  | PAGE | | A New Zealand Fern-tree Gully. | Frontispiece | | Repose. | Vignette for title-page | | Group of Fisher-Folk. From a photograph by John Foster of Coldstream | 5 | | A Group of Working Horses. From a photograph by John Foster of Coldstream | 26 | | 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
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