Trieste Publishing has a massive catalogue of classic book titles. Our aim is to provide readers with the highest quality reproductions of fiction and non-fiction literature that has stood the test of time. The many thousands of books in our collection have been sourced from libraries and private collections around the world.The titles that Trieste Publishing has chosen to be part of the collection have been scanned to simulate the original. Our readers see the books the same way that their first readers did decades or a hundred or more years ago. Books from that period are often spoiled by imperfections that did not exist in the original. Imperfections could be in the form of blurred text, photographs, or missing pages. It is highly unlikely that this would occur with one of our books. Our extensive quality control ensures that the readers of Trieste Publishing's books will be delighted with their purchase. Our staff has thoroughly reviewed every page of all the books in the collection, repairing, or if necessary, rejecting titles that are not of the highest quality. This process ensures that the reader of one of Trieste Publishing's titles receives a volume that faithfully reproduces the original, and to the maximum degree possible, gives them the experience of owning the original work.We pride ourselves on not only creating a pathway to an extensive reservoir of books of the finest quality, but also providing value to every one of our readers. Generally, Trieste books are purchased singly - on demand, however they may also be purchased in bulk. Readers interested in bulk purchases are invited to contact us directly to enquire about our tailored bulk rates.

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

Excerpt from Art in America, 1914, Vol. 2: An Illustrated Magazine Published Bi-Monthly 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.

Excerpt from Art in America, 1920, Vol. 8: An Illustrated Magazine Published Bi-Monthly We find, perhaps, closest analogies with a group of sculptures which may be dated early in the period initiated by the Virgin of the hotel-dieu. The Morgan statue may be compared, for example, with the Virgins of Brienne - la-vieille and saint-remy-sous-barbuise, with the Virgins, Nos. 265 and 266, in the Museum at Troyes, with the Virgin at Braux, and with the Saint Savina at saint-germain and the Saint Barbara at Villeloup. A number of other statues might be instanced, but these are perhaps sufficient to Show not only the origin of the Morgan statue but its probable position in the chronological sequence of works produced by the school. Assuming that the simpler the treatment of drapery, the earlier the statue, the Morgan sculpture may be assigned to the early years of the first period or, approximately, to I 5 10 - 1 5 1 5. The Museum's statue represents a female saint in pilgrim's garb. The statue measures forty-eight inches and is carved from a soft limestone, which, it may be remarked, is a material much used by the sculptors at Troyes. The statue retains much of its polychrome decoration, which, although possibly not contemporary with the carving of the statue, is nevertheless not of recent date. It is finely done, does not obscure the carving of the stone, and even in its injured condition lends so much to the effectiveness of the statue that it helpsus to understand why Gothic sculpture was almost invariably painted. In the dim light of churches, polychromy served a useful as well as an ornamental purpose, since by emphasizing contours and areas it enabled forms to be recognized more readily. It was often the work of painters of high standing, and many existing documents Show us that the painter who colored a statue often received more for his work than the sculptor who carved it. 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.