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Gems of Exquisite Beauty
In the antebellum period, most Americans first encountered European classical music through hundreds of hymn tunes that tapped into classical melodies. This book is the first in-depth study of the rise and fall of these popular, but largely overlooked, adaptations and their place in nineteenth-century American musical life.
Catalogue of Engraved Gems of the Classical Style
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Catalogue of Engraved Gems of the Classical Style (Classic Reprint)
Excerpt from Catalogue of Engraved Gems of the Classical Style The King Collection was formed by the Rev. C. W. King of Trinity College, Cambridge, England, between the years 1845 and 1877. It was subsequently sold by him to john Taylor Johnston, who generously presented it to our Museum in 1881. The majority of these gems date from the later periods, though several fine early ex amples are included, such as the eight-sided cone with Hermes (no. The agate with the galloping Centaur (no. And the carnelian with the child caressing a hound (no. Among the Hellenistic and Graeco Roman gems the most important are, perhaps, the bust of Serapis (no. The portrait of Junius Brutus (no. The pantheistic...
Classical Gems
This is a comprehensive, lavishly illustrated catalogue of the magnificent collection of over a thousand engraved gems in the Fitzwilliam Museum, Cambridge. It also provides a history of engraved gems from c. 1000 BC to the nineteenth century AD. Gems cut in intaglio were used mainly as signets for sealing documents, and were valued from remote antiquity for their artistry. The Fitzwilliam Museum contains work by the greatest of the Classical Greek engravers, Dexamenos, and by the master signet-cutter of the Augustan age, Dioskourides, who provided Augustus's own seal. The collection as a whole is very wide ranging, with a large holding of Sassanian gems and others from north-west India.
Gem Mounts and the Classical Tradition
This volume is intended to supply some supplementary information about the gems and cameos published in A Collection of Classical and Eastern Intaglios, Rings and Cameos, published in 2003 as BAR S1136 These had been chosen from a large private collection formed mainly in Italy from about 1921 into the 1960s. It comprised ancient gems but there was a number of post-antique, and part of this publication is devoted to further consideration of some of them, as well as of some comparable examples in the collection not included before, and especially to their later, most distinctive mounts, a feature not always much remarked or explored in publications of ancient gems in later settings. Those on ...
Classical Gems
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The Engraved Gems of Classical Times
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
