Excerpt from Views in Philadelphia, and Its Vicinity: Engraved From Original Drawings Originally the windows of the front and anks of the church, of which there are two rows, were formed with leaden sash, somewhat in the Gothic style; indeed it would seem from the disposition and general arrangement of the various parts of the whole edifice, that a Gothic model had been kept in view by its projectors as far as respects some of the details of its external and interior distribution. The high pitched roof, surrounded by piers and balusters; the subdivision of the anks with pilasters, together with the columnar separation of the nave and side aisles of the interior, indicate strongly some of the leading features of a Gothic model. The proportions of the steeple particularly are good; it was erected from a design by Robert Smith, about 1745 but there are unquestionably many crudities in the details of the building, which mark an era of profusion in architecture that belonged to the anglo-palladian school in the reign of George the Second. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works."

This volume reproduces almost 100 remarkably detailed and texturally rich photographs. Essays by noted historians John Stilgoe, Mary Panzer, and Kenneth Finkel place Rau and his work in the context of the history of American advertising and landscape photography.

An Audience of Artists turns this time line for the postwar New York art world on its head, presenting a new pedigree for these artistic movements. Drawing on an array of previously unpublished material, Catherine Craft reveals that Neo-Dada, far from being a reaction to Abstract Expressionism, actually originated at the heart of that movement's concerns about viewers, originality, and artists' debts to the past and one another. Furthermore, she argues, the original Dada movement was not incompatible with Abstract Expressionism. In fact, Dada provided a vital historical reference for artists and critics seeking to come to terms with the radical departure from tradition that Abstract Expressionism seemed to represent. Tracing the activities of artists such as Robert Motherwell, Barnett Newman, and Jackson Pollock alongside Marcel Duchamp's renewed embrace of Dada in the late 1940s, Craft explores the challenges facing artists trying to work in the wake of a destructive world war and the paintings, objects, writings, and installations that resulted from their efforts."--Jacket.