John Ruskin was the leading English art critic of the Victorian era, as well as an art patron, watercolourist, a prominent social thinker and philanthropist. He wrote on subjects as varied as geology, myth, literature, education and political economy, his writing styles and literary forms were varied. He penned essays and treatises and lectures, travel guides and manuals, letters and a fairy tale, he made detailed sketches and paintings of rocks, birds and architectural structures and ornamentation. The elaborate style that characterised his earliest writing on art gave way in time to plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature and society, he was hugely influential in the latter half of the 19th century and up to the First World War. After a period of relative decline, his reputation has improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are recognised as having anticipated interest in environmentalism and craft.
Ruskin first came to widespread attention with the first volume of Modern Painters, an extended essay in defence of the work of J. M. W. Turner in which he argued that the principal role of the artist is "truth to nature." From the 1850s, he championed the Pre-Raphaelites. His work focused on social and political issues. Unto This Last marked the shift in emphasis. In 1869, Ruskin became the first Slade Professor of Fine Art at the University of Oxford, where he established the Ruskin School of Drawing. In 1871, he began his monthly "letters to the workmen and labourers of Great Britain", published under the title Fors Clavigera. In the course of this complex and personal work, he developed the principles underlying his ideal society; as a result, he founded the Guild of an organisation that endures today. Ruskin was the only child of first cousins, his father, John James Ruskin, was a sherry and wine importer, founding partner and de facto business manager of Ruskin and Domecq. John James was born and brought up in Edinburgh, Scotland, to a mother from Glenluce and a father from Hertfordshire.
His wife, Margaret Cock, was the daughter of a publican in Croydon. She had joined the Ruskin household when she became companion to Catherine. John James had hoped to practice law, was articled as a clerk in London, his father, John Thomas Ruskin, described as a grocer, was an incompetent businessman. To save the family from bankruptcy, John James, whose prudence and success were in stark contrast to his father, took on all debts, settling the last of them in 1832. John James and Margaret were engaged in 1809, but opposition to the union from John Thomas, the problem of his debts, delayed the couple's wedding, they married, without celebration, in 1818. John James died on 3 March 1864 and is buried in the churchyard of St John the Evangelist, Croydon. Ruskin was born on 8 February 1819 at 54 Hunter Street, Brunswick Square, south of St Pancras railway station, his childhood was shaped by the contrasting influences of his father and mother, both of whom were fiercely ambitious for him. John James Ruskin helped to develop his son's Romanticism.
They shared a passion for the works of Byron and Walter Scott. They visited Scott's home, Abbotsford, in 1838. Margaret Ruskin, an Evangelical Christian, more cautious and restrained than her husband, taught young John to read the Bible from beginning to end, to start all over again, committing large portions to memory, its language and parables had a profound and lasting effect on his writing. Ruskin's childhood was spent from 1823 at 28 Herne Hill, near the village of Camberwell in South London, he had few friends of his own age, but it was not the friendless and toyless experience he claimed it was in his autobiography, Praeterita. He was educated at home by his parents and private tutors, from 1834 to 1835 he attended the school in Peckham run by the progressive Evangelical, Thomas Dale. Ruskin heard Dale lecture in 1836 at King's College, where Dale was the first Professor of English Literature. Ruskin went on to enroll and complete his studies at King's College, where he prepared for Oxford under Dale's tutelage.
Ruskin was influenced by the extensive and privileged travels he enjoyed in his childhood. It augmented his education, he sometimes accompanied his father on visits to business clients at their country houses, exposing him to English landscapes and paintings. Family tours took them to relatives in Perth, Scotland; as early as 1825, the family visited Belgium. Their continental tours became ambitious in scope, so that in 1833 they visited Strasbourg, Milan and Turin, places to which Ruskin returned, he developed his lifelong love of the Alps, in 1835 he first visited Venice, that'Paradise of cities' that provided the subject and symbolism of much of his work. The tours provided Ruskin with the opportunity to record his impressions of nature, he composed elegant if conventional poetry, some of, published in Friendship's Offering. His early notebooks
International Standard Serial Number
An International Standard Serial Number is an eight-digit serial number used to uniquely identify a serial publication, such as a magazine. The ISSN is helpful in distinguishing between serials with the same title. ISSN are used in ordering, interlibrary loans, other practices in connection with serial literature; the ISSN system was first drafted as an International Organization for Standardization international standard in 1971 and published as ISO 3297 in 1975. ISO subcommittee TC 46/SC 9 is responsible for maintaining the standard; when a serial with the same content is published in more than one media type, a different ISSN is assigned to each media type. For example, many serials are published both in electronic media; the ISSN system refers to these types as electronic ISSN, respectively. Conversely, as defined in ISO 3297:2007, every serial in the ISSN system is assigned a linking ISSN the same as the ISSN assigned to the serial in its first published medium, which links together all ISSNs assigned to the serial in every medium.
The format of the ISSN is an eight digit code, divided by a hyphen into two four-digit numbers. As an integer number, it can be represented by the first seven digits; the last code digit, which may be 0-9 or an X, is a check digit. Formally, the general form of the ISSN code can be expressed as follows: NNNN-NNNC where N is in the set, a digit character, C is in; the ISSN of the journal Hearing Research, for example, is 0378-5955, where the final 5 is the check digit, C=5. To calculate the check digit, the following algorithm may be used: Calculate the sum of the first seven digits of the ISSN multiplied by its position in the number, counting from the right—that is, 8, 7, 6, 5, 4, 3, 2, respectively: 0 ⋅ 8 + 3 ⋅ 7 + 7 ⋅ 6 + 8 ⋅ 5 + 5 ⋅ 4 + 9 ⋅ 3 + 5 ⋅ 2 = 0 + 21 + 42 + 40 + 20 + 27 + 10 = 160 The modulus 11 of this sum is calculated. For calculations, an upper case X in the check digit position indicates a check digit of 10. To confirm the check digit, calculate the sum of all eight digits of the ISSN multiplied by its position in the number, counting from the right.
The modulus 11 of the sum must be 0. There is an online ISSN checker. ISSN codes are assigned by a network of ISSN National Centres located at national libraries and coordinated by the ISSN International Centre based in Paris; the International Centre is an intergovernmental organization created in 1974 through an agreement between UNESCO and the French government. The International Centre maintains a database of all ISSNs assigned worldwide, the ISDS Register otherwise known as the ISSN Register. At the end of 2016, the ISSN Register contained records for 1,943,572 items. ISSN and ISBN codes are similar in concept. An ISBN might be assigned for particular issues of a serial, in addition to the ISSN code for the serial as a whole. An ISSN, unlike the ISBN code, is an anonymous identifier associated with a serial title, containing no information as to the publisher or its location. For this reason a new ISSN is assigned to a serial each time it undergoes a major title change. Since the ISSN applies to an entire serial a new identifier, the Serial Item and Contribution Identifier, was built on top of it to allow references to specific volumes, articles, or other identifiable components.
Separate ISSNs are needed for serials in different media. Thus, the print and electronic media versions of a serial need separate ISSNs. A CD-ROM version and a web version of a serial require different ISSNs since two different media are involved. However, the same ISSN can be used for different file formats of the same online serial; this "media-oriented identification" of serials made sense in the 1970s. In the 1990s and onward, with personal computers, better screens, the Web, it makes sense to consider only content, independent of media; this "content-oriented identification" of serials was a repressed demand during a decade, but no ISSN update or initiative occurred. A natural extension for ISSN, the unique-identification of the articles in the serials, was the main demand application. An alternative serials' contents model arrived with the indecs Content Model and its application, the digital object identifier, as ISSN-independent initiative, consolidated in the 2000s. Only in 2007, ISSN-L was defined in the
An auction is a process of buying and selling goods or services by offering them up for bid, taking bids, selling the item to the highest bidder. The open ascending price auction is arguably the most common form of auction in use today. Participants bid against one another, with each subsequent bid required to be higher than the previous bid. An auctioneer may announce prices, bidders may call out their bids themselves, or bids may be submitted electronically with the highest current bid publicly displayed. In a Dutch auction, the auctioneer begins with a high asking price for some quantity of like items. While auctions are most associated in the public imagination with the sale of antiques, rare collectibles and expensive wines, auctions are used for commodities, radio spectrum and used cars. In economic theory, an auction may refer to any set of trading rules for exchange; the word "auction" is derived from the Latin augeō, which means "I increase" or "I augment". For most of history, auctions have been a uncommon way to negotiate the exchange of goods and commodities.
In practice, both haggling and sale by set-price have been more common. Indeed, before the seventeenth century the few auctions that were held were sporadic. Nonetheless, auctions have a long history, having been recorded as early as 500 B. C. According to Herodotus, in Babylon auctions of women for marriage were held annually; the auctions began with the woman the auctioneer considered to be the most beautiful and progressed to the least. It was considered illegal to allow a daughter to be sold outside of the auction method. During the Roman Empire, following military victory, Roman soldiers would drive a spear into the ground around which the spoils of war were left, to be auctioned off. Slaves captured as the "spoils of war", were auctioned in the forum under the sign of the spear, with the proceeds of sale going towards the war effort; the Romans used auctions to liquidate the assets of debtors whose property had been confiscated. For example, Marcus Aurelius sold household furniture to pay off debts, the sales lasting for months.
One of the most significant historical auctions occurred in the year 193 A. D. when the entire Roman Empire was put on the auction block by the Praetorian Guard. On 28 March 193, the Praetorian Guard first killed emperor Pertinax offered the empire to the highest bidder. Didius Julianus outbid everyone else for the price of 6,250 drachmas per guard, an act that initiated a brief civil war. Didius was beheaded two months when Septimius Severus conquered Rome. From the end of the Roman Empire to the eighteenth century auctions lost favor in Europe, while they had never been widespread in Asia. In some parts of England during the seventeenth and eighteenth centuries auction by candle began to be used for the sale of goods and leaseholds. In a candle auction, the end of the auction was signaled by the expiration of a candle flame, intended to ensure that no one could know when the auction would end and make a last-second bid. Sometimes, other unpredictable processes, such as a footrace, were used in place of the expiration of a candle.
This type of auction was first mentioned in 1641 in the records of the House of Lords. The practice became popular, in 1660 Samuel Pepys's diary recorded two occasions when the Admiralty sold surplus ships "by an inch of candle". Pepys relates a hint from a successful bidder, who had observed that, just before expiring, a candle-wick always flares up slightly: on seeing this, he would shout his final - and winning - bid; the London Gazette began reporting on the auctioning of artwork at the coffeehouses and taverns of London in the late 17th century. The first known auction house in the world was Stockholm Auction House, founded by Baron Claes Rålamb in 1674. Sotheby's the world's second-largest auction house, was founded in London on 11 March 1744, when Samuel Baker presided over the disposal of "several hundred scarce and valuable" books from the library of an acquaintance. Christie's, now the world's largest auction house, was founded by James Christie in 1766 in London and published its first auction catalog in that year, although newspaper advertisements of Christie's sales dating from 1759 have been found.
Other early auction houses that are still in operation include Dorotheum, Bonhams, Phillips de Pury & Company, Freeman's and Lyon & Turnbull. By the end of the 18th century, auctions of art works were held in taverns and coffeehouses; these auctions were held daily, auction catalogs were printed to announce available items. In some cases these catalogs were elaborate works of art themselves, containing considerable detail about the items being auctioned. At this time, Christie's established a reputation as a leading auction house, taking advantage of London's status as the major centre of the international art trade after the French Revolution. During the American Civil War, goods seized by armies were sold at auction by the Colonel of the division. Thus, some of today's auctioneers in the U. S. carry the unofficial title of "colonel". The development of the internet, has led to a significant rise in the use of auctions as auctioneers can solicit bids via the internet from a wide range of buyers in a much wider range of commodities than was practical.
In 2008, the National Auctioneers Association reported that the gross revenue of the auction industry for that ye
Assyria called the Assyrian Empire, was a Mesopotamian kingdom and empire of the ancient Near East and the Levant. It existed as a state from as early as the 25th century BC until its collapse between 612 BC and 609 BC - spanning the periods of the Early to Middle Bronze Age through to the late Iron Age. From the end of the seventh century BC to the mid-seventh century AD, it survived as a geopolitical entity, for the most part ruled by foreign powers such as the Parthian and early Sasanian Empires between the mid-second century BC and late third century AD, the final part of which period saw Mesopotamia become a major centre of Syriac Christianity and the birthplace of the Church of the East. A Semitic-speaking realm, Assyria was centred on the Tigris in Upper Mesopotamia; the Assyrians came to rule powerful empires in several periods. Making up a substantial part of the greater Mesopotamian "cradle of civilization", which included Sumer, the Akkadian Empire, Babylonia, Assyria reached the height of technological and cultural achievements for its time.
At its peak, the Neo-Assyrian Empire of 911 to 609 BC stretched from Cyprus and the East Mediterranean to Iran, from present-day Armenia and Azerbaijan in the Caucasus to the Arabian Peninsula and eastern Libya. The name "Assyria" originates with the Assyrian state's original capital, the ancient city of Aššur, which dates to c. 2600 BC - one of a number of Akkadian-speaking city-states in Mesopotamia. In the 25th and 24th centuries BC, Assyrian kings were pastoral leaders. From the late 24th century BC, the Assyrians became subject to Sargon of Akkad, who united all the Akkadian- and Sumerian-speaking peoples of Mesopotamia under the Akkadian Empire, which lasted from c. 2334 BC to 2154 BC. After the Assyrian Empire fell from power, the greater remaining part of Assyria formed a geopolitical region and province of other empires, although between the mid-2nd century BC and late 3rd century AD a patchwork of small independent Assyrian kingdoms arose in the form of Assur, Osroene, Beth Nuhadra, Beth Garmai and Hatra.
The region of Assyria fell under the successive control of the Median Empire of 678 to 549 BC, the Achaemenid Empire of 550 to 330 BC, the Macedonian Empire, the Seleucid Empire of 312 to 63 BC, the Parthian Empire of 247 BC to 224 AD, the Roman Empire and the Sasanian Empire of 224 to 651 AD. The Arab Islamic conquest of the area in the mid-seventh century dissolved Assyria as a single entity, after which the remnants of the Assyrian people became an ethnic, linguistic and religious minority in the Assyrian homeland, surviving there to this day as an indigenous people of the region. Assyria was sometimes known as Subartu and Azuhinum prior to the rise of the city-state of Ashur, after which it was Aššūrāyu, after its fall, from 605 BC through to the late seventh century AD variously as Achaemenid Assyria, referenced as Atouria, Ator and sometimes as Syria which etymologically derives from Assyria according to Strabo, Assyria and Asōristān. "Assyria" can refer to the geographic region or heartland where Assyria, its empires and the Assyrian people were centered.
The indigenous modern Eastern Aramaic-speaking Assyrian Christian ethnic minority in northern Iraq, north east Syria, southeast Turkey and northwest Iran are the descendants of the ancient Assyrians. As Babylonia is called after the city of Babylon, Assyria means "land of Asshur"Etymologically, Assyria is connected to the name of Syria, with both being derived from the Akkadian Aššur. Theodor Nöldeke in 1881 was the first to give philological support to the assumption that Syria and Assyria have the same etymology, a suggestion going back to John Selden. A 21st-century discovery of the Çineköy inscription confirmed that Syria, being a Greek corruption of the name Assyria, is derived from the Assyrian term Aššūrāyu. In prehistoric times, the region, to become known as Assyria was home to a Neanderthal culture such as has been found at the Shanidar Cave; the earliest Neolithic sites in what will be Assyria were the Jarmo culture c. 7100 BC, the Halaf culture c. 6100 BC, the Hassuna culture c. 6000 BC.
The Akkadian-speaking people who would found Assyria appear to have entered Mesopotamia at some point during the latter 4th millennium BC intermingling with the earlier Sumerian-speaking population, who came from northern Mesopotamia, with Akkadian names appearing in written record from as early as the 29th century BC. During the 3rd millennium BC, a intimate cultural symbiosis developed between the Sumerians and the Akkadians throughout Mesopotamia, which included widespread bilingualism; the influence of Sumerian on Akkadian, vice versa, is evident in all areas, from lexical borrowing on a massive scale, to syntactic and phonological convergence. This has prompted scholars to refer to Sumerian and Akkadian in the third millennium BC as a sprachbund. Akkadian replaced Sumerian as the spoken language of Mesopotamia somewhere after the turn of the 3rd and the 2nd millennium BC, although Sumerian continued to be used as a sacred, ceremonial and scientific language in Mesopotamia until the 1st century AD, as did use of the Akkadian cuneiform.
The cities of A
OCLC Online Computer Library Center, Incorporated d/b/a OCLC is an American nonprofit cooperative organization "dedicated to the public purposes of furthering access to the world's information and reducing information costs". It was founded in 1967 as the Ohio College Library Center. OCLC and its member libraries cooperatively produce and maintain WorldCat, the largest online public access catalog in the world. OCLC is funded by the fees that libraries have to pay for its services. OCLC maintains the Dewey Decimal Classification system. OCLC began in 1967, as the Ohio College Library Center, through a collaboration of university presidents, vice presidents, library directors who wanted to create a cooperative computerized network for libraries in the state of Ohio; the group first met on July 5, 1967 on the campus of the Ohio State University to sign the articles of incorporation for the nonprofit organization, hired Frederick G. Kilgour, a former Yale University medical school librarian, to design the shared cataloging system.
Kilgour wished to merge the latest information storage and retrieval system of the time, the computer, with the oldest, the library. The plan was to merge the catalogs of Ohio libraries electronically through a computer network and database to streamline operations, control costs, increase efficiency in library management, bringing libraries together to cooperatively keep track of the world's information in order to best serve researchers and scholars; the first library to do online cataloging through OCLC was the Alden Library at Ohio University on August 26, 1971. This was the first online cataloging by any library worldwide. Membership in OCLC is based on use of services and contribution of data. Between 1967 and 1977, OCLC membership was limited to institutions in Ohio, but in 1978, a new governance structure was established that allowed institutions from other states to join. In 2002, the governance structure was again modified to accommodate participation from outside the United States.
As OCLC expanded services in the United States outside Ohio, it relied on establishing strategic partnerships with "networks", organizations that provided training and marketing services. By 2008, there were 15 independent United States regional service providers. OCLC networks played a key role in OCLC governance, with networks electing delegates to serve on the OCLC Members Council. During 2008, OCLC commissioned two studies to look at distribution channels. In early 2009, OCLC negotiated new contracts with the former networks and opened a centralized support center. OCLC provides bibliographic and full-text information to anyone. OCLC and its member libraries cooperatively produce and maintain WorldCat—the OCLC Online Union Catalog, the largest online public access catalog in the world. WorldCat has holding records from private libraries worldwide; the Open WorldCat program, launched in late 2003, exposed a subset of WorldCat records to Web users via popular Internet search and bookselling sites.
In October 2005, the OCLC technical staff began a wiki project, WikiD, allowing readers to add commentary and structured-field information associated with any WorldCat record. WikiD was phased out; the Online Computer Library Center acquired the trademark and copyrights associated with the Dewey Decimal Classification System when it bought Forest Press in 1988. A browser for books with their Dewey Decimal Classifications was available until July 2013; until August 2009, when it was sold to Backstage Library Works, OCLC owned a preservation microfilm and digitization operation called the OCLC Preservation Service Center, with its principal office in Bethlehem, Pennsylvania. The reference management service QuestionPoint provides libraries with tools to communicate with users; this around-the-clock reference service is provided by a cooperative of participating global libraries. Starting in 1971, OCLC produced catalog cards for members alongside its shared online catalog. OCLC commercially sells software, such as CONTENTdm for managing digital collections.
It offers the bibliographic discovery system WorldCat Discovery, which allows for library patrons to use a single search interface to access an institution's catalog, database subscriptions and more. OCLC has been conducting research for the library community for more than 30 years. In accordance with its mission, OCLC makes its research outcomes known through various publications; these publications, including journal articles, reports and presentations, are available through the organization's website. OCLC Publications – Research articles from various journals including Code4Lib Journal, OCLC Research, Reference & User Services Quarterly, College & Research Libraries News, Art Libraries Journal, National Education Association Newsletter; the most recent publications are displayed first, all archived resources, starting in 1970, are available. Membership Reports – A number of significant reports on topics ranging from virtual reference in libraries to perceptions about library funding. Newsletters – Current and archived newsletters for the library and archive community.
Presentations – Presentations from both guest speakers and OCLC research from conferences and other events. The presentations are organized into five categories: Conference presentations, Dewey presentations, Distinguished Seminar Series, Guest presentations, Research staff
Royal Academy of Arts
The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly in London. It has a unique position as an independent funded institution led by eminent artists and architects, its purpose is to promote the creation and appreciation of the visual arts through exhibitions and debate. The Royal Academy of Arts was founded through a personal act of King George III on 10 December 1768 with a mission to promote the arts of design in Britain through education and exhibition; the motive in founding the Academy was twofold: to raise the professional status of the artist by establishing a sound system of training and expert judgement in the arts, to arrange the exhibition of contemporary works of art attaining an appropriate standard of excellence. Supporters wanted to foster a national school of art and to encourage appreciation and interest among the public based on recognised canons of good taste. Fashionable taste in 18th-century Britain was based on continental and traditional art forms, providing contemporary British artists little opportunity to sell their works.
From 1746 the Foundling Hospital, through the efforts of William Hogarth, provided an early venue for contemporary artists in Britain. The success of this venture led to the formation of the Society of Artists of Great Britain and the Free Society of Artists. Both these groups were exhibiting societies; the combined vision of education and exhibition to establish a national school of art set the Royal Academy apart from the other exhibiting societies. It provided the foundation upon which the Royal Academy came to dominate the art scene of the 18th and 19th centuries, supplanting the earlier art societies; the origin of the Royal Academy of Arts lies in an attempt in 1755 by members of the Society for the Encouragement of Arts and Commerce, principally the sculptor Henry Cheere, to found an autonomous academy of arts. Prior to this a number of artists were members of the Society for the Encouragement of Arts and Commerce, including Cheere and William Hogarth, or were involved in small-scale private art academies, such as the St Martin's Lane Academy.
Although Cheere's attempt failed, the eventual charter, called an'Instrument', used to establish the Royal Academy of Arts over a decade was identical to that drawn up by Cheere in 1755. It was Sir William Chambers, a prominent architect and head of the British government's architects' department, the Office of Works, who used his connections with George III to gain royal patronage and financial support for the Academy in 1768; the painter Joshua Reynolds was made its first president, Francis Milner Newton was elected the first secretary, a post he held for two decades until his resignation in 1788. The instrument of foundation, signed by George III on 10 December 1768, named 34 founder members and allowed for a total membership of 40; the founder members were Reynolds, John Baker, George Barret, Francesco Bartolozzi, Giovanni Battista Cipriani, Augustino Carlini, Charles Catton, Mason Chamberlin, William Chambers, Francis Cotes, George Dance, Nathaniel Dance, Thomas Gainsborough, John Gwynn, Francis Hayman, Nathaniel Hone the Elder, Angelica Kauffman, Jeremiah Meyer, George Michael Moser, Mary Moser, Francis Milner Newton, Edward Penny, John Inigo Richards, Paul Sandby, Thomas Sandby, Dominic Serres, Peter Toms, William Tyler, Samuel Wale, Benjamin West, Richard Wilson, Joseph Wilton, Richard Yeo, Francesco Zuccarelli.
William Hoare and Johann Zoffany were added to this list by the King and are known as nominated members. Among the founder members were two women, a father and daughter, two sets of brothers; the Royal Academy was housed in cramped quarters in Pall Mall, although in 1771 it was given temporary accommodation for its library and schools in Old Somerset House a royal palace. In 1780 it was installed in purpose-built apartments in the first completed wing of New Somerset House, designed by Chambers, located in the Strand and designed by Chambers, the Academy's first treasurer; the Academy moved in 1837 to Trafalgar Square, where it occupied the east wing of the completed National Gallery. These premises soon proved too small to house both institutions. In 1868, 100 years after the Academy's foundation, it moved to Burlington House, where it remains. Burlington House is owned by the British Government, used rent-free by the Royal Academy; the first Royal Academy exhibition of contemporary art, open to all artists, opened on 25 April 1769 and ran until 27 May 1769.
136 works of art were shown and this exhibition, now known as the Royal Academy Summer Exhibition, has been staged annually without interruption to the present day. In 1870 the Academy expanded its exhibition programme to include a temporary annual loan exhibition of Old Masters, following the cessation of a similar annual exhibition at the British Institution; the range and frequency of these loan exhibitions have grown enormously since that time, making the Royal Academy a leading art exhibition institution of international importance. Britain's first public lectures on art were staged by the Royal Academy, as another way to fulfil its mission. Led by Reynolds, the first president, a program included lectures by Dr. William Hunter, John Flaxman, James Barry, Sir John Soane, J. M. W. Turner; the last three were all graduates of the RA School, which for a long time was the only established art school in the Royal Academy. In 2018, the Academy's 250th anniversary, the results of a major refurbishment were unveiled.
The project began on 1 January 2008 with the appointment of David Chipperfield Architects. Heritage Lottery
Herodotus was an ancient Greek historian, born in Halicarnassus in the Persian Empire. He is known for having written the book The Histories, a detailed record of his "inquiry" on the origins of the Greco-Persian Wars, he is considered to have been the first writer to have treated historical subjects using a method of systematic investigation—specifically, by collecting his materials and critically arranging them into an historiographic narrative. On account of this, he is referred to as "The Father of History", a title first conferred on him by the first-century BC Roman orator Cicero. Despite Herodotus's historical significance, little is known about his personal life, his Histories deals with the lives of Croesus, Cambyses, Smerdis and Xerxes and the battles of Marathon, Artemisium, Salamis and Mycale. Herodotus has been criticized for the fact that his book includes a large number of obvious legends and fanciful accounts. Many authors, starting with the late fifth-century BC historian Thucydides, have accused him of making up stories for entertainment.
Herodotus, states that he is reporting what he has been told. A sizable portion of the information he provides has since been confirmed by historians and archaeologists. Herodotus announced the purpose and scope of his work at the beginning of his Histories as such: Here are presented the results of the enquiry carried out by Herodotus of Halicarnassus; the purpose is to prevent the traces of human events from being erased by time, to preserve the fame of the important and remarkable achievements produced by both Greeks and non-Greeks. His record of the achievements of others was an achievement in itself, though the extent of it has been debated. Herodotus's place in history and his significance may be understood according to the traditions within which he worked, his work is the earliest Greek prose. However, Dionysius of Halicarnassus, a literary critic of Augustan Rome, listed seven predecessors of Herodotus, describing their works as simple, unadorned accounts of their own and other cities and people, Greek or foreign, including popular legends, sometimes melodramatic and naïve charming – all traits that can be found in the work of Herodotus himself.
Modern historians regard the chronology as uncertain, but according to the ancient account, these predecessors included Dionysius of Miletus, Charon of Lampsacus, Hellanicus of Lesbos, Xanthus of Lydia and, the best attested of them all, Hecataeus of Miletus. Of these, only fragments of Hecataeus's works survived, the authenticity of these is debatable, but they provide a glimpse into the kind of tradition within which Herodotus wrote his own Histories. In his introduction to Hecataeus's work, Genealogies: Hecataeus the Milesian speaks thus: I write these things as they seem true to me; this points forward to the "international" outlook typical of Herodotus. However, one modern scholar has described the work of Hecataeus as "a curious false start to history", since despite his critical spirit, he failed to liberate history from myth. Herodotus mentions Hecataeus in his Histories, on one occasion mocking him for his naive genealogy and, on another occasion, quoting Athenian complaints against his handling of their national history.
It is possible that Herodotus borrowed much material from Hecataeus, as stated by Porphyry in a quote recorded by Eusebius. In particular, it is possible that he copied descriptions of the crocodile and phoenix from Hecataeus's Circumnavigation of the Known World misrepresenting the source as "Heliopolitans", but Hecataeus did not record events that had occurred in living memory, unlike Herodotus, nor did he include the oral traditions of Greek history within the larger framework of oriental history. There is no proof that Herodotus derived the ambitious scope of his own work, with its grand theme of civilizations in conflict, from any predecessor, despite much scholarly speculation about this in modern times. Herodotus claims to be better informed than his predecessors by relying on empirical observation to correct their excessive schematism. For example, he argues for continental asymmetry as opposed to the older theory of a circular earth with Europe and Asia/Africa equal in size. However, he retains idealizing tendencies, as in his symmetrical notions of the Nile.
His debt to previous authors of prose "histories" might be questionable, but there is no doubt that Herodotus owed much to the example and inspiration of poets and story-tellers. For example, Athenian tragic poets provided him with a world-view of a balance between conflicting forces, upset by the hubris of kings, they provided his narrative with a model of episodic structure, his familiarity with Athenian tragedy is demonstrated in a number of passages echoing Aeschylus's Persae, including the epigrammatic observation that the defeat of the Persian navy at Salamis caused the defeat of the land army. The debt may have been repaid by Sophocles because there appear to be echoes of The Histories in his plays a passage in Antigone that resembles Herodotus's account of the death of Intaphernes. However, this point is one of the most contentious