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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.
Excerpt from The Pictorial Guide to St. Louis: With Plans and Views On the 2d of August 1817 the first Steamboat appeared on the mighty Mississippi. Thirty years later St. Louis had telegraph lines connecting with the East, and 1848 brought the locomotive. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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.
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.
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.