Roman Britain Mosaics Villa Fishbourne Hadrianic Antonine Technique Conservation

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Seller: ancientgifts ✉️ (5,439) 100%, Location: Lummi Island, Washington, US, Ships to: US & many other countries, Item: 382398645188 Roman Britain Mosaics Villa Fishbourne Hadrianic Antonine Technique Conservation. This book is a concise introduction to the floor mosaics of Roman Britain. The first Antonine occupation of Scotland ended as a result of a further crisis in 155–157 A.D., when the Brigantes revolted.

  "Romano-British Mosaics (Shire Archaeology)" by Peter Johnson.

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  DESCRIPTION:  Softcover.  Publisher: Shire Publications  (2002).  Pages: 72.  Size:  8¼ x 6 inches; ½ pound.  Summary:    This book is a concise introduction to the floor mosaics of Roman Britain. It first chronicles the history of mosaic discovery in Britain and discusses the changing attitudes towards mosaics, no longer considered merely art objects but social documents. It deals with the different periods of mosaic laying from the first-century pavements at Fishbourne, of Italian craftsmanship, to the Hadrianic and Antonine periods, when mosaic was first established in the towns. It traces the apparent collapse of the craft in the third century and the remarkable fourth-century revival, when many villas were decorated with sophisticated mosaics, and it examines the probable techniques of the Roman mosaicist by reference to both literary and archaeological evidence. A chapter deals with the recording, conservation and research of mosaics, and a list of sites where mosaics can be seen includes comments on items of outstanding interest. Mosaics are illustrated by photographs and distribution maps show the fourth-century schools of mosaic. There is a glossary of technical terms. 

CONDITION:  NEW.  New oversized softcover. Shire Publications (2002) 72 pages. Unblemished, unmarked, pristine in every respect. Pages are pristine; clean, crisp, unmarked, unmutilated, tightly bound, unambiguously unread. Satisfaction unconditionally guaranteed. In stock, ready to ship. No disappointments, no excuses. PROMPT SHIPPING! HEAVILY PADDED, DAMAGE-FREE PACKAGING! Meticulous and accurate descriptions! Selling rare and out-of-print ancient history books on-line since 1997. We accept returns for any reason within 14 days! #6639a.

PLEASE SEE DESCRIPTIONS AND IMAGES BELOW FOR DETAILED REVIEWS AND FOR PAGES OF PICTURES FROM INSIDE OF BOOK.

PLEASE SEE PUBLISHER, PROFESSIONAL, AND READER REVIEWS BELOW.

  PUBLISHER REVIEWS: 

  REVIEW:  Osprey Publishing (Shire) has been providing books for enthusiasts since 1968 and since then it has grown, evolved and taken on new challenges until it stands today as one of the most successful examples of niche publishing around.

REVIEW:  Peter Johnson has written and presented numerous papers on Roman mosaics, notably at successive International Colloquia on Ancient Mosaics at Ravenna and Trier. He organized the fifth International Colloquium on Ancient Mosaics held at Bath in 1987 and co-edited the papers published in 1994. In 1978 he co-founded ASPROM, the Association for the Study and Preservation of Roman Mosaics, of which he is Vice-Chairman.

REVIEW:  After graduating in archaeology from the University of Leicester in 1978, Peter Johnson undertook post-graduate research at the University of Newcastle upon Tyne on the geometric repertory and dating of Romano-British mosaics. He has written and presented numerous papers on Roman mosaics, notably at successive International Colloquia on Ancient Mosaics at Ravenna and Trier. He organized the Fifth International Colloquium on Ancient Mosaics held at Bath in 1987 and co-edited the papers published in 1994. In 978 he co-founded ASPROM, the Association for the Study and Preservation of Roman Mosaics, of which he is Vice-Chairman. Peter Johnson has excavated widely at Roman sites in Britain, France, and Spain. After his archaeological career he entered law. He is now Chairman of the Bath Archaeological Trust.

TABLE OF CONTENTS:

List of Illustrations.

Introduction.

Design, Construction, and Materials.

First-Century Beginnings.

Second-Century Expansion.

Third-Century Depression.

Fourth-Century Revival.

Recording, Conservation and Research.

Collections of Roman Mosaics.

Glossary.

Bibliography.

Index.

 

  PROFESSIONAL REVIEWS: 

  REVIEW:  Exceptional overview on the history, techniques, discovery, and conservation of Romano-British Mosaics. Very informative, well-written, compact.

    READER REVIEWS: 

  REVIEW:  The most famous Roman mosaics are probably those of Pompeii and Herculaneum; in the Roman Empire at large, the mosaics of the Byzantine Empire and Near East (e.g., modern-day Syria) come to mind. However, the artistic and cultural influences of Rome and the Near East extend to the western reaches of the Empire as well. In fact, the cover photograph of the magnificent Orpheus Mosaic at Littlecote Park (Wiltshire) well illustrates these Near Eastern influences.

  As with other titles in the venerable Shire Archaeology series, this book offers the general reader a short but reasonably detailed introduction to the many beautiful mosaics that have been found and preserved in England. Author Peter Johnson starts out with the design and construction of mosaics, as well as the materials used. Subsequent chapters discuss the First Century beginnings, Second Century expansion, Third Century collapse, and Fourth Century revival (when many villas were decorated with beautifully crafted mosaics), followed by a listing of important collections of or individual mosaics throughout Britain.

  As an introduction to the subject of Romano-British mosaics, Dr. Johnson does a remarkable job in just highly readable 72 pages. Anyone wishing to find further information might wish to consult one of the more detailed books on the subject, most notably 'Roman Mosaics in Britain' by David S. Neal or the works of Patricia Witts, 'Mosaics in Roman Britain: Stories in Stone (Revealing History),' Margaret Rule, 'Floor Mosaics in Roman Britain,' or Anne Rainey, 'Mosaics in Roman Britain.' 

REVIEW:  I've got a bigger book on Roman mosaics, but actually that's not as good as this. This is small, compact and gets loads of key facts into it. It's particularly useful in charting the development of different styles of mosaic. Well worth buying if you're interested in Roman mosaics in Britain.

REVIEW:  Five stars! Outstanding text.

  ADDITIONAL BACKGROUND: 

  REVIEW:  A spectacular Roman mosaic described as the best find of its kind in half a century has been partly uncovered in Berkshire, during a community archaeology project that only had two weeks left to run. Anthony Beeson, an expert on classical art and a member of the Association for the Study and Preservation of Roman Mosaics, described it as “without question the most exciting mosaic discovery made in Britain in the last fifty years”.

  Luigi Thompson, an artist known for his meticulous paintings of mosaics, called the find, which dates from about A.D. 380, “the most delightful, lively and charming pavement I have ever seen”. Less than half the mosaic, a six-meere strip richly patterned with mythical characters, was uncovered in the last two weeks. It has now been buried again to protect it. The central panels depict the Greek hero Bellerophon riding the winged horse Pegasus.

  They are shown attacking the fire-breathing monster Chimera, then being offered the king’s daughter as a reward, a legend that would later be Christianized as St George and the dragon. Other scenes on the mosaic include imagery not known from any other British site, according to the experts. The find was made at a Roman site near Boxford where residents and amateur archaeologists and historians, supervised by Cotswold Archaeology, have been excavating since 2011.

  In the the last three summers, backed by the Heritage Lottery Fund, they have found the remains of a large villa and bath house, a farm building, and now the mosaic. The volunteer excavators, many with no previous experience, hope to raise funds to return next year. [The Guardian (UK) 2017].

REVIEW:  The Rudston villa is situated within the territories of the Parisi tribe of the East Riding of Yorkshire (now Humberside) and has been dated to the 4th century, fairly late in the scheme of Roman Britain as a whole. It contained some of the best examples of Roman mosaics and painted wall plaster from the North of England. The villa was constructed from chalk blocks which were searched locally and sandstone probably imported from the West Riding.

  The Rudston charioteer mosaic has been lifted and now resides in the Hull Museum of Transport and Archaeology. The Rudston Venus mosaic, discovered in 1933, has also been lifted and is now on display in a back room of the East Riding and Hull Museum. The Rudston Venus mosaic is interesting in that two of its animals have been assigned names or titles, the bull depicted to the right of the central figure has the words TAV-RVS OMICIDA "the man-killing bull", while the lion figure in the lunette (semicircular area) below the central figure bears the words LEO FLAMITER "the flaming lion".

  It is possible that the four hunting figures surrounding the central figure are depictions of venatores, professional gladiators which specialized in the killing of wild animals in the arena - no doubt displaying the predilection of the villa owner. It is very likely that the Rudston mosaics were the work of a northern school centered at York, and they share characteristics in common with other mosaics at Brantingham, Aldborough and Malton, also tessallated pavements at Horkstow and Winterton. Wall plaster recovered from the site prove that many of the rooms were painted, although the room which housed the Venus mosaic was decorated with the only polychrome mural.

   

  The Rudston villa was first excavated in 1839 and reported in the Gentleman's Magazine 1839 also the Hull Advertiser and Exchange Gazette on 09/08/1839. Initial excavations on the site of the Roman villa by the Yorkshire Archaeological Society were conducted during the years 1933-1935 and reported in The Yorkshire Archaeological Journals, and also in The Journal of Roman studies. The Yorkshire Archaeological Society also conducted excavations on the Roman villa during 1935-1937 which were reported in The Yorkshire Archaeological Journal.

  The site was extensively researched by the YAS during the period 1962-1972, during which time evidence of Iron-Age settlement and burials were uncovered along with further details of the Roman villa including a well and field systems, reported in The Yorkshire Archaeological Journals, also in The Journal of Roman Studies. A full excavation report entitled "Rudston Roman Villa" was also penned by I.M. Stead in 1980. [Roman-Britain.co.uk].

  REVIEW:  Dig season was coming to a close when amateur archaeologists in southeast England made one of their most important discoveries to date: a Roman mosaic, dating back more than 1,000 years. Since 2015, the dig led by the Boxford History Project and the Berkshire Archaeology Research Group has brought together local archaeology enthusiasts and professional archaeologists. The team's work has focused on three Roman sites near the small village of Boxford.

  But when the first, vibrant colors of the mosaic poked through the broken dirt of the excavation site, "I was stunned into silence," said the leader of the Boxford History Project, Joy Appleton, in an interview with the New York Times. Anthony Beeson, a member of the Association for Roman Archaeology, initially thought it might be a hoax. "It was so unlike anything that has ever turned up in this country," he said in an interview with science news outlet Live Science. Luckily for Appleton and Beeson, the mosaic was not a hoax but instead a glimpse into life in Britain under ancient Roman rule.

  The mosaic itself is large, measuring just over 19 feet long. So far, only one side of the panel has been revealed by excavators, but characters and beasts from Roman myths can be clearly seen. Initial studies of the scene depicted on the mosaic reveal it shows the mythological character Bellerophon at the court of characters believed to be either Lobates or Proteus. At the bottom of the mosaic is a creature known as the chimera, which had a lion's head, a goat's torso, a serpent's tail, and breathed fire. In Greek legends, Bellerophon was sent to kill the chimera, and the scene depicts the creature ready to attack.

  The mosaic may also depict the Greek hero Hercules fighting with a centaur. In a statement, Roman expert Neil Holbrook explained that the find was one of the most important mosaics ever found in Britain. "Not only is it a fantastic new piece of Roman art from Britain, but it also tells us about the lifestyle and social pretensions of the owner of the villa at Boxford," he stated. The villa's owner, Holbrook claimed, was likely of British origin and trying to forge a close relationship with the Romans. By commissioning a mosaic with Roman iconography, it may have signaled a willingness to embrace the Roman government that occupied Britain.

  The Roman Empire invaded ancient Britain in 43 A.D. and occupied the region until 410 A.D. During this time, Britain became one of the western fronts of the expansive empire, and a number of representatives built villas throughout the country. Mosaics have been found in England of varying quality and preservation, but the archaeologists in Boxford claim this find is significant for its intact quality and what it can reveal about the inhabitants who commissioned it.

  In a press release detailing the find, Cotsworld Archaeology, one of the organizations that contributed to the excavation, explained that the site likely contained a moderately sized villa with a series of adjoining rooms. They believe the mosaic and a bath suite where residents could plunge into a cold-water pool were added over time. While the mosaic has been the most exciting find from this summer's dig, it wasn't the only artifact found at the site. During the beginning of the year, the team found a child's bracelet and coins. Volunteers also uncovered what they theorize was a barn and a courtyard gateway.

  Excavations have finished for this season, but the team of archaeologists and enthusiasts plans to return to the site next year in the hopes of unearthing more remnants of an ancient society. [National Geographic].

  REVIEW:  Not far from Cunetio in the Kennet valley is a Roman villa at Littlecote. The site has the best visible Roman remains in the county; it is now in the grounds of a late Elizabethan/early Jacobean house, and was excavated by Bryn Walters from 1978 to 1991. Knowledge that a significant Roman monument existed in Littlecote Park first came to the attention of antiquaries in 1727, when its Orpheus mosaic was discovered. Roger Gale the following year called it ‘the finest pavement that the sun ever shone upon in England’.

  The site was then lost, probably deliberately, as the park’s owner Sir Francis Popham said that its position was quarter of a mile west of the real one. The remains were rediscovered in 1976 and a long-term excavation began in 1978 under the patronage of Sir Seton Wills. Excavation continued with a permanent team for thirteen years. The principal Roman structures were fully conserved while the excavations progressed and it is estimated that approximately one million visitors saw the work.

  Use of the site began in the mid first century, and it was occupied intermittently thereafter. The Roman remains were buried beneath part of an extensive medieval village, which was dismantled in the fifteenth century to make way for a hunting park, within which a hunting-lodge was constructed in the seventeenth century, adjacent to the buried mosaic. Controversy has arisen over the excavator’s interpretation that the famous mosaic floored an ‘Orphic-Bacchic’ cult chamber, contradicting the orthodox view that it had been the summer dining-room of the villa (Walters 1984; 1994).

  The excavation revealed that the complex was being extensively modified by the end of the third century, and that all agricultural activity had ceased by the mid fourth. The site was then converted into a ‘Bacchic-collegium’, a form of pagan monastery. During this period of change remarkable architectural innovations took place. An elaborate twin-towered gatehouse had been erected and the south tower on the main house was enlarged, both structures being fitted with larger upper chambers above the smaller ground-floor rooms, the upper levels supported on projecting external arched vaults.

 

  This was followed in about 360 by the rapid construction of a towered and polygonally faceted triconch chamber, housing the ‘Orpheus’ mosaic. This building is unique in Roman Britain and is considered, by the excavator, to be the earliest in this style yet dated from the Roman Empire. Such chambers have been referred to as ‘The House of the Lord’ (Lavin 1962). The particular form of triconch building is generally believed to have evolved in the Aegean in the fifth century, several decades after its potential use at Littlecote, and became the pattern adopted for early Byzantine churches (Krautheimer 1965).

  Littlecote House is a fine brick-built mansion, with a few earlier elements incorporated; it is either very late Elizabethan or early Jacobean. The main front is viewed at its best from the slope above, as its owners probably always intended visitors to see it first. It contains a splendid baronial hall, chapel and other rooms. These were re-created when the complex was owned by Peter de Savary in the 1980s. The new owners, Times-Warner, have maintained some elements of the theme park, and have restored the walled garden.

  The parkscape around is basically eighteenth-century in its concept, with a ha-ha (a dry ditch to prevent deer entering the gardens) to preserve the illusion of the house and its surrounds as a seamless whole. [Royal Archaeological Institute (UK)].

REVIEW:  Littlecote Roman Villa is a Roman winged corridor villa and associated religious complex at Littlecote Park in the civil parish of Ramsbury in the English county of Wiltshire. It has been archaeologically excavated under the direction of Bryn Walters, and is on display to the public. The settlement may have begun life as a small short-lived military establishment guarding a crossing of the River Kennet. This was replaced by local circular farming huts around A.D. 70 and a Roman-style rectangular building fifty years later.

  Activity involved baking ovens, malting tanks and grinding stones. After another fifty years, this was replaced by a large two-storied winged corridor villa with integral bath suite. This building went through a number of changes over the subsequent centuries, notably a major rebuilding around A.D. 270. The villa had a number of mosaics and there were detached workshops, barns and a large gatehouse. Around A.D. 360, from numismatic evidence, agricultural activity seems to have ended and the complex acquired a religious use.

  A large barn was converted into a courtyard and a very early triconch hall was built alongside with its own bath suite. Upon its floor was laid a now famous Orpheus mosaic, first discovered in 1727 by the Steward of the Littlecote Park estate. This mosaic is usually interpreted in very complicated pagan religious terms involving not only Orpheus, but Bacchus and Apollo, the hall being seen as a cult centre for these two gods.

  Other buildings may have been converted to accommodate visiting pilgrims. This development has been associated with the pagan revival under Julian the Apostate (361-363). Many of the buildings were demolished or fell into decay around A.D. 400, shortly after the Theodosian legislation against paganism and before the Roman withdrawal from Britain. Two sub-Roman timber structures have also been identified on the site. [Wikipedia].

REVIEW:  At the north-eastern edge of Wiltshire, bordering the county of Berkshire beside the River Kennet, sits historic Littlecote House, a Grade I listed building and now a hotel, although by no means your average run-of-the-mill generic accommodation. In its day, it has played host to such regal personages as Henry VIII and his third par amour, Jane Seymour, his progeny Elizabeth I, and later, Charles II. Yet before the great house had even been built, these grounds were utilized by a particularly imaginative Roman architect who oversaw the building (or perhaps the refurbishment) of a unique Roman villa.

  Initially, construction on the site began as a small military establishment set up to guard a ford across the River Kennet. From there, it evolved into farming huts and, from around 120 A.D., was converted into a villa-type building. For a time, activities still revolved around farming and its associated traditions, work which incorporated baking ovens, malting tanks and grinding stones. After another fifty years or so, this building was replaced by a large two-storey winged corridor villa with an integral bath suite.

  The site continued to go through a number of changes over the next few centuries, notably a major rebuilding around 270 A.D. After another hundred years, agricultural activity ended and the complex acquired a distinctly religious bent. A large barn was converted into a courtyard and a very early triconch (a square space with three semicircular extensions, usually found as throne rooms in Roman or, more usually, Byzantine palaces) hall was built alongside with its own bath suite.

  Rediscovered in 1730 when the now-famous Orpheus Mosaic and a coin hoard, supposedly containing coins of emperor Vespasian (A.D. 69-79), was found, the area was only excavated from 1978 onward. Now it is the only fully exposed villa compound in Britain and has metamorphasized into a site of some controversy amongst archaeologists. The controversy centers around the interpretation of its now restored mosaic of the divine musician Orpheus, considered by many archaeologists to be covering the floor of a ritual chamber associated with the cult of Bacchus, the pre-eminent pagan god of the Romans in post Biblical times.

  The building, still labeled a villa despite this argument, does indeed resemble the form of later, Christianized, Byzantine churches. Other aspects of the architecture are also suggestive of an architect working on refurbishment of the building in the 4th century AD, when it may have been converted to accommodate visiting pilgrims. Many of the buildings seem to have been demolished or fallen into decay by around 400 AD -- corresponding with the beginning of the British Dark Ages and a prolonged period of inter-tribal fighting.

 

  There is an especially massive gatehouse to the site -- the largest yet found on any villa in Britain. A display of material and artifacts from the excavations can be found within Littlecote House, which is in possession of its own enigmatic history. The estate includes 34 hectares of historic parklands and gardens, including a magnificent walled garden dating from the 17th century. [TimeTravelBritain.Com].

REVIEW:  Roman mosaics were a common feature of private homes and public buildings across the empire from Africa to Antioch. Not only are mosaics beautiful works of art in themselves but they are also an invaluable record of such everyday items as clothes, food, tools, weapons, flora and fauna. They also reveal much about Roman activities like gladiator contests, sports, agriculture, hunting and sometimes they even capture the Romans themselves in detailed and realistic portraits.

  Mosaics, otherwise known as opus tesellatum, were made with small black, white and colored squares typically measuring between 0.5 and 1.5 cm but fine details were often rendered using even smaller pieces as little as 1mm in size. These squares (tesserae or tessellae) were cut from materials such as marble, tile, glass, smalto (glass paste), pottery, stone and even shells. A base was first prepared with fresh mortar and the tesserae positioned as close together as possible with any gaps then filled with liquid mortar in a process known as grouting. The whole was then cleaned and polished.

  Flooring set with small pebbles was used in the Bronze Age in both the Minoan civilization based on Crete and the Mycenaean civilization on mainland Greece. The same idea but reproducing patterns was used in the Near East in the 8th century B.C. In Greece the first pebble flooring which attempted designs dates to the 5th century B.C. with examples at Corinth and Olynthus. These were usually in two shades with light geometric designs and simple figures on a dark background. By the end of the 4th century B.C. colors were being used and many fine examples have been found at Pella in Macedonia.

  These mosaics were often reinforced by inlaying strips of terracotta or lead, often used to mark outlines. Indeed, it was not until Hellenistic times in the 3rd century B.C. that mosaics really took off as an art form and detailed panels using tesserae rather than pebbles began to be incorporated into patterned floors. Many of these mosaics attempted to copy contemporary wall paintings. As mosaics evolved in the 2nd century B.C. smaller and more precisely cut tesserae were used, sometimes as small as 4 mm or less, and designs employed a wide spectrum of colors with colored grouting to match surrounding tesserae.

  This particular type of mosaic which used sophisticated coloring and shading to create an effect similar to a painting is know as opus vermiculatum and one of its greatest craftsmen was Sorus of Pergamon (150-100 B.C.) whose work, especially his Drinking Doves mosaic, was much copied for centuries after. Besides Pergamon, outstanding examples of Hellenistic opus vermiculatum have been found at Alexandria and Delos in the Cyclades. Because of the labor involved in producing these pieces they were often small mosaics 40 x 40 cm laid on a marble tray or rimmed tray in a specialist workshop.

  These pieces were known as emblemata as they were often used as center-pieces for pavements with more simple designs. So valuable were these works of art that they were often removed for re-use elsewhere and handed down form generation to generation within families. Several emblemata could make up a single mosaic and gradually, emblemata began to resemble more their surroundings when they are then known as panels. With a subject such as mosaics where there are difficulties of dating, tremendous variance in artistic quality, public taste and regional conventions, it is problematic to describe a strictly linear evolution of the art form. However, some major points of change and regional difference can be noted.

  Initially, the Romans did not diverge from the fundamentals of the Hellenistic approach to mosaics and indeed they were heavily influenced in terms of subject matter - sea motifs and scenes from Greek mythology - and the artists themselves, as the many signed Roman mosaics often bear Greek names, evidencing that even in the Roman world mosaic design was still dominated by Greeks. One of the most famous is the Alexander mosaic which was a copy of a Hellenistic original painting by either Philoxenus or Aristeides of Thebes. The mosaic is from the House of the Faun, Pompeii and depicts Alexander the Great riding Bucephalus and facing Darius III on his war chariot at the Battle of Issus (333 B.C.).  

  Roman mosaics often copied earlier colored ones, however, the Romans did develop their own styles and production schools were developed across the empire which cultivated their own particular preferences - large scale hunting scenes and attempts at perspective in the African provinces, impressionistic vegetation and a foreground observer in the mosaics of Antioch or the European preference for figure panels, for example. The dominant (but not exclusive) Roman style in Italy itself used only black and white tesserae, a taste which survived well into the 3rd century A.D. and was most often used to represent marine motifs, especially when used for Roman baths (those from the first floor of the Baths of Caracalla in Rome are an excellent example).

  There was also a preference for more two-dimensional representations and an emphasis on geometric designs. In circa 115 A.D. at the Baths of Buticosus in Ostia there is the earliest example of a human figure in mosaic and in the 2nd century A.D. silhouetted figures became common. Over time the mosaics became ever more realistic in their portrayal of human figures and accurate and detailed portraits become more common. Meanwhile, in the Eastern part of the empire and especially at Antioch, the 4th century A.D. saw the spread of mosaics which used two-dimensional and repeated motifs to create a ‘carpet’ effect, a style which would heavily influence later Christian churches and Jewish synagogues.

  Floors could also be laid using larger pieces to create designs on a grander scale. Opus signinum flooring used colored mortar-aggregate (usually red) with white tesserae placed to create broad patterns or even scattered randomly. Crosses using five red tesserae and a central tesserae in black were a very common motif in Italy in the 1st century B.C. and continued into the 1st century A.D. but more typically using only black tiles. Opus sectile was a second type of flooring which used large colored stone or marble slabs cut into particular shapes.

  • Condition: NEW. See detailed condition description below.
  • Material: Paper
  • Title: Romano-British Mosaics
  • Provenance: Roman Britain
  • Publisher: Shire Publications (2002)
  • Format: Softcover
  • Length: 72 pages
  • Size: 8¼ x 6 inches; ½ pound

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