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Journal articles on the topic 'Fitzwilliam Museum'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

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 publishe

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2

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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3

Quirke, Stephen. "Kerem in the Fitzwilliam Museum." Journal of Egyptian Archaeology 76 (1990): 170. http://dx.doi.org/10.2307/3822021.

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4

PALMER, VANESSA. "TREASURES OF THE FITZWILLIAM MUSEUM." Art Book 13, no. 1 (2006): 62. http://dx.doi.org/10.1111/j.1467-8357.2006.00653_3.x.

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5

Quirke, Stephen. "Kerem in the Fitzwilliam Museum." Journal of Egyptian Archaeology 76, no. 1 (1990): 170–74. http://dx.doi.org/10.1177/030751339007600119.

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6

Wallis, Nicola. "Let's go to…: the Fitzwilliam Museum." Nursery World 2023, no. 2 (2023): 30. http://dx.doi.org/10.12968/nuwa.2023.2.30.

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7

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

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8

Lin, James. "“Khotan Jades in the Fitzwilliam Museum Collection”." Journal of Inner Asian Art and Archaeology 2 (January 2007): 117–22. http://dx.doi.org/10.1484/j.jiaaa.2.302552.

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9

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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10

Nicholls, R. V. "More Bone Couches." Antiquaries Journal 71 (September 1991): 36–45. http://dx.doi.org/10.1017/s0003581500086819.

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This paper publishes some Roman bone carvings in the Fitzwilliam Museum collected by Sir Henry Wellcome and given by the Wellcome Trustees in 1982–3. All seem to be from or associated with a range of elaborate couches produced in Italy in Republican and Early Imperial times and found in burials there and in the provinces. They have come to the Fitzwilliam largely because of that museum's earlier initiative in restoring such a couch, described by the author in Archaeologia 106 (1979), 1–32.

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11

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

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12

Smith, Robert D., and Ian Eaves. "Catalogue of European Armour at the Fitzwilliam Museum." Sixteenth Century Journal 34, no. 4 (2003): 1140. http://dx.doi.org/10.2307/20061667.

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13

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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14

Burn, L. "Introduction: Greece and Rome at the Fitzwilliam Museum." Journal of the History of Collections 24, no. 3 (2012): 285–87. http://dx.doi.org/10.1093/jhc/fhr041.

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15

de Lange, Nicholas. "The Greek Glosses of the Fitzwilliam Museum Bible." Zutot 2, no. 1 (2002): 138–47. http://dx.doi.org/10.1163/187502102788638897.

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16

Strudwick, Nigel. "A Slab of 'Int-kys in the Fitzwilliam Museum." Journal of Egyptian Archaeology 73 (1987): 200. http://dx.doi.org/10.2307/3821532.

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17

Oster, David M. "Catalogue of European Armour at the Fitzwilliam Museum (review)." Journal of Military History 67, no. 2 (2003): 551–52. http://dx.doi.org/10.1353/jmh.2003.0155.

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18

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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19

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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20

Osherow, Michele. "Sampled Lives: Samplers from the Fitzwilliam Museum by Carol Humphrey." Early Modern Women 12, no. 2 (2018): 200–206. http://dx.doi.org/10.1353/emw.2018.0019.

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21

Arnott, Robert. "AN EARLY CYCLADIC BRACELET FROM PHOLEGANDROS IN THE FITZWILLIAM MUSEUM." Bulletin of the Institute of Classical Studies 36, no. 1 (1989): 117–26. http://dx.doi.org/10.1111/j.2041-5370.1989.tb00567.x.

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22

Tooley, Angela M. J. "Coffin of a Dog from Beni Hasan." Journal of Egyptian Archaeology 74, no. 1 (1988): 207–11. http://dx.doi.org/10.1177/030751338807400118.

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A small coffin in the Fitzwilliam Museum E.47. 1902, discovered by Garstang at Beni Hasan bears the htp-di-nsw formula for its owner, called Hb. The coffin had held the body of an animal identified by Garstang as ajackal, but which was more probably that of a dog. The coffin and name are of late Eleventh-Dynasty date and the name Hb is otherwise unattested for a dog.

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23

Burden, Michael. "When Mr Paradies Provided the Songs: The London Opera Arias of Fitzwilliam Museum, Mu.Ms.108." Fontes Artis Musicae 70, no. 3 (2023): 197–222. http://dx.doi.org/10.1353/fam.2023.a909189.

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English Abstract: This article examines the form, contents, and context of Fitzwilliam Museum MU.MS.108. This is a gathering together of a group of arias in autograph written by the Italian composer, Domenico Paradies (1707–1791), for London’s King’s Theatre, the elite venue for imported opera and dance. The manuscript, either as loose leaves or as a bound collection, was sold by Paradies to the founder of the museum, Richard, 7th Viscount Fitzwilliam (1745–1816) in 1770. While known, the source has not been examined closely, nor has it been explored in relation to the opera seasons for which

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24

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 Canter

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25

Merian, Sylvie L. "Newly-Identified Armenian Silver Placques from Kayseri in the Fitzwilliam Museum." Manuscripta 51, no. 2 (2007): 261–69. http://dx.doi.org/10.1484/j.mss.1.100106.

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26

Metcalf, Harry. "Deceptive Repairs to Israhel van Meckenem Prints in the Fitzwilliam Museum." Journal of Paper Conservation 24, no. 3-4 (2023): 83–90. http://dx.doi.org/10.1080/18680860.2023.2291718.

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27

Gill, David W. J., and Deborah Hedgecock. "Debris from an Athenian lamp workshop of the Roman period." Annual of the British School at Athens 87 (November 1992): 411–21. http://dx.doi.org/10.1017/s0068245400015239.

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In 1969 the Fitzwilliam Museum, Cambridge, purchased fifty-five fragments of relief disci from Athenian terracotta lamps of the 3rd and 4th centuries AD. They comprise thirty discus types, and the presence of at least one waster may suggest that they are discards from a kiln site. Recent excavations in the Kerameikos have provided some parallels for the material, especially from the Roman kilns which were built in the ruins of Building Y, to the east of the Sacred Gate.

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28

Reade, Julian. "The Ishtar Temple at Nineveh." Iraq 67, no. 1 (2005): 347–90. http://dx.doi.org/10.1017/s002108890000142x.

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Nineveh, like modern Mosul of which it is now a suburb, lay at the heart of a prosperous agricultural region with many interregional connections, and the temple of Ishtar of Nineveh dominated the vast mound of Kuyunjik (Fig. 1). Trenches dug on behalf of the British Museum, mainly by Christian Rassam in 1851–2, Hormuzd Rassam in 1852–4 and 1878–80, George Smith in 1873–4, and Leonard King and Reginald Campbell Thompson in 1903–5, impinged on the site. The main temple was almost completely cleared, together with an area to the north-west, by Thompson and colleagues in four seasons between 1927

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29

Belova, Galina Alexandrovna. "On the Question of the Continuity of Saite Traditions in Dynasty 30 (Cambridge, Fitzwilliam Museum E.5.1909; Brooklyn, Brooklyn Museum 56.152)." Journal of Egyptian History 14, no. 2 (2021): 103–26. http://dx.doi.org/10.1163/18741665-bja10007.

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Abstract When W.M. Flinders Petrie excavated the Palace of Apries he uncovered a limestone block with inscriptions on both sides. This block was published in 1909 and is now kept in the Fitzwilliam Museum in Cambridge. Bernard Bothmer first compared the Cambridge block to another one kept in the Brooklyn Museum. He emphasized that they correspond closely and that the representations differ only minutely. After Bothmer’s publication, both artifacts were considered as originally parts of a single structure. In this contribution the function of the monument of which this block was originally a pa

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30

Bridges, Venetia. ":Lettre d’Alexandre sur les merveilles de l’Inde (Cambridge, Fitzwilliam Museum, CFM 20)." Speculum 98, no. 2 (2023): 634–35. http://dx.doi.org/10.1086/724264.

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31

Cooper, C. L. "A case study in collaboration: displaying Greece and Rome at the Fitzwilliam Museum, Cambridge, UK." Museum Management and Curatorship 28, no. 5 (2013): 467–90. http://dx.doi.org/10.1080/09647775.2013.850827.

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32

Gill, David W. J. "Etruscan Mirrors - R. V. Nicholls: Corpus Speculorum Etruscorum, Great Britain 2. Cambridge. Corpus Christi College, The Fitzwilliam Museum, Museum of Archaeology and Anthropology, The Museum of Classical Archaeology. Pp. 141, 105 ills, (plates and line drawings). Cambridge: Cambridge University Press/Fitzwilliam Museum, 1993. Cased, £60/$95." Classical Review 45, no. 2 (1995): 388–90. http://dx.doi.org/10.1017/s0009840x00294390.

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33

Fiorillo, Flavia, Lucia Burgio, Christine Slottved Kimbriel, and Paola Ricciardi. "Non-Invasive Technical Investigation of English Portrait Miniatures Attributed to Nicholas Hilliard and Isaac Oliver." Heritage 4, no. 3 (2021): 1165–81. http://dx.doi.org/10.3390/heritage4030064.

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This study presents the results of the technical investigation carried out on several English portrait miniatures painted in the 16th and 17th century by Nicholas Hilliard and Isaac Oliver, two of the most famous limners working at the Tudor and Stuart courts. The 23 objects chosen for the analysis, spanning almost the entire career of the two artists, belong to the collections of the Victoria and Albert Museum (London) and the Fitzwilliam Museum (Cambridge). A non-invasive scientific methodology, comprising of stereo and optical microscopies, Raman microscopy, and X-ray fluorescence spectrosc

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34

Planas Badenas, Josefina. "Disjecta membra: cuatro folios procedentes de un libro de horas iluminado en el reino de Valencia." Matèria. Revista internacional d'Art, no. 20 (July 14, 2022): 85–100. http://dx.doi.org/10.1344/materia2022.20.4.

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Este estudio analiza las conexiones existentes entre dos folios sueltos conservados en el Fitzwilliam Museum de Cambridge (Mary cuttings Sp. 1ª-1b) originarios de un libro de horas de origen valenciano, con otros dos folios adquiridos recientemente por la Biblioteca Nacional de España (RES/124/19) y (RES/124/20), cuyas afinidades estilísticas revelan una procedencia común. Estos cuatro fragmentos muestran analogías estilísticas con un Oficier Dominical de la catedral de Valencia (Valencia, Arxiu de la catedral, LF 46) relacionado con el pintor y miniaturista Pedro Juan Ballester. A este artist

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35

Reynolds, Suzanne. "‘Some Scraps of Paper’: The Autograph Manuscript of Ode to a Nightingale at the Fitzwilliam Museum." Keats-Shelley Review 33, no. 2 (2019): 140–58. http://dx.doi.org/10.1080/09524142.2019.1659017.

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36

Curteis, Tobit. "The Entrance Hall of the Fitzwilliam Museum, Cambridge: A Conservation Approach to Nineteenth-Century Architectural Polychromy." Journal of Architectural Conservation 8, no. 2 (2002): 7–22. http://dx.doi.org/10.1080/13556207.2002.10785316.

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37

Gill, David W. J. "Collecting for Cambridge: John Hubert Marshall on Crete." Annual of the British School at Athens 95 (November 2000): 517–26. http://dx.doi.org/10.1017/s0068245400004780.

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In 1901 excavations were conducted under the auspices of the Cretan Exploration Fund at Praisos and Kato Zakro in eastern Crete. One of the members of the party was John Hubert Marshall, formerly of King's College, Cambridge. During his journey to and from the excavations, and described in the correspondence of Robert Carr Bosanquet, Marshall seems to have acquired antiquities from a number of sites which were purchased by the Fitzwilliam Museum in Cambridge later in the year. This material included antiquities from Palaikastro which was to be become the scene of major excavations by the Briti

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38

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 sc

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39

Knoblauch, Ann-Marie. "The Art of Ancient Cyprus in the Fitzwilliam Museum, Cambridge. Vassos Karageorghis, Eleni Vassilika, and Penelope Wilson." Bulletin of the American Schools of Oriental Research 323 (August 2001): 98–100. http://dx.doi.org/10.2307/1357594.

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40

Kay, Sarah. "Surface and Symptom on a Bestiary Page: Orifices on Folios 61v–62rof Cambridge, Fitzwilliam Museum, MS 20." Exemplaria 26, no. 2-3 (2014): 127–47. http://dx.doi.org/10.1179/1041257314z.00000000046.

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41

Rozeik, Christina. "Thinking outside the box: the re-conservation of a ceramic Clazomenian sarcophagus in the Fitzwilliam Museum, Cambridge." Journal of the Institute of Conservation 34, no. 1 (2011): 80–89. http://dx.doi.org/10.1080/19455224.2011.557000.

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42

Gill, D. W. J. "From the Cam to the Cephissus: The Fitzwilliam Museum and students of the British School at Athens." Journal of the History of Collections 24, no. 3 (2012): 337–46. http://dx.doi.org/10.1093/jhc/fhs009.

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43

Marx, William. "The Index of Middle English Prose, Handlist XVIII: Manuscripts of Pembroke College, Cambridge and the Fitzwilliam Museum." Journal of English and Germanic Philology 107, no. 4 (2008): 522–24. http://dx.doi.org/10.2307/20722672.

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44

Wheeler, Raymond L. "Sir Christopher Sydney Cockerell, C.B.E., R.D.I. 4 June 1910 — 1 June 1999." Biographical Memoirs of Fellows of the Royal Society 47 (January 2001): 67–89. http://dx.doi.org/10.1098/rsbm.2001.0005.

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Christopher Sydney Cockerell was born in Cambridge on 4 June 1910. His father, Sir Sydney Carlyle Cockerell, was at that time Director of the Fitzwilliam Museum at Cambridge, a position he was to hold for nearly 30 years. He had formerly been secretary to William Morris and the Kelmscott Press. His mother was a talented artist known for her superb illuminated manuscripts. Christopher was an only son, with two sisters. His distinguished father's very strong personality made early relationships with him rather difficult. Fortunately he adored his mother, who had a profound influence on him. The

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45

Tomalak, Mirosław. "Two Unknown Paintings by Lodewijk Toeput and Joos de Momper the Younger." Porta Aurea, no. 22 (December 29, 2023): 135–53. http://dx.doi.org/10.26881/porta.2023.22.07.

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Przedmiotem artykułu jest para obrazów z 1583 r. zachowanych w prywatnych zbiorach warszawskich. Podjęta została próba wykazania, że obrazy te są wynikiem współpracy w Treviso dwóch niderlandzkich artystów Joosa de Mompera i Lodewijka Toeputa, zw. Pozzoserrato. Współpraca obu malarzy odbiegała od zwykłej relacji nauczyciel – asystent/uczeń. Cechy stylistyczne pejzażu wskazują, że choć Joos de Momper pozostawał pod wpływem Toeputa, już wtedy jego umiejętności były rozwinięte. Na przykładzie tych dzieł można scharakteryzować wczesny okres twórczości Mompera i stwierdzić, że w swoich pracach malo

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46

Reeve, Anna. "Islanders: The Making of the Mediterranean (Fitzwilliam Museum, Cambridge, UK, 24th February –4th June 2023, curated by Anastasia Christophilopoulou)." European Journal of Archaeology 26, no. 3 (2023): 398–401. http://dx.doi.org/10.1017/eaa.2023.22.

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47

Hiley, David. "The Proper Office for St Pancras (Pancratius) in the Cluniac Breviary-Missal of Lewes, Cambridge, Fitzwilliam Museum, Ms. 369." Musicological Annual 59, no. 1-2 (2023): 45–67. http://dx.doi.org/10.4312/mz.59.1-2.45-67.

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A plainchant office (historia) for St Pancras was composed for the Cluniac monastery dedicated to the saint at Lewes, Sussex, England. The style of its Latin texts and melodies suggests a date close to the foundation of the monastery in 1077.

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48

Müller, Matthias. "New Kingdom Ostraka from the Fitzwilliam Museum, Cambridge.New Kingdom Ostraka from the Fitzwilliam Museum, Cambridge. By HagenFredrik. Culture and History of the Ancient Near East 46. Pp. xiii + 124, pls 63. Leiden, Brill, 2011. ISBN 978 90 04 18295 0. Price €113." Journal of Egyptian Archaeology 100, no. 1 (2014): 511–14. http://dx.doi.org/10.1177/030751331410000133.

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49

Gill, David W. J. "‘A rich and promising site’: Winifred Lamb (1894–1963), Kusura and Anatolian archaeology." Anatolian Studies 50 (December 2000): 1–10. http://dx.doi.org/10.2307/3643010.

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Winifred Lamb was one of the founding members of the British Institute of Archaeology at Ankara, and a pioneering excavator in Anatolia (Caton-Thompson 1964: 51). Lamb had acquired her excavating skills as a member of the British School at Athens, where she was admitted in 1920 after reading Classics at Newnham College, Cambridge and subsequent war service in Room 40 of the Admiralty (The Times [London] 18 September 1963; Woodward 1963; Barnett 1962–3; Annual Report of the British Institute of Archaeology at Ankara 15 [1963] 2–3; Caton-Thompson 1964; Hood 1998: 70–5; Gill in preparation a, c;

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50

Herissone, Rebecca. "The Origins and Contents of the Magdalene College Partbooks." Royal Musical Association Research Chronicle 29 (1996): 47–95. http://dx.doi.org/10.1080/14723808.1996.10540975.

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In March 1916 a short entry in the magazine of Magdalene College Cambridge announced the discovery of ‘a set of five manuscript part books containing English instrumental music of the late seventeenth century’. These had been held in the Old Library of the college and their origin was something of a mystery; for there was no other holding of the library with which they could positively be linked. They were deposited by the Master of the college in the Fitzwilliam Museum where they remained until they were returned to the Old Library in 1969. In 1974 Dr Richard Luckett was asked to catalogue so

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