101
+  Illustration to "_The Blue Poetry Book_." L. Speed        "        102
+  A Portrait. T. Blake Wirgman.                             "        103
+  "Forget Me Not." Henry Ryland                             "        105
+  "Baby's Own." G. Hillyard Swinstead                       "        107
+  "A Silent Pool." E. W. Waite                              "        108
+  "The Miller's Daughter." E. K. Johnson                    "        111
+  "The End of the Chapter." W. Rainey.                      "        112
+  "In the Pas de Calais." J. P. Beadle                      "        113
+  "Golden Days." F. Stuart Richardson                       "        114
+  "Twilight." Hume Nisbet                                   "        115
+  "Le Dent du Géant." E. T. Compton                         "   116, 117
+  Landscape. A. M. Lindstrom                                "        119
+  Volendam. C. J. Watson                                    "        123
+  "Old Woman and Grandchild." Hugh Cameron                  "        125
+  "An Arrest." Melton Prior                                 "        127
+  "Sunrise in the Severn Valley." M. R. Corbet              "        129
+  "The Adjutant's Love Story." H. R. Millar                 "        131
+  Illustrations from "_The Blue Poetry Book_." L. Speed     "  134, 5, 7
+  "Seine Boats." Louis Grier                                "        138
+  "There is the Priory." W. H. Wollen                       "        139
+  From "_Andersen's Fairy Tales_." J. R. Weguelin           "   141, 143
+  "Two's company, three's none." H. J. Walker               "        147
+  Illustration from "_Black and White_." C. G. Manton       "        149
+  "A Sunny Land." George Wetherbee                          "        150
+  Decorative Design. The late Randolph Caldecott            "        151
+  Sketch in wash (part of picture) from "_Sketch_           "        155
+  "The Brook." Arnold Helcké                                "        157
+  From a Photograph from Life. By Mr. H. S.
+       Mendelssohn ("_Sketch_")                             "        161
+  From a Photograph from Life. By Messrs.
+       Cameron & Smith ("_Studio_")                         "        165
+  From a Photograph from Life ("_Graphic_")             (_Wood_)     169
+  "Proud Maisie." Lancelot Speed                       (_Process_)   173
+  From "_Pablo de Segovia_." Daniel Vierge                  "        177
+  Drinking Horn from "_Eric Bright Eyes_." L. Speed         "        181
+  Heading from "_Grimm's Household Stories_." W. Crane  (_Wood_)     182
+  Photograph from Life. "_The Century Magazine_"            "        187
+  "Driving Home the Pigs." John Pedder                 (_Process_)   193
+  Joan of Arc's House at Rouen. Samuel Prout            (_Wood_)     195
+  Heading from "_Grimm's Household Stories_." W. Crane      "        197
+  Decorative Page. A. J. Gaskin                        (_Process_)   199
+  Decorative Page from "_The Six Swans_." W. Crane      (_Wood_)     201
+  Title Page of "_The Hobby Horse_." Selwyn Image           "        205
+  Viking Ship from "_Eric Bright Eyes_." L. Speed      (_Process_)   208
+  "Scarlet Poppies." W. J. Muckley                          "        209
+  "Take Care." W. B. Baird                                  "        222
+  Spanish Woman. Ina Bidder                                 "        225
+  Children Reading. Estelle d'Avigdor                       "        227
+  Sketch from Life. G. C. Marks                             "        229
+  Bough of Common Furze. William French                     "        231
+
+
+
+
+  [Illustration]
+
+CHAPTER I.
+
+INTRODUCTORY.
+
+
+There are, broadly speaking, two kinds of engraving for illustration in
+books, which are widely distinct--1. _intaglio_; 2. _relievo_. The first
+comprises all engravings, etchings, and photogravures in which the lines
+are cut or indented by acid or other means, into a steel or copper
+plate--a system employed, with many variations of method, from the time
+of Mantegna, Albert Dürer, Holbein and Rembrandt, to the French and
+English etchers of the present day. Engravings thus produced are little
+used in modern book illustration, as they cannot be printed easily on
+the same page as the letterpress; these _planches à part_, as the French
+term them, are costly to print and are suitable only for limited
+editions.
+
+In the second, or ordinary form of illustration, the lines or pictures
+to be printed are left in relief; the design being generally made on
+wood with a pencil, and the parts not drawn upon cut away. This was the
+rudimentary and almost universal form of book-illustration, as practised
+in the fifteenth century, as revived in England by Bewick in the
+eighteenth, and continued to the present day. The blocks thus prepared
+can be printed rapidly on ordinary printing-presses, and on _the same
+page as the text_.
+
+During the past few years so many processes have been put forward for
+producing drawings in relief, for printing with the type, that it has
+become a business in itself to test and understand them. The best known
+process is still wood engraving, at least it is the best for the
+fac-simile reproduction of drawings, as at present understood in
+England, whether they be drawn direct upon the wood or transmitted by
+photography. There is no process in relief which has the same certainty,
+which gives the same colour and brightness, and by which gradation of
+tone can be more truly rendered.
+
+As to the relative value of the different photographic relief processes,
+that can only be decided by experts. Speaking generally, I may say that
+there are six or seven now in use, each of which is, I am informed, the
+best, and all of which are adapted for printing in the same manner as a
+wood-block.[1] Improvements in these processes are being made so rapidly
+that what was best yesterday will not be the best to-morrow, and it is a
+subject which is still little understood.
+
+In the present book it is proposed to speak principally of the more
+popular form of illustration (_relievo_); but the changes which are
+taking place in all forms of engraving and illustration render it
+necessary to say a few words first upon _intaglio_. We have heard much
+of the "painter-etchers," and of the claims of the etchers to
+recognition as original artists; and at the annual exhibition of the
+Society of Painter-Etchers in London, we have seen examples in which the
+effects produced in black and white seemed more allied to the painter's
+art than to the engraver's. But we are considering engraving as a means
+of interpreting the work of others, rather than as an original art.
+
+The influence of photography is felt in nearly every department of
+illustration. The new photo-mechanical methods of engraving, _without
+the aid of the engraver_, have rendered drawing for fac-simile
+reproduction of more importance than ever; and the wonderful invention
+called _photogravure_, in which an engraving is made direct from an oil
+painting, is almost superseding handwork.[2]
+
+  [Illustration: No. II.
+
+  "_Ashes of Roses_," by G. H. BOUGHTON, A.R.A.
+
+  This careful drawing, from the painting by Mr. Boughton, in the Royal
+  Academy, reproduced by the Dawson process, is interesting for variety
+  of treatment and indication of textures in pen and ink. It is like the
+  picture, but it has also the individuality of the draughtsman, as in
+  line engraving.
+
+   Size of drawing about 6-1/2 x 3-1/2 in.]
+
+  [Illustration: "BADMINTON IN THE STUDIO." (FROM THE PAINTING BY R. W.
+  MACBETH, A.R.A.)
+
+  (_Royal Academy, 1891._)]
+
+The art of line-engraving is disappearing in England, giving way to the
+"painter-etchers," the "dry-point" etchers and the "mezzotint
+engravers," and, finally, to _photogravure_, a method of engraving which
+is so extraordinary, and so little understood (although it has been in
+constant use for more than ten years), that it may be worth while to
+explain, in a few words, the method as practised by Messrs. Boussod,
+Valadon & Co., successors to Goupil, of Paris.
+
+In the Royal Academy Exhibition of 1882, Sir Frederick Leighton's
+picture called "Wedded" will be remembered by many visitors. This
+picture was purchased for Australia, and had to be sent from England
+within a few weeks of the closing of the exhibition. There was no time
+to make an engraving, or even an etching satisfactorily, and so the
+picture was sent to Messrs. Goupil, who in a few weeks produced the
+_photogravure_, as it is called, which we see in the printsellers'
+windows to this day. The operation is roughly as follows:--First, a
+photograph is taken direct from the picture; then a carbon print is
+taken from the negative upon glass, which rests upon the surface in
+delicate relief. From this print a cast is taken in reverse in copper,
+by placing the glass in a galvanic bath, the deposit of copper upon the
+glass taking the impression of the picture as certainly as snow takes
+the pattern of the ground upon which it falls. Thus--omitting details,
+and certain "secrets" of the process--it may be seen how modern science
+has superseded much of the engraver's work, and how a mechanical process
+can produce in a few days that which formerly took years.
+
+What the permanent art-estimate of "photo-engraving" may be, as a
+substitute for hand-work, is a question for the collectors of engravings
+and etchings. In the meantime, it is well that the public should know
+what a _photogravure_ is, as distinct from an engraving. The system of
+mechanical engraving, in the reproduction of pictures, is spreading
+rapidly over the world; but it should be observed that these
+reproductions are not uniformly successful. One painter's method of
+handling lends itself more readily than that of another to mechanical
+engraving. Thus the work of the President of the Royal Academy would
+reproduce better than that of Mr. G. F. Watts or Mr. Orchardson. That
+the actual marks of the brush, the very texture of the painting, can be
+transferred to copper and steel, and multiplied _ad infinitum_ by this
+beautiful process, is a fact to which many English artists are keenly
+alive. The process has its limits, of course, and _photogravure_ has at
+present to be assisted to a considerable extent by the engraver. But
+enough has been done in the last few years to prove that photography
+will henceforth take up the painter's handiwork as he leaves it, and
+thus the importance of thoroughness and completeness on the part of the
+painter has to be more than ever insisted upon by the publishers of
+"engravings."
+
+A word may be useful here to explain that the coloured "photogravures,"
+reproducing the washes of colour in a painting or water-colour drawing,
+of which we see so many in Paris, are not coloured by hand in the
+ordinary way, but are produced complete, at one impression, from the
+printing-press. The colours are laid upon the plate, one by one, by the
+printer, by a system of stencilling; and thus an almost perfect
+fac-simile of a picture can be reproduced in pure colour, if the
+original is simple and broad in treatment.
+
+  [Illustration: No. III.
+
+  "_A Son of Pan_," by WILLIAM PADGETT.
+
+  Example of outline drawing, put in solidly with a brush. If this had
+  been done with pencil or autographic chalk, much of the feeling and
+  expression of the original would have been lost. The drawing has
+  suffered slightly in reproduction, where (as in the shadows on the
+  neck and hands) the lines were pale in the original.
+
+   Size of drawing 11-1/2 × 6-1/2 in. Zinc process.]
+
+  [Illustration: "HOME BY THE FERRY." (FROM THE PAINTING BY EDWARD
+  STOTT.)
+
+   (_Royal Academy, 1891._)]
+
+One other point of interest and importance to collectors of engravings
+and etchings should be mentioned. Within the last few years, an
+invention for coating the surface of engraved plates with a film of
+steel (which can be renewed as often as necessary) renders the surface
+practically indestructible; and it is now possible to print a thousand
+impressions from a copper plate without injury or loss of quality. These
+modern inventions are no secrets, they have been described repeatedly in
+technical journals and in lectures, notably in those delivered during
+the past few years at the Society of Arts, and published in the
+_Journal_. But the majority of the public, and even many collectors of
+prints and etchings, are ignorant of the number of copies which can now
+be taken without deterioration from one plate.
+
+It is necessary to the art amateur that he should know something of
+these things, if only to explain why it is that scratching on a copper
+plate has come so much into vogue in England lately, and why there has
+been such a remarkable revival of the art of Dürer at the end of this
+century. The reason for the movement will be better understood when it
+is explained that by the process just referred to, of "steeling" the
+surface of plates, the "burr," as it is called, and the most delicate
+lines of the engraver are preserved intact for a much larger number of
+impressions than formerly. The taste for etchings and the higher forms
+of the reproductive arts is still spreading rapidly, but the fact
+remains that etchings and _éditions de luxe_ do not reach one person in
+a thousand in any civilised community. It is only by means of wood
+engravings, and the cheaper and simpler forms of process illustration,
+that the public is appealed to pictorially through the press.
+
+  [Illustration: LINE PROCESS BLOCK.]
+
+
+FOOTNOTES:
+
+  [1] All the illustrations in this book are produced by mechanical
+    processes excepting those marked in the List of Illustrations; and
+    all are printed simultaneously with the letterpress. For description
+    of processes, see _Appendix_.
+
+  [2] One of the last and best examples of pure line-engraving was by
+    M. Joubert, from a painting by E. J. Poynter, R.A., called
+    "Atalanta's Race," exhibited in the Royal Academy, 1876. The
+    engraving of this picture was nearly three years in M. Joubert's
+    hands--a tardy process in these days.
+
+
+
+
+  [Illustration: "GREETING." (BY THE HON. MRS. BOYLE.)]
+
+CHAPTER II.
+
+ELEMENTARY ILLUSTRATION.
+
+
+The first object of an illustration, the practical part, is obviously,
+_to illustrate and elucidate the text_--a matter often lost sight of.
+The second is to be artistic, and includes works of the imagination,
+decoration, ornament, style. In this chapter we shall consider the
+first, the practical part.
+
+Nearly twenty years ago, at a meeting of the Society of Arts in London,
+the general question was discussed, whether in the matter of
+illustrating books and newspapers we are really keeping pace with the
+times; whether those whose business it is to provide the illustrations
+which are tossed from steam presses at the rate of several thousand
+copies an hour, are doing the best work they can.
+
+In illustrated newspapers, it was argued, "there should be a clearer
+distinction between fact and fiction, between news and pictures." The
+exact words may be thought worth repeating now.[3]
+
+  "In the production of illustrations we have arrived at great
+  proficiency, and from London are issued the best illustrated
+  newspapers in the world. But our artistic skill has led us into
+  temptation, and by degrees engendered a habit of making pictures when
+  we ought to be recording facts. We have thus, through our cleverness,
+  created a fashion and a demand from the public for something which is
+  often elaborately untrue.
+
+  Would it, then, be too much to ask those who cater for (and really
+  create) the public taste, that they should give us one of two things,
+  or rather _two things_, in our illustrated papers, the real and the
+  ideal--
+
+  1st. Pictorial records of events in the simplest and truest manner
+  possible;
+
+  2nd. Pictures of the highest class that can be printed in a newspaper?
+
+  Here are two methods of illustration which only require to be kept
+  distinct, each in its proper place, and our interest in them would be
+  doubled. We ask first for a record of news and then for a picture
+  gallery; and to know, to use a common phrase, _which is which_."
+
+At the time referred to, drawing on the wood-block and engraving were
+almost universal--instantaneous photography was in its infancy, "process
+blocks," that is to say, mechanical engraving, was very seldom employed,
+and (for popular purposes) American engraving and printing was
+considered the best.
+
+The system of producing illustrations in direct fac-simile of an artist's
+drawing, suitable for printing at a type press without the aid of the
+wood engraver, is of such value for cheap and simple forms of
+illustration, and is, moreover, in such constant use, that it seems
+wonderful at first sight that it should not be better understood in
+England. But the cause is not far to seek. We have not yet acquired the
+art of pictorial expression in black and white, nor do many of our
+artists excel in "illustration" in the true sense of the word.
+
+It has often been pointed out that through the pictorial system the mind
+receives impressions with the least effort and in the quickest way, and
+that the graphic method is the true way of imparting knowledge. Are we
+then, in the matter of giving information or in imparting knowledge
+through the medium of illustrations, adopting the truest and simplest
+methods? I venture to say that in the majority of cases we are doing
+nothing of the kind. We have pictures in abundance which delight the
+eye, which are artistically drawn and skilfully engraved, but in which,
+in nine cases out of ten, there is more thought given to effect as a
+picture than to illustrating the text.
+
+It has often been suggested that the art of printing is, after all, but
+a questionable blessing on account of the error and the evil
+disseminated by it. Without going into that question, I think that we
+may find that the art of printing with movable type has led to some
+neglect of the art of expressing ourselves pictorially, and that the
+apparently inexorable necessity of running every word and thought into
+uniform lines, has cramped and limited our powers of expression, and of
+communicating ideas to each other.
+
+Let us begin at the lowest step of the artistic ladder, and consider
+some forms of illustration which are within the reach of nearly every
+writer for the press. With the means now at command for reproducing any
+lines drawn or written, in perfect fac-simile, mounted on square blocks
+to range with the type, and giving little or no trouble to the printer,
+there is no question that we should more frequently see the hand work of
+the writer as well as of the artist appearing on the page. For example:
+it happens sometimes in a work of fiction, or in the record of some
+accident or event, that it is important to the clear understanding of
+the text, to know the exact position of a house, say at a street corner,
+and also (as in the case of a late trial for arson) which way the wind
+blew on a particular evening. Words are powerless to explain the
+position beyond the possibility of doubt or misconstruction; and yet
+words are, and have been, used for such purposes for hundreds of years,
+because it is "the custom."
+
+  [Illustration]
+
+But if it were made plain that where words fail to express a meaning
+easily, a few lines, such as those above, drawn in ink on ordinary
+paper, may be substituted (and, if sent to the printer with the
+manuscript, will appear in fac-simile on the proof with the printed
+page), I think a new light may dawn on many minds, and new methods of
+expression come into vogue.
+
+This illustration (which was written on the sheet of MS.) is one
+example, out of a hundred that might be given, where a diagram should
+come to the aid of the verbal description, now that the reproduction of
+lines for the press is no longer costly, and the blocks can be printed,
+if necessary, on rapidly revolving cylinders, which (by duplicating) can
+produce in a night 100,000 copies of a newspaper.
+
+Before exploring some of the possibilities of illustration, it may be
+interesting to glance at what has been done in this direction since the
+invention of producing blocks rapidly to print at the type press and the
+improvements in machinery.
+
+In the spring of 1873 a Canadian company started a daily illustrated
+evening newspaper in New York, called _The Daily Graphic_, which was to
+eclipse all previous publications by the rapidity and excellence of its
+illustrations. It started with an attempt to give a daily record of
+news, and its conductors made every effort to bring about a system of
+rapid sketching and drawing in line. But the public of New York in 1873
+(as of London, apparently, in 1893) cared more for "pictures," and so by
+degrees the paper degenerated into a picture-sheet, reproducing (without
+leave) engravings from the _Illustrated London News_, the _Graphic_,
+and other papers, as they arrived from England. The paper was
+lithographed, and survived until 1889.
+
+The report of the first year's working of the first daily illustrated
+newspaper in the world is worth recording. The proprietors stated that
+although the paper was started "in a year of great financial depression,
+they have abundant reason to be satisfied with their success," and
+further, that they attribute it to "an absence of all sensational
+news."(!)
+
+The report ended with the following interesting paragraph:
+
+  "Pictorial records of crime, executions, scenes involving misery, and
+  the more unwholesome phases of social life, are a positive detriment
+  to a daily illustrated newspaper. In fact, the higher the tone and the
+  better the taste appealed to, the larger we have found our circulation
+  to be."
+
+The great art, it would seem, of conducting a daily illustrated
+newspaper is to know _what to leave out_--when, in fact, to have no
+illustrations at all!
+
+In England the first systematic attempt at illustration in a daily
+newspaper was the insertion of a little map or weather chart in the
+_Times_ in 1875, and the _Pall Mall Gazette_ followed suit with a dial
+showing the direction of the wind, and afterwards with other explanatory
+diagrams and sketches.
+
+But, in June, 1875, the _Times_ and all other newspapers in England were
+far distanced by the _New York Tribune_ in reporting the result of a
+shooting match in Dublin between an American Rifle Corps and some of our
+volunteers. On the morning after the contest there were long verbal
+reports in the English papers, describing the shooting and the results;
+but in the pages of the _New York Tribune_ there appeared a series of
+targets with the shots of the successful competitors marked upon them,
+communicated by telegraph and printed in the paper in America on the
+following morning.[4]
+
+After this period we seem to have moved slowly, only some very important
+geographical discovery, or event, extorting from the daily newspapers an
+explanatory plan or diagram. But during the "Transit of Venus," on the
+6th of December, 1882, a gleam of light was vouchsafed to the readers of
+the _Daily Telegraph_ (and possibly to other papers), and that exciting
+astronomical event from which "mankind was to obtain a clearer
+knowledge of the scale of the universe," was understood and remembered
+better, by three or four lines in the form of a diagram (showing,
+roughly, the track of Venus and its comparative size and distance from
+the sun) printed in the newspaper on the day of the event.
+
+Maps and plans have appeared from time to time in all the daily
+newspapers, but not systematically, or their interest and usefulness
+would have been much greater. Many instances might be given of the use
+of diagrams in newspapers; a little dial showing the direction of the
+wind, is obviously better than words and figures, but it is only lately
+that printing difficulties have been overcome, and that the system can
+be widely extended.
+
+It remains to be seen how far the _Daily Graphic_, with experience and
+capital at command, will aid in a system of illustration which is one
+day to become general. Thus far it would seem that the production of a
+large number of pictures (more or less _à-propos_) is the popular thing
+to do. We may be excused if we are disappointed in the result from a
+practical point of view; for as the functions of a daily newspaper are
+_primâ facie_ to record facts, it follows that if words fail to
+communicate the right meaning, pictorial expression should come to the
+aid of the verbal, no matter how crude or inartistic the result might
+appear.
+
+Let me give one or two examples, out of many which come to mind.
+
+1. The transmission of form by telegraph. To realise the importance of
+this system in conveying news, we have only to consider (going back
+nearly forty years) what interest would have been added to Dr. Russell's
+letters from the Crimea in the _Times_ newspaper, if it had been
+considered possible, then, to have inserted, here and there, with the
+type, a line or two pictorially giving (_e.g._) the outline of a
+hillside, and the position of troops upon it. It _was_ possible to do
+this in 1855, but it is much more feasible now. The transmission of form
+by telegraph is of the utmost importance to journalists and scientific
+men, and, as our electricians have not yet determined the best methods,
+it may be interesting to point out the simplest and most rudimentary
+means at hand. The method is well known in the army and is used for
+field purposes, but hitherto newspapers have been strangely slow to
+avail themselves of it. The diagram on the opposite page will explain a
+system which is capable of much development with and without the aid of
+photography.
+
+If the reader will imagine this series of squares to represent a
+portable piece of open trellis-work, which might be set up at a window
+or in the open field, between the spectator and any object of interest
+at a distance--each square representing a number corresponding with a
+code in universal use--it will be obvious, that by noticing the squares
+which the outline of a hill would cover, and _telegraphing the numbers
+of the squares_, something in the way of form and outline may be quickly
+communicated from the other side of the world.
+
+  [Illustration: CODE FOR TRANSMITTING FORM BY TELEGRAPH.]
+
+This is for rough-and-ready use in time of war, when rapidity of
+communication is of the first importance; but in time of peace a
+correspondent's letter continually requires elucidation.
+
+Next is an example, which, for want of better words, I will call "the
+shorthand of pictorial art." A newspaper correspondent is in a boat on
+one of the Italian lakes, and wishes to describe the scene on a calm
+summer day. This is how he proceeds--
+
+  [Illustration]
+
+"We are shut in by mountains," he says, "but the blue lake seems as wide
+as the sea. On a rocky promontory on the left hand the trees grow down
+to the water's edge and the banks are precipitous, indicating the great
+depth of this part of the lake. The water is as smooth as glass; on its
+surface is one vessel, a heavily-laden market boat with drooping sails,
+floating slowly down" (and so on)--there is no need to repeat it all;
+but when half a column of word-painting had been written (and
+well-written) the correspondent failed to present the picture clearly to
+the eye without these _four_ explanatory lines (no more) which should
+of course have been sent with his letter.
+
+This method of description requires certain aptitude and training; but
+not much, not more than many a journalist could acquire for himself with
+a little practice. The director of the _Daily Graphic_ is reported to
+have said that "the ideal correspondent, who can sketch as well as
+write, is not yet born." He takes perhaps a higher view of the artistic
+functions of a daily newspaper than we should be disposed to grant him;
+by "we" I mean, of course, "the public," expecting _news_ in the most
+graphic manner. There are, and will be, many moments when we want
+information, simply and solely, and care little how, or in what shape,
+it comes.
+
+This kind of information, given pictorially, has no pretension to be
+artistic, but it is "illustration" in the true sense of the word, and
+its value when rightly applied is great. When the alterations at Hyde
+Park Corner (one of the most important of the London improvements of our
+day) were first debated in Parliament, a daily newspaper, as if moved by
+some sudden flash of intelligence, printed a ground-plan of the proposed
+alterations with descriptive text; and once or twice only, during
+Stanley's long absence in Africa, did we have sketches or plans printed
+with the letters to elucidate the text, such as a sketch of the floating
+islands with their weird inhabitants, at Stanley's Station on the Congo
+river, which appeared in a daily newspaper--instances of news presented
+to the reader in a better form than words. "The very thing that was
+wanted!" was the general exclamation, as if there were some new
+discovery of the powers of description.
+
+As the war correspondent's occupation does not appear likely to cease in
+our time, it would seem worth while to make sure that he is fully
+equipped.
+
+The method of writing employed by correspondents on the field of battle
+seems unnecessarily clumsy and prolix; we hear of letters written
+actually under fire, on a drum-head, or in the saddle, and on opening
+the packet as it arrives by the post we may find, if we take the trouble
+to measure it, that the point of the pen or pencil, has travelled over a
+distance of a hundred feet! This is the actual ascertained measurement,
+taking into account all the ups and downs, crosses and dashes, as it
+arrives from abroad. No wonder the typewriter is resorted to in
+journalism wherever possible.
+
+A newspaper correspondent is sent suddenly to the seat of war, or is
+stationed in some remote country to give the readers of a newspaper the
+benefit of his observations. What is he doing in 1894? In the imperfect,
+clumsy language which he possesses in common with every minister of
+state and public schoolboy, he proceeds to describe what he sees in a
+hundred lines, when with two or three strokes of the pen he might have
+expressed his meaning better pictorially. I have used these words
+before, but they apply with redoubled force at the present time. The
+fact is, that with the means now at command for reproducing any lines
+drawn or written, the correspondent is not thoroughly equipped if he
+cannot send them as suggested, by telegraph or by letter. It is all a
+matter of education, and the newspaper reporter of the future will not
+be considered complete unless he is able to express himself, to some
+extent, pictorially as well as verbally. Then, and not till then, will
+our complicated language be rescued from many obscurities, by the aid of
+lines other than verbal.[5]
+
+In nearly every city, town, or place there is some feature,
+architectural or natural, which gives character to it, and it would add
+greatly to the interest of letters from abroad if they were headed with
+a little outline sketch, or indication of the principal objects. This is
+seldom done, because the art of looking at things, and the power of
+putting them down simply in a few lines, has not been cultivated and is
+not given to many.
+
+Two things are principally necessary to attain this end--
+
+  [Illustration: A STUDY IN PERSPECTIVE. (HUME NISBET.)
+
+  A. Standpoint. B. Point of Sight. C. Horizontal line. D. Vanishing
+  lines. E. Point of distance. F. Vanishing lines of distance. G. Line
+  of sight.]
+
+1. The education of hand and eye and a knowledge of perspective, to be
+imparted to every schoolboy, no matter what his profession or occupation
+is likely to be.
+
+2. The education of the public to read aright this new language (new to
+most people), the "shorthand of pictorial art."
+
+The popular theory amongst editors and publishers is that the public
+would not care for information presented to them in this way--that they
+"would not understand it and would not buy it." Sketches of the kind
+indicated have never been fairly tried in England; but they are
+increasing in number every day, and the time is not far distant when we
+shall look back upon the present system with considerable amusement and
+on a book or a newspaper which is not illustrated as an incomplete
+production. The number of illustrations produced and consumed daily in
+the printing press is enormous; but they are too much of one pattern,
+and, as a rule, too elaborate.
+
+In the illustration of books of all kinds there should be a more general
+use of diagrams and plans to elucidate the text. No new building of
+importance should be described anywhere without an indication of the
+elevation, if not also of the ground plan; and, as a rule, no picture
+should be described without a sketch to indicate the composition. In
+history words so often fail to give the correct _locale_ that it seems
+wonderful we have no better method in common use. The following rough
+plan will illustrate one of the simplest ways of making a description
+clear to the reader. Take the verbal one first:--
+
+"The young Bretonne stood under the doorway of the house, sheltered from
+the rain which came with the soft west wind. From her point of vantage
+on the 'Place' she commanded a view of the whole village, and could see
+down the four streets of which it was principally composed."
+
+  [Illustration]
+
+In this instance a writer was at some pains to describe (and failed to
+describe in three pages) the exact position of the streets near where
+the girl stood; and it was a situation in which photography could hardly
+help him.
+
+It may seem strange at first sight to occupy the pages of a book on art
+with diagrams and elementary outlines, but it must be remembered that
+plans and diagrams are at the basis of a system of illustration which
+will one day become general. The reason, as already pointed out, for
+drawing attention to the subject now, is that it is only lately that
+systems have been perfected for reproducing lines on the printed page
+almost as rapidly as setting up the type. Thus a new era, so to speak,
+in the art of expressing ourselves pictorially as well as verbally has
+commenced: the means of reproduction are to hand; the blocks can be
+made, if necessary, in less than three hours, and copies can be printed
+on revolving cylinders at the rate of 10,000 an hour.
+
+The advance in scientific discovery by means of subtle instruments
+brings the surgeon sometimes to the knowledge of facts which, in the
+interests of science, he requires to demonstrate graphically, objects
+which it would often be impossible to have photographed. With a
+rudimentary knowledge of drawing and perspective, the surgeon and the
+astronomer would both be better equipped. At the University of
+Pennsylvania, in Philadelphia, where the majority of students are
+intended for the medical profession, this subject is considered of high
+importance, and the student in America is learning to express himself in
+a language that can be understood.
+
+In architecture it is often necessary, in order to understand the
+description of a building, to indicate in a few lines not only the
+general plan and elevation, but also its position in perspective in a
+landscape or street. Few architects can do this if called upon at a
+moment's notice in a Parliamentary committee room. And yet it is a
+necessary part of the language of an architect.[6]
+
+These remarks apply with great force to books of travel, where an author
+should be able to take part in the drawing of his illustrations, at
+least to the extent of being able to explain his meaning and ensure
+topographical accuracy.
+
+A curious experiment was made lately with some students in an Art
+school, to prove the fallacy of the accepted system of describing
+landscapes, buildings, and the like in words. A page or two from one of
+the Waverley novels (a description of a castle and the heights of
+mountainous land, with a river winding in the valley towards the sea,
+and clusters of houses and trees on the right hand) was read slowly and
+repeated before a number of students, three of whom, standing apart from
+each other by pre-arrangement, proceeded to indicate on blackboards
+before an audience the leading lines of the picture as the words had
+presented it to their minds. It is needless to say that the results,
+highly skilful in one case, were all different, and _all wrong_; and
+that in particular the horizon line of the sea (so easy to indicate with
+any clue, and so important to the composition) was hopelessly out of
+place. Thus we describe day by day, and the pictures formed in the mind
+are erroneous, for the imagination of the reader is at work at once, and
+requires simple guidance. The exhibition was, I need hardly say, highly
+stimulating and suggestive.
+
+Many arguments might be used for the substitution of pictorial for
+verbal methods of expression, which apply to books as well as
+periodicals. Two may be mentioned of a purely topical kind.
+
+1. In June, 1893, when the strife of political parties ran high in
+England, and anything like a _rapprochement_ between their leaders
+seemed impossible, Mr. Gladstone and Mr. Balfour were seen in apparently
+friendly conversation behind the Speaker's chair in the House of
+Commons. A newspaper reporter in one of the galleries, observing the
+interesting situation, does not say in so many words, that "Mr. G. was
+seen talking to Mr. B.," but makes, or has made for him, a sketch
+(without caricature) of the two figures standing talking together, and
+writes under it, "_Amenities behind the Speaker's chair_." Here it will
+be seen that the subject is approached with more delicacy, and the
+position indicated with greater force through the pictorial method.
+
+2. The second modern instance of the power--the eloquence, so to speak,
+of the pictorial method--appeared in the pages of _Punch_ on the
+occasion of the visit of the Russian sailors to Paris in October, 1893.
+A rollicking, dancing Russian bear, with the words "_Vive la République_"
+wound round his head, hit the situation as no words could have done,
+especially when exposed for sale in the kiosques of the Paris
+boulevards. The picture required no translation into the languages of
+Europe.
+
+It may be said that there is nothing new here--that the political
+cartoon is everywhere--that it has existed always, that it flourished in
+Athens and Rome, that all history teems with it, that it comes down to
+us on English soil through Gillray, Rowlandson, Hogarth, Blake, and many
+distinguished names. I draw attention to these things because the town
+is laden with newspapers and illustrated sheets. The tendency of the
+time seems to be to read less and less, and to depend more upon
+pictorial records of events. There are underlying reasons for this on
+which we must not dwell; the point of importance to illustrators is the
+fact that there is an insatiable demand for "pictures" which tell us
+something quickly and accurately, in a language which every nation can
+understand.
+
+Another example of the use of pictorial expression to aid the verbal. A
+traveller in the Harz Mountains finds himself on the Zeigenkop, near
+Blankenberg, on a clear summer's day, and thus describes it in words:--
+
+  "We are now on the heights above Blankenberg, a promontory 1,360 feet
+  above the plains, with an almost uninterrupted view of distant country
+  looking northward and eastward. The plateau of mountains on which we
+  have been travelling here ends abruptly. It is the end of the upper
+  world, but the plains seem illimitable. There is nothing between us
+  and our homes in Berlin--nothing to impede the view which it is almost
+  impossible to describe in words. The setting sun has pierced the veil
+  of mist, and a map of Northern Germany seems unrolled before us,
+  distant cities coming into view one by one. First, we see Halberstadt
+  with its spires, then Magdeburg, then another city, and another.
+
+  "We have been so occupied with the distant prospect, and with the
+  objects of interest which give character to it, that we had almost
+  overlooked the charming composition and suggestive lines of this
+  wonderful view. There is an ancient castle on the heights, the town of
+  Blankenberg at our feet, a strange wall of perpendicular rocks in the
+  middle distance; there are the curves of the valleys, flat pastures,
+  undulating woods, and roads winding away across the plains. The
+  central point of interest is the church spire with its cluster of
+  houses spreading upwards towards the château, with its massive
+  terraces fringed with trees, &c., &c."
+
+
+
+This was all very well in word-painting, but what a veil is lifted from
+the reader's eyes by some such sketch as the one below.
+
+  [Illustration: VIEW ABOVE BLANKENBERG, HARZ MOUNTAINS.]
+
+It should be mentioned that three photographic prints joined together
+would hardly have given the picture, owing to the vast extent of this
+inland view, and the varying atmospheric effects.
+
+The last instance I can give here is an engraving from _Cassell's
+Popular Educator_, where a picture is used to demonstrate the curvature
+of the world's surface; thus imprinting, for once, and for always, on
+the young reader's mind a fact which words fail to describe adequately.
+
+  [Illustration: THE CURVATURE OF THE WORLDS SURFACE.]
+
+This is "The Art of Illustration" in the true sense of the word.
+
+
+FOOTNOTES:
+
+  [3] The quotations are from a paper by the present writer, read
+    before the Society of Arts in March, 1875.
+
+  [4] This system of reporting rifle contests is now almost universal
+    in England.
+
+  [5] It seems strange that enterprising newspapers, with capital at
+    command, such as the _New York Herald_, _Daily Telegraph_, and _Pall
+    Mall Gazette_, should not have developed so obvious a method of
+    transmitting information. The _Pall Mall Gazette_ has been the most
+    active in this direction, but might do much more.
+
+  [6] It has been well said that if a building can be described in
+    words, it is not worth describing at all!
+
+
+
+
+CHAPTER III.
+
+ARTISTIC ILLUSTRATIONS.
+
+
+In referring now to more artistic illustrations, we should notice first,
+some of the changes which have taken place (since the meeting referred
+to in the last chapter), and, bridging over a distance of nearly twenty
+years, consider the work of the illustrator, the photographer, and the
+maker of process blocks, as presented in books and newspapers in 1894;
+speaking principally of topical illustrations, on which so many thousand
+people are now engaged.
+
+It may seem strange at first sight to include "newspapers" in a chapter
+on art illustrations, but the fact is that the weekly newspapers, with
+their new appliances for printing, and in consequence of the cheapness
+of good paper, are now competing with books and magazines in the
+production of illustrations which a few years ago were only to be found
+in books. The illustrated newspaper is one of the great employers of
+labour in this field and distributor of the work of the artist in black
+and white, and in this connection must by no means be ignored. The
+Post-office carries a volume of 164 pages (each 22 by 16 inches),
+weighing from two to three pounds, for a half-penny. It is called a
+"weekly newspaper," but it contains, sometimes, 100 illustrations, and
+competes seriously with the production of illustrated books.
+
+Further on we shall see how the illustrations of one number of a weekly
+newspaper are produced--what part the original artist has in it, what
+part the engraver and the photographer. These are things with which all
+students should be acquainted.
+
+The first stage of illustration, where little more than a plan or
+elevation of a building is aimed at (as suggested in the last chapter),
+and where an author, with little artistic knowledge, is yet enabled to
+explain himself, is comparatively easy; it is when we approach the
+hazardous domain of art that the real difficulties begin.
+
+As matters stand at present, it is scarcely too much to say that the
+majority of art students and the younger school of draughtsmen in this
+country are "all abroad" in the matter of drawing for the press,
+lacking, not industry, not capacity, but method. That they do good work
+in abundance is not denied, but it is not exactly the kind of work
+required--in short, they are not taught at the outset the _value of a
+line_. That greater skill and certainty of drawing can be attained by
+our younger draughtsmen is unquestionable, and, bearing in mind that
+_nearly every book and newspaper in the future will be illustrated_, the
+importance of study in this direction is much greater than may appear at
+first sight.
+
+  [Illustration: No. IV.
+
+  "_Tiresome Dog_," by E. K. JOHNSON.
+
+  This example of pen-and-ink work has been reproduced by the gelatine
+  relief process. The drawing, which has been greatly reduced in
+  reproduction, was made by Mr. Johnson for an Illustrated Catalogue of
+  the Royal Water-Colour Society, of which he is a member.
+
+  It is instructive as showing the possibilities and limitations of
+  relief process-work in good hands. The gradation of tone is all
+  obtained in pure black, or dotted lines. Mr. Dawson has aided the
+  effect by "rouletting" on the block on the more delicate parts; but
+  most of the examples in this book are untouched by the engraver.
+
+  (_See Appendix._)]
+
+  [Illustration: "FRUSTRATED." (FROM THE PAINTING BY WALTER HUNT.)
+
+  (_Royal Academy_, 1891.)]
+
+Referring to the evident want of training amongst our younger
+draughtsmen, the question was put very bluntly in the _Athenæum_ some
+years ago, thus:--
+
+  Why is not drawing in line with pen and ink taught in our own
+  Government schools of art? The present system in schools seems to
+  render the art of drawing of as little use to the student as possible,
+  for he has no sooner mastered the preliminary stage of drawing in
+  outline from the flat with a lead pencil, than he has chalk put into
+  his hand, a material which he will seldom or never use in turning his
+  knowledge of drawing to practical account. The readier method of pen
+  and ink would be of great service as a preparatory stage to wood
+  drawing, but unfortunately drawing is taught in most cases as though
+  the student intended only to become a painter.
+
+Since these lines were written, efforts have been made in some schools
+of art to give special training for illustrators, and instruction is
+also given in wood engraving, which every draughtsman should learn; but
+up to the present time there has been no systematic teaching in drawing
+applicable to the various processes, for the reason that _the majority
+of art masters do not understand them_.
+
+  [Illustration: "ON THE RIVIERA." (ELLEN MONTALBA.)]
+
+The art of expression in line, or of expressing the effect of a picture
+or a landscape from Nature in a few leading lines (not necessarily
+outline) is little understood in this country; and if such study, as the
+_Athenæum_ pointed out, is important for the wood draughtsman, how much
+more so in drawing for reproduction by photo-mechanical means? A few
+artists have the gift of expressing themselves in line, but the majority
+are strangely ignorant of the principles of this art and of the simple
+fac-simile processes by which drawing can now be reproduced. In the
+course of twenty years of editing the _Academy Notes_, some strange
+facts have come to the writer's notice as to the powerlessness of some
+painters to express the _motif_ of a picture in a few lines; also as to
+how far we are behind our continental neighbours in this respect.
+
+  [Illustration: "A LIGHT OF LAUGHING FLOWERS ALONG THE GRASS IS
+  SPREAD." (M. RIDLEY CORBET.)]
+
+  [Illustration: No. V.
+
+  H. S. MARKS.
+
+  An example of line drawing and "the art of leaving out," by the
+  well-known Royal Academician.
+
+  Mr. Marks and Sir John Gilbert (_see frontispiece_) were the first
+  painters to explain the composition and leading lines of their
+  pictures in the _Academy Notes_ in 1876. Mr. Marks suggests light and
+  shade and the character of his picture in a few skilful lines. Sir
+  John Gilbert's pen-and-ink drawing is also full of force and
+  individuality. These drawings reproduce well by any of the processes.]
+
+  [Illustration: "A SELECT COMMITTEE." (FROM THE PAINTING BY H. S.
+  MARKS, R.A.)
+
+  (_Royal Academy, 1891._)]
+
+It is interesting to note here the firmness of line and clearness of
+reproduction by the common process block; the result being more
+satisfactory than many drawings by professional illustrators. The reason
+is not far to seek; the painter knows his picture and how to give the
+effect of it in black and white, in a few lines; and, in the case of Mr.
+Corbet and Miss Montalba, they have made themselves acquainted with the
+best way of drawing for the Press. There are many other methods than
+pen-and-ink which draughtsmen use,--pencil, chalk, wash, grained paper,
+&c, but first as to line drawing, because _it is the only means by which
+certain results can be obtained_, and it is the one which, for practical
+reasons, should be first mastered. Line drawings are now reproduced on
+zinc blocks fitted for the type press at a cost of less than sixpence
+the square inch for large blocks; the processes of reproduction will be
+explained further on.
+
+It cannot be sufficiently borne in mind--I am speaking now to students
+who are not intimate with the subject--that to produce with pure black
+lines the quality and effect of lines in which there is some gradation
+of tone, is no easy matter, especially to those accustomed to the wood
+engraver as the interpreter of their work. Sir John Tenniel, M. du
+Maurier, and Mr. Sambourne, not to mention others on the _Punch_ staff,
+have been accustomed to draw for wood engraving, and would probably
+still prefer this method to any other.
+
+  [Illustration: "THE ROSE QUEEN." (G. D. LESLIE, R.A.) (_From "Academy
+  Notes," 1893._)]
+
+But the young illustrator has to learn the newer methods, and how to get
+his effects through direct photo-engraving. What may be done by process
+is demonstrated in the line drawings interspersed through these pages,
+also in the illustrations which are appearing every day in our
+newspapers, magazines, and books--especially those which are well
+printed and on good paper. Mr. George Leslie's pretty line drawing from
+his picture, on the opposite page, is full of suggestion for
+illustrative purposes.
+
+But let us glance first at the ordinary hand-book teaching, and see how
+far it is useful to the illustrator of to-day. The rules laid down as to
+the methods of line work, the direction of lines for the expression of
+certain textures, "cross-hatching," &c., are, if followed too closely,
+apt to lead to hardness and mannerism in the young artist, which he will
+with difficulty shake off. On these points, Mr. Robertson, the
+well-known painter and etcher, writing seven years ago, says well:--
+
+  "The mental properties of every line drawn with pen and ink should be
+  original and personal ... this strong point is sure to be attained
+  unconsciously, if an artist's work is simple and sincere, and _not the
+  imitation of another man's style_."[7]
+
+When the question arises as to what examples a beginner should copy who
+wishes to practise the art of pen-and-ink drawing, the difficulty will
+be to select from the great and varied stores of material that are
+everywhere to his hand. All steel and copper-plate engravings that have
+been executed in line, and all wood engravings, are within the possible
+range of pen-and-ink drawing. I hold, however, that much time should not
+be occupied in the imitatative copying of prints: only, indeed, so much
+as enables the student to learn with what arrangement of lines the
+different textures and qualities of objects may be best rendered.
+
+There are, roughly, two methods of obtaining effect with a pen--one by
+few lines, laid slowly, and the other by many lines, drawn with
+rapidity. If the intention is to see what effect may be obtained with
+comparatively few lines deliberately drawn, we may refer to the woodcuts
+after Albert Dürer and Holbein, and the line engraving of Marc Antonio.
+The engraved plates by Dürer furnish excellent examples of work, with
+more and finer lines than his woodcuts [but many of the latter were not
+done by his hand]. "Some of the etchings of Rembrandt are examples of
+what may be fairly reproduced in pen and ink, but in them we find the
+effect to depend upon innumerable lines in all directions. In the matter
+of landscape the etched plates by Claude and Ruysdael are good examples
+for study, and in animal life the work of Paul Potter and Dujardin."
+
+Thus, for style, for mastery of effect and management of line, we must
+go back to the old masters; to work produced generally in a reposeful
+life, to which the younger generation are strangers. But the mere
+copying of other men's lines is of little avail without mastering the
+principles of the art of line drawing. The skilful copies, the
+fac-similes of engravings and etchings drawn in pen and ink, which are
+the admiration of the young artist's friends, are of little or no value
+in deciding the aptitude of the student. The following words are worth
+placing on the walls of every art school:--
+
+"Proficiency in copying engravings in fac-simile, far from suggesting
+promise of distinction in the profession of art, plainly _marks a
+tendency to mechanical pursuits_, and is not likely to be acquired by
+anyone with much instinctive feeling for the arts of design." There is
+much truth and insight in this remark.
+
+  [Illustration: "THE FINDING OF THE INFANT ST. GEORGE." (CHARLES M.
+  GERE.) (_From his painting in the New Gallery, 1893._)]
+
+In line work, as now understood, we are going back, in a measure, to the
+point of view of the missal writer and the illuminator, who, with no
+thought of the possibilities of reproduction, produced many of his
+decorative pages by management of line alone (I refer to the parts of
+his work in which the effect was produced by black and white). No amount
+of patience, thought, and labour was spared for this one copy. What
+would he have said if told that in centuries to come this line work
+would be revived in its integrity, with the possibility of the artist's
+own lines being reproduced 100,000 times, at the rate of several
+thousand an hour. And what would he have thought if told that, out of
+thousands of students in centuries to come, a few, a very few only,
+could produce a decorative page; and that few could be brought to
+realise that a work which was to be repeated, say a thousand times, was
+worthy of as much attention as his ancestors gave to a single copy!
+
+On the principle that "everything worth doing is worth doing well," and
+on the assumption that the processes in common use--[I purposely omit
+mention here of the older systems of drawing on transfer paper, and
+drawing on waxed plates, without the aid of photography, which have been
+dealt with in previous books]--are worth all the care and artistic
+knowledge which can be bestowed upon them, we would press, upon young
+artists especially, the importance of study and experiment in this
+direction. As there is no question that "the handwork of the artist" can
+be seen more clearly through mechanical engraving than through wood
+engraving, it behoves him to do his best. And as we are substituting
+process blocks for wood engraving in every direction, so we should take
+over some of the patience and care which were formerly given to book
+illustrations.
+
+We cannot live, easily, in the "cloistered silence of the past," but we
+can emulate the deliberate and thoughtful work of Mantegna, of Holbein,
+of Albert Dürer, and the great men of the past, who, if they were alive
+to-day, would undoubtedly have preferred drawing for process to the
+labour of etching and engraving; and, if their work were to be
+reproduced by others, they would have perceived, what it does not
+require much insight in us to realise, that the individuality of the
+artist is better preserved, by making his own lines.
+
+To do this successfully in these days, the artist must give his best and
+most deliberate (instead of his hurried and careless) drawings to the
+processes; founding his style, to a limited extent it may be, on old
+work, but preserving his own individuality.
+
+But we must not slavishly copy sketches by the old masters, _which were
+never intended for reproduction_. We may learn from the study of them
+the power of line to express character, action, and effect, we may
+learn composition sometimes, but not often from a sketch.
+
+  [Illustration: "A PLOUGHBOY." (G. CLAUSEN.)]
+
+As to copying the work of living artists, it should be remembered that
+the manner and the method of a line drawing is each artist's property,
+and the repetition of it by others is injurious to him. It would be an
+easy method indeed if the young artist, fresh from the schools, could,
+in a few weeks, imitate the mannerism, say of Sir John Gilbert, whose
+style is founded upon the labour of 50 years. There is no such royal
+road.
+
+  [Illustration: No. VI.
+
+  "_A Ploughboy_," by GEORGE CLAUSEN.
+
+  An excellent example of sketching in line. The original drawing was
+  7-3/4 × 5-3/4 in. I have reproduced Mr. Clausen's artistic sketch of
+  his picture in two sizes in order to compare results. The small block
+  on page 59 (printed in _Grosvenor Notes_, 1888) appears to be the most
+  suitable reduction for this drawing. The results are worth comparing
+  by anyone studying process work. The first block was made by the
+  gelatine process; the one opposite by the ordinary zinc process. (_See
+  Appendix._)
+
+To return to illustration. The education of the illustrator in these
+days means much more than mere art training. The tendency of editors of
+magazines and newspapers is to employ those who can write as well as
+draw. This may not be a very hopeful sign from an art point of view, but
+it is a condition of things which we have to face. Much as we may desire
+to see a good artist and a good _raconteur_ in one man, the combination
+will always be rare; those editors who seek for it are often tempted to
+accept inferior art for the sake of the story. I mention this as one of
+the influences affecting the quality of illustrations of an ephemeral or
+topical kind, which should not be overlooked.
+
+In sketches of society the education and standing of the artist has much
+to do with his success. M. du Maurier's work in _Punch_ may be taken as
+an example of what I mean, combining excellent art with knowledge of
+society. His clever followers and imitators lack something which cannot
+be learned in an art school.
+
+It should be understood that, in drawing for reproduction by any of the
+mechanical processes (either in wash or in line, but especially the
+latter), there is more strain on the artist than when his work was
+engraved on wood, and the knowledge of this has left drawing for process
+principally in the hands of the younger men. They will be older by the
+end of the century, but not as old then as some of our best and
+experienced illustrators who keep to wood engraving.
+
+  [Illustration: No. VII.
+
+  "_Blowing Bubbles_," by C. E. WILSON.
+
+This is an excellent example of drawing--and of treatment of textures
+and surfaces--for process reproduction. The few pen touches on the
+drapery have come out with great fidelity, the double lines marking the
+paving stones being the only part giving any trouble to the maker of the
+gelatine relief block. The skilful management of the parts in light
+shows again "the art of leaving out."]
+
+I am touching now upon a difficult and delicate part of the subject,
+and must endeavour to make my meaning clear. The illustrations in
+_Punch_ have, until lately, all been engraved on wood (the elder artists
+on the staff not taking kindly to the processes), and the style and
+manner of line we see in its pages is due in great measure to the
+influence of the wood engraver.[8]
+
+This refers to fac-simile work, but the engraver, as we know, also
+interprets wash into clean lines, helps out the timid and often unsteady
+draughtsman, and in little matters puts his drawing right.
+
+The wood engraver was apprenticed to his art, and after long and
+laborious teaching, mastered the mechanical difficulties. If he had the
+artistic sense he soon developed into a master-engraver and illustrator,
+and from crude and often weak and inartistic drawings produced
+illustrations full of tone, quality, and beauty. From very slight
+material handed to him by the publisher, the wood engraver would evolve
+(from his inner consciousness, so to speak) an elaborate and graceful
+series of illustrations, drawn on the wood block by artists in his own
+employ, who had special training, and knew exactly how to produce the
+effects required. The system often involved much care and research for
+details of costume, architecture, and the like, and, if not very high
+art, was at least well paid for, and appreciated by the public. I am
+speaking of the average illustrated book, say of twenty years ago, when
+it was not an uncommon thing to spend £500 or £600 on the engravings.
+Let us hope that the highest kind of wood engraving will always find a
+home in England.
+
+Nobody knows--nobody ever will know--how much the engraver has done for
+the artist in years past. "For good or evil,"--it may be said; but I am
+thinking now only of the good, of occasions when the engraver has had to
+interpret the artist's meaning, and sometimes, it must be confessed, to
+come to the rescue and perfect imperfect work.
+
+  [Illustration: No. VIII.
+
+  Illustration to "_Dreamland in History_," by Dr. Gloucester. (London:
+  Isbister & Co.) Drawn by HERBERT RAILTON.
+
+  Example of brilliancy and simplicity of treatment in line drawing for
+  process. There is no illustration in this book which shows better the
+  scope and variety of common process work. Mr. Railton has studied his
+  process, and brought to it a knowledge of architecture and sense of
+  the picturesque. This illustration is reduced considerably from the
+  original drawing.]
+
+  The artist who draws for reproduction by chemical and mechanical
+  means is thrown upon his own resources. He cannot say to the acid,
+  "Make these lines a little sharper," or to the sun's rays, "Give a
+  little more light"; and so--as we cannot often have good wood
+  engraving, as it is not always cheap enough or rapid enough for our
+  needs--we draw on paper what we want reproduced, and resort to one of
+  the photographic processes described in this book.
+
+  [Illustration: "BY UNFREQUENTED WAYS." (W. H. GORE.)]
+
+I do not think the modern illustrator realises how much depends upon him
+in taking the place, so to speak, of the wood engraver. The
+interpretation of tone into line fitted for the type press, to which
+the wood engraver gave a lifetime, will devolve more and more upon him.
+We cannot keep this too continually in mind, for in spite of the
+limitations in mechanically-produced blocks (as compared with wood
+engraving) in obtaining delicate effects of tone in line, much can be
+done in which the engraver has no part.
+
+  [Illustration: "THE LOWING HERD WINDS SLOWLY O'ER THE LEA." (W H.
+  GORE.)]
+
+I purposely place these two pen-and-ink drawings by Mr. Gore side by
+side, to show what delicacy of line and tone may be obtained on a relief
+block by proper treatment. One could hardly point to better examples of
+pure line. They were drawn on ordinary cardboard (the one above, 4-1/4 ×
+9-3/4 in.) and reproduced by the gelatine relief process.
+
+All this, it will be observed, points to a more delicate and
+intelligent use of the process block than is generally allowed, to
+something, in short very different to the thin sketchy outlines and
+scribbles which are considered the proper style for the "pen-and-ink
+artist."
+
+But "the values" are scarcely ever considered in this connection. Mr.
+Hamerton makes a curious error in his _Graphic Arts_, where he advocates
+the use of the "black blot in pen drawing," arguing that as we use
+liberally white paper to express air and various degrees of light, so we
+may use masses of solid black to represent many gradations of darkness.
+A little reflection will convince anyone that this is no argument at
+all.
+
+Mr. Ruskin's advice in his _Elements of Drawing_, as to how to lay flat
+tints by means of pure black lines (although written many years ago, and
+before mechanical processes of reproduction were in vogue) is singularly
+applicable and useful to the student of to-day; especially where he
+reminds him that, "if you cannot gradate well with pure black lines, you
+will never do so with pale ones."
+
+To "gradate well with pure black lines" is, so to speak, the whole art
+and mystery of drawing for the photo-zinc process, of which one London
+firm alone turns out more than a thousand blocks a week.
+
+As to the amount of reduction that a drawing will bear in reproduction,
+it cannot be sufficiently widely known, that in spite of rules laid
+down, there is no rule about it.
+
+  [Illustration: "ADVERSITY." (FRED. HALL.)]
+
+It is interesting to compare this reproduction with the larger one
+overleaf. There is no limit to the experiments which may be made in
+reduction, if pursued on scientific principles.
+
+  [Illustration: No. IX.
+
+  "_Adversity_," by FRED. HALL.
+
+  This fine drawing was made in pen and ink by Mr. Hall, from his
+  picture in the Royal Academy, 1889. Size of original 14-1/2 × 11-1/2
+  in. Reproduced by gelatine blocks.
+
+  The feeling in line is conspicuous in both blocks, but many painters
+  might prefer the smaller.]
+
+  [Illustration: "A WILLOWY STREAM." (FROM THE PAINTING BY MAUD NAFTEL.)
+
+  (_New Gallery, 1889._)]
+
+Mr. Emery Walker, of the firm of Walker and Boutall, who has had great
+experience in the reproduction of illustrations and designs from old
+books and manuscripts, will tell you that very often there is no
+reduction of the original; and he will show reproductions in
+photo-relief of engravings and drawings of the same size as the
+originals, the character of the paper, and the colour of the printing
+also, so closely imitated that experts can hardly distinguish one from
+the other. On the other hand, the value of reduction, for certain styles
+of drawing especially, can hardly be over-estimated. The last drawing
+was reduced to less than half the length of the original, and is, I
+think, one of the best results yet attained by the Dawson relief
+process.
+
+Again, I say, "there is no rule about it." In the course of years, and
+in the reduction to various scales of thousands of drawings by different
+artists, to print at the type press, my experience is that _every
+drawing has its scale, to which it is best reduced_.
+
+In these pages will be found examples of drawings reduced to
+_one-sixtieth_ the area of the original, whilst others have not been
+reduced at all.
+
+  [Illustration: No. X.
+
+  "_Twins_," by STANLEY BERKLEY.
+
+  Sketch in pen and ink (size 8-1/4 × 5-1/2 in.) from Mr. Berkley's
+  picture in the Grosvenor Gallery in 1884.
+
+  A good example of breadth and expression in line, the values being
+  well indicated. Mr. Berkley, knowing animal life well, and _knowing
+  his picture_, is able to give expression to almost every touch. Here
+  the common zinc process answers well.]
+
+  [Illustration: "THE DARK ISLAND." (FROM THE PAINTING BY ALFRED EAST.)
+
+  (_Royal Academy, 1885._)]
+
+There is much instruction in these drawings by painters, instruction of
+a kind, not to be obtained elsewhere. The broad distinction between a
+"sketch" from Nature and _a drawing made in a sketchy manner_ cannot be
+too often pointed out, and such drawings as those by Mr. G. Clausen (p.
+59), Fred. Hall (p. 73), Stanley Berkley (p. 79), T. C. Gotch (p. 83),
+and others, help to explain the difference. These are all reproduced
+easily on process blocks.[9]
+
+As to sketching in line from life, ready for reproduction on a process
+block, it is necessary to say a few words here. The system is, I know,
+followed by a few illustrators for newspapers (and by a few geniuses
+like Mr. Joseph Pennell, Raven Hill, and Phil. May, who have their own
+methods), and who, by incessant practice, have become proficient. They
+have special ability for this kind of work, and their manner and style
+is their capital and attraction.
+
+  [Illustration: No. XI.
+
+  _A Portrait_, by T. C. GOTCH.
+
+  Pen-and-ink drawing (size 7-1/2 × 6-1/2 in.); from his picture in the
+  Exhibition of the New English Art Club, 1889.
+
+  Mr. Gotch is well known for his painting of children; but he has also
+  the instinct for line drawing, and a touch which reproduces well
+  without any help from the maker of the zinc block.
+
+  The absence of outline, and the modelling suggested by vertical lines,
+  also the treatment of background, should be noticed. This background
+  lights up when opposed to white and _vice-versa_.]
+
+But to attempt to _teach_ rapid sketching in pen and ink is beginning at
+the wrong end, and is fatal to good art; it is like teaching the
+principles of pyrotechnics whilst fireworks are going off. And yet we
+hear of prizes given for rapid sketches to be reproduced by the
+processes. Indeed, I believe this is the wrong road; the baneful result
+of living in high-pressure times. It is difficult to imagine any artist
+of the past consenting to such a system of education.
+
+Sketching from life is, of course, necessary to the student (especially
+when making illustrations by wash drawings, of which I shall speak
+presently), but for line work it should be done first in pencil, or
+whatever medium is easiest at the moment. The lines for reproduction
+require thinking about, thinking what to leave out, how to interpret the
+grey of a pencil, or the tints of a brush sketch in the fewest lines.
+Thus, and thus only, the student learns "the art of leaving out," "the
+value of a line."
+
+The tendency of modern illustrators is to imitate somebody; and in line
+drawing for the processes, where the artist, and not the engraver, has
+to make the lines, imitation of some man's method is almost inevitable.
+
+  [Illustration: No. XII.
+
+  "_Sir John Tenniel_," by EDWIN WARD.
+
+  Example of another style of line drawing. Mr. Ward is a master of
+  line, as well as a skilful portrait painter. He has lost nothing of
+  the force and character of the original here, by treating it in line.
+
+  Mr. Ward has painted a series of small portraits of public men, of
+  which there is an example on p. 90.
+
+  Size of pen-and-ink drawing 8-1/2 × 5-1/2 in., reproduced by common
+  process.]
+
+Let me quote an instance. The style of the late Charles Keene is
+imitated in more than one journal at the present time, the artists
+catching his method of line more easily than the higher qualities of his
+art, his _chiaroscuro_, his sense of values and atmospheric effect. I
+say nothing of his pictorial sense and humour, for they are beyond
+imitation. It is the husk only we have presented to us.
+
+As a matter of education and outlook for the younger generation of
+illustrators, this imitation of other men's lines deserves our special
+consideration. Nothing is easier in line work than to copy from the
+daily press. Nothing is more prejudicial to good art, or more fatal to
+progress.
+
+And yet it is the habit of some instructors to hold up the methods (and
+the tricks) of one draughtsman to the admiration of students. I read in
+an art periodical the other day, a suggestion for the better
+understanding of the way to draw topical illustrations in pen and ink,
+viz.: that examples of the work of Daniel Vierge, Rico, Abbey, Raven
+Hill, and other noted pen draughtsmen, should be "set as an exercise to
+students;" of course with explanation by a lecturer or teacher. But this
+is a dangerous road for the average student to travel. Of all branches
+of art none leads so quickly to mannerism as line work, and a particular
+manner when thus acquired is difficult to shake off.
+
+  [Illustration: THE RT. HON. JOHN MORLEY, M.P. (EDWIN WARD.)]
+
+Think of the consequences--Vierge with his garish lights, his trick of
+black spots, his mechanical shadows and neglect of _chiaroscuro_--all
+redeemed and tolerated in a genius for the dash and spirit and beauty of
+his lines--lines, be it observed, that reproduce with difficulty on
+relief blocks--imitated by countless students; Mr. E. A. Abbey, the
+refined, and delicate American draughtsman, imitated for his
+method--the style and _chic_ of it being his own, and inimitable. Think
+of the crowd coming on--imitators of the imitators of Rico--imitators of
+the imitators of Charles Keene!
+
+It may be said generally, that in order to obtain work as an
+illustrator--the practical point--there must be originality of thought
+and design. _There must be originality_, as well as care and thought
+bestowed on every drawing for the Press.
+
+The drawing of portraits in line from photographs gives employment to
+some illustrators, as line blocks will print in newspapers much better
+than photographs. But for newspaper printing they must be done with
+something of the precision of this portrait, in which the whites are cut
+deep and where there are few broken lines.
+
+It is the exception to get good printing in England, under present
+conditions of haste and cheapening of production, and therefore the best
+drawings for rapid reproduction are those that require the least
+touching on the part of the engraver, as _a touched-up process block is
+troublesome to the printer_; but it is difficult to impress this on the
+artistic mind.
+
+  [Illustration: No. XIII.
+
+  "_Nothing venture, nothing have_," by E. P. SANGUINETTI.
+
+  Pen-and-ink drawing from the picture by E. P. Sanguinetti, exhibited
+  at the Nineteenth Century Art Society's Gallery, 1888.
+
+  The large block is suitable for printing on common paper, and by fast
+  machines. The little block is best adapted for bookwork, and is
+  interesting as showing the quality obtained by reduction. It is an
+  excellent example of drawing for process, showing much ingenuity of
+  line. The tone and shadows on the ground equal the best fac-simile
+  engraving. (Size of original drawing, from which both blocks were
+  made, 15 × 10 in.)]
+
+  [Illustration: "ON THE TERRACE." (E. A. ROWE.) _From his water-colour
+  in the New Gallery, 1894._
+
+  Size of Pen Drawing, 5-3/4 x 7-1/2 in.]
+
+Some people cannot draw firm clean lines at all, and _should not attempt
+them_. Few allow sufficiently for the result of reduction, and the
+necessary thickening of some lines. The results are often a matter of
+touch and temperament. Some artists are naturally unfitted for line
+work; the rules which would apply to one are almost useless to another.
+Again, there is great inequality in the making of these cheap zinc
+blocks, however well the drawings may be made; they require more care
+and experience in developing than is generally supposed.
+
+As line drawing is the basis of the best drawing for the press, I have
+interspersed through these pages examples and achievements in this
+direction; examples which in nearly every case are the result of
+knowledge and consideration of the requirements of process, as an
+antidote to the sketchy, careless methods so much in vogue. Here we may
+see--as has probably never been seen before in one volume--what
+harmonies and discords may be played on this instrument with one string.
+One string--no "messing about," if the phrase may be excused--pure black
+lines on Bristol board (or paper of the same surface), photographed on
+to a zinc plate, the white parts etched away and the drawing made to
+stand in relief, ready to print with the letterpress of a book; every
+line and touch coming out a black one, or rejected altogether by the
+process.
+
+  [Illustration: No. XIV.
+
+  "_For the Squire_," by SIR JOHN MILLAIS, BART., R. A.
+
+  This is an example of drawing for process for rapid printing. The
+  accents of the picture are expressed firmly and in the fewest lines,
+  to give the effect of the picture in the simplest way. Sir John
+  Millais' picture, which was exhibited in the Grosvenor Gallery in
+  1883, was engraved in mezzotint, and published by Messrs. Thos. Agnew
+  & Sons. (Size of pen-and-ink drawing, 7-1/4 × 5-1/2 in.) It is
+  suitable for much greater reduction.]
+
+Drawings thus made, upon Bristol board or paper of similar surface, with
+lamp black, Indian ink, or any of the numerous inks now in use, which
+dry with a dull, not shiny, surface, will always reproduce well. The pen
+should be of medium point, or a brush may be used as a pen. The lines
+should be clear and sharp, and are capable of much variation in style
+and treatment, as we see in these pages. I purposely do not dwell here
+upon some special surfaces and papers by which different tones and
+effects may be produced by the line processes; there is too much
+tendency already with the artist to be interested in the mechanical
+side. I have not recommended the use of "clay board," for instance, for
+the line draughtsman, although it is much used for giving a crisp line
+to process work, and has a useful surface for scraping out lights, &c.
+The results are nearly always mechanical looking.[10]
+
+On the next page are two simple, straightforward drawings, which, it
+will be observed, are well suited to the method of reproduction for the
+type press. The first is by Mr. H. S. Marks, R. A. (which I take from
+the pages of _Academy Notes_), skilfully drawn upon Bristol board, about
+7 × 5 in.
+
+Here every line tells, and none are superfluous; the figure of the monk,
+the texture of his dress, the old stone doorway, the creeper growing on
+the wall, and the basket of provisions, all form a picture, the lines of
+which harmonise well with the type of a book.
+
+  [Illustration: "THE STOPPED KEY." (H. S. MARKS, R. A.)]
+
+In this deliberate, careful drawing, in which white paper plays by far
+the principal part, the background and lighting of the picture are
+considered, also the general balance of a decorative page.[11]
+
+  [Illustration: "NYMPH AND CUPID." SMALL BAS-RELIEF. (H. HOLIDAY.)
+
+  (_From "Academy Notes."_)]
+
+
+FOOTNOTES:
+
+  [7] No one artist can teach drawing in line without a tendency to
+    mannerism, especially in art classes.
+
+  [8] One of the most accomplished of English painters told me the
+    other day that when he first drew for illustration, the wood engraver
+    dictated the angle and style of cross-hatching, &c., so as to fit the
+    engraver's tools.
+
+  [9] Special interest attaches to the examples in this book from the
+    fact that they have nearly all been _drawn on different kinds of
+    paper_, and _with different materials_; and yet nearly all, as will
+    be seen, have come out successfully, and give the spirit of the
+    original.
+
+  [10] For description of the various grained papers, &c., see page
+    113, also _Appendix_.
+
+  [11] The young "pen-and-ink artist" of to-day generally avoids
+    backgrounds, or renders them by a series of unmeaning scratches; he
+    does not consider enough the true "lighting of a picture," as we
+    shall see further on. The tendency of much modern black-and-white
+    teaching is to ignore backgrounds.
+
+
+
+
+CHAPTER IV.
+
+PHOTO-ZINC PROCESS.[12]
+
+
+In order to turn any of these drawings into blocks for the type press,
+the first process is to have it photographed to the size required, and
+to transfer a print of it on to a sensitized zinc plate. This print, or
+photographic image of the drawing lying upon the zinc plate, is of
+greasy substance (bichromate of potash and gelatine), and is afterwards
+inked up with a roller; the plate is then immersed in a bath of nitric
+acid and ether, which cuts away the parts which were left white upon
+the paper, and leaves the lines of the drawing in relief. This "biting
+in," as it is called, requires considerable experience and attention,
+according to the nature of the drawing. Thus, the lines are turned into
+metal in a few hours, and the plate when mounted on wood to the height
+of type-letters, is ready to be printed from, if necessary, at the rate
+of several thousands an hour.
+
+  [Illustration: PORTRAIT. (T. BLAKE WIRGMAN.)
+
+  (_From "Academy Notes."_)]
+
+  [This portrait was exhibited in the Royal Academy in 1880. I reproduce
+  Mr. Wirgman's sketch for the sake of his powerful treatment of line.]
+
+
+  [Illustration: No. XV.
+
+  "_Forget-Me-Not_," by HENRY RYLAND.
+
+  (_From the "English Illustrated Magazine."_)
+
+An unusually fine example of reproduction in line, by zinc process, from
+a large pen-and-ink drawing. It serves to show how clearly writing can
+be reproduced if done by a trained hand. Students should notice the
+variety of "colour" and delicacy of line, also the brightness and
+evenness of the process block throughout.
+
+This illustration suggests possibilities in producing decorative pages
+in modern books without the aid of printers' type, which is worth
+consideration in art schools. It requires, of course, knowledge of the
+figure and of design, and a trained hand for process. One obvious
+preparation for such work, is an examination of decorative pages in the
+Manuscript Department of the British Museum. (_See Appendix._)
+
+It would be difficult, I think, to show more clearly the scope and
+variety of line work by process than in the contrast between this and
+the two preceding illustrations. Each artist is an expert in black and
+white in his own way.]
+
+  [Illustration: "BABY'S OWN." (G. HILLYARD SWINSTEAD.)
+
+  (_From "Academy Notes," 1890._)]
+
+A wonderful and startling invention is here, worthy of a land of
+enchantment, which, without labour, with little more than a wave of the
+hand, transfixes the artist's touch, and turns it into concrete; by
+which the most delicate and hasty strokes of the pen are not merely
+recorded in fac-simile for the eye to decipher, but are brought out in
+sharp relief, as bold and strong as if hewn out of a rock! Here is an
+argument for doing "the best and truest work we can," a process that
+renders indestructible--so indestructible that nothing short of
+cremation would get rid of it--every line that we put upon paper; an
+argument for learning for purposes of illustration the touch and method
+best adapted for reproduction by the press.[13]
+
+  [Illustration: "A SILENT POOL." (ED. W. WAITE.) (_From "Academy
+  Notes," 1891._)]
+
+
+GELATINE PROCESS.
+
+By this process a more delicate and sensitive method has been used to
+obtain a relief block.
+
+The drawing is photographed to the required size (as before), and the
+_negative_ laid upon a glass plate (previously coated with a mixture of
+gelatine and bichromate of potash). The part of this thin, sensitive
+film not exposed to the light, is absorbent, and when immersed in water
+swells up. The part exposed to the light (_i.e._, the lines of the
+drawing) remains near the surface of the glass. Thus we have a sunk
+mould from which a metal cast can be taken, leaving the lines in relief
+as in the zinc process. In skilful hands this process admits of more
+delicate gradations, and pale, uncertain lines can be reproduced with
+tolerable fidelity. The blocks take longer to make, and are double the
+price of the photo-zinc process first described. There is no process yet
+invented which gives better results from a pen-and-ink drawing for the
+type-press. These blocks when completed have a copper surface. The
+reproductions of pencil, chalk, or charcoal drawings by the zinc, or
+"biting-in" processes are nearly always failures, as we may see in some
+of the best artistic books and magazines to-day.
+
+  [Illustration: No. XVI.
+
+  "_The Miller's Daughter_," by E. K. JOHNSON.
+
+  Another very interesting example of Mr. E. K. Johnson's drawing in pen
+  and ink. Nearly every line has the value intended by the artist.
+
+  The drawing has been largely reduced, and reproduced by the gelatine
+  relief process.]
+
+  [Illustration: "THE END OF THE CHAPTER." (FROM THE PAINTING BY W.
+  RAINEY.)
+
+  [_Royal Academy, 1886._]
+
+  (_Reproduced by the old Dawson process._)]
+
+  [Illustration: "IN THE PAS DE CALAIS." (JAS. PRINSEP BEADLE.)[14]]
+
+
+GRAINED PAPERS.
+
+For those who cannot draw easily with the pen, there are several kinds
+of grained papers which render drawings suitable for reproduction. The
+first is a paper with _black lines_ imprinted upon it on a material
+suitable for scraping out to get lights, and strengthening with pen or
+pencil to get solid blacks. On some of these papers black lines are
+imprinted horizontally, some vertically, some diagonally, some in dots,
+and some with lines of several kinds, one under the other, so that the
+artist can get the tint required by scraping out. Drawings thus made can
+be reproduced in relief like line drawings, taking care not to reduce a
+fine black grain too much or it will become "spotty" in reproduction.
+
+  [Illustration: "GOLDEN DAYS." (F. STUART RICHARDSON.)
+
+  (_Black-grained paper._)]
+
+This drawing and the one opposite by Mr. Hume Nisbet show the skilful
+use of paper with vertical and horizontal black lines; also, in the
+latter drawing, the different qualities of strength in the sky, and the
+method of working over the grained paper in pen and ink.
+
+  [Illustration: No. XVII.
+
+  "TWILIGHT." (SPECIMEN OF BLACK-GRAINED PAPER.)
+
+  (_From "Lessons in Art," by Hume Nisbet, published by Chatto &
+  Windus._)]
+
+  [Illustration: No. XVIII.]
+
+  "_Le Dent du Géant_," by E. T. COMPTON.
+
+  Another skilful use of the black-grained paper to represent snow,
+  glacier, and drifting clouds. The original tone of the paper may be
+  seen in the sky and foreground.
+
+  The effect is obtained by scraping out the lighter parts on the paper
+  and strengthening the dark with pen and pencil.
+
+  It is interesting to compare the two blocks made from the same
+  drawing. (Size of drawing 7-3/4 × 4 in.)]
+
+  [Illustration: No. XIX.
+
+  _Landscape_, by A. M. LINDSTROM.
+
+  Example of bold effect by scraping out on the black-lined paper, and
+  free use of autographic chalk.
+
+  This drawing shows, I think, the artistic limitations of this process
+  in the hands of an experienced draughtsman.
+
+  The original drawing by Mr. Lindstrom (from his painting in the Royal
+  Academy) was the same size as the reproduction.]
+
+Other papers largely used for illustration in the type press have a
+_white grain_, a good specimen of which is on page 123; and there are
+variations of these white-grained papers, of which what is known in
+France as _allongé_ paper is one of the best for rough sketches in books
+and newspapers.
+
+The question may arise in many minds, are these contrivances with their
+mechanical lines for producing effect, worthy of the time and attention
+which has been bestowed upon them? I think it is very doubtful if much
+work ought to be produced by means of the black-grained papers;
+certainly, in the hands of the unskilled, the results would prove
+disastrous. A painter may use them for sketches, especially for
+landscape. Mr. Compton (as on p. 116) can express very rapidly and
+effectively, by scraping out the lights and strengthening the darks, a
+snowdrift or the surface of a glacier. In the drawing on page 123, Mr.
+C. J. Watson has shown us how the grained paper can be played with, in
+artistic hands, to give the effect of a picture.
+
+The difference, artistically speaking, between sketches made on
+black-grained and white-grained papers seems to me much in favour of the
+latter.
+
+  [Illustration: No. XX.
+
+  "_Volendam_," by C. J. WATSON.
+
+  Example of white-lined paper, treated very skilfully and
+  effectively--only the painter of the picture could have given so much
+  breadth and truth of effect.
+
+  This _white_ paper has a strong vertical grain which when drawn upon
+  with autographic chalk has the same appearance as black-lined paper;
+  and is often taken for it.
+
+  (Size of drawing 6 × 4-1/2 in.)]
+
+But at the best, blocks made from drawings on these papers are apt to be
+unequal, and do not print with the ease and certainty of pure line work;
+they require good paper and careful printing, which is not always to be
+obtained. The artist who draws for the processes in this country must
+not expect (excepting in very exceptional cases) to have his work
+reproduced and printed as in America, or even as well as in this book.
+
+  [Illustration: "AND WEE PEERIE WINKIE PAYED FOR A'." (FROM THE
+  PAINTING BY HUGH CAMERON.)
+
+  _Example of a good chalk drawing too largely reduced._]
+
+  [Illustration: No. XXI.
+
+  "_An Arrest_," by MELTON PRIOR.
+
+  This is a remarkable example of the reproduction of a pencil drawing.
+  It is seldom that the soft grey effect of a pencil drawing can be
+  obtained on a "half-tone" relief block, or the lights so successfully
+  preserved.
+
+  This is only a portion of a picture by Mr. Melton Prior, the
+  well-known special artist, for which I am indebted to the proprietors
+  of _Sketch_.
+
+  The reproduction is by Carl Hentschel.]
+
+The reproduction on the previous page owes its success not only to good
+process, paper, and printing, but also to _the firm, decisive touch of
+an experienced illustrator_ like Mr. Melton Prior. A pencil drawing in
+less skilful hands is apt to "go to pieces" on the press.
+
+Mr. C. G. Harper, in his excellent book on _English Pen Artists_, has
+treated of other ways in which drawings on prepared papers may be
+manipulated for the type press; but not always with success. In that
+interesting publication, _The Studio_, there have appeared during the
+past year many valuable papers on this subject, but in which the
+_mechanism_ of illustration is perhaps too much insisted on. Some of the
+examples of "mixed drawings," and of chalk-and-pencil reproductions,
+might well deter any artist from adopting such aids to illustration.
+
+The fact is, that the use of grained papers is, at the best, a makeshift
+and a degradation of the art of illustration, if judged by the old
+standards. It will be a bad day for the art of England when these
+mechanical appliances are put into the hands of young students in art
+schools.
+
+For the purposes of ordinary illustrations we should keep to the simpler
+method of line. All these contrivances require great care in printing,
+and the blocks have often to be worked up by an engraver. _The material
+of the process blocks is unsuited to the purpose._ In a handbook to
+students of illustration this requires repeating on nearly every page.
+
+As a contrast to the foregoing, let us look at a sketch in pure line by
+the landscape painter, Mr. M. R. Corbet, who, with little more than a
+scribble of the pen, can express the feeling of sunrise and the still
+air amongst the trees.
+
+  [Illustration: "SUNRISE IN THE SEVERN VALLEY." (MATTHEW R. CORBET.)]
+
+
+MECHANICAL DOTS.
+
+Amongst the modern inventions for helping the hurried or feeble
+illustrator, is the system of laying on mechanical dots to give shadow
+and colour to a pure line drawing, by process. It is a practice always
+to be regretted; whether applied to a necessarily hasty newspaper
+sketch, or to one of Daniel Vierge's elaborately printed illustrations
+in the _Pablo de Segovia_. One cannot condemn too strongly this system,
+so freely used in continental illustrated sheets, but which, in the most
+skilful hands, seems a degradation of the art of illustration. These
+dots and lines, used for shadow, or tone, are laid upon the plate by the
+maker of the block, the artist indicating, by a blue pencil mark, the
+parts of a drawing to be so manipulated; and as the illustrator _has not
+seen the effect on his own line drawing_, the results are often a
+surprise to everyone concerned. I wish these ingenious contrivances were
+more worthy of an artist's attention.
+
+On the opposite page is an example taken from an English magazine, by
+which it may be seen that all daylight has been taken ruthlessly from
+the principal figure, and that it is no longer in tone with the rest of
+the picture, as an open air sketch. The system is tempting to the
+hurried illustrator; he has only to draw in line (or outline, which is
+worse) and then mark where the tint is to appear, and the dots are laid
+on by the maker of the blocks.
+
+  [Illustration: "THE ADJUTANT'S LOVE STORY." (H. R. MILLAR.)
+
+  (_Example of mechanical grain._)
+
+  No. XXII.]
+
+In the illustration on the last page (I have chosen an example of
+fine-grain dots; those used in newspapers and common prints are much
+more unsightly, as everyone knows), it is obvious that the artist's
+sketch is injured by this treatment, that, in fact, the result is not
+artistic at all. Nothing but high pressure or incompetence on the part
+of the illustrator can excuse this mechanical addition to an incomplete
+drawing; and it must be remembered that these inartistic results are not
+the fault of the process, or of the "process man." But the system is
+growing in every direction, to save time and trouble, and is lowering
+the standard of topical illustrations. And it is this system (_inter
+alia_) which is taught in technical schools, where the knowledge of
+process is taking the place of wood engraving.
+
+The question is again uppermost in the mind, are such mechanical
+appliances ("dodges," I venture to call them) worthy the serious
+attention of artists; and can any good arise by imparting such knowledge
+to youthful illustrators in technical schools? Wood engraving was a
+craft to be learned, with a career for the apprentice. _There is no
+similar career for a lad by learning the "processes;" and nothing but
+disappointment before him if he learns the mechanism before he is an
+educated and qualified artist._
+
+Mention should be made here (although I do not wish to dwell upon it) of
+drawing in line on prepared transfer paper with autographic ink, which
+is transferred to zinc without the aid of photography, a process very
+useful for rapid and common work; but it is seldom used for good book
+illustration, as it is irksome to the artist and not capable of very
+good results; moreover, the drawing has often to be minute, as the
+reproduction will be the same size as the original. It is one of the
+processes which I think the student of art had better not know much
+about.[15]
+
+That it is possible, by the common processes, to obtain strong effects
+almost equal to engraving, may be seen in some process illustrations by
+Mr. Lancelot Speed, in which many technical experiments have been made,
+including the free use of white lining.
+
+Mr. Speed is very daring in his experiments, and students may well
+puzzle over the means by which he obtains his effects by the line
+processes.
+
+  [Illustration]
+
+The illustration opposite from Andrew Lang's _Blue Poetry Book_, shows a
+very ingenious treatment of the black-lined papers. Technically it is
+one of the best examples I know of,--the result of much study and
+experiment.
+
+  [Illustration: _From Andrew Lang's "Blue Poetry Book."_ (LANCELOT
+  SPEED.)
+
+  No. XXIII.]
+
+  [Illustration: No. XXIV.
+
+  "_The Armada_," by LANCELOT SPEED.
+
+  This extraordinary example of line drawing for process was taken from
+  Andrew Lang's _Blue Poetry Book_, published by Messrs. Longmans.
+
+  In this illustration no wash has been used, nor has there been any
+  "screening" or engraving on the block. The methods of lining are, of
+  course, to a great extent the artist's own invention. This
+  illustration and the two preceding lead to the conclusion that there
+  is yet much to learn in _drawing for process_ by those who will study
+  it. The achievements of the makers of the blocks, with difficult
+  drawings to reproduce, is quite another matter. Here all is easy for
+  the reproducer, the common zinc process only being employed, and the
+  required effects obtained without much worrying of the printer, or of
+  the maker of the blocks.
+
+       *       *       *       *       *
+
+  Thus far all the illustrations in this book have been produced by the
+  common line process.]
+
+  [Illustration: "SEINE BOATS." (FROM THE PAINTING BY LOUIS GRIER.)]
+
+
+"HALF-TONE" PROCESS.
+
+The next process to consider is the method of reproducing wash drawings
+and photographs on blocks suitable for printing at the type press,
+commonly known as the Meisenbach or "half-tone process;" a most
+ingenious and valuable invention, which, in clever hands, is capable of
+artistic results, but which in common use has cast a gloom over
+illustrations in books and newspapers.
+
+First, as to the method of making the blocks. As there are no lines in a
+wash drawing or in a photograph from nature, it is necessary to obtain
+some kind of grain, or interstices of white, on the zinc plate, as in a
+mezzotint; so between the drawing or photograph to be reproduced and the
+camera, glass screens, covered with lines or dots, are interposed,
+varying in strength according to the light and shade required; thus
+turning the image of the wash drawing practically into "line," with
+sufficient interstices of white for printing purposes.
+
+  [Illustration: "THERE IS THE PRIORY!"]
+
+Thus, all drawings in wash, chalk, pencil, etc., that will not reproduce
+by the direct line processes, already referred to, are treated for
+printing at the type press; and thus the uniform, monotonous dulness,
+with which we are all familiar, pervades the page.
+
+The conditions of drawing for this process have to be carefully studied,
+to prevent the meaningless smears and blotches (the result generally of
+making too hasty sketches in wash) which disfigure nearly every magazine
+and newspaper we take up. There is no necessity for this degradation of
+illustration.
+
+The artist who draws in wash with body colour, or paints in oils in
+monochrome, for this process, soon learns that his high lights will be
+lost and his strongest effects neutralised, under this effect of gauze;
+and so for pictorial purposes he has to _force his effect_ and
+exaggerate lights and shades; avoiding too delicate gradations, and in
+his different tones keeping, so to speak, to one octave instead of two.
+Thus, also for this process, to obtain brightness and cheap effect, the
+illustrator of to-day often avoids backgrounds altogether.
+
+In spite of the uncertainty of this system of reproduction, it has great
+attractions for the skilful or the hurried illustrator.
+
+  [Illustration: No. XXV.
+
+  "Helga rode without a saddle as if she had grown to her horse--at full
+  speed."
+
+  ("_Hans Andersen's Fairy Tales._")]
+
+  [Illustration: No. XXVI.
+
+  "_The Storks_," by J. R. WEGUELIN.
+
+    "And high through the air came the first stork and the second stork;
+    a pretty child sat on the back of each."
+
+  Example of half-tone process applied to a slight wash drawing. The
+  illustration is much relieved by vignetting and _leaving out_: almost
+  the only chance for effect that the artist has by the screened
+  process. It suggests, as so many of the illustrations in this book do,
+  not the limits but the scope and possibilities of process work for
+  books.
+
+  This and the preceding illustration by Mr. Weguelin are taken from
+  _Hans Andersen's Fairy Tales_ (Lawrence & Bullen, 1893).]
+
+That this "half-tone" process is susceptible of a variety of effects and
+results, good and bad, every reader must be aware.
+
+The illustrations in this book, from pages 138 to 165, are all
+practically by the same process of "screening," a slight difference only
+in the grain being discernible.
+
+The wash drawing on page 139 suffers by the coarse grain on it, but the
+values, it will be seen, are fairly well preserved. The lights which are
+out of tone appear to have been taken out on the plate by the maker of
+the block, a dangerous proceeding with figures on a small scale. Mr.
+Louis Grier's clever sketch of his picture in wash, at the head of this
+chapter, gives the effect well.
+
+Mr. Weguelin's illustrations to _Hans Andersen's Fairy Tales_ have been,
+I understand, a great success, the public caring more for the spirit of
+poetry that breathes through them than for more finished drawings. This
+is delightful, and as it should be, although, technically, the artist
+has not considered his process enough, and from the educational point of
+view it has its dangers. The "process" has been blamed roundly, in one
+or two criticisms of Mr. Weguelin's illustrations, whereas _the process
+used is the same as on pages 149 and 157_.
+
+However, the effect on a wash drawing is not satisfactory in the best
+hands. So uncertain and gloomy are the results that several well-known
+illustrators decline to use it as a substitute for wood engraving. We
+shall have to improve considerably before wood engraving is abandoned.
+We _are_ improving every day, and by this half-tone process numberless
+wash drawings and photographs from nature are now presented to the
+public in our daily prints.
+
+Great advances have been made lately in the "screening" of pencil
+drawings, and in taking out the lights of a sketch (as pointed out on
+page 127), and results have been obtained by careful draughtsmen during
+the last six months which a year ago would have been considered
+impossible. These results have been obtained principally by good
+printing and paper--allowing of a fine grain on the block--but where the
+illustration has to be prepared for printing, say 5,000 an hour, off
+rotary machines, a coarser grain has to be used, producing the "Berlin
+wool pattern" effect on the page, with which we are all familiar in
+newspapers.
+
+Let us now look at two examples of wash drawing by process, lent by the
+proprietors of _Black and White_.
+
+  [Illustration: No. XXVII.
+
+  This is a good average example of what to expect by the half-tone
+  process from a wash drawing. That the result is tame and monotonous is
+  no fault of the artist, whose work could have been more brightly
+  rendered by wood engraving.
+
+  That "it is better to have this process than bad wood engraving" is
+  the opinion of nearly all illustrators of to-day. The artist _sees his
+  own work_, at any rate, if through a veil of fog and gloom which is
+  meant for sunshine!
+
+  But the time is coming when the public will hardly rest content with
+  such results as these.]
+
+  [Illustration: No. XXVIII.
+
+  _Illustration from_ "_Black and White_," by G. G. MANTON.
+
+  This is a good example of wash drawing for process; that is to say, a
+  good example from the "process man's" point of view.
+
+  Here the artist has used his utmost endeavours to meet the process
+  half-way; he has been careful to use broad, clear, firm washes, and
+  has done them with certainty of hand, the result of experience. If, in
+  the endeavour to get strength, and the _best results out of a few
+  tones_, the work lacks some artistic qualities, it is almost a
+  necessity.
+
+  Mr. Manton has a peculiar method of lining, or stippling, over his
+  wash work, which lends itself admirably for reproduction; but the
+  practice can hardly be recommended to the attention of students. It is
+  as difficult to achieve artistic results by these means, as in the
+  combination of line and chalk in one drawing, advocated by some
+  experts.
+
+  At the same time, Mr. Manton's indication of surfaces and textures by
+  process are both interesting and valuable.]
+
+  [Illustration: "A SUNNY LAND." (FROM THE PAINTING BY GEORGE WETHERBEE.)
+
+  (_New Gallery, 1891._)]
+
+  [Illustration: DECORATIVE DESIGN BY RANDOLPH CALDECOTT.]
+
+  (The above design, from the _Memoir of R. Caldecott_, is lent by
+  Messrs. Sampson Low & Co.)
+
+One of the many uses which artists may make of the half-tone process is
+suggested by the reproduction of one of Mr. Caldecott's decorative
+designs, drawn freely with a brush full of white, on brown paper on a
+large scale (sometimes two or even three feet long), and reduced as
+above; the reduction refining and improving the design.
+
+This is a most legitimate and practical use of "process" for
+illustrating books, architectural and others, which in artistic hands
+might well be further developed.
+
+Of the illustrators who use this process in a more free-and-easy way we
+will now take an example, cut out of the pages of _Sketch_ (_see_
+overleaf, p. 155).
+
+Here truths of light and shade are disregarded, the figure stands out in
+unnatural darkness against white paper, and flat mechanical shadows are
+cast upon nothing. Only sheer ability on the part of a few modern
+illustrators has saved these coarse ungainly sketches from universal
+condemnation. But the splashes, and spots, and stains, which are taking
+the place of more serious work in illustration, have become a vogue in
+1894. The sketch is made in two or three hours, instead of a week; the
+process is also much cheaper to the publisher than wood engraving, and
+the public seems satisfied with a sketch where formerly a finished
+illustration was required, if the subject be treated dramatically and in
+a lively manner. If the sketch comes out an unsightly smear on the page,
+it at least answers the purpose of topical illustration, and apparently
+suits the times. It is little short of a revolution in illustration, of
+which we do not yet see the end.[16]
+
+The bookstalls are laden with the daring achievements of Phil May, Raven
+Hill, Dudley Hardy, and others, but it is not the object of this book to
+exhibit the works of genius, either for emulation or imitation. It is
+rather to suggest to the average student what he may legitimately
+attempt, and to show him the possibilities of the process block in
+different hands. It may be said, without disparagement of the numerous
+clever and experienced illustrators of the day, that they are only
+adapting themselves to the circumstances of the time. There is a
+theory--the truth of which I do not question--that the reproductions of
+rapid sketches from the living model by the half-tone process have more
+vitality and freedom, more feeling and artistic qualities than can be
+obtained by any other means. But the young illustrator should hesitate
+before adapting these methods, and should _never have anything
+reproduced for publication which was "drawn to time" in art classes_.
+
+One thing cannot be repeated too often in this connection: that the
+hastily produced blotches called "illustrations," which disfigure the
+pages of so many books and magazines, are generally the result of want
+of care on the part of the artist rather than of the maker of the
+blocks.
+
+  [Illustration: No. XXIX.
+
+  This is part of a page illustration lent by the proprietors of
+  _Sketch_. It does not do justice to the talent (or the taste, we will
+  hope), of the illustrator, and is only inserted here to record the
+  kind of work which is popular in 1894. (Perhaps in a second edition we
+  may have other exploits of genius to record.)
+
+  It should be noted that this and the illustration on p. 149 are both
+  reproduced by the same hal-ftone process, the difference of result
+  being altogether in the handling of the brush. This sketch would have
+  been intolerable in less artistic hands. Artists will doubtless find
+  more feeling and expression in the broad washes and splashes before
+  us, than in the most careful stippling of Mr. Manton.
+
+  Students of wash drawing for process may take a middle course.]
+
+A word here on the influence of
+
+  PROCESS-BLOCK MAKERS
+
+on the young illustrator. The "process man," the teacher and inciter to
+achievements by this or that process, is not usually an "artist" in the
+true sense of the word. He knows better than anyone else what lines he
+can reproduce, and especially what kind of drawing is best adapted for
+his own process. He will probably tell the young draughtsman what
+materials to use, what amount of reduction his drawings will bear, and
+other things of a purely technical not to say businesslike character.
+Let me not be understood to disparage the work of photo-engravers and
+others engaged on these processes; on the contrary, the amount of
+patience, industry, activity, and anxious care bestowed upon the
+reproduction of drawings and paintings is astonishing, and deserves our
+gratitude.[17] This work is a new industry of an important kind, in
+which art and craft are bound up together. The day has past when
+"process work" is to be looked down upon as only fit for the cheapest,
+most inferior, and inartistic results.
+
+  [Illustration: "THE BROOK." (FROM A PAINTING BY ARNOLD HELCKÉ.)]
+
+
+PHOTOGRAPHIC ILLUSTRATIONS.
+
+One result of hasty work in making drawings, and the uncertainty of
+reproduction, promises to be a very serious one to the illustrator, as
+far as we can see ahead, viz.: the gradual substitution of photographs
+from life for other forms of illustration. The "Meisenbach" reproduction
+of a photograph from life, say a full length figure of an actress in
+some elaborate costume, seems to answer the purpose of the editor of a
+newspaper to fill a page, where formerly artists and engravers would
+have been employed. One reason for this is that the details of the dress
+are so well rendered by photography on the block as to answer the
+purpose of a fashion plate, an important matter in some weekly
+newspapers. The result is generally unsatisfactory from an artist's
+point of view, but the picture is often most skilfully composed and the
+values wonderfully rendered, direct from the original.
+
+In the case of the reproduction of photographs, which we are now
+considering, much may be done by working up a platinotype print before
+giving it out to be made into a block. Much depends here upon the
+artistic knowledge of editors and publishers, who have it in their power
+to have produced good or bad illustrations from the same original. The
+makers of the blocks being confined to time and price, are practically
+powerless, and seldom have an opportunity of obtaining the best results.
+It should be mentioned that blocks made from wash drawings, being
+shallower than those made from line drawings, suffer more from bad
+printing and paper.
+
+A good silver print (whether from a photograph from life or from a
+picture), full of delicate gradations and strong effects, appears on the
+plate through the film of gauze, dull, flat, and comparatively
+uninteresting; but _the expression of the original is given with more
+fidelity_ than could be done by any ordinary wood engraving. This is
+the best that can be said for it, it is a dull, mechanical process,
+requiring help from the maker of the blocks; and so a system of touching
+on the negative (before making the block) to bring out the lights and
+accents of the picture is the common practice. This is a hazardous
+business at the best, especially when dealing with the copy of a
+painting. I mention it to show where "handwork" in the half-tone process
+first comes in. The block, when made, is also often touched up by an
+engraver in places, especially where spotty or too dark; and on this
+work many who were formerly wood-engravers now find employment.
+
+There is no doubt that the makers of process blocks are the best
+instructors as to the results to be obtained by certain lines and
+combinations of lines; but in the majority of cases they will tell the
+artist too much, and lead him to take too much interest in the
+mechanical side of the business. The illustrator's best protection
+against this tendency, his whole armour and coat of mail, is to be _an
+artist first and an illustrator afterwards_.
+
+This is the sum of the matter. Perhaps some of the examples in this book
+may help us, and lead to a more thorough testing of results by capable
+men.
+
+
+"SKETCH."
+
+It will be interesting here to consider the material of which one number
+of an illustrated paper (_Sketch_) is made up, and how far the artist
+and wood engraver have part in it. From an economic point of view it
+will be instructive. I take this "newspaper" as an example, because it
+is a typical and quite "up-to-date" publication, vieing, in circulation
+and importance, with the _Illustrated London News_, both published by
+the same proprietors. In one number there are upwards of 30 pages, 10
+being advertisements. There are in all 151 illustrations, of which 63
+appear in the text part, and 88 in the advertisement pages. Out of the
+text illustrations, 24 only are from original drawings or sketches. Next
+are 26 _photographs from life_ (several being full pages), and 13
+reproductions from engravings, etc., reproduced by mechanical
+processes--in all 63. Some of the pages reproduced from photographs are
+undeniably good, and interesting to the public, as is evidenced by the
+popularity of this paper alone. In the advertisement portion are 88
+illustrations (including many small ones), 85 of which have been
+engraved on wood; a number of them are electrotypes from old blocks, but
+there are many new ones every week. The reason for using wood engraving
+largely for advertisements is, that wood blocks print more easily than
+"process," when mixed with the type, and print better (being cut deeper
+on the block) where inferior paper and ink are employed. But this class
+of wood engraving may be summed up in the words of one of the craft to
+me lately:--"It is not worth _£_2 a week to anybody."
+
+  [Illustration: No. XXX.
+
+  MISS KATE RORKE. (FROM "SKETCH.")
+
+  (_Photographed from life by H. S. Mendelssohn_. _Reproduced by
+  half-tone process_)]
+
+Thus it will be seen that in the "text" part of this newspaper
+two-thirds of the illustrations are produced without the aid of artist
+or wood engraver!
+
+To turn to one of the latest instances where the photographer is the
+illustrator. A photographer, Mr. Burrows, of Camborne, goes down a lead
+mine in Cornwall with his apparatus, and takes a series of views of the
+workings, which could probably have been done by no other means. Under
+most difficult conditions he sets his camera, and by the aid of the
+magnesium "flash-light," gives us groups of figures at work amidst
+gloomy and weird surroundings. The results are exceptionally valuable as
+"illustrations" in the true meaning of the word, on account of the clear
+and accurate definition of details. The remarkable part, artistically,
+is the good colour and grouping of the figures.[18]
+
+Another instance of the use of photography in illustration. Mr.
+Villiers, the special artist of _Black and White_, made a startling
+statement lately. He said that out of some 150 subjects which he took at
+the Chicago Exhibition, not more than half-a-dozen were drawn by him;
+all the rest being "snap-shot" photographs. Some were very good, could
+hardly be better, the result of many hours' waiting for the favourable
+grouping of figures. That he would re-draw some of them with his clever
+pencil for a newspaper is possible, but observe the part photography
+plays in the matter.
+
+In America novels have been thus illustrated both in figure and
+landscape; the weak point being the _backgrounds_ to the figure
+subjects. I draw attention to this movement because the neglect of
+composition, of appropriate backgrounds, and of the true lighting of the
+figures by so many young artists, is throwing illustrations more and
+more into the hands of the photographer. Thus the rapid "pen-and-ink
+artist," and the sketcher in wash from an artificially lighted model in
+a crowded art school, is hastening to his end.
+
+  [Illustration: No. XXXI.
+
+  (_A Photograph from life, by Messrs. Cameron & Smith. Reproduced by
+  half-tone process._)]
+
+The time is coming fast when cheap editions of popular novels will be
+illustrated--and many in the following way. The artist, instead of being
+called upon to draw, will occupy himself in setting and composing
+pictures through the aid of models trained for the purpose, and the
+ever-ready photographer. The "process man" and the clever manipulator on
+the plates, will do the rest, producing pictures vignetted, if desired,
+as overleaf. Much more the makers of blocks can do--and will do--with
+the photographs now produced, for they are earnest, untiring, ready to
+make sacrifices of time and money.
+
+The cheap dramatic illustrations, just referred to, which artists'
+models in America know so well how to pose for, may be found suitable
+from the commercial point of view for novels of the butterfly kind; but
+they will seldom be of real artistic interest. And here, for the
+present, we may draw the line between the illustrator and the
+photographer. But the "black and white man" will obviously have to do
+his best in every branch of illustration to hold his own in the future.
+It may be thought by some artists that these things are hardly worth
+consideration; but we have only to watch the illustrations appearing
+week by week to see whither we are tending.[19]
+
+The last example of the photographer as illustrator, which can be given
+here, is where a photograph from life engraved on wood is published as a
+vignette illustration.[20] It is worth observing, because it has been
+turned into line by the wood engraver, and serves for printing purposes
+as a popular illustration. The original might have been more
+artistically posed, but it is pretty as a vignette, and pleases the
+public. (_See_ opposite page.)
+
+There are hundreds of such subjects now produced by the joint aid of the
+photographer and the process engraver. It is not the artist and the wood
+engraver who are really "working hand-in-hand" in these days in the
+production of illustrations, but _the photographer and the maker of
+process blocks_. This is significant. Happily for us there is much that
+the photographer cannot do pictorially. But the photographer is, as I
+said, marching on and on, and the line of demarcation between handwork
+and photographic illustrations becomes less marked every day.
+
+The photographer's daughter goes to an art school, and her influence is
+shown annually in the exhibitions of the photographic societies.
+
+  [Illustration: No. XXXII.
+
+  (_A Photograph from life, engraved on wood._)]
+
+This influence and this movement is so strong--and vital to the
+artist--that it cannot be emphasised too much. The photographer is ever
+in our midst, correcting our drawing with facts and details which no
+human eye can see, and no one mind can take in at once.
+
+On the obligations of artists to photographers a book might be written.
+The benefits are not, as a rule, unacknowledged; nor are the bad
+influences of photography always noticed. That is to say, that before
+the days of photography, the artist made himself acquainted with many
+things necessary to his art, for which he now depends upon the
+photographic lens; in short, he uses his powers of observation less than
+he did a few years ago. That the photographer leads him astray sometimes
+is another thing to remember.
+
+The future of the illustrator being uppermost in our thoughts, let us
+consider further the influences with which he is surrounded. As to
+photography, Mr. William Small, the well-known illustrator (who always
+draws for wood engraving), says:--"it will never take good work out of a
+good artist's hands." He speaks as an artist who has taken to
+illustration seriously and most successfully, having devoted the best
+years of his life to its development. The moral of it is, that in
+whatever material or style newspaper illustrations are done, to hold
+their own they must be of the best. Let them be as slight as you please,
+if they be original and good. In line work (the best and surest for the
+processes) photography can only be the servant of the artist, not the
+competitor--and in this direction there is much employment to be looked
+for. At present the influence is very much the other way; we are casting
+off--ungratefully it would seem--the experience of the lifetime of the
+wood engraver, and are setting in its place an art half developed, half
+studied, full of crudities and discords. The illustrations which succeed
+in books and newspapers, succeed for the most part from sheer ability on
+the part of the artist; _they are full of ability_, but, as a rule, are
+bad examples for students to copy. "Time is money" with these brilliant
+executants; they have no time to study the value of a line, nor the
+requirements of the processes, and so a number of drawings are handed to
+the photo-engravers--which are often quite unfitted for mechanical
+reproduction--to be produced literally in a few hours. It is an age of
+vivacity, daring originality, and reckless achievement in illustration.
+"Take it up, look at it, and throw it down," is the order of the day.
+There is no reason but an economic one why the work done "to look at"
+should not be as good as the artist can afford to make it. The
+manufacturer of paperhangings or printed cottons will produce only a
+limited quantity of one design, no matter how beautiful, and then go on
+to another. So much the better for the designer, who would not keep
+employment if he did not do his best, no matter whether his work was to
+last for a day or for a year. The life of a single number of an
+illustrated newspaper is a week, and of an illustrated book about a
+year.
+
+The young illustrators on the _Daily Graphic_--notably Mr. Reginald
+Cleaver--obtain the maximum of effect with the minimum of lines. Thus
+Caldecott worked, spending hours sometimes studying the art of leaving
+out. Charles Keene's example may well be followed, making drawing after
+drawing, no matter how trivial the subject, until he was satisfied that
+it was right. "Either right or wrong," he used to say; "'right enough'
+will not do for me."
+
+  [Illustration: No. XXXIII.
+
+  "PROUD MAIRIE." (LANCELOT SPEED.)
+
+  (_From "The Blue Poetry Book." London: Longmans._)
+
+  Pen-and-ink drawing by line process.]
+
+Another influence on modern illustration--for good or bad--is the
+electric light. It enables the photographic operator to be independent
+of dark and foggy days, and to put a search-light upon objects which
+otherwise could not be utilised. So far good. To the illustrator this
+aid is often a doubtful advantage. The late Charles Keene (with whom I
+have had many conversations on this subject) predicted a general
+deterioration in the quality of illustrations from what he called
+"unnatural and impossible effects," and he made one or two illustrations
+in _Punch_ of figures seen under the then--(10 or 15 years ago)--novel
+conditions of electric street lighting, one of which represented a man
+who has been "dining" returning home through a street lighted up by
+electric lamps, tucking up his trowsers to cross a black shadow which he
+takes for a stream. Charles Keene's predictions have come true, we see
+the glare of the magnesium light on many a page, and the unthinking
+public is dazzled every week in the illustrated sheets with these
+"unnatural and impossible effects."
+
+Thus it has come about that what was looked upon by Charles Keene as
+garish, exaggerated, and untrue in effect, is accepted to-day by the
+majority of people as a lively and legitimate method of illustration.
+
+
+DANIEL VIERGE.
+
+One of the influences on the modern illustrator--a decidedly adverse
+influence on the unlearned--is the prominence which has lately been
+given to the art of Daniel Vierge.
+
+There is probably no illustrator of to-day who has more originality,
+style, and versatility--in short more genius--than Vierge, and none
+whose work, for practical reasons, is more misleading to students.
+
+As to his illustrations, from the purely literary and imaginative side,
+they are as attractive to the scholar as drawings by Holbein or Menzell
+are to the artist. Let us turn to the illustration on the next page,
+from the _Pablo de Segovia_ by Quevedo; an example selected by the
+editor, or publisher, of the book as a specimen page.
+
+First, as to the art of it. Nothing in its own way could be more
+fascinating in humour, vivacity, and character than this grotesque duel
+with long ladles at the entrance to an old Spanish posada. The sparkle
+and vivacity of the scene are inimitable; the bounding figure haunts the
+memory with its diaphanous grace, touched in by a master of expression
+in line. In short, we are in the presence of genius.
+
+  [Illustration: No. XXXIV.
+
+  Example of DANIEL VIERGE'S illustrations to _Pablo de Segovia_, the
+  Spanish Sharper, by Francisco de Quevedo-Villegas, first published in
+  Paris, in 1882; afterwards translated into English (with an Essay on
+  Quevedo, by H. E. Watts, and comments on Vierge's work by Joseph
+  Pennell), and published by Mr. T. Fisher Unwin, in 1892.
+
+  Vierge was born in 1851, and educated in Madrid, where he spent the
+  early years of his life. Since 1869 he has lived in Paris, and
+  produced numerous illustrations for _Le Monde Illustré_ and _La Vie
+  Moderne_, and other works. His fame was made in 1882 by Quevedo's
+  _Pablo de Segovia_, the illustrations to which he was unable to
+  complete owing to illness and paralysis. About twenty of these
+  illustrations were drawn with the left hand, owing to paralysis of the
+  right side. His career, full of romantic interest, suggests the future
+  illustrator of _Don Quixote_.
+
+  These drawings were made upon white paper--Bristol board or drawing
+  paper--with a pen and Indian ink; but Vierge now uses a glass pen,
+  like an old stylus. The drawings were then given to Gillot, the
+  photo-engraver of Paris, who, by means of photography and _handwork_,
+  produced metal blocks to be printed with the type.]
+
+But the whole effect is obviously untrue to nature, and the tricks--of
+black spots, of exaggerated shadows on the ground, of scratchings (and
+of carelessness, which might be excused in a hasty sketch for _La Vie
+Moderne_)--are only too apparent.
+
+In nearly every illustration in the _Pablo de Segovia_ (of which there
+are upwards of one hundred), the artist has relied for brilliancy and
+effect on patches of black (sometimes ludicrously exaggerated) and other
+mannerisms, which we accept from a genius, but which the student had
+better not attempt to imitate. To quote a criticism from the
+_Spectator_, "There is almost no light and shade in Vierge. There is an
+ingenious effect of dazzle, but there is no approach attempted to truth
+of tone, shadows being quite capriciously used for decoration and
+supplied to figures that tell as light objects against the sky which
+throws the shadows." And yet in these handsome pages there are gems of
+draughtsmanship and extraordinary _tours de force_ in illustration.
+
+In the reproduction of these drawings, I think the maker of the blocks,
+M. Gillot, of Paris, would seem to have had a difficult task to perform.
+The fact is, that Vierge's wonderful line drawings are sometimes as
+difficult to reproduce for the type press as those of Holbein or
+Menzell, and could only be done satisfactorily by one of the intaglio
+processes, such as that employed by the Autotype Company in _éditions de
+luxe_. That Vierge's drawings were worthy of this anyone who saw the
+originals when exhibited at Barnard's Inn would, I think, agree.
+
+It is the duty of any writer or instructor in illustration, to point out
+these things, once for all. That Vierge could adapt himself to almost
+any process if he pleased, is demonstrated repeatedly in the _Pablo de
+Segovia_, where (as on pages 63 and 67 of that book) the brilliancy and
+"colour" of pure line by process has hardly ever been equalled. That
+some of his illustrations are impossible to reproduce well, and have
+been degraded in the process is also demonstrated on page 199 of the
+same book, where a mechanical grain has been used to help out the
+drawing, and the lines have had to be cut up and "rouletted" on the
+block to make them possible to print.
+
+Of the clever band of illustrators of to-day who owe much of their
+inspiration (and some of their tricks of method) to Vierge, it is not
+necessary to speak here; we are in an atmosphere of genius in this
+chapter, and geniuses are seldom safe guides to students of art.
+
+Speaking generally (and these remarks refer to editors and publishers as
+well as draughtsmen), the art of illustration as practised in England is
+far from satisfactory; we are too much given to imitating the tricks and
+prettinesses of other nations, and it is quite the exception to find
+either originality or individuality on the pages which are hurled from
+the modern printing press; individuality as seen in the work of Adolphe
+Menzell, and, in a different spirit, in that of Gustave Doré and Vierge.
+
+  [Illustration]
+
+
+FOOTNOTES:
+
+  [12] The heading to this chapter was drawn in line and reproduced by
+    photo-zinc process. (See page 134.)
+
+  [13] The mechanical processes, neglected and despised by the majority
+    of illustrators for many years, have, by a sudden freak of fashion,
+    apparently become so universal that, it is estimated, several
+    thousand blocks are made in London alone every week.
+
+  [14] This excellent drawing was made on rough white paper with
+    autographic chalk; the print being much reduced in size. It is seldom
+    that such a good grey block can be obtained by this means.
+
+  [15] The young artist would be much better occupied in learning
+    _drawing on stone_ direct, a branch of art which does not come into
+    the scope of this book, as it is seldom used in book illustration,
+    and cannot be printed at the type press. Drawing on stone is well
+    worthy of study now, for the art is being revived in England on
+    account of the greater facilities for printing than formerly.
+
+  [16] The evil of it is that _we are becoming used to black blots_ in
+    the pages of books and newspapers, and take them as a matter of
+    course; just as we submit to the deformity of the outward man in the
+    matter of clothing.
+
+  [17] On the opposite page is an excellent reproduction of a painting
+    from a photograph by the half-tone process.
+
+  [18] "_'Mongst Mines and Miners_," by J. C. Burrows and W. Thomas.
+    (London: Simpkin, Marshall & Co.)
+
+  [19] Both Mr. Cameron's and Mr. Mendelssohn's photographs have had to
+    be slightly cut down to fit these pages. But as illustrations they
+    are, I think, remarkable examples of the photographer's and the
+    photo-engraver's art.
+
+   [20] From the _Graphic_ newspaper, 28th October, 1893.
+
+
+
+
+  [Illustration: FROM "GRIMM'S HOUSEHOLD STORIES." (WALTER CRANE.)]
+
+CHAPTER V.
+
+WOOD ENGRAVINGS.
+
+
+To turn to a more practical side of book illustration. The first
+principle of illustration is to _illustrate_, and yet it is a fact that
+few illustrations in books or magazines are to be found in their proper
+places in the text.
+
+It is seldom that the illustration (so called) is in artistic harmony
+with the rest of the page, as it is found in old books. One of the great
+charms of Bewick's work is its individuality and expressive character.
+Here the artist and engraver were one, and a system of illustration was
+founded in England a hundred years ago which we should do well not to
+forget.[21]
+
+We are fast losing sight of first principles and aiming rather at
+catching the eye and the public purse with a pretty page; and in doing
+this we are but imitators. In the English magazines it is strange to
+find a slavish, almost childish imitation of the American system of
+illustration; adopting, for instance, the plan of pictures turned over
+at the corners or overlapping each other with exaggerated black borders
+and other devices of the album of the last generation. This is what we
+have come to in England in 1894 (with excellent wood engravers still),
+and the kind of art by which we shall be remembered at the end of the
+nineteenth century! I am speaking of magazines like _Good Words_ and
+_Cassell's Magazine_, where wood engraving is still largely employed.
+
+It may be as well to explain here that the reasons for employing the
+medium of wood engraving for elaborate illustrations which, such as we
+see in American magazines, were formerly only engraved on copper or
+steel, are--(1) rapidity of production, and (2) the almost illimitable
+number of copies that can be produced from casts from wood blocks. The
+broad distinction between the old and new methods of wood engraving is,
+that in early days the lines were drawn clearly on the wood block and
+the part not drawn cut away by the engraver, who endeavoured to make a
+perfect fac-simile of the artist's lines. It is now a common custom to
+transfer a photograph from life on to the wood block (_see p. 167_),
+also to draw on the wood with a brush in tint, and even to photograph a
+water-colour drawing on to the wood, leaving the engraver to turn the
+tints into lines in his own way.
+
+In the very earliest days of book illustration, before movable
+type-letters were invented, the illustration and the letters of the text
+were all engraved on the wood together, and thus, of necessity (as in
+the old block books produced in Holland and Belgium in the fifteenth
+century), there was character and individuality in every page; the
+picture, rough as it often was, harmonising with the text in an
+unmistakable manner. From an artistic point of view, there was a better
+balance of parts and more harmony of effect than in the more elaborate
+illustrations of the present day. The illustration was an illustration
+in the true sense of the word. It interpreted something to the reader
+that words were incapable of doing; and even when movable type was first
+introduced, the simple character of the engravings harmonised well with
+the letters. There is a broad line of demarcation, indeed, between
+these early wood engravings (such, for instance, as the "Ars Moriendi,"
+purchased for the British Museum in 1872, from the Weigel collection at
+Leipsic, and recently reproduced by the Holbein Society) and the last
+development of the art in the American magazines. The movement is
+important, because the Americans, with an energy and _naïveté_ peculiar
+to them, have set themselves the task of outstripping all nations in the
+beauty and quality of magazine illustrations. That they have succeeded
+in obtaining delicate effects, and what painters call colour, through
+the medium of wood-engraving, is well known, and it is common to meet
+people in England asking, "Have you seen the last number of _Harper's_
+or the _Century Magazine_?" The fashion is to admire them, and English
+publishers are easily found to devote time and capital to distributing
+American magazines (which come to England free of duty), to the
+prejudice of native productions. The reason for the excellence (which is
+freely admitted) of American wood-engraving and printing is that, in the
+first place, more capital is employed upon the work. The American
+wood-engraver is an artist in every sense of the word, and his education
+is not considered complete without years of foreign study. The American
+engraver is always _en rapport_ with the artist--an important
+matter--working often, as I have seen them at _Harper's_, the _Century
+Magazine_, and _Scribner's_ in New York, in the same studio, side by
+side. In England the artist, as a rule, does not have any direct
+communication with the wood engraver. In America the publisher, having a
+very large circulation for his works, is able to bring the culture of
+Europe and the capital of his own country to the aid of the
+wood-engraver, spending sometimes five or six hundred pounds on the
+illustrations of a single number of a monthly magazine. The result is
+_an engraver's success_ of a very remarkable kind.
+
+  [Illustration: XXXV.
+
+  _A Portrait_ engraved on wood at the Office of the CENTURY MAGAZINE.
+
+  Example of portraiture from the _Century Magazine_. It is interesting
+  to note the achievements of the American engravers at a time when wood
+  engraving in England is under a cloud.
+
+  This portrait was photographed from life and afterwards worked up by
+  hand and most skilfully engraved in New York.
+
+  (_Photograph from life, engraved on wood. From the Century
+  Magazine._)]
+
+A discussion of the merits of the various styles of wood engraving, and
+of the different methods of drawing on wood, such as that initiated by
+the late Frederick Walker, A. R. A.; the styles of Mr. William Small, E.
+A. Abbey, Alfred Parsons, etc.--does not come into the scope of this
+publication, but it will be useful to refer to one or two opinions on
+the American system.
+
+  "Book illustration as an art," as Mr. Comyns Carr pointed out in his
+  lectures at the Society of Arts ten years ago, "is founded upon wood
+  engraving, and it is to wood engraving that we must look if we are to
+  have any revival of the kind of beauty which early-printed books
+  possess. In the mass of work now produced, there is very little trace
+  of the principles upon which Holbein laboured. Instead of proceeding
+  by the simplest means, our modern artist seems rather by preference to
+  take the most difficult and complex way of expressing himself. A wood
+  engraving, it is not unjust to say, has become scarcely
+  distinguishable from a steel engraving excepting by its inferiority."
+
+Mr. Hubert Herkomer, R. A., who has had a very wide experience in the
+graphic arts, says:--
+
+  "In modern times a body of engravers has been raised up who have
+  brought the art of engraving on wood to such a degree of perfection,
+  that the most modern work, especially that of the Americans, is done
+  to show _the skill of the engraver_ rather than the art of the
+  draughtsman. This, I do not hesitate to say, is a sign of decadence.
+  Take up any number of the _Century_ or _Harper's_ magazines, and you
+  will see that effect is the one aim. You marvel at the handling of the
+  engraver, and forget the artist. Correct, or honest, drawing is no
+  longer wanted. This kind of illustration is most pernicious to the
+  student, and _will not last_....
+
+  "America is a child full of promise in art--a child that is destined
+  to be a great master; so let us not imitate its youthful efforts or
+  errors. Americans were the first to foster this style of art, and they
+  will be the first to correct it."
+
+Mr. W. J. Linton, the well-known wood engraver, expresses himself thus
+strongly on the modern system, and his words come with great force from
+the other side of the Atlantic:--
+
+  "Talent is misapplied when it is spent on endeavours to rival
+  steel-line engraving or etching, in following brush-marks, in
+  pretending to imitate crayon-work, charcoal, or lithography, and in
+  striving who shall scratch the greatest number of lines on a given
+  space without thought of whether such multiplicity of lines adds
+  anything to the expression of the picture or the beauty of the
+  engraving. How much of talent is here thrown away! How much of force
+  that should have helped towards growth is wasted in this slave's play
+  for a prize not worth having--the fame of having well done the lowest
+  thing in the engraver's art, and having for that neglected the study
+  of the highest! For it is the lowest and the last thing about which an
+  artist should concern himself, this excessive fineness and minuteness
+  of work.... In engraving, as in other branches of art, _the first
+  thing is drawing, the second drawing, the third drawing_."
+
+This is the professional view, ably expressed, of a matter which has
+been exercising many minds of late; and is worth quoting, if only to
+show the folly of imitating a system acknowledged by experts to be
+founded on false principles.
+
+But there is another view of the matter which should not be lost sight
+of. Whatever the opinion of the American system of illustration may be,
+there is, on the other side of the Atlantic, an amount of energy,
+enterprise, cultivation of hand and eye, delicacy of manipulation, and
+individual industry, cleverly organised to provide a wide continent with
+a better art than anything yet attempted in any country. Some fine
+engravings, which the Americans have lately been distributing amongst
+the people, such, for instance, as the portraits (engraved from
+photographs from life) which have appeared in _Harper's_ and the
+_Century_ magazines, only reach the cultivated few in Europe in
+expensive books. It is worth considering what the ultimate art effect of
+this widespread distribution will be. The "prairie flower" holds in her
+hand a better magazine, as regards illustrations, than anything
+published in England at the same price; and a taste for delicate and
+refined illustration is being fostered amongst a variety of people on
+the western continent, learned and unlearned. That there is a want of
+sincerity in the movement, that "things are not exactly what they seem,"
+that something much better might be done, may be admitted; but it will
+be well for our illustrators and art providers to remember that the
+Americans are advancing upon us with the power of capital and
+ever-increasing knowledge and cultivation. In the _Century_ magazine,
+ten years ago, there was an article on "The Pupils of Bewick," with
+illustrations admirably reproduced from proofs of early wood engravings,
+by "photo-engraving."
+
+This is noteworthy, as showing that the knowledge of styles is
+disseminated everywhere in America; and also, how easy it is to
+reproduce engravings by "process," and how _important to have a clear
+copyright law on this subject_.
+
+Of the English wood engravers, and of the present state of the
+profession in England much has been written. I believe the fact remains
+that commercial wood engraving is still relied on by many editors and
+publishers, as it prints with more ease and certainty than any of the
+process blocks.
+
+That there are those in England (like Mr. Biscombe Gardner and others,
+whose work I am unable to reproduce here), that believe in wood
+engraving still as a vital art, capable of the highest results, I am
+also well aware. But at the moment of writing it is difficult to get
+many publishers to expend capital upon it for ordinary illustrations.
+
+On the next page is an example of good wood engraving.
+
+  [Illustration: "DRIVING HOME THE PIGS." (JOHN PEDDER.)
+
+  (_Academy Notes, 1891._)]
+
+  [Illustration: No. XXXVI.
+
+  _Joan of Arc's House at Rouen_, by the late SAMUEL PROUT.
+
+  Engraved on wood by Mr. J. D. Cooper, from a water-colour drawing by
+  Samuel Prout.
+
+  The original drawing, made with a reed pen and flat washes of colour,
+  was photographed on to the wood block, and the engraver interpreted
+  the various tints into line. The method is interesting, and the tones
+  obtained in line show the resources of the engraver's art, an art
+  rather carelessly set aside in these days.
+
+  This engraving is from _Normandy Picturesque_. (London: Sampson Low &
+  Co.)]
+
+
+FOOTNOTE:
+
+  [21] In _The Life and Works of Thomas Bewick_, by D. C. Thomson; in
+    _The Portfolio_, _The Art Journal_, _The Magazine of Art_, and in
+    _Good Words_, Bewick's merits as artist and engraver have been
+    exhaustively discussed.
+
+
+
+
+  [Illustration: DESIGN BY WALTER CRANE.]
+
+CHAPTER VI.
+
+THE DECORATIVE PAGE.
+
+
+To turn next to the more decorative side of modern illustration, where
+design and the _ensemble_ of a printed page are more considered, it is
+pleasant to be able to draw attention to the work of an art school,
+where an educated and intelligent mind seems to have been the presiding
+genius; where the illustrators, whilst they are fully imbued with the
+spirit of the past, have taken pains to adapt their methods to modern
+requirements. I refer to the Birmingham Municipal School of Art.
+
+   [Illustration: No. XXXVII.
+
+   _Decorative Page_, by A. J. GASKIN.
+
+   (From Hans Andersen's _Fairy Tales_. London: George Allen.)
+
+   This is a good example of the appropriate decoration of a page
+   without any illustration in the ordinary sense of the word. The
+   treatment of ornament harmonises well with old-faced type letter.
+
+   The original was drawn in pen and ink, about _the same size_ as the
+   reproduction. The ground is excellent in colour, almost equal to a
+   wood engraving.
+
+   This is another example of the possibilities of process, rightly
+   handled, and also of effect produced _without reduction_ of the
+   drawing.]
+
+Whilst using wood engraving freely, the illustrators of Birmingham
+(notably Mr. Gaskin), are showing what can be done in line drawing by
+the relief processes, to produce colour and ornament which harmonise
+well with the letterpress of a book. This seems an important step in the
+right direction, and if the work emanating from this school were less,
+apparently, confined to an archaic style, to heavy outline and mediæval
+ornament (I speak from what I see, not knowing the school personally),
+there are possibilities for an extended popularity for those who have
+worked under its influence.[22]
+
+The examples of decorative pages by experienced illustrators like Mr.
+Walter Crane and others, will serve to remind us of what some artists
+are doing. But the band of illustrators who consider design is much
+smaller than it should be, and than it will be in the near future. A
+study of the past, if it be only in the pages of mediæval books, will
+greatly aid the student of design. In the Appendix I have mentioned a
+few fine examples of decorative pages, with and without illustrations,
+which may be usefully studied at the British Museum.
+
+  [Illustration: No. XXXVIII.]
+
+In all these pages, it will be observed, what is called "colour" in
+black and white is preserved throughout; showing that a page can be
+thoroughly decorative without illustrations to the text. Closely
+criticised, some of the old block designs may appear crude and capable
+of more skilful treatment, but the pages, as a rule, show the artistic
+sense--unmistakably, mysteriously, wonderfully.
+
+In these and similar pages, such, for instance, as _Le Mer des
+Histoires_, produced in Paris by Pierre le Rouge in 1488 (also in the
+British Museum), the harmony of line drawing with the printed letters is
+interesting and instructive. (_See Appendix._)
+
+It is in the production of the decorative page that wood engraving
+asserts its supremacy still in some quarters, as may be seen in the
+beautiful books produced in England during the past few years by Mr.
+William Morris, where artist, wood engraver, typefounder, papermaker,
+printer, and bookbinder work under the guiding spirit (when not the
+actual handwork) of the author. They are interesting to us rather as
+exotics; an attempt to reproduce the exact work of the past under modern
+conditions, conditions which render the price within reach only of a
+few, but they are at least a protest against the modern shams with which
+we are all familiar.
+
+The nineteenth-century author's love for the literature of his past has
+led him to imitate not only the style, but the outward aspect of old
+books; and by a series of frauds (to which his publisher has lent
+himself only too readily) to produce something which appears to be what
+it is not.
+
+The genuine outcome of mediæval thought and style--of patience and
+leisure--seems to be treated at the end of the nineteenth century as a
+fashion to be imitated in books, such as are to be seen under glass
+cases in the British Museum. It is to be feared that the
+twentieth-century reader, looking back, will see few traces worth
+preserving, either of originality or of individuality in the work of the
+present.
+
+What are the facts? The typefounder of to-day takes down a Venetian
+writing-master's copybook of the fifteenth century, and, imitating
+exactly the thick downward strokes of the reed pen, forms a set of
+movable type, called in printer's language "old face"; a style of letter
+much in vogue in 1894, but the style and character of which belongs
+altogether to the past. Thus, with such aids, the man of letters of
+to-day--living in a whirl of movement and discovery--clothes himself in
+the handwriting of the Venetian scholar as deliberately as the
+Norwegian dons a bear-skin.
+
+  [Illustration: No. XXXIX.
+
+  DESIGN FOR THE TITLE PAGE OF THE "HOBBY-HORSE." (SELWYN IMAGE.)
+
+  (_This is a reduction by process from a large quarto wood
+  engraving_.)]
+
+The next step is to present in his book a series of so-called
+"engravings," which are not engravings but reproductions by process of
+old prints. The "advance of science" in producing photo-relief blocks
+from steel and other _intaglio_ plates for the type printing press, at a
+small cost per square inch, is not only taking from the artistic value
+of the modern _édition de luxe_, but also from its interest and
+genuineness.
+
+The next step is to manufacture rough-edged, coarse-textured paper,
+purporting to be carefully "hand-made." The rough edge, which was a
+necessity when every sheet of paper was finished by hand labour, is now
+imitated successfully by machinery, and is handled lovingly by the
+bookworm of to-day, regardless of the fact that these roughened sheets
+can be bought by the pound in Drury-lane. The worst, and last fraud (I
+can call it no less) that can be referred to here is, that the
+clothing--the "skin of vellum"--that appropriately encloses our modern
+_édition de luxe_ is made from pulp, rags, and other _débris_. That the
+gold illuminations on the cover are no longer real gold, and that the
+handsomely bound book, with its fair margins, cracks in half with a
+"bang," when first opened, are other matters connected with the
+discoveries of science, and the substitution of machinery for hand
+labour, which we owe to modern enterprise and invention.[23]
+
+Looking at the "decorative pages" in most books, and remembering the
+achievements of the past, one is inclined to ask--Is the "setting-out of
+a page" one of the lost arts, like the designing of a coin? What harmony
+of style do we see in an ordinary book? How many authors or illustrators
+of books show that they care for the "look" of a printed page? The fact
+is, that the modern author shirks his responsibilities, following the
+practice of the greatest writers of our day. There are so many
+"facilities"--as they are called--for producing books that the author
+takes little interest in the matter. Mr. Ruskin, delicate draughtsman as
+he is known to be, has contributed little to the _ensemble_ or
+appearance of the pages that flow from the printing press of Mr. Allen,
+at Orpington. His books are well printed in the modern manner, but
+judged by examples of the past, a deadly monotony pervades the page;
+the master's noblest thoughts are printed exactly like his weakest, and
+are all drawn out in lines together as in the making of macaroni! Mr.
+Hamerton, artist as well as author, is content to describe the beauty of
+forest trees, ferns and flowers, the variety of underwood and the like
+(nearly every word, in an article in the _Portfolio_, referring to some
+picturesque form or graceful line), without indicating the varieties
+pictorially on the printed page. The late Lord Tennyson and other poets
+have been content for years to sell their song by the line, little
+heeding, apparently, in what guise it was given to the world.
+
+In these days the monotony of uniformity seems to pervade the pages,
+alike of great and small, and a letter from a friend is now often
+printed by a machine!
+
+  [Illustration]
+
+  [Illustration: No. XL.
+
+  "SCARLET POPPIES." (W. J. MUCKLEY.)
+
+  This beautiful piece of pen work by Mr. Muckley (from his picture in
+  the Royal Academy, 1885) was too delicate in the finer passages to
+  reproduce well by any relief process (the pale lines having come out
+  black); but as an example of breadth, and indication of surfaces in
+  pen and ink, it could hardly be surpassed.]
+
+
+FOOTNOTES:
+
+  [22] I mention this school as a representative one; there are many
+    others where design and wood engraving are studied under the same
+    roof with success in 1894.
+
+  [23] Mr. Cobden Sanderson's lecture on BOOKBINDING, read before the
+    "Arts and Crafts Society," is well worth the attention of book
+    lovers.
+
+
+
+
+CHAPTER VII.
+
+AUTHOR, ILLUSTRATOR, AND PUBLISHER.
+
+
+Let us now consider shortly the Author, the Illustrator, and the
+Publisher, and their influence on the appearance and production of a
+book. If it be impossible in these days (and, in spite of the efforts of
+Mr. William Morris and others, it seems to be impossible) to produce a
+genuine book in all its details, it seems worth considering in what way
+the author can stamp it with his own individuality; also to what extent
+he is justified in making use of modern appliances.
+
+How far, then, may the author be said to be responsible for the state of
+things just quoted? Theoretically, he is the man of taste and culture
+_par excellence_; he is, or should be, in most cases, the arbiter, the
+dictator to his publisher, the chooser of style. The book is his, and it
+is his business to decide in what form his ideas should become
+concrete; the publisher aiding his judgment with experience, governing
+the finance, and carrying out details. How comes it then that, with the
+present facilities for reproducing anything that the hand can put upon
+paper, the latter-day nineteenth-century author is so much in the hands
+of others as to the appearance of his book? It is because the so-called
+educated man has not been taught to use his hands as the missal-writers
+and authors of mediæval times taught themselves to use theirs. The
+modern author, who is, say, fifty years old, was born in an age of
+"advanced civilisation," when the only method of expression for the
+young was one--"pothooks and hangers." The child of ten years old, whose
+eye was mentally forming pictures, taking in unconsciously the facts of
+perspective and the like, had a pencil tied with string to his two first
+fingers until he had mastered the ups and downs, crosses and dashes, of
+modern handwriting, which has been accepted by the great, as well as the
+little, ones of the earth, as the best medium of communication between
+intelligent beings; and so, regardless of style, character, or
+picturesqueness, he scribbles away! So much for our generally straggling
+style of penmanship.
+
+There is no doubt that the author of the future will have to come more
+into personal contact with the artist than he has been in the habit of
+doing, and that the distinction I referred to in the first chapter,
+between illustrations which are to be (1) records of facts, and (2)
+works of art, will have to be more clearly drawn.
+
+Amongst the needs in the community of book producers is one that I only
+touch upon because it affects the illustrator:--That there should be an
+expert in every publishing house to determine (1) whether a drawing is
+suitable for publication; and (2) by what means it should be reproduced.
+The resources of an establishment will not always admit of such an
+arrangement; but the editors and publishers who are informed on these
+matters can easily be distinguished by the quality of their
+publications. By the substitution of process blocks for wood engravings
+in books, publishers are deprived to a great extent of the fostering
+care of the master wood engraver, to which they have been accustomed.
+
+Amongst the influences affecting the illustrator, none, I venture to
+say, are more prejudicial than the acceptance by editors and publishers
+of inartistic drawings.
+
+It would be difficult, I think, to point to a period when so much bad
+work was produced as at present. The causes have already been pointed
+out, the beautiful processes for the reproduction of drawings are
+scarcely understood by the majority of artists, publishers, authors, or
+critics. It is the _misuse_ of the processes in these hurrying days,
+which is dragging our national reputation in the mire and perplexing the
+student.
+
+The modern publisher, it may be said without offence, understands the
+manufacture and the commerce of a book better than the art in it. And
+how should it be otherwise? The best books that were ever produced, from
+an artistic point of view, were inspired and designed by students of art
+and letters, men removed from the commercial scramble of life, and to
+whom an advertisement was a thing unknown! The ordinary art education of
+a publisher, and the multitude of affairs requiring his attention, unfit
+him generally, for the task of deciding whether an illustration is good
+or bad, or how far--when he cheapens the production of his book by using
+photographic illustrations ("snap-shots" from nature)--he is justified
+in calling them "art." The deterioration in the character of book
+illustration in England is a serious matter, and public attention may
+well be drawn to it.
+
+Here we look for the active co-operation of the author. The far-reaching
+spread of education--especially technical art education--is tending to
+bring together, as they were never brought before in this century, the
+author and the illustrator. The author of a book will give more
+attention to the appearance of his pages, to the decorative character of
+type and ornament, whilst the average artist will be better educated
+from a literary point of view; and, to use a French word for which there
+is no equivalent, will be more _en rapport_ with both author and
+publisher.
+
+For the illustrator by profession there seems no artistic leisure; no
+time to do anything properly in this connection.
+
+"It is a poor career, Blackburn," said a well-known newspaper
+illustrator to me lately (an artist of distinction and success in his
+profession who has practised it for twenty years), "you seldom give
+satisfaction--not even to yourself."
+
+"It is an _ideal career_," says another, a younger man, who is content
+with the more slap-dash methods in vogue to-day--and with the income he
+receives for them.
+
+Referring again to the question in the _Athenæum_, "Why is not drawing
+for the press taught in our Government schools of art?" I think the
+principal reasons why the art of illustration by the processes is not
+generally taught in art schools are--
+
+(1) drawing for reproduction requires more personal teaching than is
+possible in art classes in public schools; (2) the art masters
+throughout the country, with very few exceptions, _do not understand the
+new processes_--which is not to be wondered at.
+
+It is not the fault of the masters in our schools of art that students
+are taught in most cases as if they were to become painters, when the
+only possible career for the majority is that of illustration, or
+design. The masters are, for the most part, well and worthily occupied
+in giving a good groundwork of knowledge to every student, as to drawing
+for the press. There is no question that the best preparation for this
+work is the _best general art teaching that can be obtained_. The
+student must have drawn from the antique and from life; he must have
+learned composition and design; have studied from nature the relative
+values of light and shade, aërial perspective and the like; in short,
+have followed the routine study for a painter whose first aim should be
+to be a master of monochrome.
+
+In the more technical parts, which the young illustrator by process will
+require to know, he needs personal help. He will have a multitude of
+questions to ask "somebody" as to the reasons for what he is doing; _for
+what style of process work he is by touch and temperament best fitted_,
+and so on. All this has to be considered if we are to keep a good
+standard of art teaching for illustration.
+
+The fact that _a pen-and-ink drawing which looks well scarcely ever
+reproduces well_, must always be remembered. Many drawings for process,
+commended in art schools for good draughtsmanship or design, will not
+reproduce as expected, for want of exact knowledge of the requirements
+of process; whereas a drawing by a trained hand will often _look better
+in the reproduction_. These remarks refer especially to ornament and
+design, to architectural drawings and the like.
+
+The topical illustrator and sketcher in weekly prints has, of course,
+more licence, and it matters less what becomes of his lines in their
+rapid transit through the press. Still the illustrator, of whatever rank
+or style, has a right to complain if his drawing is reproduced on a
+scale not intended by him, or by a process for which it is not fitted,
+or if printed badly, and with bad materials.
+
+But the sketchy style of illustration seems to be a little overdone at
+present, and--being tolerable only when allied to great ability--remains
+consequently in the hands of a few. There is plenty of talent in this
+country which is wasted for want of control. It plays about us like
+summer lightning when we want the precision and accuracy of the
+telegraph.
+
+The art of colour printing (whether it be by the intaglio processes, or
+by chromo-lithography, or on relief blocks) has arrived at such
+proficiency and has become such an important industry that it should be
+mentioned here. By its means, a beautiful child-face, by Millais, is
+scattered over the world by hundreds of thousands; and the reputation of
+a young artist, like Kate Greenaway, made and established. The latter
+owes much of her prestige and success to the colour-printer. Admitting
+the grace, taste, and invention of Kate Greenaway as an illustrator,
+there is little doubt that, without the wood engraver and the example
+and sympathetic aid of such artists as H. S. Marks, R.A., Walter Crane,
+and the late Randolph Caldecott, she would never have received the
+praise bestowed upon her by M. Ernest Chesneau, or Mr. Ruskin. These
+things show how intimately the arts of reproduction affect reputations,
+and how important it is that more sympathy and communication should
+exist between all producers. In the mass of illustrated publications
+issuing from the press the expert can discern clearly where this
+sympathy and knowledge exist, and where ability, on the part of the
+artist, has been allied to practical knowledge of the requirements of
+illustration.
+
+The business of many will be to contribute, in some form, to the making
+of pictures and designs to be multiplied in the press; and, in order to
+learn the technique and obtain employment, some of the most promising
+pupils have to fall into the ways of the producers of cheap
+illustrations, Christmas cards, and the like. On the other hand, a
+knowledge of the mechanical processes for reproducing drawings (as it is
+being pressed forward in technical schools) is leading to disastrous
+consequences, as may be seen on every railway bookstall in the kingdom.
+
+In the "book of the future" we hope to see less of the "lath and
+plaster" style of illustration, produced from careless wash drawings by
+the cheap processes; fewer of the blots upon the page, which the modern
+reader seems to take as a matter of course. In books, as in periodicals,
+the illustrator by process will have to divest himself, as far as
+possible, of that tendency to scratchiness and exaggeration that
+injures so many process illustrations. In short, he must be more
+careful, and give more thought to the meaning of his lines and washes,
+and to the adequate expression of textures.
+
+There is a great deal yet to learn, for neither artists nor writers have
+mastered the subject. Few of our best illustrators have the time or the
+inclination to take to the new methods, and, as regards criticism, it is
+hardly to be expected that a reviewer who has a pile of illustrated
+books to pronounce upon, should know the reason of the failures that he
+sees before him. Thus the public is often misled by those who should be
+its guides as to the value and importance of the new systems of
+illustration.[24]
+
+In conclusion, let us remember that everyone who cultivates a taste for
+artistic beauty in books, be he author, artist, or artificer, may do
+something towards relieving the monotony and confusion in style, which
+pervades the outward aspect of so many books. It is a far cry from the
+work of the missal writer in a monastery to the pages of a modern book,
+but the taste and feeling which was shown in the fifteenth and sixteenth
+centuries in the production of books, exists in the nineteenth, under
+difficult conditions.
+
+In the "book of the future" the author will help personally, more than
+he has ever done, as I have already suggested. The subject is not
+half-ventilated yet, nor can I touch upon it further, but the day is not
+far distant when the power of the hand of the author will be tested to
+the utmost, and lines of all kinds will appear in the text. There is
+really no limit to what may be done with modern appliances, if only the
+idea is seized with intelligence.
+
+Two questions, however, remain unanswered--(1) Whether, as a matter of
+language and history, we are communicating information to each other
+much better than the ancients did in cuneiform inscriptions, on stones
+and monuments. (2) Whether, as a matter of illustrative art, we are
+making the best use of modern appliances.
+
+Let us, then, cultivate more systematically the art of drawing for the
+press, and treat it as a worthy profession. Let it not be said again,
+as it was to me lately by one who has devoted half a lifetime to these
+things, "The processes of reproduction are to hand, but where are our
+artists?" Let it not be said that the chariot-wheels of the press move
+too fast for us--that chemistry and the sun's rays have been utilised
+too soon--that, in short, the processes of reproduction have been
+perfected before their time! I think not, and that an art--the art of
+pictorial expression--which has existed for ages and is now best
+understood by the Japanese, may be cultivated amongst us to a more
+practical end.
+
+  [Illustration: "TAKE CARE." (W. B. BAIRD.)
+
+  (_Royal Academy, 1891._)]
+
+
+FOOTNOTE:
+
+  [24] There seems but one rule of criticism in this connection. If a
+    book illustration comes out coarsely and (as is often the case) a
+    mere smudge, the process is blamed, when the drawing or photograph
+    may have been quite unsuitable for the process employed.
+
+
+
+
+STUDENTS' DRAWINGS.
+
+
+The following four examples of drawing from life, by students at
+Victoria Street, fresh from art schools, are interesting as tentative
+work. The object has been to test their powers and _adaptability for
+line work_; avoiding outline in the experiment as much as possible.
+
+Nos. 1, 3, and 4, it will be observed, evade backgrounds altogether--the
+too ready solution of a difficult problem in line.
+
+These drawings were made direct from life, in line; a system not to be
+recommended, excepting as an experiment of powers.
+
+Examples of students' wash drawings, &c., will appear in future editions
+of this book.
+
+  [Illustration: No. XLI.
+
+  "_Spanish Woman_." A Study from Life.
+
+  By INA BIDDER.
+
+  This is a clever sketch with pen and ink and brush, and drawn with a
+  bold free hand, reproduced on an (untouched) process block. It shows
+  originality of treatment and courage on the part of the student; also
+  the value of great reduction to give strength and effect.
+
+  (Size of drawing, 16 × 11-1/2 in.)]
+
+  [Illustration: No. XLII.
+
+  "_Sketch from Life_," by ESTELLE D'AVIGDOR.
+
+  This student was the winner in a prize competition lately in _The
+  Studio_. She has undoubted ability, but not clearly in the direction
+  of line drawing. After considerable success in painting, this student
+  writes: "I still find the pen a difficult instrument to wield."
+
+  In this sketch we see the influence of Aubrey Beardsley and others of
+  the dense-black, reckless school of modern illustrators.
+
+  (Size of drawing, 10 × 6-3/4 in.) Zinc process.]
+
+  [Illustration: No. XLIII.
+
+  _Sketch from Life_, by G. C. MARKS.
+
+  This pen-and-ink drawing is interesting for colour, especially in the
+  hair; it would have been better modelled if drawn first in pencil or
+  chalk.
+
+  This student has an obvious aptitude for line work; the touch is very
+  good for a beginner.
+
+  (Size of drawing, 10-1/2 × 8 in.) Zinc process.]
+
+  [Illustration: No. XLIV.
+
+  _Bough of Common Furze_, by WILLIAM FRENCH.
+
+  A most careful study from nature in pen and ink. (Size of original
+  drawing, 14 × 11-1/2 in.) Reproduced by zinc process.
+
+  This artist learned the method of line work for process in a month.]
+
+
+
+
+CANTOR LECTURES.
+
+
+The ILLUSTRATIONS in this Volume are, for the most part, reproductions
+of drawings which--for purposes of study and comparison--are shown by
+Mr. Blackburn at his Lectures in Art Schools, enlarged to a scale of 15
+to 20 ft.
+
+Students who may be unable to attend these lectures can see some of the
+original drawings on application (by letter) to "The Secretary, at Mr.
+HENRY BLACKBURN'S STUDIO, 123, Victoria Street, Westminster."
+
+
+
+
+APPENDIX.
+
+  1. PHOTO-ZINC PROCESS.--2. GELATINE PROCESS.--3. HALF-TONE.--4.
+  INTAGLIO PROCESSES.--5. DRAWING MATERIALS.--6. BOOKS FOR STUDENTS.--7.
+  DECORATIVE PAGES.--8. LIST OF PHOTO-ENGRAVERS.
+
+
+PHOTO-ZINC PROCESS.
+
+FOR THE REPRODUCTION OF LINE DRAWINGS IN RELIEF, SUITABLE FOR PRINTING
+AT THE TYPE PRESS.
+
+DESCRIPTION OF THE PROCESS.--The first stage is to have the drawing
+photographed to the size required, and to transfer a print of it on to a
+sensitized zinc plate. This print, or photographic image of the drawing
+lying upon the zinc plate, is of greasy substance (bichromate of potash
+and gelatine), and is afterwards inked up with a roller; the plate is
+then immersed in a bath of nitric acid and ether, which cuts away the
+parts which were left white upon the paper, and leaves the lines of the
+drawing in relief. This "biting in," as it is called, requires
+considerable experience and attention, according to the nature of the
+drawing. Thus, the lines are turned into metal in a few hours, and the
+plate, when mounted on wood to the height of type-letters, is ready to
+be printed from, if necessary, at the rate of several thousands an hour.
+
+THE COST of these blocks averages 6d. the square inch where a number are
+made at one time, the minimum price being 5/-.
+
+Small book illustrations by this process, by firms who make a specialty
+of producing single illustrations, are often charged 9d. the square
+inch, with a minimum of 7/6; but the cost should never be more than this
+for a single block by the zinc process.
+
+
+GELATINE PROCESS.
+
+FOR THE REPRODUCTION OF DRAWINGS IN LINE IN RELIEF, SUITABLE FOR
+PRINTING AT THE TYPE PRESS.
+
+This is a more delicate and sensitive method of obtaining a relief
+block. It is called the "gelatine," or "Gillot" process.
+
+The drawing is photographed to the required size (as before), and the
+_negative_ laid upon a glass plate (previously coated with a mixture of
+gelatine and bichromate of potash). The part of this thin, sensitive
+film not exposed to the light is absorbent, and when immersed in water
+swells up. The part exposed to the light, _i.e._, the lines of the
+drawing, remains near the surface of the glass. Thus we have a sunk
+mould from which a metal cast can be taken, leaving the lines in relief
+as in the zinc process. In skilful hands this process admits of more
+delicate gradations, and pale, uncertain lines can be reproduced with
+tolerable fidelity. There is no process yet invented which gives better
+results from a pen-and-ink drawing for the type press.
+
+Reproductions of pencil, chalk, and charcoal are also possible by this
+process; but _they are not suited for it_, and there is generally too
+much working up by hand on the block to suit rapid printing. These
+blocks when completed have a copper surface. The blocks take longer to
+make, and are about double the price of the photo-zinc process. THE COST
+varies from 9d. to 1/6 the square inch.
+
+M. Gillot, in Paris, may be said to be the inventor or perfector of this
+process, now used by many photo engravers in London, notably by Mr.
+Alfred Dawson, of Hogarth Works, Chiswick.
+
+
+HALF-TONE PROCESS.
+
+FOR THE REPRODUCTION OF WASH DRAWINGS, PHOTOGRAPHS, ETC., BY THE
+SCREENED PHOTO-ZINC RELIEF PROCESS.
+
+This method of making the blocks is more complicated. As there are no
+lines in a wash drawing, or in a photograph from nature, or in a
+painting, it is necessary to obtain some kind of grain, or interstices
+of white, on the zinc plate, as in a mezzotint; so between the drawing
+or photograph to be reproduced and the camera, glass screens covered
+with lines or dots, are interposed, varying in strength according to the
+light and shade required; thus turning the image of the wash drawing or
+photograph practically into "line," with sufficient interstices of white
+for printing purposes.
+
+The coarseness or fineness of grain on these blocks varies according to
+circumstances. Thus, for rapid printing on cylinder machines, with
+inferior paper and ink, a wider grain and a deeper cut block is
+necessary.
+
+The examples in this book may be said to show these process blocks at
+their best, with good average printing. The results from wash drawings,
+as already pointed out, are uncertain, and generally gloomy and
+mechanical-looking.
+
+The reproductions of pencil, chalk, or charcoal drawings by this process
+are generally unsatisfactory, even when printed under good conditions.
+The blocks are shallow as compared with the zinc line process, and are
+double the cost.
+
+
+INTAGLIO PROCESSES.
+
+PHOTOGRAVURE, AUTOTYPE, DALLASTYPE, ETC.
+
+PHOTOGRAVURE.--First, a photographic negative is taken direct from the
+picture to be reproduced, and from this an autotype carbon print is
+taken and transferred on to glass or silvered copper, instead of on the
+paper used in making carbon prints for sale. This picture is in delicate
+relief, and forms the mould, upon which copper is electrically
+deposited. After being made "conductive," the carbon mould is placed in
+a galvanic bath, the deposit of copper upon it taking the impression
+perfectly.
+
+Another method is to transfer the same mould upon pure, clean copper,
+and then operate with a powerful biting solution, which is resisted more
+or less according to the varying thickness of carbon mould to be
+penetrated. Thus the parts to be left smoothest are thick of carbon, and
+the parts to be dark are bare, so that the mordant may act unresisted.
+This, it will be perceived, is the opposite way to the process above
+given, and is therefore worked from a "transparency," or photographic
+"positive," instead of a negative. This is the Klick and Fox Talbot
+method, and is very commonly in use at present.
+
+The process of "photogravure" is well known, as employed by Messrs.
+Boussod, Valadon, & Co. (Goupil), of Paris, and is adapted for the
+reproduction of wash drawings, paintings, also drawings where the lines
+are pale and uncertain, pencil, chalk, etc.; the greys and gradations of
+pencil being wonderfully interpreted. In London the intaglio processes
+are used by many of the firms mentioned on page 240. They are now much
+used for the reproduction of photographic portraits in books, taking
+place of the copperplate engraving.
+
+THE COST of these plates is, roughly, 5/- the square inch. The makers of
+these plates generally supply paper, and print, charging by the 100
+copies. But engravings thus produced are comparatively little used in
+modern book illustration, as they cannot be printed simultaneously with
+the letter-press of a book; they are suitable only for limited editions
+and "_éditions de luxe_."
+
+
+DRAWING MATERIALS FOR REPRODUCTION.
+
+  1.--FOR DRAWINGS IN LINE.--For general use, liquid Indian ink and
+    Bristol board; or hard paper of similar surface. "Clay board," the
+    surface of which can easily be removed with a scraper, is useful for
+    some purposes, but the pen touch on clay board is apt to become
+    mechanical.
+
+  2.--FOR DRAWINGS IN PENCIL AND CHALK, grained papers are used (see p.
+    113 and following). These papers are made of various textures, with
+    black or white lines and dots vertical, horizontal, and diagonal. As
+    a matter of fact, grained papers are little used in book and
+    newspaper illustration in this country, and unless artistically
+    treated the results are very unsatisfactory. They are most suitable
+    for landscape work and sketches of effect.
+
+  3.--FOR WASH DRAWINGS.--Prepared boards for wash drawings, varying in
+    surface and texture according to the scale of the drawing, the brush
+    handling of the artist, and the nature of the work to be reproduced.
+    These must be decided by the teacher. Lamp black and opaque white are
+    commonly used. A combination of line and wash is generally to be
+    avoided.
+
+The materials for drawing for reproduction are to be obtained from the
+following amongst other artists' colourmen.
+
+  A. ACKERMAN, 191, Regent Street, W.
+
+  J. BARNARD & SON, 19, Berners Street, W.
+
+  CORNELISSEN & SON, 22, Great Queen Street, W.C.
+
+  LECHERTIER, BARBE, & Co., 60, Regent Street, W.
+
+  JAS. NEWMAN, 24, Soho Square, W.
+
+  REEVES & SONS, 113, Cheapside, E.C.
+
+  CHAS. ROBERSON & CO., 99, Long Acre, W.C.
+
+  GEO. ROWNEY & CO., 64, Oxford Street, W.
+
+  WINSOR & NEWTON, 37, Rathbone Place, W.
+
+  PERCY YOUNG, 137, Gower Street, W.C.
+
+
+BOOKS FOR STUDENTS.
+
+The following will be found useful:--
+
+  1.--"_The Graphic Arts_," by P. G. HAMERTON (London: Macmillan &
+    Co.).
+
+  2.--"_Pen and Pencil Artists_," by JOSEPH PENNELL (London: Macmillan
+    & Co.).
+
+  3.--"_English Pen Artists of To-Day_," by J. G. HARPER (London:
+    Rivington, Percival & Co.).
+
+The value and comprehensive character of Mr. Hamerton's book is well
+known, but it reaches into branches of the art of illustration far
+beyond the scope of this book. Of the second it may be said that Mr.
+Joseph Pennell's book is most valuable to students of "black and white,"
+with the caution that many of the illustrations in it were _not drawn
+for reproduction_, and would not reproduce well by the processes we have
+been considering. The third volume seems more practical for elementary
+and technical teaching. It is to be regretted that these books are so
+costly as to be out of the reach of most of us; but they can be seen in
+the library of the South Kensington Museum.
+
+Mr. Hamerton's "Drawing and Engraving, a Brief Exposition of Technical
+Principles and Practice" (London: Adam and Charles Black, 1892), "The
+Photographic Reproduction of Drawings," by Col. J. Waterhouse (Kegan,
+Paul, & Co., 1890), "Lessons in Art," by Hume Nisbet (Chatto & Windus,
+1891), are portable and useful books, full of technical information. Sir
+Henry Trueman Wood's "Modern Methods of Illustrating Books," and Mr. H.
+R. Robertson's "Pen and Ink Drawing" (Winsor & Newton) are both
+excellent little manuals, but their dates are 1886.
+
+
+DECORATIVE PAGES.
+
+  (FROM OLD MSS. AND BOOKS TO BE SEEN IN THE BRITISH MUSEUM.)
+
+  (_Reprinted from the Cantor Lectures_.)
+
+1. "Example of early Venetian writing, from a copybook of the 15th
+century, written with a reed pen. Note the clearness and picturesqueness
+of the page; also the similarity to the type letters used to-day--what
+are called 'old face,' and of much (good and bad) letter in modern
+books."
+
+2. "A beautiful example of Gothic writing and ornament, from a French
+illuminated manuscript in the British Museum; date 1480. Here the
+decorative character and general balance of the page is delightful to
+modern eyes."
+
+3. "_Fac-simile_ of a printed page, from Polydore Vergil's "History of
+England," produced in Basle, in 1556. The style of type is again
+familiar to us in books published in 1894; but the setting out of the
+page, the treatment of ornament (with little figures introduced, but
+subservient to the general effect), is not familiar, because it is
+seldom that we see a modern decorative page. The printer of the past had
+a sense of beauty, and of the fitness of things apparently denied to all
+but a few to-day."
+
+4. "An illuminated printed page, 1521, with engraved borders, after
+designs by Holbein; figures again subordinate to the general effect."
+
+5. "Examples of Italian, 14th century; ornament, initial, and letters
+forming a brilliant and harmonious combination."
+
+ILLUSTRATIONS of the above and other decorative pages (which could not
+be reproduced in this book) are shown at the lectures on a large scale.
+
+Of the many modern books on decoration and ornament, the handbooks by
+Mr. Lewis Foreman Day (London: Batsford) are recommended to students of
+"the decorative page"; also "_English Book Plates_," by Egerton Castle
+(G. Bell & Sons).
+
+
+LIST OF PROCESS BLOCK MAKERS.
+
+From a long list of photo-engravers, the following are mentioned from
+personal knowledge of their work:--
+
+RELIEF BLOCKS.
+
+  ANDRÉ & SLEIGH, Bushey, Herts.
+
+  THE ART REPRODUCTION COMPANY, Clairville Grove, South Kensington.
+
+  MR. DALLAS, 5, Furnival Street, E.C.
+
+  A. & C. DAWSON, Hogarth Works, Chiswick.
+
+  DELLAGANA & CO., Gayton Road, Hampstead, N.W.
+
+  DIRECT PHOTOGRAPHIC COMPANY, 38, Farringdon Street, E.C.
+
+  HARE & SONS, LTD., Bride Court, Fleet Street.
+
+  CARL HENTSCHEL, 182, Fleet Street, E.C.
+
+  CHAS. GEARD (Agent for Krakow), MacLean's Bldgs., New St. Sq., E.C.
+
+  MEISENBACH CO., Ltd., Wolfington Road, West Norwood, S.E.
+
+  JOHN SWAIN & SON, 58, Farringdon Street, E.C.
+
+  SWAN ELECTRIC LIGHT CO., 114, Charing Cross Road, W.C.
+
+  TYPOGRAPHIC ETCHING CO., 3, Ludgate Circus Buildings, E.C.
+
+  WALKER & BOUTALL, Clifford's Inn, Fleet Street, E.C.
+
+  WATERLOW & SONS, Ltd., London Wall, E.C.
+
+  VINCENT & HAHN, 34, Barbican, E.C.
+
+INTAGLIO.
+
+Several of the firms mentioned above are makers of "Intaglio" plates;
+some are also wood-engravers, photo-lithographers, etc.; and agents for
+French, German, and Austrian photo-engravers.
+
+Amongst leading firms who make "Intaglio" plates are Messrs. Boussod,
+Valadon, & Co. (London and Paris); and Messrs. Angerer & Göschl, of
+Vienna.
+
+The Autotype Company's admirable reproductions of photographs and
+drawings should also be mentioned in this connection.
+
+
+
+
+"Black and White."
+
+NOTICE.--MR. HENRY BLACKBURN'S STUDIO is open five days a week for the
+Study and Practice of DRAWING FOR THE PRESS with Technical Assistants.
+Students join at any time.
+
+       *       *       *       *       *
+
+  _Private Instruction and by Correspondence._
+
+  123, VICTORIA STREET, WESTMINSTER (_near Army & Navy stores_).
+
+
+
+
+OPINIONS OF THE PRESS
+
+On the First Edition.
+
+
+"'The Art of Illustration' is a brightly written account, by a man who
+has had large experience of the ways in which books and newspapers are
+illustrated nowadays.... As a collection of typical illustrations by
+artists of the day, Mr. Blackburn's book is very attractive."--_The
+Times._
+
+"Mr. Blackburn explains the processes--line, half-tone, and so
+forth--exemplifying each by the drawings of artists more or less skilled
+in the modern work of illustration. They are well chosen as a whole, to
+show the possibilities of process work in trained hands."--_Saturday
+Review._
+
+"We thoroughly commend this book to all whom it may
+concern."--_Athenæum._
+
+"Mr. Henry Blackburn, perhaps our greatest expert on the subject of the
+book illustrator's art, has written a most interesting volume, which no
+young black-and-white artist can very well afford to do without. Nearly
+a hundred splendid and instructive illustrations."--_Black and White._
+
+"The author's purpose in this book is to show how drawing for the press
+may be best adapted to its purpose.... Many of Mr. Blackburn's
+instructions are technical, but all are beautifully illustrated by
+choice reproductions from some of the best black-and-white work of the
+time."--_Daily News._
+
+"Mr. Blackburn's interesting and practical manual is designed, in the
+first instance, for the guidance of students who intend to become
+illustrators in black-and-white, but for the general reader it contains
+a large quantity of readable and attractive matter."--_The Literary
+World._
+
+"We must express our admiration for the contents of 'The Art of
+Illustration,' and its fund of technical information."--_Bookseller._
+
+"The book is full of interest, containing close upon a hundred varied
+examples of illustrations of the day. A work of unquestionable
+value."--_Publishers' Circular._
+
+"Mr. Blackburn knows from experience what is best for the processes; his
+volume is illustrated with nearly one hundred drawings, most of them
+good examples of what is being done. 'The Art of Illustration' is an
+entirely safe guide."--_Art Journal._
+
+"Mr. Henry Blackburn has written an able book on 'The Art of
+Illustration,' which, it is not overpraise to say, should be in the
+hands of every artist who draws for reproduction."--_The Gentlewoman._
+
+"'The Art of Illustration' is perhaps the most satisfactory work of art
+of its kind that has yet been published."--_Sunday Times._
+
+"A very clear exposition of the various methods of
+reproduction."--_Guardian._
+
+"Mr. Blackburn sails his book under the flag of Sir John Gilbert, and
+justly expounds the all-importance of line."--_National Observer._
+
+"'The Art of Illustration' contains a vast amount of valuable artistic
+information, and should be on every student's bookshelf."--_Court
+Circular._
+
+"Mr. Henry Blackburn is a well-known authority on the technical aspects
+of painting and design, and this circumstance lends value to his
+exposition of 'The Art of Illustration.'... He writes with admirable
+clearness and force."--_Leeds Mercury._
+
+"The excellent series of reproductions in this book show (_inter alia_)
+the variety of effects to be obtained by the common zinc process. Mr.
+Blackburn's book will prove of great value to the student and interest
+to the general reader."--_Manchester Guardian._
+
+"This volume is full of good criticism, and takes a survey of the many
+processes by which books may be beautified.... A charming and
+instructive volume."--_Birmingham Gazette._
+
+"'The Art of Illustration' will have the deepest interest for artists
+and others concerned in the illustration of books."--_Yorkshire Post._
+
+"A very interesting quarto, worth having for its typical
+illustrations."--_British Architect._
+
+"Mr. Blackburn's volume should be very welcome to artists, editors, and
+publishers."--_The Artist._
+
+"A most useful book."--_Studio._
+
+
+
+
+
+End of Project Gutenberg's The Art of Illustration, by Henry Blackburn
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ART OF ILLUSTRATION ***
+
+***** This file should be named 32320-8.txt or 32320-8.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/2/3/2/32320/
+
+Produced by Marius Masi, Chris Curnow and the Online
+Distributed Proofreading Team at http://www.pgdp.net.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/32320-8.zip b/32320-8.zip
new file mode 100644
index 0000000..3beb546
--- /dev/null
+++ b/32320-8.zip
diff --git a/32320-h.zip b/32320-h.zip
new file mode 100644
index 0000000..de48913
--- /dev/null
+++ b/32320-h.zip
diff --git a/32320-h/32320-h.htm b/32320-h/32320-h.htm
new file mode 100644
index 0000000..9e2a51e
--- /dev/null
+++ b/32320-h/32320-h.htm
@@ -0,0 +1,6120 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en">
+
+  <head>
+    <meta http-equiv="Content-Type" content=
+    "text/html; charset=iso-8859-1" />
+    <title>
+     The Project Gutenberg eBook of The Art of Illustration., by Henry Blackburn.
+    </title>
+
+    <style type="text/css">
+
+    body     { text-align: justify; line-height: 1.4em; margin-left: 12%; margin-right: 12%; }
+    p        { margin-top: .75em; margin-bottom: .75em; text-indent: 1em; }
+    p.noind  { margin-top: .75em; margin-bottom: .75em; text-indent: 0; }
+    p.chaps  {text-indent: -2em; padding-top: 1.3em;}
+    p.ind2   { text-indent: -2em; padding-left: 2em; }
+
+    h2,h3,h4,h5,h6 { text-align: center; }
+    hr           { margin-left: auto; margin-right: auto; text-align: center; width: 70%; height: 5px; background-color: #dcdcdc; border: none;}
+    hr.full      {width: 100%; height: 3px;}
+    hr.short     {width: 30%; height: 2px;}
+    hr.art       { margin-left: auto; margin-right: auto; width: 40%; height: 5px; background-color: #708090;
+                          margin-top: 2em; margin-bottom: 5em }
+    hr.foot      {text-align: left; margin-left: 2em; text-align: left; width: 16%; color: black; margin-top: 1em; margin-bottom: 0; height: 1px; }
+
+    table.nobctr  { margin-left: auto; margin-right: auto; border-collapse: collapse; }
+    table.reg     { margin-left: auto; margin-right: auto; clear: both; }
+    table p       { margin-left: 1.5em; text-indent: -1.5em; margin-top: 0; margin-bottom: 0; }
+
+    td.tcc        { padding-right: 0; padding-left: 0; text-align: center;}
+    td.tcl1       { padding-left: 3em; text-indent: -1em; text-align: left; font-size: 90%; padding-bottom: 1em;}
+    td.tc2        { padding-right: 0; padding-left: 0; text-align: right;  vertical-align: top;}
+    td.tc2b       { padding-right: 0; padding-left: 0; text-align: right;  vertical-align: bottom;}
+    td.tc3        { padding-right: 2em; padding-left: 3em; text-indent: -2.5em; text-align: left; vertical-align: top;}
+    td.tc5b       { padding-right: 0; padding-left: 0; text-align: center; padding-top: 2em; padding-bottom: 0.75em; }
+    td.tcl        { text-align: left; padding-left: 1em; padding-right: 1em; }
+
+    a:link, a:visited, link  {text-decoration: none}
+    .sc    {font-variant: small-caps; font-style: normal;}
+    .sc1   {font-variant: small-caps; font-style: normal; font-size: 130%;}
+    .scs   {font-variant: small-caps; font-size: 85%; }
+    .to    { margin-top: 2em; margin-bottom: 2em; text-align: center; font-weight: bold;
+             font-size: 80%; background-color: #f5f5f5; font-variant: small-caps;
+             margin-left: 20%; margin-right: 20%;}
+    .rt    {text-align: right; padding-right: 1em;}
+    .tt    {padding-left: 1em; text-indent: -1em; font-variant: small-caps; font-size: 105%; padding-bottom: 1.5em;}
+    .tt1   {text-align: center; text-indent: 0; font-variant: small-caps; font-size: 105%; padding-bottom: 1.5em;}
+    .tb    {font-size: 120%; letter-spacing: 4em; text-align: center; text-indent: 0; padding-top: 1em; padding-bottom: 1em;}
+
+    .pagenum  {position: absolute; right: 5%; text-align: right; font-size: 10pt;
+                  background-color: #f5f5f5; color: #778899; text-indent: 0;
+                  padding-left: 0.5em; padding-right: 0.5em; font-style: normal;}
+
+    .figcenter  {text-align: center; padding-left: 1em; padding-right: 1em; padding-top: 3em;}
+    .figcenter1 {text-align: center; padding-left: 1em; padding-right: 1em; padding-top: 1.5em; padding-bottom: 1.5em; }
+    .figright1 { padding-right: 1em; padding-left: 2em; padding-top: 1.5em; text-align: center; }
+    .figleft1  { padding-right: 2em; padding-left: 1em; padding-top: 1.5em; text-align: center; }
+    .caption    { font-size: 0.8em; text-align: center; padding-bottom: 1em; padding-left: 1em; padding-right: 1em;}
+    .capd       { font-size: 0.9em; margin-left: 15%; margin-right: 15%; padding-bottom: 2em;}
+
+    .center    {text-align: center; text-indent: 0;}
+    .center1   {text-align: center; padding-top: 1em; padding-bottom: 1em;}
+    .f70       { font-size: 70% }
+    .f80       { font-size: 80% }
+    .f90       { font-size: 90% }
+    .f120       { font-size: 120% }
+    .f150       { font-size: 150% }
+    .title  {padding-top: 3em; font-size: 120%; font-family: 'verdana'; color: red;
+             text-align: center; text-indent: 0;}
+    .verd   {font-family: 'verdana';}
+    .col  { color: #800517;}
+
+    div.quote    { margin-left: 2em; font-size: 90%; line-height: 1.2em; padding-top: 1em; padding-bottom: 1em; }
+    div.quote p  { margin-top: .5em; margin-bottom: .5em; }
+
+    .pt05     {padding-top: 0.5em;}
+    .pt1      {padding-top: 1em;}
+    .pt2      {padding-top: 2em;}
+    .pt3      {padding-top: 3em;}
+    .pt5      {padding-top: 5em;}
+    .sp       {position: relative; bottom: 0.5em; font-size: 0.7em;}
+    .note     {margin-left: 2em; margin-right: 2em; font-size: 0.9em; }
+    .fn       { position: absolute; left: 12%; text-align: left; background-color: #f5f5f5;
+                text-indent: 0; padding-left: 0.2em; padding-right: 0.2em; }
+
+    div.poemr         {margin-top: .75em; margin-bottom: .75em; font-size: 90%;}
+    div.poemr p       { margin-left: 0; padding-left: 3em; text-indent: -3em; margin-top: 0em; margin-bottom: 0em; }
+    div.poemr p.i05   { margin-left: 0.4em; }
+    div.poemr p.i1    { margin-left: 1em; }
+    div.poemr p.i2    { margin-left: 2em; }
+    div.poemr p.i4    { margin-left: 4em; }
+    div.poemr p.s     { margin-top: 1.5em; }
+
+    </style>
+   </head>
+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of The Art of Illustration, by Henry Blackburn
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art of Illustration
+       2nd ed.
+
+Author: Henry Blackburn
+
+Release Date: May 10, 2010 [EBook #32320]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF ILLUSTRATION ***
+
+
+
+
+Produced by Marius Masi, Chris Curnow and the Online
+Distributed Proofreading Team at http://www.pgdp.net.
+
+
+
+
+
+
+</pre>
+
+
+<div class="pt2">&nbsp;</div>
+<div class="figcenter">
+<img style="border:0; width:455px; height:610px" src="images/cover.jpg" alt="" /></div>
+
+<div class="pt3">&nbsp;</div>
+<hr class="full" />
+<h2>THE ART OF ILLUSTRATION.</h2>
+<hr class="full" />
+<div class="pt2">&nbsp;</div>
+
+<p><span class="pagenum"><a name="pagevi" id="pagevi"></a>vi</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:522px; height:620px" src="images/img005.jpg" alt="" />
+<p class="caption">&ldquo;THE TRUMPETER.&rdquo; (SIR JOHN GILBERT, R.A.)<br />
+(<i>Drawn in pen and ink, from his picture in the Royal Academy, 1883.</i>)<br />
+[Size of drawing, 5½ by 4¾ in. Photo-zinc process.]</p></div>
+
+<div class="pt2">&nbsp;</div>
+<p><span class="pagenum"><a name="pagevii" id="pagevii"></a>vii</span></p>
+<div class="verd center">
+<p class="col" style="font-size: 200%;">The Art of Illustration.</p>
+
+<p class="pt3 f80">BY</p>
+
+<p class="f120">HENRY BLACKBURN,</p>
+<p class="f80"><i>Editor of &ldquo;Academy Notes,&rdquo; Cantor Lecturer on Illustration, &amp;amp;c.</i></p>
+
+<p class="f80 pt2">WITH</p>
+<p>NINETY-FIVE ILLUSTRATIONS.</p></div>
+
+<div class="pt2">&nbsp;</div>
+
+<hr class="short" />
+<p class="f90 center"><b>SECOND EDITION.</b></p>
+<hr class="short" />
+
+<div class="verd center">
+<p><span class="f80">LONDON:</span><br />
+W. H. ALLEN &amp; CO., <span class="sc">Limited</span>,</p>
+<p><span class="f90">13, WATERLOO PLACE, S.W.<br /><br />
+1896.</span></p>
+
+<div class="pt3">&nbsp;</div>
+
+<p class="f80">PRINTED BY<br />
+WYMAN AND SONS, LIMITED,<br />
+LONDON, W.C.</p>
+
+<p><span class="pagenum"><a name="pageviii" id="pageviii"></a>viii</span></p>
+<div class="pt3">&nbsp;</div>
+
+<p class="f80">DEDICATED TO</p>
+<p>SIR JOHN GILBERT, R.A.,<br /></p>
+<p class="f80">ONE OF THE PRINCIPAL PIONEERS<br /></p>
+<p class="f80">OF BOOK AND NEWSPAPER ILLUSTRATION.</p></div>
+
+<p><span class="pagenum"><a name="pageix" id="pageix"></a>ix</span></p>
+
+<div class="pt3">&nbsp;</div>
+<div class="figcenter">
+<img style="border:0; width:620px; height:273px" src="images/img010a.jpg" alt="" />
+<p class="caption">(PEN-AND-INK DRAWING FROM HIS PICTURE, BY MR. CHARLES COLLINS, 1892.)<br />
+[Photo-zinc process.]</p></div>
+
+
+<hr class="art" />
+<h3>PREFACE.</h3>
+
+<table class="nobctr" style="float: left; width: 80px;" summary="Illustration">
+<tr><td class="figleft1"><img style="width:60px; height:60px" src="images/img010b.jpg" alt="" /></td></tr>
+</table>
+
+<p class="chaps">HE object of this book is to explain the
+modern systems of Book and Newspaper
+Illustration, and especially the
+methods of drawing for what is commonly
+called &ldquo;process,&rdquo; on which so many artists
+are now engaged.</p>
+
+<p>There is almost a revolution in illustration at the
+present time, and both old and young&mdash;teachers and
+scholars&mdash;are in want of a handbook for reference
+when turning to the new methods. The illustrator
+of to-day is called upon suddenly to take the place
+of the wood engraver in interpreting tone into line,
+<span class="pagenum"><a name="pagex" id="pagex"></a>x</span>
+and requires practical information which this book
+is intended to supply.</p>
+
+<p>The most important branch of illustration treated
+of is <i>line drawing</i>, as it is practically out of reach of
+competition by the photographer, and is, moreover,
+the kind of drawing most easily reproduced and
+printed at the type press; but wash drawing,
+drawing upon grained papers, and the modern
+appliances for reproduction, are all treated of.</p>
+
+<p>The best instructors in drawing for process are,
+after all, the <i>painters of pictures</i> who know so well
+how to express themselves in black and white, and to
+whom I owe many obligations. There is a wide
+distinction between their treatment of &ldquo;illustration&rdquo;
+and the so-called &ldquo;pen-and-ink&rdquo; artist.</p>
+
+<p>The &ldquo;genius&rdquo; who strikes out a wonderful path
+of his own, whose scratches and splashes appear
+in so many books and newspapers, is of the
+&ldquo;butterfly&rdquo; order of being&mdash;a creation, so to speak,
+of the processes, and is not to be emulated or
+imitated. There is no reason but custom why, in
+drawing for process, a man&rsquo;s coat should be made
+to look like straw, or the background (if there be
+a background) have the appearance of fireworks.
+No ability on the part of the illustrator will make
+these things tolerable in the near future. There is
+<span class="pagenum"><a name="pagexi" id="pagexi"></a>xi</span>
+a reaction already, and signs of a better and more
+sober treatment of illustration, which only requires
+a <i>better understanding of the requirements and
+limitations of the processes</i>, to make it equal to
+some of the best work of the past.</p>
+
+<p>The modern illustrator has much to learn&mdash;more
+than he imagines&mdash;in drawing for the processes.
+A study of examples by masters of line drawing&mdash;such
+as Holbein, Menzell, Fortuny or Sandys&mdash;or
+of the best work of the etchers, will not tell the
+student of to-day exactly what he requires to know;
+for they are nearly all misleading as to the principles
+upon which modern process work is based.</p>
+
+<p>In painting we learn everything from the past&mdash;everything
+that it is best to know. In engraving
+also, we learn from the past the best way to
+interpret colour into line, but in drawing for the
+processes there is practically no &ldquo;past&rdquo; to refer to;
+at the same time the advance of the photographer
+into the domain of illustration renders it of vital
+importance to artists to put forth their best work in
+black and white, and it throws great responsibility
+upon art teachers to give a good groundwork of
+education to the illustrator of the future. In all
+this, education&mdash;<i>general education</i>&mdash;will take a wider
+part.</p>
+
+<p><span class="pagenum"><a name="pagexii" id="pagexii"></a>xii</span></p>
+
+<p>The <span class="sc">Illustrations</span> have been selected to show
+the possibilities of &ldquo;process&rdquo; work in educated,
+capable hands, rather than any <i>tours de force</i>
+in drawing, or exploits of genius. They are all of
+modern work, and are printed on the same sheets
+as the letterpress.</p>
+
+<p><i>All the Illustrations in this book have been
+reproduced by mechanical processes, excepting nine</i>
+(marked on the list), which are engraved on wood.</p>
+
+<p>Acknowledgments are due to the Council of the
+Society of Arts for permission to reprint a portion
+of the Cantor Lectures on &ldquo;Illustration&rdquo; from their
+Journal; to the Editors of the <i>National Review</i>
+and the <i>Nineteenth Century</i>, for permission to
+reprint several pages from articles in those reviews;
+to the Editors and Publishers who have lent
+illustrations; and above all, to the artists whose
+works adorn these pages.</p>
+
+<p class="rt">H. B.</p>
+
+<p class="noind pt2"><span class="sc">123, Victoria Street, Westminster.</span></p>
+
+<p style="margin-left: 5em;"><i>May, 1894.</i></p>
+
+<p><span class="pagenum"><a name="pagexiii" id="pagexiii"></a>xiii</span></p>
+
+<hr class="art" />
+<h3>CONTENTS.</h3>
+
+<table class="nobctr" width="90%" summary="Contents">
+<tr><td class="tc2b" colspan="2"><span class="f70">PAGE.</span></td> </tr>
+
+<tr><td class="tc3">CHAPTER I.&mdash;<span class="sc">Introductory</span></td>
+    <td class="tc2b"><a href="#page1">1</a></td> </tr>
+
+<tr><td class="tc3">CHAPTER II.&mdash;<span class="sc">Elementary Illustration</span></td>
+    <td class="tc2b"><a href="#page15">15</a></td> </tr>
+
+<tr><td class="tcl1">Diagrams&mdash;Daily Illustrated Newspapers&mdash;Pictorial
+<i>v.</i> Verbal Description.</td>
+    <td>&nbsp;</td></tr>
+
+<tr><td class="tc3">CHAPTER III.&mdash;<span class="sc">Artistic Illustrations</span></td>
+    <td class="tc2b"><a href="#page40">40</a></td> </tr>
+
+<tr><td class="tcl1">Education of the Illustrator&mdash;Line Drawing for
+Process&mdash;Sketching from Life&mdash;Examples of Line
+Drawing.</td>
+    <td>&nbsp;</td></tr>
+
+<tr><td class="tc3">CHAPTER IV.&mdash;<span class="sc">The Processes</span></td>
+    <td class="tc2b"><a href="#page102">102</a></td> </tr>
+
+<tr><td class="tcl1">&ldquo;Photo zinco&rdquo;&mdash;Gelatine Process&mdash;Grained Papers&mdash;Mechanical
+Dots&mdash;&ldquo;Half-tone&rdquo; Process&mdash;Wash
+Drawing&mdash;Illustrations from Photographs&mdash;<i>Sketch</i>,
+<i>Graphic</i>, &amp;c.&mdash;Daniel Vierge.</td>
+    <td>&nbsp;</td></tr>
+
+<tr><td class="tc3">CHAPTER V.&mdash;<span class="sc">Wood Engraving</span></td>
+    <td class="tc2b"><a href="#page182">182</a></td> </tr>
+
+<tr><td class="tc3">CHAPTER VI.&mdash;<span class="sc">The Decorative Page</span></td>
+    <td class="tc2b"><a href="#page197">197</a></td> </tr>
+
+<tr><td class="tc3">CHAPTER VII.&mdash;<span class="sc">Author, Illustrator, &amp; Publisher</span></td>
+    <td class="tc2b"><a href="#page211">211</a></td> </tr>
+
+<tr><td class="tc3"><span class="sc">Students&rsquo; Drawings</span></td>
+    <td class="tc2b"><a href="#page223">223</a></td> </tr>
+
+<tr><td class="tc3"><span class="sc">Appendix</span></td>
+    <td class="tc2b"><a href="#page233">233</a></td> </tr>
+</table>
+
+<p><span class="pagenum"><a name="pagexiv" id="pagexiv"></a>xiv</span></p>
+<hr class="art" />
+<h3>LIST OF ILLUSTRATIONS.</h3>
+
+<p class="center pt2 f80">[<i>The copyright of all pictures sketched in this book is strictly reserved.</i>]</p>
+
+<table class="nobctr" width="100%" summary="Contents">
+
+<tr><td class="tc2b" colspan="3"><span class="f70">PAGE.</span></td> </tr>
+
+<tr><td class="tc3">&ldquo;The Trumpeter.&rdquo; Sir John Gilbert, R.A.</td>
+    <td class="tcc">(<i>Process</i>)</td>
+    <td class="tc2b"><a href="#pagevi">vi</a></td> </tr>
+
+<tr><td class="tc3">Swans. Charles Collins</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#pageix">ix</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Ashes of Roses.&rdquo; G. H. Boughton, A.R.A.</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page5">5</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Badminton in the Studio.&rdquo; R. W. Macbeth, A.R.A.</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page6">6</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;A Son of Pan.&rdquo; William Padgett</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page11">11</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Home by the Ferry.&rdquo; Edward Stott</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page12">12</a></td> </tr>
+
+<tr><td class="tc3">Man in Chain Armour. Lancelot Speed</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page14">14</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Greeting.&rdquo; The Hon. Mrs. Boyle</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page15">15</a></td> </tr>
+
+<tr><td class="tc3">Diagrams (5)</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page19">19-32</a></td> </tr>
+
+<tr><td class="tc3">View above Blankenburg</td>
+    <td class="tcc">(<i>Wood</i>)</td>
+    <td class="tc2b"><a href="#page38">38</a></td> </tr>
+
+<tr><td class="tc3">The Curvature of the World&rsquo;s Surface</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page39">39</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Tiresome Dog.&rdquo; E. K. Johnson</td>
+    <td class="tcc">(<i>Process</i>)</td>
+    <td class="tc2b"><a href="#page43">43</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Frustrated.&rdquo; Walter Hunt</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page44">44</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;On the Riviera.&rdquo; Ellen Montalba</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page46">46</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Landscape with Trees.&rdquo; M. R. Corbet</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page47">47</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;An Odd Volume.&rdquo; H. S. Marks, R.A.</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page49">49</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;A Select Committee.&rdquo; H. S. Marks, R.A.</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page50">50</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;The Rose Queen.&rdquo; G. D. Leslie, R.A.</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page52">52</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Finding of the Infant St. George.&rdquo; C. M. Gere</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page56">56</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;A Ploughboy.&rdquo; G. Clausen</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page59">59, 61</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Blowing Bubbles.&rdquo; C. E. Wilson</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page65">65</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Cathedral, from Ox Body Lane.&rdquo; H. Railton</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page69">69</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;By Unfrequented Ways.&rdquo; W. H. Gore</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page71">70, 71</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Adversity.&rdquo; Fred. Hall</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page75">73, 75</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;A Willowy Stream.&rdquo; Maud Naftel</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page76">76</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Twins.&rdquo; Stanley Berkeley</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page79">79</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;The Dark Island.&rdquo; Alfred East
+     <span class="pagenum"><a name="pagexv" id="pagexv"></a>xv</span></td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page80">80</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;A Portrait.&rdquo; T. C. Gotch</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page83">83</a></td> </tr>
+
+<tr><td class="tc3">Sir John Tenniel. Edwin Ward</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page87">87</a></td> </tr>
+
+<tr><td class="tc3">The Rt. Hon. John Morley. Edwin Ward</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page90">90</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Nothing venture, nothing have.&rdquo; E. P. Sanguinetti</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page92">92, 93</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;On the Terrace.&rdquo; E. A. Rowe</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page94">94</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;For the Squire.&rdquo; Sir John Millais, Bart., R.A.</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page97">97</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;The Stopped Key.&rdquo; H. S. Marks, R.A.</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page100">100</a></td> </tr>
+
+<tr><td class="tc3">Nymph and Cupid. Henry Holiday</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page101">101</a></td> </tr>
+
+<tr><td class="tc3">Illustration to &ldquo;<i>The Blue Poetry Book</i>.&rdquo; L. Speed</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page102">102</a></td> </tr>
+
+<tr><td class="tc3">A Portrait. T. Blake Wirgman.</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page103">103</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Forget Me Not.&rdquo; Henry Ryland</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page105">105</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Baby&rsquo;s Own.&rdquo; G. Hillyard Swinstead</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page107">107</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;A Silent Pool.&rdquo; E. W. Waite</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page108">108</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;The Miller&rsquo;s Daughter.&rdquo; E. K. Johnson</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page111">111</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;The End of the Chapter.&rdquo; W. Rainey.</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page112">112</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;In the Pas de Calais.&rdquo; J. P. Beadle</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page113">113</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Golden Days.&rdquo; F. Stuart Richardson</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page114">114</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Twilight.&rdquo; Hume Nisbet</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page115">115</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Le Dent du Géant.&rdquo; E. T. Compton</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page116">116, 117</a></td> </tr>
+
+<tr><td class="tc3">Landscape. A. M. Lindstrom</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page119">119</a></td> </tr>
+
+<tr><td class="tc3">Volendam. C. J. Watson</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page123">123</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Old Woman and Grandchild.&rdquo; Hugh Cameron</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page125">125</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;An Arrest.&rdquo; Melton Prior</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page127">127</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Sunrise in the Severn Valley.&rdquo; M. R. Corbet</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page129">129</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;The Adjutant&rsquo;s Love Story.&rdquo; H. R. Millar</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page131">131</a></td> </tr>
+
+<tr><td class="tc3">Illustrations from &ldquo;<i>The Blue Poetry Book</i>.&rdquo; L. Speed</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page134">134, 5, 7</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Seine Boats.&rdquo; Louis Grier</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page138">138</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;There is the Priory.&rdquo; W. H. Wollen</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page139">139</a></td> </tr>
+
+<tr><td class="tc3">From &ldquo;<i>Andersen&rsquo;s Fairy Tales</i>.&rdquo; J. R. Weguelin</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page141">141, 143</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Two&rsquo;s company, three&rsquo;s none.&rdquo; H. J. Walker</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page147">147</a></td> </tr>
+
+<tr><td class="tc3">Illustration from &ldquo;<i>Black and White</i>.&rdquo; C. G. Manton</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page149">149</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;A Sunny Land.&rdquo; George Wetherbee</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page150">150</a></td> </tr>
+
+<tr><td class="tc3">Decorative Design. The late Randolph Caldecott</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page151">151</a></td> </tr>
+
+<tr><td class="tc3">Sketch in wash (part of picture) from &ldquo;<i>Sketch</i></td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page155">155</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;The Brook.&rdquo; Arnold Helcké</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page157">157</a></td> </tr>
+
+<tr><td class="tc3">From a Photograph from Life. By Mr. H. S. Mendelssohn (&ldquo;<i>Sketch</i>&rdquo;)
+     <span class="pagenum"><a name="pagexvi" id="pagexvi"></a>xvi</span></td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page161">161</a></td> </tr>
+
+<tr><td class="tc3">From a Photograph from Life. By Messrs. Cameron &amp; Smith (&ldquo;<i>Studio</i>&rdquo;)</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page165">165</a></td> </tr>
+
+<tr><td class="tc3">From a Photograph from Life (&ldquo;<i>Graphic</i>&rdquo;)</td>
+    <td class="tcc">(<i>Wood</i>)</td>
+    <td class="tc2b"><a href="#page169">169</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Proud Maisie.&rdquo; Lancelot Speed</td>
+    <td class="tcc">(<i>Process</i>)</td>
+    <td class="tc2b"><a href="#page173">173</a></td> </tr>
+
+<tr><td class="tc3">From &ldquo;<i>Pablo de Segovia</i>.&rdquo; Daniel Vierge</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page177">177</a></td> </tr>
+
+<tr><td class="tc3">Drinking Horn from &ldquo;<i>Eric Bright Eyes</i>.&rdquo; L. Speed</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page181">181</a></td> </tr>
+
+<tr><td class="tc3">Heading from &ldquo;<i>Grimm&rsquo;s Household Stories</i>.&rdquo; W. Crane</td>
+    <td class="tcc">(<i>Wood</i>)</td>
+    <td class="tc2b"><a href="#page182">182</a></td> </tr>
+
+<tr><td class="tc3">Photograph from Life. &ldquo;<i>The Century Magazine</i>&rdquo;</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page187">187</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Driving Home the Pigs.&rdquo; John Pedder</td>
+    <td class="tcc">(<i>Process</i>)</td>
+    <td class="tc2b"><a href="#page193">193</a></td> </tr>
+
+<tr><td class="tc3">Joan of Arc&rsquo;s House at Rouen. Samuel Prout</td>
+    <td class="tcc">(<i>Wood</i>)</td>
+    <td class="tc2b"><a href="#page195">195</a></td> </tr>
+
+<tr><td class="tc3">Heading from &ldquo;<i>Grimm&rsquo;s Household Stories</i>.&rdquo; W. Crane</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page197">197</a></td> </tr>
+
+<tr><td class="tc3">Decorative Page. A. J. Gaskin</td>
+    <td class="tcc">(<i>Process</i>)</td>
+    <td class="tc2b"><a href="#page199">199</a></td> </tr>
+
+<tr><td class="tc3">Decorative Page from &ldquo;<i>The Six Swans</i>.&rdquo; W. Crane</td>
+    <td class="tcc">(<i>Wood</i>)</td>
+    <td class="tc2b"><a href="#page201">201</a></td> </tr>
+
+<tr><td class="tc3">Title Page of &ldquo;<i>The Hobby Horse</i>.&rdquo; Selwyn Image</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page205">205</a></td> </tr>
+
+<tr><td class="tc3">Viking Ship from &ldquo;<i>Eric Bright Eyes</i>.&rdquo; L. Speed</td>
+    <td class="tcc">(<i>Process</i>)</td>
+    <td class="tc2b"><a href="#page208">208</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Scarlet Poppies.&rdquo; W. J. Muckley</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page209">209</a></td> </tr>
+
+<tr><td class="tc3">&ldquo;Take Care.&rdquo; W. B. Baird</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page222">222</a></td> </tr>
+
+<tr><td class="tc3">Spanish Woman. Ina Bidder</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page225">225</a></td> </tr>
+
+<tr><td class="tc3">Children Reading. Estelle d&rsquo;Avigdor</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page227">227</a></td> </tr>
+
+<tr><td class="tc3">Sketch from Life. G. C. Marks</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page229">229</a></td> </tr>
+
+<tr><td class="tc3">Bough of Common Furze. William French</td>
+    <td class="tcc">&rdquo;</td>
+    <td class="tc2b"><a href="#page231">231</a></td> </tr>
+
+</table>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page1" id="page1"></a>1</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:580px; height:181px" src="images/img018a.jpg" alt="" /></div>
+
+<div class="pt2">&nbsp;</div>
+<h3>CHAPTER I.</h3>
+
+<h5>INTRODUCTORY.</h5>
+
+<table class="nobctr" style="float: left; width: 80px;" summary="Illustration">
+<tr><td class="figleft1"><img style="width:60px; height:62px" src="images/img018b.jpg" alt="" /></td></tr>
+</table>
+
+<p class="chaps">HERE are, broadly speaking, two kinds
+of engraving for illustration in books,
+which are widely distinct&mdash;1. <i>intaglio</i>;
+2. <i>relievo</i>. The first comprises all
+engravings, etchings, and photogravures in which
+the lines are cut or indented by acid or other means,
+into a steel or copper plate&mdash;a system employed,
+with many variations of method, from the time of
+Mantegna, Albert Dürer, Holbein and Rembrandt,
+to the French and English etchers of the present
+day. Engravings thus produced are little used in
+modern book illustration, as they cannot be printed
+easily on the same page as the letterpress; these
+<i>planches à part</i>, as the French term them, are costly
+to print and are suitable only for limited editions.</p>
+
+<p>In the second, or ordinary form of illustration,
+the lines or pictures to be printed are left in relief;
+<span class="pagenum"><a name="page2" id="page2"></a>2</span>
+the design being generally made on wood with a
+pencil, and the parts not drawn upon cut away.
+This was the rudimentary and almost universal
+form of book-illustration, as practised in the fifteenth
+century, as revived in England by Bewick in
+the eighteenth, and continued to the present day.
+The blocks thus prepared can be printed rapidly
+on ordinary printing-presses, and on <i>the same page
+as the text</i>.</p>
+
+<p>During the past few years so many processes
+have been put forward for producing drawings in
+relief, for printing with the type, that it has become
+a business in itself to test and understand them.
+The best known process is still wood engraving, at
+least it is the best for the fac-simile reproduction
+of drawings, as at present understood in England,
+whether they be drawn direct upon the wood or
+transmitted by photography. There is no process
+in relief which has the same certainty, which gives
+the same colour and brightness, and by which
+gradation of tone can be more truly rendered.</p>
+
+<p>As to the relative value of the different photographic
+relief processes, that can only be decided by
+experts. Speaking generally, I may say that there
+are six or seven now in use, each of which is, I am
+informed, the best, and all of which are adapted
+<span class="pagenum"><a name="page3" id="page3"></a>3</span>
+for printing in the same manner as a wood-block.<a name="FnAnchor_1" id="FnAnchor_1" href="#Footnote_1"><span class="sp">1</span></a>
+Improvements in these processes are being made
+so rapidly that what was best yesterday will not be
+the best to-morrow, and it is a subject which is
+still little understood.</p>
+
+<p>In the present book it is proposed to speak
+principally of the more popular form of illustration
+(<i>relievo</i>); but the changes which are taking place
+in all forms of engraving and illustration render it
+necessary to say a few words first upon <i>intaglio</i>.
+We have heard much of the &ldquo;painter-etchers,&rdquo;
+and of the claims of the etchers to recognition as
+original artists; and at the annual exhibition of the
+Society of Painter-Etchers in London, we have seen
+examples in which the effects produced in black
+and white seemed more allied to the painter&rsquo;s art
+than to the engraver&rsquo;s. But we are considering
+engraving as a means of interpreting the work of
+others, rather than as an original art.</p>
+
+<p>The influence of photography is felt in nearly
+every department of illustration. The new photo-mechanical
+methods of engraving, <i>without the aid of
+the engraver</i>, have rendered drawing for fac-simile
+reproduction of more importance than ever; and
+the wonderful invention called <i>photogravure</i>, in
+which an engraving is made direct from an oil
+painting, is almost superseding handwork.<a name="FnAnchor_2" id="FnAnchor_2" href="#Footnote_2"><span class="sp">2</span></a></p>
+
+<p><span class="pagenum"><a name="page4" id="page4"></a>4</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page5" id="page5"></a>5</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:326px; height:610px" src="images/img022.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. II.</p>
+<p class="center">&ldquo;<i>Ashes of Roses</i>,&rdquo; by <span class="sc">G. H. Boughton, A.R.A.</span></p>
+<p>This careful drawing, from the painting by Mr.
+Boughton, in the Royal Academy, reproduced by the
+Dawson process, is interesting for variety of treatment
+and indication of textures in pen and ink. It
+is like the picture, but it has also the individuality of
+the draughtsman, as in line engraving.</p>
+
+<p>Size of drawing about 6½ x 3½ in.</p></div>
+
+<p><span class="pagenum"><a name="page6" id="page6"></a>6</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:387px; height:610px" src="images/img023.jpg" alt="" />
+<p class="caption">&ldquo;BADMINTON IN THE STUDIO.&rdquo;  (FROM THE PAINTING BY R. W. MACBETH, A.R.A.)<br />
+(<i>Royal Academy, 1891.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page7" id="page7"></a>7</span>
+The art of line-engraving is disappearing in
+England, giving way to the &ldquo;painter-etchers,&rdquo; the
+&ldquo;dry-point&rdquo; etchers and the &ldquo;mezzotint engravers,&rdquo;
+and, finally, to <i>photogravure</i>, a method of engraving
+which is so extraordinary, and so little understood
+(although it has been in constant use for more than
+ten years), that it may be worth while to explain, in
+a few words, the method as practised by Messrs.
+Boussod, Valadon &amp; Co., successors to Goupil, of
+Paris.</p>
+
+<p>In the Royal Academy Exhibition of 1882, Sir
+Frederick Leighton&rsquo;s picture called &ldquo;Wedded&rdquo; will
+be remembered by many visitors. This picture was
+purchased for Australia, and had to be sent from
+England within a few weeks of the closing of
+the exhibition.  There was no time to make an
+<span class="pagenum"><a name="page8" id="page8"></a>8</span>
+engraving, or even an etching satisfactorily, and so
+the picture was sent to Messrs. Goupil, who in a
+few weeks produced the <i>photogravure</i>, as it is called,
+which we see in the printsellers&rsquo; windows to this
+day. The operation is roughly as follows:&mdash;First,
+a photograph is taken direct from the picture; then
+a carbon print is taken from the negative upon
+glass, which rests upon the surface in delicate relief.
+From this print a cast is taken in reverse in copper,
+by placing the glass in a galvanic bath, the deposit
+of copper upon the glass taking the impression of the
+picture as certainly as snow takes the pattern of the
+ground upon which it falls. Thus&mdash;omitting details,
+and certain &ldquo;secrets&rdquo; of the process&mdash;it may be
+seen how modern science has superseded much of
+the engraver&rsquo;s work, and how a mechanical process
+can produce in a few days that which formerly
+took years.</p>
+
+<p>What the permanent art-estimate of &ldquo;photo-engraving&rdquo;
+may be, as a substitute for hand-work,
+is a question for the collectors of engravings and
+etchings. In the meantime, it is well that the
+public should know what a <i>photogravure</i> is, as distinct
+from an engraving. The system of mechanical
+engraving, in the reproduction of pictures, is
+spreading rapidly over the world; but it should be
+<span class="pagenum"><a name="page9" id="page9"></a>9</span>
+observed that these reproductions are not uniformly
+successful. One painter&rsquo;s method of handling lends
+itself more readily than that of another to mechanical
+engraving. Thus the work of the President of the
+Royal Academy would reproduce better than that
+of Mr. G. F. Watts or Mr. Orchardson. That the
+actual marks of the brush, the very texture of the
+painting, can be transferred to copper and steel, and
+multiplied <i>ad infinitum</i> by this beautiful process, is
+a fact to which many English artists are keenly
+alive. The process has its limits, of course, and
+<i>photogravure</i> has at present to be assisted to a
+considerable extent by the engraver. But enough
+has been done in the last few years to prove that
+photography will henceforth take up the painter&rsquo;s
+handiwork as he leaves it, and thus the importance
+of thoroughness and completeness on the part of
+the painter has to be more than ever insisted upon
+by the publishers of &ldquo;engravings.&rdquo;</p>
+
+<p>A word may be useful here to explain that the
+coloured &ldquo;photogravures,&rdquo; reproducing the washes
+of colour in a painting or water-colour drawing, of
+which we see so many in Paris, are not coloured by
+hand in the ordinary way, but are produced complete,
+at one impression, from the printing-press.
+The colours are laid upon the plate, one by one, by
+the printer, by a system of stencilling; and thus an
+almost perfect fac-simile of a picture can be reproduced
+in pure colour, if the original is simple
+and broad in treatment.</p>
+
+<p><span class="pagenum"><a name="page10" id="page10"></a>10</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page11" id="page11"></a>11</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:354px; height:620px" src="images/img028.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. III.</p>
+<p class="center">&ldquo;<i>A Son of Pan</i>,&rdquo; by <span class="sc">William Padgett</span>.</p>
+<p>Example of outline drawing, put in solidly with a
+brush. If this had been done with pencil or autographic
+chalk, much of the feeling and expression
+of the original would have been lost. The drawing
+has suffered slightly in reproduction, where (as in
+the shadows on the neck and hands) the lines were
+pale in the original.</p>
+<p>Size of drawing 11½ × 6½ in. Zinc process.</p></div>
+
+<p><span class="pagenum"><a name="page12" id="page12"></a>12</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:500px; height:451px" src="images/img029.jpg" alt="" />
+<p class="caption">&ldquo;HOME BY THE FERRY.&rdquo; (FROM THE PAINTING BY EDWARD STOTT.)<br />
+(<i>Royal Academy, 1891.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page13" id="page13"></a>13</span></p>
+
+<p>One other point of interest and importance to
+collectors of engravings and etchings should be
+mentioned. Within the last few years, an invention
+for coating the surface of engraved plates with
+a film of steel (which can be renewed as often as
+necessary) renders the surface practically indestructible;
+and it is now possible to print a thousand
+impressions from a copper plate without injury or
+loss of quality. These modern inventions are no
+secrets, they have been described repeatedly in
+technical journals and in lectures, notably in those
+delivered during the past few years at the Society of
+Arts, and published in the <i>Journal</i>. But the
+majority of the public, and even many collectors of
+prints and etchings, are ignorant of the number of
+copies which can now be taken without deterioration
+from one plate.</p>
+
+<p>It is necessary to the art amateur that he should
+know something of these things, if only to explain
+why it is that scratching on a copper plate has
+come so much into vogue in England lately, and
+why there has been such a remarkable revival of
+<span class="pagenum"><a name="page14" id="page14"></a>14</span>
+the art of Dürer at the end of this century. The
+reason for the movement will be better understood
+when it is explained that by the process just referred
+to, of &ldquo;steeling&rdquo; the surface of plates, the &ldquo;burr,&rdquo; as it
+is called, and the most delicate lines of the engraver
+are preserved intact for a much larger number of
+impressions than formerly. The taste for etchings
+and the higher forms of the reproductive arts is still
+spreading rapidly, but the fact remains that etchings
+and <i>éditions de luxe</i> do not reach one person in
+a thousand in any civilised community. It is only
+by means of wood engravings, and the cheaper and
+simpler forms of process illustration, that the public
+is appealed to pictorially through the press.</p>
+
+<div class="figcenter">
+<img style="border:0; width:187px; height:300px" src="images/img031.jpg" alt="" />
+<p class="caption">LINE PROCESS BLOCK.</p></div>
+
+<hr class="foot" /><div class="note">
+
+<p><a name="Footnote_1" id="Footnote_1" href="#FnAnchor_1"><span class="fn">1</span></a> All the illustrations in this book are produced by mechanical
+processes excepting those marked in the List of Illustrations;
+and all are printed simultaneously with the letterpress. For
+description of processes, see <i>Appendix</i>.</p>
+
+<p><a name="Footnote_2" id="Footnote_2" href="#FnAnchor_2"><span class="fn">2</span></a> One of the last and best examples of pure line-engraving
+was by M. Joubert, from a painting by E. J. Poynter, R.A., called
+&ldquo;Atalanta&rsquo;s Race,&rdquo; exhibited in the Royal Academy, 1876. The
+engraving of this picture was nearly three years in M. Joubert&rsquo;s
+hands&mdash;a tardy process in these days.</p>
+</div>
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page15" id="page15"></a>15</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:610px; height:406px" src="images/img032.jpg" alt="" />
+<p class="caption">&ldquo;GREETING.&rdquo; (BY THE HON. MRS. BOYLE.)</p></div>
+
+
+<h3>CHAPTER II.</h3>
+
+<h5>ELEMENTARY ILLUSTRATION.</h5>
+
+<table class="nobctr" style="float: left; width: 80px;" summary="Illustration">
+<tr><td class="figleft1"><img style="width:60px; height:65px" src="images/img032b.jpg" alt="" /></td></tr>
+</table>
+
+<p class="chaps">HE first object of an illustration, the
+practical part, is obviously, <i>to illustrate
+and elucidate the text</i>&mdash;a matter often
+lost sight of. The second is to be
+artistic, and includes works of the imagination,
+decoration, ornament, style. In this chapter we
+shall consider the first, the practical part.</p>
+
+<p>Nearly twenty years ago, at a meeting of the
+Society of Arts in London, the general question
+was discussed, whether in the matter of illustrating
+books and newspapers we are really keeping pace
+<span class="pagenum"><a name="page16" id="page16"></a>16</span>
+with the times; whether those whose business it
+is to provide the illustrations which are tossed
+from steam presses at the rate of several thousand
+copies an hour, are doing the best work they can.</p>
+
+<p>In illustrated newspapers, it was argued, &ldquo;there
+should be a clearer distinction between fact and
+fiction, between news and pictures.&rdquo; The exact
+words may be thought worth repeating now.<a name="FnAnchor_3" id="FnAnchor_3" href="#Footnote_3"><span class="sp">3</span></a></p>
+
+<div class="quote">
+<p>&ldquo;In the production of illustrations we have arrived at great
+proficiency, and from London are issued the best illustrated
+newspapers in the world. But our artistic skill has led us into
+temptation, and by degrees engendered a habit of making
+pictures when we ought to be recording facts. We have thus,
+through our cleverness, created a fashion and a demand from the
+public for something which is often elaborately untrue.</p>
+
+<p>Would it, then, be too much to ask those who cater for (and
+really create) the public taste, that they should give us one of two
+things, or rather <i>two things</i>, in our illustrated papers, the real
+and the ideal&mdash;</p>
+
+<p>1st. Pictorial records of events in the simplest and truest
+manner possible;</p>
+
+<p>2nd. Pictures of the highest class that can be printed in a
+newspaper?</p>
+
+<p>Here are two methods of illustration which only require to be
+kept distinct, each in its proper place, and our interest in them
+would be doubled. We ask first for a record of news and then
+for a picture gallery; and to know, to use a common phrase,
+<i>which is which</i>.&rdquo;</p>
+</div>
+
+<p><span class="pagenum"><a name="page17" id="page17"></a>17</span>
+At the time referred to, drawing on the wood-block
+and engraving were almost universal&mdash;instantaneous
+photography was in its infancy,
+&ldquo;process blocks,&rdquo; that is to say, mechanical
+engraving, was very seldom employed, and (for
+popular purposes) American engraving and printing
+was considered the best.</p>
+
+<p>The system of producing illustrations in direct fac-simile
+of an artist&rsquo;s drawing, suitable for printing at
+a type press without the aid of the wood engraver,
+is of such value for cheap and simple forms of
+illustration, and is, moreover, in such constant use,
+that it seems wonderful at first sight that it should
+not be better understood in England. But the
+cause is not far to seek. We have not yet acquired
+the art of pictorial expression in black and white,
+nor do many of our artists excel in &ldquo;illustration&rdquo; in
+the true sense of the word.</p>
+
+<p>It has often been pointed out that through the
+pictorial system the mind receives impressions with
+the least effort and in the quickest way, and that
+the graphic method is the true way of imparting
+knowledge. Are we then, in the matter of giving
+information or in imparting knowledge through the
+medium of illustrations, adopting the truest and
+simplest methods?  I venture to say that in the
+<span class="pagenum"><a name="page18" id="page18"></a>18</span>
+majority of cases we are doing nothing of the kind.
+We have pictures in abundance which delight the
+eye, which are artistically drawn and skilfully
+engraved, but in which, in nine cases out of ten,
+there is more thought given to effect as a picture
+than to illustrating the text.</p>
+
+<p>It has often been suggested that the art of
+printing is, after all, but a questionable blessing on
+account of the error and the evil disseminated by
+it. Without going into that question, I think that
+we may find that the art of printing with movable
+type has led to some neglect of the art of expressing
+ourselves pictorially, and that the apparently inexorable
+necessity of running every word and
+thought into uniform lines, has cramped and limited
+our powers of expression, and of communicating
+ideas to each other.</p>
+
+<p>Let us begin at the lowest step of the artistic
+ladder, and consider some forms of illustration which
+are within the reach of nearly every writer for
+the press. With the means now at command for
+reproducing any lines drawn or written, in perfect
+fac-simile, mounted on square blocks to range with
+the type, and giving little or no trouble to the
+printer, there is no question that we should more
+frequently see the hand work of the writer as well
+<span class="pagenum"><a name="page19" id="page19"></a>19</span>
+as of the artist appearing on the page. For
+example: it happens sometimes in a work of fiction,
+or in the record of some accident or event, that it
+is important to the clear understanding of the text,
+to know the exact position of a house, say at a
+street corner, and also (as in the case of a late trial
+for arson) which way the wind blew on a particular
+evening. Words are powerless to explain the
+position beyond the possibility of doubt or misconstruction;
+and yet words are, and have been,
+used for such purposes for hundreds of years,
+because it is &ldquo;the custom.&rdquo;</p>
+
+<div class="figcenter1">
+<img style="border:0; width:500px; height:222px" src="images/img036.jpg" alt="" />
+</div>
+
+<p>But if it were made plain that where words fail
+to express a meaning easily, a few lines, such as
+those above, drawn in ink on ordinary paper, may
+be substituted (and, if sent to the printer with the
+manuscript, will appear in fac-simile on the proof
+with the printed page), I think a new light may
+dawn on many minds, and new methods of expression
+come into vogue.
+<span class="pagenum"><a name="page20" id="page20"></a>20</span></p>
+
+<p>This illustration (which was written on the sheet
+of MS.) is one example, out of a hundred that might
+be given, where a diagram should come to the aid
+of the verbal description, now that the reproduction
+of lines for the press is no longer costly, and the
+blocks can be printed, if necessary, on rapidly
+revolving cylinders, which (by duplicating) can
+produce in a night 100,000 copies of a newspaper.</p>
+
+<p>Before exploring some of the possibilities of
+illustration, it may be interesting to glance at what
+has been done in this direction since the invention
+of producing blocks rapidly to print at the type
+press and the improvements in machinery.</p>
+
+<p>In the spring of 1873 a Canadian company
+started a daily illustrated evening newspaper in
+New York, called <i>The Daily Graphic</i>, which was
+to eclipse all previous publications by the rapidity
+and excellence of its illustrations. It started with
+an attempt to give a daily record of news, and its
+conductors made every effort to bring about a
+system of rapid sketching and drawing in line.
+But the public of New York in 1873 (as of
+London, apparently, in 1893) cared more for
+&ldquo;pictures,&rdquo; and so by degrees the paper degenerated
+into a picture-sheet, reproducing (without leave)
+<span class="pagenum"><a name="page21" id="page21"></a>21</span>
+engravings from the <i>Illustrated London News</i>, the
+<i>Graphic</i>, and other papers, as they arrived from
+England. The paper was lithographed, and survived
+until 1889.</p>
+
+<p>The report of the first year&rsquo;s working of the
+first daily illustrated newspaper in the world is
+worth recording. The proprietors stated that
+although the paper was started &ldquo;in a year of great
+financial depression, they have abundant reason to
+be satisfied with their success,&rdquo; and further, that
+they attribute it to &ldquo;an absence of all sensational
+news.&rdquo;(!)</p>
+
+<p>The report ended with the following interesting
+paragraph:</p>
+
+<div class="quote">
+<p>&ldquo;Pictorial records of crime, executions, scenes involving
+misery, and the more unwholesome phases of social life, are a
+positive detriment to a daily illustrated newspaper. In fact, the
+higher the tone and the better the taste appealed to, the larger
+we have found our circulation to be.&rdquo;</p>
+</div>
+
+<p>The great art, it would seem, of conducting a
+daily illustrated newspaper is to know <i>what to leave
+out</i>&mdash;when, in fact, to have no illustrations at
+all!</p>
+
+<p>In England the first systematic attempt at illustration
+in a daily newspaper was the insertion of a
+little map or weather chart in the <i>Times</i> in 1875,
+<span class="pagenum"><a name="page22" id="page22"></a>22</span>
+and the <i>Pall Mall Gazette</i> followed suit with a dial
+showing the direction of the wind, and afterwards
+with other explanatory diagrams and sketches.</p>
+
+<p>But, in June, 1875, the <i>Times</i> and all other newspapers
+in England were far distanced by the <i>New
+York Tribune</i> in reporting the result of a shooting
+match in Dublin between an American Rifle Corps
+and some of our volunteers. On the morning after
+the contest there were long verbal reports in the
+English papers, describing the shooting and the
+results; but in the pages of the <i>New York Tribune</i>
+there appeared a series of targets with the shots
+of the successful competitors marked upon them,
+communicated by telegraph and printed in the
+paper in America on the following morning.<a name="FnAnchor_4" id="FnAnchor_4" href="#Footnote_4"><span class="sp">4</span></a></p>
+
+<p>After this period we seem to have moved
+slowly, only some very important geographical
+discovery, or event, extorting from the daily newspapers
+an explanatory plan or diagram. But during
+the &ldquo;Transit of Venus,&rdquo; on the 6th of December,
+1882, a gleam of light was vouchsafed to the
+readers of the <i>Daily Telegraph</i> (and possibly to
+other papers), and that exciting astronomical event
+from which &ldquo;mankind was to obtain a clearer
+<span class="pagenum"><a name="page23" id="page23"></a>23</span>
+knowledge of the scale of the universe,&rdquo; was
+understood and remembered better, by three or four
+lines in the form of a diagram (showing, roughly,
+the track of Venus and its comparative size and
+distance from the sun) printed in the newspaper on
+the day of the event.</p>
+
+<p>Maps and plans have appeared from time to time
+in all the daily newspapers, but not systematically,
+or their interest and usefulness would have been
+much greater. Many instances might be given of
+the use of diagrams in newspapers; a little dial
+showing the direction of the wind, is obviously
+better than words and figures, but it is only lately
+that printing difficulties have been overcome, and
+that the system can be widely extended.</p>
+
+<p>It remains to be seen how far the <i>Daily Graphic</i>,
+with experience and capital at command, will aid in
+a system of illustration which is one day to become
+general. Thus far it would seem that the production
+of a large number of pictures (more or less <i>à-propos</i>)
+is the popular thing to do. We may be excused if
+we are disappointed in the result from a practical
+point of view; for as the functions of a daily
+newspaper are <i>primâ facie</i> to record facts, it follows
+that if words fail to communicate the right meaning,
+pictorial expression should come to the aid of the
+<span class="pagenum"><a name="page24" id="page24"></a>24</span>
+verbal, no matter how crude or inartistic the result
+might appear.</p>
+
+<p>Let me give one or two examples, out of many
+which come to mind.</p>
+
+<p>1. The transmission of form by telegraph. To
+realise the importance of this system in conveying
+news, we have only to consider (going back nearly
+forty years) what interest would have been added
+to Dr. Russell&rsquo;s letters from the Crimea in the
+<i>Times</i> newspaper, if it had been considered possible,
+then, to have inserted, here and there, with the
+type, a line or two pictorially giving (<i>e.g.</i>) the outline
+of a hillside, and the position of troops upon
+it. It <i>was</i> possible to do this in 1855, but it is
+much more feasible now. The transmission of form
+by telegraph is of the utmost importance to journalists
+and scientific men, and, as our electricians
+have not yet determined the best methods, it may
+be interesting to point out the simplest and most
+rudimentary means at hand. The method is well
+known in the army and is used for field purposes,
+but hitherto newspapers have been strangely slow
+to avail themselves of it. The diagram on the
+opposite page will explain a system which is capable
+of much development with and without the aid
+of photography.
+<span class="pagenum"><a name="page25" id="page25"></a>25</span></p>
+
+<p>If the reader will imagine this series of squares
+to represent a portable piece of open trellis-work,
+which might be set up at a window or in the open
+field, between the spectator and any object of
+interest at a distance&mdash;each square representing a
+number corresponding with a code in universal use&mdash;it
+will be obvious, that by noticing the squares
+which the outline of a hill would cover, and <i>telegraphing
+the numbers of the squares</i>, something in
+the way of form and outline may be quickly communicated
+from the other side of the world.</p>
+
+<div class="figcenter">
+<img style="border:0; width:530px; height:388px" src="images/img042.jpg" alt="" />
+<p class="caption">CODE FOR TRANSMITTING FORM BY TELEGRAPH.</p></div>
+
+<p>This is for rough-and-ready use in time of war,
+when rapidity of communication is of the first
+importance; but in time of peace a correspondent&rsquo;s
+letter continually requires elucidation.
+<span class="pagenum"><a name="page26" id="page26"></a>26</span></p>
+
+<p>Next is an example, which, for want of better
+words, I will call &ldquo;the shorthand of pictorial art.&rdquo;
+A newspaper correspondent is in a boat on one
+of the Italian lakes, and wishes to describe the
+scene on a calm summer day. This is how he
+proceeds&mdash;</p>
+
+<div class="figcenter1">
+<img style="border:0; width:500px; height:254px" src="images/img043.jpg" alt="" />
+</div>
+
+<p>&ldquo;We are shut in by mountains,&rdquo; he says, &ldquo;but
+the blue lake seems as wide as the sea. On a rocky
+promontory on the left hand the trees grow down
+to the water&rsquo;s edge and the banks are precipitous,
+indicating the great depth of this part of the lake.
+The water is as smooth as glass; on its surface
+is one vessel, a heavily-laden market boat with
+drooping sails, floating slowly down&rdquo; (and so on)&mdash;there
+is no need to repeat it all; but when half a
+column of word-painting had been written (and
+well-written) the correspondent failed to present the
+picture clearly to the eye without these <i>four</i> explanatory
+<span class="pagenum"><a name="page27" id="page27"></a>27</span>
+lines (no more) which should of course have
+been sent with his letter.</p>
+
+<p>This method of description requires certain
+aptitude and training; but not much, not more than
+many a journalist could acquire for himself with a
+little practice. The director of the <i>Daily Graphic</i>
+is reported to have said that &ldquo;the ideal correspondent,
+who can sketch as well as write, is not yet
+born.&rdquo; He takes perhaps a higher view of the
+artistic functions of a daily newspaper than we
+should be disposed to grant him; by &ldquo;we&rdquo; I mean,
+of course, &ldquo;the public,&rdquo; expecting <i>news</i> in the most
+graphic manner. There are, and will be, many
+moments when we want information, simply and
+solely, and care little how, or in what shape, it
+comes.</p>
+
+<p>This kind of information, given pictorially, has no
+pretension to be artistic, but it is &ldquo;illustration&rdquo; in the
+true sense of the word, and its value when rightly
+applied is great. When the alterations at Hyde
+Park Corner (one of the most important of the
+London improvements of our day) were first debated
+in Parliament, a daily newspaper, as if moved by
+some sudden flash of intelligence, printed a ground-plan
+of the proposed alterations with descriptive
+text; and once or twice only, during Stanley&rsquo;s long
+<span class="pagenum"><a name="page28" id="page28"></a>28</span>
+absence in Africa, did we have sketches or plans
+printed with the letters to elucidate the text, such as
+a sketch of the floating islands with their weird inhabitants,
+at Stanley&rsquo;s Station on the Congo river,
+which appeared in a daily newspaper&mdash;instances of
+news presented to the reader in a better form than
+words. &ldquo;The very thing that was wanted!&rdquo; was
+the general exclamation, as if there were some new
+discovery of the powers of description.</p>
+
+<p>As the war correspondent&rsquo;s occupation does not
+appear likely to cease in our time, it would seem
+worth while to make sure that he is fully equipped.</p>
+
+<p>The method of writing employed by correspondents
+on the field of battle seems unnecessarily
+clumsy and prolix; we hear of letters written actually
+under fire, on a drum-head, or in the saddle, and on
+opening the packet as it arrives by the post we may
+find, if we take the trouble to measure it, that the
+point of the pen or pencil, has travelled over a
+distance of a hundred feet! This is the actual ascertained
+measurement, taking into account all the
+ups and downs, crosses and dashes, as it arrives from
+abroad. No wonder the typewriter is resorted to in
+journalism wherever possible.</p>
+
+<p>A newspaper correspondent is sent suddenly to
+the seat of war, or is stationed in some remote
+<span class="pagenum"><a name="page29" id="page29"></a>29</span>
+country to give the readers of a newspaper the
+benefit of his observations. What is he doing in
+1894? In the imperfect, clumsy language which he
+possesses in common with every minister of state
+and public schoolboy, he proceeds to describe what
+he sees in a hundred lines, when with two or three
+strokes of the pen he might have expressed his
+meaning better pictorially. I have used these words
+before, but they apply with redoubled force at the
+present time. The fact is, that with the means now
+at command for reproducing any lines drawn or
+written, the correspondent is not thoroughly equipped
+if he cannot send them as suggested, by telegraph
+or by letter. It is all a matter of education, and the
+newspaper reporter of the future will not be
+considered complete unless he is able to express
+himself, to some extent, pictorially as well as verbally.
+Then, and not till then, will our complicated language
+be rescued from many obscurities, by the aid of
+lines other than verbal.<a name="FnAnchor_5" id="FnAnchor_5" href="#Footnote_5"><span class="sp">5</span></a></p>
+
+<p>In nearly every city, town, or place there is
+<span class="pagenum"><a name="page30" id="page30"></a>30</span>
+some feature, architectural or natural, which
+gives character to it, and it would add greatly to the
+interest of letters from abroad if they were headed
+with a little outline sketch, or indication of the
+principal objects. This is seldom done, because the
+art of looking at things, and the power of putting
+them down simply in a few lines, has not been
+cultivated and is not given to many.</p>
+
+<p>Two things are principally necessary to attain
+this end&mdash;</p>
+
+<div class="figcenter">
+<img style="border:0; width:510px; height:269px" src="images/img047.jpg" alt="" />
+<p class="caption">A STUDY IN PERSPECTIVE. (HUME NISBET.)
+<br /><br />A. Standpoint. B. Point of Sight. C. Horizontal line. D. Vanishing lines.
+<br />E. Point of distance. F. Vanishing lines of distance. G. Line of sight.
+</p></div>
+
+<p>1. The education of hand and eye and a knowledge
+of perspective, to be imparted to every
+schoolboy, no matter what his profession or occupation
+is likely to be.
+<span class="pagenum"><a name="page31" id="page31"></a>31</span></p>
+
+<p>2. The education of the public to read aright
+this new language (new to most people), the &ldquo;shorthand
+of pictorial art.&rdquo;</p>
+
+<p>The popular theory amongst editors and publishers
+is that the public would not care for information
+presented to them in this way&mdash;that they
+&ldquo;would not understand it and would not buy it.&rdquo;
+Sketches of the kind indicated have never been
+fairly tried in England; but they are increasing in
+number every day, and the time is not far distant
+when we shall look back upon the present system
+with considerable amusement and on a book or a
+newspaper which is not illustrated as an incomplete
+production. The number of illustrations produced
+and consumed daily in the printing press is
+enormous; but they are too much of one pattern,
+and, as a rule, too elaborate.</p>
+
+<p>In the illustration of books of all kinds there
+should be a more general use of diagrams and
+plans to elucidate the text. No new building of
+importance should be described anywhere without
+an indication of the elevation, if not also of the
+ground plan; and, as a rule, no picture should be
+described without a sketch to indicate the composition.
+In history words so often fail to give the
+correct <i>locale</i> that it seems wonderful we have no
+<span class="pagenum"><a name="page32" id="page32"></a>32</span>
+better method in common use. The following
+rough plan will illustrate one of the simplest ways
+of making a description clear to the reader. Take
+the verbal one first:&mdash;</p>
+
+<p>&ldquo;The young Bretonne stood under the doorway
+of the house, sheltered from the rain which came
+with the soft west wind. From her point of vantage
+on the &lsquo;Place&rsquo; she commanded a view of the whole
+village, and could see down the four streets of which
+it was principally composed.&rdquo;</p>
+
+<div class="figcenter1">
+<img style="border:0; width:420px; height:169px" src="images/img049.jpg" alt="" />
+</div>
+
+<p>In this instance a writer was at some pains to
+describe (and failed to describe in three pages) the
+exact position of the streets near where the girl
+stood; and it was a situation in which photography
+could hardly help him.</p>
+
+<p>It may seem strange at first sight to occupy
+the pages of a book on art with diagrams and
+elementary outlines, but it must be remembered
+that plans and diagrams are at the basis of a system
+of illustration which will one day become general.
+The reason, as already pointed out, for drawing
+<span class="pagenum"><a name="page33" id="page33"></a>33</span>
+attention to the subject now, is that it is only lately
+that systems have been perfected for reproducing
+lines on the printed page almost as rapidly as
+setting up the type. Thus a new era, so to speak, in
+the art of expressing ourselves pictorially as well as
+verbally has commenced: the means of reproduction
+are to hand; the blocks can be made, if necessary,
+in less than three hours, and copies can be printed
+on revolving cylinders at the rate of 10,000 an hour.</p>
+
+<p>The advance in scientific discovery by means of
+subtle instruments brings the surgeon sometimes to
+the knowledge of facts which, in the interests of
+science, he requires to demonstrate graphically,
+objects which it would often be impossible to have
+photographed. With a rudimentary knowledge of
+drawing and perspective, the surgeon and the
+astronomer would both be better equipped. At the
+University of Pennsylvania, in Philadelphia, where
+the majority of students are intended for the medical
+profession, this subject is considered of high importance,
+and the student in America is learning to
+express himself in a language that can be understood.</p>
+
+<p>In architecture it is often necessary, in order to
+understand the description of a building, to indicate
+in a few lines not only the general plan and elevation,
+<span class="pagenum"><a name="page34" id="page34"></a>34</span>
+but also its position in perspective in a landscape or
+street. Few architects can do this if called upon at
+a moment&rsquo;s notice in a Parliamentary committee
+room. And yet it is a necessary part of the
+language of an architect.<a name="FnAnchor_6" id="FnAnchor_6" href="#Footnote_6"><span class="sp">6</span></a></p>
+
+<p>These remarks apply with great force to books of
+travel, where an author should be able to take part
+in the drawing of his illustrations, at least to the
+extent of being able to explain his meaning and
+ensure topographical accuracy.</p>
+
+<p>A curious experiment was made lately with some
+students in an Art school, to prove the fallacy
+of the accepted system of describing landscapes,
+buildings, and the like in words. A page or two
+from one of the Waverley novels (a description of a
+castle and the heights of mountainous land, with a
+river winding in the valley towards the sea, and
+clusters of houses and trees on the right hand) was
+read slowly and repeated before a number of
+students, three of whom, standing apart from each
+other by pre-arrangement, proceeded to indicate on
+blackboards before an audience the leading lines of
+the picture as the words had presented it to their
+minds. It is needless to say that the results, highly
+<span class="pagenum"><a name="page35" id="page35"></a>35</span>
+skilful in one case, were all different, and <i>all wrong</i>;
+and that in particular the horizon line of the sea (so
+easy to indicate with any clue, and so important to
+the composition) was hopelessly out of place. Thus
+we describe day by day, and the pictures formed in
+the mind are erroneous, for the imagination of the
+reader is at work at once, and requires simple
+guidance. The exhibition was, I need hardly say,
+highly stimulating and suggestive.</p>
+
+<p>Many arguments might be used for the substitution
+of pictorial for verbal methods of expression,
+which apply to books as well as periodicals. Two
+may be mentioned of a purely topical kind.</p>
+
+<p>1. In June, 1893, when the strife of political
+parties ran high in England, and anything like a
+<i>rapprochement</i> between their leaders seemed impossible,
+Mr. Gladstone and Mr. Balfour were seen
+in apparently friendly conversation behind the
+Speaker&rsquo;s chair in the House of Commons. A
+newspaper reporter in one of the galleries, observing
+the interesting situation, does not say in so many
+words, that &ldquo;Mr. G. was seen talking to Mr. B.,&rdquo;
+but makes, or has made for him, a sketch (without
+caricature) of the two figures standing talking
+together, and writes under it, &ldquo;<i>Amenities behind
+the Speaker&rsquo;s chair</i>.&rdquo; Here it will be seen that the
+<span class="pagenum"><a name="page36" id="page36"></a>36</span>
+subject is approached with more delicacy, and
+the position indicated with greater force through
+the pictorial method.</p>
+
+<p>2. The second modern instance of the power&mdash;the
+eloquence, so to speak, of the pictorial method&mdash;appeared
+in the pages of <i>Punch</i> on the occasion
+of the visit of the Russian sailors to Paris in
+October, 1893. A rollicking, dancing Russian
+bear, with the words &ldquo;<i>Vive la République</i>&rdquo; wound
+round his head, hit the situation as no words could
+have done, especially when exposed for sale in the
+kiosques of the Paris boulevards. The picture
+required no translation into the languages of
+Europe.</p>
+
+<p>It may be said that there is nothing new here&mdash;that
+the political cartoon is everywhere&mdash;that it has
+existed always, that it flourished in Athens and
+Rome, that all history teems with it, that it comes
+down to us on English soil through Gillray, Rowlandson,
+Hogarth, Blake, and many distinguished
+names. I draw attention to these things because
+the town is laden with newspapers and illustrated
+sheets. The tendency of the time seems to be to
+read less and less, and to depend more upon pictorial
+records of events. There are underlying reasons for
+this on which we must not dwell; the point of importance
+<span class="pagenum"><a name="page37" id="page37"></a>37</span>
+to illustrators is the fact that there is an
+insatiable demand for &ldquo;pictures&rdquo; which tell us
+something quickly and accurately, in a language
+which every nation can understand.</p>
+
+<p>Another example of the use of pictorial expression
+to aid the verbal. A traveller in the Harz
+Mountains finds himself on the Zeigenkop, near
+Blankenberg, on a clear summer&rsquo;s day, and thus
+describes it in words:&mdash;</p>
+
+<div class="quote">
+<p>&ldquo;We are now on the heights above Blankenberg, a promontory
+1,360 feet above the plains, with an almost uninterrupted view of
+distant country looking northward and eastward. The plateau of
+mountains on which we have been travelling here ends abruptly.
+It is the end of the upper world, but the plains seem illimitable.
+There is nothing between us and our homes in Berlin&mdash;nothing
+to impede the view which it is almost impossible to describe in
+words. The setting sun has pierced the veil of mist, and a map
+of Northern Germany seems unrolled before us, distant cities
+coming into view one by one. First, we see Halberstadt with its
+spires, then Magdeburg, then another city, and another.</p>
+
+<p>&ldquo;We have been so occupied with the distant prospect, and
+with the objects of interest which give character to it, that we
+had almost overlooked the charming composition and suggestive
+lines of this wonderful view. There is an ancient castle on the
+heights, the town of Blankenberg at our feet, a strange wall of
+perpendicular rocks in the middle distance; there are the curves
+of the valleys, flat pastures, undulating woods, and roads winding
+away across the plains. The central point of interest is the
+church spire with its cluster of houses spreading upwards
+towards the château, with its massive terraces fringed with
+trees, &amp;c., &amp;c.&rdquo;</p>
+</div>
+
+<p><span class="pagenum"><a name="page38" id="page38"></a>38</span></p>
+
+<p>This was all very well in word-painting, but what
+a veil is lifted from the reader&rsquo;s eyes by some such
+sketch as the one below.</p>
+
+<div class="figcenter">
+<img style="border:0; width:600px; height:432px" src="images/img055.jpg" alt="" />
+<p class="caption">VIEW ABOVE BLANKENBERG, HARZ MOUNTAINS.</p></div>
+
+<p>It should be mentioned that three photographic
+prints joined together would hardly have given the
+picture, owing to the vast extent of this inland view,
+and the varying atmospheric effects.</p>
+
+<p>The last instance I can give here is an engraving
+from <i>Cassell&rsquo;s Popular Educator</i>, where a picture
+is used to demonstrate the curvature of the world&rsquo;s
+surface; thus imprinting, for once, and for always, on
+<span class="pagenum"><a name="page39" id="page39"></a>39</span>
+the young reader&rsquo;s mind a fact which words fail to
+describe adequately.</p>
+
+<div class="figcenter">
+<img style="border:0; width:600px; height:419px" src="images/img056.jpg" alt="" />
+<p class="caption">THE CURVATURE OF THE WORLDS SURFACE.</p></div>
+
+<p>This is &ldquo;The Art of Illustration&rdquo; in the true
+sense of the word.</p>
+
+<hr class="foot" /><div class="note">
+
+<p><a name="Footnote_3" id="Footnote_3" href="#FnAnchor_3"><span class="fn">3</span></a> The quotations are from a paper by the present writer, read
+before the Society of Arts in March, 1875.</p>
+
+<p><a name="Footnote_4" id="Footnote_4" href="#FnAnchor_4"><span class="fn">4</span></a> This system of reporting rifle contests is now almost
+universal in England.</p>
+
+<p><a name="Footnote_5" id="Footnote_5" href="#FnAnchor_5"><span class="fn">5</span></a> It seems strange that enterprising newspapers, with capital
+at command, such as the <i>New York Herald</i>, <i>Daily Telegraph</i>,
+and <i>Pall Mall Gazette</i>, should not have developed so obvious a
+method of transmitting information. The <i>Pall Mall Gazette</i> has
+been the most active in this direction, but might do much more.</p>
+
+<p><a name="Footnote_6" id="Footnote_6" href="#FnAnchor_6"><span class="fn">6</span></a> It has been well said that if a building can be described
+in words, it is not worth describing at all!</p>
+</div>
+
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page40" id="page40"></a>40</span></p>
+
+<h3>CHAPTER III.</h3>
+
+<h5>ARTISTIC ILLUSTRATIONS.</h5>
+
+<table class="nobctr" style="float: left; width: 80px;" summary="Illustration">
+<tr><td class="figleft1"><img style="width:60px; height:62px" src="images/img057.jpg" alt="" /></td></tr>
+</table>
+
+<p class="chaps">N referring now to more artistic illustrations,
+we should notice first, some of the
+changes which have taken place (since
+the meeting referred to in the last
+chapter), and, bridging over a distance of nearly
+twenty years, consider the work of the illustrator,
+the photographer, and the maker of process blocks,
+as presented in books and newspapers in 1894;
+speaking principally of topical illustrations, on
+which so many thousand people are now engaged.</p>
+
+<p>It may seem strange at first sight to include
+&ldquo;newspapers&rdquo; in a chapter on art illustrations, but
+the fact is that the weekly newspapers, with their
+new appliances for printing, and in consequence of
+the cheapness of good paper, are now competing
+with books and magazines in the production of
+illustrations which a few years ago were only to be
+found in books. The illustrated newspaper is one
+of the great employers of labour in this field and
+distributor of the work of the artist in black and
+white, and in this connection must by no means be
+<span class="pagenum"><a name="page41" id="page41"></a>41</span>
+ignored. The Post-office carries a volume of 164
+pages (each 22 by 16 inches), weighing from two
+to three pounds, for a half-penny. It is called a
+&ldquo;weekly newspaper,&rdquo; but it contains, sometimes,
+100 illustrations, and competes seriously with the
+production of illustrated books.</p>
+
+<p>Further on we shall see how the illustrations of
+one number of a weekly newspaper are produced&mdash;what
+part the original artist has in it, what part the
+engraver and the photographer. These are things
+with which all students should be acquainted.</p>
+
+<p>The first stage of illustration, where little more
+than a plan or elevation of a building is aimed at
+(as suggested in the last chapter), and where an
+author, with little artistic knowledge, is yet enabled
+to explain himself, is comparatively easy; it is when
+we approach the hazardous domain of art that the
+real difficulties begin.</p>
+
+<p>As matters stand at present, it is scarcely too much
+to say that the majority of art students and the
+younger school of draughtsmen in this country are
+&ldquo;all abroad&rdquo; in the matter of drawing for the press,
+lacking, not industry, not capacity, but method.
+That they do good work in abundance is not denied,
+but it is not exactly the kind of work required&mdash;in
+short, they are not taught at the outset the <i>value of
+a line</i>. That greater skill and certainty of drawing
+can be attained by our younger draughtsmen is
+unquestionable, and, bearing in mind that <i>nearly
+every book and newspaper in the future will be
+illustrated</i>, the importance of study in this direction
+is much greater than may appear at first sight.</p>
+
+<p><span class="pagenum"><a name="page42" id="page42"></a>42</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page43" id="page43"></a>43</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:346px; height:610px" src="images/img060.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. IV.</p>
+<p class="center">&ldquo;<i>Tiresome Dog</i>,&rdquo; by <span class="sc">E. K. Johnson</span>.</p>
+<p>This example of pen-and-ink work has been
+reproduced by the gelatine relief process. The
+drawing, which has been greatly reduced in reproduction,
+was made by Mr. Johnson for an Illustrated
+Catalogue of the Royal Water-Colour Society, of
+which he is a member.</p>
+<p>It is instructive as showing the possibilities and
+limitations of relief process-work in good hands.
+The gradation of tone is all obtained in pure black,
+or dotted lines. Mr. Dawson has aided the effect by
+&ldquo;rouletting&rdquo; on the block on the more delicate
+parts; but most of the examples in this book are
+untouched by the engraver.</p>
+<p>(<i>See Appendix.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page44" id="page44"></a>44</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:394px; height:610px" src="images/img061.jpg" alt="" />
+<p class="caption">&ldquo;FRUSTRATED.&rdquo; (FROM THE PAINTING BY WALTER HUNT.)
+<br />(<i>Royal Academy</i>, 1891.)</p></div>
+
+<p><span class="pagenum"><a name="page45" id="page45"></a>45</span></p>
+
+<p>Referring to the evident want of training amongst
+our younger draughtsmen, the question was put very
+bluntly in the <i>Athenæum</i> some years ago, thus:&mdash;</p>
+
+<div class="quote">
+<p>Why is not drawing in line with pen and ink taught in our
+own Government schools of art? The present system in schools
+seems to render the art of drawing of as little use to the student
+as possible, for he has no sooner mastered the preliminary stage
+of drawing in outline from the flat with a lead pencil, than he has
+chalk put into his hand, a material which he will seldom or never
+use in turning his knowledge of drawing to practical account.
+The readier method of pen and ink would be of great service as
+a preparatory stage to wood drawing, but unfortunately drawing
+is taught in most cases as though the student intended only to
+become a painter.</p>
+</div>
+
+<p>Since these lines were written, efforts have been
+made in some schools of art to give special training
+for illustrators, and instruction is also given in
+wood engraving, which every draughtsman should
+learn; but up to the present time there has been
+no systematic teaching in drawing applicable to
+the various processes, for the reason that <i>the
+majority of art masters do not understand them</i>.
+<span class="pagenum"><a name="page46" id="page46"></a>46</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:199px; height:300px" src="images/img063.jpg" alt="" />
+<p class="caption">&ldquo;ON THE RIVIERA.&rdquo; (ELLEN MONTALBA.)</p></div>
+
+<p>The art of expression in line, or of expressing the
+effect of a picture or a landscape from Nature in a
+few leading lines (not necessarily outline) is little
+understood in this country; and if such study, as
+the <i>Athenæum</i> pointed out, is important for the
+wood draughtsman, how much more so in drawing
+for reproduction by photo-mechanical means? A
+few artists have the gift of expressing themselves
+in line, but the majority are strangely ignorant of
+<span class="pagenum"><a name="page47" id="page47"></a>47</span>
+the principles of this art and of the simple fac-simile
+processes by which drawing can now be reproduced.
+In the course of twenty years of editing the <i>Academy
+Notes</i>, some strange facts have come to the writer&rsquo;s
+notice as to the powerlessness of some painters to
+express the <i>motif</i> of a picture in a few lines; also
+as to how far we are behind our continental neighbours
+in this respect.</p>
+
+<div class="figcenter">
+<img style="border:0; width:380px; height:400px" src="images/img064.jpg" alt="" />
+<p class="caption">&ldquo;A LIGHT OF LAUGHING FLOWERS ALONG THE GRASS IS SPREAD.&rdquo; (M. RIDLEY CORBET.)</p></div>
+
+<p><span class="pagenum"><a name="page48" id="page48"></a>48</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page49" id="page49"></a>49</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:418px; height:610px" src="images/img066.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. V.</p>
+<p class="center"><span class="sc">H. S. Marks.</span></p>
+<p>An example of line drawing and &ldquo;the art of
+leaving out,&rdquo; by the well-known Royal Academician.</p>
+
+<p>Mr. Marks and Sir John Gilbert (<i>see frontispiece</i>)
+were the first painters to explain the composition and
+leading lines of their pictures in the <i>Academy Notes</i> in
+1876. Mr. Marks suggests light and shade and the
+character of his picture in a few skilful lines. Sir
+John Gilbert&rsquo;s pen-and-ink drawing is also full of
+force and individuality. These drawings reproduce
+well by any of the processes.</p></div>
+
+<p><span class="pagenum"><a name="page50" id="page50"></a>50</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:467px; height:610px" src="images/img067.jpg" alt="" />
+<p class="caption">&ldquo;A SELECT COMMITTEE.&rdquo; (FROM THE PAINTING BY H. S. MARKS, R.A.)
+<br />(<i>Royal Academy, 1891.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page51" id="page51"></a>51</span></p>
+
+<p>It is interesting to note here the firmness of line
+and clearness of reproduction by the common
+process block; the result being more satisfactory
+than many drawings by professional illustrators.
+The reason is not far to seek; the painter knows his
+picture and how to give the effect of it in black and
+white, in a few lines; and, in the case of Mr. Corbet
+and Miss Montalba, they have made themselves
+acquainted with the best way of drawing for the
+Press. There are many other methods than pen-and-ink
+which draughtsmen use,&mdash;pencil, chalk,
+wash, grained paper, &amp;c, but first as to line
+drawing, because <i>it is the only means by which
+certain results can be obtained</i>, and it is the one
+which, for practical reasons, should be first mastered.
+Line drawings are now reproduced on zinc blocks
+fitted for the type press at a cost of less than sixpence
+the square inch for large blocks; the processes
+of reproduction will be explained further on.</p>
+
+<p>It cannot be sufficiently borne in mind&mdash;I am
+speaking now to students who are not intimate
+with the subject&mdash;that to produce with pure
+black lines the quality and effect of lines in
+which there is some gradation of tone, is no easy
+matter, especially to those accustomed to the wood
+engraver as the interpreter of their work. Sir John
+<span class="pagenum"><a name="page52" id="page52"></a>52</span>
+Tenniel, M. du Maurier, and Mr. Sambourne, not
+to mention others on the <i>Punch</i> staff, have been
+accustomed to draw for wood engraving, and would
+probably still prefer this method to any other.</p>
+
+<div class="figcenter">
+<img style="border:0; width:305px; height:420px" src="images/img069.jpg" alt="" />
+<p class="caption">&ldquo;THE ROSE QUEEN.&rdquo; (G. D. LESLIE, R.A.)
+<br />(<i>From &ldquo;Academy Notes,&rdquo; 1893.</i>)</p></div>
+
+<p>But the young illustrator has to learn the newer
+methods, and how to get his effects through direct
+photo-engraving. What may be done by process
+<span class="pagenum"><a name="page53" id="page53"></a>53</span>
+is demonstrated in the line drawings interspersed
+through these pages, also in the illustrations which
+are appearing every day in our newspapers, magazines,
+and books&mdash;especially those which are well
+printed and on good paper. Mr. George Leslie&rsquo;s
+pretty line drawing from his picture, on the opposite
+page, is full of suggestion for illustrative purposes.</p>
+
+<p>But let us glance first at the ordinary hand-book
+teaching, and see how far it is useful to the illustrator
+of to-day. The rules laid down as to the methods
+of line work, the direction of lines for the expression
+of certain textures, &ldquo;cross-hatching,&rdquo; &amp;c., are, if
+followed too closely, apt to lead to hardness and
+mannerism in the young artist, which he will with
+difficulty shake off. On these points, Mr. Robertson,
+the well-known painter and etcher, writing seven
+years ago, says well:&mdash;</p>
+
+<div class="quote">
+<p>&ldquo;The mental properties of every line drawn with pen and ink
+should be original and personal ... this strong point is
+sure to be attained unconsciously, if an artist&rsquo;s work is simple
+and sincere, and <i>not the imitation of another man&rsquo;s style</i>.&rdquo;<a name="FnAnchor_7" id="FnAnchor_7" href="#Footnote_7"><span class="sp">7</span></a></p>
+</div>
+
+<p>When the question arises as to what examples a
+beginner should copy who wishes to practise the art
+of pen-and-ink drawing, the difficulty will be to
+select from the great and varied stores of material
+<span class="pagenum"><a name="page54" id="page54"></a>54</span>
+that are everywhere to his hand. All steel and
+copper-plate engravings that have been executed in
+line, and all wood engravings, are within the possible
+range of pen-and-ink drawing. I hold, however,
+that much time should not be occupied in the imitatative
+copying of prints: only, indeed, so much as
+enables the student to learn with what arrangement
+of lines the different textures and qualities of objects
+may be best rendered.</p>
+
+<p>There are, roughly, two methods of obtaining
+effect with a pen&mdash;one by few lines, laid slowly, and
+the other by many lines, drawn with rapidity. If
+the intention is to see what effect may be obtained
+with comparatively few lines deliberately drawn, we
+may refer to the woodcuts after Albert Dürer and
+Holbein, and the line engraving of Marc Antonio.
+The engraved plates by Dürer furnish excellent
+examples of work, with more and finer lines than
+his woodcuts [but many of the latter were not done
+by his hand]. &ldquo;Some of the etchings of Rembrandt
+are examples of what may be fairly reproduced in
+pen and ink, but in them we find the effect to
+depend upon innumerable lines in all directions. In
+the matter of landscape the etched plates by Claude
+and Ruysdael are good examples for study, and in
+animal life the work of Paul Potter and Dujardin.&rdquo;
+<span class="pagenum"><a name="page55" id="page55"></a>55</span></p>
+
+<p>Thus, for style, for mastery of effect and management
+of line, we must go back to the old masters;
+to work produced generally in a reposeful life, to
+which the younger generation are strangers. But
+the mere copying of other men&rsquo;s lines is of little
+avail without mastering the principles of the art of
+line drawing. The skilful copies, the fac-similes of
+engravings and etchings drawn in pen and ink,
+which are the admiration of the young artist&rsquo;s
+friends, are of little or no value in deciding the
+aptitude of the student. The following words are
+worth placing on the walls of every art school:&mdash;</p>
+
+<p>&ldquo;Proficiency in copying engravings in fac-simile,
+far from suggesting promise of distinction in the
+profession of art, plainly <i>marks a tendency to
+mechanical pursuits</i>, and is not likely to be acquired
+by anyone with much instinctive feeling for the
+arts of design.&rdquo; There is much truth and insight
+in this remark.</p>
+
+<p><span class="pagenum"><a name="page56" id="page56"></a>56</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:610px; height:368px" src="images/img073.jpg" alt="" />
+<p class="caption">&ldquo;THE FINDING OF THE INFANT ST. GEORGE.&rdquo; (CHARLES M. GERE.
+<br />(<i>From his painting in the New Gallery, 1893.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page57" id="page57"></a>57</span></p>
+
+<p>In line work, as now understood, we are going
+back, in a measure, to the point of view of the
+missal writer and the illuminator, who, with no
+thought of the possibilities of reproduction, produced
+many of his decorative pages by management
+of line alone (I refer to the parts of his work in
+which the effect was produced by black and
+white). No amount of patience, thought, and
+labour was spared for this one copy. What
+would he have said if told that in centuries
+to come this line work would be revived in its
+integrity, with the possibility of the artist&rsquo;s own
+lines being reproduced 100,000 times, at the rate
+of several thousand an hour. And what would
+he have thought if told that, out of thousands of
+students in centuries to come, a few, a very few
+only, could produce a decorative page; and that
+few could be brought to realise that a work which
+was to be repeated, say a thousand times, was
+worthy of as much attention as his ancestors gave
+to a single copy!</p>
+
+<p>On the principle that &ldquo;everything worth doing is
+worth doing well,&rdquo; and on the assumption that
+the processes in common use&mdash;[I purposely omit
+mention here of the older systems of drawing on
+transfer paper, and drawing on waxed plates, without
+the aid of photography, which have been dealt with
+in previous books]&mdash;are worth all the care and
+artistic knowledge which can be bestowed upon
+them, we would press, upon young artists especially,
+the importance of study and experiment in this
+direction. As there is no question that &ldquo;the handwork
+of the artist&rdquo; can be seen more clearly through
+<span class="pagenum"><a name="page58" id="page58"></a>58</span>
+mechanical engraving than through wood engraving,
+it behoves him to do his best. And as we are
+substituting process blocks for wood engraving in
+every direction, so we should take over some of the
+patience and care which were formerly given to
+book illustrations.</p>
+
+<p>We cannot live, easily, in the &ldquo;cloistered silence
+of the past,&rdquo; but we can emulate the deliberate and
+thoughtful work of Mantegna, of Holbein, of Albert
+Dürer, and the great men of the past, who, if they
+were alive to-day, would undoubtedly have preferred
+drawing for process to the labour of etching and
+engraving; and, if their work were to be reproduced
+by others, they would have perceived, what it does
+not require much insight in us to realise, that the
+individuality of the artist is better preserved, by
+making his own lines.</p>
+
+<p>To do this successfully in these days, the artist
+must give his best and most deliberate (instead of
+his hurried and careless) drawings to the processes;
+founding his style, to a limited extent it may be, on
+old work, but preserving his own individuality.</p>
+
+<p>But we must not slavishly copy sketches by the
+old masters, <i>which were never intended for reproduction</i>.
+We may learn from the study of them
+the power of line to express character, action, and
+<span class="pagenum"><a name="page59" id="page59"></a>59</span>
+effect, we may learn composition sometimes, but not
+often from a sketch.</p>
+
+<div class="figcenter">
+<img style="border:0; width:266px; height:350px" src="images/img076.jpg" alt="" />
+<p class="caption">&ldquo;A PLOUGHBOY.&rdquo; (G. CLAUSEN.)</p></div>
+
+<p>As to copying the work of living artists, it should
+be remembered that the manner and the method of
+a line drawing is each artist&rsquo;s property, and the
+repetition of it by others is injurious to him. It
+would be an easy method indeed if the young artist,
+fresh from the schools, could, in a few weeks, imitate
+the mannerism, say of Sir John Gilbert, whose style
+is founded upon the labour of 50 years. There is
+no such royal road.</p>
+
+<p><span class="pagenum"><a name="page60" id="page60"></a>60</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page61" id="page61"></a>61</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:456px; height:610px" src="images/img078.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. VI.</p>
+<p class="center">&ldquo;<i>A Ploughboy</i>,&rdquo; by <span class="sc">George Clausen</span>.</p>
+<p>An excellent example of sketching in line. The
+original drawing was 7¾ × 5¾ in. I have reproduced
+Mr. Clausen&rsquo;s artistic sketch of his picture in two
+sizes in order to compare results. The small block
+on page 59 (printed in <i>Grosvenor Notes</i>, 1888)
+appears to be the most suitable reduction for this
+drawing. The results are worth comparing by
+anyone studying process work. The first block was
+made by the gelatine process; the one opposite by
+the ordinary zinc process. (<i>See Appendix.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page62" id="page62"></a>62</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page63" id="page63"></a>63</span></p>
+
+<p>To return to illustration. The education of
+the illustrator in these days means much more
+than mere art training. The tendency of editors
+of magazines and newspapers is to employ those
+who can write as well as draw. This may not be
+a very hopeful sign from an art point of view, but
+it is a condition of things which we have to face.
+Much as we may desire to see a good artist and a
+good <i>raconteur</i> in one man, the combination will
+always be rare; those editors who seek for it
+are often tempted to accept inferior art for the sake
+of the story. I mention this as one of the influences
+affecting the quality of illustrations of an ephemeral
+or topical kind, which should not be overlooked.</p>
+
+<p>In sketches of society the education and standing
+of the artist has much to do with his success.
+M. du Maurier&rsquo;s work in <i>Punch</i> may be taken as
+an example of what I mean, combining excellent
+art with knowledge of society. His clever followers
+and imitators lack something which cannot be
+learned in an art school.</p>
+
+<p>It should be understood that, in drawing for
+reproduction by any of the mechanical processes
+(either in wash or in line, but especially the latter),
+there is more strain on the artist than when his
+work was engraved on wood, and the knowledge of
+this has left drawing for process principally in the
+hands of the younger men. They will be older by
+the end of the century, but not as old then as some
+of our best and experienced illustrators who keep to
+wood engraving.</p>
+
+<p><span class="pagenum"><a name="page64" id="page64"></a>64</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page65" id="page65"></a>65</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:406px; height:610px" src="images/img082.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. VII.</p>
+<p class="center">&ldquo;<i>Blowing Bubbles</i>,&rdquo; by <span class="sc">C. E. Wilson.</span></p>
+<p>This is an excellent example of drawing&mdash;and of
+treatment of textures and surfaces&mdash;for process reproduction.
+The few pen touches on the drapery
+have come out with great fidelity, the double lines
+marking the paving stones being the only part giving
+any trouble to the maker of the gelatine relief block.
+The skilful management of the parts in light shows
+again &ldquo;the art of leaving out.&rdquo;</p></div>
+
+<p><span class="pagenum"><a name="page66" id="page66"></a>66</span></p>
+
+<p>I am touching now upon a difficult and delicate
+part of the subject, and must endeavour to make
+my meaning clear. The illustrations in <i>Punch</i> have,
+until lately, all been engraved on wood (the elder
+artists on the staff not taking kindly to the processes),
+and the style and manner of line we see in its pages
+is due in great measure to the influence of the wood
+engraver.<a name="FnAnchor_8" id="FnAnchor_8" href="#Footnote_8"><span class="sp">8</span></a></p>
+
+<p>This refers to fac-simile work, but the engraver,
+as we know, also interprets wash into clean lines,
+helps out the timid and often unsteady draughtsman,
+and in little matters puts his drawing right.</p>
+
+<p>The wood engraver was apprenticed to his art,
+and after long and laborious teaching, mastered the
+mechanical difficulties. If he had the artistic sense
+he soon developed into a master-engraver and illustrator,
+and from crude and often weak and inartistic
+<span class="pagenum"><a name="page67" id="page67"></a>67</span>
+drawings produced illustrations full of tone, quality,
+and beauty. From very slight material handed to
+him by the publisher, the wood engraver would
+evolve (from his inner consciousness, so to speak)
+an elaborate and graceful series of illustrations,
+drawn on the wood block by artists in his own
+employ, who had special training, and knew exactly
+how to produce the effects required. The system
+often involved much care and research for details of
+costume, architecture, and the like, and, if not very
+high art, was at least well paid for, and appreciated
+by the public. I am speaking of the average illustrated
+book, say of twenty years ago, when it was not
+an uncommon thing to spend £500 or £600 on the
+engravings. Let us hope that the highest kind of
+wood engraving will always find a home in England.</p>
+
+<p>Nobody knows&mdash;nobody ever will know&mdash;how
+much the engraver has done for the artist in years
+past. &ldquo;For good or evil,&rdquo;&mdash;it may be said; but I
+am thinking now only of the good, of occasions
+when the engraver has had to interpret the artist&rsquo;s
+meaning, and sometimes, it must be confessed, to
+come to the rescue and perfect imperfect work.</p>
+
+<p><span class="pagenum"><a name="page68" id="page68"></a>68</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page69" id="page69"></a>69</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:377px; height:610px" src="images/img086.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. VIII.</p>
+<p>Illustration to &ldquo;<i>Dreamland in History</i>,&rdquo; by Dr.
+Gloucester. (London: Isbister &amp; Co.) Drawn by
+<span class="sc">Herbert Railton</span>.</p>
+
+<p>Example of brilliancy and simplicity of treatment
+in line drawing for process. There is no illustration
+in this book which shows better the scope and variety
+of common process work. Mr. Railton has studied
+his process, and brought to it a knowledge of
+architecture and sense of the picturesque. This
+illustration is reduced considerably from the original
+drawing.</p></div>
+
+<p><span class="pagenum"><a name="page70" id="page70"></a>70</span></p>
+
+<p>The artist who draws for reproduction by chemical
+and mechanical means is thrown upon his own resources.
+He cannot say to the acid, &ldquo;Make these
+lines a little sharper,&rdquo; or to the sun&rsquo;s rays, &ldquo;Give a
+little more light&rdquo;; and so&mdash;as we cannot often have
+good wood engraving, as it is not always cheap
+enough or rapid enough for our needs&mdash;we draw on
+paper what we want reproduced, and resort to one
+of the photographic processes described in this book.</p>
+
+<div class="figcenter">
+<img style="border:0; width:270px; height:350px" src="images/img087.jpg" alt="" />
+<p class="caption">&ldquo;BY UNFREQUENTED WAYS.&rdquo; (W. H. GORE.)</p></div>
+
+<p>I do not think the modern illustrator realises how
+much depends upon him in taking the place, so to
+speak, of the wood engraver. The interpretation
+<span class="pagenum"><a name="page71" id="page71"></a>71</span>
+of tone into line fitted for the type press,
+to which the wood engraver gave a lifetime, will
+devolve more and more upon him. We cannot
+keep this too continually in mind, for in spite of
+the limitations in mechanically-produced blocks
+(as compared with wood engraving) in obtaining
+delicate effects of tone in line, much can be done
+in which the engraver has no part.</p>
+
+<div class="figcenter">
+<img style="border:0; width:580px; height:239px" src="images/img088.jpg" alt="" />
+<p class="caption">&ldquo;THE LOWING HERD WINDS SLOWLY O&rsquo;ER THE LEA.&rdquo; (W H. GORE.)</p></div>
+
+<p>I purposely place these two pen-and-ink drawings
+by Mr. Gore side by side, to show what delicacy
+of line and tone may be obtained on a relief block
+by proper treatment. One could hardly point to
+better examples of pure line. They were drawn
+on ordinary cardboard (the one above, 4¼ × 9¾ in.)
+and reproduced by the gelatine relief process.</p>
+
+<p>All this, it will be observed, points to a more
+<span class="pagenum"><a name="page72" id="page72"></a>72</span>
+delicate and intelligent use of the process block
+than is generally allowed, to something, in short
+very different to the thin sketchy outlines and
+scribbles which are considered the proper style
+for the &ldquo;pen-and-ink artist.&rdquo;</p>
+
+<p>But &ldquo;the values&rdquo; are scarcely ever considered in
+this connection. Mr. Hamerton makes a curious
+error in his <i>Graphic Arts</i>, where he advocates
+the use of the &ldquo;black blot in pen drawing,&rdquo; arguing
+that as we use liberally white paper to express air
+and various degrees of light, so we may use masses
+of solid black to represent many gradations of
+darkness. A little reflection will convince anyone
+that this is no argument at all.</p>
+
+<p>Mr. Ruskin&rsquo;s advice in his <i>Elements of Drawing</i>,
+as to how to lay flat tints by means of pure
+black lines (although written many years ago, and
+before mechanical processes of reproduction were
+in vogue) is singularly applicable and useful to the
+student of to-day; especially where he reminds
+him that, &ldquo;if you cannot gradate well with pure
+black lines, you will never do so with pale ones.&rdquo;</p>
+
+<p>To &ldquo;gradate well with pure black lines&rdquo; is, so to
+speak, the whole art and mystery of drawing for the
+photo-zinc process, of which one London firm alone
+turns out more than a thousand blocks a week.
+<span class="pagenum"><a name="page73" id="page73"></a>73</span></p>
+
+<p>As to the amount of reduction that a drawing will
+bear in reproduction, it cannot be sufficiently widely
+known, that in spite of rules laid down, there is no
+rule about it.</p>
+
+<div class="figcenter">
+<img style="border:0; width:298px; height:370px" src="images/img090.jpg" alt="" />
+<p class="caption">&ldquo;ADVERSITY.&rdquo; (FRED. HALL.)</p></div>
+
+<p>It is interesting to compare this reproduction
+with the larger one overleaf. There is no limit to
+the experiments which may be made in reduction,
+if pursued on scientific principles.</p>
+
+<p><span class="pagenum"><a name="page74" id="page74"></a>74</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page75" id="page75"></a>75</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:467px; height:610px" src="images/img092.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. IX.</p>
+<p class="center">&ldquo;<i>Adversity</i>,&rdquo; by <span class="sc">Fred. Hall</span>.</p>
+<p>This fine drawing was made in pen and ink by Mr.
+Hall, from his picture in the Royal Academy, 1889.
+Size of original 14½ × 11½ in. Reproduced by
+gelatine blocks.</p>
+
+<p>The feeling in line is conspicuous in both blocks,
+many painters might prefer the smaller.</p></div>
+
+<p><span class="pagenum"><a name="page76" id="page76"></a>76</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:550px; height:404px" src="images/img093.jpg" alt="" />
+<p class="caption">&ldquo;A WILLOWY STREAM.&rdquo; (FROM THE PAINTING BY MAUD NAFTEL.)
+<br />(<i>New Gallery, 1889.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page77" id="page77"></a>77</span></p>
+
+<p>Mr. Emery Walker, of the firm of Walker and
+Boutall, who has had great experience in the reproduction
+of illustrations and designs from old
+books and manuscripts, will tell you that very often
+there is no reduction of the original; and he will
+show reproductions in photo-relief of engravings
+and drawings of the same size as the originals, the
+character of the paper, and the colour of the printing
+also, so closely imitated that experts can hardly
+distinguish one from the other. On the other hand,
+the value of reduction, for certain styles of drawing
+especially, can hardly be over-estimated. The last
+drawing was reduced to less than half the length of
+the original, and is, I think, one of the best results
+yet attained by the Dawson relief process.</p>
+
+<p>Again, I say, &ldquo;there is no rule about it.&rdquo; In
+the course of years, and in the reduction to various
+scales of thousands of drawings by different artists,
+to print at the type press, my experience is that
+<i>every drawing has its scale, to which it is best
+reduced</i>.</p>
+
+<p>In these pages will be found examples of drawings
+reduced to <i>one-sixtieth</i> the area of the original,
+whilst others have not been reduced at all.</p>
+
+<p><span class="pagenum"><a name="page78" id="page78"></a>78</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page79" id="page79"></a>79</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:413px; height:610px" src="images/img096.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. X.</p>
+<p class="center">&ldquo;<i>Twins</i>,&rdquo; by <span class="sc">Stanley Berkley</span>.</p>
+<p>Sketch in pen and ink (size 8¼ × 5½ in.) from Mr.
+Berkley&rsquo;s picture in the Grosvenor Gallery in 1884.</p>
+
+<p>A good example of breadth and expression in
+line, the values being well indicated. Mr. Berkley,
+knowing animal life well, and <i>knowing his picture</i>, is
+able to give expression to almost every touch. Here
+the common zinc process answers well.</p></div>
+
+<p><span class="pagenum"><a name="page80" id="page80"></a>80</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:610px; height:362px" src="images/img097.jpg" alt="" />
+<p class="caption">&ldquo;THE DARK ISLAND.&rdquo; (FROM THE PAINTING BY ALFRED EAST.)
+<br />(<i>Royal Academy, 1885.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page81" id="page81"></a>81</span></p>
+
+<p>There is much instruction in these drawings by
+painters, instruction of a kind, not to be obtained
+elsewhere. The broad distinction between a
+&ldquo;sketch&rdquo; from Nature and <i>a drawing made in a
+sketchy manner</i> cannot be too often pointed out, and
+such drawings as those by Mr. G. Clausen (p. 59),
+Fred. Hall (p. 73), Stanley Berkley (p. 79), T. C.
+Gotch (p. 83), and others, help to explain the
+difference. These are all reproduced easily on
+process blocks.<a name="FnAnchor_9" id="FnAnchor_9" href="#Footnote_9"><span class="sp">9</span></a></p>
+
+<p>As to sketching in line from life, ready for
+reproduction on a process block, it is necessary to
+say a few words here. The system is, I know,
+followed by a few illustrators for newspapers (and
+by a few geniuses like Mr. Joseph Pennell, Raven
+Hill, and Phil. May, who have their own methods),
+and who, by incessant practice, have become proficient.
+They have special ability for this kind of
+work, and their manner and style is their capital
+and attraction.</p>
+
+<p><span class="pagenum"><a name="page82" id="page82"></a>82</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page83" id="page83"></a>83</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:535px; height:600px" src="images/img100.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XI.</p>
+<p class="center"><i>A Portrait</i>, by <span class="sc">T. C. Gotch</span>.</p>
+<p>Pen-and-ink drawing (size 7½ × 6½ in.); from his
+picture in the Exhibition of the New English Art
+Club, 1889.</p>
+
+<p>Mr. Gotch is well known for his painting of
+children; but he has also the instinct for line
+drawing, and a touch which reproduces well without
+any help from the maker of the zinc block.</p>
+
+<p>The absence of outline, and the modelling suggested
+by vertical lines, also the treatment of
+background, should be noticed. This background
+lights up when opposed to white and <i>vice-versa</i>.</p></div>
+
+<p><span class="pagenum"><a name="page84" id="page84"></a>84</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page85" id="page85"></a>85</span></p>
+
+<p>But to attempt to <i>teach</i> rapid sketching in pen
+and ink is beginning at the wrong end, and is fatal
+to good art; it is like teaching the principles of
+pyrotechnics whilst fireworks are going off. And
+yet we hear of prizes given for rapid sketches to
+be reproduced by the processes. Indeed, I believe
+this is the wrong road; the baneful result of living
+in high-pressure times. It is difficult to imagine
+any artist of the past consenting to such a system
+of education.</p>
+
+<p>Sketching from life is, of course, necessary to the
+student (especially when making illustrations by wash
+drawings, of which I shall speak presently), but for
+line work it should be done first in pencil, or
+whatever medium is easiest at the moment. The
+lines for reproduction require thinking about,
+thinking what to leave out, how to interpret the
+grey of a pencil, or the tints of a brush sketch
+in the fewest lines. Thus, and thus only, the
+student learns &ldquo;the art of leaving out,&rdquo; &ldquo;the value
+of a line.&rdquo;</p>
+
+<p>The tendency of modern illustrators is to imitate
+somebody; and in line drawing for the processes,
+where the artist, and not the engraver, has to make
+the lines, imitation of some man&rsquo;s method is almost
+inevitable.</p>
+
+<p><span class="pagenum"><a name="page86" id="page86"></a>86</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page87" id="page87"></a>87</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:397px; height:620px" src="images/img104.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XII.</p>
+<p class="center">&ldquo;<i>Sir John Tenniel</i>,&rdquo; by <span class="sc">Edwin Ward</span>.</p>
+<p>Example of another style of line drawing. Mr.
+Ward is a master of line, as well as a skilful portrait
+painter. He has lost nothing of the force and
+character of the original here, by treating it in line.</p>
+
+<p>Mr. Ward has painted a series of small portraits
+of public men, of which there is an example on p. 90.</p>
+
+<p>Size of pen-and-ink drawing 8½ × 5½ in., reproduced
+by common process.</p></div>
+
+<p><span class="pagenum"><a name="page88" id="page88"></a>88</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page89" id="page89"></a>89</span></p>
+
+<p>Let me quote an instance. The style of the late
+Charles Keene is imitated in more than one journal
+at the present time, the artists catching his
+method of line more easily than the higher qualities
+of his art, his <i>chiaroscuro</i>, his sense of values and
+atmospheric effect. I say nothing of his pictorial
+sense and humour, for they are beyond imitation.
+It is the husk only we have presented to us.</p>
+
+<p>As a matter of education and outlook for the
+younger generation of illustrators, this imitation of
+other men&rsquo;s lines deserves our special consideration.
+Nothing is easier in line work than to copy from
+the daily press. Nothing is more prejudicial to
+good art, or more fatal to progress.</p>
+
+<p>And yet it is the habit of some instructors to
+hold up the methods (and the tricks) of one
+draughtsman to the admiration of students. I read
+in an art periodical the other day, a suggestion for
+the better understanding of the way to draw topical
+illustrations in pen and ink, viz.: that examples
+of the work of Daniel Vierge, Rico, Abbey, Raven
+Hill, and other noted pen draughtsmen, should be
+&ldquo;set as an exercise to students;&rdquo; of course with
+explanation by a lecturer or teacher. But this
+is a dangerous road for the average student to
+travel. Of all branches of art none leads so quickly
+to mannerism as line work, and a particular manner
+when thus acquired is difficult to shake off.</p>
+
+<div class="figcenter">
+<img style="border:0; width:372px; height:430px" src="images/img107.jpg" alt="" />
+<p class="caption">THE RT. HON. JOHN MORLEY, M.P. (EDWIN WARD.)</p></div>
+
+<p>Think of the consequences&mdash;Vierge with his garish
+<span class="pagenum"><a name="page90" id="page90"></a>90</span>
+lights, his trick of black spots, his mechanical
+shadows and neglect of <i>chiaroscuro</i>&mdash;all redeemed
+and tolerated in a genius for the dash and spirit
+and beauty of his lines&mdash;lines, be it observed, that
+reproduce with difficulty on relief blocks&mdash;imitated
+by countless students; Mr. E. A. Abbey, the
+refined, and delicate American draughtsman, imitated
+<span class="pagenum"><a name="page91" id="page91"></a>91</span>
+for his method&mdash;the style and <i>chic</i> of it being his
+own, and inimitable. Think of the crowd coming
+on&mdash;imitators of the imitators of Rico&mdash;imitators of
+the imitators of Charles Keene!</p>
+
+<p>It may be said generally, that in order to obtain
+work as an illustrator&mdash;the practical point&mdash;there
+must be originality of thought and design. <i>There
+must be originality</i>, as well as care and thought
+bestowed on every drawing for the Press.</p>
+
+<p>The drawing of portraits in line from photographs
+gives employment to some illustrators, as
+line blocks will print in newspapers much better
+than photographs. But for newspaper printing
+they must be done with something of the precision
+of this portrait, in which the whites are cut deep
+and where there are few broken lines.</p>
+
+<p>It is the exception to get good printing in
+England, under present conditions of haste and
+cheapening of production, and therefore the best
+drawings for rapid reproduction are those that
+require the least touching on the part of the
+engraver, as <i>a touched-up process block is troublesome
+to the printer</i>; but it is difficult to impress this on
+the artistic mind.</p>
+
+<p><span class="pagenum"><a name="page92" id="page92"></a>92</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page93" id="page93"></a>93</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:411px; height:610px" src="images/img110.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XIII.</p>
+<p class="center">&ldquo;<i>Nothing venture, nothing have</i>,&rdquo; by <span class="sc">E. P. Sanguinetti</span>.</p>
+<p>Pen-and-ink drawing from the picture by E. P.
+Sanguinetti, exhibited at the Nineteenth Century
+Art Society&rsquo;s Gallery, 1888.</p>
+<div class="center">
+<img style="border:0; width:239px; height:350px" src="images/img109.jpg" alt="" /></div>
+<p>The large block is suitable for printing on common
+paper, and by fast machines. The little block is
+best adapted for bookwork, and is interesting as
+showing the quality obtained by reduction. It is
+an excellent example of drawing for process, showing
+much ingenuity of line. The tone and shadows on
+the ground equal the best fac-simile engraving. (Size
+of original drawing, from which both blocks were
+made, 15 × 10 in.)</p></div>
+
+<p><span class="pagenum"><a name="page94" id="page94"></a>94</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:600px; height:478px" src="images/img111.jpg" alt="" />
+<p class="caption">&ldquo;ON THE TERRACE.&rdquo; (E. A. ROWE.) <i>From his water-colour in the New Gallery, 1894.</i>
+<br />Size of Pen Drawing, 5¾ x 7½ in.</p></div>
+
+<p><span class="pagenum"><a name="page95" id="page95"></a>95</span></p>
+
+<p>Some people cannot draw firm clean lines at all, and
+<i>should not attempt them</i>. Few allow sufficiently for
+the result of reduction, and the necessary thickening
+of some lines. The results are often a matter of
+touch and temperament. Some artists are naturally
+unfitted for line work; the rules which would apply
+to one are almost useless to another. Again, there
+is great inequality in the making of these cheap
+zinc blocks, however well the drawings may be
+made; they require more care and experience in
+developing than is generally supposed.</p>
+
+<p>As line drawing is the basis of the best drawing
+for the press, I have interspersed through these
+pages examples and achievements in this direction;
+examples which in nearly every case are the result
+of knowledge and consideration of the requirements
+of process, as an antidote to the sketchy, careless
+methods so much in vogue. Here we may see&mdash;as
+has probably never been seen before in one volume&mdash;what
+harmonies and discords may be played on
+this instrument with one string. One string&mdash;no
+&ldquo;messing about,&rdquo; if the phrase may be excused&mdash;pure
+black lines on Bristol board (or paper of the
+same surface), photographed on to a zinc plate, the
+white parts etched away and the drawing made to
+stand in relief, ready to print with the letterpress of
+a book; every line and touch coming out a black
+one, or rejected altogether by the process.</p>
+
+<p><span class="pagenum"><a name="page96" id="page96"></a>96</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page97" id="page97"></a>97</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:467px; height:610px" src="images/img114.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XIV.</p>
+<p class="center">&ldquo;<i>For the Squire</i>,&rdquo; by <span class="sc">Sir John Millais,
+Bart., R. A.</span></p>
+<p>This is an example of drawing for process for
+rapid printing. The accents of the picture are
+expressed firmly and in the fewest lines, to give the
+effect of the picture in the simplest way. Sir John
+Millais&rsquo; picture, which was exhibited in the Grosvenor
+Gallery in 1883, was engraved in mezzotint, and
+published by Messrs. Thos. Agnew &amp; Sons. (Size
+of pen-and-ink drawing, 7¼ × 5½ in.) It is suitable
+for much greater reduction.</p></div>
+
+<p><span class="pagenum"><a name="page98" id="page98"></a>98</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page99" id="page99"></a>99</span></p>
+
+<p>Drawings thus made, upon Bristol board or paper
+of similar surface, with lamp black, Indian ink, or
+any of the numerous inks now in use, which dry
+with a dull, not shiny, surface, will always reproduce
+well. The pen should be of medium point, or a
+brush may be used as a pen. The lines should be
+clear and sharp, and are capable of much variation
+in style and treatment, as we see in these pages. I
+purposely do not dwell here upon some special
+surfaces and papers by which different tones and
+effects may be produced by the line processes;
+there is too much tendency already with the
+artist to be interested in the mechanical side.
+I have not recommended the use of &ldquo;clay board,&rdquo;
+for instance, for the line draughtsman, although it
+is much used for giving a crisp line to process
+work, and has a useful surface for scraping out
+lights, &amp;c. The results are nearly always
+mechanical looking.<a name="FnAnchor_10" id="FnAnchor_10" href="#Footnote_10"><span class="sp">10</span></a></p>
+
+<p>On the next page are two simple, straightforward
+drawings, which, it will be observed, are well suited
+to the method of reproduction for the type press.
+The first is by Mr. H. S. Marks, R. A. (which I
+<span class="pagenum"><a name="page100" id="page100"></a>100</span>
+take from the pages of <i>Academy Notes</i>), skilfully
+drawn upon Bristol board, about 7 × 5 in.</p>
+
+<p>Here every line tells, and none are superfluous;
+the figure of the monk, the texture of his dress,
+the old stone doorway, the creeper growing on
+the wall, and the basket of provisions, all form a
+picture, the lines of which harmonise well with
+the type of a book.</p>
+
+<div class="figcenter">
+<img style="border:0; width:208px; height:300px" src="images/img117.jpg" alt="" />
+<p class="caption">&ldquo;THE STOPPED KEY.&rdquo; (H. S. MARKS, R. A.)</p></div>
+
+<p>In this deliberate, careful drawing, in which
+white paper plays by far the principal part, the
+<span class="pagenum"><a name="page101" id="page101"></a>101</span>
+background and lighting of the picture are considered,
+also the general balance of a decorative
+page.<a name="FnAnchor_11" id="FnAnchor_11" href="#Footnote_11"><span class="sp">11</span></a></p>
+
+<div class="figcenter">
+<img style="border:0; width:235px; height:300px" src="images/img118.jpg" alt="" />
+<p class="caption">&ldquo;NYMPH AND CUPID.&rdquo; SMALL BAS-RELIEF. (H. HOLIDAY.)
+<br />(<i>From &ldquo;Academy Notes.&rdquo;</i>)</p></div>
+
+<hr class="foot" /><div class="note">
+
+<p><a name="Footnote_7" id="Footnote_7" href="#FnAnchor_7"><span class="fn">7</span></a> No one artist can teach drawing in line without a tendency
+to mannerism, especially in art classes.</p>
+
+<p><a name="Footnote_8" id="Footnote_8" href="#FnAnchor_8"><span class="fn">8</span></a> One of the most accomplished of English painters told me
+the other day that when he first drew for illustration, the wood
+engraver dictated the angle and style of cross-hatching, &amp;c., so as
+to fit the engraver&rsquo;s tools.</p>
+
+<p><a name="Footnote_9" id="Footnote_9" href="#FnAnchor_9"><span class="fn">9</span></a> Special interest attaches to the examples in this book from
+the fact that they have nearly all been <i>drawn on different kinds of
+paper</i>, and <i>with different materials</i>; and yet nearly all, as will be
+seen, have come out successfully, and give the spirit of the
+original.</p>
+
+<p><a name="Footnote_10" id="Footnote_10" href="#FnAnchor_10"><span class="fn">10</span></a> For description of the various grained papers, &amp;c., see
+page 113, also <i>Appendix</i>.</p>
+
+<p><a name="Footnote_11" id="Footnote_11" href="#FnAnchor_11"><span class="fn">11</span></a> The young &ldquo;pen-and-ink artist&rdquo; of to-day generally avoids
+backgrounds, or renders them by a series of unmeaning
+scratches; he does not consider enough the true &ldquo;lighting of a
+picture,&rdquo; as we shall see further on. The tendency of much
+modern black-and-white teaching is to ignore backgrounds.</p>
+</div>
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page102" id="page102"></a>102</span></p>
+
+<div class="center">
+<img style="border:0; width:438px; height:350px" src="images/img119.jpg" alt="" />
+<p class="caption"></p></div>
+
+<h3>CHAPTER IV.</h3>
+
+<h5>PHOTO-ZINC PROCESS.<a name="FnAnchor_12" id="FnAnchor_12" href="#Footnote_12"><span class="sp">12</span></a></h5>
+
+<p>IN order to turn any of these drawings into
+blocks for the type press, the first process is
+to have it photographed to the size required,
+and to transfer a print of it on to a sensitized
+zinc plate. This print, or photographic image
+of the drawing lying upon the zinc plate, is
+of greasy substance (bichromate of potash and
+gelatine), and is afterwards inked up with a roller;
+the plate is then immersed in a bath of nitric acid
+and ether, which cuts away the parts which were
+<span class="pagenum"><a name="page103" id="page103"></a>103</span>
+left white upon the paper, and leaves the lines of the
+drawing in relief. This &ldquo;biting in,&rdquo; as it is called,
+requires considerable experience and attention,
+according to the nature of the drawing. Thus, the
+lines are turned into metal in a few hours, and the
+plate when mounted on wood to the height of type-letters,
+is ready to be printed from, if necessary, at
+the rate of several thousands an hour.</p>
+
+<div class="figcenter">
+<img style="border:0; width:294px; height:340px" src="images/img120.jpg" alt="" />
+<p class="caption">PORTRAIT. (T. BLAKE WIRGMAN.)
+<br />(<i>From &ldquo;Academy Notes.&rdquo;</i>)</p></div>
+
+<div class="capd">
+<p>[This portrait was exhibited in the Royal Academy
+in 1880. I reproduce Mr. Wirgman&rsquo;s sketch for the
+sake of his powerful treatment of line.]</p></div>
+
+<p><span class="pagenum"><a name="page104" id="page104"></a>104</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page105" id="page105"></a>105</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:513px; height:720px" src="images/img122.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XV.</p>
+<p class="center">&ldquo;<i>Forget-Me-Not</i>,&rdquo; by <span class="sc">Henry Ryland</span>.
+<br />(<i>From the &ldquo;English Illustrated Magazine.&rdquo;</i>)</p>
+<p>An unusually fine example of reproduction in line,
+by zinc process, from a large pen-and-ink drawing. It
+serves to show how clearly writing can be reproduced
+if done by a trained hand. Students should notice
+the variety of &ldquo;colour&rdquo; and delicacy of line, also
+the brightness and evenness of the process block
+throughout.</p>
+
+<p>This illustration suggests possibilities in producing
+decorative pages in modern books without the aid
+of printers&rsquo; type, which is worth consideration in art
+schools. It requires, of course, knowledge of the
+figure and of design, and a trained hand for process.
+One obvious preparation for such work, is an examination
+of decorative pages in the Manuscript Department
+of the British Museum. (<i>See Appendix.</i>)</p>
+
+<p>It would be difficult, I think, to show more clearly
+the scope and variety of line work by process than
+in the contrast between this and the two preceding
+illustrations. Each artist is an expert in black and
+white in his own way.</p></div>
+
+<p><span class="pagenum"><a name="page106" id="page106"></a>106</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page107" id="page107"></a>107</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:320px; height:400px" src="images/img124.jpg" alt="" />
+<p class="caption">&ldquo;BABY&rsquo;S OWN.&rdquo; (G. HILLYARD SWINSTEAD.)
+<br />(<i>From &ldquo;Academy Notes,&rdquo; 1890.</i>)</p></div>
+
+<p>A wonderful and startling invention is here,
+worthy of a land of enchantment, which, without
+labour, with little more than a wave of the hand,
+transfixes the artist&rsquo;s touch, and turns it into
+concrete; by which the most delicate and hasty
+strokes of the pen are not merely recorded in
+fac-simile for the eye to decipher, but are brought
+out in sharp relief, as bold and strong as if hewn
+out of a rock! Here is an argument for doing &ldquo;the
+best and truest work we can,&rdquo; a process that renders
+<span class="pagenum"><a name="page108" id="page108"></a>108</span>
+indestructible&mdash;so indestructible that nothing short
+of cremation would get rid of it&mdash;every line that we
+put upon paper; an argument for learning for
+purposes of illustration the touch and method
+best adapted for reproduction by the press.<a name="FnAnchor_13" id="FnAnchor_13" href="#Footnote_13"><span class="sp">13</span></a></p>
+
+<div class="figcenter">
+<img style="border:0; width:318px; height:450px" src="images/img125.jpg" alt="" />
+<p class="caption">&ldquo;A SILENT POOL.&rdquo; (ED. W. WAITE.)
+<br />(<i>From &ldquo;Academy Notes,&rdquo; 1891.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page109" id="page109"></a>109</span></p>
+
+<p class="center pt1 f90">GELATINE PROCESS.</p>
+
+<p>By this process a more delicate and sensitive
+method has been used to obtain a relief block.</p>
+
+<p>The drawing is photographed to the required size
+(as before), and the <i>negative</i> laid upon a glass plate
+(previously coated with a mixture of gelatine and
+bichromate of potash). The part of this thin, sensitive
+film not exposed to the light, is absorbent, and
+when immersed in water swells up. The part
+exposed to the light (<i>i.e.</i>, the lines of the drawing)
+remains near the surface of the glass. Thus we
+have a sunk mould from which a metal cast can be
+taken, leaving the lines in relief as in the zinc
+process. In skilful hands this process admits of
+more delicate gradations, and pale, uncertain lines
+can be reproduced with tolerable fidelity. The
+blocks take longer to make, and are double the price
+of the photo-zinc process first described. There is
+no process yet invented which gives better results
+from a pen-and-ink drawing for the type-press.
+These blocks when completed have a copper surface.
+The reproductions of pencil, chalk, or charcoal drawings
+by the zinc, or &ldquo;biting-in&rdquo; processes are nearly
+always failures, as we may see in some of the best
+artistic books and magazines to-day.</p>
+
+<p><span class="pagenum"><a name="page110" id="page110"></a>110</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page111" id="page111"></a>111</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:432px; height:610px" src="images/img128.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XVI.</p>
+<p class="center">&ldquo;<i>The Miller&rsquo;s Daughter</i>,&rdquo; by <span class="sc">E. K. Johnson</span>.</p>
+<p>Another very interesting example of Mr. E. K.
+Johnson&rsquo;s drawing in pen and ink. Nearly every
+line has the value intended by the artist.</p>
+
+<p>The drawing has been largely reduced, and
+reproduced by the gelatine relief process.</p></div>
+
+<p><span class="pagenum"><a name="page112" id="page112"></a>112</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:420px; height:610px" src="images/img129.jpg" alt="" />
+<p class="caption">&ldquo;THE END OF THE CHAPTER.&rdquo; (FROM THE PAINTING BY W. RAINEY.)
+<br /><i>Royal Academy, 1886.</i>
+<br />(<i>Reproduced by the old Dawson process.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page113" id="page113"></a>113</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:500px; height:380px" src="images/img130.jpg" alt="" />
+<p class="caption">&ldquo;IN THE PAS DE CALAIS.&rdquo; (JAS. PRINSEP BEADLE.)<a name="FnAnchor_14" id="FnAnchor_14" href="#Footnote_14"><span class="sp">14</span></a></p></div>
+
+<p class="center pt1 f90">GRAINED PAPERS.</p>
+
+<p>For those who cannot draw easily with the pen,
+there are several kinds of grained papers which
+render drawings suitable for reproduction. The
+first is a paper with <i>black lines</i> imprinted upon it on
+a material suitable for scraping out to get lights,
+and strengthening with pen or pencil to get solid
+blacks.  On some of these papers black lines are
+<span class="pagenum"><a name="page114" id="page114"></a>114</span>
+imprinted horizontally, some vertically, some
+diagonally, some in dots, and some with lines of
+several kinds, one under the other, so that the
+artist can get the tint required by scraping out.
+Drawings thus made can be reproduced in
+relief like line drawings, taking care not to reduce
+a fine black grain too much or it will become
+&ldquo;spotty&rdquo; in reproduction.</p>
+
+<div class="figcenter">
+<img style="border:0; width:550px; height:370px" src="images/img131.jpg" alt="" />
+<p class="caption">&ldquo;GOLDEN DAYS.&rdquo; (F. STUART RICHARDSON.)
+<br />(<i>Black-grained paper.</i>)</p></div>
+
+<p>This drawing and the one opposite by Mr. Hume
+Nisbet show the skilful use of paper with vertical
+and horizontal black lines; also, in the latter drawing,
+the different qualities of strength in the sky,
+and the method of working over the grained paper
+in pen and ink.</p>
+
+<p><span class="pagenum"><a name="page115" id="page115"></a>115</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:457px; height:600px" src="images/img132.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XVII.</p>
+<p class="center">&ldquo;TWILIGHT.&rdquo; (SPECIMEN OF BLACK-GRAINED PAPER.)</p>
+<p class="center">(<i>From &ldquo;Lessons in Art,&rdquo; by Hume Nisbet, published by Chatto &amp; Windus.</i>)</p>
+</div>
+
+<p><span class="pagenum"><a name="page116" id="page116"></a>116</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page117" id="page117"></a>117</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:620px; height:374px" src="images/img134.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XVIII.</p>
+<p class="center">&ldquo;<i>Le Dent du Géant</i>,&rdquo; by <span class="sc">E. T. Compton</span>.</p>
+<p>Another skilful use of the black-grained paper to represent
+snow, glacier, and drifting clouds. The original tone of the
+paper may be seen in the sky and foreground.</p>
+<div class="center">
+<img style="border:0; width:430px; height:255px" src="images/img133.jpg" alt="" /></div>
+<p>The effect is obtained by scraping out the lighter parts on
+the paper and strengthening the dark with pen and pencil.</p>
+
+<p>It is interesting to compare the two blocks made from the
+same drawing. (Size of drawing 7¾ × 4 in.)</p></div>
+
+<p><span class="pagenum"><a name="page118" id="page118"></a>118</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page119" id="page119"></a>119</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:429px; height:610px" src="images/img136.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XIX.</p>
+<p class="center"><i>Landscape</i>, by <span class="sc">A. M. Lindstrom</span>.</p>
+<p>Example of bold effect by scraping out on the
+black-lined paper, and free use of autographic chalk.</p>
+
+<p>This drawing shows, I think, the artistic limitations
+of this process in the hands of an experienced
+draughtsman.</p>
+
+<p>The original drawing by Mr. Lindstrom (from his
+painting in the Royal Academy) was the same size
+as the reproduction.</p></div>
+
+<p><span class="pagenum"><a name="page120" id="page120"></a>120</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page121" id="page121"></a>121</span></p>
+
+<p>Other papers largely used for illustration in the
+type press have a <i>white grain</i>, a good specimen of
+which is on page 123; and there are variations of
+these white-grained papers, of which what is known
+in France as <i>allongé</i> paper is one of the best for
+rough sketches in books and newspapers.</p>
+
+<p>The question may arise in many minds, are these
+contrivances with their mechanical lines for producing
+effect, worthy of the time and attention
+which has been bestowed upon them? I think it is
+very doubtful if much work ought to be produced
+by means of the black-grained papers; certainly, in
+the hands of the unskilled, the results would prove
+disastrous. A painter may use them for sketches,
+especially for landscape. Mr. Compton (as on p. 116)
+can express very rapidly and effectively, by scraping
+out the lights and strengthening the darks, a snowdrift
+or the surface of a glacier. In the drawing
+on page 123, Mr. C. J. Watson has shown us how
+the grained paper can be played with, in artistic
+hands, to give the effect of a picture.</p>
+
+<p>The difference, artistically speaking, between
+sketches made on black-grained and white-grained
+papers seems to me much in favour of the latter.</p>
+
+<p><span class="pagenum"><a name="page122" id="page122"></a>122</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page123" id="page123"></a>123</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:458px; height:610px" src="images/img140.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XX.</p>
+<p class="center">&ldquo;<i>Volendam</i>,&rdquo; by <span class="sc">C. J. Watson</span>.</p>
+<p>Example of white-lined paper, treated very
+skilfully and effectively&mdash;only the painter of the
+picture could have given so much breadth and
+truth of effect.</p>
+
+<p>This <i>white</i> paper has a strong vertical grain which
+when drawn upon with autographic chalk has the
+same appearance as black-lined paper; and is often
+taken for it.</p>
+
+<p>(Size of drawing 6 × 4½ in.)</p></div>
+
+<p><span class="pagenum"><a name="page124" id="page124"></a>124</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page125" id="page125"></a>125</span></p>
+
+<p>But at the best, blocks made from drawings on
+these papers are apt to be unequal, and do not
+print with the ease and certainty of pure line work;
+they require good paper and careful printing, which
+is not always to be obtained. The artist who
+draws for the processes in this country must not
+expect (excepting in very exceptional cases) to
+have his work reproduced and printed as in
+America, or even as well as in this book.</p>
+
+<div class="figcenter">
+<img style="border:0; width:325px; height:450px" src="images/img142.jpg" alt="" />
+<p class="caption">&ldquo;AND WEE PEERIE WINKIE PAYED FOR A&rsquo;.&rdquo; (FROM THE PAINTING BY HUGH CAMERON.)
+<br /><i>Example of a good chalk drawing too largely reduced.</i></p></div>
+
+<p><span class="pagenum"><a name="page126" id="page126"></a>126</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page127" id="page127"></a>127</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:429px; height:610px" src="images/img144.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXI.</p>
+<p class="center">&ldquo;<i>An Arrest</i>,&rdquo; by <span class="sc">Melton Prior</span>.</p>
+<p>This is a remarkable example of the reproduction
+of a pencil drawing. It is seldom that the soft grey
+effect of a pencil drawing can be obtained on a
+&ldquo;half-tone&rdquo; relief block, or the lights so successfully
+preserved.</p>
+
+<p>This is only a portion of a picture by Mr. Melton
+Prior, the well-known special artist, for which I am
+indebted to the proprietors of <i>Sketch</i>.</p>
+
+<p>The reproduction is by Carl Hentschel.</p></div>
+
+<p><span class="pagenum"><a name="page128" id="page128"></a>128</span></p>
+
+<p>The reproduction on the previous page owes
+its success not only to good process, paper, and
+printing, but also to <i>the firm, decisive touch of an
+experienced illustrator</i> like Mr. Melton Prior. A
+pencil drawing in less skilful hands is apt to &ldquo;go to
+pieces&rdquo; on the press.</p>
+
+<p>Mr. C. G. Harper, in his excellent book on
+<i>English Pen Artists</i>, has treated of other ways
+in which drawings on prepared papers may be
+manipulated for the type press; but not always
+with success. In that interesting publication,
+<i>The Studio</i>, there have appeared during the past
+year many valuable papers on this subject, but
+in which the <i>mechanism</i> of illustration is perhaps
+too much insisted on. Some of the examples
+of &ldquo;mixed drawings,&rdquo; and of chalk-and-pencil
+reproductions, might well deter any artist from
+adopting such aids to illustration.</p>
+
+<p>The fact is, that the use of grained papers is, at
+the best, a makeshift and a degradation of the art of
+illustration, if judged by the old standards. It will
+be a bad day for the art of England when these
+mechanical appliances are put into the hands of
+young students in art schools.</p>
+
+<p>For the purposes of ordinary illustrations we
+should keep to the simpler method of line. All
+<span class="pagenum"><a name="page129" id="page129"></a>129</span>
+these contrivances require great care in printing,
+and the blocks have often to be worked up by an
+engraver. <i>The material of the process blocks is
+unsuited to the purpose.</i> In a handbook to students
+of illustration this requires repeating on nearly
+every page.</p>
+
+<p>As a contrast to the foregoing, let us look at
+a sketch in pure line by the landscape painter,
+Mr. M. R. Corbet, who, with little more than a
+scribble of the pen, can express the feeling of
+sunrise and the still air amongst the trees.</p>
+
+<div class="figcenter">
+<img style="border:0; width:500px; height:343px" src="images/img146.jpg" alt="" />
+<p class="caption">&ldquo;SUNRISE IN THE SEVERN VALLEY.&rdquo; (MATTHEW R. CORBET.)</p></div>
+
+<p><span class="pagenum"><a name="page130" id="page130"></a>130</span></p>
+
+<p class="center pt1 f90">MECHANICAL DOTS.</p>
+
+<p>Amongst the modern inventions for helping the
+hurried or feeble illustrator, is the system of laying
+on mechanical dots to give shadow and colour to
+a pure line drawing, by process. It is a practice
+always to be regretted; whether applied to a
+necessarily hasty newspaper sketch, or to one of
+Daniel Vierge&rsquo;s elaborately printed illustrations in
+the <i>Pablo de Segovia</i>. One cannot condemn too
+strongly this system, so freely used in continental
+illustrated sheets, but which, in the most skilful
+hands, seems a degradation of the art of illustration.
+These dots and lines, used for shadow, or tone,
+are laid upon the plate by the maker of the block,
+the artist indicating, by a blue pencil mark, the
+parts of a drawing to be so manipulated; and as
+the illustrator <i>has not seen the effect on his own
+line drawing</i>, the results are often a surprise to
+everyone concerned. I wish these ingenious
+contrivances were more worthy of an artist&rsquo;s
+attention.</p>
+
+<p>On the opposite page is an example taken from
+an English magazine, by which it may be seen
+that all daylight has been taken ruthlessly from the
+principal figure, and that it is no longer in tone
+with the rest of the picture, as an open air sketch.
+The system is tempting to the hurried illustrator;
+he has only to draw in line (or outline, which is
+worse) and then mark where the tint is to appear,
+and the dots are laid on by the maker of the blocks.</p>
+
+<p><span class="pagenum"><a name="page131" id="page131"></a>131</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:598px; height:600px" src="images/img148.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">&ldquo;THE ADJUTANT&rsquo;S LOVE STORY.&rdquo;  (H. R. MILLAR.)</p>
+<p class="center">(<i>Example of mechanical grain.</i>)</p>
+<p class="center">No. XXII.</p>
+</div>
+
+<p><span class="pagenum"><a name="page132" id="page132"></a>132</span></p>
+
+<p>In the illustration on the last page (I have chosen
+an example of fine-grain dots; those used in newspapers
+and common prints are much more unsightly,
+as everyone knows), it is obvious that the artist&rsquo;s
+sketch is injured by this treatment, that, in fact,
+the result is not artistic at all. Nothing but
+high pressure or incompetence on the part of
+the illustrator can excuse this mechanical addition
+to an incomplete drawing; and it must be
+remembered that these inartistic results are not
+the fault of the process, or of the &ldquo;process man.&rdquo;
+But the system is growing in every direction, to
+save time and trouble, and is lowering the standard
+of topical illustrations. And it is this system (<i>inter
+alia</i>) which is taught in technical schools, where the
+knowledge of process is taking the place of wood
+engraving.</p>
+
+<p>The question is again uppermost in the mind,
+are such mechanical appliances (&ldquo;dodges,&rdquo; I venture
+to call them) worthy the serious attention of
+artists; and can any good arise by imparting such
+knowledge to youthful illustrators in technical
+<span class="pagenum"><a name="page133" id="page133"></a>133</span>
+schools? Wood engraving was a craft to be
+learned, with a career for the apprentice. <i>There is
+no similar career for a lad by learning the
+&ldquo;processes;&rdquo; and nothing but disappointment before
+him if he learns the mechanism before he is an
+educated and qualified artist.</i></p>
+
+<p>Mention should be made here (although I do not
+wish to dwell upon it) of drawing in line on
+prepared transfer paper with autographic ink, which
+is transferred to zinc without the aid of photography,
+a process very useful for rapid and
+common work; but it is seldom used for good
+book illustration, as it is irksome to the artist and
+not capable of very good results; moreover, the
+drawing has often to be minute, as the reproduction
+will be the same size as the original. It is one
+of the processes which I think the student of art
+had better not know much about.<a name="FnAnchor_15" id="FnAnchor_15" href="#Footnote_15"><span class="sp">15</span></a></p>
+
+<p>That it is possible, by the common processes, to
+obtain strong effects almost equal to engraving,
+<span class="pagenum"><a name="page134" id="page134"></a>134</span>
+may be seen in some process illustrations by
+Mr. Lancelot Speed, in which many technical
+experiments have been made, including the free
+use of white lining.</p>
+
+<p>Mr. Speed is very daring in his experiments, and
+students may well puzzle over the means by which
+he obtains his effects by the line processes.</p>
+
+<div class="figcenter1">
+<img style="border:0; width:450px; height:408px" src="images/img151.jpg" alt="" /></div>
+
+<p>The illustration opposite from Andrew Lang&rsquo;s
+<i>Blue Poetry Book</i>, shows a very ingenious treatment
+of the black-lined papers. Technically it is
+one of the best examples I know of,&mdash;the result of
+much study and experiment.</p>
+
+<p><span class="pagenum"><a name="page135" id="page135"></a>135</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:306px; height:630px" src="images/img152.jpg" alt="" /></div>
+<div class="capd">
+<p class="center"><i>From Andrew Lang&rsquo;s &ldquo;Blue Poetry Book.&rdquo;</i> (<span class="scs">LANCELOT SPEED.</span>)</p>
+<p class="center">No. XXIII.</p>
+</div>
+
+<p><span class="pagenum"><a name="page136" id="page136"></a>136</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page137" id="page137"></a>137</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:452px; height:610px" src="images/img154.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXIV.</p>
+<p class="center">&ldquo;<i>The Armada</i>,&rdquo; by <span class="sc">Lancelot Speed</span>.</p>
+<p>This extraordinary example of line drawing for
+process was taken from Andrew Lang&rsquo;s <i>Blue Poetry
+Book</i>, published by Messrs. Longmans.</p>
+
+<p>In this illustration no wash has been used, nor
+has there been any &ldquo;screening&rdquo; or engraving on
+the block. The methods of lining are, of course, to
+a great extent the artist&rsquo;s own invention. This
+illustration and the two preceding lead to the conclusion
+that there is yet much to learn in <i>drawing
+for process</i> by those who will study it. The
+achievements of the makers of the blocks, with
+difficult drawings to reproduce, is quite another
+matter. Here all is easy for the reproducer, the
+common zinc process only being employed, and the
+required effects obtained without much worrying of
+the printer, or of the maker of the blocks.</p>
+
+<hr class="short" />
+
+<p>Thus far all the illustrations in this book have
+been produced by the common line process.</p></div>
+
+<p><span class="pagenum"><a name="page138" id="page138"></a>138</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:500px; height:348px" src="images/img155.jpg" alt="" />
+<p class="caption">&ldquo;SEINE BOATS.&rdquo; (FROM THE PAINTING BY LOUIS GRIER.)</p></div>
+
+<p class="center scs pt2">&ldquo;HALF-TONE&rdquo; PROCESS.</p>
+
+<p>The next process to consider is the method of
+reproducing wash drawings and photographs on
+blocks suitable for printing at the type press, commonly
+known as the Meisenbach or &ldquo;half-tone
+process;&rdquo; a most ingenious and valuable invention,
+which, in clever hands, is capable of artistic results,
+but which in common use has cast a gloom over
+illustrations in books and newspapers.</p>
+
+<p>First, as to the method of making the blocks.
+As there are no lines in a wash drawing or in a
+photograph from nature, it is necessary to obtain
+some kind of grain, or interstices of white, on the
+<span class="pagenum"><a name="page139" id="page139"></a>139</span>
+zinc plate, as in a mezzotint; so between the drawing
+or photograph to be reproduced and the camera,
+glass screens, covered with lines or dots, are interposed,
+varying in strength according to the light
+and shade required; thus turning the image of the
+wash drawing practically into &ldquo;line,&rdquo; with sufficient
+interstices of white for printing purposes.</p>
+
+<div class="figcenter">
+<img style="border:0; width:500px; height:516px" src="images/img156.jpg" alt="" />
+<p class="caption">&ldquo;THERE IS THE PRIORY!&rdquo;</p></div>
+
+<p><span class="pagenum"><a name="page140" id="page140"></a>140</span></p>
+
+<p>Thus, all drawings in wash, chalk, pencil, etc.,
+that will not reproduce by the direct line processes,
+already referred to, are treated for printing at the
+type press; and thus the uniform, monotonous
+dulness, with which we are all familiar, pervades the
+page.</p>
+
+<p>The conditions of drawing for this process have
+to be carefully studied, to prevent the meaningless
+smears and blotches (the result generally of making
+too hasty sketches in wash) which disfigure nearly
+every magazine and newspaper we take up. There
+is no necessity for this degradation of illustration.</p>
+
+<p>The artist who draws in wash with body colour,
+or paints in oils in monochrome, for this process,
+soon learns that his high lights will be lost and
+his strongest effects neutralised, under this effect of
+gauze; and so for pictorial purposes he has to <i>force
+his effect</i> and exaggerate lights and shades; avoiding
+too delicate gradations, and in his different tones
+keeping, so to speak, to one octave instead of two.
+Thus, also for this process, to obtain brightness and
+cheap effect, the illustrator of to-day often avoids
+backgrounds altogether.</p>
+
+<p>In spite of the uncertainty of this system of
+reproduction, it has great attractions for the skilful
+or the hurried illustrator.</p>
+
+<p><span class="pagenum"><a name="page141" id="page141"></a>141</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:600px; height:381px" src="images/img158.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXV.</p>
+<p class="center">&ldquo;Helga rode without a saddle as if she had grown to her horse&mdash;at full speed.&rdquo;</p>
+<p class="center">(&ldquo;<i>Hans Andersen&rsquo;s Fairy Tales.</i>&rdquo;)</p></div>
+
+<p><span class="pagenum"><a name="page142" id="page142"></a>142</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page143" id="page143"></a>143</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:570px; height:585px" src="images/img160.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXVI.</p>
+<p class="center">&ldquo;<i>The Storks</i>,&rdquo; by <span class="sc">J. R. Weguelin</span>.</p>
+<p class="f90">&ldquo;And high through the air came the first stork and the
+second stork; a pretty child sat on the back of each.&rdquo;</p>
+
+<p>Example of half-tone process applied to a slight
+wash drawing. The illustration is much relieved by
+vignetting and <i>leaving out</i>: almost the only chance
+for effect that the artist has by the screened process.
+It suggests, as so many of the illustrations in this
+book do, not the limits but the scope and possibilities
+of process work for books.</p>
+
+<p>This and the preceding illustration by Mr.
+Weguelin are taken from <i>Hans Andersen&rsquo;s Fairy
+Tales</i> (Lawrence &amp; Bullen, 1893).</p></div>
+
+<p><span class="pagenum"><a name="page144" id="page144"></a>144</span></p>
+
+<p>That this &ldquo;half-tone&rdquo; process is susceptible of
+a variety of effects and results, good and bad, every
+reader must be aware.</p>
+
+<p>The illustrations in this book, from pages 138 to
+165, are all practically by the same process of
+&ldquo;screening,&rdquo; a slight difference only in the grain
+being discernible.</p>
+
+<p>The wash drawing on page 139 suffers by the
+coarse grain on it, but the values, it will be seen,
+are fairly well preserved. The lights which are
+out of tone appear to have been taken out on the
+plate by the maker of the block, a dangerous
+proceeding with figures on a small scale. Mr. Louis
+Grier&rsquo;s clever sketch of his picture in wash, at the
+head of this chapter, gives the effect well.</p>
+
+<p>Mr. Weguelin&rsquo;s illustrations to <i>Hans Andersen&rsquo;s
+Fairy Tales</i> have been, I understand, a great
+success, the public caring more for the spirit of
+poetry that breathes through them than for more
+finished drawings. This is delightful, and as it
+should be, although, technically, the artist has not
+considered his process enough, and from the
+educational point of view it has its dangers. The
+&ldquo;process&rdquo; has been blamed roundly, in one or two
+criticisms of Mr. Weguelin&rsquo;s illustrations, whereas
+<i>the process used is the same as on pages 149 and 157</i>.</p>
+
+<p><span class="pagenum"><a name="page145" id="page145"></a>145</span></p>
+
+<p>However, the effect on a wash drawing is not
+satisfactory in the best hands. So uncertain and
+gloomy are the results that several well-known
+illustrators decline to use it as a substitute for wood
+engraving. We shall have to improve considerably
+before wood engraving is abandoned. We <i>are</i>
+improving every day, and by this half-tone process
+numberless wash drawings and photographs from
+nature are now presented to the public in our
+daily prints.</p>
+
+<p>Great advances have been made lately in the
+&ldquo;screening&rdquo; of pencil drawings, and in taking out
+the lights of a sketch (as pointed out on page
+127), and results have been obtained by careful
+draughtsmen during the last six months which a
+year ago would have been considered impossible.
+These results have been obtained principally by
+good printing and paper&mdash;allowing of a fine grain
+on the block&mdash;but where the illustration has to be
+prepared for printing, say 5,000 an hour, off rotary
+machines, a coarser grain has to be used, producing
+the &ldquo;Berlin wool pattern&rdquo; effect on the page,
+with which we are all familiar in newspapers.</p>
+
+<p>Let us now look at two examples of wash
+drawing by process, lent by the proprietors of
+<i>Black and White</i>.</p>
+
+<p><span class="pagenum"><a name="page146" id="page146"></a>146</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page147" id="page147"></a>147</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:458px; height:610px" src="images/img164.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXVII.</p>
+<p>This is a good average example of what to expect
+by the half-tone process from a wash drawing. That
+the result is tame and monotonous is no fault of the
+artist, whose work could have been more brightly
+rendered by wood engraving.</p>
+
+<p>That &ldquo;it is better to have this process than bad
+wood engraving&rdquo; is the opinion of nearly all illustrators
+of to-day. The artist <i>sees his own work</i>, at
+any rate, if through a veil of fog and gloom which is
+meant for sunshine!</p>
+
+<p>But the time is coming when the public will
+hardly rest content with such results as these.</p></div>
+
+<p><span class="pagenum"><a name="page148" id="page148"></a>148</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page149" id="page149"></a>149</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:429px; height:610px" src="images/img166.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXVIII.</p>
+<p class="center"><i>Illustration from</i> &ldquo;<i>Black and White</i>,&rdquo; by
+<br /><span class="sc">G. G. Manton.</span></p>
+<p>This is a good example of wash drawing for
+process; that is to say, a good example from the
+&ldquo;process man&rsquo;s&rdquo; point of view.</p>
+
+<p>Here the artist has used his utmost endeavours
+to meet the process half-way; he has been careful
+to use broad, clear, firm washes, and has done them
+with certainty of hand, the result of experience. If,
+in the endeavour to get strength, and the <i>best results
+out of a few tones</i>, the work lacks some artistic
+qualities, it is almost a necessity.</p>
+
+<p>Mr. Manton has a peculiar method of lining, or
+stippling, over his wash work, which lends itself
+admirably for reproduction; but the practice can
+hardly be recommended to the attention of students.
+It is as difficult to achieve artistic results by these
+means, as in the combination of line and chalk in
+one drawing, advocated by some experts.</p>
+
+<p>At the same time, Mr. Manton&rsquo;s indication of
+surfaces and textures by process are both interesting
+and valuable.</p></div>
+
+<p><span class="pagenum"><a name="page150" id="page150"></a>150</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:600px; height:418px" src="images/img167.jpg" alt="" />
+<p class="caption">&ldquo;A SUNNY LAND.&rdquo; (FROM THE PAINTING BY GEORGE WETHERBEE.)
+<br />(<i>New Gallery, 1891.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page151" id="page151"></a>151</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:520px; height:266px" src="images/img168.jpg" alt="" />
+<p class="caption">DECORATIVE DESIGN BY RANDOLPH CALDECOTT.
+<br /><br /><span class="f90">(The above design, from the <i>Memoir of R. Caldecott</i>, is lent by
+Messrs. Sampson Low &amp; Co.)</span></p></div>
+
+<p>One of the many uses which artists may make of
+the half-tone process is suggested by the reproduction
+of one of Mr. Caldecott&rsquo;s decorative designs,
+drawn freely with a brush full of white, on brown
+paper on a large scale (sometimes two or even
+three feet long), and reduced as above; the
+reduction refining and improving the design.</p>
+
+<p>This is a most legitimate and practical use of
+&ldquo;process&rdquo; for illustrating books, architectural and
+others, which in artistic hands might well be further
+developed.</p>
+
+<p><span class="pagenum"><a name="page152" id="page152"></a>152</span></p>
+
+<p>Of the illustrators who use this process in a more
+free-and-easy way we will now take an example, cut
+out of the pages of <i>Sketch</i> (<i>see</i> overleaf, p. 155).</p>
+
+<p>Here truths of light and shade are disregarded,
+the figure stands out in unnatural darkness against
+white paper, and flat mechanical shadows are cast
+upon nothing. Only sheer ability on the part of a
+few modern illustrators has saved these coarse ungainly
+sketches from universal condemnation. But
+the splashes, and spots, and stains, which are taking
+the place of more serious work in illustration, have
+become a vogue in 1894. The sketch is made in
+two or three hours, instead of a week; the process
+is also much cheaper to the publisher than wood
+engraving, and the public seems satisfied with a
+sketch where formerly a finished illustration was
+required, if the subject be treated dramatically and
+in a lively manner. If the sketch comes out an unsightly
+smear on the page, it at least answers the
+purpose of topical illustration, and apparently suits
+the times. It is little short of a revolution in
+illustration, of which we do not yet see the end.<a name="FnAnchor_16" id="FnAnchor_16" href="#Footnote_16"><span class="sp">16</span></a></p>
+
+<p><span class="pagenum"><a name="page153" id="page153"></a>153</span></p>
+
+<p>The bookstalls are laden with the daring achievements
+of Phil May, Raven Hill, Dudley Hardy,
+and others, but it is not the object of this book to
+exhibit the works of genius, either for emulation or
+imitation. It is rather to suggest to the average
+student what he may legitimately attempt, and to
+show him the possibilities of the process block in
+different hands. It may be said, without disparagement
+of the numerous clever and experienced
+illustrators of the day, that they are only adapting
+themselves to the circumstances of the time. There
+is a theory&mdash;the truth of which I do not question&mdash;that
+the reproductions of rapid sketches from the
+living model by the half-tone process have more
+vitality and freedom, more feeling and artistic
+qualities than can be obtained by any other means.
+But the young illustrator should hesitate before
+adapting these methods, and should <i>never have
+anything reproduced for publication which was
+&ldquo;drawn to time&rdquo; in art classes</i>.</p>
+
+<p>One thing cannot be repeated too often in this
+connection: that the hastily produced blotches
+called &ldquo;illustrations,&rdquo; which disfigure the pages of
+so many books and magazines, are generally the
+result of want of care on the part of the artist
+rather than of the maker of the blocks.</p>
+
+<p><span class="pagenum"><a name="page154" id="page154"></a>154</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page155" id="page155"></a>155</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:335px; height:630px" src="images/img172.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXIX.</p>
+<p>This is part of a page illustration lent by the
+proprietors of <i>Sketch</i>. It does not do justice to the
+talent (or the taste, we will hope), of the illustrator,
+and is only inserted here to record the kind of work
+which is popular in 1894. (Perhaps in a second
+edition we may have other exploits of genius to
+record.)</p>
+
+<p>It should be noted that this and the illustration
+on p. 149 are both reproduced by the same half-tone
+process, the difference of result being altogether
+in the handling of the brush. This sketch would
+have been intolerable in less artistic hands. Artists
+will doubtless find more feeling and expression in
+the broad washes and splashes before us, than in the
+most careful stippling of Mr. Manton.</p>
+
+<p>Students of wash drawing for process may take
+a middle course.</p></div>
+
+<p><span class="pagenum"><a name="page156" id="page156"></a>156</span></p>
+
+<p>A word here on the influence of</p>
+
+<p class="center scs">PROCESS-BLOCK MAKERS</p>
+
+<p class="noind">on the young illustrator. The &ldquo;process man,&rdquo; the
+teacher and inciter to achievements by this or that
+process, is not usually an &ldquo;artist&rdquo; in the true sense
+of the word. He knows better than anyone else
+what lines he can reproduce, and especially what
+kind of drawing is best adapted for his own process.
+He will probably tell the young draughtsman what
+materials to use, what amount of reduction his
+drawings will bear, and other things of a purely
+technical not to say businesslike character. Let me
+not be understood to disparage the work of photo-engravers
+and others engaged on these processes;
+on the contrary, the amount of patience, industry,
+activity, and anxious care bestowed upon the
+reproduction of drawings and paintings is astonishing,
+and deserves our gratitude.<a name="FnAnchor_17" id="FnAnchor_17" href="#Footnote_17"><span class="sp">17</span></a> This work is a
+new industry of an important kind, in which art and
+craft are bound up together. The day has past
+when &ldquo;process work&rdquo; is to be looked down upon
+as only fit for the cheapest, most inferior, and
+inartistic results.</p>
+
+<p><span class="pagenum"><a name="page157" id="page157"></a>157</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:530px; height:364px" src="images/img174.jpg" alt="" />
+<p class="caption">&ldquo;THE BROOK.&rdquo; (FROM A PAINTING BY ARNOLD HELCKÉ.)</p></div>
+
+<p class="center scs">PHOTOGRAPHIC ILLUSTRATIONS.</p>
+
+<p>One result of hasty work in making drawings, and
+the uncertainty of reproduction, promises to be a
+very serious one to the illustrator, as far as we can
+see ahead, viz.: the gradual substitution of photographs
+from life for other forms of illustration.
+The &ldquo;Meisenbach&rdquo; reproduction of a photograph from
+life, say a full length figure of an actress in some
+elaborate costume, seems to answer the purpose of
+the editor of a newspaper to fill a page, where
+formerly artists and engravers would have been
+employed. One reason for this is that the details
+of the dress are so well rendered by photography on
+<span class="pagenum"><a name="page158" id="page158"></a>158</span>
+the block as to answer the purpose of a fashion
+plate, an important matter in some weekly newspapers.
+The result is generally unsatisfactory from
+an artist&rsquo;s point of view, but the picture is often
+most skilfully composed and the values wonderfully
+rendered, direct from the original.</p>
+
+<p>In the case of the reproduction of photographs,
+which we are now considering, much may be done
+by working up a platinotype print before giving it
+out to be made into a block. Much depends here
+upon the artistic knowledge of editors and publishers,
+who have it in their power to have produced good
+or bad illustrations from the same original. The
+makers of the blocks being confined to time and
+price, are practically powerless, and seldom have
+an opportunity of obtaining the best results. It
+should be mentioned that blocks made from wash
+drawings, being shallower than those made from
+line drawings, suffer more from bad printing and
+paper.</p>
+
+<p>A good silver print (whether from a photograph
+from life or from a picture), full of delicate gradations
+and strong effects, appears on the plate
+through the film of gauze, dull, flat, and comparatively
+uninteresting; but <i>the expression of the
+original is given with more fidelity</i> than could be
+<span class="pagenum"><a name="page159" id="page159"></a>159</span>
+done by any ordinary wood engraving. This is the
+best that can be said for it, it is a dull, mechanical
+process, requiring help from the maker of the blocks;
+and so a system of touching on the negative (before
+making the block) to bring out the lights and accents
+of the picture is the common practice. This is a
+hazardous business at the best, especially when dealing
+with the copy of a painting. I mention it to
+show where &ldquo;handwork&rdquo; in the half-tone process
+first comes in. The block, when made, is also often
+touched up by an engraver in places, especially where
+spotty or too dark; and on this work many who were
+formerly wood-engravers now find employment.</p>
+
+<p>There is no doubt that the makers of process
+blocks are the best instructors as to the results
+to be obtained by certain lines and combinations
+of lines; but in the majority of cases they will tell
+the artist too much, and lead him to take too much
+interest in the mechanical side of the business.
+The illustrator&rsquo;s best protection against this tendency,
+his whole armour and coat of mail, is to be <i>an artist
+first and an illustrator afterwards</i>.</p>
+
+<p>This is the sum of the matter. Perhaps some
+of the examples in this book may help us, and lead
+to a more thorough testing of results by capable
+men.</p>
+
+<p><span class="pagenum"><a name="page160" id="page160"></a>160</span></p>
+
+<p class="center scs pt2">&ldquo;SKETCH.&rdquo;</p>
+
+<p>It will be interesting here to consider the material
+of which one number of an illustrated paper (<i>Sketch</i>)
+is made up, and how far the artist and wood engraver
+have part in it. From an economic point of view it
+will be instructive. I take this &ldquo;newspaper&rdquo; as an
+example, because it is a typical and quite &ldquo;up-to-date&rdquo;
+publication, vieing, in circulation and importance,
+with the <i>Illustrated London News</i>, both published
+by the same proprietors. In one number there are
+upwards of 30 pages, 10 being advertisements. There
+are in all 151 illustrations, of which 63 appear in
+the text part, and 88 in the advertisement pages.
+Out of the text illustrations, 24 only are from
+original drawings or sketches. Next are 26 <i>photographs
+from life</i> (several being full pages), and 13
+reproductions from engravings, etc., reproduced
+by mechanical processes&mdash;in all 63. Some of the
+pages reproduced from photographs are undeniably
+good, and interesting to the public, as is evidenced
+by the popularity of this paper alone. In the
+advertisement portion are 88 illustrations (including
+many small ones), 85 of which have been engraved
+on wood; a number of them are electrotypes from
+old blocks, but there are many new ones every
+week. The reason for using wood engraving
+largely for advertisements is, that wood blocks print
+more easily than &ldquo;process,&rdquo; when mixed with the
+type, and print better (being cut deeper on the
+block) where inferior paper and ink are employed.
+But this class of wood engraving may be summed
+up in the words of one of the craft to me lately:&mdash;&ldquo;It
+is not worth <i>£</i>2 a week to anybody.&rdquo;</p>
+
+<p><span class="pagenum"><a name="page161" id="page161"></a>161</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:450px; height:610px" src="images/img178.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXX.</p>
+<p class="center">MISS KATE RORKE. (FROM &ldquo;SKETCH.&rdquo;)</p>
+<p class="center"><i>Photographed from life by H. S. Mendelssohn</i>. <i>Reproduced by half-tone process</i>)</p>
+</div>
+
+<p><span class="pagenum"><a name="page162" id="page162"></a>162</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page163" id="page163"></a>163</span></p>
+
+<p>Thus it will be seen that in the &ldquo;text&rdquo; part of
+this newspaper two-thirds of the illustrations are produced
+without the aid of artist or wood engraver!</p>
+
+<p>To turn to one of the latest instances where the
+photographer is the illustrator. A photographer,
+Mr. Burrows, of Camborne, goes down a lead mine
+in Cornwall with his apparatus, and takes a series
+of views of the workings, which could probably
+have been done by no other means. Under most
+difficult conditions he sets his camera, and by the
+aid of the magnesium &ldquo;flash-light,&rdquo; gives us groups
+of figures at work amidst gloomy and weird surroundings.
+The results are exceptionally valuable
+as &ldquo;illustrations&rdquo; in the true meaning of the word,
+on account of the clear and accurate definition of
+details. The remarkable part, artistically, is the
+good colour and grouping of the figures.<a name="FnAnchor_18" id="FnAnchor_18" href="#Footnote_18"><span class="sp">18</span></a></p>
+
+<p><span class="pagenum"><a name="page164" id="page164"></a>164</span></p>
+
+<p>Another instance of the use of photography in
+illustration. Mr. Villiers, the special artist of <i>Black
+and White</i>, made a startling statement lately. He
+said that out of some 150 subjects which he took at
+the Chicago Exhibition, not more than half-a-dozen
+were drawn by him; all the rest being &ldquo;snap-shot&rdquo;
+photographs. Some were very good, could hardly
+be better, the result of many hours&rsquo; waiting for the
+favourable grouping of figures. That he would
+re-draw some of them with his clever pencil for a
+newspaper is possible, but observe the part photography
+plays in the matter.</p>
+
+<p>In America novels have been thus illustrated
+both in figure and landscape; the weak point being
+the <i>backgrounds</i> to the figure subjects. I draw
+attention to this movement because the neglect of
+composition, of appropriate backgrounds, and of the
+true lighting of the figures by so many young
+artists, is throwing illustrations more and more into
+the hands of the photographer. Thus the rapid
+&ldquo;pen-and-ink artist,&rdquo; and the sketcher in wash from
+an artificially lighted model in a crowded art school,
+is hastening to his end.</p>
+
+<p><span class="pagenum"><a name="page165" id="page165"></a>165</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:452px; height:610px" src="images/img182.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXXI.</p>
+<p class="center">(<i>A Photograph from life, by Messrs. Cameron &amp; Smith. Reproduced by half-tone process.</i>)</p>
+</div>
+
+<p><span class="pagenum"><a name="page166" id="page166"></a>166</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page167" id="page167"></a>167</span></p>
+
+<p>The time is coming fast when cheap editions of
+popular novels will be illustrated&mdash;and many in the
+following way. The artist, instead of being called
+upon to draw, will occupy himself in setting and
+composing pictures through the aid of models
+trained for the purpose, and the ever-ready photographer.
+The &ldquo;process man&rdquo; and the clever manipulator
+on the plates, will do the rest, producing pictures
+vignetted, if desired, as overleaf. Much more the
+makers of blocks can do&mdash;and will do&mdash;with the
+photographs now produced, for they are earnest, untiring,
+ready to make sacrifices of time and money.</p>
+
+<p>The cheap dramatic illustrations, just referred to,
+which artists&rsquo; models in America know so well how
+to pose for, may be found suitable from the commercial
+point of view for novels of the butterfly
+kind; but they will seldom be of real artistic interest.
+And here, for the present, we may draw the line
+between the illustrator and the photographer. But
+the &ldquo;black and white man&rdquo; will obviously have to
+do his best in every branch of illustration to hold his
+own in the future. It may be thought by some artists
+that these things are hardly worth consideration;
+but we have only to watch the illustrations appearing
+week by week to see whither we are tending.<a name="FnAnchor_19" id="FnAnchor_19" href="#Footnote_19"><span class="sp">19</span></a></p>
+
+<p><span class="pagenum"><a name="page168" id="page168"></a>168</span></p>
+
+<p>The last example of the photographer as
+illustrator, which can be given here, is where a
+photograph from life engraved on wood is published
+as a vignette illustration.<a name="FnAnchor_20" id="FnAnchor_20" href="#Footnote_20"><span class="sp">20</span></a> It is worth observing,
+because it has been turned into line by the wood
+engraver, and serves for printing purposes as a
+popular illustration. The original might have been
+more artistically posed, but it is pretty as a vignette,
+and pleases the public. (<i>See</i> opposite page.)</p>
+
+<p>There are hundreds of such subjects now produced
+by the joint aid of the photographer and the
+process engraver. It is not the artist and the wood
+engraver who are really &ldquo;working hand-in-hand&rdquo;
+in these days in the production of illustrations, but
+<i>the photographer and the maker of process blocks</i>.
+This is significant. Happily for us there is much
+that the photographer cannot do pictorially. But
+the photographer is, as I said, marching on and
+on, and the line of demarcation between handwork
+and photographic illustrations becomes less marked
+every day.</p>
+
+<p>The photographer&rsquo;s daughter goes to an art
+school, and her influence is shown annually in
+the exhibitions of the photographic societies.</p>
+
+<p><span class="pagenum"><a name="page169" id="page169"></a>169</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:583px; height:600px" src="images/img186.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXXII.</p>
+<p class="center">(<i>A Photograph from life, engraved on wood.</i>)</p>
+</div>
+
+<p><span class="pagenum"><a name="page170" id="page170"></a>170</span></p>
+
+<p>This influence and this movement is so strong&mdash;and
+vital to the artist&mdash;that it cannot be emphasised
+too much. The photographer is ever in our
+midst, correcting our drawing with facts and
+details which no human eye can see, and no one
+mind can take in at once.</p>
+
+<p>On the obligations of artists to photographers
+a book might be written. The benefits are not,
+as a rule, unacknowledged; nor are the bad
+influences of photography always noticed. That
+is to say, that before the days of photography,
+the artist made himself acquainted with many
+things necessary to his art, for which he now
+depends upon the photographic lens; in short,
+he uses his powers of observation less than he
+did a few years ago. That the photographer
+leads him astray sometimes is another thing to
+remember.</p>
+
+<p>The future of the illustrator being uppermost in
+our thoughts, let us consider further the influences
+with which he is surrounded. As to photography,
+Mr. William Small, the well-known illustrator (who
+always draws for wood engraving), says:&mdash;&ldquo;it will
+never take good work out of a good artist&rsquo;s hands.&rdquo;
+He speaks as an artist who has taken to illustration
+seriously and most successfully, having devoted the
+<span class="pagenum"><a name="page171" id="page171"></a>171</span>
+best years of his life to its development. The moral
+of it is, that in whatever material or style newspaper
+illustrations are done, to hold their own they must
+be of the best. Let them be as slight as you please,
+if they be original and good. In line work (the best
+and surest for the processes) photography can only
+be the servant of the artist, not the competitor&mdash;and
+in this direction there is much employment to
+be looked for. At present the influence is very
+much the other way; we are casting off&mdash;ungratefully
+it would seem&mdash;the experience of the lifetime
+of the wood engraver, and are setting in its place an
+art half developed, half studied, full of crudities and
+discords. The illustrations which succeed in books
+and newspapers, succeed for the most part from
+sheer ability on the part of the artist; <i>they are full
+of ability</i>, but, as a rule, are bad examples for
+students to copy. &ldquo;Time is money&rdquo; with these
+brilliant executants; they have no time to study the
+value of a line, nor the requirements of the processes,
+and so a number of drawings are handed
+to the photo-engravers&mdash;which are often quite unfitted
+for mechanical reproduction&mdash;to be produced
+literally in a few hours. It is an age of vivacity,
+daring originality, and reckless achievement in
+illustration. &ldquo;Take it up, look at it, and throw it
+<span class="pagenum"><a name="page172" id="page172"></a>172</span>
+down,&rdquo; is the order of the day. There is no reason
+but an economic one why the work done &ldquo;to look at&rdquo;
+should not be as good as the artist can afford to
+make it. The manufacturer of paperhangings or
+printed cottons will produce only a limited quantity
+of one design, no matter how beautiful, and then go
+on to another. So much the better for the designer,
+who would not keep employment if he did not do
+his best, no matter whether his work was to last for
+a day or for a year. The life of a single number of
+an illustrated newspaper is a week, and of an illustrated
+book about a year.</p>
+
+<p>The young illustrators on the <i>Daily Graphic</i>&mdash;notably
+Mr. Reginald Cleaver&mdash;obtain the maximum
+of effect with the minimum of lines. Thus
+Caldecott worked, spending hours sometimes studying
+the art of leaving out. Charles Keene&rsquo;s
+example may well be followed, making drawing after
+drawing, no matter how trivial the subject, until he
+was satisfied that it was right. &ldquo;Either right or
+wrong,&rdquo; he used to say; &ldquo;&rsquo;right enough&rsquo; will not
+do for me.&rdquo;</p>
+
+<p><span class="pagenum"><a name="page173" id="page173"></a>173</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:426px; height:610px" src="images/img190.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXXIII.</p>
+<p class="center scs">&ldquo;PROUD MAIRIE.&rdquo; (LANCELOT SPEED.)
+<br />(<i>From &ldquo;The Blue Poetry Book.&rdquo; London: Longmans.</i>)
+<br />Pen-and-ink drawing by line process.</p>
+</div>
+
+<p><span class="pagenum"><a name="page174" id="page174"></a>174</span></p>
+
+<p>Another influence on modern illustration&mdash;for
+good or bad&mdash;is the electric light. It enables the
+photographic operator to be independent of dark
+and foggy days, and to put a search-light upon
+objects which otherwise could not be utilised. So
+far good. To the illustrator this aid is often a
+doubtful advantage. The late Charles Keene (with
+whom I have had many conversations on this
+subject) predicted a general deterioration in the
+quality of illustrations from what he called &ldquo;unnatural
+and impossible effects,&rdquo; and he made one or
+two illustrations in <i>Punch</i> of figures seen under the
+then&mdash;(10 or 15 years ago)&mdash;novel conditions of
+electric street lighting, one of which represented
+a man who has been &ldquo;dining&rdquo; returning home
+through a street lighted up by electric lamps, tucking
+up his trowsers to cross a black shadow which
+he takes for a stream. Charles Keene&rsquo;s predictions
+have come true, we see the glare of the magnesium
+light on many a page, and the unthinking public is
+dazzled every week in the illustrated sheets with
+these &ldquo;unnatural and impossible effects.&rdquo;</p>
+
+<p>Thus it has come about that what was looked
+upon by Charles Keene as garish, exaggerated, and
+untrue in effect, is accepted to-day by the majority
+of people as a lively and legitimate method of
+illustration.</p>
+
+<p><span class="pagenum"><a name="page175" id="page175"></a>175</span></p>
+
+<p class="center scs pt2">DANIEL VIERGE.</p>
+
+<p>One of the influences on the modern illustrator&mdash;a
+decidedly adverse influence on the unlearned&mdash;is
+the prominence which has lately been given to the
+art of Daniel Vierge.</p>
+
+<p>There is probably no illustrator of to-day who
+has more originality, style, and versatility&mdash;in short
+more genius&mdash;than Vierge, and none whose work,
+for practical reasons, is more misleading to students.</p>
+
+<p>As to his illustrations, from the purely literary
+and imaginative side, they are as attractive to the
+scholar as drawings by Holbein or Menzell are to
+the artist. Let us turn to the illustration on the
+next page, from the <i>Pablo de Segovia</i> by Quevedo;
+an example selected by the editor, or publisher,
+of the book as a specimen page.</p>
+
+<p>First, as to the art of it. Nothing in its own
+way could be more fascinating in humour, vivacity,
+and character than this grotesque duel with long
+ladles at the entrance to an old Spanish posada.
+The sparkle and vivacity of the scene are inimitable;
+the bounding figure haunts the memory with its
+diaphanous grace, touched in by a master of
+expression in line. In short, we are in the presence
+of genius.</p>
+
+<p><span class="pagenum"><a name="page176" id="page176"></a>176</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page177" id="page177"></a>177</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:610px; height:555px" src="images/img194.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXXIV.</p>
+<p>Example of <span class="sc">Daniel Vierge&rsquo;s</span> illustrations to
+<i>Pablo de Segovia</i>, the Spanish Sharper, by Francisco
+de Quevedo-Villegas, first published in Paris, in
+1882; afterwards translated into English (with an
+Essay on Quevedo, by H. E. Watts, and comments
+on Vierge&rsquo;s work by Joseph Pennell), and published
+by Mr. T. Fisher Unwin, in 1892.</p>
+
+<p>Vierge was born in 1851, and educated in Madrid,
+where he spent the early years of his life. Since
+1869 he has lived in Paris, and produced numerous
+illustrations for <i>Le Monde Illustré</i> and <i>La Vie Moderne</i>,
+and other works. His fame was made in 1882 by
+Quevedo&rsquo;s <i>Pablo de Segovia</i>, the illustrations to which
+he was unable to complete owing to illness and
+paralysis. About twenty of these illustrations were
+drawn with the left hand, owing to paralysis of the
+right side. His career, full of romantic interest,
+suggests the future illustrator of <i>Don Quixote</i>.</p>
+
+<p>These drawings were made upon white paper&mdash;Bristol
+board or drawing paper&mdash;with a pen and
+Indian ink; but Vierge now uses a glass pen, like an
+old stylus. The drawings were then given to Gillot,
+the photo-engraver of Paris, who, by means of
+photography and <i>handwork</i>, produced metal blocks
+to be printed with the type.</p></div>
+
+<p><span class="pagenum"><a name="page178" id="page178"></a>178</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page179" id="page179"></a>179</span></p>
+
+<p>But the whole effect is obviously untrue to nature,
+and the tricks&mdash;of black spots, of exaggerated
+shadows on the ground, of scratchings (and of carelessness,
+which might be excused in a hasty sketch
+for <i>La Vie Moderne</i>)&mdash;are only too apparent.</p>
+
+<p>In nearly every illustration in the <i>Pablo de Segovia</i>
+(of which there are upwards of one hundred),
+the artist has relied for brilliancy and effect on
+patches of black (sometimes ludicrously exaggerated)
+and other mannerisms, which we accept from a
+genius, but which the student had better not
+attempt to imitate. To quote a criticism from the
+<i>Spectator</i>, &ldquo;There is almost no light and shade in
+Vierge. There is an ingenious effect of dazzle, but
+there is no approach attempted to truth of tone,
+shadows being quite capriciously used for decoration
+and supplied to figures that tell as light objects
+against the sky which throws the shadows.&rdquo; And
+yet in these handsome pages there are gems of
+draughtsmanship and extraordinary <i>tours de force</i>
+in illustration.</p>
+
+<p>In the reproduction of these drawings, I think
+the maker of the blocks, M. Gillot, of Paris, would
+seem to have had a difficult task to perform.
+The fact is, that Vierge&rsquo;s wonderful line drawings
+are sometimes as difficult to reproduce for the
+<span class="pagenum"><a name="page180" id="page180"></a>180</span>
+type press as those of Holbein or Menzell, and
+could only be done satisfactorily by one of the
+intaglio processes, such as that employed by the
+Autotype Company in <i>éditions de luxe</i>. That
+Vierge&rsquo;s drawings were worthy of this anyone who
+saw the originals when exhibited at Barnard&rsquo;s Inn
+would, I think, agree.</p>
+
+<p>It is the duty of any writer or instructor in
+illustration, to point out these things, once for all.
+That Vierge could adapt himself to almost any
+process if he pleased, is demonstrated repeatedly in
+the <i>Pablo de Segovia</i>, where (as on pages 63 and 67
+of that book) the brilliancy and &ldquo;colour&rdquo; of pure
+line by process has hardly ever been equalled. That
+some of his illustrations are impossible to reproduce
+well, and have been degraded in the process is also
+demonstrated on page 199 of the same book, where
+a mechanical grain has been used to help out the
+drawing, and the lines have had to be cut up and &ldquo;rouletted&rdquo;
+on the block to make them possible to print.</p>
+
+<p>Of the clever band of illustrators of to-day who
+owe much of their inspiration (and some of their
+tricks of method) to Vierge, it is not necessary to
+speak here; we are in an atmosphere of genius in
+this chapter, and geniuses are seldom safe guides to
+students of art.</p>
+
+<p><span class="pagenum"><a name="page181" id="page181"></a>181</span></p>
+
+<p>Speaking generally (and these remarks refer to
+editors and publishers as well as draughtsmen), the
+art of illustration as practised in England is far from
+satisfactory; we are too much given to imitating
+the tricks and prettinesses of other nations, and
+it is quite the exception to find either originality or
+individuality on the pages which are hurled from
+the modern printing press; individuality as seen
+in the work of Adolphe Menzell, and, in a different
+spirit, in that of Gustave Doré and Vierge.</p>
+
+<div class="center">
+<img style="border:0; width:400px; height:421px" src="images/img198.jpg" alt="" /></div>
+
+<hr class="foot" /><div class="note">
+
+<p><a name="Footnote_12" id="Footnote_12" href="#FnAnchor_12"><span class="fn">12</span></a> The heading to this chapter was drawn in line and reproduced
+by photo-zinc process. (See page 134.)</p>
+
+<p><a name="Footnote_13" id="Footnote_13" href="#FnAnchor_13"><span class="fn">13</span></a> The mechanical processes, neglected and despised by the
+majority of illustrators for many years, have, by a sudden freak of
+fashion, apparently become so universal that, it is estimated,
+several thousand blocks are made in London alone every week.</p>
+
+<p><a name="Footnote_14" id="Footnote_14" href="#FnAnchor_14"><span class="fn">14</span></a> This excellent drawing was made on rough white paper
+with autographic chalk; the print being much reduced in size.
+It is seldom that such a good grey block can be obtained by this
+means.</p>
+
+<p><a name="Footnote_15" id="Footnote_15" href="#FnAnchor_15"><span class="fn">15</span></a> The young artist would be much better occupied in learning
+<i>drawing on stone</i> direct, a branch of art which does not come
+into the scope of this book, as it is seldom used in book
+illustration, and cannot be printed at the type press. Drawing
+on stone is well worthy of study now, for the art is being revived
+in England on account of the greater facilities for printing than
+formerly.</p>
+
+<p><a name="Footnote_16" id="Footnote_16" href="#FnAnchor_16"><span class="fn">16</span></a> The evil of it is that <i>we are becoming used to black blots</i> in
+the pages of books and newspapers, and take them as a matter of
+course; just as we submit to the deformity of the outward man
+in the matter of clothing.</p>
+
+<p><a name="Footnote_17" id="Footnote_17" href="#FnAnchor_17"><span class="fn">17</span></a> On the opposite page is an excellent reproduction of a
+painting from a photograph by the half-tone process.</p>
+
+<p><a name="Footnote_18" id="Footnote_18" href="#FnAnchor_18"><span class="fn">18</span></a> &ldquo;<i>&rsquo;Mongst Mines and Miners</i>,&rdquo; by J. C. Burrows and
+W. Thomas. (London: Simpkin, Marshall &amp; Co.)</p>
+
+<p><a name="Footnote_19" id="Footnote_19" href="#FnAnchor_19"><span class="fn">19</span></a> Both Mr. Cameron&rsquo;s and Mr. Mendelssohn&rsquo;s photographs
+have had to be slightly cut down to fit these pages. But as
+illustrations they are, I think, remarkable examples of the
+photographer&rsquo;s and the photo-engraver&rsquo;s art.</p>
+
+<p><a name="Footnote_20" id="Footnote_20" href="#FnAnchor_20"><span class="fn">20</span></a> From the <i>Graphic</i> newspaper, 28th October, 1893.</p>
+</div>
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page182" id="page182"></a>182</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:470px; height:154px" src="images/img199.jpg" alt="" />
+<p class="caption">FROM &ldquo;GRIMM&rsquo;S HOUSEHOLD STORIES.&rdquo; (WALTER CRANE.)</p></div>
+
+
+<h3>CHAPTER V.</h3>
+
+<h5>WOOD ENGRAVINGS.</h5>
+
+<table class="nobctr" style="float: left; width: 80px;" summary="Illustration">
+<tr><td class="figleft1"><img style="width:60px; height:61px" src="images/img199b.jpg" alt="" /></td></tr>
+</table>
+
+<p class="chaps">O turn to a more practical side of book
+illustration. The first principle of
+illustration is to <i>illustrate</i>, and yet it is
+a fact that few illustrations in books or
+magazines are to be found in their proper places in
+the text.</p>
+
+<p>It is seldom that the illustration (so called) is in
+artistic harmony with the rest of the page, as it
+is found in old books. One of the great charms
+of Bewick&rsquo;s work is its individuality and expressive
+character. Here the artist and engraver were one,
+and a system of illustration was founded in England
+a hundred years ago which we should do well not
+to forget.<a name="FnAnchor_21" id="FnAnchor_21" href="#Footnote_21"><span class="sp">21</span></a></p>
+
+<p><span class="pagenum"><a name="page183" id="page183"></a>183</span></p>
+
+<p>We are fast losing sight of first principles and aiming
+rather at catching the eye and the public purse
+with a pretty page; and in doing this we are but
+imitators. In the English magazines it is strange
+to find a slavish, almost childish imitation of the
+American system of illustration; adopting, for
+instance, the plan of pictures turned over at the
+corners or overlapping each other with exaggerated
+black borders and other devices of the album of the
+last generation. This is what we have come to in
+England in 1894 (with excellent wood engravers
+still), and the kind of art by which we shall be
+remembered at the end of the nineteenth century!
+I am speaking of magazines like <i>Good Words</i> and
+<i>Cassell&rsquo;s Magazine</i>, where wood engraving is still
+largely employed.</p>
+
+<p>It may be as well to explain here that the reasons
+for employing the medium of wood engraving for
+elaborate illustrations which, such as we see in
+American magazines, were formerly only engraved
+on copper or steel, are&mdash;(1) rapidity of production,
+and (2) the almost illimitable number of copies that
+can be produced from casts from wood blocks.
+The broad distinction between the old and new
+methods of wood engraving is, that in early days
+the lines were drawn clearly on the wood block and
+<span class="pagenum"><a name="page184" id="page184"></a>184</span>
+the part not drawn cut away by the engraver, who
+endeavoured to make a perfect fac-simile of the
+artist&rsquo;s lines. It is now a common custom to
+transfer a photograph from life on to the wood
+block (<i>see p. 167</i>), also to draw on the wood with a
+brush in tint, and even to photograph a water-colour
+drawing on to the wood, leaving the engraver to
+turn the tints into lines in his own way.</p>
+
+<p>In the very earliest days of book illustration,
+before movable type-letters were invented, the
+illustration and the letters of the text were all
+engraved on the wood together, and thus, of
+necessity (as in the old block books produced in
+Holland and Belgium in the fifteenth century),
+there was character and individuality in every page;
+the picture, rough as it often was, harmonising with
+the text in an unmistakable manner. From an
+artistic point of view, there was a better balance of
+parts and more harmony of effect than in the more
+elaborate illustrations of the present day. The
+illustration was an illustration in the true sense of
+the word. It interpreted something to the reader
+that words were incapable of doing; and even when
+movable type was first introduced, the simple
+character of the engravings harmonised well with
+the letters. There is a broad line of demarcation,
+<span class="pagenum"><a name="page185" id="page185"></a>185</span>
+indeed, between these early wood engravings (such,
+for instance, as the &ldquo;Ars Moriendi,&rdquo; purchased
+for the British Museum in 1872, from the Weigel
+collection at Leipsic, and recently reproduced by
+the Holbein Society) and the last development
+of the art in the American magazines. The
+movement is important, because the Americans,
+with an energy and <i>naïveté</i> peculiar to them, have
+set themselves the task of outstripping all nations
+in the beauty and quality of magazine illustrations.
+That they have succeeded in obtaining delicate
+effects, and what painters call colour, through the
+medium of wood-engraving, is well known, and it
+is common to meet people in England asking,
+&ldquo;Have you seen the last number of <i>Harper&rsquo;s</i> or
+the <i>Century Magazine</i>?&rdquo; The fashion is to admire
+them, and English publishers are easily found to
+devote time and capital to distributing American
+magazines (which come to England free of duty),
+to the prejudice of native productions. The reason
+for the excellence (which is freely admitted) of
+American wood-engraving and printing is that, in
+the first place, more capital is employed upon the
+work. The American wood-engraver is an artist in
+every sense of the word, and his education is not
+considered complete without years of foreign study.
+The American engraver is always <i>en rapport</i> with
+the artist&mdash;an important matter&mdash;working often,
+as I have seen them at <i>Harper&rsquo;s</i>, the <i>Century
+Magazine</i>, and <i>Scribner&rsquo;s</i> in New York, in the same
+studio, side by side. In England the artist, as a
+rule, does not have any direct communication with
+the wood engraver. In America the publisher,
+having a very large circulation for his works, is able
+to bring the culture of Europe and the capital of
+his own country to the aid of the wood-engraver,
+spending sometimes five or six hundred pounds on
+the illustrations of a single number of a monthly
+magazine. The result is <i>an engraver&rsquo;s success</i> of a
+very remarkable kind.</p>
+
+<p><span class="pagenum"><a name="page186" id="page186"></a>186</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page187" id="page187"></a>187</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:437px; height:610px" src="images/img204.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXXV.</p>
+<p class="center f90">(<i>Photograph from life, engraved on wood. From the Century Magazine.</i>)</p>
+<p class="center"><i>A Portrait</i> engraved on wood at the Office of the
+<br /><span class="sc">Century Magazine</span>.</p>
+<p>Example of portraiture from the <i>Century Magazine</i>.
+It is interesting to note the achievements of the
+American engravers at a time when wood engraving
+in England is under a cloud.</p>
+
+<p>This portrait was photographed from life and
+afterwards worked up by hand and most skilfully
+engraved in New York.</p></div>
+
+<p><span class="pagenum"><a name="page188" id="page188"></a>188</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page189" id="page189"></a>189</span></p>
+
+<p>A discussion of the merits of the various styles
+of wood engraving, and of the different methods
+of drawing on wood, such as that initiated by the
+late Frederick Walker, A. R. A.; the styles of Mr.
+William Small, E. A. Abbey, Alfred Parsons, etc.&mdash;does
+not come into the scope of this publication,
+but it will be useful to refer to one or two
+opinions on the American system.</p>
+
+<div class="quote">
+<p>&ldquo;Book illustration as an art,&rdquo; as Mr. Comyns Carr pointed
+out in his lectures at the Society of Arts ten years ago, &ldquo;is
+founded upon wood engraving, and it is to wood engraving that
+we must look if we are to have any revival of the kind of beauty
+which early-printed books possess. In the mass of work now
+<span class="pagenum"><a name="page190" id="page190"></a>190</span>
+produced, there is very little trace of the principles upon which
+Holbein laboured. Instead of proceeding by the simplest
+means, our modern artist seems rather by preference to take the
+most difficult and complex way of expressing himself. A wood
+engraving, it is not unjust to say, has become scarcely distinguishable
+from a steel engraving excepting by its inferiority.&rdquo;</p></div>
+
+<p>Mr. Hubert Herkomer, R. A., who has had a
+very wide experience in the graphic arts, says:&mdash;</p>
+
+<div class="quote">
+<p>&ldquo;In modern times a body of engravers has been raised up who
+have brought the art of engraving on wood to such a degree
+of perfection, that the most modern work, especially that of the
+Americans, is done to show <i>the skill of the engraver</i> rather than
+the art of the draughtsman. This, I do not hesitate to say, is a
+sign of decadence. Take up any number of the <i>Century</i> or
+<i>Harper&rsquo;s</i> magazines, and you will see that effect is the one aim.
+You marvel at the handling of the engraver, and forget the
+artist. Correct, or honest, drawing is no longer wanted. This
+kind of illustration is most pernicious to the student, and <i>will
+not last</i>....</p>
+
+<p>&ldquo;America is a child full of promise in art&mdash;a child that is
+destined to be a great master; so let us not imitate its youthful
+efforts or errors. Americans were the first to foster this style of
+art, and they will be the first to correct it.&rdquo;</p></div>
+
+<p>Mr. W. J. Linton, the well-known wood engraver,
+expresses himself thus strongly on the modern
+system, and his words come with great force from
+the other side of the Atlantic:&mdash;</p>
+
+<div class="quote">
+<p>&ldquo;Talent is misapplied when it is spent on endeavours to rival
+steel-line engraving or etching, in following brush-marks, in
+pretending to imitate crayon-work, charcoal, or lithography, and
+in striving who shall scratch the greatest number of lines on a
+<span class="pagenum"><a name="page191" id="page191"></a>191</span>
+given space without thought of whether such multiplicity of lines
+adds anything to the expression of the picture or the beauty of
+the engraving. How much of talent is here thrown away! How
+much of force that should have helped towards growth is wasted
+in this slave&rsquo;s play for a prize not worth having&mdash;the fame of
+having well done the lowest thing in the engraver&rsquo;s art, and
+having for that neglected the study of the highest! For it is the
+lowest and the last thing about which an artist should concern
+himself, this excessive fineness and minuteness of work....
+In engraving, as in other branches of art, <i>the first thing is
+drawing, the second drawing, the third drawing</i>.&rdquo;</p></div>
+
+<p>This is the professional view, ably expressed, of
+a matter which has been exercising many minds
+of late; and is worth quoting, if only to show the
+folly of imitating a system acknowledged by experts
+to be founded on false principles.</p>
+
+<p>But there is another view of the matter which
+should not be lost sight of. Whatever the opinion
+of the American system of illustration may be, there
+is, on the other side of the Atlantic, an amount of
+energy, enterprise, cultivation of hand and eye,
+delicacy of manipulation, and individual industry,
+cleverly organised to provide a wide continent
+with a better art than anything yet attempted in
+any country. Some fine engravings, which the
+Americans have lately been distributing amongst
+the people, such, for instance, as the portraits (engraved
+from photographs from life) which have
+<span class="pagenum"><a name="page192" id="page192"></a>192</span>
+appeared in <i>Harper&rsquo;s</i> and the <i>Century</i> magazines,
+only reach the cultivated few in Europe in expensive
+books. It is worth considering what the ultimate
+art effect of this widespread distribution will be.
+The &ldquo;prairie flower&rdquo; holds in her hand a better
+magazine, as regards illustrations, than anything
+published in England at the same price; and a
+taste for delicate and refined illustration is being
+fostered amongst a variety of people on the western
+continent, learned and unlearned. That there is a
+want of sincerity in the movement, that &ldquo;things
+are not exactly what they seem,&rdquo; that something
+much better might be done, may be admitted;
+but it will be well for our illustrators and art
+providers to remember that the Americans are
+advancing upon us with the power of capital and
+ever-increasing knowledge and cultivation. In the
+<i>Century</i> magazine, ten years ago, there was an
+article on &ldquo;The Pupils of Bewick,&rdquo; with illustrations
+admirably reproduced from proofs of early wood
+engravings, by &ldquo;photo-engraving.&rdquo;</p>
+
+<p>This is noteworthy, as showing that the knowledge
+of styles is disseminated everywhere in
+America; and also, how easy it is to reproduce
+engravings by &ldquo;process,&rdquo; and how <i>important to
+have a clear copyright law on this subject</i>.</p>
+
+<p><span class="pagenum"><a name="page193" id="page193"></a>193</span></p>
+
+<p>Of the English wood engravers, and of the
+present state of the profession in England much
+has been written. I believe the fact remains that
+commercial wood engraving is still relied on by
+many editors and publishers, as it prints with more
+ease and certainty than any of the process blocks.</p>
+
+<p>That there are those in England (like Mr.
+Biscombe Gardner and others, whose work I am
+unable to reproduce here), that believe in wood
+engraving still as a vital art, capable of the highest
+results, I am also well aware. But at the moment
+of writing it is difficult to get many publishers to
+expend capital upon it for ordinary illustrations.</p>
+
+<p>On the next page is an example of good wood
+engraving.</p>
+
+<div class="figcenter">
+<img style="border:0; width:500px; height:298px" src="images/img210.jpg" alt="" />
+<p class="caption">&ldquo;DRIVING HOME THE PIGS.&rdquo; (JOHN PEDDER.)
+<br />(<i>Academy Notes, 1891.</i>)</p></div>
+
+<p><span class="pagenum"><a name="page194" id="page194"></a>194</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page195" id="page195"></a>195</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:442px; height:610px" src="images/img212.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXXVI.</p>
+<p class="center"><i>Joan of Arc&rsquo;s House at Rouen</i>, by the late
+<br /><span class="sc">Samuel Prout</span>.</p>
+<p>Engraved on wood by Mr. J. D. Cooper, from a
+water-colour drawing by Samuel Prout.</p>
+
+<p>The original drawing, made with a reed pen and
+flat washes of colour, was photographed on to the
+wood block, and the engraver interpreted the various
+tints into line. The method is interesting, and the
+tones obtained in line show the resources of the
+engraver&rsquo;s art, an art rather carelessly set aside in
+these days.</p>
+
+<p>This engraving is from <i>Normandy Picturesque</i>.
+(London: Sampson Low &amp; Co.)</p></div>
+
+<p><span class="pagenum"><a name="page196" id="page196"></a>196</span></p>
+
+<hr class="foot" /><div class="note">
+
+<p><a name="Footnote_21" id="Footnote_21" href="#FnAnchor_21"><span class="fn">21</span></a> In <i>The Life and Works of Thomas Bewick</i>, by D. C.
+Thomson; in <i>The Portfolio</i>, <i>The Art Journal</i>, <i>The Magazine of
+Art</i>, and in <i>Good Words</i>, Bewick&rsquo;s merits as artist and engraver
+have been exhaustively discussed.</p>
+</div>
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page197" id="page197"></a>197</span></p>
+
+
+<div class="figcenter">
+<img style="border:0; width:320px; height:333px" src="images/img214a.jpg" alt="" />
+<p class="caption">DESIGN BY WALTER CRANE.</p></div>
+
+<h3>CHAPTER VI.</h3>
+
+<h5>THE DECORATIVE PAGE.</h5>
+
+<table class="nobctr" style="float: left; width: 80px;" summary="Illustration">
+<tr><td class="figleft1"><img style="width:60px; height:62px" src="images/img214b.jpg" alt="" /></td></tr>
+</table>
+
+<p class="chaps">To turn next to the more decorative side
+of modern illustration, where design
+and the <i>ensemble</i> of a printed page
+are more considered, it is pleasant to
+be able to draw attention to the work of an art
+school, where an educated and intelligent mind
+seems to have been the presiding genius; where
+the illustrators, whilst they are fully imbued with
+the spirit of the past, have taken pains to adapt
+their methods to modern requirements. I refer to
+the Birmingham Municipal School of Art.</p>
+
+<p><span class="pagenum"><a name="page198" id="page198"></a>198</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page199" id="page199"></a>199</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:391px; height:620px" src="images/img216.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXXVII.</p>
+<p class="center"><i>Decorative Page</i>, by <span class="sc">A. J. Gaskin</span>.
+<br /><span class="f90">(From Hans Andersen&rsquo;s <i>Fairy Tales</i>. London: George Allen.)</span></p>
+<p>This is a good example of the appropriate
+decoration of a page without any illustration in the
+ordinary sense of the word. The treatment of
+ornament harmonises well with old-faced type letter.</p>
+
+<p>The original was drawn in pen and ink, about
+<i>the same size</i> as the reproduction. The ground
+is excellent in colour, almost equal to a wood
+engraving.</p>
+
+<p>This is another example of the possibilities of
+process, rightly handled, and also of effect produced
+<i>without reduction</i> of the drawing.</p></div>
+
+<p><span class="pagenum"><a name="page200" id="page200"></a>200</span></p>
+
+<p>Whilst using wood engraving freely, the illustrators
+of Birmingham (notably Mr. Gaskin), are
+showing what can be done in line drawing by the
+relief processes, to produce colour and ornament
+which harmonise well with the letterpress of a book.
+This seems an important step in the right direction,
+and if the work emanating from this school were
+less, apparently, confined to an archaic style, to
+heavy outline and mediæval ornament (I speak
+from what I see, not knowing the school personally),
+there are possibilities for an extended popularity for
+those who have worked under its influence.<a name="FnAnchor_22" id="FnAnchor_22" href="#Footnote_22"><span class="sp">22</span></a></p>
+
+<p>The examples of decorative pages by experienced
+illustrators like Mr. Walter Crane and others,
+will serve to remind us of what some artists are
+doing. But the band of illustrators who consider
+design is much smaller than it should be, and than
+it will be in the near future. A study of the past,
+if it be only in the pages of mediæval books, will
+greatly aid the student of design. In the Appendix
+I have mentioned a few fine examples of decorative
+pages, with and without illustrations, which may be
+usefully studied at the British Museum.</p>
+
+<p><span class="pagenum"><a name="page201" id="page201"></a>201</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:384px; height:620px" src="images/img218.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXXVIII.</p>
+</div>
+
+<p><span class="pagenum"><a name="page202" id="page202"></a>202</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page203" id="page203"></a>203</span></p>
+
+<p>In all these pages, it will be observed, what is
+called &ldquo;colour&rdquo; in black and white is preserved
+throughout; showing that a page can be thoroughly
+decorative without illustrations to the text. Closely
+criticised, some of the old block designs may appear
+crude and capable of more skilful treatment, but the
+pages, as a rule, show the artistic sense&mdash;unmistakably,
+mysteriously, wonderfully.</p>
+
+<p>In these and similar pages, such, for instance, as
+<i>Le Mer des Histoires</i>, produced in Paris by Pierre
+le Rouge in 1488 (also in the British Museum),
+the harmony of line drawing with the printed letters
+is interesting and instructive. (<i>See Appendix.</i>)</p>
+
+<p>It is in the production of the decorative page that
+wood engraving asserts its supremacy still in some
+quarters, as may be seen in the beautiful books
+produced in England during the past few years by
+Mr. William Morris, where artist, wood engraver,
+typefounder, papermaker, printer, and bookbinder
+work under the guiding spirit (when not the actual
+handwork) of the author. They are interesting to
+us rather as exotics; an attempt to reproduce the
+exact work of the past under modern conditions,
+conditions which render the price within reach only
+of a few, but they are at least a protest against the
+modern shams with which we are all familiar.</p>
+
+<p><span class="pagenum"><a name="page204" id="page204"></a>204</span></p>
+
+<p>The nineteenth-century author&rsquo;s love for the
+literature of his past has led him to imitate not
+only the style, but the outward aspect of old books;
+and by a series of frauds (to which his publisher
+has lent himself only too readily) to produce something
+which appears to be what it is not.</p>
+
+<p>The genuine outcome of mediæval thought and
+style&mdash;of patience and leisure&mdash;seems to be treated
+at the end of the nineteenth century as a fashion
+to be imitated in books, such as are to be seen
+under glass cases in the British Museum. It is
+to be feared that the twentieth-century reader,
+looking back, will see few traces worth preserving,
+either of originality or of individuality in the work
+of the present.</p>
+
+<p>What are the facts? The typefounder of to-day
+takes down a Venetian writing-master&rsquo;s copybook
+of the fifteenth century, and, imitating
+exactly the thick downward strokes of the reed
+pen, forms a set of movable type, called in
+printer&rsquo;s language &ldquo;old face&rdquo;; a style of letter
+much in vogue in 1894, but the style and character
+of which belongs altogether to the past. Thus,
+with such aids, the man of letters of to-day&mdash;living
+in a whirl of movement and discovery&mdash;clothes
+himself in the handwriting of the Venetian
+scholar as deliberately as the Norwegian dons a
+bear-skin.</p>
+
+<p><span class="pagenum"><a name="page205" id="page205"></a>205</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:466px; height:600px" src="images/img222.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XXXIX.</p>
+<p class="center">DESIGN FOR THE TITLE PAGE OF THE &ldquo;HOBBY-HORSE.&rdquo; (SELWYN IMAGE.)
+<br />(<i>This is a reduction by process from a large quarto wood engraving</i>.)</p>
+</div>
+
+<p><span class="pagenum"><a name="page206" id="page206"></a>206</span></p>
+
+<p>The next step is to present in his book a series
+of so-called &ldquo;engravings,&rdquo; which are not engravings
+but reproductions by process of old prints.
+The &ldquo;advance of science&rdquo; in producing photo-relief
+blocks from steel and other <i>intaglio</i> plates
+for the type printing press, at a small cost per
+square inch, is not only taking from the artistic
+value of the modern <i>édition de luxe</i>, but also
+from its interest and genuineness.</p>
+
+<p>The next step is to manufacture rough-edged,
+coarse-textured paper, purporting to be carefully
+&ldquo;hand-made.&rdquo; The rough edge, which was a
+necessity when every sheet of paper was finished
+by hand labour, is now imitated successfully by
+machinery, and is handled lovingly by the bookworm
+of to-day, regardless of the fact that these
+roughened sheets can be bought by the pound in
+Drury-lane. The worst, and last fraud (I can
+call it no less) that can be referred to here is,
+that the clothing&mdash;the &ldquo;skin of vellum&rdquo;&mdash;that
+appropriately encloses our modern <i>édition de luxe</i>
+is made from pulp, rags, and other <i>débris</i>. That
+the gold illuminations on the cover are no longer
+real gold, and that the handsomely bound book,
+<span class="pagenum"><a name="page207" id="page207"></a>207</span>
+with its fair margins, cracks in half with a &ldquo;bang,&rdquo;
+when first opened, are other matters connected with
+the discoveries of science, and the substitution of
+machinery for hand labour, which we owe to
+modern enterprise and invention.<a name="FnAnchor_23" id="FnAnchor_23" href="#Footnote_23"><span class="sp">23</span></a></p>
+
+<p>Looking at the &ldquo;decorative pages&rdquo; in most books,
+and remembering the achievements of the past, one
+is inclined to ask&mdash;Is the &ldquo;setting-out of a page&rdquo; one
+of the lost arts, like the designing of a coin? What
+harmony of style do we see in an ordinary book?
+How many authors or illustrators of books show
+that they care for the &ldquo;look&rdquo; of a printed page?
+The fact is, that the modern author shirks his
+responsibilities, following the practice of the greatest
+writers of our day. There are so many &ldquo;facilities&rdquo;&mdash;as
+they are called&mdash;for producing books that the
+author takes little interest in the matter. Mr.
+Ruskin, delicate draughtsman as he is known to be,
+has contributed little to the <i>ensemble</i> or appearance
+of the pages that flow from the printing press of
+Mr. Allen, at Orpington. His books are well
+printed in the modern manner, but judged by examples
+of the past, a deadly monotony pervades the
+<span class="pagenum"><a name="page208" id="page208"></a>208</span>
+page; the master&rsquo;s noblest thoughts are printed
+exactly like his weakest, and are all drawn out
+in lines together as in the making of macaroni!
+Mr. Hamerton, artist as well as author, is content to
+describe the beauty of forest trees, ferns and flowers,
+the variety of underwood and the like (nearly every
+word, in an article in the <i>Portfolio</i>, referring to
+some picturesque form or graceful line), without
+indicating the varieties pictorially on the printed
+page. The late Lord Tennyson and other poets
+have been content for years to sell their song by the
+line, little heeding, apparently, in what guise it was
+given to the world.</p>
+
+<p>In these days the monotony of uniformity
+seems to pervade the pages, alike of great and
+small, and a letter from a friend is now often
+printed by a machine!</p>
+
+<div class="center">
+<img style="border:0; width:450px; height:157px" src="images/img225.jpg" alt="" /></div>
+
+<p><span class="pagenum"><a name="page209" id="page209"></a>209</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:496px; height:600px" src="images/img226.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XL.</p>
+<p class="center">&ldquo;SCARLET POPPIES.&rdquo; (W. J. MUCKLEY.)</p>
+<p>This beautiful piece of pen work by Mr. Muckley (from his picture in the
+Royal Academy, 1885) was too delicate in the finer passages to reproduce well
+by any relief process (the pale lines having come out black); but as an
+example of breadth, and indication of surfaces in pen and ink, it could hardly
+be surpassed.</p></div>
+
+<hr class="foot" /><div class="note">
+
+<p><a name="Footnote_22" id="Footnote_22" href="#FnAnchor_22"><span class="fn">22</span></a> I mention this school as a representative one; there are
+many others where design and wood engraving are studied under
+the same roof with success in 1894.</p>
+
+<p><a name="Footnote_23" id="Footnote_23" href="#FnAnchor_23"><span class="fn">23</span></a> Mr. Cobden Sanderson&rsquo;s lecture on <span class="sc">Bookbinding</span>, read
+before the &ldquo;Arts and Crafts Society,&rdquo; is well worth the attention
+of book lovers.</p>
+</div>
+
+<p><span class="pagenum"><a name="page210" id="page210"></a>210</span></p>
+<hr class="art" />
+<p><span class="pagenum"><a name="page211" id="page211"></a>211</span></p>
+
+
+<h3>CHAPTER VII.</h3>
+
+<h5>AUTHOR, ILLUSTRATOR, AND PUBLISHER.</h5>
+
+<table class="nobctr" style="float: left; width: 80px;" summary="Illustration">
+<tr><td class="figleft1"><img style="width:60px; height:61px" src="images/img228.jpg" alt="" /></td></tr>
+</table>
+
+<p class="chaps">ET us now consider shortly the Author,
+the Illustrator, and the Publisher, and
+their influence on the appearance and
+production of a book. If it be impossible
+in these days (and, in spite of the efforts
+of Mr. William Morris and others, it seems to be
+impossible) to produce a genuine book in all its
+details, it seems worth considering in what way the
+author can stamp it with his own individuality;
+also to what extent he is justified in making use of
+modern appliances.</p>
+
+<p>How far, then, may the author be said to be
+responsible for the state of things just quoted?
+Theoretically, he is the man of taste and culture
+<i>par excellence</i>; he is, or should be, in most cases,
+the arbiter, the dictator to his publisher, the chooser
+of style. The book is his, and it is his business to
+<span class="pagenum"><a name="page212" id="page212"></a>212</span>
+decide in what form his ideas should become
+concrete; the publisher aiding his judgment with
+experience, governing the finance, and carrying out
+details. How comes it then that, with the present
+facilities for reproducing anything that the hand can
+put upon paper, the latter-day nineteenth-century
+author is so much in the hands of others as to the
+appearance of his book? It is because the so-called
+educated man has not been taught to use his
+hands as the missal-writers and authors of mediæval
+times taught themselves to use theirs. The modern
+author, who is, say, fifty years old, was born in an
+age of &ldquo;advanced civilisation,&rdquo; when the only
+method of expression for the young was one&mdash;&ldquo;pothooks
+and hangers.&rdquo; The child of ten years
+old, whose eye was mentally forming pictures, taking
+in unconsciously the facts of perspective and the
+like, had a pencil tied with string to his two first
+fingers until he had mastered the ups and downs,
+crosses and dashes, of modern handwriting, which
+has been accepted by the great, as well as the little,
+ones of the earth, as the best medium of communication
+between intelligent beings; and so, regardless
+of style, character, or picturesqueness,
+he scribbles away! So much for our generally
+straggling style of penmanship.</p>
+
+<p><span class="pagenum"><a name="page213" id="page213"></a>213</span></p>
+
+<p>There is no doubt that the author of the future
+will have to come more into personal contact with
+the artist than he has been in the habit of doing,
+and that the distinction I referred to in the first
+chapter, between illustrations which are to be (1)
+records of facts, and (2) works of art, will have to
+be more clearly drawn.</p>
+
+<p>Amongst the needs in the community of book
+producers is one that I only touch upon because it
+affects the illustrator:&mdash;That there should be an
+expert in every publishing house to determine
+(1) whether a drawing is suitable for publication;
+and (2) by what means it should be reproduced.
+The resources of an establishment will not always
+admit of such an arrangement; but the editors and
+publishers who are informed on these matters can
+easily be distinguished by the quality of their publications.
+By the substitution of process blocks for
+wood engravings in books, publishers are deprived
+to a great extent of the fostering care of the master
+wood engraver, to which they have been accustomed.</p>
+
+<p>Amongst the influences affecting the illustrator,
+none, I venture to say, are more prejudicial than
+the acceptance by editors and publishers of
+inartistic drawings.</p>
+
+<p>It would be difficult, I think, to point to a period
+<span class="pagenum"><a name="page214" id="page214"></a>214</span>
+when so much bad work was produced as at present.
+The causes have already been pointed out, the
+beautiful processes for the reproduction of drawings
+are scarcely understood by the majority of artists,
+publishers, authors, or critics. It is the <i>misuse</i> of
+the processes in these hurrying days, which is
+dragging our national reputation in the mire and
+perplexing the student.</p>
+
+<p>The modern publisher, it may be said without
+offence, understands the manufacture and the commerce
+of a book better than the art in it. And
+how should it be otherwise? The best books that
+were ever produced, from an artistic point of view,
+were inspired and designed by students of art and
+letters, men removed from the commercial scramble
+of life, and to whom an advertisement was a thing
+unknown! The ordinary art education of a publisher,
+and the multitude of affairs requiring his
+attention, unfit him generally, for the task of deciding
+whether an illustration is good or bad, or how far&mdash;when
+he cheapens the production of his book by
+using photographic illustrations (&ldquo;snap-shots&rdquo; from
+nature)&mdash;he is justified in calling them &ldquo;art.&rdquo; The
+deterioration in the character of book illustration
+in England is a serious matter, and public attention
+may well be drawn to it.</p>
+
+<p><span class="pagenum"><a name="page215" id="page215"></a>215</span></p>
+
+<p>Here we look for the active co-operation of
+the author. The far-reaching spread of education&mdash;especially
+technical art education&mdash;is tending to
+bring together, as they were never brought before
+in this century, the author and the illustrator. The
+author of a book will give more attention to the
+appearance of his pages, to the decorative character
+of type and ornament, whilst the average artist
+will be better educated from a literary point of view;
+and, to use a French word for which there is no
+equivalent, will be more <i>en rapport</i> with both author
+and publisher.</p>
+
+<p>For the illustrator by profession there seems no
+artistic leisure; no time to do anything properly
+in this connection.</p>
+
+<p>&ldquo;It is a poor career, Blackburn,&rdquo; said a well-known
+newspaper illustrator to me lately (an artist
+of distinction and success in his profession who
+has practised it for twenty years), &ldquo;you seldom
+give satisfaction&mdash;not even to yourself.&rdquo;</p>
+
+<p>&ldquo;It is an <i>ideal career</i>,&rdquo; says another, a younger
+man, who is content with the more slap-dash
+methods in vogue to-day&mdash;and with the income he
+receives for them.</p>
+
+<p>Referring again to the question in the <i>Athenæum</i>,
+&ldquo;Why is not drawing for the press taught in our
+<span class="pagenum"><a name="page216" id="page216"></a>216</span>
+Government schools of art?&rdquo; I think the principal
+reasons why the art of illustration by the processes
+is not generally taught in art schools are&mdash;</p>
+
+<p>(1) drawing for reproduction requires more personal
+teaching than is possible in art classes in
+public schools; (2) the art masters throughout
+the country, with very few exceptions, <i>do not
+understand the new processes</i>&mdash;which is not to be
+wondered at.</p>
+
+<p>It is not the fault of the masters in our schools
+of art that students are taught in most cases as
+if they were to become painters, when the only
+possible career for the majority is that of illustration,
+or design. The masters are, for the most
+part, well and worthily occupied in giving a good
+groundwork of knowledge to every student, as
+to drawing for the press. There is no question
+that the best preparation for this work is
+the <i>best general art teaching that can be obtained</i>.
+The student must have drawn from the antique and
+from life; he must have learned composition and
+design; have studied from nature the relative values
+of light and shade, aërial perspective and the like;
+in short, have followed the routine study for a
+painter whose first aim should be to be a master
+of monochrome.</p>
+
+<p><span class="pagenum"><a name="page217" id="page217"></a>217</span></p>
+
+<p>In the more technical parts, which the young
+illustrator by process will require to know, he
+needs personal help. He will have a multitude of
+questions to ask &ldquo;somebody&rdquo; as to the reasons for
+what he is doing; <i>for what style of process work
+he is by touch and temperament best fitted</i>, and so
+on. All this has to be considered if we are to keep
+a good standard of art teaching for illustration.</p>
+
+<p>The fact that <i>a pen-and-ink drawing which looks
+well scarcely ever reproduces well</i>, must always be
+remembered. Many drawings for process, commended
+in art schools for good draughtsmanship
+or design, will not reproduce as expected, for want of
+exact knowledge of the requirements of process;
+whereas a drawing by a trained hand will often
+<i>look better in the reproduction</i>. These remarks refer
+especially to ornament and design, to architectural
+drawings and the like.</p>
+
+<p>The topical illustrator and sketcher in weekly
+prints has, of course, more licence, and it matters
+less what becomes of his lines in their rapid transit
+through the press. Still the illustrator, of whatever
+rank or style, has a right to complain if his drawing
+is reproduced on a scale not intended by him, or by
+a process for which it is not fitted, or if printed
+badly, and with bad materials.</p>
+
+<p><span class="pagenum"><a name="page218" id="page218"></a>218</span></p>
+
+<p>But the sketchy style of illustration seems to be
+a little overdone at present, and&mdash;being tolerable
+only when allied to great ability&mdash;remains consequently
+in the hands of a few. There is plenty
+of talent in this country which is wasted for want of
+control. It plays about us like summer lightning
+when we want the precision and accuracy of the
+telegraph.</p>
+
+<p>The art of colour printing (whether it be by the
+intaglio processes, or by chromo-lithography, or on
+relief blocks) has arrived at such proficiency and
+has become such an important industry that it
+should be mentioned here. By its means, a
+beautiful child-face, by Millais, is scattered over
+the world by hundreds of thousands; and the
+reputation of a young artist, like Kate Greenaway,
+made and established. The latter owes much of
+her prestige and success to the colour-printer.
+Admitting the grace, taste, and invention of Kate
+Greenaway as an illustrator, there is little doubt that,
+without the wood engraver and the example and
+sympathetic aid of such artists as H. S. Marks, R.A.,
+Walter Crane, and the late Randolph Caldecott,
+she would never have received the praise bestowed
+upon her by M. Ernest Chesneau, or Mr. Ruskin.
+These things show how intimately the arts of
+<span class="pagenum"><a name="page219" id="page219"></a>219</span>
+reproduction affect reputations, and how important
+it is that more sympathy and communication should
+exist between all producers. In the mass of
+illustrated publications issuing from the press the
+expert can discern clearly where this sympathy and
+knowledge exist, and where ability, on the part of
+the artist, has been allied to practical knowledge
+of the requirements of illustration.</p>
+
+<p>The business of many will be to contribute, in
+some form, to the making of pictures and designs
+to be multiplied in the press; and, in order to learn
+the technique and obtain employment, some of the
+most promising pupils have to fall into the ways of
+the producers of cheap illustrations, Christmas cards,
+and the like. On the other hand, a knowledge of
+the mechanical processes for reproducing drawings
+(as it is being pressed forward in technical schools)
+is leading to disastrous consequences, as may be seen
+on every railway bookstall in the kingdom.</p>
+
+<p>In the &ldquo;book of the future&rdquo; we hope to see
+less of the &ldquo;lath and plaster&rdquo; style of illustration,
+produced from careless wash drawings by the cheap
+processes; fewer of the blots upon the page, which
+the modern reader seems to take as a matter of
+course. In books, as in periodicals, the illustrator by
+process will have to divest himself, as far as possible,
+<span class="pagenum"><a name="page220" id="page220"></a>220</span>
+of that tendency to scratchiness and exaggeration
+that injures so many process illustrations. In short,
+he must be more careful, and give more thought
+to the meaning of his lines and washes, and to the
+adequate expression of textures.</p>
+
+<p>There is a great deal yet to learn, for neither
+artists nor writers have mastered the subject. Few
+of our best illustrators have the time or the inclination
+to take to the new methods, and, as regards
+criticism, it is hardly to be expected that a reviewer
+who has a pile of illustrated books to pronounce
+upon, should know the reason of the failures that
+he sees before him. Thus the public is often
+misled by those who should be its guides as to
+the value and importance of the new systems of
+illustration.<a name="FnAnchor_24" id="FnAnchor_24" href="#Footnote_24"><span class="sp">24</span></a></p>
+
+<p>In conclusion, let us remember that everyone
+who cultivates a taste for artistic beauty in books,
+be he author, artist, or artificer, may do something
+towards relieving the monotony and confusion
+in style, which pervades the outward aspect of so
+<span class="pagenum"><a name="page221" id="page221"></a>221</span>
+many books. It is a far cry from the work of the
+missal writer in a monastery to the pages of a
+modern book, but the taste and feeling which was
+shown in the fifteenth and sixteenth centuries in
+the production of books, exists in the nineteenth,
+under difficult conditions.</p>
+
+<p>In the &ldquo;book of the future&rdquo; the author will
+help personally, more than he has ever done, as I
+have already suggested. The subject is not half-ventilated
+yet, nor can I touch upon it further, but
+the day is not far distant when the power of the
+hand of the author will be tested to the utmost,
+and lines of all kinds will appear in the text.
+There is really no limit to what may be done with
+modern appliances, if only the idea is seized with
+intelligence.</p>
+
+<p>Two questions, however, remain unanswered&mdash;(1)
+Whether, as a matter of language and history,
+we are communicating information to each other
+much better than the ancients did in cuneiform
+inscriptions, on stones and monuments. (2)
+Whether, as a matter of illustrative art, we are
+making the best use of modern appliances.</p>
+
+<p>Let us, then, cultivate more systematically the
+art of drawing for the press, and treat it as a
+worthy profession. Let it not be said again,
+<span class="pagenum"><a name="page222" id="page222"></a>222</span>
+as it was to me lately by one who has devoted
+half a lifetime to these things, &ldquo;The processes
+of reproduction are to hand, but where are our
+artists?&rdquo; Let it not be said that the chariot-wheels
+of the press move too fast for us&mdash;that
+chemistry and the sun&rsquo;s rays have been
+utilised too soon&mdash;that, in short, the processes of
+reproduction have been perfected before their
+time! I think not, and that an art&mdash;the art of
+pictorial expression&mdash;which has existed for ages
+and is now best understood by the Japanese, may
+be cultivated amongst us to a more practical end.</p>
+
+<div class="figcenter">
+<img style="border:0; width:300px; height:246px" src="images/img239.jpg" alt="" />
+<p class="caption">&ldquo;TAKE CARE.&rdquo; (W. B. BAIRD.)
+<br />(<i>Royal Academy, 1891.</i>)</p></div>
+
+<hr class="foot" /><div class="note">
+
+<p><a name="Footnote_24" id="Footnote_24" href="#FnAnchor_24"><span class="fn">24</span></a> There seems but one rule of criticism in this connection. If
+a book illustration comes out coarsely and (as is often the case)
+a mere smudge, the process is blamed, when the drawing or
+photograph may have been quite unsuitable for the process
+employed.</p>
+</div>
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page223" id="page223"></a>223</span></p>
+
+<h3>STUDENTS&rsquo; DRAWINGS.</h3>
+
+<p>The following four examples of drawing from life, by
+students at Victoria Street, fresh from art schools, are
+interesting as tentative work. The object has been to
+test their powers and <i>adaptability for line work</i>; avoiding
+outline in the experiment as much as possible.</p>
+
+<p>Nos. 1, 3, and 4, it will be observed, evade backgrounds
+altogether&mdash;the too ready solution of a difficult
+problem in line.</p>
+
+<p>These drawings were made direct from life, in line;
+a system not to be recommended, excepting as an experiment
+of powers.</p>
+
+<p>Examples of students&rsquo; wash drawings, &amp;c., will appear
+in future editions of this book.</p>
+
+<p><span class="pagenum"><a name="page224" id="page224"></a>224</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page225" id="page225"></a>225</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:415px; height:600px" src="images/img242.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XLI.</p>
+<p class="center">&ldquo;<i>Spanish Woman</i>.&rdquo; A Study from Life.
+<br />By <span class="sc">Ina Bidder</span>.</p>
+<p>This is a clever sketch with pen and ink and brush,
+and drawn with a bold free hand, reproduced on
+an (untouched) process block. It shows originality
+of treatment and courage on the part of the student;
+also the value of great reduction to give strength and
+effect.</p>
+
+<p>(Size of drawing, 16 × 11½ in.)</p></div>
+
+<p><span class="pagenum"><a name="page226" id="page226"></a>226</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page227" id="page227"></a>227</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:417px; height:610px" src="images/img244.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XLII.</p>
+<p class="center">&ldquo;<i>Sketch from Life</i>,&rdquo; by <span class="sc">Estelle d&rsquo;Avigdor</span>.</p>
+<p>This student was the winner in a prize competition
+lately in <i>The Studio</i>. She has undoubted ability,
+but not clearly in the direction of line drawing.
+After considerable success in painting, this student
+writes: &ldquo;I still find the pen a difficult instrument to
+wield.&rdquo;</p>
+
+<p>In this sketch we see the influence of Aubrey
+Beardsley and others of the dense-black, reckless
+school of modern illustrators.</p>
+
+<p>(Size of drawing, 10 × 6¾ in.) Zinc process.</p></div>
+
+<p><span class="pagenum"><a name="page228" id="page228"></a>228</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page229" id="page229"></a>229</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:479px; height:610px" src="images/img246.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XLIII.</p>
+<p class="center"><i>Sketch from Life</i>, by <span class="sc">G. C. Marks</span>.</p>
+<p>This pen-and-ink drawing is interesting for colour,
+especially in the hair; it would have been better
+modelled if drawn first in pencil or chalk.</p>
+
+<p>This student has an obvious aptitude for line
+work; the touch is very good for a beginner.</p>
+
+<p>(Size of drawing, 10½ × 8 in.) Zinc process.</p></div>
+
+<p><span class="pagenum"><a name="page230" id="page230"></a>230</span></p>
+<div class="pt1">&nbsp;</div>
+<p><span class="pagenum"><a name="page231" id="page231"></a>231</span></p>
+
+<div class="figcenter">
+<img style="border:0; width:494px; height:600px" src="images/img248.jpg" alt="" /></div>
+<div class="capd">
+<p class="center">No. XLIV.</p>
+<p class="center"><i>Bough of Common Furze</i>, by <span class="sc">William French</span>.</p>
+<p>A most careful study from nature in pen and ink.
+(Size of original drawing, 14 × 11½ in.) Reproduced
+by zinc process.</p>
+
+<p>This artist learned the method of line work for
+process in a month.</p></div>
+
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page232" id="page232"></a>232</span></p>
+
+<h3>CANTOR LECTURES.</h3>
+
+<p>The <span class="sc">Illustrations</span> in this Volume are, for the most
+part, reproductions of drawings which&mdash;for purposes
+of study and comparison&mdash;are shown by Mr.
+Blackburn at his Lectures in Art Schools, enlarged
+to a scale of 15 to 20 ft.</p>
+
+<p>Students who may be unable to attend these
+lectures can see some of the original drawings on
+application (by letter) to &ldquo;The Secretary, at Mr.
+<span class="sc">Henry Blackburn&rsquo;s Studio</span>, 123, Victoria Street,
+Westminster.&rdquo;</p>
+
+<hr class="art" />
+<p><span class="pagenum"><a name="page233" id="page233"></a>233</span></p>
+
+<h3>APPENDIX.</h3>
+
+<hr class="short" />
+<p style="text-indent: -1.5em; padding-left: 1.5em;">1. <span class="sc">Photo-zinc Process.</span>&mdash;2. <span class="sc">Gelatine Process.</span>&mdash;3. <span class="sc">Half-tone.</span>&mdash;4.
+<span class="sc">Intaglio Processes.</span>&mdash;5. <span class="sc">Drawing Materials.</span>&mdash;6. <span class="sc">Books for
+Students.</span>&mdash;7. <span class="sc">Decorative Pages.</span>&mdash;8. <span class="sc">List of Photo-engravers.</span></p>
+<hr class="short" />
+
+<p class="center pt2">PHOTO-ZINC PROCESS.</p>
+
+<p class="center scs">FOR THE REPRODUCTION OF LINE DRAWINGS IN RELIEF, SUITABLE FOR
+PRINTING AT THE TYPE PRESS.</p>
+
+<p><span class="sc">Description of the Process.</span>&mdash;The first stage is to have the
+drawing photographed to the size required, and to transfer a print
+of it on to a sensitized zinc plate. This print, or photographic
+image of the drawing lying upon the zinc plate, is of greasy substance
+(bichromate of potash and gelatine), and is afterwards
+inked up with a roller; the plate is then immersed in a bath of
+nitric acid and ether, which cuts away the parts which were left
+white upon the paper, and leaves the lines of the drawing in
+relief. This &ldquo;biting in,&rdquo; as it is called, requires considerable
+experience and attention, according to the nature of the drawing.
+Thus, the lines are turned into metal in a few hours, and the
+plate, when mounted on wood to the height of type-letters, is
+ready to be printed from, if necessary, at the rate of several
+thousands an hour.</p>
+
+<p><span class="sc">The cost</span> of these blocks averages 6d. the square inch where
+a number are made at one time, the minimum price being 5/-.</p>
+
+<p>Small book illustrations by this process, by firms who make
+a specialty of producing single illustrations, are often charged 9d.
+the square inch, with a minimum of 7/6; but the cost should
+never be more than this for a single block by the zinc process.</p>
+
+<p><span class="pagenum"><a name="page234" id="page234"></a>234</span></p>
+
+<p class="center pt2">GELATINE PROCESS.</p>
+
+<p class="center scs">FOR THE REPRODUCTION OF DRAWINGS IN LINE IN RELIEF, SUITABLE
+FOR PRINTING AT THE TYPE PRESS.</p>
+
+<p>This is a more delicate and sensitive method of obtaining a
+relief block. It is called the &ldquo;gelatine,&rdquo; or &ldquo;Gillot&rdquo; process.</p>
+
+<p>The drawing is photographed to the required size (as before),
+and the <i>negative</i> laid upon a glass plate (previously coated with a
+mixture of gelatine and bichromate of potash). The part of this
+thin, sensitive film not exposed to the light is absorbent, and
+when immersed in water swells up. The part exposed to the
+light, <i>i.e.</i>, the lines of the drawing, remains near the surface of
+the glass. Thus we have a sunk mould from which a metal
+cast can be taken, leaving the lines in relief as in the zinc process.
+In skilful hands this process admits of more delicate gradations,
+and pale, uncertain lines can be reproduced with tolerable fidelity.
+There is no process yet invented which gives better results from a
+pen-and-ink drawing for the type press.</p>
+
+<p>Reproductions of pencil, chalk, and charcoal are also possible
+by this process; but <i>they are not suited for it</i>, and there is
+generally too much working up by hand on the block to suit
+rapid printing. These blocks when completed have a copper
+surface. The blocks take longer to make, and are about double
+the price of the photo-zinc process. <span class="sc">The cost</span> varies from 9d. to
+1/6 the square inch.</p>
+
+<p>M. Gillot, in Paris, may be said to be the inventor or perfector
+of this process, now used by many photo engravers in London,
+notably by Mr. Alfred Dawson, of Hogarth Works, Chiswick.</p>
+
+<p><span class="pagenum"><a name="page235" id="page235"></a>235</span></p>
+
+<p class="center pt2">HALF-TONE PROCESS.</p>
+
+<p class="center scs">FOR THE REPRODUCTION OF WASH DRAWINGS, PHOTOGRAPHS, ETC.,
+BY THE SCREENED PHOTO-ZINC RELIEF PROCESS.</p>
+
+<p>This method of making the blocks is more complicated.
+As there are no lines in a wash drawing, or in a photograph
+from nature, or in a painting, it is necessary to obtain some kind
+of grain, or interstices of white, on the zinc plate, as in a
+mezzotint; so between the drawing or photograph to be reproduced
+and the camera, glass screens covered with lines or
+dots, are interposed, varying in strength according to the light
+and shade required; thus turning the image of the wash drawing
+or photograph practically into &ldquo;line,&rdquo; with sufficient interstices of
+white for printing purposes.</p>
+
+<p>The coarseness or fineness of grain on these blocks varies
+according to circumstances. Thus, for rapid printing on cylinder
+machines, with inferior paper and ink, a wider grain and a deeper
+cut block is necessary.</p>
+
+<p>The examples in this book may be said to show these process
+blocks at their best, with good average printing. The results
+from wash drawings, as already pointed out, are uncertain, and
+generally gloomy and mechanical-looking.</p>
+
+<p>The reproductions of pencil, chalk, or charcoal drawings by
+this process are generally unsatisfactory, even when printed under
+good conditions. The blocks are shallow as compared with the
+zinc line process, and are double the cost.</p>
+
+<p><span class="pagenum"><a name="page236" id="page236"></a>236</span></p>
+
+<p class="center pt2">INTAGLIO PROCESSES.</p>
+
+<p class="center scs">PHOTOGRAVURE, AUTOTYPE, DALLASTYPE, ETC.</p>
+
+<p><span class="sc">Photogravure.</span>&mdash;First, a photographic negative is taken direct
+from the picture to be reproduced, and from this an autotype carbon
+print is taken and transferred on to glass or silvered copper,
+instead of on the paper used in making carbon prints for sale.
+This picture is in delicate relief, and forms the mould, upon
+which copper is electrically deposited. After being made &ldquo;conductive,&rdquo;
+the carbon mould is placed in a galvanic bath, the
+deposit of copper upon it taking the impression perfectly.</p>
+
+<p>Another method is to transfer the same mould upon pure,
+clean copper, and then operate with a powerful biting solution,
+which is resisted more or less according to the varying thickness
+of carbon mould to be penetrated. Thus the parts to be left
+smoothest are thick of carbon, and the parts to be dark are bare,
+so that the mordant may act unresisted. This, it will be perceived,
+is the opposite way to the process above given, and is therefore
+worked from a &ldquo;transparency,&rdquo; or photographic &ldquo;positive,&rdquo;
+instead of a negative. This is the Klick and Fox Talbot method,
+and is very commonly in use at present.</p>
+
+<p>The process of &ldquo;photogravure&rdquo; is well known, as employed by
+Messrs. Boussod, Valadon, &amp; Co. (Goupil), of Paris, and is
+adapted for the reproduction of wash drawings, paintings, also
+drawings where the lines are pale and uncertain, pencil, chalk,
+etc.; the greys and gradations of pencil being wonderfully interpreted.
+In London the intaglio processes are used by many of
+the firms mentioned on page 240. They are now much used for
+the reproduction of photographic portraits in books, taking place
+of the copperplate engraving.</p>
+
+<p><span class="sc">The cost</span> of these plates is, roughly, 5/- the square inch. The
+makers of these plates generally supply paper, and print, charging
+by the 100 copies. But engravings thus produced are comparatively
+little used in modern book illustration, as they cannot be
+printed simultaneously with the letter-press of a book; they are
+suitable only for limited editions and &ldquo;<i>éditions de luxe</i>.&rdquo;</p>
+
+<p><span class="pagenum"><a name="page237" id="page237"></a>237</span></p>
+
+<p class="center pt2">DRAWING MATERIALS FOR REPRODUCTION.</p>
+
+<p class="ind2">1.&mdash;<span class="sc">For Drawings in Line.</span>&mdash;For general use, liquid Indian
+ink and Bristol board; or hard paper of similar surface.
+&ldquo;Clay board,&rdquo; the surface of which can easily be removed
+with a scraper, is useful for some purposes, but the pen
+touch on clay board is apt to become mechanical.</p>
+
+<p class="ind2">2.&mdash;<span class="sc">For Drawings in Pencil and Chalk</span>, grained papers are
+used (see p. 113 and following). These papers are made
+of various textures, with black or white lines and dots
+vertical, horizontal, and diagonal. As a matter of fact,
+grained papers are little used in book and newspaper
+illustration in this country, and unless artistically treated
+the results are very unsatisfactory. They are most
+suitable for landscape work and sketches of effect.</p>
+
+<p class="ind2">3.&mdash;<span class="sc">For Wash Drawings.</span>&mdash;Prepared boards for wash drawings,
+varying in surface and texture according to the scale of
+the drawing, the brush handling of the artist, and the
+nature of the work to be reproduced. These must be
+decided by the teacher. Lamp black and opaque white
+are commonly used. A combination of line and wash is
+generally to be avoided.</p>
+
+<p>The materials for drawing for reproduction are to be obtained
+from the following amongst other artists&rsquo; colourmen.</p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+<p><span class="sc">A. Ackerman</span>, 191, Regent Street, W.</p>
+
+<p><span class="sc">J. Barnard &amp; Son</span>, 19, Berners Street, W.</p>
+
+<p><span class="sc">Cornelissen &amp; Son</span>, 22, Great Queen Street, W.C.</p>
+
+<p><span class="sc">Lechertier, Barbe</span>, &amp; Co., 60, Regent Street, W.</p>
+
+<p><span class="sc">Jas. Newman</span>, 24, Soho Square, W.</p>
+
+<p><span class="sc">Reeves &amp; Sons</span>, 113, Cheapside, E.C.</p>
+
+<p><span class="sc">Chas. Roberson &amp; Co.</span>, 99, Long Acre, W.C.</p>
+
+<p><span class="sc">Geo. Rowney &amp; Co.</span>, 64, Oxford Street, W.</p>
+
+<p><span class="sc">Winsor &amp; Newton</span>, 37, Rathbone Place, W.</p>
+
+<p><span class="sc">Percy Young</span>, 137, Gower Street, W.C.</p>
+</div>
+</td></tr></table>
+
+<p><span class="pagenum"><a name="page238" id="page238"></a>238</span></p>
+
+
+<p class="center pt2">BOOKS FOR STUDENTS.</p>
+
+<p>The following will be found useful:&mdash;</p>
+
+<p class="ind2">1.&mdash;&ldquo;<i>The Graphic Arts</i>,&rdquo; by <span class="sc">P. G. Hamerton</span> (London: Macmillan
+&amp; Co.).</p>
+
+<p class="ind2">2.&mdash;&ldquo;<i>Pen and Pencil Artists</i>,&rdquo; by <span class="sc">Joseph Pennell</span> (London:
+Macmillan &amp; Co.).</p>
+
+<p class="ind2">3.&mdash;&ldquo;<i>English Pen Artists of To-Day</i>,&rdquo; by <span class="sc">J. G. Harper</span> (London:
+Rivington, Percival &amp; Co.).</p>
+
+<p>The value and comprehensive character of Mr. Hamerton&rsquo;s
+book is well known, but it reaches into branches of the art of
+illustration far beyond the scope of this book. Of the second it
+may be said that Mr. Joseph Pennell&rsquo;s book is most valuable to
+students of &ldquo;black and white,&rdquo; with the caution that many of the
+illustrations in it were <i>not drawn for reproduction</i>, and would
+not reproduce well by the processes we have been considering.
+The third volume seems more practical for elementary and
+technical teaching. It is to be regretted that these books are so
+costly as to be out of the reach of most of us; but they can be
+seen in the library of the South Kensington Museum.</p>
+
+<p>Mr. Hamerton&rsquo;s &ldquo;Drawing and Engraving, a Brief Exposition
+of Technical Principles and Practice&rdquo; (London: Adam and
+Charles Black, 1892), &ldquo;The Photographic Reproduction of
+Drawings,&rdquo; by Col. J. Waterhouse (Kegan, Paul, &amp; Co., 1890),
+&ldquo;Lessons in Art,&rdquo; by Hume Nisbet (Chatto &amp; Windus, 1891),
+are portable and useful books, full of technical information. Sir
+Henry Trueman Wood&rsquo;s &ldquo;Modern Methods of Illustrating
+Books,&rdquo; and Mr. H. R. Robertson&rsquo;s &ldquo;Pen and Ink Drawing&rdquo;
+(Winsor &amp; Newton) are both excellent little manuals, but their
+dates are 1886.</p>
+
+<p><span class="pagenum"><a name="page239" id="page239"></a>239</span></p>
+
+<p class="center pt2">DECORATIVE PAGES.</p>
+
+<p class="center f80">(FROM OLD MSS. AND BOOKS TO BE SEEN IN THE BRITISH MUSEUM.)<br />
+(<i>Reprinted from the Cantor Lectures</i>.)</p>
+
+<p>1. &ldquo;Example of early Venetian writing, from a copybook of the
+15th century, written with a reed pen. Note the clearness and
+picturesqueness of the page; also the similarity to the type letters
+used to-day&mdash;what are called &lsquo;old face,&rsquo; and of much (good and
+bad) letter in modern books.&rdquo;</p>
+
+<p>2. &ldquo;A beautiful example of Gothic writing and ornament, from
+a French illuminated manuscript in the British Museum; date
+1480. Here the decorative character and general balance of the
+page is delightful to modern eyes.&rdquo;</p>
+
+<p>3. &ldquo;<i>Fac-simile</i> of a printed page, from Polydore Vergil&rsquo;s
+&ldquo;History of England,&rdquo; produced in Basle, in 1556. The style
+of type is again familiar to us in books published in 1894; but
+the setting out of the page, the treatment of ornament (with
+little figures introduced, but subservient to the general effect), is
+not familiar, because it is seldom that we see a modern decorative
+page. The printer of the past had a sense of beauty, and
+of the fitness of things apparently denied to all but a few to-day.&rdquo;</p>
+
+<p>4. &ldquo;An illuminated printed page, 1521, with engraved borders,
+after designs by Holbein; figures again subordinate to the
+general effect.&rdquo;</p>
+
+<p>5. &ldquo;Examples of Italian, 14th century; ornament, initial, and
+letters forming a brilliant and harmonious combination.&rdquo;</p>
+
+<p><span class="sc">Illustrations</span> of the above and other decorative pages (which
+could not be reproduced in this book) are shown at the lectures
+on a large scale.</p>
+
+<p>Of the many modern books on decoration and ornament, the
+handbooks by Mr. Lewis Foreman Day (London: Batsford) are
+recommended to students of &ldquo;the decorative page&rdquo;; also
+&ldquo;<i>English Book Plates</i>,&rdquo; by Egerton Castle (G. Bell &amp; Sons).</p>
+
+<p><span class="pagenum"><a name="page240" id="page240"></a>240</span></p>
+
+<p class="center pt2">LIST OF PROCESS BLOCK MAKERS.</p>
+
+<p>From a long list of photo-engravers, the following are mentioned
+from personal knowledge of their work:&mdash;</p>
+
+<p class="center"><span class="sc">Relief Blocks.</span></p>
+
+<table class="reg" summary="poem"><tr><td>
+<div class="poemr">
+<p><span class="sc">André &amp; Sleigh</span>, Bushey, Herts.</p>
+
+<p><span class="sc">The Art Reproduction Company</span>, Clairville Grove, South Kensington.</p>
+
+<p><span class="sc">Mr. Dallas</span>, 5, Furnival Street, E.C.</p>
+
+<p><span class="sc">A. &amp; C. Dawson</span>, Hogarth Works, Chiswick.</p>
+
+<p><span class="sc">Dellagana &amp; Co.</span>, Gayton Road, Hampstead, N.W.</p>
+
+<p><span class="sc">Direct Photographic Company</span>, 38, Farringdon Street, E.C.</p>
+
+<p><span class="sc">Hare &amp; Sons, Ltd.</span>, Bride Court, Fleet Street.</p>
+
+<p><span class="sc">Carl Hentschel</span>, 182, Fleet Street, E.C.</p>
+
+<p><span class="sc">Chas. Geard</span> (Agent for Krakow), MacLean&rsquo;s Bldgs., New St. Sq., E.C.</p>
+
+<p><span class="sc">Meisenbach Co.</span>, Ltd., Wolfington Road, West Norwood, S.E.</p>
+
+<p><span class="sc">John Swain &amp; Son</span>, 58, Farringdon Street, E.C.</p>
+
+<p><span class="sc">Swan Electric Light Co.</span>, 114, Charing Cross Road, W.C.</p>
+
+<p><span class="sc">Typographic Etching Co.</span>, 3, Ludgate Circus Buildings, E.C.</p>
+
+<p><span class="sc">Walker &amp; Boutall</span>, Clifford&rsquo;s Inn, Fleet Street, E.C.</p>
+
+<p><span class="sc">Waterlow &amp; Sons</span>, Ltd., London Wall, E.C.</p>
+
+<p><span class="sc">Vincent &amp; Hahn</span>, 34, Barbican, E.C.</p>
+</div>
+</td></tr></table>
+
+<p class="center"><span class="sc">Intaglio</span>.</p>
+
+<p>Several of the firms mentioned above are makers of &ldquo;Intaglio&rdquo;
+plates; some are also wood-engravers, photo-lithographers, etc.;
+and agents for French, German, and Austrian photo-engravers.</p>
+
+<p>Amongst leading firms who make &ldquo;Intaglio&rdquo; plates are Messrs.
+Boussod, Valadon, &amp; Co. (London and Paris); and Messrs.
+Angerer &amp; Göschl, of Vienna.</p>
+
+<p>The Autotype Company&rsquo;s admirable reproductions of photographs
+and drawings should also be mentioned in this connection.</p>
+
+<hr class="art" />
+
+<div style="border: 3px solid; border-color: #800517; padding: 5px;">
+<p class="center verd f120">&ldquo;Black and White.&rdquo;</p>
+
+<p>NOTICE.&mdash;MR. HENRY BLACKBURN&rsquo;S STUDIO is
+open five days a week for the Study and Practice of DRAWING
+FOR THE PRESS with Technical Assistants. Students join
+at any time.</p>
+
+<hr class="short" />
+
+<p class="center f80"><b><i>Private Instruction and by Correspondence.</i></b></p>
+
+<p class="center"><span class="sc">123, Victoria Street, Westminster</span> (<i>near Army &amp; Navy stores</i>).</p>
+</div>
+
+<div class="pt3">&nbsp;</div>
+
+<h3>OPINIONS OF THE PRESS</h3>
+
+<h5>On the First Edition.</h5>
+<hr class="short" />
+
+<p>&ldquo;&lsquo;The Art of Illustration&rsquo; is a brightly written account, by a
+man who has had large experience of the ways in which books
+and newspapers are illustrated nowadays.... As a collection
+of typical illustrations by artists of the day, Mr. Blackburn&rsquo;s
+book is very attractive.&rdquo;&mdash;<i>The Times.</i></p>
+
+<p>&ldquo;Mr. Blackburn explains the processes&mdash;line, half-tone, and
+so forth&mdash;exemplifying each by the drawings of artists more
+or less skilled in the modern work of illustration. They are
+well chosen as a whole, to show the possibilities of process
+work in trained hands.&rdquo;&mdash;<i>Saturday Review.</i></p>
+
+<p>&ldquo;We thoroughly commend this book to all whom it may
+concern.&rdquo;&mdash;<i>Athenæum.</i></p>
+
+<p>&ldquo;Mr. Henry Blackburn, perhaps our greatest expert on the
+subject of the book illustrator&rsquo;s art, has written a most
+interesting volume, which no young black-and-white artist can
+very well afford to do without. Nearly a hundred splendid and
+instructive illustrations.&rdquo;&mdash;<i>Black and White.</i></p>
+
+<p>&ldquo;The author&rsquo;s purpose in this book is to show how drawing
+for the press may be best adapted to its purpose.... Many
+of Mr. Blackburn&rsquo;s instructions are technical, but all are beautifully
+illustrated by choice reproductions from some of the best black-and-white
+work of the time.&rdquo;&mdash;<i>Daily News.</i></p>
+
+<p>&ldquo;Mr. Blackburn&rsquo;s interesting and practical manual is designed,
+in the first instance, for the guidance of students who intend
+to become illustrators in black-and-white, but for the general
+reader it contains a large quantity of readable and attractive
+matter.&rdquo;&mdash;<i>The Literary World.</i></p>
+
+<p>&ldquo;We must express our admiration for the contents of &lsquo;The
+Art of Illustration,&rsquo; and its fund of technical information.&rdquo;&mdash;<i>Bookseller.</i></p>
+
+<p>&ldquo;The book is full of interest, containing close upon a
+hundred varied examples of illustrations of the day. A work
+of unquestionable value.&rdquo;&mdash;<i>Publishers&rsquo; Circular.</i></p>
+
+<p>&ldquo;Mr. Blackburn knows from experience what is best for the
+processes; his volume is illustrated with nearly one hundred
+drawings, most of them good examples of what is being done.
+&rsquo;The Art of Illustration&rsquo; is an entirely safe guide.&rdquo;&mdash;<i>Art Journal.</i></p>
+
+<p>&ldquo;Mr. Henry Blackburn has written an able book on &lsquo;The
+Art of Illustration,&rsquo; which, it is not overpraise to say, should be
+in the hands of every artist who draws for reproduction.&rdquo;&mdash;<i>The
+Gentlewoman.</i></p>
+
+<p>&ldquo;&lsquo;The Art of Illustration&rsquo; is perhaps the most satisfactory
+work of art of its kind that has yet been published.&rdquo;&mdash;<i>Sunday
+Times.</i></p>
+
+<p>&ldquo;A very clear exposition of the various methods of reproduction.&rdquo;&mdash;<i>Guardian.</i></p>
+
+<p>&ldquo;Mr. Blackburn sails his book under the flag of Sir John
+Gilbert, and justly expounds the all-importance of line.&rdquo;&mdash;<i>National
+Observer.</i></p>
+
+<p>&ldquo;&lsquo;The Art of Illustration&rsquo; contains a vast amount of
+valuable artistic information, and should be on every student&rsquo;s
+bookshelf.&rdquo;&mdash;<i>Court Circular.</i></p>
+
+<p>&ldquo;Mr. Henry Blackburn is a well-known authority on the
+technical aspects of painting and design, and this circumstance
+lends value to his exposition of &lsquo;The Art of Illustration.&rsquo;...
+He writes with admirable clearness and force.&rdquo;&mdash;<i>Leeds Mercury.</i></p>
+
+<p>&ldquo;The excellent series of reproductions in this book show
+(<i>inter alia</i>) the variety of effects to be obtained by the common
+zinc process. Mr. Blackburn&rsquo;s book will prove of great value to
+the student and interest to the general reader.&rdquo;&mdash;<i>Manchester
+Guardian.</i></p>
+
+<p>&ldquo;This volume is full of good criticism, and takes a survey
+of the many processes by which books may be beautified....
+A charming and instructive volume.&rdquo;&mdash;<i>Birmingham Gazette.</i></p>
+
+<p>&ldquo;&rsquo;The Art of Illustration&rsquo; will have the deepest interest for
+artists and others concerned in the illustration of books.&rdquo;&mdash;<i>Yorkshire
+Post.</i></p>
+
+<p>&ldquo;A very interesting quarto, worth having for its typical
+illustrations.&rdquo;&mdash;<i>British Architect.</i></p>
+
+<p>&ldquo;Mr. Blackburn&rsquo;s volume should be very welcome to artists,
+editors, and publishers.&rdquo;&mdash;<i>The Artist.</i></p>
+
+<p>&ldquo;A most useful book.&rdquo;&mdash;<i>Studio.</i></p>
+
+<hr class="art" />
+<div class="pt2">&nbsp;</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's The Art of Illustration, by Henry Blackburn
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ART OF ILLUSTRATION ***
+
+***** This file should be named 32320-h.htm or 32320-h.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/2/3/2/32320/
+
+Produced by Marius Masi, Chris Curnow and the Online
+Distributed Proofreading Team at http://www.pgdp.net.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+
+</pre>
+
+</body>
+</html>
diff --git a/32320-h/images/cover.jpg b/32320-h/images/cover.jpg
new file mode 100644
index 0000000..c4a0742
--- /dev/null
+++ b/32320-h/images/cover.jpg
diff --git a/32320-h/images/img005.jpg b/32320-h/images/img005.jpg
new file mode 100644
index 0000000..30b5407
--- /dev/null
+++ b/32320-h/images/img005.jpg
diff --git a/32320-h/images/img010a.jpg b/32320-h/images/img010a.jpg
new file mode 100644
index 0000000..c907026
--- /dev/null
+++ b/32320-h/images/img010a.jpg
diff --git a/32320-h/images/img010b.jpg b/32320-h/images/img010b.jpg
new file mode 100644
index 0000000..3dbc0a7
--- /dev/null
+++ b/32320-h/images/img010b.jpg
diff --git a/32320-h/images/img018a.jpg b/32320-h/images/img018a.jpg
new file mode 100644
index 0000000..84dc687
--- /dev/null
+++ b/32320-h/images/img018a.jpg
diff --git a/32320-h/images/img018b.jpg b/32320-h/images/img018b.jpg
new file mode 100644
index 0000000..3369dfc
--- /dev/null
+++ b/32320-h/images/img018b.jpg
diff --git a/32320-h/images/img022.jpg b/32320-h/images/img022.jpg
new file mode 100644
index 0000000..d8d227f
--- /dev/null
+++ b/32320-h/images/img022.jpg
diff --git a/32320-h/images/img023.jpg b/32320-h/images/img023.jpg
new file mode 100644
index 0000000..40ac3f3
--- /dev/null
+++ b/32320-h/images/img023.jpg
diff --git a/32320-h/images/img028.jpg b/32320-h/images/img028.jpg
new file mode 100644
index 0000000..fe967e8
--- /dev/null
+++ b/32320-h/images/img028.jpg
diff --git a/32320-h/images/img029.jpg b/32320-h/images/img029.jpg
new file mode 100644
index 0000000..6e437ae
--- /dev/null
+++ b/32320-h/images/img029.jpg
diff --git a/32320-h/images/img031.jpg b/32320-h/images/img031.jpg
new file mode 100644
index 0000000..6038bcd
--- /dev/null
+++ b/32320-h/images/img031.jpg
diff --git a/32320-h/images/img032.jpg b/32320-h/images/img032.jpg
new file mode 100644
index 0000000..21b0228
--- /dev/null
+++ b/32320-h/images/img032.jpg
diff --git a/32320-h/images/img032b.jpg b/32320-h/images/img032b.jpg
new file mode 100644
index 0000000..bbf7371
--- /dev/null
+++ b/32320-h/images/img032b.jpg
diff --git a/32320-h/images/img036.jpg b/32320-h/images/img036.jpg
new file mode 100644
index 0000000..ffe8aff
--- /dev/null
+++ b/32320-h/images/img036.jpg
diff --git a/32320-h/images/img042.jpg b/32320-h/images/img042.jpg
new file mode 100644
index 0000000..4de2794
--- /dev/null
+++ b/32320-h/images/img042.jpg
diff --git a/32320-h/images/img043.jpg b/32320-h/images/img043.jpg
new file mode 100644
index 0000000..b53dd91
--- /dev/null
+++ b/32320-h/images/img043.jpg
diff --git a/32320-h/images/img047.jpg b/32320-h/images/img047.jpg
new file mode 100644
index 0000000..e7d031e
--- /dev/null
+++ b/32320-h/images/img047.jpg
diff --git a/32320-h/images/img049.jpg b/32320-h/images/img049.jpg
new file mode 100644
index 0000000..efa5dd4
--- /dev/null
+++ b/32320-h/images/img049.jpg
diff --git a/32320-h/images/img055.jpg b/32320-h/images/img055.jpg
new file mode 100644
index 0000000..c4722cb
--- /dev/null
+++ b/32320-h/images/img055.jpg
diff --git a/32320-h/images/img056.jpg b/32320-h/images/img056.jpg
new file mode 100644
index 0000000..27af04e
--- /dev/null
+++ b/32320-h/images/img056.jpg
diff --git a/32320-h/images/img057.jpg b/32320-h/images/img057.jpg
new file mode 100644
index 0000000..9b5a139
--- /dev/null
+++ b/32320-h/images/img057.jpg
diff --git a/32320-h/images/img060.jpg b/32320-h/images/img060.jpg
new file mode 100644
index 0000000..cec9da7
--- /dev/null
+++ b/32320-h/images/img060.jpg
diff --git a/32320-h/images/img061.jpg b/32320-h/images/img061.jpg
new file mode 100644
index 0000000..bf02bb7
--- /dev/null
+++ b/32320-h/images/img061.jpg
diff --git a/32320-h/images/img063.jpg b/32320-h/images/img063.jpg
new file mode 100644
index 0000000..255eb23
--- /dev/null
+++ b/32320-h/images/img063.jpg
diff --git a/32320-h/images/img064.jpg b/32320-h/images/img064.jpg
new file mode 100644
index 0000000..02342aa
--- /dev/null
+++ b/32320-h/images/img064.jpg
diff --git a/32320-h/images/img066.jpg b/32320-h/images/img066.jpg
new file mode 100644
index 0000000..864d6a8
--- /dev/null
+++ b/32320-h/images/img066.jpg
diff --git a/32320-h/images/img067.jpg b/32320-h/images/img067.jpg
new file mode 100644
index 0000000..ab74905
--- /dev/null
+++ b/32320-h/images/img067.jpg
diff --git a/32320-h/images/img069.jpg b/32320-h/images/img069.jpg
new file mode 100644
index 0000000..7f950fd
--- /dev/null
+++ b/32320-h/images/img069.jpg
diff --git a/32320-h/images/img073.jpg b/32320-h/images/img073.jpg
new file mode 100644
index 0000000..4f95740
--- /dev/null
+++ b/32320-h/images/img073.jpg
diff --git a/32320-h/images/img076.jpg b/32320-h/images/img076.jpg
new file mode 100644
index 0000000..6cb5bf5
--- /dev/null
+++ b/32320-h/images/img076.jpg
diff --git a/32320-h/images/img078.jpg b/32320-h/images/img078.jpg
new file mode 100644
index 0000000..17a5cb8
--- /dev/null
+++ b/32320-h/images/img078.jpg
diff --git a/32320-h/images/img082.jpg b/32320-h/images/img082.jpg
new file mode 100644
index 0000000..aa487af
--- /dev/null
+++ b/32320-h/images/img082.jpg
diff --git a/32320-h/images/img086.jpg b/32320-h/images/img086.jpg
new file mode 100644
index 0000000..229b49e
--- /dev/null
+++ b/32320-h/images/img086.jpg
diff --git a/32320-h/images/img087.jpg b/32320-h/images/img087.jpg
new file mode 100644
index 0000000..489808a
--- /dev/null
+++ b/32320-h/images/img087.jpg
diff --git a/32320-h/images/img088.jpg b/32320-h/images/img088.jpg
new file mode 100644
index 0000000..7f2f8db
--- /dev/null
+++ b/32320-h/images/img088.jpg
diff --git a/32320-h/images/img090.jpg b/32320-h/images/img090.jpg
new file mode 100644
index 0000000..e8913b5
--- /dev/null
+++ b/32320-h/images/img090.jpg
diff --git a/32320-h/images/img092.jpg b/32320-h/images/img092.jpg
new file mode 100644
index 0000000..6f0971a
--- /dev/null
+++ b/32320-h/images/img092.jpg
diff --git a/32320-h/images/img093.jpg b/32320-h/images/img093.jpg
new file mode 100644
index 0000000..4555cc5
--- /dev/null
+++ b/32320-h/images/img093.jpg
diff --git a/32320-h/images/img096.jpg b/32320-h/images/img096.jpg
new file mode 100644
index 0000000..4944a3a
--- /dev/null
+++ b/32320-h/images/img096.jpg
diff --git a/32320-h/images/img097.jpg b/32320-h/images/img097.jpg
new file mode 100644
index 0000000..17b4221
--- /dev/null
+++ b/32320-h/images/img097.jpg
diff --git a/32320-h/images/img100.jpg b/32320-h/images/img100.jpg
new file mode 100644
index 0000000..cf1f2f6
--- /dev/null
+++ b/32320-h/images/img100.jpg
diff --git a/32320-h/images/img104.jpg b/32320-h/images/img104.jpg
new file mode 100644
index 0000000..ffeffc4
--- /dev/null
+++ b/32320-h/images/img104.jpg
diff --git a/32320-h/images/img107.jpg b/32320-h/images/img107.jpg
new file mode 100644
index 0000000..9597f32
--- /dev/null
+++ b/32320-h/images/img107.jpg
diff --git a/32320-h/images/img109.jpg b/32320-h/images/img109.jpg
new file mode 100644
index 0000000..ceba489
--- /dev/null
+++ b/32320-h/images/img109.jpg
diff --git a/32320-h/images/img110.jpg b/32320-h/images/img110.jpg
new file mode 100644
index 0000000..6a7af58
--- /dev/null
+++ b/32320-h/images/img110.jpg
diff --git a/32320-h/images/img111.jpg b/32320-h/images/img111.jpg
new file mode 100644
index 0000000..3eb8d74
--- /dev/null
+++ b/32320-h/images/img111.jpg
diff --git a/32320-h/images/img114.jpg b/32320-h/images/img114.jpg
new file mode 100644
index 0000000..51d4c45
--- /dev/null
+++ b/32320-h/images/img114.jpg
diff --git a/32320-h/images/img117.jpg b/32320-h/images/img117.jpg
new file mode 100644
index 0000000..6571b31
--- /dev/null
+++ b/32320-h/images/img117.jpg
diff --git a/32320-h/images/img118.jpg b/32320-h/images/img118.jpg
new file mode 100644
index 0000000..07acbaa
--- /dev/null
+++ b/32320-h/images/img118.jpg
diff --git a/32320-h/images/img119.jpg b/32320-h/images/img119.jpg
new file mode 100644
index 0000000..0a9db91
--- /dev/null
+++ b/32320-h/images/img119.jpg
diff --git a/32320-h/images/img120.jpg b/32320-h/images/img120.jpg
new file mode 100644
index 0000000..19e4acc
--- /dev/null
+++ b/32320-h/images/img120.jpg
diff --git a/32320-h/images/img122.jpg b/32320-h/images/img122.jpg
new file mode 100644
index 0000000..8128a17
--- /dev/null
+++ b/32320-h/images/img122.jpg
diff --git a/32320-h/images/img124.jpg b/32320-h/images/img124.jpg
new file mode 100644
index 0000000..93c32b1
--- /dev/null
+++ b/32320-h/images/img124.jpg
diff --git a/32320-h/images/img125.jpg b/32320-h/images/img125.jpg
new file mode 100644
index 0000000..af36af8
--- /dev/null
+++ b/32320-h/images/img125.jpg
diff --git a/32320-h/images/img128.jpg b/32320-h/images/img128.jpg
new file mode 100644
index 0000000..ad88ff6
--- /dev/null
+++ b/32320-h/images/img128.jpg
diff --git a/32320-h/images/img129.jpg b/32320-h/images/img129.jpg
new file mode 100644
index 0000000..a09c493
--- /dev/null
+++ b/32320-h/images/img129.jpg
diff --git a/32320-h/images/img130.jpg b/32320-h/images/img130.jpg
new file mode 100644
index 0000000..ace025a
--- /dev/null
+++ b/32320-h/images/img130.jpg
diff --git a/32320-h/images/img131.jpg b/32320-h/images/img131.jpg
new file mode 100644
index 0000000..f208e4a
--- /dev/null
+++ b/32320-h/images/img131.jpg
diff --git a/32320-h/images/img132.jpg b/32320-h/images/img132.jpg
new file mode 100644
index 0000000..fb0fcd5
--- /dev/null
+++ b/32320-h/images/img132.jpg
diff --git a/32320-h/images/img133.jpg b/32320-h/images/img133.jpg
new file mode 100644
index 0000000..6bc1e8d
--- /dev/null
+++ b/32320-h/images/img133.jpg
diff --git a/32320-h/images/img134.jpg b/32320-h/images/img134.jpg
new file mode 100644
index 0000000..1742be2
--- /dev/null
+++ b/32320-h/images/img134.jpg
diff --git a/32320-h/images/img136.jpg b/32320-h/images/img136.jpg
new file mode 100644
index 0000000..9cbeff8
--- /dev/null
+++ b/32320-h/images/img136.jpg
diff --git a/32320-h/images/img140.jpg b/32320-h/images/img140.jpg
new file mode 100644
index 0000000..8de59ce
--- /dev/null
+++ b/32320-h/images/img140.jpg
diff --git a/32320-h/images/img142.jpg b/32320-h/images/img142.jpg
new file mode 100644
index 0000000..7eda8c0
--- /dev/null
+++ b/32320-h/images/img142.jpg
diff --git a/32320-h/images/img144.jpg b/32320-h/images/img144.jpg
new file mode 100644
index 0000000..9163463
--- /dev/null
+++ b/32320-h/images/img144.jpg
diff --git a/32320-h/images/img146.jpg b/32320-h/images/img146.jpg
new file mode 100644
index 0000000..15f010f
--- /dev/null
+++ b/32320-h/images/img146.jpg
diff --git a/32320-h/images/img148.jpg b/32320-h/images/img148.jpg
new file mode 100644
index 0000000..607f659
--- /dev/null
+++ b/32320-h/images/img148.jpg
diff --git a/32320-h/images/img151.jpg b/32320-h/images/img151.jpg
new file mode 100644
index 0000000..c3d6d75
--- /dev/null
+++ b/32320-h/images/img151.jpg
diff --git a/32320-h/images/img152.jpg b/32320-h/images/img152.jpg
new file mode 100644
index 0000000..671477d
--- /dev/null
+++ b/32320-h/images/img152.jpg
diff --git a/32320-h/images/img154.jpg b/32320-h/images/img154.jpg
new file mode 100644
index 0000000..ecc62e7
--- /dev/null
+++ b/32320-h/images/img154.jpg
diff --git a/32320-h/images/img155.jpg b/32320-h/images/img155.jpg
new file mode 100644
index 0000000..ffeb275
--- /dev/null
+++ b/32320-h/images/img155.jpg
diff --git a/32320-h/images/img156.jpg b/32320-h/images/img156.jpg
new file mode 100644
index 0000000..dec4554
--- /dev/null
+++ b/32320-h/images/img156.jpg
diff --git a/32320-h/images/img158.jpg b/32320-h/images/img158.jpg
new file mode 100644
index 0000000..f7112f6
--- /dev/null
+++ b/32320-h/images/img158.jpg
diff --git a/32320-h/images/img160.jpg b/32320-h/images/img160.jpg
new file mode 100644
index 0000000..1cbdb10
--- /dev/null
+++ b/32320-h/images/img160.jpg
diff --git a/32320-h/images/img164.jpg b/32320-h/images/img164.jpg
new file mode 100644
index 0000000..c04c2e4
--- /dev/null
+++ b/32320-h/images/img164.jpg
diff --git a/32320-h/images/img166.jpg b/32320-h/images/img166.jpg
new file mode 100644
index 0000000..6ebaae8
--- /dev/null
+++ b/32320-h/images/img166.jpg
diff --git a/32320-h/images/img167.jpg b/32320-h/images/img167.jpg
new file mode 100644
index 0000000..fe4c924
--- /dev/null
+++ b/32320-h/images/img167.jpg
diff --git a/32320-h/images/img168.jpg b/32320-h/images/img168.jpg
new file mode 100644
index 0000000..2b48671
--- /dev/null
+++ b/32320-h/images/img168.jpg
diff --git a/32320-h/images/img172.jpg b/32320-h/images/img172.jpg
new file mode 100644
index 0000000..d38ae60
--- /dev/null
+++ b/32320-h/images/img172.jpg
diff --git a/32320-h/images/img174.jpg b/32320-h/images/img174.jpg
new file mode 100644
index 0000000..a103412
--- /dev/null
+++ b/32320-h/images/img174.jpg
diff --git a/32320-h/images/img178.jpg b/32320-h/images/img178.jpg
new file mode 100644
index 0000000..ab03a8a
--- /dev/null
+++ b/32320-h/images/img178.jpg
diff --git a/32320-h/images/img182.jpg b/32320-h/images/img182.jpg
new file mode 100644
index 0000000..3282623
--- /dev/null
+++ b/32320-h/images/img182.jpg
diff --git a/32320-h/images/img186.jpg b/32320-h/images/img186.jpg
new file mode 100644
index 0000000..3004664
--- /dev/null
+++ b/32320-h/images/img186.jpg
diff --git a/32320-h/images/img190.jpg b/32320-h/images/img190.jpg
new file mode 100644
index 0000000..bafc9a9
--- /dev/null
+++ b/32320-h/images/img190.jpg
diff --git a/32320-h/images/img194.jpg b/32320-h/images/img194.jpg
new file mode 100644
index 0000000..010bf45
--- /dev/null
+++ b/32320-h/images/img194.jpg
diff --git a/32320-h/images/img198.jpg b/32320-h/images/img198.jpg
new file mode 100644
index 0000000..44ac72c
--- /dev/null
+++ b/32320-h/images/img198.jpg
diff --git a/32320-h/images/img199.jpg b/32320-h/images/img199.jpg
new file mode 100644
index 0000000..7b3b292
--- /dev/null
+++ b/32320-h/images/img199.jpg
diff --git a/32320-h/images/img199b.jpg b/32320-h/images/img199b.jpg
new file mode 100644
index 0000000..b92a7dd
--- /dev/null
+++ b/32320-h/images/img199b.jpg
diff --git a/32320-h/images/img204.jpg b/32320-h/images/img204.jpg
new file mode 100644
index 0000000..4c3c408
--- /dev/null
+++ b/32320-h/images/img204.jpg
diff --git a/32320-h/images/img210.jpg b/32320-h/images/img210.jpg
new file mode 100644
index 0000000..c393e75
--- /dev/null
+++ b/32320-h/images/img210.jpg
diff --git a/32320-h/images/img212.jpg b/32320-h/images/img212.jpg
new file mode 100644
index 0000000..41814c1
--- /dev/null
+++ b/32320-h/images/img212.jpg
diff --git a/32320-h/images/img214a.jpg b/32320-h/images/img214a.jpg
new file mode 100644
index 0000000..798d326
--- /dev/null
+++ b/32320-h/images/img214a.jpg
diff --git a/32320-h/images/img214b.jpg b/32320-h/images/img214b.jpg
new file mode 100644
index 0000000..af0d8a8
--- /dev/null
+++ b/32320-h/images/img214b.jpg
diff --git a/32320-h/images/img216.jpg b/32320-h/images/img216.jpg
new file mode 100644
index 0000000..7f7423f
--- /dev/null
+++ b/32320-h/images/img216.jpg
diff --git a/32320-h/images/img218.jpg b/32320-h/images/img218.jpg
new file mode 100644
index 0000000..d150d69
--- /dev/null
+++ b/32320-h/images/img218.jpg
diff --git a/32320-h/images/img222.jpg b/32320-h/images/img222.jpg
new file mode 100644
index 0000000..0353d0c
--- /dev/null
+++ b/32320-h/images/img222.jpg
diff --git a/32320-h/images/img225.jpg b/32320-h/images/img225.jpg
new file mode 100644
index 0000000..94a76b3
--- /dev/null
+++ b/32320-h/images/img225.jpg
diff --git a/32320-h/images/img226.jpg b/32320-h/images/img226.jpg
new file mode 100644
index 0000000..b6a4d10
--- /dev/null
+++ b/32320-h/images/img226.jpg
diff --git a/32320-h/images/img228.jpg b/32320-h/images/img228.jpg
new file mode 100644
index 0000000..24c76bf
--- /dev/null
+++ b/32320-h/images/img228.jpg
diff --git a/32320-h/images/img239.jpg b/32320-h/images/img239.jpg
new file mode 100644
index 0000000..311f8e8
--- /dev/null
+++ b/32320-h/images/img239.jpg
diff --git a/32320-h/images/img242.jpg b/32320-h/images/img242.jpg
new file mode 100644
index 0000000..b41d3be
--- /dev/null
+++ b/32320-h/images/img242.jpg
diff --git a/32320-h/images/img244.jpg b/32320-h/images/img244.jpg
new file mode 100644
index 0000000..e2b3df8
--- /dev/null
+++ b/32320-h/images/img244.jpg
diff --git a/32320-h/images/img246.jpg b/32320-h/images/img246.jpg
new file mode 100644
index 0000000..911cdb1
--- /dev/null
+++ b/32320-h/images/img246.jpg
diff --git a/32320-h/images/img248.jpg b/32320-h/images/img248.jpg
new file mode 100644
index 0000000..f36f6f5
--- /dev/null
+++ b/32320-h/images/img248.jpg
diff --git a/32320.txt b/32320.txt
new file mode 100644
index 0000000..f6d88a2
--- /dev/null
+++ b/32320.txt
@@ -0,0 +1,4324 @@
+The Project Gutenberg EBook of The Art of Illustration, by Henry Blackburn
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The Art of Illustration
+       2nd ed.
+
+Author: Henry Blackburn
+
+Release Date: May 10, 2010 [EBook #32320]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK THE ART OF ILLUSTRATION ***
+
+
+
+
+Produced by Marius Masi, Chris Curnow and the Online
+Distributed Proofreading Team at http://www.pgdp.net.
+
+
+
+
+
+
+
+
+
+
+THE ART OF ILLUSTRATION.
+
+
+  [Illustration: "THE TRUMPETER." (SIR JOHN GILBERT, R.A.)
+
+  (_Drawn in pen and ink, from his picture in the Royal Academy, 1883._)
+
+  [Size of drawing, 5-1/2 by 4-3/4 in. Photo-zinc process.]]
+
+
+
+
+  The Art of Illustration.
+
+            BY
+     HENRY BLACKBURN,
+
+  _Editor of "Academy Notes," Cantor Lecturer on Illustration, &c._
+
+            WITH
+  NINETY-FIVE ILLUSTRATIONS.
+
+
+       SECOND EDITION.
+
+
+           LONDON:
+  W. H. ALLEN & CO., LIMITED,
+   13, WATERLOO PLACE, S.W.
+
+            1896.
+
+
+
+
+         PRINTED BY
+  WYMAN AND SONS, LIMITED,
+        LONDON, W.C.
+
+
+
+
+            DEDICATED TO
+       SIR JOHN GILBERT, R.A.,
+    ONE OF THE PRINCIPAL PIONEERS
+  OF BOOK AND NEWSPAPER ILLUSTRATION.
+
+
+
+  [Illustration: (PEN-AND-INK DRAWING FROM HIS PICTURE, BY MR. CHARLES
+  COLLINS, 1892.)
+
+  [Photo-zinc process.]]
+
+
+
+
+PREFACE.
+
+
+The object of this book is to explain the modern systems of Book and
+Newspaper Illustration, and especially the methods of drawing for what
+is commonly called "process," on which so many artists are now engaged.
+
+There is almost a revolution in illustration at the present time, and
+both old and young--teachers and scholars--are in want of a handbook for
+reference when turning to the new methods. The illustrator of to-day is
+called upon suddenly to take the place of the wood engraver in
+interpreting tone into line, and requires practical information which
+this book is intended to supply.
+
+The most important branch of illustration treated of is _line drawing_,
+as it is practically out of reach of competition by the photographer,
+and is, moreover, the kind of drawing most easily reproduced and printed
+at the type press; but wash drawing, drawing upon grained papers, and
+the modern appliances for reproduction, are all treated of.
+
+The best instructors in drawing for process are, after all, the
+_painters of pictures_ who know so well how to express themselves in
+black and white, and to whom I owe many obligations. There is a wide
+distinction between their treatment of "illustration" and the so-called
+"pen-and-ink" artist.
+
+The "genius" who strikes out a wonderful path of his own, whose
+scratches and splashes appear in so many books and newspapers, is of the
+"butterfly" order of being--a creation, so to speak, of the processes,
+and is not to be emulated or imitated. There is no reason but custom
+why, in drawing for process, a man's coat should be made to look like
+straw, or the background (if there be a background) have the appearance
+of fireworks. No ability on the part of the illustrator will make these
+things tolerable in the near future. There is a reaction already, and
+signs of a better and more sober treatment of illustration, which only
+requires a _better understanding of the requirements and limitations of
+the processes_, to make it equal to some of the best work of the past.
+
+The modern illustrator has much to learn--more than he imagines--in
+drawing for the processes. A study of examples by masters of line
+drawing--such as Holbein, Menzell, Fortuny or Sandys--or of the best
+work of the etchers, will not tell the student of to-day exactly what he
+requires to know; for they are nearly all misleading as to the
+principles upon which modern process work is based.
+
+In painting we learn everything from the past--everything that it is
+best to know. In engraving also, we learn from the past the best way to
+interpret colour into line, but in drawing for the processes there is
+practically no "past" to refer to; at the same time the advance of the
+photographer into the domain of illustration renders it of vital
+importance to artists to put forth their best work in black and white,
+and it throws great responsibility upon art teachers to give a good
+groundwork of education to the illustrator of the future. In all this,
+education--_general education_--will take a wider part.
+
+The ILLUSTRATIONS have been selected to show the possibilities of
+"process" work in educated, capable hands, rather than any _tours de
+force_ in drawing, or exploits of genius. They are all of modern work,
+and are printed on the same sheets as the letterpress.
+
+_All the Illustrations in this book have been reproduced by mechanical
+processes, excepting nine_ (marked on the list), which are engraved on
+wood.
+
+Acknowledgments are due to the Council of the Society of Arts for
+permission to reprint a portion of the Cantor Lectures on "Illustration"
+from their Journal; to the Editors of the _National Review_ and the
+_Nineteenth Century_, for permission to reprint several pages from
+articles in those reviews; to the Editors and Publishers who have lent
+illustrations; and above all, to the artists whose works adorn these
+pages.
+
+     H. B.
+
+  123, VICTORIA STREET, WESTMINSTER.
+
+     _May, 1894._
+
+
+
+
+CONTENTS.
+
+
+                                                                    PAGE
+  CHAPTER I.--INTRODUCTORY                                             1
+
+  CHAPTER II.--ELEMENTARY ILLUSTRATION                                15
+
+    Diagrams--Daily Illustrated Newspapers--Pictorial _v._ Verbal
+      Description.
+
+  CHAPTER III.--ARTISTIC ILLUSTRATIONS                                40
+
+    Education of the Illustrator--Line Drawing for
+      Process--Sketching from Life--Examples of Line Drawing.
+
+  CHAPTER IV.--THE PROCESSES                                         102
+
+    "Photo zinco"--Gelatine Process--Grained Papers--Mechanical
+      Dots--"Half-tone" Process--Wash Drawing--Illustrations from
+      Photographs--_Sketch_, _Graphic_, &c.--Daniel Vierge.
+
+  CHAPTER V.--WOOD ENGRAVING                                         182
+
+  CHAPTER VI.--THE DECORATIVE PAGE                                   197
+
+  CHAPTER VII.--AUTHOR, ILLUSTRATOR, & PUBLISHER                     211
+
+  STUDENTS' DRAWINGS                                                 223
+
+  APPENDIX                                                           233
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+
+[_The copyright of all pictures sketched in this book is strictly
+reserved._]
+
+                                                                    PAGE
+  "The Trumpeter." Sir John Gilbert, R.A.              (_Process_)    vi
+  Swans. Charles Collins                                    "         ix
+  "Ashes of Roses." G. H. Boughton, A.R.A.                  "          5
+  "Badminton in the Studio." R. W. Macbeth, A.R.A.          "          6
+  "A Son of Pan." William Padgett                           "         11
+  "Home by the Ferry." Edward Stott                         "         12
+  Man in Chain Armour. Lancelot Speed                       "         14
+  "Greeting." The Hon. Mrs. Boyle                           "         15
+  Diagrams (5)                                              "      19-32
+  View above Blankenburg                                 (_Wood_)     38
+  The Curvature of the World's Surface                      "         39
+  "Tiresome Dog." E. K. Johnson                        (_Process_)    43
+  "Frustrated." Walter Hunt                                 "         44
+  "On the Riviera." Ellen Montalba                          "         46
+  "Landscape with Trees." M. R. Corbet                      "         47
+  "An Odd Volume." H. S. Marks, R.A.                        "         49
+  "A Select Committee." H. S. Marks, R.A.                   "         50
+  "The Rose Queen." G. D. Leslie, R.A.                      "         52
+  "Finding of the Infant St. George." C. M. Gere            "         56
+  "A Ploughboy." G. Clausen                                 "     59, 61
+  "Blowing Bubbles." C. E. Wilson                           "         65
+  "Cathedral, from Ox Body Lane." H. Railton                "         69
+  "By Unfrequented Ways." W. H. Gore                        "     70, 71
+  "Adversity." Fred. Hall                                   "     73, 75
+  "A Willowy Stream." Maud Naftel                           "         76
+  "Twins." Stanley Berkeley                                 "         79
+  "The Dark Island." Alfred East                            "         80
+  "A Portrait." T. C. Gotch                                 "         83
+  Sir John Tenniel. Edwin Ward                              "         87
+  The Rt. Hon. John Morley. Edwin Ward                      "         90
+  "Nothing venture, nothing have." E. P. Sanguinetti        "     92, 93
+  "On the Terrace." E. A. Rowe                              "         94
+  "For the Squire." Sir John Millais, Bart., R.A.           "         97
+  "The Stopped Key." H. S. Marks, R.A.                      "        100
+  Nymph and Cupid. Henry Holiday                            "        101
+  Illustration to "_The Blue Poetry Book_." L. Speed        "        102
+  A Portrait. T. Blake Wirgman.                             "        103
+  "Forget Me Not." Henry Ryland                             "        105
+  "Baby's Own." G. Hillyard Swinstead                       "        107
+  "A Silent Pool." E. W. Waite                              "        108
+  "The Miller's Daughter." E. K. Johnson                    "        111
+  "The End of the Chapter." W. Rainey.                      "        112
+  "In the Pas de Calais." J. P. Beadle                      "        113
+  "Golden Days." F. Stuart Richardson                       "        114
+  "Twilight." Hume Nisbet                                   "        115
+  "Le Dent du Geant." E. T. Compton                         "   116, 117
+  Landscape. A. M. Lindstrom                                "        119
+  Volendam. C. J. Watson                                    "        123
+  "Old Woman and Grandchild." Hugh Cameron                  "        125
+  "An Arrest." Melton Prior                                 "        127
+  "Sunrise in the Severn Valley." M. R. Corbet              "        129
+  "The Adjutant's Love Story." H. R. Millar                 "        131
+  Illustrations from "_The Blue Poetry Book_." L. Speed     "  134, 5, 7
+  "Seine Boats." Louis Grier                                "        138
+  "There is the Priory." W. H. Wollen                       "        139
+  From "_Andersen's Fairy Tales_." J. R. Weguelin           "   141, 143
+  "Two's company, three's none." H. J. Walker               "        147
+  Illustration from "_Black and White_." C. G. Manton       "        149
+  "A Sunny Land." George Wetherbee                          "        150
+  Decorative Design. The late Randolph Caldecott            "        151
+  Sketch in wash (part of picture) from "_Sketch_           "        155
+  "The Brook." Arnold Helcke                                "        157
+  From a Photograph from Life. By Mr. H. S.
+       Mendelssohn ("_Sketch_")                             "        161
+  From a Photograph from Life. By Messrs.
+       Cameron & Smith ("_Studio_")                         "        165
+  From a Photograph from Life ("_Graphic_")             (_Wood_)     169
+  "Proud Maisie." Lancelot Speed                       (_Process_)   173
+  From "_Pablo de Segovia_." Daniel Vierge                  "        177
+  Drinking Horn from "_Eric Bright Eyes_." L. Speed         "        181
+  Heading from "_Grimm's Household Stories_." W. Crane  (_Wood_)     182
+  Photograph from Life. "_The Century Magazine_"            "        187
+  "Driving Home the Pigs." John Pedder                 (_Process_)   193
+  Joan of Arc's House at Rouen. Samuel Prout            (_Wood_)     195
+  Heading from "_Grimm's Household Stories_." W. Crane      "        197
+  Decorative Page. A. J. Gaskin                        (_Process_)   199
+  Decorative Page from "_The Six Swans_." W. Crane      (_Wood_)     201
+  Title Page of "_The Hobby Horse_." Selwyn Image           "        205
+  Viking Ship from "_Eric Bright Eyes_." L. Speed      (_Process_)   208
+  "Scarlet Poppies." W. J. Muckley                          "        209
+  "Take Care." W. B. Baird                                  "        222
+  Spanish Woman. Ina Bidder                                 "        225
+  Children Reading. Estelle d'Avigdor                       "        227
+  Sketch from Life. G. C. Marks                             "        229
+  Bough of Common Furze. William French                     "        231
+
+
+
+
+  [Illustration]
+
+CHAPTER I.
+
+INTRODUCTORY.
+
+
+There are, broadly speaking, two kinds of engraving for illustration in
+books, which are widely distinct--1. _intaglio_; 2. _relievo_. The first
+comprises all engravings, etchings, and photogravures in which the lines
+are cut or indented by acid or other means, into a steel or copper
+plate--a system employed, with many variations of method, from the time
+of Mantegna, Albert Duerer, Holbein and Rembrandt, to the French and
+English etchers of the present day. Engravings thus produced are little
+used in modern book illustration, as they cannot be printed easily on
+the same page as the letterpress; these _planches a part_, as the French
+term them, are costly to print and are suitable only for limited
+editions.
+
+In the second, or ordinary form of illustration, the lines or pictures
+to be printed are left in relief; the design being generally made on
+wood with a pencil, and the parts not drawn upon cut away. This was the
+rudimentary and almost universal form of book-illustration, as practised
+in the fifteenth century, as revived in England by Bewick in the
+eighteenth, and continued to the present day. The blocks thus prepared
+can be printed rapidly on ordinary printing-presses, and on _the same
+page as the text_.
+
+During the past few years so many processes have been put forward for
+producing drawings in relief, for printing with the type, that it has
+become a business in itself to test and understand them. The best known
+process is still wood engraving, at least it is the best for the
+fac-simile reproduction of drawings, as at present understood in
+England, whether they be drawn direct upon the wood or transmitted by
+photography. There is no process in relief which has the same certainty,
+which gives the same colour and brightness, and by which gradation of
+tone can be more truly rendered.
+
+As to the relative value of the different photographic relief processes,
+that can only be decided by experts. Speaking generally, I may say that
+there are six or seven now in use, each of which is, I am informed, the
+best, and all of which are adapted for printing in the same manner as a
+wood-block.[1] Improvements in these processes are being made so rapidly
+that what was best yesterday will not be the best to-morrow, and it is a
+subject which is still little understood.
+
+In the present book it is proposed to speak principally of the more
+popular form of illustration (_relievo_); but the changes which are
+taking place in all forms of engraving and illustration render it
+necessary to say a few words first upon _intaglio_. We have heard much
+of the "painter-etchers," and of the claims of the etchers to
+recognition as original artists; and at the annual exhibition of the
+Society of Painter-Etchers in London, we have seen examples in which the
+effects produced in black and white seemed more allied to the painter's
+art than to the engraver's. But we are considering engraving as a means
+of interpreting the work of others, rather than as an original art.
+
+The influence of photography is felt in nearly every department of
+illustration. The new photo-mechanical methods of engraving, _without
+the aid of the engraver_, have rendered drawing for fac-simile
+reproduction of more importance than ever; and the wonderful invention
+called _photogravure_, in which an engraving is made direct from an oil
+painting, is almost superseding handwork.[2]
+
+  [Illustration: No. II.
+
+  "_Ashes of Roses_," by G. H. BOUGHTON, A.R.A.
+
+  This careful drawing, from the painting by Mr. Boughton, in the Royal
+  Academy, reproduced by the Dawson process, is interesting for variety
+  of treatment and indication of textures in pen and ink. It is like the
+  picture, but it has also the individuality of the draughtsman, as in
+  line engraving.
+
+   Size of drawing about 6-1/2 x 3-1/2 in.]
+
+  [Illustration: "BADMINTON IN THE STUDIO." (FROM THE PAINTING BY R. W.
+  MACBETH, A.R.A.)
+
+  (_Royal Academy, 1891._)]
+
+The art of line-engraving is disappearing in England, giving way to the
+"painter-etchers," the "dry-point" etchers and the "mezzotint
+engravers," and, finally, to _photogravure_, a method of engraving which
+is so extraordinary, and so little understood (although it has been in
+constant use for more than ten years), that it may be worth while to
+explain, in a few words, the method as practised by Messrs. Boussod,
+Valadon & Co., successors to Goupil, of Paris.
+
+In the Royal Academy Exhibition of 1882, Sir Frederick Leighton's
+picture called "Wedded" will be remembered by many visitors. This
+picture was purchased for Australia, and had to be sent from England
+within a few weeks of the closing of the exhibition. There was no time
+to make an engraving, or even an etching satisfactorily, and so the
+picture was sent to Messrs. Goupil, who in a few weeks produced the
+_photogravure_, as it is called, which we see in the printsellers'
+windows to this day. The operation is roughly as follows:--First, a
+photograph is taken direct from the picture; then a carbon print is
+taken from the negative upon glass, which rests upon the surface in
+delicate relief. From this print a cast is taken in reverse in copper,
+by placing the glass in a galvanic bath, the deposit of copper upon the
+glass taking the impression of the picture as certainly as snow takes
+the pattern of the ground upon which it falls. Thus--omitting details,
+and certain "secrets" of the process--it may be seen how modern science
+has superseded much of the engraver's work, and how a mechanical process
+can produce in a few days that which formerly took years.
+
+What the permanent art-estimate of "photo-engraving" may be, as a
+substitute for hand-work, is a question for the collectors of engravings
+and etchings. In the meantime, it is well that the public should know
+what a _photogravure_ is, as distinct from an engraving. The system of
+mechanical engraving, in the reproduction of pictures, is spreading
+rapidly over the world; but it should be observed that these
+reproductions are not uniformly successful. One painter's method of
+handling lends itself more readily than that of another to mechanical
+engraving. Thus the work of the President of the Royal Academy would
+reproduce better than that of Mr. G. F. Watts or Mr. Orchardson. That
+the actual marks of the brush, the very texture of the painting, can be
+transferred to copper and steel, and multiplied _ad infinitum_ by this
+beautiful process, is a fact to which many English artists are keenly
+alive. The process has its limits, of course, and _photogravure_ has at
+present to be assisted to a considerable extent by the engraver. But
+enough has been done in the last few years to prove that photography
+will henceforth take up the painter's handiwork as he leaves it, and
+thus the importance of thoroughness and completeness on the part of the
+painter has to be more than ever insisted upon by the publishers of
+"engravings."
+
+A word may be useful here to explain that the coloured "photogravures,"
+reproducing the washes of colour in a painting or water-colour drawing,
+of which we see so many in Paris, are not coloured by hand in the
+ordinary way, but are produced complete, at one impression, from the
+printing-press. The colours are laid upon the plate, one by one, by the
+printer, by a system of stencilling; and thus an almost perfect
+fac-simile of a picture can be reproduced in pure colour, if the
+original is simple and broad in treatment.
+
+  [Illustration: No. III.
+
+  "_A Son of Pan_," by WILLIAM PADGETT.
+
+  Example of outline drawing, put in solidly with a brush. If this had
+  been done with pencil or autographic chalk, much of the feeling and
+  expression of the original would have been lost. The drawing has
+  suffered slightly in reproduction, where (as in the shadows on the
+  neck and hands) the lines were pale in the original.
+
+   Size of drawing 11-1/2 x 6-1/2 in. Zinc process.]
+
+  [Illustration: "HOME BY THE FERRY." (FROM THE PAINTING BY EDWARD
+  STOTT.)
+
+   (_Royal Academy, 1891._)]
+
+One other point of interest and importance to collectors of engravings
+and etchings should be mentioned. Within the last few years, an
+invention for coating the surface of engraved plates with a film of
+steel (which can be renewed as often as necessary) renders the surface
+practically indestructible; and it is now possible to print a thousand
+impressions from a copper plate without injury or loss of quality. These
+modern inventions are no secrets, they have been described repeatedly in
+technical journals and in lectures, notably in those delivered during
+the past few years at the Society of Arts, and published in the
+_Journal_. But the majority of the public, and even many collectors of
+prints and etchings, are ignorant of the number of copies which can now
+be taken without deterioration from one plate.
+
+It is necessary to the art amateur that he should know something of
+these things, if only to explain why it is that scratching on a copper
+plate has come so much into vogue in England lately, and why there has
+been such a remarkable revival of the art of Duerer at the end of this
+century. The reason for the movement will be better understood when it
+is explained that by the process just referred to, of "steeling" the
+surface of plates, the "burr," as it is called, and the most delicate
+lines of the engraver are preserved intact for a much larger number of
+impressions than formerly. The taste for etchings and the higher forms
+of the reproductive arts is still spreading rapidly, but the fact
+remains that etchings and _editions de luxe_ do not reach one person in
+a thousand in any civilised community. It is only by means of wood
+engravings, and the cheaper and simpler forms of process illustration,
+that the public is appealed to pictorially through the press.
+
+  [Illustration: LINE PROCESS BLOCK.]
+
+
+FOOTNOTES:
+
+  [1] All the illustrations in this book are produced by mechanical
+    processes excepting those marked in the List of Illustrations; and
+    all are printed simultaneously with the letterpress. For description
+    of processes, see _Appendix_.
+
+  [2] One of the last and best examples of pure line-engraving was by
+    M. Joubert, from a painting by E. J. Poynter, R.A., called
+    "Atalanta's Race," exhibited in the Royal Academy, 1876. The
+    engraving of this picture was nearly three years in M. Joubert's
+    hands--a tardy process in these days.
+
+
+
+
+  [Illustration: "GREETING." (BY THE HON. MRS. BOYLE.)]
+
+CHAPTER II.
+
+ELEMENTARY ILLUSTRATION.
+
+
+The first object of an illustration, the practical part, is obviously,
+_to illustrate and elucidate the text_--a matter often lost sight of.
+The second is to be artistic, and includes works of the imagination,
+decoration, ornament, style. In this chapter we shall consider the
+first, the practical part.
+
+Nearly twenty years ago, at a meeting of the Society of Arts in London,
+the general question was discussed, whether in the matter of
+illustrating books and newspapers we are really keeping pace with the
+times; whether those whose business it is to provide the illustrations
+which are tossed from steam presses at the rate of several thousand
+copies an hour, are doing the best work they can.
+
+In illustrated newspapers, it was argued, "there should be a clearer
+distinction between fact and fiction, between news and pictures." The
+exact words may be thought worth repeating now.[3]
+
+  "In the production of illustrations we have arrived at great
+  proficiency, and from London are issued the best illustrated
+  newspapers in the world. But our artistic skill has led us into
+  temptation, and by degrees engendered a habit of making pictures when
+  we ought to be recording facts. We have thus, through our cleverness,
+  created a fashion and a demand from the public for something which is
+  often elaborately untrue.
+
+  Would it, then, be too much to ask those who cater for (and really
+  create) the public taste, that they should give us one of two things,
+  or rather _two things_, in our illustrated papers, the real and the
+  ideal--
+
+  1st. Pictorial records of events in the simplest and truest manner
+  possible;
+
+  2nd. Pictures of the highest class that can be printed in a newspaper?
+
+  Here are two methods of illustration which only require to be kept
+  distinct, each in its proper place, and our interest in them would be
+  doubled. We ask first for a record of news and then for a picture
+  gallery; and to know, to use a common phrase, _which is which_."
+
+At the time referred to, drawing on the wood-block and engraving were
+almost universal--instantaneous photography was in its infancy, "process
+blocks," that is to say, mechanical engraving, was very seldom employed,
+and (for popular purposes) American engraving and printing was
+considered the best.
+
+The system of producing illustrations in direct fac-simile of an artist's
+drawing, suitable for printing at a type press without the aid of the
+wood engraver, is of such value for cheap and simple forms of
+illustration, and is, moreover, in such constant use, that it seems
+wonderful at first sight that it should not be better understood in
+England. But the cause is not far to seek. We have not yet acquired the
+art of pictorial expression in black and white, nor do many of our
+artists excel in "illustration" in the true sense of the word.
+
+It has often been pointed out that through the pictorial system the mind
+receives impressions with the least effort and in the quickest way, and
+that the graphic method is the true way of imparting knowledge. Are we
+then, in the matter of giving information or in imparting knowledge
+through the medium of illustrations, adopting the truest and simplest
+methods? I venture to say that in the majority of cases we are doing
+nothing of the kind. We have pictures in abundance which delight the
+eye, which are artistically drawn and skilfully engraved, but in which,
+in nine cases out of ten, there is more thought given to effect as a
+picture than to illustrating the text.
+
+It has often been suggested that the art of printing is, after all, but
+a questionable blessing on account of the error and the evil
+disseminated by it. Without going into that question, I think that we
+may find that the art of printing with movable type has led to some
+neglect of the art of expressing ourselves pictorially, and that the
+apparently inexorable necessity of running every word and thought into
+uniform lines, has cramped and limited our powers of expression, and of
+communicating ideas to each other.
+
+Let us begin at the lowest step of the artistic ladder, and consider
+some forms of illustration which are within the reach of nearly every
+writer for the press. With the means now at command for reproducing any
+lines drawn or written, in perfect fac-simile, mounted on square blocks
+to range with the type, and giving little or no trouble to the printer,
+there is no question that we should more frequently see the hand work of
+the writer as well as of the artist appearing on the page. For example:
+it happens sometimes in a work of fiction, or in the record of some
+accident or event, that it is important to the clear understanding of
+the text, to know the exact position of a house, say at a street corner,
+and also (as in the case of a late trial for arson) which way the wind
+blew on a particular evening. Words are powerless to explain the
+position beyond the possibility of doubt or misconstruction; and yet
+words are, and have been, used for such purposes for hundreds of years,
+because it is "the custom."
+
+  [Illustration]
+
+But if it were made plain that where words fail to express a meaning
+easily, a few lines, such as those above, drawn in ink on ordinary
+paper, may be substituted (and, if sent to the printer with the
+manuscript, will appear in fac-simile on the proof with the printed
+page), I think a new light may dawn on many minds, and new methods of
+expression come into vogue.
+
+This illustration (which was written on the sheet of MS.) is one
+example, out of a hundred that might be given, where a diagram should
+come to the aid of the verbal description, now that the reproduction of
+lines for the press is no longer costly, and the blocks can be printed,
+if necessary, on rapidly revolving cylinders, which (by duplicating) can
+produce in a night 100,000 copies of a newspaper.
+
+Before exploring some of the possibilities of illustration, it may be
+interesting to glance at what has been done in this direction since the
+invention of producing blocks rapidly to print at the type press and the
+improvements in machinery.
+
+In the spring of 1873 a Canadian company started a daily illustrated
+evening newspaper in New York, called _The Daily Graphic_, which was to
+eclipse all previous publications by the rapidity and excellence of its
+illustrations. It started with an attempt to give a daily record of
+news, and its conductors made every effort to bring about a system of
+rapid sketching and drawing in line. But the public of New York in 1873
+(as of London, apparently, in 1893) cared more for "pictures," and so by
+degrees the paper degenerated into a picture-sheet, reproducing (without
+leave) engravings from the _Illustrated London News_, the _Graphic_,
+and other papers, as they arrived from England. The paper was
+lithographed, and survived until 1889.
+
+The report of the first year's working of the first daily illustrated
+newspaper in the world is worth recording. The proprietors stated that
+although the paper was started "in a year of great financial depression,
+they have abundant reason to be satisfied with their success," and
+further, that they attribute it to "an absence of all sensational
+news."(!)
+
+The report ended with the following interesting paragraph:
+
+  "Pictorial records of crime, executions, scenes involving misery, and
+  the more unwholesome phases of social life, are a positive detriment
+  to a daily illustrated newspaper. In fact, the higher the tone and the
+  better the taste appealed to, the larger we have found our circulation
+  to be."
+
+The great art, it would seem, of conducting a daily illustrated
+newspaper is to know _what to leave out_--when, in fact, to have no
+illustrations at all!
+
+In England the first systematic attempt at illustration in a daily
+newspaper was the insertion of a little map or weather chart in the
+_Times_ in 1875, and the _Pall Mall Gazette_ followed suit with a dial
+showing the direction of the wind, and afterwards with other explanatory
+diagrams and sketches.
+
+But, in June, 1875, the _Times_ and all other newspapers in England were
+far distanced by the _New York Tribune_ in reporting the result of a
+shooting match in Dublin between an American Rifle Corps and some of our
+volunteers. On the morning after the contest there were long verbal
+reports in the English papers, describing the shooting and the results;
+but in the pages of the _New York Tribune_ there appeared a series of
+targets with the shots of the successful competitors marked upon them,
+communicated by telegraph and printed in the paper in America on the
+following morning.[4]
+
+After this period we seem to have moved slowly, only some very important
+geographical discovery, or event, extorting from the daily newspapers an
+explanatory plan or diagram. But during the "Transit of Venus," on the
+6th of December, 1882, a gleam of light was vouchsafed to the readers of
+the _Daily Telegraph_ (and possibly to other papers), and that exciting
+astronomical event from which "mankind was to obtain a clearer
+knowledge of the scale of the universe," was understood and remembered
+better, by three or four lines in the form of a diagram (showing,
+roughly, the track of Venus and its comparative size and distance from
+the sun) printed in the newspaper on the day of the event.
+
+Maps and plans have appeared from time to time in all the daily
+newspapers, but not systematically, or their interest and usefulness
+would have been much greater. Many instances might be given of the use
+of diagrams in newspapers; a little dial showing the direction of the
+wind, is obviously better than words and figures, but it is only lately
+that printing difficulties have been overcome, and that the system can
+be widely extended.
+
+It remains to be seen how far the _Daily Graphic_, with experience and
+capital at command, will aid in a system of illustration which is one
+day to become general. Thus far it would seem that the production of a
+large number of pictures (more or less _a-propos_) is the popular thing
+to do. We may be excused if we are disappointed in the result from a
+practical point of view; for as the functions of a daily newspaper are
+_prima facie_ to record facts, it follows that if words fail to
+communicate the right meaning, pictorial expression should come to the
+aid of the verbal, no matter how crude or inartistic the result might
+appear.
+
+Let me give one or two examples, out of many which come to mind.
+
+1. The transmission of form by telegraph. To realise the importance of
+this system in conveying news, we have only to consider (going back
+nearly forty years) what interest would have been added to Dr. Russell's
+letters from the Crimea in the _Times_ newspaper, if it had been
+considered possible, then, to have inserted, here and there, with the
+type, a line or two pictorially giving (_e.g._) the outline of a
+hillside, and the position of troops upon it. It _was_ possible to do
+this in 1855, but it is much more feasible now. The transmission of form
+by telegraph is of the utmost importance to journalists and scientific
+men, and, as our electricians have not yet determined the best methods,
+it may be interesting to point out the simplest and most rudimentary
+means at hand. The method is well known in the army and is used for
+field purposes, but hitherto newspapers have been strangely slow to
+avail themselves of it. The diagram on the opposite page will explain a
+system which is capable of much development with and without the aid of
+photography.
+
+If the reader will imagine this series of squares to represent a
+portable piece of open trellis-work, which might be set up at a window
+or in the open field, between the spectator and any object of interest
+at a distance--each square representing a number corresponding with a
+code in universal use--it will be obvious, that by noticing the squares
+which the outline of a hill would cover, and _telegraphing the numbers
+of the squares_, something in the way of form and outline may be quickly
+communicated from the other side of the world.
+
+  [Illustration: CODE FOR TRANSMITTING FORM BY TELEGRAPH.]
+
+This is for rough-and-ready use in time of war, when rapidity of
+communication is of the first importance; but in time of peace a
+correspondent's letter continually requires elucidation.
+
+Next is an example, which, for want of better words, I will call "the
+shorthand of pictorial art." A newspaper correspondent is in a boat on
+one of the Italian lakes, and wishes to describe the scene on a calm
+summer day. This is how he proceeds--
+
+  [Illustration]
+
+"We are shut in by mountains," he says, "but the blue lake seems as wide
+as the sea. On a rocky promontory on the left hand the trees grow down
+to the water's edge and the banks are precipitous, indicating the great
+depth of this part of the lake. The water is as smooth as glass; on its
+surface is one vessel, a heavily-laden market boat with drooping sails,
+floating slowly down" (and so on)--there is no need to repeat it all;
+but when half a column of word-painting had been written (and
+well-written) the correspondent failed to present the picture clearly to
+the eye without these _four_ explanatory lines (no more) which should
+of course have been sent with his letter.
+
+This method of description requires certain aptitude and training; but
+not much, not more than many a journalist could acquire for himself with
+a little practice. The director of the _Daily Graphic_ is reported to
+have said that "the ideal correspondent, who can sketch as well as
+write, is not yet born." He takes perhaps a higher view of the artistic
+functions of a daily newspaper than we should be disposed to grant him;
+by "we" I mean, of course, "the public," expecting _news_ in the most
+graphic manner. There are, and will be, many moments when we want
+information, simply and solely, and care little how, or in what shape,
+it comes.
+
+This kind of information, given pictorially, has no pretension to be
+artistic, but it is "illustration" in the true sense of the word, and
+its value when rightly applied is great. When the alterations at Hyde
+Park Corner (one of the most important of the London improvements of our
+day) were first debated in Parliament, a daily newspaper, as if moved by
+some sudden flash of intelligence, printed a ground-plan of the proposed
+alterations with descriptive text; and once or twice only, during
+Stanley's long absence in Africa, did we have sketches or plans printed
+with the letters to elucidate the text, such as a sketch of the floating
+islands with their weird inhabitants, at Stanley's Station on the Congo
+river, which appeared in a daily newspaper--instances of news presented
+to the reader in a better form than words. "The very thing that was
+wanted!" was the general exclamation, as if there were some new
+discovery of the powers of description.
+
+As the war correspondent's occupation does not appear likely to cease in
+our time, it would seem worth while to make sure that he is fully
+equipped.
+
+The method of writing employed by correspondents on the field of battle
+seems unnecessarily clumsy and prolix; we hear of letters written
+actually under fire, on a drum-head, or in the saddle, and on opening
+the packet as it arrives by the post we may find, if we take the trouble
+to measure it, that the point of the pen or pencil, has travelled over a
+distance of a hundred feet! This is the actual ascertained measurement,
+taking into account all the ups and downs, crosses and dashes, as it
+arrives from abroad. No wonder the typewriter is resorted to in
+journalism wherever possible.
+
+A newspaper correspondent is sent suddenly to the seat of war, or is
+stationed in some remote country to give the readers of a newspaper the
+benefit of his observations. What is he doing in 1894? In the imperfect,
+clumsy language which he possesses in common with every minister of
+state and public schoolboy, he proceeds to describe what he sees in a
+hundred lines, when with two or three strokes of the pen he might have
+expressed his meaning better pictorially. I have used these words
+before, but they apply with redoubled force at the present time. The
+fact is, that with the means now at command for reproducing any lines
+drawn or written, the correspondent is not thoroughly equipped if he
+cannot send them as suggested, by telegraph or by letter. It is all a
+matter of education, and the newspaper reporter of the future will not
+be considered complete unless he is able to express himself, to some
+extent, pictorially as well as verbally. Then, and not till then, will
+our complicated language be rescued from many obscurities, by the aid of
+lines other than verbal.[5]
+
+In nearly every city, town, or place there is some feature,
+architectural or natural, which gives character to it, and it would add
+greatly to the interest of letters from abroad if they were headed with
+a little outline sketch, or indication of the principal objects. This is
+seldom done, because the art of looking at things, and the power of
+putting them down simply in a few lines, has not been cultivated and is
+not given to many.
+
+Two things are principally necessary to attain this end--
+
+  [Illustration: A STUDY IN PERSPECTIVE. (HUME NISBET.)
+
+  A. Standpoint. B. Point of Sight. C. Horizontal line. D. Vanishing
+  lines. E. Point of distance. F. Vanishing lines of distance. G. Line
+  of sight.]
+
+1. The education of hand and eye and a knowledge of perspective, to be
+imparted to every schoolboy, no matter what his profession or occupation
+is likely to be.
+
+2. The education of the public to read aright this new language (new to
+most people), the "shorthand of pictorial art."
+
+The popular theory amongst editors and publishers is that the public
+would not care for information presented to them in this way--that they
+"would not understand it and would not buy it." Sketches of the kind
+indicated have never been fairly tried in England; but they are
+increasing in number every day, and the time is not far distant when we
+shall look back upon the present system with considerable amusement and
+on a book or a newspaper which is not illustrated as an incomplete
+production. The number of illustrations produced and consumed daily in
+the printing press is enormous; but they are too much of one pattern,
+and, as a rule, too elaborate.
+
+In the illustration of books of all kinds there should be a more general
+use of diagrams and plans to elucidate the text. No new building of
+importance should be described anywhere without an indication of the
+elevation, if not also of the ground plan; and, as a rule, no picture
+should be described without a sketch to indicate the composition. In
+history words so often fail to give the correct _locale_ that it seems
+wonderful we have no better method in common use. The following rough
+plan will illustrate one of the simplest ways of making a description
+clear to the reader. Take the verbal one first:--
+
+"The young Bretonne stood under the doorway of the house, sheltered from
+the rain which came with the soft west wind. From her point of vantage
+on the 'Place' she commanded a view of the whole village, and could see
+down the four streets of which it was principally composed."
+
+  [Illustration]
+
+In this instance a writer was at some pains to describe (and failed to
+describe in three pages) the exact position of the streets near where
+the girl stood; and it was a situation in which photography could hardly
+help him.
+
+It may seem strange at first sight to occupy the pages of a book on art
+with diagrams and elementary outlines, but it must be remembered that
+plans and diagrams are at the basis of a system of illustration which
+will one day become general. The reason, as already pointed out, for
+drawing attention to the subject now, is that it is only lately that
+systems have been perfected for reproducing lines on the printed page
+almost as rapidly as setting up the type. Thus a new era, so to speak,
+in the art of expressing ourselves pictorially as well as verbally has
+commenced: the means of reproduction are to hand; the blocks can be
+made, if necessary, in less than three hours, and copies can be printed
+on revolving cylinders at the rate of 10,000 an hour.
+
+The advance in scientific discovery by means of subtle instruments
+brings the surgeon sometimes to the knowledge of facts which, in the
+interests of science, he requires to demonstrate graphically, objects
+which it would often be impossible to have photographed. With a
+rudimentary knowledge of drawing and perspective, the surgeon and the
+astronomer would both be better equipped. At the University of
+Pennsylvania, in Philadelphia, where the majority of students are
+intended for the medical profession, this subject is considered of high
+importance, and the student in America is learning to express himself in
+a language that can be understood.
+
+In architecture it is often necessary, in order to understand the
+description of a building, to indicate in a few lines not only the
+general plan and elevation, but also its position in perspective in a
+landscape or street. Few architects can do this if called upon at a
+moment's notice in a Parliamentary committee room. And yet it is a
+necessary part of the language of an architect.[6]
+
+These remarks apply with great force to books of travel, where an author
+should be able to take part in the drawing of his illustrations, at
+least to the extent of being able to explain his meaning and ensure
+topographical accuracy.
+
+A curious experiment was made lately with some students in an Art
+school, to prove the fallacy of the accepted system of describing
+landscapes, buildings, and the like in words. A page or two from one of
+the Waverley novels (a description of a castle and the heights of
+mountainous land, with a river winding in the valley towards the sea,
+and clusters of houses and trees on the right hand) was read slowly and
+repeated before a number of students, three of whom, standing apart from
+each other by pre-arrangement, proceeded to indicate on blackboards
+before an audience the leading lines of the picture as the words had
+presented it to their minds. It is needless to say that the results,
+highly skilful in one case, were all different, and _all wrong_; and
+that in particular the horizon line of the sea (so easy to indicate with
+any clue, and so important to the composition) was hopelessly out of
+place. Thus we describe day by day, and the pictures formed in the mind
+are erroneous, for the imagination of the reader is at work at once, and
+requires simple guidance. The exhibition was, I need hardly say, highly
+stimulating and suggestive.
+
+Many arguments might be used for the substitution of pictorial for
+verbal methods of expression, which apply to books as well as
+periodicals. Two may be mentioned of a purely topical kind.
+
+1. In June, 1893, when the strife of political parties ran high in
+England, and anything like a _rapprochement_ between their leaders
+seemed impossible, Mr. Gladstone and Mr. Balfour were seen in apparently
+friendly conversation behind the Speaker's chair in the House of
+Commons. A newspaper reporter in one of the galleries, observing the
+interesting situation, does not say in so many words, that "Mr. G. was
+seen talking to Mr. B.," but makes, or has made for him, a sketch
+(without caricature) of the two figures standing talking together, and
+writes under it, "_Amenities behind the Speaker's chair_." Here it will
+be seen that the subject is approached with more delicacy, and the
+position indicated with greater force through the pictorial method.
+
+2. The second modern instance of the power--the eloquence, so to speak,
+of the pictorial method--appeared in the pages of _Punch_ on the
+occasion of the visit of the Russian sailors to Paris in October, 1893.
+A rollicking, dancing Russian bear, with the words "_Vive la Republique_"
+wound round his head, hit the situation as no words could have done,
+especially when exposed for sale in the kiosques of the Paris
+boulevards. The picture required no translation into the languages of
+Europe.
+
+It may be said that there is nothing new here--that the political
+cartoon is everywhere--that it has existed always, that it flourished in
+Athens and Rome, that all history teems with it, that it comes down to
+us on English soil through Gillray, Rowlandson, Hogarth, Blake, and many
+distinguished names. I draw attention to these things because the town
+is laden with newspapers and illustrated sheets. The tendency of the
+time seems to be to read less and less, and to depend more upon
+pictorial records of events. There are underlying reasons for this on
+which we must not dwell; the point of importance to illustrators is the
+fact that there is an insatiable demand for "pictures" which tell us
+something quickly and accurately, in a language which every nation can
+understand.
+
+Another example of the use of pictorial expression to aid the verbal. A
+traveller in the Harz Mountains finds himself on the Zeigenkop, near
+Blankenberg, on a clear summer's day, and thus describes it in words:--
+
+  "We are now on the heights above Blankenberg, a promontory 1,360 feet
+  above the plains, with an almost uninterrupted view of distant country
+  looking northward and eastward. The plateau of mountains on which we
+  have been travelling here ends abruptly. It is the end of the upper
+  world, but the plains seem illimitable. There is nothing between us
+  and our homes in Berlin--nothing to impede the view which it is almost
+  impossible to describe in words. The setting sun has pierced the veil
+  of mist, and a map of Northern Germany seems unrolled before us,
+  distant cities coming into view one by one. First, we see Halberstadt
+  with its spires, then Magdeburg, then another city, and another.
+
+  "We have been so occupied with the distant prospect, and with the
+  objects of interest which give character to it, that we had almost
+  overlooked the charming composition and suggestive lines of this
+  wonderful view. There is an ancient castle on the heights, the town of
+  Blankenberg at our feet, a strange wall of perpendicular rocks in the
+  middle distance; there are the curves of the valleys, flat pastures,
+  undulating woods, and roads winding away across the plains. The
+  central point of interest is the church spire with its cluster of
+  houses spreading upwards towards the chateau, with its massive
+  terraces fringed with trees, &c., &c."
+
+
+
+This was all very well in word-painting, but what a veil is lifted from
+the reader's eyes by some such sketch as the one below.
+
+  [Illustration: VIEW ABOVE BLANKENBERG, HARZ MOUNTAINS.]
+
+It should be mentioned that three photographic prints joined together
+would hardly have given the picture, owing to the vast extent of this
+inland view, and the varying atmospheric effects.
+
+The last instance I can give here is an engraving from _Cassell's
+Popular Educator_, where a picture is used to demonstrate the curvature
+of the world's surface; thus imprinting, for once, and for always, on
+the young reader's mind a fact which words fail to describe adequately.
+
+  [Illustration: THE CURVATURE OF THE WORLDS SURFACE.]
+
+This is "The Art of Illustration" in the true sense of the word.
+
+
+FOOTNOTES:
+
+  [3] The quotations are from a paper by the present writer, read
+    before the Society of Arts in March, 1875.
+
+  [4] This system of reporting rifle contests is now almost universal
+    in England.
+
+  [5] It seems strange that enterprising newspapers, with capital at
+    command, such as the _New York Herald_, _Daily Telegraph_, and _Pall
+    Mall Gazette_, should not have developed so obvious a method of
+    transmitting information. The _Pall Mall Gazette_ has been the most
+    active in this direction, but might do much more.
+
+  [6] It has been well said that if a building can be described in
+    words, it is not worth describing at all!
+
+
+
+
+CHAPTER III.
+
+ARTISTIC ILLUSTRATIONS.
+
+
+In referring now to more artistic illustrations, we should notice first,
+some of the changes which have taken place (since the meeting referred
+to in the last chapter), and, bridging over a distance of nearly twenty
+years, consider the work of the illustrator, the photographer, and the
+maker of process blocks, as presented in books and newspapers in 1894;
+speaking principally of topical illustrations, on which so many thousand
+people are now engaged.
+
+It may seem strange at first sight to include "newspapers" in a chapter
+on art illustrations, but the fact is that the weekly newspapers, with
+their new appliances for printing, and in consequence of the cheapness
+of good paper, are now competing with books and magazines in the
+production of illustrations which a few years ago were only to be found
+in books. The illustrated newspaper is one of the great employers of
+labour in this field and distributor of the work of the artist in black
+and white, and in this connection must by no means be ignored. The
+Post-office carries a volume of 164 pages (each 22 by 16 inches),
+weighing from two to three pounds, for a half-penny. It is called a
+"weekly newspaper," but it contains, sometimes, 100 illustrations, and
+competes seriously with the production of illustrated books.
+
+Further on we shall see how the illustrations of one number of a weekly
+newspaper are produced--what part the original artist has in it, what
+part the engraver and the photographer. These are things with which all
+students should be acquainted.
+
+The first stage of illustration, where little more than a plan or
+elevation of a building is aimed at (as suggested in the last chapter),
+and where an author, with little artistic knowledge, is yet enabled to
+explain himself, is comparatively easy; it is when we approach the
+hazardous domain of art that the real difficulties begin.
+
+As matters stand at present, it is scarcely too much to say that the
+majority of art students and the younger school of draughtsmen in this
+country are "all abroad" in the matter of drawing for the press,
+lacking, not industry, not capacity, but method. That they do good work
+in abundance is not denied, but it is not exactly the kind of work
+required--in short, they are not taught at the outset the _value of a
+line_. That greater skill and certainty of drawing can be attained by
+our younger draughtsmen is unquestionable, and, bearing in mind that
+_nearly every book and newspaper in the future will be illustrated_, the
+importance of study in this direction is much greater than may appear at
+first sight.
+
+  [Illustration: No. IV.
+
+  "_Tiresome Dog_," by E. K. JOHNSON.
+
+  This example of pen-and-ink work has been reproduced by the gelatine
+  relief process. The drawing, which has been greatly reduced in
+  reproduction, was made by Mr. Johnson for an Illustrated Catalogue of
+  the Royal Water-Colour Society, of which he is a member.
+
+  It is instructive as showing the possibilities and limitations of
+  relief process-work in good hands. The gradation of tone is all
+  obtained in pure black, or dotted lines. Mr. Dawson has aided the
+  effect by "rouletting" on the block on the more delicate parts; but
+  most of the examples in this book are untouched by the engraver.
+
+  (_See Appendix._)]
+
+  [Illustration: "FRUSTRATED." (FROM THE PAINTING BY WALTER HUNT.)
+
+  (_Royal Academy_, 1891.)]
+
+Referring to the evident want of training amongst our younger
+draughtsmen, the question was put very bluntly in the _Athenaeum_ some
+years ago, thus:--
+
+  Why is not drawing in line with pen and ink taught in our own
+  Government schools of art? The present system in schools seems to
+  render the art of drawing of as little use to the student as possible,
+  for he has no sooner mastered the preliminary stage of drawing in
+  outline from the flat with a lead pencil, than he has chalk put into
+  his hand, a material which he will seldom or never use in turning his
+  knowledge of drawing to practical account. The readier method of pen
+  and ink would be of great service as a preparatory stage to wood
+  drawing, but unfortunately drawing is taught in most cases as though
+  the student intended only to become a painter.
+
+Since these lines were written, efforts have been made in some schools
+of art to give special training for illustrators, and instruction is
+also given in wood engraving, which every draughtsman should learn; but
+up to the present time there has been no systematic teaching in drawing
+applicable to the various processes, for the reason that _the majority
+of art masters do not understand them_.
+
+  [Illustration: "ON THE RIVIERA." (ELLEN MONTALBA.)]
+
+The art of expression in line, or of expressing the effect of a picture
+or a landscape from Nature in a few leading lines (not necessarily
+outline) is little understood in this country; and if such study, as the
+_Athenaeum_ pointed out, is important for the wood draughtsman, how much
+more so in drawing for reproduction by photo-mechanical means? A few
+artists have the gift of expressing themselves in line, but the majority
+are strangely ignorant of the principles of this art and of the simple
+fac-simile processes by which drawing can now be reproduced. In the
+course of twenty years of editing the _Academy Notes_, some strange
+facts have come to the writer's notice as to the powerlessness of some
+painters to express the _motif_ of a picture in a few lines; also as to
+how far we are behind our continental neighbours in this respect.
+
+  [Illustration: "A LIGHT OF LAUGHING FLOWERS ALONG THE GRASS IS
+  SPREAD." (M. RIDLEY CORBET.)]
+
+  [Illustration: No. V.
+
+  H. S. MARKS.
+
+  An example of line drawing and "the art of leaving out," by the
+  well-known Royal Academician.
+
+  Mr. Marks and Sir John Gilbert (_see frontispiece_) were the first
+  painters to explain the composition and leading lines of their
+  pictures in the _Academy Notes_ in 1876. Mr. Marks suggests light and
+  shade and the character of his picture in a few skilful lines. Sir
+  John Gilbert's pen-and-ink drawing is also full of force and
+  individuality. These drawings reproduce well by any of the processes.]
+
+  [Illustration: "A SELECT COMMITTEE." (FROM THE PAINTING BY H. S.
+  MARKS, R.A.)
+
+  (_Royal Academy, 1891._)]
+
+It is interesting to note here the firmness of line and clearness of
+reproduction by the common process block; the result being more
+satisfactory than many drawings by professional illustrators. The reason
+is not far to seek; the painter knows his picture and how to give the
+effect of it in black and white, in a few lines; and, in the case of Mr.
+Corbet and Miss Montalba, they have made themselves acquainted with the
+best way of drawing for the Press. There are many other methods than
+pen-and-ink which draughtsmen use,--pencil, chalk, wash, grained paper,
+&c, but first as to line drawing, because _it is the only means by which
+certain results can be obtained_, and it is the one which, for practical
+reasons, should be first mastered. Line drawings are now reproduced on
+zinc blocks fitted for the type press at a cost of less than sixpence
+the square inch for large blocks; the processes of reproduction will be
+explained further on.
+
+It cannot be sufficiently borne in mind--I am speaking now to students
+who are not intimate with the subject--that to produce with pure black
+lines the quality and effect of lines in which there is some gradation
+of tone, is no easy matter, especially to those accustomed to the wood
+engraver as the interpreter of their work. Sir John Tenniel, M. du
+Maurier, and Mr. Sambourne, not to mention others on the _Punch_ staff,
+have been accustomed to draw for wood engraving, and would probably
+still prefer this method to any other.
+
+  [Illustration: "THE ROSE QUEEN." (G. D. LESLIE, R.A.) (_From "Academy
+  Notes," 1893._)]
+
+But the young illustrator has to learn the newer methods, and how to get
+his effects through direct photo-engraving. What may be done by process
+is demonstrated in the line drawings interspersed through these pages,
+also in the illustrations which are appearing every day in our
+newspapers, magazines, and books--especially those which are well
+printed and on good paper. Mr. George Leslie's pretty line drawing from
+his picture, on the opposite page, is full of suggestion for
+illustrative purposes.
+
+But let us glance first at the ordinary hand-book teaching, and see how
+far it is useful to the illustrator of to-day. The rules laid down as to
+the methods of line work, the direction of lines for the expression of
+certain textures, "cross-hatching," &c., are, if followed too closely,
+apt to lead to hardness and mannerism in the young artist, which he will
+with difficulty shake off. On these points, Mr. Robertson, the
+well-known painter and etcher, writing seven years ago, says well:--
+
+  "The mental properties of every line drawn with pen and ink should be
+  original and personal ... this strong point is sure to be attained
+  unconsciously, if an artist's work is simple and sincere, and _not the
+  imitation of another man's style_."[7]
+
+When the question arises as to what examples a beginner should copy who
+wishes to practise the art of pen-and-ink drawing, the difficulty will
+be to select from the great and varied stores of material that are
+everywhere to his hand. All steel and copper-plate engravings that have
+been executed in line, and all wood engravings, are within the possible
+range of pen-and-ink drawing. I hold, however, that much time should not
+be occupied in the imitatative copying of prints: only, indeed, so much
+as enables the student to learn with what arrangement of lines the
+different textures and qualities of objects may be best rendered.
+
+There are, roughly, two methods of obtaining effect with a pen--one by
+few lines, laid slowly, and the other by many lines, drawn with
+rapidity. If the intention is to see what effect may be obtained with
+comparatively few lines deliberately drawn, we may refer to the woodcuts
+after Albert Duerer and Holbein, and the line engraving of Marc Antonio.
+The engraved plates by Duerer furnish excellent examples of work, with
+more and finer lines than his woodcuts [but many of the latter were not
+done by his hand]. "Some of the etchings of Rembrandt are examples of
+what may be fairly reproduced in pen and ink, but in them we find the
+effect to depend upon innumerable lines in all directions. In the matter
+of landscape the etched plates by Claude and Ruysdael are good examples
+for study, and in animal life the work of Paul Potter and Dujardin."
+
+Thus, for style, for mastery of effect and management of line, we must
+go back to the old masters; to work produced generally in a reposeful
+life, to which the younger generation are strangers. But the mere
+copying of other men's lines is of little avail without mastering the
+principles of the art of line drawing. The skilful copies, the
+fac-similes of engravings and etchings drawn in pen and ink, which are
+the admiration of the young artist's friends, are of little or no value
+in deciding the aptitude of the student. The following words are worth
+placing on the walls of every art school:--
+
+"Proficiency in copying engravings in fac-simile, far from suggesting
+promise of distinction in the profession of art, plainly _marks a
+tendency to mechanical pursuits_, and is not likely to be acquired by
+anyone with much instinctive feeling for the arts of design." There is
+much truth and insight in this remark.
+
+  [Illustration: "THE FINDING OF THE INFANT ST. GEORGE." (CHARLES M.
+  GERE.) (_From his painting in the New Gallery, 1893._)]
+
+In line work, as now understood, we are going back, in a measure, to the
+point of view of the missal writer and the illuminator, who, with no
+thought of the possibilities of reproduction, produced many of his
+decorative pages by management of line alone (I refer to the parts of
+his work in which the effect was produced by black and white). No amount
+of patience, thought, and labour was spared for this one copy. What
+would he have said if told that in centuries to come this line work
+would be revived in its integrity, with the possibility of the artist's
+own lines being reproduced 100,000 times, at the rate of several
+thousand an hour. And what would he have thought if told that, out of
+thousands of students in centuries to come, a few, a very few only,
+could produce a decorative page; and that few could be brought to
+realise that a work which was to be repeated, say a thousand times, was
+worthy of as much attention as his ancestors gave to a single copy!
+
+On the principle that "everything worth doing is worth doing well," and
+on the assumption that the processes in common use--[I purposely omit
+mention here of the older systems of drawing on transfer paper, and
+drawing on waxed plates, without the aid of photography, which have been
+dealt with in previous books]--are worth all the care and artistic
+knowledge which can be bestowed upon them, we would press, upon young
+artists especially, the importance of study and experiment in this
+direction. As there is no question that "the handwork of the artist" can
+be seen more clearly through mechanical engraving than through wood
+engraving, it behoves him to do his best. And as we are substituting
+process blocks for wood engraving in every direction, so we should take
+over some of the patience and care which were formerly given to book
+illustrations.
+
+We cannot live, easily, in the "cloistered silence of the past," but we
+can emulate the deliberate and thoughtful work of Mantegna, of Holbein,
+of Albert Duerer, and the great men of the past, who, if they were alive
+to-day, would undoubtedly have preferred drawing for process to the
+labour of etching and engraving; and, if their work were to be
+reproduced by others, they would have perceived, what it does not
+require much insight in us to realise, that the individuality of the
+artist is better preserved, by making his own lines.
+
+To do this successfully in these days, the artist must give his best and
+most deliberate (instead of his hurried and careless) drawings to the
+processes; founding his style, to a limited extent it may be, on old
+work, but preserving his own individuality.
+
+But we must not slavishly copy sketches by the old masters, _which were
+never intended for reproduction_. We may learn from the study of them
+the power of line to express character, action, and effect, we may
+learn composition sometimes, but not often from a sketch.
+
+  [Illustration: "A PLOUGHBOY." (G. CLAUSEN.)]
+
+As to copying the work of living artists, it should be remembered that
+the manner and the method of a line drawing is each artist's property,
+and the repetition of it by others is injurious to him. It would be an
+easy method indeed if the young artist, fresh from the schools, could,
+in a few weeks, imitate the mannerism, say of Sir John Gilbert, whose
+style is founded upon the labour of 50 years. There is no such royal
+road.
+
+  [Illustration: No. VI.
+
+  "_A Ploughboy_," by GEORGE CLAUSEN.
+
+  An excellent example of sketching in line. The original drawing was
+  7-3/4 x 5-3/4 in. I have reproduced Mr. Clausen's artistic sketch of
+  his picture in two sizes in order to compare results. The small block
+  on page 59 (printed in _Grosvenor Notes_, 1888) appears to be the most
+  suitable reduction for this drawing. The results are worth comparing
+  by anyone studying process work. The first block was made by the
+  gelatine process; the one opposite by the ordinary zinc process. (_See
+  Appendix._)
+
+To return to illustration. The education of the illustrator in these
+days means much more than mere art training. The tendency of editors of
+magazines and newspapers is to employ those who can write as well as
+draw. This may not be a very hopeful sign from an art point of view, but
+it is a condition of things which we have to face. Much as we may desire
+to see a good artist and a good _raconteur_ in one man, the combination
+will always be rare; those editors who seek for it are often tempted to
+accept inferior art for the sake of the story. I mention this as one of
+the influences affecting the quality of illustrations of an ephemeral or
+topical kind, which should not be overlooked.
+
+In sketches of society the education and standing of the artist has much
+to do with his success. M. du Maurier's work in _Punch_ may be taken as
+an example of what I mean, combining excellent art with knowledge of
+society. His clever followers and imitators lack something which cannot
+be learned in an art school.
+
+It should be understood that, in drawing for reproduction by any of the
+mechanical processes (either in wash or in line, but especially the
+latter), there is more strain on the artist than when his work was
+engraved on wood, and the knowledge of this has left drawing for process
+principally in the hands of the younger men. They will be older by the
+end of the century, but not as old then as some of our best and
+experienced illustrators who keep to wood engraving.
+
+  [Illustration: No. VII.
+
+  "_Blowing Bubbles_," by C. E. WILSON.
+
+This is an excellent example of drawing--and of treatment of textures
+and surfaces--for process reproduction. The few pen touches on the
+drapery have come out with great fidelity, the double lines marking the
+paving stones being the only part giving any trouble to the maker of the
+gelatine relief block. The skilful management of the parts in light
+shows again "the art of leaving out."]
+
+I am touching now upon a difficult and delicate part of the subject,
+and must endeavour to make my meaning clear. The illustrations in
+_Punch_ have, until lately, all been engraved on wood (the elder artists
+on the staff not taking kindly to the processes), and the style and
+manner of line we see in its pages is due in great measure to the
+influence of the wood engraver.[8]
+
+This refers to fac-simile work, but the engraver, as we know, also
+interprets wash into clean lines, helps out the timid and often unsteady
+draughtsman, and in little matters puts his drawing right.
+
+The wood engraver was apprenticed to his art, and after long and
+laborious teaching, mastered the mechanical difficulties. If he had the
+artistic sense he soon developed into a master-engraver and illustrator,
+and from crude and often weak and inartistic drawings produced
+illustrations full of tone, quality, and beauty. From very slight
+material handed to him by the publisher, the wood engraver would evolve
+(from his inner consciousness, so to speak) an elaborate and graceful
+series of illustrations, drawn on the wood block by artists in his own
+employ, who had special training, and knew exactly how to produce the
+effects required. The system often involved much care and research for
+details of costume, architecture, and the like, and, if not very high
+art, was at least well paid for, and appreciated by the public. I am
+speaking of the average illustrated book, say of twenty years ago, when
+it was not an uncommon thing to spend L500 or L600 on the engravings.
+Let us hope that the highest kind of wood engraving will always find a
+home in England.
+
+Nobody knows--nobody ever will know--how much the engraver has done for
+the artist in years past. "For good or evil,"--it may be said; but I am
+thinking now only of the good, of occasions when the engraver has had to
+interpret the artist's meaning, and sometimes, it must be confessed, to
+come to the rescue and perfect imperfect work.
+
+  [Illustration: No. VIII.
+
+  Illustration to "_Dreamland in History_," by Dr. Gloucester. (London:
+  Isbister & Co.) Drawn by HERBERT RAILTON.
+
+  Example of brilliancy and simplicity of treatment in line drawing for
+  process. There is no illustration in this book which shows better the
+  scope and variety of common process work. Mr. Railton has studied his
+  process, and brought to it a knowledge of architecture and sense of
+  the picturesque. This illustration is reduced considerably from the
+  original drawing.]
+
+  The artist who draws for reproduction by chemical and mechanical
+  means is thrown upon his own resources. He cannot say to the acid,
+  "Make these lines a little sharper," or to the sun's rays, "Give a
+  little more light"; and so--as we cannot often have good wood
+  engraving, as it is not always cheap enough or rapid enough for our
+  needs--we draw on paper what we want reproduced, and resort to one of
+  the photographic processes described in this book.
+
+  [Illustration: "BY UNFREQUENTED WAYS." (W. H. GORE.)]
+
+I do not think the modern illustrator realises how much depends upon him
+in taking the place, so to speak, of the wood engraver. The
+interpretation of tone into line fitted for the type press, to which
+the wood engraver gave a lifetime, will devolve more and more upon him.
+We cannot keep this too continually in mind, for in spite of the
+limitations in mechanically-produced blocks (as compared with wood
+engraving) in obtaining delicate effects of tone in line, much can be
+done in which the engraver has no part.
+
+  [Illustration: "THE LOWING HERD WINDS SLOWLY O'ER THE LEA." (W H.
+  GORE.)]
+
+I purposely place these two pen-and-ink drawings by Mr. Gore side by
+side, to show what delicacy of line and tone may be obtained on a relief
+block by proper treatment. One could hardly point to better examples of
+pure line. They were drawn on ordinary cardboard (the one above, 4-1/4 x
+9-3/4 in.) and reproduced by the gelatine relief process.
+
+All this, it will be observed, points to a more delicate and
+intelligent use of the process block than is generally allowed, to
+something, in short very different to the thin sketchy outlines and
+scribbles which are considered the proper style for the "pen-and-ink
+artist."
+
+But "the values" are scarcely ever considered in this connection. Mr.
+Hamerton makes a curious error in his _Graphic Arts_, where he advocates
+the use of the "black blot in pen drawing," arguing that as we use
+liberally white paper to express air and various degrees of light, so we
+may use masses of solid black to represent many gradations of darkness.
+A little reflection will convince anyone that this is no argument at
+all.
+
+Mr. Ruskin's advice in his _Elements of Drawing_, as to how to lay flat
+tints by means of pure black lines (although written many years ago, and
+before mechanical processes of reproduction were in vogue) is singularly
+applicable and useful to the student of to-day; especially where he
+reminds him that, "if you cannot gradate well with pure black lines, you
+will never do so with pale ones."
+
+To "gradate well with pure black lines" is, so to speak, the whole art
+and mystery of drawing for the photo-zinc process, of which one London
+firm alone turns out more than a thousand blocks a week.
+
+As to the amount of reduction that a drawing will bear in reproduction,
+it cannot be sufficiently widely known, that in spite of rules laid
+down, there is no rule about it.
+
+  [Illustration: "ADVERSITY." (FRED. HALL.)]
+
+It is interesting to compare this reproduction with the larger one
+overleaf. There is no limit to the experiments which may be made in
+reduction, if pursued on scientific principles.
+
+  [Illustration: No. IX.
+
+  "_Adversity_," by FRED. HALL.
+
+  This fine drawing was made in pen and ink by Mr. Hall, from his
+  picture in the Royal Academy, 1889. Size of original 14-1/2 x 11-1/2
+  in. Reproduced by gelatine blocks.
+
+  The feeling in line is conspicuous in both blocks, but many painters
+  might prefer the smaller.]
+
+  [Illustration: "A WILLOWY STREAM." (FROM THE PAINTING BY MAUD NAFTEL.)
+
+  (_New Gallery, 1889._)]
+
+Mr. Emery Walker, of the firm of Walker and Boutall, who has had great
+experience in the reproduction of illustrations and designs from old
+books and manuscripts, will tell you that very often there is no
+reduction of the original; and he will show reproductions in
+photo-relief of engravings and drawings of the same size as the
+originals, the character of the paper, and the colour of the printing
+also, so closely imitated that experts can hardly distinguish one from
+the other. On the other hand, the value of reduction, for certain styles
+of drawing especially, can hardly be over-estimated. The last drawing
+was reduced to less than half the length of the original, and is, I
+think, one of the best results yet attained by the Dawson relief
+process.
+
+Again, I say, "there is no rule about it." In the course of years, and
+in the reduction to various scales of thousands of drawings by different
+artists, to print at the type press, my experience is that _every
+drawing has its scale, to which it is best reduced_.
+
+In these pages will be found examples of drawings reduced to
+_one-sixtieth_ the area of the original, whilst others have not been
+reduced at all.
+
+  [Illustration: No. X.
+
+  "_Twins_," by STANLEY BERKLEY.
+
+  Sketch in pen and ink (size 8-1/4 x 5-1/2 in.) from Mr. Berkley's
+  picture in the Grosvenor Gallery in 1884.
+
+  A good example of breadth and expression in line, the values being
+  well indicated. Mr. Berkley, knowing animal life well, and _knowing
+  his picture_, is able to give expression to almost every touch. Here
+  the common zinc process answers well.]
+
+  [Illustration: "THE DARK ISLAND." (FROM THE PAINTING BY ALFRED EAST.)
+
+  (_Royal Academy, 1885._)]
+
+There is much instruction in these drawings by painters, instruction of
+a kind, not to be obtained elsewhere. The broad distinction between a
+"sketch" from Nature and _a drawing made in a sketchy manner_ cannot be
+too often pointed out, and such drawings as those by Mr. G. Clausen (p.
+59), Fred. Hall (p. 73), Stanley Berkley (p. 79), T. C. Gotch (p. 83),
+and others, help to explain the difference. These are all reproduced
+easily on process blocks.[9]
+
+As to sketching in line from life, ready for reproduction on a process
+block, it is necessary to say a few words here. The system is, I know,
+followed by a few illustrators for newspapers (and by a few geniuses
+like Mr. Joseph Pennell, Raven Hill, and Phil. May, who have their own
+methods), and who, by incessant practice, have become proficient. They
+have special ability for this kind of work, and their manner and style
+is their capital and attraction.
+
+  [Illustration: No. XI.
+
+  _A Portrait_, by T. C. GOTCH.
+
+  Pen-and-ink drawing (size 7-1/2 x 6-1/2 in.); from his picture in the
+  Exhibition of the New English Art Club, 1889.
+
+  Mr. Gotch is well known for his painting of children; but he has also
+  the instinct for line drawing, and a touch which reproduces well
+  without any help from the maker of the zinc block.
+
+  The absence of outline, and the modelling suggested by vertical lines,
+  also the treatment of background, should be noticed. This background
+  lights up when opposed to white and _vice-versa_.]
+
+But to attempt to _teach_ rapid sketching in pen and ink is beginning at
+the wrong end, and is fatal to good art; it is like teaching the
+principles of pyrotechnics whilst fireworks are going off. And yet we
+hear of prizes given for rapid sketches to be reproduced by the
+processes. Indeed, I believe this is the wrong road; the baneful result
+of living in high-pressure times. It is difficult to imagine any artist
+of the past consenting to such a system of education.
+
+Sketching from life is, of course, necessary to the student (especially
+when making illustrations by wash drawings, of which I shall speak
+presently), but for line work it should be done first in pencil, or
+whatever medium is easiest at the moment. The lines for reproduction
+require thinking about, thinking what to leave out, how to interpret the
+grey of a pencil, or the tints of a brush sketch in the fewest lines.
+Thus, and thus only, the student learns "the art of leaving out," "the
+value of a line."
+
+The tendency of modern illustrators is to imitate somebody; and in line
+drawing for the processes, where the artist, and not the engraver, has
+to make the lines, imitation of some man's method is almost inevitable.
+
+  [Illustration: No. XII.
+
+  "_Sir John Tenniel_," by EDWIN WARD.
+
+  Example of another style of line drawing. Mr. Ward is a master of
+  line, as well as a skilful portrait painter. He has lost nothing of
+  the force and character of the original here, by treating it in line.
+
+  Mr. Ward has painted a series of small portraits of public men, of
+  which there is an example on p. 90.
+
+  Size of pen-and-ink drawing 8-1/2 x 5-1/2 in., reproduced by common
+  process.]
+
+Let me quote an instance. The style of the late Charles Keene is
+imitated in more than one journal at the present time, the artists
+catching his method of line more easily than the higher qualities of his
+art, his _chiaroscuro_, his sense of values and atmospheric effect. I
+say nothing of his pictorial sense and humour, for they are beyond
+imitation. It is the husk only we have presented to us.
+
+As a matter of education and outlook for the younger generation of
+illustrators, this imitation of other men's lines deserves our special
+consideration. Nothing is easier in line work than to copy from the
+daily press. Nothing is more prejudicial to good art, or more fatal to
+progress.
+
+And yet it is the habit of some instructors to hold up the methods (and
+the tricks) of one draughtsman to the admiration of students. I read in
+an art periodical the other day, a suggestion for the better
+understanding of the way to draw topical illustrations in pen and ink,
+viz.: that examples of the work of Daniel Vierge, Rico, Abbey, Raven
+Hill, and other noted pen draughtsmen, should be "set as an exercise to
+students;" of course with explanation by a lecturer or teacher. But this
+is a dangerous road for the average student to travel. Of all branches
+of art none leads so quickly to mannerism as line work, and a particular
+manner when thus acquired is difficult to shake off.
+
+  [Illustration: THE RT. HON. JOHN MORLEY, M.P. (EDWIN WARD.)]
+
+Think of the consequences--Vierge with his garish lights, his trick of
+black spots, his mechanical shadows and neglect of _chiaroscuro_--all
+redeemed and tolerated in a genius for the dash and spirit and beauty of
+his lines--lines, be it observed, that reproduce with difficulty on
+relief blocks--imitated by countless students; Mr. E. A. Abbey, the
+refined, and delicate American draughtsman, imitated for his
+method--the style and _chic_ of it being his own, and inimitable. Think
+of the crowd coming on--imitators of the imitators of Rico--imitators of
+the imitators of Charles Keene!
+
+It may be said generally, that in order to obtain work as an
+illustrator--the practical point--there must be originality of thought
+and design. _There must be originality_, as well as care and thought
+bestowed on every drawing for the Press.
+
+The drawing of portraits in line from photographs gives employment to
+some illustrators, as line blocks will print in newspapers much better
+than photographs. But for newspaper printing they must be done with
+something of the precision of this portrait, in which the whites are cut
+deep and where there are few broken lines.
+
+It is the exception to get good printing in England, under present
+conditions of haste and cheapening of production, and therefore the best
+drawings for rapid reproduction are those that require the least
+touching on the part of the engraver, as _a touched-up process block is
+troublesome to the printer_; but it is difficult to impress this on the
+artistic mind.
+
+  [Illustration: No. XIII.
+
+  "_Nothing venture, nothing have_," by E. P. SANGUINETTI.
+
+  Pen-and-ink drawing from the picture by E. P. Sanguinetti, exhibited
+  at the Nineteenth Century Art Society's Gallery, 1888.
+
+  The large block is suitable for printing on common paper, and by fast
+  machines. The little block is best adapted for bookwork, and is
+  interesting as showing the quality obtained by reduction. It is an
+  excellent example of drawing for process, showing much ingenuity of
+  line. The tone and shadows on the ground equal the best fac-simile
+  engraving. (Size of original drawing, from which both blocks were
+  made, 15 x 10 in.)]
+
+  [Illustration: "ON THE TERRACE." (E. A. ROWE.) _From his water-colour
+  in the New Gallery, 1894._
+
+  Size of Pen Drawing, 5-3/4 x 7-1/2 in.]
+
+Some people cannot draw firm clean lines at all, and _should not attempt
+them_. Few allow sufficiently for the result of reduction, and the
+necessary thickening of some lines. The results are often a matter of
+touch and temperament. Some artists are naturally unfitted for line
+work; the rules which would apply to one are almost useless to another.
+Again, there is great inequality in the making of these cheap zinc
+blocks, however well the drawings may be made; they require more care
+and experience in developing than is generally supposed.
+
+As line drawing is the basis of the best drawing for the press, I have
+interspersed through these pages examples and achievements in this
+direction; examples which in nearly every case are the result of
+knowledge and consideration of the requirements of process, as an
+antidote to the sketchy, careless methods so much in vogue. Here we may
+see--as has probably never been seen before in one volume--what
+harmonies and discords may be played on this instrument with one string.
+One string--no "messing about," if the phrase may be excused--pure black
+lines on Bristol board (or paper of the same surface), photographed on
+to a zinc plate, the white parts etched away and the drawing made to
+stand in relief, ready to print with the letterpress of a book; every
+line and touch coming out a black one, or rejected altogether by the
+process.
+
+  [Illustration: No. XIV.
+
+  "_For the Squire_," by SIR JOHN MILLAIS, BART., R. A.
+
+  This is an example of drawing for process for rapid printing. The
+  accents of the picture are expressed firmly and in the fewest lines,
+  to give the effect of the picture in the simplest way. Sir John
+  Millais' picture, which was exhibited in the Grosvenor Gallery in
+  1883, was engraved in mezzotint, and published by Messrs. Thos. Agnew
+  & Sons. (Size of pen-and-ink drawing, 7-1/4 x 5-1/2 in.) It is
+  suitable for much greater reduction.]
+
+Drawings thus made, upon Bristol board or paper of similar surface, with
+lamp black, Indian ink, or any of the numerous inks now in use, which
+dry with a dull, not shiny, surface, will always reproduce well. The pen
+should be of medium point, or a brush may be used as a pen. The lines
+should be clear and sharp, and are capable of much variation in style
+and treatment, as we see in these pages. I purposely do not dwell here
+upon some special surfaces and papers by which different tones and
+effects may be produced by the line processes; there is too much
+tendency already with the artist to be interested in the mechanical
+side. I have not recommended the use of "clay board," for instance, for
+the line draughtsman, although it is much used for giving a crisp line
+to process work, and has a useful surface for scraping out lights, &c.
+The results are nearly always mechanical looking.[10]
+
+On the next page are two simple, straightforward drawings, which, it
+will be observed, are well suited to the method of reproduction for the
+type press. The first is by Mr. H. S. Marks, R. A. (which I take from
+the pages of _Academy Notes_), skilfully drawn upon Bristol board, about
+7 x 5 in.
+
+Here every line tells, and none are superfluous; the figure of the monk,
+the texture of his dress, the old stone doorway, the creeper growing on
+the wall, and the basket of provisions, all form a picture, the lines of
+which harmonise well with the type of a book.
+
+  [Illustration: "THE STOPPED KEY." (H. S. MARKS, R. A.)]
+
+In this deliberate, careful drawing, in which white paper plays by far
+the principal part, the background and lighting of the picture are
+considered, also the general balance of a decorative page.[11]
+
+  [Illustration: "NYMPH AND CUPID." SMALL BAS-RELIEF. (H. HOLIDAY.)
+
+  (_From "Academy Notes."_)]
+
+
+FOOTNOTES:
+
+  [7] No one artist can teach drawing in line without a tendency to
+    mannerism, especially in art classes.
+
+  [8] One of the most accomplished of English painters told me the
+    other day that when he first drew for illustration, the wood engraver
+    dictated the angle and style of cross-hatching, &c., so as to fit the
+    engraver's tools.
+
+  [9] Special interest attaches to the examples in this book from the
+    fact that they have nearly all been _drawn on different kinds of
+    paper_, and _with different materials_; and yet nearly all, as will
+    be seen, have come out successfully, and give the spirit of the
+    original.
+
+  [10] For description of the various grained papers, &c., see page
+    113, also _Appendix_.
+
+  [11] The young "pen-and-ink artist" of to-day generally avoids
+    backgrounds, or renders them by a series of unmeaning scratches; he
+    does not consider enough the true "lighting of a picture," as we
+    shall see further on. The tendency of much modern black-and-white
+    teaching is to ignore backgrounds.
+
+
+
+
+CHAPTER IV.
+
+PHOTO-ZINC PROCESS.[12]
+
+
+In order to turn any of these drawings into blocks for the type press,
+the first process is to have it photographed to the size required, and
+to transfer a print of it on to a sensitized zinc plate. This print, or
+photographic image of the drawing lying upon the zinc plate, is of
+greasy substance (bichromate of potash and gelatine), and is afterwards
+inked up with a roller; the plate is then immersed in a bath of nitric
+acid and ether, which cuts away the parts which were left white upon
+the paper, and leaves the lines of the drawing in relief. This "biting
+in," as it is called, requires considerable experience and attention,
+according to the nature of the drawing. Thus, the lines are turned into
+metal in a few hours, and the plate when mounted on wood to the height
+of type-letters, is ready to be printed from, if necessary, at the rate
+of several thousands an hour.
+
+  [Illustration: PORTRAIT. (T. BLAKE WIRGMAN.)
+
+  (_From "Academy Notes."_)]
+
+  [This portrait was exhibited in the Royal Academy in 1880. I reproduce
+  Mr. Wirgman's sketch for the sake of his powerful treatment of line.]
+
+
+  [Illustration: No. XV.
+
+  "_Forget-Me-Not_," by HENRY RYLAND.
+
+  (_From the "English Illustrated Magazine."_)
+
+An unusually fine example of reproduction in line, by zinc process, from
+a large pen-and-ink drawing. It serves to show how clearly writing can
+be reproduced if done by a trained hand. Students should notice the
+variety of "colour" and delicacy of line, also the brightness and
+evenness of the process block throughout.
+
+This illustration suggests possibilities in producing decorative pages
+in modern books without the aid of printers' type, which is worth
+consideration in art schools. It requires, of course, knowledge of the
+figure and of design, and a trained hand for process. One obvious
+preparation for such work, is an examination of decorative pages in the
+Manuscript Department of the British Museum. (_See Appendix._)
+
+It would be difficult, I think, to show more clearly the scope and
+variety of line work by process than in the contrast between this and
+the two preceding illustrations. Each artist is an expert in black and
+white in his own way.]
+
+  [Illustration: "BABY'S OWN." (G. HILLYARD SWINSTEAD.)
+
+  (_From "Academy Notes," 1890._)]
+
+A wonderful and startling invention is here, worthy of a land of
+enchantment, which, without labour, with little more than a wave of the
+hand, transfixes the artist's touch, and turns it into concrete; by
+which the most delicate and hasty strokes of the pen are not merely
+recorded in fac-simile for the eye to decipher, but are brought out in
+sharp relief, as bold and strong as if hewn out of a rock! Here is an
+argument for doing "the best and truest work we can," a process that
+renders indestructible--so indestructible that nothing short of
+cremation would get rid of it--every line that we put upon paper; an
+argument for learning for purposes of illustration the touch and method
+best adapted for reproduction by the press.[13]
+
+  [Illustration: "A SILENT POOL." (ED. W. WAITE.) (_From "Academy
+  Notes," 1891._)]
+
+
+GELATINE PROCESS.
+
+By this process a more delicate and sensitive method has been used to
+obtain a relief block.
+
+The drawing is photographed to the required size (as before), and the
+_negative_ laid upon a glass plate (previously coated with a mixture of
+gelatine and bichromate of potash). The part of this thin, sensitive
+film not exposed to the light, is absorbent, and when immersed in water
+swells up. The part exposed to the light (_i.e._, the lines of the
+drawing) remains near the surface of the glass. Thus we have a sunk
+mould from which a metal cast can be taken, leaving the lines in relief
+as in the zinc process. In skilful hands this process admits of more
+delicate gradations, and pale, uncertain lines can be reproduced with
+tolerable fidelity. The blocks take longer to make, and are double the
+price of the photo-zinc process first described. There is no process yet
+invented which gives better results from a pen-and-ink drawing for the
+type-press. These blocks when completed have a copper surface. The
+reproductions of pencil, chalk, or charcoal drawings by the zinc, or
+"biting-in" processes are nearly always failures, as we may see in some
+of the best artistic books and magazines to-day.
+
+  [Illustration: No. XVI.
+
+  "_The Miller's Daughter_," by E. K. JOHNSON.
+
+  Another very interesting example of Mr. E. K. Johnson's drawing in pen
+  and ink. Nearly every line has the value intended by the artist.
+
+  The drawing has been largely reduced, and reproduced by the gelatine
+  relief process.]
+
+  [Illustration: "THE END OF THE CHAPTER." (FROM THE PAINTING BY W.
+  RAINEY.)
+
+  [_Royal Academy, 1886._]
+
+  (_Reproduced by the old Dawson process._)]
+
+  [Illustration: "IN THE PAS DE CALAIS." (JAS. PRINSEP BEADLE.)[14]]
+
+
+GRAINED PAPERS.
+
+For those who cannot draw easily with the pen, there are several kinds
+of grained papers which render drawings suitable for reproduction. The
+first is a paper with _black lines_ imprinted upon it on a material
+suitable for scraping out to get lights, and strengthening with pen or
+pencil to get solid blacks. On some of these papers black lines are
+imprinted horizontally, some vertically, some diagonally, some in dots,
+and some with lines of several kinds, one under the other, so that the
+artist can get the tint required by scraping out. Drawings thus made can
+be reproduced in relief like line drawings, taking care not to reduce a
+fine black grain too much or it will become "spotty" in reproduction.
+
+  [Illustration: "GOLDEN DAYS." (F. STUART RICHARDSON.)
+
+  (_Black-grained paper._)]
+
+This drawing and the one opposite by Mr. Hume Nisbet show the skilful
+use of paper with vertical and horizontal black lines; also, in the
+latter drawing, the different qualities of strength in the sky, and the
+method of working over the grained paper in pen and ink.
+
+  [Illustration: No. XVII.
+
+  "TWILIGHT." (SPECIMEN OF BLACK-GRAINED PAPER.)
+
+  (_From "Lessons in Art," by Hume Nisbet, published by Chatto &
+  Windus._)]
+
+  [Illustration: No. XVIII.]
+
+  "_Le Dent du Geant_," by E. T. COMPTON.
+
+  Another skilful use of the black-grained paper to represent snow,
+  glacier, and drifting clouds. The original tone of the paper may be
+  seen in the sky and foreground.
+
+  The effect is obtained by scraping out the lighter parts on the paper
+  and strengthening the dark with pen and pencil.
+
+  It is interesting to compare the two blocks made from the same
+  drawing. (Size of drawing 7-3/4 x 4 in.)]
+
+  [Illustration: No. XIX.
+
+  _Landscape_, by A. M. LINDSTROM.
+
+  Example of bold effect by scraping out on the black-lined paper, and
+  free use of autographic chalk.
+
+  This drawing shows, I think, the artistic limitations of this process
+  in the hands of an experienced draughtsman.
+
+  The original drawing by Mr. Lindstrom (from his painting in the Royal
+  Academy) was the same size as the reproduction.]
+
+Other papers largely used for illustration in the type press have a
+_white grain_, a good specimen of which is on page 123; and there are
+variations of these white-grained papers, of which what is known in
+France as _allonge_ paper is one of the best for rough sketches in books
+and newspapers.
+
+The question may arise in many minds, are these contrivances with their
+mechanical lines for producing effect, worthy of the time and attention
+which has been bestowed upon them? I think it is very doubtful if much
+work ought to be produced by means of the black-grained papers;
+certainly, in the hands of the unskilled, the results would prove
+disastrous. A painter may use them for sketches, especially for
+landscape. Mr. Compton (as on p. 116) can express very rapidly and
+effectively, by scraping out the lights and strengthening the darks, a
+snowdrift or the surface of a glacier. In the drawing on page 123, Mr.
+C. J. Watson has shown us how the grained paper can be played with, in
+artistic hands, to give the effect of a picture.
+
+The difference, artistically speaking, between sketches made on
+black-grained and white-grained papers seems to me much in favour of the
+latter.
+
+  [Illustration: No. XX.
+
+  "_Volendam_," by C. J. WATSON.
+
+  Example of white-lined paper, treated very skilfully and
+  effectively--only the painter of the picture could have given so much
+  breadth and truth of effect.
+
+  This _white_ paper has a strong vertical grain which when drawn upon
+  with autographic chalk has the same appearance as black-lined paper;
+  and is often taken for it.
+
+  (Size of drawing 6 x 4-1/2 in.)]
+
+But at the best, blocks made from drawings on these papers are apt to be
+unequal, and do not print with the ease and certainty of pure line work;
+they require good paper and careful printing, which is not always to be
+obtained. The artist who draws for the processes in this country must
+not expect (excepting in very exceptional cases) to have his work
+reproduced and printed as in America, or even as well as in this book.
+
+  [Illustration: "AND WEE PEERIE WINKIE PAYED FOR A'." (FROM THE
+  PAINTING BY HUGH CAMERON.)
+
+  _Example of a good chalk drawing too largely reduced._]
+
+  [Illustration: No. XXI.
+
+  "_An Arrest_," by MELTON PRIOR.
+
+  This is a remarkable example of the reproduction of a pencil drawing.
+  It is seldom that the soft grey effect of a pencil drawing can be
+  obtained on a "half-tone" relief block, or the lights so successfully
+  preserved.
+
+  This is only a portion of a picture by Mr. Melton Prior, the
+  well-known special artist, for which I am indebted to the proprietors
+  of _Sketch_.
+
+  The reproduction is by Carl Hentschel.]
+
+The reproduction on the previous page owes its success not only to good
+process, paper, and printing, but also to _the firm, decisive touch of
+an experienced illustrator_ like Mr. Melton Prior. A pencil drawing in
+less skilful hands is apt to "go to pieces" on the press.
+
+Mr. C. G. Harper, in his excellent book on _English Pen Artists_, has
+treated of other ways in which drawings on prepared papers may be
+manipulated for the type press; but not always with success. In that
+interesting publication, _The Studio_, there have appeared during the
+past year many valuable papers on this subject, but in which the
+_mechanism_ of illustration is perhaps too much insisted on. Some of the
+examples of "mixed drawings," and of chalk-and-pencil reproductions,
+might well deter any artist from adopting such aids to illustration.
+
+The fact is, that the use of grained papers is, at the best, a makeshift
+and a degradation of the art of illustration, if judged by the old
+standards. It will be a bad day for the art of England when these
+mechanical appliances are put into the hands of young students in art
+schools.
+
+For the purposes of ordinary illustrations we should keep to the simpler
+method of line. All these contrivances require great care in printing,
+and the blocks have often to be worked up by an engraver. _The material
+of the process blocks is unsuited to the purpose._ In a handbook to
+students of illustration this requires repeating on nearly every page.
+
+As a contrast to the foregoing, let us look at a sketch in pure line by
+the landscape painter, Mr. M. R. Corbet, who, with little more than a
+scribble of the pen, can express the feeling of sunrise and the still
+air amongst the trees.
+
+  [Illustration: "SUNRISE IN THE SEVERN VALLEY." (MATTHEW R. CORBET.)]
+
+
+MECHANICAL DOTS.
+
+Amongst the modern inventions for helping the hurried or feeble
+illustrator, is the system of laying on mechanical dots to give shadow
+and colour to a pure line drawing, by process. It is a practice always
+to be regretted; whether applied to a necessarily hasty newspaper
+sketch, or to one of Daniel Vierge's elaborately printed illustrations
+in the _Pablo de Segovia_. One cannot condemn too strongly this system,
+so freely used in continental illustrated sheets, but which, in the most
+skilful hands, seems a degradation of the art of illustration. These
+dots and lines, used for shadow, or tone, are laid upon the plate by the
+maker of the block, the artist indicating, by a blue pencil mark, the
+parts of a drawing to be so manipulated; and as the illustrator _has not
+seen the effect on his own line drawing_, the results are often a
+surprise to everyone concerned. I wish these ingenious contrivances were
+more worthy of an artist's attention.
+
+On the opposite page is an example taken from an English magazine, by
+which it may be seen that all daylight has been taken ruthlessly from
+the principal figure, and that it is no longer in tone with the rest of
+the picture, as an open air sketch. The system is tempting to the
+hurried illustrator; he has only to draw in line (or outline, which is
+worse) and then mark where the tint is to appear, and the dots are laid
+on by the maker of the blocks.
+
+  [Illustration: "THE ADJUTANT'S LOVE STORY." (H. R. MILLAR.)
+
+  (_Example of mechanical grain._)
+
+  No. XXII.]
+
+In the illustration on the last page (I have chosen an example of
+fine-grain dots; those used in newspapers and common prints are much
+more unsightly, as everyone knows), it is obvious that the artist's
+sketch is injured by this treatment, that, in fact, the result is not
+artistic at all. Nothing but high pressure or incompetence on the part
+of the illustrator can excuse this mechanical addition to an incomplete
+drawing; and it must be remembered that these inartistic results are not
+the fault of the process, or of the "process man." But the system is
+growing in every direction, to save time and trouble, and is lowering
+the standard of topical illustrations. And it is this system (_inter
+alia_) which is taught in technical schools, where the knowledge of
+process is taking the place of wood engraving.
+
+The question is again uppermost in the mind, are such mechanical
+appliances ("dodges," I venture to call them) worthy the serious
+attention of artists; and can any good arise by imparting such knowledge
+to youthful illustrators in technical schools? Wood engraving was a
+craft to be learned, with a career for the apprentice. _There is no
+similar career for a lad by learning the "processes;" and nothing but
+disappointment before him if he learns the mechanism before he is an
+educated and qualified artist._
+
+Mention should be made here (although I do not wish to dwell upon it) of
+drawing in line on prepared transfer paper with autographic ink, which
+is transferred to zinc without the aid of photography, a process very
+useful for rapid and common work; but it is seldom used for good book
+illustration, as it is irksome to the artist and not capable of very
+good results; moreover, the drawing has often to be minute, as the
+reproduction will be the same size as the original. It is one of the
+processes which I think the student of art had better not know much
+about.[15]
+
+That it is possible, by the common processes, to obtain strong effects
+almost equal to engraving, may be seen in some process illustrations by
+Mr. Lancelot Speed, in which many technical experiments have been made,
+including the free use of white lining.
+
+Mr. Speed is very daring in his experiments, and students may well
+puzzle over the means by which he obtains his effects by the line
+processes.
+
+  [Illustration]
+
+The illustration opposite from Andrew Lang's _Blue Poetry Book_, shows a
+very ingenious treatment of the black-lined papers. Technically it is
+one of the best examples I know of,--the result of much study and
+experiment.
+
+  [Illustration: _From Andrew Lang's "Blue Poetry Book."_ (LANCELOT
+  SPEED.)
+
+  No. XXIII.]
+
+  [Illustration: No. XXIV.
+
+  "_The Armada_," by LANCELOT SPEED.
+
+  This extraordinary example of line drawing for process was taken from
+  Andrew Lang's _Blue Poetry Book_, published by Messrs. Longmans.
+
+  In this illustration no wash has been used, nor has there been any
+  "screening" or engraving on the block. The methods of lining are, of
+  course, to a great extent the artist's own invention. This
+  illustration and the two preceding lead to the conclusion that there
+  is yet much to learn in _drawing for process_ by those who will study
+  it. The achievements of the makers of the blocks, with difficult
+  drawings to reproduce, is quite another matter. Here all is easy for
+  the reproducer, the common zinc process only being employed, and the
+  required effects obtained without much worrying of the printer, or of
+  the maker of the blocks.
+
+       *       *       *       *       *
+
+  Thus far all the illustrations in this book have been produced by the
+  common line process.]
+
+  [Illustration: "SEINE BOATS." (FROM THE PAINTING BY LOUIS GRIER.)]
+
+
+"HALF-TONE" PROCESS.
+
+The next process to consider is the method of reproducing wash drawings
+and photographs on blocks suitable for printing at the type press,
+commonly known as the Meisenbach or "half-tone process;" a most
+ingenious and valuable invention, which, in clever hands, is capable of
+artistic results, but which in common use has cast a gloom over
+illustrations in books and newspapers.
+
+First, as to the method of making the blocks. As there are no lines in a
+wash drawing or in a photograph from nature, it is necessary to obtain
+some kind of grain, or interstices of white, on the zinc plate, as in a
+mezzotint; so between the drawing or photograph to be reproduced and the
+camera, glass screens, covered with lines or dots, are interposed,
+varying in strength according to the light and shade required; thus
+turning the image of the wash drawing practically into "line," with
+sufficient interstices of white for printing purposes.
+
+  [Illustration: "THERE IS THE PRIORY!"]
+
+Thus, all drawings in wash, chalk, pencil, etc., that will not reproduce
+by the direct line processes, already referred to, are treated for
+printing at the type press; and thus the uniform, monotonous dulness,
+with which we are all familiar, pervades the page.
+
+The conditions of drawing for this process have to be carefully studied,
+to prevent the meaningless smears and blotches (the result generally of
+making too hasty sketches in wash) which disfigure nearly every magazine
+and newspaper we take up. There is no necessity for this degradation of
+illustration.
+
+The artist who draws in wash with body colour, or paints in oils in
+monochrome, for this process, soon learns that his high lights will be
+lost and his strongest effects neutralised, under this effect of gauze;
+and so for pictorial purposes he has to _force his effect_ and
+exaggerate lights and shades; avoiding too delicate gradations, and in
+his different tones keeping, so to speak, to one octave instead of two.
+Thus, also for this process, to obtain brightness and cheap effect, the
+illustrator of to-day often avoids backgrounds altogether.
+
+In spite of the uncertainty of this system of reproduction, it has great
+attractions for the skilful or the hurried illustrator.
+
+  [Illustration: No. XXV.
+
+  "Helga rode without a saddle as if she had grown to her horse--at full
+  speed."
+
+  ("_Hans Andersen's Fairy Tales._")]
+
+  [Illustration: No. XXVI.
+
+  "_The Storks_," by J. R. WEGUELIN.
+
+    "And high through the air came the first stork and the second stork;
+    a pretty child sat on the back of each."
+
+  Example of half-tone process applied to a slight wash drawing. The
+  illustration is much relieved by vignetting and _leaving out_: almost
+  the only chance for effect that the artist has by the screened
+  process. It suggests, as so many of the illustrations in this book do,
+  not the limits but the scope and possibilities of process work for
+  books.
+
+  This and the preceding illustration by Mr. Weguelin are taken from
+  _Hans Andersen's Fairy Tales_ (Lawrence & Bullen, 1893).]
+
+That this "half-tone" process is susceptible of a variety of effects and
+results, good and bad, every reader must be aware.
+
+The illustrations in this book, from pages 138 to 165, are all
+practically by the same process of "screening," a slight difference only
+in the grain being discernible.
+
+The wash drawing on page 139 suffers by the coarse grain on it, but the
+values, it will be seen, are fairly well preserved. The lights which are
+out of tone appear to have been taken out on the plate by the maker of
+the block, a dangerous proceeding with figures on a small scale. Mr.
+Louis Grier's clever sketch of his picture in wash, at the head of this
+chapter, gives the effect well.
+
+Mr. Weguelin's illustrations to _Hans Andersen's Fairy Tales_ have been,
+I understand, a great success, the public caring more for the spirit of
+poetry that breathes through them than for more finished drawings. This
+is delightful, and as it should be, although, technically, the artist
+has not considered his process enough, and from the educational point of
+view it has its dangers. The "process" has been blamed roundly, in one
+or two criticisms of Mr. Weguelin's illustrations, whereas _the process
+used is the same as on pages 149 and 157_.
+
+However, the effect on a wash drawing is not satisfactory in the best
+hands. So uncertain and gloomy are the results that several well-known
+illustrators decline to use it as a substitute for wood engraving. We
+shall have to improve considerably before wood engraving is abandoned.
+We _are_ improving every day, and by this half-tone process numberless
+wash drawings and photographs from nature are now presented to the
+public in our daily prints.
+
+Great advances have been made lately in the "screening" of pencil
+drawings, and in taking out the lights of a sketch (as pointed out on
+page 127), and results have been obtained by careful draughtsmen during
+the last six months which a year ago would have been considered
+impossible. These results have been obtained principally by good
+printing and paper--allowing of a fine grain on the block--but where the
+illustration has to be prepared for printing, say 5,000 an hour, off
+rotary machines, a coarser grain has to be used, producing the "Berlin
+wool pattern" effect on the page, with which we are all familiar in
+newspapers.
+
+Let us now look at two examples of wash drawing by process, lent by the
+proprietors of _Black and White_.
+
+  [Illustration: No. XXVII.
+
+  This is a good average example of what to expect by the half-tone
+  process from a wash drawing. That the result is tame and monotonous is
+  no fault of the artist, whose work could have been more brightly
+  rendered by wood engraving.
+
+  That "it is better to have this process than bad wood engraving" is
+  the opinion of nearly all illustrators of to-day. The artist _sees his
+  own work_, at any rate, if through a veil of fog and gloom which is
+  meant for sunshine!
+
+  But the time is coming when the public will hardly rest content with
+  such results as these.]
+
+  [Illustration: No. XXVIII.
+
+  _Illustration from_ "_Black and White_," by G. G. MANTON.
+
+  This is a good example of wash drawing for process; that is to say, a
+  good example from the "process man's" point of view.
+
+  Here the artist has used his utmost endeavours to meet the process
+  half-way; he has been careful to use broad, clear, firm washes, and
+  has done them with certainty of hand, the result of experience. If, in
+  the endeavour to get strength, and the _best results out of a few
+  tones_, the work lacks some artistic qualities, it is almost a
+  necessity.
+
+  Mr. Manton has a peculiar method of lining, or stippling, over his
+  wash work, which lends itself admirably for reproduction; but the
+  practice can hardly be recommended to the attention of students. It is
+  as difficult to achieve artistic results by these means, as in the
+  combination of line and chalk in one drawing, advocated by some
+  experts.
+
+  At the same time, Mr. Manton's indication of surfaces and textures by
+  process are both interesting and valuable.]
+
+  [Illustration: "A SUNNY LAND." (FROM THE PAINTING BY GEORGE WETHERBEE.)
+
+  (_New Gallery, 1891._)]
+
+  [Illustration: DECORATIVE DESIGN BY RANDOLPH CALDECOTT.]
+
+  (The above design, from the _Memoir of R. Caldecott_, is lent by
+  Messrs. Sampson Low & Co.)
+
+One of the many uses which artists may make of the half-tone process is
+suggested by the reproduction of one of Mr. Caldecott's decorative
+designs, drawn freely with a brush full of white, on brown paper on a
+large scale (sometimes two or even three feet long), and reduced as
+above; the reduction refining and improving the design.
+
+This is a most legitimate and practical use of "process" for
+illustrating books, architectural and others, which in artistic hands
+might well be further developed.
+
+Of the illustrators who use this process in a more free-and-easy way we
+will now take an example, cut out of the pages of _Sketch_ (_see_
+overleaf, p. 155).
+
+Here truths of light and shade are disregarded, the figure stands out in
+unnatural darkness against white paper, and flat mechanical shadows are
+cast upon nothing. Only sheer ability on the part of a few modern
+illustrators has saved these coarse ungainly sketches from universal
+condemnation. But the splashes, and spots, and stains, which are taking
+the place of more serious work in illustration, have become a vogue in
+1894. The sketch is made in two or three hours, instead of a week; the
+process is also much cheaper to the publisher than wood engraving, and
+the public seems satisfied with a sketch where formerly a finished
+illustration was required, if the subject be treated dramatically and in
+a lively manner. If the sketch comes out an unsightly smear on the page,
+it at least answers the purpose of topical illustration, and apparently
+suits the times. It is little short of a revolution in illustration, of
+which we do not yet see the end.[16]
+
+The bookstalls are laden with the daring achievements of Phil May, Raven
+Hill, Dudley Hardy, and others, but it is not the object of this book to
+exhibit the works of genius, either for emulation or imitation. It is
+rather to suggest to the average student what he may legitimately
+attempt, and to show him the possibilities of the process block in
+different hands. It may be said, without disparagement of the numerous
+clever and experienced illustrators of the day, that they are only
+adapting themselves to the circumstances of the time. There is a
+theory--the truth of which I do not question--that the reproductions of
+rapid sketches from the living model by the half-tone process have more
+vitality and freedom, more feeling and artistic qualities than can be
+obtained by any other means. But the young illustrator should hesitate
+before adapting these methods, and should _never have anything
+reproduced for publication which was "drawn to time" in art classes_.
+
+One thing cannot be repeated too often in this connection: that the
+hastily produced blotches called "illustrations," which disfigure the
+pages of so many books and magazines, are generally the result of want
+of care on the part of the artist rather than of the maker of the
+blocks.
+
+  [Illustration: No. XXIX.
+
+  This is part of a page illustration lent by the proprietors of
+  _Sketch_. It does not do justice to the talent (or the taste, we will
+  hope), of the illustrator, and is only inserted here to record the
+  kind of work which is popular in 1894. (Perhaps in a second edition we
+  may have other exploits of genius to record.)
+
+  It should be noted that this and the illustration on p. 149 are both
+  reproduced by the same hal-ftone process, the difference of result
+  being altogether in the handling of the brush. This sketch would have
+  been intolerable in less artistic hands. Artists will doubtless find
+  more feeling and expression in the broad washes and splashes before
+  us, than in the most careful stippling of Mr. Manton.
+
+  Students of wash drawing for process may take a middle course.]
+
+A word here on the influence of
+
+  PROCESS-BLOCK MAKERS
+
+on the young illustrator. The "process man," the teacher and inciter to
+achievements by this or that process, is not usually an "artist" in the
+true sense of the word. He knows better than anyone else what lines he
+can reproduce, and especially what kind of drawing is best adapted for
+his own process. He will probably tell the young draughtsman what
+materials to use, what amount of reduction his drawings will bear, and
+other things of a purely technical not to say businesslike character.
+Let me not be understood to disparage the work of photo-engravers and
+others engaged on these processes; on the contrary, the amount of
+patience, industry, activity, and anxious care bestowed upon the
+reproduction of drawings and paintings is astonishing, and deserves our
+gratitude.[17] This work is a new industry of an important kind, in
+which art and craft are bound up together. The day has past when
+"process work" is to be looked down upon as only fit for the cheapest,
+most inferior, and inartistic results.
+
+  [Illustration: "THE BROOK." (FROM A PAINTING BY ARNOLD HELCKE.)]
+
+
+PHOTOGRAPHIC ILLUSTRATIONS.
+
+One result of hasty work in making drawings, and the uncertainty of
+reproduction, promises to be a very serious one to the illustrator, as
+far as we can see ahead, viz.: the gradual substitution of photographs
+from life for other forms of illustration. The "Meisenbach" reproduction
+of a photograph from life, say a full length figure of an actress in
+some elaborate costume, seems to answer the purpose of the editor of a
+newspaper to fill a page, where formerly artists and engravers would
+have been employed. One reason for this is that the details of the dress
+are so well rendered by photography on the block as to answer the
+purpose of a fashion plate, an important matter in some weekly
+newspapers. The result is generally unsatisfactory from an artist's
+point of view, but the picture is often most skilfully composed and the
+values wonderfully rendered, direct from the original.
+
+In the case of the reproduction of photographs, which we are now
+considering, much may be done by working up a platinotype print before
+giving it out to be made into a block. Much depends here upon the
+artistic knowledge of editors and publishers, who have it in their power
+to have produced good or bad illustrations from the same original. The
+makers of the blocks being confined to time and price, are practically
+powerless, and seldom have an opportunity of obtaining the best results.
+It should be mentioned that blocks made from wash drawings, being
+shallower than those made from line drawings, suffer more from bad
+printing and paper.
+
+A good silver print (whether from a photograph from life or from a
+picture), full of delicate gradations and strong effects, appears on the
+plate through the film of gauze, dull, flat, and comparatively
+uninteresting; but _the expression of the original is given with more
+fidelity_ than could be done by any ordinary wood engraving. This is
+the best that can be said for it, it is a dull, mechanical process,
+requiring help from the maker of the blocks; and so a system of touching
+on the negative (before making the block) to bring out the lights and
+accents of the picture is the common practice. This is a hazardous
+business at the best, especially when dealing with the copy of a
+painting. I mention it to show where "handwork" in the half-tone process
+first comes in. The block, when made, is also often touched up by an
+engraver in places, especially where spotty or too dark; and on this
+work many who were formerly wood-engravers now find employment.
+
+There is no doubt that the makers of process blocks are the best
+instructors as to the results to be obtained by certain lines and
+combinations of lines; but in the majority of cases they will tell the
+artist too much, and lead him to take too much interest in the
+mechanical side of the business. The illustrator's best protection
+against this tendency, his whole armour and coat of mail, is to be _an
+artist first and an illustrator afterwards_.
+
+This is the sum of the matter. Perhaps some of the examples in this book
+may help us, and lead to a more thorough testing of results by capable
+men.
+
+
+"SKETCH."
+
+It will be interesting here to consider the material of which one number
+of an illustrated paper (_Sketch_) is made up, and how far the artist
+and wood engraver have part in it. From an economic point of view it
+will be instructive. I take this "newspaper" as an example, because it
+is a typical and quite "up-to-date" publication, vieing, in circulation
+and importance, with the _Illustrated London News_, both published by
+the same proprietors. In one number there are upwards of 30 pages, 10
+being advertisements. There are in all 151 illustrations, of which 63
+appear in the text part, and 88 in the advertisement pages. Out of the
+text illustrations, 24 only are from original drawings or sketches. Next
+are 26 _photographs from life_ (several being full pages), and 13
+reproductions from engravings, etc., reproduced by mechanical
+processes--in all 63. Some of the pages reproduced from photographs are
+undeniably good, and interesting to the public, as is evidenced by the
+popularity of this paper alone. In the advertisement portion are 88
+illustrations (including many small ones), 85 of which have been
+engraved on wood; a number of them are electrotypes from old blocks, but
+there are many new ones every week. The reason for using wood engraving
+largely for advertisements is, that wood blocks print more easily than
+"process," when mixed with the type, and print better (being cut deeper
+on the block) where inferior paper and ink are employed. But this class
+of wood engraving may be summed up in the words of one of the craft to
+me lately:--"It is not worth _L_2 a week to anybody."
+
+  [Illustration: No. XXX.
+
+  MISS KATE RORKE. (FROM "SKETCH.")
+
+  (_Photographed from life by H. S. Mendelssohn_. _Reproduced by
+  half-tone process_)]
+
+Thus it will be seen that in the "text" part of this newspaper
+two-thirds of the illustrations are produced without the aid of artist
+or wood engraver!
+
+To turn to one of the latest instances where the photographer is the
+illustrator. A photographer, Mr. Burrows, of Camborne, goes down a lead
+mine in Cornwall with his apparatus, and takes a series of views of the
+workings, which could probably have been done by no other means. Under
+most difficult conditions he sets his camera, and by the aid of the
+magnesium "flash-light," gives us groups of figures at work amidst
+gloomy and weird surroundings. The results are exceptionally valuable as
+"illustrations" in the true meaning of the word, on account of the clear
+and accurate definition of details. The remarkable part, artistically,
+is the good colour and grouping of the figures.[18]
+
+Another instance of the use of photography in illustration. Mr.
+Villiers, the special artist of _Black and White_, made a startling
+statement lately. He said that out of some 150 subjects which he took at
+the Chicago Exhibition, not more than half-a-dozen were drawn by him;
+all the rest being "snap-shot" photographs. Some were very good, could
+hardly be better, the result of many hours' waiting for the favourable
+grouping of figures. That he would re-draw some of them with his clever
+pencil for a newspaper is possible, but observe the part photography
+plays in the matter.
+
+In America novels have been thus illustrated both in figure and
+landscape; the weak point being the _backgrounds_ to the figure
+subjects. I draw attention to this movement because the neglect of
+composition, of appropriate backgrounds, and of the true lighting of the
+figures by so many young artists, is throwing illustrations more and
+more into the hands of the photographer. Thus the rapid "pen-and-ink
+artist," and the sketcher in wash from an artificially lighted model in
+a crowded art school, is hastening to his end.
+
+  [Illustration: No. XXXI.
+
+  (_A Photograph from life, by Messrs. Cameron & Smith. Reproduced by
+  half-tone process._)]
+
+The time is coming fast when cheap editions of popular novels will be
+illustrated--and many in the following way. The artist, instead of being
+called upon to draw, will occupy himself in setting and composing
+pictures through the aid of models trained for the purpose, and the
+ever-ready photographer. The "process man" and the clever manipulator on
+the plates, will do the rest, producing pictures vignetted, if desired,
+as overleaf. Much more the makers of blocks can do--and will do--with
+the photographs now produced, for they are earnest, untiring, ready to
+make sacrifices of time and money.
+
+The cheap dramatic illustrations, just referred to, which artists'
+models in America know so well how to pose for, may be found suitable
+from the commercial point of view for novels of the butterfly kind; but
+they will seldom be of real artistic interest. And here, for the
+present, we may draw the line between the illustrator and the
+photographer. But the "black and white man" will obviously have to do
+his best in every branch of illustration to hold his own in the future.
+It may be thought by some artists that these things are hardly worth
+consideration; but we have only to watch the illustrations appearing
+week by week to see whither we are tending.[19]
+
+The last example of the photographer as illustrator, which can be given
+here, is where a photograph from life engraved on wood is published as a
+vignette illustration.[20] It is worth observing, because it has been
+turned into line by the wood engraver, and serves for printing purposes
+as a popular illustration. The original might have been more
+artistically posed, but it is pretty as a vignette, and pleases the
+public. (_See_ opposite page.)
+
+There are hundreds of such subjects now produced by the joint aid of the
+photographer and the process engraver. It is not the artist and the wood
+engraver who are really "working hand-in-hand" in these days in the
+production of illustrations, but _the photographer and the maker of
+process blocks_. This is significant. Happily for us there is much that
+the photographer cannot do pictorially. But the photographer is, as I
+said, marching on and on, and the line of demarcation between handwork
+and photographic illustrations becomes less marked every day.
+
+The photographer's daughter goes to an art school, and her influence is
+shown annually in the exhibitions of the photographic societies.
+
+  [Illustration: No. XXXII.
+
+  (_A Photograph from life, engraved on wood._)]
+
+This influence and this movement is so strong--and vital to the
+artist--that it cannot be emphasised too much. The photographer is ever
+in our midst, correcting our drawing with facts and details which no
+human eye can see, and no one mind can take in at once.
+
+On the obligations of artists to photographers a book might be written.
+The benefits are not, as a rule, unacknowledged; nor are the bad
+influences of photography always noticed. That is to say, that before
+the days of photography, the artist made himself acquainted with many
+things necessary to his art, for which he now depends upon the
+photographic lens; in short, he uses his powers of observation less than
+he did a few years ago. That the photographer leads him astray sometimes
+is another thing to remember.
+
+The future of the illustrator being uppermost in our thoughts, let us
+consider further the influences with which he is surrounded. As to
+photography, Mr. William Small, the well-known illustrator (who always
+draws for wood engraving), says:--"it will never take good work out of a
+good artist's hands." He speaks as an artist who has taken to
+illustration seriously and most successfully, having devoted the best
+years of his life to its development. The moral of it is, that in
+whatever material or style newspaper illustrations are done, to hold
+their own they must be of the best. Let them be as slight as you please,
+if they be original and good. In line work (the best and surest for the
+processes) photography can only be the servant of the artist, not the
+competitor--and in this direction there is much employment to be looked
+for. At present the influence is very much the other way; we are casting
+off--ungratefully it would seem--the experience of the lifetime of the
+wood engraver, and are setting in its place an art half developed, half
+studied, full of crudities and discords. The illustrations which succeed
+in books and newspapers, succeed for the most part from sheer ability on
+the part of the artist; _they are full of ability_, but, as a rule, are
+bad examples for students to copy. "Time is money" with these brilliant
+executants; they have no time to study the value of a line, nor the
+requirements of the processes, and so a number of drawings are handed to
+the photo-engravers--which are often quite unfitted for mechanical
+reproduction--to be produced literally in a few hours. It is an age of
+vivacity, daring originality, and reckless achievement in illustration.
+"Take it up, look at it, and throw it down," is the order of the day.
+There is no reason but an economic one why the work done "to look at"
+should not be as good as the artist can afford to make it. The
+manufacturer of paperhangings or printed cottons will produce only a
+limited quantity of one design, no matter how beautiful, and then go on
+to another. So much the better for the designer, who would not keep
+employment if he did not do his best, no matter whether his work was to
+last for a day or for a year. The life of a single number of an
+illustrated newspaper is a week, and of an illustrated book about a
+year.
+
+The young illustrators on the _Daily Graphic_--notably Mr. Reginald
+Cleaver--obtain the maximum of effect with the minimum of lines. Thus
+Caldecott worked, spending hours sometimes studying the art of leaving
+out. Charles Keene's example may well be followed, making drawing after
+drawing, no matter how trivial the subject, until he was satisfied that
+it was right. "Either right or wrong," he used to say; "'right enough'
+will not do for me."
+
+  [Illustration: No. XXXIII.
+
+  "PROUD MAIRIE." (LANCELOT SPEED.)
+
+  (_From "The Blue Poetry Book." London: Longmans._)
+
+  Pen-and-ink drawing by line process.]
+
+Another influence on modern illustration--for good or bad--is the
+electric light. It enables the photographic operator to be independent
+of dark and foggy days, and to put a search-light upon objects which
+otherwise could not be utilised. So far good. To the illustrator this
+aid is often a doubtful advantage. The late Charles Keene (with whom I
+have had many conversations on this subject) predicted a general
+deterioration in the quality of illustrations from what he called
+"unnatural and impossible effects," and he made one or two illustrations
+in _Punch_ of figures seen under the then--(10 or 15 years ago)--novel
+conditions of electric street lighting, one of which represented a man
+who has been "dining" returning home through a street lighted up by
+electric lamps, tucking up his trowsers to cross a black shadow which he
+takes for a stream. Charles Keene's predictions have come true, we see
+the glare of the magnesium light on many a page, and the unthinking
+public is dazzled every week in the illustrated sheets with these
+"unnatural and impossible effects."
+
+Thus it has come about that what was looked upon by Charles Keene as
+garish, exaggerated, and untrue in effect, is accepted to-day by the
+majority of people as a lively and legitimate method of illustration.
+
+
+DANIEL VIERGE.
+
+One of the influences on the modern illustrator--a decidedly adverse
+influence on the unlearned--is the prominence which has lately been
+given to the art of Daniel Vierge.
+
+There is probably no illustrator of to-day who has more originality,
+style, and versatility--in short more genius--than Vierge, and none
+whose work, for practical reasons, is more misleading to students.
+
+As to his illustrations, from the purely literary and imaginative side,
+they are as attractive to the scholar as drawings by Holbein or Menzell
+are to the artist. Let us turn to the illustration on the next page,
+from the _Pablo de Segovia_ by Quevedo; an example selected by the
+editor, or publisher, of the book as a specimen page.
+
+First, as to the art of it. Nothing in its own way could be more
+fascinating in humour, vivacity, and character than this grotesque duel
+with long ladles at the entrance to an old Spanish posada. The sparkle
+and vivacity of the scene are inimitable; the bounding figure haunts the
+memory with its diaphanous grace, touched in by a master of expression
+in line. In short, we are in the presence of genius.
+
+  [Illustration: No. XXXIV.
+
+  Example of DANIEL VIERGE'S illustrations to _Pablo de Segovia_, the
+  Spanish Sharper, by Francisco de Quevedo-Villegas, first published in
+  Paris, in 1882; afterwards translated into English (with an Essay on
+  Quevedo, by H. E. Watts, and comments on Vierge's work by Joseph
+  Pennell), and published by Mr. T. Fisher Unwin, in 1892.
+
+  Vierge was born in 1851, and educated in Madrid, where he spent the
+  early years of his life. Since 1869 he has lived in Paris, and
+  produced numerous illustrations for _Le Monde Illustre_ and _La Vie
+  Moderne_, and other works. His fame was made in 1882 by Quevedo's
+  _Pablo de Segovia_, the illustrations to which he was unable to
+  complete owing to illness and paralysis. About twenty of these
+  illustrations were drawn with the left hand, owing to paralysis of the
+  right side. His career, full of romantic interest, suggests the future
+  illustrator of _Don Quixote_.
+
+  These drawings were made upon white paper--Bristol board or drawing
+  paper--with a pen and Indian ink; but Vierge now uses a glass pen,
+  like an old stylus. The drawings were then given to Gillot, the
+  photo-engraver of Paris, who, by means of photography and _handwork_,
+  produced metal blocks to be printed with the type.]
+
+But the whole effect is obviously untrue to nature, and the tricks--of
+black spots, of exaggerated shadows on the ground, of scratchings (and
+of carelessness, which might be excused in a hasty sketch for _La Vie
+Moderne_)--are only too apparent.
+
+In nearly every illustration in the _Pablo de Segovia_ (of which there
+are upwards of one hundred), the artist has relied for brilliancy and
+effect on patches of black (sometimes ludicrously exaggerated) and other
+mannerisms, which we accept from a genius, but which the student had
+better not attempt to imitate. To quote a criticism from the
+_Spectator_, "There is almost no light and shade in Vierge. There is an
+ingenious effect of dazzle, but there is no approach attempted to truth
+of tone, shadows being quite capriciously used for decoration and
+supplied to figures that tell as light objects against the sky which
+throws the shadows." And yet in these handsome pages there are gems of
+draughtsmanship and extraordinary _tours de force_ in illustration.
+
+In the reproduction of these drawings, I think the maker of the blocks,
+M. Gillot, of Paris, would seem to have had a difficult task to perform.
+The fact is, that Vierge's wonderful line drawings are sometimes as
+difficult to reproduce for the type press as those of Holbein or
+Menzell, and could only be done satisfactorily by one of the intaglio
+processes, such as that employed by the Autotype Company in _editions de
+luxe_. That Vierge's drawings were worthy of this anyone who saw the
+originals when exhibited at Barnard's Inn would, I think, agree.
+
+It is the duty of any writer or instructor in illustration, to point out
+these things, once for all. That Vierge could adapt himself to almost
+any process if he pleased, is demonstrated repeatedly in the _Pablo de
+Segovia_, where (as on pages 63 and 67 of that book) the brilliancy and
+"colour" of pure line by process has hardly ever been equalled. That
+some of his illustrations are impossible to reproduce well, and have
+been degraded in the process is also demonstrated on page 199 of the
+same book, where a mechanical grain has been used to help out the
+drawing, and the lines have had to be cut up and "rouletted" on the
+block to make them possible to print.
+
+Of the clever band of illustrators of to-day who owe much of their
+inspiration (and some of their tricks of method) to Vierge, it is not
+necessary to speak here; we are in an atmosphere of genius in this
+chapter, and geniuses are seldom safe guides to students of art.
+
+Speaking generally (and these remarks refer to editors and publishers as
+well as draughtsmen), the art of illustration as practised in England is
+far from satisfactory; we are too much given to imitating the tricks and
+prettinesses of other nations, and it is quite the exception to find
+either originality or individuality on the pages which are hurled from
+the modern printing press; individuality as seen in the work of Adolphe
+Menzell, and, in a different spirit, in that of Gustave Dore and Vierge.
+
+  [Illustration]
+
+
+FOOTNOTES:
+
+  [12] The heading to this chapter was drawn in line and reproduced by
+    photo-zinc process. (See page 134.)
+
+  [13] The mechanical processes, neglected and despised by the majority
+    of illustrators for many years, have, by a sudden freak of fashion,
+    apparently become so universal that, it is estimated, several
+    thousand blocks are made in London alone every week.
+
+  [14] This excellent drawing was made on rough white paper with
+    autographic chalk; the print being much reduced in size. It is seldom
+    that such a good grey block can be obtained by this means.
+
+  [15] The young artist would be much better occupied in learning
+    _drawing on stone_ direct, a branch of art which does not come into
+    the scope of this book, as it is seldom used in book illustration,
+    and cannot be printed at the type press. Drawing on stone is well
+    worthy of study now, for the art is being revived in England on
+    account of the greater facilities for printing than formerly.
+
+  [16] The evil of it is that _we are becoming used to black blots_ in
+    the pages of books and newspapers, and take them as a matter of
+    course; just as we submit to the deformity of the outward man in the
+    matter of clothing.
+
+  [17] On the opposite page is an excellent reproduction of a painting
+    from a photograph by the half-tone process.
+
+  [18] "_'Mongst Mines and Miners_," by J. C. Burrows and W. Thomas.
+    (London: Simpkin, Marshall & Co.)
+
+  [19] Both Mr. Cameron's and Mr. Mendelssohn's photographs have had to
+    be slightly cut down to fit these pages. But as illustrations they
+    are, I think, remarkable examples of the photographer's and the
+    photo-engraver's art.
+
+   [20] From the _Graphic_ newspaper, 28th October, 1893.
+
+
+
+
+  [Illustration: FROM "GRIMM'S HOUSEHOLD STORIES." (WALTER CRANE.)]
+
+CHAPTER V.
+
+WOOD ENGRAVINGS.
+
+
+To turn to a more practical side of book illustration. The first
+principle of illustration is to _illustrate_, and yet it is a fact that
+few illustrations in books or magazines are to be found in their proper
+places in the text.
+
+It is seldom that the illustration (so called) is in artistic harmony
+with the rest of the page, as it is found in old books. One of the great
+charms of Bewick's work is its individuality and expressive character.
+Here the artist and engraver were one, and a system of illustration was
+founded in England a hundred years ago which we should do well not to
+forget.[21]
+
+We are fast losing sight of first principles and aiming rather at
+catching the eye and the public purse with a pretty page; and in doing
+this we are but imitators. In the English magazines it is strange to
+find a slavish, almost childish imitation of the American system of
+illustration; adopting, for instance, the plan of pictures turned over
+at the corners or overlapping each other with exaggerated black borders
+and other devices of the album of the last generation. This is what we
+have come to in England in 1894 (with excellent wood engravers still),
+and the kind of art by which we shall be remembered at the end of the
+nineteenth century! I am speaking of magazines like _Good Words_ and
+_Cassell's Magazine_, where wood engraving is still largely employed.
+
+It may be as well to explain here that the reasons for employing the
+medium of wood engraving for elaborate illustrations which, such as we
+see in American magazines, were formerly only engraved on copper or
+steel, are--(1) rapidity of production, and (2) the almost illimitable
+number of copies that can be produced from casts from wood blocks. The
+broad distinction between the old and new methods of wood engraving is,
+that in early days the lines were drawn clearly on the wood block and
+the part not drawn cut away by the engraver, who endeavoured to make a
+perfect fac-simile of the artist's lines. It is now a common custom to
+transfer a photograph from life on to the wood block (_see p. 167_),
+also to draw on the wood with a brush in tint, and even to photograph a
+water-colour drawing on to the wood, leaving the engraver to turn the
+tints into lines in his own way.
+
+In the very earliest days of book illustration, before movable
+type-letters were invented, the illustration and the letters of the text
+were all engraved on the wood together, and thus, of necessity (as in
+the old block books produced in Holland and Belgium in the fifteenth
+century), there was character and individuality in every page; the
+picture, rough as it often was, harmonising with the text in an
+unmistakable manner. From an artistic point of view, there was a better
+balance of parts and more harmony of effect than in the more elaborate
+illustrations of the present day. The illustration was an illustration
+in the true sense of the word. It interpreted something to the reader
+that words were incapable of doing; and even when movable type was first
+introduced, the simple character of the engravings harmonised well with
+the letters. There is a broad line of demarcation, indeed, between
+these early wood engravings (such, for instance, as the "Ars Moriendi,"
+purchased for the British Museum in 1872, from the Weigel collection at
+Leipsic, and recently reproduced by the Holbein Society) and the last
+development of the art in the American magazines. The movement is
+important, because the Americans, with an energy and _naivete_ peculiar
+to them, have set themselves the task of outstripping all nations in the
+beauty and quality of magazine illustrations. That they have succeeded
+in obtaining delicate effects, and what painters call colour, through
+the medium of wood-engraving, is well known, and it is common to meet
+people in England asking, "Have you seen the last number of _Harper's_
+or the _Century Magazine_?" The fashion is to admire them, and English
+publishers are easily found to devote time and capital to distributing
+American magazines (which come to England free of duty), to the
+prejudice of native productions. The reason for the excellence (which is
+freely admitted) of American wood-engraving and printing is that, in the
+first place, more capital is employed upon the work. The American
+wood-engraver is an artist in every sense of the word, and his education
+is not considered complete without years of foreign study. The American
+engraver is always _en rapport_ with the artist--an important
+matter--working often, as I have seen them at _Harper's_, the _Century
+Magazine_, and _Scribner's_ in New York, in the same studio, side by
+side. In England the artist, as a rule, does not have any direct
+communication with the wood engraver. In America the publisher, having a
+very large circulation for his works, is able to bring the culture of
+Europe and the capital of his own country to the aid of the
+wood-engraver, spending sometimes five or six hundred pounds on the
+illustrations of a single number of a monthly magazine. The result is
+_an engraver's success_ of a very remarkable kind.
+
+  [Illustration: XXXV.
+
+  _A Portrait_ engraved on wood at the Office of the CENTURY MAGAZINE.
+
+  Example of portraiture from the _Century Magazine_. It is interesting
+  to note the achievements of the American engravers at a time when wood
+  engraving in England is under a cloud.
+
+  This portrait was photographed from life and afterwards worked up by
+  hand and most skilfully engraved in New York.
+
+  (_Photograph from life, engraved on wood. From the Century
+  Magazine._)]
+
+A discussion of the merits of the various styles of wood engraving, and
+of the different methods of drawing on wood, such as that initiated by
+the late Frederick Walker, A. R. A.; the styles of Mr. William Small, E.
+A. Abbey, Alfred Parsons, etc.--does not come into the scope of this
+publication, but it will be useful to refer to one or two opinions on
+the American system.
+
+  "Book illustration as an art," as Mr. Comyns Carr pointed out in his
+  lectures at the Society of Arts ten years ago, "is founded upon wood
+  engraving, and it is to wood engraving that we must look if we are to
+  have any revival of the kind of beauty which early-printed books
+  possess. In the mass of work now produced, there is very little trace
+  of the principles upon which Holbein laboured. Instead of proceeding
+  by the simplest means, our modern artist seems rather by preference to
+  take the most difficult and complex way of expressing himself. A wood
+  engraving, it is not unjust to say, has become scarcely
+  distinguishable from a steel engraving excepting by its inferiority."
+
+Mr. Hubert Herkomer, R. A., who has had a very wide experience in the
+graphic arts, says:--
+
+  "In modern times a body of engravers has been raised up who have
+  brought the art of engraving on wood to such a degree of perfection,
+  that the most modern work, especially that of the Americans, is done
+  to show _the skill of the engraver_ rather than the art of the
+  draughtsman. This, I do not hesitate to say, is a sign of decadence.
+  Take up any number of the _Century_ or _Harper's_ magazines, and you
+  will see that effect is the one aim. You marvel at the handling of the
+  engraver, and forget the artist. Correct, or honest, drawing is no
+  longer wanted. This kind of illustration is most pernicious to the
+  student, and _will not last_....
+
+  "America is a child full of promise in art--a child that is destined
+  to be a great master; so let us not imitate its youthful efforts or
+  errors. Americans were the first to foster this style of art, and they
+  will be the first to correct it."
+
+Mr. W. J. Linton, the well-known wood engraver, expresses himself thus
+strongly on the modern system, and his words come with great force from
+the other side of the Atlantic:--
+
+  "Talent is misapplied when it is spent on endeavours to rival
+  steel-line engraving or etching, in following brush-marks, in
+  pretending to imitate crayon-work, charcoal, or lithography, and in
+  striving who shall scratch the greatest number of lines on a given
+  space without thought of whether such multiplicity of lines adds
+  anything to the expression of the picture or the beauty of the
+  engraving. How much of talent is here thrown away! How much of force
+  that should have helped towards growth is wasted in this slave's play
+  for a prize not worth having--the fame of having well done the lowest
+  thing in the engraver's art, and having for that neglected the study
+  of the highest! For it is the lowest and the last thing about which an
+  artist should concern himself, this excessive fineness and minuteness
+  of work.... In engraving, as in other branches of art, _the first
+  thing is drawing, the second drawing, the third drawing_."
+
+This is the professional view, ably expressed, of a matter which has
+been exercising many minds of late; and is worth quoting, if only to
+show the folly of imitating a system acknowledged by experts to be
+founded on false principles.
+
+But there is another view of the matter which should not be lost sight
+of. Whatever the opinion of the American system of illustration may be,
+there is, on the other side of the Atlantic, an amount of energy,
+enterprise, cultivation of hand and eye, delicacy of manipulation, and
+individual industry, cleverly organised to provide a wide continent with
+a better art than anything yet attempted in any country. Some fine
+engravings, which the Americans have lately been distributing amongst
+the people, such, for instance, as the portraits (engraved from
+photographs from life) which have appeared in _Harper's_ and the
+_Century_ magazines, only reach the cultivated few in Europe in
+expensive books. It is worth considering what the ultimate art effect of
+this widespread distribution will be. The "prairie flower" holds in her
+hand a better magazine, as regards illustrations, than anything
+published in England at the same price; and a taste for delicate and
+refined illustration is being fostered amongst a variety of people on
+the western continent, learned and unlearned. That there is a want of
+sincerity in the movement, that "things are not exactly what they seem,"
+that something much better might be done, may be admitted; but it will
+be well for our illustrators and art providers to remember that the
+Americans are advancing upon us with the power of capital and
+ever-increasing knowledge and cultivation. In the _Century_ magazine,
+ten years ago, there was an article on "The Pupils of Bewick," with
+illustrations admirably reproduced from proofs of early wood engravings,
+by "photo-engraving."
+
+This is noteworthy, as showing that the knowledge of styles is
+disseminated everywhere in America; and also, how easy it is to
+reproduce engravings by "process," and how _important to have a clear
+copyright law on this subject_.
+
+Of the English wood engravers, and of the present state of the
+profession in England much has been written. I believe the fact remains
+that commercial wood engraving is still relied on by many editors and
+publishers, as it prints with more ease and certainty than any of the
+process blocks.
+
+That there are those in England (like Mr. Biscombe Gardner and others,
+whose work I am unable to reproduce here), that believe in wood
+engraving still as a vital art, capable of the highest results, I am
+also well aware. But at the moment of writing it is difficult to get
+many publishers to expend capital upon it for ordinary illustrations.
+
+On the next page is an example of good wood engraving.
+
+  [Illustration: "DRIVING HOME THE PIGS." (JOHN PEDDER.)
+
+  (_Academy Notes, 1891._)]
+
+  [Illustration: No. XXXVI.
+
+  _Joan of Arc's House at Rouen_, by the late SAMUEL PROUT.
+
+  Engraved on wood by Mr. J. D. Cooper, from a water-colour drawing by
+  Samuel Prout.
+
+  The original drawing, made with a reed pen and flat washes of colour,
+  was photographed on to the wood block, and the engraver interpreted
+  the various tints into line. The method is interesting, and the tones
+  obtained in line show the resources of the engraver's art, an art
+  rather carelessly set aside in these days.
+
+  This engraving is from _Normandy Picturesque_. (London: Sampson Low &
+  Co.)]
+
+
+FOOTNOTE:
+
+  [21] In _The Life and Works of Thomas Bewick_, by D. C. Thomson; in
+    _The Portfolio_, _The Art Journal_, _The Magazine of Art_, and in
+    _Good Words_, Bewick's merits as artist and engraver have been
+    exhaustively discussed.
+
+
+
+
+  [Illustration: DESIGN BY WALTER CRANE.]
+
+CHAPTER VI.
+
+THE DECORATIVE PAGE.
+
+
+To turn next to the more decorative side of modern illustration, where
+design and the _ensemble_ of a printed page are more considered, it is
+pleasant to be able to draw attention to the work of an art school,
+where an educated and intelligent mind seems to have been the presiding
+genius; where the illustrators, whilst they are fully imbued with the
+spirit of the past, have taken pains to adapt their methods to modern
+requirements. I refer to the Birmingham Municipal School of Art.
+
+   [Illustration: No. XXXVII.
+
+   _Decorative Page_, by A. J. GASKIN.
+
+   (From Hans Andersen's _Fairy Tales_. London: George Allen.)
+
+   This is a good example of the appropriate decoration of a page
+   without any illustration in the ordinary sense of the word. The
+   treatment of ornament harmonises well with old-faced type letter.
+
+   The original was drawn in pen and ink, about _the same size_ as the
+   reproduction. The ground is excellent in colour, almost equal to a
+   wood engraving.
+
+   This is another example of the possibilities of process, rightly
+   handled, and also of effect produced _without reduction_ of the
+   drawing.]
+
+Whilst using wood engraving freely, the illustrators of Birmingham
+(notably Mr. Gaskin), are showing what can be done in line drawing by
+the relief processes, to produce colour and ornament which harmonise
+well with the letterpress of a book. This seems an important step in the
+right direction, and if the work emanating from this school were less,
+apparently, confined to an archaic style, to heavy outline and mediaeval
+ornament (I speak from what I see, not knowing the school personally),
+there are possibilities for an extended popularity for those who have
+worked under its influence.[22]
+
+The examples of decorative pages by experienced illustrators like Mr.
+Walter Crane and others, will serve to remind us of what some artists
+are doing. But the band of illustrators who consider design is much
+smaller than it should be, and than it will be in the near future. A
+study of the past, if it be only in the pages of mediaeval books, will
+greatly aid the student of design. In the Appendix I have mentioned a
+few fine examples of decorative pages, with and without illustrations,
+which may be usefully studied at the British Museum.
+
+  [Illustration: No. XXXVIII.]
+
+In all these pages, it will be observed, what is called "colour" in
+black and white is preserved throughout; showing that a page can be
+thoroughly decorative without illustrations to the text. Closely
+criticised, some of the old block designs may appear crude and capable
+of more skilful treatment, but the pages, as a rule, show the artistic
+sense--unmistakably, mysteriously, wonderfully.
+
+In these and similar pages, such, for instance, as _Le Mer des
+Histoires_, produced in Paris by Pierre le Rouge in 1488 (also in the
+British Museum), the harmony of line drawing with the printed letters is
+interesting and instructive. (_See Appendix._)
+
+It is in the production of the decorative page that wood engraving
+asserts its supremacy still in some quarters, as may be seen in the
+beautiful books produced in England during the past few years by Mr.
+William Morris, where artist, wood engraver, typefounder, papermaker,
+printer, and bookbinder work under the guiding spirit (when not the
+actual handwork) of the author. They are interesting to us rather as
+exotics; an attempt to reproduce the exact work of the past under modern
+conditions, conditions which render the price within reach only of a
+few, but they are at least a protest against the modern shams with which
+we are all familiar.
+
+The nineteenth-century author's love for the literature of his past has
+led him to imitate not only the style, but the outward aspect of old
+books; and by a series of frauds (to which his publisher has lent
+himself only too readily) to produce something which appears to be what
+it is not.
+
+The genuine outcome of mediaeval thought and style--of patience and
+leisure--seems to be treated at the end of the nineteenth century as a
+fashion to be imitated in books, such as are to be seen under glass
+cases in the British Museum. It is to be feared that the
+twentieth-century reader, looking back, will see few traces worth
+preserving, either of originality or of individuality in the work of the
+present.
+
+What are the facts? The typefounder of to-day takes down a Venetian
+writing-master's copybook of the fifteenth century, and, imitating
+exactly the thick downward strokes of the reed pen, forms a set of
+movable type, called in printer's language "old face"; a style of letter
+much in vogue in 1894, but the style and character of which belongs
+altogether to the past. Thus, with such aids, the man of letters of
+to-day--living in a whirl of movement and discovery--clothes himself in
+the handwriting of the Venetian scholar as deliberately as the
+Norwegian dons a bear-skin.
+
+  [Illustration: No. XXXIX.
+
+  DESIGN FOR THE TITLE PAGE OF THE "HOBBY-HORSE." (SELWYN IMAGE.)
+
+  (_This is a reduction by process from a large quarto wood
+  engraving_.)]
+
+The next step is to present in his book a series of so-called
+"engravings," which are not engravings but reproductions by process of
+old prints. The "advance of science" in producing photo-relief blocks
+from steel and other _intaglio_ plates for the type printing press, at a
+small cost per square inch, is not only taking from the artistic value
+of the modern _edition de luxe_, but also from its interest and
+genuineness.
+
+The next step is to manufacture rough-edged, coarse-textured paper,
+purporting to be carefully "hand-made." The rough edge, which was a
+necessity when every sheet of paper was finished by hand labour, is now
+imitated successfully by machinery, and is handled lovingly by the
+bookworm of to-day, regardless of the fact that these roughened sheets
+can be bought by the pound in Drury-lane. The worst, and last fraud (I
+can call it no less) that can be referred to here is, that the
+clothing--the "skin of vellum"--that appropriately encloses our modern
+_edition de luxe_ is made from pulp, rags, and other _debris_. That the
+gold illuminations on the cover are no longer real gold, and that the
+handsomely bound book, with its fair margins, cracks in half with a
+"bang," when first opened, are other matters connected with the
+discoveries of science, and the substitution of machinery for hand
+labour, which we owe to modern enterprise and invention.[23]
+
+Looking at the "decorative pages" in most books, and remembering the
+achievements of the past, one is inclined to ask--Is the "setting-out of
+a page" one of the lost arts, like the designing of a coin? What harmony
+of style do we see in an ordinary book? How many authors or illustrators
+of books show that they care for the "look" of a printed page? The fact
+is, that the modern author shirks his responsibilities, following the
+practice of the greatest writers of our day. There are so many
+"facilities"--as they are called--for producing books that the author
+takes little interest in the matter. Mr. Ruskin, delicate draughtsman as
+he is known to be, has contributed little to the _ensemble_ or
+appearance of the pages that flow from the printing press of Mr. Allen,
+at Orpington. His books are well printed in the modern manner, but
+judged by examples of the past, a deadly monotony pervades the page;
+the master's noblest thoughts are printed exactly like his weakest, and
+are all drawn out in lines together as in the making of macaroni! Mr.
+Hamerton, artist as well as author, is content to describe the beauty of
+forest trees, ferns and flowers, the variety of underwood and the like
+(nearly every word, in an article in the _Portfolio_, referring to some
+picturesque form or graceful line), without indicating the varieties
+pictorially on the printed page. The late Lord Tennyson and other poets
+have been content for years to sell their song by the line, little
+heeding, apparently, in what guise it was given to the world.
+
+In these days the monotony of uniformity seems to pervade the pages,
+alike of great and small, and a letter from a friend is now often
+printed by a machine!
+
+  [Illustration]
+
+  [Illustration: No. XL.
+
+  "SCARLET POPPIES." (W. J. MUCKLEY.)
+
+  This beautiful piece of pen work by Mr. Muckley (from his picture in
+  the Royal Academy, 1885) was too delicate in the finer passages to
+  reproduce well by any relief process (the pale lines having come out
+  black); but as an example of breadth, and indication of surfaces in
+  pen and ink, it could hardly be surpassed.]
+
+
+FOOTNOTES:
+
+  [22] I mention this school as a representative one; there are many
+    others where design and wood engraving are studied under the same
+    roof with success in 1894.
+
+  [23] Mr. Cobden Sanderson's lecture on BOOKBINDING, read before the
+    "Arts and Crafts Society," is well worth the attention of book
+    lovers.
+
+
+
+
+CHAPTER VII.
+
+AUTHOR, ILLUSTRATOR, AND PUBLISHER.
+
+
+Let us now consider shortly the Author, the Illustrator, and the
+Publisher, and their influence on the appearance and production of a
+book. If it be impossible in these days (and, in spite of the efforts of
+Mr. William Morris and others, it seems to be impossible) to produce a
+genuine book in all its details, it seems worth considering in what way
+the author can stamp it with his own individuality; also to what extent
+he is justified in making use of modern appliances.
+
+How far, then, may the author be said to be responsible for the state of
+things just quoted? Theoretically, he is the man of taste and culture
+_par excellence_; he is, or should be, in most cases, the arbiter, the
+dictator to his publisher, the chooser of style. The book is his, and it
+is his business to decide in what form his ideas should become
+concrete; the publisher aiding his judgment with experience, governing
+the finance, and carrying out details. How comes it then that, with the
+present facilities for reproducing anything that the hand can put upon
+paper, the latter-day nineteenth-century author is so much in the hands
+of others as to the appearance of his book? It is because the so-called
+educated man has not been taught to use his hands as the missal-writers
+and authors of mediaeval times taught themselves to use theirs. The
+modern author, who is, say, fifty years old, was born in an age of
+"advanced civilisation," when the only method of expression for the
+young was one--"pothooks and hangers." The child of ten years old, whose
+eye was mentally forming pictures, taking in unconsciously the facts of
+perspective and the like, had a pencil tied with string to his two first
+fingers until he had mastered the ups and downs, crosses and dashes, of
+modern handwriting, which has been accepted by the great, as well as the
+little, ones of the earth, as the best medium of communication between
+intelligent beings; and so, regardless of style, character, or
+picturesqueness, he scribbles away! So much for our generally straggling
+style of penmanship.
+
+There is no doubt that the author of the future will have to come more
+into personal contact with the artist than he has been in the habit of
+doing, and that the distinction I referred to in the first chapter,
+between illustrations which are to be (1) records of facts, and (2)
+works of art, will have to be more clearly drawn.
+
+Amongst the needs in the community of book producers is one that I only
+touch upon because it affects the illustrator:--That there should be an
+expert in every publishing house to determine (1) whether a drawing is
+suitable for publication; and (2) by what means it should be reproduced.
+The resources of an establishment will not always admit of such an
+arrangement; but the editors and publishers who are informed on these
+matters can easily be distinguished by the quality of their
+publications. By the substitution of process blocks for wood engravings
+in books, publishers are deprived to a great extent of the fostering
+care of the master wood engraver, to which they have been accustomed.
+
+Amongst the influences affecting the illustrator, none, I venture to
+say, are more prejudicial than the acceptance by editors and publishers
+of inartistic drawings.
+
+It would be difficult, I think, to point to a period when so much bad
+work was produced as at present. The causes have already been pointed
+out, the beautiful processes for the reproduction of drawings are
+scarcely understood by the majority of artists, publishers, authors, or
+critics. It is the _misuse_ of the processes in these hurrying days,
+which is dragging our national reputation in the mire and perplexing the
+student.
+
+The modern publisher, it may be said without offence, understands the
+manufacture and the commerce of a book better than the art in it. And
+how should it be otherwise? The best books that were ever produced, from
+an artistic point of view, were inspired and designed by students of art
+and letters, men removed from the commercial scramble of life, and to
+whom an advertisement was a thing unknown! The ordinary art education of
+a publisher, and the multitude of affairs requiring his attention, unfit
+him generally, for the task of deciding whether an illustration is good
+or bad, or how far--when he cheapens the production of his book by using
+photographic illustrations ("snap-shots" from nature)--he is justified
+in calling them "art." The deterioration in the character of book
+illustration in England is a serious matter, and public attention may
+well be drawn to it.
+
+Here we look for the active co-operation of the author. The far-reaching
+spread of education--especially technical art education--is tending to
+bring together, as they were never brought before in this century, the
+author and the illustrator. The author of a book will give more
+attention to the appearance of his pages, to the decorative character of
+type and ornament, whilst the average artist will be better educated
+from a literary point of view; and, to use a French word for which there
+is no equivalent, will be more _en rapport_ with both author and
+publisher.
+
+For the illustrator by profession there seems no artistic leisure; no
+time to do anything properly in this connection.
+
+"It is a poor career, Blackburn," said a well-known newspaper
+illustrator to me lately (an artist of distinction and success in his
+profession who has practised it for twenty years), "you seldom give
+satisfaction--not even to yourself."
+
+"It is an _ideal career_," says another, a younger man, who is content
+with the more slap-dash methods in vogue to-day--and with the income he
+receives for them.
+
+Referring again to the question in the _Athenaeum_, "Why is not drawing
+for the press taught in our Government schools of art?" I think the
+principal reasons why the art of illustration by the processes is not
+generally taught in art schools are--
+
+(1) drawing for reproduction requires more personal teaching than is
+possible in art classes in public schools; (2) the art masters
+throughout the country, with very few exceptions, _do not understand the
+new processes_--which is not to be wondered at.
+
+It is not the fault of the masters in our schools of art that students
+are taught in most cases as if they were to become painters, when the
+only possible career for the majority is that of illustration, or
+design. The masters are, for the most part, well and worthily occupied
+in giving a good groundwork of knowledge to every student, as to drawing
+for the press. There is no question that the best preparation for this
+work is the _best general art teaching that can be obtained_. The
+student must have drawn from the antique and from life; he must have
+learned composition and design; have studied from nature the relative
+values of light and shade, aerial perspective and the like; in short,
+have followed the routine study for a painter whose first aim should be
+to be a master of monochrome.
+
+In the more technical parts, which the young illustrator by process will
+require to know, he needs personal help. He will have a multitude of
+questions to ask "somebody" as to the reasons for what he is doing; _for
+what style of process work he is by touch and temperament best fitted_,
+and so on. All this has to be considered if we are to keep a good
+standard of art teaching for illustration.
+
+The fact that _a pen-and-ink drawing which looks well scarcely ever
+reproduces well_, must always be remembered. Many drawings for process,
+commended in art schools for good draughtsmanship or design, will not
+reproduce as expected, for want of exact knowledge of the requirements
+of process; whereas a drawing by a trained hand will often _look better
+in the reproduction_. These remarks refer especially to ornament and
+design, to architectural drawings and the like.
+
+The topical illustrator and sketcher in weekly prints has, of course,
+more licence, and it matters less what becomes of his lines in their
+rapid transit through the press. Still the illustrator, of whatever rank
+or style, has a right to complain if his drawing is reproduced on a
+scale not intended by him, or by a process for which it is not fitted,
+or if printed badly, and with bad materials.
+
+But the sketchy style of illustration seems to be a little overdone at
+present, and--being tolerable only when allied to great ability--remains
+consequently in the hands of a few. There is plenty of talent in this
+country which is wasted for want of control. It plays about us like
+summer lightning when we want the precision and accuracy of the
+telegraph.
+
+The art of colour printing (whether it be by the intaglio processes, or
+by chromo-lithography, or on relief blocks) has arrived at such
+proficiency and has become such an important industry that it should be
+mentioned here. By its means, a beautiful child-face, by Millais, is
+scattered over the world by hundreds of thousands; and the reputation of
+a young artist, like Kate Greenaway, made and established. The latter
+owes much of her prestige and success to the colour-printer. Admitting
+the grace, taste, and invention of Kate Greenaway as an illustrator,
+there is little doubt that, without the wood engraver and the example
+and sympathetic aid of such artists as H. S. Marks, R.A., Walter Crane,
+and the late Randolph Caldecott, she would never have received the
+praise bestowed upon her by M. Ernest Chesneau, or Mr. Ruskin. These
+things show how intimately the arts of reproduction affect reputations,
+and how important it is that more sympathy and communication should
+exist between all producers. In the mass of illustrated publications
+issuing from the press the expert can discern clearly where this
+sympathy and knowledge exist, and where ability, on the part of the
+artist, has been allied to practical knowledge of the requirements of
+illustration.
+
+The business of many will be to contribute, in some form, to the making
+of pictures and designs to be multiplied in the press; and, in order to
+learn the technique and obtain employment, some of the most promising
+pupils have to fall into the ways of the producers of cheap
+illustrations, Christmas cards, and the like. On the other hand, a
+knowledge of the mechanical processes for reproducing drawings (as it is
+being pressed forward in technical schools) is leading to disastrous
+consequences, as may be seen on every railway bookstall in the kingdom.
+
+In the "book of the future" we hope to see less of the "lath and
+plaster" style of illustration, produced from careless wash drawings by
+the cheap processes; fewer of the blots upon the page, which the modern
+reader seems to take as a matter of course. In books, as in periodicals,
+the illustrator by process will have to divest himself, as far as
+possible, of that tendency to scratchiness and exaggeration that
+injures so many process illustrations. In short, he must be more
+careful, and give more thought to the meaning of his lines and washes,
+and to the adequate expression of textures.
+
+There is a great deal yet to learn, for neither artists nor writers have
+mastered the subject. Few of our best illustrators have the time or the
+inclination to take to the new methods, and, as regards criticism, it is
+hardly to be expected that a reviewer who has a pile of illustrated
+books to pronounce upon, should know the reason of the failures that he
+sees before him. Thus the public is often misled by those who should be
+its guides as to the value and importance of the new systems of
+illustration.[24]
+
+In conclusion, let us remember that everyone who cultivates a taste for
+artistic beauty in books, be he author, artist, or artificer, may do
+something towards relieving the monotony and confusion in style, which
+pervades the outward aspect of so many books. It is a far cry from the
+work of the missal writer in a monastery to the pages of a modern book,
+but the taste and feeling which was shown in the fifteenth and sixteenth
+centuries in the production of books, exists in the nineteenth, under
+difficult conditions.
+
+In the "book of the future" the author will help personally, more than
+he has ever done, as I have already suggested. The subject is not
+half-ventilated yet, nor can I touch upon it further, but the day is not
+far distant when the power of the hand of the author will be tested to
+the utmost, and lines of all kinds will appear in the text. There is
+really no limit to what may be done with modern appliances, if only the
+idea is seized with intelligence.
+
+Two questions, however, remain unanswered--(1) Whether, as a matter of
+language and history, we are communicating information to each other
+much better than the ancients did in cuneiform inscriptions, on stones
+and monuments. (2) Whether, as a matter of illustrative art, we are
+making the best use of modern appliances.
+
+Let us, then, cultivate more systematically the art of drawing for the
+press, and treat it as a worthy profession. Let it not be said again,
+as it was to me lately by one who has devoted half a lifetime to these
+things, "The processes of reproduction are to hand, but where are our
+artists?" Let it not be said that the chariot-wheels of the press move
+too fast for us--that chemistry and the sun's rays have been utilised
+too soon--that, in short, the processes of reproduction have been
+perfected before their time! I think not, and that an art--the art of
+pictorial expression--which has existed for ages and is now best
+understood by the Japanese, may be cultivated amongst us to a more
+practical end.
+
+  [Illustration: "TAKE CARE." (W. B. BAIRD.)
+
+  (_Royal Academy, 1891._)]
+
+
+FOOTNOTE:
+
+  [24] There seems but one rule of criticism in this connection. If a
+    book illustration comes out coarsely and (as is often the case) a
+    mere smudge, the process is blamed, when the drawing or photograph
+    may have been quite unsuitable for the process employed.
+
+
+
+
+STUDENTS' DRAWINGS.
+
+
+The following four examples of drawing from life, by students at
+Victoria Street, fresh from art schools, are interesting as tentative
+work. The object has been to test their powers and _adaptability for
+line work_; avoiding outline in the experiment as much as possible.
+
+Nos. 1, 3, and 4, it will be observed, evade backgrounds altogether--the
+too ready solution of a difficult problem in line.
+
+These drawings were made direct from life, in line; a system not to be
+recommended, excepting as an experiment of powers.
+
+Examples of students' wash drawings, &c., will appear in future editions
+of this book.
+
+  [Illustration: No. XLI.
+
+  "_Spanish Woman_." A Study from Life.
+
+  By INA BIDDER.
+
+  This is a clever sketch with pen and ink and brush, and drawn with a
+  bold free hand, reproduced on an (untouched) process block. It shows
+  originality of treatment and courage on the part of the student; also
+  the value of great reduction to give strength and effect.
+
+  (Size of drawing, 16 x 11-1/2 in.)]
+
+  [Illustration: No. XLII.
+
+  "_Sketch from Life_," by ESTELLE D'AVIGDOR.
+
+  This student was the winner in a prize competition lately in _The
+  Studio_. She has undoubted ability, but not clearly in the direction
+  of line drawing. After considerable success in painting, this student
+  writes: "I still find the pen a difficult instrument to wield."
+
+  In this sketch we see the influence of Aubrey Beardsley and others of
+  the dense-black, reckless school of modern illustrators.
+
+  (Size of drawing, 10 x 6-3/4 in.) Zinc process.]
+
+  [Illustration: No. XLIII.
+
+  _Sketch from Life_, by G. C. MARKS.
+
+  This pen-and-ink drawing is interesting for colour, especially in the
+  hair; it would have been better modelled if drawn first in pencil or
+  chalk.
+
+  This student has an obvious aptitude for line work; the touch is very
+  good for a beginner.
+
+  (Size of drawing, 10-1/2 x 8 in.) Zinc process.]
+
+  [Illustration: No. XLIV.
+
+  _Bough of Common Furze_, by WILLIAM FRENCH.
+
+  A most careful study from nature in pen and ink. (Size of original
+  drawing, 14 x 11-1/2 in.) Reproduced by zinc process.
+
+  This artist learned the method of line work for process in a month.]
+
+
+
+
+CANTOR LECTURES.
+
+
+The ILLUSTRATIONS in this Volume are, for the most part, reproductions
+of drawings which--for purposes of study and comparison--are shown by
+Mr. Blackburn at his Lectures in Art Schools, enlarged to a scale of 15
+to 20 ft.
+
+Students who may be unable to attend these lectures can see some of the
+original drawings on application (by letter) to "The Secretary, at Mr.
+HENRY BLACKBURN'S STUDIO, 123, Victoria Street, Westminster."
+
+
+
+
+APPENDIX.
+
+  1. PHOTO-ZINC PROCESS.--2. GELATINE PROCESS.--3. HALF-TONE.--4.
+  INTAGLIO PROCESSES.--5. DRAWING MATERIALS.--6. BOOKS FOR STUDENTS.--7.
+  DECORATIVE PAGES.--8. LIST OF PHOTO-ENGRAVERS.
+
+
+PHOTO-ZINC PROCESS.
+
+FOR THE REPRODUCTION OF LINE DRAWINGS IN RELIEF, SUITABLE FOR PRINTING
+AT THE TYPE PRESS.
+
+DESCRIPTION OF THE PROCESS.--The first stage is to have the drawing
+photographed to the size required, and to transfer a print of it on to a
+sensitized zinc plate. This print, or photographic image of the drawing
+lying upon the zinc plate, is of greasy substance (bichromate of potash
+and gelatine), and is afterwards inked up with a roller; the plate is
+then immersed in a bath of nitric acid and ether, which cuts away the
+parts which were left white upon the paper, and leaves the lines of the
+drawing in relief. This "biting in," as it is called, requires
+considerable experience and attention, according to the nature of the
+drawing. Thus, the lines are turned into metal in a few hours, and the
+plate, when mounted on wood to the height of type-letters, is ready to
+be printed from, if necessary, at the rate of several thousands an hour.
+
+THE COST of these blocks averages 6d. the square inch where a number are
+made at one time, the minimum price being 5/-.
+
+Small book illustrations by this process, by firms who make a specialty
+of producing single illustrations, are often charged 9d. the square
+inch, with a minimum of 7/6; but the cost should never be more than this
+for a single block by the zinc process.
+
+
+GELATINE PROCESS.
+
+FOR THE REPRODUCTION OF DRAWINGS IN LINE IN RELIEF, SUITABLE FOR
+PRINTING AT THE TYPE PRESS.
+
+This is a more delicate and sensitive method of obtaining a relief
+block. It is called the "gelatine," or "Gillot" process.
+
+The drawing is photographed to the required size (as before), and the
+_negative_ laid upon a glass plate (previously coated with a mixture of
+gelatine and bichromate of potash). The part of this thin, sensitive
+film not exposed to the light is absorbent, and when immersed in water
+swells up. The part exposed to the light, _i.e._, the lines of the
+drawing, remains near the surface of the glass. Thus we have a sunk
+mould from which a metal cast can be taken, leaving the lines in relief
+as in the zinc process. In skilful hands this process admits of more
+delicate gradations, and pale, uncertain lines can be reproduced with
+tolerable fidelity. There is no process yet invented which gives better
+results from a pen-and-ink drawing for the type press.
+
+Reproductions of pencil, chalk, and charcoal are also possible by this
+process; but _they are not suited for it_, and there is generally too
+much working up by hand on the block to suit rapid printing. These
+blocks when completed have a copper surface. The blocks take longer to
+make, and are about double the price of the photo-zinc process. THE COST
+varies from 9d. to 1/6 the square inch.
+
+M. Gillot, in Paris, may be said to be the inventor or perfector of this
+process, now used by many photo engravers in London, notably by Mr.
+Alfred Dawson, of Hogarth Works, Chiswick.
+
+
+HALF-TONE PROCESS.
+
+FOR THE REPRODUCTION OF WASH DRAWINGS, PHOTOGRAPHS, ETC., BY THE
+SCREENED PHOTO-ZINC RELIEF PROCESS.
+
+This method of making the blocks is more complicated. As there are no
+lines in a wash drawing, or in a photograph from nature, or in a
+painting, it is necessary to obtain some kind of grain, or interstices
+of white, on the zinc plate, as in a mezzotint; so between the drawing
+or photograph to be reproduced and the camera, glass screens covered
+with lines or dots, are interposed, varying in strength according to the
+light and shade required; thus turning the image of the wash drawing or
+photograph practically into "line," with sufficient interstices of white
+for printing purposes.
+
+The coarseness or fineness of grain on these blocks varies according to
+circumstances. Thus, for rapid printing on cylinder machines, with
+inferior paper and ink, a wider grain and a deeper cut block is
+necessary.
+
+The examples in this book may be said to show these process blocks at
+their best, with good average printing. The results from wash drawings,
+as already pointed out, are uncertain, and generally gloomy and
+mechanical-looking.
+
+The reproductions of pencil, chalk, or charcoal drawings by this process
+are generally unsatisfactory, even when printed under good conditions.
+The blocks are shallow as compared with the zinc line process, and are
+double the cost.
+
+
+INTAGLIO PROCESSES.
+
+PHOTOGRAVURE, AUTOTYPE, DALLASTYPE, ETC.
+
+PHOTOGRAVURE.--First, a photographic negative is taken direct from the
+picture to be reproduced, and from this an autotype carbon print is
+taken and transferred on to glass or silvered copper, instead of on the
+paper used in making carbon prints for sale. This picture is in delicate
+relief, and forms the mould, upon which copper is electrically
+deposited. After being made "conductive," the carbon mould is placed in
+a galvanic bath, the deposit of copper upon it taking the impression
+perfectly.
+
+Another method is to transfer the same mould upon pure, clean copper,
+and then operate with a powerful biting solution, which is resisted more
+or less according to the varying thickness of carbon mould to be
+penetrated. Thus the parts to be left smoothest are thick of carbon, and
+the parts to be dark are bare, so that the mordant may act unresisted.
+This, it will be perceived, is the opposite way to the process above
+given, and is therefore worked from a "transparency," or photographic
+"positive," instead of a negative. This is the Klick and Fox Talbot
+method, and is very commonly in use at present.
+
+The process of "photogravure" is well known, as employed by Messrs.
+Boussod, Valadon, & Co. (Goupil), of Paris, and is adapted for the
+reproduction of wash drawings, paintings, also drawings where the lines
+are pale and uncertain, pencil, chalk, etc.; the greys and gradations of
+pencil being wonderfully interpreted. In London the intaglio processes
+are used by many of the firms mentioned on page 240. They are now much
+used for the reproduction of photographic portraits in books, taking
+place of the copperplate engraving.
+
+THE COST of these plates is, roughly, 5/- the square inch. The makers of
+these plates generally supply paper, and print, charging by the 100
+copies. But engravings thus produced are comparatively little used in
+modern book illustration, as they cannot be printed simultaneously with
+the letter-press of a book; they are suitable only for limited editions
+and "_editions de luxe_."
+
+
+DRAWING MATERIALS FOR REPRODUCTION.
+
+  1.--FOR DRAWINGS IN LINE.--For general use, liquid Indian ink and
+    Bristol board; or hard paper of similar surface. "Clay board," the
+    surface of which can easily be removed with a scraper, is useful for
+    some purposes, but the pen touch on clay board is apt to become
+    mechanical.
+
+  2.--FOR DRAWINGS IN PENCIL AND CHALK, grained papers are used (see p.
+    113 and following). These papers are made of various textures, with
+    black or white lines and dots vertical, horizontal, and diagonal. As
+    a matter of fact, grained papers are little used in book and
+    newspaper illustration in this country, and unless artistically
+    treated the results are very unsatisfactory. They are most suitable
+    for landscape work and sketches of effect.
+
+  3.--FOR WASH DRAWINGS.--Prepared boards for wash drawings, varying in
+    surface and texture according to the scale of the drawing, the brush
+    handling of the artist, and the nature of the work to be reproduced.
+    These must be decided by the teacher. Lamp black and opaque white are
+    commonly used. A combination of line and wash is generally to be
+    avoided.
+
+The materials for drawing for reproduction are to be obtained from the
+following amongst other artists' colourmen.
+
+  A. ACKERMAN, 191, Regent Street, W.
+
+  J. BARNARD & SON, 19, Berners Street, W.
+
+  CORNELISSEN & SON, 22, Great Queen Street, W.C.
+
+  LECHERTIER, BARBE, & Co., 60, Regent Street, W.
+
+  JAS. NEWMAN, 24, Soho Square, W.
+
+  REEVES & SONS, 113, Cheapside, E.C.
+
+  CHAS. ROBERSON & CO., 99, Long Acre, W.C.
+
+  GEO. ROWNEY & CO., 64, Oxford Street, W.
+
+  WINSOR & NEWTON, 37, Rathbone Place, W.
+
+  PERCY YOUNG, 137, Gower Street, W.C.
+
+
+BOOKS FOR STUDENTS.
+
+The following will be found useful:--
+
+  1.--"_The Graphic Arts_," by P. G. HAMERTON (London: Macmillan &
+    Co.).
+
+  2.--"_Pen and Pencil Artists_," by JOSEPH PENNELL (London: Macmillan
+    & Co.).
+
+  3.--"_English Pen Artists of To-Day_," by J. G. HARPER (London:
+    Rivington, Percival & Co.).
+
+The value and comprehensive character of Mr. Hamerton's book is well
+known, but it reaches into branches of the art of illustration far
+beyond the scope of this book. Of the second it may be said that Mr.
+Joseph Pennell's book is most valuable to students of "black and white,"
+with the caution that many of the illustrations in it were _not drawn
+for reproduction_, and would not reproduce well by the processes we have
+been considering. The third volume seems more practical for elementary
+and technical teaching. It is to be regretted that these books are so
+costly as to be out of the reach of most of us; but they can be seen in
+the library of the South Kensington Museum.
+
+Mr. Hamerton's "Drawing and Engraving, a Brief Exposition of Technical
+Principles and Practice" (London: Adam and Charles Black, 1892), "The
+Photographic Reproduction of Drawings," by Col. J. Waterhouse (Kegan,
+Paul, & Co., 1890), "Lessons in Art," by Hume Nisbet (Chatto & Windus,
+1891), are portable and useful books, full of technical information. Sir
+Henry Trueman Wood's "Modern Methods of Illustrating Books," and Mr. H.
+R. Robertson's "Pen and Ink Drawing" (Winsor & Newton) are both
+excellent little manuals, but their dates are 1886.
+
+
+DECORATIVE PAGES.
+
+  (FROM OLD MSS. AND BOOKS TO BE SEEN IN THE BRITISH MUSEUM.)
+
+  (_Reprinted from the Cantor Lectures_.)
+
+1. "Example of early Venetian writing, from a copybook of the 15th
+century, written with a reed pen. Note the clearness and picturesqueness
+of the page; also the similarity to the type letters used to-day--what
+are called 'old face,' and of much (good and bad) letter in modern
+books."
+
+2. "A beautiful example of Gothic writing and ornament, from a French
+illuminated manuscript in the British Museum; date 1480. Here the
+decorative character and general balance of the page is delightful to
+modern eyes."
+
+3. "_Fac-simile_ of a printed page, from Polydore Vergil's "History of
+England," produced in Basle, in 1556. The style of type is again
+familiar to us in books published in 1894; but the setting out of the
+page, the treatment of ornament (with little figures introduced, but
+subservient to the general effect), is not familiar, because it is
+seldom that we see a modern decorative page. The printer of the past had
+a sense of beauty, and of the fitness of things apparently denied to all
+but a few to-day."
+
+4. "An illuminated printed page, 1521, with engraved borders, after
+designs by Holbein; figures again subordinate to the general effect."
+
+5. "Examples of Italian, 14th century; ornament, initial, and letters
+forming a brilliant and harmonious combination."
+
+ILLUSTRATIONS of the above and other decorative pages (which could not
+be reproduced in this book) are shown at the lectures on a large scale.
+
+Of the many modern books on decoration and ornament, the handbooks by
+Mr. Lewis Foreman Day (London: Batsford) are recommended to students of
+"the decorative page"; also "_English Book Plates_," by Egerton Castle
+(G. Bell & Sons).
+
+
+LIST OF PROCESS BLOCK MAKERS.
+
+From a long list of photo-engravers, the following are mentioned from
+personal knowledge of their work:--
+
+RELIEF BLOCKS.
+
+  ANDRE & SLEIGH, Bushey, Herts.
+
+  THE ART REPRODUCTION COMPANY, Clairville Grove, South Kensington.
+
+  MR. DALLAS, 5, Furnival Street, E.C.
+
+  A. & C. DAWSON, Hogarth Works, Chiswick.
+
+  DELLAGANA & CO., Gayton Road, Hampstead, N.W.
+
+  DIRECT PHOTOGRAPHIC COMPANY, 38, Farringdon Street, E.C.
+
+  HARE & SONS, LTD., Bride Court, Fleet Street.
+
+  CARL HENTSCHEL, 182, Fleet Street, E.C.
+
+  CHAS. GEARD (Agent for Krakow), MacLean's Bldgs., New St. Sq., E.C.
+
+  MEISENBACH CO., Ltd., Wolfington Road, West Norwood, S.E.
+
+  JOHN SWAIN & SON, 58, Farringdon Street, E.C.
+
+  SWAN ELECTRIC LIGHT CO., 114, Charing Cross Road, W.C.
+
+  TYPOGRAPHIC ETCHING CO., 3, Ludgate Circus Buildings, E.C.
+
+  WALKER & BOUTALL, Clifford's Inn, Fleet Street, E.C.
+
+  WATERLOW & SONS, Ltd., London Wall, E.C.
+
+  VINCENT & HAHN, 34, Barbican, E.C.
+
+INTAGLIO.
+
+Several of the firms mentioned above are makers of "Intaglio" plates;
+some are also wood-engravers, photo-lithographers, etc.; and agents for
+French, German, and Austrian photo-engravers.
+
+Amongst leading firms who make "Intaglio" plates are Messrs. Boussod,
+Valadon, & Co. (London and Paris); and Messrs. Angerer & Goeschl, of
+Vienna.
+
+The Autotype Company's admirable reproductions of photographs and
+drawings should also be mentioned in this connection.
+
+
+
+
+"Black and White."
+
+NOTICE.--MR. HENRY BLACKBURN'S STUDIO is open five days a week for the
+Study and Practice of DRAWING FOR THE PRESS with Technical Assistants.
+Students join at any time.
+
+       *       *       *       *       *
+
+  _Private Instruction and by Correspondence._
+
+  123, VICTORIA STREET, WESTMINSTER (_near Army & Navy stores_).
+
+
+
+
+OPINIONS OF THE PRESS
+
+On the First Edition.
+
+
+"'The Art of Illustration' is a brightly written account, by a man who
+has had large experience of the ways in which books and newspapers are
+illustrated nowadays.... As a collection of typical illustrations by
+artists of the day, Mr. Blackburn's book is very attractive."--_The
+Times._
+
+"Mr. Blackburn explains the processes--line, half-tone, and so
+forth--exemplifying each by the drawings of artists more or less skilled
+in the modern work of illustration. They are well chosen as a whole, to
+show the possibilities of process work in trained hands."--_Saturday
+Review._
+
+"We thoroughly commend this book to all whom it may
+concern."--_Athenaeum._
+
+"Mr. Henry Blackburn, perhaps our greatest expert on the subject of the
+book illustrator's art, has written a most interesting volume, which no
+young black-and-white artist can very well afford to do without. Nearly
+a hundred splendid and instructive illustrations."--_Black and White._
+
+"The author's purpose in this book is to show how drawing for the press
+may be best adapted to its purpose.... Many of Mr. Blackburn's
+instructions are technical, but all are beautifully illustrated by
+choice reproductions from some of the best black-and-white work of the
+time."--_Daily News._
+
+"Mr. Blackburn's interesting and practical manual is designed, in the
+first instance, for the guidance of students who intend to become
+illustrators in black-and-white, but for the general reader it contains
+a large quantity of readable and attractive matter."--_The Literary
+World._
+
+"We must express our admiration for the contents of 'The Art of
+Illustration,' and its fund of technical information."--_Bookseller._
+
+"The book is full of interest, containing close upon a hundred varied
+examples of illustrations of the day. A work of unquestionable
+value."--_Publishers' Circular._
+
+"Mr. Blackburn knows from experience what is best for the processes; his
+volume is illustrated with nearly one hundred drawings, most of them
+good examples of what is being done. 'The Art of Illustration' is an
+entirely safe guide."--_Art Journal._
+
+"Mr. Henry Blackburn has written an able book on 'The Art of
+Illustration,' which, it is not overpraise to say, should be in the
+hands of every artist who draws for reproduction."--_The Gentlewoman._
+
+"'The Art of Illustration' is perhaps the most satisfactory work of art
+of its kind that has yet been published."--_Sunday Times._
+
+"A very clear exposition of the various methods of
+reproduction."--_Guardian._
+
+"Mr. Blackburn sails his book under the flag of Sir John Gilbert, and
+justly expounds the all-importance of line."--_National Observer._
+
+"'The Art of Illustration' contains a vast amount of valuable artistic
+information, and should be on every student's bookshelf."--_Court
+Circular._
+
+"Mr. Henry Blackburn is a well-known authority on the technical aspects
+of painting and design, and this circumstance lends value to his
+exposition of 'The Art of Illustration.'... He writes with admirable
+clearness and force."--_Leeds Mercury._
+
+"The excellent series of reproductions in this book show (_inter alia_)
+the variety of effects to be obtained by the common zinc process. Mr.
+Blackburn's book will prove of great value to the student and interest
+to the general reader."--_Manchester Guardian._
+
+"This volume is full of good criticism, and takes a survey of the many
+processes by which books may be beautified.... A charming and
+instructive volume."--_Birmingham Gazette._
+
+"'The Art of Illustration' will have the deepest interest for artists
+and others concerned in the illustration of books."--_Yorkshire Post._
+
+"A very interesting quarto, worth having for its typical
+illustrations."--_British Architect._
+
+"Mr. Blackburn's volume should be very welcome to artists, editors, and
+publishers."--_The Artist._
+
+"A most useful book."--_Studio._
+
+
+
+
+
+End of Project Gutenberg's The Art of Illustration, by Henry Blackburn
+
+*** END OF THIS PROJECT GUTENBERG EBOOK THE ART OF ILLUSTRATION ***
+
+***** This file should be named 32320.txt or 32320.zip *****
+This and all associated files of various formats will be found in:
+        http://www.gutenberg.org/3/2/3/2/32320/
+
+Produced by Marius Masi, Chris Curnow and the Online
+Distributed Proofreading Team at http://www.pgdp.net.
+
+
+Updated editions will replace the previous one--the old editions
+will be renamed.
+
+Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.
+
+
+
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+http://gutenberg.org/license).
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, are critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.pglaf.org.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Its 501(c)(3) letter is posted at
+http://pglaf.org/fundraising.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://pglaf.org
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://pglaf.org
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://pglaf.org/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+
+Most people start at our Web site which has the main PG search facility:
+
+     http://www.gutenberg.org
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
diff --git a/32320.zip b/32320.zip
new file mode 100644
index 0000000..a6ee25e
--- /dev/null
+++ b/32320.zip
diff --git a/LICENSE.txt b/LICENSE.txt
new file mode 100644
index 0000000..6312041
--- /dev/null
+++ b/LICENSE.txt
@@ -0,0 +1,11 @@
+This eBook, including all associated images, markup, improvements,
+metadata, and any other content or labor, has been confirmed to be
+in the PUBLIC DOMAIN IN THE UNITED STATES.
+
+Procedures for determining public domain status are described in
+the "Copyright How-To" at https://www.gutenberg.org.
+
+No investigation has been made concerning possible copyrights in
+jurisdictions other than the United States. Anyone seeking to utilize
+this eBook outside of the United States should confirm copyright
+status under the laws that apply to them.
diff --git a/README.md b/README.md
new file mode 100644
index 0000000..ab6090a
--- /dev/null
+++ b/README.md
@@ -0,0 +1,2 @@
+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #32320 (https://www.gutenberg.org/ebooks/32320)