,,drawings ,,in ,,pen ,,pencil ,,from ,d,,rer',s ,,day ,,to ,,ours ,,with ,,notes ,,and ,,appreciations ,,by ,,george ,,sheringham ,,edited ,,by ,,geoffrey ,,holme ,,london3 ,,the ,,studio1 ,l #dd ,,leicester ,,square1 ,w4,c4#b ,,mcmxxii ,,prefatory ,,note ,in the original circular relating to this volume it was announced that ,mr4 ,malcolm ,c4 ,salaman would contribute the letterpress4 ,the ,editor desires to express his sincere regret that1 owing to serious indisposition1 ,mr4 ,salaman has been unable to fulfil this intention4 ,the ,editor wishes to acknowledge his indebtedness to the following owners who have kindly lent drawings for reproduction in this volume3 ,messrs4 ,ernest ,brown and ,phillips 7,the ,leicester ,galleries71 ,mr4 ,william ,burrell1 ,lt4-,col4 ,pepys ,cockerell1 ,mr4 ,campbell ,dodgson1 ,c4,b4,e41 ,mr4 ,charles ,emanuel1 ,mr4 ,william ,foster1 ,mrs4 ,g4 ,r4 ,halkett1 ,mr4 ,harold ,hartley1 ,mr4 ,francis ,harvey1 ,mr4 ,c4 ,c4 ,hoyer-,millar1 ,mr4 ,j4 ,b4 ,manson1 ,mr4 ,a4 ,p4 ,opp1 ,monsieur ,ed4 ,sagot1 ,mr4 ,edward ,j4 ,shaw1 ,j4,p41 ,monsieur ,simonson1 ,mr4 ,g4 ,bellingham ,smith1 ,mr4 ,roland ,p4 ,stone1 ,mr4 ,d4 ,croal ,thomson1 ,mr4 ,charles ,mallord ,turner and ,sir ,robert ,woods1 ,m4,p4 ,also to ,messrs4 ,william ,marchant ,co4 7,the ,goupil ,gallery71 ,mr4 ,t4 ,corsan ,morton1 ,mr4 ,e4 ,a4 ,taylor and ,mr4 ,lockett ,h4 ,thomson for the valuable assistance they have rendered in various ways2 and to ,messrs4 ,g4 ,bell ,sons1 ,messrs4 ,chapman ,hall1 ,messrs4 ,charles ,chenil ,co41 ,messrs4 ,j4 ,m4 ,dent ,sons1 ,mr4 ,william ,heinemann1 and the ,proprietors of ,la ,gazette du ,bon ,ton1 ,punch and ,the ,sketch for permission to reproduce drawings of which they possess the copyrights4 ,,contents 8,notes and ,appreciations40 ,by ,george ,sheringham #a ,,list ,,of ,,illustrations ,albano1 ,francesco4 ,pen ,drawing4 ,photo1 ,anderson #eh ,artist ,unknown4 ,drawing in ,pencil and ,chalks4 ,photo1 ,giraudon #gb ,barbieri1 ,giovanni ,francesco4 7,see ,guercino7 ,bateman1 ,h4 ,m4 ,an ,open ,space 7pen7 #adj ,beardsley1 ,aubrey4 ,john ,bull 7pen7 #abj 8 8 ,pen ,drawing #aba ,bjot1 ,eugne4 ,le ,quai de ,paris ,rouen #agh ,belcher1 ,george4 ,drawing in pencil and wash #ada ,bell1 ,r4 ,anning1 ,r4,a41 ,r4,w4,s4 ,pen ,drawing #afd ,bellini1 ,gentile4 ,the ,turk 7pen74 ,photo1 ,anderson #dj 8 8 ,the ,turkish ,lady 7pen74 ,photo1 ,anderson #da ,blake1 ,william4 ,the ,soul hovering over the ,body 7pen and wash7 #aai ,blampied1 ,e41 ,r4,e4 ,the ,sick ,mother 7pen7 #adg ,bone1 ,muirhead4 ,front of the ,quirinal ,palace1 ,rome 7pencil7 #afj 8 8 ,quai du ,canal1 ,marseilles 7pencil7 #afa ,botticelli1 ,sandro4 ,abundance 7pen pencil7 #dg ,boutet de ,monvel1 ,bernard4 ,venus et l',amour 7pen7 #ahb 8 8 8 8 ,pen ,drawing #ahc ,brangwyn1 ,frank1 ,r4,a4 ,the ,steam ,hammer 7pen and chalk7 #aci ,burne-,jones1 ,bart41 ,sir ,edward4 ,seven ,works of ,mercy 7pencil7 #abf ,callow1 ,william1 ,r4,w4,s4 ,the ,rialto1 ,venice 7pencil7 #acb ,canaletto4 ,pen ,drawing4 ,photo1 ,mansell #gf ,carlgle1 ,e4 ,pen ,drawing #ahd ,clarke1 ,harry4 ,pen ,drawing #aea ,claude ,lorrain4 ,pen ,drawing #ga ,constable1 ,john1 ,r4,a4 ,salisbury 7pencil7 #he ,correggio4 ,the dead ,christ carried off by ,angels 7pen74 ,photo1 ,brogi #ca ,cosway1 ,richard1 ,r4,a4 ,henry 7pencil and chalk7 #hc ,cotman1 ,john ,sell4 ,on the ,yare 7pencil7 #hf ,crawhall1 ,joseph4 ,pen ,drawings #aff ,dance1 ,george1 ,r4,a4 ,parke1 ,musician 7pencil7 #hg ,daumier1 ,honor4 ,en ,troisime 7pen and wash7 #ih 8 8 ,les ,trois ,connaisseurs 7pen and wash7 #ii ,dulac1 ,edmund4 ,pencil ,study #agj ,du ,maurier1 ,george4 ,pen ,drawing #aac ,drer1 ,albrecht4 ,a ,courier 7pen74 ,photo1 ,anderson #be 8 8 ,the ,rhinoceros 7pen74 ,photo1 ,anderson #bf 8 8 ,the ,procession to ,calvary 7pen74 ,photo1 ,brogi #bg 8 8 ,praying ,hands 7pen74 ,photo1 ,mansell #bh ,emanuel1 ,frank ,l4 ,pencil ,drawing #ach ,fisher1 ,a4 ,hugh1 ,a4,r4,e4 ,pencil ,drawing #adc ,flint1 ,w4 ,russell1 ,r4,w4,s4 ,women quarrelling 7pencil7 #acd ,forain1 ,j4 ,l4 ,pen ,drawing #agd ,foster1 ,birket1 ,r4,w4,s4 ,pen ,drawing #ib ,fragonard1 ,j4 ,h4 ,cupids playing around a fallen ,hermes 7pen7 #gi ,gainsborough1 ,thomas1 ,r4,a4 ,the ,harvest ,wagon 7pen74 ,photo1 ,mansell #hb ,girtin1 ,thomas4 ,carnarvon ,castle 7pencil7 #hi ,greenaway1 ,kate4 ,pen ,drawing #aaf ,griggs1 ,f4 ,l4 ,pen ,drawing #afe ,guardi1 ,francesco4 ,venice 7pen7 #gg ,guercino1 ,il4 ,pen ,drawing4 ,photo1 ,anderson #eg ,hill1 ,adrian4 ,folkestone 7pencil7 #acg ,hill1 ,vernon4 ,a ,sleeper 7pencil7 #aeh ,holbein1 ,hans4 ,the ,family of ,sir ,thomas ,more 7pen7 #bi ,houghton1 ,a4 ,boyd4 ,pen ,drawing #aaa ,hubbard1 ,e4 ,hesketh4 ,s4 ,anne's ,gate1 ,salisbury 7pencil7 #aed ,hughes1 ,arthur4 ,unseen 7pen7 #aah ,ingres1 ,j4 ,a4 ,d4 ,madame ,gatteaux 7pencil74 ,photo1 ,mansell #ie 8 8 ,paganini 7pencil7 #if 8 8 ,c4 ,r4 ,cockerell 7pencil7 #ig ,jones1 ,sydney ,r4 ,near ,chesham1 ,bucks4 7pen7 #aeg ,jouas1 ,c4 ,drawing in pencil and coloured chalks #age ,keene1 ,charles4 ,pen ,drawings #aje to #aji ,lalanne1 ,maxime4 ,delft 7pen7 #aga ,laroon1 ,marcellus4 ,a ,hunting ,party 7pen pencil7 #gh ,lawrence1 ,sir ,thomas1 ,p4,r4,a4 ,lady ,mary ,fitzgerald 7pencil7 #ic ,leonardo da ,vinci4 ,pen ,studies4 ,photos1 ,anderson and ,brogi #cb 8 8 8 ,head of an ,old ,man 7pencil7 #cc 8 8 8 ,madonna and ,child 7pen74 ,photo1 ,anderson #cd 8 8 8 ,head of a ,young ,woman 7pen74 ,photo1 ,braun ,co4 #ce ,lepre1 ,a4 ,le ,vieux ,menton 7pen7 #agf 8 8 ,crvecur 7pen7 #agg ,lhermitte1 ,l4 ,pen ,drawing #adf ,mahoney1 ,james4 ,pen ,drawing #aaj ,may1 ,phil4 ,a ,portrait of her ,grandmother 7pen7 #abb 8 8 ,drawing in pencil and chalk #abc ,mc,bey1 ,james4 ,the ,stranded ,barge 7pen7 #afg ,meryon1 ,charles4 ,pencil ,drawing #aja ,michelangelo4 ,pen ,drawings4 ,photo1 ,anderson #db1 #dc1 #df 8 ,pen ,drawing #de ,morland1 ,george4 ,pencil ,drawing #hf ,new1 ,edmund ,h4 ,grasmere ,church 7pencil7 #aeb ,north1 ,j4 ,w41 ,r4,a4 ,the ,gamekeeper's ,cottage 7pen7 #aag ,orpen1 ,sir ,william1 ,r4,a4 ,mother and ,child 7pencil7 #adh 8 8 8 ,after ,bathing #adi ,ospovat1 ,henry4 8,life might last6 ,we can but try0 7pen7 #afc ,ostade1 ,adriaen van4 ,tavern ,scene 7pen7 #fh ,parmigianino4 ,pen ,drawing4 ,photo1 ,brogi #ge ,partridge1 ,bernard4 ,place du ,pillori1 ,pont-,audemer 7pen7 #acc ,pellegrini1 ,riccardo4 ,palm ,sunday in ,italy 7pen7 #abe ,peruzzi1 ,baldassare4 ,pen ,drawing4 ,photo1 ,anderson #cg ,philpot1 ,glyn ,w41 ,a4,r4,a4 ,pencil ,study #afh ,pinturicchio1 ,bernardino4 ,young ,woman with ,basket 7pen7 ,photo1 ,brogi #ca ,pinwell1 ,c4 ,j4 ,the ,old ,couple and the ,clock 7pencil7 #aae ,poulbot1 ,f4 ,pen ,drawing #aha ,poussin1 ,nicolas4 ,pen ,drawing #gj ,rackham1 ,arthur1 ,r4,w4,s4 ,pen ,drawing #aej ,raphael4 ,pen ,drawings4 ,photo1 ,anderson #di1 #ec 8 ,la ,vierge 7pen74 ,photo1 ,mansell #ej 8 ,pen ,study4 ,photo1 ,mansell #ea ,raphael1 ,school of4 ,pen ,drawing4 ,photo1 ,anderson #ed ,rembrandt4 ,lot and his ,family leaving ,sodom 7pen74 ,photo1 ,anderson #fa ,rembrandt4 ,saskia 7pen7 #fc 8 ,old ,cottages 7pen7 #fd 8 ,pen ,drawing #fd 8 ,judas restoring the ,price of his ,betrayal 7pen74 ,photo1 ,braun ,co4 #fe ,rossetti1 ,dante ,gabriel4 ,pencil ,drawing #abg ,roubille1 ,a4 ,pen ,drawing #agi ,russell1 ,walter ,w41 ,a4,r4,a4 ,pencil ,study #aei ,sambourne1 ,linley4 ,the ,black-and-,white ,knight 7pen7 #aca ,shepperson1 ,claude ,a41 ,a4,r4,a41 ,a4,r4,w4,s4 ,the ,child 7pencil7 #ace ,sime1 ,s4 ,h4 ,pen ,drawing #aee ,spurrier1 ,steven4 ,pencil ,study #add ,steinlen1 ,t4 ,a4 ,les ,bcherons 7pen7 #agb 8 8 ,laveuses #agc ,stevens1 ,alfred4 ,pencil ,study #ajb ,sullivan1 ,edmund ,j41 ,a4,r4,w4,s4 ,robespierre's ,list 7pen7 #ade ,tenniel1 ,sir ,john4 8,what's this80 said the ,lion 7pencil7 #abh 8 8 ,three little ,men 7pencil7 #abh ,tiepolo1 ,g4 ,b4 ,faun and ,nymph 7pen7 #gc ,tintoretto4 ,pen ,drawing4 ,photo1 ,brogi #ei ,titian4 ,pen ,drawings #ch1 #ci ,tonks1 ,henry4 ,pencil ,study #afi ,turner1 ,j4 ,m4 ,w41 ,r4,a4 ,carew ,castle ,mill 7pencil7 #ij 8 8 8 ,monow ,bridge1 ,monmouth 7pencil7 #ia ,velasquez4 ,philip ,,iv 7pen7 #fj ,velde1 ,adriaen van de4 ,le ,passage du ,bac 7pen74 ,photo1 ,mansell #fi ,veronese1 ,paolo4 ,pen ,studies #ee ,verpilleux1 ,e4 ,pencil ,drawing #aec ,vinci1 ,leonardo da4 7,see ,leonardo74 ,visscher1 ,cornelis4 ,portrait ,study in pencil #fg ,walker1 ,fred1 ,a4,r4,a4 ,a ,dark ,deed 7pencil7 #aab ,whistler1 ,j4 ,mc,neill4 ,girl with ,parasol 7pen7 #abi ,wilkie1 ,sir ,david1 ,r4,a4 ,the ,mail ,coach 7pen7 #ajc ,winterhalter1 ,franz ,xaver4 ,portrait ,studies in pencil #ha ,printed by ,herbert ,relach1 ,ltd41 #ai-bd1 ,floral ,street1 ,covent ,garden1 ,london1 ,w4,c4#b4 ,,notes ,,and ,,appreciations ,a drawing is a thing to be looked at and not written about4 ,pages and pages written about it will not make a good drawing bad nor a bad drawing good2 nor will they1 unfortunately1 really equip and instruct anyone to know the one from the other--should he happen to lack that subtle sense whereby such things are known2 for the reason why one drawing is justly ranked as a masterpiece while another is thrown away lies hidden on the plane of our more transcendental perceptions--such1 for example1 as the sense whereby we know whether a note is in tune or out of tune2 and further3 whether a musical composition is base in its gesture or great4 ,at present the majority of people lack these senses but1 due to a guiding justice1 this fact rarely if ever prevents the artist who has achieved something great from receiving1 though it may have been long retarded1 his full meed of praise eventually4 ,that the praise is so often belated and the appreciation of an artist retarded until1 for him1 it has lost its savour is due to many causes3 so long as the competitive and childish habit persists--of awarding the palm of greatness to one man's work by the simple expedient of simultaneously condemning someone else's--narrowness and prejudice will continue to trouble the artist4 ,it should surely not be difficult to realize that the world of art--like the ,kingdom of ,heaven--has many mansions1 and that1 though both have their 8housing problems10 still--in both there is room for many4 ,in life the 8housing problem0 for the artists is acute and vexed--they have to scramble for a place and1 in the scramble1 if some are unduly praised far more are unduly blamed4 ,death seems to be the only arbiter of justice for them4 ,in the struggle for recognition none are more unscrupulous and narrow than the artists themselves2 with the instinct of self-preservation strongly developed in them they1 metaphorically1 deal what they hope will be death-blows at all who stand in their way4 ,it is easier for a camel to go through the eye of a needle than for an artist to be a just critic of his contemporaries4 ,the truth of this assertion is easily tested3 ask an artist his opinion of a mixed dozen of old masters--he will have words of praise for all of them and his comparisons will be just and true4 ,then ask him his opinion of a dozen of the leading artists of his own day--he will not have words of praise for more than two2 and if by chance he should still be a student in the schools he will find himself only able to praise one of them2 and the remarks he will make about the others will be in questionable taste6 ,even our most revered old masters gave way to this human weakness4 ,for instance1 ,michelangelo treated ,leonardo as though he held him in profound contempt2 especially in a little matter connected with the casting of a bronze4 ,in fact--each paid the other the compliment of jealousy4 ,the deplorable battle that had to be waged before ,whistler's genius could be accepted is also a good example4 ,in the very forefront of the fight rode ,whistler shamelessly wounding1 for the sake of his own aggrandizement1 his opponents1 who were really his brother artists4 ,viewed at this distance of time it looks a dirty business1 and several good artists are only now healing of their wounds4 ,he is forgiven of course1 firstly because he was a genius of a high order and secondly because of his wit and the irresistible style with which he handled his weapons2 and thirdly because he was1 of course1 most venomously attacked on all sides himself4 ,it was the power of ,whistler's caustic wit that caused the prestige of our leading art society to become so undermined that1 until quite recently1 many of our greatest living artists could not face the ignominy of exhibiting there2 and to this day one still meets with the bashful student who has to deny himself any visits to its exhibitions6 99 99 99 99 99 ,fenollosa says3 8,art is the power of the imagination to transform materials--to transfigure them--and the history of ,art should be the history of this power rather than the history of the materials through which it works40 ,in the limited size of this book neither the one nor the other history is attempted of ,european pen pencil art4 ,had either been intended the ,english draughtsmen could not so preponderate in it4 ,that they do so is due to the fact that the book is intended primarily for the ,english public1 and is published in the hope that it may help somewhat to stimulate its appreciation of what its own artists have done and are doing1 and what the great masters did in the past4 99 99 99 99 99 ,drawings have this great advantage--that they convey their meaning instantly4 ,they tell their story more swiftly than a telegraph-form1 whereas ideas on a printed page have to be assimilated in the usual processional order4 ,so whoever looks through this collection of drawings with intelligent interest must be rewarded with a share in the vision of many great men on a great variety of subjects4 ,and whether he is conscious of the process or not he must retain some memory of each2 perhaps--with luck and other qualities--a very clear memory4 ,for it is a gain1 a privilege and a delight to be able to assimilate in an instant the fine idea of a great artist4 ,surely1 too1 it must give to the reader a momentary feeling of freedom from the shackles of space and time4 ,my point is that it would take the briefest writer many pages to present to the student of psychology the personality and character of1 say1 the ,earl of ,surrey1 as they are conveyed to him by ,holbein's drawing--in one coup d'il4 ,and it would be indeed a long book that gave him as adequate a presentment 7as do these drawings7 of a hundred different persons1 places and incidents by a hundred different writers4 ,for in this book are drawings that will teach him to see like gods1 like super-men1 like birds1 like swashbucklers1 and even to see with the eyes of little old ladies4 ,and ,michelangelo1 in return for a glance1 will give him his great conception1 and ,mr4 ,bateman will crack ten jokes with him in as many seconds4 ,but it takes two to establish a work of art--the artist and the other man2 and even then the other man can only take from it what he can put into it3 ,mr4 ,bateman's jokes fall flat if the other man has no sense of humour4 ,michelangelo has no message for the man entirely unfamiliar with fine ideas4 ,the artist can but launch his work of art on the world and hope that the other man will recognize it4 ,such diversity of presentment as the collection of drawings in this book gives should do something to inculcate a more catholic appreciation of art than one finds in that unpleasant being--8the average man40 ,it is the critic's business to educate the public to that catholicity of appreciation1 but unfortunately he may delight in doing the opposite3 too often ,ruskin's eloquent writings did but beautifully express his bigoted prejudices4 ,his eloquence succeeded in foisting upon the public as masterpieces--meriting comparison with the works of ,titian and ,tintoretto--certain banal1 third-rate ,victorian water-colours4 ,and he is committed to a description of ,canaletto as a base painter--because ,canaletto painted into a picture what ,ruskin considered an unworthy artifice4 ,the critical faculty is to a considerable extent intuitive and sub-conscious1 and therefore to concentrate only along a special line of thought is the worst possible training for a critic4 ,however1 the ,english people1 having ceased to rely so completely on ,john ,ruskin to do their thinking for them1 and growing suspicious of the carping of that most irascible critic have1 among other things1 discovered the splendid sincerity of ,canaletto for themselves4 ,let us hope that they had the generosity1 in embracing ,canaletto1 to do so without discarding someone else of equal value2 but1 as a rule1 immobile minds cannot take in a new thought without first ejecting some other3--our grandfathers worshipped at ,raphael's shrine2 our fathers at ,turner's and we--losing interest in both--have 8discovered0 ,velasquez2 the talk in the schools and coteries is of ,leonardo and ,uccello while ,rubens1 too1 is forgotten or disapproved4 ,cannot ,uccello be great without the depreciation of ,raphael6 ,or must partisan hero-worship be carried on about art in the same spirit as the butcher-boys of rival firms wear light or dark blue ribbons on one special day in the spring6 ,surely the real value of art in this world lies in its diversity and infinite variety4 ,the artist's principal function in the community is that he teaches it to see4 ,this is the great man's final achievement4 ,so that men who come after him say3 8,ah1 it was ,rembrandt who taught us how glorious a thing is light02 8it was ,whistler who showed us the mystery of the evening and the beauty of the ,thames02 8,turner who gave us sunsets and ,velasquez who taught us the marvel of our physical vision and showed us the very air we breathe40 ,as each new artist reaches the height of his art our horizon should grow wider and the vision of the world more rich4 ,the new generations are going to teach us the beauty of our back streets and gasometers4 ,good luck to them1 for when they have done it our dullest walks will have a zest6 99 99 99 99 99 ,but ,art cannot be of the most truly vital and evolutionary kind unless it is born of national inspiration and has its roots in the social and spiritual life of a people--growing in response to their conscious need and desire for it4 ,we adulate the great ,italian artists instead of paying our homage to the ,italian people for producing them--as they undoubtedly did1 by desiring them2 for art was not only a joy to their kings and prelates but a spiritual need to themselves4 ,in such an atmosphere great men were bound to arise to give form to the ideals and emotions of the nation4 ,other countries have in equal degree made this demand at certain periods of their history2 to mention the more obvious--,egypt1 ,persia1 ,greece1 ,china1 ,france1 ,japan4 ,and in answer--great men have arisen to express what were really national ideals in concrete form4 ,the demands of a king and his court may produce a ,velasquez2 the desire of a city may produce a ,watteau or a ,sargent2 but only the desire of a nation can produce a great school in art4 ,religion once held the artist as her most valuable ally and was1 invariably1 the source of his inspiration in all the greatest masterpieces he gave the world in all branches3 whether in architecture1 sculpture1 painting1 or in the lesser arts of carving1 illuminating1 embroidery1 jewellery4 ,for art has ever reached its high-water mark in the expression of religious ideals or in ministering to the needs of a religious civilization3 the temples of ,egypt1 ,greece and ,ancient ,india2 the paintings of the great schools of ,italy1 ,china1 ,flanders and ,japan2 the sculptures of the ,parthenon and the ,renaissance2 and even the ju-jus of ,africa and ,australasia 7about the virtues of which ,chelsea mimics the adulations of ,paris7 were one and all oblations to the gods4 ,but ,religion in a frenzy of madness drove the artist from her sanctuaries and has not yet admitted the disastrous results of her crime4 ,and all over the world--in the ,east as well as in the ,west--the artist has now retaliated and has gone elsewhere for his inspiration 7and1 incidentally1 has turned1 for the most part1 for his appreciation to the race who are still forbidden by the sacred tenets of their faith to make to themselves 8any graven image074 ,and art is now only the demand of the few4 ,at this particular point in history--a fact that should give us to think--the peoples of all the world are very far from clamouring to see their ideals given form through art4 ,that many of them have ideals and can formulate their desires this generation has had ample proof2 as for instance it had of the ,english--in the war4 ,but the ,english have given innumerable proofs1 too1 that the desire of the mass of this people does not tend towards the arts--for however many great painters the ,english have produced the fact remains that our only national art--except perhaps the school of ,reynolds and a tradition of landscape painting--is1 still1 literature2 as it always has been4 ,it is nothing to us that a national memorial is not conceived on nearly such large or costly lines as are our drapery stores4 ,this causes us no concern whatever2 we get what we want--economy of public money2 and what we deserve--unworthy memorials4 ,to the present-day public the function of the artist is of small importance--his work is there to amuse us1 to flatter our vanity1 to decorate our hideous houses 7with which we are well content7 and1 when he is dead1 to afford us the mild excitement of a little speculative buying4 ,with such a point of view we can produce no great school in art4 ,nothing can change us except we change ourselves4 ,gallant attempts to change us have been made by individuals3 ,ruskin1 in proclaiming one of the world's great painters1 sought to instil some fire of art into our flaccid hearts--and what happened8 ,we pretended to desire great things2 we became sentimental about the 8beauties of nature0 and our insincere desires produced a school of hucksters--who profaned the work of their master and sullied the beauties of nature4 99 99 99 99 99 ,where a country has no national art the message of its great men1 when they come1 has to be completed just so far as they can take it in their own lifetime2 for it is carried no further by those who follow them2 whereas1 when art is national1 all its forms 8interact4 ,from the building of a great temple to the outline of a bowl which the potter turns upon his wheel1 all effort is transfused with a single style10 and the message of a great man may take centuries to achieve its completion and fullness in a progressive unfoldment in evolution4 99 99 99 99 99 ,so many of the greatest drawings of the old masters were done in chalk that it is sometimes difficult to find examples executed in pen or pencil that will bring their work within the scope of this book2 but in the ,family of ,thomas ,more we have an example of ,holbein's pen drawing which could not be better for our purpose4 ,it is obviously the carefully thought out design for a painting of considerable size and1 like all ,holbein's portraits1 is a most intimate and searching study of psychology4 ,composition drawings 7and this one is a good example7 are among the most valuable to us of all works of art4 ,valuable because the composition sketches of a great man are generally pure inspiration throughout4 ,in them he has worked too rapidly to be conscious of his method--he has been as unconscious as a writer is of his hand-writing4 ,napoleon said3 8,inspiration is the instantaneous solution of a long meditated problem02 what more perfect description could one have of a composition sketch1 for the artist does1 as a rule1 meditate a problem for a long time but the moment he finds the solution he sets down his idea with the greatest zest seizing the first thing to hand--generally a pen or a pencil4 ,moreover1 in the first rapid sketch that records his inspiration his mental vision is clear2 the interruptions--inevitable in the slow process of painting a picture--having not yet occurred4 ,this book abounds with examples of sketches done in this way4 ,they may have been done thus1 only as a means to an end1 but that end is often more nearly reached in the 8instantaneous solution0 than in the finished picture that follows--though we may prize this for many other qualities4 ,sidenote3 ,rembrandt ,rembrandt above all others delighted in setting down his ideas in this way2 and there are still in existence nearly nine hundred of these vital drawings of his4 ,i think ,i shall not be contradicted when ,i say that the method by which these ,rembrandt sketches were produced defies analysis3 they are not outline drawings1 nor are they drawings of light 7like ,daumier's sketches71 they are a kind of pictorial calligraphy--as ,sir ,charles ,holmes once pointed out--closely allied to the ,japanese method of brush drawing1 though they are infinitely more varied and are not a set of symbols constantly rearranged and adjusted for each new problem2 as is often the case in ,japanese drawings2 and also in the case of our modern illustrators--who serve up again and again a few threadbare receipts for hats1 boots1 facial expressions and so forth4 ,with these draughtsmen the line has all the hardness that one would expect from the use of a metal point2 the quill pen is incomparably a more sympathetic instrument than the metal pen1 and it is to be hoped that1 as methods of reproduction improve 7and they are improving7 draughtsmen will again take to using the quill4 ,rembrandt has shown us that the quill or reed pen can give a more flexible line than any other instrument or medium 7except perhaps a brush7 that the artist has at his disposal4 ,even chalk has not quite the same possibilities in this particular respect1 because the point is continually crumbling as it is worn away1 and the pencil--so suitable for crisp or delicate work--cannot be used for emphatic statement without the risk of happening upon that heavy quality that is so unpleasant4 99 99 99 99 99 ,it is at about this stage that ,i feel some sort of an essay on drawings and drawing in general is expected of me4 ,however1 as ,i do not expect it of myself it is not likely to happen2 and he who does must1 ,i fear1 be disappointed4 ,i hold the opinion1 as ,i have already said1 that a drawing is a thing to be looked at and not written about and ,i therefore content myself with the simple statement that a drawing is a symbolic arrangement of marks made by an intelligent person with a pointed instrument on a more or less plain surface4 ,now1 though these three essentials--the symbology1 the arrangement and the intelligence of the person--may all be excellent1 the question of whether he may claim to be really a draughtsman or why and when he may not be allowed any such claim will ultimately always be decided by the quality of the marks2 in a drawing these are more usually curved lines2 but to decide whether they have the right quality or the wrong quality is a matter most subtle1 eclectic and erudite4 ,sidenote3 ,hans ,holbein the ,younger ,in ,manchester1 and the north of ,england generally1 business men call an artist's personal style in drawing and design 8his handwriting40 ,and indeed the phrase has a nice aptness1 for the quality of a man's line in pen or pencil work is as personal to himself and as unlike another's as is his calligraphy--and1 like it1 may charm or offend us4 ,however--no one ever has had any doubt about the charm and rightness of the quality of ,holbein's lines4444 8,these are no imitations of classic suggestion but a new creation on parallel lines 444 there are men who can create with the same navet and beauty as the ,ionians4 ,and let it be noted1 too1 that these curves 444 are the farthest removed in all art from the insipidity of the ,renaissance flourishes1 which we sometimes teach as a poisonous miasma in our art schools4 ,these are curves of extreme tension1 as of substances pulled out lengthwise with force that has found its utmost resistance1 lines of strain1 long cool curves of vital springing1 that bear the strength of their intrinsic unity in their rhythms40 ,so wrote ,ernest ,fenollosa--one of the few great writers on art4 ,he was not writing about ,holbein1 but how well he might have been6 ,what an admirable commentary it makes on the drawings of this master draughtsman--8curves of extreme tension 444 cool curves of vital springing40 444 ,look at the drawings of the ,duchess of ,suffolk2 ,thomas ,watt2 ,bishop ,fisher or the ,family of ,thomas ,more 7reproduced here1 p4 #bi7 or any other portrait drawing by ,holbein and ,i think it cannot but be agreed that it is a perfect description of that most difficult thing to describe--,holbein's line4 ,it must be admitted that ,holbein as a decorator seems to have been a different being--8,renaissance flourishes0 were then his stock in trade2 they sprout from every available excrescence4 ,but most fortunately1 in his portraits1 he had no use for the flourish2 and here we are only concerned with his portrait drawings4 99 99 99 99 99 ,sidenote3 ,michelangelo ,one cannot study ,michelangelo without realizing or at any rate suspecting that all presentment of psychology essentially depends upon proportions1 subtly observed2 and though one cannot expect a master in an art school to allow his pupils to draw the model in inaccurate proportions as a general rule he might1 one thinks1 occasionally with advantage--say one day a week--order them to decide in their minds first what type1 psychologically1 they most wish to suggest by the human figure and to think out1 then1 what proportions would best convey the idea of it--deliberately falsifying1 where necessary1 the proportions of the model to achieve their purpose4 ,the proportions in a ,michelangelo drawing are not1 accurately1 those in a human figure4 ,but1 by a general concensus of opinion1 they are accepted as suggesting a psychology more divine than human4 ,this then must have been ,michelangelo's intention4 ,how did he do it4 ,if we cannot learn the secret by studying his drawings we have little else to help us except the following cryptic receipt1 that legend tells us came from him1 and which has still remained undeciphered--8a figure should be pyramidal1 serpentine1 and multiplied by one two and three40 ,is there any connection between it and the occultists' formula--8the one becomes two1 the two three1 and the three seven10 and their axiom that 8,seven is the perfect ,number08 ,the principle of selecting deliberately where the proportions shall be inaccurate to observed fact1 for the purpose of suggesting a desired type1 is not unlike the principle that ,rodin used to convey the idea of action in a figure3--he taught that movement could best be suggested by including in the pose at least two more or less instantaneous positions or movements which could not1 accurately1 occur simultaneously in a human figure4 ,that standard of excellence in art--that a picture or statue should 8be true to life0--has befogged too many of us4 ,art is in its essence and in its finality--artificial4 ,and proficiency is nothing if the obvious1 the non-essential and the trivial have been relied on to convey the artist's idea4 ,reproductions of ,michelangelo's and ,holbein's finest drawings are usually hung in most art schools--as examples of how to draw ,i suppose4 ,but1 with curious inconsistency1 the masters teach their students to do it by a system of straight-line-scaffolding known as blocking in2 a method that has never been used by any of the greater draughtsmen1 but which was1 ,i believe1 imported from ,paris in the 'seventies or 'eighties2 as an antidote1 no doubt1 to the 8poisonous miasma0 that ,fenollosa condemns6 ,however1 competent draughtsmen are1 of course1 produced by art schools here1 as in other countries in considerable numbers1 but it is scarcely a debatable point that what modern art most lacks is tradition4 ,present day conditions make the old system of apprenticeship almost impossible--students are too numerous and the artists too varied and contradictory in their opinions for any workable system of apprenticeship to continue4 ,the few attempts that are made in this direction usually come to an unsatisfactory end4 ,and so tradition is dead or lost4 ,the system as it was practised in the days of the ,renaissance--in conserving tradition--was of immense value to the continuous progress of art2 but in these days the student is thrust from the art school into the world to make his way--as innocent of traditions as a newly-hatched sparrow is of feathers4 ,he is equipped with the experience and opinions of his fellow students and the maxims that are the stock in trade of the professional art-master2 who--though he is sometimes a real teacher and even an inspired and inspiring teacher--is far more often merely an artist earning his living by instructing his pupils in a system that he has himself evolved1 and which he is quite unable to demonstrate has ever been used by any great draughtsman or painter4 ,to quote an example--no doubt an extreme case but a fairly typical one--the student will be shown1 as ,i have already said1 a fine ,holbein drawing1 and urged to emulate and study it with the closest attention2 but to do so he is given a blunt stick of charcoal and a piece of white machine-made paper and initiated into a system of indicating measurements and directions with heavy black lines4 ,it is implied that all the great masters began their careers by working in this way though1 for obvious reasons1 no proof of this can ever be produced4 ,it is further implied that if he will apply himself to the art-master's method with real zeal he will in time be able to produce drawings like ,holbein1 ,ingres or ,leonardo4 ,if the student is a natural draughtsman he invariably breaks away from the art school's set of rules2 and the master generally has wit enough to let him go his own way4 ,but the others--well the others generally learn later in life with some bitterness how they have been duped2 unless they have had the good fortune to be the pupils of ,mr4 ,walter ,sickert or ,professor ,tonks--who both really have traditions from the old masters4 ,it would be wiser and better that the proprietors and governors of most of our art schools should say frankly--8we cannot teach drawing as the great draughtsmen were taught1 we teach a fairly serviceable method of drawing which it must be clearly understood is intended to be painted over40 ,however--their system of teaching drawing seems to be much sounder than their system of teaching painting4 ,at this point ,i want to say too1 that though the word 8rhythm0 is often uttered in the schools very little that is useful or illuminating is taught there about this most subtle and essential quality in art4 ,essential in drawing1 in line1 in spacing1 in chiaroscuro and in composition4 ,it is always present in the work of the greater masters4 ,curiously enough1 too1 it is often the one quality that causes a lesser man to hold rank among them4 ,a drawing can hardly be stated by one line1 usually it needs many1 and rhythm is the principle whereby the draughtsman can make a number of complex statements in a drawing synthetically an harmonious whole4 ,it is by rhythm that every line is related to every other line3 they have the same relation to each other on the paper as dancers have one to another in a ballet4 ,when a ballet--such as ,the ,humorous ,ladies--has been danced to its conclusion1 though there may have been many movements1 each and all were in sympathy with each other and with the main theme4 ,rhythm is1 ,i think1 the secret of the charm or power in the work of artists as widely different as ,m4 ,leon ,bakst1 ,lovat ,fraser and ,claude ,shepperson4 ,the modern art school seems to be a sort of clearing house for the elimination of the student who thinks the life of an artist more attractive than--say--life in an office4 ,this type predominates in practically all art schools4 ,he 7or she7 is intensely serious about being an artist1 but is not seriously interested in art4 ,after a period more or less prolonged1 this kind of neophyte discovers that the work of an artist is not materially assisted by sombrero hats1 flowing ties1 bobbed hair1 corduroy trousers1 fancy-dress dances1 views about free love1 all night discussions about ethics--and so on1 one need not continue the familiar list4 ,having1 ,i say1 discovered that the most assiduous cultivation of these exciting manners and customs does not constitute the life of an artist this neophyte drops out of the race1 as far as the art world is concerned1 and disappears4 ,years of hard work and perhaps actual privation were not in his contract with the ,muse1 at least--he did not notice the clause6 ,if that hard-work business was the game then no candle was worth it6 ,is there any harm done4 ,as far as the unserious student is concerned1 ,i suppose there may have been some good1 but his effect on the art school is wholly bad4 ,it makes anything approaching to the old system of apprenticeship impossible2 and we have any number of proofs that this old system was the right one4 99 99 99 99 99 ,whether art is national or personal in its message there is no doubt that its artists are a peculiar people2 they consist of two kinds 7but many sects73 one--the craftsman--has a mission to create exquisite things and the other has a mission to see exquisitely and to teach others to see exquisitely too4 ,it is not possible to predict what new thing the craftsman will next make beautiful or what new thing the artist will next interpret as beautiful4 ,they are inspired by a spirit that bloweth where it listeth4 ,how great the power of this spirit in us still is is proved by the astonishing number of unlovely things that have been lately revealed to the world as beautiful1 through the mysterious alchemic process of this spirit of vision working in the artist4 ,but the spirit of inspiration did not always work thus4 ,some centuries ago--when we had not so long emerged from ,greek thought and the influence of ,plato--the process was almost the reverse4 ,it required that the artist should first see beautifully on the plane of ideas some mental conception and then give it birth in a material form4 ,in those days the sthetic sense was the guiding intelligence that moulded man's civilization and environment4 ,in other words art produced the environment that produced the artist4 ,communing with the spirit1 the artist1 looking inward and not out1 sought his subject in his own mind or soul2 and only through his art did it become an objective reality for others4 ,but now1 to-day1 the sthetic principle no longer moulds our civilization2 has but a negligible influence even on our thought and no effect upon the practical affairs of life4 ,we train our workers to live and labour without a knowledge even that such principles exist or that in past ages such ideas controlled the growth of nations4 ,that era is now closed1 for 8no phase or school of art in human society1 however beautiful1 but contains within itself the germs of its own destruction40 ,from the beauty of the past comes the grim battle-field of to-day--where we wage our keen struggle for existence4 ,governments cannot be taking architecture seriously when they are too out-at-elbows to find housing accommodation for their populations--even in thea meanest huts4 ,and so it follows that their smaller buildings--such as their post-offices1 labour exchange bureaus1 etcetera--are quite unashamedly practical2 in the most commonplace sense4 ,meanly designed and economically executed to the lowest contractor's tender1 ignoring even the simple1 strong beauty that can be achieved merely by mechanical efficiency 7except recently in a few local housing schemes7 they hedge us about on all sides against the old sthetic sense4 ,dimly we are aware that we have lost that guiding intelligence--the spirit of art--that lighted the path for our forefathers2 and shamelessly we ignore all the wealth of tradition we inherited from the preceding eras of their greatness4 ,and the artist--has lost his inner vision4 ,and in his place a new one has been evolved2 one who is equal to the task that we have set him3 he paints--not ideas but--life as he finds it2 he paints experiences2 he records emotions2 if he receives a visual shock--he cannot make enough haste to do a picture recording it2 for to him it is a psychological experience and therefore supremely worth recording4 ,we here set him about with evils and surround him with the sordid and ostentatious2 the spirit working in him by a new alchemy has called evil good2 what will happen to the world if he should forget and call good evil6 ,let us hope rather that the spirit of vision--guiding him now to look outward on the visible world for his subject--will inspire him to penetrate the darkness of the sthetic desert we have set about him2 and that--again communing with the spirit--he will give us--not1 as before1 ideals from his own mental psychology but--see for us and reveal to us finely the mass-psychology of mankind4 ,but it is not possible to prophesy what the art of the future may be that mankind of the future will approve4 99 99 99 99 99 ,france has now no national art--save her sense of humour 7and we all know to what she turns infallibly for stimulation in that67 but she does know a great man when she produces one2 nor does she confound him with a lesser artist1 however much excitement she may indulge in in making a passing fashion of the latter3 her pride in ,puvis de ,chavannes does not waver4 ,she has recently had some men of genius1 and they are typically ,french1 but can we accept them as having founded a national art in ,france8 ,no--for we experience the fact that the truths that ,czanne1 ,van ,gogh and ,gauguin came to teach are no truer for restatement by their disciples1 nor have they been further illuminated for us by the endless repetitions of their personal conventions4 ,but the astonishing fact is now being daily insisted upon by some among us that the art of these ,frenchmen is national to ,england6 99 99 99 99 99 ,england once came near to having a national art--in the school of ,reynolds1 ,gainsborough1 ,romney and ,lawrence4 ,at any rate their work1 reproduced in coloured-engravings by men almost their equal1 did reach the people in response to their demand for it and so became at least a national tradition2 brilliant but all short-lived4 99 99 99 99 99 ,sidenote3 ,joseph ,crawhall ,ultimately it is the love of the people that alike crowns the king or acclaims the artist1 and until this happens no artist can be sure of a prominent rank among the great2 however much seeming popularity he may enjoy in his lifetime4 ,but there are reasons why an artist is sometimes not given the rank he deserves until long after he should be--apart from those supplied by the uncatholic point of view engendered in the people by lack of education and the jealousy engendered in his contemporary artists by their struggle for recognition4 ,for instance--he may complete very little work2 or else his work may not be seen or known except to a few private collectors and dealers1 who are wisely but selfishly exploiting it commercially2 thus the recognition of his work by the public may be retarded1 for the simple fact that it does not know of its existence3 as in the case of ,joseph ,crawhall1 who1 when his work is known1 will undoubtedly be given the high rank he deserves and become as famous to the public as he is now to the collector4 ,i do not hesitate to prophesy this in spite of the fact that ,i once heard one of our best known critics state with considerable fervour that he wished ,crawhall had destroyed all he had ever done instead of only what he did destroy 7probably nearly or quite half his work74 ,an artist as a rule lives by selling his work and though the fact that works of art are articles of commerce may delay or accelerate the verdict on him it will not ultimately affect it4 ,these things are on the knees of the gods2 for though he1 in his lifetime1 may receive from educated people a concensus of approval1 posterity may yet reverse the judgment4 ,he may have been approved because his work was bought1 and his work may have been bought for much the same reason that some persons back horses4 ,in fact there is a certain resemblance between the two4 ,in the art world1 as on the race-course1 the favourites are obvious and expensive2 and1 to continue the analogy1 outsiders have a most unexpected way of turning out to be winners4 ,but here the analogy must end--for a dead artist may be a little gold-mine whereas a dead racehorse is merely cat's-meat4 ,michelangelo is still a winner3 it is interesting to know that reproductions of his drawings are1 to-day1 sold in far larger numbers than are the reproductions of any other man4 ,to the student of drawing he is still a god and1 because of his superhuman ability to draw1 he lives in the student's mind in a divine halo4 ,with regard to works of art considered as speculative investments ,i offer the following advice3 be sure you know a good drawing when you see one1 and buy a man's drawings when he is young4 ,to wait until he has proved himself as a painter before accepting him as a draughtsman is1 economically1 a bad principle4 ,he--the now arrived painter--will multiply the original price of his early drawings by twenty and pocket his just but belated reward4 ,belated1 because it would have been far more valuable to him in the early days of his career to have sold the same drawings for smaller sums when1 probably1 money was hard to come by and may have meant much in the completion of his training4 ,and the drawings will probably be as good as any he will ever do2 for1 later in life1 when drawing is practised with a view to painting1 the results are generally more summary and1 though frequently more masterly1 they seldom have quite the same sincerity as those done early in life1 when--as a rule forbidden by his teacher to paint--he will put into his drawings the whole of his best endeavour and aim at creating a drawing that shall be a complete work of art in itself2 with the result that these early productions are often 8arrived0 works of art1 with a special beauty and interest of their own1 even before he has emerged from the student stage himself4 ,sidenote3 ,augustus ,john ,there are many instances of this among the old and modern masters4 ,among the latter there is ,mr4 ,augustus ,john1 who1 while still at the ,slade ,school1 produced drawings that proved him to be a great draughtsman2 and though his recent drawings may be the product of maturity--they may be finger-posts1 as it were1 to new and original fields of art--they have demonstrated the fact no more forcibly than did his early work4 99 99 99 99 99 ,certain collectors1 of course1 have been fully alive to this point about the work of young artists1 and those who acquired some of the early drawings of our greater men a few years ago must now be congratulating themselves on their discernment2 also on their astuteness--for they probably acquired these masterpieces for absurdly small sums4 ,it is the public rather than the collector who has been slow to realize the decorative value and charm of drawings4 ,is it confusing them with the large1 bloodless engravings of the ,victorian dining-room8 ,if so1 it is a pity2 for drawings are a most fitting form of wall decoration for small rooms3 in their slight suggestion of subtle colour they harmonize admirably with plain distemper walls--decorating without being obtrusive--they take their place quietly in the scheme of the room4 99 99 99 99 99 ,sidenote3 ,drer ,but to return to the old masters4444 ,drer's work is essentially and typically ,german1 and reveals the old ,german spirit at its best--as it was in its romantic age before ,luther4 ,to study ,drer's drawings is to become convinced of the truth of medival legend3 mystical symbology--in passing through the crucible of his mind--issues thence established as historic fact2 and it would be as true to say of him that historic fact--passing through the same crucible--becomes mystically symbolic4 ,in everything he did one feels that the primary interest of each drawing for him lay always in a metaphysical1 religious or philosophical idea4 ,in all of them there is what ,whistler condemned as out of place1 in a picture1 and called1 8the literary quality40 ,if ,taine1 the ,frenchman1 be right1 he puts ,whistler's argument out of court2 for ,taine is convinced that the artist's whole raison d'tre and mission is to present and interpret to the people in a simple language that they can understand the philosophical and other ideas they desire but cannot formulate for themselves4 ,under the old spirit of art the artist undoubtedly did recognize this as his mission1 whereas to-day he often contents himself--like the modern playwright--by presenting the people with problems1 in the hope perhaps that they will supply him with the solutions at which he has not yet himself arrived2 and by believing that the intellectual exercise involved may be as educative for them as were the methods of the earlier masters4 ,at any rate ,drer's works stand as a formidable monument to the rightness of ,taine's theory4 ,certainly in the art of illustrating ideas it would be difficult to find anyone to surpass ,drer2 or to surpass him in his fine sense of how to decorate a page4 ,but throughout his work one feels a lack of any sense of humour2 and also1 perhaps of spontaneity4 ,if genius is an infinite capacity for taking pains--then ,drer was a genius4 ,in all his work there is an immense sincerity2 and this carries him to great heights in some of his religious drawings--for instance in that superb wood-cut of his of ,christ praying in the ,garden of ,gethsemane4 ,sidenote3 ,leonardo da ,vinci ,it would be misleading to say that there was much in common in the outlook of ,drer and ,leonardo and yet ,i am tempted to point out that there was a certain similarity1 in spite of the fact that the vision of the latter was infinitely more gracious2 at any rate they both included caricature and architectural draughtsmanship among their arts2 and both were interested in mathematics and science4 99 99 99 99 99 ,what a strange race of supermen might be evolved if science and art could combine to give birth to a progeny in which the essence of both were equally mingled4 ,once upon a time by some miracle of the ,gods and ,muses such essences were so mingled1 and a son was brought to birth whose doings were an astonishment and delight to his contemporaries and whose work was a record and proof of the success of the experiment4 ,but the experiment was not repeated1 and one may hazard a guess which ,muse it was said 8,a most successful and unexpected result2 add the data to the sum of human knowledge and let us proceed to the next experiment on our schedule60 ,and the most artistic of scholars and the most scholastic of artists remains a lonely figure1 for whom we can find no comparison3 a fascinating enigma for the race4 ,he not only astounded and delighted his contemporaries but each succeeding generation2 nor have we yet measured the extent of the knowledge materialized in the work of ,leonardo da ,vinci4 ,the creative artist is not satisfied with an intellectual grasp of a truth1 for his aim must always be to translate abstract ideas into form2 to clothe his thought in a visible or aural body4 ,to the mind of the scholar1 though1 he must appear a most practical1 almost utilitarian being--one who does not regard the acquirement of knowledge as an end sufficient in itself6 ,leonardo da ,vinci combined in his personality the genius of both types4 ,his scientific drawings are full of the finest sthetic feeling2 his sthetic drawings are a marvel to the scientist4 ,he had a passionate love of research1 and the fact that he left so few completed paintings must be attributed to his having devoted so much of his energy to research4 ,he did1 however1 leave great numbers of drawings that1 by common consent1 are ranked among the greatest achievements in art4 ,they are the unique records of one of the noblest minds the race has produced--that of a supreme master of creative art4 99 99 99 99 99 ,sidenote3 ,daumier ,i always think of ,daumier as of a man going through the dark and crowded streets of a city holding a lighted lamp and thrusting it into dusty corners4 ,and of him shaking with ,gargantuan laughter--while he watches the antics of the strange people he discovers--and penetrating with a glance to the very depths of their pathetic and ridiculous souls4 ,but while his pencil mocks them his great heart loves them6 ,i have heard it asserted that ,daumier drew like a sculptor1 but ,i think it would be nearer the truth to say that in his finest drawings he is concerned first and last and all the time with light4 ,for him this was scarcely a limitation3 the light rays are gathered by the point of his pencil and fixed--by some alchemic process of his will on the paper--to glow there for our satisfaction as long as his drawings endure4 ,whereas1 in a sculptor's drawings1 light is but a means to an end 7he would carve the paper if he could67 he throws lines like measuring cords round the form--each a statement of some measurement of contour--and having established in this way a mass1 he is able to take from it the elevation of all subsidiary and related forms with1 one might say1 his mental calipers4 ,a process of drawing widely different from that practised by ,daumier4 99 99 99 99 99 ,sidenote3 ,ingres ,one cannot help feeling that1 to this aristocrat of ,french artists1 a display of emotions in a drawing would have been a most unclassic and plebeian sign of weakness4 ,and one seems to know that in ,ingres' art of pure unemotional drawing--his eye measured1 his brain commanded1 his hand obeyed and the pencil glided from one position to the next by the most direct path1 a curve so slight as to be almost straight2 leaving its grey immaculate line to prove its absolute obedience to the draughtsman's will 444 and so the drawing would grow without an unnecessary stroke or a correction2 simply the unfoldment of a preconception carried out according to plan and justly recording his penetrating analysis of a subject4 ,the guiding star and strength of ,ingres' genius was his conviction that he could not err4 ,m4 ,anatole ,france tells a characteristic story of an encounter with ,ingres in his own youth3--he was at the opera one evening1 the house was full and not an empty seat was to be seen4 ,suddenly an impressive looking stranger stepped up to him and said 8,young man1 give me your seat--,i am ,monsieur ,ingres40 ,how consistent the great man was6 ,from his earliest youth he appears to have never doubted himself or his work2 there was calm assurance in everything he did4 ,elsewhere in these notes ,i have referred to the fact that artists often do their finest drawings early in life1 and here we happen on one of the young men of whom ,i wrote3 ,ingres did some of his finest drawings twenty or thirty years before he painted his most famous pictures4 ,that marvellous drawing--,the ,stamaty ,family--is dated #ahah1 and the ,lady with ,sunshade--as perfect a portrait drawing as could well be imagined--was done in #ahac2 and many fine drawings earlier still2 whereas his famous picture ,la ,source was painted in #ahef1 and many of his best known pictures were done in the period between #ahdj and #ahff4 99 99 99 99 99 ,sidenote3 ,cotman ,cotman is another man of whom one feels tempted to say--in studying his work--that one cannot see any signs in it that he ever mistrusted the rightness of his aims and methods4 ,it is customary to write of ,cotman's life as both unhappy and unsuccessful1 but instead it should be borne in mind that he did have success of the best kind--he was immensely successful in painting what he wanted to paint2 and no artist can have a success more dear to him than that4 ,his methods were most consistent1 and so it is probable that--disgusted with a world that only required his services as a drawing-master--he pursued his own way and managed to be as happy as any other genius in the practice of his art4 ,until very recently his name was generally mentioned with three or four of his contemporary water-colour painters--as though there were not much to choose between the batch2 but gradually the weight of public opinion is proclaiming the conviction that ,cotman was a head and shoulders above the group with which he has been catalogued2 and year by year the appreciation of his work grows in volume4 ,his position1 however1 is still not recognized as1 ,i am convinced1 it will be in a few years time4 ,his method of painting was so widely different to ,turner's that the public and the critics--dazzled by the sunsets of 8our greatest painter0--have been slow indeed to recognize the originality and distinction of ,cotman's genius4 ,as a draughtsman of landscapes he excelled in lyrical beauty and perfection of technical accomplishment2 but his paintings should be studied with his drawings1 for it is in these that he showed his real originality--producing paintings that are comparable1 as decorations1 with the prints of the greater ,japanese wood-engravers2 and at a time1 it should be remembered1 when these prints were unknown in ,europe4 99 99 99 99 99 ,sidenote3 ,beardsley 8,he became a sort of household word0--so wrote ,mr4 ,robert ,ross in his readable little book on ,beardsley4 ,a description of ,beardsley's reputation more wide of the mark ,i cannot imagine4 ,beardsley is really one of ,england's 8skeletons in the cupboard40 ,the average ,englishman is somewhat ashamed of ,beardsley as a fellow countryman1 he feels there has been some mistake--the fellow ought to have been a ,czecho-,slovac6 ,to think that the year #ahgb 7a most respectable year67 should have brought to light this utterly un-,english phenomenon is not pleasing to him4 ,i have seen more than one young ,english student embarrassed and somewhat annoyed when an enthusiastic ,frenchman has congratulated him on being a compatriot of that 8great genius ,aubrey ,beardsley40 ,all the world over ,beardsley is still 8caviare to the general0 and particularly to the ,english general4 ,he is acceptable enough when his ideas are popularized by other artists3 throughout ,france and ,america whole schools of present day illustrators are founded on his work2 and he is rightly acknowledged as the 8old master0 of mechanical line engraving4 ,he was the first artist to understand really and utilize to the full the possibilities of this process of reproduction2 and--as so often happens with the first man to use a process intelligently--he carried it further and found it less restricting than any who have followed him4 ,beardsley had an immense power of technical invention--like ,hokusai1 he was able to bring any subject of his choice within the scope of his convention1 and to render it in a way that was perfect for the process by which his work was to be reproduced4 ,there is an ironical beauty in everything he ever did1 and his compositions--regarded as an adjustment of spaces--are more consistently original and daring than those of any other ,western artist1 old or modern2 only in the ,east can we find his equal in this particular expression of creative art4 ,the shock that ,beardsley gave to ,british feelings was1 ,i fancy1 due far more to the intrinsic originality of his compositions than to the 8nautiness10 imagined or real1 in his drawings1 about which we have heard so much4 ,it is surely a case of honi soit qui mal y pense1 for there is nothing in the books of drawings by ,aubrey ,beardsley that are published in this country that could offend a school miss4 ,mr4 ,g4 ,k4 ,chesterton's ,father ,brown says in one of his adventures 8,its the wrong shape in the abstract4 ,don't you ever feel that about ,eastern art8 ,the colours are intoxicatingly lovely2 but the shapes are mean and bad--deliberately mean and bad4 ,i have seen wicked things in a ,turkey carpet40 ,well1 ,father ,brown's remark is illuminating1 for not only are there wicked shapes in ,turkey carpets but1 however 8beautifully seen0 the rest of a ,beardsley drawing is1 the drawing of the faces in it is often deliberately mean and bad4 ,but ,i think1 also1 that it would have been more just of ,father ,brown to have completed his remark with the 8finish0 that 8is an added truth0 by saying that he had never seen a wicked shape in a ,persian carpet4 ,this generalization about ,eastern art and 8the wrong shape in the abstract0 makes one fear that perhaps the champion of ,mr4 ,bateman might be no friend to ,beardsley2 and ,i regret to think that ,mr4 ,chesterton might not champion ,eastern shapes2 or ,beardsley--though ,i can understand his not doing so3 ,i venerate him as the ,british lion and therefore it seems but natural that he should wage perpetual war against the unicorn--and doubtless he might regard ,beardsley as a fabulous beast4 ,the ,british feeling is strong about shapes--an ,englishman likes to recognize a shape instantly2 should he fail to do so he really is extremely uncomfortable and affronted and will1 as often as not1 turn on the creator of the 8wrong shape0 and accuse him of ungentlemanly conduct4 99 99 99 99 99 ,sidenote3 ,phil ,may ,at any rate the ,british public has always accepted as final ,mr4 ,punch's opinion on matters of humour4 ,he has given it an almost unbroken tradition--which is more than can be said of any other institution of ,english art--and it is grateful4 ,when he imported from ,australia the brilliant draughtsman ,phil ,may it took the newcomer to its bosom without any hesitation--and he has nestled there ever since4 ,but the artworld--so-called--though on quite good terms with ,mr4 ,punch does not always accept his opinion unquestioned3 it has been known to make invidious comparisons between his paper and ,jugend or ,le ,rire1 and has even gone so far as to attempt wit at his expense2 as in the case of the gentleman who said ,punch is 8written by ,mr4 ,pickwick1 for ,mr4 ,pickwick about ,mr4 ,pickwick0--which was rude and surely lacking in the deference due to our elderly purveyor of humour6 ,however1 in the matter of ,phil ,may1 ,mr4 ,punch scored handsomely1 and persons1 even with the highest brows1 have accepted his drawings con amore4 ,phil ,may's drawings look the most spontaneous things imaginable--and no doubt this is true of their humour--but his method of drawing was an elaborate process of elimination4 ,the execution of a rather finished pencil drawing was the first stage of his work--in this he elaborated all the characteristics that his keen eye and ready humour had observed--and the final stage was calligraphic in character and displayed his genius for simplification4 ,with a few deft strokes of the pen--disposed with an almost uncanny knowledge of essentials--he made what appeared to be--when the careful pencil work was rubbed out--a most spontaneous sketch4 ,in truth1 it was no such thing1 but an intellectual exercise in the eclectic art of elimination arrived at by means exactly opposite to those usually employed by artists who seek spontaneity in their work4 ,phil ,may understood the ,english people and they understood ,phil ,may4 ,his humour synchronized with the public of his day--as did the work of ,rowlandson in another age and probably1 like his1 it will be prized as a record of a period1 as well as for its intrinsic value as the work of a most original draughtsman4 ,the witty line is most often the brief line1 but though ,phil ,may's line was not always a brief one it never failed to be a witty one4 99 99 99 99 99 ,the ,englishman has probably the finest collection of drawings that has ever been brought together in one place4 ,it is housed in an excellent museum built for its accommodation and placed in charge of the finest experts that can be found4 ,it is further ordained that if the ,englishman wishes to inspect his treasures he shall do so in the greatest possible comfort4 ,no guest of a ,sultan could look at his host's collection of1 let us say1 ,persian miniatures1 in more luxury than can the-man-in-the-street look at his own collection of drawings in the ,print ,room of the ,british ,museum2 patient and courteous persons wait on his every whim2 and expert opinion1 should he require it1 is imparted to him without a smile or hint of impatience at his ignorance4 ,in short1 everything is done to coax him to a study of his collections except one thing--and that is to inform him that he possesses these treasures4 ,i think the attention of the ,trustees of the ,british and other ,museums might be drawn to the fact that the-man-in-the-street cannot know about his priceless possessions unless someone informs him4 ,the assumption that the information is imparted to him in early youth by his parents is erroneous4 ,he may well live and die1 and frequently does1 without knowing what the words ,print ,room stand for4 ,the question of how to inform him if he does not know might be left in the hands of one who is an expert in the art of reaching his intelligence4 ,true1 the notice boards of our ,museums might then assume a somewhat jaunty air1 offensive to the grave habitus--this is what might greet them and what they might not like3 8,come where it's always bright6 ,free6 ,now showing all day in the ,print ,room4 ,the finest collection of drawings in the world3 ,michelangelo and ,leonardo da ,vinci1 supported by an allstar company of draughtsmen6 ,central heating6 ,perfect ventilation60 ,but the habitus would doubtless come back to their haunts after a few days' disgusted abstention from their habits and--what is more important--the-man-in-the-street would now be the-man-in-the-,print-,room4 ,i am aware that the subject ,i am required to write about is ,pen and ,pencil ,drawings1 and ,i have faith that ,i shall come to it but--being filled with a desire to write about chalk drawings1 charcoal drawings1 paintings1 the-man-in-the-street1 and all manner of things relevant and irrelevant--,i need to remind myself of it4 ,even then ,i may come to my subject by a route not unlike that taken by ,mr4 ,william ,caine in his essay on ,cats3 he began1 he continued and he went on to the end in an unbroken eulogy on dogs and their admirable qualities viewed from all angles1 and then summed up and dismissed his subject for ever with this line3 8,cats have none of these characteristics40 ,i shall1 then1 continue my aberrant course with the remark that ,i am constantly struck by the fact1 in most exhibitions1 that in half the pictures there either the subject is too small to deserve a picture or the picture is too large for its subject4 ,the first is an error of taste and the second an error of scale4 ,the pleasure we derive from a sense of the fitness and rightness of the scale of a picture may be only common-sense but it is certainly lacking in many painters1 especially in the average painter of modern 8exhibition pictures40 ,in these so often there are great spaces of merely tinted canvas which serve no really useful or legitimate purpose2 and do not even contribute to the scheme of the picture as a decoration4 ,sometimes1 possibly1 this coloured canvas may suggest a sense of space and bigness but it is a rather obvious expedient and it fails to be impressive if one compares it with the sense of spaciousness that has been conveyed to one often by a few square inches of paper in a drawing4 ,fortunately1 as a rule1 big pictures nowadays are generally painted for exhibitions--just as fat-stock is reared to be shown at a particular agricultural show3 the show over--the fat-stock is hastily conveyed to the nearest butcher4 ,but the fate of the big picture is rather mysterious and ,i will not suggest what ,i think really happens to it1 for after all ,i may be quite wrong4 ,certainly in ,france though1 where the output of big pictures is double or treble that of this country1 their post-exhibition fate is fairly obvious3 the great majority of ,french houses are incapable of accommodating these ,salon triumphs1 and it is the rarest thing to find one of these huge canvases in the houses of the rich and ostentatious bourgeois4 ,happily for the draughtsman he is not tempted to work on the heroic scale so that--when the swing of the pendulum may have placed his work temporarily or permanently out of fashion--his work can usually be accommodated in a portfolio2 for the size of a drawing is generally regulated by the medium employed4 ,however1 as genius may ignore custom1 habit and even existing rules of good taste1 someone--with a right to the title--may come along and do silverpoint drawings on ten-foot sheets of paper--just as a famous modern etcher is doing plates of a size absolutely forbidden by the professors1 and yet everyone--except a few contemporary etchers--admits them to be masterly4 ,the official picture could and should be a human document1 but this it can hardly be if all humorous side-lights are rigidly excluded in it--however serious the affairs it purports to present4 ,the old masters knew human nature1 therefore in their paintings of ceremonial affairs they did not forget to touch delicately on its weaknesses1 even sometimes accenting these as comic-relief4 ,though ,i would not be so rash as to suggest the desirability of comic-relief in our official pictures1 ,i am tempted to think that relief of some kind would be well received4 ,another point about the official picture is that it is generally very large and is1 as a rule1 about the dullest product of the brush2 for the average modern painter when called upon to perform in this way generally becomes simply overwhelmed with deep seriousness4 ,he designs his picture in the most pompous and formal manner and produces results either boring or unintentionally funny1 which latter is perhaps the more tolerable4 99 99 99 99 99 ,sidenote3 ,william ,orpen ,not so with ,sir ,william ,orpen--his keen sense of humour is apparent in all his work1 whether he is painting tone studies of mirrors at ,versailles or drawing his friends on the rocky coasts of ,ireland4 ,it is one of the many charms that delight us in his work and does not detract an iota from its distinction and importance4 ,some of his exquisite drawings are reproduced here1 and though the full purity of the line cannot be retained in reproduction they are some of the perfect things in this book4 ,it is a relief to find oneself thinking in terms of 8perfection0 about the work of any man so modern as ,sir ,william ,orpen4 ,because1 of course1 where the modern draughtsman and painter--as is so commonly the case--despises his materials and scorns technique it is impossible for one to do so4 ,the mind--which is so much the product of the senses--must know distaste where the senses are repelled4 ,one may forgive him because of other merits in his work1 but the merits have to be rather splendid to cover sufficiently such sins4 ,to ,whistler and the stylists who have followed him much of their inspiration must have come from the materials of their craft4 ,one is grateful that they grasped this truth that ,sidenote3 ,glyn ,philpot the ,english ,pre-,raphaelites also missed--that rare and delicious qualities in the handling of a medium best present to the mind rare and beautiful qualities in nature4 ,in this sense ,mr4 ,philpot is essentially a stylist--one feels that to him the intrinsic beauties of his medium form an appreciable amount of his inspiration3 that--quite literally--common oils and varnishes can be blended to a golden elixir for his use4 ,for the materials of his craft are for the artist what he chooses to make them3 a piece of red chalk in one man's hand is a lump of hardened mud1 conveniently sharpened to a point for making marks on paper1 while1 to another1 it is a precious substance mined from the earth in some distant country and prepared with infinite care1 and he knows that one touch of it on a paper--most carefully chosen--can be the basis of a delicious colour-harmony2 that ink can flow from a reed pen in a line straight and true or run its course with subtle modulations--as a little stream flows from the hills4 ,a lead pencil after all can be only the bitten stump on the office boy's desk--an instrument for unseemly writings or obscene scrawlings2 or it can be a cunningly wrought stick of plumbago encased in a scented cylinder of cedar--such a thing as ,leonardo would have loved4 ,is not the artist capable of an alchemy that can change dross to gold6 99 99 99 99 99 ,sidenote3 ,brangwyn ,the rewards of the successful artist are many and varied1 but the most coveted1 surely--and the least often secured--is the reward of international fame4 ,the list is not long of the ,english artists who have achieved it--indeed it is unjustly short4 ,the ,english are1 themselves1 always generous in their acceptance of foreign artists--even to the neglect of their own2 in this they are unlike other nations1 particularly the ,french who1 though slow to acclaim foreign artists1 are loud-voiced in praise of their own home-grown products4 ,but ,mr4 ,brangwyn's name1 in spite of this1 stands high in ,europe4 ,it would scarcely be an exaggeration to say that his work stands for ,english contemporary painting half the world over4 ,an artist who is painting for an international public distributed in all parts of the world is not likely to bother himself with artistic party-politics1 and it is noticeable that ,mr4 ,brangwyn does not move with the ebb and flow of opinion in ,london4 ,he is not a fashionable painter and is not ever likely to be4 ,in another age his art might have produced a new school4 ,there have1 it might be said1 been two ,rubens in the history of ,european art4 ,the first was ,peter ,paul and the second--,brangwyn4 ,rubens 7,peter ,paul7 has been out of fashion since ,mr4 ,sickert made ,tottenham ,court ,road delightful by teaching us how they paint in ,paris1 but ,venice seems more interested in how ,mr4 ,brangwyn paints in ,london4 ,fine draughtsman as ,mr4 ,brangwyn is1 his drawings always remind us that he is a painter1 and a decorative painter4 ,curiously enough though1 they scarcely suggest a reserve of strength1 in fact on the contrary1 for everything that ,mr4 ,brangwyn has to say is stated--whether in painting or drawing--with the utmost energy and vigour of his capacity4 ,he gives generously1 freely1 without stint from a full brush--he draws from the shoulder as it were2 and that his aim is the decoration of large spaces in architectural settings is always apparent in his work2 and that this is its usual destiny should be remembered when his drawings are being studied4 ,it is through the medium of his drawings and sketches that we have1 in these days1 to study ,mr4 ,brangwyn's art1 for the large decorations--destined for public buildings in other countries--on which he is constantly engaged1 leave ,england 7as a rule7 without being exhibited4 ,doubtless we can add this loss to our list of grudges against the officials of the painting world1 for the public have long ago realized the importance of ,mr4 ,brangwyn's position and are justly proud of him4 ,the psychological interest of his figures is of a basic and standard kind and generally full of suggestion of forms personal to his own art4 99 99 99 99 99 ,sidenote3 ,bateman ,the difficulty with ,mr4 ,bateman is to take him seriously4 ,really he is a most serious phenomenon--and yet the bare mention of his name sets us chuckling in happy reminiscence and digging each other in the ribs in cheery anticipation of jokes yet unborn4 ,it would be doing him but scant justice1 really1 if we were to give him some honorary degree--called him ,dr4 ,bateman and sat him in a 8chair0 at one of the ,universities as ,professor of human psychology4 ,instead we just go on buying any paper that he happens to be drawing for--and laughing4 ,but the day may come when he might turn round on us1 wearied of our interminable cackling1 and say 8,cry you devils1 cry60 and then we shall be sorry--but we shall cry all right3 a few little adjustments of that subtle line of his and the humour we value so highly would become tragedy4 ,in ,england there seems to be a curious tradition that a drawing becomes funny if it has a funny story printed underneath it2 that the expression on one face in a group of persons if slightly ludicrous makes a drawing humorous4 ,in a ,bateman drawing the drawing is the humour and the humour is the drawing4 ,everything is in the same terms throughout4 ,his very line seems to have a risible ripple in it1 for his humour is the real thing--not irony or satire but the essential spiritual faculty of perceiving the incongruous wherever it occurs4 ,he has a host of imitators1 abroad as well as in this home circle of islands1 but they are sheep in wolves' clothing and the joke is not in them--they satirise the already ridiculous4 99 99 99 99 99 ,sidenote3 ,muirhead ,bone ,mr4 ,muirhead ,bone is another artist who has many imitators--some with considerable technical success--but fortunately an artist's vision is his own and no one can borrow his eyes or his soul though they may well nigh take the pencil from his hand4 ,of ,mr4 ,bone's vision much might be said4 ,it is unique in the art of the time2 and in his hand a pencil becomes a truly magical instrument--like the bow in the hand of a great violinist3 when his pencil has touched the paper one takes a keen pleasure in each line for its own sake1 and when to this is added a full realization of the interpretation and vision they collectively record1 one may well say--here is a real draughtsman6 ,he endows ,st4 ,james's ,hall with such beauty in his drawing of its ,demolition that one is tempted to desire the destruction of several of our buildings4444 ,imagine what he would draw for us if we took half the roof off the ,albert ,hall and gashed a great hole in its obese side6 ,what a flood of light he would let into that gloomy interior and what dignity he would impart to the last remains of that bun-like edifice6 99 99 99 99 99 ,and now ,i find that ,i have come to the limit of the space allowed to me for these notes1 and ,i look through the list of over a hundred fine names--splendid names because they belong to men who have done splendid things--and ,i realize that ,i have not written a word about the larger number of them and also that if ,i wrote from now until my personal doomsday ,i could not express the admiration ,i feel for the sum of their achievement4 ,i have written notes only on a few of those who make an immense appeal to me2 it has been a purely personal choice and1 as a fact1 quite unconscious2 and as that1 too1 very incomplete1 for it was my optimistic conviction that ,i should return and write about the others--scores of them2 but now the chance is gone1 in a few hours from now these notes will have been flung to the printer's devil 7a person ,i have always wanted to meet--but now had better not67 ,i want to rush back and explain my personal beliefs about ,botticelli and his influence on the pre-,british-,raphaelites1 before the chance is gone1 probably for ever2 ,i want to air certain convictions about the principles of rhythm in ,raphael's curving lines2 ,i want to write of ,pinturicchio and ,claude2 of ,fragonard and ,blake2 ,i want to write about a dozen ,frenchmen who are not in the book and more about the four or five who are2 ,i want to argue with an imaginary reader as to whether ,mr4 ,dulac is greater as a caricaturist or as a decorator2 ,i want to abuse nearly everybody for not fully understanding that ,mr4 ,vernon ,hill is one of our finest draughtsmen2 ,i want to pen a humble appreciation of ,mr4 ,tonks and his salutary influence as a professor and his benign influence as an artist4 ,i want--,i have just time for that--to again remind the reader--who has my gratitude for still being with me to the end--that a drawing is a thing to be looked at and not written about4 ,,george ,,sheringham4 ,illustration3 8,a ,,courier40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,albrecht ,d,,rer ,,in ,,the ,,british ,,museum4 ,,size1 #g #g ,,in4 ,illustration3 8,,the ,,rhinoceros40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,albrecht ,d,,rer ,,in ,,the ,,british ,,museum4 ,,size1 #aj #af ,,in4 ,illustration3 8,,the ,,procession ,,to ,,calvary40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,albrecht ,d,,rer ,,in ,,the ,,uffizi1 ,,florence4 ,,size1 #h #aa ,,in4 ,illustration3 8,,praying ,,hands40 ,,drawing ,,in ,,indian ,,ink ,,on ,,blue ,,ground ,,by ,,albrecht ,d,,rer ,,in ,,the ,,albertina1 ,,vienna4 ,,size1 #aa #g ,,in4 ,illustration3 ,,photo4 ,,copyright ,,by ,,braun ,,and ,,co4 ,,sketch ,,in ,,pen ,,and ,,ink ,,by ,,hans ,,holbein ,,in ,,the ,,basle ,,museum ,,for ,,the ,,painting 8,,the ,,family ,,of ,,sir ,,thomas ,,more0 ,illustration3 8,,young ,,woman ,,with ,,basket40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,bernardino ,,pinturicchio ,,in ,,the ,,uffizi1 ,,florence4 ,illustration3 8,,the ,,dead ,,christ ,,carried ,,off ,,by ,,angels40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,correggio ,,in ,,the ,,uffizi1 ,,florence4 ,illustration3 ,,studies ,,in ,,pen ,,and ,,ink ,,by ,,leonardo ,,da ,,vinci4 ,illustration3 ,,photo4 ,,copyright ,,by ,,braun ,,and ,,co4 8,,head ,,of ,,an ,,old ,,man40 ,,pencil ,,drawing ,,by ,,leonardo ,,da ,,vinci ,,in ,,the ,,louvre1 ,,paris4 ,,size1 #i #f ,,in4 ,illustration3 8,,madonna ,,and ,,child40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,leonardo ,,da ,,vinci ,,in ,,the ,,british ,,museum4 ,,size1 #e #c ,,in4 ,illustration3 8,,head ,,of ,a ,,young ,,woman40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,leonardo ,,da ,,vinci ,,in ,,the ,,windsor ,,castle ,,collection4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,baldassare ,,peruzzi ,,in ,,the ,,british ,,museum4 ,,size1 #i #h ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,titian ,,in ,,the ,,british ,,museum4 ,,size1 #ad #i ,,in4 ,illustration3 ,,photo4 ,,copyright ,,by ,,braun ,,and ,,co4 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,titian ,,in ,,the ,,uffizi1 ,,florence4 ,illustration3 8,,the ,,turk40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,gentile ,,bellini ,,in ,,the ,,british ,,museum4 ,,size1 #h #g ,,in4 ,illustration3 8,,the ,,turkish ,,lady40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,gentile ,,bellini ,,in ,,the ,,british ,,museum4 ,,size1 #h #g ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,michelangelo ,,buonarroti ,,in ,,the ,,british ,,museum4 ,,size1 #af #aa ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,michelangelo ,,buonarroti ,,in ,,the ,,british ,,museum4 ,,size1 #ad #i ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,michelangelo ,,buonarroti ,,in ,,the ,,british ,,museum4 ,,size1 #ab #aj ,,in4 ,illustration3 ,,sheet ,,of ,,studies ,,in ,,pencil ,,and ,,pen ,,and ,,ink ,,by ,,michelangelo ,,buonarroti ,,in ,,the ,,british ,,museum4 ,,size1 #ab #aj ,,in4 ,illustration3 8,,abundance40 ,,drawing ,,in ,,pen ,,and ,,ink pencil ,,by ,,sandro ,,botticelli ,,in ,,the ,,british ,,museum4 ,,size1 #ab #aj ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,raphael ,,in ,,the ,,academy1 ,,venice ,illustration3 8,,la ,,vierge40 ,,study ,,in ,,pen ,,and ,,ink ,,by ,,raphael ,,for 8,,la ,,belle ,,jardini,,re0 ,,in ,,the ,,louvre1 ,,paris4 ,,size1 #aa #h ,,in4 ,illustration3 ,,study ,,in ,,pen ,,and ,,ink ,,by ,,raphael ,,in ,,the ,,louvre1 ,,paris ,,for 8,,the ,,lamentation ,,for ,,christ40 ,,size1 #aa #ae ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,raphael ,,in ,,the ,,british ,,museum4 ,,size1 #i #f ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,raphael 7,,school ,,of7 ,,in ,,the ,,british ,,museum4 ,,size1 #g #ae ,,in4 ,illustration3 ,,sheet ,,of ,,studies ,,in ,,pen ,,and ,,sepia ,,by ,,paolo ,,veronese ,,in ,,the ,,possession ,,of ,a4 ,p4 ,,opp1 ,,esq4 ,,size1 #ab #g ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,giovanni ,,francesco ,,barbieri 7,,il ,,guercino7 ,,in ,,the ,,british ,,museum4 ,,size1 #ab #ah ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,francesco ,,albano ,,in ,,the ,,british ,,museum4 ,,size1 #g #aj ,,in4 ,illustration3 ,,study ,,in ,,pen ,,and ,,ink ,,by ,,tintoretto ,,for 8,,the ,,miracle ,,of ,,st4 ,,mark0 ,,in ,,the ,,uffizi1 ,,florence ,illustration3 8,,philip ,,iv40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,velasquez ,,in ,,the ,,albertina1 ,,vienna ,illustration3 8,,lot ,,and ,,his ,,family ,,leaving ,,sodom40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,rembrandt ,,in ,,the ,,british ,,museum4 ,,size1 #f #i ,,in4 ,illustration3 8,,saskia40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,rembrandt ,,in ,,the ,,british ,,museum4 ,,size1 #h #f ,,in4 ,illustration3 8,,old ,,cottages40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,rembrandt ,,in ,,the ,,albertina1 ,,vienna ,,photo4 ,,copyright ,,by ,,braun ,,and ,,co4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,rembrandt ,,in ,,the ,,british ,,museum4 ,,size1 #d #e ,,in4 ,illustration3 8,,judas ,,restoring ,,the ,,price ,,of ,,his ,,betrayal40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,rembrandt4 ,,size1 #f #i ,,in4 ,illustration3 ,,portrait ,,study ,,in ,,pencil ,,by ,,cornelis ,,visscher ,,in ,,the ,,british ,,museum4 ,,size1 #g #e ,,in4 ,illustration3 8,,tavern ,,scene40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,adriaen ,,van ,,ostade ,,in ,,the ,,possession ,,of ,g4 ,,bellingham ,,smith1 ,,esq4 ,,size1 #f #h ,,in4 ,illustration3 8,,le ,,passage ,,du ,,bac40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,adriaen ,,van ,,de ,,velde ,,in ,,the ,,louvre1 ,,paris4 ,,size1 #g #aa ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,nicolas ,,poussin ,,in ,,the ,,british ,,museum4 ,,size1 #e #g ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,claude ,,lorrain ,,in ,,the ,,british ,,museum4 ,,size1 #h #ab ,,in4 ,illustration3 ,,drawing ,,in ,,pencil ,,and ,,coloured ,,chalks 7,,artist ,,unknown7 ,,in ,,the ,,biblioth,,que ,,nationale1 ,,paris4 ,,size1 #ac #i ,,in4 ,illustration3 8,,faun ,,and ,,nymph40 ,,drawing ,,in ,,pen ,,and ,,sepia ,,by ,g4 ,b4 ,,tiepolo ,,in ,,the ,,possession ,,of ,g4 ,,bellingham ,,smith1 ,,esq4 ,,size1 #i #h ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,parmigianino ,,in ,,the ,,uffizi1 ,,florence ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,canaletto ,illustration3 8,,venice40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,francesco ,,guardi ,,in ,,the ,,possession ,,of ,,messrs4 ,,ernest ,,brown ,,and ,,phillips 7,,the ,,leicester ,,galleries74 ,,size1 #aj #ad ,,in4 ,illustration3 8,a ,,hunting ,,party40 ,,drawing ,,in ,,pen ,,and ,,ink pencil ,,by ,,marcellus ,,laroon ,,in ,,the ,,tate ,,gallery4 ,,size1 #ai #ac ,,in4 ,illustration3 8,,cupids ,,playing ,,around ,a ,,fallen ,,hermes40 ,,drawing ,,in ,,pen ,,and ,,sepia ,,by ,j4 ,h4 ,,fragonard ,,in ,,the ,,possession ,,of ,g4 ,,bellingham ,,smith1 ,,esq4 ,,size1 #ad #ah ,,in4 ,illustration3 ,,size1 #d #c ,,in4 ,,portrait ,,studies ,,in ,,pencil ,,by ,,franz ,,xaver ,,winterhalter ,,in ,,the ,,british ,,museum ,illustration3 ,,size1 #e #d ,,in4 ,,portrait ,,studies ,,in ,,pencil ,,by ,,franz ,,xaver ,,winterhalter ,,in ,,the ,,british ,,museum ,illustration3 8,,the ,,harvest ,,wagon40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,thomas ,,gainsborough1 ,r4,a41 ,,formerly ,,in ,,the ,,pfungst ,,collection ,illustration3 8,,henry40 ,,drawing ,,in ,,pencil ,,and ,,chalk ,,by ,,richard ,,cosway1 ,r4,a4 ,,in ,,the ,,possession ,,of ,,mr4 ,,francis ,,harvey4 ,,size1 #i #e ,,in4 ,illustration3 8,,salisbury40 ,,pencil ,,drawing ,,by ,,john ,,constable ,r4,a41 ,,in ,,the ,,british ,,museum4 ,,size1 #f #i ,,in4 ,illustration3 ,,pencil ,,drawing ,,by ,,george ,,morland ,,in ,,the ,,possession ,,of ,,messrs4 ,,ernest ,,brown ,,and ,,phillips 7,,the ,,leicester ,,galleries74 ,,size1 #i #aa ,,in4 ,illustration3 8,,on ,,the ,,yare40 ,,pencil ,,drawing ,,by ,,john ,,sell ,,cotman ,,in ,,the ,,british ,,museum4 ,,size1 #c #e ,,in4 ,illustration3 8,,parke1 ,,musician40 ,,pencil ,,drawing ,,by ,,george ,,dance1 ,r4,a4 ,,in ,,the ,,possession ,,of ,,mr4 ,,francis ,,harvey4 ,,size1 #aj #g ,,in4 ,illustration3 8,,carnarvon ,,castle40 ,,pencil ,,drawing ,,by ,,thomas ,,girtin ,,in ,,the ,,possession ,,of ,,charles ,,mallord ,,turner1 ,,esq4 ,,size1 #e #h ,,in4 ,illustration3 8,,carew ,,castle ,,mill40 ,,pencil ,,drawing ,,by ,j4 ,m4 ,w4 ,,turner ,r4,a41 ,,in ,,the ,,tate ,,gallery4 ,,size1 #aj #h ,,in4 ,illustration3 8,,monow ,,bridge1 ,,monmouth40 ,,pencil ,,drawing ,,by ,j4 ,m4 ,w4 ,,turner1 ,r4,a41 ,,in ,,the ,,tate ,,gallery4 ,,size1 #h #aj ,,in4 ,illustration3 ,,pen ,,and ,,ink ,,sketch ,,by ,,birket ,,foster1 ,r4,w4,s41 ,,in ,,the ,,possession ,,of ,,william ,,foster1 ,,esq4 ,,size1 #c #f ,,in4 ,illustration3 8,,lady ,,mary ,,fitzgerald40 ,,pencil ,,drawing ,,by ,,sir ,,thomas ,,lawrence1 ,p4,r4,a4 ,,in ,,the ,,possession ,,of ,,mr4 ,,francis ,,harvey4 ,,size1 #aj #h ,,in4 ,illustration3 8,,madame ,,gatteaux40 ,,pencil ,,drawing ,,by ,j4 ,a4 ,d4 ,,ingres ,,in ,,the ,,louvre1 ,,paris4 ,,size1 #aj #h ,,in4 ,illustration3 ,,photo4 ,,copyright ,,by ,,braun ,,and ,,co4 8,,paganini40 ,,pencil ,,drawing ,,by ,j4 ,a4 ,d4 ,,ingres ,,in ,,the ,,bonnat ,,collection ,illustration3 8,c4 ,r4 ,,cockerell40 ,,pencil ,,drawing ,,by ,j4 ,a4 ,d4 ,,ingres ,,in ,,the ,,possession ,,of ,,lt4-,,col4 ,,pepys ,,cockerell4 ,,size1 #h #f ,,in4 ,illustration3 8,,en ,,troisi,,me40 ,,drawing ,,in ,,pen ,,and ,,ink ,,and ,,wash ,,by ,,honor ,,daumier ,,in ,,the ,,possession ,,of ,g4 ,,bellingham ,,smith1 ,,esq4 ,,size1 #h #ab ,,in4 ,illustration3 8,,les ,,trois ,,connaisseurs40 ,,drawing ,,in ,,pen ,,and ,,ink ,,and ,,wash ,,by ,,honor ,,daumier ,,in ,,the ,,barbizon ,,house ,,collection1 ,,london4 ,,size1 #d #d ,,in4 ,illustration3 ,,pencil ,,drawing ,,by ,,charles ,,meryon ,,in ,,the ,,british ,,museum4 ,,size1 #i #e ,,in4 ,illustration3 ,,pencil ,,study ,,for 8,,amoret ,,bound ,,in ,,the ,,house ,,of ,,busirane0 78,,faerie ,,queene07 ,,by ,,alfred ,,stevens ,,in ,,the ,,tate ,,gallery4 ,,size1 #ab #i ,,in4 ,illustration3 8,,the ,,mail ,,coach40 ,,drawing ,,in ,,pen ,,and ,,ink ,,and ,,wash ,,by ,,sir ,,david ,,wilkie1 ,r4,a41 ,,in ,,the ,,possession ,,of ,g4 ,,bellingham ,,smith1 ,,esq4 ,,size1 #i #aa ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,charles ,,keene ,,in ,,the ,,possession ,,of ,,charles ,,emanuel1 ,,esq4 ,,size1 #h #d ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,charles ,,keene ,,in ,,the ,,possession ,,of ,,harold ,,hartley1 ,,esq4 ,,size1 #f #d ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,charles ,,keene ,,in ,,the ,,possession ,,of ,,charles ,,emanuel1 ,,esq4 ,,size1 #e #b ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,charles ,,keene ,,in ,,the ,,possession ,,of ,,charles ,,emanuel1 ,,esq4 ,,size1 #d #e ,,in4 ,illustration3 ,,illustration ,,in ,,pen ,,and ,,ink ,,by ,,james ,,mahoney ,,to 8,,little ,,dorrit0 ,,in ,,the ,,possession ,,of ,,harold ,,hartley1 ,,esq4 ,,size1 #c #e ,,in4 ,illustration3 ,,illustration ,,in ,,pen ,,and ,,ink ,,by ,a4 ,,boyd ,,houghton ,,for 8,,dalziel',s ,,bible0 7,,unpublished7 ,,in ,,the ,,possession ,,of ,,harold ,,hartley1 ,,esq4 ,,size1 #ab #g ,,in4 ,illustration3 8,a ,,dark ,,deed40 ,,pencil ,,drawing ,,by ,,fred ,,walker1 ,a4,r4,a4 ,,in ,,the ,,possession ,,of ,,harold ,,hartley1 ,,esq4 ,,size1 #f #f ,,in4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,george ,,du ,,maurier ,,in ,,the ,,possession ,,of ,c4 ,c4 ,,hoyer-,,millar1 ,,esq4 ,,size1 #e #i ,,in4 ,illustration3 8,,the ,,old ,,couple ,,and ,,the ,,clock40 ,,pencil ,,drawing ,,by ,g4 ,j4 ,,pinwell ,,in ,,the ,,possession ,,of ,,harold ,,hartley1 ,,esq4 ,,size1 #g #e ,,in4 ,illustration3 ,,unpublished ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,kate ,,greenaway ,,in ,,the ,,possession ,,of ,,harold ,,hartley1 ,,esq4 ,,size1 #g #e ,,in4 ,illustration3 8,,the ,,soul ,,hovering ,,over ,,the ,,body ,,reluctantly ,,parting ,,with ,,life40 ,,drawing ,,in ,,pen ,,and ,,ink ,,and ,,sepia ,,wash ,,by ,,william ,,blake ,,in ,,the ,,possession ,,of ,,edward ,j4 ,,shaw1 ,,esq41 ,j4,p4 ,,size1 #f #i ,,in4 ,,one ,,of ,,the ,,twelve ,,drawings ,,to ,,illustrate ,,the ,,edition ,,of 8,,blair',s ,,grave10 ,,published ,,in #ahjh4 ,illustration3 8,,john ,,bull40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,aubrey ,,beardsley ,,in ,,the ,,possession ,,of ,,edward ,j4 ,,shaw4 ,,esq41 ,j4,p4 ,,size1 #h #f ,,in4 ,illustration3 ,,illustration ,,in ,,pen ,,and ,,ink ,,by ,,aubrey ,,beardsley ,,to 8,,morte ,d',,arthur0 ,,in ,,the ,,possession ,,of ,,harold ,,hartley1 ,,esq4 ,,size1 #aa #h ,,in4 ,,reproduced ,,by ,,permission ,,of ,,the ,,publishers1 ,,messrs4 ,j4 ,m4 ,,dent ,,and ,,sons4 ,illustration3 8,a ,,portrait ,,of ,,her ,,grandmother40 ,,unpublished ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,phil ,,may ,,in ,,the ,,possession ,,of ,,harold ,,hartley1 ,,esq4 ,,size1 #i #g ,,in4 ,illustration3 ,,drawing ,,in ,,pencil ,,and ,,chalk ,,by ,,phil ,,may ,,in ,,the ,,possession ,,of ,,harold ,,hartley1 ,,esq4 ,,size1 #h #f ,,in4 ,illustration3 8,,palm ,,sunday ,,in ,,italy40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,riccardo ,,pellegrini ,,in ,,the ,,possession ,,of ,,charles ,,emanuel1 ,,esq4 8,,size1 #i #ab ,,in4 ,illustration3 8,,seven ,,works ,,of ,,mercy40 ,,one ,,of ,a ,,set ,,of ,,pencil ,,drawings ,,by ,,sir ,,edward ,,burne-,,jones1 ,,bart4 ,,in ,,the ,,british ,,museum4 ,,size1 #ad ,,in4 ,,diameter4 ,illustration3 ,,pencil ,,drawing ,,by ,,dante ,,gabriel ,,rossetti ,,in ,,the ,,possession ,,of ,g4 ,,bellingham ,,smith1 ,,esq4 ,,size1 #g #f ,,in4 ,illustration3 8#8,,what',s ,,this8' ,,said ,,the ,,lion0--,,original ,,pencil ,,drawing ,,by ,,sir ,,john ,,tenniel ,,for 8,,through ,,the ,,looking ,,glass10 ,,in ,,the ,,possession ,,of ,,harold ,,hartley4 ,,esq4 ,,size1 #b #c ,,in4 ,illustration3 8,,three ,,little ,,men40 ,,pencil ,,sketch ,,by ,,sir ,,john ,,tenniel ,,for 8,,mr4 ,,punch',s ,,pocket ,,book10 ,,in ,,the ,,possession ,,of ,,harold ,,hartley1 ,,esq4 ,,size1 #b #c ,,in4 ,illustration3 8,,girl ,,with ,,parasol40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,j4 ,m,,neill ,,whistler ,,in ,,the ,,possession ,,of ,,mrs4 ,g4 ,r4 ,,halkett4 ,,size1 #f #c ,,in4 ,illustration3 8,,the ,,black-,,and-,,white ,,knight0 7,,sir ,,john ,,tenniel74 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,linley ,,sambourne 78,,punch10 ,,june #bd,,th1 #ahic7 ,,in ,,the ,,possession ,,of ,,harold ,,hartley1 ,,esq4 ,,size1 #g #e ,,in4 ,,reproduced ,,by ,,permission ,,of ,,the ,,proprietors ,,of 8,,punch40 ,illustration3 8,,the ,,rialto1 ,,venice40 ,,pencil ,,drawing ,,by ,,william ,,callow1 ,r4,w4,s41 ,,in ,,the ,,possession ,,of ,,messrs4 ,,ernest ,,brown ,,phillips 7,,the ,,leicester ,,galleries74 ,,size1 #i #ad ,,in4 ,illustration3 8,,place ,,du ,,pillori1 ,,pont-,,audemer40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,bernard ,,partridge4 ,,size1 #e #g ,,in4 ,illustration3 8,,women ,,quarrelling40 ,,pencil ,,drawing ,,by ,w4 ,,russell ,,flint1 ,r4,w4,s4 ,,size1 #ac #bj ,,in4 ,illustration3 8,,the ,,child40 ,,pencil ,,study ,,by ,,claude ,a4 ,,shepperson1 ,a4,r4,a41 ,a4,r4,w4,s41 ,,in ,,the ,,possession ,,of ,,messrs4 ,,ernest ,,brown ,,and ,,phillips 7,,the ,,leicester ,,galleries74 ,,size1 #ab #h ,,in4 ,illustration3 8,,folkestone40 ,,pencil ,,drawing ,,by ,,adrian ,,hill4 ,,size1 #h #ac ,,in4 ,illustration3 ,,pencil ,,drawing ,,by ,,frank ,l4 ,,emanuel4 ,,size1 #aa #g ,,in4 ,illustration3 8,,the ,,steam ,,hammer40 ,,drawing ,,in ,,pen ,,and ,,ink ,,and ,,chalk ,,by ,,frank ,,brangwyn1 ,r4,a4 ,,size1 #af #ab ,,in4 ,illustration3 8,,an ,,open ,,space40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,h4 ,m4 ,,bateman4 ,,size1 #ah #ab ,,in4 ,,reproduced ,,by ,,permission ,,of ,,the ,,proprietors ,,of 8,,the ,,sketch40 ,illustration3 ,,drawing ,,in ,,pencil ,,and ,,wash ,,by ,,george ,,belcher4 ,,size1 #aj #e ,,in4 ,illustration3 ,,pencil ,,drawing ,,by ,a4 ,,hugh ,,fisher1 ,a4,r4,e4 ,,in ,,the ,,possession ,,of ,,charles ,,emanuel1 ,,esq4 ,,size1 #aa #d ,,in4 ,illustration3 ,,pencil ,,study ,,by ,,steven ,,spurrier4 ,,size1 #h #aj ,,in4 ,illustration3 8,,robespierre',s ,,list40 ,,illustration ,,in ,,pen ,,and ,,ink ,,by ,,edmund ,j4 ,,sullivan1 ,a4,r4,w4,s4 ,,to ,,carlyle',s 8,,french ,,revolution40 ,,size1 #h #g ,,in4 ,,reproduced ,,by ,,permission ,,of ,,the ,,publishers1 ,,messrs4 ,,chapman ,,and ,,hall4 ,illustration3 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,l4 ,,lhermitte ,,in ,,the ,,possession ,,of ,,charles ,,emanuel1 ,,esq4 ,,size1 #g #h ,,in4 ,illustration ,illustration3 8,,the ,,sick ,,mother40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,e4 ,,blampied1 ,r4,e4 ,,size1 #ac #ah ,,in4 ,illustration3 8,,mother ,,and ,,child40 ,,pencil ,,drawing ,,by ,,sir ,,william ,,orpen1 ,r4,a41 ,,in ,,the ,,possession ,,of ,,campbell ,,dodgson1 ,,esq41 ,c4,b4,e4 ,,size1 #ac #aj ,,in4 ,illustration3 8,,after ,,bathing40 ,,pencil ,,drawing ,,by ,,sir ,,william ,,orpen1 ,r4,a4 ,,reproduced ,,by ,,permission ,,of ,,the ,,chenil ,,gallery4 ,,size1 #g #aa ,,in4 ,illustration3 ,,illustration ,,in ,,pen ,,and ,,ink ,,by ,,arthur ,,rackham1 ,r4,w4,s41 ,,to 8,,rip ,,van ,,winkle40 ,,reproduced ,,by ,,permission ,,of ,,the ,,publisher1 ,,mr4 ,,william ,,heinemann4 ,,size1 #i #h ,,in4 ,illustration ,illustration3 ,,illustration ,,in ,,pen ,,and ,,ink ,,by ,,harry ,,clarke ,,to 8,,the ,,rime ,,of ,,the ,,ancient ,,mariner0 ,,in ,,the ,,possession ,,of ,,sir ,,robert ,,woods1 ,m4,p4 ,,size1 #f #aj ,,in4 ,illustration3 8,,grasmere ,,church40 ,,pencil ,,study ,,by ,,edmund ,h4 ,,new ,,for ,,an ,,illustration ,,in ,,pen ,,and ,,ink ,,to 8,,poems ,,by ,,wordsworth10 ,,selected ,,by ,,dr4 ,,stopford ,a4 ,,brooke1 ,,published ,,by ,,messrs4 ,,methuen ,,and ,,co4 ,,size1 #c ,,in4 ,,sq4 ,illustration3 ,,pencil ,,drawing ,,by ,e4 ,,verpilleux4 ,,size1 #c #i ,,in4 ,illustration3 8,s4 ,,anne',s ,,gate1 ,,salisbury40 ,,pencil ,,drawing ,,by ,e4 ,,hesketh ,,hubbard4 ,,size1 #h #aj ,,in4 ,illustration3 ,,illustration ,,in ,,pen ,,and ,,ink ,,by ,s4 ,h4 ,,sime ,,to ,,lord ,,dunsany',s 8,,chronicles ,,of ,,rodriquez0 7,,putnam',s ,,sons74 ,,size1 #ad #h ,,in4 ,illustration ,illustration3 8,,near ,,chesham1 ,,bucks40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,sydney ,r4 ,,jones ,,in ,,the ,,possession ,,of ,,roland ,p4 ,,stone1 ,,esq4 ,,size1 #f #ac ,,in4 ,illustration3 8,a ,,sleeper40 ,,pencil ,,drawing ,,by ,,vernon ,,hill4 ,,size1 #ab #h ,,in4 ,illustration3 ,,pencil ,,study ,,by ,,walter ,w4 ,,russell1 ,a4,r4,a4 ,,size1 #aj #h ,,in4 ,illustration3 8,,front ,,of ,,the ,,quirinal ,,palace1 ,,rome40 ,,pencil ,,drawing ,,by ,,muirhead ,,bone4 ,,exhibited ,,at ,,the ,,grosvenor ,,galleries1 ,,london4 ,illustration3 8,,quai ,,du ,,canal1 ,,marseilles40 ,,drawing ,,in ,,pencil ,,and ,,wash ,,by ,,muirhead ,,bone4 ,,exhibited ,,at ,,the ,,grosvenor ,,galleries1 ,,london4 ,illustration3 8,,life ,,might ,,last6 ,,we ,,can ,,but ,,try40 ,,illustration ,,in ,,pen ,,and ,,ink ,,by ,,henry ,,ospovat ,,to ,,browning',s 8,,toccata ,,of ,,galuppi',s0 ,,in ,,the ,,british ,,museum4 ,,size1 #aa #h ,,in4 ,illustration3 ,,illustration ,,in ,,pen ,,and ,,ink ,,by ,r4 ,,anning ,,bell1 ,r4,a41 ,r4,w4,s4 ,,to 8,,shelley40 ,,size1 #f #c ,,in4 ,,reproduced ,,by ,,permission ,,of ,,the ,,publishers1 ,,messrs4 ,g4 ,,bell ,,and ,,sons4 ,illustration3 8,,sacrilege40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,f4 ,l4 ,,griggs4 ,,size1 #g #e ,,in4 ,illustration3 8,,the ,,huntsman0 ,,size1 #f ,,in4 ,,square ,,drawings ,,in ,,pen ,,and ,,ink ,,by ,,joseph ,,crawhall ,,in ,,the ,,possession ,,of ,,william ,,burrell1 ,,esq4 ,illustration3 8,,an ,,algerian ,,cabby0 ,,size1 #e #i ,,in4 ,,drawings ,,in ,,pen ,,and ,,ink ,,by ,,joseph ,,crawhall ,,in ,,the ,,possession ,,of ,,william ,,burrell1 ,,esq4 ,illustration ,illustration3 8,,the ,,stranded ,,barge40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,james ,mc,b,e,y4 ,,size1 #f #ab ,,in4 ,illustration3 ,,pencil ,,study ,,by ,,glyn ,w4 ,,philpot1 ,a4,r4,a4 ,,size1 #e #d ,,in4 ,illustration ,illustration3 8,,delft40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,,maxime ,,lalanne ,,in ,,the ,,possession ,,of ,,charles ,,emanuel1 ,,esq4 ,,size1 #aj #h ,,in4 ,illustration3 8,,les ,b,,cherons40 ,,drawing ,,in ,,pen ,,and ,,ink ,,by ,t4 ,a4 ,,steinlen4 ,,size1 #aj #g ,,in4 ,illustration3 8,,laveuses40 ,,drawing 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