PERSPECTIVE

THE ART OF DRAWING WHAT ONE SEES

E X P LAIN E D AN D A DAPTE D

TO THE US E OF T H O SE SK E T CH I N G FRO M N AT URE .

LI E UT W H . . . COLLIN S, RE .

a ce I n s t r u c t or i n S u r v e y i ng and M i li t a ry D ra w m g 1 -1 th e Ro y a l M i l i t a ry A c a d e my , W o ol w w h

LO ND O N

L ON G M AN & G R E E N, AN D c a

1 872 .
 P R E F A CE .

So M AN Y I
D R AW N G S , otherwise pleasing and
effective are marred by defects in their
,
‘
per
that I need make apology for
’
sp e c ti v e , no at

tempting to explain , in a simple and concise

m anner, the fe w rules which must be followe d ,

either instinctively or with intention before a ,

drawing can be a true picture of what it is

designed to represent .

K nowing that on e is naturally frightened from

a subject the entrance to which he sees barred by
formal treatises full of geometry and propositions ,
’

I have endeavoured to write as simply as possible ,

v iii P REFACE .

and to bring the subject within the comprehension

of the most ordinary intelligence . T he novice
may take heart in knowing that the necessary
rules are few and their application easy
, .

I n the h 0 pe that I may have a t least partial ly

succeeded in rendering intelligible ,
if not in

t e r e s t i n g, a subj e c t generally most unattr active ,

I offer this vol u me to those who feel in n eed of

help in their efforts to sketch or colour .

W H . . CO L L I N S .

Jun e 1 8 7 2 .
 CO N T E N T S

G en er al c on s id er ati on s c on c ern i n g d ra w i n gs
Dr a w in gs for t
n a ur a l eff e c t ( p ers p ec tiv e )
for a rchit e c t s ( or th ogra phi c )
for a dv er ti s e m e t s ( i s o m e t r i c )
n

for m a ps of th e ea r th ( s t er eogr a phi c )

Deta il s of p e s p ec t iv e
r

V a n i s hi n g poi n t s
Di s t a n c e of th e e
ye

Cr iti c i sm
Fa c ts i b le fr om pi c t u
a s c er ta n a res

H o w to fi n d th e v a n i hi n g p oi n t s
s

N e c e s s a ry p ec li ar iti es
u of th e p ers p ec ti v e d ra w i n g
T o dr a w a sq uare

To t i
a sc e r a n th e c ha rac t er of an or g n a li i fi gur e fr om i ts p i c t u r e

Th e c orr ec t dividi n g of a li n e

Na tu r e of ou r p er c e pti on s on l ook i n g a t a vi e w
. .

P r oc e dur e i n s ke t c hi n g a n i n t e r i or
 CO N T E NTS .

h
V a n i s i ng p oi t n s

D i st a n c e of th e e
ye

The p a v eme n t
Th e t ab l e
The pi c t u r e f a m e s
r

The divi s ion s on th e p ane lli ng

C o mm on m i s ta k es
Ha ng i n
g of pi c t u r es
Re fl e c ti on s i n
-
wa t er
Moon li ght vi ews

Co m pl em e n ta r y c o l ou rs

Co l our of th e s ky

Co l ou r s of s u n se t
Su bj t iv
ec l
e c o o u rs

Co l o ur s of m ixed pi gme t n s
 PERSPECTIVE DRAWING .

T H E W RI T E R of the following brief treatise on

P erspective D rawing has found thr ough an
experience O f some length that an amateur in ,

seeki ng to provide himself with in formation con

ce r ning drawing from Nature i s at a difficulty in
,

doing so He stands between two classes of wr iters

.

artists and geometricians neither of which exactly

,

’
supplies his want T he artist s eye and sense of
.

beauty are pained by anyt hing like a formal e m

g i n e er i n
g drawing and
, his
’
treatise gives a wide
berth to rigid and exact rules which here as in
, ,

other matters fence round the processes of Nature

,
.

T he geometrician is skilled in drawing at his desk .

He is satisfied if his figure s embody the p r oof of

hi s propositions He concerns h fl s elf more w ith
.

the proof than with the drawi ng I t does not .

matter i n the least how ill the schoolboy draws a

B
2 P E RSPE CT I V E DRAWI NG .

circle on h i s slate ; his demonstration is not

affected thereby and the truth of any problem in
,

geometric al perspective is independent of the a p

p e a r a n c e of the figure T hus the geometrician is
.

careless of effect and careful only of his demon

,

s tr a t i o n . He writes for the scholar and his

examination paper I t may be that he has n ever
.

tried to take a sketch from Nature and does not ,

know how far his theories may be made to furnish

rules for his practice .

’ ’
B eauty tone and feeling of a p icture are
, ,
‘

the terms which the artist loves to use ; and if

familiar w ith the terms a n d defini tions of the
geometrician he is loth to perplex his pup ils
,
’

minds with them H e probably thinks that the

.

rules for what h e calls foreshortening are either

inapplicable or too abstruse to be succinctly ex
plained He is more disposed himself to leave all
.

human habitations with straight walls and parallel

lin es and sketch in solitude among rocks rivers
, , , ,

and clouds where he will find his most beautiful

,

e ife c t s
,
than to concern himself with vanishing ‘

points and points of sight around some formal

‘

building He may not know that perspective has

.

fu rnished rul es which in most cases can be

b rou ght to bear u pon his drawi n g and by which ,
 FRE E HAN D SK ET CH I NG
-
. 3

he m a y be tried with no uncertainty an d by which ,

he may be either acquitted or condemned .

T he w riter of this short treatise think s that he

may supply the want which many of his friends
have felt He has endeavoured to modify and adapt
.

some geometrical constructions so as to m ake

the m suitable to the amateur and he has treated
,

of some general poin ts connected with drawing .

He has touched but very slightly on the subject

still vag u e and indefinite ofcolour and composition
,
.

A ny drawing in which the lines are ruled has

an unpleasing and formal e ffect T hough th e.

lines may in reality be straight they look m ore ,

satisfactory when drawn with the hand than with

a ruler I n the former case each stroke the ar tist
.

make s will carry with it his touch — his per ‘

sonal e quation to borro w a term from mathe

,
’

maties and will render the drawing essentially his

,

own and consequently it will carry with it a value

,

far higher than i f he had traced it with a ruler on

.

a pane of glass B ut even when done with his

.

own un guided han d the pleasing e ffect is due to

,

the above cause not because a discretion has been

,

allowed in the direction of the lines or that their ,

position has been varied at his pleasure They .

must be placed where they appear to b e N o .

B2
4 P E RSP E CT I V E DRAW I NG .

variation is allowable in their position T he .

general objection to the engineering drawing is

not because the lines are wron g but because (when ,

they represent perspective which they mostly do

,
’

not ) they are ruled and because no e ffect of light

,

and shade is attempted D r B rook T aylor an

. .
,

eminent authority on this subj ect makes the fol ,

lowing remark How many pictures are there to

be seen that are highly valuable in other respects ,

and yet are entirely faul ty in this point (perspective ) .

I ndeed this fault is so very general that I cann ot

,

remember that I ever have seen a picture that has

been entirely without it ; and what is the more to
,

be lamented the greatest masters have been the

,

’
most guilty of it . T he writer so fully agrees with
this remark that he is emboldened in his attempt
to handle the subj ect in a popular way and m a ke ,

it int elligible to those who dislike geometry and

mathematics .

O nly two groun d s for an O pinion can be o ffered

with c on fid en c e —the rational satisfaction of the
m ind that the opinion is j ust and a credential in
,

the form of results produced by actin g on the

O pinion . Artists w h o have treated of this subject
have written in the latter sense and their opinion s ,

have c arried weight p er s e in proportion as their

, ,
 N E CE SSI TY FO R CO RRE CT DRAW I N G . 5

pictures have been pleasing The former is the.

ground of the conclusions o ffered in these pages .

D rawing light and shade and colour are the

, ,

thr ee branches into which the art of painting

divides itself T he two last are b ased upon the
.

fir st and however little of the satisfaction a fforded

,

by the fi nished picture is generally ascribed to

the drawing if this is not correct the other
, ,

two however varied are powerless to remedy the

, ,

defect which underlies the whole I f on the other .

,

hand the drawing is correct the others become

, ,

O ptional and in a great measure please or dis

,

please according to the taste of the observer

,
.

T h ere are a few words which must constantly

recur in this treatise and it is necessary that a
,

distinct idea should attach to each of them A s .

a d e s c r i p ti on of anything is being given —say of a ,

p iece of machinery the listener ought to be able to

,

build it in imagination for each new line of e xp la

nation he will add a new piece to it and finally his ,

physical conception of the machine will correspond

with the existing one It is desirab le that when
.
,

planes and line s are talked of the reader shoul d ,

b u i ld such an image in his mind that he would

have no diffi culty in actually constru cting it out
of card b oard and lin es of thread Such d istinct .
6 P E RSPE CT I V E DRAW I N G .

conceptions should accompany the terms that will

here be described as simply as possible .

A line will be what m athematicians call a

‘

right or a s tr a i gh t line or in other words a

‘
,
’
,

line that has no bend i n it such a line as

is produced by folding down a sheet of paper The .

creased edge is a straight line .

P arallel lines are those lines which lying in ,

the same plane do not meet even if produced

,
.

L ines drawn on a wall would be lines in the same

plane And if like th e tiers of bricks they did
.
, ,

not meet or approach each other they would be ,

parallel T he two metal lines of a rail w ay when

.
,

straight are parallel for they lie on the same

, ,

plane and are al w ays the sam e distance apart

, .

I t is n o t s u fii c i e n t that the lin es should not meet

to make them parallel T hey should also b e in.

the same plane F or instance a road running

.
,

underneath a railway would never meet the ra i l

way ; b ut here they do not run side by side or lie
in the same plane and conseq u ently though they
, , ,

woul d never m eet they are not parallel

,
.

A plane is a perfectly flat s urface with n o ,

holl ow or bend in it I t must be like the surface

.

of a plate glass windo w A vertical plane is one

-
.

that han gs li ke a sheet sus p en d e d from a line .

 T E RM S E XP LA I N E D . 7

A horizontal plane is one that corresponds with

the surface of a vessel filled with water at the
same place .

P erpendicular to or at right angles to mean

the same thing T he candl estick is p erp en
.

d i c ul a r to its b a se and to the table I n the .

ordinary position of the table its surface is hori

z on t a l and the s tem of the candle stic k is vertical ;
,

but if the table be tilted up the candle will still ,

remain perpendicul ar to the table though the ,

table ceases to be horizontal or the candle to ,

stand vertical A cord hanging with a weight to

.

the end of it is vertical ; it ought not to be call ed

perpendicular .

A line is perpe n d icul ar to a plane if it meets it

dir ectly and incline s to no side — as the stem of a
,

candl estick meets the base which it stands upon ,

but this perpendicularity will remain even though ,

the candlestic k b e laid u pon its side or held in ,

the hand I t is desirab le that this distinction

.

shoul d be borne in mind for the terms per ,

n d i c u la r d ’ ’
p e an vertical are frequently c on

founded .

An original line or figure is th e actual line or

’

fi gure which we sketch Its representation u p on

.

’
th e d ra win g is i ts p roj ection .
8 PE RSP E CTI V E DRAWI N G .

T he drawing of a line upon the paper is call ed

plotting the line .

The angle which two rays converging on the

eye contain between them is said to be su bten d ed
at the eye .

T he wor d data is frequently used when any

problem is considered I t means all that is given
.

to us or that we know for certain E very problem

,
.

consists in tryi ng to arrive at something that we

do not know from what we do Al l that we may .

assume as known is our data .

’
A perspective pictur e of an O bj ect is an en
‘

largement of the picture thrown on the back of the

eye through the pupil and interpreted by the brain
, .

T he perception of the object or interpretation of

the li ttle picture within the eye is s i ght ; and the
image itself or an enlargement of it is the per
, ,

s p e c ti v e V iew or that which was or might have

,

been seen or perceived with ordinar y undistorted

vi sion .

E ver y object in Nature which is ill uminate d

emits from it rays of light in all directions i n ,

straight lines That portion of these rays which

.

come from any O bj ect to the eye is called a

pencil The eye only becomes conscious of the
.

p resence of the o bj ect through the e ffect of these

10 P E RSPE CT I V E DRAW I N G .

wildest confusion and yet without j ostle or dis

,

t u rb an c e
. E ach one of t w enty persons in a room
can see as distinctly as if he were alone and yet ,

the pencils con verging on their eyes may have

crossed in every conceivable direction .

L et us consider a square house th is being one

,

of the simplest obj ects that cou ld be drawn—as

emittin g rays from it in all directions .

Fig 1
. .

An dlet be the position of an eye A s is .

natural to suppose only those rays which fall into

,

the eye can affect it and these must of necessity

,

be li mited to the pencil converging on it O ther .

rays strikin g out in other directions might meet

other eyes but except those ly i ng within the
,

p encil converg i ng on E none woul d reach thi s

,
 D E TAI LE D E XP LAN AT I ON . 11

point It is with this pencil perspective drawin g

.

is concerned I t is SO called from being the

.

natural representation of the obj ect as presented

to us by our sight ( p er sp i c i o—I look at) Now f
.
,

imagin e a plane called the plane of the pictur e

held athwart the pencil of rays and suppose the ,

rays to stamp themselves u pon it as they pass , ,

and we should have a perspecti ve V iew of the

house E is the po i nt of sight or vertex P is the
.
,

plane of the picture C where the central ray of

.
,

the pencil meets the plane of the picture is the ,

’
centre of the pictur e Th is point c is called
.

the point of sight by some writers on perspective ,

b ut it will here be called by its true name the ,

centre of the picture A s this point lie s on the

.

pap er and is not the point from which the sight

,

’
is tak en point of sight is obviously a mis
,

’
nomer ; E the central ray is the line of sight
, ,
.

The pencil of rays shoul d be cut perpendicul arly

by the plane of the picture or in such a way that ,

the cone formed Should be what is called a right

cone as in fig 2 not as in fi g 3
, .
,
. .

I n this way standing before a pane of glass and

,

shutting one eye the distant V iew may be traced

,

with a pen and is a true perspective drawing but ,

c are shou l d b e tak en that the view shoul d b e di r ec t

12 P E RSP E CT I V E DRAWI N G .

through the glass as in fig, . 2, not oblique as in

fig 3 . .

T his plane of the picture will in the foll owing

treatise be supposed to be always vertical and held
as here described di r e c t across the line of Sight .

P erspective embraces all positions of this plane ,

oblique as well as not vertical but the require ,

ments of painting limit us to the above simple

positions and consequently free us from much
,

co mplication .

It is not necessary that a ll drawings should look

natural or pleasing I t will be seen ( fig 1 ) that of
. .

the myr iad of ray s issuing from the house but one
small portion has fallen upon the point E I t is .

quite all owable and frequently desir able that other

rays or proj ectors should be considered or that they ,

should b e conceived to fall in some other manner

 O RT H OG RAPH I C DRAW I NG . 13

than simply on a point I t would thus a ppear

.

that there may be many other kinds of drawing

b esides perspective and this is so -
T he architect .

who d esigns a house must convey his idea most

accur ately to the bricklayer and mason who will
build it and for this purpose perspective wo ul d
,
‘

not be suited A general im pression of the house

.

might be sufficient for the man who was going to

live there and a perspective drawing representing
,

what he would see if it were b uilt mi ght satisfy

him b ut such general information would not be
,

of the slightest use to the bricklayer or mason .

T o meet this end another kind of projection has

been devised call ed orthographic It is much
,
.

simpler than p erspective I t coul d never b e seen

.

by the eye .

R ays which issue fr om the object parallel to

one another are to b e consi d ered in this k ind of
drawin g We have now to select a c o lu m n of rays
.

proceedi n g from the object and no longer as ,

before a cone of rays L et the object be a house

. .

A ny set of parallel rays may b e chosen a c

cording to the V iew we wish to re p resent T hese .

r ays are again supposed to be cut b y a plane held

athwart them and each ray is supposed to stamp

,

its own impress on the plane We shoul d thus .

14 P E RSPE CT I V E DRAW I N G .

get a picture but it would be as big as the house

,

itself A nd consequently before it could be shown

.

on paper it would have to be reduced a n d draw n

by scale say fi th or T gfi th of its true size Fr e
, .

quently in a railway station one sees pictures of

this kind They are generally very formal and
.

very straight no lines converge on them and all

, ,

attempts at e m bellishment or effect are absent .

T he figure represents such a picture .

Fi g 4
. .

I t will be well to compare these two kinds of

drawings that their differences m a y be n oticed I t
,
.

will be seen that in the perspective drawing the

size is much reduced whereas in the ortho ,

graphic i t is the same size as the original I t .

will also be noticed that no matter where the

plane of the picture cuts the rays in the latter case ,

the proj ection is the same ; while in the perspective

drawing it varies greatly with every change either
of the position of the eye or of the plane of the
’

picture Another di fi e r e n c e is that in the per

.
 COM P AR E D W I TH O RTH OG RAPH I C . 15

s pe c drawing the bounding lines of the house

ti v e
converge whereas i n the other they are parallel
,

T he two views are placed side by side .

I t would be useless to attach a scale to the

perspective drawing for all the lines are not
,

diminished on the same proportion a n d it would ,

be impossible to find from it by measurement the

length of a line in the house I t will be gathered
.

from this comparison that an orthographic pro

j e c ti on is a much more easily ma d e drawing and ,

much more easily deciphered .

It is frequently thought m ore desirable to show

a great deal in one picture than to represent it
either as it might be seen or so as to enable a
builder or landscape gardener to u n dertake the
construction of the house or grounds A nd for .

s u ch a case as this anot her proj ection has been

devised A different set of rays wo ul d b e selected
.
l6 PE RSPE CTIV E DRAWIN G .

from those chosen in either of the other cases .

T hose coming from the corner of the house would

be dealt with still keeping parall el to each other
, .

L ik e orthographic drawing it wo ul d be an
,

imaginary picture and could be seen nowhere but

, , ,

as before e xplained the rays issue fro m all parts of

,

the house and it is quite allowable to choose which

,

ever direction is convenient for the formation of a

pictur e T hat only will appear natu ral which is
.

g iven by converg i ng ra y s but,

others may give a

great deal more information and consequently

may be preferred .

T he own er of a manufactory who was anxiou s

to show th e extent of the premises would s elect
this kind of drawing .

We fr equently see such drawings in railway

18 P ERSPE CT I V E DRAWI N G .

these kinds of drawing obj ections would attach .

It would be necessary for the perspective view to

fix the point of sight and its position would be
,

completely arbitrary ; and in the orthographic

picture as shown in the figure those port ions of
, ,

the earth near the edges would be much fore

shortened and crowded together .

T o meet these objections a projection called

stereographic has been inve n ted A photo graph of
.

the surface of the earth taken from the inside ,

supposing the earth to be a shell would give such ,

a picture It would have many advantages ove r

.

th e other kinds The pictures of the hemisphere s

.

of the earth S een in the early pages of atlases a r e

of this kind .

T his much has been said to Show that p ers p e c

tive drawing is one of many kinds ; its character ,

like that of the others is fixed Its rules are well

, .

defined so that it is taken out of the r egion of

,

generalities and ambigui ties too generally indulged

in by writers on drawing a n d painting O f all th e .

kinds of drawin g mentioned it is the most di ffi cult .

T he original purpose of a drawing—viz to give .

inform ation concerning the object it represents

has been to a great extent foregone in perspective
p ictures . E ffect and b eauty have p u shed this
 ITS LAW S ARE FI X E D .

other purpose from the field and consequently ,

true perspective though the base and foundation

, ,

is but a part of any drawing It is to be regretted .

that the rules for pleasing composition and e ffect

have not yet been e fficiently exp l ained There can .

be little doubt that if the artist could explain his

processes his pupils would find it easier to follow
,

him than when he represents his power to arrange

,

and please as some peculiar facul ty incapable of

explanation and only to be acquired by a life s
,
’

practice.

It is thought by a beginner that correct drawing

is the result only of a correct eye and that like , ,

the poet s art the peculiar faculty m u st be born

’
,

with one and cannot be acquired ; but it is as

,

t on i sh i n g how bold one becomes in a fight when

well armed and it is astonishing how soon the

,

novice is capable of bringing rigid rule to bear

upon the production of his own drawing and upon ,

the criticism of his master s M aster and he have

’
.

then become pupils of Nature which as a teacher ,

has this advantage that she never varies

,
.

Q uestions ,
no matter where asked will receive the ,

same reply T he same experiment will have the

.

same result and they who find out the rule s of

,

perspective or of colour in E ngland a n d in Chin a

0 2
20 P E RSPE CT I V E DRAW I N G .

will find that their explanations w hen translate d ,

are the same .

Having had some experi en ce in the instruction

of youth the writer is of O pinion that the most
,

frequent cause of failure in attempts both i n

d raw i ng a n d c olouring is —not k nowing how It is .

n ot genera lly a fail ure of in t elligence or capacity .

T h e bad drawing is to be t r aced to three defec ts

n ot knowing how indifferent tools and the absenc e
, ,

o f musc ular skill due to practice T he first tw o.

can be overcome by th e t ea cher if he is master o f,

his s ubj e ct ; the latter can be acquired with th e

requi site amount o f pr ac tice It would then b e
.

fo und th at our belief in the G o d gifte d faculty -

would be shaken and as we are not surp rised a t a

, ,

c arpenter of d ull intelligence makin g a g o od box ,

we Shall cea se to be surprised at a stu pid boy

maki ng a fair drawing O f course it is left to th e
.

fe w to achieve eminence B roadly speaking th e

.
,

a mount of practice is the measure of the su ccess .

The muscles must be schooled to r ec ollec t The .

fingers will play a tune that they know while no ,

mental efforts direct them A difficult piece i s

.

played by fingers which are already familiar with .

the tho u sand small combinations which go to

build up the whole So with a p ainting muscul ar
.
,
 FU RTH E R DE T AI LS . 21

skill and the practice of years lies un derneath

, ,

the oil colours and their pleasing effect .

F ortunately the number of aspirants to honour i n

the arena of art are increasing and there I s a hope
,

that when art is in the hands of a greater number

,

of educated men we shall hear less of canting

,

phraseology and more of the simple and rigid rules ,

w hich some good men will glean from nature by ,

the same inductive process which has been suc

c e s s ful in other matters .

We wil l now discuss the character of perspective

drawing more in detail Referring to fig 1
. .
,

we see the nature of the drawing T he i m .

pression received in the eye is nothing more

than the image on the plane reduced in size .

It is obvious that the position of the eye may be

anywhere as also the position of the plane of the
,

picture A n alteration in the p osition of the first

.

would give a new picture for a new cone O f rays

,

would impinge upon the eye ; b u t an alteration of

the place where the plane of the picture cut th e
,

cone provided it be held straight across it (i s

,
. .

perpendicularly to ce n tral ray) woul d only cause a

,

difference in size of the picture Holding a sheet .

of glass before the eye and m oving it nearer and

,

farther from the eye would o nl y have the e ffect of

,
22 P E RSPE CT I V E DRAW I NG .

diminishing or increasin g the Size of a picture

trace d upon the glass in either position The .

appearance would remain unaltered A s the .

position of the eye and of the plane of the picture

may be anywhere it follows that before a per
,

s p e c t i v e picture can be drawn or before the true

,

character of an object can be accurately a sc er

t a i n e d fro m its p icture these positions should
,

be known I t may be remarked that if the plane

.

be held obliquely just as good a picture would be

,

seen through as it if it were held straight or p erp e n

di c u la r A n d yet this position has been forbidden
. .

The reason for that is this that in looking at any

,

obj ect the centre of the picture seen by u s is on

t h e axis of t h e eye I n other words the i m age
.
,

cast by the lens which lies over th e pupil is

equally disposed round the axis or central line I n .

the same way a picture taken by a camera has

for its centre the axial li n e of the camera I f a .

view seen th rough glass held obliquely were traced

with a pen and then looked at di r ec tly it would
, ,

a p pear untrue I t wo u ld not be what the per

'

s e c ti ve
p V iew is m eant to b e —Viz that w h ich .

might have been perceived or seen O nly a .

portion of the whole pencil entering the eye would

have been projected and in order that the picture
, ,
 P O SI T I O N O F TH E PLANE O F P I CTU RE . 23

should be a complete one the plane of the picture

,

should have been extended equ ally far o n the other

side of the axis .

Fig 8
. .

All the dotted rays Should been allowed to

p roje ct themselves upon th e glass Another suf
.

Fi g 9 . .

fi c i en t
reason would b e that i n looking at anything
one instincti vely puts it direct ly before him and ,

he directs the axis O f the eye on each point He .

wo ul d stand directly before a picture in criticising

it and would consequently con d emn as distorted a
,
24 PE RSPE CT I V E DRAWIN G .

picture taken obliquely as above described It .

follows from this that the point of Sight Should be

O pposite the centre of the picture It ought pro
.

perly to b e over the exact centre 0 for the eye look

,

ing in any one direction receives a circular image

equall y trustworthy at equal distances such a s is ,

represented by the dotted circle but the direction

of ordinary vision be ing as a rul e horizontal there ,

is a field of greater interest above the selected centre

than below it and artists generally place wh a t is in
,

reality the centre of the picture about tw o thirds -

down the central line at B I n the photogr aphic

.

pictu re before the artist has sh a ped it to his

,

desire the centre of the paper is the true O ptic

,

centre .

O ne of the differences noticed (fig between . 5)

the perspective and the orthographic proj ection
was that th e lines of the house in the first con
verged whereas in the latter they did not Now the
,
.

reason of this will be explained L et there be two

.

objects of equal height one more distant than the

,

other and let the rays from each be tr aced to the

,

eye through the plan e of the picture .

I t is seen from the figur e that th e pencil from

the distant post A B is narrower than that from the
near one C D and con s equently woul d stamp the
,
26 P E RSPE CT I V E DRAW I NG .

in the wall these will follo w the same rule and

, ,

merge into what is called the vanishing point of

their parallel edges All p a r a lle l lines have a vanish
.

ing point It was seen in the picture of the house

.

that the lines of the sides a pproached each other

as th ey receded fro m the eye ; each set of parallel
lines was on its way to its vanishing point Fr e .

quently one sees a beam of light fall i n g through a

break in the clouds a n d it appears to expand like
,

a fan as it a pproaches the earth T his effect is .

simply due to the aperture in the clouds through ,

which the beam comes being considerably farther

,

from the eye than where the beam falls on the

ground T he width of the beam at each end is
.

the same but for the reasons explained in the

, ,

Fi g 1 2
. .

case of the wall the edges converge towards each

,

other at th e end farthest from the eye .

I t now becomes necessary to fi n d out where this

 V AN I SH I N G P O I N TS . 27

vanishing point may be Al l persons attempting

.

to sketch from nat u re will admit that such lines

converge but it is not everyone who can put the
,

point of his pencil on the Spot in his drawing into

which they should run .

Suppose that one is standing in a s quare tunnel

and looking towards the end He will S e e such a
.

vi e w as this (fig . A s he changes h i s position

Fi g 1 3. .

from side to Side he will notice that the point into

,

which the bounding lines of the tunnel run will

change also T hey in fact will always fall i nto a
.
, ,

point where a line from his eye parallel to any

one of them will strike the background Suppose .

that all of the tu n n el b u t one wall should be removed ,

and we have the edges of that wall running into a

point on the drawing where a line from the eye
parallel to the wall would strike the background
of the V iew I t will presently be seen h o w ex
.

t r e m ely easy is the application of this principle in

28 P E RSP E CT I V E DRAW I N G .

practice These vanishing points ascertained the

.
,

rest of the building supposi ng it to be one which we

,

are sketching is plain sailing

,
.

The plane of the pict ure has been hith erto

always represented as standing up vertically before
the eye whereas in reality the sketching pad is
,

held in the lap T he pad is merely the paper on

.

which we copy the supposed tracing on the win

dow pane E ach time we look at the view this
-
.

tracing falls on the eye and by retaining for a ,

fe w seconds in one s memory what one has just

’

seen he can transfer it to paper

, .

The perspective picture being the projection of

the object given by th e rays converging on a point ,

as already explained it follows that the same view

,

of any object could not be seen from two d ifferent

points E ach point would have its own special
.

pencil of rays and the pictures given by the inter

,

sections o f these pencils with a plane of the picture ,

would of necessity be di fferent T o do j ustice .

,

then to the artist s picture the critic should pose

,
’
,

himself in reference to it so that the line A B , ,

from his eye to the picture should fall p erp e n ,

di c u l a r ly on the point of sight He would the n .

be in reference to th e picture exactly as the artist

was in reference to the vie w which he painted ;
 P O I NT OF O B SE RV AT I O N FI X E D . 29

and his distance from the picture Should be the

true distance of the artist s point of sight from ’

the plane of his pict ure I f as we originally sup .

,

posed the drawing had been traced on a piece

,

of transparent glass while the head remain ed

,

stead y and one eye was shut and was afterwards ,

transferred to paper and made into a picture

, ,

the distance of the O bserver from the picture

l
shou d equal that O f the eye in the first i nstance
from the glass T o receive in some cases a fair
.

impression from the drawing this becomes n e c e s

sary and in others it is immaterial I f for instance
,
.
, ,

the view was one of a hous e and the artist stood ,

very near it in sketching it would take such a form ,

as is shown in fig 1 4A the lines of the two sides

.
,

Fi g 1 4A
. . Fig 1 43
. .

and of the roof converging very rapidly upon th eir

vanishing points whereas if the house was distant
,

it would appear as in fig 1 413 the same lines con .

,

verging far less rapidly A picture of a house as .

represented in fig 1 4A if looked at from too distant

.
,
30 P E RSP E CT I V E DRAW I N G .

a position would appear unreal while the figure

, ,

1 43 would not appear natural if the critic posed

himself too near it The true positio n of the

.

observer is that which allows the conditions under

which the artist drew the picture to be reproduced
as nearly as possible T he eye is so sensitive and
.
,

gives the brain such wonderfully exact impressions ,

which it sometimes takes very delicate and precise

reasoning to trace that it is but just to allow the
,

above restrictions to be O bserved in viewing a picture .

E ach point of Sight gives a distinct proj ection of

an object and conversely each proj ection of a
,

house fixes the point from which it was viewed .

The eye becomes so skilled that from the look of an

obj ect it will assign almost exactly the position
from which it was taken ; and if i n looking at a
,

picture we Should do much violence to the feeling

,

of the eye by standing in a wrong position th e ,

picture will appear contort ed F or instance if we

.
,

vie w fig 1 4A at a considerable distance it appears

.
,

a false proj ection and j u stly for in this case the

, ,

point of sight is not more than a few inches fro m

the paper I ts exact pos i tion is easily ascertained
. .

T he V iew of the interior given in the frontispiece

is a reduction of a Sketch taken from one end of a
 SK ETCH OF I NTE RI OR . 31

hall In th e case of this Sketch the plane of th e

.

picture was about ten inches distant from the eye ,

but in the reduced drawing it is only about fi ve

inches —viz the d i s ta n c e o o T he consequence i s
‘

. .

that the picture viewed at t h e distance of ordinary

vision—viz about ten inches —does not appear
.

quite correct T he upper lines in the far wall

.

appear to s 1 0 pe down too abruptly and the line s ,

i n the pavement to slope up too much but if the ,

eye is held over the drawing at the true distance

namely 0 o ( supposing this line to stand p er p e n
,

di c u la r ly from the paper ) th e hall will assume -

quite a natural appearance I ndeed it must needs .

,

do so for the image is that which the real hall

,

produced upon the eye I t is not j ust there

.
,

fore to view this sketch from a greater distance

,

than C o .

It follows from the description of the vanishing

points given above that lines from the eye parallel
to the edges of the house — E v and E v
(fig 1 5)
’
.

parallel to e C and e v —will run into the respective

f
’

’
vanishing points V and v which can be distinctly ,

noted on the background of the picture which we

are drawing When these points are ascertained
.

the lines of the house can easily be adj usted in

82 P E RSPE CT I V E DRAW I N G .

their places The angle at E is obviously the same

.

as tha t at 6.

I f a drawing should contain the vanish ing points

of only t w o lines making a known angle we can , ,

Fi g 1 5
. .

b y the converse of the above, find the position of

the poin t E or the distance of the eye from the
paper We know that the eye is situated on the
.

perpendicular fro m the point C We know also .

that the two vanishing po i nts subtend the known

angle I f we suppose the line C o turned upward s
.
,

so as to coincide wi th the paper we h ave merely ,

’
to find a point E on this line such that the angle
v E v is equal to the given one T he angle v E V
’ ’
.
’ ’

(fig 1 5) is Simply the angle V E V turned up so as

’
.

lie on the paper F ig 1 6 shows such a case in

. .
,

’
which the points V and V can be found We .

know that the si d es of the house contain a right

3 4: P E RSP E CT I V E DRAW I N G .

not kn ow why or be able to interpret the dis

,

pleasure of his eye he will probably be displeased

,

with the picture T he behaviour of the parallel

.

furrows or ridges in a ploughed field as we pass

rapidly by them in a railway carriage exemplifies
very well the character of the vanishing point and
its dependence upon our position The point in .

the distance into which the lines seem to run

travels onward as we advance Its movement is .

most striking when we are in a position to look

down the ridges (to e n fila de them ) .

I t may be thought that such considerations as

those referred to here are inapplicable to p e r sp e c
tive drawing such as usually undertaken by the
amateur and refer more properly to the drawing
,

of the architect or b uilder A straight and formal

.

house would seldom be chosen as the subj ect O f a

picture and the artist may be thought freed from
,

the foregoing restrictions if he Should confine him

self to waterfalls mountains and trees B ut all
, ,
.

that has been said about the necessities of a house

or cube is true of other things I f we change our
.

position in reference to a house its figure changes

also We can in this case determ ine th e distance
.

and the direc tion O f the house from the particular

s hape it presents on the d rawing I n the case of
.
 CRI TI CI SM . 35

trees and rock s their figure changes also for each

,

new position of the eye but in their case we h ave

,

not the same power in criticising Criticism can .

only come in and approve or condemn where there

is some foothold of dat a to rest upon ; but there
are very few subjects that can be u n dertaken of
which something definite cannot be predicted .

Wh en this is so criticism can speak confidently

,
.

F or instance it is cert ain that a piece of still

,

water is level consequently all reflections in it

,

must obey certain laws T he face of a wall is .

vertical The roof of a house or cathedral will

.

S lope eve nl y on both sides —the window Sills will

be horizontal A variety of such po i nts can be
.

known with certainty in reference to most things

looked at I f an artist should draw a p i cture
.

containing such things he is at once within the,

reach of ex a c t criticism ; not the criticism of

feeling taste or O pinion but the criticism of law
, , , .

I t might be possible to avoid all such things in

the choice of a subj ect and evade reproof and the
, ,

drawing might escape censure — not because it was

right but because it represents what might have
,

been ; the trees may be represented too tall and ,

the hillside may be drawn steeper than it is b ut ,

s till what is represented is not impossible .

D 2
36 PE RSPE CT I V E DRAW I NG .

B ooks on perspective generally concern them

selves with the purely geometrical character of
the projection and the rules and constructions
,

given i n them are for the most part inapplicable

to the purposes O f the sketcher fro m Nature .

B efore they can be applie d many lin es must be

,

plotted i n their original length or in the case O f

,

their being drawn as in the above illustrations ,

wh ich are purely explanatory the whole of the

,

data must be plotted in miniature It is essential.

in nearly all geometrical constructions that the

distance of the eye from th e plane of the pictur e
Should be known T his distance in the case of
.

sketching from N ature cannot be considered as

part of our data T he reader who is familiar with
.

the problems and constructions of the ordinary

treatise on perspective wi ll notice that in the
followin g descriptions of how to draw an interior
this distance is m ade to foll ow from the position
of a pair of vanishing points which are found by
,

the S imple methods here explained I n ordinary .

cases of out of door sketching the distance of the

- -

picture is greater than the length of the drawing :

pad and consequently though much assistance

,

may be derived from plotting this line upon the

paper it may n ot be possible to do so I f the
,
.
 G EO M E TRI CAL PE RSP ECTI V E . 37

picture which it is designed to mak e contains any

intricacies of perspective it is most desirable that
,

this distance should be actually drawn on the paper ,

as explained in the example given of an interior .

I f the drawing pad is not large enough a piece of

-

p aper must be gummed to the margin ofthe drawing .

T he character of the problem which in various

forms presents itself to the Student of geometrical
p erspective is this : The distance of the eye from
the plane of the picture is given say two inches ; ,

the O bj ect to be represented say a house stands , ,

at a distance of six i nches on the other side

of the plane of the picture and is re p resented ,

in miniature like a toy house I ts position .

also with reference to the line of Sight ( see

fig. i e whether placed straight or sideways
. .
, ,

is defined It is desired to prod u ce the picture of

.

the house formed on the plane of the picture by

the converging rays T he r ea l c a se that presents
.

i tself is this G iven a real house at an unknown

.

distance placed in reference to the line of sight

,

i n a position n ot de fined and the plane of the ,

picture at a distance from the eye which though ,

it may be assumed is arbitrary ( it is u sually

,

chosen at a distan ce of about a foot) it is de ,

sired to produce the correct proj ection It is see n .

 38 P E RSP E CT I V E D RAW I N G .

that there are few points common to both cases .

I t follows that the elaborate treatises on the

subject may almost leave u n touched the points on
which the amateur artist might be directed with
advantage or enclose them in so m uch th at is
,

unn ecessary that they cannot be easily reached .

A few very S imple rules will be here laid do w n and

explained When the reader is sufficiently familiar
.

with them to apply them to the testing of the

accuracy of other drawings he will be surprised ,

to find how few pictures are correct He will .

seldom find the picture of an interior of a hall or

cathedral but which will represent what did not
exist The typical case above refe rred to of the
.

miniature house represented in fig 1 has of

,
.
,

course its converse viz given the pictu re of the

,
.
,

house its distance and the distance O f the plane

,

of the picture to produce the real obj ec t in

,

correct proportion T his is quite possible and is

.
,

no more difficult than to draw the pictur e when

given the house but it wil l be observed that the
,

converse of the proposition in the second case is

by no means so easy and is frequently impossible
, .

I t is this : given the pictu re of an obj ect such as a ,

picture in the I llustrated L ondon News to find ,

’

out the true shape of the objects represente d O ur .

 FACTS ASCE RTAI NAB LE FROM P I CTURE S . 39

criticism may not be able to reach this point but ,

it may be able to pronounce if the picture r ep r e

sents possibilities or what we kno w from other
,

considerations must have been ; for instance does ,

it represent the picture frames as rectangles or as

diamonds 9 Are the tiles laid symmetrically are
‘

the columns roun d 9 I S the floor horizontal or is

‘

it tilted up lik e the platform of a stage 9 These ‘

things can generall y be decided and it requires no

,

argument to prove that it i s desirable i n making a

picture of what is before one to make it to r ep r e
,

sent what one really Sees .

Fro m among the many rules and expositions of

perspective a few may be gleaned which will give
,

material help to the amateur artist and some may

,

be modified so as to afford great confidence in the

execution of a draw in g from N ature I t would be.

quite possible to ch oose a subj ect for a picture

which as far as its perspective was concerned
, ,

would b a ffle the criticism of the most exact and it ,

is fortunate tha t some of the most picturesque

subj ects approximate to this character T he more .

dilapidated the ruin the more charmi ng I S fr e

,

quently the e ffect ; and the more rugged and

amorphous are the fragments of rock the ,

prettier is the foreground Still the wall is pro

.
40 P E RSPE CTI V E D RAWI N G .

bably vertical the water is certainly horizontal and

, ,

if it reflects an image it must do SO according to a

certain law A n amateur who was obliged to
.

seek such a subject that his picture might evade

criticism would be in a sorry condition to under
take a sketch and his confidence in its execution
,

would be but slight He would be unable to

.

attempt many of the most interesting subj ects .

T he interior or exterior of his own house would be

beyond his power Sketches of places where he
.

lived perhaps the most pleasin g reminiscences he

,

could lay by would be too diffi cult or if under

, , ,
'

taken could only b e exhibited with d iffi de n c e

, .

He has drawn a line for himself which he may not

pass and excell ence is beyond his reach
, .

T he apparent size of an object depends u pon the

angle under which it is seen Things appear
.

larger when looked at thr ough a telescope simply

because the angle under which they are seen is
increased T he angle which an obj ect subtends
.

at the eye becomes sm a ller a n d smaller as the

obj ect is removed and exactly in the same pro
,

portion as its distance is increased A lamp post .

-

twice as far O ff as another would subtend half the

angle and if in the same direction would be r e
, , ,

presented in a perspective picture by a line exactly

42 PE RSPE CTI V E DRAW I N G .

end supposing it in reality to be infinitely long

, .

T he line j oin ing the chimney of a house and a

fixed star is practically infinitely long and yet ,

such a line could be proj ected on the paper of a

sketch and might not be more than a few inches
,

in length I f w e suppose the star twice so far as

.

it is this projection is not sensibly altered T he

, .

line has a fixed termination in our drawing and ,

the point where it terminates is its vanishing

point The question is where is this point ? T o
.

find it we must let the eye run alo n g the line the
point where the line of sight strikes it becoming
more and more remote the eye can only reach the,

end when its line of Sight is parallel to the

original line The rule then takes this practical
.

form L ook p a r a lle l to a n y li n e a n d w her e the li n e

.
,

f
o si
gh t s tr i kes th e di s ta n t ba c k r ou n d, th er e i s th e
g
va n i s hi n
g p oi n t . Although most parallel lines
which come u nder our notice are horizontal (i e . .

level) and consequently will have their vanishing

on a line level with the eye as in the views already
,

given of houses,parallel lines which do not happen

to be horizontal will also have their vanishing
,

point thus the banisters of stairs the edges

, ,

of roofs beams O f light from a cloud & c will

, ,
.
,

have vanish i ng points at different places on the

 APP ARE N T SI Z E OF OB JE CTS . 43

pictur e Such cases are not common except in

.

sketches of interiors of buildings .

Fi g 1 7
. .

We said that a lamp post if twice as far off as

-

another would be represented by a line half as

long if i n th e s a m e di r ec ti on This point must be
,
.

attended to T he second lamp post will appear

.
-

half the size of the others no matter where it is

,

situated if it Should be twice as far ; but we must

,

recollect that we are n o w concerned with the

plane of our picture and this will cut the two
,

pencils at different distances from the eye Th e .

distances O f O bj ects must be referred not to the

eye but to the plane O f our picture T hus boys .

standing one in the centre and one at each corner

,

of the picture though the latter are much more

,

distant than the former in reality must be r epr e ,

sented the same height . We will tak e the case of

44 P ERSP E CT I V E DRAW I NG .

three posts of equal height Although the posts at

.

the margin of the picture are nearly twice as far

Fi g 1 8
. .

o ff,and would if in the same direct line as th e

centre one be represented as ha lf the size they ,

must be drawn the same height as the near one ,

for it will be seen that the plane of the picture at

the points A and 3 is proportionately farther from
the eye and cuts the pencil further off This section
,
.

of the pencil is in fact of exactly the same height

, ,

as the section of the central one .

I n the same way if a column of the same wi dth

,

the whole way up were to b e sketched though the

top might be much further off than the bottom it ,

would be represented as of the s ame width The .

rays from the top would cut through th e imaginary

plate of glass at exactly the same dis t ance apart
a t both ends of the columns Fig 1 9 explains such
. .
 TH E E Y ES O F P ORT RA I TS . 45

a case . Se e also the remarks concerning a pave

ment p
,
.

Fi g 1 9
. .

I t is frequently thought curious , and instanced

as a proof of good drawing that the eye of a por ,

trait should appear to follow an observer through

the room There is no test of good drawing in
.

this fact If the eye should happen to loo k at one

.

i n any position in a room it should do so in all .

When an ordinary eye in life is looked at the ,

direction of the axis of the eye is determined w i th

Fi g 2 0 A
. . Fi g 2 0 3
. .

marvellous certainty We are assisted to its de

.

termination by our two eyes , and the com b ination

 46 P E RSPE CT I V E DRAW I N G .

of the two images and also by the circular or

,

elliptical form of the iris and pupil I f these .

Should appear perfectly circular as in fig 2 0 A the ,

.
,

eye confronts one I f on the other hand they

.
, ,

should be ell iptical as in fig 20 3 the axis of the

,
.
,

eye passes to one S ide of the O bserver O ne kn ows .

in a moment if an eye looks at him and he can ,

tell with almost equal certainty at what object it

is directed or in other words we can assign its
, , ,

true position to the axis of an eye from the pro

j e c t i on of a circle on it N ow in the portrait .

this position is fixed by the artist and to the eye ,

of every O bserver it is the same ; consequently the ,

impression of direction should be the same to one

person as to another I t will be noticed that it is
.

only the eyes of full face portraits which loo k at

-

one unless th e head and eyes Should have different

,

directions the latter bein g as in fig 2 0 A

,
. .

P erspective as far as pictorial art is concerned

, ,

consists of two problems —to produce the pro

j ec t i o n of an obj ect the character of which is
known ; thus it may be required to dra w a square
flag in a pavement or rectangul ar picture frame
, ,

or to represent correctly the top of a round table .

I t is of such particulars that a drawing is m ade

up . T he other is the converse of this and affords ,
 T o DRAW A SQ UARE . 47

us the p ower of criticising G iven the picture of an

.

obj ect to produce its true character I f the Shape .

which we fi n d the obj ect to be corresponds with ,

what from other considerations we know it must

be the drawing will pass as correct ; if not it
, ,

stands condemned as i ncorrect D ealt with in .

geometrical fashion the first pro b lem is performed

,

in this way .

L et it be required to draw the picture of a square

flag in a pavement one lin e in the picture being
,

given L et the given line be A 3 the distance of

.

the eye from the place of the picture m u st be

known .

Fi g 2 1
. .

P roduce till it meets the horizontal line in

A 3

V its vanishing point D raw 0 o perpendic ul ar to

.

v v and equal to distance of the eye

, D raw 0 v .
 P E RSP E CT IVE DRAW I N G .

’ ’
and 0 V perpendicular to o v v is the van ishing ,

point of the sides of the square adj acent to A 3 .

’ ”
D raw V 3 v A B isect the an gle v o v in o v and
,
’
.
’

”
draw V A T he point of intersection D is the far
.

corner of the square D raw D v T he projection of . .

the square is complete F or th e clear understanding .

of the construction reference Should be made to

,

’
fig 1 5 p 3 2 ; the triangle v o v in th e l a st figure
.
, .

’
is nothing more than the triangle V E V in fig .

1 5 turned upwards SO as to correspond with the

,

plane of the paper T he angle at E fig 1 5 is the

.
, .
,

same as that at o and in the last construction, ,

having got one vanishing point V the angle at ,

o is made to equ al the angle at A (viz right angle ) .

,

’
and the second vanishing point V is found T he .

vanishing point of the diagonal is found by

drawi ng a line from o bisecting this right angle .

I t will meet the horizontal line in the vanishing

”
poi n t of the diagonal V ,

The converse proposition is this G iven a .

figure supposed to represent a square does it do so P ,

‘

L et it be A B C D (fig and let the distance of .

the eye from the paper b e equal to o C turned up ,

as i n fig 1 5 so as to lie on the paper

.
, .

F ind the vanishing points v and v by producing ’

’
the si d es of the figure O n v v describe a semi
‘

.
50 P E RSP E CT I V E DRAW I N G .

line A R might have been ass u m ed as the length

of a table or mantelpiece of which we required the
centre T ake any point P at random on the line
.

H R immediately above A 3 F rom A draw a line .

Fig 2 2
. .

A D parallel to H R or to the bottom of the paper

, .

D raw P B and produce it u ntil it cuts A D in E ;

,

bisect A E in F and j oin P E ; where this line c u ts

,

A B —V i z o i s the centre
.
,
.

I f it were required to add a piece on to a line of

equal length to itself this construction shows u s
,

how it can be done L et it be desired to produce

.

A 0 until the produced part be equal to it We have .

merely to draw P o and produce it to F then to make ,

F E equal to A F and join E P ; the point 3 thus found

is the extremity of the line T his is the most i m .

portant problem T he reader should famili arise

.

himself with it by practice I t is usefu l in almost

.

every stage i n a perspective dr awing It affords us .

 NE CESSARY P RO B LE M S . 51

the power of posing correctly the windows in the

side of any buildin g or panels in a wainscoting
, ,

or generally of dividing any horizontal line into

qual or assigned divisions .

We will now describe the actual procedure in

taki ng a sketch of an interior A person who has .

had much practice in sketching may be able to

draw obj e cts v e r v fairly near their true places .

B ut it is simply impossible that they can b e

really correctly drawn without the assistance which
may be derived from such problems as the foregoing .

O ur sketch will be so chosen as to involve a good

’
deal of P erspective
‘
. We will suppose it to be
the interior of a hall hung with pictures and
,

banners and with a tesselated pave m ent ( See

,
.

Frontispiece ) The process wi ll be ill ustrative of

.

cases that m a y occur in less complication i n any

ordinary sketch .

T he first thing that will be done is to loo k round

th e hall
. A t once we have an enormous contrast
between what we would wish to do and w hat is
possible O ur object is to make on paper such a
.

representation of the hall as shall convey to the

person looki n g at it the same idea that we have
received upon our minds from our glancing round
it O ur first feeling knowing h o w restricted i s
.
,

E 2
52 P E RSP E CT I V E DRAW I N G .

our power is a misgiving lest we should attempt

,

the impossible .

We will j ust compare these two acts of looking

round the room and looking at our picture when
,

fin ished L ooking at the hall we move our head

.
,

about and turn it from Side to side We thus

,
.

gain an idea of the d ista n ce of a ll things in it .

O u r two eyes also giving each a different picture

, ,

as will be understood when we remember that a

distinct pencil of rays falls into each will lead our ,

brain by its power of combining these pictures to

a j ust estimate of the various positions of obj ects .

T h e shutting of each eye alternately while the ,

head remains steady w ill prove by d emonstration

,

that two distinct visions are see n for each steady

glance of the eyes ; but apart from this the motion
, ,

of the head is s u fii c i e n t to produce a distinct idea

of distance T his will require some slight illus
.

t r a ti o n
. L et one eye be shut and a finger held ,

b efore the face let the head now be moved to and

fro sideways Slowly and let the displacement of
, ,

the finger over the background of the view be

noticed I t will appear to change its position
.

many inches Now look at some obj ect a few feet

.

beyond the finger and mark how far it travels over

,

the b ackgr ound while the head move s —p r ob ably

 P E RCEP T I O N OF D I STAN CE . 53

not more than an inch or t w o Note successively

.

the displacement of obj ects more and more ,

distant over the field of the background and it

, ,

will be seen that the change in place of near

obj ects is very great while that of distant obj ects
,

is very slight I t is this comparative motion

.

which gives the brain the true idea of distance and ,

i n a slight change of position of the head the

artist has satisfied himself perhaps unconsciously
, ,

of how the various obj ects a r e situated T he .

above i s in its simplicity the theory of P arallax ,

’

by which the distance of the moon—which fro m

the earth is Slight — and the distance of the stars
,

which is so great that the whole size of the ea rth

and its orbit are but as a grain of sand in com
parison —have been ascertained I t appears then .
, ,

that there is nothing abstruse in the idea ; and

when the word parallax is interpreted it merely ,

means comparative change T ravelling in a

.
’

rail way carriage we notice t hat we cannot look a t

,

the sleepers on the line or at the hedge beside

,

u s — they move so rapidly A tree some distance

.

o f moves slowly back alo n g the horizon and a dis ,

tant obje ct seems hardly to move at a ll I f we said .

to our selves That tree which moves only half as

,

’
fast backwards as this one is twice as far we should
, ,
 54 P E RSPE CT I V E DRAW I NG .

ha v e done in a small way what the astrono m er has

done with the stars I t is evident that Shutting
.

alternately each eye is the same in e ffect as moving

one open eye backwards and forw ards E ach eye in .

the first case and each position in the second will

, ,

have a new view and all O bjects will have made a

,

comparative change of position relative to the

background which has given so great an amoun t
,

of information that we ought hardly to be sur prised

if the best picture should be a failure .

We now come back to our sketch T he artist .

takes his picture as if he had but one eye ; an d a s ,

we are now prepared to hear one eye if fixed c an

, , ,

have n o idea of distance except what it draws

,

from its pre vi ous experience T his can be easily

.

t ested by experiment Try to put the fi nger of

.

one hand o n the point of the pencil held in t h e

other looking only with one eye and keeping the
, ,

h ead steady . I t must be rapidly done to be fairly

tried . It i s as likely as not that the finger wi ll
miss the poi nt We know from our definition of
.

the picture that it is the proj ection of the obj ects

for med by a pencil of rays At once there is .

an enormous difficulty thr own on the artist He .

is to represent in one sketch what he hopes will

ro d u c e the sa m e i d ea as a vie w with both eyes
p
 TH E I M PRESSI ON O N THE RE T I NA . 55

and a moving head and what is of equal import

, ,

ance with ahead which though it keep s its place

, , ,

tu r n s r ou n d Fro m the definition of our picture

.
,

by which we are bound and from which we cannot

extricate ourselves we have on e p oi n t of si gh t ; and
,

we have on e c en tr a l li n e of s i gh t round which the ,

picture Shoul d be equally posed though it may ,

be and generally is extended t w ice as far above

, ,

as b elow for reasons given on page 2 4 O ur picture .

is t a ken as if we never raised our eye from where

our central line strikes the distant sky or h i lls , ,

or bookcase as the case may be

,
A n d yet i n .

sketching we must of necessity loo k round I n .

tak i ng a true perspective picture we are sketching ,

what properly speaking we sho ul d not look at

, , .

T h e imperfection of our eye in not seeing O bj ects

clearly more than a fe w degrees to either side of
the central line obliges us to look directly at
,

the m ; other w ise the outline is i n distinct and

bl u rred I f this were not so one might read a
.
,

whole page of a book with out moving his eye from

some word in the centre A mere trial of how far .

from a word looked at one is able to distinguish

other words will prove how very small a field of
,

view is in focus at once in the eye Supposing the .

o bjects not looked at to be distinct i t is their ,

 56 PE RSP E CT I V E DRAW I N G .

proj ection in this position of the eye th at we

de s ire to produce T he back of the eye is slightly
.

concave or holl ow like the pal m of the hand and

, ,

consequently is not altogether similar to the plate

in a photographic camera T he objects only .

directly in fro n t or on the axis of the eye are in

, ,

true focus while with the camera plate it is S O ar

,

ranged that a considerable field of view is in focus

at once O u r drawing must of necessity be upon a
.

plane s u rface and resembles in every particular a

,

photographic picture I n such a picture the oh

.

j e c ts to either Side of the centre are larger than

when looked at directly This will be obvious on .

reference to fig 1 8 p 44 and from this follows

.
,
.
,

what many person s must have n oticed viz the ,

.

difficulty of attaching photographs together so as

to form a panoramic view I t is almost i m p os .

S ible to adj ust the edge s of the pictures for they ,

are found not to coincide T hey would only fit

toge ther when at equal angul ar distances from
the axis of the lens or centres of the pictures
, .

The concavity of the back of the eye and the

indistinct character of all obj ects not directly
looked at tend to annul and render u nnoticeable
the enlarge m ent of O bj ects to one Side of the axis ,

but where the image is received u pon a plane

58 P E RSPE CT I V E DRAWI N G .

centre of our picture T his should be on an

.

i m aginary line d rawn across the view at the height

of the eye We are supposed to look straight
.

before u s our line of Sight being level or hori

, ,

z o n ta l
. T he choice of this centre altogether rests
with ourselves We are going to reproduc e on a
.

large scale On e of the myriad proj ections which fell

on our eye as we turned the head and we may ,

take which pleases us m ost .

A more agreeable and less formal picture i s

given by taking our line of sight O blique to some
of the main original lines I f we prefer to take
.

a direct picture so that the main lines of th e

,

original shall be perpendicular to the plane of our

picture our work w ill be Simplifie d but the draw
, ,

ing will be stiff and less pleasing and the follow

,

ing must be borne in mind T he vanishing point

of all such lines perpendicula r to the plane of the
picture is in the centre of the picture A dopting .

the rule previously given it would be found to be

,

S O and l i nes parallel to the plane of our picture

,

would have no vanishing point at all as would ,

also b e determined b y turn ing the head and looking

parallel to them T he line of s i ght in this case
.

would not meet the plane of the p ict u re T he .

drawing would p re sent thi s effect .

 EST I MAT I N G POSI T I ON S . 59

We will choo se the centre of the picture to one

side of this vanishing point or in other words our
, , ,

Fi g 2 4
. .

line of Sight will be oblique to the main lines shown

in this sketch .

Having selected a centre of the picture 0 a lin e ,

must be drawn through it as before I t will be .

about two thirds down the paper and parallel with

-

the bottom margin A li ne 0 0 must be drawn

.

through the centre of the horizontal line —a t right

angles to it or parallel to the side e d ge of the
paper We must recollect distinctly what point
.

in the b ackground is o u r c e n tr e for it will coincide

'

with the intersectio n of these two li nes I n our .

S ketch i t is a point on the p ill ar seen through the

a rch. T he next step is to haz a rd the length of

some prominent original line near this centre .

Having assumed such a dimension ever ything ,

conne cted with our picture is fixed ; nothing is

now arbitrary We have in doing this assigned
.
, ,
60 P E RSPE CTI V E DRAW I NG .

the distance of the eye from the imaginary pane

of glass the image on which w e are supposed to be
,

Copying . N ow every other line in the drawin g

,

must bear its true proportion to this line L et .

this first line be the h eight of the arch ; th en ,

on looking at the arch and reflecting we say Its , ,

’
width is not nearly so much . We must h azard a
width and draw a rough arch We must n o w .

c omp a r e the proportions of our arch with those of

the original I f we are satis fied that they are cor

.

rect the drawin g is half done for on this fou n d a

, ,

tion we will build the greater part of it O ur .

means of esti m ation and guidance from this out , ,

for the position of things will be imaginary lines

drawn horizontally and vertically The eye can .

be trusted to run such lines fro m any point and it ,

is by seeing if they cut above or below or beside

other points that we e stimate the relative positions .

S ome of the prominen t obj ects near the arch must

n o w be filled i n —for instance the boundaries of
,

the wall facing us The width and height of the

.

arch will lead us to the fixing the positions for

these bo u ndary lines T he wall facing us has S imply
.

been sketch ed in by the unassisted j udgment No .

detail must be attempted until the framewor k in

which it is to lie has been satisfactorily drawn .
 V AN I SH I N G P O I NTS . 61

N ow comes what is the kernel of our diffi culty ,

and wh a t is a bugbear to b eginners —our van i shing

points What lines re quire them and where are
.
,

th ey 9 Without them we shall not know in what

‘

dire ction to draw the main lines of the pict u re ,

and with them all w ill be plain sailing E very .

set of parallel lines w ill have a vanishin g point .

F ortunately we need not be perplexed with many ,

for the greater portion of our lines and those the ,

most important are i n one direction T hese are

, .

the main lines of the hall to our si d es the edges ,

of floor and ceilin g to our right and left the prin ,

c i p a l divisions in the pavement the upper and

,

lower edges of the picture frames the edges of the

-

hearthstone and mantelpiece —all of which will

run to one common point We find where it is
.

by the rule previously given — b y looking parallel

,

to any one of them and noting where the line of

,

sight strikes the background I n our picture ( see

.

plate ) it lies in the pillar supporting the right

,

hand vase A s all the lines we n ow are consider

.

i n g are horizontal the line from our eye parallel

,

to them must be horizontal also I t will impinge

.

upon some point in the horizontal line previously

drawn through the picture I t is well to not e
.

that while it remained O ptional with us to select

 62 P E RSPE CT I V E DRAW I N G .

any point on the horizontal l i ne as the centre of

o ur picture the vanishing points of all lines are
,

fixed and remain so however we may vary the plane

,

of our picture provided we keep our heads steady

,
.

T here ought to be no di fficulty in looking parallel

to any line but we may be assisted in doing so by
,

recollecting that the ray from our eye is to be chosen

so that the point where it strikes the background is
to be at the same distance from any of the lines as
our eye is I n our picture the vanishing point is
.

the same height from the floor a s our eye and also ,

the same distance from the Side wall as our eye is .

I f a division in the p a vement should run under

our seat we may be assisted by following it down
,

the hall to where if produced it would cut our

, ,

horizontal lin e L et the vanishing point be

.

marked with a cross or star so that there m a y be

,

no mistaking it I nto it all the lines referred to

.

must be made to run It is seen that the drawing

.

at once takes form and there is a satisf action in

,

knowing that the framework so far is correct .

The vertical edges of the wall confrontin g us have

bee n already drawn having been pl a ced where the
,

eye assigned them their position in relation to the

arch I t now becomes necessary to fix the u pper
.

and lower e d ges of the wall and for this purpose

, ,
 FI X I NG T HE D I STAN CE OF E Y E . 63

since we have chosen an oblique V iew we will r e ,

quire the vanishing point for them and all line s ,

parall el to the m I f we acted upon our r ule and

.
,

looked parallel to them or along one of the trans

,

verse markings in the pavement which would be ,

a safe guide we sh ould no doubt find the vanish

,

ing point but it is obv ious that it woul d not be on

,

the drawing pad I t would cut the plane of the

.

picture at a considerable distance to the left O ur .

determination of it by this process would be too

un c ertain I n the former case the vanishing point
.

lay on our paper and its position was easily laid

,

down amon g the articles to which we had assigned

positions but here it lies on a part of the back
,

ground not in ou r picture F or the present the

.

upper and lower lines of the w all facing us must

be assumed care being taken to mak e the top line
,

slop e downwards considerably to the left T hey .

wi ll presently be corrected to their tr u e places .

I t was said that in assuming a distance for the

height of the arch we fixed the distance of our eye .

T his is obvious when we consider that the pencil

of rays reaching our eye may be c u t at any poi n t
by the plane of our picture but that at e a ch poin t
,

its width and height will be differen t I f we had .

traced a house upon a window p ane we should -

,
64 P E RSPE CT I V E DRAW I NG .

find on seeking to ascertain our point of Sight

, ,

that our t racing would only fit over the house

when we placed our eye a t a distance fro m the
tracing which its size had fixed I t w ould be too .

big if our eye were too near and too small if our ,

e y e were too far .

The distance of our eye then as we have said

, , ,

is fixed and it becomes necessary to find what it

,

is We must look upon the pavement at our feet

.
,

and pick out a diagonal line in it This line lies .

exactly between the two lines whose vanishing

points we have been considering one of which we ,

have found and the other of which we could not

,

find T here are certain to be s u ch lines among

.

the tiles ; if there were n o t we should have to ,

imagine one and follow it with our sight until we

,

found its v a nishing point I n our sketch this

.

vanishing point lies in the fireplace I t lies on .

the horizontal line as does the other and for the ,

same reasons T hese t wo points subtend at the

.

eye an angle of T here can be no doubt about

this for rays fro m our eyes run to the m exactly
,

abo ve two lines in the pavement which are known ,

to enclose inasmuch as the diagonal halve s

the angle of t h e s quare which is O u r eye i s
al so exactly before the p oint C the centre of the ,
66 PE RSPE CT I V E DRAW I N G .

we have discovered that the distance of our eye is

0 C . We can now find any vanishing points with
certainty provided we kno w what angles they sub
,

”
tend a t the eye V and its fello w V that we were
.

looking for subte n d D ra w 0 V —which c a n

best be done by O pening o u t th e paper—and pro
'

duce it T his line will int ersect the horizontal line

.

”
in V . U nless we desire to be very exact we need ,

not draw more than a Short portion of this line

”
( see sketch ) A ny lines
. occurring between O V

and the horizontal line will m p e downw a ds r

,

”
t a king an intermediate positio n I f this point V .

is even ro u ghly determined we are in a position

-

to fill in the upper and lower boundary lines of the

w a l l facing us .

We will now d o a little of the paveme n t I f .

t h e r e is a u unifor m p a ttern spread over it we

v
,

must divide the bottom margin of our picture into

equal spaces representing we will suppose the
, , ,

width of the ladders in the pavement confining

the pattern T he width must be hazarded T he
. .

number must be counted between two objects

already fixed if the eye can n ot assign an a p
,

proximate value without th is aid W h at is now .

insisted o n is the equ a li ty of the d ivisions ( see

pages 4 4 and I t is a case similar to that of
 THE PAV E M E NT . 67

the three posts represented in fi g 1 8 The Spaces . .

into which this li n e is divided do not appear under

equal angles when looked at successively b ut the ,

pencils from them cut the plane of the picture

in points proportionately distant and co n sequently ,

the proj ections or pictures of these equal di

, ,

visions will be equal E ach po i nt given b y the

.

division must b e j oined to V ( see frontispiece ) I f .

t h e pattern on the pavement s h ould be squares the ,

S i m plest way of getting them in will be by j oinin g

these poi n ts to v also which point must be found

, .

I f its distance should be considerable a pin may ,

be placed thro u gh a loop on a piece of thread a n d

fixed at V a line can then be stretched succes
s i v e ly to these points . I t will be more convenient
’
to find the vanishing point V of the other d i a
g o n a ls
,
especially if the pattern be diamonds or
variegate d ( We have alrea dy found v situated
.
’
,

in the fireplace the vanishing point for the

,

diagonals sloping to the left ) T his is e ffected by

.

” ’ ’
making the angle V o V e qual to This
can easily be d on e by adjusting the squ are an g le
’
of the paper on the line V o and drawing
T he two vanishi n g p oints of the diagonals will
e nable us , w ithout a n y difficulty to run up one ,

of the l a d ders on the pave m ent d r a w i n g li n e s ,

‘

F 2
68 P E RSP E CT I V E DRAW I N G .

’
alternately to V and v A ny variety of pattern
can be drawn as S hown in the sketch with a little
, ,

ingenuity .

T he top of t h e table is arrived at in this way

(fig . A ss u me A R as its length Through A .

and 3 draw lines to the distant vanishing point

”
v Find the centre of the table as explained

Fi g 2 6
. .

'
on p 50 Join the centre so found to V the
’

. .
,

vanishing point of the diagonal and pro d uce to E, .

T he two corners D and E are thus foun d D raw .

lines through these corners D and E to C and the ,

sides of a squ are table are determined I f the .

 P I CTURE PRADI ES -
6 5)

table should be circular the curved top must b e ,

neatly fitted within this quadrilateral .

I f the ta ble Should stand in the c e n tr e o f the

hall a vertical line through its centre Should pass
,

through the centre of the floor .

T he pictures on the wall will be within the

g u ides given by the vanishing poin t v T he
amount of foreshortening had best be e stimated
by the eye . A s there is rarely any d efinite
proportion between the length and breadth of a

”r
o . "i n c

picture frame this can be d one without any

-

violation of a possibility I f the true character of

.
I 0 P E RSPE CT I V E D RAW I N G .

a fra me be k no w n i t s tr ue proj e c t ion can be

.

,
.
‘

d ra w n b y t h e proce s s de s c ri b ed for l a y i n g down

.

t h e figu re of a squar e— vi z by l oo kin g up t o th e

.

ce i i ng for the vani hing poin t V ( fi g

l s
’
of .

one of the d i a go n als an d j oini n g thi s point t o 3

, ,

t h e corner of th e pic t ure an d producing this line

,

t o w h e re it cut s v A in the p o in t D which is t hus

.

foun d to b e on e of t h e near corners of t h e fr a me .

“
Th e van i sh i ng point V will li e V e r ti c al l y over V .

Th e point D h a v i n been foun d the fr am e i ea s il y

g
,
s

c omple t ed . The di sta n ce of point V m a y render ’

proce s s i m p r a cti c a ble i n wh ich ca s e

,

follo w i ng m a y be a dopted : On t h e side of the

pic ture A 3 th e lengt h of whi ch h a s be en assume d
, ,
 P I CT URE FRAM ES -
. 71

draw the fra m e in i t s tr u e propor tions A B C D , .

D raw V o equal to V 0 a n d j oin 0 to the fa r

’
,
’

co r ners of the frame C a n d D ; w here th e lin e s

so draw n cut the li nes V A and V B — V i z D and .

c —are the far co r ners of the picture Thi s con .

s t ructio n is more d ifficult to u n derstand The .

principle upon which it is ba s ed is thi s —the .

a m ate u r need n ot trouble himse lf with it .

If two li n es A R and C D p ar a llel to e a ch other be

drawn from the extr emities of a line A D and t h e .

Fi g 2 9
. .

po i n ts C and 3 be j oi ned cutting A D in a then ,

if A R an d C D be tur ned roun d to a n v n e w posi

'
tions AB and D C st ill ret ai n i ng th eir parall elism
’

, ,

’ '

the li ne j oini n g C and 3 wil l ou t A D in the same

point a .
( T his is evi dent to the geometrici an ) .

E ach new pair of t ri an gles lies in one pl a ne t h e V

are equ i a n gul ar an d retain the origin al S ides A 3
,

and C D A D wil l be consta ntly cut i n th e propor

.

t i on A 3 C D i e in the point a
, ,
. . .

T he r a y from the e y e to v (fig 2 8) is p ar all el to .

the upper edge of the pic tur e frame for v is i t s -

,
72 PE RSPE CT I V E DRAWI N G .

vanishing point T he line V 3 on the plane of

.

the picture connects the extremities of these two

parallel lines ; the V isual rav from the eye to the
corner C of the frame j oins the extremities of
these two par allel lines and cuts the line V 3 in c
, .

V 0
’
and C A still retaining their parallelism are
, ,

laid fi a t upon the paper and the point of inter

,

section O f V 3 is found at C—the point required .

The c a se is exactly similar to that given in

fi g 2 9 The bisection of the line is based on the
. .

same principle .

I t is frequently desirable to fi n d out the line s

on a pavement which will represent the gradual
Fig 3 0
. .

crowding of e quidistant lines as they are more and

more distant from the eye L et two parallel lines
.

A 3 and C D be drawn to their vanishing point V ,

let the diagonals to the figure be drawn and let ,

A C and 3 D be dr a wn to their vanishing point ,

thus completing th e parallelogram The inter .

.
74 P E RSPE CTI V E DRAW I NG .

draw 0 C c u tting A B in D ; make D 3 e qual to D A :

and divide this line D B in exactly the manner that

i
F Dnn 3 1 .

the original line i s divided and to the various

,

di visions draw lines from o where these produced

cut A E are the pictures of these points on the
drawing . The points a b o d ef are thus found
in their true positions T he principle on which
.

this construction is based is that previously r e

ferred to T he line fro m the eye to V is parallel
.

to the line A E in the wall T hese lines from the ,

extremities of A O are turned round so as to coin

,

cide with the paper retaining their parallelism

,
.

I f the main lines of a hall or i n terior are per

 I
FA LSE P CTURE S . 75

p e n d i c u la r
to the plane of the pic ture as is the ,

case when a direct view is taken the vanishing ,

point of t hese lines will lie on the centre of the

picture ; and the original lines parallel to the plane
of the picture such as the transverse markings on
,

the pavement and the lines on the wall confronting

us will be all parall el to the bottom margin of the
,

picture They will have no vanishing point I f

. .

the oblique view should be taken as that given in

the sketch (fig the vanishing point being to
.

one side of the centre the transverse lines being

, ,

now n ot parallel to the plane of the picture will ,

have a vanishing point ; and they must n ot be

allowed to appear parallel to the bottom edge of
the drawing p a d S uch an interior as that drawn
-
.

Fi g 3 2
. .

is wrong for the reasons stated The lin e s a b c d .

, ,

& c shoul d not b e parallel to the lower edge of the

.
76 P E RSPE CT I V E DRAW I N G .

frame The mistake here shown is that most

.

frequently seen in drawings .

I t has been said that a person desiring to look

at a picture should stand in reference to it as the
artist Stood in reference to the orig i nal T his is .
.

very desirable though within certain limits not

,

necessary Almost the same proj ection falls from

.

a picture upon the eye no matter where situated I t

,
.

will of course be larger when the picture is near

, , ,

and smaller when remote and will be Slightly fore ,

shortened when seen from one side ; but broadly ,

speaking a picture will give the same proj ection to

,

a cr owd of visitors looking at it and the mental ,

impression which wi ll follow will be the same .

S till the nearer one can pose himself on the di

rection of the original line of sight and at the true ,

distance the better will be the e ffect I f a portrait

,
.

is taken of a man standing on a floor a portion of ,

the floor is seen I f the figure should be raised

.

upon a dais less and less of the floor is seen as the

,

platform on which it stands is elevated ; and when

the height of the eye or horizontal line is passed
, , ,

none of it is V isible A portrait of a man tak en in

.

the first positio n if hung up high upon a wall will

, ,

have an unnatural effect which simply arises from ,

’
the observer s eye not being anywhere near the
 H ANG I NG O F P I CTURE S
P
. 4 7

true point of S ight T he figure will appear to b e

.

slipping o ff the floor which will seem to stand at

,

Fi g .

an unnatural slope B ending the picture for

.

ward will in a measure counteract th is u n pl e a s

ing e ffect for it will te n d to bring th e line of Sight
,

in such a position that the observer can place his

eye on it .

T he figure Shows what is here described T he .

observer being much belo w the line of sight sees

,

the floor as though it were tilted up and the figure ,

'

as though it were slippin g out of the frame I t .

follows from what has been said that pictu re s

, ,

should be arranged in a gall ery with some refere n ce

 78 P E RSPE CT I V E DRAW I N G .

to the distan ce of the picture and to the line of ‘

sight
.
’
T he w idt h of an ordinary landscape V iew
taken upon a drawing pad of about a foot or -

eighteen inches long woul d subtend at the e y e an

angle of about and the distance of the eye
wo u ld be about a foot The width of a man taken
.

full size would subtend but a few degrees and the ,

distance of the eye would be many feet We see .

at once how we violate the conditions referred to ,

in hanging small pictures at a distance on the t 0 p

of a wall and han ging large ones near u s at the
bottom T he latter by retreating from them can
.
, ,

no doubt be viewed from the proper distance but

the form er which should be he ld near the eye so
, ,

°
as to subte n d a n angl e of 9 0 or more must be ,

viewed at a tenfold greater distance than should

b e the case T hese considerations see m to be lost
.

sight of I n a ll galleries .

I t has been re m arked that where still water

reflects an image the reflection follows certain
,

laws ; care must be taken that the finished sketch

sho w s no viol a tion of such laws The law of r e .

fl e c t i on is this : that any ray which speeds from an

i ll u minated b ody i f i t meet w ith a Sheet of water or
,

a piece of sil v e red glass will be turned in its course

, ,

so that it will leave the surface a fter impinging

 RE FLE CT I ON OF TH E M O ON . 79

on it in a path simil a rly situated with regard to

the surface to the one it travell ed before reaching
it I n the lan gu age of optics th e angle of reflection
.

will be equal to th e angle of inci d ence ; also the

plane in which this incident and reflected r a y will
lie will be perpendicular to the surface So that
,
.
,

in the case of water the su rface of which is hori

,

z o n ta l the plane of reflection is vertical F rom

,
.

this it follows that the reflection of any obj ect in

still water w il l appear directly under the obj ect
itself T he reflection of the moon in the sketch
.

Fi g 3 4
. .

must be m ade to appe ar exactly under the re a l

moon ; b u t more than this its distance from the
, ,

plane of the water must be made equ a l on the

drawing to the height of the moon above it O M .

must e qual O M ’
.

I f the water should be slightly ruffled with the

win d the moon instead of being distinctly seen
, ,
80 P E RSPE CT I V E DRAW I NG .

in the water will appear as a streak of light

,

broadening from the horizon towards the feet .

This line of light is d u e to the ripples on the

water each of them bending one of the rays that
,

fall on it in the direction of the eye When the .

water was still though the whole of it received

,

rays fro m the moon but one point was so situated

,

as to send the rays to our eye ; but when ru ffl ed

its surface is made up of little waves each of which
, ,

instead of emitting fr o m it one ray onl y w ill emi t ,

a vertical fan of rays one of which from each fan

,

will reach the eye .

T o each observer of the moon there will be a

separate reflection or line of sheen so that no two
, ,

persons Standing in a boat or on the shore will see

the same line of light on the water
Whether the moon be in the centre of t h e pic
ture or at one side its reflection will be exactly
,

under it ; and if the w ater ripples its image in ,

each little wave will a lso be exactly under it I t .

follows that in all c a ses the line of sheen ( which

will j oin these points ) must be made parallel with
one of the side edges of the draw ing pad I t may
-
.

be thought strange that this should be so for it is ,

obvious to each person that the line of reflection

of the water will run to his feet and he would be
,
82 P E RSPE CT I V E DRAW I NG .

will appear on looki n g at fig . 3 7, representing a

section through the landscape . T he moon being

Fi bO "
. 36 .

at an enormous distance the ray from i t to t h e

,

eye is parallel to the ray from it to the water ,

which would be reflected into the eye but this

latter ray is impeded by the opaque ruin and ,

consequently cannot be reflected I t would be a .

mistake easily detected to reproduce the moon in

both places under such circumstances .

A few remarks concerning colour will here be

added W hite light or the light of the sun is

.
,

made up of a ll th e colours of the rainbo w

( literally ) m i xed together T he rainbow simply
.

exhibits the disintegration of a cone of rays at

the apex of which is the sun and on the axis of ,

w hich is the observer .T his can easily be as

 CO M PLE M ENTARY CO LO U RS . 88

c e r ta i n e d
by observing the position of oneself as
r e gards th e rainbo w I t will appear to be a .

Fi g 3 7
. .

E ,
t h e e y e of o b server .

c . th e p oi n t i th e w a t er w h er e th e top of th e c a s tl e i s s e e
n n

r efl e c t d
e .

M, th e p o i n t w h e e th e re fl e c ti on of t h e m oon w ou ld a pp e a r i f
r

t h e c a s tl e w e e r e m ove d
r .

portion of a circle swept round a line j oining

oneself and the sun A s with the reflection of the .

moon in the water no two persons will see the ,

rainbow in the same position ; for each it is a

circle over the centre of which he stands himself
, .

When the rain drops which cause the rainbo w

-

have been dissipated the light which was resolved ,

into many colours becomes whole again by the

i n timate mixing of the colours I f when the .

colours were spread o u t —or dispersed ble n ding ,

’

from deep red to indigo —w e were to take one tint

away and allow the others to blen d again without
G 2
 84 PE RSPE CTI V E DRAWI N G .

it it is evident that the fusion of the remain der

,

would not be w h ite Whatever colour it happened .

to be would be justly called the c omp lem en t of the

,

one taken away for it is that w hich the withdraw n

,

colour wo uld want to m ake it white A s eight .

penee would be the complement of fourpence the ,

shilling being considered as the whole or seven ,

pe n ce the complement of fi ve p e n c e so would any ,

colour be c om p lem en ta r y to that which if mixed

wi th it would form white E xperiments to pro ve
.

that colours if mixed in due proportion a n d of

,

the proper tints w ill form white c a n n ot be well

,

performed w ith ordinary paints ; for these a r e

impure and it is extremely diffi cult to choose the
,

correct tints N othing wi ll prove t his so well

.

by demonstration as the polariscope by wh ich ,

coloured li gh ts can be made to ble n d ; but the

thing is obvious that if white ligh t consis ts of the
blendi n g say of six colours any one or more
, , ,

of these will together be co m plementary to the

remainder A s we should expect so we find th a t
.
,

colours which are c om plementary present the

greatest contrast That w hich com pletely n e u
.

i
t r a li s e s a n ythi n g i s O b v iously i t s greatest con

tr a st T he y ellow a n d p u rple of a p a n sie are

.

c omple m entary and consequently t h e b r i lliance of

,
 COLOUR OF TH E SK Y . 85

each is m uch enhanced by lying next its O pposite .

T h e pink of the rose is also nearly complementary

to the bluish green of the leave s and consequently ,

is more striking to the eye than when held next

yellow or orange flowers Artists avail themselve s
.

of these contrasts to enhance e ffects and avoid ,

them to produce harmony I f a portrait were

.

taken in a green chair the face would not bear to

,

be coloured highly ; but if i n a red chair the face ,

woul d bear a d e e p e r r e d
‘

V ery fe w r emarks will be made on the subj ect of

colo u r Artist s have written much ab out it but
.
,

the writer confesses that he has gathered but fe w

ideas from their works M r Ruskin has written
. .

Si x large volumes u pon art and y e t appears to

,

pique himself upon his ignorance of many simple

points I t is strange if here as i n many other
.
,

subj ects the philosopher or chemist should in a

,

dry treatise void of eloquence or rounded periods

, ,

be found to o ffer in a fe w simple words the

explanation which has not been e nclosed in t he
meshwork of fine writing of the art critic T alk .

ing of clouds and the colour of the atmosphere ,

M r R uskin observes :
. I S it the watery vapour
‘

or the air itself which is blue 9 Are neither blue

‘

but only white producing blue when s e e n ov e r

.

,
86 P E RSP E CT I V E DRAW I N G .

dark Spaces 9 If either bl u e or white why when

‘

, ,

crimson i n their commanded dress are the most ,

distant clouds c r i m s on e s t ? Clouds close to us

may be blue but far off golden—a strange result if
,

a i r is blue And again if blue why are the rays

.
, ,

that come through large spaces of it red ? A nd

that A lp or an ything else that catches far away
,
-

ligh t why coloured red at dawn and sunset ? N o

,

’
one knows I believe ,
.

V ery simple is the explanation of the colour of

the air and the tint of that Alp at dawn and ‘

sunset Round drop s of w ater disintegrate the

’
.

Fi g 3 8
. .

s un s light and produce a rainbow of m any colours

’
.

A globe of air would do the same and this e arth ,

in its outer covering resembles such a globe of

air When the rays from the sun fall obliquely
.

on that portion of this envelope of air which forms

our s ky they , are d i si n te grat ed in exa c tly the same
 COLO U R OF TH E SK Y . 87

way T he first colour in the morning will be that

.

of the ray most be n t— V i z violet grey — and the last

.
-

w i ll be red I n the evening the first wil l be red

.

and t h e last will be V iolet grey I n the morning -

.

the mountain tops fi rst catch those rays of the sun

which are most bent or refracted and these are ,
’

the violet ; and the last caugh t are those least bent
— viz the red
. I n the evening the reverse is the
.

case T he body of a i r through which the ray s

.

penetrate when the s u n is on the h orizon is con

s id e r a b ly greater than when it has risen and as ,

we Should expect its absorp tive effect i s i n

,

creased T he blue rays which are those ordi

.
,

n a r il
y reflected are n o w absorbed and the re
, ,

maining light is a soft orange tint .

I n I ndia after the rains when the air is charged ,

w ith moisture the refra ction is greater than i n

,

these latitudes and the various colours of the

,

rainbow are seen in the mos t gorgeous brilliancy

on the clouds a t sunset and sunrise T he green .

colour whi c h is seldom seen with us is there

, ,

m ost distinct and beautiful M r Ruskin refer . .

,

ring to a coloured solution of nettles thinks that ,

perhaps some day as the motion of the h eavenly

,

bodies by the help of an apple this question by ,

’
,

the help of a nettle m a y be explained to mankind

,
.
"
88 P E RSPE CT I V E DRAW I N G .

I t is very S i m ply explained by the laws of refraction

and absorption of ligh t A s regards the colour of
.

the air this is due to its containing in it matter in

,

a state of extremely m inute d ivisi o n This matter

.

casts back upon the eye the tende r blue rays falling
on it T he st ronger waves of the red a n d ot h er
.

lights break through the air a n d not b eing reflected

,

d o n o t evidence themselves T he slighter the depth

.

of air above o n e the darker the sky appe a rs O n .

the top of high mountains or in balloons it is almost

black I t is quite lawful to the artist— indee d
.
,

necessary to him — t o avail himself of any artifice

to produce on the mind of a perso n looki n g at his
picture the same e ffect th at was received by
himself in look i n g at the original view He m u st .

make the distance bluish and hazy T his gives .

to the eye schooled by practice the idea of

, ,

distance H e m ust take especial care that t h e

.

size of clouds and other things is reduced as they

recede fr o m th e eye I n colour also they must be
.

more and more faint I t is especially necessary

.

that th e artist should avoid scattered lights I t is .

this defect which mars the a ppearance of most

attempts of the beginner without h i s knowing
,

why I n nature the lights are S cattered but a

.
,

d ra wing is not nature B y artifice it is designed

.
90 I
P E RSP E CT V E DRAW I N G .

cloud may be conveniently introduce d into th e

opposite corner in the sky ; or if one corner should
be light the O pposite one should be light also
, .

T he following point is worthy of re m ark : The

true colour of an obj ect which it would exhibit if
,

taken in the hand and examined or inspected ,

fro m all points of V iew is not always that w hich

,

it appears to have when it is one of m a ny obj ects

s een together . T his chan ge of colour due to ,

the contrast to which the eye is subj ected is very ,

S light and m igh t almost be discarded

, Such tints.

not really owned by the obj ects looked at are

called s u bj ec ti v e . Any bright hue will tend to
make the colour on which it abuts of the com
p le m e n t ar
y tint ; thus the shadows of green trees ,

upon grass would appear Slightly tinged with

red B u t more important is the change of s ha d e
.

of o bj ects produced by contrast A n obj ect appears

.

to become light or dark according to the back

,

ground O n which it i s proj ected T he amateurs .

will be materially assisted by bearing this in

m ind . A wooden paling which runs across a
background of dark trees and light grass will
change its depth of Sh a de for each background
‘

I t will be quite a light colour when passing the

trees and quite dark while p as sing the grass
, ,
 E FFE CT OF MI X ED P I G M E N TS . 91

though in reality its colour is unaltered T his .

fact can be easily observed by lookin g at the rail

ings which enclose any ground containing trees
and grass I t would be a triu m ph of skill to paint
'

a white horse upon a white background and the ,

avoidance of such necessities though one of the ,

tricks of art is really suggested by nature

,
.

The amateur S hould recollect that water colours -

S how their colours by their transparency The .

white light of the paper comes to the eye throu gh

a thin layer of pigment which bars a certain
,

portion of the light from passing T hat portion of .

the w hole ray which is allowed to pass carries

with it its peculiar hue T he light from the
.

window or the sky plunge s into the paper and

comes out again bereft of a certai n portion Why .

the different pigments act as they do is another

matter which may be left to the consideration of
the che mist or philosopher and with which the ,

artist need not concern himself I n O i l paints the .

-

white lead which forms the base of each colour

-

acts as the white paper with the water colours and -

throws back to th e e y e th e w hite light of day ,

d efi c i en t of certain rays I t at once foll ows th a t

.

the water colours mus t be lightly spread or the

-

wh i t e li ght will not b e ab le to p as s through th em

92 P E RSP E CT I V E DRAWI N G .

in which case the paints will be O pa q ue a n d will

have only the dull colour which they exhibit in
their cakes which a s everyone k n o w s is not nearly
, , ,

so beautiful as their colours w hen rubbed up upon

a white palette T hese consider a tions lead to the
.

following suggestion : I f bright gree n s should be

required i n a drawing it is better that the colour
,

should be procured as a gree n from the colourman

than m ade by the mixing of yellow and blue P r o .

perly speaking the yel low and the blue when

, ,

mixed should give no colour at all but brown or

,

dirty grey as the following considerations will

,

Show . T he blue colour when spread upon a piece

,

of paper allows the white light to pass through it

,

bereft of all its rays except the bl u e A layer of .

yellow spread upon the paper would check all the

colours of th e rainbow except the y ellow ; so that
if both layers were spread on the same spot the ,

blue w hich escaped through the firs t would be

stopped at the second I f the order of layers was
.

change d the yellow which e scaped through the

,

first coat could not get throu gh the second ; so

-

that one would expect to s e e only a grey colour ;

b u t the fa ct is that yellow— say gamboge — allows
some white light and s ome green and the whole of
the yellow to pass through it and bl u e —say cob al t
,
 In c ou rs e of pub l i ti ca on , i n sma ll S vo . eac h vl o u me c on a n n g a b ou ti i t 3 00 p a ge s .

p r i c e 3 3 6 d b o u n d in
. . l
c o th ,

A S E R I E S O F

ELEMENTARY WORK S CN MECHANICAL AND

PHYSICAL SCIENCE,
F O RMIN G A S R S O E IE F

TEXT B OOKS -

OF S CIENCE ,

A D AP TE D FO R TH E U SE OF A R T I S AN S AN D OF S T UD E N T S IN
P U B LI C AN D OTH E R S CH O OL S .

T HE ELEM ENT S O F M EC HANI S M ,

t
D e s i gn e d fo r S u d e n s o f A p p i e d M e c h a n c s t
B y T M G O OD E V E , M A l i
t l ll l l
. . . .

Le c u r e r on M e c h a n i c s a t t h e R o y a S c h o o o f M i n e s , a n d fo r m e r y P r o fe ss o r
o f Na u r a t l l
P h i o so p h y i n K i n g s C o e g e , L on d on N e w E d i i on , r e i s e d ;
’
. t v
m t h 25? Fi gu r e s on Woo d P ri c e 38 6 d . . .

M ET ALS , T HEI R P RO P E RT I ES AN D T REAT M E NT .

B y C H A R L E S L O U D O N B L O X A M , P r ofe s s o r o f Ch e m i s ry i n K n g t i ’
s Co ll e ge .
L o n d on ; P r o fe s s o r o f Ch e m i s ry i n t h e D e p a r m e n o f A r i ll e ry S t t t t t u di e s an d
l
i n t h e R o y a M i li a ry A c a d e m y , W oo w c h t
W i h 1 05 Fi gu r e s l i t on
.

W ood
i
. .

P r c e 38 6 d . .

I NT RO DUC T I O N TO T HE S T U DY OF I NO RG ANIC C HE
M IS T RY .

B y W I L L I A M A L L E N M I L LE R , M D L L D F R S a e P r ofe s s or of Ch e m i s r y lt t
ll t l t t t l
. . . . . .

i n K i n g s C o e g e , L on d o n ; A u h or o f "E e m e n s o f Ch e m i s r y , T h e or e i c a
’

a n d P r ac i c a t l
N e w E di i on , re i s e d ; Wi h 7 1 Fi g u r e s on W oo d
.
’
t
P ri c e 33 6 d v t . . .

ALG EB RA AN D T RIG O NO M ET RY .

B y t h e R e v W I LL I A M N A T H A N I E L G R I FF I N, B D s om e tim e Fe ll ow of St
ll . . . .

Jo h n s Co e g e , Ca m b r i d g e
’

P r i c e 38 6 d . . .

PLAN E AN D S O L D G EO M ET RY I .

B y t h e R e v H W W AT SO N for m e r y F e l o w l lh of Tr i i ty
n Co ll e ge , Ca m b r d g e , i
an d lt
a e A s si s
.

t tM t
.

an -
.

a s e r of
,

H a rr o w S c oo l . P ri c e 38 6d . .

T H E O RY O F H EAT .

B y J C LE R K M AX WE L L , M A LL D E d n F R SS i L E P r ofe s sor o f
x i tl v t i t
. . . . . . . . .

E p e r m e n a P h y s i c s i n t h e U n i e r si y o f C a m b r d g e . N e w E d i i o n , r eu s e d ;
wi t h 41 W ood c u t s a n d D i a g ra m s P r i c e 38 6 d . . .

I
T EC HN CAL AR T H M ET C AN D M E NS U RAT O N I I I .

B y C H AR LE S W M E R RI I E L D F R S B a r ri s e r a t L a w P r i n c i p aF t l of t h e R oy a l
l ttv l
- -

h t t t
. , . . .
,

S c h oo o f N a a A r c i e c u r e a n d M a r i n e E n g i n e e r i n g H on o r a ry S e c r e a ry
f N v l A t t t x t
,

o t t h e I n s i u t i on o a a r c h i e c s , an d L a e a n E am i n er i n th e D e p ar
t l
m en of P u b i c E d u c a i o n ri c e 3 8 6 d t P . . .

Lon don : LO N G M AN S an d CO .
 T e x t—
B o o ks o
f Sc i e n c e ~ c o n ti mw d .

Te xt B -
o ok s i n p r ep a r a ti o n

O RG AN C I C HEMI S T RY .

B y H E A RM ST RO N G , Ph D P rofe s so r Of Ch e m it
s ry in th e Lo n d c n
tt t
. . . .

Ins i u i on .

E LEC T R C T Y AN D I I M AC N E T IS M .

B y F M LE E IN G JE N E i N F R SS L E P ro fe s s or of Eng i n e er n g i in th e
v ty
. . . . . .

Uni e rs i o f E d i n b ur g h .

P RAC T C AL I AN D I
D ES C R PT V E I G EO M ET RY, AN D P RI N
C IPLE S OF M EC HANI C AL D RAW NG I .

B y C W M E R RI I E L D F F R S P ri nc ip a l of t h e R oy a lSh l c oo of Na v lA a rc hi
t t t
.
. . , . .

ec ure, S ou h K e n s m gt o n .

I I
P R N C P LE S O F M EC HAN C S I .

B y T M G O O D E V E M A L e c u r e r o n M e c h a n i c s a t t h e Ro y a S c h oo o f t l l
l t l l ll
.
. .
,

M i n e s a n d fo r m e r y P r o fe s s o r O f N a u r a P h i o so p h y i n K i n g s Co e g e
'

, ,

L o n d on .

E LE M E N T S O F MAC HI N E D ESI G N .

t
W i h Ru es a n d l T ab l es for D e s i g m n cr an d D r a w n g th e D e a s o f i t il M ac h i n e rv
A da p t e d t o th e u s e of M e c h a n i c a l r a u g h t s m e n a n d T e a c h ers of M a c h i n e
Draw m g
t
.

B y W CA W T H O RN E U N W I N , B S c A s s oc I n s
. . . . . C E . .

D ES C R PT V E I I M EC HANIS M ,
In c l t
D e sc r i p i o n s o f t h e L a h e s P a n n g S o i n g , a n d Sh a p i n g
u din g t l i l tt
M a c h i n e s a n d t h e m o d e o f H a n d i n g W or k i n t h e E n gi n e er s Sh o p a n d l . ,
’

t
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o h er W orksh op s
t i
.

B y C P B S H E L LE Y C i v 1 1 E n g i n e e r a n d P ro fe s s or o f M a n u fa c ur n g A r t
. ,

l ,
. .

a n d M a c h i n e ry a t K i n g s Co l e g e , L o n d o n
’

I
EC O N O M C AL AP PL C AT O NS I I O F H EAT ,
In c l u di n t
F u r n a c e s F u e s a n d B o ers
g Com b u s i o n E v a p ora ti on l il
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vl , ,

t
. .

By C P B S H E L L E Y , C i i E n g i n e e r a n d P r o fe s s or o f M a n uf a c u ri n g
A r t a n d M a c h n e r y a t K i n g s C o e g e L o n d on
.

i ’
ll ,

t t l t
,

vl t i
.

W i h a Ch a p e r o n t h e P r o b a b e Fu u r e D e e o p m e n o f th e S c en c e of H e a t, b y
C W I L L IA M S I E M E N S , F R S . . . .

T HE S T EAM ENG NE I .

B y T M G OO DE V E M A
. .

l , . . Lec t u r e r on
t
M ec h a n
l l i t h e Roy a S c h oo a
c s at l ll l
M i n es d fo r m e r y P r o fe s s o r of Na Ph i oso p h y i n
’

, an u ra K i n g s Co e g e ,
L on d o n .

S O UN D AN D L G HT I .

B y G G .
D C L Fe . STO K E S M A , . .

t
. .

t
ll ow of P e m b r o k e C o l e g e Ca m b r dg e
v t
l , i ,

L u c a SI a n P r o fe s s o r o f M a h e m a i c s in t h e U ni e r s i y o f Ca m b r i d g e ; a n d
t
S e c r e a ry t o t h e R o y a So c i e y l t .

S T RE NG T H O F M AT E RIALS .

B y JO H N A N D E RSO N , C E Su p e r i n t en d e n t of Ma c h i n e ry a t t h e Roy a Ar se n a l l
l
. .
,

W oo wi c h .

To be f o ll ow e d by o th e r w o r ks on o th e r b r a n c lze s o f S c i en c e .

L on do n : L ON G MANS and CO .
2 N EW W O RK S P U B L I SH E D B Y L O N G M AN S AN D 0 0 .

Th e OXF ORD RE FORM E RS Joh n Cole t , — E ra s m u s, an d T h om a s

M ore ; b ei n g a H i s t or y of t h e i r Fe ll ow w or .
-
k B y FR E D E R I C SE E B OB M
ti l
. .

Sec o n d E d i on , e n a r ge d . 8v o 1 4s . .

LE CTURE S on t h e H STORY I of E N G LAN D, rom th e e arli e s t T i m e s f

t o t h e D e a h of K t i ng E dw ar d II B y W I L L I A M LO N G M A N W h Ma p s it
I ll s t a tio s 8 vo 1 5s
. .

and u r n . . .

Th e H I STORY of th e LI FE I M E S of E DW ARD t h e TH IRD

an d T .

B y W I LL I A M L O N G M A N . W it h 9 M ap s 8 P l a t es a d 1 6 Wood c t s 2 vol s , , n u . .

8 vo .

Th e OV E RTH ROW of t h e G E RMAN C CON FE DE RAT ON I I by

I
P RU SS A i n 1 866 B y Sir ALE X A N D E R MA LE T , B ar K C B W h 5 M a . t . . . . it ps .

Svo 1 83 . .

W ATE RLOO LE CTURE S ;

th e Ca m a gn of 1 8 1 5 By a St u dy of p i .

l l
Co on e CH A RLE S C CH E S N E Y , R E a e P r ofes s or o f M a ry Ar t a n d l t ilit
it t ll iti it
. .

H s or y i n t h e S a ff Co e ge N e w E d on Svo w h M a p , 1 08 6 d . . . . .

H I STORY of th e RE FORMATI ON i n E UROPE i n th e T i me of

Ca lvi n. By J H M E RL E D AU B I G N E D D V OL S
’
I an d II 8v o 2 88 .
III
. . , . . . . . .

V OL . . 1 2s . V O L IV 1 63 . . . V OL V p r . . i c e 1 63 .

R OYAL an d RE PUB LI CAN F RAN CE . A S er i e s of E ss ay s r e pr i n t e d

fr om t h e E d i n bu r oh Q u a r te r ly a n d B r i ti s h a nd For e i g n R ev i e w s By
v ls S p ic 21
, , .

H E N R Y RE E V E , C B . . DCL . . . 2 o . vo . r e 8 .

CH APTE RS fr om FRE N CH H I STORY ; St L ou i s Jo an of Ar e .

i I V w it h Sk t h of th e I t e m d i t e P i ds B y J H
,

H enr . e c es n r e a er o .

N ew E d iti
.

G U RN E Y M A F p S
, 6 6d. . on . c . vo. 8. .

M E M OI R of POPE SI X TUS t h e F I FTH B y B aron H UB NE R Tr an s . .

l t ed f m t h O i g i l i F h w it h t h e A th
a ro e ti b y H U B E R?
r na n r en c , u or s sa n c
’
on ,
E H J E RN I N G H A M
. . 2 v ol S p 24 "N ly dy . s . vo . ri c e 8 . ea r r ea .

I GN AT I US LOYOLA a n d t h e E ARLY JE SU I TS B y STE W AR T RO SE . .

N w E d iti o
e vi d 8 w it h P t it p i c e 1 6 n, r e se . vo . or r a , r 8.

Th e H I STORY of G RE E CE B y C T H I RL W ALL D D Lor d B i sh op . .

,
. .

of St D vid s 8 v ol s fc p 8 o p i c e 2 8s
’
. a . . . v . r . .

G RE E K H I STORY from T h e m i s t oc l e s t o A le x an d er i n a Se r i e s o f ,

L iv s f m P l t c h
e R vi d
ro d g ed b y A H CLO UG H
u N ewar e se an arran .

E d ti F p w it h W d ts 6
. . .

i on . c . oo cu , s.

CRI TI CAL H I STORY of t h e LANGUAG E a n d LI TE RATURE of

A ci n t G eec e B y W I LL I A M M U RE f C l dw ll 5 v ls 8 o £ 3 93
en r . , o a e . o . v . .

Th e TALE of t h e G REAT PE RSI AN W AR fr om th e H i s t or i es of ,

H d t sero B y G E O R G E W Cox M A N e w E di ti
o u . F p 3s 6d .
, . . on . c . . .

H I STORY of t h e LI TE RATURE of AN CI E N T G RE E CE B y P ro .
.

f K O M UL L E R T
es s or l t ed b y th Ri gh t H Si G E O RG E CORN E . ra ns a e on . r
t d b y J W DO N AL D SO N D D 3 v l 8 2 1
. .

W ALL LE W I S B , ar . an . .
, . o s. v o. 3.

H I STORY of t h e CI TY of ROM E fr om i ts F ou n d a ti on t o t h e S i x t een th

C t y of t h e Ch i ti
en ur E B y TH O M A S H DY E R LL D 8 w it h 2 r s an ra . . , . . v o.
M ap s , 1 58 .

Th e H STORY I of ROM E . By WI LL I AM I H N E E n gli s h Ed iti on ,

I II
.

t ra n s l a t e d an d r e vi s e d b y t h e Au h or t . V OLS . . an d . 8v0 . pi r ce

H I STORY of t h e ROM AN S u n er t h e E M P I RE B y t he V er d . y Rev .

C M E R I V AL E D C L Dea n of E ly
. 8 o s p os Svo 488 , . . . . v l . t . .
 NEW W O RK S P U B L I SHE D B Y LO N G M AN S AND CO . 3

Th e FALL t h e ROMAN RE PUB L C ; a S o r t Hi s o r o f t h e La s t

of I h t y
Ce n t u ry o f th e Comm on w ea t h B y t h e sa m e A u h or 1 2 m o 7 s 6d l . t . . . .

TH RE E CE N TURI E S of M ODE RN H I STORY . B y CHA R L E S D U K E

Y O N G E B A Re g u s P r o fe s so r o f M od er n H s ory a n d E n g i it li sh L it er a u re t in
Q ll l t i
. .
,

u e e n s Co ege B e fas Cr ow n 8 vo p r c e 7 3 e d
’
. . . .
,

A STUDE N T’
S M AN UAL of th e H I STORY of I N DI A fr o m , 3 43
E a r i esl t i
P e r od to t h e P re s en B v o t C l l M E AD O WS TAYL O R
one
it
.
,

Cr o wn Svo w h M a p s , 7 8 6d . . .

Th e H I STORY of I N DI A from th e E a rli e st P er i o d t o th e c l os e of L or d ,

D lh u si Ad mi i s t ti o B y J O H N CLAR K M AR s H H N 3 v ol
’
a o e s own n ra n. A . s. c r
Svo 2 2 9 6 d
. . .

I N DI AN P OLI TY : a V i e w o f th e Syst e m of A dmin i s tr a ti on i n I n di a .

B y L i eu t e t Col o el G E ORG E CHE SNE Y Fell ow f t h e Uni v er si ty O f

n an -
n o
Cal c u tt a N e w E d ti on e is e d ; w it h M a p Svo p i c e
,

. i , r v . . r

RE CRE ATI ON S of a n I N DI AN OFFI CI AL B y Li eu t e n an t Col on el .

-

M AL L E SO N B en ga l S t fi C p s G u ar di t o H is H i gh ess t h e M a h
‘

, j of a or an n are a
M y s or e . Cr o w n Sr o p ri c e 1 23 6d . . .

H OME P OLI TI CS ; b ei n g a c o n s id era ti on of th e Cau se s of th e G ro wt h

of Tr a d e i n re a l ti on t o Lab our , P p r i sm
au d E m i gr ti
e , an a on . B y DA N I E L .
G R AN T . 8v o .

RE AL I TI E S of I RI SH LIFE . W
ST E UA RT T RE N CH , L an d A gen t
By
I el a n d t o t h e M qu e ss
.

in r ar o f La n s d ow n e t h e M ar q u e s s of B a t h , a n d Lor d
D i gb y Fif t h E di ti on i
,

. C o w n 8 vo . r .
pr ce

Th e STUDE N T S M AN UA L of t h e H I STORY of I RE LAND ’

By
MAR Y F CU SA CK Au t h or o f T h e I ll u s t ra t e d H i s t or y of Ir e l a n d fr om t h e
.

l t i t i i ti
. ,

Ye ar
,

E a r i es P er t o th e Ca h o l E m an c p a Cr o w n 8 vo p ri c e 6 3
’
od of c on . . .

CRI TI CAL H STOR CAL E SSAYS

an d I
to th e Ed i n é u rgfi I c on t r i b u t e d
Revi e w B y t h e Ri gh H on LO RD MA CA ULA Y
. t . .

v l p t
CAB I NE T E D I T I O N , 4 o s os 8v o vl
LI B R AR Y E D I T I ON 3 o s 8vo . . .

v l
, .

P E O P LE S E D I T I O N 2 o s c r ow n 8 v o
’
S TU D E N T s E D I TI O N 1 v ol c r Sv o 63
, . . , . . . .

SAI NT SI M ON a n d S AI NT SI M ON I SM ; a c h a pt er i n th e H i s t ory of
- -

S oc i al i s m i F ce B y AR T H U R J B O O TH M A C w 8
n r an p i c 7 6d . . . . . ro n vo. r e 8. .

H I STORY of E UROPE AN M ORAL S fr om A u gu st u s t o Ch ar l em agn e , .

B y W E H LE CK Y M A
. S c
. d E diti . 2 v l s S o p i e 2 88 , . . e on on . o . v . r c .

H I STORY of t h e RI SE a n d I N FLUE N CE of t h e SP I RI T of
RAT ION ALI SM ID E U ROP E B y W E H LE CK Y M A C b i e t E di ti on a n
b e i g t h Fo t h 2 v ol p ic
. . .
. , . .
,
n ew 8 ur . s. c ro n vo . r e

GO D i n H I STORY ; o r th e P r o gr e ss o f M an s Fa ith i n th e M or al ’
,

O rd er of th e W l d B y B o B U N SE N Tr l t d b y SU S A N N A W I N K
or ar n ans a e
W O RT H ; w it h P f 3 v l p ic
. .

by D S TA N L E Y a8 r e ac e e an . o s. vo . r e

E SSAYS on H I STORI CAL TRUTH B y AN D RE W B I SSE T Sv c 1 48 . . . .

Th e HI STORY of P H I LOSOP HY f o m T h a es t o C om t e B y , r
l
.

G E O R G E H E N R Y LE WE S Fo th E d iti 2 l 8 o 3 Zs . ur on . v o s. v .
-

An H I STORI CAL V I E W of LI TE RA TURE a n d ART i n G RE AT

B RIT AI N f m t h e Ac c i f th H ro f H v e t th e R g f e s s on o e ouse o an o r o ei n o
Q e V i t ria B y J M U RR AY G RAH M M A 8 p i c e 1 4
ue n c o . . A , . . v o. r 8.

Th e MY TH OLOG Y of t h e ARYAN N ATI ON S B y G E O RG E W . .

Co x M A l t e S h l of T i ty C ll ge Oxf d J i t j E di t w it h t h e
a c o ar r ni o e or o n or ,
t h E d iti f Th D t o
.
, .
, ,

l t P f s
a e B d of t h F
r o e s or y f Sm m on o e ic i nar o e e,
-

ra n e e ou r
Li t e t f T l i tG 2 v ol s 8 o 263
,
’
d A t A th
ra u re , a n of A r , u or o a es n c en re e c e . v . .

A 2
4 . N EW W O RK S P U B L rs H E D B Y LO N G MAN S A N D 0 0 .

H I STORY of CI V I LI SAT I ON in E n g l an d an d Fran c e, S p a in an d S c ot

l and. B y H E N RY T H O M A S B UC K LE New E i '
d ti o n of th e en ti re Work
lt I
. .

w it v l
h a c o m p e e N D E X 3 o s c r o w n 8 vo . . . 1
,

I STORY of th e CHRI STI AN CH URCH from th e A sc en s io n of ,

Ch i t t th C ve i
r s f C t ti oB y E B U RTO N D D la t e
e on rs on o on s a n n e.
P f f D ivi it y i t h U iv f O f d N w E d iti
.
, . .

ro . o P p 3 6d
n n e n . o x or . e on . o . 3. .

SK E TCH of t h e H I STORY of t h e CH URCH of E N GLAN D t o t h e

R v l ti
e f 1 6 88 B y t h R i gh t R
o u T V S H O RT D D L o d B i h p o f
on o . e ev . . . r s o
E ig h t h E d iti
, . .

St As p h . C ow 8 o 7 9 6 d
a . on . r n v . . . .

H I STORY of t h e E ARLY CH URCH from th e Fi rs t P re a c h i n g of th e ,

Go p l t th e C
s il f N i
e A D 3 25 B y E L I AB E T H M SE WE LL
o ou n c o c aea . . . Z
A th f Amy H e b t N w E d ti W th Q ti o
.
.
,
’
u or o
‘
P op 43 6 d r er . e i on , i ues n s. . . .

Th e E N G LI SH RE F ORM AT I ON B y F C MA SSI N C B E R D M A . . .
, . .

Ch ll f Li c l
a nc e dR t of So t h O b y Fo th E diti o revi se d
or o n o n an ec or u ri n s . ur n, .

Fc p 8 vo . . 6d .

M U
A N DE R’
S H STOR CAL TRE ASURY ; I I p r i si n g a G e n eral I n c om
t ro d uc t y O u tli e o f U iv ers l H i t y
or d e i f S p t H i t ori
n n a s or an a s r es o e ar a e s e s.
t e t E di ti o e vi se d d b o gh t d t T im e b y th
,

L a s w t th P n, r an r u o n o e r es e n e
R G E O RG E W I LL I A M Co x M A
ev . Fc p 6 l th 6d c l f , . . . 3 . c o , or . a .

H I STORI CAL a n d CH RON OLO G I CAL E N CY CLOP E DI A ; c om p r i s i n g

Ch l gi l N oti
r on o o f ll t h G t E v t f U iv s l H i t o y T ti
ca c es o a e re a en s o n er a s r : re a es
Alli W B tt l & ; I id t i t h Li f E mi tM
.

a nc e s , ars , ad es , c nc en s n e ve s o n en e n an
t h i W k S i ti fi v e i M ec h i l I v
.

e r d G g ph i l D or s, c en c an eo ra ca i sc o r es , an c a u en
ti d S i l D m ti
on s, d E
an m i c l Im p v m t oc a B y th l te
, o es c , an c on o a ro e en s . e a
B . B . WO O D WAR D . BA . an d W . L R G A TE S. . . 1 vol 8 vo . .
"N ea r ly r ea d y .

B i ograp hi c a l Worlts
'
'

A UT OB I OG RAPH Y of J OH N M I L T ON ; or M i lt on s L ife i n hi s ow n ’
,

\V o d s B y t h e Re J A M E S J G G R AH A M M A C o w 8 o p i e
r . v . . .
, . . r n v . r c

A M E MOI R of DAN I E L MACLI SE R A B y W JU S T I N O D RI S CO L L

’
. . .
, ,

B i st e at La w W ith P or t a it a d Wood c t s P os t Sy o
ar r r - -
. r n u
p i c e 7 6d
. .

r 9
. . .

M E M OI R S of t h e M AR Q UI S of P OM B AL ; w ith E x t r a c t s fro m h is
W r iti g d fr m D p t c h es i t h e S t t e P ap ers O ff c e
n s an B y t h e CO N D E
o es a n a i
DA CA R N O T A N e w E d iti o
.

S o p ce 7 . n. v . ri 3.

LORD G E ORG E B E NT I NCK ; a P o l iti c a l B i ogra phy B y t h e Ri ght .

Ho B E N JAM I N D I S R A E L I M P
n . E i gh t h E d ti o re vi s ed w it h a N w , . . i n, , e
P r e fa c e . Cro w n Sv o p r i c e 68 . .

RE M I N I S CE NCE S of I
F FTY YE ARS . B y M ARK B O YD . P ost s y o .

pr i ce 6d .

Th e LI FE of I SAM B ARD K N G DOM B RUN E L, Ci v i I l Eng i n ee r .

B y ISA M B A RD B R U N E L, R CL . of Li n c o n s I n n ; Ch a n c e l ’
ll or of t h e Di o es e c

o f E lyit t it l
W h P or r a , P a t es , . t a n d W ood c u s Svo . .

Th e ROYAL I N STI TUTI ON i t s Fo u n d e a n d i ts Fi r s t P r ofe s s or s r .

B y D B E N CE J O N E S H
, y S r t y P t S p ic e 1 2 6d
. . on or a r e c re a r . os v o. r 8 . .

Th e L I FE a n d LE TTE RS of FARADAY B y D r B E N CE JO N E S .

t y f t h R y l I t t ti
.
,
S ec re S c
ar d E d iti th o g h ly ev i d
e o a ns i u on . e on on . or ou r se
2 v l s S o w it h P t it a d E ig h t E g a vi g o Wood p i c e 2 83
.

o . v . or ra , n n r n s n , r .
6 N EW W O RK S P B L I SHED
U B Y L O N G M AN S AN D 00 .

L E TTERS an d L FE I o f FRANC I S B A CON i n c l u di n g a ll h is O c c a ,

s i o n al W or k s. C ll ec t e d n d e d it d w it h a Comm t ry b y J S P E D D I N G
o a e en a
i ll t ab V O L S I a d I I Sv e
, , .

Tr Co n Ca n . V O L S II I a n d I V 24 3 . n . .

i
. . . . . .

V O L V p r c e 1 23
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Cr i ti c is m P hi los op hy , P oli ty & c , , .

Th e INSTITUTES of J US TIN I AN ; w ith E n gli sh I n t r od u c ti on T ra n s ,

l ti o
a d N tn , an B y T C SAN D R S M A B i st l t e Fe ll ow of O i el
o es . . . A , . . arr er , a r
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S OCRATES a n d t h e S OCRAT I C SC H OOLS T ran sla t e d fr om th e .

Ge m of D E Z E LL E R with t h e A t h o s p p rov al b y t h e Re O SWAL D

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Th e STOICS EPICUREANS a n d SCE P TI CS , T r an s l at e d from th e , .

G m of D E Z E L LE R w it h t h A th a p p ov a l b y O S W AL D J
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p ic 1 4
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Th e E T H ICS o f ARI STOT L E i ll u st r a t e d w ith E s sa y s a n d N o t es , .

B y Si A G RA N T B rt M A LL D S c o d E d iti
. vis d a d c mp l t e d ar e n on , r e e n o e .

2 v l 8 o p i e 28
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o s. v . r c 3 .

Th e NICOMAC H EAN ET H ICS of ARISTOTLE n e w ly t r an sl a te d i n t o

E g li h B y R W I L L I A M S B A F ll ow
n s d l te L t e fM t Co ll ge e an a ec ur r o e r on e .

d om tim S t d t f Ch i t Ch h O xf d
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,

an s e 8 o 1 23e u en o r s u rc , or . v . .

E LE M E N TS of LOG I C B y R W H A T E L Y D D l at e A rc hb i sh op of . .
, . .

D b li n N e w E d iti
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WH A TE L Y . 5t h E n. o . .

B ACON S ESSAYS w i th ANNOTATIONS B y R W H AT E L Y

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. .
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l t e A h b i h op f D b li Sixt h E d iti o S 1 03 6 d
a rc s o u n. n . vo. . .

L ORD B ACON S W ORKS c oll e c t e d a n d e dit e d b y J SP E DD IN G ’

, .
, MA . .

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Th e SU B JECTION of W OM E N B y JO H N S T U AR T M ILL . . Ne w
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5 on . s v o. 3.

On REPRESENTATIVE G OV E RN M E NT B y J O HN S T UA R T . M I LL .

Th i d E di ti o
r 8 o 9 C ow 8 o 2 3 n. v . 3 . r n v . .

On LI B E RTY B y J OH N ST U AR T M I LL Fo u rth E d i t ion

. . . Po st
Sv o 73 6d . . . Cr ow n Svo 1 3 4d . . .

PRINCIPLES of POLITICAL E CON OM Y . B y th e sa m e A u th or .

Se ve th n E di ti on . 2 vo ls . Sv o . 3 03 O r i n 1 v ol
.
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. c row n Svo 53 . .

A SYSTEM of LOG I C, RATIOCINATIVE an d I N DU CTI V E . B y th e

s ame ve t h E d iti o T w o v l 8 e
Au tho r. Se n n. o s. v . 2 53 .

UTILITARIANISM B y J OH N S T UA R T MI LL . . Fo ur th E dit ion . S ve 5 g . .

D ISSERTATION S a d DISCUSSIONS POLITICAL P H I LOSOPH I n , ,

CAL d H ISTO RI C AL B y J OH N S T U R T M I LL S
an d E diti vis d . A . e c on o n, r e e .

v ols
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3 . sve . 363 .
 NE W W O RK S P U B LI SHED B Y LON G M AN S AN D 00 . 7

EXA M IN ATION of Si r W . H AM I LTON S P H ILOS O P H Y ’

, a n d of t h e
Pr i i p l Ph i l
nc a os o h i c al Q u es tio ns d i s c u ss e d in his Wr iti n g s By J OH N
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S . 21 1 i Ed iti on . 8 vo 1 63 . .

An O UTLINE of th e NECESSARY LAW S of T H OU G H T : a T re a ti s e

on P u r e a n d Ap p e L o g c li d i B y t h e M os Re v W T M N , Lor d A r c h t HO SO
k
.

i i t
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b s h op o f Y or , D D F R S . . . . . N n h T h o u s a n d Cr ow n 8 vo 53 6 d . . . .

Th e E LE M E NT S of POLITICAL E CON OM Y . B y H E N RY D UN N I NG
M A CL E O D M A B a r r , . . it s e r at - -
La w . 8 vo .

t y
A D i c i on a r of P o i tic l al E c on om y; B i og r a p h i c a l , i b li og ra phi c a l
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.

Hi t i ls or c a , and P ra c ti c l a . B y th e sa me Au th V OL 1
or . . . y l 8
ro 30
a v o. 3 .

A C OL ONIST on th e C OLONIAL Q UESTION . By J OH N M AT H E W S ,

of Tor on t o, Ca n a d a . t
P os 8 vo p r . i ce 63 .

Th e ELECT I ON of RE P RE SENTATIVE S ,
Par li a m e n t a ry a ri d Mun i
ei p l ; T ti
e a re a se. By T HO M AS H A RE , B it
a rr s er a t - -
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w it h A dd iti
.

o ns . Cr o w n Svo 6 3 . .

SPEEC H ES of th e RI G H T H ON . LORD MACAULAY , c or rec e t d by

H ms e fi l . P e op le ’
s iti c w 8 3 6 d
Ed on , ro n v o. 3 . .

Lor d M a c a u l a y ’ s Sp e ec h e s on P a r li a m e n t a r y Re for m i n 1 8 3 1 an d
1 83 2 . 1 6 mo . 13 .

A DICTIONARY of th e EN G LIS H LAN G UA G E . B y R G LAT HAM , . .

MA MD FRS
. . . . . . Fou n d e d on t h e D c on a ry o f D r i ti . S A MU E Jo m zs ozv a s L
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,

edi ed b y t h e Re v . H T O D D W i h n u me rou s E m en d a
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I n Fou r V o u m e s, 4to p r c e £ 7 . .

TH ESAURUS of EN G L I S H W ORD S and P H RASES li fie d a n d

c a ss
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E xp r e s s o n o f d eas , a n d a s s s
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Co mp os itio n. B y P M R O G E T , LL D N e w E d on
. Cr o w n 8v o
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L ECTURES on th e SCIENCE of LAN G U AG E B y F M AX M iam -

a,
I s tit u t e
. .

M A the Fo re i gn M e mb er
. of t h e Fr e n c h n . Si x h E d t iti on . 2 v ol s
i
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c r ow n 8vo p r . ce 1 63 .

C H APTERS on LAN G UA G E . B y FRE DE R I C W . FA RRAR , F R S . . .

H ea d Ma s t er of M a r l b or ou g h Coll eg e . Cr o w n Svo 8 3 6 d . . .

M ANUAL of EN G LIS H LITERATURE ,

H i s t o ri c a l and Cr iti c al . By
T HOMAS AR N O LD ,
MA . . S ec on d Ed iti on . . ro w n .
'

8v 0 p r i ee 7 3 6 d . .

TH RE E CENTURIE S of EN G LIS H LITERATURE HA R LE S

By C
D U KE Y O N G E
.

Reg i us P r o fes s or o f M o de r nH i s t or y an d En gli h L it

s t e er a ur
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.

Co Cr ow n 8 vo p ri c e 7 3 6 d
’
i n ueen s e ge , B e fa s . . . .

S OUT H EY S ’
DOCTOR, c om plet e in On e V olu m e . E dit e d by the Re v .

J . W WAR TE R . , B D . . S q u a r e c r own 8 vo 1 2 3 6 d . . .

H ISTOR I CAL and CRITICAL COM M ENTARY on t h e OLD TE STA .

ME N T N e w T r a n s a on
; w it h a B y M M K A L I SCH, P h D V OL 1 l ti
II
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t l
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.

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PAR T I PAR T I I
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E x c ep ti on a l For ms a nd Cb n s tr u c ti on s, 1 2 3 6 d . .
8 N EW W O RK S P U B L I SH D E BY LO N G M AN S AN D 00 .

A LATIN EN G LIS H DICTIONARY -

. B y JO H N T . W HI TE , DD . .

O x d J E RI DDLE M A O
on an Th i d E d ti r vi d 2 v ol at o . xon . r i on , e se s.
pp p i l th
. .
.
, . . .

. 42 r c e 3 . c o .

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or tW k( s u se o n ers u en t s r e re n or a
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W h i t e s Ju n i or St u d e n t s Com pl e t e La t i n E n g l i s h a n d E n gli s h La ti n
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- -

D i ti yc N ew E d iti
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p i 12 on . uar o . . r ce 3.

5 9 0 m m?
Th E N G L I S H L AT I N D i c r i O N A RY i '

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gi
-

, r ce 3 . .

T h e LAT I N E N G L I S H D l C I I O N A R Y,
'‘
-
r ce 73 6d . .

An EN G LIS H G REEK LEXICON -

, c on a n n g t i i a ll th e G r ee k W or d s
u sed b v Wr it e rs of g ood au t h o ity r . By C D . . YONG E , DA . N ew E d i
io
.

t n. 4 to 2 1 3 . .

Mr . YON G E S ’
NEW LEXICON , E n gli s h and G ree k , a b i dg d f om
r e r
h is l a r g er w or ( a s ab o k v e ) . Re vi s ed Edi q ti on . S u a re 1 2 m o 83 . . 64 .

A G REEK EN LIS -
G H LEXICON . Com p il e d b y H G . . L I D DE L L , DD . .

D e a n o f Ch r s Ch u rc h it . an d R SCO TT , D D De a n
. . . of Roc h e s t er. S i xt h
Ed on iti
Cr ow n 4 t o p r . . i ce 36 3 .

A Lex i c on , G r e e k h a b r i d ge d from LI DD E L L a n d Sc o r r s an d E n gli s

’
,

G r k E g li h L i
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-
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A SAN S K RIT EN G LIS H DICTIONARY th e S a n sk rit w or d s pri n te d

-
,
b th i
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n e or na e an a ar an n o an e er e
T B E N F EY P f i t h U iv f G otti g
.

. S 52 6d , ro . n e n . o n en. v o. 3. .

W ALKER ’
S PRONOUNCIN G DICTIONARY of t h e EN G LIS H LAN
G U AG E . T h or o u g h ly e vi d E d ti o
r se i n s, by B . H S . MA T R . 8 vo 1 2 3 . . 1 6m o 63 . .

A PRACTICAL DICTIONARY of th e FRENC H an d EN G LIS H LAN

G UAG ES By L C U F t t h E d iti . . O N T A N SE A . ou r ee n on . P os t8 vo . 1 03 6d . .

Con t a n s e a u
’
s P oc k et Di c t i on a r y , Fr e n c h an d En g li sh a b id ge d from
, r

th e ab o e v b y t h e Au tho r. N ew E d iti on , r e vi s ed. S q u ar e 1 8m o . 3 3 6d . .

N EW PRACTICAL DICT I ONARY of t h e G ER M AN LAN G UA G E ;

G m E gli her d E gli h G m
an B y th R W L B LAC K LEY M A
n s an n s er an e ev
C ARL M AR T I FR I D LA DE R P t S 7 6 d
- -
. . . . .
, .

d D an r . N E N . os vo . 3 . .

Th e M ASTERY o f LAN G UA G E S ; r t h A t f Sp e k i g Fo e i gn o , e r o a n r
T o n g u e s l d om a i ti c a lly . By T HO M AS P RE N DER G AS T l t , a e of th e C ivil
vi
S e r c e a t Ma d r a s . Sec on d E d iti 8 o 63 on . v . .

M is c ella n eous Wor ks an d P op u la r M etap hys zc s .

Th e ESSAYS an d CONTRI B UTIONS of A K H B . . . .

, Au th o r of
‘
Th e
R ec rea ti on s o f a Cou n r t yP a rs on .
’
Un i for m E d i on s it
Re c r e a ti on s of a Cou n t ry P a r s on . By A K H B . . . . Fi n e r and Se oo s i )
S RI ES w 8 3 6d h
E , c ro n v o. 3 . . e ac .

Th e C OMMON P LACE P H ILOSOP H ER i n TO W N a n d COUNTRY -

. By
A K H B . . . . Cr ow n 8v o . p ic e 3
r 3. 6d .

Lei s u r e H ou r s i n Tow n ; E ss a y s Con sola t or y , E s th e t i c a l , Mor a l ,

So c ial ,
and Do m e s ti c . By A K H B . . . . Cr ow n 8v o 3 3 6 d . . .
10 N EW W O RK S P U B L I SHED B Y LO N G M AN S AND 00 .

An INTRODUCTION to MENTAL P H ILOSOP H Y , on th e I n d uc t i v e

M eth od . By J . D . 8 v o 1 23
. .

E LE M ENTS of P SYC H OLO GY , c on a n n g t i i th e A n a ly si s of th e

I n t ell ec t a l P ow er s u . B y th e s am e Au h o rt . t
P os 8 v o 7 s 6 d . . .

Th e S ECRET of H E G EL : b e i n
g th e H e g eli au Sy s t em i n O ri gin ,
Pr i c ip l
n e, For m , an d M a tt er . By J . H S . T I RL I N G 2 v l s 8 vo 2 83 . o . . .

SI R W ILLIAM H A M I LTON ; b i e n g th e P h il osophy of P er c e pti on : an

Ana y s l i s. By J . H S IR . T LI N G . Sv o 58 . .

Th e SENSES an d th e INTELLECT . By A LE X A DE R N B A IN , M I) .

P rofe ssor of Log ic

i d E d iti o S 1 53 in the Un iv e it y of Ab e
rs r d ee n . Th r n. v o. .

MENTAL a n d MORAL S CIENCE : a Co m p e di u m o f P sy c h o l o gy n

a d E t hi
n B y th s me A t h o cs S . d E d iti C w 8 o 1 0 6d e a u r. ec on on . ro n v . 8. .

LO G I C DE D UCTIVE a n d I N DUCT I V E B y th e sa m e A u th or In .

T WO PAR T S
,

ow S 1 0 6d E ch P t m y b h d cr p t el y n v o. 3 . . a ar a e a se ar a

PAR T I D d ti 43 PAR T I I I d t i 6 6 d
,

. e uc on , . . n uc on , 3 . .

TIME a n d SPACE ; a M et a ph ys i c a l E ssa y B y S H A D W OR T H H . .

H OD G SO N ( This w r k c v e s t h e w h ol g ou d of Sp c u l tiv e P h il op hy )
. o o r e r n e a os .

S o p i
v .1 68 r ce .

Th e T h e or y of P r a c t i c e ; an E thi c a l I n q u i r y B y th e sa m e A u t h o r . .

( Th i w o k i c j s ti w it h t h e f g i g m p l t s sy t e m of Ph il
r n on u n c on ore o n , co e e a s o
2 v l S o p i e 24
,

Sop h y ) . o s . v . r c 3 .

Th e P H ILOSOP H Y of NECESSITY ; or N a t u ra l L a w a s a pp l i c a b l e to ,

M e t l M o l a n d Soc i al Sc i e c e B y C HARLES B R AY S c o d E d iti o

n a , ra , n . . e n n.
Svo 9 s . .

A M an u a l of h r op ol og y or
An t , Sc i en c e of M a n b a s e d , On M od er n
Re s ea rc h . B y th e m A tho sa e u r. Cr o w S n p i 6 v o. r ce 3 .

On For c e , i t s M en t a l an d M or a l Corr el a t e s . B y th e sa m e A u th o r .

8 vo 5s . .

Th e D I S COVERY of a N EW W ORL D of B EIN G . By G EOR G E

T HO M SO P t S p i 6 N . os vo . r ce 3 .

A TREAT I SE on H U MAN NATURE ; b i e ng an tt em pt t o I n tr o d u c e

A
t he p i m t al M t h d Of R s i
Ex er en e o ea on n g i t M l S b i c t B y D AV I D
n o ora u e s.
H UM E E d t d w it h N o t 8 by T i e es , 50 H G R E E N F ll w d T H e o an
G ROSE l t Sc h ol of B lli l Coll g
. . .
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a e a r, a o e e, x rd . "I n t h e p r ess .

E SSAYS MORAL P OLITICAL , , and L I TERARY . B y DA V D H UME

I .

B y th e same Ed it o r s. "I n t h e p r ess .

As tr on omy , M eteor ology , P op u la r G eogr ap hy ,

O UTLINES of ASTRONOMY B y Sir J F W H E R SCHEL B a rt . . . .
, .

M A E l ev e n th Ed i t i on w ith 9 P l a t e s an d n u m erou s D i ag ra m s Sq u a e , . r
c r ow n Svo p r i c e 1 2 3
. .

. .

E SSAYS on ASTRONOMY B y RI CH ARD A P R O CT OR B A H on Se c . .

, . . .

( De di c a t e d b y p e mi s s i n t o t h e A s t ron om e Roy a l ) 8 vo W t h 1 0 r o r . i
P la t es a n d 2 0 W ood E ngr a vi ng s p r i c e 1 2 5
. .
,

, .
 NE W W O RK S PU B L I S ED H BY LON G M AN S AN D CO . 1

Th e SUN ; RULE R LI G H T FIRE , , and LIFE of th e PLANETARY

S Y ST E M P RO CT OR
,

. B y RI C A HARD BA . W it h 10 P l t es
a
l d) i
. ,

(7 c o ou r e a n d 1 0 7 F gu r e s o n W o od . Cr ow n 8v o 1 43 . .

T ER
O H W ORLD S th e P ur a of W orl s S u T H AN OURS ;
ed l lity d t di
u n d er t h e L gh o f R ec en Sc e n c R es ear c h e s i t
B y th e s a m e Au h or i tifit t
iti it I ll t t
. .

Se c on d E d o n w h 1 4, u s ra i on s Cr own 8vo 1 03 6d . . . . .

SATURN a d i t SYSTEM B y th m A th n s . e sa e u or . 8 v o w i th l 4 P la t e s , l 4s
. .

S C H ELLEN S SPECTRU M ANALYSIS i i t ’

ppli c a ti o n t o T erre s , n s a
t i lS b t
r a d t h P h y i l Co tit ti
u s an c es oi t h H ve ly B di
an e s ca ns u on e ea n o es
T l t d b y JA N E d C L ASSE LL d t d W t h N t b y W H U G G I N S
ra n s a e an ; e i e i o es, .

W th 1 3 Pl t ( 6 m d ) t 8 p
.
,

d 2 2 3 Wo d i 28 5 a es c o ure an o cu s . vo . ri c e .

A NE W STAR ATLAS for th e Li b ra r y t h e S c h oo l a n d th e O b s er v a t or y

l M p ( w it h T w o I d P l t ) I t d d
, , , ,

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n e e rc u a r C m a s n ex a es n en e as a o
W b b C l t l O bj t f C m mo T l W th
.

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g msra B y R I CHA R D A PR O C T O R B A H
. S RAS C o w S o 53 .
, . on . ec . . . . r n r . .

CELESTIAL O BJECTS for CO MM ON TELESCOPES B y th e Re . v .

T W WE BB M A T h i d E d iti vi e d w it h l a r ge M p o f
‘
. . . . r on , r e s a a
d s ev l W o d t 1 6m 7 6 d
, ,

t h M oo e n, a n er a o c u s. o. 3 . .

N AVI G ATION a n d NAUTICAL ASTRONOMY ( P r ac ti c a l T h e or e ti c a l , ,

S c i tifi c ) f
en th f St d t a d P c tic l M e B y J M E RRI P IE LD
or e u se o u en s n ra a n. . ,

FRA S
. . . a nd H EVE B
. S. Svo 1 43 . .

D OVE S LAW of STOR M S

’
id e e d i n x io w i th th e O r di n a r y , c on s r c on n e n
At m ph l t d by R
g i ti zsd
i t f th
o v r l el T s o TCD e os er e . r a ns a e . . . .

v0 . 3 .

A G ENERAL DICTIONARY of G EO G RAP H Y D e iptiv e P hy si c a l , sc r , ,

S t ti ti l d H i t i l f
a s ca l t G tt
an f th W ld B y
s or c a : i
or m n g a c o m p e e a ze eer O e or
KE I T H J OH N S T O N L L D
, .

A . R vis d E d iti 8 31 3 6 d , . . e e on . vo . . .

A MANUAL of G EO G RAP H Y P hy s i c a l I n d u s t ri a l a n d P oli t i c a l , , , .

B y W H U G HE S . W th 6 M p P p 7 3 6d , i a s . o . . .

MAUNDER S TREASURY of G EO G RAP H Y P hy s i c a l Hi s t ori c al

’
, , ,
D iptiv e d P liti l E d it e d b W H U G HE S
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E d iti w it h 7 M p d 1 6 Pl t c l th
, . . ,

on , op 6 9 6d b d i c lf
a s an a es . . 3 . o , or 3. . ou n n a .

Th e P U B LIC SC H OOLS AT L AS of MODERN G EO G RAP H Y In .

31 M p e h i b iti g c l
a ly t h m
s, i m p t t Ph y i l F t
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, . . .
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N a tu r a l H i s tor y an d P op u la r Sc i en c e .

TEXT B OOKS -
of SCI ENCE MEC H ANICAL , an d P H YSICAL . E d i t ed
by T . M G O O D B V E M A T ne fol o w i n g m a y n ow b e b a d
. , . . l ,
i
p r c e 3 3 6d ea c h . .

G O O D E V E S M e c h a n i sm
’
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B Lox A M S Me t a l s
. .

E R S I n or g a n i c Ch e m i s t ry
ILL
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M ’

G I FF I S Alg b i t
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T r g on om e ry
’
R N e ra a nd
W A T SO S Pl li t
.

a n e a n d S o d G e om e ry
’
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M A W E LL S T h t
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M E RRI FI E L D S Tec h n c a A r h m e c a n d M en sur a tiou

’
.
 N EW W O RK S P U B L I SHED BY LO N G M AN S AN D CO .

ELEMENTARY TREATISE o n PH YSICS , E x p er i m e n t al and A ppli e d .

l t
T r a n s a e d a n d e d e d fr o m G A N O T S E lé me n t s d e Ph y s i q u e it ’

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a n d e n arg e d w h a Co ou r e d P a e a n d 7 26 W oo d c u s P o s Svo 1 58 . . .

NATURAL P H I L OSO P H Y for G ENE RAL READERS an d YOUN G

P E RS O N S b i g C f Ph y i d iv t d f M t h m t
; e nl F m lae a o u rs e o s cs es e o a e a ic a or u
xp d i th l g g f d l y li f d i ll t t d w it h E x p l t y
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E A T KI N SO N P h D F O S
. C w S W t h W od t p i 7 6d
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S OUND a Co r s e o f E i ght Le c t u re s d e liv er e d at the Roya l I n st i t u ti on

u
of G t B it i B y JOH N TY N DA LL L L D F R S N w E di ti c ow n
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8 y o. or r a i o . a n an oo c u s. r c .

H EAT a MO D E o f MOT I ON B y P ro fe ss o r J O H N T Y N D AL L LL D .
, . .

FR S F
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RESEARCH ES i n M O L EC U LAR P H YSICS b y MEANS of RADIAN T

S i f M m i l l t d f m t h P h il
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B y JOH T Y D A LL L L D F R S 1 1 S
N N "I th p ,
. . . . . \0 . vo . n e r e ss .

RE SEARC H ES on D I A MA G NETISM a n d MA G NE CRYSTALLIC -

A CT IO N i l d i g t h Q ti f Di m g ti P l ity B y t h e me
; nc u n e u es on o a a ne c o ar sa
A th W it h 6 P l t t S p i 14
.

u d mo r. y W d a es an an oo cu s. v o. r ce 3 .

NOTES of a COURSE f SEVEN LECTURES o on ELECTRICAL

P H E NO ME N A d T H E O RI E S d li d th an e ve r e at e R oy a l I tit ti ns u on ,
A D . . 1 87 0 . B y P r o fe s s o r T Y DALL N .
,

Crow n Sv o 1 3 . . s e w e d , or 1 3. 6d . l th
c o .

N OTE S of 8 CO U RSE . of NINE LECTURES on LI G H T d l i v e ere d at th e

Roy a l I tit ti ns u on , A D . . 1 8 69 . B y the sa me A u h or t . Crow n 8v o p r . ic e
s e w e d , or 1 3 6d . . c o l th .

FRA G ME N TS of SC I ENCE . B y JoH N T YN DA LL ,

LL D F R S . . . . . Thi r d
Ed iti o n. 8vo p r . i ce 1 43 .

LI G H T SCIENCE for L EISURE H OURS ; a Ser i e s of i

Fa m li ar
E s sa y s on Sc i ti fi
en c S u bj e c t s, Na t ur a l Ph e n om e na , &c . By R A . . PROC T OR ,

B A . . Cr o w n Svo p r i c e 73 6d . . .

LI G H T : I n fl u en c e
It s on L fe i and H eal th . B y FO R B E S W I NS LO W ;
D C L O xo
“

MD . . . . . n. Fc p Svo 63
. . .

A TREATISE on ELECTR I CITY , in T h e or y an d P ra c ti c e . By A .

DE L A R I VE , P r o f i n t h e Ac a d e my o f G e n e
. v a. T ra n s l t ed b y C V
a . . WAL K E B ,

FRS 3 . . . vl o s 8v o w
. h Wood c u s . £ 3 1 33
. it t .

Th e CORRELATION of P HYSICAL FORCES . By W R G R OV E ,

. .

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F f h Ed o n , r e s e d iti vi and fo ll ow e d by a D i s c ou r se on Con
t ly 2 3 6 d p
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ti nu ity . Sv o . 1 03 6 d T h e D i s c ou r s e
. . on Con tm u i ty , se a ra e , . .

V AN DE R H OE V E N S H
’
AND B OOK of Z OOLO G Y T ra n s l a t e d fr om .

t h e Sec on d Du t E d o n b y th e Re v
ch iti . W . C LAR K M D F R S 2 v ol Svo
, . . . . . s. .

it
w h 2 4: P a e s l t of Fi g u r e s , 6 03 .

P rofe s s or O W EN S LECTURES ’
on th e COMPARATIVE ANATOMY
and Phy s i l
o ogy o f t h e I n v e te b r t er a An im l a s. Se c o nd E d iti on , w it h 2 35
W ood c u s t . Svo . 2 1 3 .

Th e COMPARATIVE ANATOMY a n d P HYSIOLO G Y of th e VERTE

b t A i m l B y RI HARD O WE F R S D C L
ra e n a s. C N, . . . . . . W it h Wood
'

c n s. t 3 v l o s . Svo £ 3 1 3 3 6d
. . .
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LOUDON S ENCYCLOP E DIA ’

of PLANTS ; c om p r i s in g th e S p ec i fi c
t
Ch a ra c er , D esc r p on , Cu u r e H i ti lt . it s ory , of a ll t h e P a n s fou n d i nl t
t
G r e a B r ta n W h u p w ar d s of i i . it W ood c u t s . Svo .

MAUNDER S SCIENTIFIC ’
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n ew Ar ti c l es , by lf J Y JO H N SO N C
. . , or r . MZ S. . . P op 6 9 . . c o l th , or 93 6 d . . ca .

A DICTIONARY of SCIENCE LITERATURE a n d ART Fo u rth , , .

E d iti d it d b y IV T B R A N DE ( th
on , r e e i gi l A t h ) d G EOR G E W
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A c q u i em t 3 v ol m e d m 8 p i e 63 c l th
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,

r en s . s. iu vo . r c 3. o .

Chemis try , ll edi c i n e, Su rger y , a n d th e i

A lli ed Sc i en c es .

A DICTIONARY of C H EMISTRY an d th e A lli e d B ran c h e s o f o th e r

Sc i c e B y H E N RY W A T T S F R S as s i t e d b y e mi e t Co t i b t o s
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Com p l e t i n 5 v l m d i m 8 £ 7 83
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Su pp l em en t ; b r i n gi n g t h e R e c o d o f Ch e m i c a l D i s c ov er y d ow n t o r

t h e d f th y e 1 86 9 ; i
n l di g l
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o lt w h i h h v p p d i 1 870 d 1 87 1 B y H E N R Y W A TT S
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d P s s s e v e n en c en c an ra c ic a i s s,
Co t i b t t t h O ig i l W o k S p i c e 3 1 3 6d
. . . . . . . .

n r u or s o e r na r . vo . r . .

ELEMENTS of C H EMISTRY Th eore ti c al a n d P ra c t i c al B y W AL L E N , . .

M I LLER M D l t e P of f Ch m i t y K i g C ll L d o th ’
F a r o e s r n s o on n ou r
PAR T I C H E M I CAL P H YS I CS 1 5 PAR T II
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on . o y 3
I N OR G AN I C C HE MI S T RY 2 1 3 PAR T III O R G A N I C C H EM I S T RY 24
. . . .
, . .

, . .
, 3 .

OUTLINES of C H E MISTRY ; or B r i e f N ot es of Chemi c al Fa c t s , .

B y W IL L I AM O DL I N G M B F R S C o w Svo 7 3 ed , . . . . r n . . .

A Cou r s e of P r a c ti c a l Ch e mi s t r y fo r th e u se o f M e di c al S t u d en t s , .

B y t h e s a m e A t h r N e w E d iti o w it h 70 Wood c t s C ow SW 73 6 d u o . n, u . r n . . .

Lec t u r e s on An i ma l Ch emi s tr y d e li v e re d a t th e Roy al C o l lege o f ,

Phy s i c i s i n 1 8 65 B y t h e s m e A t h or C ow 8 o 4s 6d
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SELECT MET H OD S i n C H E M ICAL ANALYSIS c h i efl y INOR ,

G AN I C B y W I LL I AM C ROO K ES F R S W it h 2 2 Wood c t C ow S c . u s. r n v
p i c e 1 23 6 d
. .
. , . .

r . .

C H EMICAL NOTES for t h S LE CTURE ROOM B y T HOMAS W OOD .

I o H e t & c p ic 5 II o t h e M e t a l 5
,

FCS 2 . l . w 8 o
. vo s . c ro n v . . n a . r e 3. . n s, 3.

Th e DIA G NOSIS PAT H OLO G Y , , an d TREATMENT of DISEASES

o f W om e n ; i c l di g n u n t h e D ag n os i i of P g s y B y G RAI LY H E WI TT
re n an c
w it h 1 1 6 W ood c t Ill
.

S ec on d E d iti o t ti o s 8 o 24 3
,

MD . . n , e nl ar ge d u us ra n . v . .

On SOME DISORDERS of th e NERVOUS SYSTEM in C H ILD

H O O D b i g th L m l ; e n e u ei a n Lec t e d e liv d b f e t h e R
ur s e re e or oy al Co l e ge l of
Ph yii s c a ns i n M ar c h 1 8 7 1 . By C HAR LES W ES T M D C ow , . . r n Sv c . pri c e 53 .

LECTURES on th e DISEASES of I N FANCY an d C H ILD H OOD . By

C HAR LES W E ST , M D ac . . . F f h Ed it iti o n , re vi sed a n d e n ar g e l d . 8v o 1 6 3 . .
 N EW W O RK S PU B L I SHED B Y LO N G MAN S AN D CO . 1 5

A SYSTEM of SUR G ERY , T h e oreti c al an d Pra c t i c al . In T r e a t i s es

b y V ar Au h or s iEd ou s t . it ed b y T H O LM E S M A & S g .d L ct e . . c ur eon a n e ur r
pit l d S g i Ch ie f t t h e M et
, .

s H
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t h o o gh ly evi ed w it h m e o s I ll u s
- -

lit lic S d iti o

. ,

po an Po e e c on d n, r u r s nu r u
5 v ol s 8
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t r a t i ons . . vo . £ 5 53 .

Th e SUR G ICAL TREATMENT of C H ILDREN S DISEASES ’

. By
T H OL M ES M A & c l t e S . . a u r g e on t o t h e H os a for S pit l ic k Ch dr e n il
itio w it h 9 P l t es t
. , . .

S ec on d E d n, a a n d 1 1 2 W ood c u s 8 vo 2 1 3 . . .

LECTURES on th e PRINCIPLES an d PRACTICE of P H YSIC By

W A T SO N
.

Si T HOM ASr , B ar t . MD . . F f h Edit itio n, tho o r u gh ly re vi s ed ,

2 v ol s . Svo p r c e 3 63. i .

LECTURES on SUR G ICAL PAT H OLO G Y . By Sir JAM E S P A G E T,

B ar FRS t i d E d itio
Th r n, re vi s d a d r e d it d b y
e n -
e e t h e Au h or t a nd
T UR N ER M B w it h 1 3 1 W o d t 21 3
. . . .

P r ofess or W . , . . 8 vo . o c u s, .

C OOPER S DICTIONARY ’
of PRACTICAL SUR G ERY an d E n c y c lo
di f S gi l S i ca c en c e . N e w E d on , b rou gh d ow n t o th e r es e n iti m t p t ti
psy S A L A E S g t
ae a o ur e
t l t d v i
.

o St M ary s H osp i a , a s s i s e
’
N ur eon b y a r ou s E m i n en t
VOL II 8 o
. .

l ti k
. ,

Sur ge on s . . . v . c om p e n g t h e w or "I n the p r es s . .

On C H RONIC B RONC H ITIS e sp ec i a l l y a s c on n e c te d wit G h OU T

E M PH Y SE MA d D I SE ASES of th e H E ART B y
, ,
an E H D . EA LA M
G REE N HO W M D
, .

& 8 o 73 6d . . . c . v . . .

Th e CLIMATE of th e SOUT H of FRANCE a s SUITED to INVALID S ;

wi h t ti c e
M e d e r r a n ea n a n d o h er W n er S a on s
No s of it t i t t ti By C T
it t ii pit l fo
. . .

VV I LLI AM S M A M D O xon A s s s a n P h y s c a n t o t h e H os . .
-
a r Con
ti t iti
, . . .

s u mp on a t B r omp on Se c on d E d on Cr ow n Svo 63 . . . .

REPORT S on t h e PRO G RESS of PRACTICAL a n d SCIENTIFI C

M E D I C I N E i D i ff t P t f th W l d E d it d by H ORA E D O B ELL n e ren ar s o e or e C
ls I II
.

MD . . as s i st e d by n u m er ou s a n d di sti n gu s h e i d Coa dj u to r s. Vo . . and

,

8vo 1 83 . . e a c li .

PULMONARY CONSUMPTION ; T r ea t i ts N a t u re, V ari et i e s, an d

m e n t : w it h a n An a l y s i s of O n e Th ou s a n d Ca s e s t o e x e m pli fy i ts D u ra ti on
B y C J B W I LL AMS , M D F R S a n d C T W LL AM S M A M D O x on I I I
.

. . . . . . . . . , . .

t p i c e 1 03
. . . .

P os 8 vo . r . 6d .

C LINICAL LECTURES on D ISEASES of t h e LIVER JAUN DICE , ,

d AB D O M IN AL D R O P S Y
an B y C HARL ES M U RCH I SO N M D P t S . , . . os vo.
w it h 2 5 Wood c u t s, 1 03 6d. .

ANATOMY DESCRIPTIVE , an d SUR G ICAL . B y H E NRY G RAY ,

FRS W it h ab ou t 400 W ood c u t s fr om D i ec ti o s Fift h E d iti b y
ss n on ,
I n t rodu c ti o h y the E di t o Roy l
. . .

M A Ca n t a b w ith
.

g s
‘
E . ME S, . . . a n ew n .
r. a
v0 . 3.

O UTLINES of P H YSIOLO G Y , H u m an an d Com p ara t i v e . By JO H N

M ARSHAL L Su r geon t o t h e U n iv e s ity r Co ll e ge H os p it al 2 v ol s
ith t
, . .

c r ow n 8vo w . 1 22 W ood c u s , 3 23 .

P H YSI OLO G ICAL ANATOMY and P HYSIOLO G Y of MAN . B y the

l t R B T ODD M D F R S
a e an d W O
B WM N , F R S A of K i ng s ’
Co ll e ge .
I ll u s t ra ti o s VOL II
. . . . . . .

W it h
. . .
, .

nu m e r ou s n Sv o 2 53
VOL I N ew E d iti n b y Dr L I O N EL S B RAL R F R S i n
. . . .

bli
.

o c our s e of pu
c a ti on w it h m a n y I ll u s t ra ti on s PAR T S I a n d II pr ic e 73
. . . . . . . .

, . . . . 6d . eac h .

C OPLAND S DICTIONARY ’
of PRACTICAL MEDICINE , a b i dg d
r e
fr om t h e a r er w or a n d
g l k throu gh ou t b r ou gh t down t o t h e pr ese t n St a t e
of M ed c al Sc i e n c e 8 vo 363 i . . .
 1 6 NEW W RK S O P U B L I SHED B Y LO N G M AN S AN D CO .

On t h e MANU FACTURE B RET ROOT SU G AR i n EN G LAND

of -

a nd I R E L AN D By W I LL I AM C ROO KES F R S C ow 8 0 w ith 1 1 r n v

W ood c u t s
. .
, . . .

, 83 6d . .

DR P E RE IR S
. A ’
ELE M ENTS of MATERI A MEDICA an d T H ERA
P E U T ICS a b r d g e d i a n d a d a p e d fo r t h e u s e o f t i l d Ph m ti l
M ed ca an ar a c eu ca
tit t ii M d i
,

P ra c i o n e rs a n d S u d e n t s ; a n d c o mp r s n g ll t h f th a e e ic n es o e
iti
B r s h P h a r m a c o p oe a w h s u c h o h e rs i it t a s a ref q tl y d d i P re uen or e re n re
q i ii E d it d b y P f TLE Y
.

s c r i p t i on s o r r e u r e d b v t h e P h y s c a n B e ro e s s or EN
W t h 1 2 5 W o d t I ll t
.

E L S & c a nd b y Dr R W FCS . ED OOD . . . . & c . i o cu us r a

,

t i
. .

i o ns . 8 vo p r . c e 2 53 .

1 7m Fi n e Ar ts, an d I llu s tr a ted E di ti on s .

IN P AI RYLAN D ; P i c t u re s from th e E lf W o rld -

By R I CHAR D
D O Y LE W it h
.

P oe m b y W AL L I N G H A M W it h S i t e P l t es t '

a . x en a c on a i n i n g
T h i ty si D s i g t Col o Foli 3 1 3 6 d
. .

r -
x e ns p r i n ed i n urs . o, . .

H ALF H OUR LECTURES - on th e H ISTORY a n d PRACTICE of th e

i
F n e a n d O r n a me n a Ar s B y tl t W ILLI AM B S O TT N w E di ti C e on r e v rs e d
t it t
. . .

b y t h e Au h or ; w h 50 W oo d c u s. Cr ow n 8 y o 83 6 d . . .

ALB ERT DURER , H IS LIFE an d W ORKS ; i n c l u d in g A u t o

b i o g ra p h c a i l P a p ers and Com p e lt e Ca a og u e s t l
By W ILLI AM B S O TT
C
I ll t tion s 8 o 1 63
.

W it h E tc h i t t
. .

Si x n gs by the A u h or , a n d o h er u s ra . v . .

Th e C H ORALE B OOK for EN G LAND : th e H y m n s t r a n sl a t e d b y

M i s C W I N K W O RT H ; t h e T e a rr a ge d b y P r of W S B E N N E TT a n d
s un s n

O TT O G OLDS CHM I D T Fc p 4t o 1 2 3 6 d
. . . .

. . . . .

Th e N E W TESTAMENT ill u st r a t e d w ith W oo d E n gr a vi n gs a ft er th e

c h i fl y of t h e I t li
,

E l y M as t e
ar Sc h ool Cr ow n 4t o 633 c l ot h g ilt t op
rs . e a an . . .

o £ 5 53 e l eg tly b ou d i n m oroc c o
,

r . an n .

LYRA G ER M ANICA th e Ch ri sti a n Ye ar T r an sla t e d b y CA T HE R IN E .

y s icw o n r n ; w it h 1 2 5 I ll u s t a ti on s o n Wood dr a w n by J L E I G H T O N
i éA
r .
.

. . 4t o 2 l 3 . .

LYRA G E RM ANICA ; th e Ch r i s ti an L i fe . T ra n sla t e d b y CA T HER I E N

W I N K W O RT H ; w it h a b ou t 2 00 W oodc u t I ll s t tio u ra ns by J LE I H TO FSA
. G N,
th ti t
. . .

a nd o er Ar s s. 4t o 2 1 . 3 .

Th e LIFE of M AN SY M B OLISED b y th e MONT H S

th e of YEAR
xt l t d b R P I G O T ; I ll t ti o
.

Te se e c e i i l i v us r a on s n Wood fr om O r g n a Des g n s b y
J L E I G H T O N F S A “ 42
.

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CATS a n d FARLIE S M ORAL EM B LEMS ; w ith A ph or i sm s A d a ge s

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1 2 1 I ll t ti s W d b y J L E I G H T O N
.
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.

. . . e se e c e . . er a v . . .

S ACRED a n d LE G ENDARY ART B y Mr s J AM E S O N . .

Leg en d s of th e Sa i n t s a n d M ar t y r s N e w E dit i on w ith 1 9 . ,

,

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s an oo c u s. s . s u ar r n v . 3 . .

Le g en d s of t h e M on a s t i c Or d er s N e w E diti on w ith 1 1 E t c h i n gs .
,

a d 88 W
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18 N EW W O RK S PU L I SHED B BY LO N G M AN S AN D CO . .

IRON S H IP B UILDIN G , i ts H i st or y an d P rogr es s , a s c om pr i se d in a

Se r i
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e s of x i t l . B y t h e sa m e Au h or t . W it h 4 P l t es an d a
1 3 0 W ood c u s S V O 1 83 t . . .

A TREATISE on th e STEAM EN G INE , in its i

v ar ou s A ppl i c a ti o n s
to M i nes, t M ill s
vi g ti R il w y d Ag B y J B OUE N E
S ea m N a a on , a a s an r cu i lt u re . . ,

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w it h P t it 37 Pl t e d 546 W d c t 4 to 423
,

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GATE GII I SM of t h e STEAM EN G INE i n i ts v a r i o s A ppli c a ti on s to

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H AND B OOK of t h e STEA M EN G INE B y th e s a m e A u th or form i n g 3 .

, .

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B O U RNE S RECENT I M PROVEMENTS i n th e STEAM EN G INE i n i ts

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v i o p p li ti t M i M ill St ea m N vig ti Ra il w y
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A TREATISE on th e SCREW PROPELLER SCRE W VESSELS , , and

S c r ew E n gi n e s as a d a p e d for p u r p o s es o f Pe a c e a n d W ar ; w h N o c e s t it ti
t t
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o f S c r e w S e a m e r s a n d d e a e d Sp e c t ca o n s o f S h p s a n d E n g n es By t il ifi ti i i
J t t l t t
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B O U RK E , C B
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EXAMPLES of MODERN STEA M AIR , ,

an d G AS EN G INES of
t v
t h e m os A p p r o ed Ty p e s , a s e m p loy e d for P u m p n g fo r Dr v n g Ma c h n e ry , i i i i
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for Lo c o m o o n a n d tor A g r c u u r e , m n u e y a n d p r a c c a y d e s c r b e d .

OH OU li ti t i
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By J N B RN E C E In c ou r s e o f p u b c a on i n 24 P a r s , p r c e 2 s 6 d .

i v l it t lt t
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ea c h , for m n g O n e o u m e 4 to w h a b ou 50 P a es a n d 40 0 W ood c u s .

A H ISTORY of th e M AC H INE -
W ROU G H T H OS I ERY an d LAC E
M a nu fac t u re s . By W ILL I AM FE L K I N , FLS FSS . . . . . . Ro y a sy o 2 1 3 l . .

PRACTICAL TREATISE d a pt e d fr om t h e las t on METAL L UR G Y , a

G m er E d i ti fP f
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, £ 4 1 93 . . . . i oo cu s . o . v . r ce .

MITC H ELL S MANUAL of PRACT I CAL ASSAYIN G T hi r d E di

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.

t f th m t p t w itt e w i t h ll t h
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T h e ART of PERFU M ERY ; th e H i s t o r y an d T h eory o f O d ou rs a n d ,

th M t h d
e fE t e ti g t h e A m s f Pl t s B y Dr P I E SSE F C S
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Len non s ENCYCLOP E DIA o f A G RICULTURE : c om p r i s i n g th e

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L yi n ga t I mp v m t d M g m t f L d d P p ert
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u . v . .

Lon d on s E n c y c l op mdi a of G a r d e n i n g : c om p ri s i n g th e T h eory an d

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P c ti c e o f H ti lt
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n n . S 21 i oo u s. v o. 3.

B AYLDON S ART o f V ALUIN G RENTS a n d TILLA G ES a n d Cl a ims

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 NEW W O RK S PU B L I SHED BY LON G MAN S AN D 00 . 19

Religi ous M or a l Works and .

AUT H ORITY a n d CONSCIENCE ; F D b t th a r ee e a e on d en c y of e T en

D og m a ti c l y
T h e o o g a n d o n t h e Ch a r a c t er i tic s of F
s a it h E d it ed b y C O N W A Y
M ORE L t i
.

. P os Svo p r c e 7 3 6 d . . .

R EASONS of FAIT H ; or , t h e O RDE R o f t h e C r s an Ar gu m en t h i ti

De vl p d e o e a nd E xp l i
a ne d B y t h e Re v G S R W, M A Sec on d E d on , D E . iti
vi d a d p ic e 6 l
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re se n e n a rg e d . Fc p 8 v o . . r 3 .

CH RIST th e CONSOLER ; a B ook of Com for t for th e Si c k W i th a . .

P ef r b y t h e Ri g h t R
ac e th L d B i h p f C li l S m ll S o p i c e 63 ev . e or s o o ar s e . a v . r .

T h e TRUE D OCTRINE o f th e EUC H ARIST B y T HOMAS S L V O G A N . . .

,

DD C o . d P e b d y f Ch i h s t
. an n and R lD 8 vo p i e 1 83
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CH RISTIAN SACERD OTALISM vi e w e d f om a L a y m a n s s t a n dp o i t

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, r n
or t i d b y H ly S i p t
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S yo . r c . .

SYNONYMS of th e OLD TESTAM E NT t h ei r B EARIN G on C H RIS ,

T I AN FAI T H d P RACT I CE B y th R RO B E R T B A K E R G I RDLE
an e e v.
S T ON E M A 8 o p i 1 5
.

, . . v . r c e 3 .

An INTRO D UCTION t o t h e T H EOLO G Y of t h e C H URC H of

E N G L AN D i E p iti f t h T h i ty i A ti l es B y t h e Re
n an r os on o e r n ne r c v.
T P B O U LT B E E L L D F p 8 o p i
-
. .

. . 6 , . . c . v . r ce 3.

FUNDAMEN TALS ; or B as e s o f B eli e f c on c er n i n g M A N a n d G OD ,

db k t l M l d R lig i u s Ph il s op h y B y th e Re “
a H f M
an oo o en a or a an e o o v.
T G R I FF I T H M A S o p i e 1 03 6d
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, ,

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PRAYERS SELECTED fr om t h e COLLECTION of t h e l a t e B ARO N

B UN S EN d T l t d b y C A T H E R I N W I N ILW R T H PAR T I F t he
an ra n s a e E O or
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p i
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r ce3 6d 3 . .

T h e STUDENT S COMPENDIUM of t h e B OOK of C OM M ON ’

P RAY E R b i g N t H i t i c l d E p l t y o f t h e Lit gy f t h
: e n o es s or a an x a n a or ur o e
Ch c h f E g l d B y t h Re H A LL D E N N ASH Fc p S o p
ur o n an 2 6d. e v. . . . v . ri c e 3 . .

Th e TRUT H of t h e B I B LE : E vid e c e fro m th e M osa i c a n d o th er n

R d
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s o d A ti it y f M ; t h e Sc i
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B y t h Re B W S A V I LE M A
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v. . . , . . ro n v . r e 3 . .

C H URC H ES a n d t h ei r CREEDS B y th e Re Sir P H I L I P P ERR I N G . v .

,

B art l t Sh l . f T i
a e Coll C m b d g cd U iv e ity M d lli t
o ar o r n. . a ri e, an n rs e a s .

C ro w n 8 vo p r i c e 1 03 6d . . .

C ONSI D E RAT I ONS on th e REVISION of th e EN G LIS H NEW

T E STAM EN T By C J E LLI CO TT D D Lor . d B i s h op of G l ou c es e r a n d. t
it l t i
. . . .
,

B rs o P os Sv o p r c e 53 6d . . . .

An EXPOSITION of th e 39 ARTICLES t or i c a l a n d D oc t r i n al
, H is .

By E H . AROLD B RO WN E , D D Lor d B . . i shop of E ly N i t h E dit 8 vo . n . .

B 2
20 NEW W O RK S P B L I SHED
U B Y LO N G M A N S AN D 00 .

Th e LIFE an d EPISTLES of ST . PAUL . By th e Re v . W . J .

CO N YB E A RB , MA . .
, and t h e V er yR e v. J S H O W SO N D D
. .
, . . De a n o f Ch e s er t
A Y E D I T I O N w it h ll t h O
L IB R R M p s La d c a p e s a e r i g i al Ill t a ti o
n us r n s, a n s
St l Wo d t & 2 v l 4t 48
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on ee , o c u s, c . o s . o . 3.

I N T ER M ED I A T E E D I T I O N w it h a S l c ti n f M p P l t es a n d W oo d c u ts e e o o a s, a
2 v l q e c w 8 31 3 6d
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o s. s u ar ro n vo. . .

S T UDE N T S E D I T I O N vi d an d c o den ed w ith 46 Ill st ra tio s a d

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, re se n s , u n n
Map s . 1 v ol. c r ow n 8 v o p ri c e 9 3
. .

Th e VOYAG E an d S H I P WRECK of ST . PAUL ; wi th D i s se rta ti on s

on t h e L fe i an d W r i ti n s of S t Lu e k and t h e Sh p s a n d N a i ga i on o f t h e i v t
J AMES MI T H
.

An c i t
e n s. By FRS , . . . T h r d E d on i Cr ow n 8 vo 1 03 6d iti . . . .

A CRITICAL RAM MATICAL CO MM ENTARY on

and G ST PAUL S ’

B y C J E LL I CO TT D D L d B i h p f G l
.

Ep i tl es
s . . . t , . . or s o o ou c e s e r B it l
r s o . 8v c .
G a l a t i a n s , Fo urt h E diti on , 8 3 6 d . .

Ep h e si an s , diti on 8 3 6 d
Fou r th E , . .

P as t or a l E p i s tl e s Fo ur th E di ti on 1 0 3 , , . 6d .

P h i li pp i a n s Col os s i a n s a n d P h i l em on
, , , T hi r d E dit i on , 1 0 3 6 d . .

T h es s a l on i a n s T hi r d E diti o n 7 3 6 d
, , . .

H ISTORICAL LECTURES on th e LIFE of OUR LORD JESUS

C H RI ST b i g th H l : e n e u s e an Le c t s f 1 859 B y
ur e or C J E L L I O TT D D C
i l t i t l Fi ft h E d iti i
. . . , . .

L or d B s h op o f G ou c es e r and B r s o . o n. 8 vo p r . ce 1 23 .

EVIDENCE of th e TRUT H of th e C H R I STIAN RELI G ION d e ri ve d

fr o m t h e L er a Fu lfil t it B y A LE X A N D E R KE I T H D D
m e n of Pr Op li e c y l
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iti t it
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E d on , i n p os 8 vo w h 5 P a es , 63 . .

H i s t or y a n d Des t i n y of t h e W or l d a n d Ch u r c h a c c or d i n g t o ,

S i p t e B y th e s m e A t h
cr ur . Sq 8 w it h 40 I ll t ti 1 0 a u or . u are v o. us ra on s , 3.

An INTRODUCTION t o t h e ST U DY of t h e N E W TESTAMENT ,

C iti c l E ege ti c l
r a d Th ol og ic l
x B y t h e Re S D A V I DSO N D D
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LL D
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2 v l s S o 303
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H ART W ELL H ORNE S INTRODUCTION t o th e CRITICAL STUDY

’

an d K n ow l e d ge o f t h e H o y Sc r p u r e s, a s l i t l t as re vi se d ; w it h 4 Ma p s and
22 W oodc u t s a n d Fac s m i e s 4 o s SW 423 i l . v l . . .

EW ALD S H’
of ISTORY
t o th e H of T ra n s ISRAEL DEAT MOSES .

l t
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ed i ed b y E C R M A p r c e 21 3
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Th e H ISTORY an d LITERATURE of th e ISRAELITES a c c or di n g

O T HS H L D
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t t
t o t h e O ld T e s a m e n a n d t h e A p oc ryp b a B y C DE R C I and
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A DE R C I Se c o n d E d i t o n r e se d 2 o s p os 8 v o W i h Tw o . .

i iti
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. . ,

M ap s , p r i c e 6d Ab r dg e d E d on , i n 1 vo l fc p Svo p r i c e 3 3 6 d
. . . . . .

Th e SE E o f ROME i n t h e MI D DLE A G ES B y th e Rev O s w n n . .

J RE I CHEL B C L
.
d MA S p i 1 83
, . . . an . . vo . r ce .

Th e TREASURY of B I B L E KNO W LED G E ; b e i n g a D i c ti ona ry o f th e

B oo k P s,P l ac Ev t d ot h
e r s on s , m tt e f whi h m ti i m d es, en s, an er a rs o c en on s a e

i nH ly S pt
o By R J AY RE M A W t h M p 1 6 Pl t
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d t p i c e 63 l t h o 93 6d tly b o d lf
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num sW e rou F p S oo c u s. c . vo r . c o , r . . n ea un in ca .
22 NEW W O RK S P U B L I SHED B Y LO N G MAN S AN D 00 .

His PRESENCE—n ot hi s MEMORY , 1 855 . B y th e s am e A u th o r ,

i n M em ory of h i s SO N . S ixt h E d iti on . 1 6m o 1 3 . .

E NDEAVOURS ft er th e C H RISTIAN LIFE : a D i sc ou r ses By

JA MES M AR T I N EAU
.

F t h E di ti c ar f lly e vi ed . our on , e u r s . t
P o s 8v o 7 3 6d . . .

W H ATELY ’
S INTRODUCTORY LESSONS on th e C H RISTIAN
E vi d e n c es . l Sm o 6 d . .

F OUR D I SCOURSES of C H RYSOSTOM hi fly on . c e th e P a r a e of th e bl

i
R c h Man a nd La za r u s . Tr a n s l t
a ed by F A . LL E N, B A Cr ow n Svo 33 6d
. . . . .

B IS H OP JERE M Y TAYL OR S ENTIRE W ORKS With L ife b y ’

.

B I SHO P H E B ER Re vi ed d co c t d b y t h e Re C P E D E N 1 0 v ol
. s an rr e e v. . . , s.
p r i c e £ 5 53 .

Tr a vels , Voy a ges ,

H OW t o SE E NORW AY . B y Ca pt a i n J R CAM . . P B ELL . W ith Map
a nd 5 W ood c u t s . Fc p Sv o . . p ic r e 53 .

P AU and th e PYRENEE S . B y Cou n t H E N RY R U S SELL , M e m b er o f

th e A p ne Cl i l ub , &c . W it h 2 M a p s Fc p Sv o p r i c e 53
. . . .

S CENES in th e SUNNY SOUT H ; i di n g th e A tl a s M ou n t a i n s

n c lu
an dt h e C a se s o f t h e Sa h a r a i Al g i n B y Li t C l th e H C S
er a en -
o on .
t f t h L i m k A till e y M ilit Z l
. . . . .

V E RE K E R , M A Com m a n d a n o e er i c r r ia vo s .
t pi
. . .

p os Svo r c e 21 3 . .

Th e PLAY G ROUND of EUROPE . ByL ESL I E ST E P HE N la t e P resi d en t

I llu s t ra ti o
,

ofth e A p n e C u b W h 4l i l it n s en g v d o W ra d by E W h y m p
e n oo er.
i
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Crow n Svo p r c e 1 03 6d . . .

CAD ORE ; or , TITIAN S COUNTRY ’

. B y J O S I AH G I L B ER T , on e o f
the t Au h or s of
‘
Th e D o l om it e M ou n t a i n s ’
Wi th M a p Fa c s i m il e an d 40
I ll st ti Imp ia l S
. , ,

u ra on s . er v o. 31 3 6d . .

H OURS of EXERCISE i n th e ALPS . By J OH N T YN D ALL LL D , . .

FR S Sec on d E d i ti on , w it h 7 W ood c u t s by E W H YMP ER C ow S e r n v

i
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pr c e 1 23 6 d . .

T RAVELS i n th e CENTRAL CAUCASUS and B AS H AN . I n c l u di n g

V i it
s s t o Ar a r a t an d T a b r e ez an d A s c e n s of K a z b e and t k E lb u rBy z.
D . W . FRE SH E I E L D . S q u a r e c row n 8vo W i h M a p s , & c 1 83
. t . .

PICTURE S i n TYROL a n d E l sew h e e r . From a Fa m il y Sk e t c h B oo k -

.

B y th A t h Z ig g d E d ti Sm ll 4t o
’
f A V y e u or es s o o a g
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t Ill u st ra tions
, .

Wi h n u m er ou s , 21 3.

H OW WE S P E NT th e SUMMER ; or , a V oy a ge en Z i gz a g i n Sw i t z e r
l a n d an d l
Ty r o w i h s om e M e m b e r s of t h e A t
I N E CL U B Fr om t h e S LP . kt e ch
B oo k of on e of t h e P ar y I n ob on g 4 to wi h 300 I u s ra on s , 1 53 t . t l
ll t ti . .

REATEN TRACKS ; or , P e n a n d P e n c il Sk e t c h es i n I t a ly B y th e .

t
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S e c h e s fr om Dra wi n g s m d a e on S 1 63 o . v o. .
 NEW W O RK S P U B L I SHE D B Y LO N G MAN S AN D CO .
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dra w n g p a p er 2 6i n x l 7 i n
-
r c e 1 03 o r m o u n e d on c a n . pi . . t v as i n a fo ld i n g
c a se , 1 28 6 d . .

W EST WARD b y RAIL ; th e N e w Rou e to t h e E as B y W F RAE

t t . . . .

W it h M a p sh e w n g i th e i il t
L n e s o f R a b e w e e n t h e A t la n t i c a n d t h e P ac i fi c
and Sec ti on s o f th e Ra i l w ay Se c on d E d on
. iti
P o s Svo p ri c e 1 03 6 d . t . . .

H ISTORY of DISCOVERY in ou r AUSTRALASIAN COLONIE S ,

Au s t a li T as m i
r a, d N w Z l an a, an e ea a n d, fr om t h e E a r li tes Da t e to t h e
P re s e t D y
n B y W I L LI AM H O W I TT
a . . 2 v l o s sy o w h 3. . it Ma p s , 2 03 .

I
Z GZ A G G IN G AMON G ST DO L OMITES . B y th e Au th or O f ‘ H o w we
Sp t th S mm
en V y g Z ig
e u it l d d Ty l
er , or a o a e en za g in Sw ze r a n an ro
’

W t h p w d f 3 00 I ll t t by th e A t h O bl g 4t p i c e 1 5
.

i u ar s o us r a i o n s u or . on o . r 3 .

Th e D OLOMITE MOUNTA I NS E x c u rsi o n s th ro u gh T y ro l Ca r i n thi a

B y J G I L B ER T
, ,
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arn o a, d F i li 1 8 6 1 1 86 3
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,

W it h Ill t t Sq
.

m nu w S o 21 er ou s u s r a i on s . u a r e c ro n v . 3.

G UIDE t o t h e PYRENEES for t h e u s e o f M ou n t a i n ee r s By ,

C HARLES PA C K E 2 d E d t i w i t h M p d I ll t ti o C 8v 73 6d
.

. u i on , a an u s ra ns . r. o . . .

Th e ALPINE G UIDE B y J OH N B ALL l a t e P re sid e n t o f

. ,

t h e A l p i e Cl b Th n gh l y R vi d E d iti
u . i T h e V ol m or ou p os t e se on s, n re u es,
S vo. W th M p a d th
i Ill t t a s n o er u s ra i on s

G UID E t o th e W ESTERN AL PS i n c l u di n g M on t B l a n c M on t e Rosa , , ,

Z m tt & Pr i 63 6 d
er a , c . ce . .

G UIDE t o t h e CENTRAL ALPS i n c lu din g a ll t h e O b er l a n d D i st ri c t , .

P i e 7 6d
r c 3 . .

G UIDE t o t h e EA STERN ALP S p r i c e 1 0 6d , 3 . .

I n t r o d u c t i on on A l p i n e Tr a v e l l i n g i n G e n e r a l a n d on t h e G eol og y ,

o f t h Al p p i e 1
e E h f t h Th
s, r c V l m P t o f t h A lp i e
3 ac o e re e o u e s or ar s e n
d m y b h d w it h t h i I N T R ODU C T I O N p fi d p i t
.

G u i e a e a 13 s re xe , r ce . e x ra .

VISITS t o RE M AR K AB LE PLACES : O ld H a ll s B a ttle Fi e ld s a n d -

,

I ll t tiv f St i k i g P g s i E gli h H i t y d P oe t y
,

St o n es u s ra e o r n a ssa e n n s s or an r
B y W I LL I A M H O W I TT 2 v l s q
.

c w S W th Wo d t 2 53 . o . s u a re ro n v o. i o cu s, .

Th e RURAL LIFE of EN G LAND B y t h e s a m e A u th or Wi th . .

W ood t b y B w i c k d W lli m s M ed i m S o 1 2 6 d
cu s e an i a . u v . 3 . .

Works Of Fi c ti on .

POPULAR ROMANCES o f th e MIDDLE A G ES . By G EO R G E IV .

M A A th f Th M y t h l gy f t h A y Na ti
‘
C
’
ox. u or o e o o o e r an o ns &c and
E US T A H I T O J O ES C w n S p 1 0 6 d
. . .

CE N N N . ro vo . ri c e 3 . .

H ARTLAND FOREST ; L g d o f N th D v a e en or e on . B y M rs B . R AY ,

Au t h or o f
‘
Th e W h it e H o od s, L i fe of S t th
o a r d,
’
Ac '
. P os 8 vo w t . it h F r on
t i Sp i ec e , p r i c e 43 6 d . .
2 4, N E W W O RK S P UBLI S HE D BY LO N G BIAN S AN D CO .

N O V ELS an d TALES . B y th e Ri ght H on . B . D I SRAEL I , MP .

i t E d iti
Ca b n e o n , c om p e e l t i n T en V o l u m e s, c ro w n Svo p r i ce 63 e a c h , as
ll
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fo ow s :

L O T H AI R 6 3 H E N R I E TT A T E MPL E 63
C ON I N G SB Y C O T A R I N I FL E M I G
. .
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63 . N N A
c e 63
SYB I L o A L RO Y I X I O N A
, , . .

s 6 0 3
T A N CRE D 6 T h Y OU N G D U K E &
, . , , . .

3. e c 63
VE N E T I A 6 Y
, , . .

, 3. Vi vi AN G RE , 63 .

Th e MODERN NOVELIST S LI B RARY ’

. E ac h W or k , in c ro w n S vo .

c om p e e l ti l l
i n a S ng e V o u m e
L AD A T O S
M E Lv I L LE s G I
’
R l t
2 3 b oa r d s ; 2 3 6 d c o h
OOD O TH l t
.
. . . .

G FO R N I N G , 23 h oa r d s ; 2 9 6 d c o h
O LM B Y OUSE l t
. . . .

H H 23 b oa r ds 2s 6d c o h
lt
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I N T E R P RE T E B , 23 b o a r d s ; c o h
KA T O V T Y l t
. .

E C EN R 2 3 b oa r d s ; 2 0 6 d c o h
U S A S l t
, . . . .

Q EE N
’
M R I E 2 s b oa r d s ; 2 3 6d c o h .

A D
, . . .

T R O LL O P E S W R E N , 1 3 6 d b oa r d s ; 2 3 c lot h
’
-

O E S l t
. . . .

B A RO H E ST E R T W R 2 s h p a r d s ; 2 9 6d c o h
S T RS
.

RAML Y OO S AL E Y S 6d c l t h
. . . .

M RE S i x S I E
’
B E of t h e V L , 23
; 2 b oa r d s . 3 . . o .

IERNE ; a T ale B y W ST E UAR T T RE N CH A th or o f Rea liti es of u

‘

I i h Li f S c d E d iti
.
. ,

2 v l p t S p i 21
’
r s e . e on on . o s. os v o. r ce 3 .

Th e H OME a t H E ATH E RB RAE ; a T a l e B y th e A u th or o f .

Ev l y F p S p i
’
er e .5 c .
vo . r ce s.

CA B INET EDIT ION of STORIES a n d TALES b y M I S S SE W ELL

AM Y H E R B E R T 2 6d I o s s 3 6d 3 . . v , 3 .

K A T H LR I N E ASH TO N 3 3 ed
,

G E R T RU D E 2 6 d S.
T h EA RL s DAU G H T ER 2 s 6 d M A RG A RE T PE RC IV A L 5
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L N E T O N PA R SO N A G E 3 6 d
.
, .

o A 8.
U RSULA 4 6d
. . .

C LE V E H ALL 3 3 6d
, ,

STORIE S a n d TALES B y E M S E W ELL Co m prisin g z—A my

. . . . .
.

. . . .

H b t Ge t d
er er Th E ; l D g h t T h E x pe i
r ru f L i f ; Cl w
e ; e ar
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; i A ht
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a n l Th T rs u a . m pl t i E i ht V l me e w S o b en d a s, c o e e n g
o u s , c ro n v ou n
i l th d o t i p i 42
.

n ea d B
er , a n c n a ne in a ox . r ce .

A G l i m p s e of t h e W or l d B y th e A m b r o f A m y H erb ert Fc p 7 s 6 i
‘ ’
. e . . . .

Th e Jou r n a l of a H ome Li fe B y th e s a m e A n t h o P os t S e 9 3 6 d . r . v . . .

A ft er Li fe a Se q e l to T h e Jou r n a l O f a H o me L ife P ri c e 1 0 3 6 d ’
u . . .

UNCLE PETER S FAIRY TALE ’

for t h e N INETEENT H CENTURY .

Ed it ed by E . M SE W E . LL , Au h or t Of
‘
A my H e r b e i t , ' ’
Fc p Sv o 7 3 6d . . . .

IANT ; W it c h S t o ry fo r E n gli s h B ys
’
TH E G A s o . B y th e sa m e
A u h or t and Edi t or . P e p 8 v o p r i c e 53
. . .

W ONDERFUL STORIES f r om N OR W AY S W EDEN , . an d ICELAND .

t
Ad a p e d a n d a i i an g e rl b y J U L I A G OD D A RD Vi i t h
’

an l i i t ro d i i i t ory E s s ay
p t S 63 q
.

b y t h e Re v G W CO X , M A . . . . . and Si x W ood c u t s S . u ar e os y o . .

A VISIT t o MY DI SCONTENTED COUSIN Re pr i n t ed w ith som e . ,

A d d iti f m F M g i C w S p i 7 6d
’

on s , ro r a s er s a a z n e. ro n v o. r ce s. .

B ECKER S G ALLUS ; or Rom a n Sc e n e s o f th e T i me of A ugu s t u s

’
,

w it h N t d E N w E d iti
o es a n P t S o 7 6d xc u r s u s e s . e on. os v . 3. .

B ECKER S CH ARI CLE S ; a T ale ill u t r a ti v e o f P ri a te Life am on g th e

’
s v

A i t G re k s w it h N t
n c en d E s N e w E d ti on
e Pos t Svo $ 3 6 d
: o es a n xc u r s u s e . i . . . .
26 N EW W O RK S PU L I SHED B BY LO N G M AN S AND 00 .

G OLD SMIT H S POETICAL ’

ith Wood E n gr a v i n gs from W ORKS , w
D ig es b y M m b s f t h e E T CH I N G C LU B
ns eI m p e i a l 1 6m o 7 s 64
er o . r . . .

P OE M S OF B Y G ONE YEARS E dited b y the A u thor of A my .

‘

H be t &c
er rFc p S o p i e 5s . . y . r c .

Th e E NEID of VIR G IL T r a n sl a t e d i n t o E n gli s h V ers e B y JO H N

C O N I N G T O N M A N w E di ti C own S o 9
.

, . . e on . r v . 3.

H ORATII OPERA L i br ar y E dit i on w ith M arg i n al Re fer en c e s an d

.

E d it d b y t h e Re J E Y O N G E
,

E g li h N t e
n s o s. S o 21 e v. . . . y . 3.

B O W DLER S FA M ILY SHAK SPE ARE c he a p er G e n u i n e E diti on s

’
, .

M di m S
e u l g ty p wi t h 36 W OOD CU T S p i c e 1 4s C b i t E d iti
v o. ar e e, r a ne on ,
wi t h t h s me I LLUS T RA T I O N S 6 v l t p 3 6 d
, .

e a h , o s . o . s . . eac .

P OEMS B y J E AN IN G EL O W Fifte en th E di ti on Fc p Svo

. . . . .

P OEMS b y Jea n I n g e l ow W ith n ea r ly 1 0 0 I ll u s tr a t i on s b y E min en t

W d b y t h B t h s D AL Z I EL F p 4to 2 1 3
.

A ti t e g
r s s, ed o n ra v n oo e ro er . c . . .

A STORY of DOOM a n d ot h e r P oems B y J E A N IN G E L o w

, T hi r d . .

E d iti FCp 5
on . . s.

JO H N JE RNIN GH AM S JOURNAL Fc p 8 vo p r i c e 3 s 6 d ’
. . . . .

Th e M AD W AR PLANET , th e r POEMS B y W I LL I AM
and o .

H W O I TT , Au h o r t of V i it s s to Re m k b l e P l c &c
ar Fc p S o p i
a 58 a es . . v . r ce .

EUC H ARIS a P o em . By F . RE G I N ALD S T A T HAM ( Fr a n c i s Rey o l d s) n ,

Au h or t of
‘
A li ce R u sh t o u , an d th P oem o d Gl pl yer d th e s
’
an a i ra, an o r
P oe m s .
’
Fc p Svo p r . . i ce 3 8 6d . .

W ORKS b y ED WARD YARDLEY

FA T AS T I S T O I ES
N F p 3 ed C R C s
M L US I d O T HE PO M S F p 5
. . . .

E NE an R E C 3
HO A O DES t l t d m t E l h V
. . .

Cr ow n Svo 68
’
R CE S r a ns a e o ng i s e r se .
S U PPL EME T AR Y S T O I S
.

d POE M S
.
,

F p N R E an . c . 3 s 6d
. . .

Ru r a l Sp or ts & c , .

ENCYCLOP E DIA p l e t e A c c ou n t H i s t o
of RURAL SPORTS ; a c om ,

i c al P
r ti l d D i p tiv e f H ti g Sh ti g Fi h i g R i g
r ac ca an e sc r o un n oo n s n ac n
d ll t h l d A t h l ti Sp t d P ti m B y D P B L I
, , , , , ,

an a R o er u ra an e c or s a n as es A
W it h b v 60 0 Wo d t ( 2 0 f m D ig b y J OHN LE E C H ) S
. . .

a o e 21 o cu s ro es ns . vo. 8.

Th e DEAD S H OT o r Sp o r t sm a n s Com ple te G u id e ; a T re a ti s e on

’

th Us e f th G e o D g b k i g P ig h o ti g 8 0 B y M AR K SMA N
e un , o -
re a n e on s -
o n 1 .

R vi d E d it w it h P l t
, , .

e se F p S 5 i on . c . vo . a es , 8.

Th e FLY FIS H ER S ENTO M OLO G Y

-
B y A L F R D RO N A LD S’
W ith . E

t ti s f t h N t l a d A tifi i l I c t Six t h
.

l ed R p
c o ou r e r e s en a on o e a u ra n r c a n se .

E d ti ; W t h 2 0 ol o
i on d Pl t Si c u re a es . y o.
 NEW W O RK S PU B L I SHED BY LON G MAN S AN D 00 . A 7

A B OOK on AN G LIN G ; a co m p le t e Tr ea ti se th e A rt o f A n g i n g
on l
in v e e ry b ra n c h . B y FRAN CI S F N RA C I S N ew E d i ti
on , wi h P ort ra t t i
th l t es l i l t
.

and 15 o er P a , p a n a n d c o ou r e d . P os Svo 1 58 . .

Th e B OOK of th e ROAC H . B y G RE V I LL E FE NN E LL , o f T h e Fi e ld .
’

Fc p Svo . . p ic e 28
r . 6d .

W ILCOC S
K S’
SEA FIS H ERMAN ; -
c om p ri sin g
th e C i e M e o s o f h f th d
B oo k and L i ne i i
F sh n g i n t h e B r iti sh a n d o th
er S e a s, a G an c e a t N e s , l t
a nd R e m ar k s on B oa s a n d B oa t ti ng Se c on d E d on , e n a rge d ; W i h 8 0 iti l t
W oo d c u t s t
.

. P os Sy o 1 28 6 d . . .

H ORSE S a n d STA B LES B y Colo e l F FI T W Y G R . n Z A M, XV th e K in g s ’

f I ll
. .

H W it h Tw t y f
u s s a rs . Pl t t ti en -
ou r a es o u s ra on s , c on a n n g t i i ve y r
num F v d W d S 15
er ou s i gu r es e n gr a e on oo . vo . 8.

Th e H ORSE S FOOT ’
, an d H OW t o KEEP IT SOUND . By W .

I
M LES E s q , . N i t h E d iti
n on , Wi h t Ill t ti u s ra on s . m I peria l Svo . 1 28 ed . .

A PLAIN TREATISE on H ORSE S H OEIN G -

. B y th e sa m e A u th or .

Six th E d iti o P t 8 o wi t h I ll st ti n. 2 6d os v . u ra o n s, 8. .

S TA B LES a n d STA B LE FITTIN G S B y t he sam e I mp Svo w ith -

. . . .

1 3 Pl t 1 58 a e s, .

REMARKS on H OR SES TEET H a dd resse d to P u rc h a sers B y th e ’

, .

sa m P os t 8 0 1 6 d
e . V . s. .

A TREATISE on H ORSE S H OEIN G a n d LAMENESS B y J O SE P H -

.

G AMG E E V t i y S g f m ly L te er n a r th P i i pl d ur eo n , or er ec u re r on e r uc es an
t t he N w V t i y Coll g e E d i b W th
,

P rac fF y i
ice o a r r i er gh S n e e er n ar e n ur vo . i
55 W od c u t p 15
.
,

o s, ri c e 8 .

B LAINE S VETERINARY ART ; a T reatis e on th e An a t omy P hy s i

’
,
ol gyo d C tiv T t m t f t h e D i
an u ra s f th H N
e t C ttl er ea en o s e a se o e or s e , ea a
d Sh p S v t h E d iti o vi d d e l g ed b y C S T EEL
,

an ee . e en n , re se an n ar
S o wi t h P l t s a d W o d t s 1 83
. ,

v . a e n o cu . .

Th e H ORSE : w ith a T re a ti se on Dr a u ght B y W I LL I AM YO U AT T . .

N ew E diti o e vi e d a d l a ged n, r8 o w i th m e o s Wo d c t s 6d n en r . v . nu r u o u s, .

Th e DOG B y th e sa m e A u th or
. 8 vo w ith n u m e rou s Woo d c u t s 6 8 . . , .

Th e DOG i n H EALT H a n d DISEASE B y S T O NE H E NG E Wi th 7 0 . .

W ood E gr vi g S q ne c ro wn S o 1 0s 6 d
a n s. u ar v . . .

Th e G REY H OUND B y S T O N EHE N G E Re v i s e d E di ti on w ith 2 4

. .
,

P t it s of G y h o d s Sq
or ra e ow S o 1 0 6d re un . u ar cr n v . 8. .

Th e OX ; hi s D i s e a s e s a n d th e i r T r ea t m e n t : w ith a n E s sa y o n P a rt u ri
ti o i t h e Cow B y J R DODSO N C ow S o w it h Ill t ti o s 78 c d
n n . . . . r n v . u s ra n . . .

Wor ks of Uti li ty an d G en er a l Infor m a ti on .

Th e T H EORY an d PRACTICE B ANKIN G B y H

of . . D M ACLE O D ,
.

MA B . . ar r i s t e r a t - -
La w Se c on . d E d iti e ti ly e mod ll d
on , n re r e e . 2 v ol s . Svo 303 . .
 NE W W O RK S p u E L I SH E D B Y LO N G H AN S AN D CO .

A DICTIONARY , P ra c ti c a l, T h e ore ti c al, an d H i s t ori c a l, of Co m

m erc e a ndi l N ig ti By J
Co m m e r c a N w d av a on . . R M C U LL O C H
‘
. e an
t h o gh ly vi ti p ic e c l th 708 h l f li d
.

rou S re s ed E d i ru ss i on. v e. r o , or . a -
. i n a .

Th e LAW of NATIONS Co n s id e r e d a s I n d e p e n d e n t P o liti c a l G o mm u

n i ti Dv S
es . T RA V E RS T w I s s D C L n 2 v ol S 3 0s ; o se p tel y s. v o. r ara
PAR T I P PA RT 1 1 W 1 88
, . . . ,

12. ea c e , 8 . . a r, .

Th e CA B INET LAW YER a P op u l a r D i ge s t o f th e L a w s of E n glan d .

C ivil C i m i l d C
r tit ti l i t e d d f P ti l U e a d
na an on s u on a : n n e or ra c ca s n
l I f m tio T w ty t h i d E d itio F p S p i 7 6 d
, ,

G e n e ra n or a n . en -
r n. c . vo. r ce 3. .

P E WTN E R S COMPRE H ENSIVE SPECIFIER ; a G u id e t o th e

’

P c ti c l Sp i fi ti o f v y ki d f B il d i g A ti fi W k ; w ith ’

Fo t ~
ra a ec ca n o e er n o u n -
r c er s or
F m or f B il d i g C
s o d iti d Ag e m
u t n Ap p di N t
on on s a n r e e n s, a n en x, o o es ,
an d p io s I d
a co E d it d b y W Y O U N G A c h it t C w 8 o p i oe 6
u n e x. e .
, r ec . ro n v . r 8.

C OLLIER I ES a n d COLLIERS a H a n d b oo k o f th e La w a n d Le a d i n g
C l ti g t h
a s es r e a t B y J C FO WLE R of t h e I
n T mp l B
er e o is t n ner e e, a rr er .
d E d iti
.
. .
,

Sec on F p S 7 6d on . c . vc . s. .

Th eMATERNAL MANAG EMENT of C H ILDREN i n H EALT H a n d

Di B y T HO M AS B U LL M D F p 5
s e as e . , . . c . 3.

H INT S t o MOT H ER S on th e MANA G EMENT of t h ei r H EALT H

d u r i n g t h e P e r od o f P r e g n a n c y i and i n t h e Ly i ng -
i n Ro o m . B y th e l te
a
T HOMAS ULL B , M D Fc p as . . . .

H OW t o NURSE SICK C H ILDREN ; c on a n n g t i i D i rec ti o n s w hi c h

m a y b e fou n d of se r vi c e to all w h o h a e c h a r g e of t h e v Y ou n g By C HARLE S
W T, M D
.

ES iti
.

. . Se c on d E d on . Fc p Svo l s 6 d . . . .

N OTES on LYIN G i th a P r o po sa l for O rga

-
IN INSTITUTIONS ; w
i i g
n s n I tit ti f T ini g M i d w iv
an ns d M idw if y N
u on By or ra n es an er u r s es .
FLORE N CE N I G H T I N G AL E w t h 5 Pl Sq
“

e w S o 7 6d . i a n s. u ar c ro n v . s . .

N OTES on H OSPITALS B y FL O RE N CE N IG H T I N G AL E T h i r d E di . .

ti o l ge d w it h 1 3 Pl
n, en ar P t 4t 1 8 8 an s. os o. .

C H ESS OPENIN G S B y F W LO N G M A N B a ll i ol Co l le ge O x ford . . .

, , .

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