whereby they are conveyed; but it is these studied accomplishments which we are enjoying nevertheless; because through them our own sense of harmony is aroused. Let us note, for instance, the character of the lines used to represent the foliage in the first drawing reproduced, and see with what beautiful, rythmic precision they produce at one and the same time the required tone and the movement of the thing represented. And again, in the trunks of the trees how fully the firm lines record the upward growth and the vicissitudes of weather suffered in their struggles to attain the majestic heights to which they rise. This method of drawing, in which light and shade is produced by lines which at the same time follow the form and movement of the objects represented, is perhaps the oldest and most conventional; but in the hands of a master like Mr. Manley it is more fully expressive and beautiful in its results than any other. [Illustration: FOUR DRAWINGS OF AMERICAN LANDSCAPE BY THOMAS R. MANLEY] [Illustration] [Illustration] [Illustration] If to dwell upon points as technical as this seems a contradiction to the statement already made, to the effect that these reproductions are presented for what pleasure they may give the layman, it should be said that it is for the reason that such technicalities as are pointed out may well be within the understanding of all intelligent persons and that their elucidation may assist greatly toward a fuller appreciation of the more intellectual merits. And if we fail to consider sufficiently here those more poetic qualities and to attempt some description of the meanings and sensations conveyed to us by the pictures themselves, it will be because it seems that these are matters best left to the individual observer. This is what might be called the "literary" side of pictures, and one upon which art criticism has come too largely to dwell. If, on the other hand, the discussion of pictures were content to confine itself to the pointing out of what constitutes the "art" of the work, might we not derive each for himself a more intimate pleasure in undisturbed enjoyment of those intellectual conceptions, which, though produced by the same picture, are, in no two of us, precisely alike? There are represented in the four drawings here selected (from a collection so interesting that any selection at all was difficult) several phases of the artist's ability, each so well demonstrated that it is scarcely possible to choose between them. This versatility of mood is a noteworthy evidence in itself of the well grounded mastery of the artist and of his ability to deal with nature at all points. It is, in other words, no mere trick or specialty which he has learned as one might pick out note for note and learn by heart a tune upon the piano; but the work of a hand and eye and mind turned in perfect accord, like a single instrument capable of an infinite range of expression.