Herbert Maryon

Herbert James Maryon, OBE, FSA, FIIC (9 March 1874 – 14 July

1965) was an English sculptor, conservator, goldsmith, archaeologist
Herbert Maryon
and authority on ancient metalwork. Maryon effectively had two OBE FSA FIIC
careers. He practiced and taught sculpture until retiring in 1939, then
worked as a conservator with the British Museum from 1944 until
1961. He is best known for his work on the Sutton Hoo ship-burial,
which led to his appointment as an Officer of the Order of the British
Empire.

By his mid-twenties Maryon had attended three art schools,

apprenticed in silversmithing with C. R. Ashbee, and worked in
Henry Wilson's workshop. From 1900 to 1904 he served as the
director of the Keswick School of Industrial Art, where he designed
and exhibited numerous Arts and Crafts works. After moving to the
University of Reading and then Durham University, he taught
sculpture, metalwork, modelling, casting, and anatomy until 1939; he
also designed the University of Reading War Memorial, among other
commissions. Maryon published two books while teaching, including
the standard Metalwork and Enamelling, and more than a dozen With his reconstruction of the
articles. He frequently led archaeological digs, and in 1935 discovered Sutton Hoo helmet, c. 1951. The
one of the oldest gold ornaments known in Britain while excavating image to Maryon's left depicts the
the Kirkhaugh cairns.
helmet from Vendel 14; that on his
In 1944 Maryon was brought out of retirement to work on the Sutton right shows plate 1 from Greta
Hoo finds. His responsibilities included restoring the shield, the Arwidsson's 1942 work on
drinking horns, and the iconic Sutton Hoo helmet, which proved Valsgärde 6, and depicts the helmet
academically and culturally influential. Maryon's work, much of from said grave.
which was revised in the 1970s, created credible renderings upon
Born 9 March 1874
which subsequent research relied; likewise, one of his papers coined
London, England
the term pattern welding to describe a method employed on the Sutton
Hoo sword to strengthen and decorate iron and steel. The initial work Died 14 July 1965
ended in 1950, and Maryon turned to other matters. He proposed a (aged 91)
widely publicised theory in 1953 on the construction of the Colossus Edinburgh, Scotland
of Rhodes, influencing Salvador Dalí and others, and restored the
Nationality English
Roman Emesa helmet in 1955. He left the museum in 1961, a year
after his official retirement, and began an around-the-world trip Occupation Sculptor, metalsmith,
lecturing and researching Chinese magic mirrors. conservator-restorer
Relatives John, Edith, George,
Maryon is remembered as one of the finest conservators who
combined deep technical, artistic, and historical understandings of the Mildred, Violet
objects he worked on. His works remain influential, particularly (siblings)
Metalwork and Enamelling, which remains in print more than a Signature
century after its first publication.

Contents
Early life and education
Sculpture
Keswick School of Industrial Art, 1900–1904
University of Reading, 1907–1927
Armstrong College, 1927–1939
British Museum, 1944–1961
Sutton Hoo helmet
After Sutton Hoo
Publications
Later years
Personal life
Works by Maryon
Books
Articles
Other
Notes
References
Bibliography
Colossus articles
External links

Early life and education

Herbert James Maryon was born in London on 9 March 1874.[1][2] He was the third of six surviving children
born to John Simeon Maryon, a tailor,[3] and Louisa Maryon (née Church).[4][5][6] He had an older brother,
John Ernest, and an older sister, Louisa Edith, the latter of whom preceded him in his vocation as a sculptor.
Another brother and three sisters were born after him—in order, George Christian, Flora Mabel, Mildred
Jessie, and Violet Mary—although Flora Maryon, born in 1878, died in her second year.[7] According to a
pedigree compiled by John Ernest Maryon,[8] the Maryons traced back to the de Marinis family, a branch of
which left Normandy for England around the 12th century.[9]

After receiving his general education at The Lower School of John Lyon,[10] Herbert Maryon studied from
1896 to 1900 at the Polytechnic (probably Regent Street), The Slade, Saint Martin's School of Art, and, under
the tutelage of Alexander Fisher[11] and William Lethaby,[12] the Central School of Arts and Crafts.[1][10]
Under Fisher in particular, Maryon learned enamelling.[11] Maryon further received a one-year silversmithing
apprenticeship in 1898, at C. R. Ashbee's Essex House Guild of Handicrafts,[10][1][13] and worked for a
period of time in Henry Wilson's workshop.[11][14] At some point, though perhaps later, Maryon also worked
in the workshop of George Frampton,[15] and was taught by Robert Catterson Smith.[16]

Sculpture
From 1900 until 1939, Maryon held various positions teaching sculpture, design, and metalwork.[1] During
this time, and while still in school beforehand, he created and exhibited many of his own works.[1] At the end
of 1899 he displayed a silver cup and a shield of arms with silver cloisonné at the sixth exhibition of the Arts
and Crafts Exhibition Society, an event held at the New Gallery
which also included a work by his sister Edith.[17] The exhibition was
reviewed by The International Studio, with Maryon's work singled
out as "agreeable".[18]

Keswick School of Industrial Art, 1900–1904

In March 1900 Maryon became the first director of the Keswick

School of Industrial Art.[19][20][21] The school had been opened by
Edith and Hardwicke Rawnsley in 1884, amid the emergence of the
Arts and Crafts movement.[22] It offered classes in drawing, design,
woodcarving, and metalwork, and melded commercial with artistic
purposes; the school sold items such as trays, frames, tables, and
clock-cases, and developed a reputation for quality.[23] Already by
May a reviewer for The Studio of an exhibition at the Royal Albert
Hall commented that a group of silver tableware by the school was "a
welcome departure towards finer craftsmanship".[24][25] Two of
Maryon's designs, she wrote, "were singularly good—a knocker, Winged Victory by Herbert Maryon
executed by Jeremiah Richardson, and a copper casket made by
Thomas Spark and ornamented by Thomas Clark and the
designer".[24][25][note 1] She described the casket's lock as "enamelled in pearly blue and white", and giving "a
dainty touch of colour to a form almost bare of ornament, but beautiful in its proportions and lines".[24][25] At
the following year's exhibition three more works by the school were singled out for praise, including a loving
cup by Maryon.[28]

Under Maryon's leadership the Keswick School expanded the breadth and range of its designs, and he
executed several significant commissions.[29] His best works, wrote a historian of the school, "drew their
inspiration from the nature of the material and his deep understanding of its technical limits".[29] They also
tended to be in metal.[29] Items like Bryony, a tray centre showing tangled growth concealed within a
geometric framework, continued the school's tradition of repoussé work of naturalistic interpretations of
flowers, while evoking the vine-like wallpapers of William Morris.[30] These themes were particularly
expressed in a 1901 plaque memorialising Bernard Gilpin, unveiled in St Cuthbert's Church, Kentmere;
described by the art historian Sir Nikolaus Pevsner as "Arts and Crafts, almost Art Nouveau", the bronze tablet
on oak is framed by trees with entwined roots and influenced by a Norse and Celtic aesthetic.[31][32] Three
other commissions in silver—a loving cup, a processional cross, and a challenge shield—were completed
towards the end of Maryon's tenure and the school and featured in The Studio and its international
counterpart.[33][34] The cup was commissioned by the Cumberland County Council for presentation to
HMS Cumberland, and was termed a "tour de force".[35]

Particularly in more utilitarian works, Maryon's designs at the Keswick School tended to emphasise form over
design.[36][37] As he would write a decade later, "[o]ver-insistence on technique, craftsmanship which
proclaims 'How clever am I!' quite naturally elbows out artistic feeling. One idea must be the principal one;
and if that happens to be technique, the other goes."[38] Design should be determined by intention, he wrote:
as an objet or as an object for use.[39] Hot water jugs, tea pots, sugar bowls and other tableware that Maryon
designed were frequently raised from a single sheet of metal, retaining the hammer marks and a dull lustre.[40]
Many of these were displayed at the 1902 Home Arts and Industries Exhibition, where the school won 65
awards,[41] along with an altar cross designed by Maryon for Hexham Abbey,[42] and were praised for
showing "a remarkably good year's work in the finer kinds of craft and decoration".[43] At the same event a
year later more than £35 worth of goods were sold, including a copper jug Maryon designed which was
acquired by the Manchester School of Art for its Arts and Crafts
Museum.[44][41] On the strength of these and other achievements,
Maryon's salary, which in 1902 had amounted in his estimation to
between £185 and £200, was raised to £225.[45]

Maryon's four-year tenure at Keswick was assisted by four designers

who also taught drawing: G. M. Collinson, Isobel McBean, Maude
M. Ackery, and Dorothea Carpenter.[46] Hired from leading art
schools and serving for a year each, the four helped the school keep 1901 memorial to Bernard Gilpin,
abreast of modern design.[47] Eight full-time workers helped execute designed by Maryon, in St Cuthbert's
the designs when Maryon joined in 1900, rising to 15 by 1903.[41] Church
Maryon also had the help of his sisters: Edith Maryon designed at
least one work for the school, a 1901 relief plaque of Hardwicke
Rawnsley, while Mildred Maryon, who the 1901 census listed as living with her sister,[48][49] worked for a
time as an enameller at the school.[50][51] Both Herbert and Mildred Maryon worked on an oxidised silver and
enamel casket that was presented to Princess Louise upon her 1902 visit to the Keswick School;[52] Herbert
Maryon was responsible for the design and his sister for the enamelling, with the resulting work being termed
"of a character highly creditable to the School" in The Magazine of Art.[53] Strife with colleagues eventually
led to Maryon's departure.[54] In July 1901 Collinson had left due to a poor working relationship, and Maryon
was often in conflict with the school's management committee, which was chaired by Edith Rawnsley and
frequently made decisions without his knowledge.[55] When in August 1904 Carpenter, in friction with
Maryon, resigned, the committee decided to give Maryon three-months' notice.[56]

Maryon left the school at the end of December 1904.[56] He spent 1905 teaching metalwork at the Storey
Institute in Lancaster.[1][10] That October he published his first article, "Early Irish Metal Work" in The Art
Workers' Quarterly.[57] In 1906 Maryon, still listed as living in Keswick, again displayed works—this time a
silver cup and silver chalice—for the Arts and Crafts Exhibition Society, held at the Grafton Galleries; one
Mrs. Herbert J. Maryon was listed as exhibiting a Sicilian lace tablecloth.[58]

University of Reading, 1907–1927

From 1907 until 1927, Maryon taught sculpture, including metalwork,

modelling, and casting, at the University of Reading.[10][59] He was also the
warden of Wantage Hall from 1920 to 1922.[59] Maryon's first book,
Metalwork and Enamelling: A Practical Treatise on Gold and Silversmiths'
Work and their Allied Crafts, was published in 1912.[60] Maryon described it
as eschewing "the artistic or historical point of view", in favor of an
"essentially practical and technical standpoint".[61] The book focused on
individual techniques such as soldering, enamelling, and stone-setting, rather
than the methods of creating works such as cups and brooches.[62][63] It was
well received,[64][65] as a vade mecum for both students and practitioners of
metalworking.[66][62] The Burlington Magazine for Connoisseurs wrote that
Maryon "succeeds in every page in not only maintaining his own enthusiasm,
The University of Reading
but what is better in communicating it",[67] and The Athenæum declared that War Memorial, designed by
his "critical notes on design are excellent".[68] One such note, republished in Maryon and dedicated in
The Jewelers' Circular in 1922,[69] was a critique of the celebrated sixteenth- 1924
century goldsmith Benvenuto Cellini; Maryon termed him "one of the very
greatest craftsmen of the sixteenth century, but ... a very poor artist",[70] a
"dispassionate appraisal" that led a one-time secretary of the Metropolitan Museum of Art to label Maryon not
only "the dean of ancient metalwork",[71] but also "a discerning critic".[72] Metalwork and Enamelling went
through four further editions, in 1923,[73] 1954,[74] 1959,[75] and posthumously in 1971,[76] along with a
1998 Italian translation,[77] and as of 2020 is still in print by Dover Publications.[78] As late as 1993, a senior
conservator at the Canadian Conservation Institute wrote that the book "has not been equalled".[79]

During World War I Maryon worked at Reading with another instructor, Charles Albert Sadler, to create a
centre to train munition workers in machine tool work.[1][10] Maryon began this work in 1915, officially as
organising secretary and instructor at the Ministry of Munitions Training Centre, with no engineering school to
build from.[10] By 1918 the centre had five staff members, could accommodate 25 workers at a time, and had
trained more than 400.[10] Based on this work, Maryon was elected to the Institution of Mechanical Engineers
on 6 March 1918.[1][10]

Maryon displayed a child's bowl with signs of the zodiac at the ninth Arts and Crafts Exhibition Society
exhibition in 1910.[80][81] Following the war, he—like his colleague and friend William Collingwood,[82]—
designed several memorials, including the East Knoyle War Memorial in 1920,[83] the Mortimer War
Memorial in 1921,[84] and in 1924 the University of Reading War Memorial, a clock tower on the London
Road Campus.[85][86]

Armstrong College, 1927–1939

In 1927 Maryon left the University of Reading and began teaching

sculpture at Armstrong College, then part of Durham University,
where he stayed until 1939.[59] At Durham he was both master of
sculpture, and lecturer in anatomy and the history of sculpture.[59] In
1933 he published his second book, Modern Sculpture: Its Methods
and Ideals.[87] Maryon wrote that his aim was to discuss modern
sculpture "from the point of view of the sculptors themselves", rather
than from an "archaeological or biographical" perspective.[88] The
book received mixed reviews.[89] His treatment of criticism as
Students dancing around the Statue
secondary to intent meant grouping together artworks of unequal
of Industry after tarring and
quality.[90] Some critics attacked his taste, with The New Statesman
feathering it
and Nation claiming that "He can enjoy almost anything, and among
his 350 odd illustrations there are certainly some camels to
swallow,"[91] The Bookman that "All the bad sculptors ... will be
found in Mr. Maryon's book ... Most of the good sculptors are here as well (even Henry Moore), but all are
equal in Mr. Maryon's eye,"[92] and The Spectator that "[t]he few good works which have found their way
into the 356 plates look lost and unhappy."[93] Maryon responded with explanations of his purpose,[94][95]
saying that "I do not admire all the results, and I say so,"[96] and to one review in particular that "I believe that
the sculptors of the world have a wider knowledge of what constitutes sculpture than your reviewer
realizes."[97][98] Other reviews praised Maryon's academic approach.[99][95] The Times stated that "his book is
remarkable for its extraordinary catholicity, admitting works which we should find it hard to defend ... with
works of great merit," yet added that "[b]y a system of grouping, however, according to some primarily
aesthetic aim ... their inclusion is justified."[90] The Manchester Guardian praised Maryon for "a degree of
natural good sense in his observations that cannot always be said to characterise current art criticism", and
stated that "his critical judgments are often penetrating."[100]

At Durham, as at Reading, Maryon was commissioned to create works of art. These included at least two
plaques, memorialising George Stephenson in 1929,[101][102] and Sir Charles Parsons in 1932,[103][104][note 2]
as well as the Statue of Industry for the 1929 North East Coast Exhibition, a world's fair held at Newcastle
upon Tyne.[106][107] Depicting a woman with cherubs at her feet, the statue was described by Maryon as
"represent[ing] industry as we know it in the North-east—one who has passed through hard times and is now
ready to face the future, strong and undismayed".[107] The statue was the subject of "adverse criticism",
reported The Manchester Guardian; on the night of 25 October "several hundred students of Armstrong
College" tarred and feathered the statue, and were dispersed only with the arrival of eighty police
officers.[106][note 3]

Maryon expressed an interest in archaeology while at Armstrong.[112]

By the early 1930s he was conducting excavations, and frequently
brought students to dig along Hadrian's Wall.[112] In 1935 he
published two articles on Bronze Age swords,[113][114] and at the end
of the year excavated the Kirkhaugh cairns, two Bronze Age graves
at Kirkhaugh, Northumberland.[115][116] One of the cairns was the
nearly 4500-year-old grave of a metalworker, like the grave of the
Amesbury Archer, and contained one of the oldest gold ornaments yet
found in the United Kingdom;[117][118] a matching ornament was
found during a re-excavation in 2014.[119] Maryon's account of the
excavation was published in 1936,[120] and papers on archaeology
One of two gold ornaments from the
and prehistoric metalworking followed. In 1937 he published an
Kirkhaugh cairns, matching the one
article in Antiquity clarifying a passage by the ancient Greek historian
excavated by Maryon in 1935
Diodorus Siculus on how Egyptians carved sculptures;[121] in 1938
he wrote in both the Proceedings of the Royal Irish Academy and The
Antiquaries Journal on metalworking during the Bronze and Iron Ages;[122][123] and in 1939 he wrote articles
about an ancient hand-anvil discovered in Thomastown,[124] and gold ornaments found in Alnwick.[125]

Maryon retired from Armstrong College—by then known as King's College—in 1939, when he was in his
mid-60s.[126] From 1939 to 1943, at the height of World War II, he was involved in munition work.[59] In
1941 he published a two-part article in Man on archaeology and metallurgy, part I on welding and soldering,
and part II on the metallurgy of gold and platinum in Pre-Columbian Ecuador.[127][128]

British Museum, 1944–1961

On 11 November 1944 Maryon was recruited out of retirement by the trustees of the British Museum to serve
as a Technical Attaché.[129] Maryon, working under Harold Plenderleith's leadership,[130][131] was tasked
with the conservation and reconstruction of material from the Anglo-Saxon Sutton Hoo ship-burial.[132]
Widely identified with King Rædwald of East Anglia, the burial had previously attracted Maryon's interest; as
early as 1941, he wrote a prescient letter about the preservation of the ship impression to Thomas Downing
Kendrick, the museum's Keeper of British and Medieval Antiquities.[132][note 4] Nearly four years after his
letter, in the dying days of World War II and the finds removed (or about to be removed) from safekeeping in
the Aldwych tube station,[142] he was assigned what Rupert Bruce-Mitford, who succeeded Kendrick's post in
1954,[143][144] termed "the real headaches—notably the crushed shield, helmet and drinking horns".[145]
Composed in large part of iron, wood and horn, these items had decayed in the 1,300 years since their burial
and left only fragments behind; the helmet, for one, had corroded and then smashed into more than
500 pieces.[146] Painstaking work needing keen observation and patience, these efforts occupied several years
of Maryon's career.[126] Much of his work has seen revision, but as Bruce-Mitford wrote afterwards, "by
carrying out the initial cleaning, sorting, and mounting of the mass of the fragmentary and fragile material he
preserved it, and in working out his reconstructions he made explicit the problems posed and laid the
foundations upon which fresh appraisals and progress could be based when fuller archaeological study became
possible."[147]

Maryon's restorations were aided by his deep practical understandings of the objects he was working on,
causing a senior conservator at the Canadian Conservation Institute in 1993 to label Maryon "[o]ne of the
finest exemplars" of a conservator whose "wide understanding of the structure and function of museum
objects ... exceeds that gained by the curator or historian in more classical studies of artefacts."[148] Maryon
was admitted as a fellow of the Society of Antiquaries in 1949,[149][150] and in 1956 his Sutton Hoo work led
to his appointment as an Officer of the Order of the British Empire.[126][151] Asked by Queen Elizabeth II
what he did as she awarded him the medal, Maryon responded "Well, Ma'am, I am a sort of back room boy at
the British Museum."[152] Maryon continued restoration work at the British Museum, including on Oriental
antiquities and the Roman Emesa helmet,[126][153] before retiring—for a second time—at the age of
87.[72][154]

Sutton Hoo helmet

From 1945 to 1946,[156][157] Maryon spent six continuous months

reconstructing the Sutton Hoo helmet.[158] The helmet was only the
second Anglo-Saxon example then known, the Benty Grange helmet
being the first, and was the most elaborate.[159] Yet its importance had
not been realized during excavation, and no photographs of it were
taken in situ.[160] Bruce-Mitford likened Maryon's task to "a jigsaw
puzzle without any sort of picture on the lid of the box",[161] and, "as
it proved, a great many of the pieces missing"; Maryon had to base his
reconstruction "exclusively on the information provided by the
surviving fragments, guided by archaeological knowledge of other
helmets".[162][note 5]

Maryon began the reconstruction by familiarising himself with the

fragments, tracing and detailing each on a piece of card.[160] After
what he termed "a long while", he sculpted a head out of plaster and
The Valsgärde 6 helmet was one of
expanded it outwards to simulate the padded space between helmet
the few published exemplar helmets
and head.[164] On this he initially affixed the fragments with
at the time of Maryon's
plasticine, placing thicker pieces into spaces cut into the head.[165]
reconstruction.[155]
Finally, the fragments were permanently affixed with white plaster
mixed with brown umber; more plaster was used to fill the in-between
areas.[165] The fragments of the cheek guards, neck guard, and visor were placed onto shaped, plaster-covered
wire mesh, then affixed with more plaster and joined to the cap.[166][167] Maryon published the finished
reconstruction in a 1947 issue of Antiquity.[168]

Maryon's work was celebrated, and both academically and culturally influential.[159] The helmet stayed on
display for over twenty years,[159][169] with photographs[170][171][172] making their way into television
programmes,[173] newspapers, and "every book on Anglo-Saxon art and archaeology";[159] in 1951 a young
Larry Burrows was dispatched to the British Museum by Life, which published a full page photograph of the
helmet alongside a photo of Maryon.[174][175] Over the succeeding quarter century conservation techniques
advanced,[176] knowledge of contemporaneous helmets grew,[177] and more helmet fragments were
discovered during the 1965–69 re-excavation of Sutton Hoo;[178][136][179][180] accordingly, inaccuracies in
Maryon's reconstruction—notably its diminished size, gaps in afforded protection, and lack of a moveable
neck guard—became apparent.[159][note 6] In 1971 a second reconstruction was completed, following eighteen
months' work by Nigel Williams.[183][162] Yet "[m]uch of Maryon's work is valid," Bruce-Mitford wrote.[169]
"The general character of the helmet was made plain."[169][note 7] "It was only because there was a first
restoration that could be constructively criticized," noted the conservation scholar Chris Caple, "that there was
the impetus and improved ideas available for a second restoration;"[177] similarly, minor errors in the second
reconstruction were discovered while forging the 1973 Royal Armouries replica.[189][190] In executing a first
reconstruction that was reversible and retained evidence by being only lightly cleaned,[191] Maryon's true
contribution to the Sutton Hoo helmet was in creating a credible first rendering that allowed for the critical
examination leading to the second, current, reconstruction.[147]
After Sutton Hoo

Maryon finished reconstructions of significant objects from Sutton

Hoo by 1946,[193][194] although work on the remaining finds carried
him to 1950; at this point Plenderleith decided the work had been
finished to the extent possible, and that the space in the research
laboratory was needed for other purposes.[195][196] Maryon continued
working at the museum until 1961, turning his attention to other
matters.[126] This included some travel: in 1953 or 1954 he visited
Toronto, lecturing on Sutton Hoo before a large audience at the Royal
Ontario Museum;[197] in 1954 he visited Philadelphia, where he was
scheduled to appear on an episode of What in the World? before the
artefacts were mistakenly carted away to the dump;[198][199][note 8] A paper read by Maryon in December
and in 1957 or 1958, paid a visit to the Gennadeion at the American 1953 likely influenced Salvador Dalí's
School of Classical Studies at Athens.[201] 1954 rendering of the Colossus.
Dalí's work incorporates Maryon's
In 1955 Maryon restored the Roman Emesa helmet for the British proposal of 1) a tripod structure
balanced by hanging drapery, 2) a
Museum.[202][153] It had been found in the Syrian city Homs in
pose in which Helios shades his
1936,[203] and underwent several failed restorations before it was
eyes, and most significantly 3) a
brought to the museum—"the last resort in these things", according to statue composed of many hammered
Maryon.[153] The restoration was published the following year by bronze plates.[192]
Plenderleith.[204] Around that time Maryon and Plenderleith also
collaborated on several other works: in 1954 they wrote a chapter on
metalwork for the History of Technology series,[205] and in 1959 they co-authored a paper on the cleaning of
Westminster Abbey's bronze royal effigies.[206]

Publications
In addition to Metalwork and Enamelling and Modern Sculpture, Maryon authored chapters in volumes one
and two of Charles Singer's "A History of Technology" series,[205][207] and wrote thirty or forty
archaeological and technical papers.[2][59] Several of Maryon's earlier papers, in 1946 and 1947, described his
restorations of the shield and helmet from the Sutton Hoo burial.[168][208] In 1948 another paper introduced
the term pattern welding to describe a method of strengthening and decorating iron and steel by welding into
them twisted strips of metal;[209][210][211] the method was employed on the Sutton Hoo sword among others,
giving them a distinctive pattern.[212] [213]

During 1953 and 1954, his talk and paper on the Colossus of Rhodes received international attention for
suggesting the statue was hollow, and stood aside rather than astride the harbour.[note 9] Made of hammered
bronze plates less than a sixteenth of an inch thick, he suggested, it would have been supported by a tripod
structure comprising the two legs and a hanging piece of drapery.[216][192] Although "great ideas" according
to the scholar Godefroid de Callataÿ, neither fully caught on;[192] in 1957, Denys Haynes, then the Keeper of
Greek and Roman Antiquities at the British Museum,[217][218] suggested that Maryon's theory of hammered
bronze plates relied on an errant translation of a primary source.[219][note 10] Maryon's view was nevertheless
influential, likely shaping Salvador Dalí's 1954 surrealist imagining of the statue, The Colossus of Rhodes.
"Not only the pose," wrote de Callataÿ, "but even the hammered plates of Maryon's theory find [in Dalí's
painting] a clear and very powerful expression."[192]

Later years
Maryon finally left the British Museum in 1961,[126] a year after his
official retirement.[154] He donated a number of items to the museum,
including plaster maquettes by George Frampton of Comedy and
Tragedy, used for the memorial to Sir W. S. Gilbert along the Victoria
Embankment.[15][222] Before his departure Maryon had been
planning a trip around the world,[154][223] and at the end of 1961 he
left for Fremantle, Australia, arriving on 1 January 1962.[224] In Perth
he visited his brother George Maryon, whom he had not seen in 60
years.[153][224] From Australia Maryon departed for San
Francisco,[154] arriving on 15 February.[153] Much of his North
American tour was done with buses and cheap hotels,[154][223] for, as
a colleague would recall, Maryon "liked to travel the hard way—like
an undergraduate—which was to be expected since, at 89, he was a
young man."[154]

Maryon devoted much of his time during the American stage of his
trip to visiting museums and the study of Chinese magic mirrors,[72] a
subject he had turned to some two years before.[153] By the time he
reached Kansas City, Missouri, where he was written up in The Maryon, c. 1950s or 1960s
Kansas City Times, he had listed 526 examples in his notebook.[153]
His trip included guest lectures, such as his talk "Metal Working in the
Ancient World" at the Massachusetts Institute of Technology on 2 May 1962,[225] and when he came to New
York City a colleague later said that "he wore out several much younger colleagues with an unusually long
stint devoted to a meticulous examination of two large collections of pre-Columbian fine metalwork, a field
that was new to him."[72] Maryon scheduled the trip to end in Toronto, where his son John Maryon, a civil
engineer, lived.[153][226]

Personal life
In July 1903 Maryon married Annie Elizabeth Maryon (née Stones).[227][228][2] They had a daughter,
Kathleen Rotha Maryon.[229][230][231] Annie Maryon died on 8 February 1908.[232] A second marriage, to
Muriel Dore Wood in September 1920,[2][233] produced two children, son John and daughter
Margaret.[226][234] Maryon lived the majority of his life in London, and died on 14 July 1965, at a nursing
home in Edinburgh, in his 92nd year.[235] Death notices were published in The Daily Telegraph,[226][236] The
Times,[126][154] the Brandon Sun,[237] and the Ottawa Journal.[238] Longer obituaries followed in Studies in
Conservation,[223] and the American Journal of Archaeology,[72]

Works by Maryon

Books
Maryon, Herbert (1912). Metalwork and Enamelling (https://books.google.com/books?id=cBc6A
QAAMAAJ&pg=PR3). London: Chapman & Hall.
Maryon, Herbert (1923). Metalwork and Enamelling (https://archive.org/details/in.ernet.dli.2015.
42252) (2nd ed.). London: Chapman & Hall.
Maryon, Herbert (1954). Metalwork and Enamelling (3rd ed.). London: Chapman & Hall.
Maryon, Herbert (1959). Metalwork and Enamelling (4th ed.). London: Chapman & Hall.
Maryon, Herbert (1971). Metalwork and Enamelling (https://archive.org/details/metalworkenam
ell00mary) (5th ed.). New York: Dover. ISBN 978-0-486-22702-3.
 Maryon, Herbert (1998). La Lavorazione dei Metalli. Translated by Cesari, Mario. Milan: Hoepli.
Maryon, Herbert (1933a). Modern Sculpture: Its Methods and Ideals. London: Sir Isaac Pitman
& Sons.
Maryon, Herbert & Plenderleith, H. J. (1954). "Fine Metal-Work". In Singer, Charles; Holmyard,
E. J. & Hall, A. R. (eds.). A History of Technology: From Early Times to Fall of Ancient Empires.
1. London: Oxford University Press. pp. 623–662.
Maryon, Herbert (1956a). "Fine Metal-Work". In Singer, Charles; Holmyard, E. J.; Hall, A. R. &
Williams, Trevor I. (eds.). A History of Technology: The Mediterranean Civilizations and the
Middle Ages. 2. Oxford: Clarendon Press. pp. 449–484.

Articles
Maryon, Herbert (October 1905). "Early Irish Metal Work". The Art Workers' Quarterly. IV (13):
177–180.
Maryon, Herbert (10 May 1922a). "Design in Jewelry" (https://books.google.com/books?id=CBc
cAQAAMAAJ&pg=RA1-PA97). The Jewelers' Circular. LXXXIV (15): 97.
Republication of passages from Maryon 1912, pp. 280–281
Maryon, Herbert (12 July 1922b). "A Critique on Cellini" (https://books.google.com/books?id=C
BccAQAAMAAJ&pg=RA8-PA89). The Jewelers' Circular. LXXXIV (24): 89.
Republication of Maryon 1912, ch. XXXIII
Cowen, J. D. & Maryon, Herbert (1935). "The Whittingham Sword" (https://archaeologydataserv
ice.ac.uk/archiveDS/archiveDownload?t=arch-3433-1/dissemination/AAseries4/AA412new/arc
hael412-000-000-PDFs/archael412-280-309-cowen.pdf) (PDF). Archaeologia Aeliana. 4. XII:
280–309. ISSN 0261-3417 (https://www.worldcat.org/issn/0261-3417).
Maryon, Herbert (1935). "The "Casting-On" of a Sword Hilt in the Bronze Age". Proceedings of
the Society of Antiquaries of Newcastle Upon Tyne. 4. VI: 41–42.
Maryon, Herbert (February 1936a). "Granular Work of the Ancient Goldsmiths". Goldsmiths
Journal: 554–556.
Maryon, Herbert (April 1936b). "Solders Used by the Ancient Goldsmiths". Goldsmiths Journal:
72–73.
Maryon, Herbert (June 1936c). "Jewellery of 5,000 Years Ago". Goldsmiths Journal: 344–345.
Maryon, Herbert (October 1936d). "Soldering and Welding in the Bronze and Early Iron Ages".
Technical Studies in the Field of the Fine Arts. V (2): 75–108. ISSN 0096-9346 (https://www.wo
rldcat.org/issn/0096-9346).
Abstract published as Maryon, Herbert (June 1937). "Prehistoric Soldering and Welding".
Antiquity. XI (42): 208–209. doi:10.1017/S0003598X0011662X (https://doi.org/10.1017%2F
S0003598X0011662X).
Maryon, Herbert (1936e). "Excavation of two Bronze Age barrows at Kirkhaugh,
Northumberland". Archaeologia Aeliana. 4. XIII: 207–217. ISSN 0261-3417 (https://www.worldc
at.org/issn/0261-3417).
Maryon, Herbert (September 1937). "A Passage on Sculpture by Diodorus of Sicily". Antiquity.
XI (43): 344–348. doi:10.1017/S0003598X0011676X (https://doi.org/10.1017%2FS0003598X0
011676X).
Maryon, Herbert (April 1938a). "The Technical Methods of the Irish Smiths in the Bronze and
Early Iron Ages". Proceedings of the Royal Irish Academy, Section C. XLIV: 181–228.
JSTOR 25516012 (https://www.jstor.org/stable/25516012).
Maryon, Herbert (July 1938b). "Some Prehistoric Metalworkers' Tools". The Antiquaries
Journal. XVIII (3): 243–250. doi:10.1017/S0003581500007228 (https://doi.org/10.1017%2FS00
03581500007228).
Maryon, Herbert (June 1939a). "Ancient Hand-Anvil from Thomastown, Co. Kilkenny" (http://ww
w.corkhist.ie/wp-content/uploads/jfiles/1939/b1939-013.pdf) (PDF). Journal of the Cork
Historical and Archaeological Society. XLIV (159): 62–63. ISSN 0010-8731 (https://www.world
cat.org/issn/0010-8731). Archived (https://web.archive.org/web/20180411174213/http://corkhist.
ie/wp-content/uploads/jfiles/1939/b1939-013.pdf) (PDF) from the original on 11 April 2018.
Maryon, Herbert (1939b). "The Gold Ornaments from Cooper's Hill, Alnwick". Archaeologia
Aeliana. 4. XVI: 101–108. ISSN 0261-3417 (https://www.worldcat.org/issn/0261-3417).
Maryon, Herbert (November 1941a). "Archæology and Metallurgy. I. Welding and Soldering".
Man. XLI: 118–124. JSTOR 2791583 (https://www.jstor.org/stable/2791583).
Maryon, Herbert (November 1941b). "Archæology and Metallurgy: II. The Metallurgy of Gold
and Platinum in Pre-Columbian Ecuador". Man. XLI: 124–126. JSTOR 2791584 (https://www.js
tor.org/stable/2791584).
Maryon, Herbert (July 1944). "The Bawsey Torc". The Antiquaries Journal. XXIV (3–4): 149–
151. doi:10.1017/S0003581500095640 (https://doi.org/10.1017%2FS0003581500095640).
Maryon, Herbert (March 1946). "The Sutton Hoo Shield". Antiquity. XX (77): 21–30.
doi:10.1017/S0003598X00019232 (https://doi.org/10.1017%2FS0003598X00019232).
Maryon, Herbert (September 1947). "The Sutton Hoo Helmet". Antiquity. XXI (83): 137–144.
doi:10.1017/S0003598X00016598 (https://doi.org/10.1017%2FS0003598X00016598).
Maryon, Herbert (1948a). "A Sword of the Nydam Type from Ely Fields Farm, near Ely".
Proceedings of the Cambridge Antiquarian Society. XLI: 73–76. doi:10.5284/1034398 (https://d
oi.org/10.5284%2F1034398).
Maryon, Herbert (March 1948b). "The Mildenhall Treasure, Some Technical Problems: Part I".
Man. XLVIII: 25–27. JSTOR 2792450 (https://www.jstor.org/stable/2792450).
Maryon, Herbert (April 1948c). "The Mildenhall Treasure, Some Technical Problems: Part II".
Man. XLVIII: 38–41. JSTOR 2792704 (https://www.jstor.org/stable/2792704).
Maryon, Herbert (April 1949). "Metal Working in the Ancient World". American Journal of
Archaeology. LII (2): 93–125. JSTOR 500498 (https://www.jstor.org/stable/500498).
Maryon, Herbert (July 1950). "A Sword of the Viking Period from the River Witham". The
Antiquaries Journal. XXX (3–4): 175–179. doi:10.1017/S0003581500087849 (https://doi.org/1
0.1017%2FS0003581500087849).
Maryon, Herbert (April 1951). "New Light on the Royal Gold Cup". The British Museum
Quarterly. XVI (2): 56–58. JSTOR 4422320 (https://www.jstor.org/stable/4422320).
Maryon, Herbert (June 1953). "The King John Cup at King's Lynn". The Connoisseur: 88–89.
ISSN 0010-6275 (https://www.worldcat.org/issn/0010-6275).
Maryon, Herbert (1956b). "The Colossus of Rhodes". The Journal of Hellenic Studies. LXXVI:
68–86. JSTOR 629554 (https://www.jstor.org/stable/629554).
Plenderleith, H. J. & Maryon, Herbert (January 1959). "The Royal Bronze Effigies in
Westminster Abbey". The Antiquaries Journal. XXXIX (1–2): 87–90.
doi:10.1017/S0003581500083633 (https://doi.org/10.1017%2FS0003581500083633).
Maryon, Herbert (February 1960a). "Pattern-Welding and Damascening of Sword-Blades—Part
1: Pattern-Welding". Studies in Conservation. 5 (1): 25–37. JSTOR 1505063 (https://www.jstor.
org/stable/1505063).
Maryon, Herbert (May 1960b). "Pattern-Welding and Damascening of Sword-Blades—Part 2:
The Damascene Process". Studies in Conservation. 5 (2): 52–60. JSTOR 1504953 (https://ww
w.jstor.org/stable/1504953).
Maryon, Herbert (1961). "The Making of a Chinese Bronze Mirror". Archives of the Chinese Art
Society of America. XV: 21–25. JSTOR 20067029 (https://www.jstor.org/stable/20067029).
Maryon, Herbert; Organ, R. M.; Ellis, O. W.; Brick, R. M. & Sneyers, E. E. (April 1961). "Early
Near Eastern Steel Swords". American Journal of Archaeology. 65 (2): 173–184.
JSTOR 502669 (https://www.jstor.org/stable/502669).
 Maryon, Herbert (1963). "The Making of a Chinese Bronze Mirror, Part 2". Archives of the
Chinese Art Society of America. XVII: 23–25. JSTOR 20067056 (https://www.jstor.org/stable/20
067056).
Maryon, Herbert (1963). "A Note on Magic Mirrors". Archives of the Chinese Art Society of
America. XVII: 26–28. JSTOR 20067057 (https://www.jstor.org/stable/20067057).

Other
Maryon, Herbert (9 December 1933b). "Modern Sculpture". Points of View: Letters from
Readers. The Scotsman (28, 248). Edinburgh. p. 15.
Maryon, Herbert (December 1933c). "Modern Sculpture" (https://www.unzcloud.net/PDF/PERI
ODICAL/BookmanUK-1934jan/41-42/). The Bookman. LXXXV (507): 411.
Maryon, Herbert (October 1934). "Modern Sculpture". The Burlington Magazine for
Connoisseurs. LXV (CCCLXXIX): 189–190. JSTOR 865986 (https://www.jstor.org/stable/86598
6).
Maryon, Herbert (October 1960). "Review of Der Überfangguss. Ein Beitrag zur
vorgeschichtlichen Metalltechnik". American Journal of Archaeology. Archaeological Institute
of America. 64 (4): 374–375. JSTOR 501341 (https://www.jstor.org/stable/501341).

Notes
1. The casket was auctioned in 2005 by Penrith Farmers’ & Kidd’s, with an estimate of £800 to
£1,200.[26][27]
2. The Parsons plaque was placed on display at C. A. Parsons and Company.[105] Sometime
after 2003 the building was demolished and the plaque was donated to the Discovery Museum,
where as of 2016 there were plans to place it on display.[105]
3. The Manchester Guardian did not explain the reason for the tarring and feathering.[106][107] It
followed on the heels of the tarring and feathering of Jacob Epstein's sculptures Rima on
9 October,[108] and Night on 14 October.[109] In the case of Rima, which was unveiled around
1926 and shortly thereafter covered in green paint,[108] papers reported that it had come under
criticism for its "'expressionistic' character".[110] Then in 1928 Peter Pan, a statue by Maryon's
late teacher Sir George Frampton, was itself tarred and feathered.[111]
4. Kendrick would become director of the museum in 1950.[133][134][135] Dated 6 January 1941,
Maryon's letter read:

"There is a question about the Sutton Hoo ship which has been rather on my mind.
There exist many photographs of the ship, taken from many angles, and they
provide much information as to its structure and general appearance. But has
anything been done to preserve the actual form of the vessel—full size?
The Viking ships in their museum in Scandinavia are most impressive, for they are
surviving representatives of the actual vessels which played so great a part in the
early history of Western Europe. The Sutton Hoo ship is our only representative in
this class. I believe that all the timbers have perished, but the form remains—traced
in the earth.
That form could be preserved in a plaster cast. I have given some thought to the
making of large casts for I have done figures up to 18 feet in height. The work could
be done in the following manner: a light steel girder would be constructed, running
the full length of the ship, but built in quite short sections. This would not rise above
the level of the gunwale at any point but would follow the general curve of the
 central section of the vessel. It would extend right down to the keel, and would
support all the lateral frames. The outer skin, which would preserve the actual
external form of the vessel, would be of the usual canvas and plaster work. It would
be cast in sections, each perhaps extending along five feet of the length and from
keel to gunwale on one side. All sections would be assembled by bolting the
frames together. Any roughness of surface due to accidental irregularities in the
existing earth matrix could be removed. If it were desired to illustrate the inner
structure of the vessel also, I think that that might be shown by constructing a
wooden model on a reduced scale.
Such a cast as that suggested above would be a very important document for the
history of the time and it would provide a valuable introduction to Sutton Hoo's
splendid array of furnishings."[132]

Such an operation was not carried out at the time, largely due to time constraints imposed by
World War II—impending during the original 1939 excavation, and in full swing by the time of
Maryon's letter.[136][137] When an impression was taken during the 1965–69 Sutton Hoo
excavations,[138][139][140][141] much the same methods that Maryon proposed were
adopted.[137]

5. By contrast, photographs of the shield fragments suggested their spatial relationships, allowing
Plenderleith to determine which pieces were part of the grip.[163]
6. Bruce-Mitford suggested that Maryon's reconstruction "was soon criticized, though not in print,
by Swedish scholars and others".[161] At least one scholar, however, did publish minor
criticisms.[181] In a 1948 article by Sune Lindqvist—translated into English by Bruce-Mitford
himself—the Swedish professor wrote that "[t]he reconstruction of the Sutton Hoo helmet ...
needs revision in certain respects." Nonetheless, his only specific criticism was that the face-
mask was "set somewhat awry in the reconstruction".[182]
7. Maryon's reconstruction correctly identified both the five designs depicted on its exterior, and
the helmet's method of construction. Maryon wrote that the helmet was made of sheet iron, then
"covered with sheets of very thin tinned bronze, stamped with patterns, and arranged in
panels".[160] The patterns were formed from dies carved in relief, while the panels were "framed
by lengths of moulding ... swaged from strips of tin", themselves "fixed in place by bronze
rivets", and gilded.[184] Meanwhile, "the free edges of the helmet were protected by a U-shaped
channel of gilt bronze, clamped on, and held in position by narrow gilt bronze ties, riveted
on."[160] Although likely not more than educated guesses, Maryon's statements were largely
confirmed by scientific analysis carried out after completion of the second reconstruction.[185]
The nature of the moulding separating the panels, however, remains unclear. Maryon
suggested they were swaged from tin and gilded,[184] while Bruce-Mitford suggested they were
made of bronze.[186] The later analysis found results which were perhaps contradictory, yet
themselves internally contradictory. A subsurface sample of the moulding "suggest[ed] that the
original metal was tin", (Maryon's theory) while a surface sample showed an "ε-copper/tin
compound (Cu3Sn)" and thus suggested instead, because of a similar process observed on
the shield, "that the surface of a bronze alloy containing at least 62% of copper had been
coated with tin and heated".[187] Additionally, a surface sample taken near the crest had a trace
of mercury, suggestive of a fire-gilding process that requires a temperature at least 128 °C
above the melting point of tin.[188] An alloy containing at least 20% copper would thus be
needed to sufficiently raise the melting point of the tin during the gilding process, a reality
further inconsistent with the results of the subsurface sample of moulding.[188] As to swageing,
"if the strips [of moulding] were of high tin alloy throughout, swageing would be impossible as
copper/tin alloys containing more than 20% of tin are very brittle," while an alloy containing less
than 25% tin would no longer replicate the white colour of the helmet.[188] Although the
 subsurface sample supports Maryon's theory of swaged tin—though not of universally gilded
mouldings, which as reflected in the 1973 replica helmet were only found next to the crest—it
contradicts the theory suggested by the surface sample, i.e., a copper alloy with a high tin
content that was not swaged.
8. What in the World? was a show where a panel of scholar–contestants would examine, and
attempt to identify, artefacts from the collection of the University of Pennsylvania Museum of
Archaeology and Anthropology.[200] Froelich Rainey was the moderator, and for the 3 April
1954 show Maryon was scheduled to be the guest panelist alongside Alfred Kidder II and
Schuyler Cammann, both of the museum.[199] The objects set aside for their show included a
bronze spearhead from the Middle East dating to 2,400 BC, an African sculpture, a bronze
antelope from North India, a bronze medallion from Switzerland dating to 400 BC, a wood
carving from Bali, and the handle of an adze used by Native Americans on the Columbia River
in Washington.[199] The objects were kept in a cardboard box and mistaken for garbage by a
substitute cleaning crew on Friday night, then picked up in the morning by a dump truck
operated by Edward Heller and his 16-year-old son Richard.[199] When the box was discovered
as missing the studio was searched, the police were called (under the assumption it had been
stolen), and Edward Heller was contacted; "I was almost certain," Rainey later said, that the
box had been mistakenly included with a shipment to another museum.[199] Richard Heller
drove to the dump, despite his father's advice that even if he found the correct spot, the box
would have been consumed by a dump fire.[199] Finding the box just as it ignited, Richard
Heller doused the fire and recovered the items undamaged.[199] "I looked the things over after
Dick brought them back," his father said.[199] "They still looked like to junk [sic] to me."[199] The
objects were not recovered in time for the 1:30 show, however, so a kinescope rerun was aired
instead.[199]
9. Numerous newspaper articles were published, including in the United Kingdom, Canada, and
the United States. See § Colossus articles. These articles reference an account read to the
Society of Antiquaries of London on 3 December 1953.[214] Maryon published the paper,
entitled The Colossus of Rhodes, in The Journal of Hellenic Studies in 1956.[215]
10. Maryon used Johann Caspar von Orelli's translation of Philo of Byzantium, which Haynes
argued "is frequently misleading".[219] Using Rudolf Hercher's translation, Haynes suggested
that "Έπιχωνεύειν is a key word for the whole of Philo's description. An unfortunate slip in the
translation used by Maryon confuses it with ἐπιχωννύειν 'to fill up' and so destroys the sense of
the passage. Έπιχωνεύειν means 'to cast upon' the part already cast, and that implies casting
in situ. It is contrasted with ἐπιθεῖναι 'to place upon', which would imply that the casting was
done at a distance. Since in 'casting upon' the molten metal which was to form the new part
would presumably have come into direct contact with the existing part, fusion (i.e. 'casting on' in
the technical sense) would probably have resulted."[219] Yet the amount of bronze Philo
claimed the Colossus to have been made from—500 talents—would not be enough for a statue
that was cast, leading Haynes to argue that the figure had been corrupted.[220][221] Haynes thus
effectively conceded that if the 500-talent figure was correct, Maryon had a point.[221]

References
1. Mapping Sculpture 2011a.
2. Who Was Who 2014.
3. Kelly's Directory 1891, p. 1176.
4. Maryon 1895, pp. 9–10.
5. England Census 1891.
6. England Birth Index 1874.
7. Maryon 1895, p. 10.
 8. Maryon 1897.
9. Maryon 1895, p. 1.
10. Institution of Mechanical Engineers 1918.
11. Bruce 2001, p. 54.
12. International Studio 1908, p. 342.
13. Ashbee 1908, p. 256.
14. Mapping Sculpture 2011b.
15. British Museum Comedy statue.
16. Maryon 1912, p. viii.
17. Arts & Crafts Exhibition Catalogue 1899, pp. 19, 49, 91, 136.
18. H. 1899, pp. 269–270.
19. Bruce 2001, pp. 54, 137.
20. Crouch & Barnes, p. 6.
21. England Census 1901a.
22. Bruce 2001, p. 6.
23. Bruce 2001, pp. 38–39.
24. Wood 1900a, p. 85.
25. Wood 1900b, p. 85.
26. Cumberland & Westmorland Herald 2005.
27. The Salesroom 2005.
28. Gregory 1901, p. 139.
29. Bruce 2001, p. 65.
30. Bruce 2001, pp. 65, 69.
31. Bruce 2001, pp. 65, 60.
32. Northern Counties Magazine 1901, p. 55.
33. The Studio 1905.
34. International Studio 1906.
35. Bruce 2001, pp. 74, 76–77.
36. Bruce 2001, pp. 65, 68–69.
37. The International Studio 1903, p. 211.
38. Maryon 1912, p. 273.
39. Maryon 1912, p. 274.
40. Bruce 2001, pp. 65–66, 68–69, 71.
41. Pudney 2000, p. 137.
42. Bruce 2001, pp. 59, 61–62, 71, 74.
43. Wood 1902, pp. 131–132.
44. Bruce 2001, pp. 61, 67.
45. Pudney 2000, pp. 136–137.
46. Bruce 2001, pp. 7, 137, 139.
47. Pudney 2000, p. 136.
48. Mapping Sculpture 2011c.
49. England Census 1901b.
50. Bruce 2001, pp. 68, 72, 75.
51. Maryon 1903.
52. Bruce 2001, pp. 71, 74–75.
53. Spielmann 1903, pp. 155–156.
54. Bruce 2001, p. 76.
55. Bruce 2001, pp. 57–59, 76, 137.
56. Bruce 2001, pp. 76, 137.
57. Maryon 1905.
58. Arts & Crafts Exhibition Catalogue 1906, pp. 68, 110, 193.
59. Studies in Conservation 1960.
60. Maryon 1912.
61. Maryon 1912, p. vii.
62. Smith 1913.
63. Journal of the Royal Society of Arts 1913.
64. The Bookman 1912.
65. The Spectator 1913.
66. The Connoisseur 1913.
67. D. 1913.
68. The Athenæum 1912.
69. Maryon 1922b.
70. Maryon 1912, p. 290.
71. Easby Jr. 1965, p. 256.
72. Easby Jr. 1966.
73. Maryon 1923.
74. Maryon 1954.
75. Maryon 1959.
76. Maryon 1971.
77. Maryon 1998.
78. Dover Publications.
79. Barclay 1993, p. 36.
80. "The Studio" Year Book 1909.
81. Arts & Crafts Exhibition Catalogue 1910, p. 83.
82. Gray 2009, p. 75.
83. Historic England East Knoyle.
84. Mortimer War Memorial.
85. Reading University Memorial.
86. Historic England Reading.
87. Maryon 1933a.
88. Maryon 1933a, p. v.
89. Ferrari 1934.
90. Marriott 1934.
91. The New Statesman and Nation 1933.
92. Grigson 1933, p. 214.
93. The Spectator 1934.
94. Maryon 1933b.
95. The Scotsman 1933.
96. Maryon 1933c.
97. Maryon 1934, p. 190.
98. B. 1934b.
99. The Connoisseur 1934.
00. B. 1934a.
01. Lake Wakatip Mail 1929.
02. Institution of Mechanical Engineers 1931, pp. 249–250.
03. The Gazette 1933.
04. The Times 1932.
05. Friends of Discovery Museum 2016.
06. The Manchester Guardian 1929c.
07. The Manchester Guardian 1929d.
08. The Manchester Guardian 1929a.
09. The Manchester Guardian 1929b.
10. The Battle Creek Enquirer 1929.
11. The Manchester Guardian 1928.
12. Knutsen & Knutsen 2005, pp. 21, 100.
13. Cowen & Maryon 1935.
14. Maryon 1935.
15. Maryon 1936e, p. 208.
16. Altogether Archaeology 2014, p. 4.
17. Hale 2014, pp. 2–3.
18. Maryon 1936e, pp. 211–214.
19. Jeeves 2014.
20. Maryon 1936e.
21. Maryon 1937.
22. Maryon 1938a.
23. Maryon 1938b.
24. Maryon 1939a.
25. Maryon 1939b.
26. Bruce-Mitford 1965.
27. Maryon 1941a.
28. Maryon 1941b.
29. Bruce-Mitford 1975, p. 228.
30. Bruce-Mitford 1989b, p. 13.
31. Carver 2004, p. 24.
32. Bruce-Mitford 1975, pp. 228–229.
33. Sorensen 2018.
34. The Times 1979.
35. British Museum.
36. Bruce-Mitford 1974a, p. 170.
37. Bruce-Mitford 1975, p. 229.
38. Bruce-Mitford 1968.
39. Bruce-Mitford 1974a, pp. 170–174.
40. van Geersdaele 1969.
41. van Geersdaele 1970.
42. Bruce-Mitford 1975, p. xxxvii.
43. Biddle 2015, p. 76.
44. The Times 1994.
45. Bruce-Mitford 1989a.
46. Williams 1992, p. 77.
47. Bruce-Mitford 1983a, p. xliii.
48. Barclay 1993, p. 35.
49. Proceedings 1949a.
50. Proceedings 1949b.
51. London Gazette 1956, p. 3113.
52. Maryon 1971, p. iii.
53. Huey 1962, pp. 1–2.
54. Schweppe 1965a.
55. Arwidsson 1942, p. Taf. 1.
56. Bruce-Mitford 1946, pp. 2–4.
57. Martin-Clarke 1947, p. 63 n.19.
58. Bruce-Mitford 1947, p. 24.
59. Williams 1992, p. 74.
60. Maryon 1947, p. 137.
61. Bruce-Mitford 1972, p. 120.
62. Bruce-Mitford 1978, p. 140.
63. Maryon 1946, p. 21.
64. Maryon 1947, pp. 137, 144.
65. Maryon 1947, p. 144.
66. Maryon 1947, pp. 143–144.
67. Williams 1992, pp. 74–75.
68. Maryon 1947.
69. Bruce-Mitford 1972, p. 121.
70. Green 1963.
71. Grohskopf 1970.
72. Wilson 1960.
73. Marzinzik 2007, pp. 16–17.
74. Life 1951.
75. Gerwardus 2011.
76. Bruce-Mitford 1970, p. viii.
77. Caple 2000, p. 133.
78. Bruce-Mitford 1968, p. 36.
79. Bruce-Mitford 1975, pp. 279, 332, 335.
80. Bruce-Mitford 1978, p. 156.
81. Green 1963, p. 69.
82. Lindqvist 1948, p. 136.
83. Bruce-Mitford 1972, p. 123.
84. Maryon 1947, p. 138.
85. Bruce-Mitford 1978, p. 226.
86. Bruce-Mitford 1978, p. 146.
87. Bruce-Mitford 1978, pp. 226–227.
88. Bruce-Mitford 1978, p. 227.
89. Bruce-Mitford 1978, p. 181.
90. Bruce-Mitford 1974b, p. 285.
91. Caple 2000, p. 134.
92. de Callataÿ 2006, p. 54.
93. The Times 1946.
94. Proceedings 1946.
95. Bruce-Mitford 1989b, p. 14.
96. Carver 2004, p. 25.
97. Royal Ontario Museum 1953–54, p. 7.
98. New York Herald Tribune 1954.
99. Sunday Bulletin 1954.
00. Hyatt 1997.
01. Topping 1957–58, p. 35.
02. Illustrated London News 1955.
03. Seyrig 1952, p. 66.
04. Plenderleith 1956.
05. Maryon & Plenderleith 1954.
06. Plenderleith & Maryon 1959.
07. Maryon 1956a.
08. Maryon 1946.
09. Maryon 1948a.
10. Bruce-Mitford 1949, p. 67 n.269.
11. Maryon 1960a, p. 26.
12. Bruce-Mitford 1978, p. 307.
13. Engstrom, Lankton & Lesher-Engstrom 1989.
14. Proceedings 1954.
15. Maryon 1956b.
16. Maryon 1956b, p. 72.
17. Williams 1994.
18. Monuments Men Foundation.
19. Haynes 1957, p. 311.
20. Haynes 1957, p. 312 & n.4.
21. Dickie 1996, p. 251.
22. British Museum Tragedy statue.
23. Schweppe 1965b.
24. Fremantle Passenger Lists 1962.
25. The Tech 1962.
26. Daily Telegraph 1965b.
27. England Marriages 1903.
28. England Marriage Index 1903.
29. Lancashire Parish Clerks.
30. England Census 1911.
31. The Times 1929.
32. England Wills and Administrations 1908.
33. England Marriage Index 1920.
34. Winnipeg Free Press 2005.
35. England Probate 1965.
36. Daily Telegraph 1965a.
37. Brandon Sun 1965.
38. Ottawa Journal 1965.

Bibliography
"Annie Elizabeth Maryon: England and Wales, National Index of Wills and Administrations,
1858–1957" (https://www.familysearch.org/ark:/61903/1:1:W7Q4-X36Z). FamilySearch. 2019.
Annual Report (https://www.rom.on.ca/sites/default/files/imce/rom_annual_report_1953-54.pdf)
(PDF) (Report). 5. Toronto: Royal Ontario Museum. 1953–1954.
"Art School Notes: Reading" (https://books.google.com/books?id=8ZwndCRS_igC&pg=RA4-P
A342&lpg=RA4-PA342). The International Studio. New York: John Lane Co. XXXIV (136): 342.
June 1908.
Arwidsson, Greta (1942). Valsgärde 6. Uppsala: Almqvist & Wiksells Boktryckeri A.B.
Ashbee, Charles Robert (1908). Craftsmanship in Competitive Industry: Being a Record of the
Workshops of the Guild of Handicraft, and some Deductions from their Twenty-One Years'
Experience (https://archive.org/details/craftsmanshipinc00ashb/page/258/mode/2up). Chipping
Campden, Gloucestershire: Essex House Press.
"Attempt to Deface "Night": Tar and Feathers in Glass Containers" (https://www.newspapers.co
m/clip/14670139). The Manchester Guardian (25, 936). Manchester. 16 October 1929. p. 12.
B., L. B. (3 January 1934a). "Sculpture". Books of the Day. The Manchester Guardian (27, 243).
Manchester. p. 5.
B., R. P. (July 1934b). "Review of Modern Sculpture". The Burlington Magazine for
Connoisseurs. LXV (CCCLXXVI): 50. JSTOR 865852 (https://www.jstor.org/stable/865852).
Barclay, R. J. (January–December 1993). "The Conservator: Versatility and Flexibility" (https://u
nesdoc.unesco.org/ark:/48223/pf0000096288). Museum International. XLV (4): 35–40.
doi:10.1111/j.1468-0033.1993.tb01136.x (https://doi.org/10.1111%2Fj.1468-0033.1993.tb0113
6.x). Archived (https://web.archive.org/web/20181016125849/http://orcp.hustoj.com/wp-content/
uploads/2016/02/1993-The-conservator_versatility-and-flexibility.pdf) (PDF) from the original
on 16 October 2018.
"The Bernard Gilpin Memorial in Kentmere Church" (https://books.google.com/books?id=gTYN
AAAAYAAJ&pg=RA1-PA54). The Northern Counties Magazine. II (7): 2, 54–55. April 1901.
Biddle, Martin (3 December 2015). "Rupert Leo Scott Bruce-Mitford: 1914–1994" (http://www.bri
tac.ac.uk/sites/default/files/04%20Bruce%20Mitford%201820.pdf) (PDF). Biographical Memoirs
of Fellows of the British Academy. British Academy. XIV: 58–86.
"Boy, 16, Turns Detective To Find Lost TV Specimens". Sunday Bulletin. 107 (356).
Philadelphia. 4 April 1954. p. 3.
"British Museum Expert Speaks Today, 5 P.M. on Ancient Swords" (http://tech.mit.edu/V82/PD
F/V82-N12.pdf) (PDF). The Tech. 82 (12). Cambridge, Massachusetts. 2 May 1962. p. 1.
Bruce, Ian (2001). The Loving Eye and Skilful Hand: The Keswick School of Industrial Arts.
Carlisle: Bookcase.
Bruce-Mitford, Rupert (September 1946). "Sutton Hoo Ship-Burial". East Anglian Magazine. 6
(1): 2–9, 43.
Bruce-Mitford, Rupert (1947). The Sutton Hoo Ship-Burial: A Provisional Guide. London:
Trustees of the British Museum.
Bruce-Mitford, Rupert (1949). "The Sutton Hoo Ship-Burial: Recent Theories and Some
Comments on General Interpretation" (http://suffolkinstitute.pdfsrv.co.uk/customers/Suffolk%20I
nstitute/2014/01/10/Volume%20XXV%20Part%201%20(1949)_The%20Sutton%20Hoo%20shi
p-burial%20R%20L%20S%20Bruce-Mitford_1%20to%2078.pdf) (PDF). Proceedings of the
Suffolk Institute of Archaeology. Ipswich. XXV (1): 1–78.
Bruce-Mitford, Rupert (23 July 1965). "Mr. Herbert Maryon" (http://tinyurl.galegroup.com/tinyurl/3
nX6k2). Obituary. The Times (56381). London. p. 14.
Bruce-Mitford, Rupert (March 1968). "Sutton Hoo Excavations, 1965–7". Antiquity. XLII (165):
36–39. doi:10.1017/S0003598X00033810 (https://doi.org/10.1017%2FS0003598X00033810).

Bruce-Mitford, Rupert (1970). Preface. The Treasure of Sutton Hoo: Ship-Burial for an Anglo-
Saxon King (https://archive.org/details/treasureofsutton00groh). By Grohskopf, Bernice. New
York: Atheneum. LCCN 74-86555 (https://lccn.loc.gov/74-86555).
Bruce-Mitford, Rupert (Autumn 1972). "The Sutton Hoo Helmet: A New Reconstruction". The
British Museum Quarterly. British Museum. XXXVI (3–4): 120–130. JSTOR 4423116 (https://w
ww.jstor.org/stable/4423116).
Bruce-Mitford, Rupert (1974a). Aspects of Anglo-Saxon Archaeology: Sutton Hoo and Other
Discoveries. London: Victor Gollancz. ISBN 978-0-575-01704-7.
Bruce-Mitford, Rupert (1974b). "Exhibits at Ballots: 5. A replica of the Sutton Hoo Helmet Made
in the Tower Armouries, 1973". The Antiquaries Journal. LIV (2): 285–286.
doi:10.1017/S0003581500042529 (https://doi.org/10.1017%2FS0003581500042529).
Bruce-Mitford, Rupert (1975). The Sutton Hoo Ship-Burial, Volume 1: Excavations,
Background, the Ship, Dating and Inventory. London: British Museum Publications. ISBN 978-
0-7141-1334-0.
Bruce-Mitford, Rupert (1978). The Sutton Hoo Ship-Burial, Volume 2: Arms, Armour and
Regalia. London: British Museum Publications. ISBN 978-0714113319.
Bruce-Mitford, Rupert (1983a). The Sutton Hoo Ship-Burial, Volume 3: Late Roman and
Byzantine Silver, Hanging-Bowls, Drinking Vessels, Cauldrons and Other Containers, Textiles,
the Lyre, Pottery Bottle and Other Items. I. London: British Museum Publications. ISBN 978-0-
7141-0529-1.
Bruce-Mitford, Rupert (1983b). The Sutton Hoo Ship-Burial, Volume 3: Late Roman and
Byzantine Silver, Hanging-Bowls, Drinking Vessels, Cauldrons and Other Containers, Textiles,
the Lyre, Pottery Bottle and Other Items. II. London: British Museum Publications. ISBN 978-0-
7141-0530-7.
Bruce-Mitford, Rupert (1989a). "Early Thoughts on Sutton Hoo" (http://suttonhoo.org/wp-conten
t/uploads/2016/02/Saxon10.pdf) (PDF). Saxon (10).
Bruce-Mitford, Rupert (1989b). Anglo-Saxon and Mediaeval Archaeology, History and Art, with
Special Reference to Sutton Hoo: The Highly Important Working Library and Archive of More
than 6,000 Titles Formed by Dr. Rupert L.S. Bruce-Mitford FBA, D.Litt., FSA. Wickmere: Merrion
Book Co.
Includes prefatory essays My Japanese Background and Forty Years with Sutton Hoo by
Bruce-Mitford. The latter was republished in Carver 2004, pp. 23–28.
"By Balloon to Parnassus". The New Statesman and Nation. New Series. VI (148): 848. 23
December 1933.
Caple, Chris (2000). "Restoration: 9A Case study: Sutton Hoo Helmet" (https://books.google.co
m/books?id=MhgiBQAAQBAJ&pg=PA132). Conservation Skills: Judgement, Method and
Decision Making. Abingdon: Routledge. ISBN 978-0-415-18880-7.
Carver, Martin (2004). "Before 1983" (http://archaeologydataservice.ac.uk/catalogue/adsdata/ar
ch-404-1/dissemination/field_reports/pdf/fr02_before_1983_nov04.pdf) (PDF). Sutton Hoo
Field Reports (Data Set). 2. doi:10.5284/1000266 (https://doi.org/10.5284%2F1000266).
Catalogue of the Sixth Exhibition (https://archive.org/details/ACESExhib06AAD19801805/pag
e/n0). London: Arts & Crafts Exhibition Society. 1899.
Catalogue of the Eighth Exhibition (https://archive.org/details/ACESExhib08AAD19801107/pa
ge/n55). London: Arts & Crafts Exhibition Society. 1906.
Catalogue of the Ninth Exhibition (https://archive.org/details/ACESExhib09AAD19801810/pag
e/n43). London: Arts & Crafts Exhibition Society. 1910.
Spielmann, Marion Harry, ed. (1903). "Chronicle of Art—January" (https://books.google.com/bo
oks?id=vTtXAAAAMAAJ&pg=PA156). The Magazine of Art. 1: 153–156.
"Contributors to this Issue: Herbert Maryon". Studies in Conservation. 5 (1). February 1960.
JSTOR 1505065 (https://www.jstor.org/stable/1505065).
Identical bio listed in "Contributors to this Issue: Herbert Maryon". Studies in Conservation.
5 (2). May 1960. JSTOR 1504958 (https://www.jstor.org/stable/1504958).
Crouch, Philip & Barnes, Jamie. "A Brief History of the Keswick School of Industrial Art" (https://
web.archive.org/web/20161021211956/https://www.allerdale.gov.uk/downloads/Download%20
KSIA.pdf) (PDF). Allerdale Borough Council. Archived from the original (http://www.allerdale.go
v.uk/downloads/Download%20KSIA.pdf) (PDF) on 21 October 2016.
"Current Literature: Modern Sculpture" (http://archive.spectator.co.uk/article/5th-january-1934/3
4/current-literature). The Spectator. 152 (5, 506): 30. 5 January 1934.
D., N. (November 1913). "Review of Metalwork and Enamelling". The Burlington Magazine for
Connoisseurs. XXIV (CXXVIII): 114. JSTOR 859532 (https://www.jstor.org/stable/859532).
de Callataÿ, Godefroid (2006). "The Colossus of Rhodes: Ancient Texts and Modern
Representations" (https://books.google.com/books?id=kmwTDAAAQBAJ&pg=PA39). In Ligota,
Christopher R. & Quantin, Jean-Louis (eds.). History of Scholarship: A Selection of Papers from
the Seminar on the History of Scholarship Held Annually at the Warburg Institute. London:
Oxford University Press. pp. 39–73. ISBN 978-0-19-928431-3.
Dickie, Matthew Wallace (1996). "What Is a Kolossos and How Were Kolossoi Made in the
Hellenistic Period?" (https://grbs.library.duke.edu/article/viewFile/2801/5855). Greek, Roman,
and Byzantine Studies. Duke University Press. 37 (3): 237–257.
Easby Jr., Dudley T. (October 1965). "Samuel Kirkland Lothrop, 1892–1965". American
Antiquity. Society for American Archaeology. 21 (2:1): 256–261.
doi:10.1017/S0002731600088545 (https://doi.org/10.1017%2FS0002731600088545).
JSTOR 2693994 (https://www.jstor.org/stable/2693994).
Easby Jr., Dudley T. (July 1966). "Necrology". American Journal of Archaeology.
Archaeological Institute of America. 70 (3): 287. JSTOR 501899 (https://www.jstor.org/stable/50
1899).
"Eden and Keswick Links to Antiques and Collectibles" (http://www.cwherald.com/a/archive/ed
en-and-keswick-links-to-antiques-and-collectibles.248524.html). Cumberland & Westmorland
Herald. 25 June 2005. Retrieved 18 October 2018.
Engstrom, Robert; Lankton, Scott Michael & Lesher-Engstrom, Audrey (1989). A Modern
Replication Based on the Pattern-Welded Sword of Sutton Hoo. Kalamazoo: Medieval Institute
Publications, Western Michigan University. ISBN 978-0-918720-29-0.
Ferrari, Dino (6 May 1934). "Some of the Sculpture of Our Day" (https://www.nytimes.com/1934/
05/06/archives/some-of-the-sculpture-of-our-day-modern-sculpture-its-method-and.html). Book
Review. The New York Times. LXXXIII (27, 861). New York City. pp. 5–21.
"Fieldwork Module 2b: Kirkhaugh Cairns Excavation, Project Design" (https://www.altogetherar
chaeology.org/Reports%20and%20Proposal%20Docs/Kirkhaugh/Altogether%20Archaeolog
y%20Kirkhaugh%20Cairns%20PD.pdf) (PDF). Altogether Archaeology. 2014.
"A Fine and Extremely Rare Late Victorian Signed and Documented Keswick School of
Industrial Arts (KSIA) Enamelled Copper Casket" (https://www.the-saleroom.com/en-gb/auction
-catalogues/penrith-farmers-and-kidds-plc/catalogue-id-2657517/lot-1689034). The Salesroom.
29 June 2005. Retrieved 18 October 2018.
Gray, Sara (2009). "Collingridge, Barbara Crystal". The Dictionary of British Women Artists.
Cambridge: The Lutterworth Press. p. 75. ISBN 978-0-7188-3084-7.
Green, Charles (1963). Sutton Hoo: The Excavation of a Royal Ship-Burial. New York: Barnes
& Novle.
Gregory, Edward W. (June–September 1901). "Home Arts and Industries" (https://babel.hathitru
st.org/cgi/pt?id=iau.31858019619315;view=1up;seq=187). The Artist: An Illustrated Monthly
Record of Arts Crafts and Industries. New York: Truslove, Hanson & Comba. XXXI: 135–140.
doi:10.2307/25581626 (https://doi.org/10.2307%2F25581626).
Grigson, Geoffrey (December 1933). "Review of Modern Sculpture, and Modelling and
Sculpture in the Making" (https://www.unzcloud.net/PDF/PERIODICAL/BookmanUK-1933dec/
139-142/). The Bookman. LXXXV (507): 213–214.
Grohskopf, Bernice (1970). The Treasure of Sutton Hoo: Ship-Burial for an Anglo-Saxon King
(https://archive.org/details/treasureofsutton00groh). New York: Atheneum. LCCN 74-86555 (htt
ps://lccn.loc.gov/74-86555).
H., C. (October 1899). "Studio Talk: London" (https://books.google.com/books?id=_P9GAQAAI
AAJ&pg=PA266). The International Studio. New York: John Lane Co. VIII (32): 266–271.
Hale, Duncan (October 2014). "Kirkhaugh Cairn, Tynedale, Northumberland: Geophysical
Survey" (https://www.altogetherarchaeology.org/Reports%20and%20Proposal%20Docs/Kirkha
ugh/3500%20Kirkhaugh%20Cairn%20Tynedale%20GEO.pdf) (PDF). Archaeological Services.
Durham University (3500).
Haynes, D. E. L. (1957). "Philo of Byzantium and the Colossus of Rhodes". The Journal of
Hellenic Studies. LXXVII (2): 311–312. doi:10.2307/629373 (https://doi.org/10.2307%2F62937
3). JSTOR 629373 (https://www.jstor.org/stable/629373).
"Herbert G Maryon in the 1891 England Census" (http://search.ancestrylibrary.com/cgi-bin/sse.
dll?gss=angs-g&new=1&rank=1&gsfn=Herbert&gsfn_x=0&gsln=Maryon&gsln_x=0&msypn__ft
p=England&msypn=3251&msypn_PInfo=3-%7c0%7c0%7c3257%7c3251%7c0%7c0%7c0%7
c0%7c0%7c0%7c0%7c&msbdy_x=1&msbdp=2&MSAV=0&msbdy=1874&catbucket=rstp&uidh
=fph&pcat=ROOT_CATEGORY&h=316269&db=uki1891&indiv=1&ml_rpos=3). Ancestry
Library. 2005.
"Herbert James Maryon" (http://sculpture.gla.ac.uk/view/person.php?id=msib5_1208551459).
Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951. University
of Glasgow History of Art. 2011a. Retrieved 13 September 2016.
"Herbert James Maryon" (http://sculpture.gla.ac.uk/view/organization.php?id=msib1_12613324
46). Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951.
University of Glasgow History of Art. 2011b. Retrieved 13 September 2016.
"Herbert James Maryon in the England & Wales, Civil Registration Birth Index, 1837–1915" (htt
p://search.ancestrylibrary.com/cgi-bin/sse.dll?_phsrc=uoP10&_phstart=successSource&usePU
BJs=true&gss=angs-g&new=1&rank=1&msT=1&gsfn=Herbert%20James&gsfn_x=0&gsln=Mar
yon&gsln_x=0&msypn__ftp=England&msypn=3251&msypn_PInfo=3-%7C0%7C0%7C3257%
7C3251%7C0%7C0%7C0%7C0%7C0%7C0%7C0%7C&MSAV=0&catbucket=rstp&uidh=fph
&pcat=ROOT_CATEGORY&h=21039821&recoff=7%208%209&db=FreeBMDBirth&indiv=1&
ml_rpos=7). Ancestry Library. 2006.
"Herbert James Maryon in the 1901 England Census" (http://search.ancestrylibrary.com/cgi-bin/
sse.dll?_phsrc=uoP10&_phstart=successSource&usePUBJs=true&gss=angs-g&new=1&rank
=1&msT=1&gsfn=Herbert%20James&gsfn_x=0&gsln=Maryon&gsln_x=0&msypn__ftp=Englan
d&msypn=3251&msypn_PInfo=3-%7C0%7C0%7C3257%7C3251%7C0%7C0%7C0%7C0%7
C0%7C0%7C0%7C&MSAV=0&catbucket=rstp&uidh=fph&pcat=ROOT_CATEGORY&h=3120
6756&db=uki1901&indiv=1&ml_rpos=3). Ancestry Library. 2005.
"Herbert James Maryon in the England, Select Marriages, 1538–1973" (http://search.ancestryli
brary.com/cgi-bin/sse.dll?_phsrc=uoP10&_phstart=successSource&usePUBJs=true&gss=ang
s-g&new=1&rank=1&msT=1&gsfn=Herbert%20James&gsfn_x=0&gsln=Maryon&gsln_x=0&ms
ypn__ftp=England&msypn=3251&msypn_PInfo=3-%7C0%7C0%7C3257%7C3251%7C0%7C
0%7C0%7C0%7C0%7C0%7C0%7C&MSAV=0&catbucket=rstp&uidh=fph&pcat=ROOT_CAT
EGORY&h=9088300&db=FS1EnglandMarriages&indiv=1&ml_rpos=5). Ancestry Library.
2014.
"Herbert James Maryon in the England & Wales, Civil Registration Marriage Index, 1837–
1915" (http://search.ancestrylibrary.com/cgi-bin/sse.dll?_phsrc=uoP10&_phstart=successSourc
e&usePUBJs=true&gss=angs-g&new=1&rank=1&msT=1&gsfn=Herbert%20James&gsfn_x=0
&gsln=Maryon&gsln_x=0&msypn__ftp=England&msypn=3251&msypn_PInfo=3-%7C0%7C
0%7C3257%7C3251%7C0%7C0%7C0%7C0%7C0%7C0%7C0%7C&MSAV=0&catbucket=rs
tp&uidh=fph&pcat=ROOT_CATEGORY&h=18979388&recoff=7%208%209&db=FreeBMDMarr
iage&indiv=1&ml_rpos=8). Ancestry Library. 2006.
"Herbert James Maryon in the 1911 England Census" (http://search.ancestrylibrary.com/cgi-bin/
sse.dll?gss=angs-g&new=1&rank=1&msT=1&gsfn=Herbert+James&gsfn_x=0&gsln=Maryon&
gsln_x=0&msypn__ftp=England&msypn=3251&msypn_PInfo=3-%7c0%7c0%7c3257%7c325
1%7c0%7c0%7c0%7c0%7c0%7c0%7c0%7c&MSAV=0&catbucket=rstp&uidh=fph&pcat=ROO
T_CATEGORY&h=35400736&db=1911England&indiv=1&ml_rpos=2). Ancestry Library. 2011.

"Herbert James Maryon in the England & Wales, Civil Registration Marriage Index, 1916-2005"
(http://search.ancestrylibrary.com/cgi-bin/sse.dll?_phsrc=uoP10&_phstart=successSource&use
PUBJs=true&gss=angs-g&new=1&rank=1&msT=1&gsfn=Herbert%20James&gsfn_x=0&gsln=
Maryon&gsln_x=0&msypn__ftp=England&msypn=3251&msypn_PInfo=3-%7C0%7C0%7C325
7%7C3251%7C0%7C0%7C0%7C0%7C0%7C0%7C0%7C&MSAV=0&catbucket=rstp&uidh=f
ph&pcat=ROOT_CATEGORY&h=66515504&db=ONSmarriage1984&indiv=1&ml_rpos=11).
Ancestry Library. 2010.
"Herbert James Maryon in the England & Wales, National Probate Calendar (Index of Wills and
Administrations), 1858–1966, 1973–1995" (http://search.ancestrylibrary.com//cgi-bin/sse.dll?_p
hsrc=uoP9&_phstart=successSource&usePUBJs=true&gss=angs-g&new=1&rank=1&msT=1&
gsfn=Herbert%20James&gsfn_x=0&gsln=Maryon&gsln_x=0&msypn__ftp=England&msypn=3
251&msypn_PInfo=3-%7C0%7C0%7C3257%7C3251%7C0%7C0%7C0%7C0%7C0%7C0%7
C0%7C&MSAV=0&catbucket=rstp&uidh=fph&pcat=ROOT_CATEGORY&h=18997040&db=U
KProbateCal&indiv=1&ml_rpos=1). Ancestry Library. 2010.
"Herbert Maryon" (https://www.newspapers.com/clip/7010866). Deaths. The Ottawa Journal. 80
(187). Ottawa, Ontario. Canadian Press. 21 July 1965. p. 34 – via Newspapers.com.
"Herbert Maryon" (https://www.newspapers.com/clip/7010945/herbert_maryon_obituary_the_br
andon/). Obituaries. The Brandon Sun. 84 (157). Brandon, Manitoba. Canadian Press. 23 July
1965. p. 11 – via Newspapers.com.
Historic England. "East Knoyle War Memorial (1438366)" (https://HistoricEngland.org.uk/listing/
the-list/list-entry/1438366). National Heritage List for England. Retrieved 11 October 2018.
Historic England. "University of Reading War Memorial (1113620)" (https://HistoricEngland.org.
uk/listing/the-list/list-entry/1113620). National Heritage List for England. Retrieved 11 October
2018.
"H J Maryon in the Fremantle, Western Australia, Passenger Lists, 1897–1963" (https://search.
ancestrylibrary.com/cgi-bin/sse.dll?_phsrc=JOu70&_phstart=successSource&usePUBJs=true
&gss=angs-g&new=1&rank=1&gsfn=H.&gsfn_x=0&gsln=Maryon&gsln_x=1&msypn__ftp=Aust
ralia&msypn=5027&msbdy_x=1&msbdp=2&msbdy=1874&catbucket=rstp&MSAV=0&uidh=fph
&pcat=ROOT_CATEGORY&h=1727156&recoff=6%208&dbid=5378&indiv=1&ml_rpos=1).
Ancestry Library. 2014.
Huey, Arthur D. (22 March 1962). "Mirrors Fail to Reflect Enthusiasm" (https://www.newspaper
s.com/clip/7010362). The Kansas City Times. Kansas City, Missouri. pp. 1–2 (https://www.news
papers.com/clip/7010408) – via Newspapers.com.
Hyatt, Wesley (1997). "What in the World" (https://www.archive.org/details/encyclopediaofda00
hyat). The Encyclopedia of Daytime Television. New York: Billboard Books. pp. 458–459.
ISBN 0-8230-8315-2.
The Institution of Mechanical Engineers (1918). "Herbert James Maryon, in To be considered
by the Applications Committee on Wednesday, 24th April, and by the Council on Friday, 3rd
May 1918." (http://search.ancestrylibrary.com/cgi-bin/sse.dll?_phsrc=wQi76&_phstart=success
Source&usePUBJs=true&gss=angs-g&new=1&rank=1&msT=1&gsfn=Herbert%20James&gsfn
_x=0&gsln=Maryon&gsln_x=0&msbdy_x=1&msbdp=1&MSAV=0&msbdy=1874&catbucket=rst
p&uidh=fph&pcat=ROOT_CATEGORY&h=71025&recoff=3%204%205&db=UKMechanical&in
div=1&ml_rpos=4). Proposals for Membership, Etc. London. pp. 337–339 – via Ancestry.com.
The Institution of Mechanical Engineers (June 1931). "Unveiling of Replica of Tablet Affixed to
George Stephenson's Cottage at Wylam-on-Tyne". Proceedings of the Institution of Mechanical
Engineers. 120: iv, 249–251. doi:10.1243/PIME_PROC_1931_120_012_02 (https://doi.org/10.
1243%2FPIME_PROC_1931_120_012_02).
"Inventor of Turbine: Memorial to Sir Charles Parsons Unveiled" (https://news.google.com/new
spapers?id=d4wjAAAAIBAJ&sjid=FZkFAAAAIBAJ&pg=5546%2C79192). The Gazette. CLXII
(51). Montreal. 1 March 1933. p. 11.
Jeeves, Paul (4 August 2014). "Schoolboys Unearth Golden Hair Tress More than 4,000 Years
Old" (https://www.express.co.uk/news/uk/495572/Gold-hair-tress-more-than-4-000-years-old-fo
und-by-kids). The Daily Express. Retrieved 16 October 2018.
Knutsen, Willie & Knutsen, Will C. (2005). Arctic Sun on My Path: The True Story of America's
Last Great Polar Explorer (https://archive.org/details/arcticsunonmypat0000knut). Explorers
Club Books. Guilford, Connecticut: The Lyons Press. ISBN 978-1-59228-672-0.
Lindqvist, Sune (September 1948). Translated by Bruce-Mitford, Rupert. "Sutton Hoo and
Beowulf". Antiquity. XXII (87): 131–140. doi:10.1017/S0003598X00019669 (https://doi.org/10.1
017%2FS0003598X00019669).
"A Magnificent Silver and Iron Helmet—A Portrait of a Syrian Royal General About the Time of
the Crucifixion: Newly Restored and Now Exhibited on Loan at the British Museum". The
Illustrated London News (6, 054). 27 August 1955. p. 769.
"Margaret Joan Sawatsky" (http://passages.winnipegfreepress.com/passage-details/id-101070/
SAWATSKY_MARGARET). Winnipeg Free Press Passages. 8 October 2005. Retrieved
20 October 2016.
Martin-Clarke, D. Elizabeth (1947). Culture in Early Anglo-Saxon England. Baltimore: Johns
Hopkins Press.
"Marriage: Mr. J. G. Darley and Miss Maryon" (http://tinyurl.galegroup.com/tinyurl/7HPN95). The
Times (45250). London. 9 July 1929. p. 19.
"Marriages at St Michael and All Angels in the Parish of Hawkshead: Marriages Recorded in
the Register for 1924–1933" (http://www.lan-opc.org.uk/Hawkshead/stmichael/marriages_1924
-1933.html). Lancashire OnLine Parish Clerks. Retrieved 20 October 2016.
Marriott, Charles (18 January 1934). "Books on Sculpture" (http://tinyurl.galegroup.com/tinyurl/7
HPN87). Literary Supplement. The Times (1668). London. p. 43.
"Herbert Maryon" (http://tinyurl.galegroup.com/tinyurl/3nXDW6). Obituary. The Daily Telegraph
(34, 285). London. 16 July 1965. p. 18.
"Maryon" (http://tinyurl.galegroup.com/tinyurl/3nXLc8). Deaths. The Daily Telegraph (34, 285).
London. 16 July 1965. p. 32.
"Maryon, Herbert" (https://babel.hathitrust.org/cgi/pt?id=mdp.39015007047270&view=1up&seq
=166). "The Studio" Year Book of Decorative Art. London: The Studio. 1909. p. 148.
"Maryon, Herbert" (http://www.ukwhoswho.com/view/article/oupww/whowaswho/U54332). Who
Was Who. Oxford University Press. April 2014. Retrieved 13 September 2016.
Maryon, John Ernest (1895). Records and Pedigree of the Family of Maryon of Essex and Herts
(https://www.familysearch.org/library/books/records/item/89291-redirection). London: Self-
published.
Maryon, John Ernest (October 1897). "556: Maryon Family" (https://books.google.com/books?id
=DQ1JAAAAMAAJ&pg=RA1-PA141). Fenland Notes & Queries. Peterborough. III: 141–142.
Maryon, Mildred (16 November 1903). "Artistic Enamelling and Metalwork" (https://books.googl
e.com/books?id=ITs6AQAAMAAJ&pg=RA1-PR22). Miscellaneous. The Studio. XXX (128):
XXVI.
Marzinzik, Sonja (2007). The Sutton Hoo Helmet. London: British Museum Press. ISBN 978-0-
7141-2325-7.
"Metalwork and Enamelling" (http://store.doverpublications.com/0486227022.html). Dover
Publications. Retrieved 13 February 2020.
"Mildred J Maryon in the 1901 England Census" (https://search.ancestrylibrary.com/cgi-bin/sse.
dll?_phsrc=lYW3&_phstart=successSource&usePUBJs=true&qh=MtdMNiwMoBSsxf/mHiJiU
g%3D%3D&gss=angs-g&new=1&rank=1&msT=1&gsfn=Mildred&gsfn_x=0&gsln=Maryon&gsl
n_x=0&catbucket=rstp&MSAV=0&uidh=fph&pcat=ROOT_CATEGORY&h=567659&dbid=7814
&indiv=1&ml_rpos=4). Ancestry Library. 2005.
"Miss (Louisa) Edith C. Maryon" (https://sculpture.gla.ac.uk/view/person.php?id=msib5_120941
7826). Mapping the Practice and Profession of Sculpture in Britain and Ireland 1851–1951.
University of Glasgow History of Art. 2011a. Retrieved 22 October 2018.
"Modern Sculpture". Art Interests. The Scotsman (28, 232). Edinburgh. 21 November 1933.
p. 11.
"The Monuments Men: Maj. Denys Eyre Lankester Haynes (1913–1994)" (https://www.monume
ntsmenfoundation.org/the-heroes/the-monuments-men/haynes-denys-e.-l.). Monuments Men
Foundation. Retrieved 18 October 2016.
"Mortimer War Memorial" (https://www.iwm.org.uk/memorials/item/memorial/7777). War
Memorials Register. Imperial War Museums. Retrieved 9 October 2018.
"The Outrages on London Statues" (https://www.newspapers.com/clip/45100420). Our London
Correspondence. The Manchester Guardian (25, 580). Manchester. 23 August 1928. p. 8.
Plenderleith, H. J. (1956). "Silver: Restoration of the Emesa Helmet" (https://archive.org/stream/
in.ernet.dli.2015.537381/2015.537381.conservation-of#page/n271). The Conservation of
Antiquities and Works of Art: Treatment, Repair, and Restoration. London: Oxford University
Press. pp. 226–229.
Post Office London Commercial and Professional Directory (https://books.google.com/books?id
=u307AQAAMAAJ&pg=PA1176). London: Kelly & Co. 1891.
"Principal Librarians and Directors of the British Museum" (https://web.archive.org/web/201611
21173602/https://www.britishmuseum.org/about_us/management/directors.aspx). The British
Museum. Archived from the original (https://www.britishmuseum.org/about_us/management/dir
ectors.aspx) on 21 November 2016. Retrieved 21 November 2016.
"Proceedings of the Society of Antiquaries". The Antiquaries Journal. XXVI (1–2): 106.
January–April 1946. doi:10.1017/S0003581500018692 (https://doi.org/10.1017%2FS0003581
500018692).
"Proceedings of the Society of Antiquaries". The Antiquaries Journal. XXIX (1–2): 135. January
1949. doi:10.1017/S000358150002103X (https://doi.org/10.1017%2FS000358150002103X).
"Proceedings of the Society of Antiquaries". The Antiquaries Journal. XXIX (3–4): 242. July
1949. doi:10.1017/S0003581500017480 (https://doi.org/10.1017%2FS0003581500017480).
"Proceedings of the Society of Antiquaries". The Antiquaries Journal. XXXIV (1–2): 144. 1954.
doi:10.1017/S0003581500073686 (https://doi.org/10.1017%2FS0003581500073686).
Pudney, Stephen (Autumn 2000). "The Keswick School of Industrial Arts: A Victorian
Experiment in Artistic Philanthropy". The Silver Society Journal. 12: 134–132.
"Reading University" (https://www.iwm.org.uk/memorials/item/memorial/41427). War Memorials
Register. Imperial War Museums. Retrieved 9 October 2018.
"Review of Metalwork and Enamelling" (https://babel.hathitrust.org/cgi/pt?id=uc1.$c108350;vie
w=1up;seq=507). The Athenæum (4442): 737. 14 December 1912.
"Review of Metalwork and Enamelling" (https://babel.hathitrust.org/cgi/pt?id=umn.3195100188
8368n;view=1up;seq=237). Christmas Supplement. The Bookman. XLIII: 13. December 1912.
"Review of Metalwork and Enamelling" (http://archive.spectator.co.uk/article/25th-january-1913/
10/metalwork-and-enameling-by-herbert-maryon-chapman-). The Spectator. 110 (4, 413): 130.
25 January 1913.
"Review of Metalwork and Enamelling" (https://babel.hathitrust.org/cgi/pt?id=mdp.3901505842
2976;view=1up;seq=436). Journal of the Royal Society of Arts. LXI (3, 145): 424. 28 February
1913.
"Review of Metalwork and Enamelling" (https://archive.org/details/connoisseur35londuoft/page/
64). The Connoisseur. XXXV: 64. January 1913. ISSN 0010-6275 (https://www.worldcat.org/iss
n/0010-6275).
"Review of Modern Sculpture". The Connoisseur. 94: 124. January 1934. ISSN 0010-6275 (htt
ps://www.worldcat.org/issn/0010-6275).
"Rima Tarred and Feathered: Epstein Work Subject of Outrage" (https://www.newspapers.com/
clip/14670181). The Manchester Guardian (25, 931). Manchester. 10 October 1929. p. 11.
" "Rocket" Centenary: Tablet on George Stephenson's House" (https://paperspast.natlib.govt.n
z/newspapers/LWM19290806.2.57). Lake Wakatip Mail (3, 909). Queenstown, New Zealand. 6
August 1929. p. 7.
"Rupert Bruce-Mitford" (http://tinyurl.galegroup.com/tinyurl/444du8). Obituaries. The Times
(64909). London. 23 March 1994. p. 21.
Schweppe, Sylvia (29 July 1965a). "Mr. Herbert Maryon" (http://tinyurl.galegroup.com/tinyurl/3n
X6j4). Obituary. The Times (56386). London. p. 12.
Schweppe, Sylvia (November 1965b). "Herbert Maryon: Fellow of I.I.C.". Studies in
Conservation. 10 (4): 176. doi:10.1179/sic.1965.022 (https://doi.org/10.1179%2Fsic.1965.022).
ISSN 0039-3630 (https://www.worldcat.org/issn/0039-3630). JSTOR 1505372 (https://www.jsto
r.org/stable/1505372).
"Second Effort to Tar Epstein Statue Made" (https://www.newspapers.com/clip/14670145). The
Battle Creek Enquirer and News. XXXIV (87). Battle Creek, Michigan. 16 October 1929. p. 11.

Seyrig, Henri (June 1952). "A Helmet from Emisa". Archaeology. Archaeological Institute of
America. 5 (2): 66–69. JSTOR 41663047 (https://www.jstor.org/stable/41663047).
"Sir Charles Parsons Memorial Plaque" (http://www.fodms.com/pages/posts/sir-charles-parson
s-memorial-plaque-41.php). Friends of Discovery Museum. 30 October 2016. Retrieved
11 October 2018.
"Sir Charles Parsons: Memorial Unveiled at Wallsend" (http://tinyurl.galegroup.com/tinyurl/4457
58). Home News. The Times (46308). London. 5 December 1932. pp. 9, 16 (http://tinyurl.galegr
oup.com/tinyurl/444vV7).
"Sir Thomas Kendrick: Keeper of British Museum" (http://tinyurl.galegroup.com/tinyurl/42wjW1).
Obituaries Supplement. The Times (60482). London. 23 November 1979. p. VII.
Skodnick, Roy (December 1996). "James Metcalf Joins the Smoky Smiths Deya-Paris-Santa
Clara del Cobre" (http://www.robertgraves.org/issues/20/8322_article_177.pdf) (PDF).
Gravesiana. Northampton: Robert Graves Society. I (II): 177–204.
"Smaller Gulps" (http://tinyurl.galegroup.com/tinyurl/444ck6). The Times Diary. The Times
(58723). London. 5 March 1973. p. 12.
Smith, Ernest A. (1 May 1913). "The Training of Goldsmiths" (https://books.google.com/books?i
d=2VpGAQAAMAAJ&pg=PA210). Nature. London: Macmillan and Co. XCI (2270): 210.
doi:10.1038/091210a0 (https://doi.org/10.1038%2F091210a0).
Sorensen, Lee (21 February 2018). "Kendrick, T. D." (http://arthistorians.info/kendrickt)
Dictionary of Art Historians. Retrieved 30 March 2018.
"Statue (Comedy)" (https://research.britishmuseum.org/research/collection_online/collection_o
bject_details.aspx?objectId=36720&partId=1). The British Museum Collection Online. The
British Museum. Retrieved 8 January 2020.
"Statue (Tragedy)" (https://research.britishmuseum.org/research/collection_online/collection_o
bject_details.aspx?objectId=36756&partId=1). The British Museum Collection Online. The
British Museum. Retrieved 8 January 2020.
"Statue Tarred and Feathered: Outrage in Full View of Crowds" (https://www.newspapers.com/c
lip/14633047). The Manchester Guardian (25, 945). Manchester. 26 October 1929. p. 13.
"Studio Talk: Keswick" (https://babel.hathitrust.org/cgi/pt?id=hvd.32044108093998;view=1up;s
eq=259). The Studio. XVIII (71): 210–212. January 1903.
"Studio Talk: Keswick" (https://books.google.com/books?id=byVHAQAAIAAJ&pg=PA263). The
Studio. XXXVI (153): 263–264. December 1905.
"Studio Talk: Keswick" (https://books.google.com/books?id=J3dHAQAAMAAJ&pg=PA263).
The Studio. XXVII (107): 263–264. January 1906.
"Supplement" (https://www.thegazette.co.uk/London/issue/40787/supplement/3099). The
London Gazette (40787). 25 May 1956. pp. 3099–3138.
"Sutton Hoo in 1951" (http://gerwardus.blogspot.com/2011/09/625-in-1951.html). Blogspot. 20
September 2011. Retrieved 23 November 2016.
"The Sutton Hoo Shield" (http://tinyurl.galegroup.com/tinyurl/444YN7). Financial Times
(25402). London. 12 March 1971. p. 3.
"Sutton Hoo Treasures" (http://tinyurl.galegroup.com/tinyurl/444VY5). News in Brief. The Times
(50365). London. 1 February 1979. p. 6.
"Tarred Statue of Industry: Sculptor's Defence of His Work" (https://www.newspapers.com/clip/1
3754980). The Manchester Guardian (25, 947). Manchester. 29 October 1929. p. 3.
"The Treasure of Sutton Hoo: King's Tomb is Greatest Find in Archaeology of England" (https://
books.google.com/books?id=nE4EAAAAMBAJ&lpg=PA82&dq=Sutton%20hoo%20life%20ma
gazine&pg=PA82). Life. Vol. 31 no. 3. New York. 16 July 1951. pp. 82–85.
"Television" (https://www.newspapers.com/clip/14670139). Television and Radio. New York
Herald Tribune. CXIII (39, 220). New York City. 3 April 1954. p. 17.
Topping, Peter (1957–1958). "Report of the Librarian of the Gennadeion" (http://www.ascsa.ed
u.gr/pdf/uploads/AR_77_1957-58.pdf) (PDF). Annual Report. Princeton: American School of
Classical Studies at Athens. 77: 34–38.
Williams, Dyfri (5 October 1994). "Obituary: D. E. L. Haynes" (https://www.independent.co.uk/ne
ws/people/obituary-d-e-l-haynes-1441337.html). The Independent. Retrieved 18 October 2016.

Williams, Nigel (1992). "The Sutton Hoo Helmet". In Oddy, William Andrew (ed.). The Art of the
Conservator. London: British Museum Press. pp. 73–88. ISBN 978-0714120560.
Wilson, David. M. (1960). Daniel, Glyn (ed.). The Anglo-Saxons. Ancient Peoples and Places.
16. New York: Frederick A. Praeger. LCCN 60-8369 (https://lccn.loc.gov/60-8369).
Wood, Esther (June 1900a). "The Home Arts and Industries Exhibition at the Albert Hall" (http
s://books.google.com/books?id=cB9HAQAAIAAJ&pg=PA85). The Studio. XX (87): 78–88.
Wood, Esther (July 1900b). "The Home Arts and Industries Exhibition at the Albert Hall" (https://
books.google.com/books?id=4I1AAQAAMAAJ&pg=PA85). The International Studio. New York:
John Lane Co. XI (41): 78–88.
Wood, Esther (July 1902). "The Home Arts and Industries Association" (https://babel.hathitrust.
org/cgi/pt?id=nyp.33433078739590;view=1up;seq=139). The Studio. XXVI (112): 129–134.
van Geersdaele, Peter C. (November 1969). "Moulding the Impression of the Sutton Hoo Ship".
Studies in Conservation. 14 (4): 177–182. doi:10.2307/1505343 (https://doi.org/10.2307%2F15
05343). JSTOR 1505343 (https://www.jstor.org/stable/1505343).
van Geersdaele, Peter C. (August 1970). "Making the Fibre Glass Replica of the Sutton Hoo
Ship Impression". Studies in Conservation. 15 (3): 215–220. doi:10.2307/1505584 (https://doi.o
rg/10.2307%2F1505584). JSTOR 1505584 (https://www.jstor.org/stable/1505584).
Colossus articles
"The Colossus Now Gets Debunked" (https://www.newspapers.com/clip/41911050). The
Austin Statesman. 83 (110). Austin, Texas. 4 December 1953. p. 20 – via Newspapers.com.
"Ancient Wonder Called Sham: Colossus of Rhodes Is Debunked By Archaeologist" (https://w
ww.newspapers.com/clip/14632900). The Battle Creek Enquirer and News. 54. Battle Creek,
Michigan. 4 December 1953. p. 1 – via Newspapers.com.
"Colossus of Rhodes: Scientist Says Wonder of World Statue Hollow Sham" (https://www.news
papers.com/clip/7093939). The Corpus Christi Times. 44 (131). Corpus Christi, Texas. 4
December 1953. p. 8-B – via Newspapers.com.
"Claims Famed Colossus Was Only Hollow Sham" (https://www.newspapers.com/clip/1463264
0). Des Moines Tribune. 73 (90). Des Moines, Iowa. 4 December 1953. p. 11 – via
Newspapers.com.
"Colossus of Rhodes Is Described As Hollow Sham" (https://www.newspapers.com/clip/70114
41). The Fresno Bee. 61 (11278). Fresno, California. 4 December 1953. p. 16-A – via
Newspapers.com.
"Sculptor Explodes Myth Of Statue Astride Harbor" (https://www.newspapers.com/clip/711631
2). Lubbock Evening Journal. 30 (64). Lubbock, Texas. 4 December 1953. p. 10 – via
Newspapers.com.
"Archaeologist Says One Of 7 Wonders Of World A Sham" (https://www.newspapers.com/clip/7
116300). Macon Chronicle-Herald. 44 (135). Macon, Missouri. 4 December 1953. p. 1 – via
Newspapers.com.
"Researcher Brands Colossus of Rhodes Nothing But Sham" (https://www.newspapers.com/cli
p/7118934). Mason City Globe-Gazette. LX (48). Mason City, Iowa. 4 December 1953. p. 2 –
via Newspapers.com.
"Colossus of Rhodes a Hollow Sham, British Scientist Says" (https://www.newspapers.com/cli
p/7011488). Moberly Monitor-Index. 35 (131). Moberly, Missouri. 4 December 1953. p. 1 – via
Newspapers.com.
"Colossus Called A Hollow Sham: Rhodes' World Wonder Didn't Straddle Old Port, Says
Briton" (https://www.newspapers.com/clip/14632592). Journal-Every Evening. 21 (286).
Wilmington, Delaware. 4 December 1953. p. 24 – via Newspapers.com.
"Colossus Of Rhodes, One Of 7 Wonders, Said Sham" (https://www.newspapers.com/clip/1463
2600). The Evening Leader. 98 (146). Staunton, Virginia. 4 December 1953. p. 1 – via
Newspapers.com.
"A Fraud, He Said" (https://www.newspapers.com/clip/14632659). Oakland Tribune. CLIX
(157). Oakland, California. 4 December 1953. p. 2 – via Newspapers.com.
"Colossus Is Termed 'Sham' " (https://www.newspapers.com/clip/7011389). The Plain Speaker.
72 (21, 060). Hazleton, Pennsylvania. 4 December 1953. p. 30 – via Newspapers.com.
"Rhodes Colossus Didn't Span Port, Briton Declares" (https://www.newspapers.com/clip/14632
666). St. Louis Post-Dispatch. 106 (60). St. Louis, Missouri. 4 December 1953. p. 5C – via
Newspapers.com.
"Rhodes Colossus Is Labelled Sham" (https://news.google.com/newspapers?id=ArVYAAAAIB
AJ&sjid=fPYDAAAAIBAJ&pg=7328%2C1187260). Spokane Daily Chronicle. 68 (63).
Spokane, Washington. 4 December 1953. p. 12 – via Google News Archive Search.
"Colossus Called Sham" (https://www.newspapers.com/clip/7011473). Tucson Daily Citizen.
LXXXI (290). Tucson, Arizona. 4 December 1953. p. 2 – via Newspapers.com.
"One of World's 7 Wonders Described as Hollow Sham" (https://www.newspapers.com/clip/711
6327). The Vernon Daily Record. XXIX (29). Vernon, Texas. 4 December 1953. p. 9 – via
Newspapers.com.
"Colossus of Rhodes Hollow Sham, Scientist Declares" (https://www.newspapers.com/clip/701
1401). Abilene Reporter-News. LXXIII (172). Abilene, Texas. 5 December 1953. p. 8-B – via
Newspapers.com.
"Expert Debunks One of World Wonders: Colossus of Rhodes" (https://www.newspapers.com/c
lip/14632620). Chicago Daily Tribune. CXII (291). Chicago, Illinois. 5 December 1953. p. 4 –
via Newspapers.com.
"Scientist Describes Colossus Of Rhodes as 'Hollow Sham' " (https://www.newspapers.com/cli
p/7011257). Council Bluffs Nonpareil. XCVI (339). Council Bluffs, Iowa. 5 December 1953. p. 4
– via Newspapers.com.
" 'Colossus' Is 'Sham:' Scientist" (https://www.newspapers.com/clip/14633166). The Daily
Times. LXVII (272). Davenport, Iowa. 5 December 1953. p. 2-B – via Newspapers.com.
"Hollow Sham?" (https://www.newspapers.com/clip/14633302). The Detroit Free Press. 123
(214). Detroit, Michigan. 5 December 1953. p. 7 – via Newspapers.com.
"Britisher Belittles World Mark" (https://www.newspapers.com/clip/7011307). Indiana Evening
Gazette. 54 (95). Indiana, Pennsylvania. 5 December 1953. p. 3 – via Newspapers.com.
"Colossal Phony?" (https://www.newspapers.com/clip/14632774). Minneapolis Morning
Tribune. LXXXVII (195). Minneapolis, Minnesota. 5 December 1953. p. 12 – via
Newspapers.com.
"Colossus Of Rhodes 'Sham' " (https://www.newspapers.com/clip/14632554). Petaluma Argus-
Courier. 26 (110). Petaluma, California. 5 December 1953. p. 6 – via Newspapers.com.
"Colossus of Rhodes Hollow Sham, British Scientist Says" (https://www.newspapers.com/clip/7
011124). The San Bernardino Daily Sun. LX (83). San Bernardino, California. 5 December
1953. p. 21 – via Newspapers.com.
"Colossus Just "Sham" " (https://www.newspapers.com/clip/45576276). Saskatoon Star-
Phoenix. 52 (42). Saskatoon, Saskatchewan. 5 December 1953. p. 19 – via Newspapers.com.

"Colossus Only Small Giant, Briton Holds". The Washington Post (28, 296). Washington, D.C.
5 December 1953. p. 4. ProQuest 152536781 (https://search.proquest.com/docview/15253678
1).
"Debunking Old Beliefs Doesn't Hurt The Colossus" (https://www.newspapers.com/clip/146328
11). The Battle Creek Enquirer and News. 54. Battle Creek, Michigan. 6 December 1953. p. 6 –
via Newspapers.com.
"Scientist Describes Colossus Of Rhodes as 'Hollow Sham' " (https://www.newspapers.com/cli
p/7011229). Council Bluffs Nonpareil. XCVI (340). Council Bluffs, Iowa. 6 December 1953.
p. 7-B – via Newspapers.com.
"British Scientist States Colossus Is Hollow Sham" (https://www.newspapers.com/clip/1463512
5). The Odessa American. XXVIII (211). Odessa, Texas. 6 December 1953. p. 3 – via
Newspapers.com.
"Says Colossus Of Rhodes Was Sham" (https://www.newspapers.com/clip/7011198). Santa
Cruz Sentinel-News. 98 (289). Santa Cruz, California. 6 December 1953. p. 21 – via
Newspapers.com.
"Describe Colossus Of Rhodes as Sham" (https://www.newspapers.com/clip/7116342). The
Sedalia Democrat. 85 (288). Sedalia, Missouri. 6 December 1953. p. 13 – via
Newspapers.com.
"Collossus [sic] of Rhodes Described as Hollow Sham by Scientist" (https://www.newspapers.c
om/clip/7093989). The Progress-Index. LXXXIX (155). Petersburg, Virginia. 7 December 1953.
p. 12 – via Newspapers.com.
"Describes One of Seven Wonders Of World As Being Just A Hollow Sham" (https://www.news
papers.com/clip/7011161). The Bryan Daily Eagle. 77 (138). Bryan, Texas. 8 December 1953.
p. 10 – via Newspapers.com.
"Oh, The Shame of This Sham" (https://www.newspapers.com/clip/14632572). The
Indianapolis News. 85. Indianapolis, Indiana. 8 December 1953. p. 3 – via Newspapers.com.
 "Ancient World Wonder Called Hollow Sham" (https://www.newspapers.com/clip/14632794).
Reno Evening Gazette. 77 (216). Reno, Nevada. 8 December 1953. p. 7 – via
Newspapers.com.
"Full Circle" (https://www.newspapers.com/clip/14635625). The Nashville Tennessean. 47
(223). Nashville, Tennessee. 8 December 1953. p. 20 – via Newspapers.com.
"Only 6 1/2 World Wonders?" (https://www.newspapers.com/clip/7011141). The Kansas City
Times. 116 (297). Kansas City, Missouri. 12 December 1953. p. 34 – via Newspapers.com.
Parker, T. H. (13 December 1953). "The Lively Arts: The Mighty and the Fallen" (https://www.ne
wspapers.com/clip/14632925). The Hartford Courant. CXVII. Hartford, Connecticut. p. IV (2) –
via Newspapers.com.
"Spare Us Something" (https://www.newspapers.com/clip/14635334). The Indianapolis News.
85. Indianapolis, Indiana. 15 December 1953. p. 10 – via Newspapers.com.
"Spare Us Something" (https://www.newspapers.com/clip/14635498). Muncie Evening Press.
LXI (267). Muncie, Indiana. 16 December 1953. p. 4 – via Newspapers.com.
"Fraudulent Colossos [sic]" (https://www.newspapers.com/clip/14635419). Corsicana Daily
Sun. 58 (165). Corsicana, Texas. 21 December 1953. p. 2 (8) – via Newspapers.com.
"Guest Editorial: Losing the Seventh Wonder" (https://www.newspapers.com/clip/14632682).
The Hammond Times. XVLIII (176). Hammond, Indiana. 14 January 1954. p. 6 – via
Newspapers.com.
"Only 6 1/2 Wonders?" (https://www.newspapers.com/clip/7011089). Tucson Daily Citizen.
LXXXII (30). Tucson, Arizona. 4 February 1954. p. 12 – via Newspapers.com.
Wade, William (20 January 1954). "Folklore" (https://www.newspapers.com/clip/7119012). The
Anderson Herald. 86 (185). Anderson, Indiana. p. 4 – via Newspapers.com.
"Ancient "Wonder" Doubted" (https://www.newspapers.com/clip/45576227). The Red Deer
Advocate. LIII (12). Red Deer, Alberta. 24 March 1954. p. 7-4 – via Newspapers.com.
"Ancient 'Wonder' Doubted" (https://www.newspapers.com/clip/7116356). Alton Evening
Telegraph. CXIX (60). Alton, Illinois. 25 March 1954. p. 5 – via Newspapers.com.
"Ancient 'Wonder' Doubted" (https://www.newspapers.com/clip/7011018). The Grape Belt and
Chautauqua Farmer. LX (27). Dunkirk, New York. 2 April 1954. p. 18 – via Newspapers.com.
"Old 'Wonder' Doubted" (https://www.newspapers.com/clip/7010890). The Greeley Daily
Tribune. 46 (208). Greeley, Colorado. 1 May 1954. p. 7 – via Newspapers.com.
"Ancient "Wonder" Doubted" (https://www.newspapers.com/clip/14633094). Wausau Daily
Record-Herald. XLVI (171). Wasau, Wisconsin. 21 June 1954. p. 16 – via Newspapers.com.
Scarre, Chris (31 August 1991). "From Rhodes to Ruins" (http://tinyurl.galegroup.com/tinyurl/44
4Zf6). Saturday Review. The Times (64113). London. p. 14[S].

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Herbert_Maryon&oldid=981166870"

This page was last edited on 30 September 2020, at 17:48 (UTC).

Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. By using this
site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the Wikimedia
Foundation, Inc., a non-profit organization.