of the best for rough sketches in books
and newspapers.

The question may arise in many minds, are these contrivances with their
mechanical lines for producing effect, worthy of the time and attention
which has been bestowed upon them? I think it is very doubtful if much
work ought to be produced by means of the black-grained papers;
certainly, in the hands of the unskilled, the results would prove
disastrous. A painter may use them for sketches, especially for
landscape. Mr. Compton (as on p. 116) can express very rapidly and
effectively, by scraping out the lights and strengthening the darks, a
snowdrift or the surface of a glacier. In the drawing on page 123, Mr.
C. J. Watson has shown us how the grained paper can be played with, in
artistic hands, to give the effect of a picture.

The difference, artistically speaking, between sketches made on
black-grained and white-grained papers seems to me much in favour of the
latter.

[Illustration: No. XX.

"_Volendam_," by C. J. WATSON.

Example of white-lined paper, treated very skilfully and
effectively--only the painter of the picture could have given so much
breadth and truth of effect.

This _white_ paper has a strong vertical grain which when drawn upon
with autographic chalk has the same appearance as black-lined paper;
and is often taken for it.

(Size of drawing 6 x 4-1/2 in.)]

But at the best, blocks made from drawings on these papers are apt to be
unequal, and do not print with the ease and certainty of pure line work;
they require good paper and careful printing, which is not always to be
obtained. The artist who draws for the processes in this country must
not expect (excepting in very exceptional cases) to have his work
reproduced and printed as in America, or even as well as in this book.

[Illustration: "AND WEE PEERIE WINKIE PAYED FOR A'." (FROM THE
PAINTING BY HUGH CAMERON.)

_Example of a good chalk drawing too largely reduced._]

[Illustration: No. XXI.

"_An Arrest_," by MELTON PRIOR.

This is a remarkable example of the reproduction of a pencil drawing.
It is seldom that the soft grey effect of a pencil drawing can be
obtained on a "half-tone" relief block, or the lights so successfully
preserved.

This is only a portion of a picture by Mr. Melton Prior, the
well-known special artist, for which I am indebted to the proprietors
of _Sketch_.

The reproduction is by Carl Hentschel.]

The r