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Exhibits at Ballots
Published online by Cambridge University Press: 29 November 2011
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- Exhibits at Ballots
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- Copyright © The Society of Antiquaries of London 1978
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NOTES
1 SHA Hadrianus 10; Couissin, P., Les Armes Romaines (1926), pp. 489–92Google Scholar; the two fine examples from Newstead are somewhat shorter than these Canterbury specimens, the blade of the larger one being only 65 cm. Curie, J., A Roman Frontier Post and its People (1911), pl. xxxiv, nos. 6 and 7Google Scholar.
2 Curie, , op. cit., pl. xxv, no. 13Google Scholar.
3 Prysg Field Part II, The Finds,Arch. Cambren-sis, lxxxvi (1932), fig. 34, no. 40 and fig. 36, no. 15Google Scholar.
4 Britannia, i (1970), fig. 1Google Scholar.
5 Cf. Obergermanische-Raetische Limes No. 33, Kastell Stockstadt, Taf. vn, no. 40; No. 73, Kastell Pfunz, Taf. XIII.
6 It is well illustrated on the tombstone of the centurion M. Aurelius Nepos and his wife at Chester; Richmond, I. A. and Wright, R. P., Catalogue of the Inscribed and Sculptured Stones in the Grosvenor Museum, Chester (1955), pl. xm, no. 37 (RIB 491)Google Scholar; the name, the knee fibula and the wife's hair-style all indicate a late second-early third-century date.
7 The museum accession number of the bronze is 78.2501. It has been exhibited and published by kind permission of Mr. Gareth Davies, Director of Verulamium Museum.
8 National Grid Reference TL 035 103.
9 Neal, D., Herts. Arch. iv (1976), fig. 1Google Scholar.
10 B.M. Cat. Bronzes, p. 817: registration no. 1878.10–19.54.
11 Farka, Christa, Die romischen Lampen von Magdalensberg (Klagenfurt, 1977), Taf. 70, no. 1340Google Scholar.
12 Toynbee, J. M. C., Art in Roman Britain (London, 1962), cat. no. 2Google Scholar.
13 Corder, Philip and Richmond, I. A., Antiq. Journ. xviii (1938), 68–74CrossRefGoogle Scholar.
14 Smith, R. A., Archaeologia, lxiii (1912), pl. 11Google Scholar.
15 Interim reports in Cornish Arch. iii (1964), 63Google Scholar; ix (1970), 83; and xvi (1977), (forthcoming).
16 I am indebted to S. E. Rigold for this identification and to Gillian Hutchinson for collaboration in this note.
17 Lanyon, A. G., ‘Cornish cresset stones’, The Reliquary and Illustrated Archaeologist, ii (1905), 57–61Google Scholar.
18 Examples of these can be seen in the London Museum Medieval Catalogue (1940), p. 176Google Scholar, and in Cunliffe, B. W. (ed.) Winchester Excavations 1949–60, p. 153Google Scholar.
19 Examples of girth cordons in S. Grieg, Middelalderske By fund fra Bergen Og Oslo and from Britain in such varied locations as Southampton and Monmouthshire, Addyman and Hill, , ‘Saxon Southampton’, Hants Field Club, xxvi (1969), 80Google Scholar, and Knight, J. K., ‘A 12th-century stone lamp from Llangwm Uchaf, Monmouthshire’, Med. Arch. xvi (1972), 130–3Google Scholar.
20 Thompson, F. H. kindly drew my attention to this in Lincolnshire Architectural and Archaeological Society Reports and Papers, v, pt. 2 (1954), 76 and 80, 81Google Scholar.
21 Information kindly supplied by Elizabeth Lewis.
22 Med. Arch. v (1961), 229Google Scholar.
23 Adams, J. H., ‘A new type of cresset stone?’, Cornish Arch. vi (1967), 53, fig. 13, no. 8Google Scholar.
24 Gerloff, S., The Early Bronze Age Daggers in Great Britain (P.B.F. VI 2), (Munich, 1975), pls. 28, 59Google Scholar.
25 A. Ellison, Excavations at West Hill, Uley: 1977. The Romano-British Temple: Interim Report, 1978. CRAAGS Occasional Papers No. 3.
26 The lead curses are at present undergoing treatment in the British Museum prior to examination of the inscriptions.
27 All finds from the site have been donated by the landowner, Major C. A. Goldingham, to the British Museum.
28 Britannia, iii (1972), 330 and pl. xxvb and cGoogle Scholar Verulamium) and Toynbee, J. M. C., Art in Roman Britain (London, 1962), p. 134, nos. 22, 23, pls. 13, 14, 21, 22 (Lamyatt Beacon) for parallels to the two types. Many others from sites in Britain, Gaul, and elsewhereGoogle Scholar.
29 Bieber, M., The Sculpture of the Hellenistic Age, revised edn. (New York, 1961), p. 17 and ligGoogle Scholar. 14 for the nude Praxitelean Hermes of Horster, Andros. G., Statuen auf Gemmen (Bonn, 1970), pp. 57–62, pls. xi, XII for the draped figure, perhaps ultimately derived from a fifth-century prototypeGoogle Scholar.
30 Green, M. J., A Corpus of Religious Material from the Civilian Areas of Roman Britain (B.A.R. 24, Oxford, 1976), pp. 31 and 221, pl. iv, i (from Wandsworth)Google Scholar. Also note Bushe-Fox, J. P., Third Report on the Excavations of the Roman Fort at Richborough, Kent (Reports of the Research Committee, Society of Antiquaries, no. x, 1932), p. 79 and pl. x, no. 17 for a much simplified escutcheon from Richborough, showing a male head with knobbed hornsGoogle Scholar.
31 There is a similar one from Richborough,Bushe-Fox, J. P., Fourth Report… Richborough (Reports of the Research Committee, Society of Antiquaries, no. xvi, 1949), p. 132 and pl. xxxix, no. 147Google Scholar.
32 Kaufmann-Heinimann, A., Die rdmischen Bronzen der Schweiz i, Augst (Mainz, 1977), p. 37 and pls. 23 and 25, no. 32 (small goat on a stand beside a large Mercury)Google Scholar; p. 105 and pls. 103 and 104, no. 155 (stand with goat and tortoise; Mercury himself is missing).
33 See n. 29, supra.
34 Rolling, A., ‘Romische Kastrierzangen’, Archäologhches Korrespondendenzblatt, iii (1973), 333 f. and pl. 70, 1Google Scholar for a castration clamp from the Thames ornamented with busts. Toynbee, , op. cit. (n. 28), p. 65, pl. XIIIa and b for a bust of Jupiter from CaerleonGoogle Scholar.
35 Fleischer, R., Die romischen Bronzen aus Osterreich (Mainz, 1967), pp. 80–1, no. 92, pl. MI (Cupid; Carnuntum)Google Scholar; p. 99, no. 120, pl. LXVIII (Victory; Kals); Rolland, H., Bronzes Antiques de Haute Provence, xviiie suppl. to Gallia (Paris, 1965), pp. 75–6, no. 116 bis (Cupid; CMtelard de Lardier, Basses-Alpes—style similar to ours, but feathers shown on both sides of wing)Google Scholar.
36 Note the rich textures and use of chiaroscuro in the plumage of two of the best bronze eagle figurines of the second century Leibundgut, A. D. A., Die rdmischen Bronzen der Schvieiz II, Avenches (Mainz, 1976), pp. 63–4, no. 47, pls. XLVII-XLVIII (Avenches)Google Scholar. Toynbee, J. M. C., Art in Britain under the Romans (Oxford, 1964), p. 129 and pl. xxxvb (Silchester)Google Scholar.
37 These are being reconsidered by Dr. Henig in the forthcoming Lamyatt excavation report (Dr. R. Leech for CRAAGS).
38 , R. E. M. and Wheeler, T. V., Report on the Excavation of the Prehistoric, Roman and Post Roman Site in Lydney Park, Gloucestershire (Reports of the Research Committee, Society of Antiquaries, no. XII, 1943)Google Scholar.
39 Toynbee, J. M. C., op. cit. (n. 36), p. 156 and pl. XLaGoogle Scholar.
40 I would like to thank Edward Swain and Mary Parris for allowing me to borrow the weight; Nicholas Pollard of the Institute of Archaeology, Oxford, for the photographs; our Fellow Mark Hassall for reporting on the graffito; and our Fellow Stuart Rigold for discussing the coiffure of the younger Faustina wit h me. For an interim reporton the excavations cf. Kingscote Archaeological Association, The Chessalls Excavations, 1975–77 Seasons (Stroud, 1978)Google Scholar.
41 For Roman weights and their metric equivaLents he cites,Hultsche, F., Griechische und romische Metrologie, 2nd edn. (Berlin, 1882), Table xiiiGoogle Scholar. A libra is 327–45 gm. and s o 3 librae is 982–3 5 gin.; an uncia is 27–288 gm. Th e difference between 1009–638 gm. and the actual figure is insignificant, although it may once have been greater. The most exposed features of the bust, such as the nose, have suffered considerable wear and the suspension loop is only about half its original thickness at its apex.
42 Hill, D. K., ‘When Romans went shopping’, Archaeology, v (1952), 51–5Google Scholar.
43 Mattingly, H., Coins of the Roman Empire in the British Museum, iv, Antoninus Pius to Commodus (London, 1940), pp. 529 ff, pl. 73, 1–5 (Faustina) and pp. 575 ff, pl. 77, 11 (Lucilla)Google Scholar. Also cf. Kent, J. P. C., Roman Coins (London, 1978), pl. 98, no. 338Google Scholar; Wegner, M., Die Herrscherbildnisse in antoniniscker Zeit (Berlin, 1939), pp. 48–55, especially p. 50 and pl. 11a and b.Google Scholar; Rigold, S. E., ‘The Coiffures of the Empresses’, Cunobelin (1969), pp. 17–21, fig. 1, style F3/L2Google Scholar.
44 Kent, , op. cit., pl. 161, no. 642 (solidus of Fausta, A.D. 325) and pl. 162, no. 638 (centenion-alis of Helena, A.D. 318)Google Scholar; Delbrueck, R., Spdlantike Kdiserportrats (Berlin, 1933), pp. 18 f. and p. 48, pl. 11, 2Google Scholar.
45 Richter, G. M. A., Engraved Gems of the Romans (London, 1971), pp. 121 f., no. 598Google Scholar. Compare this probable Fausta portrait with one which certainly portrays the younger Faustina,Vorbeck, E. and Beckel, L., Carnuntum. Rom an der Donau (Salzburg, 1973), p. 35, pl. 16Google Scholar.
46 Pryce, F. N., in Bushe-Fox, J. P., Third Report on the Excavations of the Roman Fort at Richborough, Kent (Reports of the Research Committee, Society of Antiquaries. no. xvi, 1932), pp. 86–8, pl. xviii, 1Google Scholar. This weighed 18½ oz., a little over half the weight of the Kingscote example. For the coiffure, Rigold, loc. cit., style F4.
47 Delbrueck, , op. cit., p. 166 and pl. 65Google Scholar.
48 Toynbee, J. M. C., Art in Britain under the Romans (Oxford, 1964), pp. 52–4Google Scholar and Art in Roman Britain (London, 1962), pp. 124 f., nos. 2–5, pls. 2–5Google Scholar. The somewhat bulging, unmodelled eyes of our bronze are an archaic feature, recalling the Aylesford bucket escutcheons. In metropolitan art pupils tend to be outlined from about the time of Hadrian.
49 Henig, M., in Cunliffe, B., ‘The Romano-British village at Chalton, Hants’, Proc. Hants Field Club, xxxiii (1976), 62 and fig. n, no. 4Google Scholar.
50 Antij. Journ. lvii (1977), 320–1Google Scholar.
51 Cf. Toynbee, , Art in Britain under the Romans, p. 95, pl. XXII (Isis, London)Google Scholar; Boon, G. C., Sil-chester; The Roman town of Calleva (Newton Abbot, 1974), p. 292 and fig. 34, 7 (Bacchus, Silchester)Google Scholar; Pryce, F. N., in Bushe-Fox, J. P., Fourth Report on the Excavations of the Roman Fort at Richborough, Kent (Reports of the Research Committee, Society of Antiquaries, no. xvi, 1949), pp. 135–7, no 159, pl. XLII (Silenus, Richborough)Google Scholar. Pryce here lists a number of representations of imperial busts in the form of steelyard weights.
52 The names of the parts are those used in Pettus, J., Fleta Minor (London, 1683)Google Scholar(a translation of L. Ercher, c. 1580, ‘The Laws … of knowing metals…’), which includes instructions for making a money-balance. See also Sheppard, T. and Musham, J. F., Money-scaksand Weighs (London, 1924)Google Scholar.
53 Arch. Cant, lxxvii (1962), 45Google Scholar.
54 Heidrich, E., Altniederlandische Malerei (Jena, 1910) (hereinafter ‘H’), pl. 48Google Scholar; Puyvelde, L. v., The Flemish Primitives (London, 1948) (hereinafter ‘P’), pl. 49Google Scholar.
55 Philadelphia, P, pl. 132.
56 In the Louvre, H, pl. 158; P, pl. 123.
57 Versions in Florence, in th e Prado, etc.; H, pl. 161.
58 H, pl. 165; by the ‘Master of the half-lengths’(?).
59 Philp, B. J., Excavations at Faversham, 1965 (1968), p. 60Google Scholar.
60 In Salisbury Museum (catalogue in preparation).
6l In the Cathedral Library.
62 Wilts. Arch. and N.H. Mag. lvii (1960), 189–90, A and BGoogle Scholar.
63 Ibid., p. 190, C, citing anothe r from Marlborough.
64 Norfolk Archaeol. xxxv (1970), 65, 68, fig. 19Google Scholar.
65 Roy. Comm. Anglesey Inventory (1937), p. 24, no. 15Google Scholar; Lynch, F., Prehistoric Anglesey (1970), pp. 236–7Google Scholar.
66 Down-curved but short on the Welshpool piece (n. 70); longer but straight on the Kenchester and Leicester examples,Hawkes, C. F. C. in Aspects of Archaeology (ed. Grimes, W. F., 1951), p. 195, fig. 51, pl. 8bGoogle Scholar.
67 Noted by Hawkes (loc. cit. and fig. 506) for a Gloucester terminal.
68 Flouest, J.-L. and Stead, I. M., Mém. Soc. d'Agric, Comm., Sci. et Arts de la Marne xcii (1977), 55–72, esp. 60–3, pl. 1.1Google Scholar.
69 Hawkes, , loc. cit., pl. 7.1.Google Scholar; Sir Fox, Cyril, Pattern and Purpose (1958), pl. 48cGoogle Scholar.
70 Boon, G. C., Antiq. journ. xli (1961), 25–6, pl.xGoogle Scholar.
71 Gardner, Willoughby and Savory, H. N., Dinorben (1964), pp. 144–8, fig. 20, pl. 34aGoogle Scholar; Fox, , op. cit., pl. 48cGoogle Scholar.
72 Gardner, and Savory, , loc. cit.; fig. 21Google Scholar.
73 Jones, J. E., Anglesey Antiq. Soc. & Field Club Trans. (1977-1978), 159–61Google Scholar. Pottery and a spindle-whorl are also said to have been found; no details known.
74 Down, A., Chichester Excavations, iii (1978), pp. 45 ff. and fig. 7.3Google Scholar. I wish to thank our Fellow Alec Down for inviting me to publish the gem and providing information on its archaeological context. I am also indebted to the sharp eyesight of the finder, Aidan Cooper, to Alison Macaulay who helped to make impressions, and to our Fellow Robert Wilkins for his excellent photographs. Angela Wardle, Institute of Archaeology, has added a technical note on the musical instrument.
75 Dimensions, 17X13X 3 mm.
76 Cf. Schlesinger, K., The Greek Aulos (1939), passim and note by Angela WardleGoogle Scholar.
77 Richter, G. M. A., Perspective in Greek and Roman Art (1970), p. 54 shows that ‘the diminution of objects in the distance was occasionally observed’ by Hellenistic and Roman artists, although this was done neither consistently nor universallyGoogle Scholar.
78 For other examples of Hellenistic gems from Britain cf. Henig, M., A Corpus of Roman Engraved Gemstonesfrom British Sites (1974), pt. ii, p. 43, no. 289 (marine goddess)Google Scholar; p. 67, no. 467 (Alexander the Great); p. 113, no. app. 48 (Eros); and p. 115, no. app. 64 (marine goddess, perhaps Selene). The last of these from York is a plasma, probably of Augustan date; the other three are earlier.
79 Furtwangler, A., Die Antiken Gemmen, i, ii, (1900), p. 139 and pl. XXVIII, 5Google Scholar.
80 Furtwangler, A., Königliche Mttseen zu Berlin. Beschreibung der geschnittenen Steine (1896), p. 275, no. 7403 (cornelian ) and p. 169, nos. 3998–4000 (pastes)Google Scholar; Chiesa, G. Sena, Gemme del Museo Nazionale di Aquileia (1966), p. 197, no. 438 (‘pietra piana’)Google Scholar; Miinzen und Medaillen catalogue, Basel, 05 1969, pp. 17 f., no. 62 (nicolo)Google Scholar; our paste (pl. Lxxiif) is listed in Sotheby Sale Catalogue, 10th 04 1978, p. 8, Lot 2f.Google Scholar; Rosati, F. P., ‘Le Emissioniin OroeArgentodei “Tresviri Monetales” di Augusto’, Archaeologia Classica, iii (1951), 66–85, esp. p. 84 and pl. xv, 8 (coin)Google Scholar.
81 Vollenweider, M. L., Die Steinschneidekunst und ihre Kiinstler in spatrepublikanischer und augusteischer Zeit (1966), passim and pp. 56–64, pl. 61–6Google Scholar; Richter, G. M. A., Engraved Gems of the Romans (1971), pp. 142–4, nos. 664–73Google Scholar.
82 e.g. Vollenweider, , op. cit., pp. 69 ff. and pl. 77Google Scholar, various stones by Hyllos, ‘son of Dioskourides’, or from his studio.
83 Ibid., p. 35 and pl. 25, 3.
84 Schmidt, E., in Antike Gemmen in deutschen Sammlungen, I, Staatliche Miinzsammlung Miinchen, ii, p. 131, no. 1389Google Scholar.
85 As on a fourth-century mosaic from Lenthay Green, Dorset. Cf. Smith, D. J., ‘Mythological figures and scenes in Romano-British mosaics’, in Munby, J. and Henig, M., Roman Life and Art in Britain (1977), p. 142, no. 125Google Scholar.
86 These range from a probable work by Dios-kourides,Vollenweider, , op. cit., p. 61 and pl. 64Google Scholar, to a worn paste found at Silchester,Henig, op. cit., p. 11, no. 22Google Scholar. A very interesting gem closely comparable in quality to the Chichester intaglio is in the Ionides collection. It shows an old satyr with bagpipes hanging from a tree beside him, and was at least derived from a stone portraying the defeated Marsyas; Boardman, J., Engraved Gems. The Ionides Collection (1968), pp. 2 if, 93, no. 16Google Scholar.
87 Nash, E., Pictorial Dictionary of Ancient Rome, ii (1962), p. 399Google Scholar, and Roscher, , Ausfuhrliches Lexi-kon der griechischen und romischen Mythologie ii, cols. 2444 fGoogle Scholar.
88 Cf. Zwierlein-Diehl, E., Die antiken Gemmen des Kunsthistorischen Museums in Wien (1973), p. 140, no. 433 (chalcedony) fora gem showing a cupid playing tibiae with projectionsGoogle Scholar. The lower of the two pipes depicted in the field on the Marsyas gem, pl. LXXVId, is also represented wit h them.
89 There are several discussions of side tubes and other aspects of the tibia including Howard, A. A., ‘The Aulos or Tibia’, Harvard Studies in Classical Philology, iv (1893), pp. 1–60 esp. 8 ff.CrossRefGoogle Scholar; Rein-ach, T., ‘Tibia’, in Daremberg and Saglio, Dictionnaire des Antiquitis v (1912), pp. 300–32Google Scholar; Bodley, N., ‘The Auloi of Meroe’, A.J.A. 1 (1946), 217–40Google Scholar.
90 Becker, H., in Zar Entwicklungsgeschichte der antiken und mittelalterlicken Rohrblattinstrumente (1966)Google Scholar, shows the use of tubular plugs on the modern Egyptian folk instrument, the seddadah (p. 141), but this cannot really be considered as a parallel to the tibia.
91 On Pompeian tibiae cf. Schlesinger, , op. cit., p. 75, pl. 12 and the exhibition catalogueGoogle Scholar, Pompeii A.D. 79, Royal Academy (1976–7), no. 199.
92 The standard article is by Oman, C. C., ‘English mediaeval base metal church plate’, Arch. Journ. cxix (1962), 195–207Google Scholar. The note on censers in Cox, and Harvey, , English Church Furniture (London, 1907), p. 51, is valuelessGoogle Scholar.
93 See references cited in n. 100, below.
94 For a discussion of English silver censers See Oman, C. C., English Church Plate, 597–1830 (London, 1957), pp. 88–91Google Scholar.
95 See Atchley, E. G. C. F., A History of the Use of Incense in Divine Worship, (Alcuin Club Collections, xiii) (London, 1909), pp. 308–17Google Scholar.
96 Watkin, Dom A. (ed.), Archdeaconry of Norwich: Inventory of Church Goods temp. Edward III, Norfolk Record Society, xix, pt. 2 (1948), lxxxix–xcGoogle Scholar.
97 Watkin, loc. cit.
98 Thus the leopard's head s of th e inventories cited below were interpreted by Oman, English Church Plate, loc. cit., as a means of masking the passage of the censer chains through the cover and by Walters, H. B., London Churches at the Reformation (London, 1939), p. 75, as hall-marksGoogle Scholar.
99 Watkin, , op. cit., Norfolk Record Society, xix, pt. 1 (1947), 1–2, and pt. 2 (1948), xc n. 1Google Scholar.
100 Dodsworth, W., A Historical Account of the Episcopal See, and Cathedral Church, Sarum, or Salisbury (Salisbury, 1814), p. 231Google Scholar.
101 For these see Walters, loc. cit.
102 The 1620 edition is no. 24805a in the Short-title Catalogue of Books Printed in England … 1475–1640 (2nd. edn., by Jackson, Ferguson, and Pantzer, , vol. 2, I-ZGoogle Scholar; The Bibliographical Society, 1976). Five locations (the maximum for any item on either side of the Atlantic) are given in England, Scotland, and Northern Ireland; they do not include the Society of Antiquaries.
103 Proc. Soc. Antiq. Lond., 2nd ser., iv, 299–301.
104 Robinson, W. R. B., ‘Dr. Thomas Phaer's Report on the Harbours and Customs Administration of Wales under Edward VI’, Bulletin of the Board of Celtic Studies, xxiv (part iv, 1972), 485–503Google Scholar. A long footnote gives biographical information additional to that in the entry for Phaer in the Dictionary of National Biography.
105 Brinton, Anna Cox, Maphaeus Vegius and his Thirteenth Book of the Aeneid: a chapter on Virgil in the Renaissance (Stanford University Press, 1930)Google Scholar. This supplement to the Aeneid was still remembered in the eighteenth century.
106 See, for example,Mau, A. (trans. Kelsey, F. W.), Pompeii, its Life and Art (New York and London, 1899), p. 181Google Scholar; Lugli, G., La Tecnica Edifizia Romana (Rome, 1957), pp. 550 and 580 (fig- 123)Google Scholar.
107 Cf. Rocca, E. La, , M. and Vos, A. de, Coarelli, Ed. F., Guida Archaeologica di Pompei (Verona, 1976), pp. 134–5 and 300–1Google Scholar.
108 Blake, M. E., Roman Construction in Italy from Tiberius through the Flavians (Washington, 1959), p. 17 (Villa Jovis), p. 76 (Florence)Google Scholar.
109 Blake, , op. cit. (1959), p. 39Google Scholar. Vitruvius vii, 4, p. 2 talks of ‘hamatae tegulae’ used for dampproofing plastered and painted walls; cf. Blake, M. E., Ancient Roman Construction in Italy from the Prehistoric Period to Augustus (Washington, 1947), P. 305Google Scholar.
110 Blake, , op. cit. (1959), p. 25Google Scholar. Nail holes through the projections enabled the tiles to be fixed to wooden partition walls.
111 Blake, M. E., Roman Construction in Italy from Nerva through the Antonines (Philadelphia, 1973), p. 109Google Scholar.
112 Pliny, , Natural Histories, xxxv, 159Google Scholar.
113 Antiq. Journ. liv (1974), 278–80Google Scholar. The Garden Hill bath is further discussed in Money, J. H., ‘Garden Hill, Sussex: Interim Report’, Britannia, viii (1977), 339–50CrossRefGoogle Scholar. To the examples of tile and spacer construction cited may be added the baths at Champlieu, near Pierrefont, Oise, where Dr. Peigne-Delacourt recognized the technique as long ago as 1867 (Peigne-Delacourt, , L'Hypocauste de Champlieu (Beauvais, 1867), p. 15)Google Scholar.
114 Information from Miss V. Rigby and Mrs. L. Viner to whom we are most grateful. There is also an example in the Corinium Museum.
115 Information from Dr. G. Wainwright and Mr. D. Batchelor.
116 Information from J. P. Gillam to whom we are grateful for discussion.
117 ‘The Townley Marbles in Westminster and Bloomsbury’, British Museum Yearbook, ii (1977), 52 ffGoogle Scholar.
118 The Age of Neo-Classicism (Exhibition Cata-logue, Arts Council of Great Britain, 1972), no. 285Google Scholar; Johan Zoffany 1733–1810 (Exhibition Catalogue, National Portrait Gallery, 1977), no. 95Google Scholar. Lent by Towneley Hall Art Gallery and Museums, Burnley.
119 e.g. Henry Singleton (1766–1839) and John Brown (1752–87). A noteworthy amateur artist represented is William Young Ottley (1771–1836), Keeper of Prints at the British Museum from 1833.
120 I am grateful to John Ger e Esq., Keeper of Prints and Drawings, British Museum, for an explanation of the technique and other advice.