Relevant bibliographies by topics / Fitzwilliam museum (Cambridge, GB)

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Academic literature on the topic 'Fitzwilliam museum (Cambridge, GB)'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Fitzwilliam museum (Cambridge, GB)"

1

Greeves, Margaret. "Risk Management at the Fitzwilliam Museum, Cambridge." Journal of Architectural Conservation 7, no. 3 (2001): 67–79. http://dx.doi.org/10.1080/13556207.2001.10785303.

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MacGinnis, John. "Two Achaemenid Tablets from the Fitzwilliam Museum, Cambridge." Iraq 55 (1993): 149. http://dx.doi.org/10.2307/4200374.

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Burn, Lucilla. "Recent Acquisitions of Greek, Roman and Cypriot Antiquities at the Fitzwilliam Museum 2001–2006." Archaeological Reports 53 (November 2007): 191–97. http://dx.doi.org/10.1017/s0570608400000491.

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The Fitzwilliam Museum, founded through the bequest of Richard, 7th Viscount Fitzwilliam of Merrion (1745–1816), is the principal museum and art gallery of the University of Cambridge. The Museum's collection of Greek, Roman and Cypriot antiquities grew steadily throughout the 19th and 20th centuries by gift, bequest, excavation and purchase, and is today one of the finest such collections in the United Kingdom outside London.
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Strudwick, Nigel. "A Slab of 'Int-kȝs in the Fitzwilliam Museum." Journal of Egyptian Archaeology 73, no. 1 (1987): 200–202. http://dx.doi.org/10.1177/030751338707300117.

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Publication of a slab showing 'Int-kȝs and her daughters, which has been in Cambridge since 1909, although nothing is known of its origins. It is suggested that it was originally part of a tomb at Giza. Stylistically, it resembles pieces of both the early and late Old Kingdom. A date in the mid-Fifth or late Sixth Dynasty is likely.
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5

James, N. "How to make sense of treasure." Antiquity 83, no. 319 (2009): 206–8. http://dx.doi.org/10.1017/s0003598x00098215.

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Treasures in themselves are fetishes. Only the admirer can make 'treasure' of a find in isolation; but to wonder about it as treasure opens apt questions about why the thing was valued, by whom and under what conditions. It was worrying, then, when the Fitzwilliam Museum, Cambridge University's art collection, took in an exhibition of striking ancient finds returning to the Georgian National Museum from the USA (Smithsonian Institution and New York University). For the usual focus on the intrinsic qualities of fine art sits awkwardly with archaeological concern for context. The Fitzwilliam did tend to isolate the exhibits; but, here, that yielded an advantage as well as a difficulty.
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6

Nash, Penelope. "Illuminated manuscripts and incucabula in Cambridge: A catalogue of western book illumination in the Fitzwilliam museum and the Cambridge colleges, part five: Illuminated incunabula, volume one: Books printed in Italy [Book Review]." Journal of the Australian Early Medieval Association 15 (November 1, 2019): 127–29. http://dx.doi.org/10.35253/jaema.2019.1.6.

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Review(s) of: Illuminated manuscripts and incucabula in Cambridge: A catalogue of western book illumination in the Fitzwilliam museum and the Cambridge colleges, part five: Illuminated incunabula, volume one: Books printed in Italy, by Andriolo, Azzura Elena and Reynolds, Suzanne, (London and Turnhout: Harvey Miller, 2017) hardcover, 288 pages, RRP 149 pounds/Euro175; ISBN: 9781909400856.
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7

Olleson, Philip, and Fiona M. Palmer. "Publishing Music from the Fitzwilliam Museum, Cambridge: The Work of Vincent Novello and Samuel Wesley in the 1820s." Journal of the Royal Musical Association 130, no. 1 (2005): 38–73. http://dx.doi.org/10.1093/jrma/fki005.

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AbstractIn 1816, Richard Fitzwilliam died, bequeathing his important music collection to the University of Cambridge. In 1824 the University decided to allow selections from it to be published. The most important outcome was Vincent Novello's five-volume The Fitzwilliam Music (1825–7), containing Latin church music by Italian composers of the sixteenth to the eighteenth centuries, but there was also an edition by Samuel Wesley of three hymn tunes by Handel to words by his father, and Wesley also projected an edition of motets from Byrd's Gradualia which for financial reasons was never published. This article discusses Fitzwilliam's bequest, the involvement of Novello and Wesley, the two publications that resulted in the 1820s, and Wesley's unsuccessful Byrd project.
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8

James, N. "In the gallery: priorities today." Antiquity 86, no. 331 (2012): 235–40. http://dx.doi.org/10.1017/s0003598x00062591.

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How do visitors make sense of displays? What should curators be trying to achieve with them? Some 70 experts and students spent a day on these and related issues at the Fitzwilliam Museum, in Cambridge University, on 23 September last, to celebrate the completed rearrangement of its Greek & Roman gallery. That project provoked much of the discussion but comparisons were drawn from the current development of Oxford Universitys Ashmolean Museum and from elsewhere in Britain and overseas (James 2009, 2010). Short lectures by Kate Cooper and Lucilla Burn, of the Fitzwilliam, and by Rick Mather, architect of the Ashmolean’s rearrangements, were followed by eight panellists’ remarks on technical and methodological issues; and the day was rounded off with the Museum’s Severis Lecture for 2011,Dimitrios Pandermalis on The new AcropolisMuseum: project and realization’ (Figure 1).
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9

Holder, Stephen. "The noted Cluniac breviary~missal of Lewes: Fitzwilliam Museum manuscript 369." Journal of the Plainsong and Mediaeval Music Society 8 (January 1985): 25–32. http://dx.doi.org/10.1017/s0143491800000763.

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The manuscript Cambridge, Fitzwilliam Museum, 369 (henceforth Cfm 369) was made in the 13th century for the English Cluniac priory of St.Pancras at Lewes in Sussex. It is not known if the priory itself produced the manuscript or if it were copied elsewhere. Leroquais [1] described it as a breviary-missal. It is undoubtedly the most important surviving English Cluniac liturgical source, for it contains not only the liturgical texts of mass and office complete, but is also notated. Among the services for monastic office and mass there appears a full monastic rhymed office for St.Thomas of Canterbury, unspoilt, a rarity in England. Cfm 369 also has a full office for the patron saint of the priory, St.Pancras.
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10

Timmermann, Anke. "Alchemy in Cambridge." Nuncius 30, no. 2 (2015): 345–511. http://dx.doi.org/10.1163/18253911-03002003.

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Alchemy in Cambridge captures the alchemical content of 56 manuscripts in Cambridge, in particular the libraries of Trinity College, Corpus Christi College and St John’s College, the University Library and the Fitzwilliam Museum. As such, this catalogue makes visible a large number of previously unknown or obscured alchemica. While extant bibliographies, including those by M.R. James a century ago, were compiled by polymathic bibliographers for a wide audience of researchers, Alchemy in Cambridge benefits from the substantial developments in the history of alchemy, bibliography, and related scholarship in recent decades. Many texts are here identified for the first time. Another vital feature is the incorporation of information on alchemical illustrations in the manuscripts, intended to facilitate research on the visual culture of alchemy. The catalogue is aimed at historians of alchemy and science, and of high interest to manuscript scholars, historians of art and historians of college and university libraries.
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Books on the topic "Fitzwilliam museum (Cambridge, GB)"

1

Gillingham, Bryan. Indices to Cambridge, Fitzwilliam Museum MS 369. Institute Of Mediaeval Music, 2008.

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2

Museum, Fitzwilliam, ed. Indices to Cambridge, Fitzwilliam Museum MS 369. Institute Of Mediaeval Music, 2008.

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3

Eleni, Vassilika, Wilson Penelope, and A. G. Leventis Foundation, eds. The art of Ancient Cyprus in the Fitzwilliam Museum, Cambridge. A.G.Leventis Foundation, 1999.

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4

L, Bayne-Powell R., ed. Catalogue of portrait miniatures in the Fitzwilliam Museum, Cambridge. Cambridge University Press, 1985.

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5

Museum, Fitzwilliam, ed. Renaissance and Baroque bronzes from the Fitzwilliam Museum, Cambridge. Daniel Katz, 2002.

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6

Burne-Jones, Edward. Burne-Jones, 1833-1898: Dessins du Fitzwilliam Museum de Cambridge. [s.n.], 1992.

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7

Poole, Julia. Italian maiolica and incised slipware in the Fitzwilliam Museum, Cambridge. Cambridge University Press, 1995.

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8

Poole, Julia. Italian maiolica and incised slipware in the Fitzwilliam Museum, Cambridge. Cambridge University Press, 1995.

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9

Thea, Vignau-Wilberg, and Fitzwilliam Museum, eds. Das Goldene Jahrhundert: Holländische Meisterzeichnungen aus dem Fitzwilliam Museum, Cambridge. Staatliche Graphische Sammlung, 1995.

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10

S, Clackson, and Fitzwilliam Museum, eds. Stelae from Egypt and Nubia in the Fitzwilliam Museum, Cambridge: C. 3000 B.C.-A.D. 1150. Cambridge University Press, 2005.

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Book chapters on the topic "Fitzwilliam museum (Cambridge, GB)"

1

"Preliminary Material." In New Kingdom Ostraca from the Fitzwilliam Museum, Cambridge. BRILL, 2011. http://dx.doi.org/10.1163/9789004183766_001.

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"Introduction." In New Kingdom Ostraca from the Fitzwilliam Museum, Cambridge. BRILL, 2011. http://dx.doi.org/10.1163/9789004183766_002.

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"Catalogue." In New Kingdom Ostraca from the Fitzwilliam Museum, Cambridge. BRILL, 2011. http://dx.doi.org/10.1163/9789004183766_003.

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"Bibliography." In New Kingdom Ostraca from the Fitzwilliam Museum, Cambridge. BRILL, 2011. http://dx.doi.org/10.1163/9789004183766_004.

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"Indices." In New Kingdom Ostraca from the Fitzwilliam Museum, Cambridge. BRILL, 2011. http://dx.doi.org/10.1163/9789004183766_005.

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"Plates." In New Kingdom Ostraca from the Fitzwilliam Museum, Cambridge. BRILL, 2011. http://dx.doi.org/10.1163/9789004183766_006.

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"Color Plates." In New Kingdom Ostraca from the Fitzwilliam Museum, Cambridge. BRILL, 2011. http://dx.doi.org/10.1163/9789004183766_007.

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8

"1. Aberdeen, University Library, 216 – 119. Cambridge, Fitzwilliam Museum 45-1980." In Anglo-Saxon Manuscripts. University of Toronto Press, 2014. http://dx.doi.org/10.3138/9781442616288-004.

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9

Cartwright, Caroline R. "Identifying ancient Egyptian coffin woods from the Fitzwilliam Museum, Cambridge using scanning electron microscopy." In Ancient Egyptian Coffins. Oxbow Books, 2018. http://dx.doi.org/10.2307/j.ctvh9w0cw.5.

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10

Caldelli, Maria Letizia. "Iscrizioni falsae nelle collezioni inglesi." In Antichistica. Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-386-1/004.

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This paper considers some forged inscriptions from the epigraphic collection of the Fitzwilliam Museum in Cambridge, as the arrival point of a complex series of passages, which began with the emergence of antiquarian collections in England. By investigating these cycles, it is possible to observe how the same epigraphic text, certainly not classical, had to change its nature according to the historical contexts and the sensitivity of its users, developing from an erudite exercise into a functional element, and eventually becoming a ‘true false’.
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