Highly Important Library of the Late George Daniel, Esq
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Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
THE INDUSTRY's VOICE Slamkatie Seashole Pressly Softball Stadium
January / February 2021 Vol. 12 No.1 THE INDUSTRY’S VOICE Grand Katie Seashole Pressly Slam Softball Stadium University of Florida +More Hospitality & Entertainment Projects Î BUSINESS SENSE Coping With the Labor Shortage Î CONSTRUCTION LAW Updating Your Employee Manuals Î THE HUTCHINSON FILES Resilient Single-Ply Systems for Hot Climates JORNS SCHECHTL SCHLEBACH KRASSER Designing Engineering Manufacturing Assembling Selling Shipping Installing Training Supporting Servicing BOECKELT TOWER MET-IQ SCHROEDER SCHROEDER MET-IQ BOECKELT TOWER 7 manufacturers. 600 people strong. Over 8000 machines installed. MetalForming. The #1 provider of architectural and construction sheet metal machinery in North America. Ad Name Contact us at 770.631.0002 and visit metalforming-usa.com for the complete story. KRASSER SCHLEBACH SCHECHTL JORNS Ad Name Roofing Contractor-Technical-ADESO-A.indd 1 12/15/20 8:37 AM evolving through INNOVATION Ad Name Tomorrow’s Ideas in Your Hands Today Labor saving benefits and long-term warranty protection from the pioneers of self-adhered roof membranes. Polyglass ADESO® Dual-Compound Self-Adhered Technology continues to evolve, providing an immediate watertight assembly that installs safe and fast. Imagine what’s next! Polyglass.us/ADESO polyglass.us Roofing Contractor-Technical-ADESO-A.indd 1 12/15/20 8:37 AM Ad Name JANUARY / FEBRUARY 2021 | VOL. 12 NO. 1 FEATURES 46 | THE HUTCHINSON FILES 70 | STUNNING LAKE VIEWS Designing resilient single-ply systems in hot Bay Harbor Yacht Club’s patio plaza climates. gets a classy upgrade. 54 | MISSION-CRITICAL ROOFS 72 | FLAWLESS EXECUTION The role of cellular glass insulation in high-profile Quality workmanship ensures top applications. -
The Order of Authors: Degrees of 'Popularity' and 'Fame' in John Clare's Writing
The Order of Authors: Degrees of ‘Popularity’ and ‘Fame’ in John Clare’s Writing ADAM WHITE Abstract: This essay analyses Clare’s essay ‘Popularity in Authorship’, arguing that the work can be seen as a central statement in Clare’s recurrent concern with poetic fame and authorial reputation. By connecting ‘Popularity in Authorship’ with Clare’s sonnets on his Romantic contemporaries (Robert Bloomfield and Lord Byron), the essay contends that Clare’s complex understanding of ‘popular’ and ‘common’ notions of fame helps to bring into focus a distinctive contribution to debates about how authors were received by different audiences in the period. Contributor: Adam White currently teaches in English and American Studies at the University of Manchester, where he obtained his PhD. He has published a number of essays on Romantic poetry, most recently on Robert Burns and John Clare. In 2012 his essay on Leigh Hunt, John Keats, John Hamilton Reynolds, and John Clare was awarded second prize in the Keats-Shelley Memorial Association competition. For The Literary Encyclopedia he has written entries on Lord Byron, John Keats, the Brontë sisters, Charles Dickens, and Thomas Hardy. In a letter of 29 August 1828 to Thomas Pringle,1 John Clare states that ‘I would sooner be the Author of Tam o shanter then of the Iliad & Odyssey of Homer’ (Storey 437).2 It is intriguing that Clare should voice a bold preference for being the author of ‘Tam o’ Shanter’ given that earlier in his career he had in fact been called ‘a second [Robert] Burns’ (Storey 105) after the instant success of his first volume, Poems Descriptive of Rural Life and Scenery (1820). -
ROBERT BURNS and PASTORAL This Page Intentionally Left Blank Robert Burns and Pastoral
ROBERT BURNS AND PASTORAL This page intentionally left blank Robert Burns and Pastoral Poetry and Improvement in Late Eighteenth-Century Scotland NIGEL LEASK 1 3 Great Clarendon Street, Oxford OX26DP Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offices in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Thailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York # Nigel Leask 2010 The moral rights of the author have been asserted Database right Oxford University Press (maker) First published 2010 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above You must not circulate this book in any other binding or cover and you must impose the same condition on any acquirer British Library Cataloguing in Publication Data Data available Library of Congress Cataloging in Publication Data Data available Typeset by SPI Publisher Services, Pondicherry, India Printed in Great Britain on acid-free paper by MPG Books Group, Bodmin and King’s Lynn ISBN 978–0–19–957261–8 13579108642 In Memory of Joseph Macleod (1903–84), poet and broadcaster This page intentionally left blank Acknowledgements This book has been of long gestation. -
Getting to Know George Washington
getting to know A view of the completed figure of the 19-year-old Washington. George WashingtonBy Jeffrey H. Schwartz n the spring of 2003, I found myself learning more Iabout our country’s first president and 18th century art, clothing, and dentistry than I ever dreamed likely. But there I was one day in April, sitting with Laura Fisher, executive director of French and Indian War 250, who was asking me if Figure 1. Bust of George Washington. I thought I could reconstruct a life-like replica of Images courtesy of Jeffrey H. Schwartz. George Washington in 1754. 52 WESTERN PENNSYLVANIA HISTORY | SPRING 2010 WESTERN PENNSYLVANIA HISTORY | SPRING 2010 53 A view of the completed figure of the 45-year-old That would be when he was 22 years old, a course I said I would take on the project, not hairline) and produced a terracotta bust— Washington on his horse Blueskin. junior officer in the English militia stationed in only because it meant reconstructing George the face of which, I later figured out, must Western Pennsylvania. I had been working for Washington but also because it would the have been a replica of the life mask. He also some 20 years as the forensic anthropologist first time anyone tried to de-age an individual took body measurements for a marble statue with the Coroner’s (now Medical Examiner’s) without the aid of photographs and image- (Figure 1) that he sculpted upon his return Office of Allegheny County, which is how manipulating computer software. Only after to Paris that is so detailed one can see seams Laura found me. -
Royall Tyler, the Contrast
Royall Tyler, The Contrast Tyler, Royall . The Contrast: A Comedy Electronic Text Center, University of Virginia Library About the electronic version The Contrast: A Comedy Tyler, Royall Creation of machine-readable version: Judy Boss Creation of digital images: Greg Murray, Electronic Text Center Conversion to TEI.2-conformant markup: University of Virginia Library Electronic Text Center. ca. 190 kilobytes This version available from the University of Virginia Library Charlottesville, Virginia Publicly-accessible 1998 Note: This electronic text was created from a 1970 reprint (of an edition published in 1887) published by Burt Franklin, New York. However, the electronic text was checked against the 1887 edition published by The Dunlap Society, New York. Digital images accompanying the etext are from this 1887 Dunlap Society edition. The following errors in the print source have been corrected in this electronic version: p.xi, n.1, item 3: Tragedy”] Tragedy’; p.xxxv: Hugh Sherwood Esq.] Hugh Sherwood, Esq.; p.xxxvii: Hamilton Young, Esq., New York.] Hamilton Young, Esq., New-York.; p.57: I for what?] I; for what?; p.64: a happy people] a happy people.; p.74: most be very stupid] must be very stupid About the print version The Contrast: A Comedy Royall Tyler Introduction by Thomas J. McKee Burt Franklin New York 1970 BURT FRANKLIN: RESEARCH & SOURCE WORKS SERIES 573; Theatre & Drama Series 12 Prepared for the University of Virginia Library Electronic Text Center. Some keywords in the header are a local Electronic Text Center scheme to aid in establishing analytical groupings. Published: 1787 English fiction drama masculine LCSH unknown illustration 24- bit, 400 dpi Revisions to the electronic version April 1998 corrector Greg Murray, Electronic Text CenterAdded TEI header and tags. -
Diprose's Theatrical Anecdotes
^ :> Digitized by the Internet Archive in 2007 with funding from IVIicrosoft Corporation http://www.archive.org/details/diprosestheatricOOdipruoft ^DIP ROSE'S theatrical anecdotes' CONTAINING ANECDOTES OF THE SCENES-OLD iIIE STAGE AND THE PLAYERS-BEHIND PLACES OF AMUSEMENT-THEATRICAL JOTTINGS- == MUSIC-AUTHORS-EPITAPHS, &c., &c. London : DIPROSE & BATEMAN, Sheffield Street, Lincoln's Inn Fields. : LONDON DIPROSE, BATEMAN AND CO., PRINTEUS, SHEFFIELD STREET, LINCOLN'S INN, THE STAGE I AND THE PLAYERS BY JOHN DIPROSE. ^ THE ORIGIN OF THE STAGE. -:o:- HE first religious spectacle was, probably, the miracle play of St Catherine^ mentioned by Matthew Paris as having been written by Geoffrey, a Norman, afterwards Abbot of St. Albans, and played at Dunstable Abbey in mo. In the Description of the Most Noble City of London^ by Fitz Stephen, a monk, about 1174, in treating of the ordinary diversions of the inhabitants of the metropolis, says, that, instead of the common interludes belonging to theatres, they have plays of a more holy subject. The ancient religious dramas were distinguished by the names Origin of the Stage. of mysteries, properly so called, wherein were exhibited some of the events of Scripture story, and miracles which were of the nature of tragedy, representing the acts of Martyrdom of a Saint of the Church. One of the oldest religious dramas was written by Gregory, entitled Christ's Passion, the prologue to which states that the Virgin Mary was then for the first time brought upon the stage. In 1264, the Fraternite del Goufal'one Avas established, part of whose occupation was to represent the sufferings of Christ in Passion Week. -
Season of 1703-04 (Including the Summer Season of 1704), the Drury Lane Company Mounted 64 Mainpieces and One Medley on a Total of 177 Nights
Season of 1703-1704 n the surface, this was a very quiet season. Tugging and hauling occur- O red behind the scenes, but the two companies coexisted quite politely for most of the year until a sour prologue exchange occurred in July. Our records for Drury Lane are virtually complete. They are much less so for Lincoln’s Inn Fields, which advertised almost not at all until 18 January 1704. At that time someone clearly made a decision to emulate Drury Lane’s policy of ad- vertising in London’s one daily paper. Neither this season nor the next did the LIF/Queen’s company advertise every day, but the ads become regular enough that we start to get a reasonable idea of their repertory. Both com- panies apparently permitted a lot of actor benefits during the autumn—pro- bably a sign of scanty receipts and short-paid salaries. Throughout the season advertisements make plain that both companies relied heavily on entr’acte song and dance to pull in an audience. Newspaper bills almost always mention singing and dancing, sometimes specifying the items in considerable detail, whereas casts are never advertised. Occasionally one or two performers will be featured, but at this date the cast seems not to have been conceived as the basic draw. Or perhaps the managers were merely economizing, treating newspaper advertisements as the equivalent of handbills rather than “Great Bills.” The importance of music to the public at this time is also evident in the numerous concerts of various sorts on offer, and in the founding of The Monthly Mask of Vocal Musick, a periodical devoted to printing new songs, including some from the theatre.1 One of the most interesting developments of this season is a ten-concert series generally advertised as “The Subscription Musick.” So far as we are aware, it has attracted no scholarly commentary whatever, but it may well be the first series of its kind in the history of music in London. -
Jane Milling
ORE Open Research Exeter TITLE ‘“For Without Vanity I’m Better Known”: Restoration Actors and Metatheatre on the London Stage.’ AUTHORS Milling, Jane JOURNAL Theatre Survey DEPOSITED IN ORE 18 March 2013 This version available at http://hdl.handle.net/10036/4491 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Theatre Survey 52:1 (May 2011) # American Society for Theatre Research 2011 doi:10.1017/S0040557411000068 Jane Milling “FOR WITHOUT VANITY,I’M BETTER KNOWN”: RESTORATION ACTORS AND METATHEATRE ON THE LONDON STAGE Prologue, To the Duke of Lerma, Spoken by Mrs. Ellen[Nell], and Mrs. Nepp. NEPP: How, Mrs. Ellen, not dress’d yet, and all the Play ready to begin? EL[LEN]: Not so near ready to begin as you think for. NEPP: Why, what’s the matter? ELLEN: The Poet, and the Company are wrangling within. NEPP: About what? ELLEN: A prologue. NEPP: Why, Is’t an ill one? NELL[ELLEN]: Two to one, but it had been so if he had writ any; but the Conscious Poet with much modesty, and very Civilly and Sillily—has writ none.... NEPP: What shall we do then? ’Slife let’s be bold, And speak a Prologue— NELL[ELLEN]: —No, no let us Scold.1 When Samuel Pepys heard Nell Gwyn2 and Elizabeth Knipp3 deliver the prologue to Robert Howard’s The Duke of Lerma, he recorded the experience in his diary: “Knepp and Nell spoke the prologue most excellently, especially Knepp, who spoke beyond any creature I ever heard.”4 By 20 February 1668, when Pepys noted his thoughts, he had known Knipp personally for two years, much to the chagrin of his wife. -
Approved Z ATTENDANCE and PROGRESS L1aotors in TEST NORMS
ATTEEJDANCE ATID PRWREE9 F'ACTgIIS IN TEST NORMS Approved z ATTENDANCE AND PROGRESS l1AOTORS IN TEST NORMS TlillSIS Px-es&ntedtoi the Faculty of the Graduate School of Southwest TexaG State Teachers College in Partial Fulfillment of the Requirements For the Degree of MASTERIBASTER OFOP ARTS LIB~R-Y · Southwest Texas State Teachers Collem~ SUIl "forl'IIS. T ",:'118 ~ Rosa Commander~ B~ A. B~ad'Y "TaXf:\S . San Ma~eos" T&xaa August" 1937 ACKNOViLEDGMENTS TheThe writerwZCer gratefullyg~atefn%J=yacknowledgesacknowledges theasaistanee.the at~sfseancs andand cooperationco5p~srallEanofsf? the manym~ypersonaparsons whowho havebve mademade thiskPn3.s studys$udy possiblepossfble byby theirthe2r &ncouragementa~tandand criticismorftt;fc;iaa,.. ToTo Dr.Drc, DavldF.David F. VotawTotaw ofof SouthwestSauP.hwast TexasTerns stateSkate TeachersTeearthers College~CoTSege, Sa.nSari Marcos,Marooa, TexasTexas,~ whosewlloae 'suggestionaug@;ssEitonledXed to%a theths selectionaalaotiun ofof' thethe problamandgz~abZemrm and whosewho~eguidancegnidanaa andandi untiringufitfrhg ass1gta.nc$aasZ@tm~.eeasraa ChairmanChaLrn~;t;laof'UP thetlzs CommitteeCodt;i;ae was'moatwas moat helpful,Wlpful* the writer :tsespeaially indebted. Speoial a.cl!nowledgrnent is raade of the generous eoBperaaodparaQlontlon and and aId~'$4ofof Dr.Dr+ J..Jr L10ydLloyd RogersRogers ofof' thetk@ Edu'Mu* cationaatPun departmantanddega~trnenkand of'a2 P:rofessorPrafefmx?Gataa Gates TllOll1nS,'P~IOII~~S,DirectorP$rsctor" oraF the%her EnglishEhgl%skidepartment.,d@p~a~?W@n%, who"wh~, asas membersnernber~of09 thethe Com'"Corn- mittee"mlZ;%ee, spentspa% valuablevaLmibl@t:tmearld .t;%azs and en$~gy-8D49Pg3 inf n the%he eons1dera.t1on<tomidaratEr>n ofof eacheach (letailcletal2 of'of this%hds ma.nuscp1pt.~~lamacrdpt~ Fina11y,PinaXJy, the&he wr1ta~wpf tar wls116Sw2911e9 toto expressaxgrass app~eelationapp~acfa.t;%~ton fopror herher siate1?~s%stsr, MissP~Tlss ValareeTa3area COl'l'l11Jaooer,C'ommaMer, andalzd forPOT Mrs.TO& DixieD2JeS.e BarberBa~beranda& Mr. -
On History and Political Thought in Homer's Iliad, with a Focus on Books
Defining Politics: On History and Political Thought in Homer’s Iliad, With a Focus on Books 1-9 by Andrew M. Gross A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Political Science University of Toronto © Copyright by Andrew M. Gross 2017 Defining Politics: On History and Political Thought in Homer’s Iliad, With a Focus on Books 1-9 Andrew M. Gross Doctor of Philosophy Department of Political Science University of Toronto 2017 ii Abstract The Iliad is a work of great literary complexity that contains profound insights and a wide- ranging account of the human condition. Some of the most important recent scholarly work on the poem has also emphasized the political dimension of Homer’s account. In this dissertation, I aim to contribute to our understanding of the Iliad as a work of political thought. Focusing on books 1 through 9 of the Iliad, I will try to show how we can discover in it a consistent chronological or historical account, even though at many points that history is not presented in a linear way, in the poem itself. Through various references we are able to discern an historical account of the entire cosmic order. Homer focuses on the newly established Olympian gods and, therewith, their need to enforce the crucial separation between themselves and human beings: that is, between their own status as immortals, and our condition as mortals. Homer’s history of the Trojan War, in turn, conveys crucial lessons about politics and the human condition. The dissertation traces the history of the war as it emerged from a private struggle and developed into a public war. -
Prints Collection
Prints Collection: An Inventory of the Collection at the Harry Ransom Humanities Research Center Descriptive Summary Creator: Prints Collection Title: Prints Collection Dates: 1669-1906 (bulk 1775-1825) Extent: 54 document boxes, 7 oversize boxes (33.38 linear feet) Abstract: The collection consists of ca. 8,000 prints, the great majority of which depict British and American theatrical performers in character or in personal portraits. RLIN Record #: TXRC02-A1 Language: English. Access Open for research Administrative Information Provenance The Prints Collection was assembled by Theater Arts staff, primarily from the Messmore Kendall Collection which was acquired in 1958. Other sources were the Robert Downing and Albert Davis collections. Processed by Helen Baer and Antonio Alfau, 2000 Repository: Harry Ransom Humanities Research Center, University of Texas at Austin Prints Collection Scope and Contents The Prints Collection, 1669-1906 (bulk 1775-1825), consists of ca. 8,000 prints, the great majority of which depict British and American theatrical performers in character or in personal portraits. The collection is organized in three series: I. Individuals, 1669-1906 (58.25 boxes), II. Theatrical Prints, 1720-1891 (1.75 boxes), and III. Works of Art and Miscellany, 1827-82 (1 box), each arranged alphabetically by name or subject. The prints found in this collection were made by numerous processes and include lithographs, woodcuts, etchings, mezzotints, process prints, and line blocks; a small number of prints are hand-tinted. A number of the prints were cut out from books and periodicals such as The Illustrated London News, The Universal Magazine, La belle assemblée, Bell's British Theatre, and The Theatrical Inquisitor; others comprised sets of plates of dramatic figures such as those published by John Tallis and George Gebbie, or by the toy theater publishers Orlando Hodgson and William West.