Woman and Snake

Mixed Media 39 x 42"

Man and Swan

Mixed Media 40 x 51"

Catalogue of a collection of pictures, including examples of the works of the brothers Le Nain, and other works of art.

"Suggested classification of the works of the brothers Le Nain," signed R. C. W. [i.e. Robert C. Witt]: p. 7-20.

The royal collection of paintings at Buckingham Palace and Windsor Castle : [180] photogravures, with an introduction and descriptive text by Lionel Cust /

Plates accompanied by guard sheets with descriptive letterpress.

Catalogue of a collection of pictures of the Umbrian school and other works of art /

Exhibition catalog.

Catalogue of pictures by masters of the Milanese and allied schools of Lombardy exhibited May, June and July, 1898.

Mode of access: Internet.

Catalogue of an exhibition of early English portraits and landscapes lent

Lettered on cover: Founder's day exhibition, MCMXVII.

Criticisms on art: and sketches of the picture galleries of England.

Criticisms on the picture galleries of England.--On Hogarths̓ Marriage à-la-mode.--On the fine arts.--On the Elgin marbles.--Fonthill abbey.--On Flaxmans̓ lectures on sculpture.--Appendix: Catalogue of pictures in the National gallery [etc., etc.]

Italian renaissance sculpture.

Mode of access: Internet.

Whistler, and others /

"The first, third, tenth and fifteenth chapters in the present volume have seen the light already in ʻthe Nineteenth century'; the ninth is re-arranged from ʻthe Anglo-Saxon review'; and the sixteenth reprinted from ʻthe Magazine of fine arts' ... Certain of the remarks in other portions of this book were first made in the ʻStandard'."--Note.

Whistler, and others,

"The first, third, tenth and fifteenth chapters in the present volume have seen the light already in 'the Nineteenth century'; the ninth is re-arranged from 'the Anglo-Saxon review'; and the sixteenth reprinted from 'the Magazine of fine arts' ... Certain of the remarks in other portions of this book were first made in the 'Standard.'"--Note.

The effects of Chinese painting appreciation education on the artistic achievement of junior high school students in Taiwan

For the Chinese, fine art is one of the most important items in human life. The goals of fine arts education enhance the student so that s/he can make reasonable judgments about work, gain knowledge of color and understand the process of designing environmental layouts. Related technique and creativity training are offered students in accordance with individual differences and social expectations.^ Traditionally, Taiwan's junior high school fine art program teaches mainly painting technique. The Ministry of Education in Taiwan determines the curriculum of junior high school fine art education. The purpose of this study was to determine the effects of teaching Chinese painting appreciation on the artistic achievements of junior high school students in Taiwan. The subjects were seventh grade students who had never learned Chinese painting before. Two classes were randomly chosen from each target school and were designated as the experimental or control group. Instruction in all groups was delivered by the researcher himself. At the end of the study, data about subjects' related knowledge, creative technique, and feeling toward Chinese painting were systematically collected and analyzed.^ The result of the study was that students in the experimental group were more motivated to learn Chinese painting than were the students in the control group. Students in the experimental group made better progress in the development of creative skill, had better critical ability, and demonstrated better performance in Chinese painting form, set up, stroke and color of related knowledge than did students in the control group. It was therefore concluded that Chinese painting appreciation education can promote better artistic achievement and that this approach should be used in other areas of art education. ^

Tullich Aberdeenshire : a reappraisal of an early ecclesiastical site and its carved stones in the light of recent excavations

ACKNOWLEDGEMENTS The authors would like to thank Bruce Mann of Aberdeenshire Council Archaeology Service for his support throughout and for funding Area F and Historic Scotland for granting SMC for the excavation of Area A. Thanks are due to the tenant farmer Allan Adams and to Helen Rickwood, Jan Dunbar, Colin Mitchell, Sheila Young, Emma Gibson, Veronica Ross, Irvine Ross, Brian Dewar and Sheila Duthie for their work on site. We are grateful to Ian Cameron for help in gathering oral history of some of the crosses found in the 1950s/60s. John Borland, Katherine Forsyth, Simon Taylor and Ross Trench-Jellicoe have provided valuable comments on the sculpture. We would like to thank Invercauld Estate for access to their archive and permission to photograph and reproduce the Scroll Plan, and their honorary archivist, Sheila Sedgwick for her help and patience. We are grateful to Nigel Trewin for identification of the geology of the crosses. The drawings of Tullich 16 and 17 are by Jan Dunbar.