to Shade 
 
 FROM 
 
c* 
 
 
 
 
 
 
 . 
 
HOW TO SHADE 
 FROM MODELS, 
 
 Common Objects, and Casts of Ornament. 
 
 B practical manual. 
 
 BY 
 
 W. E. SPARKES, 
 
 ART TEACHER, BOROUGH ROAD TRAINING COLLEGE, AND PUPIL TEACHERS* CENTRAL 
 CLASSES, LONDON SCHOOL BOARD. 
 
 WITH 25 PLATES BY THE AUTHOR. 
 
 CASSELL & COMPANY, Limited: 
 
 LONDON, PARIS & MELBOURNE. 
 
 1890. 
 
 [ALL RIGHTS RESERVED.] 
 
PREFACE. 
 
 With the introduction of shading among the require- 
 ments of the new “ D ” certificate, it became the duty 
 of the author to prepare a course of lectures for the 
 students under his tuition. 
 
 As the notes grew, he determined to put them in 
 a permanent form, feeling convinced that there existed 
 the want of a systematically arranged work on the 
 subject. 
 
 The experience gained in teaching Shading to 
 classes of pupil-teachers determined the form of the 
 work. 
 
 Starting from a few simple principles of light and 
 shade, the truth of which can be easily verified by 
 experiment, the subject is treated quite synthetic- 
 ally, so that the reader may from the beginning 
 take an intelligent interest in the work, and may be 
 able to account for all lights, shades, shadows, reflec- 
 tions, and gradations as they occur. 
 
 It is hoped that the book may also be found useful 
 to more advanced students ; for pains have been taken 
 to make it serviceable to those preparing finished 
 shaded works, or entering as candidates for the third 
 grade time-test examinations, as well as to that ever- 
 widening circle of readers who take up drawing as a 
 recreation. 
 
Digitized by the Internet Archive 
 in 2015 
 
 https://archive.org/details/howtoshadefrommoOOspar 
 
CONTENTS. 
 
 CHAPTER I. page 
 
 Introduction. — Lights, Shades, Shadows 7 
 
 CHAPTER II. 
 
 On Materials and their Use 12 
 
 CHAPTER III. 
 
 Preliminary Exercises. — Flat Tints and Gradations ... 14 
 
 CHAPTER IV. 
 
 The Cube, Hexagonal Prism, and Cylinder 18 
 
 CHAPTER V. 
 
 On Contrast of Tones ; and on Aerial Perspective ... 25 
 
 CHAPTER VI. 
 
 On Pyramids, the Cone, and the Sphere 28 
 
 CHAPTER VII. 
 
 On Vases, White and Coloured 32 
 
 CHAPTER VIII. 
 
 On Groups; Time-Tests; Common Objects 37 
 
 CHAPTER IX. 
 
 On Shading from the Cast 39 
 
 CHAPTER X. 
 
 The Apples; Time-Test Shading from the Cast ... 45 
 
 APPENDICES. 
 
 / 
 
 I. — On Pencil and Crayon-Shading 51 
 
 II. — Sepia and Monotint Painting ... 55 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 
 
How to Shade from Models, 
 
 CHAPTER I. 
 
 INTRODUCTION. — LIGHTS, SHADES, SHADOWS. 
 
 Introduction . 
 
 Although objects can be well represented on a flat surface 
 by means of accurately drawn outlines, we find it impossible 
 to express their solidity and the character of their surfaces 
 without the addition of light and shade. 
 
 A circular plane and a sphere may each in some positions 
 be rendered in outline by a circle ; a square plane and a cube 
 by a square ; a cone and a sphere by a circle. Under such 
 conditions the difference between the bodies can be expressed 
 only by shading. These are, it is true, extreme cases ; but 
 a moment’s consideration will convince the student that 
 mere outline can never adequately render the delicate varia- 
 tions of the surface of flowers and fruits. 
 
 All art is progressive, and is fostered only by careful and 
 exact observation. To the beginner there is little to choose 
 between a tree drawn in outline by Mr. Alfred Parsons, or a 
 figure by Mr. Henry Holiday, and the characterless produc- 
 tion of some amateur friend ; and only after much observation 
 does the difference become apparent. 
 
 So the educated eye alone is fully alive to all the 
 wonderful variety of light and shade in Nature — in clouds, 
 hills, waves, fruits, trees, and leaves. 
 
 At first the reader will be unable to realise the gradations 
 that he is assured are to be found on an object before him. 
 But by carefully noting the well-defined differences of light 
 and shade on geometrical solids, he will in time be able to 
 
8 
 
 How to Shade from Models . 
 
 distinguish the more delicate ones on casts of ornament or 
 on natural objects. 
 
 Lights , Shades, Shadows . 
 
 Place a whitened india-rubber ball upon a dark book- 
 cover, and in a stream of light falling in a direction from left 
 to right of the spectator. ( See Fig. 43.) 
 
 The surface of the ball appears to be broadly divided 
 into two parts, of which the darker is said to be in shade, the 
 other in light. Moreover, its opaque body deprives part of 
 the book-cover of light: i.e., it casts a shadow. In the fol- 
 lowing pages this distinction will be maintained. By shadows 
 we shall always mean cast-shadows, and by shades those 
 parts of the surface turned from the direct light. 
 
 Now place the ball upon a sheet of white paper, and you 
 will see light, shade, and shadow as before ; but the shade 
 appears considerably lighter in parts than before — a change 
 due to light reflected from the paper. 
 
 This portion of the shade — for it is always most strongly 
 marked in the shade — is known as the reflected light . It is 
 always present, but is most evident when the reflecting body 
 is light in tone. 
 
 Again, that spot on the left side of the egg lying directly 
 opposite the source of light is decidedly brighter than any 
 other part of that side. 
 
 This spot is said to be the high light, and the remaining 
 portion is said to be in half tone. 
 
 Shadows (a) cast by artificial light. — The character of 
 the shadows cast by artificial light can be best explained 
 by a few simple experiments. 
 
 Take two sheets of cardboard and place them at right 
 angles to one another, and in a flood of light from a single 
 source. Then (as in Fig. 1) hold a smaller piece of card- 
 board with its faces parallel to the perpendicular sheet, so 
 that its shadow may be caught upon the upright plane. 
 
 You will notice that the four points a , b, c, d are obtained 
 by drawing lines from the source of light through the four 
 
Lights , Shades , Shadows. 9 
 
 corners of the rectangle ; and this you will find true, no 
 matter at what angle you may turn the card. 
 
 We learn then : — (i) The shadow falls immediately behind 
 the object , and along the straight line joining the object with the 
 source of light. 
 
 Keeping the light and the sheet of cardboard as before, 
 place the small rectangle nearer the light. The points of the 
 shadow can be found as before ; necessarily the shadow as a 
 whole must be larger (Fig. 3). But you will notice that 
 the tone of the shadow is not so deep as in the last instance, 
 and that its edges are not nearly so distinct. 
 
 Hence : — (2) The farther the object from the surface 
 receiving the shadow , the larger and fainter will that shadow 
 appear. 
 
 If you now rest the rectangle upon the lower sheet, you 
 will find its shadow cast as in Fig. 4. Here the part of the 
 shadow along the floor, so to speak, gradually decreases in 
 darkness of tone until it reaches the upright, upon which, 
 according to the last experiments, it appears approximately 
 of the same depth throughout. 
 
 It will be readily understood why the shadow gets wider 
 along the horizontal plane as it recedes from the object, for 
 the parts receiving the shadow are removed at greater and 
 greater distances from the object. This experiment, there- 
 fore, really gives the principles underlying Figs. 1 and 3 in 
 one. 
 
 Thus: — (3) The shadows cast on flat surfaces by objects 
 resting on those surfaces appear darkest along the portiojis 
 nearest the object , whence they gradually decrease in depth. 
 
 Lastly, bend the perpendicular sheet into any shape, as 
 in Fig. 2. Place a stick of pencil so that its shadow may be 
 caught, and notice how the shadow bends according to the 
 surface. 
 
 Hence : — (4) The shape of the shadow will depend largely 
 upo?i the surface receiving the shadow. 
 
 It would be well to bend the cardboard in all directions, 
 and to use other objects for casting shadows. 
 
io How to Shade from Models. 
 
 Such simple experiments, varied according to your 
 ingenuity, will be found extremely useful. 
 
 (b) Shadows cast by Sunlight . — The point a in Fig. 3 is 
 obtained by drawing a line from the source of light l 
 through the corner x of the cardboard, and b by drawing a 
 similar line from l through y. 
 
 If now, keeping the cardboard in the same position, the 
 light l be moved to a greater distance (say, as far as m), and 
 lines drawn, m jv and m y, and produced to strike the upright 
 sheet, it is clear the two points a and b will not be so far 
 apart as before. And similarly with the other points, c and d. 
 
 In other words, if you move the light to a greater distance 
 the shadow will grow less, until, if you imagine it moved to 
 an immense distance, from a to b will be almost equal to the 
 line x y. 
 
 Now the sun is at such a vast distance from every object 
 on the earth that its rays may be considered to pass through 
 the points of the object, such as a , b, c, d , parallel to each 
 other. 
 
 Simply, then, if you place the cardboard, as in Fig. 1, in 
 the direct sunlight, and move the small rectangle toward and 
 away from the upright sheet, its shadow will remain of the 
 same size in all cases. 
 
 You may notice the same fact by observing your shadow 
 thrown on a wall by the sun. Moving your hand to and 
 away from the wall its shadow will not perceptibly alter in 
 size. 
 
 (c) Shadows cast by Diffused Daylight. — In addition to the 
 difficulty of obtaining direct sunlight on any group we may 
 wish to represent, it is to be remembered that the sun is 
 apparently moving rapidly through the heavens, so that the 
 direction of the shadow cast by it continually changes. 
 
 If circumstances, therefore, render it compulsory that a 
 shading shall be made by daylight, the group or cast must 
 be placed so that it may be lighted from one window only, 
 and that one so placed that the sun itself may not shine on 
 the group. 
 
Fig. ii. 
 
 Fig. jo. 
 
 Fig. i z . 
 
 Fig. 9. 
 

 
 
 
 
 
 
 
 
 $ 
 
 
Lights and Shades . 
 
 1 1 
 
 You may find by experiment that if the window admitting 
 the light be smaller than the object, the cast-shadows will 
 be formed along diverging lines, as in Figs. 2, 3, and 4 ; but 
 if the window be larger, the shadows will decrease. 
 
 Since artificial light can be so much more readily, arranged 
 to suit a group, and since, moreover, the lights, shades, and 
 shadows distributed by it are clearly defined, models and 
 casts are generally shaded by gas-light. 
 
 Lights and Shades. 
 
 Take two small equal rectangles of white cardboard, and 
 hold them side by side perpendicularly in the full light of 
 the sun or of a gas-jet. Now allow the top of one to fall 
 slowly backwards away from the light, and towards the 
 horizontal. As it falls, compare its brightness with that of 
 the perpendicular sheet. You will then at once gather that 
 the intensity of light on a surface depends upon the angle at 
 which the light strikes that surface . The more perpendicular' 
 the surface is to the rays of light, the lighter its tone will be. 
 
 The knowledge of this will frequently help you out of a 
 difficulty. For instance, the left-hand leaf in Fig. 74 is 
 almost on the same level as the background, and hence 
 appears mainly of the same tone. Without consideration, 
 you would find yourself apt to make this too light or too 
 dark. 
 
 Now, if part of a surface is so placed that no direct rays 
 can strike it (as, for example, in our first illustration, that 
 half of the whitened ball turned from the light), evidently 
 we must find darkness. 
 
 Such darkness is known as the shade . 
 
12 
 
 CFL\PTER II. 
 
 ON MATERIALS AND THEIR USE. 
 
 For the purpose of shading, in addition to the usual drawing- 
 board, the pupil will need stumping-chalk, stumps, sticks 
 of prepared charcoal, tinder, a Conte crayon in wood, 
 French white paper, and, for finished drawings, Whatman’s 
 “ Not.” 
 
 Stumpmg-chalk . — This is sold either in bottles or wrapped 
 in foil. The former is preferable, and is put up in this 
 form by most of our large colour-makers. Every artists’ 
 colourman keeps it in stock. 
 
 A piece of rough drawing-paper, about three inches by 
 two, should be pinned on the upper right-hand corner of 
 the student’s board, and a little stumping-chalk rubbed into 
 it with the cork of the bottle. The lowest edge of the 
 paper should be turned up at right angles, so that no pieces 
 of chalk may fall on the student’s work, for the board 
 should not be placed flat. 
 
 Stumps . — These are made of leather or of French grey 
 paper. The former are found to give the smoother tones. 
 They are made in many sizes, but the best for our work are 
 Nos. 2 and 3. For very large masses of shade, larger 
 stumps may be used with advantage. 
 
 For finer work, such as bringing shades to a clear 
 outline, and for finishing touches generally, a few tortillons 
 will be found useful. These are generally sold in bundles 
 at two or three pence a dozen. 
 
 The stump should be held between the thumb and first 
 two fingers, so that the unused end may lie under the hand, 
 and not above it, as in using the pen. 
 
 By this means the whole of the bevelled end may be 
 utilised, and a broader and freer stroke made, than would 
 be possible if it were held more perpendicularly. Whilst 
 working, the stump should be slowly rolled by the fingers 
 

 
 
 
 
 
 
 
 
 
 
 % 
 
Materials and their Use. 13 
 
 and thumb, so that all parts of the bevel may be brought 
 into use. 
 
 French White Paper . — This is sometimes known as 
 “ Michallet.” Parallel ridges run across its surface from 
 right to left, so that it is much rougher than ordinary 
 cartridge-paper. It is sold at about two pence the half- 
 imperial sheet. 
 
 Whatman's Paper .—When the pupil wishes to make 
 a really finished shading, he will find no paper comparable 
 to this for his purpose. It is made in three kinds — Rough, 
 Hot-pressed, and Not Hot-pressed. The last is generally 
 used for chalk drawings, and is known shortly as “ Not.” 
 The price is sixpence an imperial sheet. 
 
 Charcoal . — Preliminary sketches for shaded drawings 
 are not made in black-lead, for this has a greasy nature and 
 refuses to take the stumping-chalk. All black-lead lines — if 
 at all strongly marked — would, therefore, appear as white 
 threads in the midst of the black chalk. 
 
 Prepared charcoal is used instead. It is sold in sticks 
 at two or three a penny. 
 
 All lines drawn with charcoal should be faint, as they 
 can then be easily dusted away by tinder or a cloth. 
 
 Tinder . — This is sold by few artists’ colourmen, but 
 may be obtained direct from Messrs. Lechertier, Barbe and 
 Co., 66, Regent Street. Dusted lightly over the charcoal, 
 it removes the marks instantly. 
 
 But you may use a linen cloth for the same purpose, 
 although not so effectively. 
 
 Conte Crayon in Wood . — These are sold in Nos. 1, 2, 
 and 3, according to their degree of blackness ; but for our 
 present purpose No. 1 is to be preferred. It is chiefly 
 useful for adding here and there intense points of black in 
 the shadows ; but may be used exclusively for adding 
 shades to a drawing. (See Appendix.) 
 
 Bread . — Although chalk may be removed by india- 
 rubber, a far better medium is bread, for which purpose it 
 should not be so new as to feel sticky, nor so stale as to 
 
14 How to Shade from Models . 
 
 crumble freely, but of such a consistency that it may be 
 pressed into a wedge-like form. 
 
 The chalk, if it has been lightly applied to the paper, can 
 be almost entirely removed by pressing the bread upon it. 
 
 At times a shade is found to be too dark, and to require 
 lightening. For this purpose, bread that has been already 
 used for removing chalk is applied to the part to be lightened. 
 Clean bread would probably remove too much chalk. 
 
 CHAPTER III. 
 
 PRELIMINARY EXERCISES. — FLAT TINTS AND GRADATIONS. 
 
 Drawings are usually shaded in one of three ways — either 
 by means of stumping-chalk and stumps, by black-lead or 
 crayon, or by a combination of both methods. Each has 
 its special advantages, but there is no doubt that for breadth 
 of effect and rapidity of execution the first is the most 
 effective. Some masters, indeed, prefer to teach the use of 
 the black-lead or crayon for the shading of models; but 
 even they discard the lead for the stump when the pupil 
 takes up the shading of casts. 
 
 As this little work is arranged systematically, we have 
 advised the use of the stump throughout, in the belief that 
 the practice obtained in shading large and simple surfaces, 
 such as are met with in the geometrical solids, will be found 
 of great service to the student when he attacks the more 
 refined light and shade of a cast. 
 
 However, in the Appendix, the method of pencil 
 shading by cross-hatching has been shown and illustrated 
 by a plate. The student who prefers to use this weaker 
 and less satisfactory method should read here that part of 
 the Appendix, and work the exercises as recommended, and 
 then proceed to the shading of the cube. All subsequent 
 lessons will be applicable to either process. 
 

 
 
 
 
 
 
 
 
 
 
 
Flat Tints. 
 
 15 
 
 I . — Flat Tints . 
 
 (a) Divide a sheet of French white paper into four 
 equal parts. In one division sketch a rectangle (Fig. 5). 
 
 Take a stump and lightly roll either of the bevelled 
 ends in the stumping-chalk placed on paper as recommended 
 above. Then, beginning with the upper left-hand corner, 
 and working along the top to the right, and so slowly down 
 the paper, draw with the broad flat bevel of the stump a 
 number of s strokes, as shown along the upper margin 
 (Fig. 5). Small spaces will evidently be left between these 
 s strokes. 
 
 As you approach the bottom, place the strokes closer 
 together, so that the spaces between become smaller and 
 smaller. As you work, slowly turn the stump, and when 
 the chalk becomes exhausted, replenish as before. You 
 should not place the s strokes in regular lines, but scattered. 
 
 Probably, when complete, the tint will show black spots 
 here and there ; if so, lighten them with bread. With 
 practice, you will be able to get an even tint at once. 
 
 These first exercises are very important, and you must 
 beware, above all, of hasty and slovenly work. Rapidity 
 must come with practice, but uncertain and excited work 
 can only lead to bad habits of work that you will find 
 difficult to eradicate. 
 
 ( b ) Fig. 6 shows the second rectangle tinted in the 
 
 same fashion. Here, however, the strokes are smaller and 
 closer together ; while the upper portion shows the same, 
 but obtained by keeping the stump more heavily charged 
 with chalk. In this way — by loading the stump with, or 
 partly freeing it from, chalk — flat even — tints may be 
 
 made of many different depths. 
 
 When shading, remember to work carefully and lightly . 
 Do not scrub the chalk into the paper, for this is made 
 purposely rough that the projections only may be caught 
 by the stump, leaving the hollows shining between. 
 
 (c) Fig. 7. — Rule some such rectangles as shown, and 
 
1 6 How to Shade from Models. 
 
 surround them with an even tint, which should be brought 
 accurately to the very edge, without encroaching on the 
 space within. This is a very useful exercise, for you will 
 find subsequently how important it is to keep with clean 
 edges all tones that meet an outline. 
 
 (d) Fig. 8.— You will probably at first find it difficult to 
 get a large mass perfectly even. Some accomplish this 
 better by shading with the stump in straight lines, as shown 
 in this figure. Of course they must be placed close together, 
 so as to form a tint rather than an assemblage of straight 
 strokes. You will see what is meant by comparing the 
 lower part of the figure with the upper. 
 
 By this method, however, the work is apt to look 
 “ stringy ” — a fault which may be partly remedied by 
 carrying other strokes across in contrary directions, as in 
 the upper right-hand corner of the figure. 
 
 You are not recommended to use this stroke except for 
 flat tints ; and not then, unless by its means you are able to 
 get a smoother effect. 
 
 II. — Gradations . 
 
 (a) Divide another sheet as before, and after drawing 
 in one division a rectangle, divide it equally by lines drawn 
 at right angles to its length (Fig. 9). Fill these divisions 
 with flat even tints, gradually increasing in depth from one 
 to four. 
 
 (Note. — The tints do not appear to be flat, but fluted. 
 This is merely the effect of contrast.) [See Chapter V.] 
 
 (b) Fig. 10. — Mark here a rectangle equal to that in 
 Fig. 9, and beginning with a light tone, gradually add more 
 and more chalk until you reach a depth equal to that of 
 four in Fig. 9. 
 
 (c) Fig. 11. — A sector of a circle divided into parts by 
 concentric arcs is shown. 
 
 As before, fill in each division with even tints, beginning, 
 however, with the darkest. 
 
 (d) Fig. 12. — The same sector is shown without the 
 
Grada t/ons. 
 
 1 7 
 
 dividing arcs. Charge the stump well with chalk, and as 
 you approach the circumference, from time to time, if 
 necessary, remove some of the chalk by applying it to a 
 rough paper placed near at hand. 
 
 III. — Gradations ( continued ). 
 
 Divide another sheet, and in the first quarter draw the 
 divided rectangle (Fig. 13). 
 
 (a) Fig. 13. — Begin with the central rectangle, and fill it 
 evenly with a dark tone. Work then to the first on the left 
 and then to the first on the right ; next, with a still lighter 
 tint, to the second on the left, and t v o the second on the 
 right. 
 
 ( b ) Fig. 14. — Mark very lightly with a stump a line 
 down the centre, to act as a guide for the direction of 
 the darkest tone. Starting from the top of this line, work 
 down it to the bottom, and then gradate first to the left, 
 then to the right, and then again to left and right, as shown 
 above (Fig. 13). (c) and (d), Figs. 15 and 16, are merely 
 repetitions within curved lines of (a) and (h). Begin as 
 before with the darkest tone, and work from it in either 
 direction. 
 
 IV. — Gradations over a Tone . 
 
 It is advisable in your earliest efforts at shading gradated 
 tones to cover a surface first with an even tone equal in 
 depth to the lightest portion of the shade, and then to cover 
 this with what slight gradations may be required. 
 
 As you become more expert, you will be able to lay a 
 shade with its gradations at once and with decision, but 
 this power can only come with time. In the meantime, 
 you will find it best to work as recommended here. 
 
 Let us suppose a shadow gradates from one corner of a 
 rectangular surface to another. 
 
 (a) Fig. 17. — First cover the rectangle with an even 
 tint, equal in depth to the lightest portion of the tone to be 
 
 B 
 
i8 
 
 How to Shade from Models. 
 
 represented. (The small dark patch shows the commence- 
 ment of the gradation.) 
 
 (< b ) Fig. 1 8. — Over this, beginning at the darkest point, 
 gradate until the tone dies away into the flat tint first laid. 
 
 ( c ) and ( d ), Figs. 19 and 20, are merely modifications of 
 (a) and (< h ). In gradating (d), be careful that the tone dies 
 away in imaginary curves , whose centre lies at the highest 
 and brightest point. 
 
 We now proceed to the solids, which the pupil is advised 
 to draw to a large scale — say nine or ten inches in length. 
 
 It should be understood that the plates given are not to 
 serve as shaded copies, but in all cases the models them- 
 selves should be arranged as nearly as possible under the 
 conditions shown by the figures ; for these are, indeed, 
 merely to serve as guides to the student’s own observation. 
 
 CHAPTER IV. 
 
 THE CUBE, HEXAGONAL PRISM, AND CYLINDER. 
 
 The Cube. 
 
 We shall show fully each step to be taken in shading this 
 model, for this solid is a representative of all prisms, and, 
 indirectly, of the cylinder. 
 
 Place the cube on a sheet of light brown paper, and pin 
 against the wall behind it a similar sheet to serve for back- 
 ground, Let the light fall from the right and from above 
 the cube. The top face will be the brightest of those seen, 
 and the darkest will necessarily be that next the cast- 
 shadow. 
 
 Step I. (Fig. 21). — Draw the cube carefully and lightly in 
 charcoal. Incorrect lines may be removed by dusting with 
 the tinder. Do not draw with black-lead, as it is greasy, and 
 will afterwards appear white in your shading. 
 
 Now draw carefully the cast-shadow, noticing at the 
 
The Cube . 
 
 i9 
 
 same time how much darker it appears than the back- 
 ground, and that (Fig. 4) it gradually decreases in depth of 
 tone as it recedes from the cube. Shade this shadow as 
 light as its lightest part. Put in the background and ground- 
 plane rather lighter than they appear. 
 
 Step II. (Fig. 22). — The two perpendicular faces seen 
 differ in depth of tone. Decide the tone of the darker in 
 relation to the cast-shadow and the background, and of the 
 lighter in relation to all three. Shade each of an even tint , 
 equal in depth to the lightest part of each. 
 
 Step III. (Fig. 23). — Partly owing to reflected light from 
 the ground plane and partly to the effect of contrast, # a 
 light gradation appears on each perpendicular face, working 
 from the upper right-hand corner and along the right edge 
 towards the left. Lay on each carefully (see Fig. 18), being 
 careful not to get them too dark. (The lowest part of the 
 side next the cast-shadow receives little reflected light, and 
 should be slightly shaded.) 
 
 Step IV— The cast-shadow is darkest nearest the cube, 
 and its outline is most clear in the same part (Fig. 4). 
 Add this gradation to the shadow. 
 
 The upper face, although light, is not white. A slight 
 tone will be noticed gradating from the back edges to the 
 front, where the effect of contrast with the darker perpen- 
 dicular faces will help to make it lighter still. Lay this 
 gradation very lightly. It may be necessary to free the 
 stump almost entirely of chalk. 
 
 The background may now be darkened along the edge 
 of the top face (again the effect of contrast), and the drawing 
 is complete. 
 
 Fig. 24 shows the same cube without a background. 
 In this case it may be necessary to faintly mark with a crayon 
 the further edges of the top face. 
 
 * The law of contrast runs thus : — If two tones of different depth stand 
 side by side, the lighter of the two will appear still more light along the 
 edge next to the darker tone, and the darker tone still more dark along the 
 edge nearest the lighter tone. (See “Contrast,” Chap. V.) 
 
20 
 
 How to Shade from Models , 
 
 The brightest part is near the front edge. 
 
 You will notice that the brightest light and the deepest 
 dark are small in quantity; this is so on every object. 
 
 “ White should be regarded as the jewels of your 
 picture, and used with great discretion. One diamond will 
 attract — a cartload makes them common,” (Hume Nisbet, 
 u Life and Nature Studies.”) 
 
 Recapitulation . (Method for all models.) 
 
 1. Draw carefully the model and its shadows. 
 
 2. Shade — of their lightest depth — the cast -shadow, 
 background, and ground-plane. 
 
 3. Lay the shades on the model evenly, beginning with 
 the darkest and proceeding to the next lighter — in all cases 
 making them throughout equal in depth to their lightest 
 part. 
 
 4. Gradate the tones on the model. 
 
 5. Darken the cast-shadow where required. 
 
 6. Add slight tones to the background near the edges 
 of the model, to show the effect of contrast. 
 
 Leaving the cube as it stands, you would find it useful 
 practice to alter your position, and make drawings from all 
 points of view. 
 
 The Hexagonal Prism, 
 
 The shading of pentagonal, hexagonal, and other prisms 
 presents no difficulty to one able to show the light and 
 shade of a cube. 
 
 In this case, the hexagonal prism stands under the same 
 conditions as the cube in the last lesson. As we saw there, 
 the faces receiving the most direct rays will be the brightest, 
 the other increasing in depth of tone as they turn from the 
 light. {See on “Shades” in the last chapter.) 
 
 Step I. (Fig. 25). — Sketch prism and shadow. Shade the 
 shadow, background, and ground-plane. 
 
 Step II . — Put on, with an even tint throughout, the tones 
 of the two dark perpendicular faces, judging carefully their 
 
Fio.25. 
 
 tl Q. 26 . 
 

 
 
 
 
 
 
 
 
The Hexagonal Prism . 
 
 21 
 
 general depth of shade in relation to the cast-shadow and 
 the background. 
 
 Step III \ — As with the cube, gradations work from the 
 upper right-hand corner of each face, and for the same 
 reason (see Cube, Step III.). Thus contrast will cause the 
 whole right edge of each face to appear slightly darker. 
 
 The lightest perpendicular face (that nearest the light) 
 shows similar gradations to the others, but in a lighter key. 
 Compare its general tone with that of the upper hexagonal 
 end — which has likewise a gradation from back to front. 
 
 Step IV . — Darken the cast-shadow, clearly defining part 
 of its nearest edge. The darkening of the background 
 round the upper hexagonal end and along the lightest per- 
 pendicular face will help to relieve them from the back- 
 ground. 
 
 It is to be noted that the darkest portion of the per- 
 pendicular faces is not on the extreme left edge, neither is 
 the lightest portion on the extreme right. 
 
 The Hexagonal Prism lying on one 0/ its Rectangular Faces. 
 — Place the prism as in Fig. 27. The light sh ; nes from 
 above. Necessarily, the faces turning away from the direct 
 light increase in depth of tone. In this case, however, the 
 reflection from the ground-plane is very clearly marked on 
 the lowest face, because that side is turned at an angle to 
 receive it. So strong may this reflection be that the whole 
 lowest face may be lighter in tone than the one above. 
 
 The effects of aerial perspective will be seen in altering 
 slightly the tones on the further end of the prism.* 
 
 In this drawing we have shown an outline throughout. 
 This is a useful method for rapid shading, but is to be dis- 
 carded in all finished work, where outlines should be shown 
 as in Nature — by the meeting of two tones of unequal depth. 
 
 Step I — Shade evenly the cast-shadow, background, and 
 ground-plane ; the lowest shaded face, though brightened 
 
 * The law runs thus: — Distance alters the relationship between lights, 
 shades, and shadows ; the lights grow darker, the shades and shadows grow 
 lighter. ( See “Aerial Perspective,” Chap. V.) 
 
22 
 
 How to Shade from Models. 
 
 by reflection, is still in shadow, and must therefore be shown 
 much darker than the top face ; for reflected light in shades 
 never appears so bright as the half tone. 
 
 Lay on the shades of the two lower faces. 
 
 Step II. (Fig. 28). — A gradation on the middle shaded 
 rectangular face works from right to left. Contrast with 
 the bright upper face and with the hexagonal end causes 
 the edges to be slightly dark. As the face recedes, the 
 effect of aerial perspective will be seen in making the 
 whole of a more even tone. 
 
 The face beneath should be darkened a trifle along its 
 lowest edge, where it catches little reflection. 
 
 Step II 1 . — A gradation on the hexagonal end from right 
 to left should now be added. Contrast with the darker 
 shaded faces causes the left edge to appear light. 
 
 The top rectangular face should be gradated from the 
 further edges to the front, where the effects of contrast are 
 seen. The end of this face removed from the spectator 
 receives a slight tone to show the effects of aerial perspec- 
 tive. 
 
 Step IV . — Gradate the cast-shadow. 
 
 The Cylinder. 
 
 The cylinder maybe regarded as a prism with an infinite 
 number of sides. We will suppose it to possess for our pre- 
 sent purpose about twenty faces, of which half are seen from 
 the front (Fig. 29). Now, by referring to the hexagonal 
 prism it will be evident that if the light fall as indicated by 
 the arrow, the faces 1, 2, 3, 4, 5, 6, 7, 8 should become 
 darker and darker as they turn from the light. 
 
 As we saw both in the cube and the hexagonal prism, 
 the deepest shade is not on the extreme edge, because of 
 reflection from the ground-plane, so in the cylinder we 
 shall find the same fact repeated. 
 
 But in the hexagonal prism the shades are sharply 
 defined because of the bounding edges of their rectangular 
 faces, while in the cylinder these (imaginary) faces blend 
 
The Cylinder. 23 
 
 together, so that from the extreme dark there will be an even 
 gradation towards the light. 
 
 Step I. (Fig. 29). — (You are not to draw the faces, which 
 are merely drawn for the purpose of illustration.) 
 
 Shade the cast-shadow and background evenly. 
 
 Lay the shade of a depth equal to its lightest portion, 
 and then over this lay a gradation towards the right edge. 
 ( See Fig. 18.) A light line drawn down the solid will help 
 to guide you in shading this. 
 
 Step II. (Fig. 30). — Add a slight gradation towards the 
 high light. (Notice that the high light runs in a line down 
 the figure, for it really represents the imaginary face of the 
 prism turned directly to the source of light.) 
 
 The high light will not lie quite at the edge, where there 
 is a faint tone gradated from the high light to the edge. 
 We have seen similar instances in the cube and hexagonal 
 prism. 
 
 Step III. (Fig. 31). — The circular end shows a gradation 
 towards the front as in the hexagonal prism, and, just as in 
 that solid, the edges of the tones on the sides appear slightly 
 darker where they meet the lighter edges of the top face. 
 
 Step IV . — An addition of tone to the cast-shadow and 
 to the background along the lighter portions of the figure 
 completes the drawing. 
 
 Cylinder lying down .— This should be compared with the 
 hexagonal prism in the same position (Fig. 28). 
 
 If the cylinder, lined as in Fig. 29, were to be placed on 
 its side with the face marked 1 uppermost, and if, more- 
 over, the light strike the face from above, it is clear that the 
 other faces, 2, 3, 4, &c., should show increasing depth of 
 shade. But (exactly as with the hexagonal prism in a 
 similar position) a good deal of reflection from the ground- 
 plane lights up the lower (imaginary) faces, so that the 
 darkest portion will run some distance from the edge. The 
 method of shading will be as before. 
 
 Step /. — Shade the cast-shadow, background, and ground- 
 plane. Lay on the shade and add its gradations. 
 
24 
 
 How to Shade from Models . 
 
 Step II . — Mark the line of high light, and add a faint 
 gradation from the edge of the shade towards it. 
 
 Step III — The perpendicular circular end shows another 
 gradation towards the shaded surface of the cylinder, as we 
 have seen in the cube and hexagonal prism. 
 
 Be careful to keep this much lighter than that part of the 
 shade lit up by reflection. The broad division into the two 
 masses of light and shade must be maintained in all cases. 
 It will be noticed that the effects of aerial perspective are 
 shown on the end removed from the spectator. 
 
 In this chapter the student is supposed to be sitting 
 almost at right angles to the direction of the rays of light 
 shining on the solids. It would be a useful practice to leave 
 the objects as they stand, and draw from other points of 
 view. 
 
 For instance, he might move his position a trifle to the 
 left of the upright cylinder, when the darkest shade will be 
 seen on the very edge, while the reflected light has dis- 
 appeared behind the solid. Yet he should know exactly 
 how the lights and shades are distributed over the surfaces 
 of the various models, although he may not see them all 
 from the position he may be occupying. 
 
 The student must be warned against expecting to find 
 bright high lights and strong reflected lights on every 
 cylinder, or, for the matter of that, on every solid. These 
 will be decided primarily by the polish of the surface and 
 by the proximity of light objects. For example, you would 
 not expect to find high and reflected lights as strongly 
 marked on the trunk of a tree as you would on an enamelled 
 earthenware jug. 
 
25 
 
 CHAPTER V. 
 
 ON CONTRAST OF TONES ; AND ON AERIAL PERSPECTIVE. 
 
 Contrast . 
 
 We have had occasion to mention the law of contrast in our 
 former chapters, but we thought it better to leave till now a 
 fuller explanation of its effects. 
 
 In Nature we meet with an infinite variety of lights and 
 shades, at times strongly opposed, at others blending to- 
 gether almost imperceptibly. On a light summer evening 
 the trees stand out dark and clear against the sky, and we 
 recognise at once that the trees look darker than they would 
 if seen with a heavy building for background — for they stand 
 contrasted with the light sky. But careful observation 
 would show that the sky itself immediately surrounding the 
 dark trees appears brighter than parts more remote. 
 
 As a further illustration, we may mention a fact familiar 
 to all — that colours appear most intense when placed in 
 juxtaposition with their complementaries. A scarlet geranium 
 seems more brilliant on the stalk and surrounded by its 
 green leaves than when plucked and placed among other 
 blooms. And so the purple heather and yellow cowslip, the 
 orange marigold and blue flag, placed respectively side by 
 side, intensify the colours of each other. 
 
 And therefore black — the absence of all colours — is 
 deepened by the juxtaposition of white — the sum of all 
 colours ; and the white heightened at the same time by the 
 neighbourhood of the black. A few experiments should 
 make this evident. If you place a small piece of black vel- 
 vet on a sheet of white paper, and look at both attentively 
 for a few seconds, you will see that the paper in the neigh- 
 bourhood of the velvet appears whiter than before. 
 
 It is not so easy to show that the black itself is deepened 
 in tone at the same time, although by careful observation 
 you may see it is so. 
 
26 
 
 How to Shade from Models. 
 
 Having drawn with black-lead upon white paper a small 
 square of about one inch side, shade it by carrying the 
 pencil lightly backwards and forwards in all directions until 
 it assumes an even grey tint. Looking closely, it will be 
 found that the edges appear darker than the centre. 
 
 Again, Figs. 9 and 11 have both a fluted look, and yet 
 each tint is of the same depth throughout. The lowest but 
 one rectangle in Fig. 9, for instance, appears darker along 
 its upper edge than along its lower ; yet, if you cover all the 
 sheet but this same rectangle, you will find it is of an even 
 shade. 
 
 Its lower edge, in fact, is lighter by contrast with the 
 dark tone beneath ; its upper, darker by contrast with the 
 lighter rectangle above. 
 
 We therefore arrive at this law : — If two tones of different 
 depth be placed side by side , the lighter will appear still more 
 light along the edge next the darker tone ; the darker still 
 more dark along the edge 7 iear the lighter tone . 
 
 The application of this law has been already seen in our 
 past lessons, and will occur again and again. 
 
 Aerial Perspective . 
 
 A church seen first from near at hand, and then from 
 a distance, changes in appearance in several distinct ways. 
 It appears much smaller, and its vanishing lines are less 
 acute — effects that are explained by the laws of “ linear ” 
 perspective. 
 
 But, in addition to these, distance causes changes no less 
 marked in colour, light, and shade. Thus, standing close 
 to the church, you see its lights and shades distinct and 
 clearly defined, but from a distance they appear much more 
 uniform in tone. The lights become less brilliant, and the 
 shadows less intense, until from afar they all assume an even 
 grey. 
 
 Such changes are due to the vapour suspended in the 
 air. Evidently the greater the distance, the thicker the 
 stratum of vapour through which we look. Moreover, when 
 
Aerial Perspective. 
 
 2 7 
 
 this vapour is present in greater quantity, the effects are 
 more marked — to what degree may be seen on any misty 
 day. 
 
 In bright, dry Eastern climates, distant objects seem to 
 glare to a European accustomed to an atmosphere more 
 humid. 
 
 The better-class magazines, as the “ Art Magazine,” 
 (i Harper’s,” and the “ English Illustrated,” frequently contain 
 engravings in which you may see how carefully the artist 
 has distinguished between the lights and shades of objects 
 in the foreground and those in the distance. 
 
 These air effects, however, make themselves apparent to 
 an educated eye within a distance of a few feet. If, for 
 example, Fig. 56 represents a group of models seen from a 
 distance of ten feet, the same group would show far less 
 variety of light and shade seen from a distance of twenty. 
 Even in the group as it stands, the lights and shades on the 
 vase are more distinct than those on the further ends of 
 prism and cylinder. 
 
 Similarly, the ends of models receding from the spectator 
 have their shades less sharply defined than those on the 
 nearer ends (Figs. 28 and 32). 
 
 For our present purpose it will be sufficient to simply 
 state the law of aerial perspective, leaving the student to test 
 its truth : — - 
 
 The relationship between lights , shades , and shadows is 
 altered by distance : the lights grow darker and the shades 
 and shadows lighter . 
 
28 
 
 CHAPTER VI. 
 
 ON PYRAMIDS, THE CONE, AND THE SPHERE. 
 
 The shading of pyramids and cones will present little diffi- 
 culty if the principles of light and shade that determine the 
 position, depth, and gradation of tones upon the surfaces of 
 prisms and cylinders have been thoroughly grasped. 
 
 In pyramids, we find no longer perpendicular but sloping 
 faces ; and in this consists the only important difference 
 between the two classes of figures. 
 
 The Square Pyramid. 
 
 Place a square pyramid, as in Fig. 33, with the light 
 falling from above and from the right. The sides turned to 
 the light will, of course, be brighter than the others. 
 
 As the shaded sides slope from the ground-plane, the 
 reflected light will have less effect upon their upper portions 
 than it would upon the corresponding parts of perpendicular 
 faces. Hence, when pyramids stand with their axes up- 
 right, the portions in shade near the apex will show little 
 gradation. 
 
 Step /. (Fig. 33). — Shade evenly the cast-shadow, back- 
 ground, and ground-plane. 
 
 Step II. (Fig. 33). — Shade the dark face of the pyramid 
 of a depth equal to its lightest portion, comparing this tone 
 carefully with the cast-shadow and the background. 
 
 Step III ". (Fig. 34). — As in the cube, a gradation is seen 
 from the right edge of the shade. The portion near the apex 
 will appear especially dark, as there is little reflection to 
 lighten the tone. 
 
 Step IV . — The lighter side shows a similar gradation, so 
 that the brightest portion of the figure will be along the edge 
 nearest the spectator ; for this brightness is heightened by 
 contrast with the darker side. Lay on this gradation 
 lightly. It should be noticed how bright the apex appears 
 by contrast. 
 


 
 
 i 
 
 
The Hexagonal Pyramid . 29 
 
 Darken the shadow next the pyramid and along its front 
 edge, and the background near the light face. 
 
 The lowest edge of the darker side receives little re- 
 flected light, and should be slightly shaded. 
 
 The Hexagonal Pyramid . 
 
 Place an hexagonal pyramid that the light may fall from 
 the right, and that three faces may be seen from the front. 
 In this case, for the sake of variety of practice, the solid is 
 shown without a background. It may be necessary to out- 
 line lightly some of the extreme edges, especially that of the 
 lightest side. 
 
 The shading of the lightest and darkest faces will be 
 exactly similar to that of the square pyramid. The middle 
 face is intermediate in tone, but its gradations fall from 
 right to left, as on the other two faces. 
 
 Step I. (Fig. 35). — Shade the cast-shadow, ground- 
 plane, and the two faces in shade all of an even tint, equal 
 to their lightest portion. 
 
 Step II. (Fig. 36). — Add gradations to the shaded faces, 
 keeping the darker edges clear. 
 
 Step III . — Gradate the cast-shadow and the lowest 
 edge of the darkest side. The corresponding part of the 
 intermediate face receives reflection, and should not be 
 darkened. 
 
 The ground-plane abutting on the lightest face may also 
 be slightly shaded. 
 
 The Cone. 
 
 As the cylinder may be looked upon as a prism with an 
 infinite number of faces, so the cone may be considered a 
 pyramid whose base is a polygon with an infinite number ot 
 sides. 
 
 If Fig. 37 represent such a pyramid, and the light fall 
 from the right, as indicated in the diagram, clearly the sides 
 1, 2, 3, &c., should grow successively darker in tone. But 
 we have seen, both in the square and hexagonal pyramids, 
 
30 
 
 How to Shade from Models . 
 
 that the darkest portion is not along the outer edge of the 
 darkest side, because of reflection from the ground-plane ; 
 similarly the deepest shade on the cone will be removed 
 from the edge. 
 
 Again, the high light on the pyramids runs along a line ; 
 and so it will be found on the cone. 
 
 Moreover, the shade nearest the apex will be least 
 affected by reflection. 
 
 Step I, (Fig. 38). — Shade the cast-shadow and the 
 background. Draw lightly on the cone the edge of the 
 shade, and lay on its tone of a depth equal to its lightest 
 portion. The right edge should not be brought to a sharp 
 outline, but allowed to be rather uneven, so that the 
 gradation to the high light may be more truthfully rendered. 
 
 Step II. (Fig. 39). — The darkest shade runs from the 
 apex down the shade and near to its outer edge, whence it 
 gradates to the left. 
 
 The high light may be taken to represent the light 
 falling on one of the sides of our imaginary pyramid ; in 
 this case, the side 1. 
 
 Mark the high light with charcoal, so that it may after- 
 wards be easily cleared. 
 
 Fig. 40. — The portion in half-tone gradates to the high 
 light. Be careful to keep the whole tone light — much 
 brighter, in fact, than the reflected light. 
 
 Step III . — Darken the cast-shadow and the shade 
 along its lowest edge. A light gradation on the background 
 near the light edge will complete the drawing. 
 
 The cone lying on its side can be easily represented by 
 reference to the cylinder in a similar position, and to the 
 cone with its axis perpendicular. 
 
 The Sphere. 
 
 A solid india-rubber ball whitened with chalk will do 
 very well if this model should not be supplied with the set. 
 In such case the ball must of course be placed nearer the 
 student. 
 
F" i£f 4 4 b - 
 
 Fig- 47. 
 
 Fig. 49. 
 
 Fig. 45. 
 
 Fig. 48 . 
 
The Sphere, 31 
 
 Place the sphere so that the light falls from the left and 
 from above. 
 
 If now this light fall in the direction indicated by the 
 arrow (Fig. 41), the point immediately under the light — 
 where the rays strike most perpendicularly — must necessarily 
 be the brightest. As the surface of the sphere falls gradually 
 away on all sides from this point, the light strikes at a less 
 and less angle, and we should therefore expect to find a 
 gradation on all sides from the high light. 
 
 The rays at length fall so acutely that they form tangents 
 on all sides of the sphere. The line joining these touching 
 points will be a circle, and will mark where the half-tone 
 ends and the shade commences. 
 
 Thus, if we consider the perpendicular ray to pass 
 through the sphere as an axis, circles drawn on the surface 
 of the globe in planes at right angles to this line will have 
 all the points in their respective circumferences at equal 
 distances from the pole : i.e., from the high light. 
 
 Thus the depth of tone should be equal all along the 
 circle b c, and so with d e and fg; and, as we have seen, 
 the edge of the shade will run along a circle at right angles 
 to the line of direct light (Fig. 42). 
 
 Step I. (Fig. 42). — Indicate lightly the position of the 
 high light and the edge of the shade on the sphere. Draw 
 carefully the cast-shadow. Shade the shadow, background, 
 and ground-plane. Put on the tone of the shaded portion 
 equal in depth to its lightest part. 
 
 Step II (Fig. 43). — As with the cylinder lying on its 
 side (Fig. 32), the darkest shade is not found next the 
 ground-plane, for the lower parts will be brightened by 
 reflected light. The darkest part will therefore appear near 
 the edge of the shade, and will thence gradate towards the 
 ground-plane. 
 
 Add this dark tone and gradate. 
 
 Step III. (Fig. 43). — Gradate the half-tone lightly from 
 all sides towards the high light. 
 
 Step IV — Darken the shadow under the sphere, and 
 
32 How to Shade from Models . 
 
 add a slight tone on the shade, just beside the shadow, 
 where it receives little reflection. 
 
 The Egg. 
 
 The instruction given for shading the cylinders and the 
 sphere renders it unnecessary to speak at large upon this 
 solid. 
 
 An egg placed near at hand on a dark ground will suit 
 admirably (Fig. 44). 
 
 You have but to notice that the high light and the 
 deepest shade will bend according to the curvature of the 
 egg- 
 
 If you refer to the shading of the egg plant (Fig. 76), 
 you will find instances of this. 
 
 CHAPTER VII. 
 
 ON VASES, WHITE AND COLOURED. 
 
 The cube, hexagonal prism, cylinder, square and hexagonal 
 prisms, cone, sphere, and egg will be found to enter largely 
 into the shapes of any common objects you may be called 
 upon to draw and shade. 
 
 Objects of rounded surface will be found to approximate 
 in shape to either the cylinder, cone, sphere, or egg, or to a 
 combination of these shapes. Therefore, we shall look to 
 find these in all kinds of vases. 
 
 Those selected for illustration may not be accessible to 
 the student. In that case he should make enlarged copies 
 of the engravings, and shade according to the directions 
 given. He may then with confidence attack the shading of 
 other vases. But if he can meet with vases approaching 
 the following in shape, he should draw and shade direct 
 from the objects themselves. 
 
 The Long-necked Vase may be looked upon as consisting 
 
The Long-neciced Vase . 
 
 33 
 
 of three parts — neck, bulb, and foot ; the first of which 
 (Fig. 45), b , is a cylinder ; the second, c , a sphere ; and the 
 last, d , part of a cone. 
 
 The light falls from above and from the right. 
 
 Step /. (Fig. 45).— Draw the vase very carefully, and 
 then mark the cast-shadow of the bulb cast on the foot and 
 along the ground-plane. Sketch very lightly with charcoal 
 the outline of the shade on the neck and bulb, and shade 
 it and the cast-shadow of a depth equal to their lightest 
 tone. 
 
 Step II. (Fig. 46). — The neck is cylindrical ; its darkest 
 portion will therefore lie away from the edge. Its high 
 light will run in a line down the neck. 
 
 The bulb is a sphere, and the edge of its shade will run 
 at right angles to the direction of the rays of light. Its 
 high light will be centred in a spot. 
 
 Mark these high lights and add the darkest portion to 
 the shades. These will be near the right edge, whence they 
 will gradate to the left. 
 
 Reflection will lighten the lower right-hand portion of 
 the bulb, while that on the left will be dark, turned away 
 as it is from the reflected light. 
 
 Step III (Fig. 46). — The portion marked a will be 
 found to be dark and to have a clear-cut edge ; for this is 
 the shadow cast by the neck along the bulb. 
 
 For the same reason the shadow of the bulb on the 
 foot will show a clean edge. (See Fig. 48, where the foot is 
 enlarged.) 
 
 Sip IV. (Fig. 48). — The foot is part of a cone, and if 
 there were no cast-shadow overlying it, the darkest portion 
 would appear removed some little distance from the left 
 edge, whence there would be a gradual gradation to the 
 high light on the right. Now, although the greater portion 
 is overlaid with shadow, these differences are maintained, 
 though in a darker key. The foot as a whole appears 
 darker than either bulb or neck. 
 
 The high light runs in a line. (See Cone.) 
 
 c 
 
34 
 
 How to Shade from Models. 
 
 Sup V . — Gradate the half-tones on neck and bulb 
 towards the high light. 
 
 Fig. 47. — The lip and inside of the neck are shown 
 enlarged. Within, as we might expect, the point b, imme- 
 diately opposite the light, will be brightest. The shadow 
 thrown by the rim should be clearly drawn. Its darkest 
 portion will be found nearest the edge of this shadow at a , 
 for the other part is lit up by reflected light. 
 
 (This gives the shading of the inside of hollow hemi- 
 spheres, such as bowls.) 
 
 In showing such minute detail it will be found advisable 
 to use smaller stumps. The darkest portions may be in- 
 serted with the crayon. 
 
 The Long-bulbed Vase consists of three portions — neck, 
 shoulder, and bulb ; the first a curved cylinder, the second 
 a hemisphere (as far as b c), and the last a cylinder. 
 
 The light falls from the left. 
 
 Step I. (Fig. 49). — The rim casts a shadow on the neck. 
 Its outline gradually becomes less defined as the shade 
 sweeps down the vase. 
 
 Draw this and the cast-shadow along the ground, and 
 indicate lightly the edge of the shade on the vase. The 
 high lights will be a spot on the shoulder and a curved line 
 along the bulb. Mark the position of both. 
 
 Shade the cast-shadows, noticing that the darkest of 
 all is under the lip. Then lay the shades on the vase all of 
 their lightest depth. 
 
 Step II. (Fig. 50). — Darken the shades near the left edge, 
 and gradate towards the right. Notice how these follow 
 the forms of the sphere and the cylinder. 
 
 Step III — Gradate the shades towards the high lights. 
 
 The neck, being cylindrical, will appear darkest away 
 from the light, but not quite on the edge ; and overlaid 
 as it is with a shadow, these differences will still obtain, as 
 we saw with the foot of the last vase (Fig. 48). The 
 whole tone will simply be darker throughout. 
 
 Add the necessary gradations in this shadow, and darken 
 

 
 lassasi® 
 

 
 
 
 
 
Coloured Vases. 35 
 
 especially the right hand of the shadow. The inside of the 
 lip will require care. 
 
 Step IV . — Deepen the cast-shadow along the ground- 
 plane where necessary. 
 
 Coloured Vases. 
 
 Hitherto, we have been dealing with white surfaces, 
 which show minute differences of light and shade that are 
 partly lost on dull coloured objects. Yet, if we were to 
 colour any of the geometrical models, we should still find its 
 masses of shades and lights distributed as before, though 
 the gradations would be less marked, and the effects of 
 reflection not so pronounced. Now, common objects are 
 seldom white, so it is well to see how the presence of colour 
 modifies their tones. 
 
 The vase selected for illustration was coloured a dull 
 red. If you take two rectangles — one white, the other red — 
 and place them on a sheet of light brown paper, it must be 
 evident that to express the tone of both, without using colour, 
 you must shade the whole of the red darker than the white 
 rectangle. There would, therefore, be three tones : the 
 darkest to represent the red rectangle, the next in tone 
 for the ground-plane, and the lightest for the white 
 rectangle. 
 
 Among several coloured objects you will at first find it 
 difficult to decide which is lightest and which darkest in 
 tone. You should first select those whose colours are 
 strongly marked, until you are able to appreciate finer 
 differences. 
 
 But to the vase in hand. As it is coloured, its whole 
 tone must be dark. 
 
 Its cast-shadow, however, will be scarcely darker than 
 that thrown by a white vase. In the latter, a slight reflec- 
 tion from the body of the vase may partly lighten the cast- 
 shadow, but very slightly. Broadly speaking, cast-shadows 
 do not depend for their intensity upon the colour of the 
 objects that cast them. 
 
36 How to Shade from Models. 
 
 Hence, since the whole shading of this red vase will be 
 in a dark key throughout, there will be less difference 
 between the depths of its shades and its shadows along the 
 ground. 
 
 Step /. (Fig. 51). — Cover the whole vase with a tone 
 equal in depth to the apparent lightest part of its surface. 
 
 Draw the cast-shadows on the ground and on the vase. 
 There are three : that from the rim along the neck, a 
 second from the bulb along the foot, and the third of the 
 whole vase along the ground. 
 
 Step II. (Figs. 51 and 52). — Mark the outline of the 
 shade. Shade the cast-shadows, of which the darkest will be 
 that thrown by the rim. 
 
 Step III (Fig. 52). — The neck is cylindrical, the bulb 
 egg-shaped, the foot a cone. There is no need to recapitu- 
 late the principles of light and shade that apply to these 
 bodies. 
 
 Mark the high light on the bulb, and lay in the shade of 
 an even tint. 
 
 Step IV . — Gradate the half-tones on the bulb, rim, and 
 foot, towards the high lights, which, of course, will not be 
 white . (You must remember, however, that if the vase were 
 
 glazed its high lights would then be quite white.) 
 
 Darken the cast-shadow where required — under the rim 
 to the right, under the bulb to the right, and on the 
 ground near the vase. 
 
 Fig. 53 gives an enlarged drawing of the neck, and Fig. 
 54 of the foot. Careful consideration of the vase with these 
 in hand should make the method of shading clear. 
 
 Vases are difficult objects, and should be placed in all 
 possible positions. If you mentally analyse them into the 
 geometrical forms to which they approximate, you should 
 be able to account for all lights and shades upon them. 
 
Fig. so, 
 
37 
 
 CHAPTER VIII. 
 
 on groups; time-tests; common objects. 
 
 When models stand in groups, we find their masses of tone 
 falling mainly as when the objects are alone; but the 
 proximity of others will modify their lights and shades by 
 reflection or by cast-shadows. Thus, in Fig. 56 the under 
 side of the cylinder is lit up considerably near the vase by 
 reflection from its bulb ; and a shadow from the neck of the 
 vase sweeps strangely across a face of the square pyramid. 
 
 Step /. (Fig. 55). — Arrange a group as shown, with the 
 light from the left. Draw the whole carefully, and sketch 
 in all shades and cast-shadows, (If you intend making a 
 finished drawing, it would be well to transfer the whole to a 
 sheet of Whatman's “ Not." — See Appendix.) 
 
 Step II (Fig. 55). — Either in a corner of your paper, or 
 on a separate sheet, make a sketch of the group in pencil 
 about as large as here shown. Look carefully through the 
 group, decide on the darkest tone, and mark this on your 
 sketch with a figure 1 ; find the next darkest, and indicate 
 this by 2 ; and so on. You may find several parts of the 
 same depth (as 3 in sketch). In each case, mark with the 
 same figure. 
 
 By using this method you will be quite decided in your 
 mind from the beginning : a great advantage when you are 
 working against time. It will also prevent your following 
 the absurd practice of shading one object completely before 
 touching the other members of the group— a practice by 
 which all breadth of effect is lost. 
 
 Step III \ (Fig. 56). — Shade evenly all portions marked 
 1 ; proceed to those marked 2 ; and so on. 
 
 Step IV. — Add all gradations where required. 
 
 Probably, for a first group the cylinder and pyramid 
 would be found sufficient. Whether simple or complicated, 
 the method is the same. 
 
33 
 
 How to Shade from Models. 
 
 Be sure your outline is correct, for mistakes in this will 
 only be emphasised by the shading. Work slowly. Samuel 
 Prout says : “ Correct drawing is essential to every work of 
 art ; nothing can atone for the want of it, and without it all 
 other excellencies will be valueless. It is one thing to 
 draw, and another to draw correctly. Rapidity may be, and 
 is, desirable, but only when it results from the confidence of 
 knowledge, and is united with correctness.” 
 
 Time-Test in Model Shading. 
 
 In this examination by the Department the time allowed 
 the candidate for the second grade depends upon the diffi- 
 culty of the group, and is decided by the inspector. 
 
 In the third grade examination, two and a half hours 
 are given; and since the group drawn (Fig. 56) is of 
 average difficulty, and has to fill a half-imperial sheet, the 
 candidate will find it important to work systematically ; for 
 experience will prove that method is infinitely preferable to 
 an uncertain way of setting to work. 
 
 You should endeavour to give a good general broad 
 effect of the group. Let it above all be drawn correct in 
 outline. Next sketch carefully the shadows and shades 
 throughout, and then block them in of their average depth. 
 
 The numbered sketch would be found of material 
 assistance, for, by working over the whole group in this 
 way, one is more certain to obtain breadth . 
 
 An hour given to outlining, and another to the blocking 
 of shades, will leave half an hour, in which the candidate 
 should endeavour to make a more finished shading of the 
 principal object in the group — in this case, the vase. 
 
 Common Objects. 
 
 If these are treated as though composed approximately 
 of the common geometrical forms, there should be little 
 difficulty in deciding the position of their shades. (See on 
 Vases.) 
 
 Thus, on the cube are based such objects as boxes, 
 
Vuj-57- Fig. 38. 
 

 
 
 
 
 
 
 
 
 % 
 
 
 4 
 
 
 
 
 
Shading from the Cast . 39 
 
 books, some articles of furniture, buildings, square towers ; 
 on the hexagonal and other prisms, columns and turrets ; 
 on the cylinder, trunks and boughs of trees, jugs, flagons, 
 cups, some kinds of coffee and tea-pots ; on the sphere, 
 bowls and many kinds of fruits, as the apple; on the 
 pyramid and cone, roofs, spires, fruits, and roots. 
 
 In shading such, especially if they have dull surfaces, 
 the gradations and reflections will not be very evident, and 
 you must only represent the shades as you see them. 
 Broadly speaking, these shades will appear as on the white 
 geometrical models, robbed of their finer gradations. 
 
 CHAPTER IX. 
 
 ON SHADING FROM THE CAST. 
 
 This subject may be taken up either before or after the 
 previous lessons. It would, however, be decidedly better 
 to pass through such a course, as the differences of light and 
 shade and the effects of reflection and contrast are more 
 readily seen upon large surfaces (such as are met with in 
 the geometrical solids) than upon the cast. 
 
 Should the student decide to begin with cast- drawing, he 
 should first read Chapters I. — III. inclusive, and work the 
 exercises recommended there. 
 
 The student who has worked through the former part 
 of this work will find that although the forms he may meet 
 with in casts of ornament are more complex, and the grada- 
 tions of tone more subtle, the general principles of light 
 and shade, and the methods of representing them, will be 
 the same. He has only to put a cast in a flood of light to 
 see that the brightest parts are those turned directly to the 
 rays, and that the others gradually darken in proportion to 
 the angle at which they are turned from the light. 
 
 The cast should be fixed upright against a wall, at the 
 
40 
 
 How to Shade from Models. 
 
 level of the student's eye, and at a distance of about four 
 feet. The light should come from above, and if to shine 
 also on the student’s board, it should fall from the left ; but 
 if the light can be surrounded with a shade and another used 
 to illumine the work, it may be placed on either side. 
 
 We will first commence with 
 
 The Three Eggs. (Published by D. Brucciani and Co., 
 
 No. 2,813.) 
 
 Step /. (Fig. 57). — Sketch carefully the outline of the 
 rectangular slab. A line passing vertically through the 
 centre of the lowest egg, c, bisects the cast. The horizontal 
 line touching the lower edges of the two upper eggs, a and b, 
 touches also the top of c, and is a trifle above the middle of 
 the cast. 
 
 Mark the axes of the eggs, and sketch them in lightly 
 with charcoal. Draw the shadows cast from, and indicate 
 faintly the edges of the shades upon, each egg. Mark the 
 position of the high light upon each. {See o in Fig. 57.) 
 
 Step II. (Fig. 58). — Shade the background rather lighter 
 than it appears. This may be done either as in Fig. 5 or in 
 Fig. 8, or in the following way : — Take a small piece of wash- 
 leather, rub it over a little stumping-chalk, and having tried 
 it first on a piece of scrap paper to make sure there are no 
 lumps adhering, apply it carefully to the drawing. 
 
 This method should only be used for the background. 
 
 Shade the shadows cast on the background of a depth 
 equal respectively to the lightest portion of each. 
 
 Step III . (Fig. 58). — Lay on the shades of each, keeping 
 the tones throughout equal to the depth of the reflected 
 light. 
 
 The whole is now blocked in, and the shades should 
 bear a general resemblance to those on the cast. 
 
 To test this, place your drawing beside the cast, and, 
 stepping back some ten feet or so, compare them — a method 
 that may be used frequently until you have obtained the 
 broader masses of their proper relative depths. 
 
Ft g. fco. 
 

 
 
 
 
 
 
 
 
 
Shading from the Cast. 
 
 4i 
 
 Step IV. (Fig. 59). — Darken the shades near their left 
 edges, and graduate towards the reflected light. {See on the 
 Sphere and the Egg.) Lay on a very light gradation towards 
 the high light on each egg. The whole of the portion in 
 half-tone is considerably lighter than the reflected light. 
 A very common mistake is to get the latter too bright. If 
 you retire some distance from the cast, you will find that 
 while you are scarcely able to distinguish the reflected light 
 the half-tone remains quite bright. 
 
 Step V. — Part of the cast-shadow from a falls on b, and 
 part on c. Be careful to draw these well, and, in shading, 
 to keep their edges sharp. 
 
 Darken the cast-shadows on the background near the 
 edges of the eggs. All such deepenings of tone should be 
 gradated. 
 
 Here and there the effects of reflection may be seen 
 strongly marked, as, for instance, on the upper portion of c. 
 All such must be shown, but you must be careful not to 
 break up the broad masses of shade — i.e., from a distance the 
 two broad divisions of light and shade should be clearly seen. 
 
 The background may be darkened slightly wherever a 
 very light portion — as, for instance, the bright side of the 
 eggs — is to be made prominent. 
 
 Recapitulation . (General method for shading casts.) 
 
 1. — Sketch the outline of the eggs, their cast-shadows, 
 and their shade. 
 
 2. — Lay on the background rather lighter than it appears. 
 
 3. — Shade the cast-shadows of an even tint, corre- 
 sponding to the lightest portion of each. 
 
 4. — Add the deepest parts of the shades, and gradate 
 them first towards the reflected light, and then towards the 
 high light. 
 
 5. — Deepen the cast-shadows. 
 
 6. — Add small gradated tints to the background where 
 required. 
 
 Fig. 60 shows the cast lying down. It is not intended 
 
42 
 
 How to Shade from Models . 
 
 to be drawn as the next exercise, but is merely inserted to 
 show how a cast may be used for several drawings. 
 
 The Sphere and Boivl (No. 2,482). 
 
 Arrange the cast according to the shadows shown in 
 Fig. 62. 
 
 Step I (Fig. 61). — Draw the rectangular edges of the 
 cast and the three concentric circles, representing respec- 
 tively the edges of the bowl and the outline of the sphere. 
 
 The arrow shows the direction of the rays of light. 
 Consequently, the high lights will be on the sphere at the 
 point marked o, in the bowl at G, and on the edge at j. 
 
 The line a b, joining the extreme points of the shadow 
 thrown within by the bowl; the line c d, joining the points 
 of the shadow thrown without by the bowl ; and e f, joining 
 the edges of the shade on the sphere, are at right angles to 
 the direction of the rays of light. The line o g nearly 
 bisects the cast-shadows. 
 
 Step II. (Fig. 62). — Draw carefully the cast-shadows and 
 the shade on the sphere. 
 
 Shade the background lightly, and the cast-shadows and 
 shades of an even tint equal in depth to their lightest tone. 
 For instance, the general tone of the shadow thrown outside 
 by the bowl is darker than the shadow thrown by the 
 sphere, and this in turn darker than that thrown inside by 
 the rim. 
 
 In all cases keep the edges of these shadows well defined. 
 
 Step III. (Fig. 63). — Shade the rim of the bowl, which 
 is slightly darker than the background. Add the darkest 
 part of the shade on the sphere, and gradate towards the 
 right edge. 
 
 Gradate its half-tone towards the high light. 
 
 Step IV. — Gradate the half-tone on the bowl to its high 
 light at G. The ivhole tone is lighter than the background. 
 
 With a piece of bread lighten the chalk along the extreme 
 left edge of the bowl at j, so as to leave its high light. 
 
 Step V . — Darken the shadows where required. The 
 
Fig l . Fig L,Z. 
 

 
 
 
 
 
 
Shading from the Cast . 
 
 43 
 
 shadow within the bowl cast by the edge will be darkest 
 where it meets the half-tone, and along the extreme left 
 edge — i.e., along the rim. 
 
 That is, the central part of the shadow is lightest, for it 
 is lit up by reflected light. (Compare with the inside of the 
 neck of the vase, Fig. 47.) 
 
 Similarly, the shadow of the sphere will be lightest 
 towards the centre. In both cases a gradation should be 
 laid over the whole tone from the centre to the edges. 
 
 The shadow thrown outside by the bowl will be darkest 
 near the rim and along its lowest edge. 
 
 The Pomegranates (Fig. 64). 
 
 The rounded forms met with in casts of ornament 
 are seldom of so simple a character as the egg and sphere. 
 A good introduction to these more complex shapes can be 
 found in fruits of varied surface, as the pomegranate. 
 
 A little pipe-clay loosened by hot water, and brushed 
 lightly over the fruit, will give them a good cast-like appear- 
 ance. In the present case, the pomegranates were then 
 suspended by a white cord from a peg, which was thrust 
 through a sheet of cardboard for background. 
 
 The light is not from above ; the shadow is therefore 
 not so agreeable as it would have been had the light been 
 placed differently. 
 
 In shading these, draw carefully the cast-shadows and 
 the exact shape of each piece of shade on the surface of the 
 pomegranates. Lay on the broad masses first : that is to 
 say, those most apparent from a distance. Then, from close 
 at hand, shade the lighter gradated shades. 
 
 As there are several projections on each fruit, so there 
 will be several high lights. 
 
 The Lily Leaj (No. 2,502). 
 
 Leaves form such an important element of many 
 ornamental casts, that one cannot be too careful in giving 
 them their true character. For this purpose nothing is a 
 
44 How ro Shade from Models . 
 
 better preparation than such a cast as that now before us 
 
 (Fig- 65). 
 
 The light should fall from the left and from above. The 
 most difficult part to be shaded will be found to be within 
 the shadow cast by the left edge of the leaf over the 
 surface. 
 
 Step /. (Fig. 65). — Draw the rectangular edge of the 
 cast and the outline of the leaf. 
 
 Sketch carefully the cast-shadow thrown by the right 
 edge. Mark the veins on the right. 
 
 Now, since the surface of the leaf is cut up by grooves 
 running from the central rib towards the sides, the shadow, 
 thrown by the left edge of the leaf, will be curved in 
 obedience to these variations of surface. 
 
 It is most important to draw the outline of this shade 
 correctly, for without adding gradations, this will show the 
 character of the leaf — a quality far more important than 
 mere finish. Draw the small patches of shadow scattered 
 about the leaf. 
 
 Step II (Fig. 65). — Lay both shadows and shades of a 
 depth equal to the lightest portion of each respectively. 
 Remember to keep the edge of the cast-shadows clear, but 
 the edge of the shade less decided. Thus c d is not so 
 sharp in outline as a b. 
 
 Step III. (Fig. 66). — Darken the inside shadows from 
 the central rib to the edge of the shadow a b. 
 
 Reflection lights up the inside of the leaf. Therefore 
 (as in the similar curved surfaces of cylinder and cone) the 
 darkest portion will be found near the edge of the shade, at 
 c d. Add this, and gradate slightly towards the central rib; 
 and then very slightly from c d towards the left. 
 
 Step IV . — Using a smaller stump and little chalk, shade 
 the light gradations from the ribs marked on the light right- 
 hand portion of the leaf, and then those within the shaded 
 portion. The extreme left-hand thickness of the leaf is 
 turned directly to the light, and is, therefore, bright. This 
 may be shown by wiping out portions with bread, or by 
 

 
 
 
 
 
 
 
 
 
 
 
 
Shading from the Cast. 
 
 45 
 
 bringing the background to within a short distance of the 
 shade on the leaf. (The rim is not white in every part.) 
 
 Step V . — Lay on all the minute gradations you can see. 
 For this purpose the stump should be almost entirely cleared 
 of chalk. Darken the outside cast-shadow where required, 
 and add a dark line of shade along the lowest left-hand edge 
 of the leaf. 
 
 CHAPTER X. 
 
 THE APPLES ; TIME-TEST SHADING FROM THE CAST. 
 
 Our next cast contains leaves of a complex character, and 
 apples, whose surfaces are more varied than spheres. The 
 former lessons on the pomegranate and lily leaf will have 
 anticipated many of its difficulties. 
 
 Step I. (Fig. 67). — Draw the rectangular edges of the 
 cast. Fix the points a, b, d, e, f, g, and draw lines from 
 each. These will represent the ways in which the charcoal 
 stick should be held before the eye in deciding the direction 
 of the blocking-in lines. 
 
 Sketch in lightly the lines k l and m n ; then draw the 
 apples themselves, and block the shapes of the leaves. Be- 
 ginning with a, and so on to b, d, and f, make the outlines 
 as correct as possible. 
 
 Step II . — Draw the shapes of all the cast-shadows and 
 shades. Make, in the corner of your paper, a small pencil 
 sketch of the cast, and, deciding on the darkest portion, 
 mark it with the figure 1. It will lie between the apples. 
 Proceed to find the next darkest tone, and mark it 2, and so 
 on through 3, 4, &c. A drawing as large as Fig. 67 would 
 be of ample size. 
 
 Step III (Fig. 68). — With this sketch before you, lay on 
 first the background of a light tint, and then, beginning with 
 the darkest shadow, 1, shade through all the numbers, 2, 3, 
 
46 
 
 How to Shade from Models. 
 
 4, & c. In all cases lay these tones equal to their lightest 
 portion, so that the drawing appears as in Fig. 68. 
 
 Step IV. (Fig. 69). — The shadows and shades are now 
 blocked in throughout, and you may begin to add the 
 necessary gradations. 
 
 Begin with the leaf a, where you will find enough to tax 
 all your care and skill. As it would have been impossible 
 to show all its minute variations of light and shade on the 
 small drawing, a special study has been drawn (Figs. 71 
 and 72). 
 
 Draw carefully, as in Fig. 71, all the shades in the leaf ; 
 the three most important are already there. After drawing 
 the veins, proceed to finish as you did with the lily leaf. 
 Consideration of the two drawings (Figs. 71 and 72) will 
 render further explanation unnecessary. 
 
 Be careful, above all, not to get the tones too strong. 
 To guard against this, from time to time place your shading 
 beside the cast, and view both from a distance. 
 
 The other leaves should be finished in a similar fashion. 
 
 Step V.—The Apples . — One of these (the upper) has been 
 shaded alone (Fig. 78). The body is not quite spherical, 
 and its outline should be carefully drawn. It is, in fact, the 
 attention paid to these small differences that distinguishes 
 good from indifferent work. 
 
 The eye of the apple lies in a small hollow, and should 
 be shaded, with the high light standing on both sides of it. 
 
 A strong reflected light from the lower apple is seen in 
 the shade of the apple before us, but you must be careful 
 not to let this grow as light as the portion in half-tone. This 
 latter gradates on all sides towards the high light. (Compare 
 with the sphere.) 
 
 When the shading of a cast is complete, no hard outline 
 should appear. This should be formed by bringing adjacent 
 tones to a clear edge. Thus with the apple under considera- 
 tion : its high light is brighter than the tone of the neigh- 
 bouring leaf to the left. Its edge here will, therefore, be 
 expressed by bringing the tone of the leaf accurately to the 
 

Shading from the Cast . 
 
 47 
 
 faintly-sketched outline. Just below the high light, the leaf 
 is lighter than the apple ; the tone of the latter is, therefore, 
 worked carefully up to the outline, and so on. 
 
 By this means, all hard outlines are omitted, and the 
 completed apple stands amidst its surrounding leaves, as in 
 Fig. 70. 
 
 Samuel Prout ; speaking of this point in reference to 
 light and shade in landscape drawing, says: “ Positive forms 
 and harsh cutting outlines are contrary to truth and beauty, 
 and should never force themselves on the eye, except in 
 small proportion to produce solidity.” This applies equally 
 to cast shading. 
 
 Time- Test — Shading from the Cast . 
 
 In the second grade, the time allowed will be decided 
 by the inspector according to the difficulty of the cast. 
 
 In the third grade examination four hours are given. The 
 cast of apples just drawn is of average difficulty for the latter. 
 
 The method recommended for either examination is the 
 same. First make a careful and correct outline in charcoal 
 of the whole. Then indicate, by numbering, the depths of 
 light and shade, upon a pencil sketch that may be made in 
 the corner of your paper, or, if you prefer it, by charcoal on 
 the drawing itself. 
 
 Next block in the shadows of their average depth. This 
 is very important, for by expressing these truly you obtain 
 breadth of effect. If you have worked expeditiously, you 
 should have at least one hour left, in which you might work 
 up completely a leaf or an apple (Figs. 70 and 72), to show 
 how you would have proceeded to finish the cast. 
 
 You might, with practice, complete even more, but it is 
 advisable not to scamp your work. 
 
 The Egg-plant (No. 484 b). 
 
 The deep under-cutting of this cast— a portion from the 
 frieze of the famous Ghiberti Gates — makes it especially 
 useful for showing light and shade. 
 
48 
 
 How to Shade from Models . 
 
 It has been selected here as a specimen of the more 
 advanced work required to be sent in for the Art Class 
 Teachers’ Certificate. 
 
 The blocking of the shades and shadows is shown in 
 Fig. 75, and the completed drawing in Fig. 76. It should 
 be shaded after the same method as the last cast. 
 
 There are a few fresh features that may need explana- 
 tion. 
 
 1. The Leaves . — Those along the upper row are flat, and 
 it is somewhat difficult to determine their exact amount of 
 shade. A little consideration will show that since they lie 
 parallel to, and almost flush with, the background, they must 
 be mainly of the same tone as the background. 
 
 Figs. 73 and 74 show the leaves in process, and com- 
 plete. First shade them flat as in Fig. 73, and sketch upon 
 them lightly the shape of the shaded portions. Then, with 
 the greatest care, put on the minute gradations from right 
 to left. The left edge of the leaves is bright, and the right 
 casts a thin shadow. Moreover, as the right edges are 
 curved a little, reflected light from the background and 
 surrounding forms will cause the deepest part of the small 
 shade to stand away from the shadow. 
 
 The other leaves are not so difficult, as their light and 
 shade are more distinct. 
 
 2. The Fluted Border . — We will take the lower one. Its 
 upper rim is turned to the light, and is consequently bright. 
 Shade the fluted portion as shown, i.e., of the depth of the 
 lightest portion (Fig. 75). Next add the two gradations : 
 the first from the upper edge towards the centre (along 
 which the high light runs) ; the second from the high light 
 towards the lower edge. Compare the incomplete and 
 complete drawings. 
 
 It would be as well to mark lightly the position of the 
 high light along the ridge before adding these gradations. 
 
 We have throughout insisted upon the importance of 
 looking at a group or a cast as a whole . It is a fundamental 
 mistake to take each part, and to consider it without 
 
Shading from the Cast. 
 
 49 
 
 relation to its depth of tone to all other parts : which it is 
 impossible to do if you proceed as shown in this work. 
 
 Again quoting Samuel Prout (an acknowledged master 
 in chiaroscuro) : — “ The excellence of light and shade 
 mainly depends upon breadth. Objects, and therefore the 
 parts of an object, should be treated as a mass ; but to give 
 to each separately its proportion of light and shadow is to 
 form pictures of parts — the very opposite of breadth.” 
 
 And Sir Joshua Reynolds, in his notes on Fresnoy : — 
 “ The highest finishing is labour in vain, unless at the same 
 time there be preserved a breadth of light and shadow.” 
 
 D 
 

 
 
 
 * 
 
 
 
 
 
Fig(*7 Fiq.Loii. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
APPENDICES. 
 
 I. — ON PENCIL AND CRAYON-SHADING. 
 
 Cross-hatching. — The great advantage the stump has 
 over either pencil or crayon lies in the rapidity with which 
 shades may be applied and the broad effects produced. 
 But for small, delicate work the point may be used with 
 advantage. 
 
 We shall first speak of cross-hatching : a method which, 
 as its name implies, consists in merely placing lines across 
 one another. 
 
 If you take any flat surface— -as the face of a cube — you 
 can draw straight lines across it in an infinite number of 
 directions. They might be parallel to the edges, at right 
 angles to them, or, indeed, at any angle you choose. But, 
 on the rounded surface of a cylinder , in one direction only 
 can such straight lines be drawn, i.e., parallel to the axis of 
 the solid. 
 
 Lines in other directions must necessarily be curved. 
 
 Again, the only straight lines that can be placed on the 
 rounded surface of a cone must run from the apex to the 
 base to form in each case the hypotenuse of a right-angled 
 triangle, whose perpendicular side is the axis of the cone. 
 Every other line must necessarily describe a curve. 
 
 The sphere is curved in every part, and no straight line 
 can be drawn upon it. 
 
 In this you have the whole principle of cross-hatching. 
 All flat surfaces — whatever their outline, square, circular, or 
 irregular— should be shaded entirely by straight lines ; the 
 cylinder and the cone by straight and curved lines; the 
 sphere by curves alone. That is : lines should vary in curve 
 and direction according to the surface they are to represent . 
 
52 How to Shade from Models. 
 
 Beautiful examples of this may be seen in the best of 
 the old line engravings. 
 
 Materials . — The materials required are a b b pencil or 
 a Conte crayon No. 2, and rough paper of any description. 
 The French paper recommended for stumping will suit 
 admirably. 
 
 The point of the pencil — there is no need to add 
 “ crayon,” for these directions apply to both — should be 
 sharpened in a chisel form, and the widest sides used for 
 the broadest masses of shadow. The sharper sides will be 
 found useful for clearing the edges or for the smaller tones. 
 
 Preliminary Exercises. — I. Mark out a sheet of French 
 paper into several divisions. In one, draw a number of 
 straight lines as parallel as possible to the other ; then carry 
 another set of similar lines across these, but not at right 
 angles. The insterstices will be rhomboidal rather than 
 square (Fig. 77). You have but to carry such lines across 
 in other directions to get a tone of any depth you please. 
 In Fig. 78 such a darkened tone is shown. The pencil 
 should be carried lightly across the paper, which is made 
 rough, so that the projections may catch the lead and 
 leave the hollows shining through. Says Hume Nisbet 
 in “ Life and Nature Studies’’ : — “ Learn to walk over the 
 surface again and again without disturbing or blotching 
 your last tracks ; raise no mud, but to the last try to show 
 the paper shining through ; lean heavy, and your pencil 
 digs into your paper and leaves furrows which are opaque 
 for ever ; skim lightly, and you will grow dark without 
 growing black.” 
 
 II. In another division (Fig. 81) place a number of 
 parallel straight lines, and cross these by curves running 
 not at right angles ; cross these in other directions by other 
 curves. This will be the method of shading cylindrical 
 bodies. 
 
 III. Draw diverging straight lines, from a point (Fig. 79), 
 and cross these as before by curved lines : this shows the 
 shading of cones. 
 
Pencil and Crayon-Shading. 53 
 
 IV. Draw parallel curves (Fig. 80), and cross these by 
 others : the shading of a sphere. 
 
 Flat Tints ( continued ). — I. Sketch a square, a circle, 
 and a hexagon. Cover these by straight cross-hatched lines. 
 Shade the circle deeper than the square, but lighter than 
 the hexagon. 
 
 II. Rectangles as in Fig. 7 should be drawn, and flat 
 tints laid round them. 
 
 The lines should not in any case encroach on the space 
 to be left clear. 
 
 Gradations . — I. Flat surfaces (Fig. 9). — : Draw a divided 
 rectangle as shown, and fill each division with a flat tint, 
 increasing in depth as the lowest is approached. 
 
 Fig. 10. — Still using straight lines, make as even a 
 gradation as you can. Even in the darkest portion the 
 tone should not be a dead black. 
 
 II. (Fig. 13). — Fill with flat tints as before. Then 
 (Fig. 14) begin in this case in the middle, and, working first 
 to the left and then to the right, leave the crossing lines 
 more open and less numerous as the sides are reached. 
 
 Gradations on Ciirved Surfaces (Fig. 20). — Draw the 
 circle, and cover the whole with curved lines, spreading from 
 the dark point below. Cover these with other curves, 
 gradually decreasing in number and closeness towards the 
 lightest portion. 
 
 The Geometrical Models . — In shading models, the steps 
 to be taken are the same as advised for the stumping 
 method. 
 
 To make our meaning perfectly clear, we show here the 
 shading of a cylinder. 
 
 Step /. (Fig. 84). — Draw the shadow and mark the 
 outline of the shade. Lay the shadow evenly by means of 
 straight lines only where it falls along the flat surface. (If it 
 met a rounded body the lines would be curved, as in the 
 right-hand portion of the shadow.) 
 
 These lines may be drawn broad and close without 
 necessarily crossing them. 
 
54 
 
 How to Shade from Models . 
 
 Step II — Lay the shade by means of straight lines 
 running down the face of the cylinder (Fig. 84). To show 
 the darker portion of this, cross the shade near the edge by 
 curved lines, by means of which a gradation should be 
 made towards the edge. 
 
 Step III — Mark the high light and gradate the half- 
 tone from the edge of the shade, either by means of straight 
 lines alone growing gradually wider apart, or by such lines 
 lightly crossed. 
 
 Step IV \ — Gradate the upper circular end by means of 
 straight lines only, for it is a flat surface. Gradate the cast- 
 shadow by similar lines. 
 
 After completing the course in model shading, you may 
 attempt the shading of casts ; but, of course, unless you are 
 skilful, these will take very much longer than if shaded by 
 the stump. 
 
 All the drawings illustrating this work were shaded by 
 the point, but that simply because the stump cannot be 
 applied successfully to the lithographic process. If it 
 could, there would be little hesitation in deciding whether 
 or not to use it. 
 
 In short, for chalk shading the stump is freer, bolder, 
 and altogether to be preferred, especially for large masses of 
 shadow and for delicate gradations. 
 
 The Pencil or Crayon used with the Stump . — The stump 
 and point are sometimes used together effectively in the 
 following manner : 
 
 Flat tints are laid by the stump, and then this tint is 
 gradated by means of lines cross-hatched upon it. 
 
 Thus with the cube : first lay the tints as in Fig. 22, then 
 add the gradations from the corners and darken the shadow 
 with the crayon, using, of course, straight lines only. 
 
 Again, if you are shading rounded surfaces — as, for 
 example, the sphere — you will first lay the shade flat (Fig. 
 42), and then by means of curved lines (Fig. 80) add the 
 necessary gradations. 
 
 Of cou.se, if you are shading with pencil the stumping- 
 
r 
 
 
 
 
 
Sepia and Monotint Painting . 
 
 55 
 
 chalk must not be used at all. In such case take a piece 
 of rough paper, and rub the b b pencil over it until there is 
 a good deposit of lead. Then with a stump that has not 
 been used for chalk shading lay the required flat tints. 
 These should be cross-hatched with the pencil only. 
 
 Neither can the crayon be used for hatching over pencil 
 shades. The great drawback of this method is that the 
 lines are apt to appear too black over the greyer tint. 
 
 II. — SEPIA AND MONOTINT PAINTING. 
 
 * Shading with the stump forms a capital introduction to 
 water-colour painting in monotone, as there is very much in 
 common between the two methods. In both, broad tints 
 can be laid, and gradations added without unnecessary use 
 of the point — of the crayon in one case, of the brush in 
 the other. In both, stippling and such like “ niggling ” 
 methods are to be used only where absolutely necessary, 
 the skill of the worker being shown rather by the breadth 
 than the finish of the drawing. 
 
 Having selected your colour— sepia, Indian ink, or blue- 
 black, as the case may be- — grind it up in three or four 
 saucers, the colour increasing in depth so that the first may 
 be light, the second darker, and so on. Two glasses of 
 clean water are needed : the one for freeing brushes from 
 colour, the other for washing over the tints. 
 
 Materials . — In addition to the colour, you will require 
 large sable brushes and Whatman's paper ; — for large, bold 
 work (such as groups of models), the rough double-elephant ; 
 for more refined, the “ Not." 
 
 To Stretch the Paper . — The paper must be stretched 
 perfectly flat, otherwise the washing will cause it to rise in 
 ridges, in the hollows between which the colour will collect, 
 leaving the projections comparatively free. 
 
 Soak the paper thoroughly in perfectly clear water, in 
 which, indeed, it may be entirely immersed for two or three 
 hours. 
 
 Then take the paper, lay it flat on the board, and turn up 
 
5 6 How to Shade from Models . 
 
 the edges all round to the depth of about an inch. With a 
 little strong paste cover the underside of this margin, lay the 
 edges flat, and with a clean cloth press the paper firmly to 
 the board, squeezing the superfluous water from the centre 
 towards the sides. The edges should then be pressed down 
 with special care. 
 
 Leave the board in a slightly sloping position to dry, 
 when it will be found perfectly smooth. 
 
 Method . — The principles of light and shade are the same, 
 so that you have merely to learn how to wash in flat tints 
 and gradations. For this purpose the exercises given for 
 stump shading will be found exceedingly useful. 
 
 Take your board with the stretched paper, and incline 
 it at about an angle of 45 0 . Place your glasses of clean 
 water handy, and the saucers of colour arranged in the order 
 of depth of tone (r, 2, 3, & c.). 
 
 Flat Tints . — Divide your paper into two equal parts, 
 in one of which draw a large rectangle, in the other an 
 ellipse. 
 
 (1) With a large brush and clean water wash over the 
 rectangle and the ellipse, being careful to wash exactly to 
 the outlines, so that only the rectangular and elliptical 
 spaces are wet. 
 
 (2) When the paper is so far dry that you can see no 
 water glistening on the surface when turned to the light, 
 but still wet enough to feel damp, with a brush, filled from 
 any one of the saucers, begin at the top left-hand corner of 
 the rectangle, and carry the tint carefully towards the right. 
 
 The colour will spread evenly, and you will find no diffi- 
 culty in leading the colour down to the lower edge. If 
 necessary, you may replenish your brush before reaching 
 the end. 
 
 (3) As you approach the very edge, clear your brush 
 of paint, and with it, perfectly clean and dry, take up all the 
 superfluous paint, that would otherwise collect in a ridge. 
 
 Colour the ellipse in the same way. 
 
 When perfectly dry , wash the whole lightly with clean 
 
Fig. 72 - 
 
 Fig. 71. 
 
 
 ■ - v f • 
 

 
 
 I 
 
 
 * 
 
 
Sepia and Monotint Painting. 57 
 
 water as before, and when again the water has soaked in 
 sufficiently, put another wash over the first. 
 
 For the .sake of practice, it would be well to slope your 
 board at times, so that the right- or left-hand edge or one 
 of the corners may be uppermost. 
 
 /. Gradations. — Stretch another sheet, and divide it into 
 four parts. 
 
 (1) Draw in the first a divided rectangle (Fig. 9). The 
 lines may be sketched in black-lead. 
 
 Wash over the whole rectangle with clean water. At the 
 proper moment, with a brush charged with colour from the 
 first saucer, fill the top rectangle. As the colour runs to the 
 lower edge, clear it with a dry brush, and then immediately 
 filling the brush from the second saucer, colour the second 
 rectangle as you did the first. Similarly colour the other 
 rectangles with the next two tints, when you will find you 
 have a gradation. 
 
 (2) Fig. 10. — Wash the rectangle with water, and pro- 
 ceed as in 1 ; but with this difference : after you have 
 washed in the first tint as far as you think right by compar- 
 ing with the divided rectangle, do not clear the lower edge, 
 but add the second tint to it immediately. Add the third 
 and fourth tints in a similar fashion. 
 
 (By turning your board upside down, and proceeding as 
 in (5), you may obtain this gradation in another way.) 
 
 (3) Fig. 11. — Divide the sector as shown, and proceed 
 as in 1, but with this exception : that you begin with the 
 darkest tint. 
 
 (4) Fig. 12. — As in (2) begin with the darkest, and then 
 by judgment add the lighter tints in their order. 
 
 (5) Another Method . — This last gradation (and by 
 reversing the board, the second (2) also) may be thus 
 obtained. 
 
 Begin with the darkest tint, and when you have carried 
 it far enough, dip the brush as it is into the clean water, 
 and with the colour thus diluted lead the tint down. After 
 carrying the tint a little distance, dip the brush once more 
 
58 How to Shade from Models . 
 
 into the water, and so on. This is the method generally 
 adopted, and after practising gradations by means of the 
 separate tints, you should as soon as possible proceed to 
 use it. 
 
 You will find the first method, however, especially use- 
 ful when the gradation is from light to dark, as in the next 
 exercise. 
 
 II. Gradations ( continued ). — (6) Fig. 13. — After divid- 
 ing the sheet as shown, slope the board so that the left side 
 may be uppermost. After washing with water, fill the rec- 
 tangle on the extreme left (which will now, of course, be 
 uppermost) with the lightest tint, as recommended in 1. 
 Then add the second ; then the third. 
 
 The gradation now runs from dark to light. You may, 
 therefore, use either the method shown in 4 or 5. 
 
 (7) Fig. 14. — Gradate this without using the dividing 
 lines. 
 
 (8) Figs. 15 and 16. — In this case the board should be 
 sloped, so that the lowest left-hand corner may be upper- 
 most. 
 
 The method needs no explanation. 
 
 Ill Gradations over Tints (Figs. 17 and 18). — These 
 present no difficulty whatever. 
 
 After washing in the flat tint, let it get thoroughly dry , 
 and then add the gradations as above. 
 
 You may now proceed to the models. 
 
 For the sake of clearness, we show the method of paint- 
 ing a cube. Objects with rounded surfaces will generally 
 show gradations in two directions, as Fig. 14. If, therefore, 
 the exercises recommended have been carefully worked, 
 these present no new difficulty. 
 
 The Cube (Fig. 23). — No part is perfectly white, though 
 the front edges of the top face are nearly so. 
 
 Decide the number of broad tints you can see on the 
 model, the background, and the ground-plane. 
 
 There are six, the darkest being the cast-shadow ; the 
 next in tone the left-hand perpendicular face; next the 
 

 
 
 
 
 

 
 
 
 
 
Sepia and Monotint Painting . 59 
 
 background, then the right-hand face ; the ground-plane ; 
 and lastly the top face (Fig. 22). 
 
 Now in one saucer (or in one compartment of a grind- 
 ing dish) prepare a tint equal in depth to that of the top 
 face. You may test the depth by colouring a strip of paper 
 with the wash, and comparing it when dry with the tone. 
 
 Grind another tint of such a depth that when ivashed 
 over the first the two will give a tone equal to that of the 
 next darkest — the ground-plane. You can test the depth 
 by using the strip of paper which you have already coloured 
 with the first tint. 
 
 Proceed similarly to obtain the remaining four tints. 
 
 (1) Draw in pencil the cube and its shadow. Wash 
 the sheet with water, and then cover the whole with the 
 lightest tint. 
 
 (2) When dry , wash again with water, with the exception 
 of the top face, and then cover the whole with the second 
 tint. 
 
 (3) Then washing with clean water all but the top face 
 and ground-plane, cover with the third tint; and so on 
 through the others. 
 
 The shading will then appear as in Fig. 22. 
 
 Of course, these tones might have been obtained by 
 taking so many different depths of colours, and washing 
 them in at once. Thus, suppose the whole background only 
 to have been laid. You add now, for instance, the right-hand 
 face alone, at once of its proper depth. Beside this you 
 next lay the darker perpendicular face alone ; and so on. 
 
 But you would find it impossible to make such tones meet 
 at an edge without producing a hard line ; whereas, there is 
 much less chance of this happening if you wash over a tint 
 with another. 
 
 As it is, by the better method hard lines frequently appear. 
 It is well, therefore, at each sitting to wash over the whole 
 drawing with clean water to soften such edges. When this 
 is dry you would then simply wash with water those parts 
 that are to receive a tint, and proceed as usual, 
 
6o 
 
 How to Shade from Models, 
 
 (4) But the gradations are to be added to our cube. 
 
 You have merely to slope the board so that the gradation 
 shall run, in each case, from top to bottom, and add the 
 small gradations according to previous directions. 
 
 The other models can be shaded similarly if you first 
 wash in the broad flat tints, and add the gradations as above. 
 
 Cast-shading. — Wash over the whole with the lightest 
 general tint, which in most cases will be that of the back- 
 ground. The tones next in depth should be added, and so 
 on. The first stage will therefore be represented by 
 Fig. 68. 
 
 In all cases where a dark portion lies in contact with a 
 lighter — as, for instance, in Fig. 59 : the reflected light with 
 the cast-shadow — you should, in washing in the tone of the 
 lighter, carry it also over the darker. 
 
 The high lights, if white, may be removed with a knife, 
 and the delicate gradations from them added. In doing 
 this, be careful that you end with no hard lines on the 
 surface. 
 
 Thus in Fig. 69, when you come to add the gradation 
 on the top apple from the high light to the shade, carry the 
 tone also over the shaded portion ; but if this is already of 
 its proper depth, carry the gradation across the shade with 
 clean water only. 
 
 To Darken Tones. — Occasionally you will find unevenness 
 in your work. Spots of lighter colour will appear here and 
 there, which it would be almost impossible to smooth with 
 washes. 
 
 In these cases, with a smaller brush lay on the colour in 
 strokes by cross-hatching, or even, in delicate cases, with 
 mere points. 
 
 By no means resort to this stippling if you can possibly . 
 avoid it, for the patches are apt, after all your care, to 
 look dead. 
 
 To Lighte?i Tones . — Take a rather hard brush and wash 
 over the part to be lightened with clean water. If it is to be 
 considerably lightened, hold the brush perpendicularly, then, 
 
Fig.77. 
 
Sepia and Monotint Painting. 6 1 
 
 twisting it between the fingers, scrub up, as it were, the 
 colour, which may then be removed by blotting-paper or by 
 dabbing it with a dry cloth. 
 
 By this means you may get rid almost entirely of the 
 colour ; but you should be careful not to use this method 
 too freely, as it is apt to destroy the surface of the paper. 
 
 For high lights — such, for instance, as the rim of the 
 bowl in Fig. 71 — it is sometimes advisable to cover the whole 
 as though there were no high light, and then with a sharp 
 knife scrape off the colour where necessary. 
 
 Sepia-painting, then, speaking generally, is the reversal 
 of the stump method, as far as the first blocking-in of tones 
 is concerned. For, for monotint painting, the numbering 
 in Figs. 55 and 67 should be completely reversed, as we 
 have seen above. 
 
 But, this apart, there is so much in common between 
 the two processes of stumping and washing that they may be 
 well considered as different expressions of the same. 
 
 To Transfer Outlines .- — You may at times wish to make 
 finished drawings of groups or casts. If these are outlined 
 on the paper intended for the completed work, the lines 
 made by the charcoal are apt to assert themselves, for they 
 cannot always be completely dusted away. The paper, too, 
 may in other ways become unsightly. 
 
 It is usual, then, to transfer the drawing to another sheet. 
 Since the first drawing will be destroyed, any common paper 
 may be used for the outline. 
 
 First rub the back ot the paper on which the 
 outline has been drawn with a soft black-lead pencil. When 
 covered, rub off the superfluous lead as far as possible with a 
 cloth — until, indeed, no more will come off readily. Then 
 lay the blackened side on the paper upon which the finished 
 shading is to be made, and after pinning the corners down 
 securely, go over the outline with a pencil. 
 
 You should not press too heavily, or you will dig grooves 
 in the paper beneath, which will appear white lines in your 
 subsequent shading. 
 
62 
 
 How to Shade from Models . 
 
 From time to time lift up one of the corners to see 
 whether the outline is transferring. 
 
 When finished, remove the upper drawing and go over 
 the other lightly with a pencil to secure the outline, but so 
 carefully that the drawing is barely visible. The small 
 quantity of pencil thus used will not interfere with the chalk 
 afterwards used in shading. 
 
 / 
 
 Printed by Cassell & Company, Limited, La Belle Sauvage, London, E.C 
 
Selections from Cassell $ Company's Publications . 
 
 JIluatrateir, jfme-Art, mis otljer Volumes. 
 
 Abbeys and Churches of England and Wales, The: Descriptive, 
 Historical, Pictorial. In Two Vols., 21s. each. 
 
 Adventure, The World of. Fully Illustrated. Vols. I. and II. gs. each. 
 American Library of Fiction. Crown 8vo, cloth, 3s. 6d. each. 
 
 A Latin-Quarter Courtship. By 
 Henry Harland (Sidney 
 Luska). 
 
 Grandison Mather. By Henry 
 Harland (Sidney Luska). 
 
 “ 89.” By Edgar Henry. 
 
 The Tragedy of Brinkwater. By Martha 
 L. Moodey. 
 
 Karmel the Scout. By Sylvanus Cobb, 
 Junr. 
 
 Another’s Crime. By Julian Hawthorne. 
 
 American Yachts and Yachting. Illustrated. 6s. 
 
 Arabian Nights Entertainments, Cassell’s Pictorial. 10s. 6d. 
 Architectural Drawing. By Phen£ Spiers. Illustrated, 10s. 6d. 
 Art, The Magazine of. Yearly Vol. With 12 Photogravures, Etchings, 
 & c., and several hundred choice Engravings. 16s. 
 
 Bashkirtseff, Marie, The Journal of. Cheap Edition . 7s. 6d. 
 
 Library Edition , in Two Vols., 24s. 
 
 Birds’ Nests, Eggs, and Egg-Collecting. By R. Kearton. Illus- 
 trated with 16 Coloured Plates. 5s. 
 
 Black Arrow, The. A Tale of the Two Roses. By R. L. Stevenson. 5s, 
 British Ballads. With 275 Original Illustrations. Two Vols. 7s. 6d. each. 
 British Battles on Land and Sea. By James Grant. With about 
 600 Illustrations. Three Vols., 4to, £1 7s.; Library Edition, £1 10s. 
 British Battles, Recent. Illustrated. 4to, gs. ; Library Edition, 10s. 
 British Empire, The. By Sir George Campbell, M.P. 3s. 
 Browning, An Introduction to the Study of. By A. Symons. 2s. 6d. 
 Bunyan’s Pilgrim’s Progress and The Holy War, Cassell’s Illus- 
 trated Edition of. With 200 Original Illustrations. Demy 4to, 
 cloth, 16s. 
 
 Butterflies and Moths, European. With 61 Coloured Plates. 35s. 
 Canaries and Cage-Birds, The Illustrated Book of. With 56 Fac- 
 simile Coloured Plates, 35s. Half-morocco, £2 5s. 
 
 Cannibals and Convicts. By Julian Thomas (“ The Vagabond”). 5s. 
 Captain Trafalgar. By Westall and Laurie. 5s. 
 
 Cassell’s Family Magazine. Yearly Vol. Illustrated, gs. 
 Celebrities of the Century. Cheap Edition . 10s. 6d. 
 
 Choice Dishes at Small Cost. By A. G. Payne, is. 
 
 Cities of the World. Four Vols. Illustrated. 7s. 6d. each. 
 
 Civil Service, Guide to Employment in the. 3s. 6d. 
 
 Civil Service.— Guide to Female Employment in Government 
 Offices, is. 
 
 Climate and Health Resorts. By Dr. Burney Yeo. New and 
 
 Cheaper Edition, 7s. 6d. 
 
 Clinical Manuals for Practitioners and Students of Medicine. A 
 List of Volumes forwarded post free on application to the Publishers. 
 Clothing, The Influence of, on Health. By F. Treves, F.R C.S. 2s. 
 Colonists, Medical Handbook for. ByE. A. Barton, M.R.C.S. 2s. 6d. 
 Colour. By Prof. A. H. Church. With Coloured Plates. 3s. 6d. 
 Columbus, Christopher. By Washington Irving. Three Vols. 7s. 6d. 
 Commerce, The Year-Book of. Second Year’s Issue. 5s. 
 Commodore Junk. By G. Manville Fenn. 5s. 
 
 Conquests of the Cross. With numerous Illustrations. Vol. I gs. 
 Cookery, A Year’s. By Phyllis Browne. 3s. 6d. 
 
 Cookery, Cassell’s Dictionary of. Containing about Nine Thousand 
 Recipes, 7s. 6d. ; Roxburgh, 10s. 6d. 
 
 Cookery, Cassell’s Popular. With Four Coloured Plates. Cloth gilt, 2s. 
 Cookery, Cassell’s Shilling. 384 pages, limp cloth, is. 
 
 $g. 8.90 
 
Selections from Cassell <§' Company s Publications . 
 
 Copyright, The Law of Musical and Dramatic. By Edward 
 Cutler, Thomas Eustace Smith, and Frederick E. Weatherly, 
 Esquires, Barristers-at-Law. 3s. 6d. 
 
 Countries of the World, The. By Robert Brown, M.A., Ph.D., &c. 
 
 Complete in Six Vols., with about 750 Illustrations. 4to, 7s. 6d. each. 
 Cromwell, Oliver. By J. Allanson Picton, M.P. 5s. 
 
 Culmshire Folk. By the Author of “John Orlebar,” &c. 3s. 6d. 
 Cyclopaedia, Cassell’s Concise. With 12,000 subjects, brought down 
 to the latest date. With about 600 Illustrations. Cheap Edition. 7s. 6d. 
 Cyclopaedia, Cassell’s Miniature. Containing 30,000 subjects. 3s. 6d. 
 Dairy Farming. By Prof. J. P. Sheldon. With 25 Coloured Plates. 21s. 
 David Todd : The Romance of his Life and Loving. By David 
 Maclure. 5s. 
 
 Dead Man’s Rock. A Romance. By Q. 5s. 
 
 Dickens, Character Sketches from. First, Second, and Third Series. 
 With Six Original Drawings in each by F. Barnard. In Portfolio, 
 21 s. each. 
 
 Dog, Illustrated Book of the. By Vero Shaw, B.A. With 28 Coloured 
 Plates. Cloth bevelled, 35s. ; half- morocco, 45s. 
 
 Dog, The. By Idstone. Illustrated. 2s. 6d. 
 
 Domestic Dictionary, The. Illustrated. Cloth, 7s. 6d. 
 
 Dore Gallery, The. With 250 Illustrations by Dor£. 4to, 42s. 
 
 Dore’s Dante’s Inferno. Illustrated by Gustave Dor£. 21s. 
 
 Dora’s Dante’s Purgatorio and Paradiso. Illustrated by Dor£. 21s. 
 Dore’s Milton’s Paradise Lost. Illustrated by Dor6. 4to, 21s. 
 
 Earth, Our, and its Story. By Dr. Robert Brown, F.L.S. With 
 Coloured Plates and numerous Wood Engravings. Three Vols. gs. each. 
 Edinburgh, Old and New. With 600 Illustrations. Three Vols. qs. each. 
 Egypt: Descriptive, Historical, and Picturesque. By Prof. G. Ebers. 
 
 With 800 Original Engravings. Popular Edition. In Two Vols. 42s. 
 Electricity in the Service of Man. With nearly 850 Illustrations. 
 Cheap Edition . Price gs. 
 
 Electricity, Age of. By Park Benjamin, Ph.D. 7s. 6d. 
 Electricity, Practical. By Prof. W. E. Ayrton. 7s. 6d. 
 Encyclopaedic Dictionary, The. A New and Original Work of Refer- 
 ence to all the Words in'the Eng’ish Language. Complete in Fourteen 
 Divisional Vols., 10s. 6d. each; or Seven Vols., half-morocco, 21s. 
 each ; half-russia, 25s. 
 
 England, Cassell’s Illustrated History of. With 2,000 Illustrations. 
 Ten Vols., 4to, gs. each. Revised Edition. Vols. I., II., and III., 
 gs. each. 
 
 English History, The Dictionary of. Cheap Edition . 10s. 6d. 
 
 English Literature, Dictionary of. By W. Davenport Adams. 
 
 Cheap Edition , 7s. 6d. ; Roxburgh, 10s. 6d. 
 
 English Literature, Library of. By Prof. Henry Morley. 
 
 Vol. I. — Shorter English Poems. 7s. 6d. 
 
 Vol. II. — Illustrations of English Religion. 7s. 6d. 
 
 Vol. III. — English Plays. 7s. 6d. 
 
 Vol. IV. — Shorter Works in English Prose. 7s. 6d. 
 
 Vol. V. — Sketches of Longer Works in English Versf. and 
 Prose. 7s. 6d. 
 
 English Literature, Morley’s First Sketch of. Revised Edition, 7s. 6d. 
 English Literature, The Story of. By Anna Buckland. 3s. 6d. 
 English Writers. By Prof. Henry Morley. Vols. I. to V. 5s. each. 
 /Esop’s Fables. Illustrated by Ernest Griset. Cloth, 3s. 6d. 
 Etching. By S. K. Koehi.er. With 30 Full-Page Plates. £4 4s. 
 Etiquette of Good Society, is. ; cloth, is. 6d. 
 
 Europe, Pocket Guide to, Cassell’s. Leather. 6s. 
 
 Eye, Ear, and Throat, The Management of the. 3s. 6d, 
 
Selections from Cassell § Company' s Publications. 
 
 By Eminent Physicians and Surgeons. 
 Cloth, 2is. ; Roxburgh, 25s. 
 
 Fenn, G. Manville, Works by. Boards, 2s. each; cloth, 2s. 6d. each. 
 
 Family Physician, The. 
 
 New and Revised Edition. 
 
 My Patients. Being 
 of a Navy Surgeon. 
 Dutch the Diver. 
 
 The Parson o’ Dumford. 
 
 the Notes 
 
 The Vicar’s People. ) in cloth 
 Sweet Mace. j only. 
 
 Poverty Corner. 
 
 Field Naturalist’s Handbook, The. By the Rev. J. G. Wood 
 
 and Rev. Theodore Wood. 5s. 
 
 Figuier’s Popular Scientific Works. With Several Hundred Illustra- 
 tions in each. 3s. 6d. each. 
 
 The Human Race. 
 Reptiles and Birds. 
 
 The Insect World. 
 Mammalia. 
 
 Fine-Art Library, The. Edited by John Sparkes, Principal of the 
 
 Each Book contains about 100 
 
 The Education of the Artist. 
 
 (Non-illustrated.) 
 
 Greek Archaeology. 
 
 Artistic Anatomy. 
 
 The Dutch School of Painting. 
 
 South Kensington Art Schools. 
 Illustrations. 5s. each. 
 Engraving. 
 
 Tapestry. 
 
 The English School of Paint 
 ing. 
 
 The Flemish School of Paint 
 ing. 
 
 Flower Painting in Water Colours. With Coloured Plates. First 
 and Second Series. 5s. each. 
 
 Flower Painting, Elementary. With Eight Coloured Plates. 3s., 
 
 Flowers, and How to Paint Them. By Maud Naftel. With 
 Coloured Plates. 5s. 
 
 Forging of the Anchor, The. A Poem. By Sir Samuel Ferguson, 
 LL.D. With 20 Original Illustrations. Gilt edges, 5s. 
 
 Fossil Reptiles, A History of British. By Sir Richard Owen, 
 K.C.B., F.R.S., &c. With 268 Plates. In Four Vols., £12 12s. 
 
 France as It Is. By Andr£ Lebon and Paul Pelet. With Three 
 Maps. Crown 8vo, cloth, 7s. 6d. 
 
 Garden Flowers, Familiar. By Shirley Hibberd. With Coloured 
 Plates by F. E. Hulme, F.L.S. Complete in Five Series. 12s. 6d. each. 
 
 Gardening, Cassell’s Popular. Illustrated. 4 vols., 5s. each. 
 
 Gas, The Art of Cooking by. By Marie Jenny Sugg. Illustrated. 
 Cloth, 3s. 6d. 
 
 Gaudeamus. One Hundred Songs for Schools and Colleges. Edited by 
 John Farmer. 5s. 
 
 Geometrical Drawing for Army Candidates. By H. T. Lilley, 
 M.A. 2s. 
 
 Geometry, First Elements of Experimental. By Paul Bert. is.6d. 
 
 Geometry, Practical Solid. By Major Ross. 2s. 
 
 Gleanings from Popular Authors. Two Vols. With Original Illus- 
 trations. 4to, gs. each. Two Vols. in One, 15s. 
 
 Great Painters of Christendom, The, from Cimabue to Wilkie. 
 By John Forbes-Robertson. Illustrated throughout. 12s. 6d. 
 
 Gulliver’s Travels. With 88 Engravings by Morten. Cheap Edition . 
 Cloth, 3s. 6d. ; cloth gilt, 5s. 
 
 Gun and its Development, The. By W. W. Greener. With 500 
 Illustrations. 10s. 6d. 
 
 Guns, Modern Shot. By W. W. Greener. Illustrated. 5s. 
 
 Health at School. By Clement Dukes, M.D., B.S. 7s. 6d. 
 
 Health, The Book of. By Eminent Physicians and Surgeons. Cloth, 
 21 s. ; Roxburgh, 25s. 
 
 Health, The Influence of Clothing on. By F. Treves, F.R.G.S. 2s. 
 
 Heavens, The Story of the. By Sir Robert Stawell Ball, LL.D., 
 F.R. 5 ., F.R.A.S. With Coloured Plates, Popular Edition. 12s. 6d. 
 
Selections from Cassell <$r Company's Publications. 
 
 Heroes of Britain in Peace and War. In Two Vols., with 300 
 Original Illustrations. 5s. each ; or One Vol., library binding, 10s. 6d. 
 
 Holiday Studies of Wordsworth. By Rev. F. A. Malleson, M.A. 5s. 
 
 Homes, Our, and How to Make them Healthy, By Eminent 
 Authorities. Illustrated. 15s. 
 
 Horse, The Book of the. By Samuel Sidney. With 28 Fac-simile 
 Coloured Plates. Enlarged Edition. Demy4to, 35s.; half-morocco, 45s. 
 
 Houghton, Lord : The Life, Letters, and Friendships of Richard 
 Monckton Milnes, First Lord Houghton. By T. Wemyss 
 Reid. In Two Vols., with Two Portraits. 32s. 
 
 Household, Cassell’s Book of the. Vols. I., II., and III., 5s. each. 
 
 Household Guide, Cassell’s. Illustrated. Four Vols., 20s. 
 
 How Women may Earn a Living. By Mercy Grogan. 6d. 
 
 India, Cassell’s History of. By James Grant. With about 400 
 Illustrations. Library binding. One Vol. 15s. 
 
 Irish Union, The; Before and After. By A. K. Connell, M.A. 2s.6d. 
 
 “Japanese ” Library. Consisting of Twelve Popular Works, printed on 
 thin paper, is. 3d. each nett. 
 
 Handy Andy. — Oliver Twist. — Ivanhoe. — Ingoldsby Legends.— 
 The Last of the Mohicans. — The Last Days of Pompeii.— The 
 Yellowplush Papers. — The Last Days of Palmyra. — Jack 
 Hinton, the Guardsman. — Selections from Hood’s Works.— 
 American Humour.— The Tower of London.. 
 
 John Orlebar, Clk. By the Author of “ Culmshire Folk.” 2s. 
 
 John Parmelee’s Curse. By Julian Hawthorne. 2s. 6d. 
 
 Karmel the Scout. A Novel. By Sylvanus Cobb, Junr. Cloth, 3s. 6d. 
 
 Kennel Guide, The Practical. By Dr. Gordon Stables, is. 
 
 Khiva, A Ride to. By Col. Fred. Burnaby, is. 6d. 
 
 Kidnapped. By R. L. Stevenson. Illustrated Edition. 5s. 
 
 King Solomon’s Mines. By H. Rider Haggard. Illustrated Edition. 5s. 
 
 Ladies’ Physician, The. A Guide for Women in the Treatment of 
 their Ailments. By a Physician. 6s. 
 
 Lady Biddy Fane, The Admirable. By Frank Barrett. 5s. 
 
 Lake Dwellings of Europe. By Robert Munro, M.D., M.A. 
 Cloth, 31s. 6d. ; Roxburgh, £ 2 2S. 
 
 Landscape Painting in Oils, A Course of Lessons in. By A. F. 
 Grace. With Nine Reproductions in Colour. Cheap Edition , 25s. 
 
 Law, How to Avoid. By A. J. Williams, M.P. is. Cheap Edition. 
 
 Legends for Lionel. By Walter Crane. Coloured Illustrations. 5s. 
 
 Letts’s Diaries and other Time-saving Publications are now pub- 
 lished exclusively by Cassell & Company. (A list free on application .) 
 
 Life Assurance, Medical Handbook of. By James Edward Pol- 
 lock, M.D., and James Chisholm. 7s. 6d. 
 
 Loans Manual. A Compilation of Tables and Rules for the Use of Local 
 Authorities. By Charles P. Cotton. 5s. 
 
 Local Government in England and Germany. By the Right Hon. 
 Sir Robert Morier, G.C.B., &c. is. 
 
 London, Greater. By Edward Walford. Two Vols. With about 
 400 Illustrations, gs. each. 
 
 London, Old and New. Six Vols., each containing about 200 
 Illustrations and Maps. Cloth, gs. each. 
 
 London Street Arabs. By Mrs. H. M. Stanley (Dorothy Tennant). 
 A Collection of Pictures. Descriptive Text by the Artist. 5s. 
 
 Longfellow’s Poetical Works. Illustrated, £3 3s.; Popular Edition, 16s. 
 
 Magic at Home. By Prof. Hoffman. Fully Illustrated. 5s. 
 
 Master of Ballantrae, The. By Robert Louis Stevenson. 5s. 
 
 Mathew, Life tf Father. By F. J, Mathew, a Grand-nephew. 2s 6d, 
 
Selections from Cassell § Company s Publications. 
 
 Mechanics, The Practical Dictionary of. Containing 15,000 Draw- 
 ings. FourVols. 2 is. each. 
 
 Medicine, Manuals for Students of. (A List forwarded post free.) 
 
 Metropolitan Year-Book, The. Paper, 2s. ; cloth, 2s. 6a. 
 
 Metzerott, Shoemaker. Cr. 8vo, 5s. 
 
 Modern Europe, A History of. By C. A. Fyffe, M.A. Complete in 
 Three Vols. 125. each. 
 
 Music, Illustrated History of. By Emil Naumann. Edited by the 
 Rev. Sir F. A. Gore Ouseley, Bart. Illustrated. Two Vols. 31s. 6d. 
 
 National Library, Cassell’s. In Volumes, each containing about 
 192 pages. Paper covers, 3d. ; cloth, 6d. ( A Complete List of the 
 Volumes will be sent post free on application.) 
 
 Natural History, Cassell’s Concise. By E. Perceval Wright, 
 M.A., M.D., F.L.S. With several Hundred Illustrations. 7s. 6d. 
 
 Natural History, Cassell’s New. Edited by Prof. P. Martin 
 Duncan, M.B., F.R.S., F.G.S. Complete in Six Vols. With about 
 2.000 Illustrations. Cloth, 9s. each. 
 
 Nature’s Wonder Workers. By Kate R. Lovell. Illustrated. 5s. 
 
 Nursing for the Home and for the Hospital, A Handbook of. 
 By Catherine J. Wood. Cheap Edition, is. 6d. ; cloth, 2s. 
 
 Nursing of Sick Children, A Handbook for the. By Catherine 
 J. Wood. 2s. 6d. 
 
 Oil Painting, A Manual of. By the Hon. John Collier. 2s. 6d. 
 
 Our Own Country. Six Vols. With 1,200 Illustrations. 7s. 6d. each. 
 
 Pactolus Prime. A Novel. By Albion W. Tourg£e. 5s. 
 
 Painting, Practical Guides to. With Coloured Plates and full in- 
 
 structions : — 
 
 Marine Painting. 5s. 
 
 Animal Painting. 5s. 
 
 China Painting. 5s. 
 
 Figure Painting. 7s. 6d. 
 Elementary Flower Paint- 
 ing. 3s. 
 
 Flower Painting, Two Books, 
 5s. each. 
 
 Tree Painting. 5s. 
 Water-Colour Painting. 5s. 
 Neutral Tint. 5s. 
 
 Sepia, in Two Vols., 3s. each ; or 
 in One Vol., 5s. 
 
 Flowers, and How to Paint 
 Them. 5s. 
 
 Paxton’s Flower Garden. By Sir Joseph Paxton and Prof. Lin dley. 
 
 With 100 Coloured Plates. Price on application. 
 
 People I’ve Smiled with. By Marshall P. Wilder. 2s. ; cloth, 2s. 6d. 
 Peoples of the World, The. In Six Vols. By Dr. Robert Brown. 
 
 Illustrated. 7s. 6d. each. 
 
 Phantom City, The. By W. Westall. 5s. 
 
 Photography for Amateurs. By T. C. Hepworth. Illustrated, is. ; 
 or cloth, is. 6d. 
 
 Phrase and Fable, Dictionary of. By the Rev. Dr. Brewer. Cheap 
 Edition , Enlarged , cloth, 3s. 6d. ; or with leather back, 4s. 6d. 
 Picturesque America. Complete in Four Vols., with 48 Exquisite Steel 
 Plates and about 800 Original Wood Engravings. £2 2s. each. 
 Picturesque Australasia, Cassell’s. With upwards of 1,000 Illustrations. 
 Complete in Four Vols., 7s. 6d. each. 
 
 Picturesque Canada. With 600 Original Illustrations. 2 Vols. £3 3s. each. 
 Picturesque Europe. Complete in Five Vols. Each containing 
 13 Exquisite Steel Plates, from Original Drawings, and nearly 200 
 Original Illustrations. Original Edition. Cloth, £21 ; half-morocco, 
 £31 10s. ; morocco gilt, £52 10s. The Popular Edition is published in 
 Five Vols., 18s. each. 
 
 Picturesque Mediterranean. With Magnificent Original Illustrations 
 by the leading Artists of the Day. Vol. I. £2 2s. 
 
 Pigeon Keeper, The Practical. By Lewis Wright. Illustrated. 3s. 6d. 
 Pigeons, The Book of. By Robert Fulton. Edited and Arranged by 
 L. Wright. With 50 Coloured Plates, 31s. 6d. ; half-morocco, £2 2s. 
 
Selections from Cassell § Company s Publications. 
 
 Poems, Aubrey de Vere’s. A Selection. Edited by John Dennis. 
 3 s . 6d. 
 
 Poets, Cassell’s Miniature Library of the : — 
 
 Burns. Two Vols. 2s. 6d. 
 
 Byron. Two Vols. 2s. 6d. 
 
 Hood. Two Vols. 2s. 6d. 
 Longfellow. Two Vols. 2s. 6d. 
 
 Shakespeare. Illustrated. 
 
 Milton. Two Vols. 2s. 6d. 
 Scott. Two Vols. 2s. 6d. [2s. 6d. 
 Sheridan and Goldsmith. 2 Vols. 
 Wordsworth. Two Vols. 2s. 6d. 
 In 12 Vols., in Case, 12s. 
 
 Police Code, and Manual of the Criminal Law. 
 Vincent, M.P. 2s. 
 
 By C. E. Howard 
 
 Polytechnic Series, The. 
 
 Forty Lessons in Carpentry Workshop Practice. Cloth gilt, is. 
 
 Practical Plane and Solid Geometry, including Graphic Arithmetic. Vol. I., 
 Elementary Stage. Cloth gilt, 3s. 
 
 Forty Lessons in Engineering Workshop Practice, is. 6d. 
 
 Technical Scales. Set of Ten in cloth case, is. 
 
 Elementary Chemistry for Science Schools and Classes. Crown 8vo, is. 6d. 
 
 Popular Library, Cassell’s. Cloth, is. each. ( A list post free on appli- 
 cation. ) 
 
 Portrait Gallery, The Cabinet. Containing 36 Cabinet Photographs of 
 Eminent Men and Women. With Biographical Sketches. Vol. I. 15s. 
 
 Poultry Keeper, The Practical. By Lewis Wright. With Coloured 
 Plates and Illustrations. 3s. 6d. 
 
 Poultry, The Book of. By Lewis Wright. Popular Edition. 10s. 6d. 
 
 Poultry, The Illustrated Book of. By Lewis Wright. With Fifty 
 Coloured Plates. New and Revised Edition. Cloth, 31s. 6d. 
 
 Pre-Raphaelites, The Italian, in the National Gallery. By Cosmo 
 Monkhouse. Illustrated, is. 
 
 Queen Victoria, The Life and Times of. By Robert Wilson. Com- 
 plete in Two Vols. With numerous Illustrations. 9s. each. 
 
 Quiver, The. Yearly Volume. Illustrated. 7s. 6d. 
 
 Rabbit-Keeper, The Practical. By Cuniculus. Illustrated. 3s. 6a. 
 Railway Guides, Official Illustrated. With Illustrations, Maps, &c. 
 Price is. each ; or in cloth, 2s. each. 
 
 Great Western Railway. Revised and Enlarged. 
 
 Great Northern Railway. 
 
 London, Brighton and South Coast Railway. 
 
 London and North-Western Railway. Revised and Enlarged. 
 London and South-Western Railway. 
 
 Midland Railway. 
 
 South-Eastern Railway. 
 
 Railway Library, Cassell’s. Crown 8vo, boards, 2S. each. 
 
 Undf.r a Strange Mask. By Frank 
 Barrett. 
 
 The coombsberrow Mystery. By 
 
 JAMES COLWALL. 
 
 Dead Man’s Rock. By Q. 
 
 A Queer Race. By w. westall. 
 Captain Trafalgar. By westall 
 
 and LAURIE. 
 
 The Phantom City. By w. Westall. 
 • # * The above can also be obtained in 
 clo'h, 2 s. 6 d. each. 
 
 Jack Gordon, Knight Errant, 
 Gotham, 1883. By Barclay 
 North. 
 
 The Diamond Button. By Barclay 
 North. 
 
 Another’s Crime. By Julian Haw- 
 thorne. 
 
 The Yoke of the Thorah. By 
 Sidney Luska. 
 
 Who is John Noman? By Charles 
 henry Beckett. 
 
 The tragedy of Brinkwater. By 
 Martha l. moodey. 
 
 An American Penman. By Julian 
 Hawthorne. 
 
 Section 558 ; or, The Fatal Letter. 
 By Julian Hawthorne. 
 
 The Brown Stone Boy. By W. H. 
 bishop. 
 
 A Tragic Mystery. By Julian 
 Hawthorne. 
 
 The Great Bank Robbery. By 
 Julian Hawthorne. 
 
 Richard, Henry, M.P. A Biography. By Charles S. Miall. 7s. 6d. 
 Rivers of Great Britain, The : Descriptive, Historical, Pictorial. 
 
 Rivers of the East Coast. 42s. 
 
Selectiotis from Cassell $ Company's Publications. 
 
 Rossetti, Dante Gabriel, as Designer and Writer. Notes by 
 William Michael Rossetti. 7s. 6d. 
 
 Royal River, The : The Thames, from Source to Sea. With Descrip- 
 tive Text and a Series of beautiful Engravings. £2 2s. 
 
 Russia. By Sir Donal 
 Russo-Turkish War, 
 trations. Two Vols. 
 Red Library, Cassell’ 
 The Antiquary. 
 Nicholas Nickleby 
 (Two Vols.). 
 Jane Eyre. 
 Wuthering Heights. 
 Dombey and Son 
 
 (Two Vols.). 
 The Prairie. 
 
 Night and Morning. 
 Kenilworth. 
 
 The Ingoldsby Le- 
 gends. 
 
 The Tower of 
 
 London. 
 The Pioneers. 
 
 Charles O’Malley. 
 Barnaby Budge. 
 Cakes and Ale. 
 
 The King’s Own. 
 People I have Met. 
 The Pathfinder. 
 Evelina. 
 
 Scott’s Poems. 
 
 Last of the Barons. 
 
 d Mackenzie Wallace, 
 Cassell’s History of. 
 9s. each. 
 
 s. Stiff covers, is. each; 
 
 Adventures of Mr. 
 
 Ledbury. 
 
 Ivanhoe. 
 
 Oliver Twist. 
 
 Selections from Hood’s 
 Works. 
 
 Longfellow’s Prose 
 
 Works. 
 
 Sense and Sensibility. 
 Lytton’s Plays. 
 
 Tales, Poems, and 
 Sketches. Bret Harte. 
 Martin Chuzzlewit 
 
 (Two Vols.). 
 The Prince of the 
 
 House of David. 
 Sheridan’s Plays. 
 
 Uncle Tom’s Cabin. 
 Deerslayer. 
 
 Eugene Aram. 
 
 Borne and the Early 
 Christians. 
 The Trials of Mar- 
 garet Lyndsay. 
 
 M.A. 5s. 
 
 With about 500 Illus- 
 
 cloth, 2s. each. 
 
 Jack Hinton. 
 
 Poe’s Works. 
 
 Old Mortality. 
 
 The Hour and the Man. 
 Handy A ndy. 
 
 Scarlet Letter. 
 Pickwick (Two Vols.). 
 Last of the Mohicans. 
 Pride and Prejudice. 
 Yellowplush Papers. 
 Tales of the Borders. 
 Last Days of Palmyra. 
 Washington Irving’s 
 Sketch-Book. 
 The Talisman. 
 
 Bienzi. 
 
 Old Curiosity Shop. 
 Heart of Midlothian. 
 Last Days of Pompeii. 
 American Humour. 
 Sketches by Boz. 
 Macaulay’s Lays and 
 Essays. 
 
 Harry Lorrequer. 
 
 St. Cuthbert’s Tower. By Florence Warden. Cheap Edition. 5s. 
 Saturday Journal, Cassell’s. Yearly Volume, cloth, 7s. 6d. 
 
 Science for All. Edited by Dr. Robert Brown. Revised Edition. 
 Illustrated. Five Vols. 9s. each. 
 
 Sculpture, A Primer of. By E.Roscoe Mullins. With Illustrations. 2s.6d. 
 Sea, The: Its Stirring Story of Adventure, Peril, and Heroism. 
 
 By F. Whymper. With 400 Illustrations. Four Vols., 7s. 6d. each. 
 Secret of the Lamas, The. A Tale of Thibet. Crown 8vo, 5s. 
 Shaftesbury, The Seventh Earl of, K.G., The Life and Work of. By 
 Edwin Hodder. Three Vols., 36s. Popular Edition, One Vol., 7s. 6d. 
 Shakespeare, The Plays of. Edited by Professor Henry Morley. 
 Complete in 13 Vols., cloth, 21s. 
 
 Shakespeare, Cassell’s Quarto Edition. Containing about 600 Illus- 
 trations by H. C. Selous. Complete in Three Vols., cloth gilt, £3 3s. 
 Shakespeare, Miniature. Illustrated. In Twelve Vols., in box, 12s. ; 
 
 or in Red Paste Grain (box to match), with spring catch, 21s. 
 Shakespeare, The England of. By E. Goadby. Illustrated. 2s. 6d. 
 Shakspere, The International, fidition de Luxe. 
 
 “OTHELLO.” Illustrated by Frank Dicksee, A. R. A. £3 10s. 
 “KING HENRY - IV.” Illustrated by Eduard Grutzner, £3 ios. 
 “AS YOU LIKE IT.” Illustrated by Emile Bayard, £3 ios. 
 “ROMEO AND JULIET.” Illustrated by F. Dicksee, A.R.A., £55s. 
 Shakspere, The Leopold. With 400 Illustrations. Cheap Edition. 
 
 3s. 6d. Cloth gilt, 6s. ; Roxburgh, 7s. 6d. 
 
 Shakspere, The Royal. With Steel Plates and Wood Engravings. 
 Three Vols. 15s. each. 
 
 Sketching from. Nature in Water Colours. By Aaron Penley. 
 
 With Illustrations in Chromo-Lithography. 15s. 
 
 Social. Welfare, Subjects of. By Sir Lyon Playfair, K.C.B. 7s. 6d 
 Socialism, Lectures on Christianity and. By Bishop Barry. 3s. 6d. 
 Splendid Spur, The. Edited by Q. 5s. 
 
Selections from Cassell $ Company' s Publications . 
 
 Sports and Pastimes, Cassell’s Complete Book of. Cheap Edition . 
 With more than 900 Illustrations. Medium 8vo, 992 pages, cloth, 3s. 6d. 
 
 Stanley in East Africa, Scouting for : a Record of the Adventures 
 of Thomas Stevens in Search of H. M. Stanley. With 14 Illus- 
 trations. Cloth, 7s. 6d. 
 
 Star-Land. By Sir Robert Stawell Ball, LL.D., F.R.S., F.R.A.S. 
 Illustrated. Crown 8vo, 6s. 
 
 Steam Engine, The. By W. H. Northcott, C.E. 3s. 6d. 
 
 Strange Doings in Strange Places. Complete Sensational Stories by 
 Frank Barrett, Q, G. Manville Fenn, &c. &c. Cr. 8vo, 5s. 
 
 Technical Education. By F. C. Montague. 6d. 
 
 Thackeray, Character Sketches from. Six New and Original Draw- 
 ings by Frederick Barnard, reproduced in Photogravure. 21s. 
 
 Treasure Island. By R. L. Stevenson. Illustrated. 5s. 
 
 Treatment, The Year-Book of. A Critical Review for Practitioners of 
 Medicine and Surgery. Greatly Enlarged. 500 pages. 7s. 6d. 
 
 Trees, Familiar, By G. S. Boulger, F.L.S. Two Series. With 40 
 full-page Coloured Plates by W. H. J. Boot. 12s. 6d. each. 
 
 Troy Town, The Astonishing History of. By Q. 5s. 
 
 Two Women or One? From the Manuscripts of Doctor Leonard 
 Benary. By Henry Harland. is. 
 
 “Unicode”: the Universal Telegraphic Phrase Book. Desk or 
 Pocket Edition. 2s. 6d. 
 
 United States, Cassell’s History of the. By the late Edmund 
 Ollier. With 600 Illustrations. Three Vols. gs. each. 
 
 United States, Youth’s History of the. Illustrated. 4 Volumes. 36s. 
 
 Universal History, Cassell’s Illustrated. Four Vols. gs. each. 
 
 Verdict, The. A Tract on the Political Significance of the Report of the 
 Parnell Commission. By Prof. A. V. Dicey, Q.C. 2s. 6d. 
 
 Vicar of Wakefield and other Works by Oliver Goldsmith. 
 Illustrated. 3s. 6d. ; cloth, gilt edges, 5s. 
 
 What Girls Can Do. By Phyllis Browne. 2s. 6d. 
 
 Wild Birds, Familiar. By W. Swaysland. Four Series. With 40 
 Coloured Plates in each. 12s. 6d. each. 
 
 Wild Flowers, Familiar. By F. E. Hulme, F.L.S. , F.S.A. Five 
 Series. With 40 Coloured Plates in each. 12s. 6d. each. 
 
 Woman’s World, The. Yearly Volume. 18s. 
 
 Wood, Rev. J. G., Life of the. By the Rev. Theodore Wood. 
 Demy 8vo, cloth, price 10s. 6d. 
 
 Work. An Illustrated Magazine of Practice and Theory for all Work- 
 men, Professional and Amateur. Yearly Vol., 7s. 6d. 
 
 World of Wit and Humour, The. With 400 Illustrations. Cloth, 
 7s. 6d. ; cloth gilt, gilt edges, 10s. 6d. 
 
 World of Wonders. Two Vols. With 400 Illustrations. 7s. 6d. each. 
 
 Yule Tide. Cassell’s Christmas Annual, is. 
 
 ILLUSTRATED MAGAZINES. 
 
 The Quiver . Enlarged Series. Monthly, fid. 
 
 Cassell’s Family Magazine. Monthly, 7d. 
 
 “ Little Folks” Magazine. Monthly, 6d. 
 
 The Magazine of Art. Monthly, is. 
 
 CasselVs Saturday Journal. Weekly, id. ; Monthly, 6d. 
 Work. Weekly, id. ; Monthly, 6d. 
 
 Catalogues of Cassell & Company’s Publications, which may be had at all 
 Booksellers’, or will be sent post free on application to the Publishers : — 
 
 Cassell’s Complete Catalogue, containing particulars of upwards of 
 One Thousand Volumes. 
 
 CASSELL’S Classified Catalogue, in which their Works are arranged 
 according to price, from Threepence to Fifty Guineas. 
 
 Cassell’s Educational Catalogue, containing particulars of Cas.ell 
 & COMPANY’S Educational Works and Students’ Manuals. 
 
 CASSELL & COMPANY, Limited, Ludgate Hill, London. 
 
Selections from Cassell $ Company 1 s Publications. 
 
 ^Bibles attb Hdi0toua TSStorks. 
 
 Bible, Cassell’s Illustrated Family. With 900 Illustrations. Leather, 
 gilt edges, £2 10s. 
 
 Bible Dictionary, Cassell’s. With nearly 600 Illustrations. 7s. 6d. 
 
 Bible Educator, The. Edited by the Very Rev. Dean Plumptre, D.D., 
 Wells. With Illustrations, Maps, &c. Four Vols., cloth, 6s. each. 
 
 Bible Student in the British Museum, The. By the Rev. J. G. 
 Kitchin, M.A. is. 
 
 Biblewomen and Nurses. Yearly Volume. Illustrated. 3s. 
 
 Bunyan’s Pilgrim’s Progress (Cassell’s Illustrated). 4to. 7s. 6d. 
 
 Bunyan’s Pilgrim’s Progress. With Illustrations. Cloth, 3s. 6d. 
 Child’s Bible, The. With 200 Illustrations. 150 th Thousand, js. 6d. 
 Child’s Life of Christ, The. With 200 Illustrations. 7s. 6d. 
 
 “Come, ye Children.’* Illustrated. By Rev. Benjamin Waugh. 5s. 
 
 Dore Bible. With 238 Illustrations by Gustave Dor6. Small folio, 
 cloth, £8 ; best morocco, gilt edges, £15. 
 
 Early Days of Christianity, The. By the Ven. Archdeacon Farrar, 
 D.D., F.R.S. 
 
 Library Edition. Two Vols., 24s. ; morocco, £2 2s. 
 
 Popular Edition. Complete in One Volume, cloth, 6s. ; cloth, gilt 
 edges, 7s. 6d. ; Persian morocco, 10s. 6d. ; tree-calf, 15s. 
 
 Family Prayer-Book, The. Edited by Rev. Canon Garbett, M.A., 
 and Rev. S. Martin. Extra crown 4to, cloth, 5s. ; morocco, 18s. 
 
 Glories of the Man of Sorrows, The. Sermons preached at St. James’s, 
 Piccadilly. By Rev. H. G. Bonavia Hunt, Mus.D., F.R.S. , Ed, 2s. 6d. 
 
 “Heart Chords.” A Series of Works by Eminent Divines. Bound in 
 cloth, red edges, One Shilling each. 
 
 MY BIBLE. By the Right Rev. W. BOYD 
 Carpenter, Bishop of Ripon. 
 
 My Father. By the Right Rev. Ash- 
 ton OXENDEN, late Bishop of Mon- 
 treal. 
 
 My Work for God. By the Right 
 Rev. Bishop COTTERILL. 
 
 MY Object in Life. By the Ven. 
 
 Archdeacon FARRAR, D.D. 
 
 MY Aspirations. By the Rev. G. 
 Matheson, D.D. 
 
 MY EMOTIONAL Life. By the Rev. 
 
 Preb. CHADWICK, D.D. 
 
 MY BODY. By the Rev. Prof. W. G. 
 BLAIKIE, D.D. 
 
 My Growth in Divine Life. By the 
 Rev. Preb. REYNOLDS, M.A. 
 
 MY SOUL. By the Rev. P. B. POWER, 
 M.A. 
 
 MY Hereafter. By the Very Rev. 
 Dean BlCKERSTETH. 
 
 MY Walk with GOD. By the Very 
 Rev. Dean MONTGOMERY. 
 
 My Aids to the divine Life. By 
 the Very Rev. Dean BOYLE. 
 
 MY SOURCES OF STRENGTH. By the 
 Rev. E. E. JENKINS, M. a., Secretary 
 of Wesleyan Missionary Society. 
 
 Helps to Belief. A Series of Helpful Manuals on the Religious 
 Difficulties of the Day. Edited by the Rev. Teignmouth Shore, M.A., 
 Chaplain-in-Ordinary to the Queen. Cloth, is. each. 
 
 Creation. By the Lord Bishop of 
 Carlisle. 
 
 The Divinity of Our Lord. By 
 the Lord Bishop of Derry. 
 
 The Morality of the Old Testa- 
 ment. By the Rev. Newman 
 Smyth, D.D. 
 
 Miracles. By the Rev. Brownlow 
 Maitland, M.A. 
 
 PRAYER. By the Rev. T. Teignmouth 
 Shore, M.A. 
 
 The Atonement. By the Lord Bishop 
 of Peterborough. 
 
 Holy Land and the Bible, The. By the Rev. Cunningham Geikie, 
 D.D. Two Vols., with Map, 24s. 
 
 “ I Must.” Short Missionary Bible Readings. By Sophia M. Nugent. 
 Enamelled covers, 6d. ; cloth, gilt edges, is. 
 
 5 b. 8.90 
 
Selections from Cassell $ Company' s Publications . 
 
 Life of Christ, The. By the Ven. Archdeacon Farrar, D.D., F.R.S. 
 
 Illustrated Edition, with about 300 Original Illustrations. 
 Extra crown 4to, cloth, gilt edges, 21s. ; morocco antique, 42s. 
 
 Library Edition. Two Vols. Cloth, 24s. ; morocco, 42s. 
 
 Popular Edition, in One Vol. 8vo, cloth, 6s. ; cloth, gilt edges, 
 7s. 6d. ; Persian morocco, gilt edges, 10s. 6d. ; tree-calf, 15s. 
 
 Marriage Ring, The. By William Landels, D.D. New and 
 Cheaper Edition . 3s. 6d. 
 
 Moses and Geology ; or, The Harmony of the Bible with Science. 
 By the Rev. Samuel Kinns, Ph.D., F.R.A.S. Illustrated. Cheap 
 Edition , 6s. 
 
 New Testament Commentary for English Readers, The. Edited 
 by the Rt. Rev. C. J. Ellicott, D.D., Lord Bishop of Gloucester 
 and Bristol. In Three Volumes, 2is. each. 
 
 Vol. I. — The Four Gospels. 
 
 Vol. II. — The Acts, Romans, Corinthians, Galatians. 
 
 Vol. III.— The remaining Books of the New Testament. 
 
 New Testament Commentary. Edited by Bishop Ellicott. Handy 
 Volume Edition. St. Matthew, 3s. 6d. St. Mark, 3s. St. Luke, 
 3s. 6d. St. John, 3s. 6d. The Acts of the Apostles, 3s. 6d. Romans, 
 2s. 6d. Corinthians I. and II., 3s. Galatians, Ephesians, and Philip- 
 pians, 3s. Colossians, Thessalonians, and Timothy, 3s. Titus, 
 Philemon, Hebrews, and James, 3s. Peter, Jude, and John, 3s. 
 The Revelation, 3s. An Introduction to the New Testament, 3s. 6d. 
 
 Old Testament Commentary for English Readers, The. Edited 
 by the Right Rev. C. J. Ellicott, D.D., Lord Bishop of Gloucester 
 and Bristol. Complete in 5 Vols., 21s. each. 
 
 Vol. I. — Genesis to Numbers. 
 Vol. II. — Deuteronomy to 
 Samuel II. 
 
 Vol. III. — Kings I. to Esther. 
 Vol. IV.— Job to Isaiah. 
 
 Vol. V. —Jeremiah to Malachi. 
 
 Old Testament Commentary. Edited by Bishop Ellicott. Handy 
 Volume Edition. Genesis, 3s. 6d. Exodus, 3s. Leviticus, 3s. 
 Numbers, 2S. 6d. Deuteronomy, 2s. 6d. 
 
 Protestantism, The History of. By the Rev. J. A. Wylie, LL.D. 
 
 Containing upwards of 600 Original Illustrations. Three Vols., gs. each. 
 Quiver Yearly Volume, The. 250 high-class Illustrations. 7s. 6d. 
 Religion, The Dictionary of. By the Rev. W. Benham, B.D. 21s. ; 
 Roxburgh, 25s. 
 
 St. George for England ; and other Sermons preached to Children. By 
 the Rev. T. Teignmouth Shore, M.A. 5s. 
 
 St. Paul, The Life and Work of. By the Ven. Archdeacon Farrar, 
 D.D., F.R.S. , Chaplain-in-Ordinary to the Queen. 
 
 Library Edition. Two Vols., cloth, 24s. ; calf, 42s. 
 Illustrated Edition, complete in One Volume, with about 300 
 Illustrations, £1 is. ; morocco, £2 2s. 
 
 Popular Edition. One Volume, 8vo, cloth, 6s. ; cloth, gilt edges, 
 7s. 6d. ; Persian morocco, 10s. 6d. ; tree-calf, 15s. 
 
 Secular Life, The Gospel of the. Sermons preached at Oxford. By 
 the Hon. Canon Fremantle. Cheaper Edition. 2s. 6d. 
 
 Shall We Know One Another in Heaven ? By the Rt. Rev. J. C. 
 
 Ryle, D.D., Bishop of Liverpool. Cheap Edition. Paper covers, 6d. 
 Stromata. By the Ven. Archdeacon Sheringham, M.A. 2s. 6d. 
 “Sunday,” Its Origin, History, and Present Obligation. By the 
 Ven. Archdeacon Hessey, D.C.L. Fipth Edition. 7s. 6d. 
 
 Twilight of Life, The. Words of Counsel and Comfort for the 
 Aged. By the Rev. John Ellerton, M.A. is. 6d. 
 
 Voice of Time, The. By John Stroud. Cloth gilt, is. 
 
Selections from Cassell # Company's Publications. 
 
 (Btmmtumal Works attb ^htkettts’ JKammls. 
 
 Agriculture Series, Cassell’s. Edited by Professor Wrigiitson, Prin- 
 cipal of Downton Agricultural College. SOILS AND MANURES, 
 by Dr. J. Munro, is. 6d. ; CROPS, by Prof. Wrightson, is. 6d. 
 Alphabet, Cassell’s Pictorial. 3s. 6d. 
 
 Arithmetics, The Modern School. By George Ricks, B.Sc. Lond. 
 
 With Test Cards. (List on application .) 
 
 Atlas, Cassell’s Popular. Containing 24 Coloured Maps. 3s. 6d. 
 Book-Keeping. By Theodore Jones. For Schools, 2s. ; cloth, 3s. 
 
 For the Million, 2s. ; cloth« 3s. Books for Jones’s System. 2S. 
 Botany in the Nineteenth Century, Commercial. By J. R. Jackson, 
 A.L.S., of the Royal Gardens, Kew. 3s. 6d. 
 
 Chemistry, The Public School. By J. H. Anderson, M.A. 2s. 6d. 
 Classical Texts for Schools, Cassell’s. (A List post free on application.) 
 Copy-Books, Cassell’s Graduated. Eighteen Books. 2d. each. 
 Copy-Books, The Modern School. Twelve Books. 2d. each. 
 Drawing Copies, Cassell’s Modern School Freehand. First Grade, 
 is. ; Second Grade, 2s. 
 
 Drawing Copies, Cassell’s “New Standard.’’ Fourteen Books. 
 Books A to F for Standards I. to IV., 2d. each. Books G, H, K, L, 
 M, O, for Standards V. to VII., 3d. each. Books N and P, 4d. each. 
 Electricity, Practical. By Prof. W. E. Ayrton. 7s. 6d. 
 
 Energy and Motion. By William Paice, M.A. Illustrated, is. 6d. 
 English Literature, First Sketch of; By Prof. Morley. 7s. 6d. 
 English Literature, The Story of. By Anna Buckland. 3s. 6d. 
 Euclid, Cassell’s. Edited by Prof. Wallace, M.A. is. 
 
 Euclid, The First Four Books of. New Edition. In paper, 6d. ; cloth, gd. 
 Experimental Geometry. By Paul Bert. Illustrated, is. 6d. 
 French, Cassell’s Lessons in. New and Revised Edition. Parts I. 
 
 and II., each 2s. 6d. ; complete, 4s. 6d. Key, is. 6d. 
 French-English and English- French Dictionary. Entirely New 
 and Enlarged Edition. 1,150 pages, 8vo, cloth, 3s. 6d. 
 
 French Reader, Cassell’s Public School. By G. S. Conrad. 2s. 6d. 
 Galbraith and Haughton’s Scientific Manuals. 
 
 Plane Trigonometry, 2s. 6d. — Euclid, Books I., II., III., 2s. 6d.— Books 
 IV., V., VI. , 2s. 6d. — Mathematical Tables, 3s. 6d. — Mechanics, 3s. 6d. 
 — Natural Philosophy, 3s. 6d. — Optics, 2s. 6d. — Hydrostatics, 3s. 6d. — 
 Astronomy, 5s.— Steam Engine, 3s. 6d. —Algebra, Part I., cloth, 2s. 6d.; 
 Complete, 7s. 6d. — Tides and Tidal Currents, with Tidal Cards, 3s. 
 German Dictionary, Cassell’s New. German-English, English- 
 German. Large Paper Edition, 7s. 6d. ; Cheap Edition , Cloth, 3s. Cd. 
 German of To-Day. By Dr. Heinemann. is. 6d. 
 
 German Reading, First Lessons in. By A. Jagst. Illustrated, is. 
 Guide to Employment for Boys. By W. S. Beard, F.R.G.S. is. 6d. 
 Hand-and-Eye Training. By G. Ricks, B.Sc. 2 Vols., with 16 Coloured 
 Plates in each Vol. Cr. 4to, 6s. each. Cards for Class Use, 5 sets, is. eacn. 
 Handbook of New Code of Regulations. New and Revised Edition. 
 By John F. Moss. is. ; cloth, 2s. 
 
 Historical Cartoons, Cassell’s Coloured. Size 45 in. x 35 in., 2s. 
 
 each. Mounted on canvas and varnished, with rollers, 5s. each. 
 Historical Course for Schools, Cassell’s. Illustrated throughout. 
 
 I. — Stories from English History, is. II. — The Simple Outline of 
 English History, is. 3d. III. — The Class History of England, 2s. 6d. 
 Latin-English and English-Latin Dictionary. By J. R. Beard, 
 D.D., and C. Beard, B.A. Crown 8vo, 914 pp., 3s. 6d. 
 Latin-English Dictionary, Cassell’s. By J. R. V. Marchant, 3s. 6d. 
 Latin Primer, The First. By Prof. Postgate. is. 
 
 Latin Primer, The New. By Prof. J. P. Povtgate. Crown 8vo, 2s. 6d. 
 Latin Prose for Lower Forms. By M. A Bayfield, M.A. 2s. 6d. 
 
Selections from Cassell £ Company' s Publications . 
 
 Laundry Work for Schools. By Emma Lord. Price 6d. 
 
 Laws of Every-Day Life. By H. O. Arnold-Forster. is. 6d. 
 
 Little Folks’ History of England. Illustrated, is. 6d. 
 
 Making of the Home, The : A Book of Domestic Economy for School 
 and Home Use. By Mrs. Samuel A. Barnett, is. 6d. 
 
 Map-Building Series, Cassell’s. Outline Maps prepared by H. O. 
 Arnold-Forster. Per Set of Twelve, pric is. 
 
 Marlborough Books : — Arithmetic Examples, 3s. Arithmetic Rules, is. 6d. 
 French Exercises, 3s. 6d. French Grammar, 2S. 6d. German do., 3s. 6d. 
 
 Mechanics and Machine Design, Numerical Examples in Practical. 
 By R. G. Blaine, M.E. With Diagrams. Cloth, 2s. 6d. 
 
 “ Model Joint'’ Wall Sheets, for Instruction in Manual Training. By 
 S. Barter. Eight Sheets, 2s. 6d. each. 
 
 Music, An Elementary Manual of. By Henry Leslie, is. 
 
 New Poetry Readers, Cassell’s. Illustrated. 9 Books, price id. each. 
 
 Object Lessons from Nature. By Prof. L. C. Miall, F.L.S. 2s. 6d. 
 
 Popular Educator, Cassell’s NEW. With Revised Text, New Maps, 
 New Coloured Plates, New Type, &c. To be completed in 8 Vols. 5s. each. 
 
 Popular Educator, Cassell’s. Complete in Six Vols., 5s. each. 
 
 Readers, Cassell’s “Higher Class.” {List on application.) 
 
 Readers, Cassell’s Historical. Illustrated throughout, printed on 
 superior paper, and strongly bound in cloth. ( List on application.) 
 
 Readers, Cassell’s Readable. Carefully graduated, extremely in- 
 teresting, and illustrated throughout. ( List on application.) 
 
 Readers for Infant Schools, Coloured. Three Books. 4 d. each. 
 
 Reader, The Citizen. By H. O. Arnold-Forster. Illustrated. is.6d. 
 
 Reader, The Temperance. By Rev. J. Dennis Hird. Cr. 8vo, is. 6d. 
 
 Readers, The “ Modern School” Geographical. {List on application.) 
 
 Readers, The “Modern School.” Illustrated. [List on application.) 
 
 Reckoning, Howard’s Anglo-American Art of. By C. Frusher 
 Howard. Paper covers, is. ; cloth, 2s. 
 
 Science Applied to Work. ByJ. A. Bower, is. 
 
 Science of Everyday Life. By John A. Bower. Illustrated, is. 
 
 Shade from Models, Common Objects, and Casts of Ornament, 
 How to. By W. E. Sparkes. With 25 Plates by the Author. Price 3s.6d. 
 
 Shakspere’s Plays for School Use. 5 Books. Illustrated, 6d. each. 
 
 Shakspere Reading Book, The. Illustrated. 3s. 6d. 
 
 Spelling, A Complete Manual of. By J. D. Morell, LL.D. is. 
 
 Technical Manuals, Cassell’s. Illustrated throughout 
 
 Handrailing and Staircasing, 3s. 6d. — Bricklayers, Drawing for, 3s. — 
 Building Construction, 2s. — Cabinet-Makers, Drawing for, 3s. — Car- 
 penters and Joiners, Drawing for, 3s. 6d. — Gothic Stonework, 3s. 
 — Linear Drawing and Practical Geometry, 2S. — Linear Drawing and 
 Projection. The Two Vols. in One, 3s. 6d. — Machinists and Engineers, 
 Drawing for, 4s. 6d. — Metal-Plate Workers, Drawing for, 3s. — Model 
 Drawing, 3s. — Orthographical and Isometrical Projection, 2S. — Practical 
 Perspective, 3s. — Stonemasons, Drawing for, 3s. — Applied Mechanics, 
 by Sir R. S. Ball, LL.D., 2s. — Systematic Drawing and Shading, 2s. 
 
 Technical Educator, Cassell’s. Revised Edition. Four Vols., 5s. each. 
 
 Technology, Manuals of. Edited by Prof. Ayrton, F.R.S., and 
 Richard Wormell, D.Sc., M.A. Illustrated throughout : — 
 
 The Dyeing of Textile Fabrics, by Prof. Hummel, 5s. — Watch and 
 Clock Making, by D. Glasgow, 4s. 6d. — Steel and Iron, by Prof. W. H. 
 Greenwood, F.C.S., M.I.C.E., &c., 5s. — Spinning Woollen and 
 
 Worsted, by W. S. B. McLaren, M.P., 4s. 6d. — Design in Textile 
 Fabrics, by T. R. Ashenhurst, 4s. 6d. — Practical Mechanics, by Prof. 
 Perry, M.E., 3s. 6d. — Cutting Tools Worked by Hand and Machine, 
 by Prof. Smith, 3s. 6d. (A Prospectus on application.) 
 
 Test Cards, Cassell’s Combination. In sets, is. each. 
 
 Test Cards, “Modern School,” Cassell’s. InSets, is. each. 
 
 CASSELL & COMPANY, Limited, Ludgate Hill, London. 
 
Selections from Cassell Company's Publications . 
 
 Hooka for fjmtttjj people. 
 
 “Little Folks” Half-Yearly Volume. Containing 432 4to pages, with 
 about 200 Illustrations, and Pictures in Colour. Boards, 3s. 6d. ; cloth, 5s. 
 
 Bo-Peep. A Book for the Little Ones. With Original Stories and Verses. 
 Illustrated throughout. Yearly Volume. Boards, 2s. 6d. ; cloth, 3s. 6d. 
 
 Cassell’s Pictorial Scrap Book, containing several thousand Pictures 
 beautifully printed and handsomely bound in one large volume. 
 Coloured boards, 15s. ; cloth lettered, 21s. Also in Six Sectional Vols., 
 3s. 6d. each. 
 
 Wanted— a King: or, How Merle set the Nursery Rhymes to 
 Rights. By Maggie Browne. With Original Designs by Harry 
 Furniss. 3s. 6d. 
 
 The Many Stories of Jack and Jill. Consisting of 65,536 Tales. By 
 the Rev. F. Bennett. Illustrated. 2s. 6d. 
 
 Schoolroom Theatricals. By Arthur Waugh. Illustrated. 2s. 6d. 
 
 Flora’s Feast. A Masque of Flowers. Penned and Pictured by Walter 
 Crane. With 40 Pages in Colours. 5s. 
 
 Legends for Lionel. With 40 Illustrations in Colour by Walter Crane. 5s. 
 
 “Little Folks” Painting Book, The New. > Containing nearly 350 
 Outline Illustrations suitable for Colouring. Price is. ; post free, is. 2d. 
 
 Little Mother Bunch. By Mrs. Molesworth. Illustrated. Cloth, 3s, 6d. 
 
 The New Children’s Album. Fcap. 4to, 320 pages. Illustrated 
 throughout. 3s. 6d. 
 
 The Tales of the Sixty Mandarins. By P. V. Ramaswami Raju. 
 With an Introduction by Prof. Henry Morley. Illustrated. 5s. 
 
 Books for Young People. Illustrated. Cloth gilt, 5s. each. 
 
 The King’s Command : A Story 
 for Girls. By Maggie Symington. 
 Under Bayard’s Banner. By 
 Henry Frith. 
 
 The Romance of Invention. 
 By James Burnley. 
 
 The Champion of Odin; or. Viking 
 Life in the Days of Old. By J. 
 
 Fred. Hodgetts. 
 
 Bound by a Spell ; or. The Hunted 
 Witch of the Forest. By the 
 Hon. Mrs. Greene. 
 
 Books for Young People. Illustrated. Price 3s. 6d. each. 
 
 Polly: A New-Fashioned Girl. 
 By L. T. Meade. 
 
 For Fortune and Glory: A Story 
 oi the Soudan War. By Lewis 
 Hough. 
 
 “ Follow My Leader.” By Talbot 
 Baines Reed. [Pitt. 
 
 The Cost of a Mistake. By Sarah 
 
 A World of Girls: The Story of 
 a School. By L. T. Meade. 
 
 Lost among White Africans. By 
 David Ker. 
 
 The Palace Beautiful. By L. T. 
 
 Meade. 
 
 On Board the “Esmeralda.” By 
 
 John C. Hutcheson, 
 
 In Quest of Gold. By A. St. John- 
 ston. 
 
 For Queen and King. By Henry 
 Frith. 
 
 Books for Young People. Price 2s. 6d. each. 
 
 Heroes of Every-day Life. By 
 Laura Lane. Illustrated. 
 
 Decisive Events in History. By 
 Thomas Archer. With Original 
 Illustrations. 
 
 The True Robinson Crusoes. 
 
 Early Explorers. 
 
 The “Cross and Crown” Series 
 
 2s. 6d. each. 
 
 Strong to Suffer: A Story of 
 the Jews. By E. Wynne. 
 
 Heroes of the Indian Empire; 
 or. Stories of Valour and 
 Victory. By Ernest Foster. 
 
 In Letters of Flame : A Story 
 of the Waldenses. By C. L. 
 Mat^aux. 
 
 Through Trial to Triumph. By 
 Madeline B. Hunt. 
 
 Home Chat with our Young Folks. 
 Illustrated throughout. 
 
 Jungle, Peak, and Plain. Illustrated 
 throughout. 
 
 The World’s Lumber-Room. By 
 Selina Gaye. 
 
 By Thomas Frost. 
 
 With Illustrations in each Book. 
 
 By Fire and Sword; A Story of 
 the Huguenots. By Thomas 
 Archer. 
 
 Adam Hepburn’s Vow: A Tale of 
 Kirk and Covenant. By Annie 
 S. Swan. 
 
 No. XIII.; or. The Story of the 
 Lost Vestal. A Tale of Early 
 Christian Days. By Emma Mar- 
 shall. 
 
Selections from Cassell § Company's Publications , 
 
 “Golden Mottoes” Series, The. Each Book containing 208 pages, with 
 Four full-page Original Illustrations. Crown 8vo, cloth gilt, 2s. each. 
 
 “ Nil Desperandum.” By the 
 Rev. F. Langbridge, M.A. 
 
 “Bear and Forbear.” By Sarah 
 Pitt. 
 
 “Foremost if I Can.” By Helen 
 Atteridge. 
 
 “ Honour is my G-uide.” By Jeanie 
 Hering (Mrs. Adams-Acton). 
 
 “ Aim at a Sure End.” By Emily 
 Searchfield. 
 
 “ He Conquers who Endures.” By 
 the Author of “ May Cunningham’s 
 Trial,” &c. 
 
 Cheap Editions of Recent Popular Volumes for Young People. 
 
 Wild Adventures in Wild 
 Places. By Dr. Gordon Stables, 
 R.N. Illustrated Price 2 s. 6d. 
 Freedom’s Sword : a Story of the 
 Days of Wallace and Bruce. By 
 Annie S. Swan. Price 2 s. 6d. 
 
 Perils Afloat and Brigands Ashore. 
 
 By Alfred Elwes. Price 2 s. 6d. 
 Pictures of School Life and Boy- 
 hood. Selected from the best Au- 
 thors. Edited by Percy Fitzgerald, 
 M.A. Price 2 s. 6d. 
 
 Modern Explorers. By Thomas Frost. Illustrated. Price 2 s. 6d. 
 
 Books for Children. In Illuminated boards, fully Illustrated. 
 Twilight Fancies. 2s. 6d. A Dozen and One. 5s. 
 
 Cheerful Clatter. 3s. 6d. 1 Bible Talks. 5s. 
 
 Cassell’s Picture Story Books. Each containing Sixty Pages of 
 Pictures and Stories, &c. 6d. each. 
 
 Little Talks. 
 Bright Stars. 
 Nursery Toys. 
 Pet’s Posy. 
 Tiny Tales. 
 
 Daisy’s Story Book. 
 
 Dot’s Story Book. 
 
 A Nest of Stories. 
 Good-Night atones. 
 
 Chats for Small chatterers. 
 
 Auntie’s Stories. 
 Birdie’s Story Book. 
 Little Chimes. 
 
 A Sheaf of Tales. 
 Dewdrop Stories. . 
 
 Cassell’s Sixpenny Story Books. All Illustrated, and containing 
 Interesting Stories by well-known writers. 
 
 The Smuggler’s Cave. 
 
 Little Lizzie. 
 
 Little Bird, Life and Adven- 
 tures of. 
 
 Luke Barnicott. 
 
 The Boat Club. 
 
 Little Pickles. 
 
 The Elchester College Boys, 
 My First Cruise. 
 
 The Little Peacemaker. 
 
 The Delft Jug. 
 
 Cassell’s Shilling Story Books. All Illustrated, and containing Interest- 
 ing Stories. 
 
 Bunty and the Boys. 
 
 The Heir of Elmdale. 
 
 The Mystery at Shoncliff 
 School. 
 
 Claimed at Last, and Roy’s 
 Reward. 
 
 Thorns and Tangles. 
 
 The Cuckoo in the Robin’s Nest. 
 John’s Mistake. 
 
 The History of Five Little 
 Pitchers. 
 
 Diamonds in the Sand. 
 
 Surly Bob. 
 
 The Giant’s Cradle. 
 Shag and Doll. 
 
 Aunt Lucia’s Locket. 
 The Magic Mirror. 
 
 The Cost of Revenge. 
 Clever Frank. 
 
 Among the Redskins. 
 The Ferryman of Brill. 
 Harry Maxwell. 
 
 A Banished Monarch. 
 Seventeen Cats. 
 
 Ones. Containing interesting Stories, 
 is. each ; cloth gilt, is. 6d. 
 
 Illustrated Books for the Little 
 All Illustrated. 
 
 Scrambles and Scrapes. 
 
 Tittle Tattle Tales. 
 
 Up and Down the Garden. 
 
 All Sorts of Adventures. 
 
 Our Sunday Stories. 
 
 Our Holiday Hours. 
 
 Indoors and Out. 
 
 Some Farm Friends. 
 
 Wandering Ways. 
 
 Dumb Friends. 
 
 Those Golden Sands. 
 
 Little Mothers & their Children. 
 Our Prettv Pets. 
 
 Our Schoolday Hours. 
 Creatures Tame. 
 
 Creatures Wild. 
 
 Albums for Children. Price 3s. 6d. each. 
 
 The New Children’s Album. 
 
 Illustrated throughout. Cloth. 
 The Album for Home, School, 
 and Play. Containing Stories by 
 Popular Authors. Set in bold 
 type, and Illustrated throughout. 
 
 My Own Album of Animals. With 
 Full-page Illustrations. 
 
 Picture Album of All Sorts. With 
 Full- page Illustrations. 
 
 The Chit-Chat Album. Illustrated 
 throughout 
 
Selections from Cassell <f Company's Publications. 
 
 The World’s Workers. A Series of New and Original Volumes 
 With Portraits printed on a tint as Frontispiece, is. each. 
 
 Dr. Arnold of Rugby. By Rose 
 E. Selfe. 
 
 The Earl of Shaftesbury. By 
 Henry Frith. 
 
 Sarah Robinson, Agnes Wes- 
 ton, and Mrs. Meredith. By 
 E. M. Tomkinson. 
 
 Thomas A. Edison and Samuel 
 E. B. Morse. By Dr. Denslow 
 and J. Marsh Parker. 
 
 Mrs. Somerville and Mary Car- 
 penter. By Phyllis Browne. 
 
 General Gordon. By the Rev. 
 S. A. Swaine. 
 
 Charles Dickens. By his Eldest 
 Daughter. 
 
 Sir Titus Salt and George 
 Moore. ByJ. Burnley. 
 
 David Livingstone. By Robert 
 Smiles. 
 
 Florence Nightingale, Catherine 
 Marsh, Frances Ridley Haver- 
 gal, Mrs. Ranyard (“L.N.R.”). 
 By Lizzie Alldridge. 
 
 Dr. Guthrie, Father Mathew, 
 Elihu Burritt, George Livesey. 
 By John W. Kirton, LL.D. 
 
 Sir Henry Havelock and Colin 
 Campbell, Lord Clyde. By E. C. 
 Phillips. 
 
 Abraham Lincoln. By Ernest Foster. 
 George Muller and Andrew Reed. 
 By E. R. Pitman. 
 
 Richard Cobden. By R. Gowing. 
 Benjamin Franklin. By E. M. 
 Tomkinson. 
 
 Handel. By Eliza Clarke. [Swaine. 
 Turner the Artist. By the Rev. S. A. 
 George and Robert Stephenson. 
 By C. L. Mat6aux. 
 
 The above Works ( excluding RICHARD Cobden) can also be had Three in 
 One Vol ., cloth , gill edges , 3^. 
 
 Library of Wonders. Illustrated 
 cloth, is. 6d. 
 
 Wonderful Adventures. 
 
 Wonders of Animal Instinct. 
 Wonderful Balloon Ascents. 
 
 Gift-books for Boys. Paper, is. ; 
 
 Wonders of Bodily Strength 
 and Skill. 
 
 Wonderful Escapes. 
 
 Cassell’s Eighteenpenny Story 1 
 
 Wee Willie Y.bnkie. 
 
 Ups and Downs of a Donkey’s 
 Life. 
 
 Three Wee Ulster Lassies. 
 
 Up the Ladder. 
 
 Dick’s Hero ; and other Stories. 
 The Chip Boy. 
 
 Haggles, Baggies, and the 
 Emperor. 
 
 Roses from Thorns. 
 
 Gift Books for Young People. 
 Original Illustrations in each. 
 The Boy Hunters of Kentucky. 
 
 By Edward S. Ellis. 
 
 Red Feather: a Tale of the 
 American Frontier. By 
 Edward S. Ellis. 
 
 Seeking a City. 
 
 Rhoda’s Reward; or, “If 
 Wishes were Horses.” 
 
 Jack Marston’s Anchor. 
 
 Frank’s Life-Battle; or. The 
 Three Friends. 
 
 Fritters. By Sarah Pitt. 
 
 The Two Hardcastles. By Made- 
 line Bonavia Hunt. 
 
 Cassell’s Two-Shilling Story Be 
 
 Stories of the Tower. 
 
 Mr. Burke’s Nieces. 
 
 May Cunningham’s Trial. 
 
 The Top of the Ladder : How to 
 Little Flotsam. [Reach it. 
 
 Madge and Her Friends. 
 
 The Children of the Court. 
 
 A Moonbeam Tangle. 
 
 Maid Marjory. 
 
 Peggy, and other Tales. 
 
 Books for Boys. 
 
 Ships, Sailors, and the Sea. 
 By R. J. Cornewall-Jones. Illus- 
 trated. 5 s. 
 
 oks. Illustrated. 
 
 Faith’s Father. 
 
 By Land and Sea. 
 
 The Young Berringtons. 
 
 J efF and Leff. 
 
 Tom Morris’s Error. 
 
 Worth more than Gold. 
 
 “ Through Flood— Through Fire; ** 
 and other Stories. 
 
 The Girl with the Golden Locks. 
 Stories of the Olden Time. 
 
 By Popular Authors. With Four 
 Cloth gilt, is. 6d. each. 
 
 Major Monk’s Motto. By the Rev. 
 F. Langbridge. 
 
 Trixy. By Maggie Symington. 
 
 Rags and Rainbows: A Story of 
 Thanksgiving. 
 
 Uncle William’s Charges; or. The 
 Broken Trust. 
 
 Pretty Pink’s Purpose; or. The 
 Little Street Merchants. 
 
 Tim Thomson’s Trial. By George 
 Weatherly. 
 
 Ursula’s Stumbling-Block. By Julia 
 Goddard. 
 
 Ruth’s Life-Work. By the Rev. 
 Joseph Johnson. 
 
 ks. Illustrated. 
 
 The Four Cats of the Tippertons. 
 Marion’s Two Homes. 
 
 Little Folks’ Sunday Book. 
 
 Two Fourpenny Bits. 
 
 Poor Nelly. 
 
 Tom Heriot. 
 
 Through Peril to Fortune. 
 
 Aunt Tabitha’s Waifs. 
 
 In Mischief Again. 
 
 School Girls. 
 
 Famous Sailors of Former Times. 
 By Clements Markham. Illustrated. 
 
 2s. 6d. 
 
Selections from Cassell % Compav fs Publications . 
 
 NEW WORKS BY EDWARD S. ELLIS . 
 
 Lost in Samoa. A Tale of Adventure in the Navigator Islands. By 
 Edward S. Ellis. Illustrated. 3s. 6d. 
 
 Tad; or, “Getting Even” with Him. By Edward S. Ellis. Illus- 
 trated. 3s. 6d. 
 
 The “Deerfoot” Series. By Edward S. Ellis. With Four full-page 
 Illustrations in each Book. Cloth, bevelled boards, 2s. 6d. each. 
 
 The Hunters of the Ozark. | The Camp in the Mountains. 
 
 The Last War Trail. 
 
 The “Log Cabin” Series. By Edward S. Ellis. With Four Full- 
 page Illustrations in each. Crown 8vo, cloth, 2s. 6d. each. 
 
 The Lost Trail. | Camp-Fire and Wigwam. 
 
 Footprints in the Forest. 
 
 The “Great River” Series. By Edward S. Ellis. Illustrated. 
 Crown 8vo, cloth, bevelled boards, 2s. 6d, each. 
 
 Down the Mississippi. | Lost in the Wilds. 
 
 Up the Tapajos ; or, Adventures in Brazil. 
 
 The “ Boy Pioneer” Series. By Edward S. Ellis. With Four Full- 
 page Illustrations in each Book. Crown 8vo, cloth, 2s. 6d. each. 
 
 Ned in the Woods. A Tale of I Ned on the River. A Tale of Indian 
 Early Days in the West. | River Warfare. 
 
 Ned in the Block House. A Story of Pioneer Life in Kentucky. 
 
 The “World in Pictures. 
 
 A Ramble Round France. 
 
 All the Russias. 
 
 Chats about Germany. 
 
 The Land of the Pyramids 
 (Egypt). 
 
 Illustrated throughout. 2s. 6d. each. 
 The Eastern Wonderland (Japan). 
 Glimpses of South America. 
 Round Africa. 
 
 The Land of Temples (India). 
 
 The Isles of the Pacific. 
 
 Half-Crown Story Books. 
 
 Peeps into China. 
 
 Little Hinges. 
 
 Margaret’s Enemy. 
 
 Pen’s Perplexities. 
 
 Notable Shipwrecks. 
 
 Golden Days. 
 
 Wonders of Common Things. 
 Truth will Out. 
 
 Soldier and Patriot (George Wash- 
 ington). 
 
 The Young Man in the Battle of 
 Life. By the Rev. Dr. Landels. 
 
 The True Glory of W oman. By the 
 Rev. Dr. Landels. 
 
 At the South Pole^ 
 
 Three-and-Sixpenny Library 
 trated and bound in cloth gilt. 
 The Three Homes. 
 
 Deepdale Vicarage. 
 
 In Duty Bound. 
 
 The Half Sisters. 
 
 Peggy Oglivie’s Inheritance. 
 The Family Honour. 
 
 of Standard Tales, &c. All Illus- 
 Crown 8vo. 3s. 6d. each. 
 
 Esther West. 
 
 Working to Win. 
 
 Krilof and his Fables. By W. R. S. 
 Ralston, M.A. 
 
 Fairy Tales. By Prof. Morley. 
 
 Books for the Little Ones. 
 
 The Merry-go-Round. Poems for 
 Children. Illustrated. 5 s. 
 
 Rhymes for the Young Folk. 
 By William Allingham. Beautifully 
 Illustrated. 3 s. 6d. 
 
 The Little Doings of some 
 Little Folks. By Chatty Cheer- 
 ful. Illustrated. 5 s. 
 
 The Pilgrim’s Progress. With 
 Coloured Illustrations. 2 s. 6d. 
 
 The History Scrap Book; With 
 
 nearly 1,000 Engravings. 5 s.; cloth, 
 7 s. 6d. 
 
 The Old Fairy Tales. With Original 
 Illustrations. Boards, Is.; cl., Is. 6d. 
 
 My Diary. With 12 Coloured Plates 
 and 366 Woodcuts. Is. 
 
 The Sunday Scrap Book. With 
 One Thousand Scripture Pictures. 
 Boards, 5 s. ; cloth, 7 s. 6d. 
 
 Cassell & Company’s Complete Catalogue will be sent post 
 
 free on application to 
 
 CASSELL & COMPANY, Limited, Ludgate Hill t London.