is used with nice discrimination. At times a cross-hatch is very
desirable and very effective,--as, for example, in affording a
subdued background for figures having small, high lights. A very
pretty use of it is seen in the tower of Mr. Goodhue's drawing,
Fig. 8. Observe here how the intimate treatment of the roofs is
enhanced and relieved by the foil of closely-knit hatch on the
tower-wall, and how effective is the little area of it at the base
of the spire. The cross-hatch also affords a satisfactory method
of obtaining deep, quiet shadows. See the archway "B" in Fig. 9.
On the whole, however, the student is advised to accustom himself
to a very sparing use of this expedient. Compare the two effects in
Fig. 9, Some examples of good and bad cross-hatching are illustrated
in Fig. 10. Those marked "I" and "J" may be set down as bad, being
too coarse. The only satisfactory cross-hatch at a large scale would
seem to be that shown in "N," where lines cross at a sharp angle;
and this variety is effectively employed by figure illustrators.
Perhaps no better argument against the necessity for thus building
up tones could be adduced than the little drawing by Martin Rico,
shown in Fig. 11. Notice what a beautiful texture he gives to the
shadow where it falls on the street, how it differs from that on
the walls, how deep and closely knit it all is, and yet that there
is absolutely no cross-hatching. Remark, also, how the textures
of the walls and roof and sky are obtained. The student would do
well to copy such a drawing as this, or a portion of it, at least,
on a larger scale, as much can be learned from it.

[Illustration: FIG. 11 MARTIN RICO]

[Size note: _Methods of Tone-Making_]