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When Helen Molesworth joined the gem and jewellery industry she
began her own love affair with one of humanity's oldest and richest
fascinations. For as long as people have known about gemstones they
have treasured them. Born of violent geological events and the
chance meetings of minerals, their stories are an extraordinary
journey through time, and are significant to the human narrative in
as many ways as they boast sparkling facets. Selecting ten of
nature's most dazzling jewels, Helen Molesworth makes journeys
across the world to trace stones from their discovery to the moment
a glimmering cut and polished masterpiece is traded, and then
fought over, adorns emperors and kings, falls out of favour, and
then raises eye-watering sums in another age. Touching on history
and politics, archaeology and engineering, geography and geology,
chemistry and physics, psychology and romance, fine art and high
finance, her book is rich with great stories and has something for
everyone.
A skillful and fascinating retelling of the often testy
relationship between J. P. Morgan and Roger Fry, two men who did
more to establish the preeminence of the Metropolitan Museum of Art
than any collector and curator before or since. Shortly after the
turn of the twentieth century, the Metropolitan Museum of Art began
an ambitious program of collection building and physical expansion
that transformed it into one of the world's foremost museums, an
eminence that it has maintained ever since. Two men of singular
qualities and accomplishments played key roles in the Met's
transformation-J. P. Morgan, America's leading financier and a
prominent art collector, and Roger Fry, the headstrong English
expert in art history who served as the Met's curator of painting.
Their complicated, often contentious relationship embodies and
illuminates the myriad tensions between commerce and art,
philanthropists and professional staff, that a great museum must
negotiate to define and fulfill its mission. In this masterful,
multidisciplinary narrative, Charles Molesworth offers the first
in-depth look at how Morgan and Fry helped to mold the cultural
legacy of masterpieces of painting and the development of the
"encyclopedic" museum. Structuring the book as a joint biography,
Molesworth describes how Morgan used his vast wealth to bring
European art to an American citizenry, while Fry brought high
standards of art history from the world of connoisseurs to a
general public. Their clashes over the purpose and functions of the
Met, which ultimately led to Fry's ouster, reveal the
forces-personal and societal-that helped to shape the Metropolitan
Museum and other major American cultural institutions during the
twentieth century.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
Unlike some other reproductions of classic texts (1) We have not
used OCR(Optical Character Recognition), as this leads to bad
quality books with introduced typos. (2) In books where there are
images such as portraits, maps, sketches etc We have endeavoured to
keep the quality of these images, so they represent accurately the
original artefact. Although occasionally there may be certain
imperfections with these old texts, we feel they deserve to be made
available for future generations to enjoy.
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