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(Excerpt from The Cincinnati Organ: With a Brief Descripti...)
Excerpt from The Cincinnati Organ: With a Brief Description of the Cincinnati Music Hall It was a part of the contract that the organ should be erected and finished in the hall, on Or before the first day Of May, 1878, in order that it should be ready for use at the Musical Festival, which had its biennial celebration during that month. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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(Excerpt from The Sanctuary: A Story of the Civil War The...)
Excerpt from The Sanctuary: A Story of the Civil War The terrible were strangely mingled. Day after day I saw the symbol Of our national unity outspread by a thousand patriot hands, or when tossing amid the fray of battle, I have watched its surge as token of victory; and grander than all, as crowds Of refugees, white and black, sought its folds for protection and liberty, I no longer felt humiliated nor ashamed, for the flag Of our union symbolized to me, as it must to all the world, Liberty, in its widest, purest, noblest meaning. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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(This historic book may have numerous typos and missing te...)
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1865 edition. Excerpt: ... do any kind of work they are put away--sometimes sold. I have near me five daughters and three sons grown up; all that they earn goes into the hands of master and mistress." I said: " Do you wish to leave your master? There will probably be means to go down to Wilmington." "Indeed, sir," they all broke out with one accord, "if we can only get to any place where we can be free, and able to work for ourselves, we shall be thankful." It is my impression that their prayer will be granted. Instances of Rebel inhumanity are not jrare here. In the hospital, where there are several hundred sick and wounded Rebel soldiers, I found some of our men, who had been wounded in the attack upon this city. One of these men, who showed me a ghastly wound in his shoulder-blade, was not inju
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(Excerpt from Art Education Applied to Industry The objec...)
Excerpt from Art Education Applied to Industry The object of this book is to show the present need of art education in the United States; to relate something of its history in Europe; to ex plain what is meant by its application to industry; and to propose a meth od of instruction best adapted to our people and institutions. The broad meaning of the term art education has not always been understood. It is most often used in its relation to the fine arts of paint ing, sculpture, and architecture, as if these higher arts and the industries were not mutually dependent, or as if the boundary which is supposed to separate them were not, in all three of the arts, constantly invaded, so that often the product of the industry may be called a work of art. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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George Ward Nichols was born on June 21, 1831 in Tremont, Mount Desert, Maine, United States. He was the son of John and Esther Todd (Ward) Nichols. His father and grandfather were sea-captains. In 1835 the family moved to Boston, Massachussets.
George received a public-school education in Boston, Massachussets.
In 1859 he spent some time in Europe, principally in Paris, where he studied painting under the direction of Thomas Couture, and upon his return was art editor on the New York Evening Post, writing also for magazines.
Nichols appears to have entered journalism promptly upon leaving school. Later he went to Kansas and was active in the political and military struggle which attended the organization of that state.
On April 25, 1862, he entered the Union army as a captain, and served at first on the staff of Frémont. Subsequently (1863), he was detailed to assist the provost-marshal general's department in Wisconsin, after which duty he was a recruiting officer until 1864, when he was made aide-de-camp on the personal staff of General Sherman. He accompanied Sherman on his march to the sea and was with him until the conclusion of the war. Upon his resignation he was brevetted lieutenant-colonel of volunteers.
He wrote a war-novel, The Sanctuary in 1866. This artless story, conventional in motivation and stilted in language, attracted no widespread attention and was soon completely forgotten.
He had much to do with the founding of the School of Design, which was at first a part of the University of Cincinnati and was later transferred to the Art Museum. Convinced that a large and profitable field awaited the employment of trained artists and craftsmen in industry, he busied himself in advancing the cause of art education.
In 1877 he published Art Education Applied to Industry, and in 1878 Pottery: How it is Made, its Shape, and Decoration. These are straightforwardly written and well-arranged manuals, on the whole skilfully adapted to their purpose.
His most conspicuous and important service to the arts, however, lay in another direction. The Harmonic Society of Cincinnati under his presidency and management gave a series of concerts which were so successful as to suggest a more elaborate undertaking, and in 1872 the May Festival Association was organized with Nichols at its head. The first musical festival took place in 1873, and he continued to direct the affairs of the Association until 1880, during which time three festivals were held. Meanwhile, in 1879, with the aid chiefly of Reuben R. Springer, he established the College of Music of Cincinnati and became its first president, a position which he held until his death from pulmonary tuberculosis.
Nichols' The Story of the Great March (1865) had a sale of 60, 000 copies within a year, besides being reprinted in English newspapers and being translated (it is said) into Spanish, French, and German. He was one of the founders of the Cincinnati College of Music in 1878 and with his wife in 1872 founded the May Festival Association.
(Excerpt from The Cincinnati Organ: With a Brief Descripti...)
(Excerpt from Art Education Applied to Industry The objec...)
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(Excerpt from The Sanctuary: A Story of the Civil War The...)
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Cincinnati was his home, and he quickly made himself felt there as an energetic, commanding force, promoting the cultural development of the city.
He was a born "promoter, " with remarkable executive capacity, determination, and self-confidence, with the result "that his career often seemed to those about him too full of his own individuality for the most comfortable enjoyment of easy social friendship".
Shortly after the close of the war, Nichols went to Cincinnati with Sherman, and there met Maria Longworth, aunt of Nicholas Longworth, 1869-1931, whom on May 6, 1868, he married.
