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Introduction

Contents of the fourteen plates of roofs, etc. which are added to the work

Chapter 1

Of the manner of proportioning the five orders of columns in architecture

Chapter 2

Of the intercolumnation or proper distance that the columns of every order are to be placed at, in the forming of designs for frontispieces, doors, windows, etc.

Explanation of plates

Five orders of columns, Plate 1- Plate 15
Piers for gates, Plate 16 -Plate 20
Gates, Plate 21 -Plate 25
Doorways, Plate 26-Plate 36
Curvatures of moldings and trusses, Plate 37 -Plate 38
Windows, entablatures and flutings, Plate 39-Plate 53
Circular and elliptical windows, Plate 54
Niches, Plate 55 -Plate 57
Methods for forming the heads of circular and elliptical niches, Plate 58
Cisterns, Plate 59 -Plate 60
Chimney pieces, Plate 61 -Plate 93
Decorations and borders, Plate 94 -Plate 105
Altar pieces, Plate 106 -Plate 111
Pulpits, Plate 112 -Plate 117
Tablets for inscriptions, Plate 118 -Plate 122
Monuments, Plate 123 -Plate 136
Tombs, Plate 137
Obelisques, Plate 138
Timepieces, Plate 139 -Plate 140
Tables, Plate 141 -Plate 149
Fonts, Plate 150
Pedestals, Plate 151 -Plate 152
Chests, Plate 153 -Plate 155
Dressing table, Plate 156
Bookcases, Plate 157 -Plate 164
Ceilings, Plate 165 -Plate 178
Ironwork, Plate 179 -Plate 186
Roof beams and trusses, Plate 1.-Plate 14.

I. INTRODUCTION

II. DRAWING

III. VISION

IV. LINE DRAWING

V. MASS DRAWING

VI. THE ACADEMIC AND CONVENTIONAL

VII. THE STUDY OF DRAWING

VIII. LINE DRAWING: PRACTICAL

IX. MASS DRAWING: PRACTICAL

X. RHYTHM

XI RHYTHM: VARIETY OF LINE

XII. RHYTHM: UNITY OF LINE

XIII. RHYTHM: VARIETY OF MASS

XIV. RHYTHM: UNITY OF MASS

XV. RHYTHM: BALANCE

XVI. RHYTHM: PROPORTION

XVII. PORTRAIT DRAWING

XVIII. THE VISUAL MEMORY

XIX. PROCEDURE

XX. MATERIALS

XXI. CONCLUSION

APPENDIX

LIST OF PLATES

I. SET OF FOUR PHOTOGRAPHS OF THE SAME STUDY FROM THE LIFE IN DIFFERENT STAGES
II. DRAWING BY LEONARDO DA VINCI
III. STUDY FOR "APRIL"
IV. STUDY FOR THE FIGURE OF "BOREAS"
V. FROM A STUDY BY BOTTICELLI
VI. STUDY BY ALFRED STEPHENS
VII. STUDY FOR THE FIGURE OF APOLLO
VIII. STUDY FOR A PICTURE
IX. STUDY BY WATTEAU
X. EXAMPLE OF XVTH CENTURY CHINESE WORK
XI. LOS MENENAS. BY VELAZQUEZ
XII. STUDY ATTRIBUTED TO MICHAEL ANGELO
XIII.STUDY BY DEGAS
XIV. DRAWING BY ERNEST COLE
XV. FROM A PENCIL DRAWING BY INGRES
XVI. STUDY BY RUBENS
XVII. A DEMONSTRATION DRAWING AT THE GOLDSMITHS' COLLEGE
XVIII. STUDY ILLUSTRATING METHOD OF DRAWING
XIX. xiii ILLUSTRATING CURVED LINES
XX. STUDY FOR THE FIGURE OF "LOVE"
XXI. STUDY ILLUSTRATING TREATMENT OF HAIR
XXII. STUDY FOR DECORATION AT AMIENS
XXIII. DIFFERENT STAGES OF THE PAINTING FROM A CAST (1)
XXIII. DIFFERENT STAGES OF THE PAINTING FROM A CAST (2)
XXIV. DIFFERENT STAGES OF THE PAINTING FROM A CAST (3)
XXIV.DIFFERENT STAGES OF THE PAINTING FROM A CAST (4)
XXV. ILLUSTRATING SOME TYPICAL BRUSH STROKES
XXVI. DIFFERENT STAGES OF THE SAME STUDY (1)
XXVII. DIFFERENT STAGES OF THE SAME STUDY (2)
XXVIII. DIFFERENT STAGES OF THE SAME STUDY (3)
XXIX. DIFFERENT STAGES OF THE SAME STUDY (4)
XXX. A STUDY FOR A PICTURE OF "ROSALIND AND ORLANDO"
XXXI. ILLUSTRATIONS FROM BLAKE'S "JOB" (PLATES I., V., X., XXI.)
XXXII. ILLUSTRATIONS FROM BLAKE'S "JOB" (PLATES II., XI., XVIII., XIV.)
XXXIII. FĘTE CHAMPĘTRE
XXXIV. BACCHUS AND ARIADNE
XXXV. LOVE AND DEATH
XXXVI. SURRENDER OF BREDA
XXXVII. xiv THE BIRTH OF VENUS
XXXVIII. THE RAPE OF EUROPA
XXXIX. BATTLE OF S. EGIDIO
XL. THE ASCENSION OF CHRIST
XLI. THE BAPTISM OF CHRIST
XLII. PORTRAIT OF THE ARTIST'S DAUGHTER
XLIII. MONTE SOLARO, CAPRI
XLIV. PART OF THE "SURRENDER OF BREDA"
XLV. VENUS, MERCURY, AND CUPID
XLVI. OLYMPIA
XLVII. L'EMBARQUEMENT POUR CYTHÄŒRE
XLVIII.
THE ANSIDEI MADONNA
XLIX. FINDING OF THE BODY OF ST. MARK
L. FROM A DRAWING BY HOLBEIN
LI. SIR CHARLES DILKE
LII. JOHN REDMOND, M.P.
LIII. THE LADY AUDLEY
LIV. STUDY ON BROWN PAPER
LV. FROM A SILVER POINT DRAWING
LVI. STUDY FOR TREE IN "THE BOAR HUNT"

 

LIST OF DIAGRAMS

I. TYPES OF FIRST DRAWINGS BY CHILDREN
II. SHOWING WHERE SQUARENESSES MAY BE LOOKED FOR
III.A DEVICE FOR ENABLING STUDENTS TO OBSERVE APPEARANCES AS A FLAT SUBJECT
IV. SHOWING THREE PRINCIPLES OF CONSTRUCTION USED IN OBSERVING MASSES, CURVES, AND POSITION OF POINTS
V. PLAN OF CONE ILLUSTRATING PRINCIPLES OF LIGHT AND SHADE
VI. ILLUSTRATING SOME POINTS CONNECTED WITH THE EYES
VII. EGG AND DART MOULDING
VIII. ILLUSTRATING VARIETY IN SYMMETRY
IX. ILLUSTRATING VARIETY IN SYMMETRY
X. ILLUSTRATING INFLUENCE OF HORIZONTAL LINES
XI. ILLUSTRATING INFLUENCE OF VERTICAL LINES
XII. ILLUSTRATING INFLUENCE OF THE RIGHT ANGLE
XIII. LOVE AND DEATH
XIV. ILLUSTRATING POWER OF CURVED LINES
XV. THE BIRTH OF VENUS
XVI. THE RAPE OF EUROPA
XVII. xviBATTLE OF S. EGIDIO
XVIII. SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY
XIX. SHOWING HOW LINES UNRELATED CAN BE BROUGHT INTO HARMONY
XX. THE ARTIST'S DAUGHTER
XXI. THE INFLUENCE ON THE FACE OF DIFFERENT WAYS OF DOING THE HAIR
XXII. THE INFLUENCE ON THE FACE OF DIFFERENT WAYS OF DOING THE HAIR
XXIII. EXAMPLES OF EARLY ITALIAN TREATMENT OF TREES
XXIV. THE PRINCIPLE OF MASS OR TONE RHYTHM
XXV. MASS OR TONE RHYTHM IN "ULYSSES DERIDING POLYPHEMUS"
XXVI. EXAMPLE OF COROT'S SYSTEM OF MASS RHYTHM
XXVII. ILLUSTRATING HOW INTEREST MAY BALANCE MASS
XXVIII. PROPORTION

 

CHAPTER I.—Style in Pen Drawing

CHAPTER II.—Materials

CHAPTER III.—Technique

CHAPTER IV.—Values

CHAPTER V.—Practical Problems

CHAPTER VI.—Architectural Drawing

CHAPTER VII.—Decorative Drawing

Includes 72 wonderful illustrations!

1. JOSEPH PENNELL. From The Century Magazine (The Century Co: New York)
2.MAXIME LALANNE. From "La Hollande Å• Vol d'Oiseau," by H. Havard (A. Quantin: Paris)
3.MAXIME LALANNE. From "La Hollande Å• Vol d'Oiseau," by H. Havard (A. Quantin: Paris)
4. RESTORATION HOUSE, ROCHESTER, ENGLAND. Drawing from a Photograph
5. JOSEPH PENNELL.From "Highways and Byways in North Wales" (Macmillan Co: London)
6. BERTRAM G. GOODHUE. Drawn for "Pen Drawing"
7.HERBERT RAILTON. From "Coaching Days and Coaching Ways," by W. Outram Tristram (Macmillan & Co: London)
8. BERTRAM G. GOODHUE. Drawn for "Pen Drawing"
9. C. D. M. Drawn for "Pen Drawing"
10.C. D. M. Drawn for "Pen Drawing"
11.MARTIN RICO. From La Ilustracion Espańola y Americana
12.C. D. M. Drawn for "Pen Drawing"
13.DANIEL VIERGE. From "Pablo de Ségovie," by Francisco de Quevedo (Léon Bonhoure: Paris)
14.MARTIN RICO. From La Ilustracion Espańola y Americana
15.ALFRED BRENNAN. From St. Nicholas (The Century Co: New York)
16.LESLIE WILLSON. From Pick-Me-Up (London)
17.DRAWING FROM PHOTOGRAPH. From Harper's Magazine (Harper & Brothers: New York)
18.JOSEPH PENNELL. From "The Sâone: A Summer Voyage," by Philip Gilbert
Hamerton (Seeley & Co: London)
19.JOSEPH PENNELL. From "The Sâone: A Summer Voyage," by Philip Gilbert
Hamerton (Seeley & Co: London)
20.JOSEPH PENNELL. From Harper's Magazine (Harper & Brothers: New York)
21.E. DANTAN. From L'Art (Paris)
22.J. F. RAFFAËLLI. From Gazette des Beaux-Arts (Paris)
23.C. D. M. Drawn for "Pen Drawing"
24.D. A. GREGG. From "Architectural Rendering in Pen and Ink," by D. A. Gregg (Ticknor & Co: Boston)
25.DANIEL VIERGE. From "Pablo de Ségovie," by Francisco de Quevedo (Léon Bonhoure: Paris)
26.DANIEL VIERGE. From "Pablo de Ségovie," by Francisco de Quevedo (Léon Bonhoure: Paris)
27.HARRY FENN. From The Century Magazine (The Century Co: New York)
28.REGINALD BIRCH. From The Century Magazine (The Century Co: New York)
29.JOSEPH PENNELL. From The Century Magazine (The Century Co: New York)
30.BERTRAM G. GOODHUE. From The Architectural Review (Bates & Guild Co: Boston)
31.JOSEPH PENNELL. From "Charing Cross to St. Paul's," by Justin McCarthy
(Seeley & Co: London)
32.LEONARD RAVEN HILL. From Pick-Me-Up (London)
33.DANIEL VIERGE. From "Pablo de Ségovie," by Francisco de Quevedo (Léon Bonhoure: Paris)
34.P. G. JEANNIOT. From La Vie Moderne (Paris)
35.PORCH OF AN ENGLISH CHURCH. From a Photograph
36.D. A. GREGG. Drawn for "Pen Drawing"
37.37. NORMANDY MOAT-HOUSE. From a Photograph
38.38. C. D. M. Drawn for "Pen Drawing"
39.STREET IN HOLLAND. From a Photograph
40.C. D. M. Drawn for "Pen Drawing"
41.C. D. M. Drawn for "Pen Drawing"
42.GEORGE F. NEWTON. From "Catalogue of the Philadelphia & Boston Face Brick Co." (Boston)
43.C. D. M. Drawn for "Pen Drawing"
44.C. D. M. Drawn for "Pen Drawing"
45.FRANK E. WALLIS. From The Engineering Record
46.HARRY ALLAN JACOBS. From The Architectural Review (Bates & Guild Co:
Boston)
47.D. A. GREGG. From "Architectural Rendering in Pen and Ink," by D. A. Gregg (Ticknor & Co: Boston)
48.D. A. GREGG. From The Brickbuilder (Rogers & Manson: Boston)
49.HERBERT RAILTON. From "Coaching Days and Coaching Ways," by W. Outram Tristram (Macmillan & Co: London)
50.D. A. GREGG. From The American Architect (The American Architect and Building News Co: Boston)
51.WALTER M.CAMPBELL. From The American Architect (The American Architect and Building News Co: Boston)
52.HERBERT RAILTON. From "Coaching Days and Coaching Ways," by W. Outram Tristram (Macmillan & Co: London)
53.A. F. JACCACI. From The Century Magazine (The Century Co: New York)
54.CLAUDE FAYETTE BRAGDON. From The Brickbuilder (Rogers & Manson: Boston)
55.HARVEY ELLIS. From The Inland Architect (The Inland Publishing Co: Chicago)
56.C. E. MALLOWS. From The British Architect (London)
57.C. D. M. Drawn for "Pen Drawing"
58.C. D. M. Drawn for "Pen Drawing"
59.C. D. M. Drawn for "Pen Drawing"
60.C. D. M. Drawn for "Pen Drawing"
61.A. B. FROST. From Scribner's Magazine (Charles Scribner's Sons: New York)
62.ALFRED G. JONES. From a Book Plate
63.WALTER APPLETON CLARK. From Scribner's Magazine (Charles Scribner's Sons: New York).
64.A. CAMPBELL CROSS. From Quartier Latin (Paris)
65.MUCHA. From a Poster Design
66.HOWARD PYLE. From "Otto of the Silver Hand," by Howard Pyle (Charles Scribner's Sons: New York)
67.WILL H. BRADLEY. From a Poster Design for The Chap-Book (Herbert S. Stone & Co: Chicago)
68.P. J. BILLINGHURST. From a Book Plate
69."BEGGARSTAFF BROTHERS." From a Poster Design
70.EDWARD PENFIELD. From a Design for the "Poster Calendar" (R. H. Russell & Son: New York)
71.LOUIS J. RHEAD. From a Poster Design for "Lundborg's Perfumes"
72.J. W. SIMPSON. From a Book Plate

 

Elements of geometry

Relation of geometry to perspective

Definitions:

1. A point
2. A line
3. A straight or right line
4. A curved or crooked line
5. A circle
6. A radius
7. Circumference of a circle
8. Its divisions
9. Angles
10. Horizontal lines
11. Verticals
12. Triangles
13. The square
14. Rectangles
15. Polygons
16. An ellipse
17. Tangents
18. To draw parallel lines
19-22. Perpendiculars, etc.
23. Triangles
24. A square
25. Parallelograms
26. To find the center of a circle, etc.
27, 28. To draw tangents
29. To draw within a circle on equilateral triangle, hexagon, etc.
30. Like figures without the circle
31. To draw a square within a circle
32. A pentagon
33. An ellipse
34, 35, 36. Importance of ability to do without instruments

 

Part I - The Essential Elements

Section I - The Drawing Office & Its Furnishings

Section II - Geometrical Problems

Section III - Lines, Dots, And Their Combinations

Section IV - Colors

Section V - Shading

Part II - Applications

Section I - Lettering, Bordering & North Points

Section II - Scales

Section III - Plotting

Section IV - Civil Engineers & Surveyors Plans

Section V - Map Drawing

Section VI - Mechanical & Architectural Drawings

Section VII - Copying And Reducing

Trigonometrical Formula

Inclined Measure

Curvature And Refraction

 

Shadow Projections - Shades & Shadows

Elementary Mahine Design

Architectural Drawing & Construction

 

Book I

The necessity of the study of perspective to painters, sculptors, and architects
What is perspective?

The theory of perspective

I. Definitions
II. The point of sight, the horizon and the point of distance
III. Point of distance
IV. Perspective of a point, visual rays, etc.
V. Trace and projection
VI. Scientific definition of perspective

Rules:

VII. The rules and conditions of perspective
VIII. A table or index of the rules of perspective

Book II

The Practice of Perspective:

IX. The square in parallel perspective
X. The diagonal
XI. The square
XII. Geometrical and perspective figures contrasted
XIII. Of certain terms made use of in perspective
XIV. How to measure vanishing or receding lines
XV. How to place squares in given positions
XVI. How to draw pavements, etc.
XVII. Of squares placed vertically and at different heights, or the cube in parallel perspective
XVIII. The transposed distance
XIX. The front view of the square and of the proportions of figures at different heights
XX. Of pictures that are painted according to the position they are to occupy
XXI. Interiors
XXII. The square at an angle of 45 degrees
XXIII. The cube at an angle of 45 degrees
XXIV. Pavements drawn by means of squares at 45 degrees
XXV. The perspective vanishing scale
XXVI. The vanishing scale can be drawn to any point on the horizon
XXVII. Application of vanishing scales to drawing figures
XXVIII. How to determine the heights of figures on a level plane
XXIX. The horizon above the figures
XXX. Landscape perspective
XXXI. Figures of different heights. The chessboard
XXXII. Application of the vanishing scale to drawing figures at an angle when their vanishing points are inaccessible or outside the picture
XXXIII. The reduced distance. How to proceed when the point of distance is inaccessible.
XXXIV. How to draw a long passage or cloister by means of the reduced distance
XXXV. How to form a vanishing scale that shall give the height, depth, and distance of any object in the picture
XXXVI. Measuring scale on ground
XXXVII. Application of the reduced distance and the vanishing scale to drawing a lighthouse, etc.
XXXVIII. How to measure long distances such as a mile or upwards
XXXIX. Further illustration of long distances and extended views
XL. How to ascertain the relative heights of figures on an inclined plane
XLI. How to find the distance of a given figure or point from the base line
XLIL. How to measure the height of figures on uneven ground
XLIII. Further illustration of the size of figures at different distances and on uneven ground
XLIV. Figures on a descending plane
XLV. Further illustration of the descending plane
XLVI. Further illustration of uneven ground
XLVII. The picture standing on the ground
XLVIII. The picture on a height

Book III

XLIX. Angular perspective
L. How to put a given point into perspective
LI. A perspective point being given, find its position on the goemetrical plane
LII. How to put a given line into perspective
LIII. To find the length of a given perspective line
LIV. To find these points when the distance-point is inaccessible
LV. How to put a given triangle or other rectilineal figure into perspective
LVI. How to put a given square into angular perspective
LVII. Of measuring points
LVIII. How to divide any given straight line into equal or proportionate parts
LIX. How to divide a diagonal vanishing line into any number of equal or proportional parts
LX. Further use of the measuring point 0
LXI. Further use of the measuring point 0
LXII. TWo methods of angular perspective in one figure
LXIV. To draw a cube, the points being given
LXV. Amplification of the cube applied to drawing a cottage
LXVI. How to draw an interior at an angle
LXVII. How to correct distorted perspective by doubling the line of distance.
LXVIII. Two methods of angular perspective in one figure
LxIX. A courtyard or cloister drawn with one vanishing point
LXX. How to draw lines which shall meet at a distant point, by means of diagonals
LXXI. How to divide a square placed at an angle into a given number of small squares
LXXII. Further example of how to divide a given oblique square into a given number of equal squares, say twenty-five
LXXIII. Of Parallels and diagonals
LXXIV. The square, the oblong, and their diagonals
LXXV. Showing the use of the square and diagonals in drawing doorways, windows and other architectural features
LXXVI. How to measure depths by diagonals
LXXVII. How to measure distances by the square and diagonal
LXXVIII. How by means of the square and diagonal we can determine the position of points in space
LXXIX. Perspective of a point placed in any position within the square
LXXX. Perspective of a square placed at an angle, new method
LXXXI. On a given line placed at an angle to the base draw a square in angular perspective, the point of sight and distance, being given
LXXXII. How to draw solid figures at any angle by the new method
LXXXIII. Points in space
LXXXIV. The square and diagonal applied to cubes and solids drawn therein
LXXXV. To draw an oblique square in another oblique square without using vanishing-points
LXXXVI. Showing how a pedestal can be drawn by the new method
LXXXVII. Scale on each side of the picture
LXXXVIII. The circle
LXXXIX. The circle in perspective a true elipse
XC. Further illustration of the elipse
XCI. Further illustration of the elipse
XCI. How to draw a circle in perspective withour a geometrical plan
XCII. How to draw a circle in angular perspective
XCIII. How to draw a circle in perspective more correctly, by using sixteen guiding points
XCIV. How to divide a perspective circle into any number of equal parts
XCV. How to draw concentric circles
XCVI. The angle of the diameter of the circle in angular and parallel perspective
XCVII. How to correct disproportion in the width of columns
XCVIII. How to draw a circle over a circle or a cylinder
XCIX. To draw a circle below a given circle
C. Application of previous problem
CI. Dorie columns
CII. To draw semicircles standing upon a cirlce at any angle
CIII. A dome standing on a cylinder
CIV. Section of a dome or niche
CV. A dome
CVI How to draw columns standing in a circle
CVII. Columns and capitals
CVIII. Method of perspective employed by architects
CIX. The octagon
CX. How to draw the octagon in angular perspective
CXI. How to draw an octogonal figure in angular perspective
CXII. How to draw concentric octagons with illustration of a well
CXIII. A pavement composed of octagons and small squares
CXIV. The hexagon
CXV. A pavement composed of hexagonal tiles
CXVI. A pavement of hexagonal tiles in angular perspective
CXVII. Further illustration of the hexagon
CXVIII. Another view of the hexagon in angular perspective
CXIX. Application of the hexagon to drawing a kiosk
CXX. The pentagon
CXXI. The pyramid
CXXIII. The pyramid in angular perspective
CXXIV. To divide the sides of the pyramid horizontally
CXXV. Of roofs
CXXVI. Of arches, arcades, bridges, etc.
CXXVII. Outline of an arcade with semicircular arches
CXXVIII. Semicircular arches on a retreating plane
CXXIX. An arcade in angular perspective
CXXX. A vaulted ceiling
CXXXI. a cloister from a photograph
CXXXII. The low or elliptical arch
CXXXIII. opening or arched window in a vault
CXXXIV. STairs, steps, etc.
CXXXV. Steps, front view
CXXXVI. Square steps
CXXXVII. To divide an inclided plane into equal parts - such as a ladder placed against a wall
CXXXVIII. Steps and the inclined plane
CXXXIX. Steps in angular perspective
CXI. A step ladder at an angle
CXLI. Square steps placed over each other
CXLII. Steps and a double cross drawn by means of diagonals and one vanishing point
CXLIII. A staircase leading to a gallery
CXLIV. Winding stairs in a square shaft
CXLV. Winding stairs in a cylindrical shaft
CXLVI. Of the cylindrical picture or diorama

Book IV

CXLVII. The perspective of cast shadows
CXLVIII. The two kinds of shadows
CXLIX. Shadows cast by the sun
CL. THe sun in the same plane as the picture
CLI. The sun behind the picture
CLII. Sun behind the picture, shadows thrown on a wall
CLIII. Sun behind the picture throwing shadow on an inclined plane
CLIV. The sun in front of the picture
CLV. The shadow of an inclined plane
CLVI. Shadow on a roof or inclined plane
CLVII. To find the shadow of a projection or balcony on a wall
CLVIII. Shadow on a retreating wall, sun in front
CLIX. Shadow of an arch, sun in front
CLX. Shadow in a niche or recess
CLXI. Shadow in an arched doorway
CLXII. Shadows produced by artificial light
CLXIII. Some observations on real light and shade
CLXIV. Reflection
CLXV. Angles of reflection
CLXVI. Reflections of objects at different distances
CLXVII. Reflection in a looking glass
CLXVIII. The mirror at an angle
CLXIX. The upright mirror at an angle of 45 degrees to the wall
CLXX. Mental perspective

Perspective, a science and an art

Aerial and linear

Importance of proper practical direction in its study

The point of sight

Line of the horizon

Base line

Distance, etc.

Elementary principles

Their further illustration

Frequent error in relation to the point of sight, etc.

Practial exemplification in relation to the line of the horizon and Point of sight

Parallel and oblique perspective

Geometrical illustration of principles

To place a square in perspective

A cube, etc.

Further exemplification of the practical service of the square, And of rules and principles Of the point of distance

Method for working points of distance, etc., which are beyond The limits of the picture

Importance of a knowledge of perspective to artists

Geometrical perspective drawing

A point

A line

A triangle or irregular figure

Perpendicular line or figure

A circle, cylinder, cone, etc.

Circular forms, arches, etc.

Irregular curves and forms

Doors, etc.

Planes and figures which are neither horizontal nor Perpendicular

General observations on principles involved in the practical Application of the rules of perspective

To draw steps, etc. perspectively

Shadows

Reflected objects, etc.

 

Introduction

THE MANUFACTURING PROCESSES OF STEEL PENS

A detailed account of how the steel was processed... start to finish. The creation of these pens took many people, mostly young women working in factories. You'll find many illustrations describing the work.

HISTORY OF THE PERRYIAN PEN WORKS

The firm of Messrs. Perry & Co., London, was founded in the year 1824 by Mr. James Perry, who carried on business originally in Manchester, then in London. Mr. James Perry died in the year 1843. Mr. Stephen Perry, who conducted the business afterward in partnership with Mr. Hayes and others, died in the year 1873, and was succeeded by his sons, Messrs. Joseph John and Lewis Henry Perry. The firm of Perry & Co. was known all over Europe as the house which first introduced to the commercial world steel pens of a superior quality, and in many countries steel pens are now known under the general denomination of ”Perry pens.”