chalk is indulged in, the
stone is much better. Lithographic papers of different textures are made
for this purpose, but almost any paper will do, provided the drawing is
done with the special lithographic chalk.

[Sidenote: Pen and Ink.]

Pen and ink was a favourite means of making studies with many old
masters, notably Rembrandt. Often heightening the effect with a wash, he
conveyed marvellous suggestions with the simplest scribbles. But it is a
difficult medium for the young student to hope to do much with in his
studies, although for training the eye and hand to quick definite
statement of impressions, there is much to be said for it. No hugging of
half tones is possible, things must be reduced to a statement of clear
darks--which would be a useful corrective to the tendency so many
students have of seeing chiefly the half tones in their work.

[Illustration: Plate LVI.

STUDY IN PEN AND INK AND WASH FOR TREE IN "THE BOAR HUNT" RUBENS
(LOUVRE)

_Photo Giraudon_]

The kind of pen used will depend on the kind of drawing you wish to
make. In steel pens there are innumerable varieties, from the fine
crow-quills to the thick "J" nibs. The natural crow-quill is a much more
sympathetic tool than a steel pen, although not quite so certain in its
line. But more play and variety is to be got out of it, and when a free
pen drawing is wanted it is preferable.

Reed pens are also made, and are useful when thick lines are wanted.
They sometimes have a steel spring underneath to hold the ink somewhat
in the same manner as some fountain pens.

There is even a glass pen, consisting of a sharp-pointed cone of glass
with grooves running down to the point. The ink is held in these
grooves, and runs down and is deposited freely as the pen is used. A
line of only one thickness can be drawn with it, but this can be drawn
in any direction, an advantage over most other shapes.

[Sidenote: Etching.]

Etching is a process of reproduction that consists in drawing with a
steel point on a waxed plate of copper or zinc, and then putting it in a
bath of diluted nitric acid to bite in the lines. The longer the plate
remains in the bath the deeper and darker the lines become, so that
variety in thickness is got by stopping out with a varnish the light
lines when they are sufficiently strong, and letting the darker ones
have a longer exposure to the acid.

Many wonderful and beautiful things have been done with this simple
means. The