Ebooks de arte, página 105 de 1252

Iceland is a little country far north in the cold sea. Men found it and went there to live more than a thousand years ago. During the warm season they used to fish and make fish-oil and hunt sea-birds and gather feathers and tend their sheep and make hay. But the winters were long and dark and cold. Men and women and children stayed in the house and carded and spun and wove and knit. A whole family sat for hours around the fire in the middle of the room. That fire gave the only light. Shadows flitted in the dark corners. Smoke curled along the high beams in the ceiling. The children sat on the dirt floor close by the fire. The grown people were on a long narrow bench that they had pulled up to the light and warmth. Everybodys hands were busy with wool. The work left their minds free to think and their lips to talk. What was there to talk about? The summers fishing, the killing of a fox, a voyage to Norway. But the people grew tired of this little gossip...

King Darius gave Myrcinus that is on the river Strymon, in the land of Thrace, to Histius, lord of Miletus, for a reward; for Histius had done him good service in his warfare against the Scythians. But when the man began to build a wall about the place, one said to the King, "O King, what is this that thou hast done, giving this city in Thrace to a man that is a Greek, and wise moreover and crafty? For in that country is great store of timber for ship-building, and mines also of silver and there are many inhabitants, both Greeks and barbarians, who will take this fellow for a leader, and will do what he shall bid them, working day and night. Do thou therefore stay him in this work; but stay him with soft words. Bid him come to thee, and when he is come, take good care that he never go among the Greeks any more." This counsel seemed good to the King. Wherefore he sent a messenger to Histius, saying, "Thus saith the King, I am persuaded that there is no better man disposed to me and to my kingdom than thou. Come therefore to me, for I have great matters in hand and would fain ask thy counsel about them." So Histius, taking these words to be true, and counting it a great thing to be the Kings counselor, came to Sardis to Darius. And when he was come, Darius said to him, "Hear now the cause wherefore I have sent for thee. Since the day that thou didst depart from me I have desired nothing so much as to see thee and talk with thee; for in my judgment there is nothing so precious as a friend that is both faithful and wise; and this I know thee to be. Leave now thy city of Miletus, and that also which thou art building in Thrace, and come with me to Susa, for all that I have is thine, and thou shalt live with me, and be my counselor."

With Ozzy Osbourne at the helm, Black Sabbath sold tens of millions of albums during the 1970s. When he finally broke away to fly solo, Ozzy achieved the unthinkable. Against all odds, he delivered one of the seminal rock albums to mark his resurrection and went on to trounce his former band mates and evolve into a cult icon. Along the way, and over the course of dozens of albums and tours, Ozzy displayed an enviable knack of employing groundbreaking musicians, such as guitarists Randy Rhoads, Jake E. Lee and Zakk Wylde and a series of world renowned bassists, drummers and keyboard players. Each took the opportunity to stamp their mark on what quickly became a legendary, unpredictable act. This then is the story of the Ozzy Osbourne band - in their own words. As told by Bob Daisley, Lee Kerslake, Tommy Aldridge, Bernie Torme, Brad Gillis, Steve Vai, Phil Soussan, Carmine Appice and many more.

At the beginning of the period Rome was old and worn out with misgovernment and evil living. But planted in this dying Rome there was the new and vigorous Christian Church which was to draw up into itself all that was best and strongest of the old world. The Germans were rude and uncivilized, but they were strong in mind and body, and possessed some ideas about government, women, and the family which were better than the ideas of the Romans on these subjects.

At the beginning of the period Rome was old and worn out with misgovernment and evil living. But planted in this dying Rome there was the new and vigorous Christian Church which was to draw up into itself all that was best and strongest of the old world. The Germans were rude and uncivilized, but they were strong in mind and body, and possessed some ideas about government, women, and the family which were better than the ideas of the Romans on these subjects.

The history of Greece goes back to the time when people did not know how to write, and kept no record of what was happening around them. For a long while the stories told by parents to their children were the only information which could be had about the country and its former inhabitants; and these stories, slightly changed by every new teller, grew more and more extraordinary as time passed. At last they were so changed that no one could tell where the truth ended and fancy began...

The two hundred years which cover, roughly speaking, the actual period of the Holy War, are crammed with an interest that never grows dim. Gallant figures, noble knights, generous foes, valiant women, eager children, follow one another through these centuries, and form a pageant the colour and romance of which can never fade, for the circumstances were in themselves unique. The two great religious forces of the world-Christianity and Islam, the Cross and the Crescent-were at grips with one another, and for the first time the stately East, with its suggestion of mystery, was face to face with the brilliant West, wherein the civilisation and organisation of Rome were at last prevailing over the chaos of the Dark Ages...

The Story of the Christmas No. 1 is more than just a nostalgic music book. It subtly explores pop culture and social history, examining our relationship with Christmas, how our national identity is reflected in the music we listen to together, and how the music industry has changed. It also reveals how the Christmas No. 1 reflects the current social reality of today and how technology and culture have reshaped the way music is consumed.Marc Burrows explores the peculiarly British cultural phenomenon of the Christmas singles chart. Why is it seen as so ubiquitous and so relatable to the audience that its literally a plot point in Love Actually? The festive top spot was something that, prior to 1973, wasnt particularly important but has since become a cornerstone of the December news cycle and, for years, an annual cultural moment ... that may have reached the end of its life.He traces the origins of the concept, through the Beatles and the-years-when-it-wasnt-really-a-thing, the Glam rock boom, Band Aid, novelty records, the X-Factor years and the awful Sausage Roll charity records of the 2020s, supported by interviews with figures involved in some of the most iconic hits and notable chart battles of the past half century and obsessive, in-depth research. He explores the sometimes fascinating and sometimes weird and unlikely stories behind some of the most beloved (and some of the most utterly loathed) songs in British musical history.

In "The Story of the Battle Hymn of the Republic," Florence Howe Hall meticulously unravels the origins and enduring significance of one of Americas most iconic songs. Employing a narrative style that is both scholarly and accessible, Hall contextualizes the hymn within the tumultuous landscape of the Civil War era, illustrating how it became a powerful symbol for both abolitionists and Union soldiers. The book delves into the collaborative dynamics of its creation, examining the influences of both religion and social justice movements, thereby situating the hymn within the broader tapestry of American history and culture. Florence Howe Hall, a respected scholar of American literature and culture, draws on her extensive knowledge of historical texts and cultural movements to provide fresh insights into this beloved hymn. Her academic background includes a rich focus on the intersection of music, faith, and social change, which has undoubtedly shaped her understanding of how art can inspire action. Halls deep engagement with cultural history allows her to present a nuanced account of how the hymn served not merely as a song, but as a rallying cry for freedom and unity. This compelling narrative is a must-read for anyone interested in American history, civil rights, and the power of song as a vehicle for social change. Halls exploration of the hymns creation and its impact offers readers a profound understanding of its place in American consciousness, making this book an invaluable addition to both scholarly collections and personal libraries.

For more than three centuries the trading nations of Europe were suffered to pursue their commerce or forced to abandon their gains at the bidding of pirates. From the days when Barbarossa defied the whole strength of the Emperor Charles V., to the early part of the present century, when prizes were taken by Algerine rovers under the guns, so to say, of all the fleets of Europe, the Corsairs were masters of the narrow seas, and dictated their own terms to all comers. Nothing but the creation of the large standing navies of the present age crippled them; nothing less than the conquest of their too convenient coasts could have thoroughly suppressed them. During those three centuries they levied blackmail upon all who had any trading interest in the Mediterranean.

In "The Story of Spanish Painting," Charles H. Caffin delivers a thorough and engaging exploration of Spanish art, tracing its evolution from the medieval period through the modern era. Caffins prose is marked by clarity and enthusiasm, using vivid descriptions and a chronological structure that allows readers to grasp the cultural and historical contexts influencing key masterpieces and artists. He skillfully interweaves aesthetic analysis with biographical insights, providing a rich landscape of the social, political, and religious factors that shaped Spains artistic legacy, including influential figures like Velazquez, Goya, and Picasso. Caffin, a noted American art critic and historian, possessed a profound understanding of European art movements, informed by his studies in both England and America. His appreciation for visual art, coupled with his academic prowess, led him to dive into the rich tapestry of Spanish painting, a subject often overshadowed by the more widely recognized Italian Renaissance. His background in criticism and his travels throughout Spain endowed him with a unique perspective that vividly animates the narratives he presents. This book is an essential read for art lovers and scholars alike. Caffins insights provide not only a visual understanding of the works but also an emotional connection to their creators and the environment in which they were produced. For anyone wishing to deepen their understanding of Spanish cultural history through art, Caffins work is indispensable.

In "The Story of Spanish Painting," Charles H. Caffin provides a comprehensive exploration of the evolution of Spanish art from its roots in the medieval period through the Golden Age and beyond. Examining the interplay of cultural, religious, and social factors, Caffin employs a fluid literary style enriched with eloquent descriptions and critical analyses, making complex artistic movements accessible while retaining scholarly rigor. The book reflects on key figures, such as Velzquez and Goya, situating their work within the broader spectrum of European art history, and emphasizes how Spains unique historical context shaped its distinctive artistic identity. Charles H. Caffin was a prominent art critic and historian whose passion for the visual arts inspired his extensive writings on art appreciation. Born in the late 19th century, Caffins experiences as a connoisseur and critic in a rapidly evolving artistic landscape inform his keen insights into the nuance of Spanish painting. His academic background and dedication to understanding the methods and motives behind artists works enable him to craft a narrative rich in both knowledge and empathy for the subject. This book is a must-read for students, scholars, and anyone fascinated by the dramatic and varied tapestry of Spanish art. Caffins thoughtful analysis invites readers to appreciate not only the masterpieces themselves but also the socio-political narratives that birthed them. An invaluable resource for art enthusiasts, it opens a window into the soul of Spain through its painting.In this enriched edition, we have carefully created added value for your reading experience:- Handpicked Memorable Quotes shine a spotlight on moments of literary brilliance.- Interactive footnotes clarify unusual references, historical allusions, and archaic phrases for an effortless, more informed read.

Far back among the shadows of prehistoric times, a horde of Celts swarmed over the Pyrenees into this land of the Iberians, encountering possibly a still earlier race, whose descendants of to-day are the Basques. The Celts swerved to the west and settled in what now is Portugal and Gallicia. In civilization and physique, the invaders were much superior to the Iberians. As the centuries rolled on, the two peoples fought for mastery. They gradually blended in the central part of Spain, while the Celts continued dominant in the west and northwest of the peninsula, and the Iberians held their own in the east and south.

Far back among the shadows of prehistoric times, a horde of Celts swarmed over the Pyrenees into this land of the Iberians, encountering possibly a still earlier race, whose descendants of to-day are the Basques. The Celts swerved to the west and settled in what now is Portugal and Gallicia. In civilization and physique, the invaders were much superior to the Iberians. As the centuries rolled on, the two peoples fought for mastery. They gradually blended in the central part of Spain, while the Celts continued dominant in the west and northwest of the peninsula, and the Iberians held their own in the east and south.

Once upon a time there lived in Greece a king who had a son called Gathelus. Prince Gathelus was very handsome and brave, but he was wild, and gay, and wicked, and he caused his father much sorrow and trouble. Over and over again the King punished and imprisoned his son for his evil deeds. But in spite of all his father could do, Gathelus grew no better but rather worse. At last the King had no more patience with him, and banished him from the land.

A vivid account of the story of Rome from the earliest times to the death of Augustus, retold for children, chronicling the birth of a city and its growth through storm and struggle to become a great world empire. Gives short accounts of battles and campaigns, and of the men who expanded the borders of the Roman empire to include all lands bordering the Mediterranean Sea.

This is a scrupulous account of the petroleum industry from 1906 to the present. The story traces development before the discovery of oil in Oloibiri and proceeds to offer comprehensive account of various legislative instruments that were adopted in the development process. The Nigerian Content Law, the gas flaring difficulties and the issue of sabotage are amply dealt with. The book has several media reports to spotlight the heavy corruption ravaging the industry and closes with the attempted subsidy removal by the Jonathan administration. The author ends with a philosophical rhetoric "as if there is no future", calling into question the role of politics and politicians in the misfortune of Nigerias oil and gas sector.The application of legislation and regulation to the practice of oil and gas is a consistent theme permeating through the book, giving it not only a solid academic emphasis to the readers, but also a strong orientation towards policy. The book is well positioned to address the technical and commercial issues of the Nigerians oil and gas sector which should be familiar to oil company managements and experts.

Whenever we hear the name of Napoleon mentioned, or see it printed in a book, it is usually in connection with a hard-fought victory on the battlefield. He certainly spent most of his life in the camp, and enjoyed the society of soldiers more than that of courtiers. The thunder of guns, the charge of cavalry, and the flash of bayonets as they glittered in the sun, appealed to him with much the same force as music to more ordinary folk. Indeed, he himself tells us that "the cries of the dying, the tears of the hopeless, surrounded my cradle from the moment of my birth."

An American classic rediscovered by each generation, The Story of My Life is Helen Kellers account of her triumph over deafness and blindness. Popularized by the stage play and movie The Miracle Worker, Kellers story has become a symbol of hope for people all over the world...

In "The Story of My House," George H. Ellwanger delves into the intricate tapestry of domestic life and the profound connections formed between individuals and their living spaces. Through a poignant narrative, rich with vivid descriptions and an autobiographical touch, Ellwanger explores themes of memory, belonging, and the passage of time. The literary style is characterized by a blend of lyrical prose and stark realism, placing the reader in a reflective space reminiscent of 19th-century American literature, where home was a critical focal point in understanding ones identity. The book serves as both a personal memoir and a social commentary, revealing how architecture and environment shape human experience. George H. Ellwanger, known for his acumen in both horticulture and prose, draws upon his own life experiences in writing this work. Raised in a household deeply connected to nature and grounded in community, his passion for the subtleties of domestic settings shines through his eloquent lens. Ellwangers background and scholarly pursuits inform the depth and sensitivity with which he approaches the subject, enriching his examination of his familys legacy and the quintessential American home. This book is highly recommended for readers interested in the intersections of personal history and broader cultural narratives. Ellwanger invites us to reflect on our own domestic spaces and the stories they harbor, making it a profound exploration that resonates with anyone who has ever called a house their home.