Wildlife and the natural world offer a wealth of subject matter to anyspiring artist, and clearly inspired the late Edith Holden in her work.ollowing simple, step-by-step guides, themed around the seasons, this bookill teach you how to create watercolour studies that capture the beauty andharm of British wildlife.

The unique style of Edith Holden has been copied many times - but now you canearn how she created the beautiful pictures you know so well. Usingtep-by-step instructions this book takes you through a series of projects tooincide with each season. With practise and dedication you'll soon bereating your own diary, unique to your region and the natural landscaperound you.

Artists will learn to capture those fleeting moments of inspiration and beauty that compel them to create.

Do unto others as you would others should do to you. You can never be rude if you bear the rule always in mind, for what lady likes to be treated rudely? True Christian politeness will always be the result of an unselfish regard for the feelings of others, and though you may err in the ceremonious points of etiquette, you will never be im polite. Politeness, founded upon such a rule, becomes the expression, in graceful manner, of social virtues. The spirit of politeness consists in a certain attention to forms and ceremonies, which are meant both to please others and ourselves, and to make others pleased with us ;a still clearer definition may be given by saying that politeness is goodness of heart put into daily practice; the.re can be no true, politeness without kindness, purity, singleness of heart, and sensibility. Many believe that politeness is but a mask worn in the world to conceal bad passions and impulses, and to make a show of possessing virtues not really existing in the heart; thus, that politeness is merely hypocrisy and dissimulation. Do not believe this; be certain that those who profess such a doctrine are practising themselves the deceit they condemn so much.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.