Publishers’ Circular (1880-1890), 6th December 1882, Edition 1 of 1, Page illus. 52

described as " things forgot , " for which suggestions to jog the memory , and I references to standard works , are all that are required . I The necessarily large subject of Greek and Roman Antiquities has I been kept down to the narrowest possible compass consistent with the purpose I of the book ; and for the others , the principle has been adopted of treating I at the greatest length the most obscure and least likely to be already popularly I known . This applies to certain technical details of such subjects as Heraldry , I Christian Antiquities , Architecture , Costume , Ancient Armour , I and Old English Words , Music , Needlework , and Embroidery . I The Fine Arts of Painting and Sculpture , and the newest inventions in I reproduction by ENGRAVING have been worked upon principles special to each ; I necessarily excluding a range of subject which would have swelled the work to I fifty volumes such as this . In Painting—pigments and methods are all that is I described ; in Sculpture—material , methods , and something of allusion to the I great world-known chefs-d ' oeuvre of antiquity ; in Engraving , Etching , and the I new photographic processes—the processes and the tools are all that have been I dealt with . I An attempt has been made to render the Dictionary lively and readable as I a book for consecutive reading ; and nothing has contributed more to this than I the ( authorized ) insertion of a few charming illustrations and explanations of I Mrs . Bury Palliser ' s Historic Devices of the chivalry of all ages and nations , I and extracts and cuts from Boutell ' s HERALDRY , Jacquemart ' s POTTERY , and I other great monographs of special branches of aesthetic record . I There remains a large class of words with which the average reader was I until recently totally unfamiliar , but which the new movement has brought into I prominent notice . Great care has been taken to make the descriptions of this I class full and free from technical mystery , at the same time that the substance I of them has been drawn from sources now classical in their province . These I subjects are POTTERY , FURNITURE , and every branch of DECORATIVE ART in I iron , stone , glass , or wood , as well as in the more precious ivory , silver , gold , I and gems . I Finally , the whole work has been compiled in the reading-room of the Art I Library of the South Kensington Museum , indisputably the best special library I in the world , where all the works referred to can be consulted by the reader who I wishes for further knowledge of a detail , and where every work of consequence , I in every language and of every period , is available for reference . I London : SAMPSON LOW , MARSTON , SEARLE , AND RIVINGTON , CROWN BUILDINGS , x 88 , FLEET STREET . 1 «— - — == #

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