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Gold and silver were the mainstays of our financial system and were obvious materials for personal adornment, symbolising status and wealth. The methods which were used to turn the base metals into wire and thread for the ornamenting of clothes became the trade secrets of a medieval craft guild. The book highlights the connections with the trade, and of the trade itself. Among the historical details, there is an interesting account of the intrigues by which the 17th-century industry obtained from the Crown protection against competition from cheap imitations.
Includes monthly "Abstracts of recent literature relating to non-ferrous and ferrous metals."
In 1612, Shakespeare gave evidence in a court case at Westminster-and it is the only occasion on which his actual spoken words were recorded. In The Lodger Shakespeare, Charles Nicholl applies a powerful biographical magnifying glass to this fascinating but little-known episode in the Bard's life. Drawing on evidence from a wide variety of sources, Nicholl creates a compellingly detailed account of the circumstances in which Shakespeare lived and worked amid the bustle of early seventeenth-century London. This elegant, often unexpected exploration presents a new and original look at Shakespeare as he was writing such masterpieces as Othello, Measure for Measure, and King Lear.
Abstract This study describes an antique watercolor box from Reeves with 24 colors in cakes, dating around 1800. A second box from T. Reeves & Son dating between 1790-1799 is added and described. A concise chronological overview shows which family members of the Reeves’ family and their associates lead the firm during the Regency period. Old city maps of London indicate the various shop locations and a brief look is taken at early 18th century shops of color men and the production of watercolor paint in cakes. The dating of the watercolor box and its contents raise a number of questions. To position the box with contents in the correct period, an overview of available trade cards is consulted. Stamps on cakes are linked to the various family members, who led the Reeves firm in the Regency period.Based on the contents of comparable watercolor boxes relationships are established with user groups, quality criteria of the paint and color theories in the 17th and 18th century. An attempt has been made the 17th and 18th century color theories, in which light refraction, the distinguishing of colors and physical laws are important, to connect with pigments, tinctures, and mixing paint colors to make visual art works possible. Overviews of pigments and paint tincture by a number of authoritative authors in the 17th and 18th centuries are highlighted. The hidden selection rules of the colors and their conscious positioning in the box are discussed. Instructional illustrated is the visually completing of the missing paint cakes. Also included are some overviews of the selection of watercolor paint cakes in comparable boxes. The restored boxes and their contents are illustrated in a number of images. Finally, each of the 24 color cakes in the box of 1799-1800 is treated by their description in the 18th century literature. An extensive overview, with mainly 17th and 18th century sources on pigments, dyes, paint preparation, color theories, etc., is affixed. Added are contemporary authors who have written about the Reeves firm. Finally, nine attachments are available about a scheme of painting substances by Robert Dossie, the management structure of the Reeves firm till the 20th century, a pricelist of Robert Ackermann's paints in 1818, a text fragment in Ackermann’s Repository of Arts (1813), a reconstructed advertisment text in the Derby Mercury of April 10, 1794, a recepy for a binding mixture to make watercolor cakes, an article about an other way of making watercolor cakes of dough, text from W.T. Whitley about ‘Artists and their Friends in England’ during the Regency period and a list of authorities in the 18th-century literature on colors in the form of tinctures, based on natural resources and natural solvents and binders. (Last update August 15, 2023)
This study examines the darker side of England's culture of economic improvement between 1640 and 1720. It is often suggested that England in this period grew strikingly confident of its prospect for unlimited growth. Indeed, merchants, inventors, and others promised to achieve immense profit and abundance. Such flowery promises were then, as now, prone to perversion, however. This volume is concerned with the taming of incipient capitalism — how a society in the past responded when promises of wealth creation went badly wrong. It reveals a history of numerous visible hands taming incipient capitalism, a story that Adam Smith and his admirers have long set aside. The notion of 'projecting' played a key role in this process. Thriving theatre, literature, and popular culture in the age of Ben Jonson began elaborating on predominantly negative images of entrepreneurs or 'projectors' as people who pursued Crown's and their own profits at the public's expense. This study examines how the ensuing public distrust came to shape the negotiation in the subsequent decades over the nature of embryonic capitalism. The result is a set of fascinating discoveries. By scrutinising greedy 'projectors', the incipient public sphere helped reorient the practices and priorities of entrepreneurs and statesmen away from the most damaging of rent-seeking behaviours. Far from being a recent response to mainstream capitalism, ideas about socially responsible business have long shaped the pursuit of wealth, power, and profit. Taming Capitalism before its Triumph unravels the rich history of broken promises of public service and ensuing public suspicion — a story that throws fresh light on England's 'transition to capitalism', especially the emergence of consumer society and the financial revolution towards the end of the seventeenth century.