cide, therefore, to render, as faithfully as we may, the values
of the clock-tower and its immediate surroundings, and to disregard
the discordant elements; and we have no hesitation in selecting
for principal emphasis in our drawing, Fig. 40, the shadow under
the projecting building. This dark accent will count brilliantly
against the foreground and the walls of the buildings, which we
will treat broadly as if white, ignoring the slight differences
in value shown in the photograph. We retain, however, the literal
values of the clock-tower and the buildings underneath it, and
express as nearly as we can their interesting variations of texture.
The buildings on the right are too black in the photograph, and
these, as well as the shadow thrown across the street, we will
considerably lighten. After some experiment, we find that the building
on the extreme left is a nuisance, and we omit it. Even then, the
one with the balcony next to it requires to be toned down in its
strong values, and so the shadows here are made much lighter, the
walls being kept white. It will be found that anything like a strong
emphasis of the projecting eaves of the building would detract
from the effect of the tower, so that the shadow under the eaves
is, therefore, made grayer than in the photograph, while that of
the balcony below is made stronger than the shadow of the eaves,
but is lightened at the edge of the drawing to throw the emphasis
toward the centre.

[Illustration: FIG. 40 C. D. M.]

To add interest to the picture, and more especially to give life
to the shadows, several figures are introduced. It will be noticed
that the cart is inserted at the focal point of the drawing to
better assist the perspective.

CHAPTER VI

ARCHITECTURAL DRAWING

It is but a few years since architects' perspectives were "built
up" (it would be a mistake to say "drawn") by means of a T-square
and the ruling pen; and if architectural drawing has not quite
kept pace with that for general illustration since, a backward
glance over the professional magazines encourages a feeling of
comparative complacency. That so high a standard or so artistic
a character is not observable in architectural as in general
illustration is, I think, not difficult to explain. Very few of the
clever architectural draughtsmen are illustrators by profession.
Few, even of those who are generally known as illustrators, are
anything more--I should perhaps say anything _less_