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Jane Ellen Panton (1847-1923) was the second daughter of the artist William Powell Frith, and an expert on domestic issues. Published in 1909, this is a further collection of Panton's memoirs, following her earlier autobiography Leaves from a Life (also reissued in this series). It looks back on life in mid-nineteenth-century England and the changes that had taken place since then, beginning by asking the question of how much the present generation knew about their country's past. Over fifteen chapters, Panton explores developments in the nature and structure of institutions such as the family, the community, the church, the electorate and the military, deeming certain changes as negative, such as the decline of county families and the gentry, while welcoming others, such as increased opportunities for women. Providing revealing insight into English middle-class concerns in the nineteenth and early twentieth centuries, this book remains of interest to social historians.

Jane Ellen Panton (1847-1923) was the second daughter of the artist William Powell Frith, and a journalist and author on domestic issues. She grew up in London, where she developed an aesthetic and practical interest in the various homes she lived in, and went on to publish a series of advice guides on buying property, decorating, and running households. Given her family's background and diverse interests, art, literature and theatre were also prominent in her life, as well as law and religion. First published in 1908, this is Panton's revealing autobiography, in which she recalls the places she lived, as well as the painters, actors, writers, and religious and legal figures who were central to her family's circle, influencing her tastes and interests. Offering a portrait of a creative milieu in the late nineteenth and early twentieth centuries, this book is both historically valuable and highly readable.

Jane Ellen Panton (1847-1923) was the second daughter of the artist William Powell Frith, and an expert on domestic issues. First published in 1911, this is a further collection of her memoirs, following her earlier autobiography Leaves from a Life (also reissued in this series). The focus of this book is her close friend Basil Hodges and his great influence on her life. She describes Hodges, an artist she met in her childhood, as an 'underdog' whom she set out to help, and went on to support him through difficulties in his marriage and career, accompanying him on his travels. Her friendship with Hodges led her to travel abroad and meet a range of colourful characters, all recounted here in vivid and often humorous detail. Offering reflections on life in England and France in the later nineteenth and early twentieth centuries, this book has much to offer social historians.

The young Elizabeth Butler (nee Thompson, 1846-1933) and her sister, the poet Alice Meynell, were educated at home by their wealthy father, and much of their childhood was spent in Italy. Elizabeth began to train as an artist at the Female School of Art, South Kensington, in 1866. She became famous for her work in the genre (unusual for a woman) of military art, one of her best known paintings being The Roll Call, an imagined incident from the Crimea. She took great trouble to ensure the accuracy of the detail of regimental uniform, and her depiction of the bravery and stoicism of the 'ordinary British soldier' was much appreciated in the late nineteenth century. This brisk and amusing 1922 autobiography, illustrated with her own sketches, takes the reader from her childhood through her artistic success to her life as the wife of a soldier and the mother of five children.

An architect and architectural theorist, George Edmund Street (1824-81) was one of the key proponents of the 'High Victorian' Gothic style in nineteenth-century Britain. He is best known as the mind behind London's Royal Courts of Justice. Elected an associate of the Royal Academy in 1866, Street became its professor of architecture in 1880. In 1874 he received the gold medal of the Royal Institute of British Architects after John Ruskin declined it, and he served as the Institute's president in 1881. Street's Gothic architecture was influenced by continental examples: this book, first published in 1855, serves as an important source for interpreting his output. It is copiously illustrated, arranged as a travelogue of mostly pointed-arch architecture seen in Italy, and covers exterior and interior elevations, sculptural details, metalwork and furniture.

Professor of natural and experimental philosophy at the University of Cambridge, Robert Willis (1800-75) mostly lectured on mechanism, and was elected an honorary member of the Institution of Civil Engineers in 1838. But Willis's interests also included Italian Gothic architecture, and his observations on the style, amassed in 1832-3 while travelling in France, Italy and Germany, were presented in this book, first published in 1835. The work is a pioneering study of Italian Gothic, a mode overlooked by his contemporaries, and key examples are brought together. It places Italian Gothic architecture within a European context and argues that the style represents an evolutionary assemblage of architectural motifs from different places and earlier periods. Willis's narrative refocused attention on Italian Gothic, winning the approval of the Institution of British Architects, which made him an honorary member in the year of its publication.

A tutor of mathematics at Cambridge, William Whewell (1794-1866) mostly published on mechanics. He became professor of mineralogy in 1828, Knightbridge professor of moral philosophy in 1838, and master of Trinity College in 1841. This work is unusual among his writings for its focus on architecture, yet the emphasis placed on terminology is consistent with his other publications, such as An Essay on Mineralogical Classification and Nomenclature (1828). Architectural Notes is significant for offering a detailed theoretical analysis of the origins of Gothic architecture, especially of the mechanical principles underlying it, notably the pointed arch. The discussion of German churches, despite the book's title, is of secondary concern, although guidance is given for recording Gothic buildings. This first edition was published anonymously in 1830. The second (1835) and third (1842) editions bore Whewell's name and were partially revised to reflect recent research on the origin of the pointed arch.

James Elmes (1782-1862), the son of a builder, trained at the Royal Academy Schools as an architectural designer, but his career encompassed publishing and writing on architecture as well. A friend of Benjamin Robert Haydon and his circle, he was the first publisher (in his Annals of Fine Arts) of Keats' most famous odes. This work - the first biography of Wren - was published in 1823, and is dedicated to the President and Fellows of the Royal Society, of which Wren was a founder member in 1660. Elmes based his work on the so-called 'Parentalia', or notes on the Wren family compiled by his son (also Christopher), and privately printed by his grandson Stephen in 1750. Elmes puts Wren's life and works into the context of the intellectual ferment of Restoration England, and combines the narrative of Wren's life with an architectural commentary on his most important works.

A physician and nonconformist minister who was active in the north of England, Richard Gilpin (1625-1700) was a popular preacher, leading large congregations, yet he faced opposition from Quakers and was ultimately unable to unite various dissenting factions. Including details about his descendants, the present work sets his story within the wider context of the Gilpin family history. First published in 1879, it was written in 1791 by fellow clergyman William Gilpin (1724-1804), an enlightened schoolmaster and writer on aesthetics. As well as covering his ancestors, William appends here his own life story, discussing his career as a teacher and his literary calling. He touches on his journeys during summer vacations when, with notebook and sketching materials, he would explore picturesque features of the British landscape. His volumes of Observations, based on these travels, are also reissued in the Cambridge Library Collection.

Remembered for devising the measure of wind speed that bears his name, the naval officer and hydrographer Sir Francis Beaufort (1774-1857) also had a hand in the production of more than a thousand nautical charts over the course of his career. In 1810 he had been appointed to command the frigate Frederikssteen by the Lords Commissioners of the Admiralty. His mission was to explore 'Karamania', a contemporary European term for the shores of southern Turkey. For two years Beaufort charted the coastline and investigated its classical ruins before his work was brought to an end in 1812 by a Turkish attack which left him wounded. Returning to England, Beaufort set about drawing up the charts of his survey and documenting his findings, publishing this work in 1817, complete with engraved maps and plates. Experts and laypeople received the book favourably, as it shed much light on an underexplored region.

Clergyman, schoolmaster and writer on aesthetics, William Gilpin (1724-1804) is best known for his works on the picturesque. In his Essay on Prints, published in 1768 and reissued in this series, he defined picturesque as 'a term expressive of that peculiar kind of beauty, which is agreeable in a picture'. First published in 1804, the present work is one of a series which records his reflections on the picturesque across British landscapes. It traces the journey he made in 1774, equipped with notebook and sketching materials, along England's south coast from Portsmouth to Dover and Canterbury via Brighton, Rye and Romney Marsh. He describes his impressions of famous landmarks such as the South Downs, Petworth House, Dover Castle and Canterbury Cathedral, and includes several reproductions of his pen-and-wash drawings. The companion volumes of Observations on other parts of Britain are also reissued in the Cambridge Library Collection.

Clergyman, schoolmaster and writer on aesthetics, William Gilpin (1724-1804) is best known for his works on the picturesque. In his Essay on Prints, published in 1768 and reissued in this series, he defined picturesque as 'a term expressive of that peculiar kind of beauty, which is agreeable in a picture'. First published in 1798, the present work is one of a series which records his reflections on the picturesque across British landscapes. It traces the journey he made, equipped with notebook and sketching materials, westwards from Wiltshire through Somerset and Devon to Cornwall, returning via Dorset, Hampshire and the Isle of Wight. He describes his impressions of famous landmarks such as Stonehenge, Glastonbury Abbey, the River Tamar and Carisbrooke Castle, and includes several evocative reproductions of his pen-and-wash drawings. The companion volumes of Observations on other parts of Britain are also reissued in the Cambridge Library Collection.

Clergyman, schoolmaster and writer on aesthetics, William Gilpin (1724-1804) is best known for his works on the picturesque. In his Essay on Prints, published in 1768 and reissued in this series, he defined picturesque as 'a term expressive of that peculiar kind of beauty, which is agreeable in a picture'. First published in 1786, this two-volume work formed part of a successful series which recorded his reflections on the picturesque across British landscapes. It traces the journey he made in 1772, equipped with notebook and sketching materials, in the Lake District. Describing his route from southern England, noting highlights along the way, Volume 1 includes discussion of Furness, Windermere and Keswick. The volume also features several reproductions of Gilpin's pen-and-wash drawings. Further exploring the concept of the picturesque, his volumes of Observations on other parts of Britain are also reissued in the Cambridge Library Collection.

Clergyman, schoolmaster and writer on aesthetics, William Gilpin (1724-1804) is best known for his works on the picturesque. In his Essay on Prints, published in 1768 and reissued in this series, he defined picturesque as 'a term expressive of that peculiar kind of beauty, which is agreeable in a picture'. First published in 1786, this two-volume work formed part of a successful series which recorded his reflections on the picturesque across British landscapes. It traces the journey he made in 1772, equipped with notebook and sketching materials, in the Lake District. Continuing to describe his route and its highlights, Volume 2 includes discussion of parts of Yorkshire, Derbyshire, Leicestershire and Northamptonshire as well as the Lakes. The volume also features several reproductions of Gilpin's pen-and-wash drawings. Further exploring the concept of the picturesque, his volumes of Observations on other parts of Britain are also reissued in the Cambridge Library Collection.

Clergyman, schoolmaster and writer on aesthetics, William Gilpin (1724-1804) is best known for his works on the picturesque. In his Essay on Prints, published in 1768 and reissued in this series, he defined picturesque as 'a term expressive of that peculiar kind of beauty, which is agreeable in a picture'. First published in 1782, the present work was the first in a series which recorded his reflections on the picturesque across British landscapes. It traces the journey he made, equipped with notebook and sketching materials, along the River Wye and into South Wales, visiting such notable sites as Tintern Abbey. As well as describing his route and its highlights, Gilpin includes several reproductions of his pen-and-wash drawings. Further developing and exploring the concept of the picturesque, his later volumes of Observations on various parts of Britain are also reissued in the Cambridge Library Collection.

The architect Charles Robert Cockerell (1788-1863) was encouraged to travel at a young age, so that he might draw inspiration from the great works of European architecture. However, when the Napoleonic Wars made parts of the continent inaccessible to Englishmen, his eye was turned towards southern Europe and the Ottoman Empire. This version of the Grand Tour took up seven years, during which he recorded the events in his journals. There his observations would have remained had it not been for the editorial labours of his son, Samuel Pepys Cockerell (1844-1921), who published the present work in 1903. The narrative takes in such cities as Constantinople, Athens, Florence and Rome. Touching also on friendships made with such figures as Byron, the text gives a sense of what continental travel was like at that time and how the architecture of the past continued to captivate designers in the modern age.

Written by his son John Romney (1757-1832) and published in 1830, nearly three decades after the artist's death, this collection of anecdotes and biographical episodes traces the extraordinary career of George Romney (1734-1802), highlighting his early training as a joiner in the family firm, his artistic education at the hands of the disreputable Christopher Steele, and his eventual fame as a portraitist of fashionable London. Recollections of personal and professional encounters with such influential figures as Laurence Sterne and Richard Payne Knight provide insights into the circumstances that inspired Romney's most famous works. Including an engraving of his self-portrait of c.1784, a section on his brother and fellow painter Peter Romney (1743-77), and a list of the designs and studies which were donated in 1817 to the Fitzwilliam Museum in Cambridge, this work reveals much about the eighteenth-century art world, its patrons and its pitfalls.

The foremost neoclassical sculptor of his age, Antonio Canova (1757-1822) is best known for his masterpiece The Three Graces, embodying in marble an ideal of feminine beauty. Descended from stonecutters, Canova was apprenticed to the sculptor Giuseppe Bernardi, quickly establishing his reputation for originality through works such as Psyche Revived by Cupid's Kiss. The idealism of his art, moving away from ornate baroque style, did much to increase the popularity of contemporary sculpture, and his skills were greatly acclaimed and in demand during his lifetime. The present work, first published in 1825 by the Scottish minister John Smythe Memes (1795-1858), is one of the many eulogistic works that appeared soon after Canova's death. Opening with a contextualising history of the development of modern sculpture, the book closely studies Canova's body of work and also contains a chronological catalogue of his creations with details of their owners and locations.

After the success of his richly illustrated Encyclopaedia of Cottage, Farm, and Villa Architecture and Furniture (1833), which is also reissued in this series, the landscape gardener John Claudius Loudon (1783-1843) received a great deal of correspondence from interested readers. This prompted him and the Encyclopaedia's contributors to publish this supplement in 1842. Loudon and his colleagues had continued to study a range of rural buildings - from homes to farms and schools - in England and Scotland, while at the same time receiving architectural designs and detailed letters from North America and Australia. The supplement draws on this wealth of material to discuss developments in the use of building materials as well as innovations in design. The focus is on cottages, farms, pubs, schools and almshouses. Construction methods and furnishings are also discussed. As with the volume it supplements, this work contains a plethora of detailed illustrations.

First published in 1909, this illustrated study considers the work of the artist and satirist William Hogarth (1697-1764), focusing on his depiction of London and its inhabitants. A devoted Londoner, Hogarth won great acclaim in his lifetime for the wit displayed in his many paintings and engravings. His work explored the many facets of London life, from the highest to the lowest social classes, from scenes of politics and business to churches, hospitals and prisons. Bibliographer, editor and prolific author, Henry Benjamin Wheatley (1838-1917) places Hogarth's work in the context of the artist's background and early life. Wheatley's attention to detail complements the selected examples of Hogarth's work, providing a portrait of eighteenth-century manners as seen through the eyes of one of the most acute observers of the age. Several of Wheatley's other works, including London Past and Present (1891), are also reissued in this series.

Clergyman, schoolmaster and writer on aesthetics, William Gilpin (1724-1804) is best known for his works on the picturesque. In his Essay on Prints, published in 1768 and reissued in this series, he defined picturesque as 'a term expressive of that peculiar kind of beauty, which is agreeable in a picture'. First published in 1809, the present work is one of a series which records his reflections on the picturesque across British landscapes. It traces two journeys he made equipped with notebook and sketching materials: the first in 1769 across East Anglia, and the second in 1773 from Anglesey south-east to Shrewsbury. He describes his impression of notable sites such as Cambridge, Houghton Hall and its art collection, Beaumaris Castle and Snowdon, and includes reproductions of his pen-and-wash drawings. The companion volumes of Observations on other parts of Britain are also reissued in the Cambridge Library Collection.

This two-volume posthumous edition of the writings on art of Sir Joshua Reynolds (1723-92), one of the greatest of eighteenth-century artists and the first president of the Royal Academy, was published in 1797. It is prefaced by a short biography of Reynolds by his friend, the Shakespearean critic Edmond Malone (1741-1812), which includes a list of Reynolds' paintings with their sale prices, when known. Reynolds took his role as president and fellow of the Royal Academy very seriously, delivering fifteen 'discourses' to the fellows and students of the Academy, which are collected in Volume 1, along with three 'letters' on art criticism published in The Idler. This periodical's editor, Dr Johnson, was one of Reynolds' most intimate friends, and Reynolds was one of only three writers, in addition to himself, whom Johnson published in it. These essays provide a fascinating insight into the intellectual basis of Reynolds' work.

This two-volume life of Sir Joshua Reynolds (1723-92) was begun by the Royal Academician Charles Leslie (1794-1859), who had previously published a life of John Constable, also reissued in this series. On Leslie's death, the journalist and dramatist Tom Taylor (1817-80) completed the work, published in 1865. Leslie's motive was that he felt that Reynolds had been unfairly treated by an earlier biography. He aimed to show that Reynolds was 'the genial centre of a most various and brilliant society, as well as the transmitter of its chief figures to our time by his potent art'. One of the greatest artists of the eighteenth century, especially famous for his portraits, Reynolds was also instrumental in founding the Royal Academy, and was its first president. Volume 1 covers his early life and his progress as an artist until his fiftieth year.

This two-volume life of Sir Joshua Reynolds (1723-92) was begun by the Royal Academician Charles Leslie (1794-1859), who had previously published a life of John Constable, also reissued in this series. On Leslie's death, the journalist and dramatist Tom Taylor (1817-80) completed the work, published in 1865. Leslie's motive was that he felt that Reynolds had been unfairly treated by an earlier biography. He aimed to show that Reynolds was 'the genial centre of a most various and brilliant society, as well as the transmitter of its chief figures to our time by his potent art'. One of the greatest artists of the eighteenth century, especially famous for his portraits, Reynolds was also instrumental in founding the Royal Academy, and was its first president. Volume 2 begins in 1773, and ends with Reynolds' death. Leslie also provides an assessment of his status as an artist.

As well as being the most distinguished painter of his generation, Sir Joshua Reynolds (1723-92) was also the author of several works of art criticism and guides for artists, some of which originated as lectures delivered to the students of the Royal Academy by him as their founding president. This work, first published in 1778, collects six of the addresses given to the Academy on 'Prize Day', between 1769 and 1776, prefaced with the first address by Reynolds to his fellow artists of the newly founded institution in 1769. Each discourse was later printed and distributed to those present at Reynolds' expense. They present his views of the purpose of art, and in particular the necessity of intellectual dignity in what he calls the 'great style' of the Florentine Renaissance masters. The discourses also demonstrate his wide reading among the aesthetic theorists of his own and earlier ages.

Born in Scotland, James Fergusson (1808-86) spent ten years as an indigo planter in India before embarking upon a second career as an architectural historian. Despite his lack of formal training, he became an expert in the field of Indian architecture, publishing Cave Temples of India and a History of Indian and Eastern Architecture, as well as The Holy Sepulchre and the Temple at Jerusalem, all reissued in the Cambridge Library Collection. In this illustrated work of 1849, he considers beauty in art, expressed chiefly by the architectural styles of different civilisations, beginning with ancient Egypt, and finishing with ancient Rome. (This book is named 'Part the First', but no subsequent volumes were written.) The first section is theoretical, tracing the intellectual development of man and his aesthetic sense, while the second considers the surviving evidence of the ideas of beauty held in the ancient world.

The architect and designer Augustus Welby Pugin (1812-52), whose early commissions included furniture for George IV at Windsor, assured his place in history through his work with Sir Charles Barry on the Palace of Westminster following the 1834 fire. A pivotal figure in Britain's Gothic Revival, he became a Roman Catholic in 1835, combining his religion with his devotion to the medieval in building projects such as Nottingham Cathedral, St George's Cathedral in Southwark, and Mount St Bernard Abbey in Leicestershire. Benjamin Ferrey (1810-80) studied architectural draughtsmanship under Augustus Charles Pugin (1762-1832). Boarding with the Pugins for seven years, he gained first-hand knowledge of father and son. This 1861 work is a lasting achievement in architectural biography. It includes a substantial appendix by Edmund Sheridan Purcell, a family friend whose own Catholicism equipped him to discuss the religious aspects of the younger Pugin's character and work.

One of the leading exponents of the nineteenth century's Gothic Revival, the architect Sir George Gilbert Scott (1811-78) most famously designed the Albert Memorial in Kensington Gardens and the Midland Grand Hotel at St Pancras. In the design and restoration of churches and cathedrals, his work was distinguished by its care, skill and sheer volume: most medieval cathedrals in England and Wales, including Westminster Abbey, benefited from Scott's expertise in some form. Written between 1864 and his death, then edited by his son and fellow architect George Gilbert Scott (1839-97), this 1879 autobiography was among the first of its kind, recording the background, career and opinions of a prolific professional architect. Moreover, the work includes a defence of Scott's principles against what he saw as the 'anti-restoration movement', led by John Ruskin and others. Altogether, these lucid memoirs confirm Scott's place at the centre of Victorian design.

A painter, army officer and eminent Royal Academician, George Jones (1786-1869) enjoyed a close friendship with the sculptor Sir Francis Chantrey (1781-1841). Britain's portrait sculptor of choice at the peak of his career, Chantrey is most celebrated for works such as his busts of Sir Walter Scott and John Horne Tooke, his statue of James Watt, the equestrian bronze of Sir Thomas Munro in India, and The Sleeping Children in Lichfield Cathedral. Originally published in 1849, this book is an affectionate tribute to the man and his work, featuring also a selection of his letters to Jones, the engraver Charles Turner, and other correspondents. Whereas Jones's patriotism led him to enlist, Chantrey's was reflected in his enthusiasm for the advancement and promotion of his country's art: his generous bequest to the Royal Academy allowed for the purchase of numerous works of British art, now held by the Tate.