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This little book contains an alphabetical list of world famous watch and clock makers. Each entry signifies the period when the person referred to was connected with the Clockmaker's Company, or known to be in business, or when some example of their work was made. Following the names and addresses of some makers is a description of their work which has been met with, or of some invention or distinguishing trait.
The dictionary is preceded by an introduction on timekeeping and the history of clock- and watchmaking in Bedfordshire. Extracts are included from a selection of documents to illustrate the sources used in compiling the dictionary. They range over advertisements, Bedfordshire Quarter Sessions' records, bills and customers' financial accounts, churchwardens' accounts, clubs, insurance records and settlement examinations. The biographical dictionary provides family details, apprenticeships, places of work and examples of the person's work, amongst much other information. Here will be found information about Thomas Tompion from Northill 'widely regarded as the greatest English clockmaker'. Appendices list the places of work in Bedfordshire and neighbouring counties of clock- and watchmakers (with a map) and of apprentices to the trade 1631-1881.
Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.
Edward J. Gillin explores the extraordinary role of scientific knowledge in the building of the Houses of Parliament in Victorian Britain.