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This monograph on classical engraved gems, which also contains a
catalogue of the collection then held by the Fitzwilliam Museum,
was published in 1891. J. Henry Middleton (1846 1896) was at the
time the Director of the Museum and Slade Professor of Fine Art in
Cambridge. His intention was to provide an introductory volume for
students of archaeology which both traced the history of the use of
engraved gemstones as seals and signets from Babylonian to
classical times, described the techniques used to create these
miniature works of art, and gave catalogue definitions, enhanced by
photographic plates, of the Fitzwilliam collection, which had for
the most part been donated by Colonel W. M. Leake (1777 1860),
whose antiquarian interests had been aroused when he was sent to
the eastern Mediterranean to assist the Turkish army against the
French in the early nineteenth century.
Containing an introductory essay on ancient gems, J. H. Middleton's
work of 1892 catalogues the extensive and fascinating collection of
engraved gems at Corpus Christi College, Cambridge. Middleton, who
was a Professor of Fine Art and Director of the Fitzwilliam Museum,
describes how the collection was acquired by the Reverend S. S.
Lewis on his frequent visits to Italy, Greece and more distant
Oriental countries. The catalogue demonstrates that the gems are
more remarkable for their interesting subjects than for any
exceptional beauty as works of art. The reader is shown how the
gems represent important works of Greek sculpture, present examples
of the work of Italian Renaissance artists, and illustrate myths
and rituals of ancient times. The book will be of interest to
students of glyptic art, and anyone interested in classical
learning, the development of Christianity and the Renaissance of
classical art.
Originally published in 1892, this volume provides a general
account of the various aspects of manuscript illumination from
Classical times to the sixteenth century, when the invention of
printing gradually began to put an end to the use of manuscripts.
The text contains a historical sketch of the growth and development
of various styles of manuscript illumination and the chief
technical procedures involved, such as the highly labour-intensive
process of applying gold leaf. Numerous illustrative examples are
also provided. This is a beautifully presented book that will be of
value to anyone with an interest in manuscripts and the history of
art.
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