The White Company Arthur Conan Doyle
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The London School of Economics and Political Science
The London School of Economics and Political Science Mercenaries and the State: How the hybridisation of the armed forces is changing the face of national security Caroline Varin A thesis submitted to the Department of International Relations of the London School of Economics for the degree of Doctor of Philosophy, London, September 2012 ii Declaration I certify that the thesis I have presented for examination for the MPhil/PhD degree of the London School of Economics and Political Science is solely my own work other than where I have clearly indicated that it is the work of others (in which case the extent of any work carried out jointly by me and any other person is clearly identified in it). The copyright of this thesis rests with the author. Quotation from it is permitted, provided that full acknowledgement is made. This thesis may not be reproduced without my prior written consent. I warrant that this authorisation does not, to the best of my belief, infringe the rights of any third party. I declare that my thesis consists of <83,157> words. iii Abstract The military has been a symbol of nationhood and state control for the past two hundred years. As representatives of a society’s cultural values and political ambitions, the armed forces have traditionally been held within the confines of the modern state. Today, however, soldiers are expected to operate in the shadows of conflicts, drawing little attention to themselves and to their actions; they are physically and emotionally secluded from a civilian population whose governments, especially in the ‘West’, are proceeding to an unprecedented wave of demilitarisation and military budget cuts. -
Auguste Rodin's 'The Burghers of Calais' and The
www.amatterofmind.us From the desk of Pierre Beaudry Page 1 of 15 AUGUSTE RODIN’S ‘THE BURGHERS OF CALAIS’ AND THE BLACK DEATH POLICY OF THE ENGLISH How Auguste Rodin created an artistic composition of axiomatic change. by Pierre Beaudry October 20, 2014 FOREWORD ``If a Black Death could spread throughout the world once in every generation, survivors could procreate freely without making the world too full.'' Bertrand Russell – 1949 ``In the event that I am reincarnated, I would like to return as a deadly virus, to contribute something to solving overpopulation.'' Queen Elizabeth's consort Prince Philip – 1988 This is wake-up time. This report is a wake-up call attempting to answer a simple but difficult axiomatic question: “Why is it that American leaders and citizens don’t see that the plague of Ebola that is being brought to their doorsteps at this time is being carried out by the same people who brought about the Black Death to Europe during the fourteenth century?” The answer to that question can be found in the situation that the population of France found themselves into, when the King of England, Edward III, laid siege to the French town of Calais in 1346. www.amatterofmind.us From the desk of Pierre Beaudry Page 2 of 15 INTRODUCTION In his Chronicles, Jean Froissart (1337-1405), A French writer at the court of the King of England, told the story of how the French town of Calais’ people were spared a horrible death by the heroic action of six of their leaders, who voluntarily accepted to give their lives to save them from famine. -
Saint Demetrios of Thessaloniki
Master of Philosophy Faculty of Arts University of Glasgow Saint Demetrios of Thessaloniki By Lena Kousouros Christie's Education London Master's Programme September 2000 ProQuest Number: 13818861 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818861 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 ^ v r r ARV- ^ [2,5 2 . 0 A b stract This thesis intends to explore the various forms the representations of Saint Demetrios took, in Thessaloniki and throughout Byzantium. The study of the image of Saint Demetrios is an endeavour of considerable length, consisting of numerous aspects. A constant issue running throughout the body of the project is the function of Saint Demetrios as patron Saint of Thessaloniki and his ever present protective image. The first paper of the thesis will focus on the transformation of the Saint’s image from courtly figure to military warrior. Links between the main text concerning Saint Demetrios, The Miracles, and the artefacts will be made and the transformation of his image will be observed on a multitude of media. -
Historic Costuming Presented by Jill Harrison
Historic Southern Indiana Interpretation Workshop, March 2-4, 1998 Historic Costuming Presented By Jill Harrison IMPRESSIONS Each of us makes an impression before ever saying a word. We size up visitors all the time, anticipating behavior from their age, clothing, and demeanor. What do they think of interpreters, disguised as we are in the threads of another time? While stressing the importance of historically accurate costuming (outfits) and accoutrements for first- person interpreters, there are many reasons compromises are made - perhaps a tight budget or lack of skilled construction personnel. Items such as shoes and eyeglasses are usually a sticking point when assembling a truly accurate outfit. It has been suggested that when visitors spot inaccurate details, interpreter credibility is downgraded and visitors launch into a frame of mind to find other inaccuracies. This may be true of visitors who are historical reenactors, buffs, or other interpreters. Most visitors, though, lack the heightened awareness to recognize the difference between authentic period detailing and the less-than-perfect substitutions. But everyone will notice a wristwatch, sunglasses, or tennis shoes. We have a responsibility to the public not to misrepresent the past; otherwise we are not preserving history but instead creating our own fiction and calling it the truth. Realistically, the appearance of the interpreter, our information base, our techniques, and our environment all affect the first-person experience. Historically accurate costuming perfection is laudable and reinforces academic credence. The minute details can be a springboard to important educational concepts; but the outfit is not the linchpin on which successful interpretation hangs. -
THE CLOISTERS ARCHIVES Collection No. 43 the Harry Bober
THE CLOISTERS ARCHIVES Collection No. 43 The Harry Bober Papers Processed 1995, 2013 The Cloisters Library The Metropolitan Museum of Art Ft. Tryon Park 99 Margaret Corbin Dr. New York, NY 10040 (212) 396-5365 [email protected] 0 TABLE OF CONTENTS PREFACE…….…………………………………………..……………….….…………………2 ADMINISTRATIVE INFORMATION…….……………….………….………………….……3 HARRY BOBER TIME LINE…….…………………………………………………….………4 HARRY BOBER BIBLIOGRAPHY…….…………………………………..…………….……5 SCOPE AND CONTENT NOTE…….………………………………………….………..……..8 SERIES DESCRIPTIONS…….………………………………………………………….…….10 CONTAINER LISTS Series I. Card Files…………….……………………………………………..……..13-30 Series II. Research Files………….……………………………………...…………31- 72 Series III. Publications ………….…………………………………………….…..73 Series IV. Slides………….……………………………………………..….………..74-77 Series V. Glass Plate Negatives………….…………………………………….………..78 Series VI. Negative Films………….………………………………………..………79-81 Series VII. Oversize Material………….……………………………….....……....…82-83 Series VIII. 1974 Messenger Lectures, Recordings (tapes and CDs) …………....…..…84 1 PREFACE In 1991, the papers of Harry Bober were donated to the Metropolitan Museum of Art by his sons, David and Jonathan Bober. The collection was delivered to the Medieval Department of the museum, where it was housed until its transfer to The Cloisters Archives during the summer of 1993. Funding for the first year of a two-year processing project was provided through the generosity of Shelby White and Leon Levy. The first year of the project to process the Harry Bober Papers began in August of 1994 and ended in August of 1995, conducted by Associate Archivist Elaine M. Stomber. Tasks completed within the first year included: rehousing the collection within appropriate archival folders and boxing systems; transferring original folder titles to new folders; conservation repair work to the deteriorating card file system; creating a container list to Bober's original filing system; transferring published material from research files; and preparing a preliminary finding aid to the collection. -
879-5500 Schedule of Exhibitions
The Metropolitan Museum of Art 82nd Street and Fifth Avenue New York, New York 10028 (212)879-5500 Schedule of Exhibitions - December 1982 NEW EXHIBITIONS Dec. 3 Opening of the Living Room from the Francis Little House (Permanent Designed by Frank Lloyd Wright installation) Installation of the living room from the house Frank Lloyd Wright designed for Francis Little in Wayzata, Minn., acquir ed by the Metropolitan when the house was torn down in 19 72. Room will be installed with much of its original furniture designed by Wright. The installation is made possible through the generosity of Saul P. Steinberg and Reliance Group Holdings, Inc. (In The American Wing) Dec. 3 (Through Feb. 27) Frank Lloyd Wright at the Metropolitan Museum An exhibition of about 100 objects from the Museum's collec tion of Frank Lloyd Wright material: architectural drawings, furniture, antique photographs, ceramics, engravings, fragments and graphics. Exhibition is made possible through the generos ity of Saul P. Steinberg and Reliance Group Holdings, Inc. (In The American Wing; galleries adjacent to Francis Little Eoom installation) Dec. 3 Installation of the Museum's Annual Christmas Tree and Baroque (Through Jan. 9) Creche Display Nineteenth consecutive annual display of the Museum's famous Christmas tree and collection of 200 18th-century Baroque Neapolitan creche figures presented to the Museum by Loretta Hines Howard in 1964. The installation is made possible by Reliance Group Holdings, Inc. (In the Medieval Sculpture Court, main floor) Dec. 7 Annual Christmas Display at The Cloisters (Through Jan. 9) At Christmas each year the whole of The Cloisters becomes suffused with holiday fragrances, flowers, candlelight and music. -
Painted Wood: History and Conservation
PART FOUR Investigations and Treatment 278 Monochromy, Polychromy, and Authenticity The Cloisters’ Standing Bishop Attributed to Tilman Riemenschneider Michele D. Marincola and Jack Soultanian 1975, Standing Bishop was acquired for The Cloisters collection, the Metropolitan Museum of IArt, New York. This piece—considered at purchase to be a mature work of Tilman Riemenschneider (ca. 1460–1531), a leading German mas- ter of Late Gothic sculpture—was intended to complement early works by the artist already in the collection. The sculpture (Fig. 1) is indisputably in the style of Riemenschneider; furthermore, its provenance (established to before 1907) includes the renowned Munich collection of Julius Böhler.1 The Standing Bishop was accepted as an autograph work by the great Riemenschneider scholar Justus Bier (1956), who was reversing his earlier opinion. It has been compared stylistically to a number of works by Riemenschneider from about 1505–10. In the 1970s, a research project was begun by art historians and conservators in Germany to establish the chronology and authorship of a group of sculptures thought to be early works of Riemenschneider. The Cloisters’ sculptures, including the Standing Bishop, were examined as part of the project, and cross sections were sent to Munich for analysis by Hermann Kühn. This research project resulted in an exhibition of the early work of Riemenschneider in Würzburg in 1981; The Cloisters sent two sculptures from its collection, but the loan of the Standing Bishop was not requested. Certain stylistic anomalies of the figure, as well as several Figure 1 technical peculiarities discussed below, contributed to the increasing suspi- Standing Bishop, attributed to Tilman cion that it was not of the period. -
A.C. DOYLE • 1859: He Was Born to an Affluent, Strict Irish-Catholic Family in Edinburgh, the Second of Charles Altamont and Mary Foley Doyle’S Ten Children
Scottish physician and writer, most noted for his stories about the detective Sherlock Holmes which are generally considered a major innovation in the field of crime fiction, as The Hound of the Baskervilles (1901). His works include science fiction stories, historical novels, plays and romances, poetry, and non-fiction. SECTION SUMMARY A.C. DOYLE • 1859: he was born to an affluent, strict Irish-Catholic family in Edinburgh, the second of Charles Altamont and Mary Foley Doyle’s ten children. Although his family was well-respected in the art world, his father, Charles, who was a life-long alcoholic, had accomplished very little. His mother, Mary, was a lively and well-educated woman who loved to read. She particularly delighted in telling her young son outlandish stories. Her enthusiasm and animation while spinning her wild tales sparked Doyle’s imagination. • 1868: he was sent to England to attend a Jesuit school and two years later he went on to study at Stonyhurst College. A.C. DOYLE His boarding-school experience was brutal: many of his classmates bullied him, and the school practiced ruthless corporal punishment against its students. Over time, Doyle found solace in his flair for storytelling and developed an eager audience of younger students. • 1876-1881: he studied medicine at Edinburgh University, one of the most highly regarded medical schools of the time. It was there that he met Dr. Joseph Bell, the inspiration for the character of Sherlock Holmes. He also had the good fortune to meet classmates and future fellow authors James Barrie and Robert Louis Stevenson and he began to write short stories. -
Identifying Textile Types and Weaves 1750-1950 DATS in Partnership with the V&A
Identifying Textile Types and Weaves 1750-1950 DATS in partnership with the V&A DATS DRESS AND TEXTILE SPECIALISTS 1 Identifying Textile Types and Weaves 1750-1950 Text copyright © DATS, 2007 Image copyrights as specified in each section. This information pack has been produced to accompany a one-day workshop of the same name taught by Sue Kerry and held at Birmingham Museum and Art Gallery Collections Centre on 29th November 2007. The workshop is one of three produced in collaboration between DATS and the V&A, funded by the Renaissance Subject Specialist Network Implementation Grant Programme, administered by the MLA. The purpose of the workshops is to enable participants to improve the documentation and interpretation of collections and make them accessible to the widest audience. Participants will have the chance to study objects at first hand to help increase their confidence in identifying textile materials and techniques. This information pack is intended as a means of sharing the knowledge communicated in the workshops with colleagues and the public. Other workshops / information packs in the series: Identifying Printed Textiles in Dress 1740 -1890 Identifying Handmade and Machine Lace Front Cover - English silk tissue, 1875, Spitalfields. T.147-1972 , Image © V&A Images / Victoria and Albert Museum 2 Identifying Textile Types and Weaves Contents Page 2. List of Illustrations 1 3. Introduction and identification checklist 3 4. Identifying Textile Types - Fibres and Yarns 4 5. Weaving and Woven Cloth Historical Framework - Looms 8 6. Identifying Basic Weave Structures – Plain Cloths 12 7. Identifying Basic Weave Structures – Figured / Ornate Cloths 17 8. -
A Dictionary of Men's Wear Works by Mr Baker
LIBRARY v A Dictionary of Men's Wear Works by Mr Baker A Dictionary of Men's Wear (This present book) Cloth $2.50, Half Morocco $3.50 A Dictionary of Engraving A handy manual for those who buy or print pictures and printing plates made by the modern processes. Small, handy volume, uncut, illustrated, decorated boards, 75c A Dictionary of Advertising In preparation A Dictionary of Men's Wear Embracing all the terms (so far as could be gathered) used in the men's wear trades expressiv of raw and =; finisht products and of various stages and items of production; selling terms; trade and popular slang and cant terms; and many other things curious, pertinent and impertinent; with an appendix con- taining sundry useful tables; the uniforms of "ancient and honorable" independent military companies of the U. S.; charts of correct dress, livery, and so forth. By William Henry Baker Author of "A Dictionary of Engraving" "A good dictionary is truly very interesting reading in spite of the man who declared that such an one changed the subject too often." —S William Beck CLEVELAND WILLIAM HENRY BAKER 1908 Copyright 1908 By William Henry Baker Cleveland O LIBRARY of CONGRESS Two Copies NOV 24 I SOB Copyright tntry _ OL^SS^tfU XXc, No. Press of The Britton Printing Co Cleveland tf- ?^ Dedication Conforming to custom this unconventional book is Dedicated to those most likely to be benefitted, i. e., to The 15000 or so Retail Clothiers The 15000 or so Custom Tailors The 1200 or so Clothing Manufacturers The 5000 or so Woolen and Cotton Mills The 22000 -
The Asse to the Harpe: Boethian Music in Chaucer
XI THE ASSE TO THE HARPE: BOETHIAN MUSIC IN CHAUCER ‘What! slombrestow as in a litargie? Or artow lik an asse to the harpe, That hereth sown whan men the strynges plye, But in his mynde of that no melodie May sinken hym to gladen, for that he So dul ys of his bestialite?’ Andarus, love’s preceptor, cries out these words in exasperation at the P love-lorn Troilus who has spurned his elegant rhetorical consolatio .1 The words are borrowed from Boethius’ Philosophia who had uttered them in a tone of similar exasperation: ‘Sentisne, inquit, haec atque animo illabuntur tuo an ὄνος λυρας?’ she says after having sung to him Metrum 4, ‘Quisquis composito serenus aevo’. Chaucer translated this passage: ‘Felistow’, quod sche, ‘thise thynges, and entren thei aught in thy corage? Artow like an asse to the harpe?’ 2 In Troilus and Criseyde , probably written while Chaucer was translating Boece (see ‘Chaucer’s Wordes unto Adam, His Owne Scriveyn’), 3 Chaucer carried the asinus ad liram topos further than did Boethius. He has it jangle even more discordantly in Pandarus’ mouth – the advocate of lust – being wrenched out of context by Chaucer’s Pandarus from Boethius’ Philosophia. Pandarus is the schoolmaster of lust while Philosophia is the schoolmistress of reason. Though one apes the other, yet they are diametrically opposed. Besides the rhetorical topos of the Ass to the Harpe there is also an extensive iconographic use of the harp-playing ass. An inlay on the soundbox of a sacred harp from Ur, circa 2600 B.C., shows an ass playing a lyre with other figures. -
Sir John Hawkwood (L'acuto) Story of a Condottiere; Translated from The
SIR JOHN HAWKWOOD. Only Five hundred copies have been printed of " " Sir John Hawkwood, one hundred reserved for presentation to the Public Libraries, the Press, and Friends and hundred , Four numbered copies for the Public of which this is N 5. \IHIh JMVSIAOtAETAIfc SIR JOHN HAWKWOOD (V ACUTO). STORY OF A CONDOTTIERE TRANSLATED FROM THE ITALIAN OF JOHN TEMPLE-LEADER, ESQ. & SIG. GIUSEPPE MARCOTT1 BY LEADKR SCOTT. Bonbon, T. FISHEE UNWIN 26, PATERNOSTER SQUARE. 1889. [All rights reserved.} ^. FLORENCE : PRINTED BY . BARBERA, VIA FAENZA, 66. H4-L4- PREFACE. Alius alio jdttra incenire potest, nemo ontnia. Ausomus. The history of the mercenary companies in Italy no longer re- mains to be told it been in 1844 Ercole Ricotti ; having published by ; however, several successive monographs on the same subject have produced such a wealth of information from new sources that Ri- cotti's work, estimable as it is, almost requires to be rewritten. The Archlvio Storico Italiano has already recognised this by dedicat- ing an entire volume to Documents for the history of Italian ivarfare, from the 13"1 to the 16"1 centuries collected by Giuseppe Canestrini. These are of but even all great importance ; taking into account we owe to them, and to all that later historical researches have brought to light, the theme is not yet exhausted : truth is like happiness, and though as we approach we see it shining more intensely, and becom- ing clearer in outline, yet we can never feel, that we have obtained full possession of it. One of the most celebrated condottieri