are so pronounced and so tiresome that I regard it as much inferior
to that of Mr. Pennell, whose architecture always _appears_, at
least, to have been honestly drawn on the spot.)

[Illustration: FIG. 22 J. F. RAFFAËLLI]

The hats in Fig. 10 are merely suggestions to the student in the
study of elementary combinations of line in expressing textures.

[Side note: _Drawing for Reproduction_]

As the mechanical processes of Reproduction have much to do with
determining pen methods they become important factors for consideration.
While their waywardness and inflexibility are the cause of no little
distress to the illustrator, the limitations of processes cannot
be said, on the whole, to make for inferior standards in drawing,
as will be seen by the following rules which they impose, and for
which a strict regard will be found most advisable.

First: Make each line clear and distinct. Do not patch up a weak
line or leave one which has been broken or blurred by rubbing, for
however harmless or even interesting it may seem in your original
it will almost certainly be neither in the reproduction. When you
make mistakes, erase the offensive part completely, or, if you
are working on Bristol-board and the area of unsatisfactoriness
be considerable, paste a fresh piece of paper over it and redraw.

Second: Keep your work open. Aim for economy of line. If a shadow
can be rendered with twenty strokes do not crowd in forty, as you
will endanger its transparency. Remember that in reproduction the