General and students of nineteenth-century English literature and history.

    Purchasers can download a free scanned copy of the original book (without typos) from the publisher. 1905. Excerpt: ... ACT I Scene--The octagon room at Sir Robert CHILTern's house in Grosvenor Square. [The room is brilliantly lighted and full of guests. At the top of the staircase stands Lady Chiltern, a woman of grave Greek beauty, about twenty-seven years of age. She receives the guests as they come up. Over the well of the staircase hangs a great chandelier with wax lights, which illumine a large eighteenthcentury French tapestry--representing the Triumph of Love, from a design by Boucher--fhat is stretched on the staircase wall. On the right is the entrance 'to the music-room. The sound of a string quartette is faintly heard. The entrance on the left leads to other reception-rooms. Mrs. Marchmont and Lady Basildon, two very pretty women, are seated together on a Louis Seize sofa. They are types of exquisite fragility. Their affectation of manner- has a delicate charm. Watteau would have loved to paint them.) Mrs. Marchmont. Going on to the Hartlocks' tonight, Margaret? Lady Basildon. I suppose so. Are you? Mrs. Marchmont. Yes. Horribly tedious parties they give, don't they? Lady Basildon. Horribly tedious! Never know why I go. Never know why I go anywhere. Mrs. Marchmont. I come here to be educated. Lady Basildon. Ah! I hate being educated! Mrs. Marchmont. So do I. It puts one almost on a level with the commercial classes, doesn't it? But 1 dear Gertrude Chiltern is always telling me that I should have some serious purpose in life. So I come here to try to find one. Lady Basildon [Looking round through her lorgnette]. I don't see anybody here to-night whom one could possibly call a serious purpose. The man who took me in to dinner talked to me about his wife the whole time. Hrs. MArchmont. How very trivial of him! Lady Basildon. Terribly trivial! What did your man talk about? Mrs. Mabchmont. Abo...

    In the intervening seventy years which are the subject of this book, the boundaries of Europe changed dramatically from those established at Vienna in 1815: Cavour championed the cause of Risorgimento in Italy; Bismarck brought about the unification of Germany; while the Great Powers scrambled for a place in the sun in Africa.In this, one of his most enduring works, A.J.P. Taylor shows how the changing balance of power determined the course of European history, during this, the last age when Europe was the centre of world history. Throughout, Taylor's narrative is so vivid that the book is as much a work of literature as a contribution to historical scholarship.

    Though stern and aloof with his indolent, tippling wife and watchful children, he is undermined by helpless love for his pretty, cold-hearted daughter Mary. THE FLINT ANCHOR subverts the rules of the historical novel and shows how family history is made- which stories can be trusted, whose voices hold influence and whose are forgotten. Wit, charm and intelligence illuminate several decades of family life and the events of small town society in this tragi-comedy of manners, the last of the author's seven novels.

    A Baltimore artist, inventor, and daguerreotypist, Carvalho was given the job of creating a photographic record of the lands and peoples along the way. Frémont’s party left the Missouri on September 14, 1853, traveled up the Kansas River, overland to the Arkansas, upriver past Bent’s Fort to the Huerfano, and traversed the Sandhill Pass into the Rocky Mountains. Beset by heavy snows and intense cold, they were reduced to eating their horses and mules and the occasional beaver or porcupine while making their way in midwinter across the Grand, Green, and Sevier Rivers. Suffering from frostbite, scurvy, and dysentery, Carvalho left the expedition in Utah; spent four months among the Mormons in Salt Lake City, where he observed with keen interest their system of spiritual wives; and reached California in 1854.Carvalho became the first Jewish writer to publish accounts of the Great American West and was also one of the first people to photograph the American West. Although only one of his plates is known to survive, others became the models for wood and steel engravings that broadcast the image of the West throughout the world.This Bison Books edition restores the discourses on Mormon doctrine omitted from previous twentieth-century editions.

    Devoted to seven crucial months in 1860, the work examines in detail the sequence of events between the Sicilian rebellion in April, and the absorption of all the south into the Italian kingdom of Victor Emmanuel in November. It shows, in the contrasting priorities of the two great leaders, the creative tensions that underlay the movement for Italian unification. Against Cavour's desire to extend to the rest of the peninsula the benefits of Piedmontese liberalism, the author juxtaposes Garibaldi's dream of a united Italy, achieved if necessary by force. The diplomat and political strategist is compared with the soldier and popular hero, and in the comparison it is Garibaldi who emerges as the realist, and Cavour as the inspired but dogmatic muddler.