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This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1885 edition. Excerpt: ...&c. Sizes of Paintings.--40 inches high by 25; 40 + 20; or 24 + 16. In portraits there is the bust, kiteat (36 + 28), half length, threequarters, and full-length. When a person is painted in a sitting position it is called three-quarters. Full-face, three-quarter-face, profile. The length of a figure in painting is calculated per faces. A full-length portrait is usually eight laces; sometimes, however, only seven. The following are some of the most common words and phrases used: --Subject; sketch; miniature; picture; portrait; portraiture; oil painting; painting in oils; pencil drawing; crayon; water colours; woodcut; print; engraving; monochrome (in a single colour); outline; etching; copy; fac-simile; on canvas. To depict; to picture; portray; delineate; limn; draw; sketch; represent; produce; a striking likeness; natural as life; life-like; drawn with wonderful exactness, &c.; likeness; portrait. Landscape; sea-piece or sea-scape; battle-piece; view; still life; panorama; pastoral scene; rustic scene. Painter; artist; draughtsman; sketcher; signer; engraver; copyist. The following list of some noted painters, &c., may prove usetul: --Allegorical subjects.--M. Angelo, Rubens, Durer, Holbein, Fuseli, Flaxman, Blake, Martin, Rossetti. Architectural Ruins.--Berghem. (See Buildings.) Balls, Musical Parties, and Masquerades.--Watteau, Hogarth, Wilkie. (See "Domestic and Fancy.") Battle-pieces.--Molyn, Salvator Rosa, Cortese, Vernet, Desanger, Fortuny, Albert Neuville. Blacksmiths' Shops.--Hogarth, David Teniers, Wilkie, and other satirical painters. Buildings.--Condetti, Pannini, Rubens, R. Wilson, Guardi, Prout, Dawson, O'Connor. Cattle.--Old: Potter, Cuyp, Vandyke. Modern: Morland, Sidney Cooper, Landscer, Vickers, ...

This four volume collection of primary sources examines literary and cultural criticism over the long nineteenth century. The volumes explore the subjects of life-writing, including biography, autobiography, diaries, and letters, drama criticism, the periodical and newspaper press, and criticism written by women. This collection will be of great interest to students of literary history.

Casual stargazers are familiar with many classical figures and asterisms composed of bright stars (e.g., Orion and the Plough), but this book reveals not just the constellations of today but those of yesteryear. The history of the human identification of constellations among the stars is explored through the stories of some influential celestial cartographers whose works determined whether new inventions survived. The history of how the modern set of 88 constellations was defined by the professional astronomy community is recounted, explaining how the constellations described in the book became permanently “extinct.” Dr. Barentine addresses why some figures were tried and discarded, and also directs observers to how those figures can still be picked out on a clear night if one knows where to look. These lost constellations are described in great detail using historical references, enabling observers to rediscover them on their own surveys of the sky. Treatment of the obsolete constellations as extant features of the night sky adds a new dimension to stargazing that merges history with the accessibility and immediacy of the night sky.