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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.

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 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 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 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.

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.

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.

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 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.

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.

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.

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.

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.

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. 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.