Princess Elizabeth of Graycliff and Prince Edward of Whitehill have been bound to marry each other by the terms of a magical stone engraving. If they do not marry by their sixteenth birthday, only six days away, they will turn to stone. Moments before the wedding, they meet and discover they detest each other. With the clock ticking, they set out to find a stonecutter to release them from the dreadful enchantment. Along their journey, they encounter many treacherous traps and learn a lot about life and themselves.

Everything you need to know about entering the exciting and lucrative field of Natural Stone Engraving. Using the sandblasting method, Randi Hodges walks you through everything you need to know about the art and the markets for Natural Stone Engraving.

This book discuss different types of engraved gems in the collection of the Rijksmuseum van Oudheden Leiden, their makers, users and re-users, combining archaeological, culture historical and geological perspectives.

- Unusual approach to Cameos and Intaglios - Highly visual with archive material, preparatory drawings, photos and paintings - Includes 10 gate-fold pages This book is designed for the exhibition of the collection of Mr. Guy Ladrière, which will be presented by the School of Jewelery Arts in October 2021, under the commission of Mr. Philippe Malgouyres, chief curator of heritage in the art department of the Louvre. Widely illustrated and documented, this book will constitute a genuine introductory manual to the art of glyptics, thanks to its chrono-thematic approach to the history of engraved stones in the West. The author reveals a whole world in miniature, fascinating kings and emperors as much as collectors and art lovers. With materials with subtle engraved effects, cameos (relief engraving) and intaglios (intaglio engraving) have come down to us as jewels or relics, thus following all the themes of the History of Art: mythologies, symbols, portraits, allegories, etc.

In the late 1800s, archaeologists began discovering engraved stone plaques in Neolithic (3500-2500 BC) graves in southern Portugal and Spain. About the size of one's palm, usually made of slate, and incised with geometric or, more rarely, zoomorphic and anthropomorphic designs, these plaques have mystified generations of researchers. What do their symbols signify? How were the plaques produced? Were they worn during an individual's lifetime, or only made at the time of their death? Why, indeed, were the plaques made at all? Employing an eclectic range of theoretical and methodological lenses, Katina Lillios surveys all that is currently known about the Iberian engraved stone plaques and advances her own carefully considered hypotheses about their manufacture and meanings. After analyzing data on the plaques' workmanship and distribution, she builds a convincing case that the majority of the Iberian plaques were genealogical records of the dead that served as durable markers of regional and local group identities. Such records, she argues, would have contributed toward legitimating and perpetuating an ideology of inherited social difference in the Iberian Late Neolithic.