and C. G. Lawson all contribute fine work. In the list at the end of the chapter some of the finest designs are tabulated.
Pen-drawing and Wash-drawing.—Of the various styles of drawing on wood in the sixties, there are three broad divisions. The virile line, eliminating all local colour, of which the chief exponent was Sandys. The free and realistic line which endeavours to suggest local tone and colour as well as light and shade, of which John Gilbert, Millais, and especially Fred Walker, in its later developments were the chief leading stylists. The wash-drawing with a partial absence of line, leaving the interpretation into line to the wood engraver. Of this third style William Small was the first exponent. In modern wood engraving this has been developed both in the American and English schools to such a degree that wood engraving in its latter days and wood engraving in the days of Holbein and the old wood-cutters are governed by entirely different theories.
In the wood engraving by Dalziel, after Fred Walker, in "A Round of Days," one of Dalziel's Gift Books, printed with the illustrations on india-paper in 1866, his style is well interpreted by the wood engraver. This volume contains splendid work by G. J. Pinwell, J. W. North, J. D. Watson, and Boyd Houghton.
George J. Pinwell holds a high place in the plethora of designers of this peculiarly rich period. His costumes and his interiors, his dainty sentiment and his homely situations endear him to lovers of English genre drawing. From 1865 to 1875 he had
