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PICTORIAL ST. LOUIS: The Great Metropolis of the Mississippi Valley A Topographical Survey, Drawn From Perspective 1875.Illustrations by Camille N. Dry and designed & edited by Rich. J. Compton.Over 220 pages of illustrations and descriptions of life in St. Louis in the late 1800's. The preliminary drawings for this work were made early in the spring of 1874. After a careful consideration of the subject, it was determined to locate the point of view so that the city would be seen from the southeast, believing that to be the most advantageous in all respects. Accordingly, the point of site was established on the Illinois side of the river, looking to the northwest, and at sufficient altitude to overlook the roofs of ordinary houses into the streets. A careful perspective, which required a surface of three hundred square feet, was then erected from a correct survey of the city, extending northward from Arsenal Island to the Water Works, a distance of about ten miles, on the river front; and from the Insane Asylum on the southwest to the Cemeteries on the northwest.Every foot of the vast territory within these limits has been carefully examined and topographically drawn in perspective, by Mr. C. N. Dry and his assistants, and the faithfulness and accuracy with which this work has been done an examination of the pages will attest. Absolute truth and accuracy in the representation of the territory has been the standard and in no cases have additions or alterations been made unless the same were actually in course of construction. In a few cases, important public and private edifices that are not yet finished are shown completed, and as they will appear when done. All the buildings within the limits of the survey in July, 1875, are shown; and a very large number of those executed or commenced since that date have been also introduced, the pages having been constantly corrected up to the last possible moment before publication.
A banquet on the page, Eating St. Louis explores why we eat what we eat, and where we eat it-serving up stories (from days gone by to earlier this week) of the places, people, and comestibles that have come to define and feed our fair city. Picture this: Color photos of food that will make your mouth water as well as historic images that recall our culinary heritage serve to season these pages, tucked in among photos of our town's restaurateurs, chefs, brewers, and others in the food service industry. Feast on facts about local farmers' markets (and the sources of the bounty), and sample a spoonful of the politics of food. Thirsty? Eating St. Louis also raises a glass to local breweries, wineries, and iconic watering holes. Published in cooperation with Doisy College of Health Sciences at Saint Louis University.
The Pictorial Guide to St Louis is a beautifully illustrated guidebook to the city of St Louis, Missouri. Featuring hundreds of stunning photographs and detailed descriptions of St Louis's landmarks, neighborhoods, and attractions, this book is a must-read for anyone interested in the history and culture of this great American city. 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. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Instructive, amusing, colorful—pictorial maps have been used and admired since the first medieval cartographer put pen to paper depicting mountains and trees across countries, people and objects around margins, and sea monsters in oceans. More recent generations of pictorial map artists have continued that traditional mixture of whimsy and fact, combining cartographic elements with text and images and featuring bold and arresting designs, bright and cheerful colors, and lively detail. In the United States, the art form flourished from the 1920s through the 1970s, when thousands of innovative maps were mass-produced for use as advertisements and decorative objects—the golden age of American pictorial maps. Picturing America is the first book to showcase this vivid and popular genre of maps. Geographer Stephen J. Hornsby gathers together 158 delightful pictorial jewels, most drawn from the extensive collections of the Library of Congress. In his informative introduction, Hornsby outlines the development of the cartographic form, identifies several representative artists, describes the process of creating a pictorial map, and considers the significance of the form in the history of Western cartography. Organized into six thematic sections, Picturing America covers a vast swath of the pictorial map tradition during its golden age, ranging from “Maps to Amuse” to “Maps for War.” Hornsby has unearthed the most fascinating and visually striking maps the United States has to offer: Disney cartoon maps, college campus maps, kooky state tourism ads, World War II promotional posters, and many more. This remarkable, charming volume’s glorious full-color pictorial maps will be irresistible to any map lover or armchair traveler.
The American nineteenth century saw a largely rural nation confined to the Eastern Seaboard conquer a continent and spawn increasingly dense commercial metropolises. This time of unprecedented territorial and economic growth has long been thought to find its most sweeping visual equivalent in the period’s landscape paintings. But, as Matthew N. Johnston shows, the age’s defining features were just as clearly captured in, and motivated by, visual material mass-produced through innovations in printing technology. Illustrated railroad and steamboat guidebooks, tourist literature, reports of geological surveys, ethnographic studies: all of these new print vehicles brought new meanings to the interplay of time, space, and place as American continental expansion peaked. Instrumental to that project of national and industrial growth, these commercial and scientific publications introduced readers, travelers, and citizens to a changing North American landscape made more accessible by new travel routes blazed between 1825 and 1875. More fundamentally, as Johnston shows in his nuanced analysis, by simulating new temporal frameworks through their presentation of landscape, these print materials established new models of consumption and new kinds of knowledge critical to expansion. Johnston relates these sources to traditional art historical subjects—the landscapes of the Hudson River school, luminist paintings by John Kensett and William Trost Richards, Native portraits painted by George Catlin, and photographs by Timothy O’Sullivan—to show how key discourses associated with expansion shifted away from picturesque strategies pairing imagery and narrative toward entirely new forms that gave temporal structure to viewers’ experience of an emerging modernity. Revealing the crucial role of print and visual culture in shaping the nineteenth-century United States, Narrating the Landscape offers fresh insight into the landscapes Americans beheld and imagined in this formative era.
“Delicious, straightforward recipes ... fill Lucky Peach: 101 Easy Asian Recipes, along with romping commentary that makes the book fun to read as well as to cook from.” —Associated Press Beholden to bold flavors and not strict authenticity, the editors of Lucky Peach present a compendium of 101 easy, Asian recipes that hit the sweet spot between craveworthy and stupid simple and are destined to become favorites. Your friends and lovers will marvel as you show off your culinary worldliness, whipping up meals with fish-sauce-splattered panache and all the soy-soaked, ginger-scalliony goodness you could ever want—all for dinner tonight. You'll never have a reason to order take-out again.