[Illustration:  FIG. 51 WALTER M. CAMPBELL]

[Illustration:  FIG. 52 HERBERT RAILTON]

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

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

[Illustration:  FIG. 55 HARVEY ELLIS]

[Side note:  Examples]

Mr. Campbell’s drawing, Fig. 51, is a very good example of the rendering of stone textures.  The old masonry is capitally expressed by the short irregular line.  The student is advised to select some portion of this, as well as of the preceding example to copy, using, no matter how small the drawings he may make, a pen not smaller than number 303.  I know of no architectural illustrator who hits stonework off quite so cleverly as Mr. Goodhue.  Notice, in his drawing of the masonry, in Fig. 8, how the stones are picked out and rendered individually in places and how this intimate treatment is confined to the top of the tower where it tells against the textures of the various roofs and how it is then merged in a broad gray tone which is carried to the street.  Mr. Railton’s sketches are full of clever suggestion for the architectural illustrator in the way of texture.  Figs. 7 and 52 show his free rendering of masonry.  The latter is an especially very good subject for study.  Observe how well the texture tells in the high portion of the abutment by reason of the thick, broken lines.  For a distant effect of stone texture, the drawing by Mr. Jaccaci, Fig. 53, is a fine example.  In this the rendering is confined merely to the organic lines of the architecture, and yet the texture is capitally expressed by the quality of the stroke, which is loose and much broken.  The general result is extremely crisp and pleasing.  For broad rendering of brick textures, perhaps there is no one who shows such a masterly method as Mr. Gregg.  As may be seen in his sketch of the blacksmith shop, Fig. 48, he employs an irregular dragging line with a great deal of feeling.  The brick panel by Mr. Bragdon, Fig. 54, is a neat piece of work.  There is excellent texture, too, in the picturesque drawing by Mr. Harvey Ellis, Fig. 55:—­observe the rendering of the rough brick surface at the left side of the building.  A more intimate treatment is that illustrated in the detail by Mr. C. E. Mallows, the English draughts man, Fig. 56.  In this drawing, however, the edges of the building are unpleasantly hard, and are somewhat out of character with the quaint rendering of the surfaces.  Mr. Goodhue uses a similar treatment, and, I think, rather more successfully.  On the whole, the broader method, where the texture is carried out more uniformly, is more to be commended, at least for the study of the beginner.  Some examples of shingle and slate textures are illustrated by Fig. 57.  It is advisable to employ a larger pen for the shingle, so as to ensure the requisite coarseness of effect.

[Illustration:  FIG. 56 C. E. MALLOWS]

[Illustration:  FIG. 57 C. D. M.]