Drawings, pictures and maps?

[Findegil]

Just an aside question which comes to my mind while I am working on the Fall of Nargothrond part of the Narn:
Are we going to include drawings and pictures from JRR Tolkien in our book?

And what about his Maps?

Both questions are not so easy. The drawings and pictures nearly unchangeable at all. Maybe we could change a name in the underscript and even that is difficult if the underscript is part of the picture and no other change seemes possible at all. But some pictures can clearly be used and they would bring a further aspect of Tolkiens view of Middle-Earth.

In the maps we must reproduce the drawing but the names written on it must be fit the nomenclature. Thus the maps will make a lot of trouble. But for me it seems that we need the maps.

So what do you think?

Respectfully
Findegil

[Maédhros]

Are we going to include drawings and pictures from JRR Tolkien in our book?

To tell you the truth, I never did see our work as a book. I just thought that we would hopefully one day finish the chapters of the Sil Project and that would be it.

I think that there was a thread somewhere about maps and pictures. I think that it would be nice for us to have them, especially updated them with the new names and stuff but at least I could not do it.

If you or anyone else wants to do it, great, I can see that it would be a great addition but for me at least, reading our chapters, especially the one about the Narn is enough for me.

[Findegil]

Pictures that in my opinion should be used in the „Translation from the Elvish / Part One: The Elder Days“. I will give the title of the Picture the chapter in our work were I think it should fit and the book were it can be found there after the no. it has in that book and the page (p.) were it is in my edition. Pictures stands for Pictures by JRR Tolkien and Artist for JRR Tolkien – Artist and Ilustrator edited by Wayne G. Hammond and Christina Scull.

The Hills of the Morning; Akallabeth; Artist; Frontispiece
Cove near the Lizard; FoG; Artist; no.21; p. 25
Tanaqui; QS, Cha. 5; Artist; no.43; p.47
The Shores of Faery; QS, Cha. 5; Artist; no. 44; p. 48
Mithrim; QS, Cha. 15; Artist; no. 46; p. 50
Glórund sets forth to seek Túrin; Narn, The coming of Glaurung; Artist; no. 47; p. 51
Hringboga Heorte Gefysed; QS, Cha. 21; Artist; no. 48; p. 52
NN (Dragon with Warrior); QS, Cha. 21; Artist; no. 49; p. 52
Halls of Manwe (Taniquetil); QS, Cha. 5; Artist; no. 52; p. 56
NN (Mountain Landscape); QS, Cha. 1; Artist; no. 53; p.57
Taur-na-Fúin; Narn, Beleg; Artist; no. 54; p. 58
The Vale of Sirion (Tol Sirion); QS, Cha. 17; Artist; no.55; p. 59
Nargothrond; QS, Cha. 16; Artist; no. 56; p. 60
NN (Nargothrond); Narn, Faelivrin; Artist; no. 57; p. 60
Gondolin & the Vale of Tumladen from Cristhorn; QS, Cha. 18; Artist; no. 58; p. 61
The Wood at the World's End; QS, Cha. 13; Artist; no. 60; p. 63
Heraldic Devices; Pictures; no. 47:
Feanor; QS, Cha. 5
Beren; QS, Cha. 26
Finrod Felagund; QS, Cha. 20
Beor; QS, Cha. 20
Hador; QS, Cha. 20
The Silmarils; QS, Cha. 8
House of Haleth; QS, Cha. 20

Idrils heraldic device; FoG; Artist; no. 189; p. 192
Earendil; FoG; Artist; no. 190; p. 193
Gil-galad; QS, Cha. 32; Artist; no. 190; p. 193
Finwe and Elwe; QS, Cha. 3; Artist; no. 191; p. 194
Finraphin and Fingolfin; QS, Cha. 5; Artist; no. 192; p. 195
Melian; QS, Cha. 4; Artist; no. 193; p. 196
Lúthien Tinuvíel; QS, Cha. 12; Artist; no. 194; p. 197
Lúthien Tinuvíel; BL, Of Lúthien the beloved; Artist; no. 195; p. 197
NN (Grasses); QS, Cha. 1; Artist; no. 196; p. 198
Floral Designs; QS, Cha. 1; Pictures; no. 45
NN (Entrance to the Elvenking's Halls); QS, Cha. 12; Artist; no. 119; p. 125
Three Dragons (the 3rd one); FoG; Pictures; no. 40
NN (Patterns); Muster; the winged sun in the upper right corner); QS, Cha. 3; Artist; no. 183; p. 186
Wickedness; QS, Cha. 1; Artist; no. 32; p. 37
The Tree of Amalion; QS, Cha. 1; Artist; no. 62; p. 64

Feel free to disagree with my choices o pictures and of placement.

Respecfully
Findegil

[Aiwendil]

I'll go through and correct those to the English names, if you like.

And yes, I am still making every effort to continue with the work on Beren and Luthien - I should have some more comments up in a day or so.

[Findegil]

Good to know - for both parts of your message.

Respectfully
Findegil

[Aiwendil]

Okay, I've corrected the titles. I will give my thoughts on the pictures later. However, it seems to me that "Eeriness" (Artist No. 40) and "Water, Wind & Sand" (Artist No. 42) ought to have a place in your list.

[Findegil]

Thanks for the correction.

I agree fully on "Eeriness", but I thought of using it in one of the later volumes. It seems perfect as a illustration of one of the Istari.

"Water, Wind and Sand" I missed that one. We will put it in its proper place as an illsutration of "The Horns of Ylmir". "Cove near Lizard" (which I would have used in that place) should than be placed (I think) as illustration of the incoming flood observed by Tuor in the fjord of Drengist.

Respectfully
Findegil

[Findegil]

It is a long time since we last discussed about this topic! And by re-reading this short thread I found that I probably must now extend my list at least through Volume II. But that’s only another point on my agenda (maybe the next).

As I have already started to work with the Maps and Diagrams from the Ambrakanta, I am now very confident that I can handle as well other maps. Beside the three Diagrams and two Maps of the Ambrakanta three maps are set, I think:
- A Version of the 2nd Silmarillion Map form HoME 11 for Volume I.
- The Map of Númenor from UT for Volume II, The Black Years.
- A Version of the 1st LotR Map from Tolkien: Maker of Middle-earth for Volume II, The Fading Years.

Other maps are more questionable:
- A Version of 2nd Silmarillion Map form HoME 11 for Volume I, Of Beleriand and it’s Realms: Christopher Tolkien did kind of split the content of the 2nd Silmarillion Map for greater clearness. And in this place he added the part of the split that could be named a political map of Beleriand. It is an option we should at least discuss.
- Verious maps that Tolkien had drawn for The Hobbit in part with the way of Thorin & Co. Marked on it from The Art of The Hobbit.
- A map of the Shire. I am not sure if we have an original source for this, but if yes it is still questionale if it makes sense in our project.
- The 2nd LotR Map meaning the map of Gondor, Mordor and Co. As fare as I remember Christopher Tolkien redrawing is very near to the original and it is includes in LotR it self, which we alway looked at as kind of companion to our project.

To all these maps I will come back sooner or later. But for the time being I want to discuss with you a much more difficult case: While I worked on Ambrakanta Map IV & Map V I found references to the 1st Map from HoME I. As it is, that map is unuseabel. But in one point it is unique: It does provide details about where is what in Valinor. The 1st Map is indeed very much in agreement with the text of BoLT in which Valinor and the mansions of the Valar are described. And we have taken up many passages from BoLT exactly because they do the same as 1st Map: They provide details about Valionor that are never again mentioned. As we know from Ambrakanta Map IV & Map V the shape of Valinor greatly changed. But as our text stands the relative placement inside that realm of all the features marked on the 1st Map were still the same.
My proposal is the following: rebuild only the Valiorean part of 1st Map to agree in shape to Ambrakanta Map V and lable all the unlabled features on that Map. So the labels I would take are:

Labels on the map:
M… Ice => Helcaraxë

Letters discussed in the comments:
a: Valimar
b: The Two Trees
c: Halls of Mandos
d: Kôr => Tirion
e: ‘the low place in the hills' by which Melko and his following passed out of Valinor into Arvalin-Eruman, a gap left by Tulkas and Aule for their own entry into Valinor at the time of the raising of the mountains => I think we have to remove this feature.
h: Eruman => Avathar
j: potential coast lines, the lable is to be removed
k: from east to west: the Magic Isles; Tol Eressëa; the Twilit Isles; we have to remove these and add the Isle from Ambrakanta Map V

Features not named on the map or discussed in the comments:
The dot south of c: Sirnumen => Formenos
The dot between d and e: Murmuran (the dwelling of Lóriën)
The dot south west of h: Ungoliant’s Lair

Features to be added from Ambrakanta Map V beside the Isle:
Aqualondë as a square like Valimar and Tirion
the dots in the south of the plain of Valinor: Aulë’s House
Valinor it self as a lable for the country.

The original 1st Map was on a manuscript page within the text of the chapter: The theft of Melko and the Darkening of Valinor. Therefore I would include that map in our QS; Cha. 10 Of the Drakening of Valinor.

Respectfully
Findegil

[gandalf85]

I agree with your choice of the three maps you think are set. As for the other maps:

- Beleriand and its Realms: I think having a map of some sort for the "Beleriand and its Realms" chapters is a good idea. That chapter is hard to follow without a reference.

- Art of the Hobbit: I also like the idea of including the maps from Art of the Hobbit.

- The Shire : As far as I know, the only map of the Shire which Tolkien himself drew is the one in Tolkien:Maker of Middle-Earth on page 390: "First sketch map of the Shire". It's pretty crude and would require quite a bit of work. I don't think a map of the Shire is necessary, but if you're up to it I would say go for it. Speaking of "Tolkien:Maker of Middle-Earth", I'm finally going to the Morgan in April to see the exhibit! I can't wait!

- 2nd LotR map Since the Lord of the Rings can be viewed as a companion piece to our work, I'm not sure we need to include the map of Gondor and Mordor, since the map is already there. Then again, we do pull in bits from the Appendices. If you can find a good place to put it, I would be open to it.

- The earliest map in BoLT : I think adding in the Valinor labels into Map V is a great idea! Including it in the "Darkening of Valinor" chapter makes sense. I agree with your ideas, including the removal of "e": the gap in the mountains."

You might've just forgotten to include it, but label "g" should be "Hisilómë". Also I think we should put a dot on the west border next to "c" for "Nienna's house" which are:

...west of West, upon the borders of the world; and she comes seldom to the city of Valimar where all is glad. She goes rather to the halls of Mandos, which are near to her own...

[Findegil]

The earliest map in BoLT: Adding details into Map V was not the way I did, even so the results looks like that. Maybe I will tryout an alternative approach: showing only a cutout from the original 1st Map and living with the differences.
“g”: I did not forget about “g” but it is by choice not included in the part of the map that I would use.
Niënna’s house: Okay I added Aulë’s house, but that I did because I saw a hint for it’s position in Map V. And it was clear that it is on the borderline. To add Niënna’s without any hint beside the text, where it was, seem to risky to me.

Respectfully
Findegil

[gandalf85]

The earliest map in BoLT: Ahh, re-reading your original post I see what your plan is with this map. That makes sense to me. If you don't rebuild the map of Valinor to agree with Map V, the differences could feasibly be accounted to the maps being made by different people and imperfect knowledge of the map-makers.

Nienna's House: OK, that's fair. I agree with not including it.

[Findegil]

I have done as pormissed and worked through four of most rich books for pictures:
The Art of The Hobbit
The Art of The Lords of the Ring
JRR Tolkien – Artist and Ilustrator
Pictures by JRR Tolkien

The Result is a different List then the one before. It is so big that I will split it in single posting for each of the books in turn. But these explainational remarks cover them all. More or less each picture given in these books you will find listed in these postings with the following information attached:
- My proposal if we should take it or not: Yes => we should take it; No => I think it is unusable; Maybe => I am unsure, we should discuss this
- Source information: The book, no. given to it in this book, page on which it is found and the title
- Other or additional sources: ‘see’ => in the given source a better reproduction will be found and any further information is given in that entry of my list; ‘see as well’ or similar => at the given source an additional reproduction will be found, but the one given in front seems to be the better or more usefull
- Remark: If I found the picture not usable, I will give here my reasons, if I propose to use it here is given the place in our work where I would but it and a short quote from our finished text that I propose refers to the picture. (I suppose to put the pictures between the paragraph in which the quote occurs and the next paragraph. In some rare cases of a paragraph covering a lot of story and many pictures available, I suppose we might need to add a paragraph break. And in the single case of the story of Quest for Erebor I propose a series of pictures covering the journey from Rivendell to the death of Smaug.) In some cases I propose to use only cut outs from a picture. If so that is of course mentioned under remarks.

Respectfully
Findegil

[Findegil]

The Art of The Hobbit:
No: Art of the Hobbit; Title-page; p. 3; Detail from Thror’s Map (fig. 28); used in The Hobbit
No: Art of the Hobbit; Content-page; p. 5; Detail from final dust-jacket art for The Hobbit (fig. 100); used in The Hobbit
No: Art of the Hobbit; Frontispiece; p. 6; The Hobbit, title-spread for the second printing (1937); used in The Hobbit
Yes: Art of the Hobbit; fig. 1; p. 20; One morning early in the Quiet of the World; The Quest of Erebor – “It was on the morning of Tuesday, April the 25th, 2941, that Gandalf called to see Bilbo; and though he knew more or less what to expect his confidence was shaken.”
No: Art of the Hobbit; fig. 2; p. 22; Bagend Underhill; used in The Hobbit 50th Anniversary Edition
Yes: Art of the Hobbit; fig. 3; p. 23; Gandalf; Cutout the figure of Gandalf alone => The Istari - “the last came one who seemed the least, less tall than the others, and in looks more aged, grey-haired and grey-clad, and leaning on a staff.”
No: Art of the Hobbit; fig. 4; p. 25; The Hill, Hobbiton; later version used in The Hobbit
No: Art of the Hobbit; fig. 5; p. 26; The Hill, Hobbiton; later version used in The Hobbit
No: Art of the Hobbit; fig. 6; p. 27; The Hill, Hobbiton; later version used in The Hobbit
No: Art of the Hobbit; fig. 7; p. 28; Sketch for The Hill, Hobbiton across the Water; later version used in The Hobbit
No: Art of the Hobbit; fig. 8; p. 29; Sketch for The Hill, Hobbiton across the Water; later version used in The Hobbit
No: Art of the Hobbit; fig. 9; p. 30; Sketch for The Hill, Hobbiton across the Water; later version used in The Hobbit
No: Art of the Hobbit; fig. 10; p. 32; The Hill, Hobbiton across the Water; used in The Hobbit
No: Art of the Hobbit; fig. 11; p. 33; The Hill, Hobbiton-across-the Water; used in The Hobbit
Maybe: Art of the Hobbit; fig. 12; p. 35; Thorin’s letter to Bilbo; are we going to use this “Facsimile” of an English text in tengwar? If yes, then this is the place: The Broken Bridge - “on a quest of great treasure, the dwarf-hoards of the Kings under the Mountain, beneath Erebor in Dale, far off in the East.”
Yes: Art of the Hobbit; fig. 13; p. 36; Troll’s Hill; The Broken Bridge - “The story is told elsewhere of what came after one of the ponies took fright at nothing and bolted and got into that river before they could catch him, and how Thorin and his companions set out from Rivendell on the quest of the Lonely Mountain that came to great ends unforeseen.”
No: Art of the Hobbit; fig. 14; p. 38; The Three Trolls are turned to Stone, first version; better use the later version
Yes: Art of the Hobbit; fig. 15; p. 39; The Three Trolls are turned to Stone, second version; sad as it is, since we do not mention the Troll’s neither in Bilbo’ nor in Frodo’s journey, but I think we should nonetheless use this picture as a companien to fig 13 => The Broken Bridge - “The story is told elsewhere of what came after one of the ponies took fright at nothing and bolted and got into that river before they could catch him, and how Thorin and his companions set out from Rivendell on the quest of the Lonely Mountain that came to great ends unforeseen.”
No: Art of the Hobbit; fig. 16; p. 40; The Trolls; used in The Hobbit
Yes: Art of the Hobbit; fig. 17; p. 42; Riding down into Rivendell; The Istari - “Mithrandir was closest in counsel with Elrond and the Elves.”
No: Art of the Hobbit; fig. 18; p. 43; Elrond’s house and the bridge at Rivendell; unusable due to differences to later drawings
No: Art of the Hobbit; fig. 19; p. 43; Elrond’s house; unusable due to differences to later drawings
Maybe: Art of the Hobbit; fig. 20; p. 44; Rivendell looking West; Are we going to use this later reinterpretation of a false start?
Yes: Art of the Hobbit; fig. 21; p. 45; Rivendell looking East; Of the Rings of Power - “it was at that time that he established a refuge and stronghold at Imladris (Rivendell).”
No: Art of the Hobbit; fig. 22; p. 46; Rivendell; unusable due to differences to later drawings
No: Art of the Hobbit; fig. 23; p. 47; Rivendell; used in The Hobbit
No: Art of the Hobbit; fig. 24; p. 50; sketch of Thror’s Map; later version used in The Hobbit
No: Art of the Hobbit; fig. 25; p. 51; Thror’s Map Copied by B. Baggins; later version used in The Hobbit
No: Art of the Hobbit; fig. 26; p. 52; Sketch of Thror’s Map; later version used in The Hobbit
Yes: Art of the Hobbit; fig. 27; p. 52; Dragon and warrior; Narn, Nirnaeth Arnoediad – “the host of Maedros being assailed now on three sides, by the Orcs, and the beasts, and by the Swarthy Men”
No: Art of the Hobbit; fig. 28; p. 53; Thror’s Map final art (with alterations); used in The Hobbit
No: Art of the Hobbit; fig. 29; p. 54; Thror’s Map, “proof”; used in The Hobbit
No: Art of the Hobbit; fig. 30; p. 56; Sketch of the moon-letters; later version used in The Hobbit
No: Art of the Hobbit; fig. 31; p. 57; Moon-letters drawn in mirror-reverse; later version used in The Hobbit
No: Art of the Hobbit; fig. 32; p. 57; Moon-letters drawn in mirror-reverse; later version used in The Hobbit
No: Art of the Hobbit; fig. 33; p. 57; These Are the Moon Runes Seen by Elrond; later version used in The Hobbit
No: Art of the Hobbit; fig. 34; p. 58; The Mountain-path; used in The Hobbit
Yes: Art of the Hobbit; fig. 35; p. 60; The Misty Mountains; Relations of the Longbeard Dwarves and Men - “for many lives of Men the Long-beards controlled the Ered Mithrin, Erebor, and the Iron Hills, and all the east side of the Misty Mountains as far as the confines of Lorien; while the Men of the North dwelt in all the adjacent lands as far south as the Great Dwarf Road that cut through the Forest (the Old Forest Road was its ruinous remains in the Third Age) and then went North-east to the Iron Hills.”
Yes: Art of the Hobbit; fig. 36; p. 60; Mountian landscape; QS, Cha. 1 – “the Valar and all their folk first gathered the most mighty rocks and stones from Araman and Avathar and reared therewith upon the shores of the Sea the Pelóri, the Mountains of Aman, highest upon earth.”
No: Art of the Hobbit; fig. 37; p. 61; The Misty Mountains looking west from the Eyrie towards Goblin Gate; to similar to fig. 38 wich is used in The Hobbit.
No: Art of the Hobbit; fig. 38; p. 62; The Misty Mountains looking west from the Eyrie towards Goblin Gate; used in The Hobbit
No: Art of the Hobbit; fig. 39; p. 63; Bilbo Woke Up with the Early Sun in His Eyes; used in The Hobbit
Yes: Art of the Hobbit; fig. 40; p. 64; Eagles’ Eyrie; The Quest of Erebor - “Of Bilbo's later adventures little more need be said here.” As part of a series of pictures about Bilbos adventure.
Yes: Art of the Hobbit; fig. 41; p. 67; Firelight in Beorn’s House; The ride of Eorl - “The Éothéod had moved to those regions in the days of King Eärnil II from lands in the vales of Anduin between the Carrock and the Gladden, and they were in origin close akin to the Beornings and the men of the west-eaves of the forest.”
No: Art of the Hobbit; fig. 42; p. 68; Sketch for Beorn’s Hall; later version used in The Hobbit
No: Art of the Hobbit; fig. 43; p. 69; Sketch for Beorn’s Hall; later version used in The Hobbit
No: Art of the Hobbit; fig. 44; p. 70; Beorn’s Hall; used in The Hobbit
No: Art of the Hobbit; fig. 45; p. 72; sketch map; better use the later version
No: Art of the Hobbit; fig. 46; p. 73; Revised Map of the Misty Mountains and the upper part of the Great River; this would be usable, but the Wilderland “Sketch” is probably better, see Art of the Hobbit; fig. 88; p. 124
No: Art of the Hobbit; fig. 47; p. 75; Mirkwood; used in The Hobbit 50th Anniversary Edition
Yes: Art of the Hobbit; fig. 48; p. 76; Taur-na-Fúin (Fangorn Forest); Narn, The Death of Beleg – “he saw on a sudden __ a slender sheen / shine a-shimmering __ in the shades afar,”
No: Art of the Hobbit; fig. 49; p. 78; Entrance to the Elvenking’s Hall; later version used in The Hobbit
No: Art of the Hobbit; fig. 50; p. 79; The Elvenking’s gate from across the river; later version used in The Hobbit
No: Art of the Hobbit; fig. 51; p. 80; Entrance to the Elvenking’s Halls; later version used in The Hobbit
Yes: Art of the Hobbit; fig. 52; p. 81; Entrance to the Elvenking’s halls; QS, Cha. 12 – “There they made the gates of the halls of Thingol, and they built a bridge of stone over the river, by which alone the gates could be entered.”
No: Art of the Hobbit; fig. 53; p. 82; Gate of the Elvenking’s Halls; later version used in The Hobbit
Yes: Art of the Hobbit; fig. 54; p.84; Nargothrond; see also Artist; no. 56; p. 60; Narn; Faelivrin - “Doors there darkly __ dim gigantic / were hewn in the hillside; __ huge their timbers, / and their posts and lintels __ of ponderous stone.”
Yes: Art of the Hobbit; fig. 55; p. 85; Nargothrond; Narn, Túrin in Nargothrond – “and by the counsel of Túrin the Noldor built a mighty bridge over the Narog from the Doors of Felagund”
No: Art of the Hobbit; fig. 56; p. 86; Entrance to the Elvenking’s halls; later version used in The Hobbit
Yes: Art of the Hobbit; fig. 57; p. 87; Elfking’s Gate; The Hunt for the Ring - “But evidently later (since the lands of Thranduil would now be closely watched), possibly sometime early in April, Sauron heard the disquieting news that the Wise were aware of Gollum, and that Gandalf had passed into Thranduil's realm.”
No: Art of the Hobbit; fig. 58; p. 88; The Elvenking’s Gate; used in The Hobbit
No: Art of the Hobbit; fig. 60; p. 89; Entrances to the Elvenking’s halls; only cutouts of other pictures
No: Art of the Hobbit; fig. 61; p. 91; Preliminary art for the Sketch for The Forest River; later version used in The Hobbit
No: Art of the Hobbit; fig. 61; p. 92; Sketch for The Forest River; later version used in The Hobbit
Yes: Art of the Hobbit; fig. 62; p. 93; The Forest River; The Return of the Shadow - “at last Thranduil established his realm in the north-east of the forest and delved there a fortress and great halls underground.”
Yes: Art of the Hobbit; fig. 63; p. 94; Sketch for Bilbo comes to the Huts of the Raft-elves; The Quest of Erebor - “Of Bilbo's later adventures little more need be said here.” As part of a series of pictures about Bilbos adventure.
No: Art of the Hobbit; fig. 64; p. 95; Bilbo comes to the Huts of the Raft-elves; used in The Hobbit
Yes: Art of the Hobbit; fig. 65; p. 97; Esgaroth; The Quest of Erebor - “Of Bilbo's later adventures little more need be said here.” As part of a series of pictures about Bilbos adventure.
No: Art of the Hobbit; fig. 66; p. 198; Lake Town; used in The Hobbit
Yes: Art of the Hobbit; fig. 67; p. 100; Gnarled Tree; Beleg’s Death - “Therefore he journeyed on through Dimbar, and up to the Pass of Anach in Ered Gorgoroth, the Mountains of Terror, and so to the highlands of Taur-nu-Fuin, the Forest under Night, a region of dread and dark enchantment, of wandering and despair.”
No: Art of the Hobbit; fig. 68; p. 101; The Front Gate; used in The Hobbit
Yes: Art of the Hobbit; fig. 69; p. 102; The Back Door; used in The Hobbit 50th Anniversary Edition but I would nonetheless use it as part of a series of pictures about Bilbos adventure => The Quest of Erebor - “Of Bilbo's later adventures little more need be said here.”
Yes: Art of the Hobbit; fig. 70; p. 103; View from the Back Door; The Quest of Erebor - “Of Bilbo's later adventures little more need be said here.” As part of a series of pictures about Bilbos adventure.
No: Art of the Hobbit; fig. 71; p. 104; Conversation with Smaug; used in The Hobbit
No: Art of the Hobbit; fig. 72; p. 107; The White Dragon Pursues Roverrandom & the Moondog; unusable due to the fact that it is an illustration for Roverrandom now published in that book.
Yes: Art of the Hobbit; fig. 73; p. 107; Smaug in flight and Dwarves marching; Smaug in flight => The Quest of Erebor - “There was beyond the Grey Mountains a most greedy, strong and wicked worm called Smaug. One day he flew up in the air and came south.”; Dwarves marching => Of Aulë and the Dwarves - “The Naugrim were ever, as they still remain, short and squat in stature; they were deep-breasted, strong in the arm, and stout in the leg, and their beards were long. Indeed this strangeness they have that no Man nor Elf has ever seen a beardless Dwarf”
No: Art of the Hobbit; fig. 74; p. 108; Smaug flies around the Lonely Mountain; use rather fig. 75
Yes: Art of the Hobbit; fig. 75; p. 109; Smaug flies Round the Mountain; Durin’s Folk - “Smaug the Golden, greatest of the dragons of his day, arose and without warning came against King Thrór and descended on the Mountain in flames.”
Yes: Art of the Hobbit; fig. 76; p. 110; The Front Door; The Quest of Erebor - “Of Bilbo's later adventures little more need be said here.” As part of a series of pictures about Bilbos adventure.
No: Art of the Hobbit; fig. 77; p. 111; The Lonely Mountain; used in The Hobbit 50th Anniversary Edition
Yes: Art of the Hobbit; fig. 78; p. 112; Death of Smaug; The Quest of Erebor - “The Dragon was slain by Bard of Esgaroth” As part of a series of pictures about Bilbos adventure.
No: Art of the Hobbit; fig. 79; p. 113; Death of Smaug, revers side of the sheet; unusable
Yes: Art of the Hobbit; fig. 80; p. 116; Coming of the Eagles; The Quest of Erebor - “before all was won the Battle of Five Armies was fought in Dale”
No: Art of the Hobbit; fig. 81; p. 117; Map of the Lomely Mountains and surrounding lands; better use later version
No: Art of the Hobbit; fig. 82; p. 118; Map of the Lomely Mountains and surrounding lands; better use later version
No: Art of the Hobbit; fig. 83; p. 119; Map of the Lomely Mountains and surrounding lands; better use later version
No: Art of the Hobbit; fig. 84; p. 120; Plan of the Lonely Mountain; used in The Hobbit 50th Anniversary Edition
Yes: Art of the Hobbit; fig. 85; p. 120; Plan of the Lonely Mountain; The Quest of Erebor - “Of Bilbo's later adventures little more need be said here.” As part of a series of pictures about Bilbos adventure.
No: Art of The Hobbit; fig. 86; p. 121; View through B[ack] G[ate]; better use Art of The Hobbit; fig. 69; p. 102 or Art of The Hobbit; fig. 70; p. 103
Yes: Art of The Hobbit; fig. 87; p. 122; The Lonely Mountain and Map of the Long Lake; The Quest of Erebor - “Of Bilbo's later adventures little more need be said here.” As part of a series of pictures about Bilbos adventure.
Yes: Art of The Hobbit; fig. 88; p. 124; Wilderland; Of the Finding of the Ring - “The party was assailed by Orcs in a high pass of the Misty Mountains as they went towards Wilderland”
No: Art of The Hobbit; fig. 89; p. 125; Wilderland, final art; used in The Hobbit
No: Art of The Hobbit; fig. 90; p. 127; The Hall at Bag-End, Residence of B. Baggins Esquire; used in The Hobbit
Yes: Art of The Hobbit; fig. 91; p. 128; Design for the upper binding; the Dragon upper right & Dragon lower right; QS, Cha. 35 - “out of the pits of Angband there issued the winged dragons” in combination with fig. 92
Yes: Art of The Hobbit; fig. 92; p. 130; Design for the upper binding; QS, Cha. 35 - “out of the pits of Angband there issued the winged dragons” in combination with fig. 91
No: Art of The Hobbit; fig. 93; p. 131; Trial drawings for the binding frieze; later version used in The Hobbit
No: Art of The Hobbit; fig. 94 & 95; p. 132; Designs for the upper binding; used in The Hobbit
No: Art of The Hobbit; fig. 96; p. 133; Design for the lower binding and spine; later version used in The Hobbit
No: Art of The Hobbit; fig. 97; p. 134; Design for the lower binding and spine; used in The Hobbit
No: Art of The Hobbit; fig. 98; p. 135; Final binding; used in The Hobbit
Yes: Art of The Hobbit; fig. 99; p. 136; The Wood at the World’s End; QS, Cha. 13 – “and came so unseen to the East, and mounted the sky again, lest night be overlong”
Yes: Art of The Hobbit; fig. 100; p. 137; Trail dust-jacket; QS, Cha. 35 - “Then the sun rose, and the host of the Valar prevailed, and all the dragons were destroyed, save two alone; and they fled into the East”
No: Art of The Hobbit; fig. 101; p. 138; Final dust-jacket art; used in The Hobbit
Yes: Art of The Hobbit; fig. 102; p. 140; Sketch of a Hobbit; Concerning Hobbits – “About this time also the Periannath, of whom there are no earlier accounts among Elves or Men, are first mentioned in ancient tales. These were a strange small people, called by Men (of whose kindred they were maybe a branch) Halflings, but by themselves (later in the west of Eriador) Hobbits.”
No: Art of The Hobbit; fig. 103; p. 141; Bilbo Baggins at home and abroad; only cutouts of other pictures
No: Art of The Hobbit; fig. 104; p. 142; Sketch for Rivendell looking West; unusable
No: Art of The Hobbit; fig. 105; p. 142; intermediate sketch for Bilbo comes to the Huts of the Raft-Elves; unusable
No: Art of The Hobbit; fig. 106; p. 144; Design for the binding frieze; later version used in The Hobbit

Respectfully
Findegil

[Findegil]

The Art of The Lord of the Rings:
Yes: Art of LotR; fig. 1; p. 6; The Ring Verse; Of the Rings of Power – “secretly Sauron made One Ring to rule all the others, and their power was bound up with it, to be subject wholly to it and to last only so long as it too should last”
Yes: Art of LotR; Frontispiece; p. 16; Cutout of fig. 170, p. 214 Dust-jacket design for The Fellowship of the Ring; The End of the Third Age - “Now all these things were achieved for the most part by the counsel and vigilance of Mithrandir, and in the last few days he was revealed as a lord of great reverence, and clad in white he rode into battle; but not until the time came for him to depart was it known that he had long guarded the Red Ring of Fire.”
No: Art of LotR; fig. 2; p. 18; The Hill: Hobbiton-across-the Water; see Art of the Hobbit; fig. 11; p. 33
No: Art of LotR; fig. 3; p. 21; Ring inscription within first manuscript; later Version used in LotR
No: Art of LotR; fig. 4; p. 21; Ring inscription within typoscript; later Version used in LotR
No: Art of LotR; fig. 5; p. 22; Ring inscription within later typoscript of Book II, Chapter 2; later Version used in LotR
No: Art of LotR; fig. 6; p. 22; Ring inscription within later typoscript with overlaid correction; later Version used in LotR
No: Art of LotR; fig. 7; p. 23; Drafts of the Ring inscription; later Version used in LotR
No: Art of LotR; fig. 8; p. 24; Ring inscription, first art for the printer; later Version used in LotR
No: Art of LotR; fig. 9; p. 24; Ring inscription, revised art for the printer; later Version used in LotR
No: Art of LotR; fig. 10; p. 25; Ring inscription as publiched; used in LotR
Yes: Art of LotR; fig. 11; p. 26; Earliest map of the Shire; The Ring set Out - “Frodo and his hobbit-servant Sam and two younger kinsmen went off alone into the wild - in the nick of time, just as the Black Riders of Mordor (the Nine Ring-slaves in disguise) reached the Shire.”
No: Art of LotR; fig. 12; p. 30; Map of part of the Shire; a bit to sketchy to be usefull
Yes: Art of LotR; fig. 13; p. 31; Map of the Westmarch; The End the Third Age - “In the following year the Westmarch, from the Far Downs to the Tower Hills (Emyn Beraid), was added to the Shire by the gift of the King.”
No: Art of LotR; fig. 14; p. 32; Map of the Shire; a bit to sketchy to be usefull
No: Art of LotR; fig. 15; p. 33; Map of the Shire; a bit to sketchy to be usefull
No: Art of LotR; fig. 16; p. 34; The Barrow-downs (detail from fig. 15); a bit to sketchy to be usefull
Yes: Art of LotR; fig. 17; p. 35; Map of the Shire; Of the Ordering of the Shire - “Forty leagues the land of the Hobbits stretched from the Far Downs to the Brandywine Bridge, and fifty from the northern moors to the marshes in the south. The Hobbits named it the Shire”
Yes: Art of LotR; fig. 18; p. 36; Map of the Shire; The Quest of Erebor – “He did not know all that went on: the care, for instance, that Gandalf took so that the coming of a large party of Dwarves to Bywater, off the main road and their usual beat, should not come to his ears too soon.”
No: Art of LotR; fig. 19; p. 37; A Part of the Shire, as drwn by Christoper Tolkien for the first edition; used in LotR
No: Art of LotR; fig. 20; p. 39; Map of the Brandywine and Withywindle; a bit to sketchy to be usefull
Yes: Art of LotR; fig. 21; p. 41; Buckland Ferry; The Ring Set Out - “Frodo crossed by ferry just before Khamûl arrived.”
Yes: Art of LotR; fig. 22; p. 41; Brandy Hall; Concerning Hobbits - “Sometimes, as in the case of the Tooks of Great Smials, or the Brandybucks of Brandy Hall, many generations of relatives lived in (comparative) peace together in one ancestral and many-tunnelled mansion.”
Yes: Art of LotR; fig. 23; p. 42; Old Man Willow; The Ring Set Out - “By good fortune they did not discover the Hay-gate or become aware that the Ring had departed.[Footnote to the text: Hay-gate is the gate through the High Hay into the Old Forest.]”
No: Art of LotR; fig. 24; p. 45; Earliest sketch of Bree; better use later version
Yes: Art of LotR; fig. 25; p. 45; Plan of Bree; The Ring Set Out – “On the thirtieth of September knowing then that the Ring had escaped East they left the Greenway and took the East Road; soon after midnight they rode through Bree like a storm, casting down the gates.”
No: Art of LotR; fig. 26; p. 46; Gandalf’s letter to Frodo, earliest typescript; later Version used in LotR
No: Art of LotR; fig. 27; p. 46; Gandalf’s letter to Frodo, later typescript; later Version used in LotR
Yes: Art of LotR; fig. 28; p. 49; The East Road, east of Bree; The Ring Set Out - “Over all the 400 miles to Elrond the hobbits were pursued by the terror”
No: Art of LotR; fig. 29; p. 49; The East Road, east of Bree; better use fig. 28 as it has more info on it
Yes: Art of LotR; fig. 30; p. 50; Maps of roads and rivers between Weathertop and the Ford of Bruinen; The Ring Set Out - “The Nazgûl searched in vain for the Bearer while Aragorn led Frodo in the pathless lands south of the Road.”
Yes: Art of LotR; fig. 31; p. 53; Map of the East Road and river crossing near Rivendell; The Ring Set Out - “On October the fourth, Gandalf repulsed the Nazgûl and escaped northwards at Sun-rise, and followed the Hoarwell up towards the mountains.”
Yes: Art of LotR; fig. 32; p. 54; Map of the route taken by the Black Riders; - “The other two went through the central Shire, until they reached the East Road, probably near the Three-Farthing Stone. (These were probably Khamûl and one of his companions, from Dol Guldur; and Khamûl was the most ready of all (save the Witch-King) to perceive the presence of the Ring, but also the one whose power was most confused and diminished by sunlight). Drawn by the Ring Khamûl went to Hobbiton which he reached at evening on Friday September the twenty-third.”
Yes: Art of LotR; fig. 33; p. 56; Rivendell (detail from fig. 142); The North Kingdom and the Dúnedain - “Arahael his son was fostered in Rivendell, and so were all the sons of the chieftains after him; and there also were kept the heirlooms of their house: the ring of Barahir, the shards of Narsil, the star of Elendil, and the sceptre of Annúminas.”
No: Art of LotR; fig. 34; p. 57; Rivendell; see Art of the Hobbit; fig. 23; p. 47
No: Art of LotR; fig. 35; p. 58; Map of the Misty Mountains and lands to the south and east; unusable due to many later changes in concept
Yes: Art of LotR; fig. 36; p. 60; Countur Map of the Misty Mountains around Mirromere; The Sindarin Princes of the Silvan Elves - “It may be that Galadriel chose it because she knew of the Dwarves of Khazad-dûm (Moria).”
Yes: Art of LotR; fig. 37; p. 61; The Misty Mountains near Mirrormere; Of Aulë and the Dwarves - “of whom Dúrin was the most renowned in after ages, father of that kindred most friendly to the Elves, whose mansions were at Khazad-dûm.”
No: Art of LotR; fig. 38; p. 63; Moria West Gate; better use later Version
Yes: Art of LotR; fig. 39; p. 64; Moria Gate; The Shadow Grows - “they were led by Gandalf through the hidden gate and entered into the vast Mines of Moria, seeking a way underneath the mountains.”
No: Art of LotR; fig. 40; p. 66; Inscription on the West Gate, first manuscript; later Version used in LotR
No: Art of LotR; fig. 41; p. 67; Doors of Durin, later manuscript; later Version used in LotR
No: Art of LotR; fig. 42; p. 67; Doors of Durin, later manuscript; later Version used in LotR
No: Art of LotR; fig. 43; p. 67; Doors of Durin, revised drawing; later Version used in LotR
No: Art of LotR; fig. 44; p. 67; Doors of Durin, art for the printer; later Version used in LotR
No: Art of LotR; fig. 45; p. 69; Trials for Doors of Durin decorations; Inscription on Balin’s tomb, final art, first version; later Version used in LotR
No: Art of LotR; fig. 46; p. 70; Doors of Durin, final art for the printing; used in LotR
No: Art of LotR; fig. 47; p. 71; Upper inscription for the Doors of Durin; used in LotR
No: Art of LotR; fig. 48; p. 72; Inscription on Balin’s tomb, first manuscript; later Version used in LotR
No: Art of LotR; fig. 49; p. 73; Inscription on Balin’s tomb, later manuscript; later Version used in LotR
No: Art of LotR; fig. 50; p. 74; Inscription on Balin’s tomb, earlier typescript; later Version used in LotR
No: Art of LotR; fig. 51; p. 75; Inscription on Balin’s tomb, later typescript; later Version used in LotR
No: Art of LotR; fig. 52; p. 76; Inscription on Balin’s tomb, final art second version; later Version used in LotR
No: Art of LotR; fig. 53; p. 76; Inscription on Balin’s tomb, final art third version; later Version used in LotR
No: Art of LotR; fig. 54; p. 76; Inscription on Balin’s tomb, final art for printing; used in LotR
No: Art of LotR; fig. 55; p. 78; Page of Balin’s Book (the’ Book of Mazarbul’, first page, first version); later Version used in LotR
No: Art of LotR; fig. 56; p. 79; One Page of the Book of Moria (the’ Book of Mazarbul’, first page, second version); later Version used in LotR
No: Art of LotR; fig. 57; p. 80; A Page of the Book of Mazarbul, first page, third version); later Version used in LotR
No: Art of LotR; fig. 58; p. 82; The Book of Mazarbul, first page, fourth version; later Version used in LotR
No: Art of LotR; fig. 59; p. 83; Another Page of The Book of Mazarbul (second page, first version); later Version used in LotR
No: Art of LotR; fig. 60; p. 84; Last Page of The Book of Mazarbul (third page, first version); later Version used in LotR
No: Art of LotR; fig. 61; p. 85; The Book of Mazarbul, first page, final art; used in LotR 50th Anniversery Edition
No: Art of LotR; fig. 62; p. 86; The Book of Mazarbul, second page, final art; used in LotR 50th Anniversery Edition
No: Art of LotR; fig. 63; p. 87; The Book of Mazarbul, third page, final art; used in LotR 50th Anniversery Edition
Yes: Art of LotR; fig. 64; p. 88; The Forest of Lothlorien in Spring; Concerning Galadriel and Celeborn - “Galadriel, assisted in this by her friendship with the Dwarves of Moria, had come into contact with the Nandorin realm of Lórinand on the other side of the Misty Mountains.”
No: Art of LotR; fig. 65; p. 90; Sketch of Caras Galadhon; to sketchy to be used.
Maybe: Art of LotR; fig. 66; p. 91; Rune on Sam’s box; I don’t see how we could use that.
No: Art of LotR; fig. 67; p. 92; Amon Lhaw, Tol Brandir, and Amon Hen; to sketchy to be used.
Yes: Art of LotR; fig. 68; p. 93; Raurs Falls & Tindrock; The Shadow Grows - “death of Boromir, and his funeral in a boat committed to the Falls of Rauros”
Yes: Art of LotR; fig. 69; p. 94; Map of the river Anduin; Of the Rings of Power - “The Silvan Elves were RP-SL-45.5{Middle Elves according to the Númenórean classification, though unknown to the Atani until later days: for they were} like the Sindar Teleri, but were laggards in the hindmost companies who had never crossed the Misty Mountains and established small realms on either side of the Vales of Anduin.”
Yes: Art of LotR; fig. 70; p. 96; The ‘First Map’ of Middel-earth; a redrawing is to be used as foldout endpaper to volume II
Yes: Art of LotR; fig. 71; p. 97; Additions to the ‘First Map’; see Art of LotR; fig. 70; p. 95;
Yes: Art of LotR; fig. 72; p. 98; Parth Galen, Tol Brandir, and Amon Lhaw; The Treason of Isengard - “Among the deeds of all the company after the breaking of the Fellowship of the Ring were the repentance and death of Boromir, and his funeral in a boat committed to the Falls of Rauros”
No: Art of LotR; fig. 73; p. 99; Thrihyne; better use later Version see Art of LotR; fig. 74; p. 101
Yes: Art of LotR; fig. 74; p. 101; see Pictures; no. 26 for a clean and greater reproduction; Helm’s Deep & the Hornburg; The House of Eorl - “Helm was driven back with great loss from the Crossings of Isen and took refuge in the Hornburg and the ravine behind (which was after known as Helm's Deep).”
No: Art of LotR; fig. 75; p. 102; Thrihyrne and the Hornburg; to sketchy to be used
Yes: Art of LotR; fig. 76; p. 103; Helm’s Deep and surrounding lands; The House of Eorl - “The Gap was watched by the fortresses of Aglarond (the Hornburg) and Angrenost (Isengard), and the Fords of Isen, the only easy entrance to Gondor, were ever guarded against any incursion from the ‘Wild Lands.’”
Yes: Art of LotR; fig. 77; p. 106; Orthanc (1); a cutout of the tower could be used as representing the main tower of the tower hills => Concerning Hobbits - “Elf-towers of immemorial age were still to be seen on the Tower Hills beyond the western marches. They shone far off in the moonlight. The tallest was furthest away, standing alone upon a green mound”
No: Art of LotR; fig. 78; p. 107; Orthanc (2), 3, (4); unusable since the tower was later changed
No: Art of LotR; fig. 79; p. 109; Isengard [and] Nan Curunir; unusable since the tower was later changed
Yes: Art of LotR; fig. 80; p. 110; Orthanc; see Pictures; no. 27 for a biger represetation; - “They meddled little with the ‘Lord of Isengard’ and his secret folk, whom they believed to be dealers in dark magic. And to Isengard the emissaries from Minas Tirith came ever more seldom, until they ceased; it seemed that amidst their cares the Stewards had forgotten the Tower, though they held the keys.”
Yes: Art of LotR; fig. 81; p. 112; Orthanc’s Roof; the four fold fangs => The Hunt for the Ring - “Then Saruman hastened to the summit of Orthanc – and found Gandalf gone. Away south against the setting moon he saw a great Eagle flying towards Edoras.”
Yes: Art of LotR; fig. 82; p. 113; Isengard & Orthanc (Orthanc (5)); Dúrin’s Folk - “Soon after he took up his abode in Isengard. For this, Beren, Steward of Gondor, gave him leave, for Gondor still claimed Isengard as a fortress of its realm, and not part of Rohan. Beren also gave into Saruman's keeping the keys of Orthanc.”
No: Art of LotR; fig. 83; p. 115; The pass of Kirth Ungol (detail from fig. 70); usefull only for the redrawing of fig. 70
Yes: Art of LotR; fig. 84; p. 116; Minas Morgul gate; The Stewards - “he rode with a small escort of knights to the gate of Minas Morgul.”
No: Art of LotR; fig. 85; p. 116; Diagrammatic sketch of the Sentinels; unusable due to its diagrammatic style
No: Art of LotR; fig. 86; p. 118; Early idea for Kirith Ungol; unusable since the concept was later changed
No: Art of LotR; fig. 87; p. 118; Early idea for Kirith Ungol; unusable since the concept was later changed
No: Art of LotR; fig. 88; p. 119; Early idea for Kirith Ungol; unusable since the concept was later changed
No: Art of LotR; fig. 89; p. 120; Early idea for Kirith Ungol; unusable since the concept was later changed
No: Art of LotR; fig. 90; p. 122; Sketch of Morgul Vale; unusable due to it sketchy charachter
Yes: Art of LotR; fig. 91; p. 123; Minas Murghul and the Cross-roads; The End of tht Thrid Age - “Until much had been done by the restored King, the Prince of Ithilien was the resident march-warden of Gondor, in its main eastward outpost – and also had many duties in rehabilitating the lost territory, and clearing it of outlaws and orc-remnants, not to speak of the dreadful vale of Minas Ithil (Morgul).”
No: Art of LotR; fig. 92; p. 124; Sketch of the cleft in the mountains; unusable due to it sketchy charachter
Yes: Art of LotR; fig. 93; p. 125; Shelob’s Lair; see Pictures; no. 28 for a bigger representation; The War of the Ring - “There Gollum fell back into evil, and attempted to betray them to the monstrous guardian of the pass, Shelob. He was frustrated by the heroism of Samwise, who beat off the attack, and wounded Shelob.”
No: Art of LotR; fig. 94; p. 126; Plan of Shelob’s Lair; this is an earlier version
No: Art of LotR; fig. 95; p. 129; Kirith Ungol from second stair, first version; use rather later version
No: Art of LotR; fig. 96; p. 129; Kirith Ungol from second stair, second version; fig. 93 is the better picture
Maybe: Art of LotR; fig. 97; p. 130; Simplified plan of Shelob’s lair; I don’t think this is worth being given in our text
Yes: Art of LotR; fig. 98; p. 130; The Cleft of Kirith Ungol, first version; The War of the Ring - “Then came the choices of Samwise. Frodo, stung by Shelob, lay dead, as it seemed: the quest would end in disaster, or Samwise would need to abandon his master.”
No: Art of LotR; fig. 99; p. 132; The Cleft of Kirith Ungol, second version; better use fig. 98
No: Art of LotR; fig. 100; p. 133; Top of the Tower of Kirith Ungol; very sketchy
No: Art of LotR; fig. 101; p. 133; Skecth of Kirith Ungol; unusable due to it sketchy charachter
Yes: Art of LotR; fig. 102; p. 134; Frodo and Sam’s journey (detail from fig. 161); The War of the Ring - placed before “He rescued his master, and he guided and aided him through the horrors and deadly perils of Mordor, until at the very edge of death (by hunger, thirst and fear and the growing burden of the Ring), they reached the Mountain of Doom and the high chamber of the Fire”, combined with fig. 144
No: Art of LotR; fig. 103; p. 135; Track of Frodo and Sam (detail from fig. 104); unusable due to the changed geography of Udûn
No: Art of LotR; fig. 104; p. 136; The ‘Second Map’ of Middle-earth; usefull only for the redrawing of fig. 70
No: Art of LotR; fig. 105; p. 141; Earliest sketch of Minas Tirith; unusable due to later change of the concept of the hill
No: Art of LotR; fig. 106; p. 142; Stanburg/Steinburg; see Pictures; no. 27 for a bigger representation; unusable due to the later change of the concept of the city
No: Art of LotR; fig. 107; p. 143; Sketch of Minas Tirith; unusable due to it sketchy charachter
Yes: Art of LotR; fig. 108; p. 144; Minas Tirirth and Mindolluin; cutout of the upper right; The War of the Ring - “In the courts of Minas Anor the White Tree flowered again, for a seedling was found by Mithrandir in the snows of Mindolluin that rose tall and white above the City of Gondor”
No: Art of LotR; fig. 109; p. 147; Mindolluin; unusable due to later change of the concept of the hill
No: Art of LotR; fig. 110; p. 147; Plan of Minas Tirth; unusable due to later change of the concept of the hill
Yes: Art of LotR; fig. 111; p. 148; Later plan of Minas Tirith; The Return of the Shadow - “It was Ostoher the seventh king who rebuilt Minas Anor, where afterwards the kings dwelt in summer rather than in Osgiliath.”
Yes: Art of LotR; fig. 112; p. 148; Later view of Minas Tirith combined with fig. 176 cutout of Minas Trirth; The Stewards - “But Minas Anor, which had become the chief city of the realm since the days of King Telemnar, and the residence of the kings, endured, and it was named anew Minas Tirith, the Tower of Guard; for there the kings caused to be built in the citadel a white tower, very tall and fair, and its eye was upon many lands.”
No: Art of LotR; fig. 113; p. 148; Later view of Minas Tirith; better use fig. 112
No: Art of LotR; fig. 114; p. 149; Early sketch of Dunharrow; unusable due to it sketchy charachter
No: Art of LotR; fig. 115; p. 150; Early sketches of Dunharrow; unusable due to it sketchy charachter
No: Art of LotR; fig. 116; p. 1; Early idea of Dunharrow; unusable due to later change of the concept
No: Art of LotR; fig. 117; p. 154; Three sketches of Dunharrow; unusable due to later change of the concept
No: Art of LotR; fig. 118; p. 155; Detail from fig. 117; unusable due to later change of the concept
No: Art of LotR; fig. 119; p. 155; Detail from fig. 117; unusable due to later change of the concept
No: Art of LotR; fig. 120; p. 156; Sketch of Dunharrow; unusable due to later change of the concept
Yes: Art of LotR; fig. 121; p. 156; Detail of fig. 120; The Druedain – “In their former homes, according to their own tales, they had used caves in the mountains, but mainly as store-houses only occupied as dwellings and sleeping-places in severe weather. They had similar refuges in Beleriand to which all but the most hardy retreated in times of storm and bitter weather; but these places were guarded and not even their closest friends among the Folk of Haleth were welcomed there.”
No: Art of LotR; fig. 122; p. 157; Sketch of Dunharrow; unusable due to later change of the concept
No: Art of LotR; fig. 123; p. 158; Sketch of Dunharrow; unusable due to later change of the concept
Yes: Art of LotR; fig. 124; p. 159; Dunharrow; The House of Eorl - “At the feast his son Baldor vowed that he would tread 'the Paths of the Dead' and did not return.”
Yes: Art of LotR; fig. 125; p. 161; Plan of Harrowdale; The House of Eorl - “Harrowdale and other mountain-valleys were settled.”
No: Art of LotR; fig. 126; p. 162; The White Mountains; unusable due to it sketchy charachter
Yes: Art of LotR; fig. 127; p. 163; Sketch of Starkhorn; Cirion and Eorl - “in the south its bounds were the Ered Nimrais as far as the end of their northward arm, but all those vales and inlets that opened northwards were to belong to the Éothéod”
No: Art of LotR; fig. 128; p. 164; Three later sketches of Dunharrow; unusable due to it sketchy charachter
No: Art of LotR; fig. 129; p. 165; Entrance of the path of the Death; unusable due to it sketchy charachter
Yes: Art of LotR; fig. 130; p. 167; Map of the White Mountians and the Stone of Erech; - “at the Hill of Erech. For upon the top of this hill stood a black stone, round as a great globe, the height of a man, though its half was buried in the ground. Unearthly it looked, as though it had fallen from the sky, as some believed; but those who remembered still the lore of Westernesse told that it had been brought out of the ruin of Númenor and there set by Isildur at his landing. It was set up to mark the the meeting place of Isildur and Anárion with the last king of the dark men of the Mountains, who swore allegiance to the sons of Elendil, vowing to aid them and their kin for ever, ‘even though Death should take us.’”
No: Art of LotR; fig. 131; p. 168; Map of Rohan and Gondor, correction with flap; better use fig. 161
No: Art of LotR; fig. 132; p. 168; Map of Rohan and Gondor, original art (flap raised); better use fig. 161
No: Art of LotR; fig. 133; p. 170; Map of Rohan and Gondor; better use fig. 161
No: Art of LotR; fig. 134; p. 171; Sketch-map of Stonewain Valley; to sketchy to be used
No: Art of LotR; fig. 135; p. 172; Map of Stonewain Valley and Minas Tirith; better use fig. 136
Yes: Art of LotR; fig. 136; p. 173; Map of Stonewain Valley and Minas Tirith; The War of the Ring - “They came at last to the half-ruinous City of Minas Tirith, and met its grim lord, the old proud wizard-like Steward, Denethor. He prepared for war and hopeless siege. The last levies from the remaining fiefs marched in. The great darkness came. The Nazgûl rode the air, cowing all hearts. Slowly the assault began and mounted in fire and terror. Denethor committed suicide. The Sorcerer-King, Captain of the Black Riders, overthrew the 'unbreakable' gates of the City. Gandalf alone was left to face him. The siege was raised at the last moment by the coming at last of the Riders of Rohan, led by their ancient king Théoden. He is called Théoden Ednew in the lore of Rohan, for he fell into a decline under the spells of Saruman, but was healed by Gandalf, and in the last year of his life arose and led his men to victory at the Hornburg, and soon after to the Fields of Pelennor, the greatest battle of the Age. The charge of their horsemen saved the field. Then the great battle of the Pelennor Fields was joined.”
Yes: Art of LotR; fig. 137; p. 174; The White Mountians, Minas Tirith, and Osgiliath; Sauron Defeated - “Minas Ithil, the Tower of the Rising Moon, eastward upon a shoulder of the Mountains of Shadow as a threat to Mordor; and to the westward Minas Anor, the Tower of the Setting Sun, at the feet of Mount Mindolluin, as a shield against the wild men of the dales.”
No: Art of LotR; fig. 138; p. 175; Sketch plan of the Pelennor; unusable due to it sketchy charachter
Yes: Art of LotR; fig. 139; p. 176; The Tower of Kirith Ungol; The Tradition of Isildur - “The Númenóreans indeed set a guard upon the land of Mordor, but none dared dwell there because of the terror of the memory of Sauron, and because of the Mountain of Fire that stood nigh to Barad-dûr; and the valley of Gorgoroth was filled with ash.”
No: Art of LotR; fig. 140; p. 178; Sketch-plan of the roof, third tier of the Tower of Kirith Ungol; unusable due to it sketchy charachter
No: Art of LotR; fig. 141; p. 179; Detail from the ‘Second Map’; usefull only for the redrawing of fig. 70
Maybe: Art of LotR; fig. 142; p. 180; Three aerial views of Mountians:
upper left: The only formation of Mountains that I can find on a Map that looks like this is the Westward thrust of the Ered Lindon north of Forlindon (compare fig. 70, 157 & 159). But in the Maps the rivers are missing. If that is the right identification, the the place for it could be: QS, Cha. 18 - “For Mount Rerir, and about it many lesser heights, stood out from the main range of Ered Lindon westward; and in the angle between Rerir and Ered Lindon there was a lake, shadowed by mountains on all sides save the south. This was Lake Helevorn, deep and dark, and beside it Caranthir had his abode;”;
Yes: Rivendell: see fig. 33;
No: Mordor: It is sad, but I think it is unusable due to the later change of Udûn
Yes: Art of LotR; fig. 143; p. 181; Aerial view of part of Mordor; Concerning Galadriel and Celeborn - “Sauron therefore left Eriador alone for a while, and he chose the land of Mordor, as it was afterwards called, for a stronghold as a counter to the threat of the Númenórean landings.”
Yes: Art of LotR; fig. 144; p. 183; Detail from Map of Rohan, Gondor, and Mordor (fig. 161); The War of the Ring - placed before “He rescued his master, and he guided and aided him through the horrors and deadly perils of Mordor, until at the very edge of death (by hunger, thirst and fear and the growing burden of the Ring), they reached the Mountain of Doom and the high chamber of the Fire”, combined with fig. 102
No: Art of LotR; fig. 145; p. 184; Distances and dates in Mordor; unusable
No: Art of LotR; fig. 146; p. 185; Meeting of the roads in Udûn; unusable due to it sketchy charachter
Yes: Art of LotR; fig. 147; p. 187; Barad-dûr; The Fall of Númenor - “he had fortified the land of Mordor and had built there the Tower of Barad-dûr”
No: Art of LotR; fig. 148; p. 188; Sketch of Mount Doom; unusable due to its sketchy charachter
No: Art of LotR; fig. 149; p. 190; Sketch of Mount Doom; unusable due to it sketchy charachter
Yes: In Part: Art of LotR; fig. 150; p. 191; Two sketches of Mount Doom; use later sketch 1 see Pictures no. 30 for a biger but black and white representation; Saron Defeated - “and there was a fiery mountain in that land that the Elves named Orodruin. Indeed for that reason Sauron had set there his dwelling long before, for he used the fire that welled there from the heart of the earth in his sorceries and in his forging; and in the midst of the Land of Mordor he had fashioned the Ruling Ring.”
No: Art of LotR; fig. 151; p. 192; Three sketches of the crown of Gondor; better use later sketch
No: Art of LotR; fig. 152; p. 193; Two sketches of the crown of Gondor; better use later sketch
Yes: Art of LotR; fig. 153; p. 195; Two later sketches of the crown of Gondor; Gondor and the Heirs of Anárion - “in 1240 Narmacil, wishing to be relieved of cares of state, gave him the new office and title of Carma-cundo 'Helm-guardian', that is in terms of Gondor Crown-lieutenant or Regent.”
Yes: Art of LotR; fig. 154; p. 196; Sketch-plan of the Citadel of Minas Tirith; The War of the Ring - “for the city of Minas Tirith was encircled by the armies of Mordor and was perishing in flame.”
Yes: Art of LotR; fig. 155; p. 198; Plan and view of Farmer Cotton’s house; Concerning Hobbits - “The habit of building farmhouses and barns was said to have begun among the inhabitants of the Marish down by the Brandywine.”
No: Art of LotR; fig. 156; p. 198; View of Farmer Cotton’s house; rather use fig. 155
Yes: Art of LotR; fig. 157; p. 200; Map of the northern part of Middle-earth; I think we should combine this Map with fig. 201, but I am open for suggestions where to put it.
Yes: Art of LotR; fig. 158; p. 201; Map of the southern part of Middle-earth; I think we should combine this Map with fig. 200, but I am open for suggestions where to put it.
Yes: Art of LotR; fig. 159; p. 202; Map of the northern part of Middle-earth; The Quest of Erebor - “But on a time it chanced that he was passing through Eriador (going to the Shire, which he had not seen for some years) when he fell in with Thorin Oakenshield, and they talked together on the road, and rested for the night at Bree.”
No: Art of LotR; fig. 160; p. 204; Map of Middle-earth by Christopher Tolkien, corrected proof; used in LotR
Yes: Art of LotR; fig. 159; p. 202; Map of Rohan, Gondor, and Mordor; I think we should remove the tracks of Sam and Frodo and I am not jet sure where to put that map.
No: Art of LotR; fig. 162; p. 207; Early title-page design; unusable
No: Art of LotR; fig. 163; p. 207; Early title-page design; unusable
No: Art of LotR; fig. 164; p. 208; Title-page inscription in Cirith; unusable
No: Art of LotR; fig. 165; p. 208; Title-page inscription in Tengwar; unusable
No: Art of LotR; fig. 166; p. 210; First dust-jacket design for The Fellowship of the Ring; better use later version
No: Art of LotR; fig. 167; p. 211; Dust-jacket design for The Fellowship of the Ring; better use later version
No: Art of LotR; fig. 168; p. 212; Partial trial for dust-jacket design; unusable
No: Art of LotR; fig. 169; p. 212; Trial lettering and motifs for dust-jacket design; unusable
In part: Art of LotR; fig. 170; p. 214; Dust-jacket design for The Fellowship of the Ring:
Cutout of Narya, Neny and Vilya; Of the Rings of Power - “Now these were the Three that had last been made, and they possessed the greatest powers. Narya, Nenya, and Vilya, they were named, the Rings of Fire, and of Water, and of Air, set with ruby and adamant and sapphire;”
Cutout of the One Ring and the Fire-letters; Sauron Defeated – “But Sauron also was thrown down, and with the hilt-shard of Narsil Isildur cut the Ruling Ring from the hand of Sauron and took it for his own.”
Cutout of the Eye; The Fall of Númenor – “There he took up again his great Ring in Barad-dûr, and dwelt there, dark and silent, until he wrought himself a new guise, an image of malice and hatred made visible; and the Eye of Sauron the Terrible few could endure.”
No: Art of LotR; fig. 171; p. 215; Dust-jacket design for The Fellowship of the Ring; unusable due to the dark backgroound
No: Art of LotR; fig. 172; p. 216; Dust-jacket design for The Fellowship of the Ring; unusable due to the dark backgroound
No: Art of LotR; fig. 173; p. 218; Trial for the Ring inscription; unusable
No: Art of LotR; fig. 174; p. 218; Trial for the eye of Sauron; to sketchy
No: Art of LotR; fig. 175; p. 219; Published dust-jacket; used in LotR
In part: Art of LotR; fig. 176; p. 220; Dust-jacket design for The Two Towers:
Cutout of Barad-dûr; The Quest of Erebor - “Therefore his flight was but a feint, and he soon returned, and ere the Wise could prevent him he re-entered his kingdom in Mordor and reared once again the dark towers of Barad-dûr.”
Cutout of Minas Tirith combined with fig. 112; The Stewards - “But Minas Anor, which had become the chief city of the realm since the days of King Telemnar, and the residence of the kings, endured, and it was named anew Minas Tirith, the Tower of Guard; for there the kings caused to be built in the citadel a white tower, very tall and fair, and its eye was upon many lands.”
No: Art of LotR; fig. 177; p. 220; Trials for dust-jacket design; to sketchy to be usefull
No: Art of LotR; fig. 178; p. 221; Dust-jacket design for The Two Towers; to sketchy to be usefull
In part: Art of LotR; fig. 179; p. 222; Dust-jacket design for The Two Towers; compare Artist: no. 180; p. 181 for a different reproduction of the coulur:
Cutout of Minas Ithil; The Stewards – “Minas Ithil became a place of fear, and was renamed Minas Morgul.”;
Cutout of the Orthanc; Cirion and Eorl – “In all these regions Gondor still retained under its own command only the fortress of Angrenost, within which was the third Tower of Gondor, the impregnable Orthanc where was held the fourth of the palantíri of the southern realm.”;
Cutout of the Nazgûl; The Battles of the Fords of Isen – “A Nazgûl came over the plains of Rohan, a Ringwraith mounted on a flying steed, presage of imminent war.”
Cutout of the White Hand; The Battles of the Fords of Isen - “He then took Isengard for his own and began to make it a place of guarded strength and fear, as though to rival the Barad-dûr. His friends and servants he drew then from all who hated Gondor and Rohan, whether Men or other creatures more evil.”
No: Art of LotR; fig. 180; p. 224; Trial lettering for dust-jacket desgin; unuasble
In part: Art of LotR; fig. 181; p. 226; Trial for dust-jacket design: Cutout of the Ship; Tal-Elmar - “They came in boats, but not such as some of our folk use that dwell nigh the great rivers or the lakes, for ferrying or fishing. Greater than great houses are the ships of the Go-hilleg, and they bear store of men and goods, and yet are wafted by the winds; for the Sea-men spread great cloths like wings to catch the airs, and bind them to tall poles like trees of the forest.”
Yes: Art of LotR; fig. 182; p. 227; The White Tree and Seven Stars; The Tradition of Isildur - “For Isildur took it and he returned at first to Minas Anor, and there planted the White Tree in memory of his brother Anárion.”
In part: Art of LotR; fig. 183; p. 228; The White Tree and stars, and trials for the Ring imscription: The White Tree; The War of the Ring - “In the courts of Minas Anor the White Tree flowered again, for a seedling was found by Mithrandir in the snows of Mindolluin that rose tall and white above the City of Gondor; and while it still grew there the Elder Days were not wholly forgotten in the hearts of the Kings.”
In part: Art of LotR; fig. 184; p. 230; Dust-jacket design for [i]The Return of the King[/b]:
cutout of the White tree; Aman and Mortal Men – “And a seedling they brought of Celeborn, the White Tree that grew in the midst of Eressëa; and that was in its turn a seedling of Galathilion the Tree of Túna, the image of Telperion that Yavanna gave to the Eldar in the Blessed Realm. And the tree grew and blossomed in the courts of the King in Armenelos; Nimloth it was named, and flowered in the evening, and the shadows of night it filled with its fragrance.”
cutout of the throne; Gondor and the Heirs of Anarion – “Tarondor, coming young to the throne, had the longest reign of all the Kings of Gondor”;
cutout of the Elessar on its chain; The Elessar – “In ages after there was again an Elessar, and of this two things are said, though which is true only those Wise could say who now are gone.”
Yes: Art of LotR; fig. 185; p. 231; The arm of Sauron, for [i]The Return of the King[/b] dust-jacket; The War of the Ring – “The vast figure of Sauron reared up, terrible but impotent, as it passed away on the wind, a shadow that shall never again take substance.”
No: Art of LotR; fig. 186; p. 233; The King’s Letter, first version; better use later version
No: Art of LotR; fig. 187; p. 234; The King’s Letter, second version; better use later version
Yes: Art of LotR; fig. 188; p. 235; The King’s Letter, third version; The End of the Thrid Age - “Sam went to a drawer, unlocked it, and took out a scroll, and slipped off its case. It was written in two columns with fair silver letters upon black. He unrolled it, and set a candle beside it on the desk, so that Elanor could see it.”
No: Art of LotR; fig. 189; p. 236; Tengwar and Cirth trials; unusable
No: Art of LotR; fig. 190; p. 237; The Tengwar; used in LotR
No: Art of LotR; fig. 191; p. 237; The Angerthas; used in LotR
Maybe: Art of LotR; fig. 192; p. 240; Unidentified contour sketch; I think this is a representation of the mountains around Minas Morgul. But how soever I think it is unusable.

Respectfully
Findegil

[Findegil]

JRR Tolkien – Artist and Ilustrator:
Yes: Artist; Frontispiece; The Hills of the Morning; Akallabeth – Númenorean sailors exploring the East
Yes: Artist; no. 2; p. 6; “knotgrass”; QS, Cha. 1 – “Then the seeds that Yavanna had sown began swiftly to sprout and to burgeon”
No: Artist; no. 3; p. 8; Spring 1940; unuasble due to the garden Fence in the background.
No: Artist; no. 4; p. 10; They slept in beauty side by side; unusabel due to modern motiv
No: Artist; no. 5; p. 11; NN (“tow boy on the beach”); unusabel due to modern motiv
No: Artist; no. 6; p. 12; NN (“ship at anchor”); unusabel due to modern motiv
No: Artist; no. 7; p. 13; NN (“Alder on a river”); unusable due to modern houses in the background
No: Artist; no. 8; p. 14; “Lemis Regis, Habour seen from window of the salon of the Cups-Hotel”; unusabel due to modern motiv
Maybe: Artist; no. 9; p. 15; Whitby; usabel, but where would be a seting for this?
Maybe: Artist; no. 10; p. 15; Ruins at West End of Whitby Abbey; usable, but where would be a seting for this?
Yes: Artist; no. 11; p. 16; Lambourn, Berks; Gondor and the Heirs of Anárion – “and they took all the land beyond to dwell in, between the river and the Far Downs”
Yes: Artist; no. 12; p. 17; ‘Quallington Carpenter’, Eastbury Berkshire; Concerning Hobbits – “Hobbits had long been accustomed to build sheds and workshops”
Maybe: Artist; no. 13; p. 18; Gargoyles, South Side, Lambourn; usable, but where would be a seting for this?
Maybe: Artist; no. 14; p. 19; Pagent House Gardens Warwick; usable, but where would be a seting for this?
No: Artist; no. 15; p. 20; Phonix Farm, Gedling; unusable, the house looks to modern
No: Artist; no. 16; p. 21; King’s Norton from Bilberry Hill; unusable due to the church tower in the back ground
Maybe: Artist; no. 17; p. 21; “Foxglove-Year”; usable, if we find a good place
No: Artist; no. 18; p. 22; “The Cottage, Brant Green”; unusable, due to the modern look of the house
No: Artist; no. 19; p. 23 Turl Street, Oxford; unusable due to the modern motiv
No: Artist; no. 20; p. 24; Caerthilian Cove & Lion Rock; unusable due to the very specific motive
Yes: Artist; no. 21; p. 25; Cove near the Lizard; FoG – “For among the tall and sea-hewn cliffs south of Drengist there were many coves and sheltered inlets”
No: Artist; no. 22; p. 26; Gipsy Green; unusable, the house looks to modern
No: Artist; no. 23; p. 27; High Life at Gipsy Green; unusable, due to the motives
No: Artist; no. 24; p. 28; NN “The Tolkien Family & Jennie Grove; unusable, due to the motives
No: Artist; no. 25; p. 29; “O, to be in Oxford (North), now, since it is summer there”; unusable, due to the motives
No: Artist; no. 26; p. 29; “View from Mr. Wallis’ Broad Street, Lyme”; unusable, due to the motives
Yes: Artist; no. 27; p. 30; Tumble Hill near Lyme Regis; QS, Cha. 5 – “and it touched the Lonely Isle, and its western shore grew green and fair”
No: Artist; no. 28; p. 31; New Lodge, Stonyhurst; unusable, the house looks to modern
Yes: Artist; no. 29; p. 32; “Summer in Kerry”; Aldarion and Erendis - “Therefore ere long she left Armenelos, and went to Emerië in the midst of the Isle, where ever, far and near, the bleating of sheep was borne upon the wind.”
No: Artist; no. 30; p. 34; Before; unusable, due to the motive
No: Artist; no. 31; p. 35; Afterwards; unusable, due to the motive
Yes: Artist; no. 32; p. 37; Wickedness; QS, Cha. 1 – “And some said that there was another hall, one yet wider and more dark than the first. Therein before Namo’s black chair burnt a brazier with a single flickering coal, and the roof was of bats' wings, and the pillars that upheld it and the walls about were made of basalt.”
No: Artist; no. 33; p. 38; Thought; unusable, due to the motive
No: Artist; no. 34; p. 39; Undertenishness; unusable, due to the motive
No: Artist; no. 35; p. 39; Grownupishness; unusable, due to the motive
No: Artist; no. 36; p. 40; “End of the World”; unusable, due to the motive
No: Artist; no. 37; p. 41; Xanadu; unusable, due to the motive
Maybe: Artist; no. 38; p. 42; NN (“House in the North”); usabel, but where would be a seting for this?
Maybe: Artist; no. 39; p. 42; Beyond; usable, but where would be a seting for this?
Yes: Artist no. 40; p. 43; Eeriness; The Istari – “Rhosgobel, the old home of Radagast, is said to have been in the forest between the Carrok and the Old Forest Road near the southern borders of Mirkwood.”
No: Artist; no. 41; p. 44; The Land of Pohja; unusable, due to the motive
Yes: Artist No. 42; p. 46; Water, Wind & Sand; FoG – “I sat on the ruined margin of the deep-voiced echoing sea / Whose endless roaring music crashed in foaming harmony”
Yes: Artist; no.43; p.47; Tanaqui; QS, Cha. 5 - “Here was the place that those fair Elves bethought them to dwell”
Yes: Artist; no. 44; p. 48; The Shores of Faery; QS, Cha. 34 – “He walked now in the deserted ways of Tirion” (because of the Sun and Moon in the Sky)
No: Artist; no. 45; p. 49; “The Man in the Moon”; unusable, it is an illustration for ‘The Man in the Moon came down to sson” but we do not include that in our text.
Yes: Artist; no. 46; p. 50; Mithrim; see Pictures; no. 32 for a bigger repräsentation; QS, Cha. 15 – “Therefore coming at length to Hithlum he made his first camp and dwelling by the north-shore of Lake Mithrim.”
Yes: Artist; no. 47; p. 51; Glórund sets forth to seek Túrin; see Pictures; no. 38 for a correted title; Narn, The coming of Glaurung – “that indeed Glaurung himself made them. For he had left Nargothrond, and was abroad again on some errand.”
Yes: Artist; no. 48; p. 52; Hringboga Heorte Gefysed; see Pictures; no. 40 for a bigger representation; Narn, Nirnaeth Arnoediad – “There came wolves, and wolfriders, and there came Balrogs, and there came worms and drakes,”
Yes: Artist; no. 49; p. 52; NN (Dragon with Warrior); see Art of the Hobbit; fig. 27; p. 52
No: Artist; no. 50; p. 54; Wudu Wyrtum Fæst; unusable, due to the motive
No: Artist; no. 51; p. 55; Wudu Wyrtum Fæst; unusable, due to the motive
Yes: Artist; no. 52; p. 56; Halls of Manwe (Taniquetil); QS, Cha. 5 – “For Alqualondë, the Haven of the Swans, was their chief town, and the harbour of their ships; and these were fashioned in the likeness of swans, white, and their beaks were of gold with eyes of gold and jet.”
Yes: Artist; no. 53; p.57; NN (Mountain Landscape); see Art of the Hobbit; fig. 36; p. 60
Yes: Artist; no. 54; p. 58; Taur-na-Fúin; see Art of the Hobbit; fig. 48; p. 76
Yes: Artist; no.55; p. 59; The Vale of Sirion (Tol Sirion); QS, Cha. 17 – “And Finrod held the pass of Sirion, and built a great watchtower, Minas Tirith, upon an isle in the midst of the river”
Yes: Artist; no. 56; p. 60; Nargothrond; see Art of the Hobbit; fig. 54; p. 85
Yes: Artist; no. 57; p. 60; NN (Nargothrond); see Art of The Hobbit; fig. 55; p. 85
Yes: Artist; no. 58; p. 61; Gondolin & the Vale of Tumladen from Cristhorn; QS, Cha. 18 – “Turgon appointed its name, and it was called Gondolin”
Yes: Artist; no. 59; p. 62; NN (“Three Frieze”); The Fall of Númenor - “and Númenor went down into the sea, with all its children and its wives and its maidens and its ladies proud; and all its gardens and its halls and its towers, its tombs and its riches, and its jewels and its webs and its things painted and carven, and its lore: they vanished for ever.”
Yes: Artist; no. 60; p. 63; The Wood at the World's End; see Art of The Hobbit; fig. 99; p. 136
Yes: Artist; no. 61; p. 63; “Moonlight on a Wood”; QS, Cha. 14 - “Isil was first wrought and made ready, and first rose into the region of the stars, and was the elder of the lights, as was Telperion of the Trees. Then for a while the world had moonlight, and many creatures stirred and woke that had waited long in the Sleep of Yavanna”
Yes: Artist; no. 62; p. 64; The Tree of Amalion; QS, Cha. 1 – “So fair were these abodes and so great the brilliance of the trees of Valinor”
No: Artist; from no. 63; p. 68 to no. 83; p. 88; unusable due to the fact that they are illustrations for other works of Tolkien now published in these.
Yes: Artist; no. 84; p. 90; Wilderland, “Sketch”; see Art of the Hobbit; fig. 88; p. 124
No: Artist; no. 85; p. 92; Thror’s Map, Copied by B. Baggins; see Art of the Hobbit; fig. 25; p. 51
No: Artist; no. 86; p. 93; Thror’s Map, “proof”; see Art of the Hobbit; fig. 29; p. 54
No: Artist; no. 87; p. 94; Wilderland, “final version”; see Art of The Hobbit; fig. 89; p. 125
No: Artist; no. 88; p. 96; Mirkwood; see Art of The Hobbit; fig. 47; p. 75
Yes: Artist; no. 89; p. 97; One morning early in the Quiet of the World; see Art of the Hobbit; fig. 1; p. 20
No: Artist; no. 90; p. 98; Bagend Underhill; see Art of the Hobbit; fig. 2; p. 22
No: Artist; no. 91; p. 99; Gandalf; see Art of the Hobbit; fig. 3; p. 23
No: Artist; no. 92; p. 100; The Hill, Hobbiton; see Art of the Hobbit; fig. 4; p. 25
No: Artist; no. 93; p. 102; NN (“Sketch for The Hill”); see Art of the Hobbit; fig. 5; p. 26
No: Artist; no. 94; p. 102; The Hill, Hobbiton; see Art of the Hobbit; fig. 6; p. 27
No: Artist; no. 95; p. 103; NN (“Sketch for The Hill”); see Art of the Hobbit; fig. 8; p. 29
No: Artist; no. 96; p. 103; NN (“Sketch for The Hill”); see Art of the Hobbit; fig. 9; p. 30
No: Artist; no. 97; p. 105; The Hill: Hobbiton across the Water; see Art of the Hobbit; fig. 10; p. 32
No: Artist; no. 98; p. 106; The Hill: Hobbiton-across-the Water; see Art of the Hobbit; fig. 11; p. 33
Yes: Artist; no. 99; p. 108; Troll’s Hill; see Art of the Hobbit; fig. 13; p. 36
Yes: Artist; no. 100; p. 109; The Three Trolls are turned to Stone; see Art of the Hobbit; fig. 15; p. 39
No: Artist; no. 101; p. 110; Jennie Harbour: “Hensel comforts his sister Gretel”; not original Tolkien
No: Artist; no. 102; p. 111; The Trolls; see Art of the Hobbit; fig. 16; p. 40
Yes: Artist; no. 103; p. 112; NN (“Sketch of marsching dwarves and Smaug”); see Art of the Hobbit; fig. 73; p. 107
Yes: Artist; no. 104; p. 113; Riding down into Rivendell; see Art of the Hobbit; fig. 17; p. 42
Maybe: Artist; no. 105; p. 114; Rivendell looking West; see Art of the Hobbit; fig. 20; p. 44
Yes: Artist; no. 106; p. 115; Rivendel looking East; see Art of the Hobbit; fig. 21; p. 45
No: Artist; no. 107; p. 116; Rivendell; see Art of the Hobbit; fig. 22; p. 47
No: Artist; no. 108; p. 117; Rivendell; see Art of the Hobbit; fig. 23; p. 48
No: Artist; no. 109; p. 118; The Mountain-path; see Art of the Hobbit; fig. 34; p. 58
No: Artist; no. 110; p. 119; The Misty Mountains looking west from the Eyrie towards Goblin Gate; see Art of the Hobbit; fig. 37; p. 61
No: Artist; no. 111; p. 119; The Misty Mountains looking west from the Eyrie towards Goblin Gate; see Art of the Hobbit; fig. 38; p. 62
No: Artist; no. 112; p. 120; Alexander Thorburn: Golden Eagle (squab); not original Tolkien
No: Artist; no. 113; p. 121; Bilbo Woke Up with the Early Sun in His Eyes; see Art of the Hobbit; fig. 39; p. 63
No: Artist; no. 114; p. 122; E.V. Gordon: NN (“Inside of an old-norse Hall”); not original Tolkien
Yes: Artist; no. 115; p. 122; Firelight in Beorn’s House; see Art of the Hobbit; fig. 41; p. 67
No: Artist; no. 116; p. 123; Beorn’s Hall; see Art of the Hobbit; fig. 44; p. 70
No: Artist; no. 117; p. 124; NN (Entrance to the Elvenking’s Halls); see Art of The Hobbit; fig. 49; p. 78
No: Artist; no. 118; p. 125; Entrance to the Elvenking’s Halls; see Art of The Hobbit; fig. 51; p. 80
Yes: Artist; no. 119; p. 125; NN (Entrance to the Elvenking's Halls); see Art of The Hobbit; fig. 52; p. 81
No: Artist; no. 120; p. 127; Gate of the Elvenking’s Halls; see Art of The Hobbit; fig. 53; p. 82
No: Artist; no. 121; p. 128; The Elvenking’s Gate; see Art of The Hobbit; fig. 58; p. 88
No: Artist; no. 122; p. 129; Sketch for The Forest River; see Art of The Hobbit; fig. 61; p. 92
Yes: Artist; no. 123; p. 130; NN (Sketch for Bilbo comes to the Huts of the Raftelves); see Art of The Hobbit; fig. 63; p. 94
No: Artist; no. 124; p. 131; Bilbo comes to the Huts of the Raftelves; see Art of The Hobbit; fig. 64; p. 95
No: Artist; no. 125; p. 132; Robert Nunro nach A. de Mortillet: NN (“Reconstruction of a lake dwelling”); not original Tolkien
Yes: Artist; no. 126; p. 132; Esgaroth; see Art of The Hobbit; fig. 65; p. 97
No: Artist; no. 127; p. 133; Lake Town; see Art of The Hobbit; fig. 66; p. 98
Yes: Artist; no. 128; p. 134; The Lonely Mountain; see Art of The Hobbit; fig. 87; p. 122
Yes: Artist; no. 129; p. 136; NN (Gnarled Tree); see Art of The Hobbit; fig. 67; p. 100
No: Artist; no. 130; p. 137; The Front Gate; see Art of The Hobbit; fig. 68; p. 101
Yes: Artist; no. 131; p. 138; The Back Door; see Art of the Hobbit; fig. 69; p. 102
Yes: Artist; no. 132; p. 139; View from Back Door; see Art of the Hobbit; fig. 70; p. 103
No: Artist; no. 133; p. 140; Conversation with Smaug; see Art of the Hobbit; fig. 71; p. 104
No: Artist; no. 134; p. 142; NN (Smaug flies around the Lonely Mountain); see Art of the Hobbit; fig. 74; p. 108
Yes: Artist; no. 135; p. 142; The Front Door; see Art of the Hobbit; fig. 76; p. 110
No: Artist; no. 136; p. 143; The Lonely Moutain; see Art of the Hobbit; fig. 77; p. 111
Yes: Artist; no. 137; p. 144; Death of Smaug; see Art of the Hobbit; fig. 78; p. 113
Yes: Artist; no. 138; p. 145; The Coming of the Eagles; see Art of the Hobbit; fig. 80; p. 116
No: Artist; no. 139; p. 146; The Hall at Bag-End; see Art of The Hobbit; fig. 90; p. 127
Yes: Artist; no. 140; p. 147; Der Hobbit, “Sketch of the Front cover”; see Art of The Hobbit; fig. 92; p. 130
No: Artist; no. 141; p. 147; Der Hobbit, “Sketch of the back cover and spine”; see Art of The Hobbit; fig. 97; p. 134
Yes: Artist; no. 142; p. 148; Der Hobbit, “final cover”; see Art of The Hobbit; fig. 92; p. 130
Yes: Artist; no. 143; p. 149; Trail dust-jacket; see Art of The Hobbit; fig. 100; p. 137
No: Artist; no. 144; p. 151; “Dust jacket for the Hobbit, final design”; see Art of The Hobbit; fig. 101; p. 138
Yes: Artist; no. 145; p. 152; Barad-dûr; see Art of LotR; fig. 147; p. 187
Yes: Artist; no. 146; p. 154; NN (“Brandywine Ferry”); Art of LotR; fig. 21; p. 41
Yes: Artist; no. 147; p. 155; Old Man Willow; Art of LotR; fig. 23; p. 42
Yes: Artist; no. 148 & 149; p. 157; Moria Gate; see Art of LotR; fig. 39; p. 64
No: Artist; no. 150; p. 158; NN (“Door’s of Dúrin”); see Art of LotR; fig. 41; p. 67
No: Artist; no. 151; p. 158; NN (“Door’s of Dúrin”); see Art of LotR; fig. 42; p. 67
No: Artist; no. 152; p. 158; NN (“Door’s of Dúrin”); see Art of LotR; fig. 43; p. 6
No: Artist; no. 153; p. 158; NN (“Door’s of Dúrin”); see Art of LotR; fig. 44; p. 67
No: Artist; no. 154; p. 159; NN (“Door’s of Dúrin” printed version); see Art of LotR; fig. 46; p. 70
No: Artist; no. 155; p. 160; One page of the Book of Moria (“Book of Marzabul, first page, second version”); see Art of LotR; fig. 56; p. 79
No: Artist; no. 156; p. 161; NN (“Book of Marzabul”), “third page, final version”; see Art of LotR; fig. 63; p. 87
Yes: Artist; no. 157; p. 162; The Forest of Lothlorien in Spring; see Art of LotR; fig. 64; p. 88
Yes: Artist; no. 158; p. 163; NN (“Dimrill Dale and Mountains of Moria”); see Art of LotR; fig. 37; p. 61
No: Artist; no. 159; p. 164; Rauros Falls & the Tindrock; see Art of LotR; fig. 68; p. 93
No: Artist; no. 160; p. 165; NN (“Helm’s Deep”); see Art of LotR; fig. 76; p. 103
Yes: Artist; no. 161; p. 165; Helm’s Deep & the Hornburg; see Art of LotR; fig. 74; p. 101
Yes: Artist; no. 162; p. 166; Orthanc (1); see Art of LotR; fig. 77; p. 106
No: Artist; no. 163; p. 167; Isengard / Nan Curunir; see Art of LotR; fig. 78; p. 107
Yes: Artist; no. 164; p. 168; Isengard & Orthanc; see Art of LotR; fig. 82; p. 113
No: Artist; no. 165; p. 170; NN (Three Sketchs of Dunharrow); see Art of LotR; fig. 117; p. 155
Yes: Artist; no. 166; p. 171; Dunharrow; see Art of LotR; fig. 124; p. 159
No: Artist; no. 167; p. 172; NN (Minas Tirith); see Art of LotR; fig. 105; p. 141
No: Artist; no. 168; p. 173; Stanburg or Stoneborg; see Art of LotR fig. 106; p. 142
No: Artist; no. 169; p. 174; NN (Minas Tirith); see Art of LotR; fig. 113; p. 148
Yes: Artist; no. 170; p. 175; NN (Minas Morgul, “Entrance”); see Art of LotR; fig. 84; p. 116
Yes: Artist; no. 171; p. 175; “Shelob’s Lair”; see Art of LotR; fig. 93; p. 125
No: Artist; no. 172; p. 176; NN (Kirith Ungol); see Art of LotR; fig. 96; p. 129
Yes: Artist; no. 173; p. 176; NN (Kirith Ungol); see Art of LotR; fig. 98; p. 130
Yes: Artist; no. 174; p. 177; NN (“Tower of Kirith Ungol”); see Art of LotR; fig. 139; p. 176
Yes: Artist; no. 175; p. 178; “Plan of Farmer Cotton’s House”; see Art of LotR; fig. 155; p. 198
No: Artist; no. 176; p. 179; “Dust jacket for The Fellowship”; see Art of LotR; fig. 166; p. 210
No: Artist; no. 177; p. 179; “Dust jacket for The Fellowship”; see Art of LotR; fig. 167; p. 211
Yes: Artist; no. 178; p. 180; “Dust jacket for The Two Towers”; see Art of LotR; fig. 176; p. 220
No: Artist; no. 179; p. 180; “Dust jacket for The Two Towers”; see Art of LotR; fig. 178; p. 221
Yes: Artist; no. 180; p. 181; “Dust jacket for The Two Towers”; see Art of LotR; fig. 179; p. 222
Yes: Artist; no. 181; p. 182; “Sketch for the dust jacket of The Return of the King; see Art of LotR; fig. 185; p. 231
Yes: Artist; no. 182; p. 183; “Dust jacket for The Two Towers”; see Art of LotR; fig. 184; p. 230
Yes: Artist; no. 183; p. 186; NN (Muster); compare Pictures; no. 44; the winged sun in the upper right corner); QS, Cha. 3 – Heraldic sign of Tata: “Then Tata claimed the right of second choice”; the snow flake in the upper middle; Ainulindalë - “Water is become now fairer than my heart imagined, neither had my secret thought conceived the snow-flake, nor in all my music was contained the falling of the rain.”
Maybe: Artist; no. 184; p. 188; NN (“Doodles”); I don’t know if we can use any of these
Yes: Artist; no. 185; p. 189; Mordor Special Mission Flying Corps, Emblem; The War of the Ring - “The Nazgûl rode the air, cowing all hearts.”; Sauorn’s Eye; better us another depiction
Maybe: Artist; no. 186; p. 190; NN (Muster); I don’t know if we can use any of these
Yes: Artist; no. 187; p. 191; Númenórian Carpet; see Pictures; no. 46
No: Artist; no. 188; p. 192; NN (“Heraldic device of Idril”); better use the later version
Yes: Artist; no. 189; p. 192; Idrils heraldic device; FoG – “had not his heart been filled with love for a woman of the Gondolindrim, Idril Celebrindal, the daughter of the king.”
Yes: Artist; no. 190; p. 193; Earendil; FoG – “for in great love Idril bore to Tuor a son and he was called Eärendil. He had this name as father-name, and as mother-name he was called Ardamírë, 'Jewel of the World'.”
Yes: Artist; no. 190; p. 193; Gil-galad; QS, Cha. 32 – “And Ereinion Gil-galad son of Orodreth, who had escaped the fall of Nargothrond came to Sirion's Mouth and was named a King of the Noldor there.”
Yes: Artist; no. 191; p. 194; Finwe and Elwe; QS, Cha. 3 – “And three only of the chieftains of the Quendi were willing to adventure the journey: Ingwë, Finwë, and Elwë, who afterward were kings.”
Yes: Artist; no. 192; p. 195; Finraphin and Fingolfin; QS, Cha. 5 – “Nolofinwë (one of the first to be changed) was given the form Fingolfin, that is Finwë Nolofinwë was given a Sindarin style in sounds, and combined in one name. A most unusual procedure, and not imitated in any other name.[Footnote to the text: Except for Finarfin as the name of his younger brother. …]”
Yes: Artist; no. 193; p. 196; Melian; QS, Cha. 4 – “Melian was a maia, of the race of the Valar.”
Yes: Artist; no. 194; p. 197; Lúthien Tinuvíel; QS, Cha. 12 – “It is not known to any among Elves or Men when Lúthien, only child of Elwë and Melian, came into the World, fairest of all the Children of Ilúvatar that were or shall be.”
Yes: Artist; no. 195; p. 197; Lúthien Tinuvíel; BL, “Of Lúthien the beloved”
Yes: Artist; no. 196; p. 198; NN (Grasses); QS, Cha. 1 – “wealth there was of her imagining, and nowhere more rich than in the midmost parts of the Earth”
No: Artist; no. 197; p. 200; NN (“Floral Alphabet”); I think this is unusable
No: Artist; no. 198; p. 202; “Page from Dangweth Pengoloð; I think this is unusable
No: Artist; no. 199; p. 202; King’s Letter, second version; better use the later version
Yes: Artist; no. 200; p. 208; The Misty Mountains; see Art of the Hobbit; fig. 35; p. 60

Respectfully
Findegil

[Findegil]

Pictures of JRR Tolkien:

No: Pictures; no. 1; The Hill: Hobbiton-across-the Water; see Art of the Hobbit; fig. 10; p. 32 and Art of the Hobbit; fig. 11; p. 33
No: Pictures; no. 2; The Trolls; see Art of the Hobbit; fig. 16; p. 40
No: Pictures; no. 3; The Three Trolls are turned to Stone; see Art of the Hobbit; fig. 14; p. 38
Maybe: Pictures; no. 4; Rivendell (I); see Art of the Hobbit; fig. 20; p. 44
Yes: Pictures; no. 5; Rivendell (II); see Art of the Hobbit; fig. 21; p. 45
No: Pictures; no. 6; Rivvendell (III); see Art of the Hobbit; fig. 23; p. 48
No: Pictures; no. 7; The Mountain-path; see Art of the Hobbit; fig. 34; p. 58
No: Pictures; no. 8; The Misty Mountains looking West from the Eyrie towards Goblin Gate; see Art of the Hobbit; fig. 38; p. 62
No: Pictures; no. 9; Bilbo woke with the early sin in his eyes; see Art of the Hobbit; fig. 39; p. 63
No: Pictures; no. 10; Beorn’s Hall; see Art of the Hobbit; fig. 44; p. 70
No: Pictures; no. 11; The Elvenking’s Gate (I); see Art of the Hobbit; fig. 50; p. 79
Yes: Pictures; no. 12; The Elvenking’s Gate (II); see Art of the Hobbit; fig. 58; p. 88
No: Pictures; no. 13; Bilbo comes to the Huts of the Raft-elves (I); see Art of the Hobbit; fig. 61; p. 92
No: Pictures; no. 14; Bilbo comes to the Huts of the Raft-elves (II); see Art of the Hobbit; fig. 64; p. 95
No: Pictures; no. 15; Lake Town; see Art of the Hobbit; fig. 66; p. 98
No: Pictures; no. 16; The Front Gate; see Art of the Hobbit; fig. 68; p. 101
No: Pictures; no. 17; Conversation with Smaug; see Art of the Hobbit; fig. 71; p. 104
Pictures; no. 18; Smaug flies round the Mountian; see Art of the Hobbit; fig. 75; p. 109
Yes: Pictures; no. 19; Death of Smaug; see Art of the Hobbit; fig. 78; p. 113
No: Pictures; no. 20; The Hall at Bag-End, Residence of B. Baggins Esquire; see Art of the Hobbit; fig. 90; p. 127
Yes: Pictures; no. 21; Old Man Willow; see Art of LotR; fig. 23; p. 42
In Part: Pictures; no. 22; Doors of Durin and Moria Gante (I); see Art of LotR; fig. 44; p. 67 and Art of LotR; fig. 39; p. 64
Yes: Pictures; no. 23; Moria Gate (II); see Art of LotR; fig. 39; p. 64
No: Pictures; no. 24; Leaves from the Book in Mazabul; see Art of LotR; fig. 61; p. 85 and Art of LotR; fig. 62; p. 86 and Art of LotR; fig. 63; p. 87
Yes: Pictures; no. 25; The Forest of Lothlorien in Spring; see Art of LotR; fig. 64; p. 88
Yes: Pictures; no. 26; Helm’s Deep and the Hornburg; see Art of LotR; fig. 74; p. 101
In Part: Pictures; no. 27; Orthanc and Minas Tirith; see Art of LotR; fig. 80; p. 110 and Art of LotR; fig. 106; p. 142
Yes: Pictures; no. 28; Shelob’s Lair; see Art of LotR; fig. 93; p. 125
Yes: Pictures; no. 29; Dunharrow; see Art of LotR; fig. 124; p. 159
Yes: Pictures; no. 30; Orodruin and Barad-dûr; see Art of LotR; fig. 150; p. 191 and Art of LotR; fig. 147; p. 187
Yes: Pictures; no. 31; Taniquetil; see Artist; no. 52; p. 56
Yes: Pictures; no. 32; Lake Mithrim; see Artist; no. 46; p. 50
Yes: Pictures; no. 33; Nargothrond (I); QS, Cha. 16 – “And he called that place Nargothrond, and made there his home with many of his folk”
Yes: Pictures; no. 34; Nargothrond (II); see Artist; no. 56; p. 60
Yes: Pictures; no. 35; Gondolin and the Vale of Tumladin; see Artist; no. 58; p. 61
Yes: Pictures; no. 36; Tol Sirion; see Artist; no. 55; p. 59
Yes: Pictures; no. 37; Mirkwood and Beleg finds Gwindor in Taur-nu-Fuin (entitled Fangorn Forest); see Art of The Hobbit; no. 47; p. 75 and Artist; no. 54; p. 58
Yes: Pictures; no. 38; Glaurung sets forth to seek Túrin; see Artist; no. 47; p. 51
No: Pictures; no. 39; Polar Bear had fallen from top to bottom onto his nose; unusable due to the fact that it is an illustration for Letters from Father Christmas from Tolkien and is now published in this.
Yes: Pictures; no. 40; Three Dragons; above see Artist; no. 48; p. 52; left; FoG – “Lo! a drake was coiled even on the very steps of the palace and defiled their whiteness;”; right see Artist; no. 49; p. 52
Yes: Pictures; no. 41; Trees; black and with above text; QS, Cha. 4 – “While the Lamps had shone, growth began there which now was checked, because all was again dark. But already the oldest living things had arisen: in the sea the great weeds, and on the earth the shadow of great trees; and in the valleys of the night-clad hills there were dark creatures old and strong.”; left above; see also Artist; no. 62; p. 64; right; left below; all three: QS, Cha. 2 - “But in Valinor the Valar dwelt with all their kin and folk, and because of the beauty and bliss of that realm they came seldom now to Middle-earth”
Yes: Pictures; no. 42; Flowering Tree with Friezes; Tree with Bird and Flowers on both sides; Valaquenta - “All flowers spring as she passes and open if she glances upon them; and all birds sing at her coming.”; Fierzes below and above; see Artist; no. 59; p. 62
Maybe: Pictures; no. 43; Patterns (I); The flower on the lower left side and the plant looking like a Thristle left from the middle at thelower row could be used if we find nice places for it. The rest seems unusable.
In Part: Pictures; no. 44; Patterns (II); compare Artist; no. 183; p. 186, what is not shown their seems unusable
Yes: Pictures; no. 45; Floral Designs; QS, Cha. 1 – “And it is sung that in that feast of the Spring of Arda Tulkas espoused Nessa the sister of Oromë”
Yes: Pictures; no. 46; Númenórean Tile and Textiles; right; see as well Artist; no. 187; p. 191; for all: A description of the Isle of Númenor - “The Edain brought with them to Númenor the knowledge of many crafts, and many craftsmen who had learned from the Eldar, besides preserving lore and traditions of their own.”
In part: Pictures; no. 47; Heraldic Devices:
Yes: - Elwë; see Artist; no. 191; p. 194
Yes: - Melian; see Artist; no. 193; p. 196
Yes: - Fingolfin; see Artist; no. 192; p. 195
Yes: - Finwë; see Artist; no. 191; p. 194
Yes: - Fëanor; QS, Cha. 5 – “The only child of Míriel was afterwards usually called Fëanor.”
Yes: - Lúthien I; see Artist; no. 195; p. 197
Yes: - Beren; QS, Cha. 26 – “It is said that Beren and Lúthien returned to the northern lands of Middle-earth, and dwelt together for a time as living man and woman; and they took up again their mortal form in Doriath.”
Yes: - Lúthien II; see Artist; no. 194; p. 197
Yes: - Finrod Felagund; QS, Cha. 20 – “Long Felagund watched them, and love for them stirred in his heart; but he remained hidden in the trees until they had all fallen asleep. Then he went among the sleeping people, and sat beside their dying fire where none kept watch; and he took up a rude harp which Bëor had laid aside, and he played music upon it such as the ears of Men had not heard; for they had as yet no teachers in the art, save only the Dark-elves in the wild lands.”
Yes: - Idirl Celebrindal; see Artist; no. 189; p. 192
Yes: - Gilgalad; see Artist; no. 190; p. 193
Yes: - Beor; QS, Cha. 20 – “Now these were a part of the kindred and following of Bëor the Old, as he was afterwards called, a chieftain among Men.”
Yes: - Eärendil; see Artist; no. 190; p. 193
Yes: - Hador; QS, Cha. 20 – “Now Hador Lorindol, son of Hathol, son of Magor, son of Malach Aradan entered the household of Fingolfin in youth, and was loved by the king. Fingolfin therefore gave to him the lordship of Dor-lómin, and into that land he gathered most of the people of his kin and became the mightiest of the chieftains of the Edain.”
Yes: - The Silmarils; QS, Cha. 8 – “Three jewels he made, and named them the Silmarils.”
Yes: - House of Haleth; QS, Cha. 20 – “When therefore the Haladin had gathered all that they could find alive of their folk who had fled wild into the woods before the Orcs, and had gleaned what remained of their goods in their burned homesteads, they took Haleth for their chief; and she led them at last to Estolad, and there they dwelt for a time.”
No: Pictures; no. 48; Elvish Script; unusable due to the content

Respectfully
Findegil

[gandalf85]

Great work, Fin, sorry for the late reply. Where I don't comment I agree:

Yes: Art of the Hobbit; fig. 1; p. 20; One morning early in the Quiet of the World; The Quest of Erebor – “It was on the morning of Tuesday, April the 25th, 2941, that Gandalf called to see Bilbo; and though he knew more or less what to expect his confidence was shaken.”

I think the picture works better before this paragraph.

Maybe: Art of the Hobbit; fig. 12; p. 35; Thorin’s letter to Bilbo; are we going to use this “Facsimile” of an English text in tengwar? If yes, then this is the place: The Broken Bridge - “on a quest of great treasure, the dwarf-hoards of the Kings under the Mountain, beneath Erebor in Dale, far off in the East.”

We have already abandoned the idea of this being a definitive in-universe text. Since this was created by Tolkien himself, I think we should use it. Feasibly, it could be a facsimile created by whoever compiled these materials.

Maybe: Art of the Hobbit; fig. 20; p. 44; Rivendell looking West; Are we going to use this later reinterpretation of a false start?

I think it makes more sense to use fig. 21 instead. Even though this picture doesn't seem to contain any contradictions, it seems redundant.

Yes: Art of the Hobbit; fig. 35; p. 60; The Misty Mountains; Relations of the Longbeard Dwarves and Men - “for many lives of Men the Long-beards controlled the Ered Mithrin, Erebor, and the Iron Hills, and all the east side of the Misty Mountains as far as the confines of Lorien; while the Men of the North dwelt in all the adjacent lands as far south as the Great Dwarf Road that cut through the Forest (the Old Forest Road was its ruinous remains in the Third Age) and then went North-east to the Iron Hills.”

Do you propose we put this picture with the footnote? I don't think it works here. I propose we instead put it after the paragraph containing "In the deeps of time and the beginning of that people he came to Azanulbizar, the Dimrill Dale, and in the caves above {Kibil-nala [> }Kheled-zaram{](1)}, the Mirrormere, in the east of the Misty Mountains, he made his dwelling, where after were the Mines of Moria renowned in song."

Yes: Art of the Hobbit; fig. 40; p. 64; Eagles’ Eyrie; The Quest of Erebor - “Of Bilbo's later adventures little more need be said here.” As part of a series of pictures about Bilbos adventure.

I like your idea of a series of pictures for Bilbo's adventures, but I think this particular picture is too "sketchy" to be of any use -- it is hard to make anything out.

Yes: Art of the Hobbit; fig. 70; p. 103; View from the Back Door; The Quest of Erebor - “Of Bilbo's later adventures little more need be said here.” As part of a series of pictures about Bilbos adventure.

I think this image is a bit too "sketchy" to be used.

Yes: Art of The Hobbit; fig. 100; p. 137; Trail dust-jacket; QS, Cha. 35 - “Then the sun rose, and the host of the Valar prevailed, and all the dragons were destroyed, save two alone; and they fled into the East”

I think we should cutout only the top of this picture. With the sun, mountains, and the dragon.

Yes: Art of LotR; Frontispiece; p. 16; Cutout of fig. 170, p. 214 Dust-jacket design for The Fellowship of the Ring; The End of the Third Age - “Now all these things were achieved for the most part by the counsel and vigilance of Mithrandir, and in the last few days he was revealed as a lord of great reverence, and clad in white he rode into battle; but not until the time came for him to depart was it known that he had long guarded the Red Ring of Fire.”

I think we should cut out just the red ring.

Yes: Art of LotR; fig. 13; p. 31; Map of the Westmarch; The End the Third Age - “In the following year the Westmarch, from the Far Downs to the Tower Hills (Emyn Beraid), was added to the Shire by the gift of the King.”

This seems too "sketchy" to be useful.

Yes: Art of LotR; fig. 28; p. 49; The East Road, east of Bree; The Ring Set Out - “Over all the 400 miles to Elrond the hobbits were pursued by the terror”

This seems too "sketchy" to be useful.

Yes: Art of LotR; fig. 32; p. 54; Map of the route taken by the Black Riders; - “The other two went through the central Shire, until they reached the East Road, probably near the Three-Farthing Stone. (These were probably Khamûl and one of his companions, from Dol Guldur; and Khamûl was the most ready of all (save the Witch-King) to perceive the presence of the Ring, but also the one whose power was most confused and diminished by sunlight). Drawn by the Ring Khamûl went to Hobbiton which he reached at evening on Friday September the twenty-third.”

This seems too "sketchy" to be useful.

Maybe: Art of LotR; fig. 66; p. 91; Rune on Sam’s box; I don’t see how we could use that.

Agreed, I don't think we can use this.

Yes: Art of LotR; fig. 72; p. 98; Parth Galen, Tol Brandir, and Amon Lhaw; The Treason of Isengard - “Among the deeds of all the company after the breaking of the Fellowship of the Ring were the repentance and death of Boromir, and his funeral in a boat committed to the Falls of Rauros”

I think this is too "sketchy" to include.

Yes: Art of LotR; fig. 84; p. 116; Minas Morgul gate; The Stewards - “he rode with a small escort of knights to the gate of Minas Morgul.”

I think this is too "sketchy" to include.

Maybe: Art of LotR; fig. 97; p. 130; Simplified plan of Shelob’s lair; I don’t think this is worth being given in our text

Agreed, this shouldn't be used.

Maybe: Art of LotR; fig. 142; p. 180; Three aerial views of Mountians:
upper left: The only formation of Mountains that I can find on a Map that looks like this is the Westward thrust of the Ered Lindon north of Forlindon (compare fig. 70, 157 & 159). But in the Maps the rivers are missing. If that is the right identification, the the place for it could be: QS, Cha. 18 - “For Mount Rerir, and about it many lesser heights, stood out from the main range of Ered Lindon westward; and in the angle between Rerir and Ered Lindon there was a lake, shadowed by mountains on all sides save the south. This was Lake Helevorn, deep and dark, and beside it Caranthir had his abode;”;

The mountains north of Forlindon look like the closest match to me as well.

Yes: Art of LotR; fig. 154; p. 196; Sketch-plan of the Citadel of Minas Tirith; The War of the Ring - “for the city of Minas Tirith was encircled by the armies of Mordor and was perishing in flame.”

This seems too "sketchy" to me.

Yes: Art of LotR; fig. 157; p. 200; Map of the northern part of Middle-earth; I think we should combine this Map with fig. 201, but I am open for suggestions where to put it.
Yes: Art of LotR; fig. 158; p. 201; Map of the southern part of Middle-earth; I think we should combine this Map with fig. 200, but I am open for suggestions where to put it.

There is no fig. 200 or fig. 201 in Art of LOTR. Which maps do you propose to combine?

Maybe: Art of LotR; fig. 192; p. 240; Unidentified contour sketch; I think this is a representation of the mountains around Minas Morgul. But how soever I think it is unusable.

I agree this is not usable.

Yes: Artist; Frontispiece; The Hills of the Morning; Akallabeth – Númenorean sailors exploring the East

Where do you propose we put this?

Maybe: Artist; no. 9; p. 15; Whitby; usabel, but where would be a seting for this?
Maybe: Artist; no. 10; p. 15; Ruins at West End of Whitby Abbey; usable, but where would be a seting for this?
Maybe: Artist; no. 17; p. 21; “Foxglove-Year”; usable, if we find a good place

I will look through the text and see if I can find a good place for these.

Maybe: Pictures; no. 43; Patterns (I); The flower on the lower left side and the plant looking like a Thristle left from the middle at thelower row could be used if we find nice places for it. The rest seems unusable.

This doesn't seem usable to me due to the newspaper in the background.

[Findegil]

Thanks for the repley, I didn't expacted it on the spot, because it is a big list.

Art of the Hobbit; fig. 1; p. 20; One morning early in the Quiet of the World: Okay, we can place it before the paragraph.

Art of the Hobbit; fig. 12; p. 35; Thorin’s letter to Bilbo: Yes it is Tolkien's work, but nonetheless it is special case. A bit similar to Thorin's Map where real world runes are used and English language or Balin's Tomb where his "translated" old norse Name is written in Cirith runes. I have still some doubts, but it is good to have your oppinion. Lets wait if an what others have to say on this.

Art of the Hobbit; fig. 20; p. 44; Rivendell looking West: If we take this at all, then as what Tolkien re-interpreted it: A look from Rivendell westward, which is not provided otherwise.

Art of the Hobbit; fig. 35; p. 60; The Misty Mountains: Not "into" the footnote of course, but after the § containing that note. I am far from my books in the moment, so I have to look up the picture, but from memory I find the reference to the mountians of Moria allone not fully fitting.

Art of the Hobbit; fig. 40; p. 64; Eagles’ Eyrie and Art of the Hobbit; fig. 70; p. 103; View from the Back Door: Sad as I find it you are probably right that these are to sketchy.

Art of The Hobbit; fig. 100; p. 137; Trail dust-jacket: I can see that a cut out would work well, but what would be our reason here to change Tolkien's original art?

Art of LotR; Frontispiece; p. 16; Cutout of fig. 170, p. 214 Dust-jacket design for The Fellowship of the Ring: I thought that the combination would be depiction of Gandalf guarding the Red Ring watching on what happend to the One Ring.

Art of LotR; fig. 13; p. 31; Map of the Westmarch: I remember that it was sketchy, but was it so bad? Have to look that up.

Art of LotR; fig. 28; p. 49; The East Road, east of Bree & Art of LotR; fig. 32; p. 54; Map of the route taken by the Black Riders: On this two I disagree. In combination with the text and the more global view of the Maps, these are helpfull in giving details of the road lay out and the movements of the Riders not found elsewhere.

Art of LotR; fig. 72; p. 98; Parth Galen, Tol Brandir, and Amon Lhaw: Again, I have to take another look on this picture before commenting.

Art of LotR; fig. 84; p. 116; Minas Morgul gate: I strongly disagree. It is sketch but it is not "sketchy". The disfigured entrance is very clear cut. I don't see why we shouldn't use it.

Art of LotR; fig. 154; p. 196; Sketch-plan of the Citadel of Minas Tirith: I would use this nonetheless, since it gives features not found elsewhere.

Art of LotR; fig. 157; p. 200; Map of the northern part of Middle-earth & Art of LotR; fig. 158; p. 201; Map of the southern part of Middle-earth: You have misread page no. for fig. no.. Look for fig. 157 and 158.

Artist; Frontispiece; The Hills of the Morning: Sorry, I have take this entrance from an old list reminders without making true what I reminded myself with it. It should have read:
Yes: Artist; Frontispiece; The Hills of the Morning; Aman and Mortal Men – “Thus it was that because of the Ban of the Valar the voyages of the Dúnedain in those days went ever eastward and not westward, from the darkness of the North to the heats of the South, and beyond the South to the Nether Darkness; and they came even into the inner seas, and sailed about Middle-earth and glimpsed from their high prows the Gates of Morning in the East.“

Pictures; no. 43; Patterns (I); The flower on the lower left side and the plant looking like a Thristle left from the middle at the lower row: I am relativly confident that I can remove the "news paper background", so that shouldn't be an argument right now. But as a matter of fact I would only undertake that endeavour when we find a place for these pictures.

For all I did not comment on I agree with gandalf85.

Respectfully
Findegil

[gandalf85]

Art of the Hobbit; fig. 12; p. 35; Thorin’s letter to Bilbo: I am more inclined to include it, but I am on the fence about this as well. I agree with waiting to see what the others think.

Art of the Hobbit; fig. 20; p. 44; Rivendell looking West: That's a good point. I will look for a place to put it.

Art of the Hobbit; fig. 35; p. 60; The Misty Mountains: OK, I agree with your placement.

Art of The Hobbit; fig. 100; p. 137; Trail dust-jacket: I was thinking we should do a cut-out since the work is clearly unfinished/partially missing and because it was clearly intended to be a cover to The Hobbit. However, I think if we can remove the text (The Hobbit and J. R. R. Tolkien) then we can include the whole thing, despite its unfinished state.

Art of LotR; Frontispiece; p. 16; Cutout of fig. 170, p. 214 Dust-jacket design for The Fellowship of the Ring: I see. I like that interpretation and agree to keeping the whole image.

Art of LotR; fig. 13; p. 31; Map of the Westmarch; Art of LotR; fig. 28; p. 49; The East Road, east of Bree & Art of LotR; fig. 32; p. 54; Map of the route taken by the Black Riders: I guess these are pretty useful despite their sketchy nature. I agree to include them.

Art of LotR; fig. 72; p. 98; Parth Galen, Tol Brandir, and Amon Lhaw; Art of LotR; fig. 84; p. 116; Minas Morgul gate; Art of LotR; fig. 154; p. 196; Sketch-plan of the Citadel of Minas Tirith: Looking back at these, I definitely agree with including them.

Art of LotR; fig. 157; p. 200; Map of the northern part of Middle-earth & Art of LotR; fig. 158; p. 201; Map of the southern part of Middle-earth: Whoops, my bad. I agree with including these maps.

Artist; Frontispiece; The Hills of the Morning: OK, that seems like a good place to put this picture.

Pictures; no. 43; Patterns (I); The flower on the lower left side and the plant looking like a Thristle left from the middle at the lower row: OK, if we can remove the newspaper background I agree with including it. I will look for a place to put it.