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In the Northwest of Hungary, on the banks of the Danube, begins the mountainous region known under the name of the Carpathian range, which for beauty is not surpassed by the Alps, and in extent fairly rivals them. This mountain range, encircling like a gigantic evergreen wreath one half of the country, extends all along its northern boundary and, after enclosing the eastern portion of it, stretches westward to where it is intersected by the waters of the Danube, not terminating there, however, but branching off into the countries lying along the lower course of that river...

THE story of Greece began long, long ago in a strange wonderland of beauty. Woods and winds, fields and rivers, each had a pathway which led upward and onward into the beautiful land. Sometimes indeed no path was needed, for the rivers, woods, and lone hill-sides were themselves the wonderland of which I am going to tell. In the woods and winds, in the trees and rivers, dwelt the gods and goddesses whom the people of long ago worshipped. It was their presence in the world that made it so great, so wide, so wonderful...

The story of Greece began long, long ago in a strange wonderland of beauty. Woods and winds, fields and rivers, each had a pathway which led upward and onward into the beautiful land. Sometimes indeed no path was needed, for the rivers, woods, and lone hill-sides were themselves the wonderland of which I am going to tell...

In the dim days of very long ago there was a country called Fensalir. It was a low-lying country of rich green meadows and fair cornfields. Beside the slow-flowing streams trees drooped their branches laden with wondrous fruit. Upon the endless meadows countless herds of cattle browsed. It was a rich and peaceful land, but no man knew where it began or where it ended, for round the fair green meadows there hung ever a soft white mist, and any who strayed far were lost in its rolling folds. Weary of the quiet peace, stung by the longing to adventure and to know, some indeed wandered forth, never to return.

Long, long ago the land which we now call France was called Gaul. Gaul was much larger than France is to-day, although north, south, and west France has the same boundaries now as Gaul had in the far-off days of which I am going to tell you. What these boundaries are, many a geography lesson will have shown. But, lest you have forgotten, take a map of Europe, and you will see that on the north France has to protect her the English Channel, on the south she is guarded by the Mediterranean and the Pyrenees, while on her west roll the waters of the Atlantic. These mountains and waters were also the bulwarks of ancient Gaul.

IN the first centuries of our era the one great power of the world was Rome. All southern Europe bowed beneath the conquering sword of the Romans. Africa and Asia, too, owned their sway. For the Mediterranean, the great trade route of the then known world, was theirs, and the countries bordering upon it became mere provinces of Rome. Even the uttermost islands felt their might, and sailing beyond the "narrow seas," Csar set his hand upon the island of Britain. From the Rhine and the Danube in the north, to the desert of Sahara in the south, from the borders of Wales in the west, to the Euphrates and the Tigris in the east, the empire stretched.

From the city of Calais, on the northern coast of France, one may look over the water on a clear day and see the white cliffs of Dover, in England. At this point the English Channel is only twenty-one miles wide. But this narrow water has dangerous currents, and often fierce winds sweep over it, so that small ships find it hard to cross. This rough Channel has more than once spoiled the plans of Englands enemies, and the English people have many times thanked God for their protecting seas.

In "The Story of Chartres," Cecil Headlam presents an engrossing exploration of the iconic French city, renowned for its magnificent cathedral and rich historical tapestry. Headlam employs a narrative style that weaves together evocative descriptions, detailed historical accounts, and biographical sketches of key figures, manifesting a deep appreciation for both the artistic and cultural significance of Chartres. Set against the backdrop of medieval Europe, the book contextualizes the cathedrals architectural splendor within the tumultuous events that shaped its history, creating a multifaceted portrait that resonates with both the grandeur and the fragility of human achievement. Cecil Headlam, a notable historian and writer, was deeply influenced by his extensive studies in European architecture and history. His academic pursuits and passion for medieval studies undoubtedly informed this meticulous examination of Chartres. Headlams background, coupled with his travels, provided him with an intimate understanding of the intricacies of Gothic architecture and the socio-political factors that influenced its development. His expertise not only enhances the narrative but positions him as a credible voice in the discourse surrounding historical architecture. "The Story of Chartres" is a recommended read for anyone intrigued by history, architecture, or the cultural evolution of cities. Headlams insightful storytelling unfolds like a journey through time, allowing readers to envision Chartres not just as a physical space, but as a living testament to the human spirit. This book offers both knowledge and inspiration, inviting readers to appreciate the enduring legacy of one of Frances most treasured locales.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.

In "The Story of Chamber Music," N. Kilburn explores the intricate tapestry of chamber music history, from its nascent origins in the late Renaissance to its vibrant expressions in contemporary compositions. Kilburn employs a scholarly yet accessible style, weaving together musical analysis, cultural commentary, and biographical sketches of key composers. This work not only illuminates the evolution of chamber music as a distinct genre but also contextualizes its significance within broader musical movements, making it a vital text for both enthusiasts and scholars alike. N. Kilburn, a recognized authority in musicology, brings a wealth of experience to this examination of chamber music. With a background in both performance and academic study, Kilburns insights are informed by a deep appreciation of the genres nuances. His dedication to preserving and promoting classical music is reflected in his previous works, which sought to bridge the gap between music theory and practical musicianship, ultimately leading him to focus on this rich and often underappreciated art form. This book is highly recommended for anyone wishing to deepen their understanding of chamber musics historical and cultural dimensions. Whether you are a musician seeking to enrich your repertoire or a casual listener eager to appreciate the genres intricate beauty, Kilburns analysis offers a compelling narrative that will engage and inspire.

IT is not to the stalwart Celtic tribes which Csar found scattered about the low-lying sandy plain which stretches along the coast from the mouth of the Rhine to the Canche that this part of Europe owes either its name or its greatness.The Menapii and the Morini, the bravest of them all and the last to withstand the Roman legions, were at length compelled to bend their necks beneath the yoke of Romes enervating and effete civilization, and when, four centuries later, a whirlwind of Northern barbarism had swept the land, only a handful of them, sparsely scattered, abject, cringing, hidden away in forest and marsh, were left to tell the tale.The civilization of Rome had been clean wiped out in that quarter of Europe. Silence unbroken settled down on the land, and for two hundred years the Latin-Celts of the Netherlands slipped out of the worlds memory.It was not until the middle of the six hundreds that men began once more to think of them. The cause of their reappearance upon the stage of European history is chronicled for us in a contemporary life of St. Amand, Bishop of Bourges

Johann Sebastian Bach was a German composer and musician of the late Baroque period. He is known for his orchestral music such as the Brandenburg Concertos; instrumental compositions such as the Cello Suites; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schubler Chorales and the Toccata and Fugue in D minor; and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers in the history of Western music.The present book is an attempt to familiarise the young readers about this famous personality and give a glimpse of his struggles and rise to fame.Excerpt:"At the close of a beautiful Summer day, in the year 1699, subdued and solemn strains of music from the little house of the organist of the market-town of Ohrdruff floated through its quiet streets. A boy sat crying upon the stone steps leading to the house-door. Now and then he lifted his head, looked into the hallway, and saying in a mournfully complaining tone, "False again," or, "The second violin plays most abominably," or making some similar protest of musical sensibility, bowed his head again in sorrow and tears."

At the beginning of all things, when the world was new, and men were finding out bit by bit what they could do and how to do it, there were two countries that were more important than any others. They were both the valleys of great rivers, and it was the rivers that made them what they were. The one country was Egypt-that wonderful land where the Nile comes rolling down from the Great Lake Basin of equatorial Africa, and flows for hundreds of miles between temples and pyramids erected by the greatest builders the world has ever seen. About Egypt, two of these little books have already told you."

If we were asked to name the most interesting country in the world, I suppose that most people would say Palestine - not because there is anything so very wonderful in the land itself, but because of all the great things that have happened there, and above all because of its having been the home of our Lord. But after Palestine, I think that Egypt would come next. For one thing, it is linked very closely to Palestine by all those beautiful stories of the Old Testament, which tell us of Joseph, the slave-boy who became Viceroy of Egypt; of Moses, the Hebrew child who became a Prince of Pharaohs household; and of the wonderful exodus of the Children of Israel.

In "The Story of a Play," William Dean Howells presents a compelling exploration of the intricacies of theatrical production, seamlessly blending critical analysis with narrative prose. The text delves into the challenges faced by playwrights and the subtleties of character development, underscored by Howells keen understanding of realism. Set against the backdrop of the late 19th century, a time when American drama was burgeoning, this work serves not only as a critique of its contemporaries but also as a self-reflective commentary on the evolution of stagecraft and audience perception. William Dean Howells, often hailed as the "Dean of American Letters," was deeply influenced by the cultural and social dynamics of his era, advocating for realism in literature. His extensive career as a novelist, editor, and critic positioned him uniquely to address the complexities of the theatrical landscape in America. Having interacted with many prominent playwrights and actors of his time, Howells brings authentic insights to the challenges involved in both writing and performing plays, illuminating the struggles that define the artistic process. "The Story of a Play" is a must-read for those interested in literature, theater, and the relationship between them. Howells nuanced approach to the interplay of art and life invites readers to contemplate the nature of creativity, making it an invaluable resource for students, scholars, and enthusiasts of American theatre.

In "The Story of a Picture," Douglass Sherley presents a compelling narrative that intertwines the complex interplay of visual art and human emotion. This innovative work delves into the significance of a singular painting, exploring its historical context and the myriad interpretations it evokes. Sherley employs a vivid, descriptive style that captures the essence of the artwork while engaging the readerAos imagination, making it a unique contribution to the literary canon that examines the relationship between art and narrative. As the story unfolds, SherleyAos keen attention to detail invites a profound dialogue between the observer and the observed, revealing layers of meaning that resonate across time and culture. Douglass Sherley, an artist and cultural critic, draws from his extensive background in art history and personal experiences in creating visual art to craft this narrative. His unique perspective is informed by years of academic inquiry and practical engagement with artistic mediums, allowing him to portray not just a picture, but the sensory and emotional landscape that surrounds it. SherleyAos scholarly investigations into the thematic elements of art make this book a synthesis of personal and academic exploration. I highly recommend "The Story of a Picture" to readers who appreciate the intricate connections between art and storytelling. Whether you are an art aficionado or a casual reader, SherleyAos work invites you to unravel the profound impact of a single image while prompting introspection about its narrative power. This book is a must-read for those looking to deepen their understanding of the narrative dimensions of visual art.

In "The Story of a Great Schoolmaster," H.G. Wells masterfully chronicles the life and educational philosophy of an influential school figure, blending elements of biography with keen social commentary. The narrative is laced with Wellss trademark wit and incisive observations, set against the backdrop of the evolving educational landscape of the early 20th century. Through rich characterizations and vivid descriptions, the book illuminates the struggles and triumphs of educational reform and the profound impact that a single teacher can have on his students and society as a whole. WellsAos literary style, marked by its clarity and engaging prose, situates this work within both the tradition of British realism and the early modernist movement, reflecting the eras increasing focus on personal experience and societal critique. H.G. Wells, often referred to as the father of science fiction, was deeply influenced by his own educational experiences and the societal challenges of his time. His background as a scholar and teacher, coupled with his progressive views on education and reform, informs this compelling narrative. Wellss literary career encompassed themes of social responsibility and the potential for individual agency, which resonate profoundly in this work, underscoring his belief in education as a tool for societal advancement. Readers seeking a thought-provoking exploration of educational ideals, personal growth, and the transformative power of mentorship will find "The Story of a Great Schoolmaster" to be an enlightening and inspiring read. This book is not only a tribute to a dedicated educator but also a timeless reflection on the role of education in shaping the future, essential for anyone interested in the philosophy of education or the social dynamics of early 20th-century Britain.

New Orleans jazz, Dixieland, Chicago jazz, swing, bebop, cool jazz, hard bop, and free jazz: up until today, the history of jazz is told as a "tradition" consisting of fixed components including a succession of jazz styles. How did this construction of music history emerge? What were the alternative perspectives? And why did the narrative of a fixed tradition catch on?In this study, Mario Dunkel examines narratives of jazz history from the beginnings of jazz until the late 1950s. According to Dunkel, the jazz tradition is simultaneously an attempt to approach historical reality and the product of competition between different narratives and cultural myths. From the middlebrow culture of the 1920s to the New Deal, the African American civil rights movement and the role of the U.S. in the Cold War, Dunkel shows in detail how the jazz tradition, as a global narrative of the twentieth century, is intertwined with greater social and cultural developments.

Of all the buildings in Venice, later in date than the final additions to the Ducal Palace, the noblest is, beyond all question, that which, having been condemned by its proprietor, not many years ago, to be pulled down and sold for the value of its materials, was rescued by the Austrian government, and appropriatedthe government officers having no other use for itto the business of the Post-Office; though still known to the gondolier by its ancient name, the Casa Grimani. It is composed of three stories of the Corinthian order, at once simple, delicate, and sublime; but on so colossal a scale, that the three-storied palaces on its right and left only reach to the cornice which marks the level of its first floor. Yet it is not at first perceived to be so vast; and it is only when some expedient is employed to hide it from the eye, that by the sudden dwarfing of the whole reach of the Grand Canal, which it commands, we become aware that it is to the majesty of the Casa Grimani that the Rialto itself, and the whole group of neighboring buildings, owe the greater part of their impressiveness.

Volumes I (#30754), II (#30755), and III (#30756) are / interlinked, with index in Volume III.

The decay of the city of Venice is, in many respects, like that of an outwearied and aged human frame; the cause of its decrepitude is indeed at the heart, but the outward appearances of it are first at the extremities. In the centre of the city there are still places where some evidence of vitality remains, and where, with kind closing of the eyes to signs, too manifest even there, of distress and declining fortune, the stranger may succeed in imagining, for a little while, what must have been the aspect of Venice in her prime. But this lingering pulsation has not force enough any more to penetrate into the suburbs and outskirts of the city; the frost of death has there seized upon it irrevocably, and the grasp of mortal disease is marked daily by the increasing breadth of its belt of ruin.