kes of it; whereas the tedious labor, not to speak
of the actual technical difficulties, encountered in attempting such
an effect of color with pen and ink, indicates that we are forcing
the medium. Moreover, it is technically impossible to reproduce
with the pen the low values which may be obtained with the brush;
and it is unwise to attempt it. The way, for example, in which
Mr. Joseph Pennell handles his pen as compared with that in which
he handles his brush is most instructive as illustrating what I
have been maintaining. His pen drawings are pitched in a high
key,--brilliant blacks and large light areas, with often just enough
half-tone to soften the effect. His wash-drawings, on the contrary,
are so utterly different in manner as to have nothing in common
with the others, distinguished as they are by masses of low tone
and small light areas. Compare Figs. 1 and 5. Observe that there
is no straining at the technical capacity of the pen or of the
brush; no attempt to obtain an effect in one medium which seems to
be more naturally adapted to the other. Individuality is imparted
to each by a frank concession to its peculiar genius.

[Illustration: FIG. 2 MAXIME LALANNE]

[Side note: _Examples of Good Style_]

I have said that the chief characteristic of pen methods is Directness.
I think I may now say that the chief element of style is Economy
of Means. The drawing by M. Maxime Lalanne shown in Fig. 2 is an
excellent example of this economy carried to its extreme. Not a
stroke could be spared, so direct and simple is it, and yet it
is so complete and homogenous that nothing could be added to make
it more so. The architecture is left without color, and yet we are
made to feel that it is not white--this subtle suggestion of low
color being obtained by a careful avoidance of any strong black
notes in the rendering, which would have intensified the whites
and lighted up the picture. Fig. 3, by the same artist, is even
more notable by reason of the masterly breadth which characterizes
the treatment of a most complicated subject. A comparison of these
with a drawing of the Restoration House, at Rochester, England, Fig.
4, is instructive. In the latter the method is almost painfully
elaborate; nothing of the effect is obtained by suggestion. The
technique is varied and interesting, but the whole drawing lacks that
individual something which we call Style. In the Lalanne drawings we
see foliage convincingly represented b