Gotowe bibliografie tematyczne / Salting Collection (London, England)

Gotowa bibliografia na temat „Salting Collection (London, England)”

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Data publikacji: 25 lipca 2024
Data aktualizacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Salting Collection (London, England)"

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Miller, C. Giles, i Ronald L. Austin. "Conodont collections formerly housed at the University of Southampton, U.K." Journal of Paleontology 70, nr 3 (maj 1996): 535. http://dx.doi.org/10.1017/s002233600003849x.

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In 1994 an extensive collection of mainly Carboniferous conodonts was transferred from the Department of Geology, University of Southampton, England, to The Natural History Museum, London, on the retirement of R. L. Austin. The collection consists of approximately 2,000 slides of type/figured specimens and picked residue slides, which complement material previously deposited at The Natural History Museum, London. The following is a very brief resumé of figured material in the collection.
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David, A. Rosalie. "William Flinders Petrie and the Egyptology Collection at the Manchester Museum, England". Buried History: The Journal of the Australian Institute of Archaeology 39 (1.01.2004): 3–10. http://dx.doi.org/10.62614/37rr6c84.

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Sir William Flinders Petrie (the grandson of Captain Matthew Flinders who explored the coast of Australia between 1797 and 1803) had a brilliant career as an archaeologist that spanned five decades, and his contribution to the subject in developing scientific methodologies for excavation is unparallelled. Initially, it was Amelia B. Edwards, a founder of The Egypt Exploration Fund in London, who recognised Petrie’s genius, and ensured that he was recruited as one of the Fund’s first archaeologists. However, disagreements with the Committee led to a parting of the ways, and in 1886, he had no excavations in view and his career faced premature extinction. Amelia Edwards then introduced Petrie to Jesse Haworth, a textile manufacturer with an interest in Egyptology who lived in Manchester, England. He took up the support of Petrie’s work and, for many years, he financed his excavations. Finds from these sites came to form the basis of two major collections: at The Petrie Museum, University College London, and at The Manchester Museum, University of Manchester. The recent establishment of the endowed KNH Centre and Chair for Biomedical Egyptology at the University of Manchester has fulfilled Jesse Haworth’s hope that the university would establish a professorship in Egyptology.
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Cosgrove, John W., Tom O. Morgan i Richard Ghail. "The deformation history of southern England, and its implications for ground engineering in the London Basin". Quarterly Journal of Engineering Geology and Hydrogeology 55, nr 2 (6.10.2021): qjegh2020–144. http://dx.doi.org/10.1144/qjegh2020-144.

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Structures in the basement beneath the London Basin affect the geology of relevance to geotechnical engineering within London. Unfortunately, the basement beneath London is covered by Cretaceous and Tertiary sediments. It is cut by major faults linked to the compressive phases of the Hercynian and Alpine orogenies and to the regional extension that occurred during the Mesozoic between these compressive events. Evidence is presented that movement on basement fractures beneath London played a major role in the distribution and deformation of sediments within the Basin, causing local folding and faulting significant to engineering works. Basement rocks are exposed in SW England, where the type and orientation of these fractures (faults and joints) can be examined in outcrop. This study, complemented by seismic sections in the southern UK, allows the architecture of this fault network within the basement to be determined. Understanding the fracture system in the basement provides a basis for (1) interpreting the lateral facies variations of sediments in the Basin and hence provides a means for predicting from a ground investigation the likely presence, activity or influence on site of such structures at depth and (2) understanding the extent of local, steeply inclined and subhorizontal planar zones of shearing when encountered on site.Thematic collection: This article is part of the Geology of London and its implications for ground engineering collection available at: https://www.lyellcollection.org/cc/london-basin
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Rudolf, Winfried. "The Homiliary of Angers in tenth-century England". Anglo-Saxon England 39 (grudzień 2010): 163–92. http://dx.doi.org/10.1017/s0263675110000098.

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AbstractLatin manuscripts used for preaching the Anglo-Saxon laity in the tenth century survive in relatively rare numbers. This paper contributes a new text to the known preaching resources from that century in identifying the Homiliary of Angers as the text preserved on the flyleaves of London, British Library, MS Sloane 280. While these fragments, made in Kent and edited here for the first time, cast new light on the importance of this plain and unadorned Latin collection for the composition of Old English temporale homilies before Ælfric, they also represent the oldest surviving manuscript evidence of the text.
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FIELD, JACOB F. "Charitable giving and its distribution to Londoners after the Great Fire, 1666–1676". Urban History 38, nr 1 (5.04.2011): 3–23. http://dx.doi.org/10.1017/s0963926811000010.

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ABSTRACT:Major fires are essential case-studies of how urban society responds to crisis. How a city organizes its relief reflects its place in larger networks and reveals its charitable priorities. This article will use the example of the Great Fire of London (1666) to show how the city recovered from this catastrophe. It will examine the recovery using the records of a nationwide charitable collection taken for Londoners ‘distressed’ by the Fire, which shows both how and where money was collected in England and spent in London. It will show that London was extremely resilient to the Fire, and that there was significant continuity before and after the disaster.
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Martin, Cheryl. "The Music Collection of Thomas Baker of Farnham, Surrey". Royal Musical Association Research Chronicle 44 (2013): 19–54. http://dx.doi.org/10.1080/14723808.2012.730316.

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Thomas Baker's music collection is part of the special collections of the Music Library at Western University, Ontario. Thomas Baker (1719/20–94) lived mainly in Farnham, southwest of London, England, in the County of Surrey. His music collection remained largely intact, which is unusual for the library of an eighteenth-century man who lived in a small town in rural England. The collection at Western consists of 90 separate pieces of music, collections of music, and books of music theory, plus six manuscripts; an inventory of the collection illustrates the variety of musical forms that he collected. His purchase of an organ leads us to conclude that he played the organ and possibly other keyboard instruments; about 25% of his collection is for keyboard. However, he was also interested in a variety of other musical forms, either as a performer or as a collector. From the surviving information, we can create a basic portrait of Baker and his music collection, even if we can draw no definite conclusions about how it was used or if he was merely a collector, or also a performer or an organizer of concerts.
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Kneepkens, C. H. "The Collection of Grammatical Sophismata in ms London, bl, Burney 330. An Exploratory Study". Vivarium 53, nr 2-4 (16.09.2015): 294–321. http://dx.doi.org/10.1163/15685349-12341301.

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Manuscript London, British Library, Burney 330 contains an anonymous collection of grammatical sophisms, dating in all probability from early 13th-century France or England, and all based on problematic biblical, liturgical or religious propositions. After a presentation of the manuscript and collection, this article examines two analysis tools that are applied in the majority of the sophisms, viz. a distinction between three layers of grammatico-semantic perfection or completeness, and the grammatical and semantic supposition doctrines. It appears that these sophisms pay prominent attention to improper or figurative supposition, but are not intended for highly advanced readers. These preliminary results suggest that the Burney Sophismata Collection constituted an exercise tool to support textbook-based instruction in theological grammar, which was developed by such masters as Peter the Chanter and William de Montibus in the late 12th and early 13th centuries.
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Gibbons, Patti. "Freda Matassa. Museum Collections Management: A Handbook. London: Facet Publishing, 2011. 258p. ISBN 978-1-85604-701-2. $110." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 13, nr 1 (1.03.2012): 66–69. http://dx.doi.org/10.5860/rbm.13.1.371.

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Writing from the United Kingdom, Freda Matassa prepared her textbook Museum Collections Management: A Handbook as a text for museum professionals and students in British classrooms, yet the clearly laid out information is equally relevant to a range of different types of cultural heritage institutions outside England. In the first part of her book, Matassa covers big-picture issues and defines the scope of collection management, before introducing day-to-day collection management activities in the second part of the text. Her treatment covers the full scope of collection management including registrarial responsibilities as well as physical collection care duties.As a central . . .
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WILLIAMS, D. J. "E.E. Green’s collection of scale insects (Hemiptera: Sternorrhyncha: Coccomorpha) in The Natural History Museum, London, U.K." Zootaxa 4318, nr 2 (7.09.2017): 201. http://dx.doi.org/10.11646/zootaxa.4318.2.1.

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In 1940, E.E. Green’s collection of scale insects, consisting of 6505 microscope slides and 2172 boxes of dry material, was donated to the The Natural History Museum, London, U.K. (then the British Museum (Natural History)). Green was a tea and coffee planter in Sri Lanka, and later became Government Agricultural Entomologist there before retiring to England in 1913. He continued to work on scale insects and became one of the foremost scale insect specialists at the time. His collection includes most of the species he described as new, but is also important because it contains authentic material sent to Green by other contemporary workers on scale insects. The collection is listed as it was when originally donated, firstly giving the names of species that Green recognised at the time, followed by the number of microscope slides, followed by numbers of developmental stages in the material; lastly is provided the current name of each species. The list is divided into the 31 extant families represented in Green’s collection.
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Greaves, Richard L. "Revolutionary Ideology in Stuart England: The Essays of Christopher Hill". Church History 56, nr 1 (marzec 1987): 93–101. http://dx.doi.org/10.2307/3165306.

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With the possible exception of Sir Geoffrey Elton and Lawrence Stone, no present historian of Tudor and Stuart England has been more prolific or controversial than Christopher Hill, the former master of Balliol College, Oxford. The twenty-nine articles, lectures, and book reviews included in the first two volumes of his Collected Essays deal with many of the themes developed in his more recent books, beginning with The World Turned Upside Down: Radical Ideas During the English Revolution (London, 1972). Although two of the pieces appeared as early as the 1950s, Hill has revised the essays for this collection, so that the total corpus reflects his mature judgment.
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Książki na temat "Salting Collection (London, England)"

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Harrison, Ian. The Times picture collection: London. London: Times Books, 2004.

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Harrison, Ian. The Times picture collection: London. London: Times Books, 2001.

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Harrison, Ian. The Times picture collection: London. St Helens: Ted Smart, 2001.

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Rea, Lisa. The Wallace Collection-London: Private collection and public museum. (s.l: The Author), 2003.

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Stock, Exchange (London England). [Collection of pamphlets]. London: Stock Exchange, 1987.

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Harrison, Ian. The Times picture collection. London: Times Books, 2003.

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Ingamells, John. The Wallace Collection. London: Scala, 1994.

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England), Wallace Collection (London, red. The Wallace Collection guide. London: The Trustees of the Wallace Collection, 1992.

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Vogtherr, Christoph Martin. Wallace Collection: Director's choice. London: Scala Books, 2012.

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Hedley, Jo. Van Dyck at the Wallace Collection. [London, England]: Wallace Collection, 1999.

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Części książek na temat "Salting Collection (London, England)"

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Botelho, Lynn, i Susannah R. Ottaway. "Mr Addison [pseud.], ‘Old Age' and ‘On Youth', in A Collection of Interesting Anecdotes, Memoirs, Allegories, Essays, and Poetical Fragments: Tending to Amuse the Fancy, and Inculcate Morality (London: for the author, 1793), pp. 401–2, 462–3." W The History of Old Age in England, 1600-1800, Part I Vol 2, 45–46. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003552673-6.

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Botelho, Lynn, i Susannah R. Ottaway. "'An Epitaph on Bona Fide, Here Lies an Old Man of Seventy-Seven', in Pills to Purge State-Melancholy: Part the Second. Being a Collection of Excellent New Ballads (London: J. Graves and W. Graves, 1718), pp. 81–2." W The History of Old Age in England, 1600-1800, Part I Vol 2, 59. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003552673-9.

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Coltman, Viccy. "‘The loving labours of a learned German’: Adolf Michaelis and the historiography of classical sculpture in Britain". W Classical Sculpture and the Culture of Collecting in Britain Since 1760, 7–48. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199551262.003.0002.

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Abstract In a letter of 20 September 1877, Adolf Michaelis, Professor of Classical Archaeology at the new Kaiser-Wilhelm-Universitaät in Strasbourg, wrote from the London home of George Scharf, Director of the National Portrait Gallery, to the Right Honourable W. Cowper Temple at Broadlands in Hamp-shire: ‘beg[ging] your pardon for having delayed so longtime the returning the Memorandum [figure 3] and sending my slight Notes on your Collection [figure 4]’. The German academic had compiled these notes during his third research visit to England, undertaking exhaustive, first-hand, study for a forthcoming publication devoted to ancient sculptures in English private collections. Michaelis explained all this in a letter dated 25 August 1877 to the 5th Marquis of Lansdowne, whose ‘matchless collection’ of ancient sculptures at Lansdowne House in Berkeley Square, London he had previously examined during his second visit to Britain in 1873 and to which he wished to gain access again ‘to make notes upon the marbles, in order to give a fuller account of them’.
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Dalivalle, Margaret, Martin Kemp i Robert B. Simon. "‘A Pitiable Sight’". W Leonardo's Salvator Mundi and the Collecting of Leonardo in the Stuart Courts, 217–29. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813835.003.0012.

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Chapter 11 considers access to Leonardo’s Salvator Mundi in England c. 1630–50. It proposes that the painting was inaccessible in the queen’s private apartments in the 1630s, which accounts for its invisibility in surviving documentation and its escape of campaigns of iconoclasm focused on royal chapels during the civil wars of the 1640s. It proposes the painting first came into public view in 1649, when it was put on display at the Commonwealth Sale. This is attested by lists prepared for foreign buyers by agents in London. The chapter expands to include works attributed to Leonardo from the collection of Charles I, in the hands of French and Flemish dealers in the 1650s.
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Grapes, K. Dawn. "“Frozen in a colde and forreine country”". W Dowland, 151–60. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197558881.003.0012.

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Abstract During the second half of his time serving Christian IV in Denmark, Dowland was in contact with English agent Stephen Lesieur, who worked for Robert Cecil to improve shipping disputes between England and Denmark. One primary source document, a letter from Lesieur to Dowland, housed in Copenhagen’s Royal Library (NKS1305, 2o, læg 5), requests assistance from the musician, prompting questions as to Dowland’s loyalties to the Danish court versus his home country. During this time Dowland also traveled back to England to oversee publication of his consort collection Lachrimae and to cement English aristocratic connections. The timeline coincides with the death of Elizabeth I, and in 1603, Dowland met with the new King James I’s wife, Anna of Denmark, to whom his 1604 Lachrimae is dedicated. This chapter examines Dowland’s connections with Lesieur, his travels back to London, and his reputation in England throughout his Danish tenure, as recorded in contemporaneous literature by authors such as Frances Meres, Joshua Sylvester, and Richard Barnfield, and concludes with information on the musician’s final months in Denmark.
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Gehring, David Scott. "A Busy Man". W A European Elizabethan, 123–62. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198902942.003.0006.

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Abstract This chapter considers the years 1578 to 1585, when Beale’s professional responsibilities expanded considerably in the wake of his diplomatic service. Additionally, his family continued to grow. Still a Member of Parliament, with a much greater workload, including periods during which he acted as principal secretary, Beale’s health began to suffer, and fatigue started to set in. His collection of papers and his personal library of printed books continued to expand. Recognized as a specialist on German, French, Dutch, and Scottish affairs, Beale also became interested in the situation in Ireland, producing a treatise for Christopher Hatton. Additional domestic concerns included Mary Queen of Scots, whom Beale visited on many occasions at Sheffield, and the state of religion in England, including Puritanism, which led him into conflict with the bishop of London, John Aylmer and the archbishop of Canterbury, John Whitgift.
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Mercer-Taylor, Peter. "An Immigrant’s Musical Memoir". W Gems of Exquisite Beauty, 68–95. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190842796.003.0003.

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This chapter centers on the 1819 Original Collection compiled by Arthur Clifton, an English musician who had emigrated to Baltimore in 1817 (changing his name, from Antony Corri, in the process). Though not a commercial success, this pathbreaking volume was the first American publication to present a substantial body of material drawn from European classical music in psalmodic form, containing 21 psalm and hymn tunes culled variously from the work of Gluck, Haydn, Mozart, and Beethoven. Such adaptations had been enjoying a modest vogue in England since around the turn of the century, but only half a dozen or so had appeared in the United States. Clifton relied on existing London publications for inspiration—many of the European melodies he includes had already been adapted by English compilers. But he returns to the classical music sources themselves in almost every case, developing his own meticulously crafted body of adaptations.
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Polasky, Janet. "Aristocratic Émigrés and Luxurious Temptations in Hamburg and Altona". W Asylum between Nations, 20–38. Yale University Press, 2023. http://dx.doi.org/10.12987/yale/9780300256567.003.0002.

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This chapter focuses on the first refugees to arrive in Altona and Hamburg, on either side of the Danish–German border: Aristocrats fleeing revolutionary France in 1792. It assesses how the assault on the Bastille in July 1789, the French declaration of war against Austria in April 1792, the fall of the monarchy later that year, and the Terror of 1793–94 convinced first royalists and then moderate republicans to leave revolutionary France. The chapter highlights that emigrant left France for the relative safety offered by England, the Netherlands, Germany, Russia, Switzerland, and the United States in what has been called the first mass migration in modern history. It analyzes how the colorful collection of literary émigrés in London and of counterrevolutionary troops drilling in the shadow of the massive fortress in Koblenz provide the standard pictures of eighteenth-century asylum. The chapter explores how Britain served as the undisputed anchor for revolutionary emigrants. For decades, aristocrats had moved freely around Europe. It considers the two definitions of cosmopolitanism, embodied by the well-traveled émigrés and the free-trading entrepreneurial neutrality.
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Boswell, James. "An Account Of Corsica". W James Boswell, 3–142. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195165838.003.0001.

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Abstract Frontispiece: the portrait Henry Benbridge (1743-1812), American, was in Italy 1764-69; from there, between June and August 1768, he went to Corsica to paint Paoli; he came to London in December 1769 and returned permanently to America in 1770 (Gen. Corr. ii. 73-74 nn. 3, 4). Sir John Dick, then at Leghorn (see p. 11 n. 11) was the link-man; it was he who, c. 30 June 1768, forwarded JB’s letter to Paoli (presumably requesting that the portrait be undertaken) and had the portrait in his possession in August 1768 (Ibid, ii. 73, 97). The painting was exhibited in London, c. 12-24 May 1769 (Ibid, ii. 139 n. 6); the engraving was added to Corsica in the 3rd edn. title-page Non enim ... A. D. 1320 ‘Truly it is not on account of glory, or wealth or honour that we are fighting, but solely for that freedom which a virtuous man will sacrifice only with his life,’ Litera Comitum et Baronum Scotiae ad Papam (1320). Often referred to as the ‘Declaration of Arbroath,’ this letter from the Scottish nobility to the Pope asserted the independence of Scotland and rejected the domination of England. title-page Edward and Charles Dilly Edward (1732-79) and Charles (1739-1807), London booksellers and publishers. On 28 July 1767, Edward Dilly accepted JB’s proposal that Corsica should be published; he agreed to pay JB 100 guineas for the copyright; and, as his letters show, he took a keen, personal interest in the book. He contributed to British Essays in Favour of the Brave Corsicans (1769), a collection published by the two brothers. The first edition of Corsica was printed in Glasgow by the renowned Robert (1707-76) and Andrew (1712-75) Foulis (Gen. Corr. i. 187).
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Grande, James. "‘Innovation and Irregularity’: Religion, Poetry and Song in the 1820s". W Remediating the 1820s, 187–205. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474493277.003.0015.

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The 1820s was simultaneously an ‘age of doubt’ (as David Stewart has recently argued) and a period of fervent faith, a tension expressed in the relationship between poetry and song. In histories of music and religion in Britain, 1820 has been seen to mark the final acceptance of congregational hymn-singing by the Church of England, after a court case brought against Thomas Cotterill, a Sheffield curate, who had published a ‘Selection of Psalms and Hymns’ with the poet James Montgomery. The same year, another provincial clergyman, Reginald Heber, wrote to the bishop of London from his Shropshire parish, seeking approval for his own collection of hymns, which would eventually be published after Heber’s appointment as Bishop of Calcutta and death in India in 1826. I situate these collections of religious song alongside both the keepsakes and annuals of the 1820s and the new popularity of devotional poetry evident in the success of John Keble’s The Christian Year (1827). The chapter concludes with a reading of Wordsworth’s late ode ‘On the Power of Sound’ (1828-9) as a response to the elevated status of religious song in the 1820s.
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