ect of foliage as that shown in Mr. Pennell's sketch, Fig. 18,
without the most painstaking preparation in pencil. The success
of this result is not attributable merely to the difference in
textures, nor to the direction or character of the line; it is
first of all a matter of good drawing. The outline should be free
and subtle so as to suggest the edges of leafage, and the holes
near the edges should be accented, otherwise they will be lost
and the tree will look solid and characterless. Observe, in the
same drawing, how Mr. Pennell suggests the structure of the leafage
by the irregular outlines which he gives to the different series of
lines, and which he emphasizes by bringing the lines to an abrupt
stop. Observe also how the stronger texture of the tree in Fig. 19
is obtained by making the lines with greater abruptness. Compare
both of these Figures with the foreground trees by the same artist
in Fig. 20. The last is a brilliant example of foliage drawing
in pen and ink.

[Illustration: FIG. 18 JOSEPH PENNELL]

[Illustration: FIG. 19 JOSEPH PENNELL]

[Illustration: FIG. 20 JOSEPH PENNELL]

[Illustration: FIG. 21 E. DANTAN]

[Side note: _Textures_]

The matter of Textures is very important, and the student should
learn to differentiate them as much as possible. This is done,
as I have already said, by differences in the size and character
of the line, and in the closeness or openness of the rendering.
Observe the variety of textures in the drawing of the sculptor
by Dantan, Fig. 21. The coat is rendered by such a cross-hatch
as "N" in Fig. 10, made horizontally and with heavy lines. In the
trousers the lines do not cross but fit in together. This is an
excellent example for study, as is also the portrait by Raffaelli,
Fig. 22. The textures in the latter drawing are wonderfully well
conveved,--the hard, bony face, the stubby beard, and the woolen
cap with its tassel in silhouette. For the expression of texture
with the least effort the drawings of Vierge are incomparable.
The architectural drawing by Mr. Gregg in Fig. 50 is well worth
careful study in this connection, as are all of Herbert Railton's
admirable drawings of old English houses. (I recommend the study
of Mr. Railton's work with a good deal of reservation, however.
While it is admirable in respect of textures and fascinating in its
color, the values are likely to be most unreal, and the mannerisms
are so pronounced and so tiresome that I regard it