No! No! she was not going to gush!-Not even though there was nothing in the room at this moment to stand up afterward before her as dumb witness to a moment's possible weakness. Less than nothing in fact: space might have spoken and recalled that moment . . . infinite nothingness might at some future time have brought back the memory of it . . . but these dumb, impassive objects! . . . the fountain pen between her fingers! The dull, uninteresting hotel furniture covered in red velvet-an uninviting red that repelled dreaminess and peace! The ormolu clock which had ceased long ago to mark the passage of time, wearied-as it no doubt was, poor thing-by the monotonous burden of a bronze Psyche gazing on her shiny brown charms, in an utterly blank and unreflective bronze mirror, while obviously bemoaning the fracture of one of her smooth bronze thighs! Indeed Louisa might well have given way to that overmastering feeling of excitement before all these things. They would neither see nor hear. They would never deride, for they could never remember. But a wood fire crackled on the small hearth . . . and . . . and those citron-coloured carnations were favourite flowers of his . . . and his picture did stand on the top of that ugly little Louis Philippe bureau . . . No! No! it would never do to gush, for these things would see . . . and, though they might not remember, they would remind. And Louisa counted herself one of the strong ones of this earth. Just think of her name. Have you ever known a Louisa who gushed? who called herself the happiest woman on earth? who thought of a man-just an ordinary man, mind you-as the best, the handsomest, the truest, the most perfect hero of romance that ever threw a radiance over the entire prosy world of the twentieth century? Louisas, believe me, do no such things. The Mays and the Floras, the Lady Barbaras and Lady Edithas, look beatific and charming when, clasping their lily-white hands together and raising violet eyes to the patterned ceiling paper above them, they exclaim: "Oh, my hero and my king!" But Louisas would only look ridiculous if they behaved like that . . . Louisa Harris, too! . . . Louisa, the eldest of three sisters, the daughter of a wealthy English gentleman with a fine estate in Kent, an assured position, no troubles, no cares, nothing in her life to make it sad, or sordid or interesting . . . Louisa Harris and romance! . . . Why, she was not even pretty. She had neither violet eyes nor hair of ruddy gold. The latter was brown and the former were gray. . . . How could romance come in the way of gray eyes, and of a girl named Louisa? Can you conceive, for instance, one of those adorable detrimentals of low degree and empty pocket who have a way of arousing love in the hearts of the beautiful daughters of irascible millionaires, can you conceive such an interesting personage, I say, falling in love with Louisa Harris? I confess that I cannot. To begin with, dear, kind Squire Harris was not altogether a millionaire, and not at all irascible, and penniless owners of romantic personalities were not on his visiting list.
Arthur Roberts was a schoolmaster in country NSW (1861 to 1894) and it was education and the changing educational system that shaped his life. Born in the hop-growing region of Kent, England, his life and prospects were transformed by a wave of educational reform that carried him far from family, class and country. Roberts found himself on the frontier of attempts to establish a national school system in Australia. With a swiftly growing family - one with a severe disability - he was moved from one struggling district to another, fighting insolvency, ignorance, natural disaster and bitter sectarian divides. His letters requesting schoolroom furniture, upgrades to buildings and teaching assistants give some insight into his plight. Photographs and family folklore reveal a taciturn, deeply flawed man while the evidence of writings (as Scone correspondent for The Maitland Mercury) suggests a fiery intelligence and defiant pride. This is amplified by a portrait of Roberts in Havelock Ellis's autobiographical novel, Kanga Creek. The schoolmaster, Mr Williams, is portrayed as an educated and passionate agnostic who uses the pen name Anti-Humbug when writing letters to The Stockwhip, a journal possibly modeled on publications like The Bulletin. This narrative presents these contradictions and hopefully gives the reader some sense of this teacher's journey.
A wholesome fictional story to intrigue, inspire, and enlighten readers of all ages. Through its graphic imagery and brilliant storyline, "A Bridge Apart" sheds light on important life lessons that must be learned and re-learned in a very material world. Adopt and commit to memory what you learn from this story and you will guarantee your heart and mind will be ever vigilant and focused on what is truly important in life. "A Bridge Apart" is the story of a poor traveling salesman who struggles daily to make ends meet by selling the furniture he lovingly creates. Poor in spirit, he survives in a life of monotony lacking the coin and the confidence to make anything better of himself until a tragic accident that nearly ends his life changes everything . . .
Globalization affects every aspect of our lives, from what we buy to what we eat to what we study-and the study of design history is no exception. Programs in art, architecture, and interior design all face the challenge of providing students with information from around the world. History of Furniture: A Global View covers the major historical movements in furniture design (from prehistoric periods through contemporary times) and includes parts of the world that traditional history books ignore or underserve, such as Africa and China. It presents the achievements of Western furniture designers, not in isolation from the rest of the globe, but in vibrant contact with it. For example, students will learn about the influence of Islamic design on Romanesque style and Thailand's interpretation of Art Nouveau. In short, this comprehensive book with a global perspective focuses on the evolution of furniture from ancient history through postmodernism.
Written to engage and inspire students with little or no previous experience in studio art or art history, Approaches to Art: A Journey in Art Appreciation builds the case for art's meaning and value. The book presents all the essential parts of an introductory art history course --visual elements, principles of design, style, media, and art history--in a compelling format that invites critical thinking and teaches multicultural visual literacy. Students will not only learn the parts of art, they will develop, step by step, a deeper understanding of art's power to communicate on multiple levels--universal, cultural, and personal. Each chapter includes an art history exercise, a studio exercise, and discussion questions. The assignments can easily be customized to focus on art history or studio art, as appropriate for specific courses and modalities. Approaches to Art empowers students to approach any work of art with the ability to see and appreciate far more than they could before. Developed and class-tested over a period of years, it is an ideal textbook for general education courses in introductory art history and art appreciation. Ferdinanda Florence holds an M.F.A. in painting from the San Francisco Art Institute, and an M.A. in art history from the University of Maryland, College Park. She is a professor of art appreciation and art history at Solano Community College in Fairfield, California. A professional artist, she is represented by the Andrea Schwartz Gallery in San Francisco.
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