PILATUS AND LAKE OF LUCERNE FROM THE SLOPES OF THE RIGI
PILATUS AND LAKE OF LUCERNE FROM THE SLOPES OF THE RIGI
It follows that volcanoes are peaks of an unstable character. They are upstarts by nature, and they are easily pulled down. Among mountains they are the most short-lived. In their decay they lack the dignity of a peak of crystalline rock, thatfights against disintegration and resists to the last, holding forth to the sky its splintered crags like passionately protesting hands. There is no protest in a volcano. It yields willingly to decay. The debris of its upper rocks flow down its face almost like water. They grind together into dust and are blown away by the winds. The old moraines of Aconcagua ultimately turn into sand dunes.
Yet these mushroom monsters are not without their compensations. When active they enjoy a magnificence of public advertisement that no other kind of peak, even when it is the scene of a particularly ghastly accident, can ever hope to rival. They grow in height, or are blown to perdition, amidst earthquakes and terrific thunders. Lightnings flicker about them like the dartings of a serpent's tongue. The storm-clouds that envelop snowy peaks are nothing to the monstrous piles of smoke and darkness that wreathe the brows of an erupting volcano. Blasts of fire shoot from them, and for glaciers, their sides are flooded with molten lava. Few of us can hope to see such sights in the fulness of their glory.
When the mountain is full-grown, and its days of activity are done, for a while it reigns, a figure of perfect grace, a very queen for elegance and beautyof form. Who that has ever seen Vesuvius can deny this fact. Probably no snowy peaks in the world are more absolutely perfect in form than the white-clad giant volcanoes of Kamchatka, or, on a smaller scale, the peerless Fuji of Japan. The outline of the cone, gently rising from the foot, and then steepening in its incomparable logarithmic curve, is the gracefullest that nature produces on a large scale. Even the effulgent domes of the greatest cumulous clouds that, on a faultless summer afternoon, soar into the clearest blue sky, are not to be compared with volcanoes at their best. These have the aspect of works of art, made, as it were, expressly to incorporate an idea of beauty. They possess the symmetry of a fine crystal, but at the same time, a grace far beyond what is possible to any crystalline form. And then, how they soar! How their beautiful heads seem almost to float in the blue! How symmetrically the mists gather about their summits! At one time the base will vanish in the bright opacity of the lower air, and the top will be seen in sharp distinctness, like a floating island in the sky. At another, the summit will fade away, and the shadowed base will fill the vision with its purple solidity. And always there hangs about a volcano thememory of its fire-begetting, and the suspicion that all may not yet be over. It is, as it were, an inscribed finger-post, warning us of the molten core within. It is at once a memorial and a monition to those that dwell beneath it. It is the witness of past and the herald of future convulsions; yet, being such, it is itself in form the peacefullest and tenderest in nature. No woman's robe droops more delicately over her bosom than droops the once molten drapery of a volcano. Its aspect bears a double and opposed suggestiveness. Such are volcanoes in the day of their perfection, before the denuding forces have made inroads on the symmetry of their form.
Yet even then it is not well to approach them too closely, unless you would have the sense of their beauty supplanted by a different kind of emotion. The nearer you approach a snow-mountain, such as Mont Blanc, and the more intimately you penetrate its white recesses, and acquaint yourself with its details of crevasse and sérac, the more conscious are you of the perfection of its finish and the loveliness of its details. It is not so with a volcano at any time of its career. When it is newly fashioned and the lava streams are still in movement and smoking upon its sides,and the cinders and ashes of its recent ejection are piled upon it, to approach them is to behold sights more provocative of horror than of admiration. They appal, they create astonishment, but they do not attract. Cast your eye over the remarkable series of photographs by Dr. Tempest Anderson, published under the title "Volcanic Studies," and you will have ample proof of this. Consider the Icelandic gorges, the outer crater of Teneriffe, or the views of recent volcanic energies displayed in St. Vincent—the mud-rivers, the sand-strewn valleys; here is enough to interest and more than enough to appal, but the kind of beauty associated with a distant view of a volcano is absent. There is no grace, no charm, none of the sweet feminine outline which makes volcanoes the queens and fair ladies among hills.
MONTREUX, LAKE OF GENEVA
MONTREUX, LAKE OF GENEVA
But when all the dramatic stage of their existence is over, and the fires are out and the earth around has ceased from quaking; when trees have gathered over the lava torrents and rich vegetation has covered up cinders and ash; when the sulphurous vents are become sapphire pools of clear water overshadowed by foliage, and all the ghastly details of tragedy are covered up by the splendid garments of tropical vegetation; then youmay approach and ascend if you please, but it will not be as a climber, for the climber is one who seeks the naked places of the earth, and does not wander for choice in grassy dells and tree-embosomed shades.
He, however, who should converse about volcanoes and say no more than this, would leave a most false impression upon his hearers, for Nature always provides compensations for her sincere and humble lovers, and even in the barest volcano she has not failed. The very rapidity with which they yield to destructive forces leads to results not discoverable in stronger and more resolute peaks. Frost, winter, and snow breach their sides with exceeding facility. Torrents dig gullies into them. The very winds blow their substance away. Hence it comes that a volcano in active process of destruction often provides detailed scenery of astonishing grandeur and boldness. Its vertical-walled gullies, its cliffs, its castellated ridges are like none other. There is no aspect of durability about them, no signs of hoary antiquity, none of the dignity that belongs to archæan rocks. They are visibly in rapid decay, yet, for all that and even because of it, they are strangely imposing with a sort of rococo grandeur. If the Meije andUshba are Romanesque, if the Matterhorn, Masherbrum, and Siniolkum are Gothic, we may describe the world's shattered volcanoes as Flamboyant. They boast a greater and more unusual variety of forms, a multiplicity of details that bewilders. The spiry exuberance of Milan Cathedral can be paralleled in the neighbourhood of Aconcagua. Nowhere are buttresses more emphatic, points of rock in perilous precipitance of decay more plentiful, cliffs more abrupt, the skeleton of the mountains more nakedly displayed.
Yet better deserving of note is the brilliancy and variety of the colouring by which volcanic rocks are often characterised. The local colouring of Alpine rocks is seldom rich. The Dolomites indeed have a reputation for the richness of their tints, but it is mainly derived from the sunrise and sunset colouring which they reflect so brilliantly that it almost seems to proceed from them. The general effect of Alpine rocks is some variety of grey or brown, the tone of which is deepened by contrast with the snows. Except in volcanic districts, it is only in Spitsbergen, and at one or two spots in the Himalayas, that I have observed the local colouring of the rocks toform a prominent factor in the beauty of a mountain view. There indeed the red and yellow sandstones display their rich tints with great effect, so that the colour, shining over the wide expanses of Arctic glacier and snow-field, becomes a main element, and reduces the forms of the peaks to a secondary consideration. Yet in Spitsbergen this only happens in a relatively small area, within Kings Bay.
In volcanic districts, however, the colouring of the rocks is almost always remarkable. It seems as though Nature had emptied her whole palette upon them. Hardly any tint, from white to black, is missing. Other mountains depend for their colour upon the atmosphere. These are independent of that source. Their own colour is predominant. All they ask for is transparent air and bright sunshine to display them. Their combination is so unusual, their chord so unlike any to which we are accustomed in ordinary natural surroundings, that they cannot fail to be the chief element in the view. That is why photographs of volcanic scenery convey an impression so different from actual sight. The normal blues, greens, and browns of the temperate habitable regions; the black, greys, and whites of thesnowy world; the blue sea, white sand, and red cliffs of a Devonian coast: such chords of colour are usual; the eye expects them. Even a tropical landscape, except for its occasional blazes of blossom, belongs to the same category. Autumnal glories, first of golden harvest, later of iridescent foliage, are an accustomed sight. But all these schemes of colour belong to a wholly different category from that which volcanic rock-masses display. They bring together, combine, and contrast a whole series of unusual tints. Their purples are not the purples which we elsewhere know. Their greens are not the greens of vegetation. Their yellows are not the yellows of a blossoming field or a fading forest.
Were I to catalogue in a list the colours I have seen in a volcanic panorama, it would little serve, for it is not the names that count but the special significance of each, and that is not capable of brief statement. Such a scene as I am recalling astonishes by the multitude and close juxtaposition of an apparently countless number of coloured strata. It looks as though Nature had kept changing her mind and staining each successive ejection with a different tint. Sometimes there comes a considerable thickness of a certaincoloured rock, but above and below it thin strata will succeed of all sorts of colours. If such a series of deposits is intersected by a cliff, its face will be ruled across by a polychrome multitude of bands. Oftenest, however, the whole mass will be riven into gullies and weathered into pinnacles of all heights and varieties. Or short cliffs and elbows will alternate with slopes of debris. In such cases any sense of order in the succession of colours may be lost. A blue pinnacle will stand before a yellow one, and that beside a red with a green top. In one buttress purple may predominate, in another grey, in a third orange.
The effect on slopes of debris is often most peculiar. Naturally they derive their tint from that of the rocks above, out of whose fragments they are formed. If those rocks are a mass of a single colour, such will be the tint of the debris slope. But if they be fed by the splintered fragments of two different beds, as for example one red, the other yellow, the slope below will be a kind of orange, varying in tone according to the supply of the two ingredients. Sometimes a slope will be, let us say, purple throughout its upper portion till it comes down to a point where white rocksemerge. Below them it will be streaked as by splashes of whitewash. In the floor of a valley, where all these ingredients mix together in sandy intimacy, the general tone will be of a light neutral tint, the colour being destroyed by the intimacy of the mixture, the minuteness of the fractures, and the multiplicity of the incidence and reflection of light.
Where there is snow aloft its melting will enforce the local colour of the rocks or debris over which it flows. Similar will be the effect of a spring bursting out of the hillside. These waters will themselves be brilliantly stained, and if they chance to flow over a bed of snow, they will stain it in their turn. I have seen a blood-red area of snow produced in this fashion.
The reader may not derive from the foregoing description an idea of any effect produced by the reality save strangeness. One should be a landscape-painter of remarkable skill to convey any other. But the actual effect in nature, when the first shock of strangeness has worn off, is an effect of remarkable beauty. The colours in their great variety and multitude do in fact harmonise and agree together. Being fashioned in one work-shop, the work-shop of Nature, the self-same thatfashions the eyes and intelligences of men and implants in them the idea of beauty as part of nature's law, they do not appear chaotic or inharmonious to the natural man. On the contrary they are bonded together and informed by the sense of a common origin, a common purpose, and a common meaning. When this unity is felt and perceived by the eye, not only do the forms, for all their jagged and splintered multiplicity, harmonise into compositions of remarkable grandeur, but their rich and varied colouring ennobles and distinguishes those forms.
Views of this kind affect the imagination and impress themselves upon the memory more than most. Amongst the many wide vistas or actual panoramas which a mountain-climber of a few years' experience must have seen, he will doubtless freely admit that there are few which he can recall to his memory with any completeness. The first he ever saw overwhelmed him with their intricate elaboration. Later on, when he knew better what to look for, his susceptibility to impression was already lessened. The same is likely to be true of valley views. How many of them can we conjure up in any detail? The Matterhorn from Zermatt, Mont Blanc fromChamonix, and a few other similarly well-known prospects we know by heart; but of how many valley views, that we have only beheld once or during a short interval, can we form a visual image in our minds. My own experience leads me to conclude, though without making any allowance for a possibly large personal equation, that desert views are more memorable than those in which fertility predominates. Various views in the naked Indus valley are firmly fixed in my mind, though none of them were more than briefly beheld. The same is true of the scenery in the desert volcanic regions with which I am acquainted: the neighbourhood of Arequipa in Peru, parts of the provinces of Oruro and Potosi in Bolivia, the surroundings of the volcanoes of Ascotan in Chile, and of Aconcagua in the Argentine. In all these districts the scenery I beheld remains photographed in my memory with exceptional vividness, not merely its strangeness but its beauty, and the element in the scenery most vividly memorable is the element of colour.
In fact both colour and forms are strange to an eye accustomed to look upon the fertile and normally habitable regions of the earth. This is true not merely of the mountains themselves and theirconstituent parts but of all their surroundings. I have never looked down upon the boiling interior of an active volcano, such as travellers to Hawaii are privileged to behold on the top of Mauna Loa. That must be a sight passing wonderful. Nor have I ever beheld an erupting volcano from near at hand. But I have seen enough in the volcanic districts of South America to realise the marvels and fascinations they contain. Let me be forgiven for quoting one or two passages from my book on the Bolivian Andes, which were written when the impressions were fresh, though not a detail of them has yet escaped me.
Near Ollague, on the Chile-Bolivian frontier, is an active volcano. It was puffing steam in white jets from its top when I passed. All the hills and ground beneath, utterly bare of vegetation, were red or yellow in colour, or of white ashes dotted over with black cinders. Proceeding southward for some 200 kilometres, this kind of scenery continued. We wandered in and out among volcanoes, lava-streams, and great level sheets of white saline deposit, like frozen lakes covered with snow. Most of the volcanoes were extinct, but some retained the perfection of their form—wide, infinitely graceful cones outlinedby a pure unbroken curve against the clear sky. The surface of the hills was often coloured in the most brilliant fashion imaginable. The combinations of the rich colours and strange forms rising beyond, and apparently out of, the large, flat, greyish-white surface of the saline deposits were most beautiful. One white imitation lake was framed in a margin of black volcanic dust and cinders, merging upward into grey sand. White dust-spouts were dancing on its white floor. A riven hill near by revealed streaks of blood-red, chrome yellow, and I know not what other bright colours.
Presently came the smoking volcano San Pedro, with a smaller cone at its foot, from which there stretched to a distance of two or three miles a flow of lava, long cold, but looking as it lies on the sandy desert as though newly poured out. It resembled a glacier with steep sides and snout much crevassed and all covered with black moraine. With this strange product of volcanic convulsion for foreground, the sunburnt and silent desert stretching around, and volcanoes great and small rising behind, San Pedro's head smoking over all, I thought I had never beheld a more weird and uncanny scene. Yet it wasbeautiful, beyond all question beautiful to a high degree. If a man could be transported to the surface of the Moon, say somewhere near Aristarcus or Gassendi, such, I imagine, might be the kind of landscape that would salute his eyes.
AFTER THE SUNSETFrom the Schänzli, Bern.
AFTER THE SUNSET
From the Schänzli, Bern.
Over against these mountains there rose on the other side of the valley a polychrome hill, the Cerro Colorado, covered, they say, with magnetic sand, which leaps into the air and flies about in sheets and masses when a thunderstorm comes near—to the very natural horror of the local Indians. At such times, amidst the roar of thunder and the electric flashes, surrounded by a desert shaken by earthquakes and dotted over by cinders, and with this dancing fiend of a hill close at hand, ignorant people may be pardoned for imagining themselves possessed by a horde of rioting devils.
Not far away is the blood-red cañon of the Rio Loa, 360 feet deep. I stood at the edge of this profound meandering trench at an hour when the low westering sun struck full on one face of it and a dark shadow fell from the other. With this sanguinary hollow at my feet, I looked across a great flat plain towards countless volcanichills, many of them perfectly symmetrical in form, shining in the mellow evening light. The sunset is the time to enjoy to the fullest this clean lunar landscape, enriched by the world's fair atmosphere, when the shadows are stealing across the flat and climbing the opposite crimson hills, whence they seem to drive the colour up to the soft still clouds, where it fades away in the purple pomp of oncoming night.
Is it possible, I wonder, by any words to convey to the reader the least notion of this sort of scenery? Picture to yourself a lake the size of Zug, or Annecy, or Orta. It is not a lake for all its flatness and the aspect of its shores, but a flat plain of salt, white as snow. Its banks and surroundings are not green, but wide-spreading sand, that stretches away and yet away till it vanishes perhaps into trembling mirage. Black spots are dotted all about as though newly scattered from some enormous pepper-pot. They are ashes. You can scarcely believe they are yet cold from the fire, that ejected them, however, ages ago. Yellow, crimson, green slopes rise nearer or farther away to form stately cones or ruined lumps of the crude earth. Alas! the picture is not paintable by me. Beheld, it smites the eye with asingle indelible impression. Described, it is a mere succession of details and fragments, and there is no verbal lightning-stroke that will avail to smite them for an instant into simultaneous visibility.
Strictly speaking, what has been written above has no place in an Alpine book. Yet the interest of the Alps to me, or of any range of mountains, lies in the fact that they are a specimen range, that they resemble more or less other ranges from Arctics to Tropics, that they are examples of one large category of mundane phenomena. To understand the position and character of Alpine scenery in the scenery of mountains, we must consider what the Alps lack as well as what they possess. Every range of mountains, indeed, has its own special and purely local elements of character, but outside of them it likewise possesses many more in common with other ranges. The experienced Alpine climber will find himself, if not at home, at all events not far from home in the mountains of Spitsbergen, Greenland, or the Antarctic, in the Caucasus, the Himalayas, the Canadian Rockies; even in the snowy Cordillera of tropical Bolivia, or in the African groups of Kenya and Ruwenzori. The only kind of mountains, so far as I know,that will be wholly strange to him, and at first sight almost wholly incomprehensible, are the desert volcanoes. It has been for the purpose of bringing this fact clearly before his mind that I have felt myself justified in devoting a brief space to the character of such volcanic scenery.
THE END
THE END
Printed by R. & R. Clark, Limited, Edinburgh.
Printed by R. & R. Clark, Limited, Edinburgh.
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Painted by SUTTON PALMERDescribed by A. R. HOPE MONCRIEFF
Bonnie Scotland
75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by NORMAN H. HARDYDescribed by E. Way Elkington, F.R.G.S.The Savage South Seas68 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by NORMAN H. HARDYDescribed by E. Way Elkington, F.R.G.S.
The Savage South Seas
68 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted andDescribed by Edgar T. A. WigramNorthern Spain75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted andDescribed by Edgar T. A. Wigram
Northern Spain
75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by SUTTON PALMERDescribed by A. R. HOPE MONCRIEFFSurrey75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by SUTTON PALMERDescribed by A. R. HOPE MONCRIEFF
Surrey
75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by WILFRID BALL, R.E.Sussex75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by WILFRID BALL, R.E.
Sussex
75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by MORTIMER MENPES, R.I.Text by G. E. MITTONThe Thames75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by MORTIMER MENPES, R.I.Text by G. E. MITTON
The Thames
75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted and Described byA. HENRY SAVAGE LANDORTibet and Nepal75 FULL-PAGE ILLUSTRATIONS (50 IN COLOUR)
Painted and Described byA. HENRY SAVAGE LANDOR
Tibet and Nepal
75 FULL-PAGE ILLUSTRATIONS (50 IN COLOUR)
By MORTIMER MENPES, R.I.Text by DOROTHY MENPESVenice100 FULL-PAGE ILLUSTRATIONS IN COLOUR
By MORTIMER MENPES, R.I.Text by DOROTHY MENPES
Venice
100 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by ROBERT FOWLER, R.I.Described by EDWARD THOMASBeautiful Wales75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by ROBERT FOWLER, R.I.Described by EDWARD THOMAS
Beautiful Wales
75 FULL-PAGE ILLUSTRATIONS IN COLOUR
By MORTIMER MENPES, R.I.Text by DOROTHY MENPESWar Impressions99 FULL-PAGE ILLUSTRATIONS IN COLOUR
By MORTIMER MENPES, R.I.Text by DOROTHY MENPES
War Impressions
99 FULL-PAGE ILLUSTRATIONS IN COLOUR
By CAPTAIN S. E. ST. LEGERWar Sketches in Colour165 ILLUSTRATIONS (50 IN COLOUR)
By CAPTAIN S. E. ST. LEGER
War Sketches in Colour
165 ILLUSTRATIONS (50 IN COLOUR)
Painted by FRED. WHITEHEAD, R.B.A.Described by CLIVE HOLLANDWarwickshire75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by FRED. WHITEHEAD, R.B.A.Described by CLIVE HOLLAND
Warwickshire
75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by WALTER TYNDALEDescribed by CLIVE HOLLANDWessex75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by WALTER TYNDALEDescribed by CLIVE HOLLAND
Wessex
75 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by A. S. FORRESTDescribed by JOHN HENDERSONThe West Indies74 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by A. S. FORRESTDescribed by JOHN HENDERSON
The West Indies
74 FULL-PAGE ILLUSTRATIONS IN COLOUR
By MORTIMER MENPES, R.I.Text by DOROTHY MENPESWorld's Children100 FULL-PAGE ILLUSTRATIONS IN COLOUR
By MORTIMER MENPES, R.I.Text by DOROTHY MENPES
World's Children
100 FULL-PAGE ILLUSTRATIONS IN COLOUR
By MORTIMER MENPES, R.I.Text by DOROTHY MENPESWorld Pictures500 ILLUSTRATIONS (50 IN COLOUR)
By MORTIMER MENPES, R.I.Text by DOROTHY MENPES
World Pictures
500 ILLUSTRATIONS (50 IN COLOUR)
A detailed prospectus, containing a specimen plate, of any volume in this List will be sent on application to the Publishers.☛PUBLISHED BY A. AND C. BLACK · SOHO SQUARE · LONDON · W. AND OBTAINABLE THROUGH ANY BOOKSELLER AT HOME OR ABROAD
A detailed prospectus, containing a specimen plate, of any volume in this List will be sent on application to the Publishers.
☛PUBLISHED BY A. AND C. BLACK · SOHO SQUARE · LONDON · W. AND OBTAINABLE THROUGH ANY BOOKSELLER AT HOME OR ABROAD
THE10s.SERIESALL WITH FULL-PAGE ILLUSTRATIONS IN COLOURSize 9 × 6-1/4 ins.
THE10s.SERIES
ALL WITH FULL-PAGE ILLUSTRATIONS IN COLOUR
Size 9 × 6-1/4 ins.
Painted by WILLIAM SMITH, Jun.Described by A. K. HOPE MONCRIEFFThe Highlands and Islands of Scotland40 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by WILLIAM SMITH, Jun.Described by A. K. HOPE MONCRIEFF
The Highlands and Islands of Scotland
40 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by A. FORESTIERDescribed by G. W. T. OMONDBruges And West Flanders37 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by A. FORESTIERDescribed by G. W. T. OMOND
Bruges And West Flanders
37 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by NICO JUNGMANDescribed by G. E. MITTONNormandy40 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by NICO JUNGMANDescribed by G. E. MITTON
Normandy
40 FULL-PAGE ILLUSTRATIONS IN COLOUR
THE7s. 6d.SERIESALL WITH FULL-PAGE ILLUSTRATIONS IN COLOURSize 9 × 6-1/4 ins.
THE7s. 6d.SERIES
ALL WITH FULL-PAGE ILLUSTRATIONS IN COLOUR
Size 9 × 6-1/4 ins.
Painted by WILLIAM SMITH, Jun.Described by REV. W. S. CROCKETTAbbotsford20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by WILLIAM SMITH, Jun.Described by REV. W. S. CROCKETT
Abbotsford
20 FULL-PAGE ILLUSTRATIONS IN COLOUR
By C. LEWIS HINDAdventures among Pictures24 FULL-PAGE ILLUSTRATIONS (8 IN COLOUR AND 16 IN BLACK AND WHITE)
By C. LEWIS HIND
Adventures among Pictures
24 FULL-PAGE ILLUSTRATIONS (8 IN COLOUR AND 16 IN BLACK AND WHITE)
By GERTRUDE DEMAIN HAMMOND, R.I.The Beautiful Birthday Book12 FULL-PAGE ILLUSTRATIONS IN COLOUR DECORATIVE BORDERS BY A. A. TURBAYNE
By GERTRUDE DEMAIN HAMMOND, R.I.
The Beautiful Birthday Book
12 FULL-PAGE ILLUSTRATIONS IN COLOUR DECORATIVE BORDERS BY A. A. TURBAYNE
Painted by A. FORESTIERDescribed by G. W. T. OMONDBrabant & East Flanders20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by A. FORESTIERDescribed by G. W. T. OMOND
Brabant & East Flanders
20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Text by A. CROXTON SMITHPainted by G. VERNON STOKESBritish Dogs at Work20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Text by A. CROXTON SMITHPainted by G. VERNON STOKES
British Dogs at Work
20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by JOHN FULLEYLOVE, R.I.Text by ROSALINE MASSONEdinburgh21 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by JOHN FULLEYLOVE, R.I.Text by ROSALINE MASSON
Edinburgh
21 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted andDescribed by DION CLAYTON CALTHROPEnglish CostumeIn Four Sections, each containing 18 to 20 full-page Illustrations in Colour, and many Illustrations in the text:Section I. Early English" II. Middle Ages" III. Tudor and Stuart" IV. Georgian, etc.Price 7s. 6d. net each.
Painted andDescribed by DION CLAYTON CALTHROP
English Costume
In Four Sections, each containing 18 to 20 full-page Illustrations in Colour, and many Illustrations in the text:
Section I. Early English" II. Middle Ages" III. Tudor and Stuart" IV. Georgian, etc.
Section I. Early English
" II. Middle Ages
" III. Tudor and Stuart
" IV. Georgian, etc.
Price 7s. 6d. net each.
Painted by GEORGE S. ELGOOD, R.I.Text by ALFRED AUSTIN, Poet LaureateThe Garden that I Love16 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by GEORGE S. ELGOOD, R.I.Text by ALFRED AUSTIN, Poet Laureate
The Garden that I Love
16 FULL-PAGE ILLUSTRATIONS IN COLOUR
By LADY BUTLERPainter of "The Roll Call"Letters from the Holy Land16 FULL-PAGE ILLUSTRATIONS IN COLOUR BY LADY BUTLER
By LADY BUTLERPainter of "The Roll Call"
Letters from the Holy Land
16 FULL-PAGE ILLUSTRATIONS IN COLOUR BY LADY BUTLER
Painted by JOHN FULLEYLOVE, R.I.Described by A. R. HOPE MONCRIEFFMiddlesex20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by JOHN FULLEYLOVE, R.I.Described by A. R. HOPE MONCRIEFF
Middlesex
20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted and Described byMRS. WILLINGHAM RAWNSLEYThe New Forest20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted and Described byMRS. WILLINGHAM RAWNSLEY
The New Forest
20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by ARTHUR GEORGE BELLDescribed by NANCY E. BELLNuremberg20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by ARTHUR GEORGE BELLDescribed by NANCY E. BELL
Nuremberg
20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by H. J. DOBSON, R.S.W., A.R.C.A.Described by WILLIAM SANDERSONScottish Life and Character20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by H. J. DOBSON, R.S.W., A.R.C.A.Described by WILLIAM SANDERSON
Scottish Life and Character
20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by HELEN ALLINGHAM, R.W.S.Described by ARTHUR H. PATERSONThe Homes of Tennyson20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by HELEN ALLINGHAM, R.W.S.Described by ARTHUR H. PATERSON
The Homes of Tennyson
20 FULL-PAGE ILLUSTRATIONS IN COLOUR
By C. LEWIS HINDDays with Velasquez24 FULL-PAGE ILLUSTRATIONS (8 IN COLOUR AND 16 IN BLACK AND WHITE)
By C. LEWIS HIND
Days with Velasquez
24 FULL-PAGE ILLUSTRATIONS (8 IN COLOUR AND 16 IN BLACK AND WHITE)
By OLIVER GOLDSMITHThe Vicar of Wakefield13 FULL-PAGE ILLUSTRATIONS IN COLOUR BY AN EIGHTEENTH-CENTURY ARTIST
By OLIVER GOLDSMITH
The Vicar of Wakefield
13 FULL-PAGE ILLUSTRATIONS IN COLOUR BY AN EIGHTEENTH-CENTURY ARTIST
Painted by JOHN FULLEYLOVE, R.I.Text by MRS. A. MURRAY SMITHWestminster Abbey21 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by JOHN FULLEYLOVE, R.I.Text by MRS. A. MURRAY SMITH
Westminster Abbey
21 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by GEORGE M. HENTONDescribed by Sir Richard Rivington Holmes, K.C.V.O.Windsor20 FULL-PAGE ILLUSTRATIONS IN COLOUR
Painted by GEORGE M. HENTONDescribed by Sir Richard Rivington Holmes, K.C.V.O.
Windsor
20 FULL-PAGE ILLUSTRATIONS IN COLOUR