| 001 | $ 05/4754 | ||
| 003 | $ UK-LoRAA | ||
| 041 | 0 | # | $a eng |
| 044 | # | # | $a uk |
| 100 | 1 | # | $a Knight |
| 245 | 1 | 0 | $a Saracenic & Norman Remains, to illustrate The Normans In Sicily, by Henry Gally Knight Esqr. |
| 260 | # | # | $a London: $b Published by John Murray, Albemarle Street. C. Hullmandel's Lithography $c (1840) |
| 300 | # | # | $a 6 p., [31] pl. (incl. t.pl.); $c 561 mm. |
| 500 | # | # | $a The plates consist of title-pl. (pl. I in the 'List' and 'Description'), the engraved 'List of the Plates' and 29 pl. (listed as pl. II-XXX in the 'List' and 'Description'). |
| 505 | 0 | # | $a [T.pl.] - Preface - [Engr. 'List of the Plates'] - Description Of The Plates; [colophon] - [Plates]. |
| 508 | # | # |
$a Most plates are signed by draughtsmen (George Moore or G. Musumeci), and by lithographers (W. Walton or G. Moore) (or in three cases by engravers, W.S. Wilkinson or T.T. Bury). Most carry the imprint of C. Hullmandel. The text printer is named in the colophon: 'London: Printed by Moyes and Barclay, Castle Street, Leicester Square.' |
| 510 | 0 | # |
$a Royal Institute of British Architects, Early printed books, 2 (1995), no. 1687. On the context of H.G. Knight's work see M. Crinson, Empire building: orientalism and Victorian architecture (1996); R.W. Lightbown, 'The inspiration of Christian art', in Influences on Victorian art and architecture, ed. S. Macready and F.H. Thompson (1985); C. Mignot, Architecture of the nineteenth century in Europe (1984); N. Pevsner, Some archiectural writers of the nineteenth century (1972); H.R. Hitchcock, Early Victorian architecture in Britain (2 v., 1954). Studies of colour printing and lithography were, G. Wakeman and G.D.R. Bridson, A guide to nineteenth-century colour printers (1975); D. Twyman, Lithography 1800-1850 (1970). |
| 520 | 2 | # |
$a No publication-date is carried by the title-plate; the Preface is dated 1840. In 1838 Knight refers to the present work, under a slightly different title, in his The Normans In Sicily; but it appears that, if in preparation in 1838, the work was not completed until 1840. In his text Knight suggests that it may have been through the Crusades that the 'pointed style' was introduced into Continental Europe. The plates are almost all lithographs showing exterior and interior views of buildings in Palermo, Cefalù, Traina, Messina, Catania, Maniace (Syracuse) and Monreale. Two are printed in full color. |
| 563 | # | # | $a 19th-century half red morocco, red cloth-covered boards, upper cover carrying red morocco label lettered 'Saracenic And Norman Remains In Sicily; spine lettered 'Knight's Saracenic And Norman Remains In Sicily.' |
| 653 | # | # | $a Architecture, Italian - Churches - Public buildings - Italy - Sicily - History - Romanesque |
| 655 | # | 0 | $a Art history - Great Britain - 19th century |
| 655 | # | 0 | $a Views - Great Britain - 19th century |
| 655 | # | 0 | $a Pictorial works - Colour printing - Lithographs - Chromolithographs - Great Britain - 19th century |
| 700 | 1 | # | $a Murray $e publisher |
| 700 | 1 | # | $a Moore $e draughtsman $e lithographer |
| 700 | 1 | # | $a Bury $e engraver |
| 700 | 1 | # | $a Hullmandel $e lithographic printer |
| 700 | 1 | # | $a Musumeci $e draughtsman |
| 700 | 1 | # | $a Walton $e lithographer |
| 700 | 1 | # | $a Wilkinson $e engraver |
| 700 | 1 | # | $a Moyes $e printer |
| 700 | 1 | # | $a Barclay $e printer |
| 710 | 2 | # | $a Moyes and Barclay (London) $e printer |