The techniques of depositing a thin metallic layer on an object for decoration, corrosion protection, electrical conductivity, wear resistance and so on have been known for many years but have been developed and improved to a remarkable extent in the second half of this century. This book sets out to discuss the principles and practice of those forms of plating most suited to the amateur and small workshop, using relatively simple and inexpensive equipment to produce results virtually undetectable from work carried out by major plating concerns. Jack Poyner, a professional involved in all forms of plating for many years, is also a keen model engineer able to recognise the dividing line between what his average fellow enthusiast would consider practical and worthwhile and what is really better left to experts in the field. The result is a really useful and practical book, which will be of value to both amateur and light industrial users in many diverse fields.

The centre-lathe is by far the most versatile machine tool in the workshop, but as soon as you depart from plain turning between centres, the question arises 'how to hold the work'. This book explains the methods and techniques required. A fundamental requirement of lathe operation, for accuracy and safety, is the ability to hold any workpiece securely and, preferably, repeatedly on the machine. While few problems arise with straightforward work on a properly aligned lathe, the variety of jobs undertaken by small workshops and model engineers is bound to give rise to occasions when how to hold work requires consideration. When great accuracy is essential, working methods and lathe set-up are vital for an acceptable result. In this book Tubal Cain discusses in his inimitable, practical style all aspects of the subject with the whys and hows, including basic lathe alignment.

Now back in print, "the ultimate book-lover's gift book" (Los Angeles Times) In 1561-62 the master calligrapher Georg Bocskay (died 1575), imperial secretary to the Holy Roman Emperor Ferdinand I, created Mira calligraphiae monumenta (Model Book of Calligraphy) as a demonstration of his own preeminence among scribes. Some thirty years later, Ferdinand's grandson, the Emperor Rudolf II, commissioned Europe's last great manuscript illuminator, Joris Hoefnagel (1542-1600), to embellish the work. The resulting book is at once a treasury of extraordinary beauty and a landmark in the cultural debate between word and image. Bocskay assembled a vast selection of contemporary and historical scripts for a work that summarized all that had been learned about writing to date-a testament to the universal power of the written word. Hoefnagel, desiring to prove the superiority of his art over Bocskay's words, employed every resource of illusionism, color, and form to devise all manner of brilliant grotesques, from flowers, fruit, insects, and animals to monsters and masks.

• 36 projects for historic benches, chairs, tables, cupboards, chests, shelves, beds, and doors, all done with simple woodworking tools
• Detailed plans based on careful study and measurement of original pieces and accurate reproductions
• Step-by-step instructions, materials lists, and notes on woodworking, metalworking, and finishing
• Foreword by Roy Underhill of the PBS series "The Woodwright's Shop"

The animal kingdom has been a source of inspiration for jewelers since the days of antiquity. Chosen for their symbolism, their beauty or their personality, a whole menagerie of creatures has been depicted in gemstones and precious metals, ranging from fantastical dragons, griffins and sphinxes, to wild beasts such as boars and big cats, to the delicate forms of birds, fish and even insects. The 130 pieces in this book have been specially selected from the magnificent jewelry collection of the Musee des Arts Decoratifs in Paris, and include necklaces and earrings, bracelets and brooches by legendary names such as Boucheron, Falize and Lalique. They stretch from the Renaissance revival of the 19th century to the elegant lines of Art Nouveau and beyond, through to the playful naivety of modernist designs by Jean Lurcat and Line Vautrin. Beautifully photographed by renowned photographer Jean-Marie del Moral, this second title in the series that began with Flora: The Art of Jewelry is packed with clever and witty works of art that will delight all lovers of jewelry and nature.

My Cat Mermaid & Friends is the follow-up to My Simple Sewing by Klutz Junior. Learn how to sew adorable plush sea creature friends! This fabulous craft kit has everything for you to make your own lovely sea creature friends - make a cute cat mermaid, super-fun seahorse and a nice, trendy narwhal! The kit includes: an instruction book for guidance and inspiration coloured felt rhinestones adhesive glitter felt yarn stuffing plastic sewing needle. What is Klutz? Klutz is a premium brand of book-based activity kits, designed to inspire creativity in every child. Our unique combination of crystal-clear instructions, custom tools and materials and hearty helpings of humour is 100% guaranteed to kick-start creativity. Super-clear instructions Open-ended Creativity Rewarding Reading Skills to Build On Everything You Need

A new approach to late Ottoman visual culture and its place in the world With its idiosyncratic yet unmistakable adaptation of European Baroque models, the eighteenth-century architecture of Istanbul has frequently been dismissed by modern observers as inauthentic and derivative, a view reflecting broader unease with notions of Western influence on Islamic cultures. In Ottoman Baroque-the first English-language book on the topic-UEnver Rustem provides a compelling reassessment of this building style and shows how between 1740 and 1800 the Ottomans consciously coopted European forms to craft a new, politically charged, and globally resonant image for their empire's capital. Rustem reclaims the label "Ottoman Baroque" as a productive framework for exploring the connectedness of Istanbul's eighteenth-century buildings to other traditions of the period. Using a wealth of primary sources, he demonstrates that this architecture was in its own day lauded by Ottomans and foreigners alike for its fresh, cosmopolitan effect. Purposefully and creatively assimilated, the style's cross-cultural borrowings were combined with Byzantine references that asserted the Ottomans' entitlement to the Classical artistic heritage of Europe. Such aesthetic rebranding was part of a larger endeavor to reaffirm the empire's power at a time of intensified East-West contact, taking its boldest shape in a series of imperial mosques built across the city as landmarks of a state-sponsored idiom. Copiously illustrated and drawing on previously unpublished documents, Ottoman Baroque breaks new ground in our understanding of Islamic visual culture in the modern era and offers a persuasive counterpoint to Eurocentric accounts of global art history.

Although Ernst Grube has made the study of painting in the Muslim world a principal concern, he has also dealt with other aspects of Islamic art in some depth. Over the last three decades he has published a large number of studies dealing with specific materials: metal-work, stucco decoration, textiles, and especially pottery. Of the twelve selected articles from these areas of Professor Grube's research published in this volume, six are concerned with pottery, one deals with Ilkhanid stucco work as represented in the mausoleum of the Shaykh Muhammad ibn Bakran, near Isfahan, and four deal with the decorative arts of the Timurid period. This last group is accompanied by an extensive bibliography on Timurid decorative arts which should be particularly welcome as much of this material is difficult to access and much of it is originally in Russian. All articles are offered here with both additional notes and a considerably enhanced number of illustrations which greatly adds to the interest and value of the original publications. Contents: Preface Pottery: Three Abbasid Ceramic Bowls Islamic Sculptures: Ceramic Figurines Some Lustre Tiles from Kashan in American Collections Some Lustre Painted Tiles from Kashan of the 13th and 14th Centuries Raqqa Keramik in der Sammlung des Metropolitan Museum in New York The Art of Islamic Pottery Islamic Pottery and the Ceramic Arts of the Far East Ilkhanid Stucco Decoration: Ilkhanid stucco decoration: Notes on the stucco decoration of Pir-i Bakran The Decorative Arts of the Timurid Period: Notes on the Decorative Arts of the Timurid Period I Notes on the Decorative Arts of the Timurid Period II Notes on the Decorative Arts of the Timurid Period III. On a Type of Timurid Pottery Design: The Flying-Bird-Pattern Notes on the Decorative Arts of the Timurid Period IV A Bibliography of Timurid Decorative Arts Additional Notes Index

Arkansas Made is the culmination of the Historic Arkansas Museum's exhaustive investigations into the history of the state's material culture past. Decades of meticulous research have resulted in this exciting two-volume set portraying the work of a multitude of artisan cabinetmakers, silversmiths, potters, fine artists, quilters, and more working in communities all over the sate. The work of these artisan groups documented and collected here has been the driving force of the Historic Arkansas Museum's mission to collect and preserve Arkansas's creative legacy and rich artistic traditions. Arkansas Made demonstrates that Arkansas artists, artisans, and their works not only existed, but are worthy of study, admiration, and reflection.

Illuminated legal texts rank high among the most splendidly decorated medieval manuscripts. Their historical and artistic significance has largely escaped even specialists in art and legal history. The long-recognised discrepancy between the importance of the material and its relative inaccessibility, as well as the rich Cambridge collections, provided the incentive for an exhibition at the Fitzwilliam Museum. With the intention to bring this splendid material to the attention and the understanding of a wider audience, this catalogue offers introductory essays on the making and use of medieval legal manuscripts, detailed descriptions and analysis of representative examples, and rich illustrative material, aesthetically pleasing and thought-provoking. This catalogue offers introductory essays on the making and the use of medieval legal manuscripts in Cambridge collections, in order to call attention to the illuminated legal texts as splendidly decorated medieval manuscripts. ..".the handsome catalogue, Illuminating the law, with its generous quota of colour plates, does splendid justice to a small exhibition at the Fitzwilliam Museum (...), in which unexpected delights are found in apparently dry legal textbooks." (A. Payne in The Art Newspaper, December 2001).