D R A W I N G I 25

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(Above) Figure 6: Lower Regent Street from Picadilly Circus by Sydney R. Jones, 1928. (Below) Figure 7: Lower Regent Street Sequential Journey indicated on plan, by Author 2022.

shading, being a mid-tone as it surrounds the two contrasts of light and dark. This attention to light and dark is called clair-obscur and the culmination of these three factors successfully serves to create a vivid picture of London at the start of LT by portraying it as a picturesque place.

D R A W I N G II

Similarly, S.R.J’s rendition of Church of St. Michael Paternoster Royal & Innholders Hall E.C is an etching that is instantaneously eye-catching, as it has a quality of harmony within the drawing. The periphery of the etching on the right side is shrouded in darkness and unclear, due to its close proximity to the drawing vantage point, whilst the left side of the drawing is equally dark, the irregularity of the building plan in relation to the wall on the right side presents the details of the facade to the viewer. The building immediately behind this creates a sense of enclosure as it is just before the protagonist of the drawing, Church of St. Michael Paternoster Royal & Innholders Hall E.C. and blocks the view towards it. The subject of the study is a well-known church within The City of London which can be seen as a place that exudes the narrative of London that the author is trying to communicate of a place that is worth preserving. Still, according to the picturesque, the value of the painting lay not in the subject, but in the technique so how does S.R.J convey it through his drawing?

Throughout LT the illustrations are in the medium of etchings, pencil studies and pencil sketches and whilst the pencil is able to provide a more subtle variety of light/dark tones, S.R.J is able to convey this well in this etching. Within this drawing, there are a number of varying gradations of light and dark that create a sense of depth that is indicative of the architecture in this part of the city. The most striking feature of the drawing is the distinctive difference between light and dark, the picture is divided equally between these two tones based on where the light comes from and where the shadow falls within the drawing. This is a phenomenon that is characteristic of this built-up area of “The City” within London and through this, begins to communicate the overarching narrative that we spoke about, through the use of clair-obscur, unity through equal distribution of light and dark.

There are only two figures within the drawing that are used to demonstrate the enormity of the scale of the buildings in this scene. One figure appears to be slightly hunched looking at something obscured in darkness, while the other walks along the cobbled street. The drawing is an off-centred One-point