Everything about the design of this elaborately decorated world map glorifies the late-19th-century British Empire. Cartographically it used a Mercator projection centered on the Greenwich Prime Meridian, placing Great Britain just above the map's central focal point. The Greenwich Prime Meridian (near London) was adopted as the international standard in October 1884. The British Isles, as well as all of the British colonies spreading out to the east and the west, were highlighted with red, while other geographical areas were left blank with only a minimum number of place names. In addition, an inset box was placed near each of the major colonies, listing statistics about geographical area, population, and trade. The words "Freedom, Fraternity, Federation," suggesting a peaceful co-existence within the British Empire, were prominently placed along the map's top margin, but the remainder of the map's illustrations imply "colonialism." At the bottom center Britannia is seated on top of the world ruling over her subjects, represented by a variety of animals and costumed figures. India, quickly identified by an elephant and a tiger, appears in the lower left corner, while Australia, including a kangaroo and a sheep, is shown in the lower right. Using the Mercator projection in constructing this thematic map may have not been the most appropriate choice because it greatly exaggerates the size of Canada. However, since this projection is best used for navigational purposes, it was a reasonable choice. Considering the British Empire thrived on ocean-going transportation, the use of this projection would have provided a familiar image for the British public.
The Sleeping Venus, also known as the Dresden Venus, is a painting traditionally attributed to the Italian Renaissance painter Giorgione, although it has long been usually thought that Titian completed it after Giorgione's death in 1510.
68 hojas [folio]. 3 en blanco - Libros mensuales de veedurÃa de gastos de despensa, cocina, reposterÃa, confiterÃa... de 1769, especificando ingredientes y distintas comidas del dÃa.
Mrs. Green Rainbow, Winnebago, NE; Sterling Whitesnake, Winnebago, NE., until 1964; James Howard, Oklahoma, 1964–ca. 1976; Ralph T. Coe, Santa Fe, NM, ca. 1976–(d.) 2010; Ralph T. Coe Foundation for the Arts, 2010–2011
Snow at Argenteuil (French: Rue sous la neige, Argenteuil) is an oil-on-canvas landscape painting from the Impressionist artist Claude Monet. It is the largest of no fewer than eighteen works Monet painted of his home commune of Argenteuil while it was under a blanket of snow during the winter of 1874–1875. This painting—number 352 in Wildenstein’s catalogue of the works of Monet—is the largest of the eighteen. The attention to detail evident in the smaller paintings is less evident in this larger picture. Instead, Monet has rendered large areas of the canvas in closely like tones and colours of blue and grey. The application of smaller strokes of greens, yellows, reds and darker blues breaks up these large expanses, and the almost choreographed dispersal of these various colours helps bind the picture together. Paint at the depicted road surface is thicker than elsewhere in the painting, and impasto is suggestive of the feel of disturbed snow.
The title of the painting, which is known in English as Mona Lisa, comes from a description by Renaissance art historian Giorgio Vasari, who wrote "Leonardo undertook to paint, for Francesco del Giocondo, the portrait of Mona Lisa, his wife."
View of the three-story building where the Daily Alta California Newspaper's publication office was located. A man stands at the entrance to the building.