Charles Fellows Correspondence, 1820-1879 (Bulk 1839-1852)
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Hoock Empires Bibliography
Holger Hoock, Empires of the Imagination: Politics, War, and the Arts in the British World, 1750-1850 (London: Profile Books, 2010). ISBN 978 1 86197. Bibliography For reasons of space, a bibliography could not be included in the book. This bibliography is divided into two main parts: I. Archives consulted (1) for a range of chapters, and (2) for particular chapters. [pp. 2-8] II. Printed primary and secondary materials cited in the endnotes. This section is structured according to the chapter plan of Empires of the Imagination, the better to provide guidance to further reading in specific areas. To minimise repetition, I have integrated the bibliographies of chapters within each sections (see the breakdown below, p. 9) [pp. 9-55]. Holger Hoock, Empires of the Imagination (London, 2010). Bibliography © Copyright Holger Hoock 2009. I. ARCHIVES 1. Archives Consulted for a Range of Chapters a. State Papers The National Archives, Kew [TNA]. Series that have been consulted extensively appear in ( ). ADM Admiralty (1; 7; 51; 53; 352) CO Colonial Office (5; 318-19) FO Foreign Office (24; 78; 91; 366; 371; 566/449) HO Home Office (5; 44) LC Lord Chamberlain (1; 2; 5) PC Privy Council T Treasury (1; 27; 29) WORK Office of Works (3; 4; 6; 19; 21; 24; 36; 38; 40-41; 51) PRO 30/8 Pitt Correspondence PRO 61/54, 62, 83, 110, 151, 155 Royal Proclamations b. Art Institutions Royal Academy of Arts, London Council Minutes, vols. I-VIII (1768-1838) General Assembly Minutes, vols. I – IV (1768-1841) Royal Institute of British Architects, London COC Charles Robert Cockerell, correspondence, diaries and papers, 1806-62 MyFam Robert Mylne, correspondence, diaries, and papers, 1762-1810 Victoria & Albert Museum, National Art Library, London R.C. -
Greek Cities & Islands of Asia Minor
MASTER NEGATIVE NO. 93-81605- Y MICROFILMED 1 993 COLUMBIA UNIVERSITY LIBRARIES/NEW YORK / as part of the "Foundations of Western Civilization Preservation Project'' Funded by the NATIONAL ENDOWMENT FOR THE HUMANITIES Reproductions may not be made without permission from Columbia University Library COPYRIGHT STATEMENT The copyright law of the United States - Title 17, United photocopies or States Code - concerns the making of other reproductions of copyrighted material. and Under certain conditions specified in the law, libraries or other archives are authorized to furnish a photocopy the reproduction. One of these specified conditions is that for any photocopy or other reproduction is not to be "used purpose other than private study, scholarship, or for, or later uses, a research." If a user makes a request photocopy or reproduction for purposes in excess of fair infringement. use," that user may be liable for copyright a This institution reserves the right to refuse to accept fulfillment of the order copy order if, in its judgement, would involve violation of the copyright law. AUTHOR: VAUX, WILLIAM SANDYS WRIGHT TITLE: GREEK CITIES ISLANDS OF ASIA MINOR PLACE: LONDON DA TE: 1877 ' Master Negative # COLUMBIA UNIVERSITY LIBRARIES PRESERVATION DEPARTMENT BIBLIOGRAPHIC MTCROFORM TAR^FT Original Material as Filmed - Existing Bibliographic Record m^m i» 884.7 !! V46 Vaux, V7aiion Sandys Wright, 1818-1885. ' Ancient history from the monuments. Greek cities I i and islands of Asia Minor, by W. S. W. Vaux... ' ,' London, Society for promoting Christian knowledce." ! 1877. 188. p. plate illus. 17 cm. ^iH2n KJ Restrictions on Use: TECHNICAL MICROFORM DATA i? FILM SIZE: 3 S'^y^/"^ REDUCTION IMAGE RATIO: J^/ PLACEMENT: lA UA) iB . -
Archaeology Among the Ruins: Photography and Antiquity in Mid-Nineteenth-Century Levant
Podcast transcript Archaeology Among the Ruins: Photography and Antiquity in mid-nineteenth-century Levant The Queen's Gallery, Buckingham Palace Wednesday, 26 November 2014 Dr Amara Thornton, University College London Hello, this is a special Royal Collection Trust podcast on the extraordinary work of photographer Francis Bedford, who accompanied the Prince of Wales on his tour of the Middle East in 1862. In this podcast, Dr Amara Thornton from University College London gives a lecture written by Dr Debbie Challis on Bedford entitled ‘Archaeology Among the Ruins’ to an audience at the Queen’s Gallery, Buckingham Palace. Although Bedford’s work fits into a long Western tradition of picturing the Orient, during this period photography was becoming increasingly respected as a science. Dr Thornton will be exploring the effect photography had on the emerging science of archaeology. This is an enhanced podcast so make sure you look at the images when they appear on the screen of your device. [00:49] Dr Amara Thornton: Good afternoon everyone. It’s a pleasure to be here today. During the 19th century, what was understood by the Orient was basically defined by the geographical limits of the Ottoman Empire. British archaeological exploration took place in the Ottoman ruled lands around the Mediterranean. At the height of its power, from the 14th to the 17th centuries, the Ottoman Empire stretched from the edge of modern day Iran in the east across Turkey, Iraq, Lebanon, Syria, Egypt, Libya, Tunisia, Greece and the Balkan states, to Hungary in the west. By the 1860s, part of what is now Greece was independent after the War of Independence in 1829, but the Balkan territories were a part of the Ottoman lands until 1878 and ostensibly most of North Africa, including Egypt, <Footer addr ess> were supplicant states. -
INTRODUCTION and SOURCES the Lycians in the Classical and Post
CHAPTER ONE INTRODUCTION AND SOURCES The Lycians in the Classical and post-Classical tradition No territory of Anatolia, no autochthonous region of Asia Minor apart from the Troad, was so closely connected with Greece in mythology as Lycia. Its magnificent scenery, with mmmtains rising to heights of over 10,000 feet (3000 metres), with its lakes, woods and forests, its rocky coast indented with creeks and sprinkled with islands, its superb ruins of two dozen cities, could hardly reflect more splendidly, even today, the ancient link that held them together. 1 The Lycians are amongst the most enigmatic peoples of antiquity. There can be few nations of the ancient world of whom so much is spoken, yet so little fully understood. Few scholars of antiquity will not come across the Lycians at one point or another. In the nineteenth century, Lycia was seen primarily as part of the Greek world (hence the coins held by the British Museum are published as Greek coins,2 and the sculpture recovered from Xanthos is held by the Department of Greek and Roman Antiquities), though Sir Charles Fellows, who had come principally in search of Greek cities,3 already perceived the Lycians as a race apart.4 In more recent times, the Lycians have tended to be seen as a part of the Near East, and there often seems a perception amongst Greek historians that Lycian affairs were merely tangential to events in the Aegean.' In fact, the Lycians were an important part of both the Greek and the Near Eastern worlds, since they lived at the point where the two cultures intermingled, and at an important strategic juncture between east and west (pp. -
Coins of Ancient Lycia Before the Reign of Alexander. with an Essay on The
: COINS ANCIENT LYCIA BEFOEE THE REIGN OF ALEXANDER. AN ESSAY ON THE RELATIVE DATES OF THE LYCIAX MONUMENTS IN THE BRITISH MUSEUM. SIR CHARLES FELLOWS. LONDON JOHN MURRAY, ALBEMARLE STREET. 1855. COINS ANCIENT LYCIA BEFOEE THE EEIGN OF ALEXANDEE. 2014873 PLATE I. No. 1. Half boar pranciug to the left from a beaded band; shoulder iuscribcd KTB, beaded necklace. rev. quadratum incusum. ar. 153 grs. British Museum. No. 2. Boar's head to the left^ with beaded necklace. rev. quadratum incusum. ai\ 42 grs. My own Collection. No. 3. Half boar prancing to the left from wreath. rev. within a sunk square a four-pronged instrument, in- scribed TtXXEFtEBE ar. 134- 5 grs. Baron de Behr. No. 4. Half boar prancing to the left from beaded wreath, with neck- lace of beads. rev. within a sunk beaded square a four-pronged instrument, with a knotted rope through the centre, inscribed T^ *AF ar. 124 grs. British Museum. No. 5. Half boar prancing to the left from wreath. rev. within a sunk beaded square a four-pronged instrument, inscribed TtXXEFtEBE ar. 131-17 grs. Berlin Museum. No. 6. Griffin walkmg to the left with raised claw. rev. within a sunk beaded square a four-pronged instrument, inscribed '^XXEB'^F ar. 150 grs. Bank of England. No. 7. Human head, with tailed cap. rev. within a sunlc beaded square a four-pronged instrument, inscribed PV^Jc./ ar. 23*5 grs. British Museum. No. 8. Human head, with tailed cap. rev. Avithin a sunk beaded square a four-pronged instrument, inscribed PP^/ ar. -
Sir George Scharf As an Emerging Professional Within the Nineteenth-Century Museum World
A man of ‘unflagging zeal and industry’: Sir George Scharf as an emerging professional within the nineteenth-century museum world Elizabeth Heath Figure 1: Sir George Scharf, by Walter William Ouless, oil on canvas, 1885, NPG 985. © National Portrait Gallery, London Sir George Scharf was appointed first secretary of the newly established National Portrait Gallery early in 1857, becoming director in 1882 and retiring shortly before his death, in 1895 (fig. 1). Applied by the Gallery’s Board of Trustees when formally recording this event in their annual report, the phrase quoted in the title indicates the strength of Scharf’s commitment to his duties over the course of a career that spanned five decades.1 As custodian of the national portraits, Scharf’s remit encompassed every aspect of Gallery activity. Whilst he held responsibility for the display, interpretation and conservation of the collection in its earliest days, he also 1 Lionel Cust, 12 Sep. 1895, NPG Report of the Trustees 1895, 4, Heinz Archive and Library, NPG. Journal of Art Historiography Number 18 June 2018 Elizabeth Heath Sir George Scharf as an emerging professional within the nineteenth-century museum world devoted a significant amount of time to research into the portraits.2 To this end, Scharf oversaw the establishment of an on-site research library of engraved portraits, periodicals, books and documents. Coupled with his meticulous investigations into works in private and public collections across Britain, this served as a vital resource for authenticating potential portrait acquisitions. In recording what he saw by means of densely annotated sketches and tracings, Scharf developed a procedure for the documentation, identification and authentication of portraiture, which continues to inform the research practice of the Institution. -
The Sir George Scharf Sketchbooks 1. Introduction to the Database
The Sir George Scharf Sketchbooks 1. Introduction to the database by Philip Cottrell, University College Dublin 1.i. George Scharf Sir George Scharf (1820-1895) (fig. 1.i) was the London-born son of the Bavarian émigré artist and lithographer, George Johann Scharf (1788-1860). At the age of thirty-six, he became the first, long-established Director of the National Portrait Gallery, although initially his post was defined as ‘Secretary’ and he worked under the close direction of the Board of Trustees chaired by Philip Stanhope, 5th Earl Stanhope (1805-1875). Scharf accepted the appointment on 4 March 1857, before he had discharged his duties as Art Secretary at the Manchester Art Treasures Exhibition, a post he had secured the previous August. These positions put his professional and financial affairs on a much surer footing than had previously been the case. Until then he had pursued a varied career as an engraver, draughtsman, art tutor and lecturer, and general consulting art historian. During his 20s he had also specialised as an illustrator of ancient monuments, and in the company of Sir Charles Fellows (1799-1860) travelled extensively throughout Asia Minor, developing considerable expertise as a connoisseur and art expert.1 Fig. 1.i. Sir George Scharf by William Edward Kilburn. Daguerreotype, circa 1847, 78 mm x 59 mm. National Portrait Gallery, London (NPG P859). 1 Scharf’s role as Director was confirmed in 1882. For a recent detailed appraisal of Scharf’s career in the context of his role at the National Portrait Gallery see Heath, 2018. This draws on the same author’s PhD thesis, ‘Sir George Scharf and the early National Portrait Gallery: reconstructing an intellectual and professional artistic world, 1857-1895’, University of Sussex/ National Portrait Gallery, 2018. -
19. Yüzyıl Osmanlı Likyası'nda İngiliz Seyyahların Çingene, Yörük Ve Türkmen Göçerlere İlişkin Kayıtları: Sülükler, Hatalı Başlıklar Ve Tarihler Üzerine
cedrus.akdeniz.edu.tr CEDRUS Cedrus 463-530 The Journal of MCRI 722 V (2017) DOI: 10.13113/CEDRUS/201 19TH CENTURY OTTOMAN LYCIA, BRITISH TRAVELLERS’ RECORD OF THE CINGANS-ZINCANI, THE YUROOK-YOUROOKS AND TURCOMEN NOMADS: ON LEECHES ERRONEOUS TITLES AND DATES 19. YÜZYIL OSMANLI LİKYASI’NDA İNGİLİZ SEYYAHLARIN ÇİNGENE, YÖRÜK VE TÜRKMEN GÖÇERLERE İLİŞKİN KAYITLARI: SÜLÜKLER, HATALI BAŞLIKLAR VE TARİHLER ÜZERİNE * T.M.P. DUGGAN Abstract: 19th century British travellers to Lycia, largely Öz: Büyük oranda antik eserlere duydukları ilgi ile 19. drawn by an interest in the remains of antiquity also made yüzyılda Likya’ya gelen İngiliz seyyahlar, Likya’nın Yö- observations of the inhabitants, Yürük, Turcomen and rük, Türkmen ve Çingene-Roman nüfusuna ilişkin göz- gypsy-Roma populations of Lycia. Ottoman official rec- lemlerde de bulunmuşlardır. 19. yüzyıl Osmanlı resmi ord of the gypsy population in Lycia in the first half of the kayıtlarında çingene nüfusuna ilişkin veriler mevcut 19th century seems almost non-existant, but these travel- değildir. Ancak bu seyyahlar çingenelerin, 19. yüzyıl lers provide a reason for gypsy settlement in certain areas başlangıcında bu bölgenin belli bölgelerindeki yerleşim- of this region at the start of the 19th century - to enable the leri için makul bir sebep sunmaktadırlar: Osmanlı top- collection all year round of medicinal freshwater leeches, rakları için önemli bir ihracat emtiası olan tıbbi temiz su an important export from Ottoman territory. They rec- sülüklerinin yıl boyunca toplanması. Sülük toplayan çin- ord the gypsies collected the leeches, with a leech depot at genelere ve Rum ve İtalyan tüccarlar tarafından Smyrna- Xanthus in 1843-44, from where they were transported to İzmir’e taşındıkları 1843-44 yılına ait Ksantos’taki bir the port of Smyrna-Izmir by Greek and Italian merchants. -
Introduction
1 Introduction The English word “museum” comes from the Latin word, and is pluralized as “museums” (or rarely, “musea”). It is originally from the Ancient Greek (Mouseion), which denotes a place or temple dedicated to the Muses (the patron divinities in Greek mythology of the arts), and hence a building set apart for study and the arts, especially the Musaeum (institute) for philosophy and research atAlexandria by Ptolemy I Soter about 280 BCE. The first museum/library is considered to be the one of Plato in Athens. However, Pausanias gives another place called “Museum,” namely a small hill in Classical Athens opposite the Akropolis. The hill was called Mouseion after Mousaious, a man who used to sing on the hill and died there of old age and was subsequently buried there as well. The Louvre in Paris France. 2 Museum The Uffizi Gallery, the most visited museum in Italy and an important museum in the world. Viw toward thePalazzo Vecchio, in Florence. An example of a very small museum: A maritime museum located in the village of Bolungarvík, Vestfirðir, Iceland showing a 19th-century fishing base: typical boat of the period and associated industrial buildings. A museum is an institution that cares for (conserves) a collection of artifacts and other objects of artistic,cultural, historical, or scientific importance and some public museums makes them available for public viewing through exhibits that may be permanent or temporary. The State Historical Museum inMoscow. Introduction 3 Most large museums are located in major cities throughout the world and more local ones exist in smaller cities, towns and even the countryside. -
AMONG the Xanthian Monuments Brought Over
SAEAPIS STANDING ON A XANTHIAN MARBLE. 287 SARAPIS STANDING ON A XANTHIAN MARBLE IN THE BRITISH MUSEUM. [PLS. L VIII. AND E.] AMONG the Xanthian monuments brought over from Lycia under the direction of Sir Charles Fellows, in 1844, there is a square block of white marble, the only printed notice of which to my knowledge is to be found in the old 'Synopsis of the contents of the British Museum,' Lycian Saloon, no. 173 : ' Monument found in a Roman bath; on one side are Plutus and Tyche standing, full face ; on the other is a Persian shooting arrows in a cave, in which are an ox, a stork, a dog, a boar, a lizard, grasshopper, and fox.' (Comp. Vaux, Handbook, p. 162.) As to the locality, my friend George Scharf, Fellows' companion in that journey, informs me from his diary that the monument .was disinterred on the Roman acropolis, in January 1844. The building, situated at the foot of a polygonal wall, the chief ornament of which was a mosaic pavement including a standing figure of Leda with the swan beside her, was ' a house, palace, or bath.' I am of opinion that the contents of the reliefs are not particularly favourable to the supposition of a bath. The marble which is now placed in the new Lycian Room, no. 103, merits a greater interest than it seems to have met with hitherto. Plate LVIII. shows the two faces; the back view is on a slightly smaller scale than the front. Broken at the foot, the remainder has a height of 0'74 m. -
És3 Ш Elmali Plain: a Review of Its Environmental Setting and Archaeological Settlements
/ÉS3 ш ELMALI PLAIN: A REVIEW OF ITS ENVIRONMENTAL SETTING AND ARCHAEOLOGICAL SETTLEMENTS Volume I The Institute of Economics and Social Sciences of Bilkent University b y y a s e m in ILSEVEN In Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS m THE DEPARTMENT OF ARCHAEOLOGY AND HISTORY OF ART BILKENT UNIVERSITY ANKARA June 1999 g s r . T 4 81 6 Í I certify that I have read this thesis and have found it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. Doç. Dr. İlknur Özgen Supervisor I certify that I have read this thesis and have found it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. Dr. Ayşe Cfursan-Salzmat Examining Commitee Member I certify that I have read this thesis and have found it is fully adequate, in scope and in quality, as a thesis for the degree of Master of Arts. Dr. Jean Oztiirk Examining Committee Member I certify that I have read this thesis and have found it is fully adequate, in scope and in aualitv?-as a thesis fq« the degree of Master of Arts. Examining Commitee Member Approved by the Institute of Economics and Social Sciences Prof DrT^i Karaosmanoglu Director ABSTRACT ELMALI PLAIN: A REVIEW OF ITS ENVIRONMENTAL SETTING AND ARCHAEOLOGICAL SETTLEMENTS tlseven, Yasemin Master, Department of Archaeology and History of Art Supervisor: Doç. Dr. İlknur Özgen June 1999 The Elmalı Plain is located in Northern Lycia, in the Teke Peninsula of Southwest Anatolia. -
Durham Research Online
Durham Research Online Deposited in DRO: 23 April 2015 Version of attached le: Published Version Peer-review status of attached le: Not peer-reviewed Citation for published item: Draycott, Catherine M. (2008) 'Bird-women on the Harpy Monument from Xanthos, Lycia : sirens or harpies?', in Essays in classical archaeology for Eleni Vassiliou 1977-2007. Oxford: Archaeopress, pp. 145-153. BAR international series. (1796). Further information on publisher's website: http://www.archaeopress.com/archaeopressshop/public/displayProductDetail.asp?id=%7B4C7FA2A2-7864- 4DAA-A6EE-82A800ACF27A%7D Publisher's copyright statement: Additional information: Beazley Archive - Studies in Classical Archaeology, Volume IV. Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk 16 Bird-women on the Harpy Monument from Xanthos, Lycia: sirens or harpies? Catherine Draycott Eleni along with Yannis Galanakis initiated the first were low in number.1 This rarity, along with the series of Graduate Classical Archaeology Work in proximity of the stone pillar tombs to the settlements Progress seminars at Oxford in 2004, to which I supports the supposition that they memorialised a delivered some ideas about the iconography of the particular class of person.