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In recent years, vegetable gardening has made a comeback as a popular pastime in America. Yet, gardeners are creating vegetable gardens with a difference; they are intended to be pleasing to the eye as well as a source for fresh produce. In an effort to beautify traditional vegetable gardens, landscape architects and amateur gardeners are finding inspiration in the elaborate European vegetable gardens of the seventeenth century. Feast Your Eyes examines the historical antecedents of this modern movement as well as the changing perceptions of the beauty of vegetable gardens over time and among different cultures. Generously illustrated with over one hundred historical and contemporary photographs and artwork highlighting material from the Smithsonian Institution's Archives of American Gardens, this book provides a fascinating and wide-ranging discussion of such topics as the vegetable garden at Versailles, Ming dynasty vegetable gardens, the war gardens of World War I, World War II victory gardens—including those of the Japanese American internees—and vegetable still lifes. As the boundary between vegetable garden and flower garden has become blurred, the same is true for vegetables. Horticulturists have developed popular garden ornamentals from kale, chili peppers, sweet potato, and eggplant. Pennington provides "biographies" of these vegetables and describes new varieties that are being developed for their aesthetic qualities. She shows how this is not a uniquely modern phenomenon but is rooted in the introduction of exotic vegetables to Europe starting as early as the thirteenth century. Published in association with Smithsonian Institution Traveling Exhibition Service
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Natchez, MS; 1791 Anxious for his brothers to join him on the rugged frontier along the Mississippi River, Connor O’Shea has no choice but to indenture himself as a carpenter in exchange for their passage from Ireland. But when he’s sold to Isabella Bartholomew of Breeze Hill Plantation, Connor fears he’ll repeat past mistakes and vows not to be tempted by the lovely lady. The responsibilities of running Breeze Hill have fallen on Isabella’s shoulders after her brother was found dead in the swamps along the Natchez Trace and a suspicious fire devastated their crops, almost destroyed their home, and left her father seriously injured. Even with Connor’s help, Isabella fears she’ll lose her family’s plantation. Despite her growing feelings for the handsome Irish carpenter, she seriously considers accepting her wealthy and influential neighbor’s proposal of marriage. Soon, though, Connor realizes someone is out to eliminate the Bartholomew family. Can he set aside his own feelings to keep Isabella safe?
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This book is a history of a community, and, moreover, a history by that community. In January, 2007, Jeannine Turgeon began to recruit a committee of Bellevue Park neighbors, volunteers who would be willing to produce a book about their neighborhood in honor of its 100th anniversary. Initial members were Clark and Vickie Bucher, Dan Deibler and Elizabeth Johnson, Chris Dick, Frank Haas, Hannah Leavitt, Carol Lopus, Mo Lynn, Bonnie Mark, Debbie Nifong, Peggy and Dan Purdy, John Quimby, Sue Ellen Ramer, Olivia Susskind, Doris Ulsh, Phil and Mary Walsh, Mary Warner, and Gretchen Yarnall. Prof. Michael Barton of Penn State Harrisburg was invited to serve as a consultant and general editor for the project, and we selected Xlibris as our publisher. In these early months, outlines were organized and re-organized, topics were proposed and discarded, and suggestions of all sorts were submitted and accepted or reluctantly retracted to fit within the publisher’s limits and the book’s budget.