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Bound in with various catalogs and offprints. ; Mode of access: Internet. ; Library's copy is annotated.

A caricature done by Ape for Vanity Fair magazine depicting Stephen Cave, a British lawyer, writer and conservative politician. He served as Paymaster-General under Queen Victoria. ; https://digital.kenyon.edu/arthistorystudycollection/1139/thumbnail.jpg

Following the assassination of Abraham Lincoln in in 1865, American citizens mourned the loss of their great leader. Artists, such as portrait painter and etcher Stephen James Ferris, memorialized the image of the sixteenth president of the United States through the production of popular prints after his passing. In this photo reproduction of an albumen print, Ferris depicts Lincoln ascending into heaven where George Washington meets him in an embrace. Basked in heavenly light, Washington places a laurel wreath upon Lincoln's head as angels descend from sky to greet him. Referred to as an Apotheosis, this image imbues Lincoln's death with associations of divine glorification. George Washington, seen as the founder of this nation, also held religious symbolism in the eyes of the American people; popular art and literature framed him as a "God the Father" figure after his death in 1799. Analogies were then made between Lincoln and Jesus, martyrs and saviors, as well as Washington and God, fathers and founders. The religious associations placed upon these political figures emphasized the significance of their deaths and provided a familiar narrative to cope with the grief that was felt after their passing. Comforted by this idea, the American people believed their beloved leaders could exist indefinitely as divinities in a second life. In 1865, Washington and Lincoln (Apotheosis) made its way into the hands of the American public. Reproduced into postcards and printed in papers and magazines, the image was a tangible keepsake for those in mourning. The photo had commercial value; like other popular, period, print pieces of the time, their mass circulation was frequent and abundant due to constant conversation of political upset. Aside from reassuring Americans of their lost leaders' greatness through transcendent imagery, the image had deeper emotional value as this Apotheosis also served as a reminder of the inevitable casualties of war. Ferris's career was based heavily in portrait paintings and engravings. First and foremost a collector, however, much of his inspiration was drawn from his collection of original and reproductive prints by artists such as Jean-Léon Gérôme, Jacquemart, and Rembrandt. Ferris produced hundreds of portraits, was a founding member of the Philadelphia Society of Etchers, and shared his knowledge of portrait etchings and prints as an instructor at the Philadelphia School of Design for Women. Washington and Lincoln (Apotheosis) exemplifies Ferris's fascination with portraiture and printmaking of the time. Ferris most likely took inspiration from Gilbert Stuart's George Washington and Matthew Brady's Abraham Lincoln. In his collecting and artmaking, he experimented with popular print imagery and its accessibility. The memorializing iconography of this print combined with the nature in which it has been shared and collected attests to its ability to preserve the memory of these two leading figures. Ferris's inclination to commemorate individuals through the creation and collection of their images is representative of our human desire to honor leaders of the past. —Rosa Rumora ('19) Based off of the 1865 albumen print, however there are angels in the heavenly light unlike the original print, and Lincoln's ear is visible unlike the original. ; https://digital.kenyon.edu/arthistorystudycollection/1097/thumbnail.jpg

"The Politics Corner" A crowded bar filled with elderly gentlemen sitting around a table, smoking and drinking beer. ; https://digital.kenyon.edu/arthistorystudycollection/1089/thumbnail.jpg

Once featured on a Hungarian forint banknote, this engraving is a reproduction of one of the three female figures, symbolizing Peace (see banknote below). Isolated from its original context, the U.S. Bureau of Engraving and Printing is responsible for this reproduction. While this print may not preserve the figure's origins, the decision to perpetuate this illustration alone speaks to timeless universal belief in peace as a something to imagine and strive for. Designed and engraved by Tyroler József, the banknote from which the figure originates represents a brief period in Hungary's history in which political reformer Lajos Kossuth inspired Hungary's struggle for independence from Austria. Born in 1822, much of József's early life is unknown until his move to Budapest in 1837. There, József learned how to design and engrave. Producing a number of illustrations for various newspapers, his most radical work was for the banknote designs he created between 1848 and 1849 in recognition of the Hungarian revolution during the time. The banknote which included this female figure was a two forint note, featuring Kossuth's signature who was at the time the governor-president of Hungary. Political reformer and journalist Lajos Kossuth rose through the ranks of power in Hungary during the 1840s, believing the country's liberty was contingent on its independence. Ultimately rising to the position of Minister of Finance, one of his major orders of business was to re-establish a separate coinage in an effort to create an independent national identity for Hungary, which he called "Kossuth notes." Leaning against a shield, the woman steadies herself to her left by placing her hand on a fasces. Echoing ancient Roman tradition, the fasces represents official authority, characterized by an ax head projecting from a bundle of wood tied together by a strap. The ax, however, is not present in this depiction of Peace, which may be influenced by the Roman custom to remove the ax when within the city's bounds, signifying the citizen's right to appeal a governmental ruling. Swords lying at her feet, Peace is illustrated here as both authoritative and accessible, clutching an olive branch as a direct symbol of Peace for the country of Hungary. Seamlessly reproduced, this small, intricate engraving offers a simple depiction of peace mythologized. By using traditional black ink in which to describe this figure, József was able to articulate the different textures and materials of her dress, shield, and weapons. After the revolution failed and Kossuth went into exile, the Austrian government demanded these notes be collected and destroyed. Few survived, however, allowing József's interpretation of peace to be reproduced in print form for a wider audience. —Stephanie Holstein ('18) From the Bureau of Engraving and Printing, New York. BE217 written on back of paper. p979 in top right corner of back of frame, BN112 and 1:23 in bottom left. $35.00 ; https://digital.kenyon.edu/arthistorystudycollection/1000/thumbnail.jpg

ser. 2. Ancient Greece and mediaeval Italy. Mr. Gladstone's Homer and the Homeric age. The historians of Athens. The Athenian democracy. Alexander the Great. Greece during the Macedonian period. The primaeval archaeology of Rome. Mommsen's History of Rome. Lucius Cornelius Sulla. The Flavian Caesars. ; Mode of access: Internet.

ser. 2. Ancient Greece and mediaeval Italy. Mr. Gladstone's Homer and the Homeric age. The historians of Athens. The Athenian democracy. Alexander the Great. Greece during the Macedonian period. The primaeval archaeology of Rome. Mommsen's History of Rome. Lucius Cornelius Sulla. The Flavian Caesars. ; Mode of access: Internet.

Beresford-Hope, A.J.B. Preliminary address.--Dean Stanley. Archaeology in its religious aspect.--Clark, G.T. Some particulars concerning the military architecture of the Tower of London.--Scott, G. G. The chapter-house of Westminster.--Prof. Westmacott. On the sculpture in Westminster abbey.--Foss, E. Westminster hall.--Burt, J. Public record office.--Green, J. R. London and her election of Stephen.--Scharf, G. Royal picture galleries. ; Mode of access: Internet.

Atlases accompany v. 1, pt. 1; v. 2; and v. 5-v. 7. ; "Published by authority of the Legislature of Ohio." ; v.1-3, Geology and Palaeontology -- v.4 Zoology and Botany -- v.5-6 Economic geology -- v.7 Economic geology, archaeology, botany, paleontology -- v.8 Comprising reports on various mineral industries -- v.9 Comprising Bulletins 4-5-6-7 and 8 of the Fourth Series. ; Atlases accompany v. 1, pt. 1; v. 2; and v. 5-v. 7. ; Mode of access: Internet.

The monograph deals with the visit of Alfred, Duke of Edinburgh, in India in 1869. He was the first member of the royal familiy, who visited British India.