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The Art of Illustration, by Charles Haddon Spurgeon Charles Haddon Spurgeon (C. H. SPURGEON) (Author) B00CMFP7T0 File Size: 239 KB     BUY NOW Book Description :- The Art of Illustration, by Charles Haddon Spurgeon THE ART OF ILLUSTRATION BY C. H. SPURGEON NEW-YORK WILBUR B. KETCHAM 2 COOPER UNION Copyright, 1894, By Wilbur B. Ketcham. PUBLISHER'S NOTE. The lectures in this volume were originally delivered to the students of the Pastors' College, Metropolitan Tabernacle, London, England. It is the first of his unfinished books to be published, and one to which he had himself given the title, "The Art of Illustration." Of the five lectures included in this volume, the first two were revised during Mr. Spurgeon's lifetime. Two were partially revised by him before being redelivered to a later company of students than those who had heard them for the first time. The remaining lecture was printed substantially as it was taken by the reporter; only such verbal corrections having been made as were absolutely necessary to insure accuracy of statement. Mr. Spurgeon has said of his lectures to his students: "I am as much at home with my young brethren as in the bosom of my family, and therefore speak without restraint. I do not offer that which has cost me nothing, for I have done my best, and taken abundant pains. Therefore, with clear conscience, I place my work at the service of my brethren, especially hoping to have a careful reading from young preachers, whose profiting has been my principal aim." W. B. K. CONTENTS. LECTURE I. Illustrations in Preaching LECTURE II. Anecdotes from the Pulpit LECTURE III. The Uses of Anecdotes and Illustrations LECTURE IV. Where can We Find Anecdotes and Illustrations? LECTURE V. The Sciences as Sources of Illustration?Astronomy LECTURE I. ILLUSTRATIONS IN PREACHING. The topic now before us is the use of illustrations in our sermons. Perhaps we shall best subserve our purpose by working out an illustration in the present address; for there is no better way of teaching the art of pottery than by making a pot. Quaint Thomas Fuller says, "Reasons are the pillars of the fabric of a sermon; but similitudes are the windows which give the best lights." The comparison is happy and suggestive, and we will build up our discourse under its direction. The chief reason for the construction of windows in a house is, as Fuller says, to let in light. Parables, similes, and metaphors have that effect; and hence we use them to illustrate our subject, or, in other words, to "brighten it with light," for that is Dr. Johnson's literal rendering of the word illustrate. Often when didactic speech fails to enlighten our hearers we may make them see our meaning by opening a window and letting in the pleasant light of analogy. Our Saviour, who is the light of the world, took care to fill his speech with similitudes, so that the common people heard him gladly; his example stamps with high authority the practice of illuminating heavenly instruction with comparisons and similes. To every preacher of righteousness as well as to Noah, wisdom gives the command, "A window shalt thou make in the ark." You may build up laborious definitions and explanations and yet leave your hearers in the dark as to your meaning; but a thoroughly suitable metaphor will wonderfully clear the sense. The pictures in an illustrated paper give us a far better idea of the scenery which they represent than could be conveyed to us by the best descriptive letterpress; and it is much the same with scriptural teaching: abstract truth comes before us so much more vividly when a concrete example is given, or the doctrine itself is clothed in figurative language. There should, if possible, be at least one good metaphor in the shortest address; as Ezekiel, in his vision of the temple, saw that even to the little chambers there were windows suitable to their size. If we are faithful to the spirit of the gospel we labor to make things plain: it is our study to be simple and to be understood by the most illiterate of our hearers; let us, then, set forth many a metaphor and parable before the people. He wrote wisely who said   The Printed Book / Its History, Illustration and Adornment, from the Days of Gutenberg to the Present Time by Henri Bouchot : (full image Illustrated) Author: Henri Bouchot, Translator: Edward C. Bigmore B00J3SQABS File Size: 3794 KB.     BUY NOW Book Description :- Book, history, Illustration, print, Europe, PAPER, LIBRARIES PREFACE. CONSIDERING that this short study can claim to be nothing more than a rapid and somewhat summary survey of the history of The Book, it eschews all controversial matter, nor does it pretend to convey much fresh information to those already possessing a special knowledge of the subject. It is rather a condensed, but at the same time, it may be hoped, a useful, compendium of the thousand unknown or now forgotten essays, involving endless contradictory statements, that have been issued on this theme. The mere enumeration of such works would simply suffice to fill a volume. We have accordingly no intention to attempt a bibliography, satisfying ourselves with the modest avowal of having found so many documents in all languages, that the very abundance has been at least as embarrassing to us as the lack of materials may have been to others. The Book appealing in its present form to a special public interested more in artistic than in purely typographical topics, our attention has been more particularly given to the illustrators, the designers, engravers, etchers, and so forth. Such graphic embellishment seemed to us of more weight than the manufacture of the paper, the type-casting, the printing properly so called. This technical aspect of the subject has been very briefly dealt with in a separate chapter, and has also been enlarged upon in the early section. To the binding also we have devoted only a single chapter, while fully conscious that a whole volume would not have sufficed merely to treat the subject superficially. At the same time, we would not have the reader conclude from all this that our book abounds in omissions, or has overlooked any important features. The broad lines, we trust, have been adhered to, while each section has been so handled as to give a fair idea of the epoch it deals with. This is the first attempt to comprise within such narrow limits an art and an industry with a life of over four centuries, essaying to describe its beginnings and its history down to our days, without omitting a glance at the allied arts. The engravings selected for illustration have, as far as possible, been taken from unedited materials, and have been directly reproduced by mechanical processes, while fifteen new illustrations, having special relation to the history of the Book in England, have been added to this edition, which is also considerably enlarged in the text on the same subject. CONTENTS CHAPTER I. 14.. TO 1462 Origin of the Book, Engravers in relief, The St. Christopher of 1423, Origin of the Xylographs, The Xylographs, Donatus, and Speculum, The Laurent Coster legend, From block books to movable characters, John Gaensefleisch, called Gutenberg, The Strasbourg trial, Gutenberg at Mayence, Fust and Schoeffer, The letters of indulgence, The Bible, The "Catholicon", The Mayence Bible, Causes of the dispersion of the first Mayence printers, General considerations. CHAPTER II. 1462 TO 1500 The Book and the printers of the second generation, The German workmen dispersed through Europe, Caxton and the introduction of printing into England, Nicholas Jenson and his supposed mission to Mayence, The first printing in Paris; William Fichet and John Heinlein, The first French printers; their installation at the Sorbonne and their publications, The movement in France, The illustration of the Book commenced in Italy, The Book in Italy; engraving in relief and metal plates, The Book in Germany: Cologne, Nuremberg, Basle, The Book in the Low Countries, French schools of ornament of the Book; Books of Hours; booksellers at the end of the fifteenth century, Literary taste in titles in France at the end of the fifteenth century, Printers and booksellers' marks, The appearance of the portrait in the Book, Progress in England, Caxton and his followers. CHAPTER III. 1500 TO 1600 French epics and the Renaissance, Venice and Aldus Manutius, Italian illustrators, The Germans; Theuerdanck, Schaufelein, The Book in other countries, French books at the beginning of the century, before the accession of Francis I., Geoffroy Tory and his works, Francis I. and the Book, Robert Estienne, Lyons a centre of bookselling; Holbein's Dances of Death, School of Basle, Alciati's emblems and the illustrated books of the middle of the century, The school of Fontainebleau and its influence, Solomon Bernard, Cornelis de la Haye and the Promptuaire, John Cousin, Copper plate engraving and metal plates, Woériot, The portrait in the Book of the sixteenth century, How a book was illustrated on wood at the end of the century, Influence of Plantin on the Book; his school of engravers, General considerations, Progress in England, Coverdale's Bible, English printers and their work, Engraved plates in English books. CHAPTER IV. 1600 TO 1700 Tendencies of the regency of Marie de Medicis, Thomas de Leu and Leonard Gaultier, J. Picart and Claude Mellan, Lyons and J. de Fornazeris, The Book at the beginning of the seventeenth century in Germany, Italy, and Holland, Crispin Pass in France, The Elzevirs and their work in Holland, Sebastian Cramoisy and the Imprimerie Royale, Illustration with Callot, Della Bella, and Abraham Bosse, The publishers and the Hotel de Rambouillet, The reign of Louis XIV.; Antoine Vitré syndic at his accession, His works and mortifications; the Polyglot Bible of Le Jay, Art and illustrators of the grand century, Sébastien Leclerc, Lepautre, and Chauveau, Leclerc preparing the illustration and decoration of the Book for the eighteenth century, The Book in England in the seventeenth century. CHAPTER V. THE BOOK IN THE EIGHTEENTH CENTURY The regency, Publishers at the beginning of the eighteenth century, Illustrators in France; Gillot, The school of Watteau and Boucher, Cars, The younger Cochin; his principal works in vignettes, French art in England; Gravelot, Eisen, Choffard, The Baisers of Dorat; the Contes of La Fontaine, The publisher Cazin and the special literature of the eighteenth century, The younger Moreau and his illustrations, The Revolution, The school of David, Duplessis-Bertaux, The Book in Germany; Chodowiecki, In England; Boydell and French artists, Caslon and Baskerville, English books with illustrations, Wood engraving in the eighteenth century; the Papillons, Printing offices in the eighteenth century. CHAPTER VI. THE BOOK IN THE NINETEENTH CENTURY The Didots and their improvements, The folio Racine, The school of Didot, Fine publications in England and Germany, Literature and art of the Restoration, Romanticism, Wood engraving, Bewick's pupils, Clennell, etc., The illustrators of romances, The generation of 1840, The Book in our days in Europe and America. CHAPTER VII. TYPES, IMPRESSION, PAPER, INK CHAPTER VIII. BOOKBINDING The binding of the first printed books, Ancient German bindings, Binding in the time of Louis XII., Italian bindings, Aldus, Maioli, Grolier, Francis I., Henry II. and Diane de Poitiers, Catherine de Medicis, Henry III., The Eves, The "fanfares", Louis XIII., Le Gascon, Florimond Badier, Louis XIV., Morocco leathers, Cramoisy, The bindings of the time of Louis XIV., The regency, Pasdeloup, The Deromes, Dubuisson, Thouvenin, Lesné, The nineteenth century, English binders, Roger Payne, Francis Bedford. CHAPTER IX. LIBRARIES   The Life Of George Cruikshank, Vol. I. (of II) / The Life Of George Cruikshank In Two Epochs, With Numerous Illustrations by Blanchard Jerrold : (full image Illustrated) Author: Blanchard Jerrold, Illustrator: George Cruikshank B00I1LH968 File Size: 2239 KB.     BUY NOW Book Description :- artist, biography, German, poet, Wandering Jew, CARICATURIST "If ever you happen to meet with two volumes of Grimm's 'German Stories,* which were illustrated by Cruikshank long ago, pounce upon them instantly; the etchings in them are the finest things, next to Rembrandt's, that, as far as I know, have been done since etching was invented."--Ruskin. "All British people, even publicans and distillers, we should hope, have a kindly feeling for George Cruikshank."--W. M. Rossetti. "Am I stilted or turgid when I paraphrase that which Johnson said of Homer and Milton, in re the Iliad and the Paradise Lost, and say of Hogarth and Cruikshank that George is not the greatest pictorial humourist our country has seen, only because he is not the first?"--Sala's "Life of William Hogarth." DEDICATION. TO GUSTAVE DOR?. My dear Dor?, When some five-and-twenty years ago we were waiting together, at Boulogne, for the arrival of the Queen, who was on her way to Paris, we spent an evening at the hotel with the late Herbert Ingram, for whom we had undertaken--you to illustrate, and I to describe--the pageant for the "Illustrated London News" It was a pleasant evening, closed by a long moonlight ramble on the sands. While we talked, you, filled a vast sheet of paper with a medley of fancies, squibs, caricatures, and satires, in which public events were jumbled with private jokes; while the great folk, of whose doings we were the chroniclers, were marshalled in procession with our humble selves. I remember the astonishment expressed on Ingram's face when, as we were leaving for our walk and cigar, he glanced over your shoulder at the hosts with which you had peopled the broad page before you. It was a prodigious tour de force,--so curious and complete an emanation of the humorous and satirical part of your genius, that I pardon Ingram for having decamped with it on the morrow morning before we were up.   The Life Of George Cruikshank, Vol. II. (of II) / The Life Of George Cruikshank In Two Epochs, With Numerous Illustrations by Blanchard Jerrold : (full image Illustrated) Author: Blanchard Jerrold, Illustrator: George Cruikshank B00I23MLIQ File Size: 3537 KB.     BUY NOW Book Description :- artist, biography, German, COMIC, BATEMAN, HOGS, GRAVE THE COMIC ALMANAC. In 1835 the late Mr. Tilt, publisher, of Fleet Street, started the Comic Almanac, and engaged George Cruikshank to illustrate it. It was a happy idea, exactly suited to the more popular side of the mood and genius of the artist; and Cruikshank entered upon his task with zest For nineteen years this annual comic and satirical commentary on passing and probable events, not only furnished him with a regular income, giving him work on which he might reckon with certainty in estimating his very fluctuating resources; but it afforded him the opportunity, in which he always delighted, of recording in his own quaint, original manner, his opinions on the questions of the day. In the nineteen volumes to which the Almanac ran, there are nearly two hundred and fifty etchings by him; and among these there are some of his happiest bits of observation, of his shrewdest exposures of folly and vice and cant, and of his original fancy. After looking over these nineteen volumes, and noticing that the wit and earnestness of purpose are as fresh and strong in that of 1853 as in the first volume, the reader cannot refuse to endorse what Thackeray said of Cruikshank's humour--viz., that it is so good and benevolent, any man must love it. While in his illustrations of books the many-sided artist continued to express his serious or tragic power, which Mr. Ruskin has asserted to be as great as his grotesque power, though warped by "habits of caricature"; in these pleasant annual volumes, in the letterpress of which he had the assistance of his friends, Thackeray, Gilbert à Beckett, Albert Smith, Robert Brough, Horace and Henry Mayhew, he maintained his original popularity with the laughter-loving sections of the British public. In 1835, when the first almanac appeared, the water cure was amusing the public. Cruikshank's first plate shows one enthusiast under the water-butt, another under a burst water-pipe, and a third in an elegant attitude, being pumped upon by his servant, and remarking, "Well, I could not have supposed that being 'pumped upon' was such a luxury! and so invigorating! And to think that so good a thing should hitherto have been thrown away upon qui tam attorneys, sprained ankles, and pickpockets!" Then Mr. Rigdum Funnidos (originated by the late Mr. Vizetelly, I am informed by his son Henry), enters upon the scene, and continues year after year to be the nom de plume of a succession of wits and humourists; and Cruikshank unfolds his series of plates of the months, each season being indicated by some humorous incident or some happy notes of observation of our London streets. The ice-carts and slides of January; the muddy streets and bustling postmen of St. Valentine's day,--how unlike (with their great leather bags) the postmen of our day! the winds of March outside Mr. Tilt's shop, blowing even a dog's tail over his back; showery April, with a wonderful group of Cockneys standing up; the sweeps of Mayday; June, at the Royal Academy--a bit of Cruikshank at his brightest; July, in Vauxhall Gardens, with the band in cocked hats, and the famous master of the ceremonies in pumps; Cruikshank's old friend, the dustman, eating his first oyster in August; Greenwich Fair in September; going into the country by the stage coaches in October; Guy Fawkes in November; and the Christmas pudding, with a laughing company welcoming it, in December. As pictures of the humorous side of London life upwards of forty years ago, these spirited etchings, which teem with life, are invaluable.   The Centenary Garland / Being Pictorial Illustrations of the Novels of Sir Walter Scott : (full image Illustrated) Author: Anonymous, Editor: Charles Rogers, Illustrator: George Cruikshank, and other Artists of Eminence B00HEWIJY6 File Size: 3485 KB.     BUY NOW Book Description :- MEMOIR, GARLAND, ANTIQUARY, LEGEND, Novel, DWARF Who comes, alone, with soul of fire, And in his hand the Border lyre? He sweeps the strings, and in his strain Old times and manners live again; 'Tis Scott! great Master of his art, He fires, subdues, or storms the heart! Rapt by the magic of his rhymes, I seem to live in feudal times; I hear the swelling bugle's call, And see the warder on the wall; And many a squire, and many a knight, In mail and gloves of steel bedight, Impatient for the fiery fight. Captain Charles Gray. The land was charm'd to list his lays; It knew the harp of ancient days. The Border chiefs, that long had been In sepulchres unhearsed and green, Passed f rom their mouldy vaults away, In armour red and stern array, And by their moonlight halls were seen, In visor helm, and habergean. Even fairies sought our land again, So powerful was the magic strain. The Ettrick Shepherd. PREFATORY NOTE, BY THE EDITOR. The enthusiasm with which Scotsmen and others have hailed the proposal to celebrate in public demonstration the Centenary of Sir Walter Scott's birth, has suggested the publication of this little work. The Memoir includes some interesting particulars omitted by preceding biographers; while a history of the Scott Monument at Edinburgh has been prepared from original materials. The illustrations are printed on stone by Messrs Schenck & M'Farlane, from steel plates by artists of eminence. The spirited etchings by Mr George Cruikshank will be especially welcomed by the numerous admirers of that distinguished artist. It has been the Editor's aim to produce a souvenir worthy of the occasion, and he is inclined to believe that his intentions have been in some measure realised. CHARLES ROGERS. Snowdoun Villa, Lewisham, Kent, June 1871. ON the 15th of August 1771, at Edinburgh, it is believed, Sir Walter Scott was born, but his birth does not seem to have been entered in any Register. The Scots Magazine recorded only births in families of distinction, and Edinburgh newspapers had not yet begun to notify domestic changes. The Kirk-session Registers of the capital were indeed well kept, but parents who claimed for their children baptism in the Established Church were those only who systematically enrolled the names of their offspring in the Presbyterian Records. The father of the great novelist, Walter Scott, Writer to the Signet, was a member of the Scottish Episcopal Church, in which, doubtless, his children were baptized. He therefore ignored the Presbyterian registers; yet it is sufficiently singular that, albeit a man of business of good capacity, he was not careful to secure elsewhere a record of his children's births.   Flower Guide / Wild Flowers East of the Rockies (Revised and with New Illustrations) by Chester A. Reed : (full image Illustrated) Chester A. Reed B00KYH2NG8 File Size: 5100 KB.     BUY NOW Book Description :- Flower, Guide, Wild, plant, COLOR, FAMILY, tree, Mayflower Whose heart is not gladdened at the sight of the first Mayflower or Arbutus in the spring? Who can pass a body of water, its surface glistening with the beauty of the Water Lily, without appreciation? In the fall who can traverse a field blind to the brilliancy of the seas of Purple Asters and gleams of the Goldenrod? Yet it is only within a very few years that there has been any real, concerted interest shown by the masses in Nature Study. To be sure, botany has long been taught in some of the higher schools, but it was of advantage only to comparatively few. Now the call for knowledge, or at least the name, of what is seen in their daily rambles is voiced by tens of thousands. Since the publication, early in 1906, of the first edition of Bird Guide, the author has been besieged by requests from all parts of the country, and from people in every walk and station of life, to continue the idea and bring out similar volumes on flowers, butterflies, fish, animals, etc. The present volume has been carefully prepared with two objects always in view--to serve the greatest number of persons in the best possible way--and still have a volume that can be carried in the pocket with little or no discomfort. The great majority of the colored paintings have been made directly from living plants, and the balance, with few exceptions, from herbarium specimens. They represent normal specimens and have been so chosen as to include those of the conspicuous flowering plants found from the Atlantic seaboard west to the States of the Mississippi Valley. Using my 25 years, devoted largely to the study of living things, as a criterion, I have endeavored to incorporate in the text and in the pictures just those points that will best serve to identify a flower that the reader may find. The introductory pages give the life cycle of a plant from seed to seed and many curious facts concerning curious plants. Should this volume identify some of the flowers that the reader may discover, and give him a clearer idea of the appearance and beauty of the growing things that may be found, the author's purpose will have been fully accomplished. CHESTER A. REED. Worcester, Mass., 1907. INTRODUCTORY A plant is a wonderful organism, yet how few of us realize it as we casually glance at the flowers growing by the wayside. We see a beautiful flower; we know that in the course of time it withers and fades away; and we know that the next year the plant grows up again, sends forth its buds, which at the proper time unfold their petals, and so the cycle continues year after year, while we give little thought to the change that occurs, the cause and its effect. Volumes might be written, and a great many have been since the time of Darwin, upon the many interesting processes by which various flowers are propagated. As this book is confined chiefly to the identification of flowers, we will give but a few illustrations between flowering seasons. We see in most flowers a thing of beauty; their real and, to them, most important function is to produce seeds to perpetuate the species. The parts of a flower that are necessary to produce seeds are the pistil, with its stigma at the top and ovule at the base, and the stamens with their pollen-laden anthers. A flower that has these organs is known as a perfect flower; if, in addition, it has a corolla and calyx, or petals and sepals, it is known as a complete flower. On the opposite page are shown a number of flowers with their parts named.   A Handbook of Illustration by A. Horsley Hinton : (full image Illustrated) A. Horsley Hinton B00ESVDK04 File Size: 4325 KB.     BUY NOW Book Description :- Illustration, TONE, LINE PROCESS, DRAWING, SKETCHING, PHOTOGRAMS, ART Authors preface Increased use of the Photographic Reproduction process and a prevailing ignorance of their nature and application, made desirable a simple practical Handbook of Illustration Methods Such a book it has been my endeavour to produce A.H.H. London November 1894 INTRODUCTION--THE ART OF ILLUSTRATION. Introduced to this country, in round numbers, some fifty years ago, Photography has progressed beyond its contemporaries of the present century. It has obtained a hold upon the people, entering equally into their work and their amusements; the speed, the reality, the brilliancy of it fit it peculiarly for the age into which it has been born. It has survived, and will survive, amidst the decay of other things, because of its extraordinary adaptability to changing circumstances, its readiness to meet altering tastes and requirements; versatile in aspect, elastic in its application. Amidst all its adaptations of modern date, in none has it been more successful than in that to which this book is devoted: that wherein photography, directly or indirectly, is employed to introduce into our literature expressions of thought, which are better so conveyed than by written or printed words. Be the language never so rich in words, or the writer's power in using them never so great, a clearer and a more lasting impression may be conveyed, even to the cultivated, and certainly to the popular mind, by the arrangement of lines and markings in such form as may be felt to actually represent the objects, and indicate the relative position and size of other objects or parts of the same. This may be said to be the primary and normal function of an Illustration. Throughout the pages of this book, and to whatever extent the student may practise the methods herein described, it may be well to keep very clearly in mind the legitimate function of an illustration, namely: to describe, to portray, and to do this chiefly as an auxiliary to written language. To such a kind belongs the rude scratchings of the primæval man, whose limited powers of speech forbade his adequately describing the forms of those creatures whose pursuit meant life, whose disregard would mean death, and of such kind were the hieroglyphics of the East. Nay, who shall say that the very forms of letters themselves are not the outcome of early effort to convey to the eye of another what might otherwise only have been imperfectly communicated through other senses: a means to an end; a servant, a tool, in the hands of him who would wield it. But in the beginning there was a making of drawings and designs which had another purpose. The gourd, or rough clay vessel, was graved and marked with devices and forms suggested by the curves and shapes in Nature, but this was merely for decoration; to please the eye, and not to serve any purpose but to give pleasure. A means to an end in this sense perhaps, but note that the end was in the commencement of it, and went no further after completion; it gave pleasure to the beholder and no more, and nothing more was intended or asked. Thus was Art born--not to teach, nor to explain, nor to illustrate. CONTENTS INTRODUCTION-THE ART OF ILLUSTRATION. A NEGLECTED FIELD. THE THEORY AND PRINCIPLES OF ILLUSTRATION. REPRODUCTION BY HALF-TONE PROCESS. THE PREPARATION OF ORIGINALS FOR REPRODUCTION BY HALF-TONE PROCESS. THE PREPARATION OF ORIGINALS FOR HALF-TONE REPRODUCTION. LINE PROCESS. METHODS OF LINE REPRODUCTION. TOOLS AND MATERIALS FOR LINE DRAWING. COMPARISON OF PROCESSES. OTHER METHODS ADAPTED FOR LINE REPRODUCTION. MECHANICAL AIDS TO DRAUGHTSMANSHIP--DRAWING AND SKETCHING FROM NATURE.   The Preparation of Illustrations for Reports of the United States Geological Survey With Brief Descriptions of Processes of Reproduction by John L. Ridgway John L. Ridgway B00E2XUN8U File Size: 1466 KB.     BUY NOW Book Description :- Geological, Survey, AMERICA, illustrations, maps, Retouching, drawing There has been an obvious need in the Geological Survey of a paper devoted wholly to illustrations. No complete paper on the character, use, and mode of preparation of illustrations has been published by the Survey, though brief suggestions concerning certain features of their use have been printed in connection with other suggestions pertaining to publications. The present paper includes matter which it is hoped will be of service to authors in their work of making up original drafts of illustrations and to draftsmen who are using these originals in preparing more finished drawings, but it is not a technical treatise on drafting. The effectiveness of illustrations does not depend entirely on good drawings nor on good reproduction; it may be due in large part to the inherent character of the rough material submitted. If this material is effective or striking the finished illustrations, if well made, will be equally effective and striking. Each step in the making of an illustration--first the preparation of the author's original or rough draft, next the final drawing, and last the reproduction--is closely related to the others, and each is dependent on the others for good results. If the material has been well handled at all three steps the resulting illustration should be above criticism; if it has been poorly handled at any one of the three the effectiveness of the illustration is either impaired or ruined. A consideration of processes of reproduction is essential in the preparation of all illustrations, and the influence or effect of the process to be selected on the methods of preparing a drawing has seemed to warrant the presentation of brief descriptions of the processes usually employed by the Geological Survey. These descriptions include statements as to the kind of copy that is suitable for each process, the result produced by each, and the relative cost of the processes.   The Empress Frederick / a memoir by Anonymous : WITH ILLUSTRATIONS Anonymous B00EEOT964 File Size: 928 KB.     BUY NOW Book Description :- biography, Princess, Empress, Victoria, Queen, German, pedigree MEMOIRS of Royal personages form not the least interesting part of the whole vast field of biography, in spite of the fact that such memoirs differ from the lives of most persons in a private station because of the reticence and discretion which are necessary, especially in regard to affairs of State and political characters. It is often not until a whole generation has passed that it is possible to publish a full biography of a member of a Royal House, and in the meantime the exalted rank of the subject operates both to enhance and to diminish the interest of the memoir. This is also true in a modified degree of statesmen, of whom full and frank biographies are seldom possible until their political associates and rivals have alike disappeared from the scene. This necessary delay is a test of the subject's greatness, for it has sometimes happened that by the time a full memoir can be published the public interest in the individual has waned. By heredity, by training, by all the circumstances of their lives, Royal personages form a caste apart; and though their lot may seem to some persons enviable, it is often not realised how great are the sacrifices of happiness and contentment which they are called upon to make as the inevitable consequence of their exalted position. The Empress Frederick presents an extraordinary example of what this exalted position may bring in the way of both happiness and suffering. Her life has the added interest that, quite apart from her rank, she possessed an intensely vivid and human personality. History furnishes examples of many Royal personages who have been, so to speak, crushed and stunted in their intellectual and spiritual growth by the restraints of their position. CONTENTS Childhood and Girlhood Betrothal Opinion in Both Countries Marriage Early Married Life Birth of Prince William Advice from England Death of the King of Prussia First Relations with Bismarck The War of the Duchies Home Life and Religion The Austrian War: Work in the Hospitals The Franco-German War Public and Private Activities The Crown Prince's Regency Silver Wedding: The Crown Prince's Illness The Hundred Days' Reign Early Widowhood: Fall of Bismarck The Planning of Friedrichshof: Visit to Paris Life at Friedrichshof Last Years ILLUSTRATIONS The Empress Frederick (Photogravure) The Prince of Wales and the Princess Royal The Princess Royal, Victoria Adelaide Mary Louisa Her Royal Highness Victoria, Princess Royal His Royal Highness, Prince Frederick William of Prussia Her Royal Highness, Princess Frederick William of Prussia Her Royal Highness, Princess Frederick William of Prussia and Infant Prince Frederick William Victor Albert Frederick William, Crown Prince of Prussia, after the Franco-Prussian War The Late Empress Frederick   Through Glacier Park / seeing America first with Howard Eaton by Mary Roberts Rinehart : (WITH ILLUSTRATIONS) Mary Roberts Rinehart B00EEK3N24 File Size: 1098 KB.     BUY NOW Book Description :- advanture, park, America, Mountain, Lake, River, Trip There are many to whom new places are only new pictures. But, after much wandering, this thing I have learned, and I wish I had learned it sooner: that travel is a matter, not only of seeing, but of doing. It is much more than that. It is a matter of new human contacts. It is not of places, but of people. What are regions but the setting for life? The desert, without its Arabs, is but the place that God forgot. To travel, then, is to do, not only to see. To travel best is to be of the sportsmen of the road. To take a chance, and win; to feel the glow of muscles too long unused; to sleep on the ground at night and find it soft; to eat, not because it is time to eat, but because one's body is clamoring for food; to drink where every stream and river is pure and cold; to get close to the earth and see the stars--this is travel. CONTENTS THE ADVENTURERS FALL IN THE SPORTING CHANCE ALL IN THE GAME RUNNING WATER AND STILL POOLS THE CALL THE BLACK MARKS BEARS DOWN THE FLATHEAD RAPIDS