diff options
| author | nfenwick <nfenwick@pglaf.org> | 2025-01-22 21:04:20 -0800 |
|---|---|---|
| committer | nfenwick <nfenwick@pglaf.org> | 2025-01-22 21:04:20 -0800 |
| commit | d5ba8c80c387f9dc8230493c597532e34862b0df (patch) | |
| tree | deb5eed52f50ff293a247861214acd36b32a96c4 /old/65836-0.txt | |
| parent | aea178c99f97ca6848511c44de96ce3ae97ac665 (diff) | |
Diffstat (limited to 'old/65836-0.txt')
| -rw-r--r-- | old/65836-0.txt | 2403 |
1 files changed, 0 insertions, 2403 deletions
diff --git a/old/65836-0.txt b/old/65836-0.txt deleted file mode 100644 index c22ef8b..0000000 --- a/old/65836-0.txt +++ /dev/null @@ -1,2403 +0,0 @@ -The Project Gutenberg eBook of Drawings in pen & pencil from Dürer's day -to ours, by Charles Geoffrey Holme - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world 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. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Drawings in pen & pencil from Dürer's day to ours - with notes and appreciations - -Editor: Charles Geoffrey Holme - -Contributor: George Sheringham - -Release Date: July 14, 2021 [eBook #65836] - -Language: English - -Character set encoding: UTF-8 - -Produced by: Chuck Greif and the Online Distributed Proofreading Team at - http://www.pgdp.net (This file was produced from images - available at The Internet Archive) - -*** START OF THE PROJECT GUTENBERG EBOOK DRAWINGS IN PEN & PENCIL FROM -DÜRER'S DAY TO OURS *** - - - - - DRAWINGS IN PEN & PENCIL - FROM DÜRER’S DAY TO OURS - WITH NOTES AND APPRECIATIONS - BY GEORGE SHERINGHAM - - - EDITED BY GEOFFREY HOLME - LONDON: THE STUDIO, Lᵀᴰ 44 LEICESTER SQUARE, W.C.2 - MCMXXII - - - - -PREFATORY NOTE - - -In the original circular relating to this volume it was announced that -Mr. Malcolm C. Salaman would contribute the letterpress. The Editor -desires to express his sincere regret that, owing to serious -indisposition, Mr. Salaman has been unable to fulfil this intention. - -The Editor wishes to acknowledge his indebtedness to the following -owners who have kindly lent drawings for reproduction in this volume: -Messrs. Ernest Brown and Phillips (The Leicester Galleries), Mr. William -Burrell, Lt.-Col. Pepys Cockerell, Mr. Campbell Dodgson, C.B.E., Mr. -Charles Emanuel, Mr. William Foster, Mrs. G. R. Halkett, Mr. Harold -Hartley, Mr. Francis Harvey, Mr. C. C. Hoyer-Millar, Mr. J. B. Manson, -Mr. A. P. Oppé, Monsieur Ed. Sagot, Mr. Edward J. Shaw, J.P., Monsieur -Simonson, Mr. G. Bellingham Smith, Mr. Roland P. Stone, Mr. D. Croal -Thomson, Mr. Charles Mallord Turner and Sir Robert Woods, M.P. Also to -Messrs. William Marchant & Co. (The Goupil Gallery), Mr. T. Corsan -Morton, Mr. E. A. Taylor and Mr. Lockett H. Thomson for the valuable -assistance they have rendered in various ways; and to Messrs. G. Bell & -Sons, Messrs. Chapman & Hall, Messrs. Charles Chenil & Co., Messrs. J. -M. Dent & Sons, Mr. William Heinemann, and the Proprietors of _La -Gazette du Bon Ton_, _Punch_ and _The Sketch_ for permission to -reproduce drawings of which they possess the copyrights. - - - - -CONTENTS - - -“Notes and Appreciations.” By George Sheringham 1 - - -LIST OF ILLUSTRATIONS - -Albano, Francesco. Pen Drawing. Photo, Anderson 58 - -Artist Unknown. Drawing in Pencil and Chalks. Photo, Giraudon 72 - -Barbieri, Giovanni Francesco. (See Guercino) - -Bateman, H. M. _An Open Space_ (pen) 140 - -Beardsley, Aubrey. _John Bull_ (pen) 120 - -“ “ Pen Drawing 121 - -Béjot, Eugène. _Le Quai de Paris à Rouen_ 178 - -Belcher, George. Drawing in pencil and wash 141 - -Bell, R. Anning, R.A., R.W.S. Pen Drawing 164 - -Bellini, Gentile. _The Turk_ (pen). Photo, Anderson 40 - -“ “ _The Turkish Lady_ (pen). Photo, Anderson 41 - -Blake, William. _The Soul hovering over the Body_ (pen and wash) 119 - -Blampied, E., R.E. _The Sick Mother_ (pen) 147 - -Bone, Muirhead. _Front of the Quirinal Palace, Rome_ (pencil) 160 - -“ “ _Quai du Canal, Marseilles_ (pencil) 161 - -Botticelli, Sandro. _Abundance_ (pen & pencil) 47 - -Boutet de Monvel, Bernard. _Venus et l’Amour_ (pen) 182 - -“ “ “ “ Pen Drawing 183 - -Brangwyn, Frank, R.A. _The Steam Hammer_ (pen and chalk) 139 - -Burne-Jones, Bart., Sir Edward. _Seven Works of Mercy_ (pencil) 126 - -Callow, William, R.W.S. _The Rialto, Venice_ (pencil) 132 - -Canaletto. Pen Drawing. Photo, Mansell 76 - -Carlègle, E. Pen Drawing 184 - -Clarke, Harry. Pen Drawing 151 - -Claude Lorrain. Pen Drawing 71 - -Constable, John, R.A. _Salisbury_ (pencil) 85 - -Correggio. _The dead Christ carried off by Angels_ (pen). Photo, -Brogi 31 - -Cosway, Richard, R.A. _Henry_ (pencil and chalk) 83 - -Cotman, John Sell. _On the Yare_ (pencil) 86 - -Crawhall, Joseph. Pen Drawings 166 - -Dance, George, R.A. _Parke, Musician_ (pencil) 87 - -Daumier, Honoré. _En Troisième_ (pen and wash) 98 - -“ “ _Les Trois Connaisseurs_ (pen and wash) 99 - -Dulac, Edmund. Pencil Study 170 - -Du Maurier, George. Pen Drawing 113 - -Dürer, Albrecht. _A Courier_ (pen). Photo, Anderson 25 - -“ “ _The Rhinoceros_ (pen). Photo, Anderson 26 - -“ “ _The Procession to Calvary_ (pen). Photo, Brogi 27 - -“ “ _Praying Hands_ (pen). Photo, Mansell 28 - -Emanuel, Frank L. Pencil Drawing 138 - -Fisher, A. Hugh, A.R.E. Pencil Drawing 143 - -Flint, W. Russell, R.W.S. _Women quarrelling_ (pencil) 134 - -Forain, J. L. Pen Drawing 174 - -Foster, Birket, R.W.S. Pen Drawing 92 - -Fragonard, J. H. _Cupids playing around a fallen Hermes_ (pen) 79 - -Gainsborough, Thomas, R.A. _The Harvest Wagon_ (pen). -Photo, Mansell 82 - -Girtin, Thomas. _Carnarvon Castle_ (pencil) 89 - -Greenaway, Kate. Pen Drawing 116 - -Griggs, F. L. Pen Drawing 165 - -Guardi, Francesco. _Venice_ (pen) 77 - -Guercino, Il. Pen Drawing. Photo, Anderson 57 - -Hill, Adrian. _Folkestone_ (pencil) 137 - -Hill, Vernon. _A Sleeper_ (pencil) 158 - -Holbein, Hans. _The Family of Sir Thomas More_ (pen) 29 - -Houghton, A. Boyd. Pen Drawing 111 - -Hubbard, E. Hesketh. _S. Anne’s Gate, Salisbury_ (pencil) 154 - -Hughes, Arthur. _Unseen_ (pen) 118 - -Ingres, J. A. D. _Madame Gatteaux_ (pencil). Photo, Mansell 95 - -“ “ _Paganini_ (pencil) 96 - -“ “ _C. R. Cockerell_ (pencil) 97 - -Jones, Sydney R. _Near Chesham, Bucks._ (pen) 157 - -Jouas, C. Drawing in pencil and coloured chalks 175 - -Keene, Charles. Pen Drawings 105 to 109 - -Lalanne, Maxime. _Delft_ (pen) 171 - -Laroon, Marcellus. _A Hunting Party_ (pen & pencil) 78 - -Lawrence, Sir Thomas, P.R.A. _Lady Mary Fitzgerald_ (pencil) 93 - -Leonardo da Vinci. Pen Studies. Photos, Anderson and Brogi 32 - -“ “ “ _Head of an Old Man_ (pencil) 33 - -“ “ “ _Madonna and Child_ (pen). Photo, Anderson 34 - -“ “ “ _Head of a Young Woman_ (pen). Photo, -Braun & Co. 35 - -Lepère, A. _Le Vieux Menton_ (pen) 176 - -“ “ _Crèvecœur_ (pen) 177 - -Lhermitte, L. Pen Drawing 146 - -Mahoney, James. Pen Drawing 110 - -May, Phil. _A Portrait of her Grandmother_ (pen) 122 - -“ “ Drawing in pencil and chalk 123 - -McBey, James. _The Stranded Barge_ (pen) 167 - -Meryon, Charles. Pencil Drawing 101 - -Michelangelo. Pen Drawings. Photo, Anderson 42, 43, 46 - -“ Pen Drawing 45 - -Morland, George. Pencil Drawing 86 - -New, Edmund H. _Grasmere Church_ (pencil) 152 - -North, J. W., R.A. _The Gamekeeper’s Cottage_ (pen) 117 - -Orpen, Sir William, R.A. _Mother and Child_ (pencil) 148 - -“ “ “ _After Bathing_ 149 - -Ospovat, Henry. “_Life might last! We can but try_” (pen) 163 - -Ostade, Adriaen van. _Tavern Scene_ (pen) 68 - -Parmigianino. Pen Drawing. Photo, Brogi 75 - -Partridge, Bernard. _Place du Pillori, Pont-Audemer_ (pen) 133 - -Pellegrini, Riccardo. _Palm Sunday in Italy_ (pen) 125 - -Peruzzi, Baldassare. Pen Drawing. Photo, Anderson 37 - -Philpot, Glyn W., A.R.A. Pencil Study 168 - -Pinturicchio, Bernardino. _Young Woman with Basket_ (pen) -Photo, Brogi 31 - -Pinwell, C. J. _The Old Couple and the Clock_ (pencil) 115 - -Poulbot, F. Pen Drawing 181 - -Poussin, Nicolas. Pen Drawing 70 - -Rackham, Arthur, R.W.S. Pen Drawing 150 - -Raphael. Pen Drawings. Photo, Anderson 49, 53 - -“ _La Vierge_ (pen). Photo, Mansell 50 - -“ Pen Study. Photo, Mansell 51 - -Raphael, School of. Pen Drawing. Photo, Anderson 54 - -Rembrandt. _Lot and his Family leaving Sodom_ (pen). Photo, -Anderson 61 - -Rembrandt. _Saskia_ (pen) 63 - -“ _Old Cottages_ (pen) 64 - -“ Pen Drawing 64 - -“ _Judas restoring the Price of his Betrayal_ (pen). -Photo, Braun & Co. 65 - -Rossetti, Dante Gabriel. Pencil Drawing 127 - -Roubille, A. Pen Drawing 179 - -Russell, Walter W., A.R.A. Pencil Study 159 - -Sambourne, Linley. _The Black-and-White Knight_ (pen) 131 - -Shepperson, Claude A., A.R.A., A.R.W.S. _The Child_ (pencil) 135 - -Sime, S. H. Pen Drawing 155 - -Spurrier, Steven. Pencil Study 144 - -Steinlen, T. A. _Les Bûcherons_ (pen) 172 - -“ “ _Laveuses_ 173 - -Stevens, Alfred. Pencil Study 102 - -Sullivan, Edmund J., A.R.W.S. _Robespierre’s List_ (pen) 145 - -Tenniel, Sir John. _“What’s this?” said the Lion_ (pencil) 128 - -“ “ _Three little Men_ (pencil) 128 - -Tiepolo, G. B. _Faun and Nymph_ (pen) 73 - -Tintoretto. Pen Drawing. Photo, Brogi 59 - -Titian. Pen Drawings 38, 39 - -Tonks, Henry. Pencil Study 169 - -Turner, J. M. W., R.A. _Carew Castle Mill_ (pencil) 90 - - “ “ “ _Monow Bridge, Monmouth_ (pencil) 91 - -Velasquez. _Philip IV_ (pen) 60 - -Velde, Adriaen van de. _Le Passage du Bac_ (pen). Photo, Mansell 69 - -Veronese, Paolo. Pen Studies 55 - -Verpilleux, E. Pencil Drawing 153 - -Vinci, Leonardo da. (See Leonardo). - -Visscher, Cornelis. Portrait Study in pencil 67 - -Walker, Fred, A.R.A. _A Dark Deed_ (pencil) 112 - -Whistler, J. McNeill. _Girl with Parasol_ (pen) 129 - -Wilkie, Sir David, R.A. _The Mail Coach_ (pen) 103 - -Winterhalter, Franz Xaver. Portrait Studies in pencil 81 - - -Printed by Herbert Relach, Ltd., 19-24, Floral Street, Covent Garden, -London, W.C.2. - - - - -NOTES AND APPRECIATIONS - - -A drawing is a thing to be looked at and not written about. Pages and -pages written about it will not make a good drawing bad nor a bad -drawing good; nor will they, unfortunately, really equip and instruct -anyone to know the one from the other--should he happen to lack that -subtle sense whereby such things are known; for the reason why one -drawing is justly ranked as a masterpiece while another is thrown away -lies hidden on the plane of our more transcendental perceptions--such, -for example, as the sense whereby we know whether a note is in tune or -out of tune; and further: whether a musical composition is base in its -gesture or great. At present the majority of people lack these senses -but, due to a guiding justice, this fact rarely if ever prevents the -artist who has achieved something great from receiving, though it may -have been long retarded, his full meed of praise eventually. That the -praise is so often belated and the appreciation of an artist retarded -until, for him, it has lost its savour is due to many causes: so long as -the competitive and childish habit persists--of awarding the palm of -greatness to one man’s work by the simple expedient of simultaneously -condemning someone else’s--narrowness and prejudice will continue to -trouble the artist. It should surely not be difficult to realize that -the world of art--like the Kingdom of Heaven--has many mansions, and -that, though both have their “housing problems,” still--in both there is -room for many. - -In life the “housing problem” for the artists is acute and vexed--they -have to scramble for a place and, in the scramble, if some are unduly -praised far more are unduly blamed. Death seems to be the only arbiter -of justice for them. In the struggle for recognition none are more -unscrupulous and narrow than the artists themselves; with the instinct -of self-preservation strongly developed in them they, metaphorically, -deal what they hope will be death-blows at all who stand in their way. -It is easier for a camel to go through the eye of a needle than for an -artist to be a just critic of his contemporaries. The truth of this -assertion is easily tested: ask an artist his opinion of a mixed dozen -of old masters--he will have words of praise for all of them and his -comparisons will be just and true. Then ask him his opinion of a dozen -of the leading artists of his own day--he will not have words of praise -for more than two; and if by chance he should still be a student in the -schools he will find himself only able to praise one of them; and the -remarks he will make about the others will be in questionable taste! -Even our most revered old masters gave way to this human weakness. For -instance, Michelangelo treated Leonardo as though he held him in -profound contempt; especially in a little matter connected with the -casting of a bronze. In fact--each paid the other the compliment of -jealousy. - -The deplorable battle that had to be waged before Whistler’s genius -could be accepted is also a good example. In the very forefront of the -fight rode Whistler shamelessly wounding, for the sake of his own -aggrandizement, his opponents, who were really his brother artists. -Viewed at this distance of time it looks a dirty business, and several -good artists are only now healing of their wounds. He is forgiven of -course, firstly because he was a genius of a high order and secondly -because of his wit and the irresistible style with which he handled his -weapons; and thirdly because he was, of course, most venomously attacked -on all sides himself. It was the power of Whistler’s caustic wit that -caused the prestige of our leading art society to become so undermined -that, until quite recently, many of our greatest living artists could -not face the ignominy of exhibiting there; and to this day one still -meets with the bashful student who has to deny himself any visits to its -exhibitions! - - * * * * * - -Fenollosa says: “Art is the power of the imagination to transform -materials--to transfigure them--and _the history of Art should be the -history of this power_ rather than the history of the materials through -which it works.” In the limited size of this book neither the one nor -the other history is attempted of European pen & pencil art. Had -either been intended the English draughtsmen could not so preponderate -in it. That they do so is due to the fact that the book is intended -primarily for the English public, and is published in the hope that it -may help somewhat to stimulate its appreciation of what its own artists -have done and are doing, and what the great masters did in the past. - - * * * * * - -Drawings have this great advantage--that they convey their meaning -instantly. They tell their story more swiftly than a telegraph-form, -whereas ideas on a printed page have to be assimilated in the usual -processional order. So whoever looks through this collection of drawings -with intelligent interest must be rewarded with a share in the vision of -many great men on a great variety of subjects. And whether he is -conscious of the process or not he must retain some memory of each; -perhaps--with luck and other qualities--a very clear memory. For it is a -gain, a privilege and a delight to be able to assimilate in an instant -the fine idea of a great artist. Surely, too, it must give to the reader -a momentary feeling of freedom from the shackles of space and time. My -point is that it would take the briefest writer many pages to present to -the student of psychology the personality and character of, say, the -_Earl of Surrey_, as they are conveyed to him by Holbein’s drawing--in -one _coup d’œil_. And it would be indeed a long book that gave him as -adequate a presentment (as do these drawings) of a hundred different -persons, places and incidents by a hundred different writers. For in -this book are drawings that will teach him to see like gods, like -super-men, like birds, like swashbucklers, and even to see with the eyes -of little old ladies. And Michelangelo, in return for a glance, will -give him his great conception, and Mr. Bateman will crack ten jokes with -him in as many seconds. - -But it takes two to establish a work of art--the artist and the other -man; and even then the other man can only take from it what he can put -into it: Mr. Bateman’s jokes fall flat if the other man has no sense of -humour. Michelangelo has no message for the man entirely unfamiliar with -fine ideas. The artist can but launch his work of art on the world and -hope that the other man will recognize it. - -Such diversity of presentment as the collection of drawings in this book -gives should do something to inculcate a more catholic appreciation of -art than one finds in that unpleasant being--“the average man.” It is -the critic’s business to educate the public to that catholicity of -appreciation, but unfortunately he may delight in doing the opposite: -too often Ruskin’s eloquent writings did but beautifully express his -bigoted prejudices. His eloquence succeeded in foisting upon the public -as masterpieces--meriting comparison with the works of Titian and -Tintoretto--certain banal, third-rate Victorian water-colours. And he is -committed to a description of Canaletto as a _base_ painter--because -Canaletto painted into a picture what Ruskin considered an unworthy -artifice. The critical faculty is to a considerable extent intuitive and -sub-conscious, and therefore to concentrate only along a special line of -thought is the worst possible training for a critic. However, the -English people, having ceased to rely so completely on John Ruskin to do -their thinking for them, and growing suspicious of the carping of that -most irascible critic have, among other things, discovered the splendid -sincerity of Canaletto for themselves. Let us hope that they had the -generosity, in embracing Canaletto, to do so without discarding someone -else of equal value; but, as a rule, immobile minds cannot take in a new -thought without first ejecting some other:--our grandfathers worshipped -at Raphael’s shrine; our fathers at Turner’s and we--losing interest in -both--have “discovered” Velasquez; the talk in the schools and coteries -is of Leonardo and Uccello while Rubens, too, is forgotten or -disapproved. Cannot Uccello be great without the depreciation of -Raphael! Or must partisan hero-worship be carried on about art in the -same spirit as the butcher-boys of rival firms wear light or dark blue -ribbons on one special day in the spring! - -Surely the real value of art in this world lies in its diversity and -infinite variety. The artist’s principal function in the community is -that he teaches it to see. This is the great man’s final achievement. So -that men who come after him say: “Ah, it was Rembrandt who taught us how -glorious a thing is light”; “it was Whistler who showed us the mystery -of the evening and the beauty of the Thames”; “Turner who gave us -sunsets and Velasquez who taught us the marvel of our physical vision -and showed us the very air we breathe.” As each new artist reaches the -height of his art our horizon should grow wider and the vision of the -world more rich. The new generations are going to teach us the beauty of -our back streets and gasometers. Good luck to them, for when they have -done it our dullest walks will have a zest! - - * * * * * - -But Art cannot be of the most truly vital and evolutionary kind unless -it is born of national inspiration and has its roots in the social and -spiritual life of a people--growing in response to their conscious need -and desire for it. We adulate the great Italian artists instead of -paying our homage to the Italian people for producing them--as they -undoubtedly did, by desiring them; for art was not only a joy to their -kings and prelates but _a spiritual need to themselves_. In such an -atmosphere great men were bound to arise to give form to the ideals and -emotions of the nation. Other countries have in equal degree made this -demand at certain periods of their history; to mention the more -obvious--Egypt, Persia, Greece, China, France, Japan. And in -answer--great men have arisen to express what were really _national -ideals_ in concrete form. The demands of a king and his court may -produce a Velasquez; the desire of a city may produce a Watteau or a -Sargent; but only the desire of a nation can produce a great school in -art. - -Religion once held the artist as her most valuable ally and was, -invariably, the source of his inspiration in all the greatest -masterpieces he gave the world in all branches: whether in architecture, -sculpture, painting, or in the lesser arts of carving, illuminating, -embroidery, jewellery. For art has ever reached its high-water mark in -the expression of religious ideals or in ministering to the needs of a -religious civilization: the temples of Egypt, Greece and Ancient India; -the paintings of the great schools of Italy, China, Flanders and Japan; -the sculptures of the Parthenon and the Renaissance; and even the ju-jus -of Africa and Australasia (about the virtues of which Chelsea mimics the -adulations of Paris) were one and all oblations to the gods. But -Religion in a frenzy of madness drove the artist from her sanctuaries -and has not yet admitted the disastrous results of her crime. And all -over the world--in the East as well as in the West--the artist has now -retaliated and has gone elsewhere for his inspiration (and, -incidentally, has turned, for the most part, for his appreciation to the -race who are still forbidden by the sacred tenets of their faith to make -to themselves “any graven image”). And art is now only the demand of the -few. - -At this particular point in history--a fact that should give us to -think--the peoples of all the world are very far from clamouring to see -their ideals given form through art. That many of them have ideals and -can formulate their desires this generation has had ample proof; as for -instance it had of the English--in the war. But the English have given -innumerable proofs, too, that the desire of the mass of this people does -not tend towards the arts--for however many great painters the English -have produced the fact remains that our only national art--except -perhaps the school of Reynolds and a tradition of landscape -painting--is, still, _literature_; as it always has been. It is nothing -to us that a national memorial is not conceived on nearly such large or -costly lines as are our drapery stores. This causes us no concern -whatever; we get what we want--economy of public money; and what we -deserve--unworthy memorials. To the present-day public the function of -the artist is of small importance--his work is there to amuse us, to -flatter our vanity, to decorate our hideous houses (with which we are -well content) and, when he is dead, to afford us the mild excitement of -a little speculative buying. With such a point of view we can produce no -great school in art. Nothing can change us except we change ourselves. -Gallant attempts to change us have been made by individuals: Ruskin, in -proclaiming one of the world’s great painters, sought to instil some -fire of art into our flaccid hearts--and what happened? We pretended to -desire great things; we became sentimental about the “beauties of -nature” and our insincere desires produced a school of hucksters--who -profaned the work of their master and sullied the beauties of nature. - - * * * * * - -Where a country has no national art the message of its great men, when -they come, has to be completed just so far as they can take it in their -own lifetime; for it is carried no further by those who follow them; -whereas, when art is national, all its forms “interact. From the -building of a great temple to the outline of a bowl which the potter -turns upon his wheel, _all effort is transfused with a single style_,” -and the message of a great man may take centuries to achieve its -completion and fullness in a progressive unfoldment in evolution. - - * * * * * - -So many of the greatest drawings of the old masters were done in chalk -that it is sometimes difficult to find examples executed in pen or -pencil that will bring their work within the scope of this book; but in -the _Family of Thomas More_ we have an example of Holbein’s pen drawing -which could not be better for our purpose. It is obviously _the -carefully thought out design for a painting of considerable size_ and, -like all Holbein’s portraits, is a most intimate and searching study of -psychology. Composition drawings (and this one is a good example) are -among the most valuable to us of all works of art. Valuable because the -composition sketches of a great man are generally pure inspiration -throughout. In them he has worked too rapidly to be conscious of his -method--he has been as unconscious as a writer is of his hand-writing. -Napoleon said: - - “Inspiration is the instantaneous solution of a long meditated - problem”; what more perfect description could one have of a - composition sketch, for the artist does, as a rule, meditate a - problem for a long time but the moment he finds the solution he - sets down his idea with the greatest zest seizing the first thing - to hand--generally a pen or a pencil. Moreover, in the first rapid - sketch that records his inspiration his mental vision is clear; the - interruptions--inevitable in the slow process of painting a - picture--having not yet occurred. - -This book abounds with examples of sketches done in this way. They may -have been done thus, only as a means to an end, but that end is often -more nearly reached in the “instantaneous solution” than in the finished -picture that follows--though we may prize this for many other qualities. - -[Sidenote: _Rembrandt_] - -Rembrandt above all others delighted in setting down his ideas in this -way; and there are still in existence nearly nine hundred of these vital -drawings of his. I think I shall not be contradicted when I say that the -method by which these Rembrandt sketches were produced defies analysis: -they are not outline drawings, nor are they drawings of light (like -Daumier’s sketches), they are a kind of pictorial calligraphy--as Sir -Charles Holmes once pointed out--closely allied to the Japanese method -of brush drawing, though they are infinitely more varied and are not a -set of symbols constantly rearranged and adjusted for each new problem; -as is often the case in Japanese drawings; and also in the case of our -modern illustrators--who serve up again and again a few threadbare -receipts for hats, boots, facial expressions and so forth. With these -draughtsmen the line has all the hardness that one would expect from the -use of a metal point; the quill pen is incomparably a more sympathetic -instrument than the metal pen, and it is to be hoped that, as methods of -reproduction improve (and they are improving) draughtsmen will again -take to using the quill. - -Rembrandt has shown us that the quill or reed pen can give a more -flexible line than any other instrument or medium (except perhaps a -brush) that the artist has at his disposal. Even chalk has not quite the -same possibilities in this particular respect, because the point is -continually crumbling as it is worn away, and the pencil--so suitable -for crisp or delicate work--cannot be used for emphatic statement -without the risk of happening upon that heavy quality that is so -unpleasant. - - * * * * * - -It is at about this stage that I feel some sort of an essay on drawings -and drawing in general is expected of me. However, as I do not expect it -of myself it is not likely to happen; and he who does must, I fear, be -disappointed. I hold the opinion, as I have already said, that a drawing -is a thing to be looked at and not written about and I therefore content -myself with the simple statement that _a drawing is a symbolic -arrangement of marks made by an intelligent person with a pointed -instrument on a more or less plain surface_. Now, though these three -essentials--the symbology, the arrangement and the intelligence of the -person--may all be excellent, the question of whether he may claim to be -really a draughtsman or why and when he may not be allowed any such -claim will ultimately always be decided by _the quality of the marks_; -in a drawing these are more usually curved lines; but to decide whether -they have the right quality or the wrong quality is a matter most -subtle, eclectic and erudite. - -[Sidenote: _Hans Holbein the Younger_] - -In Manchester, and the north of England generally, business men call an -artist’s personal style in drawing and design “his handwriting.” And -indeed the phrase has a nice aptness, for the quality of a man’s line in -pen or pencil work is as personal to himself and as unlike another’s as -is his calligraphy--and, like it, may charm or offend us. However--no -one ever has had any doubt about the charm and rightness of the quality -of Holbein’s lines.... “These are no imitations of classic suggestion -_but a new creation on parallel lines_ ... there are men who can create -with the same _naïveté_ and beauty as the Ionians. And let it be noted, -too, that these curves ... are the farthest removed in all art from the -insipidity of the Renaissance flourishes, which we sometimes teach as a -poisonous miasma in our art schools. These are curves of extreme -tension, as of substances pulled out lengthwise with force that has -found its utmost resistance, lines of strain, long _cool_ curves of -vital springing, that bear the strength of their intrinsic unity in -their rhythms.” So wrote Ernest Fenollosa--one of the few great writers -on art. He was not writing about Holbein, but how well he might have -been! What an admirable commentary it makes on the drawings of this -master draughtsman--“curves of extreme tension ... _cool_ curves of -vital springing.” ... Look at the drawings of the _Duchess of Suffolk_; -_Thomas Watt_; _Bishop Fisher_ or the _Family of Thomas More_ -(reproduced here, p. 29) or any other portrait drawing by Holbein and I -think it cannot but be agreed that it is a perfect description of that -most difficult thing to describe--Holbein’s line. It must be admitted -that Holbein as a decorator seems to have been a different -being--“Renaissance flourishes” were then his stock in trade; they -sprout from every available excrescence. But most fortunately, in his -portraits, he had no use for the flourish; and here we are only -concerned with his portrait drawings. - - * * * * * - -[Sidenote: _Michelangelo_] - -One cannot study Michelangelo without realizing or at any rate -suspecting that _all presentment of psychology essentially depends upon -proportions, subtly observed_; and though one cannot expect a master in -an art school to allow his pupils to draw the model in inaccurate -proportions as a general rule he might, one thinks, occasionally with -advantage--say one day a week--order them to decide in their minds first -what type, psychologically, they most wish to suggest by the human -figure and to think out, then, _what proportions_ would best convey the -idea of it--deliberately falsifying, where necessary, the proportions of -the model to achieve their purpose. The proportions in a Michelangelo -drawing are _not_, accurately, those in a human figure. But, by a -general concensus of opinion, they are accepted as suggesting a -psychology more divine than human. This then must have been -Michelangelo’s intention. How did he do it. If we cannot learn the -secret by studying his drawings we have little else to help us except -the following cryptic receipt, that legend tells us came from him, and -which has still remained undeciphered--“a figure should be pyramidal, -serpentine, and _multiplied by one two and three_.” Is there any -connection between it and the occultists’ formula--“the one becomes two, -the two three, and the three seven,” and their axiom that “Seven is the -perfect Number”? - -The principle of selecting deliberately where the proportions shall be -inaccurate to observed fact, for the purpose of suggesting a desired -type, is not unlike the principle that Rodin used to convey the idea of -action in a figure:--he taught that movement could best be suggested by -including in the pose at least two more or less instantaneous positions -or movements which _could_ not, accurately, occur _simultaneously_ in a -human figure. - -That standard of excellence in art--that a picture or statue should “be -true to life”--has befogged too many of us. Art is in its essence and in -its finality--_artificial_. And proficiency is nothing if the obvious, -the non-essential and the trivial have been relied on to convey the -artist’s idea. - -Reproductions of Michelangelo’s and Holbein’s finest drawings are -usually hung in most art schools--as examples of how to draw I suppose. -But, with curious inconsistency, the masters teach their students to do -it by a system of straight-line-scaffolding known as _blocking in_; a -method that has never been used by any of the greater draughtsmen, but -which was, I believe, imported from Paris in the ’seventies or -’eighties; as an antidote, no doubt, to the “poisonous miasma” that -Fenollosa condemns! However, competent draughtsmen are, of course, -produced by art schools here, as in other countries in considerable -numbers, but it is scarcely a debatable point that what modern art most -lacks is _tradition_. Present day conditions make the old system of -apprenticeship almost impossible--students are too numerous and the -artists too varied and contradictory in their opinions for any workable -system of apprenticeship to continue. The few attempts that are made in -this direction usually come to an unsatisfactory end. And so tradition -is dead or lost. The system as it was practised in the days of the -Renaissance--in conserving tradition--was of immense value to the -continuous progress of art; but in these days the student is thrust from -the art school into the world to make his way--as innocent of -traditions as a newly-hatched sparrow is of feathers. He is equipped -with the experience and opinions of his fellow students and the maxims -that are the stock in trade of the professional art-master; who--though -he is sometimes a real teacher and even an inspired and inspiring -teacher--is far more often merely an artist earning his living by -instructing his pupils in a system that he has himself evolved, and -which he is quite unable to demonstrate has ever been used by any great -draughtsman or painter. - -To quote an example--no doubt an extreme case but a fairly typical -one--the student will be shown, as I have already said, a fine Holbein -drawing, and urged to emulate and study it with the closest attention; -but to do so he is given a blunt stick of charcoal and a piece of white -machine-made paper and initiated into a system of indicating -measurements and directions with heavy black lines. It is implied that -all the great masters began their careers by working in this way though, -for obvious reasons, no proof of this can ever be produced. It is -further implied that if he will apply himself to the art-master’s method -with real zeal he will in time be able to produce drawings like Holbein, -Ingres or Leonardo. If the student is a natural draughtsman he -invariably breaks away from the art school’s set of rules; and the -master generally has wit enough to let him go his own way. But the -others--well the others generally learn later in life with some -bitterness how they have been duped; unless they have had the good -fortune to be the pupils of Mr. Walter Sickert or Professor Tonks--who -both really have traditions from the old masters. - -It would be wiser and better that the proprietors and governors of most -of our art schools should say frankly--“we cannot teach drawing as the -great draughtsmen were taught, we teach a fairly serviceable method of -drawing which it must be clearly understood is intended to be painted -over.” However--their system of teaching drawing seems to be much -sounder than their system of teaching painting. - -At this point I want to say too, that though the word “rhythm” is often -uttered in the schools very little that is useful or illuminating is -taught there about this most subtle and essential quality in art. -Essential in drawing, in line, in spacing, in chiaroscuro and in -composition. It is always present in the work of the greater masters. -Curiously enough, too, it is often the one quality that causes a lesser -man to hold rank among them. A drawing can hardly be stated by one line, -usually it needs many, and rhythm is the principle whereby the -draughtsman can make a number of complex statements in a drawing -synthetically an harmonious whole. It is by rhythm that every line is -related to every other line: they have the same relation to each other -on the paper as dancers have one to another in a ballet. When a -ballet--such as _The Humorous Ladies_--has been danced to its -conclusion, though there may have been many movements, each and all -were in sympathy with each other and with the main theme. - -Rhythm is, I think, the secret of the charm or power in the work of -artists as widely different as M. Leon Bakst, Lovat Fraser and Claude -Shepperson. - -The modern art school seems to be a sort of clearing house for the -elimination of the student who thinks the life of an artist more -attractive than--say--life in an office. This type predominates in -practically all art schools. He (or she) is intensely serious about -being an artist, but is not seriously interested in art. After a period -more or less prolonged, this kind of neophyte discovers that the work of -an artist is not materially assisted by sombrero hats, flowing ties, -bobbed hair, corduroy trousers, fancy-dress dances, views about free -love, all night discussions about ethics--and so on, one need not -continue the familiar list. Having, I say, discovered that the most -assiduous cultivation of these exciting manners and customs does not -constitute the life of an artist this neophyte drops out of the race, as -far as the art world is concerned, and disappears. Years of hard work -and perhaps actual privation were not in his contract with the Muse, at -least--he did not notice the clause! If that hard-work business was the -game then no candle was worth it! Is there any harm done. As far as the -unserious student is concerned, I suppose there may have been some good, -but his effect on the art school is wholly bad. It makes anything -approaching to the old system of apprenticeship impossible; and we have -any number of proofs that this old system was the right one. - - * * * * * - -Whether art is national or personal in its message there is no doubt -that its artists are a peculiar people; they consist of two kinds (but -many sects): one--the craftsman--has a mission to create exquisite -things and the other has a mission to see exquisitely and to teach -others to see exquisitely too. It is not possible to predict what new -thing the craftsman will next make beautiful or what new thing the -artist will next interpret as beautiful. They are inspired by a spirit -that bloweth where it listeth. How great the power of this spirit in us -still is is proved by the astonishing number of unlovely things that -have been lately revealed to the world as beautiful, through the -mysterious alchemic process of this spirit of vision working in the -artist. But the spirit of inspiration did not always work thus. Some -centuries ago--when we had not so long emerged from Greek thought and -the influence of Plato--the process was almost the reverse. It required -that the artist should first see beautifully on the plane of ideas some -mental conception and then give it birth in a material form. In those -days the æsthetic sense was the guiding intelligence that moulded man’s -civilization and environment. In other words art produced the -environment that produced the artist. Communing with the spirit, the -artist, looking inward and not out, sought his subject in his own mind -or soul; and only through his art did it become an objective reality for -others. But now, to-day, the æsthetic principle no longer moulds our -civilization; has but a negligible influence even on our thought and no -effect upon the practical affairs of life. We train our workers to live -and labour without a knowledge even that such principles exist or that -in past ages such ideas _controlled the growth of nations_. - -That era is now closed, for “no phase or school of art in human society, -however beautiful, but contains within itself the germs of its own -destruction.” From the beauty of the past comes the grim battle-field of -to-day--where we wage our keen struggle for existence. Governments -cannot be taking architecture seriously when they are too out-at-elbows -to find housing accommodation for their populations--even in thea -meanest huts. And so it follows that their smaller buildings--such as -their post-offices, labour exchange bureaus, etcetera--are quite -unashamedly practical; in the most commonplace sense. Meanly designed -and economically executed to the lowest contractor’s tender, ignoring -even the simple, strong beauty that can be achieved merely by mechanical -efficiency (except recently in a few local housing schemes) they hedge -us about on all sides against the old æsthetic sense. Dimly we are aware -that we have lost that guiding intelligence--the spirit of art--that -lighted the path for our forefathers; and shamelessly we ignore all the -wealth of tradition we inherited from the preceding eras of their -greatness. - -And the artist--has lost his inner vision. And in his place a new one -has been evolved; one who is equal to the task that we have set him: he -paints--not ideas but--life as he finds it; he paints experiences; he -records emotions; if he receives a visual shock--he cannot make enough -haste to do a picture recording it; for to him it is a psychological -experience and therefore supremely worth recording. We here set him -about with evils and surround him with the sordid and ostentatious; the -spirit working in him by a new alchemy has called evil good; what will -happen to the world if he should forget and call good evil! Let us hope -rather that the spirit of vision--guiding him now to look outward on the -visible world for his subject--will inspire him to penetrate the -darkness of the æsthetic desert we have set about him; and that--again -communing with the spirit--he will give us--not, as before, ideals from -his own mental psychology but--see for us and reveal to us finely the -mass-psychology of mankind. But it is not possible to prophesy what the -art of the future may be that mankind of the future will approve. - - * * * * * - -France has now no national art--save her sense of humour (and we all -know to what she turns infallibly for stimulation in that!) but she does -know a great man when she produces one; nor does she confound him with -a lesser artist, however much excitement she may indulge in in making a -passing fashion of the latter: her pride in Puvis de Chavannes does not -waver. She has recently had some men of genius, and they are typically -French, but can we accept them as having founded a national art in -France? No--for we experience the fact that the truths that Cézanne, Van -Gogh and Gauguin came to teach are no truer for restatement by their -disciples, nor have they been further illuminated for us by the endless -repetitions of their personal conventions. But the astonishing fact is -now being daily insisted upon by some among us that the art of these -Frenchmen _is_ national to England! - - * * * * * - -England once came near to having a national art--in the school of -Reynolds, Gainsborough, Romney and Lawrence. At any rate their work, -reproduced in coloured-engravings by men almost their equal, did reach -the people in response to their demand for it and so became at least a -_national tradition_; brilliant but all short-lived. - - * * * * * - -[Sidenote: _Joseph Crawhall_] - -Ultimately it is the love of the people that alike crowns the king or -acclaims the artist, and until this happens no artist can be sure of a -prominent rank among the great; however much seeming popularity he may -enjoy in his lifetime. But there are reasons why an artist is sometimes -not given the rank he deserves until long after he should be--apart from -those supplied by the uncatholic point of view engendered in the people -by lack of education and the jealousy engendered in his contemporary -artists by their struggle for recognition. For instance--he may complete -very little work; or else his work may not be seen or known except to a -few private collectors and dealers, who are wisely but selfishly -exploiting it commercially; thus the recognition of his work by the -public may be retarded, for the simple fact that it does not know of its -existence: as in the case of Joseph Crawhall, who, when his work is -known, will undoubtedly be given the high rank he deserves and become as -famous to the public as he is now to the collector. I do not hesitate to -prophesy this in spite of the fact that I once heard one of our best -known critics state with considerable fervour that he wished Crawhall -had destroyed _all_ he had ever done instead of only what he did destroy -(probably nearly or quite half his work). - -An artist as a rule lives by selling his work and though the fact that -works of art are articles of commerce may delay or accelerate the -verdict on him it will not ultimately affect it. These things are on the -knees of the gods; for though he, in his lifetime, may receive from -educated people a concensus of approval, posterity may yet reverse the -judgment. He may have been approved because his work was bought, and his -work may have been bought for much the same reason that some persons -back horses. In fact there is a certain resemblance between the two. In -the art world, as on the race-course, the favourites are obvious and -expensive; and, to continue the analogy, outsiders have a most -unexpected way of turning out to be winners. But here the analogy must -end--for a dead artist may be a little gold-mine whereas a dead -racehorse is merely cat’s-meat. Michelangelo is still a winner: it is -interesting to know that reproductions of his drawings are, to-day, sold -in far larger numbers than are the reproductions of any other man. To -the student of drawing he is still a god and, because of his superhuman -ability to draw, he lives in the student’s mind in a divine halo. - -With regard to works of art considered as speculative investments I -offer the following advice: be sure you know a good drawing when you see -one, and buy a man’s drawings when he is young. To wait until he has -proved himself as a painter before accepting him as a draughtsman is, -economically, a bad principle. He--the now arrived painter--will -multiply the original price of his early drawings by twenty and pocket -his just but belated reward. Belated, because it would have been far -more valuable to him in the early days of his career to have sold the -same drawings for smaller sums when, probably, money was hard to come by -and may have meant much in the completion of his training. And the -drawings will probably be as good as any he will ever do; for, later in -life, when drawing is practised with a view to painting, the results are -generally more summary and, though frequently more masterly, they seldom -have quite the same sincerity as those done early in life, when--as a -rule forbidden by his teacher to paint--he will put into his drawings -the whole of his best endeavour and aim at creating a drawing that shall -be a complete work of art in itself; with the result that these early -productions are often “arrived” works of art, with a special beauty and -interest of their own, even before he has emerged from the student stage -himself. - -[Sidenote: _Augustus John_] - -There are many instances of this among the old and modern masters. Among -the latter there is Mr. Augustus John, who, while still at the Slade -School, produced drawings that proved him to be a great draughtsman; and -though his recent drawings may be the product of maturity--they may be -finger-posts, as it were, to new and original fields of art--they have -demonstrated the fact no more forcibly than did his early work. - - * * * * * - -Certain collectors, of course, have been fully alive to this point about -the work of young artists, and those who acquired some of the early -drawings of our greater men a few years ago must now be congratulating -themselves on their discernment; also on their astuteness--for they -probably acquired these masterpieces for absurdly small sums. - -It is the public rather than the collector who has been slow to realize -the decorative value and charm of drawings. Is it confusing them with -the large, bloodless engravings of the Victorian dining-room? If so, it -is a pity; for drawings are a most fitting form of wall decoration for -small rooms: in their slight suggestion of subtle colour they harmonize -admirably with plain distemper walls--decorating without being -obtrusive--they take their place quietly in the scheme of the room. - - * * * * * - -[Sidenote: _Dürer_] - -But to return to the old masters.... Dürer’s work is essentially and -typically German, and reveals the old German spirit at its best--as it -was in its romantic age before Luther. To study Dürer’s drawings is to -become convinced of the truth of mediæval legend: mystical symbology--in -passing through the crucible of his mind--issues thence established as -historic fact; and it would be as true to say of him that historic -fact--passing through the same crucible--becomes mystically symbolic. In -everything he did one feels that the primary interest of each drawing -for him lay always in a metaphysical, religious or philosophical idea. -In all of them there is what Whistler condemned as out of place, in a -picture, and called, “the literary quality.” If Taine, the Frenchman, be -right, he puts Whistler’s argument out of court; for Taine is convinced -that the artist’s whole _raison d’être_ and mission is to present and -interpret to the people _in a simple language that they can understand_ -the philosophical and other ideas they desire but cannot formulate for -themselves. Under the old spirit of art the artist undoubtedly did -recognize this as his mission, whereas to-day he often contents -himself--like the modern playwright--by presenting the people with -problems, in the hope perhaps that they will supply him with the -solutions at which he has not yet himself arrived; and by believing that -the intellectual exercise involved may be as educative for them as were -the methods of the earlier masters. At any rate Dürer’s works stand as a -formidable monument to the rightness of Taine’s theory. Certainly in the -art of illustrating ideas it would be difficult to find anyone to -surpass Dürer; or to surpass him in his fine sense of how to decorate a -page. But throughout his work one feels a lack of any sense of humour; -and also, perhaps of spontaneity. If genius is an infinite capacity for -taking pains--then Dürer was a genius. In all his work there is an -immense sincerity; and this carries him to great heights in some of his -religious drawings--for instance in that superb wood-cut of his of -Christ praying in the Garden of Gethsemane. - -[Sidenote: _Leonardo da Vinci_] - -It would be misleading to say that there was much in common in the -outlook of Dürer and Leonardo and yet I am tempted to point out that -there was a certain similarity, in spite of the fact that the vision of -the latter was infinitely more gracious; at any rate they both included -caricature and architectural draughtsmanship among their arts; and both -were interested in mathematics and science. - - * * * * * - -What a strange race of supermen might be evolved if science and art -could combine to give birth to a progeny in which the essence of both -were equally mingled. Once upon a time by some miracle of the Gods and -Muses such essences were so mingled, and a son was brought to birth -whose doings were an astonishment and delight to his contemporaries and -whose work was a record and proof of the success of the experiment. But -the experiment was not repeated, and one may hazard a guess which Muse -it was said “A most successful and unexpected result; add the data to -the sum of human knowledge and let us proceed to the next experiment on -our schedule!” - -And the most artistic of scholars and the most scholastic of artists -remains a lonely figure, for whom we can find no comparison: a -fascinating enigma for the race. - -He not only astounded and delighted his contemporaries but each -succeeding generation; nor have we yet measured the extent of the -knowledge materialized in the work of Leonardo da Vinci. - -The _creative_ artist is not satisfied with an intellectual grasp of a -truth, for his aim must always be to translate abstract ideas into form; -to clothe his thought in a visible or aural body. To the mind of the -scholar, though, he must appear a most practical, almost utilitarian -being--one who does not regard the acquirement of knowledge as an end -sufficient in itself! Leonardo da Vinci combined in his personality the -genius of both types. His scientific drawings are full of the finest -æsthetic feeling; his æsthetic drawings are a marvel to the scientist. -He had a passionate love of research, and the fact that he left so few -completed paintings must be attributed to his having devoted so much of -his energy to research. He did, however, leave great numbers of drawings -that, by common consent, are ranked among the greatest achievements in -art. They are the unique records of one of the noblest minds the race -has produced--that of a supreme master of creative art. - - * * * * * - -[Sidenote: _Daumier_] - -I always think of Daumier as of a man going through the dark and crowded -streets of a city holding a lighted lamp and thrusting it into dusty -corners. And of him shaking with Gargantuan laughter--while he watches -the antics of the strange people he discovers--and penetrating with a -glance to the very depths of their pathetic and ridiculous souls. But -while his pencil mocks them his great heart loves them! - -I have heard it asserted that Daumier drew like a sculptor, but I think -it would be nearer the truth to say that in his finest drawings he is -concerned first and last and all the time with _light_. For him this was -scarcely a limitation: the light rays are gathered by the point of his -pencil and fixed--by some alchemic process of his will on the paper--to -glow there for our satisfaction as long as his drawings endure. Whereas, -in a sculptor’s drawings, light is but a means to an end (he would carve -the paper if he could!) he throws lines like measuring cords round the -form--each a statement of some measurement of contour--and having -established in this way a mass, he is able to take from it the elevation -of all subsidiary and related forms with, one might say, his mental -calipers. A process of drawing widely different from that practised by -Daumier. - - * * * * * - -[Sidenote: _Ingres_] - -One cannot help feeling that, to this aristocrat of French artists, a -display of emotions in a drawing would have been a most unclassic and -plebeian sign of weakness. And one seems to know that in Ingres’ art of -pure unemotional drawing--his eye measured, his brain commanded, his -hand obeyed and the pencil glided from one position to the next by the -most direct path, a curve so slight as to be almost straight; leaving -its grey immaculate line to prove its absolute obedience to the -draughtsman’s will ... and so the drawing would grow without an -unnecessary stroke or a correction; simply the unfoldment of a -preconception carried out according to plan and justly recording his -penetrating analysis of a subject. - -The guiding star and strength of Ingres’ genius was his conviction that -he could not err. - -M. Anatole France tells a characteristic story of an encounter with -Ingres in his own youth:--he was at the opera one evening, the house was -full and not an empty seat was to be seen. Suddenly an impressive -looking stranger stepped up to him and said “Young man, give me your -seat--I am Monsieur Ingres.” - -How consistent the great man was! From his earliest youth he appears to -have never doubted himself or his work; there was calm assurance in -everything he did. - -Elsewhere in these notes I have referred to the fact that artists often -do their finest drawings early in life, and here we happen on one of the -young men of whom I wrote: Ingres did some of his finest drawings twenty -or thirty years before he painted his most famous pictures. That -marvellous drawing--_The Stamaty Family_--is dated 1818, and the _Lady -with Sunshade_--as perfect a portrait drawing as could well be -imagined--was done in 1813; and many fine drawings earlier still; -whereas his famous picture _La Source_ was painted in 1856, and many of -his best known pictures were done in the period between 1840 and 1866. - - * * * * * - -[Sidenote: _Cotman_] - -Cotman is another man of whom one feels tempted to say--in studying his -work--that one cannot see any signs in it that he ever mistrusted the -rightness of his aims and methods. It is customary to write of Cotman’s -life as both unhappy and unsuccessful, but instead it should be borne in -mind that he did have success of the best kind--he was immensely -successful in painting what he wanted to paint; and no artist can have a -success more dear to him than that. His methods were most consistent, -and so it is probable that--disgusted with a world that only required -his services as a drawing-master--he pursued his own way and managed to -be as happy as any other genius in the practice of his art. - -Until very recently his name was generally mentioned with three or four -of his contemporary water-colour painters--as though there were not much -to choose between the batch; but gradually the weight of public opinion -is proclaiming the conviction that Cotman was a head and shoulders above -the group with which he has been catalogued; and year by year the -appreciation of his work grows in volume. His position, however, is -still not recognized as, I am convinced, it will be in a few years time. -His method of painting was so widely different to Turner’s that the -public and the critics--dazzled by the sunsets of “our greatest -painter”--have been slow indeed to recognize the originality and -distinction of Cotman’s genius. As a draughtsman of landscapes he -excelled in lyrical beauty and perfection of technical accomplishment; -but his paintings should be studied with his drawings, for it is in -these that he showed his real originality--producing paintings that are -comparable, _as decorations_, with the prints of the greater Japanese -wood-engravers; and at a time, it should be remembered, when these -prints were unknown in Europe. - - * * * * * - -[Sidenote: _Beardsley_] - -“He became a sort of household word”--so wrote Mr. Robert Ross in his -readable little book on Beardsley. - -A description of Beardsley’s reputation more wide of the mark I cannot -imagine. Beardsley is really one of England’s “skeletons in the -cupboard.” The average Englishman is somewhat ashamed of Beardsley as a -fellow countryman, he feels there has been some mistake--the fellow -ought to have been a Czecho-Slovac! To think that the year 1872 (a most -respectable year!) should have brought to light this utterly un-English -phenomenon is not pleasing to him. I have seen more than one young -English student embarrassed and somewhat annoyed when an enthusiastic -Frenchman has congratulated him on being a compatriot of that “great -genius Aubrey Beardsley.” All the world over Beardsley is still “caviare -to the general” and particularly to the English general. He is -acceptable enough when his ideas are popularized by other artists: -throughout France and America whole schools of present day illustrators -are founded on his work; and he is rightly acknowledged as the “old -master” of mechanical line engraving. He was the first artist to -understand really and utilize to the full the possibilities of this -process of reproduction; and--as so often happens with the first man to -use a process intelligently--he carried it further and found it less -restricting than any who have followed him. - -Beardsley had an immense power of technical invention--like Hokusai, he -was able to bring any subject of his choice within the scope of his -convention, and to render it in a way that was perfect for the process -by which his work was to be reproduced. - -There is an ironical beauty in everything he ever did, and his -compositions--regarded as an adjustment of spaces--are more -consistently original and daring than those of any other Western artist, -old or modern; only in the East can we find his equal in this particular -expression of creative art. - -The shock that Beardsley gave to British feelings was, I fancy, due far -more to the intrinsic originality of his compositions than to the -“nautiness,” imagined or real, in his drawings, about which we have -heard so much. It is surely a case of _honi soit qui mal y pense_, for -there is nothing in the books of drawings by Aubrey Beardsley that are -published in this country that could offend a school miss. - -Mr. G. K. Chesterton’s _Father Brown_ says in one of his adventures “Its -the wrong shape in the abstract. Don’t you ever feel that about Eastern -art? The colours are intoxicatingly lovely; but the shapes are mean and -bad--deliberately mean and bad. I have seen wicked things in a Turkey -carpet.” Well, _Father Brown’s_ remark is illuminating, for not only are -there wicked shapes in Turkey carpets but, however “beautifully seen” -the rest of a Beardsley drawing is, the drawing _of the faces_ in it is -often _deliberately mean and bad_. But I think, also, that it would have -been more just of _Father Brown_ to have completed his remark with the -“finish” that “is an added truth” by saying that he had never seen a -wicked shape in a Persian carpet. This generalization about Eastern art -and “the wrong shape in the abstract” makes one fear that perhaps the -champion of Mr. Bateman might be no friend to Beardsley; and I regret to -think that Mr. Chesterton might not champion Eastern shapes; or -Beardsley--though I can understand his not doing so: I venerate him as -the British lion and therefore it seems but natural that he should wage -perpetual war against the unicorn--and doubtless he might regard -Beardsley as a fabulous beast. The British feeling is strong about -shapes--an Englishman likes to recognize a shape instantly; should he -fail to do so he really is extremely uncomfortable and affronted and -will, as often as not, turn on the creator of the “wrong shape” and -accuse him of ungentlemanly conduct. - - * * * * * - -[Sidenote: _Phil May_] - -At any rate the British public has always accepted as final _Mr. -Punch’s_ opinion on matters of humour. He has given it an almost -unbroken tradition--which is more than can be said of any other -institution of English art--and it is grateful. When he imported from -Australia the brilliant draughtsman Phil May it took the newcomer to its -bosom without any hesitation--and he has nestled there ever since. But -the artworld--so-called--though on quite good terms with _Mr. Punch_ -does not always accept his opinion unquestioned: it has been known to -make invidious comparisons between his paper and _Jugend_ or _Le Rire_, -and has even gone so far as to attempt wit at his expense; as in the -case of the gentleman who said _Punch_ is “written by Mr. Pickwick, for -Mr. Pickwick about Mr. Pickwick”--which was rude and surely lacking in -the deference due to our elderly purveyor of humour! However, in the -matter of Phil May, _Mr. Punch_ scored handsomely, and persons, even -with the highest brows, have accepted his drawings _con amore_. - -Phil May’s drawings look the most spontaneous things imaginable--and no -doubt this is true of their humour--but his method of drawing was an -elaborate process of elimination. The execution of a rather finished -pencil drawing was the first stage of his work--in this he elaborated -all the characteristics that his keen eye and ready humour had -observed--and the final stage was calligraphic in character and -displayed his genius for simplification. With a few deft strokes of the -pen--disposed with an almost uncanny knowledge of essentials--he made -what appeared to be--when the careful pencil work was rubbed out--a most -spontaneous sketch. In truth, it was no such thing, but an intellectual -exercise in the eclectic art of elimination arrived at by means exactly -opposite to those usually employed by artists who seek spontaneity in -their work. Phil May understood the English people and they understood -Phil May. His humour synchronized with the public of his day--as did the -work of Rowlandson in another age and probably, like his, it will be -prized as a record of a period, as well as for its intrinsic value as -the work of a most original draughtsman. - -The witty line is most often the brief line, but though Phil May’s line -was not always a brief one it never failed to be a witty one. - - * * * * * - -The Englishman has probably the finest collection of drawings that has -ever been brought together in one place. It is housed in an excellent -museum built for its accommodation and placed in charge of the finest -experts that can be found. It is further ordained that if the Englishman -wishes to inspect his treasures he shall do so in the greatest possible -comfort. No guest of a Sultan could look at his host’s collection of, -let us say, Persian miniatures, in more luxury than can -the-man-in-the-street look at his own collection of drawings in the -_Print Room_ of the British Museum; patient and courteous persons wait -on his every whim; and expert opinion, should he require it, is imparted -to him without a smile or hint of impatience at his ignorance. In short, -everything is done to coax him to a study of his collections except one -thing--and that is to inform him that he possesses these treasures. - -I think the attention of the Trustees of the British and other Museums -might be drawn to the fact that the-man-in-the-street cannot know about -his priceless possessions unless someone informs him. The assumption -that the information is imparted to him in early youth by his parents is -erroneous. He may well live and die, and frequently does, without -knowing what the words _Print Room_ stand for. The question of how to -inform him if he does not know might be left in the hands of one who is -an expert in the art of reaching his intelligence. True, the notice -boards of our Museums might then assume a somewhat jaunty air, offensive -to the grave habitués--this is what might greet them and what they might -not like: “Come where it’s always bright! Free! Now showing all day in -the _Print Room_. The finest collection of drawings in the world: -Michelangelo and Leonardo da Vinci, supported by an allstar company of -draughtsmen! Central heating! Perfect ventilation!” But the habitués -would doubtless come back to their haunts after a few days’ -disgusted abstention from their habits and--what is more -important--the-man-in-the-street would now be the-man-in-the-Print-Room. - -I am aware that the subject I am required to write about is _Pen and -Pencil Drawings_, and I have faith that I shall come to it but--being -filled with a desire to write about chalk drawings, charcoal drawings, -paintings, the-man-in-the-street, and all manner of things relevant and -irrelevant--I need to remind myself of it. Even then I may come to my -subject by a route not unlike that taken by Mr. William Caine in his -essay on _Cats_: he began, he continued and he went on to the end in an -unbroken eulogy on dogs and their admirable qualities viewed from all -angles, and then summed up and dismissed his subject for ever with this -line: “Cats have none of these characteristics.” - -I shall, then, continue my aberrant course with the remark that I am -constantly struck by the fact, in most exhibitions, that in half the -pictures there either the subject is too small to deserve a picture or -the picture is too large for its subject. The first is an error of taste -and the second an error of _scale_. - -The pleasure we derive from a sense of the fitness and rightness of the -scale of a picture may be only common-sense but it is certainly lacking -in many painters, especially in the average painter of modern -“exhibition pictures.” In these so often there are great spaces of -merely tinted canvas which serve no really useful or legitimate purpose; -and do not even contribute to the scheme of the picture as a decoration. -Sometimes, possibly, this coloured canvas may suggest a sense of space -and bigness but it is a rather obvious expedient and it fails to be -impressive if one compares it with the sense of spaciousness that has -been conveyed to one often by a few square inches of paper in a drawing. -Fortunately, as a rule, big pictures nowadays are generally painted for -exhibitions--just as fat-stock is reared to be shown at a particular -agricultural show: the show over--the fat-stock is hastily conveyed to -the nearest butcher. But the fate of the big picture is rather -mysterious and I will not suggest what I think really happens to it, for -after all I may be quite wrong. Certainly in France though, where the -output of big pictures is double or treble that of this country, their -post-exhibition fate is fairly obvious: the great majority of French -houses are incapable of accommodating these Salon triumphs, and it is -the rarest thing to find one of these huge canvases in the houses of -the rich and ostentatious _bourgeois_. Happily for the draughtsman he is -not tempted to work on the heroic scale so that--when the swing of the -pendulum may have placed his work temporarily or permanently out of -fashion--his work can usually be accommodated in a portfolio; for the -size of a drawing is generally regulated by the medium employed. -However, as genius may ignore custom, habit and even existing rules of -good taste, someone--with a right to the title--may come along and do -silverpoint drawings on ten-foot sheets of paper--just as a famous -modern etcher is doing plates of a size absolutely forbidden by the -professors, and yet everyone--except a few contemporary etchers--admits -them to be masterly. - -The _official_ picture could and should be a human document, but this it -can hardly be if all humorous side-lights are rigidly excluded in -it--however serious the affairs it purports to present. The old masters -knew human nature, therefore in their paintings of ceremonial affairs -they did not forget to touch delicately on its weaknesses, even -sometimes accenting these as comic-relief. Though I would not be so rash -as to suggest the desirability of comic-relief in our _official_ -pictures, I am tempted to think that relief of some kind would be well -received. - -Another point about the _official_ picture is that it is generally very -large and is, as a rule, about the dullest product of the brush; for the -average modern painter when called upon to perform in this way generally -becomes simply overwhelmed with deep seriousness. He designs his picture -in the most pompous and formal manner and produces results either boring -or unintentionally funny, which latter is perhaps the more tolerable. - - * * * * * - -[Sidenote: _William Orpen_] - -Not so with Sir William Orpen--his keen sense of humour is apparent in -all his work, whether he is painting tone studies of mirrors at -Versailles or drawing his friends on the rocky coasts of Ireland. It is -one of the many charms that delight us in his work and does not detract -an iota from its distinction and importance. Some of his exquisite -drawings are reproduced here, and though the full purity of the line -cannot be retained in reproduction they are some of the perfect things -in this book. - -It is a relief to find oneself thinking in terms of “perfection” about -the work of any man so modern as Sir William Orpen. Because, of course, -where the modern draughtsman and painter--as is so commonly the -case--despises his materials and scorns technique it is impossible for -one to do so. The mind--which is so much the product of the senses--must -know distaste where the senses are repelled. One may forgive him because -of other merits in his work, but the merits have to be rather splendid -to cover sufficiently such sins. To Whistler and the stylists who have -followed him much of their inspiration must have come from the materials -of their craft. One is grateful that they grasped this truth that - -[Sidenote: _Glyn Philpot_] - -the English Pre-Raphaelites also missed--that _rare and delicious -qualities in the handling of a medium best present to the mind rare and -beautiful qualities in nature_. In this sense Mr. Philpot is essentially -a stylist--one feels that to him the intrinsic beauties of his medium -form an appreciable amount of his inspiration: that--quite -literally--common oils and varnishes can be blended to a golden elixir -for his use. For the materials of his craft are for the artist what he -chooses to make them: a piece of red chalk in one man’s hand is a lump -of hardened mud, conveniently sharpened to a point for making marks on -paper, while, to another, it is a precious substance mined from the -earth in some distant country and prepared with infinite care, and he -knows that one touch of it on a paper--most carefully chosen--can be the -basis of a delicious colour-harmony; that ink can flow from a reed pen -in a line straight and true or run its course with subtle -modulations--as a little stream flows from the hills. - -A lead pencil after all can be only the bitten stump on the office boy’s -desk--an instrument for unseemly writings or obscene scrawlings; or it -can be a cunningly wrought stick of plumbago encased in a scented -cylinder of cedar--such a thing as Leonardo would have loved. Is not the -artist capable of an alchemy that can change dross to gold! - - * * * * * - -[Sidenote: _Brangwyn_] - -The rewards of the successful artist are many and varied, but the most -coveted, surely--and the least often secured--is the reward of -international fame. The list is not long of the English artists who have -achieved it--indeed it is unjustly short. The English are, themselves, -always generous in their acceptance of foreign artists--even to the -neglect of their own; in this they are unlike other nations, -particularly the French who, though slow to acclaim foreign artists, are -loud-voiced in praise of their own home-grown products. But Mr. -Brangwyn’s name, in spite of this, stands high in Europe. It would -scarcely be an exaggeration to say that his work stands for English -contemporary painting half the world over. - -An artist who is painting for an international public distributed in all -parts of the world is not likely to bother himself with artistic -party-politics, and it is noticeable that Mr. Brangwyn does not move -with the ebb and flow of opinion in London. He is not a fashionable -painter and is not ever likely to be. In another age his art might have -produced a new school. - -There have, it might be said, been two Rubens in the history of European -art. The first was Peter Paul and the second--Brangwyn. - -Rubens (Peter Paul) has been out of fashion since Mr. Sickert made -Tottenham Court Road delightful by teaching us how they paint in Paris, -but Venice seems more interested in how Mr. Brangwyn paints in London. - -Fine draughtsman as Mr. Brangwyn is, his drawings always remind us that -he is a painter, and a decorative painter. Curiously enough though, they -scarcely suggest a reserve of strength, in fact on the contrary, for -everything that Mr. Brangwyn has to say is stated--whether in painting -or drawing--with the utmost energy and vigour of his capacity. He gives -generously, freely, without stint from a full brush--he draws from the -shoulder as it were; and that his aim is the decoration of large spaces -in architectural settings is always apparent in his work; and that this -is its usual destiny should be remembered when his drawings are being -studied. It is through the medium of his drawings and sketches that we -have, in these days, to study Mr. Brangwyn’s art, for the large -decorations--destined for public buildings in other countries--on which -he is constantly engaged, leave England (as a rule) without being -exhibited. Doubtless we can add this loss to our list of grudges against -the officials of the painting world, for the public have long ago -realized the importance of Mr. Brangwyn’s position and are justly proud -of him. The psychological interest of his figures is of a basic and -standard kind and generally full of suggestion of forms personal to his -own art. - - * * * * * - -[Sidenote: _Bateman_] - -The difficulty with Mr. Bateman is to take him seriously. Really he is a -most serious phenomenon--and yet the bare mention of his name sets us -chuckling in happy reminiscence and digging each other in the ribs in -cheery anticipation of jokes yet unborn. - -It would be doing him but scant justice, really, if we were to give him -some honorary degree--called him Dr. Bateman and sat him in a “chair” at -one of the Universities as Professor of human psychology. Instead we -just go on buying any paper that he happens to be drawing for--and -laughing. But the day may come when he might turn round on us, wearied -of our interminable cackling, and say “Cry you devils, cry!” and then we -shall be sorry--but we shall cry all right: a few little adjustments of -that subtle line of his and the humour we value so highly would become -tragedy. - -In England there seems to be a curious tradition that a drawing becomes -funny if it has a funny story printed underneath it; that the expression -on one face in a group of persons if slightly ludicrous makes a drawing -humorous. In a Bateman drawing the drawing is the humour and the humour -is the drawing. Everything is in the same terms throughout. His very -line seems to have a risible ripple in it, for his humour is the real -thing--not irony or satire but the essential spiritual faculty of -perceiving the incongruous wherever it occurs. He has a host of -imitators, abroad as well as in this home circle of islands, but they -are sheep in wolves’ clothing and the joke is not in them--they satirise -the already ridiculous. - - * * * * * - -[Sidenote: _Muirhead Bone_] - -Mr. Muirhead Bone is another artist who has many imitators--some with -considerable technical success--but fortunately an artist’s vision is -his own and no one can borrow his eyes or his soul though they may well -nigh take the pencil from his hand. Of Mr. Bone’s vision much might be -said. It is unique in the art of the time; and in his hand a pencil -becomes a truly magical instrument--like the bow in the hand of a great -violinist: when his pencil has touched the paper one takes a keen -pleasure in each line for its own sake, and when to this is added a full -realization of the interpretation and vision they collectively record, -one may well say--here is a real draughtsman! He endows St. James’s Hall -with such beauty in his drawing of its _Demolition_ that one is tempted -to desire the destruction of several of our buildings.... Imagine what -he would draw for us if we took half the roof off the Albert Hall and -gashed a great hole in its obese side! What a flood of light he would -let into that gloomy interior and what dignity he would impart to the -last remains of that bun-like edifice! - - * * * * * - -And now I find that I have come to the limit of the space allowed to me -for these notes, and I look through the list of over a hundred fine -names--splendid names because they belong to men who have done splendid -things--and I realize that I have not written a word about the larger -number of them and also that if I wrote from now until my personal -doomsday I could not express the admiration I feel for the sum of their -achievement. I have written notes only on a few of those who make an -immense appeal to me; it has been a purely personal choice and, as a -fact, quite unconscious; and as that, too, very incomplete, for it was -my optimistic conviction that I should return and write about the -others--scores of them; but now the chance is gone, in a few hours from -now these notes will have been flung to the printer’s devil (a person I -have always wanted to meet--but now had better not!) I want to rush back -and explain my personal beliefs about Botticelli and his influence on -the pre-British-Raphaelites, before the chance is gone, probably for -ever; I want to air certain convictions about the principles of rhythm -in Raphael’s curving lines; I want to write of Pinturicchio and Claude; -of Fragonard and Blake; I want to write about a dozen Frenchmen who are -not in the book and more about the four or five who are; I want to argue -with an imaginary reader as to whether Mr. Dulac is greater as a -caricaturist or as a decorator; I want to abuse nearly everybody for not -fully understanding that Mr. Vernon Hill is one of our finest -draughtsmen; I want to pen a humble appreciation of Mr. Tonks and his -salutary influence as a professor and his benign influence as an artist. -I want--I have just time for that--to again remind the reader--who has -my gratitude for still being with me to the end--that a drawing is a -thing to be looked at and not written about. - - GEORGE SHERINGHAM. - -[Illustration: “A COURIER.” DRAWING IN PEN AND INK BY ALBRECHT DÜRER IN -THE BRITISH MUSEUM. SIZE, 7⅞ × 7⅜ IN.] - -[Illustration: “THE RHINOCEROS.” DRAWING IN PEN AND INK BY ALBRECHT -DÜRER IN THE BRITISH MUSEUM. SIZE, 10¾ × 16½ IN.] - -[Illustration: “THE PROCESSION TO CALVARY.” DRAWING IN PEN AND INK BY -ALBRECHT DÜRER IN THE UFFIZI, FLORENCE. SIZE, 8¼ × 11¼ IN.] - -[Illustration: “PRAYING HANDS.” DRAWING IN INDIAN INK ON BLUE GROUND BY -ALBRECHT DÜRER IN THE ALBERTINA, VIENNA. SIZE, 11⅜ × 7¾ IN.] - -[Illustration: PHOTO. COPYRIGHT BY BRAUN AND CO. - -SKETCH IN PEN AND INK BY HANS HOLBEIN IN THE BASLE MUSEUM FOR THE -PAINTING “THE FAMILY OF SIR THOMAS MORE”] - -[Illustration: “YOUNG WOMAN WITH BASKET.” DRAWING IN PEN AND INK BY -BERNARDINO PINTURICCHIO IN THE UFFIZI, FLORENCE.] - -[Illustration: “THE DEAD CHRIST CARRIED OFF BY ANGELS.” DRAWING IN PEN -AND INK BY CORREGGIO IN THE UFFIZI, FLORENCE.] - -[Illustration: STUDIES IN PEN AND INK BY LEONARDO DA VINCI.] - -[Illustration: PHOTO. COPYRIGHT BY BRAUN AND CO. - -“HEAD OF AN OLD MAN.” PENCIL DRAWING BY LEONARDO DA VINCI IN THE LOUVRE, -PARIS. SIZE, 9 × 6¼ IN.] - -[Illustration: “MADONNA AND CHILD.” DRAWING IN PEN AND INK BY LEONARDO -DA VINCI IN THE BRITISH MUSEUM. SIZE, 5¼ × 3¾ IN.] - -[Illustration: “HEAD OF A YOUNG WOMAN.” DRAWING IN PEN AND INK BY -LEONARDO DA VINCI IN THE WINDSOR CASTLE COLLECTION.] - -[Illustration: DRAWING IN PEN AND INK BY BALDASSARE PERUZZI IN THE -BRITISH MUSEUM. SIZE, 9¼ × 8¼ IN.] - -[Illustration: DRAWING IN PEN AND INK BY TITIAN IN THE BRITISH MUSEUM. -SIZE, 14 × 9⅛ IN.] - -[Illustration: PHOTO. COPYRIGHT BY BRAUN AND CO. - -DRAWING IN PEN AND INK BY TITIAN IN THE UFFIZI, FLORENCE.] - -[Illustration: “THE TURK.” DRAWING IN PEN AND INK BY GENTILE BELLINI IN -THE BRITISH MUSEUM. SIZE, 8⅜ × 7 IN.] - -[Illustration: “THE TURKISH LADY.” DRAWING IN PEN AND INK BY GENTILE -BELLINI IN THE BRITISH MUSEUM. SIZE, 8⅜ × 7 IN.] - -[Illustration: DRAWING IN PEN AND INK BY MICHELANGELO BUONARROTI IN THE -BRITISH MUSEUM. SIZE, 16 × 11 IN.] - -[Illustration: DRAWING IN PEN AND INK BY MICHELANGELO BUONARROTI IN THE -BRITISH MUSEUM. SIZE, 14¾ × 9⅛ IN.] - -[Illustration: DRAWING IN PEN AND INK BY MICHELANGELO BUONARROTI IN THE -BRITISH MUSEUM. SIZE, 12½ × 10 IN.] - -[Illustration: SHEET OF STUDIES IN PENCIL AND PEN AND INK BY -MICHELANGELO BUONARROTI IN THE BRITISH MUSEUM. SIZE, 12⅛ × 10¾ IN.] - -[Illustration: “ABUNDANCE.” DRAWING IN PEN AND INK & pencil BY SANDRO -BOTTICELLI IN THE BRITISH MUSEUM. SIZE, 12½ × 10 IN.] - -[Illustration: DRAWING IN PEN AND INK BY RAPHAEL IN THE ACADEMY, -VENICE] - -[Illustration: “LA VIERGE.” STUDY IN PEN AND INK BY RAPHAEL FOR “LA -BELLE JARDINIÈRE” IN THE LOUVRE, PARIS. SIZE, 11¾ × 8 IN.] - -[Illustration: STUDY IN PEN AND INK BY RAPHAEL IN THE LOUVRE, PARIS FOR -“THE LAMENTATION FOR CHRIST.” SIZE, 11⅞ × 15 IN.] - -[Illustration: DRAWING IN PEN AND INK BY RAPHAEL IN THE BRITISH MUSEUM. -SIZE, 9¾ × 6½ IN.] - -[Illustration: DRAWING IN PEN AND INK BY RAPHAEL (SCHOOL OF) IN THE -BRITISH MUSEUM. SIZE, 7¾ × 15¼ IN.] - -[Illustration: SHEET OF STUDIES IN PEN AND SEPIA BY PAOLO VERONESE IN -THE POSSESSION OF A. P. OPPÉ, ESQ. SIZE, 12 × 7¾ IN.] - -[Illustration: DRAWING IN PEN AND INK BY GIOVANNI FRANCESCO BARBIERI (IL -GUERCINO) IN THE BRITISH MUSEUM. SIZE, 12 × 18⅛ IN.] - -[Illustration: DRAWING IN PEN AND INK BY FRANCESCO ALBANO IN THE BRITISH -MUSEUM. SIZE, 7½ × 10½ IN.] - -[Illustration: STUDY IN PEN AND INK BY TINTORETTO FOR “THE MIRACLE OF -ST. MARK” IN THE UFFIZI, FLORENCE] - -[Illustration: “PHILIP IV.” DRAWING IN PEN AND INK BY VELASQUEZ IN THE -ALBERTINA, VIENNA] - -[Illustration: “LOT AND HIS FAMILY LEAVING SODOM.” DRAWING IN PEN AND -INK BY REMBRANDT IN THE BRITISH MUSEUM. SIZE, 6⅞ × 9½ IN.] - -[Illustration: “SASKIA.” DRAWING IN PEN AND INK BY REMBRANDT IN THE -BRITISH MUSEUM. SIZE, 8½ × 6 IN.] - -[Illustration: “OLD COTTAGES.” DRAWING IN PEN AND INK BY REMBRANDT IN -THE ALBERTINA, VIENNA - -PHOTO. COPYRIGHT BY BRAUN AND CO.] - -[Illustration: DRAWING IN PEN AND INK BY REMBRANDT IN THE BRITISH -MUSEUM. SIZE, 4 × 5½ IN.] - -[Illustration: “JUDAS RESTORING THE PRICE OF HIS BETRAYAL.” DRAWING IN -PEN AND INK BY REMBRANDT. SIZE, 6 × 9 IN.] - -[Illustration: PORTRAIT STUDY IN PENCIL BY CORNELIS VISSCHER IN THE -BRITISH MUSEUM. SIZE, 7¼ × 5⅝ IN.] - -[Illustration: “TAVERN SCENE.” DRAWING IN PEN AND INK BY ADRIAEN VAN -OSTADE IN THE POSSESSION OF G. BELLINGHAM SMITH, ESQ. SIZE, 6¼ × 8⅜ -IN.] - -[Illustration: “LE PASSAGE DU BAC.” DRAWING IN PEN AND INK BY ADRIAEN -VAN DE VELDE IN THE LOUVRE, PARIS. SIZE, 7½ × 11⅜ IN.] - -[Illustration: DRAWING IN PEN AND INK BY NICOLAS POUSSIN IN THE BRITISH -MUSEUM. SIZE, 5⅞ × 7½ IN.] - -[Illustration: DRAWING IN PEN AND INK BY CLAUDE LORRAIN IN THE BRITISH -MUSEUM. SIZE, 8¾ × 12¾ IN.] - -[Illustration: DRAWING IN PENCIL AND COLOURED CHALKS (ARTIST UNKNOWN) IN -THE BIBLIOTHÈQUE NATIONALE, PARIS. SIZE, 13¼ × 9¼ IN.] - -[Illustration: “FAUN AND NYMPH.” DRAWING IN PEN AND SEPIA BY G. B. -TIEPOLO IN THE POSSESSION OF G. BELLINGHAM SMITH, ESQ. SIZE, 9⅛ × 8½ -IN.] - -[Illustration: DRAWING IN PEN AND INK BY PARMIGIANINO IN THE UFFIZI, -FLORENCE] - -[Illustration: DRAWING IN PEN AND INK BY CANALETTO] - -[Illustration: “VENICE.” DRAWING IN PEN AND INK BY FRANCESCO GUARDI IN -THE POSSESSION OF MESSRS. ERNEST BROWN AND PHILLIPS (THE LEICESTER -GALLERIES). SIZE, 10⅛ × 14⅝ IN.] - -[Illustration: “A HUNTING PARTY.” DRAWING IN PEN AND INK & pencil BY -MARCELLUS LAROON IN THE TATE GALLERY. SIZE, 19⅛ × 13 IN.] - -[Illustration: “CUPIDS PLAYING AROUND A FALLEN HERMES.” DRAWING IN PEN -AND SEPIA BY J. H. FRAGONARD IN THE POSSESSION OF G. BELLINGHAM SMITH, -ESQ. SIZE, 14⅛ × 18¾ IN.] - -[Illustration: SIZE, 4¼ × 3¾ IN. - -PORTRAIT STUDIES IN PENCIL BY FRANZ XAVER WINTERHALTER IN THE BRITISH -MUSEUM] - -[Illustration: SIZE, 5½ × 4¼ IN. - -PORTRAIT STUDIES IN PENCIL BY FRANZ XAVER WINTERHALTER IN THE BRITISH -MUSEUM] - -[Illustration: “THE HARVEST WAGON.” DRAWING IN PEN AND INK BY THOMAS -GAINSBOROUGH, R.A., FORMERLY IN THE PFUNGST COLLECTION] - -[Illustration: “HENRY.” DRAWING IN PENCIL AND CHALK BY RICHARD COSWAY, -R.A. IN THE POSSESSION OF MR. FRANCIS HARVEY. SIZE, 9 × 5¼ IN.] - -[Illustration: “SALISBURY.” PENCIL DRAWING BY JOHN CONSTABLE R.A., IN -THE BRITISH MUSEUM. SIZE, 6⅛ × 9⅛ IN.] - -[Illustration: PENCIL DRAWING BY GEORGE MORLAND IN THE POSSESSION OF -MESSRS. ERNEST BROWN AND PHILLIPS (THE LEICESTER GALLERIES). SIZE, 9¼ × -11⅝ IN.] - -[Illustration: “ON THE YARE.” PENCIL DRAWING BY JOHN SELL COTMAN IN THE -BRITISH MUSEUM. SIZE, 3⅝ × 5½ IN.] - -[Illustration: “PARKE, MUSICIAN.” PENCIL DRAWING BY GEORGE DANCE, R.A. -IN THE POSSESSION OF MR. FRANCIS HARVEY. SIZE, 10 × 7½ IN.] - -[Illustration: “CARNARVON CASTLE.” PENCIL DRAWING BY THOMAS GIRTIN IN -THE POSSESSION OF CHARLES MALLORD TURNER, ESQ. SIZE, 5¼ × 8⅜ IN.] - -[Illustration: “CAREW CASTLE MILL.” PENCIL DRAWING BY J. M. W. TURNER -R.A., IN THE TATE GALLERY. SIZE, 10⅜ × 8 IN.] - -[Illustration: “MONOW BRIDGE, MONMOUTH.” PENCIL DRAWING BY J. M. W. -TURNER, R.A., IN THE TATE GALLERY. SIZE, 8 × 10⅜ IN.] - -[Illustration: PEN AND INK SKETCH BY BIRKET FOSTER, R.W.S., IN THE -POSSESSION OF WILLIAM FOSTER, ESQ. SIZE, 3¾ × 6 IN.] - -[Illustration: “LADY MARY FITZGERALD.” PENCIL DRAWING BY SIR THOMAS -LAWRENCE, P.R.A. IN THE POSSESSION OF MR. FRANCIS HARVEY. SIZE, 10¼ × 8 -IN.] - -[Illustration: “MADAME GATTEAUX.” PENCIL DRAWING BY J. A. D. INGRES IN -THE LOUVRE, PARIS. SIZE, 10⅝ × 8¾ IN.] - -[Illustration: PHOTO. COPYRIGHT BY BRAUN AND CO. - -“PAGANINI.” PENCIL DRAWING BY J. A. D. INGRES IN THE BONNAT COLLECTION] - -[Illustration: “C. R. COCKERELL.” PENCIL DRAWING BY J. A. D. INGRES IN -THE POSSESSION OF LT.-COL. PEPYS COCKERELL. SIZE, 8 × 6 IN.] - -[Illustration: “EN TROISIÈME.” DRAWING IN PEN AND INK AND WASH BY HONORÉ -DAUMIER IN THE POSSESSION OF G. BELLINGHAM SMITH, ESQ. SIZE, 8⅜ × 12⅛ -IN.] - -[Illustration: “LES TROIS CONNAISSEURS.” DRAWING IN PEN AND INK AND WASH -BY HONORÉ DAUMIER IN THE BARBIZON HOUSE COLLECTION, LONDON. SIZE, 4¼ × -4¾ IN.] - -[Illustration: PENCIL DRAWING BY CHARLES MERYON IN THE BRITISH MUSEUM. -SIZE, 9½ × 5 IN.] - -[Illustration: PENCIL STUDY FOR “AMORET BOUND IN THE HOUSE OF BUSIRANE” -(“FAERIE QUEENE”) BY ALFRED STEVENS IN THE TATE GALLERY. SIZE, 12 × 9½ -IN.] - -[Illustration: “THE MAIL COACH.” DRAWING IN PEN AND INK AND WASH BY SIR -DAVID WILKIE, R.A., IN THE POSSESSION OF G. BELLINGHAM SMITH, ESQ. SIZE, -9 × 11½ IN.] - -[Illustration: DRAWING IN PEN AND INK BY CHARLES KEENE IN THE POSSESSION -OF CHARLES EMANUEL, ESQ. SIZE, 8 × 4¾ IN.] - -[Illustration: DRAWING IN PEN AND INK BY CHARLES KEENE IN THE POSSESSION -OF HAROLD HARTLEY, ESQ. SIZE, 6⅛ × 4½ IN.] - -[Illustration: DRAWING IN PEN AND INK BY CHARLES KEENE IN THE POSSESSION -OF CHARLES EMANUEL, ESQ. SIZE, 5 × 2⅞ IN.] - -[Illustration: DRAWING IN PEN AND INK BY CHARLES KEENE IN THE POSSESSION -OF CHARLES EMANUEL, ESQ. SIZE, 4¼ × 5 IN.] - -[Illustration: ILLUSTRATION IN PEN AND INK BY JAMES MAHONEY TO “LITTLE -DORRIT” IN THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 3⅝ × 5¼ IN.] - -[Illustration: ILLUSTRATION IN PEN AND INK BY A. BOYD HOUGHTON FOR -“DALZIEL’S BIBLE” (UNPUBLISHED) IN THE POSSESSION OF HAROLD HARTLEY, -ESQ. SIZE, 12⅞ × 7⅞ IN.] - -[Illustration: “A DARK DEED.” PENCIL DRAWING BY FRED WALKER, A.R.A. IN -THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 6 × 6¾ IN.] - -[Illustration: DRAWING IN PEN AND INK BY GEORGE DU MAURIER IN THE -POSSESSION OF C. C. HOYER-MILLAR, ESQ. SIZE, 5⅞ × 9 IN.] - -[Illustration: “THE OLD COUPLE AND THE CLOCK.” PENCIL DRAWING BY G. J. -PINWELL IN THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 7 × 5⅜ IN.] - -[Illustration: UNPUBLISHED DRAWING IN PEN AND INK BY KATE GREENAWAY IN -THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 7 × 5⅜ IN.] - -[Illustration: “THE SOUL HOVERING OVER THE BODY RELUCTANTLY PARTING WITH -LIFE.” DRAWING IN PEN AND INK AND SEPIA WASH BY WILLIAM BLAKE IN THE -POSSESSION OF EDWARD J. SHAW, ESQ., J.P. SIZE, 6⅝ × 9 IN. ONE OF THE -TWELVE DRAWINGS TO ILLUSTRATE THE EDITION OF “BLAIR’S GRAVE,” PUBLISHED -IN 1808.] - -[Illustration: “JOHN BULL.” DRAWING IN PEN AND INK BY AUBREY BEARDSLEY -IN THE POSSESSION OF EDWARD J. SHAW. ESQ., J.P. SIZE, 8½ × 6¾ IN.] - -[Illustration: ILLUSTRATION IN PEN AND INK BY AUBREY BEARDSLEY TO “MORTE -D’ARTHUR” IN THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 11¼ × 8¾ IN. -REPRODUCED BY PERMISSION OF THE PUBLISHERS, MESSRS. J. M. DENT AND -SONS.] - -[Illustration: “A PORTRAIT OF HER GRANDMOTHER.” UNPUBLISHED DRAWING IN -PEN AND INK BY PHIL MAY IN THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, -9 × 7½ IN.] - -[Illustration: DRAWING IN PENCIL AND CHALK BY PHIL MAY IN THE POSSESSION -OF HAROLD HARTLEY, ESQ. SIZE, 8½ × 6¾ IN.] - -[Illustration: “PALM SUNDAY IN ITALY.” DRAWING IN PEN AND INK BY -RICCARDO PELLEGRINI IN THE POSSESSION OF CHARLES EMANUEL, ESQ. “SIZE, 9½ -× 12¾ IN.] - -[Illustration: “SEVEN WORKS OF MERCY.” ONE OF A SET OF PENCIL DRAWINGS -BY SIR EDWARD BURNE-JONES, BART. IN THE BRITISH MUSEUM. SIZE, 14½ IN. -DIAMETER.] - -[Illustration: PENCIL DRAWING BY DANTE GABRIEL ROSSETTI IN THE -POSSESSION OF G. BELLINGHAM SMITH, ESQ. SIZE, 7½ × 6 IN.] - -[Illustration: “‘WHAT’S THIS?’ SAID THE LION”--ORIGINAL PENCIL DRAWING -BY SIR JOHN TENNIEL FOR “THROUGH THE LOOKING GLASS,” IN THE POSSESSION -OF HAROLD HARTLEY. ESQ. SIZE, 2¾ × 3⅝ IN.] - -[Illustration: “THREE LITTLE MEN.” PENCIL SKETCH BY SIR JOHN TENNIEL FOR -“MR. PUNCH’S POCKET BOOK,” IN THE POSSESSION OF HAROLD HARTLEY, ESQ. -SIZE, 2⅝ × 3⅞ IN.] - -[Illustration: “GIRL WITH PARASOL.” DRAWING IN PEN AND INK BY J. MᶜNEILL -WHISTLER IN THE POSSESSION OF MRS. G. R. HALKETT. SIZE, 6¼ × 3¾ IN.] - -[Illustration: “THE BLACK-AND-WHITE KNIGHT” (SIR JOHN TENNIEL). DRAWING -IN PEN AND INK BY LINLEY SAMBOURNE (“PUNCH,” JUNE 24TH, 1893) IN THE -POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 7¼ × 5¾ IN. REPRODUCED BY -PERMISSION OF THE PROPRIETORS OF “PUNCH.”] - -[Illustration: “THE RIALTO, VENICE.” PENCIL DRAWING BY WILLIAM CALLOW, -R.W.S., IN THE POSSESSION OF MESSRS. ERNEST BROWN & PHILLIPS (THE -LEICESTER GALLERIES). SIZE, 9⅜ × 14 IN.] - -[Illustration: “PLACE DU PILLORI, PONT-AUDEMER.” DRAWING IN PEN AND INK -BY BERNARD PARTRIDGE. SIZE, 5 × 7 IN.] - -[Illustration: “WOMEN QUARRELLING.” PENCIL DRAWING BY W. RUSSELL FLINT, -R.W.S. SIZE, 13⅞ × 20⅞ IN.] - -[Illustration: “THE CHILD.” PENCIL STUDY BY CLAUDE A. SHEPPERSON, -A.R.A., A.R.W.S., IN THE POSSESSION OF MESSRS. ERNEST BROWN AND PHILLIPS -(THE LEICESTER GALLERIES). SIZE, 12¼ × 8 IN.] - -[Illustration: “FOLKESTONE.” PENCIL DRAWING BY ADRIAN HILL. SIZE, 8¼ × -13 IN.] - -[Illustration: PENCIL DRAWING BY FRANK L. EMANUEL. SIZE, 11 × 7¾ IN.] - -[Illustration: “THE STEAM HAMMER.” DRAWING IN PEN AND INK AND CHALK BY -FRANK BRANGWYN, R.A. SIZE, 16 × 12¼ IN.] - -[Illustration: “AN OPEN SPACE.” DRAWING IN PEN AND INK BY H. M. BATEMAN. -SIZE, 18½ × 12⅜ IN. REPRODUCED BY PERMISSION OF THE PROPRIETORS OF “THE -SKETCH.”] - -[Illustration: DRAWING IN PENCIL AND WASH BY GEORGE BELCHER. SIZE, 10¼ × -5¾ IN.] - -[Illustration: PENCIL DRAWING BY A. HUGH FISHER, A.R.E. IN THE -POSSESSION OF CHARLES EMANUEL, ESQ. SIZE, 11⅛ × 4½ IN.] - -[Illustration: PENCIL STUDY BY STEVEN SPURRIER. SIZE, 8 × 10 IN.] - -[Illustration: “ROBESPIERRE’S LIST.” ILLUSTRATION IN PEN AND INK BY -EDMUND J. SULLIVAN, A.R.W.S. TO CARLYLE’S “FRENCH REVOLUTION.” SIZE, 8⅞ -× 7⅛ IN. REPRODUCED BY PERMISSION OF THE PUBLISHERS, MESSRS. CHAPMAN AND -HALL.] - -[Illustration: DRAWING IN PEN AND INK BY L. LHERMITTE IN THE POSSESSION -OF CHARLES EMANUEL, ESQ. SIZE, 7¼ × 8 IN.] - -[Illustration] - -[Illustration: “THE SICK MOTHER.” DRAWING IN PEN AND INK BY E. BLAMPIED, -R.E. SIZE, 13½ × 18½ IN.] - -[Illustration: “MOTHER AND CHILD.” PENCIL DRAWING BY SIR WILLIAM ORPEN, -R.A., IN THE POSSESSION OF CAMPBELL DODGSON, ESQ., C.B.E. SIZE, 13 × 10 -IN.] - -[Illustration: “AFTER BATHING.” PENCIL DRAWING BY SIR WILLIAM ORPEN, -R.A. REPRODUCED BY PERMISSION OF THE CHENIL GALLERY. SIZE, 7½ × 11 IN.] - -[Illustration: ILLUSTRATION IN PEN AND INK BY ARTHUR RACKHAM, R.W.S., TO -“RIP VAN WINKLE.” REPRODUCED BY PERMISSION OF THE PUBLISHER, MR. WILLIAM -HEINEMANN. SIZE, 9 × 8 IN.] - -[Illustration] - -[Illustration: ILLUSTRATION IN PEN AND INK BY HARRY CLARKE TO “THE RIME -OF THE ANCIENT MARINER” IN THE POSSESSION OF SIR ROBERT WOODS, M.P. -SIZE, 6½ × 10 IN.] - -[Illustration: “GRASMERE CHURCH.” PENCIL STUDY BY EDMUND H. NEW FOR AN -ILLUSTRATION IN PEN AND INK TO “POEMS BY WORDSWORTH,” SELECTED BY DR. -STOPFORD A. BROOKE, PUBLISHED BY MESSRS. METHUEN AND CO. SIZE, 3 IN. -SQ.] - -[Illustration: PENCIL DRAWING BY E. VERPILLEUX. SIZE, 3½ × 9 IN.] - -[Illustration: “S. ANNE’S GATE, SALISBURY.” PENCIL DRAWING BY E. HESKETH -HUBBARD. SIZE, 8⅝ × 10⅛ IN.] - -[Illustration: ILLUSTRATION IN PEN AND INK BY S. H. SIME TO LORD -DUNSANY’S “CHRONICLES OF RODRIQUEZ” (PUTNAM’S SONS). SIZE, 14 × 8¾ -IN.] - -[Illustration] - -[Illustration: “NEAR CHESHAM, BUCKS.” DRAWING IN PEN AND INK BY SYDNEY -R. JONES IN THE POSSESSION OF ROLAND P. STONE, ESQ. SIZE, 6 × 13 IN.] - -[Illustration: “A SLEEPER.” PENCIL DRAWING BY VERNON HILL. SIZE, 12 × 8¾ -IN.] - -[Illustration: PENCIL STUDY BY WALTER W. RUSSELL, A.R.A. SIZE, 10⅜ × 8⅜ -IN.] - -[Illustration: “FRONT OF THE QUIRINAL PALACE, ROME.” PENCIL DRAWING BY -MUIRHEAD BONE. EXHIBITED AT THE GROSVENOR GALLERIES, LONDON.] - -[Illustration: “QUAI DU CANAL, MARSEILLES.” DRAWING IN PENCIL AND WASH -BY MUIRHEAD BONE. EXHIBITED AT THE GROSVENOR GALLERIES, LONDON.] - -[Illustration: “LIFE MIGHT LAST! WE CAN BUT TRY.” ILLUSTRATION IN PEN -AND INK BY HENRY OSPOVAT TO BROWNING’S “TOCCATA OF GALUPPI’S” IN THE -BRITISH MUSEUM. SIZE, 11¼ × 8¾ IN.] - -[Illustration: ILLUSTRATION IN PEN AND INK BY R. ANNING BELL, R.A., -R.W.S. TO “SHELLEY.” SIZE, 6 × 3¾ IN. REPRODUCED BY PERMISSION OF THE -PUBLISHERS, MESSRS. G. BELL AND SONS.] - -[Illustration: “SACRILEGE.” DRAWING IN PEN AND INK BY F. L. GRIGGS. -SIZE, 7¼ × 5⅞ IN.] - -[Illustration: “THE HUNTSMAN” - -SIZE, 6 IN. SQUARE - -DRAWINGS IN PEN AND INK BY JOSEPH CRAWHALL IN THE POSSESSION OF WILLIAM -BURRELL, ESQ.] - -[Illustration: “AN ALGERIAN CABBY” - -SIZE, 5⅜ × 9⅛ IN. - -DRAWINGS IN PEN AND INK BY JOSEPH CRAWHALL IN THE POSSESSION OF WILLIAM -BURRELL, ESQ.] - -[Illustration] - -[Illustration: “THE STRANDED BARGE.” DRAWING IN PEN AND INK BY JAMES -McBEY. SIZE, 6⅝ × 12½ IN.] - -[Illustration: PENCIL STUDY BY GLYN W. PHILPOT, A.R.A. SIZE, 5 × 4¼ -IN.] - -[Illustration] - -[Illustration: “DELFT.” DRAWING IN PEN AND INK BY MAXIME LALANNE IN THE -POSSESSION OF CHARLES EMANUEL, ESQ. SIZE, 10 × 8½ IN.] - -[Illustration: “LES BÛCHERONS.” DRAWING IN PEN AND INK BY T. A. -STEINLEN. SIZE, 10 × 7 IN.] - -[Illustration: “LAVEUSES.” DRAWING IN PEN AND INK BY T. A. STEINLEN. -SIZE, 10¾ × 8¾ IN.] - -[Illustration: DRAWING IN PEN AND INK BY J. L. FORAIN IN THE POSSESSION -OF MONSIEUR SIMONSON. SIZE, 9¾ × 6¾ IN.] - -[Illustration: DRAWING IN PENCIL AND COLOURED CHALKS BY C. JOUAS. SIZE, -11 × 7 IN.] - -[Illustration: “LE VIEUX MENTON.” PEN DRAWING BY A. LEPÈRE IN THE -POSSESSION OF MONSIEUR ED. SAGOT, PARIS. SIZE, 8¼ × 6 IN.] - -[Illustration: “CRÈVECŒUR.” DRAWING IN PEN AND INK BY A. LEPÈRE IN THE -POSSESSION OF MONSIEUR ED. SAGOT. SIZE, 5½ × 8⅝ IN.] - -[Illustration: “LE QUAI DE PARIS À ROUEN.” DRAWING IN PEN AND INK AND -WASH BY EUGÈNE BÉJOT. SIZE, 10½ × 7½ IN.] - -[Illustration: DRAWING IN PEN AND INK BY A. ROUBILLE. SIZE, 14⅞ × 8⅛ -IN.] - -[Illustration: DRAWING IN PEN AND INK BY F. POULBOT. SIZE, 8 × 5 IN.] - -[Illustration: “VENUS ET L’AMOUR.” DRAWING IN PEN AND INK BY BERNARD -BOUTET DE MONVEL. SIZE, 5½ × 3½ IN.] - -[Illustration: STUDY IN PEN AND INK BY BERNARD BOUTET DE MONVEL FOR “LA -GAZETTE DU BON TON.” SIZE, 7¼ × 6 IN.] - -[Illustration: DRAWING IN PEN AND INK BY E. CARLÈGLE FOR “VIE -PARISIENNE.” SIZE, 7 × 3⅛ IN.] - -*** END OF THE PROJECT GUTENBERG EBOOK DRAWINGS IN PEN & PENCIL FROM -DÜRER'S DAY TO OURS *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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 an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. If you do not charge anything for -copies of this eBook, complying with the trademark license is very -easy. You may use this eBook for nearly any purpose such as creation -of derivative works, reports, performances and research. Project -Gutenberg eBooks may be modified and printed and given away--you may -do practically ANYTHING in the United States with eBooks not protected -by U.S. copyright law. 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 -www.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 unprotected by copyright law 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 other than 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 in the United States and - most other parts of the world 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. If you are not located in the - United States, you will have to check the laws of the country where - you are located before using this eBook. - -1.E.2. If an individual Project Gutenberg-tm electronic work is -derived from texts not protected by U.S. copyright law (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 website -(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 the Project Gutenberg Literary Archive Foundation, the manager 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 -works not protected by U.S. copyright law 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 1.F.3. 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 MERCHANTABILITY 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 information page at -www.gutenberg.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. 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 business office is located at 809 North 1500 West, -Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up -to date contact information can be found at the Foundation's website -and official page at www.gutenberg.org/contact - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without -widespread 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 www.gutenberg.org/donate - -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: www.gutenberg.org/donate - -Section 5. General Information About Project Gutenberg-tm electronic works - -Professor Michael S. Hart was the originator of the Project -Gutenberg-tm concept of a library of electronic works that could be -freely shared with anyone. For forty 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 not protected by copyright 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 website which has the main PG search -facility: www.gutenberg.org - -This website 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. |