ILLUSTRATIONS
Reading edition
PAGE
A New Zealand Fern-tree Gully.Frontispiece
Repose.Vignette for title-page
Group of Fisher-Folk. From a photograph by John Foster of Coldstream5
A Group of Working Horses. From a photograph by John Foster of Coldstream26
Ancient Assyrian Hall: The Feast of Sardanapalus. From a sepia sketch by the Author56
An Ancient Egyptian Corridor. From a sepia sketch by the Author61
On the Esk River, Tasmania. From a photograph by Major Aikenhead, Launceston97
A New Guinea Village. A study of lighting from behind125
Noah’s Ark. A process paper drawing132
Ship-of-the-Line, 1815. Pen and ink134
A Viking Boat. Process paper138
Fishing Boats. Pen and ink142
Homeward Bound. Process paper143
The Storm. Pen and ink147
At Rest. Pen and ink148
From Breydenbach’s Travels150
St. Christopher. From ‘A Treatise on Wood-Engraving,’ page 46153
History of the Virgin Mary. From ‘A Treatise on Wood-Engraving,’ page 72154
Albert Dürer’s Apocalypse156
By Christopher Jegher, after Rubens158
A Panel of Black and Gold176
Initial Letter O, and Moonlight196
The Avenue—Hobbema229
Harmony. A night effect250
Art Subjects272
A Garden Scene297
The Ancient Nile300
Note A.—John Foster, of Coldstream, is one of the most accomplished of photographic artists, who has made a specialty of cattle groups, and whose studies are nearly always perfect in their grouping and effect.
Note B.—Major W. Aikenhead, of the Launceston Rifle Regiment, Tasmania, favoured me with some of his finest specimens, with permission to reproduce them. His aerial effects are wonderful and delicate, too tender in most instances for reproduction by process: therefore I have been compelled to give one of his most positive pictures as a specimen of his art and the beauties of the country in which he works.
