a
purely ornamental aim, or a composition directed mainly to the
expression of a particular idea or emotion.

Such considerations will ultimately determine the choice and use of
line, the degree of relief and emphasis, for these and the direction of
the line itself are the syllables and the words which will convey the
purport of the work to the mind of the beholder.

Study of the masters of line--Durer, Titian, Mantegna, Holbein--will
inform us as to its capacities and limitations. The limitations, too, of
method and material will be a powerful factor in the determination of
style in the use of line and in the economy of its use.

The bold firm line suitable to the facsimile woodcut, the broad and
simple treatment of line with solid black useful in the plank-cut line
block to be used with colour blocks, the comparatively free and
unconditioned pen-drawing for the surface-printed process block--all
these will finally give a certain character to our work beyond our own
idiosyncrasies in the use of the pen or the brush.

[Illustration (f099): Albert Durer's Principle in the Treatment of
Drapery: From the Woodcut in the "Life of the Virgin" Series.]

Useful things may be learned by the way, such as Albert Durer's
principle of giving substance to his figures and details, more
especially seen in his treatment of drapery, when the lines run into
solid black and express the deeper folds and give emphasis and solidity
to the figure (p. 183[f099]). The reproductions here given of sketches
of drapery by Filippino Lippi and Raphael also show the same principle.

[Illustration (f100): Albert Durer: Pen-Drawing.]

A figure or object of any kind, seen in full light and shade, is
relieved at any of its edges either as dark against light, or as light
against dark, and we recognize it as a solid form in this way; the
boundaries of natural light and shade defining it, and projecting it
from the background upon the vision. There may be infinite modulations,
of course, between the light part, the half-tones, and the darkest
parts; but this broad principle governs all work representing light and
shade.

[Illustration (f101): Filippino Lippi: Study of Drapery.]

It is, in fact, _the principle of the relief of form_ represented upon a
plane surface.

[Illustration (f102): Raphael: Studies of Drapery.]

[Relief by Light and Shade Alone]

If the draughtsman's object be to represent the _appe