Exclusive Illustrated Edition Of George A Birmingham S A Padre In France

The case is very different behind the lines. There, indeed, we see the seamy side of war. There are the men who, in some way or other, have secured and keep safe jobs, the embusqués whom the French newspapers constantly denounce. There are the officers who have failed, proved unfit for command, shown themselves lacking in courage perhaps, and in mercy have been sent down to some safe base. There are the men who have been broken in spirit as well as in body, who drag on an existence utterly dull, very toilsome, well-nigh hopeless, and are illuminated by no high call for heroic deeds. There the observer sees whatever there is to be seen of petty spite and jealousies, the manipulating of jobs, the dodging of regulations, all that is most ignoble in the soldier's trade. There also are the men with grievances, who, in their own estimation, are fit for posts quite other than those they hold. Some one described war at the front as an affair of months of boredom punctuated by moments of terror. If that philosopher had been stationed at a base he might have halved his epigram and described war as months of boredom unpunctuated even by terror.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.

DigiCat Publishing presents to you this special edition of "Fine Books" by Alfred W. Pollard. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

The author had enlisted in 1901 in the Royal Welsh Fusiliers and was a reservist when the First World War broke out. He rejoined his old, 2nd Battalion and landed in France with them on 11 August 1914. He went right through the war with the battalion, never missing a battle, winning the D.C.M. and M.M. Here is a typical soldier of the pre-1914 regular army, and this book is a delight, written in his own unpolished manner. Fighting, scrounging, gambling, drinking, dodging fatigues, stolidly enduring bombardment and the hardships of trench warfare, always getting his job done. This is one of the finest of all published memoirs of the Great War, truly a classic of its kind. A tribute to the army that died on the Western Front.

'...A remarkable and fascinating account...' --Phil Carradice, BBC From the author of the celebrated Great War memoir Old Soldiers Never Die, Old Soldier Sahib is Frank Richards' account of his experiences as a Royal Welch Fusilier in India and Burma at the dawn of the 20th century.