81 research outputs found
Matthaei Parker Cantuariensis archiepiscopi De antiquitate Britannicae ecclesiae et privilegiis ecclesiae Cantuariensis : cum archiepiscopis ejusdem LXX e XXI exemplarium 1572 excusorum, sibique mutuo sorte plane singulari discrepantium, collatione, integra nunc primum numerisque absoluta omnibus historia /
No full textIncludes index.Engraved portrait of Parker by George Vertue; engraved head- and tail-pieces, pictorial initials.Signatures: pi² *⁴ A⁸ chi²(-chi2) ²A² B-L²,²chi²(-²chi2) M-Q²,²B-Q² R-8L².Mode of access: Internet.Bookplate of Revd. George Williams. Signature of Wm. H. Ink, 1879. Signature of Peter Karney, Cambridge, July 1939. Signature on t.p. of Schaefer Williams, Bay Settlement, Wis., 8 July 1976.Binding: 19th-century marbled paper, quarter goatskin. Author & title on spine in gilt. Edges sprinkled red & tan
Francisci Junii Francisci filii Etymologicum anglicanum /
No full textWith a frontispiece portrait of the author: Antonius Vandyck Eques pinxit, G. Vertue sculp.With a list of subscribers at the end.Europeana-GoogleBook
Fantasmagories psychologiques et physiologiques / G. Vertue
No full textContient une table des matièresAvec mode text
A plea for peace: or A sermon preached in St. Pauls Church in London. Iuly 9. 1637. By Henry Vertue, parson of the parish church of Alhollowes Honey-Lane in London [electronic resource]
No full textPrinter's name from STC.Errata on I1v, final leaf.Reproduction of the original in Cambridge University Library.STC (2nd ed.)Electronic reproduction
Comments and Reflections on "Prosody" (A Correspondence with Encyclopedia Britannica)
No full textThis is the correspondence between contributor Umar Farooq and editors of the Encyclopaedia Britannica. In this article, Farooq quotes the author ‘Elements of Prosody: Scansion’, and draws attention of the editors to some points left unnoticed by the author as he explains these elements through George Herbert’s analysis of Vertue. Farooq also shares his views on ‘Prosodic Style: The Personal Elements’
[All of the Egyptian mummies, and other Egyptian antiquities, in England]
No full text"The two preceding essays being design'd to explain three of the twenty-five copper-plates already deliver'd to subscribers, an explanation of the remaining prints will come forth with all convenient speed"--Advertisement to the reader. No more published.The plates are after Gordon's drawings and are engraved by Gordon, Gerard Van Der Gucht, W. Morgan, G. King, Bernard Baron, George Vertue, and James Smith.Copperplate engravings accompanied by two pamphlets: An essay towards explaining the hieroglyphical figures, on the coffin of the ancient mummy belonging to Capt. William Lethieullier. London : Printed for the author, 1737; and, An essay towards explaining the antient hieroglyphical figures, on the Egyptian mummy, in the museum of Doctor Mead, physician in ordinary to His Majesty. London : Printed for the author, 1737.Title based on entry in BM, vol. 89, col. 76.Includes bibliographical references.Mode of access: Internet.Sloan candidateBound in marbled paper-covered boards; leather spine; blind stamping on spine; red goatskin label with gilt title on spine. Rear free endpapers display pencil sketches of military subjects executed in the early 19th century
Rhymes from Italy, in a series of letters to a friend in England.
No full textMode of access: Internet
The complaint. Or, Night thoughts on life, death, & immortality. Night the fifth. [The relapse]
No full textIn verse.Frontispiece, included in pagination, is an engraving by George Vertue, signed in the plate.Half-title following t. p.: Night the fifth. The relapse ...First edition of the fifth Night; cf. Pettit, no. 6 a.Mode of access: Internet
The life and works of James Miller, 1704-1744, with particular reference to the satiric content of his poetry and plays.
No full textPhDJames Miller was born the son of a Dorset rector in 1704. He
was himself ordained, but acquired no benefice until just before his
early death, probably because of a scathing portrayal of the Bishop
of London in one of his verse satires. At Oxford he wrote a vivacious
comedy of humours, set in the University. Its production in 1730
began his dramatic career, at a time when the number of London
theatres had just doubled, and new dramatic forms were being invented.
In 1731 his poem Harlequin-Horace, a witty inversion of
the Ars Poetica, attacked pantomime and opera, but also painted a
lively portrait of the entire theatrical world, in the tradition of
the Dunciad.
After collaborating in a translation of Moliere's works Miller
wrote two plays based on this author. Of all his dramatic works
these were the most successful with his contemporaries, and were
followed by a modernisation of Much Ado, and a ballad-opera adapted
from an afterpiece by Jean-Baptiste Rousseau, and rendered highly
topical. Miller made similar use of a recent French comedy showing
a Red Indian's reactions to civilisation, a satiric "fable" by Walsh
and Voltaire's Mahomet. A large quantity of original material was
incorporated into most of these, and this is generally satirical in
nature. The Indian is made to voice almost egalitarian sentiments.
An afterpiece, "The Camp Visitants", satirised military inaction
in the war, and was apparently banned. The manuscripts of the six
plays produced after the Licensing Act bear the examiner's deletions,
and illustrate the nature of the censorship at this time.
Miller's greatest strength is probably his flexible, vigorously
colloquial dialogue. His political satire is mostly contained in
the poetry, which attacks Walpole's administration with increasing
vehemence through the seventeen-thirties, until its fall. In 1740
two poems that used Pope in symbolic contrast to Walpole caused a
sensation. In both poetry and plays Miller is also a social satirist,
who lays unusually strong emphasis on false taste and the deterioration
of culture
Prédire ou Prévoir, réflexions (probablement) personnelles
No full textIl y a quelques années, j'avais fait un billet où je m'énervais contre une phrase que j'avais entendu ("l’homme qui avait prédit la crise"). Le point de départ était surtout un énervement lié au fait que beaucoup de journalistes vivent avec des oeillères (par exemple en associant "économiste" à "type à la télé qui parle d'économie"), et ne connaissent pas la diversité de la communauté des économistes (surtout que la pluralité n'est pas vraiment une vertue présente dans les grands médias, la m..
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