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This volume consists primarily of a descriptive catalogue of the threealbums which Pepys entitled My Collection of Heads in Taille-Douce& Drawings...' (2978-2980), put together, according to the title-page, in 1700, three years before he died. To this has been added a catalogue of the much larger number of portraits to be found elsewhere in the Library, principally in the printed books. For convenience of reference this stray material has been conflated with the subject index of the albums. In this way all portraits in the Library are catalogued without obscuring the principles on which the albums were designed.ERIC CHAMBERLAIN was formerly keeper of prints at the Fitzwilliam Museum, Cambridge.
Continuing work on Pepys's library, and recent discoveries, necessitate expansion of the content and entries in the original volumes. This is the first in the Supplementary Series. Pepys's library has been, as he directed, preserved intact at his old Cambridge college since 1724. Between 1978 and 1994 a complete catalogue was published for the first time. The present title, essential to all users of the first volume in that series, N.A. Smith's Printed Books, vastly enhances the range of information available. The short-title arrangement of Printed Books is replaced by a numerical listing which follows the library's shelf-order; many entries have been extended, and where possible updated with reference to new scholarship; the location of MSS and other material treated elsewhere in the catalogue is also indicated, providing for the first time a published conspectus of the whole library. Extensive indexes have been provided for authors and ancillary contributors, subjects, printers and places of publication, and references which reflect Pepys himself and his bibliophilism.Concordances identify the Pepys books covered by STC, Wing, ESTC and other bibliographies. Dr CHARLES KNIGHTON gained his Ph D from Magdalene College, Cambridge.
Samuel Pepys is as much a paragon of literature as Chaucer and Shakespeare. His Diary is one of the principal sources for many aspects of the history of its period. In spite of its significance, all previous editions were inadequately edited and suffered from a number of omissions—until Robert Latham and William Matthews went back to the 300-year-old original manuscript and deciphered each passage and phrase, no matter how obscure or indiscreet. The Diary deals with some of the most dramatic events in English history. Pepys witnessed the London Fire, the Great Plague, the Restoration of Charles II, and the Dutch Wars. He was a patron of the arts, having himself composed many delightful songs and participated in the artistic life of London. His flair for gossip and detail reveals a portrait of the times that rivals the most swashbuckling and romantic historical novels. In none of the earlier versions was there a reliable, full text, with commentary and notation with any claim to completeness. This edition, first published in 1970, is the first in which the entire diary is printed with systematic comment. This is the only complete edition available; it is as close to Pepys’s original as possible.
Samuel Pepys is as much a paragon of literature as Chaucer and Shakespeare. His Diary is one of the principal sources for many aspects of the history of its period. In spite of its significance, all previous editions were inadequately edited and suffered from a number of omissions--until Robert Latham and William Matthews went back to the 300-year-old original manuscript and deciphered each passage and phrase, no matter how obscure or indiscreet. The Diary deals with some of the most dramatic events in English history. Pepys witnessed the London Fire, the Great Plague, the Restoration of Charles II, and the Dutch Wars. He was a patron of the arts, having himself composed many delightful songs and participated in the artistic life of London. His flair for gossip and detail reveals a portrait of the times that rivals the most swashbuckling and romantic historical novels. In none of the earlier versions was there a reliable, full text, with commentary and notation with any claim to completeness. This edition, first published in 1970, is the first in which the entire diary is printed with systematic comment. This is the only complete edition available; it is as close to Pepys’s original as possible.
Here for the first time complete in print is the famous pictorial survey of Henry VIII's navy compiled in 1546 by Anthony Anthony, a clerk in the ordnance office. Originally comprising three rolls of vellum, the MS features paintings of each of the king's 58 ships, below which are set details of their guns, shot, and related equipment. Two of the original rolls were allegedly given by Charles II to Samuel Pepys, who had them cut to form a volume which is one of the treasures of his library, now at Magdalene College, Cambridge. The other roll remains in the British Library. Several of the illustrations have become familiar, especially that of the Mary Rose, herself already a wreck when Anthony presented his work to the king. The present edition re-assembles the three parts of the Anthony Roll, allowing the document to be seen in its original sequence for the first time in over 300 years. The fleet which Henry VIII created is revealed as the king saw it in the last year of his life. Because of the unusual format of the MS, a complete facsimile is not presented here. Anthony's paintings at Magdalene and in the British Library are reproduced in full colour from newly commissioned photographs. Adjacent to each ship illustration is the relevant text, given in its original spelling. In the Introduction Anthony's personal and professional career is set out for the first time, and the subsequent history of his MS is revealed as a subject of interest in its own right. In order to explore the many facets of this remarkable document, a work of art as well as an administrative record, the Introduction includes essays by experts in the field of ordnance, art history, heraldry and fabric, and on the oared vessels which were so distinctive a feature of the navy of the time. Marine archaeologists from the Mary Rose Trust examine the accuracy of Anthony's representation and inventory of the Mary Rose in the light of the excavation of the ship. In the second part of this