Books may be illustrated in a more or less pictorial manner without any particular regard to the decoration of the page, or with due regard to its ornamentation. In the latter case the designer of the decoration will be the illustrator and decorator in one.

The great majority of modern illustrated books are not decorated in the true sense of the word, but have their illustrations inserted as pictures, or scraps of pictures, without borders or frames, and with little or no relation to the distribution of the printed matter or to the boundary lines of the page. In this respect the modern practice is different from that observed in the Mediæval and Renaissance book illustration, for in the two periods named, when a purely literal or pictorial scene was inserted, it had usually borders like mouldings, or borders of rich decoration, or sometimes bands and lines only, which separated the picture from the printed or written text, and harmonized with any other decoration that might be on the page. Thus an artistic unity was usually preserved in the book decoration of earlier times, which, generally speaking, is the exception in the present day, and not the rule.

The modern practice was brought about by the invention of copper-plate engraving—about 1477—when the copper-plate illustration became, in a great measure, the substitute for wood-engraved blocks of a former period. The plates were usually engraved with copies of pictures, and the book decorator was superseded by the painter; the art and practice of the former declined, while the work of the latter became fashionable, and has remained so ever since.

Photography has been a considerable aid to the pictorial side of book illustration, and has, on the other hand, been a great help to designers of decorative illustration, for by the use of photography the designer is enabled to have the work of his hand reproduced in facsimile, as in the process block method, which has been such a powerful rival and competitor to all kinds of engraving that it has now almost crushed them out of existence.

Before the invention of printing books were very scarce, as they were written in manuscript, and were mostly of a devotional character, made for the use of the clergy and others in monastic establishments or religious houses.

The writers and decorators of these missals or illuminated books were chiefly the brothers or monks of the several religious orders.

Some of the earliest and best decorated books are those belonging to the Irish Celtic art of the seventh and eighth centuries. The remarkable designs of illuminated initials and capitals, and the intricate geometric patterns, spirals, and involved interlacings of many varieties, all executed with astonishing skill, were not excelled or equalled by the scribes and designers of similar work in England or on the Continent.

Foremost in importance among the many remaining monuments of Irish art in book decoration is the celebrated “Book of Kells,” now preserved in Trinity College, Dublin. It was formerly supposed to have been brought to the Columban Monastery of Kells, or Kenlis, the ancient Cennanas, by St. Columba, the founder of that Christian house, whose death is said to have taken place in the year 597; but this is likely to be only tradition, for it would appear, according to some later authorities, that the character of the lettering and the style of the ornamentation fixes the date of its execution about the end of the seventh century.

Although the native Irish phase of Celtic art possesses many characteristics of its own, it is a development in some degree of the more Eastern Romanesque ornament, and symbolic Byzantine, or even the more primitive Greek. It is also mixed with a few geometric forms and symbols that had existed in Ireland before the introduction of Christianity in the fifth century.

In the “Book of Kells,” for instance, there are several illustrations which show in some parts a Greek influence, and in one page the Greek monogram of Christ appears.

The initial letters in square or rectilineal capitals usually occupy large portions of the illuminated page, and are often embedded in rectangular panels with borders, the latter being filled with elaborate interlacings and spirals, &c. (Fig. 310).

The smaller text used by the Irish scribes was founded on the round or uncial Roman variety of lettering, but in the Irish variety there is a distinct improvement on the Roman in its beautiful and restrained quality of artistic simplicity, combined with its perfect legibility. In some Irish manuscripts an angular cursive or running hand was also used.

An illustration given at Fig. 311 of the frontispiece from the “Epistle of Jerome,” in the Irish missal known as the “Book of Durrow,” is a fine example of Celtic ornamentation. This and the previous illustration are from Miss M. Stokes’ handbook on “Early Christian Art in Ireland.”

The influence and art work of the Irish scribes and missal decorators in England and on the Continent has been much greater than was formerly believed. Missionaries were sent to England, Scotland, and to the Continent, from the great monastic establishments in Ireland during the period from the seventh to the eleventh centuries, and carried with them “Gospels,” “Psalters,” and other missals, besides making many other religious books for the use of the monasteries they had founded in foreign countries. These Irish scribes also taught their art of book illumination to the monks who lived at such places where they set up their missions, or where they had become recluses in the foreign monasteries already established. This accounts for the number of Irish manuscripts that have been found in such monastic houses as that of St. Gall in Switzerland, Bobio in Piedmont, at Mentz (Mayence), at Ratisbon in Bavaria, at Honau on the Rhine, and at many other places on the Continent. The style of art in all the manuscripts found at these places, though introduced at the inception of Christianity into Ireland from Italy through Gaul, had died out in the latter countries during the fourth and fifth centuries, and was re-introduced, as we have seen, under a modified phase into the Continent by the Irish missionary scribes.

The majority of the Anglo-Saxon manuscripts, if not written by Irish scribes in England, were either decorated or copied closely from the work of the latter. This is supported by some written testimony, but the ornamentation of the pages themselves are distinctly of Irish design.

A common feature in the illuminated pages of the books of the Middle Ages was the dividing of the pages into four compartments with ornamental borders, and each compartment holding the figure of a saint or symbols of the Evangelists, or having a miniature on the top half of the page and two small columns of text below.

Anglo-Saxon manuscripts, with classical treatment of the figure designs, may be seen in the King’s Library at the British Museum. The figures have the attenuated Byzantine character, with the linear treatment of the draperies, and with the long lobe-like forms which strongly mark the intended position of the limbs under the drapery; while others show the influence of the early Christian paintings of the catacombs at Rome and Naples.

The “Charter” of the foundation of Newminster at Winchester (966) and several “Gospels” in Latin of the eleventh century in the British Museum, are examples of the best kind of Anglo-Saxon illuminated manuscripts.

“Psalteries,” “Gospels,” and botanical works known as “Herbals” were among the principal kinds of illustrated books, which were executed in considerable numbers during the thirteenth and fourteenth centuries. The text in these books was usually in solid columns, neatly written in a kind of half-uncial letter in Latin, with large initials and surrounded by broad borders, having little scrolls and trefoil leaves or flowers in which four or six miniatures were placed at intervals. Some pages had the upper half or more occupied by a miniature and had less text, but nearly always there were the accompanying delicate borders designed with great spirit and freedom, and consisting of ornament made up of leaves, flowers, fruit, stems, lines, and spirals, executed on the vellum ground in bright colours and burnished gold.

A characteristic of some of the missals of the fourteenth and fifteenth centuries was the calendar pages at the beginning of the book. The pages which contained the calendar had also, in some cases, miniatures in the borders representing the seasons.

The Bedford Missal (1442), in the British Museum, is a good example of the best French book decoration of that period. It contains a calendar, and was the work of a French artist, though executed in England.

Towards the end of the fifteenth century the miniature began to assume more importance and to occupy the whole of the page. The borders had become more realistic in treatment; foliage, flowers, and insects were rendered almost naturally on gold or coloured grounds, with cast shadows, so as to give the utmost relief.

This treatment was not an improvement on the former flat Gothic style, as it tended to lead to shadowy and meretricious work.

Two of the very finest books of this period are the “Romance of the Rose,” in the British Museum, and the Grimani “Breviary” in St. Mark’s, Venice. In the latter magnificent book some of the miniatures are ascribed to the Flemish artist Memling.

The miniatures of the splendid choir books of Siena Cathedral are the masterly designs of Girolamo da Cremona and Liberale da Verona, who were famous at this kind of work. The quantity, variety, and purely Italian character of the decoration of these books would almost be sufficient to form a school of Renaissance art in itself.

With the invention of printing a great change came about in the production of decorated books; but it is curious to note that, for a long time after, in order to produce a book it was thought necessary by the means of woodcuts and type to imitate the illuminated missals of the former times.

A good illustration of this may be seen in the woodcut blocks from the recently discovered Sarum Missal (Figs. 312, 313). This very important acquisition to the list of Caxton’s works was found in 1893, in Lord Newton’s library at Lyme Hall, Cheshire, and is one of the works which Caxton sent to be printed in France. It contains some additions to the text in Caxton’s handwriting and has an impression of his peculiar mark at the end of the book.

The illustrations have been printed from wood blocks, and coloured by hand afterwards, according to the practice which obtained at the latter end of the fifteenth century.

Another interesting survival of the practice of placing a cross at the bottom of the page, on which was represented the crucifixion, is seen underneath the latter illustration (Fig. 313) in the Lyme Missal. In the earlier illuminated missals this device was resorted to in order to keep the picture of the crucifixion from being damaged by the frequent kissing of the cross; and so a small cross was placed at the bottom of the picture to enable the piously inclined to still perform this act of piety without damage to the book.

The custom of engraving blocks for book illustration in outline, to be filled in afterwards in colour, led the way to line engraving on wood, where the pure line work was left uncoloured, and soon after became a style by itself, which ultimately, as the art of black and white, was sought after and prized for its own sake.

The invention of printing from type may be traced from the woodcuts, as we have remarked above, some of the earliest of which were those cut for playing cards at the beginning of the fifteenth century.

The invention was soon after applied to the production of the xylographic or block-printed books, which were printed in colour from the block. The colour was spread on the block, a sheet of paper was placed on the top, and then rubbed over by the hand to get the impression. The early block-books printed in this way had more pictorial or decorative work in their pages than text or literary matter, and therefore appealed more directly to the great uneducated masses of the people of the times for whom they were compiled. By means of the block printing, many proofs could also be taken to supply the increasing demand for general knowledge which was springing up everywhere in the fifteenth century. Letters, whole words, and legends were now also cut for the printing of literary matter in the block-books. Book blocks were cut in Germany, Holland, and Flanders; the period of their production was from the year 1420 to 1510.

The invention of printing by movable type has been ascribed to various people, but it is now pretty certain that the one name most entitled to this honour is that of John Gutenberg, a native of Mentz (Mainz), who set up a printing establishment in that city in the year 1455, and who worked in connection with Fust, another German printer. The invention, therefore, may date about 1450.

It was about 1455 that the Mazarin Bible was issued from the press of Fust and Gutenberg at Mentz. Lord Ashburnham’s copy of the Mazarin Bible, printed on vellum, has been sold this year (1897) for the sum of £4,000.

Peter Schœffer was in partnership some years later with Fust, and in the year 1457 they issued the famous Mentz Psalter (now in the British Museum), the first book printed in different colours from the same block, and the first printed book with a date. This book is a triumph of technical skill, and is unique in its beauty among printed books of the earliest period.

There are few, if any, of the early printed books that cannot lay a great claim to artistic merit, but this would hardly have been possible if the designers of the type and ornament for the decoration of the pages, at the advent of printing, had not had before their eyes the splendid models left them by the caligraphers and illuminators of the preceding centuries.

It will be convenient here to say a few words concerning early English printing, which is associated with the name of its great founder, William Caxton (1423-1491). He was a merchant and a diplomatist, but a man of strong literary tastes. He learned the art of printing from Colard Mansion, at Bruges, where he had set up as a merchant; but leaving his business, he entered the household of the Duchess of Burgundy, sister of Edward IV., where he was engaged in literary pursuits, and for her he made a translation of Le Fevre’s “Recueil des Histoires de Troyes.” It was in order to multiply copies of this work that he learned the art of printing, and it is said that this was the first English book ever printed, which was probably printed by Mansion at Bruges, under the literary direction of Caxton, in the year 1476.

Caxton came back to England in 1477, and set up a printing press at Westminster, from which he issued a great many books during the last fourteen years of his life. His first book printed at Westminster was a work called “Dictes and Sayings of the Philosophers,” which is known to be the first English book printed in England. It is now shown in Case VIII., King’s Library, in the British Museum. Among Caxton’s other books may be mentioned several editions of the poets Chaucer, Lydgate, and Gower, Malory’s “Morte d’Arthur,” &c. He evidently sent books of his own composition to be printed on the Continent, as witness the Sarum Missal before mentioned.

The early printed books did not have title-pages. The slow development of this feature after the invention of printing is accounted for by the reason that in this respect, as in others, the first printed books were modelled in imitation of the illuminated missals, and it was not deemed necessary in the mediæval books and manuscripts to have a title-page, the scribe of the olden time merely recording in a note or label fastened to the end of the volume the name and description of his work; so this habit was continued for a long time by the early printers. This note or ending was called a Colophon.

Title-pages began to come into use about 1490, but it was not until about forty years later that they became general.

Printers’ devices, which were generally of an heraldic character, were commonly seen on the title-pages, some of which were very elaborate and finely designed. The famous printing house of Aldus at Venice had a device of an anchor with a dolphin twined around it, and the motto “Propera tarde,” or “Festina lente” (hasten slowly). It was from the printing press of Aldus, in 1499, that the celebrated book called Poliphili Hypnerotomachia, “The Dream of Poliphilus,” was issued. It is a finely illustrated book, consisting of classical compositions of figures and processions, many architectural designs, ornamental letters, emblems, and devices, all of which are executed in outline and printed from wood blocks.

The illustrations have a fine quality of line, somewhat in the spirit and style of Mantegna’s processional designs, or like those great woodcuts in the “Triumph of Maximilian” by Hans Burgmair and Albert Dürer; they are supposed—without, however, any definite proof—to be the work of Gentile or Giovanni Bellini. The book is a romance written and illustrated in the spirit of classical antiquity that so deeply coloured the art and literature of the early Renaissance epoch. A reproduction of the illustrations of this book in photo-lithography by Mr. W. Griggs, with notes by Dr. Appell, was issued by the Science and Art Department in 1888.

Somewhat in the style of “The Dream of Poliphilus” is the illustration (Fig. 314) from an edition of Dante’s “Inferno” of the same period.

A reduced specimen of the flat treatment of a Renaissance border, from a woodcut which appeared in an edition of “Herodotus” printed at Venice in 1470, is shown as the Frontispiece of this volume. This rich and delicate design is extremely effective in white on a black ground, and is artistically appropriate to the decoration of the page, much more so than the later French and German work in borders and title-pages, which was usually of an extremely heavy character.

Shaded designs of an architectural kind, such as friezes, columns, bases, and pediments, with corpulent figure decoration and heavy mouldings, were compositions which in the latter end of the sixteenth and during the seventeenth centuries took the place of the earlier light arabesque scroll-work of the Italian school, which revelled in the beauty of purer outline and in flat treatment of black and white.

Jean Goujon, Jean Cousin, Virgil Solis, Ducerceau, Stimmer, Jost Amman, and others, though versatile and vigorous to the highest degree, and clever French and German draughtsmen of the sixteenth century, their work in book decoration was more like designs for stone carving and sculpture than legitimate decoration for books. At the end of the century, however, a more correct appreciation of book-cover decoration was manifested. This was due to the happy influence of Arabian design when mixed with the prevailing Renaissance forms. The Oriental craftsmen who came to Italy, and the great commerce of Venice and Europe generally with the East, served to colour in a marked degree the design of the ornamental arts, and nowhere do we see the purely Arabian strap-work and peculiar Saracen leafage used to such advantage as in the tooled and stamped book-cover designs of this period. The Henri Deux book-cover design (Fig. 315) is Arabian in its details, but Renaissance in its general arrangement. It might have been designed by Ducerceau, but perhaps more likely by Solomon Bernard of Lyons—known as “Le Petit Bernard”—who was a prolific designer of small pictures for wood-engraved book illustrations. He died at Lyons in 1570.

Both of these designers, as well as another famous designer of book decoration, Geoffry Tory, were very partial to the use of strap-work and Arab foliation. The latter artist was also a scholar and author, and produced many fine designs for book-covers. Fig. 316 is a very delicate and rich design for the cover of a “Book of the Hours,” by Tory, and is a good example of the Franco-Renaissance of the sixteenth century.

Jean Grolier, Viscount d’Aguisy, was one of the earliest and greatest bibliophiles of France. Though of Italian origin he adopted France as his country, and was Treasurer-General of France when he died, in 1565, at the age of eighty-six. He was appointed ambassador to Clement VII. in the year 1534, and at this time had begun to collect valuable books, that had been chiefly printed in Venice and at Basle. These books were generally unbound copies, but were printed with great care on beautiful paper. On his return to France he employed Geoffry Tory and other designers as well as the best craftsmen in bookbinding to decorate and clothe his precious works. The illustrations we have given are such as are usually found on the Grolier bindings, which nearly always consist of designs composed of strap-work or interlacings and delicate tracery, clothed with Arabian foliage, worked on prepared costly leathers in various colours, and often heightened with gold.

Grolier’s bindings usually bore in addition to the title of the book the inscription “Jo Grolierii Et Amicorum,” indicating that they belonged to Grolier and his friends, at the same time adding a testimony to the unselfish spirit of the great book-lover.

The strap-work and Oriental foliage designs, which had developed so much in France, went even further in Germany, not only in bookbinding decoration, but in gold and silversmiths’ work, and in architecture—as we have noticed before in this volume—and nearly all the German, Flemish, and Dutch artists of the sixteenth and following century, who designed for book decoration, adopted the above features in their ornament. Great masters like Albert Dürer, Holbein the younger, Lucas Cranach, and Hans Burgmair, and the “little masters”—Jost Amman, Hans Sebald Beham, Aldegrever, Virgil Solis, Jerome Bang, Peter Flötner of Liége, the Collærts and Janssens of Antwerp, and Lucas Kilian of Augsburg—were the principal designers and engravers for book decoration and illustrations, in which work they were engaged among their varied and prolific labours in other branches of decorative art.

During the seventeenth century the power of design was growing rapidly weaker, the ornament became coarser in feeling and imitated the cumbersome and heavy traditions of classical art. Headpieces, tailpieces, and printers’ devices or marks were now more in fashion, rather than the consideration of the design of the page as a whole decorative scheme.

Title-pages with heavy architectural pretensions and pictorial views began to be very common at the end of the century and throughout the eighteenth century.

The pictorial illustration in black and white was due to the development of copper-plate first, and steel engraving afterwards, as new methods for book illustration. These processes were developed very much in Italy and France at the beginning of the eighteenth century, and in England their use in book illustration might be said to extend from about the middle of the eighteenth to the middle of the present century. This period embraced that of the publication of a type of English books of essays, poems, and short stories, known as Anniversaries, Amulets, Annuals, Keepsakes, Souvenirs, &c. These books were filled with beautifully executed line engravings of landscapes and figure subjects, and most of them were of the highest order of technical skill. The period of their existence was from 1780 to 1830.

Book decoration had become more and more pictorial and less decorative when the method employed was line engraving, for, generally speaking, pictures in oil or water-colour were copied with great fidelity and skill by the engraver for use in book illustration, and thus through the agency of the burin or engraver’s tool the painter supplanted the book decorator.

Many of the line engravings in the books of the above period show a mixture, on the same plate, of pure line engraving and etching, the latter being a process in which the lines of the design are scratched into the metal plate, which had been previously covered with a wax preparation, and the lines thus exposed are bitten deeper by an acid solution into which the plate is immersed.

Three artists of great talents—Prout, Stothard, and Turner—supplied designs and water-colour drawings of landscapes, figures, and decorative compositions, that were engraved as book illustrations. The illustrations, though on a small scale, to Rogers’s “Poems,” were very beautifully engraved by William Finden, after the designs of Stothard, who made the figure compositions, and of Turner, who did the landscapes. Finden was the great interpreter of Stothard’s figure designs, but was equally successful in his engraving of Turner’s landscapes.

Stothard has designed many illustrations for books which are characterized by a fine sense of decorative value; his figures were, as a rule, clothed in light classical costumes, and were graceful in pose and in drawing. The best engravers of the day, such as Finden, Heath, Allen, Fox, Goodyear, Robinson, and Humphreys, were engaged for the publishers in translating his designs for book illustration.

Steel-engraved frontispieces to books on science, history, travels, architecture, and philosophy had become very common in the eighteenth century. The designs of these were more or less of a heavy classical type of architectural framing and allegorical figures, sometimes enclosing portraits or landscape views. Hogarth’s engraved designs and the work of Flaxman maybe said to be at the opposite poles of art; the dramatic realism of the former is in strong opposition to the classic idealism of the latter. The works of both have been used as book illustrations, but neither of them can be called book decorators, their engraved works being produced as plates, or as a series of pictures, and the text of the books written merely in explanation of the plates.

The poet and highly imaginative artist, William Blake, in his designs for his “Songs of Innocence” (1789), and in his “Book of Job,” reverts to the old missal-painters’ manner of embodying together the text, ornament, and miniatures, in one decorative scheme of unity, in the artistic treatment of the page. Blake engraved his own designs, and printed them off in black and white, or sometimes in colour.

During the later years in which steel engravings for books were in fashion, the revived art of wood-engraving was making a slow headway towards recognition and favour in England, and its complete revival was owing to the persistent efforts and genius of Thomas Bewick (1753-1828). Bewick was not only a wood-engraver and a craftsman of the highest order, but was an artist gifted with a fine feeling for humour and pathos, and many of his small compositions are characterized by a good deal of pictorial effect. His best works, from a technical point of view, are his illustrations of natural history, the finest of which are the illustrations in his book, the “History of British Birds,” which show Bewick at his best in the rendering of bird form and feather texture. He also designed and executed many dainty little compositions of landscapes with figures and animals as tailpieces.

The school of Bewick, formed of his pupils and others, served to keep alive the art of wood-engraving until the revival was assured, for Bewick had a difficult task to get the public to appreciate his work during his lifetime.

The names of his principal pupils were Luke Clennel, who was the most celebrated, and who was also a good water-colour painter; Charlton Nesbitt, Robert Johnson, and William Harvey.

A self-educated engraver of some note was Robert Branston, of Lynn, Norfolk (1778-1827).

John Thompson was a pupil of Branston, who excelled his master, and was the best engraver of his time in England.

A great name among English wood-engravers is that of William J. Linton, who has done more by his work and pen to advance the art than any one. His best work was executed about the middle of this century, particularly in the engravings of Rossetti’s designs for Tennyson’s poems (1857-59). He is also known as a writer and designer of considerable power.

A pupil of his—Mr. Walter Crane—whose work is so well known and admired in the present day, has designed some fine decorative work for book illustration. His children’s books are good examples of colour and design, but perhaps his own poem, “The Sirens Three,” where he has designed and executed the lettering and beautiful decoration, best fulfils the conditions of what a decorated page ought to be, and maybe ranked as one of his greatest efforts in book decoration.

The late Randolph Caldecott, whose characteristic humour appears in every line of his work, was another great designer of children’s books. His colouring is very harmonious and refined, and though his work is mostly of a pictorial character, yet in his larger pages he displays a true feeling for the decoration of the page.

Children’s illustrated books of fairy tales have multiplied very much of late years, and in many of them is seen some of the old decorative feeling, where the text and illustrations are considered in an artistic relation to each other. This will also be noticed in many illustrations to poems which often appear in the monthly magazines of the present day.

On the other hand, picture illustrations and scrappy designs of the vignette order are very common.

These are generally inserted, without any apparent order, on any part of the page, and the type matter filled into the vacant spaces. This picture-screen method of book, newspaper, and magazine illustration has no doubt been developed by our recent acquaintance and infection with Japanese art, which, though highly artistic and decorative in many senses, is wanting in balance of mass, and is only occasionally right in arrangement of line. Japanese decoration as such is generally charming, but when the Western designer copies the Japanese ideas without the style and methods of execution, the result may have novelty to recommend it, but otherwise it is a failure.

It is hardly necessary to say that the reign of wood-engraving is almost now at an end as far as book illustration is concerned, and, like steel engraving, has nearly become an art of the past, owing to the great advance made in recent years in the many methods of black and white reproduction, which is mainly due to the powerful help and agency of photography.

PLANTS AND THEIR APPLICATION TO ORNAMENT. Edited by Eugene Grasset. This magnificent work contains 72 Coloured Plates, consisting of 24 Floral Designs, with two samples of each, showing their ornamental application. In Portfolio, net, £5 5s.

AN ILLUSTRATED RECORD OF THE RETROSPECTIVE EXHIBITION HELD AT SOUTH KENSINGTON, 1896. Compiled and Edited by John Fisher, Head Master, Kensington School of Science and Art, Berkeley Square, Bristol. With about 156 full-page Illustrations. 21s. net.

HISTORIC ORNAMENT: A Treatise on Decorative Art and Architectural Ornament, from Pre-Historic Times to the Present Day. By James Ward, Author of “The Principles of Ornament.” Fully Illustrated. In 2 vols., 7s. 6d each.

HARBUTT’S PLASTIC METHOD, and the Use of Plasticine in the Arts of Writing, Drawing, and Modelling in Educational Work. By William Harbutt. With Illustrations. Crown 4to, 4s.

MODERN ARCHITECTURE: A book for Architects and the Public. By H. Heathcote Statham, Editor of The Builder, and Author of “Architecture for General Readers,” &c. With numerous Illustrations of Contemporary Buildings. Demy 8vo.

FIGURE DRAWING AND COMPOSITION. Being a number of Hints for the Student and Designer upon the Treatment of the Human Figure. By R. G. Hatton. With 500 Diagrams. Crown 8vo, 9s.

ARCHITECTURE FOR GENERAL READERS: to which is added an Historical Sketch of Architecture. By H. Heathcote Statham. With hundreds of Illustrations by the Author. Second Edition, Revised. Demy 8vo, 12s.

THE THEORY AND PRACTICE OF DESIGN. An Advanced Text-Book on Decorative Art. By F. G. Jackson. With 700 Illustrations. Large crown 8vo, 9s.

THE HORSE. By Cecil Brown. The work is thoroughly practical, and shows the Horse as he really is, not as he is too often represented in conventional art. The work will be invaluable to every artist and to every horse-lover. In Eight Parts, each 2s. 6d.; or in one volume, 21s.

ELEMENTARY DESIGN: being a Theoretical and Practical Introduction in the Art of Decoration. By R. G. Hatton. With 110 Illustrations. Crown 8vo, 2s. 6d.

STUDIES IN PLANT FORM AND DESIGN. By W. Midgley and A. E. V. Lilley. With numerous Illustrations. Second Edition. Demy 8vo, 4s.

WOOD CARVING. By Jos. Phillips. A Carefully Graduated and Educational Course of Wood Carving, specially adapted for Schools and Technical Classes. With 13 Illustrations, 3s. 6d.; 15 Full-size Shaded Working Drawings, 5s.

RAPHAEL: HIS LIFE, WORKS, AND TIMES. By Eugene Muntz. A New and Cheap Edition, condensed from the original work. Royal 8vo, 7s. 6d.

A PRACTICAL HANDBOOK OF DRAWING: For Modern Methods of Reproduction. By Charles G. Harper. With many Illustrations showing comparative results. Crown 8vo, 7s. 6d.

EGYPTIAN ART. By C. Ryan. With 56 Illustrations. Crown 8vo, 2s. 6d.

PRINCIPLES OF ORNAMENT. By J. Ward. Edited by G. Aitchison, A.R.A. Fully Illustrated. New and Enlarged Edition. Crown 8vo, 7s. 6d.

DECORATIVE DESIGN. An Elementary Text-Book of Principles and Practice. By F. G. Jackson. Fully Illustrated. Third Edition. Large crown 8vo, 7s. 6d.

THE DECORATION OF METALS: Chasing, Repoussé, and Saw Piercing. By John Harrison. With 180 Illustrations. Crown 8vo, 3s. 6d.

WOOD-CARVING IN THEORY AND PRACTICE, AS APPLIED TO HOME ARTS, with Notes on Design. By F. L. Schauermann. 124 Illustrations. Second Edition. Imp. 8vo, 5s.

SCIOGRAPHY: or, Parallel and Radial Projection of Shadows. Being a Course of Exercises for the use of Students in Architectural and Engineering Drawing. By R. Pratt. With numerous plates. Oblong 4to, 7s. 6d.

THE SCULPTOR AND ART STUDENTS’ GUIDE TO THE PROPORTIONS OF THE HUMAN FORM. With measurements in feet and inches of Full-grown Figures of Both Sexes and of Various Ages. By Dr. G. Schadow. Oblong folio, 31s. 6d.

ELEMENTARY PRINCIPLES OF ORNAMENT. By James Ward. Illustrated. 8vo, 5s.

HANDBOOK OF PERSPECTIVE. By H. J. James, M.A., Cantab. With 75 Diagrams. Crown 8vo, 2s. 6d.

TEXT-BOOK ON SHADES AND SHADOWS, AND PERSPECTIVE. By John E. Hill, Associate Professor of Engineering, Brown University. Twelve folding Plates. 8vo, net, 8s. 6d.

HINTS TO AMATEURS. A Handbook on Art. By Louise Jopling. With Diagrams. Crown 8vo, 1s. 6d.

TEN LECTURES ON ART. By E. J. Poynter, R.A. Large crown 8vo, 9s. New and Enlarged Edition.

BENT IRONWORK FOR BEGINNERS AND PROFICIENTS. By Amanda Sanders. With 55 Illustrations. Crown 8vo. 2s. 6d.

ELEMENTARY DRAWING. A few Suggestions for Students and Teachers. By H. Foster Newey. Illustrated. Crown 8vo, 2s. 6d.

A TREATISE ON PRACTICAL PLANE AND SOLID GEOMETRY. Containing Solutions to the Honours Questions set at the Examinations of the Science and Art Department (1887-1896) inclusive. Fully Illustrated. By T. J. Evans, Lecturer in Geometry and Architectural Subjects at the South-West London Polytechnic Institute; and W. W. F. Pullen, Wh.Sc., A.M.I.C.E., Head of the Engineering Department, South-West London Polytechnic Institute. Demy 8vo, 9s.

THE CHARACTERISTICS OF STYLE: An Introduction to the Study of the History of Ornamental Art. By R. N. Wornum. Ninth Edition. Royal 8vo, 8s.

PERROT (G.) and CHIPIEZ (C.).—A HISTORY OF ART IN PRIMITIVE GREECE (MYCÆNIAN). With 553 Illustrations and 20 Coloured Plates. 2 vols. Imperial 8vo, 42s.

——— ——— A HISTORY OF ANCIENT ART IN PERSIA. With 254 Illustrations, and 12 Steel and Coloured Plates. Imperial 8vo, 21s.

——— ——— A HISTORY OF ANCIENT ART IN PHRYGIA, LYDIA, CARIA and LYCIA. With 280 Illustrations. Imperial 8vo, 15s.

——— ——— A HISTORY OF ANCIENT ART IN SARDINIA, JUDÆA, SYRIA, and ASIA MINOR. With 395 Illustrations. 2 vols. Imperial 8vo, 36s.

——— ——— A HISTORY OF ANCIENT ART IN PHŒNICIA AND ITS DEPENDENCIES. With 654 Illustrations. 2 vols. Imperial 8vo, 42s.

——— ——— A HISTORY OF ART IN CHALDÆA AND ASSYRIA. With 452 Illustrations. 2 vols. Imperial 8vo, 42s.

——— ——— A HISTORY OF ART IN ANCIENT EGYPT. With 600 Illustrations. 2 vols. Imperial 8vo, 42s.

FIRST PRINCIPLES OF MECHANICAL AND ENGINEERING DRAWING. A Course of Study adapted to the Self-Instruction of Students and Apprentices of Mechanical Engineering in all its Branches. And for the use of Teachers in Technical and Manual Instruction Schools. By H. Holt-Butterfill, M.E., formerly a Member of the Institution of Mechanical Engineers and Institution of Naval Architects. With upwards of 350 Diagrams in Illustration of the Principles of the subject. Demy 8vo. 7s. 6d.

A TEXT-BOOK OF MECHANICAL ENGINEERING. By Wilfrid J. Lineham, M.I.Mech.E., Head of the Engineering Department at the Goldsmiths’ Company’s Institute, New Cross. Second Edition. 8vo. 10s. 6d. net.

MACHINE CONSTRUCTION AND DRAWING (Elementary and Advanced). A Key to the Examinations of the Science and Art Department. By Henry Adams, M.Inst.C.E., M.Inst.M.E., F.S.I., &c., Professor of Engineering at the City of London College. 2 vols. Crown 8vo 2s. 6d. each.

ILLUSTRATIONS OF THE PRINCIPAL NATURAL ORDERS OF THE VEGETABLE KINGDOM. By D. Oliver, F.R.S., late Professor of Botany, University College, London. New Edition. 109 Plates, coloured. Royal 8vo. 16s.

PRACTICAL PLANE AND SOLID GEOMETRY. A Treatise containing Solutions to the Honours Questions set at the Examinations of the Science and Art Department (1887-1896) inclusive. Fully Illustrated. By T. J. Evans and W. W. F. Pullen, Wh.Sc., A.M.I.C.E., South-West London Polytechnic Institute. Demy 8vo. 9s.

KEY TO EXAMINATIONS OF SCIENCE AND ART DEPARTMENT. Subject III.—Building Construction. By Henry Adams, M.Inst.C.E., M.Inst.M.E., &c., Professor of Engineering at the City of London College. Crown 8vo. 4s.

PRACTICAL PLANE AND SOLID GEOMETRY. A Key to the Examinations of the Science and Art Department. By Henry Angel, Lecturer on Geometry at the Birkbeck Institute, Woolwich Polytechnic, &c. Gold Medallist. Crown 8vo. 3s. 6d.

MECHANICAL ENGINEERS’ POCKET-BOOK. A Reference Book of Rules, Tables, Data, and Formulæ, for the Use of Engineers, Mechanics, and Students. By William Kent, A.M., M.E., Consulting Engineer. 1,100 pages. 12mo, morocco flap. 21s. net.

CIVIL ENGINEERS’ POCKET-BOOK of Mensuration, Trigonometry, Surveying, Hydraulics, Hydrostatics, Instruments and their adjustments, Strength of Materials, Masonry, Principles of Wooden and Iron Roof and Bridge Trusses, Stone Bridges and Culverts, Trestles, Pillars, Suspension Bridges, Dams, Railroads, Turnouts, Turning Platforms, Water Stations, Cost of Earthwork, Foundations, Retaining-Walls, &c. In addition to which the elucidation of certain important Principles of Construction is made in a more simple manner than heretofore. By J. C. Trautwine, C.E. 12mo, morocco flaps, gilt edges. Seventeenth edition, 47th thousand. Revised and enlarged, with new Illustrations, by J. C. Trautwine, Junr., C.E. 21s. net.

THE MATERIALS OF CONSTRUCTION. By J. B. Johnson. Large 8vo. 800 pages. 650 Illustrations, 11 Plates, and Complete Index. 25s. net.

THE MECHANICAL ENGINEERING OF POWER PLANTS. By Professor Frederick R. Hutton, Columbia University. 8vo. 21s. net.

HIGHER MATHEMATICS: a Text-Book for Classical and Engineering Colleges. Edited by M. Merriman and R. S. Woodward. 8vo. 2ls. net.

STEAM BOILERS. By Cecil H. Peabody and E. F. Miller, Professor of Marine Engineering and Naval Architecture. 8vo. 17s. net.