A delightful collection of essays penned by Woolf for what she saw as the common reader. An informal, informative and witty celebration of our literary and social heritage.

Works in the Museum's collection that embody the Renaissance interest in classical learning, fame, and beautiful objects are illustrated and discussed in this resource and will help educators introduce the richness and diversity of Renaissance art to their students. Primary source texts explore the great cities and powerful personalities of the age. By studying gesture and narrative, students can work as Renaissance artists did when they created paintings and drawings. Learning about perspective, students explore the era's interest in science and mathematics. Through projects based on poetic forms of the time, students write about their responses to art. The activities and lesson plans are designed for a variety of classroom needs and can be adapted to a specific curriculum as well as used for independent study. The resource also includes a bibliography and glossary.

Describes the methods used to make artistic, literary, documentary, and political forgeries and the recent scientific advances in their detection. Includes over 600 objects from the British Museum and many other major collections, from ancient Babylonia to the present day.

This edited collection is an interdisciplinary study of gems in the early modern world. It examines the relations between the art, science, and technology of gems, and it does so against the backdrop of an expanding global trade in gems. The eleven chapters are organised into three parts. The first part sets the scene by describing how gems moved around the early modern world, how they were set in motion, and how they were pulled together in the course of their travels. The second part is about value. It asks why people valued gems, how they determined the value of a given gem, and how the value of a gem was connected to its perceived place of origin. The third part deals with the skills involved in cutting, polishing, and mounting gems, and how these skills were transmitted and articulated by artisans. The common themes of all these chapters are materials, knowledge and global trade. The contributors to this volume focus on the material properties of gems such as their weight and hardness, on the knowledge involved in exchanging them and valuing them, and on the cultural consequences of the expanding trade in gems in Eurasia and the Americas.

"South London" by Walter Besant is a comprehensive and illuminating journey that takes readers on a captivating exploration of the rich tapestry of history, culture, and landmarks that define South London. With meticulous research and a genuine passion for the subject, Besant's narrative unfolds as an invaluable guide for readers eager to uncover the hidden gems and untold stories of this remarkable region. Besant's profound insights provide readers with a deep understanding of South London's historical significance, its evolving landscape, and the unique charm that sets it apart from other locales. As readers traverse the pages of this book, they are invited to embark on a virtual tour, where every street, building, and community comes to life with vivid descriptions and historical anecdotes. "South London" is not merely a book; it is a gateway to the past, a celebration of the present, and an invitation to explore the region's rich heritage. It serves as a testament to the enduring allure of South London and its capacity to capture the hearts and imaginations of all who venture within its borders. For those seeking to delve into the soul of a diverse and vibrant part of the world, Walter Besant's work is an indispensable resource that both informs and inspires, ensuring that the legacy of South London endures for generations to come.

I know that to the majority of people who merely regard the theatre as a place for occasional recreation, it is a subject for amazement that others can exist who, not belonging to the theatrical profession, take an absorbing and lasting interest in the stage, and in those actors and actresses who have made its past history glorious, as well as in the artists who adorn and make it a delight in the present. I wonder how many of us truly realise the weight of Charles Dickens's words: "If any man were to tell me that he denied his acknowledgments to the stage, I would simply put to him one question-whether he remembered his first play?" Not only freely, but with gratitude, I acknowledge my indebtedness to the theatre, and it is certain that from that magic night when for the first time I saw the glitter of the footlights and watched the rise of the curtain, I entered upon a new and most fascinating life. Of course I was called "stage struck," and those who controlled me shook their heads, thought it a great pity, and did their best to thwart my inclinations.