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Reprint of the original, first published in 1881.
Long before GPS, Google Earth, and global transit, humans traveled vast distances using only environmental clues and simple instruments. John Huth asks what is lost when modern technology substitutes for our innate capacity to find our way. Encyclopedic in breadth, weaving together astronomy, meteorology, oceanography, and ethnography, The Lost Art of Finding Our Way puts us in the shoes, ships, and sleds of early navigators for whom paying close attention to the environment around them was, quite literally, a matter of life and death. Haunted by the fate of two young kayakers lost in a fog bank off Nantucket, Huth shows us how to navigate using natural phenomena—the way the Vikings used the sunstone to detect polarization of sunlight, and Arab traders learned to sail into the wind, and Pacific Islanders used underwater lightning and “read” waves to guide their explorations. Huth reminds us that we are all navigators capable of learning techniques ranging from the simplest to the most sophisticated skills of direction-finding. Even today, careful observation of the sun and moon, tides and ocean currents, weather and atmospheric effects can be all we need to find our way. Lavishly illustrated with nearly 200 specially prepared drawings, Huth’s compelling account of the cultures of navigation will engross readers in a narrative that is part scientific treatise, part personal travelogue, and part vivid re-creation of navigational history. Seeing through the eyes of past voyagers, we bring our own world into sharper view.
The first volume of the history of the Cambridge University Library examining its beginnings to the late seventeenth, early eighteenth century.
'A delightful memoir' Kate Saunders, The Times 'Fabulous . . . dazzling' Tatler 'Enchanting . . . movingly lyrical' Ysenda Maxtone Graham, Country Life This short volume has turned out to be merely a handful of recollections of well-remembered times and stories - some probably misremembered, too - and a few people who have played a crucial part in my life. And some confessions: I have never before tried to write about my doll phobia, for instance, or about the effect synaesthesia has had over the years. I can only hope that this collection of stories from times past might give some idea of a mostly happy life that has gone, and is going, much too fast. At the age of five Angela Huth decided she would become a writer. Hers was an idiosyncratic childhood. Her parents were known to be a highly glamorous couple: Harold was a famous actor and film director who possessed legendary charm; Bridget was known for her lively sense of humour, fluency in foreign languages and her penchant for giving memorable parties. But in spite of her parents' initial happiness, they parted after the war. Eleven years later they got back together, happily, though each would have a lover for decades. After her education ended prematurely - Bridget didn't believe in university for women - Angela Huth went from reluctant debutante to professional writer, switching from journalism to short stories, novels, plays for television and the stage. Praise for Angela Huth: 'A first-class writer' Sunday Telegraph 'There is a very strong case for Huth replacing Jane Austen on the school syllabus' Sunday Times 'Angela Huth knows her own range and writes within it; she is an excellent exponent of the traditional English social comedy . . . she is in perfect control' Daily Telegraph
Yale University's Elizabethan Club is the home of an outstanding collection of rare editions of early English literature, including the four Folios of Shakespeare, the famous forty quartos acquired from the Huth Collection, the finest of the four known copies of Venus and Adonis, and the unique copy of the first Troilus and Cressida. This volume by Stephen Parks makes available for the first time a detailed bibliographical catalogue of the collection, including full details of provenance, binding, and condition of each of the books.