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Some vols. include supplemental journals of "such proceedings of the sessions, as, during the time they were depending, were ordered to be kept secret, and respecting which the injunction of secrecy was afterwards taken off by the order of the House."
Expertly arranged Vocal Score by Giuseppe Verdi from the Kalmus Edition series. This Opera Score is from the Romantic era.
The Congressional Record is the official record of the proceedings and debates of the United States Congress. It is published daily when Congress is in session. The Congressional Record began publication in 1873. Debates for sessions prior to 1873 are recorded in The Debates and Proceedings in the Congress of the United States (1789-1824), the Register of Debates in Congress (1824-1837), and the Congressional Globe (1833-1873)
A major new anthology of Percy Bysshe Shelley's work, edited by Jack Donovan and Cian Duffy. 'My name is Ozymandias, King of Kings: Look on my works, ye mighty, and despair!' Percy Bysshe Shelley was one of the leading English Romantics and is critically regarded among the finest lyric poets in the English language. His major works include the long visionary poems 'Prometheus Unbound' and 'Adonais', an elegy on the death of John Keats. His shorter, classic verses include 'To a Skylark', 'Mont Blanc' and 'Ode to the West Wind'. This important new edition collects his best poetry and prose, revealing how his writings weave together the political, personal, visionary and idealistic. This Penguin Classics edition includes a fascinating introduction, notes and other materials by leading Shelley scholars, Jack Donovan and Cian Duffy.
A fantastic collection of Soviet Asian architecture, many photographed here for the first time Soviet Asia explores the Soviet modernist architecture of Central Asia. Italian photographers Roberto Conte and Stefano Perego crossed the former Soviet republics of Kazakhstan, Kyrgyzstan, Uzbekistan and Tajikistan, documenting buildings constructed from the 1950s until the fall of the USSR. The resulting images showcase the majestic, largely unknown, modernist buildings of the region. Museums, housing complexes, universities, circuses, ritual palaces - all were constructed using a composite aesthetic. Influenced by Persian and Islamic architecture, pattern and mosaic motifs articulated a connection with Central Asia. Grey concrete slabs were juxtaposed with colourful tiling and rectilinear shapes broken by ornate curved forms: the brutal designs normally associated with Soviet-era architecture were reconstructed with Eastern characteristics. Many of the buildings shown in Soviet Asia are recorded here for the first time, making this book an important document, as despite the recent revival of interest in Brutalist and Modernist architecture, a number of them remain under threat of demolition. The publication includes two contextual essays, one by Alessandro De Magistris (architect and History of Architecture professor, University of Milan, contributor to the book Vertical Moscow) and the other by Marco Buttino (Modern and Urban History professor, University of Turin, specializing in the history of social change in the USSR).
The Getty Museum’s collection of postclassical European glass represents a well-defined chapter within the history of the medium. These objects—which range in date from the late Middle Ages to the late seventeenth century—originated in important Italian, German, Bohemian, Netherlandish, Silesian, and Austrian centers of production. The sixty-eight pieces presented in this catalogue include vessels made to resemble rock crystal or chalcedony; glass blown into unusually large or remarkably refined shapes; and glass decorated with ornament that is intricately applied, elegantly enameled, or gilded. Each object is described in detail, including provenance, bibliography, and relevant comparative examples. An introductory essay traces the history of European glass from classical times to the present.
Bruce Redford re-creates the vibrant culture of connoisseurship in Enlightenment England by investigating the multifaceted activities and achievements of the Society of Dilettani. Elegantly and wittily he dissects the British connoisseurs whose expeditions, collections, and publications laid the groundwork for the Neoclassical revival and for the scholarly study of Graeco-Roman antiquity. After the foundation of the society in 1732, the Dilettani commissioned portraits of the members. Including a striking group of mock-classical and mock-religious representations, these portraits were painted by George Knapton, Sir Joshua Reynolds, and Sir Thomas Lawrence. During the second half of the century, the society’s expeditions to the Levant yielded a series of pioneering architectural folios, beginning with the first volume The Antiquities of Athens in 1762. These monumental volumes aspired to empirical exactitude in text and image alike. They prepared the way for Specimens of Antient Sculpture (1809), which combines the didactic (detailed investigations into technique, condition, restoration, and provenance) with the connoisseurial (plates that bring the illustration of ancient sculpture to new artistic heights). The Society of Dilettanti’s projects and publications exemplify the Enlightenment ideal of the gentleman amateur, which is linked in turn to a culture of wide-ranging curiosity.