Letters By Sir Lawrence Alma Tadema To The Riba 15 Aug 1882 18 Dec 1896

LC/35/3/20 Letter,18 December 1896 (1p.), agreeing to serve on a committee to commission the portrait of the ex-president of the RIBA.

The first guide to the single most comprehensive source of unpublished documentary material on the history of architecture, this major reference work will be essential for anyone seeking source material for the study of architectural history and practice and for the conservation and restoration of the architectural heritage. The British Architectural Library's manuscript and archives collection at the Royal Institute of British Architects is unrivalled in the breadth and extent of its holdings of unpublished material relating to the theory and practice of architecture. The collection, which started soon after the founding of the RIBA in 1834, includes material dating from the early seventeenth century to the present day, ranging from an account of charges for the repair of Richmond Palace supervised by Inigo Jones in 1621-22, to the papers of Berthold Lubetkin. Architecture in Manuscript provides a practical guide to the contents and use of this large and important collection, and will enable researchers, librarians and archivists to locate original source material whose existence has hitherto been very little known. The guide consi

Sir Ernest George (1839-1922) was one of England's greatest architects of the late 19th and early 20th centuries. He specialised in domestic work and was responsible for beautiful and imaginative houses in both town and country, and with his three successive partners, he carried out over 200 works both in Britain and abroad. He was also a watercolourist of considerable stature whose work in the medium was acclaimed in his own time. This richly illustrated book is the first study of the man and his work and will establish him as one of the major names in his profession. His life and career is fully documented, the buildings are described and a full catalogue of works is provided. A special feature is a study of pupils and assistants who passed through George's office, including several who went on to be famous and successful - Edwin Lutyens, Guy Dawber, J. J. Joass, R. Weir Schultz - and also the first woman to be become a member of the Royal Institute of British Architects, Ethel Mary Charles. Hilary Grainger is a dean at the London College of Fashion and is the recognised expert on George and his architecture. She is also a leading authority on the architecture of cremation and is the chair of the Victorian Society.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The guide explains why London is the way it is. It helps you link the historical and contemporary into a single pattern of significant places, spaces and buildings. It highlights old and new as a lively and vibrant pattern of on-going creative activity rooted in established urban patterns.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

In this beautifully illustrated and closely argued book, a completely updated and much expanded third edition of his magisterial survey, Curl describes in lively and stimulating prose the numerous revivals of the Egyptian style from Antiquity to the present day. Drawing on a wealth of sources, his pioneering and definitive work analyzes the remarkable and persistent influence of Ancient Egyptian culture on the West. The author deftly develops his argument that the civilization of Ancient Egypt is central, rather than peripheral, to the development of much of Western architecture, art, design, and religion. Curl examines: the persistence of Egyptian motifs in design from Graeco-Roman Antiquity, through the Medieval, Baroque, and Neo-Classical periods rise of Egyptology in the nineteenth and twentieth-century manifestations of Egyptianisms prompted by the discovery of Tutankhamun’s tomb various aspects of Egyptianizing tendencies in the Art Deco style and afterwards. For students of art, architectural and ancient history, and those interested in western European culture generally, this book will be an inspiring and invaluable addition to the available literature.

The starting point for Richard Jenkyns's latest work is his contention that the Victorian age, which we think of as the great age of Gothic, was so shot through with the influence of the classical past that we should instead think of Victorian art and architecture as the continuing flow forward of two stylistic streams--the Gothic and the classical, side by side. In advancing his argument Jenkyns turns our accepted notions of the Victorians upside down, presenting Ruskin as an admirer of Greek statuary, the Houses of Parliament as a classical rather than a Gothic composition, and Thomas Woolner, the only sculptor among the original Pre-Raphaelite brotherhood, as a neo-Hellenic carver and poet. Jenkyns moves effortlessly between the general and the particular and is refreshingly unafraid to make judgments. Here are some of the best descriptions of Victorian painting, sculpture, and architecture to have appeared in recent years. From the very gradual changes throughout the paintings of Leighton and Alma-Tadema, to the operettas of Gilbert and Sullivan, the 'aesthetic scripture' of Pater, and even the advertisements for Beecham's pills, Jenkyns shows how what had been merely eclectic became a distinctive fin-de-siecle style and eventually began to point the way for Modernism. These are grand themes, presented by a masterly guide. Above all Jenkyns is entertaining: Dignity and Decadence is one of the most illuminating and enjoyable books about the Victorians yet to appear.