Cambridge and its Story by Charles William Stubbs : (full image Illustrated)

Infinitif, to spring. Prétérit, sprang/sprung. Participe passé, sprung. Participe présent (et gérondif), springing. 3ème personne du singulier.

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A history of the university and town, with emphasis on the former.


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Numerous colour and black and white illustrations throughout the text. A very nice copy. A comprehensive 2 volume set covering college history on a thematic basis, that used to be presented to all undergraduates gaining first class honours. Large format black cloth covers. Many illustrations interspersed throughout the text. A look at university history from passages of prose and verse from writers well known and unknown.

A good copy of a most interesting miscellany. A selection of photographs from the Francis Frith collection, covering Cambridge and surrounding area. The photos date from between and A most interesting selection of old photos in mint condition.

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A Victorian reprint of Fuller's original work of An early-Victorian reprint of 3 works by Thomas Fuller. The History of the University of Cambridge was originally published in , and occupies the first pages of this volume with a town plan and 3 engravings of colleges. Ex library copy with a couple of stamps, but otherwise the previous ownership is unobtrusive. An interesting and well-illustrated history of the county.

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A history of the town rather than of the university. Published by Heffers. A history of the university, being a companion volume to Gray's work on the town of Cambridge. First published in , this is a new, revised edition with 34 new illustrations. Paperback college history. A nice copy in good condition. Descriptive text on each facing page. Olive drab paper and beige cloth covers. This is no of a limited edition print run of Frankl M. A photographic tour of the university and colleges with brief text commentary on each.

Richly illustrated with 55 colour photographs, mostly by E. A very good copy. This the third paperback editiont. Selective college history published by Heffers. Presentation copy from the author. Anecdotes from University life. First published in , this is the first print of an enlarged edition. A history of the university comedy club, Footlights.

Numerous black and white photos throughout the text. A short topographical and historical guide to the county. Hinge cracked and repaired with tape. First published in Rebound in cloth and paper covers, with a coloured town plan and one photograph of King's College Chapel. Good condition. Not dated but probably just after Short 2 cm tear to cloth at spine, and with a few marks, but interesting for the early colour photos. Catherine's College Cambridge Illustrated with 25 black and white photographs.

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Keesey 1st ed. From A. Black's Sketchbook series. A miscellany of topics relating to the history of the town rather than the university. Humerous episodes from university life. No date, but probably dating from the 's. A history and guide to the university and town. Overall a good copy. A photographic tour of the university, colleges and town. Brief histories of each of the Cambridge colleges.

A brown glaze overpaint which was used to disguise the original sceptre was also utilised for the newly painted sceptres figure 9. A test revealed that the original sceptre was gilt with bright glimmering gold leaf. The whole painting was imaged using IRR and a detail of the king also imaged with X-radiography, confirming the reworking intervention figure A crosssection figure 12 taken from the reworked right arm revealed a multiple layer build-up including the grey imprimatura, followed by three original paint layers, the first composed of lead white, vermilion and red lake with the second and third of vermilion and red lake.

Above this were further layers of.


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Made visible are eyes, nose, mouth and the suggestion of a moustache and beard. Evident are original paint layers sitting above the grey imprimatur: firstly a warm orange-coloured layer, comprising a range of pigments including lead white, vine black, earths and red lake, followed by two thin warm grey modelling layers composed of lead white, vine black and earth. Above sit two thickly applied dense lead white layers with sparsely scattered vermilion particles. A cross-section sample figure 15 from the edge of his non-original right sandal reveals the layer structure: original lower red layers from his longer gown, followed by the later applied brown paint layers of his sandal and cushion.

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The ornate cushion is also part of the reworking. It is unclear from the IRR and X-radiograph what was positioned here originally,. The upper image, taken in normal light, shows the grey imprimatura followed by three original red paint layers. Above sits the non-original paint layers from the reworking that is more evident when examined under ultraviolet fluorescence lower image. A change in head position is distinct with multiple facial features visible glancing down to his right. The non-original reworking is apparent above the original scheme. The lower red layers provide further evidence that his gown was originally full length, extending to his feet.

The layer build-up of the original layers in this cross-section is similar to the layer structure observed in figure The cross-section provides evidence of the original layer build-up, including the lower chalk ground layer. The painter predominantly used a pigmented layer of azurite followed by a thin red lake glaze.

Above can be seen non-original white detailing and brown paint. The two Latin texts at the bottom of the composition, currently explaining the meaning of the scene, were also reworked in the intervention. A suggestion of text was visible but unfortunately indecipherable figure What can be confirmed is that the sizes of the text boxes were originally smaller with a bordered outline. Interpretation of what is revealed in the IR image would suggest that the text was in a non-carbon-based pigment low absorption of the IR light and the surround of the text in a carbon-based pigment high absorption of the IR light.

The original text boxes appear to be fragmentary figure 20 , implying that they were either purposefully defaced or a removal was attempted prior to the reworking. Repairing may also point to the reworking of the Latin scripts which look fragmentary. It could be speculated that a dislike of the image by members may have led to an attempted removal of the text which resulted in the need for repair, while at the same time allowing improvements to be made to the king.

Infrared reflectograph detail of the lower left Latin text. The smaller text box outline of the original scheme can be seen beneath the current scheme but unfortunately the original text is illegible. Infrared reflectograph detail of the lower right Latin text. Unfortunately the original text is illegible. Original text beneath the current scheme is suggested in infrared but indecipherable. Original text boxes appear fragmentary. The authoritative, dominant and central figure of the painting is King Solomon.

The story of the Judgement of Solomon is commonly used as an exemplary case of righteous and impartial judgement, yet it aptly separates judgement and impartiality. With the reworking, the king looks the executioner in the eye, giving his initial superficial impartial judgement to split the child into two equal halves. Who painted The Judgement of Solomon?

The painter of The Judgement of Solomon is revealed, to some degree, by the recent cleaning. Yet during removal of the non-original brown glazed repaint layer, two sets of initials, assumed to be by the original painter, were uncovered. The initials are extremely faint and only visible under a strong light source figure The incised initials are probably by a different hand, applied during a later restoration campaign, after the original initials had. The upper image is taken in normal light under a strong light source with the initials only just discernible. The initials measure approximately 2.