ves a character sketch: with this
difference, that whereas a solitary trait, accidentally revealed,
was to Dickens sufficient foundation upon which to construct his
fanciful portrait, such studies of types as Frank Reynolds excels
in must be the outcome, not of one "thing seen," but of reiterated
observation of the same thing in identical or closely similar guise.
The results in either case vary as the method employed. Mrs. Gamp,
the outcome of a single observation, is a type certainly, but
exaggerated and "founded on fact" rather than true to life. "The
Suburbanite" (see p. 24), though an equally imaginary portrait, is
the real thing--the absolute personification of a type or class.

[Illustration]

In the case of Reynolds, his studies of types are the result of
an exceptional power of observation coupled with a very retentive
memory. His keen eye notes--often unconsciously, as he admits--the
small eccentricities by which character is revealed; his sense of
humour emphasises them, and his memory retains them. As a result,
when he essays to portray a type, there rises before his mental
vision, not the figure of this individual or that, but a hazy
recollection of all its representatives that he has ever come into
contact with. The misty impression materialises as he works, and
there grows under his hand a portrait which draws from us an instant
smile of recognition, broadening as we perceive the veiled humour
and satire that lurk beneath the skilful emphasis which has been
laid upon the subject's salient characteristics.

[Illustration]

But though his character studies are so largely the result of memory,
it must not be supposed that his drawings are hastily conceived or
carried out. As a discerning critic can guess Frank Reynolds is
slow and careful in his method, and though the central idea of a
drawing is frequently the inspiration of the moment, its elaboration
is a matter which occupies time, and the picture passes through
many stages before attaining in the artist's mind completion. To
lay readers it may be of interest to be initiated into the mystery
of the gradual development from germ to finished drawing. For their
benefit is reproduced (p. 24) the initial rough sketch made for
the portrait of "The Suburbanite," to which allusion has been made
above. It will be seen that all the essentials are there in a raw
state, and a comparison of this rough sketch with the finished
reproduction will give some hint of