Numerous successful reprints of contemporary works on rigging and seamanship indicate the breadth of interest in the lost art of handling square-rigged ships. Modelmakers, marine painters and enthusiasts need to know not only how the ships were rigged but how much sail was set in each condition of wind and sea, how the various manoeuvres were carried out, and the intricacies of operations like reefing sails or 'catting' an anchor. Contemporary treatises such as Brady's Kedge Anchor in the USA or Darcy Lever's Sheet Anchor in Britain tell only half the story, for they were training manuals intended to be used at sea in conjunction with practical experiences and often only cover officially-condoned practices. This book, on the other hand, is a modern, objective appraisal of the evidence, concerned with the actualities as much as the theory. The author has studied virtually every manual published about seamanship over a period of nearly four centuries. This gives the book a completely international balance and allows him to describe for the first time the proper historical development of seamanship among the major navies of the world.

The Human Scale Schools project, which ran for three years, set out 'to build a solid core of human scale schools that can stand up as effective examples of human scale principles in practice'. Launched in 2006 by the Calouste Gulbenkian Foundation in partnership with the educational charity Human Scale Education, the project encouraged secondary schools to develop their own schemes for creating a more human scale ethos. These included the setting up of small-scale learning communities, cross disciplinary curriculum projects, more holistic pastoral structures and greater student participation in learning. Grants were offered to 39 schools across the country to enable them to design and implement these innovations. LC Research Associates was commissioned to evaluate the changes and effects of the developments supported by the Human Scale Schools project in six schools from February 2007 to December 2009. This report presents that analysis.

Research shows that young people's attendance at places such as theatres, concert halls, galleries and museums declines as they progress through their teens. They may, indeed, experience only a fleeting acquaintance with cultural venues of this kind and then cease to visit them altogether - not necessarily because of a dislike of particular art forms but because these cultural venues and what they have to offer do not appear to be relevant to them. As a result of such assumptions and subsequent lack of involvement, young people may be denied the possibility of informed choice. How can venues, schools and others help young people to consider a wider spectrum of cultural experiences? 'Crossing the Line' has been commissioned by the Gulbenkian Foundation and Arts Council England to consider this problem. It reviews the evidence and includes important new research which asks young people what they think; looks at different types of initiatives concerned with this issue and highlights the questions that the various sectors may wish to ask themselves - for example, how cultural venues can make themselves more accessible to teenagers and the possibility of some young people serving as 'cultural mentors' to their peers.