Algebra is a kind of generalized arithmetic, in which numbers or quantities and operations, often also the results of operations, are represented by symbols. Algebra is an invaluable instrument in intricate calculations of all kinds, and enables operations to be performed and results obtained that by arithmetic would be impossible, and its scope is still being extended.
The beginnings of algebraic method are to be found in Diophantus, a Greek of the fourth century of our era, but it was the Arabians that introduced algebra to Europe and from them it received its name. The first Arabian treatise on algebra was published in the reign of the great Kaliph Al Mamun (813-833) by Mohammed Ben Musa. In 1202 Leonardo Fibonacci of Pisa, who had travelled and studied in the East, published a work treating of algebra as then understood in the Arabian school. From this time to the discovery of printing considerable attention was given to algebra, and the work of Ben Musa and another Arabian treatise, called the Rule of Algebra, were translated into Italian.
The first printed work treating on algebra (also on arithmetic, etc) appeared at Venice in 1494, the author being a monk called Luca Pacioli da Bergo. Rapid progress now began to be made, and among the names of those to whom advances are to be attributed are Tarfcaglia and Cardan. About the middle of the sixteenth century the German Stifel introduced the plus, minus and square root symbols, and Recorde the equals sign. Recorde wrote the first English work on algebra. Francois Vieta, a French mathematician (1540-1603), first adopted the method which has led to so great an extension of modern algebra, by being the first who used general symbols for known quantities as well as for unknown. It was he also who first made the application of algebra to geometry.
Albert Girard extended the theory of equations by the supposition of imaginary quantities. The Englishman Harriot, early in the seventeenth century, discovered negative roots, and established the equality between the number of roots and the units in the degree of the equation. He also invented the less than and greater than signs, and Oughthred that of the x multiplication symbol. Descartes, though not the first to apply algebra to geometry, has, by the extent and importance of his applications, commonly acquired the credit of being so. The same discoveries have also been attributed to him as to Harriot, and their respective claims have caused much controversy. He obtained by means of algebra the definition and description of curves. Since his time algebra has been applied so widely in geometry and higher mathematics that we need only mention the names of Fermat, Wallis, Newton, Leibnitz, De Moivre, MacLaurin, Taylor, Euler, D'Alembert, Lagrange, Laplace, Fourier, Poisson, Gauss, Horner, De Morgan, Sylvester, Cayley. Boole, Jevons, and others have applied the algebraic method not only to formal logic but to political economy. Research Algebra More information about Algebra
Eastenders is a successful BBC television soap-opera, first aired in 1985, about the everyday lives of a fictional community in 'Albert Square' in the East End of London. The show's relentless melancholy inspired viewers to joke that the only game never played by the residents of Albert Square is 'Happy Families'. Research Eastenders
Engraving is the art of representing objects and depicting characters on metal, wood, precious stones, etc, by means of incisions made with instruments variously adapted to the substances operated upon and the description of work intended.
Impressions from metal plates are named engravings, prints, or plates those printed from wood being called indifferently wood engravings and wood-cuts. While, however, these impressions are not altogether dissimilar in appearance, the processes are distinct. In plates the lines intended to print are incised, and in order to take an impression the plate is daubed over with a thick ink which fills all the lines. The surface is then wiped perfectly clean, leaving only the incised lines filled with ink. A piece of damp paper is now laid on the face of the plate, and both are passed through the press, which causes the ink to pass from the plate to the paper. This operation needs to be repeated for every impression, for the wood block, on the contrary, the spaces between the lines of the drawing are cut out, leaving the lines standing up like type, the printing being from the inked surface of the raised lines, and effected much more rapidly than plate printing.
Engraving on wood, intended for printing or taking impressing from, long preceded engraving on metals. The art is of eastern origin, and at least as early as the 10th century engraving and printing from wood blocks was common in China. We first hear of wood engraving being cultivated in Europe by the Italians and Germans in the 13th century. For a hundred and fifty years, however, there is small indication of the practice of the art, which was at first confined to the production of block-books, playing cards, and religious prints. In the 15th century the art of printing from engraved plates was discovered in Florence by Maso Finiguerra.
Engraving had long been used as a means of decorating armour, metal vessels, etc, the engravers generally securing duplicates of their works before laying in the niello (a species of metallic enamel) by filling the lines with dark colour, and taking casts of them in sulphur. The discovery of the practicability of taking impressions upon paper led to engraving upon copper plates for the purpose of printing from.
The date of the earliest known niello proof upon paper is 1452. The work of the Florentine engravers, however, was almost at once surpassed in Venice and elsewhere in North Italy by Andrea Mantegna, Girolamo Mocetto, Giovanni Batista del Porto, and others. In Marc Antonio Raimondi, who wrought under the guidance of Raphael, and reproduced many of his works, the art reached its highest point of the earlier period, and Rome became the centre of a new school, which included Marco da Ravenna, Giulio Bonasone, and Agostino de Musis.
In the meantime, in Germany the progress of the art had been not less rapid. Of the oldest school the most important engraver is Martin Schongauer. He was, however, surpassed a generation later by Albert Durer who excelled both in copper and wood engraving, especially in the latter. Among his most famous contemporaries and successors were Burgkmair and Lucas Cranach. The Dutch and Flemish schools, of which Durer's contemporary Lucas van Leyden was the head, did much to enlarge the scope of the art, either by paying increased attention to the rendering of light and shade, and the expression of local colour, as in the case of Cornelius Cort and Bloemart; or by developing freedom and expression of line, as in the case of Goltzius and his pupils.
Rubens influenced engraving through the two Bolswerts, Vorstermann, Pontius, and de Jode, who engraved many of his works on a large size. Towards the end of the 17th century etching, which had before been rarely used, became more common, and was practised with great success by Rembrandt and other painters of that period. In France Noel Garnier founded a school of engraving about the middle of the 16th century; but it produced no work of any high distinction until the reign of Louis XIV, when Nanteuil's pupil Gerard Edelinck and Gerard Audran flourished. The former was skilled in using his graver to produce colour effects, the latter is famed for his engravings from Nicolas Poussin and Le Brun. But these were all surpassed about the middle of the 18th century by Wille, a German resident in Paris.
Before the middle of the 17th century England produced little noteworthy work, availing herself principally of the work of foreign engravers, of whom many took up temporary and even permanent residence. The first English engraver of marked importance was William Hogarth, whose works are distinguished for character and expression. Vivares, a Frenchman by birth, laid the foundation of the English school of landscape-engraving, which was still further developed by William Woollet, who was also an excellent engraver of the human figure.
In historical engraving a not less remarkable advance was made by Sir Robert Strange, and Richard Earlom produced some admirable works in mezzotint. In succession to these came William Sharp, James Bazire, Bartolozzi, James Heath, Bromley, Raimbach, and others.
The substitution of steel for copper plates around 1820 to 1830 gave the power of producing a much larger number of fine impressions, and opened new possibilities for highly-finished work.
During the closing years of the 18th century line engraving attained a depth of colour and fulness of tone in which earlier works generally are deficient, and during the following century it reached a perfectness of finish which it had not previously attained. A picture, whether figure or Landscuape, may be translated by line engraving with all its depth of colour, delicacy of tone, and effect of light and shade; the various textures, whether of naked flesh, silk, satin, woollen, or velvet, all successfully rendered by ingenious modes of laying the lines and combinations of lines of varying strength, width, and depth. Among engraverswho have produced historical works of large size and in the line manner the names of Raphael Mrghen, Longhi, Anderloni, Garavaglia, and Toschi, in Italy; of Forster, Henriquel-Dupont, Bridoux, and Blanchard, in France; of John Burnet, J H Robinson, Doo, J H Watt, and Lumb Stocks, in England, stand pre-eminent.
Among historical and portrait engravers in the stipple or dotted manner the names of H T Ryall, Henry Robinson, William Holl and Francis Holl, may well be mentioned.
In the period 1820 to 1860 landscape engraving attained a perfection in Great Britain which it had not attained in any other country, or at any other time. Among landscape engravers the names of George Gooke, William Miller, E Goodall, J Cousen, K Brandard, and William Forrest hold the foremost places. In mezzotinto engraving Samuel Cousins is unrivalled.
In the period 1830 to 1845 various publications called Annuals, composed of light literature in prose and verse, and illustrated by highly-finished engravings in steel, were very popular. The engravings were necessarily of small size, and are generally of great excellence. A number of them both figure and landscape are executed with such finish and completeness as to be esteemed perfect works. The unrivalled illustrations of Rogers' Poems and Rogers' Italy after Turner and Stothard belong to this period. Many of the originals of the engravings in the Annuals were finished pictures of large size.
A great part of the difficulty in engraving on a small scale from a large picture, consists in determining what details can be left out, and still preserve the full effect and character of the original. The most noted engravers for work of small size are Charles Heath, Charles Bolls, W Finden, E Finden, E. Portbury, J Goodyear, F Engleheart, Henry Le Keux, E Goodall, and W Miller.
After 1870 many plates were produced by a combination of etching and dry point, a comparatively cheap and rapid process. Such works were fashionable and very popular with collectors. But while some of them have been excellent of their kind, the process is of limited resource, and the best works in this manner will not stand comparison with the masterpieces of line engraving. Through lack of encouragement, change of fashion, and the adoption of other methods of reproduction such as photography, line engraving rapidly becoming a lost art in Great Britain. The men who made line engraving famous died, and there was no sufficient inducement for younger men to pursue that art. In France and in Germany some able line engravers were still in practice at the start of the 20th century.
Line Engraving, as implied by the term, is executed entirely in lines. The tools are few and simple. They consist of the graver or burin, the point, the scraper, and the burnisher; an oil-stone or hone, dividers, a parallel square, a magnifying lens; a bridge on which to rest the hand; a blind or shade of tissue paper, to make the light fall equally on the plate, callipers for levelling important erasures, a small steelanvil, a small pointed hammer, and punches. In etching, the following articles are required: a resinous mixture called etching-ground, capable, when spread very thinly over the plate, of resisting the action of the acids used; a dauber for laying the ground equally; a hand-vice; some hair-pencils of different sizes, and bordering wax, made of burgundy-pitch, bees'-wax, and a little oil.
In engraving, the plate, which is highly polished and must be free from all scratches, is first prepared by spreading over it a thin layer of ground. The surface is then smoked, and the outline of the picture transferred to it by pressure from the paper on which it has been drawn in fine outlines by a black-lead pencil. The picture is then drawn on the ground with the etching-needle, which removes the ground in every form produced by it, and leaves the bright metal exposed. A bank of wax is then put round the plate and diluted acid poured on it, which eats out the metal from the lines from which the ground has been removed, but leaves the rest of the plate untouched. The plate is then gone over with the graver, the etched lines clearly defuned, broken lines connected, new lines added, etc. Sometimes the plate is rebitten more than once, those parts which are sufficiently bitten in the first treatment being stopped with varnish, and only the selected parts exposed to after-biting. Finally the burnisher is brought into play alternately with the graver and point to give perfectness and finish.
Such is the process for landscape engraving. In historical and portrait engraving of the highest class, the lines are first drawn on the metal with a fine point and then cut in by the graver, first making a fine line and afterwards entering and re-entering till the desired width and depth of lines is attained. Much of the excellence of such engravings depends on the mode in which the lines are laid, their relative thickness, and the manner in which they cross each other. In historical engraving etching is but little used, and then only for accessories and the less important parts.
In Soft-ground Etching the ground, made by mixing lard with common etching-ground, is laid on the plate and smoked as before, but its extreme softness renders it very liable to injury. The outline of the subject is drawn on a piece of rough paper larger than the plate. The paper is then damped, and laid gently over the ground face upwards, and the margins folded over and pasted down on the back of the plate. When the paper is dry and tightly stretched the bridge is laid across, and with a hardish pencil and firm pressure the drawing is completed in the usual manner. The pressure makes the ground adhere to the back of the paper at all parts touched by the pencil, and on. the paper being lifted carefully off, these parts of the ground are lifted with it, and the corresponding parts of the plate thus left bare are exposed to the subsequent action of the acid. The granulated surface of the paper, causing similar granulations in the touches on the ground, gives the character of a chalk-drawing. The biting-in is effected in the same manner as already described, and the subject is finished by re-biting and dotting with the graver.
Stipple, or Chalk Engraving, in its pure state, is exclusively composed of dots, varying in size and form as the nature of the subject demands, but few stipple plates are now produced without a large admixture of line in all parts, flesh excepted. A great advance, however, was made in stipple engraving by the introduction of large and varied forms of dotting in the draperies, the results almost rivalling line engraving in richness and power.
The Mixed Style is based on mezzotinto, which, still forming the great mass of shading, is in this method combined with etching in the darker, and stipple in the more delicate parts. By this combination a plate will produce a larger number of good impressions than were it done entirely in mezzotinto.
The wood best adapted for engraving is box. It is cut across the grain in thicknesses equal to the height of type, these slices being subjected to a lengthened process of seasoning, and then smoothed for use. Every wood engraving is the representative of a finished drawing previously made on the block; the unshaded parts being cut away, and the lines giving form, shading, texture, etc, left standing in relief by excavations of varied size and character, made between them by gravers of different forms. Drawings on wood are made either with black-lead pencil alone or with pencil and indian ink, the latter being employed for the broader and darker masses. It is now much the practice to photograph drawings made in black and white upon the wood instead of making the drawing on the wood block. When the drawing is put on the wood by washes or by photography instead of being entirely done by pencil lines, the engraver has to devise the width and style of lines to be employed instead of cutting in facsimile, as is the case when the drawing is made entirely in lines. The tools required for wood engraving are similar but more numerous than those of the engraver on copper or steel. Research Engraving
John Francis, a youth, fired a pistol at queen Victoria as she was riding down Constitution-hill, in an open barouche, accompanied by Prince Albert in May 1842. The queen was uninjured. The palace having heard of the youth's plans, the queen had commanded that none of her ladies of court should attend her. Francis was condemned to death, but was transported for life. He was liberated on ticket-of-leave in 1867. Research Francis' Assault
The Grand Army of the Republic was an American organisation for former members of the Armed forces, organized during the winter of 1865-66 at Springfield, Illinois, chiefly through the activity of Dr. B. F. Stephenson, late surgeon of the FourteenthIllinois Infantry. The first post was established at Decatur, Illinois, in 1866. The ritual is secret. All soldiers and sailors of the US army, navy and marine corps between April 12, 1861, and April 9, 1865, were eligible for membership, provided they had an honourable discharge. National conventions were held each year. The first commander-in-chief was Stephen A. Hurlbut, of Illinois. Grand army posts were established in nearly every city in the North and West. The last National Encampment was held at Indianapolis, Indiana in 1949. Six surviving Comrades attended that Encampment. The last member of the Grand Army of the Republic, Albert Wollson, died in 1956. Research Grand Army of the Republic
Only Fools and Horses was a British BBC comedy series which run from 1981 until 2003. The series followed the trials and tribulations of wannabe entrepreneur Derek Trotter, his younger brother Rodney and originally their grandfather. When the actor playing the grandfather died, he was replaced by a new but similar character, 'Uncle Albert' the ex-Royal Navy sailor. The Trotter family lived in Peckham, south London, and the series followed their wheeling and dealing - from their famous yellow three-wheeled van - as they attempted to realise their dreams of becoming millionaires. Research Only Fools and Horses
The Order of St George was a military order instituted in Russia in 1769 by the Empress Catharine II as a reward of military achievements. It consisted of four classes to which a fifth, intended for non-commissioned officers and privates, was added in 1807.
The Oredr of St George is an order instituted in Bavaria by the Emperor Charles VII. (Charles Albert) in 1729, and reorganized by King Louis II in 1871. Since the re-organisation the order, which had previously been a mere decoration for the nobility, it devoted itself to such services as the care of the wounded on battlefields, etc.
The Order of St George is a Sicilian military order, instituted by Joseph Napoleon on the 24th of February, 1808, and remodelled by King Ferdinand IV in 1819. Research Order of St George
On the 10th of June, 1840, Edward Oxford a youth who had been a servant in a public house, discharged two pistols at queen Victoria and Prince Albert, as they were proceeding up Constitution-hill in an open phaeton from Buckingham palace. He stood within a few yards of the carriage, but no one was injured. Oxford was tried at the Old Bailey in July of the same year and was adjudged to be insane and sent first to Bethlehemhospital, next to Broadmoor, and released in 1868 on condition that he left the country. Research Oxford's Assault
Steinway and Sons are an American firm of piano makers. They were founded in 1853 at New York by Henry Steinway and his sons: Charles, Henry, William and Albert. They were joined in 1865 by the eldest son, Theodore. The Steinways were natives of Brunswick, but emigrated to the USA in 1849. Research Steinway and Sons
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