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MISCELLANEOUS BOOKS.

Gillray's Caricatures,

27

Printed from the original plates, all

engraved by himself between 1779 and 1810; comprising the best Political and Humorous Satires of the reign of George the Third, IN UPWARDS OF 600 HIGHLY SPIRITED ENGRAVINGS. In 1 large volume, atlas folio, (exactly uniform with the original Hogarth, as sold by the advertiser), hf. bound red morocco extra, gilt edges, £7. 10s 1849

▲ VOLUME OF SUPPRESSED PLATES, hf. bound, uniform with the preceding, £1. 11s 6d

1849 There are other Collections of Caricatures advertised as Gillray's, which have no pretensions to be so named.

A VOLUME OF LETTERPRESS DESCRIPTIONS to GILLRAY'S CARICATURES, comprising a very amusing political history of the reign of George the Third, by THOS. WRIGHT, Esq., and R. H. EVANS, Esq. (Edited by Henry G. Bohn, and arranged according to the dates of publication, so as to be applicable to all collections), 8vo. hf. bound morocco, uniform with the folio volume of Caricatures to which it refers, £1. 1s

Published at £5. 5s, reduced to £4. 4s.

The Green Vaults, Dresden.

1851

Illustrations of the Choicest

Works in the Museum of Art, edited by PROFESSOR GRUNER, atlas 4to. portrait and 28 beautiful plates in gold and colours, executed in chromo-lithography by Storch and Kramer, and numerous woodcuts in the text, extra cloth, gilt edges

1876

One of the most beautiful books ever produced. The preface and descriptions are by Alexander Allen; the History of the Green Vaults and their contents by Professor Gruner, Director of the Royal Museum, Dresden.

Frescoes by Raphael on the Ceiling of the stanza

del Eliodoro in the Vatican, drawn by Consoni, and engraved by Gruner and LANGER, with descriptions by LADY EASTLAKE, atlas folio, 6 large plates, one of them in colours, bds. 368

1876

Gruner's Italian Fresco Paintings: FRESCO DE

CORATIONS and Stuccoes of CHURCHES and PALACES in ITALY during the Fifteenth and Sixteenth Centuries, a splendid volume, imp. folio, frontispiece and 55 very large, elaborate and most interesting engravings, after the original Paintings of Raphael, Giulio Romano, Giovanni da Udine, Baldassare Peruzzi, Sebastian del Piombo, Correggio, Moretto, Ambrogio da Fasano, Bramantino, Bernardino, Luini, Pinturicchio, &c. several ELABORATELY FINISHED IN COLOURS, and coloured keyplates are given to shew the colouring of the rest; with DESCRIPTIVE TEXT and an Essay by J. J. HITTORFF, on the Arabesques of the Ancients, as compared with those of Raphael and his School (pub. £8. 8s) hf. bd. red morocco, gilt edges, £7.78

1854.

an almost UNIQUE copy, all the frescoes coloured by hand, atlas folio, red morocco extra, by Bedford, and in a leather case, £105.

1854

This magnificent work is no less valuable to the Architect than to the Painter. It does not profess (says the Quarterly Review in an elaborate article) to exhibit fresh decorative painting in that highest walk chosen by Michael Angelo and Raffaelle (except as a handmaid), but as a purely decorative Art and subservient to Architecture. Owing its very existence to the exigencies of the sovereign art, and deriving its appropriate locality, scale and effect from the edifice, it no less assists the Architecture, in return, by its arabesques and other tasteful accessories.

The letterpress can be had either in English or French.

LIST OF PLATES TO GRUNER'S ITALIAN FRESCOES.

The progressive number of the Plates is to be found at the bottom in the centre of each Plate.

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Cathedral of St. Cecilia, at Alby,
France.

50. XIV. Paintings of one of the Compart-
ments of the Groined Ceiling. School of
Ambrogio da Fossano.

Villa Belcaro, near Siena. 51. XV. The Chapel, built and painted by Balthazar Peruzzi.

St. Sigismund near Cremona. 52. XVI. Painted Soffits of the Windows. By Bernardino Gatti.

St. Bernardino at Perugia. 53. XVII. View of the Exterior. By Agostino Fiorentino

Cathedral of Spoleto.

54. XVIII. Decorations of the Eroli Chapel. By Jacobo Siciliano.

55. Key for Colouring the Plates of Palaces. 56. Key for Colouring the Plates of Ecclesiastical Buildings.

Heriarte (Mauricio de) Descripção do Estado do Maranhão, Pará,

Corupá, e Rio das Amazonas, feita por mandado do Governadorgeneral D. Vaz da Sequeira, 1662, dada à luz por primeira vez (por Varnhagen), sm. 8vo. sd. 48

Vienna, 1874

Gruner's Specimens of Ornamental Art, selected from the best Models of the Classical Epochs (RAPHAEL, &c.), atlas folio, 80 very large plates, most of which are most SPLENDIDLY EXECUTED IN GOLD AND COLOURS, with a 4to. vol. of Descriptions (pub. at £12. 12s in cloth), 2 vols. new hf. morocco, gilt edges, £12. 12s

Published under the patronage of H.M. Government, 1850

The work has now become very scarce, and is in general request as the best BOOK of CLASSICAL ORNAMENT. Copies have sold at sales for £14. 14s and upwards.

A MORE MAGNIFICENT VOLUME than the above has never been produced in any country. It is difficult to conceive the gorgeous yet harmonious effect of the colours, which could only have been produced by the Litho-chromatographic process. The plates are of a very large size, and present some of the most tasteful specimens of Decorative Art of every description by the greatest Masters, including RAPHAEL, GIULIO ROMANO, PRIMATICCIO, HOLBEIN, GIOTTO, &c.

GRUNER'S ORNAMENTAL ART LIST OF PLATES.

I: ARCHITECTURAL ORNA

MENTS, MONOCHROME
DESIGNS, &c.

1. Doors of the Classical Orders.

2. Mode of Constructing the Curves of some of the Etruscan Vases.

3. Bronze Candelabrum. Museum of Naples 4. Two Bronze Candelabra. Same Museum. 5. Richly Chased Arms. XV and XVI Centuries. Historical Museum, Dresden. 6. Cup designed by Holbein for Henry VIII. British Museum.

7. Bookbinding, XVI Century. From the Vatican.

8. Flowers from Nature, ornamentally arranged.

9. Hawthorn in Flower and Fruit, from Nature.

10. Convolvulus and French Bean, from
Nature.

11. Part of a Frieze, XVI Century.
12. Capital of a Pilaster, from the Temple of
Mars the Avenger, at Rome.

13. Greek Frieze in Terra Cotta, from the
Collection of the Cavaliere Campana, at
Rome.

14. Two Friezes in Terra Cotta, from the same Collection.

15. Part of an Ancient Pilaster in the Villa Medici at Rome.

16. Ancient Car or Biga, from the Vatican. 17. Part of an Ancient Column, ditto.

18. Frieze by Andrea del Monte Sansovino, XVI Century.

19. Festoon by the same.

20. Tarsia or Inlaid Wood, by Fra Giovanni, XV Cent. S. Maria in Organo, Verona.

21. Inlaid Wood, by the same.

22. Inlaid Wood, by the same.

23. Inlaid Wood, by the same.

24. Inlaid Wood, by the same. 5 Inlaid Wood, by the same.

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28. Tesselated Pavements from the earliest Christian Churches, Rome.

29. Parts of Two Pavements in "Terrazzo Veneziano," Palazzo del T. Mantua.

II: POMPEIANA.

30. Arrangement of the Paintings in the House of the Second Fountain.

31. Portion of the same.

32. Column from a Wall-Painting.
33. Portion of a mural Painting in the Casa
de' Bronzi.

34. Frieze with Children, from a similar painting.
35. Painted Wall in the House of the
Labyrinth.

36. Mosaic Fountain in the House of Medusa.

III: CHURCH ORNAMENTS. 37. Mosaic Lunette above the High Altar of St. Clemente. Rome, XII Century. 38. Mosaic Lunette in St. John Lateran, by Jacobo della Turreta, XIII Century. 39. Mosaic Arabesks by Jacobo della Turreta, in the same Church.

40. Painted Details of Lower Church of San
Francisco, Assisi.

41. Painted Pillar and Ribs by Giotto, Assisi.
42. Painted Frieze and Zocle, Assisi.
43. Painted Wall Hangings.

44. Details of Church of St. Andrea, Ver-
celli.

45. Borders from the same.

46. Ditto, in outline.

47. Paintings in the Church of St. Anastasia, Verona.

48. Details of Paintings, plate II.

49. Groined Ceiling, S. Francesco, Lodi. XIV

Century.

50. Painted Details, S. Francesco, Lodi.

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Gruner's Ornamental Art-continued.
51. Details of wood carving, S. Maria l'In-
coronata at Lodi. XVI Century.
52. Painted Domes by Calisto di Lodi.
53. Soffit, Santuario di Lodi.

54. Working drawing of the same, plate C.
55. Working drawing of the same, plate D.
56. Enrichment in Stone and Terra Cotta.
S. Maria delle Grazie, Milan.
57. Painted Arch by Luini.

58. Portion of Ceiling by Luini.

59. Portion of a Ceiling, Monast. Maggiore,
Milan.

60. Paintings of an Archivolt, S. Ambrogio,
Milan, by Luini.

61. Sepulchral Monuments XV and XVI
Centuries. S. Maria del Popolo.

62. Bronze and Iron Gates and Railings, XV
and XVI Centuries.

IV: PALACES.

63. Detail of Wooden Ceiling, Verona. XIV
Century.

64. Portions of a Ceiling and Cornice from
the Gabinetto d'Este, Mantua, by Giulio
Romano.

65. Carved and Gilt Columns in the same Apartment.

66. Portions of Carved Pilasters.

67. Arrangement of a Carved Ceiling.
68. Portion of the same, full size.

69. Portions of a Ceiling and Cornice from
the "Stanza de' Mori," Palazzo Veccnio,
at Mantua, by Primaticcio.

70. Painted Ceiling and Frieze.

71. Arrangement of the Paintings of a coved Ceiling by Giulio Romano.

72. Portions on a larger scale.

73. Plan, Elevation and Ceiling of the "Stanza,
de' Marmi," Palazzo Vecchio, at Mantua.
of the "Stanza d'Orfeo."

74.
75. Portion of Elevation of the Court-Yard;
Casa Taverna, Milan, by Luini.

76. Decorations of the Portico.

77. Paintings, by Giulio Romano and Perin del Vaga, S. Angelo, Rome.

78. Continuation of the same.

79. Paintings from the Bath-room of Cardinal Bibbiena, in the Vatican, by Raphael d'Urbino.

80 Ceiling of the Stanza della Segnatura in the Vatican, by Raphael d'Urbino.

Dedicated by express command to H.R.H. the Crown Princess of Prussia,
Princess Royal of England.

Gruner's Terra-Cotta Architecture of North Italy

(12th-15th Centuries). A Series of Select Examples for Imita.
tion in other Countries, from Careful Drawings and Restorations,
by FEDERIGO LOSE; with Descriptive Letterpress. Edited by LEWIS
GRUNER, 1 vol. folio, with 48 chromo-lithographic plates, with Eleva-
tions, Sections, Mouldings, and Working Drawings in line, hf. bd.
morocco, uncut, £5. 5s
John Murray, 1865

Only a limited edition was printed, and few copies remain for sale.

One of the greatest impediments to the progress of Architectural Art in this country has been the difficulty of finding any building material which should unite durability with elegance, and should not at the same time be so expensive as to preclude its being generally employed. Stone suitable for building purposes is not found in many parts of the country, and especially not near the Metropolis. In addition to its expensiveness, stone soon becomes discoloured, and many kinds decay rapidly when exposed to smoke and atmospheric impurities. In all the south-eastern districts of the country brick is the usual substitute resorted to; but, as hitherto employed, its shape and colour, combined with the smallness of its size, have resulted in extreme meanness of effect, and rendered its employment impossible when anything like artistic effect was aimed at. An escape from this dilemma has been attempted by covering the brickwork with stucco; but this is admitted to be at least a most undesirable makeshift.

Under these circumstances, the employment of Terra-Cotta seems to offer a means of remedying this defect more readily than any other which has yet been suggested. It is more durable than stone; its colour may be toned down if desirable; its neatness and preciousness remove at once all appearance of meanness; and it is capable of being moulded into ornaments of any amount of complexity or sharpness of detail. For a long time its employment in this country has been limited by fiscal regulations connected with the duty on bricks, and when resorted to, has too often been unsuccessful for want of refined and elegant models. Of late, however, several firms have undertaken its manufacture on a large scale, and can produce articles of elegance and durability.

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