d still has--not as a club, for it
was dissolved some years back--in the influence its personal art has
wielded upon the printed pages of the day.

The first magazine article was the account of a trip that we made down
on Long Island, illustrated by the club, entitled "The Tile Club
Abroad," each man choosing his own medium--oil, charcoal, water-color,
etc.; the results of which were published in the then _Scribner's
Magazine_, and engraved by a group of men who afterward placed the
art of wood-engraving in America side by side with the best efforts
ever obtained by the English and German periodicals, and one of whom,
Yuengling, took the gold medal of excellence both in Paris and Munich.

With this difference in textures, the difference between a drawing in
charcoal and one made in oil, it became necessary to invent new modes
of expression with the burin. A simple line which might express the
round of the cheek or the fulness of the arm, and which would answer
for the uniform drapery of the old school, would not serve to explain
the subtle quality of one of Quartley's moonrises or the vigor and
dash of one of Chase's outdoor figures sketched in oil.

So it came about that in searching to express these new qualities,
never before seen upon a block, the technic of the new school was
developed.

The next important result was the creating not only of a new school of
wood-engraving, but of an entirely distinct department for art
workers, the school of the illustrator; and so we have Abbey,
Reinhart, Quartley, and, later, Church, Smedley, Dana Gibson, and
dozens of others whose names will readily come to your minds and of
whose careers I have already spoken.

But the burin was too slow, even in the hands of the skilful engraver,
for the necessities of the hour. It was also too expensive; a drawing
which a magazine would pay the artist $50 for would often cost $200 to
engrave in the hands of a master like Yuengling or Cole. Again
photography was called into use. The "straight process," so called, of
the phototype printer, reproducing a pen-and-ink line drawing on a
zinc plate which could be immediately run through a Hoe process, was
perfected. You all remember, doubtless, an illustrated daily
published in New York, called _The Daily Graphic_, illustrated by
this process. This process, however, was only possible where
pen-and-ink drawing or a very coarse lead-pencil drawing was used in
making the original, because it was