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Updated: June 27, 2025
In some districts it is so abundant that agriculture is almost impossible, and everywhere complaints are heard of the terrible pest. The workers of this species are of three orders, and vary in size from two to seven lines; some idea of them may be obtained from the accompanying woodcut. The worker-minors vary greatly in size, some being double the bulk of others.
These chairs are in style thoroughly Dutch, of about the end of the seventeenth or early in the eighteenth century; the cabriole legs and shell ornaments were probably the direct result of the influence of the French on the Dutch. The woodcut is from a drawing of an old house in Norwav.
His portrait in a woodcut of the year 1527 represents him earnest and serious in demeanour, as would naturally follow from his advancing age and the pressure of eventful times. His head is no longer adorned with those richly flowing locks, on which in his earlier days he had set so high a value, as we learn from his pictures and from jests still recorded of him.
In addition, the "good grey poet" was kind enough to add a woodcut of himself as he appeared in the 1855 volume, "hankering, gross, mystical, nude," and another of his old mother, with her shrewd, kindly face.
Trimen writes to me, "no characters of mere marking or coloration are so unstable in the Lepidoptera as the ocelli, both in number and size." Mr. This woodcut has been engraved from a beautiful drawing, most kindly made for me by Mr.
The buffet on page 43 is an excellent specimen of the best fifteenth century French Gothic oak work, and the woodcut shows the arrangement of gold and silver plate on the white linen cloth with embroidered ends, in use at this time. Period: Late XV. or Early XVI. Century. Of Carved Oak; open below with panelled cupboards above. The back evidently of later work, after the Renaissance had set in.
"But I've settled it all, and count on you. Look here," he continued, drawing from his pocket a large printed bill, and unfolding it before my ancestor. At the top appeared in large capitals the words, "Plaza de Toros;" and underneath was a woodcut representing a bull, gazing, with his tail in the air, and an approving smile on his countenance, on the matadore about to transfix him.
The first thing I saw was a quaint Japanese woodcut of a buxom maiden washing garments in a rapidly purling stream. She was treading out a petticoat with her bare feet, presumably on a flat stone. In a black storm-cloud above a willow tree a bearded supernatural being, with hands spread in humorous deprecation, gazes down half pleased, half horrified.
Several of these conical islands are always belching forth from their mouths glowing streams of lava, which roll in fiery torrents down their black and rugged sides into the boiling lake below. They are said sometimes to throw up jets of lava to the height of upwards of sixty feet. The foregoing woodcut can convey only an imperfect idea of this immense crater.
There were Thornycroft motor-boats and Sennacharib goufas, mahailas and Thames steamboats, an oil-fuel gunboat and a stern paddler that could have come out of a woodcut of the first steamboat on the Clyde and all these in the same reach. I travelled in this last extraordinary vessel for a short time.
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