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Eleven authors are included in this final part of Volume III of the Index, beginning with Laurence Sterne and concluding with Edward Young. It also includes the final cumulative first-line index of all the verse which is described in the manuscript entries or mentioned in the Introductions in Parts 1-4 of Volume III.
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Alexander Lindsay (1812-80) was the head of an aristocratic family who owned vast coalfields in Lancashire, generating enormous wealth. Educated at Eton and Trinity College, Cambridge, he spent the majority of his time travelling in Italy, collecting, and writing on a variety of subjects, including art, the Indo-Aryan race and the Etruscans. This important work, published in three volumes in 1847, surveys Christian painting and sculpture. Addressing Romance literature of the Middle Ages, iconography and legends of the saints, the book's historical narrative is infused with the author's strong moral approach to the subject. Volume 3 covers the schools of Siena, Florence and Bologna, then moves north to look at Cologne, Dürer, and Cranach, the Van Eycks and the Netherlandish School. Though derided by John Ruskin, the work strongly influenced aristocratic collecting, and remains relevant to readers interested in the Victorian construction of morals and artistic taste.
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Alexander Lindsay (1812-80) was the head of an aristocratic family who owned vast coalfields in Lancashire, generating enormous wealth. Educated at Eton and Trinity College, Cambridge, he spent the majority of his time travelling in Italy, collecting, and writing on a variety of subjects, including art, the Indo-Aryan race and the Etruscans. This important work, published in three volumes in 1847, surveys Christian painting and sculpture. Addressing Romance literature of the Middle Ages, iconography and legends of the saints, the book's historical narrative is infused with the author's strong moral approach to the subject. Volume 1 covers philosophical method, Christian symbolism and mythology, Roman art, and Byzantine art, which Lindsay sees as having stimulated the Western revival. Though derided by John Ruskin, the work strongly influenced aristocratic collecting, and remains relevant to readers interested in the Victorian construction of morals and artistic taste.
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Alexander Lindsay (1812-80) was the head of an aristocratic family who owned vast coalfields in Lancashire, generating enormous wealth. Educated at Eton and Trinity College, Cambridge, he spent the majority of his time travelling in Italy, collecting, and writing on a variety of subjects, including art, the Indo-Aryan race and the Etruscans. This important work, published in three volumes in 1847, surveys Christian painting and sculpture. Addressing Romance literature of the Middle Ages, iconography and legends of the saints, the book's historical narrative is infused with the author's strong moral approach to the subject. Volume 2 covers Gothic architecture; the art of the Lombards; Pisano and Giotto, and their schools and followers. Though derided by John Ruskin, the work strongly influenced aristocratic collecting, and remains relevant to readers interested in the Victorian construction of morals and artistic taste.
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The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling student and researcher to read the material themselves.
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eebo-0158
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eebo-0062
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