Fifty pictures of Gothic altars,

Originally issued in 1910 as Alcuin club collection X, this volume is now republished by agreement with Alcuin club.

Essays on Gothic architecture :

Singatures: a[superscript 6] b[superscript 8], B-I[superscript 8] K[superscript 4](-K4) L[superscript 8] M[supercript 2], [superscript 2]K[superscript 6](-[superscript 2]K6) [superscript 2]L[superscript 6]; 12 leaves of plates.

A strand of vermicelli:Dr Darwin's part in the creation of Frankenstein's monster

Although much has been written about Mary Shelley's Frankenstein, the part played by Erasmus Darwin (1731-1802) has been almost entirely neglected. This is odd as, apart from some ghost stories, Dr Darwin is the one influence mentioned in both the 1816 and 1831 prefaces to the book. The present contribution aims to redress that omission. It aims to show that Darwin's ideas about spontaneous generation, his anti-establishment ideas, and his literary genius played a significant role in forming the 'dark and shapeless substance' surging in Mary Shelley's mind during the summer of 1816 and from which her tale of Gothic horror emerged. It is, however, ultimately ironic that Frankenstein, which warns against a too enthusiastic use of scientific knowledge, should have been partly inspired by one of the most optimistically forward-looking of all late eighteenth-century thinkers. © 2007 Institute of Materials, Minerals and Mining.

The manufacture and utilisation of architectural terracotta and faience.

The revival of terracotta and faience in British architecture was widespread, dramatic in its results and, for two decades, the subject of intense debate. However the materials have been frequently denigrated and more generally disregarded by both architects and historians. This study sets out to record and explain the rise and fall of interest in terracotta and faience, the extent and nature of the industry and the range of architectural usage in the Victorian, Edwardian and inter-war periods. The first two chapters record the faltering use of terracotta as an 'artificial stone', until the material gained its own identity, largely through the appreciation of Italian architecture. In the mid-Victorian period, terracotta will be seen to have become symbolic of the philosophy of the Victoria and Albert Museum and its Art School in attempting to reform both architecture and the decorative arts. The adoption of terracotta was furthered as much by industrial as aesthetic factors; three chapters examine how the exploitation of coal-measure clays, developments in the processes of manufacture, the changing motivation of industrialists and differing economics of production served to promote and then to hinder expansion and adaptation. The practical values of economy, durability and fire-resistance and the aesthetic potential, seen in terms of colour and decorative and sculptural modelling, became inter-related in the work of the architects who made extensive use of architectural ceramics. A correlation emerges between the free Gothic style, exemplified by the designs of Alfred Waterhouse and the use of red terracotta supplied from Ruabon, and between the eclectic Renaissance style and a buff material produced by different manufacturers.These patterns were modified as a result of the adoption of faience for facing external walls as well as interiors, and because of the new architectural requirements and tastes of the twentieth century. The general timidity in exploiting the scope for polychromatic decoration and the increasing opposition to architectural ceramics is contrasted with the most successful schemes produced for cinemas, chain-stores and factories. In the last chapter, those undertaken by the Hathern Station Brick and Terracotta Company between 1896 and 1939 are used as a case study; they confirm that manufacturers, architects and clients were all committed to creating a modern and yet decorative architecture, appropriate for new building types and that would appeal to and be comprehensible to the public.

Spain:countries of the world

Spain has been the home of some of the world's great artists and has museums and galleries to match. In the cities, narrow twisting old streets suddenly open up to views of the daring modern architecture, as a culture of old and new mix and mingle in the city's nightlife. There are endless tracts of wild and crinkled sierra to explore, as well as some spectacularly rugged stretches of coast. Culturally, the country is littered with superb old buildings, from Roman aqueducts to Gothic cathedrals, and almost every second village has a medieval castle. With more than 115 years exploring the globe with its writers, photographers, and research expeditions, "National Geographic" is uniquely positioned to introduce your readers to everything they need to know about the countries of the world.

Memory lineage of Ansúrez: the funerary monument in Gordaliza del Pino (León).

The discovery of the mural on the walls of the church of Santa Maria de Arbas of the town of Leon Gordaliza del Pino has been a revelation. The funerary monument called Knight Gordali-za addition to its artistic value , has a historical value that try to reflect in this study and that clears some questions about the his-tory of the kingdom of Leon, and specifically about the lineage of Ansúrez.

Between Memory and History : The Nineteenth Century in Jewelle Gomez’s Vampire Novel The Gilda Stories and the TV Series True Blood

This article examines two American vampire narratives that depict the perspective and memories of a main character who is turned into a vampire in the US in the nineteenth century: Jewelle Gomez’s novel The Gilda Stories (1991), and the first season of Alan Ball’s popular TV series True Blood (2008). In both narratives, the relationship between the past and the present, embodied by the main vampire character, is of utmost importance, but the two narratives use vampire conventions as well as representations of and references to the nineteenth century in different ways that comment on, revise, or reinscribe generic and socio-historical assumptions about race, gender, class, and sexuality.

Crime and prejudice: The influence of appearance on blame amongst perpetrators and victims

Stereotypes based on characteristics such as age, race, and gender influence opinions in a criminal context. Yet, to date research has largely assessed whether perpetrators, rather than victims, are judged differently. Furthermore, although facial features can be a source of unconscious bias, research has failed to assess whether perceptions based on facial features affect the criminal context. To better understand the relationship between stereotypic facial features and gender, and whether this varies across perpetrators and victims, participants were asked to answer questions about an aggravated assault scenario after viewing an image of a person described as the victim or the alleged perpetrator. Images varied in gender and in presence or absence of tattoos or gothic makeup. Participants sympathized with the victim regardless of gender, but discrepancies were stronger if the victim was female than male. Neutral and tattooed faces were judged more harshly than faces with gothic makeup, regardless of gender.

The Uncanny in the Themes of Evil, Transgression and the Double in Nathaniel Hawthorne's "Rappaccini's Daughter"

El propósito de este artículo consiste en explorar los mecanismos y representaciones de lo siniestro en "La hija de Rappacci" de Nathaniel Hawthome como expresión del mal dentro de los límites del género gótico del siglo XIX; como expresión del tema del doble en tres personajes humanos y en uno no humano que aparecen en el cuento; y como expresión de trasgresión en el personaje principal, Giovanni Guasconte. El concepto de lo siniestro que se usará será el de la teoría psicoanalítica, siguiendo especialmente los aportes de Sigmund Freud y Jacques Lacan. The purpose of this artide is to explore the mechanisms and representations of the uncanny in Nathaniel Hawthome's "Rappaccini's Daughter" as an expression of evil within nineteenth century Gothic boundaries; as an expression of the theme of the double in three human characters and in one non-human component of Rappaccini's garden; and as an expression of transgression in Giovanni Guasconte, the main character. The concept of the uncanny to be used will be that of psychoanalytic theory, especially reliant on the contributions on the topic by Sigmund Freud and Jacques Lacan.