assassin’s creed syndicate aesthetic: victorian london
“Ah, the gentle sound of opportunity passing us by.”
“So what’s stopping us? London is waiting to be liberated.”
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” It is difficult to speak adequately or justly of London. It is not a pleasant place; it is not agreeable, or cheerful, or easy, or exempt from reproach. It is only magnificent. You can draw up a tremendous list of reasons why it should be insupportable. The fogs, the smoke, the dirt, the darkness, the wet, the distances, the ugliness, the brutal size of the place, the horrible numerosity of society, the manner in which this senseless bigness is fatal to amenity, to convenience, to conversation, to good manners – all this and much more you may expatiate upon. You may call it dreary, heavy, stupid, dull, inhuman, vulgar at heart and tiresome in form. I have felt these things at times so strongly that I have said – ”Ah London, you too then are impossible?” But these are occasional moods; and for one who takes it as I take it, London is on the whole the most possible form of life. I take it as an artist and as a bachelor; as one who has the passion of observation and whose business is the study of human life. It is the biggest aggregation of human life – the most complete compendium of the world.” — Henry James
Tailor of Gloucester by Beatrix Potter from the Cooper-Hewitt National Design Museum Library’s Rare Book Collection on Juvenile Literature.
Beatrix Potter’s work, while already considered in the Public Domain in the United States, entered the public domain in Europe this year, 70 years after her death.
On this side of the pond, nothing new will enter the Public Domain until 2019, due to a 1998 law increasing copyright to 95 years or more for works published after 1923.
We missed a post on Public Domain Day, the first of the year, but wanted to shed a little light on the topic, regardless. Find out more at the Duke Center for the Study of the Public Domain.
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