Ethel Gwendoline in the book "Forty Thousand Miles Over Land and Water" describes her travels with her husband through the British Empire and America in the late 1800s. This book serves as a simple descriptive journal of what she saw and did. It contains their travels across the Atlantic through the USA and Canada, across the Pacific to Australia and New Zealand, the Dutch East Indies, the Indian subcontinent, and Egypt.
"Forty Thousand Miles Over Land and Water" by Ethel Gwendoline Vincent. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
As we drove over the rough streets of New York in the early hours of Sunday morning, it appeared as a city of the dead. There was no sign of life as our horses toiled along Broadway and up Fifth Avenue to the Buckingham Hotel, where we had secured rooms. This hotel, though comfortable, had the disadvantage of being too far up town for short sojourners, but it has the merit of being conducted on the European system—that is, the rooms and meals are charged for separately. The American plan is to make an inclusive charge of from four to five dollars a day, and it is often troublesome only being able to have meals in the dining-room between certain hours. Besides, it is pleasant to be able to visit the restaurants of New York, which are admirable, and equal, if not superior to those of Paris. Delmonico's, where we dined one evening, is particularly excellent. We were glad when eleven o'clock came and we could go to St. Thomas' Church, close by. It is one of the most frequented of the many beautiful churches of all denominations in New York, and of very fine interior proportions. Upon the dark oak carving is reflected in many hues the rich stained glass. The service was rendered according to the ritual of the English Church, which is followed by the Episcopal Church of America. They succeed in America in uniting a non-ceremonial service with a bright and hearty one. We listened to a very powerful sermon on St. Paul on the Hill of Mars, in which the eloquent preacher boldly declared that the political honesty of the Athenians 2000 years ago was superior to that of the United States of to-day. On our way back we went into the Roman Catholic Cathedral, which was just opposite to our windows at the "Buckingham," a very large marble building, but still unfinished. We found four reporters waiting at the hotel to "interview" my husband. He had eluded them on the landing-stage, but they would take no denial here, and we were much harassed by others in the course of the day. Our luggage arrived at noon. It is almost a necessity to employ the Express Company for the conveyance of "baggage" throughout America, as the hackney carriages and hotel omnibuses are not prepared to take it. The charges are very high, and it is often extremely inconvenient having to wait two, three, or even four hours for it, after arrival in a town. The geography of New York is exceedingly simple, and is followed in nearly every American city. "Avenues" traverse the length of the town, which are called first, second, or third avenues, and the "streets" which intersect them are also numbered consecutively, so that you have—Third Street, Fifth Avenue, and know that it is the third street from the commencement of Fifth Avenue.
Written shortly after the advent of new steamships allowing faster travel to the United States, Thomas Fitzpatrick turns his pen to a description of the ""principal States of New England"" -New York, Boston, Philadelphia, and Washington. Originally published in 1891, Fitzpatrick aims not only to describe America in relation to her experiment with democracy, but also to lay open the beauty of America to a new class of traveler-those who new technology will allow to undertake transatlantic travel within the limits of short leisure time. In the mode of an early travel guide, Fitzpatrick's hope is to provide a ""friendly"" guide which will induce his fellow countrymen to take advantage of new steamships, with their safer and shorter journeys to the United States, so that they themselves can view the natural beauty of the American continent and man-made achievements of her cities.
The Arts of Kingship offers a sustained and detailed account of Hawaiian public art and architecture during the reign of David Kalakaua, the nativist and cosmopolitan ruler of the Hawaiian Kingdom from 1874 to 1891. Stacy Kamehiro provides visual and historical analysis of Kalakaua’s coronation and regalia, the King Kamehameha Statue, ‘Iolani Palace, and the Hawaiian National Museum, drawing them together in a common historical, political, and cultural frame. Each articulated Hawaiian national identities and navigated the turbulence of colonialism in distinctive ways and has endured as a key cultural symbol. These cultural projects were part of the monarchy’s concerted effort to promote a national culture in the face of colonial pressures, internal political divisions, and declining social conditions for Native Hawaiians, which, in combination, posed serious threats to the survival of the nation. The Kalakaua leadership endorsed images that boosted international relations and appeased foreign agitators in the kingdom while addressing indigenous political cleavages. Kamehiro interprets the images, spaces, and institutions as articulations of the complex cultural entanglements and creative engagement with international communities that occur with prolonged colonial contact. Nineteenth-century Hawaiian sovereigns celebrated Native tradition, history, and modernity by intertwining indigenous conceptions of superior chiefly leadership with the apparati and symbols of Asian, American, and European rule. The resulting symbolic forms speak to cultural intersections and historical processes, claims about distinctiveness and commonality, and the power of objects, institutions, and public display to create meaning and enable action. The Arts of Kingship pursues questions regarding the nature of cultural exchange, how precolonial visual culture engaged and shaped colonial contexts, and how colonial art informs postcolonial visualities and identities. It will be welcomed by readers with a general and scholarly interest in Hawaiian history and art. As it contributes to discussions about colonial cultures, nationalism, and globalization, this interdisciplinary work will appeal to art and architectural historians as well as those studying Pacific history, cultural and museum studies, and anthropology.
Originally published in 1904, this is an account of 65 years in the bookselling and publishing business. Edward Marston, of the publishing firm Sampson Low, Marston, etc. recounts the 19th century history of that notable establishment. Sampson Low, Marston published many of the bestselling authors of the day, including Jules Verne, Harriet Beecher Stowe, Wilkie Collins, J. A. Froude, Thomas Carlyle, G. A. Henty, Sir Henry M. Stanley, Charles Dickens, Sir Edward Bulwer Lytton, and many more.Marston's career roughly parallels the reign of Queen Victoria and we see the workings of the publishing business during that period of time, enhanced by 26 illustrations, including one of Jules Verne. There are six pages devoted to Jules Verne in the text. Marston is also known for the book The Amateur Angler.
