[Illustration:  FIG. 41 C. D. M.]

The student after careful study of Fig. 41 should make from it enlarged drawings, and afterwards, laying the book aside, proceed to render them in his own way.  When he has done so, let him compare his work with the originals.  This process ought to be repeated several times, the aim being always for similarity, not for literalness of effect.  If he can get equally good results with another method he need not be disconcerted at the lack of any further resemblance.

The cornice with its shadow is another salient feature.  In short shadows, such as those cast by cornices, it is well, if a sunny effect be desired, to accent the bottom edge of the shadow.  The shadow lines ought to be generally parallel, but with enough variation to obviate a mechanical effect.  They need not be vertical lines,—­in fact it is better that they should take the same slant as the light.  If they are not absolutely perpendicular, however, it is well to make them distinctly oblique, otherwise the effect will be unpleasant.  A clever sketch of a cornice by Mr. George F. Newton is shown in Fig. 42.  Notice how well the texture of the brick is expressed by the looseness of the pen work.  Some of the detail, too, is dexterously handled, notably the bead and button moulding.

The strength of the cornice shadow should be determined by the tone of the roof above it.  To obtain for this shadow the very distinct value which it ought to have, however, does not require that the roof be kept always much lighter than it.  In the gable roof in Fig. 57, the tone of the roof is shaded lighter as it approaches the eaves, so that the shadow may count more emphatically.  This order may be reversed, as in the case of a building with dark roof and light walls, in which case the shadow may be grayer than the lower portion of the roof, as in “B” in Fig. 44.

[Illustration:  FIG. 42 GEORGE F. NEWTON]

But the beginner should not yet hurry on to whole subjects.  A church porch, as in Fig. 35, or a dormer with its shadow cast on a roof, as in Fig. 43, will be just as beneficial a study for him as an entire building, and will afford quite as good an opportunity for testing his knowledge of the principles of pen drawing, with the added advantage that either of the subjects mentioned can be mapped out in a few minutes, and that a failure or two, therefore, will not prove so discouraging as if a more intricate subject had to be re-drawn.  I have known promising beginners to give up pen and ink drawing in despair because they found themselves unequal to subjects which would have presented not a few difficulties to the experienced illustrator.  When the beginner grows faint-hearted, let him seek consolation and encouragement in the thought that were pen drawing something to be mastered in a week or a month there would be small merit in the accomplishment.

[Illustration:  FIG. 43 C. D. M.]