HOLY BIBLE,  published by Miller & Burlock 1849. printed by T K & P G Collins.

Bible measures 4 1/2" by 3"

two nice engravings, Moses with pharoah's daughter,  has name Corbould and W H Ellis , Exodus 2 V.  under the print. Carbould ( Richard ? or Henry ?)and Ellis the engraver.

not sure about the second one, Moses or Baby Jesus and Mary ? has name Carlo Marotti,  Ellis .  I think this is supposed to be Carlo Maratti,

overall the pages are in good clean condition with some yellowing, a few little spots here or there. title page is yellowed/spotted, contents page and first page also have more yellowing/spotting. a little pencil writing on contents page. pencil name written opposite title page " E Lyce Lush " ??" Lyle Lusk?. a little spotting on engraving illustrations. spotting on blank pages. marbelized endpapers. engravings ,title pages, first few pages are basically dettached, (just holding on by a thread), gilt on page edges worn. Black  cover is worn, damaged, front cover ,and front page covering are dettached.

Please look at photographs to help determine condition, thank you.

Carlo Maratta or Maratti (13 May 1625 – 15 December 1713) was an Italian painter, active mostly in Rome, and known principally for his classicizing paintings executed in a Late Baroque Classical manner. Although he is part of the classical tradition stemming from Raphael, he was not exempt from the influence of Baroque painting and particularly in his use of colour. His contemporary and friend, Giovanni Bellori, wrote an early biography on Maratta.

Born in Camerano (Marche), then part of the Papal States, he went to Rome in 1636, accompanied by, Don Corintio Benicampi, secretary to Taddeo Barberini.^[2] He became an apprentice in the studio of Andrea Sacchi. It was at this time that the debate between Sacchi and Pietro da Cortona took place at the Accademia di San Luca, the artists academy in Rome. Sacchi argued that paintings should only have a few figures which should express the narrative whereas Cortona countered that a greater number of figures allowed for the development of sub themes.^[3] Maratta's painting at this time was closely allied with the classicism of Sacchi and was far more restrained and composed than the Baroque exuberance of Pietro da Cortona’s paintings. Like Sacchi, his paintings were inspired by the works of the great painters from Parma and Bologna: Annibale Carracci, Guercino, Guido Reni, Francesco Albani and Giovanni Lanfranco.

He developed a close relationship with Sacchi till the death of his master in 1661. His fresco of 'Constantine ordering the Destruction of Pagan Idols' (1648) for the Baptistery of the Lateran, based on designs by Sacchi, gained him attention as an artist but his first prominent independent work was the 'Adoration of the Shepherds' (1650) for San Giuseppe di Falegnami. Another major work from this period was 'The Mystery of the Trinity Revealed to St. Augustine' (c. 1655) painted for the church of Santa Maria dei Sette Dolori.

Pope Alexander VII (reigned 1655–1667) commissioned many paintings from him including 'The Visitation' (1656) for Santa Maria della Pace and the 'Nativity' in the gallery of the Quirinal Palace where he worked under the direction of Cortona who selected him for this task. His pictures of the late 1650s exhibit light and movement derived from Roman Baroque painting, combined with classical idealism.^[4]

His major works of this period included: 'The Appearance of the Virgin to St. Philip Neri' (c. 1675) now in the Pitti Palace in Florence; 'The Virgin with Saints Carlo Borromeo and Ignatius of Loyola, and Angels' (c. 1685) for the church of Santa Maria in Vallicella (c. 1675); and 'The Assumption of the Virgin with Doctors of the Church' (1689) for Santa Maria del Popolo. It was not, as his critics claimed, numerous depictions of the Virgin that earned him the nickname Carluccio delle Madonne or ‘Little Carlo of the Madonnas', but his gifted interpretation of this theme.^[4] Other works included an altarpiece, ‘The Death of St Francis Xavier’ (1674–9) in the San Francesco Xavier Chapel in the right transept of the Church of the Gesu.

Maratta was a well known portrait painter.^[6] He painted Sacchi (c. 1655, Prado), Cardinal Antonio Barberini (c. 1660 Palazzo Barberini), Pope Clement IX (1669, Vatican Pinacoteca) and a self-portrait (c. 1695, Brussels).

In 1679 or 1680, a daughter, Faustina, was born to Maratta by his mistress, Francesca Gommi (or Gomma). He legally recognized her as his daughter in 1698 and upon becoming a widower in 1700, Maratta married the girl's mother. His daughter’s features were incorporated into a number of Maratta’s late paintings.^[4][7]

In 1704 Maratta was knighted by Pope Clement XI

Richard Corbould was an English artist. Born in London in 1757, he was a painter, in oil and water-colour, of portraits, landscape, and occasionally history; of porcelain, and miniatures on ivory, and enamels; and was furthermore an illustrator of books, and an imitator of the old masters. From 1777 to 1811 he was a constant contributor to the Royal Academy. He died at Highgate in 1831. Of his works exhibited at the Royal Academy may be noticed:

• 1793. Cottagers gathering Sticks.
• 1802. Eve caressing Adam's Flock and The Archangel Michael.
• 1806. Ulysses's Descent into Hades.
• 1806. View at Hampstead. (In the South Kensington Museum.)

Henry Corbould (1787–1844) was an English artist.

The third son of Richard Corbould, he was born in London. He studied painting with his father, and was at an early age admitted as a student of the Royal Academy, under Fuseli, where he gained the silver medal for a study from the life. While at the Academy he made the friendship of Flaxman, Stothard, West, Chantrey, and Westmacott. He several times sat as a model to West in whose picture of 'Christ Rejected' his head was painted for that of St. John; as also in that of 'Christ Healing the Sick in the Temple,' in the National Gallery. In 1808 he exhibited a painting of 'Coriolanus'; in the following year 'The Parting of Hector and Andromache,' and 'Thetis comforting Achilles,' &c.; but his name has been comparatively little before the public except as a designer for books, his time having been almost entirely occupied in making drawings from ancient marbles in the possession of various English noblemen. Those of the Woburn Abbey Marbles, made for the Duke of Bedford, were engraved, but only circulated among a few of his Grace's private friends. This was also the case with those executed for the Earl of Egremont.

The collection of Ancient Marbles in the British Museum, on which he was engaged for about thirty years, was in course of publication at the time of his death. He was also occasionally employed in making drawings for the Dilettanti and Antiquarian Societies, of which he was a member. He was devotedly attached to art, and was surpassed by few in professional knowledge; no painter of his time was more thoroughly acquainted with drawing; and his copies from the antique may be referred to as models of accuracy and truth. Nor was he by any means without fancy and invention: some of his book illustrations are among the most graceful and effective productions of the age; and few designers ever more completely entered into the spirit of the author. He died at Robertsbridge, in 1844, of an attack of apoplexy, supposed to have been brought on by exposure to cold

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