Letter to John Kean, 8 December 1787

Letter to Kean, member of the Continental Congress, regarding the filing of a bill.

Letter to **** ****** [John Murray] on the Rev. W. L. Bowles' strictures on the life and writings of Pope /

Mode of access: Internet.

Nine discourses on baptism : viz. water baptism, John's baptism, Christian baptism, believer's baptism, infant baptism, believing parents and their children in covenant with God, being buried with Christ in baptism illustrated : to which is annexed, Mrs. Jackson's confession.

The first sermon is compiled from sermons by Nathan Perkins and Moses Hemmenway; the other sermons are by John Crane, Jedidiah Chapman, and Elijah Parish.

The works of Virgil, translated into English verse, by John Dryden ... An improved ed., containing many new and important corrections of the errors of former editions--the various readings from Dryden's revisal and ammendments--with occasional remarks and conjectural emendations by John Carey.

Mode of access: Internet.

The life and correspondence of John Foster:

Mode of access: Internet.

The life and correspondence of John Foster:

v. 1 has imprint: London, Bohn, 1861.

A memorial of John S. Kenyon. Proceedings of the Legislature of the state of New York and testimonials of friends.

Mode of access: Internet.

The new Hollywood, 1981–1999: special/visual effects

The emergence and development of digital imaging technologies and their impact on mainstream filmmaking is perhaps the most familiar special effects narrative associated with the years 1981-1999. This is in part because some of the questions raised by the rise of the digital still concern us now, but also because key milestone films showcasing advancements in digital imaging technologies appear in this period, including Tron (1982) and its computer generated image elements, the digital morphing in The Abyss (1989) and Terminator 2: Judgment Day (1991), computer animation in Jurassic Park (1993) and Toy Story (1995), digital extras in Titanic (1997), and ‘bullet time’ in The Matrix (1999). As a result it is tempting to characterize 1981-1999 as a ‘transitional period’ in which digital imaging processes grow in prominence and technical sophistication, and what we might call ‘analogue’ special effects processes correspondingly become less common. But such a narrative risks eliding the other practices that also shape effects sequences in this period. Indeed, the 1980s and 1990s are striking for the diverse range of effects practices in evidence in both big budget films and lower budget productions, and for the extent to which analogue practices persist independently of or alongside digital effects work in a range of production and genre contexts. The chapter seeks to document and celebrate this diversity and plurality, this sustaining of earlier traditions of effects practice alongside newer processes, this experimentation with materials and technologies old and new in the service of aesthetic aspirations alongside budgetary and technical constraints. The common characterization of the period as a series of rapid transformations in production workflows, practices and technologies will be interrogated in relation to the persistence of certain key figures as Douglas Trumbull, John Dykstra, and James Cameron, but also through a consideration of the contexts for and influences on creative decision-making. Comparative analyses of the processes used to articulate bodies, space and scale in effects sequences drawn from different generic sites of special effects work, including science fiction, fantasy, and horror, will provide a further frame for the chapter’s mapping of the commonalities and specificities, continuities and variations in effects practices across the period. In the process, the chapter seeks to reclaim analogue processes’ contribution both to moments of explicit spectacle, and to diegetic verisimilitude, in the decades most often associated with the digital’s ‘arrival’.

The Beauties of England and Wales; or, Delineations, topographical, historical, and descriptive, of each county.

For full contents note see NUC pre-1956 cited above.

The fairy queen : an opera /

Libretto perhaps by E. Settle--New Grove.

An abridgment of Ainsworth's dictionary, English and Latin, designed for the use of schools.

Mode of access: Internet.

Notices, historical and antiquarian of the castle and priory at Castleacre, in the county of Norfolk.

Mode of access: Internet.

The English parish church : an account of the chief building types & of their materials during nine centuries /

Mode of access: Internet.

The English lake district,

"Index map" on front lining-paper.