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     Introduction 
       
       The catalogue was compiled by 
        Timothy Clayton and Ben Thomas between 1995 and 1999. It contains some 
        8,000 entries for the prints in the collection bequeathed to Worcester 
        College by George Clarke (1661-1736). Like the collections of Samuel Pepys 
        and Henry Aldrich (Dean of Christ Church), Clarke's collection is an important 
        example of an early modern print collection, and is of particular interest 
        in that it survives in its original arrangement. The subjects of the prints 
        reflect Clarke's interests and include views, buildings and gardens, interior 
        decoration and ornament, portraits, paintings and antiquities. There are 
        also some unusual satirical and ephemeral items, including a set of South 
        Sea Bubble cards, two medley prints engraved by George Bickham c. 1706, 
        and 'The Royall Pass-tyme of Cupid, or a New and most pleasant Game of 
        the Snake'. 
       'If 
        the chief purpose of Clarke's collection was to record works of art and 
        architecture, it was, nevertheless, dominated by the most esteemed modern 
        engravers. Critical appreciation of modern prints was an unstable compound 
        of the quality of the original and the achievement of the engraver: an 
        appreciation of this balance was most necessary in the eighteenth century, 
        when paintings were inevitably judged on the evidence of prints. It was 
        natural therefore that Clarke's collection should be concerned with fine 
        paintings and fine prints simultaneously. Clarke's preference for fine 
        interpretative prints over the painters' etchings admired exclusively 
        in modern days was equally consistent with the critical orthodoxy of his 
        time
 From a collection such as Clarke's, a correct appreciation 
        of the knowledge and rich visual experience that the eighteenth-century 
        art lover obtained from his prints can still be recovered' (Timothy Clayton). 
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