ion: No. IV.

"_Tiresome Dog_," by E. K. JOHNSON.

This example of pen-and-ink work has been reproduced by the gelatine
relief process. The drawing, which has been greatly reduced in
reproduction, was made by Mr. Johnson for an Illustrated Catalogue of
the Royal Water-Colour Society, of which he is a member.

It is instructive as showing the possibilities and limitations of
relief process-work in good hands. The gradation of tone is all
obtained in pure black, or dotted lines. Mr. Dawson has aided the
effect by "rouletting" on the block on the more delicate parts; but
most of the examples in this book are untouched by the engraver.

(_See Appendix._)]

[Illustration: "FRUSTRATED." (FROM THE PAINTING BY WALTER HUNT.)

(_Royal Academy_, 1891.)]

Referring to the evident want of training amongst our younger
draughtsmen, the question was put very bluntly in the _Athenaeum_ some
years ago, thus:--

Why is not drawing in line with pen and ink taught in our own
Government schools of art? The present system in schools seems to
render the art of drawing of as little use to the student as possible,
for he has no sooner mastered the preliminary stage of drawing in
outline from the flat with a lead pencil, than he has chalk put into
his hand, a material which he will seldom or never use in turning his
knowledge of drawing to practical account. The readier method of pen
and ink would be of great service as a preparatory stage to wood
drawing, but unfortunately drawing is taught in most cases as though
the student intended only to become a painter.

Since these lines were written, efforts have been made in some schools
of art to give special training for illustrators, and instruction is
also given in wood engraving, which every draughtsman should learn; but
up to the present time there has been no systematic teaching in drawing
applicable to the various processes, for the reason that _the majority
of art masters do not understand them_.

[Illustration: "ON THE RIVIERA." (ELLEN MONTALBA.)]

The art of expression in line, or of expressing the effect of a picture
or a landscape from Nature in a few leading lines (not necessarily
outline) is little understood in this country; and if such study, as the
_Athenaeum_ pointed out, is important for the wood draughtsman, how much
more so in drawing for reproduction by photo-mechanical means? A few
artists have the gift of expressing t