r novels of the butterfly kind; but
they will seldom be of real artistic interest. And here, for the
present, we may draw the line between the illustrator and the
photographer. But the "black and white man" will obviously have to do
his best in every branch of illustration to hold his own in the future.
It may be thought by some artists that these things are hardly worth
consideration; but we have only to watch the illustrations appearing
week by week to see whither we are tending.[19]

The last example of the photographer as illustrator, which can be given
here, is where a photograph from life engraved on wood is published as a
vignette illustration.[20] It is worth observing, because it has been
turned into line by the wood engraver, and serves for printing purposes
as a popular illustration. The original might have been more
artistically posed, but it is pretty as a vignette, and pleases the
public. (_See_ opposite page.)

There are hundreds of such subjects now produced by the joint aid of the
photographer and the process engraver. It is not the artist and the wood
engraver who are really "working hand-in-hand" in these days in the
production of illustrations, but _the photographer and the maker of
process blocks_. This is significant. Happily for us there is much that
the photographer cannot do pictorially. But the photographer is, as I
said, marching on and on, and the line of demarcation between handwork
and photographic illustrations becomes less marked every day.

The photographer's daughter goes to an art school, and her influence is
shown annually in the exhibitions of the photographic societies.

[Illustration: No. XXXII.

(_A Photograph from life, engraved on wood._)]

This influence and this movement is so strong--and vital to the
artist--that it cannot be emphasised too much. The photographer is ever
in our midst, correcting our drawing with facts and details which no
human eye can see, and no one mind can take in at once.

On the obligations of artists to photographers a book might be written.
The benefits are not, as a rule, unacknowledged; nor are the bad
influences of photography always noticed. That is to say, that before
the days of photography, the artist made himself acquainted with many
things necessary to his art, for which he now depends upon the
photographic lens; in short, he uses his powers of observation less than
he did a few years ago. That the photographer leads him astray som