I have shown various methods of making a tone in Fig. 12. It will be
observed that Rico's shadow, in Fig. 11, is made up of a combination
of "B" and "C," except that he uses "B" horizontally, and makes
the line heavy and dragging. The clear, crisp shadows of Vierge
are also worthy of study for the simplicity of method. This is
beautifully illustrated in the detail, Fig. 13. It would be impossible
to suggest atmosphere more vibrating with sunlight; a result due
to the transparency of the shadows, the lines of which are sharp
and clean, with never a suggestion of cross-hatch. Notice how the
lines of the architectural shadows are stopped abruptly at times,
giving an emphasis which adds to the brilliancy of the effect. The
drawing of the buildings on the canal, by Martin Rico, Fig. 14,
ought also to be carefully studied in this connection. Observe how
the shadow-lines in this drawing, as in that previously mentioned,
are made to suggest the direction of the sunlight, which is high in
the heavens. An example of all that is refined and excellent in
pen technique is the drawing by Mr. Alfred Brennan, Fig. 15. The
student would do well to study this carefully for its marvellous
beauty of line. There is little hatching, and yet the tones are deep
and rich. The wall tone will be found to be made up similarly to "A"
and "H" in Fig. 12. The tone "B" in the same Figure is made up of
lines which are thin at the ends and big in the middle, fitting into
each other irregularly, and imparting a texture somewhat different
from that obtained by the abrupt ending of the strokes of "A." This
method is also employed by Brennan, and is a very effective one.
A good example of the use of this character of line (unknitted,
however) is the drawing by Mr. Leslie Willson, Fig. 16. The irregular
line "C" has good possibilities for texture, and the wavy character
of "D" is most effective in the rendering of shadows, giving a
certain vibration to the atmosphere. "E" and "F" suggest a freer