Search results for ""Author Diana Scarisbrick""

Diamond jewelry has long been symbolic of political power and authority in Europe. This book focuses on the individuals who commissioned and wore extraordinarily precious diamond ornaments from the mid-14th century until the ‘democratization’ of diamonds that followed the opening of mines in South Africa in 1867. This enthralling story covers seven centuries of history, showing the way in which rulers such as Charles V of France, Queen Elizabeth I of Great Britain, Louis XIV of France and Catherine II of Russia used diamond jewelry to reinforce their power and authority. As works of art, these precious creations mirror the successive styles of each period – late Gothic naturalism, the culture of the Renaissance, Baroque splendour, Rococo elegance and the Imperial grandeur of the First and Second Napoleonic Empires. The recurring themes – religion, sentiment, heraldry, military glory, miniatures and cameo portraiture – are reinterpreted by each generation of jewelers. Like royal dress, diamond jewelry was worn to dazzle and impress – at weddings, coronations, christenings and state visits – and was presented as gifts reflecting princely generosity. Over the centuries, these displays proved remarkably successful as instruments of government, symbolizing the pride and glory of a nation. Arranged chronologically, Diamond Jewelry includes some legendary masterpieces of diamond jewelry. Written by an acknowledged expert, it offers an intriguing overview of one of the world’s most precious gems.

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The distinguished private collection, known as the Griffin Collection, comprises in its entirety examples of every category of ring – signet, devotional, memorial, decorative – dating from antiquity to modern times. This catalogue, focusing on about 150 rings in the collection, is concerned with perhaps the most personal rings of all, those associated with love and marriage. Some can be recognised by the figure of Cupid armed with his quiver of golden arrows, others by the symbols of heart and clasped hands. However, the majority are gold bands, sometimes plain and occasionally decorated, that are inscribed with mottoes in English expressing the admiration, affection, and pledges of fidelity which bind humankind together. Known as posies or little poems because they often rhyme, these mottoes were current on rings from the late Middle Ages until the middle of the 19 th century. Through these rings, Ms. Scarisbrick engagingly tells the long story of the relations between the sexes from the fifteenth century, when the cult of courtly love was superseded by an idealization of monogamous marriage, to an end in the twentieth century as a result of a different moral outlook. Scholars would agree that the Griffin Collection of posy rings makes an important contribution to English social history and connects with the national literature from Chaucer to Byron. Small though they are in scale, their significance was appreciated by Victorian collectors, and they are well represented in the leading museums, notably the Victoria and Albert Museum, the British Museum, and the Museum of London, as well as the Ashmolean and Fitzwilliam museums in Oxford and Cambridge. Yet none of these institutions have ever published fully illustrated catalogues of their posy rings, nor has there been an up-to-date study since the seminal monograph by Joan Evans entitled English Posies and Posy rings (1931). In this respect, the catalogue of the Griffin Collection, which illustrates the rings and sets them in context, using wide-ranging literary and historical sources, breaks new ground. It also contains posy rings with inscriptions hitherto unrecorded and others with identified maker’s marks.

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Now available in paperback, this book devotes itself exclusively to rings, considering them thematically rather than chronologically. The author, a world expert, has rich historical and literary knowledge. As she considers rings in all their forms she makes us delight in them as works of art, and makes their context come alive through paintings, drawings and vivid quotations.

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Whereas the life of her husband, the dashing Napoleonic general and diplomat Charles de Flahaut, is well known, Margaret has remained in the shadows. Yet this biographical study, based on unpublished and intimate correspondence in the Archives Nationales, Paris, reveals her to have been the more interesting of the two. It shows how much he depended on her brains, political judgment and artistic taste as well as her fortune to guide him in his career. More than that, their letters to each other also confirm that she made a success of her controversial marriage and that the bond between them was strengthened through all the vicissitudes of their life together. A faithful and sincere friend, she could be an implacable enemy: Talleyrand's companion, the duchesse de Dino, whom she dubbed `that horrid little serpent', and the Duke of Wellington, `that bully', were favourite targets. Her lively, observant but wicked pen takes us with her on visits to Talleyrand at Valencay, to the marquis de Lafayette, to the duchesse de Praslin at Vaux-le-Vicomte, to house parties in stately homes of England and Scotland - Arundel, Woburn, Bowood, Chatsworth, Grimsthorpe and Drummond Castle. Acknowledged a superb hostess, her descriptions of the menus, and entertainments organized in her homes in Scotland, London, and Paris and at the Flahaut embassies in Vienna and in London capture the flavour of those cosmopolitan gatherings. Her guests were also drawn to the display of her fine French furniture and collection of works of art, acquired during her years in Paris which set a new fashion in decoration. Interesting, too, are her accounts of sightseeing in Rome before the city of the Grand Tour changed into the capital of united Italy. The enjoyable social life in the continental watering places is also described, for Margaret believed in the curative effects of spas. A lifelong liberal in politics and an upholder of Whig principles, her politicomanie inspires sharp comments on the opponents of Reform in England and on the self-seeking ministers of Louis-Philippe in France. Unusually, for a British woman, the daughter of Admiral Keith, an inveterate enemy of the French, she shared her husband's admiration for Napoleon and joined with him in supporting Napoleon III. Born before her time she could have made a name for herself in today's world as a professional artist or politician in her own right. As it was, she used her talents to become an expert in the art of living the life so amusingly and vividly evoked in letters to her husband, her children and her close friends. These relationships, which are the heart of the book, are presented to the reader by an English woman historian, herself a Francophile.

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The Beverley Gem Collection at Alnwick Castle is one of the most distinguished in Great Britain still in private hands. Alnwick Castle, ancestral seat of the Earls of Northumberland - and the House of Percy - was built as a border fortress against the Scots in the twelfth century, if not earlier. Substantially enlarged in the fourteenth and fifteenth centuries, and remaining in Percy family hands to this day, it stands now as a prime example of robust stone defensive architecture. Much visited and admired for its impressive exterior, this dramatic stronghold and stately home is the setting for this collection. The Beverley Collection reflects the longstanding interest of the English nobility in both accumulating and commissioning gemstones. The Collection was begun by the First Duchess of Northumberland in the early eighteenth century; but the greater part of it was made later in the century by Algernon Percy, First Earl of Beverley, during a tour of Europe while in the company of his mentor, Louis Dutens. Their success in France and Italy was such that it incited the jealousy of the Empress Catherine of Russia, herself a passionate collector. The range of objects - cameos, intaglios and finger rings of the highest quality - is considerable: Greek, Roman and Etruscan, as well as a notable assemblage of neoclassical signed gems by British artists. One jewel clearly provided inspiration for Michelangelo's painting of Adam on the Sistine Chapel ceiling. The Collection has been little known, except by connoisseurs, but this volume brings to the attention of a broader audience many of the finest products of one of the oldest arts of the western world.

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