Chapter IV: Part 4

And here I cannot but express how much the arts and the public are indebted to the highly inventive genius of Mr. Hullmandel, for his numerous inventions and improvements in lithography; having, in a few years, by the most determined perseverance, industry, and singleness of purpose, brought the first hard, dry, and uncertain drawing on stone, through all its various improvements, until the introduction of the now well-known printing of the tint with modified lights; to which we are indebted for the many beautiful productions that have appeared of late; and thence to the extraordinary invention, now dawning on us, of making a _painting_ on stone, from which an impression is procured that may scarcely be articulated from a sepia drawing: enabling _painters_ to multiply their sketches _ad infinitum_, instead of being confined, as before, to the merely practiced pencil draughtsman. The plates of this work are indebted to his invention.

DESCRIPTION OF THE PLATES.

AFTER what has been said already, a lengthened description of the plates would be unnecessary.

_Plate 1_--Has been described in reference to the article on Composition; as Plates 2 and 3 have, in the one on Light and Shade.

_Plate 4._--The Porch of Chartres Cathedral, has been referred to under the inquiry into accidental Shadows.

_Plate 5._--The Temple of Jupiter Tonans, and the Forum of Nerva, have been noticed in like manner: as has likewise Plate 6, an ancient Wine-store in the Rhaetian Alps.

_Plate 7._--Here are the extremes of hot and cold. The strongest colours are placed in the darks, from which they derive all the power of the palette, while the point is preserved by the figure in red. A warm light, surrounded by warm tints, has the greatest brilliancy when ably supported by the intervention of a cold one. The cool grey centre is repeated in the hollow of the door, the lower part of the figure, and carried out by the blue of the sky; while the warm colours are dispersed and diffused on the wooden gallery, the walls, the ground, and gathered up by the rich red of the woman's gown and the warm brown of the figure behind; the dark colour of which, being laid on the dark background, helps the woman into her forward position;--the warm colour, projected by the red gown, is again carried up by the cap and brown of the figure behind into the balcony, tiles, &c., until, after mingling in every possible way with the cool greys, it escapes by the walls; spreading its influence every where, and investing the greens of the vine and the foreground with its character. The high light on the wall is repeated on the linen, carried across by the figure in the gallery, and brought down by the figure and flowers in the foreground. The general tone of the work is warm;--the blues, greys and greens are used as a foil to give value to the warm colours, the shadows and middle tints: the greys are glazed warm, to preserve the richness of the general effect throughout. The reds and blues are combined of colours possessing the properties of each. The quantity of warm and cold colours are to be principally observed--the union of one part with another--preservation of the breadth, and the general harmony.

_Plate 8._--A VIEW IN BELGIUM.--The disturbed and heavy clouds sweeping across the country are kept of a low, subdued, but warm grey; intersecting the distant trees, and invading the middle space, until it is found among the greens of the foliage and grass of the foreground; the stones, the chalky road, &c., ending in the darks of the figures. The warm lights are scattered over the tops of the trees and sunny browns of the middle space and foreground, repeated in the lower part of the sky, and brought forward in the foliage and grass on the left; while the reds are gathered up in the branches and stems of the trees, and brought to a point in the figure on the right:--the white of the chalky road is carried into their trunks, the rock, and up into the clouds by the birds. The breadth is divided into two wedge-shaped forms, carried at an angle across the work, and up into the bank and trees on the left; opposed by the long stretching line of the horizon and round forms of the clouds and foliage,--balanced by the mass of rock on the other side. The harsh opposition of the cutting-lines of the foreground serves to attract the eye, while it reposes the distance.

_Plate 9._--In this example, the darkest dark being of a warm brown, is brought up, by contrast, against the half dark in the distance, which is of a cold grey: it is then carried up into the dark markings of the houses, the roofs at the sides, and repeated on the right; brought down by the scaffolding over the steps, and woven throughout into the cool greys of the half shade, occupying nearly two-thirds of the subject, and carried, by the reflections of the boats, into the grey of the water and the blue of the sky;--the density of the barge, deepened by positive colour, clearing up all the half tints. The highest light, near the centre, is gradated along the distant buildings, and repeated in the warm red and yellow lights, catching at different intervals on the houses, until lost in the water.

_Plate 10._--ST. JAMES'S PARK AND THE HORSE GUARDS.--This view was taken from the side of the Column, looking from the steps towards the Treasury. The two great masses, thrown at the boldest angle across the picture, the opposing lines broken up and varied by the round forms of the trees, and cutting it nearly in half, are divided between the bustle of the middle distance and the repose of the sky, the steps, the terraces, and the base of the column;--the colours employed in one division are made to invade the province of the other, until all are _placed_ by the bright red of the soldier's dress and darker markings of the figures in the foreground, repeated here and there as uniting links, and carried through by the figures in the distance; while the communicating principle is sustained between the reds, blues and yellows, by the colour of the sky and distant buildings being composed of all three.

_Plate 11._--MILLS ON A SEA COAST.--The large and varied portion of shadow, principally thrown into the wild uproar of the scudding clouds, is gathered together, and focussed by the strong and positive colour in the mill on the left, the stranded vessel, the horizon, the figures and dark markings in the foreground; and brought gradually down by the half shade into the cliff, the cottage, and the principal mill; and again carried up, by the agency of its primitive cause, to the highest parts of the clouds. The highest light is gathered up on the wall of the cottage, repeated in the accidental light on the retiring mill, the horizon, the figures on the sands, the birds in the air, &c., until it comes down to the chalky rocks and stones, mingling with the weedy greens of the foreground; the blues are carried down by the figures, and on which the reds are centred, and repeated in the unities of the tiles, collecting its force in the retiring mill, and insinuating itself into the distant figures, the sail and flag of the vessel, until lost in the warm colours of the clouds. The middle tints are kept much of the same strength to sustain the breadth, while the dark line of the horizon is graduated upwards and downwards for the same purpose. The shadow on the steps in the cliff is brought up against the light on the cottage to give it point; and the quantity of half shade that pervades the work is gathered up by the depths of the darks. This effect was observed at Cayeux, in Normandy.

_Plate 12._--THE CHANCEL OF A FLEMISH CHURCH.--In this instance a number of positive, harmonizing and opposing colours, are thrown together and collected in the middle space; diffused, and carried out, by the intimacy of the union of their attributes, in the figures, the altar, the banners, &c., forming a cone of colour surrounded and reposed by warm grey. The greys are lost and found among the browns, insinuating themselves into the recesses and tracery on the walls, and every where influencing the warm colours. The figures, in red and blue, are placed in the gallery to disturb the form of the cone: while the highest light of the window intersects the deepest dark, which is repeated in the hollow of the porch, cutting the arch at the side.

HARRY WILLSON'S

GENERAL LANDSCAPE TINTS.

No. 1.--For foregrounds, and many parts of
landscape; architecture; sands; roads, banks,
lights of buildings (distant or near),
shoal-water, corn-fields:--generally useful from
its low brownish hue.

No. 2.--For many of the above purposes; and, being
deeper in tone, adapted for shadows to No. 1.

No. 3.--Darker parts of foregrounds, banks, broken
earth, waves, bark, timber, rocks, coasts, &c.,
useful in buildings and architecture. May be
beautifully and usefully varied with white.

No. 4.--Lights of mountains, rocks, trees, distant
masses of foliage, figures and animals in light,
autumnal tints in warm skies and
sunsets;--applicable to most purposes of warm
light, and to vary greens with.

No. 5.--For almost every part of landscape or
buildings; rich lights of earth in sunshine;
interiors, drapery;--applicable to numerous
purposes, near or distant, and to mix with and
vary other colours.

No. 6.--For skies in cloudy weather, and shadows
of clouds;--various pearly greys are produced by
its mixture with blues and lake. Mixed with burnt
sienna, it produces different degrees of warm
browns.

No. 7.--For shadows to mountains, distant clumps
of foliage, drapery, &c., for mixing with general
shadows: renders many beautiful tints by blending
it with lakes blues and browns, especially with
burnt sienna.

No. 8.--Used alone, in rocks, bark of trees, and
many useful purposes; assumes a variety of browns
when mixed with burnt sienna; and different greys,
when added to the blues.

No. 9.--Useful in clouds, warm shadows, earth,
mould;--mixed with cobalt, makes a good tint to
vary other greys.

No. 10.--For skies in fine weather, and to vary
shadows of distant hills, and otherwise useful in
subduing retiring parts of drawings.

CHARLES SMITH'S, LATE SMITH & WARNER'S,

=SUPERIOR IMPROVED MOIST WATER COLOURS,=

Suitable for sketching from Nature, which retain their moisture for a length of time, freely and readily give their full force without the usual delay attending the Cake Colours; they dry instantly on paper, and are free from mildew or cracking.

=C. SMITH'S WATER COLOURS, FINELY PREPARED IN CAKES.=

L. _s._ _d._

Ultramarine 1 1 0
Burnt Carmine 7 0
Carmine 5 0
Gall Stone 5 0
Smalt 5 0
Purple Madder 5 0
Pink Madder 3 0
Intense Blue 3 0
Intense Brown 3 0
French Blue 3 0
Lemon Yellow 3 0
Cobalt 2 0
Sepia 1 6
---- Warm 1 6
Scarlet Lake 1 6
Crimson Lake 1 6
Purple Lake 1 6
Brown Madder 1 6
Indian Yellow 1 6
White, warranted permanent 1 6

=C. SMITH'S PERMANENT MOIST WHITE,=

So celebrated for its permanency and harmless nature, being quite free from lead; useful as lights upon Tinted Paper, without ever losing its brilliancy of Colour.

All the following One Shilling per Cake.

Gamboge
Yellow Ochre
Roman Ochre
Yellow Lake
King's Yellow
Italian Pink
Pale Chrome
Deep Chrome
Orange Chrome
Raw Sienna
Burnt Sienna
Brown Pink
Red Lead
Vermilion
Light Red
Venetian Red
Indian Red
Dragon's Blood
Antwerp Blue
Prussian Blue
Indigo
Verditer
Raw Umber
Indian Lake
Cappah Brown
Burnt Umber
Vandyke Brown
Bistre
Cologne Earth
Byrne's Brown
Neutral Tint
Payne's Grey
British Ink
Ivory Black
Blue Black
Lamp Black
Sap Green
Prussian Green
Emerald Green
Verdigris
Olive Green
Hooker's Greens
Varley's Orange
---- Dark Green
---- Warm Green
---- Warm Grey
---- Purple Grey
---- Neutral Tint

*** The above Colours kept in Powder, Bladders, and Crude state.

=WILLSON'S PRACTICAL LANDSCAPE TINTS.=

C. Smith, being of opinion that a Set of Practical Landscape Tints were required, apart from the above positive Colours, engaged the services of the Author of this Work to assist in forming them, which is intended to accompany his instructions for their use, already printed. _See page 83._

They are now ready, and can be had by themselves, in a box, price 12_s._; or, with Sixteen other general Colours added, inclusive of French Blue, Pink Madder, Cobalt, &c., L1: 6_s._

34, Marylebone Street, Piccadilly, the end of the Quadrant, Regent Street, London.

=WATER COLOUR, FITTED UP IN BOXES, ETC.=

L. _s._ _d._
Mahogany Slide Box, with 6 Colours and Brushes 0 6 0
---- 12 Ditto 0 12 0
---- 18 Ditto 0 18 0
---- 24 Ditto 1 4 0
Mahogany Lock Box, with 12 Colours, Brushes, &c. 0 16 0
---- 12 Colours, Drawer, &c. 1 0 0
---- 18 Ditto 1 7 0
---- 24 Ditto 1 12 0
Mahogany Lock Box, with 12 Colours, Slab, Glass, &c. 1 1 0
---- 12 Colours, Drawer, &c. 1 6 0
---- 18 Ditto 1 15 0
---- 24 Ditto 2 2 0
Mahogany Best Box, with 12 Colours, Glass Slab, &c. 1 12 0
---- 18 Ditto 2 12 6
---- 24 Ditto 3 3 0
Mahogany Best Box, with 12 Colours, Chalks, &c. 2 2 0
---- 18 Ditto 3 3 0
---- 24 Ditto 3 13 6
Rosewood Best Box, with 12 Colours, Brushes, &c. 2 12 6
---- 12 Colours, Chalk, &c. 3 3 0
---- 18 Ditto 4 14 6
---- 24 Ditto 5 5 0
Inlaid Rose and Satin Wood Boxes, 12 Colours, &c. 4 10 0
---- 18 Ditto 5 10 0
---- 24 Ditto 6 6 0
Mahogany Miniature Desk, with 12 Colours, Brushes, &c. 2 2 0
Portable Ditto, Extra Colours 4 4 0
Boxes and Cabinets fitted up with every requisite for
Painting in Oil and Water, from L6 6_s._ to 20 0 0
Mahogany Boxes, fitted up with Oil, Powder and Body
Colours
Mahogany Boxes of Liquid Colours, for Velvet and Poonah
Painting
Mahogany Boxes, with Slab and Indian Ink
Mahogany and Tin Boxes, with Chalks &c., complete
Tin Boxes fitted up with Moist Colours, &c.

=SUPERIOR HAIR PENCILS AND BRUSHES,=

Made of the Finest Sable Hair, Camel's Hair, &c., by the most perfect English and French artists. The largest possessing the Fine Elastic Points of the smallest, and with the advantage of containing a much greater quantity of Colour.

Red and Brown Sable Hair Pencils
Camel Hair and Fitch ditto
Sable and Camel Hair Pencils for Miniature Painting
Sable and Camel Hair Writers
French Hog and Goat Hair Tools, round and flat
Sable, Fitch, and Camel Hair Tools, round and flat
Badger Tools, for Blending, &c.
Badger, Fitch, Hog, and Camel Hair Brushes, round and
flat, for varnishing
A variety of French Sable, Camel Hair, and other Brushes
Water Colour Softeners
Ivory Cases, to protect the points of Hair Pencils
Large Hair Pencils, for washing in clouds, &c.
Proutonian Sables, the largest ever made.

=C. SMITH'S INDELIBLE COLOURED INKS,=

REMBRANDT'S AND PROUT'S FAVOURITE TINTS FOR PEN SKETCHING, &c.

Sketches made in these Inks can be made Drawings, coloured over at any time without fear of disturbing the Original Sketch; particularly adapted for Prout's Architectural Subjects, such as the elaborate work of Churches, Cathedrals, and Buildings of Venice, &c.

=C. SMITH'S PURE CUMBERLAND LEAD PENCILS,=

EQUAL TO ANY MADE.

F For General Use
FF Bold Sketching
HB Middle Shade
B Shading
BB Black Shading
BBB Extra Shading
HHHH Finest Lines
HHH Engineering
HH Architecture
H Fine Outline

Common Pencils for Schools, Pocket-Book Pencils, various. Also, Mordan's, Brookman and Langdon's, and Dobbs's Pencils.

34, Marylebone Street, Piccadilly, the end of the Quadrant, Regent Street, London.

=SOLID SKETCH BOOKS.=

With Compressed Leaves, made of thin and thick White, Drab, Yellow, and Grey Drawing Papers, forming a solid packet of thirty or forty leaves, each of which can be easily separated from the others by the introduction of a pen-knife underneath.

=WOVE AND CARTRIDGE DRAWING PAPERS.=

Demy 20 by 15
Medium 22 -- 17
Royal 24 -- 19
Super Royal 27 -- 19
Imperial 30 -- 21
Colombier 34 -- 23
Atlas 34 -- 26
Double Elephant 40 -- 26
Antiquarian 52 -- 31
Extra Antiquarian 56 -- 40

Emperor, the largest size paper, 68 inches by 48 inches. Rough, Extra-thick, Tinted, and Hot pressed Papers, Drawing Cartridge Papers, for Architects, &c., Crayon, Tinted, London and Bristol Boards, English and French Tracing Papers, to 60 in. by 40 in.

=HARDING'S NEW DRAWING PAPER,=

Made pure and perfectly free from any chemical agency that will tend to fade the Colours or alter their Tint. Recommended to those who paint with Body Colours, &c.

=C. SMITH'S MATERIALS FOR SKETCHING IN WATER COLOURS.=

Compressed Paper, in Packets
Sketching Books of all kinds
Sketching Folios and Portfolios
Albums and Scrap Books
Sketching Books, with Boxes attached
Sketching Desks for the Neck
Parlour's Patent Sketching Instrument and Camera Lucidas
and Obscuras
Desks, with Colours, &c., for ditto
Stands and Tables for ditto
Camp and other Seats for Sketching
Japanned Tin Boxes, with Moist Colours, Cups, Bottles,
&c., for Sketching
Fixed Sketching Inks and Reed Pens
Ditto, in Cases for Travelling, &c.
Drawing and Sketching Boards
Liquid Sepia, for Drawing
Leather Cases, for Colours, Brushes, &c.
Creta Laevis Crayons, or different Colours that work dry
or with water
Portable Cases, containing a Seat, Book, Box, &c. for
Sketching
Artists' Umbrellas, to shade the sun
Seat and Table combined, for Sketching
India Rubber Water Bottles
India Ink of the finest quality, warranted genuine

=C. SMITH'S SUPERIOR NEW DRAWING BOARDS,=

For straining thick or thin Drawing Paper more efficiently, and much more easily, without pasting or cutting; also fitted up with Colours, Brushes, Saucers, &c.

=C. SMITH'S MATERIALS FOR SKETCHING AND PAINTING IN OIL COLOURS.=

Prepared Paper and Millboards, for Sketching from Nature, &c.
Prepared Panels and Cloths, and Tickens on or off frames
Tin Boxes for Oil Colours, &c.
Portable ditto for Sketching
Oil Colours in Cakes and Bottles (see Wilson's Letter)
Tin Oil Cups, and Cups for Washing Brushes
Steel, Ivory, and Horn Palette Knives
Mahogany and Satin Wood Palettes
Bladder Colours, Powder Colours, and Raw Colours
Rack, Folding, and Upright Easels
Desk and Table Easels
Nut, Poppy, Linseed, and Drying Oils
Mastic, Copal, and Spirit Varnishes
Turpentine Gold Size, Asphaltum and M'Guelph
Glass, Stone, and Earthen Slabs and Mullers
Maul or Rest Sticks
Charcoal and Pipe Clay
Bladder Colour Nobs
Oil Box and Easel combined
C. Smith's new invented Telescope portable Cane Easels,
extremely light, for Sketching
Compressed Oil Papers for Sketches

34, Marylebone Street, Piccadilly, the end of the Quadrant, Regent Street, London.

=NEW CAMERA OBSCURAS.=

For Sketching, so contrived, that any person with a slight knowledge of Drawing can use them without difficulty, straining the sight, or previous practice. The images, being reflected on paper, require nothing more than tracing their outlines.

=MISCELLANEOUS MATERIALS.=

Mathematical Instruments
Dividers and Compasses
Tee Squares and Triangles
Flat, Parallel and Stationer's Rulers
Tracers, Erasing and Pen Knives
Drawing Pins and Indian Glue
Crow Quills and Pens
Deal and Mahogany Clamped Boards
Boxes of Juvenile Colours, &c.
Conte's Black, White, and Red Chalks
Vancouver's Cement for mending China
Black Lead Powder, and Crayons for Stumping
Best Italian Black, White, and Red Chalks, in Crayons
and Pencils
Lithographic and French Chalks
Cabinet Saucers in Cases
Indian Rubber and Sponge
Black Lead, in Cakes, for Mezzotinting
Indelible Marking Ink, for Linen
Ox Gall, in Pots and Liquid
Gold and Silver, in Shells, Saucers, and Leaves
Gold, Silver, Copper, and Green Bronzes
Ivories for Miniature Painting
Gum Water for ditto, &c.
Leather, Paper, and Cork Stamps
Improved Holders and Portcrayons
Harding's Silver Crayon Holders
Oriental Tinting Paper
White and Coloured Tissue Paper
Sponge Pencils

=C. SMITH'S NEW INVENTED WATER-COLOUR CREAM.=

A M'Guelph, or Medium, for using with Water-Colours, either transparent or semi-opaque, for obtaining opaque masses of colour or glazing. Drying slower than water, and not so fluid, enables the touch to be preserved where required without hard ridges.

Soft Swiss and French Crayons
Harding's Lithographic Drawing Books
Sketches, Tinted Paper, &c.
Fixing Liquid for Chalk Drawings, &c.
Varley's and Hayter's Perspectives
Cooper's Studies of Cattle
Modelling Tools
Leather and Paper Pencil Cases
Finest Quality Indian Ink
Best Clear Vellum
Ink Stones and Saucers
Slabs, Tiles, and Palettes in great variety
Ivory and other Pencil Racks
Glass Frames for Tracing
Graining Combs
Photogenic Materials
Patterns for Irregular Lines
Fixing Liquid for Chalk Drawings, &c.
New Perspective Parallel Rulers
Prout's Hints on Light, Shadow, &c.
---- Figures for Landscapes, &c.
Merimee's Oil Painting
Cawse's ditto
Howard's Sketcher's Manual
---- on Colour
Laporte's Studies of Trees

A great variety of Juvenile Lithographic Drawing Books of Landscapes, Animals, and the Human Figure, and other Popular Works on Drawing and Painting.

=SHADE'S DRAWING AND PERSPECTIVE MODELS.=

For the practice of young students in obtaining a knowledge of the first rudiments of Perspective Drawing, Light and Shade, &c. with numerous illustrations explanatory of the infinite variety of useful Drawing Studies they are capable of forming together. To be had complete in boxes, price 10_s._ 6_d._ and L1 1_s._

A variety of Miniature Models of Churches, Cottages, Castles, &c. &c.; lent out for the use of early in-door Landscape Students, as a substitute for Nature.

Wholesale, Retail, and for Exportation.

_October, 1841._

34, Marylebone Street, Piccadilly, the end of the Quadrant, Regent Street, London.

J. D. HARDING'S WORKS,

PUBLISHED BY TILT AND BOGUE.

HARDING'S DRAWING BOOK, 1841. Sketches in Sepia and Chalk, partly original and partly selected. Six Nos. 3s. 6d. each; half morocco, 24s.

SKETCHES AT HOME AND ABROAD, containing more than Sixty Views, tinted in imitation of the Original Drawings. Imperial folio, half-bound morocco, L6. 6s.

*** This splendid work has been entirely drawn on Stone by Mr. HARDING _himself_, and printed under his immediate inspection. The resemblance to the Original Sketches is complete, and each Subject may be considered as a _bona fide_ and first-rate Drawing.

ELEMENTARY ART: THE USE OF THE LEAD-PENCIL ADVOCATED AND EXPLAINED. New Edition. Imperial 4to. cloth, price L2. 2s.

*** The object of this work is to teach the young Student and the Amateur, by the practical use of the simplest (but most valuable) instrument in art--_the Lead-pencil_--how they may study Nature and acquire Art with the certainty of eventual success, and also to furnish them with assistance to which they may continually refer in the absence of their Master. The work is illustrated by Twenty-eight Lithographic Drawings by Mr. HARDING, and he has followed as nearly as possible the course which his experience in actual instruction has suggested to him.

HARDING'S DRAWING BOOK, 1837. Each Number of this Work contains Four Studies, including in the whole a great variety of subjects. The whole are printed on India Paper, price 3s. each Part; or 21s. neatly half-bound.

HARDING'S DRAWING BOOK, 1838. A Series of advanced Studies, printed in Mr. HARDING'S new tinted style. Imperial 4to. Six Nos. 3s. each; or, neatly half-bound morocco, 21s.

HARDING'S PORTFOLIO. Twenty-four highly-finished Sketches, tinted in exact imitation of the Original Drawings. Half-morocco, price 21s.; or, coloured, 31s. 6d.

HARDING'S EARLY DRAWING BOOK, consisting entirely of Elementary Studies for Beginners. Six Nos. 1s. 6d. each; or, bound in cloth, 10s. 6d.

NEW AND POPULAR DRAWING-BOOKS,

PUBLISHED BY TILT AND BOGUE.

PROUT'S MICROCOSM; or Artist's Sketch-Book of Groups of Figures, Shipping, and other Picturesque Objects. By SAMUEL PROUT, F.S.A. Printed in tints. Imperial 4to. Six Nos. 4s. each, or, neatly bound, 24s.

PROUT'S ELEMENTARY DRAWING BOOK of Landscapes, Buildings, &c. Six Nos. 1s. 6d.; cloth, 10s. 6d.

SKETCH BOOK OF SHIPPING AND CRAFT. By W. M. GRUNDY. In Progressive Studies. Six Nos. 1s. 6d.; cloth, 10s. 6d.

ANDREW'S PROGRESSIVE DRAWING BOOK OF FLOWERS. Six Nos. coloured, 1s. 6d.; cloth, very neat, 9s.

BARRAUD'S STUDIES OF ANIMALS. Lithographed by FAIRLAND. Six Nos. large 4to. 3s.; or coloured, 5s.

JULIEN'S STUDIES OF HEADS. Selected or Drawn from Nature. Six Nos. 2s,; cloth, 14s.

WORSLEY'S LITTLE DRAWING BOOK. Easy Studies in Landscapes, Houses, &c. Fourteen Nos. 6d.; or two vols, cloth, 4s. each.

ZEITTER'S STUDIES OF ANIMALS AND RUSTIC GROUPS. Six. Nos. 1s.; cloth, 7s. 6d.

THE LITTLE SKETCH BOOK. Very easy Studies in Landscapes, Figures, &c. By G. CHILDS. New and improved Edition, Fourteen Nos. 6d.; or in 2 vols, cloth, 4s. each.

FAIRLAND'S JUVENILE ARTIST. Figures, Landscapes, and Shipping. Eight Nos. 1s.; or cloth, 8s.

COOPER'S STUDIES OF ANIMALS. Eight Nos. 2s.; or 16s. bound.

LESSONS IN FLOWER PAINTING. Drawn and coloured after Nature, by JAMES ANDREWS. Six Nos. 2s. 6d.; cloth gilt, 16s.

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HARLEY'S LANDSCAPE DRAWING BOOK. Six Nos. 1s.; cloth, 7s. 6d.

PHILLIPS' FAMILIAR LIFE. Etchings of Figures, Groups, &c. Three Nos. 1s. 6d.

* * * * *

Transcriber's Notes:

Obvious punctuation errors repaired.

Text uses both "development" and "developement."

Contents, "71" changed to "70"

(OF BACKGROUNDS 70)

Page 13, "Park-corner" changed to "Park Corner" (park-gates at Hyde Park Corner)

Page 52, "invole" changed to "involve" (light and shade may involve)

Page 78, "Jupitor" changed to "Jupiter" (Temple of Jupiter Tonans)

End of Project Gutenberg's The Use of a Box of Colours, by Harry Willson