Bücher der Reihe Cambridge Library Collection - Art and Architecture

Originally published in 1851, partly with the aim of correcting certain mistakes in painter George Jones's 1849 tribute (also reissued in this series), this work commemorates Norton-born sculptor Sir Francis Chantrey (1781-1841), whose illustrious career began in nearby Sheffield. His most celebrated works include The Sleeping Children in Lichfield Cathedral, his statue of James Watt, and his busts of Sir Walter Scott and John Horne Tooke. An enthusiast for his country's art, Chantrey left a generous bequest to the Royal Academy which allowed for the purchase of numerous works of British art, now held by the Tate. The author John Holland (1794-1872), himself a Sheffield man, wrote with a passion for local history and topography. Here, his delight in the 'absolutely or comparatively trivial' lends a curious local slant to his delineation of the sculptor's background, entry into the profession, later working life and burial back in Norton.

First published in 1816, this lively and informative narrative of a walking tour of North Wales was written by Edward Pugh (1763-1813) and richly illustrated with engravings of his own watercolour drawings of people and landscapes. (In this reissue, the drawings are reproduced in black and white, but the colour originals can be viewed at http://www.cambridge.org/9781108061483.) Pugh, a native Welsh speaker, travelled some 800 miles, criss-crossing Wales in every direction, collecting information about the industrial and agricultural condition of the country. He conversed with almost everyone he met, on the road and in the inns where he stayed. The book began as a guide to artists unwilling to risk departing from the main tourist routes where English was spoken. By the time it was published, however, its main aim was to vindicate the character of the Welsh people from the ill-informed accounts of English tourists.

Born in Scotland, James Fergusson (1808-86) spent ten years as an indigo planter in India before embarking upon a second career as an architectural historian. Although he had no formal training, he became one of the most respected researchers in the field and an expert on India's cave temples. His History of Indian and Eastern Architecture was first published in 1876 and became a standard work. It was revised in this two-volume edition of 1910 by James Burgess (1832-1916), former Director of the Archaeological Survey of India, and Richard Spiers (1838-1916), a noted architect and historian of architecture. Volume 2 covers Jain and Indo-Aryan architecture, Islamic architecture in India, and the buildings of Burma, Cambodia, Thailand and Java. The final chapter looks at Chinese and Japanese temples. Illustrated with nearly 300 maps, plans and drawings, this work of impressive scope remains relevant to students of Indian and Asian architecture and history.

Among the most influential figures of the Gothic Revival in nineteenth-century Britain, Augustus Welby Northmore Pugin (1812-52) distinguished himself as an architect, author and interior designer. He had crafted furniture for George IV at Windsor, but his greatest triumph was the design and fitting out of the new Palace of Westminster with Charles Barry (1795-1860) following the fire of 1834. First published in 1836, Contrasts is Pugin's most famous work, championing the medieval over the modern through satirical comparison of divergent styles. Reissued here in its substantially revised second edition of 1841, the book reflects its author's Catholicism and a developing interpretation of Gothic architecture. Along with The True Principles of Pointed or Christian Architecture (1841), this work remains essential reading for those seeking to understand the growth of the Gothic Revival, illuminating with many illustrations the theories guiding one of Britain's most important architects.

Born in Edinburgh, Daniel Wilson (1816-92) initially pursued an artistic career and spent time in Turner's studio. However, in 1846 he became a fellow of the Society of Antiquaries of Scotland and devoted the rest of his life to archaeology, anthropology and university administration. He was active in the Society's attempts to save historic buildings in Edinburgh, and the city's built environment was the subject of this two-volume 1848 work, which is illustrated with engravings after his own drawings. In Volume 1, Wilson begins by tracing the city's history from earliest times. The latter part of the volume covers local antiquities and traditions, with each chapter looking at a different area of the Old Town. The historical detail, with references, is immense, and Wilson's enthusiasm for his city is evident throughout. His second major work, the landmark Prehistoric Annals of Scotland (second edition, 1863), is also reissued in this series.

Walter Crane (1845-1915) is best remembered today as the illustrator of whimsical stories for children, but in fact he worked in many styles and genres throughout his life. The son of a painter, he was apprenticed to a wood engraver at the age of thirteen, and his father died shortly afterwards. By the time his apprenticeship was completed, Crane was painting as well as engraving, and joined the circle of the Pre-Raphaelites, being especially influenced by the politics of William Morris and the aesthetics of the Arts and Crafts movement. This highly illustrated 1907 autobiography traces his life from his childhood in Torquay through the difficult period following his father's death to his success as an illustrator and decorative artist, describing work, politics and travel. Crane may have felt that he was not given recognition as a serious painter, but this engaging account of a happy life does not show it.

Sir William Wilde (1815-76), surgeon and father of Oscar Wilde, was an Irish patriot and antiquarian with a keen interest in the history of his country. This life of Gabriel Beranger (1729-1817), published in 1880, describes the activities of an Irish antiquarian in the eighteenth century. Born in Rotterdam, the Huguenot Beranger moved to Dublin in 1750 and opened a print shop. Historical pursuits were becoming popular in Dublin society at the time, and Beranger's sketches of ruins and monuments found great popularity. He went on several tours of Ireland, keeping a journal of his observations and the people he encountered, while making plans and drawings of antiquities with a view to later publication. Wilde's work, drawn from Beranger's journal and from the memories of people who had known him in his old age, offers an engaging insight into early antiquarian practice in Ireland.

The British Institution for Promoting the Fine Arts in the United Kingdom was founded as a private art gallery in 1805, and took over the lease of publisher John Boydell's Shakespeare Gallery in Pall Mall, London. Its rich and noble subscribers (including the Prince of Wales, later George IV) patronised exhibitions of contemporary works, and also lent items for shows of Old Masters. The Institution also took in art students, and was a very popular public attraction in London: Jane Austen was among the many visitors from around the country. This 1860 book by Thomas Smith, a London historian, describes the founding and development of the Institution, with notices of its regular exhibitions and of special events such as the memorial dinner for Sir Joshua Reynolds. This is a fascinating account of a popular gallery in the first half of the nineteenth century, and of the tastes of its patrons and visitors.

Washington Allston (1779-1843) was considered by many at the time to be the greatest painter yet produced by the United States. After four years at Harvard, where he made an impression with his poetry, he went to London and became a pupil of the artist Benjamin West. On a tour of the continent, he met Samuel Taylor Coleridge in Rome, painted his portrait and became his firm friend. After a period at home, during which he married, Allston returned to London, and through Coleridge met Wordsworth, Southey, and the earl of Egremont, the great patron of artists, especially J. W. M. Turner. In this environment of intellectual and artistic experiment, Allston created paintings on religious, literary and historical topics, with an emphasis on landscape and contrasts of light and dark. This 1893 biography by his nephew and pupil Jared Bradley Flagg (1820-99) throws light on the artist, his works, and his milieu.

A professional author of art and literary criticism as well as travel writing, Anna Jameson (1794-1860) journeyed widely in Europe and North America, and moved in the literary circles which included the Brownings and Harriet Martineau. Many of her other works are also reissued in the Cambridge Library Collection. In 1844, she published this book on the great private art collections of London. She begins with an essay on the formation of the collections, from the seventeenth-century earl of Arundel onwards, and then describes in turn the Queen's Gallery, the Bridgewater, Sutherland, Grosvenor and Lansdowne galleries, and the collections of Sir Robert Peel and of the poet Samuel Rogers. For each collection there is an introductory essay, a catalogue raisonnee and a note of the most important items in the collection. This work is a fascinating and valuable guide to mid-nineteenth-century taste and fashion in art.

G. F. Watts was one of the major artistic figures of the nineteenth century. In this work published in 1905, only a year after Watts' death, Emilie Barrington (1841-1933) reflects on the close friendship she and her husband had with the renowned artist. Her aim in writing her volume of reminiscences was to accurately record her knowledge of Watts' life. She describes her first impressions, when she first met him in Dante Gabriel Rossetti's studio. Chapters also cover Watts' aims as an artist, his relationships and his genius. This fascinating book is highly illustrated throughout, including Watts' sketches, symbolical paintings and portraits. The reader will gain an intriguing insight into the life and work of this complex character, widely considered to be the greatest painter of the Victorian age. For more information on this author, see http://orlando.cambridge.org/public/svPeople?person_id=barrem

This work by Johann Wolfgang von Goethe (1749-1832) was translated into English in 1840 by Sir Charles Eastlake (1793-1865), painter and later keeper of the National Gallery. Goethe's 1810 work was rejected by many contemporary scientists because it appeared to contradict the physical laws laid down by Newton. However, its focus on the human perception of the colour spectrum, as opposed to the observable optical phenomenon, was attractive to, and influential upon, artists and philosophers. As Eastlake says in his preface, the work's dismissal on scientific grounds had caused 'a well-arranged mass of observations and experiments, many of which are important and interesting', to be overlooked. Eastlake also puts Goethe's work into its aesthetic and scientific context and describes its original reception. His clear translation of Goethe's observations and experiments on colour and light will appeal to anyone interested in our responses to art.

Active in the first century BCE, Marcus Vitruvius Pollio wrote his influential architectural treatise in ten books. It remained the standard manual for architects into the medieval period. The topics which Vitruvius considered essential are diverse, including aspects of design as well as geometry and engineering. In the nineteenth century, the English architect and author Joseph Gwilt (1784-1863) won greater acclaim for the books he published than for the buildings he designed. His most celebrated achievement, The Encyclopaedia of Architecture (1842), is also reissued in this series. Gwilt's one-volume translation of Vitruvius's Latin text was first published in 1826. Supplanting previous versions, this work was long regarded as the standard edition in English. It contains a brief life of Vitruvius as well as an annotated list of previous editions since the fifteenth century. A number of detailed illustrative plates accompany the text.

Sir David Wilkie (1785-1841) is often called the first truly international British artist. This three-volume biography, published in 1843, two years after Wilkie's sudden death while on a tour of the Mediterranean, and containing extracts from his journals and letters, remains an indispensable source for his life and works.

This four-volume work by Gustav Waagen, translated by Lady Eastlake, was published between 1854 and 1857. Waagen was crucial to the adoption in Britain of the new approach to art history pioneered in Germany. Volume 2 describes the artworks in Buckingham Palace, Apsley House and other private collections in London.

This two-volume biography of the sixteenth-century French potter and natural scientist Bernard Palissy (c.1510-c.1590) was published in 1852. Palissy's ornamented wares, encrusted with sea creatures, were very popular, but, as a convinced Protestant, he died in the Bastille after the death of his patron, Catherine de' Medici.

An architect and architectural theorist, George Edmund Street was one of the key proponents of the 'High Victorian' Gothic style in nineteenth-century Britain. This illustrated two-volume work, reissued here in its 1914 version, takes the reader on a tour of Spain's most ancient and architecturally important towns and cities.

The Oxford bookseller and publisher John Henry Parker (1806-84) was also a historian of architecture, first publishing this illustrated glossary in 1836. Reissued here are the 1840 third edition and the 1841 companion volume. Volume 1 contains explanations of terms from 'abacus' to 'zotheca' and 105 plates with notes.

The writer Elizabeth Eastlake (1809-93) travelled widely in her early years, and later moved in the highest literary and artistic circles. This two-volume work of 1895, edited by her nephew and full of shrewd judgements on art and on people, is compiled from her journals and letters.

Suitable for a general readership, this two-volume work of 1828 critically assesses the ancient and modern architecture of France, Italy and Greece encountered by the architect and botanist Joseph Woods (1776-1864) on his European travels. The text is accompanied by drawings by Woods of important buildings and architectural features.

The Royal Academician Charles Leslie (1794-1859) also wrote biographies of fellow painters. This lively and self-deprecating two-volume work of autobiography and letters was edited in 1860 by the journalist and dramatist Tom Taylor (1817-80). Volume 1 is prefaced by an introductory essay on Leslie and his art.

The sculptor Joseph Nollekens (1737-1823) was famed for his portrait busts of leading figures of the day. This gossipy, anecdotal two-volume biography, first published in 1828 by the draughtsman and antiquary John Thomas Smith (1766-1833), sheds much light on the London art world in which the sculptor flourished.

This two-volume account by a German painter of his examination of art collections in Britain was published in this English translation in 1836. Covering works in the National Gallery and the royal collections as well as 'country seats' across England, it also provides an overview of collections not visited.

Before the painter Benjamin Robert Haydon (1786-1846) committed suicide, he asked for his autobiographical writings to be published. Edited by Tom Taylor, this three-volume work appeared in 1853. Volume 1 reproduces Haydon's account of his life up to 1820. His Conversations and Table-Talk is also reissued in this series.

This three-volume work, published between 1808 and 1817, the last in the sequence of John Nichols' books on the painter and engraver William Hogarth, remains a useful source for art historians and anyone interested in the cultural life of the eighteenth century. Volume 2 contains a catalogue of Hogarth's works.

Artist, diarist, and devotee of the Elgin Marbles, Benjamin Robert Haydon (1786-1846) is best known for his large-scale paintings and outspoken views. In this two-volume work, first published in 1876, his son provides a memoir and brings together letters to and from eminent correspondents, along with journal extracts.

A second generation Pre-Raphaelite and founder member of the Morris firm, Sir Edward Coley Burne-Jones (1833-98) influenced and exemplified the Aesthetic Movement, and inspired the European Symbolist painters. Volume 1 of this engaging 1904 biography describes his motherless childhood, his friendships with Morris, Ruskin, Rossetti and others, and his promising early career.

The most accomplished female painter of her age, Elisabeth Vigee-Lebrun (1755-1842) is best remembered for her many portraits of Queen Marie Antoinette of France. Her two-volume autobiography was published in France in 1835-7, and this English version (of which the translator is unknown) in 1879.

Sir William Chambers (1722-96), architect and furniture designer, wished to increase his status in the 1750s by publishing on architecture. His Treatise, annotated and republished in two volumes in 1825 by the architect Joseph Gwilt (1784-1863), is regarded as one of the standard English texts on classical architecture.

Famous and controversial for paintings as diverse as Ophelia and Bubbles, Sir John Everett Millais (1829-96) revolutionised the Victorian art world by co-founding the Pre-Raphaelite Brotherhood, eventually becoming president of the Royal Academy. His son, John Guille Millais (1865-1931), published this highly illustrated two-volume biography in 1899.