- Mc-205, Fighter
- S. P. A. Sahariano truck
- Searchlight unit
- 20-65 Anti Aircraft gun, model 35
- 81 mm medium mortar, model 35
- Flying uniform, captain
- Parachutist, Second lieutenant
- Service Dress , major
- 20-65 Anti Aircraft gun, ready for transport
- 47-32 antitank gun, model 37
- M13 (formerly M11) tank
- Service rifles and carbines
- Cross section of antipersonnel mine B4
- Girder bridge No. 1
- Hand grenades
- Antipersonnel mine B4
- Brigadier General
- Type O.G.M. rotary telephone switchboard
- Lietenant Colonel, Cavalry
- Marshall, old-style coat
- Second Lietenant Infantry
- Sergeant-major, new-style coat
- Protective Suit
- Summer Uniform, Private, infantry
- Uniform of tank crews
- 2 cm Flakvierling 38
2 cm Flakvierling 38 ready for transport on special trailer - German 105-mm Gun-Howitzer
- German 105-mm Gun - Howitzer
German 105-mm Gun - Howitzer - Japanese 75-mm Anti-Aitcraft gun
- Japanese 25-mm pom-pom gun
- A Muse playing the Diaulos
The single flute was called monaulos, and the double one diaulos. A diaulos, which was found in a tomb at Athens, is in the British Museum. The wood of which it is made seems to be cedar, and the tubes are fifteen inches in length. Each tube has a separate mouth-piece and six finger-holes, five of which are at the upper side and one is underneath. - Huayra-puhura,
The Peruvians had the syrinx, which they called huayra-puhura. Some clue to the proper meaning of this name may perhaps be gathered from the word huayra, which signifies “air.” The huayra-puhura was made of cane, and also of stone. Sometimes an embroidery of needlework was attached to it as an ornament. One specimen which has been disinterred is adorned with twelve figures precisely resembling Maltese crosses. The cross is a figure which may readily be supposed to suggest itself very naturally; and it is therefore not so surprising, as it may appear at a first glance, that the American Indians used it not unfrequently in designs and sculptures before they came in contact with Christians. - A Muse with a Harp, and two others with Lyres
A Muse with a Harp, and two others with Lyres. From a Greek vase in the Munich Museum The design on the Greek vase at Munich represents the nine Muses, of whom three are given in the engraving, viz., one with the harp, and two others with lyres. Some of the lyres were provided with a bridge, while others were without it. The largest was held probably on or between the knees, or were attached to the left arm by means of a band, to enable the performer to use his hands 30without impediment. The strings, made of catgut or sinew, were more usually twanged with a plektron than merely with the fingers. The plektron was a short stem of ivory or metal pointed at both ends. - Farmer Boy and the sheep
- Shawn Sheep
- Shearing Sheep
- Watching the Band
- Charles Darwins Signature
- Darwin
- Down House from the Garden
- Emma Darwin at Thirty-One
Soon after his return home, he married his cousin, Emma Wedgwood, a noble and charming woman, and a little later, in 1842, he settled at the small village of Down, in the county of Kent, and made his home there until his death in 1882. - Charles Darwin as a Child with his Sister Catherine
- The Beagle Laid Ashore for Repairs at River Santa Cruz, Patagonia
- The Study at Down
- Edgar Allan Poe
Perhaps Poe's technique is more easily examined in those of his tales in which the same faculties that planned the construction supplied also the motive. The three great detective stories, The Purloined Letter, The Murders in the Rue Morgue, and The Mystery of Marie Roget, are made of reasoning and built on curiosity, the very mainspring of analysis. - Jane Austen
Twenty years after Evelina, the novel of femininity took a further step in technique and breadth of design. Miss Austen, who in the last decade of the eighteenth century was writing the novels that were not to be published till after the first decade of the nineteenth, learnt from both her precursors. She was a proper follower of Richardson, but dispensed altogether with the artifice of letters, although the whole of her work is so intimate and particular in expression that it would almost seem to be written in a letter to the reader. - Giovanni Boccaccio
Boccaccio was intent simply on the art of telling tales. He knew enough of classical literature to feel the possible dignity and permanence of prose, and he told his stories as they were told to him in a supple, pleasant vernacular that obeyed him absolutely and never led him off by its own strangeness into byways foreign to the tales and to himself. whose plot may be elaborate. - Fanny Burney
Fanny Burney took more material with a lighter hand, stealing away the business of The Tatler, The Spectator, The Citizen of the World, and trying not only to 'draw characters from nature' but also to 'mark the manners of the time.' - Daniel Defoe
With an imagination scarcely less opulent than Bunyan's, Defoe, if he had described a dream, would have managed somehow to make it as short-winded and inconsequent as a real one. He was in love with verisimilitude, and delighted in facts for their own sakes. 'To read Defoe,' wrote Charles Lamb, 'is like hearing evidence in a Court of Justice.' No compliment could have pleased him better. - Sir Philip Sidney
This is no insult to Sir Philip Sidney, but only to the rather exorbitant demands of the form he had chosen. His own sonnets vindicate him as a poet, and some of them, even Hazlitt owned, who did not like him, 'are sweet even to a sense of faintness, luscious as the woodbine, and graceful and luxurious like it.' - François René De Chateaubriand
It was through caring for his setting in this way that Chateaubriand came as if by accident to the discovery of local colour. He wanted his savages to love in the wilderness, and happening to have seen a wilderness, reproduced it, and made his savages not merely savages but Muskogees, fashioned their talk to fit their race, and made it quite clear that this tale, at any rate, could not be imagined as passing on the Mountains of the Moon. - Alexandre Dumas
There is a much less terrible pleasure to be had from the works of Dumas. Behind all Hugo's books is the solemnity, behind Dumas' the joy of living, the joie de vivre—the French phrase, although identical, seems better to express it. - Théophile Gautier
Gautier was not pure dreamer. Though the world of his art was as far from the world of Paris, as the world of Mr. Yeats from the world of London or Dublin, he was not a seer, or a poet between whom and reality hung a veil of dreams. He was a solid man, one of whose proudest memories was a blow that registered five hundred and thirty-two pounds on an automatic instrument, the result of daily washing down five pounds of gory mutton with three bottles of red Bordeaux. - Sir Walter Scott
Scott was a part of this revivified world, and his importance in it is not that of its inventor, but of the man who brought so many of its qualities into the art of story-telling that his novels became a secondary inspiration, and moved men as different as Hugo, Balzac, and Dumas, to express themselves in narrative. - Tobias Smollet
I am a little ungracious to Smollett in saying so loud that he was an artist inferior to Fielding. Inferior he was, but when I set their best books side by side, I remember that there is little to choose between the pleasures they have given me, and am compelled to admit that the less scrupulous Smollett had the wider range. - John Bunyan
Bunyan's business was the description of a pilgrim's progress through a world thus vividly good and bad. His choice of allegory as a method allowed him to illustrate at the same time the earnestness of his times and their extraordinary clarity of sensation. It was a form ready to his hand. The authorised version of the Bible, published in 1611, its English retaining the savour of a style then out of date, formed at once his writing and his method, as it constituted his education. 'My Bible and Concordance are my only library in my writings.' - Nathaniel Hawthorne
Hawthorne is one of the earliest story-tellers whom we remember as much for himself as for his books. He is loved or hated, as an essayist is loved or hated, without reference to the subjects on which he happened to write. He wrote in a community for whom a writer was still so novel as to possess some rags of the old splendours of the sage; an author was something wonderful, and no mere business man. - Guy De Maupassant
De Maupassant for seven years submitted all he wrote to Flaubert's criticism. If we add to the preceding essay some sentences from Flaubert's correspondence, it will be easy to imagine the lines that criticism must have taken, and interesting to compare them with the resulting craftsman. - Henry Fielding
Out of this general efflorescence were to spring two branches of story-telling different and hostile from the start. The novel was given sex. Richardson had scarcely invented the feminine novel before Fielding and Smollett were at work producing books of a masculinity correspondingly pronounced. Fielding was the first to mark the difference, and Richardson to the end of his life hated him for writing Joseph Andrews. It often happens that one philosopher hates another whose system though less elaborate is obviously founded on a broader basis than his own. Fielding could afford to laugh at Richardson, but Richardson could never laugh at Fielding. - Victor Hugo
The studio and the study were very close together. Gautier, Hugo, and Mérimée were all painters in their own right, and there is a difference between the writers who have only seen life from a library, and those who have seen it from behind an easel. The writer who has once felt them can never forget the eye-delighting pleasures of the palette, but composes in colour-schemes, and feels for the tints of words as well as for their melody.