Winner of the 1981 Wadsworth Prize for Business History, this work features a study of the Rio Tinto Company. An addition to the sparse empirical literature on international business, it also describes aspects of modern Spanish history.
Dr. Schmitt shows that Case was heir to both the traditions of scholastic interpretation of Aristotle and the new humanistic currents, that his Aristotelianism was strongly eclectic, and that he drew heavily upon Renaissance Neoplatonic and other intellectual traditions in compiling well-rounded philosophical manuals adapted to his age. Schmitt argues that, even though Case was the prime representative of peripatetic thought during Elizabeth's reign, he forged strong links with leading figures in such areas of English culture as drama, literature, art, and music, as well as with important ecclesiastical and political figures. He also contends that Aristotelian philosophy had a much more central position in England than has been previously admitted. Case's position in the scholastic revival which marked late sixteenth- and early seventeenth-century English intellectual life is charted, and the historical reality of this revival is firmly established.
From ancient Sumerian pottery to Tiffany stained glass, decorative art has been a fundamental part of the human experience for generations. While fine art is confined to galleries and museums, decorative art is the art of the every day, combining beauty with functionality in objects ranging from the prosaic to the fantastical. In this work, Albert Jacquemart celebrates the beauty and artistic potential behind even the most quotidian object. Readers will walk away from this text with a newfound appreciation for the subtle artistry of the manufactured world.
Norfolk Annals - A chronological record of remarkable events in the nineteenth century. Antiquarian reprint. Digipublushing are independent publishers producing paperback and digital reprints of antiquarian, out of print and rare books.
The chapters in this anthology present an encompassing perspective of how some Chinese martial art styles—and most significantly taijiquan—developed and evolved along with deep rooted traditions of spirituality and the quest for health and longevity. Much in this volume deals with Daoist theories and practices, particularly its influences ranging from human energetics (qigong) and other physical exercises (daoyin), to practical combative arts.
The speeches of Charles Sumner have many titles to endure in the memory of mankind. They contain the reasons on which the American people acted in taking the successive steps in the revolution which overthrew slavery, and made of a race of slaves, freemen, citizens, voters. They have a high place in literature. They are not only full of historical learning, set forth in an attractive way, but each of the more important of them was itself an historical event. They afford a picture of a noble public character. They are an example of the application of the loftiest morality to the conduct of the State. They are an arsenal of weapons ready for the friends of Freedom in all the great battles when she may be in peril hereafter. They will not be forgotten unless the world shall attain to such height of virtue that no stimulant to virtue shall be needed, or to a depth of baseness from which no stimulant can arouse it. Mr. Sumner held the office of Justice of the Peace, and that of Commissioner of the Circuit Court, to which he was appointed by his friend and teacher, Judge Story. He was a member of the convention held in 1853 to revise the Constitution of the Commonwealth of Massachusetts. With these exceptions, his only official service was as Senator in Congress from Massachusetts, from the 4th of March, 1851, when he was just past forty years of age, until his death, March 9, 1874. If his career could have been predicted in his earliest childhood, he could have had no better training for his great duties than that he in fact received. He was one of the best scholars in the public Latin School in Boston. He received the Franklin medal from the hands of Daniel Webster, who told him that "the state had a pledge of him." His school life was followed by four years in Harvard College, and a course at the Harvard Law School, where he was the favorite pupil of Judge Story. He was an eager student of the Greek and Roman classics. But his special delight was in history and international law. After his admission to the bar he was reporter of the decisions of his beloved master, and edited twenty volumes of the equity reports of Vesey, Jr., which he enriched with copious and learned notes. A little later, when he was twenty-six years old, he spent a month in Washington, tarrying a short time in New York on his way. In that brief period he made life-long friendships with some famous men, including Chancellor Kent, Judge Marshall, and Francis Lieber. He had a rare gift for making friendships with men, especially with great men, and with women. With him in those days an acquaintance with any person worth knowing soon ripened into an indissoluble friendship. A few years later he spent a little more than two years in Europe, coming home when he was just past twenty-nine years old. That time was spent in attending courts, lectures of eminent professors, and in society. No house which he desired to enter seems to have been closed to him. Statesmen, judges, scholars, beautiful women, leaders of fashionable society, welcomed to the closest intimacy this young American of humble birth, with no passport other than his own character and attainment. It is hardly too much to say that the youth of twenty-nine had a larger and more brilliant circle of friendship than any other man on either continent. The list of his friends and correspondents would fill many pages. He says in a letter to Judge Story, what would seem like boasting in other men, but with him was modest and far within the truth:— "I have a thousand things to say to you about the law, circuit life, and the English judges. I have seen more of all than probably ever fell to the lot of a foreigner. I have had the friendship and confidence of judges, and of the leaders of the bar. Not a day passes without my being five or six hours in company with men of this stamp. My tour is no vulgar holiday affair, merely to spend money and to get the fashions. It is to see men, institutions, and laws; and, if it would not seem vain in me, I would venture to say that I have not discredited my country. I have called the attention of the judges and the profession to the state of the law in our country, and have shown them, by my conversation (I will say this), that I understand their jurisprudence.
John Constable was the first English landscape painter to take no lessons from the Dutch. He is rather indebted to the landscapes of Rubens, but his real model was Gainsborough, whose landscapes, with great trees planted in well-balanced masses on land sloping upwards towards the frame, have a rhythm often found in Rubens. Constable’s originality does not lie in his choice of subjects, which frequently repeated themes beloved by Gainsborough. Nevertheless, Constable seems to belong to a new century; he ushered in a new era. The difference in his approach results both from technique and feeling. Excepting the French, Constable was the first landscape painter to consider as a primary and essential task the sketch made direct from nature at a single sitting; an idea which contains in essence the destinies of modern landscape, and perhaps of most modern painting. It is this momentary impression of all things which will be the soul of the future work. Working at leisure upon the large canvas, an artist’s aim is to enrich and complete the sketch while retaining its pristine freshness. These are the two processes to which Constable devoted himself, while discovering the exuberant abundance of life in the simplest of country places. He had the palette of a creative colourist and a technique of vivid hatchings heralding that of the French impressionists. He audaciously and frankly introduced green into painting, the green of lush meadows, the green of summer foliage, all the greens which, until then, painters had refused to see except through bluish, yellow, or more often brown spectacles. Of the great landscape painters who occupied so important a place in nineteenth-century art, Corot was probably the only one to escape the influence of Constable. All the others are more or less direct descendants of the master of East Bergholt.
First published in 1950 and long sought by collectors and historians, South Carolina Goes to War, 1860-1865 stands as the only institutional and political history of the Palmetto State's secession from the Union, entry into the Confederacy, and management of the war effort. Notable for its attention to the precursors of war too often neglected in other studies, the volume devotes half of its chapters to events predating the firing on Fort Sumter and pays significant attention to the Executive Councils of 1861 and 1862.
When the private papers of Millard Fillmore, thought to have been destroyed in 1889, were discovered they proved to include a large number of letters to Fillmore from Dorothea Dix, the renowned crusader for the humane treatment of the insane. Almost simultaneously, the letters of Fillmore to Dix, which had lain forgotten in a private collection since 1887, became available. Thus overnight a correspondence of more than a hundred and fifty letters, spanning nearly twenty years, opened new perspectives upon two prominent Americans whose friendship was known to few during their lifetimes and had long been forgotten by historians. All the extant correspondence between the thirteenth President of the United States and the humanitarian reformer is published here for the first time. Charles M. Snyder provides an illuminating background on the principles and a running commentary on the events that shaped their lives and their relationship. The Lady & the President provides a wealth of raw material for a reinterpretation of these two neglected figures, offering new insights into their warm personal relations, their roles as national leaders, and the perilous times in which they lived.
Art Deco style was established on the ashes of a disappeared world, the one from before the First World War, and on the foundation stone of a world yet to become, opened to the most undisclosed promises. Forgetting herself in the whirl of Jazz Age and the euphoria of the “Années Folles”, the Garçonne with her linear shape reflects the architectural style of Art Deco: to the rounded curves succeed the simple and plain androgynous straight line... Architecture, painting, furniture and sculpture, dissected by the author, proclaim the druthers for sharp lines and broken angles. Although ephemeral, this movement keeps on influencing contemporary design.
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