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Home to whaling ships, privateers, and submarines, New London has been at the heart of some of America's most exciting seafaring history. This volume spans 65 years of life in New London: from the 1850s, when the Whaling City earned its reputation, to the days before World War I, when the last whaler had departed and the first submarine was about to arrive. Through these pages, you will walk the city's unpaved streets to forgotten places like Bacon's Hotel and the Old Yellow Building, ride the trolley up State Street, and see Ocean Beach as it was before the 1938 hurricane swept it away. New London also gives special attention to the fashionable Pequot Colony, the trains and steamboats that traveled to and from the city, and familiar landmarks such as Union Station, the Nathan Hale Schoolhouse, and the Olde Town Mill. Home to whaling ships, privateers, and submarines, New London has been at the heart of some of America's most exciting seafaring history. This volume spans 65 years of life in New London: from the 1850s, when the Whaling City earned its reputation, to the days before World War I, when the last whaler had departed and the first submarine was about to arrive. Through these pages, you will walk the city's unpaved streets to forgotten places like Bacon's Hotel and the Old Yellow Building, ride the trolley up State Street, and see Ocean Beach as it was before the 1938 hurricane swept it away. New London also gives special attention to the fashionable Pequot Colony, the trains and steamboats that traveled to and from the city, and familiar landmarks such as Union Station, the Nathan Hale Schoolhouse, and the Olde Town Mill.
This book considers the relationships between British Romantic-era novelist, poet and writer of educational works for children, Charlotte Smith (1749-1806), and a number of visual artists of the eighteenth century with whom she had connections. By exploring these associations with artists such as George Smith of Chichester, George Romney, James Northcote, John Raphael Smith and Emma Smith, the book demonstrates how the artwork of these individual artists influenced Charlotte Smith’s literary corpus. It also shows a mutual influence: how the literary works of Charlotte Smith impacted the corpora of these artists. This study uncovers information which was not heretofore known regarding these artists: it reveals a mistaken attribution of a sketch which accompanied the second volume of Smith’s Elegiac Sonnets (1797) and sheds light on a print, held by the British Museum, which was previously shrouded in mystery. The artworks also enhance the existing scholarly knowledge about Smith’s biography. This book analyses the tropes and motifs employed by Smith’s artist-associates in the context of the popular aesthetics of the period and undertakes parallel readings between such visual artistry and Smith’s literary works. The book deliberates on how Smith utilises these aesthetics as narrative devices, making use of the tropes of the picturesque, the sublime and the beautiful, as well as that of a national British heraldic artwork, in order to produce and enhance meaning in her literary oeuvre. Thus, Smith uses aesthetic structures as vehicles for social critique, commentating on political, gender, moral and class concerns in addition to enhancing the perceived authenticity of her own artistry. The scholarship aims to correct the common misperception that Smith was a lonely marginal figure of Romanticism and instead asserts her central position in an enormous network of key artistic figures of British Romanticism.