This is a study of the emigration from Northern Ireland of persons of Scottish and English descent. Chapters are devoted to the Scotch-Irish settlements in Pennsylvania, Maryland, South Carolina, and Massachusetts and include valuable lists of early pioneers. In addition, considerable space is devoted to the redoubtable settlers of Londonderry, New Hampshire. The book's extensive appendices contain lists of great genealogical importance. Biographical information is to be met with throughout the volume.

Intoxicated Heart is a blend of happiness and heartbreak transformed into poetry. Whether you are in love, going through a period of darkness, or need comfort, this book is for you.The poetry and heartfelt words are written to ignite memories from within.

A treatise on Dutch art on par with Vasari's critical history of Italian art, Karel van Mander's Schilder-Boeck (or Book on Picturing) has long been recognized for its critical and historical influence--and yet, until now, no comprehensive account of the book's conception, aims, and impact has been available. In this in-depth analysis of the content and context of Van Mander's work, Walter S. Melion reveals the Schilder-Boeck's central importance to an understanding of northern Renaissance and Baroque art. By interpreting the terminology employed in the Schilder-Boeck, Melion establishes the text's relationship to past and contemporary art theory. Van Mander is seen here developing his critical categories and then applying them to Ancient, Italian, and Netherlandish artists in order to mark changes within a culture and to characterize excellence for each region. Thus Melion demonstrates how Van Mander revised both the structure and critical language of Vasari's Lives to refute the Italian's claims for the superiority of the Tuscan style, and to clarify northern artistic traditions and the concerns of Netherlandish artists. A much needed corrective to the view that Dutch art of the period was lacking in theory, Melion's work offers a compelling account of a sixteenth- and seventeenth-century theoretical and critical perspective and shows how this perspective suggests a rereading of northern art.

This publication is a monograph on the Antwerp artist, whose surviving oeuvre dates from the mid-1620s to the 1650s. A prolific master whose known paintings number over one hundred, Schut achieved considerable succes during his lifetime. This study sets Schut's life and career within the context of the artistic and cultural milieu of his time, defining his role in the emergence of a new style after the death of Rubens in 1640, and considers his impact on future generations. A workable chronology for Schut's paintings is established through an analysis of style, iconography and patronage, taking into account past scholarship. The artists's working methods and studio practices and his output in other media are also discussed. A separate chapter is devoted to the numerous graland pictures he executed in collaboration with the Jesuit flower painter Daniel Seghers. A complete catalogue raisonne of Schut's paintings, the first of its kind, is presented.