History of Scottish Seals from the Eleventh to the Seventeenth Century: With Upwards of Two Hundred Illustrations Derived from the Finest and Most Interesting Examples Extant, Volume 2

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Page 115 - ... result that the French elegance gave way to the less polished, but perhaps more virile treatment brought forward by indigenous exponents of art workmanship.' The seals of the monasteries of Scotland form, says Dr. Birch, 'a class by themselves, different from the contemporary seals of English Houses by their greater simplicity and chasteness, but equal to them in taste and feeling. . . .' Dr. Birch's opinion on this subject and also his observations on the particular seals which he selects for...
Page 81 - Chemical analysis does not diminish the difficulty ; the lake-coloured pigments of a miniature of the end of the fourteenth or beginning of the fifteenth century have been analysed by Dr. Antonio Fabroni of Arezzo, who, after stating...
Page 29 - The obverse of this medal is a laureated head of HRH the Prince Regent, with the legend — " GEORGE P. REGENT." The reverse is a figure of Victory, seated ; holding in her right hand a palm branch and in her left a sprig of olive — emblems of the victorious achievement and the peace which followed : underneath is inscribed the word "WATERLOO." Exergue — "JUNE 18, 1815;" above is the immortal name of WELLINGTON.
Page 10 - ... length the achievements of the thirteenth and fourteenth centuries, which he recognizes as their best period, and leaving them only when, after the Reformation, their artistic interest had dwindled to extinction. Before the arrival of that last epoch of decadence, however, Scotland had ' been peculiarly fortunate in possessing among her prelates of the Church many dignitaries of notable taste, who selected for their seal artists, men fully up to the foremost mark of their age in this respect,...
Page 101 - It shows us the scene of the martyrdom of St. Andrew, who is being fastened to a saltire cross by a man upon a ladder on the right, tying the left hand of the martyr with a cord. On the left hand side is a group of seven monks and others listening to the teaching of the apostle, who, according to a tradition, hung for two days on the cross before his death, during which period he exhorted the bystanders to adopt the Christian faith. The star and crescent motive enters into the subordinate design...
Page 77 - We have still extant a fine impression of a very richly wrought seal of this house, on which is depicted, in a niche enriched with a canopy of Gothic architecture and open work at each side, a standing figure of the Blessed Virgin, crowned queen of Heaven, with the Divine Child, and in base, below the principal subject, is set a shield of the Royal Arms of Scotland.
Page 93 - The subject depicted is the favourite one of the "Coronation of the Virgin " in a canopied niche, accompanied with several subordinate emblems. The reverse of this gives the scene of the " Salutation of the Virgin," between four saints or angels, and in the field are two wavy trees of conventional form.
Page 100 - Child, adored by an abbot with crozier, and scroll inscribed with the first two words of the invocation to the Virgin issuing from his lips ; while on the right a group of four monks stretch forth their hands and chant from another scroll the opening words of the hymn,
Page 62 - ... dignitaries of notable taste, who selected for their seal artists, men fully up to the foremost mark of their age in this respect, and capable of producing work not the least inferior to English or French contemporary execution.' It is not improbable, thinks the author, that ' the earliest seals of the bishops demonstrate, to some extent, a Gallic influence in the same way that this same influence is seen on the English seals of a corresponding epoch. . . . But later, the seals of the bishops...
Page 103 - Haddington, in their first seal, of the thirteenth century, placed a bishop seated on a throne, with mitre, book, and sceptre, on the top of which is a dove, yet, in later seals, they followed the more usual style of using the representation of the Virgin and Child.

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