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Vetusta Monumenta: Ancient Monuments, a Digital Edition

Volume 1, Plates 50 — 70

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Plates 1.50-1.52 of Vetusta Monumenta depict three mid fourth-century CE Roman mosaic pavements at Wellow, Somerset, UK, the first of which was found by John Aubrey c. 1685. Further investigations of the site were carried out in 1737 by Edmund Prideaux and James West, who found the second and third pavements, respectively. Engravings by George Vertue after James Vertue and James West. 365 x 529 mm, 360 x 469 mm, and 368 x 476 mm. Published by the Society of Antiquaries of London in 1738. Current location: Mosaics I (Plate 1.50) and III (Plate 1.52) no longer survive; Mosaic II (Plate 1.51) was found in 1737, reopened and damaged in 1807, and is now thought to be lost.
Plates 1.50-1.52 of Vetusta Monumenta depict three mid fourth-century CE Roman mosaic pavements at Wellow, Somerset, UK, the first of which was found by John Aubrey c. 1685. Further investigations of the site were carried out in 1737 by Edmund Prideaux and James West, who found the second and third pavements, respectively. Engravings by George Vertue after James Vertue and James West. 365 x 529 mm, 360 x 469 mm, and 368 x 476 mm. Published by the Society of Antiquaries of London in 1738. Current location: Mosaics I (Plate 1.50) and III (Plate 1.52) no longer survive; Mosaic II (Plate 1.51) was found in 1737, reopened and damaged in 1807, and is now thought to be lost.
Plates 1.50-1.52 of Vetusta Monumenta depict three mid fourth-century CE Roman mosaic pavements at Wellow, Somerset, UK, the first of which was found by John Aubrey c. 1685. Further investigations of the site were carried out in 1737 by Edmund Prideaux and James West, who found the second and third pavements, respectively. Engravings by George Vertue after James Vertue and James West. 365 x 529 mm, 360 x 469 mm, and 368 x 476 mm. Published by the Society of Antiquaries of London in 1738. Current location: Mosaics I (Plate 1.50) and III (Plate 1.52) no longer survive; Mosaic II (Plate 1.51) was found in 1737, reopened and damaged in 1807, and is now thought to be lost.
Plates 1.53-1.54 of Vetusta Monumenta depict sixteen seals dating from the twelfth to the sixteenth centuries. Most of the seals were held in the Office of the Duchy of Lancaster, but a few were held in the Augmentation Office at Westminster. Engravings by George Vertue after his own drawings. 427 x 252 mm and 426 x 253 mm. Published by the Society of Antiquaries of London in 1738. Current locations: Most of the seals here depicted are in the National Archives, Kew, UK; a few may be in the Westminster Abbey Muniment Collection, London, UK.
Plates 1.53-1.54 of Vetusta Monumenta depict sixteen seals dating from the twelfth to the sixteenth centuries. Most of the seals were held in the Office of the Duchy of Lancaster, but a few were held in the Augmentation Office at Westminster. Engravings by George Vertue after his own drawings. 427 x 252 mm and 426 x 253 mm. Published by the Society of Antiquaries of London in 1738. Current locations: Most of the seals here depicted are in the National Archives, Kew, UK; a few may be in the Westminster Abbey Muniment Collection, London, UK.
Plate 1.55 of Vetusta Monumenta depicts eight numismatic objects associated with the Stuarts: a gold coin of Mary, Queen of Scots (1555); a silver medal commemorating Mary’s marriage to Lord Darnely, featuring Darnley’s name before Mary’s (1565); a silver coronation medal (c. 1604) for Queen Anne; a silver medal for Prince Henry (1612); two milled gold proof pieces minted for Charles I (c. 1630 and c. 1631-32) and two gold medals based on the same (1639 and unknown). Engraving by George Vertue after his own drawings in at least four states between 1723 and 1739. Published by the Society of Antiquaries of London in 1739. Current location: The locations of the eight specific objects here engraved have not been identified, but examples of them can be found in the National Museum of Scotland (Edinburgh, UK), the British Museum (London, UK), and the Metropolitan Museum of Art (New York, US).
Plate 1.56 of Vetusta Monumenta depicts thirteen coins minted by English monarchs between the fourteenth and the early-seventeenth centuries: a gold quarter florin of King Edward III (c. 1344), a gold escu of King Edward III (after 1337), a half groat of Edward III (before1369), a half groat of Edward the Black Prince (c. 1368-1372), a groat of Edward the Black Prince (c. 1362-72), a gold angel of Henry VI (c. 1470), a quadruple noble of Henry VII, Type 4 (c. 1503-04), a Tournay groat of Henry VIII (c. 1514), a George noble of Henry VIII (c. 1526-29), a sovereign in crown gold of Elizabeth I (c. 1565), a pattern piece for a gold crown of Edward VI (c. 1547), a pattern sixpence of Elizabeth I (1575), and a Portcullis crown of Elizabeth I (c. 1601). Engraving by George Vertue after his own drawings. Published by the Society of Antiquaries of London in 1739. Current locations: The locations of the thirteen specific coins here engraved have not been identified, but examples of them can be found in the British Museum (London, UK), the Royal Mint Museum (London, UK), the Ashmolean Museum (Oxford, UK), and the Museums Victoria (Melbourne, Australia).
Plate 1.57 of Vetusta Monumenta depicts a Roman hypocaust found beneath the subdeanery near the west side of Lincoln Cathedral and first identified by Thomas Sympson on 10 February 1740. The print incorporates material from Sympson’s original letter and plan documenting the discovery. Engraving by George Vertue after his own drawings. 327 x 480 mm. Published by the Society of Antiquaries of London in 1740. Current location: The structure was discovered thirteen feet underground and belongs to the only remaining private Roman town house in Lincoln, UK.
Plates 1.58-1.60 of Vetusta Monumenta depict twenty-seven seals dating from the twelfth to the sixteenth centuries. The seals were held in the Duchy Office of Lancaster and in the Augmentation Office at Westminster. Engravings by George Vertue after his own drawings. 420 x 255 mm, 420 x 257 mm, and 419 x 254 mm. Published by the Society of Antiquaries of London in 1741. Current locations: Most of the seals here depicted are in the National Archives, Kew, UK; a few may be in the Westminster Abbey Muniment Collection, London, UK.
Plates 1.58-1.60 of Vetusta Monumenta depict twenty-seven seals dating from the twelfth to the sixteenth centuries. The seals were held in the Duchy Office of Lancaster and in the Augmentation Office at Westminster. Engravings by George Vertue after his own drawings. 420 x 255 mm, 420 x 257 mm, and 419 x 254 mm. Published by the Society of Antiquaries of London in 1741. Current locations: Most of the seals here depicted are in the National Archives, Kew, UK; a few may be in the Westminster Abbey Muniment Collection, London, UK.
Plates 1.58-1.60 of Vetusta Monumenta depict twenty-seven seals dating from the twelfth to the sixteenth centuries. The seals were held in the Duchy Office of Lancaster and in the Augmentation Office at Westminster. Engravings by George Vertue after his own drawings. 420 x 255 mm, 420 x 257 mm, and 419 x 254 mm. Published by the Society of Antiquaries of London in 1741. Current locations: Most of the seals here depicted are in the National Archives, Kew, UK; a few may be in the Westminster Abbey Muniment Collection, London, UK.
Plate 1.61 of Vetusta Monumenta depicts the Winchester Cross, popularly called the “High,” “Market,” or “Butter” Cross, with three pairs of human figures gathered around its base. These figures recall the transactions which give the Cross its colloquial names and exemplify its ongoing social and commercial functions. One of the two figures on the right displays a plan view of the same monument. Engraving by George Vertue, likely after Augustin Ménageot. 491 x 315 mm. Published by the Society of Antiquaries of London in 1741. Current location: 106a High St, Winchester, UK.
Plate 1.62 of Vetusta Monumenta reproduces Oxford University's 1534 decree against the Papal supremacy with added engravings of the shields of the twelve Oxford colleges then extant, the university’s thirteenth-century common seal, and Henry VIII’s portrait medal as Fidei Defensor (1545). Engraving by George Vertue after his own drawings and a copy of the decree then in the Harleian Library. 418 x 543 mm (bifolium). Published by the Society of Antiquaries of London in 1741. Current locations: The oldest surviving version of the decree is in the Bodleian Library (MS Bodl. 282, fol. 129), Oxford University, UK; the medal of Henry VIII is currently held in the British Museum (M.6802), London, UK.
Plate 1.63 of Vetusta Monumenta reproduces William Hayward’s (or Haiward’s) and John Gascoyne’s 1597 survey of the Tower Liberties in London. Engraving by George Vertue after a copy of the survey that was in the collection of John Montagu, the 2nd Duke of Montagu. 413 x 546 mm (bifolium). Published by the Society of Antiquaries of London in 1742. Current location: The original survey is now missing, but the pen and ink copy of the survey (likely by Vertue) is currently in the Society of Antiquaries of London (Prints & Drawings Collected Before 1750 [196h] fol. 66), London, UK.
Plate 1.64 of Vetusta Monumenta presents a variorum view of Chichester Cross as it appeared (or might have appeared) at several times in the previous half-century, including the west front of the cross, a plan view of the cross, and an elevation of the highest part of the cross. The print also includes a human figure in the lower left, selling produce; a spaniel stands expectantly nearby. Inside the cross, a boy plays. In the background and to the east of the monument are some houses. Engraving by George Vertue after Augustin Ménageot. 472 x 279 mm. Published by the Society of Antiquaries of London in 1743. Current location: South St, Chichester, West Sussex, UK.
Plate 1.65 of Vetusta Monumenta reproduces two works of art in different media that depict the type of Roman gladiator known as a retiarius or net-fighter. The upper half reproduces a seventeenth-century drawing by Pietro Santi Bartoli of a late-third or early-fourth-century CE Roman mosaic uncovered in Rome in 1670. The lower half depicts the sculptured fragment of a second-century Romano-British stone frieze, possibly from a tomb, that was found during construction work in Chester, UK in 1738. Engraving by George Vertue after Pietro Santi Bartoli (upper half) and his own drawing (lower half). 416 x 288 mm. Published by the Society of Antiquaries of London in 1743. Current locations: The mosaic is in the National Archaeological Museum in Madrid, Spain; the relief is in the collection of the Saffron Walden Museum, Saffron Walden, Essex, UK. The Bartoli drawing is preserved in a manuscript associated with the owner of the Chester gladiator, Richard Mead (Glasgow University Library MS Gen. 1496), Glasgow, Scotland.
Plates 1.66-1.68 of Vetusta Monumenta reproduce a c. 1626 portrait of Robert Cotton and fragments of the Cotton Genesis manuscript. The portrait shown on Plate 1.66 is now attributed to Cornelius Johnson. Plates 1.67-1.68 depict twenty-one fragments from eighteen folio pages of the Cotton Genesis collated with transcriptions from the Codex Vaticanus. Two additional pages from the Cotton Genesis are also depicted on the portrait. Engravings by George Vertue after the original portrait and his own watercolors of the Cotton Genesis fragments. 372 x 245 mm, 384 x 255 mm, and 387 x 259 mm. Published by the Society of Antiquaries of London in 1744. Current locations: The Cotton Genesis is currently in the British Library (Cotton MS Otho b vi f26v), London, UK; Vertue’s original watercolors of the fragments remain in the Society of Antiquaries of London (Prints & Drawings Collected Before 1750 [196h] fols. 72-73), London, UK; the Codex Vaticanus is in the Vatican Library (1209), Vatican City; the portrait of Cotton is in a private collection.
Plates 1.66-1.68 of Vetusta Monumenta reproduce a c. 1626 portrait of Robert Cotton and fragments of the Cotton Genesis manuscript. The portrait shown on Plate 1.66 is now attributed to Cornelius Johnson. Plates 1.67-1.68 depict twenty-one fragments from eighteen folio pages of the Cotton Genesis collated with transcriptions from the Codex Vaticanus. Two additional pages from the Cotton Genesis are also depicted on the portrait. Engravings by George Vertue after the original portrait and his own watercolors of the Cotton Genesis fragments. 372 x 245 mm, 384 x 255 mm, and 387 x 259 mm. Published by the Society of Antiquaries of London in 1744. Current locations: The Cotton Genesis is currently in the British Library (Cotton MS Otho b vi f26v), London, UK; Vertue’s original watercolors of the fragments remain in the Society of Antiquaries of London (Prints & Drawings Collected Before 1750 [196h] fols. 72-73), London, UK; the Codex Vaticanus is in the Vatican Library (1209), Vatican City; the portrait of Cotton is in a private collection.
Plates 1.66-1.68 of Vetusta Monumenta reproduce a c. 1626 portrait of Robert Cotton and fragments of the Cotton Genesis manuscript. The portrait shown on Plate 1.66 is now attributed to Cornelius Johnson. Plates 1.67-1.68 depict twenty-one fragments from eighteen folio pages of the Cotton Genesis collated with transcriptions from the Codex Vaticanus. Two additional pages from the Cotton Genesis are also depicted on the portrait. Engravings by George Vertue after the original portrait and his own watercolors of the Cotton Genesis fragments. 372 x 245 mm, 384 x 255 mm, and 387 x 259 mm. Published by the Society of Antiquaries of London in 1744. Current locations: The Cotton Genesis is currently in the British Library (Cotton MS Otho b vi f26v), London, UK; Vertue’s original watercolors of the fragments remain in the Society of Antiquaries of London (Prints & Drawings Collected Before 1750 [196h] fols. 72-73), London, UK; the Codex Vaticanus is in the Vatican Library (1209), Vatican City; the portrait of Cotton is in a private collection.
Plate 1.69 of Vetusta Monumenta reproduces Henry VII’s 1497 Standard of Weights and Measures based on an original parchment that was pasted on an oak table formerly in the Treasury of the King’s Exchequer at Westminster and in the collection of Edward Harley, 2nd Earl of Oxford and Mortimer. Engraving by George Vertue after his own drawing. 613 x 453 mm (bifolium). Published by the Society of Antiquaries of London in 1746. Current Location: Untraced.
Plate 1.70 of Vetusta Monumenta reproduces an anonymous, undated painting in oil—probably from the early seventeenth century, but possibly a copy of a sixteenth-century original—of William Cecil, Lord Burghley, presiding over the Court of Wards and Liveries. The Court was set up by Henry VIII in 1540 and dissolved by an Act of Parliament in 1660. The painting was in the collection of Charles Lennox, Duke of Richmond. Engraving by George Vertue after his own drawing. 474 x 454 mm (bifolium). Published by the Society of Antiquaries of London in 1747. Current location: Goodwood House, near Chichester, West Sussex, UK.