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Ancient Assyrian Hall: The Feast of Sardanapalus. From a sepia sketch by the Author 56 An Ancient Egyptian Corridor. From a sepia sketch by the Author 61 On the Esk River, Tasmania. From a photograph by Major Aikenhead, Launceston 97 A New Guinea Village. A study of lighting from behind 125 Noah’s Ark. A process paper drawing 132 Ship-of-the-Line, 1815. Pen and ink 134 A Viking Boat. Process paper 138 Fishing Boats. Pen and ink 142 Homeward Bound. Process paper 143 The Storm. Pen and ink 147 At Rest. Pen and ink 148 From Breydenbach’s Travels 150 St. Christopher. From ‘A Treatise on Wood-Engraving,’ page 46 153 History of the Virgin Mary. From ‘A Treatise on Wood-Engraving,’ page 72 154 Albert Dürer’s Apocalypse 156 By Christopher Jegher, after Rubens 158 A Panel of Black and Gold 176 Initial Letter O, and Moonlight 196 The Avenue—Hobbema 229 Harmony. A night effect 250 Art Subjects 272 A Garden Scene 297 The Ancient Nile 300

Note A.—John Foster, of Coldstream, is one of the most accomplished of photographic artists, who has made a specialty of cattle groups, and whose studies are nearly always perfect in their grouping and effect.

Note B.—Major W. Aikenhead, of the Launceston Rifle Regiment, Tasmania, favoured me with some of his finest specimens, with permission to reproduce them. His aerial effects are wonderful and delicate, too tender in most instances for reproduction by process: therefore I have been compelled to give one of his most positive pictures as a specimen of his art and the beauties of the country in which he works.

WHERE ART BEGINS

A WORD BEFORE

N the first flush of youth our imaginative faculties are very active. In childhood we rove through Fairyland and play with the little elves;