true of our initial letter, in which we find a set of parallel lines which, contrasted with the white of the illumination thrown by the lantern, gives us an effect of gray. This is found again in the other drawing by Marchetti; and if you will study these two drawings, and then turn to the Vierge, you will find that nine-tenths of it is drawn in the same way. Here and there to get a certain vibration of tone, Vierge uses crosshatch, but you will notice that the lightest gray and the intensest dark are got without crosshatching.

In the St. Elme you may also distinguish very clever use of parallel lines, without much crosshatching. We have purposely reproduced this, together with the page it decorated, so that you may see the artist had a good reason for not crosshatching; he wished his drawing to form a decoration about the page, and he did not want it to be too heavy, so he abstained from crosshatching. {124}

Pen drawing by St. Elme, decorating a page of a French journal, 9 1/2 by 13, showing a clever use of parallel lines, and a method of decorating a printed page, which will be considered later on. [see larger]

{125} The best practice for you is to make drawings for your publication in any manner you see fit, and after you have had experience in printing the same, you can tell very well how much crosshatching is advisable, and how much clogs up in the printing. There are

Caricature of the French painter (whose works are somewhat dark and misty in effect) Eugène Carrière at work. By Guillaume. From the French daily, Gil Blas.

several caricaturists in this country whose work is printed in daily papers in a thoroughly satisfactory manner, and yet they use a great deal of crosshatching, but of course they know just how open to keep the lines, for they know just what results their printer can {126} get and what not. But we would say it is a good principle, to begin with, that the less crosshatching in your work the better it will print. Hence the Marchetti and St. Elme drawings are given as examples.

In the portrait of the painter Carrière, we have an amusing example of the effective use of parallel lines. Instead of giving us a black silhouette, the artist—Guillaume—has given us a gray one, which suggests the subject seen through a fog. Had the artist wished to represent the palette as being of dark wood he could have pressed on his pen lines and thus given us that effect. Had he wished to show that the canvas was lighter than the figure, he could have refrained from pressing so heavily on his pen lines, or, better still, distributed his lines farther apart and thus obtained the effect of a lighter tone. Bear in mind, however, that I used the term pen lines in speaking of this drawing because the original was made in that medium, but the same graduation or contrast of lines is applicable to nearly all methods of line drawing; to etching and chalk plate as well. You will, perhaps, have a better grasp of the subject by thinking of it as—the theory of tone imitation by lines.

When you have grasped the theory of this pen technic, alias the representing of tone by lines, you will be prepared to make your own deductions from various specimens of illustration.