tieth_ the area of the original, whilst others have not been
reduced at all.

[Illustration: No. X.

"_Twins_," by STANLEY BERKLEY.

Sketch in pen and ink (size 8-1/4 x 5-1/2 in.) from Mr. Berkley's
picture in the Grosvenor Gallery in 1884.

A good example of breadth and expression in line, the values being
well indicated. Mr. Berkley, knowing animal life well, and _knowing
his picture_, is able to give expression to almost every touch. Here
the common zinc process answers well.]

[Illustration: "THE DARK ISLAND." (FROM THE PAINTING BY ALFRED EAST.)

(_Royal Academy, 1885._)]

There is much instruction in these drawings by painters, instruction of
a kind, not to be obtained elsewhere. The broad distinction between a
"sketch" from Nature and _a drawing made in a sketchy manner_ cannot be
too often pointed out, and such drawings as those by Mr. G. Clausen (p.
59), Fred. Hall (p. 73), Stanley Berkley (p. 79), T. C. Gotch (p. 83),
and others, help to explain the difference. These are all reproduced
easily on process blocks.[9]

As to sketching in line from life, ready for reproduction on a process
block, it is necessary to say a few words here. The system is, I know,
followed by a few illustrators for newspapers (and by a few geniuses
like Mr. Joseph Pennell, Raven Hill, and Phil. May, who have their own
methods), and who, by incessant practice, have become proficient. They
have special ability for this kind of work, and their manner and style
is their capital and attraction.

[Illustration: No. XI.

_A Portrait_, by T. C. GOTCH.

Pen-and-ink drawing (size 7-1/2 x 6-1/2 in.); from his picture in the
Exhibition of the New English Art Club, 1889.

Mr. Gotch is well known for his painting of children; but he has also
the instinct for line drawing, and a touch which reproduces well
without any help from the maker of the zinc block.

The absence of outline, and the modelling suggested by vertical lines,
also the treatment of background, should be noticed. This background
lights up when opposed to white and _vice-versa_.]

But to attempt to _teach_ rapid sketching in pen and ink is beginning at
the wrong end, and is fatal to good art; it is like teaching the
principles of pyrotechnics whilst fireworks are going off. And yet we
hear of prizes given for rapid sketches to be reproduced by the
processes. Indeed, I believe this is the wrong road; the baneful result
of living in