Up to this point we have imagined the penmanship to be concerned only with the lines. Now let us see how a great pen-artist, like Joseph Pennell, or Edwin A. Abbey, would carry his drawing further. He would see the house, not as a skeleton of lines, but as a mass, part of which is silhouetted against the sky, while the rest is seen in relation to the other buildings or objects that stand near it. Each according to his own individual technique, that is to say, his own particular way of using the pen, will make his building a mass distinct from the masses of the other buildings, of the ground, and of the sky. And on the masses of buildings he will make the windows appear as they do in the actual building--namely, as patches, darker in color than the walls. All this he will do, because to his eye the different objects, under the influence of the atmosphere, appear as masses of various colors in relation to one another. More than this, when you have grown to appreciate fully the work of Pennell and Abbey, you will find that, though it is done in black and white, it seems to suggest color.