This selection of royalty-free designs from a rare 1882 catalog of transferable designs for carriages and buggies includes ornamental crests, coats of arms, shields, mottos, and a wealth of other eye-catching designs — many incorporating dogs, handsome steeds, various birds, wild beasts, mythical creatures, and other eye-catching images.

DIVOver 320 elegant, royalty-free images depict floral and foliated sprays, frames and borders of intricate scrollwork, elaborate wall plaques, ceiling roses, cornices, friezes, and much more. /div

Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.

In the collection of the J. Paul Getty Museum are more than six hundred ancient lamps that span the sixth century BCE to the seventh century CE, most from the Roman Imperial period and largely created in Asia Minor or North Africa. These lamps have much to reveal about life, religion, pottery, and trade in the ancient Graeco-Roman world. Most of the Museum’s lamps have never before been published, and this extensive typological catalogue will thus be an invaluable scholarly resource for art historians, archaeologists, and those interested in the ancient world. Reflecting the Getty's commitment to open content, Ancient Lamps in the J. Paul Getty Museum is available online at http://www.getty.edu/publications/ancientlamps and may be downloaded free of charge in multiple formats, including PDF, MOBI/Kindle, and EPUB, and features zoomable images and multiple views of every lamp, an interactive map drawn from the Ancient World Mapping Center, and bibliographic references. For readers who wish to have a bound reference copy, a paperback edition has been made available for sale.

The third and final volume of A History of Cambridge University Press, covering 1873-1972.