years, no doubt, before a drawing with conspicuous light-and-shade of a live 

 sandpiper or rabbit in Nature is looked upon as an absurdity — and yet that 

 time must surely come. 



Having considered obliterative shading, pure and simple, we will now 

 advance to the next stage in the study of obliterative coloration, namely, the 

 use of markings on counter-shaded animals. 



The first few chapters will deal chiefly with artificial models. 



29 



