E-KİTAP PROJESİ & CHEAPEST BOOKS

THE history, the features, and the most famous examples of European architecture, during a period extending from the rise of the Gothic, or pointed, style in the twelfth century to the general depression which overtook the Renaissance style at the close of the eighteenth, form the subject of this little volume. I have endeavoured to adopt as free and simple a mode of treatment as is compatible with the accurate statement of at least the outlines of so very technical a subject.

A few lines will suffice to explain why we have compiled the present volume, to what wants it responds, and what its sphere of usefulness may possibly embrace.

In our teaching of plastic anatomy, especially at the École des Beaux-Arts—where, for the past nine years, we have had the very great honour of supplementing the teaching of our distinguished master

Pour bien comprendre la portée de l'intervention et de l'influence de l'œuvre de Delacroix dans l'école française, il est nécessaire de se rappeler la situation exacte de la peinture au moment où il parut.

When his cartoons began to reach America toward the end of 1916 this country was neutral. It is with peculiar satisfaction, therefore, that I base this brief foreword upon press extracts published prior to America’s participation in the war. If it were possible to discover today an individual who was entirely ignorant as to the causes and conduct of the war, he would, after an inspection of a hundred or more of these cartoons, probably utter his conviction somewhat as follows:
“I do not believe that these drawings have the slightest relation to the truth; I do not believe that it is possible for such things to happen in the twenti-eth century.”

It is fair to characterise the three suites of original water-colour drawings, as executed by our artist, as unique examples of the great George Cruikshank's special individual proficiency as an exponent of this branch of technical dexterity. 

The Commission nominated by Your Excellency to give its opinion upon the method of Madame Cave, and upon the question as to whether that method can be introduced into the schools, has the honor of presenting to Your Excellency the results of the examination that it has made.

In this extented version of the Durer Art & Life Book, Preface as thoroughly versed in all matters connected with Durer and his art, acting as the author's friend, and so to say his representative, has been kind enough to read through the proof-sheets of the translation, and make some very valuable suggestions and amendments.
All the illustrations contained in the German edition, including the initial letters and tail-pieces, have been inserted, and a few others added. Especial care has been taken to render the Index worthy of so important a work.
In addition to the General Index, a special one has been prepared in which, under separate headings, will be found lists of all Dürer's pictures, water-colours, drawings, engravings, woodcuts, writings, and miscellaneous productions described or referred to in the course of the following pages.
No exhaustive and critical account of the life and works of Albert Durer has hitherto been placed before the English reading public.

"SKETCHES BY SEYMOUR" was published in various versions about 1836. The copy used for this Edition has no date and was published by Thomas Fry, London. Some of the 90 plates note only Seymour's name, many are inscribed "Engravings by H. Wallis from sketches by Seymour." The printed book appears to be a compilation of five smaller volumes. From the confused chapter titles the reader may well suspect the printer mixed up the order of the chapters.
The complete book in this paperback edition is split into five smaller Volumes “The individual volumes are of more manageable size than the 90 Chapter” complete version.

Leonardo's views of aesthetic are all important in his philosophy of life and art. The worker's thoughts on his craft are always of interest. They are doubly so when there is in them no trace of literary self-consciousness to blemish their expression. He recorded these thoughts at the instant of their birth, for a constant habit of observation and analysis had early developed with him into a second nature. His ideas were penned in the same fragmentary way as they presented themselves to his mind, perhaps with no intention of publishing them to the world. But his ideal of art depended intimately, none the less, on the system he had thrown out seemingly in so haphazard a manner.

(A Complete Treatise on the Principle and Technique Necessary to the Painting)

Books of instruction in the practice of painting have rarely been successful. Chiefly because they have been too narrow in their point of view, and have dealt more with recipes than with principles. It is not possible to give any one manner of painting that shall be right for all men and all subjects. To say "do thus and so" will not teach any one to paint. But there are certain principles which underlie all painting, and all schools of painting; and to state clearly the most important of these will surely be helpful, and may accomplish something.