Nevv Englands prospect : a true, lively, and experimentall description of that part of America commonly called Nevv England, discovering the state of that countrie both as it stands to our new-come English planters and to the old native inhabitants, laying downe that which may both enrich the knowledge of the mind-travelling reader or benefit the future voyager

Includes selection of vocabulary in the Massachuset language: p. [1-5], 3rd group LoC Subject Headings: Indians of North America--Massachusetts--Early works to 1800; Massachuset language--Glossaries, vocabularies, etc.--Early works to 1800; Massachusetts--Description and travel--Early works to 1800; Massachusetts--History--Colonial period, ca. 1600-1775. LoC Class: F6

A new voyage to Carolina : containing the exact description and natural history of that country ; together with the present state thereof ; and a journal of a thousand miles, travel’d thro’ several nations of Indians ; giving a particular account of their customs, manners, etc.

"A small dictionary of every tongue ...", p. 225-230, contains numbers, general vocabulary and phrases in the English, Tuskeruro [i.e. Tuscarora, a language in the Iroquois family spoken by a tribe in New York State and Ontario], Pamticough [a language spoken by the Pamlico Indians, who lived in Virginia], and Woccon languages [as spoken by a Siouan tribe near Piedmont, North Carolina] LoC Subject Headings: Tuscarora language, Woccon language, Indians of North America--North Carolina--Early works to 1800, Natural history--North Carolina--Early works to 1800, North Carolina--Description and travel--Early works to 1800, South Carolina--Description and travel--Early works to 1800, LoC Class: F25

Brief treatise on the history and development of accounting

Subheadings for this monograph are: Origin and Development of Single-entry Bookkeeping; Origin and Development of Double-entry Bookkeeping; England\u27s Early Writers on Double-entry Bookkeeping; Scotland\u27s Early Writers on Double-entry Bookkeeping; Ireland\u27s Early Writers on Double-entry Bookkeeping; The Pirating of Deceased Authors\u27 Works; British works most used in the United States from 1800 to 1850; Americas Early Writers on Double-entry Bookkeeping; Our Early Writers on Accounting; Present-day American Works on Accounting; The Early teaching of Single-entry Bookkeeping in America; The Early teaching of Double-entry Bookkeeping in America; Pioneer Proprietors of Business Colleges; James Arlington Bennett; Collegiate Schools of Business; Accountants\u27 Organizations; Factors which have contributed most in the advance-merit of accounting in the United State

Periods in the Use of Euler-type Diagrams

Logicians commonly speak in a relatively undifferentiated way about pre-euler diagrams. The thesis of this paper, however, is that there were three periods in the early modern era in which euler-type diagrams (line diagrams as well as circle diagrams) were expansively used. Expansive periods are characterized by continuity, and regressive periods by discontinuity: While on the one hand an ongoing awareness of the use of euler-type diagrams occurred within an expansive period, after a subsequent phase of regression the entire knowledge about the systematic application and the history of euler-type diagrams was lost. I will argue that the first expansive period lasted from Vives (1531) to Alsted (1614). The second period began around 1660 with Weigel and ended in 1712 with lange. The third period of expansion started around 1760 with the works of Ploucquet, euler and lambert. Finally, it is shown that euler-type diagrams became popular in the debate about intuition which took place in the 1790s between leibnizians and Kantians. The article is thus limited to the historical periodization between 1530 and 1800

Lute, Vihuela, and Early Guitar

Producción CientíficaLutes, guitars, and vihuelas were the principal plucked instruments in use in Europe until around 1800. Ancient forms of the lute existed in many parts of the ancient world, from Egypt and Persia through to China. It appears to have become known in Europe, where its earliest associations were with immigrants such as the legendary Persian lutenist Ziryab (b. c. 790–d. 852), who was established in Moorish Spain by 822. The origins of the various flat-backed instruments that eventually became guitars are more difficult to trace. The vihuela is one such instrument that evolved in the mid-15th century and was prolific in Spain and its dominions throughout the 16th century and beyond. Very few plucked instruments, and only a handful of fragmentary musical compositions, survive from before 1500. The absence of artifacts and musical sources prior to 1500 has been a point of demarcation in the study of early plucked instruments, although current research is seeking to explore the continuity of instrumental practice across this somewhat artificial divide. In contrast, perhaps as many as thirty thousand works—perhaps even more—for lute, guitar, and vihuela survive from the period 1500–1800. The music and musical practices associated with them are not well integrated into general histories of music. This is due in part to the use of tablature as the principal notation format until about 1800, and also because writers of general histories of music have for the most part ignored solo instrumental music in their coverage. (For example, the Oxford Anthology of Western Music, Vol. 1 (2018), designed to accompany chapters 1–11 of Richard Taruskin’s Oxford History of Western Music, does not contain a single piece of instrumental music prior to Frescobaldi [1637]). Contrary to this marginalized image, lutes, vihuelas, and guitars were a revered part of courtly musical culture until well into the 18th century, and constantly present in urban contexts. After the development of basso continuo practice after 1600, plucked instruments also became frequent in Christian church music, although the lute was widely played by clerics of all levels, particularly during the Renaissance. It was also one of the principal tools used by composers of liturgical polyphony, in part because tablature was the most common way of writing music in score. From the beginning of music printing, printed tablatures played a fundamental role in the urban dissemination of music originally for church and court, and plucked instruments were used widely by all levels of society for both leisure and pleasure. After 1800, the lute fell from use, the guitar was transformed into its modern form with single strings, and tablature ceased to be the preferred notation for plucked instruments.Este trabajo forma parte del proyecto de investigación “La obra musical renacentista: fundamentos, repertorios y prácticas” HAR 2015-70181-P (MINECO/FEDER, UE

Archival Enterprise Across Early Modern Europe: A Review Essay

In the early modern era, archives were a conduit for information transfer across Europe. Historians have increasingly centered archives and archivists as actors in scholarship of Early Modern European (c. 1450-1800) historical concerns. In particular, two linked areas of inquiry have been emphasized: the impact of archives on forming European identities, and the influence of European archivists on shaping archives. Studies of archives are rich sources that tease out ideological shifts in early modern times. This essay discusses recent literature and seminal writings contributing to understandings of emergent archives and archival practices across Early Modern Europe. Exploring the concept of “archival enterprise” within these contexts presents exciting opportunities to examine its manifestations through a multitude of lenses and fields of study. The works illuminate the fortitude and resilience of archivists engaged in archival labor during the early modern era. They also recast the archivist’s persona from a neutral information facilitator to an interventionist mediator of the past

The Urban Mortality Transition in the United States, 1800-1940

In the United States in the 19th and early 20th centuries, there was a substantial mortality 'penalty' to living in urban places. This circumstance was shared with other nations. By around 1940, this penalty had been largely eliminated, and it was healthier, in many cases, to reside in the city than in the countryside. Despite the lack of systematic national data before 1933, it is possible to describe the phenomenon of the urban mortality transition. Early in the 19th century, the United States was not particularly urban (only 6.1% in 1800), a circumstance which led to a relatively favorable mortality situation. A national crude death rate of 20-25 per thousand per year would have been likely. Some early data indicate that mortality was substantially higher in cities, was higher in larger relative to smaller cities, and was higher in the South relative to the North. By 1900, the nation had become about 40% urban (and 56% by 1940). It appears that death rates, especially in urban areas, actually rose (or at least did not decline) over the middle of the 19th century. Increased urbanization, as well as developments in transport and commercialization and increased movements of people into and throughout the nation, contributed to this. Rapid urban growth and an inadequate scientific understanding of disease processes contributed to the mortality crisis of the early and middle nineteenth century in American cities. The sustained mortality transition only began about the 1870s. Thereafter the decline of urban mortality proceeded faster than in rural places, assisted by significant public works improvements and advances in public health and eventually medical science. Much of the process had been completed by the 1940s. The urban penalty had been largely eliminated and mortality continued to decline despite the continued growth in the urban share of the population.

The life and work of Hugh William Williams (1773-1829) set within a Scottish context: with a catalogue of works in public collections and a catalogue of all known prints by and after the artist

This Thesis considers the life and work of Hugh William Williams [1773- 1829]. The work is divided into two main sections; the Thesis itself and a fully illustrated, chronological Catalogue of all the works by the artist in public collections. This includes a Catalogue of all known prints by and after the artist.In the Thesis, the artist's life and career have been examined in detail. The Introduction is followed by a Short Biography of the Artist with a Chronology of known events. The Introduction is followed by the Review of the Literature. Chapter 1 is devoted to the artist's biography. This is divided into sub -sections as follows: 1:1 The Early Years, 1773 -1804; 1:2 Education and Training, 1782-1800; 1:3 Acting and Scene Painting, 1790-1800; 1:4 Teaching and Pupils, 1793-1820; 1.5 Exhibitions, 1807-1829; 1:6 The Grand Tour, 1816-1818; 1:7 The National Monument 1819 -1829; and 1:8 The Final Years and Aftermath, 1826 -1866.Chapter 2 considers Hugh Williams at work. After a preliminary discussion of the difficulties in discussing the work, this is considered under the headings 2:3 Watercolours; 2:4 Drawings and 2:5 Oils. The section on watercolours looks at methods and criticism of the artist's colouring before going on to examine the work under the headings Early Watercolours, 1792 -1800; Transitional, 1800-1816; the Grand Tour, 1816 -1818; and Exhibition Watercolours, 1818 -1829. Reference is made to the Catalogue and to a large group of examples seen in collections in Britain and abroad.Chapter 3 looks at Williams as a printmaker and publisher of prints, considering all the publishing projects with which he was involved.Chapter 4 deals with Hugh Williams' place in the watercolour tradition in Scotland. His precursors, Paul Sandby, Margaret Adam and Jacob More are dealt with in detail.Chapter 5 considers the artist's reputation and influence, specifically at the relationship between Williams and J. M. W. Turner, which is examined in detail.The Catalogue, Parts I -III, illustrates and lists all the watercolours, drawings and oil paintings by Hugh Williams, in public collections world wide. Part IV lists Incorrect or Doubtful Attributions and Part V lists all known Prints by and after Hugh Williams. All known versions of works are noted and there is a complete list of published and /or manuscript sources for each work. The watercolours are cross- referenced to related prints and drawings, in the Catalogue and elsewhere.Finally, a Select Bibliography lists all known references to Hugh Williams in published sources and related manuscript material. Appendix I, lists all works by the artist, exhibited during his lifetime and Appendix II, presents the evidence for the artist having acted on stage as well as having produced theatrical scenery

Consumption, Creativity, and Authors around 1800: The Case of E.T.A. Hoffmann

Specialization, or the division of labour, defined European economies around 1800. The cultural response of German literary writers such as Goethe, Schiller, and the Early German Romantics to the conceptual nexus of consumption and production is well known. But other canonical writers, such as E. T. A. Hoffmann, have been misunderstood in relation to classical-cum-Romantic thought. This essay offers an overview of contemporary authors’ attitudes towards specialization, and to consumer culture around 1800 specifically. It then embeds a close reading of Hoffmann’s story Der Sandmann (1816) into that historical context. Consumerism is the source of Hoffmann’s creativity and becomes the subject of his critique. But it is not the counter-concept of his art. Hoffmann’s literary works achieve their critique of consumption through an immanent form of irony that is enacted within literature as a self-conscious commodity, without transcendence or some theoretical (Hegelian) overcoming. Thus the final part of this article asks how we might describe Hoffmann’s position theoretically, drawing critically upon the twentieth-century thought of Guy Debord