By the end of the eighteenth century, classicism, which arose out of Europe's fascination with ancient Greece and Rome, had also left its mark on America. This study of the classical style in the fine and decorative arts shows the extent to which it influenced the material culture of Savannah, Georgia, from 1800 to 1840. More than 130 examples of objects owned in Savannah in this period are illustrated, described, and discussed. The objects include oil paintings and watercolors, clocks, musical instruments, jewelry, sculptures, engravings, bank notes, needlework, china, silver, brass, lighting fixtures, architectural elements, and furniture. Page Talbott presents an overview of the origins of classicism in Europe and its spread to America. Emphasizing Americans' close identification of classicism with national values and ideals, Talbott also discusses the style in the context of Savannah's social life and its history as a major southern port. She covers not only the principles, methods, and materials of classical design, but also the manufacture, distribution, sale, and ownership of a wide range of functional and decorative objects. Classical Savannah is the companion volume to the Classical Savannah exhibition, which opened in the spring of 1995 at the Telfair Museum of Art in Savannah. Illustrating well over half of the items in the exhibit, and including a detailed checklist of the additional seventy objects not shown in the book, Classical Savannah is a valuable source for historians, designers, decorators, collectors, and anyone interested in this period of America's history.

The history of clothing begins with the origin of man, and fashionable dress can be traced as far back as 25,000 years ago. Recent scientific explorations have uncovered graves in northern Russia with skeletons covered in beads made of mammoth ivory that once adorned clothing made of animal skin. The Ancient Egyptians, Greeks, and Romans each made major contributions to fashion's legacy from their textile innovations, unique clothing designs and their early use of accessories, cosmetics, and jewelry. During the Middle Ages, 'fashion trends' emerged as trade and commerce thrived allowing the merchant class to afford to emulate the fashions worn by royals. However, it is widely believed that fashion didn't became an industry until the industrial and commercial revolution during the latter part of the 18th century. Since then, the industry has grown exponentially. Today, fashion is one of the biggest businesses in the world, with hundreds of billions of dollars in turnover and employing tens of millions of workers. It is both a profession, an industry, and in the eyes of many, an art. The A to Z of the Fashion Industry examines the origins and history of this billion-dollar industry. This is done through a chronology, an introductory essay, a bibliography, and hundreds of cross-referenced entries on designers, models, couture houses, significant articles of apparel and fabrics, trade unions, and the international trade organizations.

From the first animal skin body coverings, to today’s high fashion collections, fashion has held an important role in the evolution of mankind. The fashion industry has, and continues to make, major contributions to our cultural and social environment. It is an industry that responds to our inherent longing for tribal belonging, our socio-economic needs, individual lifestyles, status stratification and profession apparel requirements. The fashion industry is fast-paced, complex and ever changing, in response to consumer needs. Throughout the world, vast numbers of people contribute to this industry, each with the shared goal of supplying an end product of a particular price point directed at a target consumer. This second edition of Historical Dictionary of the Fashion Industry contains a chronology, an introduction, appendixes, and an extensive bibliography. The dictionary section has over 1,400 cross-referenced entries on designers, models, couture houses, significant articles of apparel and fabrics, trade unions, and the international trade organizations. This book is an excellent resource for students, researchers, and anyone wanting to know more about the fashion industry.

'This book should be regarded as rescue work. It salvages from pre-Victorian periodicals from the limbo of forgotten publications, and exhumes from long undisturbed sources a curious collection of women who, at a time when it was considered humiliating for a gentlewoman to earn money, contrived to support themselves by writing, editing, or publishing... sometimes even supporting husbands and children as well... The women who emerge make a motley gallery; but over the years that I have been getting to know them, they have won my respectful affection. More, indeed. To me they are all heroines...' Alison Adburgham, from her Foreword Magazines addressed to women have a long history in English, and have been subject to condescension for just as long. Alison Adburgham's groundbreaking volume, first published in 1972, rescues the so-called 'scribbling female' from such scorn, not least by documenting just how hard was the struggle for women writers to live by the pen.

Focusing on an era that both inherited and irretrievably altered the form and the content of earlier art production, The Art-Journal and Fine Art Publishing in Victorian England, 1850-1880 argues that fine art practices and the audiences and markets for them were influenced by the media culture of art publishing and journalism in substantial and formative ways, perhaps more than at any other time in the history of English art. The study centers on forms of Victorian picture-making and the art knowledge systems defining them, and draws on the histories of art, literature, journalism, and publishing. The historical example employed in the book is that of the more than 800 steel-plate prints after paintings published in the London-based Art-Journal between 1850 and 1880. The cultural phenomenon of the Art Journal print is shown to be a key connector in mid-Victorian art appreciation by drawing out specific tropes of likeness. This study also examines the important links between paint and print; the aesthetic values and domestic aspirations of the Victorian middle class; and the inextricable intertwining of fine art and 'trade' publishing.

A trail of poison-pen letters lead to a dead teacher in this Regency-era mystery by the author of Death Comes to the Fair. Three years have passed since Major Sir Robert Kurland and Lucy Harrington, the rector’s daughter, became husband and wife. Having established a measure of contentment among the local gentry, the couple lately have found an unsettling distance grown between them. But when the small-village peace is disrupted by an anonymous letter accusing Lucy of witchcraft, her as yet unfulfilled desire to be a mother becomes the least of her worries, especially after she learns she is not the only one to have received such a malicious letter. Speculation only escalates when the village schoolteacher, Miss Broomfield, is discovered murdered at her classroom desk. Was the unlikeable teacher the letter writer, and if so, who killed her and why? Despite her husband’s objections, Lucy offers to help out at the school until a replacement can be found, hoping the children might inadvertently reveal a clue, but by doing so she may be putting her own life at risk . . . Praise for Death Comes to the School “A romance of married life intertwined with a murder puzzle featuring a heroine suitable for a Jane Austen novel.”—Kirkus Reviews “The liveliness of Lloyd’s many secondary characters and the marital tensions arising from Lucy’s fertility woes add richness to the well-plotted puzzle.”—Publishers Weekly

This eBook edition of Lord Byron's complete works has been formatted to the highest digital standards and adjusted for readability on all devices. Table of Contents: The Works of Lord Byron, Vol. 1: Fugitive Pieces Poems on Various Occasions Hours of Idleness Poems Original and Translated Early Poems from Various Sources The Works of Lord Byron, Vol. 2: Childe Harold's Pilgrimage The Works of Lord Byron, Vol. 3: Poems 1809–1813 The Giaour: A Fragment of a Turkish Tale The Bride of Abydos: A Turkish Tale The Corsair Ode to Napoleon Buonaparte Lara Hebrew Melodies: She walks in Beauty The Harp the Monarch Minstrel swept If that High World The Wild Gazelle Oh! weep for those On Jordan's Banks Jeptha's Daughter Oh! snatched away in Beauty's Bloom My Soul is Dark I saw thee weep Thy Days are done Saul Song of Saul before his Last Battle "All is Vanity, saith the Preacher" When Coldness wraps this Suffering Clay Vision of Belshazzar Sun of the Sleepless! Were my Bosom as False as thou deem'st it to be Herod's Lament for Mariamne... Poems 1814–1816 The Siege of Corinth Parisina Poems of the Separation The Works of Lord Byron, Vol. 4: The Prisoner of Chillon Poems of July—September, 1816: Monody on the Death of the Right Hon. R. B. Sheridan Manfred: A Dramatic Poem The Lament of Tasso Beppo: A Venetian Story Ode on Venice Mazeppa The Prophecy of Dante The Morgante Maggiore of Pulci Francesca of Rimini Marino Faliero, Doge of Venice: An Historical Tragedy The Vision of Judgment Poems 1816-1823 The Blues: A Literary Eclogue The Works of Lord Byron, Vol. 5: Sardanapalus: A Tragedy The Two Foscari: An Historical Tragedy Cain: A Mystery Heaven and Earth; A Mystery Werner; or, The Inheritance: A Tragedy The Deformed Transformed: A Drama The Age of Bronze; or, Carmen Seculare et Annus haud Mirabilis The Island; or, Christian and his Comrades The Works of Lord Byron, Vol. 6: Don Juan The Works of Lord Byron, Vol. 7: Jeux d'Esprit and Minor Poems, 1798–1824 Letters and Journals of Lord Byron Biographies: Byron by John Nichol The Life of Lord Byron by John Galt