is no approach attempted to truth
of tone, shadows being quite capriciously used for decoration and
supplied to figures that tell as light objects against the sky which
throws the shadows." And yet in these handsome pages there are gems of
draughtsmanship and extraordinary _tours de force_ in illustration.

In the reproduction of these drawings, I think the maker of the blocks,
M. Gillot, of Paris, would seem to have had a difficult task to perform.
The fact is, that Vierge's wonderful line drawings are sometimes as
difficult to reproduce for the type press as those of Holbein or
Menzell, and could only be done satisfactorily by one of the intaglio
processes, such as that employed by the Autotype Company in _editions de
luxe_. That Vierge's drawings were worthy of this anyone who saw the
originals when exhibited at Barnard's Inn would, I think, agree.

It is the duty of any writer or instructor in illustration, to point out
these things, once for all. That Vierge could adapt himself to almost
any process if he pleased, is demonstrated repeatedly in the _Pablo de
Segovia_, where (as on pages 63 and 67 of that book) the brilliancy and
"colour" of pure line by process has hardly ever been equalled. That
some of his illustrations are impossible to reproduce well, and have
been degraded in the process is also demonstrated on page 199 of the
same book, where a mechanical grain has been used to help out the
drawing, and the lines have had to be cut up and "rouletted" on the
block to make them possible to print.

Of the clever band of illustrators of to-day who owe much of their
inspiration (and some of their tricks of method) to Vierge, it is not
necessary to speak here; we are in an atmosphere of genius in this
chapter, and geniuses are seldom safe guides to students of art.

Speaking generally (and these remarks refer to editors and publishers as
well as draughtsmen), the art of illustration as practised in England is
far from satisfactory; we are too much given to imitating the tricks and
prettinesses of other nations, and it is quite the exception to find
either originality or individuality on the pages which are hurled from
the modern printing press; individuality as seen in the work of Adolphe
Menzell, and, in a different spirit, in that of Gustave Dore and Vierge.

[Illustration]

FOOTNOTES:

[12] The heading to this chapter was drawn in line and reproduced by
photo-zinc process. (See page 134.)

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