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Knight's Mechanical Encyclopedia (ed. Knight) 8 0 Browse Search
Robert Stiles, Four years under Marse Robert 2 0 Browse Search
Benson J. Lossing, Pictorial Field Book of the Civil War. Volume 1. 2 0 Browse Search
Rebellion Record: a Diary of American Events: Documents and Narratives, Volume 2. (ed. Frank Moore) 2 0 Browse Search
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Robert Stiles, Four years under Marse Robert, Chapter 17: between Gettysburg and the Wilderness (search)
brilliant and aggressive soldier; but he was regarded as one of the most dogged defensive fighters in the army. His entire make-up, physical, mental and moral, was solid, even stolid. In figure he was short, stout, square-shouldered, deep-chested, strong-limbed; in complexion, dark and swarthy, with coal-black eyes and black, thick, close-curling hair and beard. Of his type, he was a handsome man, but the type was that of the Roman centurion; say that centurion who stood at his post in Herculaneum until the lava ran over him. It should be mentioned in his honor that when General Lee, with scant 14,000 muskets, held the front of Hooker's 92,000 at Chancellorsville, McLaws commanded one of the two divisions he had with him. He was a Georgian, and his division, consisting of two Georgia brigades, one from South Carolina and one from Mississippi, was as stalwart and reliable as any in the service. Nothing of course could repress our Mississippians, but the general effect and influ
Benson J. Lossing, Pictorial Field Book of the Civil War. Volume 1., Chapter 6: Affairs at the National Capital.--War commenced in Charleston harbor. (search)
onishment. No pen, no pencil, no tongue can do justice to the scene. No imagination can conceive of the utter wreck, the universal ruin, the stupendous desolation. Ruin — ruin — ruin — above and below; on the right hand and the left; ruin, ruin, ruin, everywhere and always — staring at us from every paneless window; looking out at us from every shell-torn wall; glaring at us from every battered door and pillar and veranda; crouching beneath our feet on every sidewalk. Not Pompeii, nor Herculaneum, nor Thebes, nor the Nile, have ruins so complete, so saddening, so plaintively eloquent, for they speak to us of an age not ours, and long ago dead, with whose people and life and ideas we have no sympathy whatever. But here, on these shattered wrecks of houses-built in our own style, many of them doing credit to the architecture of our epoch — we read names familiar to us all; telling us of trades and professions and commercial institutions which every modern city reckons up by the
urrent of early manhood, and brings down the gray hairs of the aged with sorrow to the grave. It weaves the widow's weeds with the bridal wreath, and our land, like Rama, is filled with wailing and lamentation. It lights up the darkness with the flames of happy homes. It consumes, like the locusts of Egypt, every living thing in its pathway. It wrecks fortunes, brings bankruptcy and repudiation, and blasts the fields of the husbandman — it depopulates towns, and leaves cities a modern Herculaneum. It desolates the firesides, and covers the family dwelling with gloom, and an awful vacancy rests where, like the haunted mansion: No human figure stirred to go or come, No face looked forth from open shut or casement, No chimney smoked; there was no sign of home, From parapet to basement. No dog was on the threshold great or small, No pigeon on the roof, no household creature, No cat demurely dozing on the wall, Not one domestic feature. It loads the people with debt to pass d
shing-machine.Work-basket. Washing-shield.Wringer. Do-mestic Boil′er. One for heating water on a somewhat large scale for the household. Such are made of sheet-metal, to set upon the top of a stove occupying two of the stove-holes; or, made of castiron, they form reservoirs as a permanent attachment to the stove. See wash-boiler; Reservoirstove. Dioscorides mentions tinned boilers. Pliny also treats of tinning copper vessels. Boilers with faucets have been disinterred at Herculaneum. Domestic press. Do-mes′tic press. One for household use for pressing honey, lard, tallow, cheese, sausage, or fruit. The press shown in the example has a sausagestuffer a farthest from the pivoted end of the lever f. A lard-presser next, with a perforated tin hoop b. On the bench is also shown a platform and hoop c for fruit, which is substituted for the lard-hoop when required. d is a crank which operates the tackle and depresses the lever f. Domett. (Fabric.) A pl<
anufacturers, sometimes termed trade-marks, or marks of merchandise. These marks are protected by all modern civilized nations, and, in fact, by the whole commercial world. The mark of the artisan is found upon the most ancient fabrics that have come to light. The Chinese, the Persians, the Egyptians, all had their distinctive manufacturers' signs, symbols which were intrinsic evidence of genuineness of origin of the articles of merchandise to which they were affixed. In the ruins of Herculaneum and Pompeii they are found. The Romans brought them to Britain, where the practice of using them has continued, probably without any intermission, from their time to our own. Antique pieces of pottery found in England furnish example. All nations protect the manufacturer in the exclusive use of his private emblem, and, by treaties, statutes, and judicial decisions, the most stringent penalties, are inflicted upon one who pirates such a mark for his own fraudulent gain. The mark is, in
sed the streets around the palace or on the Palatine Mount to be paved with foreign marble. Streets paved with lava, having deep ruts worn by the wheels of carriages, and raised banks on each side for foot-passengers, are found at Pompeii and Herculaneum. Roman country roads were 8 feet wide on the straight lines, 15 feet at angles. Cattle might be driven on each side, if not fenced in. Abderahman, the khalif of Cordova, Spain, caused the streets to be solidly paved, A. H. 236 (A. D. 95the tomb being contemporary with that event. b is from a lyre in the Berlin Museum, which is perfect except as to its strings. c is a drawing from a painting in Thebes, showing the use of the invention. d is a square lyre from a painting in Herculaneum, the figure holding a plectrum. e is a bow-shaped twelve-stringed harp, from an Egyptian painting copied by Wilkinson f is from an Egyptian picture representing a figure playing on a harp with triangular frame and perpendicular strings. (See