The Art and Practice of Silver Printing, by H. P. Robinson & Capt. Abney : (full image Illustrated) CAPT. ABNEY (Author), H. P. ROBINSON (Author) B00CBXBBMA File Size: 1378 KB     BUY NOW Book Description :- The Art and Practice of Silver Printing, by H. P. Robinson & Capt. Abney : (full image Illustrated) Art, Printing, Paper, Sensitizing, Silver, Albumenized, Gold Tri-Chloride THE ART AND PRACTICE OF SILVER PRINTING. BY H. P. ROBINSON & CAPT. ABNEY, R.E., F.R.S. THE AMERICAN EDITION, NEW YORK: E. & H. T. ANTHONY & CO., NO. 591 BROADWAY. 1881. PREFACE. Silver printing has been often doomed, but it still survives. Other processes of photographic printing have been introduced, nearly all of them having their individual merits, especially that of permanency, but all lacking in two essential qualities?ease of production and beauty of result. In these particulars no process has ever approached the one to the working of which this little book is devoted. The one defect of silver printing is the possibility of its results fading; but surely it is better to be beautiful, if fading, than permanent and ugly. It is better to be charmed with a beautiful thing for a few years, than be bored by an ugly one for ever. But is silver printing necessarily a fading process? We have in our possession a large number of silver photographs produced from twenty to twenty-five years ago, which are as perfect in tone and colour as when they were produced. Carefully prepared, and properly kept, a silver print should be as permanent as any other. That silver prints should be permanent as well as beautiful, has been the object of THE AUTHORS. CONTENTS Preliminary Experiments Preparation of Albumenized Paper The Sensitizing Bath How to Keep the Sensitizing Bath in Order Silvering the Paper Washed Sensitive Paper Cutting Paper Printing-Frames Preparing the Landscape Negative Printing the Landscape Preparing the Portrait Negative Vignetting Printing the Portrait Combination Printing Toning Fixing the Print Washing the Print Printing on Plain Paper Printing on Resinized Paper Printing on Gelatino-Chloride Emulsion Paper Drying the Prints Mounting Photographs Defects in Prints Encaustic Paste Enamelling Prints Cameo Prints Appendix CHAPTER I. THEORY OF SILVER PRINTING. Perhaps it may be wise, first of all, to give the reader some account of the manner in which the subject of silver printing is to be treated, before entering into very minute details, so that it may be followed as a whole, instead of being studied in fragments, a course which is sure to lead to failure, from a want of comprehending what may have been skipped. To understand "the why" and "the wherefore" of every detail is an essential in most occupations, and it is wonderful that photographers are satisfied with the results of rule-of-thumb formulæ, instead of reasoning out their utility. In the following pages most of the theoretical considerations will be brought out in such a manner that everyone will be able to understand them, provided only that there is a slight acquaintance with the name and properties of the chemicals which are dealt with. PRELIMINARY EXPERIMENTS. Into a glass beaker put a couple of pinches of common salt, which must be dissolved in a little water. In a test-tube[1] dissolve about an equal amount of silver nitrate (AgNO3), and add it to the salt solution. We shall find that we have an immediate precipitate, for chloride of silver will be formed by what is called double[2] decomposition, and there will remain in solution a soluble salt known as sodium nitrate. When the silver chloride has settled down, decant off the liquid, and add water to it once or twice, draining off each time. Divide the chloride into four parts, placing each part on a strip of glass. On two of them pour a little common salt solution, and on the other two pour a little solution of silver nitrate; take one of each pair, and place it in a dark cupboard (if warmed, the quicker will be the operation) to dry. Take the other two moist portions of chloride into the open air, and expose them to daylight, and note the results. It will be seen that one of these will darken very rapidly to a violet colour,   Industrial Arts Design, A Textbook of Practical Methods for Students, Teachers, and Craftsmen by William H. Varnum : (full image Illustrated) William Harrison Varnum. (Author, Preface) B00BY893Q4 File Size: 5239 KB     BUY NOW Book Description :- Industrial Arts Design, A Textbook of Practical Methods for Students, Teachers, and Craftsmen by William H. Varnum : (full image Illustrated) PREFACE Place for the Book. As a textbook, Industrial Arts Design is a practical guide for designing in wood, clay, and base and precious metals. It is intended for individual student use in the High Schools, Normal Schools, and Colleges and as a reference book for elementary school teachers. Its more complex problems are intended as definite helps to the industrial arts designer or craftsman. The wood problems are treated with special reference to their adaptability to bench and cabinet work. Need of the Book. It has been written to fill a decided demand for a textbook that shall, without loss of time, directly apply well-recognized principles of general design to specific materials and problems encountered in the Industrial Arts. A brief description of the decorative processes adapted to the materials under discussion with the design principles directly applying to these processes, insures designs that may be worked out in the studio or shop. It is hoped that this provision will eliminate the large number of impractical designs that are frequently entirely unfitted to the technic of the craft. This lack of mutual technical understanding between the teacher of design and the shop work instructor is the cause of friction that it is hoped will be removed by the methods advocated in these pages. The Author's Motive. It has been the intention to reduce unrelated and abstract theories to a minimum and reach directly rules and conclusions that shall be applicable to typical materials in common use in the schools and industries. The original conception materialized in the publication of a series of articles upon Design in the Industrial Arts Magazine, in 1915. These articles were favorably received and their results in the schools proved highly satisfactory. Through this encouragement, the articles have been reprinted in book form, enriched by the addition of illustrations, review questions, and three chapters on color with its applications. Industrial Arts Design develops the principles of industrial design in a new and logical form which, it is believed, will simplify the teaching of craft design. Chapters I to V deal with the elementary problems confronting the designer as he begins the first steps on his working drawing; Chapters VI to VIII show the methods by which he may express his individuality through contour or outline enrichment, while Chapters IX to XVII explain the treatment of the most difficult form of decoration, that of surface enrichment. The Appendix. The appendix is added to show the manner in which the rules may be directly applied to a course of study in either pottery or art metal. The present work is not intended to include the chemistry of glaze mixing or other technical requirements to which reference is made in the appendix; consequently the reader is referred to "The Potter's Craft" by C.F. Binns and "Pottery" by George J. Cox for fuller explanations of the formulae and technicalities of the craft. Source of Principles. The principles herein advocated are directly related to architectural design which is to be regarded as the standard authority for the industrial arts designer. It was necessary to state these principles in the form of sufficiently flexible rules which would allow the student to use his own judgment, but at the same time, restrict him to the essential principles of good design. Rules. This presentation of the principles of design by means of flexible rules in concrete form, serves to vitalize design by virtue of their immediate application to the material. The rules likewise save time for both pupil and instructor. This is regarded as an important factor, inasmuch as the amount of time usually allotted to classroom teaching of design is limited. ------------ thaiperfect.com   The Art of Illustration, by Charles Haddon Spurgeon Charles Haddon Spurgeon (C. H. SPURGEON) (Author) B00CMFP7T0 File Size: 239 KB     BUY NOW Book Description :- The Art of Illustration, by Charles Haddon Spurgeon THE ART OF ILLUSTRATION BY C. H. SPURGEON NEW-YORK WILBUR B. KETCHAM 2 COOPER UNION Copyright, 1894, By Wilbur B. Ketcham. PUBLISHER'S NOTE. The lectures in this volume were originally delivered to the students of the Pastors' College, Metropolitan Tabernacle, London, England. It is the first of his unfinished books to be published, and one to which he had himself given the title, "The Art of Illustration." Of the five lectures included in this volume, the first two were revised during Mr. Spurgeon's lifetime. Two were partially revised by him before being redelivered to a later company of students than those who had heard them for the first time. The remaining lecture was printed substantially as it was taken by the reporter; only such verbal corrections having been made as were absolutely necessary to insure accuracy of statement. Mr. Spurgeon has said of his lectures to his students: "I am as much at home with my young brethren as in the bosom of my family, and therefore speak without restraint. I do not offer that which has cost me nothing, for I have done my best, and taken abundant pains. Therefore, with clear conscience, I place my work at the service of my brethren, especially hoping to have a careful reading from young preachers, whose profiting has been my principal aim." W. B. K. CONTENTS. LECTURE I. Illustrations in Preaching LECTURE II. Anecdotes from the Pulpit LECTURE III. The Uses of Anecdotes and Illustrations LECTURE IV. Where can We Find Anecdotes and Illustrations? LECTURE V. The Sciences as Sources of Illustration?Astronomy LECTURE I. ILLUSTRATIONS IN PREACHING. The topic now before us is the use of illustrations in our sermons. Perhaps we shall best subserve our purpose by working out an illustration in the present address; for there is no better way of teaching the art of pottery than by making a pot. Quaint Thomas Fuller says, "Reasons are the pillars of the fabric of a sermon; but similitudes are the windows which give the best lights." The comparison is happy and suggestive, and we will build up our discourse under its direction. The chief reason for the construction of windows in a house is, as Fuller says, to let in light. Parables, similes, and metaphors have that effect; and hence we use them to illustrate our subject, or, in other words, to "brighten it with light," for that is Dr. Johnson's literal rendering of the word illustrate. Often when didactic speech fails to enlighten our hearers we may make them see our meaning by opening a window and letting in the pleasant light of analogy. Our Saviour, who is the light of the world, took care to fill his speech with similitudes, so that the common people heard him gladly; his example stamps with high authority the practice of illuminating heavenly instruction with comparisons and similes. To every preacher of righteousness as well as to Noah, wisdom gives the command, "A window shalt thou make in the ark." You may build up laborious definitions and explanations and yet leave your hearers in the dark as to your meaning; but a thoroughly suitable metaphor will wonderfully clear the sense. The pictures in an illustrated paper give us a far better idea of the scenery which they represent than could be conveyed to us by the best descriptive letterpress; and it is much the same with scriptural teaching: abstract truth comes before us so much more vividly when a concrete example is given, or the doctrine itself is clothed in figurative language. There should, if possible, be at least one good metaphor in the shortest address; as Ezekiel, in his vision of the temple, saw that even to the little chambers there were windows suitable to their size. If we are faithful to the spirit of the gospel we labor to make things plain: it is our study to be simple and to be understood by the most illiterate of our hearers; let us, then, set forth many a metaphor and parable before the people. He wrote wisely who said   A History of Art for Beginners and Students: Painting, Sculpture, Architecture, by Clara Erskine Clement : (full image Illustrated) CLARA ERSKINE CLEMENT (Author) B00CPBV0N8 File Size: 3863 KB     BUY NOW Book Description :- A History of Art for Beginners and Students: Painting, Sculpture, Architecture, by Clara Erskine Clement : (full image Illustrated) A HISTORY OF ART FOR BEGINNERS AND STUDENTS PAINTING?SCULPTURE?ARCHITECTURE WITH COMPLETE INDEXES AND NUMEROUS ILLUSTRATIONS BY CLARA ERSKINE CLEMENT AUTHOR OF ?HANDBOOK OF LEGENDARY AND MYTHOLOGICAL ART,? ?PAINTERS, SCULPTORS, ENGRAVERS, ARCHITECTS AND THEIR WORKS,? ?ARTISTS OF THE NINETEENTH CENTURY,? ETC. CONTENTS. CHAPTER I. Ancient Painting, from the Earliest Times to the Christian Era Egypt Assyria Babylon Ancient Greece and Italy Mosaics Paintings on Stone Vase-painting CHAPTER II. Mediæval Painting, from the Beginning of the Christian Era to the Renaissance The Early Period The Central, or Romanesque Period The Final, or Gothic Period CHAPTER III. Painting in Italy, from the Beginning of the Renaissance to the Present Century CHAPTER IV. Painting in Flanders, Holland, and Germany CHAPTER V. Painting in Spain CHAPTER VI. Painting in France CHAPTER VII. Painting in England INDEX LIST OF ILLUSTRATIONS. Harp-player (from an Egyptian painting) King Ramesses II. and his Sons Storming a Fortress (from Abousimbel) Fragment of an Assyrian Tile-painting Sacrifice of Iphigenia (from a Pompeian wall-painting) Etruscan Wall-painting Human Sacrifice Offered by Achilles to the Shade of Patroklos (from an Etruscan wall-painting) The Aldobrandini Marriage (from a wall-painting in the Vatican) Landscape Illustration to the Odyssey (from a wall-painting discovered on the Esquiline at Rome) The Flight of Æneas (from a wall-painting) Demeter Enthroned (from a Pompeian wall-painting) Pompeian Wall-painting Nest of Cupids (from a Pompeian wall-painting) Doves Seated on a Bowl (from a mosaic picture in the Capitol, Rome) Niobe (from a picture on a slab of granite at Pompeii) The Dodwell Vase Scene in the Lower World (from a vase of the style of Lower Italy) Moses (from a painting in the Catacomb of S. Agnes) Decoration of a Roof (Catacomb of S. Domitilla) Justinian, Theodora, and Attendants (from a mosaic picture at S. Vitalis, Ravenna) The Discovery of the Herb Mandragora (from a MS. of Dioskorides, at Vienna) King David (from a window in Augsburg Cathedral) Window (from the Cathedral of St. Denis) Figure of Henry I. in west window of Strasbourg Cathedral Birth of the Virgin (from the Grandes Heures of the Duc de Berri) The Annunciation (from the Mariale of Archbishop Arnestus of Prague) Painted Window at Konigsfelden Portrait of Cimabue The Madonna of the Church of Santa Maria Novella Portrait of Dante, painted by Giotto Giotto?s Campanile and the Duomo (Florence) Fra Angelico (from the representation of him in the fresco of the ?Last Judgment? by Fra Bartolommeo) An Angel (Fra Angelico) Christ (Gio. Bellini) Madonna (Perugino) Leonardo da Vinci The Last Supper (Da Vinci) Mona Lisa (Da Vinci) Portrait of Michael Angelo The Prophet Jeremiah (Michael Angelo) Statue of Moses (Michael Angelo) The Madonna del Sacco (Sarto) Portrait of Raphael, painted by himself The Sistine Madonna (Raphael) St. Cecilia Listening to the Singing of Angels (Raphael) Portrait of Titian (Caracci) Portrait of Lavinia (Titian) Portrait of Correggio Upper Part of a Fresco by Correggio Lower Part of a Fresco by Correggio Communion of St. Jerome (Domenichino) Aurora (Guido Reni) Beatrice Cenci (Guido Reni) The Anchorites (Van Eyck) The Sibyl and the Emperor Augustus (Van der Weyden) Rubens and his Second Wife The Return from Egypt (Rubens) Portrait of an Officer (Hals) One of Rembrandt?s Portraits of Himself The Lecture on Anatomy (Rembrandt) Burgomaster Meier Madonna (Holbein) From Holbein?s Dance of Death A Scene from Dürer?s Wood Engravings of the Life of the Virgin Mary The Four Apostles (Dürer) Laughing Peasant (Velasquez) The Topers (Velasquez) The Immaculate Conception (Murillo) Arcadian Shepherds (Poussin) The Sabine Women (David) Death of the Duke of Guise (Delaroche) Sir Joshua Reynolds The Marriage Contract (Hogart   The Marvellous History of the Shadowless Man and The Cold Heart by Adelbert von Chamisso and Wilhelm Hauff : (full image Illustrated) Author: Adelbert von Chamisso and Wilhelm Hauff, Illustrator: Forster Robson B00KEFN67U File Size: 1440 KB.     BUY NOW Book Description :- fiction, life, detective, action, romantic, pine, forest INTRODUCTION : LOUIS ADELBERT VON CHAMISSO In 1813 Europe was busy watching the career of the Corsican Giant--which was nearing its end. Having reached the summit of power, and put his foot on the neck of Europe, Napoleon was suddenly hurled down from his dizzy height. And yet in the midst of stirring events and the din of arms, people found time to pay attention to important literary productions. A curious book, "The Strange Narrative of Peter Schlemihl," by Louis Adelbert von Chamisso, which made its first appearance in Germany in 1813, aroused an ever increasing interest, in spite of the distraction of the public mind, until the name of the author became world-famous. Chamisso was by birth a Frenchman, having been born at the castle of Bon-Court in Champagne, on January 27, 1781.1 On the outbreak of the French Revolution our author left France with his parents; and in 1795 we find them in Bayreuth, which then belonged to the King of Prussia, the Margrave of Anspach having sold the town to his Prussian Majesty in 1791. Chamisso's parents at last came to Berlin, and young Adelbert was appointed page to Queen Louise. This famous queen, wife of Frederic William II. and mother of Frederic William III., took a lively interest in the young page and decided to complete his somewhat neglected education. A commission in the army was secured for him, he was made ensign and soon afterwards lieutenant. Napoleon having in the meantime become First Consul, he recalled the French emigrants, and Chamisso's parents availed themselves of the permission and returned to their home, but they nevertheless advised their son to remain in Prussian service. Adelbert obeyed them, although he felt far from happy in Berlin. The service of page did not please him, and his correspondence is full of passages revealing the melancholy state of his mind. The court atmosphere was stifling him, and his poverty caused him a great deal of humiliation. We see him, at that time, as a young man of a serious and independent disposition, a dreamer and a sceptic, timid and naive, dissatisfied with his position as page and as soldier, unhappy in his exile, his misery and his solitude! The Marvellous History of the Shadowless Man After a prosperous, but to me very wearisome, voyage, we came at last into port. Immediately on landing, I got together my few effects; and, squeezing myself through the crowd, went into the nearest and humblest inn which first met my gaze. On asking for a room, the waiter looked at me from head to foot, and conducted me to one. I asked for some cold water, and for the correct address of Mr. Thomas John, which was described as being "by the north gate, the first country-house to the right, a large new house of red and white marble, with many pillars." This was enough. As the day was not far advanced, I untied my bundle, took out my newly-turned black coat, dressed myself in my best clothes, and, with my letter of recommendation, set out for the man who was to assist me in the attainment of my moderate wishes. After proceeding up North Street, I reached the gate, and saw the marble columns glittering through the trees. Having wiped the dust from my shoes with my pocket-handkerchief, and re-adjusted my cravat, I rang the bell--offering up, at the same time, a silent prayer. The door flew open; and the porter sent in my name. I had soon the honour to be invited into the park, where Mr. John was walking with a few friends. I recognised him at once by his corpulency and self-complacent air. He received me very well; just as a rich man receives a poor devil; and, turning to me, took my letter. "Oh, from my brother! It is a long time since I heard from him, is he well?--Yonder," he went on, turning to the company, and pointing to a distant hill--"Yonder is the site of the new building." He broke the seal without discontinuing the conversation, which turned upon riches. "The man," he said, "who does not possess at least a million is a poor wretch." "O how true!" I exclaimed, in the fulness of my heart. THE COLD HEART INTRODUCTION WILHELM HAUFF Wilhelm Hauff was born on the 29th November, 1802, at Stuttgart, and died in the same town on the 18th November, 1827, within a few days of completing his twenty-fifth year. Losing his father when but six years of age, he was placed in the care of his grandfather in Tübingen, and was later sent to a convent school at Blaubeuren. Returning to Tübingen, he devoted four years, 1820-24, to the study of theology, and was appointed tutor to the family of Baron von Hügel in Stuttgart. It was at this time that Hauff began his remarkable literary career with the publication in November, 1825, of his "Fairy Tale Annual for 1826." The years 1826 and 1827 saw the appearance of two succeeding annuals of fairy stories, which were everywhere received with the most enthusiastic admiration. Hauff's productivity was truly amazing; in four years he wrote, besides the fairy-tales, poems, short stories, fantasies satirical and humourous, and the classic novel "Lichtenstein," all of which have gained an enduring place in German literature. Returning from a journey through France, Holland and North Germany, Hauff was appointed to the literary editorship of the "Morgenblatt," a position which enabled him to marry, the wedding taking place in Nördlingen, on the 13th February, 1827. Hauff's journalistic duties did not interfere with his activity in other spheres of literary work. In this last year of his short life he continued to produce short stories and fantasies, his experiences while on his travels furnishing him with plenty of material. Indeed, it was while on a journey that he wrote the second "Fairy-tale Annual." THE COLD HEART He who travels through Suabia should not pass without seeing something of the Black Forest; not because of the trees, although such countless masses of stately pines are not to be met with everywhere; but because of the people, who differ remarkably from their neighbours on every side. They are broad-shouldered and strong-limbed and taller than the generality of human beings; it is as if the invigorating air, which blows every morning through the pines, has endowed them with a freer respiration, a clearer eye and a firmer though, perhaps, rougher courage than is possessed by the dwellers in valley and on plain. And not only in bearing and stature, but also in customs and dress they form a marked contrast to those who live beyond the confines of the forest. The costume of the Baden Black Forester is the more picturesque: with full-grown beards, as in accordance with Nature's intention, the men, in their black jerkins, their enormous narrow-pleated breeches, their red stockings and their peaked, broad-brimmed hats, have an air somewhat strange, but, at the same time, serious and dignified. These people are mostly occupied in glassblowing; but they are also noted for the manufacture of clocks, which are exported to all parts of the world.   A History of Art for Beginners and Students / Painting, Sculpture, Architecture, Vol. II SCULPTURE by Clara Erskine Clement : (full image Illustrated) Clara Erskine Clement B00EX901S0 File Size: 4265 KB.     BUY NOW Book Description :- ART, Painting, Sculpture, Architecture, Beginners, EGYPT, Ancient ANCIENT SCULPTURE. EGYPT. No one can speak with exactness as to the time when sculpture was first practised by the Egyptians; we only know that it was a very long time ago. But we do know that in the time of the twelfth dynasty, which dates from 2466 B.C., sculpture had reached a stage of excellence such as could only have resulted from the experience of many years of training and practice in this art. In the Egyptian collection of the Louvre, at Paris, there is the memorial stone of an old Egyptian sculptor which has an inscription that reads as if he had written it himself; this was the way by which Egyptians made these inscriptions sound as if the dead themselves spoke to those who were still alive. This sculptor's name was Martisen, and he lived about forty-four centuries ago. Brugsch-Bey, a very learned writer on Egypt, says: "He calls himself 'a master among those who understand art, and a plastic artist,' who 'was a wise artist in his art.' He relates in succession his knowledge in the making of statues, in every position, according to prescribed use and measure; and brings forward, as his particular invention, an etching with colors, if I have rightly understood the expression, 'which can neither be injured by fire nor washed off by water; 'and, as a further explanation of this, states that 'no man has arisen who has been able to do this except himself alone and the eldest son of his race, whom God's will has created. He has arisen able to do this, and the exercise of his hand has been admired in masterly works in all sorts of precious stones, from gold and silver to ivory and ebony.'" There is no doubt but that Martisen and his son, who was named Usurtasen, were sculptors at the time when Egyptian art reached its highest point. The earliest works of Egyptian sculpture are the bas-reliefs found in the chambers of the tombs; the walls are almost covered with them, and they are painted with colors which are still bright and fresh, though more than four thousand years have passed since they were put on. The subjects of these reliefs are taken from the life of the persons buried in the tombs, and even their possessions and occupations are thus represented. These sculptures were made by tracing the designs on the stone and then cutting it away between the figures. The mode of arrangement in these reliefs does not satisfy our ideas of what it should be. It seems as if the artists had no plan of their work in their minds?no aim as to what the effect should be when finished. On the contrary, the reliefs impress us as if the sculptors made one figure, and then added another and another in such a way as to represent the fact they wished to tell without any attention to the beauty of the whole; and so it does not seem as if there was any unity in them, but as if the large bas-reliefs were made up of disjointed parts which in one sense really have no relation to each other. The same is true of the Egyptian statues. It appears as if the different parts might have been made separately or even by different sculptors, and then joined together. All this is because the Egyptians seemed to think of an object in parts and not as a whole. Then, too, the position of the early statues was so unnatural and awkward. The arms were placed close to the sides of the body, and there was no separation between the legs; and though in some of their articles of furniture, their pottery, and in the details of their architecture, the Egyptians made a great advance, they did not equally improve in their sculpture. CONTENTS Ancient Sculpture Egypt Assyria Greek Sculpture Ancient Italian Sculpture Mediæval Sculpture, from the Fifth to the Fifteenth Century Italian Sculpture in the Fifteenth Century Sculpture in Germany, France, England, and Spain, from 1450 to 1550 Italian Sculpture in the Sixteenth Century?Cellini, Michael Angelo, and Others European Sculpture from Michael Angelo to Canova Canova, Thorwaldsen, and Other Recent Sculptors   A History of Art for Beginners and Students / Painting, Sculpture, Architecture, Vol. III ARCHITECTURE by Clara Erskine Clement : (full image Illustrated) Clara Erskine Clement B00EWTE0LA File Size: 4594 KB.     BUY NOW Book Description :- ART, Painting, Sculpture, Architecture, England, Beginners, Students A HISTORY OF ART FOR BEGINNERS AND STUDENTS PAINTING?SCULPTURE?ARCHITECTURE WITH COMPLETE INDEXES AND NUMEROUS ILLUSTRATIONS BY CLARA ERSKINE CLEMENT ARCHITECTURE seems to me to be the most wonderful of all the arts. We may not love it as much as others, when we are young perhaps we cannot do so, because it is so great and so grand; but at any time of life one can see that in Architecture some of the most marvellous achievements of men are displayed. The principal reason for saying this is that Architecture is not an imitative art, like Painting and Sculpture. The first picture that was ever painted was a portrait or an imitation of something that the painter had seen. So in Sculpture, the first statue or bas-relief was an attempt to reproduce some being or object that the sculptor had seen, or to make a work which combined portions of several things that he had observed; but in Architecture this was not true. No temples or tombs or palaces existed until they had first taken form in the mind and imagination of the builders, and were created out of space and nothingness, so to speak. Thus Painting and Sculpture are imitative arts, but Architecture is a constructive art; and while one may love pictures or statues more than the work of the architect, it seems to me that one must wonder most at the last. We do not know how long the earth has existed, and in studying the most ancient times of which we have any accurate knowledge, we come upon facts which prove that men must have lived and died long before the dates of which we can speak exactly. The earliest nations of whose Architecture we can give an account are called heathen nations, and their art is called Ancient or Heathen Art, and this comes down to the time when the Roman Emperor Constantine was converted to Christianity, and changed the Roman Capitol from Rome to Constantinople in the year of our Lord 328. The buildings and the ruins which still remain from these ancient times are in Egypt, Assyria, Persia, Judea, Asia Minor, Greece, Etruria, and Rome. Many of these have been excavated or uncovered, as, during the ages that have passed since their erection, they had been buried away from sight by the accumulation of earth about them. These excavations are always going on in various countries, and men are ever striving to learn more about the wonders of ancient days; and we may hope that in the future as marvellous things may be revealed to us as have been shown in the past. CHAPTER I. Ancient Or Heathen Architecture. 3000 B.C. to A.D. 328, Egypt, Assyria, Babylon, Persia, Judea, Greece, Etruria, Rome CHAPTER II. Christian Architecture. A.D. 328 to about 1400, Gothic Architecture, Byzantine Architecture, Saracenic Architecture CHAPTER III. Modern Architecture. A.D. 1400 to the Present Time, Italy, Spain, France, England, Germany, Theatres and Music Halls, United States of America   The Story of Opal / The Journal of an Understanding Heart by Opal Whiteley Author: Opal Whiteley, Contributor: Ellery Sedgwick B00FJC2GTC File Size: 800 KB.     BUY NOW Book Description :- Nature, life, Wisdom, Understanding, Michael Angelo, Sanzio Raphael, Sadie McKibben PREFACE For those whom Nature loves, the Story of Opal is an open book. They need no introduction to the journal of this Understanding Heart. But the world, which veils the spirit and callouses the instincts, makes curiosity for most people the criterion of interest. They demand facts and backgrounds, theories and explanations, and for them it seems worth while to set forth something of the child?s story undisclosed by the diary, and to attempt to weave together some impressions of the author. Last September, late one afternoon, Opal Whiteley came into the Atlantic?s office, with a book which she had had printed in Los Angeles. It was not a promising errand, though it had brought her all the way from the Western coast, hoping to have published in regular fashion this volume, half fact, half fancy, of The Fairyland Around Us, the fairyland of beasts and blossoms, butterflies and birds. The book was quaintly embellished with colored pictures, pasted in by hand, and bore a hundred marks of special loving care. Yet about it there seemed little at first sight to tempt a publisher. Indeed, she had offered her wares in vain to more than one publishing house; and as her dollars were growing very few, the disappointment was severe. But about Opal Whiteley herself there was something to attract the attention even of a man of business--something very young and eager and fluttering, like a bird in a thicket. The talk went as follows:-- ?I am afraid we can?t do anything with the book. But you must have had an interesting life. You have lived much in the woods?? ?Yes, in lots of lumber-camps.? ?How many?? ?Nineteen. At least, we moved nineteen times.? It was hard not to be interested now. One close question followed another regarding the surroundings of her girlhood. The answers were so detailed, so sharply remembered, that the next question was natural. ?If you remember like that, you must have kept a diary.? Her eyes opened wide. ?Yes, always. I do still.? ?Then it is not the book I want, but the diary.? She caught her breath. ?It?s destroyed. It?s all torn up.? Tears were in her eyes. ?You loved it??   The Mystery of Mary Stuart by Andrew Lang : (full image Illustrated) Andrew Lang B00DC2ZCQA File Size: 1642 KB.     BUY NOW Book Description :- Mary Stuart, Mystery, Murder, biography, Casket, Earl of Morton, Dramatis Personae INTRODUCTION Mr. Carlyle not unjustly described the tragedy of Mary Stuart as but a personal incident in the true national History of Scotland. He asked for other and more essential things than these revelations of high life. Yet he himself wrote in great detail the story of the Diamond Necklace of Marie Antoinette. The diamonds of the French, the silver Casket of the Scottish Queen, with all that turned on them, are of real historical interest, for these trifles brought to the surface the characters and principles of men living in an age of religious revolution. Wells were sunk, as it were, deep into human personality, and the inner characteristics of the age leaped upwards into the light. For this reason the Mystery of Mary Stuart must always fascinate: moreover, curiosity has never ceased to be aroused by this problem of Mary?s guilt or innocence. Hume said, a hundred and fifty years ago, that the Scottish Jacobite who believed in the Queen?s innocence was beyond the reach of reason or argument. Yet from America, Russia, France, and Germany we receive works in which the guilt of Mary is denied, and the arguments of Hume, Robertson, Laing, Mignet, and Froude are contested. Every inch of the ground has been inspected as if by detectives on the scene of a recent murder; and one might suppose that the Higher Criticism had uttered its last baseless conjecture and that every syllable of the fatal Casket Letters, the only external and documentary testimony to Mary?s guilt, must have been weighed, tested, and analysed. But this, as we shall see, is hardly the fact. There are ?points as yet unseized by Germans.? Mary was never tried by a Court of Justice during her lifetime. Her cause has been in process of trial ever since. Each newly discovered manuscript, like the fragmentary biography by her secretary, Nau, and the Declaration of the Earl of Morton, and the newly translated dispatches of the Spanish ambassadors, edited by Major Martin Hume (1894), has brought fresh light, and has modified the tactics of the attack and defence. As Herr Cardauns remarks, at the close of his ?Der Sturz der Maria Stuart,? we cannot expect finality, and our verdicts or hypotheses may be changed by the emergence of some hitherto unknown piece of evidence. Already we have seen too many ingenious theories overthrown. From the defence of Mary by Goodall (1754) to the triumphant certainties of Chalmers (1818), to the arguments of MM. Philippson and Sepp, of Mr. Hosack, and of Sir John Skelton (1880-1895), increasing knowledge of facts, new emergence of old MSS. have, on the whole, weakened the position of the defence. Mr. Henderson?s book ?The Casket Letters and Mary Stuart? (First Edition 1889) is the last word on the matter in this country. Mr. Henderson was the first to publish in full Morton?s sworn Declaration as to the discovery, inspection, and safe keeping of the fatal Casket and its contents. Sir John Skelton?s reply[1] told chiefly against minor points of criticism and palæography.   Points of Humour, Part I and Part II (of II) by Anonymous : (full image Illustrated) Author: Anonymous, Illustrator: George Cruikshank B00HNYLBY0 File Size: 2267 KB.     BUY NOW Book Description :- literary, Humour, amusing, laugh, COURTSHIP, story, writer PREFACE. It will be readily perceived that the literary part of this work is of humble pretensions. One object alone has been aimed at and it is hoped with success--to select or to invent those incidents which' might be interesting or amusing in themselves, while they afforded scope for the peculiar talents of the artist who adorns them with his designs. The selection was more difficult than may at first sight be supposed. It is true, there is no paucity of subjects of wit and humour, but he who will take the trouble to examine them, will find how few are adapted for pictorial representation. No artist can embody a point of wit, and the humour of many of the most laughable stories would vanish at the touch of the pencil of the most ingenious designer in the world. Those ludicrous subjects only which are rich in the humour of situation are calculated for graphic illustration. To prove the following anecdotes are not deficient in this respect, no other appeal is necessary than to the plates themselves! Look at the breadth of the humour, the point of the situation, the selection of the figures, the action, and its accompaniments, and deny (without a laugh on the face) that this portion of the work answers the end in view. In all this the writer or compiler, or whatever he may be called, claims little merit. That the whole effect is comic, that the persons are ludicrous, and engaged in laughable groups and surrounded with objects which tend to broaden the grin, all this, and a thousand times more, belongs to Mr. Cruikshank;--the writer only claims the merit of having suggested to him the materials. POINT I. THE POINT OF HONOUR. When the American army was at Valley Forge in the winter of 1777, a captain of the Virginian Line refused a challenge sent him by a brother officer, alleging that his life was devoted to the service of his country, and that he did not think it a point of duty to risk it to gratify the caprice of any man. This point of duty gave occasion to a point of humour which clearly displayed the brilliant points of the officer's character, and exposed the weak ones of his brothers in the service in a very pointed manner. His antagonist gave him the character of a coward through the whole army. Conscious of not having merited the aspersion, and discovering the injury he should sustain in the minds of those unacquainted with him, he repaired one evening to a general meeting of the officers of that line. On his entrance, he was avoided by the company, and the officer who had challenged him, insolently ordered him to leave the room; a request which was loudly re-echoed from all parts. He refused, and asserted that he came there to vindicate his fame; and after mentioning the reasons which induced him not to accept the challenge, he applied a large hand grenade to the candle, and when the fuse had caught fire, threw it on the floor, saying, "Here, gentlemen, this will quickly determine which of us all dare brave danger most." At first they stared upon him for a moment in stupid astonishment, but their eyes soon fell upon the fusé of the grenade, which was fast burning down. Away scampered Colonel, General, Ensign, and Captain, and all made a rush at the door. "Devil take the hindmost." Some fell, and others made way over the bodies of their comrades; some succeeded in getting out, but for an instant there was a general heap of flesh sprawling at the entrance of the apartment.   [Prev] .. 1 ... 1 2 3 ... 3 .. [Next]

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