of a building by stringing all the figures along the sidewalks.  The lines of the curbs would thus confine and frame them in unpleasantly.  Break the continuity of the street lines with figures or carriages in the roadway, as in Fig. 55.  After the figures have been satisfactorily arranged, they ought to be carefully drawn as to outline.  In doing so, take pains to vary the postures, giving them action, and avoiding the stiff wooden, fashion-plate type of person so common to architectural drawings.  When the time comes to render these accessories with the pen (and this ought, by the way, to be the last thing done) do not lose the freedom and breadth of the drawing by dwelling too long on them.  Rise superior to such details as the patterns of neckties.

We will now consider the application to architectural subjects of the remarks on technique and color contained in the previous chapters.

[Side note:  Architectural Textures]

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

[Illustration:  FIG. 48 D. A. GREGG]

[Illustration:  FIG. 49 HERBERT RAILTON]

[Illustration:  FIG. 50 D. A. GREGG]