Library's copy of v. 2 incorrectly numbered v. 3 on title page and half-title. ; [Vol. 4]: An account of Roman antiquities discovered at Woodchester in the county of Gloucester, London, 1797, contains descriptive text in both English and French. ; Issued in parts, 1797-1815. Each part has special title and separate paging. ; "Only 50 copies were completed for sale."--Dict. Nat. Biog. ; Plates are colored by hand. ; v. 1. Figures of mosaic pavements discovered at Horkstow near Lincolnshire ; Remains of two temples, and other Roman antiquities, discovered at Bath ; Figures of mosaic pavements discovered near Frampton ; Roman antiquities discovered in Kent, Cheshire, Durham, Lancashire, Cumberland, Somersetshire, Northamptonshire, and Wiltshire -- v. 2. Roman antiquities discovered in the county of Gloucester ; Remains of military ensigns &c. -- v. 3. Remains of a Roman villa discovered at Bignor in Sussex -- v. 4. An account of Roman antiquities discovered at Woodchester in the county of Gloucester. ; Abbey, J.R. Scenery, ; Mode of access: Internet. ; Sloan candidate
This set of engravings are taken from an edition of Foxe's Book of Martyrs, and depicts the persecution of Protestants in Italy, likely utilized as anti-Catholic propaganda elsewhere in Europe. Many European nations tended to align themselves with one faith or another, though minority religious groups emerged throughout the continent. After the Reformation of the mid-16th century and the rise of Protestantism throughout many areas of Europe, sectarian violence became commonplace, and some governments instituted policies that intended to silence or even drive out certain religious populations. The top plate (Plate XXX) depicts the execution of Waldensians, a Protestant ascetic group that emerged in Northern Italy. The "Popish Prosecutors" (indicating they are Catholic) carrying out this torture are dressed in clothing that indicates they are government officials, and carry weapons and staffs that communicate their authority. The Waldensians, however, are nearly nude and depicted in solemn agony. Keeping track of martyrs and their experiences became a crucial part of religious culture in the 19th century, as exhibited through John Foxe's 700-page tome documenting crimes against Protestants over the previous centuries. The events in Italy demonstrated in these engravings are included in this document, as well as various events elsewhere in Europe. In framing deaths of Protestants as "martyrdom," Foxe is able to engage in a unique form of preservation. The memory of these deaths is preserved through the lens of sacrifice and loyalty to faith—remembered even centuries later. The black-and-white engraving is richly detailed despite its small size—the woodcut-style inking depicts executions and torture in brutal detail, with bodies in the foreground and background contorted in nooses. In creating violent, striking images, worshippers are able to remember the sacrifices of followers before them, and use these images as inspiration for their own faith. In the bottom plate (Plate XXXI), a massacre of Protestants in the Piedmont region of Italy is depicted, using the same black-and-white engraving style. The woman at the left-hand side of the plate is posed like a crucified Jesus, evoking imagery of martyrdom to suit a specific agenda. The invocation of "Popish" in the caption of the first plate establishes these works as anti-Catholic, using a term that was typically an anti-Catholic slur in this period in Europe. These prints were likely distributed through pamphlets and other Protestant literature, energizing the masses to find strength in their faith despite oppression. —Deirdre Sheridan ('17) ; https://digital.kenyon.edu/arthistorystudycollection/1030/thumbnail.jpg
This reproduction depicts a view of Saint Mark's Basilica in Piazza San Marco in Venice made by Filippo Vasconi for the cartography collection, "Il gran Teatro di Venezia," first published in 1720 by Domenico Lovisa. Piazza San Marco is the site of some of Venice's most iconic buildings. A key at the bottom of the print identifies various buildings in the square. To the right of the domed basilica is the Doge's Palace, its long rectangular facade articulated in the Venetian Gothic style. Closer the the foreground on the right, the Campanile towers above the people gathered in the square—it is so tall part of the building is out of frame. On the far left of the scene is the Clock Tower, topped with a winged lion of Venice. Together these buildings form the political, social, and religious backbone of Venice. Vasconi carefully rendered these buildings, attempting to capture the architectural details of each. The groups of people standing in the square or huddled around tables speak to the square as a popular and important gathering place. As part of a larger book on cartography, this print preserves an idyllic view of Saint Mark's Basilica and other surrounding landmarks. —Jessica Ferrer ('17) ; https://digital.kenyon.edu/arthistorystudycollection/1073/thumbnail.jpg
During the late 18th century, London's Hyde Park was often used as a space for military exercises and encampments. In this scene, British regiments that pacified the anti-Catholic Gordon riots of 1780 are seen standing around a portable shelter in the park. In the aftermath of the uprising, the scene is peaceful, with its rolling clouds, large trees, and lounging troops. ; https://digital.kenyon.edu/arthistorystudycollection/1040/thumbnail.jpg
