ng the opportunity for play of individuality,
to notice how very different, for instance, is Mr. Gregg's manner
of rendering brick work to that of Mr. Railton. Compare Figs. 48
and 49. One is splendidly broad,--almost decorative,--the other
intimate and picturesque. The work of both these men is eminently
worthy of study. For the sophisticated simplicity and directness of
his method and the almost severe conscientiousness of his drawing,
no less than for his masterly knowledge of black and white, no safer
guide could be commended to the young architectural pen-man for the
study of principles than Mr. Gregg. Architectural illustration in
America owes much to his influence and, indeed, he may be said to
have furnished it with a grammar. Take his drawing of the English
cottages, Fig. 50. It is a masterly piece of pen work. There is
not a feeble or tentative stroke in the whole of it. The color
is brilliant and the textures are expressed with wonderful skill.
The student ought to carefully observe the rendering of the various
roofs. Notice how the character of the thatch on the second cottage
differs from that on the first, and how radically the method of
rendering of either varies from that used on the shingle roof at
the end of the picture. Compare also the two gable chimneys with
each other as well as with the old ruin seen over the tree-tops.
Here is a drawing by an architectural draughtsman of an architectural
_actuality_ and not of an artificial abstraction. This is a fairer
ground on which to meet the illustrators of the picturesque.

[Illustration: FIG. 48 D. A. GREGG]

[Illustration: FIG. 49 HERBERT RAILTON]

[Illustration: FIG. 50 D. A. GREGG]

[Illustration: FIG. 51 WALTER M. CAMPBELL]

[Illustration: FIG. 52 HERBERT RAILTON]

[Illustration: FIG. 53 A. F. JACCACI]

[Illustration: FIG. 54 C. F. BRAGDON]

[Illustration: FIG. 55 HARVEY ELLIS]

[Side note: _Examples_]

Mr. Campbell's drawing, Fig. 51, is a very good example of the
rendering of stone textures. The old masonry is capitally expressed
by the short irregular line. The student is advised to select some
portion of this, as well as of the preceding example to copy, using,
no matter how small the drawings he may make, a pen not smaller
than number 303. I know of no architectural illustrator who hits
stonework off quite so cleverly as Mr. Goodhue. Notice, in his
drawing of the masonry, in Fig. 8, how the stones are picked out
and rendered individ