Artists may take motives or inspiration from the past, or from the present, it matters not, so long as their work has life and beauty--so long as it is organic, in short. [Illustration: HOWARD PYLE. FROM "OTTO OF THE SILVER HAND." (SCRIBNER.)] [Sidenote: HOWARD PYLE.] I have already alluded to the movement in Boston among a group of cultured young men--Mr. Lee the printer and his colleagues--more or less inspired by "The Hobby Horse" and the Kelmscott Press, which resulted in the printing of "The Knight Errant." [Illustration: HOWARD PYLE. FROM "OTTO OF THE SILVER HAND." (SCRIBNER.)] Some years before, however, Mr. Howard Pyle distinguished himself as a decorative artist in book designs, which showed, among other more modern influences, a considerable study of the method of Albert Dürer. I give a reproduction which suggests somewhat the effect of the famous copperplate of Erasmus. He sometimes uses a lighter method, such as is shown in the drawings to "The One Horse Shay." Of late in his drawings in the magazines, Mr. Pyle has adopted the modern wash method, or painting in black and white, in which, however able in its own way, it is distinctly at a considerable loss of individuality and decorative interest.[9] [9] I am informed that the adoption of the wash method is not recent with Mr. Pyle, but that he adapts his method to his matter. This does not, however, affect the opinion expressed as to the relative artistic value of wash and line work. [Illustration: WILL. H. BRADLEY. A COVER DESIGN. (CHICAGO, 1894.)] [Illustration: WILL. H. BRADLEY. PROSPECTUS OF "BRADLEY HIS BOOK." (SPRINGFIELD, MASS., 1896.)] [Illustration: WILL. H. BRADLEY. DESIGN FOR "THE CHAP-BOOK." (CHICAGO, 1895.)] [Sidenote: "THE INLAND PRINTER."] [Sidenote: AMERICAN ARTISTS.] Another artist of considerable invention and decorative ability has recently appeared in America, Mr. Will. H. Bradley, whose designs for "The Inland Printer" of Chicago are remarkable for careful and delicate line-work, and effective treatment of black and white, and showing the influence of the newer English school with a Japanese blend. [Illustration] CHAPTER V. OF GENERAL PRINCIPLES IN DESIGNING BOOK ORNAMENTS AND ILLUSTRATIONS: CONSIDERATIONS OF ARRANGEMENT, SPACING, AND TREATMENT. It may not be amiss to add a few words as a kind of summary of general principles to which we seem to be naturally led by the line of thought I have been pursuing on this subject of book decoration.