William Blake (1757-1827), hailed as 'the glorious luminary' by William Rossetti, is one of the great mystics in the history of Western art. His hallucinatory paintings, watercolours and, in particular, the illustrations he made for his books of poetry are instantly recognisable, and have inspired generations of artists in his wake. Although he was largely ignored by his contemporaries, or de rided as mad, a number of perceptive critics and commentators took great interest in both the man and his work. This volume brings together some of the most illuminating writings by people who knew Blake, and brings this astonishing visionary to life. They include the frank appraisal by the hugely percep tive diarist Crabb Robinson, never before published in full in English, and the first full biography by Blake's friend and fellow artist John Thomas Smith, as well as Alexander Gilchrist's Preliminary, whihc heralded the arrival of Blake in the 19th Century.

This multigenerational memoir sketches the lives of three generations of the author's family that were involved with some of the most profound issues of the twentieth century. Smith's paternal grandfather was present at the creation of General Motors Corporation and served as its Vice President and General Counsel. His maternal grandfather, William G. Maguire, was an entrepreneur and natural gas pipeline pioneer with a visionary grasp of natural gas's significance in the twentieth century American economy. Smith's father served as a senior diplomat under five presidents, working to constrain the nuclear arms race between the United States and Russia and to curtail proliferation of nuclear weapons.

Having devised an artificial cement in 1817, Louis-Joseph Vicat (1786 1861) sought to share and further the science surrounding calcareous cements. His son, Joseph Vicat, went on to found the eponymous company which became an international manufacturer of cement. This work was first published in French in 1828 and is reissued here in the English translation of 1837. Vicat addresses the subject of limes, the ingredients used to prepare mortars and cements, and how these building materials are affected by environmental conditions, such as immersion in water or exposure to damp soil and inclement weather. He also compares binding products of the time with those developed by the ancient Egyptians, Romans and Greeks. The translator, J. T. Smith, provides helpful explanatory notes and clarifies technical terms. Charles William Pasley's Observations on Limes, Calcareous Cements, Mortars, Stuccos, and Concrete (1838) is also reissued in this series."

The sculptor Joseph Nollekens (1737-1823) was famed for his portrait busts of leading figures of his day. While working in Italy in the 1760s, he established contacts among a group of aristocratic British patrons, going on to become London's most fashionable sculptor upon his return to England in 1771. The draughtsman and antiquary John Thomas Smith (1766-1833) had been at one time a pupil of Nollekens. It is believed that this anecdotal two-volume biography, first published in 1828, was written as an act of revenge. Having been promised a considerable legacy in the sculptor's will, Smith was disappointed to receive only an executor's fee. The work contains little analysis concerning the sculptor's art, relating instead much gossip and anecdotes of a personal nature. Nonetheless, it presents a vivid picture of the London art world at that time. Volume 1 concentrates on aspects of Nollekens' character, habits and opinions.

The sculptor Joseph Nollekens (1737-1823) was famed for his portrait busts of leading figures of his day. While working in Italy in the 1760s, he established contacts among a group of aristocratic British patrons, going on to become London's most fashionable sculptor upon his return to England in 1771. The draughtsman and antiquary John Thomas Smith (1766-1833) had been at one time a pupil of Nollekens. It is believed that this anecdotal two-volume biography, first published in 1828, was written as an act of revenge. Having been promised a considerable legacy in the sculptor's will, Smith was disappointed to receive only an executor's fee. The work contains little analysis concerning the sculptor's art, relating instead much gossip and anecdotes of a personal nature. Nonetheless, it presents a vivid picture of the London art world at that time. Volume 2 covers the infamous will and provides biographical sketches of Nollekens' contemporaries.