The history of ancient Greece, its colonies and conquests; from the earliest accounts till the division of the Macedonian empire in the East. Including the history of literature, philosophy, and the fine arts.

Mode of access: Internet.

Legends of the Madonna as represented in the fine arts.

Mode of access: Internet.

Legends of the Madonna as represented in the fine arts. Forming the third series of Sacred and legendary art.

Bound in marbled paper boards; leather shelfbacks and corners; marbled edges; decorated end papers.

Legends of the monastic orders, as represented in the fine arts.

Mode of access: Internet.

Southern literary messenger; devoted to every department of literature and the fine arts.

Numbering irregular during 1862-63.

Legends of the Madonna, as represented in the fine arts. : Forming the thrird series of Sacred and legendary art. /

Mode of access: Internet.

Communist infiltration of vital industries and current communist techniques in the Chicago, Ill., area. Hearings before the Committee on Un-American Activities, House of Representatives, Eighty-sixth Congress, first session. May 5, 6, and 7, 1959.

Mode of access: Internet.

Hand-book of literature and the fine arts ...

Mode of access: Internet.

The New York mirror ; a weekly gazette of literature and the fine arts.

Many slight variations in subtitle and caption title.

The critic : a weekly review of literature, fine arts, and the drama.

Editor: 1828- William Leggett.

The history of painting in Italy, from the period of the revival of the fine arts to the end of the eighteenth century;

Vol. 1: 1888; v.2: 1887; v.3: 1854.

The Director, a weekly literary journal: containing I. Essays, on subjects of literature, the fine arts and manners. II. Bibliographana. Account of rare and curious books and of the book sales in this country, from the close of the seventeenth century. III. Royal institution. Analyses of the lectures delivered weekly. IV. British Gallery. Description of the principal pictures exhibited ... v. 1-2: Jan. 24-July 4, 1807.

"The biographical part was written by Mr. Dibdin."--Lowndes, The bibliographer's manual of English literature.

British Romantic Criticism and the Fine Arts: A Study in Philosophical Theories of Literary Unity

This dissertation is an exploration of how a small but important group of Romantic critics, finding fault in the ideal of three unities developed by neoclassical Academicians and wrongly attributed to Aristotle, turned to the terminology and practices of the fine arts to emphasize their conception of organic unity in literature. The Romantic analogy to painting in particular enables a philosophical criticism of literature to present the aesthetic semblance of painting, the comprehension of a multitude of details in a harmonious whole that is a natural unity to its medium, as a paradigm of modern-romantic poetry and its aspirations to similar complexity, particularity, and imaginative colour. Further, in extension of the French Querelle des anciens et des modernes of the seventeenth century, the division of ancient and romantic art by Romantic critics like August Schlegel, Samuel Taylor Coleridge, and William Hazlitt not only establishes an ethnological and historical difference between the artistic productions of these two cultural periods but also allows, unlike the neoclassical unities, a non-anachronistic philosophical vocabulary of whole and parts or of the general and particular in the criticism of poetry, which involution provides a “rule” more consonant with the laws of the imagination rather than with the rhetorical and absolutist dicta that were thither available in the literary canon.

Fine arts edutainment: the amateur painter

A new scheme for painterly rendering (NPR) has been developed. This scheme is based on visual perception, in particular themulti-scale line/edge representation in the visual cortex. The Amateur Painter (TAP) is the user interface on top of the rendering scheme. It allows to (semi)automatically create paintings from photographs, with different types of brush strokes and colour manipulations. In contrast to similar painting tools, TAP has a set of menus that reflects the procedure followed by a normal painter. In addition, menus and options have been designed such that they are very intuitive, avoiding a jungle of sub-menus with options from image processing that children and laymen do not understand. Our goal is to create a tool that is extremely easy to use, with the possibility that the user becomes interested in painting techniques, styles, and fine arts in general.