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Raipa hot v

cxlviii) are here figured and described for the first time. For placing in my hands the originals of both of these, I have the pleasure of thanking the Reverend S. In the critical notes at the foot of the page, which, for obvious reasons of general convenience, are written in Latin, the manuscript readings are recorded, together with all the conjectural emendations that appeared for any reason to deserve notice, and also the principal variations occurring in the text as printed in nine previous editions. In settling the text, I have endeavoured to decide in each case to the best of my judgment according to the evidence before me, with the result of finding myself on the whole in closer agreement with the second editions of Kirchhoff and Nauck than with those of any other editor. notes, at the end of the book, due acknowledgment is made of all my more important obligations to others, and of many even of the less important. Reid, Esq., Fellow of Gonville and Caius, for kindly placing their own conjectures at my disposal. Further, I have, as far as possible, gone on the principle of quoting parallel passages in full, instead of contenting myself with a bare reference, considering the former course not only more convenient to the reader, but also fairer in every way, as by this means any argument that rests upon a quotation can at once have its due weight assigned to it,-neither less nor more. A few suggestions of my own, which I venture to submit to the judgment of scholars, will be found in the notes on the following lines: I26, 135, 147, 209, 251, 278, 327, 550, 1002, I008, 1157, I207, I365. of Oxford and Cambridge respectively, for indicating several of the subjects suitable to my purpose, among the treasures of art entrusted to his keeping in the British Museum: and to the Reverend C. King, Senior Fellow of Trinity, for allowing me to consult him on the particular province of ancient art in which he is a recognised master. Those who have ever had to spend much time in looking up references will, I think, agree with me in holding that few things are more vexatious than to find a particular opinion on a doubtful point supported by an array of references which may or may not be relevant, but all of which have to be tested in detail before any further advance can be made. In the case of one or two of them, it is some slight gratification to find them to a certain extent confirmed by their having independently occurred to others. I am further specially indebted to Messrs George Bell and Sons, the publishers of Mr King's Antique Gemns and RPilngs (1872), for allowing electrotypes to be taken for this book from woodcuts used in that admirable work; eleven of the illustrations (including a gem in the Fitzwilliam Museum, originally engraved for the Syndics of the University Press) are, with the author's kind concurrence, borrowed from the comprehensive series there published. Among the archaeologists of the last generation, to whose works I am thus under special obligations, are Otfried Miller and Otto Jahn. Several of the illustrations, however, are, I have reason to know, more accurate than those that have appeared elsewhere; and I may add in conclusion that a terracotta lamp from Cyprus (on p.

In the course of last year, however, finding myself attracted once more to my original purpose, I set to work afresh, and devoted the summer of that year to recasting, or rather, entirely rewriting, the notes which I had already prepared, and also to reducing into some sort of order the materials collected for the remainder. Shilleto (1809-1876), whose name is here gratefully recorded by one of his many private pupils, are now printed for the first time from his interleaved 1 - PRE FA CE. Tuck, Assistant Master at Uppingham School, who attended his lectures at King's College. On the general subject, however, I have had the pleasure of attending some of the lectures given by Professor Colvin, and by Dr Waldstein, and it will be observed that one or two incidental points in the Introduction are due to the former. Specialists in this department may perhaps find little that is entirely new to them in these illustrations, but I have had in view the needs of the large body of those viii PREL A CE. v copy of the Poetae Scenici in the Cambridge University Library, as well as a few conjectures and other notes by the same scholar, for some of which I am indebted to the Rev. But, for my special purpose, I have naturally found it necessary to rely in the main, on the study either of the actual monuments of ancient art or published representations of them, besides constantly consulting the somewhat scattered literature of the subject, a conspectus of which, so far as it has come within my own knowledge, is given at the end of the Introduction. who take a general interest in such matters, but to whom the copies of monuments of ancient art hitherto published are often somewhat inaccessible, owing partly to their being generally confined to works that can hardly be consulted except in our larger public libraries. After a while, it occurred to me that the materials thus collected might serve as a PREFA CE. The impulse thus given to the study of the play led to my continuing to devote attention to it, after taking my degree, and to my including it from time to time, in and after 1869, among the subjects of my College lectures.

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