John Leech and other papers

24 Horcs Subsecivcz.
kind of transparent colour which allowed the coarse
lines of the enlargement to show through, so that the
production presented the appearance of indifferent
lithographs, slightly tinted. In a short time, how-
ever, he obtained great mastery over oil colour, and
instead of allowing the thick fatty lines of printers'
ink to remain on the canvas, he, by the use of turpen-
tine, removed the ink, particularly with regard to the
lines of the face and figure. These he re drew with
his own hand in a fine and delicate manner. To
this he added a delicacy of finish, particularly in
flesh colour, which greatly enhanced the value and
beauty of his later works. To any one acquainted
with these sketches, we may mention for illustration
of these remarks, No. 65 in the Catalogue. This
work presents all the incompleteness and crudity
of his early style. The picture represents Piscator
seated on a wooden fence on a raw morning in a
pelting shower of rain, the lines necessary to give
the effect of a leaden atmosphere being very nume-
rous and close. The works which illustrated his
later style are best shown in Nos. 36 and 41. In
the framing of these sketches he persisted in leaving
a margin of white canvas somewhat after the manner
of water-colour sketches.
Of all art satirists none have such a pervading
sense and power of girlish and ripe womanly beauty
as Leech. Hogarth alone, as in his Poor Poet's