An examination of figures 10 and 12 will shew that Fuchs[A] attained his object by simple outline drawings; he never employed local colour, and shading he used very sparsely indeed, and then only to give expression to the form of some thick part. Fuchs's celandine (Fig. 10) should be compared with the drawing of the same plant (Fig. 9) by R. G. Hatton. [Footnote A: The methods followed by the illustrators of the Herbals may be conveniently studied in Hatton's "The Craftsman's Plant Book," London, 1909, and Arber's "Herbals," Cambridge, 1912.] [Illustration: Fig. 11. The Apple (_Pyrus Malus_). After Matthiolus. (From Hatton's _Craftsman's Handbook_).] The methods of Matthiolus (Figs. 11 and 13) were somewhat more advanced, for he used shading not only to express form but also to give a certain amount of relief. It will be noticed that he shaded by lines which followed the moulding of the parts. The work of Riocreux (Fig. 8) should also be studied; it will be observed that he managed to get a very high relief in his drawings by the simple means of straight or curved lines, according to the shape of the part, of varying thicknesses. [Illustration: Fig. 12. Charlock (_Brassica Sinapis_). After Fuchs. (From Hatton's _Craftsman's Handbook_)] There is no necessity for keeping all the lines of even thickness. For instance, provided the character of the form is not altered, the outline on the shaded side may be made thicker than on the illuminated side; also distance can be indicated by the use of thinner lines, for these, although really black, will give the impression of greyness. Then again, a line may be drawn with local increases and decreases in thickness, as in ordinary writing, and such lines drawn by a skilled hand can be made to express a marvellous amount of modelling. [Illustration: Fig. 13. Sea Lavender (_Statice Limonium_). After Matthiolus. (From Hatton's _Craftsman's Handbook_.)] The draughtsman, however, is not restricted to lines; any marks which can be made with a pen and black ink may be employed, provided they be sufficiently firm and large. The accompanying figure (14) which is a reduction of an illustration in Church's _Floral Mechanisms_, illustrates the use of lines of varying lengths for shading. [Illustration: Fig. 14. _Viola odorata_: Floral morphology. A reduction of a figure in Church's _Floral Mechanisms_.] In shading, the effect of shadow may be obtained by increasing the thickness of the lines, but they must not be drawn too closely together; on the other hand, the lighter parts can be represented by thinner lines placed further and further apart, and the lightest parts by the white of the paper. Cross hatching may also be employed (see Fig. 15), but the crossed lines must not be too close together, for otherwise they will tend to thicken in the making of the block and so will print too black. [Illustration: Fig. 15. A Seedling of _Abronia villosa_.]