OpenLLM-France/wikimedia huggingface dataset:
# A Treatise on Painting/Chapter 43

Chap. XLIII.—Which of the Muscles disappear in the different Motions of the Body.
In raising or lowering the arm, the pectoral muscles disappear, or acquire a greater relievo. A similar effect is produced by the hips, when they bend either inwards or outwards. It is to be observed, that there is more variety of appearances in the shoulders, hips, and neck, than in any other joint, because they are susceptible of the greatest variety of motions. But of this subject I shall make a separate treatise.
Layout 2
# A Treatise on Painting/Chapter 39

Chap. XXXIX—Of the Joints.
All the joints of the human body become larger by bending, except that of the leg.
Layout 2
# A Treatise on Painting/Chapter 4

Chap. IV.—Of Painting, and its Divisions.
Painting is divided into two principal parts. The first is the figure, that is, the lines which distinguish the forms of bodies, and their component parts. The second is the colour contained within those limits.
Layout 2
# A Treatise on Painting/Chapter 365

Chap. CCCLXV.—That a Man ought not to trust to himself, but ought to consult Nature.
Whoever flatters himself that he can retain in his memory all the effects of Nature, is deceived, for our memory is not so capacious; therefore consult Nature for every thing.
Layout 2
# A Treatise on Painting/Chapter 38

Chap. XXXVIII.—Of the Knee.
Of all the members which have pliable joints, the knee is the only one that lessens in the bending, and becomes larger by extension.
Layout 2
# A Treatise on Painting/Chapter 40

Chap. XL.—Of the Naked.
When a figure is to appear nimble and delicate, its muscles must never be too much marked, nor are any of them to be much swelled. Because such figures are expressive of activity and swiftness, and are never loaded with much flesh upon the bones. They are made light by the want of flesh, and where there is but little flesh there cannot be any thickness of muscles.
Layout 2
# A Treatise on Painting/Chapter 41

Chap. XLI.—Of the Thickness of the Muscles.
Muscular men have large bones, and are in general thick and short, with very little fat; because the fleshy muscles in their growth contract closer together, and the fat, which in other instances lodges between them, has no room. The muscles in such thin subjects, not being able to extend, grow in thickness, particularly towards their middle, in the parts most removed from the extremities.
Layout 2
# A Treatise on Painting/Chapter 44

Chap. XLIV.—Of the Muscles.
The muscles are not to be scrupulously marked all the way, because it would be disagreeable to the sight, and of very difficult execution. But on that side only where the members are in action, they should be pronounced more strongly; for muscles that are at work naturally collect all their parts together, to gain increase of strength, so that some small parts of those muscles will appear, that were not seen before.
Layout 2
# A Treatise on Painting/Chapter 37

Chap. XXXVII.—Of the Joint of the Foot.
The increase and diminution in the joint of the foot is produced on that side where the tendons are seen, as D E F, Plate I. which increases when the angle is acute, and diminishes when it becomes obtuse. It must be understood of the joint in the front part of the foot A B C.
Layout 2
# A Field Book of the Stars/Pisces

The Constellations of Autumn.
Layout 2
PISCES (pis'ēz)— THE FISHES. (Face Southeast.)
Location.—This constellation is represented by two fishes each with a ribbon tied to its tail. One, the Northern Fish, lies just below (β) Andromedæ,—the other, represented by the circlet, is just below Pegasus. The ribbons, represented by streams of faint stars, form a "V" with elongated sides, and terminate in the star Al Rischa, The Knot.
Below (ω), and to the east of (λ) the spot marked (*) is the place which the sun occupies at the time of the equinox. It is one of the two crossing places of the equinoctial, or equator of the heavens, and the ecliptic or sun's path.
Below Pisces is Cetus, the Whale.
Pisces is thought to have taken its name from its coincidence with the sun during the rainy season.
Three distinct conjunctions of Jupiter and Saturn took place in this constellation in the year 747 of Rome.
Pisces was considered the national constellation of the Jews, as well as a tribal symbol.
In 1881, Jupiter, Saturn, and Venus were grouped together in Pisces.
The Circlet is a very striking group forming a pentagon. Binoculars reveals two faint stars in addition, making the figure seven-sided or elliptical in form.
# A Field Book of the Stars/Sagittarius

The Constellations of Summer.
Layout 2
SAGITTARIUS (saj-i-ta'-ri-us)—THE ARCHER. (Face South.)
Location.—A line drawn from Deneb, in Cygnus, to Altair, in Aquila, and prolonged an equal distance, terminates in Sagittarius, about 10 degrees east of its distinguishing characteristic, the Milk Dipper. Sagittarius is one of the signs of the Zodiac, and lies between Capricornus, on the east, and Scorpio, on the west.
The star groupings in this constellation are very characteristic.
The bow of the Archer is easily traced out.
The star (γ) is the tip of the arrow.
Note the star (μ), which serves to point out the Winter Solstice.
On a clear night, the pretty cluster known as Corona Australis, the Southern Crown, can be seen about 10 degrees below the bowl of the Milk Dipper. Its lucida, the fourth-magnitude star Alfecca Meridiana, culminates Aug. 13th.
Sagittarius is about due south, in a splendid position for observation, during the month of July, between the hours of nine-thirty and eleven o'clock p.m.
Note the fine clusters 24 M. and 8 M., also an almost circular black void near the stars (γ) and (δ), and to the east of this spot another of narrow crescent form.
# A Field Book of the Stars/Scorpio

The Constellations of Summer.
Layout 2
SCORPIO (skôr'-pi-ō)—THE SCORPION. (Face South.)
Location.—Scorpio, one of the signs of the Zodiac, is a beautiful star group, and one that is easily traced out. It lies just under the Serpent Bearer, between Sagittarius and Libra.
The resemblance to a Scorpion is not difficult to see, hence this constellation is perhaps the most aptly named of any.
The ruddy star Antares, the brightest star in the constellation, is in the heart of the Scorpion. It lies about 40 degrees southwest of Ras Alhague, in Ophiuchus, and a little over 20 degrees west of the bow of Sagittarius. The fact that it is the most brilliant star in this region of the sky renders its identity unmistakable.
There are several star clusters and double stars to be seen in this constellation. Their position is indicated in the diagram.
The curved tail of the Scorpion is very conspicuous. The stars Lesuth and Shaula are a striking pair and the fine clusters above them can be seen with the naked eye.
The ecliptic passes close to (β) Scorpii. A record of its occultation by the moon 295 B.C. is extant.
Note a pair just below (β). They are known as (ω¹) and (ω²)
Note a small pentagon, Antares being at one of its points, also a small "X" of stars just west of (π).
Scorpio is famous as the region of the sky where have appeared many of the brilliant temporary stars, the first one in astronomical annals being discovered in 134 B.C.
# A Field Book of the Stars/Triangula

The Constellations of Autumn.
Layout 2
TRIANGULA (trī-an'-gu-lā)— THE TRIANGLES. (Face East.)
Location.—A line drawn from the star Algenib in Pegasus to Algol in Perseus passes through (β) Triangulæ.
The triangle is clearly defined and a beautiful figure. It lies just below Andromeda, and above Aries.
Triangula is a very ancient constellation, being formerly named Deltoton, from the Greek letter Delta (Δ).
The stars (δ), (γ), and a third star near them form a very pretty triangle.
This constellation is called both Triangulum (The Triangle) and Triangula (The Triangles). The latter name seems to be favored by many of the modern astronomers, although but one triangle composes the constellation.
# A Field Book of the Stars/Perseus

The Constellations of Autumn.
Layout 2
PERSEUS (per'-sūs)—THE CHAMPION. (Face Northeast.)
Location.—(α) Persei lies on a line drawn from (β) to (γ) Andromedæ, and is about 9 degrees from the latter. The most striking feature in Perseus is the so-called "segment of Perseus," a curve of stars beginning about 12 degrees below Cassiopeia, and curving toward Ursa Major. Note the famous variable Algol. It represents the Medusa's head which Perseus holds in his hand. It varies from the second to the fourth magnitude in about three and one-half hours, and back again in the same time, after which it remains steadily brilliant for two and three-quarters days, when the same change recurs. Algenib and Algol form with (γ) Andromedæ, a right-angled triangle.
Note the cluster 34 M. and a fine one half way between Perseus and Cassiopeia seen with the naked eye, a dull red star near Algol, and a pretty pair just above Algenib.
(ε), (ζ), and (ο) form a small right-triangle.
Binoculars reveal much that is worthy of observation in this region of the sky. It has been said of the clusters in Perseus that they form the most striking sidereal spectacle in the northern heavens. Algenib never sets in the latitude of New York, just touching the horizon at its lower culmination. It is estimated that Algol is a little over a million miles in diameter, (η) has three small stars on one side nearly in a line, and one on the other—a miniature representation of Jupiter and his satellites.
# A Field Book of the Stars/Taurus

The Constellations of Winter.
Layout 2
TAURUS (tâ'-rus)—THE BULL. (Face Southwest).
Location.—Taurus contains the well-known and unmistakable group the Pleiades, on the right shoulder of the Bull. A "V" shaped group known as the Hyades is just to the southeast of the Pleiades, in the face of the Bull, forming one of the most beautiful objects in the sky.
The brightest star in Taurus is Aldebaran, a ruddy-hued star known as "The Follower." It is at the beginning of the "V" in the Hyades, and is at the apex of a triangle formed by Capella, in Auriga, and (α) Persei, and equally distant from them both.
The star (β), called Nath, is peculiarly white, and is common to Taurus and Auriga. It represents the tip of one of the Bull's horns, and the right foot of the Charioteer. The Pleiades are mentioned in Chinese annals in 2357 B.C.
The ecliptic passes a little south of a point midway between the two horns, where a scattered and broken stream of minute stars can be seen.
Note two pretty pairs in the Hyades, one south of Aldebaran, the other northwest of it.
There are rich clusters below the tip of the horn over Orion's head.
Taurus was an important object of worship by the Druids.
Aldebaran is near one eye of the Bull, and used to be called "the Bull's Eye." An occultation of it by the moon, which not infrequently occurs, is a striking phenomenon.
# A Field Book of the Stars/The Diagrams

Layout 2
THE DIAGRAMS.
THE diagrams, it will be observed, are grouped under the seasons, and they indicate the positions of the constellations as they appear at 9 o'clock p.m. in mid-season.
To facilitate finding and observing the constellations, the student should face in the direction indicated in the text. This applies to all constellations excepting those near the zenith.
The four large plates are so arranged that the observer is supposed to be looking at the southern skies. By turning the plate about from left to right, the eastern, northern, and western skies are shown successively.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Field Book of the Stars/Scheme of Study

Layout 2
SCHEME OF STUDY.
THE table of contents shows the scheme of study to be pursued, and to facilitate the work it is desirable that the student follow the therein circumscribed order.
A knowledge on the part of the reader of Ursa Major, or "the Dipper" as it is commonly called, and "the Pleiades," the well-known group in Taurus, is presupposed by the author.
With this knowledge as a basis, the student is enabled in any season to take up the study of the constellations. By following out the order dictated, he will in a few nights of observation be enabled to identify the various configurations making up the several constellations that are set apart for study in that particular season.
A large plate, showing the appearance of the heavens at a designated time on the first night of the quarter, is inserted before each season's work. This should be consulted by the student before he makes an observation, in order that he may obtain a comprehensive idea of the relative position of the constellations, and also know in what part of the heavens to locate the constellation which he wishes to identify.
A knowledge of one constellation enables the student ​to determine the position of the next in order. In this work, the identification of each constellation depends on a knowledge of what precedes, always bearing in mind the fact that each season starts as a new and distinct part to be taken by itself, and has no bearing on that which comes before.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Strange, Sad Comedy

A STRANGE, SAD COMEDY
A STRANGE, SAD COMEDY
BY
MOLLY ELLIOT SEAWELL
AUTHOR OF "THE SPRIGHTLY ROMANCE OF MARSAC," "CHILDREN OF DESTINY," "MAID MARIAN AND OTHER STORIES" "LITTLE JARVIS," ETC.
NEW YORK THE CENTURY CO. 1896
Copyright, 1892, by Godey Publishing Co.
Copyright, 1896, by The Century Co.
All rights reserved
THE DE VINNE PRESS.
A STRANGE, SAD COMEDY
* Chapter 1
* Chapter 2
* Chapter 3
* Chapter 4
* Chapter 5
* Chapter 6
* Chapter 7
* Chapter 8
* Chapter 9
* Chapter 10
* Chapter 11
* Chapter 12
* Chapter 13
# A Story of Heaven

Like Taylor's other works, this poem was first published in Memoirs and Select Remains of the Rev. Thomas Rawson Taylor by W. S. Matthews.
* "A Story of Heaven" in Memoirs and Select Remains of the Rev. Thomas Rawson Taylor, 1836.
* "It is a joyful thing to die" in Sacred Songs, 1853, rearranged with an added verse
# Allen v. Smith

* Search for titles containing or beginning with: "Allen v. Smith."
* sister projects: Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* Allen v. Smith (129 U.S. 465)
* Allen v. Smith (173 U.S. 389)
# Allen v. Regents of University System of Georgia

United States Supreme Court
304 U.S. 439
Allen v. Regents of University System of Georgia
Argued: April 28, 29, 1938. --- Decided: May 23, 1938
Messrs. Homer S.C.ummings, Atty. Gen., and J. Louis Monarch, of Washington, D.C., for petitioner.
Mr. Marion Smith, of Atlanta, Ga., for respondent.
[Argument of Counsel from Page 440 intentionally omitted]
Mr. Justice ROBERTS delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Allen v. Smith (129 U.S. 465)

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
129 U.S. 465
Allen v. Smith
A. H. Garland, for appellants.
U. M. Rose, for appellees.
BLATCHFORD, J.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Allen v. Riley/Dissent Douglass White

* Court Documents
* Case Syllabus
* Opinion of the Court
* Dissenting Opinion Douglass White
United States Supreme Court
203 U.S. 347
Allen v. Riley
Argued: November 5, 6, 1906. --- Decided: December 3, 1906
Mr. Justice White, with whom concurs Mr. Justice Day, dissenting:
My brother Day and myself dissent. The reasons, however, which impel him are broader than those influencing me. In general terms, the Kansas statute which the court now upholds compels one selling a patent right in any county of the state of Kansas to file with the clerk of such county an authenticated copy of the patent, together with an affidavit as to the genuineness of the patent, and as to other matters. The statute, moreover, exacts that where a note is given for the purchase price of a patent right, there shall be inserted in the note a statement that it is given for a patent right, presumably to deprive the note of the attributes of commercial paper. We both think that the requirements as to recording the patent and affidavit are void, because repugnant to the power delegated to Congress by the Constitution on the subject of patents, and because in conflict with the legislation of Congress on the same subject. And, for like reasons, my brother Day is also of the opinion that the provision is void which exacts an insertion in a note given for the sale of a patent right of the fact that it was given for such sale. This latter provision, in my opinion, the state had the power to make as a reasonable police regulation, not repugnant to the authority as to patents delegated to Congress by the Constitution, or the legislation which Congress has enacted in furtherance thereof.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# A Legend of Montrose

Edinburgh: Archibald Constable and Co., page 133
A
LEGEND OF MONTROSE.
Tales of my Landlord–3rd series
VOLUME III
VOLUME IV
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Legend of Camelot, Pictures and Poems, etc/Two Thrones

TWO THRONES.
OH, Beauty, peerless as thou art, And wide thy range, and keen thy dart, And meek the captives of thy bow, Inconstant beats the manly heart— The present Bard's extremely so!
Wit, Wisdom, Strength, and Valour meet (The Bard amongst them), at thy feet To kneel in homage, as of old; Yet turn a rival Queen to greet, Whose crown is of a purer gold!
Preen as thou wilt thy feathers fine, A gift is hers, by grace divine, Even more potent to enthral, O Bird of Paradise, than thine, The hearts and souls of one and all!
And what avail thy gilded crest, The silver shimmer of thy breast, The glories of thy painted wing, If, yielding to the Bard's behest, The Nightingale vouchsafe to sing!
# A Treatise on Painting/Chapter 34

Chap. XXXIV.—The Difference of Joints between Children and grown Men.
Young children have all their joints small, but they are thick and plump in the spaces between them; because there is nothing upon the bones at the joints, but some tendons to bind the bones together. The soft flesh, which is full of fluids, is enclosed under the skin in the space between the joints; and as the bones are bigger at the joints than in the space between them, the skin throws off in the progress to manhood that superfluity, and draws nearer to the bones, thinning the whole part together. But upon the joints it does not lessen, as there is nothing but cartilages and tendons. For these reasons children are small in the joints, and plump in the space between, as may be observed in their fingers, arms, and narrow shoulders. Men, on the contrary, are large and full in the joints, in the arms and legs; and where children have hollows, men are knotty and prominent.
Layout 2
# A Treatise on Painting/Chapter 346

Chap. CCCXLVI.—How to draw a Figure twenty-four Braccia high, upon a Wall twelve Braccia high. Plate XXII.
Draw upon part of the wall M N, half the figure you mean to represent; and the other half upon the cove above, M R. But before that, it will be necessary to draw upon a flat board, or a paper, the profile of the wall and cove, of the same shape and dimension, as that upon which you are to paint. Then draw also the profile of your figure, of whatever size you please, by the side of it; draw all the lines to the point F, and where they intersect the profile M R, you will have the dimensions of your figure as they ought to be drawn upon the real spot. You will find, that on the straight part of the wall M N, it will come of its proper form, because the going off perpendicularly will diminish it naturally; but that part which comes upon the curve will be diminished upon your drawing. The whole must be traced afterwards upon the real spot, which is similar to M N. This is a good and safe method.
Layout 2
# A Treatise on Painting/Chapter 338

Chap. CCCXXXVIII.—Of a Wilderness.
Those trees and shrubs which are by their nature more loaded with small branches, ought to be touched smartly in the shadows, but those which have larger foliage, will cause broader shadows.
Layout 2
# A Treatise on Painting/Chapter 340

Chap. CCCXL.—Of the Shadow of Bridges on the Surface of the Water.
The shadows of bridges can never be seen on the surface of the water, unless it should have lost its transparent and reflecting quality, and become trou​bled and muddy; because clear water being polished and smooth on its surface, the image of the bridge is formed in it as in a looking-glass, and reflected in all the points situated between the eye and the bridge at equal angles; and even the air is seen under the arches. These circumstances cannot happen when the water is muddy, because it does not reflect the objects any longer, but receives the shadow of the bridge in the same manner as a dusty road would receive it.
Layout 2
# A Treatise on Painting/Chapter 343

Chap. CCCXLIII.—The Brilliancy of a Landscape.
The vivacity and brightness of colours in a landscape will never bear any comparison with a landscape in nature when illumined by the sun, unless the picture be placed so as to receive the same light from the sun itself.
Layout 2
# A Treatise on Painting/Chapter 345

Chap. CCCXLV.—How to draw a Figure standing upon its Feet, to appear forty Braccia high, in a Space of twenty Braccia, with proportionate Members.
In this, as in any other case, the painter is not to mind what kind of surface he has to work upon; particularly if his painting is to be seen from a determined point, such as a window, or any other opening. Because the eye is not to attend to the evenness or roughness of the wall, but only to what is to be represented as beyond that wall; such as a landscape, or any thing else. Nevertheless a curved surface, such as F R G, would be the best, because it has no angles.
Layout 2
# A Treatise on Painting/Chapter 339

Chap. CCCXXXIX.—Of the Horizon seen in the Water.
By the sixth proposition, the horizon will be seen in the water as in a looking-glass, on that side which is opposite the eye. And if the painter has to represent a spot covered with water, let him remember that the colour of it cannot be either lighter or darker than that of the neighbouring objects.
Layout 2
# A Treatise on Painting/Chapter 341

Chap. CCCXLI.—How a Painter ought to put in Practice the Perspective of Colours.
To put in practice that perspective which teaches the alteration, the lessening, and even the entire loss of the very essence of colours, you must take some points in the country at the distance of about sixty-five yards from each other; as trees, men, or some other remarkable objects. In regard to the first tree, you will take a glass, and having fixed that well, and also your eye, draw upon it, with the greatest accuracy, the tree you see through it; then put it a little on one side, and compare it closely with the natural one, and colour it, so that in shape and colour it may resemble the original, and that by shutting one eye they may both appear painted, and at the same distance. The same rule may be applied to the second and third tree at the distance you have fixed. These ​studies will be very useful if managed with judgment, where they may be wanted in the offscape of a picture. I have observed that the second tree is less by four fifths than the first, at the distance of thirteen yards.
Layout 2