This volume seeks to re-assess the significance accorded to the body of stone and flint axe-heads imported into Britain from the Continent which have until now often been poorly understood, overlooked and undervalued in Neolithic studies.

Excerpt from Letters to His Son Lucien Lucien Pissarro was twenty years old when he left his parents' home to try his luck in England. Never before had a son of Camille Pissarro been separated from him, and the father was concerned that his eldest should not lack for affectionate advice. In his almost daily letters the impressionist painter drew on his vast experience in life and art to encourage, chide and solace the young Lucien. It was no easy matter for Lumen, shy and given to dreaming as he was, to leave the house of his parents at Osny near Pontoise, where his brothers and his sister spent their carefree youth in the fields and meadows while their father noted with unconcealed joy the capacities for observation and expression which he found in each of them. Lucien himself had begun to draw at a very early age and, when sent to work in Paris for a firm merchandising English fabrics, he spent the evenings with his friend Louis Hayet making drawings in the cafés and music halls. His mother, who knew only too well the sufferings artists have to endure, had wanted at all costs to prevent her eldest son from choosing his father's profession. However, the young man's employer soon informed the parents that their boy, although in other respects a fine fellow, would never make good in business. After this, Lucien got a job working with hand-made plates for color impressions. His parents finally decided, by the end of 1882, to send him to England to learn the language. In London he found a position with a music publisher, but continued to paint and draw. First he lived at the home of his uncle, Phineas Isaacson, whose wife was the half-sister of Camille Pissarro. Later he took a studio, gave drawing lessons and devoted himself mostly to the art of wood engraving. Lucien Pissarro often came to France to spend months at a time with his family, which meanwhile had settled in Eragny. But even during these sojourns in France his correspondence with his father was not interrupted. For almost every month Camille Pis sarro went to Paris for a few days to see dealers and collectors, to take in the new exhibitions, to make purchases and to visit his friends. At such times he wrote his son to inform him about every thing. There were also occasions when Lucien himself undertook to go to the capital. His father, thus enabled to continue his work, discussed with him by mail the paintings he was working on at Eragny and sent him news of the children and their mother. This correspondence, which began in 1885 and stopped only with the death of Camille Pissarro twenty years later, was religiously preserved by Lucien. 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.

Musical Women in England, 1870-1914 delineates the roles women played in the flourishing music world of late-Victorian and early twentieth-century England, and shows how contemporary challenges to restrictive gender roles inspired women to move into new areas of musical expression, both in composition and performance. The most famous women musicians were the internationally renowned stars of opera; greatly admired despite their violations of the prescribed Victorian linkage of female music-making with domesticity, the divas were often compared to the sirens of antiquity, their irresistible voices a source of moral danger to their male admirers. Their ambiguous social reception notwithstanding, the extraordinary ability and striking self-confidence of these women - and of pioneering female soloists on the violin, long an instrument permitted only to men - inspired fiction writers to feature musician heroines and motivated unprecedented numbers of girls and women to pursue advanced musical study. Finding professional orchestras almost fully closed to them, many female graduates of English conservatories performed in small ensembles and in all-female and amateur orchestras, and sought to earn their living in the overcrowed world of music teaching.

"Draws out the key features of the evolution of taxation in Australia, with their implications for the current debate on the future direction of taxation policy." - preface.

This new edition of the leading authority on set-off brings the book fully up to date with the latest case law since the third edition was published in 2003. It provides an authoritative commentary on the principles governing the law of set-off and is an essential purchase for banking, finance, and insolvency lawyers world-wide.