an
Architect and Building News Co: Boston)
52. HERBERT RAILTON. From "Coaching Days and Coaching Ways," by
W. Outram Tristram (Macmillan & Co: London)
53. A. F. JACCACI. From _The Century Magazine_ (The Century Co:
New York)
54. CLAUDE FAYETTE BRAGDON. From _The Brickbuilder_ (Rogers &
Manson: Boston)
55. HARVEY ELLIS. From _The Inland Architect_ (The Inland Publishing
Co: Chicago)
56. C. E. MALLOWS. From _The British Architect_ (London)
57. C. D. M. Drawn for "Pen Drawing"
58. C. D. M. Drawn for "Pen Drawing"
59. C. D. M. Drawn for "Pen Drawing"
60. C. D. M. Drawn for "Pen Drawing"
61. A. B. FROST. From _Scribner's Magazine_ (Charles Scribner's
Sons: New York)
62. ALFRED G. JONES. From a Book Plate
63. WALTER APPLETON CLARK. From _Scribner's Magazine_ (Charles
Scribner's Sons: New York).
64. A. CAMPBELL CROSS. From _Quartier Latin_ (Paris)
65. MUCHA. From a Poster Design
66. HOWARD PYLE. From "Otto of the Silver Hand," by Howard Pyle
(Charles Scribner's Sons: New York)
67. WILL H. BRADLEY. From a Poster Design for _The Chap-Book_
(Herbert S. Stone & Co: Chicago)
68. P. J. BILLINGHURST. From a Book Plate
69. "BEGGARSTAFF BROTHERS." From a Poster Design
70. EDWARD PENFIELD. From a Design for the "Poster Calendar"
(R. H. Russell & Son: New York)
71. LOUIS J. RHEAD. From a Poster Design for "Lundborg's Perfumes"
72. J. W. SIMPSON. From a Book Plate

CONTENTS

CHAPTER I.--Style in Pen Drawing
CHAPTER II.--Materials
CHAPTER III.--Technique
CHAPTER IV.--Values
CHAPTER V.--Practical Problems
CHAPTER VI.--Architectural Drawing
CHAPTER VII.--Decorative Drawing

CHAPTER I

STYLE IN PEN DRAWING

Art, with its finite means, cannot hope to record the infinite
variety and complexity of Nature, and so contents itself with a
partial statement, addressing this to the imagination for the full
and perfect meaning. This inadequation, and the artificial adjustments
which it involves, are tolerated by right of what is known as artistic
convention; and as each art has its own particular limitations, so
each has its own particular conventions. Sculpture reproduces the
forms of Nature, but discards the color without any shock to our
ideas of verity; Painting gives us the color, but not the third
dimension, and we are satisfied; and Architecture is _purely_
conventional, since it does not even aim a